曹氏父子对游仙诗的转承作用

游仙诗发展到曹魏时期,是个重大的转折,曹氏父子首先借重道家的外衣与内核,将游仙诗由叙事的转为抒情的,由不葺的转为整齐的,由朴野的转为文人的,直接影响了后世游仙诗的写作方向。郭璞及曹唐的游仙诗都可在这里寻到源头。     

入声字的读音规律及其在语文教学中的运用

中国古代诗词特别讲究音韵、声调和节奏的美感。但是,现在用普通话读古诗词有很多不押韵或节奏不和谐之处,客观上造成了对古诗词美感的破坏。这是由于历史的变迁,古代以中原音韵为官话通用语言的发音系统,现在被普通话语音所取代。中原音韵中的平、上、去、入四声,变为普通话中的阴、阳、上、去四声。其中,入声字的读音规律对古诗词的解读影响极大,尤其应引起语文教学者的注意。为使中华民族的优秀文化得以继承、流传和发扬,语文教学中应该注意对此种现象的讲解。     

现代新诗主体意识群及其意象表现

现代新诗的主体意识群由人道主义意识、悲观主义意识、忧患意识与光明意识组成,它们构成了现代新诗的全部内涵价值。诗人用前所未有、开阔丰富的主体意识抒发诗情,以丰赡的意象群体作相应的表现,开拓了新诗的生存与发展空间,形成了现代新诗异彩纷呈的流派与诗歌创作的实践形态与局面。     

晚唐诗·新月诗·朦胧诗--试论中国诗语"意"、"象"的非一致性特征

晚唐诗以“意”、“象”的不确定性带来了诗歌艺术的朦胧之美 ,开创了中国诗歌创作的另一境界。 2 0世纪初的新月诗在形式上与晚唐诗有极大不同 ,可诗的“境”、“意”的非一致性仍是主要的特征。 2 0世纪末的朦胧诗 ,更加努力加大“意”、“象”的这种距离感 ,以增加诗的多元和多层次性 ,更具有一种立体解读的要求。     

陈廷焯和《白雨斋词话》

陈廷焯著撰《白雨斋词话》,扬弃浙西词派,发展张惠言、庄棫之旨,提出“沉郁”说。在晚清词学界,其说可与王国维的“境界”说及况周颐的“重、拙、大”说鼎足而三,故陈氏当堪称说词大家。     

R.S. Thomas: Ministering Otherness

This article is built around a deeply personal `response to text' –of a poem in response to a poem, where both deal with notions of identity. For myself, writing poetry is a cathartic (though infrequent) source of resolution; a space subject to different constraints from those present in the production of analytic scholarship. A consideration of the broader ideological matrix at work behind the poems suggests links between nationhood and language, class and religion, private and public identity, history and politics. Vast subjects, explored but briefly in the thoughts and notes produced for this article as `background' to the story of the poem cited at the end. For legal and political theory it is a reminder of the delicate interstices of influences traversed in any assertion concerning broad policy. As `scholar' I am constrained in the provision of any further assessment of my own process as `poet': what is provided attempts honesty. This revised version was published online in August 2006 with corrections to the Cover Date.     

Mapurbe Identity and Admapu in David Aniñir's Poetry

This article proposes a reading of David Aniñir's poetry that examines how he resignifies elements pertaining to admapu or Mapuche norms and practices in the metropolis. Aniñir is an urban Mapuche poet who lives in Santiago, Chile and displays interest in recovering his roots. While he defies preconceptions about indigenous peoples in his poetry, he includes Mapuche culture in his depiction of mapurbe identity. In his writing, Aniñir incorporates Mapuche key concepts and social roles such as yeyipun (prayer), pewma (dreams), werken (messenger), ngenpin (ritual speaker) and machi (spiritual authority and shaman), giving them new meanings within the urban context.     

Who reads Navajo poetry and what are they reading? Exploring the semiotic functions of contemporary written Navajo

This paper analyzes contemporary written Navajo in public signs, newspapers, and poetry. While the number of public space displays of written Navajo has increased in recent years, this has not met with an increase in either Navajo literacy or in the number of Navajo speakers. This paper argues that much written Navajo is read not for semantico-referential content, but either as icons and indexes of Navajo spaces and identity or as icons and indexes of fidelity to an orthographic norm. Contemporary written Navajo poetry is not normally read as poetry but as a success or failure to align with the orthographic norm. This mirrors nothing so much as how many Navajos were taught English literacy in the boarding schools.     

“有许多阵风都要它抵挡”——略论穆旦晚年诗歌创作的精神资源

承受着个人和国家诸多不幸的穆旦,在生命的晚期忽然爆发了一个小小的诗歌创作高潮.这些诗歌凝聚着穆旦作为一个“落难者”的人生体验,是诗人在非常年代里始终保持开放的胸襟和眼光,充分承受优秀世界诗歌资源的沐浴、浇灌和洗礼的结果,也源自于穆旦身边那个小小诗友圈的启发和激励.诗人以此在一个斫杀诗意的时代里为当代诗歌承续了难能可贵的精神和艺术火种.     

文化遭遇与异族想象：唐代文学中的天竺僧形象

与前代相比,唐人有幸生在中外文化大交融的时代,亲历印度佛教文化渗入汉唐文化的历史过程,并对异域观念进行当下性思考,产生一种审视异域的独特文化视野。反映在文本中,那便是唐人文学作品中存留许多关于印度佛教文化魅力及来华天竺僧形象的描写,诸如唐诗、小说等都是考察唐代中外文化交流的珍贵史料。