published_or_final_version / abstract / Chinese / Doctoral / Doctor of Philosophy

published_or_final_version / English / Doctoral / Doctor of Philosophy

陳偉文. / 書名原題: 「文化工人」 -- 延安作家的自我形象與身份認同(1937-1945) / 論文(碩士) -- 香港中文大學硏究院歷史學部,1995. / 參考文獻: leaves 114-120. / Chen Weiwen. / Chapter 1， --- 中共與知識分子的關係 --- p.3 / 中外學者眼中的中國知識分子 --- p.4 / 中共與延安作家 --- p.5 / 「文化工人」的自我形象與身份認同 --- p.6 / 小結 --- p.10 / Chapter 2， --- 文人與黨員的雙重身份´ؤ瞿秋白與張聞天 --- p.17 / 左聯的舵手瞿秋白 --- p.17 / 反關門主義的張聞天 --- p.20 / 雙重身份的影響 --- p.22 / Chapter "3 ," --- 左翼作家聯盟與無產階級革命文學 --- p.26 / 時勢造難´ؤ´ؤ「左聯」的崛起 --- p.27 / 「左聯」與蘇聯 --- p.27 / 中共與普羅文學 --- p.28 / 「左聯」的宗旨及其主張 --- p.28 / 「奴隸總管」周揚 --- p.32 / 「女戰士」丁玲 --- p.34 / 三十年代的艾青、蕭軍實味 --- p.37 / 處於過渡階段的「無產階級作家」 --- p.40 / Chapter 4， --- 整風前延安作家的自我形象與身份認同 --- p.47 / 自我形象的探索 --- p.48 / 關於作家「自我形象」的數點補充 --- p.53 / 對人民的認同 --- p.55 / 對國家黨的認同 --- p.62 / 自我批評 --- p.68 / 小結 --- p.70 / Chapter 5， --- 整風後延安作家的自我形象與身份認同 --- p.80 / 延安整風於王實味事件 --- p.80 / 文藝座談會後作家的自我形象 --- p.85 / 文藝座談會後作家對人民的認同 --- p.89 / 文藝座談會後作家對黨國的認同 --- p.91 / 整風後作家的「自我批評」 --- p.97 / 小結 --- p.99 / Chapter 6， --- 無奈的關係--總結 --- p.109 / 參考書目 --- p.114

王艷杰. / "2004年9月". / 論文(哲學碩士)--香港中文大學, 2004. / 參考文獻 (leaves 166-196). / 附中英文摘要. / "2004 nian 9 yue". / Wang Yanjie. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2004. / Can kao wen xian (leaves 166-196). / Fu Zhong Ying wen zhai yao. / Chapter 第一章 --- 緒論 --- p.1 / Chapter 第一節 --- 硏究範圍 --- p.1 / Chapter 第二節 --- 前人硏究綜述 --- p.8 / Chapter 第三節 --- 硏究方法. --- p.13 / Chapter 第四節 --- 硏究目的和意義 --- p.17 / Chapter 第二章 --- 「個人化寫作」的命名 ´ؤ´ؤ潛藏于批評話語中的男性權威 --- p.21 / Chapter 第一節 --- 命名中的問題. --- p.21 / Chapter 第二節 --- 「個人化寫作」的幾類理解 --- p.25 / Chapter 1. --- 無名狀態下的「個人化寫作」 / Chapter 2. --- 現代性意義上的「個人化寫作」 / Chapter 3 . --- 后現代意義上的「個人化寫作」 / Chapter 第三節 --- 女性「個人化寫作」 --- p.36 / Chapter 1. --- 九十年代文學環境與女性寫作 / Chapter 2. --- 女性「私」人化寫作的指認 / Chapter 3. --- 批評中的性別立場和男性權威 / Chapter 第三章 --- 陳染、林白「個人化寫作」中的女性話語 ´ؤ´ؤ對失蹤性別的尋找與建構 --- p.51 / Chapter 第一節 --- 話語權力之思 --- p.51 / Chapter 第二節 --- 身份書寫 --- p.56 / Chapter 1. --- 對男權文化的警覺與放逐 / Chapter 2. --- 對女性身份的認知與自覺 / Chapter 第三節 --- 軀體寫作 --- p.67 / Chapter 1. --- 自戀情結：身體與存在焦慮的映射 / Chapter 2. --- 記憶空間：挖掘女性自身的深度模式 / Chapter 第四節 --- 自傳體寫作 --- p.87 / Chapter 1. --- 成長之路：孤獨的體驗、叛逆與反思 / Chapter 2. --- 女性私語：自我訴¨®Ơ與建立女性話語同盟的努力 / Chapter 第四章 --- 陳染、林白「個人化寫作」建構女性話語的困境 ´ؤ´ؤ處於傳統與現實的夾縫之中 --- p.105 / Chapter 第一節 --- 精神分裂的宿命 --- p.105 / Chapter 1. --- 決絶的思想與虛幻的行動 / Chapter 2. --- 姐妹情誼的想象與徒勞 / Chapter 3. --- 拒絶異化與再度異化 / Chapter 第二節 --- 詩性敍事的窘迫 --- p.119 / Chapter 1. --- 叛離男性敍事傳統 / Chapter 2. --- 進入女性原生姿態的詩性表達 / Chapter 3. --- 詩性敍事在建立女性話語上的權宜性 / Chapter 第三節 --- 解構男權話語的循環 --- p.138 / Chapter 1. --- 解構的歧途 / Chapter 2. --- 超性別意識中的悖論 / Chapter 3. --- 搖擺於文學與主義之間 / Chapter 第五章 --- 結論 --- p.154 / Chapter 第一節 --- 女性「個人化寫作」的迷失與俗化 --- p.154 / Chapter 1. --- 差異性：陳染、林白「個人化寫作」的分別 / Chapter 2. --- 迷失：陳染、林白「個人化寫作」的轉向 / Chapter 3. --- 俗化：衛慧、棉棉等人的欲望化寫作 / Chapter 第二節 --- 女性「個人化寫作」的經驗及貢獻 --- p.159 / Chapter 1. --- 寫作姿態：爲自己的性別和反抗而寫作 / Chapter 2. --- 敍事策略：以身體修辭與自傳寫作建構女性話語 / Chapter 3. --- 困境的警醒：傳統/現實夾縫中異化的危險 / Chapter 第三節 --- 硏究方法的反思 --- p.162 / Chapter 1. --- 性別關照中的問題 / Chapter 2. --- 槪念界定中的問題 / Chapter 3. --- 文學現象探討中的問題 / 參考書目 --- p.166 / Chapter 1. --- 陳染、林白等作家作品 --- p.167 / Chapter 2. --- 女性主義、敍事學等理論著作 --- p.173 / Chapter 3. --- 中國現、當代文學硏究著作. --- p.180 / Chapter 4. --- 其他著作 --- p.184 / Chapter 5. --- 期刊論文 --- p.184 / 後記 --- p.197

