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This thesis argues that the corpus of Old Norse-Icelandic literature which pertains to Iceland contains an intertextual narrative of the formation of Icelandic identity. An analysis of this narrative provides an opportunity to examine the relationship between literature and identity, as well as the potency of the artistic use of the idea of the past. The thesis identifies three salient narratives of communal action which inform the development of a discrete Icelandic identity, and which are examined in turn in the first three chapters of the thesis. The first is the landnám, the process of settlement itself; the second, the origin and evolution of the law; and the third, the assimilation and adaptation of Christianity. Although the roots of these narratives are doubtless historical, the thesis argues that their primary roles in the literature are as social myths, narratives whose literal truth- value is immaterial, but whose cultural symbolism is of overriding importance. The fourth chapter examines the depiction of the Icelander abroad, and uses the idiom of the relationship between þáttr (‘tale’) and surrounding text in the compilation of sagas of Norwegian kings Morkinskinna to consider the wider implications of the relationship between Icelandic and Norwegian identities. Finally, the thesis concludes with an analysis of the role of Sturlunga saga within this intertextual narrative, and its function as a set of narratives mediating between an identity grounded in social autonomy and one grounded in literature. The Íslendingasögur or ‘family sagas’ constitute the core of the thesis’s primary sources, for their subject-matter is focussed on the literary depiction of the Icelandic society under scrutiny. In order to demonstrate a continuity of engagement with ideas of identity across genres, a sample of other Icelandic texts are examined which depict Iceland or Icelanders, especially when in interaction with non-Icelandic characters or polities.

This study examines the constructions and uses of the figure of Ovid in French writing of the second half of the seventeenth century, and explores how they were modulated by contemporary aesthetic and cultural concerns. As the influence of Ovid’s poetry made itself felt in various ways – in the mythopoeia of the Sun-King and the fashionable galant salons – interest in the story of Ovid’s life blossomed. This, I argue, was facilitated by new forms of ‘life-writing’, the nouvelle historique and histoire galante, and fuelled in unexpected ways by the escalating querelle des Anciens et des Modernes. Research has been done on the reception and influence of Ovid’s poetry in this period, but little attention has been paid to the figure of Ovid. This thesis offers a new perspective and, informed by recent renewed interest in life-writing, argues that analysis of biographical depictions is vital for establishing a coherent picture of the uses of Ovid in the ‘Grand Siècle’. I explore a diverse range of textual descriptions of Ovid (Vies; prefatory material attached to translations and editions of his work; correspondence; dialogues des morts; biographical dictionaries and historical novels), organized according to their different, though intersecting, ways of writing about this poet. He was constructed as a historical figure, an author, a fictional character and a ‘parallèle’ – a point of identification or contrast for contemporary writers. Through close analysis of a multi-authored corpus, this thesis identifies and examines two instances of paradox: though an ancient poet, Ovid became emblematic of 'Moderne' movements and was used to explore aspects of galanterie; and, though his creative work was mobilized in the service of royal propaganda, Ovid, as a figure for the exiled poet, was also used to express anxieties about the sway of power and the machinations and pitfalls of the world of the court.

