嚴宇樂. / 論文(碩士) -- 香港中文大學硏究院中國語言及文學部, 1997. / 參考文獻: leaves 1-8 (3rd group) / Yan Yuyue. / 提要 / Chapter 第一章、 --- 緒論 --- p.1 / Chapter 1. --- 有關選本的問題 --- p.1 / Chapter 2. --- 「重建傳統」槪念簡析 --- p.3 / Chapter 3. --- 重建詩歌傳統與陸氏編選《詩鏡》的宗旨 --- p.9 / Chapter 第二章、 --- 陸時雍詩論之時代背景 --- p.14 / Chapter 1. --- 歷史背景 --- p.14 / Chapter 1.1 --- 社會背景 --- p.14 / Chapter 1.2 --- 思想背景 --- p.18 / Chapter 2. --- 文學史背景 --- p.20 / Chapter 2.1 --- 明代詩壇槪況 --- p.20 / Chapter 2.2 --- 明詩創作之取徑 --- p.26 / Chapter 2.3 --- 明人對歷代詩總集之選編與刊印 --- p.32 / Chapter 第三章、 --- 陸時雍生平和著述 --- p.36 / Chapter 1. --- 陸時雍生平及交遊 --- p.36 / Chapter 2. --- 陸時雍的著述 --- p.40 / Chapter 2.1 --- 陸時雍著述簡介 --- p.40 / Chapter 2.2 --- 《詩鏡》槪說 --- p.43 / Chapter 2.2.1 --- 解題 --- p.43 / Chapter 2.2.2 --- 體例 --- p.45 / Chapter 2.2.3 --- 底本 --- p.47 / Chapter 3. --- 前人對陸時雍之硏究與本文硏究方法 --- p.48 / Chapter 3.1 --- 前人硏究陸時雍槪況 --- p.48 / Chapter 3.2 --- 本論文之硏究方法 --- p.51 / Chapter 第四章、 --- 陸時雍之基本詩論 --- p.53 / Chapter 1. --- 總綱：情生於文，文生於情 --- p.53 / Chapter 2. --- 情 --- p.62 / Chapter 2.1 --- 前代與明代之緣情說 --- p.62 / Chapter 2.2 --- 陸氏的情感論 --- p.65 / Chapter 2.2.1 --- 性情之辨 --- p.65 / Chapter 2.2.2 --- 情意之辨 --- p.67 / Chapter 2.2.3 --- 情之生成：感興而成、緣境而生 --- p.74 / Chapter 2.2.4 --- 情、境關係 --- p.78 / Chapter 2.2.5 --- 真情實境 --- p.83 / Chapter 2.2.6 --- 真：率性，當情，稱物 --- p.92 / Chapter 2.2.7 --- 人情、物情感通 --- p.94 / Chapter 2.2.8 --- 詩可以觀 --- p.96 / Chapter 3. --- 韻 --- p.97 / Chapter 3.1 --- 「有餘意之謂韻」與言意之辨 --- p.98 / Chapter 3.2 --- 形器與超形器 --- p.103 / Chapter 3.3 --- 韻與其他範疇 --- p.109 / Chapter 第五章、 --- 陸時雍之批評實踐（上） --- p.113 / Chapter 1. --- 通代批評 --- p.114 / Chapter 1.1 --- 一代詩有一代之特色 --- p.114 / Chapter 1.2 --- 雅衰艷盛與踵事增華 --- p.115 / Chapter 2. --- 斷代批評 --- p.118 / Chapter 2.1 --- 先秦 --- p.121 / Chapter 2.1.1 --- 詩騷之辨 --- p.122 / Chapter 2.1.2 --- 《詩經》 --- p.126 / Chapter 2.1.3 --- 楚辭 --- p.131 / Chapter 2.1.4 --- 《詩》《騷》與漢魏文學 --- p.135 / Chapter 2.2 --- 漢詩 --- p.136 / Chapter 2.3 --- 魏詩 --- p.141 / Chapter 2.4 --- 晉詩 --- p.146 / Chapter 2.5 --- 南朝宋詩 --- p.151 / Chapter 2.6 --- 齊詩 --- p.154 / Chapter 2.7 --- 梁詩 --- p.156 / Chapter 2.8 --- 陳詩 --- p.161 / Chapter 2.9 --- 隋詩 --- p.162 / Chapter 2.10 --- 六朝與唐之辨 --- p.163 / Chapter 2.11 --- 初唐 --- p.173 / Chapter 2.12 --- 盛唐 --- p.182 / Chapter 2.13 --- 中唐 --- p.186 / Chapter 2.14 --- 晚唐 --- p.198 / Chapter 2.15 --- 宋 --- p.203 / Chapter 第六章、 --- 陸時雍之批評實踐（下） --- p.209 / Chapter 1. --- 作者批評 --- p.209 / Chapter 1.1 --- 建安詩人：三曹、王粲、劉楨 --- p.209 / Chapter 1.2 --- 正始詩人：嵇康、阮籍 --- p.217 / Chapter 1.3 --- 西晉詩人：傅玄 --- p.220 / Chapter 1.4 --- 晉宋之際詩人：陶謝 --- p.223 / Chapter 1.5 --- 齊梁詩人：謝眺到梁武帝 --- p.241 / Chapter 1.6 --- 南梁詩人：何遜 --- p.246 / Chapter 1.7 --- 初唐詩人：四傑、陳子昂、沈宋 --- p.248 / Chapter 1.8 --- 盛唐詩人：李白、杜甫、王維 --- p.263 / Chapter 1.9 --- 中唐詩人：劉長卿、李益、韋應物、柳宗元 --- p.283 / Chapter 1.10 --- 晚唐詩人：溫李 --- p.293 / Chapter 第七章、 --- 結論一一陸氏詩論的意義與得失 --- p.301 / 參考書目

