In the history of Chinese literature, poetry is undoubtedly the most significant genre that could represent the Tang Dynasty. There were many great poets including Li Bai and Du Fu who wrote regarding a rich variety of topics. This thesis attempts to study the research works of Ganyu Poetry in the perspective of the literature history and aesthetic conception. It is hoped that this dissertation can give readers a clear understanding of Ganyu Poetry in the Tang Dynasty. Through studying the themes and aesthetic features and of Ganyu Poetry, we could discuss this kind of poetry written in different centuries. As the basis of this study is the "Quantangshi", the content and the aesthetic features of Tang Ganyu Poetry will be discussed. "Quantangshi", is a collection of the primary source of Tang poetry published in the Qing Dynasty, that was amended by different scholars. The 74 poems with the theme of Ganyu Poetry from Tang Ganyu Poetry will be studied. There are five chapters in this thesis, preceded by an introduction. Chapter one deals with the introduction of the structure of this thesis, the literature review, the research methods and the significance of the research. Chapter two explains the definition of Ganyu Poetry based on the literature review and previous research conducted by other scholars in order to define the meaning of Ganyu in this thesis and design the scope of study. Chapter three discusses the development of Ganyu Poetry in the early Tang, mid Tang and late Tang periods. Chapter four makes an analysis of the aesthetic features of in Tang Dynasty in order to give us a thorough understanding on Ganyu Poetry. Chapter five, the concluding chapter, summarizes the arguments stated in this thesis. 一代有一代之文學，最能代表唐代的文學是詩歌，詩人輩出，如李白、杜甫；詩派紛繁，題材多變。唐代感遇詩是十分重要的唐詩類別，不少作家均曾創作感遇詩，如陳子昂和張九齡。本論文選擇研究唐代感遇詩這個題目，以整體的文學史視野來研究唐代感遇詩的論著，運用美學觀念分析的研究。本文也希望能藉今次研究，加深我們對唐代感遇詩的認識，並且能對「感遇」這種文學的主題類型和美學特質加深理解，恊助我們討論不同時代的「感遇類」詩詞作品。 本論文將以《全唐詩》作為研究基礎，研究唐代感遇詩的內容和美學特徵。《全唐詩》是清代的唐詩總集，後經不同的學者修正，收錄第一手紥實的唐詩材料，作為研究的根據。本人搜尋《全唐詩》中以「感遇」為題的詩歌作為研究對象，共有74首詩，全文分為五個章節，第一章是導論，介紹全文的架構、研究回顧、研究方法和研究重要。第二章對「感遇詩」作出定義，爬疏文獻資料和前人學者的研究，說明本文對「感遇」的理解，劃出一個研究範圍。第三章會探討「感遇詩」在初唐、盛唐、中唐和晚唐發展情況，勾勒唐代感遇詩的發展概況。第四章以美觀念切入，探討唐代感遇詩的美學特質，配合第三章的主題分析，讓我們更全面認識唐代感遇詩。最後，第五章是結論，總結全文的論點。 / published_or_final_version / Chinese Language and Literature / Master / Master of Arts

