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

鄉土文學是台灣文學的重要文學傳統，其發展始於1930年代，於1960、70年代走進巔峰時期，並在1980年代一度趨於沉寂。直至近年台灣文壇出現一批以鄉土為創作為重心的新世代作家，鄉土書寫漸漸重新成為一股潮流，論者更相繼提出「新鄉土」或「後鄉土」等的概念，用以概括上世紀九十年代以後台灣鄉土文學發展的整體現象，鄉土文學遂再次成為一個重要的研究課題。本文嘗試以回溯台灣鄉土文學發展史的方式切入上述研究課題，並透過深入考察三個新世代代表作家──袁哲生、童偉格、甘耀明──的鄉土寫作，藉以探究台灣鄉土文學從「鄉土」過度「新／後鄉土」的變異情況。 / 本文共分五章。第一章緒論，說明本文的研究動機、範圍、方法和前人研究綜述，並概述台灣鄉土文學的發展狀況，勾勒重要概念，作為後文討論「新／後鄉土」的參照。第二章探討袁哲生如何結合抒情傳統，背離台灣鄉土文學的批判與憂患傳統。第三章探討童偉格如何打破城鄉二元對立格局，揭露台灣當代的城鄉處境；第四章配合甘耀明的「新尋根」理念，探討作家如何在鄉土書寫中重現台灣的歷史記憶與本土文化。第五章結語，總結新世代作家運用當代意識，反思並超越台灣鄉土文學傳統，藉以回應文學潮流的更替以及社會的變遷，為台灣鄉土文學開拓新的發展方向。 / Nativist literature has been an important literary tradition in Taiwan. It gained momentum since the 1930s and reached its pinnacle in the 1960s and 1970s, but fell into decline in the 1980s. However, the trend of nativist literature has revived since the 1990s as a number of young writers chose to focus their creative writing on nativism. Since then the concept of "new nativist literature" and "post nativist literature" appeared in academic discourse to describe this literary phenomenon. This thesis attempts to examine this phenomenon and to explore how "nativist" literature has morphed into "new/post nativist literature" by observing works of fiction by Yuan Zhesheng, Tong Weiger and Gan Yaoming. / This thesis is divided into five chapters. The first chapter introduces the goal, scope and methodology of this thesis and gives a succinct account of the significance of the previous researches; it also summarizes the development of Taiwan Nativist literature and outlines the important concepts to serve as the reference for the later discussion about "new nativist" or "post nativist" literature. Chapter two examines how Yuan Zhesheng re-evaluated the tradition of Taiwanese nativist literature and established a new point of view towards nativist writing with the aid of lyricism. Chapter three investigates how Tong Weiger re-examined the dichotomy of rural and urban Taiwan and how he exposed aspects of contemporary urban and rural Taiwan. Chapter four explores how Gan Yaoming represented Taiwan history in the Japanese colonial period and the Hakka and aboriginal culture in his writing. Chapter five gives a conclusion on how the new generation of contemporary Taiwan novelists added new dimensions to the tradition of Taiwanese Nativist Literature as they re-examine and surpassed it. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 黃納禧. / "2013年12月"--Title page. / "2013 nian12 yue"--Title page. / Parallel title from added title page. / Thesis (M.Phil.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 111-118). / Abstracts also in Chinese. / Huang Naxi.

