Dissertations / Theses: 'Chinese drama – History and criticism'

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齊曉楓 and Hsiao-feng Chi. "Patterns of husband selection in traditional Chinese fiction and drama." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31238312.

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Li, Siu Leung, and 李小良. "Toward a theory of dramatic adaptation: with special reference to Shakespearean and Ming Qing adaptations." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1986. http://hub.hku.hk/bib/B31207352.

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譚達先 and Tat-sin Tam. "Folk literature and the Zaju (Northern drama) of the YuanDynasty, 1279-1368." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1989. http://hub.hku.hk/bib/B31232395.

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鄧兆華 and Siu-wah Tang. "The commercial performance context of Chinese drama in the Song period = 宋代戲劇的商業演出環境." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/193000.

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China entered its revolutionary stage of commercial development in the 10th to 13th centuries. Provided with its relatively stable political and economical environment, its rapid development in commercialization, urbanization and population was obviously recorded in history. Commercial performing spaces of the Chinese drama and opera, also known as the “Goulan theatres”, were vastly developed in a number of cities and towns in the Northern and Southern Song Dynasties (960-1279). This paper would study the influence of this kind of commercial performance on the development of the Chinese Opera. Adopting the methodology by Alan P. Merriam (1923-1980) on ethnomusicology, the work of this paper was divided into three stages. First, the relevant data, including a large amount of notes written by Song scholars, and the unearthed historical relics were collected. Then the collected data was put into contextual analysis. Finally, the conclusion obtained was applied on explain another relevant phenomenon, how the mature Chinese Classical opera became so well developed in the late Song Period and early Yuen Period(1271-1368). The first chapter is the introduction, which had been divided into three parts, the significance of the study, the past studies, and the research method. The second and third chapters tried to define the terms: Chinese drama, Chinese Opera and the conception of commercial performing areas in Song Period. The fourth chapter tried to explain why the commercial theatres could be well developed in the Song Period. The fifth chapter studied the development of the commercial theatres in the cities in the Song Period. The sixth and seventh chapters studied the architectural environment and the inter-personal relationships of the commercial theatres. The eighth and ninth chapters studied the ecology of different dramatic and non-dramatic genres of classical performing arts in the commercial theatres. The last chapter emphasized the entertaining and competitive properties of the commercial theatre, in where different cultural exchanges are processed. Therefore, the mature Chinese Opera was well developed in the Goulan theatres in the late Song and early Yuen Period.
published_or_final_version
Chinese Historical Studies
Master
Master of Arts

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曾慶慈 and Hing-chi Tsang. "A critical study of supernatural elements in Yuan drama." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1990. http://hub.hku.hk/bib/B31210028.

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何秀蘭 and Sau-lan Ho. "Taoist influences on the drama of the Yuan dynasty, 1279-1368." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1985. http://hub.hku.hk/bib/B31207261.

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Wang, Hui, and 王卉. "Reconfigurations of gender: contemporary Chinese drama 1979-1989 : the politics of re-inscribing sexualdifferences." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31242364.

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Si, Tou Sau-ieng, and 司徒秀英. "A study of zhuanqi drama of the mid-Ming period." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31239262.

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潘步釗 and Po-chiu Poon. "A study of the image of singsong girls in Yüan drama." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31212621.

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陳方 and Fong Chan. "A study of Xu Wei (1521-1593) and his Si sheng yuan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31222225.

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潘步釗 and Po-chiu Poon. "A study of the drama (Chuanqi) of good versus evil in theMing dynasty." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B29947418.

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LAW, Ching. "高行健之戲劇 : 理論與實踐." Digital Commons @ Lingnan University, 2006. https://commons.ln.edu.hk/otd/17.

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高行健的戲劇作品與理論，兼備中西文化主題（motifs），東西方劇場的手法，最適合作比較文學的範例。本文全面分析高行健的劇作與理論，從主題與形式兩方面，審度劇作中重複出現追尋自我的主題。其劇作包括《絕對信號》、《車站》、《野人》、《彼岸》、《冥城》、《逃亡》、《山海經傳奇》、《生死界》、《對話與反詰》、《夜遊神》、《周末四重奏》、《八月雪》、《叩問死亡》；五個現代折子戲包括《模仿者》、《躲雨》、《行路難》、《喀巴拉山口》、《獨白》；一個舞劇《聲聲慢變奏》共計十八部戲劇。又整理探究理論文集《對一種戲劇的追求》、《沒有主義》、以及《文學的理由》。作者的主體意識扣緊不同時期的逃亡經驗，經一番外求與內尋的過程，不斷抗衡與否定不同的「他者」。這種抗衡，固然呈現人類本質的狀態，卻缺乏主體的自主性，也展示主題的矛盾。因為無論「他者」怎樣不斷置換為集體、強權、中國、性、慾望等對象，也不能抹殺其先於主體的實存性，反倒確立了主體的依附性。所以他的主體都一貫逃避中心、集體、缺乏實質的內涵，卻又內外交困，無法安頓。這種不斷反詰的精神，又反映在劇作的「間離」的形式上。高行健以敘事、三重角色與儀式（rituals），間離觀眾與角色。雖然他追求戲劇本質，嘗試回復中國儺戲與戲曲的傳統，也緊隨現當代劇作家如布萊希特（Bertolt Brecht）、惹奈（Jean Genet），但是難以調動觀眾的直覺感知經驗，達至娛人的目的。更有甚者，因為敘事手法的視點所限，宣揚個人主義的目的，昭然若揭。他的儀式意在增強戲劇的假定性，不在於回歸中國的佛道傳統，但效果不彰。他的「表演三重論」源於中國戲曲與布萊希特，貢獻止於為表演的監控意識命名，缺乏系統落實的方法，故難以與斯坦尼斯夫斯基（Konstantin Stanislavsky）、以及格羅多夫斯基（Jerzy Grotowski）的表演系統相提並論。本文試以高行健的劇作與理論，與現當代的國際劇作家、以及劇場理論家的成就互相發明，以鑑定其戲劇地位。

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馮瑞龍 and Ruilong Feng. "A critical study of the love theme plays of the Yuan dynasty, 1279-1368." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1988. http://hub.hku.hk/bib/B31208599.

