Dissertations / Theses on the topic 'Chinese History and criticism'
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1
HSIAO, CHING-SONG GENE. "SEMIOTIC INTERPRETATION OF CHINESE POETRY: TU MU'S POETRY AS EXAMPLE (CRITICISM)." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188120.
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To interpret a poem is to comprehend a complete act of written communication. And to comprehend such an act, the reader must break the codes in which the communication is framed. Thus, poetic interpretation becomes the study of codes--or semiotics. Poetic codes exist at pragmatic, semantic, syntactic, and phonic levels. The decoding requires the reader's linguistic skills, literary competence, and personal experience. It involves an initial reading and a retroactive reading. At the first step, the reader attempts to supply elements missing in the text. Yet trying to interpret the text literally, he encounters problems in pragmatics, semantics, syntactics, or phonics, and is unable to grasp a coherent sense of the poem. Those problems give rise to a retroactive reading. At this step, the reader looks for a higher level of understanding where a unity of meaning can be identified. And by explaining the clues in the text according to his linguistic and literary competence, and revising his understanding on the basis of his new findings, he finally discovers a kernel concept, on which the whole text can be seen as a single unit, and every element, which first appeared to be puzzling, has a significative purpose. This semiotic model of interpretation has proven to be very fruitful in the explication of Tu Mu's poetry. It also enables the reader to appreciate the poetic discourse more thoroughly. Some of the ideas advocated by the model may also serve as principles for the translation of poetry. For example, in reading a poem, the model requires a search for unified pragmatic, semantic, syntactic, and phonic patterns, which convey the kernel concept. Thus, in translating a poem, the translator should also try to re-produce in the target language such unified patterns so that the reader may grasp the same kernel concept as contained in the original discourse. The model stresses implicities of poetry. Hence the rendition of a poem should preserve the implicities of the original text in order to invoke from the reader a response similar to what would be induced by the original poem.
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周業珍 and Yip-chun Rita Chau. "A study of Zhu Ziqing's (1898-1948) poetry and prose." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31212153.
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Chan, Wai-ying, and 陳惠英. "Chinese lyrical fiction in the period 1919-1989." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31212864.
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李仕芬 and Shi-fan Lee. "Love and marriage." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1989. http://hub.hku.hk/bib/B31208721.
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Feng, Liping. "Modernity and tradition : Chinese theories of literature from 1900 to 1930." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28445.
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This thesis examines the development of Chinese theories of literature in the early twentieth century: what was considered as literature, the role of the writer and reader, and the function of literature in society. The central purpose of the thesis is to retrace the Western-influenced theories of literature of the 1920s back to the theoretical developments at the turn of the century. The thesis also shows that, as a whole, modern Chinese theories of literature are deeply rooted in traditional Chinese poetics. In characterizing traditional Chinese theories, it compares the latter with the mimetic model of Western literature. Throughout the thesis, the account of the theoretical developments makes constant reference to the changes taking place within two major literary genres: lyrical poetry and the narrative.
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Sun, Christine Yunn-Yu. "The construction of "Chinese" cultural identity : English-language writing by Australian and other authors with Chinese ancestry." Monash University, School of Languages, Cultures and Linguistics, 2004. http://arrow.monash.edu.au/hdl/1959.1/5438.
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Zheng, Baoxuan, and 鄭寶璇. "The theme of alienation in modern Chinese and Anglo-American fiction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1985. http://hub.hku.hk/bib/B31206803.
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葉淑蘭 and Sook-lan Yap. "A study of Zhang Tianyi's children's literature." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1992. http://hub.hku.hk/bib/B31211057.
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Su, Weizhen, and 蘇偉貞. "The influence of Eileen Chang and her followers in Taiwan=." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B32017789.
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Lai, Kwong-ki, and 黎廣基. "A philological study of the Chu bamboo text of the Warring States period as seen in volume two of the monograph seriescompiled on the basis of the collection housed in Shanghai Museum =." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B39368452.
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李詠健 and Wing-kin Lee. "A philological study of the excavated texts included in the seventh volume of the Compilation of Warring States Chu bambooslips housed at the Shanghai Museum." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48329745.
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In 1994, two batches of unearthed Chu 楚 bamboo slips from the Warring States period (Zhanguo shidai 戰國時代, 475–221 B.C.), totaling 1200 pieces and featuring over 35000 characters, appeared in the cultural relic market of Hong Kong. These slips, highly valuable for philological research, cover nearly 100 kinds of ancient Chinese classic. They were soon collected by the Shanghai Museum for restoration and analysis, and have, since 2001, been published in successive volumes entitled Shanghai bowuguan cang Zhanguo Chu zhushu 上海博物館藏戰國楚竹書, eight volumes of which have been issued to date.
My study focuses on the seventh volume, published in 2008, comprising five chapters — Wuwang jian zuo 武王踐阼, Zhengzi jia sang 鄭子家喪, Jun ren zhe hebi an zai 君人者何必安哉, Fan wu liu xing 凡物流形, and Wuming 吳命— comprehensive annotation and transcription of which have been provided by the volume editor. In spite of the efforts put on interpreting these bamboo texts, existing researches have their limitations; some intricate textual problems remain to be solved. The present dissertation attempts to examine the elucidations and interpretations of these bamboo texts in order to identify and screen out erroneous views among them. Sophisticated investigation on several controversial issues has been carried out to determine and restore the intent of the original passages.published_or_final_version
Chinese
Doctoral
Doctor of Philosophy
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Tse, Heung-wing, and 謝向榮. "A philological study of the excavated texts of Zhouyi included in the third volume of the compilation of Warring States Chu bamboo slips housed at the Shanghai Museum = "Shanghai bo wu guan cang Zhan guo Chu zhu shu (san), zhou yi" cong kao." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/202374.
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Since the antiquity, the Book of Change (Zhouyi 周易) has been praised as the leading scripture among the five classics (with the Book of Documents [Shangshu 尚書], the Book of Odes [Shijing 詩經], the Spring and Autumn Annals [Chunqiu 春秋], and the Book of Rites [Liji 禮記]), and the supreme dao of the three mysteries (with Laozi 老子 and Zhuangzi 莊子). However, its guayaoci 卦爻辭 (general and line judgments of the hexagrams) are not only recondite but also proliferate with conflicting exegeses that lead nowhere. Fortunately, multiple early manuscripts of the Book of Change, including those from the Mawangdui 馬王堆 silk texts, the Fuyang 阜陽 bamboo slips, and the Chu 楚 bamboo slips housed at the Shanghai Museum, were excavated over the past forty years. These, combined with other related archaeological findings, found the basis for a scrupulous reading of the guayaoci. I attempt to compare the Shanghai Museum manuscript, which is the earliest extant copy of the Book of Change, with the traditional editions and other excavated copies to arrive at a reasoned exposition based on previous interpretation and through manifold research methods such as philology, textual criticism and theosophy.
The present thesis examines seven guyaoci from seven hexagrams:
1 “li yong qin fa 利用侵伐” of the fifth line of qian 謙;
2 “bu fu yi qi lin 不富以其鄰” of the fifth line of qian 謙 and the fourth line of tai 泰, and “fu yi qi lin 富以其鄰” of the fifth line of xiaochu 小畜;
3 the naming of wuwang 无妄 and its meaning;
4 “wuwang zhi ji, wu yao you xi 无妄之疾，勿藥有喜” of the fifth line of wuwang 无妄;
5 “he tian zhi qu 何天之衢” of the sixth line of dachu 大畜;
6 “lu suosuo, si qi suo qu zai 旅瑣瑣，斯其所取災” of the first line of lu 旅; and finally
7 “ru you yiru 繻有衣袽” of the fourth line of jiji 既濟.published_or_final_version
Chinese
Doctoral
Doctor of Philosophy
13
Feng, Liping. "A critical survey of the chinese criticism of Wu Jingzi's The Scholars (Rulin Waishi) /." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63759.
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Gao, Xindan, and 高昕丹. "Chen shizeng (1876-1923) and the reform of Chinese art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31245328.
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胡從經 and Cong-jing Hu. "A criticism of the studies of Chinese fiction during the period 1900 to 1950." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31234173.
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陳器文 and Chi-wen Chen. "A study of the ordeal stories in Chinese popularfictions." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31236637.
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Lin, Qingxin, and 林慶新. "Brushing history against the grain: constructing the Chinese new historical fiction as an oppositionaldiscourse." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B3124337X.
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Tse, Hue-ying, and 謝曉瑩. "The inheritance of modern Cantonese opera from traditional Chinese opera." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B43085878.
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Yu, Liwen, and 余麗文. "Politicizing poetics: the (re)writing of the social imaginary in modern and contemporary Chinese poetry." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B42841628.
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陳淸貴 and Ching-kooi Chan. "Narrative techniques of Taiwan short stories." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/b30252866.
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Ng, Kam-lung, and 吳錦龍. "A study of the Yuan period criticism of the Song poems." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B39634085.
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Li, Siu Leung, and 李小良. "Toward a theory of dramatic adaptation: with special reference to Shakespearean and Ming Qing adaptations." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1986. http://hub.hku.hk/bib/B31207352.
