To see the other types of publications on this topic, follow the link: Women poets, Chinese Chinese poetry Chinese poetry.
Dissertations / Theses on the topic 'Women poets, Chinese Chinese poetry Chinese poetry'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 36 dissertations / theses for your research on the topic 'Women poets, Chinese Chinese poetry Chinese poetry.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Park, Christopher 1966. "La modernité poétique des femmes chinoises : écriture et institution." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56656.
Full textAbstract:
Women's poetic writing in modern China, its context and position in literary history as well as its ideological and social constitution are at the root of this thesis' subject. Having stated my intellectual and personal limitations regarding its writing as an introduction, examples of contemporary women's poetic text will serve to broaden its conclusion. My analysis begins with a reflection on its own terminology in philosophical debate, followed by a study of the modernist background that from 1977 leads to what is termed as neo-modernity in literature. A paradox in the women's avant-garde of antipatriarchal antagonism against the literary institution will be illustrated by examples of critical text on women's poetic production. My point is to address this paradox with the identification of false values placed from the very beginnings of poetic modernity on women's poetry within the avant-garde.
2
Li, Xiaorong 1969. "Rewriting the inner chambers : the boudoir in Ming-Qing women's poetry." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100645.
Full textAbstract:
My dissertation takes the social and symbolic location of women---the inner chambers [guige or gui]---as a point of departure to examine Ming-Qing women's unique approach to the writing of poetry. In Ming-Qing China, women continued to be assigned to the inner, domestic sphere by Confucian social and gender norms. The inner chambers were not only a physically and socially bounded space within which women were supposed to live, but also a discursive site for the construction of femininity in both ideological and literary discourses. The term gui embraces a nexus of meanings: the material frame of the women's chambers; a defining social boundary of women's roles and place; and a conventional topos evoking feminine beauty and pathos in literary imagination. Working with the literary context of boudoir poetics, yet also considering other indispensable levels of meanings epitomized in the cultural signifier guige, my dissertation demonstrates how Ming-Qing women poets re-conceive the boudoir as a distinctive textual territory encoded with their subjective perspectives and experiences. Compared with the poetic convention, the boudoir as inscribed in Ming-Qing women's texts is far more complex as its depiction is informed by nuances in their historical, social and individual experiences.
3
Huang, Qiaole 1976. "Writing from within a women's community : Gu Taiqing (1799-1877) and her poetry." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81496.
Full textAbstract:
This thesis examines the life and poetry of the woman poet Gu Taiqing (1799-1877) within the context of a community of gentry women in mid-nineteenth century Beijing. This group of women was a "community" in the sense that their contact, sociability, friendship and poetry writing were meaningfully intertwined in their lives. The thesis is divided into three interconnected chapters. Two separate biographical accounts of Gu Taiqing's life---one centered around the relationship with her husband, and the second around her relationship with her female friends---are reconstructed in the first chapter. This biographical chapter underlines the importance of situating Gu in the women's community to understand her life and poetry. The second is comprised of a reconstruction of this women's community, delineating its members and distinctive features. In the third chapter, a close-reading of Gu's poems in relation to the women's community focuses on the themes of xian (leisure), parting, and friendship. This chapter shows how each of these themes are represented by Gu and how her representations are closely related to the experiences of this women's group.
4
Chan, Kar Yue. "Ambivalence in poetry : Zhu Shuzhen of the Song Dynasty." Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/28704.
Full textAbstract:
Many people in the past praised Chinese literature partly because of the glamour revealed in splendid poetry, and in creating these poetry male poets have proved their excellence. Conversely the contributions of women poets have seemed much less significant in the history of traditional Chinese literature. Among the relatively small number of famous women poets in China, Zhu Shuzhen (11357-1180?) is certainly worthy of discussion, but she has not received much critical attention, in part because of the lack of reliable biographical information. Although some of Zhu Shuzhen's poems have been seen by some scholars as disgraceful, it is nevertheless valuable to explore the inner world and poetic indications of the voice projected from the poems in an objective way. However, as the number of poems attributed to Zhu Shuzhen is large, despite living under an atmosphere that discouraged the writing of poetry by women, her name is undoubtedly significant in the development of female poetry. Western theories of gender representation and the development of self in literature have been used as the main sources and frameworks for research in this thesis. The aesthetic values in Zhu Shuzhen's original verse have been retained through my translations by selecting the best appropriate original versions in different editions. Comparisons between Zhu Shuzhen and Yu Xuanji fa, (8447-868?), a woman poet in the Tang Dynasty, reveal similarities and differences which distinguish the two in terms of their resistance to the code that cast women as inferior. This thesis will analyse Zhu Shuzhen's ambivalent mind as revealed in her poetry through her contradictory statements, ideas and images regarding the notion of being a good wife on the one hand, and, on the other hand, of a woman suspected of conducting an extramarital affair.
5
Tse, Wai-lok. "Female singers and the ci poems of the Tang and Song periods Ge ji yu Tang Song ci /." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38322110.
Full text
6
Tse, Wai-lok, and 謝煒珞. "Female singers and the ci poems of the Tang and Song periods=." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38322110.
Full text
7
戚本盛 and Pun-shing Babie Chik. "A study of Dai Wangshu's poetry." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1992. http://hub.hku.hk/bib/B31210739.
Full text
8
張為群 and Wai-kwan Cheung. "The monk-poets of the mid-Tang period." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31220617.
Full text
9
戴穗華 and Sui-hua Dai. "A critical study of the poetry of Xu Hun (788-867?)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31225925.
Full text
10
Zhu, Shaozhang. "Xian dai xin shi ren jiu ti shi yan jiu = Study of Chinese classical poetry written by modern Chinese poets /." click here to view the abstract and table of contents, 2002. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisab.pl?pdf=b17563586a.pdf.
Full text
11
Chen, Zhihong. ""Jin tian" shi qun yan jiu = A study on Today's poems and poets /." click here to view the abstract and table of contents, 1998. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisab.pl?pdf=b15646506a.pdf.
Full text
12
Li, Xiaorong 1969. "Woman writing about women : Li Shuyi (1817-?) and her gendered project." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33300.
Full textAbstract:
This thesis examines the life and poetry collection of the woman poet Li Shuyi (1817--?) within the context of women's literary culture in late imperial China. In particular, the textuality of Li Shuyi's poetry collection Shuyinglou mingshu baiyong (One Hundred Poems from Shuying Tower on Famous Women) forms the centre of critical analysis, which aims to articulate her gendered intervention into representations of women's image in poetry. The thesis is organized into three interconnected sections: the reconstruction of Li Shuyi's life in order to provide a context to articulate her relationship to writing, a reading of Li Shuyi's self-preface to discuss her motivation to write, and critical analysis of poems according to the three thematic categories of "beauty, talent, and qing ." The thesis demonstrates how a woman author's self-perception leads to her becoming a conscious writing subject, and how this self-realization then motivates her to produce a gendered writing project.
13
Dayton, D. "Big country, subtle voices three ethnic poets from China's southwest /." Connect to full text, 2006. http://hdl.handle.net/2123/1630.
Full textAbstract:
Thesis (M.A.)--University of Sydney, 2007.Title from title screen (viewed 25 March 2008). Submitted in fulfilment of the requirements for the degree of Master of Arts to the Dept. of Chinese Studies, Faculty of Arts. Degree awarded 2007; thesis submitted 2006. Includes bibliographical references. Also available in print form.
14
Sarvis, Will. "T'ao Yüan-ming as reflected in his poetry." Thesis, Virginia Tech, 1990. http://hdl.handle.net/10919/42153.
