1,721,046 research outputs found
论张说的尚奇与传奇 = Pursuing strangeness in Zhang Yue’s prose and his Chuanqi tales
No full text张说（667-7311），字道济，又字说之，一生历仕武后、中宗、睿宗、玄宗四朝，“三登左右丞相，三作中书令，唐兴以来，朝佐莫比” 2，政治地位显赫。他曾四次为相，两次使蜀，三次总戎边塞，屡有边功，威震朝野。他“前后三秉大政，掌文学之任凡三十年” 3，主一时坛坫，开一代风气，乃是初盛唐之交政坛与文坛的双重领袖。本文将以其碑传文章与传奇书写为切入点，探究二者之间的互动关系，并由此考量张说在唐代文章史与传奇史上的地位
曾国藩《十八家诗钞》研究 = A study of Zeng Guofan's anthology of eighteen poets
No full text《十八家诗钞》是清人曾国藩（1811-1872）编纂的一部诗歌选本，选取自魏至金十八位诗人之五七言古近体诗歌 6599 首，勾勒了中国五七言诗歌的
演进史。本文从四个角度对《十八家诗钞》展开论述。 第一章论述《十八家诗钞》的选钞方式与选诗旨趣。曾国藩对魏晋南北 朝诗、唐诗、宋诗及元好问诗的选钞运用了不同的选钞方式，遴选了不同种类的诗歌，体现了曾氏对各体诗歌在不同时代创作成就的体认，表现出对时代诗风的熟稔。《十八家诗钞》的选诗旨趣主要有以下四个方面：兼收并蓄、重点突出；梳理脉络、勾勒诗史；理性务实、兼采唐宋；注重审美、陶冶意趣。 第二章论述《十八家诗钞》的校注特征。曾国藩读书治学重视考据、训诂，在《十八家诗钞》中，字句的详解或能揭示典故，或能反映创作主体的身份与性情，抑或能比对不同版本的诗集，对字句予以商榷和纠谬。《十八家诗钞》在校注杜诗诗时征引了曾被清政府下令禁毁的《钱注杜诗》，从知人论世、评价诗艺两方面援引大量《钱注杜诗》的内容，此举体现出晚清文网松弛与汉族士大夫之崛起。除《钱注杜诗》外，《十八家诗钞》亦征引了大量前代著作用于校注，针对不同诗人诗作，曾国藩征引的著作不同，于经、史、子、集四部各有侧重，体现了其深厚的学养。 第三章论述桐城诗学视域下的《十八家诗钞》。曾国藩被视为“桐城中兴明主”，本章以桐城诗学的发展脉络为线索，论述曾国藩对桐城派诗论的继承，探讨其在桐城诗学“浅弱不振”之际“出而振之”的功绩，并以《十
八家诗钞》的选诗实践加以说明，最后分析曾氏诗论及《十八家诗钞》对曾门弟子和晚期桐城学人的诗论与诗选的影响。 第四章论述《十八家诗钞》与清代的诗选与诗评。清代诗选与诗评数量繁多，本章将《十八集诗钞》置入清代诗论史的脉络当中，结合清代汉魏六朝诗及唐宋诗两大类选本的发展流变考察《十八家诗钞》，并分别从两类选本中摘取王闿运《八代诗选》与《御选唐宋诗醇》与《十八家诗钞》作对比研究，最后总论《十八家诗钞》在清代诗选与诗评中的价值与地位。
Anthology of Eighteen Poets (Shibajia Shichao 十八家诗钞) was compiled by Zeng Guofan (1811-1872), a famous politician and litterateur in Qing Dynasty. This anthology included 6599 traditional Chinese poems wrote by eighteen poets from Wei Dynasty (220-266) to Jin Dynasty (1115-1234). These poems varied in their forms from five-character lines to seven-character lines poems, from archaic to rhymed styles. This collection reflected the development of Chinese five-character and seven-character poems. This thesis aims at a comprehensive research on Anthology of Eighteen poets, including four chapters as below.
Chapter 1：The methods and purports applied in compiling Anthology of Eighteen poets. Zeng Guofan used different methods in selecting poems of different periods: Wei, Jin, Southern and Northern Dynasties, Tang Dynasty, Song Dynasty and Jin Dynasty (represented by Yuan Haowen). The purports of Anthology of Eighteen poets can be illustrated in four aspects, namely: making an all-embracing selection but also with emphases on certain types; Outlining the history of poetry; adopting both Tang-Style and Song-Style poems; Cultivating aesthetic tastes.
