Thesis (Ph. D.)--Guo li Taiwan shi fan da xue, 1984. / Bibliography: p. 353-367.

Thesis (Ph. D.)--Guo li zheng zhi da xue, 1990. / Reproduced from typescript. Includes bibliographical references (p. 365-375).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1971. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ph. D.)--Hong Kong Baptist University, 2001. / Thesis submitted to the Dept. of Chinese Language and Literature. Includes bibliographical references (leaves 231-254).

Abstract The dissertation studies a number of poems on drama-watching culled from collected works of Qing-dynasty writers. From the perspectives of drama criticism, intertextuality, as well as the history of the attitudes of literati, the present study aims to reexamine the following issues of Qing drama, namely: a) the development and changes of dramatic aesthetics, b) the relation between the poets and their poems on drama-watching, c) the interaction between the writers and actors/actresses, and d) the formation of relevant poetic criticism. These issues are of great significance in the scholarship of Qing drama but have not been given much attention. There are two clues in the thesis, namely one to the attitude of the literati revealed in the poems, and the other to the specific "poetic criticism on drama" from the literati's perspectives. Chapters two to five examine the literati's attitudes of the four periods of the Qing. Chapter two focuses on the transitional period of Ming and Qing (1644-1661), when the majority of drama-watching poems were written as expressions of sentiments on dynastic changes rather than dramatic criticism. This inception period saw a large number of poems. Chapter three studies the poems writing during the reigns of Emperors Kangxi and Yongzheng (1662-1722), focusing on the writers' reflection on history. The plays of this period mainly concerned history and witnessed the strict censorship for public performance. Therefore, the poems written in this period demonstrate the different choices and encountering allowed by the political backgrounds of the time. Chapter four explores the aesthetic tastes of literati of the Qianlong and Jiaqing (1723-1820) reign-periods. Prominent features of these poems include the lauding tone of the flourishing empire and the pursuit of exquisite life styles. Chapter five focuses on the late Qing (1821-1911) period. Through the analysis of the poems by women writers, it discusses the new, trans-gender trend triggered by feminine vision on drama writing and watching a. Chapters six to eight discuss drama-watching poems respectively from three perspectives, namely literati's comments on the actors, the reception of the drama texts, and the criticism of drama. Chapter six makes use of a book, Historical Records of Yandu Theatres in the Qing Dynasty (Qingdai Yandu liyuan shiliao) and explains that among Qing literati there was formed a system of "poetic appraisal of actors," which was an integration of the traditions of appraising poetry, paintings, etc. The aesthetic criteria in the system represented a unique phenomenon in the interactions between literati and actors and gave rise to this unique kind of poetic criticism on dramatic performance art. Chapter seven offers new, in-depth interpretations of theme and plot of selected dramatic texts from the perspective of meta-vision. It also argues that the poetic criticism on drama actually realized the process of canonization. Chapter eight focuses on the practice of "poetic appraisal of drama," which evolved from "poetic appraisal of poetry." The perception and comments on dramas largely enriched dramatic criticism by the topics about the poets' distinctive tastes and interests in writing, rhyming, and even diction choices. In short, the value of drama-watching poems lies in its special critical system based on the observation of drama. The genre reached its maturity in the last heydays of classical literature, and integrated multi-dimensional cultural elements such as poetry, drama, painting, and chess. What is more, it also involves other aspects such as the attitude of literati, their recreation and entertainment, aspiration and pursuits, social reality, etc., and makes a miniature of the cultural life style of Qing literati.;本文旨在將分散於清人詩文集中的觀劇詩作集中搜集和整理，以這些史料為依託，從觀劇詩的創作者（即文人群體）入手，藉助文人心態史研究、戲曲批評研究、文本互涉研究等方法，重新審視清代戲曲的審美需求如何轉變，觀劇詩與其作者之間有著怎樣密切的關係，伶人與文人如何相處，觀劇組詩如何建構為戲曲批評系統等問題，這些問題都是清代戲曲研究中不可忽視，卻又尚未深入的話題。行文共分為兩條線索：一是觀劇詩所體現的文人心態；二是濡染著文人審美眼光的「以詩論戲」的戲曲批評。第二章至第五章以時間為序，將觀劇詩呈現的文人心態通過四個時期進行論述：第二章是明清鼎革之際（1644-1661），探析文人面對易鼎的變化，借觀劇詩寄託興亡之感，明清之際是戲曲雅俗轉變的主要階段，大量文人介入戲曲及觀劇詩創作，首先保證了觀劇詩的質量，但仍屬於初期階段，多以記錄演劇或世變之思為主，鮮少有劇論性質的作品；第三章是康雍年間（1662-1722），文人轉向對歷史進行反思，此時出現的傳奇雙璧都多少關涉到史實，搬演之路經歷了由禁到解禁的坎坷路程，其是否可以搬演主要取決於統治者，因此文人對歷史的反思只能遊走在主流話語所給予的限度之間，這一時期的觀劇詩恰好記錄了文人因禁演所作出的不同選擇與遭際；第四章是乾嘉時期（1723-1820），此時的文人多未經歷過易鼎之痛，成長於新朝，感念皇恩，從宮廷到民間的觀劇都彰顯著盛世的繁華，觀戲聽曲重新回到對閒賞旨趣的追求；第五章是晚清時期（1821-1911），演劇活動較為豐富，加之心學與性靈的影響，女性開始走出閨閣並創作觀劇詩，詩中女性對家國、生死、功名等話題的關注呈現出向男性視角跨界的傾向。第六至第八章分別從文人對伶人的審美評判、文人對戲曲文本的接受、觀劇組詩蘊含的戲曲批評三個方面以專題形式進行探討。第六章中以《清代燕都梨園史料》為中心，文人結合中國文化傳統中的詩品、畫品等形式構建了一套「以詩品花」（花指伶人）的系統，形成了品評式的審美標準，成為文人與伶人交往中的獨特現象，同時也是只有觀劇詩才能實現的詩美藝術。第七章中觀劇詩以後設視角（meta vision）重新解讀戲曲文本，是對戲曲主題、情節的深入解讀，在清代演出頻率較高或常常被提及的作品中，大量的觀劇詩創作整合在一起，更便於審視戲曲作品的經典化問題。第八章中則專門探討「以詩論曲」這一評點範式，其由「以詩論詩」發展而來，同時蘊含著文人對戲曲的品讀、認識，這些個體的體悟並不是同一的，而是各抒己見，評點範圍涉及創作論、曲論，甚至煉字與用韻等諸多層面，豐富了戲曲評論的內涵。綜上，觀劇詩的主要價值在於其對戲曲的關注所形成的獨特評點體系，這一評點體系成熟於古典文學發展最後的高峰時期，是結合了詩、詞、曲、畫、棋等多重文化維度的戲曲批評，同時又不僅僅局限於「以詩論曲」，其涉及的文化層面涵蓋了文人心態、娛樂閒賞、理想追求、社會現實等諸多層面，也是清代文人生活的縮影。

