Dissertations / Theses on the topic 'Li, Yu, Chinese drama'

本研究探究了香港某所國際學校中漢語作為第二語言學習者的中文交際意願。研究對象主要是香港某英基國際學校的170名漢語學習者；主要採用定量的研究方法，通過研究者的課堂觀課和學生的“自我報告”（Self-report）來搜集數據，通過五個量表（背景變量量表、心理變量量表和課堂內外漢語交際意願量表）來實現研究；研究的內容包括學生們課堂內、外漢語交際意願的總體水平以及可能存在的差異，並總結前人研究發現，在新的研究背景下對一些可能存在影響關係的背景變量（年齡、性別、漢語水平、學習漢語的社會支持、母語、性格、對待學習漢語的態度）和心理變量（學習漢語時的焦慮、動機、自我覺察的交際能力）進行數據分析并驗證假設，通過SPSS19.0來付諸實現；最終就如何提高學生的課堂內、外漢語交際意願提出教學建議。 本次研究的主要研究發現有：（1）該國際學校漢語學習者的總體漢語交際意願水平偏低，介於“較低交際意願”和“中度交際意願”之間，而且課內漢語交際意願略高於課外漢語交際意願。（2）總體來看，男生和女生之間不存在漢語交際意願上的顯著差異，但在課內，女生比男生更容易不懂就問、更關注語言知識的細節；男生比女生更願意作為發言代表來公開表達自己觀點；在課外，男生比女生更願意在校園裡與陌生人說漢語，更願意和朋友們或者陌生人上網用漢語交流。（3）預科項目（DP）和中學項目（MYP）的學生群體間不存在漢語交際意願的顯著差異。但在課堂上，DP學生比MYP的學生更願意進行公開性的漢語表達，更願意深入探討相關問題，更願意進行一些總結概括能力較強的發言。（4）DP年級學生的漢語水平和交際意願呈顯著正相關，即漢語水平高越高，課內、課外和總體的漢語交際意願越高,漢語水平越低，課內、課外和總體的漢語交際意願越低。（5）在用漢語進行“主動性發言”上的意願，漢語水平高的群體明顯高於漢語水平低的群體，說明高水平漢語學習者更願意掌握交際的主動權。（6）學習漢語社會支持較多的群體表現出明顯更高的漢語交際意願，呈顯著正相關。（7）以廣東話作為母語的學生比以英語作為母語的學生具有更高的漢語交際意願，這種差異性在課堂外比課堂內體現得更為明顯。（8）性格較外向的學生比性格較內向的學生具有更高的課內漢語交際意願。（9）喜歡學漢語的學生比不喜歡學漢語的學生具有更高的課內、課外和總體漢語交際意願。（10）總體來看，學生學習漢語的動機和自我覺察的漢語交際能力都偏高，且兩者與課內、課外和總體漢語交際意願均呈十分顯著正相關，其中動機與課外方面相關性略大，而自我覺察的交際能力與課內方面相關性略大。學生的總體焦慮水平偏低，與課內、課外和總體交際意願均呈十分顯著負相關，與課內方面相關性略大課外方面。無論是課內還是課外漢語交際意願，“自我覺察的交際能力”對漢語交際意願來說是預測性最強的心理變量。 This research investigated Chinese as second language (CSL) learner’s willingness to communicate (WTC) both inside and outside classroom in one of international schools, Hong Kong. The research objects are 170 Chinese Language B learners from an English School Foundation (ESF) international school. The main methodology adopted here was quantitative method. Classroom observations by researcher and self-reports by students were firstly done to collect background data, and then five scales were employed to do the main investigation, including a WTC Inside–the-classroom Scales (WTCIS), a WTC Outside-the-classroom Scale (WTCOS), a Language Anxiety Scale (LAS), a Motivation Scale (MS) and a Self-perceived Communicative Competence Scale (SCCS). The research objectives were to explore the general situation of CSL learners’ WTC, and the specific characteristics as well as possible differences of their WTC inside and outside the classroom; then to further examine the possible affecting variables from both background and psychological perspectives including gender, age, Chinese language proficiency, mother tongue, social support, personality and attitudes towards learning Chinese, which were regarded as background variables, and language anxiety, motivation and self-perceived communicative competence, which were regarded as psychological variables. After that, data was processed and analyzed by SPSS 19.0 for hypothesis verification. Finally, pedagogical implications on how to improve CSL learners’ WTC both inside and outside classroom were generalized from the study. 　　The major findings showed that: (1) the general WTC of CSL learners from this school were slightly on the low side, between the Lower and Middle level, and the WTC inside the classroom was comparatively higher than outside of classroom. (2) On overall WTC, there was no significant difference between male and female students. But inside the classroom, girls were more likely to ask questions and pay more attention on language details than boys, while boy were more active to be the presenters and voice out in public. Outside the classroom, boys were more willing to communicate with strangers or chat online with friends in Chinese. (3) No significant WTC difference was found between Diploma Program (DP) and Middle Years Program (MYP), but DP CSL learners showed more willingness to make public speech, to be more of an inquirer in problems, and to do more generalization in speaking. (4) Among DP group, significant positive correlation was found between language proficiency and WTC, suggesting that the more proficient CSL learners showed higher WTC, and vice versa. (5) The more proficient group were more willing to speak Chinese voluntarily than the less proficient ones, implying that the more competent language learners are more likely to the take the initiative in communication. (6) CSL learners with more social supports to learn Chinese showed higher WTC, and a significant positive correlation was found here. (7) Students with Cantonese as mother tongue had higher WTC than their English as mothertougue counterparts, and this difference was more obviously outside of classroom. (8) Extroverted students showed significantly higher WTC inside of the classroom than the introverted. (9) Students who liked learning Chinese demonstrated higher WTC than those who didn’t. (10) Students’ motivation to learn Chinese and their SPCC were both on the high side, and both correlated positively on WTC, with motivation correlated more closely on outside WTC while SPCC more on inside WTC. Students showed slight lower anxiety level in speaking Chinese. Anxiety had significant negative correlation with WTC, and it mattered more inside than outside of classroom. No matter for WTC inside or outside, SPCC was the most predictive variable among the three.<br>published_or_final_version<br>Education<br>Master<br>Master of Education

