一九七六年，隨著毛澤東逝世和「四人幫」倒台，中國共産黨在一九七七年宣布歷時十年的「文化大革命」正式結束，標誌了中華人民共和國後毛澤東時期開始。政治上，中國共產黨中央委員會放棄了過去以階級鬥爭和群衆運動爲主導的治國方針，將工作重點放在經濟建設上。對於向來和政治關係密切的中國文學界而言，「文革」的結束意味著官方意識形態高度干預文學創作的時期正式告終，「新時期文學」的發生乃二十世紀中國文學繼五四運動以後的另一次重大轉折。 / 後毛澤東時期的中國文學主題紛陳多樣，絶非三言兩語所能概括。不過，對共和國歷史進程的重現及反思可謂始終貫串於當代小說的主題。按照馬克思唯物史觀之觀點和毛澤東的詮釋，中國在革命成功後將會由「一窮二白」的國家，逐步邁向「各盡所能，按需分配」的「共産主義烏托邦」；然而爲了儘早實現共産主義而發動的各種「烏托邦運動」卻導致動亂與災難。歷史在「應該如何發生」與「實際如何發生」之間産生了巨大的落差，既吞噬了無數擁抱革命的生靈，亦叫生者留下難以磨滅的傷痛。在各種以歷史進程爲反思對象的小說中，有一個面向經常被文學史家忽略。這些小說以烏托邦書寫的文學形式，透過文字來虛構各種烏托邦（更多時候是惡托邦），表達了作家對晚清以來中國追求理想社會的歷史回顧，對烏托邦運動的本質深入省思，甚或設想中國歷史發展的另類可能出路；此類作品在後毛澤東時期的小說版圖中別樹一幟。本文旨在深入考察具有烏托邦書寫特徵的中國大陸當代小說，讓這個面向重新進入文學史家的視野。 / 本文共分六章。第一章緒論部分，介紹本文的研究背景及烏托邦的意涵，簡述其在中西方的歷程，然後解說烏托邦書寫的定義；進而回顧前人研究，闡釋本文研究目的、意義、範圍及方法。第二章至第五章爲本文核心部分，引入相關文學及文化理論，探討後毛澤東時期中國大陸小說烏托邦書寫的各種表現。第二章討論莫應豐《桃源夢》的惡托邦書寫，分析小說怎樣敷演一場從烏托邦追求而起，以惡托邦告終的悲劇，考察它如何達成批判儒家「大同」社會烏托邦及「文革」烏托邦運動的雙重目的，並如何回應了一九八零年代中國小說所關懷的主題。第三章分析李佩甫《羊的門》，探討李佩甫如何在文學主題多元的一九九零年代，以烏托邦書寫思考在共和國的歷史進程中，農村的烏托邦之路應該怎樣走；以及他對中國前途存在的困惑。第四章探討閻連科《受活》，這部在新世紀備受關注的小說不單呈現了烏托邦和樂園之間的角力，同時展示了閻連科的反烏托邦立場，批評了在後毛澤東時期仍然深具影響力的革命意識形態。第五章對格非在新世紀推出的「烏托邦三部曲」進行整體性探討，分析當中的反烏托邦書寫策略，以及小說如何呈現後毛澤東時期那種充斥虛無主義和享樂主義的「後烏托邦狀態」，亦會兼及格非如何看待各種烏托邦運動下的個體聲音。第六章為總結，綜合前文所論，指出後毛澤東時期中國大陸小說如何以烏托邦書寫來反思歷史，同時在烏托邦追求與反烏托邦立場之間擺盪。最後，本文藉香港作家陳冠中《盛世》為例，說明關心中國社會何去何從的作家早已不限於中國大陸作家。由此可見，關於中國的烏托邦書寫將會是一個持續進行的文學議題。 / In 1976, Mao Zedong died and the ‘Gang of Four’ went down. These events brought down the curtain on the Cultural Revolution, which had spanned 10 years from 1966 to 1976, as declared officially by the Communist Party of China in 1977, and inaugurated the Post-Mao era of the People’s Republic of China. Politically, the Central Committee of the Communist Party of China started to focus its agenda on economic development, forgoing its former ruling policies upholding class struggle and mass movement. Since Chinese literature has always borne close ties with national politics, the end of the Cultural Revolution also implied the phasing out of government’s iron-handed intervention in literary writings. The rise of “Literature of the New Era (Xinshiqi wenxue) in the ensuing years has been another important turning point for twentieth-century Chinese literature since the May Fourth Movement. / It is hard to summarize in a brief gist the highly prolific and diversified themes of Chinese literature in the Post-Mao era, but a common topic for contemporary fiction has been reflections on the history of the People’s Republic. According to Marxist historical materialism and Mao’s interpretations, after the successful Communsit revolution, China would discard her previous identity as a nation that was “first of all, poor, and secondly, blank and gradually establish herself as a Communist Utopia in which the principle of “from each according to his ability, to each according to his needs would be applied. Unfortunately, the countless utopian movements initiated with a view to realizing communism as early as possible brought nothing but havoc and catastrophes. The huge chasm between how history “should take place and “had taken place annihilated innumerable souls who had chanted for revolution and left permanent scars to the survivors. Literary critics have often overlooked one perspective when analyzing this stream of fictions that reflect upon history. These works adopt a literary form of “utopian writing and construct different utopias (or dystopias in a lot of cases) so as to provide a historical review of the idealistic societies pursued in China since late-Qing and to conduct a deep