诗歌的叙述模式和程式
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摘要
自从叙述学正式被引进学术界的四十多年里，它主要被用来研究小说。本文则试图将叙述学的理论和方法应用到诗歌的阐释之中。作者主要以查尔德编纂的《英格兰与苏格兰民谣》和《诗经》为例分析诗歌的叙述模式和程式。为了对诗歌叙述规律作一个深刻而又全面的洞察，本文还引用了英语文学和中国文学中的其他诗歌作为例证。
本文由五个章节组成。第一章总体地比较了《英格兰与苏格兰民谣》和《诗经》，给出了“民谣”的定义，并指出民谣的基本特征是非个性化、非主观性和不带自我意识。本章介绍了这两部诗集是如何编纂而成，以及它们的文学地位是如何被学者认可的，本章还综述了针对《诗经》、《民谣》及其编者的研究历史。第二章主要关注叙述学及其发展历史，分析了将其理论和方法应用到诗歌研究中的可行性。
第三章论述诗歌的叙述模式。本章开头介绍了分别由亚里士多德和《尚书·尧典》给出的关于诗歌的经典定义，这两种定义规定了中英诗歌的不同叙述模式，导致了英国民谣强调故事的完整性，中国诗歌重视话语表达诗人的思想、理想和抱负。由于它们之间的不同特征，它们在选择视角模式时也不尽相同：英国民谣主要选择第三人称视角来保持非个性化和客观性，而中国诗歌主要选择第一人称来表达诗人的个人追求。然而，英国民谣的客观性叙述和中国诗歌的第三人称叙述都时常被第一人称的叙述者在文本的开端、中部或结尾部分闯入。本章用比较的方式探讨了典型的诗歌表达模式，将中国诗歌中的三种主要模式——赋、比、兴——与引语和两个西方修辞手段——隐喻和转喻——进行比较，发现它们之间的关系是叠合的。比如，“兴”可能含有隐喻或转喻，或二者都有。本章还讨论了诗歌的韵律模式——主要是节奏和押韵，还探讨了英国民谣和中国诗歌的音乐特征。
第四章分析诗歌的叙述程式，由三个部分组成：情节设计、人物塑造和诗歌构造。中国诗歌不十分强调情节的设计，而英国民谣却把它当作是叙述的根本元素。本章使用了普罗普的形态学方法阐释一些英国民谣和中国诗歌是如何安排情节的。在人物塑造方面，尽管诗歌的人物多数是静态的，非动态的，但英国民谣和《诗经》塑造了许多丰富多彩的人物形象，如：勇敢的水手帕特里克·斯本斯、伟大的王后简、绿林好汉罗宾汉、弃妇，等等。这些人物推动了情节的发展，这样，叙述文本就形成了。文本必须在一定的语境中进行阐释，一些诗歌十分依赖语境，而另一些诗歌语境的依赖程度相对较低。本章的最后一部分还讨论了诗歌文本是如何开端，如何结尾的，并就英国民谣和中国诗歌总结了五大开头模式和两大结尾模式。诗歌的构造离不开衔接纽带的使用。除了韩礼德、哈桑的五大衔接纽带和胡壮麟的语音纽带外，本章还提出了另四条衔接方式：对立衔接、过度衔接、欠额衔接和反衔接。
第五章是对全文的总结，并得出结论：叙述学的理论和方法在诗歌阐释中不仅是可行的，也是十分实用的。
For more than 40 years since narratology was formally brought into the academicworld, it has been mainly utilized in the study of stories and novels. This dissertationattempts to apply the theory and methods of narratology in the interpretation of poetry.It takes Child's English and Scottish Popular Ballads and the Book of Poetry asexemplars to analyze the narrative patterns and processes of poetry. Some other poemsin both English and Chinese literature are also quoted so as to seek profound andcomprehensive insights into the narrative rules of poetry.
This dissertation is composed of five chapters. The first chapter is a generalcomparison between English and Scottish Popular Ballads and the Book of Poetry. Itgives the author's definition of the ballad and points out that the characteristics of theballad are impersonality, and the absence of subjectivity and self-consciousness. Then,it describes how these two collections of poetry were compiled and their literary statusas recognized by scholars. This chapter also describes their critical history and that oftheir compilers. The second chapter focuses on narratology and its development, andanalyzes the feasibility of applying its theory and methods in the study of poetry.
The third chapter centers on the narrative patterns of poetry. It beans with theclassical definitions given by Aristotle, representing the western view of poetry, andYao's Classics in Shang Shu (Supreme Book), representing the Chinese view. Thesedefinitions have prescribed the narrative patterns or modes of English poetry andChinese poetry, leading to the phenomenon that English ballads stress the integrity ofstory, while Chinese poems emphasize discourse on the poet's thoughts, ideals andambitions. Due to different characteristics of English ballads and Chinese poems, theydiffer in their choice of the modes of perspectives; the former choose mainly thethird-person to stay impersonal and objective, while the latter choose mainly the first-person to express the poet's personal pursuit. However, the objective narration ofthe English ballads and the third-person narration of the Chinese poems are sometimesdisrupted by the first-person narrator who may abruptly assmne the narration at thebeginning, in the middle or at the end of the text This chapter explores comparativelythe typical modes of poetic expressions. The three major modes of Chinese poetry, fu, biand xing are compared accordingly with speech and with western rhetorical devices,metaphor and metonymy. It is found that their resemblances actually overlap. A xingexpression, for instance, may include either metaphor or metonymy, or both. Thischapter also discusses the metrical modes of poetry—mainly rhythm and rhyme. Thenit investigates the musical features of both the English ballads and the Chinese poems.
The fourth chapter probes into the narrative processes of poetry. It falls into threesections: plotting, characterization and the making of poetry. The Chinese poems do notattach much importance to the design of plots, but the English ballads take it as anessential element of narration. The chapter employs the method of Propp's morphologyto interpret how the plots of some English ballads and Chinese poems are arranged. Incharacterization, although most of the characters in poetry are more static than dynamic,English ballads and Chinese poems have both created many colorful characters such asthe brave sailor Sir Patrick Spens, the great Queen Jane, the outlaw Robin Hood, andmany miscellaneous abandoned women, etc. With these characters to drive thedevelopment of action, a narrative text is thus formulated. A text must be interpreted inan appropriate context, and although some poems are heavily dependent on context,others are relatively independent of it. The last section of this chapter also discusseshow the poetic texts begin and how they end. It summarizes five major types ofbeginnings for both English ballads and Chinese poems, and two major modes ofendings. The making of poetic texts is inseparable from the use of cohesive ties. Apartfrom the five major ties of Halliday and Hasan, and a phonetic tie of Hu Zhuanglin, this chapter has put forward another four ties: antithetic cohesion, over-cohesion,under-cohesion and anti-cohesion.
The last chapter summarizes the whole dissertation, and concludes that the theoryand methods of narratology are not only feasible but also useful in the interpretation ofpoetry.
本文由五个章节组成。第一章总体地比较了《英格兰与苏格兰民谣》和《诗经》，给出了“民谣”的定义，并指出民谣的基本特征是非个性化、非主观性和不带自我意识。本章介绍了这两部诗集是如何编纂而成，以及它们的文学地位是如何被学者认可的，本章还综述了针对《诗经》、《民谣》及其编者的研究历史。第二章主要关注叙述学及其发展历史，分析了将其理论和方法应用到诗歌研究中的可行性。
第三章论述诗歌的叙述模式。本章开头介绍了分别由亚里士多德和《尚书·尧典》给出的关于诗歌的经典定义，这两种定义规定了中英诗歌的不同叙述模式，导致了英国民谣强调故事的完整性，中国诗歌重视话语表达诗人的思想、理想和抱负。由于它们之间的不同特征，它们在选择视角模式时也不尽相同：英国民谣主要选择第三人称视角来保持非个性化和客观性，而中国诗歌主要选择第一人称来表达诗人的个人追求。然而，英国民谣的客观性叙述和中国诗歌的第三人称叙述都时常被第一人称的叙述者在文本的开端、中部或结尾部分闯入。本章用比较的方式探讨了典型的诗歌表达模式，将中国诗歌中的三种主要模式——赋、比、兴——与引语和两个西方修辞手段——隐喻和转喻——进行比较，发现它们之间的关系是叠合的。比如，“兴”可能含有隐喻或转喻，或二者都有。本章还讨论了诗歌的韵律模式——主要是节奏和押韵，还探讨了英国民谣和中国诗歌的音乐特征。
第四章分析诗歌的叙述程式，由三个部分组成：情节设计、人物塑造和诗歌构造。中国诗歌不十分强调情节的设计，而英国民谣却把它当作是叙述的根本元素。本章使用了普罗普的形态学方法阐释一些英国民谣和中国诗歌是如何安排情节的。在人物塑造方面，尽管诗歌的人物多数是静态的，非动态的，但英国民谣和《诗经》塑造了许多丰富多彩的人物形象，如：勇敢的水手帕特里克·斯本斯、伟大的王后简、绿林好汉罗宾汉、弃妇，等等。这些人物推动了情节的发展，这样，叙述文本就形成了。文本必须在一定的语境中进行阐释，一些诗歌十分依赖语境，而另一些诗歌语境的依赖程度相对较低。本章的最后一部分还讨论了诗歌文本是如何开端，如何结尾的，并就英国民谣和中国诗歌总结了五大开头模式和两大结尾模式。诗歌的构造离不开衔接纽带的使用。除了韩礼德、哈桑的五大衔接纽带和胡壮麟的语音纽带外，本章还提出了另四条衔接方式：对立衔接、过度衔接、欠额衔接和反衔接。
第五章是对全文的总结，并得出结论：叙述学的理论和方法在诗歌阐释中不仅是可行的，也是十分实用的。
For more than 40 years since narratology was formally brought into the academicworld, it has been mainly utilized in the study of stories and novels. This dissertationattempts to apply the theory and methods of narratology in the interpretation of poetry.It takes Child's English and Scottish Popular Ballads and the Book of Poetry asexemplars to analyze the narrative patterns and processes of poetry. Some other poemsin both English and Chinese literature are also quoted so as to seek profound andcomprehensive insights into the narrative rules of poetry.
This dissertation is composed of five chapters. The first chapter is a generalcomparison between English and Scottish Popular Ballads and the Book of Poetry. Itgives the author's definition of the ballad and points out that the characteristics of theballad are impersonality, and the absence of subjectivity and self-consciousness. Then,it describes how these two collections of poetry were compiled and their literary statusas recognized by scholars. This chapter also describes their critical history and that oftheir compilers. The second chapter focuses on narratology and its development, andanalyzes the feasibility of applying its theory and methods in the study of poetry.
The third chapter centers on the narrative patterns of poetry. It beans with theclassical definitions given by Aristotle, representing the western view of poetry, andYao's Classics in Shang Shu (Supreme Book), representing the Chinese view. Thesedefinitions have prescribed the narrative patterns or modes of English poetry andChinese poetry, leading to the phenomenon that English ballads stress the integrity ofstory, while Chinese poems emphasize discourse on the poet's thoughts, ideals andambitions. Due to different characteristics of English ballads and Chinese poems, theydiffer in their choice of the modes of perspectives; the former choose mainly thethird-person to stay impersonal and objective, while the latter choose mainly the first-person to express the poet's personal pursuit. However, the objective narration ofthe English ballads and the third-person narration of the Chinese poems are sometimesdisrupted by the first-person narrator who may abruptly assmne the narration at thebeginning, in the middle or at the end of the text This chapter explores comparativelythe typical modes of poetic expressions. The three major modes of Chinese poetry, fu, biand xing are compared accordingly with speech and with western rhetorical devices,metaphor and metonymy. It is found that their resemblances actually overlap. A xingexpression, for instance, may include either metaphor or metonymy, or both. Thischapter also discusses the metrical modes of poetry—mainly rhythm and rhyme. Thenit investigates the musical features of both the English ballads and the Chinese poems.
The fourth chapter probes into the narrative processes of poetry. It falls into threesections: plotting, characterization and the making of poetry. The Chinese poems do notattach much importance to the design of plots, but the English ballads take it as anessential element of narration. The chapter employs the method of Propp's morphologyto interpret how the plots of some English ballads and Chinese poems are arranged. Incharacterization, although most of the characters in poetry are more static than dynamic,English ballads and Chinese poems have both created many colorful characters such asthe brave sailor Sir Patrick Spens, the great Queen Jane, the outlaw Robin Hood, andmany miscellaneous abandoned women, etc. With these characters to drive thedevelopment of action, a narrative text is thus formulated. A text must be interpreted inan appropriate context, and although some poems are heavily dependent on context,others are relatively independent of it. The last section of this chapter also discusseshow the poetic texts begin and how they end. It summarizes five major types ofbeginnings for both English ballads and Chinese poems, and two major modes ofendings. The making of poetic texts is inseparable from the use of cohesive ties. Apartfrom the five major ties of Halliday and Hasan, and a phonetic tie of Hu Zhuanglin, this chapter has put forward another four ties: antithetic cohesion, over-cohesion,under-cohesion and anti-cohesion.
The last chapter summarizes the whole dissertation, and concludes that the theoryand methods of narratology are not only feasible but also useful in the interpretation ofpoetry.
