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Hsieh, Ching-Hsuan Lily Bantock Granville Warlock Peter Bliss Arthur Lambert Constant. "Chinese poetry of Li Po set by four twentieth century British composers Bantock, Warlock, Bliss, and Lambert /." Columbus, Ohio : Ohio State University, 2004. http://www.ohiolink.edu/etd/send-pdf.cgi?osu1086095656.
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Thesis (Ph. D.)--Ohio State University, 2004.<br>Title from first page of PDF file. Document formatted into pages; contains xiii, 146 p. : ill. Advisor: Loretta Robinson, School of Music. Includes bibliographical references (p. 132-136).
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Wu, Yeow-chong. "Poetic archaicization : a study of Li Bo's fifty-nine "Gufeng" poems /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/11083.
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Ho, Fung-man. "Historical, mythological and literary allusions in Li Bai's Gufeng and Yuefu poems Li Bai gu feng ji yue fu shi dian gu tan jiu /." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B40676511.
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Lee, Ka-man. "A study on Li Qingzhao's Cilun Li Qingzhao "Ci lun" yan jiu /." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B40676754.
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Du, Zhiguo. "Que li shi ge de zheng dian : Li Panlong shi lun, xuan ben ji chuang zuo yan jiu /." View abstract or full-text, 2004. http://library.ust.hk/cgi/db/thesis.pl?HUMA%202004%20DU.
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Si, Tou Sau-ieng, and 司徒秀英. "A study of Li E (1692-1752) and his Ci poems." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1993. http://hub.hku.hk/bib/B31211860.
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李嘉雯 and Ka-man Lee. "A study on Li Qingzhao's Cilun." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B40676754.
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Cheng, Ching-fong, and 鄭靜芳. "A study of Li Panlong's mimetic poems." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50662120.
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The research topic of this thesis is “A Study of Li Panlong’s Mimetic Poems”. Mimetic Poems are poems that imitate classical poems. Generally speaking, writers of Mimetic Poems tend to mimic poets who lived in earlier dynasties and had great achievements in poetry, in a way that the original outer language styles and inner spiritual essences are usually inherited. This thesis focused on the study of Li Panlong’s theory on poetry and his Mimetic Poems. From both the theoretical and practical points of view, the imitating situations of his poems were evaluated.
This Paper analyzed Li Panlong’s Mimetic Poems from the perspectives of linguistics and psychology. The phenomenon of Li PanLong’s language usage in his Mimetic Poems was grasped through the theory of language as medium. Li Panlong’s state of mind when creating his Mimetic Poems was studied through the theory of literature psychology. Aiding with the method of “Close Reading”, Li Panlong’s Mimetic Poems were analyzed in details. Also, using the way of “Zhiren Lunshi”, the relationship between Li Panlong’s behavior of imitating and the social context in his times were discussed.
After throughout study of Li Panlong’s theory on poetry and his Mimetic Poems, it was discovered that his theory on poetry was applicable in his Mimetic Poems. There were some “Niguyuefu” of Li Panlong which preserved the original outer language styles, some which inherited the inner spiritual essences, and some in which new elements of language were created. As for his “Nigushi”, the requirements of “Shu”, “He” and “Li” in his theory on poetry were fulfilled in the following sense. First, Li Panlong was familiar (“Shu”) with the works of Previous dynasties. Then either he ensured that the outer language styles of his “Nigushi” were similar (“He”) to the original works or he got rid of (“Li”) the influence of language in the original works, shifted to the standpoint of a critic, as well as supplemented and commented works of previous dynasties by the way of poetry imitating. Therefore, his theory and practice on poetry formed a mutual supporting system.
