Lee Kar Man Ida. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2002. / Includes bibliographical references (leaves 101-108). / Abstracts in English and Chinese. / Abstract --- p.i / 論文提要 --- p.iii / Acknowledgements --- p.v / "Introduction The Victorian Age, the Literary Double and Freedom" --- p.1 / Chapter Chapter I --- Struggle against Restraints: Robert Louis Stevenson's The Strange Case of Dr Jekyll and Mr Hyde --- p.24 / Chapter Chapter II --- The Ambition to Transgress: Locating Freedom in Oscar Wilde's The Picture of Dorian Gray --- p.52 / Chapter Chapter III --- Jekyll and Dorian: Impossible Mission to Achieve an Unrestrained Freedom against the Social Orthodoxy --- p.77 / Works Cited List --- p.101

王益鈞. / "2006年12月" / 論文(哲學碩士)--香港中文大學, 2006. / 參考文獻(leaves 230-238). / "2006 nian 12 yue" / Abstracts in Chinese and English. / Wang Yijun. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2006. / Can kao wen xian (leaves 230-238). / Chapter 第一章 --- 緒論 --- p.1 / Chapter 第一節 --- 孫德謙生平簡介 --- p.1 / Chapter 第二節 --- 《六朝麗指》述略 --- p.6 / Chapter 第三節 --- 硏究動機及方法 --- p.9 / Chapter 第二章 --- 辨體 --- p.12 / Chapter 第一節 --- 引言 --- p.12 / Chapter 第二節 --- 主張駢散合一 --- p.14 / Chapter 〔1〕 --- 不爭文統 --- p.15 / Chapter 〔2〕 --- 宗師六朝 --- p.20 / Chapter 〔3〕 --- 駢散之功用 --- p.25 / Chapter 〔4〕 --- 孫氏「駢散合一」說探源 --- p.29 / Chapter 〔5〕 --- 小結 --- p.30 / Chapter 第三節 --- 駢文與律賦、四六之異 --- p.31 / Chapter 〔1〕 --- 駢文與律賦之別 --- p.31 / Chapter 〔2〕 --- 駢文與四六之異 --- p.35 / Chapter 〔3〕 --- 小結 --- p.39 / Chapter 第四節 --- 對某些駢文體裁的觀點 --- p.39 / Chapter 〔1〕 --- 書序 --- p.40 / Chapter 〔2〕 --- 贈序 --- p.43 / Chapter 〔3〕 --- 連珠 --- p.44 / Chapter 〔4〕 --- 七 --- p.47 / Chapter 〔5〕 --- 墓志 --- p.49 / Chapter 〔6〕 --- 論 --- p.50 / Chapter 〔7〕 --- 檄移 --- p.53 / Chapter 〔8〕 --- 章表牋奏啓 --- p.54 / Chapter 〔9〕 --- 賀牘 --- p.56 / Chapter 〔10〕 --- 小結 --- p.57 / Chapter 第五節 --- 風格 --- p.57 / Chapter 〔1〕 --- 「才氣」與「氣韻」 --- p.58 / Chapter 〔2〕 --- 「繁」與「簡」 --- p.63 / Chapter 〔3〕 --- 「疏」與「密」 --- p.68 / Chapter 〔4〕 --- 陰柔與陽剛 --- p.71 / Chapter 〔5〕 --- 質重與清空 --- p.73 / Chapter 〔6〕 --- 小結 --- p.75 / Chapter 第六節 --- 結語 --- p.76 / Chapter 第三章 --- 修辭 --- p.78 / Chapter 第一節 --- 引言 --- p.78 / Chapter 第二節 --- 對偶 --- p.79 / Chapter 〔1〕 --- 事對 --- p.83 / Chapter 〔2〕 --- 排偶 --- p.88 / Chapter 〔3〕 --- 駢枝 --- p.102 / Chapter 〔4〕 --- 小結 --- p.106 / Chapter 第三節 --- 用典 --- p.107 / Chapter 〔1〕 --- 用典的方法 --- p.100 / Chapter 〔2〕 --- 用典的原則 --- p.118 / Chapter 〔3〕 --- 小結 --- p.129 / Chapter 第四節 --- 鍊字 --- p.129 / Chapter 〔1〕 --- 代字法 --- p.130 / Chapter 〔2〕 --- 字「訛」 --- p.134 / Chapter 〔3〕 --- 虛字 --- p.135 / Chapter 〔4〕 --- 小結 --- p.139 / Chapter 第五節 --- 聲律 --- p.139 / Chapter 〔1〕 --- 自然諧協 --- p.144 / Chapter 〔2〕 --- 輕重緩急 --- p.146 / Chapter 〔3〕 --- 小結 --- p.148 / Chapter 第六節 --- 比興 --- p.148 / Chapter 第七節 --- 形容 --- p.151 / Chapter 第八節 --- 斷插足縮 --- p.154 / Chapter 第九節 --- 結語 --- p.159 / Chapter 第四章 --- 總結 --- p.161 / 附錄一：〈孫德謙年譜初稿〉 --- p.163 / 附錄二：〈孫德謙交遊名錄〉 --- p.225 / 附錄三：參考書目 --- p.229

