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My dissertation takes the social and symbolic location of women---the inner chambers [guige or gui]---as a point of departure to examine Ming-Qing women's unique approach to the writing of poetry. In Ming-Qing China, women continued to be assigned to the inner, domestic sphere by Confucian social and gender norms. The inner chambers were not only a physically and socially bounded space within which women were supposed to live, but also a discursive site for the construction of femininity in both ideological and literary discourses. The term gui embraces a nexus of meanings: the material frame of the women's chambers; a defining social boundary of women's roles and place; and a conventional topos evoking feminine beauty and pathos in literary imagination. Working with the literary context of boudoir poetics, yet also considering other indispensable levels of meanings epitomized in the cultural signifier guige, my dissertation demonstrates how Ming-Qing women poets re-conceive the boudoir as a distinctive textual territory encoded with their subjective perspectives and experiences. Compared with the poetic convention, the boudoir as inscribed in Ming-Qing women's texts is far more complex as its depiction is informed by nuances in their historical, social and individual experiences.

晚清時局亟變，新事物、新思想不斷湧現，傳統文體為了回應時代變化，各自作出相應的調整，唯獨詞體仍然固守舊貌。朱祖謀素有詩名，四十歲後棄詩而專注填詞，稱其詩作「不足傳世」。詩詞的美感特質各異，這種刻意的「滯後」說明朱祖謀認為詞體更能切合末代士人與遺民的表達需要。朱氏於同儕中學詞最晚而造詣最深，國變後歷任詞社社長，其詞於當時極具典範意義。然而，清末民初的政治與文化急劇轉型，傳統文學不再位居主流，由封建王朝到現代國家的過渡亦為士人帶來各種思想上的衝擊，「士」已失去了其倫理與制度上的基礎，而朱祖謀則透過在不同情境下的政治、文學抉擇將「士」的內涵重新予以彰顯。 / 本文將以詩詞之辨的角度來分析《彊村語業》中的藝術特色及其政治意涵。第三、四章討論清遺民所面臨的倫理困境與朱氏如何以詩詞回應近代世變。第五章處理朱氏擬仿金朝遺民元好問〈鷓鴣天〉宮詞八首的互文意義。鑑於純粹的文本細讀未必能夠完整地理解詞旨，第六章將以歷時角度討論庚子事變之際的四印齋詞聚與漚社詞聚中的「雅集」詞課，並將嘗試回置詞課的創作情境。本文最後指出朱氏以矢志填詞的初衷及其如何以詞體撫平歷史創傷。 / The catastrophic changes of political situation in late Qing China had brought in myriad of ideological trends and accessories. As a stimulus, the traditional literary forms had themselves fine-tuned so as to react with the social and cultural forces while ci poetry retained its old style and seemingly exempted itself from literary reforms of all sorts. Zhu Zumou was a shi poet of repute of his time. At the age of 40, he abandoned shi and dedicated to ci writing. Meanwhile, Zhu had it asserted that his shi would be no worth of posthumous circulation. Given that ci differs from shi in their aesthetic sense, the strong-willed demarcation in artistic creation illustrated that ci fitted in with Zhu’s pursuit in literary articulation as a Confucian in late Qing, and later as a Confucian loyalist after The 1911 Revolution. Zhu, among his associates, acquainted with ci the latest yet his expertise was of the highest attainments and had been reappointed the head of ci poetry society consecutively. His works was then revered as the paradigm in its field. However, in early Republican China, classical literature was not in the prestigious main stream. The sharp transformation from imperial dynasty to modern nation state had casted manifold cultural shocks upon the loyalists, thus causing the word Confucianistlost its ethical and institutional ground. In view of this, Zhu, with the circumstantial factors he engaged in, redefined the essence of Confucianist by the political and literary courses he proceeded on. / Critical attention of this essay will be drawn to explicate the political implications of Qiangcun Yuye via the aesthetic disparities between shi and ci poetry. The fourth and fifth chapter will first exemplify the ethical dilemmas that the Qing loyalists encountered and how Zhu’s self-agency reacted with the social force through shi and ci on modern historical trauma. The fifth Chapter scrutinized the intertextuality between Zhu’s emulation on Yuan’s Suite Poems to The Tone of Jiegu Tian, which share the features of Palace-Style Poetry. Seeing that close reading may not bring the intendment to light, the sixth chapter will illuminate Zhu’s works of yaji from the Siyin Cabinet gathering in the Gengzi Crisis and Ou Society in a chronic basis and contextualize the works to the social situations they were immediately written. To conclude my research, this essay intended to disinter the original intensions of Zhu’s unswerving adherence to ci writing and how Zhu tranquilized his jeopardizing experience through ci poetry. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 陳榮生. / Parallel title from English abstract. / Thesis (M.Phil.) Chinese University of Hong Kong, 2015. / Includes bibliographical references (leaves 88-91). / Abstracts also in English. / Chen Rongsheng.

