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以劇寫「史」: 黃燮清《倚晴樓九種曲》研究. / 以劇寫史: 黃燮清《倚晴樓九種曲》研究 / 黃燮清倚晴樓九種曲研究 / Writing "history" through drama: a study of Huang Xieqing's Yiqing Lou jiuong qu / Yi ju xie 'shi': Huang Xieqing "Yi qing lou jiu chong qu" yan jiu. / Yi ju xie shi: Huang Xieqing "Yi qing lou jiu chong qu" yan jiu / Huang Xieqing Yi qing lou jiu chong qu yan jiuJanuary 2011 (has links)
梁慧. / "2011年5月". / "2011 nian 5 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references. / Abstracts in Chinese and English. / Liang Hui. / Chapter 第一章 --- 緒論 --- p.1 / Chapter 第一節 --- 史傳文學下的論述 --- p.1 / Chapter 一、 --- 「史傳」與「文學」 / Chapter 二、 --- 以劇寫「史」的意涵 / Chapter 三、 --- 黃燮清筆下的「史劇」 / Chapter 第二節 --- 研究目的 --- p.11 / Chapter 第三節 --- 文獻回顧 --- p.15 / Chapter 一、 --- 清末民初的迴響 / Chapter 二、 --- 近代評論的主題 / Chapter 三、 --- 既有研究的不足 / Chapter 四、 --- 小結 / Chapter 第四節 --- 研究方法 --- p.22 / Chapter 第二章 --- 黃燮清與《倚晴樓九種曲》 --- p.24 / Chapter 第一節 --- 黃燮清生平及其作品 --- p.24 / Chapter 第二節 --- 黃燮清戲曲的創作緣起 --- p.26 / Chapter 第三節 --- 結語 --- p.34 / Chapter 第三章 --- "「藉古人啼笑,今人悲喜」一為司馬相如翻案及自喻的《茂陵絃》" --- p.37 / Chapter 第一節 --- 前言 --- p.37 / Chapter 第二節 --- 翻案史劇的提出 --- p.37 / Chapter 一、 --- 「翻案劇」釋義 / Chapter 二、 --- 「司馬相如事」的討論熱潮 / Chapter 三、 --- 《史記》、《西京雜記》記載的「司馬相如事」 / Chapter 四、 --- 《茂陵絃》簡介 / Chapter 第三節 --- 「譜曲覓知音」一《茂陵絃》的旨趣 --- p.44 / Chapter 第四節 --- 「惜青史之傳誣」一一黃燮清「翻案」的筆法 --- p.47 / Chapter 一、 --- 《茂陵絃》與《琴心記》 / Chapter 二、 --- 翻案的特色 / Chapter 三、 --- 小結 / Chapter 第五節 --- "以曲作賦,借古喻今" --- p.52 / Chapter 第六節 --- 結語 --- p.59 / Chapter 第四章 --- 以劇寫史《帝女花》中的抒情與歷史 --- p.62 / Chapter 第一節 --- 前言 --- p.62 / Chapter 第二節 --- 《帝女花》簡介 --- p.63 / Chapter 第三節 --- "史家筆法:譜興亡之舊事,寫離合之情悰" --- p.64 / Chapter 第四節 --- 《帝女花》的藝術構思 --- p.72 / Chapter 一、 --- 腳色分派 / Chapter 二、 --- 服飾穿戴 / Chapter 三、 --- 時空安排 / Chapter 第五節 --- 《帝女花》中的母題與象徵 --- p.80 / Chapter 一、 --- 「帝女之花」與長平「兩起死」 / Chapter 二、 --- 天命與人事 / Chapter 第六節 --- 