楊宗耀. / 論文 (哲學碩士)--香港中文大學, 1999. / 參考文獻 (leaves 262-271). / 附中英文摘要. / Yang Zongyao. / Lun wen (zhe xue shuo shi)-- Xianggang Zhong wen da xue, 1999. / Can kao wen xian (leaves 262-271). / Fu Zhong Ying wen zhai yao. / 敘例 / Chapter 第一章 --- 序言 --- p.1-4 / Chapter 第二章 --- 《道德經》帝王注疏的特色 --- p.5-14 / Chapter 第三章 --- 《御註》與《御疏》的成書背景 / Chapter 3.1. --- 老學思想在唐朝初年的發展 --- p.15-8 / Chapter 3.2. --- 唐玄宗的得位與道士的交結 --- p.19-26 / Chapter 3.3. --- 唐玄宗宣揚《老子》的政策 --- p.27-30 / Chapter 3.4. --- 小結 --- p.31 / Chapter 第四章 --- 《御註》與《御疏》的著者及年代商榷 / Chapter 4.1. --- 《御註》與《御疏》的撰者及寫作年代 / Chapter 4.1.1. --- 《御註》的撰者及寫作年代 --- p.32-43 / Chapter 4.1.2. --- 《御疏》的撰者及寫作年代 --- p.44-47 / Chapter 4.2. --- 《御註》爲策試所用本子的探討 --- p.48-59 / Chapter 4.3. --- 小結 --- p.60 / Chapter 第五章 --- 《御註》與《御疏》版本硏究 / Chapter 5.1. --- 《御註》與《御疏》版本分述 --- p.61-65 / Chapter 5.2. --- 《御註》、《御疏》與河上公本、王弼本及《老子指歸》本 《道德經》的異同 --- p.66-77 / Chapter 5.3. --- 小結 --- p.78 / Chapter 第六章 --- 《御註》與《御疏》的體例 / Chapter 6.1. --- 《御註》與《御疏》分卷狀況 / Chapter 6.1.1 --- 《唐玄宗御註道德真經》的分卷狀況 --- p.79-80 / Chapter 6.1.2 --- 《唐玄宗御製道德真經疏》的分卷狀況 --- p.80-85 / Chapter 6.2. --- 《御註》與《御疏》的篇章名稱 --- p.86-92 / Chapter 6.3. --- 《御註》與《御疏》的序文 --- p.93-104 / Chapter 6.4 . --- 《御註》與《御疏》的注疏形式 / Chapter 6.4.1. --- 《御註》與《御疏》釋文用語 --- p.105-112 / Chapter 6.4.2. --- 《御註》與《御疏》的經文分句比較 --- p.113-116 / Chapter 6.4.3. --- 《御註》與《御疏》引用典籍硏究 --- p.117-127 / Chapter 6.5. --- 小結 --- p.128-129 / Chapter 第七章 --- 《御註》與《御疏》的思想內容 / Chapter 7.1. --- 援佛釋老的理念 --- p.130-148 / Chapter 7.2. --- 妙本論 --- p.149-154 / Chapter 7.3. --- 無爲論 --- p.155-162 / Chapter 7.4. --- 論兵之道 --- p.163-173 / Chapter 7.5. --- 權術與權道 --- p.174-182 / Chapter 7.6. --- 小結 --- p.183 / Chapter 第八章 --- 《御註》與《御疏》對後世老學著作的影響 / Chapter 8.1. --- 玄宗注疏對帝王老學著述的影響 --- p.184 / Chapter 8.1.1. --- 《宋徽宗御解道德真經》 --- p.184-200 / Chapter 8.1.2. --- 《大明太祖高皇帝御註道德真經》 --- p.201-213 / Chapter 8.1.3. --- 小結 --- p.214-214 / Chapter 8.2. --- 玄宗注疏對文人老學著述的影響 / Chapter 8.2.1. --- 杜光庭《道德真經廣聖義》 --- p.215-228 / Chapter 8.2.2. --- 李約《道德真經新註》 --- p.229-239 / Chapter 8.2.3. --- 蘇轍《老子解》 --- p.240-248 / Chapter 8.2.4. --- 小結 --- p.249-250 / Chapter 第九章 --- 總結 / 附錄 --- p.254-261 / 參考書目 --- p.262-271

陳薇嬌 = A study of Li Po's poems of parting / Chan Mei Kew. / 論文(哲學碩士) -- 香港中文大學硏究院中國語言及文學學部,1995. / 參考文獻: leaves 286-300. / Chen Weijiao = A study of Li Po's poems of parting / Chan Mei Kew. / Chapter 第壹章 --- 緖言 --- p.1 / Chapter 第貳章 --- 送別詩淵源 --- p.10 / Chapter 一、 --- 先秦至盛唐送別詩概述 (10) / Chapter 二、 --- 中國送别詩共同特徵 (19) / Chapter 第叁章 --- 李白送別詩簡述 --- p.33 / Chapter 一、 --- 定義與數量 （33) / Chapter 二、 --- 體裁 (35) / Chapter 三、 --- 對象 （37) / Chapter 四、 --- 去處 （44) / Chapter 五、 --- 季節 (46) / Chapter 第肆章 --- 李白送別詩的主題內涵´ؤ´ؤ --- p.52 / Chapter 一、 --- 惜別深情（52) / Chapter 二、 --- 人生嗟嘆 （72) / Chapter 三、 --- 事功祝福 （77) / Chapter 四、 --- 失意寬慰 (83) / Chapter 五、 --- 逐臣怨憤 (89) / Chapter 六、 --- 歸隱企慕 (98) / Chapter 七、 --- 山水描繪 （107) / Chapter 八、 --- 人物勾勒 (116) / Chapter 第伍章 --- 