Dream-visions formed an integral part of literature since the Ancient Greek period, with discussions about their prophetic and revelatory value appearing alongside poetry, prose, and autobiographical accounts of visions. By the Middle Ages the popularity of the oneiric form reached a new height. This thesis examines the presence of dream-visions in three works from the fourteenth century: Boccaccio’s Amorosa visione and Corbaccio, and Petrarch’s Triumphi. It looks specifically at the ways in which the two authors drew upon existing oneiric sources in the composition of their own texts. Chapter 1 contextualises the thesis. It examines the different models of dream-vision texts which would have been available to Boccaccio and Petrarch when composing their oneiric narratives, and looks at the specific terminology used to describe dreams and their varying functions within biblical, fictional, and philosophical writings. This in turn helps to establish a set of conventions for dream-vision literature, which Boccaccio and Petrarch would have been able consciously to employ (or not) within their own texts. Chapter 2 examines the ways in which Boccaccio and Petrarch discuss and use dreams and visions within their non-dream-vision texts. It looks not only at their fictional dream-visions, but also at autobiographical and philosophical works written by the authors on the subject of dreaming, the presence of visions within their respective poems and prose, and discussions within their texts regarding the specific terminology one should use to discuss different types of dream experience. Chapter 3 considers the ways in which Boccaccio experiments with form and structure within the Amorosa visione, and the impact this has upon the resulting dream-vision text. It looks specifically at the use of the spirit-guide motif and Boccaccio’s unusual employment of the framing dream. Similarly, Chapter 4 looks at the various ways Petrarch deviates from the established norms of the dream-vision traditions within his Triumphi by employing multiple and simultaneous visions within a single text. In Chapter 5 Boccaccio’s Corbaccio is examined in the context of various literary traditions. The chapter considers how Boccaccio engages with his predecessors in the creation of his dream-vision text, and the ways in which he combines various literary elements in order to create a work which is both innovative and reliant on the encyclopaedic knowledge of oneiric works he possesses. In the conclusion the findings from each chapter are drawn together to present a view of the Amorosa visione, Triumphi, and Corbaccio as works which are simultaneously rooted in established traditions while at the same time testing the boundaries of the very genres to which they belong.

No description available.

The work examines the interweavement of individual memory and historical past in Giacomo Leopardi’s Zibaldone, arguing that the genre of this ‘non-book’ can be identified with the ancient Greek notion of hypomnēmaton. The first section reads the Zibaldone as an answer to the so called ‘second printing revolution’, examining the text as the outcome of tension between the ‘library’ and Leopardi’s own writing. The second section analyses Leopardi’s use of quotations through the case study of Montesquieu’s presence in the Zibaldone, highlighting how quotations from Montesquieu shape Leopardi’s reflection on the fracture between antiquity and modernity and on the aesthetic problem of grace. The third section moves from the poem ‘Le Ricordanze’ (1829), showing how the questions challenged in the Zibaldone from a theoretical point of view (such as the relationship between individual memory and historical past, the notion of grace and the problem of making culture after the Enlightenment) are finally embodied in Leopardi’s return to poetry of 1828-29, which makes the Zibaldone-hypomnēmaton unnecessary. ‘Le Ricordanze’ stages an unmediated return of memory (mnēme) through which the hypomnēmaton is ultimately emptied of significance.

