有唐近三百年，是詩歌大放異彩的黃金時代．對於題材的選取，可謂包羅萬象；自應 制宴遊、風花雪月，以至靈異鬼怪等均有．其中關於詠史懷古的題材，每為詩人墨客 所取用，他們常將個人存在的意識，融入作品當中，將朝代的興亡，與自然永恆不變 的定律互相對照．或嘆王者偉業的徒勞，或憐美人命運的坎坷．期望依循歷史腳步的 探索，得到心靈的激盪與迴響． 漢唐兩代，是同為中國人引以為傲的偉大時代，迄今「漢學」、「唐人」，猶為光榮 的稱號，得以聞名於世．然此兩大帝國建立的徹會型態，均呈現出禮法較為疏闊的情 形．因此，女主臨朝，獨斷擅行者有之；女性離婚、再嫁者亦不以為諱．漢唐有如此 相近的時代背景，自亦影響於詩歌的流衍．是以欲借唐人以漢代婦女為主題詩歌的研 究，以探求唐代歷史的部分真貌． 本研究以文獻法為主，從全唐詩中蒐羅提及漢代婦女，如王昭君、陳皇后、班婕妤、 李夫人、趙飛燕、戚夫人等之詩作，計有四百六十餘首．其中援引以為主題者，約有 一百六十餘首之多．進而分析此一百六十餘首詩歌的內容、作者、歷史故實；繼而探 討唐代相關的歷史，蹦尋繹其中的脈絡，加以綜合歸納．期能一窺這些詩歌與唐代歷 史的關係，對中國文學、歷史的研究，提供若干參考． 本文共分五章．第一章蓄論．第二章漢唐婦女生活的異同．第三章唐人借漢代婦女為 主題以突顯和親政策的詩歌．第四章唐人借漢代婦女為主題以突顯后妃得寵怨棄的詩 歌．第五章結論．論詩部分重其大意，而略於技巧與風格．至於作者部分，則多參考 前賢成說，間中有所發明者，則稍作補充．

目前台灣的女性徘徊於傳統與現代的夾縫間，面臨角色調適與蛻變的危機和挑戰．由 於文化的一脈相傳，當今社會的文化特質，有許多來自傳統，所以婦女問題也有一大 部分是傳統社會問題的延續．由於唐代文化深具開創性、融合性、世界性等特色，在 中國傳統文化中深具重要性；小說又能反映時代背景、社會生活和民眾感情，並且唐 代小說是中國小說發展史上重要的關鍵，故本研究擬以「唐代小說的女性角色研究」 為題，著重社會文化學的研究角度，期望知古鑑今、繼往開來，對婦女問題之探索， 盡一己棉薄之力． 本文採取的研究方法，著重文學與社會學的角度，包括：文獻法、內容分析法、情節 單元研究法、檔案研究法，並且運用基本的社會心理學理論，進行女性角色分析． 首先，參酌王國良「唐代小說敘錄」、盧錦堂「太平廣記引書考」，嚴謹地整理研究 的對象．其次，建立取樣的標準：基於題目的需要，選擇行文中有女性角色出現者， 或是側面敘述提及女性者，皆列入研究之篇目．從所瀏覽的近百部的唐代小說集，大 約有七千多篇小說，析出一千三百篇左右之小說，作為本研究之基本對象．再者，對 於影響唐代女性角色的重要背景，作文獻之探討及整理，包括（一）儒學式微，胡風 盛行，（二）婚姻概況，（三）后妃公主預政掌權，（四）娼妓問題，（五）傳統的 女子教育理念等．最後，對於一千三百篇小說，先做初步分類，配合小說中所提供之 內容、情節，採用本文研究法，針對其中的女性角色進行詳細之論析，包括女性角色 的特質、內涵、作用、意義，共分三大類：民間家庭女性角色、皇室家庭女性角色、 娼妓．並依此三大類對於小說的篇目．女性角色一一做了詳細的統計和分析． 研究顯示小說多半描寫奇妙傳奇，平凡的妻女角色只是淡淡帶過，妻妾主要功能則在 延續子嗣；那麼娛人聲色的歌女娼妓，自然而成了傳奇中的女主角；至於權勢地位較 高的宮中后妃，有較大的自主權和影響力，但是生活中也充滿許多的腐敗和危機．

歷來研究「胡」、「漢」關係之學者，多以史料為據，本論文試圖以全唐詩博如瀚海 之內容為範疇，採民族學、社會學、政治學之觀點，來探討有唐一代之胡漢關係，冀 能提供吾人進一步了解唐朝特殊的胡漢互動之背景、過程、內因、外緣及演變，並得 知各項關係之利弊得失，以及對當朝或周邊外族所具有之影響力。由於本文之寫作包 括時間性之歷史過程與空間性的社會現象，因此資料來源及研究方法之採用，主要係 以全唐詩為內容，旁徵史料，典籍及方志，配合人類學角度，以及研究唐相關史料之 論著為參考，最後予以分析、比較、綜合、歸納，俾得較為正確明晰之理念。 本論文計一冊，約十萬餘言，分七章： 第一章緒論，說明研究動機、目的、範圍及方法。 第二章探討唐代胡漢關係之時代背景。首先釋「胡」、「漢」之界說，其次就全唐詩 中找出對邊族多所描述之部分，再述形成胡漢關係之各種背景及類別。 第三章就政治關係，做一整體性之探討，分析唐人對外之政策，反多元化之胡漢關係 。 第四章就軍事關係，探討胡漢每一次的接觸，無論其為主動或被動的兩方舉兵對峙， 或聯軍共擊他國之情況，均對歷史之形成產生莫大的影響。 第五章就經濟關係，探討胡漢兩大集團受制於生態環境及時代背景所衍生的經濟行為 ，且由於唐人夷夏之辨觀念之淡薄及天可汗制度之影響，胡漢之經濟關係，呈現多樣 性。 第六章就文化關係而言，唐朝是著故有的傳統文化，再配情大量吸收外來的文化，終 成為一種富有濃厚國際多樣性特色的新文化，是亦唐代胡漢關係之特徵也。 第七章結論，論及影響胡漢關係的夷夏之辨，其次就全唐詩角度探討唐人的戰爭觀， 再從詩的語言分析有唐一代胡漢關係之反映，以窺唐代胡漢互動之全貌。

本論文試圖以文化變遷的角度來探討唐代西域樂舞以異文化元素涵化成中國文化的原 因、過程與整合後的結果，以期獲致邊疆民族與中原民族文化融合的事實，藉以提供 未來中國文化整合的方向。研究方法之採用，主要為史學方法，並運用社會科學的理 論架構，從歷史、文化人類學等多種角度來歸納、分析資料，本文計約八萬餘字，共 分六章十八節： 第一章緒論，說明西域的範圍、古代樂舞合一的理論，及唐代以前西域樂舞傳入的情 形。 第二章探求唐代西域樂舞傳入的時代背景。 第三章敘述傳入的路徑、歷程與方式。 第四章從樂器與曲調的音樂分析以明其淵源。 第五章從舞蹈與表演者的討論以窺其社會角色地位。 第六章經由唐人對西域樂舞傳入的態度與反應，來看唐代政治、社會、文化的變遷。 研究結果得知西域樂舞不僅對唐代造成影響，更及於以後的新疆樂舞風格，使做為研 究新疆文化史的參考。

Macunaíma, de Mário de Andrade, é uma das obras brasileiras que mais intrigam a crítica literária. Afinal, analisar a narrativa modernista pressupõe fazer um diagnóstico do Brasil, cujas interpretações se cruzam e entrecruzam, atuam e reagem umas sobre as outras, ora prolongando ora opondo-se, como demonstraremos através do colóquio entre importantes vertentes teóricas que interpretam a rapsódia e o Brasil. A partir desse colóquio tentamos abrir um veio analítico pouco explorado pela crítica; percebemos