MAAS / M.E.R. Mathivha Centre for Languages Arts and Culture

本文以性別研究視野作為孟稱舜言情劇作研究的新切入點，透過分析相互關連的個案，重新審視孟氏劇作中「情」的意蘊及言情觀的發展。全文旨在從個人、社會、家國的視角審視孟稱舜戲曲如何寫「情」，並按照戲曲寫作的順序和體裁之脈絡，以文本細讀方式探討劇作。 / 本文的重點有二，第一是展現孟稱舜劇作的「情」在不同時期有不同的側重點：早期雜劇中對「真」的讚揚，至中期傳奇《嬌紅記》提倡情正，後期傳奇《二胥記》對誠的推崇，以至《貞文記》情與貞的一體兩面等。這顯示了作者寫情的層層深入與遞進。從晚明到清初，孟稱舜言情劇作的「情」在呼應湯顯祖之餘，其覆蓋的範圍更廣，從男女愛情延伸至歷史和家國層面，也展示了更複雜的寫情框架。第二是揭示孟稱舜戲曲如何繼承湯顯祖寫情的藝術手法，並表現了十七世紀明清戲曲文學對性別觀念的文化建構，尤見於後期傳奇對情與自我、身分、角色的思考。孟稱舜言情劇作敘寫男女人物的情感經驗，緊扣時代文化風潮，因而給予性別更豐富的詮釋空間，有別於一般只借女性角色寄託象徵意涵的方式。本文把孟稱舜戲曲置於繼承《牡丹亭》，下開《桃花扇》之間的過渡時期審視，透過突顯孟稱舜在明清戲曲史上承先啟後的重要貢獻，藉此重新評價其文學地位。 / The thesis examines Meng Chengshun’s conception of qing [love; passion; sentiment] and traces the development of his views towards love and relationship over time as embedded in his romantic plays. Through analyzing the interrelations between texts under the perspective of gender studies, this thesis aims at giving a close reading of Meng’s plays in respect to the representation of “qing on personal, communal and national level in chronological order with modifications according to the genre of the texts. / The study has two main points. First, it exhibits Meng’s different representations of “qing and their orientations in different periods. For instance, the early zaju dramas praises the quality of “truthfulness; in the middle period, the chuanqi dramas champions qingzheng; in the late period, Erxuji worships “zheng and Zhenwenji applauds the symbiosis of qing and chastity. The trajectory is evident of Meng’s growth of depth and intensity in the depiction of “qing. From late Ming to early Qing period, Meng’s plays do not only echo Tang Xianzu’s, they also sophisticate the framework of “qing and cover a broader scope, ranging from romantic love to aspects of history and nation. Second, the study reveals the way Meng’s plays inherit the aesthetics of qing of the Tang Xianzu and present the cultural constructs of gender roles of Ming and Qing plays in the seventeenth century, which are particularly prominent in the relation of “qing with self, identity and role, in the late chuanqi. The selected plays embody the cult of qing in Meng’s contemporary era in the portraits of romantic relations and their occupation with the romantic theme provides a greater room for gender reading. Meng’s representations of female characters distinguish from the common way of simply using them as symbols. In brief, the thesis places and examines Meng’s works in the transition period between Mudanting and Taohuashan. Through explicating Meng Chengshun’s significant role in the history of Ming and Qing plays as both a successor of traditions and forerunner of new ideas, this thesis sheds new light on the playwright’s literary achievement. