University of Macau / Faculty of Arts and Humanities. / Department of English

Thesis (M.A.)--香港中文大學. / MS. / Includes bibliographical references (l. 288-303). / Thesis (M.A.)--Xianggang Zhong wen da xue. / 緒 言 --- p.1 / Chapter 第一章 --- 揚雄與莊遵 --- p.5 / Chapter 第一節 --- 揚雄的出身 --- p.5 / Chapter 第二節 --- 莊遵的德業 --- p.8 / Chapter 第三節 --- 莊遵的著述 --- p.17 / Chapter 第四節 --- 蜀莊沉冥與揚雄立默 --- p.20 / Chapter 第五節 --- 莊遵對揚雄治學的影响 --- p.30 / Chapter 第二章 --- 揚雄與司馬相如 --- p.46 / Chapter 第一節 --- 揚雄賦之模擬相如 --- p.46 / Chapter 第二節 --- 揚雄與相如遭際之異 --- p.56 / Chapter 第三節 --- 宣帝時文人的地位 --- p.67 / Chapter 第四節 --- 揚與巴蜀文學 --- p.74 / Chapter 第五節 --- 揚馬與音樂 --- p.80 / Chapter 第三章 --- 揚雄與劉歆行誼之異 --- p.94 / Chapter 第一節 --- 揚雄與劉歆同任黃門侍郎 --- p.94 / Chapter 第二節 --- 揚劉二人之交誼 --- p.101 / Chapter 第三節 --- 揚雄心路抉微 --- p.111 / Chapter 第四節 --- 揚雄在著述中所表現的心迹 --- p.118 / Chapter 第五節 --- 劉歆與王莽之關係 --- p.134 / Chapter 第四章 --- 揚雄之著述及其成就 --- p.151 / Chapter 第一節 --- 揚雄的著作與專集 --- p.151 / Chapter 第二節 --- 揚雄在文學上的成就 --- p.169 / Chapter 第五章 --- 從法言分析揚雄之文學思想 --- p.189 / Chapter 第一節 --- 論文章法度 --- p.190 / Chapter 第二節 --- 論文道合一 --- p.198 / Chapter 第三節 --- 論文質消長 --- p.203 / Chapter 第四節 --- 論賦之諷諫 --- p.213 / Chapter 第五節 --- 論作賦之方法 --- p.223 / 附羅根澤「賦神論」質疑 / Chapter 甲 --- 司馬相如之「賦心」 --- p.223 / Chapter 乙 --- 揚雄「賦神論」質疑 --- p.227 / Chapter 丙 --- 揚雄「神」之觀念探原 --- p.232 / Chapter 第六章 --- 揚雄對巴蜀文學之貢獻 --- p.247 / Chapter 第一節 --- 文翁與巴蜀文教之關係 --- p.247 / Chapter 第二節 --- 揚雄對巴蜀文學之貢獻 --- p.263 / 參考書目 --- p.288

This dissertation examines the reception of Chinese language and literature during Tokugawa period Japan, highlighting the importation of vernacular Chinese, the transformation of literary styles, and the translation of narrative fiction. By analyzing the social and linguistic influences of the reception and adaptation of Chinese vernacular fiction, I hope to improve our understanding of genre development and linguistic diversification in early modern Japanese literature. This dissertation historically and linguistically contextualizes the vernacularization movements and adaptations of Chinese texts in the seventeenth to eighteenth centuries, showing how literary importation and localization were essential stimulants and also a paradigmatic shift that generated new platforms for Japanese literature. Chapter 1 places the early introduction of vernacular Chinese language in its social and cultural contexts, focusing on its route of propagation from the Nagasaki translator community to literati and scholars in Edo, and its elevation from a utilitarian language to an object of literary and political interest. Central figures include Okajima Kazan (1674-1728) and Ogyû Sorai (1666-1728). Chapter 2 continues the discussion of the popularization of vernacular Chinese among elite intellectuals, represented by the Ken'en School of scholars and their Chinese study group, "the Translation Society." This chapter discusses the methodology of the study of Chinese by surveying a number of primers and dictionaries compiled for reading vernacular Chinese and comparing such material with methodologies for reading classical Chinese. The contrast indicates the identification of vernacular Chinese as a new register that significantly departed from kanbun. Chapter 3 provides a broader view of the reception of Chinese texts in Japan in the same time period, discussing Hattori Nankaku (1683-1759), a kanshi poet and Ogyû Sorai's successor in literary criticism. Nankaku's contributions include a translation and annotation of the Tang shi xuan (J. Tôshi sen), an anthology of Tang poetry compiled by Ming poet Li Panlong (1514-1570). Such commentaries in accessible Japanese prose reflected the changing readership of Chinese texts, as well as the colloquialization of literary Japanese. Chapters 4 and 5 focus on literary translations and adaptations of Chinese narrative texts in different language styles. Chapter 4 analyzes kanazôshi ("kana booklet") stories by Asai Ryôi (1612?-1691) in comparison to their source text, the Ming Chinese anthology of supernatural stories New Tales Under the Lamplight (Jian deng xin hua). For a comparative perspective on translation style, this chapter also addresses adaptations of the same source story by Korean and Vietnamese authors. Chapter 5 looks into the literati genre of yomihon ("reading books") and focuses on Tsuga Teishô's (1718?-1794?) adaptations of Ming vernacular fiction by Feng Menglong. Teishô, a prolific author considered to be the inventor of this important genre, has been grossly understudied due to the linguistic complexity of his works. His adaptations of Chinese vernacular stories bridged different narrative traditions and synthesized various language styles. This chapter aims to demonstrate Teishô's innovative prose style and the close connections between vernacular Chinese and the development of early yomihon as a sophisticated, experimental genre of popular literature. This dissertation illustrates the inextricable relationships between language transformation and genre development, between vernacularization and narrative literature. It departs from the long-standing paradigm of Sino-Japanese (wakan) literary study, which treats Sinitic writing as an integral part of Japanese literary discourse, emphasizing rather a comparative linguistic approach that addresses Chinese and Japanese linguistic and literary movements in parallel. Within this framework, this project is intended as a platform for further explorations of issues of cultural interaction and translation literature.

