Dissertations / Theses on the topic 'Ghost stories, Chinese History and criticism'

This thesis is an extended reading of the topos of the ghostly as it is staged in the modernist writings of T.S. Eliot, Virginia Woolf, Elizabeth Bowen and D.H. Lawrence. As I argue, their distinct appropriations of haunting are innately tied to their individual theories of the aesthetic; there are also a number of recurring motifs throughout their respective oeuvres, which time and again evoke a ghostly register. Consistently appearing in the texts I read here, most of which were published between the years 1919 and 1935, are figurations of the ghostly as a symptom of ‘ontological uncertainty’, as well as renderings of purgatorial subjectivity, and aporias of mourning. I locate my reading in response to the scholarly fields of haunting studies, mourning modernisms and Gothic modernisms. In a move common to contemporary theoretical studies of haunting, I draw also from the latter work of Jacques Derrida, a theoretical lens that facilitates my reading of a complex modernist ethics of mourning and alterity, one that often courts the ghostly, but resists what Derrida terms ‘hauntological’ work. The Derridean figure of the ethical apparition, in its status as the Absolute Other, is consistently complicated or rejected in these texts. This resistance mirrors a purgatorial mode of subjectivity that recurs in a range of guises in the modernisms I read here. In uncovering the economies that lie beneath these haunted subjectivities Jacques Lacan’s metapsychology of the subject helps also to conceptualise Bowen and Lawrence’s handling of the spectral. Bowen’s is a distinctly visual imagination, and her staging of a haunted subjectivity is elucidated by calling upon Lacan’s formulation of the gaze. Lawrence, whose work is consistently concerned with a-symbolic bodily registers, bypasses a number of the purgatorial aporias staged in the writings of Woolf, Eliot and Bowen. Viewing his appropriation of haunting through a Lacanian understanding of feminine jouissance suggests Lawrence’s welcoming of a radical ghostly other that may transcend the aporias of subjectivity, ethics and mourning that characterise these haunting modernisms.

The literary tale or ch'uan-ch'i, "transmission of the strange," evolved from the short fictional writings of the Six Dynasties and early T'ang periods and found full form as a short story in the classical language during the latter T'ang dynasty. Ch'uan-ch'i flourished through the Sung dynasty but fell into a period of relative inactivity during the Yuan dynasty. With the founding of the Ming in 1368 came renewed interest in the literary tale with the appearance of Ch'u Yu's collection of ch'uan-ch'i known as Chien-teng hsin-hua. Ch'u's tales became so popular that they soon inspired poet-official Li Ch'ang-ch'i to write the collection Chien-teng yu-hua in imitation of Ch'u's style. The two collections remained popular and influential through much of the Ming dynasty. The influence of both Ch'u Yu and Li Ch'ang-ch'i spread to Korea and Japan where many of their tales were rewritten and adapted to local settings. It was from Japanese editions of the Chien-teng hsin-hua that Ch'u Yu's contributions to the ch'uan-ch'i genre were rediscovered in this century. On comparison with earlier T'ang models, Ch'u Yu's tales show considerable similarity in style; however, the best of his tales show advancement in characterization, a broader range of subject matter, settings as varied as the tales themselves, and a level of society generally far removed from the scholar-official class commonly depicted in T'ang tales. It is in Ch'u Yu's thematic tales or tales of retribution that can be found the combination of elements that clearly illustrates his contributions to the ch'uan-ch'i genre. A reading of representative tales from both T'ang dynasty collec- tions and the large collection of literary tales by P'u Sung-ling in the Ch'ing dynasty illustrates the degree and nature of change in the literary tale over the centuries. The appearance of Ch'u Yu's Chien-teng hsin-hua in the early Ming dynasty not only revived interest in the genre but also contributed to the development of one of the most enduring forms of fiction in the history of China.