引文
1 Eagle, Dorothy. The Concise Oxford Dictionary of English Literature (second edition) [Z]. Oxford: Oxford University Press, 1970, p. 34
2 Preminger, Alex, et al. Princeton Encyclopedia of Poetry and Poetics [Z]. Princeton: Princeton University Press, 1974, p. 62
3 Woodring, Carl. From Ballads to Betjeman [A], in Carl Woodring & James Shapiro (eds), The Columbia History of British Poetry [C]. New York: Columbia University Press, 1994, p. 110
4 Sargent, Helen Child & Kittredge, George Lyman. English and Scottish Popular Ballads [A]. Boston: Houghton Mifflin Company, 1904, p. ⅹⅰ
1 Ibid., p. ⅹⅱ
2 Gerould, G. H. The Ballad of Tradition [M]. Oxford: Clarendon Press, 1932, p. 13
3 Moore, A. K. The Literary Status of the English Popular Ballad [J]. Comparative Literature 10 (1958), p. 6
1 Wells, E. K. The Ballad Tree [M], New York, 1950, p. 5
2 Beatty, Arthur. Ballad, Tale, and Tradition: a Study in Popular Literary Origins [J]. PMLA 19 (1914), p. 473
3 Moore, A. K. The Literary Status of the English Popular Ballad [J]. Comparative Literature 10 (1958), p. 7
4 Ibid., p. 3
1 Davidson, Thomas. Prof. Child's Ballad Book [J]. American Journal of Philology 5 (1884), p. 466
2 By freakish forms, we mean the ballads that are due, not to natural development, but to the conscious effort either of rude popular bards or of cultivated poets impatient of popular uncouthness.
1 洪湛侯．诗经学史(上)[M]．北京：中华书局，2002，pp．1-7
1 洪湛侯．诗经学史(上)[M]．北京：中华书局，2002，pp．119-123
1 Moore, A. K. The Literary Status of the English Popular Ballad [J]. Comparative Literature 10 (1958), p. 1
1 Hart, W. H. Professor Child and the Ballads [J]. PMLA ⅹⅹⅰ (1906), pp. 755-807
2 Sargent, H. C.& Kittredge., G. L. English and Scottish Popular Ballads [A]. Boston: Houghton Mifflin Company, 1904, p. ⅹⅹⅹ
1 Moore, A. K. The Literary Status of the English Popular Ballad [J]. Comparative Literature 10 (1958), p. 9
2 Ibid., p. 20
3 Sargent, H. C.& Kittredge, G. L. English and Scottish Popular Ballads [A]. Boston: Houghton Mifflin Company, 1904, pp. ⅹⅹⅹ-ⅹⅹⅹⅰ.
4 Preminger, Alex, et al. Princeton Encyclopedia of Poetry and Poetics [Z]. Princeton: Princeton University Press, 1974, pp. 63-64
5 Thomas Tickell (1686-1740), English poet and translator. A contributor of verse to the Spectator, he was a friend of Addison, for whom he wrote a fine elegy (1721). His translation of the first book of the Iliad, appearing simultaneously with Pope's (1715), caused a quarrel between Pope and Addison, who praised Tickell's work.
1 Stork, Charles Wharton. The Influence of the Popular Ballad on Wordsworth and Coleridge [J]. PMLA 29 (1914), p. 299
2 Preminger, Alex, et al. Princeton Encyclopedia of Poetry and Poetics [Z]. Princeton: Princeton University Press, 1974, p. 117
1 孙克强，张小平．《诗经》与中国文化[M]．开封：河南大学出版社，1995，p．204
1 Moore, A. K. The Literary Status of the English Popular Ballad [J]. Comparative Literature 10 (1958), p. 19
2 Scott, Walter. Minstrelsy of the Scottish Border [A]. Detroit: Omnigraphics Inc, 1968, p. 38
1 Mackenzie, Eileen. Thomas Percy and Ballad 'Correctness' [J]. R.E.S. 21 (1945), p. 59
2 Friedman, Albert B. The First Draft of Percy's Reliques [J]. PMLA 69 (1954), p. 1233
3 Bold, Allen N. The Ballad and History: the Case for Scott [J]. Folklore 89 (1978), p. 229
1 Scott, Walter. Minstrelsy of the Scottish Border [A]. Detroit:. Omnigraphics Inc, 1968, p. 6
2 Bold, Allen N. The Ballad and History: the Case for Scott [J]. Folidore 89 (1978), p. 241
1 Ehrenpreis, Anne Henry. Swinburne's Edition of Popular Ballads [J]. PMLA 78 (1963), p. 559
2 Ibid., 565
3 Hyder, Clyde. K. Swinburne and the Popular Ballad [J]. PMLA 49 (1934), p.296
1 Ibid., p. 309
2 Napier, James. Old Ballad Folklore [J]. Folklore Record 2 (1879), pp.92-126
3 Ibid., p. 92
4 Ibid.
5 Ibid., p. 94
1 Gummere, F. B. Primitive Poetry and the Ballad, Ⅰ [J]. Modern Philology 1 (1903), pp. 193-202; Primitive Poetry and the Ballad, Ⅱ [J]. Ibid., pp. 217-234; Primitive Poetry and the Ballad, Ⅲ [J]. Ibid., 1904, pp. 373-390
2 Gummere, F. B. Primitive Poetry and the Ballad, Ⅰ [J]. Modern Philology 1 (1903), p. 194
3 Ibid., p. 197
4 Ibid., pp. 195-196
5 Gummere, F. B. Primitive Poetry and the Ballad, Ⅱ [J]. Modern Philology 1 (1903), p. 219
6 Ibid., p. 220
1 Gummere, F. B. Primitive Poetry and the Ballad, Ⅲ [J]. Modern Philology 1 (1904), p. 382
2 Pound, Louise. The Beginning of Poetry [J]. PMLA 32 (1917), p. 201
3 Ibid.
4 Ibid., p. 218
1 Ibid., P. 229
2 Ibid., p. 232
3 Gerould, Gorden Hall. The Making of Ballads [J]. Modern Philology, 1923 (8), p. 20
4 Ibid., p. 22
5 Ibid., p. 17
1 Ibid., p. 21
2 Ibid., p. 22
3 Barry, Phillips. A Garland of Ballads [J]. Journal of American Folklore 23 (1910), p. 446
4 Gerould, Gorden Hall. The Making of Ballads [J]. Modern Philology, 1923 (8), p. 15
5 Moore, Arthur K. The Literary Status of the English Popular Ballad [J]. Comparative Literature 5 (1958), pp. 1-20
6 Davidson, Thomas. Prof. Child's Ballad Book [J]. American Journal of Philology 5 (1884), pp. 466-478
1 Hart, Walter Morris. Professor Child and the Ballad [J]. PMLA. 11 (1906), pp. 755-807
2 Reppert, James D. Walliam Macmath and F. J. Child [J]. PMLA 71 (1956), pp. 510-520
3 Ogburn, Vincent H. Thomas Percy's Unfinished Collection, Ancient English and Scottish Poems [J]. ELH 3 (1936), pp. 183-143
4 Mackanzie, Eileen. Thomas Percy and Ballad "Correctness" [J]. R. E. S. 21 (1945), pp. 58-60
5 Friedman, Albert B. The First Draft of Percy's Reliques [J]. PMLA 69 (1954), pp. 1233-1249
6 Montgomere, William. Sir Walter Scott as Ballad Editor [J]. R. E. S. New Series 7 (1956), pp. 158-160
7 Hyder, Clyde K. Swinburne and the Popular Ballad [J]. PMLA 49 (1934), pp. 295-309
8 Ehrenpreis, Anne Hanry. Swinburne's Edition of Popular Ballads [J]. PMLA 78 (1963), pp. 559-571
9 Montgomorie, William. William Motherwell and Robert A. Smith [J]. R. E. S. New Series 9 (1958), pp. 152-156
10 Steadman, J. M. The Dramatization of the Robin Hood Ballads [J]. Modern Philology 17 (1919), pp. 9-23
11 Simeone, William E. The Historic Robin Hood [J]. Journal of American Folklore 66 (1953), pp. 303-563; Robin Hood and Some Other Outlaws [J]. Ibid. 71 (1958), pp. 27-33
12 Keen, Maurice. Robin Hood—Peasant or Centleman? [J]. Past and Present 19 (1961), pp.7-14
13 Morsherger, Robert E. In Quest of Robin Hood [J]. Bulletin of the Rocky Mountain Modern Language Association 25 (1971), pp. 75-85
14 Holt J. C. The Origins and Audience of the Ballads of Robin Hood [J]. Past and Present 19 (1961), pp. 89-110
15 Maddicott, J. R. The Birth and Setting of the Ballads of Robin Hood [J]. English Historical Review 93 (1978), pp. 276-299
1 Nelles, Walter R. The Ballad of Hind Horn [J]. Journal of American Folklore 22 (1909), pp. 42-62
2 Coffin, Tristram P. The Murder Motive in "Edward" [J]. Western Folklore 8 (1949), pp. 314-319
3 Parker, Harbison. "The Twa Sisters"—Going Which Way? [J]. Journal of American Folklore 64 (1951), pp. 347-360
4 Fowler, David C. An Accused Queen in "The Lass of Roch Royal" [J]. Journal of American Folklore 71 (1958), pp. 553-563
5 Nygard, Holger. Narrative Changes in the European Tradition of the "Lady Isabel and the Elf Knight" Ballad [J]. Journal of American Folklore 65 (1952), pp. 2-12; Ballad Source Study: Chgild Ballad No. 4 as Exemplar [J]. Ibid., 68 (1955), pp. 141-152
6 Toelken, J. Barre. "Riddles Wisely Expounded" [J]. Western Folklore 25 (1966), pp. 1-16
7 Matchett, William H. The Integrity of "Sir Patrick Spence" [J]. Modern Philology 68 (1970), pp. 25-31
8 Minton, John. The Fause Knight upon the Road: A Reappraisal [J]. Journal of American Folklore 98 (1985), pp. 435-455
9 Bird, S. Elizabeth. "Lord Randar" in Kent: The meaning and context of a Ballad Variant [J]. Folklore 96 (1985), pp. 248-251
1 Ponnd, Louise. The "Uniformity" of the Ballad Style [J]. Modern Lance Notes 35 (1920), p. 217
2 Roberts, Warren E. Commie Elements in the English Traditional Ballad [J]. International Folk Music Journal 3 (1951), pp. 76-81
3 Nicolaisen, W. F. H. Humour in Traditional Ballads (Mainly Scottish) [J]. Folklore 103 (1992), pp. 27-39
4 Ponnd, Louise. Ibid., p. 218
5 Stewart, George R. A Method toward the Study of Dipodic Verse [J]. PMLA 39 (1924), pp. 979-989; The Metre of the Popular Ballad [J]. Ibid., 40 (1925), pp. 933-962
6 Propp, Vladimir. Morphology of the Folktala [M]. Austin: University of Texas Press, 1968
7 Turner, Judith. A Morphology of the "True Love" Ballad [J]. Journal of American Folklore 85 (1972), pp. 21-31
8 Beatie, Bruce. Traditional Structures and the Structure of Tradition: A Functional System of Ballad Classification [A], in Patricia Conroy (ed.) Ballads and Ballad Research [C]. Seattle: University of Washington Press, 1978, pp. 210-220
1 Webber, Ruth. Prolegomena to the Study of the Narrative Structure of the Hispanic Ballad [A], in Patricia Conroy (ed.) Ballads and Ballad Research [C]. Seattle: University of Washington Press, 1978, pp. 221-230
2 Porter, James. Principles of Ballad Classification: A Suggestion in Regional Catalogues of Ballad Style [J]. Jahrbuchfur Volksliedforschung 25 (1980), pp. 11-26
3 Shuldiner, David. The Content and Structure of English Ballads and Tales [J]. Western Folklore 37 (1978), pp. 267-280
4 Buchan, David. Propp's Tale Role and a Ballad Repertoire [J]. Journal of American Folklore 95 (1982), pp. 159-172
1 《周颂·清庙》
2 《大雅·江汉》
3 《大雅·生民》
4 《小雅·南有嘉鱼》
5 《齐风·卢令》
6 《小雅·六月》
7 《王风·君子于役》
8 《豳风·七月》
1 《小雅·节南山》
2 《郑风·出其东门》
3 吴小书．20世纪《诗经》研究综述[EB]．http://www.pkucn.com/archiver?tid-143739.html
1 Dai, Wei-qun. Xing Again: A Formal Re-investigation [J]. Chinese Literature: Essays, Articles, Reviews 13 (1991), pp. 1-14
2 Yeh, Michelle. Metaphor and Bi: Western and Chinese Poetics [J]. Comparative Literature 39 (1987), pp. 237-254
3 Fu, Hongchu. Historicity of Interpretation: Reflection on Xing in Classical Chinese Poetry [J]. Pacific Coast Philology 29 (1994), pp. 14-27
4 Gu, Ming Dong. Fu-Bi-Xing: A Metatheory of Poetry-making [J]. Chinese Literature: Essays, Articles, Reviews 19 (1997), pp. 1-22
5 Zhang, Longxi. The Letter or the Spirit: The Song of Songs, Allegoresis, and the Book of Poetry [J]. Comparative Literature 39 (1987), pp. 193-217
6 Yu, Pauline R. Allegory, Allegoresis and the Classic of Poetry [J]. Harvard Journal of Asiatic Studies 43 (1983), pp. 377-412
7 Saussy, Haun. Repetition, Rhyme, and Exchange in the Book of Odes [J]. Harvard Journal of Asiatic Studies 57 (1997), pp. 519-542
8 Riegel, Jeffrey. Eros, Introversion, and the Beginnings of Shijing Commentary [J]. Harvard Journal of Asiatic Studies 57 (1997), pp. 143-177
1 Todorov, Tzvetan. Grammaire du Decameron [M]. The Hague: Mouton, 1969, p. 9
2 Barthes, Roland. An Introduction to the Structural Analysis of Narrative [J]. New Literary History, 1975(6), pp. 237-272.