明末清初的散文發展，前人或以載道觀念論之，或以抒情觀念論之，又或以流派分梳論之，各有其理，亦各有其弊。本人認為，明末清初散文發展自有其一以貫之的內在邏輯，因而本文力圖探尋其內在邏輯，重建其發展軌跡。本文指出，文道關係正是影響明末清初散文發展的關鍵因素，時人對於文道關係的不同詮釋與理解，決定了當時散文發展的方向。 / 「古文傳統」與「小品傳統」，是理解明清之際散文發展的重要概念。特別是周作人等以抒情為宗旨建構的「小品傳統」，對理解這一段散文史，產生了深遠的影響。然而本文通過考察「小品傳統」的建構過程，以及其所反抗的「古文傳統」之內涵，並辨析二者關係，相比起「古文傳統」內部「載道、唐宋、法度」的體系，「小品傳統」自身存在局限，並不足以貫穿明清散文的發展。相反，考察晚明小品文家的古文觀，清初古文家的小品創作，本文以為小品儘管一度興盛，然而「古文傳統」才是其時古文發展的主軸。 / 「古文傳統」既是關鍵所在，則如何詮釋文道關係是其時文壇的重要問題。本文指出明清之際的文道論接續了唐宋以來古文家與理學家的討論，並面臨如何承繼二者而有所發展的問題。本文通過辨析各家對文道合一的詮釋，考索其時文道論與唐宋古文家、理學家的論述之關係，指出明清之際的文人一方面推崇理學家道的修養，一方面提倡古文家的文章造詣，來達到文道合一。並通過加強文與經之間的關係，強調文必本於經典，來彌合古文家與理學家的分歧。 / 本文同時以錢謙益、黃宗羲、侯方域、汪琬為中心，具體討論明清之際文道關係的發展過程。指出錢謙益通過批評復古派，推崇反經，提出性情、學問與世運的主張，以道決定文的思路，拉開重建古文傳統的序幕。黃宗羲則在錢謙益的基礎上，通過擴大性情的內涵，以及道在審美上的包容性，重新詮釋文道關係。然而明清之際對侯方域的評價之轉變，從肯定其古文主張，到批評其小說筆法，恰正體現道決定文的思路在重建古文傳統過程中遇到的困境。汪琬則從道的層面維護程朱理學，從文的層面肯定復古派，批評錢謙益，排斥小說筆法，試圖通過文道並重的方法來解決困境。可以說明清之際古文的發展，正是從道決定文走向文道並重的過程。 / Prose development in late Ming and early Qing periods is accounted for by scholars in terms of the theories of Confucianism, the concepts of lyricism or the summaries of different schools of classical prose. This study holds the belief that the prose development within this period of time has its consistent internal logic, and its aim is to establish a new theory to explain and restore the track of such development based on the existing theories by previous scholars. This study points out that the relationship between dao 道 and wen 文 is the major element influencing the prose development in late Ming and early Qing; the interpretation and comprehension of it dictates the direction of prose development. / The two different traditions of classical prose and familiar essay are key concepts in understanding the prose development in late Ming and early Qing, especially the latter, which was constructed by Zhou Zuo-ren under the principle of lyricism. Based on the examination of its establishment, the nature of classical prose tradition it defies, and the relationship between the two, this study reveals that the familiar essay tradition was bound by its limitations which rendered it insufficient in accounting for the entire prose development of the whole period, in contrast to the internal system of classical prose tradition. The review of the view on classical prose by familiar essay writers in late Ming and the familiar essay output of classical prose writers in early Qing indicate that the classical prose tradition was then the main pillar of prose development and familiar essay was its subsidiary, despite its once high popularity. / With classical prose tradition being the key to prose development in late Ming and early Qing, the interpretation of the relationship between dao and wen was a significant issue in the ancient literary society. This study points out that when the scholars in late Ming and early Qing discussed dao and wen, such discussion was a continuation of that contributed by the masters of prose writing and philosophers of Neo-Confucianism since Tang and Song Dynasties, which relates to the problem of finding ways to advance through inheriting the two notions. Literary society in the past upheld the idea of fusing dao and wen. By analyzing the different interpretations of such fusion by various parties, this study investigates the relationship between the discussion of dao and wen in late Ming and early Qing dynasties and also that in Tang and Song dynasties, pointing out that by strengthening the relationship between prose and classics and emphasizing the classical basis of prose, it bridges the gap between Neo-Confucian philosophers’ morality and classical prose writers’ literariness. / Lastly, this study discusses the specific development of the theory of dao and wen during late Ming and early Qing through four case studies, namely, Qian Qian-yi’s criticism on Revival Theory, Huang Zong-xi’s theory of qing 情, the changing reviews on Hou Fang-yu, and Wang Wan’s criticism on Qian Qian-yi and fictional prose. Qian’s criticism marked the beginning of the revival of classical prose tradition during late Ming and early Qing, where he promoted the returning to classic, proposing the concept of qing and knowledge being complementary and the idea of dao determining wen. Huang, based on Qian’s thoughts, reinterpreted the relationship between dao and wen by further expanding the pool of connotations of qing and the aesthetic comprehensiveness of dao. / However, the phenomenon of scholars agreeing on Hou Fang-yu’s stand on classical prose while excoriating his ‘fictional style of prose writing techniques’小說筆法 reflects the predicament faced by the idea of dao determining wen in the process of reconstructing the classical prose tradition. Wang tried to resolve such predicament through putting emphasis on both dao and wen, defending neo-confucianism from the aspect of dao and affirming Ming Classicalists from that of wen, while criticizing Qian and rejecting fictional style. All these illustrate that classical prose development during Late Ming and Early Qing is a process of the transition from dao determining wen to emphasizing both dao and wen. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 李向昇. / Parallel title from added title page. / Thesis (Ph.D.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 215-229). / Abstracts in Chinese and English. / Li Xiangsheng.

