唐代載錄詩事小說的叙事探究－以《本事詩》、《雲溪友議》爲考察中心

'Wine' was one of the most important symbols and subjects existed witin the tradition of Chinese poetry; and the correlation of 'wine' and 'red' truly had their own literary symbols. The correlation of those two words were started to emerge among the poems during the end of the Sui Dynasty. After that, a lot of poets in the Tang Dynasty also followed the expression of 'wine red' into their poems. There were three symbols beneath this expression. Firstly, conveying the sorrow of unfulfillment at the end of life year. Next, protraiting the beauties when they were drunk. Finally, displaying the feasts and parties. However, in the Song Dynasty, there were no other breakthrough toward the use of 'wind red' until the appearance of Su Shi. He broadened the interpretation of 'wine red', which had indicated as the elderly, whom had a young face. In terms of ”Innovative Thinking”, the author discussed how Su Shi innovated the new concepts and expressions, which were based on the previous prototype. According to the references the author had found, the main poetic features could be divided into half. Firstly, Su Shi were used to contradict the forms and meanings of the poems to develop the new symbol. Secondly, he was not only to follow the traditional symbol of 'wine red', but also think outside the framework. As the typical example of the method of ”Changing the Bones and Altering the Fetus”, this method initially appeared in Leng zhai Poetry Talks (Monk Hui Hong,); and the following poetic productions in the Song Dynasty were all cited or succeeded this mehtod. Hong Mai (Rong Zhai Essay), however, came up with his opinion on Su Shi's poetic features. He stated that Su Shi could be based on the traditional poetic symbols and innovated into the novel interpretations of 'wine red', which had never been achieved by the rest of poets. Therefore, in the light of prototype shift of 'wind red' symbols, the auther would explicate how Su Shi could base on the mainstream poetic state, which advocated as ”Meticulous Concept and Expression” in the Song D ynasty, to establish his own poetic state of ”Innovative Concept and Expression”.

YU XUAN JI (844-868) original name is YOU WEI, the character HUI LAN, after has become the taoist priest only then changes name the profound and abstruse principles. Had been born dies in the Huichang four years at salty passes for nine years, is the late Tang renowned female poet. ”The Entire Tang poem” center coexists poem 50, lively way takes the words and expressions utilization. The literature is the mind performance, is emotion expressing, is author personality consciousness presenting, the poetry as ever. We may clear see the poet because the life informed and experienced molds idea and idea, because the living conditions forms the sentiment will and the mind palpitate, the poetry because may say is the easy moving literary work. The Tang Dynasty has written down a radiant page take the poetry as the Chinese history of literature, is famous male, the female poet, too numerous to cite individually. But with is the female, regarding in more than thousand years ago under the treatment of women as inferiors social environment, the literature always is the field which the male does farm work, feminine literature creator, but is in the garden not the grass which gazes. Can leave a good name the poetic world feminine poet, do the fish profound and abstruse principles, how are in particular become a female distinctively to realize, the talent and good looks outstanding writer? Therefore this article from initiates ” is easy to obtain the treasure, is not easy to find the spouse.” the resentment sighs, searches analyzes the profound and abstruse principles life highly talented life thin erroneous love and does not let have the eyebrow literature achievement.

Du Fu杜甫 composed a poem entitled ”An Official Pavilion at Xiangji Temple in Fucheng District.” Up until the Tang dynasty, Fucheng District涪城縣 belonged to Mian Prefecture綿州, Jiannan Circuit劍南道, but became a part of Zi Prefecture梓州 in 778. Qi District郪縣, where the government of Zi Prefecture was located, is today known as Santai County三台縣 in Sichuan四川 Province. The official pavilion referred to in the poem was located on the slope of Yunfeng Mountain雲峰山, south-west of Fucheng dyke涪城壩 in the Anning district 安寧區of Liuying town, Santai County. It was situated at about 31°15'35.73” N, 104°56'55.06” E, at an elevation of about 461m. Yunfeng Mountain is referred to as Xiangji Mountain in ancient documents. Historical commentaries on poetry for the most part only ponder the meaning of poems, and the famous commentators of this poem were no exception. The ”Rock Inscription at the Official Pavilion” dating from the Song dynasty was discovered by the Santai County government in 1993. I went there in September 2006 to study the site, checking its location with GPS and taking pictures with a digital camera. I consulted Google Earth Pro's satellite map database, and in combination with an examination of ancient geographical records, I asserted that it is indeed the spot that was the subject of Du Fu's composition. I subsequently made a new interpretation of the poem, correcting the traditional commentaries based on the conditions at the site.

