This thesis deals with miniature poems, which appeared at the beginning of the May fourth movement, as a genre of modern chinese poetry and was redoscovered by the misty poets after the Cultural revolution. Part of a brief introduction to the literary- historical contexts of both periods are short biographies of two representative poets of this genre, Bing Xin and Gu Cheng. Eventually the form and themes of miniature poems are introduced. The main part of this thesis is a comparative study of Bing Xin's and Gu Cheng's miniature poems. The thesis concludes, that Gu Cheng refines and eleborates the artistic value of the miniature poem. Part of the study is a criticism of primary source, as well as a summary of the current state of research. Key words: Modern poetry, Bing Xin, Gu Cheng, místy poetry, May fourth movement

The intellectual and political roots of present-day China lie in the late imperial era and the transition to modern statehood. As the last chain of the thousands years of dynastic rule in China, the Qing Dynasty ended in 1911 with a revolution. Even though the Republican regime was immediately established after their revolution, it took three decades until thenew government (People&rsquo / s Republic of China) achieved full sovereignty on the territory. The thesis argues that the 1911 Revolution is a major turning point in Chinese transformation not only because of the regime change but also the ideological shift towards modern statehood. In this study, first, the social forces and actors on the eve of the Revolution are analyzed. The gentry-domination of society and the power relations within the forces involved in the Revolution - especially the intellectuals and the military - appear to be the two major reasons why the transition was not completed with the Revolution. The second focus of the study: the process of breaking with the past. In other words, how was the shift in people&rsquo / s mind achieved? In China, this turning point did not coincide with the 1911 Revolution and/or regime change. It came later in 1910s, reaching its peak in 1919, with the New Culture Movement of the May Fourth intellectuals. There had been some influential intellectuals building a nationalist discourse even before the May Fourth Movement (e.g. Liang Qichao, reformist and ideologue in late Qing dynasty) but the radical and outspoken tone of the New Culture Movement achieved the grounds for a shift in minds. I will briefly analyze the intellectual work of the period and its politicization. A special emphasis is given on Sun Yat-sen&rsquo / s political and intellectual contribution to the transition since he was not only a major political activist but also a theoretician whose works (Three Principles of People) have been influential on China&rsquo / s nation-building process.

À l’aube du XXe siècle, en Chine, un groupe d’intellectuels et d’auteurs se retrouve à la source d’un nouveau mouvement culturel et politique. Les sinologues les appellent les « auteurs du 4-Mai ». Ils ont pour objectif de transformer la Chine, de mettre en place une forme de modernité à l’aide de la littérature. Du rejet de la tradition confucéenne jusqu’à la diffusion des idées du communisme, ils semblent être au cœur de toutes les transformations socio-politiques qu’a connues le pays. L’époque du 4-Mai est un moment charnière dans l’histoire de la Chine. Située juste après la chute du dernier empereur Qing et juste avant la victoire du Parti Communiste Chinois, c’est une époque où la société chinoise a connu une réorganisation. Les intellectuels de cette époque ne font pas exception, une nouvelle configuration se met en place. C’est à l’aide de la sociologie de Norbert Elias que je tenterai de comprendre quelle est la configuration qui permet le développement conjoint, dans une relation d’interdépendance, de la littérature et de la politique. Une nouvelle configuration qui se construit avec les intellectuels du 4-Mai, est différente de celle que formaient les mandarins confucéens de l’époque impériale. Les divers éléments qui permettent aux auteurs du 4-Mai de passer d’une configuration à l’autre (nouveaux thèmes dans la littérature, façons d’être moderne, engagement politique) sont aussi les éléments qui influencent le monde politique, démontrant l’interdépendance des deux sphères. / At the dawn of the twentieth century, in China, a group of intellectuals and writers find themselves at the beginning of a new cultural and politic movement. Sinologists call them the “May-Fourth writers”. They have for goal to transform China, implement a form of modernity in using literature. From the rejection of Confucian tradition to the promotion of the Communist ideas, they seem to be in the middle of every social and political transformation that the country has experienced. The May Fourth era is a turning point in the history of China. It begins just after the fall of the last Qing emperor and ends just before the victory of the Chinese Communist Party, it is a time where the Chinese society was reorganized. The intellectuals were no exception, a new configuration is under construction. It is with the sociology of Norbert Elias that I will try to understand which configuration allow the development of both literature and politics in an interdependent relationship. The new configuration that characterizes the May Fourth writers is different than the one that characterize the Confucian mandarins of the Imperial age. The various elements who allow the May Fourth writers to pass to a configuration to another (new themes in literature, a way to be modern, political commitment) are also the elements that influence the political world, showing the interdependence between them.

