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1
Ng, Po-chu, and 伍寶珠. "Writing about women and women's writing." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B36259019.
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Ng, Po-chu. "Writing about women and women's writing a study of Hong Kong feminine fiction in 80s and 90s = Shu xie nü xing yu nü xing shu xie : ba, jiu shi nian dai xiang gang nü xing xiao shuo yan jiu /." Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B36259019.
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Chin, Voon-sheong Grace, and 秦煥嫦. "Expressions of self/censorship: ambivalence and difference in Chinese women's prose writings from Malaysia andSingapore." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31245237.
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Wang, Bo. "Inventing a Discourse of Resistance: Rhetorical Women in Early Twentieth-Century China." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1188%5F1%5Fm.pdf&type=application/pdf.
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Yan, Qigang. "A comparative study of contemporary Canadian and Chinese women writers." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq21657.pdf.
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Kweon, Young. "The textual and imaginary world of Ho Kyongbon (1563-1589)." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=19659.
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This thesis is a study of the Korean woman poet Ho Kyongbon (1563-1589) and her poetry. In it, I investigate Ho's two brothers' active involvement in her literary life, particularly her younger brother Ho Kyun's publication of her poetry collection, the Nansorhon chip and promotion of her literary works to Chinese scholars. I also examine late Ming and Qing anthologies which include Ho's poetry to disclose how late Ming and Qing scholars evaluated her poetry and represented her life. I argue that the attention these critics paid to Ho's literary works and talent reflected a blossoming of women's literary culture and a rapid growth in the anthologizing of women's poetry. I also undertake an analysis of Ho's poetry, with particular emphasis on the influence of Tang poetry on her poetic practice. This analysis is accompanied by a discussion of Ho's relationship to the "Tang revival movement" in which her two brothers were fervently engaged. This relationship provides a context through which to better understand not only Ho's particular interest in emulating Tang poetry, but also the very textual qualities of her poetry.
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Yu, Yuen-yee Frankie, and 余婉兒. "Living on the margin." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B45015168.
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Liu, Xi, and 刘希. "Gender discourses and female subjectivities in 1949-1966 Chinesewomen's writings." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50899648.
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This study provides a critical inquiry into the textual (self-)representations of Chinese females’ perception and experience of “women’s liberation” in 1949-1966 Chinese women’s autobiographical and fictional writings. Through historical and textual analyses, it looks into Chinese women’s multiple textual/discursive practices and their subjectivities constituted in the process. These narrative practices are treated as salient sites of women’s struggle for self-understanding, self-liberating as well as self-inventing in their own specific social and cultural conditions. The study aims to disclose the complexity of the discursive field centering on the topic of socialist women’s liberation and the dynamic interplay between different female authors and the socialist political/gender discourses within 1949-1966 socialist cultural public sphere.
The thesis first examines the autobiographical, first-person female narratives appeared on three Fulian(Women’s Federation)–sponsored national and local women’s magazines: Women of China (中国妇女), Beijing Women (北京妇女), and Modern Women (现代妇女). It probes into how female narrators, from different social backgrounds, understand and restructure in their writings their past and present lives in terms of (public) labor, female freedom and new social identification. Secondly, the thesis investigates fictions and plays by female writers, which provide historically-specific gendered perspectives to the issue of “women’s liberation” as well as women’s position in and their relationship with socialism. It explores women’s perception of public and domestic labor, their formation of collective identities in the process of socialist construction, their gender struggle with and contestation to the persistent ideology of patriarchy in the new social order, all of which are revealed in their literary practices.
This thesis argues that in these different sorts of writings, the representations of experience of “women’s liberation” are intimately related, but not identical, to the state-sanctioned conceptual and discursive framework. Socialist political and gender discourses actually exert unpredictable, diffuse, locally and individually contingent effects on Chinese women who actively engage in different forms of writing. The self-perception and self-fashioning represented in these women’s cultural practices are enabled by, but may also go beyond, the revolutionary language or state-inflected discourses, indicating more complicated and specific meanings of Chinese socialist ideologies and practices for individual women. Different writers choose or abandon, appropriate or dis-employ, embrace or interrogate, be close to or keep at a distance certain socialist political and gender discourses, in order to forge and interpret women’s experience from their own specific contexts. They may be empowered by the revolutionary discourses and rhetoric, yet they do not identify themselves as mere passive beneficiaries of the socialist regime, but as active agents in their self-liberation and self-transformation. It is in this process that their different subjectivities are constituted, their agency created and asserted.published_or_final_version
Comparative Literature
Doctoral
Doctor of Philosophy
9
Chen, Yuling, and 陳玉玲. "A study of subjectivity in the autobiography of modern Chinese women =." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B44569713.
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Ng, Yor-ling Carly, and 吳若寧. "Representing Chineseness: the problem of ethnicity and sexuality in Chinese American female literature." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B47753158.
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The potential confrontation of Oriental and Occidental values represents
one of the most important topics of scholarship since the twentieth century.
Within this debate, American-born Chinese female writers occupy a unique
position in their preoccupation with the two seemingly irreconcilable cultures.
On the one hand, their Western upbringings entices the distortion of China from
an Orientalistic perspective, on the other hand, they find their desire to come to
terms with their ethnic cultural heritage to be equally difficult to supplant. It is a
dilemma which sparked conflicts even within the Chinese American community,
and begs the redefinition of the Chinese American female identity.
It is thus, by applying Simone de Beauvoir’s ethical notions about
Self/Other relations to the writings of Chinese American female writers, I
consider how subjectivity is not substantive but a situated experience of selfhood
in movement, and argue that Chinese American female writers may still be
internalizing and perpetuating oriental stereotypes in their works, when they too
have started re-orienting and hence, re-orientalising China and their Chinese
identity. The United States of America is to Chinese American women as
alienated at times as China. Under the framework, I further consider the futility
of disputing the dual identity of Chinese American female writers to the extent
to which identity can be considered as an ambivalent and ambiguous notion that
has a temporal element in it.
As a writer writes first and foremost about his or her own singular
experiences in relation to the world, this thesis tackles the above question by
examining how elements of anguish, solitude, and death, as noted by Beauvoir,
and that are often present in Chinese American female writers’ accounts of their
singular experiences, connect them to others. Through the evocation of such
elements to establish the connection between Self and Other, which constitutes
the authenticity of self-expression as opposed to suppression of self-assertion,
one’s struggle with separation and one’s own truth is represented. In this sense, it
is not, the ultimate result or triumph of an individual’s struggle with unity or
individuality that matters; but rather, the process of self-struggle that
corresponds to the dignified human existence within Beauvoir’s philosophical
framework.
