This thesis is a study of the Korean woman poet Ho Kyongbon (1563-1589) and her poetry. In it, I investigate Ho's two brothers' active involvement in her literary life, particularly her younger brother Ho Kyun's publication of her poetry collection, the Nansorhon chip and promotion of her literary works to Chinese scholars. I also examine late Ming and Qing anthologies which include Ho's poetry to disclose how late Ming and Qing scholars evaluated her poetry and represented her life. I argue that the attention these critics paid to Ho's literary works and talent reflected a blossoming of women's literary culture and a rapid growth in the anthologizing of women's poetry. I also undertake an analysis of Ho's poetry, with particular emphasis on the influence of Tang poetry on her poetic practice. This analysis is accompanied by a discussion of Ho's relationship to the "Tang revival movement" in which her two brothers were fervently engaged. This relationship provides a context through which to better understand not only Ho's particular interest in emulating Tang poetry, but also the very textual qualities of her poetry.

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A poet who is a woman and a theologian writes under three pressures, or a triple bind: individuality, spirituality, and society. The desires and drives of the ego and those of spirituality often conflict, and societal expectations which gender bestows add further stress to the poet's efforts. This constant struggle destroys some poets (Plath, Sexton) and renders silent many of the rest. The following collection of poems combats the silence in four progressive sections: The first is an introductory essay which further discusses the triple bind; the second, "Between Two," illustrates spiritual relationships from despair to disillusionment; the third section, "Life in the Mirror," describes deteriorating human relationships; the final section, "Salt," presents problems resolving to a kind of negative capability. This poetry collection continues one woman's poetic struggle toward validity and acceptance.

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This thesis examines the life and poetry of the woman poet Gu Taiqing (1799-1877) within the context of a community of gentry women in mid-nineteenth century Beijing. This group of women was a "community" in the sense that their contact, sociability, friendship and poetry writing were meaningfully intertwined in their lives. The thesis is divided into three interconnected chapters. Two separate biographical accounts of Gu Taiqing's life---one centered around the relationship with her husband, and the second around her relationship with her female friends---are reconstructed in the first chapter. This biographical chapter underlines the importance of situating Gu in the women's community to understand her life and poetry. The second is comprised of a reconstruction of this women's community, delineating its members and distinctive features. In the third chapter, a close-reading of Gu's poems in relation to the women's community focuses on the themes of xian (leisure), parting, and friendship. This chapter shows how each of these themes are represented by Gu and how her representations are closely related to the experiences of this women's group.