本論文的研究題目是〈李攀龍的摹擬詩研究〉。所謂“摹擬詩”，是通過摹擬古代詩歌而建構出來的詩歌模式。一般而言，摹擬詩具有明確的摹擬對象，而摹擬對象又是前朝有成就的詩人詩作，以追求所擬詩的外在詩學語言形式與內在精神意趣為要旨。本論文就是針對李攀龍的詩學理論及摹擬詩進行研究，從理論和實踐兩方面觀照李攀龍的詩歌摹擬情況。
本論文從語言、心理兩個角度進行研究，運用文學語言中介理論來把握李攀龍摹擬詩的語言面貌；利用文藝心理學理論來分析李攀龍的摹擬心理。並輔以“文本細讀”的方法，細緻分析李攀龍的摹擬詩； 同時以“知人論世”的方式，探討李攀龍的摹擬行為與其身處時代的關係。
筆者研究李攀龍的詩學理論與摹擬詩後，發現李攀龍的摹擬詩大體能貫徹其詩學理論。其擬古樂府既有“胡寬營新豐” 式的形似摹擬，也有“伯樂論天下馬”式的神似摹擬，更有做到“日新富有”的李氏新樂府。其擬古詩，則謹遵其詩學理論中“熟”、“合”、“離”的要求，先“熟”讀前人作品，進而在摹擬時，或力求擬作語言風貌“合”於原作；或儘量遠“離”原作的語言影響，站在評論者的立場，通過擬作補足、評論前人作品。其詩學理論與實踐因此形成了一個相互印證的嚴謹系統。<br>published_or_final_version<br>Chinese<br>Doctoral<br>Doctor of Philosophy
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Qualls, Barbara. "The Poetry of Li-Young Lee: Identity, Androgyny & Feminism." TopSCHOLAR®, 1993. https://digitalcommons.wku.edu/theses/2737.
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In my investigation of Li-Young Lee's poetry, my concerns were two-fold: first, to find evidence of an androgynous quality or ideal; secondly, to demonstrate that ideal as authentically feminist. In the introduction, I investigate the feminist debate about the traditional definition and concept of androgyny, demonstrating the difference between the patriarchal traditional androgyny and the androgynous elements in Lee's poetry.
In Chapter Two, the rose as image and as symbol in Lee's poetry is examined and found to be strikingly androgynous as a symbol. As an image, however, it is more often than not used as a vehicle to describe the destructive nature of social tyrannies such as the patriarchal symbolic order.
In Chapter Three, Lee's heavy implications of an existing "other" is examined. This examination is particularly pertinent when considering the feminist debate, since one of the major problems with the idea of androgyny is that it often necessitates a binary thought system in which the male is usually the "one" and the female is usually the "other." In Lea's poetry, I found no significant evidence of that kind of phallocentricism; rather, I found substantial evidence that Lee's poetry demonstrates the destructiveness of insisting on any being's otherness. Lee's search for identity, and for the meaning of personal identity, involves the acceptance of the mutability of identity.
In conclusion, although I don't find androgyny to be authentically feminist, I find Lee's poetry--and its particular use of an androgynous ideal--to be authentically feminist.
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Jung, Woo-Kwang Bian Zhilin. "A study of The Han Garden Collection : new approaches to modern Chinese poetry, 1930-1934 /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/11086.
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Hsieh, Ching-Hsuan Lily. "Chinese poetry of Li Po set by four twentieth century British composer: Bantock, Warlock, Bliss, and Lambert." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1086095656.
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Shi, Yan. "Dialectic of corporeality and poetical imagination olfactory descriptions and reverie in Yu Guangzhong's poems = Shen ti gan yu xiang xiang li de bian zheng : lun Yu Guangzhong shi ge de xiu jue shu xie yu meng xiang yi shi /." Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B43785013.
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Zikpi, Monica. "Translating the Afterlives of Qu Yuan." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18362.
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This dissertation is a history of interpretation and interlinear commentary translation of the "Li Sao," an allegorical poem attributed to the late Warring States (475-221 BCE) poet Qu Yuan. I argue that the significance of the poem is an historically constituted and changing interpretation produced in a sequence of editions, and that insofar as translation is the necessary tool of Sinology, our scholarship and teaching should rest on a translation practice that visibly reflects the particularly Chinese material and reception histories of our texts. I analyze the rhetorical strategies by which specific interpreters, including Sima Qian, Wang Yi, Hong Xingzu, Zhu Xi, and Guo Moruo, "translate" the "Li Sao" through history, constructing personas of Qu Yuan that speak to the politics of their own respective eras. The last chapter is a new translation of the "Li Sao" based on my investigation of the poem's history. It contains multiple English renderings and diverse selections of historical commentary, presented in interlinear form, in order to facilitate historically critical understanding of the "Li Sao" and demonstrate the breadth of interpretation that it is possible to derive from the text. The translation offers not a single interpretation of the poem but rather an image of the historical dialogue that has produced and disputed it in interpretations from the Han dynasty to the present.