The purpose of this study is to investigate Chinese American images in selected children's fiction to determine whether or not data support the position of the Council on Interracial Books for Children, that the works of fiction studied tend to stereotype Chinese Americans. After reading the selected fifteen works of fiction, a criterion checklist was devised by the investigator to examine the behavior and lifestyle of Chinese Americans depicted in a variety of circumstances. validity of the criterion checklist was established by a panel of experts in the area of Chinese American studies. Inter-rater reliability was determined by two readers who utilized the criterion checklist to analyze the content of one lower elementary grade and one upper elementary grade work of fiction. Finally, the criterion checklist was used to analyze the fifteen works of fiction and draw conclusions related to the purpose of this study. The findings in this study do support the conclusions of the Council on Interracial Books for Children that this group of fiction portrays Chinese Americans in a one dimensional, stereotypic manner. In the checklist items related to environment, food, utensils, physical attributes, cultural celebrations, occupations, and recreation, Chinese Americans were portrayed as adhering to Chinese-specific characteristics. However, in cross-cultural and behavioral items, Chinese Americans were portrayed as desiring Western-specific characteristics. This tendency was especially prevalent in upper elementary grade fiction. A more integrative or multi-dimensional view of Chinese Americans appreciating, and able to function well in, both cultural contexts is disconcertingly absent. Based on the findings of this study, the following recommendations are made: 1. That teachers, librarians, and other school personnel who use this collection of books, supplement them with materials containing contemporary and realistic information about Chinese Americans. 2. That future writers of children's fiction dealing with Chinese Americans portray them in a multidimensional manner. 3. That curriculum writers of textbooks use a similar criterion checklist to offset the one-dimensionality of Chinese American images in existing children's literature. 4. That future writers of children's fiction on Chinese Americans utilize a criterion checklist such as the one in this study to assist them in developing multi-dimensional characters.

葉嘉.
"2009年8月".
"2009 nian 8 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2009.
Includes bibliographical references (leaves 125-131).
Abstracts in Chinese and English.
Ye Jia.
緒論 --- p.2
Chapter 第一章 --- 《禮拜六》概貌 --- p.6
《禮拜六》的編者和作者 --- p.6
《禮拜六》的讀者 --- p.12
Chapter 第二章 --- 《禮拜六》的翻譯 --- p.19
《禮拜六》的譯者 --- p.19
翻譯小說的刊行 --- p.21
翻譯小說的原著來源 --- p.24
Chapter 第三章 --- 短篇翻譯小說中的「佳人」 --- p.28
「佳人」的形象 --- p.28
「佳人」的群像 --- p.45
兩個傳統：本國文學和晚清翻譯 --- p.69
Chapter 第四章 --- 翻譯與原創及圖像的對話 --- p.77
翻譯小說與原創小說 --- p.77
翻譯小說與圖像 --- p.87
Chapter 第五章 --- 「佳人」對現實世界的回應 --- p.94
「佳人」與婚戀自由 --- p.95
「愛國佳人」、「英雌」與國家危機 --- p.98
「悍婦」與女權運動 --- p.101
Chapter 第六章 --- 再看譯者 --- p.106
「佳人」的譯者：敘事學與翻譯學角度 --- p.106
另一種翻譯觀 --- p.110
另一種「啓蒙」 --- p.112
結論 --- p.123
參考書目 --- p.125

霍玉英.
稿本(電腦打印本)
Thesis (M.A.)--香港中文大學中國語言及文學學部.
Gao ben (dian nao da yin ben)
Includes bibliographical references (leaves 319-338).
Huo Yuying.
Thesis (M.A.)--Xianggang Zhong wen da xue Zhongguo yu yan ji wen xue xue bu.
