abstract / Comparative Literature / Doctoral / Doctor of Philosophy

朱寶盈. / "2006年8月" / 論文(哲學碩士)--香港中文大學, 2006. / 參考文獻(leaves 164-169). / "2006 nian 8 yue" / Abstracts in Chinese and English. / Zhu Baoying. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2006. / Can kao wen xian (leaves 164-169). / 目錄 --- p.V / Chapter 第一章 --- 緒論 --- p.1 / Chapter 第一節 --- 引言 --- p.1 / Chapter 第二節 --- 《昭明太子集》 --- p.4 / Chapter 第三節 --- 前人研究述評 --- p.5 / Chapter 一、 --- 主要硏究觀點 --- p.5 / Chapter 二、 --- 蕭統詩作硏究商榷 --- p.8 / Chapter 第四節 --- 硏究目的及方向 --- p.12 / Chapter 第二章 --- 蕭統詩作析論（一）：從意象論其典麗風格 --- p.14 / Chapter 第一節 --- 引言 --- p.14 / Chapter 第二節 --- 駢句的運用´ؤ´ؤ意象的突顯 --- p.15 / Chapter 一、 --- 蕭詩駢句的應用情形 --- p.16 / Chapter 1) --- 詩作的基本結構單位 --- p.16 / Chapter 2) --- 屬對工整嚴密，具元嘉味道 --- p.17 / Chapter 二、 --- 駢句與意象的突顯 --- p.23 / Chapter 1) --- 相關理論 --- p.23 / Chapter 2) --- 駢句在蕭統詩中的情形 --- p.25 / Chapter 第三節 --- 蕭統詩基調的形成´ؤ´ؤ辭藻的修飾與意象的性質傾向 --- p.31 / Chapter 一、 --- 意象的性質傾向 --- p.31 / Chapter 1) --- 色彩華麗的意象 --- p.32 / Chapter 2) --- 典正雍容的意象 --- p.35 / Chapter 二、 --- 冷靜客觀的景物描寫 --- p.38 / Chapter 第四節 --- 結語 --- p.42 / Chapter 第三章 --- 蕭統詩作析論（二）：論蕭詩的典故運用 --- p.44 / Chapter 第一節 --- 引言 --- p.44 / Chapter 第二節 --- 用典的準則一一風格與內容的配合 --- p.45 / Chapter 一、 --- 體式 --- p.46 / Chapter 二、 --- 題材內容 --- p.47 / Chapter 第三節 --- 典故的構成形式與詩歌密度的提升 --- p.51 / Chapter 一、 --- 典故的構成形式 --- p.52 / Chapter 1) --- 截取具代表性的詞語 --- p.55 / Chapter 2) --- 壓縮原典句子 --- p.56 / Chapter 3) --- 改變原典次序和結構 --- p.57 / Chapter 二、 --- 用典方法對詩歌效果的影響 --- p.58 / Chapter 第四節 --- 以典故達意的具體情形 --- p.62 / Chapter 一、 --- 以典詠物 --- p.62 / Chapter 二、 --- 以典詠人 --- p.67 / Chapter 三、 --- 以典抒情 --- p.70 / Chapter 第五節 --- 結語 --- p.73 / Chapter 第四章 --- 蕭統詩與齊梁新變詩風之比較 --- p.75 / Chapter 第一節 --- 引言 --- p.75 / Chapter 第二節 --- 齊梁新變詩風 --- p.76 / Chapter 一、 --- 齊梁文學的新變思潮 --- p.76 / Chapter 二、 --- 「永明體」 --- p.79 / Chapter 三、 --- 「宮體」 --- p.80 / Chapter 第三節 --- 蕭統詩與「永明體」及「宮體」之比較 --- p.82 / Chapter 一、 --- 體式 --- p.83 / Chapter 二、 --- 題材 --- p.90 / Chapter 1) --- 與「永明體」的比較 --- p.90 / Chapter 2) --- 與「宮體」的比較 --- p.92 / Chapter 3) --- 佛教眾會 --- p.97 / Chapter 4) --- 小結 --- p.100 / Chapter 三、 --- 聲律 --- p.101 / Chapter 四、 --- 語言 --- p.108 / Chapter 第四節 --- 結語 --- p.113 / Chapter 第五章 --- 蕭統與梁朝詩壇 --- p.115 / Chapter 第一節 --- 引言 --- p.115 / Chapter 第二節 --- 蕭統與東宮文人 --- p.116 / Chapter 一、 --- 東宮文人的主要成員簡介 --- p.116 / Chapter 二、 --- 蕭統及東宮文人之關係 --- p.122 / Chapter 第三節 --- 東宮文人的文學主張及創作傾向 --- p.126 / Chapter 一、 --- 文學主張 --- p.127 / Chapter 1) --- 劉孝綽 --- p.127 / Chapter 2) --- 王筠 --- p.130 / Chapter 二、 --- 創作傾向 --- p.132 / Chapter 1) --- 劉孝綽 --- p.133 / Chapter 2) --- 王筠 --- p.138 / Chapter 3) --- 小結 --- p.141 / Chapter 第四節 --- 蕭統與梁朝中期詩壇 --- p.145 / Chapter 一、 --- 關於「蕭統文學集團」說 --- p.146 / Chapter 二、 --- 關於「梁朝中期復古思潮」說 --- p.151 / Chapter 第五節 --- 關於《文選》編纂者的爭議 --- p.157 / Chapter 第六節 --- 結語 --- p.159 / Chapter 第六章 --- 總結 --- p.161 / 主要參考書目 --- p.164 / 附錄一：劉孝綽短篇詩作中的入律句子 --- p.170 / 附錄二：王筠短篇詩作中的入律句子 --- p.175