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 胡凱琪. / "2012年8月". / "2012 nian 8 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 216-235). / Abstract in Chinese and English. / Hu Kaiqi. / 摘要 --- p.i / 目錄 --- p.iv / Chapter 第一章 --- 緒論 --- p.1 / Chapter 一、 --- 研究緣起 --- p.1 / Chapter 二、 --- 孟稱舜概述 --- p.2 / Chapter （一） --- 生平 --- p.2 / Chapter （二） --- 交游 --- p.8 / Chapter （三） --- 著作 --- p.11 / Chapter 三、 --- 研究回顧及綜述 --- p.19 / Chapter 四、 --- 問題意識和研究方法 --- p.27 / Chapter 五、 --- 論文各章內容 --- p.32 / Chapter 第二章 --- 孟稱舜雜劇中「情」的書寫 --- p.35 / Chapter 一、 --- 重寫才子佳人愛情 --- p.35 / Chapter （一） --- 《桃源三訪》中情與性別的表述 --- p.37 / Chapter （二） --- 《花前一笑》中情的喜劇式調和 --- p.54 / Chapter （三） --- 《泣賦眼兒媚》中功名與愛情兼得的兩難局面 --- p.70 / Chapter （四） --- 小結 --- p.79 / Chapter 二、 --- 《殘唐再創》中個人、 家國與歷史寄寓 --- p.81 / Chapter 三、 --- 結語 --- p.92 / Chapter 第三章 --- 《嬌紅記》之「魂旦」的塑造與「情正」思想之關係 --- p.97 / Chapter 一、 --- 「情正」與「同心子」 --- p.99 / Chapter 二、 --- 原著中魂旦的塑造與作用 --- p.103 / Chapter 三、 --- 《嬌紅記》中魂旦的意蘊與「情正」之關係 --- p.104 / Chapter （一） --- 女性主體的模糊：似是而非的人鬼對照 --- p.106 / Chapter （二） --- 「同心子」關係的謔倣與考驗 --- p.110 / Chapter （三） --- 魂旦和嬌娘的行為對比及差異 --- p.115 / Chapter （四） --- 魂旦結局的雙重意蘊之一：情與欲的平衡 --- p.120 / Chapter （五） --- 魂旦結局的雙重意蘊之二：情與欲的共生與並存 --- p.122 / Chapter （六） --- 《嬌紅記》魂旦在清代的回歸：情色欲望的對象 --- p.125 / Chapter 五、 --- 「情正」的餘韻 --- p.127 / Chapter 六、 --- 結語 --- p.132 / Chapter 第四章 --- 《二胥記》之「誠」與忠孝之情 --- p.135 / Chapter 一、 --- 情的重申與肯定：「誠」 --- p.137 / Chapter （一） --- 申包胥與明亡：忠臣復國的刻畫 --- p.139 / Chapter （二） --- 伍子胥與為父盡孝：報仇的意蘊 --- p.148 / Chapter 二、 --- 「誠」的爭議：既一致又矛盾 --- p.155 / Chapter 三、 --- 結語 --- p.158 / Chapter 第五章 --- 《貞文記》的「情貞」與自我認同 --- p.162 / Chapter 一、 --- 關於《貞文記》成書年份的分歧 --- p.163 / Chapter 二、 --- 情的多重聲音：世變中對情的反思 --- p.165 / Chapter （一） --- 情的回溯與回顧 --- p.167 / Chapter （二） --- 自我的探索：夢與情的關係 --- p.171 / Chapter （三） --- 愛情與自我定位 --- p.173 / Chapter 三、 --- 情與家國 --- p.176 / Chapter （一） --- 忠貞的矛盾與轉移 --- p.180 / Chapter （二） --- 女性與貞的象徵 --- p.183 / Chapter （三） --- 以貞喻忠 --- p.186 / Chapter 四、 --- 自我記憶與「文」的意蘊 --- p.192 / Chapter 五、 --- 餘韻：情的最終歸處 --- p.197 / Chapter 六、 --- 結語 --- p.201 / Chapter 第六章 --- 結論 --- p.205 / Chapter 附錄 --- 歷代《嬌紅記》戲曲 --- p.214 / 參考書目 --- p.216 / Chapter 一、 --- 基本文獻 --- p.216 / Chapter 二、 --- 專書 --- p.221 / Chapter 三、 --- 文集論文 --- p.225 / Chapter 四、 --- 期刊論文 --- p.229 / Chapter 五、 --- 學位論文 --- p.232 / Chapter 六、 --- 外國專書／論文 --- p.232 / Chapter 七、 --- 網上資料 --- p.235

本論文為地域文學視野下的李玉研究。李玉（1611? - 1711後），字玄玉，蘇州派、中國戲曲史上之代表作家。上世紀二十年代以來，李玉研究於前人學者的筆耕下已取得豐碩的成績。然而當「現實精神」、「教化指向」與「平民色彩」一再成為研究蘇州派的關鍵詞，地域元素之於作家的影響仍有待爬梳。本論文追溯了「地」於李玉戲曲生產，即意念生成、形諸創作、再現場上的過程中，所飾演之各種角色；亦探討了李玉與當地文化、觀眾間千絲萬縷的互動與反饋。 / 論文共分為七章。第一章梳理了李玉研究的發展脈絡，提出了個人的關注問題與研究視野。論文第二章結合蘇州的科舉文化、家班文化、「市隱」文化，對李玉的生平行事與交遊進行重讀，指出「久居蘇州」可謂重省其創作的重要鑰匙。第三至六章從作家生平考察，轉移至文本細續。第三章結合「一人永占」四劇（《一捧雪》、《人獸關》、《永團圓》、《占花魁》）探討地緣於李玉早期創作的痕跡，以觀照作家日後的發展脈絡。第四章探討李玉代表作《清忠譜》中，身份認同與歷史書寫的問題，重新審視了「蘇州」於劇中所鋪演的著名歷史事件──明天啟六年的「開讀之變」，以及歷史循環發展中所扮演的角色。第五章追蹤了蘇州士人黃向堅萬里尋親復歸蘇州後的事態發展（1653 1661），繼而討論當地民眾的情感力量如何轉化為作家編寫傳奇《萬里圓》的資源。論文第六章具有李玉接受史研究的性質，以《萬里圓．打差》為個案分析，從橫向與縱向角度探討李玉劇作脫離創作的當下後，與戲曲機制、舞台反饋互動的一面。筆者選擇了「政治意識」作為關鍵詞，分析了劇中使用的方言（蘇白）與服色的問題。第七章概括各章重點，並為本課題的後續發展作出展望。 / 本論文透過多個相互關連的個案，勾勒了「蘇州」於李玉戲曲生產所扮演的不盡相同但不容忽視的角色。面對散佈於各劇的蘇州地方掌故、地方時事、蘇白方言、地理景觀、風土人情、地方家族史，筆者一方面視之為作家與地方觀眾互動的表徵，另一方面指出，此乃為作家地域經驗與身份認同的呈現。本文在豐富學界對李玉認識的同時，希望李玉的地域性研究能在蘇州派研究、中國戲曲史研究，以及明清地域文學研究中都展現其價值。 / This thesis concerns the research on Li Yu under the perspectives of regional literary studies. Li Yu (1611? - after 1711), also referred to as Li Xuanyu, is a renowned Suzhou playwright widely recognized in the history of Chinese drama. Since 1920s, researches on Li Yu have yielded significant results. However, as “realism, “didacticism and “folk color have become the core concepts in the interpretations of the works of Suzhou playwrights, study on how regional factors have influenced these dramatists has long been omitted. This thesis tries to trace how “place shaped the production of Li Yu’s plays. In other words, the study investigates the role of “Suzhou in the formation of Li Yu’s idea, the writing of the play, and the representation including performance on stage. This research also sheds light on the connection between Li Yu and local culture, as well as the interaction between the dramatist and his audience. / This thesis consists of seven chapters. The first chapter provides a literature review on the discussion of Li Yu, explains the motivation for this work and outlines the organization of the thesis. The second chapter explicates the biographical background of Li Yu, with an introduction of imperial examinations, domestic troupes and the idea of “urban recluse, so as to illustrate the importance of Li Yu’s stay in Suzhou before re-interpreting his works. The third to the sixth chapters involve close readings of Li Yu’s texts. The third chapter focuses on Li Yu’s early plays, namely, A Handful of Snow [Yipeng xue], The Gate Separating Humans and Beasts [Renshou guan], The Everlasting Union [Yong tuanyuan], Winning the Prize Courtesan [Zhan huakui]). Through analyzing these plays, this chapter portrays how geographical and social forces affected Li Yu’s early dramas and his later works. The fourth chapter examines Li Yu’s prominent drama Registers of the Pure and Loyal [Qingzhong pu] by addressing the problem of identity and historical narratives, especially how “Suzhou was employed by the author in the famous political incident “Kaidu zhi bian, that happened in 1626, and in the cyclic recurrence of historical events. The fifth chapter illustrates the journey of Suzhou literatus Huang Xiangjian from Suzhou to Yunnan to search for his father and his return with him (1653-1661), and discerns how emotional power among local citizens contributed to the composition of Li’s play, Union Across Ten Thousand Miles [Wanli yuan]. The sixth chapter explores the reception of Li Yu’s plays, by studying the performances of Beating the Officer from Union Across Ten Thousand Miles. Since this play was staged in local theatres, how its stagecraft developed and transformed across time and space is traced in this chapter. “Political consciousness is key to understanding the costumes and Suzhou dialect used in these performances. The seventh chapter is a conclusion summarizing the above arguments and providing insights into