簡(jiǎn)介：華東師范大掌2004年度同等學(xué)力碩士學(xué)位論文我是夢(mèng)中傳彩筆一試論廢名鄉(xiāng)土小說(shuō)的文學(xué)史意義系專(zhuān)導(dǎo)研究別中文系業(yè)中國(guó)現(xiàn)當(dāng)代文學(xué)師陳子善教授生賴(lài)英曉2004年9月Y79乏000摘要本文試圖將廢名的創(chuàng)作放到一個(gè)大的歷史緯度上加以考察，探尋廢名鄉(xiāng)土文學(xué)的個(gè)性色彩和對(duì)于鄉(xiāng)土文學(xué)的獨(dú)特貢獻(xiàn)。廢名的作品固然不多，卻不失為現(xiàn)代文學(xué)發(fā)展史上的一個(gè)關(guān)鍵環(huán)節(jié)。他鮮明的藝術(shù)個(gè)性，靈動(dòng)多變的藝術(shù)視角使他在鄉(xiāng)土文學(xué)創(chuàng)作上獲得契機(jī)，不因循舊制，不故步自封，常能出其不意，曲徑通幽。從最初的竹林的故事到桃園到橋，再到莫須有先生，廢名一次次進(jìn)行著自我顛覆和蛻變，這成就了他的復(fù)雜性和豐富性，也為并不成熟的二三十年代的現(xiàn)代文壇提供了多種言說(shuō)的可能。橋是廢名的代表作，也是現(xiàn)代鄉(xiāng)土文學(xué)發(fā)展鏈條上的一個(gè)奇跡，它是廢名在現(xiàn)實(shí)困境中面向“鄉(xiāng)土”的一次盛大的精神回歸和心靈救贖。橋的出現(xiàn)解決了客居都市的“游子”對(duì)于“鄉(xiāng)土”的文化選擇上的“欲罷不能”的兩難，第一次在舊文化的廢墟上憑借想像建構(gòu)了一個(gè)和諧、靜謐、柔美的精神家園，使魯迅對(duì)于“故士“的不期然的眷戀和詩(shī)意關(guān)懷獲得完全的自覺(jué)。詩(shī)化鄉(xiāng)土文學(xué)經(jīng)由魯迅的啟迪和廢名的苦心經(jīng)營(yíng)終于走向成熟，隨即迎來(lái)了沈從文這樣的“集大成”作家，迎來(lái)了詩(shī)化鄉(xiāng)土文學(xué)的藝術(shù)高峰。關(guān)鍵詞廢名、橋、想像、詩(shī)化鄉(xiāng)土文學(xué)

簡(jiǎn)介：?jiǎn)挝淮a10445學(xué)號(hào)2010030082分類(lèi)號(hào)G6333學(xué)習(xí)方式學(xué)習(xí)方式在職在職教育碩士學(xué)位論文論文題目史建筑語(yǔ)文閱讀教學(xué)研究學(xué)科專(zhuān)業(yè)名稱(chēng)學(xué)科專(zhuān)業(yè)名稱(chēng)學(xué)科教學(xué)學(xué)科教學(xué)（語(yǔ)文）（語(yǔ)文）申請(qǐng)人姓名焦雪梅焦雪梅指導(dǎo)教師李清民李清民研究員研究員論文提交時(shí)間論文提交時(shí)間20132013年5月1日

簡(jiǎn)介：LLIIILLLIIIIIIIIIIIIIIY3298490分類(lèi)L『DC牟中唯J『鬣火蓐碩士學(xué)位論文密級(jí)編號(hào)叁垂塑壹盔墨壘筮皇隆查奎全煎口述史調(diào)查學(xué)位申請(qǐng)人姓名孔眾申請(qǐng)學(xué)位學(xué)生類(lèi)別全墮劍塑申請(qǐng)學(xué)位學(xué)科專(zhuān)業(yè)墮盎絲遴堂指導(dǎo)教師姓名熊絲垂型熬撬碩士學(xué)位論文MASTER’STHESISTAKINGTHEINITIATIVETOSHEDFORTUNETHELOGICOFLANDLORDS，SELFPROTECTIONBEHAVIORDURINGTHELANDREFORMMOVEMENT一一BASEDONTHEPARTYDICTATIONOFSIHEVILLAGEHUNANPROVINCEATHESISSUBMITTEDINLANDREFORMFORTHEMADEGREEINGOVERNMENTECONOMICSBVVKONGZHONGPOSTGRADUATEPROGRAMINSTITUTEOFGOVERNMENTECONOMICSCENTRALCHINANORMALUNIVERSITYSUPERVISORXIONGCAIYUNACADEMICTITLEASSOCIATEPROFESSORSIGNATUREAPPROVEDMAY2017

