Thesis (DDes) - National Institute for Design Research, Swinburne University of Technology, 2008. / Submitted in partial fulfillment of the requirements of the degree of Professional Doctorate in Design, National Institute for Design Research, Faculty of Design, Swinburne University of Technology - 2008. Typescript. Submitted in partial fulfilment of the requirements for the degree of Professional Doctorate in Design, National Institute for Design Research, Faculty of Design Research, Swinburne University of Technology, 2008. Bibliography: p. 108-115.

Thesis (M. Phil.)--University of Hong Kong, 1995. / Includes bibliographical references (leaf 158-160).

No description available.

Subject: Macrobiotic - full-valued form of nutrition? Objective: Evaluation of macrobiotics as full compensation for conventional diets recommended by the Presidium of the Board of the Society for Nutrition based on the oretical approaches and empirical findings. Characteristics of the ingredients and nutritional analysis in terms of the in impact on physical and mental condition of the human organism. Method: Objectives of the thesis was achieved using method of quotas to select research sample. On the basis of established criteria and defined number of representatives for the sample, were selected only thoseind ividuals who meet these criteria. Macrobiotic menus were analyzedat three men and at free women. The data obtained via measure ments were compared with recommended daily dose. This model was chosen as it was the most recent vision of the diet model. Results: Macrobiotic diet reprents full-fledged alternative form of nutrition, based on research carried out. This conclusion is based on research conducted with free men and free women who provided weekly menus for analysis purpose and conversion to these menus to the nutritional value was sufficiently proved. Based on the out come of the research, it was found that macrobiotics can not be regarded as nutrition offering full energy, as its...

Cette thèse vise à examiner la représentation des mémoires fictionnelles dans le cadre global de la littérature chinoise contemporaine, en montrant l’influence du déplacement et du translinguisme sur les œuvres des auteurs qui écrivent soit de la Chine continentale soit d’outre-mer, et qui s’expriment à travers des langues différentes. Les quatre romans Zha gen (Prendre racine) par Han Dong, Balzac et la petite tailleuse chinoise par Dai Sijie, The Crazed (La démence du sage) par Ha Jin et Rou zhi tu (Beijing Coma) par Ma Jian seront comparés en tant qu’images des mémoires individuelles de la Révolution Culturelle et du mouvement pour la démocratie qui a eu lieu à Tian’anmen en 1989. Dans la première partie, nous discuterons les nouvelles approches théoriques qui configurent la littérature chinoise contemporaine comme une entité polyglossique et déterritorialisée. Dans la deuxième partie, nous nous concentrerons sur deux exemples d’autofiction, à savoir Zha gen et Balzac et la petite tailleuse chinoise, en comparant leur représentation du temps figuré comme une évolution identitaire de l’individu. Dans la troisième partie, nous analyserons les deux romans The Crazed et Rou zhi tu, en mettant en évidence le caractère spatial de la mémoire, transposé en forme de témoignage fictionnel. Finalement, dans la quatrième partie, nous explorerons les interactions entre la littérature chinoise et la littérature mondiale, en plaçant les cas analysés dans une perspective translinguistique. À travers la comparaison entre les versions chinoise, anglaise et française des romans, nous montrerons comment les mémoires déterritorialisées sont modulées par la traduction et l’autotraduction. / This thesis aims to investigate the representation of fictional memories in the context of global Chinese literature, showing how displacement and translingualism affect the works by authors from the Mainland and from overseas, who express their creativity in different languages. The four novels Zha gen (Striking Root) by Han Dong, Balzac et la petite tailleuse chinoise (Balzac and the Little Chinese Seamstress) by Dai Sijie, The Crazed by Ha Jin, and Rou zhi tu (Beijing Coma) by Ma Jian are compared as reflections of individual memories of the Cultural Revolution and of the 1989 Tiananmen Square protests. The first part of the thesis addresses the new theoretical approaches configuring contemporary