明末清初的散文發展，前人或以載道觀念論之，或以抒情觀念論之，又或以流派分梳論之，各有其理，亦各有其弊。本人認為，明末清初散文發展自有其一以貫之的內在邏輯，因而本文力圖探尋其內在邏輯，重建其發展軌跡。本文指出，文道關係正是影響明末清初散文發展的關鍵因素，時人對於文道關係的不同詮釋與理解，決定了當時散文發展的方向。 / 「古文傳統」與「小品傳統」，是理解明清之際散文發展的重要概念。特別是周作人等以抒情為宗旨建構的「小品傳統」，對理解這一段散文史，產生了深遠的影響。然而本文通過考察「小品傳統」的建構過程，以及其所反抗的「古文傳統」之內涵，並辨析二者關係，相比起「古文傳統」內部「載道、唐宋、法度」的體系，「小品傳統」自身存在局限，並不足以貫穿明清散文的發展。相反，考察晚明小品文家的古文觀，清初古文家的小品創作，本文以為小品儘管一度興盛，然而「古文傳統」才是其時古文發展的主軸。 / 「古文傳統」既是關鍵所在，則如何詮釋文道關係是其時文壇的重要問題。本文指出明清之際的文道論接續了唐宋以來古文家與理學家的討論，並面臨如何承繼二者而有所發展的問題。本文通過辨析各家對文道合一的詮釋，考索其時文道論與唐宋古文家、理學家的論述之關係，指出明清之際的文人一方面推崇理學家道的修養，一方面提倡古文家的文章造詣，來達到文道合一。並通過加強文與經之間的關係，強調文必本於經典，來彌合古文家與理學家的分歧。 / 本文同時以錢謙益、黃宗羲、侯方域、汪琬為中心，具體討論明清之際文道關係的發展過程。指出錢謙益通過批評復古派，推崇反經，提出性情、學問與世運的主張，以道決定文的思路，拉開重建古文傳統的序幕。黃宗羲則在錢謙益的基礎上，通過擴大性情的內涵，以及道在審美上的包容性，重新詮釋文道關係。然而明清之際對侯方域的評價之轉變，從肯定其古文主張，到批評其小說筆法，恰正體現道決定文的思路在重建古文傳統過程中遇到的困境。汪琬則從道的層面維護程朱理學，從文的層面肯定復古派，批評錢謙益，排斥小說筆法，試圖通過文道並重的方法來解決困境。可以說明清之際古文的發展，正是從道決定文走向文道並重的過程。 / Prose development in late Ming and early Qing periods is accounted for by scholars in terms of the theories of Confucianism, the concepts of lyricism or the summaries of different schools of classical prose. This study holds the belief that the prose development within this period of time has its consistent internal logic, and its aim is to establish a new theory to explain and restore the track of such development based on the existing theories by previous scholars. This study points out that the relationship between dao 道 and wen 文 is the major element influencing the prose development in late Ming and early Qing; the interpretation and comprehension of it dictates the direction of prose development. / The two different traditions of classical prose and familiar essay are key concepts in understanding the prose development in late Ming and early Qing, especially the latter, which was constructed by Zhou Zuo-ren under the principle of lyricism. Based on the examination of its establishment, the nature of classical prose tradition it defies, and the relationship between the two, this study reveals that the familiar essay tradition was bound by its limitations which rendered it insufficient in accounting for the entire prose development of the whole period, in contrast to the internal system of classical prose tradition. The review of the view on classical prose by familiar essay writers in late Ming and the familiar essay output of classical prose writers in early Qing indicate that the classical prose tradition was then the main pillar of prose development and familiar essay was its subsidiary, despite its once high popularity. / With classical prose tradition being the key to prose development in late Ming and early Qing, the interpretation of the relationship between dao and wen was a significant issue in the ancient literary society. This study points out that when the scholars in late Ming and early Qing discussed dao and wen, such discussion was a continuation of that contributed by the masters of prose writing and philosophers of Neo-Confucianism since Tang and Song Dynasties, which relates to the problem of finding ways to advance through inheriting the two notions. Literary society in the past upheld the idea of fusing dao and wen. By analyzing the different interpretations of such fusion by various parties, this