簡(jiǎn)介：華中師范大學(xué)碩士學(xué)位論文化史為詩(shī)論施蟄存的歷史小說(shuō)姓名詹先琦申請(qǐng)學(xué)位級(jí)別碩士專(zhuān)業(yè)中國(guó)現(xiàn)當(dāng)代文學(xué)指導(dǎo)教師吳建波20050501⑧碩士學(xué)位論文MASTER’5TILE,SISABSTRACTITWASIN1930STHATTHECHINESEMODEMHISTORICALNOVELCOMPOSITIONBEINGINAPEAKPERIOD．MANYFAMOUSWRITERSCREATEDAFEWEXCELLENTHISTORICALNOVELS，ANDAMONGTHEM。SKIZHECUN’SWORKSALETHEBEUERWORKS．WIMMETICULOUSREFORMANDEMBELLISH，“HISTORY”INHISNOVELSISCHANGEDINTOLYRIC，INWHICHPEOPLEAREREGARDEDASCORE，THETRUEHUMANNATUREISADMIRED．ANDTHEN，THESELYRICMERGEMODEMANDCLASSICPERFECTION，TOO．INTHEHISTORICALNOVELS，SHIZHEEUNUSESFREUDISMFORSHININGTHEHISTORYPERSON．BYFREEASSOCIATIONANDINTERIORMONOLOGUE，THENOVELSDISCOVERFULLYTHESUBCONSCIOUSANDTHESEXUALINSTINCTSOFPEOPLE。MOREOVER,SHIZHECUADEPICTSTHEDOUBLEPERSONALITY,ANDATTHESAMETIME。PRESENTSTHEHOTCONFLICTBETWEENHUMANITYANDCULTURE．ONTHEOTHERHAND，ALTHOUGHTHENOVELSHAVESOMEDISADVANTAGES，SRCHASMENLOSINGTHEIRSOWNHISTORIC，THESEWORKSSTILLSUCCESSFULLYMAKEHISTORYINTOLITERATUREDUETOTHEFLESHYPERSONIMAGES．INADDITIONTOSHAPETHEANCIENTS、桶T11THEMODEMPSYCHOANALYSISTHEORY,SHIZHECUNSTILLCARRIESONMANYKIADSOFSKILLSABOUTEREATION．THEN．WHENEXPERIMENTSWITHTHETECHNIQUESOFMODEMPARTIES，HEALSOPAYSATTENTIONTOCHINESEREADERS’READINGHABITANDAESTHETICEXPERIENCE．JUSTBYTHEREPEATEDATTEMPTS，HISWORKSREALIZETHEVERYMERGEOFMODEMANDTRADITION，WHICHSPECIALLYPRESENTEDINTHESTREAMOFCONSCIOUSNESS，IMAGOANDTHEFEELINGOFPERSONETC．BESIDES，COMPAREDWITHOTHERHISTORICALNOVELSATTHATTIME，THEHISTORICALNOVELSOFSHIZHECUNHAVEUNIQUECHARACTERS，F(xiàn)OREXAMPLE，THESPECIALVIEWSABOUTTHEHISTORICALNOVEL，THECLINGINGPURSUEINLITERATURE，THEDEEPHUMANITIESCONNOTATIONSANDTHEORIGINALARTISTICSTYLE．BYTHESENEWWAYSOFMAKINGHISTORYINTOLITERATURE，THENOVELSSUCCESSFULLYEXPANDTHEREALMOFTHEHISTOFIEALNOVEL，ANDESTABLISHTHEIMPORTANTPOSITIONINCHINESEMODEMHISTORIEALNOVEL．KEYWORDSSHIZHECUN；THEHISTORICALNOVELS；MAKINGHISTORYINTOLITERATURE；PSYCHOANALYSIS；MERGE；INTENTIONOFCOMPOSITION“