evaluation of and reflection on the nature of utopian movements. They may even postulate possible alternative ways out for the historical development of China. These works stand out on the fiction landscape of the Post-Mao era. This thesis aims to conduct a thorough and in-depth examination of contemporary Chinese works of fiction featuring utopian writing and highlight their importance for literary critics and historians. / The thesis is divided into six chapters. Chapter 1 is the introduction. It outlines the research background of the thesis and explains the meaning of utopia. It also describes the development of the notion of utopia in Chinese and Western cultures and defines what utopian writing refers to in the study. The chapter then provides a literature review and describes the objectives, values, scope and methodology of the current research. Chapters 2 to 5 are the core discussion of the thesis, in which relevant literary works and literary/cultural theories are used for exploration and examination of the characteristics of utorian writing as displayed in Post-Mao Chinese fictions. Chapter 2 focuses on the dystopian writing in Mo Ying-feng’s Peach Blossom Spring (Taoyuan Meng). It analyzes the tragedy of how the pursuit of utopia ends up with the creation of a dystopia in the fiction, examining how the fiction criticizes the Confucian “Great Commonwealth and the utopian movements in the Cultural Revolution at the same time, and how the work responds to the themes in Chinese fictions of the 1980s. Chapter 3 examines Li Peifu’s Gate for the Sheep (Yang de Men). It explores how Li adopts the form of utopian writing to reflect on the possible ways leading to utopia for rural China along the historical development of the People’s Republic in the 1990s, when literary themes had grown diversified. It also discusses his frustrations about the future of China. Chapter 4 looks into Yan Lianke’s Enjoyment (Shouhuo). This highly notable fiction published in the new century does not only depict the tension between utopia and paradise, but also illustrates Yan’s anti-utopia sentiments and criticizes the deeply-rooted and influential ideology of revolution in the Post-Mao era. Chapter 5 provides a comprehensive review on Gefei’s “Trilogy of Utopia published in the new century. It analyzes its writing strategies and how it portrays the post-utopian situation in the Post-Mao era rife with nihilism and hedonism. The chapter alsodiscusses how Gefei represents individual voices amid the chaos of various utopian movements. Chapter 6 concludes the discussions in the thesis and points out how Post-Mao Chinese fictions adopt utopian writing to reflect on history and how they are torn between the pro- and anti-utopia sentiments. Finally, the thesis uses Hong Kong writer Chen Guanzhong’s The Fat Years (Shengshi) as an example to illustrate the point that concerns over the future of China have never been exclusive for writers from the Chinese Mainland. Therefore, it is believed that utopian writing about China will be an on-going literary issue in the recent future. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 鄒文律. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 215-226) / Abstracts in Chinese and English. / Zou Wenlü. / Chapter 第一章 --- 緒論 --- p.1 / Chapter 第一節 --- 研究背景 --- p.1 / Chapter 第二節 --- 何謂烏托邦？ --- p.3 / Chapter 一 --- 烏托邦的詞義 --- p.3 / Chapter 二 --- 烏托邦的三個釋義層面 --- p.4 / Chapter 三 --- 對烏托邦的反撥──惡托邦與反烏托邦 --- p.10 / Chapter 第三節 --- 中西方烏托邦觀念的演變歷程概述 --- p.12 / Chapter 一 --- 西方烏托邦觀念演變歷程 --- p.12 / Chapter 二 --- 烏托邦觀念進入中國以後 --- p.16 / Chapter 第四節 --- 烏托邦書寫的意涵 --- p.19 / Chapter 第五節 --- 文獻回顧 --- p.21 / Chapter 第六節 --- 研究目的和意義 --- p.24 / Chapter 第七節 --- 研究範圍和方法 --- p.27 / Chapter 第二章 --- 對儒家「大同」社會烏托邦與「文革」烏托邦運動的雙重批判--莫應豐《桃源夢》 --- p.31 / Chapter 第一節 --- 《桃源夢》與一九八零年代中國文學的「傳統文化批判」 --- p.31 / Chapter 第二節 --- 「天外天」的烏托邦理想：「大同」社會 --- p.37 / Chapter 第三節 --- 龍居正的烏托邦領袖形象 --- p.41 / Chapter 第四節 --- 《桃源夢》的惡托邦書寫策略：「善道」的不可行和不可取 --- p.45 / Chapter 一 --- 創建和維持烏托邦的力量--「善道」 --- p.46 / Chapter 二 --- 《桃源夢》的反烏托邦底蘊--「善道」的不可行與不可取 --- p.47 / Chapter 三 --- 對「善道」與「文革」烏托邦運動的雙重批判 --- p.53 / Chapter 第五節 --- 《桃源夢》對中國文化「深層結構」的批判 --- p.55 / Chapter 一 --- 儒家對「人」的設計及其內在缺陷 --- p.55 / Chapter 二 --- 對儒家聖君治國理想的質疑 --- p.62 / Chapter 第六節 --- 小結 --- p.66 / Chapter 第三章 --- 毛式烏托邦主義的顯影--李佩甫《羊的門》 --- p.69 / Chapter 第一節 --- 《羊的門》與一九九零年代中國文學的「無名」時代 --- p.69 / Chapter 第二節 --- 豫中平原上盛開的紅花--「呼家堡」的形象分析 --- p.72 / Chapter 一 --- 「呼家堡」與烏托邦 --- p.72 / Chapter 二 --- 「呼家堡」與毛式烏托邦主義 --- p.75 / Chapter 三 --- 「新集體主義」與「呼家堡」 --- p.83 / Chapter 第三節 --- 「我就是羊的門」--「呼家堡」的領袖與民眾 --- p.84 / Chapter 一 --- 呼天成的領袖形象 --- p.87 / Chapter 二 --- 「羊的門」與羊--「救世主」與「被拯救者」 --- p.97 / Chapter 第四節 --- 《羊的門》的烏托邦書寫之價值--以另一種歷史出路來批判社會 --- p.100 / Chapter 第五節 --- 小結 --- p.103 / Chapter 第四章 --- 烏托邦與樂園的角力--閻連科《受活》 --- p.106 / Chapter 第一節 --- 徘徊於樂園與烏托邦之間的「受活莊」 --- p.109 / Chapter 一 --- 「受活莊」的樂園圖景：「至德之世」 --- p.109 / Chapter 二 --- 追逐「共產主義烏托邦」：從「集體富強」到「各取所需」 --- p.113 / Chapter 第二節 --- 兩個時代的烏托邦領袖 --- p.118 / Chapter 一 --- 卡理斯瑪領袖與卡理斯瑪支配 --- p.118 / Chapter 二 --- 從「入社」到「退社」--茅枝的政治主體認同與拒絶 --- p.120 / Chapter 三 --- 自戀的瘋子--「革命之子」柳鷹雀 --- p.124 / Chapter 第三節 --- 《受活》的反烏托邦姿態──從「共產主義烏托邦」後撤到「至德之世」 --- p.131 / Chapter 一 --- 對毛主義的顛覆 --- p.132 / Chapter 二 --- 對後毛時期「集體一朝致富」的批判 --- p.135 / Chapter 三 --- 歸隱到「至德之世」 --- p.141 / Chapter 第四節 --- 小結 --- p.143 / Chapter 第五章 --- 中國百年烏托邦之夢--格非「烏托邦三部曲」 --- p.145 / Chapter 第一節 --- 「花家舍」--從烏托邦到銷金窟 --- p.146 / Chapter 一 --- 儒家「大同」社會烏托邦--《人面桃花》的「花家舍」 --- p.147 / Chapter 二 --- 「共產主義烏托邦」--《山河入夢》的「花家舍人民公社」 --- p.150 / Chapter 三 --- 銷金窟--《春盡江南》的「花家舍」 --- p.154 / Chapter 第二節 --- 「烏托邦三部曲」的反烏托邦書寫策略 --- p.158 / Chapter 一 --- 《人面桃花》對於「烏托邦預設」的質疑 --- p.159 / Chapter 二 --- 《山河入夢》對於烏托邦的極權主義社會本質之批判 --- p.169 / Chapter 第三節 --- 「後烏托邦狀況」--從烏托邦主義到虛無主義、享樂主義 --- p.182 / Chapter 第四節 --- 烏托邦追求下的個體聲音 --- p.189 / Chapter 第五節 --- 小結 --- p.203 / Chapter 第六章 --- 結論 --- p.205 / Chapter 第一節 --- 小說呈現的烏托邦理想價值及其反烏托邦立場 --- p.206 / Chapter 第二節 --- 毛式烏托邦主義的遺產--後毛時期個別地區的烏托邦實踐 --- p.207 / Chapter 第三節 --- 烏托邦領袖 --- p.208 / Chapter 第四節 --- 烏托邦籠罩下的「個體」聲音 --- p.210 / Chapter 餘論 --- 後毛時期香港作家的烏托邦書寫--陳冠中《盛世》 --- p.210 / 徵引文獻 --- p.215

張楠. / "2003年8月". / 論文(哲學碩士)--香港中文大學, 2003. / 參考文獻(leaves 100-104). / 附中英文摘要. / "2003 nian 8 yue". / Zhang Nan. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2003. / Can kao wen xian (leaves 100-104). / Fu Zhong Ying wen zhai yao. / 引言 --- p.1 / Chapter 第一章 --- 背景槪述 / Chapter 1.1 --- 楊沬生平 --- p.4 / Chapter 1.2 --- 政治、文化環境 --- p.6 / Chapter 1.3 --- 50年代文學中的知識份子問題 --- p.13 / Chapter 第二章 --- 硏究槪況 / Chapter 2.1 --- 討論和版本修訂 --- p.23 / Chapter 2.2 --- 「再解讀」的演進 --- p.36 / Chapter 第三章 --- 成長故事與五四之名 / Chapter 3.1 --- 另類「娜拉」 --- p.41 / Chapter 3.2 --- 愛情的政治性 --- p.46 / Chapter 3.3 --- 在「五四」的名義下 --- p.52 / Chapter 第四章 --- 文本敘事與意識形態 / Chapter 4.1 --- 身體´Ø政治 --- p.58 / Chapter 4.2 --- 欲望´Ø革命 --- p.68 / Chapter 4.3 --- 歷史´Ø敘事 --- p.77 / Chapter 第五章 --- 結語 --- p.85 / 附錄一:出版年表 --- p.89 / 附錄二:《青春之歌》評論資料 --- p.90 / 參考書目 --- p.100 / 參考論文 --- p.104