馮慧心. / "2004年7月". / 論文(哲學碩士)--香港中文大學, 2004. / 參考文獻 (leaves 495-520). / 附中英文摘要. / "2004 nian 7 yue". / Feng Huixin. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2004. / Can kao wen xian (leaves 495-520). / Fu Zhong Ying wen zhai yao. / 引言 --- p.1 / Chapter 第一章 --- 結論 --- p.4 / Chapter 第一節 --- 古代女性文學研究回顧 --- p.4 / Chapter 一、 --- 女性文學史的發展 --- p.4 / Chapter 二、 --- 西方漢學界的女性文學研究 --- p.8 / Chapter 三、 --- 明清女性文學的研究 --- p.10 / Chapter 四、 --- 女性詞作的研究 --- p.12 / Chapter 第二節 --- 女性文學的資料發掘與整理 --- p.13 / Chapter 第三節 --- 《眾香詞》硏究回顧 --- p.15 / Chapter 第四節 --- 《眾香詞》研究的意義、理論及方法 --- p.20 / Chapter 一、 --- 研究意義 --- p.20 / Chapter 二、 --- 研究範關及方法 --- p.22 / Chapter 三、 --- 女性主義的啟示及應用 --- p.24 / Chapter 第二章 --- 《眾香詞》的編選背景:明末清初的時代背景與文學發展 --- p.34 / Chapter 第一節 --- 明末以來女性解放思潮 --- p.34 / Chapter 第二節 --- 出版業及郵政業的發達 --- p.38 / Chapter 第三節 --- 明清女性文學的發展 --- p.42 / Chapter 第四節 --- 明清女性選集的繁榮 --- p.46 / Chapter 第五節 --- 明末以來的詞學發展及清詞中興 --- p.48 / Chapter 第六節 --- 明清易代的離亂感慨 --- p.52 / Chapter 第三章 --- 《眾香詞》述介 --- p.55 / Chapter 第一節 --- 現今所見《眾香詞》版本 --- p.55 / Chapter 一、 --- 清代海陽彤雲軒鈔本 --- p.55 / Chapter 二、 --- 清康熙錦樹堂刊本 --- p.58 / Chapter 三、 --- 癸酉(1933年)董氏誦芬室重校本 --- p.62 / Chapter 四、 --- 1996年鄭競重校本 --- p.63 / Chapter 第二節 --- 《眾香詞》流傳概況 --- p.65 / Chapter 第三節 --- 《眾香詞》末善之處 --- p.68 / Chapter 第四節 --- 《眾香詞》之編集動機 --- p.73 / Chapter 一、 --- "為女性文學正名,使之經典化、正統化" --- p.73 / Chapter 二、 --- 為女性詞壇寫史、以女性詞作寫史 --- p.75 / Chapter 第四章 --- 《眾香詞》之編輯集團：清廷權貴與遺民幕客 --- p.80 / Chapter 第一節 --- 編輯集團成員 --- p.80 / Chapter 第二節 --- 徐樹敏、錢岳兩位編者的角色 --- p.83 / Chapter 第三節 --- 編輯集團的地域 --- p.88 / Chapter 第四節 --- 成書的分期與編輯集團 --- p.90 / Chapter 第五節 --- 編輯集團成員的參與角色 --- p.93 / Chapter 第六節 --- 清廷權貴與明室遺民：編輯集團的組合 --- p.98 / Chapter 第五章 --- 《眾香詞》的編集體例 --- p.103 / Chapter 第一節 --- 六卷之排列及特色´ؤ´ؤ以身份地位爲經 --- p.114 / Chapter 第二節 --- 六卷內部之排列及特色´ؤ´ؤ以名望成就、生活年代爲緯 --- p.110 / Chapter 第三節 --- 六卷之內容特色 --- p.115 / Chapter 第四節 --- 六卷之相互連繫 --- p.120 / Chapter 第六章 --- 《眾香詞》之採輯範圍及選詞特色 --- p.124 / Chapter 第一節 --- 眾香詞人之時空跨度´ؤ´ؤ明末清初、江南爲主之女詞人 --- p.124 / Chapter 第二節 --- 尊崇名門閨秀 --- p.128 / Chapter 第三節 --- 稱賞青樓歌妓 --- p.130 / Chapter 第四節 --- 務實可信：傳奇詞人、女鬼、女仙不載 --- p.134 / Chapter 第五節 --- 「姑存其人以廣大意」：爲女詞人留名寫史 --- p.137 / Chapter 第六節 --- 選錄遺民意識之作：明清易代的女性感受 --- p.140 / Chapter 第七節 --- 爲秦淮名妓立傳：《數集》與晚明的「文化懷舊」 --- p.151 / Chapter 第八節 --- 「不敢謾加評語」 ：不作圈點，意欲客觀 --- p.155 / Chapter 第九節 --- 《草堂》之豔冶與貞孝節烈之作並行不悖 --- p.157 / Chapter 第十節 --- 女性文人的傳統形象：迴文機巧、自憐身世、才女薄命 --- p.160 / Chapter 第十一節 --- 《眾香詞´Ø凡例》與王士祿《燃脂集例》 --- p.165 / Chapter 第七章 --- 眾香詞人及其詞作分析：私域女性(private women)´ؤ´ؤ閨秀 --- p.171 / Chapter 第一節 --- 身份背景：名門望族、閨秀圈子、儒家教育 --- p.172 / Chapter 第二節 --- 閨秀詞作分析 --- p.178 / Chapter 一、 --- 詞調形式 --- p.178 / Chapter 二、 --- 主題內容 --- p.182 / Chapter 1. --- 