The three elements of situation anguish, death and solitude are dealt with in
this project in the following context: in Chapter Two, Ann Mah’s anguish over
Chinese and American food is examined in connotation to the relations of herself
with others around her that coerces her to reflect upon her ethnic and cultural
affiliations. In Chapter Three, death is explored through the discussion of the
footbinding notion in which the death of the foot signifies the end of docile
acceptance as well as the beginning of transformations. Solitude is elucidated in
Chapter Four through Maxine Hong Kingston’s warrior woman
conceptualization that adopts and later re-orientalises silence. In all three
situations, I pay attention to the way re-orientalisation is achieved in the Chinese
American female project of selfhood in movement towards the Other.published_or_final_version
Chinese
Master
Master of Philosophy
11
Chang, Mei-tsu, and 張美足. "A study of the prose-writings of contemporary women writers in Taiwan (1980-2000) =." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B45014668.
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Chan, Suet Ni. "Women at crossroads : a study of women's search for identity in twentieth century Chinese-American fiction." HKBU Institutional Repository, 2009. https://repository.hkbu.edu.hk/etd_ra/1095.
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Zhu, Fan, and 朱凡. "The earthly world and the red chambers : Qing women's self-representation and mediations with traditions in their writings on the Dream of the red chamber." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/195974.
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This thesis studies the Qing women’s writings on the Dream of the Red Chamber. Qing women’s comments on the novel formed an important aspect of the second high tide of women’s literature in late imperial China. By examining these writings, I intend to reveal how the women authors mediated with the Confucian morality and how they exerted influence on the literary tradition from its inside. I also intend to examine the women authors’ self-representations and their reflections on the actual world they lived in.
The thesis consists of five chapters. Chapter one introduces the historical background of the rise of women’s writings on the Dream of the Red Chamber, and proceeds to discuss women’s self-representations under the influence of the Chinese literary tradition, as well as the conflict between morality and literary talent they often felt. I will also briefly summarize previous scholarly works concerning this subject.
Chapter two analyzes Qing women’s poetic works and literary activities concerning the novel. I will make a few observations on the general tendency of women’s responses to the novel by examining their writing conditions, communities, the points they wanted to articulate, and their literary skills.
Chapter three and four investigate two women writers, namely, Wu Lanzheng and Gu Taiqing, respectively. Among the dramatic works adapted from the novel, Jiang Heng Qiu by Wu is known to be the only existing work written by a female author. In this part of my discussion, I will include Wu’s poetic works on the novel and her personal experiences to shed light on the dramatic work. On the other hand, Honglou Meng Ying (The shadow of the Dream of the Red chamber) by Gu is the most profound and extensive response to the original novel by a female author. Considering that Gu’s life was quite similar to the literary characters in the book and a variety of her writings have survived, I will conduct a detailed study of her poetic and dramatic works before I look into her novel.
The closing chapter draws conclusions from the previous chapters in the following three aspects: first, the influence of the textual world on the reality; second, women writers’ tendency of adopting the values of morality and literary talent concurrently, as well as their contributions to the literary tradition; and, third, the significance of Gu Taiqing’s case and Honglou meng ying. To sum up, inspired by the Dream of the Red Chamber, the Qing women authors undertook a rich variety of literary activities which demonstrated the complex relations between self and writing, and these women’s life experiences and creative activities also constituted an earthly picture of the “red chambers”.published_or_final_version
Chinese
Master
Master of Philosophy
14
Huang, Qiaole 1976. "Writing from within a women's community : Gu Taiqing (1799-1877) and her poetry." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81496.
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This thesis examines the life and poetry of the woman poet Gu Taiqing (1799-1877) within the context of a community of gentry women in mid-nineteenth century Beijing. This group of women was a "community" in the sense that their contact, sociability, friendship and poetry writing were meaningfully intertwined in their lives. The thesis is divided into three interconnected chapters. Two separate biographical accounts of Gu Taiqing's life---one centered around the relationship with her husband, and the second around her relationship with her female friends---are reconstructed in the first chapter. This biographical chapter underlines the importance of situating Gu in the women's community to understand her life and poetry. The second is comprised of a reconstruction of this women's community, delineating its members and distinctive features. In the third chapter, a close-reading of Gu's poems in relation to the women's community focuses on the themes of xian (leisure), parting, and friendship. This chapter shows how each of these themes are represented by Gu and how her representations are closely related to the experiences of this women's group.
15
李仕芬 and Shi-fan Lee. "The male characters in the fiction of contemporary Taiwanese women writers." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31235979.
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Li, Xiaorong 1969. "Rewriting the inner chambers : the boudoir in Ming-Qing women's poetry." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100645.
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My dissertation takes the social and symbolic location of women---the inner chambers [guige or gui]---as a point of departure to examine Ming-Qing women's unique approach to the writing of poetry. In Ming-Qing China, women continued to be assigned to the inner, domestic sphere by Confucian social and gender norms. The inner chambers were not only a physically and socially bounded space within which women were supposed to live, but also a discursive site for the construction of femininity in both ideological and literary discourses. The term gui embraces a nexus of meanings: the material frame of the women's chambers; a defining social boundary of women's roles and place; and a conventional topos evoking feminine beauty and pathos in literary imagination. Working with the literary context of boudoir poetics, yet also considering other indispensable levels of meanings epitomized in the cultural signifier guige, my dissertation demonstrates how Ming-Qing women poets re-conceive the boudoir as a distinctive textual territory encoded with their subjective perspectives and experiences. Compared with the poetic convention, the boudoir as inscribed in Ming-Qing women's texts is far more complex as its depiction is informed by nuances in their historical, social and individual experiences.
17
劉陽河. "清代女性詩詞的日常化書寫研究= A study of women's poetry on everyday life in the Qing dynasty." HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/570.
