Sylvia Plath’s poetry continues to receive considerable attention from a variety of groups and has been the target for such diverse critical approaches as Feminism, Ecocriticism, and Marxism, to name but a few. My paper focuses on a less investigated area of her poems: Space, and more specifically uncanny space in her later poetry. Here, I take a closer look at seven of her poems using as my preferred methods deconstruction and psychoanalytical theory.

This thesis analyzes the development of public libraries in the Pilsen Region in 1990-2010. The work focuses on the major issues of development of public libraries from the perspective of the Pilsen Region macrosystem, especially the volume of data and system changes. In the first three chapters are given general information about public libraries and their functions, information about the Pilsen Region (former West Region) and library legislation. The main characteristic of the work of bringing the two periods, 1990-1999 and 2000-2010, public libraries in the Pilsen Region. These chapters analyze the changes that affected the functioning of libraries in the monitored phases. The consequences of changes thesis looks through the selected statistical indicators of the years. These changes illustrated in graphic form furnished comments. The last section concludes and evaluates the development of public libraries of the Pilsen Region in 1990-2010. Thesis is equipped with text and spreadsheet attachments. [Author's abstract].

University of Macau / Faculty of Social Sciences and Humanities / Department of Government and Public Administration

邊疆是國家領土的一部分，有邊疆便有邊疆政策。中國邊疆族支眾多，為適應邊疆地 位之重要、地形之特殊，環境之複雜，幾千年來，無論中華民族中任何一族系掌握中 原政權，均各有其治邊方針。 本論文旬在研究 國父與先總統 蔣公的邊疆政策思想，全文約八萬餘字，共分六章 十二節，各章要點如下﹕ 第一章 緒論，首先說明邊疆定義、特質及邊疆政策之意義。 第二、三、四章 國父「民族」、「民權」、「民生」主義邊疆政策思想。此三章之第一節簡略敘述「 民族」、「民權」、「民生」之要旨。其第二節仍蒐集國父三民主義及相關的言論、 著作中包含邊疆政策思想，以說明 國父對邊疆亦相當重視。 第五章 先總統 蔣公邊疆政策思想，蒐集 蔣公有關邊疆政策思想，並加以討論 蔣公將邊疆政策實施於蒙藏及台灣山地的成果。 第六章 結論。探討對當前邊疆應有的認識，及光復大陸後邊疆政策的原則。

本文透過田野與文獻資料來建構內台歌仔戲班台北大橋頭「復興社」的劇團史，對其股東、組織經營、重要演員及演出活動等做一深度的記錄，並由此基礎資料出發，進一步對整個內台歌仔戲的情況進行較深入的說明與討論。 論文共分五章，各章重點如下：第一章「緒論」：文中先回顧相關文獻，檢討若干前人研究中存在的盲點，接著具體說明論文的研究方法，由於本文缺少具體的文本，必須透過許多田野訪談才能完成，因此研究方法可分為兩個層次，其一為進行訪談時所採用的田野調查與口述歷史兩種方法，其次則是如何將這些田野資料脈絡化，透過怎樣的架構與書寫策略讓它能形成一個具體的論文，最後則對研究對象與研究範圍做一說明。第二章「『復興社』的歷史、組織與經營」：第一節除了簡要說明「復興社」的歷史，還檢討前人研究資料上的一些問題，重新爬梳了內台歌仔戲班的消長情形，當作歷史背景的交代，而「復興社」的股東是當時台北地區赫赫有名的大流氓，又同時為歌仔戲子弟，在此筆者做了一些資料性的記錄；第二節則介紹劇團的組織、演員招募、訓練以及經營管理，說明當時的社會環境與劇團經營間的問題。第三章「『復興社』的舞台人員」則是詳細的介紹內台歌仔戲舞台人員的職司、各角色的分配情形，以及記錄「復興社」的重要演員。第四章「『復興社』的演出活動」：本章就著商業邏輯與觀眾趣味兩條主線來理解整個演出活動的宣傳手法、演出內容以及演出形態的轉變，希望能藉此對內台歌仔戲的面貌有更深的理解。第五章「結論」總結本文的研究成果，筆者將「復興社」視為一種具代表性的內台歌仔戲劇團類型，討論其在整個歌仔戲發展史上的意義；最後則列舉四個可延伸的研究課題，其中以六、七○年代大稻埕、大橋頭一帶的戲劇活動最值得重視。 整體來說，本篇論文是放置在一個歌仔戲研究的脈絡裡進行論述，就不採用一般通史性的書寫方式，因此許多與論題無關的資料便略過不談，如許多歌仔戲著作都會提到《臺灣民報》反對歌仔戲演出的報導，或是「臺灣民眾黨」將「反對演歌仔戲」列為黨綱等等。且由於許多前輩學者已有相當不錯的研究成果，許多重要問題都已清楚做出解釋，文中就多簡要提點而少繁文引述，花較多的筆墨來討論一些不同前人研究的問題，透過「同中見異」的方式來逼顯一些未被思考到的面向，希望能立基在舊有的基礎之上做出一些新的思考。