areas that await future explorations. / Through case studies that are interrelated, this thesis demonstrates how “Suzhou was vital to Li Yu’s literary production. Living in Suzhou, Li assimilated local history, contemporary events, dialect with special idioms, geographical landscapes, folk customs, and family histories, so as to interact with the interests of local audience. On the one hand, this interaction has been revealed in my study of various dramas written by Li Yu; on the other hand, this interaction in my view, represents his self identity and local experience. The aim of this research on Li Yu is not limited to the eminent playwright. It is believed that this thesis can also provide information that contributes to the study of Suzhou playwrights, regional literature in the Ming-Qing era, as well as the history of Chinese drama. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 陳雅君. / "2012年2月". / "2012 nian 2 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 161-172). / Abstract in Chinese and English. / Chen Yajun. / Chapter 第一章 --- 緒論 --- p.1 / Chapter 第一節 --- 研究情況回顧 --- p.4 / Chapter 第二節 --- 研究方法與問題意識 --- p.11 / Chapter 第三節 --- 論文章節安排 --- p.17 / Chapter 第二章 --- 李玉生平、戲曲活動與蘇州的關係 --- p.21 / Chapter 第一節 --- 成長在申家班 --- p.22 / Chapter 第二節 --- 仕與隱 --- p.26 / Chapter 第三節 --- 戲曲創作 --- p.31 / Chapter 第四節 --- 交遊 --- p.34 / Chapter 第三章 --- 晚明蘇州之浮世繪--「一人永占」 --- p.39 / Chapter 第一節 --- 時事劇的地域性：《一捧雪》 --- p.41 / Chapter 第二節 --- 給蘇州人的寓言：《人獸關》 --- p.51 / Chapter 第三節 --- 鬧熱的蘇州社火：《永團圓》 --- p.60 / Chapter 第四節 --- 地域與時代之間：《占花魁》 --- p.65 / Chapter 第四章 --- 吳人觀吳事--《清忠譜》的蘇州史事再現 --- p.72 / Chapter 第一節 --- 《清忠譜》中的晚明蘇州開讀之變 --- p.75 / Chapter 第二節 --- 《清忠譜》中的蘇州史事再現 --- p.79 / Chapter (一) --- 「罵亦禰衡之氣」：周順昌 --- p.81 / Chapter (二) --- 晚明的要離、專諸：五人義 --- p.85 / Chapter (三) --- 「時間錯誤」下的諸生朱祖文 --- p.90 / Chapter (四) --- 開放式場景中的蘇州史事：〈鬧詔〉 --- p.91 / Chapter (五) --- 對蘇州命運之關懷：〈蔭吳〉與〈塗本〉 --- p.94 / Chapter (六) --- 流變中的蘇州史事：〈弔墓〉 --- p.95 / Chapter 第三節 --- 《清忠譜》的迴響 --- p.97 / Chapter 第五章 --- 蘇州孝子尋親記──《萬里圓》的時事書寫 --- p.100 / Chapter 第一節 --- 黃向堅萬里尋親事於蘇州的傳播(1653-1661) --- p.102 / Chapter (一) --- 黃向堅《尋親紀程》、《滇還日記》與「尋親圖冊」 --- p.102 / Chapter (二) --- 李玉《萬里圓》傳奇 --- p.106 / Chapter 第二節 --- 《萬里圓》中的時事再現：家國、忠孝與空間 --- p.107 / Chapter (一) --- 忠孝、家國的交織與深化 --- p.108 / Chapter (二) --- 空間與回憶：蘇州地域經驗的深化 --- p.113 / Chapter (三) --- 亂世中的家族經驗 --- p.117 / Chapter (四) --- 孝的普世性：孝子尋親故事的互涉 --- p.118 / Chapter 第三節 --- 《萬里圓》作為場上之曲的迴響 --- p.120 / Chapter (一) --- 《綴白裘》的〈跌雪〉與三溪 --- p.124 / Chapter (二) --- 晚清舞台上的〈打差〉 --- p.125 / Chapter 第六章 --- 李玉戲曲的再生產--從《萬里圓打差》說起 --- p.127 / Chapter 第一節 --- 《萬里圓.打差》的政治意識 --- p.129 / Chapter 第二節 --- 《綴白裘》之《清忠譜鞭差》與吳梅鈔本《清忠譜.打差》 --- p.138 / Chapter 第三節 --- 王蒸籠於《翡翠園》的回歸 --- p.147 / Chapter 第四章 --- 餘論：朱素臣戲曲的再生產 --- p.153 / Chapter 第七章 --- 結語 --- p.156 / 參考書目

