楊青. / "2013年8月". / "2013 nian 8 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 172-182). / 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. / Yang Qing.

現代文學與現代藝術之間，有著千絲萬縷的關係，可是在具體操作中，往往被分開來，各自獨立開展研究。自「文化研究」興起，學界方才將兩者結合起來，二十世紀上半葉中國文學界關注英國畫家比亞茲萊(Aubrey Beardsley )(1872--1898)是很好的切入口，因諸多新文學作家(如魯迅、聞一多、梁實秋、邵洵美、郁達夫、葉靈鳳……)都對比亞茲萊有間接或直接的論述。 / 本文將比亞茲萊和中國現代文學結合研究，不囿於文化研究、比較文學研究或視覺文化研究的幾個範疇，嘗試在中國現代文學的領域作跨學科研究，除了發掘學界所忽略的原始材料外，也會從翻譯、出版、藝術、文化、思想幾個領域探討「比亞茲萊在中國」這一現象帶出的「中國現代性」思考。 / 本文導言部份會簡介比亞茲萊在中國現代文學與出版界的再現情況，接著會評述中國在比亞茲萊研究這一學術領域的成果及不足之處，然後從本論文的研究概念、方法與主題進入正式論述。本文第一章會探討被稱為「中國比亞茲萊」的作家葉靈鳳的文字與圖像創作，從一系列原始材料的鋪展與圖文對讀中，筆者將質疑「中國比亞茲萊」這稱謂的實質內容，從而呈現出歷來學者對葉靈鳳及創造社研究的誤讀之處。本文第二章會詳細討論魯迅編《比亞茲萊畫選》的小引及選畫問題，筆者將以西文原典證明歷來學界對小引是「魯迅寫」的錯誤認知，本文將從小引的「魯迅硬譯」開始，探討魯迅的藝術觀與其文字作品呈現精神世界的契合點。本文第三章將以比亞茲萊與中國現代文學中的世紀末思潮為題，探討幾個中國作家筆下呈現的比亞茲萊，筆者將以專題形式討論郁達夫的頹廢與比亞茲萊的異同；梁實秋、聞一多留美歲月中的比亞茲萊論述；張愛玲小說中把比亞茲萊放在第二次世界大戰中的意義。本文第四章將從出版史的角度，考察一個世紀以來比亞茲萊畫冊/圖像在中國的出版情況，探討其中的文化、政治、社會意義。 / 研究比亞茲萊在中國的現象，從百年來中國現代社會的建立，到中國作家不同語境中比亞茲萊的呈現，最終會落入對比亞茲萊藝術「現代性」的思考，本文總論部份將探討比亞茲萊的「中國式面孔」帶來的「中國現代性」迷思，呈現中國現代文學與西方現代藝術糾纏而複雜的面相。 / Modern literature and contemporary arts are inter-related, yet they have been usually regarded as completely different and independent perspectives in academic researches. Cultural Studies is the first academic field to combine these two perspectives for cultural phenomena explorations. The attention and discussion on English illustrator Aubrey Beardsley (1872 - 1898) by the Chinese literature circle (including writers such as Lu Xun、Wen Yiduo、Liang Shiqiu、Shao Xunmei、Yu Dafu、Ye Lingfeng etc.) in early 20th century could serve as a proper entry point for the study of interaction between literature and picture. / This paper will implore Beardsley and modern Chinese literature, not only by applying the theories of cultural studies, comparative literatures and visual arts, but also making an attempt at an interdisciplinary study based on modern Chinese literature. It will be studied how the phenomenon of "Beardsley in China" has led to the thinking of "Modernity of China" through different perspectives including translation, publication, arts, culture and philosophy. / To start, the prelude shall give a brief introduction on the representations of Beardsley in Chinese modern literature and publishing industry. The studies on the topic of "Beardsley in China" and its inadequacies will be commented, followed by an outline of the research concept and methodology adopted in the paper leading to the discourse. The first chapter will focus on text and visual works by the writer Ye Lingfeng, aka Chinese Beardsley. Through the comparative reading of original texts and visual materials, the author challenges the validity of "Ye Lingfeng as Chinese Beardsley" and argues there has been miss-reading of Ye Lingfeng and "Creation Society" (創造社) by scholars in previous studies. In chapter 2, the Introduction and selection of paintings in "The Selected Paintings of Aubrey Beardsley" (《比亞茲萊畫選》) edited by Lu Xun is thoroughly deliberated. Reference will be taken from the original English text to substantiate the argument that the Introduction was actually translated by Lu Xun instead of written by him as miss-interpreted by many scholars. Along this argument, the thesis will further explore how Lu Xun perceived arts and its relationship with his written works. How Beardsley and "Decadence" were represented in works of various important Chinese writers including Yu Dafu, Liang Shiqiu、Wen Yiduo and Eileen Chang is discussed in detail in Chapter 3, followed by an account of the publication history of Beardsley’s works in China and its cultural, political and social significance in Chapter 4. / The study of Beardsley in China under the context of development of Chinese society in the past century and its representations in various Chinese writers’ works will lead to review ofthe modernity of Beardsley’s arts. In the conclusion, the thesis will sum up the myth of "Modernity of China" brought about by Chinese face of Beardsley and reveal the intricate and complicated forms of modern Chinese literature and contemporary western arts. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 徐霞. / Parallel title from added title page. / Thesis (Ph.D.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 219-232). / Abstracts in Chinese and English. / Xu Xia.