que o estatuto ambíguo do herói (do Brasil) poderia ser verificado por meio da disposição das árvores, frutas e alimentos que perfazem cenas e enumerações da obra. Mas diante da abundância de tantas árvores, alimentos e frutas na rapsódia, escolhemos uma imagem para nos deter com mais afinco: o caju. Tomar esse detalhe concreto como fonte de estudo da obra nos fez perguntar: o que se pode depreender dessa fruta nativa reiterada na rapsódia? O caju reflete a mobilidade intrínseca à forma da obra? Ou melhor: em que medida o cajueiro, sua ramagem e frutos, salpicados ao longo da obra, ajudam a compor o impasse intrínseco a ela (se é que o fazem)? O caju por si só é fruta contraditória: é doce, esponjosa, suculenta, aromática, mas de sabor travoso deixando certo amargor na boca. O caju é assim símbolo possível para se pensar a obra-impasse de Mário de Andrade e, por ela, o Brasil. Ousaríamos dizer que o dulçor e o travo dessa fruta parecem ter contagiado não só a voz narrativa em Macunaíma, mas as línguas-intérpretes que degustam essa lira-prosa de cantador. / Macunaíma of Mário de Andrade is a Brazilian literary work which deeply intrigues the literary critic. The analysis of this modern narrative leads us to a kind of diagnosis about Brazil. There are different interpretations of Macunaíma which cross and intercross, acts and reacts, sometimes being similar, sometimes being opposite to each other. This complexity can be verified by examining the debate between important theoretical sources which make an interpretation of this rapsody and of Brazil. From this debate we try to find an analytical stream which is not far explored by the critics: that the ambiguous status of the hero (of Brazil) could be verified by the disposal of the trees, fruits and foods which is part of the scenes and enumerations of Macunaíma. But among such abundance of trees, foods and fruits in this raspsody, we chose an image to analyze with more tenacity: the cashew. Taking this concrete detail as a source of study of Macunaíma leads to the question: what can possibly emerge from this native fruit which is so reiterated in the rapsody? Does the cashew itself reflect the intrinsic mobility of the form of Macunaíma? Or: how do the cajueiro (the cashew tree), its branches and fruits, sprinkled throughout Macunaíma, help in the composition of the inherent impasse of the rapsody (if they do so)? The cashew itself is a fruit full of contradictions: it is candy, spongy, succulent, aromatical, but tanged (travoso), its flavor leaving a certain bitter taste in the mouth. The cashew is at the same time a symbol which can be studied in order to think about Macunaíma as a work full of impasses, and a symbol of Brazil. We would dare to say that the sugarness and the tang (travo) of this fruit seem not only to have infected the narrative voice of Macunaíma, but also the languages which savour this liraprosa de cantador.

