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KCI등재 학술저널

先秦兩漢楚聲與文學關系研究

A researcher maybe pays many attentions to the relationship of Chu’s music and song(楚聲) and literature, but the further research is still required. Chuci(楚辭) can be sung or not, it’s a thought‐provoking problem. Through my research, I believe Chuci(楚辭) is some kind of text that started to jump the traces of the music and song, although many music aspects to be found. Different from it, in Han‐Yuefu(漢樂府) poetry, Chu’s music and song(楚聲) were widely used. However Han‐Yuefu(漢樂府) poetry cannot be equated with Chu’s music and song(楚聲) since there were a lot of music styles, included Zhao(趙) and Dai(代) and Qing(秦), etc. In the other side, we must recognized Chusheng(楚聲), as we named, is not a simple word or under the static state. Jingchu(荊楚), Wuchu(吳楚) and Huaichu(淮楚) have some differences because they come from different areas. On lyrical ways, these works are created by such way as Guofeng(國風), Ballands, Sacrifice, Improvisation and Fu‐song(賦頌). In the language layer, “兮” is the typical characteristic, but there still existed two important points, one is even if “兮” being used it maybe still not be belong to Chusheng(楚聲), the other is Chusheng’s literature maybe not uses the word of “兮”. If we ignore the complexity of Chusheng(楚聲), our judgments and views will be brought to the wrong ways. At last, we need to point that Chusheng’s(楚聲) literature experienced a course from vulgarity to refinement in its development history. Quyuan’s(屈原) Chusheng’s(楚聲) literature presents literati stylization and refinement tendency, and Han Dynasty’s Chusheng’s(楚聲) literature embodies the characteristics of the elegant creation. In the history, the styles founded Chusheng(楚聲) tends to be mature and formed. The literature style refinement way is the way of literature’s far away from the music and song too.

Ⅰ. 绪论

Ⅱ. 《九歌》與啟古樂、沅湘祠祭樂之關系

Ⅲ. 《離騷》中的楚聲元素

Ⅳ. 《九章》中的音樂遺存

Ⅴ. 楚辭經典化過程與漢代楚歌的屬性

Ⅵ. 漢代樂府與楚聲

Ⅶ. 结论

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