叙事学视阈下的乐府诗建构——以松浦友久教授的乐府研究为中心  

Constructing Yuefu Poetry through a Narratological Lens with a Focus on Professor Tomohisa Matsuura’s Yuefu Research

作　　者： 栾晓涵 HASEBE Tsuyoshi;LUAN Xiaohan(Department of East Asian Culture Studies,Kansai University,Yamate-cho,Suita-shi,Osaka 564-8680,Japan)

机构地区：[1]关西大学东亚文化研究科,日本近畿地区大阪564-8680

出　　处：《河北师范大学学报（哲学社会科学版）》2024年第3期61-67,共7页Journal of Hebei Normal University(Philosophy and Social Sciences)

摘　　要：中国近世的通常观念中对于乐府体的认识很模糊,特别是唐代乐府诗有怎样的样式特征是一个难题。以日本松浦友久教授的乐府研究为中心,可以从叙事学的角度重新考察唐代乐府诗的三种艺术表现功能。分别为:对乐曲的联想;观察视点的第三人称化,场面的客体化;表现意图的未完结化。其中“观察视点的第三人称化”以西洋叙事学中“叙事视角”以及“人称”等角度为出发点,提出唐代乐府诗中存在的“客体化”以及“第三人称化”的特征。此观点不仅对唐代乐府诗的理解具有参考价值,对唐诗英译等方面的研究也具有启发意义。Contemporary China’s comprehension of Yuefu style,particularly within the context of the Tang Dynasty,remains somewhat nebulous.Unraveling the stylistic intricacies of Tang Yuefu poetry,particularly Yuefu songs,poses a formidable challenge.Drawing on the scholarship of Professor Tomohisa Matsuura from Japan,this paper re-evaluates the three artistic functions inherent in Tang Yuefu poems through the lens of narratology.Specifically,it examines thoughts associated with music;the third-person observational perspective and the objectification of scenes;and the deliberate ambiguity of intention.Focusing on the third-person observational perspective,informed by Western narratological concepts of“narrative perspective”and“person,”the paper delineates the characteristics of objectification and third-person narration in Tang Yuefu poetry.This perspective not only enriches our understanding of Tang Yuefu poems but also sheds light on the complexities involved in translating Tang poetry into English.

关 键 词：唐代乐府诗 松浦友久 李白 叙事学 人称 

分 类 号：I207.22[文学—中国文学]