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Ci Xue
2012 Vol.0 Issue.27
Published 2012-06-30
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2012 Vol. 0 (27): 0-0 [
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A Study of the Collected Ci Poems in the Song Dynasty
Wang Zhaopeng
This thesis makes a study on the circulation of collected ci poems by South Song Dynasty ci writers such as Zhu Shuzhen, Zhang Lun, Hou Zhi, Zhao Yanduan, Wang Qianjiu, Chen Renjie, Yao Kuan, Li Liuqian, and so on. At that time, the circulating collected ci poems appeared in ways of either single edition, or mixture edition with poems and prose writings, which is quite different from that of the North Song. With the belief of “poetry solemn, ci vulgar”, writers in the North Song did not mix their poems and essays with ci poems. Writers in the South Song, however, collected their ci poems with poems and essays, which indicates that ci had won equal position in the South Song. The ways of circulation of ci between the North Song and the South Song are also different, oral singing in the former stage, printed edition in the latter stage.
2012 Vol. 0 (27): 1-24 [
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Musical Temperament System in Tang and Song Ci Poetry
Long Jianguo
Abstract
:Yanyue Musical Temperament of Sui and Tang Dynasties (musical temperament of Tang and Song Ci Poetry) comes directly from Qingshang Musical Temperament, which comes from ancient Yayue Musical Temperament and Qingyue Musical Temperament. Along with the development of Yanyue, Yanyue Musical Temperament in Song Dynasty differs greatly from that of Sui and Tang Dynasties, which leads to the change of Tune Gong in Tang and Song Ci Poetry, which has the same name, but different pitch and pattern.
2012 Vol. 0 (27): 25-37 [
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New Explanation of the Motive of Ouyang Xiu’s Writing Amorous Ci Poems
Zhang Jing
Abstract
:Ouyang xiu’s works displayed a kind of strong tragic consciousness, which can be found from his prefaces, epitaphs and memorial poems. The orphanhood in his early life, the work at his mid-life, and the passing away of his friends at his late ages all made his life consciousness heavy. Non-Buddhist and Non-Taoist as he was, sensuous pleasure became his way of relieving anxiety, which explains the motive of his writing plenty of amorous ci poems.
2012 Vol. 0 (27): 38-50 [
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Rhythmic Aesthetic in Qin Guan’s Ci Poems
Liu Qingyun
Abstract
:Harmonious rhythm, as well as genuine emotions, mild style, fine language, makes Qin Guan’s ci poems well known at his time and in the following dynasties. Qin Guan had a profound understanding of the musical function of the tone and rhyme so that his ci poems displayed a kind of harmonious relationship between his emotions and the rhythm, which makes his emotions expressed by the rhythmic sound. The rhythmic aesthetic in Qin Guan’s ci poems will definitely inspire today’s ci writers and song writers.
2012 Vol. 0 (27): 51-65 [
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Qin Guan’s Psychology at his Late Ages and Before his Death
Wang Hao
Abstract:
Existential anxiety, lonely mind and free spirit constitute Qin Guan’s psychology at his late ages after south-crossing. “Seeing through”, “hoping” and “entangled” are three key words to describe his mental status after south-crossing. The essence of his psychal status is his individual living sense and spiritual desire. His deathbed psychology is the mixture of sorrow and joy---reconciliation of grief and joy which constitutes his conflicted tragic mind---the time when he laughed was the end of his psychal tragedy.
2012 Vol. 0 (27): 66-93 [
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A Study on the Handwritten Copy of Nan Ci
Yao Daosheng
Abstract:
The handwritten copy of Nan Ci is a big anthology of ci poetry, edited by Xiya Zhuren (Mr. West Hill) in the Ming Dynasty. The original copy is now kept in Hotel Okura, Okura Cultural and Financial Group, Tokyo, Japan. This thesis makes a brief introduction about the outline and main characters of the copy, quotes comments by Qing Dynasty scholars from the copy which have few opportunities to be seen, makes a study about the collection and copy, the editor, the time of copy, and the documental values of Nan Ci. The writer points out that the handwritten copy of Nan Ci is valuable and rare from the perspective of relics, literature or documents.
2012 Vol. 0 (27): 94-107 [
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Xue Shiyu and his Collection of Tengxiangguan
Li rui
Abstrct:
Xue Shiyu was the writer of Ci of the period of Daoguang and Xianfeng.There were two versions about his Collection of Tengxiangguan which had much difference.Xue Shiyu was in contact with many people and was the famous writer of Ci at that time.He was influenced by the school of Ci of ZheJiang, but retained his own character which was close to Sushi and Xin Qiji.Subject matter of his Ci was extensive.Those Ci reflected the disorder of the times was deep and suppressed,but those described the landscapes in journey was brisk. In comparison with Jiang Chunlin,the famous writer of Ci at the same times,Xue Shiyu'Ci was more historical and realistic,which powerful reflected the disorder of the times in many ways.
