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TU FU'S "EIGHT LAMENTS": ALLUSION A...

CHOU, E. SHAN.

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TU FU'S "EIGHT LAMENTS": ALLUSION AND IMAGERY AS MODES OF POETRY (PERIPHRASIS, CHINA).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	TU FU'S "EIGHT LAMENTS": ALLUSION AND IMAGERY AS MODES OF POETRY (PERIPHRASIS, CHINA)./
作者:	CHOU, E. SHAN.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 1984,
面頁冊數:	395 p.
附註:	Source: Dissertation Abstracts International, Volume: 45-06, Section: A, page: 1755.
Contained By:	Dissertation Abstracts International45-06A.
標題:	Asian literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8419441

TU FU'S "EIGHT LAMENTS": ALLUSION AND IMAGERY AS MODES OF POETRY (PERIPHRASIS, CHINA).
CHOU, E. SHAN.

TU FU'S "EIGHT LAMENTS": ALLUSION AND IMAGERY AS MODES OF POETRY (PERIPHRASIS, CHINA). - Ann Arbor : ProQuest Dissertations & Theses, 1984 - 395 p.

Source: Dissertation Abstracts International, Volume: 45-06, Section: A, page: 1755.

Thesis (Ph.D.)--Harvard University, 1984.

During his years at K'uei-chou, Tu Fu (712-770) wrote a set of elegies collectively titled "Eight Laments." As the years in K'uei-chou (766-68) were a period of great productivity and poetic inventiveness, any major piece from this period, such as this set of elegies, deserves close attention. The thesis deals with "Eight Laments" for its own sake and also as a clue to the K'uei-chou poetry.Subjects--Topical Terms:

2122707
Asian literature.

TU FU'S "EIGHT LAMENTS": ALLUSION AND IMAGERY AS MODES OF POETRY (PERIPHRASIS, CHINA).
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245 1 0 $a TU FU'S "EIGHT LAMENTS": ALLUSION AND IMAGERY AS MODES OF POETRY (PERIPHRASIS, CHINA).
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300 $a 395 p.
500 $a Source: Dissertation Abstracts International, Volume: 45-06, Section: A, page: 1755.
502 $a Thesis (Ph.D.)--Harvard University, 1984.
520 $a During his years at K'uei-chou, Tu Fu (712-770) wrote a set of elegies collectively titled "Eight Laments." As the years in K'uei-chou (766-68) were a period of great productivity and poetic inventiveness, any major piece from this period, such as this set of elegies, deserves close attention. The thesis deals with "Eight Laments" for its own sake and also as a clue to the K'uei-chou poetry.
520 $a The poems review at length (they are 40 to 80 lines long) the lives and achievements of eight men of Tu Fu's time. They are typical of Tu Fu's work in being set against the background of the 755 An Lu-shan rebellion and the drawn-out disintegration of the T'ang dynasty which followed. The lives of the men make up the basic narrative of the poems, but the language used is oblique and the pace and sequence of narration unpredictable. Consequently the poems are hard to read; for this reason, the essay on "Eight Laments" is supported by a translation of the poems. Notes to the translation explain the obscurities and a parallel paraphrase makes the narrative clear.
520 $a The essay part of the thesis analyzes the poetic structure and development of the poems. "Eight Laments" is written in the old-style form (ku-shih). In the past, Tu Fu's poems written in this form have received little attention; in fact, the old-style form itself is not adequately understood. Structural concepts and terms such as exist for analyzing regulated form poetry (lu-shih) are lacking for old-style form. Thus an analysis of "Eight Laments" has the secondary benefit of shedding light on the conventions of old-style poetry.
520 $a The essay sees "Eight Laments" as revealing two distinct styles, expository and lyric. They exist side by side in an unblended form, each style defined by its characteristic language and figures. I call lyric those parts of the poems made up of direct statements of feeling and of images with clear emotional equivalents (chapter 2). The expository style uses a periphrastic language laden with allusions and a subdued kind of imagery. The lyric style is relatively easy to understand because imagery is a well studied subject and the direct statements of feeling are very plain. Accordingly, the bulk of the essay consists of a detailed analysis of the expository style. A poetics is worked out for its components, periphrasis (chapter 3) and allusion (chapter 4), using extensive examples from the poems. The result shows that periphrasis must be considered a major type of poetic diction and that allusion should take a place alongside imagery as a major poetic resource; together they are capable of unifying a poem and giving it depth and feeling (chapter 5).
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793 $a English
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