3 Chatman, Seymour. Story and Discourse: Narrative Structure in Fiction and Film [M]. New York: Cornell UP, 1990
4 Bal, Mieke. Narratology [M], trans. Christine van Boheemen. Toronto: University of Toronto Press, 1985
1 Propp, Vladimir. Morphology of the Folk-Tale [M], trans. Laurence Scott. Austin: University of Texas Press, 1968
1 唐伟胜．范式与层面：国外叙事学综述[J]．外国语，2003(5)，pp．60-66
1 布雷蒙．叙事可能之逻辑[A]．张寅德选编．叙事学研究[C]．北京：中国社会科学出版社，1989，pp．154-155
2 Genette, G. Narrative Discourse [M], trans. Jane E. Lewin. Oxford: Biackwell, 1980, pp, 15-126
1 Prince, Gerald. Narratology [A], in Michael Groden and Martin Kreiswirth (eds.) The John Hopkins Guide to Literary Theory and Criticism [C]. Baltimore: John Hopkins University Press, 1994, pp. 524-527
1 Richardson, Brian. Recent Theory of Narrative and the Narratives of Narrative Theory [J]. Style, 2000 (summer)
2 Prince, Gerald. Narratology [A], in Michael Groden and Martin Kreiswirth (eds.) The John Hopkins Guide to Literary Theory and Criticism [C]. Baltimore: John Hopkins University Press, 1994, pp. 524-527
3 Cohn, Dorrit. Signposts of Fictionality: A Narratological Perspective[J]. Poetics Today 1990(4), pp. 775-804
1 “诗言志，歌永言，声依永，律和声”出自《今文尚书·尧典》
1 Ibid., p.47
2 《魏风·硕鼠》
3 巴尔，米克．叙述学(谭君强译)[M]．中国社会科学出版社，2003，p．3
1 Matchett, William H. The Integrity of "Sir Patrick Spence" [J]. Modern Philology, August 1970, pp. 137-143
2 Brooks, Cleanth & Warren, Robert Penn. Understanding Poetry [M]. Beijing: Foreign Language Teaching and Research Press, 2004, pp. 25-26
1 Aristotle. Aristotle's Poetics [M], translated, with an introduction and notes, by James Hutton. NewYork and London: Norton, 1982, p. 50
1 热奈特：叙事话语 新叙事话语(王文融译)，北京：中国社会科学出版社，1990，p．171
1 Stevick, Philip. The Theory of the Novel [C]. New York: the Free Press, 1967, p. 85
1 祖国颂．叙事的诗学IM]．合腮：安徽大学出版社，2003，p．149
2 Uspensky, B. A Poetics of Composition [M]. Berkeley:. University of California Press, 1973
3 Fowler, R. Linguistic Criticism [M]. Oxford: Oxford University Press, 1986, pp.127-146
4 申丹．叙述学与小说文体学研究(第三版)[M]．北京：北京大学出版社，2004，pp．204-205
1 Genette. Narrative Discourse, New Narrative Discourse. Beijing: China Social Science Press, 1990, pp. 171-172
2 Lanser, Susan Sniader. The Narrative Act: Point of View in Prose Fiction. Princeton: Princeton UP, 1981, p.161
3 邵锦娣，周苹．第一人称叙事与可靠性问题[J]．河南大学学报(社会科学版)，2002(1)，p．84
1 徐岱．小说叙事学[M]．北京：中国社会科学出版社，1992，pp．275-276
2 黄希云．小说人称的叙述功能[J]．外国文学评论，1996(4)，pp．15-16
1 Sargent, Helen Child & Kittredge, George Lyman. English and Scottish Popular Ballads [A]. Boston: Houghton Mifflin Company, 1904, p. ⅹⅰ
1 Friedman, N. Point of View in Fiction [A], in Phillip Stevick (ed.) The Theory of the Novel [C]. New York: the Free Press, 1967, pp.126-127
2 《小雅·采薇》
1 “曰归曰归，心亦忧止。忧心烈烈，载饥载渴。我戍未定，靡使归聘。”此处采用杨宪益、戴乃迭的英文翻译(杨宪益，戴乃迭．诗经[A]．北京：外文出版社，2001，p．251)
2 “昔我往矣，杨柳依依。今我来思，雨雪靠霏。行道迟迟，载渴载饥。我心伤悲，莫知我哀!”(Ibid．，p．253)
3 公木，赵雨．诗经全解[M]．长春：长春出版社，2006，p．207
4 “忧心孔疚，我行不来!”此处采用杨宪益、戴乃迭的英文翻译(杨宪益，戴乃迭．诗经[A]．北京：外文出版社，2001，p．252)
1 Sargent, Helen Child & Kittredge, George Lyman. English and Scottish Popular Ballads [A]. Boston: Houghton Mifflin Company, 1904, p. 490
1 Friedman, N. Point of View in Fiction [A], in Phillip Stevick (ed.) The Theory of the Novel [C]. New York: the Free Press, 1967, pp.125-126
1 These four poems are respectively：《秦风·黄鸟》、《豳风·七月》、《小雅·吉日》、《小雅·鸿雁》．
2 《齐风·著》
1 Sargent, Helen Child & Kittredge, George Lyman. English and Scottish Popular Ballads [A]. Boston: Houghton Mifflin Company, 1904, p. 424
1 “家父作诵，以究王讻。式讹尔心，以畜万邦。”(《小雅·节南山》)
2 许渊冲．诗经(英译)[A]．长沙：湖南出版社，1993，p．389
3 胡亚敏．叙事学[M]．武汉：华中师范大学出版社，2004，pp．45-46
1 黄希云．小说人称的叙述功能[J]．外国文学评论，1996(4)
2 Fludernik, Monica. Introduction: Second-person Narrative and Related Issues [J]. Style, 1994, (special issue)
3 Richarson, Brian. I et cetera: on the Poetics and Ideology of Mulfipersoned Narratives [J]. Style, 1994, (special issue)
4 Phelarn, James. "Self-Help" for Narratee and Narrative Audience: how 'T'—and "You"—Read "How" —Lorrie Moore's Short Story "how" from the Collection "Self-Help" [J]. Style, 1994, (special issue)
5 Herman, David. Textual "You" and Double Deixis in Edna O'Brien's "A Pagan Place" [J]. Style, 1994, (special issue)
1 Fludernik, Monica. Introduction: Second-person Narrative and Related Issues [J]. Style, 1994, (special issue)
2 Prince, Gerald. A Dictionary of Narratology[Z]. Lincoln: University of Nebraska Press, 1987, p. 84
3 Fludernik, Monica. Introduction: Second-person Narrative end Related Issues [J]. Style, 1994, (special issue)
4 Delconte, Matt. Why yon can't Speak: Second-person Narration, Voice, and a New Model for Understanding Narrative [J]. Style, 2000, (summer)
1 《唐风·山有枢》
2 《唐风·绸缪》
3 《小雅·天保》
4 《小雅·无羊》
5 《大雅·卷阿》
6 Longinus. On the Sublime [M]. Cambridge: Harvard University Press, 1982, pp.200-201
1 祖国颂．叙事的诗学[M]．合肥：安徽大学出版社，2003，p．196
1 申丹．叙述学与小说文体学研究(第三版)[M]．北京：北京大学出版社，2004，p．259
1 Friedman, N. Point of View in Fiction [A], in Philip Stevick (ed.) The Theory of the Novel [C]. New York: the Free Press,, 1967, pp.129-130
2 《郑风·女曰鸡鸣》
3 《齐风·鸡鸣》
4 Preminger, Alex, et al. Princeton Encyclopedia of Poetry and Poetics [Z]. Princeton: Princeton University Press, 1974, p. 62
1 Friedman, N. Point of View in Fiction [A], in Philip Stevick (ed.) The Theory of the Novel [C]. New York: the Free Press, 1967, p.130
2 《郑风·溱洧》
3 “溱与洧，方涣涣兮。”
4 “女曰‘观乎?’士曰‘既且。’‘且往观乎?洧之外，洵訏且乐。’”
1 Preminger, Alex, et al. Princeton Encyclopedia of Poetry and Poetics [Z]. Princeton: Princeton University Press, 1974, p. 62
2 Ibid.
1 Zhou Li Da Shi：“The great master…taught six poeac principles：feng, fu，bi，xing，ya，and song．”(周礼·大师：“大师……教六诗，曰风、曰赋、曰比、曰兴、曰雅、曰颂。”)
2 Originally, scholars thought that feng, ya, song, fu, bi and xing were six types of poems. It was Confucius who deleted poems offu, bi and xing, and only three types of poems, i.e. feng, ya and song, remained. But it is proved that this thought is untrue, since Book of Poetry was compiled when Confucius was only 7, therefore couldn't have deleted those poems. Later, scholars have followed the authoritative interpretation of Kong Yingda (孙颖达,574-648) who said: "Feng, ya and song are different types of poems; fu, bi and xing are different methods of writing poems(风、雅、颂者，诗篇之异体；赋、比、兴者，诗文之异辞耳。)." Since then, it is generally accepted thatfu, bi and xing are three separable modes of expression.