以劇寫史一一黃燮清的史心 --- p.91 / Chapter 第七節 --- 結語 --- p.95 / Chapter 第五章 --- 書寫「列女」內外的歷史一一女性入傳的《玉台秋》、《桃谿雪》 --- p.98 / Chapter 第一節 --- 前言 --- p.98 / Chapter 第二節 --- 為女性發聲的《玉台秋》及《桃谿雪》 --- p.101 / Chapter 一、 --- 前言 / Chapter 二、 --- 內容簡介 / Chapter 三、 --- 黃燮清筆下的張宜人不和吳絳雪 / Chapter 第三節 --- 典範女性的建立一一儼如私人「墓誌銘」 --- p.105 / Chapter 第四節 --- 「節烈」一一正史《列女傳》的規範 --- p.111 / Chapter 一、 --- 《桃谿雪》》與吳絳雪 / Chapter 二、 --- 從典範到規範一一黃燮清筆下的吳絡雪 / Chapter 第五節 --- 劇為史傳的筆法 --- p.123 / Chapter 一、 --- 列傳的意圖 / Chapter 二、 --- 「列女傳」的演變 / Chapter 三、 --- "傳人兼傳史,借傳以存史" / Chapter 第六節 --- 結語 --- p.136 / Chapter 一、 --- 以劇傳人的意義 / Chapter 二、 --- 明清文人為女性寫墓誌銘的原因及情況 / Chapter 三、 --- 史學與性別的思考一一創作的意涵 / Chapter (一) --- 《玉台秋》的意圖 / Chapter (二) --- 《桃谿雪》的關懷 / Chapter 第六章 --- 清朝時事劇的復興一《絳稍記》和《居官鑑》 --- p.146 / Chapter 第一節 --- 前言 --- p.146 / Chapter 第二節 --- 影射時事的嘗試一一《絳稍記》 --- p.148 / Chapter 一、 --- 《絳稍記》簡介 / Chapter 二、 --- 影射時事的筆法 / Chapter 三、 --- 《絳稍記》的可觀性 / Chapter 四、 --- 小結 / Chapter 第三節 --- 直寫時事的創作一《居官鑑》 --- p.157 / Chapter 一、 --- 《居官鑑》簡介 / Chapter 二、 --- 國事家事天下事一黃燮清筆下的現實 / Chapter 三、 --- 黃燮清筆下的人物 / Chapter 四、 --- 以筆載史一詩歌與戲文 / Chapter 第四節 --- 結語 --- p.170 / Chapter 一、 --- 從《茂陵絃》到《居官鑑》一一黃燮清白喻形象的轉變 / Chapter 二、 --- 直刺史實的影響 / Chapter 第七章 --- 結論 --- p.174 / Chapter 第一節 --- 總結 --- p.174 / Chapter 一、 --- "戲曲詩化以「緣,情」 ,r言志」" / Chapter 二、 --- 黃燮清以「史」為劇的發展進程 / Chapter (一) --- 史劇中的人物與歷史的關係 / Chapter (二) --- 劇中的「黃燮清」 / Chapter (三) --- 巾幗不讓鬚眉的女性形象 / Chapter (四) --- 從「聊以自娛」到「直刺時事」 / Chapter 三、 --- 研究晚清戲曲的新進路 / Chapter 第二節 --- 餘論一一黃燮清筆下的歷史與虛構 --- p.185 / Chapter 一、 --- 從吳梅語「劇場惡套」說起 / Chapter 二、 --- 黃燮清歷史劇中的虛構情節 / Chapter 三、 --- 歷史與虛構的結合 / Chapter (一) --- 尚實風氣的形成和重現 / Chapter (二) --- 虛構情節一一文人作意好奇的意義 / Chapter 四、 --- 黃燮清歷史劇的結局與不朽的聯想 / 參考書目
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Rewriting the inner chambers : the boudoir in Ming-Qing women's poetryLi, Xiaorong, 1969- January 2006 (has links)
No description available.
