published_or_final_version / abstract / Chinese / Master / Master of Philosophy

published_or_final_version / Chinese / Master / Master of Philosophy

This dissertation examines the cultural dilemma that Chinese intellectuals are forced to confront with between tradition and Western Scholarship in Late Imperial and Modern China. As a traditional poet and scholar, Huang Jie (1873-1935) believed that the Manchurian reign was the reason for China’s collapse during Late Qing Era, and Chinese traditional culture would be the only remedy for the rapidly decaying society. Therefore, Huang initiated the campaign named “Nationality Conservation” in the aim of overthrowing the Manchu Empire. While sticking to “conservative” values, Huang adopted foreign/ Western cultural concepts and attempted to rephrase them with Chinese scholarship. All these endeavors had made Huang’s cultural identity confusing. Hence, this dissertation attempts to deal with Huang Jie’s understanding of culture through analyzing his poetry writings and poetic studies. Immersed by Confucian doctrines about the relationship between poetry and politics, Huang paid special attention to the cultural cultivating function of classical poetry. This ideology of “Cultivation through Poetry” was specifically generated from the Mao Shixu in Eastern Han Dynasty, and then repeatedly expressed in Huang’s poetic works in order to change the corrupt Modern society. In spite of this, Huang still respected and paid serious attention to the literariness of poetry, either in poetry writings or poetic studies. He spent great efforts on the prosody and therefore was well commended among Late Qing and Early Republican poets. Hence, this dissertation thoroughly examines how Huang Jie negotiated the tension between political and literary aspects of classical poetry. After introducing his life history and the ideology of “Cultivation through Classical Poetry”, chapter two and three focus on themes and characteristics of Huang’s poetry. These two chapters explore how Huang established his own poetic style under the trend of Song Poetry Movement commencing from Late Qing. The last chapter investigates Huang’s view on the evolution of literature and focuses on his abundant studies of classical poetry. In the conclusion, this dissertation would like to demonstrate that as a poet and scholar, Huang Jie established the traditional cultural identity, same as his friends in Nanshe, while his faith of “Cultivation through classical poetry” was well challenged at that tumultuous Modern time. / published_or_final_version / Chinese / Doctoral / Doctor of Philosophy

Thesis (M.A.)--香港中文大學. / Includes bibliographical references. / Thesis (M.A.)--Xianggang Zhong wen da xue. / Chapter 第一章 --- 研究目的、材料與方法 / Chapter 第一節 --- 研究目的 --- p.1-8 / Chapter 第二節 --- 研究材料 --- p.9-12 / Chapter 第三節 --- 研究方法 --- p.12-14 / 註1至註9 --- p.15-19 / Chapter 第二章 --- 清戈載〈詞林正韻〉 / Chapter 第一節 --- 〈正韻〉一書之製作目的 --- p.20 / Chapter 第二節 --- 〈正韻〉一書之體例 --- p.21-23 / Chapter 第三節 --- 〈詞林正韻〉之分部系統 --- p.23-34 / Chapter 第四節 --- 〈正韻〉照顧方音及古今音變之特色 --- p.34-52 / Chapter 第五節 --- 關於葉斐軒刊本〈詞林韻釋〉 --- p.53-56 / 註1至註9 / Chapter 第三章 --- 〈詞林韻釋〉分部內容之修正 / Chapter 第一節 --- 統計及推論 --- p.60-65 / Chapter 第二節 --- 支持〈灰韻應歸第五部〉之兩項事實 --- p.65-71 / Chapter 第三節 --- 探討〈正韻〉歸部錯誤之原因 --- p.71-73 / 註1至註4 --- p.74 / Chapter 第四章 --- 論宋詞人有「平聲貴嚴」之觀念 --- p.75-79 / Chapter 第五章 --- 方音 / Chapter 第一節 --- 略論研究方音及決定其為方音之條件 --- p.81-85 / Chapter 第二節 --- 材料所示宋代之方音概況 --- p.86-103 / 註1至註6 --- p.104-105 / Chapter 第六章 --- 入聲 / Chapter 第一節 --- 〈詞林正韻〉入聲分部的特點 --- p.106-112 / Chapter 第二節 --- 個別詞家的入聲分部系統 --- p.113-138 / Chapter 第三節 --- 探討〈正韻〉入聲歸入三聲之根據 --- p.138-144 / 註1至註3 --- p.144A / Chapter 第七章 --- 宋詞之特殊協韻技巧 / Chapter 第一節 --- 不自覺的協韻方式 --- p.145-151 / Chapter 第二節 --- 長尾韻 --- p.151-154 / Chapter 第三節 --- 句中韻 --- p.154-156 / Chapter 第四節 --- 和聲 --- p.157-158 / Chapter 第五節 --- 福唐獨木橋體 --- p.158-161 / 註1 --- p.161 / Chapter 附錄一 --- 〈詞林正韻〉補正 / Chapter 附錄二 --- 四十二詞家曾使用之韻字 / Chapter 附錄三 --- 有關本文修正〈正韻〉分部內容之資料備矤 （本文第三章第一節表中II、IV、V、VI各項之內容） / Chapter 附錄四 --- 有關本文第四章之資料備攷 / Chapter 附錄五 --- 有關本文第五章「方音」之詳細資料 / Chapter 附錄六 --- 平仄通協體 / Chapter 附錄七 --- 詩韻詞韻分合對照表 / Chapter 附錄八 --- 詞韻分部索引表 （以〈廣韻〉韻目為主）

