试论吴文英词——以修辞手法和艺术结构为中心

在南宋词坛上,吴文英词运意深杳、用笔幽邃。本文试从修辞和艺术结构两方面进行分析。修辞上,梦窗词善于用典;比兴多统领全篇。艺术上,吴文英好以＂梦＂入词,客观生活经过梦幻的熏陶表现出高远的情致;作品还具有意象化与时空交错特点,近似西方＂意识流＂的手法。     

浅谈石林隐逸词

叶梦得《石林词》在文学史上占有一定的地位,其词风清旷。在其词作中,隐逸词占有一定的数量。这些词作并非纯是对超脱世俗的人生境界的向往,更多的是包含着不得已退居山水田园的失落、愤懑和对社会现实的鄙视。影响其创作的因素主要有以下两点:一方面是其长期的隐居经历,另一方面则是其隐逸思想的作用。     

谐音.修辞.文化简

谐音是注重语音层面的一种修辞方法,同时又和文化密切相关。它在人们的生产、生活中应用广泛,是一个既有趣又复杂的问题。不同的话音组合方式,可产生不同的修辞效果。平仄相间使语言抑扬顿挫,使用韵脚让语言宛曲回环,谐音的使用则会增添语言的诙谐效果。语言是文化的主要载体,同时也是文化的一部分,语言反映文化既表现在词;r-上、语法上,也表现在语音上。汉民族凡事讲究对称、和谐、平衡,善于联想,这样谐音表义正好适应其思维方式和文化心理。     

罗素的摹状词理论探析

摹状词理论是语言哲学和逻辑学中的重要议题。罗素作为摹状词理论的开拓者,其理论的独到之处主要表现在:区分了专名和摹状词,提出了分析摹状词的方法,解决了哲学上的三大难题。因此,罗素的摹状词理论对后来摹状词理论的发展具有重要影响,不愧为"哲学典范"。     

唐五代词中的“愁”

"愁"是文学一再表现的情感,至词的出现,"愁"更是找到了合适的表达。愁情词不断涌现,然而不同的时代也有不同的特点,以往的成果都是就唐宋词统而论之,亦侧重于宋愁情词的分析,对唐五代愁情词关注不够。本文选取词发展的最初时期——唐五代,从其表现的主题和怎样表现主题两方面入手,细致地呈现唐五代词的面貌。     

辛弃疾词二首赏析

在词坛上,辛弃疾一向与苏款并称。辛弃疾流传的词作,共存六百多首,现有《稼轩词》四卷本和十二卷本传世。他的词中多富于当时的现实意义和思想内容,并善于用各种不同的方式来表现,试略举一、二,以供赏析：水龙吟·登建康赏心亭楚天子里清秋,水随天去秋无际。遗岑远目,献愁供恨,五管螺会。落日楼头,断鸿声里,江南游子。把吴钩看了,栏干拍遍,无人会,登临意。休说鲸鱼堪脸,尽西风,季鹰归未？求田问舍,怕应羞见,刘郎才气。可惜流年,忧愁风雨,树犹如此！情何人唤取,红巾翠袖,温英雄泪。这首词是辛弃疾在建康（今之南京）做…     

乡村景观在风景园林规划设计中的融入

当下乡村田园景观结合了自然风景与人文元素。目前,我国风景园林规划设计缺乏独特的艺术美感,没有表现出城市应有的独特文化,且艺术设计水平低。现阶段,随着人们对美学的热爱及环境保护意识的提高,越来越多的景观规划设计师开始尝试将乡村景观融入风景园林规划设计中。     

论承龄词的沉郁缠绵——以咏物词和咏怀词为例

承龄是清代六大词家之一,其词入选"清代百家词",其地位与影响可见一斑。晚清动荡的社会背景,加之承龄坎坷曲折的人生经历,使其词既有忠君报国的理想高扬,又有忧愁哀怨的感伤色彩。常州词派主张情感的忠厚缠绵,这一词学主张对承龄的创作产生了深刻影响,使其词呈现出沉郁缠绵的特色,主要表现在其咏怀词写得情真意切,咏物词多用比兴寄托等方面。     