A poetic text has its own aesthetic values through its form and language. This statement was proposed by a movement called Formalism and later was known as New Criticism. The movement assumed that the aesthetic qualities of a poem are revealed in its poetic devices such as imagery, meter, symbol, and the like. New Critics assumed that an interpretation of a poetic text in regard to the author or the historical background will bring about what they called as the Intentional and Affective Fallacies. Otherwise, a poetic text will convey a certain meaning through its own devices. New Critics assume that language devices of poetic works embody some paradoxes or discordant and contrary qualities. Not only focusing on ambiguity, irony, and paradox, the New Critics also find out a tension or a reconciliation of the conflicts through a close reading on the poetic devices of the works themselves. Meanwhile, a poetic work will also suggest a certain central idea or theme. In this case, a close reading of the two poems is meant to find similarities and differences of the tension and theme in both poems. Key Words: Formalism, New Criticism, Tension, Ambiguity, Irony, Paradox, the Intentional and Affective Fallacies

Os registros orais, desprovidos de grande elaboração retórica, marcam os relatos familiares e os depoimentos sobre episódios marcantes e particularidades aparentemente menores dos grandes conflitos, como a Segunda Guerra Mundial. A memória oral cumpriu uma importante função de transmissão da história, especialmente ao legar para o registro escrito a sistematização dos testemunhos, revelando memórias pessoais na forma de cartas, diários e narrativas, além de se incorporar a várias obras de ficção. Neste trabalho apresentamos o valor de testemunhos de ex-partigiani reunidos no volume Io sono l’ultimo (Eu sou o último) como evocação e transmissão de lembranças pessoais extremamente ligadas ao conflito e como manifestações no âmbito literário. A valorização de uma tradição de comunicação das lembranças pelos descendentes e pelos compatriotas torna o testemunho de homens e mulheres que lutaram pela libertação de muitas localidades italianas muito mais que relato fragmentado quando os leitores interessados na memória dos que sobreviveram, integrada à micro-história dos acontecimentos, percebem a sua lógica expressiva. Exploramos tanto o sentido de testemunha adotado por Giorgio Agamben, quanto o valor estético da voz traumatizada na perspectiva de Márcio Seligmann-Silva.

Yirminci yüzyılın başlarında, modernist yazarlar gerçekliğin geleneksel temsili ifade biçiminden uzaklaşarak yeni deneysel anlatım teknikleri ile karakterlerin iç dünyalarına ve içsel düşünce akışlarına yönelmişlerdir. Modern İngiliz edebiyatında kullanılan anlatım teknikleri yazarlar tarafından hem benzer hem de farklı biçimlerde sunulmaktadır ve bu da her yazara özgün yazım teknik ve yöntemi kazandırmaktadır. Karşılaştırmalı yöntem kullanan bu çalışma modern romanın en önemli iki özgün yazarı olan Woolf ve Joyce’un romanlarını kullandıkları anlatım teknikleri türleri açısından inceleyerek bir sentez sunmaktadır. Woolf’un duyarlı, döngüsel ve sarmal kadın anlatımı ile Joyce’un sınırlı noktalama işaretleriyle, rasyonel, doğrusal ve sinematik anlatımı bu ayrıma birer örnektir. Ayrıca Woolf’un varolma anlatı tekniği Joyce’un tezahür (epifani) tekniği ile hem benzeşir hem de ayrışır. Her iki yazar da farklı üslup, stil ve yöntem aracılığıyla tıpkı bir nehir gibi akışkan olan zamanda ileri ve geri giderek tek bir güne sığan anlatıları ile karakterlerin ruhsal deneyimlerini, duygu ve bilinç akışlarını ortaya çıkartırlar. Bu bağlamda bu makale modern İngiliz edebiyatında bilinç akışı, iç monolog, serbest dolaylı söylem, tezahür (epifani), varolma anları gibi modern anlatım tekniklerini ustaca kullanan iki öncü yazar olan Virginia Woolf ve James Joyce’un yazı tekniklerindeki benzerlikler ve farklılıkları karşılaştırmayı amaçlar.

