This study is concerned with modern Christian poetry in Afrikaans. Afrikaans poetry, which initially carried the clear stamp of the Afrikaner's Calvinistic view of life, gradually assumed a new image to the extent that it could no longer be recognised as religious and specifically Calvinistic poetry. To the contrary, modern Afrikaans Christian poetry is the expression of a contemporary conceptualisation of the very same gospel. The occasional violent reaction especially of conservative institutions to so called "unchristian" modern poetry in Afrikaans during the past three decades, has prompted this study which attempts to illustrate that modern Afrikaans poetry still exhibits a strong Christian element. The essential qualities of contemporary Christian poetry in Afrikaans are illustrated in the discussion of the works of particular leading Afrikaans poets. Chapter 3 attempts to indicate a transitional stage between traditional and modern Christian poetry by means of an overview of the latest tendencies and approaches, with brief references to the recent poetry of the Louws, the poetry of Peter Blum as the initial exponent of the poetry of the Sixties, and the poetry of Ina Rousseau. The work of Sheila Cussons, eminent Roman Catholic (and thus also Christian) poet who is probably the most impressive contemporary exponent of metaphysical/mystic poetry in Afrikaans, is discussed in chapter 4. Chapter 5 illustrates the traditional Calvinistic Christian point of view and Christian experience as represented in the poetry of I.L. de Villiers. The poetification of the ministry adds new dimension to religions poetry in Afrikaans. Chapter 6 constitutes a discussion of the works of T.T . Cloete, the most significant contemporary Reformed poet in Afrikaans indicating the extent to which the many related facets embodied in his poetry consistently reflect a Christian attitude and are unified in and encompassed by the principle of Soli Deo Gloria. Chapter 7, by way of conclusion, reviews the religious poetry of Lina Spies and Petra Müller who write accessible popular poetry, nevertheless exploring interesting references. In conjunction with the poetry of Ina Rosseau, this poetry represents a contribution to modern Afrikaans religious poetry from a feminine point of view

This study involves an investigation into the use of satire and humour as strategies of communication. The poetry of four Tsonga poets selected for study includes these strategies which are investigated for the purpose of determining the extent to which they function as strategies of communication. The study consists of four chapters which can be summarized as follows: CHAPTER 1 contains the introduction, aim, scope and method of approach of the entire study. Theories and definitions of satire and humour are also presented here. In CHAPTER 2 the poems selected for study are analysed in terms of invective, subtle and light-hearted satire. CHAPTER 3 focuses attention on the style of presentation of comic and derisive humour. CHAPTER 4 highlights and elucidates the most significant findings of the study. The most competent poet of the four at using satire and humour is identified and his excellence declared and justified / African Languages / M.A. (African languages)

Thesis (MA)--Stellenbosch University, 2008. / ENGLISH ABSTRACT: The first section of this thesis aims at creating a reading strategy for the analysis of poetry thematically concerned with habitation and the space of the house. Selected Afrikaans poems, forming part of a newer house-poetry that breaks away from the idyllic, genial representation of the house in earlier Afrikaans poetry, are examined. The theoretical equipment utilised in this examination is the habitation philosophies of Martin Heidegger, Otto Friedrich Bollnow and Gustav Bachelard. Various related insights in the work of these philosophers are developed into a three-tiered model for the interpretation of house poetry. Supplementing the abovementioned framework is the socio-historical work of Joseph Rykwert and Ton Lemaire. Both these theorists explore the close connection between the space of the house and the realisation of mortality and transience. The application of the philosophical model facilitates, on the micro level of image and word choice, a fresh understanding of the selected poems, as well as a wider philosophical contextualisation of their thematic content. The reading strategy and the application thereof could also provide the means with which a new philosophical scrutiny of Afrikaans house-poetry can be achieved. The abovementioned formal essay is presented as coupled with a collection of original Afrikaans poems, entitled Vierluik, the creative section of this thesis. Vierluik examines, among other things, aspects of habitation in city, town and countryside, and reflects on descent, rootedness, displacement and the interconnection of space and identity. / AFRIKAANSE