This study aims to engage the textual realities of medieval literature by shedding light on the material lives of poems during the Tang, from their initial oral or written instantiation through their often lengthy and twisted paths of circulation. Tang poems exist today in stable written forms assumed to reflect their creators' original intent. Yet Tang poetic culture was based...
This study aims to engage the textual realities of medieval literature by shedding light on the material lives of poems during the Tang, from their initial oral or written instantiation through their often lengthy and twisted paths of circulation. Tang poems exist today in stable written forms assumed to reflect their creators' original intent. Yet Tang poetic culture was based on hand-copied manuscripts and oral performance. We have almost no access to this poetry as it was experienced by contemporaries. This is no trivial matter, the author argues. If we do not understand how Tang people composed, experienced, and transmitted this poetry, we miss something fundamental about the roles of memory and copying in the circulation of poetry as well as readers' dynamic participation in the creation of texts. We learn something different about poems when we examine them, not as literary works transcending any particular physical form, but as objects with distinct physical attributes, visual and sonic. The attitudes of the Tang audience toward the stability of texts matter as well. Understanding Tang poetry requires acknowledging that Tang literary culture accepted the conscious revision of these works by authors, readers, and transmitters.
作者简介
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Christopher M. B. Nugent is Associate Professor of Chinese at Williams College.
Harvard-Yenching Institute Monograph Series(共82册)，
这套丛书还有
《Drifting among Rivers and Lakes》《The Poetics of Sovereignty》《Ancestors, Kings, and the Dao》《Just a Song》《Traces of Grand Peace》
等
。
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The first chapter on the text variation in pre-Song poetic manuscripts is most provocative, shaking parts of the foundation of traditional Chinese philology. The question that follows is how we can co...The first chapter on the text variation in pre-Song poetic manuscripts is most provocative, shaking parts of the foundation of traditional Chinese philology. The question that follows is how we can conduct aesthetic analysis of poetry after we know that no single version is authoritative, or should we continue doing so?(展开)
一、通過敦煌本《秦婦吟》各個鈔本的檢視對比，開始探討這些文本為什麼以及怎樣被創造出來。 ．強調了文本的不穩定性（作者的缺失、鈔本的隨意改動等） ．遷移到佛道文本──as Dunhuang texts from Buddhist and Daoist traditions have shown ,religious texts from the med...
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《有诗自唐来》（Manifest in Words, Written on Paper： Producing and Circulating Poetry in Tang Dynasty China，Harvard University Asia Center 2011）是美国汉学家倪健（Christopher M. B. Nugent）的著作，曾获2012年列文森中国研究最佳书籍奖。该书在导论便开宗明义地...
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The first chapter of Nugent’s book convincingly reverses a conviction that has guided modern scholarship of Tang poetry in China since it started out in the early 20th century. This conviction holds that a version of a Tang poem that dated from an earlier ...
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看完美国学者倪健（Christopher M. B. Nugent）写的书《有诗自唐来》。蛮有意思的学术书籍。很久前读过一首诗歌翟永明的《在古代》，直到现在还很喜欢。在诗歌里是这样写古代的诗歌： “…在古代，人们要写多少首诗？/ 才能变成崂山道士，穿过墙/ 穿过空气，/ 再穿过一杯竹叶青...
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學古餔啜
上海人民出版社2021版
方塘
上海人民出版社2021版
蜡屐
上海人民出版社2021版
溪山
上海人民出版社2021版
海边的小老虎
襄阳秋秋
上海人民出版社2021版
柳剑诏
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0 有用 DON 2017-09-22 13:10:34
主要论点：记忆术、抄写场景、文本流变的形式。目录结构的目的：唐人是怎么创作一首诗的，怎么记忆和传播诗，使用诗，改变诗的。作为读者的“创作者”身份。 第一章秦妇吟最好，序言次之，其他看看即可。
0 有用 teC5NoR 2021-11-07 19:01:25
像是唐代版的《尘几录》，强调文本研究中的variants、materiality、fluidity、多种多样的producing and circulating，manuscript culture。好在是一直围绕着具体的关于诗歌的行为（记忆、口传、书写）来展开，所以没有田晓菲式的诗歌鉴赏。
0 有用 未来 2019-02-13 11:00:57
Textual fluidity,
1 有用 海边的小老虎 2016-12-25 14:45:24
The first chapter on the text variation in pre-Song poetic manuscripts is most provocative, shaking parts of the foundation of traditional Chinese philology. The question that follows is how we can co... The first chapter on the text variation in pre-Song poetic manuscripts is most provocative, shaking parts of the foundation of traditional Chinese philology. The question that follows is how we can conduct aesthetic analysis of poetry after we know that no single version is authoritative, or should we continue doing so? (展开)
7 有用 飞飞在田野 2017-09-04 11:56:56
读完，get到一个很牛逼的词汇，叫Textual fluidity文本流动性😏