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邵敏智. "論白居易詩歌與居士文化的關係 = The relationship between Bai Ju-yi's poetry and Buddhist culture". Thesis, University of Macau, 2005. http://umaclib3.umac.mo/record=b1636198.
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Petrecca, Miguel Angel. "La langue en question : trois poètes chinois contemporains de la troisième génération." Thesis, Paris, INALCO, 2020. http://www.theses.fr/2020INAL0005.
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La poésie chinoise moderne ou « poésie nouvelle » (xin shi 新诗) a dû se battre depuis ses débuts pour exister en tant que genre littéraire viable. Née de la rupture avec la tradition et du rejet de la langue classique, elle a été tout au long de son histoire hantée par la question du lien avec la tradition, la tension Chine-Occident et la problématique de la langue. L’objectif de notre thèse est double. D’une part, nous avons pour objectif de replacer la problématique de la tradition, de l’identité et de la langue dans le cadre plus large de l’histoire de la poésie chinoise moderne afin de mieux comprendre ses enjeux dans le contexte actuel, marqué par l’essor des discours nationalistes et l’entrée de la poésie chinoise dans les réseaux de la poésie mondiale. De l’autre, nous essayons de voir comment cette problématique s’incarne dans l’oeuvre de trois poètes de la troisième génération (di san dai shiren 第三代诗人), c’est-à-dire ceux qui ont commencé à écrire dans le sillage des poètes obscurs (menglong shiren 朦胧诗人 ). Notre thèse a donc aussi pour but de faire découvrir les œuvres de ces trois poètes (Yu Jian 于坚, Xi Chuan 西川et Bai Hua 柏桦) qui comptent parmi les figures les plus importantes de la scène poétique chinoise actuelle, et de contribuer à attirer l’attention des chercheurs français sur une poésie (la poésie chinoise contemporaine) qui n’a pas encore reçu l’attention qu’elle mériterait<br>Modern Chinese poetry or "new poetry" (xin shi 新诗) has had to fight from its beginnings to exist as a viable literary genre. Born out of the break with tradition and the rejection of the classical language, it has been haunted throughout its history by the question of the link with tradition, the tension between China and the West and the problem of language. The objective of our thesis is twofold. On the one hand, we aim to placethe issue of tradition, identity and language within the broader framework of the history of modern Chinese poetry in order to better understand its challenges in the current context, marked by the rise of nationalist discourses and the entry of Chinese poetry into the networks of world poetry. On the other hand, we want to see how this problem is embodied in the work of three poets of the third generation (di san dai shiren 第三 代诗人), that is to say, those who began to write in the wake of obscure poets (menglong shiren 朦胧诗 人). Our dissertations also aims to discover the works of these three poets who are among the most important figures of the current Chinese poetic scene (Yu Jian 于 坚, Xi Chuan 西川 and Bai Hua 柏桦), and to help draw the attention of French researchers to a poetry (contemporary Chinese poetry) which has not yet received the attention it deserves
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邱禮賢. "王逸 "楚辭章句" 對 "離騷" 的義理解讀 :以 "詩" 言志的經世精神 = The philosophical connotations interpretation on Li Sao in Wang Yi's Chu Ci Zhang Ju : focusing on the practical spirit of "Poems Expressing Ambitions"". Thesis, University of Macau, 2017. http://umaclib3.umac.mo/record=b3690473.
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MING, YANG GU, and 楊家銘. "Research on Li Bai Female Poetry." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/88269511000790050431.
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Sheu, Shin-Ning, and 許心寧. "Survey of Li Bai''s Poetry about Female." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/62610841019538170943.
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碩士<br>淡江大學<br>中國文學系碩士在職專班<br>96<br>This thesis contains eleven chapters, excepting the preface and chapter one describe Li Bai’s life roughly, the rest chapters divided into eight different styles. The orders are: the third chapter is about wife and daughter. The fourth chapter is about queens and concubines, such as Xishi, Wang ZhaoJun, Yang Guifei according to chronological style. Chapter five is about beautiful women, according to the number, such as quarry lotus woman, quarry mulberry woman, wash yarn woman, adjoin woman and fairy maiden in the east. Chapter six chants the remarkable women''s poems, in accordance with the woman''s morals value and bearing for the model, such as loyal, brave, firm and forthright. The seventh chapter is about Taoist women. Chapter eight is about elegy which divided into missing, blaming and anxiety. Chapter nine is about abandoned wife, such as queens, ladies, maids in an imperial palace and common wives. Chapter ten is about prostitutes. The finally chapter is the personal understanding and reflections. Woman takes care of her children and husband, making the whole family works smoothly and maintains family harmonious, even to the whole society, she also takes a very important position. So, the writing purpose of this thesis is to make use of people’s love to Li Bai and wish to remind people to pay close attention to women, pay attention to the family, and then reach the family and happy, the purpose of the social stability.
