徐瑋. / "2006年7月" / 論文(哲學碩士)--香港中文大學, 2006. / 參考文獻(leaves 199-207). / "2006 nian 7 yue" / Abstracts also in English. / Xu Wei. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2006. / Can kao wen xian (leaves 199-207). / 緒論 --- p.1 / Chapter 第一節 --- 硏究目的 --- p.1 / Chapter 第二節 --- 前人硏究回顧 --- p.3 / Chapter 第三節 --- 硏究方法 --- p.8 / Chapter 甲部 --- 況周頤詞析論 --- p.10 / Chapter 第一章 --- 況周頤詞集槪述及其分期 --- p.11 / Chapter 第一節 --- 況周頤詞集簡介 --- p.11 / Chapter 第二節 --- 況周頤詞的分期 --- p.14 / Chapter 第二章 --- 論《蕙風詞》的命名與況周頤詞的主調 --- p.25 / Chapter 第一節 --- 小引 --- p.25 / Chapter 第二節 --- 「蕙風」二字的意義及其相關問題 --- p.26 / Chapter 第三節 --- 「內冤結而心傷」的況周頤詞 --- p.31 / Chapter 1. --- 美好事物的消逝 --- p.35 / Chapter 甲、 --- 從季節的變化寫美好事物的消逝 --- p.37 / Chapter 乙、 --- 對過去的繾綣 --- p.42 / Chapter 丙、 --- 知愛斷絶 --- p.44 / Chapter 2. --- 勞生之感 --- p.49 / Chapter 3. --- 芳姿誤人的悲歎 --- p.56 / Chapter 4. --- 「大」之旨的表現 --- p.61 / Chapter 第四節 --- 小結 --- p.66 / Chapter 第三章 --- 「沈思獨往」一論況周頤詞的章法結構、化用前人詩詞處、用字 --- p.67 / Chapter 第一節 --- 引言 --- p.67 / Chapter 第二節 --- 況周頤詞的章法結構 --- p.70 / Chapter 1. --- 善於鋪敘，層次分明´ة於轉折處筆法尤細 --- p.71 / Chapter 2. --- 渾然一體，一氣流轉 --- p.76 / Chapter 3. --- 組詞內容新穎，結構綿密 --- p.81 / Chapter 第三節 --- 況周頤詞化用前人詩詞處 --- p.86 / Chapter 第四節 --- 論況周頤詞用字 --- p.94 / Chapter 第五節 --- 餘論 --- p.98 / Chapter 第四章 --- 「務極悠揚流美之致」一論況周頤詞的聲律 --- p.102 / Chapter 第一節 --- 引言 --- p.102 / Chapter 第二節 --- 律調 --- p.103 / Chapter 第三節 --- 腔調 --- p.108 / Chapter 第四節 --- 用韻 --- p.110 / Chapter 第五節 --- 總結 --- p.113 / Chapter 第五章 --- 況周頤詞綜論 --- p.115 / Chapter 乙部 --- 況周頤詞論舉要 --- p.118 / Chapter 第六章 --- 小引 --- p.119 / Chapter 第一節 --- 況周頤詞論著作槪述 --- p.119 / Chapter 第二節 --- 況氏詞論之硏究方法 --- p.121 / Chapter 第七章 --- 詞外求詞一兼論況周頤對詞人與詞作關係的處理 --- p.126 / Chapter 第一節 --- 引言 --- p.126 / Chapter 第二節 --- 「言爲心聲」與「詞固不可槪人」 --- p.127 / Chapter 第三節 --- 性靈、性情與讀書 --- p.132 / Chapter 第四節 --- 餘論 --- p.139 / Chapter 第五節 --- 小結 --- p.142 / Chapter 第八章 --- 論「詞境」、「詞心」 --- p.143 / Chapter 第一節 --- 引言 --- p.143 / Chapter 第二節 --- 「詞境」和「詞心」的意涵 --- p.143 / Chapter 第三節 --- 論學者釋「詞境」與「詞心」 --- p.147 / Chapter 第四節 --- 況氏之「詞境」與王國維的「境界」 --- p.150 / Chapter 第九章 --- 論「寄託」與「真」 --- p.155 / Chapter 第一節 --- 清代詞論家的寄託說 --- p.155 / Chapter 第二節 --- 況周頤的寄託說 --- p.158 / Chapter 第三節 --- 況氏的「真」與其寄託說的關係 --- p.160 / Chapter 第十章 --- 論「重、拙、大」及其相關問題 --- p.162 / Chapter 第一節 --- 引言 --- p.162 / Chapter 第二節 --- 論「重」 --- p.164 / Chapter 第三節 --- 論「拙」 --- p.174 / Chapter 第四節 --- 論「大」 --- p.179 / Chapter 第五節 --- 論「深靜」與「穆之一境」 --- p.186 / Chapter 第六節 --- 小結 --- p.190 / Chapter 第十一章 --- 餘論 --- p.191 / 總結 --- p.197 / 參考書目 --- p.199 / 附錄一 況周頤生平簡表 --- p.208 / 附錄二 趙尊嶽述《玉梅詞》中有關桐娟詞作之本事商榷 --- p.225 / 附錄三《蕙風詞話》鑑賞資料統計 --- p.235 / 附錄四後人對況周頤詞論的回應 --- p.256