李白送别詩的藝術手法´ؤ´ؤ --- p.136 / Chapter 一、 --- 送別環境氣氛之醞釀 (136) / Chapter 1. --- 選擇風景（137) / Chapter 2. --- 點染色彩（145) / Chapter 3. --- 調配音聲（152) / Chapter 4. --- 設計畫面（158) / Chapter 二、 --- 行子居人情緖之抒發 (163) / Chapter 1. --- 營造意象（164) / Chapter 2. --- 運用典故(188) / Chapter 3. --- 直抒胸臆（202) / Chapter 4. --- 駕馭想象（205) / Chapter 5. --- 遺措字句（212) / Chapter 第陸章 --- 結語-李白送別詩的 特色、成就與評價 --- p.255 / Chapter 一、 --- 李白送別詩的特色與成就 （255) / Chapter 二、 --- 李白送別詩的評價 (266) / 附錄一：李白送別詩總目 --- p.275 / 附錄二 ：主要參考書目 --- p.286 / Chapter 甲： --- 專書 (286) / Chapter 乙： --- 論文 （296)

本文考察佛教瑜伽中觀派系統內之刹那滅。此考察主要以寂護（Śāntarakita）之《攝真實》(Tattvasagraha)第八章「恆常的存在物之考察」（sthirabhāva-parikā）為文本根據，並以花戒（Kamalaśīla）之《疏》(Tattvasagraha-pañjikā)為輔助。刹那滅主張存在物只在一刹那中存在，能持續存在至下刹那。實在者（realist）如正派（Nyāya）、勝派（Vaiśeika）等以共相、本體等恆常的存在物，視為其他事物存在背後的基礎。他們認為本體能持續存在至下刹那，能關係於下刹那的存在物，把其產生或滅。按此，存在物必須透過被原因「產生」的形式生起，其滅也必須由其自身以外的原因造成，否則它能一直存在。如取實在者對存在物的解，刹那滅被推翻。筆者認為刹那滅之所以成有三點（1）被產生的存在物皆以「滅」為本性、（2）存在物是以即時產生結果的形式存在、（3）前刹那與後刹那的存在物以必然伴隨的（necessary concomitant）關係互相依待，後刹那的果並非由前刹那的因「生出」。本文旨在分析及探討上述的證。筆者以支持寂護的場闡釋，嘗試以回應反對者的批評，證存在者只有「被產生的」和「刹那的」存在物，所謂能持續存在的存在物，實際上並存在。筆者並進一步澄清，瑜伽中觀派系統內的刹那的存在物並非獨存在，其必然伴隨的關係也違反佛教的緣起觀。此以因果關係為概建構的主張，也能與中觀的世俗諦同時成。 / The present study is an examination of the Buddhist Yogācāra-Madhyamaka argument for momentariness in the sthirabhāvaparīkā chapter of Śāntarakita’s Tattvasagraha with reference to Kamalaśīla’s Tattvasagraha-pañjikā. The theory of momentariness holds that produced things only exist within one moment; they do not exist before or after. Realists such as Nyāya and Vaiśeika, on the other hand, regard universal, substance, and permanent existents alike as the basis of the existence of things. Since these existents can persist in the next moment, things in the next moment are considered to be produced or destroyed by them through the means of relation. For this reason, the realists hold that things must exist through production. The destruction of these things must also be produced. As the cause of destruction exists apart from these things, the latter will persist if the former is not present. The theory of momentariness will be refuted if this realist conception of existence is accepted. / The present study seeks to argue for the theory of momentariness with the following: (1) whatever is produced takes “destruction as its nature; (2) whatever exists produces its effect immediately in the same moment; (3) existents in the former moment and those in the latter moment are related to each other through a relation of necessary concomitance; they are not related through a causal relation in which the effect is produced out from the cause. The conclusion of the argument of this study is that whatever exists must be produced and momentary; the non-produced or the non-momentary things, which are considered to be persistent by the opponents, in fact have no existence. This study also points out