University of Macau / Faculty of Arts and Humanities. / Department of Chinese

Based on Noam Chomsky’s argument that the faculty of language is primarily a tool of thought whose purpose is to interpret the world, this dissertation argues that reading literature provides a cognitive experience like John Gardner’s “Fictive Dream” that mimics our interpretive experience of the world. Literary experience exploits language as an epistemological faculty that makes aspects of the external world intelligible. Yet the faculty of language is also capable of evoking entirely mental worlds that do not reflect the mindexternal world. Because the literary experience is entirely mindinternal, even the cultural knowledge we bring into play for its understanding still relies on innate features of language. Thus, during the act of reading, we hold this cultural knowledge in abeyance, allowing the text to structure how we bring it to bear on the experience as a whole. A scientific approach to literature can help uncover principles to further elucidate the literaryepistemological experience. Whereas much literary criticism assumes that a critic’s purpose is to mine a text for its deeper meaning, this dissertation argues for a Cognitive Formalist approach in which criticism serves not simply to explain the experience evoked by any particular text according to linguisticepistemological principles, but also to evaluate the moral implications of that specific textual experience. As a means of demonstrating potential implications of a scientific cognitive approach to literary criticism based on linguisticepistemological understanding, the current study offers sample passages from J. R. R. Tolkien’s The Lord of the Rings. These passages allow us to offer first approximations of some explanatory principles of the literaryepistemological experience, such as the importance of fictive time and fictional event sequences, which in turn gives us greater insight into how, for example, verb tense and aspect contribute to the evocation of the action of fiction in the reader’s mind. Ultimately, the fictive vantage point constructed by the text allows the reader access to a complex moral framework in which fictive characters are understood to make choices that will in turn set the stage for the reader’s own ethical reception of the text and the experience it offers. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2017. / FAU Electronic Theses and Dissertations Collection

This thesis discusses the relationship between classic comic books and BDSM (bondage, discipline, sadism and masochism.) Will Eisner's The Spirit is used to discuss sexuality and power in comics, with special attention paid to Eisner's "The Kissing Caper." The Eisner chapter explores the relationship between sadomasochism, film noir, gender dynamics and comics. Using Judith Butler, Fredric Wertham and Theodor Reik, the gender politics of The Spirit are discussed. Women's changing roles in the post-World War II American workplace are linked to Eisner's BDSM themes in The Spirit from the character's origin story to the 1950s. In examining Alan Moore's Watchmen, the paper focuses on