论温庭筠《菩萨蛮》词之纯美特质

温庭筠《菩萨蛮》词14首,可谓温词之翘楚,就其美学特质而言,其词表现出来的纯美代表了词的初创时期所应有的并且是特有的美学价值和美学观,并对后世的词学产生了深远的影响,而对这种纯美特质的体会则主要是依靠读者的修养、学识和性情来进行感发和联想的。     

田园交响

正居住在现代城市里的人往往都有田园之梦,人们时不时地走向乡野,走向田间,"开轩面场圃,把酒话桑麻"。对田园的亲近感可能产生于人类万年的农业历史,甚至百万年的狩措-采集历史中。在漫长的历史中,那些热爱田园、热爱农业的人会给自己和家人带来更大的生存机会,久而久之,人类作为一个整体更适应田园     

毕竟高歌能拔剑——论祁寯藻诗的师法渊源和诗歌意象

祁寯藻是清代道、成、同三朝帝师,位居首辅,影响整个咸丰初期的政局走向。他在政事之余作诗,出之以性情,寯平生哀乐于诗中,展示出晚清特定的时代风貌与文人士大夫的心态。他是宋诗派领袖,诗歌除宗法杜甫、韩愈、苏轼外,尤其推崇白居易,在师法渊源上独具特色。在表情达意方面,则常借助“剑”“春晖“‘萱草”等意象,形成个性鲜明的抒情体系。     

金圣叹佚诗佚联新考

金圣叹生前著述甚富,然由于是被清廷杀头者,并遭妻子流边、家产籍没的严惩,故直接反映其思想感情和生平交游的诗文作品存世极少.此文新辑得其佚诗12首、佚联等3则,为金圣叹的文学创作和生平史实的研究提供了一批新资料.     

何绍基诗歌创作中呈现出的师承渊源

何绍基是晚清宋诗派中最有成就的诗论家和诗人,其诗歌创作中呈现出的师承渊源非常丰富。何绍基一生不论为人、治学还是写诗作文皆服膺苏轼,苏轼忠孝节义的道义心性,旷达乐观、洒落超迈的胸襟,格物致知的进取精神与谐趣睿智的人格魅力对他产生深刻的影响。何绍基的诗作中除了对苏轼诗句的借用、比喻手法的吸收以及大量次苏韵等表象外,还在谐趣、理趣、儒者伦理的追求等方面得苏诗之神韵。随着阅历的变化,何绍基寄韵白居易,创作了讽喻诗,语言平易流利,不避口语俗语。晚年的何绍基心境较为黯淡,师法对象再次发生转移,“自将诗心比郊岛”,企望“敲诗”“苦吟”而达到“人夸奇想自天来”,寒瘦之诗成又一风貌。     

清代誠齋詩學與唐宋詩之爭

南宋詩人楊萬里的詩歌創作甚豐而風格別樹一幟,他受到同代人賞識,卻不見重於元明兩代,到清代更是屢受惡評。在當時詩學的唐宋詩之爭中,誠齋詩往往不容於雙方。直至清末,纔受到同光詩人的推尊。本文通過梳理清代誠齋詩在唐宋詩之爭中的各期發展,最後聚焦到同光詩人的誠齋詩觀,指出夏敬觀是清代第一個全面肯定誠齋詩的學者,楊萬里的詩史地位最終因同光派而得以確立。     