that momentary existents under the Yogācāra-Madhyamaka system do not exist independently. Their necessary concomitant relation does not violate the Buddhist doctrine of dependent origination. And as the theory of momentariness considers causal relation conceptually constructed, this theory is also compatible with Madhyamika’s conventional truth. / Detailed summary in vernacular field only. / 方麗欣. / "2012年10月". / "2012 nian 10 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 94-99). / Abstract in Chinese and English. / Fang Lixin. / Chapter 第一章 --- 引言 --- p.7 / Chapter 第一部份 --- 基本問題 --- p.7 / Chapter 第二部份 --- 存在物與刹那 --- p.9 / Chapter 第三部份 --- 本文重點 --- p.13 / Chapter 第四部份 --- 研究方法 --- p.17 / Chapter 第二章 --- 「被產生的」存在物以「滅」為本性 --- p.18 / Chapter 第一部份 --- 正理派對「滅」的理解 --- p.19 / Chapter 第二部份 --- 以「滅」為本性 --- p.21 / Chapter 第三部份 --- 「被產生的」存在物之必然滅 --- p.23 / Chapter 第四部份 --- 「他因」不能產生「被產生的」存在物之滅 --- p.25 / Chapter 第一節 --- 滅為「非實非不實」 / Chapter 第二節 --- 滅的時間性 / Chapter 第三章 --- 「存在」即有「即時的因果效力」 --- p.39 / Chapter 第一部份 --- 反對者之存在的標準及其理論困難 --- p.41 / Chapter 第二部份 --- 以因果效力作為存在的標準 --- p.46 / Chapter 第一節 --- 因果效力之雙重意義 / Chapter 第二節 --- 因果效力與現量的關係 / Chapter 第三部份 --- 「不是被產生的」存在物沒有因果效力 --- p.55 / Chapter 第四章 --- 存在物間的關係 --- p.64 / Chapter 第一部份 --- 刹那的存在物與「變化」 --- p.66 / Chapter 第二部份 --- Yogasena的批評從中觀立場出發 --- p.70 / Chapter 第一節 --- 《中論》對刹那滅學說的批評 / Chapter 第二節 --- Yogasena的批評 / Chapter 第三節 --- Yogasena之批評的影響 / Chapter 第三部份 --- 回應 --- p.78 / Chapter 第一節 --- Yogasena對《攝》中刹那滅理論的誤解 / Chapter 第二節 --- 中觀並不否定存在物為刹那滅 / Chapter 第五章 --- 結論 --- p.89 / 略號及參考書目 --- p.94

本文研究的主題是後期印度佛教哲學中關於外部對象是否實在的爭論。主要依據妙護（Śubhagupta）的《成立外部對象論》（Bāhyārthasiddhikārikā)和寂護（Śāntarakita）及其弟子蓮華戒（Kamalaśīla）《攝真實論疏》第23品〈考察外部對象〉兩本文獻。 / 原子論和直接知覺論是妙護素樸實在論的兩大基石。原子是外部對象存在的實體要素，而直接知覺論則為如何認識外部對象提供知識論上的依據。原子是構成外部對象的不可見、不可再分的最小實體，當眾多同種類原子聚集在一起時，它們由於實體性的能力而凝聚成為可認知的「粗大」對象。另一方面，認識的本性是「識別」，就是主體（識）直接認知外部對象。認識本身並不具有對象的形象，只是當認識發生時，它就獲得了與外部對象一致的形象。妙護的知覺論蘊含了外部對象與認識之間確定的因果關係。他以為，對象（原因）與識（結果）必須是兩個不同的東西，結果不能以自身為原因而產生。所以，認識活動一定是以自己之外的其他對象作為原因，後者既是令識生起的條件，同時也給予了識自己的形象。妙護認為「效果作用的一致性」是判斷真知覺與幻覺的標準。所謂「一致性」是指認識通過形象獲得外部對象以及認識對象具有與外部對象一致的特定功能。 / 寂護從觀念論和懷疑論的角度批判妙護的理論並不能證成外部對象的存在。他說，妙護也同意感官體驗直接知覺到的不是原子，而是「粗大」的對象；但他又不能從理論上自洽地解釋單個、無部分的原子是如何過渡到成爲有部分（即空間性）的知覺對象。其次，妙護的直接知覺論也無法證明外部對象與認識之間具有必然的因果聯係。因爲，假如認識的形象原來就不存在，那麽外部對象其實是與認識完全分離的東西，形象既不是令識生起的實體，也不能夠對認識產生實際的作用。換句話說，對象與認識之間不曾發生實質性的關聯。寂護以為認識的本質就是自我意識，如同光的明照性一般，它不是主體（識）去認知對象的二元模式，也不依賴任何外部對象而存在；認識活動中效果作用的一致性則可以通過認識的自我相續來解釋。 / In the present thesis, I discuss a debate on the reality of external objects in late Indian Buddhist philosophy. I focus on two texts, one is "The Establishment of External Objects (Bāhyārthasiddhikārikā)" written by Śubhagupta, the other is a chapter named as "The Examination of The External Objects (Bahirarthaparīkā)" in "Commentary on The Summary of Truth (Tattvasagrahapañjikā)" written by Śāntarakita and his disciple Kamalaśīla. / Śubhagupta’s point of