簡(jiǎn)介：學(xué)校代碼10459學(xué)號(hào)或申請(qǐng)?zhí)?01212060897密級(jí)碩士學(xué)位論文歐洲人權(quán)公約下的人權(quán)保護(hù)制度研究作者姓名韓松博導(dǎo)師姓名馬志強(qiáng)副教授學(xué)科門(mén)類(lèi)法學(xué)專(zhuān)業(yè)名稱(chēng)國(guó)際法培養(yǎng)院系法學(xué)院完成時(shí)間2015年5月學(xué)位論文原創(chuàng)性聲明學(xué)位論文原創(chuàng)性聲明本人鄭重聲明所呈交的學(xué)位論文，是本人在導(dǎo)師的指導(dǎo)下，獨(dú)立進(jìn)行研究所取得的成果。除文中已經(jīng)注明引用的內(nèi)容外，本論文不包含任何其他個(gè)人或集體已經(jīng)發(fā)表或撰寫(xiě)過(guò)的科研成果。對(duì)本文的研究作出重要貢獻(xiàn)的個(gè)人和集體，均已在文中以明確方式標(biāo)明。本聲明的法律責(zé)任由本人承擔(dān)。學(xué)位論文作者日期年月日學(xué)位論文使用授權(quán)聲明學(xué)位論文使用授權(quán)聲明本人在導(dǎo)師指導(dǎo)下完成的論文及相關(guān)的職務(wù)作品，知識(shí)產(chǎn)權(quán)歸屬鄭州大學(xué)。根據(jù)鄭州大學(xué)有關(guān)保留、使用學(xué)位論文的規(guī)定，同意學(xué)校保留或向國(guó)家有關(guān)部門(mén)或機(jī)構(gòu)送交論文的復(fù)印件和電子版，允許論文被查閱和借閱；本人授權(quán)鄭州大學(xué)可以將本學(xué)位論文的全部或部分編入有關(guān)數(shù)據(jù)庫(kù)進(jìn)行檢索，可以采用影印、縮印或者其他復(fù)制手段保存論文和匯編本學(xué)位論文。本人離校后發(fā)表、使用學(xué)位論文或與該學(xué)位論文直接相關(guān)的學(xué)術(shù)論文或成果時(shí)，第一署名單位仍然為鄭州大學(xué)。保密論文在解密后應(yīng)遵守此規(guī)定。學(xué)位論文作者日期年月日

簡(jiǎn)介：暨南大學(xué)碩士學(xué)位論文題名中英對(duì)照魯迅的現(xiàn)代意識(shí)（19061930年）以魯迅對(duì)歐洲現(xiàn)代主義的接受為視角STUDYOFLUXUN’SMODERNCONSCIOUSNESS（IN19061930）INTHEPERSPECTIVEOFLUXUN’SACCEPTANCEOFEUROPEANMODERNISM作者姓名黃佳銳指導(dǎo)教師姓名傅瑩及學(xué)位、職稱(chēng)博士教授學(xué)科、專(zhuān)業(yè)名稱(chēng)文藝學(xué)論文提交日期2014年5月16日論文答辯日期年月日答辯委員會(huì)主席論文評(píng)閱人學(xué)位授予單位和日期I中文摘要中文摘要?dú)W洲現(xiàn)代主義在魯迅“別求新聲”的設(shè)想與實(shí)踐中，一直占據(jù)著重要的位置。魯迅的現(xiàn)代意識(shí)的形成，也與他對(duì)歐洲現(xiàn)代主義的接受息息相關(guān)。本文以魯迅對(duì)歐洲現(xiàn)代主義的接受為視角，力圖呈現(xiàn)魯迅復(fù)雜的現(xiàn)代意識(shí)。在留日時(shí)期，救亡圖存與改造國(guó)民精神的強(qiáng)烈意愿，是魯迅理解歐洲現(xiàn)代主義的“前結(jié)構(gòu)”，也是現(xiàn)代主義在魯迅這里轉(zhuǎn)化為啟蒙主義的精神資源的主導(dǎo)因素。在五四時(shí)期，魯迅依然從改造國(guó)民精神的角度來(lái)解釋歐洲現(xiàn)代主義，但又不局限于這種啟蒙主義話(huà)語(yǔ)，現(xiàn)代主義對(duì)魯迅現(xiàn)代意識(shí)的影響也比留日時(shí)期復(fù)雜得多。尼采式的“任個(gè)人而排眾數(shù)”隱含著對(duì)“獨(dú)異個(gè)人”的推崇與對(duì)庸眾的蔑視，這與啟蒙所倡導(dǎo)的先覺(jué)者教化啟發(fā)后覺(jué)者的基本邏輯相矛盾。