期刊論文
| 學年 | 109 |
|---|---|
| 學期 | 2 |
| 出版（發表）日期 | 2021-03-01 |
| 作品名稱 | 《夢窗詞甲稿》自度曲韻律分析 |
| 作品名稱（其他語言） | Rhythm analysis of significance in Wu wen-ying’s homemade song |
| 著者 | 普義南 |
| 單位 | |
| 出版者 | |
| 著錄名稱、卷期、頁數 | Journal of East Asian Identities 6, 頁104-113 |
| 摘要 | 自度曲是通曉音律的詞人自己譜寫新的詞調，不僅是詞體生命力的象徵，也是詞人獨創性的極致表現，兩宋通曉音律者柳永、周邦彥、姜夔、吳文英等詞人都有自度曲創作。明代毛晉所刻《夢窗詞甲稿》〈西子妝慢〉以及下面連續八調，目前確定為夢窗自度曲。萬樹云「今雖音理失傳，而詞格具在」，因此本文即以這九調夢窗自度曲為研究對象，分析其詞格韻律，首先分析其韻位、換頭增韻、韻部的用韻方式；其次分析其律拗變化、四聲用字之字律組合；最後分析其句組領字、對偶之特殊句律。藉此歸納出夢窗詞自度曲韻律特色，一窺詞人文藝創新之堂奧。 The “homemade song” means the new tonal patterns and rhyme schemes of Ci poetry that created by the poet who acquainted with temperament. It’s not only a symbol of vitality of Ci poetry, but also represents the ultimate expression of Ci poet’s originality. During the two Song Dynasties, many Ci poets such as Liu Yong, Zhou Bang-yan, Jiang Kui and Wu wen-ying wrote down their own home made songs. The ‘Hsi-tzu-chuang-man” and the following eight Ci tonal patterns included in the “Mengchuang Ci Chia Kao” edited by Mao Jin in Ming Dynasty were identified as Wu wen-ying’s homemade song. Wanshu had said, “Although the soundology was lost, but the Ci patterns is still there.” This is why this article will focus on these nine Wu wen-ying’s homemade songs, to analyze their tonal patterns and rhyme schemes such as the position of rhyme, the skill of using rhyme, the diversification between rules and exceptions. Finally, I want to sum up the conclusion of the rhythm features of Mengchuang Ci’s homemade songs, to revel the characteristic of his literary innovation. |
| 關鍵字 | 夢窗;吳文英;自度曲;韻律 |
| 語言 | zh_TW |
| ISSN | 2433-1759 |
| 期刊性質 | 國內 |
| 收錄於 | |
| 產學合作 | |
| 通訊作者 | |
| 審稿制度 | 否 |
| 國別 | TWN |
| 公開徵稿 | |
| 出版型式 | ,電子版 |
| 相關連結 |
機構典藏連結 ( http://tkuir.lib.tku.edu.tw:8080/dspace/handle/987654321/123211 ) |