view can be regarded as the naive realism. He thinks that external objects are constituted by the aggregation of atoms which are the ontological substances. An individual atom is invisible and without parts. Thus, atoms cannot become the cognitive objects until they are aggregated together as a gross because of the power of substance. The gross arouses the form of blue etc. in cognition which is formless in nature. Although the form of blue is not real, it is based on the real substance and consistent with external objects. The characteristic of cognition is to grasp external objects directly. According to Śubhagupta, cognition cannot be produced by itself; it must be aroused by other things, just like sprouts cannot be produced by themselves but by the seeds in reality. External object served as a cause should be satisfied with two conditions: it is a real substance which has real capacity and a real perceivable object. Based on this theory, Śubhagupta believes that the existence of the external objects is a standard to distinguish the perception from the hallucination such as a dream, because the object of perception must be consistent with the external object. The consistency means that external object is acquired by the cognition and the cognitive object has the definite function according to a real object. / On the stand point of idealism and skepticism, Śāntarakita argues that the gross of atoms should not have shape as well, because the atoms are without parts in nature. Moreover, if the cognitive forms only come from external objects which are material substances, then cognition cannot recognize anything; because the matter and the cognition are totally different entities and cognition itself is formless in nature. Śāntarakita argues that if a form in cognition is not real at all, it will neither be a substance to arouse the cognition nor have the power to make effects on cognition. That is to say, the external objects cannot be the causes of cognition, because there is not causal relationship between them. Thus, the cognitive objects should not coincide with external objects which have not been established yet. The consistency of definite function of objects will be explained by the continuity of our own consciousness. Śāntarakita believes that the cognition in nature is self-cognizing, just like a light illuminates itself. The cognitive form and the cognition are definitely perceived together as one entity. They are not separated from each other. Thus, the cognition itself does not rely on any causality such as the relationship between the grasping and grasped aspects. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 茅宇凡. / Parallel title from added title page. / Thesis (Ph.D.) Chinese University of Hong Kong, 2015. / Includes bibliographical references (leaves 143-157). / Abstracts in English and Chinese. / Mao Yufan.

