文獻學與文化研究是金學研究的大宗，二者關注的共同點是《金瓶梅》「寫了什麼」；本論文則結合評點及敘事學，整合《金瓶梅》的敘事原則，分析特定敘事筆法反覆出現的用意，有系統地探究《金瓶梅》的敘事特徵及藝術成就，亦即藉著分析敘事者「如何講述故事」，建立起藝術筆法與小說內容之間的關係。 援引敘事理論探討傳統小說，一部份的目的在於更精確地描述小說的特色，而非還原作者的意圖，或尋求完整的詮釋體系。因此，雖然西方敘事理論已發展成一套便於操作的分析方法，但本論文並不完全依循敘事理論解析《金瓶梅》，僅參酌敘事理論能與傳統評點相互呼應之處，論述用語仍以評點為主，取其切合中國文化與詮釋傳統的優點，可避免論述文字歐化之病；也保留評點特意關注，但敘事理論並未探究者。本論文章節架構則大體依照敘事理論建立，不只為了條理分明地說明評點的內涵，也注重敘事理論已經觸及，但評點論述不足的敘事特徵，藉此開拓《金瓶梅》的詮釋面向。 本論文從結構、時空、視角三個層面，析論《金瓶梅》的敘事技巧，並參酌熱奈特（Gérard Genette）的敘事理論。論文第二章便借用他對故事時間及敘事時間的區分，對敘事「延伸」（narrative scattering）的分析，以及科比利（Paul Cobley）對敘事中「期待」及「回憶」的探討，來闡釋《金瓶梅》組織段落的次序所蘊含的意義，並說明書中如何聯繫不連續的片段。本章亦探討評點中「綴合」的觀念，分析《金瓶梅》如何連接相鄰的片段。第三章援引羅蘭‧巴特（Roland Barthes）「現實效應」（reality effects）的概念，分析《金瓶梅》中的「細節」及評點者的閱讀樂趣，並重新思考蒲安迪（Andrew H. Plaks）「形象迭用」的意涵。第四章則運用敘事理論中的「視角」（point of view）及「敘事情境」（narrative situatiion），重新詮釋說書人及說書情境對傳統小說的影響，並藉助「凝視」（gaze）及「偷窺」（voyeurism）理論，探討《金瓶梅》中擅以偷窺寫人物「破綻」的特徵。 透過本論文的分析可知，作者重新組織包羅萬象的現實生活，使敘事時間及故事時間之間產生對比，不但具有相互映照或延宕懸念的效果，也能涵容同一敘事時間內的諸多敘事線索。各種串接不同片段的敘事筆法，則使人物及事件間產生緊密的聯繫，形成各個事件之間互為因果，錯綜影響的關係。「說書」的情境能聯繫虛構的小說世界與真實的人生，構成小說人物種種所為被公諸於世的語境，滿足聽眾／讀者一窺究竟的好奇心與偷窺欲；以小說人物的偷窺作為敘事視角時，則能突顯敘事視角隱含的意識型態，也使讀者及評點者都成為偷窺者，獲得不同的閱讀樂趣。上述特徵與《金瓶梅》隨處可見的「擬真」描寫，以及「白描」、「沒要緊處」餘韻無窮的筆墨，共同構成《金瓶梅》逼真的時空環境與特殊的講述角度，使讀者藉著虛擬的經驗，在極短的閱讀時間之內，見證西門家的興亡盛衰，感同身受地理解「盛極而衰」及「一切皆空」的哲理。