The present master's thesis deals with an introduction of Sophia H. Chen Zen (Chen Hengzhe), the first female professor at Beijing University, who in her life and work represents the generation of May Fourth intellectuals, who were educated in traditional scholarship, but who also recieved modern western education. Western scholarship filled these intellectuals with enthusiasm and they were eagerly introducing it into China. Chen Hengzhe grew up in a traditional scholar family, and since her childhood she longed for education. This desire was fulfilled by winning one of the first Boxer Indemnity Scholarship opened for women. She spent six years on her studies in the United States, where she met some of the leaders of the New Culture Movement (merging with the May Fourth Movement) like Hu Shi, or her future husband Ren Hongjun. Chen Hengzhe is also remembered as a writer of the first baihua-written story, in the early beginning of chinese literary movement. But the main field of Chen Hengzhe was history. Using her knowledge and teaching experience, she wrote one of the first histories of the west in China. Exactly in the analysis of her historical writing lies the center of our thesis. The biggest part concerns with Chen Hengzhe's history textbook and its historical and cultural context of early...

In “Translating Revolution in Twentieth-Century China and France,” I examine how the two countries translated each other’s revolutions during critical moments of political and cultural crisis (the 1911 Revolution, the May Fourth Movement (1919), the Cultural Revolution (1966-76), and May 1968 in France), and subsequently (or simultaneously), how that knowledge was mobilized in practice and shaped the historical contexts in which it was produced. Drawing upon a broad range of discourses including political journals, travel narratives, films and novels in French, English and Chinese, I argue that translation served as a key site of knowledge production, shaping the formulation of various political and cultural projects from constructing a Chinese national identity to articulating women’s rights to thinking about radical emancipation in an era of decolonization. While there have been isolated studies on the influence of the French Revolution in early twentieth-century China, and the impact of the Chinese Cultural Revolution on the development of French Maoism and French theory in the sixties, there have been few studies that examine the circulation of revolutionary ideas and practices across multiple historical moments and cultural contexts. In addition, the tendency of much current scholarship to focus exclusively on the texts of prominent French or Chinese intellectuals overlooks the vital role played by translation, and by non-elite thinkers, writers, students and migrant workers in the cross-fertilization of revolutionary discourses and practices. Given that potential solutions to social and political problems associated with modernity were debated through the recurring circulation of translations (and retranslations) of ideas such as “democracy”, “natural rights,” “women’s rights,” and so on, I examine: who was translating whom, and for what purposes? What specific concepts and values are privileged, and why? Taking translation and translingual contact as my point of departure, I illuminate how French and Chinese intermediaries envisioned and attempted to create a just society under fraught historical conditions.

本論文計分六章，各章章旨及其內容如下： 　　第一章為「緒論」。內容包括：「研究動機與目的」、「研究現況檢討」、「研究方法與取材」及「研究侷限與發現」。本章旨在敘述研究背景，藉由研究現況的檢討，掌握值得開發的研究空間與契機，並進一步揭示論文研究的心得。 　　第二章為「許地山的生平與思想」。探討主題包括：「戰爭對其人格特質、生命情調的啟發」、「家庭對其人道關懷、人生哲學的造就」、「治學對其知識結構、人文素養的塑成」及「時勢對其文化態度、文化參與的影響」。本章旨在透過許地山的生平與思想的交叉論述，以影響研究的觀點，彰顯許地山人格與思想的成因，並透視其人富於時代意識的特色。 　　第三章為「許地山的文藝觀」。討論範圍涵蓋：「許地山的文藝創作論」、「許地山的文藝鑒賞論」和「文藝觀的淵源與特色」。本章旨在爬梳並歸納許地山的文藝思想，分別從創作論及鑒賞論兩部分，分述其具體內容，再綰合兩者，尋繹許地山文藝觀的淵源與特色。藉以掌握許地山創作傾向的理論根據，並作為進一步解讀許地山文本的準備。 　　第四章為「許地山作品的主題意蘊」。章分四節分別探討許地山文學作品所呈現的「生命觀照與人生態度的闡發」、「情愛觀與兩性觀的宣達」、「社會現實的揭露和批判」及「去國與懷鄉──臺灣風味的書寫」。本章旨在透析許地山文學作品的主題意蘊，再回扣到許地山的生平行誼與思想內涵，驗證許地山其文實為其人之全人格的表現。 　　第五章為「許地山文學的藝術表現」。就許地山文學的藝術表現，舉其凸顯的成就作一闡釋與驗證，內容包括：「許地山文學的寓言特質」、「許地山散文的賦體成分」、「許地山文學的抒情傾向」及「女性人物的理想性格與形象」。本章旨在全面掌握許地山文學的藝術特色與成就。從許地山文本的微視與剖析後，得其主要特色有三，亦即寓言特質、賦體成分與抒情傾向。再從許地山小說人物的考察，檢視其形象塑造的得失，透過歸納許地山人物性格與形象的特徵，逼顯許地山理想的人物性格及形象。 　　第六章為「結論：許地出文學的意義與定位」。本章旨在總結本論文的研究心得。於許地山其人其文有了全面而深入的了解後，將許地山的文學回置到我國文學發展的歷史中，考察許地山文學的意義與歷史定位，獲致許地山文學的兩項意義，即許地山乃現代散文的奠基者（寓言散文的先驅）、五四文壇的臺灣代言人。 《許地山文學之研究》 論 文 目 錄 第一章 緒論 第二章 許地山的生平與思想 第一節 戰爭對其人格特質、生命情調的啟發 第二節 家庭對其人道關懷、人生哲學的造就 第三節 治學對其知識結構、人文素養的塑成 第四節 時勢對其文化態度、文化參與的影響 結 語 第三章 許地山的文藝觀 第一節 許地山的文藝創作論 第二節 許地山的文藝鑒賞論 第三節 文藝觀的淵源與特色 結 語 第四章 許地山文學的主題意蘊 第一節 生命觀照與人生態度的闡發 第二節 情愛觀與兩性觀的宣達 第三節 社會現實的揭露和批判 第四節 去國與懷鄉──臺灣風味的書寫 結 語 第五章 許地山文學的藝術表現 第一節 許地山文學的寓言特質 第二節 許地山散文的賦體成分 第三節 許地山文學的抒情傾向 第四節 女性人物的理想性格與形象 結 語 第六章 結論：許地山文學的意義與定位 參考書目 附錄：許地山生平暨作品繫年 國立政治大學中國文學系碩士論文 指導教授：簡宗梧博士

