葉嘉. / "2009年8月". / "2009 nian 8 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references (leaves 125-131). / Abstracts in Chinese and English. / Ye Jia. / 緒論 --- p.2 / Chapter 第一章 --- 《禮拜六》概貌 --- p.6 / 《禮拜六》的編者和作者 --- p.6 / 《禮拜六》的讀者 --- p.12 / Chapter 第二章 --- 《禮拜六》的翻譯 --- p.19 / 《禮拜六》的譯者 --- p.19 / 翻譯小說的刊行 --- p.21 / 翻譯小說的原著來源 --- p.24 / Chapter 第三章 --- 短篇翻譯小說中的「佳人」 --- p.28 / 「佳人」的形象 --- p.28 / 「佳人」的群像 --- p.45 / 兩個傳統：本國文學和晚清翻譯 --- p.69 / Chapter 第四章 --- 翻譯與原創及圖像的對話 --- p.77 / 翻譯小說與原創小說 --- p.77 / 翻譯小說與圖像 --- p.87 / Chapter 第五章 --- 「佳人」對現實世界的回應 --- p.94 / 「佳人」與婚戀自由 --- p.95 / 「愛國佳人」、「英雌」與國家危機 --- p.98 / 「悍婦」與女權運動 --- p.101 / Chapter 第六章 --- 再看譯者 --- p.106 / 「佳人」的譯者：敘事學與翻譯學角度 --- p.106 / 另一種翻譯觀 --- p.110 / 另一種「啓蒙」 --- p.112 / 結論 --- p.123 / 參考書目 --- p.125

