現代文學與現代藝術之間，有著千絲萬縷的關係，可是在具體操作中，往往被分開來，各自獨立開展研究。自「文化研究」興起，學界方才將兩者結合起來，二十世紀上半葉中國文學界關注英國畫家比亞茲萊(Aubrey Beardsley )(1872--1898)是很好的切入口，因諸多新文學作家(如魯迅、聞一多、梁實秋、邵洵美、郁達夫、葉靈鳳……)都對比亞茲萊有間接或直接的論述。 / 本文將比亞茲萊和中國現代文學結合研究，不囿於文化研究、比較文學研究或視覺文化研究的幾個範疇，嘗試在中國現代文學的領域作跨學科研究，除了發掘學界所忽略的原始材料外，也會從翻譯、出版、藝術、文化、思想幾個領域探討「比亞茲萊在中國」這一現象帶出的「中國現代性」思考。 / 本文導言部份會簡介比亞茲萊在中國現代文學與出版界的再現情況，接著會評述中國在比亞茲萊研究這一學術領域的成果及不足之處，然後從本論文的研究概念、方法與主題進入正式論述。本文第一章會探討被稱為「中國比亞茲萊」的作家葉靈鳳的文字與圖像創作，從一系列原始材料的鋪展與圖文對讀中，筆者將質疑「中國比亞茲萊」這稱謂的實質內容，從而呈現出歷來學者對葉靈鳳及創造社研究的誤讀之處。本文第二章會詳細討論魯迅編《比亞茲萊畫選》的小引及選畫問題，筆者將以西文原典證明歷來學界對小引是「魯迅寫」的錯誤認知，本文將從小引的「魯迅硬譯」開始，探討魯迅的藝術觀與其文字作品呈現精神世界的契合點。本文第三章將以比亞茲萊與中國現代文學中的世紀末思潮為題，探討幾個中國作家筆下呈現的比亞茲萊，筆者將以專題形式討論郁達夫的頹廢與比亞茲萊的異同；梁實秋、聞一多留美歲月中的比亞茲萊論述；張愛玲小說中把比亞茲萊放在第二次世界大戰中的意義。本文第四章將從出版史的角度，考察一個世紀以來比亞茲萊畫冊/圖像在中國的出版情況，探討其中的文化、政治、社會意義。 / 研究比亞茲萊在中國的現象，從百年來中國現代社會的建立，到中國作家不同語境中比亞茲萊的呈現，最終會落入對比亞茲萊藝術「現代性」的思考，本文總論部份將探討比亞茲萊的「中國式面孔」帶來的「中國現代性」迷思，呈現中國現代文學與西方現代藝術糾纏而複雜的面相。 / Modern literature and contemporary arts are inter-related, yet they have been usually regarded as completely different and independent perspectives in academic researches. Cultural Studies is the first academic field to combine these two perspectives for cultural phenomena explorations. The attention and discussion on English illustrator Aubrey Beardsley (1872 - 1898) by the Chinese literature circle (including writers such as Lu Xun、Wen Yiduo、Liang Shiqiu、Shao Xunmei、Yu Dafu、Ye Lingfeng etc.) in early 20th century could serve as a proper entry point for the study of interaction between literature and picture. / This paper will implore Beardsley and modern Chinese literature, not only by applying the theories of cultural studies, comparative literatures and visual arts, but also making an attempt at an interdisciplinary study based on modern Chinese literature. It will be studied how the phenomenon of "Beardsley in China" has led to the thinking of "Modernity of China" through different perspectives including translation, publication, arts, culture and philosophy. / To start, the prelude shall give a brief introduction on the representations of Beardsley in Chinese modern literature and publishing industry. The studies on the topic of "Beardsley in China" and its inadequacies will be commented, followed by an outline of the research concept and methodology adopted in the paper leading to the discourse. The first chapter will focus on text and visual works by the writer Ye Lingfeng, aka Chinese Beardsley. Through the comparative reading of original texts and visual materials, the author challenges the validity of "Ye Lingfeng as Chinese Beardsley" and argues there has been miss-reading of Ye Lingfeng and "Creation Society" (創造社) by scholars in previous studies. In chapter 2, the Introduction and selection of paintings in "The Selected Paintings of Aubrey Beardsley" (《比亞茲萊畫選》) edited by Lu Xun is thoroughly deliberated. Reference will be taken from the original English text to substantiate the argument that the Introduction was actually translated by Lu Xun instead of written by him as miss-interpreted by many scholars. Along this argument, the thesis will further explore how Lu Xun perceived arts and its relationship with his written works. How Beardsley and "Decadence" were represented in works of various important Chinese writers including Yu Dafu, Liang Shiqiu、Wen Yiduo and Eileen Chang is discussed in detail in Chapter 3, followed by an account of the publication history of Beardsley’s works in China and its cultural, political and social significance in Chapter 4. / The study of Beardsley in China under the context of development of Chinese society in the past century and its representations in various Chinese writers’ works will lead to review ofthe modernity of Beardsley’s arts. In the conclusion, the thesis will sum up the myth of "Modernity of China" brought about by Chinese face of Beardsley and reveal the intricate and complicated forms of modern Chinese literature and contemporary western arts. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 徐霞. / Parallel title from added title page. / Thesis (Ph.D.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 219-232). / Abstracts in Chinese and English. / Xu Xia.

