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題名:林正大檃括詞探析
書刊名:東吳中文研究集刊
作者:劉宥均
作者(外文):Liu, Yu-chun
出版日期:2018
卷期:24
頁次:頁19-35
主題關鍵詞:南宋宋詞林正大風雅遺音Southern Song DynastySong ChiLin ZhengdaFēngyǎ yí yīn
原始連結:連回原系統網址new window
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林正大(生卒不詳,約在1200 年前後),南宋專業櫽括詞人,一生詞作皆為櫽括,凡四十一闋,收錄於其自編之《風雅遺音》二卷,卷前有其自序敘述編撰動機。綜觀今日檃括詞之研究,未有針對林正大作品的專篇論述,故本文以《風雅遺音》為本,將其詞作分為檃括之語言來源、好用之詞牌、檃括之內容及檃括之目的等四點論述,藉以推知其詞作檃括之語言來源,主要受到詞人喜好之影響。而詞牌方面,則與個人好豪放之音與所檃括之原作品有關。檃括之內容,則可分為刺時詠賢、好酒多愁及隱逸思想三方面,最後就詞人檃括之目的,探討出其志在抒發,多有應酬以及為炫技逞才而作。綜合上述各點歸納,得出林正大為豪放一派詞人之定位
Lin Zhengda, whose date of birth and death is unknown, and it's said that the date is around 1200 ago. He is professional poet of Yin Kuo Chi in Southern Song Dynasty, and all of his works could be classified to Yin Kuo Chi. His forty-one works are included in two volume of Fēngyǎ yí yīn《風雅遺音》, which is edited by himself. There is preface in every volume which described his motivation of editing Fēngyǎ yí yīn《風雅遺音》. Looking at the study of today's essays on Yin Kuo Chi, there is no specific discussion on Lin Zhengda's works. Therefore, this article takes Fēngyǎ yí yīn 《風雅遺音》 as its basis, and divided Lin’s works into four point: source of the language of Yin Kuo Chi, the chi pai that are used most often, the content of Yin Kuo, and the purpose of Yin Kuo.By inferring Lin’s work, the source of the language of Yin Kuo Chi is seemed to be mainly influenced by the preferences of poet. In terms of chi pai , it is related to the Haofang songs which is individual-preferred and the original work that is Yin Kuo.The contents of Yin Kuo can be divided into three aspects: satirize politics and praise sage, express melancholy by drinking wine, and thought of seclusion.In the end, the purpose of Yin Kuo is discussed. It suggested that it aimed to express emotion, which might be composed for enterainment, showing off talent. Based on the above-mentioned various points, Lin Zhengda was positioned as a poet of Haofang style
期刊論文
1.吳承學(2000)。論宋代檃括詞。文學遺產,2000(4),74-83。  延伸查詢new window
2.唐玲玲(1984)。說蘇東坡的檃括詞。華中師範學報,1984(6)。  延伸查詢new window
3.彭國忠(2005)。檃括體詞淺論--以宋人的創作為中心。詞學,16,123-138。  延伸查詢new window
4.朱玲芝(2015)。檃括詞概念辨析及其與音樂的關係探究。中國韻文學刊,29(4)。  延伸查詢new window
5.潘猛補(20160608)。林正大與《風雅遺音》。《溫洲日報》文化周刊•風土。  延伸查詢new window
會議論文
1.王偉勇(2001)。兩宋檃括詞探析。東吳大學宋元文學學術研討會。臺北:東吳大學中國文學系。  延伸查詢new window
圖書
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2.田玉琪(2012)。詞調史研究。人民出版社。  延伸查詢new window
3.唐圭璋(1998)。全宋詞。北京:中華書局。  延伸查詢new window
4.浦起龍(1970)。讀杜心解。臺北:臺灣中華書局。  延伸查詢new window
5.李白、瞿蛻園、朱金城、王琦(1980)。李白集校注。上海:上海古籍出版社。  延伸查詢new window
6.王易(2013)。詞曲史。臺北:五南圖書出版股份有限公司。  延伸查詢new window
7.薛師石(1983)。瓜廬集。臺灣商務印書館。  延伸查詢new window
8.林正大(2002)。風雅遺音。上海:上海古籍出版社。  延伸查詢new window
9.葉適、劉公純、王孝魚、李哲夫(2010)。水心文集。北京:中華書局。  延伸查詢new window
10.丁丙(1988)。善本書室藏書志。臺北:廣文書局。  延伸查詢new window
11.宋心昌(1996)。歐陽修詩文選注。臺北:建宏出版社。  延伸查詢new window
12.沈松勤、王興華(1997)。新譯范文正公選集。臺北:三民書局。  延伸查詢new window
13.夏漢寧、倪愛珍、黎清(2011)。讀精品品經典:文學卷。南昌:江西人民出版社。  延伸查詢new window
14.張志烈(1999)。今注本杜詩全集。成都:天地出版社。  延伸查詢new window
15.溫儒敏、陳慶元(2009)。新型大學語文教材--中國語文。北京:北京大學出版社。  延伸查詢new window
16.歐陽修、李逸安(2001)。歐陽修全集。中華書局。  延伸查詢new window
 
 
 
 
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