劉小麗. / "2001年6月" / 論文 (哲學碩士)--香港中文大學, 2001. / 參考文獻 (leaves 180-185) / 附中英文摘要. / "2001 nian 6 yue" / Liu Xiaoli. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2001. / Can kao wen xian (leaves 180-185) / Fu Zhong Ying wen zhai yao. / 前言 --- p.i / 中文摘要 --- p.ii / 英文摘要 --- p.iii / Chapter 第一章 --- 緒論： --- p.1 / Chapter 1. --- 文獻回顧：本土文化硏究 --- p.1 / Chapter a. --- 引言 --- p.1 / Chapter b. --- 本土文化硏究的兩種進路 --- p.5 / Chapter c. --- 布爾迪厄的生成結構主義 --- p.12 / Chapter d. --- 是次硏究的出發點 --- p.19 / Chapter e. --- 對布爾迪厄理論的補充 --- p.22 / Chapter f. --- 結語：群體/歷史/世代的意識勾畫 --- p.25 / Chapter 2. --- 硏究方法：從文化社會學到文學社會學 --- p.26 / Chapter a. --- 戈德曼的文學社會學 --- p.26 / Chapter b. --- 文學社會學：小說形式、文化生產者、精神結構… --- p.28 / Chapter c. --- 小說類型學的開展 --- p.30 / Chapter d. --- 硏究議程：對香港本土小說的選取 --- p.33 / Chapter e. --- 尋找「烏托邦.」 --- p.34 / Chapter 第二章 --- 金色的神話世界：精神結構與香港文學世界之一 --- p.38 / Chapter 1. --- 理想主義的人間風 景 --- p.41 / Chapter 2. --- 吳煦斌´ؤ´ؤ叢林中的尋索 者 --- p.44 / Chapter a. --- 《佛魚》´ؤ´ؤ堅決的追 尋 --- p.45 / Chapter b. --- 《獵人》´ؤ´ؤ失火的森 林 --- p.53 / Chapter 3. --- 西西´ؤ´ؤ童話國的漫遊 人 --- p.60 / Chapter 4. --- 結語 --- p.71 / Chapter 第三章 --- 焦灼的黑暗時代：精神結構與香港文學世界之二 --- p.73 / Chapter 1. --- 幻滅的犬儒主義 --- p.74 / Chapter 2. --- 黃碧雲´ؤ´ؤ煉獄裏的媚行者 --- p.78 / Chapter a. --- 暴烈和嘲弄 --- p.80 / Chapter b. --- 普遍的人物、共同的宿命 --- p.82 / Chapter c. --- 從浪漫到犬儒的幻滅 --- p.85 / Chapter i) --- 《盛世戀》 --- p.86 / Chapter ii) --- 《創世記 》 --- p.93 / Chapter iii) --- 邊界中的流徙、地獄裏的媚行 --- p.98 / Chapter 3. --- 鍾玲玲´ؤ´ؤ社群內的流浪兒 --- p.101 / Chapter a. --- 社群生活的總體 --- p.102 / Chapter b. --- 對理想的浪漫懷緬 --- p.103 / Chapter i) --- 退入記憶的理想 --- p.104 / Chapter ii) --- 被記憶唾棄的現實生活 --- p.107 / Chapter c. --- 墮進虛無的犬儒心態 --- p.111 / Chapter 4. --- 結語 --- p.115 / Chapter 第四章 --- 航向陰性烏托邦：精神結構與香港文學世界之三 --- p.117 / Chapter 1. --- 自戀的虛擬主義 --- p.118 / Chapter 2. --- 董啓章一~ffl影中的水仙花少年 --- p.122 / Chapter a. --- 曖昧的體裁、虛擬的出路 --- p.124 / Chapter b. --- 虛擬的一元自戀國 --- p.129 / Chapter i) --- 《《安卓珍尼》：投進虛擬的自毀國 --- p.130 / Chapter ii) --- 《雙身》：自戀耽美的旅途 --- p.142 / Chapter 3. --- 結語 --- p.148 / Chapter 第五章 --- 結論：文學與歷史 --- p.150 / Chapter 1. --- 青年文藝與火紅歲月 --- p.150 / Chapter a. --- 幾段青年運動的舞曲 --- p.151 / Chapter i) --- 序曲：理想主義的文藝反叛 --- p.151 / Chapter ii) --- 高峰：擺盪不定的社會運動 --- p.159 / Chapter iii) --- 結章：幻滅消沉的休止 --- p.162 / Chapter b. --- 歷史的外延舞台 --- p.166 / Chapter i) --- 難民文化圈子的興衰 --- p.167 / Chapter ii) --- 宏觀社會環境的調控 --- p.168 / Chapter iii) --- 國際社會思潮的牽引 --- p.171 / Chapter 2. --- 結語 --- p.173 / 參考資料 --- p.180

