簡(jiǎn)介：山東師范大學(xué)碩士學(xué)位論文中國(guó)文學(xué)中玉原型的美學(xué)闡釋姓名張萍申請(qǐng)學(xué)位級(jí)別碩士專業(yè)文藝學(xué)指導(dǎo)教師趙奎英20070420山東師范大學(xué)碩士論文理想的美，總而言之，玉成為一切美好事物與理想的代稱；中國(guó)女性與月亮總是孤獨(dú)與寂寞的象征，而純粹與理想和世俗現(xiàn)實(shí)也總是處于矛盾之中，因此玉在至美至善的背后也體現(xiàn)了中國(guó)人獨(dú)特的悲劇精神既有含蓄內(nèi)蘊(yùn)、溫潤(rùn)柔婉的倩性又有“寧可玉碎，不可瓦全”的堅(jiān)貞品質(zhì)，玉正是中國(guó)人獨(dú)特的悲劇意識(shí)的完美體現(xiàn)；另外，從女性崇拜的集體無(wú)意識(shí)看，女性智慧是非思辨的，它更接近生命與自然。玉長(zhǎng)久以來(lái)就被視為自然山川之精英，對(duì)玉的喜愛(ài)和崇拜表達(dá)了人們對(duì)自然的感悟和贊嘆。而玉不只是作為一種自然審美對(duì)象，也是代表了人與自然的親和。玉自古就是溝通天地神人的靈物，在中國(guó)人與自然的審美關(guān)系的建立和發(fā)展中，玉扮演了重要角色。因此玉表達(dá)了人與自然的生命關(guān)聯(lián)與共感，玉原型體現(xiàn)了中國(guó)人的生態(tài)審美觀念。總之，本文主要意圖不只是列舉玉在文學(xué)作品中的廣泛存在，而是通過(guò)對(duì)玉的原型意義的美學(xué)闡釋，使我們能更深入地把握中華民族的心理氣質(zhì)和審美文化心態(tài)。111關(guān)鍵詞玉原型美學(xué)闡釋女性崇拜分類號(hào)101

簡(jiǎn)介：目錄中文摘要1英文摘要2引言4JI苗4第一節(jié)綜述4第二節(jié)研究述評(píng)7第三節(jié)本文的問(wèn)題意識(shí)和研究思路10第一章強(qiáng)國(guó)夢(mèng)想一一未來(lái)世界里的中國(guó)11第一節(jié)“諫往”與“追來(lái)”1L第二節(jié)敘事空白晚清強(qiáng)國(guó)夢(mèng)的未來(lái)完成時(shí)14第三節(jié)后發(fā)先至20世紀(jì)末未來(lái)敘事的時(shí)態(tài)轉(zhuǎn)換17第二章反烏托邦一～未來(lái)世界里的個(gè)人20第一節(jié)婚戀與生育身體管制的界限20第二節(jié)規(guī)訓(xùn)與“新民，，思想權(quán)利的紛爭(zhēng)25第三節(jié)放縱個(gè)人通往奴役的新路28第三章末日之門一一未來(lái)世界里的宇宙31第一節(jié)早期科幻小說(shuō)的科技樂(lè)觀主義31第二節(jié)重審科技隱憂的反思與救贖33第三節(jié)超越人類中心的絕望與反抗35結(jié)語(yǔ)38致謝38參考文獻(xiàn)及注釋39ABSTRACTINTHELATE19THCENTURYANDEARLY20THCENTURY，THELATEQINGDYNASTYNOVELSBEGANTODESCRIBETHEFUTURESINCEACENTURYPAST，CHINESELITERATUREINTHELATE20THCENTURYANDEARLY21STCENTURYPRESENTSUSTHEWRITINGOFDOOMDAYANDTHEFUTUREIMAGINEONEHUNDREDYEARSAGO，NOVELISTSINTHELATEQINGDYNASTYWASTRYINGTOBREAKAWAYFROM”LOOKBACK”LITERARYTRADITIONSINCEANTIENTCHINAANDFABRICATEDFUTURESTORYWITHSTRONGAPPEALFORCOUNTRY’SBEINGPROSPERITYTHEHUGEGAPBETWEENPROSPERITYDREAMANDPOORREALITYINLATEQINGDYNASTYISTOODIFFICUTTOBECLOSEDTHATCREATEDTHEUNIQUENOVELNARRATIVEOFTHISPERIODTHISCHINARENAISSANCEPROSPECTIN”FUTUREPERFECTTENSE”ISACOMPLETIONREMAINSTOBEDONEAFTERTHE1990S，INBOTHASPECTSOFRESISTINGINVADERSANDNATIONALGOVERNANCE，THEFUTUREWRITINGINCHINESELITERATURETRANSFORMEDJ’COMPLETION’INTO“MODELTEST’。JUMPEDOUTOFTHEPLIGHTOFLATEQINGDYNASTYALTHOUGHCONCERNSSTILLREMAINEDINDIVIDUALINTHEFUTUREWORLDALSOACROSSTHETWOPERIODSATTHETURNOFTHECENTURYWHENUTOPIANANDDYSTOPIANLITERATUREWORKSTHINKOF“DEPRIVATE“THEYALWAYSBEGINWITHTHESMALLESTSOCIALUNITTHEFAMILYASTHELOGICALSTARTINGPOINTDEPRIVINGMARRIAGERIGHTSOFTHEINDIVIDUAL，ISQUESTIONEDANDDECONSTRUCTEDMOREFREQUENTLYANOTHERDISPUTEABOUTINDIVIDUALISPERSONALTHOUGHT，TULEVOICEORTODEVELOPINTELLIGENCE，THETWOOPPOSITEFORCESCOMPETEDCONTINUOUSLYINTHEPASTCENTURYINTHELATE20THCENTURYANDEARLY21STCENTURY，DESIREINDULGENCEREPLACEDBODYMINDCAPTIVITYHOWEVER，REVIEWINGTHEUNINTENTIONALPROPHECIESINTHENOVELSOFLATEQINGDYNASTY，THESOFT，WARMHAPPINESSAVENUEMAYLEADSTONEWSLAVERYLITERATUREANDEPOCHEVOLUTIONINTHEPASTONEHUNDREDYEARS，ALSOECHOESTHECOSMICSPACETIMEWEEXISTTHETECHNOLOGYINFANTILISMINCHINESELITERATURESINCELATEQINGDYNASTYWHICHLASTSFORMORETHANHALFACENTURY，TURNEDTOBETHEPESSIMISTICATTITUDETOSCIENCIFICTECHNOLOGYANDSALVATIONWILLINGBYTHEENDOFTHE20THCENTURYATTHEBEGINNINGOFTHE21STCENTURY，REPRESENTEDBYLIUCIXIN’SSCIENCEFICTIONSGOBEYONDANTHROPOCENTRISMANDCONCERNABOUTTHEDECLINEANDFALLOFTHEUNIVERSEITSELF，BEINGPESSIMISTICANDRESOLUTE，WECOULDTELLITSFRAGILEANDNOBLECJVJIZATIONCARE2

簡(jiǎn)介：華中師范大學(xué)博士學(xué)位論文文學(xué)現(xiàn)代形態(tài)的修復(fù)與重建論“現(xiàn)代”作家對(duì)新中國(guó)文學(xué)的審美期待姓名楊亞林申請(qǐng)學(xué)位級(jí)別博士專業(yè)中國(guó)現(xiàn)當(dāng)代文學(xué)指導(dǎo)教師王又平20090301⑨博士學(xué)位論丈DOCTORALDISSERⅨNON示新中國(guó)文學(xué)形態(tài)新交。新中國(guó)文學(xué)以解放區(qū)文學(xué)經(jīng)驗(yàn)為主導(dǎo)，用“人民文藝叢書”、“新文學(xué)選集”兩套叢書對(duì)以往文學(xué)進(jìn)行選擇和重構(gòu)，從而確立文學(xué)新秩序，倡導(dǎo)文學(xué)大眾化方向。然而新中國(guó)文學(xué)形式建設(shè)面臨著轉(zhuǎn)型的困難，解放區(qū)文學(xué)中的大眾與新中國(guó)文學(xué)面對(duì)的大眾不同，從而帶來(lái)解放區(qū)文學(xué)類型在新中國(guó)再生的困難，民間化追求，舊文學(xué)形式與民族化糾纏在一起，使新中國(guó)文學(xué)形態(tài)出現(xiàn)了返祖、民間化現(xiàn)象。許多“現(xiàn)代”作家出現(xiàn)的藝術(shù)轉(zhuǎn)型困難不僅存在于文學(xué)立場(chǎng)和態(tài)度上，更主要是藝術(shù)上的現(xiàn)代追求與這種由民間化主導(dǎo)的大眾文學(xué)傾向存在一定距離。第三章探討新中國(guó)小說(shuō)現(xiàn)代形態(tài)問(wèn)題。主要探討一些“現(xiàn)代”作家對(duì)新中國(guó)小說(shuō)形態(tài)的關(guān)注，揭示現(xiàn)代傳統(tǒng)對(duì)新中國(guó)小說(shuō)形態(tài)建設(shè)的影響。以章回體和說(shuō)話藝術(shù)創(chuàng)造小說(shuō)的趙樹理所代表小說(shuō)方向在新中國(guó)遭遇尷尬的命運(yùn)，對(duì)趙樹理小說(shuō)的評(píng)說(shuō)一直伴隨著通俗與現(xiàn)代的爭(zhēng)論，他對(duì)民間文學(xué)形式和傳統(tǒng)小說(shuō)中舊形式的執(zhí)著追求與一些現(xiàn)代作家對(duì)小說(shuō)現(xiàn)代形態(tài)的理解的沖突，影響著他建國(guó)后的文學(xué)命運(yùn)。他在通俗文學(xué)研究會(huì)與以丁玲為代表的文學(xué)研究所的矛盾是40年代通俗與現(xiàn)代問(wèn)題在當(dāng)代的延伸，他文學(xué)命運(yùn)的坎坷在一定程度上反映了新中國(guó)文學(xué)形態(tài)上的現(xiàn)代問(wèn)題。而小說(shuō)的正典化運(yùn)動(dòng)中，一批小說(shuō)被當(dāng)作經(jīng)典而傳播，這一過(guò)程中以蘇聯(lián)社會(huì)主義現(xiàn)實(shí)主義觀念和現(xiàn)代小說(shuō)的傳統(tǒng)在塑造這些正典時(shí)起了很大作用。社會(huì)主義現(xiàn)實(shí)主義經(jīng)典的力量和自敘小說(shuō)傳統(tǒng)在保衛(wèi)延安、青春之歌的傳播中起決定性作用。茅盾的社會(huì)主義現(xiàn)實(shí)主義小說(shuō)理論、大量的小說(shuō)評(píng)論闡釋著當(dāng)代小說(shuō)英雄塑造和短篇小說(shuō)藝術(shù)生長(zhǎng)的法門。他與其他許多現(xiàn)代作家在小說(shuō)筆談中都表達(dá)了借鑒著現(xiàn)代短篇小說(shuō)傳統(tǒng)建構(gòu)新中國(guó)短篇小說(shuō)現(xiàn)代形式的意圖，短篇小說(shuō)的橫截面結(jié)構(gòu)方式，反映生活矛盾“小紐結(jié)”的思維方式和集中、凝煉、突出的藝術(shù)特征隱藏著復(fù)活現(xiàn)代短篇小說(shuō)傳統(tǒng)的信息。第四章討論新中國(guó)詩(shī)歌現(xiàn)代形態(tài)問(wèn)題。主要探索“現(xiàn)代”作家針對(duì)新中國(guó)詩(shī)歌中民歌主導(dǎo)傾向，用更加開(kāi)放的詩(shī)歌形式建構(gòu)新的詩(shī)歌格式的思路。建國(guó)初郭沫若、胡風(fēng)、何其芳等人的頌體詩(shī)打造出一種革命的抒情模式，上接左翼革命詩(shī)歌，下啟政治抒情詩(shī)。在新民歌運(yùn)動(dòng)中，民歌被提到詩(shī)歌發(fā)展道路的高度來(lái)認(rèn)識(shí)的時(shí)候，何其芳、卞之琳、王力等現(xiàn)代詩(shī)人、學(xué)者發(fā)現(xiàn)民歌藝術(shù)缺陷，用格律詩(shī)歌形式的探索代替民歌一統(tǒng)天下的局面。