义必明雅 辞必巧丽——台湾骚体赋论  

Some Comments on Sao-style Fu Works in Taiwan

作　　者：苏慧霜[1] SU Hui-shuang(Faculty of Arts,Changhua Normal University,Taipei 50007,China)

机构地区：[1]彰化师范大学文学院,中国台湾台北50007

出　　处：《辽东学院学报（社会科学版）》2024年第1期1-9,共9页Journal of Liaodong University：Social Science Edition

摘　　要：台湾骚体赋自清代以降一直是重要的文学课题。台湾赋的整理校注工作始自2005年由许俊雅、吴福助主持编纂的《全台赋》。该书承续传统赋作形式,多记台湾形胜地景、自然生态与历史文化。53篇骚体赋应用“兮”字,间有赋中系诗。赋末乱辞亦沿《楚辞》之“歌曰”“辞曰”“和曰”,有简约全篇、收尾之用。《全台赋》作者或为仕台官员或居台文人,其中少数作者具有编纂方志的经验。《全台赋》展现了他们深厚的文化底蕴以及惊采绝艳的视角,涵濡之深可见骚学之递嬗与创新。Sao-style Fu in Taiwan has been an important literary topic since the Qing Dynasty.The collation and annotation of such Fu works in Taiwan began with The Complete Collection of Fu Works in Taiwan compiled by Xu Junya and Wu Fuzhu in 2005.The book inherits the traditional form of Fu,and records Taiwan’s scenic spots,natural ecology and historical culture.The word of“兮(xi)”is used in 53 pieces of Sao-style Fu works,and there were poems in some Fu works.“歌曰(geyue)”“辞曰(ciyue)”“和曰(heyue)”are also used as the conclusion words at the end of Fu as those in Chu Ci,which are used to simplify and end the piece.The authors of The Complete Collection of Fu Works in Taiwan are either officials or literati living in Taiwan,and a few of them have the experience of compiling local chronicles.From The Complete Collection of Fu Works in Taiwan,we can find the profound cultural heritage and stunning perspectives of the authors and the evolution and innovation of the study on Sao-style Fu.

关 键 词：台湾骚体赋 《全台赋》 台湾图像 乱辞 系诗 

分 类 号：I207.22[文学—中国文学]