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閨秀是清代文壇的一股新興力量，她們以獨特的女性寫作風格和視角為清代文學乃至整個中國文學注入了新鮮的水源。清代閨秀作家相較於前代，在詩詞創作方面出現一個不容忽視的特點，即在前代女作家重複傳遞的閨情閨怨之外，開拓了對日常生活的書寫。然而目前學界未有圍繞清代閨秀詩詞日常生活書寫的專著，涉及清代閨秀詩詞日常化的論文也十分稀少。有見於此，本文圍繞「清代閨秀如何書寫日常生活」這一問題展開論述，試圖彌補前人之不足。本文包含七章，除第一章「緒論」及第七章「結論」之外，二至六章的主要內容分別如下: 第二章主要通過史料文獻還原清代女性的日常生活樣貌。清代閨秀的日常生活，既有中饋理家和侍親課子等方面對於婦德的順從，又有讀書吟詠和閨外行旅等傳統婦德之外的內容。第三章以清代女性詠物詩詞為重點研究文本，主要分析詠物詩詞中大量湧現的日常化吟詠對象；同時探討詠物詩詞的日常化寫作手法和情志表達。第四章重點分析自清代才大量出現的女性家務詩詞。一方面與男性文人筆下對勞動女性的書寫作對比研究，另一方面探討家務書寫對於閨秀的意義。第五章從三個方面對清代閨秀書寫日常生活的方式進行梳理，包括拓展選材範圍、增添日記元素和關注現實生活。第六章考察清代女性詩詞日常化的原因。清代女性詩詞出現日常化的趨勢，是創作主體的改變、儒家禮儀道德規範的引導，以及文壇風氣等多重因素共同作用的結果。Elite women writers (guixiu 閨秀)were are vitalizing force in the literary field of the Qing Dynasty. With their unique gendered writing style and perspective, they brought fresh blood to Qing Dynasty literature, and in a broader sense, to Chinese literature as well. Compared with the previous generations, Qing elite women writers had a prominent feature in their writing of poetry. That is, in addition to the lyrical themes already repeatedly dealt with by earlier female writers, they started writing about their daily life. However, no monograph has been published on the writing of daily life in Qing elite women's poetry and little has been discovered on how their attention turned to the writing of daily life. This thesis fills this research gap through addressing the following question: how did Qing elite women write about everyday life? This article is divided into seven chapters, flanked by an introduction in Chapter One and a conclusion in Chapter Seven. Abstracts of Chapters Two to Six are as follows: Chapter Two outlines a reconstruction of the daily life of women in the Qing Dynasty through historical texts. It touches upon the expansion of Qing elite women's living space through comparison with previous generations. Besides taking on familial and parental responsibilities, Qing elite women expanded their living space by writing poetry and traveling. Chapter Three focuses on poems on objects (yongwu shici詠物詩詞) written by women in the Qing Dynasty. It analyzes the daily objects that appeared in a large number of poems. It also discusses the writing techniques and artistic expressions of these poems. Chapter Four focuses on women's poems on housework, a genre which did not appear until the Qing Dynasty. On the one hand, the chapter compares such poems with working women depicted by male literati; on the other hand, it discusses the significance of writing about housework for elite women of the time. Chapter Five organizes the approach Qing elite female writers had taken in writing about daily life from three aspects, namely, broadening their scope of topic selection, adding diary-like elements to their works and showing interests in family livelihood. The Sixth Chapter investigates the reasons behind the popularization of writing about daily life in Qing women's poetry. This trend is the result of a number of reasons: the change of writing subject, the guiding of Confucian moral norms and the climate of the literary circle at the time.
18
Lo, Keng-chi, and 盧勁馳. "Politicizing female subjectivity: performativity and sublimation in leftist writers Yang Mo, Xiao Hong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48199503.
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The thesis deals with the concept of feminine sublimation among Chinese feminist writings and theory. Previous feminist readings of literary works of Chinese female writers tended to confuse the Freudian concept of sublimation with “aestheticized politics” and utopian desire. These feminist readings have concentrated on articulating an authentic subject beyond power relations. I would however, redefine the concept of feminine sublimation as a theoretical trope to articulate the possible emergence of female subjectivity within specific power relations.
Although gender performativity has become a universally circulated concept to theorize the subversive depiction of female bodies in particular cultural contexts, I argue that any performative reiteration would not be adequately contextualized and historicized when its usage ignores issues of female subjectivity in terms of sublimation.
Chapter one of the thesis begins with various feminist approaches to the relationship of sublimation and performativity. Chapter two re-reads a novel Song of Youth in the socialist era. The conventional conception of sublimation is re-examined contextually in a way that the consideration of gender performativity alone would not be able to do.
Through reading a canonical work of the “nationalist feminist” writer Xiao Hong, chapter three delineates the relation between my redefined concept of feminine sublimation and the possibility of political coalition, and explains how this relation provides a totally different understanding of performative reiteration. I would finally redefines the fundamental relationship between feminist subjectivity and performative politics.published_or_final_version
Comparative Literature
Master
Master of Philosophy
19
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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Xu, Sufeng. "Lotus flowers rising from the dark mud : late Ming courtesans and their poetry." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102831.
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The dissertation examines the close but overlooked relationship between male poetry societies and the sharp rise of literary courtesans in the late Ming. I attempt to identify a particular group of men who devoted exclusive efforts to the promotion of courtesan culture, that is, urban dwellers of prosperous Jiangnan, who fashioned themselves as retired literati, devoting themselves to art, recreation, and self-invention, instead of government office. I also offer a new interpretation for the decline of courtesan culture after the Ming-Qing transition.Chapter 1 provides an overview of the social-cultural context in which late Ming courtesans flourished. I emphasize office-holding as losing its appeal for late Ming nonconformists who sought other alternative means of self-realization. Chapter 2 examines the importance of poetry by courtesans in literati culture as demonstrated by their visible inclusion in late Ming and early Qing anthologies of women's writings. Chapter 3 examines the life and poetry of individual courtesans through three case studies. Together, these three chapters illustrate the strong identification between nonconformist literati and the courtesans they extolled at both collective and individual levels.
In Chapter 4, by focusing on the context and texts of the poetry collection of the courtesan Chen Susu and on writings about her, I illustrate the efforts by both male and female literati in the early Qing to reproduce the cultural glory of late Ming courtesans. However, despite their cooperative efforts, courtesans became inevitably marginalized in literati culture as talented women of the gentry flourished.
This dissertation as a whole explores how male literati and courtesans responded to the social and literary milieu of late Ming Jiangnan to shed light on aspects of the intersection of self and society in this floating world. This courtesan culture was a counterculture in that: (1) it was deep-rooted in male poetry societies, a cultural space that was formed in opposition to government office; (2) in valuing romantic relationship and friendship, the promoters of this culture deliberately deemphasized the most primary human relations as defined in the Confucian tradition; (3) this culture conditioned, motivated, and promoted serious relationships between literati and courtesans, which fundamentally undermined orthodox values.
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Lui, Hoi Ling. "Gender, emotions, and texts : writings to and about husbands in anthologies of Qing women's works." HKBU Institutional Repository, 2010. http://repository.hkbu.edu.hk/etd_ra/1201.
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Pan, Yu Lan. "Desire for the other in Maxine Hong Kingston's The Woman Warrior : Memoirs of a Girlhood among Ghosts." Thesis, University of Macau, 2010. http://umaclib3.umac.mo/record=b2456358.
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黃嫣梨. "兩漢主要女文學作家研究." Thesis, University of Macau, 1986. http://umaclib3.umac.mo/record=b1636204.
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Liu, Wenjia 1981. "The tanci "Feng shuangfei": A female perspective on the gender and sexual politics of late-Qing China." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11140.