Liang, Yue. / "November 2011." / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references. / Abstracts in English and Chinese. / ACKNOWLEDGMENTS --- p.i / INTRODUCTION --- p.1 / Chapter Chapter One: --- "The Appearance of the ""Robust Beauty Girl"" in the late 1920s" --- p.9 / "The Infatuation with the ""Western Beauty""" --- p.10 / "The Western ""Robust Beauty Girl:"" Hollywood Film Stars" --- p.13 / "The Chinese ""Robust Beauty Girl:"" Female Students" --- p.19 / Chapter Chapter Two: --- "The Reconstruction of the western ""Robust Beauty"" in the 1930s-40s" --- p.27 / "The Suspicion on the Western ""Robust Beauty""" --- p.29 / "The Reconstruction of the western ""Robust Beauty"": critique on the ""Modern Girl""" --- p.37 / "The Kuomintang's Response to the western ""Robust Beauty""" --- p.52 / Chapter Chapter Three: --- The Construction of the Chinese Womanhood in the War Period --- p.70 / The Communist Womanhood in the Jiangxi Period --- p.72 / The Women's Steering Committee and the Wartime Womanhood --- p.80 / The New Outlook of the Communist Womanhood in the Yan'an Period --- p.91 / Chapter Chapter Four: --- "The National Communist Womanhood: the ""Iron Maiden"" in the 1960s-70s" --- p.107 / "National Model: Two Categories of the ""Iron Maiden""" --- p.109 / From Person to the Nation: Organization Form and Political Consciousness --- p.114 / CONCLUSION --- p.126 / APPENDIX --- p.132 / BIBLIOGRAPHY --- p.139