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Wong, Hoi-sing, and 黃海星. "A critical study of the evolution and context of the sequels of water margin =." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B43278668.
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Tsang, Wai-sin, and 曾惠仙. "A study of the life and poetry of Xu Zihua." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B4589744X.
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Ko, Wing-hong, and 高永康. "A study of the appellations in twelve imperial mandates from the Book of Zhou = Zhou gao shi er pian cheng wei yan jiu." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/206490.
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The study of Shangshu or the Book of Documents 尚書has long been a popular subject in China since the Han dynasty 漢 (206 BC-220 AD). Numerous topics have been investigated and studied deeply by scholars throughout the years. They, however, rarely focus on the appellations in the book and thus this will be the main research area of this paper. In order to maintain the consistency of the study and avoid the problem of authenticity of the passages, only 12 chapters (also known as the twelve imperial mandates 周誥十二篇) from the Book of Zhou 周書, which are considered to be the original and real texts from the Western Zhou period 西周 (1046-771 BC), will be the corpus of this research.
By studying the appellations from the selected passages mentioned above, it aims at enriching the study of vocabulary of the Western Zhou period, identifying and investigating the meaning of appellation of ancient China, as well as studying the society of Western Zhou period from the perspective of appellation.
This thesis consists of six chapters. Chapter one generally introduces the study of appellation in Chinese history, the aims of this research, the definition of appellation and the research materials. Chapter two focus on the explanation of the appellations in twelve imperial mandates from the Book of Zhou. Chapter three investigates the difficulties of handling the appellations in the previous chapter, as well as the solutions to the problems. Chapter four discusses the characteristics of the appellations. Chapter five studies the human relationship and the political culture of Western Zhou period from the perspective of appellation and finally chapter six concludes the findings of the research.published_or_final_version
Chinese Language and Literature
Master
Master of Arts
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劉偉成. "盪懷生家國 : 中國新詩與現代性 1917-37 = A project on Chinese poetry and modernity 1917-37." HKBU Institutional Repository, 2019. https://repository.hkbu.edu.hk/etd_oa/647.
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現代性，在 19 世紀初傳入中國時，只算是願景，成為晚清以後知識份子推動社會改革的目標；而詩，則是幾千年來的中國文化精粹, 是士人操持的語言。兩個分別屬於過去和未來的理念卻多次給譚嗣同、梁啟超、黃遵憲、胡適等先鋒拉在一起，試圖以解放詩體帶動社會改革 ---- 新詩便是以「修身到治國」的推展模式成就的「現代傳統」。在第一重的推展中，周作人率先以〈小河〉實踐其所謂的「人的文學」，聞一多有感於滿目瘡痍的文化景象，以「休息的馳態」，勉勵人伺機而動；在第二重的推展中，魯迅、徐志摩以散文詩來包容「現代鄉愁」中的文化矛盾，保住了時代的開放性；在第三重的推展中，曹葆華、李金髮和侯汝華進一步擴大接收的面向，通過翻譯外國的詩論和詩作鞏固新詩的格局，拓展風格。論文題目中的「盪懷生家國」所涉的就是此層層推展的家國關懷。中國的現代性或許就是那以借來的現代性為目標的追尋，令近代中國掉入了如此弔詭：當國家因救亡的迫切需要而從西方承接了「實用現代性」以興產業、壯國防；而中國詩歌幾千年以來都是最能啟蒙民心的「抒情傳統」的載體，它的發展在「詩體解放」後卻遭到忽略，連同其中所包含的「審美現代性」也遭到壓抑---- 中國詩人嘗試掙脫個人抒懷和羣治籌謀的矛盾的困鎖，將自己歸化到歷史發展的大勢中去推動社會發展，遂激起上述的重重波瀾。
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李泊汀. "近代中國詩史觀研究: 以「三元」、「三關」及「四元」為考察中心= Perspectives on poetic history in modern China: San Yuan, San Guan and Si Yuan." HKBU Institutional Repository, 2017. https://repository.hkbu.edu.hk/etd_oa/428.
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在近代中國大變局中，詩歌文化傳統如何面對「現代世界」，是一個值得注意的問題。本文選擇的研究對象「三元」（開元、元和、元祐）、「三關」（元嘉、元和、元祐）、「四元」（元嘉、開元、元和、元祐）是陳衍 (1856-1937)、沈曾植（1850-1922）和馬一浮（1883-1967）對詩歌傳統的建構，它們既共同反映出舊體詩人維繫傳統的努力，又分別帶有三人對各自時代的反應。本文共六章，以中間四章的論述結構為核心。第二、三、四章分別就「三元」、「三關」和「四元」的形成過程和詩學意涵做出詳盡考察。本文認為「三元」是陳衍1899年以後逐漸形成的詩史體系，在1912年12月分兩個系統建立。「三元」包含了對近代不同詩歌風格的歷史追溯，以杜甫、韓愈、白居易、蘇軾為詩史典範。「三元」最重要的唐宋詩法傳承，陳衍的關注點在「白居易、梅堯臣、蘇軾、陸游、楊萬里」一脈，而他的詩歌理想是「能」與「稱」或者「至」。沈曾植的「三關」說是他1918年對自己1899年「三元」唐宋詩史論的顛覆。「三關」說是代降詩史觀下的復古學詩方法，強調由「元祐」、「元和」上溯「元嘉」詩歌的「雅」、「玄理」。其中「元祐」重在黃庭堅和江西詩派，「元和」重在韓愈和韓門詩人，「元嘉」則以陶潛和謝靈運、顏延之共同作為典範。相比陳衍的「三元」，「三關」擴大到對文化價值的整體關懷，這與沈氏的人生經歷息息相關。馬一浮的「四元」說在「三關」的基礎上增加了「開元」，同時融入了他早年以「仁」為核心的詩教觀，1943年提出「四元」並完成詩史體系建構。該說以他對詩歌「脫俗」、「神悟」的追求為基礎，以「史」、「玄」為內容，以「仁」和「理境」為理想，兼重詩歌社會功能和審美價值，反映出他超越以杜甫為代表的唐宋詩人、挑戰近代宗宋詩學的理論個性。本文第五章結合時代語境比較分析了三種詩史觀同異的成因。三者相同的「元和」、「元祐」源於繼承晚清宋詩傳統以對抗現代衝擊的共性價值。三者的差異表現在具體的詩史典範選擇和「元嘉」、「開元」等詩史階段的取捨排列上，這又分別決定於他們的時代文化心理和自我定位。「三元」重視個性和強調新變，反映出陳衍融入時代以保留傳統的新型「學人」定位。沈曾植「三關」強調「見道」和上溯「元嘉」，反映出他對堅守文化傳統的「士人」理想。馬一浮 「四元」對「仁」和「理境」的追求，表現出他以「復性」重建文化傳統並以「獨立人格」實現傳統文化永恆價值的人生理想。本文選取了近代中國最成體系的三種詩史觀為研究對象，填補了相關研究的空白，在揭示三說歷史語境和文化氛圍的同時，也希望能為近代中國詩學研究做出貢獻。= In the century since 1840, China had experienced dramatic change in society, politics and culture. But due to the focus on modern tendencies in literature (especially vernacular literature) in the twentieth century, traditional poetics has long been neglected. This thesis takes Chen Yan(1856-1937), Shen Zengzhi (1850-1922), Ma Yifu (1883-1967) and their San Yuan (Kai Yuan (713-741), Yuan He (806-820) and Yuan You (1086-1094)), San Guan (Yuan Jia (424-453), Yuan He (806-820) and Yuan You (1086-1094)) and Si Yuan (Yuan Jia (424-453), Kai Yuan (713-741), Yuan He (806-820) and Yuan You (1086-1094)) theories as major research foci to discuss one question: how did poetic tradition respond to the modern world? Apart from the introduction and the conclusion, this thesis includes four chapters. From the second chapter to the fourth, the forming process and poetic concerns of Chen's, Shen's and Ma's perspectives are investigated in turn. The fifth chapter compares the poetic values and historical views of their theories, and analyzes the identities and differences by integrating with their cultural psychologies and self-identifications. As the most elaborated and systematic theories of poetic criticism in the last period of the poetic tradition, the three perspectives are linked by the similar form of historical perspectives, though were all developed under personal considerations. By explicating the underlying historical and cultural concerns of perspectives on poetic history in modern China, this thesis not only achieved breakthrough in related research area, but also provided references to contemporary studies of classical Chinese poetics and poetic history.
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Payne, Christopher Neil. "Terminus intractable and the literary subject : deconstructing the endgame in Chinese avant-garde fiction." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=29518.
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The following paper will deal with the actantial place of memory and history in the works of Ge Fei, a so-called avant-garde writer in China. Analyzing his three major novels published in the nineteen-nineties, as well as an earlier short story, the paper will discuss how Ge Fei renegotiates the status and place of the literary subject as configured through the act of writing, and its close relationship with the medium of memory and history. Contrary to the prevailing opinion, the avant-garde experiment in Ge Fei's works does not intimate the dissipation of the subject, but rather assists in reconfiguring it in an entirely new and dynamic conceptualization. Instead of a figural e/End and vulgarization of literature in the nineties, Ge Fei's experimentation with the acts of writing and reading, as well as his play with language, open up new possibilities for the writing of new literatures in contemporary China.