歷史興亡、社會時局´ؤ´ؤ家國交織的女性處境 --- p.182 / Chapter 2. --- 家族親情´ؤ´ؤ豐富的女性倫理角色 --- p.190 / Chapter 3. --- 羈旅思ˇёإ´ؤ´ؤ歸寧之思 --- p.197 / Chapter 4. --- 女性情誼´ؤ´ؤ男女關係以外的情感渴求 --- p.201 / Chapter 5. --- 相思閨怨、寄夫憶夫´ؤ´ؤ文學伴侶式的婚姻 --- p.205 / Chapter 6. --- 生活體驗´ؤ´ؤ居家性（domesticity)與日常性(dailiness) --- p.209 / Chapter 7. --- 述懷自許´ؤ´ؤ自我建構（self-construction)、主體性(subjectivity) 的呈現 --- p.213 / Chapter 8. --- 詠物´ؤ´ؤ細膩精緻的女性筆觸 --- p.217 / Chapter 9. --- 應酬和韻´ؤ´ؤ突破女性的交遊圈子 --- p.222 / Chapter 10. --- 題畫題像´ؤ´ؤ女性身份與照鏡自喻 --- p.226 / Chapter 第三節 --- 閨秀詞作之藝術特色 --- p.230 / Chapter 1. --- 纖巧細緻、典雅含蓄 --- p.230 / Chapter 2. --- 以謝道韞爲楷模、取法李清照 --- p.232 / Chapter 3. --- 女性關懷：嫦娥、七夕、女性歷史人物 --- p.236 / Chapter 第八章 --- 眾香詞人及其詞作分析：「公眾女性」（Public women)´ؤ歌妓 --- p.241 / Chapter 第一節 --- 身份背景：歌舞技藝、社交自由、國家興亡的符碼 --- p.241 / Chapter 第二節 --- 歌妓詞作分析 --- p.246 / Chapter 一、 --- 詞調形式 --- p.246 / Chapter 二、 --- 主題內容 --- p.246 / Chapter 1. --- 相思懷人´ؤ´ؤ青樓愛情的追逐 --- p.247 / Chapter 2. --- 唱酬贈答´ؤ´ؤ歌妓的社交圈子 --- p.250 / Chapter 3. --- 傷春悲秋、好景難永´ؤ´ؤ飄零身世的不安與憂慮 --- p.254 / Chapter 4. --- 身世之感´ؤ´ؤ不堪零落、自傷失節 --- p.256 / Chapter 5. --- 詠物狀物´ؤ´ؤ飄零無主之苦 --- p.258 / Chapter 6. --- 生活瑣事及觸感´ؤ´ؤ「日常性」（dailiness)及「瑣屑性」 (fragmentary) --- p.260 / Chapter 第三節 --- 歌妓詞作之藝術特色 --- p.262 / Chapter 1. --- 率性自然、熱情放浪：擺脫道德束縛的感情書寫 --- p.262 / Chapter 2. --- 預設對象、直呼對象：以「私密性」抗衡「公眾性」 --- p.264 / Chapter 3. --- 語言淺白、口語化：真率直接的書寫筆法 --- p.266 / Chapter 第四節 --- 閨秀與歌妓詞之比較分析 --- p.270 / Chapter 1. --- 題材 --- p.270 / Chapter 2. --- 語言風格 --- p.271 / Chapter 3. --- 情感表達、筆法書寫 --- p.272 / Chapter 第九章 --- 結論 --- p.273 / Chapter 一、 --- 閨秀及青樓´ؤ´ؤ女性文學的兩大傳統 --- p.273 / Chapter 二、 --- 明末清初的女詞人與詞壇關係 --- p.274 / Chapter 三、 --- 女詞人在男性傳統下之妥協與對抗 --- p.274 / Chapter 四、 --- 《眾香詞》之藝術價値與定位 --- p.275 / 附錄 / 附錄一 《眾香詞》三個版本所收詞人詞作比較 --- p.277 / 附錄二 《眾香詞》錦樹堂本與富之江本所收詞作之比較 --- p.292 / 附錄三 眾香詞人之字號、籍貫、作品集 --- p.304 / 附錄四 眾香詞人的家世背景 --- p.316 / 附錄五 眾香詞人之女性家族成員 --- p.331 / 附錄六 眾香詞人之生活年代 --- p.336 / 附錄七 眾香詞編輯集團成員資料 --- p.348 / 附錄八 從詞人小傳所見《眾香詞》引錄資料來源 --- p.365 / 附錄九 其他選本所見眾香詞人詞作數目 --- p.378 / 附錄十 選本中所見六集比例 --- p.390 / 附錄十一明末清初女性選集之編集體例及特點 --- p.392 / 附錄十二 《眾香詞》各集所用詞牌統計 --- p.401 / 附錄十三《眾香詞》所選迴文及遊戲之作 --- p.411 / 附錄十四清代詩話、詞話、文人筆記等所見眾香詞人評論 --- p.413 / 附錄十五眾香詞人文集之撰序者及與其他文人之關係 --- p.466 / 附錄十六眾香詞人之唱酬關係表 --- p.480 / 參考書目 --- p.491

吳志廉. / "2013年8月". / "2013 nian 8 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 224-232). / 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. / Wu Zhilian.

黃小蓉. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 411-430) / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Huang Xiaorong.

