頁籤選單縮合
題名 | Rereading Pa-Ta Shan-Jen's Poetry: the Textual and the Visual, and the Determinacy of Interpretation= |
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作者 | 孫康宜; Chang, Kang-I Sun; |
期刊 | Tamkang Review |
出版日期 | 19920600 |
卷期 | 22:1-4 民80.秋-81.夏 |
頁次 | 頁195-212 |
分類號 | 851.47 |
語文 | eng |
關鍵詞 | 八大山人; 八大山人; Pa-ta Shan-jen; Chinese poetry; Chinses painting; Ming loyalists; White jasmine; Two birds; Interdisciplinary approach; Literary criticism; Poetic symbolism; |
英文摘要 | Reading Pa-ta Shan-jen’s poetry is akin to the pleasure of “reading” his painting-for both concern the unraveling of the play of symbolism, the ambiguous, unbounded symbolism which contains allusions within allusions, memories within memories, and lines that change meanings with continual reimagining and reexperiencing. In reading Pa-ta’s poetry, the critical focus is on the text, although in reading his painting the power of sight is inevitably dominant. In studying Pa-ta’s paintings and almost all Chinese painting, there is’ the constant demand to be involved with two powerful but opposed forces - the textual and the visual. In fact, today the “textual” dimension of Chinese painting has been forgotten by some modern art historians. From this stand point, deconstruction in literary criticism insists upon interdisciplinary approaches that erase boundaries that traditionally separate disciplines from one another. Even with interdisciplinary work, scholars in poetry and criticism tend to conceive of cultural products as “texts,” limiting the process of interpretation. Traditional Chinese literati held that the integrity of both textual and visual forces created the total context of writing and interpretation. This paper examines two of Pa-ta’s paintings and their inscribed poems: “White Jasmine" and “Two Birds” to explore possible textual and visual strategies the poet-painter may have used, and thereby derive from the possible conflicting meanings the interpretation which is “right” or the one which is most rewarding. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。