A mysterious goddess magically generates a swirling wind to conceal the body of a hero. A licentious flower deity seduces a male to experiment with forty-three postures of copulation in a picturesque garden. Such graphic details of late imperial Chinese fiction exhibit two types of power from women: their martial prowess and seductiveness. This dissertation brings these two types of female power together by focusing on the Mysterious Woman (Xuannü 玄女) and the Immaculate Woman (Sunü 素女), two Daoist goddesses who figure prominently in martial arts and erotic stories, respectively. I argue that after being marginalized by institutionalized Daoism, these goddesses played a pivotal role in framing two different, though occasionally interrelated, types of novels. One type of novel concerns war and public affairs, including dynastic crises; the other type concerns domestic life, as exemplified in erotic fiction. The metaphor that equates sex with war relates these two types of stories. I consider these fictional texts to be powerful agents that reused and reinterpreted the goddesses’ stories in late imperial China. I also situate these texts in the cultural network within which they constructed or reconstructed the goddesses’ images in collaboration with Daoist discourse. In this research, I also examine how femininity (yin 陰) is constructed in late imperial Chinese fiction. As I argue, the ideas of invisibility (yin 隱) and licentiousness (yin 淫) constitute the notion of femininity. The Mysterious Woman demonstrates the power of invisibility when being portrayed as a goddess of war and associated with Daoist magic, such as the magic of invisibility (yinshen shu 隱身術). The Immaculate Woman represents the idea of licentiousness as she appears in various forms to seduce male protagonists. The dissertation contains two sections. The first part focuses on the following fictional texts: Water Margin (Shuihu zhuan 水滸傳), Quelling the Demons’ Revolt (San Sui pingyao zhuan 三遂平妖傳), Bull’s Head Mountain (Niutou shan 牛頭山), and Unofficial History of Female Immortals (Nüxian waishi 女仙外史). In this part, I show how the Mysterious Woman is depicted as a war goddess and a moral agent in stories concerning war, rebellion, and dynastic crises. The second part of the dissertation discusses Su’e pian 素娥篇 (The Story of Su’e), Zhulin Yeshi 株林野史 (Unofficial History of the Forest), Yesou puyan 野叟曝言 (Humble Words of A Rustic Elder), and Honglou meng 紅樓夢 (Dream of the Red Chamber). These works create various literary reincarnations of the Immaculate Woman. These reincarnations guide male protagonists to their spiritual awakenings by means of sex. While drawing on fictional and Daoist texts to rebuild the history of the Mysterious Woman and the Immaculate Woman, this research illuminates a complex relationship between Chinese fiction and Daoism.

In this dissertation, I examine a genre of commercially-published, illustrated hagiographical books. Recounting the life stories of some of China’s most beloved cultural icons, from Confucius to Guanyin, I term these hagiographical books “origin narratives” (chushen zhuan 出身傳). Weaving a plethora of legends and ritual traditions into the new “vernacular” xiaoshuo format, origin narratives offered comprehensive portrayals of gods, sages, and immortals in narrative form, and were marketed to a general, lay readership. Their narratives were often accompanied by additional materials (or “paratexts”), such as worship manuals, advertisements for temples, and messages from the gods themselves, that reveal the intimate connection of these books to contemporaneous cultic reverence of their protagonists. The content and composition of origin narratives reflect the extensive range of possibilities of late-Ming xiaoshuo narrative writing, challenging our understanding of reading. I argue that origin narratives functioned as entertaining and informative encyclopedic sourcebooks that consolidated all knowledge about their protagonists, from their hagiographies to their ritual traditions. Origin narratives also alert us to the hagiographical substrate in late-imperial literature and religious practice, wherein widely-revered figures played multiple roles in the culture. The reverence of these cultural icons was constructed through the relationship between what I call the Three Ps: their personas (and life stories), the practices surrounding their lore, and the places associated with them (or “sacred geographies”). In this dissertation, I explore this dynamic through the prism of origin narratives by focusing on the immortal Xu Xun 許遜, the god Zhenwu 真武, and the immortal bard Lü Dongbin 呂洞賓. I conclude with a case study of a recurrent theme in origin narratives: the protagonist’s journey through hell. The main goal of this dissertation is to examine the pivotal yet overlooked genre of origin narratives and unveil its significance to Chinese literature and cultural practice. What was the reading experience of origin narratives? What spurred their rise and commercial success in late Ming? And what was their long-term impact on writing and worship in late-imperial China? To answer these questions, this dissertation attempts to transcend anachronistic disciplinary boundaries that obscure the realities of life in late Ming China, and instead explore origin narratives within the broader cultural framework that informed their production and consumption during this period. Therefore, I analyze origin narratives in conjunction with a wide range of materials that fall into the realms of literature, religion, and history. These include literary works, canonical texts, popular religious tracts (baojuan and shanshu), daily-life encyclopedias, local gazetteers, geographical compendia, pictorial hagiographies, and art works. Origin narratives reflect three concomitant trends in late-Ming book culture: a renewed interest in hagiographies, a penchant for anthologizing in commercial publishing, and the multiple roles xiaoshuo narratives played in the culture. In their hybrid composition and encyclopedic scope, origin narratives are a unique late-Ming phenomenon that opens a rare window onto the interplay between literature and religion during this transformative period in the history of Chinese culture.