自先秦《詩經》成了四言體裁集大成作品之後，討論者眾，繁華過盡，後世以四言體裁為研究對象者遂寡，使得四言體裁成為詩歌學術討論相對較缺乏關愛之一環，甚為可惜。晉代摯虞與梁代劉勰不約而同界定四言體裁詩歌為「正體」，正體與四言詩的關係，在先秦《詩‧大序》僅約略可見「正」與「變」的對舉，在漢代以前則呈現正變不明的情況，四言體詩歌可以說是到了摯虞才正式被稱為「正體」。究竟四言體詩歌有何特殊風格與地位？詩論家何以將之標舉為「正體」？而此一「正體」說法，對於魏晉時期的四言詩又有什麼影響？本文透過南朝以前的詩歌論述與詩歌流變，進行詳細且深入的探討。 四言詩歌在魏晉時期與五言詩歌同時並存，其間的消長遂成為當時詩歌流變的脈絡。本文參酌以五言詩為對象進行之討論與其建立的魏晉時期五言詩歌譜系，透過對魏晉時期四言詩脈絡進行詳細歸納整理，並且藉由對四言詩歌作品完整且細密的分類，以嚴謹架構出當時四言詩歌的內在質素。此外，從類型由來與區分的探究中，進一步剖析四言詩之所以被形塑為「正體」依據的緣由，以深入探勘魏晉時期所闕漏的四言詩歌討論，希冀確立四言詩在詩歌史之定位。本研究並在四言詩歌類型的篩選與討論上，透過量化分析方式，藉由創作類型比例的高低作為另一客觀的討論基礎，同時依憑數據化的討論，揭示、呈現四言詩歌在魏晉時期完整且確然的狀態。 / In Jin and Liang Dynasties, Zhi Yu (摯虞) and Liu Xie (劉勰) both defined four-word poetry as " Zheng Ti" (Classical Form). Actually, the form of four-word poetry was called "Zheng Ti" until Zhi Yu. Why those critics called the four-word poetry with classical form? What could we figure out the special type and cultural level of "Zheng Ti"? And the thought of classical form compared what kind of imagination in the four-word poetry during Wei and Jin Dynasties? In this paper, the reasons why four-word poetry associated with "Zheng Ti" were discovered through the Southern Dynasties poetry discussion with variation in prosody. The four-word and five-word poetry both coexist in the Wei and Jin Dynasties. The growth and decline between the two forms composed of the poetry changed at that time. In this paper, the four-word poetry classifications system was established and the qualities were found through the researches about five-word poetry classifications and the system of five-word poetry in Wei and Jin Dynasties. Besides, the research through screening and discussion of four-word poetry, based on quantitative analysis, the proportion of every type in the classifications system from high to low could be an objective basis for discussion. Relied upon a discussion of the data, this paper will render the complete and mature condition of four-word poetry, and fill up the lake of discussion in four-word poetry history of positioning in Wei and Jin Dynasties.

Through the triple changes which include the variation in society, time and space, the intelligentsia in Wei and Jin Dynasties came to a realization that life is capricious. They combined the thought of Tze-Shi (carefree and footloose) and Gui-wuo (emphasize the unique value of oneself) together with the tolerance of physical desire and worship of nature to develop two theories: Zhong-shen (consider body as the foundation of all) and Le Sheng (carpe diem/seize the day), which remain the keynote of the viewpoint towards body in Wei and Jin Dynasties. Wei and Jin Dynasties followed the theory of Chi-transformation in Han Dynasty, as well as the idea that form and spirit are one, and develop a complete viewpoint towards body which interprets body and mind as one unity. The Chi flows in the body and becomes the medium of body and mind, then goes outward to the relation between body and nature; human body itself forms a complete micro system, which, through the flow of emotion and Chi, echoes or responds with the macro system of nature. The intelligentsia in Wei and Jin Dynasties considered etiquette and music as the embodiment of nature and human body as the territory where culture and nature are embodied. Kuo-Shian interpreted the relation between body, etiquette and music with the theory of Shi-Jai-Ti-Chung (ease and comfort within the body). Etiquette and music was made in a situation in which ¡§ease and comfort¡¨ are in harmony with body and also communicate with the heaven, earth and man in a way that ¡§ease and comfort¡¨ harmonize with the nature, and brings heaven, earth and man in concordance. When etiquette fails to bring ¡§ease and comfort¡¨ to the body, the intelligentsia used body as a tool to fight against the rigid etiquette, in order to arouse introspection over Li-Yuan-Zen-Ching (etiquette should be made with human beings as the first consideration, and eschews rigidity or affectation), and at the meantime brings reformation and feedback to the society. The intelligentsia¡¦s rising consciousness of selfhood and body makes the relation between body and society an active instead of a passive one. The intelligentsia, while perceiving the change of society and understanding the fact that human nature is unalterable, were contented to remain the status as Chung-Zen (mediocrity, people who are between genius and fools), and pursuit the fulfillment of their dreams as well as the feeling of carefree. Those intelligentsia emphasized the value of themselves and preferred to be themselves while understanding completely the truth and limitation of life, and they responded changes of the society and time with the idea of Shi-Shin-An-Min (follow and accept your own nature, be contented).