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Wang, Hing Suen Teresa. "An ethnohistoric investigation of the operation and function of translation in the dissemination of Chinese Xiqu in the US : a study of three encounters." HKBU Institutional Repository, 2020. https://repository.hkbu.edu.hk/etd_oa/884.

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In this study, the role of translation in the introduction of Chinese xiqu into the United States is examined using an anthropological approach. This study identifies three encounters that exemplify the three critical stages of acceptance of xiqu in the United States, and examines how translation operates and functions as a tool of cultural mediation in the introduction and promotion of xiqu there. The three critical encounters this study identifies are: the 19th century performance tours of Cantonese opera in San Francisco, the 1930s tour of Mei Lan-fang to the U.S., and the 2006 tour of Kenneth Pai's production of the Young Lover's Edition of the Peony Pavilion to the U.S. An ethnohistoric approach is adopted to reconstruct the contexts of the translators' decision-making with the purpose of highlighting the human factor in the process. Translations, first-hand paratextual materials and data collected in interviews facilitate the triangulation of analysis and verification. The result offers a critical understanding of translation in a cultural dissemination process by analyzing xiqu with an emphasis on the human factor.

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岑金倩 and Kam-sin Shum. "A study of female characters in modern Chinese historicaldrama (1911-1949)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31214605.

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韋明月. "當代澳門民眾戲劇先行者 : 周樹利 = The forerunner of contemporary Macau community theatre : Chow Shui Lee." Thesis, University of Macau, 2009. http://umaclib3.umac.mo/record=b2101715.

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Turner, Irene. "Farce on the borderline with special reference to plays by OscarWilde, Joe Orton and Tom Stoppard." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1987. http://hub.hku.hk/bib/B31949204.

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Streete, Adrian George Thomas. "Calvinism, subjectivity and early modern drama." Thesis, University of Stirling, 2001. http://hdl.handle.net/1893/12800.

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This thesis examines the connections between Calvinism and early modern subjectivity as expressed in the drama produced during the reigns of Elizabeth I and James I. By looking at a range of theological, medical, popular, legal and polemical writings, the thesis aims to provide a new historical and theoretical reading of Calvinist subjectivity that both develops and departs from previous scholarship in the field. Chapter one examines the critical question of 'authority' in early modern Europe. I trace the various classical and medieval antecedents that reinscribed Christ with political authority during the period, and show how the Reformers' conception of conscience arises out of this movement. In chapter two, I offer a parallel reading of Reformed semiotics in relation to the individual's response to two specific loci of power, the Church and the stage. Chapter three brings the first two chapters together by outlining the development of Calvinist doctrine in early modem England. Chapter four offers a theoretical reading of the early modern 'unconscious' in relation to the construction of England as a Protestant nation state against the threat of Catholicism. In the next four chapters, I show how the stage provided the arena for the exploration of Calvinist subjectivities through readings of four early modern plays. Chapter five deals with Christopher Marlowe's Doctor Faustus and in particular the Calvinist conception of Christ interrogated throughout the play. Chapter six looks at The Revenger's Tragedy in relation to the question of masculine lineage and the Name-of-the-(Calvinist)-Father. Finally, in chapters seven and eight, I examine two of William Shakespeare's plays, Macbeth and Antony and Cleopatra. In the first, I demonstrate how the play's concern with witchcraft brings about a parody of providential discourse that is crucial to an understanding of Macbeth's subjectivity. And in the second, I excavate the use of the biblical book of Revelation in Antony and Cleopatra in order to show how an understanding of the text's 'religious' concerns problematises more mainstream readings of the drama.

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D'Ermo-Tenaglia, Doria. "Calandro, un personaggio nella storia della critica, 1788-1980 : saggio di bibliografia critica." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65467.

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O'Regan, Inge Brigitta. ""Zuwachs unsrer existenz" : the quest for Being in J.M.R. Lenz." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/31078.

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Jakob Michael Reinhold Lenz (1751-1792), whose plays have been acclaimed as the prototype of the modern drama of Brecht and Durrenmatt, is a controversial figure who rose to prominence on the German literary scene in the early seventeen seventies. Among Lenz's theoretical writings is the influential essay "Anmerkungen ubers Theater," in which he introduces his innovative dramatic theories and describes the independent protagonists he envisions for the German stage. In the same essay, he demands "Zuwachs unsrer Existenz" (a heightened awareness of existence) from contemporary drama. However, in marked contrast to the "Anmerkungen," the protagonists of his two most prominent plays, Der Hofmeister (1774) and Die Soldaten (1776), are self-alienated, ontologically insecure individuals who seem victims of the socio-political realities of their times. Not surprisingly, critics are divided in their opinion as to what the contradictions in Lenz's oeuvre signify. Lenz was a student of Immanuel Kant's between 1768 and 1770, a time when the latter was formulating ideas that would find their full expression years later in his critical philosophy. In 1770, Kant presented his inaugural address "de mundi sensibilis atque intelligibilis forma et principiis" (On the Form and Principles of the Sensible and Intelligible World) to the assembled faculty and students of KCnigsberg Academy, among them J.M.R. Lenz. It is in the inaugural dissertation that Kant introduces his thesis of the individual as an inhabitant of two "worlds," the noumenal and the phenomenal, a central concept in his first critique, Kritik der reinen Vernunft, which would be published in 1781. This study examines Lenz's thoughts as they surface in his theoretical essays and his major plays and puts forward the thesis that it is Kant's division of the self into an intelligible and a sensible realm which prompts Lenz's call for "Zuwachs unsrer Existenz." Lenz's quest is fuelled, furthermore, by his acute awareness of the ontological insecurity of the individual self, an awareness which seems to anticipate the thought of Kierkegaard. The overriding purpose of this thesis is, through a reevaluation of Lenz's theoretical and dramatic works, to elucidate this eighteenth-century writer's quest for authentic being, a quest that he considered to be the individual's most urgent task.
Arts, Faculty of
Central Eastern Northern European Studies, Department of
Graduate