In the Reform Proposals for the Education in Hong Kong published in 2000, it was clearly stated that the priotity of education in the 21st century should be ―to enable our students to enjoy learning, enhance their effectiveness in communication and develop their creativity and sense of commitment‖. This paper aims to respond to two of the aspects — the enhancement of effectiveness in communication and the development of students’ creativity. For years, schools have focused on promoting students’ creavity in reading and writing, but not in speaking. In fact, among the various language skills, ‘speaking’ is the skill students have to demonstrate the most in their daily interaction. Compared to reading and writing, the ability to express one‘s views verbally in a creative manner can give rise to more direct interaction, acting as a genuine reflection of a student’s wisdom, knowledge, capability and potential. It is also a lifelong skill that students can apply when they join the workforce in the future. It is therefore meaningful to place emphasis on cultivating students’ creativity in speaking. This research aims to explore the correlation between the Chinese oral proficiency and creative ability of senior secondary students in Hong Kong based on existing theories on the development of creativity and speaking. Target participants, recruited from two aided secondary schools of different abilities, receive training on speaking and creative thinking, and analysis is done adopting both the quantitative and qualitative approaches. Students of each school are first randomly divided into two groups — the experimental group and control group. Students of both groups are required to take a pre-test and a post-test, as well as complete a set of questionnaire in each session. Results obtained are compared and contrasted to gauge the changes in their oral proficiency and creative ability. In between the tests, the experiemental group receives seven experimental design lectures on News and Report, one of the elective modules of the NSS curriculum in Chinese Language Education, while the control group receives lectures on News and Report which reference on the samples from Education Bureau only, no experimental design lectures will be delivered. In the end, the three teachers involved in the study were interviewed, during which the teachers offered their observations on the change in the students’ learning behaviour and attitude. Based on the data collected from the administration of tests, questionnaires and interviews, the following conclusions are made: first, there is a correlation between oral proficiency and creative ability; second, students’ attitude and values have a direct impact on the effectiveness of the module; third, the Speaking and Creativity Assessment rubric used in the study proved to be successful in assessing the said abilities, enhancing learning effectiveness. Through the analysis of data collected, this research contributed to Chinese Language Education to some extent, especially in the teaching of oral proficiency and creativity. It opened up a new set of criteria for the assessment of creative speaking ability from different perspectives to ensure objectivity of results, offered diversified course materials that can effectively raise the standard of students’ speaking and critical thinking ability. 香港在2000 年教育制度改革建議中明確指出教育首要目標是培養學生成為「樂於學習、善於溝通、勇於承擔、敢於創新」的新一代，其中，本研究特別回應「善於溝通」和「敢於創新」這兩個重點。過往，學校及教師多注重學生閱讀能力及寫作能力創意的培養，而忽略說話能力的創意訓練。其實，在各種語文能力中，「說話」是學生日常生活最主要的表達能力。口語表達比閱讀及寫作語言起著更直接的交流及溝通作用，是一個人智慧、知識、能力、素質的綜合體現，是學生立足社會、終生受用的語文能力。因此語文教學以創意思維培養學生的說話能力是有實在意義的。 為探索本港高中學生口語表達和創意能力的相互關係，本研究以創造力(Creativity) 和說話能力訓練的理論為依據，對上述課題展開試驗及分析工作。本計劃以香港兩所不同程度的津貼中學學生的說話能力為研究對象， 施行融合創意和說話能力訓練的實驗教學模式。本研究採用量化和質化方式為主要研究的方法。首先， 每所學校的研究對象隨機分為實驗組 (Experimental Group) 和控制組 (Control Group)。兩組對象分別安排前測和後測來量度實驗前後的數據變化。在前測及後測之間， 實驗組將會進行結合了創意思維訓練元素的中國語文選修單元「新聞與報道」共七節課的教學，從而探究這次實驗課能否提高學生創意說話能力學習的成效。而控制組卻不會在實驗教學施行期間安排進行任何實驗教學，有關的課堂教學，只按照原本學校的「新聞與報道」課程進行。在公平的原則下，所有控制組的學生會在暑假補回教授有關的實驗課程知識。本研究同時在兩班實驗組學生發出前後兩次的問卷調查，以檢視受試者的說話能力及創意能力的變化。最後，訪問兩所受試學校參與研究的三位老師，以深入瞭解學生整體的學習行為和態度情意的改變。 透過分析實驗教學資料、問卷調查數據和訪談結果，本研究主要有以下幾方面的總結：第一，確立說話能力和創意能力的相互關係。第二，學生的學習態度和品德情意直接影響課程的學習成效。第三，本研究所採用的「說話及創意能力評量表」能客觀評估學生的說話及創意能力，促進學習效能。經各種測試及結果分析，本研究對中國語文教育作出了一些貢獻，尤其是在融合說話與創意能力方面，以提高學生說話和思考水平；開發創意說話能力的評核標準，包含多角度的評審考量為評核精神，以客觀的等級描述為評量依據；提供多元化的創意說話課程設計，有助提升學生的創意說話能力表現等多方面的意義。<br>published_or_final_version<br>Education<br>Doctoral<br>Doctor of Education