李鳳琼. / "2005年12月" / 論文(哲學碩士)--香港中文大學, 2005. / 參考文獻(leaves 147-155). / "2005 nian 12 yue" / Abstracts also in English. / Li Fengqiong. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2005. / Can kao wen xian (leaves 147-155). / Chapter 第一章 --- 緒論 --- p.4 / Chapter 第一節 --- 硏究範圍 --- p.4 / Chapter 第二節 --- 硏究目的及意義 --- p.6 / Chapter 第三節 --- 硏究方法 --- p.10 / Chapter 第二章 --- 「三調之正聲」與「韶夏之鄭曲」 一一劉勰論曹操與當時文體之革新 --- p.11 / Chapter 第一節 --- 「區別部類」´ؤ´ؤ《文心雕龍》上篇區分和序列文體的背景與實踐 --- p.12 / Chapter 2.1.1 --- 魏晉南北朝辨析文體的風氣 --- p.12 / Chapter 2.1.2 --- 《文心雕龍》的文、筆二分法 --- p.16 / Chapter 第二節 --- 「務先大體，鑒必窮源」´ؤ´ؤ《文心雕龍》處理文體的原則 --- p.20 / Chapter 第三節 --- 《文心雕龍´Ø樂府》篇與曹操樂府眾作 --- p.23 / Chapter 2.3.1 --- 《文心雕龍´Ø樂府》篇在書中之地位 --- p.23 / Chapter 2.3.2 --- 樂府之「大體」 --- p.25 / Chapter 2.3.3 --- 詩與樂府的「大體」比較 --- p.29 / Chapter 2.3.4 --- 《文心雕龍´Ø樂府》篇的評論對象 --- p.33 / Chapter 2.3.5 --- 曹操雅好音樂 --- p.36 / Chapter 2.3.5.1 --- 音樂類型 --- p.39 / Chapter 2.3.5.2 --- 集結音樂人才與推動鄴下制樂 --- p.44 / Chapter 2.3.6 --- 曹操「傷羈戍」之作 --- p.47 / Chapter 2.3.6.1 --- 〈苦寒行〉 --- p.48 / Chapter 2.3.6.2 --- 〈薤露〉 --- p.52 / Chapter 2.3.6.3 --- 〈蒿里行〉 --- p.55 / Chapter 2.3.7 --- 曹操「傷羈戍」之作與漢樂府同題之作比較 --- p.58 / Chapter 2.3.8 --- 曹操於樂府創作的革新 --- p.59 / Chapter 2.3.8.1 --- 音樂 --- p.60 / Chapter 2.3.8.2 --- 題材 --- p.60 / Chapter 2.3.8.3 --- 語言風格 --- p.62 / Chapter 2.3.8.4 --- 叙事角度 --- p.63 / Chapter 2.3.8.5 --- 主題與功能 --- p.66 / Chapter 2.3.8.6 --- 小結 --- p.67 / Chapter 第四節 --- 劉勰對曹操革新文體之功的評價 --- p.68 / Chapter 2.4. 1 --- 有關曹操樂府作品與鄴下樂府創作的論析 --- p.68 / Chapter 2.4.2 --- 有關曹操革新詔策與章表的論析 --- p.77 / Chapter 2.4.3 --- 小結 --- p.79 / Chapter 第三章 --- 「相王之尊，雅愛詩章」 一一劉勰論曹操與鄴下文風之振興 --- p.80 / Chapter 第一節 --- 劉勰論曹操在鄴下文風之振興中所擔當的角色與發揮的功能 --- p.81 / Chapter 3.1.1 --- 劉勰論「抑丕揚植」的舊談 --- p.82 / Chapter 3.1.2 --- 劉勰論曹丕 --- p.83 / Chapter 3.1.3 --- 劉勰論曹植 --- p.84 / Chapter 3.1.4 --- 曹氏父子的角色與功能 --- p.88 / Chapter 第二節 --- 劉勰論曹操雲集文士 --- p.92 / Chapter 3.2.1 --- 曹操創造安定的創作環境 --- p.92 / Chapter 3.2.2 --- 曹操雅愛文學與禮遇文士 --- p.93 / Chapter 3.2.3 --- 鄴下文士的自由選擇與歸附 --- p.95 / Chapter 3.2.3.1 --- 文士之歸附 --- p.96 / Chapter 3.2.3.2 --- 平等禮遇 --- p.104 / Chapter 3.2.4 --- 曹操對「文才」的賞識 --- p.105 / Chapter 3.2.4.1 --- 鄴下諸子立功的理想 --- p.106 / Chapter 3.2.4.2 --- 鄴下諸子的實際才能 --- p.108 / Chapter 3.2.4.3 --- 文學自覺時代與曹操對文學價値的認知 --- p.110 / Chapter 3.2.5 --- 本節小結 --- p.114 / Chapter 第三節 --- 劉勰論曹操與鄴下創作 --- p.115 / Chapter 3.3.1 --- 劉勰論鄴下作家的創作情態 --- p.117 / Chapter 3.3.1.1 --- 孤獨無偶之苦 --- p.118 / Chapter 3.3.1.2 --- 見知的欣喜 --- p.119 / Chapter 3.3.1.3 --- 六朝擬建安詩的題材 --- p.123 / Chapter 3.3.2 --- 鄴下作品的特色 --- p.128 / Chapter 3.3.3 --- 鄴下作品的風格 --- p.129 / Chapter 3.3.4 --- 本節小結 --- p.133 / Chapter 第四章 --- 劉勰處理文體的方向和他的文學發展觀 --- p.134 / Chapter 第一節 --- 歷史角度：傳統與新變 --- p.135 / Chapter 第二節 --- 強調君主態度與文學發展的關係 --- p.139 / Chapter 第三節 --- 兩相比照的定位方式 --- p.142 / Chapter 第五章 --- 總結 --- p.144 / 【參考書目舉要】 --- p.147