OPSOMMING: Die eerste gedeelte van hierdie tesis het as doel die daarstelling van ’n leesstrategie waarmee poësie wat tematies oor die huisruimte en bewoning handel, ondersoek kan word. Geselekteerde Afrikaanse gedigte, wat deel vorm van ’n nuwer huispoësie wat sedert die sestigerjare wegbreek van die idilliese, gemoedelike uitbeelding van die huis in vroeër Afrikaanse gedigte, word ondersoek. Die teoretiese apparatuur wat in hierdie ondersoek aangewend word, is die bewoningsfilosofieë van Martin Heidegger, Otto Friedrich Bollnow en Gustav Bachelard. Verskeie verbandhoudende insigte in die werk van hierdie denkers word ontwikkel tot ’n drieledige interpretasiemodel vir huispoësie. Hierby dien as aanvulling die kultuur-historiese werk van Joseph Rykwert en Ton Lemaire, waarin die noue band tussen die huisruimte en die doods- of verganklikheidsbesef uitgewerk word. Die toepassing van hierdie filosofiese begripsapparatuur fasiliteer op die mikrovlak van beelde en woordkeuse ’n vars verstaan van die vyf geselekteerde gedigte, asook ’n breër filosofiese kontekstualisering van hulle tematiese inhoud. Die leesstrategie en toepassings sou ook ’n filosofiese oopdek van die huispoësie in Afrikaans kon bemiddel. Hierdie akademiese gedeelte dien verder as ’n verbandhoudende oefening by die kreatiewe gedeelte van die tesis, naamlik ’n digbundel, Vierluik. Die bundel ondersoek, onder andere, aspekte van bewoning in stad, dorp en platteland, en bied ’n besinning aan oor herkoms, geworteldheid, verplasing en die verweefdheid van ruimte en identiteit.

Le poète arménien Yéghiché Tcharents (1897-1937) devient victime des répressions staliniennes des années 30. Tcharents est déjà un poète connu lorsque la révolution éclate en Russie. Il voit dans la révolution le sauveur de son peuple au destin tragique. Il croit aux idéaux humanistes de Lénine comme beaucoup de ses contemporains. Cependant, le pouvoir totalitaire de Staline change son regard politique. Sa poésie reflète ses inquiétudes. En 1933, le recueil de poèmes Livre du chemin, un compte-rendu de sa vision poétique de la construction de la nouvelle société, ainsi que de l’éducation de l’homme soviétique, est censuré. Il est publié à nouveau avec des modifications. Tcharents, le poète de tous les combats, ne parvient pas à cacher son désaccord, sa désillusion vis-à-vis du pouvoir politique. Il témoigne à travers sa poésie. Le système répressif ne le laisse plus en paix. Il est inculpé comme contre-révolutionnaire, trotskiste, nationaliste, terroriste. En juillet 1936, il est assigné à résidence. La poésie demeure l’unique espace où il pense et écrit librement. Malade et conscient de l’imminence de sa mort, il survit grâce à sa poésie, dans son univers de visions. L’argumentation de la thèse est construite sur l’analyse littéraire des textes du corpus : le Livre du chemin et les textes poétiques de 1935 à 1937 de Tcharents. Une étude concise du contexte historico-politique de sa poésie et une analyse littéraire de son œuvre avant 1933 sont aussi proposées, permettant de mieux percevoir la complexité des relations entre le poète-individu et son époque, et enfin, de réunir tous les éléments nécessaires de traduction faisant partie de l’objectif de cette étude doctorale. / The Armenian poet Yeghishe Charents (1897-1937) becomes victim of Stalin’s repressions in the Thirties. Charents is already known as a poet when the revolution bursts in Russia. He sees in the revolution the saver of his people with the tragic destiny. Like many of his contemporaries he believes in the humanistic ideals of Lenin. However, the totalitarian power of Stalin changes his political views. His poetry reflects his concerns. In 1933, the collection of poems Book of the way, a report of his poetic vision of the new society, as well as the education of the Soviet man, is censored. It is published with changes. Charents, the poet actively involved in a number of social issues, cannot hide his dissension and disillusion with respect to the political power. He bespeaks through his poetry. The repressive system does not leave him any more in peace. He is accused of being a contra-revolutionist, trotskyist, nationalist, terrorist. In July 1936, he is put under house arrest. Poetry remains the sole space where he thinks and writes freely. Ill and aware of the imminence of his death, he survives in his universe of visions thanks to his poetry.The argumentation of this doctoral thesis is built on the literary analysis of the texts in the corpus: the Book of the way and the poetic texts of 1935 to 1937. A concise study of the historical-political context of his poetry and a literary analysis of his work before 1933 are also proposed. This allows to better perceive the complexity of the relations between the poet-individual and his time and, finally joins all the elements necessary for the translation, which is an objective of this doctoral study.

