Thesis (Ph. D.)--University of Hong Kong, 2006. / Title proper from title frame. Also available in printed format.

Thesis (M. Phil.)--University of Hong Kong, 2007. / Also available online.

《詞律》二十卷，清初詞家萬樹（字紅友，又字花農，1630¬¬－1688）編撰，成書於康熙二十六年（1687），全書錄六百六十調，一千一百八十餘體，是清初錄調最豐，辨體最詳的詞譜著作。現時《詞律》的研究，就成書背景及撰作原因而言，學者大多以明清易代的政治變故及清初詞壇針對明代詞壇而作出的反響這兩大方面切入，而就《詞律》一書本身的內部情況而言，學者傾向借助萬樹《詞律》中的〈自敘〉及〈發凡〉發微，闡述其體例，批評其得失。以上現況反映《詞律》的研究已經開展，同時基於《詞律》與時代的密切關係，又再一次證明此書對清初詞壇的重要性。然而，以上外緣因素雖然適用於清初詞壇的普遍情況，卻缺乏對《詞律》的針對性分析，而《詞律》的內部分析則又過份倚賴萬樹本人在〈自敘〉及〈發凡〉的現身說法，忽視了書中例詞、旁注、萬樹評點的價值。因此，本研究除緒論及結論，正文凡四章，分上、下篇，嘗試從外緣到內部，為《詞律》研究提供新說。第一章〈緒論〉將就研究動機、文獻回顧、方法論等作基本說明；第二章將重新檢討清初詞壇的尊體策略，析論破體、辨體及時流景貌，重估清初詞壇在尊體此命題下的角力關係，由此，為萬樹《詞律》在清初詞壇的定位提供說法，作為往後論述的基調；第三章則從先秦兩漢論律、論樂的思想傳統、宋代六次更訂樂制及大晟府影響下的詞人生態這三方面溯源，析論萬樹《詞律》將詞律設想為樂律，再藉由樂律之道通往尊體之道的根據，以此分析萬樹《詞律》由「紹述古音」轉出其獨特的「律呂之學」的思路；第四章則轉入《詞律》內部，嘗試於《詞律》的〈自敘〉及〈發凡〉之外，探索其內在理路，藉柳永及周邦彥、方千里、吳文英這兩組在《詞律》中特殊的現象，指出萬樹強調比勘互校，並將此提升至貫穿全書、組織全書的內在理路，由此邁向其「至公大雅」的追求；第五章則借鑑文獻學及西方書籍史研究的觀點，反思詞譜類著作的物質形態，分析《詞律》如何有別於當時一般詞譜，同時兼顧了視覺閱讀及聲音演練兩方面以推動填詞實踐，既解決填詞的操作問題也克服審美的困難，由此，呼應編撰《詞律》以推尊詞體的目標；第六章為結論，除歸納本研究中有關《詞律》的發現，同時亦會就研究方法作出反思。= 20 volumues of CiLu (《詞律》), written and edited by early Qing Dynasty Ci scholar WanShu (萬樹, who also named Hungyou, and known as Huanong) are finished in the year of Kangxi 26 (1687). The whole volume collects 660 kinds of tune (詞調) and more than 1180 kinds of genre (詞體). This makes it the most abundant collection of tune and classification of genre in early Qing. Of studies of CiLu today, from the perspective of writing background and reason, scholars tend to intersect the object through lens of political change during Ming to Qing as well as of the pinpointed response of early Qing Ci literary circle towards Ming Ci literary circle. Moreover, with regard to content of CiLu, scholars tend to decipher the text by interpreting WanShu's self account and introduction, explaining its format and criticizing its good and bad. This shows that research effort towards CiLu has already begun, and, at the same time, has demonstrated its importance to Qing literary circle due to the fact that it has a very close relationship with the era. However, although those external factors raised here are suitable to explain the universal situation of early Qing Ci circle, a target-oriented analysis towards CiLu is absent. Those internal analysis based on content also overly rely on WanShu's self account and introduction yet omit the value of Ci examples, annotations and WanShu's comments. Therefore, in this research, except the parts of