《詞律》二十卷，清初詞家萬樹（字紅友，又字花農，1630¬¬－1688）編撰，成書於康熙二十六年（1687），全書錄六百六十調，一千一百八十餘體，是清初錄調最豐，辨體最詳的詞譜著作。現時《詞律》的研究，就成書背景及撰作原因而言，學者大多以明清易代的政治變故及清初詞壇針對明代詞壇而作出的反響這兩大方面切入，而就《詞律》一書本身的內部情況而言，學者傾向借助萬樹《詞律》中的〈自敘〉及〈發凡〉發微，闡述其體例，批評其得失。以上現況反映《詞律》的研究已經開展，同時基於《詞律》與時代的密切關係，又再一次證明此書對清初詞壇的重要性。然而，以上外緣因素雖然適用於清初詞壇的普遍情況，卻缺乏對《詞律》的針對性分析，而《詞律》的內部分析則又過份倚賴萬樹本人在〈自敘〉及〈發凡〉的現身說法，忽視了書中例詞、旁注、萬樹評點的價值。因此，本研究除緒論及結論，正文凡四章，分上、下篇，嘗試從外緣到內部，為《詞律》研究提供新說。第一章〈緒論〉將就研究動機、文獻回顧、方法論等作基本說明；第二章將重新檢討清初詞壇的尊體策略，析論破體、辨體及時流景貌，重估清初詞壇在尊體此命題下的角力關係，由此，為萬樹《詞律》在清初詞壇的定位提供說法，作為往後論述的基調；第三章則從先秦兩漢論律、論樂的思想傳統、宋代六次更訂樂制及大晟府影響下的詞人生態這三方面溯源，析論萬樹《詞律》將詞律設想為樂律，再藉由樂律之道通往尊體之道的根據，以此分析萬樹《詞律》由「紹述古音」轉出其獨特的「律呂之學」的思路；第四章則轉入《詞律》內部，嘗試於《詞律》的〈自敘〉及〈發凡〉之外，探索其內在理路，藉柳永及周邦彥、方千里、吳文英這兩組在《詞律》中特殊的現象，指出萬樹強調比勘互校，並將此提升至貫穿全書、組織全書的內在理路，由此邁向其「至公大雅」的追求；第五章則借鑑文獻學及西方書籍史研究的觀點，反思詞譜類著作的物質形態，分析《詞律》如何有別於當時一般詞譜，同時兼顧了視覺閱讀及聲音演練兩方面以推動填詞實踐，既解決填詞的操作問題也克服審美的困難，由此，呼應編撰《詞律》以推尊詞體的目標；第六章為結論，除歸納本研究中有關《詞律》的發現，同時亦會就研究方法作出反思。= 20 volumues of CiLu (《詞律》), written and edited by early Qing Dynasty Ci scholar WanShu (萬樹, who also named Hungyou, and known as Huanong) are finished in the year of Kangxi 26 (1687). The whole volume collects 660 kinds of tune (詞調) and more than 1180 kinds of genre (詞體). This makes it the most abundant collection of tune and classification of genre in early Qing. Of studies of CiLu today, from the perspective of writing background and reason, scholars tend to intersect the object through lens of political change during Ming to Qing as well as of the pinpointed response of early Qing Ci literary circle towards Ming Ci literary circle. Moreover, with regard to content of CiLu, scholars tend to decipher the text by interpreting WanShu's self account and introduction, explaining its format and criticizing its good and bad. This shows that research effort towards CiLu has already begun, and, at the same time, has demonstrated its importance to Qing literary circle due to the fact that it has a very close relationship with the era. However, although those external factors raised here are suitable to explain the universal situation of early Qing Ci circle, a target-oriented analysis towards CiLu is absent. Those internal analysis based on content also overly rely on WanShu's self account and introduction yet omit the value of Ci examples, annotations and WanShu's comments. Therefore, in this research, except the parts of introduction and conclusion, the body contains 4 chapters and is divided into former and latter part so as to provide a fresh angle and discourse upon the study of CiLu via an attempt of viewing it from the external to the internal. The first chapter－Introduction－ provides a clean explanation upon the goals, literature review and methodology of the research; the second chapter will review early Qing Ci poetry circle's canonization strategy (尊體策略) to clarify genre integration (破體), genre classification (辨體) and the spectacle of writing trend of the era. It also revaluates the tension among literary parties upon the issue of canonization in early Ching circle so that a new discourse upon the literary status of WanShu's CiLu would be brought forth as the fundamental argument of the thesis. The third chapter will trace traditional influence of CiLu's by reviewing music discussion in Pre-Qin and Han, six times official review of music systems in Song dynasty and Ci lyricists' inhabitation under the influence of Dashengfu (大晟府), and hence, it is analyzed that WanShu's CiLu alludes rules of Ci poetry writing to music theory. Then through the way of music theory, it paves the road to canonization of certain Ci poetry －this also demonstrates how WanShu's CiLu develops its own unique rules of music-lyrics theory (律呂之學) from purely inheriting ancient style (紹述古音) . The forth chapter shifts to the internal textual studies of CiLu. Apart from CiLu's self account and introduction, it tries to explore its inner logic(內在理路): by the unusual phenomenon of juxtaposing LiuYong and ChouBaoyan as well as comparing FangQianli and WuWenyin, it is noted that WanShu's emphasis on comparingly slow reading and parallel proofreading is the inner clue of netting the whole volume as well as the corner stone to his literary pursuit of being "supremely just and grandly noble" (至公大雅). The fifth chapter borrows angles of bibliography and the Cultural History Study of Book to reflect on the material form of Cipu (詞譜)writing, analysing how CiLu differentiates from other common Cipu during the period: it both masters the two facets of visual reading and vocal drill to advocate the practice of Ci poetry writing. This not only solves the problem of writing techniques but also conquers the difficulty of adopting different aesthetics norm. It, hence, echoes CiLu's editing aims which are promotion and canonization of Ci. The sixth chapter is conclusion which induces all the discoveries of this research as well as reflects on the methodology.

