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

This study examines the attitudes to, and commemoration of, death in Wales in the period between the end of the thirteenth century and the middle of the sixteenth century by analysis of the poetical work produced during this period. In so doing, this is placed in the wider context of death and commemoration in Europe. Although there are a number of memorial tombs and some evidence of religious visual art in Wales which has survived from the late medieval period, in comparison with that to be found in many other European countries, this is often neither so commonplace nor so imposing. However, the poetry produced during this period very much reflects the visual material that was produced in other parts of Europe. The poetry shows that the Welsh gentry at that time were familiar with many of the themes surrounding death and commemoration so obvious in European visual art such as the macabre and the fate of both the body and the soul after death. With war, famine and disease being so commonplace during the Middle Ages, and the late medieval period witnessing the effects of the Black Death, it is, perhaps, little wonder that macabre imagery and concerns about the fate of the soul were so often produced in European visual art of the time. These concerns are reflected in the Welsh poetry of the period with several poets composing quite vivid poetry describing the fate of the body as a decomposing corpse after death or allusions to the personification of Death appearing to claim its victims. The tension that many felt between the role of God on Judgement Day and God as Redeemer is also apparent in a number of the poems composed at this time. This study shows how important the role of the poet was amongst the gentry in Wales during the late medieval period, a role which ensured that the patrons of the poets were immortalised in words rather than by physical memorials. It also highlights the importance of poetical works of the period as an important primary source for historical research. Many of the poems give a contemporaneous account of important events of the period such as symptoms of plague victims which confirm that the Black Death was indeed the bubonic form of the plague.

According to Matthew Arnold an open mind is one of the chief essentials for true literary criticism. One is impressed by the truthfulness of this statement when he seeks to evaluate Negro poetry. The term, Negro poetry, has several interpretations. In its most general sense, the one in which it is used in this paper, it means poetry written by Negroes on any subject. In a more restricted sense it refers to poetry that contains allusions, rhythms, sentiments and idioms more or less peculiar to the Negro. In its narrowest meaning it refers to poetry of racial protest and self-exhortation. It is the undue publicity of poetry of protest and race pride that has displeased many readers. As far as most Americans are concerned, the Negro has been appropriately called "the great American taboo." It is this race prejudice that confronts the critic. A Negro is inclined to praise too highly or, to avoid the accusation of favoritism, to condemn unjustly. The white critic is unconsciously influenced by a feeling of superiority. One of mixed blood is prejudiced toward one side or the other. An honest attempt, however, has been made in this paper to judge fairly the Negro poetry of the twentieth century.

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The thesis looks at how the poets Sepamla, Serote, Gwala and Mtshali (SSGM) make concerted efforts to demonstrate how different forms of social activities have sought to whitewash black people in believing myths about themselves. These myths were perpetuated by the government of apartheid policies and its related bureaucratic organs like the education system. The fallacies were also communicated through biased literature and denigrating terminologies. The study analyses how the selected poems of SSGM set out to conscientize black people to realise how they had unconsciously accepted certain behaviours. This had led them to compare themselves to the “privileged cultures” and to strive to be identified with those who were in power and those who were despised and were therefore powerless. The main aim of this study is to demonstrate how the poetry of Sepamla, Serote, Gwala and Mtshali exposed the extent to which black people had been psychologically subjected to internalising negative views of who they were. From the title of the thesis we note a claim that conscientization was the motive behind the poetry of Sepamla, Serote, Gwala, and Mtshali. This claim was discerned from the poetry that was analysed. It was also deemed fit to verify this through structured interviews and questionnaires that were arranged and conducted with the poets. However the interviews did not include the late Sepamla who had been called to higher service by the time the research was conducted. The researcher’s interactions with the poets confirmed the claim that conscientization was indeed the motive behind their poetry. Aspects of peoples’ lives which had been targeted as tools for disempowering black people were experienced in the form of racism, apartheid policies, Bantustan institutions, and laws, demeaning terminologies, cultural superiority, and prejudiced beliefs, arts, music, literature, theatre and sport. An analysis of the poetry under review led to the conclusion that the poetry of SSGM was not protest poetry as some scholars had claimed. The aim of the poetry was not to instigate any militancy against oppressors but to make black people aware of their identity and to affirm them in their resistance against cultural hegemony. The study makes use of Marxist theories and specifically cites those aspects which relate to the tools used to analyse the poetry of SSGM. Georg Lukacs’s viewpoint that literature reflects the social reality of its time is applied to some of the selected poetry. Eagleton and Althusser talk about the formalization of literature which makes ideology to become visible to the reader. Gramsci says the task of producing and disseminating ideology is performed by organic intellectuals. Writers are regarded as organic intellectuals. In spite of the limiting circumstances the four black writers whose poetry is being considered, managed to conscientize people around issues that needed to be opposed or rejected. This study is significant in so far as it exposed how poetry of black selected writers conscientized people and indirectly contributed to the liberation of the oppressed in South Africa. It is suggested that further studies are undertaken to re-assess the role of literature written by the black writers during the apartheid regime. A special attention must be given to those literary works that were banned and reasons for such action by those who were hell bent on subjugating black people. One of the challenges encountered during the research was that some of the books were out of print. However, a thorough and persistent search did result in the final access to those books which were not easily available. / Thesis (Ph.D.)-University of KwaZulu-Natal, Durban, 2013.