本文研究香港八、九十年代最重要的同人雜誌《素葉文學》(1980-2000)。第一及第二章分別從文學生產及語言風格兩方面劃定《素葉》在文壇的座標。第一章闡釋《素葉》的文學生產模式如何造成其「高格調」的印象，決定它從生產到接受面向都傾向同質化，並發展出平實的雜誌性格和文學風格。第二章討論《素葉》的「生活化」散文及小說，重新釐定被認為代表香港文學特色的「生活化」風格的涵義，並提出「周報─大拇指─羅盤─素葉」體系是文壇上反對美文、主張「生活化」風格的文學群落。第三及第四章則分別透過翻譯及旅行審視「本土」如何在與「他者」的關係中誕生。第三章整理《素葉》的所有譯介活動，探討翻譯與本土、香港文學本土性與世界性的關係，檢視八、九十年代香港作家如何透過翻譯，思考面對文學表述與身份認同等議題。第四章研究《素葉》上的中國遊記和相關小說，反思被長期忽略的香港文學的「中國性」問題，並說明旅行如何促成本土主體的誕生，最後提出香港文學的跨地域性。藉由這四方面的研究，嘗試概括《素葉》的重要特點，同時與身份認同、雅俗之辯、文學史書寫等多個香港文學的核心論題對話，由此希望反思「本土」的涵義，在「本土以外」開拓更多研究空間。 / The study aims at rethinking the meaning of ‘local’ by studying the literary magazine in 80’s to 90’s, Su Yeh Literature (1980-2000), on various issues of Hong Kong literature such as identity, hierarchy of tastes and literary history. Chapter 1 examines Su Yeh Literature from the perspectives of literary sociology, artistic production and the history of Chinese modern literary journals, in order to explain the cause of its highbrow taste and the homogenization in both production and consumption aspects. Chapter 2 analyzes the style of writings on Su Yeh Literature and its status in Hong Kong Literature; arises two misrecognitions in the present discussion of Hong Kong Literature, which points to the re-evaluation of 80s to 90s literary works and realism, by re-investigating the ‘everyday-life-style’ which is usually considered as a ‘local’ style. Chapter 3 explores the production of ‘Hongkongness’ and how the ‘local’ associate with ‘global’ by studying the introduction and translation of foreign literature on the journal. Chapter 4 focuses instead on travel writings especially on the relationship with ‘local’ and proposes the neglected ‘Chineseness’ in Hong Kong literature. / Detailed summary in vernacular field only. / 王家琪. / Parallel title from English abstract. / Thesis (M.Phil.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 136-147). / Abstracts in English and Chinese. / Wang Jiaqi.