Chinese literature as a polyglossic and deterritorialised entity. The second part focuses on the analysis of two examples of autofictions, Zha gen and Balzac et la Petite Tailleuse chinoise, comparing their representation of time as reflected in the evolution of the individual. The third part explores the two novels The Crazed and Rou zhi tu, focusing on the spatial character of memory transposed in the form of a fictional témoignage. Finally, the fourth part investigates the interactions between Chinese literature and world literature, placing the cases analysed in a translingual perspective. The comparison between the Chinese, the English and the French versions of the novels shows how deterritorialised memories are modulated through translation and self-translation. / La tesi esamina la rappresentazione narrativa della memoria nel quadro globale della letteratura cinese contemporanea, mostrando l’influenza di dislocamento e translinguismo sulle opere di autori cinesi che scrivono tanto dalla RPC quanto dall’estero, in cinese o in altre lingue. I quattro romanzi Zha gen (Mettere radici) di Han Dong, Balzac et la petite tailleuse chinoise (Balzac e la piccola sarta cinese) di Dai Sijie, The Crazed (Pazzia) di Ha Jin e Rou zhi tu (Beijing Coma) di Ma Jian saranno comparati come immagini di memorie individuali della Rivoluzione Culturale e delle proteste studentesche di Piazza Tian’anmen. La prima parte si incentrerà sulla discussione di nuovi approcci teorici che inquadrano la letteratura cinese come un’entità poliglossica deterritorializzata. La seconda sarà dedicata all’analisi comparata di Zha gen e Balzac et la petite tailleuse chinoise e metterà in evidenza la rappresentazione del tempo in termini di evoluzione identitaria dell’individuo. Nella terza parte, il paragone tra The Crazed e Rou zhi tu sottolineerà il carattere spaziale della memoria come testimonianza narrativa. La quarta parte, infine, esplorerà le interazioni tra la letteratura cinese e la letteratura mondiale da una prospettiva translinguistica. La comparazione tra le versioni in cinese, inglese e francese dei romanzi mostrerà come tali memorie deterritorializzate sono modulate dalla traduzione e dall’autotraduzione.

Jin Ping Mei 金瓶梅, œuvre controversée dès son apparition à la fin du XVIe siècle, fut très tôt reconnue comme une des œuvres phare du roman chinois en langue vulgaire, notamment par Feng Menglong 馮夢龍 (1574-1646) qui le désigna comme un des Si da qishu 四 大奇書 (Quatre grands livres extraordinaires). De nombreux mystères à son sujet restent encore débattus aujourd’hui, parmi lesquels l’identité de son auteur, l’authenticité de ses éditions, ou les interprétations possibles de ce roman. La réputation exécrable dont il continue de souffrir en Chine continentale ne l’a pas empêché de susciter l’intérêt des premiers sinologues français et anglais et ceci dès 1816. En prenant pour point de départ une analyse des sources et une synthèse des hypothèses en cours concernant Jin Ping Mei et ses interprétations, notre thèse fera le point sur toutes les adaptations et traductions en anglais et en français de l’ouvrage, notamment en mettant en parallèle les deux meilleures traductions intégrales dont nous disposons actuellement, à savoir en français, celle d’André Lévy (1985), et en anglais, celle de David Tod Roy (de 1993 à 2013). Cette confrontation nous permettra de distinguer les différentes interprétations de l’ouvrage retenues par les traducteurs, et d’exposer les stratégies mises en place par eux pour le traduire. Un aspect crucial de notre travail consistera à souligner dans notre critique les positions interprétatives des traducteurs, et le potentiel interprétatif qui résulte de leurs choix. Loin de vouloir appliquer à ces traductions un jugement de valeur, nous espérons au contraire offrir une meilleure compréhension de la profondeur de cette œuvre si complexe et controversée. / Jin Ping Mei 金瓶梅, one of the greatest masterpieces of the vernacular Chinese fiction, faced controversy ever since it appeared at the end of the 16th century. Scholars like Feng Menglong馮夢龍 (1574-1646) recognized the novel to be exceptional early on, placing it amongst the Si da qishu 四大奇書 (Four Masterworks of the Ming Novel). However, there still is a halo of unresolved mysteries around Jin Ping Mei, despite the fact that it has been the focal point of numerous studies. Some questions remain