published_or_final_version / Chinese / Doctoral / Doctor of Philosophy

published_or_final_version / English Studies and Comparative Literature / Master / Master of Arts

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Mode of access: World Wide Web. / Thesis (Ph. D.)--University of Hawaii at Manoa, 2005. / Includes bibliographical references (leaves 185-192). / Electronic reproduction. / Also available by subscription via World Wide Web / vii, 192 leaves, bound ill. 29 cm

From Introduction. In hierdie studie word 'n poging aangewend om 'n sekere aspek van, en 'n sekere ontwikkeling binne die Afrikaanse Poesie toe te lig. Onder Afrikaanse Poësie verstaan ons enige digwerk in Afrikaans, sy dit epies, liries of dramaties. Omdat ons o.m. belangstel in 'n sekere ontwikkeling, is ons uiteraard op 'n chronologiese indeling aangewys. Verskeie faktore (geskiedenis, kwaliteit van digwerk of gebrek aan kwaliteit, ens.) het daartoe bygedra dat ons in die Afrikaanse Poësie vyf groot periodes het wat vrywel onbestrede aanvaar word: die tydperk van die Genootskappers (vóór 1900); die tydperk van die Driemanskap (tussen 1900 en 1920); die insinking van die twintigerjare (1920 tot 1934); die vernuwing van Dertig (1934 tot 1945); die jongste tydperk (tot 1962). Hierdie algemeen aanvaarde indeling dien ons doel. Dit is egter noodsaaklik om dit onomwonde te stel dat die geesteshouding van die digter, soos ons dit uit die gedig leer ken, van groter belang is by ons studie as die ontstaansdatum van die gedig.

M.A. (Afrikaans en Nederlands) / Please refer to full text to view abstract

This dissertation differs from previous research in that it suggests the continuity of Canadian poetry within a hypothesized four stages of development in North American poetry. The study is supported by a supplementary computer concordance to the major works of Sir Charles G.D. Roberts, Isabella Valancy Crawford, Archibald Lampman, Duncan Campbell Scott, E.J. Pratt, Earle Birney and Margaret Avison. The continuity of Canadian poetry is indicated by a transference of poetic metaphor and world view from the works of Sir Charles G.D. Roberts (the 1880’s Group), to those of E.J. Pratt (the 1920's Group), and from Pratt to Earle Birney (the 1940’s Group). Stage One in the development of North American poetry emerges in relationship to the building up of community. Stage Two is characterized by a Romantic transcending of the land which overleaps evil; Stage Three by an acknowledgement of evil in man and nature and Stage Four by a concentrated inquiry into the evil of human nature in what might be described as the contemporary Black Romantic Movement. Chapter One, "The Forest and The Garden" chronicles the wilderness-garden antithesis in relationship to Oliver Goldsmith, Charles Heavysege and Isabella Valancy Crawford. The dominant world view of this group is that of "garden" as it relates to the cultivation of the forest, and the primary metaphors are from the vegetative world. Chapter Two, "The Dream World", describes the movement away from the dream as a metaphor of romantic transcendentalism in the works of Sir Charles G.D. Roberts, Archibald Lampman and Duncan Campbell Scott. The "dream" in Roberts' canon emerges as a vehicle for transcendence which fuses Christian Romanticism and Darwinian progress; in the later works of Duncan Campbell Scott this transcendence is denied and evil is admitted, and the dream emerges in relationship to the temporal world. Chapter Three, "From Steel To Stone", indicates the transference of metaphor and world view from Roberts to Pratt in which the earlier poet's aspiring Darwinism is transformed into an atavistical structure which stresses the possibility of human Retrogression to the cave ethic, the steel to stone reversal. It is suggested that this atavistic reversal and the dominant metaphor of "blood" which characterize poetry written from 1920 to 1945 were occasioned by the carnage of two world wars. In E.J. Pratt's early work, the blood metaphor is associated with the bloodshed of war, and the "taint" or toxin of evil in the bloodstream which precipitates war. But it is also associated with a structure similar to Eliot's fertility cycle and the possibility of Christ-like redemption. In Pratt's later works, the blood metaphor moves directly into the Aryan myth and this also characterizes the writings of A.M. Klein. In F.R. Scott, Pratt's "taint" or "toxin", although carrying all of its previous escatological structure, becomes a real virus. Chapter Four, "The Fallen World", suggests that the concept of the Fall dominates poetry written in Canada from 1950 to 1965. Earle Birney is introduced as a transitional poet and it is suggested that his earlier poetry, which shows the influence of E.J. Pratt, moves from an Auden-inspired humanism, not unlike that of Scott and Pratt, to an ethos verging on the contemporary Black Romantic, which stresses the inversion of traditional Romantic myth and morality. Faced with the fallen world, the contemporary poet may decide to set up demons and assign to them a positive value (as Leonard Cohen and Daryl Hine do) or he may prefer to assign reality to the traditional God in relationship to the making of his own poetic world (as Margaret Avison does). The works of Avison and Cohen are examined in relationship to a world view which stresses the fallen world and the primary metaphors of sun-destructive and sun-creative. The Conclusion reviews the dominant metaphors and world views which have characterized Canadian poetry. It suggests that the development of poetry in Canada has been similar to the development of poetry in the United States in broad general terms although specific aspects of historical and geographical structure have changed some of the details of this development. It concludes that there is a continuity of Canadian poetry. / Arts, Faculty of / English, Department of / Graduate

