道教教派雖自東漢即已出現，但教派與教理的創發卻主要在六朝時期，六朝之後即不斷地因襲著這樣的傳統，一直至宋元全真內丹學的興起才又開啟另一波教理的發展。所以多數的道教研究即以六朝為始，本論文即是如此。簡單地說，本論文的研究是以六朝上清經派中所提倡的存思法為核心，討論上清教徒對於世界與個人生命的看法，包括宇宙觀、人觀以及修法。 　　在宇宙觀的部分，主要討論宇宙的根源、宇宙的化生以及六朝時的末世意識：末世意識是存思修法進行時的背景情境；而宇宙的本源與化生則是存思法的依據。 　　在人的部分，同樣是以末世與修法問題意識底下，由生成論出發，討論人身中善與惡、生與死的力量。基本上可以作為上清教徒的人觀認識，但更為重要的是，人是操作存思法的主體，所以存思法的內容與人的身體與身神有著密切的關係，必須對人有一定的了解才能掌握存思法。 　　修法的部分包括形式研究與類型研究。形式研究希望能儘量地恢復當時上清修行的過程，也是補充部分修法簡略敘述的不足，使修法更為具體完整。類型研究則是透過對修法資料的整理與歸納，並配合教理而對修法所作的分類。大致上可以分為通神、記名、辟邪、固真四類，其中的辟邪、固真即與個人以及宇宙中的正邪力量相應。 　　簡單地說，存思法是一種透過內在想像所進行的儀式行為，在這些儀式的背後蘊含著完整的神話與教理思想，本文即透過存思法而探究這些神話思想。 第一章　緒論 第一節 研究動機與理論架構 一、末世意識與生命本質的思考 二、「本質□失落□重建□回歸」的歷程 三、修養理論的提出 四、問題點的提出 第二節 研究素材與前人研究成果 一、研究素材 二、前人研究成果 第三節 研究方法 第二章 宇宙論與末世情境 第一節 宇宙圖式 一、宇宙論述的歷史脈絡 二、末世論下的上清經派宇宙圖式 第二節 真靈、經典、宮府及其解救論意義 一、真靈 二、經典 三、諸天宮府 第三章 生成、罪穢與身神 第一節 生成論 一、生成的過程 二、尊神的生成意義與符籍的功能 第二節 胞結、尸鬼與魂魄 一、六天故氣的生成環境 二、胞胎結節 三、尸氣、尸鬼 四、魂魄 第三節 尊神與形軀 一、以尊神為主的身體論述 二、三元結構的尊神分布 三、以上元結構為主的身神 四、混合變化而成的尊神 第四章 修法的形式結構：入室－存思 第一節 靜室構造與入室儀軌 一、入室的時間 二、入室前的準備：法服、沐浴清齋 三、靜室的構造 四、入室儀軌 第二節 與存思配套的儀式行為 一、叩齒 二、咽液 三、禮祝 四、「叩齒□禮祝□叩齒□咽氣（液）」的次序 第五章 修法的類型與內容 第一節 通神：連繫宇宙的本體之一 一、專誠 二、啟願 三、隱朝上真 第二節 記名：連繫宇宙本體之二 一、運度天關 二、投簡記名 第三節 辟邪：抗拒生命中的負面力量 一、辟邪殺鬼 二、安鎮魂魄 三、胞胎解結 四、除罪削簡 五、解災度厄 第四節 固真：增強生命中的正面力量 一、存神煉形 二、混合變化 三、呼引日月 第六章 結論 一、關於宇宙論述 二、關於人的論述 三、關於存思法的論述 上清存思法研究資料彙編 附錄一：上清存思修法──時間篇 附錄二：「〈天師告南嶽夫人口訣入靜法〉研究」 附錄三：上清存思修法──目錄篇 附錄四：上清存思修法──內容篇 附錄五：上清存思修法類型表 引用書目

「人觀」注重「人」與「社會」、「自然」與「自我」之間的互動關係，以及依據不同脈絡下，如何思考「人」的意義與定位，進以建構「社會人」、「自然人」或「自由人」命題，形成「人觀」的理論體系。當中特別凸顯「人」所具道德、藝術、宗教、文化的多向度事實，注重諸向度間的相互作用，抉發「人」於此關係迴環下呈現的「形象」蘊涵，依此可作為體現人物豐富生命義蘊的方法。 　　在儒家「人觀」視域下，「好學進德」的顏回形象，可視作「君子之學」典範，豁顯「仁」「禮」修身的「具體實踐」內涵。《莊子》則建構「心齋坐忘」的「體道」顏回形象，內容多與「至人」身心修養和主體轉化相關，故顏回實為深入莊子「人觀」的「思想符號」。漢代揚雄、王充依「用氣言性」態度，創構「氣化大賢」的顏回形象，由是發展出「潛心學聖未至」的說法，又用「未達一間」詮釋孔顏聖賢位階之分，甚至將顏回短命早亡視作「性善命凶」、「以才自殺」的必然結果。魏晉南朝綰合「玄理思辨」與「人物品鑒」，如講求天資、智愚、識量、言語的觀人識鑒情境，對照「本末」、「形神」、「言意」概念的玄學《論語》詮釋，反映出會通儒道、玄化孔顏的聖賢觀，故有「玄化顏回」的特殊形象面目。就「玄化顏回」現象的實踐面觀，如黃憲「顏子復生」或謝尚「年少一坐之顏回」稱譽，背後便以「淵粹玄遠」、「天才神悟」的顏回形象為品鑒依據。待及唐宋，退之、習之、伊川皆據《中庸》、《易傳》立義，闡發「體道學聖」的顏回形象命題和「聖學」理論。如濂溪將「顏回之學」提升至「體天明誠」的「證體」超越層次。「顏學」與「顏樂」互相包含，「聖學」踐履以「學顏回」、「求至樂」為目標。明道則匯流「識仁」與「觀氣象」命題，塑造「體之而樂，反身而誠」的顏回形象，發揚濂溪「尋顏樂」的體道美學與聖賢觀，「體道」即含「樂道」，更是「觀聖人氣象」和「觀天地生物氣象」前提，也是探討明道孔顏觀的關鍵線索。 　　要之，本文認為，顏回「好學進德」、「心齋坐忘」、「氣化」、「玄化」、「樂道」、「學聖」諸「形象」，彼此相互作用與轉化之際，組織成儒道「人觀」體系圖像的運行圓周，「形象」與「人觀」猶如珠網牽連相即的共生關係。依此脈絡，不管是如詩劇美趣的玄化顏回觀到向上超拔的理學「體天樂道」顏回觀，當中包含身體與社會間的關係互動，名教與自然間的調和抗爭，道德相與超道德相的工夫分際，都是學者試圖還原與建構顏回形象的珍貴線索。故本文所論，實與採取「類型化」或概念結構理解模式的顏回形象研究有別，望藉此對顏回於儒道思想、身體觀、工夫論及人物品鑒學具有的關鍵意義，提出不同的理解視域和詮釋路徑。 / The “idea of the person” is a concept that centers on the interrelationship between “man” and his interaction with “society” and “the self” and its relation to “nature”. Different philosophical thought systems have differing definitions of “man”`, and use their specific definition of “man” as a basis for the development of their unique concepts of “man in society” and “natural man” or “free man”. These concepts together construct the philosophical system for the “idea of the person”. These philosophical systems place a strong emphasis on the interaction between virtue, art, religion, culture and the multiple aspects of man’s existence. Through the interaction between these different aspects of life, thus emerges the significance of the classical “images” or