Chow Tin-ping, Balance. / Typescript (photocopy) / Bibliography: leaves [324]-336 / Thesis (M.Ph.)--Chinese University of Hong Kong, 1983

徐笑珍. / "2002年6月" / 論文 (哲學碩士)--香港中文大學, 2002. / 參考文獻 (leaves 135-141) / 附中英文提要. / "2002 nian 6 yue" / Xu Xiaozhen. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2002. / Can kao wen xian (leaves 135-141) / Fu Zhong Ying wen ti yao. / Chapter 第一章 --- 緒論 / Chapter 第一節 --- 硏究背景及槪況 --- p.1-2 / Chapter 第二節 --- 硏究目的 --- p.3 / Chapter 第三節 --- 硏究方法 --- p.4-6 / Chapter 第二章 --- 夏承燾的生平事蹟 / Chapter 第一節 --- 夏承燾的治詞經歷 --- p.7-16 / Chapter 第二節 --- 夏承燾的性情 --- p.17-28 / Chapter 第三節 --- 夏承燾的交遊 / Chapter 一、 --- 夏承燾交遊述介 --- p.29-37 / Chapter 二、 --- 夏承燾詞友考析 --- p.38-42 / Chapter 第四節 --- 小結 --- p.43 / Chapter 第三章 --- 夏承燾的詞學管窺 / Chapter 第一節 --- 譜牒之學 / Chapter 一、 --- 編纂方法及動機 --- p.44-45 / Chapter 二、 --- 資料取材 --- p.46-47 / Chapter 三、 --- 編纂凡例 --- p.47-55 / Chapter 四、 --- 夏氏所編年譜的得失 --- p.56-59 / Chapter 第二節 --- 校勘箋注之學 / Chapter 一、 --- 《姜白石詞編年箋校》 --- p.60-62 / Chapter 二、 --- 《龍川詞校箋》 --- p.62-63 / Chapter 三、 --- 《宋詞繫》 --- p.63-65 / Chapter 四、 --- 《詞源注》 --- p.65-66 / Chapter 第三節 --- 詞樂之學 / Chapter 一、 --- 宮調 --- p.67 -69 / Chapter 二、 --- 旁譜 --- p.69-71 / Chapter 第四節 --- 詞籍編纂之學 --- p.72-73 / Chapter 第五節 --- 批評之學 / Chapter 一、 --- 詩話式評點´ؤ´ؤ《瞿髯論詞絶句》 --- p.74 -87 / Chapter 二、 --- 短篇式評點´ؤ´ؤ《月輪山詞論集》 --- p.87 -89 / Chapter 三、 --- 考訂式評點´ؤ´ؤ《唐宋詞論叢》 --- p.89 -90 / Chapter 四、 --- 賞析性評點´ؤ´ؤ《唐宋詞欣賞》 --- p.90 -91 / Chapter 第六節 --- 小結 --- p.92-93 / Chapter 第四章 --- 夏承燾的詞作探析 / Chapter 第一節 --- 內容主題 --- p.94-107 / Chapter 第二節 --- 藝術表現 --- p.108-116 / Chapter 第三節 --- 風格特點 --- p.117-128 / Chapter 第四節 --- 小結 --- p.129 / Chapter 第五章 --- 總結 --- p.130-134 / 參考書目及論文 --- p.135-141 / 附表一：夏承燾年譜簡表 --- p.142-162 / 附表二 ：夏承燾交遊表 --- p.163-184 / 附表三：夏承燾詞作內容分類表 --- p.185-196

