D. Litt. et Phil. (Theology) / Please refer to full text to view abstract

陳鴻圖. / "2007年7月". / 論文(哲學碩士)--香港中文大學, 2007. / 參考文獻(leaves 329-348). / "2007 nian 7 yue". / Abstracts in Chinese and English. / Chen Hongtu. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2007. / Can kao wen xian (leaves 329-348). / Chapter 第一章 --- 緒言 --- p.1 / Chapter 第一節 --- 硏究動機 --- p.1 / Chapter 第二節 --- 硏究回顧 --- p.3 / Chapter 第三節 --- 硏究方法及組織 --- p.7 / Chapter 第二章 --- 《漢藝文志考證》成書的若干問題 --- p.10 / Chapter 第一節 --- 王應麟的生平及著述考 --- p.10 / Chapter 1.1 --- 王應麟的生平 --- p.10 / Chapter 1.2 --- 王應麟著述考 --- p.13 / Chapter 第二節 --- 前人論《漢藝文志考證》成書的兩種說法 --- p.21 / Chapter 第三節 --- 從三個方面論證《漢藝文志考證》的「未成書」說 --- p.26 / Chapter 第四節 --- 危素《漢藝文志考證´Ø序》與《漢藝文志考證》的成書 --- p.34 / Chapter 第五節 --- 餘論 --- p.39 / 附表一：王應麟著作綜述 --- p.41 / 附表二：王應麟著作編年 --- p.62 / 附表三：《漢藝文志考證》的版本 --- p.68 / Chapter 第三章 --- 《漢藝文志考證》的著錄體例 --- p.69 / Chapter 第一節 --- 著錄體例 --- p.69 / Chapter 1.1 --- 著錄內容 --- p.69 / Chapter 1.2 --- 著錄條數 --- p.70 / Chapter 1.3 --- 著錄形式 --- p.73 / Chapter 第二節 --- 輯錄體例 --- p.81 / Chapter 2.1 --- 「補注體」 --- p.82 / Chapter 2.2 --- 何謂「輯錄體」 --- p.83 / Chapter 2.3 --- 《漢藝文志考證》的輯錄體性質 --- p.88 / 附表一：《漢藝文志考證》條目分類統計 --- p.96 / Chapter 第四章 --- 《漢藝文志考證》的取材與考證 --- p.99 / Chapter 第一節 --- 取材方面 --- p.99 / Chapter 1.1 --- 取材特色 --- p.99 / Chapter 1.2 --- 取材方式 --- p.115 / Chapter 1.3 --- 小結 --- p.124 / Chapter 第二節 --- 考證方面 --- p.125 / Chapter 2.1 --- 《漢藝文志考證》的考證特色 --- p.125 / Chapter 2.2 --- 小結 --- p.139 / Chapter 第三節 --- 餘論 --- p.139 / Chapter 3.1 --- 小引 --- p.139 / Chapter 3.2 --- 王鳴盛的批評 --- p.140 / 附表一：《漢藝文志考證》引書統計 --- p.149 / Chapter 第五章 --- 《漢藝文志考證》的「不著錄」書 --- p.159 / Chapter 第一節 --- 「不著錄」書的數目 --- p.159 / Chapter 第二節 --- 「不著錄」書的著錄方式 --- p.160 / Chapter 第三節 --- 「不著錄」書的年代 --- p.168 / Chapter 3.1 --- 「不著錄」書的年代 --- p.168 / Chapter 3.2 --- 「僞書」與「不著錄」書 --- p.176 / Chapter 第四節 --- 《漢藝文志考證》與《新唐書´Ø藝文志》的「不著錄」 --- p.179 / Chapter 4.1 --- 《新唐書´Ø藝文志》的「不著錄」書 --- p.179 / Chapter 4.2 --- 《漢藝文志考證》與《新唐書´Ø藝文志》「不著錄」書之比較 --- p.181 / Chapter 第五節 --- 餘論 --- p.182 / Chapter 第六章 --- 《漢藝文志考證》在目錄學上的地位 --- p.187 / Chapter 第一節 --- 小引 --- p.187 / Chapter 第二節 --- 宋以前對〈漢志〉的硏究綜述 --- p.188 / Chapter 第三節 --- 《漢藝文志考證》的目錄學成就 --- p.191 / Chapter 3.1 --- 考志方面 --- p.191 / Chapter 3.2 --- 補志方面 --- p.202 / Chapter 第七章 --- 結語 --- p.210 / 附錄一）《漢藝文志考證》與《漢書´Ø藝文志》條目比較表 --- p.212 / 附錄二）《漢藝文志考證》引書、引人表 --- p.237 / 附錄三）〈漢志〉補志數目統計 --- p.315 / 參考書目 --- p.329

