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春秋赋《诗》的形式 ,历来有歌《诗》以赋、诵《诗》以赋、歌《诗》即诵《诗》等多种看法。透过多种赋《诗》定义 ,我们发现后人歧出的赋《诗》解释并不互相抵牾 ,而是昭示了典礼上程式化和多具象征意味的歌诗奏乐向具体生活和实际政治延伸的日常化过程 ,以及诗去器乐因素、表演因素过程 :即 ,赋《诗》言志始于奏乐歌《诗》言志而亡于言语称《诗》谕志 ,中间经历由徒歌吟志到诵《诗》言志的过程。其发展的逻辑乃是基于诗乐的普遍传播 ,藉“乡乐唯欲”之契机 ,为适应礼乐文明兴盛与衰落的历史发展的结果。
In the form of “poem” in the Spring and Autumn Period, there are many kinds of views, such as “poem” in the song “Fu” and chanting “poem” in order to endow the poem and “poem” in the song. Through a variety of definitions of “poem”, we find that the interpretation of “poems” of the later generations does not contradict each other, but shows that the stylized and multi-symbolic poems of the song are specific to life and real politics Extension of the process of normalization, as well as the instrumental and instrumental factors of the poem, the process of performing factors: that is, the endorsement of “poem” begins with the poem “ To chant ”poem“ dialect of the process. The logic of its development is based on the universal dissemination of poems and music and the opportunity of adapting to the prosperity and decline of ritual and civilizations through the turning point of ”ideal for the country."