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Liu, Chien-Chun, and 劉倩君. "The Study of Female Writing in Li Bai Poetry." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/38f4w2.
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碩士<br>臺北市立大學<br>中國語文學系語文教學碩士學位班<br>105<br>Abstract
In Chinese classic poetry, female writing has a very long history. Since the appearance of Poetry and Sao, many literature works have been taking female as their subject. Whether female is the writing subject or female is included into the writing contents, they cannot escape from the scope of male-centered literature. Therefore, in the poetry tradition of literary excellence featuring with using metaphor and analogy (bi and xing) to express wills, female writing becomes one of the ways that scholars express their wills, which hence generates the connection between female writing and bi-xing bailment in classic poetry. The Songs of Chu is the earliest work that takes female as the subject and reposes the poet’s personal feelings and wills by adopting metaphor and analogy (bi and xing). The poetry tradition of the bi-xing bailment -- “herb and beauty” originates from here. The female writing in Li Bai poetry is greatly affected by it. In addition, there are a lot of poems written by Li Bai imitating Yue Fu poems of Han Dynasty and Wei Dynasty, and many of which are related with female writing. Therefore, the female writing in Li Bai poetry also has the tradition of “herb and beauty” and Yue Fu poem’s feature of “creating in the sense of feelings from reality and specific incident”, which is also a specific manifestation of inheriting of the poetry tradition of literary excellence with the feature of bi-xing expressing one’s will. Based on the value judgement of “the poetry expressing one’s will”, the female writing in Li Bai poetry has the significant feature of reposing the poet’s personal feelings and wills. On one hand, it is related with the historical background and personal condition of Li Bai. On the other hand, it is necessarily concerned with his creation idea of inheriting the poetry tradition of literary excellence which uses bi-xing to express one’s will. Therefore, this thesis starts from the perspective of male-centered literature when studying the female writing in Li Bai poetry. The thesis explores the subject by classifying it into the scope of the writing tradition of Chinese literature, and analyses the historical background of the female writing in Li Bai poetry as well as types of the female writing. In addition, this thesis also discusses the situation of the female writing in Li Bai poetry from 2 aspects -- the tradition of “herb and beauty” and Yu Fu poetry, and tries to understand the values. Finally, this thesis also makes an analysis of the way of representation in the female writing in Li Bai poetry from the perspective of creating arts. It can also be learned that the female writing in Li Bai Poetry is not what the poet Wang Anshi said -- just a superficial remark of “depicting female”. As a matter of fact, the results of this research are beneficial to the better understanding of Li Bai’s bailment of his personal feelings and wills in his female writing and the reflection of practical significance. Meanwhile, this research also finds that the poet’s circumstances and the spirit of literary excellence can be read from the female writing poetry.
Keyword：Li Bai, female, female writing, herb and beauty, metaphor and analogy (bi and xing) expressing wills, poetry of literary excellence, male-centered literature
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Lee, Shu-Yuan, and 李淑媛. "The Analysis of Images of Characters in Li-bai''s Poetry." Thesis, 1993. http://ndltd.ncl.edu.tw/handle/74285886367371689498.
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Liu, Xiaohua. "Bai Juyi's poems about women/." 2009. https://scholarworks.umass.edu/theses/1726.
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Huang, Shun-Pin, and 黃舜彬. "Elegant Poetry of Li Bai: Study of the Intertextuality between Li Bai's Poems and Qing Shang Qu Ci, Xianghe Lyrics, New Songs from the Jade Terrace in Southern Dynasties." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/kb5hae.