Thesis (M.A.)--Indiana University, 2008. / Title from screen (viewed on June 2, 2009). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Karen Kovacik, Jane E. Schultz, Thomas F. Marvin. Includes vita. Includes bibliographical references (leaves 57-61).

Edmund Waller, William Davenant, Andrew Marvell, and Abraham Cowley were royalist poets who changed sides following the English Revolution, attracted to Cromwellian military power, and the reforming aims of the Independents. This thesis contributes to existing scholarship by showing that the poets engaged strongly with theories of allegiance, self-consciously returning to first principles - the natures of sovereignty and obligation - to develop a concept of allegiance that was contingent and transferrable. Their crucial influence was Hobbes. Hobbes collapsed partisan perspectives into a general theory of sovereignty constituted by a de facto protective and coercive power; this was grounded on a psychological analysis of humans' restless appetite for power. The poets' approach to Hobbes was crucially mediated by Machiavelli, who provided a less abstract account of the relationship between individual agency and collective institutions, and whose concept of virtù offered a model for how restless ambition could be harnessed to political order. An introductory chapter sketches out the intellectual background to this body of theory and reflects on the methods used to show how the poets dramatized it in their works. Chapter two considers the disintegration of Waller's courtly poetry under the pressure of civil war, and his resulting turn to rationalist theory. Chapters three and four focus on the immediate aftermath of the revolution, considering the synthesis of Hobbes' and Machiavelli's theories of military power ventured by Davenant, and the influence of Davenant's ideas on Marvell's Machiavellianism. Chapter five focuses on Cowley and his more religiously-inflected account of Hobbesian psychology and political obligations. Chapter six asks how the poets responded to the Restoration of Charles II, and in particular charts their influence on the younger poet John Dryden. With their emphasis on materialist psychology, the turncoat poets abandoned allegory in favour of a mode of dramatization which observed the contingent circumstances in which allegiances could be generated, dissolved, and transferred. They possessed a political conservatism, but a conceptual radicalism which presented a serious challenge to Anglican and constitutionalist discourses of Stuart monarchy.

This dissertation concurs with the Jungian postulation that certain psychological archetypes are inclined to be reproduced by the collective unconscious. In turn, these psychological archetypes are revealed to emerge in literature as literary archetypes. It is consequently argued that science fiction has come to form a new mythology because the archetypal images are displaced in a modern, scientific guise. This signifies a shift in the collective world view of humanity, or a shift in its collective consciousness. It is consequently argued that humanity’s collective consciousness has evolved from mythic thought to scientific thought, courtesy of the numerous groundbreaking scientific discoveries of the past few centuries. This dissertation posits as a premise that Pierre Teilhard de Chardin’s supposition of humanity’s collective consciousness evolving towards what he calls the Omega Point to hold true. The scientific displacement of the literary archetypes reveals humankind’s evolution towards the Omega Point and a cosmic consciousness. / English Studies / M.A. (English)

