The connotation of HuaiHai Ci"" ──A delicate coordination between words and its affection""
|Keywords:||詞;秦觀;少游;淮海詞;辭情兼稱;Ci;Qin Guan;shao you;Huaihai Ci||Issue Date:||2015||Abstract:||
本論文定名為《淮海詞「辭情兼稱」之內蘊》，問題意識在於：究竟是什麼樣的遭遇和性情使秦觀以詞流芳百世？他的詞作又寄託了什麼樣的情懷，表達了何種用情態度，遂使後人為之觸動？在這些精巧而纖麗的文字當中，又如何引領讀者看進詞人眼中的世界，在時空流轉中體會到亙古不變之情？文學的研究總離不開對人的關懷，若能從多情詞人的筆下觀照生命的意義，這些問題也就有了探問的價值。全文共分六章，簡述如下：第一章「緒論」：整理歷來對淮海詞的重要評論及相關研究現況，以掌握當前研究重點，確立論文主題方向。並說明研究方法與文本範圍，釐清文中引用的淮海詞版本及使用材料。 第二章「秦觀生平與創作成就」：描述秦觀的人生風景，著重他身為蘇門四學士的一員，和東坡的互動以及對創作的影響。並由前人評論和各類文體代表作探討秦觀的創作風格。 第三章「文人與詞體的交會」：回顧音樂與文詞合流的演變軌跡，並就詞體的本來面貌、與音樂結合的特性、詞人情感的傳達三個方面，說明詞體的特殊性質，探討秦觀與詞體之所以契合的原因。 第四章「淮海詞深厚的情感內蘊」：就詞中情感加以分梳，期能以具體的詞例說明秦觀詞中的用情態度及動人之處。 第五章「淮海詞文辭藝術之美」：探討何謂「清麗婉約」，分析其遣詞用句的技巧，是如何營造出特有的美感，達到「淡語皆有味，淺語皆有致」。其次說明他如何構築筆下詞境，進行情與景的描述與交融。最後，在文句特色與情景安排的分析之餘，進一步探討詞中的時空意識如何呈現。 第六章「結論」：對於先前討論過的議題作整體的回顧和說明，歸納對淮海詞「辭情兼稱」之內蘊的完整看法，並提出延伸思考。
This thesis focus on Qin Guan’s Huaihai Ci and examines the following questions: What kind of life experiences and personal character that contribute to Qin Guan’s work ? What kind of emotions and attitudes in his work that touch the readers? How do his written works leads the readers to see the writer’s horizon and the timeless spirits? The humanistic is inevitable when dealing with literature, which enriches the value of literature research. The first chapter offers a brief overview of recent studies of Qin Guan and Huaihai Ci, clarifying the terms and versions used in this thesis as well. By revealing the current research tendency, I then confine my discussion and focus. Chapter two gives a clear description of Qin Guan’s life experience, particularly the interaction between Qin Guan and Su Shi as they were in the same literature group. Also, I discuss his writing style based on previous criticism and his best works in every genre. In Chapter three I review the development of Ci and the reasons why Qin Guan’s character matches the genre Ci. Formed by the combination of music and lyrics, Ci has been through a evolution. The discussion will focus on three aspects: the essence of Ci, the music-combined element and the way it conveys the writer’s emotions. Chapter four and Chapter five analyzes Qin Guan’s Ci. I examine Qin Guan’s writing style and discuss that how he achieved the aesthetic value by simple words. Also, I analyze that how Qin Guan depicted the affections and the scene in his Ci and combined them. The last part of Chapter five discusses that how Qin Guan conveyed space time consciousness in Ci. As the conclusion, Chapter six reviews all the discussions in the previous chapters and gives a comprehensive view of the words in Qin Guan’s Ci and its affections. Furthermore, I raise several issues for the future research.
|Appears in Collections:||中國文學系|
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