Full textAbstract:
T’ao Yüan-ming (365-427 A.D.) remains China's greatest medieval poet. While no adequate biographical sources exist, the poet’s own work presents the most intimate picture of T’ao Yüan-ming himself, in addition to reflecting various aspects of his historical and cultural era. This essay explores T’ao Yüan-ming’s character as reflected in his verse. When poised against a broader historical and cultural background, T’ao Yüan-ming’s poetry goes furthest in revealing the poet as an individual as well as a product of his times.Master of Arts
15
Nagase, Mari. "Women writers of Chinese poetry in late-Edo period Japan." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31444.
Full textAbstract:
his dissertation investigates kanshi poems written by three Japanese women: Ema Saiko (1787-1861), Hara Saihin (1798-1859), and Takahashi Gyokusho (1802-1868). These three women from the late Edo period cultivated excellent literacy in classical Chinese and established their reputations as scholars and poets. However, their works in Chinese have been underestimated in modern scholarship. The goal of my dissertation is to re-situate these highly literary women more accurately in the discourse of "Japanese literature," while challenging established ideas about "women's literature" and "Edo literature." The introductory chapter argues against the dismissal of Edo-period women kanshi writers. Firstly, it examines the general underestimation of women writers from the Edo period and the dismissal of works written in Chinese from the category of "Japanese literature." Secondly, it investigates the late Edo-period cultural and ideological background, which supported the emergence of women kanshi writers. The next three chapters explore works of each poet. Saihin was a vigorous scholar and poet from Kyushu. She lived in Edo for twenty years, determined to make herself a successful Confucian scholar. I illuminate her complex gender identification, as presented in her poems, while describing her astounding aspirations. Ema Saiko, a scholar-painter and poet, is known for her feminine style in the genre of kanshi. While I examine her conscious use of "feminine expressions," I also present the diversity of her poetic subjects. Takahashi Gyokusho from Sendai established herself as an educator and poet in Edo. She often hosted fund-raising literary parties, and published two anthologies during her lifetime. A comparison of Gyokusho and Saihin, two female scholars who lived in Edo, elucidates how affiliations with different poetic societies affected their careers and poetry. The relative prominence of women kanshi writers in the late Edo period becomes clear through this study. The kanshi writers were, indeed, precursors of early modern Japanese women educators and writers. This dissertation bridges the literary effort by women of the Edo and Meiji periods, while contributing to a revision of the history of women's literature in Japan and correcting a distorted image of the literary environment for women of the Edo period.Arts, Faculty of
Asian Studies, Department of
Graduate
16
Qian, Fang. "Zai xi shou yu chuang zao zhong chuang jian Zhongguo de shi si xing shi : jian lun shi si xing shi de Han yu hua jin cheng = A study of the sonnets by the Chinese poets : the sonnet development in China /." click here to view the abstract and table of contents, 2001. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisab.pl?pdf=b17041466a.pdf.
Full text
17
Dayton, D. "Big Country, Subtle Voices: Three Ethnic Poets from China's Southwest." University of Sydney, 2007. http://hdl.handle.net/2123/1630.
Full textAbstract:
Master of ArtsIn the southwest corner of China, the confluence of cultural diversity and national integration have produced a new kind of voice in the Chinese language: an ethnic voice. Speaking fluently in the Chinese nation’s language and culturally beyond its Han foundations, minority ethnic writers or shaoshu minzu in China are inciting a challenge to the traditional conceptions of Chineseness. In the PRC, the re-imagining of the boundaries between ethnicity, nation, and the globe is being produced in ethnic voices that resist the monopolizing narratives of the CCP and the Han cultural center. Furthermore, in the West where the antiquated conception of China as a monolithic Other is still often employed, the existence of these ethnic voices of difference demands a (re)cognition of its multifaceted and interwoven ethnic, political, and social composition. Three ethnic poets from the southwest are examined in this thesis: Woeser (Tibetan), He Xiaozhu (Miao), and Jimu Langge (Yi). They represent the trajectory of ethnic voice in China along the paradigms of local/ethnic vision, national culture, and global connections. By being both within and outside the Chinese nation and culture, they express a hybrid struggle that exists within the collision of ethnic minority cultures and the Han cultural center. Like the hybridity of postcolonial literature, this is a collision that cannot be reduced to it parts, yet also privileges the glocal impetus of ethnically centered vision. The poets’ voices speak the voice of difference within China, the Chinese language, and Chineseness throughout the world.
18
朱少璋. "現代新詩人舊體詩硏究 = Study of Chinese classical poetry written by modern Chinese poets." HKBU Institutional Repository, 2002. http://repository.hkbu.edu.hk/etd_ra/471.
Full text
19
Lingenfelter, Andrea Diane. "A marked category : nine women of modern Chinese poetry, 1920-1997 /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/11129.
Full text
20
Au, Chung-to, and 區仲桃. "Shifting ground: modernist aesthetics in Taiwanese poetry since the 1950s." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B2554939X.
Full text
21
莊柔玉 and Rouyu Zhuang. "Mad pursuit." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1990. http://hub.hku.hk/bib/B31209683.
Full text
22
謝冰青. "文道、理法與抒情 : 乾隆時期試帖詩典範的構建 = Wen and Tao, Truth and Law, and Emotional Expression : a study on canonical shitie poets in Qianlong era." HKBU Institutional Repository, 2020. https://repository.hkbu.edu.hk/etd_oa/764.
Full textAbstract:
乾隆朝時期，清廷復起科舉試詩，此舉引發了清代試帖詩學的勃興。清 人對於試帖詩的創作熱情或許為我們揭示了一點，那就是清人在面對科舉與 文學之間的關係時，並不僅僅是敷衍或逃避，他們還可能選擇去積極調和二 者之間的關係。本文試圖藉由聚焦乾隆朝時期的代表人物，以勾勒出這一調 和的思路，進而再通過試帖來重審清代詩壇的學問化風氣。 本文共分六章。 第一章是緒論，包括研究对象、研究问题、前人研究的回顧與反思以及 研究思路。 第二章以張廷玉為中心考查了乾隆朝時期的加試試帖之爭。自唐以來， 在有關科舉試詩的爭論中，反對試詩者一直強調，文學的藝術形式會損害儒 家之道，進而敗壞士風習氣。這一爭論在清代被表達為文道之爭。張廷玉反 對任何對於科舉的激進改革，只是強調「循名責實」，要求考官選擇載道之 文，這折射了清廷崇尚實學與釐正文體的科舉政策。他也以詩賦為「風雲月 露之詞」，认為其徒重辭華，難以載道，因而激烈地反對試詩，這既反映了 崇儒重道的為政理念，也可見雍正帝個人的文學理念。 第三章主要討論乾隆帝的創作理念與創作實踐。我們可以發現，一方面 ，他試圖以詩教持論將試帖納入科場文道關係之中，另一方面，他將試帖定 義為末技，以防士子沉迷雕琢文辭。儘管乾隆帝試圖以道德化和學問化的方 式來寫作試帖，但他也並不能完全抵禦文學遊戲式的快樂，更無法抵抗試帖 詩本身的文體慣性，因而出現了實踐與創作的分離。同時，他也似乎並無意 為科場試帖提出一種同一的評判標準, 這也讓考官擁有了一定的自由裁度的 空間。 第四章專論被清人視為典範的紀昀。本文從紀昀的「體卑」論與「同源 別派」論出發考察了紀昀的試律詩學。由此發現，紀昀認為，就道而論，試 帖離道頗遠，就文而言，其自身藝術形式亦有頗多弊病。所以他選擇用理法 來平衡文與道之間的關係，紀昀削弱了道的道德含義，將試帖轉向對考察士子學問。 第五章聚焦於另一典範吳錫麒。他的試帖之作與理念呈現出了一種分裂 的態勢，一方面，他循規蹈，在論述與實踐上都能夠契合清廷官方所推舉的 理念；另一方面，他則打破前代教化與頌揚的傳統，以作詞之法寫作試帖， 在試帖詩中發出富於個人色彩的日常化的聲音，使得試帖富於抒情色彩。 第六章為結論。首先，我們可以發現，自張廷玉至吳錫麒，道的存在感 被不斷削弱，反之，文的重要性卻在不斷提高。但在乾隆帝、紀昀與吳錫麒 的試帖理念與創作實踐中，學問都扮演了一個及其重要的角色。所以，此章 還比較了兩位典範人物，紀昀與吳錫麒在試帖法度運用上的差異。紀昀是以 考辨學問的態度來寫作試帖，而吳錫麒則是將學問作為表現題材，同時將學 問作為一種表達手段。兩者之間的差異揭示了在學問化這一議題內部，學問 與抒情之間也在不斷角力。相較於中國文學史上的其他帝王引領的詩歌寫作 ，試帖詩理論豐富，著作繁多。科舉輻射人群廣闊，處在不同位置的寫作者 有自己的寫作策略，亦對其有不同的文體定位，這也使得其成為有清一代的 「國朝之盛」。Ever since the Qianlong era,the examinees were required to write a poem in the civil service examination, it led to the rise of Shitie poetics in this period. The enthusiasm for poetry was so strong, that when asked to rank the relative value of literature and the civil service examination, people in the Qing Dynasty chose to consider them equally important, rather than dealing with poetry in a perfunctory way. This thesis determines how the people of the Qianlong era managed to achieve this balance. It also reviews the relationship between poetry and knowledge in the Qing Dynasty, as revealed in Shitie poems. In addition to the introduction and conclusion, this thesis has four chapters. The introduction provides the basic information about the topic, including the subject, the motivation for the research, a literature review and the methodology. The second chapter presents the arguments made in the Qianglong era for adding poetry to the civil service examination. Since the Tang Dynasty, dissenters claimed that this form of the literature would not only be a threat to Confucianism, but would also lead to decadence and a loss of morals. During the Qianglong era, the argument was described as a conflict between Wen and Tao (文道之爭), and was seen as a reflection of particular ideas about the nature and use of authority. The third chapter examines Emperor Qianlong's ideas and work. He argued that the moral nature of poetry meant that it did not present a choice between Wen and Tao. However, he also defined poetry as a trivial skill, for fear that the examinee may get obsessed with poetry. Although he stressed that the composition of Shitie poems required the poet to have both morality and knowledge, he could not resist the temptation of regarding literature as a game, nor could he change the nature of this genre. Thus, there was a gap between his ideas and his work. Furthermore, Emperor Qianlong showed no interest in setting standards for judging poems in the civil examination, leaving that to the discretion of the examiners. Chapter Four discusses Ji Yun, whose Shitie poems were regarded as canonical by people at the time. He considered Shitie to be a genre that was inconsistent with the Tao, but he also thought the Wen style had many disadvantages. So, he chose to use the principles of truth and law（理法）to maintain the balance between Wen and Tao. Instead of stressing morality, he turned Shitie poetics into a tool to test the examinees' knowledge. Chapter Five focuses on Wu Xiqi, another canonical poet at that time. His work and ideas have two different characteristics. Some of his statements and work perfectly match with the official idea of Shitie as a poetic form presenting praise or moralizing. However, some of his Shitie poems talk about personal feelings and everyday life, which endow his Shitie poems with the function of emotinal expreesion. Chapter Six presents the thesis' conclusions. It also compares Ji Yun and Wu Xiqi's different principles for writing Shitie poems. Ji Yun wrote Shitie poems as a way to expand knowledge, whereas in Wu Xiqi's Shitie poetry, knowledge is often the topic of the poem. He uses knowledge to express his feelings. These different approaches to Shitie poetry illustrate the tension between the role of knowledge and lyricism in the poetry of the Qing Dynasty. Poetry writing led by the emperor had a long history in China.Yet Shitie poems gained more popularity than other genres.It's mainly due to the civil service examination.There were huge numbers of examinees writing the Shitie poems,and poets of different position had their own style.
23
劉陽河. "清代女性詩詞的日常化書寫研究= A study of women's poetry on everyday life in the Qing dynasty." HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/570.
Full textAbstract:
閨秀是清代文壇的一股新興力量，她們以獨特的女性寫作風格和視角為清代文學乃至整個中國文學注入了新鮮的水源。清代閨秀作家相較於前代，在詩詞創作方面出現一個不容忽視的特點，即在前代女作家重複傳遞的閨情閨怨之外，開拓了對日常生活的書寫。然而目前學界未有圍繞清代閨秀詩詞日常生活書寫的專著，涉及清代閨秀詩詞日常化的論文也十分稀少。有見於此，本文圍繞「清代閨秀如何書寫日常生活」這一問題展開論述，試圖彌補前人之不足。本文包含七章，除第一章「緒論」及第七章「結論」之外，二至六章的主要內容分別如下: 第二章主要通過史料文獻還原清代女性的日常生活樣貌。清代閨秀的日常生活，既有中饋理家和侍親課子等方面對於婦德的順從，又有讀書吟詠和閨外行旅等傳統婦德之外的內容。第三章以清代女性詠物詩詞為重點研究文本，主要分析詠物詩詞中大量湧現的日常化吟詠對象；同時探討詠物詩詞的日常化寫作手法和情志表達。第四章重點分析自清代才大量出現的女性家務詩詞。一方面與男性文人筆下對勞動女性的書寫作對比研究，另一方面探討家務書寫對於閨秀的意義。第五章從三個方面對清代閨秀書寫日常生活的方式進行梳理，包括拓展選材範圍、增添日記元素和關注現實生活。第六章考察清代女性詩詞日常化的原因。清代女性詩詞出現日常化的趨勢，是創作主體的改變、儒家禮儀道德規範的引導，以及文壇風氣等多重因素共同作用的結果。Elite women writers (guixiu 閨秀)were are vitalizing force in the literary field of the Qing Dynasty. With their unique gendered writing style and perspective, they brought fresh blood to Qing Dynasty literature, and in a broader sense, to Chinese literature as well. Compared with the previous generations, Qing elite women writers had a prominent feature in their writing of poetry. That is, in addition to the lyrical themes already repeatedly dealt with by earlier female writers, they started writing about their daily life. However, no monograph has been published on the writing of daily life in Qing elite women's poetry and little has been discovered on how their attention turned to the writing of daily life. This thesis fills this research gap through addressing the following question: how did Qing elite women write about everyday life? This article is divided into seven chapters, flanked by an introduction in Chapter One and a conclusion in Chapter Seven. Abstracts of Chapters Two to Six are as follows: Chapter Two outlines a reconstruction of the daily life of women in the Qing Dynasty through historical texts. It touches upon the expansion of Qing elite women's living space through comparison with previous generations. Besides taking on familial and parental responsibilities, Qing elite women expanded their living space by writing poetry and traveling. Chapter Three focuses on poems on objects (yongwu shici詠物詩詞) written by women in the Qing Dynasty. It analyzes the daily objects that appeared in a large number of poems. It also discusses the writing techniques and artistic expressions of these poems. Chapter Four focuses on women's poems on housework, a genre which did not appear until the Qing Dynasty. On the one hand, the chapter compares such poems with working women depicted by male literati; on the other hand, it discusses the significance of writing about housework for elite women of the time. Chapter Five organizes the approach Qing elite female writers had taken in writing about daily life from three aspects, namely, broadening their scope of topic selection, adding diary-like elements to their works and showing interests in family livelihood. The Sixth Chapter investigates the reasons behind the popularization of writing about daily life in Qing women's poetry. This trend is the result of a number of reasons: the change of writing subject, the guiding of Confucian moral norms and the climate of the literary circle at the time.
