Please use this identifier to cite or link to this item:
|Title: ||清人選清詞研究;Research on Qing Ci-Poetry Selected by Qing Dynasty People|
|Authors: ||梁雅英;Liang, Ya-Ying|
|Keywords: ||清人選清詞;詞選;Qing ci-poetry selected by qing dynasty people;anthology|
|Issue Date: ||2020-09-02 14:58:20 (UTC+8)|
|Abstract: ||本文以清人選清詞為研究範圍，考察33 部清人選清詞與清代詞學之間的發展。以往清詞史的敘述脈絡多是以詞集、詞話、詞評為主要探討對象，進行歸納與論述。筆者欲探討「選本」在上述傳統文學批評史料面前，如何呈現「選本」的特殊性。筆者認為「選本」的編成，能夠反映編者當時的文學觀與文學宗旨，並將編者觀點「凝定」在選本之中，後世讀者可透過「選本」回溯編者編選用心。|
咸同光宣時期的詞選、第五章結論。結論後有附錄一：〈清人選清詞知見書目版本敘錄〉。第一章緒論，主要陳述清代詞選的特殊性與清人選清詞的類型與特點，並說明前人研究成果。在研究範圍上，筆者考查清人選清詞共61 部，刪除叢刻、唱和、同人類詞選，以強烈編選意識為主的33 部詞選為討論對象。
This study takes Qing Ci-Poetry Selected by Qing Dynasty People as the research scope, and further examines the development of 33 special selections from Qing Ci-Poetry Selected by Qing Dynasty People and Qing Dynasty Ciology. In the past, the narrative context of the history of Ci studies in the Qing dynasty mostly focused on collections, notes, and commentary, which were then summarized and discussed. The author wants to explore how "anthology" presents the particularity of "anthology" based on the historical materials of traditional literary criticism mentioned above. The author points out that the composition of "anthology" is sufficient to reflect the editor′s literary outlook and literary purpose at the time, and can "fix" the editor′s point of view in anthology. Later readers can learn about the considerations of editor selection through "anthology". Compared with the traditional narrative based on "collection, notes, and commentary", this study uses the anthology text as the object of discussion, and is more able to investigate the hidden thinking of "anthology" in the mainstream view of ciology. In addition, with anthology, one can objectively examine the aesthetics and trends between the poetry world and the editors at that time, without being influenced by the subjectivity of the specific history of ciology in later generations. The outline of each chapter in this study is briefly described as follows:
This thesis is divided into five chapters. The first chapter is an introduction, and the second chapter discusses the beginning of Qing Ci-Poetry Selected by Qing Dynasty People: the selection of ci in Sunkang period. The third chapter is to discuss the prosperous Period of Qing Ci-Poetry Selected by Qing Dynasty People: the selection of Ci in Yong Qian Jia Dao Period. In Chapter 4, it describes the maturity of Qing Ci-Poetry Selected by Qing Dynasty People: the selection of ci in Xian Tong Guang Xuan Period. Chapter 5 is the conclusion. After the conclusion, this study is appended with Appendix I: "Qing Ci-Poetry Selected by Qing Dynasty People Knowledge Bibliography Version List". The first chapter introduces the particularity of Qing Ci-Poetry Selected by Qing Dynasty People and the types and characteristics of Qing Ci-Poetry Selected by Qing Dynasty People, and explains the research results of previous researchers. In terms of research scope, the author has examined the 61 sections of the Qing Ci-Poetry Selected by Qing Dynasty People. After deleting the outline selection, accessory words and fiction words selection, the 33 Ci pieces with strong editing awareness were put forward as the subject of discussion.
The second chapter describes the beginning of Qing Ci-Poetry Selected by Qing Dynasty People, that is, Ci selection during Sunkang period. This chapter discusses 16 pieces of Ci in Sunkang period, divided into four categories. The first type of Ci selection is: 8 Ci anthologies following the Ming Dynasty′s ciological style focusing on the scenery of flowers and grass. The second type of Ci selection is based on the region. Among them, this research uses "Anthology of Xiling", "Qing Dynasty Ping Primary Anthology" and "Anthology of Liangxi" to discuss the beginning of regional Ci anthologies in the early Qing Dynasty. The third category of Ci selection is centered on factions, using three Ci anthologies "Jin Ci Yuan", "Primary Anthology of Jingxi" and "Yaohua Anthology" related to Yang Xian Ci faction as materials. The author further examines the changes of the authors of Yang Xian Ci faction in the three Ci anthologies. The fourth category of Ci selection focuses on female Ci selection, with "Zhongxiang Ci Anthology" and "Female Anthology in the Dynasty", it further explores the development and inheritance of anthology by female anthology in the early Qing Dynasty.
