During the nineteenth century, African American women like Jarena Lee, Zilpha Elaw, and Julia Foote wrote narratives of their spiritual conversions. Through their efforts and the efforts of others like them, spiritual autobiographies became not only evangelical tools but also a means of shaping African American culture and American society in general. While some black women were working to claim power for their gender and race by writing spiritual narratives, other women, both black and white, were working with sentimental literature to achieve similar goals. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2015 / FAU Electronic Theses and Dissertations Collection

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