37,488 research outputs found
Lu Yu and Tu Fu
No full textLu Yu 陸游 (1125-1209), the famous patriot poet of the Southern Sung, admired Tu Fu above all the poets of the past, and the deep influence which Tu Fu exercised on him may be seen throughout his work. In spite of this fact, however, there are many differences which mark the lives and works of the two men. As a first step towards a comparative study of the two poets, the author has attempted to discover how Lu Yu evaluated his predecessor, using evidence found in Lu Yu's poems themselves. By Lu Yu's time, Tu Fu was already widely recognized as the greatest Chinese poet. It had become a popular pastime to try to identify individual poems of Tu Fu on the basis of isolated phrases or couplets, or to compose poems made up of clever imitations of various couplets of Tu Fu. But Lu Yu, unlike most of his contemporaries, was less attracted by Tu Fu's poetic technique than by his poetic spirit, and regarded the latter as the most valuable lesson to be learned. He insisted that it was Tu Fu the man rather than Tu Fu the poet, Tu Fu the patriot rather than Tu Fu the artist, who deserved to be most highly admired. This was the foundation upon which Lu Yu's evaluation of Tu Fu rested, and the premise upon which he approached his work
The study of Lu Fu in the early Song Dynasty
No full text碩士一、研究目的：
本文擬從歷代賦學審美意識中，觀看宋初律賦的內容。包括破題、音律、對偶，以及影響宋初律賦主題的因素。
二、研究範圍：
時間上，由宋太祖趙匡胤陳橋兵變，建年號建隆元年（960）開始，歷太宗、真宗，至宋仁宗親政的明道元年（1032）止，作為本文時間的依據。
文本的選擇，此時期文士所撰寫的律賦，無論是應制之作、科舉考試之律賦，或是習作等，都是本文討論的範圍。然本文以單篇律賦為主，吳淑著《事類賦注》一百篇雖皆屬律賦，然因其為類書，且意義獨具，當另以專書論述。
依作者生年及登進士第的順序，參閱《現存宋人著述總錄》、《全宋文》、《歷代賦彙》，共錄律賦一百一十六篇。
三、研究方法：
律賦常為後人所詬病，筆者由傳統賦學的審美觀，自漢賦、曹丕《典論‧論文》、陸機《文賦》、鍾嶸《詩品》，賦的審美意識皆與各時代的文風及流行文體或政治風氣有所相涉，至劉勰《文心雕龍‧詮賦》篇，將賦體的特色獨立，也確立了名為賦體所該擁有的價值。
將傳統的審美意識帶入律賦中，探討宋初律賦是否合乎賦的標準，便是本文所著重的。其次則是在宋代初年的政治風氣及文學風氣中，律賦何以成為科舉考試之要項。本文將由演繹方式，例舉代表宋初律賦之作家，羅列以證宋初律賦之特色。
四、研究結論：
筆者認為律賦之美，不僅是因其題下限韻，因難而巧。更難能可貴的是律賦的破題、對偶及音律之美，讀之錯落有致，更添美感。希望本文可作為拋磚引玉之效，使律賦復其文學之地位，也可由本文得知宋初律賦與唐代及後世律賦的獨特之處。Abstract:
The purpose of the study:
This study is trying to analyze the content of Lu Fu in the early Song dynasty, including its introductory, rhythm, symmetry and the theme of the verse.
The scope of the study:
The research materials are selected within four kingdoms period, Emperor Taizu, Emperor Taizong, Emperor Zhenzong and Emperor Renzong, from 960 B.C. to 1032 B.C.; and the contents are chosen from imperial examinations in former times and personal practice writing. Although this study is focusing on independent Fu, Shi Lei Fu Ju, a very important work, written by Shu Wu is a tool book consisting a hundred correlated Fu which can not be left out when discussing Fu in this study.
Total 116 Fu are picked in this study and according to Comprehensive Index of Extant Works by Song Persons, Chuan Song Wen and Li Dai Fu Lu, those pomes are listing by year of author’s birth or year that a author success in the highest imperial examinations.
Methodology:
This study makes generality comments on Lu Fu in Early Song dynasty based on traditional aesthetic and literary criticism book, for example Han Fu, A Discourse on Literature by Pi Cao, Wen Fu by Ji Lu and Shi Ping by Ron Chung. The aesthetic on Fu was changing by the literature trend and the political situation in different dynasty. Until the first work of aesthetics and also the first systematic work of literary criticism, The Literary Mind and the Carving of Dragon by Xie Liu, Fu formed a unique characteristic and style of its own and became a major poetic genre.
Comparing to the former aesthetic views to look for if Lu Fu match to the traditional criterion is the key emphasis in this study. The second, this study is trying to find out why Lu fu became a main stream in the imperial examination in the Song dynasty. This research using the approach of natural deduction, brining up several famous writers to proof the magnificent features of Lu Fu.