胡麗華. / "2006年12月" / 論文(哲學碩士)--香港中文大學, 2006. / 參考文獻(leaves 133-139). / "2006 nian 12 yue" / Abstracts in Chinese and English. / Hu Lihua. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2006. / Can kao wen xian (leaves 133-139). / Chapter 第一章 --- 緒言 --- p.1 / Chapter 第一節： --- 硏究緣起 --- p.1 / Chapter 第二節： --- 前人研究述評 --- p.2 / Chapter 第三節： --- 硏究目標及方法 --- p.8 / Chapter 第二章 --- 王鵬運生平及治詞歷程 --- p.10 / Chapter 第一節： --- 生平槪述 --- p.10 / Chapter 第二節： --- 治詞歷程 --- p.17 / Chapter 第三章 --- 王鵬運詞之題材內容 --- p.36 / Chapter 第一節： --- 半塘詞各集名命意義及主題簡介 --- p.36 / Chapter ´ؤ、 --- 各集命名意義 --- p.36 / Chapter 二、 --- 各集主題簡介 --- p.38 / 小結 --- p.46 / Chapter 第二節： --- 半塘詞分期 --- p.47 / Chapter 一、 --- 初期-個人情志之作 --- p.47 / Chapter 二、 --- 中期-憂時念亂、忠憤之志 --- p.50 / Chapter 三、 --- 後期-南潛歸隱之作 --- p.58 / 小結 --- p.59 / Chapter 第三節： --- 題材內容 --- p.60 / Chapter 一、 --- 懷人之作 --- p.61 / Chapter 二、 --- 贈別之作 --- p.67 / Chapter 三、 --- 思鄉之作 --- p.72 / Chapter 四、 --- 詠物之作 --- p.76 / Chapter 五、 --- 國是之作 --- p.80 / 小結 --- p.87 / Chapter 第四章 --- 王鵬運詞之藝術采光 --- p.89 / Chapter 第一節： --- 「芒角撐腸」、「獨來獨往」一一王鵬運詞之愁苦主調及其意象運用 --- p.89 / Chapter ´ؤ、 --- 歌哭無端、墨痕和淚´ؤ煙 、塵´Ø淚之意象 --- p.89 / Chapter 二、 --- 醉夢之間、尋找依歸-夢、醉之意象 --- p.92 / Chapter 三、 --- 王氏詞悲苦主調的形成原因 --- p.96 / 小結 --- p.97 / Chapter 第二節： --- 「流轉任風光」、「一笑襟塵灑」一一王鵬運詞別調之風格 --- p.98 / Chapter 一、 --- 輕鬆歡愉之情 --- p.98 / Chapter 二、 --- 開豁振作之意 --- p.99 / 小結 --- p.100 / Chapter 第五章 --- 王鵬運詞論 --- p.101 / Chapter 第一節： --- 詞學觀念 --- p.101 / Chapter 一、 --- 「重」、「拙」、「大」之說 --- p.102 / Chapter 二、 --- 體格 --- p.105 / Chapter 三、 --- 詞體發展論 --- p.109 / Chapter 四、 --- 聲律之說 --- p.111 / 小結 --- p.113 / Chapter 第二節： --- 校讎詞籍體例 --- p.113 / Chapter 一、 --- 版本考訂 --- p.114 / Chapter 二、 --- 建立體例 --- p.117 / 小結 --- p.119 / Chapter 第六章 --- 王鵬運於「臨桂詞派」創派之說 --- p.121 / Chapter 第一節： --- 「臨桂派」之說起源 --- p.121 / Chapter 第二節： --- 「臨桂詞派」及王鵬運創派之說 --- p.122 / Chapter 一、 --- 臨桂詞人的活動聯繫 --- p.122 / Chapter 二、 --- 創作取向 --- p.124 / Chapter 三、 --- 理論建立 --- p.126 / 小結 --- p.128 / Chapter 第三節： --- 臨桂詞人群與浙、常二派之分野 --- p.128 / 小結 --- p.130 / Chapter 第七章 --- 總結 --- p.131 / 參考書目 --- p.133 / 附錄 --- p.140 / 附錄一：〈王鵬運生平簡表〉 --- p.140 / 附錄二：〈王鵬運交游詞作一覽表〉 --- p.154

朱寶盈. / "2006年8月" / 論文(哲學碩士)--香港中文大學, 2006. / 參考文獻(leaves 164-169). / "2006 nian 8 yue" / Abstracts in Chinese and English. / Zhu Baoying. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2006. / Can kao wen xian (leaves 164-169). / 目錄 --- p.V / Chapter 第一章 --- 緒論 --- p.1 / Chapter 第一節 --- 引言 --- p.1 / Chapter 第二節 --- 《昭明太子集》 --- p.4 / Chapter 第三節 --- 前人研究述評 --- p.5 / Chapter 一、 --- 主要硏究觀點 --- p.5 / Chapter 二、 --- 蕭統詩作硏究商榷 --- p.8 / Chapter 第四節 --- 硏究目的及方向 --- p.12 / Chapter 第二章 --- 蕭統詩作析論（一）：從意象論其典麗風格 --- p.14 / Chapter 第一節 --- 引言 --- p.14 / Chapter 第二節 --- 駢句的運用´ؤ´ؤ意象的突顯 --- p.15 / Chapter 一、 --- 蕭詩駢句的應用情形 --- p.16 / Chapter 1) --- 詩作的基本結構單位 --- p.16 / Chapter 2) --- 屬對工整嚴密，具元嘉味道 --- p.17 / Chapter 二、 --- 駢句與意象的突顯 --- p.23 / Chapter 1) --- 相關理論 --- p.23 / Chapter 2) --- 駢句在蕭統詩中的情形 --- p.25 / Chapter 第三節 --- 蕭統詩基調的形成´ؤ´ؤ辭藻的修飾與意象的性質傾向 --- p.31 / Chapter 一、 --- 意象的性質傾向 --- p.31 / Chapter 1) --- 色彩華麗的意象 --- p.32 / Chapter 2) --- 典正雍容的意象 --- p.35 / Chapter 二、 --- 冷靜客觀的景物描寫 --- p.38 / Chapter 第四節 --- 結語 --- p.42 / Chapter 第三章 --- 蕭統詩作析論（二）：論蕭詩的典故運用 --- p.44 / Chapter 第一節 --- 引言 --- p.44 / Chapter 第二節 --- 用典的準則一一風格與內容的配合 --- p.45 / Chapter 一、 --- 體式 --- p.46 / Chapter 二、 --- 題材內容 --- p.47 / Chapter 第三節 --- 典故的構成形式與詩歌密度的提升 --- p.51 / Chapter 一、 --- 典故的構成形式 --- p.52 / Chapter 1) --- 截取具代表性的詞語 --- p.55 / Chapter 2) --- 壓縮原典句子 --- p.56 / Chapter 3) --- 改變原典次序和結構 --- p.57 / Chapter 二、 --- 用典方法對詩歌效果的影響 --- p.58 / Chapter 第四節 --- 以典故達意的具體情形 --- p.62 / Chapter 一、 --- 以典詠物 --- p.62 / Chapter 二、 --- 以典詠人 --- p.67 / Chapter 三、 --- 以典抒情 --- p.70 / Chapter 第五節 --- 結語 --- p.73 / Chapter 第四章 --- 蕭統詩與齊梁新變詩風之比較 --- p.75 / Chapter 第一節 --- 引言 --- p.75 / Chapter 第二節 --- 齊梁新變詩風 --- p.76 / Chapter 一、 --- 齊梁文學的新變思潮 --- p.76 / Chapter 二、 --- 「永明體」 --- p.79 / Chapter 三、 --- 「宮體」 --- p.80 / Chapter 第三節 --- 蕭統詩與「永明體」及「宮體」之比較 --- p.82 / Chapter 一、 --- 體式 --- p.83 / Chapter 二、 --- 題材 --- p.90 / Chapter 1) --- 與「永明體」的比較 --- p.90 / Chapter 2) --- 與「宮體」的比較 --- p.92 / Chapter 3) --- 佛教眾會 --- p.97 / Chapter 4) --- 小結 --- p.100 / Chapter 三、 --- 聲律 --- p.101 / Chapter 四、 --- 語言 --- p.108 / Chapter 第四節 --- 結語 --- p.113 / Chapter 第五章 --- 蕭統與梁朝詩壇 --- p.115 / Chapter 第一節 --- 引言 --- p.115 / Chapter 第二節 --- 蕭統與東宮文人 --- p.116 / Chapter 一、 --- 東宮文人的主要成員簡介 --- p.116 / Chapter 二、 --- 蕭統及東宮文人之關係 --- p.122 / Chapter 第三節 --- 東宮文人的文學主張及創作傾向 --- p.126 / Chapter 一、 --- 文學主張 --- p.127 / Chapter 1) --- 劉孝綽 --- p.127 / Chapter 2) --- 王筠 --- p.130 / Chapter 二、 --- 創作傾向 --- p.132 / Chapter 1) --- 劉孝綽 --- p.133 / Chapter 2) --- 王筠 --- p.138 / Chapter 3) --- 小結 --- p.141 / Chapter 第四節 --- 蕭統與梁朝中期詩壇 --- p.145 / Chapter 一、 --- 關於「蕭統文學集團」說 --- p.146 / Chapter 二、 --- 關於「梁朝中期復古思潮」說 --- p.151 / Chapter 第五節 --- 關於《文選》編纂者的爭議 --- p.157 / Chapter 第六節 --- 結語 --- p.159 / Chapter 第六章 --- 總結 --- p.161 / 主要參考書目 --- p.164 / 附錄一：劉孝綽短篇詩作中的入律句子 --- p.170 / 附錄二：王筠短篇詩作中的入律句子 --- p.175

蕭淳鏵. / 呈交日期: 一九九八年十二月. / 論文(博士)--香港中文大學, 1999. / 參考文獻 (p. 300-314) / 中英文摘要. / Cheng jiao ri qi: Yi jiu jiu ba nian shi er yue. / Available also through the Internet via Dissertations & theses @ Chinese University of Hong Kong. / 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 Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Xiao Chunhua. / Lun wen (Bo shi)--Xianggang Zhong wen da xue, 1999. / Can kao wen xian (p. 300-314) / Zhong Ying wen zhai yao.

在歷史上，南宋與金處於對峙狀態，兩方沒有文學與文化的交流，就詩歌而言，在當時是兩個獨立的詩壇，各自發展；但是在元、明以後的詩歌論述中，它們逐漸發生聯繫，最終被置於同一詩歌傳統中。究竟從分到合，是怎麼的一個過程？過程背後蘊含著甚麼文化及詩學觀念？ / 陸游（1125-1210）、元好問（1190-1257）是繼蘇軾、黃庭堅以後，最著名的古典詩人，分別代表南宋、金源詩學。他們的詩論與詩作都一直是學界關注的議題。由於他們分屬南宋、金源，兩方詩學互不關涉，近世學者遂視他們為彼此無關的詩人。無論是文學通史還是斷代文學史，都是南北各自論述，陸、元絶無關聯。 / 但是，筆者經研究發現，自元代以來，南宋、金詩便被關聯起來，不斷做對比與評價，而衡量標準實既牽涉到正統朔閏的政治問題，也涉及到詩學源流的審美問題。元初文人關注文化承傳，從時代政治判斷金詩優於南宋；明代復古派關注詩歌取徑，以兩者分屬中唐、晚唐，一概貶斥；而清代主變者關注詩學傳統，他們雖承認南宋、金詩並非正統，卻認同兩者值得取逕，甚至將兩者從中、晚唐傳統抽離，視之為杜詩傳統的發展。南宋、金詩地位提高之餘，更由兩個原來獨立的傳統，統合在同一脈絡之下。 / 元明以來，南宋、金詩的比較是詩歌史敘述重要的一環。歷代的評價環環相扣，側重點卻各有不同。這些側重點的差異正反映了論者論述南宋、金詩時用以參照系統的不同。從中，我們可看到陸游、元好問成為後世典範的原因和過程：他們面對唐、宋詩完全成熟的階段，卻能出入唐、宋，自成一家；儘管詩風、詩論有差異，二人均可上溯不同源流，故對宗唐還是主宋者而言，都是重要的師法對象。筆者期望通過本研究，能夠釐清陸游、元好問，乃至南宋、金詩對後來詩學發展的影響。 / Relations between the Southern Song and Jin were tense and hostile, hense there were very limited communications in literature and culture. At that time, the two schools of poetry developed independently. However, from the Yuan Dynasty onwards, scholars often made comparisons with the two schools, and gradually treated them as one poetic tradition. The thesis explores this emerging progess and the poetic concepts behind. / Lu You (1125-1210) and Yuen Haowen (1190-1257) are the most famous poets of classical Chinese literature after Su Xi and Huang Tingjian. They represent the Southern Song and Jin poetry respectively. Their poetic theories and works are always discussed, but not compared. It is because scholars of the recent generations recognized Southern Song and Jing as two independent schools of poetry. Therefore, in the Chinese literature history, no matter it is in general or by stages, the coexistence of the two poets are often neglected. / The author proposes since the Yuan Dynasty, the relationship between the schools of the Southern Song and Jin poetry started to gain notice. The works were compared as a way of review and the standards were mainly about legitimacy and the poetic origins. The Yuan scholars concerned heritage aspect and approved that the Jin poetry was better than the Southern Song. The Ming scholars concerned the way to assimilate the Tang poetry. They regarded Southern Song and Jing poetry as the mid and late Tang poetry, whereas Qing Scholars recognized them as a development of the school of Tu Fu poetry. The values of the Southern Song and Jin poetry raised and emerged into one school. / In he Yuan Ming and Qing Dynasties, the comparison of the Southern Song and Jin poetry is one of the most important issues in Chinese literary history. Evaluations were done from different aspects and with different purposes and they all reflect different points of views of the scholars. Through the comparison, we can have a better understanding of the reasons and progress of how Lu You and Yuan Haowen became the paragons of the later generations and how they made themselves stand out from Tang and Song poetry and became the important studying models of classical poetry. By this research, the author wishes to give a clear image of the influence of the Chinese classical poetry development given by Lu You, Yuan Haowen and also the Song and Jin poetry. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 蘇穎添. / Thesis submitted: December 2012. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 208-221) / Abstracts in Chinese and English. / Su Yingtian. / 論文提要 --- p.i / Abstract of Thesis --- p.ii / 目錄 --- p.iv / Chapter 緒論 --- 現今詩學研究對南宋、金源分合未有足夠重視 --- p.2 / Chapter 一、 --- 南宋、金詩的高下是歷代均關注的詩學命題 --- p.6 / Chapter 二、 --- 南宋、金詩歌史敘述圍繞陸游、元好問展開 --- p.13 / Chapter 三、 --- 南宋、金詩歌史敘述圍繞陸游、元好問展開 --- p.13 / Chapter 第一章 --- 陸游、元好問可比性探析 --- p.17 / Chapter 一、 --- 俱有針砭詩壇流弊的主張 --- p.18 / Chapter 二、 --- 轉益多師，兼宗唐、宋 --- p.24 / Chapter 三、 --- 詩論、詩風同中有異，並論是詩歌史敘述的結果 --- p.38 / Chapter 第二章 --- 南北爭衡：南宋、金詩在元代的文化正統之爭 --- p.49 / Chapter 一、 --- 陸游、元好問分別代表東南、中原詩學，實出於文化認同 --- p.51 / Chapter 二、 --- 南北分合引發宋、金詩之爭 --- p.59 / Chapter 三、 --- 南宋、金源詩學衰落牽涉南北文化消長 --- p.66 / Chapter 四、 --- 後人視元好問為元代詩學先導 --- p.77 / Chapter 第三章 --- 偏離盛唐：宋、金詩在明代的評價問題 --- p.80 / Chapter 一、 --- 元代文化在明初得到承認，南宋、金源詩受排斥 --- p.81 / Chapter 二、 --- 在明代復古派興起前的宋、元詩之爭 --- p.85 / Chapter 三、 --- 陸游、元好問被派入中唐、晚唐的傳統 --- p.91 / Chapter 四、 --- 宋、元詩風從相爭到融合 --- p.109 / Chapter 第四章 --- 折衷唐宋：宋、金詩在清代合流的過程 --- p. 116 / Chapter 一、 --- 清人反思宋、元詩之失 --- p.116 / Chapter 二、 --- 陸游從南宋江西體中被抽離 --- p.122 / Chapter 三、 --- 杜詩傳統將陸游、元好問結合為同一發展脈絡 --- p.131 / Chapter 第五章 --- 「天放奇葩角兩雄」：清中葉翁方綱的陸游、元好問比較 --- p.142 / Chapter 一、 --- 突破「詩到蘇、黃盡」的困境 --- p.143 / Chapter 二、 --- 以元好問七古在陸游之上，帶出二人詩學淵源的分歧 --- p.146 / Chapter 三、 --- 强調陸游「自行於千古」，否定其與傳統的淵源 --- p.155 / Chapter 四、 --- 通過元優於陸，反思清初詩學 --- p.161 / Chapter 第六章 --- 以金接宋：翁方綱對「蘇學盛於北」說的强調 --- p.167 / Chapter 一、 --- 古今學者質疑「蘇學盛於北」說 --- p.169 / Chapter 二、 --- 趙秉文、元好問反思蘇學 --- p.180 / Chapter 三、 --- 翁方綱為何强調「蘇學盛於北」 --- p.202 / 結語 --- p.205 / 參考書目 --- p.208

Bunkyo Hifuron consists of six chapters, namely 'Heaven', 'Earth', 'East', 'West', 'South', and 'North'. The core part of 'East' is twenty-nine kinds of Dui (couplets), in which Kukai quoted and edited different theories on Dui by early Chinese scholars so that the reader could understand how to use each kind of Dui. Since Dui is a common rhetorical form in Chinese literature, Kukai's instructive information is of great use to scholars. Apart from textual criticism, rhetorical research has been conducted on the materials. However, no comprehensive research has ever been done on the linguistic concepts that underlie twenty-nine kinds of Dui in Bunkyo Hifuron. Therefore, this study will be the first attempt of its kind to address these problems. / Bunkyo Hifuron, is the work by a Japanese Buddhist monk, Kukai (774-835), who studied Buddhism in China. It is an important writing both in the history of Japanese literature and in the study of Chinese literature. In this work, Kukai edited the materials he obtained during his study in China. Some of the original texts quoted in Bunkyo Hifuron are already lost in China, which makes this work even more valuable for textual criticism. It has thus attracted many scholars' attention in their attempts to investigate the poetics and the prosodic techniques in Tang [Special character omitted] and pre-Tang texts. / This thesis is divided into five chapters: the first chapter is the preface, in which the purpose and methodology of this research are explained; in the second chapter, a general account is given of the structure of each kind of Dui; the third chapter analyzes the linguistic concepts underlying the twenty-nine kinds of Dui; the fourth chapter attempts to account for the systematic structure in the twenty-nine kinds of Dui; and the last part is the conclusion. / 文映霞. / Source: Dissertation Abstracts International, Volume: 70-06, Section: A, page: 2022. / Thesis (doctoral)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (p. 364-379). / 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, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / School code: 1307. / Wen Yingxia.