他們從現(xiàn)代漢語(yǔ)特點(diǎn)和中國(guó)古典律詩(shī)藝術(shù)中探索新格律詩(shī)歌形式，與現(xiàn)代文學(xué)中現(xiàn)代格律詩(shī)歌有藝術(shù)上的淵源，又是對(duì)新詩(shī)格律形式探索的延伸與拓展。第五章論述新中國(guó)散文與現(xiàn)代散文的風(fēng)格搏斗。新中國(guó)散文繼承了40年代客觀寫實(shí)傳統(tǒng)，形式單一，50年代中期的復(fù)興散文潮流發(fā)出了向現(xiàn)代散文藝術(shù)復(fù)興的信號(hào)。抒寫“意境”、“詩(shī)意”散文的出現(xiàn)，造就了楊朔等三大家散文寫作模式。三大家散文在追求意境和詩(shī)意寫作時(shí)，與現(xiàn)代散文判然有別，但是在他們身上表現(xiàn)的藝術(shù)個(gè)性與社會(huì)責(zé)任的沖突，時(shí)代“大我”情感的抒寫代替了個(gè)人對(duì)生活的感受抒寫中，顯示出現(xiàn)代散文傳統(tǒng)的流失，當(dāng)代散文規(guī)范的確立。

簡(jiǎn)介：目錄中文摘要1ABSTRACT21￡L月叮青。。。。3上篇釋典?？凸适屡c中國(guó)本土?？凸适乱?、釋典之?？凸适隆?二、中國(guó)本土之?？凸适?0下篇羅剎海市、夜叉國(guó)與中國(guó)文學(xué)對(duì)釋典?？凸适轮邮芤?、羅剎海市與夜叉國(guó)21二、中國(guó)文學(xué)對(duì)釋典?？凸适轮邮?8三、中國(guó)文學(xué)對(duì)羅剎、夜叉的接納35注釋35參考書目40ABSTRACTBUDDHISMALWAYSUSESSEASTORIESTOPROMOTEITSTHEORYINTHESESTORIESTHEREISALUOCHASTORYWHICHAPPEARSTHEMOSTFREQUENTLYINBUDDHISTCANONSITWASFAMILIARBYPEOPLEINMANYPERIODSOFCHINESEHISTORYTHEREARESEASTORIESINCLASSIEALCHINESELITERATUREEITHERTHEYAREABOUTLEGENDSINTHESTRANGESEAOUTSIDETHEFORMALWORLDHOWEVERFROMTANGTOQINGTHESESEASTORIESAPPEAREDVERYDIFFERENTLYFROMTHEBUDDISHSTORIESWHILETHEYCAMEFROMTHEMBECAUSEOFTHEBUSINESSDEVELOPMENTOUTSIDETHESEAANDTHELOCALIMAGINATIONOFTHESEASEASTORYOFBUDDHISTCANNONSWEREACCEPTEDBYPEOPLEINCLASSICALCHINAGRADUALLYBUTTHEIMAGEOFGHOST，WHICHWASALLIMPORTANTELEMENTINBUDDHISTSEASTORIES，WASCHANGEDANDTHATISTHISCHANGEMADETHEDIFFERENTFACESOFLOCALSTORIESFROMTHEBUDDHISTSTORIESKEYWORDVOYAGERLIAOZHAIZHIYILUOCHAYECHACLC12092

簡(jiǎn)介：西南師范大學(xué)碩士學(xué)位論文人生與中國(guó)文學(xué)的“80年代”關(guān)于一個(gè)文學(xué)文本和一個(gè)時(shí)代的關(guān)系考察姓名?；勖魃暾?qǐng)學(xué)位級(jí)別碩士專業(yè)中國(guó)現(xiàn)當(dāng)代文學(xué)指導(dǎo)教師王本朝20050401L／REANDCHINESELITERATUREINTHE1980SASTUDYONTHERELATIONOFALITERATURETEXTANDTIMESMAJORMODEMANDCONTEMPORARYCHINESELITERATURESPECIALTYTHEMODEMANDCONTEMPORARYCHINESELITERATUREANDTHECULTURESTUDYTUTORPROF．WANGBENEHAOAUTHORCHANGHULMING2002225ABSTRACTDURINGTHE1980S，蜘ISAVERYIMPORTANTTEXTAMONGCHINESELITEMTTTRE，WHICHHASEPOCHMARKINGSIGNIFICANCEANDISTHEMILESTONEOFCHINESELITERATUREINTHE1980S工／FEISDEEPLYROOTEDINTHEBACKGROUNDANDATMOSPHEREOF1980S，ANDTHEREFOREITBEARSAMARKEDBRANDOFTHETIMES，TT’SBIRTHISGREATLYDEPENDENTONTHETIMES，ANDITCANBEREGARDEDASATIEORAKNOTOFCHINESELITERATUREINTHE1980S．THESPIRITOF1980SANDTHETHEMEOFL／瓣ISGREATLYBLENDED，ANDANERAISCONCENTRATEDINATEXT，I．E．TEXTUALIZEDOFTHETIMES．DURINGTHECHANGESOFTHETIMES，WEATTEMPTTOPERCEIVETHESPECIFICLITERATUREPRODUCINGWAYDURINGTHE1980SVIAAPARTICULARTEXT．SUCHFACTORSASTHEGIVENHISTORICALBACKGROUND,THECHOICEANDRECONSTRUCTIONOFSPIRIT，THEAIMOFAGROUPINLIFEANDTHEINFATUATIONANDLONGINGFORTHECITYANDTHE“FORK”MEANINGENTRUSTEDBYTHEPARTICULARTIMESWILLBETHESUPPORTINGPOINTSOFINTERPRETATION．