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

《隋書》及《北史》皆云南北朝經學「章句好尚，互有不同」，又述南北異同云：「江左《周易》則王輔嗣，《尚書》則孔安國，《左傳》則杜元凱。河、洛《左傳》則服子慎，《尚書》、《周易》則鄭康成。《詩》則並主於毛公，《禮》則同遵於鄭氏。」歷來論南北經學流派者，莫不以此文為據。學者或以為南北經學之好尚，《隋書》、《北史》「數言盡之」（皮錫瑞語），即謂同則趨同，異則迥異，涇渭分明。亦有學者不作絶對之論，稱南朝不無宗鄭玄者，北朝猶有習偽孔者。持此論者之所據，多為南北各朝史傳、《經典釋文》、《隋書》所載南北諸經立學、門戶承傳之概況，惟史料零碎，且個別細節語焉不詳。同時，學界不乏以輯本南北朝經學佚書鑽研經學史者，惜輯本內容佔原書幾何，不甚明確，貿然藉此立論，恐失之武斷。 / 目前，藉南北朝傳世文獻研究時人對諸經注解之好尚，暫未一見，本文以為研治南北經學好尚問題，當可在此着墨。南北朝傳世古注之具名引用諸經注解者，有南人裴松之《三國志注》、裴駰《史記集解》、劉孝標《世說新語注》、皇侃《論語義疏》，以及北人酈道元《水經注》五種。鑑於南北對於《周易》、《尚書》、《左傳》、《論語》四經注解之好尚差異最大，故本文旨在考覈上述傳世古注所引四經注解，以探求前列南北注家五人對經注之好尚，從而疏理南北朝南北經學之沿革，以為經學史研究開一嶄新門徑。 / 本文共分八章。第一章回顧南北朝南北經學好尚之研究步伐，並提出藉用南北朝傳世古注所引諸經注解為探討此問題之新方向。第二章略述南北朝傳世古注引諸經注解之特色，以鉤其引書之概念。第三至第六章，則逐一考索南北朝傳世古注所引《周易》、《尚書》、《春秋左傳》、《論語》四經注解，並議論南北經學沿革相關問題。第七章專講徐彥《春秋公羊傳疏》。徐《疏》舊題唐代，惟清代以降，學者或以為北朝之書，又或以為其書並非一時之作，而終成於唐，各具實據。無論如何，本文不排除徐《疏》包羅北朝經解成分，故設專章考述其引用以上四經注解之情況，以為餘論。卒章總結全文。 / According to Suishu隋書 and Beishi北史, the Southern and Northern Dynasties favored respectively different interpretations of the Confucian Classics (jing經). Taking Shangshu尚書 as an example, Zheng Xuan鄭玄’s annotation was preferred in the North, whereas the annotation with its authorship assigned to Kong An’guo孔安國 was preferred in the South. To study the divisions of jingxue經學 during the Southern and Northern Dynasties, reviewers have constantly regarded the above statement as a foundation. Some of them, such as Pi Xirui皮錫瑞, believed that Suishu and Beishi had precisely concluded the trend of orthodoxy, as coherent comments on jingxue can be observed respectively within the Southern and Northern Dynasties. However certain counterexamples exist, for instance, Zheng’s commentary was adopted in the South, whereas Kong’s annotation was also studied in the North. Dissenters’ arguments mainly based on the official history of the South and the North. Alternative sources include Jingdian Shiwen經典釋文, Suishu and the recovered texts (jiyishu輯佚書) of the related period, with the latter being piecemeal and incomprehensive. Nevertheless, few studies have succeeded investigating the interpretations of jing at that time with the aid of the transmitted notes (zhu注) of the Southern and Northern Dynasties, namely Sanguozhi Zhu三國志注, Shiji Jijie史記集解, Shishuo Xinyu Zhu世說新語注, Lunyü Yishu論語義疏 and Shuijing Zhu水經注, which serves as alternative corpora. Through a close examination of the notes’ citation, this thesis aims at investigating coexisting evaluations towards various notes of jing, as well as articulating jingxue’s development throughout that period. / This thesis comprises eight chapters. The first chapter reviews past studies and the inadequacy therein, declaring the transmitted notes of the Southern and Northern Dynasties as an alternative source for research. Chapter Two summarizes the rules of the citations of commentaries on Classics found in the transmitted notes above. Details for those of Zhouyi周易, Shangshu, Zuozhuan左傳 and Lunyü論語 are presented with analysis in the next four chapters respectively. Chapter Seven looks into the commentaries on the four Classics cited in Chunqiu Gongyangzhuan Shu春秋公羊傳疏, which to a certain extent shows the scholars’ preferences in the North due to the multiplicity of authorship. The final chapter serves as a conclusion. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 伍尚俊. / "2012年9月". / "2012 nian 9 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 290-308). / Abstract in Chinese and English. / Wu Shangjun. / 凡例 --- p.1 / Chapter 第一章 --- 南北朝經學好尚研究之回顧暨新方向之提出 --- p.5 / Chapter 第一節 --- 目前南北朝經學好尚相關研究成果述要 --- p.5 / Chapter 第二節 --- 概說南北經學好尚研究之新方向──南北朝傳世古注引諸經注解 --- p.7 / Chapter 第二章 --- 南北朝傳世古注引諸經注解之特色述略 --- p.14 / Chapter 第一節 --- 裴松之《三國志注》引諸經注解之特色 --- p.14 / Chapter 第二節 --- 裴駰《史記集解》引諸經注解之特色 --- p.14 / Chapter 第三節 --- 劉孝標《世說新語注》引諸經注解之特色 --- p.15 / Chapter 第四節 --- 皇侃《論語義疏》引諸經注解之特色 --- p.16 / Chapter 第五節 --- 酈道元《水經注》引諸經注解之特色 --- p.16 / Chapter 第三章 --- 南北朝傳世古注引《周易》注解考辨 --- p.22 / Chapter 第一節 --- 引言 --- p.22 / Chapter 第二節 --- 裴駰《史記集解》引《周易》注解兼採漢魏晉說考 --- p.22 / Chapter 第三節 --- 劉孝標《世說新語注》引《周易》注解獨取魏晉說考 --- p.30 / Chapter 第四節 --- 結語 --- p.33 / Chapter 第四章 --- 南北朝傳世古注引《尚書》注解考辨 --- p.37 / Chapter 第一節 --- 引言 --- p.37 / Chapter 第二節 --- 裴松之《三國志注》引《尚書》注解獨取漢說考 --- p.37 / Chapter 第三節 --- 裴駰《史記集解》引《尚書》注解兼採漢魏晉說考 --- p.47 / Chapter 第四節 --- 劉孝標《世說新語注》及皇侃《論語義疏》引《尚書》注解-分別獨取《偽孔傳》及鄭玄注叢考 --- p.103 / Chapter 第五節 --- 酈道元《水經注》引《尚書》注解兼採漢魏晉說考 --- p.110 / Chapter 第六節 --- 結語 --- p.123 / Chapter 第五章 --- 南北朝傳世古注引《春秋左傳》注解考辨 --- p.132 / Chapter 第一節 --- 引言 --- p.132 / Chapter 第二節 --- 裴松之《三國志注》引《左傳》注解兼採漢晉說考 --- p.132 / Chapter 第三節 --- 裴駰《史記集解》引《左傳》注解兼採漢魏晉說考 --- p.134 / Chapter 第四節 --- 劉孝標《世說新語注》及皇侃《論語義疏》引《左傳》注解-獨取杜預注叢考 --- p.160 / Chapter 第五節 --- 酈道元《水經注》引《左傳》注解兼採漢魏晉說考 --- p.166 / Chapter 第六節 --- 結語 --- p.180 / Chapter 第六章 --- 南北朝傳世古注引《論語》注解考辨 --- p.189 / Chapter 第一節 --- 引言 --- p.189 / Chapter 第二節 --- 裴駰《史記集解》引《論語》注解兼用何晏、江熙二家《集解》考 --- p.189 / Chapter 第三節 --- 劉孝標《世說新語注》引《論語》注解用何晏《集解》考 --- p.229 / Chapter 第四節 --- 南北朝傳世古注引漢魏晉《論語》注解好尚之異同及其原因 --- p.241 / Chapter 第五節 --- 結語 --- p.244 / Chapter 第七章 --- 徐彥《春秋公羊傳疏》引諸經注解考辨 --- p.249 / Chapter 第一節 --- 引言 --- p.249 / Chapter 第二節 --- 徐《疏》引《周易》注解獨取漢說考 --- p.250 / Chapter 第三節 --- 徐《疏》引《尚書》注解獨取漢說考 --- p.262 / Chapter 第四節 --- 徐《疏》引《春秋左傳》注解兼採漢晉說考 --- p.267 / Chapter 第五節 --- 徐《疏》引《論語》注解獨取漢說考 --- p.280 / Chapter 第六節 --- 結語 --- p.283 / 總結 --- p.287 / 參考文獻 --- p.291

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In 17th century Italy, the trend toward small sacred concertato forms precipitated the publication of a number of volumes devoted exclusively to sacred solo vocal music. Several of these, including the Ghirlanda sacra (Gardano, 1625) and Motetti a voce sola (Gardano, 1645) contain sacred solo motets by some of the best Italian composers of the period. Venetian composers were at the forefront of the move toward the smaller concertato forms and, to fulfill various needs of church musicians, wrote in an increasingly virtuoso style intended to highlight the solo voice. This study traces the development of the solo motet in the sacred works of Venetian composers from the time of Monteverdi to Vivaldi. It revolves around sacred solo motets composed at Saint Marks and the Venetian ospedali (orphanages). It includes works of Alessandro Grandi, Claudio Monteverdi, Francesco Cavalli, and Antonio Vivaldi. It also deals with solo motets of lesser composers whose works are available in modern critical and performing editions or in recently published facsimiles. In addition to providing a more detailed survey of the genre than has been previously available, this study provides an overview of highly performable (but largely neglected) repertoire.

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published_or_final_version / Literary Studies / Master / Master of Arts

published_or_final_version / Chinese / Master / Master of Philosophy

published_or_final_version / Chinese / Master / Master of Philosophy