Submitted in fulfilment of the requirements for the degree of Masters in English in the Division of Humanities, Dept. of English, 2006. / Thesis (MA)--Macquarie University (Division of Humanities, Department of English), 2006. / Bibliography: p. 199-210. / Introduction -- Defiance and servility in Andrew Bovell's Holy day -- Writing a reconciled nation: Katherine Thomson's Wonderlands -- Transformation of trauma: Tammy Anderson's I don't wanna play house -- The rage inside the pain: Richard J. Frankland's Conversations with the dead -- Conclusion: towards an understanding of witness to the trauma of invasion. / In an Australia shaped by neo-conservative government and by searing contention, national and global, over what the past is, how it should be allowed to affect the present and who are authentic bearers of witness, this thesis compares testimony to Australia's black/white relations in two plays by white writers, Andrew Bovell's 'Holy day' (2001) and Katherne Thomson's 'Wonderlands' (2003), and two black writers, Tammy Anderson's 'I don't wanna play house' (2001) and Richard J. Frankland's 'Conversations witht the dead' (2002). / Mode of access: World Wide Web. / 210 p. ill. 30 cm

viii, 261 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / My dissertation analyzes the rake, the libertine male, a figure whose liminal masculinity and transgressive appetites work both to stabilize and unsettle hegemony in the texts in which he appears. The rake may seem no more than a sexy bad boy, unconnected to wider social, political, and economic concerns. However, my project reveals his central role in reflecting, even shaping, anxieties and desires regarding gender and sexuality, race and ethnicity. I chart the rake's progress from his origins in the Restoration era to the early twenty-first century. Chapter II examines William Wycherley's comedy The Country Wife in concert with John Dryden's Marriage à la Mode and Aphra Behn's The Rover to analyze the rake's emergence in seventeenth-century theatre and show that his transgression of borders real and figurative plays out the anxieties and aspirations of an emerging British empire. Chapter III uses John Gay's ballad opera The Beggar's Opera, a satiric interrogation of consumerism and criminality, to chart the rake in eighteenth-century British theatre as Britain's investment in global capitalism and imperialism increased. My discussion of Opera is framed by Richard Steele's early-century sentimental comedy The Conscious Lovers and Hannah Cowley's late-century The Belle's Stratagem, a fusion of sentiment and wit. Chapter IV hinges the project's theatre and film sections, analyzing Oscar Wilde's fin-de-siècle comedy The Importance of Being Earnest as a culmination of generations of theatre rakes and an anticipation of the film rakes of the modern and post-modern eras. Dion Boucicault's mid-century London Assurance is used to set up Wilde's queering of the rake figure Chapter V brings the rake to a new medium, film, and a new nation, the United States, as the figure catalyzes American tension over race and gender in early twentieth-century films such as Cecil B. DeMille's The Cheat, George Melford's The Sheik, and Ernest Lubitsch's Trouble in Paradise. My final chapter reads contemporary films, including Jenniphr Goodman's The Tao of Steve, Chris Weitz and Paul Weitz's About a Boy, and Gore Verbinski's trilogy Pirates of the Caribbean for Disney Studios, to assess the ways in which millennial western masculinity is in stasis. / Committee in charge: Dianne Dugaw, Co-Chair; Priscilla Ovalle, Co-Chair; Kathleen Karlyn; John Schmor

