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作 者:胡燕春[1] HU Yanchun(School of Literature,Capital Normal University,Beijing 100089)
出 处:《中国文学研究》2019年第1期181-188,共8页Research of Chinese Literature
基 金:国家社科基金一般项目"21世纪以来中国对当代美国文论的接受状况与反思研究"(14BZW172)
摘 要:就美国汉学家有关《诗经》研究成果而言,歌乐舞等考察视域始终贯穿其中。以周策纵、陈世骧、王靖献等为例,其相关研究无不是围绕《诗经》与歌、乐、舞之间的关系而展开。同时,上述学者的相关阐述在视角与方法等方面可谓各领风骚。诸如,周策纵运用传统的考据学与训诂学方法,论述了古巫在"诗"与歌乐舞的建联中具有不可或缺的作用;陈世骧运用中西字源学考察方法,阐明诗"伴随有内在于音乐、舞蹈的节奏和旋律";王靖献则创造性地提出了"诗"之"音响形态"的概念,力陈《诗经》产生于经由口述创作的歌曲,而创作过程始终有乐器演奏相伴。In terms of the research achievements on The Book of Songs by American sinologists,the survey of the perspective of songs,music and dance always ran through the field of it. Taking Chow Tse-tsung,Chen Shih-hsiang and Wang Ching-hsien as examples, the related research was all about the relationship between The Book of Songs and songs, music and dance. At the same time,the related elaborations of the above scholars showed different characteristics in terms of perspectives and methods and so on. For examples,Chow Tse-tsung discussed that the ancient Chinese 'Wu'had an indispensable intermediary effects in the process of establishing relationships between 'Poetry'with song,music and dance by the traditional academic methods of textology and exegetics. By using the method of Chinese and Western etymology,Chen Shih-hsiang indicated that poetry were formed by 'following the inherent rhythm and melody of music and dance'. In addition,Wang Ching-hsien creatively put forward the concept of acoustic pattern of the'Poetry'. Accordingly he expounded that The Book of Songs was formed on the basis of the oral creation of songs and the creative processes were always accompanied by musical instruments.
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