24
Li, Xin. "Becoming an intersubjective self, teacher knowing through Chinese women immigrants' knotting of language, poetry, and culture." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ35224.pdf.
Full text
25
Xu, Sufeng. "Lotus flowers rising from the dark mud : late Ming courtesans and their poetry." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102831.
Full textAbstract:
The dissertation examines the close but overlooked relationship between male poetry societies and the sharp rise of literary courtesans in the late Ming. I attempt to identify a particular group of men who devoted exclusive efforts to the promotion of courtesan culture, that is, urban dwellers of prosperous Jiangnan, who fashioned themselves as retired literati, devoting themselves to art, recreation, and self-invention, instead of government office. I also offer a new interpretation for the decline of courtesan culture after the Ming-Qing transition.Chapter 1 provides an overview of the social-cultural context in which late Ming courtesans flourished. I emphasize office-holding as losing its appeal for late Ming nonconformists who sought other alternative means of self-realization. Chapter 2 examines the importance of poetry by courtesans in literati culture as demonstrated by their visible inclusion in late Ming and early Qing anthologies of women's writings. Chapter 3 examines the life and poetry of individual courtesans through three case studies. Together, these three chapters illustrate the strong identification between nonconformist literati and the courtesans they extolled at both collective and individual levels.
In Chapter 4, by focusing on the context and texts of the poetry collection of the courtesan Chen Susu and on writings about her, I illustrate the efforts by both male and female literati in the early Qing to reproduce the cultural glory of late Ming courtesans. However, despite their cooperative efforts, courtesans became inevitably marginalized in literati culture as talented women of the gentry flourished.
This dissertation as a whole explores how male literati and courtesans responded to the social and literary milieu of late Ming Jiangnan to shed light on aspects of the intersection of self and society in this floating world. This courtesan culture was a counterculture in that: (1) it was deep-rooted in male poetry societies, a cultural space that was formed in opposition to government office; (2) in valuing romantic relationship and friendship, the promoters of this culture deliberately deemphasized the most primary human relations as defined in the Confucian tradition; (3) this culture conditioned, motivated, and promoted serious relationships between literati and courtesans, which fundamentally undermined orthodox values.
26
Ma, Xuecong. "The Crescent Moon School : the poets, poetry, and poetics of a modern conservative intellectual group in Republican China." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25761.
Full textAbstract:
The Crescent Moon School (新月派Xinyue pai) is a Chinese intellectual group that was active from 1923 to 1934. Its members include Xu Zhimo 徐志摩(1897-1931), Hu Shi 胡适 (1891-1962), Liang Shiqiu 梁实秋(1903-1987), Wen Yiduo 闻一多(1899-1946), Luo Longji 罗隆基(1896-1965), and many other Anglo-American educated scholars in the Republican era. Although the group was engaged in various activities, poetry was their primary concern and their most notable practice. This thesis intends to solve two problems: 1) what common values or core spirit guided the various cultural practices of the group? 2) what are the poetic features and underlying poetics of the group as a whole? To answer the two questions, this thesis firstly examines the core spirit of the group by reviewing their activities and historical development. It argues that underlying the various activities and facts, there was a core spirit shared by the group. This core spirit, which I refer to as the “modern conservative spirit”, reflected a unique understanding of modernity that was different from that of the May Fourth discourse. They understood modernity not as a negation of tradition, but as a critical synthesis and mutual conformity between the old and the new, the local and the global. I show how the Crescent Moon intellectuals acquired this core spirit, and how it was displayed in their various activities. Secondly, this thesis provides detailed textual analysis of several Crescent Moon poems and reconstructs their poetics. It argues that their poetics demonstrated three faces, i.e. a romantic temperament, a classic ideal, and a modern consciousness. The three faces coexisted throughout the poetic practice of the group, although a certain face might have dominated in a certain period. I demonstrate how the three faces were unified under the guidance of the modern conservative spirit, and I argue that the simultaneousness of the three faces embodied the modern conservative intellectuals’ pursuit of literary modernity. By discussing the core spirit and poetics of the Crescent Moon School, this thesis concludes that the group was a missing link in Republican modern conservative trend, linking the late 1910s and early 1920s neotraditionalist thinkers with the mid-1930s Beijing School writers. The modern conservative intellectuals represented a dissenting voice in the Republican era, but they were also committed pursuers of modernity and cosmopolitanism.
27
Kweon, Young. "The textual and imaginary world of Ho Kyongbon (1563-1589)." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=19659.
Full textAbstract:
This thesis is a study of the Korean woman poet Ho Kyongbon (1563-1589) and her poetry. In it, I investigate Ho's two brothers' active involvement in her literary life, particularly her younger brother Ho Kyun's publication of her poetry collection, the Nansorhon chip and promotion of her literary works to Chinese scholars. I also examine late Ming and Qing anthologies which include Ho's poetry to disclose how late Ming and Qing scholars evaluated her poetry and represented her life. I argue that the attention these critics paid to Ho's literary works and talent reflected a blossoming of women's literary culture and a rapid growth in the anthologizing of women's poetry. I also undertake an analysis of Ho's poetry, with particular emphasis on the influence of Tang poetry on her poetic practice. This analysis is accompanied by a discussion of Ho's relationship to the "Tang revival movement" in which her two brothers were fervently engaged. This relationship provides a context through which to better understand not only Ho's particular interest in emulating Tang poetry, but also the very textual qualities of her poetry.
28
Wang, Yu. "La réception des anthologies de poésie chinoise classique par les poètes français (1735-2008)." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040041.
Full textAbstract:
Notre thèse est consacrée à la réception de la poésie chinoise classique chez les poètes français à travers notamment les anthologies. Elle est divisée chronologiquement en trois parties. La Partie I couvre la période 1735-1860, antérieure à la première anthologie de poésie chinoise et où il n’est donc question que de morceaux choisis. Nous estimons que cette partie est indispensable sur les plans à la fois historique et comparatif. Sans elle, nous apprécierions peut-être moins l’arrivée des anthologies et leur contribution à l’évolution de la réception de la poésie chinoise chez les lecteurs-poètes. La Partie II commence par la parution de Poésies de l’époque des Thang. Nous débutons ainsi par un aperçu général des anthologies parues entre 1862 et 1949. Puis nous abordons la traduction de cette période et les anthologies majeures. Nous entrons par la suite dans le vif du sujet qu’est la réception de ces anthologies chez les lecteurs-poètes, tels que Paul Claudel, Segalen et Saint-John Perse. La Partie III concerne la période 1953-2008. Nous abordons d’abord la diffusion et la traduction des anthologies de cette période. Puis nous parlons en détail des trois sortes d’anthologies produites par les traducteurs professionnels, les sinologues et les poètes, sans oublier de réserver un chapitre à des anthologies majeures. Enfin, nous étudions les poètes contemporains qui lisent la poésie chinoise traduite avec leurs différentes modalités de réception. Dans la réception, le plus intéressant n’est peut-être pas de connaître la poésie chinoise classique mais bien de s’interroger sur la façon dont les poètes français l’interprétèrent. Nous espérons avoir pu répondre à cette interrogation à travers le long parcours historique déployé dans cette thèseThis thesis addresses the reception of Classical Chinese poetry by French poets, particularly by means of anthologies. It is organised chronologically in three parts. Part One covers the period 1735–1860, before the first anthology of Chinese poetry, and is therefore concerned only with excerpts. An understanding of this first period is essential if we are to appreciate the significance of the anthologies that followed, and their role in the changing reception of Chinese poetry by reader-poets. Part Two begins with the publication of the anthology Poésies de l’époque des Thang. After a general overview of the anthologies published between 1826 and 1949, there is a more detailed account of translation practices over this period, and of the most influential anthologies. It is then possible to address the central issue of this thesis: the reception of these anthologies by reader-poets, such as Paul Claudel, Victor Segalen and Saint-John Perse. Part Three is concerned with the period 1953–2008. Following an account of the dissemination and translation practices of anthologies from this period, there is a detailed discussion of the three types of anthologies produced by professional translators, Sinologists and poets respectively, and a further chapter is devoted to the most influential anthologies. Finally, a study is made of contemporary poets who read Chinese poetry in translation, and of their different forms of reception. This reception is of interest, not so for much for what it tells us about Chinese poetry itself, but rather for the way it has been interpreted by French poets. The long historical trajectory of this thesis provides an important insight into this interpretation of Chinese poetry
29
Xiang, Zheng. "La poésie française moderne (Baudelaire, Rimbaud, Lautréamont) et son influence sur la nouvelle poésie chinoise dans les années 1920-1930." Phd thesis, Ecole normale supérieure de lyon - ENS LYON, 2012. http://tel.archives-ouvertes.fr/tel-00713100.
