published_or_final_version / Chinese / Doctoral / Doctor of Philosophy

published_or_final_version / Chinese / Doctoral / Doctor of Philosophy

Thesis (M.A.)--University of Sydney, 2007. / Title from title screen (viewed 25 March 2008). Submitted in fulfilment of the requirements for the degree of Master of Arts to the Dept. of Chinese Studies, Faculty of Arts. Degree awarded 2007; thesis submitted 2006. Includes bibliographical references. Also available in print form.

Thesis (Ph. D.)--University of Washington, 1997. / Vita. Includes bibliographical references (leaves [144]-151).

Thesis (Ph. D.)--Ohio State University, 2004. / Title from first page of PDF file. Document formatted into pages; contains xiii, 146 p. : ill. Advisor: Loretta Robinson, School of Music. Includes bibliographical references (p. 132-136).

Cette étude se situe dans le contexte des échanges culturels franco-chinois qui se produisent à Shanghai pendant les années vingt et trente et à Taïwan pendant les années cinquante et soixante. Nous nous proposons d’interroger la quête poétique — la quête de la métamorphose — à laquelle s’adonnent, avec l’aide du symbolisme ou du surréalisme, des poètes chinois sur un fond de conflits intellectuels, idéologiques et militaires. Ces écoles françaises sont intimement liées au destin personnel de ces poètes qui se voient à la merci de celui de leur pays. Aussi munis des ailes symbolistes ou surréalistes, ils ne peuvent échapper à une réalité pénétrée par la politique. Le fond historique et culturel en question renvoie à un cadre de référence structuré par les six principaux groupes d’écrivains qui contribuent à l’échange poétique franco-chinois et qui sont inévitablement impliqués dans la politique : la “Société d’études littéraires”, “Création”, l’école “Le croissant” et l’école “Moderne” à Shanghai durant les années vingt et trente ; l’“École moderne” et “Genèse” à Taïwan durant les années cinquante et soixante. C’est dans ce cadre que nous discutons, sur la base d’une analyse textuelle, de la réception du symbolisme à Shanghai et de celle du surréalisme à Taïwan. / Situated in the context of the Franco-Chinese cultural intercourse which happens in the Shanghai of the 20s and the 30s and in the Taiwan of the 50s and the 60s, this study aims to discuss the poetic quest — the quest of metamorphosis — to which some Chinese poets devote themselves by referring to symbolism or surrealism, a quest which takes place against a background of intellectual, ideological, and military conflits. These French literary schools are intimately linked with the fate of these poets at the mercy of the fate of their country. No matter how well they are equipped with symbolist or surrealist wings, they cannot escape from the reality of an age penetrated by politics. The historical and cultural background in question has to do with the frame of reference constituted by the six principal groups of writers reputed for their contributions to Franco-Chinese poetic intercourse : “Society of literary studies”, “Creation”, the school “New Moon”, and the school “Modern” in Shanghai during the 20s and the 30s; “Modern School” and “Genesis” in Taiwan during the 50s and the 60s. They are all involved in politics. It is within this frame of reference that we approach the subject of the reception of symbolism in Shanghai and that of the reception of surrealism in Taiwan on the basis of a textual analysis.