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Ramukosi, Patrick Mbulaheni. "Modern tragedy : a critical analysis of the elements of tragedy with special reference to N.A. Milubi's plays." Thesis, University of Limpopo, 1999. http://hdl.handle.net/10386/2336.

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Duncan, Dawn E. (Dawn Elaine). "Language and Identity in Post-1800 Irish Drama." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277916/.

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Using a sociolinguistic and post-colonial approach, I analyze Irish dramas that speak about language and its connection to national identity. In order to provide a systematic and wide-ranging study, I have selected plays written at approximately fifty-year intervals and performed before Irish audiences contemporary to their writing. The writers selected represent various aspects of Irish society--religiously, economically, and geographically--and arguably may be considered the outstanding theatrical Irish voices of their respective generations. Examining works by Alicia LeFanu, Dion Boucicault, W.B. Yeats, and Brian Friel, I argue that the way each of these playwrights deals with language and identity demonstrates successful resistance to the destruction of Irish identity by the dominant language power. The work of J. A. Laponce and Ronald Wardhaugh informs my language dominance theory. Briefly, when one language pushes aside another language, the cultural identity begins to shift. The literature of a nation provides evidence of the shifting perception. Drama, because of its performance qualities, provides the most complex and complete literary evidence. The effect of the performed text upon the audience validates a cultural reception beyond what would be possible with isolated readers. Following a theoretical introduction, I analyze the plays in chronological order. Alicia LeFanu's The Sons of Erin; or, Modern Sentiment (1812) gently pleads for equal treatment in a united Britain. Dion Boucicault's three Irish plays, especially The Colleen Bawn (1860) but also Arrah-na-Pogue (1864) and The Shaughraun (1875), satirically conceal rebellious nationalist tendencies under the cloak of melodrama. W. B. Yeats's The Countess Cathleen (1899) reveals his romantic hope for healing the national identity through the powers of language. However, The Only Jealousy of Emer (1919) and The Death of Cuchulain (1939) reveal an increasing distrust of language to mythically heal Ireland. Brian Friel's Translations (1980), supported by The Communication Cord (1982) and Making History (1988), demonstrates a post-colonial move to manipulate history in order to tell the Irish side of a British story, constructing in the process an Irish identity that is postnational.

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Chan, Wai-ying, and 陳惠英. "Chinese lyrical fiction in the period 1919-1989." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31212864.

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Montanari, Anna Maria. "'A heart in Egypt' : Cleopatra on the Renaissance stage in Italy and England." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709112.

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周業珍 and Yip-chun Rita Chau. "A study of Zhu Ziqing's (1898-1948) poetry and prose." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31212153.

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Oh, Seiwoong. "The Scholarly Trickster in Jacobean Drama: Characterology and Culture." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278216/.

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Whereas scholarly malcontents and naifs in late Renaissance drama represent the actual notion of university graduates during the time period, scholarly tricksters have an obscure social origin. Moreover, their lack of motive in participating in the plays' events, their ambivalent value structures, and their conflicting dramatic roles as tricksters, reformers, justices, and heroes pose a serious diffculty to literary critics who attempt to define them. By examining the Western dramatic tradition, this study first proposes that the scholarly tricksters have their origins in both the Vice in early Tudor plays and the witty slave in classical comedy. By incorporating historical, cultural, anthropological, and psychological studies, this essay also demonstrates that the scholarly tricksters are each a Jacobean version of the archetypal trickster, who is usually associated with solitary habits, motiveless intrusion, and a double function as selfish buffoon and cultural hero. Finally, this study shows that their ambivalent value structures reflect the nature of rhetorical training in Renaissance schools.

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Sun, Christine Yunn-Yu. "The construction of "Chinese" cultural identity : English-language writing by Australian and other authors with Chinese ancestry." Monash University, School of Languages, Cultures and Linguistics, 2004. http://arrow.monash.edu.au/hdl/1959.1/5438.

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Feng, Liping. "Modernity and tradition : Chinese theories of literature from 1900 to 1930." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28445.

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This thesis examines the development of Chinese theories of literature in the early twentieth century: what was considered as literature, the role of the writer and reader, and the function of literature in society. The central purpose of the thesis is to retrace the Western-influenced theories of literature of the 1920s back to the theoretical developments at the turn of the century. The thesis also shows that, as a whole, modern Chinese theories of literature are deeply rooted in traditional Chinese poetics. In characterizing traditional Chinese theories, it compares the latter with the mimetic model of Western literature. Throughout the thesis, the account of the theoretical developments makes constant reference to the changes taking place within two major literary genres: lyrical poetry and the narrative.

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Bishop, Glenford Richard. "The origins of the English folk-play : re-interpreting texts and theories." Thesis, University of Wales Trinity Saint David, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683021.

