published_or_final_version / Chinese / Master / Master of Arts

稿本 / 論文(碩士)--香港中文大學硏究院中國語言及文學學部,1992. / 參考文獻: leaves 243-257 / 林世鳴. / Chapter 第一章： --- 緒言 --- p.1 / 註釋 --- p.5 / Chapter 第二章： --- 本原論 --- p.8 / Chapter 第一節： --- 據自然之規律 --- p.8 / Chapter 第二節： --- 載儒家之義理 --- p.12 / Chapter 第三節： --- 本作者之修養 --- p.21 / Chapter 第四節： --- 文與道之合一 --- p.26 / Chapter 第五節： --- 文以致用為本 --- p.35 / 小結 --- p.46 / 註釋 --- p.51 / Chapter 第三章： --- 文體論 --- p.61 / Chapter 第一節： --- 文體之重要性 --- p.61 / Chapter 第二節： --- 文體論之源流 --- p.63 / Chapter 一、 --- 文體之源起 --- p.63 / Chapter 二、 --- 文體區分及文體論興起之原因 --- p.66 / Chapter 第三節： --- 姚、曾文體論述評 --- p.70 / Chapter 一、 --- 論著類 --- p.72 / Chapter 二、 --- 詞賦類 --- p.76 / Chapter 三、 --- 序跋類 --- p.80 / Chapter 四、 --- 詔令類 --- p.85 / Chapter 五、 --- 奏議類 --- p.87 / Chapter 六、 --- 書牘類 --- p.89 / Chapter 七、 --- 哀祭類 --- p.93 / Chapter 八、 --- 傳誌類 --- p.95 / Chapter 九、 --- 敘記類及典志類 --- p.98 / Chapter 十、 --- 雜記類 --- p.100 / Chapter 第四節： --- 姚、曾文體論之特色 --- p.102 / Chapter 一、 --- 以簡馭繁，摒除分類繁雜之流弊 --- p.102 / Chapter 二、 --- 駢散兼宗，而不違家法 --- p.104 / Chapter 第五節： --- 桐城後學之補充 --- p.105 / 小結 --- p.108 / 註釋 --- p.110 / Chapter 第四章： --- 創作論 --- p.118 / Chapter 第一節： --- 積學 --- p.118 / Chapter ´ؤ、 --- 博覽 --- p.120 / Chapter 二、 --- 約取 --- p.121 / Chapter 三、 --- 專攻與有恒 --- p.124 / Chapter 第二節： --- 精誦 --- p.127 / Chapter 第三節： --- 圏點 --- p.138 / Chapter 第四節： --- 鈔纂 --- p.142 / Chapter 第五節： --- 摹擬 --- p.145 / Chapter 第六節： --- 命意 --- p.154 / Chapter 第七節： --- 立格 --- p.156 / Chapter 第八節： --- 行氣 --- p.160 / Chapter 第九節： --- 選辭 --- p.163 / Chapter 第十節： --- 增删 --- p.168 / 小結 --- p.169 / 註釋 --- p.171 / Chapter 第五章： --- 風格論 --- p.182 / Chapter 第一節： --- 風格釋義 --- p.182 / Chapter 第二節： --- 風格之形成 --- p.183 / Chapter 第三節： --- 桐城派風格論之發展 --- p.185 / Chapter 一、 --- 方苞以「清真古雅」為宗 --- p.185 / Chapter 二、 --- 劉大櫆對風格多樣性之認識 --- p.189 / Chapter 三、 --- 姚鼐以陽剛陰柔概括文章之風格 --- p.193 / Chapter 四、 --- 桐城派後學之增補 --- p.196 / Chapter 第四節： --- 桐城派風格論之特色 --- p.199 / Chapter 一、 --- 偏好陽剛 --- p.199 / Chapter 二、 --- 不棄陰柔 --- p.216 / Chapter 三、 --- 以陰陽剛柔兼具為文章之至境 --- p.218 / Chapter 第五節： --- 小結 --- p.224 / 註釋 --- p.225 / Chapter 第六章： --- 總結 --- p.235 / 註釋 --- p.241 / 參者書目: --- p.243

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The subject of this study is French-Canadian literature of the middle nineteenth century. This study effectuates an analysis starting with the very idea which constitutes the genesis of this national literature, that is, Messianism. This research consists of applying on a vast corpus of writing the principle concepts developed by the sociology of religions in the study of historical and contemporary Millenarist movements. / The first chapters consolidate the sources of the providencial mission of the French-Canadian people within the greater Catholic tradition of French literature. Bossuet, de Maistre, Chateaubriand, Rameau de Saint-Pere were the thinkers who aroused interest among the writers of French Canada, and are thus subject of consideration. / The second part of this study attempts to acknowledge the ripening of a local intellectual tradition, by considering diverse ideological writings which started by denying the specificity of literature, before eventually manifesting and incorporating literary qualities. / Finally, a study based on same concepts examines works of the period by Frechette, Casgrain, Tache, de Gaspe, Gerin-Lajoie and Buies; works that are clearly literary in nature. / The results of this study clarify within a global perspective the set of questions which have always been posed about French-Canadian literature while at the same time connect literature to the development problems of this society.

