Ru-Shih Liu was a famous and respectable poet in the 17th Century (from 1618 to 1664) in China. Because of her special background, extremely excellent writing techniques and creative thinking, she was very active in the history of literature and left many theses. Her first poetry publication was published at the age of 21. Zu-Loong Chen helped her to write the introduction and promoted her a lot. The next year, her friend invited her to travel to Hangchow, where her second poetry publication was published. Most of her poems¡¦ ideas were from her travel experiences, so this poetry publication was named ¡§Grass of lake¡¨. At that time she was only twenty-two years old. Because of her special life experience, her study presented a kind of excellent art style and worthy literature. The purpose of this research is to analyze the poetry of her second publication as the main subject and research her creative thinking characteristics and artistic performance. The background of her writing and thoughts can be understood by her biography. Six topics were set to analyze the purpose and essence of her creations. Writing styles were concluded by the skills of writing: such as purports of time, purports of space, purports of humanity and purports of nature. The value and style of her poetry was investigated by the evaluation of later literature and analyses of her poetry. Moreover, Ru-Sheih Liu and her poetry influenced female literature development, the exaltation of national integrity and the promotion of life spirit during the late Ming Dynasty.

Chinese feudal women have long been identified as victims of the Chinese Confucian patriarchy and discussed in terms of notions of backwardness, dependency, female passivity, biological inferiority, intellectual inability, and social absence. This image of the victimized women, however, is a product of China’s modernization and Westernization processes since late-nineteenth and early-twentieth century. Its formation is inseparable from the appropriation of the colonialist categories of sex binarism by the May Fourth male “new intellectuals.” This binary, linear gender ideology, together with the social context of Confucianism’s long-term status as the official, orthodox ideology in premodern China, easily led to the conceptualization of women in terms of absence, marginalization, and ultimately victimization. In this process, Chinese women became Woman, the other of Man, which constitutes a monolithic, ahistorical entity that masks specificities and variations in different historical periods and concrete cultural contexts, and obscures the dynamics of gender relationships. Kunqu (Kun opera) and the literati culture of late Ming (1573-1644) and early Qing Dynasty (1644~1722) surrounding it could be of particular use to demonstrate the problem of this binary and static conceptualization of gender in premodern China. In this study, I will be examining the case of two distinguished kunqu, Mudan ting (The Peony Pavilion) and Taohua shan (The Peach Blossom Fan), whose text, music, and performance raise interesting questions about femininity and masculinity in the specific social and cultural context of the time. Through this study, I want to help illuminate the inadequacy of the modernist, rigid sex binarism in understanding traditional Chinese gender ideology which cannot be reduced to the Western sexual physiology and biology, and to refute the ahistorical construction of the victimized Chinese Woman. / text