Full textAbstract:
x, 276 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.The late-Qing tanci "A Pair of Male Phoenixes Flying Together" (Feng shuangfei ; preface dated 1899) is unusual for its depiction of a wide variety of gender issues and sexual relationships. Because the 52-chapter work is credibly attributed to the female poet Cheng Huiying, who is known to have written the poetry collection Beichuang yin 'gao , the tanci gives scholars a unique opportunity to see how a gentry woman thought of the gender roles and sexual politics of the late Qing. My dissertation contains two major sections. Chapters I and II look at Cheng Huiying and her work as part of the `talented women" ( cainü ) culture. These two chapters demonstrate how Cheng Huiying deliberately establishes herself as a unique female writing subject and advocates women's agency in determining their own marriage arrangements. one of women's biggest concerns in premodern China. Chapters III to VI put Feng shuangfei into the larger context of male-authored fiction and examine how it adopts and rewrites the conventions and motifs common to xiaoshuo fiction from a female writer's perspective. I first argue that Feng shuangfei can be considered a serious literary work due to its sophisticated structural design and characterization, although tanci are usually considered as more popular literature. I then evaluate how the female author of this tanci subtly reinvents three gendered motifs that commonly appear in male-authored xiaoshuo fiction. The three motifs are male same-sex eroticism and homosociality, female same-sex desires, and the stereotypes of shrew and ideal wife. Through subtle twists in the plot, the tanci suggests the possibility of the expression of female subjectivity and agency within patriarchal Confucian society even while it follows and supports the normative Confucian order. The perspectives on gender norms and sexual practices offered in this tanci both display how a gentry woman thought about these issues in late imperial China and suggest how the rapid and vast social and ideological changes occurring during the turn of the century opened new spaces for Cheng Huiying to imagine increased agency and autonomy for women within the domestic sphere.
Committee in charge: Maram Epstein, Chairperson, East Asian Languages & Literature; Yugen Wang, Member, East Asian Languages & Literature; Tze-lan Sang, Member, East Asian Languages & Literature; Ina Asim, Outside Member, History
25
張曈. "論二十世紀九十年代女性 私人化 寫作 = The privatization of female 'personal' writings in the 1990s." Thesis, University of Macau, 2007. http://umaclib3.umac.mo/record=b1636983.
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Roberts, Rosemary A. "Six women writers in contemporary China : a comparative study of three generations, 1978-1989." Phd thesis, 1991. http://hdl.handle.net/1885/133325.
Full textAbstract:
This thesis examines the writings of six mainland Chinese women
writers - Ru Zhijuan, Shen Rong, Zhang Jie, Zhang Kangkang, Zhang
Xinxin and Wang Anyi - belonging to three different generations as a
reflection of the changing attitudes of Chinese urban intellectual women
to literature and society in the period 1978-1989.
Underlying the various generational differences that emerge from
a thematic analysis of their writing are two related trends: a trend away
from collective orientation in the older writers' works towards literature
centred on the individual and the self in the younger writers' works; and
that of the younger writers away from the Chinese socialist and Confucian
traditions that guided socialist literature in mainland China prior to 1978.
The trend away from socialist literary traditions is most palpable in
the writers' treatment of history and contemporary society. Whereas
veteran writer Ru Zhijuan's presentation of pre-1949 history perpetuated
state myths of the Party's glorious past, the younger writers challenged
both the model of the heroic communist soldier and the use of class
stereotypes to depict wider society that had been established in earlier
Chinese socialist literature. Whereas social and political issues were
central to the older writers' fiction about the period from 1949, the
younger women's writing tended to focus on characters and their
psychological development.
The writers' treatment of love, sex and marriage showed a strong
trend away from Confucian moral values in the younger writers' fiction
that intensified over the 1978-1989 period. Although all the writers
presented a pessimistic view of actual marriages, and promoted marriage
based on love as the ideal, the younger writers showed a much greater
acceptance of blameless divorce and pre- and extra-marital sexual
relationships than their older counterparts.
27
"中國女作家短篇小說中的新女性: 一九一七年至一九三七年." 1991. http://library.cuhk.edu.hk/record=b5895430.
Full textAbstract:
霍玉英.稿本(電腦打印本)
Thesis (M.A.)--香港中文大學中國語言及文學學部.
Gao ben (dian nao da yin ben)
Includes bibliographical references (leaves 319-338).
Huo Yuying.
Thesis (M.A.)--Xianggang Zhong wen da xue Zhongguo yu yan ji wen xue xue bu.
提要
目錄 --- p.1-5
前言 --- p.1-4
Chapter 一 --- 論文的研究目的 --- p.1-2