introduction and conclusion, the body contains 4 chapters and is divided into former and latter part so as to provide a fresh angle and discourse upon the study of CiLu via an attempt of viewing it from the external to the internal. The first chapter－Introduction－ provides a clean explanation upon the goals, literature review and methodology of the research; the second chapter will review early Qing Ci poetry circle's canonization strategy (尊體策略) to clarify genre integration (破體), genre classification (辨體) and the spectacle of writing trend of the era. It also revaluates the tension among literary parties upon the issue of canonization in early Ching circle so that a new discourse upon the literary status of WanShu's CiLu would be brought forth as the fundamental argument of the thesis. The third chapter will trace traditional influence of CiLu's by reviewing music discussion in Pre-Qin and Han, six times official review of music systems in Song dynasty and Ci lyricists' inhabitation under the influence of Dashengfu (大晟府), and hence, it is analyzed that WanShu's CiLu alludes rules of Ci poetry writing to music theory. Then through the way of music theory, it paves the road to canonization of certain Ci poetry －this also demonstrates how WanShu's CiLu develops its own unique rules of music-lyrics theory (律呂之學) from purely inheriting ancient style (紹述古音) . The forth chapter shifts to the internal textual studies of CiLu. Apart from CiLu's self account and introduction, it tries to explore its inner logic(內在理路): by the unusual phenomenon of juxtaposing LiuYong and ChouBaoyan as well as comparing FangQianli and WuWenyin, it is noted that WanShu's emphasis on comparingly slow reading and parallel proofreading is the inner clue of netting the whole volume as well as the corner stone to his literary pursuit of being "supremely just and grandly noble" (至公大雅). The fifth chapter borrows angles of bibliography and the Cultural History Study of Book to reflect on the material form of Cipu (詞譜)writing, analysing how CiLu differentiates from other common Cipu during the period: it both masters the two facets of visual reading and vocal drill to advocate the practice of Ci poetry writing. This not only solves the problem of writing techniques but also conquers the difficulty of adopting different aesthetics norm. It, hence, echoes CiLu's editing aims which are promotion and canonization of Ci. The sixth chapter is conclusion which induces all the discoveries of this research as well as reflects on the methodology.