在近代中國大變局中，詩歌文化傳統如何面對「現代世界」，是一個值得注意的問題。本文選擇的研究對象「三元」（開元、元和、元祐）、「三關」（元嘉、元和、元祐）、「四元」（元嘉、開元、元和、元祐）是陳衍 (1856-1937)、沈曾植（1850-1922）和馬一浮（1883-1967）對詩歌傳統的建構，它們既共同反映出舊體詩人維繫傳統的努力，又分別帶有三人對各自時代的反應。本文共六章，以中間四章的論述結構為核心。第二、三、四章分別就「三元」、「三關」和「四元」的形成過程和詩學意涵做出詳盡考察。本文認為「三元」是陳衍1899年以後逐漸形成的詩史體系，在1912年12月分兩個系統建立。「三元」包含了對近代不同詩歌風格的歷史追溯，以杜甫、韓愈、白居易、蘇軾為詩史典範。「三元」最重要的唐宋詩法傳承，陳衍的關注點在「白居易、梅堯臣、蘇軾、陸游、楊萬里」一脈，而他的詩歌理想是「能」與「稱」或者「至」。沈曾植的「三關」說是他1918年對自己1899年「三元」唐宋詩史論的顛覆。「三關」說是代降詩史觀下的復古學詩方法，強調由「元祐」、「元和」上溯「元嘉」詩歌的「雅」、「玄理」。其中「元祐」重在黃庭堅和江西詩派，「元和」重在韓愈和韓門詩人，「元嘉」則以陶潛和謝靈運、顏延之共同作為典範。相比陳衍的「三元」，「三關」擴大到對文化價值的整體關懷，這與沈氏的人生經歷息息相關。馬一浮的「四元」說在「三關」的基礎上增加了「開元」，同時融入了他早年以「仁」為核心的詩教觀，1943年提出「四元」並完成詩史體系建構。該說以他對詩歌「脫俗」、「神悟」的追求為基礎，以「史」、「玄」為內容，以「仁」和「理境」為理想，兼重詩歌社會功能和審美價值，反映出他超越以杜甫為代表的唐宋詩人、挑戰近代宗宋詩學的理論個性。本文第五章結合時代語境比較分析了三種詩史觀同異的成因。三者相同的「元和」、「元祐」源於繼承晚清宋詩傳統以對抗現代衝擊的共性價值。三者的差異表現在具體的詩史典範選擇和「元嘉」、「開元」等詩史階段的取捨排列上，這又分別決定於他們的時代文化心理和自我定位。「三元」重視個性和強調新變，反映出陳衍融入時代以保留傳統的新型「學人」定位。沈曾植「三關」強調「見道」和上溯「元嘉」，反映出他對堅守文化傳統的「士人」理想。馬一浮 「四元」對「仁」和「理境」的追求，表現出他以「復性」重建文化傳統並以「獨立人格」實現傳統文化永恆價值的人生理想。本文選取了近代中國最成體系的三種詩史觀為研究對象，填補了相關研究的空白，在揭示三說歷史語境和文化氛圍的同時，也希望能為近代中國詩學研究做出貢獻。= In the century since 1840, China had experienced dramatic change in society, politics and culture. But due to the focus on modern tendencies in literature (especially vernacular literature) in the twentieth century, traditional poetics has long been neglected. This thesis takes Chen Yan(1856-1937), Shen Zengzhi (1850-1922), Ma Yifu (1883-1967) and their San Yuan (Kai Yuan (713-741), Yuan He (806-820) and Yuan You (1086-1094)), San Guan (Yuan Jia (424-453), Yuan He (806-820) and Yuan You (1086-1094)) and Si Yuan (Yuan Jia (424-453), Kai Yuan (713-741), Yuan He (806-820) and Yuan You (1086-1094)) theories as major research foci to discuss one question: how did poetic tradition respond to the modern world? Apart from the introduction and the conclusion, this thesis includes four chapters. From the second chapter to the fourth, the forming process and poetic concerns of Chen's, Shen's and Ma's perspectives are investigated in turn. The fifth chapter compares the poetic values and historical views of their theories, and analyzes the identities and differences by integrating with their cultural psychologies and self-identifications. As the most elaborated and systematic theories of poetic criticism in the last period of the poetic tradition, the three perspectives are linked by the similar form of historical perspectives, though were all developed under personal considerations. By explicating the underlying historical and cultural concerns of perspectives on poetic history in modern China, this thesis not only achieved breakthrough in related research area, but also provided references to contemporary studies of classical Chinese poetics and poetic history.