IFCHINESELITERATUREINTHE1980SISASEA,THEN，瞻ISBEAUTIFULFOAMOFTHEBREAKINGWAVESINTHESE亂TAKEAFOAMANDASSAYITSACIDITY,ANDWECANKNOWITSCOMPOSITIONOFTHESEA．SIMILARLY,VIATHEINTERPRETATIONANDANALYSISOF，瓣，MCARLKNOWTHE“ACIDITY”O(jiān)FCHINESELITEMTUREINTHE1980S．￡L，卜T11ETEXTUALIZEDPRODUCTOFTHE1980SLTTRACTSOURATTENTION；ANDHOWEVER,THETEXTUALIZATIONOFTHETIMESRESULTSINAPHENOMENONTHATTHISTEXTWILLBESPREAD，ARGUEDANDACCEPTED，J．E．，THESOCIALIZATIONOFATEXT，INAWORD，THEPARTICULARTIMESPRODUCESPARTICULARTEXTS，WHICHINTURNREFLECTANDINFLUENCETHEPARTICULARTIMES．DURINGTHEINTERACTIONOFTEXTSANDTHETIMES，坼WASSPREADTHROUGHPERIODICAL，2

簡(jiǎn)介：2014屆碩士學(xué)位論文屆碩士學(xué)位論文近代中國(guó)文學(xué)翻譯中的日本影響近代中國(guó)文學(xué)翻譯中的日本影響以吳梼?yōu)槔詤菞優(yōu)槔髡咝彰麠铠P鳴指導(dǎo)教師陳春香教授學(xué)科專業(yè)比較文學(xué)與世界文學(xué)研究方向中日文學(xué)比較研究培養(yǎng)單位文學(xué)院學(xué)習(xí)年限2011年9月至2014年6月二〇一四年六月THESISFORMASTER’SDEGREE,SHANXIUNIVERSITY,2014THEJAPANESEINFLUENCEINMODERNCHINESELITERARYTRANSLATIONINWUTAOFOREXAMPLESTUDENTNAMEFENGMINGYANGSUPERVISORPROFCHUNXIANGCHENMAJORCOMPARATIVELITERATUREANDWORLDLITERATURESPECIALTYCOMPARATIVESTUDYBETWEENCHINESELITERATUREANDJAPANESELITERATUREDEPARTMENTINSTITUTEOFLITERATURERESEARCHDURATION201109201406JUNE,2014

簡(jiǎn)介：西北大學(xué)碩士學(xué)位論文論日本文學(xué)對(duì)五四時(shí)期中國(guó)文學(xué)的影響姓名劉翌申請(qǐng)學(xué)位級(jí)別碩士專業(yè)中國(guó)現(xiàn)當(dāng)代文學(xué)指導(dǎo)教師劉應(yīng)爭(zhēng)李魯歌20020101中文摘要日本作為中國(guó)一衣帶水的鄰邦，文學(xué)上一直與中國(guó)有著密切的聯(lián)系。在近代特別是五四時(shí)期，這種聯(lián)系又表現(xiàn)為日本對(duì)于中國(guó)單方面的影響而格外引人注目。五四時(shí)期，這種影響中有三個(gè)方面顯得特別突出和重要，它們是日本文學(xué)與周氏兄弟早期的文論思想；日本自然主義與中國(guó)現(xiàn)代文學(xué)日本的俳句、和歌與中國(guó)現(xiàn)代的“小詩(shī)”。在日本，尼采的哲學(xué)輸入后，幾經(jīng)變形，最終主要形成了“政治青年”和“文學(xué)青年”兩種截然刁同的思想。II丁者對(duì)魯迅周樹人早期的個(gè)人主義思想發(fā)生了深刻的影響；后者則衍生了日本武的自然主義文論，對(duì)中國(guó)文學(xué)，特別是創(chuàng)造社的小說(shuō)創(chuàng)作產(chǎn)生了重大的影響。五四時(shí)期在周作人“人的文學(xué)”中廚川白村影響了周作人的“靈肉一致”觀的形成，廚川白村、武者小路實(shí)篤對(duì)周作人人間本位主義中的個(gè)人主義思想有一定的影響。此外，日本文學(xué)中還有’一座連接周作人個(gè)性主義與人道主義的橋梁新村主義。最后，目本的和歌、俳句以其精短的形式，簡(jiǎn)潔的象征，樸素、自然、富于孩子氣的風(fēng)格對(duì)五四時(shí)期的詩(shī)歌產(chǎn)生了積極的影響略。奉文通過(guò)對(duì)當(dāng)時(shí)文論和作品的深入分析與研究，從中發(fā)掘兩國(guó)文化的內(nèi)在聯(lián)系以及一些特殊的文學(xué)現(xiàn)象產(chǎn)7匕的原因，糾正些錯(cuò)誤的認(rèn)知，以期從整體』更加清晰、更加準(zhǔn)確地把握中國(guó)現(xiàn)代文學(xué)的內(nèi)涵和底蘊(yùn)。關(guān)鍵詞日本文學(xué)“人的文學(xué)”人道主義口本自然主義“五四”文學(xué)

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簡(jiǎn)介：二十世紀(jì)上半葉中國(guó)文學(xué)史中元代文學(xué)書寫研究RESEARCHONTHELITERARYWRITINGOFYUANDYNASTYINCHINESELITERARYHISTYDURINGTHEFIRSTHALFOFTWENTIETHCENTURY申請(qǐng)人王銘璇學(xué)科專業(yè)中國(guó)古代文學(xué)研究方向元明清文學(xué)學(xué)位類別學(xué)術(shù)學(xué)位指導(dǎo)教師郝青云論文提交日期二○一八年四月碩士學(xué)位論文分類號(hào)ICS學(xué)校代碼10136學(xué)號(hào)201500079I摘要元代文學(xué)作為中國(guó)文學(xué)發(fā)展的一個(gè)重要組成部分，其進(jìn)入中國(guó)文學(xué)史是必然。自元末以來(lái)元代文學(xué)書寫經(jīng)歷了較為復(fù)雜的過(guò)程。