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In der vorliegenden Arbeit wird gezeigt, wie der Dichter der zweiten Hälfte des neunzehnten Jahrhunderts geistig in eine Isolierung gerät, die es ihm nicht mehr erlaubt, sittliche Werte der Vergangenheit unbesehen hinzunehmen; er muβ sie vielmehr untersuchen und sich gegebenenfalls neue Werte schaffen. Für Storm bedeutet dies die bewuβte Lösung vom christlichen Glauben, der in einigen Novellen als Zeichen menschlicher Unreife bewertet und überwunden wird. An die Stelle der verlorenen göttlichen Liebe tritt die menschliche, an die Stelle der menschlichen Abhängigkeit von Gott tritt die Suche nach dem Mitmenschen, die gegenseitige Abhängigkeit durch das Band der Liebe. Die Ehe verleiht einem solchen Bund Ausschlieβlichkeit, Dauer und Tiefe; sie schenkt dem Menschen einen Halt im Leben. Nur auf diesem Fundament kann sich die Familie gründen und erhalten. In der Familie findet der Einzelne den zeitlichen Anschluβ an Vergangenheit und Zukunft, reicht damit über die Begrenzung der eigenen Lebenszeit hinaus. Hat der Mensch im Rahmen der Ehe und der Familie einen organisch gegründeten Platz gefunden, dann darf und soll er sich im Geist der Nächstenliebe seiner Umwelt tätig annehmen. Hier, wie in der Ehe, reift der Mensch zur vollwertigen Persönlichkeit, wenn er sich ohne Vorbehalt dem andern gibt, auch wenn die Umwelt nicht zu dem gleichen Dienst bereit ist. Storm gibt für das sittliche Bemühen des Menschen, für dessen Suchen nach einem organisch-harmonisch bestimmten Platz nur einen Grund: Alles geschieht, damit das Leben an sich erhalten bleibe und gefördert werde. Die Ewigkeit ist dem Menschen verlorengegangen, da heiβt es, die einem zur Verfügung stehende Lebensspanne auszuweiten, einmal durch den Kontakt zura Mitmenschen, zum an-deren durch die Verbindung im Rahmen der Familie zur Vergangenheit und zur Zukunft. Das Leben an sich wird zum höchsten sittlichen Wert, alle anderen Werte, einschlieβlich der Liebe, finden nur in ihrer lebenserhaltenden Funktion einen positiv-ethischen Gehalt. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

This study of Jane Austen's six novels examines the relationship of comedy and education. Austen carefully constructs two kinds of comedy in her novels: surface comedy derived from inaccurate perceptions and conceptions of the world, and deep comedy, the vital rhythm of growth which is elaborated as growing love and self-awareness. All six novels develop complex relationships between reason, emotion, imagination, aesthetics and ethics. In Northanger Abbey, Catherine Morland, victimized by the sterile surface comedy of artificial social conventions and her Gothic fantasy, an artificial aesthetic convention, moves toward a recognition of the deep comedy and vitality which her love for Henry Tilney inspires. Marianne Dashwood in Sense and Sensibility perceives and judges the superficialities of life and reacts in an emotional and picturesque fashion, while her sister, Elinor, in love with Edward Ferrars, cannot give surface expression to her emotions. Each sister is educated through tragicomic experiences to the demands of both views of life. Elizabeth Bennett and Darcy, victims of the prevailing social delusion of objectification in Pride and Prejudice, gradually develop a sense of the deeper values in life through expanded aesthetic sensibility and mutual affection. Fanny Price in Mansfield Park possesses deep feelings for Edmund Bertram but must learn to be independent and give her emotions sincere expression in a society deluded by false ceremony. Emma presents surface comedy as a product of Emma's attempt to superimpose her imagined life-patterns on a benevolent world. Educated by sympathy and her attachment to Mr. Knightley, Emma recognises the world below Highbury's glittering surface and the necessity for maintaining society's existing structures. In Persuasion, Anne Elliot achieves surface expression and the capacity to act as Wentworth, a victim of society's delusions of fixed social place, comes to realize the depth of Anne's emotion. Jane Austen's novels portray a complex picture of education through the interaction of surface and deep comedy. / Arts, Faculty of / English, Department of / Graduate

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陳鱣（1753－1817）乃乾嘉時期著名的校勘學家、藏書家。陳鱣精於經學，特別尊崇鄭玄；又通小學訓詁，尤好《說文》。陳鱣撰有《禮記集說參訂》，乃其《禮》學方面的重要著作。元明兩代，士子研習《禮記》，必讀元代陳澔《禮記集說》。惜《集說》過於顯淺，且以理學釋經，鄭《注》、孔《疏》删節甚多，頗為學者詬病。清代《禮》學復興，時人研習《禮記》，一方面以名物考證，補元代陳澔《禮記集說》疏漏之失；一方面以小學訓詁入手，推崇鄭《注》，參考眾說，還以《禮》經之舊。《禮記集說參訂》既補正《集說》，又取宗鄭玄，體現了清代研習《禮記》的主要風尚。本文先總結清代《禮記》學的學術背景及陳鱣的學術興趣及交誼等作，再對《禮記集說參訂》作出具體的介紹，並由陳鱣引用鄭《注》訓釋《禮記》的情況及其對鄭《注》的態度，評價《參訂》引用鄭《注》的得失及其對清代《禮記》研究的價值。 / Chen Zhan (1752-1817) was a prominent emendator and bibliophile in Qianlong-Jiaqing period of the Qing Dynasty. Expert in the study of Confucian classics, Chen particularly held Zheng Xuan in high esteem. Chen also processed a good knowledge of philological studies and semasiology, wherewith he had a liking of Shouwen jiezi. As for his scholarly pursuits, Liji jishuo canding was his important work in the study of Liji. In the earlier Yuan and Ming Dynasties, all scholars engaging in the Liji studies read Liji jishuo, which was completed in the Yuan Dynasty by Chen Hao. This work, however, not only lacks sophistication but also bases its interpretation on the school of Neo-Confucianism .It was heavily criticized in the academia for its substantial deletion of Zheng Xuan’s commentary and Kong Yingda’s annotation. Later in the Qing Dynasty saw the revival of the study of Liji. Relying on the textual research that rectified the omissions in Chen Hao’s work. It was also carried out by means of philological studies and semasiology. In this regards, Zheng Xuan’s commentary was held in high regards, and references was made from various sources to return Liji to its original form. Therefore, Liji jishuo canding was not only a supplement to Liji jishuo, but also a return to Zheng Xuan, a prevailing fashion in the Liji studies of the Qing Dynasty. This paper concludes the background of study of Liji in the Qing Dynasty, the research interests of Chen Zhen as well as his academic-networking with numbers of renowned scholars. A brief introduction of Liji jishuo canding will be included. How Chen Zhan’s cited Zheng Xuan’s commentary to explain and interpret Liji and what attitude he had towards Zheng’s commentary will also be taken in to account.It also evaluates the merits and faults of Chen Zhan’s citation of Zheng commentary and how valuable Liji jishuo canding is towards the study of Liji in the Qing Dynasty. / Detailed summary in vernacular field only. / 伍佩琦. / Parallel title from English abstract. / Thesis (M.Phil.) Chinese University of Hong Kong, 2015. / Includes bibliographical references (leaves 68-74). / Abstracts also in English. / Wu Peiqi.

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Jane Austen has been called an artist and a moralist. Few attempts have been made, however, to illustrate how she combines the artist and the moralist in her novels. In the light of modern critical thinking, especially, which tends to isolate the function of art from that of morality, Jane Austen's works seem to demand elucidation. [...]

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