Chapter 二 --- 論文的研究範圍與方法 --- p.2-4
Chapter 1. --- 研究範圍
Chapter 2. --- 研究方法
Chapter 第一章 --- 緒言 --- p.5-29
Chapter 第一節 --- 晚清「小說界革命」及小說中女性形象的描寫 --- p.5-12
Chapter 一 --- 晚清「小說界革命」
Chapter 二 --- 晚清小說中女性形象的描寫
Chapter 第二節 --- 易卜生戲劇、易卜生主義的紹介及其對新文學的影響 --- p.12-20
Chapter 一 --- 魯迅的〈摩羅詩力說〉
Chapter 二 --- 《玩偶之家》的上演與洪深的〈嬌妻〉
Chapter 三 --- 一九一八年《新青年》的「易卜生號」
Chapter 1. --- 胡適的〈易卜生主義〉
Chapter 2. --- 袁振英的〈易卜生傳〉
Chapter 四 --- 早期新文學對易卜生作品思想的攝取
Chapter 第三節 --- 中國女性的覺醒 --- p.20-28
Chapter 一 --- 中國近代女子教育的發展
Chapter 1. --- 梁啓超興辦女學與蔡元培開放大學女禁
Chapter 2. --- 西方教會學校在中國女子教育所扮演的角色
Chapter 二 --- 秋瑾與中國婦女解放
Chapter 三 --- 「五四」時期的新女性
Chapter 第四節 --- 小結 --- p.28-29
Chapter 第二章 --- 新文學創作的拓荒者-陳衡哲 --- p.30-50
Chapter 第一節 --- 埋沒了的「第一人」 --- p.30-38
Chapter 一 --- 新文學小說創作第一人
Chapter 二 --- 女作家第一人
Chapter 三 --- 陳衡哲與婦女解放
Chapter 1. --- 「個人人格」與「性別人格」
Chapter 2. --- 婚姻觀念
Chapter 第二節 --- 陳衡哲短篇小說中的新女性形象 --- p.38-50
Chapter 一 --- 追求理想的知識女性
Chapter 1. --- 理想的追求
Chapter 2. --- 情感的昇華
Chapter 3. --- 晚境的孤寂
Chapter 二 --- 撫育子女為己任的賢惠婦女
Chapter 三 --- 小結
Chapter 第三章 --- 愛的禮讚者-冰心 --- p.51-90
Chapter 第一節 --- 人生究竟 --- p.51-67
Chapter 一 --- 「五四」驚雷來天地
Chapter 二 --- 愛的哲學
Chapter 三 --- 冰心的婦女觀
Chapter 四 --- 冰心的創作觀
Chapter 1. --- 「真」的抒發
Chapter 2. --- 創作的陶冶與思想技巧的攝取
Chapter 第二節 --- 冰心短篇小說中的新女性形象 --- p.67-90
Chapter 一 --- 時代的犧牲者
Chapter 二 --- 中外兼賅的理想新女性
Chapter 三 --- 孤寂的落拓者
Chapter 四 --- 小結
Chapter 第四章 --- 「五四」思潮掀起的産兒-廬隠 --- p.91-137
Chapter 第一節 --- 敢¨ёł窠臼的新女性 --- p.91-104
Chapter 一 --- 「五四」的産兒
Chapter 二 --- 廬隱的婦女觀
Chapter 三 --- 廬隠隱的創作觀
Chapter 1. --- 靈機說
Chapter 2. --- 個性與生命的表現
Chapter 3. --- 創作養份的攝取
Chapter 四 --- 廬隱的「停滯」
Chapter 第二節 --- 廬隱短篇小說中的新女性形象 --- p.104-137
Chapter 一 --- 精神戀愛
Chapter 1. --- 「憂讒畏譏」的弱者
Chapter 2. --- 「不畏譏誚」的勇士
Chapter 二 --- 同性愛戀
Chapter 三 --- 情智夾缝的新女性
Chapter 四 --- 擱淺的人
Chapter 五 --- 革命的「娜拉」
Chapter 六 --- 小結
Chapter 第五章 --- 中國的「曼殊斐兒」---凌叔華 --- p.138-175
Chapter 第一節 --- 高門的精魂 --- p.138-147
Chapter 一 --- 酒後的一派？
Chapter 二 --- 凌叔華小說創作的取向
Chapter 1. --- 站在時代洪潮以外？
Chapter 2. --- 溫婉嫻靜中見剛健
Chapter 三 --- 凌叔華對婦女問題的見解
Chapter 第二節 --- 凌叔華短篇小說中的新女性形象 --- p.147-175
Chapter 一 --- 新舊時代交替的婦女
Chapter 二 --- 時代新女性
Chapter 1. --- 賢妻
Chapter 2. --- 家庭束縛下的犧牲
Chapter i --- 沉悶的家庭生活
Chapter ii --- 家庭生活的煎迫
Chapter 三 --- 規矩以外的變奏者
Chapter 1. --- 同性愛戀
Chapter 2. --- 「娜拉」的踵武者
Chapter 3. --- 孤寂的人
Chapter 四 --- 小結
Chapter 第六章 --- 拔心不死的「卷葹」---馮沅君 --- p.176-197
Chapter 第一節 --- 大膽無畏的代言者 --- p.176-183
Chapter 一 --- 敢作敢言
Chapter 二 --- 馮沅君的文學創作觀及其作品的時代意義
Chapter 1. --- 文學創作觀
Chapter i --- 「為人生而藝術」？為藝術而藝術」？
Chapter ii --- 情感的抒發
Chapter 2. --- 作品的時代意義
Chapter 第二節 --- 馮沅君短篇小說中的新女性形象 --- p.183-197
Chapter 一 --- 不得自由我寧死
Chapter 二 --- 「靈」的追求
Chapter 三 --- 親子之愛與男女之愛的掙扎者
Chapter 四 --- 小結
Chapter 第七章 --- 黑暗中摸索的「莎菲」---丁玲 --- p.198-231
Chapter 第一節 --- 「近代女子」的姿態 --- p.198-208
Chapter 一 --- 從ModernGirl到「革命女性」
Chapter 1. --- 一顆炸彈
Chapter 2. --- ModernGirl
Chapter 3. --- 走向革命？
Chapter 二 --- 丁玲的文學創作觀
Chapter 1. --- 一九三零年以前
Chapter 2. --- 一九三零年以後
Chapter 第二節 --- 丁玲短篇小說中的新女性形象 --- p.208-231
Chapter 一 --- 都市的惶惑者
Chapter 二 --- 同性愛戀
Chapter 三 --- 「革命女性」
Chapter 四 --- 新時代的落後者
Chapter 五 --- 小結
Chapter 第八章 --- 結論 --- p.232-248
Chapter 一 --- 婦女觀的形成
Chapter 1. --- 西風的衝擊
Chapter 2. --- 家庭背景與學校教育
Chapter 二 --- 新女性形象的類型
Chapter 1. --- 精神戀愛的禮讚者
Chapter 2. --- 時代的犧牲者
Chapter 3. --- 賢妻良母
Chapter 4. --- 娜拉的踵武者
Chapter 5. --- 同性愛戀的追求者
Chapter 6. --- 孤寂的落拓者
Chapter 三 --- 結語
注釋（一至八章） --- p.249-307
附錄（一至六） --- p.308-318
中文參考書目及論文目錄 --- p.319-335
英文參考書目及論文目錄 --- p.336-338
後記 --- p.339
28
"閨中的學者: 汪端(1793-1839)的生命歷程、詩歌編撰及歷史關懷." 2010. http://library.cuhk.edu.hk/record=b5894550.
Full textAbstract:
盧志虹."2010年9月".
"2010 nian 9 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2010.
Includes bibliographical references (leaves 245-253).
Abstract in Chinese and English.
Lu Zhihong.
引言 --- p.1
Chapter 第一章 --- 緒論 --- p.5
Chapter 第一節 --- 才女與歷史研究 --- p.5
Chapter 第二節 --- 前人關於汪端的研究 --- p.13
Chapter 第三節 --- 本文章節安排與材料說明 --- p.22
Chapter 第二章 --- 江南文化精英的生活和汪端的成長 --- p.25
Chapter 第一節 --- 文化實力一振綺堂汪氏的冒起 --- p.25
Chapter 第二節 --- 經濟基礎 --- p.35
Chapter 第三節 --- 汪端的成長和教育 --- p.39
Chapter 第四節 --- 汪端與汪、梁、許氏諸人關係的進一步思考 --- p.54
Chapter 第三章 --- 汪端與陳家:婚姻生活中的空間 --- p.59
Chapter 第一節 --- 陳汪聯姻 --- p.60
Chapter 第二節 --- 力爭上遊的陳氏父子 --- p.65
Chapter 第三節 --- 陳氏父子與汪端 --- p.75
Chapter 第四節 --- 注端與陳家女眷 --- p.88
Chapter 第五節 --- 才女與家庭 --- p.106
Chapter 第四章 --- 汪端的詩歌編選及其意義 --- p.109
Chapter 第一節 --- 編選詩文的傳統 --- p.109
Chapter 第二節 --- 汪端和〈明三十家詩選〉 --- p.111
Chapter 第三節 --- 〈明三十家詩選〉獲得的好評 --- p.119
Chapter 第四節 --- 其他清代女性的詩選活動 --- p.124
Chapter 第五節 --- 汪端和個人詩集的編選與刊行 --- p.132
Chapter 第六節 --- 汪端編選行為的再思考 --- p.140
Chapter 第五章 --- 汪端的歷史關懷 --- p.145
Chapter 第一節 --- 汪端的詩、史愛好 --- p.146
Chapter 第二節 --- 知人論世之途一作詩 --- p.151
Chapter 第三節 --- 〈明三十家詩選〉中的明史 --- p.163
Chapter 第四節 --- 汪端歷史關懷的主要特點和所受的影響 --- p.169
Chapter 第五節 --- 汪端研究對才女歷史關懷的意義 --- p.177
結語 --- p.180
附錄一汪端(1793-1839)年譜 --- p.183
"附錄二梁德繩〈小韞甥女于歸吳門以其愛詩為吟五百八十字送之即書明湖飲餞圖後〉及汪端的和詩〈辛未春日返棹武林賦呈楚生姨母,即用賜題明湖飲餞圖原韻〉" --- p.215
附錄三振綺堂及汪氏出版物清單 --- p.219
附錄四《清代學者像傳》中的汪端與陳裴之畫像 --- p.223
附錄五《自然好學齋集》 (振綺堂本)與《自然好學齋詩鈔》 (十卷本)的對比 --- p.224
附錄六《明十家詩選》的參閱者和校對者 --- p.236
附錄七能否斷定汪端的《元明逸史》為白話小說? --- p.239
參考書目 --- p.245
29
"中國當代女作家小說創作中女性形象系列硏究(1978-1987)." 2000. http://library.cuhk.edu.hk/record=b6073795.
