1950年以来韩国唐诗研究之动向

韩国自1950年起，对中国古典诗歌的研究渐趋重视，出现了相当均衡的研究景象，取得了显进步。截止到2000年，韩国已发表有关中国诗歌研究的论、专和注释本约有1500余种，其中唐诗研究的成果达700余种，约占整个成果的一半。但韩国人研究中国学很有可能只停留在“模拟”阶段。     

从“自述其名”方式看“卒章显志”叙事模式的变迁——以《崧高》《烝民》《巷伯》《节南山》《閟宫》为中心

《诗·小雅·巷伯》《节南山》《大雅·崧高》《烝民》《鲁颂·閟宫》的"叙述者"皆采用在卒章"自述其名"方式"显志"的叙事结构模式,即在叙事文本中以"真实作者"替换了叙述者"我",是一种最典型的"公开的叙述者",其共同特点就是叙事主体显性评价与自我意识的不断强化。由此而开创的在诗歌叙事文本中"卒章显志"的叙事模式,对后世中国诗歌乃至个体文学创作产生了深刻影响。     

试论《诗经》时代乐器的重要角色

《诗经》时代是以礼乐文化为主体的时代。“乐器”是礼乐文化的重要硬件设施,与诗、歌、舞并存,在当时贵族社会生活中有着重要的地位。日常生活中,乐器运用既有一、二种乐器的简单伴奏,又有小型乐队式的排演组合,还有乐器独奏曲。而在礼仪场合中,大型乐队则有着规定的摆设位置、组合形式和演奏程序,塑造浓厚的场景氛围。通过出土乐器实物的印证,更可看出当时乐器科技水准的进步和演奏技艺的高超。     

The Copyright Royalty Tribunal: New Arena for Communications Industry Confrontation

Drawing from in-depth qualitative research of poetry communities in New York City and Toronto, Canada, and grounded in theories of gift relations and Bourdieu's conception of fields of literary production (1996), this article argues that the sustainability of the arts must include visions of sustainability that extend beyond the economic if they are to be true to the internal experience and definitions of fields of artistic production. This article argues that relations among poets can be understood as exemplars of a gift economy and that these gift relations among poets contribute to the sustainability of this artistic field and career. A model of how gift relations are patterned among poetry communities is proposed to more clearly articulate the patterns of this process.     

Australian National Anthologies: A Study of Poems and Poets

This article analyses the contents of fifteen Australian “national” poetry anthologies published between 1946 and 2011. The study has three basic aims: to identify the most anthologised poems (as determined by the greatest number of inclusions in all anthologies), to identify poets with the most poems anthologised, and to identify the poets most consistently represented during this period. Based on quantitative data derived from each anthology’s table of contents, this article provides an empirical and analytical account of Australian national poetry anthologies over a six-decade period. The results reveal a core group of consistently anthologised poems and poets. While each anthology is different, there is a degree of consensus among national anthologists regarding the inclusion of “standard anthology pieces”. This article also considers the role of national anthologies in supporting a hierarchy of established literary reputations and perpetuating a poetic tradition in Australian literature.     

英诗汉译中的意象再造——ToWPⅡ的两个汉译本简析

意境是诗歌的灵魂,而意象是为建构诗歌意境而存在的。诗歌翻译的关键在于译文是否将原诗的意象再现。诗歌翻译的过程是译者对原作的意象解读和意象再造的过程。以乔治.桑塔耶纳的一首组诗的第二首为例,以认知语言学为理论参照,比较这首诗的两个汉译版本,尝试探讨意象再造在英诗汉译中的作用。