本論文研究一九二五至一九四九年間的香港新詩，即從目前所見最早的香港 新詩資料開始，直至一九四九年為止。研究從翻查和整理大量早期報刊、文學雜 誌等第一手資料開始，配合同時期中國新詩的發展，探討二○年代即香港新詩的 創始階段，至一九四九年的發展特色，思考香港新詩在中國現代文學史上的意義，並展開相關討論。 論文第一章先概述香港與內地新詩的連繫，再釐定本論文的研究範圍和香港新詩的定義，其中有關香港新詩的定義是參考上海現代文學史研究學者區分上海 作家和上海文學為兩個不同概念的做法，把「香港詩人」和「香港新詩」分屬不同範疇，並特別以「香港新詩」為討論重點。除了地域層面上的意義，本論文亦嘗試析論香港新詩相對於中國新詩的精神面貌和詩學取向。 第二至第九章基本上以時間發展為序，探討香港新詩不同時期的發展特色， 包括二○年代引介五四新詩及不同的詩形式，三○年代的都市詩、對上海《現代》 雜誌和現代派詩歌的學習和批評、寫實主義詩論的探討及創作，抗戰時期的論爭及不同取向、戰後的左翼詩歌等等，關注點除了特定時期的重要或主流風尚，也 仔細閱讀難以歸類的詩作，思考時代風尚與主流以外不同風格之間的關係。 早期香港新詩的發展除了本身特色，亦與大範圍內整個中國新詩的發展歷程密切相關，研究和討論早期香港新詩，除了「本土」的意義，也可以補充「中國現代文學史」論述的不足。相比一九五○年代以後的時期，早期香港新詩歷史的特色、亦即它複雜的地方，正在於它與中國新詩的關係。一九五○年後，新詩在 中國內地、台灣和香港各自發展，各有不同的面貌和取向，相對於三四○年代中 國新詩和當代中國和台灣新詩的研究，有關早期香港新詩的研究不算多，本論文 嘗試全面地回顧一個階段的香港新詩，提出討論的方向，期望有助進一步的研究。