在歷史上，南宋與金處於對峙狀態，兩方沒有文學與文化的交流，就詩歌而言，在當時是兩個獨立的詩壇，各自發展；但是在元、明以後的詩歌論述中，它們逐漸發生聯繫，最終被置於同一詩歌傳統中。究竟從分到合，是怎麼的一個過程？過程背後蘊含著甚麼文化及詩學觀念？ / 陸游（1125-1210）、元好問（1190-1257）是繼蘇軾、黃庭堅以後，最著名的古典詩人，分別代表南宋、金源詩學。他們的詩論與詩作都一直是學界關注的議題。由於他們分屬南宋、金源，兩方詩學互不關涉，近世學者遂視他們為彼此無關的詩人。無論是文學通史還是斷代文學史，都是南北各自論述，陸、元絶無關聯。 / 但是，筆者經研究發現，自元代以來，南宋、金詩便被關聯起來，不斷做對比與評價，而衡量標準實既牽涉到正統朔閏的政治問題，也涉及到詩學源流的審美問題。元初文人關注文化承傳，從時代政治判斷金詩優於南宋；明代復古派關注詩歌取徑，以兩者分屬中唐、晚唐，一概貶斥；而清代主變者關注詩學傳統，他們雖承認南宋、金詩並非正統，卻認同兩者值得取逕，甚至將兩者從中、晚唐傳統抽離，視之為杜詩傳統的發展。南宋、金詩地位提高之餘，更由兩個原來獨立的傳統，統合在同一脈絡之下。 / 元明以來，南宋、金詩的比較是詩歌史敘述重要的一環。歷代的評價環環相扣，側重點卻各有不同。這些側重點的差異正反映了論者論述南宋、金詩時用以參照系統的不同。從中，我們可看到陸游、元好問成為後世典範的原因和過程：他們面對唐、宋詩完全成熟的階段，卻能出入唐、宋，自成一家；儘管詩風、詩論有差異，二人均可上溯不同源流，故對宗唐還是主宋者而言，都是重要的師法對象。筆者期望通過本研究，能夠釐清陸游、元好問，乃至南宋、金詩對後來詩學發展的影響。 / Relations between the Southern Song and Jin were tense and hostile, hense there were very limited communications in literature and culture. At that time, the two schools of poetry developed independently. However, from the Yuan Dynasty onwards, scholars often made comparisons with the two schools, and gradually treated them as one poetic tradition. The thesis explores this emerging progess and the poetic concepts behind. / Lu You (1125-1210) and Yuen Haowen (1190-1257) are the most famous poets of classical Chinese literature after Su Xi and Huang Tingjian. They represent the Southern Song and Jin poetry respectively. Their poetic theories and works are always discussed, but not compared. It is because scholars of the recent generations recognized Southern Song and Jing as two independent schools of poetry. Therefore, in the Chinese literature history, no matter it is in general or by stages, the coexistence of the two poets are often neglected. / The author proposes since the Yuan Dynasty, the relationship between the schools of the Southern Song and Jin poetry started to gain notice. The works were compared as a way of review and the standards were mainly about legitimacy and the poetic origins. The Yuan scholars concerned heritage aspect and approved that the Jin poetry was better than the Southern Song. The Ming scholars concerned the way to assimilate the Tang poetry. They regarded Southern Song and Jing poetry as the mid and late Tang poetry, whereas Qing Scholars recognized them as a development of the