Full textAbstract:
Ce travail de recherche porte sur la poésie française moderne et son influence sur la nouvelle poésie chinoise au cours de la première vague d'introduction et d'interprétation des littératures occidentales en Chine dans les années 1920-1930. Nous cherchons à montrer comment les " Trois Grâces " de la poésie française moderne : Baudelaire, Rimbaud et Lautréamont ont été introduits en Chine et quelle est leur influence sur l'élaboration de la nouvelle poésie chinoise. Ainsi, nous montrons d'abord comment expriment Baudelaire, Rimbaud et Lautréamont par leur poésie le culte du moi, le culte du Beau et le jeu de dépersonnalisation et de pluralisation du moi. Nous examinons ensuite l'influence des littératures occidentales sur la construction de la nouvelle littérature chinoise dans les années 1920 ; et l'introduction et l'interprétation de la poésie symboliste française et son influence au niveau théorique aussi bien que pratique sur la nouvelle poésie chinoise et les poètes dits symbolistes chinois : Li Jinfa, Mu Mutian, Wang Duqing, Dai Wangshu. Enfin, nous montrons le cas Lautréamont en Chine, son absence dans les années 1920-1930 et l'état de la recherche lautréamontienne en Chine dans les trois dernières décennies. Notre thèse conduit donc à montrer que les " Trois Grâces " de la Poésie nouvelle ne jouissent pas tous du même prestige auprès du monde poétique chinois dans les années 1920-1930 et que son interprétation de la poésie française moderne n'est pas une adoption de toute une attitude de création poétique de celle-ci, mais une transformation du dynamisme poétique imposé de l'extérieur en dynamisme créateur interne de la poésie chinoise. Elle correspond aux intentions claires et guidées par le système de valeurs littéraires et morales des traducteurs-interprétateurs chinois des différentes époques.
30
陳志宏. "《今天》詩群硏究 = A study on Today's poems and poets." HKBU Institutional Repository, 1998. http://repository.hkbu.edu.hk/etd_ra/201.
Full text
31
"明末清初女性詞選: 《眾香詞》研究." 2004. http://library.cuhk.edu.hk/record=b5896147.
Full textAbstract:
馮慧心."2004年7月".
論文(哲學碩士)--香港中文大學, 2004.
參考文獻 (leaves 495-520).
附中英文摘要.
"2004 nian 7 yue".
Feng Huixin.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2004.
Can kao wen xian (leaves 495-520).
Fu Zhong Ying wen zhai yao.
引言 --- p.1
Chapter 第一章 --- 結論 --- p.4
Chapter 第一節 --- 古代女性文學研究回顧 --- p.4
Chapter 一、 --- 女性文學史的發展 --- p.4
Chapter 二、 --- 西方漢學界的女性文學研究 --- p.8
Chapter 三、 --- 明清女性文學的研究 --- p.10
Chapter 四、 --- 女性詞作的研究 --- p.12
Chapter 第二節 --- 女性文學的資料發掘與整理 --- p.13
Chapter 第三節 --- 《眾香詞》硏究回顧 --- p.15
Chapter 第四節 --- 《眾香詞》研究的意義、理論及方法 --- p.20
Chapter 一、 --- 研究意義 --- p.20
Chapter 二、 --- 研究範關及方法 --- p.22
Chapter 三、 --- 女性主義的啟示及應用 --- p.24
Chapter 第二章 --- 《眾香詞》的編選背景:明末清初的時代背景與文學發展 --- p.34
Chapter 第一節 --- 明末以來女性解放思潮 --- p.34
Chapter 第二節 --- 出版業及郵政業的發達 --- p.38
Chapter 第三節 --- 明清女性文學的發展 --- p.42
Chapter 第四節 --- 明清女性選集的繁榮 --- p.46
Chapter 第五節 --- 明末以來的詞學發展及清詞中興 --- p.48
Chapter 第六節 --- 明清易代的離亂感慨 --- p.52
Chapter 第三章 --- 《眾香詞》述介 --- p.55
Chapter 第一節 --- 現今所見《眾香詞》版本 --- p.55
Chapter 一、 --- 清代海陽彤雲軒鈔本 --- p.55
Chapter 二、 --- 清康熙錦樹堂刊本 --- p.58
Chapter 三、 --- 癸酉(1933年)董氏誦芬室重校本 --- p.62
Chapter 四、 --- 1996年鄭競重校本 --- p.63
Chapter 第二節 --- 《眾香詞》流傳概況 --- p.65
Chapter 第三節 --- 《眾香詞》末善之處 --- p.68
Chapter 第四節 --- 《眾香詞》之編集動機 --- p.73
Chapter 一、 --- "為女性文學正名,使之經典化、正統化" --- p.73
Chapter 二、 --- 為女性詞壇寫史、以女性詞作寫史 --- p.75
Chapter 第四章 --- 《眾香詞》之編輯集團：清廷權貴與遺民幕客 --- p.80
Chapter 第一節 --- 編輯集團成員 --- p.80
Chapter 第二節 --- 徐樹敏、錢岳兩位編者的角色 --- p.83
Chapter 第三節 --- 編輯集團的地域 --- p.88
Chapter 第四節 --- 成書的分期與編輯集團 --- p.90
Chapter 第五節 --- 編輯集團成員的參與角色 --- p.93
Chapter 第六節 --- 清廷權貴與明室遺民：編輯集團的組合 --- p.98
Chapter 第五章 --- 《眾香詞》的編集體例 --- p.103
Chapter 第一節 --- 六卷之排列及特色´ؤ´ؤ以身份地位爲經 --- p.114
Chapter 第二節 --- 六卷內部之排列及特色´ؤ´ؤ以名望成就、生活年代爲緯 --- p.110
Chapter 第三節 --- 六卷之內容特色 --- p.115
Chapter 第四節 --- 六卷之相互連繫 --- p.120
Chapter 第六章 --- 《眾香詞》之採輯範圍及選詞特色 --- p.124
Chapter 第一節 --- 眾香詞人之時空跨度´ؤ´ؤ明末清初、江南爲主之女詞人 --- p.124
Chapter 第二節 --- 尊崇名門閨秀 --- p.128
Chapter 第三節 --- 稱賞青樓歌妓 --- p.130
Chapter 第四節 --- 務實可信：傳奇詞人、女鬼、女仙不載 --- p.134