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林浩光 and Ho-kwong Lam. "A study of Zhou Ji's (1781-1839) theory of CI poetry." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B31244361.
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Wong, Chi-keung, and 黃志強. "Zhouyi on Chu Bamboo slips." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38314691.
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Li, Ha, and 李夏. "A study on Ji Xiaolan's (1724-1805) life, couplets and theories of couplets = Ji Xiaolan (1724-1805) sheng ping zi liao jiao zheng ji dui lian, lian lun yan jiu." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hdl.handle.net/10722/206454.
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利幗勤 and Kwok-kan Gloria Lee. "Chinese translations of Wilde's plays and fairy tales: a reappraisal." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31222961.
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Qiu, Jianfeng. "Guo Shaoyu wen xue pi ping shi guan yan jiu = A study of Guo Shao Yu's ideas of history of criticism /." click here to view the abstract and table of contents, 1996. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisab.pl?pdf=b14245942a.pdf.
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Chan, Kwok-kou Leonard, and 陳國球. "The reception of Tang poetry in the Ming neo-classical criticism." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1988. http://hub.hku.hk/bib/B31231081.
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"抗日戰爭時期延安詩歌的文化意涵與藝術構成." 1997. http://library.cuhk.edu.hk/record=b5896227.
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梁永達.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 145-152.
Liang Yongda.
引言 --- p.1
Chapter 第一章 --- 延安詩歌興起的文化背景 --- p.4
Chapter 1. --- 陝北農村的社區土壤 --- p.4
Chapter 2. --- 共產黨的政治文化 --- p.6
Chapter 3. --- 三十年代的左翼文人傳統 --- p.9
Chapter 第二章 --- 戰爭主題與文化元素的聚合 --- p.14
Chapter 1. --- 戰爭詩歌的要求 --- p.14
Chapter 2. --- 詩人隊伍的形成 --- p.21
Chapter 3. --- 民粹主義與理想主義的悖論 --- p.24
Chapter 第三章 --- 社會運動模式下的延安詩歌運動 及詩歌作品 --- p.39
Chapter 1. --- 「詩歌朗誦運動」與「街頭詩運動」 --- p.40
Chapter 2. --- 詩人下ˇёإ與詩歌中的「毛澤東主義」 --- p.54
Chapter 第四章 --- 農民文化「薰陶」下的延安詩歌 --- p.88
Chapter 1. --- 詩歌中的農民意識 --- p.88
Chapter 2 --- .新詩體裁配合民歌形式 --- p.108
Chapter 第五章 --- 新詩史與文化史中的抗戰延安詩歌 --- p.129
Chapter 1. --- 從「五四」到延安的詩歌審美形態變異 --- p.129
Chapter 2. --- 「民眾文藝復興」的歷史契機 --- p.137
結語：「政治性」文藝的重估 --- p.143
參考資料 --- p.145
Chapter 1. --- 書籍 --- p.145
Chapter 2. --- 論文 --- p.150
Chapter 3. --- 報刊 --- p.151
36
"The Chinese short story of 1917-1927: patterns of influence." Chinese University of Hong Kong, 1988. http://library.cuhk.edu.hk/record=b5886232.
Full text
37
"Three case studies of "Chineseness" in Chinese rock." 2013. http://library.cuhk.edu.hk/record=b5549328.
Full textAbstract:
如果將崔健的專輯《新長征路上的搖滾》視為中國搖滾樂的正式開端，中國搖滾樂儼然已有近三十年的歷史。作為一種西方另類文化產品的追隨者，中國搖滾樂並沒有簡單複製西方搖滾樂史；作為一種流行次文化現象，中國搖滾樂生動地反映和再現着中國社會的面貌及其歷史變遷，而這一在中國文化語境下的反映和再現則正是中國搖滾樂作為一種風格的原創性所在。本文試圖探討中國搖滾樂中的「中國元素」。為了能夠縱觀這三十年的歷史，筆者特意挑選崔健、唐朝樂隊、二手玫瑰樂隊作為三個「十年」的突出代表來進行考察。作為中國搖滾樂的先驅者，在崔健的音樂作品中保留著一種「紅色情結」，一些革命年代的印記依舊會在他的歌曲中顯現；另外，崔健的一句「一無所有」喊出了那一代青年人的心聲，這種直白地表達在當時不自覺地帶有了一種比較嚴肅的政治含意，也因此使中國搖滾樂的命運同西方搖滾樂一樣，最先以一種反叛的不安分子形象示人；唐朝樂隊是中國搖滾樂「黃金時代」的代表，對中國古代輝煌歷史時期的追憶，加之重金屬音樂風格的衝擊力，使其再造了一個理想的中國陽剛之氣──「文武雙全」；創新性地將搖滾和東北二人轉風格元素相結合使二手玫瑰樂隊成為近期中國搖滾樂的一朵奇葩， 他們既娛樂又嚴肅的反諷風格豐富了中國搖滾樂的語匯。通過對這三例的並置對比，本文意在論證三十年間中國搖滾樂中的「中國性」在體現方式上的微妙變化以及其風格演變的過程。
Having a history of nearly thirty years, Chinese rock is not only a term that indicates a regional genre, but also a specific music style. Its originality lies in its intimate relation with the particular social and economic conditions of China. This thesis focuses on “Chineseness“ in Chinese rock, which covers musical characteristics, political identity, traditional and ancient culture and regional performing arts. In order to demonstrate its historical development, I choose and discuss three musical acts from each decade in Chinese rock history. They are Cui Jian in the 1980s, Tang Dynasty in the 1990s and Second Hand Rose after 2000.
Widely regarded as the forerunner of Chinese rock, Cui Jian’s music has a “red“ ideology; meanwhile, his brave expression of the inner youth voice of that generation also give Chinese rock a rebellious image from the very beginning. Tang Dynasty represents Chinese rock’s “golden age“. Through invoking a glorious period in China’s ancient history, they build an ideal Chinese masculinity in their style of heavy metal. Second Hand Rose innovatively absorbs elements from secular performing art in their music, criticizing new societal conditions in an ironic way. This thesis concludes with the view that the expression of “Chineseness in Chinese rock has been continually transforming throughout the decades, and those Chinese rock musicians’ attitudes toward an “ideal“ conceptualization of China have likewise also gradually changed.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Ren, Shaoren.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2013.
Includes bibliographical references and discographies.
Abstracts also in Chinese.
Abstract --- p.ii
Table of Contents --- p.iv
List of Figures --- p.v
Chapter Chapter I --- Introduction --- p.1
Initial Research and Methodology --- p.2
Chinese Rock in Historical Context --- p.5
The “Chinese in Chinese Rock --- p.6
Literature Review --- p.9
Limits of This Study --- p.16
Thesis Outline --- p.17
Chapter Chapter II --- Cui Jian and Chinese Rock’s First On the New Long March --- p.19
Alternative Military Song on the New Long March --- p.20
“On a Stretch of Exhausted Earth, We Harvest Meager Hopes“ --- p.28
Chapter Chapter III --- Tang Dynasty and Chinese Masculinity --- p.39
China Calling for Heavy Metal --- p.40
Tang Dynasty and Chinese Masculinity --- p.43
Patriotism and Idealism --- p.57
Chapter Chapter IV --- Second Hand Rose and Ironic Aesthetic --- p.62
Spring Festival Gala and Twirling Duet --- p.64
Twirling Duet Rock --- p.68
“Big Bro, You’re Playing Rock, But What the Heck For?“ --- p.72
Chapter Chapter V --- Conclusion --- p.83
Maintaining Chineseness --- p.83
Shifting Styles of Chineseness and Understanding “Ideals“ --- p.86
Bibliography --- p.89
38
"文章, 知識與秩序: 清前中期古文的文化史研究 = Writing, knowledge and the order of intellectual world : a cultural history of 'guwen' in China's long eighteenth century." 2015. http://library.cuhk.edu.hk/record=b6116468.
