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谈“诗感”
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作者 高海宇 《中国校外教育》 2017年第8期36-36,共1页
何谓"诗感"?正如"诗写"是"诗的写作"一样,"诗感"最简单的解释就是"诗的感觉"。这也是对"诗感"一语的直接认定。对"诗感"的审视、特性与功用进行了阐述。
关键词 “诗感” 审视 特性 功用
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“接受反应”视域下诗歌接受理论的迁演
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作者 陈仲义 《南京理工大学学报(社会科学版)》 2017年第1期31-39,共9页
西方接受美学与读者反应理论,形成了以姚斯、伊瑟尔、费什为"支点"的接受线路,他们提供的"期待视野""召唤结构""未定性""阐释共同体"等打开了新的接受天窗。中国古典文论则潜伏着&qu... 西方接受美学与读者反应理论,形成了以姚斯、伊瑟尔、费什为"支点"的接受线路,他们提供的"期待视野""召唤结构""未定性""阐释共同体"等打开了新的接受天窗。中国古典文论则潜伏着"以意逆志"、"诗无达诂"、"以味辨诗"的散发型接受路经。双方在平行或汇通的旅程中各擅胜场。在此宏大话语背景下,诗歌的接受学实践也出现了诸如"兴发感动"的合一模式和"诗感"说。那么,我们能否转换一下视角,从此前被"作者中心"牵引、被"文本中心"固化的轨道上走出来,从容面对更为复杂、辽阔、也更为微妙的现代诗接受新景观? 展开更多
关键词 现代研究 接受美学 读者反应 “以意逆志” “诗无达诂” “以味辨 “兴发动” “诗感”
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宋诗东传与异域阐释——四种宋人诗集日本古注本考论 被引量:4
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作者 卞东波 《聊城大学学报(社会科学版)》 2019年第5期60-70,共11页
宋诗是随着朱子学东传到日本的,在日本中世时期就产生了不少关于东坡诗、山谷诗、宋代禅僧诗的“抄物”,即对诗歌的注释、讲解之作。江户时期中期,以市河宽斋、大窪诗佛、山本北山、柏木如亭为代表的“江湖诗社”诗人开始提倡学习“清... 宋诗是随着朱子学东传到日本的,在日本中世时期就产生了不少关于东坡诗、山谷诗、宋代禅僧诗的“抄物”,即对诗歌的注释、讲解之作。江户时期中期,以市河宽斋、大窪诗佛、山本北山、柏木如亭为代表的“江湖诗社”诗人开始提倡学习“清新”的宋诗,反对“古文辞学派”倡导的唐诗、明诗,他们特别推崇陆游、杨万里、范成大等南宋中兴“三大家”的诗,编纂了很多“三大家”诗歌的选本与注本。本文从日本汉文学史的脉络出发,对日本中世、近世时期四部宋集注本《冠注祖英集》《宋三大家绝句笺解》《感兴诗考注》《中兴禅林风月集注》进行了考证,考察其学术背景与阐释特色。 展开更多
关键词 日本古注本 《冠注祖英集》 《宋三大家绝句笺解》 考注》 《中兴禅林风月集注》
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On "Poetic Spontaneity" and Aesthetics
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作者 WEI Shu 《Journal of Literature and Art Studies》 2014年第3期180-188,共9页
This paper tries to explore Wordsworth's poetics through a discussion of his important poetic conception of"poetic spontaneity" or "All good poetry is the spontaneous overflow of powerful feelings". Wordsworth's... This paper tries to explore Wordsworth's poetics through a discussion of his important poetic conception of"poetic spontaneity" or "All good poetry is the spontaneous overflow of powerful feelings". Wordsworth's poetic point "All good poetry is the spontaneous overflow of powerful feelings" is stated in his important work The Preface to Lyrical Ballads (1801), and this theoretical point is actually validated by many good poems of his own. This paper demonstrates the significance of the theoretical point by a close examination of The Preface and its textual meanings. And then it presents an understanding of the theory through a detailed analysis of his masterpiece Tintern Abbey (1798) and I Wandered lonely as a cloud (1804). It also demonstrates the importance and influence of his "poetic spontaneity" by comparing it with the Neo-classicalism in the 18th century and the Modernism in the 20th century. 展开更多
关键词 William Wordsworth POETICS SPONTANEITY AESTHETICS
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On untranslatability of classical Chinese poetry: From the perspective of aesthetic function of language 被引量:3
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作者 LIANG Zhi-min 《Sino-US English Teaching》 2007年第10期76-81,共6页
The author analyzes the untranslatability of the classical Chinese poetry from the perspective of aesthetic function of language. The untranslatability lies firstly in the heterogeneity, indeterminism and the ambiguit... The author analyzes the untranslatability of the classical Chinese poetry from the perspective of aesthetic function of language. The untranslatability lies firstly in the heterogeneity, indeterminism and the ambiguity of the Chinese language itself. Moreover, the classical Chinese poetry displays its unique features and beauty which can not be rendered into English in terms of aesthetic function of language. 展开更多
