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Poetry in narrative: Meng Ch'i (fl. ...

Sanders, Graham Martin.

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Poetry in narrative: Meng Ch'i (fl. 841-886) and "True Stories of Poems (Pen-shih shih)".

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Poetry in narrative: Meng Ch'i (fl. 841-886) and "True Stories of Poems (Pen-shih shih)"./
作者:	Sanders, Graham Martin.
面頁冊數:	244 p.
附註:	Source: Dissertation Abstracts International, Volume: 57-05, Section: A, page: 2044.
Contained By:	Dissertation Abstracts International57-05A.
標題:	Asian literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9631650

Poetry in narrative: Meng Ch'i (fl. 841-886) and "True Stories of Poems (Pen-shih shih)".
Sanders, Graham Martin.

Poetry in narrative: Meng Ch'i (fl. 841-886) and "True Stories of Poems (Pen-shih shih)". - 244 p.

Source: Dissertation Abstracts International, Volume: 57-05, Section: A, page: 2044.

Thesis (Ph.D.)--Harvard University, 1996.

This item is not available from ProQuest Dissertations & Theses.

True Stories of Poems (Pen-shih shihXXXX, lit. "poems with their originating events") was compiled by Meng Ch'i XXX (fl. 841-886), an official who drew upon a variety of T'ang sources (anecdotal collections, prefaces, hearsay, etc.) for what he claims are true accounts of the circumstances under which certain poems were uttered. (A complete annotated translation of collated texts is provided in the appendix.) In the preface (dated 886), Meng constructs a canonical model of poetry as that which is produced when one is "moved to chant by encountering events," and which, upon reception, "causes one's feelings to well up"; but a close reading of the entries themselves yields a more complex picture. On the level of narrative discourse, the accounts do adhere to traditional concepts of narrative as a faithful record of the exterior and poetry as an authentic manifestation of the interior. When narrative houses poetry, it allows the poem to signify the emotional import of events in the story, to act as a testimony of the characters' feelings, and to affect the direction that events take in the story. However, an analysis of the social practice depicted in these accounts reveals a crisis of confidence in the efficacy of poetry as an emotionally suasive form of discourse. These "true stories" often show the use of poetry as a form of discourse contingent for its efficacy, not on any power inherent to its form, but on manipulation of the circumstances in which it is produced, uttered, and received, including by whom, where and when the poem is performed, or who comprises the audience. While critical discourse on poetry (at least to the end of the T'ang) is characterized by constant recursion to a closed set of canonical precepts, narratives about poetry create a space in which to portray the poem as a socially engaged form of discourse, a space in which canonical precepts can be questioned or even subverted.Subjects--Topical Terms:

2122707
Asian literature.

Poetry in narrative: Meng Ch'i (fl. 841-886) and "True Stories of Poems (Pen-shih shih)".
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520 $a True Stories of Poems (Pen-shih shihXXXX, lit. "poems with their originating events") was compiled by Meng Ch'i XXX (fl. 841-886), an official who drew upon a variety of T'ang sources (anecdotal collections, prefaces, hearsay, etc.) for what he claims are true accounts of the circumstances under which certain poems were uttered. (A complete annotated translation of collated texts is provided in the appendix.) In the preface (dated 886), Meng constructs a canonical model of poetry as that which is produced when one is "moved to chant by encountering events," and which, upon reception, "causes one's feelings to well up"; but a close reading of the entries themselves yields a more complex picture. On the level of narrative discourse, the accounts do adhere to traditional concepts of narrative as a faithful record of the exterior and poetry as an authentic manifestation of the interior. When narrative houses poetry, it allows the poem to signify the emotional import of events in the story, to act as a testimony of the characters' feelings, and to affect the direction that events take in the story. However, an analysis of the social practice depicted in these accounts reveals a crisis of confidence in the efficacy of poetry as an emotionally suasive form of discourse. These "true stories" often show the use of poetry as a form of discourse contingent for its efficacy, not on any power inherent to its form, but on manipulation of the circumstances in which it is produced, uttered, and received, including by whom, where and when the poem is performed, or who comprises the audience. While critical discourse on poetry (at least to the end of the T'ang) is characterized by constant recursion to a closed set of canonical precepts, narratives about poetry create a space in which to portray the poem as a socially engaged form of discourse, a space in which canonical precepts can be questioned or even subverted.
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