study investigates the relationship between the discussion of dao and wen in late Ming and early Qing dynasties and also that in Tang and Song dynasties, pointing out that by strengthening the relationship between prose and classics and emphasizing the classical basis of prose, it bridges the gap between Neo-Confucian philosophers’ morality and classical prose writers’ literariness. / Lastly, this study discusses the specific development of the theory of dao and wen during late Ming and early Qing through four case studies, namely, Qian Qian-yi’s criticism on Revival Theory, Huang Zong-xi’s theory of qing 情, the changing reviews on Hou Fang-yu, and Wang Wan’s criticism on Qian Qian-yi and fictional prose. Qian’s criticism marked the beginning of the revival of classical prose tradition during late Ming and early Qing, where he promoted the returning to classic, proposing the concept of qing and knowledge being complementary and the idea of dao determining wen. Huang, based on Qian’s thoughts, reinterpreted the relationship between dao and wen by further expanding the pool of connotations of qing and the aesthetic comprehensiveness of dao. / However, the phenomenon of scholars agreeing on Hou Fang-yu’s stand on classical prose while excoriating his ‘fictional style of prose writing techniques’小說筆法 reflects the predicament faced by the idea of dao determining wen in the process of reconstructing the classical prose tradition. Wang tried to resolve such predicament through putting emphasis on both dao and wen, defending neo-confucianism from the aspect of dao and affirming Ming Classicalists from that of wen, while criticizing Qian and rejecting fictional style. All these illustrate that classical prose development during Late Ming and Early Qing is a process of the transition from dao determining wen to emphasizing both dao and wen. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 李向昇. / Parallel title from added title page. / Thesis (Ph.D.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 215-229). / Abstracts in Chinese and English. / Li Xiangsheng.

田漢（1898-1968）是中國現代文學的重要劇作家之一。他亦以電影劇本作家、戲曲作家、詩人、小說家、散文家、翻譯家、歌詞作家、文學評論家和社會活動家知名於世。田漢雖在文學史上有著舉足輕重的地位，其研究卻長期受到政治因素制約。新時期以來，田漢研究轉趨活躍，但論者多從比較文學的角度分析其作品。本論文希望從田漢在日本大正時期留學的經歷，考察其早期藝術生命之形成。 / 大正時期，日本在經濟、文化、社會價值觀各方面都有著激烈變動，「兩性解放」為其時代精神，「新女性」的話題非常盛行。論者雖然大多留意到女性角色和婚戀議題在田漢早期作品的重要，但甚少提及田漢留日時期的經歷與其作品的關係。田漢是中國留日學生，早在日本時期即已開展話劇創作。除對外國文學的接受外，田漢實際上亦受到日本化的西方思想、運動和生活方式，例如女性解放理論、劇場運動和咖啡店文化所影響，而這些影響更以不同方式滲透到其早期作品中。本論文旨在闡述這些因素在田漢早期創作生命中所起的作用，尤其是他對女性和婚戀議題的思考和取態。本論文的研究範圍涵括田漢在二十世紀二十年代的整個創作歷程。 / 本論文共分五章，內容如下：第一章為導論，簡介田漢研究的情況、本論文的研究範圍、目的和方法。第二章至第四章討論大正時期不同的社會文化因素與田漢早期作品的關係。第二章考察田漢早期作品對日本大正時期女性解放理論的接受和轉化，以及田漢對當時社會戀愛事件的評價。第三章闡述藝術座的新劇運動，以及其創立人島村抱月和松井須磨子的戀愛事跡對田漢早期創作生命的影響。第四章從大正時代的咖啡店文化出發，分析田漢一系列不同文類、以咖啡店女侍為主角的早期作品。第五章為總結。 / Tian Han (1898-1968) is one of the most prominent dramatists of modern Chinese literature. He is also renowned as a film scriptwriter, xiqu (traditional Chinese drama) writer, poet, novelist, proser, translator, lyricist, literary critic and social activist. Nevertheless, the study of Tian had long been at a standstill due to political reasons. Since the 1980s, most of the researches have been conducted from the approach of comparative literature. This thesis, however, traces the development of Tian’s literary life by examining his experiences in Japan during the Taisho Period. / During the Taisho Period, Japan experienced tremendous changes in economy, culture and social values, with “sex liberation considered as the zeitgeist and “new women as a popular issue. Many scholars have discussed the significance of female characters and the theme of “love and marriage in Tian’s early works, but they seldom mentioned the influences by Tian’s experiences in Japan. Tian, as a returned Chinese student, had started his playwright career in Japan. Apart from the reception of western literature, Tian was also influenced by the “Japanized western thoughts, movements and lifestyle, such as feminist theories, theatre movements and café culture, which had penetrated his early works in different ways. With the focus on Tian’s literary works during the 1920s, this thesis aims at demonstrating the influences of these factors on Tian’s early writing career, particularly in studying Tian’s unique viewpoints and attitudes towards women, love and marriage. / This thesis is divided into five chapters. Chapter One gives an introduction on the background, scope, objectives and methodology of this study. Chapter Two to Chapter Four discuss the relationship between the social-cultural factors of the Taisho Period and Tian’s early works. Chapter Two examines the reception and transformation of feminist theories in Tian’s early works, as well as Tian’s evaluation towards the romance anecdotes in the Taisho Period. Chapter Three describes the importance of the Geijutsu-za theatre troupe in shingeki (new drama) movement and the love story of its founders, Hogetsu Shimamura and Sumako Matsui, on Tian’s early literary life. Chapter Four analyzes Tian’s early works of different genres featuring café waitresses with the exploration of the café culture in the Taisho Period. Chapter Five concludes the study. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 盧敏芝. / "2012年8月". / "2012 nian 8 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 135-144). / Abstract in Chinese and English. / Lu Minzhi. / Chapter 第一章 --- 導論 --- p.1 / Chapter 第一節 --- 小引 --- p.1 / Chapter 第二節 --- 田漢研究綜述 --- p.2 / Chapter 一 --- 田漢早期生平簡介 --- p.3 / Chapter 二 --- 田漢研究概況 --- p.6 / Chapter 第三節 --- 本論文之研究目的 --- p.9 / Chapter 一 --- 提出田漢研究的新角度 --- p.9 / Chapter 二 --- 重視日本因素在田漢研究中的角色 --- p.10 / Chapter 三 --- 重新探究田漢早期作品中的女性婚戀議題 --- p.12 / Chapter 第四節 --- 本論文之研究方法 --- p.15 / Chapter 第五節 --- 小結 --- p.19 / Chapter 第二章 --- 田漢與日本大正時期之女性解放思潮 --- p.20 / Chapter 第一節 --- 小引 --- p.20 / Chapter 第二節 --- 田漢對日本大正時期女性解放理論之引介 --- p.21 / Chapter 一 --- 〈秘密戀愛與公開戀愛〉 --- p.22 / Chapter 二 --- 〈第四階級的婦人運動〉 --- p.25 / Chapter 三 --- 〈吃了「智果」以後的話〉 --- p.26 / Chapter 四 --- 田漢對日本大正時期女性解放思想的取捨與評價 --- p.30 / Chapter 第三節 --- 日本大正時期的女性解放理論與田漢的早期劇作 --- p.36 / Chapter 一 --- 田漢早期劇作對愛倫．