University of Macau / Faculty of Social Sciences and Humanities / Department of Chinese

Au croisement de la sinologie, de la philologie, de l’histoire, de la musicologie, de l’organologie et de la pratique instrumentale, cette recherche se donne pour objet d’approfondir notre connaissance de la facture et des techniques de jeu de la cithare chinoise qin sous la dynastie des Tang (618-907) en traduisant et analysant des sources peu exploitées de cette période, à savoir le traité Tang Chen Zhuo zhifa 唐陳拙指法 (Techniques de jeu [du qin] par Chen Zhuo des Tang) et 1468 poèmes évoquant cet instrument. En complément d’autres sources anciennes, l’étude du corpus des poèmes précise notamment l’origine des matériaux utilisés pour le qin, l’usage d’accessoires, l’identification de luthiers amateurs et professionnels, la constitution du répertoire, l’emploi et l’évolution des partitions.La traduction et édition critique du Tang Chen Zhuo zhifa sert de support à un travail d’inventaire et d’analyse typologique des gestes décrits dans ce traité. Les techniques de jeu de l’époque s’y révèlent dans leur étendue et leur diversité.Afin d’en faciliter leur compréhension, plusieurs doigtés font l’objet des reconstitutions filmées, conservées sur le DVD en annexe. Des analyses d’acoustique musicale effectuées sur une sélection de techniques se sont également avérées riches d’enseignements en révélant les fondements concrets et subtils sous-jacents au jeu du qin à l’époque des Tang. / At the intersection of sinology, philology, history, musicology, organology and instrument playing, this research aims at broadening our knowledge of how the qin Chinese zither was made and played throughout the Tang dynasty (618-907). The research draws on often overlooked or untapped sources of information from this period such as the Tang Chen Zhuo zhifa 唐陳拙指法 treatise (Qin Playing techniques by Chen Zhuo) and 1468 poems in which the instrument is referred to.Study of the body of poems and ancient texts sheds light on the origin of the materials used to make the instrument and how accessories were used, drawing a distinction between amateur and professional instrument makers and explaining how a repertoire is built and how sheet music was read and evolved over time.The translation and critical edition of Tang Chen Zhuo zhifa serve as a basis for an inventory and typological analysis of the techniques described in the treatise, which illustrates the wide range and different styles of playing. Some of the fingerings were filmed and recorded on a DVD included here in appendix. Analyses of the musical acoustics of a selection of techniques provide valuable insights into both the groundings and the subtlety of qin playing during the Tang period

博士(社会学) / 甲第523号 / 143, 394, vp / Hitotsubashi University(一橋大学)

published_or_final_version / Chinese / Doctoral / Doctor of Philosophy

本論文凡分六章，約十萬字． 首章敘研究動機及方法： （一）動機：中國詩歌史上：西崑體：佔有一定地位，西崑之為體，實得名於西崑酬 唱集，故要瞭解西崑體，則必須從西崑酬唱集入手：又歷來學者論詩每有唐宋詩之分 ，西崑體之時代，正是唐詩轉變成宋詩之關鍵，故研究西崑酬唱集，上可溯唐詩，下 可窺兩宋，如此唐宋詩涇渭當可分明． （二）方法：文學作品與時代環境關係密不可分，尤以中國文學為然，西崑酬唱集為 宋初民風裕泰之產物，其詩素以迷離閃爍見稱，於時代環境，作家各人際遇一無所知 ，則難明詩中意旨，故本文先歷史傳記考察入手，再從作品本身見其思想感情及藝術 成就．換言之，即採一種外緣，內在合一的綜合研究方法． 二章考察宋初詩壇創作狀況；分晚唐體，白體，西崑體三派，分別（一）考各派興起 之因，（二）考各派作家傳略（三）考各派作品得失，並從掃清五代浮弱詩風，確立 西崑體在宋初詩壇的地位． 三章敘西崑酬唱集編纂及重要傳本；蒐集現存西崑酬唱集重要傳集凡得七種，即明嘉 靖刊本，清周楨王圖煒合注本，四庫全書本，古城遺書本，粵雅堂叢書本，民國王仲 犖注本，鄭再時箋注本，其中清周楨，王圖煒合注本及民國鄭再時箋注本為新出資料 ，國內少見，於理解西崑詩意頗有幫助． 四章敘西崑酬唱集詩歌內容：採知人論世以及意逆志方法探討詩歌意旨，以見其非託 之空言，並修正前人評西崑內容空洞，缺乏真情感之錯誤． 五章敘西崑酬唱集詩歌形式：分別從章法，用典，對偶，詞藻，節奏諸方面來看西崑 詩特殊的創作技巧． 六章餘論：從西崑作家學李商隱師包蘊密緻特點修正前人以為但取其學李商隱麗詞之 說，並從矯五代詩風，開啟宋詩大道，肯定西崑詩人的文學史上地位．

