吳潔盈. / "2004年8月". / 論文(哲學碩士)--香港中文大學, 2004. / 參考文獻 (leaves 282-302). / 附中英文摘要. / "2004 nian 8 yue". / Wu Jieying. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2004. / Can kao wen xian (leaves 282-302). / Fu Zhong Ying wen zhai yao. / Chapter 第一章 --- 緒論 --- p.1 / Chapter 第一節 --- 引言 --- p.1 / Chapter 一. --- 蘇童簡介 --- p.2 / Chapter 二. --- 蘇童小說的硏究價値和意義 --- p.5 / Chapter 第二節 --- 蘇童小說硏究述評 --- p.9 / Chapter 一. --- 硏究槪況 --- p.9 / Chapter 二. --- 論者對蘇童小說的評價 --- p.15 / Chapter 第三節 --- 小結 --- p.19 / Chapter 第二章 --- 硏究法與論述架構 --- p.20 / Chapter 第一節 --- 硏究目的及方法 --- p.21 / Chapter 第二節 --- 理論框架與論述架構 --- p.24 / Chapter 第三章 --- 文學槪念釋義與蘇童創作觀 --- p.30 / Chapter 第一節 --- 「先鋒小說」、「新寫實小說」及「新歷史小說」釋義 --- p.31 / Chapter 一. --- 「先鋒小說」釋義 --- p.31 / Chapter 1. --- 從「先鋒」到「先鋒小說」：「先鋒小說」的涵意 --- p.32 / Chapter 2. --- 「形式主義」之外：「先鋒小說」的整體特色 --- p.35 / Chapter 二. --- 「新寫實小說」釋義 --- p.38 / Chapter 1. --- 對一種小說傾向的歸納：「新寫實小說」槪念的產生 --- p.38 / Chapter 2. --- 「還原生活本相」的追求：「新寫實小說」的整體特色 --- p.41 / Chapter 三. --- 「新歷史小說」釋義 --- p.42 / Chapter 1. --- 作爲一個文學槪念的獨立性：「新歷史小說」的具體意義 --- p.43 / Chapter 2. --- 建構歷史，解構歷史：「新歷史小說」的整體特色 --- p.46 / Chapter 第二節 --- 蘇童的創作觀念 --- p.48 / Chapter 一. --- 排斥教條:蘇童的自我審視 --- p.49 / Chapter 1. --- 評論與創作 --- p.50 / Chapter 2. --- 長篇與短篇 --- p.53 / Chapter 二. --- 「靈魂的逆光」：蘇童的小說藝術 --- p.59 / Chapter 1. --- 形式感與創新精神 --- p.60 / Chapter 2. --- 現實與虛構 --- p.63 / Chapter 第三節 --- 小結 --- p.66 / Chapter 第四章 --- 蘇童小說中的「時間」與「空間」 --- p.67 / Chapter 第一節 --- 尋找「過去」´ؤ´ؤ歷史與回憶 --- p.68 / Chapter 一. --- 蘇童小說的時間敘述模式 --- p.68 / Chapter 1. --- 「現在」與「過去」的分裂 --- p.69 / Chapter 2. --- 時間的凝定與延伸 --- p.76 / Chapter 二. --- 軌內外的國族歷史 --- p.82 / Chapter 1. --- 歷史的軌跡以內：《我的帝王生涯》 --- p.83 / Chapter 2. --- 軌跡的「歷史」：《武則天》 --- p.88 / Chapter 三. --- 家族生命的開展與凋:家族歷史的建構 --- p.93 / Chapter 1. --- 生命與血脈的延展 --- p.93 / Chapter 2. --- 墮落與衰敗的根源 --- p.97 / Chapter 四. --- 少年回憶的重構 --- p.100 / Chapter 1. --- 逝去的青春年華 --- p.100 / Chapter 2. --- 永恆的少年回憶 --- p.104 / Chapter 第二節 --- 敘說「南方」´ؤ´ؤ鄉村與城市 --- p.109 / Chapter 一. --- 蘇童小說的空間敘述模式 --- p.110 / Chapter 1. --- 敘述者的身份 --- p.112 / Chapter 2. --- 敘述者與故事的距離 --- p.114 / Chapter 3. --- 「南方視角」過濾下的「南方故事」 --- p.117 / Chapter 二. --- 想像中的楓楊樹鄉 --- p.123 / Chapter 1. --- 精神家園，夢裡故鄉 --- p.124 / Chapter 2. --- 天災橫降，人禍昭彰 --- p.130 / Chapter 三 --- 回憶中的香椿樹街 --- p.137 / Chapter 1. --- 閒言充斥，蜚語流竄 --- p.137 / Chapter 2. --- 罪惡處處，慾望糾纏 --- p.140 / Chapter 第三節 --- 存在探索´ؤ´ؤ時空交織下的深層意蘊 --- p.146 / Chapter 一. --- 逃亡與還ˇёإ --- p.147 / Chapter 二. --- 圍觀與示眾 --- p.154 / Chapter 三. --- 死亡與魂歸 --- p.159 / Chapter 第四節 --- 小結 --- p.166 / Chapter 第五章 --- 《蛇爲甚麼會飛》中的「時間」與「空間」 --- p.169 / Chapter 第一節 --- 中、短篇小說的嘗試´ؤ´ؤ「直面現實」的創作方向 --- p.171 / Chapter 第二節 --- 火車站廣場上的世紀鐘´ؤ´ؤ時間與空間的設置 --- p.177 / Chapter 一. --- 時間的落差 --- p.178 / Chapter 二. --- 空間的割切 --- p.183 / Chapter 第二節 --- 荒謬的「南方城市」´ؤ´ؤ《蛇爲甚麼會飛》中的城市建構 --- p.188 / Chapter 一. --- 夾縫中的城市 --- p.190 / Chapter 二. --- 被孤立的城市 --- p.194 / Chapter 第四節 --- 直面慘淡人生´ؤ´ؤ《蛇爲甚麼會飛》中的人物刻劃 --- p.200 / Chapter 一. --- 失陷於荒謬城市 --- p.201 / Chapter 二. --- 尋找在他方城市 --- p.205 / Chapter 第五節 --- 小結 --- p.210 / Chapter 第六章 --- 結語 --- p.213 / 附錄一：蘇童著作目錄 --- p.216 / 附錄二 ：《蛇爲甚麼會飛》中的時間敘述 --- p.223 / 參考書目及論文 --- p.228