Law, Lok Man. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves i-vi). / Abstracts in English and Chinese. / INTRODUCTION --- p.2 / Chapter Section One: --- The Discussion on Donne's Conceits and Donne's Passion in His Poetry --- p.3 / Chapter Section Two: --- Development of Cognitive Poetics --- p.6 / Chapter Section Three: --- Significance of Cognitive Poetics --- p.10 / Chapter Section Four: --- Significance of this Research Project --- p.13 / Chapter CHAPTER ONE: --- CONCEPTUAL METAPHOR THEORY AND BLENDING THEORY --- p.15 / Chapter Section One: --- Theoretical Background of Metaphor --- p.15 / Chapter Part One: --- Metaphor as Deviation --- p.16 / Chapter Part Two: --- Metaphor as Ornament --- p.17 / Chapter Part Three: --- Metaphor as a Way of Understanding --- p.19 / Chapter Part Four: --- Metaphor and Conceit --- p.21 / Chapter Section Two: --- Conceptual Metaphor Theory --- p.21 / Chapter Part One: --- Conceptual Metaphor Theory --- p.21 / Chapter Part Two: --- Conceptual Metaphor Theory and Emotions --- p.25 / Chapter Section Three: --- Blending Theory --- p.26 / Chapter Part One: --- From Conceptual Metaphor Theory to Blending Theory --- p.26 / Chapter Part Two: --- Gregor as a Twitter User --- p.28 / Chapter Part Three: --- Blending and Conceit --- p.33 / Conclusion --- p.34 / Chapter CHAPTER TWO: --- FUNCTIONS OF DONNE'S CONCEITS --- p.35 / Chapter Section One: --- Conceit in Perspectives --- p.36 / Chapter Part One: --- Definition and Classification of a Conceit --- p.36 / Chapter Part Two: --- The Mechanism of Combining Two Heterogeneous Images --- p.38 / Chapter Part Three: --- Functions of a Conceit in the Argumentation of a Poem --- p.41 / Chapter Part Four: --- Comparison Between the Rhetorical Approach and the Cognitive Approach --- p.43 / Chapter Section Two: --- Functions of Donne's Conceits --- p.47 / Chapter Part One: --- Analysis of 'Lovers' Infiniteness' --- p.47 / Chapter Part Two: --- Condensed Conceits --- p.57 / Chapter Part Three: --- Expanded Conceits --- p.64 / Conclusion --- p.67 / Chapter CHAPTER THREE: --- THE PASSION IN DONNE'S CONCEITS --- p.68 / Chapter Section One: --- The Emotional Aspect of Donne's Poems and the Cognitive Perspective --- p.69 / Chapter Section Two: --- Conceptual Theory of Emotion in Detail --- p.75 / Chapter Part One: --- Kovecses's Emotion Concepts and Cognitive Model of Emotions --- p.75 / Chapter Part Two: --- "Intensity, Passivity and Force in Romantic Love" --- p.77 / Chapter Part Three: --- Application of Kovecses's theory to Donne's poems --- p.79 / Chapter Section Three: --- Donne's Expressions of Emotions --- p.81 / Chapter Part One: --- Passion and Intensity of Love when Love is Fierce --- p.81 / Chapter Part Two: --- Frustration and Attempts to Control One's Emotions --- p.85 / Chapter Part Three: --- Secured and Satisfied Love --- p.89 / Chapter Part Four: --- Conceits that Fall Outside the Stages of Emotions --- p.94 / Conclusion --- p.97 / CONCLUSION --- p.99 / Other Issues in Donne's Poetry Concerning Emotions --- p.100