The Jewish Woman Poetry in the middle-age not represent a field of study in itself because most of the evidences of women literary production had not been part of Jewish Literary Heritage. Considerable exeption, Islam represent a context in wich woman writings have been not only transmitted but also seen as a part of the literary tradition. Relating largerly upon two literary sources, the Nuzhat al-julasâ' fi ash'âr al-nisâ of Suyuti (1445-1505) and the Nafh al Tib min ghsn al-Andalus of al-Maqqari (1578-1632) this article would like to focalise the poetical production in classical arabic of Qasmuna Bint Ismâ'il bin Baghdalla al-Yahudi, one of the very few Jewish Poetess lived in al- Andalus between XI-XII century. Both the sources quotes the Rayât al-mubarrizin wa-ghayât al-mumayyzin, the Geographical, Historical and Literary work of the famous Andalusian Historian Ali Ibn Musa Ibn Sa'id al Magribi al-Andalusi (1213-1286) manuscript in a large part losted. Aim is to focus the poetical production of Qasmuna Bint Ismâ'il al Yahudi and his transmission through Arabic Anthologies dedicated to the Arabic Literary Tradition in al-Andalus and Islam. More than her religious belonging to Islam as a religion, the main reason for the transmission of Qasmuna's collection of poems seem to be the language and the style of composition, as well as her andalusian origins. For the nature of relations between Jewish communities and Islam in the Middle Ages, arabic historiographical sources become a cross-cultural narrative setting for Jewish and Islamic History, and their study fundamental in order grasp the develop of Jewish Thought in Middle Ages.

Critical discussions in the new millennium have augured an interracial turn in both theories and literary scholarship. This paper argues that interracial harmony is the American dream of racial relationships that American writers, including Ha Jin, explore in literary narratives and poetry, and I will illustrate this American dream of interracial harmony with his novel A Free Life and examples from other novels and poems. Through four of John E. Farley’s models of racial theories this paper analyzes collaborative interracial relationships in the division of labor, adoption, romance, and friendship in Ha Jin’s novel A Free Life, while advancing a relational interracialism, a term I coined as a viable theoretical grappling with the subject of race between races. Relational interracialism studies the relationality between races and suggests that multiculturalism in practice can be revised so that interraciality is premised on interracial cooperation and cultural infiltration with conflicts constrained within a resolvable range. A Free Life starts constructing an American dream of modern human relations and emotions less in their contradictions than in their relationality in which cooperation and mutual infiltration supersede conflicts to define interraciality. Ha Jin in A Free Life, Nanjing Requiem, A Map of Betrayal, and poems and John Okada in No-No Boy paint a vision for the time to follow.

Due to the frequent use of commonplaces, scholars have characterized Dutch 18th-century poetry about the fatherland as trivial and ‘empty’. While reading one of the most famous collections of Dutch patriotic poetry – Jacobus Bellamy’s Vaderlandsche Gezangen (1782-1783) – this article critically examines this supposed ‘emptiness’ of the patriotic poem. The non-referentiality of modern patriotic discourse as defined by Elaine Scarry in The Body in Pain (1987) will be the starting point of this examination. How could concepts like ‘Fatherland’ and ‘Freedom’ hide the (bodily) reality behind the heroic ‘death for the fatherland’? To answer that question, two discursive strategies that seem to apply to the poetry of Bellamy are analyzed: the dissipation of words and a strategy of ‘overnaming’ on the one hand and and a strategy of silence on the other. The explicit presence of the poetic subject in Bellamy’s poems and the reciprocity of patriotic inspiration between poet and reader give possible explanations for these frictions between overpowered speech and silence in the Vaderlandsche Gezangen.