近年來，香港有不少國際學校和直資學校開辦國際文憑課程（IB，International Baccalaureate），很多非華語學生選擇學習中文作為第二語言。然而，當中很多學生在使用詞彙上產生偏誤，而在二零零八年，香港教育局發布了《中國語文課程補充指引（非華語學生）》諮詢文件中，指出漢字的字形、聲調、語彙都是中文第二語言學習者的難點（香港課程發展議會，2008），這些難點均涉及語素。以往曾有不少研究，探討語素意識與詞彙知識習得的關係，因此，研究者期望以中文第二語言學習者作為研究對象，探討漢語語素意識與詞彙能力的關係。 本研究為量性研究，以語素意識與詞彙能力測驗和單元評估試卷來蒐集數據，並採用相關度測量研究方法分析數據，從而探討國際文憑課程中學項目學生在詞彙上的偏誤類型以及漢語語素意識與詞彙能力的關係，並提出建議以提升中文第二語言學習者的詞彙能力。本研究目的有三：（一）探究香港國際文憑課程中學項目學生在詞彙上的偏誤類型；（二）探究香港國際文憑課程中學項目學生的漢語語素意識與詞彙能力的關係；（三）歸納研究結果，並就教學和後續研究上提出具體建議，作為對外漢語教學之參考。 研究結果顯示，中文第二語言學習者的詞彙偏誤類型以「語音」為主，發展同音語素意識對於減少詞彙偏誤相當重要，此外亦需要加強發展部件規則的意識以及組字規則的概念，幫助他們掌握字形，對於減少詞彙偏誤亦有相當重要的作用。在漢語語素意識與詞彙能力的關係方面，中文第二語言學習者的語素意識對於詞彙能力有預測作用，同音語素意識對詞彙能力的預測作用大於同形語素意識的作用；而心理詞彙的語素意識、心理詞彙的數量及用詞能力三者有互相影響的關係，但仍需要進一步的研究。 International Baccalaureate (IB) Curriculum is adopted by more and more international schools and direct-subsidy schools in Hong Kong. At the same time, more and more non-Chinese speaking (NCS) students choose to study Chinese Language as a second language in IB curriculum. However, the vocabulary learning is one of the difficulties when they learn Chinese. The Education Bureau has published ‘Consultation Paper on Developing a “Supplementary Guide to the Chinese Language Curriculum for Non-Chinese Speaking Students” ’ and points out those NCS students encounter difficulties in learning Chinese graphemes, tones, vocabulary, etc. These difficulties are related to morpheme. Many researchers have conducted to study on relationship between morphological awareness and lexical knowledge. This dissertation aims to study on the relationship between morphological awareness and lexical ability of IB Middle Year Programme (MYP) students in Hong Kong. This is a quantitative research. Data collection includes two tests of the morphological awareness and lexical ability paper-pencil tests and one summative unit test of Chinese Language subject in a school. IB MYP students of two classes participated in this study and their morphological awareness and lexical ability were tested and analyzed by the statistical analysis software. The objectives of the study are: (1) Analysis on the types of lexicon errors of IB MYP students in Hong Kong; (2) Analysis on the relationship between morphological awareness and lexical ability of IB MYP students in Hong Kong; (3) Suggestions on developing of morphological awareness in learning Chinese Language as a second language. The results find that most of the lexicon errors were related to the tones and radical components of Chinese character, it is suggested to develop the homophone awareness and the orthographic awareness of Chinese character to reduce the lexicon errors. The morphological awareness of students has influence on student’s lexical ability. The homophone awareness has a closer relationship with lexical ability. The morphological awareness of the mental lexicon has an influence on the amount of mental lexicon and the ability of using lexicon. It is suggested to develop the morphological awareness of students in teaching Chinese as a second language to further study the relationship between the development of morphological awareness and mental lexicon in the future.<br>published_or_final_version<br>Education<br>Master<br>Master of Education

Currently, the pre-primary education curriculum in Hong Kong is using an Integrated Thematic Approach. In language learning, teaching activities are random and there is a lack of systematic teaching of Chinese characters. The aim of this study is to construct a theory in the teaching and learning of Chinese characters for preschoolers and to investigate the effectiveness of the “Young Children Integrative and Effective Approach” (IEA). The theoretical framework of this research is based on the Integrative and Effective Approach and includes other word recognition theory, young children vocabulary acquisition and metalinguistic awareness research to further construct the IEA. The researcher has used multiple-case study method, including teaching experiments, classroom observations, interviews of teachers and young children, and analysis of young children’s work samples, in the collection of data. The samples of this research come from two individual schools. The first case study isthe lower class of School A (n=30); and the second case study is the upper class of School B (n=26).Each case is divided into the experimental