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Rewriting the inner chambers : the boudoir in Ming-Qing women's poetryLi, Xiaorong, 1969- January 2006 (has links)
My dissertation takes the social and symbolic location of women---the inner chambers [guige or gui]---as a point of departure to examine Ming-Qing women's unique approach to the writing of poetry. In Ming-Qing China, women continued to be assigned to the inner, domestic sphere by Confucian social and gender norms. The inner chambers were not only a physically and socially bounded space within which women were supposed to live, but also a discursive site for the construction of femininity in both ideological and literary discourses. The term gui embraces a nexus of meanings: the material frame of the women's chambers; a defining social boundary of women's roles and place; and a conventional topos evoking feminine beauty and pathos in literary imagination. Working with the literary context of boudoir poetics, yet also considering other indispensable levels of meanings epitomized in the cultural signifier guige, my dissertation demonstrates how Ming-Qing women poets re-conceive the boudoir as a distinctive textual territory encoded with their subjective perspectives and experiences. Compared with the poetic convention, the boudoir as inscribed in Ming-Qing women's texts is far more complex as its depiction is informed by nuances in their historical, social and individual experiences.
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The Xingshi yinyuan zhuan : a study of utopia and the perception of the world in seventeenth-century Chinese discourseBerg, Dorothea Daria January 1994 (has links)
The present project sets out to discover what the Xingshi yinyuan zhuan ('A Tale of Marriage Destinies that will Bring Society to its Senses'), an anonymous novel of manners from seventeenth-century China, can tell us about life in the world out of which it emerged. Seventeenth-century records depict China on the verge of modernity as a world torn between the traditional agricultural society and the new challenges of urban life, commerce and a money economy. The shifts from conventional norms and values gave rise to concepts of Utopia and anti-utopia: to nostalgia for the lost paradise of the past and to apocalyptic satire on present conditions. Scholars have noted the prominence of utopianism in seventeenthcentury fiction but no detailed study has been undertaken so far. Utopianism is here explored in terms of the indigenous Chinese traditions. The text of the Xingshi yinyuan zhuan is analysed to see how it perceives and reflects the seventeenth century Chinese world. Utopia serves as an analytical construct to recreate a glimpse of society and the moral evaluation of the world through the eyes of a contemporary observer. The body of the thesis analyses three major motifs in the Xingshi yinyuan zhuan: the healers, the elite and the mother. Critical comparison with other contemporary literary and historical sources attempts to place the novel into its context. The visions of Utopia and anti-utopia provide insight into the dreams and nightmares as seventeenth-century Chinese minds may have perceived them, shedding light on the vernacular culture as opposed to the officially recognised and imperially ordained culture of China.
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A critical survey of the chinese criticism of Wu Jingzi's The Scholars (Rulin Waishi) /Feng, Liping January 1987 (has links)