This thesis focuses on John Keats's most important aesthetic idea, negative capability, and by studying the history of this idea, argues that a non-egotistic poetic tradition can be found in English poetry, which can be traced back to Shakespeare and was taken over by Keats, and through Keats, carried on to the modernist poets. The introduction gives an anatomy of negative capability by looking at Keats's various references to it and summing up its key elements and their interconnections. It also provides a critical heritage of the concept and gives a review of the state of knowledge. Chapter one studies the genealogy of negative capability, focusing on Hazlitt and Shakespeare as the most important contemporary and historical influences on the formation of the idea. It first looks at those of Hazlitt's aesthetic, philosophical and poetic views that made the most significant impact on Keats, and then gives an account of Keats's reading of and reflections on Shakespeare, defining King Lear as the most important play in giving rise to his idea of negative capability. Chapter two gives a close reading of King Lear, exploring what in the play exemplifies negative capability, and how in turn the play illuminates the idea. Keats's reading is also discussed in the context of the Neoclassic and Romantic receptions of the play. Chapter three studies Keats's own poetry in the light of negative capability, giving a narrative of the evolution of the idea in Keats's poetic practice by following the chronology of Keats's poetry, concentrating on "Sleep and Poetry", Endymion, Hyperion and his key achievements in the Great Year of 1819. Chapter four explores the legacy of negative capability by focusing on Yeats's and Eliot's respective inheritance of the idea, suggesting that negative capability is deeply embedded in a much wider cultural and intellectual tradition. The thesis concludes that negative capability is an important part of both the creative and critical heritage, and ultimately, it is a way of being, conveying an attitude towards human experience. / Li Ou. / "July 2007." / Adviser: David Parker. / Source: Dissertation Abstracts International, Volume: 69-01, Section: A, page: 0224. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (p. 283-285). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in English and Chinese. / School code: 1307.

張楠. / "2003年8月". / 論文(哲學碩士)--香港中文大學, 2003. / 參考文獻(leaves 100-104). / 附中英文摘要. / "2003 nian 8 yue". / Zhang Nan. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2003. / Can kao wen xian (leaves 100-104). / Fu Zhong Ying wen zhai yao. / 引言 --- p.1 / Chapter 第一章 --- 背景槪述 / Chapter 1.1 --- 楊沬生平 --- p.4 / Chapter 1.2 --- 政治、文化環境 --- p.6 / Chapter 1.3 --- 50年代文學中的知識份子問題 --- p.13 / Chapter 第二章 --- 硏究槪況 / Chapter 2.1 --- 討論和版本修訂 --- p.23 / Chapter 2.2 --- 「再解讀」的演進 --- p.36 / Chapter 第三章 --- 成長故事與五四之名 / Chapter 3.1 --- 另類「娜拉」 --- p.41 / Chapter 3.2 --- 愛情的政治性 --- p.46 / Chapter 3.3 --- 在「五四」的名義下 --- p.52 / Chapter 第四章 --- 文本敘事與意識形態 / Chapter 4.1 --- 身體´Ø政治 --- p.58 / Chapter 4.2 --- 欲望´Ø革命 --- p.68 / Chapter 4.3 --- 歷史´Ø敘事 --- p.77 / Chapter 第五章 --- 結語 --- p.85 / 附錄一:出版年表 --- p.89 / 附錄二:《青春之歌》評論資料 --- p.90 / 參考書目 --- p.100 / 參考論文 --- p.104

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