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| Putting His Materials to Use: Experiencing a Li Bai Yuefu in Manuscript and Early Print Documents=任用其材：以敦煌抄本與早期刊本體會李白之一首樂府詩 | ||
| 作者 | Nugent, Christopher |
|---|---|
| 出處題名 | International Conference at Princeton University=普林斯頓大學學術國際研討會 |
| 出版日期 | 2014.09.06 - 08 |
| 出版者網址 | http://csr.princeton.edu/dunhuangmanuscripts/ |
| 出版地 | New Jersey, US [紐澤西州, 美國] |
| 資料類型 | 會議論文=Proceeding Article |
| 使用語言 | 英文=English |
| 附註項 | Author Affiliations: Williams College |
| 摘要 | Scholars of Tang literature have long focused their attention primarily on sources based on the print culture of the Song dynasty. While this approach takes advantage of a great wealth of materials, it can lead to an excessive focus on judging the literary qualities of specific authors rather than seeking to understand the broader material contexts in which Tang poetry was read, heard, and circulated. The manuscripts discovered at Dunhuang, though they do not appear to give a good sense of the contents of Tang dynasty poetry as a whole, do provide invaluable evidence about the material forms in which it existed. In this essay I use the example of a well-known poem by the High Tang poet Li Bai 李白, “Qiangjin jiu” 將進酒 (Bring in the Wine!) to get at an understanding of how differences at the level of document and text can result in meaningfully different experiences of what we think of as the same “work.” Understanding these differences can not only lead us to call into question certain critical modes of approaching Tang poetry that focus heavily on close reading and individual literary achievement, but also lead to a better sense of the diversity of the manuscript and oral poetic culture of the Tang. While acknowledging some of the very real limitations of the Dunhuang poetic sources, I argue that they are likely not, in formal terms, as far from the mainstream of Tang poetic practice as is often supposed and that they deserve more scholarly attention than they typically receive. 研究唐代文學的學者一直在宋代版本文化資料所奠定的基礎上從事研究。這種方法雖然利用豐富的材料，同時會導致過分地在唐代詩人文學上的獨到之處集中注意然而忽略詩歌在何種物質情況之下被讀聽以及流傳。縱使在敦煌發掘的抄本不能準確地代表唐詩的整個內容，也能提供關於唐詩物質形態的非常寶貴的證據。本文章以盛唐詩人李白著名的《將進酒》來探析一首詩不同“版本”（包括不同的物質狀況，也包括到一定程度的不同的內容）怎能引起對這首詩的不同的閱讀經驗。了解這些差異不但對於一些在於仔細讀法與個人文學成就上集中注意的文學評論提出疑問，而且能讓學者對唐代抄本文化與口頭文化的多樣性得到更徹底的理解。筆者承認敦煌詩歌材料有限，但在形式和物質方面大概接近唐代詩歌習慣的主流，值得受到更認真的學術性的注意。 |
| 點閱次數 | 226 |
| 建檔日期 | 2015.01.13 |
| 更新日期 | 2015.08.18 |
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