<p>\ / Doctorat en Langues et lettres / info:eu-repo/semantics/nonPublished

Text in TshiVenḓa with abstracts in TshiVenḓa and English / The purpose of this study was to contextually describe and analyse how male authors of Tshivenḓa drama books have in their dialogue portrayed female characters in the manner that it may tend to educate or encourage the public to criticize and abuse them in communities and society. In Tshivenḓa literature therefore, some male authors of drama books have tended to misrepresent the characterisation of women. It is presumed that the ways in which women are portrayed in some Tshivenḓa dramas by male authors, tend to normatively educate, socially reproduce and sustain the abuse of women within communities and society in which they live. In most of these drams, male authors have written their bias, contextually depicted women unfairly shown and criticised them in different sorts of ways. The researcher applied the Ethnography of communication, Social constructionism, Feminism and Critical discourse analysis theories. These theories enabled her to understand that language in the hands of authors can be used to reproduce power, dominance, control and power abuse. This led her to focus on related literature which proved that indeed the problem exists. Methodically this is a qualitative descriptive study in which the documentation ‘Document Analysis’ dialogue of seven purposefully selected drama books were considered and data collected. It used Neuman’s (1996) Analytic Comparison which applies the method of agreement and method of difference. When the data was analysed, there emerged themes which carry findings. In brief, the results of this study inter alia show that some male authors of selected Tshivenḓa drama books, described women as weak, poor decision-makers and powerless in communities and society at large. On the other, in the characterisation of men, they show them as social architectures of how women should be seen as depicted, thereby dominated and mistreated objects. It also found that Tshivenḓa culture was misrepresented and incorrectly applied to criticise, dominate, discriminate and justify the abuse of women by husbands and relatives, mainly in-laws. The results also suggest that within the context, male authors socially subject our children (both boys and girls as reader of such books), to indoctrination and social education as unequal partners in society in which they live. / Tshipikwa tshihulwane tsha ino ngudo ho vha u ṱalutshedza na u saukanya nḓila