3 Gu, Ming Dong. Fu-Bi-Xing: A Metatheory of Poetry-Making [J]. Chinese Literature: Essays, Articles, Reviews 19(1979), p. 1
4 杨载：“诗学之正源，法度之准则”，见何文焕编《历代诗话》(北京：中华书局，1981，p．725)
5 “予尝考之三百篇：赋七百二十，兴三百七十，比一百一十。”(谢榛．四溟诗话[M]．北京：人民文学出版社，1961，p．53)
1 Sargent, Helen Child & Kittredge, George Lyman. English and Scottish Popular Ballads [A]. Boston: Houghton Mifflin Company, 1904, p. 544
2 Ibid., P. 430
1 程俊英，蒋见元．诗经注释[A]．长沙：岳麓书社，2002
2 许渊冲．诗经英译[A]．长沙：湖南出版社，1993
3 胡亚敏．叙事学[M]．武汉：华中师范大学出版社，2004．p．91
4 申丹．叙述学与小说文体学研究(第三版)[M]．北京：北京大学出版社，2004，p．299
1 《郑风·女曰鸡鸣》
2 “女曰：‘鸡鸣，’士曰：‘昧旦。’‘子兴视夜，明星有烂。’‘将翱将翔，弋凫与雁’”(英译见：杨宪益，戴乃迭．诗经[A]．北京：外文出版社，2001，p．135)
1 Gu, Ming Dong. Fu-Bi-Xing: a Metatheory of Poetry-Making [M]. Chinese Literature: Essays, Articles, Reviews 19(1997), pp. 1-2
2 郑众注《周礼·大师》：“比者，比方于物也；兴者，托事于物。”(见：刘勰著，周振甫注．文心雕龙注释[M]．北京：人民文学出版社，1981，p．399)
3 邦玄注：“比，见今之失，不敢斥言，取比类以言之；兴，见今之美，嫌于媚谀，取善事以喻劝之。”(ibid．)
1 《卫风·硕人》
2 “手如柔荑，肤如凝脂，领如蝤蛴，齿如瓠犀，螓首蛾眉，巧笑倩兮，美目盼兮。”(英译见：杨宪益，戴乃迭．诗经[A]．北京：外文出版社，2001，p．91)
3 “比则蓄愤以斥言，兴则环譬记托讽。”(见：刘勰著，周振甫注．文心雕龙注释[M]．北京：人民文学出版社，1981，p．394；英译见：Liu Hsieh．The Literary Mind and the Carving of Dragons[M]，trsns．By Vincent Yu-chung Shill．NewYork：Columbia University Press，1995，p．195)
4 “比显而兴隐”
5 挚虞：“比者，喻类之言．兴者，有感之辞也。”(冯浩菲．历代诗经论说评述[M]．北京：中华书局，2003，p．75)
6 钟嵘：“文已尽而意有余，兴也。”(Zhong Rong．“Preface” to The Poets Systematically Graded[A]，in Siu-kit Wong, trans. Early Chinese Literary Criticism [C]. Hong Kong: Joint Publishing Co., 1983, p. 92)
1 朱熹：“比者，以彼物比此物也；兴者，先言他物，以引起所咏之词也。”(冯浩菲．历代诗经论说评述[M]．北京：中华书局，2003，p．75)
2 徐复观．中国文学论集[C]．台北：台湾学生书局，1985，p．100
1 “故比者，附也；兴者，起也。附理者，切类以指事，起情者，依微以拟议。起情故兴体以立，附理故比例以生．”(Liu Hsieh．The Literary Mind and the Carving of Dragons[M]，trans．By Vincent Yu-chung Shih．New York：Columbia University Press，1995，p．195)
2 亚里士多德．诗学(陈中梅译)[M]．北京：商务印书馆，2003，p．148
3 亚里斯多德．修辞学(罗念生译)[M]．上海：上海人民出版社，2005，p．173
4 Yeh, Micheile. Metaphor and Bi: Western and Chinese Poetics [J]. Comparative Literature 39 (1987), p. 240
1 Johnson, Samuel. Lives of the English Poets (Vol 1)[M]. Oxford: Oxford University Press, 1906, pp. 14-15
2 Coleridge, Samuel Taylor. Biographia Literaria [A], in I. A. Richards (ed.) The Portable Coleridge [C]. New York: Viking, 1950, p. 524
3 Richards, I. A. The Philosophy of Rhetoric [M]. New York: Oxford University Press, 1932, p. 125
1 Ricoeur, Paul. The Metaphorical Process as Cognition, Imagination, and Feeling [J]. Critical Inquiry, 1978(5), p. 146
2 Jakobson, Roman. Two Aspects of Language aud Two Types of Aphasic Disturbances [A], in Jakobson and M. Halle (eds), Fundamentals of Language[C], The Hague: Mouton, 1956, p. 60
3 雅各布逊．隐喻和换喻的两极[A]．二十世纪西方文论选[C](上卷，朱立元，李钧主编)．北京：高等教育出版社，2002，pp．192-196
1 《郑风·大叔于田》
2 “执辔如组，两骖如舞。”“两服上襄，两骖雁行。”“两服齐首，两骖如手。”
3 Yeh, Michelle. Metaphor and Bi: Western and Chinese Poetics [J]. Comparative Literature 39 (1987), pp.246-248
4 Ibid., p. 250
1 《魏风·硕鼠》
2 “硕鼠硕鼠，无食我苗!三岁贯女，莫我肯劳。”
3 《周南·桃夭》
4 “桃之天天，灼灼其华。之子于归，宜其室家。∥桃之天天，有黄其实。之子于归，宜其家室。∥桃之夭夭，其叶蓁蓁。之子于归，宜其家人。”
5 Yeh, Michelle. Metaphor and Bi: Western and Chinese Poetics [J]. Comparative Literature 39 (1987), p. 15
1 Ricoeur, Paul. The Rule of Metaphor [M]. Tonronto and Buffalo: University of Toronto Press, 1977, pp. 68-75
2 Dai, Wei-qun. Xing Again: a Formal Re-investigation [J]. Chinese Literature: Essays, Articles, Reviews 13 (1991), p. 31
3 Ricoeur, Paul. The metaphorical Process as Cognition, Imagination, and Feeling [A], in Sheldon Sacks (ed.) On Metaphor [C]. Chicago and London: The University of Chicago Press, 1979, p. 145
4 Dai, Wei-qun. Ibid., p. 31
1 Ricoeur, Paul. The metaphorical Process as Cognition, Imagination, and Feeling [A], in Sheldon Sacks (ed.) On Metaphor [C]. Chicago and London: The University of Chicago Press, 1979, p. 179
2 Dai, Wei-qun. Ibid., p. 32
3 张进．论“赋比兴”的语言结构和修辞系统[J]．兰州大学学报(社会科学版)．，1998(2)，pp．115
4 “喓喓草虫，趯趯阜螽。未见君子，忧心忡忡。”(《召南·草虫》)
1 Lacan, Jacques. The Agency of the Letter in the Unconscious or Reason Since Freud [A], in Ecrits: A Selection [C]. New York: Norton, 1977, p. 160
2 Matus, Jill. Proxy and Proximity: Metonymic Signing[J]. University of Toronto Quarterly, Vol. 58, No. 2, Winter 1988/9
1 Lacan, Jacques. Ibid.
2 Gu, Ming Dong. Fu-Bi-Xing: a Metatheory of Poetry-Making [M]. Chinese Literature: Essays, Articles, Reviews 19 (1997), p. 16
1 Lacan, Jacques. Ibid., p. 157
2 《召南·野有死麕》
3 “野有死麕，白茅包之。有女怀春，吉士诱之。”
4 Gu, Ming Dong. Fu-Bi-Xing: a Mctatheory of Poetry-making [J]. Chinese Literature: Essays, Articles, Reviews 19 (1997), pp. 18-19
1 顾颉刚．古史辩(第三册)[M]．上海：上海古籍出版社，1981，p．702
1 “不学诗，无以言。”(《论语·季氏》)
2 Stewart, George Jr. The Metre of the Popular Ballad [J]. PMLA 40 (1925), p. 933
1 Ibid., p. 935
2 王宝童．金域行[M]．开封：河南大学出版社，1993，pp．175-176
3 Preminger, Alex, et al. Princeton Encyclopedia of Poetry and Poetics [Z]. Princeton: Princeton University Press, 1974, pp. 496-499
4 Ibid., p. 498
1 Ibid., p. 64
2 Stewart, George Jr. The Metre of the Popular Ballad [J]. PMLA 40 (1925), p. 934
1 《周南·桃夭》
2 《邶风·日月》
3 《小雅·六月》
4 《大雅·民劳》
5 《小雅·小明》
6 王力．诗经韵读[M]．上海：上海古籍出版社，1980，pp．54-58
7 《邶风·雄雉》
8 王力．诗经韵读[M]．上海：上海古籍出版社，1980，p．165
1 《大雅·大明》
2 《大雅·桑柔》
3 王力．诗经韵读[M]．上海：上海古籍出版社，1980，pp．70-75
1 王宝童．金域音[M]．开封：河南大学出版社，1998，p．2
2 Preminger, Alex, et al. Princeton Encyclopedia of Poetry and Poetics [Z]. Princeton: Princeton University Press, 1974, p. 706
3 《周南·兔置》
1 王宝童．金域音[M]．开封：河南大学出版社，1998，p．4
2 Saussy, Haun. Repetition, Rhyme, and Exchange in the Book of Odes[J]. Harvard Journal of Asiatic Studies 57 (1997), p. 262. The quotation comes from Analects(《论语·子路》：君子和而不同，小人同而不和。)．
3 Preminger, Alex, et al. Princeton Encyclopedia of Poetry and Poetics [Z]. Princeton: Princeton University Press, 1974, p. 781
1 《鄘风·桑中》
2 Brooks, Cleanth & Warren, Robert Penn. Understanding Poetry [M]. Beijing: Foreign Language Teaching and Research Press, 2004, p. 523
1 Saussy, Haun. Ibid., p. 273
2 Ibid., p. 279
3 《大雅·既醉》
4 Ibid., p.273
5 王力．诗经韵读[M]．上海：上海古籍出版社，1980，p．351-352
6 Saussy, Haun. Ibid., pp. 273-274
7 Ibid., p. 274
1 《周南·麟之趾》
2 《大雅·文王》
3 《豳风·东山》
4 《小雅·瞻彼洛矣》
5 《周颂·有瞽》
6 王宝童．金域音[M]．开封：河南大学出版社，1998，p．69
1 Preminger, Alex, et al. Princeton Encyclopedia of Poetry and Poetics [Z]. Princeton: Princeton University Press, 1974, pp. 498-499
2 Saussy, Haun. Ibid., p. 282
1 “三百五篇，孔子皆弦歌之，以求合《韶》、《武》、《雅》、《颂》之音”(司马迁．史记[M]．郑州；中州古籍出版社，1994，p．572)
2 《墨子·公孟》篇曰：“诵《诗三百》，弦《诗三百》，歌《诗三百》，舞《诗三百》。”(qtd fr．赵敏俐．中国古代歌诗研究[M]．北京：北京大学出版社，2005，p．90)
3 《汉书·食货志》：“孟春之月，群居者将散。行人振木铎徇于路以采诗，献之大师，比其音律，以闻于天子。”(Ibid.)
4 Ibid.
5 杜兴梅．试论《诗经》的音乐文化特质[J]．音乐探索，2004(4)，p．27
1 孙克强．《诗经》与中国文化[M]．开封；河南大学出版社，1995，p．197
2 王先谦．诗三家义集疏[M]．北京：中华书局，1987，p．34
3 Saussy, Haun. Repetition, Rhyme, and Exchange in the Book of Odes [J]. Harvard Journal of Asiatic Studies 57 (1997), pp. 519-542
4 《召南·摽有梅》
5 《周南·芣苡》
6 《周南·麟之趾》
7 Woodring, Carl. From Ballads to Betjeman [A], in Carl Woodring and James Sapiro (eds.) The Columbia History of British Poetry [C]. New York: Columbia University Press, 1994, p. 110
8 Eagle, Dorothy. The Concise Oxford Dictionary of English Literature (second edition) [Z]. Oxford: Oxford University Press, 1970, p. 34
1 Leech, Geoffrey N. A Linguistic Guide to English Poetry [M], London: Longman, 1969, pp. 93-95
1 Aristotle. Aristotle's Poetics [M], translated, with an introduction and notes, by James Hutton. NewYork and London: Norton, 1982, p. 50-54
2 申丹．叙述学与小说文体学研究(第三版)[M]．北京：北京大学出版社，2004，p．34
3 Shklovsky, V. "Art as Technique"[A], in L. Lemon & M. Reis (eds.) Russian Formalist Criticism [C]. Nebraska: University of Nebraska Press, 1965, pp. 51-57
1 Crane, R. S. The Concept of Plot [A], in Philip Stevick (ed.) The Theory of the Novel [C]. New York: the Free Press, 1967, p. 141
2 Ibid., pp. 141-145
3 《大雅·生民》
1 Shuldiner, David. The Content and Structure of English Ballads and Tales [J]. Western Folklore 37 (1978), p..356
1 Friedman, Albert (ed.). The Viking Book of Folk Ballads of the English-speaking World [A]. New York: Viking Press, 1971, p. ⅹⅹⅰ
1 Levi-Strauss, Claude. The Structural Study of Myth, in Structural Anthropology [M]. New York, 1963, pp. 206-231
1 Stevick, Philip. The Theory of the Novel [C]. New York and London: The Free Press, 1967, p.221
2 Forster, E. M. Flat and Round Characters [A], in Philip Stevick (ed.) The Theory of the Novel [C]. New York and London: The Free Press, 1967, pp. 223-231
1 Ibid., p. 225
2 申丹．叙述学与小说文体学研究(第三版)[M]．北京：北京大学出版社，2004，p．62
1 唐伟胜．范式与层面：国外叙事学综述[J]．外国语，2003(5)，pp．60-66
1 Simeone, W. E. Robin Hood and Some Other Outlaw [J]. Journal of American Folklore 71 (1958), p. 27
2 Morsberger, Robert E. In Quest of Robin Hood [J]. Bulletin of the Rocky Mountain Modern Language Association 25 (1971), p. 78
3 Wright, Thomas. The History of Fulk Fitz Warine, An Outlawed Baron in the Reign of King John [M], London: The Warton Club, 1855
4 Stevenson, Joseph. Chronicon Anglicanum Radulphi de Coggeshall [A]. London: Longman, 1875, p. 347
5 Ibid., pp. 387-389
6 Holt, J. C. The Origins and Audience of the Ballads of Robin Hood [J]. Past and present 18 (1960), p. 102
1 Morsberger, Robert E. In Quest of Robin Hood [J]. Bulletin of the Rocky Mountain Modern Language Association 25 (1971), p. 78
2 Walker, J. W. The True History of Robin Hood [J]. Archaeological Journal 35 (1944), pp.4-46
3 Child, J. C. English and Scottish Popular Ballads [A], New York, ⅲ, p. 43
4 Steadman, J. M. The Dramatization of the Robin Hood Ballads [J]. Modern Philology 17 (1919), p. 14
1 Holt, J. C. The Origins and Audience of the Ballads of Robin Hood [J]. Past and present 18 (1960), p. 91
1 胡亚敏．叙事学[M]．武汉：华中师范大学出版社，2004，p．191
2 Ibid.
3 An image base is a sequence of images including visual images, auditory images, olfactory images, tactile images, gustatory images, kinesthetic images, etc. The majority of the images are experiences of certain characters in a narrative.