school of Tu Fu poetry. The values of the Southern Song and Jin poetry raised and emerged into one school. / In he Yuan Ming and Qing Dynasties, the comparison of the Southern Song and Jin poetry is one of the most important issues in Chinese literary history. Evaluations were done from different aspects and with different purposes and they all reflect different points of views of the scholars. Through the comparison, we can have a better understanding of the reasons and progress of how Lu You and Yuan Haowen became the paragons of the later generations and how they made themselves stand out from Tang and Song poetry and became the important studying models of classical poetry. By this research, the author wishes to give a clear image of the influence of the Chinese classical poetry development given by Lu You, Yuan Haowen and also the Song and Jin poetry. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 蘇穎添. / Thesis submitted: December 2012. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 208-221) / Abstracts in Chinese and English. / Su Yingtian. / 論文提要 --- p.i / Abstract of Thesis --- p.ii / 目錄 --- p.iv / Chapter 緒論 --- 現今詩學研究對南宋、金源分合未有足夠重視 --- p.2 / Chapter 一、 --- 南宋、金詩的高下是歷代均關注的詩學命題 --- p.6 / Chapter 二、 --- 南宋、金詩歌史敘述圍繞陸游、元好問展開 --- p.13 / Chapter 三、 --- 南宋、金詩歌史敘述圍繞陸游、元好問展開 --- p.13 / Chapter 第一章 --- 陸游、元好問可比性探析 --- p.17 / Chapter 一、 --- 俱有針砭詩壇流弊的主張 --- p.18 / Chapter 二、 --- 轉益多師，兼宗唐、宋 --- p.24 / Chapter 三、 --- 詩論、詩風同中有異，並論是詩歌史敘述的結果 --- p.38 / Chapter 第二章 --- 南北爭衡：南宋、金詩在元代的文化正統之爭 --- p.49 / Chapter 一、 --- 陸游、元好問分別代表東南、中原詩學，實出於文化認同 --- p.51 / Chapter 二、 --- 南北分合引發宋、金詩之爭 --- p.59 / Chapter 三、 --- 南宋、金源詩學衰落牽涉南北文化消長 --- p.66 / Chapter 四、 --- 後人視元好問為元代詩學先導 --- p.77 / Chapter 第三章 --- 偏離盛唐：宋、金詩在明代的評價問題 --- p.80 / Chapter 一、 --- 元代文化在明初得到承認，南宋、金源詩受排斥 --- p.81 / Chapter 二、 --- 在明代復古派興起前的宋、元詩之爭 --- p.85 / Chapter 三、 --- 陸游、元好問被派入中唐、晚唐的傳統 --- p.91 / Chapter 四、 --- 宋、元詩風從相爭到融合 --- p.109 / Chapter 第四章 --- 折衷唐宋：宋、金詩在清代合流的過程 --- p. 116 / Chapter 一、 --- 清人反思宋、元詩之失 --- p.116 / Chapter 二、 --- 陸游從南宋江西體中被抽離 --- p.122 / Chapter 三、 --- 杜詩傳統將陸游、元好問結合為同一發展脈絡 --- p.131 / Chapter 第五章 --- 「天放奇葩角兩雄」：清中葉翁方綱的陸游、元好問比較 --- p.142 / Chapter 一、 --- 突破「詩到蘇、黃盡」的困境 --- p.143 / Chapter 二、 --- 以元好問七古在陸游之上，帶出二人詩學淵源的分歧 --- p.146 / Chapter 三、 --- 强調陸游「自行於千古」，否定其與傳統的淵源 --- p.155 / Chapter 四、 --- 通過元優於陸，反思清初詩學 --- p.161 / Chapter 第六章 --- 以金接宋：翁方綱對「蘇學盛於北」說的强調 --- p.167 / Chapter 一、 --- 古今學者質疑「蘇學盛於北」說 --- p.169 / Chapter 二、 --- 趙秉文、元好問反思蘇學 --- p.180 / Chapter 三、 --- 翁方綱為何强調「蘇學盛於北」 --- p.202 / 結語 --- p.205 / 參考書目 --- p.208

