Introduction
I. Setting the Stage
1. Early Circulation
2. Origins
II. The Early and Mid-Eleventh Century
3. The Yuezhang ji and Liu Yong
4. The Xiaoling Collections (I)
5. The Xiaoling Collections (II)
6. Yan Jidao
III. The Age of Su Shi
7. Su Shi
8. The Generation after Su Shi
9. Su Shi’s Protégés
10. Qin Guan
11. He Zhu
12. Zhou Bangyan
IV. Into the Twelfth Century
13. Recovering a History
14. The Last Generation of the Northern Song and On
Conclusion by Way of Continuing
Reference Matter
Appendix A: The Manuscripts of Feng Yansi
Appendix B: Lyrics Adrift
Appendix C: The “High Style” and Its Opposites
Bibliography and Abbreviations
Index
· · · · · · (收起)
具体描述
“Song Lyric,” ci, remains one of the most loved forms of Chinese poetry. From the early eleventh century through the first quarter of the twelfth century, song lyric evolved from an impromptu contribution in a performance practice to a full literary genre, in which the text might be read more often than performed. Young women singers, either indentured or private entrepreneurs, were at the heart of song practice throughout the period; the authors of the lyrics were notionally mostly male. A strange gender dynamic arose, in which men often wrote in the voice of a woman and her imagined feelings, then appropriated that sensibility for themselves.
As an essential part of becoming literature, a history was constructed for the new genre. At the same time the genre claimed a new set of aesthetic values to radically distinguish it from older “Classical Poetry,” shi. In a world that was either pragmatic or moralizing (or both), song lyric was a discourse of sensibility, which literally gave a beautiful voice to everything that seemed increasingly to be disappearing in the new Song dynasty world of righteousness and public advancement.
用户评价
##好简洁的英国话
评分談不上解構，只是揭示「推尊詞體」的儒教詩學之外另一種線索，所謂早期小令「表演性、歸屬不確定性」，古之詞論者並非不知，著意迴避而已。小晏一段略見人文關懷，儼然馬賽爾與賈寶玉即視感，“For all their training in how to feign emotion, they too could love and be hurt. They were, after all, only young teenagers.” 接著引「幾換青春，倦客紅塵。長記樓中粉淚人」，不正是「各人有各人應得的眼淚」。
评分##還是用解構主義那一套試圖說明已有文學史「盲點」和文本文獻的「不足」得回到表演實踐文化語境才能重現北宋詞從「文本」到「文類」的提升軌跡、擺脫南宋詞人建構史的侷限。儘管不免臆測、武斷和囉嗦，宇文但對詞史上諸多似是而非如署名權歸屬、主題的公私對立、地方文獻與趣味、鈔本與印本影響、性別權力等問題依然發人深省。#依舊讀#136
评分談不上解構，只是揭示「推尊詞體」的儒教詩學之外另一種線索，所謂早期小令「表演性、歸屬不確定性」，古之詞論者並非不知，著意迴避而已。小晏一段略見人文關懷，儼然馬賽爾與賈寶玉即視感，“For all their training in how to feign emotion, they too could love and be hurt. They were, after all, only young teenagers.” 接著引「幾換青春，倦客紅塵。長記樓中粉淚人」，不正是「各人有各人應得的眼淚」。
评分談不上解構，只是揭示「推尊詞體」的儒教詩學之外另一種線索，所謂早期小令「表演性、歸屬不確定性」，古之詞論者並非不知，著意迴避而已。小晏一段略見人文關懷，儼然馬賽爾與賈寶玉即視感，“For all their training in how to feign emotion, they too could love and be hurt. They were, after all, only young teenagers.” 接著引「幾換青春，倦客紅塵。長記樓中粉淚人」，不正是「各人有各人應得的眼淚」。
评分 评分談不上解構，只是揭示「推尊詞體」的儒教詩學之外另一種線索，所謂早期小令「表演性、歸屬不確定性」，古之詞論者並非不知，著意迴避而已。小晏一段略見人文關懷，儼然馬賽爾與賈寶玉即視感，“For all their training in how to feign emotion, they too could love and be hurt. They were, after all, only young teenagers.” 接著引「幾換青春，倦客紅塵。長記樓中粉淚人」，不正是「各人有各人應得的眼淚」。
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