Gu Taiqing (1799-1876) also known as Gu Chun was poetess of Manchu origin, author of shi poems, ci lyrics and the first Chinese novel written by woman. Research of the diploma thesis is based on ci lyrics collection Fisherman`s songs from Eastern Sea and partly on shi poems Collection from the Tower of Celestial Wandering. Gu Taiqing`s poetry, of which some translations are included, is strongly autobiographical and it almost represents chronicle of her life. Poems give opportunity to explore her curriculum vitae, lyrics on the other hand create space for Gu Taiqing`s unique poetry language. Gu Taiqing expresses herself in many ways - as devoted wife, loving mother, faithful friend, art enthusiast, traveller and flower fancier. The main directions of her poetry was poetic interview or exchange with her husband Yihui and poems addressed to her friends - poetesses, members of The Autumn Red poetess circle. Gu Taiqing was inspired by each of the following Song poets: Zhou Bangyan, Jiang Baishi, Li Qingzhao, and their specific influence on Gu Taiqing`s poetry will be shown with examples in the diploma thesis. Gu Taiqing's poetry connects traditional literature with the first diffident exploration of the new territory. Gu Taiqing`s unique poetic expression completes woman chambers poetry and shows the...

在中國現代文學中，文藝與政治之間有著密切而複雜的關係，此一問題在現代戲劇中尤其值得重視。過往戲劇研究長期位處邊緣，這與戲劇此一文類所獨具的綜合藝術特質不無關係，其橫跨文學、美術、音樂、表演等領域的跨藝術特徵，導致其複雜性實際上遠超純文學的範疇。另一方面，戲劇運動的集團性和政治性，亦導致論者對於中國現代戲劇發展較為簡單化的論述，戲劇史的書寫往往與時代話語緊密連繫。不論是純粹文藝化還是政治化的角度，皆很可能遮蔽了戲劇本身一體兩面的問題，導致研究單一化和簡單化。洪深 (1894-1955)、田漢 (1898-1968)和夏衍 (1900-1995)均是中國現代重要戲劇家，同時亦長期被定位為左翼文藝陣營中的重要成員。戲劇家和政治家的身分重疊，導致他們的研究情況往往與時代的意識形態掛鈎，而目前有關他們的研究更是受到冷落，與他們的文學成就並不相稱。本文以三位劇作家為研究對象，希望通過他們的不同面向，重新審視文藝與政治之間各種複雜關係的可能性。 / 本文分為五章。第一章為導論，主要介紹本文的寫作理念、方法和背景。第二章以洪深為研究對象，重新探討他的現實主義戲劇創作和主張。洪深對改譯劇的主張和實踐，體現了他與晚清鴛鴦蝴蝶派文學和西方戲劇的深刻淵源，而他和蕭伯納之間的文學關係，反映了他對早期文明戲的戲劇改革和西方舞台的繼承，突顯了洪深如何在中西文化之間思索中國現代戲劇中的現實主義問題。第三章從西方唯美主義和先鋒文學運動的角度，重新探討田漢的創作和政治轉向。本章考察田漢對外國文學的譯介活動，當中包括英國唯美主義作家威廉．莫里斯、德國表現主義影劇、俄國和日本左翼劇場，反映了田漢戲劇運動的左翼國際主義特徵；然而田漢對日本作家佐藤春夫和谷崎潤一郎的翻譯，則體現了他對唯美主義的回歸。第四章以夏衍的戲劇創作為研究對象，重新探討夏衍的戲劇文學的獨特性。本章把夏衍此時期的劇作分為歷史劇和上海都市劇兩個角度作出分析，並將它們放在當時文學場域中與郭沫若的歷史劇、國防文學、現代派小說和左翼電影作一比較，並分析夏衍的現實主義與左翼現實主義的相異。第五章為結論，綜合前文各章的討論，重新思考三位劇作家的戲劇實踐，並重審中國現代戲劇中文藝與政治之間的複雜關係。 / There is a complicated relationship between literature and politics in modern Chinese literature, especially in modern Chinese drama. As a result, the research of modern Chinese drama has long been placed at a marginal position. Drama is an integrated artistic form consisting of literature, art, music, and performance, and therefore presents a complexity that goes far beyond "pure literature". On the other hand, the history of modern Chinese drama is closely integrated with historical discourse as a result of the organizational and political characteristics of drama movements. This shows that either literary or political point of view may confine the interpretation of their inter-related complexity and interaction. Hong Shen (1894-1955), Tian Han (1898-1968) and Xia Yan (1900-1995) are three of the most important dramatists in modern Chinese literature, who were also regarded as representative members in the left-wing literary camp. Due to their dual identities as dramatist and politician, their images are often connected with historical and ideological discourses. This has also resulted in desolation in their researches, which is not commensurate with their literary achievements. This dissertation, therefore, focuses