本文旨在秉承歷史文化意識，深入歷史文化的脈絡，來研究與詮釋儒家內聖外王思想 ，進而結合時代環境，以「批判的繼承與創造的發展」精神，建構儒家內聖外王思想 的現代意義。除緒論、結論外，全文分為五章，共約八萬餘字。 緒論：從詩經、書經的「天命觀」，指出天或帝、君王與人民三者之間的關係，並以 三代聖王原初政規業跡的德治典範，敘述「聖王」思想的起源。 第一章：論述孔子的聖王思想。從孔子「仁」教的提出，而重建了三代聖王一貫相傳 的道統。進而剖陳「仁」、「禮」、「天」三概念之間的關連。仁、禮、天是孔子聖 王思想的重概念，而「君子」更是其聖王思想實踐的起點，如何透過道德的實踐，使 人從君子而趨於聖人，以完成圓滿的人格。 第二章：論述孟子的聖王思想。先論述人性向善論是孟子聖王思想的動力；身心合一 與天人合德的修養論則是整個道德實踐的進程；「仁心仁政」則是從內聖到外王的表 。 第三章：論述荀子的聖王思想。先論述荀子聖王思想的根源－「天」的概念；其次引 申其「君子」與「聖人」的意義及其對「人性」的詮解；進而申論荀子的「禮」論， 做為其聖王思想的展現與終結。 第四章：對先秦孔、孟、荀－系發展直到近代的儒家聖王思想，做一義理與結構的反 思。並結合時代環境，分別指陳其內在價值及缺陷，冀望連結傳統與現代，說明「返 本開新」的重要。 第五章：論述「內聖外王」思想的現代意義，以「創造的轉化」精神，詮釋吾人所建 構的聖王思想，藉以明說本文用心之所在。 結論：說明三民主義是儒家聖王思想的結晶，有其返本開新的意義，是我國從事現代 建設的重要典範。

從九一八事變之後，中國各地的抗日救國運動風起雲湧，不過1930年代中期，由沈鈞儒、鄒韜奮、章乃器、沙千里、王造時、李公樸、史良「七君子」等所發起領導的「全國各界救國聯合會」無疑是最受注目而且影響深遠的 。由於救國會的牽涉層面廣泛複雜，從不同的方向切入和不同的角度立論，將有不同的探討重點和論述方式。考慮當年救國會抗日救國的主要訴求是「停止內戰，一致抗日」，以及七君子被捕的主要指控是「有共黨嫌疑和企圖推翻國民政府」。因此論文的研究主要抓兩個方向：一是救國會與中國共產黨的關係；二是救國會的抗日活動。來探討救國會的抗日活動論文一共分為七章：第一章、前言。第二章、救國會的成立背景：敘述救國會興起的外在背景和內在因素。第三章、救國會的紛立及與共產黨的關係：敘述救國會從地方組織擴大整合為全國性的抗日團體；而從成立之初，即有共黨潛伏其中，這是共黨統戰的策略，但救國會的成立尚談不上是中共的策動。第四章、救國會的宗旨與組織：敘述救國會的抗日救國主張，確實包含「反」政府的成分；以及救國會的組織從外表看雖然鬆散，但內部結構中有中共的黨團運作；而從中共中央來到上海，救國會與共黨的合作更加密切。第五章、救國會的主要活動：敘述救國會的宗旨雖然是要促成各黨派合作抗日，但主要的活動其實是透過組織、宣傳與抗議活動等來製造輿論，對政府的安內攘外構成壓力。而在兩廣事件與西安事變中，救國會的立場與中共並不一致。這說明救國會雖然與中共關係密切，但仍有自己的性格，而中共也無意攘奪救國會的領導權。第六章、救國會七領袖被捕：敘述七君子案表面上是法律案件，其實是政治事件，國共雙方都在暗中較勁。雖然社會聲浪對七君子頗多同情，但最後政府瓦解救國會。第七章、結論提出筆者一個思考性的看法。

本論文主旨在以荀子理想人格為主軸，梳理出荀子思想中三種理想人格的內涵，進而探究荀子思想及先秦儒家對於「人」的終極關懷為何。 本文共分六章，第一章說明問題意識之興起、論題研究之概況，與本文研究方向及撰述結構；在二、三、四這三章中則分別針對「士」、「君子」和「聖人」三方面來加以研究探討，說明荀子思想中的「士」、「君子」和「聖人」的思想淵源、常見用法及對後代的意義和影響；在第五章中，找出這三種理想人格境界的異同及高低關係，以完整的建立荀子的理想人格系統。而在第六章結論中，我將對本文做一總結，並具體說明荀子理想人格的意義何在。透過荀子理想人格境界的說明及比較，可以看出荀子思想的特色所在，同時看出此特色對於後代思想的沈澱變遷過程。

本文係研究左傳「君子曰」之各有關問題，共一冊，約八萬字，分六章三十二節。 第一章緒論，敘述本文之研究動機及方法，並考辨「君子曰」之真偽。 第二章「君子曰」之形成，則依其引用方式之不同分為「直接引述」、「間接稱引」 兩者，並分項舉例說明之。 第三章「君子曰」之內容，依評論之重點，分為解經、預言、為政之道、為君之道、 為臣之道、交鄰國之道及論禮、義、信、仁孝、自處之道等，以明其與左傳所論實無 不同也。 第四章「君子曰」之立場與精神，先就其評論之經學立場及其所涵之意義加以分析， 次則以之與左傳所引之「仲尼曰」及公羊、穀梁二傳比較，以明其間之異同，再次則 引述前人之論「君子曰」者，釋其疑難，以明君子之評論非泛泛為之也。 第五章君子之學養，係就其評論引經之情形加以敘述，並論其評論之特色，以明君子 之學養焉。 第六章結論，縷述本文研究之結果，以知左傳乃「事義兼傳」；而由其評論立場，或 可推定其戶書時期不在戰國後期；由其所論與孔子相合，可知其亦為解經之作；而由 其體例，可知左傳於孔子「寓經於史」之義，亦有所發揚也。

「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.