This thesis examines the relationship of George Villiers, First Duke of Buckingham (1592--1628) to the art and aesthetic ideas of his era. As the intimate and all-powerful favourite of two successive kings, James I and Charles 1, Buckingham profoundly influenced the course of English politics, both at home and abroad, and it is as a political force that he is generally viewed. But, as a major patron of many artists and the builder of one of the largest art collections of the time, his influence in the cultural sphere must have been equally significant. Yet no modern study of this aspect of Buckingham's persona exists. / After a review of the general historiographical material on Buckingham as well as his evaluation by art historians over the years, Chapter I presents an analysis of the concept and role of Favourite in social and cultural terms. It goes on to detail Buckingham's personal position within early Stuart court culture, and argues that while this culture formed and defined him, he simultaneously re-formed and redefined it through his choices and actions. / Chapter II examines the dynamics of art patronage and Buckingham's activity as a patron, beginning with his early dealings with the native English painter, William Larkin. The relationship of Buckingham and the young Anthony Van Dyck is discussed, with parlicular attention to the artist's brief visit to England in 1620--21, and it is suggested that Buckingham was instrumental in bringing about this event. The Duke's dealings with the controversial polymath, Balthazar Gerbier, are explored, as are his many-layered connections with the premier painter of the day, Peter Paul Rubens. / In Chapter III the traditions of art collecting, especially in England are discussed, as is Buckingham's reputation as a collector compared to some of his rivals in the field. The extant documentation of his collection is examined, along with the chronology and methodology of its formation. Particular attention is given to gifts of art to Buckingham by King Charles, the Earl of Arundel and others; the art-buying by Buckingham's agents like Balthazar Gerbier; and the incorporation by the Duke into his own inventory of parts of other collections such as that of the Duke of Hamilton and, more importantly, that of Rubens. / Both in the realm of court culture and in the world of art patronage and art collecting, it was Buckingham more than anyone else who supplied the energy and set the fashion. And he continued to do so even after his premature death: the Duke's image remained bright in the memory of King Charles, whose subsequent expanded relationships with Rubens and Van Dyck owe much of their intensity to both artists' previous connections with Buckingham.

In the latter half of the seventeenth century, the first-person overseas voyage narrative enjoyed an unprecedented degree of popularity in England. This thesis is concerned with texts written by travellers and the increasing perception that such information might be useful to those engaged in newly-developing scientific specialisms. It draws upon a wide range of texts including geographiae, physico-theological texts, first-person voyage narratives and imaginary voyage prose fictions. The main focus of the thesis is on the movement away from traditional encyclopaedic geographical textbooks whose treatment of non-European countries comprised an amalgam of unattributed information and a mass of traditional and erudite beliefs, towards a priontising of eyewitness accounts by named observers. Following an introductory survey of the production of an indigenous body of geographical literature in England, the first chapter traces the decline in popularity of traditional geographiae and the separation of regional description from general theories of the earth. The second chapter shows how in the Restoration period the concerted efforts of Fellows of the newly-established Royal Society resulted in a significant increase in the number of overseas travel narratives being published. The third chapter looks at the way in which the Royal Society's campaign developed from its initiation in 1666 to the close of the century, focusing on the response of travellers to the Society's requests for information. The fourth chapter considers the way in which earlier accounts were advertised as fulfilling contemporary expectations of this type of discourse. The fifth and sixth chapters concern fictitious voyage narratives. Imitative of a genre the value of which was increasingly seen as residing in its veracity, these fictions adapted in accordance with the changes being introduced to real voyage accounts whilst continuing to perpetuate the archaic myths and traditional beliefs which had been ehminated from factual geographical description. Appended to the thesis is a list of accounts of voyages and travels outside Europe, printed in the Philosophical Transactions (1665-1700). Also listed are reviews and abstracts of geographical texts, inquiries concerning specific locations and directions and instructions aimed at seamen, with brief biographical information about the authors to indicate the range of contributors to that journal.

