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1)  Using Text to replace Ci
以文为词
1.
The article is based on the text of Xuxi and proceeds Liu s reception of Jiaxuan, mainly by the analysis of the rhetoric and its spirit, from the following two points: (1)figure of Bixing and symbolism;(2)Xuxi s characteristic of using text to replace Ci.
以须溪“文本”为基点,从须溪词的比兴象征与须溪以文为词的特征两方面对须溪从词体和词体精神两方面接受辛稼轩作一初步的探讨。
2)  taking characters as Ci
以文字为词
1.
This common inclination was mainly embodied in the writing thought of taking characters as Ci, taking talent and learning as Ci and taking comments as Ci.
这主要体现在他们“以文字为词、以才学为词、以议论为词”的创作观上。
3)  compose ci by rules of writing poems and prose
以诗文为词
4)  On the Characteristics of "Writing Ci-Poems in Prose Style"
略论"以文为词"
5)  Regarding Poetry as Ci
以诗为词
1.
On the Meaning of "Regarding Poetry as Ci" by Su Shi;
苏轼“以诗为词”涵义综论
2.
The regarding poetry as ci is not only the change of artistic technique,but also the change ideas of ci.
“以诗为词”不仅是创作方法的更新,而且是词学观念和词学意识的改变。
6)  Composing Ci as Poetry
以诗为词
1.
This paper puts two persons in the historical turning point from Huajian Ci to Composing Ci as Poetry to reveal the variations and development of subtle and concise Ci creation under this influence.
因此通过将两人放在由"花间词风"向"以诗为词"转变的词史转折中来进行比较,可以揭示出受此影响的婉约词创作的发展变化。
2.
So, "composing Ci as Poetry" not only is a composing technigue, but also a cultural phenomenon.
本论文试图将“以诗为词”这样一个历来属于词学范畴的命题,置放于诗文化心理的背景之下,借助新的审视角度,对这个命题作一次较为深入的探讨和阐述。
补充资料:《文馆词林》
      大型诗文总集。唐高宗显庆年间许敬宗选编。许敬宗(592~672),字延族。杭州新城(今浙江富阳西南)人。官至太子少师。
  
  《文馆词林》1000卷,选录自汉至唐太宗时代的诗文。就现存残卷和《崇文总目》、《新唐书·艺文志》所著录,其门类可知者有"诗"、"颂"、"碑"、"诏"、"敕"、"令"、"教"、"策"、"弹事"、"文士传"等类。所选作品,虽略有见于史书、《文选》和现存作家本集的,但不见者十居八九,对征文考史有一定价值。
  
  此书在宋初已散佚不全,后来全书失传。但在唐代传入日本的足本,历经劫火,却有零卷残轴留存。日本文化年间(清嘉庆时),林衡印入《佚存丛书》者仅4卷,复传至中国,有《粤雅堂丛书》复刻本。光绪年间,杨守敬随黎庶昌使日本,物色到4卷以外的14卷,黎氏刻入《古逸丛书》中。据杨氏后记,当时日本尚存有30卷,分别藏于浅草文库和西京大觉寺等处。杨氏后来传录到浅草文库所藏5卷续刻之,董康在日本西京借得21轴,除已刻者外,又得5卷。1914年,张钧衡汇合备本及董钞本共28卷,刻入《适园丛书》。1924年,复有董康影印的《残本文馆词林》17卷行世。《新唐书·艺文志》著录崔元注《文馆词林·策》20卷,是此书唯一的一部分的注本,已失传。
  

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