二十世紀(jì)以來(lái)國(guó)內(nèi)相繼出版百余部文學(xué)史著，元代文學(xué)以其為依托經(jīng)歷了從無(wú)到有、從簡(jiǎn)單到多樣、從片面到全面的復(fù)雜變化，元代文學(xué)各類文體書寫也呈現(xiàn)出不同程度的偏度，元代文學(xué)生成的歷史文化語(yǔ)境描述更是言人人殊。二十世紀(jì)上半葉，自林傳甲中國(guó)文學(xué)史到胡適國(guó)語(yǔ)文學(xué)史再到劉大杰中國(guó)文學(xué)發(fā)展史，隨著“中國(guó)文學(xué)史”的發(fā)展軌跡，元代文學(xué)書寫也在文學(xué)史著中逐漸明晰起來(lái)?！拔逅摹鼻霸膶W(xué)書寫受“一代文學(xué)”影響，以及文學(xué)史著述體例的引入，元代文學(xué)書寫以戲曲關(guān)注為主，但仍有“元人日卑”的論斷；“五四”前后，文學(xué)進(jìn)化論傳入，元代文學(xué)書寫逐漸開(kāi)啟以“俗文學(xué)”為中心，元代其他文學(xué)體裁并行發(fā)展的勢(shì)態(tài)，隨后唯物論的引用，拉開(kāi)國(guó)內(nèi)學(xué)者科學(xué)化、客觀化書寫元代文學(xué)的序幕；進(jìn)而到“抗戰(zhàn)”前后，元代文學(xué)書寫基本樣貌、基本范式確立。二十世紀(jì)上半葉，元代文學(xué)書寫基本面貌呈現(xiàn)出從文學(xué)表象到文學(xué)內(nèi)涵的演變，歷經(jīng)了螺旋式上升的過(guò)程，在關(guān)注文學(xué)作家作品的同時(shí)，元代社會(huì)文化背景書寫也逐漸進(jìn)行展開(kāi)，無(wú)論是從政治、民族、經(jīng)濟(jì)、社會(huì)等方面都進(jìn)行了深入的探討。另，民族觀念的嬗變，也使得元代文學(xué)書寫話語(yǔ)從偏頗逐漸過(guò)渡到客觀。但在現(xiàn)今多民族文化融合背景下，“中國(guó)文學(xué)史”著作中的元代文學(xué)書寫卻依然存在些許偏頗。因此，把握元代文學(xué)書寫變化規(guī)律，深入研究其“質(zhì)”，才能真正認(rèn)識(shí)元代文學(xué)和把握元代文學(xué)，才能更好的編著今后的文學(xué)史著作。關(guān)鍵詞二十世紀(jì)；中國(guó)文學(xué)史；元代文學(xué)

簡(jiǎn)介：揚(yáng)州大學(xué)碩士學(xué)位論文論90年代以來(lái)中國(guó)文學(xué)“人文精神”的失落姓名蘇濛申請(qǐng)學(xué)位級(jí)別碩士專業(yè)中國(guó)現(xiàn)當(dāng)代文學(xué)指導(dǎo)教師吳周文200505012揚(yáng)州大學(xué)碩士學(xué)位論文ABSTRACTWIT}1THEDEVELOPMENTOF哲OBALIZATION,CHINESESOCIALISTMARKETECONOMYISMAKINGGREATPROGRESS．WHILEPROMOTINGPROSPERITYINCHINA,THEREFORMOFCOMMODITYECONOMYHASALSOBROUGHTSPIRITUALERISISTOCHINESEPEOPLE．CHINESELITERATUREHASFALLENINTOCERTAINPREDICAMENTSINCETHE1990S．NETHESISFOCUSESITSRESEARCHONHUMANISMOFCHINESE1ITERATURESINCETHE1990S．COMBININGWITHTHEHISTORICALENVIRONMENTOFTHELITERAAN_EINTHE1990S．MAINLYANALYZESFORMOFEXPRESSIONANDDEEPREASONPRODUCEDWHYHUMANISMOFCHINESELLTERAULRELOSESDURINGTHISSPECIFICTIME．TBISHASIMPORTANTMEANINGSTOALLSORTSOFPHENOMENASUCHASLITERATURECRISIS，SENSEOFLOSSOFINTELLECTUAL’SHUMANECAREANDCLEARINGUPOFMANKIND。SULTIMATEVALUE．ANDTHISISHEAVYRESPONSIBILITYTHATCONTEMPORARYLITERARYCRITICISMBEARSTOO．NLISTHESISISDIVIDEDINTOTHREEPARTS．111EFIRSTPARTANALYZESTHEBACKGROUNDMEANINGANDCONCEPTOFHUMANISM．NLISPARTPUTSFORWARDTHEBACKGOUNDANDMEANINGOFDISCUSSIONOFHUMANISM．HOWTOSETUPGOODRELATIONWITHMARKETECONOMYINHUMANISM，THEINTELLECTUAL’SREORIENTATION,ANDREBUILDINGTHEFUNCTIONOFCRITICIZING,AREREALISTICMEANINGOFTHISDISEUSSIONOFHUMANISM．THENTHETHESISDEFINESTHEMEANINGOFHUMANISM．FIRST,THETHESISINVESFIGATESWHATISMEANTBYHUMANISMQUESTION,DIFFERENTIATINGANDANALYZINGSEVERALGROUPSANDHUMANISMRELEVANTCONCEPTS．THENTHISPARTEXPOUNDSTHEFACTTHATHUMANISMANTAGONISTICTOCOMINONCUSTOMSS咖THUMANISMFEBUILDINGTRADITIONALANTAGONISTICTOWESTERNORIENTATIONIN,THEDIFFERENCESOFLOSSANDCOVEROFHUMANISMFORMTRIPLEFOCUSESOFCONTROVERSY．ATLASTTHETHESISCONFIRMSTHEBASICMEANINGOFHUMANISM．WHICHISDIVIDEDINTOFIVELEVETSLI詫LEVEL,SURVIVESTATELEVEL，ASKING．