The Lyrical in Epic Time pdf epub mobi txt 电子书 下载 2025
David Der-wei Wang is Edward C. Henderson Professor of Chinese and Comparative Literature at Harvard University. His works include The Monster That Is History: History, Violence, and Fictional Writing in Twentieth-Century China; Fin-de-siècle Splendor: Repressed Modernity in Late Qing Fiction, 1849-1911; and Fictional Realism in Twentieth-Century China.
- 王德威
- 海外中国研究
- 文学研究
- 文学
- 文化研究
- 现代文学
- 历史
- 中国
This book positions the lyrical as key to rethinking the dynamics of Chinese modernity and emphasizes Chinese lyricism's deep roots in its own native traditions, along with Western influences. Although the lyrical may seem like an unusual form for representing China's social and political crises in the mid-twentieth century, David Der-wei Wang contends that national cataclysm and mass movements intensified Chinese lyricism in extraordinary ways. He calls attention to not only the vigor and variety of Chinese lyricism at an unlikely historical juncture but also the precarious consequences it brought about: betrayal, self-abjuration, suicide, and silence. Above all, his study ponders the relevance of such a lyrical calling of the past century to our time.
Despite their divergent backgrounds and commitments, the writers, artists, and intellectuals discussed in this book all took lyricism as a way to explore selfhood in relation to solidarity, the role of the artist in history, and the potential for poetry to illuminate crisis. They experimented with a variety of media, including poetry, fiction, intellectual treatise, political manifesto, film, theater, painting, calligraphy, and music. Wang's expansive research also traces the invocation of the lyrical in the work of contemporary Western critics. From their contested theoretical and ideological stances, Martin Heidegger, Theodor Adorno, Cleanth Brooks, Paul de Man, and many others used lyricism to critique their perilous, epic time. The Chinese case only further intensifies the permeable nature of lyrical discourse, forcing us to reengage with the dominant role of revolution and enlightenment in shaping Chinese -- and global -- modernity.
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【编者按】本文根据王德威教授2015年4月15日在陕西师范大学所做的演讲《史诗时代的抒情声音》的录音整理而成，整理者为陕西师范大学文学院学生陈曦、王天贺，由李跃力副教授统稿，已经王德威教授审阅。原文刊于《现代中国文化与文学》第17辑。 谈论“史诗时代的抒情声音”，也...
评分本文原载于《中国图书评论》2016年第6期“书界观察”栏目。 作者，韩晗，深圳大学文化产业研究院。 哈佛大学东亚系讲座教授王德威先生将近年来的研究成果积累整理出版，命名为《史诗时代的抒情声音：1949年前后的中国现代文人》（下文简称《声音》，TheLyrical in Epic Time: ...
评分【编者按】本文根据王德威教授2015年4月15日在陕西师范大学所做的演讲《史诗时代的抒情声音》的录音整理而成，整理者为陕西师范大学文学院学生陈曦、王天贺，由李跃力副教授统稿，已经王德威教授审阅。原文刊于《现代中国文化与文学》第17辑。 谈论“史诗时代的抒情声音”，也...
评分【编者按】本文根据王德威教授2015年4月15日在陕西师范大学所做的演讲《史诗时代的抒情声音》的录音整理而成，整理者为陕西师范大学文学院学生陈曦、王天贺，由李跃力副教授统稿，已经王德威教授审阅。原文刊于《现代中国文化与文学》第17辑。 谈论“史诗时代的抒情声音”，也...
评分本文原载于《中国图书评论》2016年第6期“书界观察”栏目。 作者，韩晗，深圳大学文化产业研究院。 哈佛大学东亚系讲座教授王德威先生将近年来的研究成果积累整理出版，命名为《史诗时代的抒情声音：1949年前后的中国现代文人》（下文简称《声音》，TheLyrical in Epic Time: ...
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總有種在外圍繞的感覺。有些association略微牽強。
评分總有種在外圍繞的感覺。有些association略微牽強。
评分第7章。费穆的电影不仅仅是一门错视艺术，更是一种诗性的表达。其早期的作品汲汲于捕捉影戏中内蕴的“空气”、同传统戏剧的辩证互动、负载的道德感，并从京剧的抽象和程式化表演中获得灵感。他和梅兰芳合作的《生死恨》，充盈着由剧场／银幕、形体扮装／机械复制之间的张力生出的气韵；而梅围绕着“杼”的灵活表演，于缓歌慢舞间呼应了“抒(杼)情”，却因彩色胶卷的劣质和内战的影响而反响平平。《小城之春》运用长镜头来传达主角们情感的细微变化与多重面向，并可与山水画的写意特征互相观照；叠化技法保证了场景切换的顺畅与谐和；不疾不徐的动作将时间空间化；暗合苏轼的《蝶恋花》和杜甫的《春望》里僭越生活、人际以及家国隔阂的主题，寄寓了王国维的“不隔”诗观；费穆的抒情技法是对时兴电影“涕泪飘零”的反拨，演绎着“情不情”的伦理传统。
评分江文也那章感人至深
评分当我还在创造三元结构来突破关于当代文学缘起的二元论时，德威已经用抒情大船瞒天过海地将1949化解为天地玄黄。当年看《抒情传统四论》犹有不满足之感，现在想想，姜还是老的辣。尼玛剩下的内容在这里……20170111，坐标1949，我们的征途是星辰大海
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