俄羅斯的東正教以承襲拜占庭正統禮儀自居。而《聖金言諾望 侍主聖禮 》為東正教所行「聖餐禮」的主要儀軌，是東正教核心教義的精神體現。本文最主要將探討《聖金言諾望侍主聖禮》祈禱文中教會斯拉夫文之象徵多義性，因這些詞彙單位在現代俄語仍繼續使用中，因此俄文學習者有瞭解其詞彙內涵之必要性。 本論文共分為六個章：第一章為緒論，說明研究動機與目的、研究限制、途徑與方法、文獻評論及研究架構；第二章將闡述東正教《聖金言諾望侍主聖禮》在基督宗教信仰中之重要意義及其儀式暨祈禱文編撰者－聖徒聖金言諾望之介紹，同時介紹參與聖禮之聖品與教會服務人員及舉行聖餐之之地點－至聖處及聖器等；第三章介紹教會斯拉夫文在俄羅斯文化中的重要地位以句法角度、詞法角度、語義及修辭角度四方面進行匯整祈禱文詞彙特性；第四章將以「同義詞」及「不完全同義詞」之研究角度探討祈禱文中詞彙的之象徵同義多義性；第五章將以第四章之研究結果為基礎，探討祈禱文中反義詞之內部同義現象；第六章為結論。

論文提要內容： 本研究旨在探討分析台灣國中生使役動詞的使用情況，主要探討學生使用使役動詞的錯誤情況，分析錯誤原因及調查在不同英文能力的學生使用上是否存在顯著差異。 此研究採取質及量的研究。質的研究包含(1)使役動詞的補語用法(2)使役動詞的意義及用法(3)學生在使用使役動詞上的錯誤分析。量的研究包含(1)使役動詞補語的錯誤率(2)使役動詞意義及使用上的錯誤率(3)高中低程度三組中顯著變化情形。 結果顯示學生在使役動詞補語使用上常用錯非限定動詞及誤用限定動詞，此外，本研究也發現學生在選擇正確使役動詞上錯誤率高於使役動詞補語使用。分析原因如下：(1)過度規則化(2)負向轉移(3)教學引導(4)學生語言知識不足(5)語言同化。此研究也發現高中低三組在使用使役動詞補語上確實有顯著差異，然而在使役意義上(coercive sense of make-causative)、未提出但已知接受動作者意義上(unmentioned perceptible causee sense of make-causative) 、 及服務框架意義上(service frame sense of have-causative) 高中低程度學生的表現並無不同。 / Abstract The purpose of this study aims to analyze the use of periphrastic causative verbs in Junior high students’ writing performance and to understand students’ difficulty in learning and using periphrastic causative verbs. The form of periphrastic causative verbs and grammatical characteristics are easy to remember. However, subtle meanings and usage are somewhat difficult. This study adopts qualitative and quantitative analyses. The qualitative analysis includes: (1) the verb complement form of periphrastic causative verbs, (2) the meaning and functions of periphrastic causative verbs, and (3) the factors that influence students’ erroneous uses of periphrastic causative verbs. The quantitative analysis comprises: (1) the inaccuracy rate of the use of every periphrastic causative construction in the tests for form and meaning, (2) the distribution of periphrastic causative verb errors in form and meaning and use and (3) multiple comparisons among accuracy at the three proficiency levels. The results of this study are summarized as follows: students have trouble distinguishing finite verb and non-finite complement verbs with respect to the form errors. They also have lower awareness of the differences of each causative verb concerning the meaning errors. The factors affecting their incorrect responses are (1) overgeneralization, (2) negative L1 transfer, (3) teaching induced errors, (4) learners’ ignorance of rule restrictions and (5) learners’ strategies of communication and assimilation. In addition, there are significant differences among the three groups with regards to the make +O +V, have +O +V, let +O +V and have +O +p.p. in the form test and the non-coercive sense of make-causative, the hierarchical relation of have-causative and the permissive sense of let-causative in the meaning and use tests. However, there is no significant difference between the three groups’ scores of meaning and use with the coercive sense of make-causative, the unmentioned causee sense of make-causative and the service frame sense of have-causative.