The dissertation attempted to study Yingxi Fiction, a genre of fiction, which emerged and prevailed in Shanghai during the early two decades of the twentieth century. The majority of writers of Yingxi fiction at that time were literati of the Mandarin Duck and Butterfly School. After watching the imported silent movies, they recorded the contents and adapted them as fictional texts for the purpose of introducing the stories to those who could not afford to watch the films. This type of genre was named Yingxi fiction and had been welcomed by public readers at leisure. In fact Yingxi fiction had implied how traditional literati received and absorbed western cultural elements on their way to pursue Chinese modernity. This study would like to conduct a close examination of Yingxi fiction, which has been previously ignored, through in-depth analysis of the texts and investigation of its social as well as cultural significance. This dissertation consisted of five chapters. Chapter One was an introduction of the popular fiction, movie and Yingxi fiction in Early Republican China. Previous studies on Yingxi fiction were briefly presented as well. Chapter Two dealt with the emergence of Yingxi fiction. The prefaces and peer reviews of some works of this genre would be especially studied in order to explore the motivations of the writers and their approaches to compose the Yingxi fiction. Three Yingxi fiction writers, Zhou Shoujuan (1895-1968), Bao Tianxiao (1875-1973) and Lu Dan’an(1894-1980), were comprehensively illustrated as case studies. Chapter Three focused on the application of “Paradigm” in textual analyses of Yingxi fiction. Serving as an unusual spectacle, paradigm provided a thorough understanding of the hybrid narrative style of the stories. By discussing the narrative pause, redundancy, story modes and language usage, the way in which the paradigm of Chinese fiction influenced by western literature would been exposed. Chapter Four discussed the graph-text conversion in Yingxi fiction. It was suggested that writers’ failure in identifying the moral issues and female images in western movies could be explained and might be regarded as the writers’ skills of adaptation of the stories for the sake of Chinese representations. Lastly, the conclusion chapter summed up the distinctive features of Yingxi fiction, the prominence of the genre and its significance in modern Chinese literature. Besides, the limitations and reasons of fading away of Yingxi fiction would also be expounded. / published_or_final_version / Chinese / Master / Master of Philosophy

published_or_final_version / abstract / toc / Chinese / Master / Master of Philosophy

published_or_final_version / Comparative Literature / Master / Master of Philosophy

This paper concentrates on the discussion of the relationship between 1930s Chinese modern writer Shi Zhecun and "translated modernity." The basic assumption behind this paper is that the work of fiction by Shi Zhecun is a kind of translingual practice, which is inextricably bound up with translation. It is through such a broad sense of translational activity that Shi Zhecun began his pursuit of modernity and finally obtained a kind of modernity different from the Western, the translated modernity. Looking from the perspective of translingual practice, the fictional work by Shi Zhecun is never an isolated mental work, but the consequence of cultural exchange and vigorous bombardment between Chinese and Western literature. On one hand, his fiction fails to