| dc.contributor | 政大中文學報 | - |
| dc.creator (作者) | 李怡 | - |
| dc.creator (作者) | Li, Yi | - |
| dc.date (日期) | 2024-06 | - |
| dc.date.accessioned | 2-Jul-2024 10:08:25 (UTC+8) | - |
| dc.date.available | 2-Jul-2024 10:08:25 (UTC+8) | - |
| dc.date.issued (上傳時間) | 2-Jul-2024 10:08:25 (UTC+8) | - |
| dc.identifier.uri (URI) | https://nccur.lib.nccu.edu.tw/handle/140.119/152202 | - |
| dc.description.abstract (摘要) | 詩人徐訏的人生和創作跨越兩岸三地，是一位少有將詩歌創作貫穿始終，且詩風穩定的詩人。他是一位特立獨行者，與「時代」長期保持一定的距離，「自我邊緣化」選擇讓徐訏的新詩異於現代新詩的一系列慣常的面貌。較之於1930年代的現代派新詩，徐訏在孤獨寂寞中的冥思發展出了新的詩歌主題。徐訏一生篤信新詩的音樂性，長期致力於新詩音樂形式的嘗試和探索，包括借助音樂旋律的「自由」。 | - |
| dc.description.abstract (摘要) | Having a steady poetic style, Xu Xu’s poetic creation spans across the mainland, Hong Kong, Macao and Taiwan regions throughout his whole life. Xu Xu as a maverick maintained a certain distance from that era for a long time. Xu’s choice of self-marginalization made his new poems different from the customary features of contemporaneity. Compared with the new modernist poems of the 1930s, Xu Xu developed a new poetic theme through solitary meditation. He maintained a lifelong belief in the musicality of new poems and devoted himself to the exploration and experimentation of its musical forms, incorporating the freedom to include musical melodies. | - |
| dc.format.extent | 3069814 bytes | - |
| dc.format.mimetype | application/pdf | - |
| dc.relation (關聯) | 政大中文學報, 41, 1-19 | - |
| dc.subject (關鍵詞) | 徐訏; 邊緣化; 新詩音樂 | - |
| dc.subject (關鍵詞) | Xu Xu; self-marginalized; the musicality of new poetry | - |
| dc.title (題名) | 徐訏詩歌創作論 | - |
| dc.title (題名) | On Xu Xu’s Poetic Creation | - |
| dc.type (資料類型) | article | - |
| dc.identifier.doi (DOI) | 10.30407/BDCL.202406_(41).0001 | - |
| dc.doi.uri (DOI) | https://doi.org/10.30407/BDCL.202406_(41).0001 | - |