paradigms that serve as a concrete example of how these concepts are used in life. In the Confucian “idea of the person” the “virtue through learning” portrayal of Yanhui conveys the Confucian paradigm of “learning to be a man of noble character” and through this it can be known that Yanhui in the Confucian tradition is portrayed as a concrete personification of the cultivation of the self through “ren” and “li”. In Zhuang zi ,Yanhui is portrayed as the model of Zhuang zi’s “purification of the mind” and having done so portrays Yanhui as an exemplar of the Zhuang zi’s”the perfect person”. Through this it can be known that Zhuang zi uses Yanhui as a symbol for the “idea of the person”, thus highlighting the fact that the image of Yanhui is deeply engrained in the symbolism contained in Zhuang zi, During the Han dynasty, Yang Xiong and Wang Chong’s thought incorporated “qi” and used “qi” in particular in describing “nature”. In light of this, thus developing the idea of using “qi” to describe the image of Yanhui, as being the paradigm for the man of virtue. They also gave commentary and description of the difference between the levels of Confucius and Yanhui, describing Yanhui as having a”partial actualization of sagelypotential” and being ”slightly lower than a sage”. Lastly viewing Yanhui’s early death as the eventual result of a man having a “good nature but bad fate” and his practice of “self sacrifice”. During the Han dynasty Yang Xiong and Wang Chong’s usage of “qi” in describing “nature” thus developing the idea of using “qi” to describe the image of Yanhui as the paradigm for the man of virtue. They also gave commentary and description of the difference between the levels of Confucius and Yanhui, describing Yanhui as having a”partial actualization of sagely potential” and being “slightly lower than a sage”. Lastly viewing Yanhui’s early death as the eventual result of a man having a “good nature but bad fate”and “self-sacrifice”. The WeiJin and Southern Dynasty philosophers combined “Speculative Mystical Philosophy”with the “Examination of the character of cultural Figures”. They used natural endowment, wisdom/ignorance, capacity to use one’s abilities and language to analyze a historical figure. Also using these idea in concert with ideas such as: “beginning/end”, “Form/Spirit” and “language/meaning” , which then formed the essential concepts used in Xuan Xue’s commentary on The Analects. In using Daoist concepts to comment on The Analects, they combined Confucian and Daoist thought and through this mergence, the images of Confucuis and became mystified and through this creating the “Mystical Yan Hui」portrayal of Yanhui. The practical aspect of the “Mystical Yan Hui” is portrayed in the praise given to Huang Hui and Xie Xiang. Huang Hui was praised as being “Yanhui Resurrected” and Xie Xiang was said to be a “young Yanhui”, using the “mystical” and “gifted student” Yanhui as the basus for the praise given to these two philosophers. During the Tang and Song dynasties the philosopher Yi Chuan used The Doctrine of the mean and Yi Zhuan to develop the philosophical treatise for the “Practice of Dao and learning to be a sage”, and in this treatise