group and control group. The researcher conducted the research in the two schools, and invited the young children to attend the word recognition pre-test and post-test. For in-depth investigation, the researcher followed up on the learning of three children of different abilities of the experimental group in School A in the second year. The research results were divided into two parts. In the first part, findings from the paired-samples t-test analysis showed that the young children in the experimental group using the IEA had significant improvement in word recognition. The data collected through classroom observations, teacher interviews and young children’s work sample analysis illustrated that the effectiveness of IEA lies in enhancing the young children’s learning of the meaning, sound and shape of Chinese characters. As for the second part, findings from Two-way ANCOVA (teaching method x ability group) showed that young children of the middle and lower ability from the experimental group had significant improvement in the word recognition test compared with the control group. Moreover the data collected through the sample works of the three young children of different abilities from the experimental group and interviews indicated that IEA could continuously improve preschoolers of different abilities in their learning of Chinese characters throughout the two years. The contributions of this study include filling the research gap, and developing a theoretical framework. The findings of the study could serve as a reference for early childhood teacher training, and for the development of curriculum and teaching materials. 香港的學前教育，主要採用「主題教學」的綜合課程模式，其中語文範疇變成隨機的教學活動，缺乏識字教學的系統。本研究的目的是建構幼兒識字學與教的理論及探討實踐「幼兒綜合高效識字法(高效法)」的效果。 本研究的理論，建基於「綜合高效識字法」，包括其他的識字理論、幼兒的詞彙習得及元語言意識的研究，進一步發展「高效法」的理論框架。 研究者採用多重個案設計，包括教學實驗、課堂觀察、教師及幼兒訪談、幼兒作品分析，從多渠道搜集資料。研究對象以兩所學校為整體單位。第一個案是學校甲的低班,共30人﹔第二個案是學校乙的高班，共26人。各個個案再分為實驗組和控制組。研究員在兩所學校進行教學實驗，並邀請幼兒參與識字的前後測試。為了增強研究的深度，第二年跟進學校甲實驗組3位不同能力幼兒的學習。 研究結果分為兩部分，第一部分，從配對T檢驗的分析，結果顯示「高效法」能全面提升幼兒的識字能力。其次，從實驗組的課堂觀察、教師訪談及幼兒作品的資料分析，結果深入了解「高效法」有效的特點，在於能促進幼兒的形音義發展。 第二部分，從二因子共變數(教學法x能力組別)的分析，結果顯示相對於控制組別，「高效法」能提升中能力或低能力幼兒的識字能力。其次，從實驗組3位不同能力幼兒的作品及訪談資料的分析，結果顯示「高效法」能持續於兩年增進不同能力幼兒的識字學習。 本研究的貢獻包括填補了幼兒識字教學法的研究缺口，並且發展幼兒識字學與教的理論框架。而研究所得，可應用於幼兒教育的教師培訓，以及發展識字課程及教材。<br>published_or_final_version<br>Education<br>Doctoral<br>Doctor of Philosophy

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

博士<br>國立中山大學<br>中國語文學系研究所<br>92<br>Li Yu’s Theory of Chinese Opera Abstract Li Yu (1611-1680) is a renowned Chinese opera writer in the early Qing dynasty. His work “Ten Operas” features surprising plots and easy-to-understand scripts, criticized as “intended to make common” and “simple to comprehend”, reflecting his writing attitude and style in developing popular and entertainment culture. This deviates himself from the literary direction of drama (chuanqi) writing since the mid-Ming dynasty. In addition, Li Yu is also a Chinese opera critic. The “script” and “play act” sections in his “Xian Qing Ou Ji ”(Journal of Leisure Time) discussed mainly the writing and performing of Chinese operas. The journal was written after the publication of the “Ten Operas”, which can be regarded as a summary of Li Yu’s seasoned experience in writing Chinese operas. The journal is also a main research subject of this study. Literature on Chinese operas in Ming and Qing dynasties is rich. On the format, some focused their discussions in a specific book while some discussions were found scattered in anthologies and critics’ notes. On the content, some examined the stories from historical perspectives, some centered on the wording as well as on tones and singing skills; or some were precise investigations on the development of Chinese opera history. The literature is documented with quite a few unique perceptions on the presentations of Chinese operas. These critiques, even as specific works, only present checklist style discussions. Some greater volumes manage to categorize various works but yet to conclude a coherent theory on Chinese opera. The results are usually unsystematic. Li Yu’s theory is distinguished as having a subjective intension to establish a critique system on Chinese operas. In other words, he intended to construct the foundation and writing principles that “others can follow” and clearly control the essence and development of Chinese operas. His emphasis of “structure” in making critiques is the result of fully understanding the “dramatic characteristics” in Chinese operas. Li Yu presented his theory mainly in the “Xian Qing Ou Ji” with the “script” and “play act” sections, the “script” section stressed