國立虎尾科技大學 |

TU FU'S "EIGHT LAMENTS" : = ALLUSION AND IMAGERY AS MODES OF POETRY (PERIPHRASIS, CHINA).

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	TU FU'S "EIGHT LAMENTS" :/
其他題名:	ALLUSION AND IMAGERY AS MODES OF POETRY (PERIPHRASIS, CHINA).
作者:	CHOU, E. SHAN.
面頁冊數:	1 online resource (395 pages)
附註:	Source: Dissertation Abstracts International, Volume: 45-06, Section: A, page: 1755.
標題:	Asian literature. -
電子資源:	click for full text (PQDT)

TU FU'S "EIGHT LAMENTS" : = ALLUSION AND IMAGERY AS MODES OF POETRY (PERIPHRASIS, CHINA).
CHOU, E. SHAN.

TU FU'S "EIGHT LAMENTS" :ALLUSION AND IMAGERY AS MODES OF POETRY (PERIPHRASIS, CHINA). - 1 online resource (395 pages)

Source: Dissertation Abstracts International, Volume: 45-06, Section: A, page: 1755.

Thesis (Ph.D.)--Harvard University, 1984.

Includes bibliographical references

During his years at K'uei-chou, Tu Fu (712-770) wrote a set of elegies collectively titled "Eight Laments." As the years in K'uei-chou (766-68) were a period of great productivity and poetic inventiveness, any major piece from this period, such as this set of elegies, deserves close attention. The thesis deals with "Eight Laments" for its own sake and also as a clue to the K'uei-chou poetry.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

Subjects--Topical Terms:

1183555
Asian literature.
Index Terms--Genre/Form:

554714
Electronic books.

TU FU'S "EIGHT LAMENTS" : = ALLUSION AND IMAGERY AS MODES OF POETRY (PERIPHRASIS, CHINA).
LDR:03756ntm a2200313K 4500 001 914623
005 20180724085441.5
006 m o u
007 cr mn||||a|a||
008 190606s1984 xx obm 000 0 eng d
035 $a (MiAaPQ)AAI8419441
035 $a AAI8419441
040 $a MiAaPQ $b eng $c MiAaPQ
100 1 $a CHOU, E. SHAN. $3 1187926
245 1 0 $a TU FU'S "EIGHT LAMENTS" : $b ALLUSION AND IMAGERY AS MODES OF POETRY (PERIPHRASIS, CHINA).
264 0 $c 1984
300 $a 1 online resource (395 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertation Abstracts International, Volume: 45-06, Section: A, page: 1755.
502 $a Thesis (Ph.D.)--Harvard University, 1984.
504 $a Includes bibliographical references
520 $a During his years at K'uei-chou, Tu Fu (712-770) wrote a set of elegies collectively titled "Eight Laments." As the years in K'uei-chou (766-68) were a period of great productivity and poetic inventiveness, any major piece from this period, such as this set of elegies, deserves close attention. The thesis deals with "Eight Laments" for its own sake and also as a clue to the K'uei-chou poetry.
520 $a The poems review at length (they are 40 to 80 lines long) the lives and achievements of eight men of Tu Fu's time. They are typical of Tu Fu's work in being set against the background of the 755 An Lu-shan rebellion and the drawn-out disintegration of the T'ang dynasty which followed. The lives of the men make up the basic narrative of the poems, but the language used is oblique and the pace and sequence of narration unpredictable. Consequently the poems are hard to read; for this reason, the essay on "Eight Laments" is supported by a translation of the poems. Notes to the translation explain the obscurities and a parallel paraphrase makes the narrative clear.
520 $a The essay part of the thesis analyzes the poetic structure and development of the poems. "Eight Laments" is written in the old-style form (ku-shih). In the past, Tu Fu's poems written in this form have received little attention; in fact, the old-style form itself is not adequately understood. Structural concepts and terms such as exist for analyzing regulated form poetry (lu-shih) are lacking for old-style form. Thus an analysis of "Eight Laments" has the secondary benefit of shedding light on the conventions of old-style poetry.
520 $a The essay sees "Eight Laments" as revealing two distinct styles, expository and lyric. They exist side by side in an unblended form, each style defined by its characteristic language and figures. I call lyric those parts of the poems made up of direct statements of feeling and of images with clear emotional equivalents (chapter 2). The expository style uses a periphrastic language laden with allusions and a subdued kind of imagery. The lyric style is relatively easy to understand because imagery is a well studied subject and the direct statements of feeling are very plain. Accordingly, the bulk of the essay consists of a detailed analysis of the expository style. A poetics is worked out for its components, periphrasis (chapter 3) and allusion (chapter 4), using extensive examples from the poems. The result shows that periphrasis must be considered a major type of poetic diction and that allusion should take a place alongside imagery as a major poetic resource; together they are capable of unifying a poem and giving it depth and feeling (chapter 5).
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2018
538 $a Mode of access: World Wide Web
650 4 $a Asian literature. $3 1183555
655 7 $a Electronic books. $2 local $3 554714
690 $a 0305
710 2 $a ProQuest Information and Learning Co. $3 1178819
710 2 $a Harvard University. $3 1180437
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8419441 $z click for full text (PQDT)