Suchergebnisse

張詠梅. ; 論文(哲學博士)--香港中文大學, 2001. ; 參考文獻 (p. 235-273). ; 中英文摘要. ; Available also through the Internet via Dissertations & theses @ Chinese University of Hong Kong. ; Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. ; Mode of access: World Wide Web. ; Zhang Yongmei. ; Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2001. ; Can kao wen xian (p. 235-273). ; Zhong Ying wen zhai yao.

杜甫詩是中國古典文學的經典,其經典地位奠定於有宋一代。本文以宋代詩話為考察對象,分析文學批評和杜詩經典化的關係,主要內容如下: ; 首先,本文將討論文壇領袖對杜詩的讚賞,如何演化為整個文壇的普遍觀念。文中指出蘇軾和黃庭堅是杜詩的發明者,二人對杜詩的評價,得到宋詩話的熱烈回應,意義不斷得到擴展和深化,由個人詮釋演化為宋人的集體認知,從而確立了杜詩的典範性。蘇軾「一飯未嘗忘君」的評語,經由詩話的討論和闡釋,最終令杜詩得「詩中六經」的評價。黃庭堅「無一字無來處」的評語,也促使詩話研究杜詩出處和用事手法蔚為風氣,不僅確立了杜甫好用事的特徵,也使杜詩成為宋詩風格的模範。 ; 其次,本文探討宋代政治和文化背景對宋人接受杜甫的影響。在「李杜優劣」此一議題上,杜詩得到凌駕李白的地位,批評家看重詩歌內容的社會意義多於藝術性,反映唐宋人期待視野的轉移。宋人對杜甫「詩史」的讚譽,也與宋型文化和南宋戰禍連年有密切關係。宋詩話特別重視杜甫和安史之亂有關的詩作,因為安史之亂與宋代歷史背景有不少相似之處,宋人藉著詮釋杜詩的義理,投射了對胡人的痛恨、戰亂中的自傷之情和淑世理想。宋人憑藉認同杜甫,達至自我認同;通過詮釋杜詩,而完成自我呈現。杜甫在安史之亂中的遭遇,使他成了盛唐詩人中最能引發宋人共鳴者,也為宋人的詮釋提供了前提。宋詩話慣以比興和用事手法解釋杜詩,也使杜詩的詮釋空間擴大,更能貼合宋人的情感寄託。 ; 此外,本文就宋詩話的本質和批評形式,如何在一定程度上掌握文學經典化的權力進行探討。詩話是新興於宋的詩歌批評形式,「摘句批評」和「論詩辨體」是其慣用的表達方式。在詩話的批評形式下,宋詩話出現了以杜詩為中心的價值取向:評估杜詩的價值,展示杜詩的多元性,樹立杜詩的正統意義,確立杜詩較他人優勝的觀念,凸顯學杜之必要。詩話的批評形式確立了杜詩經典化的重要價值,又憑藉詩話的詩法指導功能,規範了時人的價值判斷和創作。 ; 最後,本文考察杜甫在宋代唐宋詩之爭的詩統建構中所處的位置。「宋詩」詩統藉著「一祖三宗」的論述,加強和杜甫的連繫,鞏固自身的正統地位。「唐詩」詩統同樣以杜甫為正統,其論述反而著重否定「宋詩」和杜甫的關係。唐、宋詩同樣以杜甫為正統,使杜詩超然於後世受唐宋詩之爭,對杜詩經典價值的延續有深刻意義。 ; Since its inception in the Song Dynasty, Du Fu 杜甫 's poetry has been firmly regarded as a canon in the field of classical Chinese Literature. The process of which, however, has not been clearly examined. Based on Song Dynasty's Remarks on Poetry 詩話, this thesis is devoted to analyzing the relationship between literary criticism and canonization of Du's poems. ; First, this thesis discusses how literary leaders' commendation on Du's poetry has become the general view of the Song literati. It particularly highlighted the evaluations of Du's poems from Su Shi 蘇軾 and Huang Ting-jian 黃庭堅. Their comments were widely quoted and re-interpreted by subsequent authors of Remarks on Poetry, which confirmed and reinforced the importance of Su and Huan's thoughts. The transition from Su and Huang's personal interpretation to becoming a widely-held view amongst the literati, affirmed the canonical status of Du's poetry. Through discussion and interpretation by Remarks on Poetry, Su's comments on Du Fu as "a ever-loyal official 一飯未嘗忘君 contributed to the commendation on the Du's poems as "Six ...

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.