黃小蓉. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 411-430) / 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. / Huang Xiaorong.

本文以「從禮樂到生民:論中唐樂府的復興與新變」為題，試圖將中唐樂府放入當時思想、政治與文化的新格局中，探討其創作及觀念之特徵，並對盛、中唐之際的文學發展與中唐樂府的革新提出新的解釋。 / 已往之研究往往強調中唐樂府「刺時」的一面，而歸因於中唐的政治狀況。但本文認為，就題材來說，中唐樂府並非僅有「刺時」的內容，亦有大量的風俗描寫; 就原因而言，政治固然是因素之一，然絶非唯一因素。其背後還涉及詩學觀念的轉向與文人身份的變化。 / 本文指出，盛、中唐之際文人對於「風雅」或者「詩教」的觀念發生了變化。盛唐以前對「教化」的理解總與「禮樂」相伴，認為只要行禮樂便可以達到教化的目的，強調「禮樂」的作用自然凸顯《詩經》「上以風化下」的一端，而非「下以風刺上」的一面。至盛唐末期，這種觀念受到挑戰，文人對詩教的理解從頌讚的雅頌走向諷刺的國風，而最後刺時之文也獲得了正當性。中唐樂府的興盛與這種詩學觀念的轉變有著密切的關係。 / 本文認為，中唐文人的政治身分變化與中唐樂府的變化亦有密切關係。初盛唐文人少做地方官，至中唐，長期擔任地方官的文人比例大增。他們在觀念上調和「儒」、「吏」關係，更多地認同「循吏」的價值與傳統，使得地方官文人與漢良二千石的傳統銜接。他們以「循吏」的眼光在地方進行創作，為樂府的「觀風」職能提供良好的背景。 / 觀念的轉向、文人身份的變化，加之當時的政治狀況，造成了中唐樂府的興盛，也造就其獨特之特徵。本文對張籍、王建樂府在盛中唐樂府演變中的作用與地位提出了新的論述，認為張、王的樂府唱和，繼承、改造了盛唐李白和杜甫新、古題樂府的創作形式，體現了盛唐末年所開啟的「風雅」詮釋方式，而以興諷刺時作為樂府的主要內容，為其後的元、白樂府提供了借鏡。本文指出，中唐樂府雖然繼承了漢樂府「觀風」的傳統，但在題材內容上有所擴大。漢代，「樂府」作為中央官署，其「采詩」的主要目的是考察地方吏治，對於地方風土風俗則沒有太大興趣，但中唐樂府對此一題材卻有大量的書寫。「風俗」題材的興起與當代儒學關注點從「禮樂」轉向「生民」有關。「生民」既成為評判政治優劣的標準，「生民」的活動自然被納入創作的視野。論文認為，從文體角度說，中唐的樂府作者雖在主觀上排斥六朝傳統，但在樂府的命題以及表現方式上依然深受六朝的影響。 / 論文還考察了與新樂府創作相應的一套詩學論述，發現中唐詩人提出了所謂樂府「正聲」的觀念，以對抗初、盛唐樂府的觀念。不僅如此，中唐的樂府觀念還與「史官」、「諫官」的意識相互滲透，使得本為詩歌所獨有的「采風」觀念擴散到詩歌以外的文類，而本為樂府所關注的獨特題材也進入其他文體的書寫當中。 / This thesis focusing on Yuefuin the Mid-Tang dynasty,discusses its characteristicsin the new pattern of thought, politics and culture. The thesis tries to provide a new explanation for the literature development in the Mid-Tang. / Existing researches often emphasized the relation between yuefu and political reality. However, political reality was not the only theme reflected in yuefu, the description of customs was included. Politic was not the mere reason. Literati’s political identitywas changed and the existing tradition of "praise and criticize" from the Han dynasty was also transformed. / The thesis pointed out that the idea of "Fengya" or "poetic education" was changed from the High-Tang to the Mid-Tang dynasty. "Civilization", usually relating to "rites and music", was considered to be successful in the High-Tang dynasty. Therefore, literature was encouraged to praise the dynasty while criticism was ignored. This idea faced challenged from the end of the High-Tang dynasty, and the "poetic education" was lead to "criticize" instead of "praise". The prosperity of yuefu in the Mid-Tang dynasty was closely allied to the new idea. / Meanwhile, literati’s political identity changed. Most of them were local officials.Travelling within a wider area activated them to identify the "liangqiandan" tradition from the Han dynasty and to write in a "moral official’s" sight. / The change of idea, literati identity as well as political reality provided an environment for yuefu creation in the Mid-Tang dynasty. The thesis provides a new exposition for Zhang Ji and Wang Jian’s positions in this literature development. Zhang and Wang wrote poems in replies. They continued or reformed Li Bai and Du Fu’s yuefu works and represented the new idea of "Fengya" in their works, which provided experience for Yuen Zhen and Bai Juyi later. At the same time, the concept of "Guan Feng" was broadened. Han "Yuefu", as a central office, collected poems to look at local politics with no interest in local customs. However, yuefu in the Mid-Tang dynasty viewed customs as a mean subject of writing. The literati subjectively excluded the tradition of the Six dynasties, but were in fact influenced by this tradition. Besides, customs as a literary subject related to the transform of contemporary Confucianism. When literati viewed "people", not "ritesand music" as the basic of civilization in the political field, people’s activities became a literary theme with justification. / Finally, yuefu developed a standard for itself as poets concerned their works on the field. Poets raised "canon" of yuefu againstthe verse written in the Early and High-Tang dynasty. And the idea about yuefu penetrated with the sense of both historian and remonstrating officials when it came to mature. The idea of "folk song collection", coming down from yuefu was broadened and literary themes originally belonged to yuefu were written by other literary forms. / 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. / Detailed summary in vernacular field only. / 呂家慧 = From rising "rites and music" to viewing "people": the research on yuefu poem in the Mid-Tang dynasty / Lu Chia Hui. / Thesis (Ph.D.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 251-256). / Abstracts also in English. / Lü Jiahui = From rising "rites and music" to viewing "people" : the research on yuefu poem in the Mid-Tang dynasty / Lu Chia Hui.