The objective of this study is to determine hydrate formation conditions of a multicomponent polymer based drilling fluid. During the study, experimental work is carried out by using a system that contains a high-pressure hydrate formation cell and pressure-temperature data is recorded in each experiment. Different concentrations of four components of drilling fluid, namely potassium chloride (KCl), partially hydrolyzed polyacrylicamide (PHPA), xanthan gum (XCD) and polyalkylene glycol (poly.glycol) were used in the experiments, to study their effect on hydrate formation conditions.

In this study, the structure sensitivity of hydrogen, oxygen and carbon monoxide adsorption was investigated by changing the metal particle size of Pt/Al2O3 catalysts. 2 % Pt/Al2O3 catalysts were prepared by incipient wetness method / the particle size of the catalysts was manipulated by calcining at different temperatures. The dispersion values for the catalysts calcined in air at 683K, 773K and 823K were measured as 0.62, 0.20 and 0.03 respectively. The differential heats of adsorption of hydrogen, carbon monoxide and oxygen were measured using a SETARAM C80 Tian-Calvet calorimeter. No structure dependency was observed for hydrogen, carbon monoxide or oxygen initial heats of adsorption. The adsorbate:metal stoichiometries at saturation systematically decreased with increasing particle size. Hydrogen chemisorption sites with low and intermediate heats were lost when the particle size increased. On the other hand, oxygen and carbon monoxide initial heats and adsorption site energy distributions did not change appreciably with the metal particle size.

The aim of this experimental study is to investigate the inhibitive properties of polyglycol and polyglycol+KCl aqueous solutions on hydrate formation, which causes serious fluid flow problems, especially during deepwater drilling operations. As the petroleum industry continues to search oil in deeper and deeper seas, the possibility of facing hydrate problems during drilling operations increases because of the suitable conditions for hydrate formation. The main goal of this study is to investigate the hydrate inhibition capacity (thermodynamic and/or kinetic inhibition) of polyglycol and KCl which are mainly used in drilling fluids for shale inhibition and wellbore stability. A high pressure hydrate forming reactor is used to form and dissociate methane hydrate from aqueous solutions of polyglycol and polyglycol+KCl. In total 10 experiments were carried out, 5 of them with 0%, 1%, 3%, 5% and 7 % by volume of polyglycol solutions (Group-A experiments). The remaining 5 experiments (Group-B) had 8% by weight of KCl in solution in addition to the same polyglycol concentrations of Group-A experiments. Among the two chemicals tested for their hydrate inhibiting potentials, polyglycol did not exhibit any thermodynamic inhibition capacity while KCl was observed to have the ability of hydrate inhibition thermodynamically. On the other hand, increase in polyglycol concentration at constant KCl concentration (Group-B) increases the hydrate formation depression capacity of KCl. Polyglycol inhibits methane hydrate formation kinetically. The higher the polyglycol concentration in aqueous solution, the lower is the initial rate of methane hydrate formation (corresponding to first 15 minutes of hydrate formation). On the other hand, there exists a slower change of methane hydrate formation rate as polyglycol concentration increases.

Au début des années 1970, en France, la science-fiction constituée en subculture connaît son moment contre-culturel, à la croisée des médias et des revendications en légitimité, avec le long métrage d’animation de Laloux (La Planète sauvage, 1973), les revues de bandes dessinées « adultes » (Métal hurlant, 1975, notamment Mœbius et Bilal) et la politisation de l’écriture du genre qui se positionne par rapport à l’héritage des expériences formelles de la New Wave et à l’idéologie contestataire de Mai 68 (Andrevon, Les Hommes-machines contre Gandahar, 1969). Trente ans plus tard, dans le contexte de la révolution multimédia qui fait converger jeu vidéo, cinéma à effets spéciaux et animation de synthèse, les novellisations de Bordage tirées d’un jeu vidéo (Atlantis, 1998) et d’un dessin animé en 3D (Kaena, 2003) interrogent les rapports encore assez étanches entre littérature de science-fiction et nouveaux médias en France, à l’aube du régime numérique de consommation des fictions de masse. À partir de ce domaine et de cette période d’étude, cette thèse envisage l’intermédialité dans la science-fiction française comme construction historique et discursive produite par les acteurs, lieu de négociation des représentations du genre et de ses conflits de définition, par rapport au domaine américain, à la question industrielle et à la figure de l’auteur. Elle en identifie trois moments historiques, en comprenant le terme moment dans son sens temporel de « durée » comme dans son sens physique de « mesure d’une dynamique en synchronie ». Ce parcours historique des formes et des discours de l’intermédialité dégage les lignes évolutives du « macro-texte » français (Bréan), en montrant comment il se positionne par rapport aux logiques du « mega-text » (Broderick). Il conduit, dans un deuxième temps, à interroger comment les romans, les bandes dessinées, les dessins animés, les films et les jeux vidéo font science-fiction par rapport à cet ancrage culturel, du point de vue sémiotique, cognitif et narratif. Les modalités sémiotiques de l’effet-SF sont clarifiées par la distinction entre étrangetés de monde (novums) et étrangetés de forme (estrangement), toutes deux dépendantes de déterminations architextuelles médiatiques et génériques. La relecture des propositions de Suvin permet ainsi de construire une grille d’analyse intermédiatique de la poétique culturelle du genre. Le novum visuel fait l’objet d’une enquête spécifique, pour être ensuite confronté aux leviers verbaux de l’étrangeté et pour envisager une intersémiotique narrative du genre dans les médias plurisémiotiques (bande dessinée, cinéma, animation, jeu vidéo). Le troisième temps de la thèse fait passer au niveau des mondes, pour considérer l’articulation des étrangetés non plus dans une œuvre, mais entre des œuvres de médias différents ayant en partage une même fiction. En discutant notamment le concept de transfictionnalité (Saint-Gelais) et les travaux de Besson et de Letourneux sur les univers fictionnels contemporains massivement transmédiatiques, on distingue quatre dynamiques intermédiatiques de construction de monde (monde à bâtir, monde à varier, monde en hélice et monde à jouer). Il s’agit de cibler la spécificité du biotope français en matière d’« effet-monde » science-fictionnel, mais aussi de proposer des modèles utiles à l’analyse d’autres réalités culturelles. / At the beginning of the 1970s, in France, science fiction subculture engages in its countercultural moment. Contestations and claims of legitimacy come from different media: Laloux defends a national, artisanal and engaged conception of animation (La Planète sauvage, 1973), French “bande dessinée” shows new aesthetic and graphic ambitions in magazines referring to themselves as “adult” (Metal hurlant, 1975, with a special focus on Mœbius and Bilal), and literary science fiction becomes more and more politicised, confronted to the legacy of the British New Wave and to the ideology born with Mai 68 (Andrevon, Les Hommes-machines contre Gandahar, 1969). Thirty years later, the “multimedia revolution” implies a technical and cultural convergence between videogames, hyperrealistic special effects in cinema, and 3D computer generated animation movies. In this context, the novelizations of Pierre Bordage (Atlantis, 1998, adapted from an adventure video game by Cryo Interactive, and Kaena, 2003, from a European 3D digital animation movie) question the still rare interactions between literature and “new media” in French science fiction, at the turning point of the 2000s and as we move into the digital moment of existence of popular fictions. Considering this area and this period of time, this thesis examines intermediality in French science fiction as a historical and rhetorical construction, used by the actors to promote certain representations of the genre and to take position in conflicts about generic definition, especially regarding the relations with American productions, the industrial question, and the place of the author. I identify three moments of intermediality in French science fiction during that period of time (1973-2003). I consider the term moment in its temporal sense (a duration) and in its physical one (a synchronic measure of a dynamic phenomenon). This historical analysis of intermediality’s forms and discourses shows how the French « macro-texte » (Bréan) evolves in regard to the global « mega-text » of the genre (Broderick). This leads to study secondly what I call the « SF-effect », in relation with that historical and cultural context, from a semiotic, cognitive and narrative point of view. I engage in clarifying semiotic modalities of the SF-effect by considering relations between novum (a strange diegetic reality) and estrangement (a strange formal device), both depending on media and generic architextual determinants. Discussing the famous theory of Suvin, I propose an intermedial analytical framework of the cultural poetics of science fiction. Visual SF-effect is specifically investigated, and then confronted to the verbal estrangement figures, leading to a narrative intersemiotic approach of science fiction “texts” (in a broad meaning) when they are produced by media using different systems of signs. Finally, I consider the problem of world building and how novums and estrangements intersect in productions from different media when these productions share the same fictional world. I discuss the concept of transfictionality forged by Saint-Gelais and the propositions of Besson and Letourneux about massively transmedial contemporary fictional worlds. I distinguish four intermedial “world-effects” (worlds to be built, worlds to be diversify, helical worlds, worlds to be played) in the specific French biotope of the genre, which may also offer helpful support to analyse other cultural and generic phenomena.