on the writing theory while the “play act” on the presentation. “Dramatic presentation” is related to the professionalism of actors, not judged by writers’ imagination, thus there are not many discussions on the performance. Li Yu doubled himself as writer and director and developed a system of perception and opinions of his own towards performing Chinese operas. Comparing his writing and presenting Chinese operas, the latter is weaker in depth than the former. Some of the discussions on presentation focus on how to handle scripts on stage and can be regarded as the extension of script writing. Therefore this study is led to focus on Li Yu’s writing. Although Li Yu intended to establish a theory and principle of Chinese opera writing in the “Script section of the Xian Qing Ou Ji”, he only managed to reinforce the importance of the “structure-first” principle and categorized rhetoric system, tonal pattern, rhyme scheme, conversation and humorous acts with the supplementary discussions of Chinese operas’ “forms”. His categorization seems yet to reach a literature theory defined by modern literary norms. Actually Li Yu produced versatile discussions on Chinese operas. Some of his discussions are related to the fundamental definition, characteristics and functions of Chinese operas. Some belong to the construct of literary principles of Chinese opera. Some are the exploration of the principles and practical skills of Chinese opera writing. Furthermore, there is some comment on some specific works, as well as the discussion of different presentation styles in terms of the development in literary history. Li Yu made a clear intension in constructing the theory of Chinese opera, yet there is quite some space for adjustment in certain areas. Thus this study tries to integrate and summarize Li Yu’s theory on Chinese opera, in a hope of re-constructing and re-translating from modern literary perspectives for eliciting more meaningful implications. During the process, the most important task is to analyze and formulate a theory structure on Li Yu’s perspectives as three major aspects: fundamental theory of Chinese opera, theory of writing Chinese opera and theory of presenting Chinese opera. Fundamental theory of Chinese opera discusses the basic features of Chinese opera as the fundamental basis to construct theories on writing and presentation. These theories also project that his emphasis on the special formulation of Chinese operas and stagecraft. These distinguish him from other theories on Chinese opera in his contemporary era. This study develops as the following structure: Chapter one “Introduction” states the research motives, scope, methodology and thesis summary in addition to the description of Li Yu’s life and his literary achievements. Chapter two “General Discussion” explores Li Yu’s fundamental theory of Chinese opera, including the discussions on the artistic characteristics, position of Chinese operas in literature, the essence of Chinese operas, core values in appreciating Chinese operas and functions of Chinese operas …etc. Chapters three to seven are on theory of Chinese opera writing. Principles and standards in writing Chinese operas are discussed in terms of specific elements that compose Chinese operas. Chapter three “Plot” redefines viewpoints on the structure in Li Yu’s theory of Chinese opera. Chapter four “Format” describes the regular formation of traditional Chinese opera presentation after the discussion on structure because set formation results in certain impact on the presentation. Chapter five “Characters” is on the roles in Chinese opera. Li Yu embedded character formation in the design of plot structure, without independent character theory. The chapter is limited to the relationship among the language of characters, character descriptions and roles. Chapter six “Language” discusses the common features of opera languages: rhymes and scripts, including the characteristics of representatives in Chinese operas and the standard the opera language should have. Chapter seven “Rules of Tones and Rhymes” is divided as rhyme scheme and tone patterns with rhyme scheme as the main theme for discussion. The chapter also establishes the common principles of “rule abiding” and proposed concrete suggestions on handling the rhymes and tones. Finally the thesis discusses Li Yu’s theory of Chinese operas presentation in terms of scripts processing before performance, actor training and guiding and stage presentation. These concluded chapter eight “Performance”. It is hoped, through this thesis, to establish a specific theory structure of Li Yu’s works on Chinese opera.