Full textAbstract:
「古文」作爲傳統中國士人日常表達和學術著作的主要文體，在思想世界與知識世界中具有重要的地位。然而，除了在文學史研究中討論「知識」對「文章」的重要性，我們似乎很少反過來設問，「文章」對「知識」有何作用？作爲「學問」載體的古文，是否真正介入了這些學術性知識的傳承與變革？基於這一思路，本文希望將對「古文」的研究，置於一更大的社會文化脈絡之中，探討「文章」如何塑造了讀書人的知識視野和學問秩序。文章與知識之間的張力，在古代文學史及思想史上一直存在；然在清代，由於儒家知識主義之興起，此一張力獲得了更爲自覺和充分的展開。本文認爲，從晚明到清初，中國士人的知識視野經歷了一次擴張，而明中期以降博覽求古的「文章」趣味，正是其重要的動力。入清之後，「文」「學」之緊張日益顯現。康熙十七年詔徵博學鴻儒，還是以「詞章」評判「博學」；至乾隆間開經學特科，所重便是「根柢經史」的專門學問；由「博」而「精」，「文」「學」相離。不過，在以「文章」訓練為主的書院教育中，對「古學」的提倡往往還需要借助「古文」之力；同時清人以「著書明道」為理想，考經證史的成績、自身的學術趣味與知識修養，都需要選擇恰當的「著述」體裁以表達之。在編次文集乃至註釋經書之時，不少學者都對其「著作」的方式作出精心的安排，以求體現其學問之系統。「文」與「學」的互動，實又通過另一種形式表現出來。此外，「著書明道」，還可以看作一個以「私言」發明「公道」的實踐，故而「著作」不僅是對公共「知識」的傳遞，更是對個人「性情」的表達。在清中期，「文」與「學」的張力進一步推演出性情與知識關係的重整。「文」「學」離合之間，清代讀書人知識世界的遷變，正有跡可循。
The concept of ‘wenxue’(文學) in Chinese intellectual tradition philologically consists of two basic elements: belle-lettres (文wen) and learning (學xue). Thus when talking about ‘wenxue’ we are referring to not only a heritage of literature, but also a genealogy of knowledge. This dissertation aims to shed light upon the socio-cultural and epistemic aspects of classical prose(古文 guwen), which is a main genre of classical literature as well as the prevailing form of both practical and scholarly writing in late imperial China. Questions raised in my research include: How were different categories of knowledge ordered and systematized? In what way did the literary taste of intellectuals delimit and displace their epistemological boundaries? And how was the world of knowledge embodied through the compiling of literary anthologies and the writing of scholarly works?
China’s long eighteenth century (1644-1799) witnessed an adequate and self-conscious unfoldment of the perennial tension of literature and knowledge in the shadow of the Confucian intellectualism. The Ming literati’s interests for archaic literature and ancient texts, which lead to a trend of vast learning, herald the expansion of knowledge in late Ming and early Qing. In the 1679 ‘Boxue Hongru’ Examination, literary excellence was still regarded as a crucial criterion for the selection of ‘erudite scholars’. The rise of evidential study, however, intensified the tension between literary talent and scholarly learning. Men of letters were criticized for having no knowledge of the real way of learning, although they had copious knowledge of classical literature. The curiosity for erudition and was regulated, if not replaced by the pursuit of philological study on the Confucian classics. In spite of such idealistic divergence of ‘literati’ and ‘scholar’, literary writing played a significant role in the propagation and expression of scholarship. On one hand, study on Confucian classics and ancient history was advocated in local academies(shuyuan 書院) through the training of prose writing. On the other hand, scholars had to be very concerned about choosing the appropriate genre or the most refined textual form to lucubrate their academic work. Furthermore, debates on the proper form of academic writing made special contribution to the revival of subjectivism in the realm of academic studies. From my perspective, the interaction of ‘wen’ and ‘xue’ played a decisive role in shaping the trajectory of both literary and academic history of late imperial China.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
胡琦.
Parallel title from added title page.
Thesis (Ph.D.) Chinese University of Hong Kong, 2015.
Includes bibliographical references (leaves 540-551).
Abstracts also in Chinese.
Hu Qi.
39
"浙西六家詞學研究." Thesis, 2011. http://library.cuhk.edu.hk/record=b6075435.
Full textAbstract:
劉喜儀.Six poets are: 朱彝尊、李良年、李符、沈皞日、沈岸登、龔翔麟.
Six poets are: Zhu Yizun, Li Liang'nian, Li Fu, Shen Haori, Shen Andeng, Gong Xianglin.
Thesis (Ph.D.)--Chinese University of Hong Kong, 2011.
Includes bibliographical references (leaves 228-245)
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
Liu Xiyi.
40
"同光體閩派研究." Thesis, 2011. http://library.cuhk.edu.hk/record=b6075436.
Full textAbstract:
黃小蓉.Thesis (Ph.D.)--Chinese University of Hong Kong, 2011.
Includes bibliographical references (leaves 411-430)
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
Huang Xiaorong.
41
"Zheng and Qi in Chinese and English fiction." Chinese University of Hong Kong, 1990. http://library.cuhk.edu.hk/record=b5886556.
Full textAbstract:
by Christina Lee Ka-pik.Thesis (M.Phil.)--Chinese University of Hong Kong, 1990.
Bibliography: leaves 163-168.
Abstract --- p.i
Acknowedgments --- p.ii
Chapter Chapter1 --- Introducion --- p.1
Chapter Chapter2 --- Orthodoxy vs Anti-orthodoxy --- p.12
Chapter Chapter3 --- Historicity vs Fictionalization --- p.52
Chapter Chapter4 --- Ordinary vs Unexpectedness --- p.97
Chapter Chapter5 --- Conclusion --- p.151
Notes to Chapter 1 --- p.156
Notes to Chapter 2 --- p.157
Notes to Chapter 3 --- p.160
Notes to Chapter 4 --- p.161
Notes to Chapter 5 --- p.162
Works Cited --- p.163
42
""五四"女作家書信體小說(1917-1927)研究." 2006. http://library.cuhk.edu.hk/record=b5896480.
Full textAbstract:
梁珊珊."2006年8月"
論文(哲學碩士)--香港中文大學, 2006.
參考文獻(leaves 133-146).
"2006 nian 8 yue"
Abstracts in Chinese and English.
Liang Shanshan.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2006.
Can kao wen xian (leaves 133-146).
Chapter 第一章 --- 緒論 --- p.1
Chapter 第一節 --- 硏究對象 --- p.1
Chapter 第二節 --- 硏究範圍 --- p.5
Chapter 第三節 --- 他人硏究成果槪述 --- p.18
Chapter 第四節 --- 女性主義敘事學理論簡介 --- p.20
Chapter 第二章 --- “五四´ح時期書信體小說興起的源流及槪况 --- p.26
Chapter 第一節 --- 客觀歷史條件的具備 --- p.27
Chapter 第二節 --- 晚清以迄“五四´ح書信體小說的流變 --- p.31
Chapter 第三節 --- 西方文學理論的影響 --- p.42
Chapter 第三章 --- 書信體小說的文體特徵 --- p.46
Chapter 第一節 --- 真實性 --- p.46
Chapter 第二節 --- 私密性/封閉性 --- p.48
Chapter 第三節 --- 對話性/公共性 --- p.53
Chapter 第四節 --- 兼容性 --- p.56
Chapter 第四章 --- 書信體小說的敘述視點及敘述層次 --- p.58
Chapter 第一節 --- 敘述視點 --- p.58
Chapter 第二節 --- 敘述層次 --- p.74
Chapter 第三節 --- 小結 --- p.87
Chapter 第五章 --- 書信體小說的女性主義敘事學硏究 --- p.88
Chapter 第一節 --- 作者型敘述聲音 --- p.94
Chapter 第二節 --- 個人型敘述聲音 --- p.100
Chapter 第三節 --- 集體型敘述聲音 --- p.108
Chapter 第四節 --- 小結 --- p.110
Chapter 第六章 --- 書信體小說的衰落 --- p.113
Chapter 第七章 --- 結論 --- p.118
Chapter 第一節 --- 總結 --- p.118
Chapter 第二節 --- 硏究意義 --- p.123
[附錄一]“五四´ح女作家小傳 --- p.125
[附錄二] “五四´ح女作家書信體小說(1917-1927)列表 --- p.131
參考文獻 --- p.133
Chapter 一、 --- 作家作品 --- p.133
Chapter 二、 --- 參考. --- p.135
Chapter 三、 --- 學位論文 --- p.141
Chapter 四、 --- 期刊論文 --- p.141
43
"文化工人: 延安作家的自我形象與身份認同(1937-1945)." 香港中文大學, 1995. http://library.cuhk.edu.hk/record=b5895586.
Full textAbstract:
陳偉文.書名原題: 「文化工人」 -- 延安作家的自我形象與身份認同(1937-1945)
論文(碩士) -- 香港中文大學硏究院歷史學部,1995.
參考文獻: leaves 114-120.
Chen Weiwen.
Chapter 1， --- 中共與知識分子的關係 --- p.3
中外學者眼中的中國知識分子 --- p.4
中共與延安作家 --- p.5
「文化工人」的自我形象與身份認同 --- p.6
小結 --- p.10
Chapter 2， --- 文人與黨員的雙重身份´ؤ瞿秋白與張聞天 --- p.17
左聯的舵手瞿秋白 --- p.17
反關門主義的張聞天 --- p.20
雙重身份的影響 --- p.22
Chapter "3 ," --- 左翼作家聯盟與無產階級革命文學 --- p.26
時勢造難´ؤ´ؤ「左聯」的崛起 --- p.27
「左聯」與蘇聯 --- p.27
中共與普羅文學 --- p.28
「左聯」的宗旨及其主張 --- p.28
「奴隸總管」周揚 --- p.32
「女戰士」丁玲 --- p.34
三十年代的艾青、蕭軍實味 --- p.37
處於過渡階段的「無產階級作家」 --- p.40
Chapter 4， --- 整風前延安作家的自我形象與身份認同 --- p.47
自我形象的探索 --- p.48
關於作家「自我形象」的數點補充 --- p.53
對人民的認同 --- p.55
對國家黨的認同 --- p.62
自我批評 --- p.68
小結 --- p.70
Chapter 5， --- 整風後延安作家的自我形象與身份認同 --- p.80
延安整風於王實味事件 --- p.80
文藝座談會後作家的自我形象 --- p.85
文藝座談會後作家對人民的認同 --- p.89
文藝座談會後作家對黨國的認同 --- p.91
整風後作家的「自我批評」 --- p.97
小結 --- p.99
Chapter 6， --- 無奈的關係--總結 --- p.109
參考書目 --- p.114
44
"元初詞硏究." 1998. http://library.cuhk.edu.hk/record=b5889630.