Normal 0 21 This article aims to relate the performance of the actor with many forms of narrative on the scene, as a dramaturgy built upon the creative work of the actor. In this case it will be investigated the process of creation of the actors in the narratives of war of Amok: Dragao (2008) and Kabul (2009) as a poetic transposition of that reality. How create teatralite and talk about the private life of people from a distant and cruel world? The narratives taken from Internet sites, testimonies and images were appropriated by the actors for a montage of boards. The performance of the actor acts like an insert dramaturgy by the gestuality that creates micro-narratives spacing the text. Keywords : performance, actor, narrative

文體的改革與整頓乃是論及唐代古文運動之時無法避開的核心課題。要觀察改革文體所帶來的影響的其中一個方法，就是通過分析古文的寫作、古文家文集的文體分類與編次，去探索、比較中晚唐人古文家的文體觀在古文運動前後的異同。而唐代以文體作為編次體例，得以保留原貌的傳世文集已不多見，但恰恰以與古文運動關係密切之文人文集居多，主要為獨孤及《毘陵集》、韓愈《昌黎先生集》、杜牧《樊川文集》這三家文集。其中在古文方面最受矚目者，當屬元和古文運動領袖，韓愈無疑。因此，要從文集編集的角度去視察文體觀念的演變，與唐代古文運動的關聯及其重要性，革新文體、積極打破文體規範的韓愈是最為關鍵的標誌。獨孤及作為古文運動先驅人物，對韓愈啟發良多；杜牧雖非韓門弟子，但推崇韓、柳文，是晚唐古文成就較豐厚者，兩者分別處於在韓之前後，極具代表意義。以李漢編《昌黎先生集》為中心，其前有梁肅編獨孤及《毘陵集》，其後有裴延翰編杜牧《樊川文集》，這三位編者與上述三位作者的文體觀可作為觀察古文運動前、中、後期三個階段文體觀變化的代表人物。藉此，本文以韓、獨、杜三人的文體觀為主，梁、李、裴三人的文體觀為輔，釐清古文運動前後文體觀的變化，檢視韓愈改革古文文體的貢獻與影響。 觀獨孤及所作諸文，多恪守文體規範。