此外，由於研究對象的資料性質是輻射性的外散，還可以延伸出許許多多的小論題，儘管筆者盡可能將相關聯的資料聚攏討論，但還是有許多無法兜攏但頗值得一談的題目，就只能安置在注釋中，譬如某些研究盲點的檢討、研究資料的辨證、具有開發性的論題等等。所以整個論文在書寫上與一般學術論文略有差異，有些篇章正文與注釋幾乎佔了相同的份量，也因此筆者自認論文的「注釋部分」不只是說明出處而已，還有不少可觀之處，亦與正文具有同等的價值，讀者閱讀之後當會有更清楚的理解。限於學力、時間有限，僅能交出如此的成績，其中仍有不少闕漏與謬誤之處，還望方家不吝指正。 / This thesis built the club history of Taiwanese Opera(歌仔戲) club named "Fu-Xin Ser"(復興社) in Taipei's Da-Qiau-Tou(大橋頭) via my field works and documents. First, I introduce the shareowners, club organization, main performers and presentation history. Second, I discussd the Indoor Commercial Taiwanese Opera(內台歌仔戲) based on these basic data . The thesis divided into five chapters: Chapter 1, I reviewd papers and introduce the research methods which was mainly deep interview. Chapter 2, I discussed the history, organization and management of Fu-Xin Ser. Capter 3, I introduced the duty, role distribution, and record the main performers. Chpter 4, I dicussed the performance propaganda gimmicks, performance contents, and the transformation of performance by the way of commercial logics and audience's taste, Chapter 5, I saw Fu-Xin Ser as a typical case of indoor commercial Taiwanese Opera, then I discussed the role it played during the development of the history of Taiwanese Opera. Totally speaking, this thesis was discussd located in the Taiwanese Opera research context, because of the lack of related documents, the background description take up the main capacity of the thesis. But I also look after the sides of research, expecting to give rise to related research.

本文以「孔子弟子」為研究對象，探討孔子之下第一批儒家從學者對於孔子之學的發展。主要藉由觀察孔子弟子的儒學發展，分析前人所謂「弟子分化」的關鍵點與整體趨向，並討論孔子弟子對於儒學、乃至先秦學術所造成的影響。除推證、釐清前人對於孔子弟子的相關論述，展現孔子弟子於儒學發展的重要作為以外，亦期能稍以增補戰國儒學傳承的線索。 全文共分五章：一、「緒論」，說明本研究形構的背景；二、「孔子弟子從學的背景與表現」，從社會背景、事行表現與從學情況三主題，觀察孔子弟子與孔子之教的連繫情況，並建立對於孔門從學者的具體認識；三、「孔子弟子儒學發展的趨向」，自政治參與、六藝之學以及德行之學三面向，討論孔子弟子儒學發展的情況，同時觀察其整體趨勢；四、「孔子弟子儒學發展的影響」，根據前章所得，分就儒學理論、儒學實踐、戰國學術三方面，說明孔子弟子儒學發展的影響。五、「結論」，總結本文研究成果與未來展望。相關資料整理，則另列於「附表」。

This thesis’ purpose is to demonstrate, via the examination of popular youth literature (primarily pulp magazines and comic books) from the 1920s through to the 1950s, that the stories found therein drew their definitions of heroism and villainy from an overarching, nativist fear of outsiders that had existed before the Great War, but intensified afterwards. These depictions were transferred to America’s “new” enemies following both the United States’ entry into the Second World War, as well as the early stages of the Cold War. This transference of nativist imagery left behind the ethnically-based origins of such depictions, showing that racism was not the sole and simple reason for such exaggerated visages. A process of change, in regards to America’s nativist sentiment, so virulent after the First World War, will be explained by way of the popular, inexpensive escapism of the time, the pulp magazines and comic books of the early to mid-twentieth century.