No description available.

《世說新語》在晚明時期（嘉靖至清初）造成空前之盛況，受到士人相當的重視與喜愛。就目前所知而言，單是《世說新語》原作的刻本，便至少有十八種。而《世說新語》之續作、仿作（世說體著作），更高達三十餘部之多；其中《世說新語補》一書，又有九種以上不同的版本。此外，嘗對《世說新語》原作、續作、仿作進行注釋、評點者，亦有十三家左右。至於為其撰作序、跋的文人，更是不勝枚舉、無從計數，甚至有一人撰作兩篇者。如此之盛況，乃歷代所絕無僅有。由此可知，《世說新語》在晚明確實扮演著相當重要的角色。　　 所謂季世，大抵均有若干類似之時代現象與特質。惟魏晉與晚明二者，實有更多相通之處。晚明文人便已自覺此點，如王宇〈清紀序〉論季世，即獨舉漢末魏晉與晚明對映。而晚明世說體著作乃至清言小品之蔚盛，更證明魏晉與晚明之關聯。因此，若以《世說新語》與魏晉時期的部分特質，觀照晚明之文學、思想、文化等現象，當不無所得。則晚明世說體著作，實頗值得吾人注意。 然而，現今對晚明時期的探討，不論是文學理論或士人風氣，皆鮮少觸及晚明世說體著作。晚明性靈思潮之興起，固與王陽明心學（王學泰州學派）之啟發及前、後七子擬古風氣之刺激有關，然其為何以此種面貌呈現？晚明文人為何以率真任性為處世準則？他們心中的理想人物典型又是哪些？而「清言」作品何以大盛於晚明？凡此問題，皆可自晚明世說體著作獲得啟發。事實上，晚明時期大量世說體著作的出現，即意味著《世說新語》與魏晉名士對當日文人而言，確實有特殊之意義。魏晉對晚明的影響，不僅是在文學審美興趣方面，士人思想風尚方面的影響，恐怕才是更為重大的。 在研究方向上，本文著重於魏晉與晚明彼此關係之探討，透過《世說新語》與晚明世說體著作的對照、比較，呈顯出晚明世說體著作的特色，並進一步反映出晚明時期之士人風尚與文學興趣。本文第二章探討晚明世說體著作之興起背景與原因；第三章分析晚明世說體著作之形式體制；第四章則自德行、言語、政事、文學、聰慧、賢媛等向度，論述晚明思想風尚及文學現象。希冀藉由對晚明世說體著作的研究，能發掘出其於晚明文學、思想、文化史中的意義與價值，並進而對整個晚明學術思潮、士人風尚及文學理論，有更為深刻的了解與掌握。 第一章　緒言 1 第二章 晚明世說體著作之興起 7 第一節 魏晉風流之企羨 7 第二節 短文小說之好尚 10 第三節 知名文士之推動 12 第三章 晚明世說體著作之體制 17 第一節 門類篇目 20 第二節 注文、小序、按語 27 第四章 晚明世說體著作之內容 47 第一節 德行 48 一、道德教化之編撰理念 54 二、細大不捐之選材標準 58 第二節 言語 68 一、清 71 （一）清之內涵 72 1、清與汙濁 72 2、清與雅俗 76 3、清與玄虛 81 4、清與風流 83 （二）晚明之清 88 1、名士風流之清 92 2、山林隱逸之清 97 （三）晚明世說體著作與晚明清言之關係 100 1、清言名義 101 2、清言形式 102 二、韻 112 （一）以疵為美 115 （二）多情率真 119 （三）任達放誕 123 （四）嗜酒耽色 127 第三節 政事 135 一、廣任才智之士 138 二、措意民生經濟 148 三、加強國防邊政 158 第四節 文學 160 一、文學詞章 162 （一）詞義兼備、文質彬彬 162 （二）文發於意見、詩本乎性情 164 （三）嚮慕魏晉詩文風韻 167 （四）推尊白居易、蘇軾 169 二、玄學佛理 172 三、博學多識 179 第五節 智慧 185 一、智 185 二、慧 196 第六節 賢媛 202 第五章 結語 213 參考書目 225 / During the Late Ming, the New Account of Tales of the World (Shih-shuo hsin yu) reached unprecedented heights in popularity; it was held in highest esteem by the era's scholars. Based on what we know now, there were at least 18 versions of the original printed edition of New Account of Tales of the World . Supplements and imitations of it numbered more than 30; among them, Addendum to New Account of Tales of the World had more than 9 different editions. Further, in comparisons of the original, supplements, and imitations, we find there are about 13 commentators and annotators. The number of scholars who wrote prefaces and colophons is too great to cite; in fact there was even one who wrote two. Such a profusion of interest was rare in the history of Chinese literature and it is because of this fact we can see what an important role New Account of Tales of the World played in the Late Ming. This paper focuses on a study of the interrelation between the Wei Chin period and the Late Ming. By comparing and contrasting New Account of Tales of the World with the Late Ming Shih-shuo form, unique characteristics of the latter are revealed as well as the tastes and literary interests of Late Ming scholars. Chapter 2 explores the background and causes for the rise in the Late Ming Shih-shuo form. Chapter 3 analyzes the structure and style of Late Ming Shih-shuo form. Chapter 4 discusses Late Ming trends in thought and literary imagery from several points of view: moral conduct, language, politics, literature, etc. Through this research, the author hopes to flesh out the significance and value of Late Ming Shih-shuo form on