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Troubadour style painting first appeared at the Paris Salon in the opening years of the Nineteenth century. After its initial success during the reign of Napoleon, it continued to fiourish in the period of the Bourbon Restoration. Of small scale and primarily devoted to the representation of anecdotal scenes from the lives of the great French monarchs of the Middle Ages and the Renaissance periods, troubadour style painting evoked nationalist and patriotic sentiments. This analysis of its socio-political foundations in the Napoleonic period reveals an implicit royalist message, particularly in the works of Pierre Revoil and Fleury Richard, the two leading practitioners of this type of painting.

This dissertation examines the representations of the body in the completed dramatic works of Heinrich von Kleist (1777--1811). While taking into account the psychoanalytical and philosophical approaches to Kleist, this project has Heiner Miller's words as its point of departure: that the theater represents the collision of ideas with the body. The forces of power, gender and authority leave their traces of this collision on the bodies of his characters, whose metaphorical and literal falls, wounds and recoveries speak their own gestural language. / This study is organized on the principle of Kleist's use of genre designation, the approximate chronological order of his plays, and the representation of the body. Chapter one focuses on Die Familie Schroffenstein, Der zerbrochne Krug, and Amphitryon and the notion of bodily authenticity and integrity; chapter two, on Die Hermannsschlacht and Penthesilea, looks at the spectacle of violence and its effect on the body mobilized by emotional extremity; the third chapter, on Kleist's most celebrated works, Prinz Friedrich von Homburg and Das Kathchen von Heilbronn, examines aspects of gender and vulnerability. The conclusion views his essay "Uber das Marionettentheater" not as a key to understanding his works, but rather as a culmination of them, and investigates Kleist's writing on the wounded body and its connection to grace.

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Thèse : Littérature : München : 1981. / Originally presented as the author's thesis (doctoral)--Ludwig-Maximilians-Universität München, 1981. Index.

鄭宗義. / 論文(博士) -- 香港中文大學哲學學部, 1995. / 參考文献 : leaves 178-187. / Zheng Zongyi. / 序論一一寫在哲學與思想史之間 --- p.I / Chapter 第一章： --- 形上與形下之間的緊張´ؤ´ؤ明末王學的再省察 --- p.1 / Chapter 一、 --- 引言：宋明儒家的形上與形下世界 --- p.1 / Chapter 二、 --- 内聖層面的緊張：玄虛而蕩與情識而肆 --- p.8 / Chapter 三、 --- 東林的救正與學風的變動 --- p.21 / Chapter 四、 --- 外王層面的緊張：儒學、亡天下與综當代之務 --- p.31 / Chapter 第二章： --- 心學系統内的救正 --- p.38 / Chapter 一、 --- 引言：廣義的王學者 --- p.38 / Chapter 二、 --- 劉蕺山誠意愼獨之敎及其在思想史上的意義 --- p.42 / Chapter 三、 --- 黄宗羲一心萬殊思想的發展與完成 --- p.62 / Chapter 四、 --- 附論孫夏峰與李二曲 --- p.83 / Chapter 第三章： --- 心學系統外的救正 --- p.98 / Chapter 一、 --- 引言：朱子學的再興 --- p.98 / Chapter 二、 --- 明末清初朱子學的三種型態及其消長 --- p.101 / Chapter 三、 --- 附論反宋明儒思潮 --- p.134 / Chapter 第四章： --- 明清儒學的轉型 --- p.151 / Chapter 一、 --- 引言：形上心靈的萎縮 --- p.151 / Chapter 二、 --- 經世、考證與達情遂欲哲學 --- p.153 / Chapter 三、 --- 附論「實學」的實義 --- p.160 / Chapter 第五章： --- 達情遂欲哲學衡論 --- p.162 / Chapter 一、 --- 引論 --- p.162 / Chapter 二、 --- 分論一：陳乾初 --- p.165 / Chapter 三、 --- 分論二 ：戴東原 --- p.170 / 參考資料 --- p.178

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