published_or_final_version / Chinese / Master / Master of Arts

published_or_final_version / Chinese / Master / Master of Arts

Thesis (M.A.)--Zhongguo wen hua xue yuan, 1978. / Cover title. Includes bibliographical references.

Thesis (M.A.)--Zhongguo wen hua xue yuan. / Reproduced from ms. copy. eContent provider-neutral record in process. Description based on print version record.

published_or_final_version / abstract / Chinese / Master / Master of Philosophy

Thesis (M.A.)--香港中文大學. / Includes bibliographical references. / Thesis (M.A.)--Xianggang Zhong wen da xue. / Chapter 第一章 --- 研究目的、材料與方法 / Chapter 第一節 --- 研究目的 --- p.1-8 / Chapter 第二節 --- 研究材料 --- p.9-12 / Chapter 第三節 --- 研究方法 --- p.12-14 / 註1至註9 --- p.15-19 / Chapter 第二章 --- 清戈載〈詞林正韻〉 / Chapter 第一節 --- 〈正韻〉一書之製作目的 --- p.20 / Chapter 第二節 --- 〈正韻〉一書之體例 --- p.21-23 / Chapter 第三節 --- 〈詞林正韻〉之分部系統 --- p.23-34 / Chapter 第四節 --- 〈正韻〉照顧方音及古今音變之特色 --- p.34-52 / Chapter 第五節 --- 關於葉斐軒刊本〈詞林韻釋〉 --- p.53-56 / 註1至註9 / Chapter 第三章 --- 〈詞林韻釋〉分部內容之修正 / Chapter 第一節 --- 統計及推論 --- p.60-65 / Chapter 第二節 --- 支持〈灰韻應歸第五部〉之兩項事實 --- p.65-71 / Chapter 第三節 --- 探討〈正韻〉歸部錯誤之原因 --- p.71-73 / 註1至註4 --- p.74 / Chapter 第四章 --- 論宋詞人有「平聲貴嚴」之觀念 --- p.75-79 / Chapter 第五章 --- 方音 / Chapter 第一節 --- 略論研究方音及決定其為方音之條件 --- p.81-85 / Chapter 第二節 --- 材料所示宋代之方音概況 --- p.86-103 / 註1至註6 --- p.104-105 / Chapter 第六章 --- 入聲 / Chapter 第一節 --- 〈詞林正韻〉入聲分部的特點 --- p.106-112 / Chapter 第二節 --- 個別詞家的入聲分部系統 --- p.113-138 / Chapter 第三節 --- 探討〈正韻〉入聲歸入三聲之根據 --- p.138-144 / 註1至註3 --- p.144A / Chapter 第七章 --- 宋詞之特殊協韻技巧 / Chapter 第一節 --- 不自覺的協韻方式 --- p.145-151 / Chapter 第二節 --- 長尾韻 --- p.151-154 / Chapter 第三節 --- 句中韻 --- p.154-156 / Chapter 第四節 --- 和聲 --- p.157-158 / Chapter 第五節 --- 福唐獨木橋體 --- p.158-161 / 註1 --- p.161 / Chapter 附錄一 --- 〈詞林正韻〉補正 / Chapter 附錄二 --- 四十二詞家曾使用之韻字 / Chapter 附錄三 --- 有關本文修正〈正韻〉分部內容之資料備矤 （本文第三章第一節表中II、IV、V、VI各項之內容） / Chapter 附錄四 --- 有關本文第四章之資料備攷 / Chapter 附錄五 --- 有關本文第五章「方音」之詳細資料 / Chapter 附錄六 --- 平仄通協體 / Chapter 附錄七 --- 詩韻詞韻分合對照表 / Chapter 附錄八 --- 詞韻分部索引表 （以〈廣韻〉韻目為主）

