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Dissertations / Theses on the topic 'Qu Yuan fu (Qu, Yuan)'
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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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Tseng, Chen-chen. "Mythopoesis historicized : Qu Yuan's poetry and its legacy /." Thesis, Connect to this title online; UW restricted, 1992. http://hdl.handle.net/1773/6688.
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Qin, Bairong. "Dang dai Zhongguo de ai guo zhu yi biao yan : zai Hunan Miluo ji nian Qu Yuan /." View abstract or full-text, 2006. http://library.ust.hk/cgi/db/thesis.pl?HUMA%202006%20QIN.
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Chen, Wenlan. "Bu qi jian pi qu tan fa zhi liao yuan fa xing gao xue ya bing de wen xian yan jiu yu tan tao /." click here to view the abstract and table of contents, 2006. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisab.pl?pdf=b19986786a.pdf.
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Leung, Sze-lok, and 梁思樂. "A study on the locations of capitals and the planning of administrative districts in the Tang, Song and Yuan dynasties = Tang, Song, Yuan san zhao guo du xuan zhi yu zheng qu gui hua yan jiu." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/196084.
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In the discipline of Historical Geography, capital location and planning of administrative districts are crucial issues. Since they have often been considered as two separate topics, attention, if any, has scarcely been paid to the relationship between them. The capital of China was transferred eastwards from Chang’an in the Tang dynasty to Kaifeng in the Song dynasty and then to Dadou in the Yuan dynasty, a critical transitional period in Chinese history which spanned three dynasties and seven hundred plus years. The way how administrative districts were planned changed with these transfers. This research investigates the relationship between the location of capitals and the planning of administrative districts with reference to these three dynasties.
This thesis is comprised of eight chapters. The first one is an introduction, which briefly discusses how Confucianism sees the relationship between the location of capitals and the planning of administrative districts. This chapter also includes a literature review, research methodologies and the significance of this research.
What follows is an elucidation of the Centre Theory (Juzhonglun居中論), which is concerned with the location of the capital. The chapter will probe into how the theory came into being, its significance, where the centre of ‘the world’ (tianxia天下) was, and look into how this theory was influential as a factor in determining the location of the capital before the Tang dynasty.
The third chapter explains the locations of the capitals in the three dynasties with reference to the Centre Theory. It was found that the location of the capitals in the three dynasties accorded with the principles of the Centre Theory, despite the fact that the territory, the river system that transported grain to the capital, and the idea of ‘the world’ in the eyes of the ruler were all different in the three dynasties.
The fourth chapter explores the relationship between the capital and the jingji (the capital city and its environs京畿), including the area of the jingjiin the Tang, Song, and Yuan dynasties, the evolution of the jingji system, and the significance of setting up the jingji.
Chapter five is a study on the relationship between the location of the capital city and the sub-capital. The sub-capital, which was complementary in nature, was usually not far away from the capital city and would move with the transfer of the capital.
Whilst the sixth chapter examines the relationship between the location of the capital and the establishment of higher administrative districts, chapter seven analyses the relationship between the location of the capital and the distribution of prefectures and counties. With the relocation of the capital from Chang’an to Dadou, these seven hundred plus years witnessed a gradual clustering of prefectures and counties in the east.
The last chapter is a generalisation of how the planning of administrative districts transformed with the transfer of capital cities from the Tang to Yuan dynasties.published_or_final_version
Chinese
Doctoral
Doctor of Philosophy
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Choi, Alan Kwei Hang. "The spirituality of pilgrimage a comparative study of Chinese and Christian pilgrims with particular reference to Qu Yuan, Wang Yang Ming, Augustine and Julian of Norwich /." Theological Research Exchange Network (TREN), 1992. http://www.tren.com.
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Leung, Cho-nga. "To serve the government or not a study of the views of Chinese Literati in the Jiangnan region during the late Yuan and early Ming periods = Yuan mo Ming chu Jiang nan di qu zhi shi fen zi de 'shi' yu 'yin' guan nian yan jiu /." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B39707490.
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Chen, Qiu-Yin, and 陳秋吟. "The Image of Qu-Yuan''s Fu-poetry." Thesis, 1997. http://ndltd.ncl.edu.tw/handle/21030017481673126144.