Full textAbstract:
霍玉英.論文(博士)--香港中文大學, 2000.
參考文獻 (p. 215-274)
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.
Huo Yuying.
Lun wen (bo shi)--Xianggang Zhong wen da xue, 2000.
Can kao wen xian (p. 215-274)
Zhong Ying wen zhai yao.
30
"Body politics and female subjectivity in modern English and Chinese fiction." 2000. http://library.cuhk.edu.hk/record=b6073305.
Full textAbstract:
Lo Man-wa."December 2000."
Thesis (Ph.D.)--Chinese University of Hong Kong, 2000.
Includes bibliographical references (p. 207-253).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Mode of access: World Wide Web.
Abstracts in English and Chinese.
31
"明末清初女性詞選: 《眾香詞》研究." 2004. http://library.cuhk.edu.hk/record=b5896147.
Full textAbstract:
馮慧心."2004年7月".
論文(哲學碩士)--香港中文大學, 2004.
參考文獻 (leaves 495-520).
附中英文摘要.
"2004 nian 7 yue".
Feng Huixin.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2004.
Can kao wen xian (leaves 495-520).
Fu Zhong Ying wen zhai yao.
引言 --- p.1
Chapter 第一章 --- 結論 --- p.4
Chapter 第一節 --- 古代女性文學研究回顧 --- p.4
Chapter 一、 --- 女性文學史的發展 --- p.4
Chapter 二、 --- 西方漢學界的女性文學研究 --- p.8
Chapter 三、 --- 明清女性文學的研究 --- p.10
Chapter 四、 --- 女性詞作的研究 --- p.12
Chapter 第二節 --- 女性文學的資料發掘與整理 --- p.13
Chapter 第三節 --- 《眾香詞》硏究回顧 --- p.15
Chapter 第四節 --- 《眾香詞》研究的意義、理論及方法 --- p.20
Chapter 一、 --- 研究意義 --- p.20
Chapter 二、 --- 研究範關及方法 --- p.22
Chapter 三、 --- 女性主義的啟示及應用 --- p.24
Chapter 第二章 --- 《眾香詞》的編選背景:明末清初的時代背景與文學發展 --- p.34
Chapter 第一節 --- 明末以來女性解放思潮 --- p.34
Chapter 第二節 --- 出版業及郵政業的發達 --- p.38
Chapter 第三節 --- 明清女性文學的發展 --- p.42
Chapter 第四節 --- 明清女性選集的繁榮 --- p.46
Chapter 第五節 --- 明末以來的詞學發展及清詞中興 --- p.48
Chapter 第六節 --- 明清易代的離亂感慨 --- p.52
Chapter 第三章 --- 《眾香詞》述介 --- p.55
Chapter 第一節 --- 現今所見《眾香詞》版本 --- p.55
Chapter 一、 --- 清代海陽彤雲軒鈔本 --- p.55
Chapter 二、 --- 清康熙錦樹堂刊本 --- p.58
Chapter 三、 --- 癸酉(1933年)董氏誦芬室重校本 --- p.62
Chapter 四、 --- 1996年鄭競重校本 --- p.63
Chapter 第二節 --- 《眾香詞》流傳概況 --- p.65
Chapter 第三節 --- 《眾香詞》末善之處 --- p.68
Chapter 第四節 --- 《眾香詞》之編集動機 --- p.73
Chapter 一、 --- "為女性文學正名,使之經典化、正統化" --- p.73
Chapter 二、 --- 為女性詞壇寫史、以女性詞作寫史 --- p.75
Chapter 第四章 --- 《眾香詞》之編輯集團：清廷權貴與遺民幕客 --- p.80
Chapter 第一節 --- 編輯集團成員 --- p.80
Chapter 第二節 --- 徐樹敏、錢岳兩位編者的角色 --- p.83
Chapter 第三節 --- 編輯集團的地域 --- p.88
Chapter 第四節 --- 成書的分期與編輯集團 --- p.90
Chapter 第五節 --- 編輯集團成員的參與角色 --- p.93
Chapter 第六節 --- 清廷權貴與明室遺民：編輯集團的組合 --- p.98
Chapter 第五章 --- 《眾香詞》的編集體例 --- p.103
Chapter 第一節 --- 六卷之排列及特色´ؤ´ؤ以身份地位爲經 --- p.114
Chapter 第二節 --- 六卷內部之排列及特色´ؤ´ؤ以名望成就、生活年代爲緯 --- p.110
Chapter 第三節 --- 六卷之內容特色 --- p.115
Chapter 第四節 --- 六卷之相互連繫 --- p.120
Chapter 第六章 --- 《眾香詞》之採輯範圍及選詞特色 --- p.124
Chapter 第一節 --- 眾香詞人之時空跨度´ؤ´ؤ明末清初、江南爲主之女詞人 --- p.124
Chapter 第二節 --- 尊崇名門閨秀 --- p.128
Chapter 第三節 --- 稱賞青樓歌妓 --- p.130
Chapter 第四節 --- 務實可信：傳奇詞人、女鬼、女仙不載 --- p.134
Chapter 第五節 --- 「姑存其人以廣大意」：爲女詞人留名寫史 --- p.137
Chapter 第六節 --- 選錄遺民意識之作：明清易代的女性感受 --- p.140
Chapter 第七節 --- 爲秦淮名妓立傳：《數集》與晚明的「文化懷舊」 --- p.151