Thesis (M.A.)--香港中文大學. / Manuscript. / Includes bibliographical references (leaves 248-253). / Thesis (M.A.)--Xianggang Zhong wen da xue. / 目錄 --- p.1 - 4 / Chapter 第一章 --- 時代與社會背景 --- p.5 - 51 / Chapter 第一節 --- 時代背景 / Chapter (一) --- 黨爭 / Chapter (二) --- 藩鎮跋扈 / Chapter (三) --- 宦官專橫 / Chapter (四) --- 外患 / Chapter 第二節 --- 社會背景 / Chapter (一) --- 道教大盛 / Chapter (二) --- 薦舉之風 / Chapter (三) --- 艷體流行 / Chapter 第三節 --- 對李義山的影響 / Chapter 第二章 --- 李義山生平 --- p.52 - 79 / Chapter 第三章 --- 李義山詩的數量與體裁 --- p.80 - 81 / Chapter 第四章 --- 李義山詩的思想內容 --- p.82 - 135 / Chapter (一) --- 諷喻詩 / Chapter (二) --- 詠懷詩 / Chapter (三) --- 抒情詩 / Chapter (四) --- 無題詩 / Chapter (五) --- 其他 / Chapter 第五章 --- 李義山詩的藝術 --- p.136 - 157 / Chapter (一) --- 朦朧的詩景與神秘的色彩 / Chapter (二) --- 象徵的手法 / Chapter (三) --- 精妙的音律 / Chapter (四) --- 穠麗的風格 / Chapter 第六章 --- 李義山對詩的貢獻和影響 --- p.158 - 173 / Chapter (一) --- 創造了無題詩 / Chapter (二) --- 為唯美文學確立了地位 / Chapter (三) --- 西崑之祖 / Chapter (四) --- 詩學楷模 / Chapter 第七章 --- 李義山詩的評價 --- p.174 - 197 / Chapter (一) --- 與李義山同時人物的意見 / Chapter (二) --- 唐以後歷代對義山詩的評價 / Chapter (三) --- 以近代美學觀點看李義山的詩 / Chapter (附) --- 李義山年譜 --- p.198 - 247 / 參考書目 --- p.248 - 253

No description available.

A major poet of the Tang period, Li Shangyin is highly regarded yet criticized because his work is densely allusive. Dazzling and rich in meaning, it is also difficult and obscure because of its pervasive allusiveness. Chapter I reviews critical opinion of Li's use of allusion. Many traditional critics see allusion as an ornamental rhetorical device and consider Li's profuse allusiveness an idiosyncrasy to be tolerated in an esteemed poet. Chapter II studies allusion broadly and precisely as a literary concept: generally, allusion is a "connector" of texts, a link between a poet's work and his literary heritage; specifically, it is a linguistic device serving metaphorical functions. Allusion viewed as extended metaphor generates multiple meanings. An approach to reading allusion is here developed, to interpret allusive texts on literal, allegorical, and symbolic levels. The chapter concludes that it is a misconception to say that the heavy use of allusion necessarily leads to inferior poetry. Chapter III relates Li's allusions to major motifs in his work, finding that his historical and mythological allusions fall into clusters and patterns. The profusion of mythological allusions yields symbolic meanings, both in individual poems and in the larger context of his collected works. Examining Li's characteristic use of allusion, the chapter shows how it functions as a major stylistic signature and is the principal reason for the plurisignation and ambiguity in his poetry. Chapter IV interprets several typical poems by Li Shangyin in the context of the theoretical and historical framework of the foregoing chapters. It highlights some of the major functions of allusion in these poems. A positive response to the plurisignation of Li's allusive mode allows for an inclusive critical approach to diverse interpretations and discards those readings failing the standards of consistency, coherence, and completeness . Chapter V concludes that Li's presumed vice is his virtue: his allusive texture makes his work difficult but gives it a rewarding richness. His unique use of allusion is organic. Far from being a mere ornamental device, allusion is the very poetry itself. He creates his own poetic mode, the Poetry of Allusion. / Arts, Faculty of / Asian Studies, Department of / Graduate

My thesis argues that Gabriele d’Annunzio and Thomas Mann both conceive of artistic creation as a process which is influenced by their interpretations of Nietzsche’s notion of the Dionysian, and that striking affinities characterise their respective literary portrayals of the relationship between the artist and (a version of) the Dionysian. D’Annunzio and Mann, who were contemporaries, are rarely considered together, and it is widely assumed that there is little common ground between them. This thesis will demonstrate that their creative and critical engagement with Nietzsche, especially his idea of the Dionysian, offers a productive way of comparing the two writers and illuminating hitherto overlooked parallels between their understandings of creativity. The relationship between the artist and the Dionysian will constitute the main point of comparison. For both d’Annunzio and Mann, the Dionysian appears as a drive that can promote creativity, through encouraging liberation from repression and the rediscovery of primordial energies, but also destruction, by threatening self-dissolution, chaos and annihilation. The Dionysian will be seen to offer a highly precarious form of creativity. The artist’s success, and even survival, will depend upon his ability to master this potentially lethal drive, and channel the impulses it triggers into artistic production.