Full textAbstract:
張櫻.論文(哲學碩士) -- 香港中文大學硏究院中國語言及文學學部, 1998.
參考文獻: leaves 197-206.
中英文提要.
Zhang Ying.
Chapter 第一章 --- 緒論 --- p.1-24
Chapter 第一節 --- 元詞研究回顧 --- p.1-10
Chapter 壹 --- 研究進路
Chapter 一 --- 主觀的點評
Chapter 二 --- 客觀的考證
Chapter 三 --- 宏觀的整理
Chapter 四 --- 微觀的論述
Chapter 貳 --- 研究成果
Chapter 一 --- 資料的整理
Chapter 二 --- 觀點的建立
Chapter 三 --- 觀念的啟發
Chapter 1 --- 元詞的風格
Chapter 2 --- 元詞的主題
Chapter 3 --- 元詞的韻調
Chapter 第二節 --- 元初詞研究 --- p.10-24
Chapter 壹 --- 研究意義
Chapter 貳 --- 研究範圍
Chapter 一 --- 時間範圍
Chapter 1 --- 歷史時間
Chapter 2 --- 文學史時間
Chapter 二 --- 文體範圍
小結
Chapter 第二章 --- 元初詞的背景 --- p.25-58
Chapter 第一節 --- 政治環境 --- p.25-30
Chapter 壹 --- 漢化政策
Chapter 貳 --- 科舉制度
Chapter 第二節 --- 社會環境 --- p.30-33
Chapter 壹 --- 社會階級
Chapter 貳 --- 宗教氛圍
Chapter 參 --- 地理環境
Chapter 第三節 --- 文壇環境 --- p.33-58
Chapter 壹 --- 詞曲發展
Chapter 一 --- 前期「散曲化」的發展一一詞向曲靠攏
Chapter 二 --- 後期「雅詞化」的發展一一曲向詞靠攏
Chapter 貳 --- 從「散曲化」到「雅詞說」的變素
Chapter 一 --- 雖倚曲調，仍用詞腔
Chapter 二 --- 作家身兼兩職
Chapter 三 --- 專論出現
小結
Chapter 第三章 --- 元初詠物詞 --- p.59-95
Chapter 第一節 --- 詠物詞的選材、擇調與定韻 --- p.59-78
Chapter 壹 --- 選材
Chapter 一 --- 花草
Chapter 二 --- 樓臺
Chapter 三 --- 山河
Chapter 四 --- 雨雪
Chapter 五 --- 器物
Chapter 六 --- 其它
Chapter 貳 --- 擇調
Chapter 參 --- 用韻
Chapter 第二節 --- 詠物詞内涵述析 --- p.78-95
Chapter 壹 --- 賦物
Chapter 一 --- 優美翔實
Chapter 二 --- 氣勢豪壯
Chapter 貳 --- 寓情
Chapter 一 --- 關懷個體
Chapter 1 --- 襯寫形象
Chapter 2 --- 烘托人格
Chapter 3 --- 肯定自我
Chapter 4 --- 表達心境
Chapter 二 --- 感觸歷史
Chapter 1 --- 慨嘆廢興
Chapter 2 --- 申怨遭遇
小結
Chapter 第四章 --- 元初雜紀詞 --- p.96-126
Chapter 第一節 --- 雜紀詞的選材、擇調與定韻 --- p.96-105
Chapter 壹 --- 選材
Chapter 一 --- 紀人物
Chapter 二 --- 載行藏
Chapter 三 --- 記時事
Chapter 1 --- 書瑣事
Chapter 2 --- 誌國事
Chapter 3 --- 錄異事
Chapter 4 --- 釆風物
Chapter 5 --- 敘心得
Chapter 四 --- 識天候
Chapter 五 --- 吟情志
Chapter 貳 --- 擇調
Chapter 參 --- 用韻
Chapter 第二節 --- 雜紀詞内涵述析 --- p.106-126
Chapter 壹 --- 追慕才逸刻劃時人
Chapter 貳 --- 喜好山水記載行藏
Chapter 參 --- 家事國事釆以紀誌
Chapter 肆 --- 感時識節悲春憂秋
Chapter 伍 --- 追逐事功企慕隱逸
小結
Chapter 第五章 --- 元初離別詞 --- p.127-158
Chapter 第一節 --- 離別詞的選材、擇調與定韻 --- p.127-137
Chapter 壹 --- 選材
Chapter 一 --- 寄示
Chapter 二 --- 悼懷
Chapter 三 --- 羈旅
Chapter 四 --- 歸別
Chapter 五 --- 送餞
Chapter 貳 --- 擇調
Chapter 參 --- 用韻
Chapter 第二節 --- 離別詞内涵述析 --- p.138-158
Chapter 壹 --- 書素往來
Chapter 一 --- 寄思念
Chapter 二 --- 表感激
Chapter 三 --- 問求事
Chapter 貳 --- 悼懷親友
Chapter 一 --- 懷友人
Chapter 二 --- 悼紅顏
Chapter 三 --- 念親友
Chapter 參 --- 羈旅鄉思
Chapter 肆 --- 離別送餞
Chapter 一 --- 離別親人
Chapter 二 --- 離別朋友
Chapter 三 --- 送親人
Chapter 四 --- 送友人
Chapter 五 --- 送幕職
小結
Chapter 第六章 --- 元初贈酬詞 --- p.159-186
Chapter 第一節 --- 贈酬詞的選材、擇調與定韻 --- p.159-172
Chapter 壹 --- 選材
Chapter 一 --- 題材
Chapter 1 --- 「賡唱」作品
Chapter 2 --- 「貺贈」作品
Chapter 3 --- 「慶贊」作品
Chapter 二 --- 贈酬對象
Chapter 貳 --- 擇調
Chapter 參 --- 用韻
Chapter 第二節 --- 贈酬詞内涵述析 --- p.172-186
Chapter 壹 --- 抒懷式贈酬
Chapter 一 --- 身不由己的哀傷
Chapter 二 --- 官事無窮的嘮叨
Chapter 三 --- 羈旅客懷的無奈
Chapter 四 --- 未許投閒的願望
Chapter 五 --- 儒冠誤身的反省
Chapter 貳 --- 慶賀式贈酬
Chapter 一 --- 歌筵酒宴
Chapter 二 --- 嫁娶添丁
Chapter 三 --- 應制
Chapter 四 --- 壽辰生朝
Chapter 五 --- 會飲
小結
Chapter 第七章 --- 結論 --- p.187-196
Chapter 第一節 --- 元初詞特色 --- p.187-195
Chapter 壹 --- 主題：與傳統閨閣之詞拉開距離
Chapter 貳 --- 思想：以道家的隱逸引領潮流
Chapter 參 --- 語言：雜夾在新舊文學之間
Chapter 一 --- 新興的曲體語言
Chapter 二 --- 傳統的詞體語言
Chapter 肆 --- 風格：以蘇辛詞風為主導
Chapter 第二節 --- 元初詞的評價與總結 --- p.195-196
參考書目 --- p.197-206
附錄：
Chapter 一 --- 元初詞人生平簡介 --- p.207-213
Chapter 二 --- 《詞話叢編》輯錄之元詞話簡目索引 --- p.214-222
Chapter 三 --- 近六十年元詞研究書目/論文篇目 --- p.223-226
Chapter 四 --- 元初詞分類列目 --- p.227-260
Chapter 1 --- 詠物詞
Chapter 2 --- 雜紀詞
Chapter 3 --- 離別詞
Chapter 4 --- 贈酬詞
45
"當代筆記體小說研究(1980-2000)." 2003. http://library.cuhk.edu.hk/record=b5891418.
Full textAbstract:
李婉薇."2003年6月".
論文(哲學碩士)--香港中文大學, 2003.
參考文獻(leaves 241-268).
附中英文摘要.
"2003 nian 6 yue".
Li Wanwei.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2003.
Can kao wen xian (leaves 241-268).
Fu Zhong Ying wen zhai yao.
