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摹写元代隐逸情韵 迎合文人时代风尚——冯子振《鹦鹉曲》叹世隐逸主题成因探析
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作者 伍光辉 《电影文学》 北大核心 2007年第8期71-72,共2页
冯子振的《鹦鹉曲》表现出浓厚的叹世隐逸思想。《鹦鹉曲》的叹世隐逸主题的形成,虽与冯子振个人经历有关;但主要原因在于作家着意摹写元代隐逸情韵,刻意迎合元人整体性的隐逸情调这种时代风尚。
关键词 元代文人风尚 迎合 《鹦鹉曲》 叹世隐逸 成因
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冯子振与元代湖南散曲
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作者 刘再华 《株洲师范高等专科学校学报》 2002年第1期20-23,36,共5页
冯子振是元代湖南本土作家中唯一一位从事散曲创作的诗人。其代表作[鹦鹉曲]是元人散曲创作的一朵奇葩,内容以抒写隐士情怀为主,风格豪放,间杂婉丽。卢挚和马致远两位外地作家也创作了一些反映湖湘生活的散曲佳作。
关键词 元代 湖南 冯子振 卢挚 马致远 艺术风格 主题 《鹦鹉曲》
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同姓名人物的失考:大师的一个小疵 被引量:2
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作者 徐朔方 《昆明师范高等专科学校学报》 2002年第2期28-29,共2页
历史上曾经有过两个白贲字无咎的人 ,但王国维只根据现存的材料 ,断言《朝野新声太平乐府 ,鹦鹉曲》的原唱者是钱塘白王廷之子白无咎 ,从而将杂剧的历史推迟了七。
关键词 白贲 王国维 白无咎 研究 考证 杂剧 《鹦鹉曲》
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古代诗人
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作者 不悔 《散文诗(下半月.校园文学)》 2014年第6期41-41,共1页
白贲.原名征,字于易。改名贲,字无咎.号素轩.钱塘(今浙江杭州)人。白埏子。历官中书省郎官.延祐中出任忻州太守.终南安路总管府经历曲以《鹦鹉曲》著名.今存世不多.皆写离情别绪.情意缱绻,词语雅丽,
关键词 古代诗人 《鹦鹉曲》 离情别绪 中书省
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Vocal repertoire of the New Zealand kea parrot Nestor notabilis 被引量:2
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作者 Raoul SCHWING Stuart PARSONS Ximena J. NELSON 《Current Zoology》 SCIE CAS CSCD 2012年第5期727-740,共14页
The unique alpine-living kea parrot Nestor notabilis has been the focus of numerous cognitive studies, but its com- munication system has so far been largely neglected. We examined 2,884 calls recorded in New Zealand... The unique alpine-living kea parrot Nestor notabilis has been the focus of numerous cognitive studies, but its com- munication system has so far been largely neglected. We examined 2,884 calls recorded in New Zealand's Southern Alps. Based on audio and visual spectrographic differences, these calls were categorised into seven distinct call types: the non-oscillating 'screech' contact call and 'mew'; and the oscillating 'trill', 'chatter', 'warble' and 'whistle'; and a hybrid 'screech-trill'. Most of these calls contained aspects that were individually unique, in addition to potentially encoding for an individual's sex and age. Additionally, for each recording, the sender's previous and next calls were noted, as well as any response given by conspecifics. We found that the previous and next calls made by the sender were most often of the same type, and that the next most likely pre- ceding and/or following call type was the screech call, a contact call which sounds like the 'kee-ah' from which the bird's name derives. As a social bird capable of covering large distances over visually obstructive terrain, long distance contact calls may be of considerable importance for social cohesion. Contact calls allow kea to locate conspecifics and congregate in temporary groups for social activities. The most likely response to any given call was a screech, usually followed by the same type of call as the ini- tial call made by the sender, although responses differed depending on the age of the caller. The exception was the warble, the kea's play call, to which the most likely response was another warble. Being the most common call type, as well as the default response to another call, it appears that the 'contagious' screech contact call plays a central role in kea vocal communication and social cohesion [Current Zoology 58 (5): 727-740, 2012]. 展开更多
关键词 Acoustic signals COMMUNICATION KEA PSITTACIDAE Social behaviour HABITAT
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谈“风雨故人来”
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作者 述堂 《中国社会科学院研究生院学报》 CSSCI 2002年第4期107-107,共1页
2001年10月10日,《光明日报》刊登了一篇短文,题为《“风雨故人来”典出何处》。文章写得饶有风味。然而,真正引人注目的,倒是文章作者提出的一个不足令人信服的假定。 该文作者认为,“风雨故人来”一语,可能出自元代冯子振的《鹦鹉曲&#... 2001年10月10日,《光明日报》刊登了一篇短文,题为《“风雨故人来”典出何处》。文章写得饶有风味。然而,真正引人注目的,倒是文章作者提出的一个不足令人信服的假定。 该文作者认为,“风雨故人来”一语,可能出自元代冯子振的《鹦鹉曲·山亭逸兴》。为了便于讨论,兹将这首小令抄录如下: 展开更多
关键词 出处 考证 冯子振 《鹦鹉·山亭逸兴》 《章台夜思》 "风雨故人来"
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