陳頌文. / "2002年8月". / 論文 (哲學碩士)--香港中文大學, 2002. / 參考文獻 (leaves 127-133) / 附中英文摘要. / "2002 nian 8 yue". / Chen Songwen. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2002. / Can kao wen xian (leaves 127-133) / Fu Zhong Ying wen zhai yao. / Chapter 第一章 --- 文學史和文學批評史上的初唐四傑 --- p.1 / Chapter 第一節 --- 問題的提出 --- p.1 / Chapter 第二節 --- 「四傑」名稱的由來 --- p.2 / Chapter 第三節 --- 文學史上的「四傑」 --- p.7 / Chapter 第四節 --- 文學批評史上的「四傑」 --- p.8 / Chapter 第二章 --- 貞觀至武周文學背景和文學思想發展 --- p.11 / Chapter 第一節 --- 緒論 --- p.11 / Chapter 第二節 --- 貞觀年間朝廷的文學宣言 --- p.12 / Chapter (1) --- 貞觀年間君臣論文的性質 --- p.12 / Chapter (2) --- 貞觀年間朝廷的文學思想´ؤ´ؤ以史家文論爲主 --- p.15 / Chapter (2.1) --- 史家對六朝文學的評價與總結 --- p.15 / Chapter (2.2) --- 史家論文的空間 --- p.17 / Chapter (2.3) --- 史家文論的意義 --- p.19 / Chapter 第三節 --- 貞觀至武周的文學硏究槪況 --- p.21 / Chapter (1) --- 類書和總集 --- p.21 / Chapter (2) --- 《文選》硏究 --- p.24 / Chapter (3) --- 詩學硏究 --- p.25 / Chapter (3.1) --- 上官儀 --- p.25 / Chapter (3.2) --- 元兢 --- p.27 / Chapter (3.3) --- 崔融 --- p.28 / Chapter 第四節 --- 貞觀至武周文人干求與入仕情況 --- p.29 / Chapter (1) --- 以文章進身的問題 --- p.30 / Chapter (2) --- 以文章進用的大臣仕途之升降 --- p.32 / Chapter (3) --- 王府的文學風氣 --- p.34 / Chapter 第三章 --- 王勃文學思想析論 --- p.35 / Chapter 第一節 --- 緒論´ؤ´ؤ王勃生平及著作槪述 --- p.35 / Chapter 第二節 --- 可供考察文學思想的篇章背景分析 --- p.36 / Chapter (1) --- 〈平臺秘略論 〉、〈平臺秘略贊〉：王府修撰的意見 --- p.36 / Chapter (2) --- 〈上吏部裴侍郎啓〉：參選士子的意見 --- p.37 / Chapter (3) --- 詩賦序文之言論：翰墨之客的意見 --- p.39 / Chapter 第三節 --- 文論文本分析 --- p.40 / Chapter (1) --- 文學的性質與功用 --- p.40 / Chapter (1.1) --- 「甄明大義，矯正末流」、「緣情體物」與「詩以見志」 --- p.40 / Chapter (1.2) --- 文學與王府 --- p.43 / Chapter (1.3) --- 文學與自然 --- p.44 / Chapter (2) --- 對文學作品的要求及規範 --- p.45 / Chapter (2.1) --- 「氣陵雲漢，字挾風霜」辨 --- p.45 / Chapter (2.2) --- 「甄明大義，矯正末流」辨 --- p.48 / Chapter (3) --- 對歷代文學的評價 --- p.53 / Chapter (4) --- 寫作態度 --- p.56 / Chapter (5) --- 小結 --- p.59 / Chapter 第四節 --- 王通與王勃 --- p.60 / Chapter 第四章 --- 楊炯文學思想析論 --- p.64 / Chapter 第一節 --- 緒論´ؤ´ؤ楊炯生平及著作槪述 --- p.64 / Chapter 第二節 --- 〈王勃集序〉析論 --- p.64 / Chapter (1) --- 〈王勃集序〉的寫作時間 --- p.65 / Chapter (2) --- 〈王勃集序〉的內容分析 --- p.68 / Chapter (2.1) --- 〈王勃集序〉與王勃文學變革 --- p.69 / Chapter (2.1.1) --- 從「龍朔變體」看王勃文學變革的對象 --- p.69 / Chapter (2.1.2) --- 從王勃之志看王勃文學變革的可能性 --- p.72 / Chapter (2.1.3) --- 〈王勃集序〉對王勃硏究的參考價値 --- p.75 / Chapter (2.1.4) --- 小結 --- p.76 / Chapter 第三節 --- 楊炯的文學思想 --- p.76 / Chapter (1) --- 文學的性質及作用 --- p.76 / Chapter (1.1) --- 文學與禮樂 --- p.76 / Chapter (1.2) --- 文學與抒情酬唱 --- p.77 / Chapter (2) --- 對文學的要求與規範 --- p.77 / Chapter (3) --- 對歷代文學的批評 --- p.79 / Chapter (3.1) --- 唐以前的文學 --- p.79 / Chapter (3.2) --- 隋唐以來的文學 --- p.80 / Chapter (4) --- 小結 --- p.82 / Chapter 第五章 --- 盧照鄰文學思想析論 --- p.83 / Chapter 第一節 --- 緒論´ؤ´ؤ盧照鄰生平及著作槪述 --- p.83 / Chapter 第二節 --- 可供考察文學思想的篇章背景分析 --- p.84 / Chapter (1) --- 〈駙馬都尉喬君集序〉 --- p.84 / Chapter (2) --- 〈南陽公集序〉 --- p.84 / Chapter (3) --- 〈樂府詩集序〉 --- p.86 / Chapter 第三節 --- 文本分析 --- p.88 / Chapter (1) --- 文學的性質與功用 --- p.88 / Chapter (1.1) --- 文學與政治 --- p.88 / Chapter (1.2) --- 「安可默而無述」 --- p.89 / Chapter (2) --- 對文學作品的要求和規範 --- p.90 / Chapter (2.1) --- 「立體不拘於一塗」 --- p.90 / Chapter (2.2) --- 「聽歌曲而知亡」 --- p.93 / Chapter (2.3) --- 「妙諧鐘律」 --- p.94 / Chapter (3) --- 對歷代文學的評價 --- p.96 / Chapter (3.1) --- 對唐以前文學的評價和態度 --- p.96 / Chapter (3.1.1) --- 〈雅〉、〈頌〉 --- p.96 / Chapter (3.1.2) --- 屈宋 --- p.97 / Chapter (3.1.3) --- 兩漢 --- p.99 / Chapter (3.1.4) --- 魏晉 --- p.99 / Chapter (3.1.5) --- 南朝 --- p.100 / Chapter (3.2) --- 對貞觀文臣的批評 --- p.101 / Chapter (3.3) --- 對古今文士評論文學的意見 --- p.102 / Chapter (4) --- 創作態度 --- p.102 / Chapter (5) --- 小結 --- p.104 / Chapter 第六章 --- 駱賓王文學思想析論 --- p.105 / Chapter 第一節 --- 緒論´ؤ´ؤ駱賓王生平及著作槪述 --- p.105 / Chapter 第二節 --- 可供考察文學思想的篇章背景分析 --- p.106 / Chapter (1) --- 上長官書信 --- p.106 / Chapter (1.1) --- 〈和道王閨情詩啓〉 --- p.106 / Chapter (1.2) --- 〈上吏部裴侍郎書〉、〈上吏部侍郎帝京篇序〉 --- p.106 / Chapter (1.3) --- 〈與程將軍書〉 --- p.107 / Chapter (2) --- 飲宴酬唱之作 --- p.108 / Chapter (3) --- 個人抒懷之作 --- p.108 / Chapter 第三節 --- 文論內容分析 --- p.109 / Chapter (1) --- 文學的性質及功用 --- p.109 / Chapter (1.1) --- 事、物、情與文 --- p.109 / Chapter (1.2) --- 文學與求仕 --- p.111 / Chapter (2) --- 對文學的要求及規範：雅與俗的取捨問題 --- p.113 / Chapter (3) --- 對歷代文學的評價 --- p.115 / Chapter (3.1) --- 兩漢以前 --- p.115 / Chapter (3.2) --- 兩漢 --- p.117 / Chapter (3.3) --- 魏晉 --- p.117 / Chapter (3.4) --- 南朝 --- p.118 / Chapter (4) --- 小結 --- p.118 / Chapter 第七章 --- 總結 --- p.120 / 參考書目 --- p.127 / 附錄一 --- p.132

University of Macau / Faculty of Social Sciences and Humanities / Department of Chinese

In my earlier work, ‘First steps towards a rhetorical hermeneutics of literary interpretation’ (2006), I argued that academic reading takes the form of an argument between readers. Four serious weaknesses in that account are its elision of the distinction between reading and discourse on reading, its inattention to non-academic reading, its exclusive focus on ‘interpretation’ as if this constituted the whole of reading or of discourse on reading, and its failure to theorise the object of literary reading, ie. the work of literature. The current work aims to address all of these problems, together with those created by certain other approaches to literary reading, with the overall objective of clearing the ground for more empirical studies. It exemplifies its points with examples drawn primarily from non-academic public discourse on literature (newspapers, magazines, and the internet), though also from other sources (such as reading groups and undergraduate literature seminars). It takes a particular (though not an exclusive) interest in two specific instances of non-academic reception: the widespread reception of Salman Rushdie’s novel The Satanic Verses as an attack on Islam, and the minority reception of Peter Jackson’s film trilogy The Lord of the Rings as a narrative of homosexual desire. The first chapter of this dissertation critically surveys the fields of reception study and discourse analysis, and in particular the crossover between them. It finds more productive engagement with the textuality of response in media reception study than in literary reception study. It argues that the application of discourse analysis to reception data serves to problematise, rather than to facilitate, reception study, but it also emphasises the problematic nature of discourse analysis itself. Each of the three subsequent chapters considers a different complex of problems. The first is the literary work, and its relation to its producers and its consumers: Chapter 2 takes the form of a discourse upon the notions of ‘speech act’ and ‘authorial intention’ in relation to literature, carries out an analysis of early public