stand outside of the progress of modernity in China, while his work is also deeply embedded in the network of Western literature on the other hand. By mean of a series of mimicry, appropriation and rewriting, he translates text from various times, spaces and media into his own work. In the fiction by Shi Zhecun, we may see the process of how foreign literature and other cultural factors rise, circulate and eventually gain legitimacy in the 1930s China. At the same time, we can also know of how they have changed the observation and conception of modern Chinese writers towards literature and the outer world. Therefore, not only does fiction by Shi Zhecun comprise the modernity experience of Shanghai, a metropolitan city in the 1930s, to synchronize with the world, but they also record responses and changes of modern Chinese fiction in the face of the progress of modernism. / This paper is divided into seven chapters. The first chapter is an introduction, which briefly introduces the background of investigation of Shi Zhecun's fiction and expounds the theoretical framework of "translated modernity". Chapter two to six are the core part of this paper. By introducing related literary and cultural theories, they serve to probe into fiction by Shi Zhecun. Chapter two draws an outline of historical materials and observes the frequent mimicry and rewriting phenomena on his early work with regard to his fictional work and translational activities, in order to grasp how he transplants forms and techniques from the Western fiction into the Chinese situation. Chapter three deepens discussion on the previous chapter and examines how Shi Zhecun employs western psychoanalytic method and narrative mechanism in his "old stories retold" to construct the interiority unique to modern fiction. Chapter four intervenes from the viewpoint of technologized visuality to analyze the relationship between psychoanalytic fiction by Shi Zhecun and modern visual text. Through the discussion of mode of space in fiction, chapter five looks at how Shi Zhecun's fiction transform modern urban space into fictional text, producing a range of thoughts concerned with modernity. Chapter six, by reconstructing his literal tradition, interprets the traditional elements found in his fiction and analyzes with different aspects his re-creation of Chinese traditional literature. Chapter seven is the conclusion, which attempts to consolidate what has been discussed before in this text, in order to contemplate the important significance of modernity in China brought about by Shi Zhecun's fiction. / Translation, since the Late Qing Dynasty, has been exhibiting great influence on China's road towards modernity. Scholars Lydia Liu and David Wang present "translated modernity" as a way to delve into the relationship between translation, Chinese Late Qing fiction and May Fourth literature. From Late Qing to May Fourth, translation has been highly influential on the period when old literature was superseded by new one. Thus, when radical anti-traditionalism wanes, would translation, among the relatively mature 30s literature, have a new significance? / 郭詩詠. / 論文(哲學博士)--香港中文大學, 2006. / 參考文獻(p. 220-233). / Adviser: Hang Fung Hoyan. / Source: Dissertation Abstracts International, Volume: 68-02, Section: A, page: 0575. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / School code: 1307. / Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2006. / Can kao wen xian (p. 220-233). / Guo Shiyong.