孤獨(dú)體驗(yàn)、自我解剖和個(gè)體生存意義的困惑等現(xiàn)代主義特有的思想主題，不僅促使魯迅展開(kāi)對(duì)啟蒙者與被啟蒙者的雙重質(zhì)疑，而且促使他離開(kāi)啟蒙這種集體性事業(yè)，轉(zhuǎn)而關(guān)注個(gè)體存在領(lǐng)域。也就是說(shuō)，魯迅的現(xiàn)代主義意識(shí)反過(guò)來(lái)不斷侵蝕他的啟蒙主義立場(chǎng)。以魯迅對(duì)歐洲現(xiàn)代主義的接受為視角，可以看出，民族國(guó)家意識(shí)與個(gè)人主體意識(shí)的融合，關(guān)心國(guó)事民瘼、救亡圖存與關(guān)注個(gè)體存在的意義之間的張力及此消彼長(zhǎng)，啟蒙主義的創(chuàng)作思想與現(xiàn)代主義藝術(shù)意識(shí)之間的緊張關(guān)系，構(gòu)成了魯迅現(xiàn)代意識(shí)的豐富性與復(fù)雜性。關(guān)鍵詞關(guān)鍵詞魯迅現(xiàn)代意識(shí)現(xiàn)代主義啟蒙接受本土化

簡(jiǎn)介：獨(dú)創(chuàng)性聲明本人提交的學(xué)位論文是在導(dǎo)師指導(dǎo)下進(jìn)行的研究工作及取得的研究成果。論文中引用他人已經(jīng)發(fā)表或出版過(guò)的研究成果，文中已加了特別標(biāo)注。對(duì)本研究及學(xué)位論文撰寫(xiě)曾做出貢獻(xiàn)的老師、朋友、同仁在文中作了明確說(shuō)明并表示衷心感謝。學(xué)位論文作者割丈努簽字日期翻1年S月勱日學(xué)位論文版權(quán)使用授權(quán)書(shū)本學(xué)位論文作者完全了解西南大學(xué)有關(guān)保留、使用學(xué)位論文的規(guī)定，有權(quán)保留并向國(guó)家有關(guān)部門(mén)或機(jī)構(gòu)送交論文的復(fù)印件和磁盤(pán)，允許論文被查閱和借閱。本人授權(quán)西南大學(xué)研究生院籌可以將學(xué)位論文的全部或部分內(nèi)容編入有關(guān)數(shù)據(jù)庫(kù)進(jìn)行檢索，可以采用影印、縮印或掃描等復(fù)制手段保存、匯編學(xué)位論文。保密的學(xué)位論文在解密后適用本授權(quán)書(shū)，本論文口不保密，口保密期限至年月止。學(xué)位論文作者簽名割支劣導(dǎo)師簽名簽字日期≯卜年Y月矽日簽字日期目綠摘要IABSTRACTIII第一章緒諭L第一鈽研究材料。1第二筋量詞研究現(xiàn)狀1第三鈽量翮研究意羲及研究方法。2第四鈽量嗣分叛2第五鈽有網(wǎng)本文的賤黠就明3第二章北史自然單位量祠研究5第一節(jié)倜髓單位量祠5第二鈰集髓罩位量嗣22第三章借用單位量祠和制度單位量祠研究28第一鈽借用單位量詞28第二箭制度單位量詞29一、度制單位量詞29二、量制單位量嗣33三、衡制單位量嗣35四、面稹罩位量嗣36五、貸箏罩位量祠。37第四章北史勤量詞研究38第五章北史稻敷法研究42第一筋敷嗣概述42一、基敷42二、序敷44三、分敷46四、倍敷47

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簡(jiǎn)介：青島大學(xué)碩士學(xué)位論文胡適的文體理論及其文學(xué)史意義姓名劉東方申請(qǐng)學(xué)位級(jí)別碩士專(zhuān)業(yè)中國(guó)現(xiàn)當(dāng)代文學(xué)指導(dǎo)教師周海波2003420HUSHI’SSTYLETHEORIESANDTHEIRSIGNIFICANCEINLITERARYHISTORYABSTRACTHUSHIISAGREATMASTERINTHEHISTORYOFCHINESEMEDEMLITERATUREROSEATEHESINTOHUSHIHAVERECEIVEDMOREANDL／LORESCHOLARS’ATTENTIONANDBECOMETHEFOCUSOFLITERATURERESEARCHBASED011TILEESTABLISHMEATANDDEVELOPMENTOFSTYLETHEORIESOFCHINESEMODEMLITERATURE，THISDISSERTATION，F(xiàn)ROWLTHEASPECTOFSTYLETHEORIES．