Mak, Yim King. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references (leaves 125-131). / In English with some Chinese; abstract also in Chinese. / Thesis/Assessment Committee --- p.i / Abstract --- p.iii / Acknowledgements --- p.iv / Contents --- p.v / Introduction --- p.1 / Chapter Chapter One: --- Usage of the One-stroke Head in Intact Public Spaces --- p.9 / Chapter Chapter Two: --- Modification by other Connotative Signs --- p.31 / Chapter Chapter Three: --- Changing the Spatial and Socio-cultural Contexts --- p.50 / Chapter Chapter Four: --- Affinity with Demolition and Destructed Houses --- p.74 / Chapter Chapter Five: --- Use of Photography --- p.98 / Conclusion --- p.120 / Bibliography --- p.125

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Leung Choi Ha. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2001. / Includes bibliographical references (leaves 119-121). / Abstracts in English and Chinese. / Introduction --- p.1 / Chapter Chapter1 --- The Meaninglessness of Existence --- p.11 / Chapter Chapter2 --- Tension and Alienation --- p.40 / Chapter Chapter3 --- Man's Power of Choice --- p.64 / Chapter Chapter4 --- The Power of the Poet --- p.89 / Conclusion --- p.111 / Works Cited --- p.119

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by Paul Tseng. / Cover title. / Includes bibliographical references (p. 29-32). / Research partially supported by the U.S. Army Research Office (Center for Intelligent Control Systems) DAAL03-86-K-0171

Thesis (Ph.D.)--Boston University. / Powys's criteria for what constitutes a good novel -- intense reality in characters and background, and intense interest in what happens next -- are the basis for this analysis and evaluation. Admittedly vague, the criteria had to be clarified, explored and related to other aspects of the novel. If some measure of a novelist's greatness lies in his vision of humanity, in the number and variety of people who inhabit his world, the sympathy and understanding with which he views them and the range of incidents they move in, Powys must be rated high. The scope of Powys's portrayals, deep and wide, includes all social levels, the young, old, simple, complex. To find a comparable gallery of women one must turn to the great masters of feminine portraiture. Many characters, both men and women, inhabit the loftier regions of the imagination. Without losing the unique humor of each living person he imparts a sense of the motley assemblage of humanity in general [TRUNCATED]