Han Yu is famous in Chinese history both for his literature and for his defense of Confucianism at a time when it was being seriously challenged by Buddhism and religious Taoism. Although his influ- ence was limited during his own lifetime, in later times Han Yu came to symbolize the conservative Confucian values that are often identi- fied with the traditional Chinese state. This study examines Han Yu's life and thought in an attempt to determine to what extent his later image as an ideal Confucian was or was not justified. A chapter on the historical background provides the context for Han Yu's biography, which is divided into five chap- ters. This is followed by a chapter discussing the intellectual back- ground of Han Yu's thought. Two further chapters discuss, first, the basis of Han Yu's conservative image, and, second, a number of his writings which illustrate the limits of his conservatism. Han Yu's ideas are related to the political and social circumstan- ces of his times, and it is found that while he is indeed a conservative and a Confucian, the extent of both his conservatism and his Confucian orthodoxy have been exaggerated.

published_or_final_version / abstract / toc / Linguistics / Master / Master of Arts

The birth, flourishing, and decline of Yuan tsa-chu, a form of Chinese musical poetic drama, occurred in the Mongol dynasty of Yuan (1206-1367). Many factors contributed to this phenomenon, not the least of which was the creative genius of the scholar-playwrights, natives of North China and active during the early years of that dynasty. Among the great masters of Yuan drama who contributed to the perfection of this new literary form is Ma Chih-yuan (1250-1322?). His contributions went beyond merely the pioneering of form. He also expanded its thematic scope and exerted a profound influence on later dramatists and poets who cultivated the dramatic and san-ch'u (non-dramatic lyrics) verse types. Unlike the great poets of previous dynasties who were respected and studied, the playwrights of Yuan times were largely ignored by native literary historians until this century because of the traditional contempt for such "frivolous" skills as the writing of plays. We therefore know very little about their personal or creative lives. Fortunately, in the case of Ma Chih-yuan, over one hundred san-ch'u and seven of his plays have survived. Chapter I contains a chronology of his life based on the scanty data available. Some of his non-dramatic songs are also translated and interpreted to provide additional insight into his sentiments, ambitions, and general philosophical outlook. The main body of my dissertation examines and evaluates the extant plays, concentrating on the poetic passages which represent the essence of Yuan drama. Plot, plot origins, and the themes of each play are also explored to supplement the discussions of the language. In Chapter II, Ma's most critically acclaimed work, The Autumnal Palace of Han, is examined in detail. In Chapter III, I discuss Tears on the Blue Gown, the only surviving play which has a female protagonist. In Chapter IV, the similarities and dissimilarities of the three Taoist conversion plays--The Yellow Millet Dream, The Yueh-yang Tower, and Jen Feng Tzu--and their relationship to the Ch'uan-chen sect of Taoism are explored. Chapter V deals with Lightning Smashes the Tablet of Chien-fu, a play about the misfortunes of a scholar and his complaints against an unsympathetic government. In the last chapter, the structurally flawed play Ch'en T'uan Stays Aloof, depicting the life of a Taoist recluse, is examined.

published_or_final_version / Chinese / Doctoral / Doctor of Philosophy

published_or_final_version / Chinese / Doctoral / Doctor of Philosophy

published_or_final_version / Chinese / Doctoral / Doctor of Philosophy