1) Metaphysical Poetry
玄言诗
1.
The Generation of Metaphysics and Metaphysical Poetry——On the Particular Significance of "The Situation Changed with World’s Change";
玄学与玄言诗的生成——以“文变染乎世情”为视角
2.
The primary problem in the research of metaphysical poetry is to define the meaning of it.
玄言诗的界定是玄言诗研究中首要的问题。
3.
The metaphysical poetry develops with metaphysics.
玄言诗的发展过程与玄学的发展过程具有一种基本同步关系。
2) Metaphysical Poems
玄言诗
1.
Boring and Dull Nature:Destining Style of Metaphysical Poems;
“淡乎寡味”——玄言诗注定的风格
2.
In West Jin Dynasty,metaphysical theory was prevalent,but the development of metaphysical poems didn t keep pace with the development of metaphysical theory.
西晋玄风大盛,但玄言诗的发展却相对滞后,数量稀少。
3.
When metaphysical poems express metaphysical ideas by perceptual images, the rule narration from renouncingthe appearance is always obeyed.
玄言诗以感性形象体悟玄理时,遵循玄学思想方法的“略于具体而究心抽象原理”,即“得意忘象”,自然景物须先通过概括、抽象后才能使之具有玄理意味。
3) metaphysical poem
玄言诗
1.
Qigong is not famous for his research in the metaphysics and the metaphysical poems in Wei and Jin Dynasties,but three views he made are worth attention.
启功先生不以研治魏晋玄学及玄言诗闻名,但他在这些方面至少有三个观点值得我们关注:一是关于道教对魏晋玄学及玄言诗兴起的启示,启先生认为,早期五斗米道、太平道等道教组织所表现出来的强大战斗力和破坏力,使意图从思想、理论上颠覆儒学独尊地位的人,有足够的信心以道家思想为基础来构建一种反传统的新思想;二是关于《兰亭诗》与玄言诗的关系,启先生认为无论是从使用的词汇还是从表达的意趣上来看,《兰亭诗》都应该算作非常重要的玄言诗。
2.
Lanting poem of the Eastern Jin Dynasty is distinct in characteristics from Mountains-and-Rivers poem and Metaphysical poem.
东晋兰亭诗有着区别于山水诗和正宗玄言诗的不同特质。
3.
Therefore ,the style of The Book of Songs and the Songs of the South faded away from the metaphysical poems of Eastern-Jin Dynast
东晋玄言诗风盛行的原因是多方面的 ,其中佛教对当时文人浸染是一个不可忽视的因素。
4) Xuanyan poem
玄言诗
1.
Yin Zhongwen,Xie Hun are the terminators of the Xuanyan Poem;
论殷仲文、谢混对玄言诗的终结
2.
The culture of Eastern Jin features the confrontation and reconciliation of Buddhism and Xuanxue,which can be reflected in the Xuanyan poems created by the prominent monks and scholars at that time.
佛、玄之间的交争与融合构成了东晋文化思想的基本特点,这从当日名僧与名士的玄言诗创作中亦可得到印证。
3.
As the outcome of Menfa noble culture,both of Xuanyan poems and Gongti poems embodied the special spirits of time and distinctive aesthetic features.
玄言诗与宫体诗中的物象是从山水到美人的演变,是从追求本质真实到执着现象真实的转换,这充分表明了东晋到南朝物象地位变迁的轨迹。
5) Xuanyan poetry
玄言诗
1.
On Studying the Development of Xuanyan Poetry Over the Past Twenty Years in China;
大陆近二十年玄言诗流变研究之检讨
2.
On the basis of inquiring into the definition of Xuanyan poetry, we analyse the past raw materials, and then put forward our suspicion to the existence of “times of Xuanyan poetry”.
在对玄言诗人界简要探讨的基础上，把前人的材料摆出来进行充分分析，可以看出玄言诗时代存在的可疑性。
补充资料：玄言诗
| 玄言诗 中国西晋末年兴起的以阐释老庄和佛教哲理为主要内容的诗歌。是社会动荡、玄学盛行、封建文人逃避现实的产物。东晋时，士大夫又将玄学与佛理结合，以诗歌形式来表达对玄机佛理的领悟，从而更加窒息了他们反映现实的勇气。这种诗歌不过是拾取佛老余唾，韵而成篇而已，既没有真情实感，也没有深奥的哲理，更没有诗意可言，正如钟嵘《诗品》所说：“理过其辞，淡乎寡味。”代表作家是孙绰、许询和僧人支遁。作品大多反映封建文人回避矛盾、苟全性命的颓废空虚的精神状态，掩饰统治阶级荒淫糜烂的生活。由于玄言诗缺乏艺术形象和真挚感情，文学价值不高，因此 ，作品流传下来的不多。玄言诗前后延续达百年之久，直至东晋末年，陶渊明、谢灵运的出现，才使诗风为之改观。 |
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