unsolved, such as the identity of its author, the authenticity of its editions, or its possible interpretations. Despite the bad reputation that the novel still suffers from in mainland China, its raised the interest from French and English sinologists as soon as 1816. Ever since, the novel has been the subject of partial translations and adaptations highly perfectible. Starting with an analysis of the sources and a synthesis of current hypothesis about the book and its interpretations, our thesis will then focus on all the adaptations and translations of the novel in English and in French, to ultimately confront the two best integral translations available to that day, namely André Lévy’s (1985) and David Tod Roy’s (1993 to 2013). This confrontation will allow us to distinguish the interpretations that translators had of the novel, and to expose the strategies they resorted to. A crucial part of our work will be to underline the interpretative positions of both translators, and the interpretative potential that results from their choices. Our goal is not to judge of the value of said translations, but rather to offer a better understanding of the depth of Jin Ping Mei. / 自十六世紀末問世以來，《金瓶梅》一直都是一部有爭議的作品。作為一部中國古代通俗長篇小說的著作，以及被馮夢龍稱為“四大奇書”之一，《金瓶梅》至今為止仍存在許多未解之謎。雖然對作品的相關研究日漸增多，但是關於作者的身份、版本以及對作品的闡釋等問題尚未達成共識。直至今日，《金瓶梅》在中國仍臭名昭著，但是這並不妨礙它在國外的流傳。早至1816 年，這部作品便引起了法國第一位漢學家的注意。兩個世紀以來，在法國紛紛出現了各種選段翻譯、改寫以及問題種種的不完整的法譯本。同樣，《金瓶梅》在英美國家的傳播之路也是漫長而艱難。該論文首先對《金瓶梅》的文學特色以及作品闡釋的問題進行相關探討，然後對《金瓶梅》所有翻譯和改寫的法譯本和英譯本進行研究，特別是對該作品的兩個完整的法譯本(André Lévy 雷威安 1985 年譯成)和英譯本(David TodRoy 苪效衛 1993 年至2013 年五卷本) 進行對比研究。通過對這些譯本的研究，我們能深入地了解譯者對作品的闡釋，他們採用的翻譯策略，以及他們譯本的優劣性。該論文的研究重點是譯者對作品闡釋的主體性，以及他們的翻譯策略給譯本讀者對原著理解帶來的影響。我們的研究並不是為了對譯本進行質量的評估，而是通過對譯本的研究來讓我們對《金瓶梅》這一複雜而極具爭議的作品有更深層的了解。

Liu Ch'i, a belletrist of the Chin dynasty (1115-1234), recorded an eyewitness account of the fall of the Chin in his memoir, the Kuei-ch'ien-chih (The Record of One Returned to Obscurity). He was motivated by an inner logic which thematically argues that: The disintegration of effective Chin administration was a direct result of the deterioration of Chin literary standards, symptomatic of a more basic degeneration of the traditional Confucian high culture. The collapse of the Chin climaxed approximately three hundred years of rise and fall (c. 900-1234). As Jurchen tribal organization became inadequate, they imitated the Ch'i-tan model of a dualistic tribal-agrarian society and tended to adopt Chinese institutions. Dynamic decline seemed in direct proportion to the decline in Jurchen institutions. However, Liu Ch'i observed this decline and its climax in the fall of the Chin capital, K'aifeng, and thought that the Chin failed for not fully adopting Chinese ones. His memoir, Kuei-ch'ien-chih, was transmitted from its writing in 1235 to the present edition, the Chung-hua shu-chu Yuan-Ming shi-k'o pi-cho ts'ung-k'an, collated by Ts'ui Wen-yin (second edition 1983). Liu Ch'i illustrates his themes with Chin pesonalities portraying the union of ability-aspiration-achievement to mean the highest combination of traditional Confucian values. He quickly attentuates this theme in the succeeding chuan to show possible variations of failure in a descending taxonomy. In his seventh chuan, Liu Ch'i argues that since the Chin dynasty limited their literary focus of the civil service examinations solely upon the lyric, the prose-poem, and the commentary on the classics, the source of potential leadership, the chin-shih, became intellectually effete leasing to a degeneration in political dynamics. Liu Ch'i's personal rationalization was one of confident expectation despite an involvement in drafting a testimonial to Ts'ui Li, who had betrayed K'aifeng to the Mongols. He felt that time and circumstance were cyclical in nature and that he had fulfilled his destiny and his duty. Liu Ch'i's memoir warrants a closer examination in its entirety to appreciate its inner, thematic logic and a translation of the preface and first three chapters is presented as a preliminary to the full translation.

蕭瑋文. / 論文(哲學博士)--香港中文大學, 2001. / 參考文獻 (p. 257-267) / 中英文摘要. / Available also through the Internet via Dissertations & theses @ Chinese University of Hong Kong. / 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. / Xiao Weiwen. / Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2001. / Can kao wen xian (p. 257-267) / Zhong Ying wen zhai yao.