本文以「從禮樂到生民:論中唐樂府的復興與新變」為題，試圖將中唐樂府放入當時思想、政治與文化的新格局中，探討其創作及觀念之特徵，並對盛、中唐之際的文學發展與中唐樂府的革新提出新的解釋。 / 已往之研究往往強調中唐樂府「刺時」的一面，而歸因於中唐的政治狀況。但本文認為，就題材來說，中唐樂府並非僅有「刺時」的內容，亦有大量的風俗描寫; 就原因而言，政治固然是因素之一，然絶非唯一因素。其背後還涉及詩學觀念的轉向與文人身份的變化。 / 本文指出，盛、中唐之際文人對於「風雅」或者「詩教」的觀念發生了變化。盛唐以前對「教化」的理解總與「禮樂」相伴，認為只要行禮樂便可以達到教化的目的，強調「禮樂」的作用自然凸顯《詩經》「上以風化下」的一端，而非「下以風刺上」的一面。至盛唐末期，這種觀念受到挑戰，文人對詩教的理解從頌讚的雅頌走向諷刺的國風，而最後刺時之文也獲得了正當性。中唐樂府的興盛與這種詩學觀念的轉變有著密切的關係。 / 本文認為，中唐文人的政治身分變化與中唐樂府的變化亦有密切關係。初盛唐文人少做地方官，至中唐，長期擔任地方官的文人比例大增。他們在觀念上調和「儒」、「吏」關係，更多地認同「循吏」的價值與傳統，使得地方官文人與漢良二千石的傳統銜接。他們以「循吏」的眼光在地方進行創作，為樂府的「觀風」職能提供良好的背景。 / 觀念的轉向、文人身份的變化，加之當時的政治狀況，造成了中唐樂府的興盛，也造就其獨特之特徵。本文對張籍、王建樂府在盛中唐樂府演變中的作用與地位提出了新的論述，認為張、王的樂府唱和，繼承、改造了盛唐李白和杜甫新、古題樂府的創作形式，體現了盛唐末年所開啟的「風雅」詮釋方式，而以興諷刺時作為樂府的主要內容，為其後的元、白樂府提供了借鏡。本文指出，中唐樂府雖然繼承了漢樂府「觀風」的傳統，但在題材內容上有所擴大。漢代，「樂府」作為中央官署，其「采詩」的主要目的是考察地方吏治，對於地方風土風俗則沒有太大興趣，但中唐樂府對此一題材卻有大量的書寫。「風俗」題材的興起與當代儒學關注點從「禮樂」轉向「生民」有關。「生民」既成為評判政治優劣的標準，「生民」的活動自然被納入創作的視野。論文認為，從文體角度說，中唐的樂府作者雖在主觀上排斥六朝傳統，但在樂府的命題以及表現方式上依然深受六朝的影響。 / 論文還考察了與新樂府創作相應的一套詩學論述，發現中唐詩人提出了所謂樂府「正聲」的觀念，以對抗初、盛唐樂府的觀念。不僅如此，中唐的樂府觀念還與「史官」、「諫官」的意識相互滲透，使得本為詩歌所獨有的「采風」觀念擴散到詩歌以外的文類，而本為樂府所關注的獨特題材也進入其他文體的書寫當中。 / This thesis focusing on Yuefuin the Mid-Tang dynasty,discusses its characteristicsin the new pattern of thought, politics and culture. The thesis tries to provide a new explanation for the literature development in the Mid-Tang. / Existing researches often emphasized the relation between yuefu and political reality. However, political reality was not the only theme reflected in yuefu, the description of customs was included. Politic was not the mere reason. Literati’s political identitywas changed and the existing tradition of "praise and criticize" from the Han dynasty was also transformed. / The thesis pointed out that the idea of "Fengya" or "poetic education" was changed from the High-Tang to the Mid-Tang dynasty. "Civilization", usually relating to "rites and music", was considered to be successful in the High-Tang dynasty. Therefore, literature was encouraged to praise the dynasty while criticism was ignored. This idea faced challenged from the end of the High-Tang dynasty, and the "poetic education" was lead to "criticize" instead of "praise". The prosperity of yuefu in the Mid-Tang dynasty was closely allied to the new idea. / Meanwhile, literati’s political identity changed. Most of them were local officials.Travelling within a wider area activated them to identify the "liangqiandan" tradition from the Han dynasty and to write in a "moral official’s" sight. / The change of idea, literati identity as well as political reality provided an environment for yuefu creation in the Mid-Tang dynasty. The thesis provides a new exposition for Zhang Ji and Wang Jian’s positions in this literature development. Zhang and Wang wrote poems in replies. They continued or reformed Li Bai and Du Fu’s yuefu works and represented the new idea of "Fengya" in their works, which provided experience for Yuen Zhen and Bai Juyi later. At the same time, the concept of "Guan Feng" was broadened. Han "Yuefu", as a central office, collected poems to look at local politics with no interest in local customs. However, yuefu in the Mid-Tang dynasty viewed customs as a mean subject of writing. The literati subjectively excluded the tradition of the Six dynasties, but were in fact influenced by this tradition. Besides, customs as a literary subject related to the transform of contemporary Confucianism. When literati viewed "people", not "ritesand music" as the basic of civilization in the political field, people’s activities became a literary theme with justification. / Finally, yuefu developed a standard for itself as poets concerned their works on the field. Poets raised "canon" of yuefu againstthe verse written in the Early and High-Tang dynasty. And the idea about yuefu penetrated with the sense of both historian and remonstrating officials when it came to mature. The idea of "folk song collection", coming down from yuefu was broadened and literary themes originally belonged to yuefu were written by other literary forms. / 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. / Detailed summary in vernacular field only. / 呂家慧 = From rising "rites and music" to viewing "people": the research on yuefu poem in the Mid-Tang dynasty / Lu Chia Hui. / Thesis (Ph.D.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 251-256). / Abstracts also in English. / Lü Jiahui = From rising "rites and music" to viewing "people" : the research on yuefu poem in the Mid-Tang dynasty / Lu Chia Hui.