凱「新性道德」論的借鑑 --- p.36 / Chapter 二 --- 田漢早期劇作對社會主義女性解放理論的借鑑 --- p.40 / Chapter 三 --- 田漢早期劇作對女權運動的批評 --- p.45 / Chapter 第四節 --- 《薔薇之路》對日本大正時期戀愛事件的記述和評論 --- p.48 / Chapter 一 --- 「大正三美人」事件 --- p.51 / Chapter 二 --- 男性戀愛醜聞 --- p.56 / Chapter 三 --- 日本大正時期社會婚戀事件對田漢的啟示 --- p.58 / Chapter 第五節 --- 小結 --- p.59 / Chapter 第三章 --- 藝術座的新劇運動與田漢對女性議題的探討 --- p.60 / Chapter 第一節 --- 小引 --- p.60 / Chapter 第二節 --- 日本的新劇運動 --- p.61 / Chapter 第三節 --- 藝術座與田漢 --- p.63 / Chapter 一 --- 藝術座 島村抱月 松井須磨子 --- p.63 / Chapter 二 --- 田漢對松井須磨子的引介和接受 --- p.66 / Chapter 三 --- 田漢對藝術座的觀演經驗與女性解放議題 --- p.68 / Chapter 第四節 --- 藝術座對田漢早期戲劇生涯的影響 --- p.75 / Chapter 一 --- 田漢的早期話劇創作 --- p.76 / Chapter 二 --- 翻譯與改編 --- p.87 / Chapter 三 --- 對易卜生戲劇的研究 --- p.93 / Chapter 四 --- 女演員的培育 --- p.95 / Chapter 第五節 --- 小結 --- p.98 / Chapter 第四章 --- 日本大正時期之咖啡店文化與田漢筆下的「新女性」 --- p.99 / Chapter 第一節 --- 小引 --- p.99 / Chapter 第二節 --- 日本大正時期的咖啡店文化 --- p.100 / Chapter 第三節 --- 田漢與日本咖啡店的因緣 --- p.103 / Chapter 第四節 --- 《咖啡店之一夜》中的咖啡店與都市 客與女侍 --- p.110 / Chapter 第五節 --- 《到民間去》中咖啡店情節的消退 --- p.118 / Chapter 第六節 --- 小結及餘論 --- p.125 / Chapter 第五章 --- 總結及餘論 --- p.129 / Chapter 第一節 --- 小引 --- p.129 / Chapter 第二節 --- 本文研究總結 --- p.129 / Chapter 第三節 --- 餘論：田漢早期劇作中的「新女性」與三十年代的轉向 --- p.131 / Chapter 第四節 --- 小結 --- p.133 / p.135 / Chapter 附錄一 --- ：田漢於少年中國學會刊物發表作品 --- p.145 / Chapter 附錄二 --- ：田漢在日期間觀劇資料 --- p.152

Cette thèse vise à examiner la représentation des mémoires fictionnelles dans le cadre global de la littérature chinoise contemporaine, en montrant l’influence du déplacement et du translinguisme sur les œuvres des auteurs qui écrivent soit de la Chine continentale soit d’outre-mer, et qui s’expriment à travers des langues différentes. Les quatre romans Zha gen (Prendre racine) par Han Dong, Balzac et la petite tailleuse chinoise par Dai Sijie, The Crazed (La démence du sage) par Ha Jin et Rou zhi tu (Beijing Coma) par Ma Jian seront comparés en tant qu’images des mémoires individuelles de la Révolution Culturelle et du mouvement pour la démocratie qui a eu lieu à Tian’anmen en 1989. Dans la première partie, nous discuterons les nouvelles approches théoriques qui configurent la littérature chinoise contemporaine comme une entité polyglossique et déterritorialisée. Dans la deuxième partie, nous nous concentrerons sur deux exemples d’autofiction, à savoir Zha gen et Balzac et la petite tailleuse chinoise, en comparant leur représentation du temps figuré comme une évolution identitaire de l’individu. Dans la troisième partie, nous analyserons les deux romans The Crazed et Rou zhi tu, en mettant en évidence le caractère spatial de la mémoire, transposé en forme de témoignage fictionnel. Finalement, dans la quatrième partie, nous explorerons les interactions entre la littérature chinoise et la littérature mondiale, en plaçant les cas analysés dans une perspective translinguistique. À travers la comparaison entre les versions chinoise, anglaise et française des romans, nous montrerons comment les mémoires déterritorialisées sont modulées par la traduction et l’autotraduction. / This thesis aims to investigate the representation of fictional memories in the context of global Chinese literature, showing how displacement and translingualism affect the works by authors from the Mainland and from overseas, who express their creativity in different languages. The four novels Zha gen (Striking Root) by Han Dong, Balzac et la petite tailleuse chinoise (Balzac and the Little Chinese Seamstress) by Dai Sijie, The Crazed by Ha Jin, and Rou zhi tu (Beijing Coma) by Ma Jian are compared as reflections of individual memories of the