No description available.
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A critical survey of the chinese criticism of Wu Jingzi's The Scholars (Rulin Waishi)Feng, Liping January 1987 (has links)
No description available.
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論明清時期澳門詩詞中的天主教描寫 =The representations of Catholicism in Macau-themed poetry of the Ming and Qing dynasties / Representations of Catholicism in Macau-themed poetry of the Ming and Qing dynasties曾瑋彤 January 2017 (has links)
University of Macau / Faculty of Arts and Humanities / Department of Chinese
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徐渭《四聲猿》在明清的接受研究. / 徐渭四聲猿在明清的接受研究 / Xu Xei "Si sheng yuan" zai Ming Qing de jie shou yan jiu. / Xu Wei Si sheng yuan zai Ming Qing de jie shou yan jiuJanuary 2013 (has links)
徐渭《四聲猿》由《狂鼓史漁陽三弄》、《玉禪師翠鄉一夢》、《雌木蘭替父從軍》和《女狀元辭凰得鳳》四個雜劇組成,對明清雜劇的影響深遠。《四聲猿》從問世到清代,文人雅士通過序跋、評點、刊刻和擬作紛紛顯示出對《四聲猿》的關注。究竟《四聲猿》有甚麼獨特之處吸引著明清二代的文人?他們所關注的又是甚麼呢?又明清文人對其接受有何不同?雖然關於《四聲猿》的研究已經非常豐富,但卻集中文本內部的討論,加上資料的缺乏,對《四聲猿》在明清的接受概況缺乏全面的分析。因此,筆者致力於搜集《四聲猿》在明清時期的評點本及與《四聲猿》聯繫的雜劇創作,欲勾勒出明清文人對《四聲猿》接受的情況;且有幸發現一些未被學界引用的評點善本及戲曲創作,尤其是當中新發現上海圖書館所藏的明天放道人評點善本,展示了《四聲猿》更多元化的接受方向。 / 本文主要從兩方面分析《四聲猿》在明清的接受概況,第一,從《四聲猿》的版本流傳及演出紀錄、傳播者、戲曲批評、戲曲創作四方面分析明清文人對《四聲猿》的接受;第二,則以時間為軸線,從明中葉、晚明清初、清中期及清末四個階段分析文人對其接受重心的轉變。本文共分七章,第一章為緒論部分,首先簡介徐渭的生平及《四聲猿》、研究概況、本文的研究動機及方法;第二章為《四聲猿》與民間文化、文人文化的關係,分析作品對民間文化的吸收及當中所體現的文人對自身及社會的關注;第三章介紹《四聲猿》的明清版本流傳及演出紀錄;第四章為《四聲猿》的明清評點與批評,從對《四聲猿》起傳播作用的重要人物袁宏道、澂道人及其他戲曲批評家分析《四聲猿》在明清接受的面貌,當中更會引用新發現的天放道人評點本如何將《四聲猿》擴展至社會功用的價值;第五章為晚明至清中葉戲曲家對《四聲猿》的仿寫與續作,通過對沈自徵《漁陽三弄》、張韜《續四聲猿》、桂馥《後四聲猿》的擬作分析探討明清不同時期對《四聲猿》接受的重心轉變;第六章為猿啼五聲──清末戲曲家洪炳文《懸嶴猿》研究,分析在時局動盪、國家危難之時,劇作家如何深化《四聲猿》猿啼之悲的意象,以此鼓勵人心,圖以救國;最後第七章則總結明清以來,《四聲猿》在戲曲批評、戲曲作品以致詮釋上方面的轉變。 / Xu Wei(徐渭) sisheng yuan(《四聲猿》) is very important in the Ming and Qing Dynasty. It includes four short plays, they are Kuang gushi yuyang san nong(《狂鼓史漁陽三弄》), Yu chanshi cuixiang yimeng(《玉禪師翠鄉一夢》), Ci Mulan tifu congjun(《雌木蘭替父從軍》)and Nu zhuangyuan cihuang defeng(《女狀元辭鳳得凰》). During the Ming and Qing Dynasty, literti paid a lot of attention on sishengyuan accroding to the criticism, preface, ed his works and simulated drama creation(擬作), why did they attach great importance to sishengyuan? What were their concern? Also, what is the difference of reception between the Ming and Qing Dynasties? The research on the sishengyuan has already got many achievement, but most of them were based on the textual study. The previous research lack of a comprehensive analysis of sishengyuan reception. Therefore, this paper is aim to sketched out the image of recognition process of Xuwei ’s Sishengyuan in the Ming and Qing Dynasty. / This paper is divided into seven chapters. The first chapter is the introduction of xuwei sishengyuan, research review and method. In the second chapter, we will analysis sishengyuan’s vulgar culture and xuwei’s concern about the society. The third chapter is sishengyuan’s versions and performance record in the Ming and Qing Dynasty. In the chapter four, we will analysis sishengyuan’s criticism in the Ming and Qing Dynasty. It included Yuan hongdao(袁宏道), Daoist Cheng(澂道人) and other important literati, Also we will use the new discovered details of Daoist Tianfang’s(天放道人) criticism, to find how did he extened the sishengyuan’s value to the social function. The chapter five is the simulated zaju(擬作)during the late Ming the the early Qing. They are Shen zizheng’s(沈自徵) yuyang sannong(《漁陽三弄》) Zhan Tao’s(張韜) xu sishengyuan(《續四聲猿》), Gui Fu’s(桂馥) hou sishengyuan(《後四聲猿》). In this chapter we will find the difference of sishengyuan’s reception between them. The chapter six is a study on the Hong bingwen’s(洪炳文) yuan aoyuan(《懸嶴猿》) in the late Qing. It will focus on how did he deepen the imagery of sisheng yuan to encourage people to save their country. The last chapter is an summary of the sishengyuan’s reception in the Ming and Qing Dynasty. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 楊培紅. / "2013年1月". / "2013 nian 1 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 212-219). / Abstract in Chinese and English. / Yang Peihong. / Chapter 第一章 --- 緒論 / Chapter 第一節: --- 明清雜劇發展史視野下的徐渭《四聲猿》 --- p.P.1 / Chapter 第二節: --- 研究述評 --- p.P.4 / Chapter 第三節: --- 研究動機 --- p.P.10 / Chapter 第四節: --- 研究方法及範圍 --- p.P.11 / Chapter 第二章 --- 《四聲猿》與民間文化、人的關係 / Chapter 第一節: --- 徐渭的戲曲觀 --- p.P.14 / Chapter 第二節: --- 《四聲猿》的民間文化 --- p.P.16 / Chapter 第三節: --- 文人的抒情與寄託 --- p.P.24 / Chapter 第三章 --- 《四聲猿》的明清版本與演出紀錄 / Chapter 第一節: --- 版本介紹 --- p.P.36 / Chapter 第二節: --- 選本及演出紀錄 --- p.P.38 / Chapter 第三節: --- 結語 --- p.P.45 / Chapter 第四章 --- 《聲猿》的明清評點與批評 / Chapter 第一節: --- 袁宏道傳記與評點對《四聲猿》的播作用 --- p.P.46 / Chapter 第二節: --- 孟稱舜對《狂鼓史》與雌木蘭的改評 --- p.P.62 / Chapter 第三節: --- 新發現的天放道人評《四聲猿》及其教化旨趣 --- p.P.68 / Chapter 第四節: --- 澂道人的評點及其生平考證 --- p.P.82 / Chapter 第五節: --- 結語 --- p.P.98 / Chapter 第五章 --- 晚明至清中葉戲曲家對《四聲猿》的仿寫與續作 / Chapter 第一節: --- 沈自徵《漁陽三弄》 --- p.P.99 / Chapter 第二節: --- 張韜《續四聲猿》 --- p.P.121 / Chapter 第三節: --- 桂馥《後四聲猿》 --- p.P.138 / Chapter 第四節: --- 結語 --- p.P.162 / Chapter 第六章 --- 猿啼五聲--清末戲曲家洪炳文《懸嶴猿》研究 / Chapter 第一節: --- 猿啼五聲的創作結構 --- p.P.166 / Chapter 第二節: --- 忠臣護主之鳴 --- p.P.171 / Chapter 第三節: --- 孤臣抗之鳴 --- p.P.176 / Chapter 第四節: --- 懲兇儆奸之鳴 --- p.P.178 / Chapter 第五節: --- 救亡圖存之鳴 --- p.P.181 / Chapter 第六節: --- 女史展墓之鳴 --- p.P.188 / Chapter 第七節: --- 結語 --- p.P.197 / Chapter 第七章 --- 總結 / 附錄
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詩詞對照下的《彊村語業》: Explicating Qiangcun yuye via the aesthetic disparities between shi and ci poetry. / Explicating Qiangcun yuye via the aesthetic disparities between shi and ci poetry / Shi ci dui zhao xia de "Jiangcun yu ye": Explicating Qiangcun yuye via the aesthetic disparities between shi and ci poetry.January 2015 (has links)
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 be drawn to explicate the political implications of Qiangcun Yuye via the aesthetic disparities between shi and ci poetry. The fourth and fifth chapter will first exemplify the ethical dilemmas that the Qing loyalists encountered and how Zhu’s self-agency reacted with the social force through shi and ci on modern historical trauma. The fifth Chapter scrutinized the intertextuality between Zhu’s emulation on Yuan’s Suite Poems to The Tone of Jiegu Tian, which share the features of Palace-Style Poetry. Seeing that close reading may not bring the intendment to light, the sixth chapter will illuminate Zhu’s works of yaji from the Siyin Cabinet gathering in the Gengzi Crisis and Ou Society in a chronic basis and contextualize the works to the social situations they were immediately written. To conclude my research, this essay intended to disinter the original intensions of Zhu’s unswerving adherence to ci writing and how Zhu tranquilized his jeopardizing experience through ci poetry. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 陳榮生. / Parallel title from English abstract. / Thesis (M.Phil.) Chinese University of Hong Kong, 2015. / Includes bibliographical references (leaves 88-91). / Abstracts also in English. / Chen Rongsheng.