Chapter 第八節 --- 「不敢謾加評語」 ：不作圈點，意欲客觀 --- p.155
Chapter 第九節 --- 《草堂》之豔冶與貞孝節烈之作並行不悖 --- p.157
Chapter 第十節 --- 女性文人的傳統形象：迴文機巧、自憐身世、才女薄命 --- p.160
Chapter 第十一節 --- 《眾香詞´Ø凡例》與王士祿《燃脂集例》 --- p.165
Chapter 第七章 --- 眾香詞人及其詞作分析：私域女性(private women)´ؤ´ؤ閨秀 --- p.171
Chapter 第一節 --- 身份背景：名門望族、閨秀圈子、儒家教育 --- p.172
Chapter 第二節 --- 閨秀詞作分析 --- p.178
Chapter 一、 --- 詞調形式 --- p.178
Chapter 二、 --- 主題內容 --- p.182
Chapter 1. --- 歷史興亡、社會時局´ؤ´ؤ家國交織的女性處境 --- p.182
Chapter 2. --- 家族親情´ؤ´ؤ豐富的女性倫理角色 --- p.190
Chapter 3. --- 羈旅思ˇёإ´ؤ´ؤ歸寧之思 --- p.197
Chapter 4. --- 女性情誼´ؤ´ؤ男女關係以外的情感渴求 --- p.201
Chapter 5. --- 相思閨怨、寄夫憶夫´ؤ´ؤ文學伴侶式的婚姻 --- p.205
Chapter 6. --- 生活體驗´ؤ´ؤ居家性（domesticity)與日常性(dailiness) --- p.209
Chapter 7. --- 述懷自許´ؤ´ؤ自我建構（self-construction)、主體性(subjectivity) 的呈現 --- p.213
Chapter 8. --- 詠物´ؤ´ؤ細膩精緻的女性筆觸 --- p.217
Chapter 9. --- 應酬和韻´ؤ´ؤ突破女性的交遊圈子 --- p.222
Chapter 10. --- 題畫題像´ؤ´ؤ女性身份與照鏡自喻 --- p.226
Chapter 第三節 --- 閨秀詞作之藝術特色 --- p.230
Chapter 1. --- 纖巧細緻、典雅含蓄 --- p.230
Chapter 2. --- 以謝道韞爲楷模、取法李清照 --- p.232
Chapter 3. --- 女性關懷：嫦娥、七夕、女性歷史人物 --- p.236
Chapter 第八章 --- 眾香詞人及其詞作分析：「公眾女性」（Public women)´ؤ歌妓 --- p.241
Chapter 第一節 --- 身份背景：歌舞技藝、社交自由、國家興亡的符碼 --- p.241
Chapter 第二節 --- 歌妓詞作分析 --- p.246
Chapter 一、 --- 詞調形式 --- p.246
Chapter 二、 --- 主題內容 --- p.246
Chapter 1. --- 相思懷人´ؤ´ؤ青樓愛情的追逐 --- p.247
Chapter 2. --- 唱酬贈答´ؤ´ؤ歌妓的社交圈子 --- p.250
Chapter 3. --- 傷春悲秋、好景難永´ؤ´ؤ飄零身世的不安與憂慮 --- p.254
Chapter 4. --- 身世之感´ؤ´ؤ不堪零落、自傷失節 --- p.256
Chapter 5. --- 詠物狀物´ؤ´ؤ飄零無主之苦 --- p.258
Chapter 6. --- 生活瑣事及觸感´ؤ´ؤ「日常性」（dailiness)及「瑣屑性」 (fragmentary) --- p.260
Chapter 第三節 --- 歌妓詞作之藝術特色 --- p.262
Chapter 1. --- 率性自然、熱情放浪：擺脫道德束縛的感情書寫 --- p.262
Chapter 2. --- 預設對象、直呼對象：以「私密性」抗衡「公眾性」 --- p.264
Chapter 3. --- 語言淺白、口語化：真率直接的書寫筆法 --- p.266
Chapter 第四節 --- 閨秀與歌妓詞之比較分析 --- p.270
Chapter 1. --- 題材 --- p.270
Chapter 2. --- 語言風格 --- p.271
Chapter 3. --- 情感表達、筆法書寫 --- p.272
Chapter 第九章 --- 結論 --- p.273
Chapter 一、 --- 閨秀及青樓´ؤ´ؤ女性文學的兩大傳統 --- p.273
Chapter 二、 --- 明末清初的女詞人與詞壇關係 --- p.274
Chapter 三、 --- 女詞人在男性傳統下之妥協與對抗 --- p.274
Chapter 四、 --- 《眾香詞》之藝術價値與定位 --- p.275
附錄
附錄一 《眾香詞》三個版本所收詞人詞作比較 --- p.277
附錄二 《眾香詞》錦樹堂本與富之江本所收詞作之比較 --- p.292
附錄三 眾香詞人之字號、籍貫、作品集 --- p.304
附錄四 眾香詞人的家世背景 --- p.316
附錄五 眾香詞人之女性家族成員 --- p.331
附錄六 眾香詞人之生活年代 --- p.336
附錄七 眾香詞編輯集團成員資料 --- p.348
附錄八 從詞人小傳所見《眾香詞》引錄資料來源 --- p.365
附錄九 其他選本所見眾香詞人詞作數目 --- p.378
附錄十 選本中所見六集比例 --- p.390
附錄十一明末清初女性選集之編集體例及特點 --- p.392
附錄十二 《眾香詞》各集所用詞牌統計 --- p.401
附錄十三《眾香詞》所選迴文及遊戲之作 --- p.411
附錄十四清代詩話、詞話、文人筆記等所見眾香詞人評論 --- p.413
附錄十五眾香詞人文集之撰序者及與其他文人之關係 --- p.466
附錄十六眾香詞人之唱酬關係表 --- p.480
參考書目 --- p.491
32
"六十年代出生女作家的「個人化寫作」研究--以陳染、林白為例." 2004. http://library.cuhk.edu.hk/record=b5896134.
Full textAbstract:
王艷杰."2004年9月".
論文(哲學碩士)--香港中文大學, 2004.
參考文獻 (leaves 166-196).
附中英文摘要.
"2004 nian 9 yue".
Wang Yanjie.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2004.
Can kao wen xian (leaves 166-196).
Fu Zhong Ying wen zhai yao.