Cultural Revolution and of the 1989 Tiananmen Square protests. The first part of the thesis addresses the new theoretical approaches configuring contemporary Chinese literature as a polyglossic and deterritorialised entity. The second part focuses on the analysis of two examples of autofictions, Zha gen and Balzac et la Petite Tailleuse chinoise, comparing their representation of time as reflected in the evolution of the individual. The third part explores the two novels The Crazed and Rou zhi tu, focusing on the spatial character of memory transposed in the form of a fictional témoignage. Finally, the fourth part investigates the interactions between Chinese literature and world literature, placing the cases analysed in a translingual perspective. The comparison between the Chinese, the English and the French versions of the novels shows how deterritorialised memories are modulated through translation and self-translation. / La tesi esamina la rappresentazione narrativa della memoria nel quadro globale della letteratura cinese contemporanea, mostrando l’influenza di dislocamento e translinguismo sulle opere di autori cinesi che scrivono tanto dalla RPC quanto dall’estero, in cinese o in altre lingue. I quattro romanzi Zha gen (Mettere radici) di Han Dong, Balzac et la petite tailleuse chinoise (Balzac e la piccola sarta cinese) di Dai Sijie, The Crazed (Pazzia) di Ha Jin e Rou zhi tu (Beijing Coma) di Ma Jian saranno comparati come immagini di memorie individuali della Rivoluzione Culturale e delle proteste studentesche di Piazza Tian’anmen. La prima parte si incentrerà sulla discussione di nuovi approcci teorici che inquadrano la letteratura cinese come un’entità poliglossica deterritorializzata. La seconda sarà dedicata all’analisi comparata di Zha gen e Balzac et la petite tailleuse chinoise e metterà in evidenza la rappresentazione del tempo in termini di evoluzione identitaria dell’individuo. Nella terza parte, il paragone tra The Crazed e Rou zhi tu sottolineerà il carattere spaziale della memoria come testimonianza narrativa. La quarta parte, infine, esplorerà le interazioni tra la letteratura cinese e la letteratura mondiale da una prospettiva translinguistica. La comparazione tra le versioni in cinese, inglese e francese dei romanzi mostrerà come tali memorie deterritorializzate sono modulate dalla traduzione e dall’autotraduzione.

本論文計分六章，各章章旨及其內容如下： 　　第一章為「緒論」。內容包括：「研究動機與目的」、「研究現況檢討」、「研究方法與取材」及「研究侷限與發現」。本章旨在敘述研究背景，藉由研究現況的檢討，掌握值得開發的研究空間與契機，並進一步揭示論文研究的心得。 　　第二章為「許地山的生平與思想」。探討主題包括：「戰爭對其人格特質、生命情調的啟發」、「家庭對其人道關懷、人生哲學的造就」、「治學對其知識結構、人文素養的塑成」及「時勢對其文化態度、文化參與的影響」。本章旨在透過許地山的生平與思想的交叉論述，以影響研究的觀點，彰顯許地山人格與思想的成因，並透視其人富於時代意識的特色。 　　第三章為「許地山的文藝觀」。討論範圍涵蓋：「許地山的文藝創作論」、「許地山的文藝鑒賞論」和「文藝觀的淵源與特色」。本章旨在爬梳並歸納許地山的文藝思想，分別從創作論及鑒賞論兩部分，分述其具體內容，再綰合兩者，尋繹許地山文藝觀的淵源與特色。藉以掌握許地山創作傾向的理論根據，並作為進一步解讀許地山文本的準備。 　　第四章為「許地山作品的主題意蘊」。章分四節分別探討許地山文學作品所呈現的「生命觀照與人生態度的闡發」、「情愛觀與兩性觀的宣達」、「社會現實的揭露和批判」及「去國與懷鄉──臺灣風味的書寫」。本章旨在透析許地山文學作品的主題意蘊，再回扣到許地山的生平行誼與思想內涵，驗證許地山其文實為其人之全人格的表現。 　　第五章為「許地山文學的藝術表現」。就許地山文學的藝術表現，舉其凸顯的成就作一闡釋與驗證，內容包括：「許地山文學的寓言特質」、「許地山散文的賦體成分」、「許地山文學的抒情傾向」及「女性人物的理想性格與形象」。本章旨在全面掌握許地山文學的藝術特色與成就。從許地山文本的微視與剖析後，得其主要特色有三，亦即寓言特質、賦體成分與抒情傾向。再從許地山小說人物的考察，檢視其形象塑造的得失，透過歸納許地山人物性格與形象的特徵，逼顯許地山理想的人物性格及形象。 　　第六章為「結論：許地出文學的意義與定位」。本章旨在總結本論文的研究心得。