| 英文摘要 |
Abstract
By taking Li Yu’s Ci-Poetry as subject, applying the western Reception Aesthetics theory as research method, and surveying plenty material for quantitative analysis, this dissertation is planned to explore the readers’ perception, evaluation, and imitation on Li Yu’s Ci-Poetry over past dynasties.
In order to highlight the development track against historical horizon, the author takes “one-dimensional diachronic structure” to organize the chapters by taking the order of dynasty as one axis as well as taking “CiHua, CiLun”, “CiXuan, CiPu”, and “re-creations” as another axis for elaboration made in chapters. Then, the reception situations of Li Yu’s Ci-Poetry in the past are analyzed and generalized.
Through the diachronic and synchronic texture, the full picture presents the readers in the past with different features in terms of aesthetic orientation, focus of attention, and reception in width and depth, also the phenomena of continuity, growth or decline, and echoing are investigated based on the narrations made in the history. The overall study is divided into five chapters, and the key points of each chapter are presented as follows:
Chapter one “Introduction”: clarify the motivation, purpose, method, and scope of this study; and review the previous research outcomes.
Chapter two “The History of Literary Reception in Li Yu’s Ci-Poetry in Song Dynasty”: political position made influence on that people in Song Dynasty especially focused on the anecdotal stories about Li Yu and his ci-poetry, and general impression made on Li Yu’s Ci-Poetry was as the words “the tune presaging the fallen state is sad and meditative”. Refer to the ci-poetry criticism, CiXuan, only Zun-Qian Ji, edited in the early time period of Northern Song Dynasty, collected more pieces in number of Li Yu’s Ci-Poetry, however ci-poetry collection, CiXuan, made in Southern Song Dynasty, didn’t favour it much. Among four re-creation types of ci-poetry, i.e. “HeYun”, “FangNi”, “YinGua”, and “sentence-following”, in number wise “sentence-following” was the majority.
Chapter three “The History of Literary Reception in Li Yu’s Ci-Poetry in Ming Dynasty”: people in that time tended to indulge themselves in a life with pleasure, comforts, and arts; their life style is so similar to Li Yu’s that they adore Li Yu and his ci-poetry. They gave Li Yu not only lofty status in Ci-Poetry history, but also various comments to express their sympathy to his ci-poetry, which resulted in many anthologies containing his ci-poetry as top one in quantity in Tang and Five Dynasty. However, as to re-creation part, there were only two types, i.e. “HeYun” and “sentence-collecting”; it was also less in quantity.
Chapter four “The History of Literary Reception in Li Yu’s Ci-Poetry in Qing Dynasty”: the reception situations on all aspects are quite flourishing in this dynasty, such phenomena was highly related to the background of the revival of ci-poetry in that time. Refer to ci-poetry criticism, “CiHua” and “CiLun”, both stories and comments related to Li Yu’s Ci-Poetry could be equally focused on; also two new manners, “LunCi JueJu” and “LunCi ChangDuanJu”, were in place. As to ci-poetry collection, “CiXuan”, the piece number of collection depended on the criteria of each ci-poetry school. On the aspect of re-creation, apart from “HeYun”, “FangNi”, “YinGua”, and “sentence-collecting”, another new type “on picture ci-poem” was there as well, so if counting in “LunCi JueJu” and “LunCi ChangDuanJu”, there were seven re-creation types in place. Among these types, the “LunCi JueJu”, “HeYun”, and “sentence-collecting” were considerable in quantity wise.
Chapter five “Conclusion”: summarize the reception situations of Li Yu’s Ci-Poetry in all the past dynasties; point out and compare the features of reception in each dynasty and give overall and relevant criticism to Li Yu’s Ci-Poetry.
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