Pietro Aretino (1492-1556) was an Italian writer who was one of the first to make a living from the printing press. As the 'scourge of princes' he was notorious across Europe for his acerbic wit. However after his death his fame sank when his entire works were placed on the Papal Index of Prohibited Books in 1559. In the century that followed Aretino was a controversial figure, associated with pornography and atheism in the popular imagination and, like Machiavelli, became synonymous with Italian vice in the minds of foreign readers. Despite the complex history of his posthumous reputation abroad, surprisingly little research has been done on the topic. Instead we are left with a few disconnected articles which tend to focus on specific instances of Aretino's works being used as sources for later writers. This thesis therefore provides the first unified approach to examining Aretino's posthumous reputation in the early modern period. It does so by treating his afterlife not as a finished product to be referred to by later readers, but uncovers the processes by which Aretino's reputation mutated through the mediation of editors, translators, writers, readers, engravers and purveyors of erotic art. This thesis is divided into three main phases of Aretino's afterlife, which were previously compressed into a simple 'cause and effect' narrative of Aretino's work being censored in 1559 and his reputation immediately suffering because of it. In the first phase, Aretino's writing is still positively received by editors in England and the Low Countries attempting to restore his work back to their pre-censored state, and by English writers who see Aretino as an extemporal wit and a model for their growing professional aspirations. In the second phase, Aretino's reputation for bawdry and atheism is beginning to impact the way in which he is presented to later readers in Spain, the Low Countries, England, Germany and France, as translators and commentators begin to reframe his writing along newly enforced moral lines. In the third phase, two pornographic works with which Aretino initially had only a tangential relationship are misattributed to him and multiple images and texts from Italy, the Low Countries, England, and France are reproduced as 'Aretine' products. While the majority of the literary references to Aretino in this thesis are to English writers, as this overview makes clear this is not a traditional bilateral comparative study of cultural exchange between Italy and England. Instead it places the English reception of Aretino within an European context, with the Low Countries proving to be unexpectedly prominent in the circulation of his work, even though up till now this connection has never been studied by critics outside of the Netherlands.

郭素娥. / 手稿本, 複本據手稿本復印. / Thesis (M.A.)--香港中文大學. / Shou gao ben, fu ben ju shou gao ben fu yin. / Includes bibliographical references (leaves 565-579). / Guo Su'e. / Thesis (M.A.)--Xianggang Zhong wen da xue. / Chapter 第一章 --- 緒言 --- p.1-20 / 註1至3 --- p.21 / Chapter 第二章 --- 義山之生平概畧 --- p.22-27 / 註1至31 --- p.28-38 / Chapter 第三章 --- 義山詩中之常見素材──春景春物 --- p.39-43 / 註1至4 --- p.346 / Chapter 第四章 --- 詩句中標明「傷春」字眼之詩篇之寄興意義分析 --- p.44-86 / 註5至57 --- p.346-352 / Chapter 第五章 --- 以春景春物為題之詩篇之寄興意義分析 --- p.87-252 / 註58至243 --- p.352-373 / Chapter 第六章 --- 部分詩句描寫春景春物之詩篇之寄興意義分析 --- p.253-345 / 註244至343 --- p.373-384 / Chapter 第七章 --- 結語 --- p.385-401 / Chapter 附錄 --- 李義山與牛李黨人之關係探索 --- p.402-538 / 註1至174 --- p.539-564 / 參考書籍及論文目錄 --- p.565-579