John Hewitt's allegorical imagination

John Hewitt (1907–1987), the Northern Irish poet from Belfast, is most famous for advocating the Regionalist project he helped start in the 1930's. Regionalism demanded something more than kinship: an allegiance to the smaller unit of land within a nation. In his poetry, Hewitt's pursuit of this ideal necessitated a concern with sectarian issues and the religious and cultural impasses that attended them. Consequently, he often examines his own complicity in the unhealthy relations between divided neighbors, and this opens the door to a couple of criticisms that have commonly been directed at Hewitt: that his negotiations with place are outdated and that his craft and imagination were superseded by a self-conscious attention to denominational questions. To a large degree this essay means to explore how Hewitt manages to overcome such difficulties in his best work, especially The Bloody Brae and ‘The Colony’. In these and other poems, he imagines an alternative time and place; such settings allow the poet to dramatize philosophical and meta-ethical questions without being explicitly hortative. The worlds of these poems exist independently, untainted by contemporary fact, yet they often allude to the predicaments of his homeland. This technique of using a double focus inspires reflection on questions current in Hewitt's lifetime, at the same time as it shifts responsibility for answers from poet to reader. It also insists on the recall of visual experience, thereby promoting a regionally characteristic language.     

杨慎其人其书

《杨慎书法册》,册长38、宽28厘米,画心长32.5、宽23.5厘米,共九开,册页的封面和封底为蓝色封皮,题签为《杨升庵先生真迹》,现藏济南市博物馆。杨慎,字用修,号升庵,新都(今属四川)人。明弘治元年(1488年)生于京城,正德六年(1511年),在他     

柳宗元的成就及与湖湘文化的关系

柳宗元谪居永州十年,以彪炳千古的诗文,寄寓自强不息的人格精神,表达忧国抚民、革旧图新的深邃思想,倡导“吏为民役”的政治理念,开创游记散文先河,成为一代思想文学宗师。他时湖湘文化的传承产生了极为重要的影响,奠定其在中国思想文化史上的独特地位。     

'[…;] all poetry is difficult […]: the limitations of Seferis' modernist poetics

Abstract

In Greece, as in several other countries in the period between the two World Wars, one of the serious charges frequently made against Modernism was that it was impossibly bad mannered towards the reader – that it made no effort at all to communicate and that modernist poetry was ‘difficult’ or ‘obscure’. For example, as early as 1931, Kostis Palamas – the poet who had had an enormous impact on Greek literary affairs in the first half of this century – in a charming if not somewhat condescending letter addressed to George Seferis, noted that the poems of <inline-graphic href="splitsection4_in1.tif"/>were ‘cryptographic’ and stated that he was personally unable to find the ‘key’ that was needed for deciphering such difficult poetry (Palamas 1931). A few years earlier, Seferis himself had noted in his journals that whenever he tried to read Valery's poems to Palamas and his circle, they had reacted by saying that they did not have time to solve ‘puzzles’ (1975: 62).     

Cavafy's Sensual City: A Question

Abstract

In his perceptive book, Cavafy's Alexandria (Cambridge, Mass., 1976), Edmund Keeley describes how Cavafy's major poetic preoccupation during the years 1911 to 1921 was the delineation of a mythical city called Alexandria and of the Greek, or Hellenic, way oflife it represents. An essential element in this way of life is its erotic style, which is explicitly homosexual; and it is through his poems on erotic themes that Cavafy slowly and deliberately builds his image of Alexandria as the Sensual City. His method of doing this is particular. In depicting other features of his mythical city Cavafy locates his poems in that ancient Hellenistic world of which Alexandria was the centre. Most of his erotic poetry, on the other hand, speaks of episodes and relationships in contemporary Alexandria, the city in which Cavafy actually lived. Indeed, all the poetry which Cavafy wrote that is located in contemporary Alexandria deals with erotic themes to the exclusion of all others. And it is with the help of this poetry that Cavafy builds up his image.     

夏公选婿 佳话永传——莫友芝诗文反映的莫、夏两家渊娅深情

“状元”夏同徘的高祖夏鸿时是夏氏文化世家的开创者,他在影山草堂考《尚书》择婿莫友芝,以及此后友芝与夏氏祖孙三代的往还及所留下的诗文多篇（首）。不仅抒写了莫、夏两家深厚的渊娅之情,且成为贵州地方社会文化史上的一段佳话,影响深远。