This thesis is basically a study of William Carlos Williams' Paterson, with emphasis on Book Five, the final completed book of the poem. Because Williams is repeatedly concerned with the Unicorn tapestries in Book Five, much attention is given to them, and the rest of Book Five is seen as complementary to this central metaphor. And because this metaphor is a restriction to the essentials, or what Williams calls "by multiplication a reduction to one," the thesis is largely involved in interpreting the implications of this metaphor, developed and determined by the context of the rest of the poem. Previously, most critics have either treated Paterson V as a postscript to Paterson I-IV, or have dismissed the book by stating in general terms that Williams in Book Five takes Paterson into the realm of the Imagination. In either case, a detailed analysis of Book Five has been avoided. This thesis attempts such an analysis, in order to reveal that Paterson V is not a postscript to the rest of the poem, but its culmination. Though Book Five is in a sense in a different realm from the first four books, the transition from the realm of life to that of art is not only foreshadowed by the former books, but is also the means of solution to the Paterson dilemma, struggled with and developed in Paterson I-IV, but never crystallized. This occurs in Book Five, where the Unicorn tapestries are the metaphoric "hub" of the crystallization. Though the dilemma involves both Paterson the man and city, it is mostly concerned with Paterson the poet, and his manifestation, the poem Paterson. Hence the dilemma is to a large extent autobiographical. Paterson's problem is Williams' problem: the necessity of transforming the poet's life quest, with all its implications, into a culminatory work of art. To this basic problem must be added several crucial obstacles. The first is that of approaching death. By the end of Book Four, Paterson has reached the end of his life course. Williams, in the year of Book Four's publication, has had several crippling strokes. In other words, Williams' life, like Paterson's, may soon be terminated, and thus the work of art may never be created. Secondly, Williams' work of art must include the processes of art and life, as well as their products. Without process, the product will stagnate, and without product, the process will remain a confused delirium. In this sense, Book Five becomes the product of the processes involved in Paterson I-IV, the product that clarifies both the poet's quest and his poetics, saves both Williams and Paterson from meaningless death, and gives the poet impetus to continue his craft. Intrinsic to the union of process and product is the union of life with literature, the poetic with the anti-poetic, and the Dionysian aspect of creation with that of the Apollonian. In Paterson, these turn out to be the "inter-penetrating realities" that the poet seeks to unite throughout the poem. The following analysis attempts to reveal how the union does symbolically or metaphorically occur, how the various disparate forces in the poem become embodied in a complex but harmonious whole, and why this union, as portrayed in the Unicorn tapestries, does succeed, where similar earlier attempts had failed / Arts, Faculty of / English, Department of / Graduate

This thesis seeks to identify the philosophical arguments behind William Carlos Williams' constant attack upon accepted patterns of thought, behaviour and art. The first chapter outlines Williams' belief in the necessity of a continual process of renewal in order to prevent traditional approaches to experience from decaying individual perception into unconscious habits of preconception. The thesis then debates the possibility and value of pure perception in contrast to preconception, of objectivity in contrast to subjectivity, of the need for artistic impartiality to prevent biassed perception. This line of inquiry develops into a discussion of Williams' doctrine of change as essential to clear perception: Williams' advocation of the new, of the perception of present, local reality is a struggle against the traditional habitual concentration upon the past, the foreign and upon future abstractions. By Chapter Four, the thesis has evolved into a detailed inspection of the poetic techniques necessary for the clarifying expression of a continually renewed awareness. An attempt is made to show how poetry must change to keep reflecting a changing reality that is perceived now as a world of process rather than as a static and definable quantity. Underlying the whole thesis is the central interpretation that Williams' objection to established doctrines is a rejection of that tradition of man's egotistical aloofness from the ground and of his urge to control nature by destruction which has alienated him from his consciousness of his environment and from his source of. self-discovery. The second half of the thesis tries to reveal the poem Paterson as the assimilation of Williams' organic philosophy in a poetic form whose construction releases beauty from its abstraction in the mind into a living sentient experience. The thesis evolves towards an attempt to reveal Williams' call for man to rediscover a primal awareness of himself through an interpenetration with nature, a sympathetic appreciation of and yielding to the unopposed objects of his environment. The method of approach used is apocalyptic, rather than purely analytical. / Arts, Faculty of / English, Department of / Graduate