博士<br>國立中央大學<br>中國文學研究所<br>99<br>This thesis is named "The Research of the Drama Scripts and Theories by Li Yu" discussing mainly through "The Occasional Notes with Leisure Motions" （《閒情偶寄》）and "The Ten Plays of Li Yu"（《笠翁傳奇十種》）.The author tries to systematize as completely as possible the theories of Li Yu into to the following five topics: 1. Sorting the recent 400- year studies about the compositions of Li Yu. 2. Surveying Li Yu''s creations of manuscripts and the beginning of his theories. 3. Studying Li Yu’s practices to directors, actors, theater and theoretical establishment. 4. Points of view of Li Yu toward readers, audiences and comments. 5. The whole concept and theoretical system of Li Yu and the establishment of his manuscript of creations and theater practices. "The Occasional Notes with Leisure Motions" created the practice with theater to the manuscript which opened the whole sex treatise of the Chinese classic drama theories. This dissertation aims at the following seven levels of facts: play author, manuscript, creation of director, creation of actor, , reader, reviewer and comments on the performance of theater. These mentioned seven points reveals the true level to the drama carrying on the research respectively. To show the analysis towards Li Yu’s creations, the author composes a collection of atlases for the script and play systems. The five segments of drama creations-script, director, performer, audience, critics, work comprehensively in a systematic way regarding the reality in drama creations. As a matter of fact, Li Yu was a pioneer in the field of Chinese drama.

碩士<br>國立成功大學<br>中國文學系碩博士班<br>101<br>Scholars knew that Li Yu’s dramas were mutative and innovative, but only few of them were aware of repeated patterns behind the innovations, not to mention the concepts of play over there. Li Yu was adept at writing scripts and directing dramas, just like playing games. He wrote down the patterns, but not in the name of “play”. However, we could try to induce the concepts of play from Li Yu’s drama theories and his drama scripts. The main purpose of this paper was to find out the concepts of play from Li Yu’s drama theories and his drama scripts, such as updating itself in repeated patterns, concerning about the audiences, using the healing effect of play. That is not the only way to comprehend Li Yu’s drama theory by reading headlines of “The Occasional Notes with Leisure Motions”. We could interpret his words in a particular light of play. If possible, the understanding of play in Li Yu’s drama theory should be improved and used for drama scripts analysis. Li Yu’s concepts of play were multivariate and profound. In the history of Chinese literary and artistic theories, Li Yu’s concepts of play had made a big leap. In the contemporary western fields of literature, art, psychology and philosophy, there was no one can equal compare with him. Through a new era of interpretation and argumentation, this paper tried to take an objective view of Li Yu’s drama scripts and theories, and attempted an equitable evaluation of them.

碩士<br>義守大學<br>應用英語學系<br>100<br>With the development of globalization, the inter-culture communication has become more frequent, and different cultures evolve via mutual penetration and mutual reference (Chen & Yang 20). Besides, due to the rise of Internet, the field of translation plays an ever important role in communication around the world. Furthermore, with the rapidly economic development of China, Mandarin has thus gained popularity and even become a required course in some of western university campus. It is of basic importance for people around the world to get to know individual and different cultures by translation of literary works. Cao Yu (1910-1996) is a renowned modern Chinese dramatist who is regarded as "the Shakespeare of China," and also often regarded as China's most important playwright of the 20th century. When we talk about the drama of China, we cannot ignore the masterpiece “Leiyu” from Cao Yu. In other words, Cao Yu and his works play an important role in China’s drama. This study adopts the famous linguist, Si Xian-Zhu’s criticism model which features a combination of the analysis of macro-level (qualitative) and micro-level (quantitative) approaches to evaluate two translated versions (Wang’s and Andreas’s version) of Leiyu, hopefully to find out the appropriate translation strategy to check whether the validity of applying this model on literary translation criticism. According to the analyses on both micro -scope and macro-scope levels, there are twenty-four semantic deviations and three interpersonal deviations in Wang’s version, whereas there are eleven semantic deviations and nine interpersonal deviations in Andreas’ version. Therefore, we can get a conclusion that Wang’s version is better than Andreas’ in the interpersonal way whereas Andreas’ version is better than Wang’s in semantic way from Si’s analytic method. However, In the analyses of “verb” types (e.g., material, psychology and relational, behavioral, verbal and existential), it is sometimes difficult to specify the exact “verb” type. Though this mode is systemic and sundry analysis (both in quantitative and qualitative), It should raise its objectivity for doing the practical analysis. However, due to the complexity of subject, translation is too hard to get the objective preciseness as science, it still be expected to achieve the target by maximum capacity.