提要
目錄 --- p.1-5
前言 --- p.1-4
Chapter 一 --- 論文的研究目的 --- p.1-2
Chapter 二 --- 論文的研究範圍與方法 --- p.2-4
Chapter 1. --- 研究範圍
Chapter 2. --- 研究方法
Chapter 第一章 --- 緒言 --- p.5-29
Chapter 第一節 --- 晚清「小說界革命」及小說中女性形象的描寫 --- p.5-12
Chapter 一 --- 晚清「小說界革命」
Chapter 二 --- 晚清小說中女性形象的描寫
Chapter 第二節 --- 易卜生戲劇、易卜生主義的紹介及其對新文學的影響 --- p.12-20
Chapter 一 --- 魯迅的〈摩羅詩力說〉
Chapter 二 --- 《玩偶之家》的上演與洪深的〈嬌妻〉
Chapter 三 --- 一九一八年《新青年》的「易卜生號」
Chapter 1. --- 胡適的〈易卜生主義〉
Chapter 2. --- 袁振英的〈易卜生傳〉
Chapter 四 --- 早期新文學對易卜生作品思想的攝取
Chapter 第三節 --- 中國女性的覺醒 --- p.20-28
Chapter 一 --- 中國近代女子教育的發展
Chapter 1. --- 梁啓超興辦女學與蔡元培開放大學女禁
Chapter 2. --- 西方教會學校在中國女子教育所扮演的角色
Chapter 二 --- 秋瑾與中國婦女解放
Chapter 三 --- 「五四」時期的新女性
Chapter 第四節 --- 小結 --- p.28-29
Chapter 第二章 --- 新文學創作的拓荒者-陳衡哲 --- p.30-50
Chapter 第一節 --- 埋沒了的「第一人」 --- p.30-38
Chapter 一 --- 新文學小說創作第一人
Chapter 二 --- 女作家第一人
Chapter 三 --- 陳衡哲與婦女解放
Chapter 1. --- 「個人人格」與「性別人格」
Chapter 2. --- 婚姻觀念
Chapter 第二節 --- 陳衡哲短篇小說中的新女性形象 --- p.38-50
Chapter 一 --- 追求理想的知識女性
Chapter 1. --- 理想的追求
Chapter 2. --- 情感的昇華
Chapter 3. --- 晚境的孤寂
Chapter 二 --- 撫育子女為己任的賢惠婦女
Chapter 三 --- 小結
Chapter 第三章 --- 愛的禮讚者-冰心 --- p.51-90
Chapter 第一節 --- 人生究竟 --- p.51-67
Chapter 一 --- 「五四」驚雷來天地
Chapter 二 --- 愛的哲學
Chapter 三 --- 冰心的婦女觀
Chapter 四 --- 冰心的創作觀
Chapter 1. --- 「真」的抒發
Chapter 2. --- 創作的陶冶與思想技巧的攝取
Chapter 第二節 --- 冰心短篇小說中的新女性形象 --- p.67-90
Chapter 一 --- 時代的犧牲者
Chapter 二 --- 中外兼賅的理想新女性
Chapter 三 --- 孤寂的落拓者
Chapter 四 --- 小結
Chapter 第四章 --- 「五四」思潮掀起的産兒-廬隠 --- p.91-137
Chapter 第一節 --- 敢¨ёł窠臼的新女性 --- p.91-104
Chapter 一 --- 「五四」的産兒
Chapter 二 --- 廬隱的婦女觀
Chapter 三 --- 廬隠隱的創作觀
Chapter 1. --- 靈機說
Chapter 2. --- 個性與生命的表現
Chapter 3. --- 創作養份的攝取
Chapter 四 --- 廬隱的「停滯」
Chapter 第二節 --- 廬隱短篇小說中的新女性形象 --- p.104-137
Chapter 一 --- 精神戀愛
Chapter 1. --- 「憂讒畏譏」的弱者
Chapter 2. --- 「不畏譏誚」的勇士
Chapter 二 --- 同性愛戀
Chapter 三 --- 情智夾缝的新女性
Chapter 四 --- 擱淺的人
Chapter 五 --- 革命的「娜拉」
Chapter 六 --- 小結
Chapter 第五章 --- 中國的「曼殊斐兒」---凌叔華 --- p.138-175
Chapter 第一節 --- 高門的精魂 --- p.138-147
Chapter 一 --- 酒後的一派？
Chapter 二 --- 凌叔華小說創作的取向
Chapter 1. --- 站在時代洪潮以外？
Chapter 2. --- 溫婉嫻靜中見剛健
Chapter 三 --- 凌叔華對婦女問題的見解
Chapter 第二節 --- 凌叔華短篇小說中的新女性形象 --- p.147-175
Chapter 一 --- 新舊時代交替的婦女
Chapter 二 --- 時代新女性
Chapter 1. --- 賢妻
Chapter 2. --- 家庭束縛下的犧牲
Chapter i --- 沉悶的家庭生活
Chapter ii --- 家庭生活的煎迫
Chapter 三 --- 規矩以外的變奏者
Chapter 1. --- 同性愛戀
Chapter 2. --- 「娜拉」的踵武者
Chapter 3. --- 孤寂的人
Chapter 四 --- 小結
Chapter 第六章 --- 拔心不死的「卷葹」---馮沅君 --- p.176-197
Chapter 第一節 --- 大膽無畏的代言者 --- p.176-183
Chapter 一 --- 敢作敢言
Chapter 二 --- 馮沅君的文學創作觀及其作品的時代意義
Chapter 1. --- 文學創作觀
Chapter i --- 「為人生而藝術」？為藝術而藝術」？
Chapter ii --- 情感的抒發
Chapter 2. --- 作品的時代意義
Chapter 第二節 --- 馮沅君短篇小說中的新女性形象 --- p.183-197
Chapter 一 --- 不得自由我寧死
Chapter 二 --- 「靈」的追求
Chapter 三 --- 親子之愛與男女之愛的掙扎者
Chapter 四 --- 小結