鄭滋斌撰. / 稿本(據電腦打印本復印). / Thesis (Ph. D.)--香港中文大學中國語文學部. / Gao ben (ju dian nao da yin ben fu yin). / Includes bibliographical references (leaves 771-806). / Zheng Zibin zhuan. / Thesis (Ph. D.)--Xianggang Zhong wen da xue Zhongguo yu wen xue bu. / 序言 / Chapter 第一章： --- 虞山學派及其詩論 / Chapter 第一節： --- 釋虞山學派一名 --- p.001頁 / Chapter 第二節： --- 虞山學派評論歴朝詩家綜述 / Chapter 一、 --- 漢魏六朝 --- p.015頁 / Chapter 二、 --- 唐代 --- p.019頁 / Chapter 〈一〉 --- 推重取則 --- p.019頁 / Chapter 〈二〉 --- 論辨分期 --- p.022頁 / Chapter 三、 --- 宋、元二代 --- p.029頁 / Chapter 四、 --- 明世 --- p.041頁 / Chapter 第三節： --- 虞山學派詩學理論綜述 / Chapter 一、 --- 内質之倡 --- p.055頁 / Chapter 〈一〉 --- 重性情志意 --- p.055頁 / Chapter 〈二〉 --- 要乎溫雅 --- p.068頁 / Chapter 〈三〉 --- 感憤忠義 --- p.071頁 / Chapter 二、 --- 體勢之講 --- p.075頁 / Chapter 〈一〉 --- 溫雅清麗 --- p.075頁 / Chapter 〈二〉 --- 蘊藉含蓄 --- p.080頁 / Chapter 〈三〉 --- 沈雄博麗 --- p.083頁 / Chapter 三、 --- 詩學旨歸 --- p.085頁 / Chapter 〈一〉 --- 明乎變復 --- p.085頁 / Chapter 〈二〉 --- 轉益多師 --- p.088頁 / Chapter 〈三〉 --- 別裁偽體 --- p.090頁 / Chapter 〈四〉 --- 崇尚比興 --- p.098頁 / Chapter 第四節： --- 虞山學派論義山詩大略 / Chapter 一、 --- 由比興以見志意性情 --- p.106頁 / Chapter 二、 --- 因興寄而論《無題》，欲潛探其心曲 --- p.108頁 / Chapter 三、 --- 論其體勢，以見義山溫麗沈雄之風 --- p.109頁 / 第一章注文 --- p.111頁 / Chapter 第二章： --- 虞山學派以前諸家論義山詩檢¨®Ơ / Chapter 第一節： --- 宋人論義山詩檢說 / Chapter 一、 --- 議義山之行 --- p.136頁 / Chapter 二、 --- 論義山之詩 --- p.148頁 / Chapter 〈一〉 --- 論其事類 --- p.149頁 / Chapter 〈二〉 --- 探其詩意 --- p.171頁 / Chapter 〈三〉 --- 論其筆法 --- p.177頁 / Chapter 〈四〉 --- 溯其取則 --- p.179頁 / Chapter 〈五〉 --- 結語 --- p.184頁 / Chapter 第二節： --- 元、明人論義山詩檢說 / Chapter 〈一〉 --- 評其詩風 --- p.189頁 / Chapter 〈二〉 --- 論其事類 --- p.192頁 / Chapter 〈三〉 --- 探其詩意 --- p.198頁 / 第二章注文 --- p.207頁 / Chapter 第三章： --- 虞山學派因比興以論義山詩旨趣 / Chapter 第一節： --- 泛論物情心意 / Chapter 一、 --- 馮舒、馮班之說 --- p.239頁 / Chapter 二、 --- 錢良擇之說 --- p.255頁 / Chapter 三、 --- 賀裳之說 --- p.265頁 / Chapter 第二節： --- 論其寄寓感懷 / Chapter 一、 --- 錢牧齋之說 --- p.274頁 / Chapter 二、 --- 吳喬之說 --- p.283頁 / Chapter 〈一〉 --- 《圍爐詩話》以比興論義山詩述論 --- p.283頁 / Chapter 〈二〉 --- 《西崑發微》以比興論義山詩述論 --- p.292頁 / Chapter 〈三〉 --- 結語 --- p.325頁 / 第三章注文 --- p.330頁 / Chapter 第四章： --- 義山《無題》詩之内容及其辨析 / Chapter 第一節： --- 虞山學派論《無題》詩綜論 --- p.364頁 / Chapter 一、 --- 主豔情說´ؤ一賀裳 --- p.365頁 / Chapter 二、 --- 寄托與豔情兩可說一一二馮 --- p.367頁 / Chapter 三、 --- 主寄托 / Chapter 〈一〉 --- 忠君憂國一一牧齋 --- p.370頁 / Chapter 〈二〉 --- 托意令狐一一吳喬 --- p.379頁 / Chapter 