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丽江山水和纳西宗教礼仪频频出现于庞德巨著《诗章》最后17章,标志着诗人向往的理想王国已由《诗章》前100章中的雅典、孔林、康熙-雍正王朝转化为代表纳西文化的丽江。唯儒独尊的庞德怎么会接受以佛道为本的纳西宗教礼仪?让庞德转变的社会文化因素至今无人探索。通过挖掘文档资料、采访关键人和细读文本,我们发现庞德《诗章》的纳西素材不完全取自洛克双语叙事诗《开美久命金》和论文《孟本》,相当一部分语言、宗教、民俗材料来自纳西文化哺育的美籍丽江学者方宝贤和留居丽江9年、笃信道教的俄国旅行作家顾彼得。将纳西诗篇置于庞德、洛克、方宝贤、顾彼得频繁交流的文化大语境,我们不仅能读懂纳西诗篇的表层含义,而且能把握这些艰涩的诗篇的深层内涵。
Lijiang landscape and Naxi religious ceremonies frequently appear in the last 17 chapters of Pound’s masterpiece Poem. The ideal kingdom that marked the poet’s yearning has been transformed from Athens, Konglin, Kangxi and Yongzheng dynasties in the first 100 chapters of the poem into representative Naxi culture Lijiang. Only Confucianism Pound Pound how to accept the Naxi religious ceremonies based on Buddhism and Taoism? Let Pound transform the social and cultural factors so far no one to explore. By digging documents, interviewing key people and reading texts, we find that the Naxi material of Pound’s “Poem Chapter” is not completely taken from Locke’s Bilingual Narrative poem “Open Life and Beauty” and the paper “Meng,” a considerable part of which is language, religion and folklore Materials from the Naxi culture nurturing American Lijiang scholar Fang Baoxian and stay in Lijiang for 9 years, betrothed Taoism Russian travel writer Gu Peter. We can not only understand the superficial meaning of Naxi Psalms but also grasp the profound connotations of these arrogant Psalms by placing the Naxi Psalms in the context of the cultural exchanges between Pound, Locke, Fang Baoxian and Gu Peter.