現代性，在 19 世紀初傳入中國時，只算是願景，成為晚清以後知識份子推動社會改革的目標；而詩，則是幾千年來的中國文化精粹, 是士人操持的語言。兩個分別屬於過去和未來的理念卻多次給譚嗣同、梁啟超、黃遵憲、胡適等先鋒拉在一起，試圖以解放詩體帶動社會改革 ---- 新詩便是以「修身到治國」的推展模式成就的「現代傳統」。在第一重的推展中，周作人率先以〈小河〉實踐其所謂的「人的文學」，聞一多有感於滿目瘡痍的文化景象，以「休息的馳態」，勉勵人伺機而動；在第二重的推展中，魯迅、徐志摩以散文詩來包容「現代鄉愁」中的文化矛盾，保住了時代的開放性；在第三重的推展中，曹葆華、李金髮和侯汝華進一步擴大接收的面向，通過翻譯外國的詩論和詩作鞏固新詩的格局，拓展風格。論文題目中的「盪懷生家國」所涉的就是此層層推展的家國關懷。中國的現代性或許就是那以借來的現代性為目標的追尋，令近代中國掉入了如此弔詭：當國家因救亡的迫切需要而從西方承接了「實用現代性」以興產業、壯國防；而中國詩歌幾千年以來都是最能啟蒙民心的「抒情傳統」的載體，它的發展在「詩體解放」後卻遭到忽略，連同其中所包含的「審美現代性」也遭到壓抑---- 中國詩人嘗試掙脫個人抒懷和羣治籌謀的矛盾的困鎖，將自己歸化到歷史發展的大勢中去推動社會發展，遂激起上述的重重波瀾。

Submitted to the Faculty of Arts in fulfilment of the requirements for the Degree of Doctor of Philosophy in the Department of English at the University of Zululand, 2001. / The impulse that prompted me to the writing of this thesis is a profound uneasiness about the way in which the Humanities are being undervalued in the eyes of the world today, and nowhere more so, it increasingly seems, than at educational institutions, especially South African universities. As mechanisation and commodification become more and more the order of the day, and as technology replaces human interchange, the passions and sympathies of man, so powerfully expressed in English literature, steadily become of secondary importance. My focus here, then, is on the vital importance of English literature in the affairs of human beings and their daily interactions with the world around them. My attention will be directed mainly towards poetry, for I believe that even amongst those who do read good books, a large proportion eschew poetry and, in a sense, fear it. My experience in teaching at secondary and tertiary levels of education has shown me that this is because students have not been given, or adequately instructed in the use of, the tools with which to understand or to appreciate poetry in more than a very superficial way, and that this lack leads to their not devoting much time or attention to it. Also, because they fail to understand more than simply the contents of a poem (and sometimes not even this), and because they are aware that there is a deeper significance to a good poem than what they perceive, students and other readers feel inadequate, and shy away from poetry altogether. Of course, I do not include amongst these readers those who daily concern themselves with Iitera-ture and who have made it one of the mainsprings of their lives. I am aware, too, that every generalisation has its exceptions and that there are people who at an instinctive, as well as a cognitive level, fully comprehend what the poet is saying.