Theory of Imagery in Li-Sao

• Main Authors: Yung-HsiangChan, 詹詠翔
• Other Authors: Yi-Liang Chen
• Format: Others
• Language: zh-TW
• Published: 2010
• Online Access: http://ndltd.ncl.edu.tw/handle/26190468329512263024

碩士 === 國立成功大學 === 中國文學系碩博士班 === 98 === Qu Yuan’s Li Sao, as an autobiographic poem, truly reflects the poet’s mind in a tumult. The weaving of imagery in the poem, in particular has been repeatedly revisited by researchers. The thesis revolves around the imagery of Li Sao and departs from the origin, formation, structure and synthesis of imagery to explore how Qu Yuan, as the creative subject, brings a unique technique of expressing emotions into existence through the design and construction of imagery in Li Sao. I aim to open up new perspectives for the explication of imagery in Li Sao. The thesis is divided into seven chapters as follow: Chapter One—Introduction: purpose of research, literature review, methodology and anticipated achievement. Chapter Two—Exploration of Imagery Theory: I aim to explore the historical development of “idea” and “image” separately and demonstrate not only how imagery and language ability are related to each other but also the theory of imagery formation, structure and synthesis. Chapter Three—Formation of main imagery in Li Sao Part I, categorized as “image”: based on Chapter Two, I divide the overall imagery in Li Sao into two aspects; one is “the real” while the other is “the imagery.” I investigate respectively the features of “the real” and “the imagery” and place my focus on how “the real” and “the imagery” are related and functions as counterparts. Chapter Four—Formation of main imagery in Li Sao Part II, categorized as “idea”: based on Chapter Two, I analyze the core of imagery formation in Li Sao in terms of “sense” and “sensibility” and discuss the expressive techniques found among the imageries in Li Sao. Chapter Five—Structure of Imagery in Li Sao: I combine imagery thinking and logical thinking with theory of composition to analyze the structure of imagery in Li Sao so as to indicate features reflected in such imagery structure. Chapter Six—Synthesis of Imagery in Li Sao: I attempt to analyze and demonstrate the aesthetics of the theme and style of Li Sao. Chapter Seven—Conclusion: to sum up the research results above to expound the focus of the thesis. In terms of the research process, it dawned on me that Qu Yuan’s Li Sao, as one of his greatest works, impressively expresses Qu Yuan’s emotions. This autobiographic poem is not only diverse in imagery construction but also demonstrates a delicate and creative mind to imagery structure and synthesis. The work is indeed worth research and discussion.