Chapter 第一章 --- 緒論 --- p.1
Chapter 第一節 --- 硏究範圍 --- p.1
Chapter 第二節 --- 前人硏究綜述 --- p.8
Chapter 第三節 --- 硏究方法. --- p.13
Chapter 第四節 --- 硏究目的和意義 --- p.17
Chapter 第二章 --- 「個人化寫作」的命名 ´ؤ´ؤ潛藏于批評話語中的男性權威 --- p.21
Chapter 第一節 --- 命名中的問題. --- p.21
Chapter 第二節 --- 「個人化寫作」的幾類理解 --- p.25
Chapter 1. --- 無名狀態下的「個人化寫作」
Chapter 2. --- 現代性意義上的「個人化寫作」
Chapter 3 . --- 后現代意義上的「個人化寫作」
Chapter 第三節 --- 女性「個人化寫作」 --- p.36
Chapter 1. --- 九十年代文學環境與女性寫作
Chapter 2. --- 女性「私」人化寫作的指認
Chapter 3. --- 批評中的性別立場和男性權威
Chapter 第三章 --- 陳染、林白「個人化寫作」中的女性話語 ´ؤ´ؤ對失蹤性別的尋找與建構 --- p.51
Chapter 第一節 --- 話語權力之思 --- p.51
Chapter 第二節 --- 身份書寫 --- p.56
Chapter 1. --- 對男權文化的警覺與放逐
Chapter 2. --- 對女性身份的認知與自覺
Chapter 第三節 --- 軀體寫作 --- p.67
Chapter 1. --- 自戀情結：身體與存在焦慮的映射
Chapter 2. --- 記憶空間：挖掘女性自身的深度模式
Chapter 第四節 --- 自傳體寫作 --- p.87
Chapter 1. --- 成長之路：孤獨的體驗、叛逆與反思
Chapter 2. --- 女性私語：自我訴¨®Ơ與建立女性話語同盟的努力
Chapter 第四章 --- 陳染、林白「個人化寫作」建構女性話語的困境 ´ؤ´ؤ處於傳統與現實的夾縫之中 --- p.105
Chapter 第一節 --- 精神分裂的宿命 --- p.105
Chapter 1. --- 決絶的思想與虛幻的行動
Chapter 2. --- 姐妹情誼的想象與徒勞
Chapter 3. --- 拒絶異化與再度異化
Chapter 第二節 --- 詩性敍事的窘迫 --- p.119
Chapter 1. --- 叛離男性敍事傳統
Chapter 2. --- 進入女性原生姿態的詩性表達
Chapter 3. --- 詩性敍事在建立女性話語上的權宜性
Chapter 第三節 --- 解構男權話語的循環 --- p.138
Chapter 1. --- 解構的歧途
Chapter 2. --- 超性別意識中的悖論
Chapter 3. --- 搖擺於文學與主義之間
Chapter 第五章 --- 結論 --- p.154
Chapter 第一節 --- 女性「個人化寫作」的迷失與俗化 --- p.154
Chapter 1. --- 差異性：陳染、林白「個人化寫作」的分別
Chapter 2. --- 迷失：陳染、林白「個人化寫作」的轉向
Chapter 3. --- 俗化：衛慧、棉棉等人的欲望化寫作
Chapter 第二節 --- 女性「個人化寫作」的經驗及貢獻 --- p.159
Chapter 1. --- 寫作姿態：爲自己的性別和反抗而寫作
Chapter 2. --- 敍事策略：以身體修辭與自傳寫作建構女性話語
Chapter 3. --- 困境的警醒：傳統/現實夾縫中異化的危險
Chapter 第三節 --- 硏究方法的反思 --- p.162
Chapter 1. --- 性別關照中的問題
Chapter 2. --- 槪念界定中的問題
Chapter 3. --- 文學現象探討中的問題
參考書目 --- p.166
Chapter 1. --- 陳染、林白等作家作品 --- p.167
Chapter 2. --- 女性主義、敍事學等理論著作 --- p.173
Chapter 3. --- 中國現、當代文學硏究著作. --- p.180
Chapter 4. --- 其他著作 --- p.184
Chapter 5. --- 期刊論文 --- p.184
後記 --- p.197
33
"The murderous woman: madness in four modern western and Chinese stories by woman." 2000. http://library.cuhk.edu.hk/record=b5895792.
Full textAbstract:
by Lui Sha-Lee.Thesis (M.Phil.)--Chinese University of Hong Kong, 2000.
Includes bibliographical references (leaves 143-149).
Abstracts in English and Chinese.
Acknowledgements --- p.vi
Chapter Chapter One --- Introduction --- p.1
Chapter Chapter Two --- Ideological Implications of “Madness´ح in Western and Chinese Culture --- p.12
Chapter Chapter Three --- Madwoman as the Murderous Daughter: Kitty Fitzgerald's Marge and Tie Ning's The Cliff in the Afternoon --- p.36
Chapter Chapter Four --- "Madwoman as the Murderous Wife: Elsa Lewin's I, Anna and Li Ang's The Butcher ´ةs Wife" --- p.83
Chapter Chapter Five --- Conclusion --- p.121
Notes --- p.134
Works Cited --- p.143
34
""五四"女作家書信體小說(1917-1927)研究." 2006. http://library.cuhk.edu.hk/record=b5896480.
Full textAbstract:
梁珊珊."2006年8月"
論文(哲學碩士)--香港中文大學, 2006.
參考文獻(leaves 133-146).
"2006 nian 8 yue"
Abstracts in Chinese and English.
Liang Shanshan.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2006.
Can kao wen xian (leaves 133-146).
Chapter 第一章 --- 緒論 --- p.1
Chapter 第一節 --- 硏究對象 --- p.1
Chapter 第二節 --- 硏究範圍 --- p.5
Chapter 第三節 --- 他人硏究成果槪述 --- p.18
Chapter 第四節 --- 女性主義敘事學理論簡介 --- p.20
Chapter 第二章 --- “五四´ح時期書信體小說興起的源流及槪况 --- p.26
Chapter 第一節 --- 客觀歷史條件的具備 --- p.27
Chapter 第二節 --- 晚清以迄“五四´ح書信體小說的流變 --- p.31
Chapter 第三節 --- 西方文學理論的影響 --- p.42
Chapter 第三章 --- 書信體小說的文體特徵 --- p.46
Chapter 第一節 --- 真實性 --- p.46
Chapter 第二節 --- 私密性/封閉性 --- p.48
Chapter 第三節 --- 對話性/公共性 --- p.53
Chapter 第四節 --- 兼容性 --- p.56
Chapter 第四章 --- 書信體小說的敘述視點及敘述層次 --- p.58
Chapter 第一節 --- 敘述視點 --- p.58
Chapter 第二節 --- 敘述層次 --- p.74
Chapter 第三節 --- 小結 --- p.87
Chapter 第五章 --- 書信體小說的女性主義敘事學硏究 --- p.88
Chapter 第一節 --- 作者型敘述聲音 --- p.94
Chapter 第二節 --- 個人型敘述聲音 --- p.100
Chapter 第三節 --- 集體型敘述聲音 --- p.108
Chapter 第四節 --- 小結 --- p.110
Chapter 第六章 --- 書信體小說的衰落 --- p.113
Chapter 第七章 --- 結論 --- p.118
Chapter 第一節 --- 總結 --- p.118
Chapter 第二節 --- 硏究意義 --- p.123
[附錄一]“五四´ح女作家小傳 --- p.125
[附錄二] “五四´ح女作家書信體小說(1917-1927)列表 --- p.131
參考文獻 --- p.133
Chapter 一、 --- 作家作品 --- p.133
Chapter 二、 --- 參考. --- p.135
Chapter 三、 --- 學位論文 --- p.141
Chapter 四、 --- 期刊論文 --- p.141
35
Sun, Xuebo. "The variegated blossoms :: studies on the children characters in the literary productions of Chi Zijian/." 2007. https://scholarworks.umass.edu/theses/2016.
Full text