Chapter 2: The annotations of Anthology of Eighteen poets. Zeng Guofan had a good command in textology and exegesis. In Anthology of Eighteen poets, Zeng Guofan’s annotations on words and sentences figured out both historical allusions and the poets’ characteristics. What is more, Zeng Guofan compared different editions of anthologies and corrected some of the words and sentences. In the annotations to Du Fu’s poems, Zeng Guofan quoted Qian Qianyi’s Annotation of Du Fu’s poetry (Qian Zhu DuShi 钱注杜诗) which was once banned by the government in Qing Dynasty. It indicates the looser cultural environment in Late-Qing Dynasty and the rise of Han literati. Along with Qian Qianyi’s Annotation of Du Fu’s poems, Zeng Guofan quoted many works in ancient China. He cited various works in order to deal with different poems, including Confucian Classics, historical works, philosophical works, and literary works. This also reflected Zeng Guofan’s profound knowledge.
Chapter 3: Anthology of Eighteen poets through the perspective of Tongcheng桐城 poetics. Zeng Guofan was reputed as the key person in the resurgence of Tong Cheng Poem School. This chapter analyzes Anthology of Eighteen poets in the the background of Tongcheng poetics developmental path, discussing Zeng Guofan’s inheritance in poetics of the early Tongcheng School, his contribution to the resurgence of Tongcheng poetics, and his influences to his student and literati of the late Tongcheng School.
Chapter 4: Anthology of Eighteen poets and other poetic commentaries and anthologies in Qing Dynasty. Poetic commentaries and anthologies flourished in Qing Dynasty. In this chapter, Anthology of Eighteen poets is analyzed according to the poetic history of Qing Dynasty and compared to anthologies of Han, Wei, Six Dynasties, Tang, and Song Dynasties. Further on, Anthology of Eighteen poets has been compared thoroughly with Wang Kaiyun’s Anthology of Eight Dynasties (Badai Shixuan 八代诗选) and Imperial Anthology of poems of Tang and Song（Yuxuan Tangsong Shichun御选唐宋诗醇）. In the conclusion, the value and historical status of Anthology of Eighteen poets in Qing Dynasty has been discussed.Doctor of Philosoph
曾国藩《十八家诗钞》研究 = A study of Zeng Guofan's anthology of eighteen poets
No full text《十八家诗钞》是清人曾国藩（1811-1872）编纂的一部诗歌选本，选取自魏至金十八位诗人之五七言古近体诗歌 6599 首，勾勒了中国五七言诗歌的
演进史。本文从四个角度对《十八家诗钞》展开论述。 第一章论述《十八家诗钞》的选钞方式与选诗旨趣。曾国藩对魏晋南北 朝诗、唐诗、宋诗及元好问诗的选钞运用了不同的选钞方式，遴选了不同种类的诗歌，体现了曾氏对各体诗歌在不同时代创作成就的体认，表现出对时代诗风的熟稔。《十八家诗钞》的选诗旨趣主要有以下四个方面：兼收并蓄、重点突出；梳理脉络、勾勒诗史；理性务实、兼采唐宋；注重审美、陶冶意趣。 第二章论述《十八家诗钞》的校注特征。曾国藩读书治学重视考据、训诂，在《十八家诗钞》中，字句的详解或能揭示典故，或能反映创作主体的身份与性情，抑或能比对不同版本的诗集，对字句予以商榷和纠谬。《十八家诗钞》在校注杜诗诗时征引了曾被清政府下令禁毁的《钱注杜诗》，从知人论世、评价诗艺两方面援引大量《钱注杜诗》的内容，此举体现出晚清文网松弛与汉族士大夫之崛起。除《钱注杜诗》外，《十八家诗钞》亦征引了大量前代著作用于校注，针对不同诗人诗作，曾国藩征引的著作不同，于经、史、子、集四部各有侧重，体现了其深厚的学养。 第三章论述桐城诗学视域下的《十八家诗钞》。曾国藩被视为“桐城中兴明主”，本章以桐城诗学的发展脉络为线索，论述曾国藩对桐城派诗论的继承，探讨其在桐城诗学“浅弱不振”之际“出而振之”的功绩，并以《十
八家诗钞》的选诗实践加以说明，最后分析曾氏诗论及《十八家诗钞》对曾门弟子和晚期桐城学人的诗论与诗选的影响。 第四章论述《十八家诗钞》与清代的诗选与诗评。清代诗选与诗评数量繁多，本章将《十八集诗钞》置入清代诗论史的脉络当中，结合清代汉魏六朝诗及唐宋诗两大类选本的发展流变考察《十八家诗钞》，并分别从两类选本中摘取王闿运《八代诗选》与《御选唐宋诗醇》与《十八家诗钞》作对比研究，最后总论《十八家诗钞》在清代诗选与诗评中的价值与地位。
Anthology of Eighteen Poets (Shibajia Shichao 十八家诗钞) was compiled by Zeng Guofan (1811-1872), a famous politician and litterateur in Qing Dynasty. This anthology included 6599 traditional Chinese poems wrote by eighteen poets from Wei Dynasty (220-266) to Jin Dynasty (1115-1234). These poems varied in their forms from five-character lines to seven-character lines poems, from archaic to rhymed styles. This collection reflected the development of Chinese five-character and seven-character poems. This thesis aims at a comprehensive research on Anthology of Eighteen poets, including four chapters as below.