龍詠怡. / 論文(哲學碩士)--香港中文大學, 1998. / 參考文獻: leaves i-xv. / 中英文摘要. / Long Yongyi. / Chapter 1. --- 導言 --- p.1 / Chapter 2. --- 試論唐人小說之宗敎主題 --- p.8 / Chapter 3. --- 方法論 / Chapter 3.1 --- 宗敎啓悟理論 --- p.14 / Chapter 3.2 --- 宗敎啓悟與文學 --- p.22 / Chapter 4. --- 版本與作者 / Chapter 4.1 --- 版本源流 --- p.30 / Chapter 4.2 --- 現今學者所採納之版本 --- p.33 / Chapter 4.3 --- 作者及寫作問題 / Chapter 4.3.1 --- 作者問題 --- p.34 / Chapter 4.3.2 --- 寫作日期 --- p.38 / Chapter 5. --- 故事詮釋 / Chapter 5.1 --- 故事佈局 / Chapter 5.1.1 --- 時間設定 --- p.40 / Chapter 5.1.2 --- 地點設定 --- p.42 / Chapter 5.2 --- 故事人物 / Chapter 5.2.1 --- 呂翁 / Chapter 5.2.2 --- 身份 --- p.44 / Chapter 5.2.3 --- 啓悟導師之形像 --- p.47 / Chapter 5.2.4 --- 盧生 / Chapter 5.2.5 --- 受啓悟前之困及價値取向 --- p.51 / Chapter 5.2.6 --- 啓悟者之身份 --- p.56 / Chapter 5.3 --- 夢中世界 --- p.60 / Chapter 5.3.1 --- 夢中的啓悟試煉 --- p.63 / Chapter 5.3.2 --- 〈枕中記〉史實/小說 --- p.80 / Chapter 6. --- 總言 --- p.86 / 附錄 --- p.89 / 參考書目 --- p.i-xv

Lam Yee Man. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2006. / Includes bibliographical references (leaves 95-103). / Abstracts in English and Chinese. / Abstract --- p.ii / Introduction --- p.1 / Chapter Chapter one: --- The anthropocentrism/ androcentrism debate --- p.10 / Chapter Chapter two: --- Self/ nature relationships: Self Realization and the relational self --- p.37 / Chapter Chapter three: --- the self/ nature relation in Wang's object- oriented poems --- p.53 / Conclusion --- p.82 / Endnotes --- p.86 / Bibliography --- p.95