2012 Vol. 0 (27): 108-123 [
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Wu Yu’s Ci Poetry Research
Xie Taofang
Abstract:
Wu Yu was a well-known thinker in the time of New Culture Movement and a ci writer, whose 15 ci poems were left. Wu’s views about ci poetry research come from that of Wang Guowei, Hu Shi and Hu Yunyi, yet with his own thought. Two characters in his views of ci poetry research are obvious: one is his traditional ideas about ci poetry which called ci as “Little Skill” compared with knowledge of management; the other is his emphasis on the literary nature of ci poetry with seldom attention to the musical nature of ci poetry.
2012 Vol. 0 (27): 124-137 [
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Xia Jingguan’s Ci Poems and Ci Criticism
Zeng Daxing
Abstract:
Xia Jingguan was an important person in circles of Chinese education, academic research, art and literature in the first half of twentieth century. He was a leader in ci circles after Wang Pengyun and Zhu Zumou. This thesis makes a discussion about Xia’s ci writings and ci criticism, whose writings accepted North Song ci writers like Yan Shu, Ouyang Xiu and Zhou Bangyan, etc. and whose views about ci poetry advocated “imitating North Song famous ci writers” instead of “beginning from South Song ci writers” suggested by Zhu Zumou and Kuang Zhouyi. He was among the rare ones who were not influenced by Dream Window ci style.
2012 Vol. 0 (27): 138-150 [
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The Theoretical Framework of Zhan Antai’s Ci-poetry Study
Wong Kuan Io
Abstract ：
Zhan Antai’s Study on Ci-poetry was supposed to have a total of 12 chapters in its original plan. Zhan combines various remarks of ci-poetry scholars with his own views to build a comprehensive framework in the study of this important Chinese literary genre. However, 5 chapters of Zhan’s work remain unfinished. This present paper aims to illuminate the main arguments of Zhan’s work. For Zhan’s views of topics of the 5 unfinished chapters, this author draws materials from Zhan’s already published articles. The contents of Zhan’s work can be divided into four categories: form, versification, yiching (意境) and bibliographical study. Zhan, a ci-poet and renowned scholar, has contributed tremendously to the development of ci-poetry scholarship of the 20th century.
2012 Vol. 0 (27): 151-167 [
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On Mao Yumei’s Ci Writings
Chen Xuejun
Abstract:
MaoYumei, a comparative literature researcher and ci writer, is an expert in translating poems and writing ci poems. Night Dew Ci and Sea Shell Ci are her two anthologies of collected ci poems. Night Dew Ci, her early time work, accepted Li Qingzhao’s mild style; her later time work, Sea Shell Ci, displayed a kind of heroic style. In both of her collected ci works, natural and concise is the style pervading in each of her ci poems, just as Miu Yue said, “No matter in North or South Song style, her beauty is like lotus coming out of water.”
2012 Vol. 0 (27): 168-179 [
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The Value and Influence of A Study of South-Crossing Ci Writers Generation in the Song Dynasty
Guo Hongxin
Abstract:
A Study of South-Crossing Ci Writers Generation in the Song Dynasty is a creative and important book in the history of ci poetry research. The writer of the book draws the outline of the development of Song Ci with the conception of “generation”(which he defines the first time) and “form”, which makes the description credible. The emphasis is placed on ci writers generation study. The writer explores carefully the rich inner world of the south-crossing ci writers generation in the Song Dynasty.
2012 Vol. 0 (27): 180-188 [
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Ci Poetry Research in Recent 50 Years in Korea
Jin Xianzhu
Abstract:
This thesis makes a survey of ci poetry reseach in recent 50 years in Korea, concerning the research of Chinese ci and Korean ci. Beginning from 1958, with Cha Chu Whan’s Li Qingzhao study, Korean research of Chinese ci poetry reaches its active period in 1990s, with 130 theses and works published. After 2000, a new trend appeared in the research of Chinese ci poetry ---interdisplinary study. Korean research of Korean ci poetry began from 1960, with Xu Jingpu’s A Study of Yizhai Ci. Till now, more than 40 theses, 6 degree theses and 3 books have been published. This thesis also makes a study on the influence of Chinese ci literature upon Korean literature, especially upon Koryo literature.