於許地山其人其文有了全面而深入的了解後，將許地山的文學回置到我國文學發展的歷史中，考察許地山文學的意義與歷史定位，獲致許地山文學的兩項意義，即許地山乃現代散文的奠基者（寓言散文的先驅）、五四文壇的臺灣代言人。 《許地山文學之研究》 論 文 目 錄 第一章 緒論 第二章 許地山的生平與思想 第一節 戰爭對其人格特質、生命情調的啟發 第二節 家庭對其人道關懷、人生哲學的造就 第三節 治學對其知識結構、人文素養的塑成 第四節 時勢對其文化態度、文化參與的影響 結 語 第三章 許地山的文藝觀 第一節 許地山的文藝創作論 第二節 許地山的文藝鑒賞論 第三節 文藝觀的淵源與特色 結 語 第四章 許地山文學的主題意蘊 第一節 生命觀照與人生態度的闡發 第二節 情愛觀與兩性觀的宣達 第三節 社會現實的揭露和批判 第四節 去國與懷鄉──臺灣風味的書寫 結 語 第五章 許地山文學的藝術表現 第一節 許地山文學的寓言特質 第二節 許地山散文的賦體成分 第三節 許地山文學的抒情傾向 第四節 女性人物的理想性格與形象 結 語 第六章 結論：許地山文學的意義與定位 參考書目 附錄：許地山生平暨作品繫年 國立政治大學中國文學系碩士論文 指導教授：簡宗梧博士

五四時期，在改造社會背景下蓬勃開展的婦女解放運動，鼓舞了知識女性們擺脫舊社會的束縛，迎向新時代開放的潮流。然而，崛起於現代文壇的這第一代女作家，卻較少受到研究者的關注。本研究是以陳衡哲、冰心、廬隱、馮沅君、凌叔華、石評梅六位已為當時人知悉的、也較具代表性的女性小說作家們，在五四時期的小說作品為取材範圍，而論題所謂「女性小說」乃廣義的說法，是指女作家創作的一切小說，而非專指女作家之反映女性生活，或表現女性意識的小說作品。研究上是針對作家與作品，在作家研究上，除了從時代變遷、社會影響來探討五四時期女作家養成的社會背景與刺激創作的動因外，也從作家個人之家庭環境、學習經歷與人世遭遇來探索她們的人格特質與創作之間的關係。在作品研究方面，是以小說的思想內容與藝術形式為分析對象，在思想內容上是探討女性小說中所呈現的三大主題︰社會關懷、婚戀主題與人生意義的追求；在藝術形式上，首先是研究五四小說中大量出現的背離傳統情節中心而改以人物性格作中心的小說之敘事結構與觀點，再來是專節分析女作家中最具藝術技巧的凌叔華小說。

Dynasties of Demons: Cannibalism from Lu Xun to Yu Hua focuses on the issue of representations of the body in modern Chinese fiction. My interest concerns the relationship, or correspondence between "textual" bodies and the physical "realities" they are meant to represent, particularly where those representations involve the body as a discursive site for the intersection of state ideology and the individual. The relationship between the body and the state has been a question of profound significance for modern Chinese literati dating back to the late Qing, but it was Lu Xun who, with the publication of his short story "Kuangren riji" (Diary of a Madman), in 1918, initiated the literaty discourse on China's "apparent penchant for cannibalizing its own people. In the first chapter of my dissertation I discuss L u Xun's fiction by exploring two distinct, though not mutually exclusive issues: (1) his diagnosis of China's debilitating "spiritual illness," which he characterized as being cannibalistic; (2) his highly inventive, counter-intuitive narrative strategy for critiquing traditional Chinese culture without contributing to or stimulating his reader's prurient interests in violent spectacle. To my knowledge I am the first critic of modern Chinese literature to write about Lu Xun's erasure of the spectacle body. In Chapters II, III and IV, I discuss the writers Han Shaogong, Mo Yan, and Yu Hua, respectively, to illustrate that sixty years after Lu Xun's madman first "wrote" the prophetic words, chi ren A (eat people), a number of post-Mao writers took up their pens to announce that the human feast did not end with Confucianism; on the contrary, with the advent of Maoism the feasting began in earnest. Each of these post-Mao writers approaches the issue of China's "spiritual dysfunction" from quite different perspectives, which I have characterized in the following way: Han Shaogong (Atavism); Mo Yan (Ambivalent-Nostalgia); and Yu Hua (Deconstruction). As becomes evident through my analysis of selected texts, despite their very significant differences (personal, geographic, stylistic) all three writers come to oddly similar conclusions that are, in and of themselves, not dissimilar to the conclusion arrived at by Lu Xun's madman.