published_or_final_version / Chinese / Doctoral / Doctor of Philosophy

published_or_final_version / Chinese / Doctoral / Doctor of Philosophy

In the history of Chinese literature, poetry is undoubtedly the most significant genre that could represent the Tang Dynasty. There were many great poets including Li Bai and Du Fu who wrote regarding a rich variety of topics. This thesis attempts to study the research works of Ganyu Poetry in the perspective of the literature history and aesthetic conception. It is hoped that this dissertation can give readers a clear understanding of Ganyu Poetry in the Tang Dynasty. Through studying the themes and aesthetic features and of Ganyu Poetry, we could discuss this kind of poetry written in different centuries. As the basis of this study is the "Quantangshi", the content and the aesthetic features of Tang Ganyu Poetry will be discussed. "Quantangshi", is a collection of the primary source of Tang poetry published in the Qing Dynasty, that was amended by different scholars. The 74 poems with the theme of Ganyu Poetry from Tang Ganyu Poetry will be studied. There are five chapters in this thesis, preceded by an introduction. Chapter one deals with the introduction of the structure of this thesis, the literature review, the research methods and the significance of the research. Chapter two explains the definition of Ganyu Poetry based on the literature review and previous research conducted by other scholars in order to define the meaning of Ganyu in this thesis and design the scope of study. Chapter three discusses the development of Ganyu Poetry in the early Tang, mid Tang and late Tang periods. Chapter four makes an analysis of the aesthetic features of in Tang Dynasty in order to give us a thorough understanding on Ganyu Poetry. Chapter five, the concluding chapter, summarizes the arguments stated in this thesis. 一代有一代之文學，最能代表唐代的文學是詩歌，詩人輩出，如李白、杜甫；詩派紛繁，題材多變。唐代感遇詩是十分重要的唐詩類別，不少作家均曾創作感遇詩，如陳子昂和張九齡。本論文選擇研究唐代感遇詩這個題目，以整體的文學史視野來研究唐代感遇詩的論著，運用美學觀念分析的研究。本文也希望能藉今次研究，加深我們對唐代感遇詩的認識，並且能對「感遇」這種文學的主題類型和美學特質加深理解，恊助我們討論不同時代的「感遇類」詩詞作品。 本論文將以《全唐詩》作為研究基礎，研究唐代感遇詩的內容和美學特徵。《全唐詩》是清代的唐詩總集，後經不同的學者修正，收錄第一手紥實的唐詩材料，作為研究的根據。本人搜尋《全唐詩》中以「感遇」為題的詩歌作為研究對象，共有74首詩，全文分為五個章節，第一章是導論，介紹全文的架構、研究回顧、研究方法和研究重要。第二章對「感遇詩」作出定義，爬疏文獻資料和前人學者的研究，說明本文對「感遇」的理解，劃出一個研究範圍。第三章會探討「感遇詩」在初唐、盛唐、中唐和晚唐發展情況，勾勒唐代感遇詩的發展概況。第四章以美觀念切入，探討唐代感遇詩的美學特質，配合第三章的主題分析，讓我們更全面認識唐代感遇詩。最後，第五章是結論，總結全文的論點。 / published_or_final_version / Chinese Language and Literature / Master / Master of Arts