on the three dramatists by presenting different perspectives of their works and activities, with the aim to explore the possibilities of various relations between literature and politics. / There are five chapters in the dissertation. Chapter one introduces the framework, method and background of the research. Chapter two re-examines the realistic works and theories of Hong Shen. Hong’s adaptation reflects his literary relationship with both the Mandarin Ducks and Butterflies literature and the Western drama. Moreover, Hong’s literary relationship with Bernard Shaw reflects his succession of both the tradition of the civilized drama and the Western theatre. This highlights that the characteristics of Hong Shen’s realistic theories were adapted from both China and the West. Chapter three re-explores the political transformation of Tian Han from the Western literary movements of aestheticism and the avant-garde. This chapter demonstrates the characteristics of left-wing cosmopolitanism in Tian Han’s drama movements by studying his translation activities of international literature, which include the English poet William Morris, German expressionist cinema and theatre, Russian and Japanese left-wing theatre. In the meantime, Tian Han’s translations of Japanese writers Sato Haruo and Tanizaki Junichiro reflect his return to aestheticism. Chapter four discusses the uniqueness of Xia Yan’s literary works, including his historical drama and his modern drama centering on Shanghai. This chapter emphasizes the difference of Xia Yan’s realistic style from left-wing realism by comparing Xia’s works with National Defence Literature, modernist fictions, left-wing cinema, as well as the historical drama by Guo Moruo. Chapter five concludes the significance of the dramatic transformation by Hong Shen, Tian Han and Xia Yan, and reviews the relationship between literature and politics in modern China. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 盧敏芝. / Parallel title from added title page. / Thesis (Ph.D.) Chinese University of Hong Kong, 2015. / Includes bibliographical references (leaves 135-157). / Abstracts also in English. / Lu Minzhi.

方秀瑩. / "2008年1月" / 論文(哲學碩士)--香港中文大學, 2008. / 參考文獻(p. 128-135). / "2008 nian 1 yue" / Abstract also in English. / Fang Xiuying. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2008. / Can kao wen xian (p. 128-135). / Chapter 第一章 --- 緒論 --- p.1 / Chapter 第一節 --- 沈德潛的生平及學詩歷程 --- p.1 / Chapter 第二節 --- 沈德潛詩論硏究槪況 --- p.3 / Chapter 第三節 --- 硏究目的及方法 --- p.7 / Chapter 第二章 --- 沈德潛對李杜詩的品評 --- p.8 / Chapter 第一節 --- 沈德潛論李白詩 --- p.8 / Chapter 1. --- 李白詩的宗旨 --- p.9 / Chapter 2. --- 李白詩的體裁 --- p.16 / Chapter 3. --- 李白詩的風格 --- p.22 / Chapter 4. --- 李白詩的詩法 --- p.26 / Chapter 5. --- 小結 --- p.29 / Chapter 第二節 --- 沈德潛論杜甫詩 --- p.30 / Chapter 1. --- 杜甫詩的淵源 --- p.32 / Chapter 2. --- 杜甫詩的宗旨 --- p.43 / Chapter 3. --- 杜甫詩的體裁 --- p.52 / Chapter 4. --- 杜甫詩的風格 --- p.56 / Chapter 5. --- 杜甫詩的題材 --- p.67 / Chapter 6. --- 杜甫詩的詩法 --- p.78 / Chapter 7. --- 小結 --- p.85 / Chapter 第三章 --- 沈德潛兼宗李杜詩的意義 --- p.87 / Chapter 第一節 --- 移易詩壇風氣 --- p.87 / Chapter 第二節 --- 提升人格素質 --- p.90 / Chapter 第三節 --- 全面的詩體觀 --- p.94 / Chapter 第四節 --- 兼重詩才與學力 --- p.98 / Chapter 第五節 --- 格調中包容神韻 --- p.100 / Chapter 第四章 --- 沈德潛李杜詩論的影響 --- p.107 / Chapter 第一節 --- 沈德潛的弟子及同里的詩論 --- p.107 / Chapter 第二節 --- 《唐宋詩醇》與沈德潛詩說之關係 --- p.115 / Chapter 第三節 --- 桐城派繼承沈德潛詩說考 --- p.118 / Chapter 第四節 --- 蘇文擢《說詩晬語詮評》及其詩學觀述評 --- p.121 / Chapter 第五章 --- 結語 --- p.126 / 參考書目 --- p.128 / 附錄：沈德潛選李杜詩詩目 --- p.136 / 《唐宋詩醇》引沈德潛李杜詩論輯錄 --- p.154 / 高步瀛引沈德潛李杜詩論輯錄 --- p.159