4 Zan, Yigal. The Text/Context Controversy. An Explanatory Perspective[J]. Western Folklore 42 (1982), p. 2
1 Young, Katharine. The Notion of Context [J]. Western Folklore 44 (1985), p. 119
2 Leech, Geoffrey N. A Linguistic Guide to English Poetry [M]. London: Longman, 1969, p. 187
1 Shapiro, Michael. The Sense of Grammar: Language as Semiotic [M]. Bloomington: Indiana University Press, 1983, p.15
2 Eco, Umberto. Pierce's Notion of Interpretant [J]. MLN91 (1976), p. 1460
3 Langer, Susanne K. Philosophy in a New Key: A Study in the Symbolism of Reason, Rite, and Art [M]. Cambridge: Harvard University Press, 1976, p. 139
4 Hahn, Lewis Edwin. A Contextualistic Theory of Perceotion [M]. Berkeley: University of California Press, 1942
5 瑞恰慈．论述的目的和语境的种类[A]．引自赵毅衡编选，新批评文集[C]．南昌：百花文艺出版社，2001，p．333
6 Young, Katharine. The Notion of Context [J]. Western Folklore 44 (1985), p. 116
7 Smith, Barbara Herrnstein. On the Margins of Discourse [M]. Chicago: University of Chicago Press, 1983, p. 94
1 Ibid., p. 16
2 Bauman, Richard. The Field Study of Folklore in Context [A], in Richard M. Dorson (ed.) Handbook of American Folklore [C], Bloomington: Indianna University Press, 1983, p. 367
1 Brown G. & G. Yule. Discourse Analysis [M]. Cambridge: Cambridge University Press, 1983, pp. 46-50
2 Toelken, Barre. Context and Meaning in the Anglo-American Ballad [A], in D. K. Wilgus and Barre Toelken (eds.) The Batlad and the Scholars [C], 1986, p. 36
1 The address was later published under the title "The Text is the Thing" in Journal of American Folklore 86 (1973), pp. 241-252
2 Jones, Steven. Slouching Towards Ethnography:. The Text/Context Controversy Reconsidered [J]. Western Folklore 38 (1979), pp. 42-47; Dogmatism in the Contextual Revolution [J]. Ibid., pp. 52-55
3 Ben-Amos, Dan. The Ceremony of Iunocence [J]. Western Folklore 38 (1979), pp. 47-52; "Context" in Context [J]. Western Folklore 52 (1983), pp. 209-226
4 Georges, Robert A. Toward a Resolution of the Text/Context Controversy [J]. Western Folklore 39 (1980), pp. 34-40
5 Zan, Yigal. The Text/Context Controversy: An Explanatory Perspective [J], Western Folklore 42 (1982), pp. 1-27
6 Young, Katharine. The Notion of Context [J]. Western Folklore 44 (1985), pp. 115-122
7 Ben-Amos, Dan. "Context" in Context [J]. Western Folklore 52 (1983), p. 210
8 Ibid., p. 212
1 This festival(上巳节) is on the third day of the third month. According the old custom, young men and young women go to the riverbank to find their lovers. They can date their lovers freely and even sleep with them on this day in order to increase population.
2 《郑风·溱洧》
3 Ben-Amos, Dan. "Context" in Context [J]. Weatern Folklore 52 (1983), p. 216
4 Toelken, Barre. "Riddles Wisely Expounded" [J]. Western Folklore 25 (1966), p. 1
1 《周南·桃夭》
2 公木，赵雨．诗经全解[M]．长春：长春出版社，2006，p．11
1 Toelken, Barre. "Riddles Wisely Expounded" [J]. Western Folklore 25 (1966), p. 1
2 De Sola Pinto, Vivian & Rodway, Allan E. The Common Muse: An Anthology of Popular British Ballad Poetry 15th to 20th Century [A]. New York: Scholar Press, 1976, p. 430
3 Toeiken, Barre. "Riddles Wisely Expounded" [J]. Western Folklore 25 (1966), p. 2
1 Ben-Amos, Dan. "Context" in Context [J]. Western Folklore 52 (1983), p. 219
1 Bonheim, Heimut. The Narrative Modes: Techniques of the Short Story [M]. Cambridge: D. S. Brewer, 1982, p. 91
2 The beginnings of 12 ballads and the endings of 13 ballads are undetermined due to the incomplete transcription of their oral texts or illegible printings.
1 Harris, Z. Papers in Structural and Transformational Linguistics [A]. Dordrecht: D. Reidel, 1970
2 Pike, K. Language in Relation to a Unified Theory of the Structure of Human Behavior[M]. The Hague: Mounton, 1967
3 Longracre, R. Hierarchy and Universality of Discourse Constituents in New Guinea Languages [M]. Washiongton D C: Georgetown University Press, 1972
4 Kintsch, W. The representation of Meaning in Memory [M]. Hillsdale: Lawrence Erlbaum, Associates, 1974
5 van Dijk, T. Semantic Macro-structures and Knowledge Frames in Discourse Comprehension [A], in M. A. Just and P. A. Carpenter (eds), Cognitive Processes in Comprehension [C]. Hillsdale: Lawrence Erlbaum Associates, 1972; van Dijk, T. Text and Context [M], London: Longman, 1977
6 Halliday, M. A. K. & Hasan, R. Cohesion in English [M]. London: Longman, 1976
7 Ibid., p. 8
8 Witte, Stephen P. & Faigley, Lester. Coherence, Cohesion, and Writing Quality [J]. College Composition and Communication 32(1981), p. 190
1 Carrell, Patricia L. Cohesion is not Coherence [J]. TESOL Quarterly 16 (1982), p. 482
1 Morgan, J. M. & Sellner, M. B. Discourse and Linguistic Theory [A]. in R. J. Spiro, B. C. Bertram & W. F. Brewer (eds.), Theoretical Issues in Reading Comprehension [C]. Hillsdale: Lawrence Erlbanm Associates, 1980
2 Books, Cleanth & Warren, Robert Penn. Understanding Poetry [M]. Beijing: Foreign Language Teaching and Research Press, 2004, p. 523
1 Leech, Geoffrey N. A Linguistic Guide to English Poetry [M], London: Longman, 1969, p. 5
2 张德禄，et al．语篇连贯与衔接理论的发展及应用[M]．上海：上海外语教育出版社，2003，pp．155-169
1 Ellmann, Richard. The New Oxford Book of American Verse [A]. New York: Oxford University Press, 1976, p. 984
1 刘勰著，周振甫注．文心雕龙注释[M]．北京：人民文学出版杜，1981，p．431
1 白居易《问刘十九》：绿蚁新醅酒，红泥小火炉。晚来天欲雪，能饮一杯无?
2 Leech, Geoffrey N. A Linguistic Guide to English Poetry [M], Longman, 1969, p. 46
1 汪洪章．比较文学与欧美文学研究[M]．上海：学林出版社，2004，p．112
2 方珊．俄国形式主义文论选[C]．北京；三联书店，1989，p．9
3 徐盛桓．语用问题研究[M]．开封：河南大学出版社，1996，pp．328-329 van Dijk, T. A. Text and Context: Explorations in the Semantics and Pragmatics of Discourse [M]. London: Longman, 1977, p. 108
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郡锦娣，周苹．第一人称叙事与可靠性问题[J]．河南大学学报(社会科学版)，2002(1)
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孙克强，张小平．《诗经》与中国文化[M]．开封：河南大学出版社，1995
唐伟胜．范式与层面：国外叙事学综述[J]．外国语，2003(5)
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主宝童．金域行[M]．开封：河南大学出版社，1993
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徐岱．小说叙事学[M]．北京：中国社会科学出版社，1992
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雅各布逊．隐喻和换喻的两极[A]．二十世纪西方文论选[C](上卷，朱立元，李钧主编)．北京：高等教育出版社，2002
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杨宪益，戴乃迭．诗经[A]．北京：外文出版社，2001
张德禄，et al．语篇连贯与衔接理论的发展及应用[M]．上海：上海外语教育出版社，2003
张进．论“赋比兴”的语言结构和修辞系统[J]．兰州大学学报(社会科学版)．，1998(2)
张桃洲．意象源流略论[J]．诗网络，2004(8)
赵敏俐．中国古代歌诗研究[M]．北京：北京大学出版社，2005
朱光潜．诗论[M]．合肥：安徽教育出版社，1997
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2 Preminger, Alex, et al. Princeton Encyclopedia of Poetry and Poetics [Z]. Princeton: Princeton University Press, 1974, p. 62
3 Woodring, Carl. From Ballads to Betjeman [A], in Carl Woodring & James Shapiro (eds), The Columbia History of British Poetry [C]. New York: Columbia University Press, 1994, p. 110
4 Sargent, Helen Child & Kittredge, George Lyman. English and Scottish Popular Ballads [A]. Boston: Houghton Mifflin Company, 1904, p. ⅹⅰ
1 Ibid., p. ⅹⅱ
2 Gerould, G. H. The Ballad of Tradition [M]. Oxford: Clarendon Press, 1932, p. 13
3 Moore, A. K. The Literary Status of the English Popular Ballad [J]. Comparative Literature 10 (1958), p. 6
1 Wells, E. K. The Ballad Tree [M], New York, 1950, p. 5
2 Beatty, Arthur. Ballad, Tale, and Tradition: a Study in Popular Literary Origins [J]. PMLA 19 (1914), p. 473
3 Moore, A. K. The Literary Status of the English Popular Ballad [J]. Comparative Literature 10 (1958), p. 7
4 Ibid., p. 3
1 Davidson, Thomas. Prof. Child's Ballad Book [J]. American Journal of Philology 5 (1884), p. 466
2 By freakish forms, we mean the ballads that are due, not to natural development, but to the conscious effort either of rude popular bards or of cultivated poets impatient of popular uncouthness.
1 洪湛侯．诗经学史(上)[M]．北京：中华书局，2002，pp．1-7
1 洪湛侯．诗经学史(上)[M]．北京：中华书局，2002，pp．119-123
1 Moore, A. K. The Literary Status of the English Popular Ballad [J]. Comparative Literature 10 (1958), p. 1
1 Hart, W. H. Professor Child and the Ballads [J]. PMLA ⅹⅹⅰ (1906), pp. 755-807
2 Sargent, H. C.& Kittredge., G. L. English and Scottish Popular Ballads [A]. Boston: Houghton Mifflin Company, 1904, p. ⅹⅹⅹ
1 Moore, A. K. The Literary Status of the English Popular Ballad [J]. Comparative Literature 10 (1958), p. 9
2 Ibid., p. 20
3 Sargent, H. C.& Kittredge, G. L. English and Scottish Popular Ballads [A]. Boston: Houghton Mifflin Company, 1904, pp. ⅹⅹⅹ-ⅹⅹⅹⅰ.
4 Preminger, Alex, et al. Princeton Encyclopedia of Poetry and Poetics [Z]. Princeton: Princeton University Press, 1974, pp. 63-64
5 Thomas Tickell (1686-1740), English poet and translator. A contributor of verse to the Spectator, he was a friend of Addison, for whom he wrote a fine elegy (1721). His translation of the first book of the Iliad, appearing simultaneously with Pope's (1715), caused a quarrel between Pope and Addison, who praised Tickell's work.
1 Stork, Charles Wharton. The Influence of the Popular Ballad on Wordsworth and Coleridge [J]. PMLA 29 (1914), p. 299
2 Preminger, Alex, et al. Princeton Encyclopedia of Poetry and Poetics [Z]. Princeton: Princeton University Press, 1974, p. 117
1 孙克强，张小平．《诗经》与中国文化[M]．开封：河南大学出版社，1995，p．204
1 Moore, A. K. The Literary Status of the English Popular Ballad [J]. Comparative Literature 10 (1958), p. 19
2 Scott, Walter. Minstrelsy of the Scottish Border [A]. Detroit: Omnigraphics Inc, 1968, p. 38
1 Mackenzie, Eileen. Thomas Percy and Ballad 'Correctness' [J]. R.E.S. 21 (1945), p. 59
2 Friedman, Albert B. The First Draft of Percy's Reliques [J]. PMLA 69 (1954), p. 1233
3 Bold, Allen N. The Ballad and History: the Case for Scott [J]. Folklore 89 (1978), p. 229
1 Scott, Walter. Minstrelsy of the Scottish Border [A]. Detroit:. Omnigraphics Inc, 1968, p. 6
2 Bold, Allen N. The Ballad and History: the Case for Scott [J]. Folidore 89 (1978), p. 241
1 Ehrenpreis, Anne Henry. Swinburne's Edition of Popular Ballads [J]. PMLA 78 (1963), p. 559
2 Ibid., 565
3 Hyder, Clyde. K. Swinburne and the Popular Ballad [J]. PMLA 49 (1934), p.296
1 Ibid., p. 309
2 Napier, James. Old Ballad Folklore [J]. Folklore Record 2 (1879), pp.92-126
3 Ibid., p. 92
4 Ibid.
5 Ibid., p. 94
1 Gummere, F. B. Primitive Poetry and the Ballad, Ⅰ [J]. Modern Philology 1 (1903), pp. 193-202; Primitive Poetry and the Ballad, Ⅱ [J]. Ibid., pp. 217-234; Primitive Poetry and the Ballad, Ⅲ [J]. Ibid., 1904, pp. 373-390