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HUA, CHANG CHUN, and 張純華. "The Qu Yuan drama selection discussion researches —Take《Qu Yuan》 the television drama as an example." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/18428528965898820737.
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Jien, Long Chuen, and 簡隆全. "The Research of Anchoritic Consciousness in Yuan Dynasty Verse （Yuan San-Qu）." Thesis, 1995. http://ndltd.ncl.edu.tw/handle/55368471755373941761.
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Wei-Jung, Jen, and 任偉榕. "The Study Of North Qu Yuan Zhou That During Yuan And Ming Dynasties." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/c3v7sn.
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碩士東吳大學
中國文學系
101
Rhyming Dictionary unsolicited discussed North Qu Yuan Zhou Deqing who compete to Chung Yuan Yin Yun for the case, whether it is cut from the music point of view, or that is based phonology as the focus, and book related research pieces are much too large to cope lift. However, North Qu Bu Wei Rhyming Dictionary Chung Yuan Yin Yun, Throughout the Yuan and Ming dynasties, there Yuan Zhuo Chih Chung Chou Yueh Fu Yin Yun Lei Bian, and Ming dynasty Zhu Quan Chiung Lin Ya Yun, Chen Duo Tsz Lin Yun Shih, Wang Wen Bi Chung Chou Yin Yun, Fan Shan Jen Chung Chou Chiuan Yun. And although this five books exist, then the researchers compared the Chung Yuan Yin Yun as small, and discuss the Chung Chou Yueh Fu Yin Yun Lei Bian, who are mostly known for its presentation style and the Chung Yuan Yin Yun, a book time-dependent, and its accompanying theory its books after the Ming dynasty four Rhyming Dictionary although many journal articles and graduate, doctoral dissertation specialized research, then mostly cut from the perspective of phonology, study its tone choreography reflected phonology. Previous studies by Ming Dynasty North Qu Yuan Zhou to phonology as the focus, not cut from the Traditional Opera point of view and researchers, this premise, the author wants on the Yuan and Ming dynasties North Qu Rhyming Dictionary for the study of the scope for the author of the book, creative motivation, published time, presentation style, version, etc. for in-depth study and research, and the development of phonology affected by the contemporary and future generations Rhyming Dictionary Rhyming Dictionary compilation mostly based on previous generations, so I want through Yuan and Ming dynasties North Qu Yuan Zhou of presentation style compared to the same era to understand a book Rhyming Dictionary, as well as the Yuan and Ming dynasties North Qu Yuan Zhou of the similarities and differences with the inheritance relationship.
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曾尚志. "A study on Yuan You of Qu Yuan－take the viewpoint of Qi Gong theory." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/51336325596947334060.
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Lee, Yu-Huai, and 李予懷. "The Yun and Qu of dining from Yuan Hongdao's works." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/52688359388049385516.
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碩士臺北市立大學
中國語文學系
103
In the late Ming Dynasty, it was an era with prosperous economic and commercial tradings. Within the abundant cultural activity, a unique aspect toward life was generated, which we refer to as “Yun and Qu”. Yuan Hongdao is therefore a significant Gongan school litterateur represent the magnificent culture in the late Ming Dynasty. The research paper aims to present the perspective of Yun and Qu embedded in the food culture from Yuan Hongdao’s works. Followed by the review of four dimensions of “aesthetic conception”, “dining observation”, literature theory”, and “spiritual concept” respectively that others have studied, we come out a new perspective. In sum, there is no related research about Yun; the study of Qu does exist but with different angle. The paper hence to review the historical research papers related to the theme and come up with a new conclusion that is not being discussed in other works. In the paper, it starts with the Yuan Hongdao’s definition on “Yun and Qu”. Followed by probing into Yuan’s conceptual dining and lead the readers into Yuan’s spiritual world from his thoughts. Yun from Yuan Hongdao’s perspective is mindless and relief. Mindless comes from a person’s self-cultivation toward life, and it is not affected by five senses. Relief is to get rid of seeking fame and fortune and content to be oneself. There are three levels in Qu. First is the sense of amusement. It means a person who is surrounded by the amusement without even notice its existence. It is the true essence of Qu. Second is to live in obscurity. It illustrates a concept that a person enjoys the amusement without purposely pursuing it. Third is to illustrate a concept that a person knows what is amusement and purposely pursue it by ignoring others judgment and only follow his heart. The three levels of Qu come to one principle – to beyond being an ordinary and to experience the beauty of life by own nature in heart. To elaborate Yun and Qu from Yuan Hongdao’s perspective into the dining concept, the paper focuses three aspects – food in season, the true taste of food and the attitude toward fresh and delicate food. Finally, to combine Yuan Hongdao’s Yun and Qu’s perspective and the dining concept, we can therefore observe his life through games played during drinking wines and teas, interaction with friends and the life quality presented by dining utensils. Hence, a new angle of Yuan Hongdao’s unique dining aspect is constructed.
