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如果將崔健的專輯《新長征路上的搖滾》視為中國搖滾樂的正式開端,中國搖滾樂儼然已有近三十年的歷史。作為一種西方另類文化產品的追隨者,中國搖滾樂並沒有簡單複製西方搖滾樂史;作為一種流行次文化現象,中國搖滾樂生動地反映和再現着中國社會的面貌及其歷史變遷,而這一在中國文化語境下的反映和再現則正是中國搖滾樂作為一種風格的原創性所在。本文試圖探討中國搖滾樂中的「中國元素」。為了能夠縱觀這三十年的歷史,筆者特意挑選崔健、唐朝樂隊、二手玫瑰樂隊作為三個「十年」的突出代表來進行考察。 ; 作為中國搖滾樂的先驅者,在崔健的音樂作品中保留著一種「紅色情結」,一些革命年代的印記依舊會在他的歌曲中顯現;另外,崔健的一句「一無所有」喊出了那一代青年人的心聲,這種直白地表達在當時不自覺地帶有了一種比較嚴肅的政治含意,也因此使中國搖滾樂的命運同西方搖滾樂一樣,最先以一種反叛的不安分子形象示人;唐朝樂隊是中國搖滾樂「黃金時代」的代表,對中國古代輝煌歷史時期的追憶,加之重金屬音樂風格的衝擊力,使其再造了一個理想的中國陽剛之氣──「文武雙全」;創新性地將搖滾和東北二人轉風格元素相結合使二手玫瑰樂隊成為近期中國搖滾樂的一朵奇葩, 他們既娛樂又嚴肅的反諷風格豐富了中國搖滾樂的語匯。通過對這三例的並置對比,本文意在論證三十年間中國搖滾樂中的「中國性」在體現方式上的微妙變化以及其風格演變的過程。 ; Having a history of nearly thirty years, Chinese rock is not only a term that indicates a regional genre, but also a specific music style. Its originality lies in its intimate relation with the particular social and economic conditions of China. This thesis focuses on "Chineseness" in Chinese rock, which covers musical characteristics, political identity, traditional and ancient culture and regional performing arts. In order to demonstrate its historical development, I choose and discuss three musical acts from each decade in Chinese rock history. They are Cui Jian in the 1980s, Tang Dynasty in the 1990s and Second Hand Rose after 2000. ; Widely regarded as the forerunner of Chinese rock, Cui Jian's music has a "red" ideology; meanwhile, his brave expression of the inner youth voice of that generation also give Chinese rock a rebellious image from the very beginning. Tang Dynasty represents Chinese rock's "golden age". Through invoking a glorious period in China's ancient history, they build an ideal Chinese masculinity in their style of heavy metal. Second Hand Rose innovatively absorbs elements from secular performing art in their music, criticizing new societal conditions in an ironic way. This thesis concludes with the view that the expression of "Chineseness in Chinese rock has been continually transforming throughout the decades, and those Chinese rock musicians' attitudes toward an "ideal" conceptualization of China have likewise ...

黎必信. ; "2012年3月". ; "2012 nian 3 yue". ; Thesis (Ph.D.)--Chinese University of Hong Kong, 2012. ; Includes bibliographical references (leaves 355-368). ; Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. ; Abstract in Chinese and English. ; Li Bixin.

