本文以早期中葡貿易瓷器為主要研究對象，具體時期為澳門開埠前期，即大約1553年至1600年之間。根據文獻記載，葡萄牙人於1514年首次到達中國，此後由於中葡關係一度交惡，未得官方許可的葡商遊走於中國海域的各個離島，與沿海商人暗中進行走私貿易。直到1553年（葡文獻記載為1557年），葡萄牙人佔據澳門，並逐漸將其發展成為葡萄牙對中及亞洲貿易的主要據點，中葡貿易的規模才迅速增長，並趨穩定，保持了隨後近一個世紀的繁盛。 / 澳門開埠，標誌著中葡貿易進入一個新的階段，這一變化亦清晰地反映在作為商品的瓷器之上，除數量的激增外，為了滿足歐洲市場的需要，一批具有全新風格及功能的外銷瓷器被生產出來，這類瓷器即是本文研究和討論的重點。以往由於實物資料的缺乏，以及對克拉克瓷研究的單一關注，學界對澳門開埠前期貿易瓷器面貌的認識長期不足。因此，本文將集中對此時期的貿易瓷器進行系統的整理和分析。 / 學界通常認為，十六、十七世紀之交流行的克拉克瓷器（Kraak Porcelain），是外銷青花瓷器專為歐洲市場創造的全新風格，然而筆者通過近年來對澳門及葡萄牙本土遺址出土瓷器材料的研究與考察，認為這種風格的創新，在澳門開埠不久（即十六世紀中期）已見端倪。因此，本文將選取葡萄牙內陸科英布拉市一處修道院遺址出土的中國瓷器，作為澳門開埠前期貿易瓷器的代表材料，與此前暢銷於東南亞及中東市場的中國瓷器、中葡貿易離島時期所交易的瓷器進行比對，由類型、紋樣及尺寸等方面入手，論證貿易瓷器品貌的巨大轉變發生在澳門開埠前期（1553-1600年）。並在此基礎上，結合文獻檔案及實物資料，進一步論證瓷器面貌發生轉變的原因，是對於歐洲市場審美與功能需要的契合，得出專供歐洲市場的中國外銷瓷產生於澳門開埠前期的結論，挑戰對於克拉克瓷器的傳統認知。 / 最後，本文對貿易瓷器生產的不同階段及其紋樣及類型的發展趨勢進行考證，與後期出現的克拉克瓷器進行比對，理解貿易瓷器的生產革新對於克拉克瓷的先導作用。研究結果亦可釐清十六世紀中後期外銷瓷器的類型與紋樣特徵，完善我們對明代瓷器風貌的認識。 / This thesis mainly focuses on the research of Sino-Portuguese trade porcelain during the early days of Macau’s colonization (between 1553 to 1600 AD). According to historical texts, the Portuguese first arrived in China in 1514 AD. However, because of poor diplomatic relations, the Portuguese resorted to smuggling along the Chinese coasts and neighbouring islands, since they were forbidden to trade near the mainland. It wasn’t until 1553 AD (1557 AD in Portuguese historical texts), the Portuguese occupied Macau and gradually developed it into a main stronghold of Sino-Portuguese maritime trade. Since then, the Sino-Portuguese trade rapidly grew and transitioned into a stable, prosperous business, which lasted almost a century. / Macau’s colonization signified a new stage in Sino-Portuguese trade, which was clearly reflected on porcelain goods. In addition to the increase of quantity, export porcelain with new styles and functions were produced to meet the European market’s demand. These products are the focus of this thesis. In the past, academic research on porcelain during the early period of Macau’s colonization was inadequate due to the lack of first-hand material and the sole focus of Kraak Porcelain. Therefore, this thesis will systematically analyze and categorize the export porcelain during this time period. / Academics generally believed that Kraak Porcelain between the 16th and 17th Centuries was a new trend for the European market. However, through the research and investigations of porcelains unearthed in Macau and Portuguese sites, the writer believes the trend already existed during the early period of Macau’s colonization (mid-16th Century). Therefore, this thesis will use the porcelains unearthed in a monastery site at Coimbra, Portugal as typical research materials, and compare them with the porcelains traded in the Southeast Asian and Middle Eastern markets, along with the early trade porcelains between Chinese and Portuguese merchants (before 1553). Thereby proving the transition and time period of the emergence of export porcelain through types, decoration and dimension. On this basis, combined with historical information and factual evidence, further discuss the change of export porcelain, and its correlation with the aesthetic and functional requirements of the European market. / Last but not least, this thesis will attempt to make the reader understand the transition and innovation of export porcelains may play a leading role to the development of Kraak Porcelain. This will be achieved through comparing the investigation of the different developmental stages of the types and decoration of export porcelains, with Kraak Porcelain, which appeared at a later time period. The research results can also clarify the characteristics of types and decorations of export porcelains during the mid and late 16th Century, which provides a holistic understanding of Ming Dynasty porcelain traits. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 王冠宇. / Thesis (Ph.D.) Chinese University of Hong Kong, 2015. / Includes bibliographical references (leaves 254-270). / Abstracts in English and Chinese. / Wang Guanyu.