杜甫詩是中國古典文學的經典，其經典地位奠定於有宋一代。本文以宋代詩話為考察對象，分析文學批評和杜詩經典化的關係，主要內容如下： / 首先，本文將討論文壇領袖對杜詩的讚賞，如何演化為整個文壇的普遍觀念。文中指出蘇軾和黃庭堅是杜詩的發明者，二人對杜詩的評價，得到宋詩話的熱烈回應，意義不斷得到擴展和深化，由個人詮釋演化為宋人的集體認知，從而確立了杜詩的典範性。蘇軾「一飯未嘗忘君」的評語，經由詩話的討論和闡釋，最終令杜詩得「詩中六經」的評價。黃庭堅「無一字無來處」的評語，也促使詩話研究杜詩出處和用事手法蔚為風氣，不僅確立了杜甫好用事的特徵，也使杜詩成為宋詩風格的模範。 / 其次，本文探討宋代政治和文化背景對宋人接受杜甫的影響。在「李杜優劣」此一議題上，杜詩得到凌駕李白的地位，批評家看重詩歌內容的社會意義多於藝術性，反映唐宋人期待視野的轉移。宋人對杜甫「詩史」的讚譽，也與宋型文化和南宋戰禍連年有密切關係。宋詩話特別重視杜甫和安史之亂有關的詩作，因為安史之亂與宋代歷史背景有不少相似之處，宋人藉著詮釋杜詩的義理，投射了對胡人的痛恨、戰亂中的自傷之情和淑世理想。宋人憑藉認同杜甫，達至自我認同；通過詮釋杜詩，而完成自我呈現。杜甫在安史之亂中的遭遇，使他成了盛唐詩人中最能引發宋人共鳴者，也為宋人的詮釋提供了前提。宋詩話慣以比興和用事手法解釋杜詩，也使杜詩的詮釋空間擴大，更能貼合宋人的情感寄託。 / 此外，本文就宋詩話的本質和批評形式，如何在一定程度上掌握文學經典化的權力進行探討。詩話是新興於宋的詩歌批評形式，「摘句批評」和「論詩辨體」是其慣用的表達方式。在詩話的批評形式下，宋詩話出現了以杜詩為中心的價值取向：評估杜詩的價值，展示杜詩的多元性，樹立杜詩的正統意義，確立杜詩較他人優勝的觀念，凸顯學杜之必要。詩話的批評形式確立了杜詩經典化的重要價值，又憑藉詩話的詩法指導功能，規範了時人的價值判斷和創作。 / 最後，本文考察杜甫在宋代唐宋詩之爭的詩統建構中所處的位置。「宋詩」詩統藉著「一祖三宗」的論述，加強和杜甫的連繫，鞏固自身的正統地位。「唐詩」詩統同樣以杜甫為正統，其論述反而著重否定「宋詩」和杜甫的關係。唐、宋詩同樣以杜甫為正統，使杜詩超然於後世受唐宋詩之爭，對杜詩經典價值的延續有深刻意義。 / Since its inception in the Song Dynasty, Du Fu 杜甫 ’s poetry has been firmly regarded as a canon in the field of classical Chinese Literature. The process of which, however, has not been clearly examined. Based on Song Dynasty’s Remarks on Poetry 詩話, this thesis is devoted to analyzing the relationship between literary criticism and canonization of Du’s poems. / First, this thesis discusses how literary leaders’ commendation on Du’s poetry has become the general view of the Song literati. It particularly highlighted the evaluations of Du’s poems from Su Shi 蘇軾 and Huang Ting-jian 黃庭堅. Their comments were widely quoted and re-interpreted by subsequent authors of Remarks on Poetry, which confirmed and reinforced the importance of Su and Huan’s thoughts. The transition from Su and Huang’s personal interpretation to becoming a widely-held view amongst the literati, affirmed the canonical status of Du’s poetry. Through discussion and interpretation by Remarks on Poetry, Su’s comments on Du Fu as “a ever-loyal official 一飯未嘗忘君 contributed to the commendation on the Du’s poems as “Six works of the Confucian Canon in poetry 詩中六經. Huang commented Du’s poetry as “not a single word [in them] does not have its sources 無一字無來處. This promoted a more in-depth study into the origins of Du’s habitual use of allusions. This not only reaffirmed the intense use of allusions as one of the characteristics of Du’s works but also as the model of Song-styled poetry. / Second, this thesis investigates the impact of Song politics and cultures on the Song people’s reception of Du’s poetry. When comparing Li Bai to Du Fu, Du’s works were have consistently