APPLIESMODEMWESTERNLINGUISTICS．ANALYZESHUSHI’SUNDERSTANDINGOFMODERNSTYLETHEORIESA／LDTHECONTCLLTOFHISSTYLETHEORYANDPOINTSO耐THETHE_ORY§SIGL、IFIOALW．尼FO西口W60結(jié)，ITERARYHISTOQFROMTHEPOIUTOFMODEMLITERARYCRITICISM．IITERARYHISTORYISMAINLYEXPRESSEDASAHISTORYOFSTYLEELUTIONINNATURE【UESSENCE，MODERNLITERARYHISTORYISADYNAMICPROCESSIUWHICHUNLODCL“11STYLAESTABLISHES．DM，CLOPSAUDCOULCSTOAIATURITYINCHINESEMODERNLITERAWHISTORY,HUSHLWASALLADVOCATORANDERECTOROFMODEMSTYLETHEORIESHEWASTIMFIRSTPERSOOWHOREALIZCD“CHINESEOLDLITCRATUREISNOTILIATURCATALLILIASIDES’叮BDEVELOPCHIUESENEWLITERATUREILCALTHILY,MATUREINODEHLSTYLE【HEORIESCRITERIAMUSTBEESTABLISHEDATIERIITSREVIEWOFCHINESETRADITIONALANDWESLERLLULODERNSTYLETHEORIES．HASHICSTUBLISHEDMODERNSTYLETHEORYOFILCWIILERATURCACCORDINGTOTHEABOVETHEORIESHISTHEORYCONSISTEDOFTWOPARIS．0NEWASMODEMCOLLOQUIALISMLANGUAGESYSTCLNESTABLISHEDTHOUGHULODERNCOLLOQUIALISMULOVCMEILT，TILEOTHELWASMODERNSTYLETYPESINCLUDINGPOETRYFICTION，DRAMAANDESSAVTHEWHCLELOGICALTRAJECTORYWASTILEREVOLUTIONOFIINGUISTIESYMBOLSAESTHETICCRITERIAOFLINGUISTICSYNLBCLSTHEESTABLISLMMNTOFSTYLETYPESSTARTINGWITHLANGUAGE．HUSHIADVOCATEDCOLLOQUIALISMTOREALIZETHEREVOLUTIONOFIINGUISTICSYNLBCLSANDAESTHETICCRITERIAOFLINGUISTICSYMBOLSAPPLYINGPRINCIPLESOFWESTEHLMODERNLINGUISTICS，THISDISSERTATIONANALYSESTILEGREATSIGNIFICANCEANDVALUEOFHUSHI’SWORKWITHTHEDEVELOPMENTOFWESTERNLINGUISTICPHILOSOPHVREPRESENTEDBYHARDEGGELDANDWESTERNLIUGUISTICSREPRESENTEDBYSUSURE．PEOPLEHAVEREALIZEDTILATLANGUAGE，ALTHOUGHSEEMSTOBELONGTOLITERARYFORMANDONLYATOOLUSEDTOEXPRESSMEANING．ITISCOVERANDPH3STEALMATERIALOFIDEOLOGYIASUBSTANCELITERATUREESSENTIALLYISALINGUISTICINDEPENDENTANTITYTHATISULADEEL’LINGUISTICSKILLSSO，TIMMODERNCOLLOQUIALISMINOVCNLENTADVOCATEDBYHUSHIREVOLUTIONOFJINGUISTICSYNLBOLSAESTHETICCRITCRIAOFLINGUISTICSYMBOLS，WILISURELYAROUSEREVOLUTIOUOFTHEWHOLECHINESEPEOPLE’SOIADEOFTHILTKING，RCVOLUTIONOF1ITERARYIDEOLOGYANDTHETRANSITIOUOFTILEWHOLELITERARYCONCEPTIONFROINCLASSIEAITOMCDERNITALSOBECOMESTHELINCHPINOFCHINESELITERATURE．