徐笑珍. / "2002年6月" / 論文 (哲學碩士)--香港中文大學, 2002. / 參考文獻 (leaves 135-141) / 附中英文提要. / "2002 nian 6 yue" / Xu Xiaozhen. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2002. / Can kao wen xian (leaves 135-141) / Fu Zhong Ying wen ti yao. / Chapter 第一章 --- 緒論 / Chapter 第一節 --- 硏究背景及槪況 --- p.1-2 / Chapter 第二節 --- 硏究目的 --- p.3 / Chapter 第三節 --- 硏究方法 --- p.4-6 / Chapter 第二章 --- 夏承燾的生平事蹟 / Chapter 第一節 --- 夏承燾的治詞經歷 --- p.7-16 / Chapter 第二節 --- 夏承燾的性情 --- p.17-28 / Chapter 第三節 --- 夏承燾的交遊 / Chapter 一、 --- 夏承燾交遊述介 --- p.29-37 / Chapter 二、 --- 夏承燾詞友考析 --- p.38-42 / Chapter 第四節 --- 小結 --- p.43 / Chapter 第三章 --- 夏承燾的詞學管窺 / Chapter 第一節 --- 譜牒之學 / Chapter 一、 --- 編纂方法及動機 --- p.44-45 / Chapter 二、 --- 資料取材 --- p.46-47 / Chapter 三、 --- 編纂凡例 --- p.47-55 / Chapter 四、 --- 夏氏所編年譜的得失 --- p.56-59 / Chapter 第二節 --- 校勘箋注之學 / Chapter 一、 --- 《姜白石詞編年箋校》 --- p.60-62 / Chapter 二、 --- 《龍川詞校箋》 --- p.62-63 / Chapter 三、 --- 《宋詞繫》 --- p.63-65 / Chapter 四、 --- 《詞源注》 --- p.65-66 / Chapter 第三節 --- 詞樂之學 / Chapter 一、 --- 宮調 --- p.67 -69 / Chapter 二、 --- 旁譜 --- p.69-71 / Chapter 第四節 --- 詞籍編纂之學 --- p.72-73 / Chapter 第五節 --- 批評之學 / Chapter 一、 --- 詩話式評點´ؤ´ؤ《瞿髯論詞絶句》 --- p.74 -87 / Chapter 二、 --- 短篇式評點´ؤ´ؤ《月輪山詞論集》 --- p.87 -89 / Chapter 三、 --- 考訂式評點´ؤ´ؤ《唐宋詞論叢》 --- p.89 -90 / Chapter 四、 --- 賞析性評點´ؤ´ؤ《唐宋詞欣賞》 --- p.90 -91 / Chapter 第六節 --- 小結 --- p.92-93 / Chapter 第四章 --- 夏承燾的詞作探析 / Chapter 第一節 --- 內容主題 --- p.94-107 / Chapter 第二節 --- 藝術表現 --- p.108-116 / Chapter 第三節 --- 風格特點 --- p.117-128 / Chapter 第四節 --- 小結 --- p.129 / Chapter 第五章 --- 總結 --- p.130-134 / 參考書目及論文 --- p.135-141 / 附表一：夏承燾年譜簡表 --- p.142-162 / 附表二 ：夏承燾交遊表 --- p.163-184 / 附表三：夏承燾詞作內容分類表 --- p.185-196

趙麗霞. / "2003年8月". / 論文(哲學碩士)--香港中文大學, 2003. / 參考文獻(leaves 175-195). / 附中英文摘要. / "2003 nian 8 yue". / Zhao Lixia. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2003. / Can kao wen xian (leaves 175-195). / Fu Zhong Ying wen zhai yao. / Chapter 第一章： --- 導論 --- p.5 / Chapter 第一節： --- 硏究動機 --- p.5 / Chapter 第二節： --- 《今天》詩歌硏究現狀 --- p.10 / Chapter 第三節： --- 本文硏究範圍 --- p.11 / Chapter 第四節： --- 材料來源 --- p.14 / Chapter 第二章： --- 《今天》與地下文學 --- p.16 / Chapter 第一節： --- 地下詩歌沙龍的發展階段 --- p.17 / Chapter 第二節： --- 「白洋淀詩群」 --- p.23 / Chapter 第三節： --- 北京各階段地下文學沙龍的關係 --- p.28 / Chapter 第四節： --- 小結 --- p.29 / Chapter 第三章 --- 《今天》簡介 --- p.31 / Chapter 第一節： --- 《今天》創刊的政治背景 --- p.31 / Chapter 第二節： --- 《今天》發展歷程 --- p.34 / Chapter 第三節： --- 《今天》的組織系統 --- p.39 / Chapter 第四節： --- 《今天》各期情況簡介 --- p.43 / Chapter 第五節： --- 《今天》與其他民刊的關係 --- p.47 / Chapter 第六節： --- 《今天》與官方文學刊物的關係 --- p.50 / Chapter 第七節： --- 《今天》的宗旨 --- p.51 / Chapter 第八節： --- 小結 --- p.57 / Chapter 第四章： --- 《今天》詩人群 --- p.58 / Chapter 第一節： --- 食指´ؤ´ؤ《今天》詩人的啓蒙者 --- p.59 / Chapter 第二節： --- 北島´ؤ´ؤ從浪漫抒情到冷酷寫作 --- p.70 / Chapter 第三節： --- 芒克´ؤ´ؤ「自然詩人」 --- p.80 / Chapter 第四節： --- 舒婷´ؤ´ؤ愛的歌者 --- p.85 / Chapter 第五節： --- 顧城´ؤ´ؤ「童話詩人」 --- p.89 / Chapter 第六節： --- 江河、楊煉´ؤ´ؤ現代史詩探索的代表 --- p.97 / Chapter 第七節： --- 《今天》其他詩人 --- p.102 / Chapter 第八節： --- 《今天》佚名詩人 --- p.106 / Chapter 第九節： --- 小結 --- p.109 / Chapter 第五章： --- 《今天》詩歌：一代人的文革經驗 --- p.110 / Chapter 第一節： --- 「文革一代人」 --- p.110 / Chapter 第二節： --- 《今天》詩人的「廢墟文學」意識 --- p.112 / Chapter 第三節： --- 《今天》詩歌中展現的文革經驗 --- p.114 / Chapter 第四節： --- 小結 --- p.131 / Chapter 第六章： --- 《今天》詩歌的價値 --- p.132 / Chapter 第一節： --- 中國大陸新詩發展狀況回顧 --- p.132 / Chapter 第二節： --- 《今天》詩歌整體的藝術成就 --- p.137 / Chapter 第三節： --- 反叛的聲音和懷疑的精神 --- p.153 / Chapter 第四節： --- 《今天》詩歌展現的精神特徵 --- p.157 / Chapter 第五節： --- 《今天》詩歌與「朦朧詩」的關係 --- p.162 / Chapter 第六節： --- 結論 --- p.172 / 參考書目 --- p.175 / 附錄 --- p.196