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Zheng, Baoxuan, and 鄭寶璇. "The theme of alienation in modern Chinese and Anglo-American fiction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1985. http://hub.hku.hk/bib/B31206803.

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Wong, Chi-keung Frederick, and 黃志強. "Postmodernism, drama, language: Waiting for Godot and Inadmissible evidence revisited." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31951053.

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Li, Jing. "Self in community: twentieth-century American drama by women." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/322.

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This thesis argues that twentieth-century American women playwrights spearhead the drama of transformation, and their plays become resistance discourses that protest, subvert, or change the representation of the female self in community. Many create antisocial, deviant, and self-reflexive characters who become misfits, criminals, or activists in order to lay bare women's moral-psychological crises in community. This thesis highlights how selected women playwrights engage with, and question various dominant, regional, racial, or ethnic female communities in order to redefine themselves. Sophie Treadwell's Machinal and Marsha Norman's 'night, Mother are representative texts that explore how the dominant culture can pose a barrier for radical women who long for self-fulfillment. To cultivate their personhood, working class Caucasian women are forced to go against their existing community so as to seek sexual freedom and reproductive rights, which are regarded as new forms of resistance or transgression. While they struggle hard to conform to the traditional, gendered notion of female altruism, self-sacrifice and care ethics, they cannot hide their discontent with the gendered division of labor. They are troubled doubly by the fact that they have to work in the public sphere, but conform to their gender roles in the private sphere. Different female protagonists resort to extreme homicidal or suicidal measures in order to assert their radical, contingent subjectivities, and become autonomous beings. By becoming antisocial or deviant characters, they reject their traditional conformity, and emphasize the arbitrariness and performativity of all gender roles. Treadwell and Norman both envision how the dominant Caucasian female community must experience radical changes in order to give rise to a new womanhood. Using Beth Henley's Crimes of the Heart and Lorraine Hansberry's A Raisin in the Sun as examples, this thesis demonstrates the difficulties women may face when living in disparate communities. The selected texts show that Southern women and African-American women desperately crave for their distinct identities, while they long to be accepted by others. Their subjectivity is a constant source of anxiety, but some women can form strong psychological bonds with women from the same community, empowering them to make new life choices. To these women, their re-fashioned self becomes a means to reexamine the dominant white culture and their racial identity. African-American women resist the discourse of assimilation, and re-identify with their African ancestry, or pan-Africanism. In the relatively traditional southern community, women can subvert the conventional southern belle stereotypes. They assert their selfhood by means of upward mobility, sexual freedom, or the rejection of woman's reproductive imperative. The present study shows these women succeed in establishing their personhood when they refuse to compromise with the dominant ways, as well as the regional, racial communal consciousness. Maria Irene Fornes' Fefu and Her Friends and Wendy Wasserstein's The Heidi Chronicles are analyzed to show how women struggle to claim their dialogic selfhood in minoritarian communities (New England Community and Jewish Community). Female protagonists maintain dialogues with other women in the same community, while they choose their own modes of existence, such as single parenthood or political activism. The process of transformation shows that women are often disturbed by their moral consciousness, a result of their acceptance of gender roles and their submission to patriarchal authority. Their transgressive behaviors enable them to claim their body and mind, and strive for a new source of personhood. Both playwrights also advocate women's ability to self-critique, to differentiate the self from the Other, to allow the rise of an emergent self in the dialectical flux of inter-personal and intra-personal relations. The present study reveals that twentieth-century American female dramatists emphasize relationality in their pursuit of self. However, the transformation of the self can only be completed by going beyond, while remaining in dialogue with the dominant, residual, or emergent communities. For American women playwrights, the emerging female selves come with a strong sense of "in-betweenness," for it foregrounds the individualistic and communal dimensions of women, celebrating the rise of inclusive, mutable, and dialogic subjectivities.

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Ingham, Michael Anthony. "Theatre of storytelling : the prose fiction stage adaptation as social allegory in contemporary British drama /." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20275961.

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Ciesko, Martin. "Menander and the expectations of his audience." Thesis, University of Oxford, 2004. http://ora.ox.ac.uk/objects/uuid:ae81b7d0-87da-4e3e-bd00-3b49743a82c1.

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Fiktion der Handlung? This highly conventional genre can, I claim, through both embracing and problematising its very conventionality express itself with irony and subtlety that is at least as effective as open self-praise by poets in comic genres that allow it.

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HSIAO, CHING-SONG GENE. "SEMIOTIC INTERPRETATION OF CHINESE POETRY: TU MU'S POETRY AS EXAMPLE (CRITICISM)." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188120.

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To interpret a poem is to comprehend a complete act of written communication. And to comprehend such an act, the reader must break the codes in which the communication is framed. Thus, poetic interpretation becomes the study of codes--or semiotics. Poetic codes exist at pragmatic, semantic, syntactic, and phonic levels. The decoding requires the reader's linguistic skills, literary competence, and personal experience. It involves an initial reading and a retroactive reading. At the first step, the reader attempts to supply elements missing in the text. Yet trying to interpret the text literally, he encounters problems in pragmatics, semantics, syntactics, or phonics, and is unable to grasp a coherent sense of the poem. Those problems give rise to a retroactive reading. At this step, the reader looks for a higher level of understanding where a unity of meaning can be identified. And by explaining the clues in the text according to his linguistic and literary competence, and revising his understanding on the basis of his new findings, he finally discovers a kernel concept, on which the whole text can be seen as a single unit, and every element, which first appeared to be puzzling, has a significative purpose. This semiotic model of interpretation has proven to be very fruitful in the explication of Tu Mu's poetry. It also enables the reader to appreciate the poetic discourse more thoroughly. Some of the ideas advocated by the model may also serve as principles for the translation of poetry. For example, in reading a poem, the model requires a search for unified pragmatic, semantic, syntactic, and phonic patterns, which convey the kernel concept. Thus, in translating a poem, the translator should also try to re-produce in the target language such unified patterns so that the reader may grasp the same kernel concept as contained in the original discourse. The model stresses implicities of poetry. Hence the rendition of a poem should preserve the implicities of the original text in order to invoke from the reader a response similar to what would be induced by the original poem.