Chapter 第五節 --- 「姑存其人以廣大意」：爲女詞人留名寫史 --- p.137
Chapter 第六節 --- 選錄遺民意識之作：明清易代的女性感受 --- p.140
Chapter 第七節 --- 爲秦淮名妓立傳：《數集》與晚明的「文化懷舊」 --- p.151
Chapter 第八節 --- 「不敢謾加評語」 ：不作圈點，意欲客觀 --- p.155
Chapter 第九節 --- 《草堂》之豔冶與貞孝節烈之作並行不悖 --- p.157
Chapter 第十節 --- 女性文人的傳統形象：迴文機巧、自憐身世、才女薄命 --- p.160
Chapter 第十一節 --- 《眾香詞´Ø凡例》與王士祿《燃脂集例》 --- p.165
Chapter 第七章 --- 眾香詞人及其詞作分析：私域女性(private women)´ؤ´ؤ閨秀 --- p.171
Chapter 第一節 --- 身份背景：名門望族、閨秀圈子、儒家教育 --- p.172
Chapter 第二節 --- 閨秀詞作分析 --- p.178
Chapter 一、 --- 詞調形式 --- p.178
Chapter 二、 --- 主題內容 --- p.182
Chapter 1. --- 歷史興亡、社會時局´ؤ´ؤ家國交織的女性處境 --- p.182
Chapter 2. --- 家族親情´ؤ´ؤ豐富的女性倫理角色 --- p.190
Chapter 3. --- 羈旅思ˇёإ´ؤ´ؤ歸寧之思 --- p.197
Chapter 4. --- 女性情誼´ؤ´ؤ男女關係以外的情感渴求 --- p.201
Chapter 5. --- 相思閨怨、寄夫憶夫´ؤ´ؤ文學伴侶式的婚姻 --- p.205
Chapter 6. --- 生活體驗´ؤ´ؤ居家性（domesticity)與日常性(dailiness) --- p.209
Chapter 7. --- 述懷自許´ؤ´ؤ自我建構（self-construction)、主體性(subjectivity) 的呈現 --- p.213
Chapter 8. --- 詠物´ؤ´ؤ細膩精緻的女性筆觸 --- p.217
Chapter 9. --- 應酬和韻´ؤ´ؤ突破女性的交遊圈子 --- p.222
Chapter 10. --- 題畫題像´ؤ´ؤ女性身份與照鏡自喻 --- p.226
Chapter 第三節 --- 閨秀詞作之藝術特色 --- p.230
Chapter 1. --- 纖巧細緻、典雅含蓄 --- p.230
Chapter 2. --- 以謝道韞爲楷模、取法李清照 --- p.232
Chapter 3. --- 女性關懷：嫦娥、七夕、女性歷史人物 --- p.236
Chapter 第八章 --- 眾香詞人及其詞作分析：「公眾女性」（Public women)´ؤ歌妓 --- p.241
Chapter 第一節 --- 身份背景：歌舞技藝、社交自由、國家興亡的符碼 --- p.241
Chapter 第二節 --- 歌妓詞作分析 --- p.246
Chapter 一、 --- 詞調形式 --- p.246
Chapter 二、 --- 主題內容 --- p.246
Chapter 1. --- 相思懷人´ؤ´ؤ青樓愛情的追逐 --- p.247
Chapter 2. --- 唱酬贈答´ؤ´ؤ歌妓的社交圈子 --- p.250
Chapter 3. --- 傷春悲秋、好景難永´ؤ´ؤ飄零身世的不安與憂慮 --- p.254
Chapter 4. --- 身世之感´ؤ´ؤ不堪零落、自傷失節 --- p.256
Chapter 5. --- 詠物狀物´ؤ´ؤ飄零無主之苦 --- p.258
Chapter 6. --- 生活瑣事及觸感´ؤ´ؤ「日常性」（dailiness)及「瑣屑性」 (fragmentary) --- p.260
Chapter 第三節 --- 歌妓詞作之藝術特色 --- p.262
Chapter 1. --- 率性自然、熱情放浪：擺脫道德束縛的感情書寫 --- p.262
Chapter 2. --- 預設對象、直呼對象：以「私密性」抗衡「公眾性」 --- p.264
Chapter 3. --- 語言淺白、口語化：真率直接的書寫筆法 --- p.266
Chapter 第四節 --- 閨秀與歌妓詞之比較分析 --- p.270
Chapter 1. --- 題材 --- p.270
Chapter 2. --- 語言風格 --- p.271
Chapter 3. --- 情感表達、筆法書寫 --- p.272
Chapter 第九章 --- 結論 --- p.273
Chapter 一、 --- 閨秀及青樓´ؤ´ؤ女性文學的兩大傳統 --- p.273
Chapter 二、 --- 明末清初的女詞人與詞壇關係 --- p.274
Chapter 三、 --- 女詞人在男性傳統下之妥協與對抗 --- p.274
Chapter 四、 --- 《眾香詞》之藝術價値與定位 --- p.275
附錄
附錄一 《眾香詞》三個版本所收詞人詞作比較 --- p.277
附錄二 《眾香詞》錦樹堂本與富之江本所收詞作之比較 --- p.292
附錄三 眾香詞人之字號、籍貫、作品集 --- p.304
附錄四 眾香詞人的家世背景 --- p.316
附錄五 眾香詞人之女性家族成員 --- p.331
附錄六 眾香詞人之生活年代 --- p.336
附錄七 眾香詞編輯集團成員資料 --- p.348
附錄八 從詞人小傳所見《眾香詞》引錄資料來源 --- p.365
附錄九 其他選本所見眾香詞人詞作數目 --- p.378
附錄十 選本中所見六集比例 --- p.390
附錄十一明末清初女性選集之編集體例及特點 --- p.392
附錄十二 《眾香詞》各集所用詞牌統計 --- p.401
附錄十三《眾香詞》所選迴文及遊戲之作 --- p.411
附錄十四清代詩話、詞話、文人筆記等所見眾香詞人評論 --- p.413
附錄十五眾香詞人文集之撰序者及與其他文人之關係 --- p.466
附錄十六眾香詞人之唱酬關係表 --- p.480
參考書目 --- p.491
32
Liu, Xiaohua. "Bai Juyi's poems about women/." 2009. https://scholarworks.umass.edu/theses/1726.
Full text
33
Chan, Wai-kai, and 陳偉佳. "A research on the development of modern Chinese poetry and the "New Moon Poets Society"." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/j88wuq.
Full text
34
"論盛唐詩人懷古詩的淵源、特質及其對後世文學的影響 =: A study of poems of contemplation of the past by the high Tang poets." 1997. http://library.cuhk.edu.hk/record=b5896230.
Full textAbstract:
翁凉平.論文(碩士) -- 香港中文大學硏究院中國語言及文學學部, 1997.
參考文獻: leaves 175-198 (3rd group)
Weng Liangping.
Chapter 笫一章 --- 绪渝 --- p.1-9
Chapter 第一節 --- 研究緣起 --- p.1
Chapter 笫二節 --- 研究步驟與研研究方法 --- p.5
Chapter 表1.1 --- 盛唐詩人現存懷古詩數目及所佔百分比 --- p.8
Chapter 第二章 --- 懷古詩釋義 --- p.10-50
Chapter 第一節 --- 前言 買 --- p.10
Chapter 笫二節 --- 有關詩歌分類書籍之分類情况 --- p.11
Chapter 表2.1 --- 今見咏史詩集選詩情况綜覽 --- p.12
Chapter 表2.2 --- 詩歌分類集對於歷史題材詩歌的歸類综覽 --- p.12
Chapter 表2.3 --- 詩歌分類集“懷古題´ح詩歸類綜覽 --- p.14
Chapter 笫三節 --- 有關懷古詩與咏史诗意義之討論综覽 --- p.15
Chapter 臺、 --- 以“懷古´ح涵蓋“咏史´ح --- p.16
Chapter 貳、 --- 以“咏史´ح涵篕“懷古´ح --- p.16
Chapter 叁、 --- “懷古´ح與“咏史´ح區分 --- p.18
Chapter (一） --- 歌咏的觸發點 --- p.18
Chapter (二） --- 抒情與議論的比重 --- p.21
Chapter (三） --- 懷古詩抒發興亡之感 --- p.25
Chapter 肆、 --- 小結 --- p.26
Chapter 第四節 --- 懷古詩意義的界定 --- p.26
Chapter 臺、 --- “憑弔´ح與“讀史´ح之辯 --- p.27
Chapter 貳、 --- “咏古´ح與“感舊´ح之辯 --- p.31
Chapter 叁、 --- “抒情´ح與“議論´ح之辨 --- p.32
Chapter 肆、 --- 廣義的懷古詩 --- p.35
Chapter 第五節 --- 结語 --- p.38.