This dissertation is a study of cynical practices against a backdrop of increasing censorship and surveillance in Chinese everyday life. It takes a particular view that with its distinctive Chinese shades and hues, cynicism (in this work “wanshi”) as a mode of behavior and an outlook on life is embedded within what is often considered a marginal culture called “rivers and lakes” (jianghu). Oscillating back and forth between utopian vision and political reality, the cynics’ odyssey through space and time began in the imaginary world of jianghu conceived by fourth-century B.C. Taoist philosopher Zhuangzi. The jianghu of his literary creation is allegorically set in nature, a space outside officialdom and social order; only in this world can one truly roam free, unencumbered by constrictive career ambitions and complex human relationships. Jianghu alluded to the lifeworld of a hermit. About six centuries later, Zhuangzi’s vision captured the imagination of the wider intelligentsia in an empire crumbling under social and political turmoil not unlike that of the philosopher. Jianghu became a cultivated fantasy space among the literary and political elite in the cultural milieu characterized as “aesthetic hermitism”: from the construction of pleasure gardens, to hosting literary salons and drinking parties, to patronizing a hermit to dwell in the private garden for the otherworldly aura and the worldly status it brought to the hosts. Hermits jumped aboard the zeitgeist, moving from mountains and caves initially, to private gardens and later to court and marketplace that were emblematic of power and materialism. By this time, hermitism was no longer defined by the dwelling place, but rather by the inner strength unperturbed by earthly matters and surroundings. Eventually in the Song dynasty (960 – 1219), jianghu evolved into a socialized milieu for not just various misfits and outcasts that had been forced out of the longstanding clan system, but also powerful figures hiding in the imperial court with treacherous ambitions. Of the myriad jianghu figures, storytellers who disseminated historical tales of fraternal love and loyalty in taverns, in the name of righteousness, were key to popularizing the hitherto elite culture. These deviations from the original jianghu of Zhuangzi’s conception shaped the (a)social character of the emerging cynic, who is at once a realist and a player. This circuitous route to the genealogical line of the cynic affords the facilities and perspectives necessary to examine the contemporary figure of jianghu. Drawing on two years of ethnographic fieldwork in several artist communities in Beijing, particularly Songzhuang, where the artists referred to themselves and their social milieu as intrinsically jianghu, much of this dissertation looks into their lifeworld – conditions of their “habitat”, mode of existence and worldview – and their everyday practices and skills pertaining to agency and communication in order to bypass surveillance, censorship and outright subjugation. Bearing some resemblance to the bygone raconteurs in taverns, the artists’ techniques of coded communication were quickly appropriated and innovated by the general public on the constantly monitored social media and everywhere in cyperspace. Rather than discuss jianghu as a separate entity from the mainstream society, this work proposes to view it from a “practice” perspective. As such, the last part of the dissertation restages two larger-than-life online battles to reflect upon a range of potentialities of cynical practices as opposed to direct confrontations and ironic expressions in the age of hyperconnectivity.

by Katy Wai Kwan Ho. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1996. / Includes bibliographical references (leaves 146-153). / Abstract --- p.i / Acknowledgments --- p.iii / Chapter Chapter One: --- The Chinese Wanderers in the United States --- p.1 / Chapter Chapter Two: --- Cultural Fragmentation and Psychical Split: The Wanderer in Dis-placement --- p.35 / Chapter Chapter Three: --- Chinese (Ethnic)-American (Cultural) Hybridity --- p.75 / Chapter Chapter Four: --- "The ""Unhomed"" and Multiplicities of Identity" --- p.98 / Chapter Chapter Five: --- The Images of Wandering --- p.130 / Bibliography --- p.146

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Thesis (Ph. D.)--University of Washington, 1983. / Vita. Bibliography: leaves [325]-352.