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

本論文為地域文學視野下的李玉研究。李玉（1611? - 1711後），字玄玉，蘇州派、中國戲曲史上之代表作家。上世紀二十年代以來，李玉研究於前人學者的筆耕下已取得豐碩的成績。然而當「現實精神」、「教化指向」與「平民色彩」一再成為研究蘇州派的關鍵詞，地域元素之於作家的影響仍有待爬梳。本論文追溯了「地」於李玉戲曲生產，即意念生成、形諸創作、再現場上的過程中，所飾演之各種角色；亦探討了李玉與當地文化、觀眾間千絲萬縷的互動與反饋。<br>論文共分為七章。第一章梳理了李玉研究的發展脈絡，提出了個人的關注問題與研究視野。論文第二章結合蘇州的科舉文化、家班文化、「市隱」文化，對李玉的生平行事與交遊進行重讀，指出「久居蘇州」可謂重省其創作的重要鑰匙。第三至六章從作家生平考察，轉移至文本細續。第三章結合「一人永占」四劇（《一捧雪》、《人獸關》、《永團圓》、《占花魁》）探討地緣於李玉早期創作的痕跡，以觀照作家日後的發展脈絡。第四章探討李玉代表作《清忠譜》中，身份認同與歷史書寫的問題，重新審視了「蘇州」於劇中所鋪演的著名歷史事件──明天啟六年的「開讀之變」，以及歷史循環發展中所扮演的角色。第五章追蹤了蘇州士人黃向堅萬里尋親復歸蘇州後的事態發展（1653 1661），繼而討論當地民眾的情感力量如何轉化為作家編寫傳奇《萬里圓》的資源。論文第六章具有李玉接受史研究的性質，以《萬里圓．打差》為個案分析，從橫向與縱向角度探討李玉劇作脫離創作的當下後，與戲曲機制、舞台反饋互動的一面。筆者選擇了「政治意識」作為關鍵詞，分析了劇中使用的方言（蘇白）與服色的問題。第七章概括各章重點，並為本課題的後續發展作出展望。<br>本論文透過多個相互關連的個案，勾勒了「蘇州」於李玉戲曲生產所扮演的不盡相同但不容忽視的角色。面對散佈於各劇的蘇州地方掌故、地方時事、蘇白方言、地理景觀、風土人情、地方家族史，筆者一方面視之為作家與地方觀眾互動的表徵，另一方面指出，此乃為作家地域經驗與身份認同的呈現。本文在豐富學界對李玉認識的同時，希望李玉的地域性研究能在蘇州派研究、中國戲曲史研究，以及明清地域文學研究中都展現其價值。<br>This thesis concerns the research on Li Yu under the perspectives of regional literary studies. Li Yu (1611? - after 1711), also referred to as Li Xuanyu, is a renowned Suzhou playwright widely recognized in the history of Chinese drama. Since 1920s, researches on Li Yu have yielded significant results. However, as “realism, “didacticism and “folk color have become the core concepts in the interpretations of the works of Suzhou playwrights, study on how regional factors have influenced these dramatists has long been omitted. This thesis tries to trace how “place shaped the production of Li Yu’s plays. In other words, the study investigates the role of “Suzhou in the formation of Li Yu’s idea, the writing of the play, and the representation including performance on stage. This research also sheds light on the connection between Li Yu and local culture, as well as the interaction between the dramatist and his audience.<br>This thesis consists of seven chapters. The first chapter provides a literature review on the discussion of Li Yu, explains the motivation for this work and outlines the organization of the thesis. The second chapter explicates the biographical background of Li Yu, with an introduction of imperial examinations, domestic troupes and the idea of “urban recluse, so as to illustrate the importance of Li Yu’s stay in Suzhou before re-interpreting his works. The third to the sixth chapters involve close readings of Li Yu’s texts. The third chapter focuses on Li Yu’s early plays, namely, A Handful of Snow [Yipeng xue], The Gate Separating Humans and Beasts [Renshou guan], The Everlasting Union [Yong tuanyuan], Winning the Prize Courtesan [Zhan huakui]). Through analyzing these plays, this chapter portrays how geographical and social forces affected Li Yu’s early dramas and his later works. The fourth chapter examines Li Yu’s prominent drama Registers of the Pure and Loyal [Qingzhong pu] by addressing the problem of identity and historical narratives, especially how “Suzhou was employed by the author in the famous political incident “Kaidu zhi bian, that happened in 1626, and in the cyclic recurrence of historical events. The fifth chapter illustrates the journey of Suzhou literatus Huang Xiangjian from Suzhou to Yunnan to search for his father and his return with him (1653-1661), and discerns how emotional power among local citizens contributed to the composition of Li’s play, Union Across Ten Thousand Miles [Wanli yuan]. The sixth chapter explores the reception of Li Yu’s plays, by studying the performances of Beating the Officer from Union Across Ten Thousand Miles. Since this play was staged in local theatres, how its stagecraft developed and transformed across time and space is traced in this chapter. “Political consciousness is key to understanding the costumes and Suzhou dialect used in these performances. The seventh chapter is a conclusion summarizing the above arguments and providing insights into areas that await future explorations.