Chapter 表2.4 --- 全唐“懷古題´ح詩吟咏古人史事综覽 --- p.40
Chapter 第三章 --- 懷古诗的成型及盛唐前的發展 --- p.51-77
Chapter 笫一節 --- 前言 --- p.51
Chapter 笫二節 --- 懷古心靈的源頭 --- p.52
Chapter 臺、 --- 歷史思維的方式 --- p.53
Chapter 貳、 --- 敏感的時間意識 --- p.56
Chapter 叁、 --- 小結 --- p.56
Chapter 第三節 --- 唐以前懷古及咏史文學的發展 --- p.57
Chapter 臺、 --- 漢賦感發史事而咏懷 --- p.57
Chapter 貳、 --- 班固初以“咏史´ح命題 --- p.60
Chapter 叁、 --- 魏晉初期的咏史詩篇 --- p.61
Chapter 肆、 --- 阮籍託古以咏懷 --- p.63
Chapter 伍、 --- 左思咏史以抒懷 --- p.64
Chapter 陸、 --- 陶淵明咏史言志 --- p.65
Chapter 染、 --- 南朝詩人的咏史詩 --- p.67
Chapter 捌、 --- 南朝詩人的懷古詩 --- p.69
Chapter 玖、 --- 小结 --- p.71
Chapter 第四節 --- 初唐懷古詩的成型 --- p.72
Chapter 臺、 --- 李百藥初以“懷古´ح命題 --- p.72
Chapter 貳、 --- 劉希夷的懷古詩 --- p.73
Chapter 叁、 --- 陳子昂奠定懷古詩结構 --- p.74
Chapter 肆、 --- 張九龄的懷古詩 --- p.76
Chapter 伍、 --- 小结 --- p.76
Chapter 笫五節 --- 結語 --- p.76
Chapter 笫四章 --- 盛唐詩人懷古詩的思想内涵 --- p.78-153
Chapter 笫一節 --- 前言 --- p.78
Chapter 笫二節 --- 贊頌前賢之才德功業 --- p.80
Chapter 臺、 --- 英雄事功 --- p.81
Chapter 貳、 --- 功成身退 --- p.88
Chapter 叁、 --- 濟世安民 --- p.91
Chapter 肆、 --- 文名昭著 --- p.92
Chapter 伍、 --- 小結 --- p.97
Chapter 笫三節 --- 惋嘆古人之千秋遺恨 --- p.97
Chapter 臺、 --- 出師未捷 --- p.98
Chapter 貳、 --- 高才不遇 --- p.102
Chapter 叁、 --- 支離飄泊 --- p.106
Chapter 肆、 --- 紅頦恨事 --- p.107
Chapter 伍、 --- 小结 --- p.110
Chapter 笫四節 --- 欽慕知己之相契相合 --- p.110
Chapter 臺、 --- 君臣契合 --- p.110
Chapter 貳、 --- 知己投契 --- p.113
Chapter 叁、 --- 禮賢下士 --- p.116
Chapter 肆、 --- 異代知音 --- p.118
Chapter 伍、 --- 小结 --- p.119
Chapter 笫五節 --- 悲感時間之無情流逝 --- p.119
Chapter 臺、 --- 物是人非 --- p.120
Chapter 貳、 --- 故迹荒廢 --- p.127
Chapter 叁、 --- 六朝興亡 --- p.130
Chapter 肆、 --- 小结 --- p.132
Chapter 笫六節 --- 諷諫政局之動蕩污亂 --- p.133
Chapter 臺、 --- 荒淫誤國 --- p.133
Chapter 貳、 --- 奸佞亂玫 --- p.136
Chapter 叁、 --- 宮闈淫亂 --- p.140
Chapter 肆、 --- 豪奢誤國 --- p.141
Chapter 伍、 --- 小结 --- p.143
Chapter 第七節 --- 艷羡名士之風流行止 --- p.143
Chapter 笫八節 --- 结語 --- p.148
Chapter 表4.1 --- 杜甫懷古詩编年 --- p.149
Chapter 第五章 --- 盛唐诗人懷古詩的藝術特色 --- p.151-222
Chapter 第一節 --- 前言 --- p.151
Chapter 第二節 --- 篇章结構方面 --- p.152
Chapter 臺、 --- 寫景發端 --- p.152
Chapter 貳、 --- 叙事發端 --- p.156
Chapter 叁、 --- 抒情發端 --- p.159
Chapter 表5.1 --- 主要盛唐懷古詩人的開篇安排 --- p.160
Chapter 肆、 --- 以寫景爲主 --- p.160
Chapter 伍、 --- 以叙事爲主 --- p.161
Chapter 陸、 --- 以抒情為主 --- p.162
Chapter 柒、 --- 以議論爲主 --- p.163
Chapter 表5.2 --- 盛唐懷古詩人的特殊章法结構 --- p.164
Chapter 捌、 --- 小结 --- p.164
Chapter 第三節 --- 景物描繪方面 --- p.165
Chapter 臺、 --- 景物擇取 --- p.165
Chapter (一） --- 人間架構 --- p.166
Chapter (二） --- 自然景觀 --- p.169
Chapter (三） --- 二景交融 --- p.178
Chapter 貳、 --- 意象營造 --- p.181
Chapter 叁、 --- 動静兼備 --- p.185
Chapter 肆、 --- 聲色點染 --- p.188
Chapter 伍、 --- 鏡頭轉移 --- p.192
Chapter 陸、 --- 小結 --- p.196
Chapter 第四節 --- 史事叙述方面 --- p.197
Chapter 臺、 --- 古人的契合 --- p.197
Chapter 貳、 --- 史事的概括 --- p.201
Chapter 叁、 --- 小結 --- p.205
Chapter 笫五節 --- 情感抒發方面 --- p.205
Chapter 臺、 --- 委婉示意 --- p.205
Chapter 貳、 --- 直抒胸臆 --- p.210
Chapter 叁、 --- 小结 --- p.212
Chapter 笫六節 --- 議論闌發方面 --- p.212
Chapter 臺、 --- 評價英雄 --- p.213
Chapter 貳、 --- 諷諫時政 --- p.214
Chapter 叁、 --- 表達史觀 --- p.215
Chapter 肆、 --- 小結 --- p.217
Chapter 笫七節 --- 结語 --- p.217
Chapter 表5.3 --- 盛唐詩人懷古詩中荒寂的人間架構 --- p.218
Chapter 表5.4 --- 盛唐詩人懷古詩中璀璨的人間架構 --- p.220
Chapter 表5.5 --- 盛唐詩人懷古詩中蕭瑟的自然景觀 --- p.221
Chapter 笫六章 --- 盛唐詩人懷古詩對後世文學的影響舉隅 --- p.223 -275
Chapter 第一節 --- 前言 --- p.223
Chapter 第二節 --- 縱論 --- p.224
Chapter 臺、 --- 中晚唐詩 --- p.225
Chapter 貳、 --- 兩宋詩詞 --- p.233
Chapter 叁、 --- 元曲明清詩詞 --- p.242
Chapter 肆、 --- 小結 --- p.249
Chapter 第三節 --- 横論 --- p.250
Chapter 臺、 --- 體裁方面的影響 --- p.250
Chapter 貳、 --- 題材方面的影響 --- p.251
Chapter (一） --- 六朝興廢地 --- p.251
Chapter (二） --- 功蓋三分國 --- p.253
Chapter (三） --- 蜀相階前柏 --- p.256
Chapter 叁、 --- 內容方面的影響 --- p.257
Chapter (一） --- 針砭時政 --- p.257
Chapter (二） --- 陳抒史觀 --- p.259
Chapter (三） --- 別出新意 --- p.260
Chapter (四） --- 化用詩意 --- p.261
Chapter 肆、 --- 藝術方面的影響 --- p.264
Chapter (一） --- 小中見大 --- p.264
Chapter (二) --- 排他手法 --- p.266
Chapter (三） --- 言簡意賅 --- p.267
Chapter (四） --- 以少總多 --- p.268
Chapter (五） --- 假设虛構 --- p.269
Chapter (六） --- 略去時距 --- p.270
Chapter (七） --- 議論評断 --- p.271
Chapter (八） --- 託物言古 --- p.272
Chapter 伍、 --- 小結 --- p.274
Chapter 第四節 --- 結語 --- p.274
Chapter 笫七章 --- 结論 --- p.276 -280
附錄一 全唐“懷古題´ح詩 --- p.1-29
附錄二 全唐“咏史題´ح詩篇目 --- p.30-40
附錄三 盛唐诗人懷古詩匯評 --- p.41-174
附錄四 参考書目 --- p.175-198
35
"天子腳下: 初唐詩人筆下的長安 = Under emperor's feet : Chang An as described by poets of early Tang dynasty." 2016. http://library.cuhk.edu.hk/record=b6116451.