The present project sets out to discover what the Xingshi yinyuan zhuan ('A Tale of Marriage Destinies that will Bring Society to its Senses'), an anonymous novel of manners from seventeenth-century China, can tell us about life in the world out of which it emerged. Seventeenth-century records depict China on the verge of modernity as a world torn between the traditional agricultural society and the new challenges of urban life, commerce and a money economy. The shifts from conventional norms and values gave rise to concepts of Utopia and anti-utopia: to nostalgia for the lost paradise of the past and to apocalyptic satire on present conditions. Scholars have noted the prominence of utopianism in seventeenthcentury fiction but no detailed study has been undertaken so far. Utopianism is here explored in terms of the indigenous Chinese traditions. The text of the Xingshi yinyuan zhuan is analysed to see how it perceives and reflects the seventeenth century Chinese world. Utopia serves as an analytical construct to recreate a glimpse of society and the moral evaluation of the world through the eyes of a contemporary observer. The body of the thesis analyses three major motifs in the Xingshi yinyuan zhuan: the healers, the elite and the mother. Critical comparison with other contemporary literary and historical sources attempts to place the novel into its context. The visions of Utopia and anti-utopia provide insight into the dreams and nightmares as seventeenth-century Chinese minds may have perceived them, shedding light on the vernacular culture as opposed to the officially recognised and imperially ordained culture of China.

The purpose of this study is to arrive at a critical overview of politics and literature in the Chinese context. The relationship has increasingly become a "field" of studies and theoretical inquiry that most scholars in either disciplines are wary to tread. This thesis tries to venture into this problematic field by a theoretical examination as well as an empirical critique of Chinese literature and politics, where the relationship seems even more paradoxical, but adds more insight into the argument. The Introduction and Chapter One set up a framework by asking some general but fundamental questions: what literature is, and how it is to be related to politics. Chapter Two examines the historical function of literature and Chinese writers in society to establish the basis of argument in the Chinese context. Chapter Three focuses the discussion on the relationship between politics and literature during the Mao era and after. Chapters Four analyses the literary works published during the post-Mao period to establish the argument that literature, as part of our perception of the world, is most concerned with human society and social amelioration and participates in the socio-political development by contributing to it through a discourse that is otherwise inaccessible. Chapter Five explores the argument further by extending it into the field of cinema, which basically comes from the same narrative tradition of prose literature, but offers a wider and different dimension to the argument pursued. Chapter Six and the Conclusion try to draw together the argument by examining literature as both form and content to argue how and why literature is related to politics and how it has functioned in a political manner in Chinese society. To summarise, Chinese literature in this period will b& shown to be involved In a process of political reform and development by way of bringing the reader to participate in a critical and philosophical dialogue with power, history and future. In the long run, it offers emancipating visions and possibilities revealed to the reader in ways that are historical, developmental, philosophical and comparative. This study focuses on the prose fiction published in this period, for it is the leading force in China's cultural development and constitutes the major trunk of the modern Chinese canon. In addition, the research also extends to drama and films, and the way they, together with prose fiction, make up the most popular perception and intellectual discovery of contemporary Chinese society and politics and best inform the argument of the study of politics and literature.