received a higher ranking as commentators often value social meanings more than artistic value. This demonstrates a shift in value system from Tang to that of Song dynasty. The Song people’s acclamation of Du as Shishi 詩史 was related to Song culture and the prolonged war in the Southern Song. Remarks on Poetry paid special attention to Du’s works related to An Lu-shan rebellion as this rebellion shared similarities with Song history. In Remarks on Poetry’s interpretation of Du’s poems, it reflected the Song people’s grievance towards foreign tribes and warfare. By agreeing with Du Fu, the Song people can develop its self-identity; through interpreting Du’s poetry, they can self-actualize. Du Fu’s encounter during the An Lu-shan rebellion made him well-received by the Song literati, and gave them the premise for interpretation of Du’s poems. Remarks on Poetry adopted an analogical way of expression, bixiang 比興, and allusion to study Du’s works and this provided more perspectives for interpretation and space for emotional sustenance. / Third, this thesis investigates the nature and format of Remarks on Poetry, and why it remains authoritative in literary canonization, despite its apparent arbitrary nature. Remarks on Poetry was a new form of poetry criticism in Song Dynasty. “Commentaries on isolated sentences drawn out from poems, zheju piping 摘句批評, and “Discussion on poetic form distinction, lunshi bianti 論詩辨體, are its usual presentation. Under this new style of critique, Remarks on Poetry developed a kind of value judgment with Du’s poetry as its basis: evaluating the value of Du’s poetry, demonstrating the diversity of his works, establishing an orthodox meaning for his poems, reinforcing the concept of higher ranking of his poems, and highlighting the importance of studying Du’s works. Such a style reinforced the canonical value of Du’s poetry. Coupled by the Remarks on Poetry’s nature as an authoritative reference text it defined the value system of those times and dictated the way in which literary works are to be made. / Fourth, this thesis puts Du Fu squarely in the conflict between Tang-styled and Song-styled poetry. Based on the theory “one ancestor and three predecessor, yizu sanzong 一祖三宗 , the Song-styled poetry strengthened its connection with Du Fu and reinforced its orthodoxy. The Tang-styled poetry also set Du Fu as its role-model but its discourse emphasized disconnecting Du’ works with the Song-styled poetry. Despite the conflict between the Tang-styled and Song-styled poetry, Du’s works were still highly recognized as an orthodox example by both groups and this contributed immensely to the continued canonical status of Du’s poetry. / 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. / 朱寳盈. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 230-241) / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Zhu Baoying. / Chapter 第一章 --- 導論 --- p.1 / Chapter 第一節 --- 杜甫詩的經典化 --- p.1 / Chapter 一、 --- 唐或宋？杜詩經典地位的確立 --- p.2 / Chapter 二、 --- 杜詩經典化的幾個思考重點 --- p.5 / Chapter 第二節 --- 前人研究成果與本文討論重點 --- p.8 / Chapter 一、 --- 前人研究成果 --- p.8 / Chapter （一） --- 整理杜詩在宋代流傳概況和資料 --- p.9 / Chapter （二） --- 指出杜甫「儒家思想」很大程度出於宋人建構 --- p.10 / Chapter （三） --- 從唐宋文化的差別辨析唐宋人論杜 --- p.11 / Chapter （四） --- 以接受美學觀念分析宋代杜詩學 --- p.12 / Chapter （五） --- 分析杜甫對宋詩風格的典範作用 --- p.13 / Chapter 二、 --- 本文討論重點 --- p.14 / Chapter （一） --- 以「經典化」為研究視野分析宋代杜詩學 --- p.14 / Chapter （二） --- 重視「眾人」的意見 --- p.15 / Chapter （三） --- 關注「詩話」的作用 --- p.16 / Chapter （四） --- 探析「詩史」與宋型文化關係 --- p.17 / Chapter （五） --- 論析唐宋詩之爭對杜詩地位的影響 --- p.18 / Chapter 第三節 --- 研究目的及方向 --- p.19 / Chapter 第二章 --- 從個人詮釋到集體認知： 宋代詩話對蘇、黃評杜的回應與杜詩經典化 --- p.22 / Chapter 第一節 --- 引言 --- p.22 / Chapter 第二節 --- 宋初詩話「論杜」 --- p.23 / Chapter 一、 --- 北宋初年詩壇非尊杜 --- p.23 / Chapter 二、 --- 對杜詩藝術的評價 --- p.28 / Chapter 三、 --- 小結 --- p.30 / Chapter 第三節 --- 杜詩價值的發明 --- p.30 / Chapter 一、 --- 宋人眼中的杜詩發明者 --- p.30 / Chapter 二、 --- 宋詩話回應蘇、黃評杜的三種模式 --- p.34 / Chapter 第四節 --- 蘇、黃論杜與杜詩的經典化 --- p.42 / Chapter 一、 --- 從「一飯未嘗忘君」到「詩中六經」 --- p.43 / Chapter 二、 --- 從「無一字無來處」到「江西詩派」 --- p.50 / Chapter 第五節 --- 結語 --- p.56 / Chapter 第三章 --- 時代的制約：論宋人的期待視野與歷史感懷 --- p.58 / Chapter 第一節 --- 引言 --- p.58 / Chapter 第二節 --- 雙重標準的李杜優劣論期待視野的轉移 --- p.59 / Chapter 一、 --- 宋人對李杜優劣論的回應與再發展 --- p.60 / Chapter （一） --- 回應元稹、韓愈之論：李杜並尊 --- p.60 / Chapter （二） --- 李杜優劣論的再發展：獨尊老杜 --- p.65 / Chapter 二、 --- 宋人品次李杜的兩個標準 --- p.68 / Chapter 三、 --- 小結：期待視野的轉移 --- p.78 / Chapter 第三節 --- 自我認同與呈現--安史之亂與宋人的「詩史杜甫」 --- p.79 / Chapter 一、 --- 宋詩話與杜甫「安史詩」 --- p.79 / Chapter 二、 --- 安史之亂與宋人的歷史感懷 --- p.90 / Chapter 三、 --- 杜甫「安史詩」詮釋的先決條件與詮釋空間的擴大 --- p.109 / Chapter （一） --- 詮釋的先決條件 --- p.110 / Chapter （二） --- 詮釋空間的擴大 --- p.116 / Chapter 第四節 --- 結語：宋人的「詩史」杜甫 --- p.124 / Chapter 第四章 --- 典範意義的產生：詩話的詩法指導作用與杜詩價值的確立 --- p.127 / Chapter 第一節 --- 引言 --- p.127 / Chapter 第二節 --- 綜述：在詩話批評形式下的評杜現象 --- p.128 / Chapter 一、 --- 廣泛的討論和援引為證 --- p.128 / Chapter 二、 --- 同時摘取杜甫與他人詩句 --- p.133 / Chapter （一） --- 說明杜詩的出處 --- p.133 / Chapter （二） --- 強調後世詩人於杜詩的學習 --- p.135 / Chapter （三） --- 同類並舉 --- p.137 / Chapter 三、 --- 論詩辨體與杜詩 --- p.143 / Chapter 四、 --- 小結：宋人開創的評杜現象 --- p.149 / Chapter 第三節 --- 現象背後的意義 --- p.152 / Chapter 一、 --- 以摘句褒貶直接賦予價值 --- p.152 / Chapter 二、 --- 展現杜詩審美價值的多元性 --- p.156 / Chapter 