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明末清初女性詞選: 《眾香詞》研究. / 眾香詞研究 / Ming mo Qing chu nü xing ci xuan: "Zhong xiang ci" yan jiu. / Zhong xiang ci yan jiuJanuary 2004 (has links)
馮慧心. / "2004年7月". / 論文(哲學碩士)--香港中文大學, 2004. / 參考文獻 (leaves 495-520). / 附中英文摘要. / "2004 nian 7 yue". / Feng Huixin. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2004. / Can kao wen xian (leaves 495-520). / Fu Zhong Ying wen zhai yao. / 引言 --- p.1 / Chapter 第一章 --- 結論 --- p.4 / Chapter 第一節 --- 古代女性文學研究回顧 --- p.4 / Chapter 一、 --- 女性文學史的發展 --- p.4 / Chapter 二、 --- 西方漢學界的女性文學研究 --- p.8 / Chapter 三、 --- 明清女性文學的研究 --- p.10 / Chapter 四、 --- 女性詞作的研究 --- p.12 / Chapter 第二節 --- 女性文學的資料發掘與整理 --- p.13 / Chapter 第三節 --- 《眾香詞》硏究回顧 --- p.15 / Chapter 第四節 --- 《眾香詞》研究的意義、理論及方法 --- p.20 / Chapter 一、 --- 研究意義 --- p.20 / Chapter 二、 --- 研究範關及方法 --- p.22 / Chapter 三、 --- 女性主義的啟示及應用 --- p.24 / Chapter 第二章 --- 《眾香詞》的編選背景:明末清初的時代背景與文學發展 --- p.34 / Chapter 第一節 --- 明末以來女性解放思潮 --- p.34 / Chapter 第二節 --- 出版業及郵政業的發達 --- p.38 / Chapter 第三節 --- 明清女性文學的發展 --- p.42 / Chapter 第四節 --- 明清女性選集的繁榮 --- p.46 / Chapter 第五節 --- 明末以來的詞學發展及清詞中興 --- p.48 / Chapter 第六節 --- 明清易代的離亂感慨 --- p.52 / Chapter 第三章 --- 《眾香詞》述介 --- p.55 / Chapter 第一節 --- 現今所見《眾香詞》版本 --- p.55 / Chapter 一、 --- 清代海陽彤雲軒鈔本 --- p.55 / Chapter 二、 --- 清康熙錦樹堂刊本 --- p.58 / Chapter 三、 --- 癸酉(1933年)董氏誦芬室重校本 --- p.62 / Chapter 四、 --- 1996年鄭競重校本 --- p.63 / Chapter 第二節 --- 《眾香詞》流傳概況 --- p.65 / Chapter 第三節 --- 《眾香詞》末善之處 --- p.68 / Chapter 第四節 --- 《眾香詞》之編集動機 --- p.73 / Chapter 一、 --- "為女性文學正名,使之經典化、正統化" --- p.73 / Chapter 二、 --- 為女性詞壇寫史、以女性詞作寫史 --- p.75 / Chapter 第四章 --- 《眾香詞》之編輯集團:清廷權貴與遺民幕客 --- p.80 / Chapter 第一節 --- 編輯集團成員 --- p.80 / Chapter 第二節 --- 徐樹敏、錢岳兩位編者的角色 --- p.83 / Chapter 