陳煒舜. / "二〇〇〇年八月" / 論文 (哲學碩士)--香港中文大學, 2000. / 參考文獻 (leaves 393-404) / 附中英文摘要. / "Er ling ling ling nian ba yue" / Chen Weishun. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2000. / Can kao wen xian (leaves 393-404) / Fu Zhong Ying wen zhai yao. / 提要 --- p.i. / 目錄 --- p.iii. / 緒論 --- p.1. / 上篇 / Chapter 第一章： --- 生平與著作 --- p.13. / Chapter 一. --- 生平 / Chapter (一) --- 行跡 / Chapter (二) --- 家世 / Chapter 二. --- 著作 / Chapter 第二章： --- 交游 --- p.32. / Chapter 一. --- 師長 / Chapter 二. --- 同ˇёإ友 / Chapter 三. --- 同年友 / Chapter 四. --- 任官時友 / Chapter 五. --- 隱居時友 / Chapter 第三章： --- 交學思想槪沭 --- p.95. / Chapter 一. --- 論創作 / Chapter 二. --- 論鑑賞 / Chapter 三. --- 論載道 / Chapter 四. --- 論神理 / 下編 / Chapter 第一章： --- 《莊子因》初探 --- p.126. / Chapter 一. --- 《莊子因》的寫作背景 / Chapter (一) --- 《莊子因》的成書經過 / Chapter (二) --- 《莊子因》的寫作動機 / Chapter 二. --- 《莊子因》析論 / Chapter (一) --- 《莊子因》知人論世的辨析 / Chapter 1. --- 時代、生平、師承 / Chapter 2. --- 《莊子》的文字與篇章 / Chapter 3. --- 辨僞 / Chapter (二) --- 從「重教化」析論《莊子因》 / Chapter 1. --- 《莊子因》對於莊、孔、老關係的爬梳 / Chapter 2. --- 《莊子因》對孔子形象的處理 / Chapter 三. --- 小結 / Chapter 第二章： --- 《韓文起》初探 --- p.158. / Chapter 一. --- 《韓文起》的寫作背景 / Chapter (一) --- 《韓文起》的成書經過 / Chapter (二) --- 《韓文起》的寫作動機 / Chapter 二. --- 《韓文起》析論 ´ح / Chapter (一) --- 《韓文起》知人論世的辨析 / Chapter 1. --- 〈韓文公年譜〉的編寫 / Chapter 2. --- 禮俗制度的考證 / Chapter 3. --- 史實的運用 / Chapter (二) --- 從「重教化」析論《韓文起》 / Chapter 1. --- 《韓文起》編選評註的原則 / Chapter 2. --- 《韓文起》對韓愈思想的析論 / Chapter 三. --- 小結 / Chapter 第三章： --- 《楚辭燈》初探 --- p.187. / Chapter 一. --- 《楚辭燈》的寫作背景 / Chapter (一) --- 《楚辭燈》的成書經過 / Chapter (二) --- 《楚辭燈》的寫作動機 / Chapter 二. --- 《楚辭燈》析論 / Chapter (一) --- 《楚辭燈》知人論世的辨析 / Chapter 1. --- 〈屈原列傳〉 / Chapter 2. --- 〈楚懷襄二王在位事蹟考〉的編寫 / Chapter 3. --- 篇章的體例 / Chapter 4. --- 篇章評點與知人論世 / Chapter (二) --- 從「重教化」析論《楚辭燈》 / Chapter 三. --- 小結 / 結論 --- p.220. / 附錄 / 附錄一：林雲銘年譜 --- p.224. / 附錄二：林雲銘生平資料 / 附錄三：林雲銘著作知見錄 / 附錄四：林雲銘交遊一覽 / 參考書目 --- p.393.