其墓誌銘的撰寫，如〈唐故大理寺少卿兼侍御史河南獨孤府君墓誌銘〉按照一般墓誌寫法，一一交代墓主姓名、家世、生平等；其贈序寫作，如〈送李白之曹南序〉雖加入抒情筆調，但仍以贈人以言的舊有寫法下筆，並非變體；其詩文集序之作，如〈唐故左補闕安定皇甫公集序〉，意在強調宗經復古之文學主張，不脫此前的詩文集序之格局。梁肅乃獨孤及門生，於獨孤及死後著手編次《毘陵集》。此文集的編輯體例清晰分明，篇章的文體歸類合理有致，主要參《文選》先賦、詩後文的體例編排，而各文體再以先公後私、先生後死之標準編次。各文體內部均按照寫作年代排序，部分文體內部更出現按照體裁內容之雅俗、主次、尊卑、親疏等原則，先分組再編年的方式。同時，梁肅也將作者列為考量因素，在文集的編次裏作出符合獨孤及古文理念的調整。 韓愈不受傳統文體觀的規範，精準捉住文體通變的要義，以之為革新文體的基礎。而韓之「雜著」如「五原」、〈雜說〉、〈張中丞傳後敘〉、〈畫記〉等，是他破體為文的表現。他被指責是「以文為戲」，「多尚駁雜無實之說」，正好反映出他空前的、新穎的文體觀。他的破體為文可以看成是以戲的方式為文，做一種打破文體體製與範疇的實驗。而這樣的作法，確實衝擊了唐時固有的文體觀，李漢的文體觀就能反映出這一點。他是韓愈門生兼長女女婿，其為退之編《昌黎先生集》，所採用的編次手法十分特別。雖然李漢仍按賦、詩、文的慣例編排文集，但是他在編次概念上已經與梁肅有很大的差異。他將退之極具特色的古文歸入「雜著」一體，列其於賦、詩之後，為眾文之首，是前所未有的，連帶影響其他文體的先後排序。他紊亂不明的文章分類原則以及文章歸類方法，引發後世學者廣為討論，認為他既為韓愈門生，卻不知韓愈為古文之深義，而致有如此多的疏失。這反映韓愈古文運動所帶來的文體觀念改變，李漢的文體觀已有所鬆動，進而使得他面臨在辨體上進退失據的窘境。 出身名門的杜牧尚儒學、習兵術、工詩文，自負經緯才略，以光耀家門、振興國家為志。他喜好韓柳古文，進而影響其文體觀。他多創作古文，用不同的文體如制誥、傳、序，進行議論，如〈燕將錄〉、〈竇烈女傳〉、〈注孫子序〉，也有「雜著」類作品，如〈原十六衛〉、〈論相〉等，都可視為破體為文的表現，可見其志雖不在破體、亦不以文為戲，但文體觀與韓愈之前的獨孤及相比，已經大為鬆動。裴延翰為杜牧外甥，受杜牧所託，為之編《樊川文集》。相對李漢，裴氏的編次十分整煉，條理清晰。先賦、詩而後文的編次舊例依舊出現在杜牧集當中，而編者也多依照傳統手法，主要以寫作對象官職之高低、與作者關係之親疏為排序原則，再以文章的編年次第為輔。《樊川文集》編次的另一重點，在於杜牧曾自毀文稿，焚餘篇章理應更能表現杜牧文學指標之依歸。而延翰刻意將難以歸類的杜牧古文置於眾文體之前，與李漢標舉雜著的手法類似，表現裴氏在編集上對傳統體例與新式手法的吸收，在舊有的文體觀和韓愈的新文體觀之間作出他自己的調適。 通過對照上述三者，我們得而觀察他們的文體觀，理解他們對於古文創作的價值取向、功能定位與審美標準，將此與古文運動的發展和文集作者的文學思想作對照，也就能從中了解韓愈所引領的古文運動對唐人文體觀所帶來的衝擊與影響。