本論文題為「天子腳下:初唐詩人筆下的長安」，以三個方面展開論述。初唐由於詩歌存留較少，且多被視為酒宴歌席的應制詩。然而筆者嘗試從幾個前人從未剖析的角度切入，嘗試理解初唐詩歌中蘊涵的幾層意涵。 / 第一個方面將觀察初唐君臣在建國之際，初盛唐交界處，君主與臣子在詩文中展現的憂患，面對過去的歷史抑或當下的建設充滿不安。筆者進而發現，從漢魏六朝開始，揚雄的歷史形象不斷出現，作為讀書人在不得志的時代的精神典範，其閉門讀書而著述有成的態度為後世所推崇，並在詩文中展現。過往我們對於讀書人與長安相互關係的討論較為單一化，多從追名逐利或建功立業的角度看待他們奔往長安的意圖，較少關注他們對於長安在轉變過程中的批評。 / 筆者將從公共風景區與建築思想探討詩人足跡下的筆墨之跡。此處主要論述集中在筆者採集所得最多、最有意義的地點昆明池、樂遊原、曲江為考察對象，試圖找出記憶與地方之間的關係。昆明池，集合了詩人們對於神話的集體記憶。樂遊原上的酒宴歌席，成了中晚唐詩人懷念大唐繁盛的記憶。而曲江，更成了詩人們遊賞之地，為後來者一再詠懷。 / 筆者嘗試從廟宇與宮殿觀察初唐人蘊含在詩歌中的建築思想。一棟又一棟的建築，是天子腳下的宮殿又或神聖的神殿，詩人們透過自身對於建築的吟詠，描寫了建築的細緻雕刻，隱約間也透露集體對於建築的想像及寄託。筆者將從大量的詩歌中歸納其中特質。 / 本論文試圖從前人豐碩的唐代長安研究中，尋找一些被忽略的思想特質，並以此補充一般觀念上缺失忽略的，讀書人與長安的關係。 / The paper entitled "Under emperor’s feet: Chang An as Described by Poets of Early Tang Dynasty" will discuss the topic from three aspects. There are only very few early Tang poetry remained and they are mostly considered as banquet poetry. I will try to analyze them from several unprecedented angles and try to understand multiple implied meanings in the early Tang Poetry. / The first aspect is from the sense of urgency as the starting point. By observing how the founding members of the Early Tang Dynasty expressing their worries, especially during the transition to the great era, we can see their anxieties when dealing with the past and also the development at that point of time. It then found that, from the beginning of the Six Dynasties, Yang Xiong’s historical image kept emerging as the scholars’ spiritual model during unsuccessful times. His focusing on reading and writing successfully won the respect of the future generations, and is demonstrated in poems. In the past, we tend to view the relationship between scholars and Chang An towards chasing the fame and making contributions, and less focus on their critics towards Chang An in the process of transition. / In addition, I will discuss the poets’ writings as influenced by the public sceneries and architectural ideas. The third chapter discusses my most concentrated collection and significant place in Kunming pool, Le Youyuan, Qujiang as the studies subject, trying to figure out the relationship between memory and place. Kunming pool, a collection of poets to the myth of collective memory. Le Youyuan banquet song on the late Tang became nostalgic memories of prosperous Tang. The Qujiang, became poets touring place and was remembered by future generations. / Finally, I try to observe from the architectural perspective of the temples and palaces, and see the architectural thinking embedded in poets’ writings. Buildings after buildings are under the emperor’s foot and these buildings consist of palaces and temples. Poets described the buildings in their own chants, and describing the meticulous carving of the buildings. This vaguely revealed the collective imagination and sustenance towards the buildings. I will summarized the characteristics from the huge amounts of poems. / This dissertation attempts to find out some missing overlooked ideological character, about the relation between Tang’s poets and the Chang’an. / 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. / 高坤翠. / Parallel title from added title page. / Thesis (Ph.D.) Chinese University of Hong Kong, 2016. / Includes bibliographical references (leaves 159-172). / Abstracts also in Chinese. / Gao Kuncui.