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博士<br>國立臺灣師範大學<br>國文學系<br>104<br>This dissertation discusses the intertextuality between Li Bai's poems and Southern Dynasties poetry (folk-poetry and palace-style poetry) via the western intertextuality theory and misreading theory and from the viewpoint of comparative literature in order to explore the impacts of Southern Dynasties poetry on Li Bai's poems and further establish the new senses of Li Bai's poems. It probes into the systematic nourishment and inspiration of Southern Dynasties poetry to Li Bai, the unmatched superstar in Chinese poetry whose poems towered over all the other poetry in all ages and became an everlasting model for the world. The dissertation consists of seven chapters such as Introduction, Conclusion and others, respectively discussing Li Bai's Poems and Qing Shang Qu Ci, Xianghe Lyrics, New Songs from the Jade Terrace in Southern Dynasties as well as the various dimensions of the elegant poetry of Li Bai after undergoing the experience of Southern Dynasties poetry and the impact of which on Li Bai's life achievements. In the end, this dissertation summarizes a total of eight implications of Li Bai' elegant poetry.
(1) The elegance of Li Bai' poems comes from his absorption of the images of geography, customs, climate and plants in Southern Dynasties poetry, which is thus closely associated with Southern Dynasties poetry.
(2) Li Bai's elegant poetry is embedded in his "poems of women" and "poems expressing aspirations". In addition, he developed new means of artistic expression via "fragrant flower and beautiful woman images", contributing to a new poetry model that is different from the "fragrant flower and beautiful woman images" established since Cao Zhi.
(3) The creation and construction of women images in the new poetry form of "fragrant flower and beautiful woman images" by Li Bai includes the beautiful and gorgeous elements of Southern Dynasties with both rejections and innovations which differentiates it from the old traditions.
(4) The women images in poetry are also associated with the daughter of concubine and intelligent and beautiful woman and even the will of poets in Chinese Han and Wei Dynasty, which is embedded in Li Bai' poems. In particular, women images of "Li Bai-style" are developed with the combination of the aforementioned women images in Han and Wei Dynasties and the concubine and fancy women images in Southern Dynasties.
(5) Li Bai's Elegant poetry is composed of the aforementioned beauty images bearing "man's aspirations in women images" and an circuitous rather than straightforward expression of will.
(6) The "women images" in Li Bai's poems are all dressed smartly and represented a metaphor of men having both talent and virtue.
(7) The beauty images in Li Bai's poems respectively demonstrate the romance, aspiration, statesmanship and national consciousness of Li Bai as well as his strenuous faith in official career, both of which an expression of his grand and imposing will.
(8) The exploration of the elegant poetry of Li Bai in this dissertation focuses on the new senses of his poems via the intertextual comparison with the palace-style poetry Qing Shang Qu Ci, Xianghe Lyrics, New Songs from the Jade Terrace in Southern Dynasties, which represents only one of the many implications of his elegant poetry.
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YANG, Te-Wei, and 楊德威. "Integration of music and poetry in Wut Man-chung's Four Poems by Li Bai (op. 17): A Study and Conducting Interpretation / Graduation Concert "Wandering Clouds"." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/52062858093980410811.
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碩士<br>東吳大學<br>音樂學系<br>104<br>Since the May Fourth Movement in 1919, Chinese composers have attempted to find a new way for the new music in China. They created Chinese harmonic techniques in the hope of infusing into their music an ethnic atmosphere. In the meantime, they have also been pondering the following questions when learning Western composing techniques. Where Chinese music should head for? What breakthrough can there possibly be? It is exactly this mindset that determined the development of music afterwards.
In the context of choral tradition and modern music composition, Wut Man-chung’s song cycle Four Poems by Li Bai (op. 17) is particularly significant in that it inherits the tradition of creating an ethnic atmosphere and on the other hand, reveals the efforts Wut made to gain new ground and find new direction for the new music in China. His work indeed shows the trajectory of the development of music in the Chinese world. This song cycle is one of the first that Wut wrote after he moved to Hong Kong. Its music matches the poems perfectly and deeply embodies the Chinese culture, thereby making the work such an exemplar of unification of music and poetry that it is still widely performed till this day.
This thesis aims to analyze and explore the choral version of Wut’s Four Poems by Li Bai (op. 17). It begins by mapping out the tradition of music and poetry. Then it proceeds to a thorough analysis of how Wut creates poetic imagery through music idioms and composing techniques from the angle of the unification of music and poetry and that of music and literature. It is followed by a discussion of the researcher’s interpretation in conducting. There are five chapters in this thesis. Chapter one deals with the inheritance and development of modern-day choral music and poetry. Chapter two taps into Wut’s music idioms and Li Bai’s style in poetry. Chapter three contains an analysis of the song cycle and a discussion of the unification of music and poetry. Chapter four details how Wut’s work should be conducted. Chapter five is the conclusion of the thesis.