Thesis (M. A. (African Languages)) -- University of Limpopo, 2004 / Refer to document

Thesis (Ph.D.(African Languages)) -- University of the North, 1988 / Refer to the document

It is the purpose of this thesis to discuss the works of German poets who describe the large modern city and deal with various aspects of city life and city people.

No description available.

No description available.

This essay examines the interstices between geography and history in English Canadian poetry by analyzing the production of space through poetic imagery. It introduces two terms, "garrison temporality" and "geologic temporality," to demonstrate how poets created divisions in the Canadian landscape temporally, demarcating these divisions according to their understanding of the perceived spaces' historicity. In early Canadian poetry, poets tended to distinguish colonized spaces from uncolonized spaces by designating them as either historical or ahistorical. This was achieved, more specifically, by appropriating civil, or garrison, spaces into a narrative of English expansion which traced its historical lineage back to European antiquity. The space outside the garrison's perimeter was deemed to exist out of time, providing yet another justification for further colonization. Later generations of Canadian poets contested the ahistorical designations created by this narrative, as well as the division they draw between urban and non-urban spaces, by appealing to geologic time. Geologic temporality functions not so much as a viable explanatory model for the narration of history as it does a poetic device for contesting the centrality of Europe and of urban centers in assessing contemporary Canada's place in time. This essay traces the shift in attitudes towards time and space from Charles G.D. Roberts' "Tantramar Revisited" (1886) to Dale Zieroth's "Baptism" (1981).

Since its earliest appearance, the word $ tau upsilon rho alpha nu nu acute iota varsigma$ referred to absolute rule obtained in defiance of any constitution that existed previously. In early Greek lyric poetry, tyranny is represented as a divine blessing, but one that meets with opposition against the tyrant and puzzlement at the behaviour of the gods. In Archilochus and elsewhere tyrannical ambition is termed eros. The common property that makes both tyranny and beauty objects of eros is luminosity: As the 'radiance' $ rm( lambda alpha mu pi rho acute o tau eta varsigma)$ of beauty is to the lover, so the 'splendour' $ rm( lambda alpha mu pi rho acute o tau eta varsigma)$ of tyranny is to the tyrannical "lover". The major symbol of tyrannical luminosity is gold. Conspicuous use of wealth and women contributed to the visibility of tyrannical splendour.

The thesis examines a series of nineteenth century poets whose poems are concerned with complex relations of looking and perception, and concentrates on Shelley and the poets he influenced: Browning, Rossetti, Swinburne, and Hardy. It focusses on poems dealing with the visual arts and aesthetic modes of perception, and concludes with a study of Walter Pater - an unrecognised follower of Shelley - and his notions of artistic character. An emphasis on the way face and bodily form are scrutinised, in poems concerning painting, sculpture and portraiture, leads to the hypothesis that the way the poet pictures essence or character through corporeal form is correlative to the essence or character of his own poetry. The particular spatial relations and visual representations of the poetry provide an index to specific patterns of reading. At the heart of this examination is a Shelleyan conception of the "unsculptured image", the characterising force and pre-given perspective of a poet's poem, which has a primary shaping effect on his language and representations, and continues to exert itself in the poem's reading. As this "image" is an imaginative rather than purely linguistic force, the analyses of selected poems avoid reduction to considerations of language and rhetoric alone, seeking rather to engage with the question of what constitutes a writer's own essence or particularity and what gives a strong poem its compulsive power. The thesis draws on the work of the French literary critic Maurice Blanchot to inform its ideas of poetic space and depth, and to produce an understanding of the poetic text very different from that given by a classical reading; and so alter the way one perceives the poem as literary object. In addition to this, certain nineteenth century and earlier aesthetic writings, and the prose works of the poets themselves, establish the critical basis of the arguments advanced. The thesis also endeavours to follow through the arguments of traditional scholarship in order to provide critique on distinctions or departures made. Chapter I examines Shelley's 'On the Medusa of Leonardo da Vinci in the Florentine Gallery'; Chapter II deals with portraiture in Browning's 'My Last Duchess' and Rossetti's The Portrait'; Chapter III turns to the sculpture of the hermaphrodite in Swinburne's early lyric 'Hermaphroditus'; Chapter IV looks at Thomas Hardy's poems about sketches and shades; Chapter V is an epilogue in which the work of Walter Pater draws together the ideas developed in the rest of the thesis.