作者:
[美] 宇文所安 出版社: Harvard University Press 副标题: Chinese Lyrics from the Eleventh and Early Twelfth Centuries 出版年: 2019-2-1 页数: 350 定价: GBP 35.80 装帧: Hardcover 丛书:Harvard-Yenching Institute Monograph Series ISBN: 9780674987128
“Song Lyric,” ci, remains one of the most loved forms of Chinese poetry. From the early eleventh century through the first quarter of the twelfth century, song lyric evolved from an impromptu contribution in a performance practice to a full literary genre, in which the text might be read more often than performed. Young women singers, either indentured or private entrepreneurs,...
“Song Lyric,” ci, remains one of the most loved forms of Chinese poetry. From the early eleventh century through the first quarter of the twelfth century, song lyric evolved from an impromptu contribution in a performance practice to a full literary genre, in which the text might be read more often than performed. Young women singers, either indentured or private entrepreneurs, were at the heart of song practice throughout the period; the authors of the lyrics were notionally mostly male. A strange gender dynamic arose, in which men often wrote in the voice of a woman and her imagined feelings, then appropriated that sensibility for themselves.
As an essential part of becoming literature, a history was constructed for the new genre. At the same time the genre claimed a new set of aesthetic values to radically distinguish it from older “Classical Poetry,” shi. In a world that was either pragmatic or moralizing (or both), song lyric was a discourse of sensibility, which literally gave a beautiful voice to everything that seemed increasingly to be disappearing in the new Song dynasty world of righteousness and public advancement.
Stephen Owen is James Bryant Conant University Professor, Emeritus, at Harvard University.
目录
· · · · · ·
Acknowledgments
Introduction
I. Setting the Stage
1. Early Circulation
2. Origins
II. The Early and Mid-Eleventh Century
· · · · · ·
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Acknowledgments
Introduction
I. Setting the Stage
1. Early Circulation
2. Origins
II. The Early and Mid-Eleventh Century
3. The Yuezhang ji and Liu Yong
4. The Xiaoling Collections (I)
5. The Xiaoling Collections (II)
6. Yan Jidao
III. The Age of Su Shi
7. Su Shi
8. The Generation after Su Shi
9. Su Shi’s Protégés
10. Qin Guan
11. He Zhu
12. Zhou Bangyan
IV. Into the Twelfth Century
13. Recovering a History
14. The Last Generation of the Northern Song and On
Conclusion by Way of Continuing
Reference Matter
Appendix A: The Manuscripts of Feng Yansi
Appendix B: Lyrics Adrift
Appendix C: The “High Style” and Its Opposites
Bibliography and Abbreviations
Index
· · · · · · (收起)
If we wonder why song lyrics gradually became so popular, this is part of the answer: songs constructed a space figuratively "outside the empire", or a space for the self in which the empire was irrelevant and unmentioned.
Only in the world of song lyric do they have such a power, defined against official schedules. (查看原文)
Harvard-Yenching Institute Monograph Series(共82册)，
这套丛书还有
《Shifting Stories》《Visionary Journeys》《Transgressive Typologies》《Ancestors, Virgins, and Friars》《The Sage Learning of Liu Zhi》
等
。
談不上解構，只是揭示「推尊詞體」的儒教詩學之外另一種線索，所謂早期小令「表演性、歸屬不確定性」，古之詞論者並非不知，著意迴避而已。小晏一段略見人文關懷，儼然馬賽爾與賈寶玉即視感，“For all their training in how to feign emotion, they too could love and be hurt. They were, after all, only yo...談不上解構，只是揭示「推尊詞體」的儒教詩學之外另一種線索，所謂早期小令「表演性、歸屬不確定性」，古之詞論者並非不知，著意迴避而已。小晏一段略見人文關懷，儼然馬賽爾與賈寶玉即視感，“For all their training in how to feign emotion, they too could love and be hurt. They were, after all, only young teenagers.” 接著引「幾換青春，倦客紅塵。長記樓中粉淚人」，不正是「各人有各人應得的眼淚」。(展开)
原文刊載於 《漢學研究》第38卷第3期 ，2020年9月，頁339-345 [Just a Song] 宇文所安的Just a Song的問世恰逢其時地填補了北宋詞史深度研究的空白。身為《劍橋中國文學史》（The Cambridge History of Chinese Literature，2010）主編之一，他試圖以具有濃厚的耶魯大學研究風...