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李仕芬 and Shi-fan Lee. "Love and marriage." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1989. http://hub.hku.hk/bib/B31208721.

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McBain, James. "Early Tudor drama and legal culture, c. 1485-1558." Thesis, University of Oxford, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670056.

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38

Bokwe, Goliath Dumezweni. "Sarcasm, conflict and style in Mtywaku's plays." Thesis, Rhodes University, 1993. http://hdl.handle.net/10962/d1002169.

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39

陳器文 and Chi-wen Chen. "A study of the ordeal stories in Chinese popularfictions." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31236637.

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Rivest, Mélanie. "Nouveau théatre et nouveau roman : la quête d'un art perdu." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79975.

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The histories of the Theater and of the Novel have rarely been linked to one another. Nevertheless, studying the evolution of the two arts as of the seventeenth century, allows us to pinpoint and define the sources of contamination. It is more precisely in the nineteenth century that the history of both the Theater and the Novel became envenomed, going from fresh influences to disloyal relations during which time the Theater faded by admitting romanesque realism to take the stage. By denying its capacity to reveal the "real", the Theater failed its possibilities and let its art be disinterested from the theatricality showing all that should have been evoked. Men of theater participated at recapturing the theatrical art so to regain confidence on stage and near 1950, an avant-garde movement flourished to favor a renewal of vitality for the theater with a new language which utilizes all of what the scene could provoke. This "New Theater" is soon followed by a similar romanesque enterprise, the "New Novel", a group of novelists also wishing to acknowledge the right to explore a new style of writing.

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Gao, Xindan, and 高昕丹. "Chen shizeng (1876-1923) and the reform of Chinese art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31245328.

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Tse, Hue-ying, and 謝曉瑩. "The inheritance of modern Cantonese opera from traditional Chinese opera." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B43085878.

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葉淑蘭 and Sook-lan Yap. "A study of Zhang Tianyi's children's literature." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1992. http://hub.hku.hk/bib/B31211057.

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Su, Weizhen, and 蘇偉貞. "The influence of Eileen Chang and her followers in Taiwan=." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B32017789.

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Sun, Mei. "Nanxi : the ealiest form of xiqu (traditional Chinese theatre)." Thesis, 1995. http://hdl.handle.net/10125/9581.

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Pola, Lisa. "A Chinese television drama : the "Aspirations" phenomenon." Thesis, 1995. http://hdl.handle.net/1885/144196.

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47

"吉林二人轉女演員初探." 2004. http://library.cuhk.edu.hk/record=b5896143.

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Abstract:

劉洋.
"2004年1月".
論文(哲學碩士)--香港中文大學, 2004.
參考文獻 (leaves 100-107).
附中英文摘要.
"2004 nian 1 yue".
Liu Yang.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2004.
Can kao wen xian (leaves 100-107).
Fu Zhong Ying wen zhai yao.
摘要 --- p.1
Chapter 第一章 --- 導論 --- p.1
Chapter 1.1 --- 硏究目的和範圍 --- p.1
Chapter 1.2 --- 硏究背景 --- p.2
Chapter 1.3 --- 考查工作及資料搜集 --- p.6
Chapter 第二章 --- 二人轉簡介 --- p.8
Chapter 2.1 --- 源起及發展 --- p.8
Chapter 2.2 --- 與東北民歌及戲曲的關係 --- p.17
Chapter 2.3 --- 語言特點 --- p.22
Chapter 2.4 --- 二人轉的音樂風格 --- p.25
Chapter 2.5 --- 觀眾的參與及影響 --- p.33
Chapter 第三章 --- 二人轉女演員概述 --- p.35
Chapter 3.1 --- 女演員出現的地理及歷史因素 --- p.35
Chapter 3.2 --- 女演員的出現及發展 --- p.36
Chapter 3.3 --- 女演員的服裝、道具及扮相 --- p.39
Chapter 3.4 --- 女演員的表演 --- p.44
Chapter 3.5 --- 女演員的舞蹈 --- p.58
Chapter 第四章 --- 三位女演員的表演特色 --- p.68
Chapter 4.1 --- 閆學晶 --- p.68
Chapter 4.2 --- 王娟 --- p.74
Chapter 4.3 --- 梁學華 --- p.81
Chapter 4.4 --- 二人轉女演員特點總結 --- p.86
Chapter 第五章 --- 結論 --- p.89
Chapter 5.1 --- 總結 --- p.89
Chapter 5.2 --- 未來的硏究方向 --- p.98
參考著作 --- p.100
附錄 --- p.108
附錄I藝訣 --- p.109
附錄II譜例 --- p.112
譜例2-1 選自《西廂》唱段 --- p.113
譜例2-2 選自《西廂》唱段 --- p.114
譜例2-3 選自《西廂》唱段 --- p.116
譜例4-1 選自《皇親夢》唱段 --- p.118
譜例 4-2 選自《皇親夢》唱段 --- p.119
譜例 4-3 選自《包公斷后》唱段 --- p.121
譜例 4-4 選自《包公斷后》唱段 --- p.123
譜例 4-5 選自《包公斷后》唱段 --- p.124
附錄III圖例 --- p.125
圖例2-1 嗩吶、二胡、琵琶 --- p.126
圖例3-1 丑靴、旦舞鞋、服裝 --- p.127
圖例3-2 大板和手玉子、扇子、手絹 --- p.128

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"《昭代簫韶》與清代宮廷演劇研究: A study of the glorious music of a brilliant age (Zhaodai xiaoshao) and the court theatre in the Qing dynasty." 2014. http://library.cuhk.edu.hk/record=b6115620.