In this interdisciplinary study, narrative portraiture is used as a methodology to depict three visual artists who draw on their lived experience, traditions and values to engage viewers, through their artwork, about issues of landscape and identity. I argue for an educative paradigm applied to art practice that seeks individual and social/cultural transformation within and across communities through pedagogical processes that recognize diverse audiences. Questions guiding this study are: How do the artists' ideas and practices relate to living in British Columbia and the representation of the land? What are their motivations and strategies for expressing those ideas? How are the roles of these artists and the roles of teachers linked? The study considers the ways in which Jin-me Yoon, Lawrence Paul Yuxweluptun and Marian Penner Bancroft foreground landscape in British Columbia as a complex phenomenon and as a powerful icon in Canadian culture. Through interviews and analysis of artwork, this study examines how these artist/pedagogues challenge artistic conventions, myths and historical narratives that have framed Western culture and influenced their experience. By employing and disrupting conventions of representations of the land, they construct new narratives concerned with issues of identity, the environment, Native land claims, and urban history. This research portrait of artists who attempt to inscribe a place for themselves and their communities within the life of the province, is also a portrait of 'place', or the complex interrelationship of people and the environment. As role models and spokespersons who link knowledge and culture, the artists share a desire'to foster understanding through postmodern art practices and dialogic pedagogical processes. This study acknowledges their dual role as artist and teacher, involving models of practice that aim to effect social change and environmental care. It examines how their work integrating art and education, reflects and attempts to shape the social, cultural and political landscape within shifting conditions of society today. This study aims to provide a greater understanding of artist/pedagogues and calls for an increased focus on a pedagogical role for artists in museums, schools and other community-based sites, particularly with respect to multicultural and environmental art education.

本文的研究主題為唐修《晉書》與《世說新語》間的敘事差異，對二書重出資料進行研究考察，研究的重心在於《世說新語》材料進入《晉書》後所產生的變化，觀察史家如何引用《世說新語》，整理歸納敘事差異的類型，探究敘事差異現象背後的原因及其意涵。 在第一章緒論中，從《晉書》援引《世說新語》引發前人褒貶兩極的評價，討論史家以小說入史的適切性，檢討前人涉及二書的研究文獻，並說明本文所採用的研究方法及進行步驟。 第二章聚焦於《晉書》援引《世說新語》的部份，統計二書的重出資料，編成表格以綜觀整體，發現《晉書》有「累篇成傳」、「一事重出」、「傳聞異辭」和「事涉數人，載於一傳」的現象，反映出史家援引材料入傳有其考量，並非一味以《世說新語》為準，所收錄的《世說新語》篇章不僅作為實例豐富《晉書》的記載，也彌補人物事蹟缺乏的境況。史家依循事件發展邏輯、人物關聯和事件材料性質三種方式排列《世說新語》的材料，將數則事件建立新連結，形成條理清晰的脈絡，融入史傳的順時敘述中。 第三章分析《晉書》與《世說新語》重出資料中的敘事差異，其中簡化型的敘事差異為最大宗，可分成簡省人物言語活動、事件的敘事部分和混合型三種簡化類型，其他敘事差異現象包括史家修改局部文句、將材料另做他用和增添非敘事話語，從文本分析中可看出史家藉由增刪修改文句，提升傳主在事件中的重要性，塑造傳主的正面形象，而所增添的非敘事話語透露史家的判斷，雖未直接臧否人物，褒貶自在其中。 第四章檢視敘事差異中所反映出的史家道統取向，二書相異的敘述可見史家所重視的宗法社會之倫常，由朝廷延伸至家庭，從標舉君臣相處之道，到修補家庭倫常關係，呈現史家對於傳統禮教的維護，強調倫理綱常中「忠」與「孝」的價值。史家的道統取向在女子紀事方面尤其明顯，依據女子在家庭倫理中所扮演的角色為其定位，調整敘述所刻劃出的人物形象，標舉德才兼備和人品有瑕的女子，確立道德尺度對立的兩端，以達成社會教化的目的。 第五章為結語，概述研究二書敘事差異的三階段：現象分析──原因探索──意義呈現，二書的敘事差異反映史家的撰史的原則和道統取向，史家援引《世說新語》豐富了《晉書》的史傳，彰顯出兩晉的時代精神，造就《晉書》的獨特，即便援引《世說新語》入傳，史家仍掌握敘述的主導性，使《晉書》保有光彩熠熠的歷史價值。 / This thesis focused on the narrative differences between Jin Shu and Shi Shuo Xin Yu, according to two books’ repeated data, the focus of research is Shi Shuo Xin Yu material into Jin Shu , observing how historians cite Shi Shuo Xin Yu, summarizing in the type of narrative differences, reasons for the differences in the narrative and meaning behind the phenomena. In Chapter one, Looking back at history，Citing Shi Shuo Xin Yu caused different evaluation from scholars of former times, we discussed the appropriateness of historians’ quotation, reviewing former scholars’ research which involved in two books, to expound research methods and procedure used in this paper. The second chapter focused on Jin Shu quoted Shi Shuo Xin Yu in part, Organize two books’ duplicate data, compiled forms for considering overall, Found that Jin Shu There are " linking events constitute a biography ", " the same recurring events ", "different versions of hearsay" and "matter involving several people, documented in a biography " phenomenon, Historians quoted material reflecting the transfer had its considerations, not took Shi Shuo Xin Yu as a criterion, the collection of Shi Shuo Xin Yu articles is not only rich in examples as Jin Shu records, but also make up for the lack of documented life stories. Historians arranged Shi Shuo Xin Yu articles in three ways, following the logic of events, people relationship and events associated with the nature, to create a new link for several events, forming a coherent context, put into Jin Shu in chronological narration. (the narrative chronicled the events) Chapter 3 analyzed the narrative differences between Jin Shu and Shi Shuo Xin Yu, simplifying narration accounts for the largest part of the narrative differences, assorting simplified narration into 3 types, consisted of simplifying the dialogues and activities, the narrative part of the event and the mixed type. Other narrative differences include historians’ partial sentence modification, rewrite the sentence for other purposes, and add non-narrative discourse. As can be seen from the text analysis, historians enhance the importance of specific character in the incident by modifying the text or creating a positive image of the characters. Non-narrative discourse added by historians revealed their judgments. Chapter 4 viewed the Confucian Orthodoxy in narrative differences, rewriting the events reflected that historians regarded ethics of patriarchal society highly. Extending from the court to the family, historians presented the proper relationships between the emperor and his Courtiers and maintained the ethical relationship of family. Historians emphasized the moral value of "loyalty" and "filial piety", expressing the maintenance of traditional Confucianism. The narrative which female involved in also indicated the Confucian Orthodoxy, Historians decided the female’ historical status by her role in the family and adjust the images in the description. By praising virtuous women and criticizing the flawed, historians established moral contrast ends of the scale for the purpose of social education. Chapter 5 is the epilogue which outlined a three-stage study of narrative differences between two books, from analysis of the phenomena, to the reasons behind the modification, then reflected the meaning between the lines. Narrative differences revealed the writing principles of historical works and tendency towards the Confucian Orthodoxy. Citing Shi Shuo Xin Yu enriched the content of Jin Shu and highlighted the zeitgeist of the Jin Dynasty. In spite of the quotation, Historians ruled the main narrative, let the value of Jin Shu shine in history.