司徒國健. / 論文 (哲學碩士)--香港中文大學, 1999. / 參考文獻 (leaves 324-342). / 附中英文摘要. / Situ Guojian. / Lun wen (zhe xue shuo shi)-- Xianggang Zhong wen da xue, 1999. / Can kao wen xian (leaves 324-342). / Fu Zhong Ying wen zhai yao. / 序說 --- p.1-11 / Chapter 第壹節、 --- 硏究緣起 --- p.1 / Chapter 0.1.1 --- 硏究範圍 / Chapter 0.1.2 --- 硏究緣起 / Chapter 0.1.3 --- 學術意義與硏究價値 / Chapter 第貳節、 --- 硏究資料簡介 --- p.6 / Chapter 第參節、 --- 本文結構 --- p.8 / 上篇 / Chapter 第一章 --- 引論 --- p.12-37 / Chapter 第壹節、 --- 晚明學術思想與文學思潮 --- p.12 / Chapter 1.1.1 --- 晚明學術思想與文學思潮之遞變 / Chapter 1.1.2 --- 東林講學與經世文論 / Chapter 1.1.3 --- 文人集團與明季黨社之特質 / Chapter 第貳節、 --- 明淸之際經世思潮及「經世」詩說 --- p.20 / Chapter 1.2.1 --- 經世之學與文學經世 / Chapter 1.2.2 --- 陳子龍經世之學與「經世」詩說 / Chapter 第參節、 --- 明代詩學與陳子龍詩說 --- p.24 / Chapter 1.3.1 --- 明代詩壇與文學復古思潮 / Chapter 1.3.2 --- 陳子龍不執囿於詩法 / Chapter 第肆節、 --- 幾社文學與陳子龍「經世」詩說 --- p.29 / Chapter 1.4.1 --- 幾社詩風 / Chapter 1.4.2 --- 幾社文風與「縱橫家」、「詩教」與「經世」詩說 / Chapter 第伍節、 --- 《皇明詩選》與陳子龍詩說 --- p.33 / Chapter 第陸節、 --- 結語 --- p.36 / Chapter 第二章 --- 陳子龍生平、「經世」思想 與詩學源流 --- p.38-59 / Chapter 第壹節、 --- 陳子龍生平簡介 --- p.38 / Chapter 2.1.1 --- 傳略 / Chapter 2.1.2 --- 陳子龍之殉節 / Chapter 第貳節、 --- 陳子龍經世思想 --- p.43 / Chapter 2.2.1 --- 陳子龍經世思想源流說略 / Chapter 2.2.2 --- 陳子龍文學思想 / Chapter 第參節、 --- 陳子龍詩學源流考述 --- p.47 / Chapter 2.3.1 --- 陳子龍詩學地位及評價 / Chapter 2.3.2 --- 辨陳子龍「繼『明七子』模擬」 / Chapter 2.3.3 --- 陳子龍與艾南英「婁江之辯」考 / Chapter 2.3.4 --- 陳子龍兼備眾體 / Chapter 第肆節、 --- 陳子龍之交遊與其詩學淵源 --- p.56 / Chapter 第伍節、 --- 結語 --- p.58 / Chapter 第三章 --- 陳子龍「經世」詩說 與明季黨社之淵源 --- p.60-82 / Chapter 第壹節、 --- 幾社之質性及與東林、復社之淵源 --- p.60 / Chapter 3.1.1 --- 綜說 / Chapter 3.1.2 --- 明末文社之議政性質 / Chapter 第貳節、 --- 幾社之「古學」與「復古」 --- p.65 / Chapter 3.2.1 --- 明代「古學」槪說 / Chapter 3.2.2 --- 明季「古學」與幾社、復社之「復古」 / Chapter 3.2.3 --- 幾社之復興「絶學」與「尊經復古」之文學觀 / Chapter 第參節、 --- 幾社之名義與陳子龍文學「復古」 之淵源 --- p.74 / Chapter 3.3.1 --- 幾社名義與《易》學經世 / Chapter 3.3.2 --- 陳子龍「文學復古」與《易》之「變」 / Chapter 第肆節、 --- 結語 --- p.81 / Chapter 第四章 --- 陳子龍「經世」詩說之特質 --- p.83-129 / Chapter 第壹節、 --- 「經世」詩說之名義 --- p.83 / Chapter 4.1.1 --- 釋名義 / Chapter 4.1.2 --- 「經世」詩說與淸初經世詩風 / Chapter 第貳節、 --- 綜論「經世」詩說之特質 --- p.85 / Chapter 4.2.1 --- 「經世」詩說之「復古」 / Chapter 4.2.2 --- 「宗經」與「重質不輕文」之詩旨 / Chapter 4.2.3 --- 「文學基準」與「〈大雅〉之音」 / Chapter 第參節、 --- 「經世」詩說中詩之功用（上） --- p.91 / Chapter 4.3.1 --- 以「宣導盛美」、「頌規褒刺」爲詩之用 / Chapter 4.3.2 --- 以「憂時託志」、「刺譏當時」爲詩之用 / Chapter 第肆節、 --- 「經世」詩說中詩之功用（下） -「經世」詩說中詩歌與世運，與竟陵「亡國之音」 --- p.96 / Chapter 4.4.1 --- 槪說 / Chapter 4.4.2 --- 明季風俗之壞與禮教之關係 / Chapter 4.4.3 --- 「經世」詩說中詩歌與世運，與竟陵「亡國之音」 / Chapter 第伍節、 --- 「經世」詩說中之「情」 --- p.105 / Chapter 4.5.1 --- 「一情」與「眾情」 / Chapter 4.5.2 --- 陳子龍之「情」與「經世」詩說之「情」 / Chapter 第陸節、 --- 「經世」詩說中之「法」 --- p.115 / Chapter 