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Abstract:

本文以清代宮廷演劇制度的完善與興替、宮廷大戲《昭代簫韶》的創作與演出為中心，探討其中帝王性情、意識形態的投射與帝國形象的建構；試圖對宮廷演劇繁盛與變遷的原因、《昭代簫韶》文本與演出的意涵、宮廷與民間演劇的交流與影響等問題，作出新的解釋。
現有研究強調清朝帝后喜好戲曲娛樂、宮廷舞臺壯麗輝煌，以及晚清宮廷演劇變革等等。本文認為，清代宮廷演劇實有更多豐富的內涵有待更深入的研討。帝后的倡導及參與，自是推動清代宮廷演劇繁盛的重要原因，但在滿足帝后娛樂的同時，宮廷演劇也用於朝廷儀典；戲曲教化與國家儀式的功能相互結合。
清代宮廷演劇，在元明清雜劇傳奇及亂彈之外，還有適應現實需要而奉旨編演的大戲與節戲。宮廷大戲，規模龐大，情節複雜，排場繁縟，在中國戲曲史上十分獨特。創作於乾嘉之際的《昭代簫韶》，取材於明代演義小說《北宋志傳》，鋪寫楊家將輔宋抗遼事。通過特定情節與人物穿戴，《昭代簫韶》參與了清代正統華夷的論述，並含有重評歷史與訓諭臣民的深意。此部大戲將褒忠誅奸的昇仙入地與軍陣鬥法的神道描寫，與觀劇現場的君臣秩序相結合，形成舞臺上、下戲曲與現實的呼應，道德教化寓意明顯。
本文對清代宮廷演劇制度變遷與宮廷大戲《昭代簫韶》演出史的考察，還特別關注戲曲在宮廷與民間的流動與影響。尤其是外學伶人進入與退出宮廷，使得宮廷伶人的規模與組成發生改變，這不僅影響到大戲的演出形式與藝術呈現，也使得宮廷演劇處於對外開放與吸收融合的狀態。清代戲劇便在宮廷、文人與民間三方面，均臻繁盛。
Theatrical performance played an important role in the Qing court culture. This thesis discusses the evolution and change of the court theatre institution throughout the Qing Dynasty. In the contexts of court entertainment, political activities and cultural policy, the creation and performance history of the grand theatre piece, Zhaodai xiaoshao, or The Glorious Music of a Brilliant Age, from the Qianlong-Jiaqing to the Guangxu period serve as an adequate example. In this case study, we can explore the nature of the Qing emperors and Empress Dowager Cixi, state ideology and the construction of the Empire’s image.
Most existing research in Qing court drama and theatre focuses on the Qing emperors’ great passion for theatre, the three-tiered grand stage in the imperial palace and the wealth of props and costumes, as well as the repertoire change in the late Qing, especially the formation and development of Jingju or Peking Opera. This thesis arguesthat given its rich contents and relevant contexts, the Qing court theatre deserves far more research both in breadth and in depth. The participation of the imperial power undoubtedly promoted court theatre. Theatrical performances at court became not only private entertainment for the imperial family; they also appeared in state ceremonies with special ritual significance. In addition, the grand plays like the 240-scened Glorious Music of a Brilliant Age projected the images and instructions of the emperorsto enlighten the subjects, for particular needs in political circumstances.
The Glorious Music of a Brilliant Age was based on the story of the Yang Family Generals in the Northern Song Dynasty. Usingthe concept of destiny, the grand play established the plot in which Song defeated Liao and the Taizong of Song completed the unification of the Hans and non-Hans. This is not the real history. However, the play reflected the transition from the early Qing of the northern ethnic-group regime to the mid-Qing of the unified Chinese dynasty. It showed the Manchu emperors’ intent to construct a political orthodox position for their empire. Through the specific costumesof its characters, this history play revealed the ethnic and identity issues among the audience in the Qing court. It teaches the audience and later, readers to be loyal subjects.
In the performance history of The Glorious Music of a Brilliant Age, it is also important to note the institutional evolution of the court theatre, especially the folk actors flowing inside and outside the court. These actors’ movement created opportunities for exchange between the court theatre and the public theatre. For instance, during the Hundred Days Reform, Zhaodai xiaoshao was adapted from its original Kun-Yi music to the Pihuang music under the command of the Empress Dowager Cixi to be performed by the eunuch actors and famous celebrities from the capital theatre. The adaptation and performances of this play, when closely examined, expressed the "ideal" parent-child and monarch-subject relationship which the Empress desired Emperor Guangxu to observe, given the reality of tension between the two at that time. In other words, the performances at court theatre often serve the political purpose of communication, indoctrination, as well as integration.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
胡光明.
Thesis (Ph.D.) Chinese University of Hong Kong, 2014.
Includes bibliographical references (leaves 255-281).
Abstracts also in English.
Hu Guangming.

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49

"徐渭《四聲猿》在明清的接受研究." 2013. http://library.cuhk.edu.hk/record=b5549243.