dzine vhaṅwali vha vhanna vha ḓirama dza Tshivenḓa vha shumisa ngadzo nyambedzano u bveledza vhaanewa vha vhafumakadzi uri hu ṱuṱuwedzwe vhadzulapo u vha sasaladza na u vha sathula hune vha ḓiwana vhe hone zwitshavhani. Kha maṅwalwa a Tshivenḓa, vhaṅwe vhaṅwali vha bugu dza ḓirama vha anzela u sa bveledza vhaanewa vha vhafumakadzi nga nḓila i si yone. Zwi dzhiiwa uri nḓila dzine vhafumakadzi vha bveledzwa ngadzo kha ḓirama dza Tshivenḓa dze dza ṅwalwa nga vhanna dzi na u funḓedza, u bveledza na u engedza tshengedzo ya vhafumakadzi hune vha dzula hone na vhukati ha zwitshavha. Kha ḓirama nnzhi, vhaṅwali vha vhanna vha ṅwala vho sendamisa kubveledzele, vha bveledza vhafumakadzi nga nḓila ine vha sathulea lwo kalulaho. Muṱoḓisisi o shumisa thyiori dzo fhambanaho sa ya Nyambedzano ‘Ethnography of communication, ya Vhufhaṱavhuvha ‘Social constructionism, ya Vhulwelambofholowo ha vhafumakadzi ‘Feminism’, na ya Tsaukanyo yo dzhenelelaho ya mafhungo ‘Critical discourse analysis.’ Thyiori hedzi, dzo thusa muṱoḓisisi u pfesesa uri luambo zwanḓani zwa uṅwali lu a kona u shumiswa u bveledza maanḓda, u tsikeledza, u vhusa na u shumisa maanḓa nga nḓila i si yone. Hezwi zwo mu thusa u lumbama kha maṅwalwa o teaho ane khao hei thaidzo ya vha khagala. Ri tshi ya kha Ngona ya ṱhoḓisiso, muṱoḓisisi o shumisa nḓila ya Khwalithethivi he a wana mafhungo nga nḓila ya u sengulusa zwo ṅnwalwaho zwa nyamedzano kha bugu dza sumbe dze a nanguludza zwo bva kha ene muṋe. Ho shumiswa nḓila ya Neuman (1996) ya Tsenguluso yo ṱanḓavhuwaho ‘Analytic comparison’ ine ya shumisa nḓila ya thendelano ‘method of agreement’ na ya phambano ‘method of difference’. Musi mafhungo o no saukanywa, ho bvelela thero dzo hwalaho mawanwa a ṱhoḓisiso. Nga u pfufhifhadza, mawanwa a hei ngudo, o sumba uri vhaṅwe vhaṅwali vha vhanna vha ḓirama dzo nangiwaho vha bveledza vhafumakadzi vhe vhathu vha si na vhuimo, vha sa koni u dzhia tsheo nga vhone vhaṋe nahone vha si na maanḓa hune vha wanala hone na kha zwitshavha. Kha ḽiṅwe sia, musi vha tshi ḓibveledza, vhaṅwali vha vhanna vha tou ḓitakula sa vhomasithesela vhane vha tea u vha na vhukoni ha u bveledza vhafumakadzi, u ralo vha kona-ha u vha ṱana vhe vhane vha tsikeledzwa na u shengedzwa. Zwo ḓo wanala uri na musi zwi tshi ḓa kha mvelele, hunzhi yo shumiswa nga nḓila i si yone saizwi i tshi vho shumiswa u sathula, u tsikeledza, u ṱalula na u khwaṱhisa u shengedzwa ha vhafumakadzi nga vhanna vhavho na mashaka, nga maanḓa vha vhuhadzi sa vhomazwale. Mawanwa a dovha a sumbedza uri zwo ralo, vhaṅwali vha vhanna vha fhaṱa muya kha vhana vhashu (vhatukana na vhasidzana sa vhavhali vha idzi bugu) wa u tou dzivhela na u funza avho vhana uri vhutshiloni hu na vhadzulapo vha vhuimo vhu sa lingani zwitshavhani ngeno zwi si zwone. / African Languages / D. Litt. et Phil. (African Languages)