Chapter 第七章 --- 黑暗中摸索的「莎菲」---丁玲 --- p.198-231
Chapter 第一節 --- 「近代女子」的姿態 --- p.198-208
Chapter 一 --- 從ModernGirl到「革命女性」
Chapter 1. --- 一顆炸彈
Chapter 2. --- ModernGirl
Chapter 3. --- 走向革命？
Chapter 二 --- 丁玲的文學創作觀
Chapter 1. --- 一九三零年以前
Chapter 2. --- 一九三零年以後
Chapter 第二節 --- 丁玲短篇小說中的新女性形象 --- p.208-231
Chapter 一 --- 都市的惶惑者
Chapter 二 --- 同性愛戀
Chapter 三 --- 「革命女性」
Chapter 四 --- 新時代的落後者
Chapter 五 --- 小結
Chapter 第八章 --- 結論 --- p.232-248
Chapter 一 --- 婦女觀的形成
Chapter 1. --- 西風的衝擊
Chapter 2. --- 家庭背景與學校教育
Chapter 二 --- 新女性形象的類型
Chapter 1. --- 精神戀愛的禮讚者
Chapter 2. --- 時代的犧牲者
Chapter 3. --- 賢妻良母
Chapter 4. --- 娜拉的踵武者
Chapter 5. --- 同性愛戀的追求者
Chapter 6. --- 孤寂的落拓者
Chapter 三 --- 結語
注釋（一至八章） --- p.249-307
附錄（一至六） --- p.308-318
中文參考書目及論文目錄 --- p.319-335
英文參考書目及論文目錄 --- p.336-338
後記 --- p.339

by Lui Sha-Lee.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2000.
Includes bibliographical references (leaves 143-149).
Abstracts in English and Chinese.
Acknowledgements --- p.vi
Chapter Chapter One --- Introduction --- p.1
Chapter Chapter Two --- Ideological Implications of “Madness´ح in Western and Chinese Culture --- p.12
Chapter Chapter Three --- Madwoman as the Murderous Daughter: Kitty Fitzgerald's Marge and Tie Ning's The Cliff in the Afternoon --- p.36
Chapter Chapter Four --- "Madwoman as the Murderous Wife: Elsa Lewin's I, Anna and Li Ang's The Butcher ´ةs Wife" --- p.83
Chapter Chapter Five --- Conclusion --- p.121
Notes --- p.134
Works Cited --- p.143

自八十年代始，中國大陸文藝雜誌相繼出現一批帶筆記風格或直接以筆記體寫作的短篇小說。研究者不僅探討此等作品轉化運用傳統文體的寫作現象及美學特徵，更為配合「新時期」之文藝氣象，進而以「新筆記小說」的文類加以歸納，突出其「舊瓶新酒」的現代意義。新筆記小說與筆記傳統的連繫，無疑為論者提供最佳範本，展開「傳統」與「現代」對話和融合的可能性的探討。相關討論嘗試為新筆記小說爭取文學史位置，卻無法脫離「新」與「舊」、「傳統」與「現代」簡單的二分框架，弱化了這些短篇小說作為探索新時期寫作出路的尖兵角色。本文重新提出新筆記小說的研究，認為是理解八十年代文藝界重新定義、拓展現實主義和小說實踐的關鍵。新筆記小說作家結合筆記與小說的特性，其實已觸及敘事的真實與虛構的辯證，在中國的紀實傳統中力尋書寫現實的可能。本文分別以汪曾祺 (1920-1997)、林斤瀾 (1923-2009)和鍾阿城 (1949- )的新筆記小說為研究個案，探討三位作家如何借用筆記小說的文體結構和敘事特質，形構現實主義小說的另類形式，突破意識形態對「現實主義」小說的制約。與此同時，當「現實主義」在「現代性的追求」壓力下面臨一元性的崩解，新筆記小說作家堅持「擬真」的嘗試，顯得意味深長，本文將作進一步的討論。
Since the 1980s, a number of fictions written in the note-form have emerged in literary magazines on Mainland China. These works were put under a genre named "New Anecdote" (XinBiji Xiaoshuo, 新筆記小說) which implies the transformation from the classical anecdote to the modern anecdote. Researchers put emphasis mainly on the classical aesthetic characteristics found in the new form of the anecdote. However, it is observed that their studies were limited to the simple framework based on the binary oppositions of "old" and "new" as well as "traditional" and "modern". Such discussion had obscured the actual role of the new anecdotes being taken in the particular historical context of China in the New Era.