University of Macau / Faculty of Social Sciences and Humanities / Department of Chinese

Aristotle stated in his Poetics that theatre’s dual purpose was to educate and entertain. Centuries later the Roman Horace and Indian Bharata echoed his same sentiments. I intend to realize all three theorist’s ideas on the theatre by creating an original educational and entertaining work and bringing it to performance. The audience will retain information without being aware of learning if it is presented in a pleasurable way. The most important geopolitical relationship of this century will be between China and America. In order to educate the American public about the culture of The Middle Kingdom, I propose to write and direct my own play, condensing all three thousand years of Chinese literature into a one hundred and ten minute performance. I will benefit from the personal nature of this thesis by experiencing every stage of a play’s production: from idea to page to performance. My thesis will be made of three major parts: conceiving and writing the play, a journal of directing the debut production, and a third section made of choices, influences, and reflection on the entire experience. In this manner, the ideas swirling in my head may be made clear to others reading this thesis. The play itself will be a comical distillation of ten selected works of Chinese literature. Four non-gender specific American actors will seem to make up the show as it performs in a tongue-in-cheek way. Taking my stated goal of entertaining and educating the audience to heart, the overarching plot of the play will center on the four actors teaching the audience about the literature and culture of China by acting out scenes and telling stories. The information in the scenes will be targeted to a normal American citizen’s educational level with liberal doses of humor added. The four actors will be playing fictionalized versions of themselves and at times iv breaking character by explaining and setting up the theatricality of the piece to the audience. Part of the fun of the show will be seeing how these actors explain a subject as obtuse as Chinese literature to Americans. Perhaps a cooking metaphor is the best way to think of the play: I will chop up raw Chinese literature, the actors will boil it onstage, the theatregoer will consume the mix, and exit the theatre full of entertaining intellectual nourishment. My experiences directing and producing the finished play will be recorded in a journal as a resource for future directors. I imagine directing the play will be the most challenging aspect of this thesis. How is the play changed when other people interact with it? How will the audience receive it? In addition, Committee Chair Mark Routhier and my thesis Committee Members, Mark Brotherton and Tan Huaixiang, will also give written responses to the play’s performances. The play will be performed October 10-13, 2013 in the University of Central Florida’s Performing Arts Complex Studio 2 classroom. In the final section I will write a reflection on the entire process. This will serve the dual purpose of giving me a place to collect my thoughts and giving others a special insight to the growth they might experience when producing this play. Foremost among my influences in writing a play with this subject matter are the style and tone of The Reduced Shakespeare Company