2012 Vol. 0 (27): 189-209 [
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The Korean Acceptance of Tang and Song Ci Poetry
Li Jianliang
Abstract:
Collected Korean Ci Poetry in All Ages, edited by Ryu Gee Soo, a Korean scholar, has collected more than one thousand ci poems by 140 ci writers in Korean history from Koryo Dynasty (918-1392) to Korea Dynasty (1392-1910). Most of these works have displayed Korean acceptance of Chinese Tang and Song ci poetry. Chinese ci writers like Su Shi, Qin Guan, Zhu Xi, Li Bai, Bai Juyi, Liu Yong, Xin Qiji, Yue Fei, Lu You, Li Qingzhao, etc. are all the ones to be imitated. Through analysis of Korean acceptance of Tang and Song ci poetry, we can find Korean ci writers’ writing characters and literary orientation. A kind of lyrical literary form in China has become a literary style to explore Zhuxi’s Theory in Korea. This has showed the unique character of Chinese literature in its overseas spread.
2012 Vol. 0 (27): 210-223 [
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Korean Sinologist Cha Chu Whan’s Ci Research
Zhou Qian
Abstract:
Beginning from 1960s, Chinese ci research in Korea has witnessed great achievements in the past half century, in which many scholars have made great contributions. Cha Chu Whan, one of the famous scholars, is the pioneer of Chinese ci research and an authoritative sinologist. Mr. Cha’s research can be divided into three periods: the initial stage of 1960s; the high developed stage of 1970s-1980s; the full developed stage of 1990s. His contributions mainly lie in three aspects: the research on writers and their works; the research of Dunhuang ci poetry; the research of Korean ci poetry.
2012 Vol. 0 (27): 224-236 [
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A Chronicle of Ye Yanlan
Xie Yongfang
Abstract:
Ye Yanlan was an outstanding ci writer in Guangdong area during late Qing Dynasty, known as “the representative of the southern ci writers”. His ci poems, together with Shen Shiliang’s and Wang Quan’s, were inscribed as Three Ci Writers’ Works in Lingnan Area by Tan Xian with wide spread. His students like Pan Feishen, and his offspring like Ye Gongchuo were well known for their ci poems and had great influence on ci circles in Lingnan. With firsthand materials, this thesis makes a detail research on Ye Yanlan’s family, life, social intercourse and writing and puts them into a chronicle of his life.
2012 Vol. 0 (27): 237-306 [
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Letters of Wan Yunjun about Ci Research
Compiled by Shi Yidui
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Wan Yunjun (1910---1994), alternative name Xi Xiao, Wang Zhu, from Nanhui, Jiangsu Province (Today it is under the jurisdiction of Shanghai), famous ci poetry researcher. He was a student of Wu Mei, the famous ci researcher. This article collects 18 letters about ci research from Wan Yunjun to the writer.
2012 Vol. 0 (27): 307-323 [
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Ci Criticism from Red Lotus Room & Ci Criticism from Tying Spring House
written by Liu Zhelu, Yang Fenruo
Abstract:
Ci Criticism from Red Lotus Room, written by Liu Zhelu, published by New Story Magazine, appeared in series in New Story Magazine 1961, Volume 2 (1, 4, 5). Liu Zhelu, appellative: Jingjiang, given name: Zhelu. He was from Shaoxing, Zhejiang Provine, a student of Chen Yan, member of South Society. Ci Criticism from Red Lotus Room, with 26 pieces in all, boasts its unique views on ci style, ci realm and modern ci writers. This article’s annotation is based on New Story Magazine edition. Ci Criticism from Tying Spring House, written by Yang Fenruo, published in Women Times in 1912 (No. 7). Yang Fenruo, from Changshu, Jiangsu Province, daughter of Yang Yunshi, wife of Bi Zhenda (Yi Hong). Her works included Poetry Criticism from Tying Spring House, Ci Criticism from Tying Spring House, and Selected Ci of Green Window Red Tears, a collected work of ci poems by women ci writters in Qing Dynasty. Ci Criticism from Tying Spring House, with 20 pieces in all, are mainly on women ci writers in Qing Dynasty, with intellectual remarks included.This article’s annotation is based on Women Times edition.
2012 Vol. 0 (27): 324-338 [
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2012 Vol. 0 (27): 339-351 [
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Heng Daxin Ou Mingjun
2012 Vol. 0 (27): 352-359 [
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360
Chen Zumei
2012 Vol. 0 (27): 360-363 [
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906
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229
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364
Hu Yingjian
2012 Vol. 0 (27): 364-368 [
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369
2012 Vol. 0 (27): 369-369 [
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1004
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