Le poète arménien Yéghiché Tcharents (1897-1937) devient victime des répressions staliniennes des années 30. Tcharents est déjà un poète connu lorsque la révolution éclate en Russie. Il voit dans la révolution le sauveur de son peuple au destin tragique. Il croit aux idéaux humanistes de Lénine comme beaucoup de ses contemporains. Cependant, le pouvoir totalitaire de Staline change son regard politique. Sa poésie reflète ses inquiétudes. En 1933, le recueil de poèmes Livre du chemin, un compte-rendu de sa vision poétique de la construction de la nouvelle société, ainsi que de l’éducation de l’homme soviétique, est censuré. Il est publié à nouveau avec des modifications. Tcharents, le poète de tous les combats, ne parvient pas à cacher son désaccord, sa désillusion vis-à-vis du pouvoir politique. Il témoigne à travers sa poésie. Le système répressif ne le laisse plus en paix. Il est inculpé comme contre-révolutionnaire, trotskiste, nationaliste, terroriste. En juillet 1936, il est assigné à résidence. La poésie demeure l’unique espace où il pense et écrit librement. Malade et conscient de l’imminence de sa mort, il survit grâce à sa poésie, dans son univers de visions. L’argumentation de la thèse est construite sur l’analyse littéraire des textes du corpus : le Livre du chemin et les textes poétiques de 1935 à 1937 de Tcharents. Une étude concise du contexte historico-politique de sa poésie et une analyse littéraire de son œuvre avant 1933 sont aussi proposées, permettant de mieux percevoir la complexité des relations entre le poète-individu et son époque, et enfin, de réunir tous les éléments nécessaires de traduction faisant partie de l’objectif de cette étude doctorale. / The Armenian poet Yeghishe Charents (1897-1937) becomes victim of Stalin’s repressions in the Thirties. Charents is already known as a poet when the revolution bursts in Russia. He sees in the revolution the saver of his people with the tragic destiny. Like many of his contemporaries he believes in the humanistic ideals of Lenin. However, the totalitarian power of Stalin changes his political views. His poetry reflects his concerns. In 1933, the collection of poems Book of the way, a report of his poetic vision of the new society, as well as the education of the Soviet man, is censored. It is published with changes. Charents, the poet actively involved in a number of social issues, cannot hide his dissension and disillusion with respect to the political power. He bespeaks through his poetry. The repressive system does not leave him any more in peace. He is accused of being a contra-revolutionist, trotskyist, nationalist, terrorist. In July 1936, he is put under house arrest. Poetry remains the sole space where he thinks and writes freely. Ill and aware of the imminence of his death, he survives in his universe of visions thanks to his poetry.The argumentation of this doctoral thesis is built on the literary analysis of the texts in the corpus: the Book of the way and the poetic texts of 1935 to 1937. A concise study of the historical-political context of his poetry and a literary analysis of his work before 1933 are also proposed. This allows to better perceive the complexity of the relations between the poet-individual and his time and, finally joins all the elements necessary for the translation, which is an objective of this doctoral study.