Chapter 第一章 --- 緒論 --- p.9
Chapter 第一節 --- 硏究動機 --- p.9
Chapter 第二節 --- 前人硏究槪述 --- p.11
Chapter 第三節 --- 硏究目的和意義 --- p.17
Chapter 第四節 --- 硏究圍範和方法 --- p.20
Chapter 第二章 --- 釋名與定位 --- p.26
Chapter 第一節 --- 引言 --- p.26
Chapter 第二節 --- 槪念辨析：筆記小說和筆記 --- p.27
Chapter 第三節 --- 文體辨析：筆記體 --- p.31
Chapter 1. --- 「體」的槪念
Chapter 2. --- 從「傳奇體」看「筆記體」
Chapter 第四節 --- 當代筆記體小說定義述評 --- p.39
Chapter 第五節 --- 當代筆記體小說的敘事方式 --- p.42
Chapter 1. --- 敘述者的參與度
Chapter 2. --- 敘述者的客觀度
Chapter 3. --- 敘述時間
Chapter 4. --- 場景及心理描寫
Chapter 第六節 --- 當代筆記體小說的其他特點 --- p.51
Chapter 1. --- 語言風格
Chapter 2. --- 紀實精神
Chapter 第七節 --- 結語 --- p.55
Chapter 第三章 --- 出現和發展 --- p.57
Chapter 第一節 --- 引言 --- p.57
Chapter 第二節 --- 出現的原因 --- p.57
Chapter 1. --- 老作家的開端和啓發
Chapter 2. --- 尋根思潮的帶動
Chapter 3. --- 小說體裁的分化
Chapter 4. --- 短篇小說的文體自覺
Chapter 5. --- 現實主義與民族形式
Chapter 第三節 --- 發展的形態 --- p.80
Chapter 1. --- 始終的標記
Chapter 2. --- 非線性的啓示
Chapter 第四節 --- 結語 --- p.92
Chapter 第四章 --- 汪曾祺：重鑄筆記精神 --- p.93
Chapter 第一節 --- 引言 --- p.93
Chapter 第二節 --- 寫作筆記體小說的原因 --- p.94
Chapter 1. --- 筆記文學
Chapter 2. --- 明人小品
Chapter 3. --- 京派師承
Chapter 4. --- 創作道路的轉向
Chapter 第三節 --- 題材思想 --- p.104
Chapter 1. --- 營生的艱苦
Chapter 2. --- 美好的消逝
Chapter 3. --- 越軌的性愛
Chapter 4. --- 文革的戲謔和反思
Chapter 5. --- 生命的寂寞和溫暖
Chapter 第四節 --- 敘事特點 --- p.114
Chapter 1. --- 存真的樸實
Chapter 2. --- 紀實的留白
Chapter 3. --- 簡約和稚拙的語言
Chapter 4. --- 風俗烘托的手法
Chapter 5. --- 線性、圓形、網狀的結構
Chapter 第五節 --- 結語 --- p.126
Chapter 第五章 --- 孫犁：實錄文革見聞 --- p.128
Chapter 第一節 --- 引言 --- p.128
Chapter 第二節 --- 「芸齋小說」及其實錄精神 --- p.130
Chapter 第三節 --- 寫作筆記體小說的原因 --- p.136
Chapter 1. --- 信念崩潰和風格突變
Chapter 2. --- 老年的趣味
Chapter 3. --- 唐代古文
Chapter 4. --- 信仰現實主義
Chapter 第四節 --- 題材思想 --- p.146
Chapter 1. --- 文革的記錄和反思
Chapter 2. --- 追憶與悼亡
Chapter 第五節 --- 敘事特點 --- p.150
Chapter 1. --- 自我之一：平靜的孫芸夫
Chapter 2. --- 自我之二：激動的「芸齋主人」
Chapter 3. --- 簡約筆墨與限制視角
Chapter 4. --- 清晰的時間標記
Chapter 第六節 --- 結語 --- p.158
Chapter 第六章 --- 阿城、李慶西：自覺的文體實驗 --- p.160
Chapter 第一節 --- 引言 --- p.160
Chapter 第二節 --- 與筆記體小說的關係 --- p.161
Chapter 第三節 --- 與汪曾祺的關係 --- p.168
Chapter 1. --- 關懷世俗
Chapter 2. --- 抗拒濫情
Chapter 3. --- 淡化故事
Chapter 第四節 --- 題材思想 --- p.174
Chapter 1. --- 尷尬的處境
Chapter 2. --- 無事的悲哀
Chapter 3. --- 文革的傷痕
Chapter 4. --- 文革的主角和看客
Chapter 第五節 --- 敘事特點 --- p.181
Chapter 1. --- 諷剌手法
Chapter 2. --- 簡約筆墨
Chapter 3. --- 敘述者的冷酷和同情
Chapter 4. --- 多種語言風格和情調
Chapter 第六節 --- 結語 --- p.188
Chapter 第七章 --- 其他作家及作品選析 --- p.189
Chapter 第一節 --- 引言 --- p.189
Chapter 第二節 --- 馮驥才：《俗世奇人》 --- p.189
Chapter 1. --- 題材思想
Chapter 2. --- 敘事特點
Chapter 3. --- 發揚津味兒
Chapter 第三節 --- 個別作品選析 --- p.200
Chapter 1. --- 韓少功：〈史遺三錄〉
Chapter 2. --- 賈平凹：〈王滿堂〉
Chapter 3. --- 王阿成：〈人間俗話〉
Chapter 4. --- 葉兆言：〈五異人傳〉
Chapter 第四節 --- 「新世說」專欄 --- p.211
Chapter 1. --- 背景和目的
Chapter 2. --- 思想價値
Chapter 3. --- 文體意識
Chapter 第五節 --- 結語 --- p.217
Chapter 第八章 --- 總結 --- p.219
Chapter 第一節 --- 當代筆記體小說的啓示 --- p.220
Chapter 1. --- 過去：對古典小說的繼承
Chapter 2. --- 現在：與當代文學的關係
Chapter 3. --- 將來：對中國小說的期待
Chapter 第二節 --- 三地作家的貢獻 --- p.228
Chapter 1. --- 汪曾祺及其他內地作家
Chapter 2. --- 張大春、董啓章
Chapter 第三節 --- 硏究方法反思 --- p.237
參考書目 --- p.241
Chapter 一、 --- 當代筆記體小說 --- p.241
Chapter 二、 --- 作品及評論 --- p.242
Chapter 三、 --- 當代文學 --- p.254
Chapter 四、 --- 古典筆記、筆記小說及其他 --- p.262
Chapter 五、 --- 文學理論 --- p.265
附錄 --- p.269
Chapter 一、 --- 當代筆記體小說主要篇目 --- p.269
Chapter 二、 --- 當代筆記體小說敘事分析及統計 --- p.281
Chapter 三、 --- 兩部《新筆記小說選》比較 --- p.314
Chapter 四、 --- 汪曾祺《〈聊齋〉新義》剖 析 --- p.319
Chapter 五、 --- 汪曾祺小說之內在指涉 --- p.341
後記 --- p.345
46
"《今天》(1978-1980年)詩歌研究." 2003. http://library.cuhk.edu.hk/record=b5896052.
Full textAbstract:
趙麗霞."2003年8月".
論文(哲學碩士)--香港中文大學, 2003.
參考文獻(leaves 175-195).
附中英文摘要.
"2003 nian 8 yue".
Zhao Lixia.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2003.
Can kao wen xian (leaves 175-195).
Fu Zhong Ying wen zhai yao.
Chapter 第一章： --- 導論 --- p.5
Chapter 第一節： --- 硏究動機 --- p.5
Chapter 第二節： --- 《今天》詩歌硏究現狀 --- p.10
Chapter 第三節： --- 本文硏究範圍 --- p.11
Chapter 第四節： --- 材料來源 --- p.14
Chapter 第二章： --- 《今天》與地下文學 --- p.16
Chapter 第一節： --- 地下詩歌沙龍的發展階段 --- p.17
Chapter 第二節： --- 「白洋淀詩群」 --- p.23
Chapter 第三節： --- 北京各階段地下文學沙龍的關係 --- p.28
Chapter 第四節： --- 小結 --- p.29
Chapter 第三章 --- 《今天》簡介 --- p.31
Chapter 第一節： --- 《今天》創刊的政治背景 --- p.31
Chapter 第二節： --- 《今天》發展歷程 --- p.34
Chapter 第三節： --- 《今天》的組織系統 --- p.39
Chapter 第四節： --- 《今天》各期情況簡介 --- p.43
Chapter 第五節： --- 《今天》與其他民刊的關係 --- p.47
Chapter 第六節： --- 《今天》與官方文學刊物的關係 --- p.50
Chapter 第七節： --- 《今天》的宗旨 --- p.51
Chapter 第八節： --- 小結 --- p.57
Chapter 第四章： --- 《今天》詩人群 --- p.58
Chapter 第一節： --- 食指´ؤ´ؤ《今天》詩人的啓蒙者 --- p.59
Chapter 第二節： --- 北島´ؤ´ؤ從浪漫抒情到冷酷寫作 --- p.70
Chapter 第三節： --- 芒克´ؤ´ؤ「自然詩人」 --- p.80
Chapter 第四節： --- 舒婷´ؤ´ؤ愛的歌者 --- p.85
Chapter 第五節： --- 顧城´ؤ´ؤ「童話詩人」 --- p.89
Chapter 第六節： --- 江河、楊煉´ؤ´ؤ現代史詩探索的代表 --- p.97
Chapter 第七節： --- 《今天》其他詩人 --- p.102
Chapter 第八節： --- 《今天》佚名詩人 --- p.106
Chapter 第九節： --- 小結 --- p.109
Chapter 第五章： --- 《今天》詩歌：一代人的文革經驗 --- p.110
Chapter 第一節： --- 「文革一代人」 --- p.110
Chapter 第二節： --- 《今天》詩人的「廢墟文學」意識 --- p.112
Chapter 第三節： --- 《今天》詩歌中展現的文革經驗 --- p.114
Chapter 第四節： --- 小結 --- p.131
Chapter 第六章： --- 《今天》詩歌的價値 --- p.132
Chapter 第一節： --- 中國大陸新詩發展狀況回顧 --- p.132
Chapter 第二節： --- 《今天》詩歌整體的藝術成就 --- p.137
Chapter 第三節： --- 反叛的聲音和懷疑的精神 --- p.153
Chapter 第四節： --- 《今天》詩歌展現的精神特徵 --- p.157
Chapter 第五節： --- 《今天》詩歌與「朦朧詩」的關係 --- p.162
Chapter 第六節： --- 結論 --- p.172
參考書目 --- p.175
附錄 --- p.196
47
"《昭代簫韶》與清代宮廷演劇研究: A study of the glorious music of a brilliant age (Zhaodai xiaoshao) and the court theatre in the Qing dynasty." 2014. http://library.cuhk.edu.hk/record=b6115620.