本文以「從禮樂到生民:論中唐樂府的復興與新變」為題,試圖將中唐樂府放入當時思想、政治與文化的新格局中,探討其創作及觀念之特徵,並對盛、中唐之際的文學發展與中唐樂府的革新提出新的解釋。 ; 已往之研究往往強調中唐樂府「刺時」的一面,而歸因於中唐的政治狀況。但本文認為,就題材來說,中唐樂府並非僅有「刺時」的內容,亦有大量的風俗描寫; 就原因而言,政治固然是因素之一,然絶非唯一因素。其背後還涉及詩學觀念的轉向與文人身份的變化。 ; 本文指出,盛、中唐之際文人對於「風雅」或者「詩教」的觀念發生了變化。盛唐以前對「教化」的理解總與「禮樂」相伴,認為只要行禮樂便可以達到教化的目的,強調「禮樂」的作用自然凸顯《詩經》「上以風化下」的一端,而非「下以風刺上」的一面。至盛唐末期,這種觀念受到挑戰,文人對詩教的理解從頌讚的雅頌走向諷刺的國風,而最後刺時之文也獲得了正當性。中唐樂府的興盛與這種詩學觀念的轉變有著密切的關係。 ; 本文認為,中唐文人的政治身分變化與中唐樂府的變化亦有密切關係。初盛唐文人少做地方官,至中唐,長期擔任地方官的文人比例大增。他們在觀念上調和「儒」、「吏」關係,更多地認同「循吏」的價值與傳統,使得地方官文人與漢良二千石的傳統銜接。他們以「循吏」的眼光在地方進行創作,為樂府的「觀風」職能提供良好的背景。 ; 觀念的轉向、文人身份的變化,加之當時的政治狀況,造成了中唐樂府的興盛,也造就其獨特之特徵。本文對張籍、王建樂府在盛中唐樂府演變中的作用與地位提出了新的論述,認為張、王的樂府唱和,繼承、改造了盛唐李白和杜甫新、古題樂府的創作形式,體現了盛唐末年所開啟的「風雅」詮釋方式,而以興諷刺時作為樂府的主要內容,為其後的元、白樂府提供了借鏡。本文指出,中唐樂府雖然繼承了漢樂府「觀風」的傳統,但在題材內容上有所擴大。漢代,「樂府」作為中央官署,其「采詩」的主要目的是考察地方吏治,對於地方風土風俗則沒有太大興趣,但中唐樂府對此一題材卻有大量的書寫。「風俗」題材的興起與當代儒學關注點從「禮樂」轉向「生民」有關。「生民」既成為評判政治優劣的標準,「生民」的活動自然被納入創作的視野。論文認為,從文體角度說,中唐的樂府作者雖在主觀上排斥六朝傳統,但在樂府的命題以及表現方式上依然深受六朝的影響。 ; 論文還考察了與新樂府創作相應的一套詩學論述,發現中唐詩人提出了所謂樂府「正聲」的觀念,以對抗初、盛唐樂府的觀念。不僅如此,中唐的樂府觀念還與「史官」、「諫官」的意識相互滲透,使得本為詩歌所獨有的「采風」觀念擴散到詩歌以外的文類,而本為樂府所關注的獨特題材也進入其他文體的書寫當中。 ; This thesis focusing on Yuefuin the Mid-Tang dynasty,discusses its characteristicsin the new pattern of thought, politics and culture. The thesis tries to provide a new explanation for the literature development in the Mid-Tang. ; Existing researches often emphasized the relation between yuefu and political reality. However, political reality was not the only theme reflected in yuefu, the description of customs was included. Politic was not the mere reason. Literati's political identitywas changed and the existing tradition of "praise and criticize" from the Han dynasty was also transformed. ; The thesis pointed out that the idea of "Fengya" or "poetic education" was changed from the High-Tang to the Mid-Tang dynasty. "Civilization", usually relating to "rites and music", was considered to be successful in the High-Tang dynasty. Therefore, literature was encouraged to praise the dynasty while criticism was ignored. This idea faced ...