This thesis is focused on the new writers who appeared in Shanghai during the Japanese Occupation between December 1941 and August 1945. The rise of these new writers to fame and their subsequent disappearance from the literary scene were consistent with the fall and liberation o f Shanghai. In the meantime, their appearance and disappearance were parallel with the success and decline of magazines published in Shanghai during that period as well. Both the magazines and their editors played significant roles in promoting the new writers into the literary arena. The war disrupted the development of literature, their writing "nourishment" mostly depended on the literary resources which had been stored up in Shanghai since the late Qing. My discussion of these eight new writers, Zhang Ailing, Shi Jimei, Cheng Yuzhen, Tang Xuehua, Zheng Dingwen, Shen Ji, Guo Peng, and Shi Qi, progresses through an analysis of the elements of region, literature, and war. While most of the female writers' themes were focused on love, mundane love or God's love, the male writers were either more interested in setting their stories on Chinese native soil like Shen Ji, Guo Peng, and Shi Qi; or personal concerns and anxieties regarding the future such as Zheng Dingwen. Among her contemporaries, Zhang Ailing is the most successful and the most influential. These new writers did not go through the baptism of the May Fourth Movement, and had less of a moral burden than their predecessors did. Thus they had more freedom to develop their writings— although the freedom was confined due to a depressed political and social climate.

This dissertation comprises a historical survey and thematic analysis of the various regional and temporal expressions of Chinese and Taiwanese xiangtu wenxue (“nativism” or “homeland literature”). Chapter One traces Chinese xiangtu wenxue from the rural stories of Lu Xun through the 1920s generation of writers of xiangtu wenxue (xiangtu zuojia f’g). These writers used two different narrative modes to analyze China’s deepening rural crisis. One of these was the antitraditionalist mode inspired by Lu Xun; the other was a positivist mode formulated from new concepts and intellectual thought prevalent in China at the time of May Fourth (1919). The narrative configuration established by this decade of xiangtu writers is characterized by nostalgia and is based on the migration of the Chinese village intellectual to large urban centres. This configuration set the standard for subsequent generations of writers of xiangtu wenxue who used an urban narrator to describe a rural area which was either the author’s native home, an area he/she knew well or one which was idealized. Chapters Two and Five discuss Taiwanese xiangtu wenxue from the 1920s to the 1970s. The emergence of this fiction is linked with Taiwan’s insecure status in the forum of international relations. In Taiwanese xiangtu wenxue, the countryside is a refuge from the forces of modernization; it is also a storehouse nurturing ancient traditions which are threatened by new and modern ways. Taiwan’s xiangtu writers valorize traditional culture and seek in rural Taiwan a transcendent China predating Taiwan’s invasion by the West. These works are all narrated by an urban narrator who rejects modernity and desires to counteract foreign influences. The focus of Chapter Three is China’s rural regional xiangtu wenxue of the 1930s. In this decade, rural fiction became a general trend in China with the rise of the Chinese Communist Party, Japanese aggression and China’s increasing urbanization. The shift away from China’s urban-based fiction is characterized by an increasing concern for the peasants, regional decay under the onslaught of Westernization and the life, customs and lore of China’s hinterland. In many of these regional works, concern for the nation is interwoven with non-nationalistic interests. Chinese xiangtu wenxue of the 1940s and 1950s is discussed in Chapter Four. The xiangtu wenxue of this period took on a distinctly Communist guise in the wake of Mao Zedong’s 1942 Talks at the Yan’an Forum on Literature and Art. Chinese Communist xiangtu wenxue is primarily defined as revolutionary realism and is concerned with the construction of Chinese socialism which takes place in the countryside through the forced implementation of draconian Party policies. The peasants in this fiction often attempt to evade these policies. Occasionally, these stories and novels slip into a hardcore realistic mode conveying a peasant reality which strongly dissents from the orthodox Party view. At least one writer of this period was persecuted and killed for his putatively disloyal beliefs. Finally, with the passing of Maoism in China, a new form of xiangtu wenxue emerged in the mid-1980s. This is the subject of Chapter Six. In these works, traditional Chinese culture supercedes Maoism as the basic fabric unifying Chinese life. Many of the writers in this period evince a psychological bifurcation arising from their conflicting views about the value of traditional Chinese culture. This bifurcation stems from the narrator in this fiction who is caught up in the process of urbanization and is unable to fully integrate his vision of the countryside into a larger vision of modernity. The ambivalence about Chinese culture in xiangtu wenxue is a leitmotif which underlies xiangtu wenxue’s many, disparate forms.