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Abstract:

徐渭《四聲猿》由《狂鼓史漁陽三弄》、《玉禪師翠鄉一夢》、《雌木蘭替父從軍》和《女狀元辭凰得鳳》四個雜劇組成，對明清雜劇的影響深遠。《四聲猿》從問世到清代，文人雅士通過序跋、評點、刊刻和擬作紛紛顯示出對《四聲猿》的關注。究竟《四聲猿》有甚麼獨特之處吸引著明清二代的文人？他們所關注的又是甚麼呢？又明清文人對其接受有何不同？雖然關於《四聲猿》的研究已經非常豐富，但卻集中文本內部的討論，加上資料的缺乏，對《四聲猿》在明清的接受概況缺乏全面的分析。因此，筆者致力於搜集《四聲猿》在明清時期的評點本及與《四聲猿》聯繫的雜劇創作，欲勾勒出明清文人對《四聲猿》接受的情況；且有幸發現一些未被學界引用的評點善本及戲曲創作，尤其是當中新發現上海圖書館所藏的明天放道人評點善本，展示了《四聲猿》更多元化的接受方向。
本文主要從兩方面分析《四聲猿》在明清的接受概況，第一，從《四聲猿》的版本流傳及演出紀錄、傳播者、戲曲批評、戲曲創作四方面分析明清文人對《四聲猿》的接受；第二，則以時間為軸線，從明中葉、晚明清初、清中期及清末四個階段分析文人對其接受重心的轉變。本文共分七章，第一章為緒論部分，首先簡介徐渭的生平及《四聲猿》、研究概況、本文的研究動機及方法；第二章為《四聲猿》與民間文化、文人文化的關係，分析作品對民間文化的吸收及當中所體現的文人對自身及社會的關注；第三章介紹《四聲猿》的明清版本流傳及演出紀錄；第四章為《四聲猿》的明清評點與批評，從對《四聲猿》起傳播作用的重要人物袁宏道、澂道人及其他戲曲批評家分析《四聲猿》在明清接受的面貌，當中更會引用新發現的天放道人評點本如何將《四聲猿》擴展至社會功用的價值；第五章為晚明至清中葉戲曲家對《四聲猿》的仿寫與續作，通過對沈自徵《漁陽三弄》、張韜《續四聲猿》、桂馥《後四聲猿》的擬作分析探討明清不同時期對《四聲猿》接受的重心轉變；第六章為猿啼五聲──清末戲曲家洪炳文《懸嶴猿》研究，分析在時局動盪、國家危難之時，劇作家如何深化《四聲猿》猿啼之悲的意象，以此鼓勵人心，圖以救國；最後第七章則總結明清以來，《四聲猿》在戲曲批評、戲曲作品以致詮釋上方面的轉變。
Xu Wei（徐渭） sisheng yuan（《四聲猿》） is very important in the Ming and Qing Dynasty. It includes four short plays, they are Kuang gushi yuyang san nong（《狂鼓史漁陽三弄》）, Yu chanshi cuixiang yimeng（《玉禪師翠鄉一夢》）, Ci Mulan tifu congjun（《雌木蘭替父從軍》）and Nu zhuangyuan cihuang defeng（《女狀元辭鳳得凰》）. During the Ming and Qing Dynasty, literti paid a lot of attention on sishengyuan accroding to the criticism, preface, ed his works and simulated drama creation（擬作）, why did they attach great importance to sishengyuan? What were their concern? Also, what is the difference of reception between the Ming and Qing Dynasties? The research on the sishengyuan has already got many achievement, but most of them were based on the textual study. The previous research lack of a comprehensive analysis of sishengyuan reception. Therefore, this paper is aim to sketched out the image of recognition process of Xuwei ’s Sishengyuan in the Ming and Qing Dynasty.
This paper is divided into seven chapters. The first chapter is the introduction of xuwei sishengyuan, research review and method. In the second chapter, we will analysis sishengyuan’s vulgar culture and xuwei’s concern about the society. The third chapter is sishengyuan’s versions and performance record in the Ming and Qing Dynasty. In the chapter four, we will analysis sishengyuan’s criticism in the Ming and Qing Dynasty. It included Yuan hongdao（袁宏道）, Daoist Cheng（澂道人） and other important literati, Also we will use the new discovered details of Daoist Tianfang’s(天放道人) criticism, to find how did he extened the sishengyuan’s value to the social function. The chapter five is the simulated zaju（擬作）during the late Ming the the early Qing. They are Shen zizheng’s（沈自徵） yuyang sannong（《漁陽三弄》） Zhan Tao’s（張韜） xu sishengyuan（《續四聲猿》）, Gui Fu’s（桂馥） hou sishengyuan（《後四聲猿》）. In this chapter we will find the difference of sishengyuan’s reception between them. The chapter six is a study on the Hong bingwen’s（洪炳文） yuan aoyuan（《懸嶴猿》） in the late Qing. It will focus on how did he deepen the imagery of sisheng yuan to encourage people to save their country. The last chapter is an summary of the sishengyuan’s reception in the Ming and Qing Dynasty.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
楊培紅.
"2013年1月".
"2013 nian 1 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2013.
Includes bibliographical references (leaves 212-219).
Abstract in Chinese and English.
Yang Peihong.
Chapter 第一章 --- 緒論
Chapter 第一節： --- 明清雜劇發展史視野下的徐渭《四聲猿》 --- p.P.1
Chapter 第二節： --- 研究述評 --- p.P.4
Chapter 第三節： --- 研究動機 --- p.P.10
Chapter 第四節： --- 研究方法及範圍 --- p.P.11
Chapter 第二章 --- 《四聲猿》與民間文化、人的關係
Chapter 第一節： --- 徐渭的戲曲觀 --- p.P.14
Chapter 第二節： --- 《四聲猿》的民間文化 --- p.P.16
Chapter 第三節： --- 文人的抒情與寄託 --- p.P.24
Chapter 第三章 --- 《四聲猿》的明清版本與演出紀錄
Chapter 第一節： --- 版本介紹 --- p.P.36
Chapter 第二節： --- 選本及演出紀錄 --- p.P.38
Chapter 第三節： --- 結語 --- p.P.45
Chapter 第四章 --- 《聲猿》的明清評點與批評
Chapter 第一節： --- 袁宏道傳記與評點對《四聲猿》的播作用 --- p.P.46
Chapter 第二節： --- 孟稱舜對《狂鼓史》與雌木蘭的改評 --- p.P.62
Chapter 第三節： --- 新發現的天放道人評《四聲猿》及其教化旨趣 --- p.P.68
Chapter 第四節： --- 澂道人的評點及其生平考證 --- p.P.82
Chapter 第五節： --- 結語 --- p.P.98
Chapter 第五章 --- 晚明至清中葉戲曲家對《四聲猿》的仿寫與續作
Chapter 第一節： --- 沈自徵《漁陽三弄》 --- p.P.99
Chapter 第二節： --- 張韜《續四聲猿》 --- p.P.121
Chapter 第三節： --- 桂馥《後四聲猿》 --- p.P.138
Chapter 第四節： --- 結語 --- p.P.162
Chapter 第六章 --- 猿啼五聲－－清末戲曲家洪炳文《懸嶴猿》研究
Chapter 第一節： --- 猿啼五聲的創作結構 --- p.P.166
Chapter 第二節： --- 忠臣護主之鳴 --- p.P.171
Chapter 第三節： --- 孤臣抗之鳴 --- p.P.176
Chapter 第四節： --- 懲兇儆奸之鳴 --- p.P.178
Chapter 第五節： --- 救亡圖存之鳴 --- p.P.181
Chapter 第六節： --- 女史展墓之鳴 --- p.P.188
Chapter 第七節： --- 結語 --- p.P.197
Chapter 第七章 --- 總結
附錄

