本論文旨在探討十九世紀上半葉俄國文學中哥德傳統的影響與流變。哥德體作為一種文學體裁，最初發源於十八世紀的英國，在十九世紀初傳入俄國。哥德體充滿幻想性，探討人性善惡和細膩的心理描寫等元素，皆對俄國文學產生了深遠的影響。因此，本文主要舉出十九世紀上半葉俄國文學中深受西方哥德小說影響的代表作家及作品，透過分析文本蘊含的哥德元素，探討哥德體對十九世紀上半葉俄國文學的影響，以及此一體裁在俄國的發展與演變。 緒論一章主要提出研究動機、研究目的、文獻回顧、研究途徑與方法、研究限制及研究框架，並加以說明。本論部分共分五章：第一章探討西方的哥德體傳統；第二章詳述哥德體進入俄國的文化背景，討論十八世紀至十九世紀上半葉，俄國哥德文學的發展概況；第三章討論馬林斯基（А. А. Бестужев-Марлинский, 1797-1837）與「歷史哥德小說」的演變，分析其代表作〈裝甲騎士〉（Латник, 1831）蘊含的哥德元素與作家的革新處；第四章討論普希金（А. С. Пушкин, 1799-1837）與「諧擬哥德小說」的演變，以〈棺材商人〉（Гробовщик, 1830）與〈黑桃皇后〉（Пиковая Дама, 1834）為分析文本，探討其中的諧擬哥德元素與背後的社會意識；第五章以哥德文學傳統角度出發，分析果戈理（Н. В. Гоголь, 1809-1852）《迪坎卡近鄉夜話》（Вечера на хуторе близ Диканьки, 1831-1832）與《彼得堡故事集》（Петербургские повести）中的幻想元素；結論歸納哥德體進入俄國後的發展、演變與作家脈絡。

本論文主要探討二十世紀舊禮儀派作家諾索夫的自傳性筆記《異象》所呈現出的東正教信仰核心—神秘性與保守性。藉由文化學與宗教現象學兩研究途徑的結合，對作品如何呈現這兩特性做一探討。並藉由作品揭發信仰中神秘性與保守性，了解東正教的精神文化的價值，不論在信仰團體中，或是個人精神靈魂的提升，都佔有重要性。本論文也提供俄國舊禮儀派歷史、文化、與精神生活的初步研究成果。

自先秦《詩經》成了四言體裁集大成作品之後，討論者眾，繁華過盡，後世以四言體裁為研究對象者遂寡，使得四言體裁成為詩歌學術討論相對較缺乏關愛之一環，甚為可惜。晉代摯虞與梁代劉勰不約而同界定四言體裁詩歌為「正體」，正體與四言詩的關係，在先秦《詩‧大序》僅約略可見「正」與「變」的對舉，在漢代以前則呈現正變不明的情況，四言體詩歌可以說是到了摯虞才正式被稱為「正體」。究竟四言體詩歌有何特殊風格與地位？詩論家何以將之標舉為「正體」？而此一「正體」說法，對於魏晉時期的四言詩又有什麼影響？本文透過南朝以前的詩歌論述與詩歌流變，進行詳細且深入的探討。 四言詩歌在魏晉時期與五言詩歌同時並存，其間的消長遂成為當時詩歌流變的脈絡。本文參酌以五言詩為對象進行之討論與其建立的魏晉時期五言詩歌譜系，透過對魏晉時期四言詩脈絡進行詳細歸納整理，並且藉由對四言詩歌作品完整且細密的分類，以嚴謹架構出當時四言詩歌的內在質素。此外，從類型由來與區分的探究中，進一步剖析四言詩之所以被形塑為「正體」依據的緣由，以深入探勘魏晉時期所闕漏的四言詩歌討論，希冀確立四言詩在詩歌史之定位。本研究並在四言詩歌類型的篩選與討論上，透過量化分析方式，藉由創作類型比例的高低作為另一客觀的討論基礎，同時依憑數據化的討論，揭示、呈現四言詩歌在魏晉時期完整且確然的狀態。 / In Jin and Liang Dynasties, Zhi Yu (摯虞) and Liu Xie (劉勰) both defined four-word poetry as " Zheng Ti" (Classical Form). Actually, the form of four-word poetry was called "Zheng Ti" until Zhi Yu. Why those critics called the four-word poetry with classical form? What could we figure out the special type and cultural level of "Zheng Ti"? And the thought of classical form compared what kind of imagination in the four-word poetry during Wei and Jin Dynasties? In this paper, the reasons why four-word poetry associated with "Zheng Ti" were discovered through the Southern Dynasties poetry discussion with variation in prosody. The four-word and five-word poetry both coexist in the Wei and Jin Dynasties. The growth and decline between the two forms composed of the poetry changed at that time. In this paper, the four-word poetry classifications system was established and the qualities were found through the researches about five-word poetry classifications and the system of five-word poetry in Wei and Jin Dynasties. Besides, the research through screening and discussion of four-word poetry, based on quantitative analysis, the proportion of every type in the classifications system from high to low could be an objective basis for discussion. Relied upon a discussion of the data, this paper will render the complete and mature condition of four-word poetry, and fill up the lake of discussion in four-word poetry history of positioning in Wei and Jin Dynasties.