五四時期，在改造社會背景下蓬勃開展的婦女解放運動，鼓舞了知識女性們擺脫舊社會的束縛，迎向新時代開放的潮流。然而，崛起於現代文壇的這第一代女作家，卻較少受到研究者的關注。本研究是以陳衡哲、冰心、廬隱、馮沅君、凌叔華、石評梅六位已為當時人知悉的、也較具代表性的女性小說作家們，在五四時期的小說作品為取材範圍，而論題所謂「女性小說」乃廣義的說法，是指女作家創作的一切小說，而非專指女作家之反映女性生活，或表現女性意識的小說作品。研究上是針對作家與作品，在作家研究上，除了從時代變遷、社會影響來探討五四時期女作家養成的社會背景與刺激創作的動因外，也從作家個人之家庭環境、學習經歷與人世遭遇來探索她們的人格特質與創作之間的關係。在作品研究方面，是以小說的思想內容與藝術形式為分析對象，在思想內容上是探討女性小說中所呈現的三大主題︰社會關懷、婚戀主題與人生意義的追求；在藝術形式上，首先是研究五四小說中大量出現的背離傳統情節中心而改以人物性格作中心的小說之敘事結構與觀點，再來是專節分析女作家中最具藝術技巧的凌叔華小說。

This dissertation investigates Chinese women's rhetorical practices in the early twentieth century. Tracing the formation and development of a new rhetoric in China, I examine women's writings that were denigrated in the May Fourth period. I argue that as an important part of the new rhetoric, women's texts explored women's issues and created the modern self in the May Fourth period by critiquing a patriarchal tradition that excluded women's experiences from its articulation.I begin by challenging the assumptions that rhetoric is a Western male phenomenon. Situating my study in the area of comparative rhetoric, I critique the previous scholarship in the field and delineate the research methodologies used in this dissertation. In Chapter 2 I locate women's rhetorical practices within the specific social and historical contexts of the May Fourth period. I contend that the May Fourth women's literary texts are rhetorical, considering the different conception of rhetoric in the Chinese rhetorical tradition as well as the social impact these texts created at that historical juncture. In Chapter 3 I extrapolate Lu Yin's feminist rhetorical theory and practice from her sanwen (essays) and fiction. I argue that by emphasizing tongqing (sympathy) in her literary theory, Lu Yin's discourse offers an example of how gendered and culturally specific rhetorical concepts and strategies influence the reader and exert social changes. Chapter 4 provides a case study of Bing Xin, another well-known woman writer in the May Fourth period. I argue that by advocating a "philosophy of love" throughout her lyrical essays and fiction, Bing Xin injected a distinctive female voice in the male-dominated discourse in which women and children were either belittled or silenced. Bing Xin's view of writing as expressing the writer's individuality as well as her unique feminine prose style transformed this classical genre into a more vigorous rhetorical form. Using my case studies as reference, I conclude by drawing out the implications of Chinese women's rhetorical experiences for the studies of rhetoric and comparative rhetoric. I show how such a cross-cultural study of particular rhetorics can help further our exploration of human rhetorical practices in general.

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