Concert program：
Te Deum (for the Empress Marie Therese) / Franz Joseph Haydn (1732-1809)
Dark Night of the Soul / Ola Gjeilo(1978-)
Four Poems by Li Bai (op. 17) / Wut Man-chung(1942-1992)
First Suite in E flat for Military Band / Gustav Holst(1874-1934)
The Hounds of Spring / Alfred Reed(1921-2005)
Sovereign Variants / James Curnow(1943-)
The Fairest of the Fair / John Philip Sousa (1854-1932)
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Shlenskaya, Maria. "Li Shangyinovy básně "o předmětech" přírodního původu." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-345233.
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Thesis abstract The aim of this thesis is to provide a detailed analysis of the chosen poems "on things" of natural origin written by Li Shangyin and their interpretation. Based on the analysis, I will make an attempt to find out how the author handles the conventions of the yongwu genre, to what extent his poems "on things" correspond to the previous poetic tradition and to what extent they are innovative from the point of view of the choice of topics, symbolism, language techniques and the overall message of the poem. The opening chapter of the thesis includes Li Shangyin's biography, a short overview of his writings and basic approaches to their interpretation, as well as a brief introduction of the yongwu genre and the basic peculiarities of Li Shangyin's poems, which belong to this genre. The next chapter is the essential part of the thesis, which provides the actual analysis of the chosen poems, supplemented with prosaic literal translations. This part of the thesis consists of a few sections, which are dedicated either to some particular type of Li Shangyin's yongwu or to a precise aspect of his poems, which belong to this genre. The conclusion of this study is that Li Shangyin's greatest contribution to the tradition of the yongwu genre is the transformation of poems "on things" into a kind of...
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"元明清「李白戲」研究". 2008. http://library.cuhk.edu.hk/record=b5896798.
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張惠玲.<br>"二〇〇八年十一月".<br>"2008 nian 11 yue".<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2008.<br>Includes bibliographical references (leaves 97-105).<br>Abstracts in Chinese and English.<br>Zhang Huiling.