published_or_final_version / Comparative Literature / Doctoral / Doctor of Philosophy

by Lau Kam Fung. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1994. / Includes bibliographical references (leaves 106-114). / Chapter Chapter One --- The Self in Comparative Perspectives --- p.1 / Chapter Chapter Two --- Emergence of the New Chinese Self and Ideological Changes in Modern China --- p.18 / Chapter Chapter Three --- "Body, Self and Subjectivity in ffang Anyi's Love in a Small Town" --- p.44 / Chapter Chapter Four --- Re-assertion of Self and the New Woman in Zhang Jie's The Ark --- p.60 / Chapter Chapter Five --- "The Loss of Self in Zhang Xinxin's ""On the Same Horizon""" --- p.78 / Chapter Chapter Six --- Constructions of the Female Self in Contemporary Chinese Fiction --- p.93 / Notes --- p.102 / Works Cited --- p.106

梁珊珊. / "2006年8月" / 論文(哲學碩士)--香港中文大學, 2006. / 參考文獻(leaves 133-146). / "2006 nian 8 yue" / Abstracts in Chinese and English. / Liang Shanshan. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2006. / Can kao wen xian (leaves 133-146). / Chapter 第一章 --- 緒論 --- p.1 / Chapter 第一節 --- 硏究對象 --- p.1 / Chapter 第二節 --- 硏究範圍 --- p.5 / Chapter 第三節 --- 他人硏究成果槪述 --- p.18 / Chapter 第四節 --- 女性主義敘事學理論簡介 --- p.20 / Chapter 第二章 --- “五四´ح時期書信體小說興起的源流及槪况 --- p.26 / Chapter 第一節 --- 客觀歷史條件的具備 --- p.27 / Chapter 第二節 --- 晚清以迄“五四´ح書信體小說的流變 --- p.31 / Chapter 第三節 --- 西方文學理論的影響 --- p.42 / Chapter 第三章 --- 書信體小說的文體特徵 --- p.46 / Chapter 第一節 --- 真實性 --- p.46 / Chapter 第二節 --- 私密性/封閉性 --- p.48 / Chapter 第三節 --- 對話性/公共性 --- p.53 / Chapter 第四節 --- 兼容性 --- p.56 / Chapter 第四章 --- 書信體小說的敘述視點及敘述層次 --- p.58 / Chapter 第一節 --- 敘述視點 --- p.58 / Chapter 第二節 --- 敘述層次 --- p.74 / Chapter 第三節 --- 小結 --- p.87 / Chapter 第五章 --- 書信體小說的女性主義敘事學硏究 --- p.88 / Chapter 第一節 --- 作者型敘述聲音 --- p.94 / Chapter 第二節 --- 個人型敘述聲音 --- p.100 / Chapter 第三節 --- 集體型敘述聲音 --- p.108 / Chapter 第四節 --- 小結 --- p.110 / Chapter 第六章 --- 書信體小說的衰落 --- p.113 / Chapter 第七章 --- 結論 --- p.118 / Chapter 第一節 --- 總結 --- p.118 / Chapter 第二節 --- 硏究意義 --- p.123 / [附錄一]“五四´ح女作家小傳 --- p.125 / [附錄二] “五四´ح女作家書信體小說(1917-1927)列表 --- p.131 / 參考文獻 --- p.133 / Chapter 一、 --- 作家作品 --- p.133 / Chapter 二、 --- 參考. --- p.135 / Chapter 三、 --- 學位論文 --- p.141 / Chapter 四、 --- 期刊論文 --- p.141

「自由」在本論文中，可以理解為實體、抽象、比喻意義上的「通道」。我認為那些最初大概源於城市經驗的關於通道的想像，既是西西致力書寫的對象，也是她小說美學的理想。以本雅明的《拱廊街計劃》（Das Passagen-Werk），以及狄雪圖的步行者美學作為理解「通道」的起點。人群、商品、貨幣、資訊等的流動變易可說是它最重要的特質，從維希留速度學的角度看來，它的極致則是「消失」的空間。 / 我使用通道一詞，不僅指向西西小說中現實的城市空間和它的實踐者（通過對庶民生活細緻而富有詩意的描寫，在理論家們看來，日漸抽象無法把握的城市文化，在西西小說裡卻呈現出它最具質感而活潑的部分），同時也是西西多年來在寫作這門技藝漸漸透現的美學特徵，以及價值理想。這意味著西西以多重視點、對話、拼貼、互文，混合媒介等等技法來創造文本的開放視野，以及流動狀態，但這些明顯具有「後現代」特徵的形式並不指向意義消解的世界，它們的遊戲性充滿了對世界的深情關注。因此，西西的「通道」既有著資本主義城市開放流動的特徵，但同時也是對它那種無情個性的抵抗。流動意味著的不是消失，而是溝通與對話，以致於透現出一種生命意識：宇宙萬物可以彼此轉化流動。 / In this dissertation, “freedom can be understood as “passages in their literal, abstract and figurative senses. I consider the concept of “passages as inspired initially by urban experience, and as the theme and aesthetic ideal of Xi Xi’s fiction. Using Walter Benjamin’s The Arcades Project (Das Passagen-Werk) and Michel de Certeau’s notion of “street walkers as a starting point, the most important characteristic of “passages can be seen as their fluid, transient nature in terms of people, commercial goods, currency, information, etc.; and from the perspective of Paul Virilio’s dromology, they can be spaces of “disappearance in their most extreme form. / I use the term “passages, not only to refer to urban space and its practitioners in Xi Xi’s novels (through the poetic and meticulous descriptions of ordinary people’s daily lives, which demonstrates how Xi Xi’s work represents the most concrete and liveliest parts of urban culture--in spite of theorists’ notion of the city as an increasingly abstract space), but also to reflect the aesthetic features, ideals, and values developed over the years in Xi Xi’s writing. Using the techniques of different points of view, dialogue, collage, intertextuality, mixed media, etc., Xi Xi’s fiction enables formal fluidity and openness. But the obvious “postmodern characteristics of these formal experiments do not aim at the elimination of meaning. Rather, the playful gestures in these works are full of affectionate attention toward the world. Xi Xi’s work, therefore, adapts the fluidity of “passages in a capitalist city, but at the same time, resists its ruthless nature. “Passages in her work do not imply disappearance, but communication and dialogue. They also exhibit a vision of life: all things in the fluid universe can transform into each other. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 謝曉虹. / "2013年7月". / "2013 nian 7 yue". / Thesis (Ph.D.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 73-75). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract in Chinese and English. / Xie Xiaohong. / Chapter 引言 --- 關於通道的美學 --- p.（頁1） / Chapter 第一章 --- 穿牆人 / Chapter 第一節 --- 牆 --- p.（頁9） / Chapter 第二節 --- 名字 --- p.（頁11） / Chapter 第三節 --- 離地 --- p.（頁14） / Chapter 第四節 --- 故事的形狀 --- p.（頁17） / Chapter 第二章 --- 通道 / Chapter 第一節 --- 通道 --- p.（頁22） / Chapter 第二節 --- 陌生人 --- p.（頁28） / Chapter 第三節 --- 公共人 --- p.（頁32） / Chapter 第三章 --- 眼睛 / Chapter 第一節 --- 眼睛 --- p.（頁35） / Chapter 第二節 --- 沉思者 --- p.（頁38） / Chapter 第三節 --- 店玻璃 --- p.（頁42） / Chapter 第四章 --- 軟世界 / Chapter 第一節 --- 五十七個電視 --- p.（頁47） / Chapter 第二節 --- 縫接 --- p.（頁49） / Chapter 第三節 --- 肉體與石頭 --- p.（頁52） / Chapter 第四節 --- 軟世界 --- p.（頁55） / Chapter 第五章 --- 造房子 / Chapter 第一節 --- 立體房子 --- p.(頁59) / Chapter 第二節 --- 無數度 --- p.(頁62) / Chapter 第三節 --- 房子的自由 --- p.(頁67) / 引用書目 --- p.(頁73)