葉榮鐘詩稿研究; Yeh, Jung-chung - Poetry Manuscript Research

NCUIR > College of Liberal Arts at National Central University > Graduate Institute of Chinese Literature > Electronic Thesis & Dissertation > Item 987654321/4320

Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/4320

Title:	葉榮鐘詩稿研究;Yeh, Jung-chung - Poetry Manuscript Research
Authors:	尹子玉;Tzu-yu Yin
Contributors:	中國文學研究所
Keywords:	少奇吟草;葉榮鐘;古典詩;手稿;Yeh;Jung-chung;Classic Poetry;Manuscript;Splendor in the Grass-A Venture of Poetry
Date:	2008-06-24
Issue Date:	2009-09-22 09:16:32 (UTC+8)
Publisher:	國立中央大學圖書館
Abstract:	本論文開創作家手稿研究，使用清大圖書館珍藏之葉榮鐘文物資料，將文物中的詩歌手稿立為研究主體，從校勘、繫年、箋釋文本等基礎方法入手，回歸文學本質，作紮實的解讀挖掘，細膩考察文學作品與創作歷程，探究作家與文友間的詩藝切磋，以及作品的版本演變、內在思想等面向。論文第二章將葉榮鐘一生的創作歷程按作品數量高峰及時間順序分為六期，析論作品與作家際遇、時代背景、文友間的關聯。第三章探討葉榮鐘的寫作歷程和審美觀點：從作品初稿到寄送詩友相互討論、修改，終於作家自定稿，每首作品幾乎都歷經三到四個階段以上的蛻變才得以完成，手稿文物呈顯出作家的創作歷程，在文學史上的價值極為珍貴；尤其，透過葉榮鐘是否接納文友改稿的態度，以及修改文稿的過程，更能顯現葉榮鐘及其文友的思想和創作觀念；第四章探討葉榮鐘作品在其身後的版本演變：作家生前之詩歌定稿及自訂詩集，經後人傳抄、編輯，依序產生詩稿謄抄本，以及單行本《少奇吟草》、全集本《少奇吟草》等兩種印刷出版品，過程當中有多處抄寫、排印訛誤，又有編輯者修改作品字句、增刪作品目次等諸多異動，導致出版品《少奇吟草》雖然收錄作品較為全備，卻無法完全彰顯原創精神。結論歸納葉榮鐘的創作態度，並從校勘、編輯、輯佚、辨偽的角度為葉榮鐘詩集日後的編整工作提出建議。 This thesis initiates research in writers’ manuscripts by using the manuscripts and related literary documents and information from the treasured collection stored in the library of National Tsing Hua University, among which the poetry manuscripts stand as the research subject. Basic methods are used, such as proofread, chronological ordering, annotation and interpretation, to return to the intrinsic literature essence for sustainable insight study and interpretation of all aspects including the literary works, composition history, progress from discussions with poet friends, the versions evolvement and intrinsic thoughts. The second chapter of the thesis divides Yeh Jung-chung’s composition progress into 6 periods by the works’ volume peaks and in chronological order, analyzing the relationship between the work and the writer’s experiences, time background, and friendships. The third chapter discusses Yeh Jung-chung’s writing history and aesthetic viewpoints: From the preliminary manuscript to discussions with poet friends, revisions, and finally to the writer’s final text, every work is completed after experiencing three to four levels of transformation. The composition course presented in the manuscript has its precious value in literary history, especially through the attitudes that Yeh, Jung-chung held toward whether or not the poet friends’ revision is accepted and the revision process, both Yeh Jung-chung and his friends’ thoughts and composition ideas can be all the more revealed. The fourth chapter discussed about the version evolvement of Yeh Jung-chung’s literary works after he passed away: Regarding the writer’s finished poetry manuscripts and poems collections, after passing on and editing by later generations, there are manuscript copies produced, and two prints of both single-article pamphlet and whole collection of “Splendor in the Grass-A Venture of Poetry”. During the copying and printing process, there were lots of mistakes been made, coupled with the variation caused by editors’ revision, which has attributed to the publication of “Splendor in the Grass-A Venture of Poetry” unable to fully demonstrate the original composition spirit in spite of its relatively complete collections. The conclusion summarizes Yeh Jung-chung’s composition attitudes, and also proposes advices on the future editing of Yeh Jung-chung’s poems collections from perspectives of proofread, editing, and distinguishing pseudoness.
Appears in Collections:	[Graduate Institute of Chinese Literature] Electronic Thesis & Dissertation

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