thus using the image of Yanhui to signify these concepts. He then used this treatise to develop the “Learning to be a sage” philosophical system. For example, Lian xi elevated the idea of “The learning of Yanhui” to “actualizing the way of heaven in the self”, giving the image of Yanhui a transcendental aspect which can be specifically seen in Yi Chuan ’s concept of the “actualizing the essence of all”. Thus in his philosophy he merged the ideas of the “learning of Yanhui” and the “contentment of Yanhui” and used them both in concert, making the “learning of Yanhui” and the “pursuit of contentment” the goals of one who seek to learn to be a sage. Ming Dao used the topics of “understanding ren” and “observation of the disposition of the sages ”, two ideas that in antiquity are associated with Yanhui, to construct his image of Yanhui. He portrays Yanhui as the paradigm of “using practice to find contentment, internalize this practice and actualizing virtue”. Thus developing Lian xi’s “pursuing the contentment possessed by Yanhui” and its aesthetic description of the practice of dao and the concept of the sage and the man of virtue. In his thought, the “learning of Yanhui” encompasses the “Dao of contentment” and serves as the basis for the “observation of the disposition of the sages” and “observing the qi of heaven, earth and all things” , which serves as the quintessence of Ming Dao's treatise on Confucius and Yanhui. “Virtue through learning”, “purification of the mind”, “qi approach” ,“mystical approach” , “dao of contentment”, “Learning to be a sage” are the major portrayals of Yanhui. Through the inter use and melding of these ideals they became the structure of the Confucian “idea of the person” , thus melding the relationship between “image” and the “idea of the person”. From the artistic and mystical Yanhui to the transcendental "actualization of heaven and contentment in Dao" Yanhui of the li xue philosophers and in between, all conceptions of Yanhui incorporate a few major themes: the body and its interaction with society, the harmonizing of the relationship between ethics and nature , the differentiation between the practice of virtue and transcendental virtue . These are all the attempts of philosophers to construct the importance of the image of Yanhui. Therefore this paper discusses the difference between the historical Yanhui and the conceptualized Yanhui portrayal in the hopes of offering a new research direction and a deeper understanding of Yanhui's role in Confucian and Daoist thought, philosophical treatises on the body, treatises on practice and the character analyses of ancient figures.

隨著數位匯流與市場全球化，閱聽人的電視劇收視行為逐漸改變，各種新媒體影音平台搭配不同的裝置，逐漸形成跨媒介、跨平台的觀看。同時，多國電視劇內容並存於網路平台，閱聽人觀看多元內容成為必然趨勢。然而，透過網路觀看多國電視劇是過去研究顯少觸及的新觀看行為，此觀看行為比過去更個人化，且富有多樣性。因此，本研究透過深度訪談與日記法，針對年輕族群透過網路觀看多國電視劇的行為進行討論，面向包含科技媒體的使用、多國電視劇內容的選擇，以及個人觀看與互動模式。 本研究發現，這些年輕觀眾的收視脈絡改變，個人化的收視打破時空限制，使用過程是雙向互動的，已然形成新舊媒體的跨平台觀看，其觀看平台多元分散且沒有忠誠度，本研究以整合性科技接受模型理論（UTAUT）解釋此現象。同時，觀眾擁有自主選擇多國電視劇內容的能力，如此其選擇的方式及動機，敘事吸引力、來源國印象及使用與滿足等理論皆能提供部分解釋，並以第三代接收分析解釋多元浸泡的媒介文化及社會連結意義。 整體而言，受訪觀眾的科技使用行為與過去不同，在不同情境下，可能會選擇不同的觀看媒體，養成跨平台觀看的能力和習慣。同時，這些平台承載的多元內容具有互文性，增加了多國觀看的必然性。同時，觀看行為走向個人化，受訪觀眾擁有選擇內容與觀看方式的自主能力，且過程皆與生活緊密相關。