Shi Hua is an important genre in the traditional Chinese literary criticism. The Qing dynasty (1644-1911) is the prime period of the composition of Shi Hua, the number of which amounts to a total of more than 1,000 works. Compared with other dynasties, this figure is unsurpassable. The study of Shi Hua usually focuses on one author, one school or one dynasty, and a large-scale research from the vision of area is rare. This dissertation aims to study the works of Shi Hua of the Guangdong Province in the Qing Dynasty. Starting to appear in the Ming dynasty (1368-1644), the works of Shi Hua of Guangdong became abundant in the Qing dynasty. Even after the founding of the Republic of China in 1911, the composition of the works of Shi Hua was still occasionally observed. During the Qing dynasty, about 100 works of Shi Hua were composed by the authors of Guangdong nativity, while only 30-odd works are still extant. The rich content of these works demonstrates the intimate relationships between the Shi Hua of Guangdong and the poetry of the same area as well as the entire Qing dynasty. / The study of this dissertation is three-layered. Firstly the historical development of the works of Shi Hua of Guangdong in the Qing dynasty is discussed, and the information about the extant works and their authors is investigated. Secondly the development and evolution of the Guangdong poetry are analyzed on the basis of the content of the works of Shi Hua. Thirdly the theories and the value of several important works of Shi Hua in Guangdong are studied. The dissertation is divided into eight chapters: Chapter 1, the development of the works of Shi Hua of Guangdong in the Qing dynasty: in a chronological order, the development of the works of Shi Hua of Guangdong in the Qing dynasty is discussed in order to outline their literary thoughts. Chapter 2, the works of Shi Hua of Guangdong in the Qing dynasty and their authors: the authors' nativities and the background of composition are scrutinized. Chapter 3, the discussions about the Guangdong poetry in the works of Shi Hua of Guangdong in the Qing dynasty: the regional features of the Guangdong poetry discussed in the Shi Hua and their relations with poetry societies, clans, paintings, political background and the compilation of collectanea are studied, and the poetic thought of 'Tang-following' is emphasized. Chapter 4, the study in the works of Shi Hua of Huang Pei-fang: Huang's attitude towards the Qing poetry is studied, his poem creation theory is examined so as to reveal his poetic thought of 'Tang-following'. Chapter 5, the study in the works of Shi Hua of Zhang Wei-ping: Zhang's comments on the Qing poetry is studied, the principles and influence of his works of Shi Hua are deduced, and his poetic thoughts of 'spirit' and 'profoundness' are explored as