This thesis examines three aspects of the commentary edition of the Chinese vernacular novel Shuihu Zhuan written by Ming Dynasty literatus Jin Shengtan (ca. 1610-1661), analyzing three of the most innovative features that the commentary brings to our understanding of the novel, and what Jin Shengtan desired for the reader of his commentary to understand. The first chapter looks at a series of techniques that Jin outlines in the preliminary "How to Read" section of the commentary (dufa), where the techniques are shown to be very similar in focus and style to the literary theory of narratology as written about by Gerard Genette through a sample comparison of five of the techniques with varying characteristics of narratology. The second chapter looks at how Jin Shengtan constructs the image of the author, Shi Nai'an, through both his interlineal commentary (jiapi) and his preliminary chapter commentary (zongpi). We see through this analysis that Jin Shengtan has gone against the tradition of shu er bu zuo -- a Confucian tradition that relegates the position of the author to the background of his work -- and has brought the author into a position of prominence through his construction of the image of an unparalleled genius. The third and final chapter looks at the idea of "heroism" (xia) and how Jin's commentary reworks the way many of the primary characters of the novel and their heroic actions are seen and interpreted, focusing especially on the characters of Wu Song, Lu Zhishen, Song Jiang and Li Kui, where we see that Jin's commentary focuses on parallels between the heroes such as Wu Song and Lu Zhishen in the first portion of the novel, while switching to a more juxtapositional perspective in the latter half of the novel through Song Jiang and Li Kui. / Graduate / 0305 / 0332 / mblsm00@gmail.com