兩岸的女性小說在八０年代呈現出若干相似性，而這裡頭除了主題性傾向之外，主要包括了作品形式；換言之，別於同代的男作家對於後現代、後設小說（台灣）或先鋒尋根小說（中國大陸）的著迷，兩岸的女作家在此時段中基本上都守住了寫實手法，而並沒有像其男性同仁那麼大量的投入實驗性寫作。同時，這一點（兩岸女作家對於寫實手法的偏愛），加上就作品內容而言，與日後的女性文學比較起來，八０年代的女性小說的確表現出較為狹窄的格局，如上兩個因素恐怕逐漸造成此時段的女性文學最近極少成為學者的研究對象。 因此，為了突破既有的研究成果且開闢一些新的研究面向，本論文則除了主題性之外主要從寫實主義觀點切入，將小說形式結構與內容主題相結合進行探析；同時，也注意當時女作家所表現出來的自主性及自覺性，將之視為八○年代兩岸女性文學過去較未受到矚目的重要表現。此外，就「寫實主義」這個觀念而言，本文參考了這一二十年來中、西方學者對於寫實主義的再發現、再詮釋的成果，將寫實主義定義為一種不間斷的「過程」、一個需要不斷加以潤飾修正的文學形式，並且透過這個較為彈性的觀念，選取兩岸代表性的女作家各五位，藉由她們的作品，對兩岸女性文學在八０年代所經歷的從「現實」到「寫實」的過程進行了分析且比較。 首先，如果就台灣女性文學而言，從「現實」到「寫實」描述的是女作家與所處的社會之間的互動，即女作家對於轉型時期女性社會「現實」的高度關懷促使她們在不放棄各自藝術理想之同時有意地選擇「寫實」文學，成為作者與讀者之間主要溝通管道及作家參與、影響社會的工具（甚且社會性愈發強烈的作家／文本，其寫實成分也跟著提高而藝術性相對減少），那麼就對岸的女性文學來講，從「現實」到「寫實」所描寫的則是當時大陸女作家，包括整個新時期文學，從「現實主義」（即社會主義寫實主義）到一般觀念之下的「寫實主義」的轉變過程（把「寫實主義」當作刻意的抉擇要到「新寫實」才出現）──無可諱言，相對於具備了穩固且良好文學個性化與獨特化基礎的台灣（女性）文學，背負了長大幾十年「文學／家為政治服務」的歷史及文化債務之中國新時期（女性）文學，則不得不先經歷一個從「革命／現實主義」到作為創作論而允許作者發揮自己各自的藝術及創作理想的「寫實主義」之演變過程，我們才在論文中被稱為代表了「個人化」寫作路線的王安憶、池莉及方方的小說那裡看到像八○年代台灣女作家類似，大陸的女作家也開始按照自己所設想的創作目的及創作／審美原則（而不是集體化理想衝動所使然）來選取最為恰當的書寫模式及創作技巧。 本論文透過比較視野及文本語境化，分別探討了台、中兩岸女性文學在八○年代所經歷的從「現實」到「寫實」的特定過程，以期勾勒當時女作家的自覺性面向及兩岸女性文學的風貌，並且在彼此對照之下，重新評估八○年代女性寫實小說的價值及其意義。 / During the 1980s, women’s literature from both sides of the Taiwan Strait manifested certain number of similarities, that, apart from the subject matter, include also similarities in structure and form. In other words, in opposition to male writers’ enthusiasm for postmodern fiction and metafiction (Taiwan) or avantguarde and root-seeking literature (Mainland China), both Taiwanese and Chinese women writers favoured realist fiction throughout the whole decade. However, it is my belief, that it is precisely their preference for realist modes of writing (widely criticized since the heyday of poststructuralism) together with the allegedly rather limited scope as far as the subject matter of the 1980s women’s novels is concerned, that gradually caused its inevitable “downfall” – while previously hailed as the “Renaissance period of women’s fiction” in both Taiwan and Mainland China, the 1980s women’s literature from these two regions has in recent years become a topic shunned by both scholars and postgraduate students alike. In order to challenge the existing studies and open up new vistas for future research, this thesis adopts realism as an important point of departure, combining subject matter analysis together with the formal and structural analysis of the texts while also paying close attention to the strong self-consciousness of most of the women authors that should, in view of this author, be reexamined as one of the previously overlooked aspects of the 1980s women’s fiction in both Taiwan and Mainland China. Moreover, following the renewed interest in realist literature within academia during the last ten to twenty years, this thesis adopts a rather “flexible” definition of realism as a continuous “process”, or, in other words, a literary form in a state of flux, that is in a constant need of polishing and amendment. This concept is then applied to a textual analysis of ten representative women authors from both sides of the Taiwan Strait (namely Li Ang, Xiao Sa, Liao Huiying, Su Weizhen, Yuan Qiongqiong; and Shen Rong, Zhang Jie, Wang Anyi, Chi Li, Fang Fang) in a further attempt to describe and evaluate the process from “reality/socialist realism” to “realism” that characterizes Taiwanese and Chinese women’s literature during this particular period.

Zugl.: Berlin, Freie Univ., Diss., 2006