The third chapter is the prosperity of Qing Ci-Poetry Selected by Qing Dynasty People: the distinction of anthology in Yong Qian Jia Dao period is mainly divided into two categories. The first category is comprehensive anthology, with "Ci-Poetry Selection of a Venerated Dynasty", "Dynasty Ci Collection", "Dynasty Ci Statement" and "Dynasty Ci Statement II" as the core. This type of discussion explores the process from the "disputes between beauty and elegance" to "turning beauty into elegance" in the history of Ci studies in the middle Qing Dynasty. Through a detailed examination of anthology, we can find that "beautiful Ci" did not disappear in the middle of the Qing Dynasty due to the promotion of "elegant Ci" by Ci faction from West of Zhejiang, but it was relatively low-key. Such literary development is often obscured by the discussion of mainstream literary history. Only through the editors of anthology can we examine "beautiful Ci" as a process of low-key trends. The second category is regional anthology, which continued the development of regional lexical selection in the early Qing Dynasty, and the regional anthology flourished in the middle of the Qing Dynasty, including the inheritance and development of "Donggao Anthology", "Meri Anthology", "Meri Ci Selection", "Meri Ci Editing", which are different actually. However, the regional anthology in this period mainly appeared in the form of "combination of poems and Ci". This shows the way that the anthology in the middle of the Qing Dynasty was revered.
Chapter four describes the mature development of Qing Ci-Poetry Selected by Qing Dynasty People: The anthology of Xian Tong Guang Xuan period is mainly divided into three categories. The first category explored the continuation of anthology of Ci faction from West of Zhejiang after the middle of the Qing Dynasty. With the influence of the Ci Statement series in the late Qing Dynasty, it discusses the continuation of Huang hsiehching′s "Dynasty Ci Edited Statement" and Ding Shaoyi′s "Dynasty Ci Statement Supplement" to Wang Chang′s "Dynasty Ci Statement". In addition, the reactions and changes of anthology of Ci faction from West of Zhejiang after the mid-Qing period were also discussed, and Sun Linchi′s "Dynasty Seven Major Ci Faction Anthology", "Dynasty Ci Beginning Anthology", and Chang Mingchi′s "Dynasty Ci Continued Anthology" were the main reference objects. The second category is the aesthetic meaning and standard anthology from Ci faction from West of Zhejiang to Ci faction from Changchou, mainly based on Tan Xian′s "Ci in Collection" as the main text. The third category is the completion and communion of regional anthology. With "Huaihai Qiujia Anthology", "Dynasty Changzhou Anthology", "Dynasty Jinling Anthology", "Baishan Anthology Introduction" a total of four anthology, it discussed the characteristics of the regional athology in the late Qing Dynasty, or reflected the war, or presented the merged development of ciology in Changzhou, or at the integration of Zhejiang and Changchou, or striving to contend with Bianzhe, or the only selected of Manchu poets, all these reflect the diversity of the anthology in the late Qing Dynasty.
Chapter 5 is the conclusion, which mainly summarizes five key points. First, the related discussions of Qing Ci-Poetry Selected by Qing Dynasty People help to construct the context of the selective development of the history of Ci anthology. Second, we can explore the interaction between Qing Ci-Poetry School and Qing Ci-Poetry Selected by Qing Dynasty People. Third, it provides literature value. Through the interactive comparison of the anthology text and the collection of poets, it can discover the process of many poets deleting and modifying their works, and then provide comparison and thinking for future researchers. The fourth point is the development of female anthology and regional anthology. The compilation of female anthology in the early Qing retained many works of female poets. At the same time, it also led Hsu Naichang to compile "Ci Anthology" and "Ci Collection" in the late Qing Dynasty, and indirectly influenced the editing and collection of female anthology in the early years of the Republic of China. In terms of regional anthology, from the beginning of the Qing Dynasty to the end of the Qing Dynasty was a process of development from single to multiple. The fifth point is the limitations and future prospects of this study. Due to the difficulty in obtaining precious editions, and the wide range of works in the Qing Dynasty, the author has deleted the anthology of serial texts and specific-purpose compilations. Therefore, future researchers can further expand the scope of the research, to focus on outline selected anthology and fiction words anthology. Meanwhile, future research can even digitize these anthology works and further use big data to analyze the situation of anthology and poets in more detail.
|Appears in Collections:||[中國文學研究所] 博碩士論文|
Files in This Item:
All items in NCUIR are protected by copyright, with all rights reserved.