4.6.1 --- 輕「詩法」，以「宗經」爲不易之「法」 / Chapter 4.6.2 --- 以《詩經》爲「法」 / Chapter 4.6.3 --- 以「比、興」爲「法」 / Chapter 第柒節、 --- 「經世」詩說與「雖頌皆刺」 --- p.123 / Chapter 4.7.1 --- 濫觴 / Chapter 4.7.2 --- 「雖頌皆刺」說釋論 / Chapter 第捌節、 --- 結語 --- p.128 / 下篇 / Chapter 第五章 --- 《皇明詩選》綜論 --- p.130-185 / Chapter 第壹節、 --- 《皇明詩選》編纂動機 與「經世之學」之淵源 --- p.130 / Chapter 5.1.1 --- 槪說 / Chapter 5.1.2 --- 明季淸初「經世致用」思潮與文學選本 / Chapter 5.1.3 --- 《皇明詩選》之編纂宗旨與經世致用之學 / Chapter 5.1.4 --- 《皇明詩選》與《皇明經世文編》及陳子龍經世 著述之淵源 / Chapter 第貳節、 --- 《皇明詩選》版本考述 --- p.145 / Chapter 5.2.1 --- 綜述 / Chapter 5.2.2 --- 《皇明詩選》諸本比義 / Chapter 5.2.3 --- 小結 / Chapter 第參節、 --- 《皇明詩選》編者生平簡介 --- p.153 / Chapter 5.3.1 --- 雲間三子 / Chapter 5.3.2 --- 夏完淳 / Chapter 5.3.3 --- 徐孚遠 / Chapter 第肆節、 --- 結語 --- p.162 / 〔第五章附論〕：《皇明詩選》編纂諸問題 --- p.164-185 / Chapter 5.5.1 --- 《皇明詩選》編纂徵實 / Chapter 5.5.2 --- 「夏完淳校定《皇明詩選》說」考辨 / Chapter 5.5.3 --- 《皇明詩選》之流傳及其附帶問題 / Chapter 5.5.5 --- 《皇明詩選》與明思宗 / Chapter 第六章 --- 《皇明詩選》詩集結構及 其「格調」與「宗主」觀 --- p.186-207 / Chapter 第壹節、 --- 綜論 --- p.186 / Chapter 第貳節、 --- 《皇明詩選》體例與詩集結構 --- p.187 / Chapter 6.2.1 --- 復古派之詩集結構 / Chapter 6.2.2 --- 《皇明詩選》體例與詩集結構 / Chapter 第參節、 --- 《皇明詩選》「格調」說 --- p.190 / Chapter 6.3.1 --- 「格調」釋義 / Chapter 6.3.2 --- 「格調」觀與復古派 / Chapter 6.3.3 --- 《皇明詩選》所見陳子龍「格調」觀 / Chapter 第肆節、 --- 《皇明詩選》「宗主」觀 --- p.195 / Chapter 6.4.1 --- 「文學宗主」釋義與「格調」觀之關係 / Chapter 6.4.2 --- 《皇明詩選》對明代「宗主」論之承繼 / Chapter 6.4.3 --- 《皇明詩選》「宗主」觀之特色 / Chapter 第伍節、 --- 結語 --- p.207 / Chapter 第七章 --- 從「經世」詩說析論 《皇明詩選》 --- p.208-247 / Chapter 第壹節、 --- 引言 --- p.208 / Chapter 第貳節、 --- 釆詩觀風，以正得失 --- p.209 / Chapter 7.2.1 --- 綜論 / Chapter 7.2.2 --- 選詩舉隅 / Chapter 第參節、 --- 選詩以存史，明善惡以繩當世 --- p.216 / Chapter 7.3.1 --- 侖 / Chapter 7.3.2 --- 選詩舉隅 / Chapter 第肆節、 --- 張溫柔敦厚之旨，以致王者之治 --- p.233 / Chapter 7.4.1 --- 綜論 / Chapter 7.4.2 --- 選詩舉隅 / Chapter 第伍節、 --- 結語 --- p.246 / Chapter 第八章 --- 結論 --- p.248-251 / 附錄 / 《皇明詩選》原〈序〉全文 --- p.252-256 / 附表 --- p.257-315 / Chapter 一、 --- 《皇明詩選》篇目總表 / Chapter 二、 --- 《皇明詩選》詩體統計表（甲） / Chapter 三、 --- 《皇明詩選》詩體統計表（乙） / Chapter 四、 --- 陳子龍評點《皇明詩選》總表 / Chapter 五、 --- 當代《皇明詩選》善本舉隅表 / Chapter 六、 --- 淸以來書目所見《皇明詩選》舉隅表 / Chapter 七、 --- 《皇明詩選》編纂紀事年月表 / Chapter 八、 --- 《皇明詩選》詩人被禁文集 及著作舉隅表 / Chapter 九、 --- 《皇明詩選》《皇明經世文編》作者比較表 / 附圖 --- p.316-323 / 參考書目 --- p.324-342

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.

