南北朝时期青铜鸟台的创作

IF 0.3 4区 社会学 0 ASIAN STUDIES Early Medieval China Pub Date : 2017-01-01 DOI:10.1080/15299104.2017.1379727
Joanne Tsao
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引用次数: 0

摘要

邺的铜鸟台是曹氏诗人庆祝曹操(155-220)成就的地方。曹操死后,这种庆祝方式发生了变化,后来历代诗人都把这个地方的意义从一个庆祝场所转变为一个真实或想象的空间,在这里人们可以反思伟大的兴衰、人生的短暂和被抛弃的悲伤。特别是,后来的诗人逐渐将他们的关注点从曹操转移到女性演员身上,这些女性演员原本是为了曹操的精神而进行各种仪式和表演的,最终创造了一套规定的隐喻、图像和短语,这些隐喻、图像和短语与这个地方本身以及那些在那里徒劳表演的年轻女性的悲伤分不开,变成了一套可识别的正式的构图规则,我称之为“梯田景观”。
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The Creation of the Bronze Bird Terrace-Scape in the Northern and Southern Dynasties Period
The Bronze Bird Terrace of Ye was a site where poets of the Cao family celebrated Cao Cao's 曹操 (155–220) accomplishments. This mode of celebration changed after Cao Cao's death, as poets of the succeeding dynasties altered the significance of the site from one of celebration to a real or imagined space in which one could ruminate on the rise and fall of greatness, the brevity of human life, and the sadness of abandonment. In particular, later poets gradually shifted their focus from Cao Cao to female performers who had originally performed various rites and performances to Cao Cao's spirit, eventually creating a prescribed set of metaphors, images, and phrases that became inseparable from the place itself and the sorrow of those young women who performed there in vain, morphing into a recognizable set of formal prescriptions for composition that I have called “the terrace-scape.”
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来源期刊
Early Medieval China
Early Medieval China ASIAN STUDIES-
CiteScore
0.30
自引率
0.00%
发文量
8
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