transactional power dynamics and how BDSM rituals are enacted in modern American comics. American power relationships in politics are used as a comparison and contrast to BDSM dynamics in Watchmen. Samuel R. Delany, William Moulton Marston and Pat Califia are used as theorists within the discussion of power exchanges in Dave Gibbons and Alan Moore's graphic novel. The consensual fantasy element to this power relationship is demonstrated as the underlying dynamic of the act, and not as actual punishment or nonconsensual sadism. / by Michael Furlong. / Thesis (M.A.)--Florida Atlantic University, 2011. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2011. Mode of access: World Wide Web.

徐渭《四聲猿》由《狂鼓史漁陽三弄》、《玉禪師翠鄉一夢》、《雌木蘭替父從軍》和《女狀元辭凰得鳳》四個雜劇組成，對明清雜劇的影響深遠。《四聲猿》從問世到清代，文人雅士通過序跋、評點、刊刻和擬作紛紛顯示出對《四聲猿》的關注。究竟《四聲猿》有甚麼獨特之處吸引著明清二代的文人？他們所關注的又是甚麼呢？又明清文人對其接受有何不同？雖然關於《四聲猿》的研究已經非常豐富，但卻集中文本內部的討論，加上資料的缺乏，對《四聲猿》在明清的接受概況缺乏全面的分析。因此，筆者致力於搜集《四聲猿》在明清時期的評點本及與《四聲猿》聯繫的雜劇創作，欲勾勒出明清文人對《四聲猿》接受的情況；且有幸發現一些未被學界引用的評點善本及戲曲創作，尤其是當中新發現上海圖書館所藏的明天放道人評點善本，展示了《四聲猿》更多元化的接受方向。 / 本文主要從兩方面分析《四聲猿》在明清的接受概況，第一，從《四聲猿》的版本流傳及演出紀錄、傳播者、戲曲批評、戲曲創作四方面分析明清文人對《四聲猿》的接受；第二，則以時間為軸線，從明中葉、晚明清初、清中期及清末四個階段分析文人對其接受重心的轉變。本文共分七章，第一章為緒論部分，首先簡介徐渭的生平及《四聲猿》、研究概況、本文的研究動機及方法；第二章為《四聲猿》與民間文化、文人文化的關係，分析作品對民間文化的吸收及當中所體現的文人對自身及社會的關注；第三章介紹《四聲猿》的明清版本流傳及演出紀錄；第四章為《四聲猿》的明清評點與批評，從對《四聲猿》起傳播作用的重要人物袁宏道、澂道人及其他戲曲批評家分析《四聲猿》在明清接受的面貌，當中更會引用新發現的天放道人評點本如何將《四聲猿》擴展至社會功用的價值；第五章為晚明至清中葉戲曲家對《四聲猿》的仿寫與續作，通過對沈自徵《漁陽三弄》、張韜《續四聲猿》、桂馥《後四聲猿》的擬作分析探討明清不同時期對《四聲猿》接受的重心轉變；第六章為猿啼五聲──清末戲曲家洪炳文《懸嶴猿》研究，分析在時局動盪、國家危難之時，劇作家如何深化《四聲猿》猿啼之悲的意象，以此鼓勵人心，圖以救國；最後第七章則總結明清以來，《四聲猿》在戲曲批評、戲曲作品以致詮釋上方面的轉變。 / Xu Wei（徐渭） sisheng yuan（《四聲猿》） is very important in the Ming and Qing Dynasty. It includes four short plays, they are Kuang gushi yuyang san nong（《狂鼓史漁陽三弄》）, Yu chanshi cuixiang yimeng（《玉禪師翠鄉一夢》）, Ci Mulan tifu congjun（《雌木蘭替父從軍》）and Nu zhuangyuan cihuang defeng（《女狀元辭鳳得凰》）. During the Ming and Qing Dynasty, literti paid a lot of attention on sishengyuan accroding to the criticism, preface, ed his works and simulated drama creation（擬作）, why did they attach great importance to sishengyuan? What were their concern? Also, what is the difference of reception between the Ming and Qing Dynasties? The research on the sishengyuan has already got many achievement, but most of them were based on the textual study. The previous research lack of a comprehensive analysis of sishengyuan reception. Therefore, this paper is aim to sketched out the image of recognition process of Xuwei ’s Sishengyuan in the Ming and Qing Dynasty. / This paper is divided into seven chapters. The first chapter is the introduction of xuwei sishengyuan, research review and method. In the second chapter, we will analysis sishengyuan’s vulgar culture and xuwei’s concern about the society. The third chapter is sishengyuan’s versions and performance record in the Ming and Qing Dynasty. In the chapter four, we will analysis sishengyuan’s criticism in the Ming and Qing Dynasty. It included Yuan hongdao（袁宏道）, Daoist Cheng（澂道人） and other important literati, Also we will use the new discovered details of Daoist Tianfang’s(天放道人) criticism, to find how did he extened the sishengyuan’s value to the social