Full textAbstract:
本文以清代宮廷演劇制度的完善與興替、宮廷大戲《昭代簫韶》的創作與演出為中心，探討其中帝王性情、意識形態的投射與帝國形象的建構；試圖對宮廷演劇繁盛與變遷的原因、《昭代簫韶》文本與演出的意涵、宮廷與民間演劇的交流與影響等問題，作出新的解釋。現有研究強調清朝帝后喜好戲曲娛樂、宮廷舞臺壯麗輝煌，以及晚清宮廷演劇變革等等。本文認為，清代宮廷演劇實有更多豐富的內涵有待更深入的研討。帝后的倡導及參與，自是推動清代宮廷演劇繁盛的重要原因，但在滿足帝后娛樂的同時，宮廷演劇也用於朝廷儀典；戲曲教化與國家儀式的功能相互結合。
清代宮廷演劇，在元明清雜劇傳奇及亂彈之外，還有適應現實需要而奉旨編演的大戲與節戲。宮廷大戲，規模龐大，情節複雜，排場繁縟，在中國戲曲史上十分獨特。創作於乾嘉之際的《昭代簫韶》，取材於明代演義小說《北宋志傳》，鋪寫楊家將輔宋抗遼事。通過特定情節與人物穿戴，《昭代簫韶》參與了清代正統華夷的論述，並含有重評歷史與訓諭臣民的深意。此部大戲將褒忠誅奸的昇仙入地與軍陣鬥法的神道描寫，與觀劇現場的君臣秩序相結合，形成舞臺上、下戲曲與現實的呼應，道德教化寓意明顯。
本文對清代宮廷演劇制度變遷與宮廷大戲《昭代簫韶》演出史的考察，還特別關注戲曲在宮廷與民間的流動與影響。尤其是外學伶人進入與退出宮廷，使得宮廷伶人的規模與組成發生改變，這不僅影響到大戲的演出形式與藝術呈現，也使得宮廷演劇處於對外開放與吸收融合的狀態。清代戲劇便在宮廷、文人與民間三方面，均臻繁盛。
Theatrical performance played an important role in the Qing court culture. This thesis discusses the evolution and change of the court theatre institution throughout the Qing Dynasty. In the contexts of court entertainment, political activities and cultural policy, the creation and performance history of the grand theatre piece, Zhaodai xiaoshao, or The Glorious Music of a Brilliant Age, from the Qianlong-Jiaqing to the Guangxu period serve as an adequate example. In this case study, we can explore the nature of the Qing emperors and Empress Dowager Cixi, state ideology and the construction of the Empire’s image.
Most existing research in Qing court drama and theatre focuses on the Qing emperors’ great passion for theatre, the three-tiered grand stage in the imperial palace and the wealth of props and costumes, as well as the repertoire change in the late Qing, especially the formation and development of Jingju or Peking Opera. This thesis arguesthat given its rich contents and relevant contexts, the Qing court theatre deserves far more research both in breadth and in depth. The participation of the imperial power undoubtedly promoted court theatre. Theatrical performances at court became not only private entertainment for the imperial family; they also appeared in state ceremonies with special ritual significance. In addition, the grand plays like the 240-scened Glorious Music of a Brilliant Age projected the images and instructions of the emperorsto enlighten the subjects, for particular needs in political circumstances.
The Glorious Music of a Brilliant Age was based on the story of the Yang Family Generals in the Northern Song Dynasty. Usingthe concept of destiny, the grand play established the plot in which Song defeated Liao and the Taizong of Song completed the unification of the Hans and non-Hans. This is not the real history. However, the play reflected the transition from the early Qing of the northern ethnic-group regime to the mid-Qing of the unified Chinese dynasty. It showed the Manchu emperors’ intent to construct a political orthodox position for their empire. Through the specific costumesof its characters, this history play revealed the ethnic and identity issues among the audience in the Qing court. It teaches the audience and later, readers to be loyal subjects.
In the performance history of The Glorious Music of a Brilliant Age, it is also important to note the institutional evolution of the court theatre, especially the folk actors flowing inside and outside the court. These actors’ movement created opportunities for exchange between the court theatre and the public theatre. For instance, during the Hundred Days Reform, Zhaodai xiaoshao was adapted from its original Kun-Yi music to the Pihuang music under the command of the Empress Dowager Cixi to be performed by the eunuch actors and famous celebrities from the capital theatre. The adaptation and performances of this play, when closely examined, expressed the "ideal" parent-child and monarch-subject relationship which the Empress desired Emperor Guangxu to observe, given the reality of tension between the two at that time. In other words, the performances at court theatre often serve the political purpose of communication, indoctrination, as well as integration.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
胡光明.
Thesis (Ph.D.) Chinese University of Hong Kong, 2014.
Includes bibliographical references (leaves 255-281).
Abstracts also in English.
Hu Guangming.
48
"書寫瘋狂: 後解嚴時期台灣小說的歷史想像." 2012. http://library.cuhk.edu.hk/record=b5549355.
Full textAbstract:
瘋狂是人類文明的產物，一直被視為另類、邊緣，與理性對立，因而受到排斥。然而，文學上的「瘋狂」卻有其寶貴的價值，往往是反思與批判固有價值與主流意見的工具，據此發出異議聲音。本文關注這種書寫策略在當代台灣文學場域中的出現方式、文學價值與文化意義，因此以分析小說作品與文學脈絡來說明「瘋狂」的文學脈絡，闡釋當代台灣文學的現象與特色。解嚴(1987 年)是台灣近三十年來的重大事件，亦是近年來台灣文化與本土論述的焦點所在。其影響不獨改變了政治與社會生態，亦為台灣的藝術文化帶來巨大衝擊。戒嚴成為台灣民眾不能磨滅的歷史記憶，各種異議的思想與言論遭受壓抑，直至解嚴才出現新局面，自九十年代開展多元文化思潮。當時，不少作家藉著「瘋狂」書寫另闢膜徑，重新構想歷史，揭藥文化霸權下的種種不安。台灣文學己藉由不同形式搖動一元論述的霸權，加上西方後現代、後殖民思潮的引入，學院的主動引介和翻譯，民間白發的社會運動等，皆為解嚴後的文化現象埋下種種伏線。從文學史脈絡而言，台灣的文學生產的確迅速回應了政治解禁，並以獨特的方式透露社會文化上的騷動。
為了掌握上述的歷史脈絡，本文以解嚴為時間標竿閱讀當代台灣小說，藉此分析解嚴與文學現象的互動關係，指出文學如何展示解嚴前後的歷史想像。因此，本文以「瘋狂」為切入點，分析以瘋狂為題材的書寫如何與解嚴前後己解放的議題對話，包括性別認同、身分與族群認同，挑戰政治霸權以及後工業經濟環境下的都市文化等，目的在於驗證「瘋狂」對後解嚴文學所起的作用和價值。
本文共分為七章。首章為緒論交代研究動機及方法;第二章為文獻回顧與述評，點出當前的研究成果;第三章旨在交代後解嚴時期小說場域狀況的概述，並界定「瘋狂」的文學意義，藉此論證台灣當代文學與文化的互動關係。第四章題為「國族瘋言與都市病」，借助張大春、李渝與黃凡的作品，切入認同政治與都市化問題對文學書寫的影響。第五章為「虛幻實景與不存在之存在」，旨在察看兩位小說家賀景演與紀大偉，如何藉書寫科幻來展示對未來世界與歷史景觀的想像，以展望當下發展中的文化議題。第六章為「神聖瘋狂與不可能之可能」， 旨在檢視兩位將「瘋狂」書寫演繹得淋漓盡致的作家駱以軍與舞鶴，如何在作品中借助敘述肉體與心靈的瘋狂，探討在多元文化認同觀的氣氛下重思自我主體的問題。末章結論，以總結全文與展望將來的研究方向。
本文認為，後解嚴時期小說每以「瘋狂」的視角重新認知變動的世惰。這些作品透過創造各種怪誕場景與行為，呈現個體與權力之間的角力，反省語言與書寫策略的局限，以及批判自我主體的意識，因而為台灣當代文學場域帶來豐富的收獲。
Madness has its own history among civilizations. From time to time, madness is not only simply a kind of pathological disorder, but also takes a significant cultural role to represent the voiceless, the minorities. As in contemporary Taiwan literature,madness gradually becomes a medium to express different opinions to the society. It inquires from margin to centre which is empowered by the political establishment. It is not only a common topic to be discussed, but also an important writing strategy forwriters to proclaim their historical imagination about the past, present and future.