The thesis traces emergence of chrysanthemum, a favourite symbol in Chinese poetry, and discusses its various uses within the context of the Song ci poets. The chapters of the thesis focus on precising connotations and their transformations related to the chrysanthemum as one of the most frequently appearing flower motifs in Chinese literature and specification of the literary-historical description of the Song ci and yongwu evolution process. The thesis also aims to present connotations reflecting the evolution of Song lyrics from non-serious tunes to the official poetry, shift in using the motif in shi and ci poems and the presence of Tao Yuanming's and Qu Yuan's chrysanthemum motif in Song ci. It describes the extent in which the genre of Song ci modifies the meaning of motif; how much of the traditional meaning referring to Qu Yuan and Tao Yuanming is preserved and how does the ci genre influence traditional meaning and the general cultural cognizance attached to the motif. Attention is also paid to the process in which the meaning empties itself and becomes an ornamental motif indicating occasion and season of the year and evoking certain mood. Key words: chrysanthemum, Tao Yuanming 陶淵明, Song dynasty, ci 詞 poem, yongwu 詠物, flower motif

《花間集》是第一部選錄晚唐五代文人詞的總集，是我國現存最古最完整的詞集，以藝術的角度觀之，它的表情特徵，是將某感情審美意象化，以意象疊加多樣化的色彩加諸詞中，使之較能專注著墨於單純的愛與美的形象表現，《花間集》雖不及宋詞之精麗，卻獨具簡古的風格，在中國詞史上具有承先啟後的地位，本文主要分為二個研究方向，一為主題內容，二為感覺意象。茲說明如下： 第一章緒論 說明研究動機與目的，研究方法與範圍，文獻檢討。 第二章《花間集》創作背景與十八家詞人 在創作背景方面，分時代背景及文學背景，說明晚唐五代的時代風氣與文學批評風氣，進而以(花間集》為焦點，說明其風格及文體的傳承，再簡述花問十八家詞人之生平及詞風。 第三章《花間集》主題內容之研究--兒女情愛 《花間集》概分九個主題，即浪漫的情愛，女性的姿態，怨曠與傷逝，離情與別恨，遊仙，詠物，入世的政治態度，出世的理想抱負，邊塞與地方風物等九個主題。浪漫的情愛，女性的姿態，怨曠與傷逝，離情與別恨四個主題主要是描寫世間男女的情感為主，故以兒女情愛標之。浪漫的情愛寫男女之間熱戀時的喜悅，女性的姿態描摹當時女子的美態與才藝，怨曠與傷逝則描寫女子傷春，思念情郎，宮怨，悲秋的情緒，亦有男子思念女子的主題出現，在離情別恨主題上，是《花間集》中數量最多的主題，分別時場景與別後相思二方面，別時場景寫情人夫婦的相別，亦有其他友朋的送別，在別後相思方面，有征婦思夫，閨婦思夫，男子的離情別恨，行人傷別之思等，十分多樣而豐富。本章側重主題的分類，並對同一主題，詞中主人公表現的共同傾向做一概要的分析，使主題更為明確。 第四章《花間集》主題內容之研究--處世情懷 本章是以處世情懷為重，有遊仙主題寫仙凡之間的愛恨嗔痴，有詠物主題詠物本身或借以寄託作者自身的情感，有入世的政治態度主題，呈現花間詞人關心國事，懷古懷鄉的一面，有出世的理想抱負主題，呈現隱逸情懷，有邊塞與地方風物主題，寫作者放曠胸懷，好山好水的景致。這樣的主題，雖只佔花間詞的三分之一，但內容多樣而風格放曠，實突破花間閨帷香豔詞風，開闢另一新風。 第五章《花間集》感覺意象之表現--視．聽覺 五、六章為一單元，為本文另一個重點，本文試以五根為觀察的量尺，即所謂眼、耳、鼻、舌、身（視、聽、嗅、味、膚）五覺，以《花間集》九大主題為觀察的內容，觀察九大主題所使用感覺意象的情形．本章主要觀察視、聽二覺的使用，採統計的方式，以表格的呈現，使讀者能有較為全面的了解。第六章《花間集》感覺意象之表現--嗅．味．膚覺本章以嗅、味、膚覺為觀察量尺，以九大主題為觀察內容，採用圖表統計的方式如前章，並於最末一節對五、六兩章做一總分析，依兒女情愛與處世情懷二大重點，觀察感覺意象運用之異同，再以總體趨勢來看，以呈現《花間集》共同使用最頻繁的感覺意象為何。 第七章結論 由以上數章，約可歸納為如下三個結論，一是開啟婉約、豪放的源流，二是感覺文學的典範，三是濃厚的女性敘寫特質。綜上所述，可知，《花間集》為外貌香豔媚弱，內在輕柔和婉，靈秀清新，純樸自然的詞集，它在愛情多方面的探討，影響了元曲、明傳奇等的萌發興盛。而其在感覺意象的使用，足為後世之典範，其主題內容足開婉約、豪放之先聲，故在中國詞史上，實具不可輕忽的重要參考價值。 文後並有附錄--「《花問集》主題內容一覽表」，是將《花間集》五百首詞，依九大主題而分類，讀者閱讀第五．六章感覺意象時，可依圖表上所附數字，檢閱全詞的內容，特此聲明。