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Chen, Hung-I., and 陳弘羿. "The Study of Belief about Qu-Yuan Temple in Bei-Tou." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/44050406732757761008.
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碩士國立臺北大學
古典文獻與民俗藝術研究所民俗藝術組
101
Qu-Yuan Temple is located in Chau-Mei community of Bei-Tou district in Taipei, Taiwan and it is the only one temple in Taiwan to be scared to the person, Qu-Yuan. Why does so specific Temple exist here? What are differences between Qu-Yuan temple and other temples regarding religion and festivals? While Chau-Mei community is going to be rebuilt as Shilin-Beitou Technology Park later, how the existence of the Qu-Yuan Temple is continued and developed? The subjects are deserved to study and discussion. First of all, the ways to realize the history and the current situation such as local humanity and transition of geographic setting of Chau-Mei community are included document analysis, filed investigation and to attend activities hold in Chau-Mei community personally. Then, those are probed with respect to the history and development of Qu-Yuan Temple as well as the Dragon Boat Race Customs widely circulated in Chau-Mei community. Finally, it is studied and observed how the belief from Qu-Yuan Temple influences the education and tourism locally in Chau-Mei community. A lot of interesting and meaningful activities including the belief of temple, the season diet, folk custom sports as well as folk entertainment are hold in Chau-Mei Culture Festival in the Dragon Boat Festival. The Chau-Mei residents have the strong sense of belonging to Chau-Mei community and Qu-Yuan Temple through those activities. Meanwhile, local economics and tourism are also droved. Especially, these Taiwan’s traditional folk activities are promoted into international by the participation from foreign officials, friends, and students. Certain temples with the belief of River God, which are similar to the belief of Qu-Yuan Temple, are located in downstream area of Danshui River. Those temples also hold dragon boat races in the Dragon Boat Festival. Due to the differences in geographic setting and in the way to hold those activities, the outcomes resulting from the other temples’ culture festival are not the same as that from Chau-Mei Cultural Festival. Qu-Yuan Temple integrates the natures of hometown god, business god, guardian angel and household god under the different spatio-temporal background. However, while Chau-Mei community is on the point of being rebuilt as Shilin-Beitou Technology Park, it is definitely going to be changed regarding the belief about Qu-Yuan Temple, Chau-Mei Culture Festivals, and Dragon Boat Race Customs. The study records the situations and activities of Chau-Mei community as well as Qu-Yuan Temple before Chau-Mei community is rebuilt as Shilin-Beitou Technology Park. At the same time, the study also point out that the belief regarding household god of Zhangzhou group is different from that of Quanzhou group under the downstream area of Danshui River. Finally, the study also provides some suggestions regarding how the existence of the Qu-Yuan Temple is continued and how the belief of household god is changed.
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Lin, Hsin-Yu, and 林信宇. "A study on Bun-ya Koh ,s compositions based on Qu Yuan." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/34n93d.
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碩士國立臺北藝術大學
音樂學研究所
101
Bun-ya Koh (1910-1978), as the 1930s Taiwan’s representable composer, who was born in Taiwan, and he went to Japan to study vocal music and composition with Japanese famous composer Kosaku Yamada (1886-1965) during his teenager time. At 1938s, he moved to mainland China, but also because of the Cultural Revolution implicated, that in his later years, overwork, the sharp drop in the number of works, or even disappeared in the music. In recent years, Taiwan, Japan, China, have sprung Bunya Koh music study, play and conserve, so that Bunya Koh ‘s music could be conserved to this day. During Bun-ya Koh’s compositions, there were three works relates with Qu Yuan, that is, vocal piece ‘ Admire the soul’, piano work ‘In Memory of Qu Yuan on Dragon Boat Festival Day’, and a symphonic poem ‘Memorial to QuYuan’. The three compositions are the research object of this thesis, through music feature and music semiotics analysis trying to find Bun-ya Koh’s Qu Yuan compositions characteristic and the relationship to himself.