FORKINDLEVEL，100KINGFORTHETRUTHLEVEL，ASKINGFORTHEBEAUTY1EVEL．HUMANISMINLITERATURE刪DBESTILLMOLEEXTENSIVE．MOREABUNDANT．THESECONDPARTEXPOUNDSTHEBEHAVIOROFTHELOSSOFHUMANISMOFCHINESELITERATURESINCETHE1990SFIRSTLY,PACKINGPROFITEERINGACTIVITIESANDCATERINGTOTHEREADERSHIPSPOORTASTE．砸SPARTHAVESTIGATESTHEFREQUENTPERIODICALPLANANDTHEPHENOMENONOFTHECOMMERCIALIZEDPACKINGPROFITEERINGACTIVITIES．1KSPARTALSOINVESTIGMESTHECOMPLEXINGREATDEMANDANDMOVIETVCOMPLEXANDWANGSHUOPHENOMENON．SECONDLY,CLEARINGUPTHE10RINESSANDCOMMONCUSTOMS．ANDFLDSPARTANALYZESITSCOLNNLONCUSTOMSS口IRILCLEARINGUPTHE10ILINESSANDINCLINATIONOFCATERINGTOTHEREADERSHIP’SPOORTASTEINTHENEWREALISMNOVEL．THIRDLY,ALARGENUMBEROFDESIRESDESEFIBING．THROUGHTHEHAVESTIGATIONOFDESIREWRITING，BODYWRITING,THEHALFLENGTHBODYWRITINGETC，TLLISPARTANALYZESTHEINCLINATIONTODESIREWRITINGINTHENOVELOFNEWGENERATION,POETRYCREATIONANDNEWHISTORIEALNOVEL．NLE廿IRDPARTANALYZESTHELOSSOFTHEHUMANISMOFCHINESELITERATUREHASEXTERNALCAUSEWHICHISSOCIETYANDDOLMCSOFECONOMICTRANSITIONSINCETHE1990S,ANDTHEDEEPREASONSTIILLIESININTELLECTUALONESEIF．THEFIRSTREASONISTHATTHEDISAPPEARINGOFINTELLECTUALSUBJECTSPIFITCAUSEDTHELOSSOFHUMANISMOFCHINESELITERATURE．THISINCLUDESTHEDI照PP鋤CEOFCRITICSUBJEETSPIRITANDTHEDISAPPEARANCEOFWRITER’SSUBJECTSPIRIT．THENTHETHESISSUMMARIZESTHEDISAPPEMANCEOFWRITER’SSUBJECTSPIRITSHOWNASABSENCEOFMISSIONCONSCIOUSNESS，THEDISAPPEARANEEOFSUFFERINGCONSCIOUSNESS，THEDISAPPEARANCEOFCRITICALSP硫．MSECONDREA．SONISTHATWRITERSPERSONALITYGOESFORCYNICISM．THETHESISFINALLYPROPOSESTHETHINKINGOFREBUILDINGTHENC％VHUMANISMOFCHINESELITERATURE，WHICHMEETSTHENEEDSOFTHEWORLDANDFACESTHEFUTURE．

簡(jiǎn)介：青島大學(xué)碩士學(xué)位論文論二十、二十一世紀(jì)之交中國(guó)文學(xué)的生存背景以中國(guó)“村上現(xiàn)象”為例姓名林婷申請(qǐng)學(xué)位級(jí)別碩士專業(yè)中國(guó)現(xiàn)當(dāng)代文學(xué)指導(dǎo)教師魏韶華20040930童魚盔堂雯主堂絲鯊塞ONTHESURVIVINGCONTEXTOFCHINESELITERATUREATTHETURNOFTHE20‘“AND215‘CENTURIESACASEOF‘‘MURAKAMIPHENOMENON’’INCHINAABSTRACTLITERATUREPHENOMENAINAPERIODCANNOTBESTUDIEDWITHOUTREFERENCETOTHESURVIVINGCONTEXTOFTHELITERATUREINTHATTIMEWITLLTHEECONOMICBOOMINCHINAATTHETURNOFTHE20MAND215‘CENTURIES，THESOCIETYSTEPPEDINTOATRANSITIONALPERIOD，WHICHWASCHARACTERIZEDBYTHETRENDOFPLURALISMINCULTURETHEDISSERTATIONEXPLAINSTHEDEFIMTIONOF“PDUYBOURGEOISIE”，ASYNONYMFORFASHIONINCHINESECITIESATTHETURNOFTHE20山AND21“CENTURIESITALSOEXPLORESTHEREASONSWHYTHECLASSOFTHE“PE吣BOURGEOISIE”COMESINTOBEINGFURTHERITANALYZESTHEGENERALCHARACTERSOFTHE“PETTYBOURGEOISIE’’LITERATUREBYCOMPARINGTHESIMILARITIESBETWEENTHEWORKSOFMURAKAMIHARUKIANDTHOSEOFANNBABYTHEREPRESENTMIVEOFTHECHINESE“PETTYBOURGEOISIE”LITERATUREASABRANCHOFTHE’‘NEWCITY’LITERATURETHE“PETTYBOURGEOISIE’’LITERATUREHASTHESTRENGTHINTHATITPROBESANDDESCRIBESTHESUBJECTFEELINGOFHUMANS，PARTICULARLYTHEYOUNGGENERATION‘ALSOITDEMONSTRATESINDEPTHTHEAGONYTHATONESUFFERSWHENHIS／HERDESIRESCANNOTBESATISFIEDINADDITION，THE‘PERYBOURGEOISIE’’LITERATUREISDRIVENBYPATERNALISMTOCHANTHUMANS’SENTIMENTSANDCONSOLESTHEIRDESIRESREPEATEDLYTHELIMITATIONLIESINTHATTHE“PERYBOURGEOISIE”ITCRATUREFOCUSESONLYOFTTHEDESIREINANAJROWSENSE，BUTIGNORESTHEWORLDINABROADERSENSETHEPARTOFCONCLUSIONDISCUSSESTHEPRESENTSITUATIONOFCHINESESOCIETYANDLITERATUREATTHETURNOFTHE20TI|AND21“CENTURIESFOLLOWINGTHISITPOINTSOUTTHREECONCERNSBEHINDTHEPROSPERITYOFTHE“PETTYBOURGEOISIE’LITERATUREANDCITYCULTURESVULGARIZEDAESTHETICSTANDARDSINTHEPOPULARIZEDLITERATURE，COLLECTIVELYFLEEINGAWAYFROMSOCIALRESPONSIBILITIESANDCULTIVATIONOFLITERATUREQUALITYOFYOUNGLITERATURELOVERSATTHEENDOFTHEDISSERTATIONIEXPLORETHEQUESTIONONHOWCHINESEWRITERSSHOULDDEALWITHTHESURVIVINGCONTEXT，PARTICULARLYTHEPLURALISMINTHELITERATURECONSUMPTIONMARKETINBIGCITIESATTHETURNOFTHE20“AND21“CENTURIESIFWRITERSFAILTOTAKEINTOCONSIDERATIONREADERS’DEMANDSEMOTIONALTENDENCYPARTICULARLYREADINGTASTESOFTHECITYYOUTHWHOARETHEMAJORCULTURECONSUMERS，ANDIFWRITERSCANNOTKEEPUPWITHTHEPROGRESSOFSOCIETYANDENVIRONMENT，LITERATUREWILLDONOTHINGBUTLOSEITSREADERSANDMARKETSEVENTUALLYITWILLBEABANDONEDBYTHESOCIETYONTHEOTHERSIDE，HOWEVERLITERATURECANNOTLOSETHESENSEOFSOCIALRESPONSIBILITYANDFOCUSONPLEASINGTHEMASSESITCANNOTGIVEUPTHESTANDTHATITSHOULDTAKE，MERELYTOCATERFORREADERSCHINESELITERATURESHOULDHAVEHIGHERSPIRITUALPURSUITHOWWELLAWORKISSOLDCANNOTBEASYMBOLOFHOWSUCCESSFUL打WRITERISINDEED，LITERATUREISNOTTHECULTUREFORTHEMASSESVULGARIZEDCHINESTLITERATUREHASNOFUTUREKEYWORDMURAKAMIPHENOMENON；THETURNOFTHE20伯AND21“CENTURIESSURVIVINGCONTEXTOFCHINESELITERATURE2

簡(jiǎn)介：山東大學(xué)博士學(xué)位論文五四文化激進(jìn)主義與中國(guó)文學(xué)現(xiàn)代轉(zhuǎn)型姓名王桂妹申請(qǐng)學(xué)位級(jí)別博士專業(yè)中國(guó)現(xiàn)當(dāng)代文學(xué)指導(dǎo)教師孔范今2002518‘山東大學(xué)博士學(xué)位論文第一章“在歷史結(jié)構(gòu)深處尋繹”所探討的是作為20世紀(jì)中國(guó)歷史及其文學(xué)現(xiàn)代轉(zhuǎn)型之巨大動(dòng)力的“五四文化激進(jìn)主義”的歷史性生成在歷史、文化現(xiàn)代轉(zhuǎn)型中的巨大作用及其基本樣態(tài)反應(yīng)的模式來(lái)解釋中國(guó)歷史現(xiàn)代化的啟動(dòng)乒AY以來(lái)，人們一直以、、由千VF4AEM。一‘、現(xiàn)代化的影響而忽略了中國(guó)文化自身現(xiàn)代轉(zhuǎn)型萌動(dòng)的內(nèi)驅(qū)力，因此，我們有必要潛入到歷史文化深處探究五四文化激進(jìn)主義的生成資源。首先，中國(guó)傳統(tǒng)文化深處一直存在著的叛逆性格構(gòu)成了五四文化激進(jìn)主義的潛在文化基因。從魏晉時(shí)代“非湯武而薄周孔”的稚康到晚明放浪形骸的文人李費(fèi)，再到近代的康有為、譚嗣同等人以粗淺的現(xiàn)代思想對(duì)傳統(tǒng)所作的批判，直到五四時(shí)期蕩滌一切舊物的大波，這其中實(shí)際是有著深厚的民族文化心理積淀的，尤其是傳統(tǒng)的“狂捐”人格模式更在五四現(xiàn)代思想的燭照下涵化為思想啟蒙者的“狂人”形象其次是中國(guó)自近代以來(lái)所經(jīng)歷的“赤縣神州千年未有之巨變奇劫”給中國(guó)知識(shí)分子帶來(lái)的巨大精神震撼更構(gòu)成了現(xiàn)代文化激進(jìn)主義啟蒙發(fā)生的終極原因，正是自近代以來(lái)，一波三折的救亡圖存運(yùn)動(dòng)的失敗才最終聚焦為一種癥結(jié)式焦慮文化焦慮，從而推擁出了現(xiàn)代思想啟蒙運(yùn)動(dòng)，而梁?jiǎn)⒊鳛?0世紀(jì)中國(guó)現(xiàn)代思想啟蒙的開(kāi)創(chuàng)者，他所倡導(dǎo)的以“新民”為核心內(nèi)容的啟蒙運(yùn)動(dòng)和“三界革命”直接成為五四新文化運(yùn)動(dòng)的先聲和最切近的思想文化資源，五四文化激進(jìn)主義正是在繼承前人的基礎(chǔ)上，以前所未有的巨大歷史激情展開(kāi)了對(duì)傳統(tǒng)文化的批判，并最終有效地解構(gòu)了中國(guó)傳統(tǒng)文化秩序和文化意義，終止了中國(guó)傳統(tǒng)文化陳陳相因的發(fā)展模式，為歷史、文化乃至文學(xué)的現(xiàn)代轉(zhuǎn)型撕開(kāi)了一片嶄新的歷史時(shí)空。