The research topic of this thesis is “A Study of Li Panlong’s Mimetic Poems”. Mimetic Poems are poems that imitate classical poems. Generally speaking, writers of Mimetic Poems tend to mimic poets who lived in earlier dynasties and had great achievements in poetry, in a way that the original outer language styles and inner spiritual essences are usually inherited. This thesis focused on the study of Li Panlong’s theory on poetry and his Mimetic Poems. From both the theoretical and practical points of view, the imitating situations of his poems were evaluated. This Paper analyzed Li Panlong’s Mimetic Poems from the perspectives of linguistics and psychology. The phenomenon of Li PanLong’s language usage in his Mimetic Poems was grasped through the theory of language as medium. Li Panlong’s state of mind when creating his Mimetic Poems was studied through the theory of literature psychology. Aiding with the method of “Close Reading”, Li Panlong’s Mimetic Poems were analyzed in details. Also, using the way of “Zhiren Lunshi”, the relationship between Li Panlong’s behavior of imitating and the social context in his times were discussed. After throughout study of Li Panlong’s theory on poetry and his Mimetic Poems, it was discovered that his theory on poetry was applicable in his Mimetic Poems. There were some “Niguyuefu” of Li Panlong which preserved the original outer language styles, some which inherited the inner spiritual essences, and some in which new elements of language were created. As for his “Nigushi”, the requirements of “Shu”, “He” and “Li” in his theory on poetry were fulfilled in the following sense. First, Li Panlong was familiar (“Shu”) with the works of Previous dynasties. Then either he ensured that the outer language styles of his “Nigushi” were similar (“He”) to the original works or he got rid of (“Li”) the influence of language in the original works, shifted to the standpoint of a critic, as well as supplemented and commented works of previous dynasties by the way of poetry imitating. Therefore, his theory and practice on poetry formed a mutual supporting system. 本論文的研究題目是〈李攀龍的摹擬詩研究〉。所謂“摹擬詩”，是通過摹擬古代詩歌而建構出來的詩歌模式。一般而言，摹擬詩具有明確的摹擬對象，而摹擬對象又是前朝有成就的詩人詩作，以追求所擬詩的外在詩學語言形式與內在精神意趣為要旨。本論文就是針對李攀龍的詩學理論及摹擬詩進行研究，從理論和實踐兩方面觀照李攀龍的詩歌摹擬情況。 　　本論文從語言、心理兩個角度進行研究，運用文學語言中介理論來把握李攀龍摹擬詩的語言面貌；利用文藝心理學理論來分析李攀龍的摹擬心理。並輔以“文本細讀”的方法，細緻分析李攀龍的摹擬詩； 同時以“知人論世”的方式，探討李攀龍的摹擬行為與其身處時代的關係。 筆者研究李攀龍的詩學理論與摹擬詩後，發現李攀龍的摹擬詩大體能貫徹其詩學理論。其擬古樂府既有“胡寬營新豐” 式的形似摹擬，也有“伯樂論天下馬”式的神似摹擬，更有做到“日新富有”的李氏新樂府。其擬古詩，則謹遵其詩學理論中“熟”、“合”、“離”的要求，先“熟”讀前人作品，進而在摹擬時，或力求擬作語言風貌“合”於原作；或儘量遠“離”原作的語言影響，站在評論者的立場，通過擬作補足、評論前人作品。其詩學理論與實踐因此形成了一個相互印證的嚴謹系統。 / published_or_final_version / Chinese / Doctoral / Doctor of Philosophy

Wang Tao (1828-1897) had significant contributions in various fields, including the press, education and translation. He spared no effort to introduce advanced western ideas to China. These contributions and his dramatic life aroused the interest of scholars. In recent years, scholars noted the achievements of his fiction-writing and and published a large number of papers on this topic. However, his achievements in poetry-writing did not receive much attention. In order to fill this gap, the present thesis focuses on Wang Tao’s poetry-writing, aiming to give a comprehensive survey of his poems written before his exile to Hong Kong in 1862. The thesis is divided into five chapters. Chapter one illustrates the research background, the scope of the study and the research methodology employed. Chapter two is an analytical account of Wang Tao’s life with particular emphasis on how important events in his life influenced the styles of his poems. Chapter three illustrates Wang Tao’s concept of poetry-writing. Chapter four discusses the contents, artistry and styles of Wang’s poems in the specified period. Chapter five is the conclusion. It sums up the characteristics of Wang Tao’s early poetry and gives a critical account of the comments made by various reviewers. Wang Tao claimed that the style of his early poems was soft and plaintive（側媚）. It became “wild and unrestrained” （豪放粗獷）after he had experienced serious mishaps in his life. This drastic change has been fully addressed in the thesis. / published_or_final_version / Chinese / Master / Master of Philosophy

