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|Title: ||胡適新詩節奏理論的形成;The Formation of Hu Shi′s Poetic Rhythm Theory|
|Keywords: ||胡適;新詩;節奏;節;韻腳;Reuven Tsur;Hu Shih;Modern Chinese poetry;rhythm;foot;rhyme;Reuven Tsur|
|Issue Date: ||2016-03-17 18:53:43 (UTC+8)|
;The commentary of Hu Shi′s poetics achievement was only limited by external research over a period of time. For the artistic expression concerning internal research of poetics, especially the development of rhythm theory aesthetics was more negative comments than positive comments. This dissertation consider that Hu Shi’s rhythm theory and its practice has great modernity and aesthetic significance.
This dissertation is based on six chapters. The first chapter is an introduction that introduces the research method, step, category and objective of this article as well as the relevant study of rhythm in academic world. The most important exploration is comparing and tracing etymologic meaning of rhythm, and the definition of applying to poetry. Because the implication of rhythm in Chinese poetry is different from the West completely, this comparison can highlight the rhythmical element of Chinese poetry and define the category of Hu Shi’s poetic rhythm. In addition, to retrace the relationship between Hu Shi and late Qing Parnassus is trying to clarify the succession of natural cadence.
The purpose of Hu Shi’s poetic rhythm is natural cadence which consist of Jie and rhyme. The second and third chapters aim to explore the building process of Hu Shi’s natural cadence and its theoretical interpretation.
The generating of Hu Shi’s poetic rhythm has a close relationship with his friends, and therefore the forth chapter explores the controversy between Hu Shi and his friends and the influence of forming poetic rhythm. It is also trying to use the Aesthetic of Reception and Hermeneutics of Hans-Georg Gadamer’s Vorverstandnis to investigate the meaning of Hu Shi’s poetic rhythm from ‘correcting Hu Shi′s poems by Hu Huaichen’ in the 1920s. The fifth chapter reviews Hu Shi’s poetry performance was based on his composition of poetic rhythm. The final chapter sums up the research result and explains unresolved issues for the further study.
|Appears in Collections:||[中國文學研究所] 博碩士論文|
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