本文以清代宮廷演劇制度的完善與興替、宮廷大戲《昭代簫韶》的創作與演出為中心,探討其中帝王性情、意識形態的投射與帝國形象的建構;試圖對宮廷演劇繁盛與變遷的原因、《昭代簫韶》文本與演出的意涵、宮廷與民間演劇的交流與影響等問題,作出新的解釋。 ; 現有研究強調清朝帝后喜好戲曲娛樂、宮廷舞臺壯麗輝煌,以及晚清宮廷演劇變革等等。本文認為,清代宮廷演劇實有更多豐富的內涵有待更深入的研討。帝后的倡導及參與,自是推動清代宮廷演劇繁盛的重要原因,但在滿足帝后娛樂的同時,宮廷演劇也用於朝廷儀典;戲曲教化與國家儀式的功能相互結合。 ; 清代宮廷演劇,在元明清雜劇傳奇及亂彈之外,還有適應現實需要而奉旨編演的大戲與節戲。宮廷大戲,規模龐大,情節複雜,排場繁縟,在中國戲曲史上十分獨特。創作於乾嘉之際的《昭代簫韶》,取材於明代演義小說《北宋志傳》,鋪寫楊家將輔宋抗遼事。通過特定情節與人物穿戴,《昭代簫韶》參與了清代正統華夷的論述,並含有重評歷史與訓諭臣民的深意。此部大戲將褒忠誅奸的昇仙入地與軍陣鬥法的神道描寫,與觀劇現場的君臣秩序相結合,形成舞臺上、下戲曲與現實的呼應,道德教化寓意明顯。 ; 本文對清代宮廷演劇制度變遷與宮廷大戲《昭代簫韶》演出史的考察,還特別關注戲曲在宮廷與民間的流動與影響。尤其是外學伶人進入與退出宮廷,使得宮廷伶人的規模與組成發生改變,這不僅影響到大戲的演出形式與藝術呈現,也使得宮廷演劇處於對外開放與吸收融合的狀態。清代戲劇便在宮廷、文人與民間三方面,均臻繁盛。 ; Theatrical performance played an important role in the Qing court culture. This thesis discusses the evolution and change of the court theatre institution throughout the Qing Dynasty. In the contexts of court entertainment, political activities and cultural policy, the creation and performance history of the grand theatre piece, Zhaodai xiaoshao, or The Glorious Music of a Brilliant Age, from the Qianlong-Jiaqing to the Guangxu period serve as an adequate example. In this case study, we can explore the nature of the Qing emperors and Empress Dowager Cixi, state ideology and the construction of the Empire's image. ; Most existing research in Qing court drama and theatre focuses on the Qing emperors' great passion for theatre, the three-tiered grand stage in the imperial palace and the wealth of props and costumes, as well as the repertoire change in the late Qing, especially the formation and development of Jingju or Peking Opera. This thesis arguesthat given its rich contents and relevant contexts, the Qing court theatre deserves far more research both in breadth and in depth. The participation of the imperial power undoubtedly promoted court theatre. Theatrical performances at court became not only private entertainment for the imperial family; they also appeared in state ceremonies with special ritual significance. In addition, the grand plays like the 240-scened Glorious Music of a ...