This thesis studies the Qing women’s writings on the Dream of the Red Chamber. Qing women’s comments on the novel formed an important aspect of the second high tide of women’s literature in late imperial China. By examining these writings, I intend to reveal how the women authors mediated with the Confucian morality and how they exerted influence on the literary tradition from its inside. I also intend to examine the women authors’ self-representations and their reflections on the actual world they lived in. The thesis consists of five chapters. Chapter one introduces the historical background of the rise of women’s writings on the Dream of the Red Chamber, and proceeds to discuss women’s self-representations under the influence of the Chinese literary tradition, as well as the conflict between morality and literary talent they often felt. I will also briefly summarize previous scholarly works concerning this subject. Chapter two analyzes Qing women’s poetic works and literary activities concerning the novel. I will make a few observations on the general tendency of women’s responses to the novel by examining their writing conditions, communities, the points they wanted to articulate, and their literary skills. Chapter three and four investigate two women writers, namely, Wu Lanzheng and Gu Taiqing, respectively. Among the dramatic works adapted from the novel, Jiang Heng Qiu by Wu is known to be the only existing work written by a female author. In this part of my discussion, I will include Wu’s poetic works on the novel and her personal experiences to shed light on the dramatic work. On the other hand, Honglou Meng Ying (The shadow of the Dream of the Red chamber) by Gu is the most profound and extensive response to the original novel by a female author. Considering that Gu’s life was quite similar to the literary characters in the book and a variety of her writings have survived, I will conduct a detailed study of her poetic and dramatic works before I look into her novel. The closing chapter draws conclusions from the previous chapters in the following three aspects: first, the influence of the textual world on the reality; second, women writers’ tendency of adopting the values of morality and literary talent concurrently, as well as their contributions to the literary tradition; and, third, the significance of Gu Taiqing’s case and Honglou meng ying. To sum up, inspired by the Dream of the Red Chamber, the Qing women authors undertook a rich variety of literary activities which demonstrated the complex relations between self and writing, and these women’s life experiences and creative activities also constituted an earthly picture of the “red chambers”. / published_or_final_version / Chinese / Master / Master of Philosophy

Han Shu is our first history book which narrates the story by dynasty. It carries a lot of valuable information of the Han dynasty, both historically and literarily. However, because of the long-ago history, a lot of language, pronunciation, naming system, names of officials and places are now difficult to read and understand. Throughout the history, a number of people had analyzed Han Shu. These people have solved a lot of queries. Yang Shuda has high achievements in analyzing Han Shu. He is not only good at etymology and phonology but also analyzing parts of speech and sentence patterns. In terms of the use of materials, not only does he compare different versions of literature, but also uses inscriptions and even cultural data such as marriage and death for analysis. All these contribute to his unique analysis. The analysis of Han Shu has opened up a new field as more and more materials are excavated. Bronze, lacquer and even lute and currency are used in research. This has broadened the academic horizons and solved many mysteries. In 1983, in Hubei province, a lot of Han bamboo slips were excavated, which have provided tremendous help to our understanding of the medicine, law, mathematics and others of the Han dynasty. By the time when current books of Han analysis such as Yang Shuda’s Han Shu Kui Guan were punished, bamboo clips of Zhangjiashan were not yet unearthed. It is unable to invoke this important information, resulting in some doubtful content. I hereby try to make use of these bamboo slips to supplement previous comments, provide new research directions, or affirm previous results. This dissertation is divided to six parts. Each uses the notes of current analysts as the starting point while incorporating Zhangjiashan Han bamboo slips. My analysis is based on Yang Shuda Han Shu Kui Guan, together with the analysis of some current analysts. / published_or_final_version / Chinese Language and Literature / Master / Master of Arts

published_or_final_version / abstract / toc / Chinese Historical Studies / Master / Master of Arts

toc / Chinese Historical Studies / Master / Master of Arts

published_or_final_version / abstract / toc / Chinese / Doctoral / Doctor of Philosophy

published_or_final_version / abstract / toc / Chinese / Master / Master of Philosophy

published_or_final_version / Chinese / Master / Master of Philosophy