The research topic of this thesis is “A Study of Li Panlong’s Mimetic Poems”. Mimetic Poems are poems that imitate classical poems. Generally speaking, writers of Mimetic Poems tend to mimic poets who lived in earlier dynasties and had great achievements in poetry, in a way that the original outer language styles and inner spiritual essences are usually inherited. This thesis focused on the study of Li Panlong’s theory on poetry and his Mimetic Poems. From both the theoretical and practical points of view, the imitating situations of his poems were evaluated. This Paper analyzed Li Panlong’s Mimetic Poems from the perspectives of linguistics and psychology. The phenomenon of Li PanLong’s language usage in his Mimetic Poems was grasped through the theory of language as medium. Li Panlong’s state of mind when creating his Mimetic Poems was studied through the theory of literature psychology. Aiding with the method of “Close Reading”, Li Panlong’s Mimetic Poems were analyzed in details. Also, using the way of “Zhiren Lunshi”, the relationship between Li Panlong’s behavior of imitating and the social context in his times were discussed. After throughout study of Li Panlong’s theory on poetry and his Mimetic Poems, it was discovered that his theory on poetry was applicable in his Mimetic Poems. There were some “Niguyuefu” of Li Panlong which preserved the original outer language styles, some which inherited the inner spiritual essences, and some in which new elements of language were created. As for his “Nigushi”, the requirements of “Shu”, “He” and “Li” in his theory on poetry were fulfilled in the following sense. First, Li Panlong was familiar (“Shu”) with the works of Previous dynasties. Then either he ensured that the outer language styles of his “Nigushi” were similar (“He”) to the original works or he got rid of (“Li”) the influence of language in the original works, shifted to the standpoint of a critic, as well as supplemented and commented works of previous dynasties by the way of poetry imitating. Therefore, his theory and practice on poetry formed a mutual supporting system. 本論文的研究題目是〈李攀龍的摹擬詩研究〉。所謂“摹擬詩”，是通過摹擬古代詩歌而建構出來的詩歌模式。一般而言，摹擬詩具有明確的摹擬對象，而摹擬對象又是前朝有成就的詩人詩作，以追求所擬詩的外在詩學語言形式與內在精神意趣為要旨。本論文就是針對李攀龍的詩學理論及摹擬詩進行研究，從理論和實踐兩方面觀照李攀龍的詩歌摹擬情況。 　　本論文從語言、心理兩個角度進行研究，運用文學語言中介理論來把握李攀龍摹擬詩的語言面貌；利用文藝心理學理論來分析李攀龍的摹擬心理。並輔以“文本細讀”的方法，細緻分析李攀龍的摹擬詩； 同時以“知人論世”的方式，探討李攀龍的摹擬行為與其身處時代的關係。 筆者研究李攀龍的詩學理論與摹擬詩後，發現李攀龍的摹擬詩大體能貫徹其詩學理論。其擬古樂府既有“胡寬營新豐” 式的形似摹擬，也有“伯樂論天下馬”式的神似摹擬，更有做到“日新富有”的李氏新樂府。其擬古詩，則謹遵其詩學理論中“熟”、“合”、“離”的要求，先“熟”讀前人作品，進而在摹擬時，或力求擬作語言風貌“合”於原作；或儘量遠“離”原作的語言影響，站在評論者的立場，通過擬作補足、評論前人作品。其詩學理論與實踐因此形成了一個相互印證的嚴謹系統。 / published_or_final_version / Chinese / Doctoral / Doctor of Philosophy