過去對中國歷史研究的重要傾向之一，是採取社會或經濟的立場以理解中國的歷史分期。而對於唐代國家權力與國家行政體制的演進，一般研究多以安史之亂為劃分唐前後期的重要分水嶺；導致在討論唐代皇帝於各方面制度演變中權力逐漸強化的同時，其背後的意義也隱而不明。 禮儀制度在國家中發揮維持統治秩序中的重要作用，是中國文明的特色之一。國家的制度與組織演進，與現實形勢的變化關係密切。而禮儀做為國家的制度，在國家針對現實情勢變化重塑政治結構的組成之時，亦會產生相應的變化，反映出統治者的權力正當性來源、身分尊卑等級，並發揮著客觀規範作用。此外，從禮儀制度的內容探索起，包含儀式運作、空間變化，均可推測其形成的背景，一窺國家現實統治的情況。 本文從國家的角度，並以禮儀制度(郊祀禮為主)當切入點，置於隋唐國家型態演變的脈絡下，企圖指出國家具有以政治手段主動整合或控制各地域社會的自主性，藉此對以社會經濟的角度解釋隋唐國制變革的立場做一補充。其次，以安史之亂做為唐代制度演變分水嶺的觀點，亦強調社會經濟變動下的制度演變是國家被動反應的結果，本文探討隋唐禮儀與政治制度的交互影響，欲證明一般認為安史之亂造成的制度演變，其基礎已奠定於唐前期，並且是出於統治者穩固國家秩序的立場所締造的，此即國家自主性的表現。而從統治者的立場出發，則最後須進一步探討皇帝權力在隋唐國家型態下逐漸強化的意義，其中於是牽涉到天與君、臣關係以及皇帝的政治、禮儀空間。

京都大学 / 0048 / 新制・課程博士 / 博士(人間・環境学) / 甲第21871号 / 人博第900号 / 新制||人||215(附属図書館) / 2018||人博||900(吉田南総合図書館) / 京都大学大学院人間・環境学研究科共生文明学専攻 / (主査)教授 辻 正博, 教授 道坂 昭廣, 教授 太田 出 / 学位規則第4条第1項該当 / Doctor of Human and Environmental Studies / Kyoto University / DGAM