well. Chapter 6, the study in the works of Shi Hua of Liang Jiu-tu and He Yue-yu: Liang's poetic thoughts of 'temperament' and 'freshness' is studies, and He's eclectic theory of the Qing poetry and the traditional poems is assessed. Chapter 7, the study of Liang Qi-chao's Yin Bing Shi Shi Hua: Liang's idea of literary revolution is studied, and his reforming poetic thought of new ambition and old style is illustrated. Chapter 8, the Study of Huang Jie's Shi Xue: Huang's construction of the history of Chinese poetics and its influence is probed. / 程中山. / 論文(哲學博士)--香港中文大學, 2007. / 參考文獻(p. 406-418). / Adviser: Kuan Io Wong. / Source: Dissertation Abstracts International, Volume: 69-02, Section: A, page: 0601. / 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, 2007. / Can kao wen xian (p. 406-418). / Cheng Zhongshan.

本文是第一部專以清初陶學為研究對象的論文，擬從文人的情懷、詩學的演變、詩歌的用意、意象的運用、注本的闡釋等多角度概述清初陶學的全貌。在方法上，筆者除分析當時文人對陶淵明的評論外，還選取了清初四十家身份不同的文人，比較他們詩作中運用的陶淵明典故，探討他們對「陶淵明形象」的塑造與取捨，並以歷史背景為線索，梳理陶淵明意象在清初文人心目中地位的差異與其變化。 / 基於上述的研究，筆者認為以往學術界把清初陶學只理解為「忠憤」的表現是不夠全面的，尤其是清初關於陶淵明的討論，除了遺民文人有熱烈的參與外，非遺民文人亦有相當數量的研究，而且他們之間還存在着不少的交流，互相回應。正因如此，清初和陶風氣盛極一時，並且出現了一種嶄新、「反其致」的和陶現象--〈反乞食〉詩。 / 這種借用陶淵明的意象互相交流與回應，更多反映在詩歌方面。清初文人借讀陶、評陶、和陶等方法抒發他們於易代間的鬱悶。這種詩歌世界，重現了陶淵明筆下的桃源，在這裏，他們「不知有漢，無論魏晉」，思想上可以暫時脫離現實的痛苦，悠然人間。這也使得清初《陶集》評注本的編撰，一改南宋以來十卷本的「全集」形式，而偏重於四卷本，只收錄詩作的體制。 / The author intends to discuss the reception of Tao Yuanming in the Early Qing Dynasty from the aspects such as the emotions of poets, the changes of poetics, the intentions of poetries, the poetic imageries and the differences of the editions. And, it is the first work focusing solely on the reception of Tao Yuanming in the Early Qing Dynasty. Regarding the research methods, this dissertation not only studies the critiques through the existed methods, but also analyses the existed materials in a different manner. By comparing the literary allusions of Tao Yuanming’s life of 40 scholars lived in Early Qing who had different social background, the thesis discusses how these people constructed the images of Tao Yuanming and how they selected from Tao’s qualities. The thesis also tries to sort out the different attitudes of Tao among scholars of Early Qing and its changes with regard to the historical context. / Based on the research, the author finds out that the existed understanding of the reception of Tao Yuanming in the Early Qing, which focuses on the leftover citizen’s aspect, and which portrays Tao image as a rebellion was largely incomplete. Apart from the vigorous discussions regarding the images of Tao among the leftover citizen, the non-leftover citizen also discussed Tao with great enthusiasm. Under this circumstance, a