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《樂府補題》是一部著名的詠物詞集，本文即以此詞集為研究對象。除緒論及總結外，本文共分三編七章。各章節的內容大要如下。緒論回顧了《樂府補題》的研究狀況，並提出了本文的研究問題：一、甚麼因素促使《樂府補題》問世？二. 能否整理出一個《樂府補題》的新文本以供討論？ 三. "樂府補題"究竟有何寄託？四.《樂府補題》的詠物成就如何？五.《樂府補題》復出之後，讀者又如何接受？上編一章，研究《補題》的生成語境，處理的是第一個研究問題。本章分別從「歷史語境」、「詠物詞史語境」、「詞學語境」和陳恕可的「個人語境」等四個層面，由廣而狹地逐步聚焦於《樂府補題》得以問世的因素，並嘗試界定「雅」的定義。中編包括第二、第三及第四等三章，主力研究《補題》的文本，處理的是第二、第三和第四等三個研究問題。本編探討了《補題》的版本、寄託和詠物等基本課題。第二章首先整理了《補題》的版本系統，重建了《補題》的文本，第三章即在此基礎上作進一步的討論，提出無本事而有寄託的解讀方法、應題典故和烘題典故的區分及其對解讀詠物詞所起的作用。此外，本編第四章又討論了《補題》在賦形和摹神所用到的手法，並嘗試界定「神」的定義。下編三章，討論了後世讀者對《補題》的接受，處理的是第五個研究問題。第五章討論了清代詞人追和《補題》的作品的特點，第六章則討論了清人對《補題》的理論開發，從而看出《補題》經典地位的建立。本編第七章則討論了《補題》進入民國之後被文學史家邊緣化的問題。總結即回顧本文各章的研究結果。= It is known that Yue Fu Bu Ti 樂府補題 is a famous anthology of object-chanting Ci poetry詠物詞. Where have such poems come from? How did such an anthology come about? Very simply put, in the early years of the Yuan Dynasty, a small number of poets held a handful of clandestine gatherings to mourn the demise of the Song Dynasty. The innocence of their verse - songs about very common objects and animals - hid their true feelings about the the Song Dynasty. Their lamentations, their regrets and even their feelings of guilt burn within the sub-text of this small collection of poems. This thesis is a study of this anthology. In this thesis, except for the introduction and the conclusion, there are 3 sections with 7 chapters. The synopsis is as follows. The introduction contains a literature review on Yue Fu Bu Ti. Five research questions are raised: 1. What are the factors that spurred the emergence of Yue Fu Bu Ti? 2. Is it possible to reconstruct a faithful and authentic version of Yue Fu Bu Ti today? 3. What are the hidden meanings - the subtext - of Yue Fu Bu Ti? 4. What are the accomplishments of object-chanting which Yue Fu Bu Ti achieved? 5. How have the readers over the years received Yue Fu Bu Ti? Chapter 1 addresses the first research question. It examines the factors which prompted Yue Fu Bu Ti to coalesce and to take shape through the perspectives of its historical context, the context of object-chanting Ci, the context of Ci poetry 詞學more generally, and the personal context of Chen Shu He 陳恕可, the editor and one of the authors of Yue Fu Bu Ti. In addition, the concept of Ya 雅 is also discussed in this chapter. Chapters 2, 3 and 4 make up Section 2. They concentrate on the second, third and fourth research questions respectively. The basic issues, including different versions of Yue Fu Bu Ti, the shrouded, concealed meanings Yue Fu Bu Ti, and the realization and triumph of object-chanting which Yue Fu Bu Ti achieved are discussed in this section. The text of Yue Fu Bu Ti is reconstructed. This latest version is the basis of further discussion. It is suggested that the true meanings of Yue Fu Bu Ti are cleverly disguised free of referential incidents. Direct and indirect allusion are keys to a successful reading of the poems. The concept of Shen 神 of objects, the writing technique for depicting a resemblance to objects, and the acquisition or attainment of the essence of the Shen of objects in Yue Fu Bu Ti, are discussed in this section. There are also 3 chapters in the last section. The final research question is discussed in this section. Chapter 5 studies the characteristics of Zhui He 追和 (compositions based on the rhymes of the original work ) during the Qing Dynasty while Chapter 6 examines the Ci theory revealed within Yue Fu Bu Ti and explored in the Qing Dynasty. The process of canonization of Yue Fu Bu Ti is shown here. Marginalisation of Yue Fu Bu Ti by literary historians in the Min Guo era is discussed in Chapter 7. The conclusion is a review of the achievements the chapters have presented.

Du Fu is one of China's most celebrated and influential poets. His poems about paintings are a highly innovative subset of poems rich with imagery and emotion. Received ideas about these poems fail to account for any role played in them by Du's aesthetic ideas. This study analyses Du's poems about paintings in order to bring to light Du's theory of art. Du's theory of art combines ancient Chinese ideas about aesthetics, literature and the nature of humanity's relationship to the universe. These traditional ideas serve as the foundation for a unique theory. Du's theory of art posits the painter as a higher being whose paintings have magical qualities as a result of his mastery of the craft of painting and the richness of his inner world.

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