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Yu yi cao
No full textV.1-4. 醫門法律 : 六卷 -- v.5-6. 尚論篇 : 四卷, 卷首 -- v.7. 尚論後篇 : 四卷 -- v.8. 寓意草.V.1-4. Yi men fa lü : liu juan -- v.5-6. Shang lun pian : si juan, juan shou -- v.7. Shang lun hou pian : si juan -- v.8. Yu yi cao.[喻昌著 ; 陳守誠重梓].綫裝.框15.6x11.3公分, 12行40字. 白口, 四周單邊, 對黑魚尾. 版心上鐫題名, 中鐫卷次及小題, 下鐫葉次.書名背頁牌記刻"光緖二十年[1894]上海圖書集成印書局印"三題合刻疑為"喻氏醫書三種", 《中國叢書綜錄》(p.721)及《中國中醫古籍總目》(13137)著錄. 原書書根題為"醫門法律".鈐"莊兆祥印"Xian zhuang.Kuang 15.6 x 11.3 gong fen, 12 hang 40 zi. Bai kou, si zhou dan bian, dui hei yu wei. Ban xin shang juan ti ming, zhong juan juan ci ji xiao ti, xia juan ye ci.Detailed notes in vernacular field only.Detailed notes in vernacular field only.[Yu Chang zhu ; Chen Shoucheng chong zi].Qian "Zhuang Zhaoxiang yin
Lei yu.
No full text曹禺著.四幕劇.本電子書乃根據《香港版權條例(第528章)》而複製, 並只可在大學圖書館系統內的獨立電子書系統上使用.Cao Yu zhu.Ben dian zi shu nai gen ju "Xianggang ban quan tiao li (Di 528 zhang)" er fu zhi, bing zhi ke zai da xue tu shu guan xi tong nei de du li dian zi shu xi tong shang shi yong.Si mu ju
Lei yu.
No full text[曹禺著].四幕劇本電子書乃根據《香港版權條例(第528章)》而複製, 並只可在大學圖書館系統內的獨立電子書系統上使用.[Cao Yu zhu].Ben dian zi shu nai gen ju "Xianggang ban quan tiao li (Di 528 zhang)" er fu zhi, bing zhi ke zai da xue tu shu guan xi tong nei de du li dian zi shu xi tong shang shi yong.Si mu j
The Study on Cao Rui
No full text曹叡是曹魏的第二位皇帝，与其祖曹操、其父曹丕并称为“魏之三祖”。其声名虽不如“三曹”显赫，但如全面加以考察，其于政治、文学层面皆有独特贡献。今人研究多偏于政治层面，文学史著作对曹叡大多略而不提，偶有提及，也只是寥寥数语。本文试图理清其生平中的一些疑点和模糊之处，深入探究其人的性格特征，阐述其思想理念，并在此其础上对曹叡作品尤其是诗歌创作进行分析考察和总体评价。 主要内容有： 第一章考察曹叡生平。结合史料对其生年、辞世年龄、久不得立为太子之故、立嗣与辅政大臣改易风波等生平中模糊之处进行考察梳理。 第二章探讨曹叡的个性与思想。在对史料比对分析的基础上论述曹叡的性格特征。分析其思想理念，即以“...Cao Rui is the second emperor of the Wei Kingdom，and he is regard as one of“The Three Generations of The Wei Kingdom”.Although the reputation of Cao Rui is not prominent than “Three Caos”，he also has unique contribution to politics and literature in the case of a comprehensive study. Modern people tend to research the political level，and the literary history works say nothing about Cao Rui mostly，...学位：文学硕士院系专业：人文学院中文系_中国古代文学学号：1022006115005
A question of loyalty : Xun Yu, Cao Cao and Sima Guang
No full textIn 212 AD, as the army of the great warlord Cao Cao 曹操 was moving south against his southern rival Sun Quan 孫權, there was a sad incident in the camp. Xun Yu 荀彧, a leading counsellor and one of Cao Cao's oldest supporters, died at Shouchun 壽春 city on the Huai 淮 River. There are varying accounts and opinions whether he died of natural causes or whether he killed himself, but Cao Cao was embarrassed and Emperor Xian of Han 漢獻帝, though close-held under his control, made a point of mourning Xun Yu. Nine hundred years later, moreover, as Sima Guang 司馬光 of the Northern Song dynasty compiled his chronicle Zizhi tongjian 資治通鑑, he took the death of Xun Yu as the occasion for a powerful essay on proper conduct in troubled times. The story of Xun Yu and Cao Cao, therefore, not only touches the tensions of loyalty and legitimacy between a falling dynasty and a rising power, it provided one of China's greatest Confucianists with a case-study for his moral teaching.
This article first appeared in Sino-Asiatica; papers dedicated to Professor Liu Ts'un-yan on the occasion of his eighty-fifth birthday (Canberra 2002). The original pagination, from 30 to 59 in that volume, is indicated in brackets []
Dan jian pian.
No full text曹禺, 梅阡, 于是之編劇 ; 曹禺執筆.五幕話劇Cao Yu, Mei Qian, Yu Shizhi bian ju ; Cao Yu zhi bi.Detailed notes in vernacular field only
Western myths and construction of Cao Yu\u27s two tragedies
No full textThe dissertation is a case study of the intertexutality between Western classics and modern Chinese drama. Modern Chinese literary discourse, as well as modern Chinese drama, can be read in two traditions: the political and the aesthetical. Many modern Chinese writers choose to follow the political tradition in their works. Cao Yu, the greatest playwright in modern China, at first alienates himself from the political tradition and finds a proper aesthetical form for modern Chinese drama and tragedy in his exploration of Western classics in his two early plays, The Thunderstorm and The Wilderness. Building his plays on the basis of Western myths, Cao Yu\u27s early plays challenge the political form imposed onto modern Chinese drama. Western myths are the clues for the Chinese playwright in his search of the proper form for Chinese drama and tragedy. In The Thunderstorm and The Wilderness, Cao Yu explores the dramatic device of classical tragedy from the Greek and Romans to examine modern life in a country that was struggling to be modern. By revisiting the Western classics, Cao Yu created the two Chinese classics. Both plays return to the Greek myth and respond to it. The Thunderstorm stages the myth of Phaedra and labyrinth, whereas The Wilderness restages the myth of Orestes. By staging the myth of labyrinth in The Thunderstorm and the myth of sacrificial crisis in The Wilderness, Cao Yu constructs two tragedies that would later be termed as Chinese classics. Western myths to a certain extent give shape to two of Cao Yu\u27s best tragedies
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