The form of "New Anecdote" is, in fact, a fusion of note and fiction, which can possibly hit the border of realistic and imaginary narratives. The practice of "New Anecdote" is closely related to the development of Realism in China in the Twentieth Century. Based on the discussion about "reality" from the writers of new anecdotes, this thesis attempts to point out that the "New Anecdote" is a key to understand how the writers of the time re-defined the realistic writings and their relationship to the society in China in the 1980s.
This thesis gives an in-depth analysis of the new anecdotes written by three contemporary writers, namely Wang Zengqi 汪曾祺 (1920-1997), Lin Jinlan 林斤瀾 (1923-2009) and Zhong Acheng (Ah Cheng) 鍾阿城 (1949- ). It will illustrate how these three writers make use of the structure and the narrative style of the anecdote to re-create new forms of realistic fiction, and to achieve their aims of breaking through the ideological constraints of Realism. Meanwhile,since realistic fiction has been considered as an antiquated and declining form under the development of aesthetic modernity in China in the 1980s, it is crucial to profoundly discuss the essence of the new anecdotes with reference to the socio-historical background of the New Era.
Detailed summary in vernacular field only.
王素韻.
Parallel title from English abstract.
Thesis (M.Phil.) Chinese University of Hong Kong, 2015.
Includes bibliographical references (leaves 113-131).
Abstracts also in English.
Wang Suyun.

幽默是人類社會的一種普遍現象，是人們言語交際的一部分，在日常生活中無處不在。研究者們對幽默的研究涵蓋了心理學、哲學、社會學、人類學、神學、文化學等不同的領域。幽默被認為是最難研究的課題之一，翻譯幽默更是難上加難。我們至今對言語幽默的文本語言特徵、對言語幽默的譯文的文本語言特徵、對涉及言語幽默的翻譯過程知之不多。在言語幽默的翻譯中，有時候原文的幽默信息在譯文中完全保留，有時候則不能，原因何在，有關這方面的研究至今不多見；以漢語幽默文本的英譯為語料建立單向平行語料庫，探討漢語言語幽默英譯的一般及特殊規律的研究，尚無人做過，這正是本研究的目的所在。
本研究以錢鍾書的小說《圍城》及其英譯本為語料，運用言語幽默概論的理論框架，建立原文和譯文對照的雙語單向平行語料庫，采用語料庫檢索的方法，對語料進行描寫與分析，得出了“譯文要傳遞原文幽默信息需要保留或轉換原文的表層及深層參數特徵，特別是深層參數的腳本對立、表層參數的修辭手段及語言中的本源概念的研究結論。
主要研究結果有三：
一是展示了言語幽默翻譯的一般規律，即“譯文需要保留原文中的腳本對立；
二是展現了漢語言語幽默翻譯的特殊規律，即“要保留原文中的腳本對立，就需要轉換漢語所特有的修辭手段和漢語本源概念；
三是顯示了漢語言語幽默的文本語言特徵，即，漢語言語幽默具有表層和深層的參數特徵。表層參數的核心是修辭手段，深層參數的核心是腳本對立；表層參數具有“相似性之奇特統一、“語言要素之巧妙轉移和“不和諧邏輯間之和諧三大特徵；深層參數具有“真實的與非真實的語境對立、“正常的與非正常的語境對立、“合理與不合理的語境對立三大特徵，反映了現實與經驗、話語現實與語言經驗、話語邏輯與正常邏輯的矛盾衝突。
Humour is regarded as a universal human phenomenon, and funny situations, funny stories, even funny thoughts occur everyday to virtually everybody (Raskin 1985: 1). Humour represents a multidisciplinary and fertile research field. So is Translation Studies. Both draw from linguistics, psychology and sociology, among other disciplines, for their descriptions and their theoretical models and constructs (Zabalbeascoa 2005: 185). What is surprising is that the link between translation and humour has not received sufficient attention from scholars in either field (ibid).