張櫻. / 論文(哲學碩士) -- 香港中文大學硏究院中國語言及文學學部, 1998. / 參考文獻: leaves 197-206. / 中英文提要. / Zhang Ying. / Chapter 第一章 --- 緒論 --- p.1-24 / Chapter 第一節 --- 元詞研究回顧 --- p.1-10 / Chapter 壹 --- 研究進路 / Chapter 一 --- 主觀的點評 / Chapter 二 --- 客觀的考證 / Chapter 三 --- 宏觀的整理 / Chapter 四 --- 微觀的論述 / Chapter 貳 --- 研究成果 / Chapter 一 --- 資料的整理 / Chapter 二 --- 觀點的建立 / Chapter 三 --- 觀念的啟發 / Chapter 1 --- 元詞的風格 / Chapter 2 --- 元詞的主題 / Chapter 3 --- 元詞的韻調 / Chapter 第二節 --- 元初詞研究 --- p.10-24 / Chapter 壹 --- 研究意義 / Chapter 貳 --- 研究範圍 / Chapter 一 --- 時間範圍 / Chapter 1 --- 歷史時間 / Chapter 2 --- 文學史時間 / Chapter 二 --- 文體範圍 / 小結 / Chapter 第二章 --- 元初詞的背景 --- p.25-58 / Chapter 第一節 --- 政治環境 --- p.25-30 / Chapter 壹 --- 漢化政策 / Chapter 貳 --- 科舉制度 / Chapter 第二節 --- 社會環境 --- p.30-33 / Chapter 壹 --- 社會階級 / Chapter 貳 --- 宗教氛圍 / Chapter 參 --- 地理環境 / Chapter 第三節 --- 文壇環境 --- p.33-58 / Chapter 壹 --- 詞曲發展 / Chapter 一 --- 前期「散曲化」的發展一一詞向曲靠攏 / Chapter 二 --- 後期「雅詞化」的發展一一曲向詞靠攏 / Chapter 貳 --- 從「散曲化」到「雅詞說」的變素 / Chapter 一 --- 雖倚曲調，仍用詞腔 / Chapter 二 --- 作家身兼兩職 / Chapter 三 --- 專論出現 / 小結 / Chapter 第三章 --- 元初詠物詞 --- p.59-95 / Chapter 第一節 --- 詠物詞的選材、擇調與定韻 --- p.59-78 / Chapter 壹 --- 選材 / Chapter 一 --- 花草 / Chapter 二 --- 樓臺 / Chapter 三 --- 山河 / Chapter 四 --- 雨雪 / Chapter 五 --- 器物 / Chapter 六 --- 其它 / Chapter 貳 --- 擇調 / Chapter 參 --- 用韻 / Chapter 第二節 --- 詠物詞内涵述析 --- p.78-95 / Chapter 壹 --- 賦物 / Chapter 一 --- 優美翔實 / Chapter 二 --- 氣勢豪壯 / Chapter 貳 --- 寓情 / Chapter 一 --- 關懷個體 / Chapter 1 --- 襯寫形象 / Chapter 2 --- 烘托人格 / Chapter 3 --- 肯定自我 / Chapter 4 --- 表達心境 / Chapter 二 --- 感觸歷史 / Chapter 1 --- 慨嘆廢興 / Chapter 2 --- 申怨遭遇 / 小結 / Chapter 第四章 --- 元初雜紀詞 --- p.96-126 / Chapter 第一節 --- 雜紀詞的選材、擇調與定韻 --- p.96-105 / Chapter 壹 --- 選材 / Chapter 一 --- 紀人物 / Chapter 二 --- 載行藏 / Chapter 三 --- 記時事 / Chapter 1 --- 書瑣事 / Chapter 2 --- 誌國事 / Chapter 3 --- 錄異事 / Chapter 4 --- 釆風物 / Chapter 5 --- 敘心得 / Chapter 四 --- 識天候 / Chapter 五 --- 吟情志 / Chapter 貳 --- 擇調 / Chapter 參 --- 用韻 / Chapter 第二節 --- 雜紀詞内涵述析 --- p.106-126 / Chapter 壹 --- 追慕才逸刻劃時人 / Chapter 貳 --- 喜好山水記載行藏 / Chapter 參 --- 家事國事釆以紀誌 / Chapter 肆 --- 感時識節悲春憂秋 / Chapter 伍 --- 追逐事功企慕隱逸 / 小結 / Chapter 第五章 --- 元初離別詞 --- p.127-158 / Chapter 第一節 --- 離別詞的選材、擇調與定韻 --- p.127-137 / Chapter 壹 --- 選材 / Chapter 一 --- 寄示 / Chapter 二 --- 悼懷 / Chapter 三 --- 羈旅 / Chapter 四 --- 歸別 / Chapter 五 --- 送餞 / Chapter 貳 --- 擇調 / Chapter 參 --- 用韻 / Chapter 第二節 --- 離別詞内涵述析 --- p.138-158 / Chapter 壹 --- 書素往來 / Chapter 一 --- 寄思念 / Chapter 二 --- 表感激 / Chapter 三 --- 問求事 / Chapter 貳 --- 悼懷親友 / Chapter 一 --- 懷友人 / Chapter 二 --- 悼紅顏 / Chapter 三 --- 念親友 / Chapter 參 --- 羈旅鄉思 / Chapter 肆 --- 離別送餞 / Chapter 一 --- 離別親人 / Chapter 二 --- 離別朋友 / Chapter 三 --- 送親人 / Chapter 四 --- 送友人 / Chapter 五 --- 送幕職 / 小結 / Chapter 第六章 --- 元初贈酬詞 --- p.159-186 / Chapter 第一節 --- 贈酬詞的選材、擇調與定韻 --- p.159-172 / Chapter 壹 --- 選材 / Chapter 一 --- 題材 / Chapter 1 --- 「賡唱」作品 / Chapter 2 --- 「貺贈」作品 / Chapter 3 --- 「慶贊」作品 / Chapter 二 --- 贈酬對象 / Chapter 貳 --- 擇調 / Chapter 參 --- 用韻 / Chapter 第二節 --- 贈酬詞内涵述析 --- p.172-186 / Chapter 壹 --- 抒懷式贈酬 / Chapter 一 --- 身不由己的哀傷 / Chapter 二 --- 官事無窮的嘮叨 / Chapter 三 --- 羈旅客懷的無奈 / Chapter 四 --- 未許投閒的願望 / Chapter 五 --- 儒冠誤身的反省 / Chapter 貳 --- 慶賀式贈酬 / Chapter 一 --- 歌筵酒宴 / Chapter 二 --- 嫁娶添丁 / Chapter 三 --- 應制 / Chapter 四 --- 壽辰生朝 / Chapter 五 --- 會飲 / 小結 / Chapter 第七章 --- 結論 --- p.187-196 / Chapter 第一節 --- 元初詞特色 --- p.187-195 / Chapter 壹 --- 主題：與傳統閨閣之詞拉開距離 / Chapter 貳 --- 思想：以道家的隱逸引領潮流 / Chapter 參 --- 語言：雜夾在新舊文學之間 / Chapter 一 --- 新興的曲體語言 / Chapter 二 --- 傳統的詞體語言 / Chapter 肆 --- 風格：以蘇辛詞風為主導 / Chapter 第二節 --- 元初詞的評價與總結 --- p.195-196 / 參考書目 --- p.197-206 / 附錄： / Chapter 一 --- 元初詞人生平簡介 --- p.207-213 / Chapter 二 --- 《詞話叢編》輯錄之元詞話簡目索引 --- p.214-222 / Chapter 三 --- 近六十年元詞研究書目/論文篇目 --- p.223-226 / Chapter 四 --- 元初詞分類列目 --- p.227-260 / Chapter 1 --- 詠物詞 / Chapter 2 --- 雜紀詞 / Chapter 3 --- 離別詞 / Chapter 4 --- 贈酬詞

published_or_final_version / abstract / Chinese / Master / Master of Philosophy

published_or_final_version / Chinese / Master / Master of Arts

published_or_final_version / Chinese Language and Literature / Master / Master of Arts

published_or_final_version / Asian Studies / Doctoral / Doctor of Philosophy