"June 2003." / Thesis (Ph.D.)--Chinese University of Hong Kong, 2003. / Includes bibliographical references (p. 280-300). / 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.

俞驊. / "2003年8月". / 論文(哲學碩士)--香港中文大學, 2003. / 附參考文獻. / 附中英文摘要. / "2003 nian 8 yue". / Yu Hua. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2003. / Fu can kao wen xian. / Fu Zhong Ying wen zhai yao. / Chapter 第一章 --- 緒論 --- p.1 / Chapter 第一節 --- 中國新文學史中的周作人及其小品文 --- p.1 / Chapter 第二節 --- 小品文的界說與發展 --- p.3 / Chapter 第三節 --- 晚明小品文高潮中的公安、竟陵派及其小品文 --- p.7 / Chapter 第二章 --- 周作人論公安派及其小品文 --- p.13 / Chapter 第一節 --- 「明人對於禮法的反抗很有現代氣息」 ´ؤ´ؤ周作人中國新文學源流論的切入點 --- p.13 / Chapter 1、 --- 對公安派三袁的重新評價 / Chapter 2、 --- 與公安派文學理論的同與不同 / Chapter 第二節 --- 「公安派與英國的小品文兩者所合成」 ´ؤ´ؤ周作人的中國新散文源流觀 --- p.22 / Chapter 1、 --- 「淸新流麗」´ؤ´ؤ周作人眼中的公安派小品文 / Chapter 2、 --- 「中國新散文的源流是公安派與英國的小品文兩者所合成」 / Chapter 第三章 --- 周作人論竟陵派及其小品文 --- p.42 / Chapter 第一節 --- 「公安派的流麗遂亦不得不繼以竟陵派的奇僻」 ´ؤ´ؤ周作人借鑒竟陵派對小品文創作理論的豐富和發展…… --- p.42 / Chapter 1、 --- 公安與竟陵的文學，「形似相反而實相成」 / Chapter 2、 --- 相反中更見相成´ؤ´ؤ竟陵派對公安派文學理論的繼承和發展 / Chapter 第二節 --- 「奇僻」´ؤ´ؤ周作人眼中的竟陵派的創作風格 --- p.58 / Chapter 1、 --- 「幽深孤峭」´ؤ´ؤ竟陵派的小品文創作風格 / Chapter 2、 --- 「幽情單緒」´ؤ´ؤ個人的孤獨感和寂寞感 / Chapter 第三節 --- 《帝京景物略》´ؤ´ؤ周作人眼中竟陵派唯一的代表作品 --- p.71 / Chapter 1、 --- 《帝京景物略》的成書與作品風格 / Chapter 2、 --- 周作人對《帝京景物略》內容和思想的認同與接受 / Chapter 第四章 --- 周作人論張岱及其小品文 --- p.81 / Chapter 第一節 --- 「集公安、竟陵兩派之大成」´ؤ´ؤ周作人眼中的張岱 --- p.81 / Chapter 1、 --- 張岱以史學家的眼光審視公安、竟陵兩派 / Chapter 2、 --- 「以堅實爲空靈」 ´ؤ´ؤ張岱對公安、竟陵兩派文學理論的融合和發展 / Chapter 第二節 --- 晚明小品文的集大成者´ؤ´ؤ周作人眼中張岱的小品文 --- p.95 / Chapter 1、 --- 「張岱的文章是頗有趣味的」 ´ؤ´ؤ兼有各派之長、題材之廣的張岱小品文 / Chapter 2、 --- 「中國的新俳文」´ؤ´ؤ周作人眼中張岱小品文的文化學蘊涵 / Chapter 第五章 --- 結論 --- p.114 / 附錄一：周作人文學年表 --- p.116 / 附錄二 ：明小品文部分名家簡介注釋索引 --- p.156 / 參考書目