function. The chapter five is the simulated zaju（擬作）during the late Ming the the early Qing. They are Shen zizheng’s（沈自徵） yuyang sannong（《漁陽三弄》） Zhan Tao’s（張韜） xu sishengyuan（《續四聲猿》）, Gui Fu’s（桂馥） hou sishengyuan（《後四聲猿》）. In this chapter we will find the difference of sishengyuan’s reception between them. The chapter six is a study on the Hong bingwen’s（洪炳文） yuan aoyuan（《懸嶴猿》） in the late Qing. It will focus on how did he deepen the imagery of sisheng yuan to encourage people to save their country. The last chapter is an summary of the sishengyuan’s reception in the Ming and Qing Dynasty. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 楊培紅. / "2013年1月". / "2013 nian 1 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 212-219). / Abstract in Chinese and English. / Yang Peihong. / Chapter 第一章 --- 緒論 / Chapter 第一節： --- 明清雜劇發展史視野下的徐渭《四聲猿》 --- p.P.1 / Chapter 第二節： --- 研究述評 --- p.P.4 / Chapter 第三節： --- 研究動機 --- p.P.10 / Chapter 第四節： --- 研究方法及範圍 --- p.P.11 / Chapter 第二章 --- 《四聲猿》與民間文化、人的關係 / Chapter 第一節： --- 徐渭的戲曲觀 --- p.P.14 / Chapter 第二節： --- 《四聲猿》的民間文化 --- p.P.16 / Chapter 第三節： --- 文人的抒情與寄託 --- p.P.24 / Chapter 第三章 --- 《四聲猿》的明清版本與演出紀錄 / Chapter 第一節： --- 版本介紹 --- p.P.36 / Chapter 第二節： --- 選本及演出紀錄 --- p.P.38 / Chapter 第三節： --- 結語 --- p.P.45 / Chapter 第四章 --- 《聲猿》的明清評點與批評 / Chapter 第一節： --- 袁宏道傳記與評點對《四聲猿》的播作用 --- p.P.46 / Chapter 第二節： --- 孟稱舜對《狂鼓史》與雌木蘭的改評 --- p.P.62 / Chapter 第三節： --- 新發現的天放道人評《四聲猿》及其教化旨趣 --- p.P.68 / Chapter 第四節： --- 澂道人的評點及其生平考證 --- p.P.82 / Chapter 第五節： --- 結語 --- p.P.98 / Chapter 第五章 --- 晚明至清中葉戲曲家對《四聲猿》的仿寫與續作 / Chapter 第一節： --- 沈自徵《漁陽三弄》 --- p.P.99 / Chapter 第二節： --- 張韜《續四聲猿》 --- p.P.121 / Chapter 第三節： --- 桂馥《後四聲猿》 --- p.P.138 / Chapter 第四節： --- 結語 --- p.P.162 / Chapter 第六章 --- 猿啼五聲－－清末戲曲家洪炳文《懸嶴猿》研究 / Chapter 第一節： --- 猿啼五聲的創作結構 --- p.P.166 / Chapter 第二節： --- 忠臣護主之鳴 --- p.P.171 / Chapter 第三節： --- 孤臣抗之鳴 --- p.P.176 / Chapter 第四節： --- 懲兇儆奸之鳴 --- p.P.178 / Chapter 第五節： --- 救亡圖存之鳴 --- p.P.181 / Chapter 第六節： --- 女史展墓之鳴 --- p.P.188 / Chapter 第七節： --- 結語 --- p.P.197 / Chapter 第七章 --- 總結 / 附錄

黎必信. / "2012年3月". / "2012 nian 3 yue". / Thesis (Ph.D.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 355-368). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract in Chinese and English. / Li Bixin.

本論文為地域文學視野下的李玉研究。李玉（1611? - 1711後），字玄玉，蘇州派、中國戲曲史上之代表作家。上世紀二十年代以來，李玉研究於前人學者的筆耕下已取得豐碩的成績。然而當「現實精神」、「教化指向」與「平民色彩」一再成為研究蘇州派的關鍵詞，地域元素之於作家的影響仍有待爬梳。本論文追溯了「地」於李玉戲曲生產，即意念生成、形諸創作、再現場上的過程中，所飾演之各種角色；亦探討了李玉與當地文化、觀眾間千絲萬縷的互動與反饋。 / 論文共分為七章。第一章梳理了李玉研究的發展脈絡，提出了個人的關注問題與研究視野。論文第二章結合蘇州的科舉文化、家班文化、「市隱」文化，對李玉的生平行事與交遊進行重讀，指出「久居蘇州」可謂重省其創作的重要鑰匙。第三至六章從作家生平考察，轉移至文本細續。第三章結合「一人永占」四劇（《一捧雪》、《人獸關》、《永團圓》、《占花魁》）探討地緣於李玉早期創作的痕跡，以觀照作家日後的發展脈絡。第四章探討李玉代表作《清忠譜》中，身份認同與歷史書寫的問題，重新審視了「蘇州」於劇中所鋪演的著名歷史事件──明天啟六年的「開讀之變」，以及歷史循環發展中所扮演的角色。第五章追蹤了蘇州士人黃向堅萬里尋親復歸蘇州後的事態發展（1653 1661），繼而討論當地民眾的情感力量如何轉化為作家編寫傳奇《萬里圓》的資源。論文第六章具有李玉接受史研究的性質，以《萬里圓．打差》為個案分析，從橫向與縱向角度探討李玉劇作脫離創作的當下後，與戲曲機制、舞台反饋互動的一面。筆者選擇了「政治意識」作為關鍵詞，分析了劇中使用的方言（蘇白）與服色的問題。第七章概括各章重點，並為本課題的後續發展作出展望。 / 本論文透過多個相互關連的個案，勾勒了「蘇州」於李玉戲曲生產所扮演的不盡相同但不容忽視的角色。面對散佈於各劇的蘇州地方掌故、地方時事、蘇白方言、地理景觀、風土人情、地方家族史，筆者一方面視之為作家與地方觀眾互動的表徵，另一方面指出，此乃為作家地域經驗與身份認同的呈現。本文在豐富學界對李玉認識的同時，希望李玉的地域性研究能在蘇州派研究、中國戲曲史研究，以及明清地域文學研究中都展現其價值。 / This thesis concerns the research on Li Yu under the perspectives of regional literary studies. Li Yu (1611? - after 1711), also referred to as Li Xuanyu, is a renowned Suzhou playwright widely recognized in the history of Chinese drama. Since 1920s, researches on Li Yu have yielded significant results. However, as “realism, “didacticism and “folk color have become the core concepts in the interpretations of the works of Suzhou playwrights, study on how regional factors have influenced these dramatists has long been omitted. This thesis tries to trace how “place shaped the production of Li Yu’s plays. In other words, the study investigates the role of “Suzhou in the formation of Li Yu’s idea, the writing of the play, and the representation including performance on stage. This research also sheds light on the connection between Li Yu and local culture, as well as the interaction between the dramatist and his audience. / This thesis consists of seven chapters. The first chapter provides a literature review on the discussion of Li Yu, explains the motivation for this work and outlines the organization of the thesis. The second chapter explicates the biographical background of Li Yu, with an introduction of imperial examinations, domestic troupes and the idea of “urban recluse, so as to illustrate the importance of Li Yu’s stay in Suzhou before re-interpreting his works. The third to the sixth chapters involve close readings of Li Yu’s texts. The third chapter focuses on Li Yu’s early plays, namely, A Handful of Snow [Yipeng xue], The Gate Separating Humans and Beasts [Renshou guan], The Everlasting Union [Yong tuanyuan], Winning the Prize Courtesan [Zhan huakui]). Through analyzing these plays, this chapter portrays how geographical and social forces affected Li Yu’s early dramas and his later works. The fourth chapter examines Li Yu’s prominent drama Registers of the Pure and Loyal [Qingzhong pu] by addressing the problem of identity and historical narratives, especially how “Suzhou was employed by the author in the famous political incident “Kaidu zhi bian, that happened in 1626, and in the cyclic recurrence of historical events. The fifth chapter illustrates the journey of Suzhou literatus Huang Xiangjian from Suzhou to Yunnan to search for his father and his return with him (1653-1661), and discerns how emotional power among local citizens contributed to the composition of Li’s play, Union Across Ten Thousand Miles [Wanli yuan]. The sixth chapter explores the reception of Li Yu’s plays, by studying the performances of Beating the Officer from Union Across Ten Thousand Miles. Since this play was staged in local theatres, how its stagecraft developed and transformed across time and space is traced in this chapter. “Political consciousness is key to understanding the costumes and Suzhou dialect used in these performances. The seventh chapter is a conclusion summarizing the above arguments and providing insights into areas that await future explorations. / Through case studies that are interrelated, this thesis demonstrates how “Suzhou was vital to Li Yu’s literary production. Living in Suzhou, Li assimilated local history, contemporary