How we approach a poem changes it. Recently, it has been suggested that one readerly approach - a bodily orientation characterised by distance, suspicion, and resistance - risks becoming reflexive, pre-conscious, and predominant. This use-oriented reading allows us to destabilise, denaturalise, dissect, defend, and define poetic texts through its manifestation in contemporary literary critique, yet it is coming to be regarded as the sole manner and mood of intelligent, intellectual engagement. In this thesis, I demonstrate the need to pluralise this attentive orientation, particularly when it comes to contemporary lyric poetry. I suggest how an overlooked mode of response might foster a more receptive mode of approach: the 'co-creative' response. Lyric poems mean to move us, and they come to mean by moving us. Recent 'simulation theories of language comprehension', from the field of cognitive neuroscience, provide empirical evidence that language processing is not a product of a-modal symbol manipulation but rather involves 'simulations' by certain classes of neurons in areas used for real-world action and perception. As habituation and abstraction increase, however, these embodied simulations 'streamline', becoming narrow schematic 'shadows' of once broad, qualitatively rich simulations. Poems, I suggest, seek to reverse this process by situationally novel variations of language, coming to mean in the broadly embodied sense in which real-world experiences 'mean'. Readers are asked to 'enact' the poem, to 'co-create' its meaning. Where critique traditionally requires that readers resist enactive participation in the aim of objective analysis, the co-creative response - a response 'in kind' by imitation, versioning, or hommage - asks readers to receive and carry forward the enactive unfolding of a poem with a composition of their own. I assert that, by thus responding with - rather than to - poems, we might foster an attentive stance of active receptivity, thereby coming to understand poems as the enactive phenomena they are.

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

杜甫詩是中國古典文學的經典，其經典地位奠定於有宋一代。本文以宋代詩話為考察對象，分析文學批評和杜詩經典化的關係，主要內容如下： / 首先，本文將討論文壇領袖對杜詩的讚賞，如何演化為整個文壇的普遍觀念。文中指出蘇軾和黃庭堅是杜詩的發明者，二人對杜詩的評價，得到宋詩話的熱烈回應，意義不斷得到擴展和深化，由個人詮釋演化為宋人的集體認知，從而確立了杜詩的典範性。蘇軾「一飯未嘗忘君」的評語，經由詩話的討論和闡釋，最終令杜詩得「詩中六經」的評價。黃庭堅「無一字無來處」的評語，也促使詩話研究杜詩出處和用事手法蔚為風氣，不僅確立了杜甫好用事的特徵，也使杜詩成為宋詩風格的模範。 / 其次，本文探討宋代政治和文化背景對宋人接受杜甫的影響。在「李杜優劣」此一議題上，杜詩得到凌駕李白的地位，批評家看重詩歌內容的社會意義多於藝術性，反映唐宋人期待視野的轉移。宋人對杜甫「詩史」的讚譽，也與宋型文化和南宋戰禍連年有密切關係。宋詩話特別重視杜甫和安史之亂有關的詩作，因為安史之亂與宋代歷史背景有不少相似之處，宋人藉著詮釋杜詩的義理，投射了對胡人的痛恨、戰亂中的自傷之情和淑世理想。宋人憑藉認同杜甫，達至自我認同；通過詮釋杜詩，而完成自我呈現。杜甫在安史之亂中的遭遇，使他成了盛唐詩人中最能引發宋人共鳴者，也為宋人的詮釋提供了前提。宋詩話慣以比興和用事手法解釋杜詩，也使杜詩的詮釋空間擴大，更能貼合宋人的情感寄託。 / 此外，本文就宋詩話的本質和批評形式，如何在一定程度上掌握文學經典化的權力進行探討。詩話是新興於宋的詩歌批評形式，「摘句批評」和「論詩辨體」是其慣用的表達方式。在詩話的批評形式下，宋詩話出現了以杜詩為中心的價值取向：評估杜詩的價值，展示杜詩的多元性，樹立杜詩的正統意義，確立杜詩較他人優勝的觀念，凸顯學杜之必要。詩話的批評形式確立了杜詩經典化的重要價值，又憑藉詩話的詩法指導功能，規範了時人的價值判斷和創作。 / 最後，本文考察杜甫在宋代唐宋詩之爭的詩統建構中所處的位置。「宋詩」詩統藉著「一祖三宗」的論述，加強和杜甫的連繫，鞏固自身的正統地位。「唐詩」詩統同樣以杜甫為正統，其論述反而著重否定「宋詩」和杜甫的關係。唐、宋詩同樣以杜甫為正統，使杜詩超然於後世受唐宋詩之爭，對杜詩經典價值的延續有深刻意義。 / Since its inception in the Song Dynasty, Du Fu 杜甫 ’s poetry has been firmly regarded as a canon in the field of classical Chinese Literature. The process of which, however, has not been clearly examined. Based on Song Dynasty’s Remarks on Poetry 詩話, this thesis is devoted to analyzing the relationship between literary criticism and canonization of Du’s poems. / First, this thesis discusses how literary leaders’ commendation on Du’s poetry has become the general view of the Song literati. It particularly highlighted the evaluations of Du’s poems from Su Shi 蘇軾 and Huang Ting-jian 黃庭堅. Their comments were widely quoted and re-interpreted by subsequent authors of Remarks on Poetry, which confirmed and reinforced the importance of Su and Huan’s thoughts. The transition from Su and Huang’s personal interpretation to becoming a widely-held view amongst the literati, affirmed the canonical status of Du’s poetry. Through discussion and interpretation by Remarks on Poetry, Su’s comments on Du Fu as “a ever-loyal official 一飯未嘗忘君 contributed to the commendation on the Du’s poems as “Six works of the Confucian Canon in poetry 詩中六經. Huang commented Du’s poetry as “not a single word [in them] does not have its sources 無一字無來處. This promoted a more in-depth study into the origins of Du’s habitual use of allusions. This not only reaffirmed the intense use of allusions as one of the characteristics of Du’s works but also as the model of Song-styled poetry. / Second, this thesis investigates the impact of Song politics and cultures on the Song people’s reception of Du’s poetry. When comparing Li Bai to Du Fu, Du’s works were have consistently received a higher ranking as commentators often value social meanings more than artistic value. This demonstrates a shift in value system from Tang to that of Song dynasty. The Song people’s acclamation of Du as Shishi 詩史 was related to Song culture and the prolonged war in the Southern Song. Remarks on Poetry paid special attention to Du’s works related to An Lu-shan rebellion as this rebellion shared similarities with Song history. In Remarks on Poetry’s interpretation of Du’s poems, it reflected the Song people’s grievance towards foreign tribes and warfare. By agreeing with Du Fu, the Song people can develop its self-identity; through interpreting Du’s poetry, they can self-actualize. Du Fu’s encounter during the