CHINESECULTURCANDEVENCHINESEPECPLE’SNLODCROIZATICNWITHEPOCHMAKINGSIGNIFICANCEBASEDOILTHEABOVE．THISDISSERTATIONCONCRETELYANALYSESTIIEPROCESSOFHIISHISCOLLSTRUCTIONOFMODEMCOLLOQUIALISNILINGUISTICS“，STEINSPECIFICALLYLANGUAGEISTHECSSCILGCOFSTYLE．STYLETYPEITSEXTCLNAJFORILL．AFTERESTABLISHINGTHEILLODENLCOLLOQUIALISOILINGUISTICSSYSTCUL，HNSHIESTABLISHEDMODERNSTYLETYPESOFNEWLITERATURE，SPECIFICALLYFFONLPOETRY,FICTION、DRANLAANDESSAY,ETCTOPOETRYSTYLE．HIISHIRAISED“NATURALSYLLABLES”AND“INIAGOANDARTISTICCONECPTIOLL”THEORIES．HISFICTIONSTYLEINCLUDESBOTHNORNIALFICTIONSTYLETHEORYANDSHORLSICRYSLYLETHEORY．TODRA／LLASLVLE．11CISTILEFIRSTPERSONTOPITTFOI％VARDTRAGEDYSTYLETOESSAYSTYLE．HEPUTFORWARDNLODERNESSAYCOLLECPTICTISTHATUNDERLINEAPPLICATION，LITERARYGRACEANDUNIFICATIONOFCONTENTANDFOFMWITHTHECSTABLISHNICNTEL’HASHI’SNLODEFOSTYLETHEORY．CHI／LOSELITERATUREIN20CENTURYTURNEDFROMTENDERANDGENTLEAPPEARANCEI¨TOA11CVQINLAGE，COMINGINTOWORLDLITERATURE．一。一ATTHESAILLETIME．PUTHUSHL’SSTYLETHEORYIILTOTILEPROCESSOFCHINESEMODERNLITCRATURC’SDEVCLOPMCNT．THISDISSERTATIONEVALUATESITSUNIQUESIGNIFICANCEJNLITERARYILISTORYANDALSOSUILLFLLAIIZESITSEXPERIENCESANDSHCRTAGES、HUSHI，SSTYLETHEORY，ILLNOVALINGINIDEOLOGY，ISTHEHARDFOUNDATIONSTONEOFCHINESEMODEMIITERATURE’SDEVELOPINEUTHISTHEORY,CHANGEDCHIUESEPEOPLE’SMADEOFTHINKINGANDLEDTOTHEREVOLUTIONOFCHINESELITERARYIDEOLOGYIN20CANTORYHIGTHEORYALSOPAYSMUCHATTENTIONTOAESTHETICENLIGHTENING．RAISESULODERULITERATURE‘SAESTHETICVALUEANDNIODCRAIZCSPEOPLE’SAESTHETICSENSESHUSHISTHEORY,ECHOINGTHEMA、，4THSPIRIT，SHOWSOUTSTANDINGSNBJECTCONSCIOUSUESSANDERA11101110OFLLUMAUBEINGS’LIBERATION、WHAT’SILLORE、JLISTHEORY、AHNOSLTHESALUOWITHWCSICRNMODERNSTYLETHEORIES、LAYINGSTRCSSONLANGUAGAANDTEXT．1SUSEDFORREFEROUTETOESTABLISHNLODCRACLIILLESCSTYLESCIEILC4THISDISSERTATIONALSONOTICESTHATHUS11JSSTYLCTHEORIESARENOTPERFECT．