Conclusion:
The limitation of rhyme scheme makes Lu fu very difficult to compose, but the perplexity of Lu Fu brings out the true beauty within the verse. Furthermore, when reading a Lu Fu, readers can appreciate the beautiful introductory, symmetry and rhyming pattern of it. Hoping through study, Lu Fu can be rehabilitated its reputation and status in Chinese literature history.目錄
第一章 緒論 1
第一節 研究動機 2
第二節 研究範圍 4
一、宋初律賦文本 7
二、宋初律賦作者 13
（一）、田錫 14
（二）、王禹偁 14
（三）、王曾 14
（四）、夏竦 15
（五）、范仲淹 15
（六）、宋庠 15
（七）、宋祁 15
（八）、文彥博 16
三、宋初考試制度相關資料 16
第三節 研究方法 21
第二章 賦的功能與審美要求 23
第一節 賦的功能 23
第二節 賦的審美要求 29
一、鋪采摛文 30
二、體物寫志 33
三、音律流麗 39
第三節 結語 42
第三章 律賦的形成及發展 44
第一節 律賦「新體」的特徵 44
第二節 律賦的句式 47
第三節 律賦之用韻 52
第四節 律賦之使事 56
第五節 律賦遭詬病的原因 60
第六節 結語 63
第四章 宋初律賦的特色 65
第一節 宋人賦論 66
第二節 律賦章法 72
第三節 律賦押韻 77
第四節 律賦的對偶與使事 80
第五節 結語 82
第五章 宋初律賦的內容 84
第一節 宋初律賦的內涵 84
一、田錫 84
二、王禹偁 86
三、夏竦 87
四、范仲淹 89
五、宋庠、宋祁 92
六、文彥博 93
第二節 宋初律賦的題材 94
第三節 影響律賦主題的因素 99
一、矛盾與沉潛 100
二、儒學的復興 104
三、釋道的交融 112
第四節 結語 116
第六章 結論 118
參考文獻 121學號: 695010305, 學年度: 9
Fu gu bian : [2 juan] : fu jiao zheng, fu lu /
No full textFu: Zeng yue xuan gao / Zhang Wei zhuan -- An lu ji / Zhang Xian zhuan.Mode of access: Internet
On Lu Ji's Idea of Fu
No full textIn the Wen-fu 文賦 written by Lu Ji, Fu is briefly interpreted as a genre of "embodying objects and showing clear style" 體物而瀏亮. Why did Lu Ji use "embodying objects"--a new concept for Fu instead of other old phrases such as "being affected by objects" 感物? This might be under the influence of his time's philosophy--Xuan xue 玄學. In the early Taoistic writings, the subtle Tao 道 was discribed to be too difficult to grasp, and one could near it only by "embodying" it. In the Wei-Jin Period, this kind of idea was developed. To the relation between "embodying the Tao" and clearness or brightness, special attention was paid by Ji Kang 嵆康. So there would be two common points of "embodying objects" and "embodying the Tao". One is that both subjects should controle themselves' feeling just like a transparent body to have a throughout survey of the world : the other is that both the process of "embodying" and its result interdepends each other. Still, compared with Cao Pi 曹丕's Dian-lun Lun-wen 典論論文, paying more attention to distinguish one genre from others is the special feature of Wen-fu. Although among Lu Ji's own pieces of Fu there is not just one type or style as what he interpreted, Lu Ji's idea of Fu shows one-sidedness with deep meaning. Therefore it should take a certain position in the history of theory of Fu
Letter from Dr. Yang Fu-lu to Dr. Frank S. Falcone (July 10, 1989)
No full textThis is a letter from Dr. Yang Fu-lu, president of the Beijing Institute of Physical Education (now Beijing Sport University) to Dr. Frank S. Falcone, president of Springfield College, dated July 10, 1989. The letter is concerning the events in Tienanmen Square in Beijing in the summer of 1989.Beijing Sport University was organized and established as the Central Institute of Physical Education (sport) in 1953 with the help of Professor Xu Yingchao, Springfield College graduate of the class 1938. The name of the university changed to Peking (Beijing) Institute of Physical Culture (physical education) in 1956 and renamed Beijing Sports University in 1993. The first agreement signed by Springfield College and the Beijing Sport University was on September 25, 1981, which provided pathways for collaboration and exchange of faculty and students
Lu Yu's View of Tu Fu
No full textLu Yu, the famous poet of the Southern Sung, admired Tu Fu's work and, because he believed that there were many points of similarity in their lives and experiences, felt particularly close to him. Both men lived in ages of war and social unrest, both suffered from poverty, and both spent a part of their lives in Shu, the region of present-day Szechwan. Yet the image of Tu Fu which Lu Yu conceived in his mind contained an element of distortion. Lu Yu conceived of Tu Fu not only as a poet but as a statesman, and one who unfortunately found no opportunity to realize his ambitions in the latter direction. At the same time he saw Tu Fu as a man who, though he complained of poverty, was happy to hold even a minor post in the government. This distortion arose, it would appear, from the differences in social consciousness that marked the T'ang poet and the Sung poet. Lu Yu considered himself a member of the ruling class, but in T'ang times the ruling class refused to permit a man like Tu Fu, who belonged to the middle class, to join its ranks