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Meng, Liuxi. "Qu Bingyun (1767-1810) : one member of Yuan Mei’s female disciple group." Thesis, 2003. http://hdl.handle.net/2429/15099.
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Qu Bingyun (1767-1810) took the leading role in a famous group of female poet in eighteenth-century China known as "The Female Disciples of Yuan Mei." This study explores the development and accomplishments of Qu as a poet and examines her unique poetry with special attention to her dynamic interrelation and interaction with her contemporaries. This dissertation begins with an introduction to the primary source for this research, the socio-cultural background of eighteenth-century China in which women's literature developed. Chapter II describes the connection between Qu's poetic engagement and her family's background, and Chapter III gives an account of her family's poetry circles and her relationships with them. The interaction between Qu and other members of Yuan Mei's female disciple group in her region re/shaped her poetic concepts, allowed her to advance to the level of an expert poet, and gained her recognition. Chapter IV deals with the interaction between Qu and other members of her group, and Chapter V examines the reading of and comments on Qu's poetry by her group. Qu's poetry is primarily family-oriented, revealing her domestic life and her social networks. Chapter VI views her poetic worlds in the framework of interrelations and interactions within the family and society, and the last chapter sums up the implications of her accomplishments as a poet and evaluates her creations in the contexts of Chinese literature and women's literature. Qu honoured women's experience as the source of autonomous art and her poetry opens up the world of a gentry woman's private life and feelings to an extent had not seen much before in classical Chinese poetry. Qu, together with her female contemporaries, broadened the scope of Chinese literature by bringing new themes to it and introducing a genial style of poetry. Qu also constantly sought connections with other people, and it was during the course of interaction with them that her poetic career developed. This experience of hers sheds light on the large increase in the number of women writers in seventeenth- and eighteenth-century China: women joining together with women to write poetry.
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Mei-Hsin, Hong, and 洪梅馨. "A Study of Phonological Problems in " Yin Shin " of " Yuan Qu Xuan "." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/vecr75.
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碩士輔仁大學
中國文學系
102
“Yuan Qu Xuan” is edited by Zang MaoXun. There are one hundred dramas in the book, including ninety-four of Yuan dynasty and six of Ming dynasty. In most of paragraphs of the dramas, Zang MaoXun had written some paragraphs about “Yin Shin” to explain the pronunciation or variant scripts of words. Due to the issues of this thesis, some of “ Yin Shin “ ,that unconcerned with the phonological problems, are within the scope of this study. In the previous studies, most of the discussion are focus on the enterings tone of Chinese characters, and some of on the phonetic system or the pronunciation reference of “ Yin Shin “.Those previous researchers had tried to use different viewpoints and methods to solve the phonological problems of " Yin Shin“ in their studies. Unfortunately, without making a connection with the text and the style of poetry and literary composition of the dramas, they were unable to justify their own argument in some particular instance. On the basis of the previous studies, this study is expected to find the answers of the particular instance and the questions of the enterings tone by linking up the “ Yin Shin” with the text and the style of poetry and literary composition of the dramas.
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"Love in Yuan za-ju: a comparative, psychological study." Chinese University of Hong Kong, 1987. http://library.cuhk.edu.hk/record=b5885925.
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Hsu, Chia-Ping, and 許嘉玶. "On the thought about the tragedy of "Shihchi. Qu Yuan Jia Yi the biography"." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/98689114028118996834.
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碩士華梵大學
東方人文思想研究所
99
Shihchi is the first authorized history and the general history presented in a series of biographies in China. The author, Sima Qian, gave a tragic view of the book, which was highly related to his miserable experiences. Therefore, Sima Qian showed the view when he focused on the contradiction particularly which happened between individual noble minds, the society, and politics. When talking about Qu Yuan’s book, Lament, Sima Qian said, “Qu Yuan was intended to be pent-up emotion, not through the channel also” (Shihchi .Tai Shi Gong preface). Moreover, Sima Qian mentioned himself after reading the book, “I feel sorrow for Qu Yuan's unrealized ambition in his whole life. When I went to Changsha and visited the place where Qu Yuan drowned, I could not help stopping tears because thinking of his patriotic sentiment.” (Shihchi .Qu Yuan Jia Yi the biography) In the early Han Dynasty, Jia Yi had similar experiences to Qu Yuan, so Sima Qian wrote biography together. This paper is going to talk about the tragical ideology of Shihchi by the Qu Yuan Jia Yi the biography.