Fang Hui ¡§Ying Kui Lu Sui¡¨ is one of widely discussed literary productions among Tang and Song poems of eight lines collections, which could be viewed in ¡§Ying Kui Lu Sui Literary Criticism¡¨ edited by Li, Qing-Jia; among the most important criticisms are Ping Ban, Ping Hao, Zha Shen-Xing, Ji Yun, and Xu Ying Fang. Xu Ying Fang is one of the most important poets and poetry critics in Yun Na. ¡§Lu Sui Ji Yao¡¨ is edited in the purpose of teaching students during Xu¡¦s late years of being the chairman in Jing Zheng college. This literary production has twelve chapters; the first six chapters are about the poems, which are worthy to be followed, and the later six ones are vice versa. However, Xu passes away before finishing this work. The reason why Xu Ying Fang edits this production bases on the criticism of ¡§Ying Kui Lu Sui¡¨ (written by Fang Hui), and ¡§Ying Kui Lu Sui Kan Wu¡¨ (written by Ji Yun), yet the literary figure of ¡§Lu Sui Ji Yao¡¨ is different from that of Fang Hui. Comparing to the late Qing dynasty, which is prevalent to the movement of Song poetry with Tong-Guang style, Xu Ying Fang¡¦s reflections toward Tang and Song poetry reversely present the most important feature of poetics in Qing Dynasty- neutrality. Xu partially accepts Fang Hui¡¦s proposition of ¡§one ancestor and three predecessors¡¨; and he further advances the idea of lists Li Shang-Yin, and Wang An Shi into the followers of Du Fu. Moreover, he even raises poetics status of Chen Yu Yi above Chen Shih Dao. Therefore, in ¡§Lu Sui Ji Yao¡¨, Du Fu is the most listed poet among Tang Dynasty poets, and Chen Yu Yi is the poet among Song Dynasty poets; the above arrangement is the most vivid poetic feature, which Xu Ying Fong breaks through Fang Hui¡¦s previous propositions. The advantages and weaknesses about poetry appeared among Xu Ying Fong¡¦s literary production are not judaged by times nor poets themselves. His literary criticism is deeply affected by neutral concept and textual research in Qing Dynasty poetics. As a result, ¡§Lu Sui Ji Yao¡¨has been accounted as an important status among the relative works of ¡§Ying Kui Lu Sui¡¨.

Xu Fu-Yuan (®}§·»·) was a famous writer in the late Ming Dynasty (©ú©u)¡Aand started Ji Club (´XªÀ) with Chen Zi-long (³¯¤lÀs) and Xia Yun-yi (®L¤¹ÂU). When the Ming (©ú) government was overthrown by the Qing (²M)government .he chose to forsake his family to overturn the Qing (²M) government and then experienced several emperors of Nan Ming dynasties («n©ú). The poems written during he left the hometown to overturn the Qing (²M) government in¡¨ Diao-Huang-Tang Manuscripts¡¨ (¡m³¨¿X°ó¦s½Z¡n)and¡¨ Jiao-Xing Manuscripts¡¨(¡m¥æ¦æºK½Z¡n)total early2800.People could hardly get the Diao-Huang-Tang Manuscripts(¡m³¨¿X°ó¦s½Z¡n)so the critics and researches in the Ming literature are very poor, and there are some questions must be settled in the Taiwan literature. Therefore, the study is on the two books to explore his life feelings during the Ming (©ú) and Qing (²M). The subjects of this study comprises the life and writings of Xu Fu-yuan, social association, self-identification, feelings, ocean writing, and Taiwan writing. By researching in depth on Xu Fu-Yuan (®}§·»·) and his poems, we discover something .For example, first, we confirm he went to Jiao Nan (¥æ«n) in February ,12th year of Yong-li (¥Ã¾ä). Second, we get Xu Fu-Yuan¡¦s (®}§·»·) friends in his poems more than 140.It not only helps us to understand him more but fill the records in Nan Ming dynasty. Third, his ocean writings have plenty of subjects and varied images. Fourth, according to¡¨ Diao-Huang-Tang Manuscripts¡¨(¡m³¨¿X°ó¦s½Z¡n), he came to Taiwan with his wife and his childe to reclaim lands in 1rt year of Kangxi (±dº³). In addition, the poem ¡¥peach blossom¡¦ (¡q®çªá¡r) and ¡¥mourn for Zhang Gong-SHi¡¦aren¡¦t written in Taiwan. Generally speaking, Xu Fu-Yuan (®}§·»·) has an extremely important historical value in Taiwan literature ,Chinese literature.