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In the analysis of Hong Kong cinema side notes on the relationship between particular motifs or stylistic features and Chinese intellectual history are relatively common. Fleshing out this relationship, however, is problematic due to the intricacies of Chinese thought as well as pace and volume of popular culture. In spite of this difficult relation, the thesis reconstructs the narrative and stylistic development of post-war Hong Kong cinema against relevant aspects of pre-modern Chinese thought, demonstrating how the latter provides an effective framework in which to explicate prominent motifs and visual architecture. Yin, or ‘concealment’, furnishes the conceptual space for the encounter, isolating relevant elements in the Legalist, Confucian, Daoist, and aesthetic canon and informing the analysis of select Hong Kong films. The body of the dissertation is comprised of four chapters; each juxtaposes an aspect of pre-modern thought with cinematic texts chosen to illustrate distinct discursive movements around themes essential to an understanding of post-/colonial Hong Kong modernity. Beginning with the depiction of the legal order, the first chapter details the narrative characterization of modern law and its subversion in the extra-legal space of the jianghu. The debate between Legalism and Confucian natural law thus ‘grounds’ a pop-cultural suspicion regarding the efficacy of positive law as such. The following chapter tackles the issue of identity: recounting early attempts to stabilize a traditional culturalist version of belonging, narrative criticism of traditional patriarchy and Western hegemony, and recent fears of re-colonization by the motherland, Chineseness is shown to denote an event eluding popular culture. A third chapter interrogates the construction of fate and, implicit in it, narrativity as such. A discussion of Daoism - expressing both a faith in ontologically guaranteed restoration and a critical insight into virtual potential concealed in acculturation - connects pre-modern thought to Hong Kong cinema which first embraces restoration in popular formula and later attempts to escape its circularity. The fourth chapter focuses on stylistic evolution; an influential pre-modern treatise on the aesthetics of landscape painting provides the framework for an account of the characteristic sinicization of visual architecture subjecting space and time to momentum in careful framing and editing. While this style is characteristic of action-oriented plots, it also conditions aesthetic refutations and recent returns to more realist approaches. Conceptually explicating Hong Kong cinema through Chinese intellectual tradition runs the risk of merely subsuming the former to the latter. This would miss the characteristic mediation of tradition as it is ‘resuscitated’ in popular culture, its imbrication in the contemporary situation. As such, the thesis cannot evade addressing the meaning of this mediation, a task requiring additional conceptual tools. Critical theory fulfills this purpose throughout the main body of the thesis supporting arguments regarding the critical potential of mediated tradition within post-/colonial modernity. A concluding chapter summarizes the thesis’ findings, reflects on the aesthetic impasses of mass culture even where it expresses discontent with modernity, and reiterates the persisting relevance of Adorno’s critique of the culture industry, especially for the analysis of popular culture.

在過去大多數文學史的論述中，王闓運由於摹擬漢魏六朝文學的復古主張而被視為是晚清保守派人物，其文學思想的價值意義及其背後的現實關懷都被輕易忽略，沒有得到足夠的重視。在學界逐漸承認古典文學與現代文學並非截然斷裂、古典文學更是現代文學在草創階段重要的借鑒資源時，對於王氏文學思想似乎也可以提出新的評價。通過對王闓運文學思想的剖析，可以發現，他的文學除了是與當時眾多文學話語的對話之外，還包含他的經學思想和現實關懷，在晚清文化轉型時期的大背景下，王氏看似復古守舊的取態，實際上在對文學與個人、文學與政治關係的思考上體現了一定的超越性，甚至可以與五四以後的現代文人達成相似的共識契合。全文共分六章。第一章為緒論，交代研究動機及思路。第二章在說明王闓運對駢散之爭的取態之外，同時探討其學術思想與文論之間的關聯，指出王氏通經自治的思想迥異於當時的致用思潮，同時也反映在他的文論之中。第三章以王氏的「文情說」為主線，探討他與鄧輔綸和袁枚的詩學對話，由此還原王氏文情說的建構過程及闡釋其內涵意義，說明王氏對創作的關注聚焦於如何處理文學藝術和個人情感的關係。第四章通過比較王氏與道咸宋詩派的詩學異同，由此說明王氏試圖將宋明理學的道德詩學排除在他的文學思想之外，視詩歌為個人陶冶性情的藝術。第五章由王氏在學術和文學思想上提出的「為己為人」之辨展開，由此了解其文學思想背後批評文學為政治服務、士人追求名利等現實關懷，而他在肯定文學的獨立價值，以及批評道德及政治文學的取態上與五四文人也有一定程度的契合。第六章為結論。Abstract Wang Kaiyun has been labeled as a 槍conservative" for his literary acclamation in most research of literary history. Therefore, his literary concern on the problems of society has not been attended much in the relevant studies. This dissertation focuses on the theme of Tradition and Modernity, uncovering his literary thought in the cultural transitional era on the one hand, and on the other, giving efforts to explain his transcendental consciousness over the relation between individuality and literature, literature and politics. In his literary dialogue with other literary contexts, his seemingly conservative acclamation is in fact thought-provoking for the contemporary as well as the following May-Fourth cultural movement. This dissertation consists of six chapters. The first chapter introduces research motive and methodology. The second chapter focuses the relation between Wang Kaiyun's literary theory and thoughts apart from his attitude toward the two literary types of prose and essay. The third chapter explores his poetic dialogue with Deng Fulun and Yuan Mei by tracing his Wen Qing Shuo(theory on the literary sentiments), in order to restore the process of theoretical formation as well as the connotation interpretation. The following chapter compares and contrasts Wang's poetic theory with the School of Song Poetry in Dao, and confirms his acclamation on the function of poetry as way of feeling expression. Wang Kaiyun rejects the authority of Song-Ming Confucianism in poetry, and insists that poetry be the art for cultivating human mind. Chapter five focuses on Wang's philosophical idea of Wei Ji versus Wei Ren(for self-versus for others), uncovering the value of his humanity concern for the following May-Fourth cultural movement. The last chapter is the concluding part.