关键词 aesthetic function of language TRANSLATABILITY UNTRANSLATABILITY classical Chinese poetry three beauty
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Imagination and Emotion in William Blake's Poems
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作者 XU Jian-gang HUANG Rong WANG Dong-qing 《Journal of Literature and Art Studies》 2016年第1期17-22,共6页
Writer's imagination does not only provide inspiration for literary creation, but also contribute literature works with more dazzling brilliance. As a representative of the British Romantic Poetry--William Blake, who... Writer's imagination does not only provide inspiration for literary creation, but also contribute literature works with more dazzling brilliance. As a representative of the British Romantic Poetry--William Blake, whose poems are full of imagination, always concedes his emotion and thoughts in a variety of imageries, exposing the reality of his times within his poetry writing. However. William Blake's imagination is no castles in the air, but based on the religious mythology, historical background, and the poet's life experience and dream pursuit. Only with in-depth understanding of the imagination in William Blake's poems can those hidden emotions and thoughts be grasped and appreciated. 展开更多
关键词 IMAGINATION EMOTION William Blake
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Writing Haiku in a Second Language: Perceptions, Attitudes, and Emotions of Second Language Learners 被引量:1
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作者 Atsushi lida 《Sino-US English Teaching》 2012年第9期1472-1485,共14页
The aim of the current study is to discuss the value of poetry writing in an L2 (second language) by investigating perceptions, attitudes, and emotions of 20 EFL (English as a Foreign Language) college freshmen re... The aim of the current study is to discuss the value of poetry writing in an L2 (second language) by investigating perceptions, attitudes, and emotions of 20 EFL (English as a Foreign Language) college freshmen regarding writing Japanese poetry, haiku in English. This paper first discussed issues and uses of literature in L2 contexts and addressed the current empirical inquiry into L2 haiku writing as a method for L2 learning. The study was designed as a qualitative research which investigated the participants' reflection on writing L2 haikus for six weeks in an EFL college writing course. The data obtained was analyzed by using the coding system and showed that writing haiku in the target language was a challenging but valuable task for L2 learning among the EFL students. Especially haiku composition allowed them to develop their L2 linguistic awareness 展开更多
关键词 poetry writing HAIKU perceptions and attitudes EFL (English as a Foreign Language) contexts
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谢榛诗论的美学诠解 被引量:3
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作者 张晶 《北京大学学报(哲学社会科学版)》 CSSCI 北大核心 2012年第5期33-42,共10页
明代诗论家谢榛的诗学著作《四溟诗话》(《诗家直说》)具有丰富的内涵和美学阐释空间,对于当代的美学理论建设也有较重要的裨补意义。谢榛论诗,首重感兴,主张作诗"以兴为主",不仅将"兴"作为诗人产生创作冲动的动因... 明代诗论家谢榛的诗学著作《四溟诗话》(《诗家直说》)具有丰富的内涵和美学阐释空间,对于当代的美学理论建设也有较重要的裨补意义。谢榛论诗,首重感兴,主张作诗"以兴为主",不仅将"兴"作为诗人产生创作冲动的动因,而且还视为诗歌能否"化境"的直接条件。谢榛论诗之感兴,非常重视其偶然性质,谓之"天机",而且对艺术创作的审美主客体关系有着更具创造性的阐发,揭示了审美主体的建构作用。对于审美主体的修养和独特个性,谢榛有颇为全面的论述。谢榛认为好诗应该达到"浑成无迹"的状态,它并非决定于客观物色,而在于诗人的审美构形能力。谢榛还对诗中"妙悟"作了重要的发挥,认为其是养成诗人审美主体性的枢机所在。谢榛特别重视诗的整体审美境界,并认为其中应有内在的生命感和动态的神气,而这是具有幻境性质的,也是诗人之"悟"的产物。 展开更多
关键词 《四溟话》 审美主体 整体审美境界
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