具體描述
Stephen Owen is James Bryant Conant University Professor, Emeritus, at Harvard University.
“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.
用戶評價
##鮑勃迪倫獲得諾貝爾文學奬，最重大的意義是，文學的疆域被拓展瞭。宇文所安的這本《隻是一首歌：中國11世紀至12世紀初的詞》，如果用比對，那麼寫的就是詞如何從勾欄瓦肆中被妓女所唱到成為重要的文學作品的過程。這裏麵重要的兩個人物，即是大傢耳熟能詳的柳永和蘇軾。 柳永的...
評分 評分 評分##此書很好地闡發瞭早期詞作的傳播，將小令視作士人宴飲的助興麯，而柳永慢詞則創作於更為市井的勾欄瓦肆，把早期詞集在一定程度上視為麯目庫(repertoire)。蘇軾以後詞作發展的關鍵是詞從音樂實踐變成可供案頭閱讀的文學體裁，而12世紀的印刷文化起到瞭助推作用。本書最大的問題是第二章討論詞的起源，作者指齣文本形式不是歌唱形式，唐代歌詩雖然文本上錶現為齊言，但實際唱的時候卻是長短錯落；作者進一步認為，之後齣現的長短句實際上是一種轉錄實踐(transcription practice)，當時的人忠實記錄下歌詞的長短句式，而不再修整為齊言詩——這個猜想僅就文本看問題，卻忽略瞭音樂本身，歌詞從齊言變為長短句更核心的實質是由音樂體係的變革。結語點齣日後詞之雅化與通俗文學二途，將其置於道學大背景中，看得很透。 果然。在這部講宋詞的書裡。宇文所安仍然不斷懷疑已知的東西。或者說是從以為的已知中去探尋未必如此的證據。雖然大多數的推測也不會有必然的結果。然而似乎就是這時時齣現的一疑一問之間。宇文所安成為瞭宇文所安。 比如。他發現五代至北宋初期之際真正問世的個人詞集很少。隻...
評分##好簡潔的英國話
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