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馮慧心. / "2004年7月". / 論文(哲學碩士)--香港中文大學, 2004. / 參考文獻 (leaves 495-520). / 附中英文摘要. / "2004 nian 7 yue". / Feng Huixin. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2004. / Can kao wen xian (leaves 495-520). / Fu Zhong Ying wen zhai yao. / 引言 --- p.1 / Chapter 第一章 --- 結論 --- p.4 / Chapter 第一節 --- 古代女性文學研究回顧 --- p.4 / Chapter 一、 --- 女性文學史的發展 --- p.4 / Chapter 二、 --- 西方漢學界的女性文學研究 --- p.8 / Chapter 三、 --- 明清女性文學的研究 --- p.10 / Chapter 四、 --- 女性詞作的研究 --- p.12 / Chapter 第二節 --- 女性文學的資料發掘與整理 --- p.13 / Chapter 第三節 --- 《眾香詞》硏究回顧 --- p.15 / Chapter 第四節 --- 《眾香詞》研究的意義、理論及方法 --- p.20 / Chapter 一、 --- 研究意義 --- p.20 / Chapter 二、 --- 研究範關及方法 --- p.22 / Chapter 三、 --- 女性主義的啟示及應用 --- p.24 / Chapter 第二章 --- 《眾香詞》的編選背景:明末清初的時代背景與文學發展 --- p.34 / Chapter 第一節 --- 明末以來女性解放思潮 --- p.34 / Chapter 第二節 --- 出版業及郵政業的發達 --- p.38 / Chapter 第三節 --- 明清女性文學的發展 --- p.42 / Chapter 第四節 --- 明清女性選集的繁榮 --- p.46 / Chapter 第五節 --- 明末以來的詞學發展及清詞中興 --- p.48 / Chapter 第六節 --- 明清易代的離亂感慨 --- p.52 / Chapter 第三章 --- 《眾香詞》述介 --- p.55 / Chapter 第一節 --- 現今所見《眾香詞》版本 --- p.55 / Chapter 一、 --- 清代海陽彤雲軒鈔本 --- p.55 / Chapter 二、 --- 清康熙錦樹堂刊本 --- p.58 / Chapter 三、 --- 癸酉(1933年)董氏誦芬室重校本 --- p.62 / Chapter 四、 --- 1996年鄭競重校本 --- p.63 / Chapter 第二節 --- 《眾香詞》流傳概況 --- p.65 / Chapter 第三節 --- 《眾香詞》末善之處 --- p.68 / Chapter 第四節 --- 《眾香詞》之編集動機 --- p.73 / Chapter 一、 --- "為女性文學正名,使之經典化、正統化" --- p.73 / Chapter 二、 --- 為女性詞壇寫史、以女性詞作寫史 --- p.75 / Chapter 第四章 --- 《眾香詞》之編輯集團：清廷權貴與遺民幕客 --- p.80 / Chapter 第一節 --- 編輯集團成員 --- p.80 / Chapter 第二節 --- 徐樹敏、錢岳兩位編者的角色 --- p.83 / Chapter 第三節 --- 編輯集團的地域 --- p.88 / Chapter 第四節 --- 成書的分期與編輯集團 --- p.90 / Chapter 第五節 --- 編輯集團成員的參與角色 --- p.93 / Chapter 第六節 --- 清廷權貴與明室遺民：編輯集團的組合 --- p.98 / Chapter 第五章 --- 《眾香詞》的編集體例 --- p.103 / Chapter 第一節 --- 六卷之排列及特色´ؤ´ؤ以身份地位爲經 --- p.114 / Chapter 第二節 --- 六卷內部之排列及特色´ؤ´ؤ以名望成就、生活年代爲緯 --- p.110 / Chapter 第三節 --- 六卷之內容特色 --- p.115 / Chapter 第四節 --- 六卷之相互連繫 --- p.120 / Chapter 第六章 --- 《眾香詞》之採輯範圍及選詞特色 --- p.124 / Chapter 第一節 --- 眾香詞人之時空跨度´ؤ´ؤ明末清初、江南爲主之女詞人 --- p.124 / Chapter 第二節 --- 尊崇名門閨秀 --- p.128 / Chapter 第三節 --- 稱賞青樓歌妓 --- p.130 / Chapter 第四節 --- 務實可信：傳奇詞人、女鬼、女仙不載 --- p.134 / Chapter 第五節 --- 「姑存其人以廣大意」：爲女詞人留名寫史 --- p.137 / Chapter 第六節 --- 選錄遺民意識之作：明清易代的女性感受 --- p.140 / Chapter 第七節 --- 爲秦淮名妓立傳：《數集》與晚明的「文化懷舊」 --- p.151 / Chapter 第八節 --- 「不敢謾加評語」 ：不作圈點，意欲客觀 --- p.155 / Chapter 第九節 --- 《草堂》之豔冶與貞孝節烈之作並行不悖 --- p.157 / Chapter 第十節 --- 女性文人的傳統形象：迴文機巧、自憐身世、才女薄命 --- p.160 / Chapter 第十一節 --- 《眾香詞´Ø凡例》與王士祿《燃脂集例》 --- p.165 / Chapter 第七章 --- 眾香詞人及其詞作分析：私域女性(private women)´ؤ´ؤ閨秀 --- p.171 / Chapter 第一節 --- 身份背景：名門望族、閨秀圈子、儒家教育 --- p.172 / Chapter 第二節 --- 閨秀詞作分析 --- p.178 / Chapter 一、 --- 詞調形式 --- p.178 / Chapter 二、 --- 主題內容 --- p.182 / Chapter 1. --- 歷史興亡、社會時局´ؤ´ؤ家國交織的女性處境 --- p.182 / Chapter 2. --- 家族親情´ؤ´ؤ豐富的女性倫理角色 --- p.190 / Chapter 3. --- 羈旅思ˇёإ´ؤ´ؤ歸寧之思 --- p.197 / Chapter 4. --- 女性情誼´ؤ´ؤ男女關係以外的情感渴求 --- p.201 / Chapter 5. --- 相思閨怨、寄夫憶夫´ؤ´ؤ文學伴侶式的婚姻 --- p.205 / Chapter 6. --- 生活體驗´ؤ´ؤ居家性（domesticity)與日常性(dailiness) --- p.209 / Chapter 7. --- 述懷自許´ؤ´ؤ自我建構（self-construction)、主體性(subjectivity) 的呈現 --- p.213 / Chapter 8. --- 詠物´ؤ´ؤ細膩精緻的女性筆觸 --- p.217 / Chapter 9. --- 應酬和韻´ؤ´ؤ突破女性的交遊圈子 --- p.222 / Chapter 10. --- 題畫題像´ؤ´ؤ女性身份與照鏡自喻 --- p.226 / Chapter 第三節 --- 閨秀詞作之藝術特色 --- p.230 / Chapter 1. --- 纖巧細緻、典雅含蓄 --- p.230 / Chapter 2. --- 以謝道韞爲楷模、取法李清照 --- p.232 / Chapter 3. --- 女性關懷：嫦娥、七夕、女性歷史人物 --- p.236 / Chapter 第八章 --- 眾香詞人及其詞作分析：「公眾女性」（Public women)´ؤ歌妓 --- p.241 / Chapter 第一節 --- 身份背景：歌舞技藝、社交自由、國家興亡的符碼 --- p.241 / Chapter 第二節 --- 歌妓詞作分析 --- p.246 / Chapter 一、 --- 詞調形式 --- p.246 / Chapter 二、 --- 主題內容 --- p.246 / Chapter 1. --- 相思懷人´ؤ´ؤ青樓愛情的追逐 --- p.247 / Chapter 2. --- 唱酬贈答´ؤ´ؤ歌妓的社交圈子 --- p.250 / Chapter 3. --- 傷春悲秋、好景難永´ؤ´ؤ飄零身世的不安與憂慮 --- p.254 / Chapter 4. --- 身世之感´ؤ´ؤ不堪零落、自傷失節 --- p.256 / Chapter 5. --- 詠物狀物´ؤ´ؤ飄零無主之苦 --- p.258 / Chapter 6. --- 生活瑣事及觸感´ؤ´ؤ「日常性」（dailiness)及「瑣屑性」 (fragmentary) --- p.260 / Chapter 第三節 --- 歌妓詞作之藝術特色 --- p.262 / Chapter 1. --- 率性自然、熱情放浪：擺脫道德束縛的感情書寫 --- p.262 / Chapter 2. --- 預設對象、直呼對象：以「私密性」抗衡「公眾性」 --- p.264 / Chapter 3. --- 語言淺白、口語化：真率直接的書寫筆法 --- p.266 / Chapter 第四節 --- 閨秀與歌妓詞之比較分析 --- p.270 / Chapter 1. --- 題材 --- p.270 / Chapter 2. --- 語言風格 --- p.271 / Chapter 3. --- 情感表達、筆法書寫 --- p.272 / Chapter 第九章 --- 結論 --- p.273 / Chapter 一、 --- 閨秀及青樓´ؤ´ؤ女性文學的兩大傳統 --- p.273 / Chapter 二、 --- 明末清初的女詞人與詞壇關係 --- p.274 / Chapter 三、 --- 女詞人在男性傳統下之妥協與對抗 --- p.274 / Chapter 四、 --- 《眾香詞》之藝術價値與定位 --- p.275 / 附錄 / 附錄一 《眾香詞》三個版本所收詞人詞作比較 --- p.277 / 附錄二 《眾香詞》錦樹堂本與富之江本所收詞作之比較 --- p.292 / 附錄三 眾香詞人之字號、籍貫、作品集 --- p.304 / 附錄四 眾香詞人的家世背景 --- p.316 / 附錄五 眾香詞人之女性家族成員 --- p.331 / 附錄六 眾香詞人之生活年代 --- p.336 / 附錄七 眾香詞編輯集團成員資料 --- p.348 / 附錄八 從詞人小傳所見《眾香詞》引錄資料來源 --- p.365 / 附錄九 其他選本所見眾香詞人詞作數目 --- p.378 / 附錄十 選本中所見六集比例 --- p.390 / 附錄十一明末清初女性選集之編集體例及特點 --- p.392 / 附錄十二 《眾香詞》各集所用詞牌統計 --- p.401 / 附錄十三《眾香詞》所選迴文及遊戲之作 --- p.411 / 附錄十四清代詩話、詞話、文人筆記等所見眾香詞人評論 --- p.413 / 附錄十五眾香詞人文集之撰序者及與其他文人之關係 --- p.466 / 附錄十六眾香詞人之唱酬關係表 --- p.480 / 參考書目 --- p.491

Poetry by Russian women which has been published since the fall of the Soviet Union reveals that the quest to explore female identity and experience is no longer inviolable in Russian literature. This thesis examines female personae, gender and cultural identity in the work of Russian poets Nina Iskrenko (1951--1994), Tatiana Voltskaia (b. 1960), and Iuliia Kunina (b. 1966). Although the poetics of these writers' texts are broad-ranging, all of their work takes up the subjects of gender and cultural identity. Their poems explore identity as a discursive practice, rather than a fixed construct within the strictures of authoritative metanarratives' binary oppositions (male/female, feminine/masculine, Russian/non-Russian). This lends their poetry to postmodern analysis, an approach that heretofore has rarely been applied to poetry by Russian women. Within this theoretical framework, Judith Butler's formulation of "performativity" and Mikhail Epstein's theory of "transculturalism" are particularly well-suited to the task, as each entails non-essentialist conceptions of identity. Donna Haraway's formulation of "woman" as cyborg" is also a fitting theoretical complement, as it suggests the hybridization of identity, as well as the increasing role of the Internet in contemporary and future developments in Russian literature. The rapid changes in the late- and post-Soviet cultural landscape have engendered in contemporary poetry by Russian women powerful, new expressions of gender and cultural identity, which are resulting in startling subversions of authoritative discourses while at the same time forging coalitional "transmodern" identities.