本文是以調解案例從實體裁判從程序制度來觀察，探討如何有效銜接法院裁判與民事調解，有檢討法律規範之不夠週全處，亦有探求調解制度功能之不明處。惟不涉足地方派系涉不涉入調解委員會對其人事功能之影響，亦不考量其政治、社會或經濟利益之獲取效應。 期以鄉鎮市調解委員會成立伊始公斷說和、息紛止爭之初衷，輔以調解委員個案正義觸煤角色功能之發揮，切實扮演賦予當事人有優先選擇係爭程序利益（達成迅速而經濟之裁判）之機會，而不僅賦予當事人有優先選擇追求係爭實體利益（達成慎重而正確之裁判）之機會而已，最終能達成疏減法院訟源，提昇國人法治素質之理想目標 / This article is based on mediation cases to observe from entity verdicts and process systems, discusses how to effectively link courthouse verdicts and civil mediations, includes to discuss the incomprehensive parts of the legal regulations, and to discover the ambiguous parts of the comprehensive system, but neither involves with the affections whether the local factions would involve with the mediation committee regarding to the personnel functions, nor involve with acquisition affects of its politics, society or economic benefits. Hope to achieve the original intentions of establishing township mediation committees to arbitrate and reconcile, discontinue disputations , to help the mediation committee to develop its contactor functions on individual case justices, to actually play the role of giving the litigators the priority opportunity to choose procedural benefits (can complete quickly and economically), but not only giving the litigators the priority opportunity to choose substantive benefits (can achieve prudent and correct verdicts), finally can achieve to reduce the courthouse’s litigation sources, reach the goal of enhancing the quality of people’s rule of law.

「預兆」即為民間創作微體裁，作為語言中的固定格言，同時也是具勸諭性的完整句。它的存在相當根深柢固，因為人人皆有將時、事、已知與未知連結起來的心理需求，並希望獲知未來訊息、根據預測修正自己的行為。 近年來，民間創作微體裁引起俄羅斯與各國學者的興趣，並受到各流派的研究。大部份的民間創作體裁已逐漸消亡，其中包括壯士歌、童話與歷史歌曲等。但是作為話語體裁的民間預兆不同於上述創作，在現代俄羅斯語言文化學的地位仍極為穩固，Primeta.yaxy.ru、Primety.net等相關網站即可間接證明該論點。 本論文旨在研究民間預兆於俄語國家語料庫(НКРЯ)十八世紀末至二十一世紀初文學及政論作品中的語義與語用功能。學者的首要研究著重在天氣徵兆、與天氣息息相關的禮俗、產業、日子以及其他主題性的預兆。對與物品相關，且含有「錢」、「房屋、器具」、「食物」、「衣服、鞋、配飾」等意義關鍵成分的預兆研究相對少很多。因此，對它們的研究便顯得更加重要。