responses to The Satanic Verses, and puts in a word for non-readers by way of a conclusion. The second is the private experience of reading, and its paradoxical status as an object of public representation: Chapter 3 analyses representations of private responses to The Lord of The Rings film trilogy, and concludes with the argument that, though these representations cannot be identical with private responses, they are cannot be extricated from them, either. The third is the impossibility of distinguishing rhetoric from cognition in the telling of stories about reading: Chapter 4 argues that, though anecdotal or autobiographical accounts of reading cannot be taken at face value, they can be taken both as attempts to persuade and as attempts to understand; it concludes with an analysis of a magazine article that tells a number of stories about reading The Satanic Verses – amongst other things. Each of these chapters focuses on non-academic reading as represented in written text, but broadens this focus through consideration of examples drawn from spoken discourse on reading (including in the liminal academic space of the undergraduate classroom). The last chapter mulls over the relationship between reading and discourse of reading, and hesitates over whether to wrap or tear this dissertation’s arguments up.

This thesis examines selected speculative novels by Margaret Atwood, Ursula K. Le Guin, Doris Lessing and Marge Piercy. It argues that a specifiable ecological ethic can be traced in their work – an ethic which is explored by them through the tensions between utopian and dystopian discourses. The first part of the thesis begins by theorising the concept of an ecological ethic of respect for the Other through current ecological philosophies, such as those developed by Val Plumwood. Thereafter, it contextualises the novels within the broader field of science fiction, and speculative fiction in particular, arguing that the shift from a critical utopian to a critical dystopian style evinces their changing treatment of this ecological ethic within their work. The remainder of the thesis is divided into two parts, each providing close readings of chosen novels in the light of this argument. Part Two provides a reading of Le Guin’s early Hainish novels, The Left Hand of Darkness, The Word for World is Forest and The Dispossessed, followed by an examination of Piercy’s Woman on the Edge of Time, Lessing’s The Marriages Between Zones Three, Four and Five, and Atwood’s The Handmaid’s Tale. The third, and final, part of the thesis consists of individual chapters analysing the later speculative novels of each author. Piercy’s He, She and It, Le Guin’s The Telling, and Atwood’s Oryx and Crake are all scrutinised, as are Lessing’s two recent ‘Ifrik’ novels. This thesis shows, then, that speculative fiction is able to realise through fiction many of the ideals of ecological thinkers. Furthermore, the increasing dystopianism of these novels reflects the greater urgency with which the problem of Othering needs to be addressed in the light of the present global ecological crisis.

