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Department of Chinese, NTNU
Although the texts of the folksongs of Wu (吳歌), including the Tzuyeh folksongs (子夜歌), were created by the anonymously common people, they accumulated very abundantly literary experiences and aesthetic qualities. As they were emerging, they not only gradually became the crucial part of the leisured livings of the Six Dynasties' (六朝) aristocrats, but also influenced the new styles of poems which prevailed from the South and North Dynasties (南北朝) until the T'ang Dynasty (唐朝) hereafter. Though there existed so many opinions to see them as low-class songs in many dynasties, the folksongs of Wu acquired the very important role in the literary and aesthetic history. It's worthy to note that the possibilities of the development of these folksongs were mainly due to the qualities of heterotopia which were produced by the condition of the Chien K'ang city (建康城) as a political and economic capital. In a word, the erotic and representational construction of the affluently merchant lives in the downstream of Yang Tzu River (長江) not only produced the particular literary imagination, but also developed a lively aesthetics that belonged to common people. This paper aims to point out the time-spatial causes which resulted in the Tzu-yeh folksongs and explore deliberately the contents of their aesthetics from the angle of literary sociology and human geography. So we can realize that the creation of Tzu-yeh folksongs as aesthetic products of the civilization of pre-modern cities should have its positive meaning to give poetry its worldly qualities.
|Appears in Collections:||中國學術年刊|
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