An Lu-shan rebellion made him well-received by the Song literati, and gave them the premise for interpretation of Du’s poems. Remarks on Poetry adopted an analogical way of expression, bixiang 比興, and allusion to study Du’s works and this provided more perspectives for interpretation and space for emotional sustenance. / Third, this thesis investigates the nature and format of Remarks on Poetry, and why it remains authoritative in literary canonization, despite its apparent arbitrary nature. Remarks on Poetry was a new form of poetry criticism in Song Dynasty. “Commentaries on isolated sentences drawn out from poems, zheju piping 摘句批評, and “Discussion on poetic form distinction, lunshi bianti 論詩辨體, are its usual presentation. Under this new style of critique, Remarks on Poetry developed a kind of value judgment with Du’s poetry as its basis: evaluating the value of Du’s poetry, demonstrating the diversity of his works, establishing an orthodox meaning for his poems, reinforcing the concept of higher ranking of his poems, and highlighting the importance of studying Du’s works. Such a style reinforced the canonical value of Du’s poetry. Coupled by the Remarks on Poetry’s nature as an authoritative reference text it defined the value system of those times and dictated the way in which literary works are to be made. / Fourth, this thesis puts Du Fu squarely in the conflict between Tang-styled and Song-styled poetry. Based on the theory “one ancestor and three predecessor, yizu sanzong 一祖三宗 , the Song-styled poetry strengthened its connection with Du Fu and reinforced its orthodoxy. The Tang-styled poetry also set Du Fu as its role-model but its discourse emphasized disconnecting Du’ works with the Song-styled poetry. Despite the conflict between the Tang-styled and Song-styled poetry, Du’s works were still highly recognized as an orthodox example by both groups and this contributed immensely to the continued canonical status of Du’s 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. / Detailed summary in vernacular field only. / 朱寳盈. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 230-241) / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Zhu Baoying. / Chapter 第一章 --- 導論 --- p.1 / Chapter 第一節 --- 杜甫詩的經典化 --- p.1 / Chapter 一、 --- 唐或宋？杜詩經典地位的確立 --- p.2 / Chapter 二、 --- 杜詩經典化的幾個思考重點 --- p.5 / Chapter 第二節 --- 前人研究成果與本文討論重點 --- p.8 / Chapter 一、 --- 前人研究成果 --- p.8 / Chapter （一） --- 整理杜詩在宋代流傳概況和資料 --- p.9 / Chapter （二） --- 指出杜甫「儒家思想」很大程度出於宋人建構 --- p.10 / Chapter （三） --- 從唐宋文化的差別辨析唐宋人論杜 --- p.11 / Chapter （四） --- 以接受美學觀念分析宋代杜詩學 --- p.12 / Chapter （五） --- 分析杜甫對宋詩風格的典範作用 --- p.13 / Chapter 二、 --- 本文討論重點 --- p.14 / Chapter （一） --- 以「經典化」為研究視野分析宋代杜詩學 --- p.14 / Chapter （二） --- 