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'1603. The Wonderfull Yeare: Literary Responses to the Accession of James I' argues that when James VI of Scotland was proclaimed James I of England on 24 March 1603, the printed verse pamphlets that greeted his accession presented him as a figure of hope and promise for the Englishmen now subject to his rule. However, they also demonstrate hitherto unrecognized concerns that James might also be a figure of threat to the very national strength, Protestant progress, and moral, cultural, and political renaissance for which he was being touted as harbinger and champion. The poems therefore transform an insecure and undetermined figure into a symbol that represents (and enables) promise and hope. PART ONE explores how the poetry seeks to address the uncertainty and fragility, both social and political, that arose from popular fears about the accession; and to dissuade dissenters (and make secure and unassailable the throne, and thereby the state of England), through celebration of the new monarch. Perceived legal, political, and dynastic concerns were exacerbated by concrete difficulties when James was proclaimed King of England, and so he was more than fifty miles from the English border (only reaching London for the first time in early May); his absence was further prolonged by plague; this plague also deferred the immediate sanction of public festivities that should have accompanied his July coronation. An English Jacobean icon was configured in literature to accommodate and address these threats and hazards, neutralizing fears surrounding the idea of the accession with confidence in the idea of the king it brings. In the texts that respond to James's accession we observe his appropriation as a figure of hope and promise. PART 2 looks to more personal hopes and fears, albeit within the national context. It considers how the poets engage with the King's own established iconography and intentions, publicly available to view within his own writing - and especially poetry. The image that is already established there has the potential either to obstruct or to enable national and personal causes and ambitions (whether political, religious, or cultural). The poetry therefore develops strategies to negotiate with and so appropriate the King's own self-fashioning.

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The seventeenth century saw a large increase in family-related portrait materials, including group family portraits, family portrait collections, and family memorial albums. In this thesis, I contend with the meanings and functions of family portraits created in the Netherlands in an attempt to illuminate the motives behind the rise in the number of portraits of the family during this period. I focus on the ways in which Dutch families utilised portraiture as a vehicle for constructing personal and national identity. In an age of extraordinary economic success, religious tension, and political upheaval, portraits of the members of the expanding Dutch ‘middle class’, who had the means and the desire to commission them, reveal a conscious inclination to define and substantiate a fashioned identity as the new urban elite of a Republic in the making. My study assesses family portraits as sites where identity and changing notions of selfhood were envisioned and performed. The shifting notions of ‘family’, and the increasing popularity of commissioning portraits seems to signal attempts to configure and imagine their relationship to Dutch society. I propose that the amount of portraits related to the family commissioned alongside an exploration of and struggle with identity is a symptom of the anxiety surrounding politics, religion, and social changes, for which the family often served as a metaphor. New perspectives on portrait theory and identity, especially those of Ann Jensen Adams and Joanna Woodall, contributed to the shaping of this thesis, particularly as a means to comprehend how portraits functioned in the lives of families. There are four chapters that make up the body of this thesis. In each chapter, I focus on specific works of art chosen for their suitability in highlighting certain concepts and anxieties about identity and the family in its cultural context at their extremes.

Although seventeenth-century New England has been one of the most heavily studied subjects in American history, women's lived experience of Puritan church membership has been incompletely understood. Histories of New England's Puritan churches have often assumed membership to have had universal implications, and studies of New England women either have focused on dissenting women or have neglected women's religious lives altogether despite the centrality of religion to the structure of New England society and culture. This thesis uses pamphlets, sermons, and church records to demonstrate that women's church membership in Massachusetts's Puritan churches differed from men's because women were prohibited from speaking in church or from voting in church government. Despite the Puritan emphasis on spiritual equality, women experienced a modified form of membership stemming from their subordinate place in the social hierarchy.

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[Truncated abstract] In this thesis I examine the poetics of Thomas Traherne’s often over-looked Christology through a reading of The Kingdom of God. This work, probably written in the early 1670s, was not discovered until 1997, and not published until 2005. To date, no extended studies of the work have been published. It is my argument that Traherne develops an expansive and energetic poetic expressive of the theme of the ‘Cosmic Christ’ in which Christ is understood to be the source, the sustaining life, cohesive bond, and redemptive goal, of the universe, and his body to encompass all things. While the term ‘Cosmic Christ’ is largely of 20th century origin, its application to Traherne is defended on the grounds that it describes not so much a modern theology, as an ancient theology rediscovered in the context of an expanding cosmology. Cosmic Christology lies, according to Joseph Sittler,“tightly enfolded in the Church’s innermost heart and memory,” and its unfolding in Traherne’s Kingdom of God is accomplished through the knitting together of an essentially Patristic and Pauline Christology with the discoveries and speculations of seventeenth century science: from the infinity of the universe to the workings of atoms. … The thesis concludes with a distillation of Traherne’s Christic poetic The Word Incarnate. The terms put forward by Cosmic Christology are used to explicate Traherne’s intrepid poetic. In his most remarkable passages, Traherne employs language not only as a rhetorical tool at the service of theological reasoning, but to directly body forth his sense of Christ at the centre of world and self. He promises to “rend the Vail” and to reveal “the secrets of the most holy place.” Scorning more “Timorous Spirits,” he undertakes to communicate and “consider it all.”