学堂乐歌与中国新诗的发生

清末民初时期,学堂乐歌作为一种歌诗体的音乐文学样式,在当时各种新式学堂中相当普及和流行。学堂乐歌的广泛传唱,极大地加速了中国近代新型音乐教育的现代化进程。学堂乐歌的大量传播直接参与了早期白话新诗语言的形式变革,为早期白话新诗的大众化奠定了一系列坚实基础。二者构成了一种实质意义上的同构关系,学堂乐歌在新诗发生期当属其中的一个重要环节。

先秦两汉“歌”、“诗”及“歌诗”的概念移嬗——“概念”视域下诗源辨体的理论践行

“概念”是探讨“诗”源辨体的立论基础,把“诗”当作一个开放且嬗变的概念体系,有利于剥离静止且僵化的“以‘诗’论诗”之认知罅隙,并梳理“理论—现象—理论”的“诗”学认知体系,进而明确“歌”、“诗”及“歌诗”概念移嬗及现象拓展的基本规律。“诗”体概念之嬗变与特定时代之政治、制度、文化、学术及教育等因素有直接联系。以此审之,“歌”体概念产生于上古先民的用语习惯,其形成是无意识的群体语言行为,而“诗”之概念则是受周代礼乐政治影响而促发的执政者意志之产物。作为“诗”体概念移嬗的重要产物——“歌诗”体,乃是受两汉之政治、文化、学术、思想等合力影响而生发之新文学现象。“歌诗”本质上反映了两汉经学、礼教与乐教传统对诗体嬗变的助推作用。

学堂乐歌与中国新诗的嬗变

清末民初,学堂乐歌作为一种歌诗体的音乐文学样式,在当时各种新式学堂中相当普及和流行。学堂乐歌的广泛传唱,极大地加速了中国近代新型音乐教育的现代化进程。学堂乐歌的大量传播直接参与了早期白话新诗语言的形式变革,为早期白话新诗的大众化奠定了坚实基础。二者构成了一种实质意义上的同构关系,学堂乐歌在早期白话新诗嬗变过程中当属一个重要环节。

Strategies of Teaching English Poetry

This paper deals with how to teach appreciation of English poetry in college by analyzing the following items： introduction of the concept, content and writing style, the realistic meaning, multi-media aided teaching and translating English poetry into Chinese.

The Profundity Entailed in the Poetic Language： A Stylistic Analysis of W. B. Yeats＇ Leda and the Swan

As a central issue in stylistics, foregrounding, which can be achieved by deviation and overregularity at every linguistic level, can give readers more innovative and ingenious perspective on appreciation of text. W. B. Yeats＇ Leda and the Swan is a poem deserving close reading and attention. The analysis from sound patterning, meter and rhythm, verbal repetition endows the poem with some novel and new aesthetic significance

Aspects of Urhobo Grammar Taught Through Poetry： The Verb ＂Edia＂ to Be

Unquestionably, anyone born to Urhobo parents, being biologically Urhobo, should speak the Urhobo language. But does everybody born by an Urhobo parent speak Urhobo？ From our observation, the answer to this question is clearly ＂no＂. Many of the Urhobo people in the Diaspora as well as those at home have chosen to shift from their own language to other languages. Hence Urhobo language has gradually acquired the status of a second language. Therefore, its teaching would also veer away from language teaching methods that are used for first languages. Based on Noam Chomsky＇s theory of Generative Grammar, aspects of the Urhobo grammar will be treated as we present specifically the verb ＂edia＂/＂to be＂. As it is, it is being presented as a second language bearing in mind the great population of Urhobo people in the Diaspora as well as Mowarin＇s ＂miguo generation＂ of Urhobo children back home in Urhobo land. This being so, the methods applied in this study are the Grammar Translation Method Approach as well as the Direct Method Approach. To facilitate its learning especially for the new generation of Urhobo persons, the poetic approach would also be applied.

“詩言志”“歌永言”新辨——兼論“詩”“歌”的概念定義與文體嬗變

"詩言志""歌永言"最早出自《尚書·堯典》,乃舜對夔之訓語,後世詩、歌並舉,其源頭均追溯於此。然而以認識規律衡之,"歌"本源於上古先民群體的無意識用語習慣,而"詩"則爲周代執政者的群體意志之產物,較歌體後出。由此觀之,《尚書》之"詩言志"與"歌永言"釋詁,亦必予以重新認識。結合《尚書》所處時代的政治、祭禮、巫風及語源環境,"詩言志"四句訓語當釋爲"持志,歌羕言。聲依羕,律和聲",而此訓語反映國家執政者對禮樂官所屬祭禮、教育職屬的職權規劃。