Chapter 1：The methods and purports applied in compiling Anthology of Eighteen poets. Zeng Guofan used different methods in selecting poems of different periods: Wei, Jin, Southern and Northern Dynasties, Tang Dynasty, Song Dynasty and Jin Dynasty (represented by Yuan Haowen). The purports of Anthology of Eighteen poets can be illustrated in four aspects, namely: making an all-embracing selection but also with emphases on certain types; Outlining the history of poetry; adopting both Tang-Style and Song-Style poems; Cultivating aesthetic tastes.
Chapter 2: The annotations of Anthology of Eighteen poets. Zeng Guofan had a good command in textology and exegesis. In Anthology of Eighteen poets, Zeng Guofan’s annotations on words and sentences figured out both historical allusions and the poets’ characteristics. What is more, Zeng Guofan compared different editions of anthologies and corrected some of the words and sentences. In the annotations to Du Fu’s poems, Zeng Guofan quoted Qian Qianyi’s Annotation of Du Fu’s poetry (Qian Zhu DuShi 钱注杜诗) which was once banned by the government in Qing Dynasty. It indicates the looser cultural environment in Late-Qing Dynasty and the rise of Han literati. Along with Qian Qianyi’s Annotation of Du Fu’s poems, Zeng Guofan quoted many works in ancient China. He cited various works in order to deal with different poems, including Confucian Classics, historical works, philosophical works, and literary works. This also reflected Zeng Guofan’s profound knowledge.
Chapter 3: Anthology of Eighteen poets through the perspective of Tongcheng桐城 poetics. Zeng Guofan was reputed as the key person in the resurgence of Tong Cheng Poem School. This chapter analyzes Anthology of Eighteen poets in the the background of Tongcheng poetics developmental path, discussing Zeng Guofan’s inheritance in poetics of the early Tongcheng School, his contribution to the resurgence of Tongcheng poetics, and his influences to his student and literati of the late Tongcheng School.
Chapter 4: Anthology of Eighteen poets and other poetic commentaries and anthologies in Qing Dynasty. Poetic commentaries and anthologies flourished in Qing Dynasty. In this chapter, Anthology of Eighteen poets is analyzed according to the poetic history of Qing Dynasty and compared to anthologies of Han, Wei, Six Dynasties, Tang, and Song Dynasties. Further on, Anthology of Eighteen poets has been compared thoroughly with Wang Kaiyun’s Anthology of Eight Dynasties (Badai Shixuan 八代诗选) and Imperial Anthology of poems of Tang and Song（Yuxuan Tangsong Shichun御选唐宋诗醇）. In the conclusion, the value and historical status of Anthology of Eighteen poets in Qing Dynasty has been discussed.Doctor of Philosoph
金庸武侠小说中的“面具”人物 ：以杨过、黄药师、程英为探讨中心 = The "Mask characters" in Jin Yong's Wuxia novels : focusing on Yang Guo, Huang Yaoshi and Cheng Ying
No full text金庸武侠世界中，有不少头戴“面具”的江湖人物。“面具”，本是晚清暨旧派武侠小说家笔下，侠客用以防身呵敌的江湖装备。及至金庸笔下，“面具”之重要性显然不再只是普通侠客的防身物件，而成为了某类人物的“专属标志”。在二十世纪新派武侠小说注重人物心理及人物性格刻画的基础上，笔者以为，“面具”正是金庸借以塑造笔下人物，并表现其情感、个性及相互关系的重要手段。
本文试图以杨过、黄药师、程英作为金庸笔下“面具”人物的代表，由“面具”作为切入点，分析金庸小说人物的形象及性格，并探讨金庸在为他们“绘面”时所流露出的对个人与社会、“正邪之辨”、爱情贞节观等问题的思考。本文也以“闲笔”对金庸小说中的“面具”书写定位，并观览其他文学与影视作品中的“面具”，探求其与金庸所绘“面具”间的承转关系。
Wearing a “Mask” in a life of wandering is the preference of many characters in Jin Yong’s Wuxia Novels. “Masks” were initially the equipment of Chinese swordsmen for self-defense and disguise in Late Qing and “Old School” Wuxia Novels. The importance of “masks” was then highlighted by Jin Yong in his Wuxia novels where the “masks” became the symbols of the characters mentioned above, instead of a kind of defensive equipment. Thus, the author believes that the “masks” was manipulated by Jin Yong to create his characters amid the proliferation of “New School” Wuxia Novels which focused on the portrayal of characters’ personalities.