第三節 --- 編輯集團的地域 --- p.88 / Chapter 第四節 --- 成書的分期與編輯集團 --- p.90 / Chapter 第五節 --- 編輯集團成員的參與角色 --- p.93 / Chapter 第六節 --- 清廷權貴與明室遺民:編輯集團的組合 --- p.98 / Chapter 第五章 --- 《眾香詞》的編集體例 --- p.103 / Chapter 第一節 --- 六卷之排列及特色´ؤ´ؤ以身份地位爲經 --- p.114 / Chapter 第二節 --- 六卷內部之排列及特色´ؤ´ؤ以名望成就、生活年代爲緯 --- p.110 / Chapter 第三節 --- 六卷之內容特色 --- p.115 / Chapter 第四節 --- 六卷之相互連繫 --- p.120 / Chapter 第六章 --- 《眾香詞》之採輯範圍及選詞特色 --- p.124 / Chapter 第一節 --- 眾香詞人之時空跨度´ؤ´ؤ明末清初、江南爲主之女詞人 --- p.124 / Chapter 第二節 --- 尊崇名門閨秀 --- p.128 / Chapter 第三節 --- 稱賞青樓歌妓 --- p.130 / Chapter 第四節 --- 務實可信:傳奇詞人、女鬼、女仙不載 --- p.134 / Chapter 第五節 --- 「姑存其人以廣大意」:爲女詞人留名寫史 --- p.137 / Chapter 第六節 --- 選錄遺民意識之作:明清易代的女性感受 --- p.140 / Chapter 第七節 --- 爲秦淮名妓立傳:《數集》與晚明的「文化懷舊」 --- p.151 / Chapter 第八節 --- 「不敢謾加評語」 :不作圈點,意欲客觀 --- p.155 / Chapter 第九節 --- 《草堂》之豔冶與貞孝節烈之作並行不悖 --- p.157 / Chapter 第十節 --- 女性文人的傳統形象:迴文機巧、自憐身世、才女薄命 --- p.160 / Chapter 第十一節 --- 《眾香詞´Ø凡例》與王士祿《燃脂集例》 --- p.165 / Chapter 第七章 --- 眾香詞人及其詞作分析:私域女性(private women)´ؤ´ؤ閨秀 --- p.171 / Chapter 第一節 --- 身份背景:名門望族、閨秀圈子、儒家教育 --- p.172 / Chapter 第二節 --- 閨秀詞作分析 --- p.178 / Chapter 一、 --- 詞調形式 --- p.178 / Chapter 二、 --- 主題內容 --- p.182 / Chapter 1. --- 歷史興亡、社會時局´ؤ´ؤ家國交織的女性處境 --- p.182 / Chapter 2. --- 家族親情´ؤ´ؤ豐富的女性倫理角色 --- p.190 / Chapter 3. --- 羈旅思ˇёإ´ؤ´ؤ歸寧之思 --- p.197 / Chapter 4. --- 女性情誼´ؤ´ؤ男女關係以外的情感渴求 --- p.201 / Chapter 5. --- 相思閨怨、寄夫憶夫´ؤ´ؤ文學伴侶式的婚姻 --- p.205 / Chapter 6. --- 生活體驗´ؤ´ؤ居家性(domesticity)與日常性(dailiness) --- p.209 / Chapter 7. --- 述懷自許´ؤ´ؤ自我建構(self-construction)、主體性(subjectivity) 的呈現 --- p.213 / Chapter 8. --- 詠物´ؤ´ؤ細膩精緻的女性筆觸 --- p.217 / Chapter 9. --- 應酬和韻´ؤ´ؤ突破女性的交遊圈子 --- p.222 / Chapter 10. --- 題畫題像´ؤ´ؤ女性身份與照鏡自喻 --- p.226 / Chapter 第三節 --- 閨秀詞作之藝術特色 --- p.230 / Chapter 1. --- 纖巧細緻、典雅含蓄 --- p.230 / Chapter 2. --- 以謝道韞爲楷模、取法李清照 --- p.232 / Chapter 3. --- 女性關懷:嫦娥、七夕、女性歷史人物 --- p.236 / Chapter 第八章 --- 眾香詞人及其詞作分析:「公眾女性」(Public women)´ؤ歌妓 --- p.241 / Chapter 第一節 --- 身份背景:歌舞技藝、社交自由、國家興亡的符碼 --- p.241 / Chapter 第二節 --- 歌妓詞作分析 --- p.246 / Chapter 一、 --- 詞調形式 --- p.246 / Chapter 二、 --- 主題內容 --- p.246 / Chapter 1. --- 相思懷人´ؤ´ؤ青樓愛情的追逐 --- p.247 / Chapter 2. --- 唱酬贈答´ؤ´ؤ歌妓的社交圈子 --- p.250 / Chapter 3. --- 傷春悲秋、好景難永´ؤ´ؤ飄零身世的不安與憂慮 --- p.254 / Chapter 4. --- 身世之感´ؤ´ؤ不堪零落、自傷失節 --- p.256 / Chapter 5. --- 詠物狀物´ؤ´ؤ飄零無主之苦 --- p.258 / Chapter 6. --- 生活瑣事及觸感´ؤ´ؤ「日常性」(dailiness)及「瑣屑性」 (fragmentary) --- p.260 / Chapter 第三節 --- 歌妓詞作之藝術特色 --- p.262 / Chapter 1. --- 率性自然、熱情放浪:擺脫道德束縛的感情書寫 --- p.262 / Chapter 2. --- 預設對象、直呼對象:以「私密性」抗衡「公眾性」 --- p.264 / Chapter 3. --- 語言淺白、口語化:真率直接的書寫筆法 --- p.266 / Chapter 第四節 --- 閨秀與歌妓詞之比較分析 --- p.270 / Chapter 1. --- 題材 --- p.270 / Chapter 2. --- 語言風格 --- p.271 / Chapter 3. --- 情感表達、筆法書寫 --- p.272 / Chapter 第九章 --- 結論 --- p.273 / Chapter 一、 --- 閨秀及青樓´ؤ´ؤ女性文學的兩大傳統 --- p.273 / Chapter 二、 --- 明末清初的女詞人與詞壇關係 --- p.274 / Chapter 三、 --- 女詞人在男性傳統下之妥協與對抗 --- p.274 / Chapter 四、 --- 《眾香詞》之藝術價値與定位 --- p.275 / 附錄 / 附錄一 《眾香詞》三個版本所收詞人詞作比較 --- p.277 / 附錄二 《眾香詞》錦樹堂本與富之江本所收詞作之比較 --- p.292 / 附錄三 眾香詞人之字號、籍貫、作品集 --- p.304 / 附錄四 眾香詞人的家世背景 --- p.316 / 附錄五 眾香詞人之女性家族成員 --- p.331 / 附錄六 眾香詞人之生活年代 --- p.336 / 附錄七 眾香詞編輯集團成員資料 --- p.348 / 附錄八 從詞人小傳所見《眾香詞》引錄資料來源 --- p.365 / 附錄九 其他選本所見眾香詞人詞作數目 --- p.378 / 附錄十 選本中所見六集比例 --- p.390 / 附錄十一明末清初女性選集之編集體例及特點 --- p.392 / 附錄十二 《眾香詞》各集所用詞牌統計 --- p.401 / 附錄十三《眾香詞》所選迴文及遊戲之作 --- p.411 / 附錄十四清代詩話、詞話、文人筆記等所見眾香詞人評論 --- p.413 / 附錄十五眾香詞人文集之撰序者及與其他文人之關係 --- p.466 / 附錄十六眾香詞人之唱酬關係表 --- p.480 / 參考書目 --- p.491
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