ASPRODUCTOFTHEMAY4”’CRALITSTHEORIESDON’TDCALWELLWITHTIMRELATIONSHIPBETWEENNATIONALIZATIONANDILLODCNTIZATIOACOUTRASTTOCLASSICALSTYLOS．ITSTHEORIES’AESTHERIECRITERIASHEULDGETFURTHERNNPROVEMENT；WHILEEONTLASTTOLATERSTYLETHEORIES，THEYARCSIMPLEANDLLFFANTILEHOWEVER,THEYCARRYNLOLICADVANTAGESTHANTILEIRADVANTAGESANDWCCALL’TDISREGARDGREATCONTRIBUTIONSHLISHI’SST3RLETHEORIESLLOSMADETOCHINESEEVENWORLDLITERATUREKEYWOL‘DSCHINESEMODEMLITERATUREHUSHI；STYLETHEORIES，LINGUISTICSNAMELIUDONGFANGCHINESEMODEMLITERALUREDIRECTEDBYPROFESSORZHOUHAIBO

簡(jiǎn)介：中國(guó)藝術(shù)研究院碩士學(xué)位論文中國(guó)古代木偶戲史考述姓名侯莉申請(qǐng)學(xué)位級(jí)別碩士專(zhuān)業(yè)戲劇戲曲學(xué)戲曲史指導(dǎo)教師劉禎20050501ABSTRACTTHEANCIENTCHINESEPUPPETSHOWWITHALONGHISTORYISONEOFIMPORTANTCHINESETRADITIONALANDFOLKCULTURERESONRCES，HAVINGWIDESPREADANDDEEPINFLUENCEINCHINATHISDISQUISITIONISBASEDONRESEARCHPRODUCTIONSINPAST，ANDFALRTHERSYNTHESIZESRELEVANTLITERATUREMATERIALS，F(xiàn)IELDSURVEYMATERIALSOBTAINEDBYAUTHORANDCULTURALRELICSANDTHEIRRESEARCHFINDINGSTOPRESENTANEWDESCRIPTIONANDTEXTUALRESEARCHONTHEEVOLVEMENTCOURSEOFANCIENTCHINESEPUPPETSHOW，THISPAPERISCONSTITUTEDOFTHREEPARTIESTHEFIRSTPARTISATEXTUALRESEARCHONTHEORIGINOFCHINESEPUPPETSHOWTHESECONDPARTISADESCRIPTIONONFLOURISHINGPUPPETSHOWINSONGYUANDYNASTYWHENCIVILLITERATUREANDARTDEVELOPEDFULLYANDTHEREFOREPUPPETSHOWARTMADESIGNIFICANTACHIEVEMENTSINMANYSIDESINCLUDINGITSSORTS，AMOUNTOFACTORSENGAGINGINPUPPETSHOWPERFORMINGSKILLS，CONTENTSANDFORMSANDSOONTHETHIRDPARTRECOUNTSTHEFURTHERDEVELOPMENTOFPUPPETSHOWINMINGQINGDYNASTYINWHICHPUPPETSHOWTOOKONANEWCHARACTERISTICTHATWATERPUPPETWASDEVELOPEDFULLYINPALACEOFMINGDYNASTYANDLOCALPUPPETSHOWSCAMEUPONEAFTERANOTHERANDGRADUALLYPREVAILEDINFOLKSOCIETYTHEPUPPETSHOWINMINGQINGDYNASTYISREGARDEDASAPEAKINITSEVOLVEMENTHISTORYKEYWORDSKUILEIPUPPETSHOWWATERPUPPETSTRINGPUPPETRODPUPPETSONGYUANMINGQINGDYNASTYFOLKANDLOCALII

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