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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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Based on ancient Chinese Poetry from the history of the development point of view, the fact that Ming Yong and Hu Yinglin and others poetics directly impact on the Yu?yang can be said an impartant part of the transformation from the seven sub?camp style to the Yu?yang’s “Verve.”
There are a lot of reserachers who study poems with “Verve”such as Hu Ying?lin, Lu Shiyong, and Wang Fu?chin. The unity of “Xing as Aeolus”and “Physical Tone,”asserted by Hu Ying?lin on the poem impacts on the integration between the “style” and “charm”theory.
As Lu Shiyong said, “charm” is an experssion of the feelings in the work and it must describe an spirit and energetic. Thus, Lu Shiyong criticized the rhetoric of Jin Dynasty has no truth, no spirit, and no “charm,” but he says the “feeling” is often “never to describe and it only implies a simple poetic heart as Tao said. Although Lu Shiyong asserts the necessary of unify between “the ancient division” and “teacher heart,”he did not think that any wayward emotions can be a great poetry which obtans “charm.”
In this study, the similarity was found between “charm” theory and of the Poetics of Yuyang’s “Verve.” In fact, Wang Fu?chih in his later years on the poems frequently criticized such as “ancient poetry selected,” “Tang Award,”“Ming Poetry Award,”and so on. Those are delighted with criticizing poerties with the concept of “Verve”that are smiliar to the ideas of Yuyang’s “charm.” Those points illustrate that an aesthetic concept of the “Verve”is very colsely and deeply related to the traditional Chinese poetry. In different times or times close to, the critic of poetry used to construct their own poetic criticism theory because they sometimes feel a number of issues of common existence.
This study showed to be better able to get a clearer experssoion with respect to inheriting the realtionship between Yuyang’s “Verve” and Ming Dynasty Poetics “Verve” and the theoretical origins by analzing the “Verve” theory related with three men.
There are a lot of reserachers who study poems with “Verve”such as Hu Ying?lin, Lu Shiyong, and Wang Fu?chin. The unity of “Xing as Aeolus”and “Physical Tone,”asserted by Hu Ying?lin on the poem impacts on the integration between the “style” and “charm”theory.
As Lu Shiyong said, “charm” is an experssion of the feelings in the work and it must describe an spirit and energetic. Thus, Lu Shiyong criticized the rhetoric of Jin Dynasty has no truth, no spirit, and no “charm,” but he says the “feeling” is often “never to describe and it only implies a simple poetic heart as Tao said. Although Lu Shiyong asserts the necessary of unify between “the ancient division” and “teacher heart,”he did not think that any wayward emotions can be a great poetry which obtans “charm.”
In this study, the similarity was found between “charm” theory and of the Poetics of Yuyang’s “Verve.” In fact, Wang Fu?chih in his later years on the poems frequently criticized such as “ancient poetry selected,” “Tang Award,”“Ming Poetry Award,”and so on. Those are delighted with criticizing poerties with the concept of “Verve”that are smiliar to the ideas of Yuyang’s “charm.” Those points illustrate that an aesthetic concept of the “Verve”is very colsely and deeply related to the traditional Chinese poetry. In different times or times close to, the critic of poetry used to construct their own poetic criticism theory because they sometimes feel a number of issues of common existence.
This study showed to be better able to get a clearer experssoion with respect to inheriting the realtionship between Yuyang’s “Verve” and Ming Dynasty Poetics “Verve” and the theoretical origins by analzing the “Verve” theory related with three men.
목차
一、小引
二、胡?麟的??“神?”?
三、??雍的“神?”?
四、王夫之的“神?”?
五、??
參考文獻
Abstract
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