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    Please use this identifier to cite or link to this item: http://asiair.asia.edu.tw/ir/handle/310904400/2085


    Title: An Approach to Teaching English Poetry: the Use of Image, the Rhythm of Language, and the Self-Manifestation of Hsin-ching
    Authors: CHIEN-MIN CHEN
    Contributors: Department of Foreign Languages and Literatures, National Chung Hsing University
    Keywords: english poetry teaching;image,rhythm of languageimage of non-fixed substance;language and Hsin-ching;Hsin-ching and Kuan-hsi;英詩教學;意象;非定形意象;語言節奏;語言與心境;心境與關係
    Date: 2006-04
    Issue Date: 2009-10-13 15:22:00 (UTC+8)
    Publisher: Asia University
    Abstract: English poetry teaching may begin with the analysis of the essence of poetry by examining the
    fundamental differences among itself, prose, drama, and novel as four genres. Western literature,traditionally, approaches poetry by the method of “form and content,” but students in Chinese culture are generally used to the method of “language and Hsin-ching (the heart-mind).” Hsin-ching means the phenomenon of the existential state of the current situations of Hsin’s activities; briefly, itindicates
    Hsin’s activities or human experience. The poet uses his poetic inner language to manifest the
    substance, the static form, and the dynamic changes of his experience and then reveals, in the written language, the idiosyncratic features of his poetic creation. To explore poetry is equal to the analytical reading of the poet’s idiosyncratic use of the written language, his innerlanguage of recognition, and his Hsin-ching as the substantial experience itself. To teach a poem, basically, is to analyze its literature,
    its language, its Hsin-ching, and the interrelation among the previous three realms, which are,apparently, different from one another and, yet, tightly combined into one. Affected by Greek rhetoric,English poetry teaching is chiefly based on the idea of classification in distinguishing the sound and the sense, the function of words, and the figures of speech, such as denotation and connotation, image,
    simile, metaphor, metonymy, personification, allusion, tone, rhyme, apostrophe, symbol, allegory,paradox, overstatement, understatement, irony, and others, but these classes are too minute for theeginner to fully and quickly understand. Therefore, this thesis turns to emphasize the relation between
    language and Hsin-ching, to focus on three main points of the poet’s creation: the use of image, the rhythm of language, and the self-revelation of Hsin-ching, and thereby, to reorganize the traditional readings into a better knowledge as a whole. The use of image may be discussed in the following aspects: the dominant single image, the juxtaposed double images, and the serial images, which may be linked in the synthetic way, or leap from one to another in the irrational way, or remain, separately, in the form of non-fixed substance. The self-revelation of Hsin-ching means that the poet may, consciously or unconsciously, manifest, in different degrees, his self through the poems, which may be
    radically lyrical, or simply narrative, or objectively representative, or merely self-concealing-- in fact, he may either strongly expose or carefully conceal himself. In any case, the language of a poem reflects the poet’s Hsin-ching with varying degrees, and this reflection can be traced in the linguistic rhythm of
    the poem. A few poems are selected here as examples for analysis, and the proposed method is applied to them so that a useful way of solution may be found to solve the common difficulties that are often faced by the student beginners with Chinese cultural background.
    Relation: Asian Journal of Management and Humanity Sciences 1(1):79-102
    Appears in Collections:[Asian Journal of Management and Humanity Sciences] v.1 n.1

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