the literature, thought, and culture of that era and also gain a deeper understanding of Late Ming academic trends, scholar's proclivities, and literary theory. Chapter One: Introduction p. 1 Chapter Two: The Rise of Late Ming Shih-shuo Form p. 7 Part One: Admiration of the Wei Chin Style p. 7 Part Two: Affection for Short Stories p. 10 Part Three: Promotion by Famous Scholars p. 12 Chapter Three: The Structure of the Late Ming Shih-shuo Form p. 17 Part One: Categories of Titles p. 20 Part Two: Annotations, "Little" Prefaces, and Editorial Comments p.27 Chapter Four: Content of the Late Ming Shih-shuo Form p. 47 Part One: Moral Conduct p. 48 Section One: Theory of Compositions of Ethical Instruction p. 54 Section Two: The "Nothing Too Large or Small" Standard of Selecting Material p. 58 Part Two: Language p. 68 Section One: Purity p. 71 a. The Meaning of Purity p. 72 1. The Pure and The Polluted p. 72 2. The Pure and The Refined and Vulgar p. 76 3. The Pure and The Mysterious p. 81 4. The Pure and Matters of Style p. 83 b. The Late Ming's "Purity" p. 88 1. The Purity of the Rich and Famous p. 92 2. The Purity of the Recluse p. 97 c. The Relationship Between the Late Ming Shih-shuo Form and the Pure Language of the Er p. 100 1. The Meaning of Pure Language p. 101 2. The Form of Pure Language p. 102 Section Two: Deportment p. 112 a. The Flawed As Beautiful p. 115 b. Great Emotion and Candor p. 119 c. Unrestrained and Rash p. 123 d. Indulgence in Wine and Women p. 127 Part Three: Political Matters p. 135 Section One: Broad Employment of Men of Intelligence p. 138 Section Two: Attentitiveness to the National Economy p. 148 Section Three: Strengthen National Defense in Border Adminstrations p. 158 Part Four: Literature p. 160 Section One: Literary Works p. 162 a. If the Words and Meaning are In Accord, the Literature's Quality Will Be Elegant p. 162 b. Prose Comes From Ideas, Poetry From Disposition p. 164 c. Admiration of Wei Chin Literature's Charms p.167 d. Promotion of Pai Chu-yi and Su Shih p. 169 Section Two: Metaphysics and Buddhism p. 172 Section Three: Erudition p. 179 Part Five: Perfect Wisdom p. 185 Section One: Knowledge p. 185 Section Two: Intelligence p. 196 Part Six: Talented Women p. 202 Chapter Five: Conclusion p. 213 Bibliography p.225

以整個明代來看，國祚近三百年，但初期在改朝換代的適應與摸索下，使 得原本已由元雜劇所掀起的戲曲熱潮，沉寂了大半個明代，直到嘉靖年間 才逐漸恢復生機。這股生機一觸即發，短短數十年便再度席捲文壇，吸引 了許多文人學士投入戲曲的創作和討論，諸如徐渭、李贄、湯顯祖、沈璟 、王驥德等人將萬曆劇壇妝點得多采多姿，並將戲曲理論推展至前所未有 的高峰。但戲曲理論的發展經驗仍淺，其內涵也不夠成熟，此時雖眾星雲 集、新銳並出，靠得是一股衝勁與爆發力，但待勢頭一過，冷靜的沉思與 深度的思考才是長久的紮根之計。而「晚明」正是擔任著這樣的工作--將 前人的意見總結、再思考，濃縮、再提煉。另一方面，由於理論需有作品 作基礎，劇論家常藉著品評以往當代作家的作品來建立自己的理論。其中 當代作品最能反映當時的創作現況，對其下針砭也最能發揮理論的功效， 但明代前中期的劇作不多，也缺乏探討的價值，因此只要有具代表性的典 型劇作出現，馬上就會吸引劇壇的注目，而《牡丹亭》就是這樣一部劇著 。雖然《牡丹亭》的出現夾著褒貶不一的評價，但不論是正面或反面，它 都有著引人深入探討、發掘的豐富性。當時幾乎所有的劇論家都曾對其發 表過意見，而這些意見匯整起來，則儼然是晚明戲曲理論的精華展現。我 們可以說，晚明劇論家對《牡丹亭》的流傳與討論深化了此劇的創作內涵 ，而《牡丹亭》的出現則刺激了晚明戲曲理論的開展，此兩者互為因果的 血脈關系，是值得我們重視的。綜上所述，本文遂欲以晚明時期對《牡丹 亭》的流傳討論為探討線索，以突顯當時戲曲理論承先啟後的重要性及時 代意義。在這□，「晚明」指得是萬曆中後期到崇禎末這段期間，更明確 的說，由於《牡丹亭》約完成於萬曆二十六年(1598)，明亡於崇禎十七 年(1644年)，晚明即代表1598到1644這四十六年的時段。本文即以此時段 中與《牡丹亭》有關的專文、序跋、評點、眉批、改編，乃至曲譜制定、 演出情形等，作一釐清、探討。再與萬曆之前及清代初、中期的理論特色 稍作比較，以突顯其過渡特色。本論文之研究主要採三個步驟進行：首先 是「外緣探討」，於第二章就晚明劇論的依存背景，作多方面的釐清，即 文學、思想背景，戲曲理論的發展概況及當時對戲曲的審美需求。其次是 「內緣研究」，於第三、四、五章分別就晚明時期對《牡丹亭》的批評風 氣、批評方式、批評內涵等作條理的分析。最後為「價值定位」，於第六 章總結晚明戲曲理論的時代意義，以明其對前代有所承繼、有所創新，對 後世又有所啟發、開展的樞紐地位。