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|Other Titles:||The Sign of Jing景 in Modern Chinese Poetry--Experience, Memory, Time and Space|
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|Abstract:||有關詩「景」，常與「境」相涉，且有「虛」和「實」的分別，又常與「境界」一同討論。論者以為詩「景」與詩「境」的「虛」與「實」，並非各不相干而是相互依存的。饒宗頤 (1916-) 、蕭遙天、葉嘉瑩 (1924-) 等人分別就相關問題，提出不少有價值的見解。現代詩亦有不少以「景」入詩的作品。本論文引述上列論者的若干說法，參以段義孚就「感知」的解釋，以「景」符號化的具體特性為貫串脈絡的討論，深入探討現代詩「景」及詩。|
Jing 景 is an important element in Chinese poetry which has been, explicitly or implicitly, a focus of discussion among literary critics, Despite or perhaps because of its “transcendental” implications, this term has mainly been explored in classical Chinese poetry; its use in modern Chinese poetry has seldom been analyzed. The present essay attempts to utilize the literary interpretations of Jing and Jingjie 境界 of Jao Tsung-i饒宗頤 (1916- ), XiaoYao-tian 蕭遙天 and Ye Jia-ying 葉嘉瑩 (1924- ), with reference also to the ideas of Tuan Yi-fu段義孚, in order to discuss the sign of Jing via semiotic theory, according to which every interpretation relies upon the relationship between the sign and the meaning of itself.
|Appears in Collections:||師大學報|
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