嚴宇樂. / 論文(碩士) -- 香港中文大學硏究院中國語言及文學部, 1997. / 參考文獻: leaves 1-8 (3rd group) / Yan Yuyue. / 提要 / Chapter 第一章、 --- 緒論 --- p.1 / Chapter 1. --- 有關選本的問題 --- p.1 / Chapter 2. --- 「重建傳統」槪念簡析 --- p.3 / Chapter 3. --- 重建詩歌傳統與陸氏編選《詩鏡》的宗旨 --- p.9 / Chapter 第二章、 --- 陸時雍詩論之時代背景 --- p.14 / Chapter 1. --- 歷史背景 --- p.14 / Chapter 1.1 --- 社會背景 --- p.14 / Chapter 1.2 --- 思想背景 --- p.18 / Chapter 2. --- 文學史背景 --- p.20 / Chapter 2.1 --- 明代詩壇槪況 --- p.20 / Chapter 2.2 --- 明詩創作之取徑 --- p.26 / Chapter 2.3 --- 明人對歷代詩總集之選編與刊印 --- p.32 / Chapter 第三章、 --- 陸時雍生平和著述 --- p.36 / Chapter 1. --- 陸時雍生平及交遊 --- p.36 / Chapter 2. --- 陸時雍的著述 --- p.40 / Chapter 2.1 --- 陸時雍著述簡介 --- p.40 / Chapter 2.2 --- 《詩鏡》槪說 --- p.43 / Chapter 2.2.1 --- 解題 --- p.43 / Chapter 2.2.2 --- 體例 --- p.45 / Chapter 2.2.3 --- 底本 --- p.47 / Chapter 3. --- 前人對陸時雍之硏究與本文硏究方法 --- p.48 / Chapter 3.1 --- 前人硏究陸時雍槪況 --- p.48 / Chapter 3.2 --- 本論文之硏究方法 --- p.51 / Chapter 第四章、 --- 陸時雍之基本詩論 --- p.53 / Chapter 1. --- 總綱：情生於文，文生於情 --- p.53 / Chapter 2. --- 情 --- p.62 / Chapter 2.1 --- 前代與明代之緣情說 --- p.62 / Chapter 2.2 --- 陸氏的情感論 --- p.65 / Chapter 2.2.1 --- 性情之辨 --- p.65 / Chapter 2.2.2 --- 情意之辨 --- p.67 / Chapter 2.2.3 --- 情之生成：感興而成、緣境而生 --- p.74 / Chapter 2.2.4 --- 情、境關係 --- p.78 / Chapter 2.2.5 --- 真情實境 --- p.83 / Chapter 2.2.6 --- 真：率性，當情，稱物 --- p.92 / Chapter 2.2.7 --- 人情、物情感通 --- p.94 / Chapter 2.2.8 --- 詩可以觀 --- p.96 / Chapter 3. --- 韻 --- p.97 / Chapter 3.1 --- 「有餘意之謂韻」與言意之辨 --- p.98 / Chapter 3.2 --- 形器與超形器 --- p.103 / Chapter 3.3 --- 韻與其他範疇 --- p.109 / Chapter 第五章、 --- 陸時雍之批評實踐（上） --- p.113 / Chapter 1. --- 通代批評 --- p.114 / Chapter 1.1 --- 一代詩有一代之特色 --- p.114 / Chapter 1.2 --- 雅衰艷盛與踵事增華 --- p.115 / Chapter 2. --- 斷代批評 --- p.118 / Chapter 2.1 --- 先秦 --- p.121 / Chapter 2.1.1 --- 詩騷之辨 --- p.122 / Chapter 2.1.2 --- 《詩經》 --- p.126 / Chapter 2.1.3 --- 楚辭 --- p.131 / Chapter 2.1.4 --- 《詩》《騷》與漢魏文學 --- p.135 / Chapter 2.2 --- 漢詩 --- p.136 / Chapter 2.3 --- 魏詩 --- p.141 / Chapter 2.4 --- 晉詩 --- p.146 / Chapter 2.5 --- 南朝宋詩 --- p.151 / Chapter 2.6 --- 齊詩 --- p.154 / Chapter 2.7 --- 梁詩 --- p.156 / Chapter 2.8 --- 陳詩 --- p.161 / Chapter 2.9 --- 隋詩 --- p.162 / Chapter 2.10 --- 六朝與唐之辨 --- p.163 / Chapter 2.11 --- 初唐 --- p.173 / Chapter 2.12 --- 盛唐 --- p.182 / Chapter 2.13 --- 中唐 --- p.186 / Chapter 2.14 --- 晚唐 --- p.198 / Chapter 2.15 --- 宋 --- p.203 / Chapter 第六章、 --- 陸時雍之批評實踐（下） --- p.209 / Chapter 1. --- 作者批評 --- p.209 / Chapter 1.1 --- 建安詩人：三曹、王粲、劉楨 --- p.209 / Chapter 1.2 --- 正始詩人：嵇康、阮籍 --- p.217 / Chapter 1.3 --- 西晉詩人：傅玄 --- p.220 / Chapter 1.4 --- 晉宋之際詩人：陶謝 --- p.223 / Chapter 1.5 --- 齊梁詩人：謝眺到梁武帝 --- p.241 / Chapter 1.6 --- 南梁詩人：何遜 --- p.246 / Chapter 1.7 --- 初唐詩人：四傑、陳子昂、沈宋 --- p.248 / Chapter 1.8 --- 盛唐詩人：李白、杜甫、王維 --- p.263 / Chapter 1.9 --- 中唐詩人：劉長卿、李益、韋應物、柳宗元 --- p.283 / Chapter 1.10 --- 晚唐詩人：溫李 --- p.293 / Chapter 第七章、 --- 結論一一陸氏詩論的意義與得失 --- p.301 / 參考書目

