頁籤選單縮合
題名 | 節奏的理論及實踐--覃子豪大陸時期的詩論及詩作=Theory and Practice of Rhythm: Study of Chin Tzu-Hao's Poetry and Theory in Mainland Period |
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作者 | 林秋芳; Lin, Chiu Fang; |
期刊 | 南亞學報 |
出版日期 | 20061200 |
卷期 | 26 民95.12 |
頁次 | 頁339-350 |
分類號 | 851.48 |
語文 | chi |
關鍵詞 | 覃子豪; 節奏; 新詩; Chin Tzu-hao; Rhythm; Chinese new poetry; |
中文摘要 | 覃子豪對於節奏的論述、作品的實踐,來臺前和來臺後有部分的承續和轉變。最早期的作品有格律詩的風格,節奏的表現兼具視覺的勻整和聽覺的和諧;抗戰期間的作品則傾向實用,強調詩必須講求節奏而非韻律,如此才能夠朗誦,以服務於政治;來臺後雖然依舊貶斥韻律、肯定節奏,但已不再強調詩的朗誦的功能,轉而探尋節奏產生的內在情緒、呼吸動脈。由此,明顯可看出節奏在覃子豪的詩論及創作中,連續又斷裂的要義。 |
英文摘要 | To the argumentation of the rhythm and the fulfillment of the works, Chin Tzu-Hao had the part to inherit and change before coming to Taiwan and after coming to Taiwan. The work that the expected at the earliest stage contained the style of metrical poems. On the performance of the rhythm, this work had the integrity of the sense of vision, and the diapason of the sense of hearing. During the period of war against Japan, his work inclined to practical. He emphasized that the poem must stress the rhythm, not metre. Such, the poem then could read aloud enough, and serve in the politics. After coming to Taiwan, he still denounced the metre, and affirmed the rhythm. He had already no longer emphasized that the poem read aloud, but inside motion and the breath pulsations that inquired into the rhythm. Therefore, in the poem theory and creations of Chin Tzu-Hao, the meaning that rhythm had consecution and slits obviously. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。