Lam Yee Man. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2006. / Includes bibliographical references (leaves 95-103). / Abstracts in English and Chinese. / Abstract --- p.ii / Introduction --- p.1 / Chapter Chapter one: --- The anthropocentrism/ androcentrism debate --- p.10 / Chapter Chapter two: --- Self/ nature relationships: Self Realization and the relational self --- p.37 / Chapter Chapter three: --- the self/ nature relation in Wang's object- oriented poems --- p.53 / Conclusion --- p.82 / Endnotes --- p.86 / Bibliography --- p.95

This thesis explores changes in approaches to the interpretation of the genre of classical Chinese poetry re-created as English poetry during the twentieth century. This genre, produced by two literary cultures - Chinese and English - is subjected to critical scrutiny in both its original and re-created forms and this study discusses the extent to which critical theories resulted in shifts in the interpretive approaches of twentieth century translations of the genre. Interpretive changes are exposed by comparative analysis of publications of the genre by Ezra Pound and Arthur Waley, Burton Watson and Gary Snyder, James J. Y. Liu and Stephen Owen and Pauline Yu and Haun Saussy. This involves a discussion of how their formative years, environmental factors and critical pressures influenced their approaches to interpretation of the genre. The study found that changes to interpretative approaches for the genre rested on two key experiences of translators and readers. Primary influences - family, education and personal pursuits - did affect interpreters of the genre but secondary influences - critical theories, literary trends, political, religious and social movements - had greater impact on interpretive change. Isogesis, an unavoidable factor of cultural interpretation, insidiously influenced how the genre was interpreted and that the increased use of montage and anthology late in the twentieth century attempted to reduce the effect of isogesis and, even more importantly, returned the genre to its cultural roots, the Shijing, the earliest Chinese classical anthology of poetry. This study illustrates three areas of importance. Firstly, it shows that biographical and environmental factors affecting translators caused shifts in approach to interpretation of classical Chinese poetry re-created as English poetry. Secondly, choices of what to re-create and print - made by translators, editors and publishers - affect reader response to the genre. Thirdly and finally, it suggests the possibility that the interpretive approaches of these eight translators can be employed as poetic montage in the third millennium to reduce the effect of misinterpreting of the genre. / Thesis (M.A.)--School of Social Sciences, 2006.