紐伯瑞獎為創設於1922年的美國兒童文學獎，每年頒發給最傑出的美國兒童圖書的文字作者。創設至今，培育出無數傑出作家及優秀作品。不唯為全美兒童文學獎項的權威，也是全世界相關領域的師法對象。本研究採取書目計量法，探索1922年到2015年美國紐伯瑞獎作者背景、作品體裁與題材分佈，並透過台灣NBINet及中國CALIS蒐集中譯本書目，以瞭解作品中譯本出版狀況。研究結果歸納如下，一、作者背景：(1)作者有279名，美國與紐約州出生者最多，女性是男性的2倍，平均壽命78.3歲；(2)集中在30到59歲首度獲獎；(3) 1次得獎者最多，Meindert DeJong及Laura Ingalls Wilder創下最高得獎次數5次。二、作品體裁與題材：(1)體裁最多的是小說、傳記、短篇；(2)題材最多的是歷史、現實、冒險。三、作品中譯本：(1)54%的作品有中譯本，最早的中譯本是1925年上海商務印書館《人類的故事》，由沈性仁譯自《The Story of Mankind》；(2)最多中譯出版社及譯者翻譯出版的是《The Story of Mankind》，中譯書名種類最多的是《The Voyages of Doctor Dolittle》；(3)作品的中譯出版社、中譯譯者、中譯書名三種數量高度相關；(4)中譯本與英文本平均出版時間間隔，繁體是17.95年、簡體是27.83年；(5)繁體中譯出版社有72家，主要出版社是智茂、東方。簡體中譯出版社有108家，主要出版社是新蕾、中國少年兒童、河北教育；(6)譯者有438組，主要譯者是趙永芬、鄒嘉容、趙映雪；(7)中譯出版社最青睞小說體裁，不青睞知識文藝及傳說體裁；(8)中譯出版社最青睞動物及現實題材，較不青睞神祇題材。 / The Newbery Award was named for eighteenth-century British bookseller John Newbery. It is awarded annually by the Association for Library Service to Children, a division of the American Library Association, to the author of the most distinguished contribution to American literature for children. Based on bibliometrics, this study explores the genres, subjects and author’s backgrounds of Newbery winners and honor books from 1922 to 2015. The study also collects bibliographic records retrieved mainly from NBINet and CALIS databases for the purpose of investigating overall publishing status of their Chinese translations. The results are summarized as follows. First,with regards to the authors’ backgrounds, it is observed that: (1)Among the 279 authors, those born in USA comprise the largest number. New York is the most common birthplace for these USA born authors. Moreover, female authors account for twice the number of male authors. Furthermore, the average life expectancy for the authors is 78.3 years; (2)The majority of these authors received the award between 30 and 59 years of age; (3)Most of the authors were awarded only once. Meindert DeJong and Laura Ingalls Wilder, having been awarded 5 times, hold the record for the most Newberys won. Second, with regards to the distribution of the genres and themes of these works, it is observed that: (1)In terms of genre, the majority of the works fall under fiction and nonfiction novels, biography and short story; (2)The subject of these works mostly center around history, realism and adventure. Third, regarding the publishing status of these works’ Chinese translations, it is observed that: (1)Chinese translations are available for 54 percent of the works. The first Chinese translation was “Ren Lei De Gu Shi” published by Shanghai Commercial Press in 1925, which was translated from "The Story of Mankind" by Shen Xing-Ren; (2)The works with the largest number of Chinese publishing houses, Chinese translators and Chinese titles are "The Story of Mankind", “The Story of Mankind" and "The Voyages of Doctor Dolittle" respectively; (3)The numbers of Chinese publishing houses, translators and Chinese titles of a book are highly correlated; (4)In terms of the average time interval between the publication of English original works and Chinese translations, it took an average of 17.95 years for a Traditional Chinese translation to be published, while a Simplified Chinese translation usually took 27.83 years; (5)The number of Traditional Chinese publishers is 72, with the major publishers being Wisdom World Publishing and Eastern Publishing Co.. The number of Simplified Chinese publishers is 108; major publishers include New Buds Publishing House, China Children Publishing House and Hebei Education Press; (6)There are 437 group of translators, among which ZhaoYong-Fen, Zou Jia-Rong and Zhao Ying-Xue are the main translators; (7)From the standpoint of genre, Chinese publishing houses prefer to publish translations for fiction and nonfiction novels, while nonfiction depiction of facts and works based on folk legends are less favored; from the perspective of subjects, Chinese publishing houses favor realism and works with animal-related, whereas works based on mythologies receive least attention from publishers.

第一章：緒論。論及正史列女傳之體裁、記述目的、列女入傳之採錄準則以及與劉向 列女傳之關係。 第二章：正史列女傳中之列女形象。分為家世、婚姻生活、經濟生活、社交生活、姿 儀與性情等項討論。 第三章：正史列女傳中之列女行誼。分為孝行、貞節、才行、忠勇義行、慈教母儀、 事夫持家等項討論。 第四章：正史列女傳中列女行誼之影響因素。分為文化背景、社會風氣、時代風尚、 朝廷獎勵、律法頒定等項討論。 第五章：正史列女傳中之神異感應。 第六章：正史列女傳中之人物取材與旁徵資料。 第七章：結論。（各正史列女傳之比較）。

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