new form of He Tao Shi(和陶詩) “poems written to match Tao’s , was found in opposite mode in order to response to those leftover citizen. / By appropriation of Tao’s images in their communication and responding each other especially in poems, scholars lived in Early Qing expressed their uneasiness and pain as in the change of the regime through reading, commentary and writing of Tao’s collections. Thus, this special kind of poem allowed the Early Qing scholars to escape from the distress of the reality to an ideal world, a typical example of which was “Peach-Blossom Spring created by Tao Yuanming. This tendency reflected in the editions of Tao’s works in Early Qing Dynasty that Tao’s poems received much attention while other forms of works were not included in the collections of works. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 梁樹風. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 331-376) / Abstracts in Chinese and English. / Abstracts in English and Chinese. / Liang Shufeng. / 提要 --- p.I / 目錄 --- p.III / Chapter 第一章 --- 緒論 --- p.1 / Chapter 第一節 --- 研究範圍 --- p.1 / Chapter 第二節 --- 研究旨趣 --- p.7 / Chapter 第三節 --- 相關文獻回顧 --- p.14 / Chapter 第四節 --- 論文架構與研究方法 --- p.17 / Chapter 第二章 --- 清初陶學背景 --- p.24 / Chapter 第一節 --- 明清易代與文人「生死」的抉擇 --- p.24 / Chapter 第二節 --- 陶淵明生存方式對清初文人的啟示 --- p.29 / Chapter 第三節 --- 清初文人寄情陶淵明的表現 --- p.37 / Chapter 第四節 --- 清初遺民的逃禪與蓮社之約 --- p.56 / Chapter 第三章 --- 清初詩學與陶詩評價的關係 --- p.91 / Chapter 第一節 --- 清初詩壇尋「真」對陶詩評價的影響 --- p.91 / Chapter 第二節 --- 清初「詩史」的重視與陶淵明甲子紀年之義 --- p.115 / Chapter 第三節 --- 清初田園詩的復興與陶淵明田園詩內涵的解讀 --- p.130 / Chapter 第四章 --- 清初的擬陶、集陶與和陶 --- p.151 / Chapter 第一節 --- 清初擬陶與集陶的表現與陶文詩意的賞讀 --- p.152 / Chapter 第二節 --- 清初和陶詩的表現與其意義 --- p.162 / Chapter 第三節 --- 清初擬陶、和陶的觴濫--陶淵明〈酒二十首〉 --- p.169 / Chapter 第四節 --- 清初的「反乞食詩」 --- p.184 / Chapter 第五章 --- 清初的陶淵明意象與繪事 --- p.206 / Chapter 第一節 --- 清初陶淵明與菊的意象與繪事 --- p.207 / Chapter 第二節 --- 清初桃源的意象與繪事 --- p.228 / Chapter 第六章 --- 清初《陶集》評注本 --- p.257 / Chapter 第一節 --- 《陶淵明集》版本源流與清初的《陶淵明集》 --- p.257 / Chapter 第二節 --- 清初的《陶淵明集》注釋 --- p.277 / Chapter 第三節 --- 清初《陶集》評注的特色 --- p.319 / Chapter 第七章 --- 結論 --- p.328 / 參考書目 --- p.331 / Chapter 附錄一 --- 清初文人詩作用陶淵明典故語句輯錄 --- p.1 / Chapter 附錄二 --- 清初文人用陶淵明典故的創作時間與數量分佈 --- p.105 / Chapter 附錄三 --- 歷代書目所錄《陶淵明集》 --- p.106 / Chapter 附錄四 --- 宋代《陶集》注本研究 --- p.119 / Chapter 附錄五 --- 清初文人和陶詩附表 --- p.147

University of Macau / Faculty of Arts and Humanities / Department of Chinese

劉喜儀. / Six poets are: 朱彝尊、李良年、李符、沈皞日、沈岸登、龔翔麟. / Six poets are: Zhu Yizun, Li Liang'nian, Li Fu, Shen Haori, Shen Andeng, Gong Xianglin. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 228-245) / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Liu Xiyi.