This dissertation examines the nature of epiphanic discourse in three of Robert Browning's religious poems, namely, 'Christmas- Eve', 'Easter-bay' and 'La Saisiaz'. Chapter 1 investigates epiphany from religious, historical and theoretical perspectives, followed by a discussion of Browning's developing Christian beliefs. Chapters 2 and 3 explore the epiphanic moment in the companion poems, 'Christmas- Eve' and 'Easter-Day'. Chapter 4 explores how the double epiphany initiated from Browning's personal experience recounted in 'La Saisiaz', finds its resolution in 'The Two Poets of Croisic'. Browning's 'good minute' or 'infinite moment' originates in Romanticism and reverberates into the twentieth century mainly in the writing of James Joyce, who first used the word 'epiphany' in its literary sense. Because Browning's faith allowed continual interrogation of Christian doctrine, his experience and reading of epiphanic moments avoid any attempt at closure. Thus they offer the reader both a human image for recognition and a coded legend for individual interpretation / M.A. (English Studies) / M.A. (English)

RESUMO Neste trabalho procurei retratar resumidamente a diáspora judaica, desde a destruição do Segundo Templo até a expulsão dos judeus da Europa cristã, culminando com o seu refúgio no leste europeu, especialmente na Polônia e Lituânia. Estes dois reinos, que foram unificados em 1569, passaram para o total domínio russo em 1815. Nesta ocasião os judeus ficaram sujeitos aos novos mandatários e foram confinados no assim chamado Distrito de Residência, em algumas cidades e em aldeias denominadas de shteitlach, na Europa Oriental. Em seguida, apresentei a biografia de alguns poetas populares que viveram nessa região onde houve um enorme desenvolvimento cultural e literário da língua ídiche. (século XIX e começo do século XX). Eles foram especialmente escolhidos por seus trabalhos, que resultaram em canções populares, as quais se espalharam pelo mundo judaico, levando as mensagens do judeu dos shteilach da Europa Oriental do seu modo de vida, de sua religiosidade, seus dramas, as perseguições sofridas e também suas alegrias e suas esperanças. Seguem-se quarenta e sete canções transliteradas e traduzidas para o português, bem como algumas delas devidamente comentadas. Depois, sete canções são analisadas com base na lingüística e semiótica, revelando fatos históricos do povo judeu. O capítulo 4, “O fim do shteitl e as canções do gueto”, com sete canções, retrata o inferno vivido pelos judeus europeus durante a Segunda Guerra Mundial, que se encerra com o bárbaro assassinato de seis milhões de judeus pelos nazistas, marcando quase que em definitivo, o final da literatura poética em língua ídiche. Por fim, uma vasta bibliografia, os créditos relativos às ilustrações utilizadas, bem como um glossário, para melhor entendimento do texto. São apresentados também dois anexos: no Anexo A, um catálogo de seissentas músicas judaicas e, no Anexo B, um livreto com doze músicas, na lingua original,transliteradas e traduzidas para o português, alem das partituras e um CD com as respectivas canções. / ABSTRACT I tried to portray, concisely, the Jewish Diaspora from the destruction of the Second Temple till the expulsion of the Jews from Christian Europe, that obliged then to be refuge in the western Europe specially in Poland and Lithuania. Both Kingdoms were unified in 1569 and after annexed to the Russian Empire in 1815 that forcing the Jews to live in Pales and inside villages called shteitlach, in Oriental Europe. In the sequence I presented some popular poets biographies, specially chosen by their work, which resulted in popular songs that spread through out the jewish world and showed their way of life, their religiosity, their dilemmas, their persecutions, their happiness and their dreams. Forty-seven songs transliterated and translated to Portuguese (some of that properly commented) are presented. Also seven songs analyzed using linguistics and semiotics methods, from which emerge historical facts of the Jewish people. The Fourth Chapter: “The end of the Shteitl and the Ghetto’s Songs,” containing seven songs, portrays the Holocaust of the Second World War, the murder of six million Jews, which led to the Yiddish poetic literature ending. Finally., there are a large bibliography, credits to the illustrations, and a Glossary, for a better understanding of the text. There are, also, two enclosures: In Enclosure A: A Six-hundred Jewish Songs Catalog. In Enclosure B: A song book and one CD containing Yiddish songs.