An investigation into the relation between objects and colors is essential in understanding how color perception is evolved in ancient China. First, the separation of objects and colors is a major step to establish a color system. Second, the advanced understanding of a unifying framework between colors and objects has been passed down through generations, which not only made its impact on traditional Chinese paintings' theory with regards to color such as "using color to portray color", "coloring by physical appearance", but also in a way restrained ancient people's thoughts on color's intrinsic properties. To satisfy the taste and understanding in color of their time, the ancients opted for the physical coordinates of an object as their final choice of color to be depicted, indicating their belief in the unification of object and color. When being reflected in paintings, such belief is shown as a pursuit of stable and organized color compositions. / Behind this rich tapestry of colors, the physical production of color pigments is instrumental in the art production in Dunhuang. In the Tang dynasty, the flourishing printing and dyeing industry fuelled the development of plant dyes, some of which could be employed in paintings to make their contributions in art. Mineral pigments made their way to Dunhuang amid the frequent cultural exchanges between China and the West, which formed the material basis for the vibrant Dunhuang art. However, when weighting their color options amid the exported pigments, Central China-culture genes helped to make a conscious decision to reflect local cultural spirit. / Dunhuang in the Tang dynasty is not a simple phrase describing a physical location during a certain time; it is rather an interrelated and compound concept. The rich color culture of the Tang dynasty was preserved through art in Dunhuang and the special nature of Dunhuang culture made it possible for us to understand the complexity of Tang color concept. Through depictions of secular life in both words and images, Dunhuang helped to construct a complete picture of Tang color theory. / In Tang dynasty, the nation's perception of color matured in discipline and art forms are manifested in a mirage of colors. The secular quality in the Tang society dictates the use of natural colors. The different hues of red and green became the color codes for Tang spirit, which are also the dominant colors used in Dunhuang's mural art. The frequent use of red colors reflects the uplifting spirit of its time. / 王冬松. / Advisers: Kam Tang Tong; Jin Zhou. / Source: Dissertation Abstracts International, Volume: 73-06, Section: A, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (p. 278-286). / 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, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Wang Dongsong.