<br>Through case studies that are interrelated, this thesis demonstrates how “Suzhou was vital to Li Yu’s literary production. Living in Suzhou, Li assimilated local history, contemporary events, dialect with special idioms, geographical landscapes, folk customs, and family histories, so as to interact with the interests of local audience. On the one hand, this interaction has been revealed in my study of various dramas written by Li Yu; on the other hand, this interaction in my view, represents his self identity and local experience. The aim of this research on Li Yu is not limited to the eminent playwright. It is believed that this thesis can also provide information that contributes to the study of Suzhou playwrights, regional literature in the Ming-Qing era, as well as the history of Chinese drama.<br>Detailed summary in vernacular field only.<br>Detailed summary in vernacular field only.<br>Detailed summary in vernacular field only.<br>陳雅君.<br>"2012年2月".<br>"2012 nian 2 yue".<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2012.<br>Includes bibliographical references (leaves 161-172).<br>Abstract in Chinese and English.<br>Chen Yajun.<br>Chapter 第一章 --- 緒論 --- p.1<br>Chapter 第一節 --- 研究情況回顧 --- p.4<br>Chapter 第二節 --- 研究方法與問題意識 --- p.11<br>Chapter 第三節 --- 論文章節安排 --- p.17<br>Chapter 第二章 --- 李玉生平、戲曲活動與蘇州的關係 --- p.21<br>Chapter 第一節 --- 成長在申家班 --- p.22<br>Chapter 第二節 --- 仕與隱 --- p.26<br>Chapter 第三節 --- 戲曲創作 --- p.31<br>Chapter 第四節 --- 交遊 --- p.34<br>Chapter 第三章 --- 晚明蘇州之浮世繪--「一人永占」 --- p.39<br>Chapter 第一節 --- 時事劇的地域性：《一捧雪》 --- p.41<br>Chapter 第二節 --- 給蘇州人的寓言：《人獸關》 --- p.51<br>Chapter 第三節 --- 鬧熱的蘇州社火：《永團圓》 --- p.60<br>Chapter 第四節 --- 地域與時代之間：《占花魁》 --- p.65<br>Chapter 第四章 --- 吳人觀吳事--《清忠譜》的蘇州史事再現 --- p.72<br>Chapter 第一節 --- 《清忠譜》中的晚明蘇州開讀之變 --- p.75<br>Chapter 第二節 --- 《清忠譜》中的蘇州史事再現 --- p.79<br>Chapter (一) --- 「罵亦禰衡之氣」：周順昌 --- p.81<br>Chapter (二) --- 晚明的要離、專諸：五人義 --- p.85<br>Chapter (三) --- 「時間錯誤」下的諸生朱祖文 --- p.90<br>Chapter (四) --- 開放式場景中的蘇州史事：〈鬧詔〉 --- p.91<br>Chapter (五) --- 對蘇州命運之關懷：〈蔭吳〉與〈塗本〉 --- p.94<br>Chapter (六) --- 流變中的蘇州史事：〈弔墓〉 --- p.95<br>Chapter 第三節 --- 《清忠譜》的迴響 --- p.97<br>Chapter 第五章 --- 蘇州孝子尋親記──《萬里圓》的時事書寫 --- p.100<br>Chapter 第一節 --- 黃向堅萬里尋親事於蘇州的傳播(1653-1661) --- p.102<br>Chapter (一) --- 黃向堅《尋親紀程》、《滇還日記》與「尋親圖冊」 --- p.102<br>Chapter (二) --- 李玉《萬里圓》傳奇 --- p.106<br>Chapter 第二節 --- 《萬里圓》中的時事再現：家國、忠孝與空間 --- p.107<br>Chapter (一) --- 忠孝、家國的交織與深化 --- p.108<br>Chapter (二) --- 空間與回憶：蘇州地域經驗的深化 --- p.113<br>Chapter (三) --- 亂世中的家族經驗 --- p.117<br>Chapter (四) --- 孝的普世性：孝子尋親故事的互涉 --- p.118<br>Chapter 第三節 --- 《萬里圓》作為場上之曲的迴響 --- p.120<br>Chapter (一) --- 《綴白裘》的〈跌雪〉與三溪 --- p.124<br>Chapter (二) --- 晚清舞台上的〈打差〉 --- p.125<br>Chapter 第六章 --- 李玉戲曲的再生產--從《萬里圓打差》說起 --- p.127<br>Chapter 第一節 --- 《萬里圓.打差》的政治意識 --- p.129<br>Chapter 第二節 --- 《綴白裘》之《清忠譜鞭差》與吳梅鈔本《清忠譜.打差》 --- p.138<br>Chapter 第三節 --- 王蒸籠於《翡翠園》的回歸 --- p.147<br>Chapter 第四章 --- 餘論：朱素臣戲曲的再生產 --- p.153<br>Chapter 第七章 --- 結語 --- p.156<br>參考書目