This research attempts to explore how Chinese humorous texts are transferred into English and what factors affect humour transference in the target text, with a focus on the universality of the translation process, by tapping on fresh methodologies of modern Translation Studies such as bilingual corpora and the General Theory of Verbal Humor. The bilingual corpus for the research is from Wei Cheng (Fortress Besieged) (1947/1991/2003), a humorous fiction by the Chinese writer Ch’ien Chung-shu (1910-1998) and its English translation by Jeanne Kelly and Nathan K. Mao (1979/2003). Adopting the General Theory of Verbal Humour (GTVH) (Attardo & Raskin 1991; Attardo 1994, 2001) as the theoretical framework, the research makes a quantitative and qualitative analysis on the samplings from the corpus and obtains some encouraging findings as follows:
(a) Transference of humour in the source text to the target text needs transference of the Script Opposition embedded in the deep parameters of the source text, which shows the universality of translating Chinese verbal humour into English;
(b) More specifically, transference of the Script Opposition embedded in the deep parameters requires transference of specific Chinese rhetoric devices and socioculturally-bound Chinese alien sources in the target text;
(c) Chinese verbal humour has three features in the surface parameters and three features in the deep parameters, which shows the textual characteristics of Chinese verbal humour. The surface parameters show the features of similarity among quite different things, transference among quite different linguistic elements and congruity among incongruous logical elements. The deep parameters show the following three features: opposition between real and unreal situations; opposition between normal and abnormal situations, opposition between possible, plausible and fully or partially impossible or much less plausible situations.
The research draws a conclusion that verbal humour may travel from one culture to another via translation if the target text successfully transfers the Script Opposition embedded in the deep parameters of the source text, the Rhetorical Device in the surface parameters and the alien concepts hidden in the Language Parameter.
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.
Detailed summary in vernacular field only.
戈玲玲.
Sumitted date: 2011年12月.
Sumitted date: 2011 nian 12 yue.
Thesis (Ph.D.)--Chinese University of Hong Kong, 2012.
Includes bibliographical references (leaves 307-319)
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.
Ge Lingling.
摘要 --- p.i
前言 --- p.vi
目錄 --- p.vii
圖表目錄 --- p.x
Chapter 第一章 --- 導論 --- p.1
Chapter 1.1 --- 研究目的 --- p.2
Chapter 1.2 --- 原文及作者簡介 --- p.7
Chapter 1.3 --- 《圍城》的外文譯本 --- p.14
Chapter 1.4 --- 對《圍城》及其英譯本的研究 --- p.16
Chapter 1.5 --- 論文結構 --- p.20