王穎. / "2010年12月". / "2010 nian 12 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (leave 108-117). / Abstract in Chinese and English. / Wang Ying. / 緒論 --- p.1 / 硏究目的 --- p.1 / 海內外硏究回顧 --- p.3 / 本文硏究方法 --- p.9 / Chapter 第一章： --- 「情志」觀釋義 --- p.12 / Chapter 一、 --- 劉勰言詩之「志」 --- p.13 / Chapter 二、 --- 劉勰言詩之「情」 --- p.21 / 小結 --- p.30 / Chapter 第二章： --- 「情志」觀與詩歌史的建構 --- p.33 / 《辨騷》立「變」之標準 --- p.34 / Chapter 一、 --- 上古六朝 --- p.35 / Chapter 二、 --- 楚漢 --- p.37 / Chapter 三、 --- 魏晉 --- p.39 / Chapter 四、 --- 宋齊 --- p.48 / 劉勰詩歌史的「情志」與「變」 --- p.49 / Chapter 第三章： --- 「情志」觀與詩歌創作 --- p.52 / Chapter 一 . --- 物與情 --- p.52 / Chapter 二 . --- 氣與志 --- p.60 / Chapter 三. --- 情與志 --- p.68 / 小結 --- p.77 / Chapter 第四章： --- 「情志」觀與詩歌評鑒 --- p.79 / Chapter 一、 --- "志在山水,琴表其情" --- p.80 / Chapter 二、 --- 形之筆端，理將焉匿 --- p.83 / Chapter 三、 --- "情動辭發,披文入情" --- p.92 / 小結 --- p.97 / 結論 --- p.99 / 「情志」觀之價値 --- p.99 / 「情志」觀之影響略述 --- p.102 / 小結 --- p.107 / 參考資料 --- p.108

This study addresses lesser known works of romantic poets John Clare and John Keats--Clare's Child Harold and Keats's poems to Fanny Brawne--which I refer to as their love poems because the works are informed by intense feelings the poets had for women they loved. Although these works have been the brunt of negative criticism because Clare was considered insane at the time of the composition of Child Harold and Keats was accused of using the poems to give vent to his personal sufferings, nonetheless I argue that the love poems are significant for several reasons. They are a reflection of the poets' personal experiences and also demonstrate their remarkable and surprisingly similar creative abilities in the way they use poetry as a means of devising new strategies for dealing with the painful realities of their disturbing lives. And because I feel it is important to understand Clare's and Keats's feelings for the women they love in order to understand their poetry (since the poetry is, after all, based on real life experiences), I provide chapters describing the poets's lives and loves, as well as their poetic processes, to serve as a framework for examining the poems. In the remaining chapters, I show how the poets incorporate highly sophisticated metaphor in attempting to reconcile the apparent conflicts the speakers in their poems are experiencing between their subjective responses to, and their rational assessment of human existence. In the process, the speakers experience various states of emotional upheaval ranging from what I refer to as periods of limbo, purgatory, and paradise, and they create personal thresholds and undergo differing states of self-awareness. In the final chapter I provide a summary of how these different emotional states are metaphorically effected, and then attempt to explain the value of Clare's and Keats's poetic achievements in the poems from a current perspective.