In 1987, a significant political issue, the Martial Law, was put to an end in Taiwan. After that, due to the liberation of freedom of speech, a booming trend of multiculturalism appeared and brought out great influences to all parts of the society, especially the field ofliterature. Many writers started to change their narration style and inclined their focus on minorities. In order to have a good grasp of this forming trend, hence, this study aims to trace back to the development of Taiwan literature after 1987, and examine how novel writers make use of the narratives of madness to state their own opinion on several topics, including the relationship between the subjectivity of one-self and the identity of the communities.
There are seven chapters in this paper. The introduction states the framework and methodology of the study. In chapter two, a literature review gives an insight into the direction in current research and discussion on the post-Martial Law era, in addition to the narrative of madness. Chapter three investigates the field of Taiwan literature after 1987 in order to discuss the interaction of culture and literature. In the fourth chapter, it studies on the fictions written by Li Yu (李渝, 1941- ), Chang Ta-chuen (張大春, 1957- ) and Huang Fan (黃凡, 1950- ), related to the issue on national identity and their ironic practices. In chapter five, it discusses the science fiction by He Jing-bing (賀景濱, 1958- ) and Chi Ta-wei (紀大偉, 1972-), to find out the projection about future based on the up coming and shifting cultural trend. The sixth chapter focuses on how the writers such as Wu He (舞雀, 1951- ) and Luo Yi-jun (路以軍, 1967- ) contributes to sanctification and internalization of madness, as well as enhance its value for a reflexive purpose. The last chapter concludes the overall findings and projects further research directions of the relevant topics.
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.
鄺梓桓.
Sumitted date: 2011年11月.
Sumitted date: 2011 nian 11 yue.
Thesis (Ph.D.)--Chinese University of Hong Kong, 2012.
Includes bibliographical references (leaves 203-222)
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
Kuang Zihuan.
Chapter 第一章 --- 緒論 --- p.1
Chapter 第一節 --- 研究動機與目的 --- p.1
Chapter 第二節 --- 研究範團與方法 --- p.6
Chapter 第三節 --- 篇章概述 --- p.15
Chapter 第二章 --- 文獻回顧及評述 --- p.18
Chapter 第一節 --- 前行研究述評 --- p.18
Chapter 第二節 --- 相關文獻述評 --- p.25
Chapter 第三章 --- 世紀末的瘋狂-解嚴後台灣小說場域的狀況 --- p.37
Chapter 第一節 --- 何謂瘋狂 --- p.37
Chapter 第二節 --- 解嚴後台灣小說場城的狀況 --- p.42
Chapter 第四章 --- 國族瘋言與都市病 --- p.48
Chapter 第一節 --- 張大春論:國族瘋言與譜妄 --- p.50
Chapter 第二節 --- 李渝論:都市病 --- p.71
Chapter 第三節 --- 黃凡論:政治躁鬱症 --- p.87
Chapter 第四節 --- 小結 --- p.93
Chapter 第五章 --- 虛幻實景與不存在之存在 --- p.94
Chapter 第一節 --- 後解嚴時期的科幻小說 --- p.94
Chapter 第二節 --- <李伯夢三部曲>的敘事實驗 --- p.101
Chapter 第三節 --- <膜> 的性別與生命辯證 --- p.116
Chapter 第四節 --- <去年在阿魯吧>的虛擬實境 --- p.128
Chapter 第五節 --- 小結 --- p.138
Chapter 第六章 --- 神聖瘋狂與不可能之可能 --- p.141
Chapter 第一節 --- 駱以軍論:回歸自我之不可能 --- p.141
Chapter 第二節 --- 舞鶴論:走在不可能的邊緣之上 --- p.167
Chapter 第三節 --- 小結 --- p.196
Chapter 第七章 --- 結論 --- p.197
Chapter 第一節 --- 總結:讓瘋狂說話 --- p.197
Chapter 第二節 --- 研究反思與前瞻 --- p.199
參考書目 --- p.203
49
"從氣、勢觀念看六朝文論的開展." 1987. http://library.cuhk.edu.hk/record=b5895548.
Full textAbstract:
袁燕萍著.書名頁題: 從氣、勢觀念看六朝文論的 ...
手稿本, 複本據手稿本影印.
Thesis (M.A.)--香港中文大學硏究院中國語文學部.
Shu ming ye ti: Cong qi shi guan nian kan liu chao wen lun de ...
Shou gao ben, fu ben ju shou gao ben ying yin.
Includes bibliographical references (leaves 1-39 (2nd group)).
Yuan Yanping zhu.
Thesis (M.A.)--Xianggang Zhong wen da xue yan jiu yuan Zhongguo yu wen xue bu.
緒言 --- p.1-20
Chapter （一） --- 研究緣起
Chapter （二） --- 釋名並論研究之步驟和目的
Chapter （三） --- 研究之方法及全文結構
Chapter 第一章 --- 氣之才性義及才性觀念在六朝文論的開展 --- p.21-153
Chapter 第一節 --- 從「氣之清濁有體，不可力強而致」釋「文氣說」
Chapter 第二節 --- 以氣論文的特點
Chapter 第三節 --- 文氣說產生的背景
Chapter 第四節 --- 從《文心、體性》看文氣觀念的開展
Chapter 第五節 --- 釋「天才論」´ؤ´ؤ先天稟賦與後天修養的關係
Chapter 附（一） --- 論「齊氣」
Chapter 附（二） --- 論「惜其體弱」
Chapter 第二章 --- 氣之血氣義及血氣在創作過程中的作用 --- p.154/189
Chapter 第一節 --- 問題之提出
Chapter 第二節 --- 釋「神有遯心」義
Chapter 第三節 --- 從志氣與神的關係有「志氣」一名的涵意
Chapter 第四節 --- 血氣在創作過程中的作用
Chapter 第三章 --- 釋《風骨》「氣」一詞之涵意 --- p.190/240
Chapter 第一節 --- 釋《風骨》「氣」一詞之涵意
Chapter 第二節 --- 從諸家對《風骨》「並重氣之旨」的詮釋論「氣」一詞之語意
Chapter 第四章 --- 釋《定勢》「因情立體，即體成勢」義 --- p.241/308
Chapter 第一節 --- 釋勢
Chapter 第二節 --- 明體
Chapter 第三節 --- 論情
Chapter 第五章 --- 總論就六朝文論所見創作主體與文體要求兩者間之關係 --- p.316/318
總結
參考書目 --- p.1/39
50
"當代香港粤曲撰曲者及作品硏究." 2002. http://library.cuhk.edu.hk/record=b5891009.
Full textAbstract:
李少恩."2002年1月"
論文 (哲學碩士)--香港中文大學, 2002.
參考文獻 (leaves 153-163)
附中英文摘要.
"2002 nian 1 yue"
Li Shao'en.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2002.
Can kao wen xian (leaves 153-163)
Fu Zhong Ying wen zhai yao.
撮要 --- p.iii
Abstract --- p.iv
Chapter 1. --- 導言 --- p.1
Chapter 1.1 --- 論題定義
Chapter 1.2 --- 研究範圍與目的
Chapter 1.3 --- 過去的研究概況
Chapter 1.4 --- 研究方法
Chapter 2. --- 香港粤曲創作史略 --- p.14
Chapter 2.1 --- 班本時期：鴉片戰爭至十九世紀末（1840-1900)
Chapter 2.2 --- 「理想班本」時期：辛亥革命前後（1900-1920)
Chapter 2.3 --- 粤曲時期：省港大罷工前至中華人民共和國成立後（1920-1960)
Chapter 3. --- 當代香港社會與粤曲撰曲者 --- p.55
Chapter 3.1 --- 當代香港社會與粤曲發展
Chapter 3.2 --- 三位當代撰曲者的簡介
Chapter 3.3 --- 小結
Chapter 4. --- 當代香港粤曲的創作 --- p.83
Chapter 4.1 --- 撰曲者對粤曲的已有知識及撰曲動機
Chapter 4.2 --- 從構思到首演
Chapter 4.3 --- 個案研究：一次粤曲首演的觀察
Chapter 4.4 --- 小結
Chapter 5. --- 當代香港粤曲的結構分析 --- p.109
Chapter 5.1 --- 當代粤曲的音樂素材
Chapter 5.2 --- 板腔音樂素材的運用
Chapter 5.3 --- 「小曲」的選用
Chapter 5.4 --- 小結
Chapter 6. --- 結論 --- p.134
Chapter 6.1 --- 總結
Chapter 6.2 --- 當代香港粤曲撰曲者的創作路向
Chapter 6.3 --- 當代香港粤曲撰曲者及作品的承傳
Chapter 6.4 --- 進一步研究的建議
附錄 --- p.144
參考書目 --- p.153