No description available.

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.

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.

司徒國健. / 論文 (哲學碩士)--香港中文大學, 1999. / 參考文獻 (leaves 324-342). / 附中英文摘要. / Situ Guojian. / Lun wen (zhe xue shuo shi)-- Xianggang Zhong wen da xue, 1999. / Can kao wen xian (leaves 324-342). / Fu Zhong Ying wen zhai yao. / 序說 --- p.1-11 / Chapter 第壹節、 --- 硏究緣起 --- p.1 / Chapter 0.1.1 --- 硏究範圍 / Chapter 0.1.2 --- 硏究緣起 / Chapter 0.1.3 --- 學術意義與硏究價値 / Chapter 第貳節、 --- 硏究資料簡介 --- p.6 / Chapter 第參節、 --- 本文結構 --- p.8 / 上篇 / Chapter 第一章 --- 引論 --- p.12-37 / Chapter 第壹節、 --- 晚明學術思想與文學思潮 --- p.12 / Chapter 1.1.1 --- 晚明學術思想與文學思潮之遞變 / Chapter 1.1.2 --- 東林講學與經世文論 / Chapter 1.1.3 --- 文人集團與明季黨社之特質 / Chapter 第貳節、 --- 明淸之際經世思潮及「經世」詩說 --- p.20 / Chapter 1.2.1 --- 經世之學與文學經世 / Chapter 1.2.2 --- 陳子龍經世之學與「經世」詩說 / Chapter 第參節、 --- 明代詩學與陳子龍詩說 --- p.24 / Chapter 1.3.1 --- 明代詩壇與文學復古思潮 / Chapter 1.3.2 --- 陳子龍不執囿於詩法 / Chapter 第肆節、 --- 幾社文學與陳子龍「經世」詩說 --- p.29 / Chapter 1.4.1 --- 幾社詩風 / Chapter 1.4.2 --- 幾社文風與「縱橫家」、「詩教」與「經世」詩說 / Chapter 第伍節、 --- 《皇明詩選》與陳子龍詩說 --- p.33 / Chapter 第陸節、 --- 結語 --- p.36 / Chapter 第二章 --- 陳子龍生平、「經世」思想 與詩學源流 --- p.38-59 / Chapter 第壹節、 --- 陳子龍生平簡介 --- p.38 / Chapter 2.1.1 --- 傳略 / Chapter 2.1.2 --- 陳子龍之殉節 / Chapter 第貳節、 --- 陳子龍經世思想 --- p.43 / Chapter 2.2.1 --- 陳子龍經世思想源流說略 / Chapter 2.2.2 --- 陳子龍文學思想 / Chapter 第參節、 --- 陳子龍詩學源流考述 --- p.47 / Chapter 2.3.1 --- 陳子龍詩學地位及評價 / Chapter 2.3.2 --- 辨陳子龍「繼『明七子』模擬」 / Chapter 2.3.3 --- 陳子龍與艾南英「婁江之辯」考 / Chapter 2.3.4 --- 陳子龍兼備眾體 / Chapter 第肆節、 --- 陳子龍之交遊與其詩學淵源 --- p.56 / Chapter 第伍節、 --- 結語 --- p.58 / Chapter 第三章 --- 陳子龍「經世」詩說 與明季黨社之淵源 --- p.60-82 / Chapter 第壹節、 --- 幾社之質性及與東林、復社之淵源 --- p.60 / Chapter 3.1.1 --- 綜說 / Chapter 3.1.2 --- 明末文社之議政性質 / Chapter 第貳節、 --- 幾社之「古學」與「復古」 --- p.65 / Chapter 3.2.1 --- 明代「古學」槪說 / Chapter 3.2.2 --- 明季「古學」與幾社、復社之「復古」 / Chapter 3.2.3 --- 幾社之復興「絶學」與「尊經復古」之文學觀 / Chapter 第參節、 --- 幾社之名義與陳子龍文學「復古」 之淵源 --- p.74 / Chapter 3.3.1 --- 幾社名義與《易》學經世 / Chapter 3.3.2 --- 陳子龍「文學復古」與《易》之「變」 / Chapter 第肆節、 --- 結語 --- p.81 / Chapter 第四章 --- 陳子龍「經世」詩說之特質 --- p.83-129 / Chapter 第壹節、 --- 「經世」詩說之名義 --- p.83 / Chapter 4.1.1 --- 釋名義 / Chapter 4.1.2 --- 「經世」詩說與淸初經世詩風 / Chapter 第貳節、 --- 綜論「經世」詩說之特質 --- p.85 / Chapter 4.2.1 --- 「經世」詩說之「復古」 / Chapter 4.2.2 --- 「宗經」與「重質不輕文」之詩旨 / Chapter 4.2.3 --- 「文學基準」與「〈大雅〉之音」 / Chapter 第參節、 --- 「經世」詩說中詩之功用（上） --- p.91 / Chapter 4.3.1 --- 以「宣導盛美」、「頌規褒刺」爲詩之用 / Chapter 4.3.2 --- 以「憂時託志」、「刺譏當時」爲詩之用 / Chapter 第肆節、 --- 「經世」詩說中詩之功用（下） -「經世」詩說中詩歌與世運，與竟陵「亡國之音」 --- p.96 / Chapter 4.4.1 --- 槪說 / Chapter 4.4.2 --- 明季風俗之壞與禮教之關係 / Chapter 4.4.3 --- 「經世」詩說中詩歌與世運，與竟陵「亡國之音」 / Chapter 第伍節、 --- 「經世」詩說中之「情」 --- p.105 / Chapter 4.5.1 --- 「一情」與「眾情」 / Chapter 4.5.2 --- 陳子龍之「情」與「經世」詩說之「情」 / Chapter 第陸節、 --- 「經世」詩說中之「法」 --- p.115 / Chapter 4.6.1 --- 輕「詩法」，以「宗經」爲不易之「法」 / Chapter 4.6.2 --- 以《詩經》爲「法」 / Chapter 4.6.3 --- 以「比、興」爲「法」 / Chapter 第柒節、 --- 「經世」詩說與「雖頌皆刺」 --- p.123 / Chapter 4.7.1 --- 濫觴 / Chapter 4.7.2 --- 「雖頌皆刺」說釋論 / Chapter 第捌節、 --- 結語 --- p.128 / 下篇 / Chapter 第五章 --- 《皇明詩選》綜論 --- p.130-185 / Chapter 第壹節、 --- 《皇明詩選》編纂動機 與「經世之學」之淵源 --- p.130 / Chapter 5.1.1 --- 槪說 / Chapter 5.1.2 --- 明季淸初「經世致用」思潮與文學選本 / Chapter 5.1.3 --- 《皇明詩選》之編纂宗旨與經世致用之學 / Chapter 5.1.4 --- 《皇明詩選》與《皇明經世文編》及陳子龍經世 著述之淵源 / Chapter 第貳節、 --- 《皇明詩選》版本考述 --- p.145 / Chapter 5.2.1 --- 綜述 / Chapter 5.2.2 --- 《皇明詩選》諸本比義 / Chapter 5.2.3 --- 小結 / Chapter 第參節、 --- 《皇明詩選》編者生平簡介 --- p.153 / Chapter 5.3.1 --- 雲間三子 / Chapter 5.3.2 --- 夏完淳 / Chapter 5.3.3 --- 徐孚遠 / Chapter 第肆節、 --- 結語 --- p.162 / 〔第五章附論〕：《皇明詩選》編纂諸問題 --- p.164-185 / Chapter 5.5.1 --- 《皇明詩選》編纂徵實 / Chapter 5.5.2 --- 「夏完淳校定《皇明詩選》說」考辨 / Chapter 5.5.3 --- 《皇明詩選》之流傳及其附帶問題 / Chapter 5.5.5 --- 《皇明詩選》與明思宗 / Chapter 第六章 --- 《皇明詩選》詩集結構及 其「格調」與「宗主」觀 --- p.186-207 / Chapter 第壹節、 --- 綜論 --- p.186 / Chapter 第貳節、 --- 《皇明詩選》體例與詩集結構 --- p.187 / Chapter 6.2.1 --- 復古派之詩集結構 / Chapter 6.2.2 --- 《皇明詩選》體例與詩集結構 / Chapter 第參節、 --- 《皇明詩選》「格調」說 --- p.190 / Chapter 6.3.1 --- 「格調」釋義 / Chapter 6.3.2 --- 「格調」觀與復古派 / Chapter 6.3.3 --- 《皇明詩選》所見陳子龍「格調」觀 / Chapter 第肆節、 --- 《皇明詩選》「宗主」觀 --- p.195 / Chapter 6.4.1 --- 「文學宗主」釋義與「格調」觀之關係 / Chapter 6.4.2 --- 《皇明詩選》對明代「宗主」論之承繼 / Chapter 6.4.3 --- 《皇明詩選》「宗主」觀之特色 / Chapter 第伍節、 --- 結語 --- p.207 / Chapter 第七章 --- 從「經世」詩說析論 《皇明詩選》 --- p.208-247 / Chapter 第壹節、 --- 引言 --- p.208 / Chapter 第貳節、 --- 釆詩觀風，以正得失 --- p.209 / Chapter 7.2.1 --- 綜論 / Chapter 7.2.2 --- 選詩舉隅 / Chapter 第參節、 --- 選詩以存史，明善惡以繩當世 --- p.216 / Chapter 7.3.1 --- 侖 / Chapter 7.3.2 --- 選詩舉隅 / Chapter 第肆節、 --- 張溫柔敦厚之旨，以致王者之治 --- p.233 / Chapter 7.4.1 --- 綜論 / Chapter 7.4.2 --- 選詩舉隅 / Chapter 第伍節、 --- 結語 --- p.246 / Chapter 第八章 --- 結論 --- p.248-251 / 附錄 / 《皇明詩選》原〈序〉全文 --- p.252-256 / 附表 --- p.257-315 / Chapter 一、 --- 《皇明詩選》篇目總表 / Chapter 二、 --- 《皇明詩選》詩體統計表（甲） / Chapter 三、 --- 《皇明詩選》詩體統計表（乙） / Chapter 四、 --- 陳子龍評點《皇明詩選》總表 / Chapter 五、 --- 當代《皇明詩選》善本舉隅表 / Chapter 六、 --- 淸以來書目所見《皇明詩選》舉隅表 / Chapter 七、 --- 《皇明詩選》編纂紀事年月表 / Chapter 八、 --- 《皇明詩選》詩人被禁文集 及著作舉隅表 / Chapter 九、 --- 《皇明詩選》《皇明經世文編》作者比較表 / 附圖 --- p.316-323 / 參考書目 --- p.324-342

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.