陳芷珊. / 論文(哲學碩士) -- 香港中文大學硏究院中國語言及文學學部, 1997. / 參考文獻: leaves 1-13 (3rd group) / Chen Zhishan. / 導論 --- p.1 -4 / Chapter 第一章： --- 《飲冰室詩話》的性質 / Chapter (一） --- 局內身作局內說 --- p.5 -10 / Chapter (二） --- 《詩話》與報刊的關係 --- p.11 -18 / Chapter (三） --- 寓議政於說詩 --- p.19-25 / Chapter 第二章： --- 傳統與新變´ؤ´ؤ《詩話》的政治觀與文學觀 / Chapter (一） --- 任公的政治改革思想 / Chapter 甲、 --- 革命論 --- p.26-31 / Chapter 乙、 --- 維新觀 --- p.31 -40 / Chapter (二） --- 任公的文學革命論 / Chapter 甲、 --- 文界革命 --- p.40-49 / Chapter 乙、 --- 小說界革命 --- p.50 -58 / Chapter 丙、 --- 戲劇界革命 --- p.58-60 / Chapter 丁、 --- 詩界革命 --- p.61 -76 / Chapter 第三章： --- 〈飲冰室詩話》´ؤ´ؤ晚清詩界改良運動的實錄 / Chapter (一） --- 變法時期 / Chapter 甲、 --- 夏曾佑、譚嗣同與「新學之詩」 / Chapter 1. --- 夏曾佑 --- p.77 -85 / Chapter 2. --- 譚嗣同 --- p.86 -99 / Chapter (二） --- 去國時期 / Chapter 甲、 --- 黃遵憲與「新派詩」 --- p.99-130 / Chapter 乙、 --- 詩界革命之主將 / Chapter 1. --- 「詩家之傑」一蔣智由 --- p.130 -136 / Chapter 2. --- 「詩界革命之鉅子」一丘逢甲 --- p.137-146 / Chapter 3. --- 「詩界之更生者」一康有爲 --- p.146-150 / Chapter 第四章： --- 《飲冰室詩話》理論的實踐一任公詩作探究 / Chapter (一） --- 任公的詩作 / Chapter 甲、 --- 《淸議報》〈詩文辭隨錄〉（1898-1901) --- p.151 -153 / Chapter 乙、 --- 《新民叢報》〈詩界潮音集〉(1902-07) --- p.153 -154 / Chapter 丙、 --- 《飲冰室詩話》 --- p.154-155 / Chapter (二） --- 任公對詩歌創作的態度 --- p.155 -157 / Chapter (三） --- 任公對《詩話》理論的實踐 --- p.157 -164 / Chapter 第五章： --- 《飲冰室詩話》對民國初年詩界運動的啓發 / Chapter (一） --- 文學革命派 --- p.165-167 / Chapter (二） --- 學衡派 / Chapter 甲、 --- 吳宓 --- p.167-173 / Chapter 乙、 --- 吳芳吉 --- p.173-177 / 結語 --- p.178 -185 / 參考書目： / Chapter (一） --- 書籍 --- p.1 -7 / Chapter (二） --- 期刊 --- p.8-10 / Chapter (三） --- 文集 --- p.11 -12 / Chapter (四） --- 論文 --- p.13

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No description available.

University of Macau / Faculty of Social Sciences and Humanities / Department of English

University of Macau / Faculty of Social Sciences and Humanities / Department of English