2 Gummere, F. B. Primitive Poetry and the Ballad, Ⅰ [J]. Modern Philology 1 (1903), p. 194
3 Ibid., p. 197
4 Ibid., pp. 195-196
5 Gummere, F. B. Primitive Poetry and the Ballad, Ⅱ [J]. Modern Philology 1 (1903), p. 219
6 Ibid., p. 220
1 Gummere, F. B. Primitive Poetry and the Ballad, Ⅲ [J]. Modern Philology 1 (1904), p. 382
2 Pound, Louise. The Beginning of Poetry [J]. PMLA 32 (1917), p. 201
3 Ibid.
4 Ibid., p. 218
1 Ibid., P. 229
2 Ibid., p. 232
3 Gerould, Gorden Hall. The Making of Ballads [J]. Modern Philology, 1923 (8), p. 20
4 Ibid., p. 22
5 Ibid., p. 17
1 Ibid., p. 21
2 Ibid., p. 22
3 Barry, Phillips. A Garland of Ballads [J]. Journal of American Folklore 23 (1910), p. 446
4 Gerould, Gorden Hall. The Making of Ballads [J]. Modern Philology, 1923 (8), p. 15
5 Moore, Arthur K. The Literary Status of the English Popular Ballad [J]. Comparative Literature 5 (1958), pp. 1-20
6 Davidson, Thomas. Prof. Child's Ballad Book [J]. American Journal of Philology 5 (1884), pp. 466-478
1 Hart, Walter Morris. Professor Child and the Ballad [J]. PMLA. 11 (1906), pp. 755-807
2 Reppert, James D. Walliam Macmath and F. J. Child [J]. PMLA 71 (1956), pp. 510-520
3 Ogburn, Vincent H. Thomas Percy's Unfinished Collection, Ancient English and Scottish Poems [J]. ELH 3 (1936), pp. 183-143
4 Mackanzie, Eileen. Thomas Percy and Ballad "Correctness" [J]. R. E. S. 21 (1945), pp. 58-60
5 Friedman, Albert B. The First Draft of Percy's Reliques [J]. PMLA 69 (1954), pp. 1233-1249
6 Montgomere, William. Sir Walter Scott as Ballad Editor [J]. R. E. S. New Series 7 (1956), pp. 158-160
7 Hyder, Clyde K. Swinburne and the Popular Ballad [J]. PMLA 49 (1934), pp. 295-309
8 Ehrenpreis, Anne Hanry. Swinburne's Edition of Popular Ballads [J]. PMLA 78 (1963), pp. 559-571
9 Montgomorie, William. William Motherwell and Robert A. Smith [J]. R. E. S. New Series 9 (1958), pp. 152-156
10 Steadman, J. M. The Dramatization of the Robin Hood Ballads [J]. Modern Philology 17 (1919), pp. 9-23
11 Simeone, William E. The Historic Robin Hood [J]. Journal of American Folklore 66 (1953), pp. 303-563; Robin Hood and Some Other Outlaws [J]. Ibid. 71 (1958), pp. 27-33
12 Keen, Maurice. Robin Hood—Peasant or Centleman? [J]. Past and Present 19 (1961), pp.7-14
13 Morsherger, Robert E. In Quest of Robin Hood [J]. Bulletin of the Rocky Mountain Modern Language Association 25 (1971), pp. 75-85
14 Holt J. C. The Origins and Audience of the Ballads of Robin Hood [J]. Past and Present 19 (1961), pp. 89-110
15 Maddicott, J. R. The Birth and Setting of the Ballads of Robin Hood [J]. English Historical Review 93 (1978), pp. 276-299
1 Nelles, Walter R. The Ballad of Hind Horn [J]. Journal of American Folklore 22 (1909), pp. 42-62
2 Coffin, Tristram P. The Murder Motive in "Edward" [J]. Western Folklore 8 (1949), pp. 314-319
3 Parker, Harbison. "The Twa Sisters"—Going Which Way? [J]. Journal of American Folklore 64 (1951), pp. 347-360
4 Fowler, David C. An Accused Queen in "The Lass of Roch Royal" [J]. Journal of American Folklore 71 (1958), pp. 553-563
5 Nygard, Holger. Narrative Changes in the European Tradition of the "Lady Isabel and the Elf Knight" Ballad [J]. Journal of American Folklore 65 (1952), pp. 2-12; Ballad Source Study: Chgild Ballad No. 4 as Exemplar [J]. Ibid., 68 (1955), pp. 141-152
6 Toelken, J. Barre. "Riddles Wisely Expounded" [J]. Western Folklore 25 (1966), pp. 1-16
7 Matchett, William H. The Integrity of "Sir Patrick Spence" [J]. Modern Philology 68 (1970), pp. 25-31
8 Minton, John. The Fause Knight upon the Road: A Reappraisal [J]. Journal of American Folklore 98 (1985), pp. 435-455
9 Bird, S. Elizabeth. "Lord Randar" in Kent: The meaning and context of a Ballad Variant [J]. Folklore 96 (1985), pp. 248-251
1 Ponnd, Louise. The "Uniformity" of the Ballad Style [J]. Modern Lance Notes 35 (1920), p. 217
2 Roberts, Warren E. Commie Elements in the English Traditional Ballad [J]. International Folk Music Journal 3 (1951), pp. 76-81
3 Nicolaisen, W. F. H. Humour in Traditional Ballads (Mainly Scottish) [J]. Folklore 103 (1992), pp. 27-39
4 Ponnd, Louise. Ibid., p. 218
5 Stewart, George R. A Method toward the Study of Dipodic Verse [J]. PMLA 39 (1924), pp. 979-989; The Metre of the Popular Ballad [J]. Ibid., 40 (1925), pp. 933-962
6 Propp, Vladimir. Morphology of the Folktala [M]. Austin: University of Texas Press, 1968
7 Turner, Judith. A Morphology of the "True Love" Ballad [J]. Journal of American Folklore 85 (1972), pp. 21-31
8 Beatie, Bruce. Traditional Structures and the Structure of Tradition: A Functional System of Ballad Classification [A], in Patricia Conroy (ed.) Ballads and Ballad Research [C]. Seattle: University of Washington Press, 1978, pp. 210-220
1 Webber, Ruth. Prolegomena to the Study of the Narrative Structure of the Hispanic Ballad [A], in Patricia Conroy (ed.) Ballads and Ballad Research [C]. Seattle: University of Washington Press, 1978, pp. 221-230
2 Porter, James. Principles of Ballad Classification: A Suggestion in Regional Catalogues of Ballad Style [J]. Jahrbuchfur Volksliedforschung 25 (1980), pp. 11-26
3 Shuldiner, David. The Content and Structure of English Ballads and Tales [J]. Western Folklore 37 (1978), pp. 267-280
4 Buchan, David. Propp's Tale Role and a Ballad Repertoire [J]. Journal of American Folklore 95 (1982), pp. 159-172
1 《周颂·清庙》
2 《大雅·江汉》
3 《大雅·生民》
4 《小雅·南有嘉鱼》
5 《齐风·卢令》
6 《小雅·六月》
7 《王风·君子于役》
8 《豳风·七月》
1 《小雅·节南山》
2 《郑风·出其东门》
3 吴小书．20世纪《诗经》研究综述[EB]．http://www.pkucn.com/archiver?tid-143739.html
1 Dai, Wei-qun. Xing Again: A Formal Re-investigation [J]. Chinese Literature: Essays, Articles, Reviews 13 (1991), pp. 1-14
2 Yeh, Michelle. Metaphor and Bi: Western and Chinese Poetics [J]. Comparative Literature 39 (1987), pp. 237-254
3 Fu, Hongchu. Historicity of Interpretation: Reflection on Xing in Classical Chinese Poetry [J]. Pacific Coast Philology 29 (1994), pp. 14-27
4 Gu, Ming Dong. Fu-Bi-Xing: A Metatheory of Poetry-making [J]. Chinese Literature: Essays, Articles, Reviews 19 (1997), pp. 1-22
5 Zhang, Longxi. The Letter or the Spirit: The Song of Songs, Allegoresis, and the Book of Poetry [J]. Comparative Literature 39 (1987), pp. 193-217
6 Yu, Pauline R. Allegory, Allegoresis and the Classic of Poetry [J]. Harvard Journal of Asiatic Studies 43 (1983), pp. 377-412
7 Saussy, Haun. Repetition, Rhyme, and Exchange in the Book of Odes [J]. Harvard Journal of Asiatic Studies 57 (1997), pp. 519-542
8 Riegel, Jeffrey. Eros, Introversion, and the Beginnings of Shijing Commentary [J]. Harvard Journal of Asiatic Studies 57 (1997), pp. 143-177
1 Todorov, Tzvetan. Grammaire du Decameron [M]. The Hague: Mouton, 1969, p. 9
2 Barthes, Roland. An Introduction to the Structural Analysis of Narrative [J]. New Literary History, 1975(6), pp. 237-272.
3 Chatman, Seymour. Story and Discourse: Narrative Structure in Fiction and Film [M]. New York: Cornell UP, 1990
4 Bal, Mieke. Narratology [M], trans. Christine van Boheemen. Toronto: University of Toronto Press, 1985
1 Propp, Vladimir. Morphology of the Folk-Tale [M], trans. Laurence Scott. Austin: University of Texas Press, 1968
1 唐伟胜．范式与层面：国外叙事学综述[J]．外国语，2003(5)，pp．60-66
1 布雷蒙．叙事可能之逻辑[A]．张寅德选编．叙事学研究[C]．北京：中国社会科学出版社，1989，pp．154-155
2 Genette, G. Narrative Discourse [M], trans. Jane E. Lewin. Oxford: Biackwell, 1980, pp, 15-126
1 Prince, Gerald. Narratology [A], in Michael Groden and Martin Kreiswirth (eds.) The John Hopkins Guide to Literary Theory and Criticism [C]. Baltimore: John Hopkins University Press, 1994, pp. 524-527
1 Richardson, Brian. Recent Theory of Narrative and the Narratives of Narrative Theory [J]. Style, 2000 (summer)
2 Prince, Gerald. Narratology [A], in Michael Groden and Martin Kreiswirth (eds.) The John Hopkins Guide to Literary Theory and Criticism [C]. Baltimore: John Hopkins University Press, 1994, pp. 524-527
3 Cohn, Dorrit. Signposts of Fictionality: A Narratological Perspective[J]. Poetics Today 1990(4), pp. 775-804
1 “诗言志，歌永言，声依永，律和声”出自《今文尚书·尧典》
1 Ibid., p.47
2 《魏风·硕鼠》
3 巴尔，米克．叙述学(谭君强译)[M]．中国社会科学出版社，2003，p．3
1 Matchett, William H. The Integrity of "Sir Patrick Spence" [J]. Modern Philology, August 1970, pp. 137-143
2 Brooks, Cleanth & Warren, Robert Penn. Understanding Poetry [M]. Beijing: Foreign Language Teaching and Research Press, 2004, pp. 25-26
1 Aristotle. Aristotle's Poetics [M], translated, with an introduction and notes, by James Hutton. NewYork and London: Norton, 1982, p. 50
1 热奈特：叙事话语 新叙事话语(王文融译)，北京：中国社会科学出版社，1990，p．171
1 Stevick, Philip. The Theory of the Novel [C]. New York: the Free Press, 1967, p. 85
1 祖国颂．叙事的诗学IM]．合腮：安徽大学出版社，2003，p．149
2 Uspensky, B. A Poetics of Composition [M]. Berkeley:. University of California Press, 1973
3 Fowler, R. Linguistic Criticism [M]. Oxford: Oxford University Press, 1986, pp.127-146
4 申丹．叙述学与小说文体学研究(第三版)[M]．北京：北京大学出版社，2004，pp．204-205
1 Genette. Narrative Discourse, New Narrative Discourse. Beijing: China Social Science Press, 1990, pp. 171-172
2 Lanser, Susan Sniader. The Narrative Act: Point of View in Prose Fiction. Princeton: Princeton UP, 1981, p.161
3 邵锦娣，周苹．第一人称叙事与可靠性问题[J]．河南大学学报(社会科学版)，2002(1)，p．84
1 徐岱．小说叙事学[M]．北京：中国社会科学出版社，1992，pp．275-276
2 黄希云．小说人称的叙述功能[J]．外国文学评论，1996(4)，pp．15-16
1 Sargent, Helen Child & Kittredge, George Lyman. English and Scottish Popular Ballads [A]. Boston: Houghton Mifflin Company, 1904, p. ⅹⅰ
1 Friedman, N. Point of View in Fiction [A], in Phillip Stevick (ed.) The Theory of the Novel [C]. New York: the Free Press, 1967, pp.126-127
2 《小雅·采薇》
1 “曰归曰归，心亦忧止。忧心烈烈，载饥载渴。我戍未定，靡使归聘。”此处采用杨宪益、戴乃迭的英文翻译(杨宪益，戴乃迭．诗经[A]．北京：外文出版社，2001，p．251)
2 “昔我往矣，杨柳依依。今我来思，雨雪靠霏。行道迟迟，载渴载饥。我心伤悲，莫知我哀!”(Ibid．，p．253)
3 公木，赵雨．诗经全解[M]．长春：长春出版社，2006，p．207
4 “忧心孔疚，我行不来!”此处采用杨宪益、戴乃迭的英文翻译(杨宪益，戴乃迭．诗经[A]．北京：外文出版社，2001，p．252)
1 Sargent, Helen Child & Kittredge, George Lyman. English and Scottish Popular Ballads [A]. Boston: Houghton Mifflin Company, 1904, p. 490
1 Friedman, N. Point of View in Fiction [A], in Phillip Stevick (ed.) The Theory of the Novel [C]. New York: the Free Press, 1967, pp.125-126
1 These four poems are respectively：《秦风·黄鸟》、《豳风·七月》、《小雅·吉日》、《小雅·鸿雁》．
2 《齐风·著》
1 Sargent, Helen Child & Kittredge, George Lyman. English and Scottish Popular Ballads [A]. Boston: Houghton Mifflin Company, 1904, p. 424
1 “家父作诵，以究王讻。式讹尔心，以畜万邦。”(《小雅·节南山》)
2 许渊冲．诗经(英译)[A]．长沙：湖南出版社，1993，p．389
3 胡亚敏．叙事学[M]．武汉：华中师范大学出版社，2004，pp．45-46
1 黄希云．小说人称的叙述功能[J]．外国文学评论，1996(4)
2 Fludernik, Monica. Introduction: Second-person Narrative and Related Issues [J]. Style, 1994, (special issue)
3 Richarson, Brian. I et cetera: on the Poetics and Ideology of Mulfipersoned Narratives [J]. Style, 1994, (special issue)
4 Phelarn, James. "Self-Help" for Narratee and Narrative Audience: how 'T'—and "You"—Read "How" —Lorrie Moore's Short Story "how" from the Collection "Self-Help" [J]. Style, 1994, (special issue)
5 Herman, David. Textual "You" and Double Deixis in Edna O'Brien's "A Pagan Place" [J]. Style, 1994, (special issue)
1 Fludernik, Monica. Introduction: Second-person Narrative and Related Issues [J]. Style, 1994, (special issue)
2 Prince, Gerald. A Dictionary of Narratology[Z]. Lincoln: University of Nebraska Press, 1987, p. 84
3 Fludernik, Monica. Introduction: Second-person Narrative end Related Issues [J]. Style, 1994, (special issue)
4 Delconte, Matt. Why yon can't Speak: Second-person Narration, Voice, and a New Model for Understanding Narrative [J]. Style, 2000, (summer)
1 《唐风·山有枢》
2 《唐风·绸缪》
3 《小雅·天保》
4 《小雅·无羊》
5 《大雅·卷阿》
6 Longinus. On the Sublime [M]. Cambridge: Harvard University Press, 1982, pp.200-201
1 祖国颂．叙事的诗学[M]．合肥：安徽大学出版社，2003，p．196
1 申丹．叙述学与小说文体学研究(第三版)[M]．北京：北京大学出版社，2004，p．259
1 Friedman, N. Point of View in Fiction [A], in Philip Stevick (ed.) The Theory of the Novel [C]. New York: the Free Press,, 1967, pp.129-130
2 《郑风·女曰鸡鸣》
3 《齐风·鸡鸣》
4 Preminger, Alex, et al. Princeton Encyclopedia of Poetry and Poetics [Z]. Princeton: Princeton University Press, 1974, p. 62
1 Friedman, N. Point of View in Fiction [A], in Philip Stevick (ed.) The Theory of the Novel [C]. New York: the Free Press, 1967, p.130
2 《郑风·溱洧》
3 “溱与洧，方涣涣兮。”
4 “女曰‘观乎?’士曰‘既且。’‘且往观乎?洧之外，洵訏且乐。’”
1 Preminger, Alex, et al. Princeton Encyclopedia of Poetry and Poetics [Z]. Princeton: Princeton University Press, 1974, p. 62