近年來，民國女作家蕭紅的形象在學界一直有被標籤化的趨勢，無外不出「女性主義作家」、「抗戰作家」等名號，在很大程度上束縛了蕭紅的形象，妨礙了在蕭紅身上挖掘其它特質的可能。面對這一現象，本文試圖突破以往常規視野下塑造蕭紅形象局限於傳統純文字文本，囿於「還原」作家真實面貌的做法，力圖展示出多面、立體、作者主觀化的蕭紅形象。從形象塑造者主觀的創作中提取信息以分類歸納，同時力圖構建出新的、隸屬研究者本身的思維方式。本文將純文字文本與跨媒介文本結合而談，通過共時與歷時縱橫相觀的方式，觀察不同文本中或相離或交叉的內容，從而尋找並探討蕭紅在不同類型文本中所具有的或普遍規範，或變幻無常的多重形象，構建作家形象在文學立場上的特殊意義。其中，純文字文本包括與蕭紅有關的傳記、書信集等；跨媒介文本則包括與蕭紅有關的歌劇、舞劇、電影。後者也是本文獨創之處，探討這些在蕭紅研究界較為新興的表現方式如何塑造蕭紅形象。理論方面，本文將以西方藝術史中以畢加索為代表的立體主義為基礎和支點，以茱莉亞•克里斯蒂娃提出的互文理論與巴赫金的文本對話理論為研究方法，探討文本之間如何相互作用，力爭展示在新的理論觀照之下的蕭紅形象，並進一步建立宏大、多面的形象審視體系。

王安石（1021-1086）是北宋重要的詩人。前人對於王安石詩歌的研究很多，但對王安石詩歌的體式特點、唐詩觀及其在唐宋詩轉型過程中的作用則關注不足。因此，本文以王安石的詩歌及其詩學為主要的研究對象和切入點，嘗試從文體學及詩學的微觀角度對唐宋詩轉型的問題作進一步的研究。 本文在以下五個方面有所創獲。首先從王安石的五言古詩入手，結合宋初的詠懷詩、山水詩等題材的創作背景，探討其與古風的關係。本文指出王安石的五古在內容上以漢魏晉宋的比興寄託作為根本，對五古和樂府詩多有繼承和創新，而在表現手法上又吸取了各家各路的特點，這是王安石對宋詩發展的主要貢獻。 其次，從文體的角度對王安石的樂府、歌行和七言古詩（包括雜言）進行考察，發現其以具體的創作實踐，自覺地辨析了三體之間異中有同的複雜關係，是北宋第一個嘗試解決樂府、歌行和七言古詩三體分野的詩人。 第三，從王安石的律詩入手，勾勒出北宋初年至神宗元豐年間律詩發展的軌跡。王安石的五律在繼承晚唐體的同時，又刻意迴避了其在內容和藝術上的種種缺陷；其七律在融合白體和晚唐體之餘，又融入了詠懷的傳統和諷諭的精神，在確立宋代律詩基本風格所起的作用上來說，有至關重要的意義。 第四，發掘了王安石絶句在宋詩發展過程中的詩學意義，並進一步探討了王安石五絶開拓近體的特性和七絶「情深文明，調逸旨遠」的博取眾家的文學史意義。 第五，王安石《唐百家詩選》的選錄標準一直是詩學史上頗具爭議的問題。本文先客觀分析《唐百家詩選》的編撰目的；然後從北宋初年的大背景入手，比較了《文苑英華》和《唐文粹》的選錄標準，解釋其不選著名詩人的原因；接著從文本出發，實事求是地詳細分析了《唐百家詩選》的詩作，指出其體現了王安石獨到的唐詩史觀和偏愛漢魏古意、盛唐氣象和樂府風味的審美標準。

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