萬曆四十七年（1619），會稽文人王驥德（1540-1622）刊印出版了《元人古雜劇二十種》（或稱《古雜劇》），該書彙集元代雜劇20篇，并配有精美的版畫插圖，《唐明皇秋夜梧桐雨》即為其中的第17篇。 / 作為晚明徽派版畫風格的典型例證，顧曲齋所刊《唐明皇秋夜梧桐雨》中的4幅版畫插圖，可與明代中晚期蘇州地區職業畫家的人物故事畫作品進行比勘。筆者基於比對結果，運用圖像學理論，提出徽派版畫系仇英風格人物畫在版畫中餘續的假說。不僅如此，白樸(1226-1306後)《唐明皇秋夜梧桐雨》這一劇目本身即包含著明皇故事的文學創作傳統，且與之對應的明皇题材故事畫作亦廣受歡迎。尤其在明代，明皇題材故事畫與蘇州地區的商業創作緊密相關，為版畫的創稿提供了豐富的圖像資源。 / 最後，筆者通過對顧曲齋本《唐明皇秋夜梧桐雨》圖文關係及刊刻者王驥德個人經歷的考察，證實《古雜劇》的商品屬性及刊刻者所掌握的圖像資源。最終解答版畫史上關於徽派版畫風格來源問題：版畫繪刻者深受仇英人物畫風格的影響，或直接對部份畫作進行圖像挪用。同時亦說明在晚明江南，文人積極參與商業活動為文學與藝術兩個領域所帶來的雅俗標準的變更。 / In the 47th year of Wan-li, Wang Jide (1540-1622), a literatus in Guiji County, published the anthology of Yuan comedies named Guzaju in his personal printing house Guquzhai. In this book, he compiled 20 plays written in the Yuan dynasty with beautiful book illustrations. Rain on the Phoenix Tree was the 17th play in this book. / The illustrations for Rain on the Phoenix Tree in Guzaju were good examples for “Hui School of woodblock prints. Compared these woodcuts with those in the same style and paintings existing in the same period, I argued that the “Hui School of woodblock prints actually followed the style of narrative paintings made by Qiu Ying. Moreover, the story of the Tang emperor Minghuang has become a popular theme in the field of both Chinese literature and painting. Those traditions not only contributed to the birth of Bai Pu’s (1226-1306) comedy Rain on the Phoenix Tree, but also prided fruitful paintings as patterns for the professional painters like Qiu Ying. Since Qiu’s work prevailed the painting market in Jiangnan, thousands of narrative paintings including the theme of emperor Minghuang followed Qiu’s style. These paintings acted as commercial products as well as pictorial drafts for the engravers in late Ming. / Finally, the form of Guzaju and Wang Jide’s publication activities both showed that Wang, as owner of Guquzhai, aimed to use the illustrations to cater to the market and he did conversely get the pictorial resources from the market. Besides, the booming commercial trade of paintings in Jiangnan helped us finally get the answer for the origin of “Hui School of woodblock prints as well as showing the transformation of art criteria in the late Ming dynasty. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 賴妮. / "2013年7月". / "2013 nian 7 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 86-95). / Abstract in Chinese and English. / Lai Ni. / 致謝 / 論文摘要 --- p.i / 緒論 --- p.1 / Chapter 第一章 --- 顧曲齋刊《古雜劇·唐明皇秋夜梧桐雨》插圖的風格來源 --- p.6 / Chapter 第一節 --- 顧曲齋刊《古雜劇·唐明皇秋夜梧桐雨》插圖的風格來源問題 --- p.7 / Chapter 第二節 --- 顧曲齋刊《古雜劇·唐明皇秋夜梧桐雨》插圖風格來源試探 --- p.10 / 小結 --- p.25 / Chapter 第二章 --- 《唐明皇秋夜梧桐雨》的圖文傳統 --- p.27 / Chapter 第一節 --- 白樸《唐明皇秋夜梧桐雨》的故事來源 --- p.27 / Chapter 第二節 --- 明皇題材繪畫作品的特點 --- p.35 / Chapter 第三節 --- 人物故事畫傳統中的明皇故事圖 --- p.40 / Chapter 第四節 --- 明皇故事畫在明代江南地區的流傳與創作 --- p.47 / 小結 --- p.50 / Chapter 第三章 --- 《古雜劇·唐明皇秋夜梧桐雨》的刊刻背景 --- p.53 / Chapter 第一節 --- 顧曲齋刊《古雜劇》的商品屬性 --- p.54 / Chapter 第二節 --- 流通的私藏·雅化的俗曲 --- p.59 / Chapter 第三節 --- “棄儒就賈與通俗文化生產 --- p.67 / 結論 --- p.74 / 附表1 --- p.77 / 附表2 --- p.82 / 附表3 --- p.83 / 附表4 --- p.85 / 參考書目 --- p.86 / 圖版目錄 --- p.95 / 圖版 --- p.105

張惠玲. / "二〇〇八年十一月". / "2008 nian 11 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (leaves 97-105). / Abstracts in Chinese and English. / Zhang Huiling. / Chapter 第一章 --- 引言 --- p.1 / Chapter 第一節 --- 選題意義 --- p.1 / Chapter 第二節 --- 前人硏究成果 --- p.2 / Chapter 第三節 --- 本文硏究範圍及方法 --- p.2 / Chapter 第二章 --- 現存元明清李白戲作品敘錄 --- p.4 / Chapter 第一節 --- 王伯成《李太白眨夜郎》 --- p.8 / Chapter 第二節 --- 屠隆《綵毫記》 --- p.9 / Chapter 第三節 --- 尤侗《清平調》 --- p.10 / Chapter 第四節 --- 張韜《李翰林醉草清平調》 --- p.11 / Chapter 第五節 --- 楊潮觀《賀蘭山謫仙贈帶》 --- p.12 / Chapter 第六節 --- 蔣士銓《采石磯》 --- p.13 / Chapter 第三章 --- 元明清李白戲中相同關目之源流及發展梳理 --- p.15 / Chapter 第一節 --- 生應長庚 --- p.16 / Chapter 第二節 --- 謫仙人 --- p.18 / Chapter 第三節 --- 醉草〈清平調〉 --- p.24 / Chapter 第四節 --- 力士脫靴 --- p.26 / Chapter 第五節 --- 貴妃捧硯 --- p.28 / Chapter 第六節 --- 起草「嚇蠻書」 --- p.34 / Chapter 第七節 --- 賞識郭子儀 --- p.36 / Chapter 第八節 --- 逝世 --- p.38 / Chapter 第九節 --- 小結 --- p.39 / Chapter 第四章 --- 元明清李白戲中李白形象硏究 --- p.40 / Chapter 第一節 --- 李白戲中李白形象之共性分析 --- p.40 / Chapter 甲、 --- 歷劫紅塵的仙人形象 --- p.40 / Chapter 乙、 --- 傲岸疏狂的才子形象 --- p.42 / Chapter 丙、 --- 深識遠慮的忠臣形象 --- p.46 / Chapter 丁、 --- 飄然出世的隱士形象 --- p.49 / Chapter 第二節 --- 李白戲中李白形象之殊性分析 --- p.52 / Chapter 甲、 --- 元代李白戲 --- p.52 / Chapter 乙、 --- 明代李白戲 --- p.54 / Chapter 丙、 --- 清代李白戲 --- p.55 / Chapter 丁、 --- 小結 --- p.62 / Chapter 第五章 --- 元明清李白戲之鋪演與作家、時代之關係 --- p.64 / Chapter 第一節 --- 高壓政治下的王伯成 --- p.64 / Chapter 第二節 --- 自況雪冤的屠隆 --- p.66 / Chapter 第三節 --- 蹭蹬場屋的尤侗 --- p.71 / Chapter 第四節 --- 無限牢騷的張韜 --- p.79 / Chapter 第五節 --- 以古賢自期的楊潮觀 --- p.80 / Chapter 第六節 --- 以曲爲教化的蔣士銓 --- p.83 / Chapter 第七節 --- 小結 --- p.88 / Chapter 第六章 --- 餘論：現存唯一能演出之崑劇李白戲´ؤ´ؤ〈太白醉寫〉 --- p.91 / Chapter 第七章 --- 結論 --- p.96 / 參考書目 --- p.97