Thesis (M.A.)--University of Hong Kong, 1996. / Includes bibliographical references.

Thesis (M.A.)--University of Hong Kong, 1996. / Includes bibliographical references. Also available in print.

Thesis (Ph. D.)--Hong Kong Baptist University, 2005. / Thesis submitted to the Dept. of Chinese Language and Literature. Includes bibliographical references (leaves 176-199).

This dissertation comprises a historical survey and thematic analysis of the various regional and temporal expressions of Chinese and Taiwanese xiangtu wenxue (“nativism” or “homeland literature”). Chapter One traces Chinese xiangtu wenxue from the rural stories of Lu Xun through the 1920s generation of writers of xiangtu wenxue (xiangtu zuojia f’g). These writers used two different narrative modes to analyze China’s deepening rural crisis. One of these was the antitraditionalist mode inspired by Lu Xun; the other was a positivist mode formulated from new concepts and intellectual thought prevalent in China at the time of May Fourth (1919). The narrative configuration established by this decade of xiangtu writers is characterized by nostalgia and is based on the migration of the Chinese village intellectual to large urban centres. This configuration set the standard for subsequent generations of writers of xiangtu wenxue who used an urban narrator to describe a rural area which was either the author’s native home, an area he/she knew well or one which was idealized. Chapters Two and Five discuss Taiwanese xiangtu wenxue from the 1920s to the 1970s. The emergence of this fiction is linked with Taiwan’s insecure status in the forum of international relations. In Taiwanese xiangtu wenxue, the countryside is a refuge from the forces of modernization; it is also a storehouse nurturing ancient traditions which are threatened by new and modern ways. Taiwan’s xiangtu writers valorize traditional culture and seek in rural Taiwan a transcendent China predating Taiwan’s invasion by the West. These works are all narrated by an urban narrator who rejects modernity and desires to counteract foreign influences. The focus of Chapter Three is China’s rural regional xiangtu wenxue of the 1930s. In this decade, rural fiction became a general trend in China with the rise of the Chinese Communist Party, Japanese aggression and China’s increasing urbanization. The shift away from China’s urban-based fiction is characterized by an increasing concern for the peasants, regional decay under the onslaught of Westernization and the life, customs and lore of China’s hinterland. In many of these regional works, concern for the nation is interwoven with non-nationalistic interests. Chinese xiangtu wenxue of the 1940s and 1950s is discussed in Chapter Four. The xiangtu wenxue of this period took on a distinctly Communist guise in the wake of Mao Zedong’s 1942 Talks at the Yan’an Forum on Literature and Art. Chinese Communist xiangtu wenxue is primarily defined as revolutionary realism and is concerned with the construction of Chinese socialism which takes place in the countryside through the forced implementation of draconian Party policies. The peasants in this fiction often attempt to evade these policies. Occasionally, these stories and novels slip into a hardcore realistic mode conveying a peasant reality which strongly dissents from the orthodox Party view. At least one writer of this period was persecuted and killed for his putatively disloyal beliefs. Finally, with the passing of Maoism in China, a new form of xiangtu wenxue emerged in the mid-1980s. This is the subject of Chapter Six. In these works, traditional Chinese culture supercedes Maoism as the basic fabric unifying Chinese life. Many of the writers in this period evince a psychological bifurcation arising from their conflicting views about the value of traditional Chinese culture. This bifurcation stems from the narrator in this fiction who is caught up in the process of urbanization and is unable to fully integrate his vision of the countryside into a larger vision of modernity. The ambivalence about Chinese culture in xiangtu wenxue is a leitmotif which underlies xiangtu wenxue’s many, disparate forms. / Arts, Faculty of / Asian Studies, Department of / Graduate