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Shyr, Mu-Ming, and 石牧民. "A Reflection and Reasearch on the Context and Discourse of Qi-Biao-Jia''s Yuan-Shan-Tang-Qu-Pin and Yuan-shan-Tang-Ju-Pin." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/89685961917631092078.
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碩士國立臺北藝術大學
戲劇學系碩士班理論組
93
Throughout his life, being the son of a bibliophile and living in the turning point of Ming and Qing dynasty, Qi-Biao-Jia found himself dealing with the chaos and collapse of the "meaning" and "value" systems. The bibliophile and bibliography background of his life and his father''s had become the prime metaphor of Qi-Biao-Jia''s doings and works, which is the resistance of being bewildered or lost among the infinity of this world, or, "the knowledge". On the other hand, it is to say, to use a bibliography structure to prevent the chaos or the collapse of the meanings and values as a usual phenomenon of this world. Among his works, Yuan-Shan-Tang-Qu-Pin and Yuan-Shan-Tang-Ju-Pin are the most important realization of that metaphor. Not only being detailed catalogs of the Chuan-Qi and Za-Ju scripts but Yuan-Shan-Tang-Q0-Pin and Yuan-Shan-Tang-J&-Pin are also the projection of Qi-Biao-Jia''s own concepts of contemporary drama writing and performing during his time. Moreover, Yuan-Shan-Tang-Qu-Pin and Yuan-Shan-Tang-Ju-Pin, as a kind of "space" or "field”, contained the critiques and discourses that Qi-Biao-Jia performed upon the scripts. And that format, critiques and discourses input in a "space" or "field”, symbolized the confrontation of the reader and the text, the confrontation of parallel or different concepts：even more, the confrontation of the "Reader" and "Writer". Meanwhile, the format of Yuan-Shan-Tang-Qu-Pin and Yuan-Shan-Tang-Ju-Pin shares the similarity in a constructive way with that prime metaphor of Qi-Biao-Jia''s. For Qi-Biao-Jia, to program a bibliography structure is to grant a specific and proper position to any give title, any given meaning, any given value and, speaking of Yuan-Shan-Tang-Qu-Pin and Yuan-Shan-Tang-Ju-Pin, any given script. Those positions are mutual-related. Through the writing of Yuan-Shan-Tang-Qu-Pin and YUan-Shan-Tang-Ju-Pin, Qi-Biao-Jia tried to confirm that only through being related to other objects could a single object obtain its solid, complete meaning. Otherwise, should there be no relationship between·isolated individuals, every single object would lose its capacity of being recognized and specified. That would well be so called the chaos and collapse of the meaning or value system. In short, the bibliophile and bibliography metaphor that Qi-Biao-A inherited from his fathe「the resistance of being bewildered or lost among the infinity of this world, the concept that Qi-Biao-Jia himself and the critiques and discourses of Yuan-Shan-Tang-Qu-Pin, Yuan-Shan-Tang-Ju-Pin being the "spaces" or "fields" of confrontation, formed the basic context of Qi-Biao-Jia''s Yuan-Shan-Tang-Qu-Pin and Yuan-Shan-Tang-Ju-Pin.
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CHEN, LI-CHU, and 陳麗珠. "“Not Regrettable” and “No Hatred”—The Compare and Comparison between Qu Yuan and Su Shi’s Feelings in Lives." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/7tuat5.