Yi lin zuan yao tan yuan: shi juan, fu lu. v.1
No full text汪紱輯.綫裝.框19.5x13.6公分, 10行22字, 小字雙行同. 白口, 四周雙邊, 單黑魚尾. 版心上鐫題名, 中鐫卷次及小題, 下鐫葉次.書名頁刻"醫林纂要探源, 長安趙展如順德鄧小赤中丞鑒定, 後學陳兆熊署檢" ; 書名背頁牌記刻"光緖丁酉[1897]二月江蘇書局刊版"附錄一卷《中國中醫古籍總目》05685著錄.卷末附錄: 汪先生行狀 -- 汪先生墓表并銘 -- 徽州府志儒林傳.鈐"莊兆祥印", "莊兆祥".Xian zhuang.Kuang 19.5 x 13.6 gong fen, 10 hang 22 zi, xiao zi shuang hang tong. Bai kou, si zhou shuang bian, dan hei yu wei. Ban xin shang juan ti ming, zhong juan juan ci ji xiao ti, xia juan ye ci.Detailed notes in vernacular field only.Fu lu yi juanDetailed notes in vernacular field only.Wang Fu ji.Juan mo fu lu: Wang xian sheng xing zhuang -- Wang xian sheng mu biao bing ming -- Huizhou fu zhi ru lin zhuan.Qian "Zhuang Zhaoxiang yin", "Zhuang Zhaoxiang"
Ouyang Wenzhonggong quan ji : 153 juan, shou 1 juan, fu lu 5 juan /
No full textJuan shou zhong you nian pu, Hu Ke bian.Double leaves, oriental style, in case.Ju shi ji wu shi juan, Wai ji er shi wu juan, Yi tong zi wen san juan, Wai zhi ji san juan, Nei zhi ji ba juan, Biao zou shu qi si liu ji qi juan, Zou yi shi ba juan, Za zhu shu shi jiu juan, Ji gu lu ba wei shi juan, Shu jian shi yi juan, Juan shou yi juan, Fu lu wu juan.Mode of access: Internet
Jian lu fu an gong (尖鹿福安宮)
No full textEstablished in 1984. List of donors contributing to the construction of the temple in 1984 [1]. The red figure on the right is Shennong 神農 [2]. Exterior view of the Jian Lu Fu An Gong, [3]. 360 video [4].Non UBCUnreviewedAuthor Affiliations: Fu Jen Catholic University 輔仁大學, Colombia University, University of Pennsylvania, University of ArizonaFacultyGraduat
On Lu Chi's Life and The Dating of His Wen Fu
No full textIt has been the traditional belief that Lu Chi's 陸機 (261-303) Wen Fu 文賦, one of the most important works in medieval Chinese literary criticism, was written when the author was twenty years of age. The belief has been a mistake, founded on a line of Tu Fu's 杜甫 poem, Tsui Kê Hsing 醉歌行, Closer examination shows that the circumstances under which Tu Fu wrote the poem cannot be expected to warrant historical accuracy; and that the biographical data of Lu Chi available at Tu Fu's time could have been too casually read. Now by meticulous documentary analysis, it is proved that the Wen Fu was written when Lu Chi was forty, in the year 300 A. D. The forty-three years of Lu Chi's life, divided into two distinctly varied periods, coincided with two phases of medieval Chinese history in rapid conflux and transition during one man's life-time. His was a life-time that spanned between the twilight of the last of the heroic, war-ridden "Three Kingdoms, " and the temporary flare of a unified and expanded Chin empire. First, as an active, last defender of his native Kingdom of Wu and then as an "expatriate" in Lo Yang to rise very high as a literary man and a military commander, Lu Chi was in each case closely identified with the troubled times. The exact dating of the Wen Fu is therefore not a pure matter of chronological accuracy, but it helps to explain the background of the work in the author's personal life and milieu when it was written. Lu Chi's psychological attitudes are traced here in a biographical sketch. His earlier works which show the development of his views and visions on life, hence on literature too, are introduced. A group of his other writings contemporaneous with the Wen Fu are presented and analysed, both for a comparison of their qualities, and for their most important bearing upon the dating of the great work in question. An appendix summarizes discussions with another scholar, Professor Lu Ch'in-li 逯欽立, on the intricate problems and methods of dating the Wen Fu
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