| Summary: | 博士 === 東吳大學 === 中國文學系 === 105 === Chinese literary theory fashion was popular in Six Dynasties and it was epitomized in Liu Xie’s The Literary Mind and the Carving of Dragons. Liu Xie’s literary theory significantly influenced the later generations, including Liang Yuandi’s Gin Lou Zi of the contemporary and Japanese monk Konghai’s Wen Jing Mi Fu Lun. The following literary theories tended to cite Liu Xie’s The Literary Mind and the Carving of Dragons. However, effect of The Literary Mind and the Carving of Dragons was common in literary theories and how about the effect on writers? It lacked the related study. Xu Ling and Yu Xin, the contemporaries of Liu Xie, were the writers who epitomized Pianwen Li Ci. Nevertheless, historical records only stated their change of literary style and did not mention about origin of their literary views. The related research is rare at present. Therefore, this study probes into The Literary Mind and the Carving of Dragons which summarized literary theories in Six Dynasties and Hsu Yu’s Li Ci which epitomized literature of Six Dynasties and attempts to analyze Hsu Yu’s Li Ci by theory of The Literary Mind and the Carving of Dragons. It reveals the academic innovative significance. This study includes eight chapters. Chapter 1 “Introduction” describes Research Purpose and Research Method of this book and previous related research findings to demonstrate research value of this topic. Chapter 2 “Axis Theory of The Literary Mind and the Carving of Dragons and Hsu Yu’s Li Ci ” states Wen De view and Zong Jing thought of The Literary Mind and the Carving of Dragons and allusion scope and implication of Hsu Yu’s Li Ci and analyzes their similarity and difference to validate Axis Theory of The Literary Mind and the Carving of Dragons. Chapter 3 is “Yuan Qing statement of The Literary Mind and the Carving of Dragons and Hsu Yu’s Li Ci”. When The Literary Mind and the Carving of Dragons was published, writers’ writing fashion changed from expression of ambition to emotion. Thus, this chapter demonstrates the achievement of The Literary Mind and the Carving of Dragons and Hsu Yu’s Li Ci in this aspect. The propositions include lyric expression, quality and character. Chapter 4 is “theory of imagination in The Literary Mind and the Carving of Dragons and Hsu Yu’s Li Ci”. Imagination is writers’ psychological activity by imagination and association upon writing motive. It refers to thinking process of artistic image. Liu Xie’s imagination theory depicted in this chapter includes Shen En, Qi Si, Lian Yi, Qi Chen, etc. Regarding imagination of Hsu Yu’s Li Ci, this study analyzes the characteristics. Finally, by imagination theory of The Literary Mind and the Carving of Dragon, it explores Hsu Yu’s Li Ci as a whole in order to demonstrate importance of imagination theory of The Literary Mind and the Carving of Dragons. Chapter 5 is “image theory of The Literary Mind and the Carving of Dragons and Hsu Yu’s Li Ci”. Image is realization of imagination and specifically speaking, it is the result of combination of mind and material and refinement. This chapter analyzes the measure and characteristics of image theory in The Literary Mind and the Carving of Dragons and shows the metaphor and implication. It subsequently analyzes image of Hsu Yu’s Li Ci in order to recognize its common image and techniques. Finally, this study analyzes the whole article of Hsu Yu’s Li Ci to find if it matches image theory of The Literary Mind and the Carving of Dragons in order to demonstrate the position of image theory in The Literary Mind and the Carving of Dragons. Chapter 6 is “style theory of The Literary Mind and the Carving of Dragons and Hsu Yu’s Li Ci”. Style analysis is the key point of Chinese ancient literary theory. This chapter probes into style theory of The Literary Mind and the Carving of Dragons. Are characters and implication styles? There have been various arguments. This study explores this point. Furthermore, it analyzes style of Hsu Yu’s Li Ci, including genre, time and writer’s style. It reveals effect of style theory in The Literary Mind and the Carving of Dragons. Chapter 7 is “universality and change theory of The Literary Mind and the Carving of Dragons and Hsu Yu’s Li Ci” and it respectively argues universality and change of The Literary Mind and the Carving of Dragons and new change of Hsu Yu’s Li Ci in order to support the consistent implication of the two pieces. Chapter 8 “Conclusion” generalizes and describes the findings of this study.
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