Text in English / Although initially dismissed as superficial, Harold Pinter’s Betrayal, Tom Stoppard’s The Real Thing, and Patrick Marber’s Closer use the theme of marital betrayal as a trope to investigate metatheatrical and epistemological issues. This study aims to demonstrate how these three plays define and explore the concept of authenticity within the fictional as well as the actual world; how arbitrary the construction and mediation of the characters’ identities are, not only from their own perspective, but also from the audience’s; the significance of the audience’s role in these plays and how issues of authenticity, fictionality and dishonesty impact on a genre that depends on illusion. This study intends to provide a new interpretation of these three texts through an analysis drawn from postmodern and poststructuralist theories, concerning the concept of authenticity within art and language. This study finds that the fictional worlds in these plays are created through mediation, which includes everyday language as well as complex works of art. Authenticity is shown to be an elusive concept. Language is either unsuccessfully used to force authentic responses from characters, or as a shield. In Betrayal, language functions as a protective barrier, preventing the characters from knowing one another. The Real Thing suggests that although inauthenticity may be established, the inverse is not necessarily true. In Closer, the characters try in vain to access authenticity through different registers of language. Furthermore, neither the body nor the mind is shown to be the locus of authenticity in Closer. Within the postmodern context where originality is impossible, mimicry is not seen as something external and inauthentic, but as inextricably part of human existence. The audience is drawn into the fictional world of these plays as its members are able to identify with the disillusionment of the characters and their inability to form a definitive view of each other. Simultaneously, the audience is ousted from the fictional world by being reminded of the author’s presence through metatheatrical devices. These plays take advantage of the fictional status of theatre to explore issues of authenticity, positioning them in direct opposition to postdramatic and verbatim plays. / Afrikaans and Theory of Literature / D. Litt. et Phil. (Theory of Literature)

鄉土文學是台灣文學的重要文學傳統，其發展始於1930年代，於1960、70年代走進巔峰時期，並在1980年代一度趨於沉寂。直至近年台灣文壇出現一批以鄉土為創作為重心的新世代作家，鄉土書寫漸漸重新成為一股潮流，論者更相繼提出「新鄉土」或「後鄉土」等的概念，用以概括上世紀九十年代以後台灣鄉土文學發展的整體現象，鄉土文學遂再次成為一個重要的研究課題。本文嘗試以回溯台灣鄉土文學發展史的方式切入上述研究課題，並透過深入考察三個新世代代表作家──袁哲生、童偉格、甘耀明──的鄉土寫作，藉以探究台灣鄉土文學從「鄉土」過度「新／後鄉土」的變異情況。 / 本文共分五章。第一章緒論，說明本文的研究動機、範圍、方法和前人研究綜述，並概述台灣鄉土文學的發展狀況，勾勒重要概念，作為後文討論「新／後鄉土」的參照。第二章探討袁哲生如何結合抒情傳統，背離台灣鄉土文學的批判與憂患傳統。第三章探討童偉格如何打破城鄉二元對立格局，揭露台灣當代的城鄉處境；第四章配合甘耀明的「新尋根」理念，探討作家如何在鄉土書寫中重現台灣的歷史記憶與本土文化。第五章結語，總結新世代作家運用當代意識，反思並超越台灣鄉土文學傳統，藉以回應文學潮流的更替以及社會的變遷，為台灣鄉土文學開拓新的發展方向。 / Nativist literature has been an important literary tradition in Taiwan. It gained momentum since the 1930s and reached its pinnacle in the 1960s and 1970s, but fell into decline in the 1980s. However, the trend of nativist literature has revived since the 1990s as a number of young writers chose to focus their creative writing on nativism. Since then the concept of "new nativist literature" and "post nativist literature" appeared in academic discourse to describe this literary phenomenon. This thesis attempts to examine this phenomenon and to explore how "nativist" literature has morphed into "new/post nativist literature" by observing works of fiction by Yuan Zhesheng, Tong Weiger and Gan Yaoming. / This thesis is divided into five chapters. The first chapter introduces the goal, scope and methodology of this thesis and gives a succinct account of the significance of the previous researches; it also summarizes the development of Taiwan Nativist literature and outlines the important concepts to serve as the reference for the later discussion about "new nativist" or "post nativist" literature. Chapter two examines how Yuan Zhesheng re-evaluated the tradition of Taiwanese nativist literature and established a new point of view towards nativist writing with the aid of lyricism. Chapter three investigates how Tong Weiger re-examined the dichotomy of rural and urban Taiwan and how he exposed aspects of contemporary urban and rural Taiwan. Chapter four explores how Gan Yaoming represented Taiwan history in the Japanese colonial period and the Hakka and aboriginal culture in his writing. Chapter five gives a conclusion on how the new generation of contemporary Taiwan novelists added new dimensions to the tradition of Taiwanese Nativist Literature as they re-examine and surpassed it. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 黃納禧. / "2013年12月"--Title page. / "2013 nian12 yue"--Title page. / Parallel title from added title page. / Thesis (M.Phil.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 111-118). / Abstracts also in Chinese. / Huang Naxi.