The Third Generation Poetry that existed in the 1980s’ Chinese literary circle has usually been regarded as the rebellion of the prevailing Misty Poetry. The Third Generation poets began to experiment with colloquial poems which were emphasizing on individual expressions and advocating for the importance of “self”, including the ego and sub-consciousness of both male and female. Through the gender perspective, it could be observed the Third Generation Poetry was rich in gender flavor. The poets especially those of the Female Poetry and the Boorish Fellows Poetry had respectively expressed the awareness and concerns of their own with poem writings. The Female Poetry, featured with the structure of group poems, the rhetoric of metaphor and symbol, the connotation of the nocturnal consciousness and the lyric of confession, was a showcase for female perception. The issues regarding ego, private space, social identity, pain and love as well as "body writing" had been narrated and depicted by most of women writers. In the meantime, the poetry written by male turned to the descriptions of the lack of masculinity, or the flaunting of male power, or groaning with bitterness. Besides, the desire to vent, the memories of growth and even the detestation on the phenomenon of female being butchered had also been illustrated. Therefore an alternate inspection of the male poets’ views on female and vice versa would help to have a better understanding of gender concepts and the changing relationship between men and women in the last few decades of Chinese society. Apart from thinking of gender differences and sexual identities the Third Generation Poetry not only focused on the relationship between parents and their children, but also on the connotations of the traditional idea of reproduction and the infant imagery, and even on portraying the rare image of the ego of androgyny. In addition, The Third Generation poetry also presented abundant interlinked gender imagery, such as natural things and body, the darkness and death, the space and items etc., which had been created for the enrichment of the symbolic meanings and the aesthetic significance of the poems. In short, the social and cultural significance of various gender issues in line with the artistic techniques of the Third Generation Poetry had been scrutinized deeply in the chapters. / published_or_final_version / Chinese / Doctoral / Doctor of Philosophy

To interpret a poem is to comprehend a complete act of written communication. And to comprehend such an act, the reader must break the codes in which the communication is framed. Thus, poetic interpretation becomes the study of codes--or semiotics. Poetic codes exist at pragmatic, semantic, syntactic, and phonic levels. The decoding requires the reader's linguistic skills, literary competence, and personal experience. It involves an initial reading and a retroactive reading. At the first step, the reader attempts to supply elements missing in the text. Yet trying to interpret the text literally, he encounters problems in pragmatics, semantics, syntactics, or phonics, and is unable to grasp a coherent sense of the poem. Those problems give rise to a retroactive reading. At this step, the reader looks for a higher level of understanding where a unity of meaning can be identified. And by explaining the clues in the text according to his linguistic and literary competence, and revising his understanding on the basis of his new findings, he finally discovers a kernel concept, on which the whole text can be seen as a single unit, and every element, which first appeared to be puzzling, has a significative purpose. This semiotic model of interpretation has proven to be very fruitful in the explication of Tu Mu's poetry. It also enables the reader to appreciate the poetic discourse more thoroughly. Some of the ideas advocated by the model may also serve as principles for the translation of poetry. For example, in reading a poem, the model requires a search for unified pragmatic, semantic, syntactic, and phonic patterns, which convey the kernel concept. Thus, in translating a poem, the translator should also try to re-produce in the target language such unified patterns so that the reader may grasp the same kernel concept as contained in the original discourse. The model stresses implicities of poetry. Hence the rendition of a poem should preserve the implicities of the original text in order to invoke from the reader a response similar to what would be induced by the original poem.

published_or_final_version / Chinese / Master / Master of Philosophy

published_or_final_version / Comparative Literature / Master / Master of Philosophy

This thesis is a study of the Korean woman poet Ho Kyongbon (1563-1589) and her poetry. In it, I investigate Ho's two brothers' active involvement in her literary life, particularly her younger brother Ho Kyun's publication of her poetry collection, the Nansorhon chip and promotion of her literary works to Chinese scholars. I also examine late Ming and Qing anthologies which include Ho's poetry to disclose how late Ming and Qing scholars evaluated her poetry and represented her life. I argue that the attention these critics paid to Ho's literary works and talent reflected a blossoming of women's literary culture and a rapid growth in the anthologizing of women's poetry. I also undertake an analysis of Ho's poetry, with particular emphasis on the influence of Tang poetry on her poetic practice. This analysis is accompanied by a discussion of Ho's relationship to the "Tang revival movement" in which her two brothers were fervently engaged. This relationship provides a context through which to better understand not only Ho's particular interest in emulating Tang poetry, but also the very textual qualities of her poetry.