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碩士明道大學
中國文學學系(碩士班)
106
Abstract Since Confucianism advocated “The student, having completed his learning, should apply himself to be an officer,” many Chinese intellectuals have embraced their ideal to embark on the official career. However, not everything came out as they planned. In order to relieve the frustration, most people turned out to devote themselves to writing literature. Among them, Qu Yuan and Su Shi are classified as the most classicexiled poets. Based on Qu Yuan and Su Shi’s literature, the research purpose of this thesis is to explore the development and evolution of Qu Yuan and Su Shi’s feelings in life. The focus is on Qu and Su’s era and life experience, becoming an official or being exiled, their writing towards life, and the influence of being officials. On one hand, Su Shi’s inheritance and new changes from Qu Yuan is examined. On the other hand, the literary value of Qu and Su’s life writingisfurther affirmed. As for the methodology, the researcher takes Qu Yuan and Su Shi as the research objects, adopts different perspectives, and then compares and analyzes Qu Yuan and Su Shi’s development of feelings in lives. With the view to presenting Qu and Su’s development path of feelings in lives, the current thesis is divided into the following five chapters. Chapter One explores the consciousness: Qu and Suare in the similar environment. In terms of internal affairs, both Qu and Su were expelled. As for the inner spiritual aspects, both of them used writing to deal with the obstacles in life. Hence, the current thesis aims to compare the similarities and differences between Qu and Su’s literature. Chapter Two discusses Qu Yuan and Su Shi’s objective environmental background. From Qu Yuan of the Warring States to Su Shi in Northern Song Dynasty, Su Shiinherited Qu Yuan’s spirit and had some changes. The background of the times, the ancient theory, the origin of the family and the natural blend of personal emotionare elaborated as the basis of the following chapters. In Chapter Three, Qu Yuan and Su Shi’s determination of being an official and retiring from political life are discussed. To begin with, their perspectives of being an official or not are investigated. Next, Qu and Su’s thoughts of giving up the countries are examined.At last, Qu and Su’s thoughts on being exiled are explored. The similarities and differences discussed in the current thesis reflected Qu and Su’s similar environmental background and their inner difference.Theirpath inspired human beings to have the courage and wisdom when they encounter the sorrow in life. Chapter Four explores Qu and Su’s conscious thinking in writing, including the symbolic meaning while they were awake or drunk, the ways they expressed their emotions, the paradigm of expressing their feelings, and so on. Quwas unwilling to give in to the realitybecause he is the person who sticks to noble sentiment. Suunderstood how Qufelt and expressed his understanding and admiration toward Qu through his writing. In Su’s writing, he praised Qu Yuan’s personality. Chapter Five is the conclusion. The above findings are examined and reviewed in this chapter. This thesis examines the emotional tone of Qu and Su. The former was depressed, while the latter was high-spirited. As for Qu and Su’s attitudes toward life, the former was indignant and persistent, and the latter was moreliberal and open-minded. However, the spiritual states of them were different from each other. That is, there is the inheritance and new change between Qu and Su.
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"屈原行義王逸說考辨 =: A study on the practice of rightness of Qu Yuan criticized by Wang Yi." 1994. http://library.cuhk.edu.hk/record=b5888108.
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論文(哲學碩士)--香港中文大學硏究院中國語言及文學學部,1994.參考文獻: leaves 383-410
許子濱.
Chapter 第一章： --- 緒言
Chapter 1. --- 研究主旨 --- p.001-002
註釋 --- p.003
Chapter 2. --- 本文所據王逸《楚辭章句》版本述略 --- p.004-014
註釋 --- p.015-018
附圖 --- p.019-020
Chapter 第二章： --- 王逸生平及學術考 --- p.021-063
註釋 --- p.064-071
附圖 --- p.72
Chapter 第三章： --- 兩漢屈原論平議 --- p.073-117
註釋 --- p.118-126
Chapter 第四章： --- 王逸以「忠信之篤、仁義之厚」說屈志考略 --- p.127-151
註釋 --- p.152-153
Chapter 第五章： --- 「同姓無相去之義」考辨
Chapter 一、 --- 王逸述屈原世系及官職考 --- p.154-166
註釋 --- p.167-170
附圖 --- p.171
Chapter 二、 --- 釋「同姓」 --- p.172-192
註釋 --- p.193-196
Chapter 三、 --- 「同姓無相去之義」說彙考
Chapter 1. --- 王逸以降言《楚辭》者「同姓無相去 之義」說輯述 --- p.197-196
註釋 --- p.220-224
Chapter 2. --- 駁「同姓無相去之義」說輯述 --- p.225-230
註釋 --- p.231
Chapter 3. --- 當代有關屈原「同姓」問題論爭辨疑 --- p.232-254
註釋 --- p.255-256
Chapter 四、 --- 「同姓無相去之義」源流考 --- p.257-308
註釋 --- p.309-317
Chapter 五、 --- 「異姓有去國之義」論 --- p.318-326
註釋 --- p.327-329
Chapter 六、 --- 據「同姓無相去之義」定《楚辭章句》
序文作者辨謬 --- p.330-334
註釋 --- p.335
Chapter 第六章： --- 屈原待放及放逐考 --- p.366-354
Chapter 1. --- 待放
Chapter 2. --- 放逐
Chapter 3. --- 居夷與水死
註釋 --- p.355-357
附圖 --- p.358-359
Chapter 第七章： --- 屈原精合真人考 --- p.360-375
註釋 --- p.376-378
附圖 --- p.379
Chapter 第八章： --- 結語 --- p.380-381
註釋 --- p.380-382
參考書目及論文目錄 --- p.383-410
附錄：《楚辭章句》序文作者新說駁議 --- p.411-443
註釋 --- p.444-453
23
"元明清「李白戲」研究." 2008. http://library.cuhk.edu.hk/record=b5896798.