events, dialect with special idioms, geographical landscapes, folk customs, and family histories, so as to interact with the interests of local audience. On the one hand, this interaction has been revealed in my study of various dramas written by Li Yu; on the other hand, this interaction in my view, represents his self identity and local experience. The aim of this research on Li Yu is not limited to the eminent playwright. It is believed that this thesis can also provide information that contributes to the study of Suzhou playwrights, regional literature in the Ming-Qing era, as well as the history of Chinese drama. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 陳雅君. / "2012年2月". / "2012 nian 2 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 161-172). / Abstract in Chinese and English. / Chen Yajun. / Chapter 第一章 --- 緒論 --- p.1 / Chapter 第一節 --- 研究情況回顧 --- p.4 / Chapter 第二節 --- 研究方法與問題意識 --- p.11 / Chapter 第三節 --- 論文章節安排 --- p.17 / Chapter 第二章 --- 李玉生平、戲曲活動與蘇州的關係 --- p.21 / Chapter 第一節 --- 成長在申家班 --- p.22 / Chapter 第二節 --- 仕與隱 --- p.26 / Chapter 第三節 --- 戲曲創作 --- p.31 / Chapter 第四節 --- 交遊 --- p.34 / Chapter 第三章 --- 晚明蘇州之浮世繪--「一人永占」 --- p.39 / Chapter 第一節 --- 時事劇的地域性：《一捧雪》 --- p.41 / Chapter 第二節 --- 給蘇州人的寓言：《人獸關》 --- p.51 / Chapter 第三節 --- 鬧熱的蘇州社火：《永團圓》 --- p.60 / Chapter 第四節 --- 地域與時代之間：《占花魁》 --- p.65 / Chapter 第四章 --- 吳人觀吳事--《清忠譜》的蘇州史事再現 --- p.72 / Chapter 第一節 --- 《清忠譜》中的晚明蘇州開讀之變 --- p.75 / Chapter 第二節 --- 《清忠譜》中的蘇州史事再現 --- p.79 / Chapter (一) --- 「罵亦禰衡之氣」：周順昌 --- p.81 / Chapter (二) --- 晚明的要離、專諸：五人義 --- p.85 / Chapter (三) --- 「時間錯誤」下的諸生朱祖文 --- p.90 / Chapter (四) --- 開放式場景中的蘇州史事：〈鬧詔〉 --- p.91 / Chapter (五) --- 對蘇州命運之關懷：〈蔭吳〉與〈塗本〉 --- p.94 / Chapter (六) --- 流變中的蘇州史事：〈弔墓〉 --- p.95 / Chapter 第三節 --- 《清忠譜》的迴響 --- p.97 / Chapter 第五章 --- 蘇州孝子尋親記──《萬里圓》的時事書寫 --- p.100 / Chapter 第一節 --- 黃向堅萬里尋親事於蘇州的傳播(1653-1661) --- p.102 / Chapter (一) --- 黃向堅《尋親紀程》、《滇還日記》與「尋親圖冊」 --- p.102 / Chapter (二) --- 李玉《萬里圓》傳奇 --- p.106 / Chapter 第二節 --- 《萬里圓》中的時事再現：家國、忠孝與空間 --- p.107 / Chapter (一) --- 忠孝、家國的交織與深化 --- p.108 / Chapter (二) --- 空間與回憶：蘇州地域經驗的深化 --- p.113 / Chapter (三) --- 亂世中的家族經驗 --- p.117 / Chapter (四) --- 孝的普世性：孝子尋親故事的互涉 --- p.118 / Chapter 第三節 --- 《萬里圓》作為場上之曲的迴響 --- p.120 / Chapter (一) --- 《綴白裘》的〈跌雪〉與三溪 --- p.124 / Chapter (二) --- 晚清舞台上的〈打差〉 --- p.125 / Chapter 第六章 --- 李玉戲曲的再生產--從《萬里圓打差》說起 --- p.127 / Chapter 第一節 --- 《萬里圓.打差》的政治意識 --- p.129 / Chapter 第二節 --- 《綴白裘》之《清忠譜鞭差》與吳梅鈔本《清忠譜.打差》 --- p.138 / Chapter 第三節 --- 王蒸籠於《翡翠園》的回歸 --- p.147 / Chapter 第四章 --- 餘論：朱素臣戲曲的再生產 --- p.153 / Chapter 第七章 --- 結語 --- p.156 / 參考書目

by Katy Wai Kwan Ho. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1996. / Includes bibliographical references (leaves 146-153). / Abstract --- p.i / Acknowledgments --- p.iii / Chapter Chapter One: --- The Chinese Wanderers in the United States --- p.1 / Chapter Chapter Two: --- Cultural Fragmentation and Psychical Split: The Wanderer in Dis-placement --- p.35 / Chapter Chapter Three: --- Chinese (Ethnic)-American (Cultural) Hybridity --- p.75 / Chapter Chapter Four: --- "The ""Unhomed"" and Multiplicities of Identity" --- p.98 / Chapter Chapter Five: --- The Images of Wandering --- p.130 / Bibliography --- p.146