萬曆四十七年（1619），會稽文人王驥德（1540-1622）刊印出版了《元人古雜劇二十種》（或稱《古雜劇》），該書彙集元代雜劇20篇，并配有精美的版畫插圖，《唐明皇秋夜梧桐雨》即為其中的第17篇。 / 作為晚明徽派版畫風格的典型例證，顧曲齋所刊《唐明皇秋夜梧桐雨》中的4幅版畫插圖，可與明代中晚期蘇州地區職業畫家的人物故事畫作品進行比勘。筆者基於比對結果，運用圖像學理論，提出徽派版畫系仇英風格人物畫在版畫中餘續的假說。不僅如此，白樸(1226-1306後)《唐明皇秋夜梧桐雨》這一劇目本身即包含著明皇故事的文學創作傳統，且與之對應的明皇题材故事畫作亦廣受歡迎。尤其在明代，明皇題材故事畫與蘇州地區的商業創作緊密相關，為版畫的創稿提供了豐富的圖像資源。 / 最後，筆者通過對顧曲齋本《唐明皇秋夜梧桐雨》圖文關係及刊刻者王驥德個人經歷的考察，證實《古雜劇》的商品屬性及刊刻者所掌握的圖像資源。最終解答版畫史上關於徽派版畫風格來源問題：版畫繪刻者深受仇英人物畫風格的影響，或直接對部份畫作進行圖像挪用。同時亦說明在晚明江南，文人積極參與商業活動為文學與藝術兩個領域所帶來的雅俗標準的變更。 / In the 47th year of Wan-li, Wang Jide (1540-1622), a literatus in Guiji County, published the anthology of Yuan comedies named Guzaju in his personal printing house Guquzhai. In this book, he compiled 20 plays written in the Yuan dynasty with beautiful book illustrations. Rain on the Phoenix Tree was the 17th play in this book. / The illustrations for Rain on the Phoenix Tree in Guzaju were good examples for “Hui School of woodblock prints. Compared these woodcuts with those in the same style and paintings existing in the same period, I argued that the “Hui School of woodblock prints actually followed the style of narrative paintings made by Qiu Ying. Moreover, the story of the Tang emperor Minghuang has become a popular theme in the field of both Chinese literature and painting. Those traditions not only contributed to the birth of Bai Pu’s (1226-1306) comedy Rain on the Phoenix Tree, but also prided fruitful paintings as patterns for the professional painters like Qiu Ying. Since Qiu’s work prevailed the painting market in Jiangnan, thousands of narrative paintings including the theme of emperor Minghuang followed Qiu’s style. These paintings acted as commercial products as well as pictorial drafts for the engravers in late Ming. / Finally, the form of Guzaju and Wang Jide’s publication activities both showed that Wang, as owner of Guquzhai, aimed to use the illustrations to cater to the market and he did conversely get the pictorial resources from the market. Besides, the booming commercial trade of paintings in Jiangnan helped us finally get the answer for the origin of “Hui School of woodblock prints as well as showing the transformation of art criteria in the late Ming dynasty. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 賴妮. / "2013年7月". / "2013 nian 7 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 86-95). / Abstract in Chinese and English. / Lai Ni. / 致謝 / 論文摘要 --- p.i / 緒論 --- p.1 / Chapter 第一章 --- 顧曲齋刊《古雜劇·唐明皇秋夜梧桐雨》插圖的風格來源 --- p.6 / Chapter 第一節 --- 顧曲齋刊《古雜劇·唐明皇秋夜梧桐雨》插圖的風格來源問題 --- p.7 / Chapter 第二節 --- 顧曲齋刊《古雜劇·唐明皇秋夜梧桐雨》插圖風格來源試探 --- p.10 / 小結 --- p.25 / Chapter 第二章 --- 《唐明皇秋夜梧桐雨》的圖文傳統 --- p.27 / Chapter 第一節 --- 白樸《唐明皇秋夜梧桐雨》的故事來源 --- p.27 / Chapter 第二節 --- 明皇題材繪畫作品的特點 --- p.35 / Chapter 第三節 --- 人物故事畫傳統中的明皇故事圖 --- p.40 / Chapter 第四節 --- 明皇故事畫在明代江南地區的流傳與創作 --- p.47 / 小結 --- p.50 / Chapter 第三章 --- 《古雜劇·唐明皇秋夜梧桐雨》的刊刻背景 --- p.53 / Chapter 第一節 --- 顧曲齋刊《古雜劇》的商品屬性 --- p.54 / Chapter 第二節 --- 流通的私藏·雅化的俗曲 --- p.59 / Chapter 第三節 --- “棄儒就賈與通俗文化生產 --- p.67 / 結論 --- p.74 / 附表1 --- p.77 / 附表2 --- p.82 / 附表3 --- p.83 / 附表4 --- p.85 / 參考書目 --- p.86 / 圖版目錄 --- p.95 / 圖版 --- p.105