劉洋. / "2004年1月". / 論文(哲學碩士)--香港中文大學, 2004. / 參考文獻 (leaves 100-107). / 附中英文摘要. / "2004 nian 1 yue". / Liu Yang. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2004. / Can kao wen xian (leaves 100-107). / Fu Zhong Ying wen zhai yao. / 摘要 --- p.1 / Chapter 第一章 --- 導論 --- p.1 / Chapter 1.1 --- 硏究目的和範圍 --- p.1 / Chapter 1.2 --- 硏究背景 --- p.2 / Chapter 1.3 --- 考查工作及資料搜集 --- p.6 / Chapter 第二章 --- 二人轉簡介 --- p.8 / Chapter 2.1 --- 源起及發展 --- p.8 / Chapter 2.2 --- 與東北民歌及戲曲的關係 --- p.17 / Chapter 2.3 --- 語言特點 --- p.22 / Chapter 2.4 --- 二人轉的音樂風格 --- p.25 / Chapter 2.5 --- 觀眾的參與及影響 --- p.33 / Chapter 第三章 --- 二人轉女演員概述 --- p.35 / Chapter 3.1 --- 女演員出現的地理及歷史因素 --- p.35 / Chapter 3.2 --- 女演員的出現及發展 --- p.36 / Chapter 3.3 --- 女演員的服裝、道具及扮相 --- p.39 / Chapter 3.4 --- 女演員的表演 --- p.44 / Chapter 3.5 --- 女演員的舞蹈 --- p.58 / Chapter 第四章 --- 三位女演員的表演特色 --- p.68 / Chapter 4.1 --- 閆學晶 --- p.68 / Chapter 4.2 --- 王娟 --- p.74 / Chapter 4.3 --- 梁學華 --- p.81 / Chapter 4.4 --- 二人轉女演員特點總結 --- p.86 / Chapter 第五章 --- 結論 --- p.89 / Chapter 5.1 --- 總結 --- p.89 / Chapter 5.2 --- 未來的硏究方向 --- p.98 / 參考著作 --- p.100 / 附錄 --- p.108 / 附錄I藝訣 --- p.109 / 附錄II譜例 --- p.112 / 譜例2-1 選自《西廂》唱段 --- p.113 / 譜例2-2 選自《西廂》唱段 --- p.114 / 譜例2-3 選自《西廂》唱段 --- p.116 / 譜例4-1 選自《皇親夢》唱段 --- p.118 / 譜例 4-2 選自《皇親夢》唱段 --- p.119 / 譜例 4-3 選自《包公斷后》唱段 --- p.121 / 譜例 4-4 選自《包公斷后》唱段 --- p.123 / 譜例 4-5 選自《包公斷后》唱段 --- p.124 / 附錄III圖例 --- p.125 / 圖例2-1 嗩吶、二胡、琵琶 --- p.126 / 圖例3-1 丑靴、旦舞鞋、服裝 --- p.127 / 圖例3-2 大板和手玉子、扇子、手絹 --- p.128

Liao Weichun. / "August 2004." / Thesis (Ph.D.)--Chinese University of Hong Kong, 2004. / Includes bibliographical references (p. 249-268). / 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 Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Abstracts in English and Chinese.

A travers une étude interculturelle détaillée et comparée de la production théâtrale minoritaire canadienne et américaine, ma thèse cherche à mettre en lumière les les apports thématiques et esthétiques du théâtre multi-ethnicque nord-américain contemporain à la tradition anglo-américaine du 20ème siècle. Les communautés asiatiques, africaines et aborigènes sont retenues comme poste d'observation privilégié de l'expression esthétique de la condition multiculturelle postcoloniale dans le théâtre nord-américain de la période allant de 1972 à nos jours. Sur base d'un corpus de pièces de théâtre, ma recherche m'a permis de redéfinir les grandes articulations des notions d'hybridité, d'identité et de communauté/nation postcoloniale.<p><p>Through a detailed cross-cultural approach of the English Canadian and American minority theatrical production, my thesis aims to identify the thematic and aesthetic contributions of multi-ethnic North American drama to the Anglo-American tradition of the 20th century. My study examines North American drama from the vantage points of African, Asian, and Native communities from 1972 until today. Relying on a number of case studies, my research opened up new avenues for rethinking the notions of hybridity and identity in relation to the postcolonial community/nation. <p> / Doctorat en Langues et lettres / info:eu-repo/semantics/nonPublished