本篇論文旨在研究中文"容易"，"好"，與"難"所屬的句式，內部結構，及此三者混淆難辨的原因。 　　我們認為"容易"屬Tough-結構，乃由Raising- 句主題化而來。"好"則屬Middle- 結構，是經詞彙律衍生而成。此分析正確的解釋二者表現之異同。 　由歷史演變觀之，"難"應屬Tough- 結構，為"容易"之反義詞。但因近代Middle- 結構興起，表面結構與Tough同，類化作用於焉產生，"難看"為一例。 / This study aims to identify the constructions of rongyi, hao, and nan sentencesin Mandarin, analyze their internal structure, and provide appropriate accountstoward the long-term confusion among these three. 　　Rongyi, in our analysis, is a gradable stative verb leading a tough construction.The so-called Tough Construction in Mandarin is a topicalized raising construc-tion with a generic subject. This analysis not only captures the generalization among similalr constructions (Raising Construction, Tough Construction, and topicalized sentences) but also accounts for its characteristics such as overtagent, long-distance binding, and so on. 　　Hao is a prefix triggering Middle Rule which surpresses all the theta-roles of atransitive active verb but the patient-like one (with the feature [-r]), yieldinga statve verb haoV as a middle predicate. The appropriateness of middles is subject to two pragmatic constraints, which further support our treatment of middle as a lexical process. The lexical approach successfully explains the surpressed agent, the inseparability between hao and V, and some other characte-ristics of middles. 　　Judging from diachronic evidence, nan is basically the antonym of rongyi and ap-pears in a raising construction, tough construction, and topicalized sentences as rongyi does. Analogy takes place, however, that in some cases, nan and its following verb are reanalyzed and undergo semantic shift due to its identical linear order with middleconstruction. That reflects the characteristics of languagechange.

本文主要是探討漢語短語及詞彙層次的輕聲現象。關於短語性的輕聲，鄭良偉先生(1989)是從句法的觀點來分析，本文則採用韻律体系理論來探討。我們提議了一組焦點詞語的原則及幾個相關的制約。此外，我們從蕭宇超先生(1991 & 1994)的韻板計數理論來觀察輕聲的節奏問題，因而修訂了虛詞音板指派及音板連接方向的原則，也建議了一條抵輔音板加入的規則。 　　關於詞彙性的輕聲，我們採用McCarthy及Prince(1986)的構詞規型理論及Kiparsky(1973 & 1982)，Mohanan(1982 & 1986)的字構音韻學理論來探討此一現象。我們建議了詞彙性的輕聲基本上運作於楊抑格音步，然而抵輔調卻運作於抑楊格音步。觀察了相關的音韻及構詞規則，我們也發現到文獻上輕聲的語料可由層級的觀念來分析。 / This thesis deals with neutral tone sandhi in Mandarin Chinese at the phrasal and lexical levels. Previous research of the phrasal neutral tone, e.g., R. Cheng (1989), has focused only at the syntactic level. In this research, we employ prosodic theories (Selkirk (1984 & 1986), Nespor and Vogel (1986), etc.) to condition phrasal neutral tone sandhi, and propose a set of focal phrasing principles and a couple of relevant constraints. In addition, we discuss the rhythm of neutral tone under the framework of the beat-counting theory (Hsiao, 1991 & 1994) to see in what ways the theory has to be modified. We propose a pair of revised principles of functor beat assignment and directional beat adjunction, along with a backup rule of the default beat addition. 　　As to neutral tone at the lexical level, we incorporate morphological template theory (McCarthy and Prince (1986)), and lexical phonology theory (Kiparsky (1973 & 1982), Mohanan (1982 & 1986), etc.). We propose that lexical neutral tone target a trochaic foot template, while a default tone target an iambic foot template. Observing the relevant phonological and morphological rules, we find that the neutral-toned data in the literature can be somehow generalized by way of level ordering.