As the most important city in the Far East after the Opium War in terms of physical capital and western civilization importation, Shanghai, with an unprecedented openness, created a hybrid environment of domestic and foreign immigrants. Furthermore, its location advantage at the meeting point of the South-North major transportation routes and within the most economically developed regions of Jiangsu and Zhejiang produced an unparalleled social tolerance and cultural context, thus providing new room for revival and innovation of then declining figure paintings. / As the most popular Shanghai-based artist in the 20th century, Ren Bonian's life spanned Late Qing's most critical 50 years that were full of external challenges. Under then Shanghai's complex historical and cultural background, his figure paintings, especially women story paintings, demonstrated the significance of multi-referential. His women paintings were so welcomed also have other reasons: such as the influences from other Shanghai artists of women paintings; his reference to and evolution of classical image in his paintings; his absorption and creation of folk image; and his understanding and interpretation of Japanese image. Ren Bonian's rewriting and re-reading of women's images in his diversified women paintings showed the abundance of women-related topics in late Qing. / This thesis is to show that a unique path of women paintings in the development of figure paintings can be reflected in the work of Ren Bonian, the most creative figure-painting artist in 19th century. Moreover, via the artist himself and the vertical and horizontal axis constructed from his figure paintings, I investigate the reference to and digging of women paintings, the supply of the most active nutrient for innovations by figure paintings of women-related topics to Shanghai arts, and the borrowing and conversion of women image, consumption representation and visual desire in the diversified old and new, Chinese and foreign culture. I hope this thesis can fill the gap of study on Women paintings in Ren Bonian's figure paintings, and playa role in the promotion of research on Qing's women paintings. / 周越. / Adviser: Harold Kar-Leung Mok. / Source: Dissertation Abstracts International, Volume: 73-03, Section: A, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (p. 199-208). / 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, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Zhou Yue.