三、 --- 杜詩的正統意義塑造 --- p.161 / Chapter 四、 --- 確立杜詩較他人優勝的觀念 --- p.166 / Chapter 五、 --- 凸顯學杜的必要 --- p.170 / Chapter 六、 --- 小結：以杜詩為中心的價值取向 --- p.177 / Chapter 第四節 --- 詩話的功用與典範意義的確立 --- p.178 / Chapter 第五節 --- 結語 --- p.186 / Chapter 第五章 --- 唐宋詩之爭與杜甫：論詩統建構與杜詩經典價值的延續 --- p.189 / Chapter 第一節 --- 引言 --- p.189 / Chapter 第二節 --- 「唐詩」、「宋詩」的詩統建構與杜甫 --- p.190 / Chapter 一、 --- 「唐詩」與「宋詩」 --- p.190 / Chapter 二、 --- 「宋詩」的詩統建構與杜甫 --- p.194 / Chapter 三、 --- 「唐詩」的詩統建構與杜甫 --- p.203 / Chapter 四、 --- 小結：以杜甫為「正統」的詩統建構 --- p.213 / Chapter 第三節 --- 經典價值的延續：超然於唐宋詩之爭中的正統地位 --- p.215 / Chapter 第四節 --- 結語 --- p.221 / Chapter 第六章 --- 結論 --- p.224 / Chapter 第一節 --- 總結 --- p.224 / Chapter 第二節 --- 餘論 --- p.229 / 主要參考書目 --- p.230

本論文選取畫家符羅飛（1897-1971）進行研究，旨在通過文字及圖像史料復原這一被視作“歷史失蹤者的藝術家個案，並將其放在20 世紀中國藝術與革命互動關係的語境中進行考察。文章依據時序及符羅飛活動地點與内容的變化，分爲五個章節，結合文獻考據、視覺分析及藝術社會學等研究方法，分別探討他於20 世紀20 至60 年代在上海、意大利、香港及華南等地的藝術創作與社會活動，並著重觀察這位以藝術積極投入社會革命、且擁有明確政治信仰的畫家及其代表的群體，是如何通過主動轉變藝術面貌，從而與20 世紀中國社會的大變動連成一體。本文認爲：符羅飛於抗戰期間攜傾向古典寫實的那不勒斯畫派畫風及自創的水墨寫生歸國，但其藝術救國活動最初並未達至理想效果；直到40 年代中期才在通過不斷地寫生、辦展，逐漸吸收國統區漫畫與木刻中流行的德國表現主義元素，脫胎出具有強烈視覺刺激和道德感召力、又符合中共革命訴求的代表性藝術面貌，在特定的政治人群中得到廣泛承認，在此過程中輿論因素的影響不可忽視；同時，他的彩墨實驗等游離於政治目標之外的藝術活動打破了“革命畫家"的刻板印象；而他在政權鼎革後因未能適應高度一元化的藝壇新秩序而湮沒於混亂時世的最終命運，又折射出五四以來自由知識分子傳統與中共黨文化之間不可調和的矛盾。 / This thesis is a monographic study on the artist Fu Luofei (1897-1971), aiming to reconstruct his life and art with textual and visual historical materials, with focus on the interaction between art and revolution in the twentieth-century China. The five chapters of this thesis examine Fu’s artistic and social activities in Shanghai, Italy, Hong Kong and South China from the 1920s to 1960s chronologically, and mainly investigate how this artist, who had definite political belief and was willing to devote his art to social revolution, involved in and acted on the transformation of Chinese society in the twentieth century through continuously transforming his artistic styles. / As this study demonstrates, Fu brought back from Italy the representational painting style of the Neapolitan School and the achievement of his ink experiment in the late 1930s. However, his attempt on “saving the nation by art" did not succeed until mid-1940s. At that time, Fu established his signature style by absorbing the visual elements of German Expressionist paintings, one of the prevailing styles for cartoons and woodcut prints in the Kuomintang ruled areas. His signature style, which was strong in visual stimulation as well as in moral and emotional appeal, was developed through unceasing exchanges with the leftist critics and echoed with the political demand