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題名 | 一片琉璃照影空--吳綃《嘯雪庵詞》研究=The Woman Who Approachesd Buddha Wholeheartedly--Study on Wu Hsiao's Sing Snow Hous's Ci-Poetry |
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作者 | 蘇菁媛; | 書刊名 | 臺中教育大學學報. 人文藝術類 |
卷期 | 22:2 2008.12[民97.12] |
頁次 | 頁1-23 |
分類號 | 821.936 |
關鍵詞 | 吳綃; 嘯雪庵詞; 明清才女; 晚明女詞人; 晚明閨秀詞人; Wu Hsiao; Sing Snow Hous's Ci-Poetry; Female variant in the declining years of the Ming dynasty; Female poet in the declining years of the Ming dynasty; |
語文 | 中文(Chinese) |
中文摘要 | 吳綃(1615?--1671),字冰仙,一字片霞,號素公,江蘇長洲(今蘇州)人。通判吳水蒼之女,巡道許瑤(字文玉、號蘭陵)之妻。資質明慧,幼年喜讀書,能書畫詩詞以及絲竹。歸嫁許瑤之後,因夫婿浪蕩的生活與多內寵,讓吳綃對婚姻生活相當失望,故將生活的重心轉向佛道與詩文,追求心靈的安頓與寄託。 吳綃詞有《嘯雪庵詩餘》56首。因作品長期的隱沒不彰,歷來詞評家對吳綃詞作少有述及。趙尊嶽編《明詞彙刊》以之爲明代閨秀詞人的代表,張仲謀《明詞史》亦以爲「吳綃詞工力較深,蓋不止以詩詞爲才女之徵或閨閣生活之點綴,而直欲以此爲生涯。」 本文作內容、形式技巧與風格等方面來探究吳綃的《嘯雪庵詞》,發現整體而言,其詞作內容主要仍不離傳統閨秀敘寫「閨怨」的範疇,但在理想精神境界的追求上,無疑是時代女子在多讀書識字之後偏重精神愉悅的具體表現。另外與當代詞壇作手曹爾堪(1617-1679)的唱和,亦可視爲女子社會地位提昇的證明。而在時代氛圍的激盪與欲以詞爲名的自期下,吳綃在形式技巧上亦取得了使調名與詞意相諧會、融合書卷經驗、鋪敘縝密多變、重視修辭技巧等重大的成就,從而形成其詞清麗婉約的特質。 |
英文摘要 | Wu Hsiao (1615?--1617) was the daughter of Wu, Shua-Shun and married to Li Yao. She was intelligent and versatile. But her husband was profligate, she was sad. She took Buddha and creation as life center of gravity and sought the mind to be calm and reposing. There were 56 Ci-poems in Sing Snow Hous's Ci-Poetry. Because the work was buried for a long time, there were few literature criticisms discussed her work. The classical literature researchers thought Wu Hsiao was the representative of female poet in the Declining Years of the Ming Dynasty. This article discussed Sing Snow Hous's Ci-Poetry from the content and the form skill. From the whole, the work ecpressed the female's sadness. In the ideal spiritual boundary pursue, it was the concrete manifestation that female studied. The poems with Cao, Are-keon (1617-1679), were the proof that the female social position promotion. There were so many achievements on the form skill that simple and beautiful composed special characteristic of her work. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。