本論文共分七章十六節，全篇計十二萬餘言。第一章「緒論」申明本論文研究的對象、目的及方法。第二章「朝鮮時代蒙古學的演變」分為三節；第一節略述朝鮮時代譯學的發展過程；第二節敘述朝鮮時代蒙古學的設立與變遷過程；第三節探討朝鮮時代有關蒙古學的書籍概況。第三章「《蒙語老乞大》的相關問題」分為三節；第一節探察《蒙語老乞大》的版本及刊行年代；第二節探討《蒙語老乞大》的書名來源、諸學者對該書的看法，並提出筆者的看法；第三節略述關於該書的研究概況。第四章「《蒙語老乞大》中蒙古語的詞法考察」分為三節；第一節略述本章探討的範圍及詞法概念；第二節比較分析名詞的變格；第三節比較分析動詞的詞形變化。第五章「《蒙語老乞大》中蒙古語的句法考察」分為四節；第一節略述本章探討的範圍及句法概念；第二節探討《蒙語老乞大》中出現的句子成分；第三節討論不同句子類型中的疑問句；第四節歸納《蒙語老乞大》中出現的句子結構。第六章「《蒙語老乞大》中蒙古語的語音考察」分為三節；第一節略述蒙古語的語音變遷過程及特色；第二節探討《蒙語老乞大》中出現的母音特徵；第三節探討該書中出現的子音特徵。第七章「結論」總結本論文的研究成果，並加以評述。

大多數台灣英語學習者在進入大學前已經習得相當數量的英文字彙，即便如此，他們仍然會誤用常見的搭配詞 (例如: [do/make+noun])。本論文藉用兩種語料庫 (分別為台灣英語學習者語料庫及英國國家語料庫)來分析、觀察[do+noun]和[make+noun]的異同以及英語母語人士及台灣英語學習者使用[do/make+noun]狀況。結果顯示台灣英語學習者和英語母語人士最大的不同在[make+noun]：就語意層面而言，最常被英語母語人士使用的[make+noun]為 ‘to perform, to carry out’ (例如: make a speech, make a fine judge, etc.) 而台灣英語學習者偏好 ‘to create’ (例如: make a sushi, make a robot, etc.)；就名詞特性而言，母語人士偏向使用抽象的名詞 (例如: comment, progress, etc.) 而學習者習慣使用具體的名詞 (例如: robot, sushi, etc.)。除了語料庫語料分析，本論文還透過心理語言學實驗測驗 (即圖片引述實驗－受試者描述他們不熟悉的動作) 觀察母語人士和學習者使用常見的搭配詞－[do/make+noun]－的差異。台灣英語學習者使用為數不少廣義的[do+noun] (例如：do exercise 或 do sports) 而英語母語人士傾向使用帶有具體意義的動詞 (例如:sit-up) 或搭配詞 (例如: do sit-up)。幾乎沒有母語人士使用[make+noun]而大多數學習者使用的是[make+noun]－當make做為causative的用法。根據此實驗分析，本論文提出一個模型來探討英語母語人士和英語學習者對[do/make+noun]的使用異同。 / Learners of English in Taiwan are estimated to reach a certain command of vocabulary size before they enter colleges. However, they still differ from native speakers in producing the commonly-used patterns, such as [do/make+noun]. In order to observe the similarities and differences of [do+noun] and [make+noun], as well as their uses by EFL learners, this paper inspects their senses using two types of corpus data, namely a Taiwan-based learner corpus and the British National Corpus. The results show that learners differ from native speakers mainly in their use of [make+noun]. For example, the most frequent sense used by native speakers is ‘to perform, to carry out,’ as in make a speech, make a fine judge, etc., whereas that used by Taiwanese learners is ‘to create’ as in make a sushi, make a robot, etc. With respect to the characteristic of the noun following make, native speakers tend to choose abstract nouns, such as comment, progress, etc., whereas learners prefer concrete nouns, such as robot, sushi, etc. A psycholinguistic experiment is also included in order to see whether learners use language with general meanings, such as [do/make+noun], more in describing situations unfamiliar to them. Results show that [do+noun] patterns with a more general meaning (e.g., do exercise or do sports) are more often used by the learners in our experiment while native speakers prefer language with a more precise meaning (e.g., sit-up or do sit-up). Few [make+noun] constructions are found in native speakers’ language whereas learners produce numerous [make+noun] constructions, mostly the causative uses of make.

University of Macau / Faculty of Social Sciences and Humanities / Department of Chinese

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