by Ho Yiu-fai. / Thesis (M.Ph.)--Chinese University of Hong Kong, 1987. / Bibliography: leaves [182]-[186].

by Chan Kit Sze Amy. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1993. / Includes bibliographical references (leaves 110-116). / Chapter Chapter I --- Introduction --- p.1 / Chapter Chapter II --- Translation As Understanding --- p.14 / Chapter Chapter III --- Hermeneutics And Translation --- p.29 / Chapter Chapter IV --- Language And Translation --- p.43 / Chapter Chapter V --- Translation Of Tang Poetry --- p.53 / Appendix Works Cited --- p.109

翁凉平. / 論文(碩士) -- 香港中文大學硏究院中國語言及文學學部, 1997. / 參考文獻: leaves 175-198 (3rd group) / Weng Liangping. / Chapter 笫一章 --- 绪渝 --- p.1-9 / Chapter 第一節 --- 研究緣起 --- p.1 / Chapter 笫二節 --- 研究步驟與研研究方法 --- p.5 / Chapter 表1.1 --- 盛唐詩人現存懷古詩數目及所佔百分比 --- p.8 / Chapter 第二章 --- 懷古詩釋義 --- p.10-50 / Chapter 第一節 --- 前言 買 --- p.10 / Chapter 笫二節 --- 有關詩歌分類書籍之分類情况 --- p.11 / Chapter 表2.1 --- 今見咏史詩集選詩情况綜覽 --- p.12 / Chapter 表2.2 --- 詩歌分類集對於歷史題材詩歌的歸類综覽 --- p.12 / Chapter 表2.3 --- 詩歌分類集“懷古題´ح詩歸類綜覽 --- p.14 / Chapter 笫三節 --- 有關懷古詩與咏史诗意義之討論综覽 --- p.15 / Chapter 臺、 --- 以“懷古´ح涵蓋“咏史´ح --- p.16 / Chapter 貳、 --- 以“咏史´ح涵篕“懷古´ح --- p.16 / Chapter 叁、 --- “懷古´ح與“咏史´ح區分 --- p.18 / Chapter (一） --- 歌咏的觸發點 --- p.18 / Chapter (二） --- 抒情與議論的比重 --- p.21 / Chapter (三） --- 懷古詩抒發興亡之感 --- p.25 / Chapter 肆、 --- 小結 --- p.26 / Chapter 第四節 --- 懷古詩意義的界定 --- p.26 / Chapter 臺、 --- “憑弔´ح與“讀史´ح之辯 --- p.27 / Chapter 貳、 --- “咏古´ح與“感舊´ح之辯 --- p.31 / Chapter 叁、 --- “抒情´ح與“議論´ح之辨 --- p.32 / Chapter 肆、 --- 廣義的懷古詩 --- p.35 / Chapter 第五節 --- 结語 --- p.38. / Chapter 表2.4 --- 全唐“懷古題´ح詩吟咏古人史事综覽 --- p.40 / Chapter 第三章 --- 懷古诗的成型及盛唐前的發展 --- p.51-77 / Chapter 笫一節 --- 前言 --- p.51 / Chapter 笫二節 --- 懷古心靈的源頭 --- p.52 / Chapter 臺、 --- 歷史思維的方式 --- p.53 / Chapter 貳、 --- 敏感的時間意識 --- p.56 / Chapter 叁、 --- 小結 --- p.56 / Chapter 第三節 --- 唐以前懷古及咏史文學的發展 --- p.57 / Chapter 臺、 --- 漢賦感發史事而咏懷 --- p.57 / Chapter 貳、 --- 班固初以“咏史´ح命題 --- p.60 / Chapter 叁、 --- 魏晉初期的咏史詩篇 --- p.61 / Chapter 肆、 --- 阮籍託古以咏懷 --- p.63 / Chapter 伍、 --- 左思咏史以抒懷 --- p.64 / Chapter 陸、 --- 陶淵明咏史言志 --- p.65 / Chapter 染、 --- 南朝詩人的咏史詩 --- p.67 / Chapter 捌、 --- 南朝詩人的懷古詩 --- p.69 / Chapter 玖、 --- 小结 --- p.71 / Chapter 第四節 --- 初唐懷古詩的成型 --- p.72 / Chapter 臺、 --- 李百藥初以“懷古´ح命題 --- p.72 / Chapter 貳、 --- 劉希夷的懷古詩 --- p.73 / Chapter 叁、 --- 陳子昂奠定懷古詩结構 --- p.74 / Chapter 肆、 --- 張九龄的懷古詩 --- p.76 / Chapter 伍、 --- 小结 --- p.76 / Chapter 笫五節 --- 結語 --- p.76 / Chapter 笫四章 --- 盛唐詩人懷古詩的思想内涵 --- p.78-153 / Chapter 笫一節 --- 前言 --- p.78 / Chapter 笫二節 --- 贊頌前賢之才德功業 --- p.80 / Chapter 臺、 --- 英雄事功 --- p.81 / Chapter 貳、 --- 功成身退 --- p.88 / Chapter 叁、 --- 濟世安民 --- p.91 / Chapter 肆、 --- 文名昭著 --- p.92 / Chapter 伍、 --- 小結 --- p.97 / Chapter 笫三節 --- 惋嘆古人之千秋遺恨 --- p.97 / Chapter 臺、 --- 出師未捷 --- p.98 / Chapter 貳、 --- 高才不遇 --- p.102 / Chapter 叁、 --- 支離飄泊 --- p.106 / Chapter 肆、 --- 紅頦恨事 --- p.107 / Chapter 伍、 --- 小结 --- p.110 / Chapter 笫四節 --- 欽慕知己之相契相合 --- p.110 / Chapter 臺、 --- 君臣契合 --- p.110 / Chapter 貳、 --- 知己投契 --- p.113 / Chapter 叁、 --- 禮賢下士 --- p.116 / Chapter 肆、 --- 異代知音 --- p.118 / Chapter 伍、 --- 小结 --- p.119 / Chapter 笫五節 --- 悲感時間之無情流逝 --- p.119 / Chapter 臺、 --- 物是人非 --- p.120 / Chapter 貳、 --- 故迹荒廢 --- p.127 / Chapter 叁、 --- 六朝興亡 --- p.130 / Chapter 肆、 --- 小结 --- p.132 / Chapter 笫六節 --- 諷諫政局之動蕩污亂 --- p.133 / Chapter 臺、 --- 荒淫誤國 --- p.133 / Chapter 貳、 --- 奸佞亂玫 --- p.136 / Chapter 叁、 --- 宮闈淫亂 --- p.140 / Chapter 肆、 --- 豪奢誤國 --- p.141 / Chapter 伍、 --- 小结 --- p.143 / Chapter 第七節 --- 艷羡名士之風流行止 --- p.143 / Chapter 笫八節 --- 结語 --- p.148 / Chapter 表4.1 --- 杜甫懷古詩编年 --- p.149 / Chapter 第五章 --- 盛唐诗人懷古詩的藝術特色 --- p.151-222 / Chapter 第一節 --- 前言 --- p.151 / Chapter 第二節 --- 篇章结構方面 --- p.152 / Chapter 臺、 --- 寫景發端 --- p.152 / Chapter 貳、 --- 叙事發端 --- p.156 / Chapter 叁、 --- 抒情發端 --- p.159 / Chapter 表5.1 --- 主要盛唐懷古詩人的開篇安排 --- p.160 / Chapter 肆、 --- 以寫景爲主 --- p.160 / Chapter 伍、 --- 以叙事爲主 --- p.161 / Chapter 陸、 --- 以抒情為主 --- p.162 / Chapter 柒、 --- 以議論爲主 --- p.163 / Chapter 表5.2 --- 盛唐懷古詩人的特殊章法结構 --- p.164 / Chapter 捌、 --- 小结 --- p.164 / Chapter 第三節 --- 景物描繪方面 --- p.165 / Chapter 臺、 --- 景物擇取 --- p.165 / Chapter (一） --- 人間架構 --- p.166 / Chapter (二） --- 自然景觀 --- p.169 / Chapter (三） --- 二景交融 --- p.178 / Chapter 貳、 --- 意象營造 --- p.181 / Chapter 叁、 --- 動静兼備 --- p.185 / Chapter 肆、 --- 聲色點染 --- p.188 / Chapter 伍、 --- 鏡頭轉移 --- p.192 / Chapter 陸、 --- 小結 --- p.196 / Chapter 第四節 --- 史事叙述方面 --- p.197 / Chapter 臺、 --- 古人的契合 --- p.197 / Chapter 貳、 --- 史事的概括 --- p.201 / Chapter 叁、 --- 小結 --- p.205 / Chapter 笫五節 --- 情感抒發方面 --- p.205 / Chapter 臺、 --- 委婉示意 --- p.205 / Chapter 貳、 --- 直抒胸臆 --- p.210 / Chapter 叁、 --- 小结 --- p.212 / Chapter 笫六節 --- 議論闌發方面 --- p.212 / Chapter 臺、 --- 評價英雄 --- p.213 / Chapter 貳、 --- 諷諫時政 --- p.214 / Chapter 叁、 --- 表達史觀 --- p.215 / Chapter 肆、 --- 小結 --- p.217 / Chapter 笫七節 --- 结語 --- p.217 / Chapter 表5.3 --- 盛唐詩人懷古詩中荒寂的人間架構 --- p.218 / Chapter 表5.4 --- 盛唐詩人懷古詩中璀璨的人間架構 --- p.220 / Chapter 表5.5 --- 盛唐詩人懷古詩中蕭瑟的自然景觀 --- p.221 / Chapter 笫六章 --- 盛唐詩人懷古詩對後世文學的影響舉隅 --- p.223 -275 / Chapter 第一節 --- 前言 --- p.223 / Chapter 第二節 --- 縱論 --- p.224 / Chapter 臺、 --- 中晚唐詩 --- p.225 / Chapter 貳、 --- 兩宋詩詞 --- p.233 / Chapter 叁、 --- 元曲明清詩詞 --- p.242 / Chapter 肆、 --- 小結 --- p.249 / Chapter 第三節 --- 横論 --- p.250 / Chapter 臺、 --- 體裁方面的影響 --- p.250 / Chapter 貳、 --- 題材方面的影響 --- p.251 / Chapter (一） --- 六朝興廢地 --- p.251 / Chapter (二） --- 功蓋三分國 --- p.253 / Chapter (三） --- 蜀相階前柏 --- p.256 / Chapter 叁、 --- 內容方面的影響 --- p.257 / Chapter (一） --- 針砭時政 --- p.257 / Chapter (二） --- 陳抒史觀 --- p.259 / Chapter (三） --- 別出新意 --- p.260 / Chapter (四） --- 化用詩意 --- p.261 / Chapter 肆、 --- 藝術方面的影響 --- p.264 / Chapter (一） --- 小中見大 --- p.264 / Chapter (二) --- 排他手法 --- p.266 / Chapter (三） --- 言簡意賅 --- p.267 / Chapter (四） --- 以少總多 --- p.268 / Chapter (五） --- 假设虛構 --- p.269 / Chapter (六） --- 略去時距 --- p.270 / Chapter (七） --- 議論評断 --- p.271 / Chapter (八） --- 託物言古 --- p.272 / Chapter 伍、 --- 小結 --- p.274 / Chapter 第四節 --- 結語 --- p.274 / Chapter 笫七章 --- 结論 --- p.276 -280 / 附錄一 全唐“懷古題´ح詩 --- p.1-29 / 附錄二 全唐“咏史題´ح詩篇目 --- p.30-40 / 附錄三 盛唐诗人懷古詩匯評 --- p.41-174 / 附錄四 参考書目 --- p.175-198