<br>Chapter 第一章 --- 引言 --- p.1<br>Chapter 第一節 --- 選題意義 --- p.1<br>Chapter 第二節 --- 前人硏究成果 --- p.2<br>Chapter 第三節 --- 本文硏究範圍及方法 --- p.2<br>Chapter 第二章 --- 現存元明清李白戲作品敘錄 --- p.4<br>Chapter 第一節 --- 王伯成《李太白眨夜郎》 --- p.8<br>Chapter 第二節 --- 屠隆《綵毫記》 --- p.9<br>Chapter 第三節 --- 尤侗《清平調》 --- p.10<br>Chapter 第四節 --- 張韜《李翰林醉草清平調》 --- p.11<br>Chapter 第五節 --- 楊潮觀《賀蘭山謫仙贈帶》 --- p.12<br>Chapter 第六節 --- 蔣士銓《采石磯》 --- p.13<br>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<br>Chapter 第一節 --- 生應長庚 --- p.16<br>Chapter 第二節 --- 謫仙人 --- p.18<br>Chapter 第三節 --- 醉草〈清平調〉 --- p.24<br>Chapter 第四節 --- 力士脫靴 --- p.26<br>Chapter 第五節 --- 貴妃捧硯 --- p.28<br>Chapter 第六節 --- 起草「嚇蠻書」 --- p.34<br>Chapter 第七節 --- 賞識郭子儀 --- p.36<br>Chapter 第八節 --- 逝世 --- p.38<br>Chapter 第九節 --- 小結 --- p.39<br>Chapter 第四章 --- 元明清李白戲中李白形象硏究 --- p.40<br>Chapter 第一節 --- 李白戲中李白形象之共性分析 --- p.40<br>Chapter 甲、 --- 歷劫紅塵的仙人形象 --- p.40<br>Chapter 乙、 --- 傲岸疏狂的才子形象 --- p.42<br>Chapter 丙、 --- 深識遠慮的忠臣形象 --- p.46<br>Chapter 丁、 --- 飄然出世的隱士形象 --- p.49<br>Chapter 第二節 --- 李白戲中李白形象之殊性分析 --- p.52<br>Chapter 甲、 --- 元代李白戲 --- p.52<br>Chapter 乙、 --- 明代李白戲 --- p.54<br>Chapter 丙、 --- 清代李白戲 --- p.55<br>Chapter 丁、 --- 小結 --- p.62<br>Chapter 第五章 --- 元明清李白戲之鋪演與作家、時代之關係 --- p.64<br>Chapter 第一節 --- 高壓政治下的王伯成 --- p.64<br>Chapter 第二節 --- 自況雪冤的屠隆 --- p.66<br>Chapter 第三節 --- 蹭蹬場屋的尤侗 --- p.71<br>Chapter 第四節 --- 無限牢騷的張韜 --- p.79<br>Chapter 第五節 --- 以古賢自期的楊潮觀 --- p.80<br>Chapter 第六節 --- 以曲爲教化的蔣士銓 --- p.83<br>Chapter 第七節 --- 小結 --- p.88<br>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<br>Chapter 第七章 --- 結論 --- p.96<br>參考書目 --- p.97
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"沈德潛論李杜詩". 2008. http://library.cuhk.edu.hk/record=b5893395.
Full textAbstract:
方秀瑩.<br>"2008年1月"<br>論文(哲學碩士)--香港中文大學, 2008.<br>參考文獻(p. 128-135).<br>"2008 nian 1 yue"<br>Abstract also in English.<br>Fang Xiuying.<br>Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2008.<br>Can kao wen xian (p. 128-135).<br>Chapter 第一章 --- 緒論 --- p.1<br>Chapter 第一節 --- 沈德潛的生平及學詩歷程 --- p.1<br>Chapter 第二節 --- 沈德潛詩論硏究槪況 --- p.3<br>Chapter 第三節 --- 硏究目的及方法 --- p.7<br>Chapter 第二章 --- 沈德潛對李杜詩的品評 --- p.8<br>Chapter 第一節 --- 沈德潛論李白詩 --- p.8<br>Chapter 1. --- 李白詩的宗旨 --- p.9<br>Chapter 2. --- 李白詩的體裁 --- p.16<br>Chapter 3. --- 李白詩的風格 --- p.22<br>Chapter 4. --- 李白詩的詩法 --- p.26<br>Chapter 5. --- 小結 --- p.29<br>Chapter 第二節 --- 沈德潛論杜甫詩 --- p.30<br>Chapter 1. --- 杜甫詩的淵源 --- p.32<br>Chapter 2. --- 杜甫詩的宗旨 --- p.43<br>Chapter 3. --- 杜甫詩的體裁 --- p.52<br>Chapter 4. --- 杜甫詩的風格 --- p.56<br>Chapter 5. --- 杜甫詩的題材 --- p.67<br>Chapter 6. --- 杜甫詩的詩法 --- p.78<br>Chapter 7. --- 小結 --- p.85<br>Chapter 第三章 --- 沈德潛兼宗李杜詩的意義 --- p.87<br>Chapter 第一節 --- 移易詩壇風氣 --- p.87<br>Chapter 第二節 --- 提升人格素質 --- p.90<br>Chapter 第三節 --- 全面的詩體觀 --- p.94<br>Chapter 第四節 --- 兼重詩才與學力 --- p.98<br>Chapter 第五節 --- 格調中包容神韻 --- p.100<br>Chapter 第四章 --- 沈德潛李杜詩論的影響 --- p.107<br>Chapter 第一節 --- 沈德潛的弟子及同里的詩論 --- p.107<br>Chapter 第二節 --- 《唐宋詩醇》與沈德潛詩說之關係 --- p.115<br>Chapter 第三節 --- 桐城派繼承沈德潛詩說考 --- p.118<br>Chapter 第四節 --- 蘇文擢《說詩晬語詮評》及其詩學觀述評 --- p.121<br>Chapter 第五章 --- 結語 --- p.126<br>參考書目 --- p.128<br>附錄：沈德潛選李杜詩詩目 --- p.136<br>《唐宋詩醇》引沈德潛李杜詩論輯錄 --- p.154<br>高步瀛引沈德潛李杜詩論輯錄 --- p.159