Full textAbstract:
張惠玲."二〇〇八年十一月".
"2008 nian 11 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2008.
Includes bibliographical references (leaves 97-105).
Abstracts in Chinese and English.
Zhang Huiling.
Chapter 第一章 --- 引言 --- p.1
Chapter 第一節 --- 選題意義 --- p.1
Chapter 第二節 --- 前人硏究成果 --- p.2
Chapter 第三節 --- 本文硏究範圍及方法 --- p.2
Chapter 第二章 --- 現存元明清李白戲作品敘錄 --- p.4
Chapter 第一節 --- 王伯成《李太白眨夜郎》 --- p.8
Chapter 第二節 --- 屠隆《綵毫記》 --- p.9
Chapter 第三節 --- 尤侗《清平調》 --- p.10
Chapter 第四節 --- 張韜《李翰林醉草清平調》 --- p.11
Chapter 第五節 --- 楊潮觀《賀蘭山謫仙贈帶》 --- p.12
Chapter 第六節 --- 蔣士銓《采石磯》 --- p.13
Chapter 第三章 --- 元明清李白戲中相同關目之源流及發展梳理 --- p.15
Chapter 第一節 --- 生應長庚 --- p.16
Chapter 第二節 --- 謫仙人 --- p.18
Chapter 第三節 --- 醉草〈清平調〉 --- p.24
Chapter 第四節 --- 力士脫靴 --- p.26
Chapter 第五節 --- 貴妃捧硯 --- p.28
Chapter 第六節 --- 起草「嚇蠻書」 --- p.34
Chapter 第七節 --- 賞識郭子儀 --- p.36
Chapter 第八節 --- 逝世 --- p.38
Chapter 第九節 --- 小結 --- p.39
Chapter 第四章 --- 元明清李白戲中李白形象硏究 --- p.40
Chapter 第一節 --- 李白戲中李白形象之共性分析 --- p.40
Chapter 甲、 --- 歷劫紅塵的仙人形象 --- p.40
Chapter 乙、 --- 傲岸疏狂的才子形象 --- p.42
Chapter 丙、 --- 深識遠慮的忠臣形象 --- p.46
Chapter 丁、 --- 飄然出世的隱士形象 --- p.49
Chapter 第二節 --- 李白戲中李白形象之殊性分析 --- p.52
Chapter 甲、 --- 元代李白戲 --- p.52
Chapter 乙、 --- 明代李白戲 --- p.54
Chapter 丙、 --- 清代李白戲 --- p.55
Chapter 丁、 --- 小結 --- p.62
Chapter 第五章 --- 元明清李白戲之鋪演與作家、時代之關係 --- p.64
Chapter 第一節 --- 高壓政治下的王伯成 --- p.64
Chapter 第二節 --- 自況雪冤的屠隆 --- p.66
Chapter 第三節 --- 蹭蹬場屋的尤侗 --- p.71
Chapter 第四節 --- 無限牢騷的張韜 --- p.79
Chapter 第五節 --- 以古賢自期的楊潮觀 --- p.80
Chapter 第六節 --- 以曲爲教化的蔣士銓 --- p.83
Chapter 第七節 --- 小結 --- p.88
Chapter 第六章 --- 餘論：現存唯一能演出之崑劇李白戲´ؤ´ؤ〈太白醉寫〉 --- p.91
Chapter 第七章 --- 結論 --- p.96
參考書目 --- p.97