翁逸敏. / "2007年9月". / 論文(哲學碩士)--香港中文大學, 2007. / 參考文獻(leaves 166-172). / "2007 nian 9 yue". / Abstract also in English. / Weng Yimin. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2007. / Can kao wen xian (leaves 166-172). / Chapter 第一章 --- 引言 --- p.1 / Chapter 第二章 --- 「三言」簡介 --- p.4 / Chapter 2.1 --- 「三言」的版本 --- p.5 / Chapter 2.2 --- 「三言」的編撰者 --- p.8 / Chapter 2.3 --- 「三言」硏究槪況 --- p.12 / Chapter 2.4 --- 「三言」的體裁 --- p.15 / Chapter 第三章 --- 重複的理論框架 --- p.19 / Chapter 3.1 --- 有關重複的硏究 --- p.19 / Chapter 3.2 --- 蘇利民的重複理論 --- p.21 / Chapter 3.3 --- 重複的原因 --- p.29 / Chapter 3.4 --- 結語 --- p.31 / Chapter 第四章 --- 正話中的重複 --- p.33 / Chapter 4.1 --- 故事層次的重複 --- p.33 / Chapter 4.2 --- 敷演層次的重複 --- p.83 / Chapter 4.3 --- 故事層次與敷演層次之間的重複 --- p.101 / Chapter 4.4 --- 結語 --- p.110 / Chapter 第五章 --- 入話與正話的重複 --- p.113 / Chapter 5.1 --- 故事層次的重複 --- p.116 / Chapter 5.2 --- 敷演層次的重複 --- p.128 / Chapter 5.3 --- 故事層次與敷演層次之間的重複 --- p.134 / Chapter 5.4 --- 敘述者口中的重複 --- p.140 / Chapter 5.5 --- 結語 --- p.143 / Chapter 第六章 --- 重複的意義 --- p.146 / Chapter 6.1 --- 減少歧義，突出主題 --- p.147 / Chapter 6.2 --- 多面論述，互補意義 --- p.150 / Chapter 6.3 --- 推動情節，構成故事 --- p.152 / Chapter 6.4 --- 事前鋪墊，作爲預敘 --- p.154 / Chapter 6.5 --- 重現特質，塑造人物 --- p.156 / Chapter 6.6 --- 結語 --- p.159 / Chapter 第七章 --- 總結 --- p.160 / 參考文獻 --- p.166

Chan, Yuen Lai. / Thesis submitted in: December 2007. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (leaves 125-133). / Abstracts in English and Chinese ; some text in appendix also in Chinese. / Abstract / Acknowledgement / Table of Contents / Chapter 1 --- INTRODUCTION --- p.1 / Chapter 1.1 --- PAINTER'S EXPERIENCE IN LANDSCAPE --- p.1 / Chapter 1.1.1 --- Bodily experience and body metaphor of place from western philosophy --- p.2 / Chapter 1.1.2 --- "Jing, Guo Xi 226}0ةs three distances, and body as mountain and water" --- p.5 / Chapter 1.2 --- QUESTIONS AND HYPOTHESIS --- p.9 / Chapter 1.3 --- RESEARCH MATERIALS --- p.10 / Chapter 1.3.1 --- "Forms, words and images" --- p.10 / Chapter 1.3.2 --- Research materials --- p.11 / Chapter 1.4 --- RESEARCH METHODOLOGY --- p.11 / Chapter 1.4.1 --- Study of gardens from paintings --- p.11 / Chapter 1.4.2 --- Research methodology --- p.14 / Chapter 1.5 --- OUTLINE OF THESIS --- p.14 / Chapter 2 --- LANDSCAPED GARDEN FROM LANDSCAPE PAINTING --- p.17 / Chapter 2.1 --- WAYS OF LANDSCAPE DEPICTION --- p.17 / Chapter 2.1.1 --- Early landscape depictions --- p.17 / Chapter 2.1.2 --- Cultivated garden in natural landscape from Six Dynasties --- p.18 / Chapter 2.1.3 --- Monumental landscape in Northern Song --- p.19 / Chapter 2.2 --- EARLY QING NANJING --- p.20 / Chapter 2.2.1 --- "Geographical settings: Mountain, water