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50

"元明清「李白戲」研究." 2008. http://library.cuhk.edu.hk/record=b5896798.

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Abstract:

張惠玲.
"二〇〇八年十一月".
"2008 nian 11 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2008.
Includes bibliographical references (leaves 97-105).
Abstracts in Chinese and English.
Zhang Huiling.
Chapter 第一章 --- 引言 --- p.1
Chapter 第一節 --- 選題意義 --- p.1
Chapter 第二節 --- 前人硏究成果 --- p.2
Chapter 第三節 --- 本文硏究範圍及方法 --- p.2
Chapter 第二章 --- 現存元明清李白戲作品敘錄 --- p.4
Chapter 第一節 --- 王伯成《李太白眨夜郎》 --- p.8
Chapter 第二節 --- 屠隆《綵毫記》 --- p.9
Chapter 第三節 --- 尤侗《清平調》 --- p.10
Chapter 第四節 --- 張韜《李翰林醉草清平調》 --- p.11
Chapter 第五節 --- 楊潮觀《賀蘭山謫仙贈帶》 --- p.12
Chapter 第六節 --- 蔣士銓《采石磯》 --- p.13
Chapter 第三章 --- 元明清李白戲中相同關目之源流及發展梳理 --- p.15
Chapter 第一節 --- 生應長庚 --- p.16
Chapter 第二節 --- 謫仙人 --- p.18
Chapter 第三節 --- 醉草〈清平調〉 --- p.24
Chapter 第四節 --- 力士脫靴 --- p.26
Chapter 第五節 --- 貴妃捧硯 --- p.28
Chapter 第六節 --- 起草「嚇蠻書」 --- p.34
Chapter 第七節 --- 賞識郭子儀 --- p.36
Chapter 第八節 --- 逝世 --- p.38
Chapter 第九節 --- 小結 --- p.39
Chapter 第四章 --- 元明清李白戲中李白形象硏究 --- p.40
Chapter 第一節 --- 李白戲中李白形象之共性分析 --- p.40
Chapter 甲、 --- 歷劫紅塵的仙人形象 --- p.40
Chapter 乙、 --- 傲岸疏狂的才子形象 --- p.42
Chapter 丙、 --- 深識遠慮的忠臣形象 --- p.46
Chapter 丁、 --- 飄然出世的隱士形象 --- p.49
Chapter 第二節 --- 李白戲中李白形象之殊性分析 --- p.52
Chapter 甲、 --- 元代李白戲 --- p.52
Chapter 乙、 --- 明代李白戲 --- p.54
Chapter 丙、 --- 清代李白戲 --- p.55
Chapter 丁、 --- 小結 --- p.62
Chapter 第五章 --- 元明清李白戲之鋪演與作家、時代之關係 --- p.64
Chapter 第一節 --- 高壓政治下的王伯成 --- p.64
Chapter 第二節 --- 自況雪冤的屠隆 --- p.66
Chapter 第三節 --- 蹭蹬場屋的尤侗 --- p.71
Chapter 第四節 --- 無限牢騷的張韜 --- p.79
Chapter 第五節 --- 以古賢自期的楊潮觀 --- p.80
Chapter 第六節 --- 以曲爲教化的蔣士銓 --- p.83
Chapter 第七節 --- 小結 --- p.88
Chapter 第六章 --- 餘論：現存唯一能演出之崑劇李白戲´ؤ´ؤ〈太白醉寫〉 --- p.91
Chapter 第七章 --- 結論 --- p.96
參考書目 --- p.97

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