一九七六年,隨著毛澤東逝世和「四人幫」倒台,中國共産黨在一九七七年宣布歷時十年的「文化大革命」正式結束,標誌了中華人民共和國後毛澤東時期開始。政治上,中國共產黨中央委員會放棄了過去以階級鬥爭和群衆運動爲主導的治國方針,將工作重點放在經濟建設上。對於向來和政治關係密切的中國文學界而言,「文革」的結束意味著官方意識形態高度干預文學創作的時期正式告終,「新時期文學」的發生乃二十世紀中國文學繼五四運動以後的另一次重大轉折。 ; 後毛澤東時期的中國文學主題紛陳多樣,絶非三言兩語所能概括。不過,對共和國歷史進程的重現及反思可謂始終貫串於當代小說的主題。按照馬克思唯物史觀之觀點和毛澤東的詮釋,中國在革命成功後將會由「一窮二白」的國家,逐步邁向「各盡所能,按需分配」的「共産主義烏托邦」;然而爲了儘早實現共産主義而發動的各種「烏托邦運動」卻導致動亂與災難。歷史在「應該如何發生」與「實際如何發生」之間産生了巨大的落差,既吞噬了無數擁抱革命的生靈,亦叫生者留下難以磨滅的傷痛。在各種以歷史進程爲反思對象的小說中,有一個面向經常被文學史家忽略。這些小說以烏托邦書寫的文學形式,透過文字來虛構各種烏托邦(更多時候是惡托邦),表達了作家對晚清以來中國追求理想社會的歷史回顧,對烏托邦運動的本質深入省思,甚或設想中國歷史發展的另類可能出路;此類作品在後毛澤東時期的小說版圖中別樹一幟。本文旨在深入考察具有烏托邦書寫特徵的中國大陸當代小說,讓這個面向重新進入文學史家的視野。 ; 本文共分六章。第一章緒論部分,介紹本文的研究背景及烏托邦的意涵,簡述其在中西方的歷程,然後解說烏托邦書寫的定義;進而回顧前人研究,闡釋本文研究目的、意義、範圍及方法。第二章至第五章爲本文核心部分,引入相關文學及文化理論,探討後毛澤東時期中國大陸小說烏托邦書寫的各種表現。第二章討論莫應豐《桃源夢》的惡托邦書寫,分析小說怎樣敷演一場從烏托邦追求而起,以惡托邦告終的悲劇,考察它如何達成批判儒家「大同」社會烏托邦及「文革」烏托邦運動的雙重目的,並如何回應了一九八零年代中國小說所關懷的主題。第三章分析李佩甫《羊的門》,探討李佩甫如何在文學主題多元的一九九零年代,以烏托邦書寫思考在共和國的歷史進程中,農村的烏托邦之路應該怎樣走;以及他對中國前途存在的困惑。第四章探討閻連科《受活》,這部在新世紀備受關注的小說不單呈現了烏托邦和樂園之間的角力,同時展示了閻連科的反烏托邦立場,批評了在後毛澤東時期仍然深具影響力的革命意識形態。第五章對格非在新世紀推出的「烏托邦三部曲」進行整體性探討,分析當中的反烏托邦書寫策略,以及小說如何呈現後毛澤東時期那種充斥虛無主義和享樂主義的「後烏托邦狀態」,亦會兼及格非如何看待各種烏托邦運動下的個體聲音。第六章為總結,綜合前文所論,指出後毛澤東時期中國大陸小說如何以烏托邦書寫來反思歷史,同時在烏托邦追求與反烏托邦立場之間擺盪。最後,本文藉香港作家陳冠中《盛世》為例,說明關心中國社會何去何從的作家早已不限於中國大陸作家。由此可見,關於中國的烏托邦書寫將會是一個持續進行的文學議題。 ; In 1976, Mao Zedong died and the 'Gang of Four' went down. These events brought down the curtain on the Cultural Revolution, which had spanned 10 years from 1966 to 1976, as declared officially by the Communist Party of China in 1977, and inaugurated the Post-Mao era of the People's Republic of China. Politically, the Central Committee of the Communist Party of China started to focus its agenda on economic development, forgoing its former ruling policies upholding class struggle and mass movement. Since Chinese literature has always borne close ties with national politics, the end of the Cultural Revolution also implied the phasing out of government's iron-handed intervention in literary writings. The rise of "Literature of the New Era (Xinshiqi ...