Chapter 第二章 --- 幽默評述及研究 --- p.22
Chapter 2.1 --- 詞典中對幽默的定义 --- p.22
Chapter 2.2 --- 前人對幽默的評述與研究 --- p.27
Chapter 2.2.1 --- 西方的評述與研究 --- p.27
Chapter 2.2.2 --- 中國的評述與研究 --- p.31
Chapter 2.2.2.1 --- 林語堂、錢鍾書論幽默 --- p.32
Chapter 2.2.2.2 --- 其他評述與研究 --- p.34
Chapter 2.3 --- 言語幽默的可譯性 --- p.37
Chapter 2.4 --- 小結 --- p.42
Chapter 第三章 --- 理論框架 --- p.44
Chapter 3.1 --- 語義腳本理論 --- p.44
Chapter 3.2 --- 言語幽默概論 --- p.48
Chapter 3.2.1 --- 六個參數 --- p.50
Chapter 3.2.1.1 --- 四個必要參數 --- p.51
Chapter 3.2.1.2 --- 兩個可選參數 --- p.59
Chapter 3.2.2 --- 六個參數的層級排列：言語幽默相似度測量系統 --- p.65
Chapter 3.3 --- 言語幽默概論運用於幽默翻譯研究：Attardo（2002） --- p.70
Chapter 3.4 --- 理論框架的延伸 --- p.73
Chapter 3.4.1 --- 漢語特有的修辞手段 --- p.74
Chapter 3.4.2 --- 言語幽默語段的表層參數和深層參數 --- p.76
Chapter 3.4.2.1 --- 表層參數 --- p.78
Chapter 3.4.2.2 --- 深層參數 --- p.84
Chapter 3.5 --- 小結 --- p.87
Chapter 第四章 --- 《圍城》中幽默語段及其英譯本的雙語平行語料庫 --- p.89
Chapter 4.1 --- 抽樣過程 --- p.90
Chapter 4.1.1 --- 《圍城》及其英譯本讀者問卷調查 --- p.90
Chapter 4.1.2 --- 理論參數 --- p.91
Chapter 4.2 --- 建立語料庫 --- p.92
Chapter 4.3 --- 標注漢英對應文本 --- p.94
Chapter 4.3.1 --- 技術性標注 --- p.94
Chapter 4.3.2 --- 理論參數標注 --- p.95
Chapter 4.3.3 --- 本源概念及其翻譯策略的標注 --- p.97
Chapter 4.4 --- 檢索漢英對應文本 --- p.99
Chapter 4.4.1 --- 檢索編程 --- p.100
Chapter 4.4.2 --- 檢索功能 --- p.102
Chapter 4.5 --- 標注的誤差測定 --- p.114
Chapter 4.6 --- 小結 --- p.117
Chapter 第五章 --- 原文中言語幽默語段的分析 --- p.118
Chapter 5.1 --- 原文幽默語段的表層特徵 --- p.118
Chapter 5.1.1 --- 表層特徵一：相似性之奇特統一 --- p.119
Chapter 5.1.2 --- 表層特徵二：語言要素之巧妙轉移 --- p.129
Chapter 5.1.3 --- 表層特徵三：不和諧邏輯間之和諧 --- p.138
Chapter 5.2 --- 原文幽默語段的深層特徵 --- p.143
Chapter 5.3 --- 不規範的參數類型 --- p.149
Chapter 5.4 --- 表層與深層特徵的對應關係 --- p.160
Chapter 5.5 --- 小結 --- p.169
Chapter 第六章 --- 英譯本分析 --- p.171
Chapter 6.1 --- 英譯本的表層特徵 --- p.172
Chapter 6.1.1 --- 譯文表層特徵一：相似性之奇特統一 --- p.172
Chapter 6.1.2 --- 譯文表層特徵二：語言要素之巧妙轉移 --- p.182
Chapter 6.1.3 --- 譯文表層特徵三：不和諧邏輯間之和諧 --- p.186
Chapter 6.2. --- 英譯本的深層特徵 --- p.186
Chapter 6.3 --- 不規範的參數類型 --- p.194
Chapter 6.4 --- 譯文表層與深層特徵的對應關係 --- p.212
Chapter 6.5 --- 小結 --- p.222
Chapter 第七章 --- 譯文、原文對比分析 --- p.224
Chapter 7.1 --- 譯文、原文總體對比 --- p.224
Chapter 7.2 --- 譯文、原文分類對比 --- p.226
Chapter 7.2.1 --- 同型轉換 --- p.227
Chapter 7.2.2 --- 異型轉換 --- p.229
Chapter 7.3 --- 譯文、原文表層參數與深層參數的異同對比 --- p.231
Chapter 7.4 --- 譯文、原文表層與深層特徵對比 --- p.234
Chapter 7.5 --- 譯文、原文參數的層級排列對比 --- p.235
Chapter 7.5.1 --- 參數層級排列與原文的參數排列對比 --- p.235
Chapter 7.5.2 --- 參數層級排列與譯文的參數排列對比 --- p.237
Chapter 7.5.3 --- 譯文、原文中六個參數的層級排列對比 --- p.239
Chapter 7.6 --- 小結 --- p.241
Chapter 第八章 --- 《圍城》中言語幽默的英譯策略 --- p.243
Chapter 8.1 --- 同型轉換時的翻譯策略 --- p.244
Chapter 8.2 --- 異型轉換時的翻譯策略--譯文仍然是幽默語段 --- p.259
Chapter 8.3 --- 異型轉換時的翻譯策略--譯文不是幽默語段 --- p.267
Chapter 8.4 --- 小結暨討論 --- p.282
Chapter 第九章 --- 結論 --- p.286
Chapter 9.1 --- 研究結果 --- p.286
Chapter 9.2 --- 研究局限 --- p.291
Chapter 9.3 --- 研究前景 --- p.292
附錄一 --- p.294
參考文獻 --- p.307