Full textAbstract:
本論文題為「天子腳下:初唐詩人筆下的長安」，以三個方面展開論述。初唐由於詩歌存留較少，且多被視為酒宴歌席的應制詩。然而筆者嘗試從幾個前人從未剖析的角度切入，嘗試理解初唐詩歌中蘊涵的幾層意涵。第一個方面將觀察初唐君臣在建國之際，初盛唐交界處，君主與臣子在詩文中展現的憂患，面對過去的歷史抑或當下的建設充滿不安。筆者進而發現，從漢魏六朝開始，揚雄的歷史形象不斷出現，作為讀書人在不得志的時代的精神典範，其閉門讀書而著述有成的態度為後世所推崇，並在詩文中展現。過往我們對於讀書人與長安相互關係的討論較為單一化，多從追名逐利或建功立業的角度看待他們奔往長安的意圖，較少關注他們對於長安在轉變過程中的批評。
筆者將從公共風景區與建築思想探討詩人足跡下的筆墨之跡。此處主要論述集中在筆者採集所得最多、最有意義的地點昆明池、樂遊原、曲江為考察對象，試圖找出記憶與地方之間的關係。昆明池，集合了詩人們對於神話的集體記憶。樂遊原上的酒宴歌席，成了中晚唐詩人懷念大唐繁盛的記憶。而曲江，更成了詩人們遊賞之地，為後來者一再詠懷。
筆者嘗試從廟宇與宮殿觀察初唐人蘊含在詩歌中的建築思想。一棟又一棟的建築，是天子腳下的宮殿又或神聖的神殿，詩人們透過自身對於建築的吟詠，描寫了建築的細緻雕刻，隱約間也透露集體對於建築的想像及寄託。筆者將從大量的詩歌中歸納其中特質。
本論文試圖從前人豐碩的唐代長安研究中，尋找一些被忽略的思想特質，並以此補充一般觀念上缺失忽略的，讀書人與長安的關係。
The paper entitled "Under emperor’s feet: Chang An as Described by Poets of Early Tang Dynasty" will discuss the topic from three aspects. There are only very few early Tang poetry remained and they are mostly considered as banquet poetry. I will try to analyze them from several unprecedented angles and try to understand multiple implied meanings in the early Tang Poetry.
The first aspect is from the sense of urgency as the starting point. By observing how the founding members of the Early Tang Dynasty expressing their worries, especially during the transition to the great era, we can see their anxieties when dealing with the past and also the development at that point of time. It then found that, from the beginning of the Six Dynasties, Yang Xiong’s historical image kept emerging as the scholars’ spiritual model during unsuccessful times. His focusing on reading and writing successfully won the respect of the future generations, and is demonstrated in poems. In the past, we tend to view the relationship between scholars and Chang An towards chasing the fame and making contributions, and less focus on their critics towards Chang An in the process of transition.
In addition, I will discuss the poets’ writings as influenced by the public sceneries and architectural ideas. The third chapter discusses my most concentrated collection and significant place in Kunming pool, Le Youyuan, Qujiang as the studies subject, trying to figure out the relationship between memory and place. Kunming pool, a collection of poets to the myth of collective memory. Le Youyuan banquet song on the late Tang became nostalgic memories of prosperous Tang. The Qujiang, became poets touring place and was remembered by future generations.
Finally, I try to observe from the architectural perspective of the temples and palaces, and see the architectural thinking embedded in poets’ writings. Buildings after buildings are under the emperor’s foot and these buildings consist of palaces and temples. Poets described the buildings in their own chants, and describing the meticulous carving of the buildings. This vaguely revealed the collective imagination and sustenance towards the buildings. I will summarized the characteristics from the huge amounts of poems.
This dissertation attempts to find out some missing overlooked ideological character, about the relation between Tang’s poets and the Chang’an.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
高坤翠.
Parallel title from added title page.
Thesis (Ph.D.) Chinese University of Hong Kong, 2016.
Includes bibliographical references (leaves 159-172).
Abstracts also in Chinese.
Gao Kuncui.
36
Lu, Hsuan, and 盧萱. "Translating Poetry in Subtitling: A Case Study of the Chinese Subtitles in Dead Poets Society, Sylvia, and Bright Star." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/30777377253889200755.
Full textAbstract:
碩士國立彰化師範大學
翻譯研究所
100
With the mass introduction of foreign movies and television series, the importance of subtitles translation has been increasingly emphasized in Taiwan. In recent years, there are a growing number of screen adaptations of literary works and movies centered on poetry. However, poetry translation is widely considered a great challenge, given the difficulties of presenting the meaning, form, imagery, and musicality of the original poem. It must be much more difficult under the time-and-space constraint of subtitling. Taking Dead Poets Society, Sylvia, and Bright Star as examples, this case study is conducted to compare the similarities and differences between the subtitles version and book version of poetry translations, and to explore the influence of subtitling on poetry translation in terms of form, imagery, and musicality. In addition, Gutt’s relevance theory is used in data analysis for this study in order to find out the effective translation strategies for poetry in subtitling. The results of this study show that, under the constraints of time and space, the subtitles version of poetry translation may not adequately expresses the form, imagery, and musicality of the original poem. Taking into account the characteristics of subtitling and the effective translation strategies adopted in the book version, the study suggests the following strategies for translating poetry in subtitling: (1) linear translation and complete sentence are effective in presenting the form of the original poem; (2) direct translation is the best way to express imagery while the use of expansion or paraphrase could make it easier for the audience to perceive the poetic effects; (3) end rhyme and internal rhyme are the best strategies for creating rhyming effects; other strategies such as repetition, parallelism, four-character idioms or phrases, and same number of characters per line are effective in making the translations rhythmic and catchy. It is hoped that the strategies suggested in this study could serve as a reference for future subtitlers encountering poetry translation in subtitling.