and city" --- p.20 / Chapter 2.2.2 --- Garden culture --- p.21 / Chapter 2.2.3 --- Artistic milieu --- p.23 / Chapter 2.3 --- CHAPTER SUMMARY --- p.26 / Chapter 3 --- GONG XIAN: HALF-ACRE GARDEN ON THE MOUNTAIN OF PURE COOLNESS --- p.32 / Chapter 3.1 --- GONG XIAN THE LITERATI PAINTER --- p.32 / Chapter 3.1.1 --- Major Iiteratures on Gong Xian --- p.32 / Chapter 3.1.2 --- Gong Xian as an 'individualist' painter --- p.34 / Chapter 3.2 --- HALF-ACRE GARDEN ON MOUNTAIN OF PURE COOLNESS --- p.38 / Chapter 3.2.1 --- Mountain of Pure Coolness as a historical site --- p.39 / Chapter 3.2.2 --- Half-acre garden set within Mountain of Pare Coolness --- p.41 / Chapter 3.2.3 --- A glimpse through half-acre garden --- p.43 / Chapter 3.3 --- PERMEABLE GARDEN SPACE --- p.47 / Chapter 3.3.1 --- Ambiguous boundary --- p.48 / Chapter 3.3.2 --- Everyday social encounters --- p.49 / Chapter 3.3.3 --- Narrated landscape of the past --- p.52 / Chapter 3.3.4 --- Imaginary landscape of the mind --- p.53 / Chapter 3.4 --- CHAPTER SUMMARY --- p.54 / Chapter 4 --- YUAN JIANG: ZHAN YUAN [OUTLOOK GARDEN] --- p.60 / Chapter 4.1 --- YUAN JIANG THE PROFESSIONAL PAINTER --- p.60 / Chapter 4.1.1 --- Major literatures on Yuan Jiang --- p.61 / Chapter 4.1.2 --- Yuan Jiang as a jiehua painter --- p.62 / Chapter 4.2 --- ZHAN YUAN --- p.67 / Chapter 4.2.1 --- The evolutionary fame and popularity of the garden and its designations --- p.68 / Chapter 4.2.2 --- West Garden of Prince Zhongshan in early Ming --- p.68 / Chapter 4.2.3 --- West Nursery of Weigong in Ming Wanli reign --- p.69 / Chapter 4.2.4 --- Zhan Yuan during Qing --- p.70 / Chapter 4.3 --- TRANSFIGURED GARDEN --- p.77 / Chapter 4.3.1 --- "Survey on the garden 226}0ةs sceneries, and courtly and paradisiac symbols" --- p.77 / Chapter 4.3.2 --- Garden portraiture as courtly and paradisiac landscape --- p.80 / Chapter 4.4 --- CHAPTER SUMMARY --- p.82 / Chapter 5 --- SUMMARY AND POSSIBILITIES: PAINTER'S PERCEPTION OF GARDEN SPACES --- p.90 / Chapter 5.1 --- JING OF AN EXPERIENCED GARDEN --- p.90 / Chapter 5.2 --- TWO GARDEN READINGS FROM TWO ART TRADITIONS --- p.90 / Chapter 5.2.1 --- Garden boundary and conception --- p.90 / Chapter 5.2.2 --- Archetypal garden readings --- p.91 / Chapter 5.2.3 --- Themes of the memorable and the historical past --- p.92 / Chapter 5.3 --- INSIGHTS AND POSSIBILITIES --- p.92 / Append --- p.ix / Bibliography

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。

