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The art of Chinese pentasyllabic poe...

Cai, Zong-qi.

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The art of Chinese pentasyllabic poetry from the first to the third century.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The art of Chinese pentasyllabic poetry from the first to the third century./
作者:	Cai, Zong-qi.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 1991,
面頁冊數:	264 p.
附註:	Source: Dissertation Abstracts International, Volume: 52-10, Section: A, page: 3606.
Contained By:	Dissertation Abstracts International52-10A.
標題:	Asian literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9207637

The art of Chinese pentasyllabic poetry from the first to the third century.
Cai, Zong-qi.

The art of Chinese pentasyllabic poetry from the first to the third century. - Ann Arbor : ProQuest Dissertations & Theses, 1991 - 264 p.

Source: Dissertation Abstracts International, Volume: 52-10, Section: A, page: 3606.

Thesis (Ph.D.)--Princeton University, 1991.

This dissertation examines five major groups of Chinese pentasyllabic poetry: the Han folk yueh-fu, the Han literary yueh-fu, the Han ku-shih, Ts'ao Chih's and Juan Chi's poetical works. A comparison of the thematic, formal and generic features of these five groups points up an evolution of four poetic modes--dramatic, narrative, lyrical and symbolic.Subjects--Topical Terms:

2122707
Asian literature.

The art of Chinese pentasyllabic poetry from the first to the third century.
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245 1 4 $a The art of Chinese pentasyllabic poetry from the first to the third century.
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300 $a 264 p.
500 $a Source: Dissertation Abstracts International, Volume: 52-10, Section: A, page: 3606.
502 $a Thesis (Ph.D.)--Princeton University, 1991.
520 $a This dissertation examines five major groups of Chinese pentasyllabic poetry: the Han folk yueh-fu, the Han literary yueh-fu, the Han ku-shih, Ts'ao Chih's and Juan Chi's poetical works. A comparison of the thematic, formal and generic features of these five groups points up an evolution of four poetic modes--dramatic, narrative, lyrical and symbolic.
520 $a Chapter 1 defines the intrinsic qualities of pentasyllabic poetry, sets forth the distinctive features of the five groups, and outlines the essential traits of the four poetic modes.
520 $a Chapter 2 reconstructs on the ground of internal textual evidence three different processes of composition: collective role-playing in the Han folk yueh-fu, non-interactive storytelling in the Han literary yueh-fu, and solipsistic reflection in the Han ku-shih works. These three compositional processes are respectively described as dramatic, narrative and lyrical modes of presentation.
520 $a Chapter 3 observes how Ts'ao Chih projects different aspects of his individual self through his introduction of new thought processes into various yueh-fu and ku-shih subgenres. It considers how the poet in the process transforms those yueh-fu and ku-shih subgenres into lyrical vehicles and firmly establishes the lyrical mode.
520 $a Chapter 4 examines how Juan Chi develops the symbolic mode of presentation through his transformation of stock images into four coordinates of human transience, his use of cyclical and discontinuous structures, and his interweaving of poetic allusions.
520 $a The last chapter seeks to account for the development of the four poetic modes in terms of the changing relationship of the poets with the context of composition, their texts, their audience, the poetic traditions before them. It attempts to relate the changes roles of the poets to the growth of lyrical consciousness fostered by the fermenting individualism in the Han and Wei-Chin times.
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