Chan, Tsz Shan. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 100-102). / Abstracts in English and Chinese. / Introduction --- p.1 / Chapter 1. --- Jack Kerouac and the Concept of Emptiness --- p.20 / Chapter 2. --- Gary Snyder and Autonomous Nature --- p.43 / Chapter 3. --- Ginsberg and the Sunyata Consciousness --- p.70 / Conclusion --- p.95 / Bibliography --- p.100

Thesis (M. A. (English Studies)) -- University of Limpopo, 2004 / Refer to document

Eugenic discourse is apparent in the work of many writers in the early 20th century, but is especially explicit in D.H. Lawrence's novel, Lady Chatterley's Lover, as well as his private letters. A close reading of these works illustrates Lawrence's attempts to grapple with his advocacy of eugenic.

Esta disertación conecta la teoría de la transculturación narrativa de Ángel Rama con la tradición intelectual latinoamericana que aportó sus características más distintivas. Las teorías de Rama fueron influidas por dos tradiciones latinoamericanas. Una es de carácter político y tiene su origen en la Reforma de Córdoba de 1918. La otra, de carácter epistemológico y se remonta a la década de 1930, cuando comienza el culturalismo en Latinoamérica. Mi investigación se ocupa de un grupo de intelectuales uruguayos que trabajaron en torno al semanario Marcha [1939-1974]: Carlos Quijano [1900-1984], Julio Castro [1908 -desaparecido en 1977] y Arturo Ardao [1912-2003]. También me ocupo de dos intelectuales brasileños, Antonio Cândido [1918] y Darcy Ribeiro [1922-1997], quienes continuaron con la tradición culturalista que inauguraron en Latinoamérica autores como Gilberto Freyre [1900-1987] y Fernando Ortiz [1881-1969]. Recuperar las redes intelectuales que acompañaron el proceso de articulación de la transculturación narrativa nos permite comprender mejor las tesis de Rama por dos razones. Primero, porque enmarca esta teoría dentro de algunos de los debates políticos y culturales más importantes de la Guerra Fría. Y segundo, porque se aproxima a la manera como Rama comprendió la historia latinoamericana y su coyuntura política y socio-cultural durante las décadas de 1960 y 1970. El objetivo de la teoría de la transculturación narrativa es describir el proceso por el cual las manifestaciones literarias latinoamericanas pasan de la dependencia a la autonomía cultural. Como el proceso descrito se despliega dentro de la estructura social, para comprenderlo es necesario analizar la interacción entre las obras literarias y la sociedad que las rodea, de esta forma las ciencias sociales --antropología, sociología, economía-- son instrumentos de análisis indispensables para comprender una obra o tradición literaria. Este marco general de análisis es descrito por Rama como el culturalismo. En el caso de Rama, una lectura desde los estudios literarios puede dar por sentado que el culturalismo fue tan sólo un método de análisis alternativo al estructuralismo francés. Aunque esta perspectiva sea en parte correcta, no es del todo precisa. El culturalismo al que se refiere Rama es el mismo que practicaron los cientistas sociales en Latinoamérica desde la década de 1930. Recuperar la historicidad de la transculturación narrativa no solo nos permite comprender la genealogía de esta teoría sino recuperar y hacer visibles algunas tradiciones intelectuales contra-hegemónicas que desarticuló la Guerra Fría en Latinoamérica.