徐笑珍. / "2002年6月" / 論文 (哲學碩士)--香港中文大學, 2002. / 參考文獻 (leaves 135-141) / 附中英文提要. / "2002 nian 6 yue" / Xu Xiaozhen. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2002. / Can kao wen xian (leaves 135-141) / Fu Zhong Ying wen ti yao. / Chapter 第一章 --- 緒論 / Chapter 第一節 --- 硏究背景及槪況 --- p.1-2 / Chapter 第二節 --- 硏究目的 --- p.3 / Chapter 第三節 --- 硏究方法 --- p.4-6 / Chapter 第二章 --- 夏承燾的生平事蹟 / Chapter 第一節 --- 夏承燾的治詞經歷 --- p.7-16 / Chapter 第二節 --- 夏承燾的性情 --- p.17-28 / Chapter 第三節 --- 夏承燾的交遊 / Chapter 一、 --- 夏承燾交遊述介 --- p.29-37 / Chapter 二、 --- 夏承燾詞友考析 --- p.38-42 / Chapter 第四節 --- 小結 --- p.43 / Chapter 第三章 --- 夏承燾的詞學管窺 / Chapter 第一節 --- 譜牒之學 / Chapter 一、 --- 編纂方法及動機 --- p.44-45 / Chapter 二、 --- 資料取材 --- p.46-47 / Chapter 三、 --- 編纂凡例 --- p.47-55 / Chapter 四、 --- 夏氏所編年譜的得失 --- p.56-59 / Chapter 第二節 --- 校勘箋注之學 / Chapter 一、 --- 《姜白石詞編年箋校》 --- p.60-62 / Chapter 二、 --- 《龍川詞校箋》 --- p.62-63 / Chapter 三、 --- 《宋詞繫》 --- p.63-65 / Chapter 四、 --- 《詞源注》 --- p.65-66 / Chapter 第三節 --- 詞樂之學 / Chapter 一、 --- 宮調 --- p.67 -69 / Chapter 二、 --- 旁譜 --- p.69-71 / Chapter 第四節 --- 詞籍編纂之學 --- p.72-73 / Chapter 第五節 --- 批評之學 / Chapter 一、 --- 詩話式評點´ؤ´ؤ《瞿髯論詞絶句》 --- p.74 -87 / Chapter 二、 --- 短篇式評點´ؤ´ؤ《月輪山詞論集》 --- p.87 -89 / Chapter 三、 --- 考訂式評點´ؤ´ؤ《唐宋詞論叢》 --- p.89 -90 / Chapter 四、 --- 賞析性評點´ؤ´ؤ《唐宋詞欣賞》 --- p.90 -91 / Chapter 第六節 --- 小結 --- p.92-93 / Chapter 第四章 --- 夏承燾的詞作探析 / Chapter 第一節 --- 內容主題 --- p.94-107 / Chapter 第二節 --- 藝術表現 --- p.108-116 / Chapter 第三節 --- 風格特點 --- p.117-128 / Chapter 第四節 --- 小結 --- p.129 / Chapter 第五章 --- 總結 --- p.130-134 / 參考書目及論文 --- p.135-141 / 附表一：夏承燾年譜簡表 --- p.142-162 / 附表二 ：夏承燾交遊表 --- p.163-184 / 附表三：夏承燾詞作內容分類表 --- p.185-196

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