沈婷. / "2003年8月". / 論文(哲學碩士)--香港中文大學, 2003. / 參考文獻(leaves 165-172). / 附中英文摘要. / "2003 nian 8 yue". / Shen Ting. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2003. / Can kao wen xian (leaves 165-172). / Fu Zhong Ying wen zhai yao. / 目錄 --- p.i / Chapter 第一章 --- 前言 --- p.1 / Chapter 第二章 --- 東晉玄言詩槪述 --- p.3 / Chapter 第一節 --- 玄言詩的定義 --- p.3 / Chapter 第二節 --- 東晉玄言詩的分類 --- p.6 / Chapter 第三節 --- 東晉玄言詩的分期 --- p.6 / Chapter 第三章 --- 玄言詩的思想背景 --- p.9 / Chapter 第一節 --- 玄言詩的玄學背景 --- p.9 / Chapter (一) --- 玄學的槪念 --- p.9 / Chapter (二) --- 玄學的發展與玄言詩的盛行 --- p.11 / Chapter (三) --- 玄學的重要命題與玄言詩 --- p.13 / Chapter 1. --- 以無爲本 --- p.13 / Chapter 2. --- 言意之辨 --- p.15 / Chapter 3. --- 名教與自然 --- p.16 / Chapter 第二節 --- 玄言詩與佛學的關係 --- p.17 / Chapter (一) --- 玄佛合 流 --- p.19 / Chapter (二) --- 佛理對玄言詩的影 響 --- p.20 / Chapter 第三節 --- 玄言詩的清談背景 --- p.22 / Chapter (一) --- 清談的性質與內容 --- p.22 / Chapter (二) --- 清談對玄言詩的影響 --- p.23 / Chapter 1. --- 審美性質的清談一一玄言詩創作動力之一 --- p.23 / Chapter 2. --- 清談對玄言詩語言形式的影響 --- p.25 / Chapter 3. --- 清談對玄言詩聲律節奏的影響 --- p.27 / Chapter 第四章 --- 東晉玄言詩的藝術特色 --- p.29 / Chapter 第一節 --- 引言 --- p.29 / Chapter 第二節 --- 東晉玄言詩的篇章結構 --- p.30 / Chapter (一) --- 玄言詩的類別與篇章結構分析 --- p.31 / Chapter 1. --- 純粹說理的玄言詩 --- p.31 / Chapter 2. --- 理景交融的玄言詩 --- p.33 / Chapter 3. --- 情、景、理三者融合的玄言詩 --- p.35 / Chapter (二) --- 篇章結構與詩歌的形式美 --- p.36 / Chapter (三) --- 篇章結構與詩歌的情感表達方式 --- p.39 / Chapter 第三節 --- 東晉玄言詩的藝術手法 --- p.41 / Chapter (一) --- 遣詞用字 --- p.41 / Chapter 1. --- 玄學內容對遣詞用字的影響 --- p.42 / Chapter 2. --- 語言和辭采 --- p.44 / Chapter 3. --- 玄言詩中的虛字 --- p.47 / Chapter 3.1. --- 虛字的數量 --- p.48 / Chapter 3.2. --- 虛字對詩歌藝術特色的影響 --- p.50 / Chapter a. --- 虛字與意象的表現 --- p.50 / Chapter b --- .「以文爲詩」與虛字的關係 --- p.52 / Chapter c. --- 虛字與情感的表達 --- p.54 / Chapter d. --- 小結 --- p.56 / Chapter (二) --- 修辭手法 --- p.57 / Chapter 1. --- 比喻 --- p.57 / Chapter 1.1. --- 玄言詩中的比喻 --- p.57 / Chapter 1.2. --- 比喻手法與東晉玄言詩的藝術特色 --- p.58 / Chapter 2. --- 聲律節奏 --- p.61 / Chapter 2.1. --- 清談對聲律節奏的影響 --- p.61 / Chapter 2.2. --- 東晉玄言詩的聲律節奏 --- p.62 / Chapter 3. --- 玄言詩中的典故 --- p.66 / Chapter 第四節 --- 結語 --- p.68 / Chapter 第五章 --- 東晉玄言詩的淵源與發展 --- p.69 / Chapter 第一節 --- 玄言詩的源頭 --- p.69 / Chapter (一) --- 「《詩》、《騷》之體盡矣 」 --- p.69 / Chapter (二) --- 東晉玄言詩與《詩經》 --- p.70 / Chapter 1. --- 東晉時《詩經》的地位 --- p.70 / Chapter 