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 their researches, which is not commensurate with their literary achievements. This dissertation, therefore, focuses on the three dramatists by presenting different perspectives of their works and activities, with the aim to explore the possibilities of various relations between literature and politics. / There are five chapters in the dissertation. Chapter one introduces the framework, method and background of the research. Chapter two re-examines the realistic works and theories of Hong Shen. Hong’s adaptation reflects his literary relationship with both the Mandarin Ducks and Butterflies literature and the Western drama. Moreover, Hong’s literary relationship with Bernard Shaw reflects his succession of both the tradition of the civilized drama and the Western theatre. This highlights that the characteristics of Hong Shen’s realistic theories were adapted from both China and the West. Chapter three re-explores the political transformation of Tian Han from the Western literary movements of aestheticism and the avant-garde. This chapter demonstrates the characteristics of left-wing cosmopolitanism in Tian Han’s drama movements by studying his translation activities of international literature, which include the English poet William Morris, German expressionist cinema and theatre, Russian and Japanese left-wing theatre. In the meantime, Tian Han’s translations of Japanese writers Sato Haruo and Tanizaki Junichiro reflect his return to aestheticism. Chapter four discusses the uniqueness of Xia Yan’s literary works, including his historical drama and his modern drama centering on Shanghai. This chapter emphasizes the difference of Xia Yan’s realistic style from left-wing realism by comparing Xia’s works with National Defence Literature, modernist fictions, left-wing cinema, as well as the historical drama by Guo Moruo. Chapter five concludes the significance of the dramatic transformation by Hong Shen, Tian Han and Xia Yan, and reviews the relationship between literature and politics in modern China. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 盧敏芝. / Parallel title from added title page. / Thesis (Ph.D.) Chinese University of Hong Kong, 2015. / Includes bibliographical references (leaves 135-157). / Abstracts also in English. / Lu Minzhi.