〈1〉 --- 《西崑發徹》論《無題》詩之要旨 --- p.379頁 / Chapter 〈2〉 --- 《西崑發徹》論《無題》詩義綜述 --- p.391頁 / Chapter 〈3〉 --- 呉喬釋《無題》詩義評議 --- p.409頁 / Chapter 第二節： --- 《無題》詩義辨析 / Chapter 一、 --- 釋無題之名義及源起 --- p.408頁 / Chapter 二、 --- 歷代論《無題》詩彙說 --- p.415頁 / Chapter 三、 --- 義山《無題》詩義辨析 --- p.422頁 / Chapter 〈一〉 --- 《無題》詩取材設色： --- p.422頁 / Chapter 〈二〉 --- 《無題》詩義及其内容： --- p.426頁 / 第四章注文 --- p.451頁 / Chapter 第五章： --- 虞山學派論義山詩之體勢 / Chapter 第一節： --- 論其性情 --- p.479頁 / Chapter 一、 --- 二馮之說 --- p.480頁 / Chapter 二、 --- 錢良擇之說 --- p.486頁 / Chapter 三、 --- 賀裳之說 --- p.505頁 / Chapter 四、 --- 吳喬之說 --- p.509頁 / Chapter 第二節： --- 溯其取則 --- p.514頁 / Chapter 一、 --- 取法韓愈 --- p.514頁 / Chapter 二、 --- 則效李賀 --- p.515頁 / Chapter 三、 --- 追踪杜甫 --- p.517頁 / Chapter 第三節： --- 論其體勢 --- p.521頁 / Chapter 一、 --- 酌其字句 --- p.529頁 / Chapter 二、 --- 研其章法 --- p.544頁 / Chapter 三、 --- 賞其形容 --- p.550頁 / Chapter 四、 --- 論其意致 --- p.554頁 / Chapter 五、 --- 探其詩情 --- p.571頁 / Chapter 六、 --- 總其體勢 --- p.577頁 / 第五章注文 --- p.581頁 / Chapter 第六章： --- 虞山學派論義山詩於清世之回響 --- p.600頁 / Chapter 第一節： --- 朱長孺 / Chapter 一、 --- 究尋義山與令狐恩怨，以見其忠款之性 --- p.603頁 / Chapter 二、 --- 推原義山忠憤詩作，以見其繋心於時事 --- p.609頁 / Chapter 三、 --- 考察義山比興之用，以見其得詩騷之遣 --- p.616頁 / Chapter 〈一〉 --- 長孺比興說義山詩之可信者 --- p.617頁 / Chapter 〈二〉 --- 長孺比興說義山詩之可疑者 --- p.621頁 / Chapter 〈三〉 --- 長孺比興說義山詩之闕而不論者 --- p.628頁 / Chapter 第二節： --- 何焯 / Chapter 一、 --- 《唐詩鼓吹》何焯評語之釐定 --- p.631頁 / Chapter 〈一〉 --- 何焯評語之無疑者 --- p.633頁 / Chapter 〈二〉 --- 何焯評語之存疑者 --- p.639頁 / Chapter 二、 --- 何焯評義山詩徵引二馮說述論 / Chapter 〈一〉 --- 采二馮之說 --- p.640頁 / Chapter 〈二〉 --- 評二馮之說 --- p.642頁 / Chapter 第三節： --- 馮浩 / Chapter 一、 --- 馮浩采吳喬評義山詩語述論 --- p.656頁 / Chapter 〈一〉 --- 因仙才而為悟 --- p.673頁 / Chapter 〈二〉 --- 因事理而為悟 --- p.674頁 / Chapter 〈三〉 --- 因情味而為得 --- p.679頁 / Chapter 〈四〉 --- 因詩風而為悟 --- p.685頁 / Chapter 〈五〉 --- 因物類而為悟 --- p.687頁 / Chapter 二、 --- 馮浩采二馮評義山詩語述論 / Chapter 〈一〉 --- 采二馮之說 --- p.698頁 / Chapter 〈二〉 --- 評二馮之說 --- p.691頁 / Chapter 三、 --- 馮浩采錢良擇評義山詩語述論 --- p.692頁 / Chapter 〈一〉 --- 采良擇之說 --- p.694頁 / Chapter 〈二〉 --- 評良擇之說 --- p.701頁 / 第六章注文 --- p.705頁 / Chapter 第七章： --- 結語 / Chapter 一、 --- 虞山學派論義山詩之貢獻 / Chapter 〈一〉 --- 辨明義山之行： --- p.730頁 / Chapter 〈二〉 --- 崇高義山之詩： --- p.742頁 / Chapter 二、 --- 虞山學派論義山詩之得失： / Chapter 〈一〉 --- 衡說詩藝： --- p.749頁 / Chapter 〈二〉 --- 好用比興： --- p.752頁 / Chapter 三、 --- 虞山學派論義山詩未盛行於清世之原因 --- p.755頁 / 第七章注文 --- p.761頁 / 參考書目 --- p.771頁