「雜文」作為一種切確的文類，可以溯源自劉勰《文心雕龍》，其中有〈雜文〉一篇，明確劃定出範圍，及其所含之體類，與體類之特性。 劉勰「雜文」範圍內體類繁多，兼有「文」、「筆」性質，但以「問答（含設論）」、「七」、「連珠」三者為主要，此三者其實賦體，但不以賦為名的體類，我們可以後設稱之為「賦體雜文」。整體說來，「雜文」中的各種對象，它們是在文學史上較為新出，由「詩」、「賦」、「章」、「奏」等各種主要體類，所流衍派生的對象，當然重要性也就不如其主要體類，且實際功能或政教意義，也較為淡薄。總之，「雜文」文類的劃定，其實本於劉勰的文學觀念，是一種對於文學體類發展演變的詮釋。 下及宋初《文苑英華》，雖然在整體體類的編目上，大抵上承《昭明文選》，但其中卻也出現「雜文」一類。單就此文類看來，應該與《文心雕龍》淵源更深，但內容更趨複雜，下分「問答」、「騷」、「帝道」、「明道」、「雜說」、「辯論」、「贈送」、「箴誡」、「諫刺雜說」、「記述」、「諷喻」、「論事」、「雜製作」、「征伐」、「識行」、「紀事」共十六類目。而其中體類對象，除「賦體雜文」，另外還有箴體、論體、記體但不以箴、論、記為名的「箴體雜文」（「誡」）、「論體雜文」（「說」、 「辯」、「解」、「原」、「題跋」）、「記體雜文」（「志」、「述」），及「雜著」（不具體類名稱的篇章）與少數「越界文體」（有其體類之名，但無其體類之實的篇章）之作，分佈在其中。 「賦體雜文」體類，集中於「問答」、「騷」、「帝道」三子目，「箴體雜文」體類，則集中在「箴誡」；此外，「論體雜文」、「記體雜文」、「雜著」及「越界文體」則分佈於其他十二目。進一步發現，「問答」目中，合併了傳統「對問（含設論）」、「七」二種體類；「騷」雖自六朝總集中有之，但廣泛包含擬騷之作，非往昔《楚辭》篇章專屬；「帝道」其實為六朝「符命（封禪）」之文。「箴誡」目中，主要為「誡」，而「誡」又分有韻、無韻，前者似「箴」，後者則近於「論」、「記」。「明道」、「贈送」、「諫刺雜說」、「記述」、「諷喻」、「論事」、「征伐」、「識行」、「紀事」是 依照文章題材與主旨所劃分的類目。「雜說」、「辯論」、「雜製作」分類依據不明，但目中分別以「說」、「辯」與「原」、「題跋」篇章較為偏多，所以推測有凸顯這些體類的意義。 可見「雜文」的內容，前後差異極大。從原本「賦體雜文」為重心，後來則各種對象紛呈。這種現象的轉變，一來與六朝至唐代，「文」之觀念與範圍演變相關，二來也與唐代散文風氣及務實文學觀的興盛，造成文學創作方式的改變相關。 《文苑英華》「雜文」直接影響《唐文粹》「古文」的形成，然則後人對於「古文」；以及後來總集中「雜文」、「雜著」之類，在文類的觀念及內涵上，我們當不能忽略《文苑英華》「雜文」對於後代的影響。而這是本論文結束之後，即將在拓進的研究方向。

本研究以台灣客家採茶戲的發展及其文本形成為題，針對客家採茶戲的「劇目形成」、「文本型態」、「劇本改編」進行文學向度的考察。 一、劇目的形成與發展 自從1910年代客家三腳採茶戲發展為改良採茶戲之後，演出場域歷經「內台」、「外台」、「電台」、「文化公演」、「電視台」等不同的表演場域。由於每個場域的性質使然，而有不同的劇目產生、類型的形成，以及表演風格等。 二、文本型態的考察 探討採茶戲常見的兩種文本類型「幕表戲」與「定本戲」，考察文本的特徵及結構、導演的說戲、演員的即興演出，以及民間戲班對於「幕表戲」與「定本戲」的運用。 三、特定作品的跨場域改編 選取黃天敏的內台戲《太平天國》，討論由「定本戲到幕表戲」的改編歷程。以及曾先枝三齣公演代表作《三娘教子》、《李阿三嫁母》、《緣訂三生》，討論「幕表戲到定本戲」的改編歷程。 / The study using the development of Hakka tea-picking drama and its text formation as the topic aims at the repertoire formation, text types, and opera revision as the aspects of literature to review. I. The formation and development of repertoire: The Hakka three-role tea-picking drama has developed as the improved tea-picking opera since the 1910s, the different performing field has experienced of indoor, outdoor, radio station, cultural performance, and TV station, and so on. Due to the impact on each field, there is different generation of repertoires, the formations of types, and performing style, etc.. II. The review of text types: It discusses of two frequently shown text types in the tea-picking opera: scenario drama and standard drama to review the characteristics and structures of text, the director’s explanation of the story, the player’s improvisation, and the folk theatrical troupe’s the applications of scenario drama and standard drama. III. The revision of drama in cross-field theatre There are selected of indoor Taiwan directors’ revised course, Tien-Ming Huang’s discussion of Taiping Heavenly Kingdom from standard drama to scenario drama and Xian-Zhi Zeng’ three represented publications, the discussions of Third Madame educates her son, A-San Li’s remarried mother, and Fate for three lifetimes from scenario drama to standard drama.