Just a Song : Chinese Lyrics from the Eleventh and Early Twelfth Centuries

作者：[美]宇文所安

出版社：HarvardUniversityPress

副标题：ChineseLyricsfromtheEleventhandEarlyTwelfthCenturies

出版年：2019-2-1

页数：350

定价：GBP35.80

装帧：Hardcover

丛书：Harvard-YenchingInstituteMonographSeries

ISBN：9780674987128

内容简介
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“Song Lyric,” ci, remains one of the most loved forms of Chinese poetry. From the early eleventh century through the first quarter of the twelfth century, song lyric evolved from an impromptu contribution in a performance practice to a full literary genre, in which the text might be read more often than performed. Young women singers, either indentured or private entrepreneurs, were at the heart of song practice throughout the period; the authors of the lyrics were notionally mostly male. A strange gender dynamic arose, in which men often wrote in the voice of a woman and her imagined feelings, then appropriated that sensibility for themselves.

As an essential part of becoming literature, a history was constructed for the new genre. At the same time the genre claimed a new set of aesthetic values to radically distinguish it from older “Classical Poetry,” shi. In a world that was either pragmatic or moralizing (or both), song lyric was a discourse of sensibility, which literally gave a beautiful voice to everything that seemed increasingly to be disappearing in the new Song dynasty world of righteousness and public advancement.

作者简介
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Stephen Owen is James Bryant Conant University Professor, Emeritus, at Harvard University.

目录
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Acknowledgments

Introduction

I. Setting the Stage

1. Early Circulation

2. Origins

II. The Early and Mid-Eleventh Century

3. The Yuezhang ji and Liu Yong

4. The Xiaoling Collections (I)

5. The Xiaoling Collections (II)

6. Yan Jidao

III. The Age of Su Shi

7. Su Shi

8. The Generation after Su Shi

9. Su Shi’s Protégés

10. Qin Guan

11. He Zhu

12. Zhou Bangyan

IV. Into the Twelfth Century

13. Recovering a History

14. The Last Generation of the Northern Song and On

Conclusion by Way of Continuing

Reference Matter

Appendix A: The Manuscripts of Feng Yansi

Appendix B: Lyrics Adrift

Appendix C: The “High Style” and Its Opposites

Bibliography and Abbreviations

Index

评论 ······

談不上解構，只是揭示「推尊詞體」的儒教詩學之外另一種線索，所謂早期小令「表演性、歸屬不確定性」，古之詞論者並非不知，著意迴避而已。小晏一段略見人文關懷，儼然馬賽爾與賈寶玉即視感，“For all their training in how to feign emotion, they too could love and be hurt. They were, after all, only yo…

還是用解構主義那一套試圖說明已有文學史「盲點」和文本文獻的「不足」得回到表演實踐文化語境才能重現北宋詞從「文本」到「文類」的提升軌跡、擺脫南宋詞人建構史的侷限。儘管不免臆測、武斷和囉嗦，宇文但對詞史上諸多似是而非如署名權歸屬、主題的公私對立、地方文獻與趣味、鈔本與印本影響、性別權力等問題依然發人深省。#依舊讀#136

好简洁的英国话

此书很好地阐发了早期词作的传播，将小令视作士人宴饮的助兴曲，而柳永慢词则创作于更为市井的勾栏瓦肆，把早期词集在一定程度上视为曲目库(repertoire)。苏轼以后词作发展的关键是词从音乐实践变成可供案头阅读的文学体裁，而12世纪的印刷文化起到了助推作用。本书最大的问题是第二章讨论词的起源，作者指出文本形式不是歌唱形式，唐代歌诗虽然文本上表现为齐言，但实际唱的时候却是长短错落；作者进一步认为，之后…

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