《玉臺新詠》於文學史上，實有其創新地位，以「俗」為雅，以「艷」為美。這是第一部專以「女性」為描寫對象的詩集。歷來，對於本書多以「文學」角度觀察，本論文則以「語言學」角度重新觀察《玉臺新詠》之俗之艷。翻開一部《玉臺新詠》宛若一幅古典美人圖畫卷置於目前，作家以華麗的文字描摹女性的美態，展現視覺美感的效果。於是，顏色詞便成了作家手中的最佳調色盤，而顏色詞也成了奠定《玉臺新詠》華艷風格的語言基礎。然而，歷來文學史對於《玉臺新詠》一書的評價，往往以「艷歌」一語帶過，視此書為輕薄而以三言兩語潦草論之。如此一來，未能掌握《玉臺新詠》的全貌。本論文以語言風格學的角度，針對《玉臺新詠》顏色詞，進行研究，仔細推敲此書之「艷」，以具體且客觀的方式探究《玉臺新詠》的華艷風格。 本論文內容為研究《玉臺新詠》顏色詞之語言風格與文化意涵。共分為六章：第一章〈緒論〉說明研究動機與目的、研究範圍與方法、顏色詞選用範圍以及前人研究之成果。第二章〈《玉臺新詠》的編者及其時代背景〉。第一節論述《玉臺新詠》之編者與編撰動機，其次說明《玉臺新詠》的成書年代及選詩標準。第三章〈《玉臺新詠》顏色詞之語法分析〉。第一節分析顏色詞的詞彙結構，第二節著力於顏色詞的句法功能，第三節探討顏色詞之詞性放寬現象，最後整理對偶句顏色詞的運用。第四章〈《玉臺新詠》顏色詞的語義分析〉。第一節分析「顏色詞」的來源及其演變，第二節分析顏色詞的同義關係，第三節說明顏色詞的搭配組合，第四節說明雙句對中顏色詞的運用。第五章〈《玉臺新詠》顏色詞之文化意義〉。第一節分析顏色詞與民俗風尚，接著探討顏色詞與社會階級，最後研究顏色詞與漢族文化的關連性。第六章〈結論〉，根據以上研究之所得，具體指出《玉臺新詠》顏色詞之特性。

本論文探討顏色詞「黑/烏」與「白」在台灣華語、台灣客語以及台灣閩南語中語意延伸之比較。黑與白是自然界中最原始的顏色，而在Berlin and Kay (1969) 的顏色發展歷程中處於第一階段。本文觀察顏色詞黑與白背後的認知機制，並藉此將語料分成原始意義、轉喻延伸、隱喻延伸和特殊例子這些類別來詳述。本研究發現有些隱喻延伸普遍地存在三個語言當中，有些則是某個語言特有的，而這些語言特定的顏色詞通常蘊含文化根源、發展成構式或從外語借用而來。 本文還運用Kövecses (2005) 隱喻中的文化因素來審視顏色詞黑與白。研究發現就跨語言層面而言，台灣華語發展出最多的隱喻延伸，台灣閩南語次之，而台灣客語最少。這顯示了台灣華語顏色詞的蓬勃發展跟該語言的文化、經濟或科技等活躍發展密切相關。此外，本文發現顏色詞黑大多為負面意義，而顏色詞白則多為非負面意義。顏色詞黑與白也發展出許多語意延伸的對立，例如神秘與明確、惡與善、違法與合法。 / This thesis explores the similarities and differences regarding color terms of black and white among TM, TH and TSM. Black and white are the two most fundamental colors in the natural world as designated at stage one in Berlin and Kay’s (1969) evolutionary sequence. We classify data into cognitive categories of prototypical meaning, metonymic extensions, metaphorical extensions and idiosyncratic examples, observe their corresponding lexicalization types (Packard 2000) and use Kövecses’ (2005) cultural factors in metaphor to examine them. The three languages all contain abundant data of prototypical meanings which refer to the physiologically visual color, black and white, the representative colors of human conceptual universals about night and day (Wierzbicka 1996, Goddard 1998). Via different ICM mechanisms (Kövecses and Radden 1998), the three languages develop diverse metonymic extensions. Besides, through the general metaphor ABSTRACT QUALITY IS PHYSICAL QUALITY (Goatly 2011), numerous attributes are conceptualized through the visual color black or white in metaphorical extensions. Some metaphorical extensions are universal across the three languages; some are language-specific because of cultural roots, fixed constructions or language borrowing. Idiosyncratic examples include arbitrary items and proverbial expressions. We also use Kövecses’ (2005) cultural factors in metaphor to observe the cross-cultural and within-culture dimensions. For the cross-cultural dimension, in terms of the source domain of color black or white among the three languages, TM develops the most prolific metaphorical extensions of color terms, TH has the least versatile generations, and the development of TSM color terms is in between. The complexity of TM color terms is closely related to the vivacity of cultural, economic or technological developments in that language. From the most primitive opposite of darkness and brightness, color terms of black and white also distinctively contrast with each other. The negative meanings of color terms black are proportionally dominant whereas the meanings of color terms white are mostly non-negative. Furthermore, color terms black and white reveal some evident oppositions in the metaphorical extensions such as mystery and clarity, viciousness and innocence and illegality and legality.