This paper chooses Yang Guo, Huang Yaoshi and Cheng Ying as the three representations of the “Mask Characters” in Jin Yong’s Wuxia Novels. Firstly, the paper analyzes the personalities and character images of the three characters with a focus on their “masks”. Then, the paper discusses some questions raised by Jin Yong as he created the “masks” of the characters. These questions include the relationship of the individual and society, the difference between the good and the evil, and the acceptance of chastity by traditional Chinese women. Finally, the paper examines Jin Yong’s writing of subplots with a focus on the “Masks”, and compares the “Masks” in Jin Yong’s novels with the “Masks” in other literature works, films and televisions, to discuss their similarities and differences.Bachelor of Arts in Chines
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
分裂逆向的人生与词风 ：以“纳兰性德”现象为探讨中心 = Contrast between personal life and creation style : focus on "Nalan Xingde" phenomenon
No full text文学创作风格的形成各家有不同的说法，生平遭遇铸就作品风格是最为常见的风格形成模式，且诸多文人学者都为此模式提供许多例子与论述。但生平遭遇却并非唯一能够影响创作风格的因素，作者本人的性格或许方是最为核心的风格塑造条件。笔者在本文中，以“纳兰性德”现象为中心，探讨作者的性格对于作品风格的塑造。以纳兰性德的生平与其词风的比对，归纳出分类反差逆向风格文人所必须具备的条件。以两位不同朝代但与纳兰性德一样同属凄婉词人群的词人秦观与顾贞观为例，通过纵向与横向比较，分析纳兰性德与他们的不同之处，即人生过程与个人性格有着较大反差。此外，从另外两位不同时代的文人冯延巳与席慕容身上，找出与纳兰性德相似的共同点，即人生平顺但文风凄婉，人生旅程与作品风格呈现出一种分裂逆向的现象，分析其形成原因，探讨此类型文人可以称之为文学史上的“纳兰性德”现象。
The formation of literary creation style has various explanation. The experience of life is the most common effect of style formation. Even though many researchers and academics have provided examples and arguments for this formation style, authors’ life experience is not the only effect for the creation style. Authors’ personality and character should be the core factors in the creation style. This paper will explore the shaping capability of author’s personality and character to the creation style, by focusing “Nalan Xingde” phenomenon. In the first chapter, this paper will summarize the conditions for classified the literati as the contrast style by comparing the life and creation style with Nalan Xingde. Secondly, this paper compares Nalan Xingde and two literati from different dynasties but have exactly same style as Nalan Xingde, and the differences between them are life experience and personal character. In the third chapter, the paper will find out the similarities of Nalan Xingde with two literati in different eras, the smooth life and similar style, which are not corresponding. Explore the reason of this formation and find out whether this type of literati can be classified as a literary phenomenon which named as “Nalan Xingde”.Bachelor of Arts in Chines
小说《后宫·甄嬛传》中的花卉意象解析 = Analysis of flower image in Chinese novel legend of Zhenhuan
No full text于2010年出版的小说《后宫·甄嬛传》经改编成电视剧播出后，即引起了极大的反响。它之所以能够在当时古装剧泛滥的情况下脱颖而出，并得到极高的赞誉，除了制作团队的专业与敬业、跌宕起伏且紧凑的剧情等条件，也离不开原著小说的成功。作者流潋紫在情节中加入大量的花卉意象，本文意在探讨作者如何以花朵塑造小说中的人物与情节。
本文第一章整理《甄嬛传》中各人物与对应花卉，以此为基础，比较各个角色的性格与命运。第二章介绍《甄嬛传》中宫廷生活的花卉应用：御膳、衣饰纹样，剖析其在故事中所隐含的意蕴如何推动情节发展。第三章分析《甄嬛传》中如何应用花卉意涵塑造人物与情节，进而探讨这种应用的遗憾之处以及促使遗憾发生的原因。
关键词：《后宫·甄嬛传》；花卉意象；宫廷生活；花卉意涵
The television drama adaptation of the Chinese novel Legend of Zhenhuan has received great response ever since its release in 2010. The drama has managed to stand out from among the crowd of Chinese costume dramas and gain immense recognition, not only due to the dedication and professionalism of the cast and crew, the compact and complex plot, and other factors, but also through the success of the original novel material. As the author Liu Lianzi integrates flower imagery into the story, this thesis therefore intends to explore how her use of flowers shape the characters and plot in the novel.