20世紀(jì)中國(guó)歷史的悖論性結(jié)構(gòu)不但使作為突圍性力量的五四文化激進(jìn)主義東得了無(wú)限歷史激情，得以呼嘯而出，其現(xiàn)代化方案的多維動(dòng)態(tài)構(gòu)成也保證了各種力量處于一種對(duì)峙性調(diào)適當(dāng)中，文化激進(jìn)主義正是在與異質(zhì)性思維文化保守主義的對(duì)抗中形成了巨大的歷史撐拒力量，從而構(gòu)成了歷史、文化轉(zhuǎn)型的合力，而理解與文化激進(jìn)主義共生的保守主義更能使我們辨清文化激進(jìn)主義的歷史得失。對(duì)于我們要探討的已經(jīng)固化為概念的這段歷史，只有將它推回到“人”

簡(jiǎn)介：復(fù)旦大學(xué)博士學(xué)位論文復(fù)旦大學(xué)中國(guó)文學(xué)批評(píng)史研究論綱姓名葉輝申請(qǐng)學(xué)位級(jí)別博士專業(yè)中國(guó)古代文學(xué)指導(dǎo)教師黃霖20031101ABSTRACTTHETHESISSTUDIESONTHEFUDANUNIVERSITY’SRESEARCHHISTORYOFCRITICISMOFCHINESECLASSICALLITERATUREANDITSATTAIMNENT，CONTRIBUTIONANDSTATUSINTHEWHOLEDEVELOPMENTHISTORYOFTHATKINDOFSTUDYBYTHEMEANSOFACOMBINEDRESEARCHMETHODWITHMACROCLASSIFICATIONANDMICROANALYSISFURTHERMORE，THEAUTHOREXPOUNDSTHELEARNEDTRADITIONANDLEARNEDSTYLEOFTHEFUDANUNIVERSITY’SRESEARCHHISTORYOFCRITICISMOFCHINESECLASSICALLITERATUREONTHEVIEWOFTHEDEPICTIONOFTHEDEVELOPMENTHISTORYTHEAUTHORDI_VIDESTHEWHOLEFUDANUNIVERSITY’SRESEARCHHISTORYOFCRITICISMOFCLFINESECLASSICALLITERATUREINTOFOURPERIODSWHICHCONCLUDEFOUNDINGPERIOD，SINUOUSDEVELOPMENTPERIOD，CARRYINGFORWARDPERIODANDNEWCENTURYPERIOD，WHICHISBASEDONTHETHINKINGOFTHEWHOLEDEVELOPMENTCIRCUMSTANCESOFTHESTUDIESTHEAUTHORFOCUSESONTHOSEIMPORTANTSCHOLARS，WORKSANDEVENTSANDGIVESTHEMADISTINCTDESCRIPTIONASTHESUPPLEMENTSOFHISTORYSTUDYTHEINTRODUCTIONOTLTHELEARNINGCONLERENCESISGIVENMOREOVERTHEPORTRAITSOFTHESCHOLARSWORKINGINTHISRESEARCHFIELDINFUDANUNIVERSITYAREALSOPAINTEDANOTHERMAINPARTOFTHISTHESISISTHEDISCUSSIONANDANALYSISONTHELEARNEDTRADITIONANDSTYLEOFFUDANUNIVERSITY’SRESEARCHINTIFFSTIELD’RHEAUTHORDISCUSSESANDANALYZESTHE“DAO”，WHICHMEANSTHEABSTRACTLEARNEDPRINCIPLES，SEEKANDSPIRIT，TOGETHERWITHTHE“FA”，WHICHMEANSTHECONCRETELEARNEDIDEASANDMETHODSTHEREFORE，THELEARNEDTRADITIONANDSTYLEOFFUDANUNIVERSITY’SRESEARCHINTHISFIELDAREEXAMINEDANDMALLJFESTEDKEYWORDSFUDANUNIVERSITY；CRITICISMOFCHINESECLASSICALLITERATURE；STUDY

簡(jiǎn)介：碩士學(xué)位論文（專業(yè)學(xué)位）論文題目論文題目基于多元智能理論的泰國(guó)大城皇家大學(xué)中國(guó)基于多元智能理論的泰國(guó)大城皇家大學(xué)中國(guó)文學(xué)課教學(xué)設(shè)計(jì)文學(xué)課教學(xué)設(shè)計(jì)以駱駝祥子為例以駱駝祥子為例ATEACHINGDESIGNOFCHINESELITERATURECLASSOFPHRANAKHONSRIAYUTTHAYARAJABHATUNIVERSITYINTHAILBASEDONTHEMULTIPLEINTELLIGENCESTHEYTAKINGRICKSHAWBOYFEXAMPLE專業(yè)學(xué)位名稱專業(yè)學(xué)位名稱漢語(yǔ)國(guó)際教育碩士漢語(yǔ)國(guó)際教育碩士方向領(lǐng)域名稱方向領(lǐng)域名稱漢語(yǔ)國(guó)際教育漢語(yǔ)國(guó)際教育申請(qǐng)申請(qǐng)人姓名人姓名素雪素雪KONGSASONPENPRAPA指導(dǎo)教師張琴?gòu)埱嬴P副教授副教授論文提交時(shí)間論文提交時(shí)間2016年6月2日單位號(hào)碼10445學(xué)號(hào)2014202006分類號(hào)H1953學(xué)習(xí)方式全日制