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劉喜儀. / Six poets are: 朱彝尊、李良年、李符、沈皞日、沈岸登、龔翔麟. / Six poets are: Zhu Yizun, Li Liang'nian, Li Fu, Shen Haori, Shen Andeng, Gong Xianglin. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 228-245) / 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. / Liu Xiyi.

published_or_final_version / Chinese / Doctoral / Doctor of Philosophy

本論文題為「天子腳下:初唐詩人筆下的長安」，以三個方面展開論述。初唐由於詩歌存留較少，且多被視為酒宴歌席的應制詩。然而筆者嘗試從幾個前人從未剖析的角度切入，嘗試理解初唐詩歌中蘊涵的幾層意涵。 / 第一個方面將觀察初唐君臣在建國之際，初盛唐交界處，君主與臣子在詩文中展現的憂患，面對過去的歷史抑或當下的建設充滿不安。筆者進而發現，從漢魏六朝開始，揚雄的歷史形象不斷出現，作為讀書人在不得志的時代的精神典範，其閉門讀書而著述有成的態度為後世所推崇，並在詩文中展現。過往我們對於讀書人與長安相互關係的討論較為單一化，多從追名逐利或建功立業的角度看待他們奔往長安的意圖，較少關注他們對於長安在轉變過程中的批評。 / 筆者將從公共風景區與建築思想探討詩人足跡下的筆墨之跡。此處主要論述集中在筆者採集所得最多、最有意義的地點昆明池、樂遊原、曲江為考察對象，試圖找出記憶與地方之間的關係。昆明池，集合了詩人們對於神話的集體記憶。樂遊原上的酒宴歌席，成了中晚唐詩人懷念大唐繁盛的記憶。而曲江，更成了詩人們遊賞之地，為後來者一再詠懷。 / 筆者嘗試從廟宇與宮殿觀察初唐人蘊含在詩歌中的建築思想。一棟又一棟的建築，是天子腳下的宮殿又或神聖的神殿，詩人們透過自身對於建築的吟詠，描寫了建築的細緻雕刻，隱約間也透露集體對於建築的想像及寄託。筆者將從大量的詩歌中歸納其中特質。 / 本論文試圖從前人豐碩的唐代長安研究中，尋找一些被忽略的思想特質，並以此補充一般觀念上缺失忽略的，讀書人與長安的關係。 / The paper entitled "Under emperor’s feet: Chang An as Described by Poets of Early Tang Dynasty" will discuss the topic from three aspects. There are only very few early Tang poetry remained and they are mostly considered as banquet poetry. I will try to analyze them from several unprecedented angles and try to understand multiple implied meanings in the early Tang Poetry. / The first aspect is from the sense of urgency as the starting point. By observing how the founding members of the Early Tang Dynasty expressing their worries, especially during the transition to the great era, we can see their anxieties when dealing with the past and also the development at that point of time. It then found that, from the beginning of the Six Dynasties, Yang Xiong’s historical image kept emerging as the scholars’ spiritual model during unsuccessful times. His focusing on reading and writing successfully won the respect of the future generations, and is demonstrated in poems. In the past, we tend to view the relationship between scholars and Chang An towards chasing the fame and making contributions, and less focus on their critics towards Chang An in the process of transition. / In addition, I will discuss the poets’ writings as influenced by the public sceneries and architectural ideas. The third chapter discusses my most concentrated collection and significant place in Kunming pool, Le Youyuan, Qujiang as the studies subject, trying to figure out the relationship between memory and place. Kunming pool, a collection of poets to the myth of collective memory. Le Youyuan banquet song on the late Tang became nostalgic memories of prosperous Tang. The Qujiang, became poets touring place and was remembered by future generations. / Finally, I try to observe from the architectural perspective of the temples and palaces, and see the architectural thinking embedded in poets’ writings. Buildings after buildings are under the emperor’s foot and these buildings consist of palaces and temples. Poets described the buildings in their own chants, and describing the meticulous carving of the buildings. This vaguely revealed the collective imagination and sustenance towards the buildings. I will summarized the characteristics from the huge amounts of poems. / This dissertation attempts to find out some missing overlooked ideological character, about the relation between Tang’s poets and the Chang’an. / 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. / 高坤翠. / Parallel title from added title page. / Thesis (Ph.D.) Chinese University of Hong Kong, 2016. / Includes bibliographical references (leaves 159-172). / Abstracts also in Chinese. / Gao Kuncui.