The first chapter of this thesis will compare each character to their destiny by sorting out the characters and corresponding flowers in Legend of Zhenhuan. The second chapter will introduce how flowers are applied in court life in Legend of Zhenhuan through imperial meals and clothing patterns, analyze how their implied meaning in the story promotes the development of the plot. The third chapter will analyze flower implications that portray the characters and develop the plot in Legend of Zhenhuan. This chapter will also explore the imperfections caused by the flower implications and the reasons for imperfections.
Keywords: Legend of Zhenhuan, Flower Image, Palace Life, Flower ImplicationsBachelor of Arts in Chines
维度与限度 ： 论 “三国” 电视剧中的人物形象改编 = Perspectives and limits : adaptation of the characters in the "Three Kingdoms" TV dramas
No full textAs a classic of Chinese literature, The Romance of the Three Kingdoms has been remade into TV dramas repeatedly. Many of the classic characters have undergone various adaptations, which gradually deviate from the classic notation in the original novels. This is closely related to the prevalence of consumerism today, where consumers value entertainment over culture connotations. The drama producers strive to satisfy the audience's preferences, integrate new values and the popular elements of popular culture to attract audiences.
We live in a culture of consumerism, and it has a huge impact on the adaptation of classical literature. The characters in TV dramas are in line with the audience's preferences, and gradually become displaced and deviated from the image of the original novels.
This thesis focuses on the analysis of the character Liu Bei, Cao Cao, Sun Shangxiang and Diao Chan in Romance of The Three Kingdoms, Three Kingdoms and K.O.3an Guo respectively, which shows the displacement and deviation of the classic characters in today's TV Dramas, and explore the adaptation limits under the trend of consumerism from two aspects: social significance and the faithfulness to the original character.Bachelor of Arts in Chines
美日韩影视动漫中的《西游记》= Films and animation adaptations of journey to the West in America, Japan and Korea
No full text《西游记》是中国四大名著中传播与改编度最广的作品，改编自《西游记》
的影视动漫经常受到许多关注。除中国外，美国、日本、韩国等国家都曾从《西游
记》取材进行改编。有的作品翻拍了《西游记》八十一难的故事，有的则颠覆性的
融入许多创意。随着全球化的网络时代与众多改编作品的问世，《西游记》成为跨
文化、跨时代的经典知识产权。
笔者着眼于当代三大流行文化中心——美国、日本与韩国对《西游记》的改
编作品，根据作品对人物的改编趋势，对师徒四人分为主角与配角进行分析，探讨
不同国家对《西游记》的现代诠释，带出《西游记》如何在数百年后生命力仍绵延
不绝的原因。主要考察分析的作品有：美国、日本与韩国具代表性的影视动漫作品，
《失落的帝国》、《美生中国人》、《最游记》与《花游记》。在此基础上，看《西
游记》是如何适应当代观众的口味、融入当代流行文化元素，成为生生不息的经典，
并通过对比中国与美日韩的改编作品，探讨改编者如何在“忠实”与“创新”之间
取得平衡。
Journey to the West is a great epic from China. The many adaptations of Journey
to the West in China had been well received. Countries like America, Japan and Korea
have found inspiration from Journey to the West and made various adaptations of the
epic.
Some adaptations adapted the short stories within Journey to the West, while
others changed the story drastically with various creative and artistic approaches. In this
era of great connectivity, the introduction of many adaptations has helped increased the
spread of Journey to the West, allowing it to become a worldwide intellectual property.
This essay compiled and analyzed various adaptations of Journey to the West in
America, Japan, and Korea, mainly The lost empire and American born Chinese from
America, Saiyuki from Japan, and A Korean Odyssey from Korea. Through analyzing
the adaptations trends of the four main characters in Journey to the West, this essay seeks
to understand how Journey to the West managed to stay relevant in pop-culture across
many generations and how filmmakers incorporate popular culture into the adaptations
of Journey to the West.Bachelor of Arts in Chines
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