本文並不同於孟森等的史家立場，將民國流行的清朝「四大疑案」：太后下嫁、順治出家、雍正奪位與乾隆出身海寧等作為辯駁對象；而是將清末民初記載疑案的筆記野史與長篇歷史演義，作為小說創作的「現象」考察，觀察小說家如何在通俗場域中，「製作」出大眾熱於閱讀，卻不同於史書上的帝王形象。「四大疑案」所涉及的帝王為順治、康熙、雍正、乾隆四帝，當康乾三朝被文人以「盛世」歌頌時，盛世三朝對漢人言論的嚴格箝制，亦讓晚清民國流傳豐富的盛世帝王野史。而民國時期的小說家，不僅作意好奇，處於消費娛樂的語境中，亦融合「小說救國」的風潮，進而形成具「排滿」與「漢族」意識的「演義救國」創作群，在筆墨之間多夾雜華夷之辨、滿漢意識。 本文的研究目的，在於指出民國歷史演義在新小說的影響下，如何從傳統的「演義」文類過渡到「新演義」，形成描寫自清以來的民族「傷心史」；並梳理順治、康熙、雍正、乾隆四帝的野史傳聞，在文人作品如《影梅庵憶語》和《紅樓夢》，以及官方出版的典籍如《大義覺迷錄》和乾隆御製詩的基礎上，匯合清末不同的野史筆記，在多種身分轉化、觀念演變等文學手法中形成富含漢族意識的長篇歷史演義。在順治野史裡，帝王被化作為情出家的「情種」，而董鄂氏作為「天眷」，野史卻將其降格反諷為明遺民冒襄寵妾的「名妓」董小宛；從「天眷—名妓」的女體形塑，可見清朝國體被替換為明代國體的寓言轉換。康熙朝的雍正奪嫡，則將帝王化作武俠，藉由頭顱被割下的復仇敘事與身體政治，將清朝統治正統「大義」藉由「俠義」平反。乾隆皇帝在野史中則多以「漢家皇帝」現身，歷史上奉母南巡的「孝」在言說中質變為對漢家身世的「孝」，而「海寧省親」所啟動的風月故事，亦成為小說家筆下清朝國運轉衰的關鍵。種種身分與觀念的轉變，皆攸關漢人與滿人的矛盾。本文並認為民國相關小說產量豐富，當代作家金庸、高陽、瓊瑤均有所承繼，如不釐清民國小說的本來面目，即容易忽略從晚清至當代，小說創作脈絡中的「民國根源」與「現代路徑」。 / Since the late Qing and early Republican, historians have debated about the four big mysteries of Qing四大奇案, which were popular stories about Qing Dynasty: Empress Xiaozhuang's rumored marriage to Dorgon太后下嫁; Qing Shizu’s entering a monastery順治出家; Qing Shizong’s inheriting the throne雍正奪嫡; and Qinglong as a son of a Han family, the Chens, in Haining乾隆出身海寧陳家. Evinced by many unofficial histories and popular novels, the four big mysteries were well and alive in late Qing society. While historians treat these mysteries as suspicious rumors, this thesis uses the perspectives of collective memory and narrative production in order to examine the ways in which the emperors in these mysteries are in effect fabricated. I contend that the rewritings and literal sequels of high Qing emperors in the four big mysteries were not only products of public entertainment, but they also represented the Han’ s traumatic memory and their ideals of anti-Manchuism, especially as they are correlated with the “new novels” 新小說employed by late Qing intellectuals to aid their pursuit of the national enlightenment in modern China. In the first chapter, I assert that contemporary historical novels of Qing emperors are mostly based on the re-writings since late Qing. In my view, without discovering the “roots” of the late Qing novels readers would be able to misunderstand the “routes” that the contemporary history novels have paved. In the second chapter, I reevaluate the classical genre of Chinese novels: yanyi演義 from early Republican China. During this period, Yanyi connected the thoughts of national enlightenment and “salvation and survival” 救亡圖存 in the “new novel”, giving rise to what I call “new yenyi”新演義, which was apparently different from the original one. In the following chapters, I focus on how the Qing emperors, such as Shunzhi順治, Yongcheng雍正 and Qianlong乾隆, are portrayed to express Ming-Qing transitional dynasty memory and the trauma of Manchu’s political persecution by way of using literary symbols, such as corresponding pattern of “body” and “nation” in literature. In the third chapter, by discussing how the courtesan Dong Xiao-wan, who was married to an adherent of Ming Mao Xiang, was referred to the princess consort Donggo, I argue that the Shunzhi emperor was “adherentized” 遺民化to an adherent of a former dynasty. In the fourth chapter, I examine the ways in which the Yungcheng Emperor, a great monarch of Qing dynasty, is transformed into a despot and peculiarly into a knight-errant, particularly his violent death, in which he was decapitated by the female knight-errant Lü Siniang (Lü’s fourth daughter). In the fictional narrative, the assassination of Yung-cheng (the fourth son of the Qing royal family) by Lü’s fourth daughter leads the readers to contemplate the Qing’s legitimacy and the position of the Han Chinese against the Manchus. Finally, by analyzing the narrative of Qianlong as a son of Han family, instead of Manchu family, I aim to explain the historical cause of Qianlong’s southern tour, namely, filial piety, as he was alternated to a kind of nostalgia for the hometown where he was born.

皇帝（皇權）於人間至高無上之特性與公羊學大一統正統論其正統有我無彼之觀念互為論證，為帝者認己乃唯一正統代表，視並稱帝者作非滅不可之僭逆。元首俱稱帝之孫吳、蜀漢均視對方作僭偽；於官式互動場合中原則上卻採一措施：不觸正統課題，不用主觀性強之政治性用語，於實質上互認對方皇帝其正當性，以合抗曹魏。隱於該措施背後之理念可謂：務實正統觀，南、北朝互動模式類此。南北朝末，有皇帝乘敵國內亂之際立彼皇族為彼國「主」，為藩臣之主得於其國內稱帝，西魏則立以蕭梁皇族為帝之傀儡政權式藩屬：西梁。就正統論及皇權特性而言實悖，然此等乃務實正統觀其措施之活用，意在擾敵徐圖滅之，故活用型務實正統觀措施為實踐公羊學大一統正統論之手段。周隋利用西梁打擊陳朝：除國防層面外，使陳帝於正統爭奪戰中非僅面對北朝競爭者。後金朝立楚、齊兩帝國措施即類西梁模式。

University of Macau / Faculty of Arts and Humanities. / Department of Chinese

University of Macau / Faculty of Arts and Humanities / Department of Chinese