of the Chinese Communist Party. Meanwhile, as is rarely known, Fu also painted in the form of traditional guohua (Chinese national painting), which reveals a not-so-revolutionary side of the “revolutionary artist". His tragedy after the establishment of the People’s Republic vividly illustrates the irreconcilable conflicts between the May Fourth tradition of intellectual independence and the political culture of the CCP. / Detailed summary in vernacular field only. / 陳鶯. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 294-307) and index. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Chen Ying. / 導言 --- p.1 / Chapter 第一章 --- 留學意大利（1930-1938） --- p.12 / Chapter 第一節 --- 文獻回顧：留意傳奇與疑問 --- p.12 / Chapter 第二節 --- 歐遊前傳：上海美專及其它 --- p.17 / Chapter 第三節 --- 那不勒斯：特殊的選擇 --- p.22 / Chapter 第四節 --- 美術學院内外 --- p.29 / Chapter 第五節 --- “求真"與“人情"：學院傳統及留意畫作 --- p.49 / Chapter 第六節 --- 東方學院：在中意之間 --- p.67 / Chapter 第七節 --- 歸國始末 --- p.84 / Chapter 第二章 --- 一九三八年在香港（1938-1939） --- p.103 / Chapter 第一節 --- 登場 --- p.103 / Chapter 第二節 --- 抗戰救國理想的首次實踐 --- p.107 / Chapter 第三節 --- 中國筆作西洋畫 --- p.117 / Chapter 第四節 --- 社會網絡：文化人、政經界及同鄉會組織 --- p.127 / Chapter 第五節 --- 結果與現實 --- p.135 / Chapter 第三章 --- 從歐洲學院到中國現實（1939-1948） --- p.140 / Chapter 第一節 --- 北上行蹤 --- p.140 / Chapter 第二節 --- 風格改造：形式與内容 --- p.144 / Chapter （一） --- 1941年桂林展 --- p.145 / Chapter （二） --- 1943年“現實主義浪漫派"巡展 --- p.152 / Chapter （三） --- 1946至1948年穗港展 --- p.158 / Chapter 第三節 --- 代表性風格的面貌 --- p.164 / Chapter （一） --- 代表性風格的兩種類型 --- p.165 / Chapter （二） --- 保留的與捨棄的 --- p.171 / Chapter （三） --- 新風格形成期間所受之影響 --- p.173 / Chapter 第四節 --- 風格選擇的成因：表現主義與中國“現實" --- p.180 / Chapter 第四章 --- 重訪香江（1947-1949） --- p.189 / Chapter 第一節 --- 再度居港與文化人南下潮 --- p.188 / Chapter 第二節 --- 人間畫會：組織結構及主要活動 --- p.193 / Chapter 第三節 --- 左翼文藝標準的強化 --- p.202 / Chapter 第四節 --- “國畫"：代表性風格以外的藝術嘗試 --- p.210 / Chapter 第五節 --- 短暫的美國夢 --- p.218 / Chapter 第六節 --- 迎接新中國 --- p.226 / Chapter 第五章 --- 政治氣候的轉變（1949-1971） --- p.235 / Chapter 第一節 --- 從體制外到體制内 --- p.235 / Chapter 第二節 --- 過渡時期：以舊風格唱新語句 --- p.241 / Chapter 第三節 --- 代表性畫風的瓶頸 --- p.249 / Chapter 第四節 --- 描繪新生活 --- p.257 / Chapter 第五節 --- 傳奇落幕 --- p.265 / Chapter 結語 --- 自畫像：個人命運與時代洪流 --- p.271 / 中文參考文獻 --- p.294 / 外文參考文獻 --- p.304 / Chapter 附錄一 --- 符羅飛藝術活動年表 --- p.308 / Chapter 附錄二 --- 人名索引 --- p.321 / 圖版目錄 --- p.329 / 圖版 --- p.351

吳茂源. / 論文(哲學博士)--香港中文大學, 2004. / 參考文獻 (p. 318-336). / 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 Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Abstracts also in English. / Wu Maoyuan. / Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2004. / Can kao wen xian (p. 318-336).