2 Ibid.
1 Zhou Li Da Shi：“The great master…taught six poeac principles：feng, fu，bi，xing，ya，and song．”(周礼·大师：“大师……教六诗，曰风、曰赋、曰比、曰兴、曰雅、曰颂。”)
2 Originally, scholars thought that feng, ya, song, fu, bi and xing were six types of poems. It was Confucius who deleted poems offu, bi and xing, and only three types of poems, i.e. feng, ya and song, remained. But it is proved that this thought is untrue, since Book of Poetry was compiled when Confucius was only 7, therefore couldn't have deleted those poems. Later, scholars have followed the authoritative interpretation of Kong Yingda (孙颖达,574-648) who said: "Feng, ya and song are different types of poems; fu, bi and xing are different methods of writing poems(风、雅、颂者，诗篇之异体；赋、比、兴者，诗文之异辞耳。)." Since then, it is generally accepted thatfu, bi and xing are three separable modes of expression.
3 Gu, Ming Dong. Fu-Bi-Xing: A Metatheory of Poetry-Making [J]. Chinese Literature: Essays, Articles, Reviews 19(1979), p. 1
4 杨载：“诗学之正源，法度之准则”，见何文焕编《历代诗话》(北京：中华书局，1981，p．725)
5 “予尝考之三百篇：赋七百二十，兴三百七十，比一百一十。”(谢榛．四溟诗话[M]．北京：人民文学出版社，1961，p．53)
1 Sargent, Helen Child & Kittredge, George Lyman. English and Scottish Popular Ballads [A]. Boston: Houghton Mifflin Company, 1904, p. 544
2 Ibid., P. 430
1 程俊英，蒋见元．诗经注释[A]．长沙：岳麓书社，2002
2 许渊冲．诗经英译[A]．长沙：湖南出版社，1993
3 胡亚敏．叙事学[M]．武汉：华中师范大学出版社，2004．p．91
4 申丹．叙述学与小说文体学研究(第三版)[M]．北京：北京大学出版社，2004，p．299
1 《郑风·女曰鸡鸣》
2 “女曰：‘鸡鸣，’士曰：‘昧旦。’‘子兴视夜，明星有烂。’‘将翱将翔，弋凫与雁’”(英译见：杨宪益，戴乃迭．诗经[A]．北京：外文出版社，2001，p．135)
1 Gu, Ming Dong. Fu-Bi-Xing: a Metatheory of Poetry-Making [M]. Chinese Literature: Essays, Articles, Reviews 19(1997), pp. 1-2
2 郑众注《周礼·大师》：“比者，比方于物也；兴者，托事于物。”(见：刘勰著，周振甫注．文心雕龙注释[M]．北京：人民文学出版社，1981，p．399)
3 邦玄注：“比，见今之失，不敢斥言，取比类以言之；兴，见今之美，嫌于媚谀，取善事以喻劝之。”(ibid．)
1 《卫风·硕人》
2 “手如柔荑，肤如凝脂，领如蝤蛴，齿如瓠犀，螓首蛾眉，巧笑倩兮，美目盼兮。”(英译见：杨宪益，戴乃迭．诗经[A]．北京：外文出版社，2001，p．91)
3 “比则蓄愤以斥言，兴则环譬记托讽。”(见：刘勰著，周振甫注．文心雕龙注释[M]．北京：人民文学出版社，1981，p．394；英译见：Liu Hsieh．The Literary Mind and the Carving of Dragons[M]，trsns．By Vincent Yu-chung Shill．NewYork：Columbia University Press，1995，p．195)
4 “比显而兴隐”
5 挚虞：“比者，喻类之言．兴者，有感之辞也。”(冯浩菲．历代诗经论说评述[M]．北京：中华书局，2003，p．75)
6 钟嵘：“文已尽而意有余，兴也。”(Zhong Rong．“Preface” to The Poets Systematically Graded[A]，in Siu-kit Wong, trans. Early Chinese Literary Criticism [C]. Hong Kong: Joint Publishing Co., 1983, p. 92)
1 朱熹：“比者，以彼物比此物也；兴者，先言他物，以引起所咏之词也。”(冯浩菲．历代诗经论说评述[M]．北京：中华书局，2003，p．75)
2 徐复观．中国文学论集[C]．台北：台湾学生书局，1985，p．100
1 “故比者，附也；兴者，起也。附理者，切类以指事，起情者，依微以拟议。起情故兴体以立，附理故比例以生．”(Liu Hsieh．The Literary Mind and the Carving of Dragons[M]，trans．By Vincent Yu-chung Shih．New York：Columbia University Press，1995，p．195)
2 亚里士多德．诗学(陈中梅译)[M]．北京：商务印书馆，2003，p．148
3 亚里斯多德．修辞学(罗念生译)[M]．上海：上海人民出版社，2005，p．173
4 Yeh, Micheile. Metaphor and Bi: Western and Chinese Poetics [J]. Comparative Literature 39 (1987), p. 240
1 Johnson, Samuel. Lives of the English Poets (Vol 1)[M]. Oxford: Oxford University Press, 1906, pp. 14-15
2 Coleridge, Samuel Taylor. Biographia Literaria [A], in I. A. Richards (ed.) The Portable Coleridge [C]. New York: Viking, 1950, p. 524
3 Richards, I. A. The Philosophy of Rhetoric [M]. New York: Oxford University Press, 1932, p. 125
1 Ricoeur, Paul. The Metaphorical Process as Cognition, Imagination, and Feeling [J]. Critical Inquiry, 1978(5), p. 146
2 Jakobson, Roman. Two Aspects of Language aud Two Types of Aphasic Disturbances [A], in Jakobson and M. Halle (eds), Fundamentals of Language[C], The Hague: Mouton, 1956, p. 60
3 雅各布逊．隐喻和换喻的两极[A]．二十世纪西方文论选[C](上卷，朱立元，李钧主编)．北京：高等教育出版社，2002，pp．192-196
1 《郑风·大叔于田》
2 “执辔如组，两骖如舞。”“两服上襄，两骖雁行。”“两服齐首，两骖如手。”
3 Yeh, Michelle. Metaphor and Bi: Western and Chinese Poetics [J]. Comparative Literature 39 (1987), pp.246-248
4 Ibid., p. 250
1 《魏风·硕鼠》
2 “硕鼠硕鼠，无食我苗!三岁贯女，莫我肯劳。”
3 《周南·桃夭》
4 “桃之天天，灼灼其华。之子于归，宜其室家。∥桃之天天，有黄其实。之子于归，宜其家室。∥桃之夭夭，其叶蓁蓁。之子于归，宜其家人。”
5 Yeh, Michelle. Metaphor and Bi: Western and Chinese Poetics [J]. Comparative Literature 39 (1987), p. 15
1 Ricoeur, Paul. The Rule of Metaphor [M]. Tonronto and Buffalo: University of Toronto Press, 1977, pp. 68-75
2 Dai, Wei-qun. Xing Again: a Formal Re-investigation [J]. Chinese Literature: Essays, Articles, Reviews 13 (1991), p. 31
3 Ricoeur, Paul. The metaphorical Process as Cognition, Imagination, and Feeling [A], in Sheldon Sacks (ed.) On Metaphor [C]. Chicago and London: The University of Chicago Press, 1979, p. 145
4 Dai, Wei-qun. Ibid., p. 31
1 Ricoeur, Paul. The metaphorical Process as Cognition, Imagination, and Feeling [A], in Sheldon Sacks (ed.) On Metaphor [C]. Chicago and London: The University of Chicago Press, 1979, p. 179
2 Dai, Wei-qun. Ibid., p. 32
3 张进．论“赋比兴”的语言结构和修辞系统[J]．兰州大学学报(社会科学版)．，1998(2)，pp．115
4 “喓喓草虫，趯趯阜螽。未见君子，忧心忡忡。”(《召南·草虫》)
1 Lacan, Jacques. The Agency of the Letter in the Unconscious or Reason Since Freud [A], in Ecrits: A Selection [C]. New York: Norton, 1977, p. 160
2 Matus, Jill. Proxy and Proximity: Metonymic Signing[J]. University of Toronto Quarterly, Vol. 58, No. 2, Winter 1988/9
1 Lacan, Jacques. Ibid.
2 Gu, Ming Dong. Fu-Bi-Xing: a Metatheory of Poetry-Making [M]. Chinese Literature: Essays, Articles, Reviews 19 (1997), p. 16
1 Lacan, Jacques. Ibid., p. 157
2 《召南·野有死麕》
3 “野有死麕，白茅包之。有女怀春，吉士诱之。”
4 Gu, Ming Dong. Fu-Bi-Xing: a Mctatheory of Poetry-making [J]. Chinese Literature: Essays, Articles, Reviews 19 (1997), pp. 18-19
1 顾颉刚．古史辩(第三册)[M]．上海：上海古籍出版社，1981，p．702
1 “不学诗，无以言。”(《论语·季氏》)
2 Stewart, George Jr. The Metre of the Popular Ballad [J]. PMLA 40 (1925), p. 933
1 Ibid., p. 935
2 王宝童．金域行[M]．开封：河南大学出版社，1993，pp．175-176
3 Preminger, Alex, et al. Princeton Encyclopedia of Poetry and Poetics [Z]. Princeton: Princeton University Press, 1974, pp. 496-499
4 Ibid., p. 498
1 Ibid., p. 64
2 Stewart, George Jr. The Metre of the Popular Ballad [J]. PMLA 40 (1925), p. 934
1 《周南·桃夭》
2 《邶风·日月》
3 《小雅·六月》
4 《大雅·民劳》
5 《小雅·小明》
6 王力．诗经韵读[M]．上海：上海古籍出版社，1980，pp．54-58
7 《邶风·雄雉》
8 王力．诗经韵读[M]．上海：上海古籍出版社，1980，p．165
1 《大雅·大明》
2 《大雅·桑柔》
3 王力．诗经韵读[M]．上海：上海古籍出版社，1980，pp．70-75
1 王宝童．金域音[M]．开封：河南大学出版社，1998，p．2
2 Preminger, Alex, et al. Princeton Encyclopedia of Poetry and Poetics [Z]. Princeton: Princeton University Press, 1974, p. 706
3 《周南·兔置》
1 王宝童．金域音[M]．开封：河南大学出版社，1998，p．4
2 Saussy, Haun. Repetition, Rhyme, and Exchange in the Book of Odes[J]. Harvard Journal of Asiatic Studies 57 (1997), p. 262. The quotation comes from Analects(《论语·子路》：君子和而不同，小人同而不和。)．
3 Preminger, Alex, et al. Princeton Encyclopedia of Poetry and Poetics [Z]. Princeton: Princeton University Press, 1974, p. 781
1 《鄘风·桑中》
2 Brooks, Cleanth & Warren, Robert Penn. Understanding Poetry [M]. Beijing: Foreign Language Teaching and Research Press, 2004, p. 523
1 Saussy, Haun. Ibid., p. 273
2 Ibid., p. 279
3 《大雅·既醉》
4 Ibid., p.273
5 王力．诗经韵读[M]．上海：上海古籍出版社，1980，p．351-352
6 Saussy, Haun. Ibid., pp. 273-274
7 Ibid., p. 274
1 《周南·麟之趾》
2 《大雅·文王》
3 《豳风·东山》
4 《小雅·瞻彼洛矣》
5 《周颂·有瞽》
6 王宝童．金域音[M]．开封：河南大学出版社，1998，p．69
1 Preminger, Alex, et al. Princeton Encyclopedia of Poetry and Poetics [Z]. Princeton: Princeton University Press, 1974, pp. 498-499
2 Saussy, Haun. Ibid., p. 282
1 “三百五篇，孔子皆弦歌之，以求合《韶》、《武》、《雅》、《颂》之音”(司马迁．史记[M]．郑州；中州古籍出版社，1994，p．572)
2 《墨子·公孟》篇曰：“诵《诗三百》，弦《诗三百》，歌《诗三百》，舞《诗三百》。”(qtd fr．赵敏俐．中国古代歌诗研究[M]．北京：北京大学出版社，2005，p．90)
3 《汉书·食货志》：“孟春之月，群居者将散。行人振木铎徇于路以采诗，献之大师，比其音律，以闻于天子。”(Ibid.)