四個男作家指王統照, 許地山, 葉聖陶及鄭振鐸 / 論文(哲學碩士)--香港中文大學硏究院中國語言及文學學部,1994. / 參考文獻: leaves 322-342 / 陳亞鳳. / 提要 / Chapter 第一章 --- 緒諭 --- p.1 ´ؤ16 / Chapter 第二章 --- 研究的範圍與方法 --- p.17 ´ؤ20 / Chapter 第三章 --- 由“人的文學´ح到“婦女解放´ح題材 --- p.21 ´ؤ31 / Chapter 第四章 --- 王統照小說中的女性 --- p.32 ´ؤ74 / 小引 --- p.32 / Chapter 第一節 --- 王統照的“愛´ح和“美´ح的美學觀 / Chapter 第二節 --- 王統照對婦女的期望 --- p.37 / Chapter 第三節 --- 王統照的文學觀 --- p.39 / Chapter 第四節 --- 王統照小說中的女性 / Chapter 一 --- “美´ح和“愛´ح的化身 --- p.45 / Chapter 二 --- 為愛情而自我犧牲的女性 --- p.56 / Chapter 三 --- 王統照理想中的妻子 --- p.65 / Chapter 四 --- 無夢可紀的霍君素 --- p.69 / Chapter 第五節 --- 小结 --- p.73 / Chapter 第五章 --- 許地山小說中的女性 --- p.75´ؤ145 / 小引 --- p.75 / Chapter 第一節 --- 許地山的創作三寶 --- p.76 / Chapter 第二節 --- 許地山的宗教精神 --- p.79 / Chapter 第三節 --- 許地山對愛情的執著 --- p.85 / Chapter 第四節 --- 許地山的婦女觀 --- p.89 / Chapter 第五節 --- 許地山小說中的女性 / Chapter 一 --- 愛情理想的追求者 --- p.96 / Chapter 二 --- 理想人生哲學的追隨者 --- p.108 / Chapter 三 --- 對男性忠心耿耿的女性 --- p.123 / Chapter 四 --- 被“愛父母的民族´ح犧牲的女性 --- p.133 / Chapter 五 --- 走上絶路的母親 --- p.139 / Chapter 第六節 --- 小結 --- p.142 / Chapter 第六章 --- 葉聖陶小說中的女性 --- p.146´ؤ196 / 小引 --- p.146 / Chapter 第一節 --- “真實´ح與“真誠´ح的文學觀 / Chapter 一 --- “不能超越認識與理解´ح的創作 --- p.149 / Chapter 二 --- 講求創作獨特的作品 --- p.150 / Chapter 三 --- 本著真情實感創作 --- p.154 / Chapter 第二節 --- 葉聖陶對女子人格的重視 --- p.156 / Chapter 第三節 --- 葉聖陶小說中的女性 / Chapter 一 --- 體現母愛的女性 --- p.160 / Chapter 二 --- 願為男人奴僕的女性 --- p.169 / Chapter 三 --- 處在家庭矛盾中的母親 --- p.181 / Chapter 四 --- 保持人格獨立的萬女士 --- p.192 / Chapter 第四節 --- 小結 --- p.194 / Chapter 第七章 --- 鄭振鐸小說中的女性 --- p.197 ´ؤ236 / 小引 --- p.197 / Chapter 第一節 --- 鄭振鐸的“文學為人生´ح的思想體糸 / Chapter 一 --- 文學是感情的產物 --- p.200 / Chapter 二 --- 表現個性的文學 --- p.203 / Chapter 三 --- 血和淚的文學 --- p.205 / Chapter 四 --- 推崇悲劇文學 --- p.207 / Chapter 第二節 --- 《新社會》旬刊與改革社會的熱忱 / Chapter 一 --- 熱忱之火燃於五四運動 --- p.208 / Chapter 二 --- 言論涉及婦女解放的《新社會》 --- p.212 / Chapter 第三節 --- 鄭振鐸小說中的女性 / Chapter 一 --- 追逐理想愛情的女性 --- p.215 / Chapter 二 --- 以婚姻為唯一出路的女性 --- p.224 / Chapter 三 --- 自願為丈夫犧牲的紫涵 --- p.231 / Chapter 第四節 --- 小结 --- p.234 / Chapter 第八章 --- 總結 --- p.237 ´ؤ243 / 〔附錄1〕-〔附錄6〕 --- p.244´ؤ263 / 第一章注釋-第八章注釋 --- p.264 ´ؤ321 / 參考書籍 --- p.322 ´ؤ331 / 參考論文 --- p.332 ´ؤ341 / 後記 --- p.342

自八十年代始，中國大陸文藝雜誌相繼出現一批帶筆記風格或直接以筆記體寫作的短篇小說。研究者不僅探討此等作品轉化運用傳統文體的寫作現象及美學特徵，更為配合「新時期」之文藝氣象，進而以「新筆記小說」的文類加以歸納，突出其「舊瓶新酒」的現代意義。新筆記小說與筆記傳統的連繫，無疑為論者提供最佳範本，展開「傳統」與「現代」對話和融合的可能性的探討。相關討論嘗試為新筆記小說爭取文學史位置，卻無法脫離「新」與「舊」、「傳統」與「現代」簡單的二分框架，弱化了這些短篇小說作為探索新時期寫作出路的尖兵角色。本文重新提出新筆記小說的研究，認為是理解八十年代文藝界重新定義、拓展現實主義和小說實踐的關鍵。新筆記小說作家結合筆記與小說的特性，其實已觸及敘事的真實與虛構的辯證，在中國的紀實傳統中力尋書寫現實的可能。本文分別以汪曾祺 (1920-1997)、林斤瀾 (1923-2009)和鍾阿城 (1949- )的新筆記小說為研究個案，探討三位作家如何借用筆記小說的文體結構和敘事特質，形構現實主義小說的另類形式，突破意識形態對「現實主義」小說的制約。與此同時，當「現實主義」在「現代性的追求」壓力下面臨一元性的崩解，新筆記小說作家堅持「擬真」的嘗試，顯得意味深長，本文將作進一步的討論。 / Since the 1980s, a number of fictions written in the note-form have emerged in literary magazines on Mainland China. These works were put under a genre named "New Anecdote" (XinBiji Xiaoshuo, 新筆記小說) which implies the transformation from the classical anecdote to the modern anecdote. Researchers put emphasis mainly on the classical aesthetic characteristics found in the new form of the anecdote. However, it is observed that their studies were limited to the simple framework based on the binary oppositions of "old" and "new" as well as "traditional" and "modern". Such discussion had obscured the actual role of the new anecdotes being taken in the particular historical context of China in the New Era. / The form of "New Anecdote" is, in fact, a fusion of note and fiction, which can possibly hit the border of realistic and imaginary narratives. The practice of "New Anecdote" is closely related to the development of Realism in China in the Twentieth Century. Based on the discussion about "reality" from the writers of new anecdotes, this thesis attempts to point out that the "New Anecdote" is a key to understand how the writers of the time re-defined the realistic writings and their relationship to the society in China in the 1980s. / This thesis gives an in-depth analysis of the new anecdotes written by three contemporary writers, namely Wang Zengqi 汪曾祺 (1920-1997), Lin Jinlan 林斤瀾 (1923-2009) and Zhong Acheng (Ah Cheng) 鍾阿城 (1949- ). It will illustrate how these three writers make use of the structure and the narrative style of the anecdote to re-create new forms of realistic fiction, and to achieve their aims of breaking through the ideological constraints of Realism. Meanwhile,since realistic fiction has been considered as an antiquated and declining form under the development of aesthetic modernity in China in the 1980s, it is crucial to profoundly discuss the essence of the new anecdotes with reference to the socio-historical background of the New Era. / Detailed summary in vernacular field only. / 王素韻. / Parallel title from English abstract. / Thesis (M.Phil.) Chinese University of Hong Kong, 2015. / Includes bibliographical references (leaves 113-131). / Abstracts also in English. / Wang Suyun.

瘋狂是人類文明的產物，一直被視為另類、邊緣，與理性對立，因而受到排斥。然而，文學上的「瘋狂」卻有其寶貴的價值，往往是反思與批判固有價值與主流意見的工具，據此發出異議聲音。本文關注這種書寫策略在當代台灣文學場域中的出現方式、文學價值與文化意義，因此以分析小說作品與文學脈絡來說明「瘋狂」的文學脈絡，闡釋當代台灣文學的現象與特色。 / 解嚴(1987 年)是台灣近三十年來的重大事件，亦是近年來台灣文化與本土論述的焦點所在。其影響不獨改變了政治與社會生態，亦為台灣的藝術文化帶來巨大衝擊。戒嚴成為台灣民眾不能磨滅的歷史記憶，各種異議的思想與言論遭受壓抑，直至解嚴才出現新局面，自九十年代開展多元文化思潮。當時，不少作家藉著「瘋狂」書寫另闢膜徑，重新構想歷史，揭藥文化霸權下的種種不安。台灣文學己藉由不同形式搖動一元論述的霸權，加上西方後現代、後殖民思潮的引入，學院的主動引介和翻譯，民間白發的社會運動等，皆為解嚴後的文化現象埋下種種伏線。從文學史脈絡而言，台灣的文學生產的確迅速回應了政治解禁，並以獨特的方式透露社會文化上的騷動。 / 為了掌握上述的歷史脈絡，本文以解嚴為時間標竿閱讀當代台灣小說，藉此分析解嚴與文學現象的互動關係，指出文學如何展示解嚴前後的歷史想像。