Kwong, Yu Tao Wilfred. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (leaves 104-109). / Includes Chinese characters; abstracts also in Chinese. / Chapter ONE --- Introduction / Definitions for the Epic --- p.6 / The Original Meaning of “επo₁ت´ح --- p.10 / The Ancients´ة Definition of “επo₁ت´ح --- p.12 / The Greek Hexameter and the Chinese Tetrameter --- p.15 / The Shijing as China´ةs Epic --- p.16 / Chapter TWO --- The Shijing's Epic Language / Variant Forms and Synonyms --- p.18 / Traditional Oral Language --- p.19 / Emphatic Particles and Xuci --- p.23 / Flexibility and Malleability of Oral Language --- p.26 / Summary --- p.30 / Chapter THREE --- The Shijing's Epic Structure / Repetition and Formulae --- p.31 / Formulaic Structure --- p.37 / Artis Causa --- p.40 / The Role of Xuci Particles --- p.45 / Summary --- p.47 / Chapter FOUR --- The Shijing 's Epic Content / Archaic content --- p.48 / Sacrificial Rites --- p.49 / War Honour and Glory --- p.61 / Nature Plants and Animals --- p.67 / Digressions --- p.74 / Oral Context of Visual Digressions --- p.81 / Summary --- p.91 / Chapter FIVE --- Remaining Differences between the Shijing and Homer / Difference in length --- p.92 / Narrative versus lyric --- p.93 / Cultural Differences --- p.95 / Chapter SIX --- Conclusion / BIBLIOGRAPHY

In A Portrait of the Artist as a Young Man, James Joyce used the form or structure of his language to connote a meaning which supported the content of the text. The elements of form he used most often were sentence and paragraph structure, punctuation, rhythm, and classical rhetorical schemes. By manipulating these, he gained three benefits: he supplied an emotional appeal to the content, he represented his epistemological beliefs in his language, and he gave elegance to his prose. Background research reveals the influences that led to Joyce using form to support content. They include his Jesuit education, his own predisposition to the connotative aspects of language, and his literary work previous to Portrait. The examination of the text of Portrait exhibits the particular ways Joyce used the elements of form to fit content. Several of the highly emotional episodes of the story, the most likely to contain form-fitting-content examples, are examined in detail. Attention is given to rhetorical schemes of repetition because it is through these schemes that emotional pitch is adjusted in the story. Joyce's innovative use of syntactical structures to fit content, and his application of such poetic forms as rhythm and meter to simulate physical action are discussed. An examination of the end of the book, a section where rhetorical schemes and structural manipulation seems to disappear, shows how the apparent lack of connotative elements is appropriate to making a new form fit a new content. The use of form to support content in Portrait was an artistic commitment which Joyce began in Portrait. He would continue and intensify his commitment in all of his writing after Portrait. How Joyce wrote would always thereafter be determined by what he wrote about. / Graduation date: 1995

Thesis (doctoral)--Universität, Hamburg, 2001. / Includes bibliographical references (p. 307-324).

Thesis (Ph. D.)--University of Washington, 2003. / Vita. Includes bibliographical references (leaves 238-250).

Thesis (Ed. D.)--West Virginia University, 2003. / Title from document title page. Document formatted into pages; contains iv, 73 p. + HTML presentation (ports., facsims.). Includes an HTML document: A lecture on John Brown by "Porte Crayon" alias David Hunter Strother, an annotated edition with primary materials by Hilary Attfield. Includes abstract. Includes bibliographical references.

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Rashi, an eleventh century Bible commentator who lived in France, is the most influential Jewish exegete of all time. The popularity of his Pentateuch commentary has resulted in many extant manuscripts and printed editions, and the effect of scribal activity involved in the work's large circulation has led to extensive textual variants. Moreover, the earliest extant dated manuscript of the commentary was copied 130 years after Rashi's death. This extended length of time facilitated the introduction of countless changes into the work that, over time, have become virtually undetectable. / One key to uncovering the most authentic version of Rashi's commentary is to examine texts written as close to his lifetime as possible. Since neither Rashi's own copy of his commentary nor any reasonable alternative has been discovered, the Pentateuch commentaries of his immediate successors, the Franco-German writers known as the Tosafot, provide the closest possible substitute. For the most part, the writings of these twelfth- and thirteenth-century relatives and students of Rashi consisted of glosses, explanations and criticisms of his work. / This study compares citations of Rashi in over fifty manuscripts of Tosafot commentaries with texts of Rashi published in both early and modern printings and in over thirty manuscripts of his commentary. It suggests that the text of Rashi utilized by the Tosafot was significantly different from the printed versions. Examples show that portions of the printed interpretations attributed to Rashi are actually explanations and criticisms offered by the Tosafot that, through various processes, were attributed to the master himself. Awareness of this helps establish a reliable witness to the text of Rashi's Pentateuch commentary, and it suggests that the Tosafot must be an important component of any future efforts to establish a scientific edition of it.