在過去的二十年中,隨著1989 年的革命(以及之後突進的新自由主義經濟政策),信息和通信技術(ICT)的擴散,世界經歷了急劇變化。但高等教育,尤其是英文文學研究有没有根據這一時期的文化、經濟、社會和政治的情況來修正呢?本論文探討從現代主義美學和片面國家論述的小說(英文書寫的),過渡到一個文化和政治驅動並行的後現代形式,及反映一個日益全球化和全球意識的二十一世紀引人注目的問題。通過當代小說的新自由主義全球化的測試 ──或者也被稱為後現代的情况和晚期資本主義的文化邏輯──我們了解世界據稱走向非殖民化只不過掩飾另一種殖民方式,導致葛蘭西的霸權理論效果,使馬克思主義理論的社會力量轉變成促使不同階級的政治權力形式,取決於一個非常關鍵的因素- 共識。 ; The world has experienced rapid changes in the last twenty years concomitant of the Revolutions of 1989 (and the subsequent onrush of neoliberal economic policies) and the proliferation of Information and Communication Technology (ICT), but has higher ed,and particularly, the study of English literature modified in accordance to the cultural, economic, social, and political circumstances of the period? This thesis explores the compelling question by illustrating the transition of contemporary literary fiction (written in English) from modernist aesthetics and one-sided national discourse into a culturally and politically driven postmodern form to parallel and reflect an increasingly global and globally aware 21st century. Through contemporary fiction's examination of neoliberal globalization - or perhaps what is also known as the postmodern condition and cultural logic of late capitalism - we come to understand a return of colonization in a world allegedly moving towards decolonization. What results is the Gramscian theory of hegemony, which gives rise to a Marxist theory of the transformation of social forces into forms of political power adequate to different class projects that depends on a very crucial factor - consensus. ; Detailed summary in vernacular field only. ; Tchan, Chrystal Ching. ; "December 2012." ; Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. ; Includes bibliographical references (leaves 105-110). ; Abstracts also in Chinese. ; Abstract --- p.i ; Table of Contents --- p.ii ; Introduction --- p.1 ; Chapter Chapter One: --- Nationalism and the Decline of Empire --- p.15 ; Chapter Chapter Two: --- The Reflexive Resurgence of Local and National Formations in Hari ...

晚清時局亟變,新事物、新思想不斷湧現,傳統文體為了回應時代變化,各自作出相應的調整,唯獨詞體仍然固守舊貌。朱祖謀素有詩名,四十歲後棄詩而專注填詞,稱其詩作「不足傳世」。詩詞的美感特質各異,這種刻意的「滯後」說明朱祖謀認為詞體更能切合末代士人與遺民的表達需要。朱氏於同儕中學詞最晚而造詣最深,國變後歷任詞社社長,其詞於當時極具典範意義。然而,清末民初的政治與文化急劇轉型,傳統文學不再位居主流,由封建王朝到現代國家的過渡亦為士人帶來各種思想上的衝擊,「士」已失去了其倫理與制度上的基礎,而朱祖謀則透過在不同情境下的政治、文學抉擇將「士」的內涵重新予以彰顯。 ; 本文將以詩詞之辨的角度來分析《彊村語業》中的藝術特色及其政治意涵。第三、四章討論清遺民所面臨的倫理困境與朱氏如何以詩詞回應近代世變。第五章處理朱氏擬仿金朝遺民元好問〈鷓鴣天〉宮詞八首的互文意義。鑑於純粹的文本細讀未必能夠完整地理解詞旨,第六章將以歷時角度討論庚子事變之際的四印齋詞聚與漚社詞聚中的「雅集」詞課,並將嘗試回置詞課的創作情境。本文最後指出朱氏以矢志填詞的初衷及其如何以詞體撫平歷史創傷。 ; The catastrophic changes of political situation in late Qing China had brought in myriad of ideological trends and accessories. As a stimulus, the traditional literary forms had themselves fine-tuned so as to react with the social and cultural forces while ci poetry retained its old style and seemingly exempted itself from literary reforms of all sorts. Zhu Zumou was a shi poet of repute of his time. At the age of 40, he abandoned shi and dedicated to ci writing. Meanwhile, Zhu had it asserted that his shi would be no worth of posthumous circulation. Given that ci differs from shi in their aesthetic sense, the strong-willed demarcation in artistic creation illustrated that ci fitted in with Zhu's pursuit in literary articulation as a Confucian in late Qing, and later as a Confucian loyalist after The 1911 Revolution. Zhu, among his associates, acquainted with ci the latest yet his expertise was of the highest attainments and had been reappointed the head of ci poetry society consecutively. His works was then revered as the paradigm in its field. However, in early Republican China, classical literature was not in the prestigious main stream. The sharp transformation from imperial dynasty to modern nation state had casted manifold cultural shocks upon the loyalists, thus causing the word Confucianistlost its ethical and institutional ground. In view of this, Zhu, with the circumstantial factors he engaged in, redefined the essence of Confucianist by the political and literary courses he proceeded on. ; Critical attention of this essay will ...