Thesis (M.A.)--Guo li Taiwan da xue. / Spine title. Reproduced from typescript. Bibliography: p. 149-153.

Thesis (Ph. D.)--Guo li zheng zhi da xue, 1981. / Cover title. Reproduced from typescript ; on double leaves. Errata slip inserted. Includes bibliographical references (p. 521-529).

《樂府補題》是一部著名的詠物詞集，本文即以此詞集為研究對象。除緒論及總結外，本文共分三編七章。各章節的內容大要如下。緒論回顧了《樂府補題》的研究狀況，並提出了本文的研究問題：一、甚麼因素促使《樂府補題》問世？二. 能否整理出一個《樂府補題》的新文本以供討論？ 三. "樂府補題"究竟有何寄託？四.《樂府補題》的詠物成就如何？五.《樂府補題》復出之後，讀者又如何接受？上編一章，研究《補題》的生成語境，處理的是第一個研究問題。本章分別從「歷史語境」、「詠物詞史語境」、「詞學語境」和陳恕可的「個人語境」等四個層面，由廣而狹地逐步聚焦於《樂府補題》得以問世的因素，並嘗試界定「雅」的定義。中編包括第二、第三及第四等三章，主力研究《補題》的文本，處理的是第二、第三和第四等三個研究問題。本編探討了《補題》的版本、寄託和詠物等基本課題。第二章首先整理了《補題》的版本系統，重建了《補題》的文本，第三章即在此基礎上作進一步的討論，提出無本事而有寄託的解讀方法、應題典故和烘題典故的區分及其對解讀詠物詞所起的作用。此外，本編第四章又討論了《補題》在賦形和摹神所用到的手法，並嘗試界定「神」的定義。下編三章，討論了後世讀者對《補題》的接受，處理的是第五個研究問題。第五章討論了清代詞人追和《補題》的作品的特點，第六章則討論了清人對《補題》的理論開發，從而看出《補題》經典地位的建立。本編第七章則討論了《補題》進入民國之後被文學史家邊緣化的問題。總結即回顧本文各章的研究結果。= It is known that Yue Fu Bu Ti 樂府補題 is a famous anthology of object-chanting Ci poetry詠物詞. Where have such poems come from? How did such an anthology come about? Very simply put, in the early years of the Yuan Dynasty, a small number of poets held a handful of clandestine gatherings to mourn the demise of the Song Dynasty. The innocence of their verse - songs about very common objects and animals - hid their true feelings about the the Song Dynasty. Their lamentations, their regrets and even their feelings of guilt burn within the sub-text of this small collection of poems. This thesis is a study of this anthology. In this thesis, except for the introduction and the conclusion, there are 3 sections with 7 chapters. The synopsis is as follows. The introduction contains a literature review on Yue Fu Bu Ti. Five research questions are raised: 1. What are the factors that spurred the emergence of Yue Fu Bu Ti? 2. Is it possible to reconstruct a faithful and authentic version of Yue Fu Bu Ti today? 3. What are the hidden meanings - the subtext - of Yue Fu Bu Ti? 4. What are the accomplishments of object-chanting which Yue Fu Bu Ti achieved? 5. How have the readers over the years received Yue Fu Bu Ti? Chapter 1 addresses the first research question. It examines the factors which prompted Yue Fu Bu Ti to coalesce and to take shape through the perspectives of its historical context, the context of object-chanting Ci, the context of Ci poetry 詞學more generally, and the personal context of Chen Shu He 陳恕可, the editor and one of the authors of Yue Fu Bu Ti. In addition, the concept of Ya 雅 is also discussed in this chapter. Chapters 2, 3 and 4 make up Section 2. They concentrate on the second, third and fourth research questions respectively. The basic issues, including different versions of Yue Fu Bu Ti, the shrouded, concealed meanings Yue Fu Bu Ti, and the realization and triumph of object-chanting which Yue Fu Bu Ti achieved are discussed in this section. The text of Yue Fu Bu Ti is reconstructed. This latest version is the basis of further discussion. It is suggested that the true meanings of Yue Fu Bu Ti are cleverly disguised free of referential incidents. Direct and indirect allusion are keys to a successful reading of the poems. The concept of Shen 神 of objects, the writing technique for depicting a resemblance to objects, and the acquisition or attainment of the essence of the Shen of objects in Yue Fu Bu Ti, are discussed in this section. There are also 3 chapters in the last section. The final research question is discussed in this section. Chapter 5 studies the characteristics of Zhui He 追和 (compositions based on the rhymes of the original work ) during the Qing Dynasty while Chapter 6 examines the Ci theory revealed within Yue Fu Bu Ti and explored in the Qing Dynasty. The process of canonization of Yue Fu Bu Ti is shown here. Marginalisation of Yue Fu Bu Ti by literary historians in the Min Guo era is discussed in Chapter 7. The conclusion is a review of the achievements the chapters have presented.

姚道生. / 論文(哲學碩士)--香港中文大學硏究院中國語言及文學學部,1994. / 參考文獻: leaves 206-211 / Yao Daosheng. / Chapter 第一章 --- 緖論 --- p.1 / Chapter 第一節 --- 「六朝」一詞的界定 --- p.1 / Chapter 第二節 --- 樂府考略 --- p.2 / Chapter 第三節 --- 採桑主題 --- p.14 / Chapter 第二章 --- 採桑主題產生的文化背景 --- p.26 / Chapter 第一節 --- 說「蠶」「桑」 ´ؤ´ؤ從「蠶」「桑」二字的古文字考釋看 先秦時代的蠶桑業 --- p.27 / Chapter 第二節 --- 從出土文物看先秦時代的蠶桑業 --- p.41 / Chapter 第三節 --- 採桑親蠶 --- p.57 / Chapter 第四節 --- 小結 --- p.72 / 附錄一 / 附錄二 / Chapter 第三章 --- 採桑樂府的流變 --- p.79 / Chapter 第一節 --- 漢代之作 ´ؤ´ؤ採桑樂府的原型 --- p.80 / Chapter 第二節 --- 後世模擬之作 ´ؤ´ؤ採桑樂府的因革 --- p.93 / Chapter 第三節 --- 總述 --- p.129 / Chapter 第四章 --- 比興的言志傳統與採桑女守禮形象的確立 --- p.141 / Chapter 第一節 --- 比興的言志傳統 --- p.142 / Chapter 第二節 --- 採桑女守禮形象的確立 --- p.147 / Chapter 第五章 --- 採桑樂府的寄託 --- p.166 / Chapter 第一節 --- 「以意逆志」的讀詩方法 ´ؤ´ؤ判別詩歌是否有寄託的讀詩法 --- p.167 / Chapter 第二節 --- 「知人論世」的讀詩方法 ´ؤ´ؤ尋求詩人的寄託 --- p.177 / Chapter 第六章 --- 餘論´ؤ´ؤ解釋與創作 --- p.198 / 參考書目及論文 --- p.206

Chinese / Doctoral / Doctor of Philosophy

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.

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