《金瓶梅》續書包括《續金瓶梅》、《隔簾花影》、《三續金瓶梅》以及《金屋夢》四部小說，它們雖是依據續衍對象而被收編於同一續書群體之內，但卻各有其回應原著、前作以及時代的姿態，呈現出殊異的面貌，可說是各以不同角度在閱讀、傳播與書寫過程中展開對創作、批評的思辯。而本文即是針對此批橫跨有清一代的《金瓶梅》續書群進行個別的書寫現象考察，指出小說續書因立足於原著以及其他續書之上，在回應原著之餘，也與先前的續書有所聯繫，閱讀前作所可能產生的競爭／遊戲心態，使小說的字裡行間除了反映其時的審美效應之外，亦不時地顯露出高度自覺的創作、思考痕跡，具有「後設」的況味，而此正是本文聚焦之所在。 在章節安排上，第二章是以清初丁耀亢的《續金瓶梅》為對象，由於其體例特殊，又具鮮明的易代色彩，故此章由丁耀亢的創作意識及文類意識切入，從創作者的多重身分與視角、情節正文與邊緣文字，乃至於結合當時的社會、歷史背景以觀，以一種主、客體間交互作用的觀照來詮解《續金瓶梅》的書寫現象，把握其文本特質與後設思維。第三章則以傳播、接受的角度切入，分析據《續金瓶梅》增刪而成的兩部續書——《隔簾花影》及《金屋夢》，由增刪的內容來尋索在清初以及清末民初這兩個截然不同時空下，刪改本對原著和之前續書的接受，探求隱藏在增刪背後的意味，及其與原著、之前續書間糾葛牽纏的關係。 第四章主要是探討清中葉的《三續金瓶梅》，以此書的別名《小補奇酸誌》所透露的「小補」、「奇酸」作為思索進路，首先是在續衍的脈絡下檢視作者「如何補」《金瓶梅》，亦即如何將其對前作的理解轉化為續衍的策略，造就一種與之既相關又相悖的微妙狀態；其次是從閱讀與接受版本看《三續金瓶梅》的思想涵化；最後則是在前述的基礎上，釐清文中的互文、解構……等現象。第五章為結論，總述以上幾部《金瓶梅》續書的書寫現象，並提出本論文的觀察：《金瓶梅》續書的後設思維表現為若干相似但卻又不盡相同的書寫現象，「後設」並非意味這批續書具有的單一的、本質性的定義，而是揭示它們總是朝向無限的可能性展開，無法自我封閉，但是又具有彼此關涉、連繫的特質。 / Although all the four sequels to Jin Ping Mei, including Xu Jin Ping Mei, Ge Lian Hua Ying, San Xu Jin Ping Mei, and Jin Wu Meng, are based on the same original, Jin Ping Mei, and belong to the same category, each has its different concerns in the aspects of echoing the original, echoing the previous works and echoing its time. In other words, the four sequels start distinct arguments on creating and criticizing through reading, disseminating, and the process of writing. This thesis observes individually the writing phenomenon of sequels to Jin Ping Mei, which flourished in Qing Dynasty, and argues that the sequels standing beyond the original and other sequels not only echo the original, but also connect other previous sequels. Thus, the competing/playing response might be caused by reading the previous works makes the lines respond the sense of beauty of its time, and simultaneously appears the highly consciousness of writing and thinking. The meta-discourse it contains in the process is what this thesis focuses on. Chapter 2 discusses Ding Yao Kang’s Xu Jin Ping Mei due to its special format and its obvious color of dynastic changeover. From Ding Yao Kang’s consciousness of writing and genre, this chapter interprets this writing phenomenon of meta-discourse with the subject/object relationship from the writer’s multi-identity, from the text and the preface and postscript to the social context and historical background. Chapter 3 analyzes other two sequels, Ge Lian Hua Ying and Jin Wu Meng, based on and with additions and deletions of Xu Jin Ping Mei, from the perspectives of dissemination and reception. The additions and deletions shows the different receptions in early Qing dynasty and in the end of Qing, and also, the interwoven relationship implied in the additions and deletions, the original, and the previous sequels can be found. Chapter 4 first observes San Xu Jin Ping Mei in mid-Qing dynasty from its alias Xiao Bu Qi Suan Zh. Its “Xiao Bu” and “Qi Suan” offers to examine how the writer mends Jin Ping Mei through the way of making sequels, that is, it offers to examine how to transfer the understanding of previous works into a policy of sequels, and it achieves a contradictious state of being relevant and being opposite. Second, how San Xu Jin Ping Mei is influenced by reading and reception would be observed. Finally, the intercontextuality and deconstruction would be indicated based on the aforementioned arguments. Chapter 5 concludes that the meta-discourses presented in the writing phenomena of the four sequels of Jin Ping Mei presented are equivalent but not exactly the same. The meta-discourse does not confine the definition to be unitary and essential; rather, it illuminates their unlimited possibility of extension, which is not completely independent but interweaves to one another.

Thesis (M.A.)--University of Hong Kong, 1998. / Includes bibliographical references (leaves 64-67).

Thesis (M.A.)--University of Hong Kong, 1998. / Includes bibliographical references (leaves 64-67). Also available in print.

Thesis (M.A.)--University of Alberta, 2010. / A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts, History of Art, Design and Visual Culture, Dept. of Art and Design, University of Alberta. "Spring 2010." Title from pdf file main screen (viewed on April 27, 2010). Includes bibliographical references.