Harvard East Asian Monographs 261
The Making of Early Chinese Classical Poetry
Stephen Owen
Over the centuries, early Chinese classical poetry became embedded in a
chronological account with great cultural resonance and came to be
transmitted in versions accepted as authoritative. But modern
scholarship has questioned components of the account and cast doubt on
the accuracy of received texts. The result has destabilized the study of
early Chinese poetry.
This study adopts a double approach to the poetry composed between the end of the first century B.C.E. and the third century C.E. First, it examines extant material from this period synchronically, as if it were not historically arranged, with some poems attached to authors and some not. By setting aside putative differences of author and genre, Stephen Owen argues, we can see that this was "one poetry," created from a shared poetic repertoire and compositional practices. Second, it considers how the scholars of the late fifth and early sixth centuries selected this material and reshaped it to produce the standard account of classical poetry.
As Owen shows, early poetry comes to us through reproduction—reproduction by those who knew the poem and transmitted it, by musicians who performed it, and by scribes and anthologists—all of whom changed texts to suit their needs.
This study adopts a double approach to the poetry composed between the end of the first century B.C.E. and the third century C.E. First, it examines extant material from this period synchronically, as if it were not historically arranged, with some poems attached to authors and some not. By setting aside putative differences of author and genre, Stephen Owen argues, we can see that this was "one poetry," created from a shared poetic repertoire and compositional practices. Second, it considers how the scholars of the late fifth and early sixth centuries selected this material and reshaped it to produce the standard account of classical poetry.
As Owen shows, early poetry comes to us through reproduction—reproduction by those who knew the poem and transmitted it, by musicians who performed it, and by scribes and anthologists—all of whom changed texts to suit their needs.
中國早期古典詩歌的生成
- 作者：(美)宇文所安
- 出版社：生活‧讀書‧新知三聯書店
- 出版日期：2012年06月01日
- 語言：簡體中文
詳細資料
- 規格：平裝 / 402頁 / 32 / 普級 / 1-1
- 出版地：大陸
目錄
第一章 “漢詩”與六朝
第二章 早期詩歌的“語法”
第三章 游仙
第四章 死亡與宴會
第五章 作者和敘述者（代）
第六章 擬作
附錄
一 作為體裁名稱的“樂府”
二 音樂傳統
三 選集和五言詩
四 “晉樂所奏”
五 話題的例子︰“人生苦短”
六 “古詩”中的《詩經》︰一個個案
七 模擬、重述和改寫
-----2009.1.10
宇文所安（Stephen Owen）的《中國文 論：英譯與評論》，上海社科院出版社 2003
版權頁為(Stephen Owen, Readings in Chinese Literary Thought（Cambridge and London: Harvard University Press, 1992）)
封面為Chinese Literary Theory:English Translation with Criticism
本書英文版有香港的中文書評
"...這裏順帶一提，學者宇文所安（Stephen Owen）把語言是隱喻這一理論，推至儒家的語言中。他以為，「儒家語言理論的核心假定（且不論那些早期的 未能成功發展出符號理論的嘗試）則認為，語言本質上是提喻的（synecdochal）︰內在整體顯現出必然縮減的表面，而通過這個特別的 "部份" ，整體即可被獲知」（《中國文論︰英譯與評論》第32頁）。所謂提喻，就是以局部喻全部。孔子說的︰「視其所以，觀其所由，察其所安」，他也說 ︰「書不盡言，言不盡意。」宇文所安從中看出，「意」是人所以安穩的地方，但言卻不能盡意，書又不能盡言，當中已經有提喻的意味，即是「書」只能局部反映 「言」，而「言」只能局部反映「意」。若想知道他是如何推論，請參《中國文論︰英譯與評論》的第一章《早期文本》。" 舊浪新潮Jiu Lang Xin Chao - 文以載道︰淺談隱喻
1.o
本文主要指出 p.188 中Discourse Machine的不一致
"...《文心雕龍》開動了五世紀的修辭和分析技術的機器
劉勰的天才表現在他駕馭這一套解說機器的高超本領..."注... 專文 "Liu Xie and the Discourse Machine” (《劉勰的話語機器》)
這machine 不只是 A literary device used to produce an effect, especially the introduction of a supernatural being to resolve a plot. 它是兼具希臘哲學的分析與修辭的"通其變"
HC 參考
"Liu Xie and the Discourse Machine” for Conference on Wenxin diaolong,. University of Illinois at Urbana-Champaign, April, 1997
Culture, Creativity and Rhetoric in Wenxin Diaolong in Liu Xie's time it is a ... the task of the discourse machine is to take the constituents apart. ... A Chinese Literary Mind: Culture, Creativity and Rhetoric in ... - Google 圖書結果
“Liu Xie and the Discourse Machine,” in A Chinese Literary Mind. ed. Cai Zhongqi . Stanford: Stanford University Press, 2001.
沒有留言:
張貼留言