I Joseph Bedier’s Roman de Tristan et Iseut is studied in relation with the scientific and epistemological point of view of the author, and also with his antigermanism. The narration modernizes the formularity and corality typical of medieval poems, and shows characteristics belonging to the French symbolism, especially to Mallarme’s poetry and its clarte , in opposition to Wagnerian obscurity. In Le vin herbe Frank Martin intensifies the tendency to clarte and corality, the antiwagnerian implications of the romance, composing, during the second world war, his masterpiece, a hymn to consolation and solidarity. II The purpose of this study is to put Le vin herbe in the context of Martin’s long creative iter and of its related, complex cultural frame, and to reassess the common opinion of the composer’s neoclassical relationship with the great musical and literary works of art of the past, who so deeply fascinated him. A relationship which can be better understood in the light of Martin’s peculiar aptitude for approaching the past through some splendid creative interpretation of his own time.

This study describes the historical development of the Setswana novel, between 1940 and 1980. The thesis discusses the salient features of this tradition such as shared themes, stylistic features, structural and technical patterns and features. The period selected for the study covers the establishment of a written tradition. The study makes occasional reference for comparative purposes to the later period, which falls outside the current framework. The study is divided into eight chapters. Chapter One introduces the study, highlights the geo-political distribution of the native speakers of this language and some aspects of their culture, outlines the aims of the study, proposes questions that guide the interpretation of the findings of the study and reviews other works on the Setswana novel. Chapter Two creates the building blocks of the text by describing historical events and situations that led to creative writing in Setswana. The areas discussed are the Christian missionary contribution to literacy in Setswana, orthography and representation of the Setswana sound system and the early stages of literary production in the southern African region. Chapter Three describes the features and eras of creative writing in Setswana. It discusses the development of Setswana novels from their oral antecedents, the conditions against which the early Setswana texts were written, the stages of development and the historical periods that characterise the unfolding history of Setswana literary activity. Lastly this chapter outlines the major themes found in the Setswana novels. Chapter Four discusses the journey/migration theme, one of the major themes that pervade the Setswana novel. This chapter considers the different forms of migration as reflected in the works, their significance and other related minor themes. Chapter Five discusses the love-marriage theme, another major theme that cuts across many texts. It is considered as a social activity as well as a complex and contentious subject, which has received a lot of attention from society at large. Chapter Six discusses the role of youths as the central characters in the Setswana novel. Central to this study are the views of the different writers on the aspirations and values of the young, especially against the background of the themes of migration and the city. Chapter Seven describes the narrative techniques and features of style discernible in the Setswana novels. This chapter is divided into two sections. The first section is concerned with narrative techniques in the conventionally written texts while the second deals with narrative techniques in the more complex works. Each section considers narrative techniques within the confines of the following: text structuring, techniques of description and characterisation. Chapter Eight concludes the study with a summary of principal findings followed by a general discussion. The appendices provide the summaries of some central texts and notes on some key authors.

Introduction: Narrative abilities have been shown as good predictors of reading skills and academic achievements. Assessment of narrative skills includes two parts of macro- and micro-structures. The current review systematically investigates narrative studies in terms of describing and comparing different narrative assessment methods to report adequacy of the methods in various contexts. Materials and Method: The search strategy included key words like “narrative skills”, “narrative in children”, “language skills assessment” and “narrative assessment tool”. Data bases included ASHA publication, PubMed, Science direct, Google Scholar, Cochrane, Wiley, IranMedex, IranDoc, and SID between 1946 and 2014. The abstract and title of papers were evaluated based on inclusion/exclusion criteria. Results: Sixty one out of 105 published documents were eligible to be reviewed. The reviews showed that children’s oral narratives are assessed through language samples. Various methods have been developed to measure children’s narrative skills including story generation, story retelling, and personal narratives. Moreover, different narrative assessment tools are developed to assess either narrative production or narrative comprehension in both levels of micro- and macro- structures. Except for Narrative Assessment Protocol (NAP), scoring procedures in other tools is transcription. Discussion: Familiar pictures and story retelling provide more complex and longer narratives. Narrative generation task is more difficult than narrative retelling task and is more capable to differentiate language disabilities. Narrative assessments recently available in Iran include NAP, SRT, and ENNI. Among them, it has been claimed that NAP is more user-friendly due to the convenient of online scoring procedure which needs further research. Key words: narrative, narrative assessment, language skills, children, systematic review

The translation is an important matter in cross-fertilization between peoples, cultures, and societies, and it is the most important means for foreign civilization learning. The translation aims at the intellectual, scientific, and cultural activity. If we briefly mention that translation is an integral part of development in general, by mediating between self-development that enriches identity with the creativity of others while protecting it from emotional reception thanks to the protective mediation. The book that we will analyze is the poet's book and Al-Manfaluthi has little poetry, as well as written for school students and collected information on Al- Manfaluthi Anthology. This research aims to find literary creativity in translating the poet’s book. This research results that literary creativity in translating the poet’s book was found by it is meanings with his taste and starts with words on the correct analogy, its ease and soundness from strangeness, ambiguity in composition, verbal or moral complexity, and the integrity of the composition abounds throughout the length of the book. Al-Manfaluthi created this novel from the representative template to the narrative template, in the style of the poet and his attractive poetic emotions so that the reader could enjoy the pages.