因此，本文以「瘋狂」為切入點，分析以瘋狂為題材的書寫如何與解嚴前後己解放的議題對話，包括性別認同、身分與族群認同，挑戰政治霸權以及後工業經濟環境下的都市文化等，目的在於驗證「瘋狂」對後解嚴文學所起的作用和價值。 / 本文共分為七章。首章為緒論交代研究動機及方法;第二章為文獻回顧與述評，點出當前的研究成果;第三章旨在交代後解嚴時期小說場域狀況的概述，並界定「瘋狂」的文學意義，藉此論證台灣當代文學與文化的互動關係。第四章題為「國族瘋言與都市病」，借助張大春、李渝與黃凡的作品，切入認同政治與都市化問題對文學書寫的影響。第五章為「虛幻實景與不存在之存在」，旨在察看兩位小說家賀景演與紀大偉，如何藉書寫科幻來展示對未來世界與歷史景觀的想像，以展望當下發展中的文化議題。第六章為「神聖瘋狂與不可能之可能」， 旨在檢視兩位將「瘋狂」書寫演繹得淋漓盡致的作家駱以軍與舞鶴，如何在作品中借助敘述肉體與心靈的瘋狂，探討在多元文化認同觀的氣氛下重思自我主體的問題。末章結論，以總結全文與展望將來的研究方向。 / 本文認為，後解嚴時期小說每以「瘋狂」的視角重新認知變動的世惰。這些作品透過創造各種怪誕場景與行為，呈現個體與權力之間的角力，反省語言與書寫策略的局限，以及批判自我主體的意識，因而為台灣當代文學場域帶來豐富的收獲。 / Madness has its own history among civilizations. From time to time, madness is not only simply a kind of pathological disorder, but also takes a significant cultural role to represent the voiceless, the minorities. As in contemporary Taiwan literature,madness gradually becomes a medium to express different opinions to the society. It inquires from margin to centre which is empowered by the political establishment. It is not only a common topic to be discussed, but also an important writing strategy forwriters to proclaim their historical imagination about the past, present and future. / In 1987, a significant political issue, the Martial Law, was put to an end in Taiwan. After that, due to the liberation of freedom of speech, a booming trend of multiculturalism appeared and brought out great influences to all parts of the society, especially the field ofliterature. Many writers started to change their narration style and inclined their focus on minorities. In order to have a good grasp of this forming trend, hence, this study aims to trace back to the development of Taiwan literature after 1987, and examine how novel writers make use of the narratives of madness to state their own opinion on several topics, including the relationship between the subjectivity of one-self and the identity of the communities. / There are seven chapters in this paper. The introduction states the framework and methodology of the study. In chapter two, a literature review gives an insight into the direction in current research and discussion on the post-Martial Law era, in addition to the narrative of madness. Chapter three investigates the field of Taiwan literature after 1987 in order to discuss the interaction of culture and literature. In the fourth chapter, it studies on the fictions written by Li Yu (李渝, 1941- ), Chang Ta-chuen (張大春, 1957- ) and Huang Fan (黃凡, 1950- ), related to the issue on national identity and their ironic practices. In chapter five, it discusses the science fiction by He Jing-bing (賀景濱, 1958- ) and Chi Ta-wei (紀大偉, 1972-), to find out the projection about future based on the up coming and shifting cultural trend. The sixth chapter focuses on how the writers such as Wu He (舞雀, 1951- ) and Luo Yi-jun (路以軍, 1967- ) contributes to sanctification and internalization of madness, as well as enhance its value for a reflexive purpose. The last chapter concludes the overall findings and projects further research directions of the relevant topics. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 鄺梓桓. / Sumitted date: 2011年11月. / Sumitted date: 2011 nian 11 yue. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 203-222) / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Kuang Zihuan. / Chapter 第一章 --- 緒論 --- p.1 / Chapter 第一節 --- 研究動機與目的 --- p.1 / Chapter 第二節 --- 研究範團與方法 --- p.6 / Chapter 第三節 --- 篇章概述 --- p.15 / Chapter 第二章 --- 文獻回顧及評述 --- p.18 / Chapter 第一節 --- 前行研究述評 --- p.18 / Chapter 第二節 --- 相關文獻述評 --- p.25 / Chapter 第三章 --- 世紀末的瘋狂-解嚴後台灣小說場域的狀況 --- p.37 / Chapter 第一節 --- 何謂瘋狂 --- p.37 / Chapter 第二節 --- 解嚴後台灣小說場城的狀況 --- p.42 / Chapter 第四章 --- 國族瘋言與都市病 --- p.48 / Chapter 第一節 --- 張大春論:國族瘋言與譜妄 --- p.50 / Chapter 第二節 --- 李渝論:都市病 --- p.71 / Chapter 第三節 --- 黃凡論:政治躁鬱症 --- p.87 / Chapter 第四節 --- 小結 --- p.93 / Chapter 第五章 --- 虛幻實景與不存在之存在 --- p.94 / Chapter 第一節 --- 後解嚴時期的科幻小說 --- p.94 / Chapter 第二節 --- <李伯夢三部曲>的敘事實驗 --- p.101 / Chapter 第三節 --- <膜> 的性別與生命辯證 --- p.116 / Chapter 第四節 --- <去年在阿魯吧>的虛擬實境 --- p.128 / Chapter 第五節 --- 小結 --- p.138 / Chapter 第六章 --- 神聖瘋狂與不可能之可能 --- p.141 / Chapter 第一節 --- 駱以軍論:回歸自我之不可能 --- p.141 / Chapter 第二節 --- 舞鶴論:走在不可能的邊緣之上 --- p.167 / Chapter 第三節 --- 小結 --- p.196 / Chapter 第七章 --- 結論 --- p.197 / Chapter 第一節 --- 總結:讓瘋狂說話 --- p.197 / Chapter 第二節 --- 研究反思與前瞻 --- p.199 / 參考書目 --- p.203

黃華昌. / "2002年5月" / 論文 (哲學碩士)--香港中文大學, 2002. / 參考文獻 (leaves 98-102) / 附中英文提要. / "2002 nian 5 yue" / Huang Huachang. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2002. / Can kao wen xian (leaves 98-102) / Fu Zhong Ying wen ti yao. / Chapter 第一章. --- 李劼人生平、作品及其研究槪況 --- p.1 / Chapter 第二章. --- 三部曲與歷史小說 --- p.8 / Chapter 2.1 --- 歷史小說文類介說 --- p.8 / Chapter 2.2 --- 三部曲的歷史小說特色 --- p.17 / Chapter 2.2a --- 《死水微瀾》´ؤ´ؤ淡遠的歷史背景下的小鎭故事 --- p.18 / Chapter 2.2b --- 《暴風雨前》´ؤ´ؤ風雨將至，歷史的步履漸重 --- p.25 / Chapter 2.2c --- 《大波》´ؤ´ؤ滾滾浪濤，何以安身 --- p.32 / Chapter 2.3 --- 三部曲與中國現代歷史小說 --- p.41 / Chapter 第三章´Ø --- 三部曲的「民間」寫作與三十年代文學 --- p.46 / Chapter 第四章´Ø --- 李劼人的三部曲與茅盾的《子夜》´ؤ´ؤ兩種敘述歷史的模式 --- p.61 / Chapter 第五章. --- 男女情慾故事´ؤ´ؤ個人空間與歷史空間 --- p.71 / Chapter 第六章´Ø --- 新舊版《大波》比較 --- p.81 / Chapter 第七章´Ø --- 總結 --- p.93 / 附錄：保路運動大事表 --- p.95 / 參考書目 --- p.101

University of Macau / Faculty of Social Sciences and Humanities / Department of Chinese

University of Macau / Faculty of Social Sciences and Humanities / Department of Chinese

University of Macau / Faculty of Social Sciences and Humanities / Department of Chinese