Disempowered Women? A Feminist Response to female Characters in Malory, Tennyson and Bradley takes an in-depth look at Elayne, Gwenyvere and Morgan of the Arthurian legend. The characters are examined within their contemporary context and from our modem perspective as portrayed in Malory, Tennyson, and Marion Zimmer Bradley. Patriarchy, closely connected with the Christian doctrines, is singled out as the main means of propagating women's disempowerment. The inquiry considers different ways in which fictional texts have contributed to creating false perceptions amongst our contemporary audience, about the reality of women's lives in the Middle Ages. It further examines the validity of the assumption that literary women are not real, but mere representations of male ideals about women's role and place in society. Issues of gender equality are raised and the author concludes that the literature studied assigns definite, gender-specific roles to men and women. The work also debates the perceived misogyny of the male authors: is it a conscious act or a reflection of their contemporary society's concerns? / English Studies / M. A. (English)

NOTE FROM THE LIBRARY: PLEASE CONTACT THE AUTHOR AT indisunflower@yahoo.com OR CONSULT THE LIBRARY FOR THE FULL TEXT OF THIS THESIS.... This thesis investigates the trajectory traced from Sarah Baartman, a Khoisan woman exploited in Europe during the nineteenth century, to a contemporary writing workshop with circumcised, immigrant West African women in Harlem New York by way of a selection of African women's memoirs. The selected African women's texts used in this work create a new testimony of speech, fragmenting a historically dominant Euro-American gaze on African women's bodies. The excerpts form a discursive space for reclaiming self and as well as a defiant challenge to Western porno-erotic voyeurism. The central premise of this thesis is that while investigating Eurocentric (a)historical narratives of Baartman, one finds an implicitly racist and sexist development of European language employed not solely with Baartman, but contemporaneously upon the bodies of Black women of Africa and its Diaspora, focusing predominantly on the "anomaly of their hypersexual" genitals. This particular language applied to the bodies of Black women extends into the discourse of Western feminist movements against African female circumcision in the 21st century. Nawal el Saadawi, Egyptian writer and activist and Aman, a Somali exile, write autobiographical texts which implode a western "silent/uninformed circumcised African woman" stereotype. It is through their documented life stories that these African women claim their bodies and articulate nationalist and cultural solidarity. This work shows that Western perceptions of Female Circumcision and African women will be juxtaposed with African women's perceptions of themselves. Ultimately, with the Nitiandika Writers Workshop in Harlem New York, the politicized outcome of the women who not only write their memoirs but claim a vibrant sexual (not mutilated or deficient) identity in partnership with their husbands, ask why Westerners are more interested in their genitals than how they are able to provide food, shelter and education for the their families, as immigrants to New York. The works of Saadawi, Aman and the Nitandika writers disrupt and ultimately destroy this trajectory of dehumanization through a direct movement from an assumed silence (about their bodies, their circumcisions and their status as women in Africa) to a directed, historically and culturally grounded "alter" speech of celebration and liberation. / English Studies / D. Litt. et Phil.(English)

Proceeding from the premise that the meaning of performances flows from contextual, textual, and nonverbal elements, this dissertation explores layers of meaning arising from performances of selected South African struggle songs, poems and plays. In particular, it focuses on performances of the Mayibuye Cultural Group which functioned as an adaptive mechanism in the changing sociopolitical landscape of the 1980s and early 1990s, and on contemporary performances. The analysis of the songs, poems and play underscores the importance of nonverbal elements for the interpretation of performances, and proposes that performances functioned as debate and as a discursive presence in the public sphere. In particular, the performances glorified a masculine conception of the struggle and of South African society which highlighted the fragile gender politics in South Africa, and functioned as a vibrant mechanism for the expression of sanctioned criticism especially for the marginalised and for those at the fringes of power. / Anthropology / M.A. (Anthropology)