Text in Afrikaans / In die proefskrif word gepoog om die Namibies-Afrikaanse literatuur wat gepubliseer is sedert die twintigerjare (met die verskyning van die eerste Afrikaanse gedigte in Afrikaanse koerante) tot met die onafhanklikwording van die land in Maart 1990, bymekaar te bring, en aan te toon hoe die land en al sy mense daarin na vore kom. Daar is hoofsaaklik gekonsentreer op werke wat by gevestigde Suid-Afrikaanse uitgewerye verskyn het. Altesaam 146 bundels prosa, 35 bundels poesie, twee dramas, en 46 gedigte wat in koerante en tydskrifte verskyn het, geskryf deur 92 skrywers en uitgegee deur 26 uitgewerye-, word in die proefskrif geidentifiseer en bespreek. Talle kenmerke van die land en sy mense vind neerslag in bogenoemde werke. Die meeste werke speel in die noorde van die land en die Namib-woestyn af, en die inheemse bevolkingsgroep wat die sterkste na vore kom, is die Boesmans; klem word veral geplaas op hul gewoontes en gebruike. Die hoofkarakters in die verhale is oorwegend plattelandse blanke boeremense. Die tipiese landsomstandighede sedert die einde van die vorige eeu, toe bloedige stamgevegte in die land gewoed het, tot en met die grensoorlog wat met onafhanklikwording beeindig is, word in die literatuur gereflekteer. Wat die invloed van die land op die mens betref, is dit die ontbering en lyding, maar veral die geestelike verryking wat die land die mens hied, wat na vore kom. In die algemeen openbaar die skrywers 'n oorweldigende positiewe gesindheid teenoor die land en sy mense, hoewel ander nuanserings van gesindheid ook voorkom / In this dissertation an attempt is made to bring together Namibian-Afrikaans literature published since the twenties (when the first Afrikaans poems appeared in the Afrikaans papers), until the independence of the country in March 1990, and to illustrate how the country and its people come to the fore as revealed in the literature. Stress is given mainly to works that were published by established South African publishers. A total of 146 anthologies of narrative prose, 35 anthologies of poetry, two dramatic works, and 46 poems which appeared in papers and periodicals, written by 92 authors and published by 26 publishers, are identified and discussed. Hundreds of features of the country and its people are revealed in the abovementioned literature. Most works take place in the northern regions and the Namib desert and the indigenous people that predominate are the Bushmen; stress is mainly laid on their customs and their habits. The main characters in the narratives are to a large extent white rural people. The literature reflects the typical political circumstances of the country since the end of the previous century when bloody tribal conflicts raged, until the border war that ended with independence. As far as the influence of the country on the people is concerned, it is mainly the hardships and suffering, but above all the spiritual enrichment that the country offered that are ascertained. In general the authors reveal an overwhelmingly positive attitude towards the country and its people / English Studies / D.Litt. et Phil. (Afrikaans)

This study purports to explain why French Canadians, in spite of their heritage of French culture and literature, have failed over the past four centuries, to create one single masterpiece, to give birth to one literary genius. In examining the various productions of the literature of French Canada, whether they be poems, novels or plays, one cannot but notice that they are almost completely devoid of those analyses of love, of the great passions which constitute the basis of life, and consequently of the great world literatures. It is generally conceded that literature faithfully mirrors the customs and habits of a nation. The first French colonists, who settled along the Saint Lawrence River, had not brought to the New World only Civilization and Christian faith, but also French culture and literary genius. In spite of frontier conditions, there gathered together in Quebec a small, but witty, gay and brilliant society, and the masterpieces of Racine, Corneille and even Moliere were performed. The first works written about Canada appeared by and by, almost all of them of a considerable literary value. However, in spite of the strong influence of France and of the French spirit, there was another influence slowly growing in the scattered settlements and villages, and struggling with all its might and resolution to get control over the spiritual and temporal life of the population: the influence of the Church that was far more concerned with the souls of its flock than with a national literature, which, after all, might even become dangerous. The Catholic Church did not lose its dominating influence over the French Canadians after the British conquest; on the contrary, the Clergy became their virtual leader. Thus, for almost two centuries after the English victory on the Plains of Abraham, Quebec lived behind a spiritual and intellectual iron curtain dropped by the ecclesiastics who controlled the colony’s thinking, acting, writing until the first decades of the twentieth century. French Canadian literature, of course, bears the indelible imprint of this clerical domination, and nowadays, when the Church has lost a great deal of its former power and influence, the change in French Canadian literature, is obvious. Literature - for the Canadian Clergy - was nothing but a handmaid of their religion. It follows that history, the novel, poetry, criticism and drama, became a means, and a means only, for religious propaganda. History - less dangerous from the moral point of view - was, in consequence, the most popular. French Canadians can boast of many "Histoire du Canada", where their historians reveal with few exceptions, of course, their own philosophy which is essentially religious. The novel, so much read and admired in Europe, was considered in French Quebec as a "weapon forged by Satan himself to destroy Mankind". It was almost non-existent until the beginning of the twentieth century. Only two types were allowed: the historical novel and the "propaganda novel". Poetry was tolerated, yet the poets were not allowed to sing of anything else but of the soil, the race, the glorious past, God and the altar, simple piety, idyllic country and community life and nature... All other objects - love and passions generally, were condemned as immoral. The rôle of "criticism" - if we can speak of criticism - , was decidedly militants the Canadian "official" critics fought against "liberal ideas", against "Voltairiens", "philosophes"… A French Canadian National Theatre was allowed in Quebec but recently. Thus, the internal struggle between Free Thought and a rather narrow-minded "Canadian Catholicism" is perhaps one of the most interesting aspects of French Canadian literature, and can, to a certain point, give some inkling of its future development. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

D.Litt. et Phil. / Please refer to full text to view abstract.

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