在中國現代文學中,文藝與政治之間有著密切而複雜的關係,此一問題在現代戲劇中尤其值得重視。過往戲劇研究長期位處邊緣,這與戲劇此一文類所獨具的綜合藝術特質不無關係,其橫跨文學、美術、音樂、表演等領域的跨藝術特徵,導致其複雜性實際上遠超純文學的範疇。另一方面,戲劇運動的集團性和政治性,亦導致論者對於中國現代戲劇發展較為簡單化的論述,戲劇史的書寫往往與時代話語緊密連繫。不論是純粹文藝化還是政治化的角度,皆很可能遮蔽了戲劇本身一體兩面的問題,導致研究單一化和簡單化。洪深 (1894-1955)、田漢 (1898-1968)和夏衍 (1900-1995)均是中國現代重要戲劇家,同時亦長期被定位為左翼文藝陣營中的重要成員。戲劇家和政治家的身分重疊,導致他們的研究情況往往與時代的意識形態掛鈎,而目前有關他們的研究更是受到冷落,與他們的文學成就並不相稱。本文以三位劇作家為研究對象,希望通過他們的不同面向,重新審視文藝與政治之間各種複雜關係的可能性。 ; 本文分為五章。第一章為導論,主要介紹本文的寫作理念、方法和背景。第二章以洪深為研究對象,重新探討他的現實主義戲劇創作和主張。洪深對改譯劇的主張和實踐,體現了他與晚清鴛鴦蝴蝶派文學和西方戲劇的深刻淵源,而他和蕭伯納之間的文學關係,反映了他對早期文明戲的戲劇改革和西方舞台的繼承,突顯了洪深如何在中西文化之間思索中國現代戲劇中的現實主義問題。第三章從西方唯美主義和先鋒文學運動的角度,重新探討田漢的創作和政治轉向。本章考察田漢對外國文學的譯介活動,當中包括英國唯美主義作家威廉.莫里斯、德國表現主義影劇、俄國和日本左翼劇場,反映了田漢戲劇運動的左翼國際主義特徵;然而田漢對日本作家佐藤春夫和谷崎潤一郎的翻譯,則體現了他對唯美主義的回歸。第四章以夏衍的戲劇創作為研究對象,重新探討夏衍的戲劇文學的獨特性。本章把夏衍此時期的劇作分為歷史劇和上海都市劇兩個角度作出分析,並將它們放在當時文學場域中與郭沫若的歷史劇、國防文學、現代派小說和左翼電影作一比較,並分析夏衍的現實主義與左翼現實主義的相異。第五章為結論,綜合前文各章的討論,重新思考三位劇作家的戲劇實踐,並重審中國現代戲劇中文藝與政治之間的複雜關係。 ; There is a complicated relationship between literature and politics in modern Chinese literature, especially in modern Chinese drama. As a result, the research of modern Chinese drama has long been placed at a marginal position. Drama is an integrated artistic form consisting of literature, art, music, and performance, and therefore presents a complexity that goes far beyond "pure literature". On the other hand, the history of modern Chinese drama is closely integrated with historical discourse as a result of the organizational and political characteristics of drama movements. This shows that either literary or political point of view may confine the interpretation of their inter-related complexity and interaction. Hong Shen (1894-1955), Tian Han (1898-1968) and Xia Yan (1900-1995) are three of the most important dramatists in modern Chinese literature, who were also regarded as representative members in the left-wing literary camp. Due to their dual identities as dramatist and politician, their images are often connected with historical and ideological discourses. This has also resulted in desolation in ...

本文是第一部專以清初陶學為研究對象的論文,擬從文人的情懷、詩學的演變、詩歌的用意、意象的運用、注本的闡釋等多角度概述清初陶學的全貌。在方法上,筆者除分析當時文人對陶淵明的評論外,還選取了清初四十家身份不同的文人,比較他們詩作中運用的陶淵明典故,探討他們對「陶淵明形象」的塑造與取捨,並以歷史背景為線索,梳理陶淵明意象在清初文人心目中地位的差異與其變化。 ; 基於上述的研究,筆者認為以往學術界把清初陶學只理解為「忠憤」的表現是不夠全面的,尤其是清初關於陶淵明的討論,除了遺民文人有熱烈的參與外,非遺民文人亦有相當數量的研究,而且他們之間還存在着不少的交流,互相回應。正因如此,清初和陶風氣盛極一時,並且出現了一種嶄新、「反其致」的和陶現象--〈反乞食〉詩。 ; 這種借用陶淵明的意象互相交流與回應,更多反映在詩歌方面。清初文人借讀陶、評陶、和陶等方法抒發他們於易代間的鬱悶。這種詩歌世界,重現了陶淵明筆下的桃源,在這裏,他們「不知有漢,無論魏晉」,思想上可以暫時脫離現實的痛苦,悠然人間。這也使得清初《陶集》評注本的編撰,一改南宋以來十卷本的「全集」形式,而偏重於四卷本,只收錄詩作的體制。 ; The author intends to discuss the reception of Tao Yuanming in the Early Qing Dynasty from the aspects such as the emotions of poets, the changes of poetics, the intentions of poetries, the poetic imageries and the differences of the editions. And, it is the first work focusing solely on the reception of Tao Yuanming in the Early Qing Dynasty. Regarding the research methods, this dissertation not only studies the critiques through the existed methods, but also analyses the existed materials in a different manner. By comparing the literary allusions of Tao Yuanming's life of 40 scholars lived in Early Qing who had different social background, the thesis discusses how these people constructed the images of Tao Yuanming and how they selected from Tao's qualities. The thesis also tries to sort out the different attitudes of Tao among scholars of Early Qing and its changes with regard to the historical context. ; Based on the research, the author finds out that the existed understanding of the reception of Tao Yuanming in the Early Qing, which focuses on the leftover citizen's aspect, and which portrays Tao image as a rebellion was largely incomplete. Apart from the vigorous discussions regarding the images of Tao among the leftover citizen, the non-leftover citizen also discussed Tao with great enthusiasm. Under this circumstance, a new form of He Tao Shi(和陶詩) "poems written to match Tao's , was found in opposite mode in order to response to those leftover citizen. ; By appropriation of Tao's images in their communication and ...