(展开)
宇文所安教授的新著《惟歌一首：中国十一世纪至十二世纪初的词》在2019年由哈佛大学出版。尽管北美汉学界近年来对词学研究的关注度稍显提升，出现了诸如田安（Anna M. Shields）的《缔造选本：〈花间集〉的文化语境与诗学实践》、艾朗诺（Ronald Egan）的《才女之累：李清照及...
(展开)
As an essential part of becoming literature, a history was constructed for the new genre. At the same time the genre claimed a new set of aesthetic values to radically distinguish it from older "Classical Poetry," shi. 宇文所安关于词研究的最新力作。有此书英...
(展开)
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3 有用 珍瓏局長 2020-05-27 07:10:57
談不上解構，只是揭示「推尊詞體」的儒教詩學之外另一種線索，所謂早期小令「表演性、歸屬不確定性」，古之詞論者並非不知，著意迴避而已。小晏一段略見人文關懷，儼然馬賽爾與賈寶玉即視感，“For all their training in how to feign emotion, they too could love and be hurt. They were, after all, only yo... 談不上解構，只是揭示「推尊詞體」的儒教詩學之外另一種線索，所謂早期小令「表演性、歸屬不確定性」，古之詞論者並非不知，著意迴避而已。小晏一段略見人文關懷，儼然馬賽爾與賈寶玉即視感，“For all their training in how to feign emotion, they too could love and be hurt. They were, after all, only young teenagers.” 接著引「幾換青春，倦客紅塵。長記樓中粉淚人」，不正是「各人有各人應得的眼淚」。 (展开)
4 有用 廢肥匪·老🐰 2019-10-04 23:50:39
還是用解構主義那一套試圖說明已有文學史「盲點」和文本文獻的「不足」得回到表演實踐文化語境才能重現北宋詞從「文本」到「文類」的提升軌跡、擺脫南宋詞人建構史的侷限。儘管不免臆測、武斷和囉嗦，宇文但對詞史上諸多似是而非如署名權歸屬、主題的公私對立、地方文獻與趣味、鈔本與印本影響、性別權力等問題依然發人深省。#依舊讀#136
0 有用 真正的快乐鸭 2022-08-31 11:43:01 上海
好简洁的英国话
2 有用 summer lily 2019-12-17 13:40:14
此书很好地阐发了早期词作的传播，将小令视作士人宴饮的助兴曲，而柳永慢词则创作于更为市井的勾栏瓦肆，把早期词集在一定程度上视为曲目库(repertoire)。苏轼以后词作发展的关键是词从音乐实践变成可供案头阅读的文学体裁，而12世纪的印刷文化起到了助推作用。本书最大的问题是第二章讨论词的起源，作者指出文本形式不是歌唱形式，唐代歌诗虽然文本上表现为齐言，但实际唱的时候却是长短错落；作者进一步认为，之后... 此书很好地阐发了早期词作的传播，将小令视作士人宴饮的助兴曲，而柳永慢词则创作于更为市井的勾栏瓦肆，把早期词集在一定程度上视为曲目库(repertoire)。苏轼以后词作发展的关键是词从音乐实践变成可供案头阅读的文学体裁，而12世纪的印刷文化起到了助推作用。本书最大的问题是第二章讨论词的起源，作者指出文本形式不是歌唱形式，唐代歌诗虽然文本上表现为齐言，但实际唱的时候却是长短错落；作者进一步认为，之后出现的长短句实际上是一种转录实践(transcription practice)，当时的人忠实记录下歌词的长短句式，而不再修整为齐言诗——这个猜想仅就文本看问题，却忽略了音乐本身，歌词从齐言变为长短句更核心的实质是由音乐体系的变革。结语点出日后词之雅化与通俗文学二途，将其置于道学大背景中，看得很透。 (展开)