重視「眾人」的意見 --- p.15 / Chapter （三） --- 關注「詩話」的作用 --- p.16 / Chapter （四） --- 探析「詩史」與宋型文化關係 --- p.17 / Chapter （五） --- 論析唐宋詩之爭對杜詩地位的影響 --- p.18 / Chapter 第三節 --- 研究目的及方向 --- p.19 / Chapter 第二章 --- 從個人詮釋到集體認知： 宋代詩話對蘇、黃評杜的回應與杜詩經典化 --- p.22 / Chapter 第一節 --- 引言 --- p.22 / Chapter 第二節 --- 宋初詩話「論杜」 --- p.23 / Chapter 一、 --- 北宋初年詩壇非尊杜 --- p.23 / Chapter 二、 --- 對杜詩藝術的評價 --- p.28 / Chapter 三、 --- 小結 --- p.30 / Chapter 第三節 --- 杜詩價值的發明 --- p.30 / Chapter 一、 --- 宋人眼中的杜詩發明者 --- p.30 / Chapter 二、 --- 宋詩話回應蘇、黃評杜的三種模式 --- p.34 / Chapter 第四節 --- 蘇、黃論杜與杜詩的經典化 --- p.42 / Chapter 一、 --- 從「一飯未嘗忘君」到「詩中六經」 --- p.43 / Chapter 二、 --- 從「無一字無來處」到「江西詩派」 --- p.50 / Chapter 第五節 --- 結語 --- p.56 / Chapter 第三章 --- 時代的制約：論宋人的期待視野與歷史感懷 --- p.58 / Chapter 第一節 --- 引言 --- p.58 / Chapter 第二節 --- 雙重標準的李杜優劣論期待視野的轉移 --- p.59 / Chapter 一、 --- 宋人對李杜優劣論的回應與再發展 --- p.60 / Chapter （一） --- 回應元稹、韓愈之論：李杜並尊 --- p.60 / Chapter （二） --- 李杜優劣論的再發展：獨尊老杜 --- p.65 / Chapter 二、 --- 宋人品次李杜的兩個標準 --- p.68 / Chapter 三、 --- 小結：期待視野的轉移 --- p.78 / Chapter 第三節 --- 自我認同與呈現--安史之亂與宋人的「詩史杜甫」 --- p.79 / Chapter 一、 --- 宋詩話與杜甫「安史詩」 --- p.79 / Chapter 二、 --- 安史之亂與宋人的歷史感懷 --- p.90 / Chapter 三、 --- 杜甫「安史詩」詮釋的先決條件與詮釋空間的擴大 --- p.109 / Chapter （一） --- 詮釋的先決條件 --- p.110 / Chapter （二） --- 詮釋空間的擴大 --- p.116 / Chapter 第四節 --- 結語：宋人的「詩史」杜甫 --- p.124 / Chapter 第四章 --- 典範意義的產生：詩話的詩法指導作用與杜詩價值的確立 --- p.127 / Chapter 第一節 --- 引言 --- p.127 / Chapter 第二節 --- 綜述：在詩話批評形式下的評杜現象 --- p.128 / Chapter 一、 --- 廣泛的討論和援引為證 --- p.128 / Chapter 二、 --- 同時摘取杜甫與他人詩句 --- p.133 / Chapter （一） --- 說明杜詩的出處 --- p.133 / Chapter （二） --- 強調後世詩人於杜詩的學習 --- p.135 / Chapter （三） --- 同類並舉 --- p.137 / Chapter 三、 --- 論詩辨體與杜詩 --- p.143 / Chapter 四、 --- 小結：宋人開創的評杜現象 --- p.149 / Chapter 第三節 --- 現象背後的意義 --- p.152 / Chapter 一、 --- 以摘句褒貶直接賦予價值 --- p.152 / Chapter 二、 --- 展現杜詩審美價值的多元性 --- p.156 / Chapter 三、 --- 杜詩的正統意義塑造 --- p.161 / Chapter 四、 --- 確立杜詩較他人優勝的觀念 --- p.166 / Chapter 五、 --- 凸顯學杜的必要 --- p.170 / Chapter 六、 --- 小結：以杜詩為中心的價值取向 --- p.177 / Chapter 第四節 --- 詩話的功用與典範意義的確立 --- p.178 / Chapter 第五節 --- 結語 --- p.186 / Chapter 第五章 --- 唐宋詩之爭與杜甫：論詩統建構與杜詩經典價值的延續 --- p.189 / Chapter 第一節 --- 引言 --- p.189 / Chapter 第二節 --- 「唐詩」、「宋詩」的詩統建構與杜甫 --- p.190 / Chapter 一、 --- 「唐詩」與「宋詩」 --- p.190 / Chapter 二、 --- 「宋詩」的詩統建構與杜甫 --- p.194 / Chapter 三、 --- 「唐詩」的詩統建構與杜甫 --- p.203 / Chapter 四、 --- 小結：以杜甫為「正統」的詩統建構 --- p.213 / Chapter 第三節 --- 經典價值的延續：超然於唐宋詩之爭中的正統地位 --- p.215 / Chapter 第四節 --- 結語 --- p.221 / Chapter 第六章 --- 結論 --- p.224 / Chapter 第一節 --- 總結 --- p.224 / Chapter 第二節 --- 餘論 --- p.229 / 主要參考書目 --- p.230

吳志廉. / "2013年8月". / "2013 nian 8 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 224-232). / 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. / Wu Zhilian.

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