4 Ibid.
5 杜兴梅．试论《诗经》的音乐文化特质[J]．音乐探索，2004(4)，p．27
1 孙克强．《诗经》与中国文化[M]．开封；河南大学出版社，1995，p．197
2 王先谦．诗三家义集疏[M]．北京：中华书局，1987，p．34
3 Saussy, Haun. Repetition, Rhyme, and Exchange in the Book of Odes [J]. Harvard Journal of Asiatic Studies 57 (1997), pp. 519-542
4 《召南·摽有梅》
5 《周南·芣苡》
6 《周南·麟之趾》
7 Woodring, Carl. From Ballads to Betjeman [A], in Carl Woodring and James Sapiro (eds.) The Columbia History of British Poetry [C]. New York: Columbia University Press, 1994, p. 110
8 Eagle, Dorothy. The Concise Oxford Dictionary of English Literature (second edition) [Z]. Oxford: Oxford University Press, 1970, p. 34
1 Leech, Geoffrey N. A Linguistic Guide to English Poetry [M], London: Longman, 1969, pp. 93-95
1 Aristotle. Aristotle's Poetics [M], translated, with an introduction and notes, by James Hutton. NewYork and London: Norton, 1982, p. 50-54
2 申丹．叙述学与小说文体学研究(第三版)[M]．北京：北京大学出版社，2004，p．34
3 Shklovsky, V. "Art as Technique"[A], in L. Lemon & M. Reis (eds.) Russian Formalist Criticism [C]. Nebraska: University of Nebraska Press, 1965, pp. 51-57
1 Crane, R. S. The Concept of Plot [A], in Philip Stevick (ed.) The Theory of the Novel [C]. New York: the Free Press, 1967, p. 141
2 Ibid., pp. 141-145
3 《大雅·生民》
1 Shuldiner, David. The Content and Structure of English Ballads and Tales [J]. Western Folklore 37 (1978), p..356
1 Friedman, Albert (ed.). The Viking Book of Folk Ballads of the English-speaking World [A]. New York: Viking Press, 1971, p. ⅹⅹⅰ
1 Levi-Strauss, Claude. The Structural Study of Myth, in Structural Anthropology [M]. New York, 1963, pp. 206-231
1 Stevick, Philip. The Theory of the Novel [C]. New York and London: The Free Press, 1967, p.221
2 Forster, E. M. Flat and Round Characters [A], in Philip Stevick (ed.) The Theory of the Novel [C]. New York and London: The Free Press, 1967, pp. 223-231
1 Ibid., p. 225
2 申丹．叙述学与小说文体学研究(第三版)[M]．北京：北京大学出版社，2004，p．62
1 唐伟胜．范式与层面：国外叙事学综述[J]．外国语，2003(5)，pp．60-66
1 Simeone, W. E. Robin Hood and Some Other Outlaw [J]. Journal of American Folklore 71 (1958), p. 27
2 Morsberger, Robert E. In Quest of Robin Hood [J]. Bulletin of the Rocky Mountain Modern Language Association 25 (1971), p. 78
3 Wright, Thomas. The History of Fulk Fitz Warine, An Outlawed Baron in the Reign of King John [M], London: The Warton Club, 1855
4 Stevenson, Joseph. Chronicon Anglicanum Radulphi de Coggeshall [A]. London: Longman, 1875, p. 347
5 Ibid., pp. 387-389
6 Holt, J. C. The Origins and Audience of the Ballads of Robin Hood [J]. Past and present 18 (1960), p. 102
1 Morsberger, Robert E. In Quest of Robin Hood [J]. Bulletin of the Rocky Mountain Modern Language Association 25 (1971), p. 78
2 Walker, J. W. The True History of Robin Hood [J]. Archaeological Journal 35 (1944), pp.4-46
3 Child, J. C. English and Scottish Popular Ballads [A], New York, ⅲ, p. 43
4 Steadman, J. M. The Dramatization of the Robin Hood Ballads [J]. Modern Philology 17 (1919), p. 14
1 Holt, J. C. The Origins and Audience of the Ballads of Robin Hood [J]. Past and present 18 (1960), p. 91
1 胡亚敏．叙事学[M]．武汉：华中师范大学出版社，2004，p．191
2 Ibid.
3 An image base is a sequence of images including visual images, auditory images, olfactory images, tactile images, gustatory images, kinesthetic images, etc. The majority of the images are experiences of certain characters in a narrative.
4 Zan, Yigal. The Text/Context Controversy. An Explanatory Perspective[J]. Western Folklore 42 (1982), p. 2
1 Young, Katharine. The Notion of Context [J]. Western Folklore 44 (1985), p. 119
2 Leech, Geoffrey N. A Linguistic Guide to English Poetry [M]. London: Longman, 1969, p. 187
1 Shapiro, Michael. The Sense of Grammar: Language as Semiotic [M]. Bloomington: Indiana University Press, 1983, p.15
2 Eco, Umberto. Pierce's Notion of Interpretant [J]. MLN91 (1976), p. 1460
3 Langer, Susanne K. Philosophy in a New Key: A Study in the Symbolism of Reason, Rite, and Art [M]. Cambridge: Harvard University Press, 1976, p. 139
4 Hahn, Lewis Edwin. A Contextualistic Theory of Perceotion [M]. Berkeley: University of California Press, 1942
5 瑞恰慈．论述的目的和语境的种类[A]．引自赵毅衡编选，新批评文集[C]．南昌：百花文艺出版社，2001，p．333
6 Young, Katharine. The Notion of Context [J]. Western Folklore 44 (1985), p. 116
7 Smith, Barbara Herrnstein. On the Margins of Discourse [M]. Chicago: University of Chicago Press, 1983, p. 94
1 Ibid., p. 16
2 Bauman, Richard. The Field Study of Folklore in Context [A], in Richard M. Dorson (ed.) Handbook of American Folklore [C], Bloomington: Indianna University Press, 1983, p. 367
1 Brown G. & G. Yule. Discourse Analysis [M]. Cambridge: Cambridge University Press, 1983, pp. 46-50
2 Toelken, Barre. Context and Meaning in the Anglo-American Ballad [A], in D. K. Wilgus and Barre Toelken (eds.) The Batlad and the Scholars [C], 1986, p. 36
1 The address was later published under the title "The Text is the Thing" in Journal of American Folklore 86 (1973), pp. 241-252
2 Jones, Steven. Slouching Towards Ethnography:. The Text/Context Controversy Reconsidered [J]. Western Folklore 38 (1979), pp. 42-47; Dogmatism in the Contextual Revolution [J]. Ibid., pp. 52-55
3 Ben-Amos, Dan. The Ceremony of Iunocence [J]. Western Folklore 38 (1979), pp. 47-52; "Context" in Context [J]. Western Folklore 52 (1983), pp. 209-226
4 Georges, Robert A. Toward a Resolution of the Text/Context Controversy [J]. Western Folklore 39 (1980), pp. 34-40
5 Zan, Yigal. The Text/Context Controversy: An Explanatory Perspective [J], Western Folklore 42 (1982), pp. 1-27
6 Young, Katharine. The Notion of Context [J]. Western Folklore 44 (1985), pp. 115-122
7 Ben-Amos, Dan. "Context" in Context [J]. Western Folklore 52 (1983), p. 210
8 Ibid., p. 212
1 This festival(上巳节) is on the third day of the third month. According the old custom, young men and young women go to the riverbank to find their lovers. They can date their lovers freely and even sleep with them on this day in order to increase population.
2 《郑风·溱洧》
3 Ben-Amos, Dan. "Context" in Context [J]. Weatern Folklore 52 (1983), p. 216
4 Toelken, Barre. "Riddles Wisely Expounded" [J]. Western Folklore 25 (1966), p. 1
1 《周南·桃夭》
2 公木，赵雨．诗经全解[M]．长春：长春出版社，2006，p．11
1 Toelken, Barre. "Riddles Wisely Expounded" [J]. Western Folklore 25 (1966), p. 1
2 De Sola Pinto, Vivian & Rodway, Allan E. The Common Muse: An Anthology of Popular British Ballad Poetry 15th to 20th Century [A]. New York: Scholar Press, 1976, p. 430
3 Toeiken, Barre. "Riddles Wisely Expounded" [J]. Western Folklore 25 (1966), p. 2
1 Ben-Amos, Dan. "Context" in Context [J]. Western Folklore 52 (1983), p. 219
1 Bonheim, Heimut. The Narrative Modes: Techniques of the Short Story [M]. Cambridge: D. S. Brewer, 1982, p. 91
2 The beginnings of 12 ballads and the endings of 13 ballads are undetermined due to the incomplete transcription of their oral texts or illegible printings.
1 Harris, Z. Papers in Structural and Transformational Linguistics [A]. Dordrecht: D. Reidel, 1970
2 Pike, K. Language in Relation to a Unified Theory of the Structure of Human Behavior[M]. The Hague: Mounton, 1967
3 Longracre, R. Hierarchy and Universality of Discourse Constituents in New Guinea Languages [M]. Washiongton D C: Georgetown University Press, 1972
4 Kintsch, W. The representation of Meaning in Memory [M]. Hillsdale: Lawrence Erlbaum, Associates, 1974
5 van Dijk, T. Semantic Macro-structures and Knowledge Frames in Discourse Comprehension [A], in M. A. Just and P. A. Carpenter (eds), Cognitive Processes in Comprehension [C]. Hillsdale: Lawrence Erlbaum Associates, 1972; van Dijk, T. Text and Context [M], London: Longman, 1977
6 Halliday, M. A. K. & Hasan, R. Cohesion in English [M]. London: Longman, 1976
7 Ibid., p. 8
8 Witte, Stephen P. & Faigley, Lester. Coherence, Cohesion, and Writing Quality [J]. College Composition and Communication 32(1981), p. 190
1 Carrell, Patricia L. Cohesion is not Coherence [J]. TESOL Quarterly 16 (1982), p. 482
1 Morgan, J. M. & Sellner, M. B. Discourse and Linguistic Theory [A]. in R. J. Spiro, B. C. Bertram & W. F. Brewer (eds.), Theoretical Issues in Reading Comprehension [C]. Hillsdale: Lawrence Erlbanm Associates, 1980
2 Books, Cleanth & Warren, Robert Penn. Understanding Poetry [M]. Beijing: Foreign Language Teaching and Research Press, 2004, p. 523
1 Leech, Geoffrey N. A Linguistic Guide to English Poetry [M], London: Longman, 1969, p. 5
2 张德禄，et al．语篇连贯与衔接理论的发展及应用[M]．上海：上海外语教育出版社，2003，pp．155-169
1 Ellmann, Richard. The New Oxford Book of American Verse [A]. New York: Oxford University Press, 1976, p. 984
1 刘勰著，周振甫注．文心雕龙注释[M]．北京：人民文学出版杜，1981，p．431
1 白居易《问刘十九》：绿蚁新醅酒，红泥小火炉。晚来天欲雪，能饮一杯无?
2 Leech, Geoffrey N. A Linguistic Guide to English Poetry [M], Longman, 1969, p. 46
1 汪洪章．比较文学与欧美文学研究[M]．上海：学林出版社，2004，p．112
2 方珊．俄国形式主义文论选[C]．北京；三联书店，1989，p．9
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