2. --- 《詩經》對東晉玄言詩的影響 --- p.72 / Chapter 2.1. --- 文本關係 --- p.72 / Chapter 2.2. --- 體裁風格方面的影響 --- p.74 / Chapter (三) --- 東晉玄言詩與楚辭 --- p.76 / Chapter 1. --- 「熟讀離騷」的啓示 --- p.76 / Chapter 2. --- 東晉玄言詩與楚辭的直接關係 --- p.77 / Chapter 2.1. --- 童蒙者拾其香草 --- p.77 / Chapter 2.2. --- 吟諷者銜其山川 --- p.78 / Chapter 3. --- 間接影響一一情感表達與屈子精神 --- p.80 / Chapter 第二節 --- 東晉玄言詩與前代詩歌 --- p.82 / Chapter (一) --- 題材 --- p.82 / Chapter 1. --- 詩歌中的說理傳統 --- p.82 / Chapter 2. --- 嵇康、阮籍詩中的玄言 --- p.84 / Chapter (二) --- 體 裁 --- p.86 / Chapter 1. --- 東晉玄言詩的體裁 --- p.86 / Chapter 2. --- 東晉四言詩的背景 --- p.87 / Chapter 2.1. --- 玄學思想 --- p.88 / Chapter 2.2. --- 哲學著作 --- p.89 / Chapter 2.3. --- 魏晉四言詩 --- p.89 / Chapter 3. --- 四言詩對東晉玄言詩之影響 --- p.91 / Chapter (三) --- 情感風格 --- p.93 / Chapter (四) --- 篇章結構 --- p.96 / Chapter (五) --- 小結 --- p.97 / Chapter 第三節 --- 東晉玄言詩與山水詩 --- p.98 / Chapter (一) --- 玄言詩中的山水因素 --- p.99 / Chapter (二) --- 山水興起的背景探討 --- p.103 / Chapter 1. --- 地理環境 --- p.103 / Chapter 2. --- 文學作品 --- p.105 / Chapter 3. --- 玄學思想 --- p.108 / Chapter (三) --- 玄言詩與山水詩的傳承關係 --- p.109 / Chapter 第四節 --- 玄言詩與後代詩歌理論 --- p.115 / Chapter (一) --- 東晉詩歌理論試探 --- p.115 / Chapter 1. --- 東晉典籍及著作中所見詩歌理論試析 --- p.116 / Chapter 1.1. --- 《抱樸子》 --- p.117 / Chapter 1.2. --- 《世說新語》 --- p.119 / Chapter 1.3. --- 東晉詩序 --- p.121 / Chapter (二) --- 東晉玄言詩所見之詩歌理論試析 --- p.122 / Chapter 1. --- 由東晉玄言詩的藝術特色見其詩歌理論 --- p.123 / Chapter 1.1. --- 創作論之一：詩歌對形式美的追求 --- p.123 / Chapter 1.2. --- 創作論之二：詩歌對聲律節奏的重視 --- p.124 / Chapter 1.3. --- 欣賞論之一：東晉玄言詩的情感表達 --- p.125 / Chapter 1.4. --- 欣賞論之二：玄言詩對雅與正的追求 --- p.127 / Chapter 2. --- 東晉玄言詩中詩論成分綜述 --- p.128 / Chapter (二) --- 玄言詩與詩歌形式理 論 --- p.133 / Chapter 1. --- 詩歌形式論 --- p.133 / Chapter 2. --- 語言修辭 --- p.134 / Chapter 3. --- 聲律節奏 --- p.138 / Chapter 4. --- 篇章結構 --- p.140 / Chapter (三) --- 玄言詩與意境觀念 --- p.143 / Chapter 1. --- 意境觀念 --- p.143 / Chapter 1.1. --- 意境觀念的發展 --- p.144 / Chapter 1.2. --- 「意境」的槪念 --- p.146 / Chapter 2. --- 意境學說與老莊玄學 --- p.148 / Chapter 2.1. --- 老莊之「道」一一意境學說的哲學基礎之一 --- p.149 / Chapter 2.2. --- 言不盡意一一魏晉玄學對意境學說的直接影響 --- p.151 / Chapter 3. --- 東晉玄言詩與意境觀念 --- p.154 / Chapter 3.1. --- 詩歌風格 --- p.154 / Chapter 3.2. --- 意境的層次 --- p.157 / Chapter 3.3. --- 意境的基本要素 --- p.159 / Chapter 第六章 --- 結語 --- p.162 / 參考文獻 --- p.165 / 附錄一：東晉玄言詩人與玄言詩作對應表 --- p.173 / 附錄二：東晉玄言詩篇章 --- p.175