I am Kim Nam Hyun from South Korea. I have worked at Shaoxing Zhejiang Yuexiu Foreign Language College for more than 10 years. Over the period, I have established profound friendships with the teachers and students of...I am Kim Nam Hyun from South Korea. I have worked at Shaoxing Zhejiang Yuexiu Foreign Language College for more than 10 years. Over the period, I have established profound friendships with the teachers and students of the college. It has been a great pleasure to see batch after batch of students graduate from the school and start their professional careers.展开更多
This article explores the stylistic innovations in the Ancient-Style Verse （gutishi 古体诗）, and particularly in the subgenre ofgexing 歌行, from the Late Qing to the 1930s and 1940s. It argues that the relative fre...This article explores the stylistic innovations in the Ancient-Style Verse （gutishi 古体诗）, and particularly in the subgenre ofgexing 歌行, from the Late Qing to the 1930s and 1940s. It argues that the relative free prosody of the Ancient-Style allowed innovation disguised as restoration. Yet, instead of being the prelude to modem vernacular poetry, the innovations in this genre may have found an end in themselves--namely, creating a style of verse which showed a unique combination of modern elements and deliberate stylistic archaism. Its lyric archaism and innovation were formulated in dialectical terms, which have been frequently evoked in the reformative moments of the Chinese tradition. This paper examines the evolution of the new gexing style through the close reading of a few gexing poems by Huang Zunxian 黄道宪 （1848-1905）, Liang Qichao 梁启超 （1873-1929）, Lin Gengbai 林庚白 （1896-1941）, and Liu Yazi 柳亚子 （1887-1958）. Given the rise of vernacular poetry since 1917, the poems of Lin and Liu may be called the Classicist Verse, which represents the author＇s conscious choice to elaborate on the subject matter using a particular classical genre, when other modern genres are available. In the end, I will also discuss the gexing style verses by Li Sichun 李思纯 in the translation of multi-stanza European poetry, as a practice in accord to the indigenization agenda of the Critical Review magazine.展开更多
在17世纪末的法国,受意大利知识界的影响,几乎所有的饱学之士都卷入了一场规模盛大的论争。这场论争史称"古今之争"(Querelles des anciens et des modernes)。随着分裂的加深和公开化,王家学院出现两个阵营:崇古派与厚今派...在17世纪末的法国,受意大利知识界的影响,几乎所有的饱学之士都卷入了一场规模盛大的论争。这场论争史称"古今之争"(Querelles des anciens et des modernes)。随着分裂的加深和公开化,王家学院出现两个阵营:崇古派与厚今派。这场文人战争牵涉诸多复杂问题,甚至卷入私人恩怨。因此,后世对之历来褒贬不一,甚至对其研究价值亦无定论。现通过追溯古今之争法国战场(尤其是第一阶段)的始末,阐述两派代表人物的主要观点,尝试解释古典主义美学之衰落与这场文人战争的关联,并认为它是17、18世纪交替时期法国古典主义文化衰败的表征之一。展开更多
文摘I am Kim Nam Hyun from South Korea. I have worked at Shaoxing Zhejiang Yuexiu Foreign Language College for more than 10 years. Over the period, I have established profound friendships with the teachers and students of the college. It has been a great pleasure to see batch after batch of students graduate from the school and start their professional careers.
文摘This article explores the stylistic innovations in the Ancient-Style Verse （gutishi 古体诗）, and particularly in the subgenre ofgexing 歌行, from the Late Qing to the 1930s and 1940s. It argues that the relative free prosody of the Ancient-Style allowed innovation disguised as restoration. Yet, instead of being the prelude to modem vernacular poetry, the innovations in this genre may have found an end in themselves--namely, creating a style of verse which showed a unique combination of modern elements and deliberate stylistic archaism. Its lyric archaism and innovation were formulated in dialectical terms, which have been frequently evoked in the reformative moments of the Chinese tradition. This paper examines the evolution of the new gexing style through the close reading of a few gexing poems by Huang Zunxian 黄道宪 （1848-1905）, Liang Qichao 梁启超 （1873-1929）, Lin Gengbai 林庚白 （1896-1941）, and Liu Yazi 柳亚子 （1887-1958）. Given the rise of vernacular poetry since 1917, the poems of Lin and Liu may be called the Classicist Verse, which represents the author＇s conscious choice to elaborate on the subject matter using a particular classical genre, when other modern genres are available. In the end, I will also discuss the gexing style verses by Li Sichun 李思纯 in the translation of multi-stanza European poetry, as a practice in accord to the indigenization agenda of the Critical Review magazine.
文摘在17世纪末的法国,受意大利知识界的影响,几乎所有的饱学之士都卷入了一场规模盛大的论争。这场论争史称"古今之争"(Querelles des anciens et des modernes)。随着分裂的加深和公开化,王家学院出现两个阵营:崇古派与厚今派。这场文人战争牵涉诸多复杂问题,甚至卷入私人恩怨。因此,后世对之历来褒贬不一,甚至对其研究价值亦无定论。现通过追溯古今之争法国战场(尤其是第一阶段)的始末,阐述两派代表人物的主要观点,尝试解释古典主义美学之衰落与这场文人战争的关联,并认为它是17、18世纪交替时期法国古典主义文化衰败的表征之一。
