首章緒論凡分二節，乃略釋諸宮調之異稱及前人研究之概況；第二章諸宮調之淵源 及其發展，亦分二節，乃略述宋以前講唱文學之演變及諸宮調史略；第三章為現存 諸宮調考述，乃就現今所可見之各諸宮調加以考述，且就今僅存目之諸宮調加以研 究；第四章為諸宮調之體製，計分六節，乃就引辭、分章、講唱方式、宮調之使用 、曲調之使用、用韻等諸項剖析諸宮調之體製，末章為結論，乃探就諸宮調消失之 原因，宋金元諸宮調之異同、諸宮調於吾國文學史上之地位等諸端也，以倉促為文 之故，疏漏或所難免，而修訂則唯俟諸來日矣。

張養浩為元代名臣，不僅道德事功為當時人所景仰，即詩文亦卓然可傳，若「雲莊 樂府」則其散曲之作也，論者以為格調高朗，乃元人散曲所罕有。本論文即就此數 端予以綜合整理。首章四節，分由家世與幼少年華、仕官、歸田、被召再起，論述 其生平行誼，尤重思想、襟懷之探討，以資作品研究之張本。次章著作考述，據史 志書目記載及現存本子詳考其詩文及其他作品之版本、內容，共四節。三章專論雲 莊樂府，先就各散曲總集與選集加以輯校，然後考調、定律，並按內容分類、賞析 。四章考查雲莊樂府對於後世散曲作家之影響，並綜合各家評語，論斷張養浩在散 曲史上應有之地位。總計四章十五節，約七萬字。

第一章緒論，先就歷史發展，概述張衡偉大貢獻及其承先啟後之地位，然後考述其 時代背景，就政治情勢、社會經濟、學術思想各端探討之，為解析張衡行誼及其作 品之張本。 第二章張衡評傳。分鄉里先世，年譜生平，著作發明，學殖人品等方面逐一考證而 論述之。 第三章張衡辭賦分篇研究。就其現存之辭賦逐篇探討其問題，解析其內容，尋繹其 流脈，評述其特色，衡量其價值。 第四章張衡辭賦韻譜分析，取其辭賦韻字，分別部居，旨在深究其體製形貌，探討 其用韻之習慣及特質，以明東漢之音韻，以及南陽方音之影響，進而提供探究作品 真偽之依據。 第五章張衡辭賦綜合研究。就其現存之辭賦加以綜合歸納，以明其組織之技巧，修 辭之運用，論其內質與外象之特色，以概見其成就。

第一章 王昌齡之生平 第一節 傳略附行年考 第二節 交遊 第二章 王昌齡詩格遺文考辨 第一節 詩格一書及其名稱之考正 第二節 詩格遺文考訂 第三章 王昌齡詩格之著述背景 第一節 詩格著述之興盛 第二節 文學理論之發展 第四章 王昌齡詩論之基本觀與其淵源 第一節 王昌齡詩論之基本觀 第二節 王昌齡詩論之淵源 第五章 王昌齡之創作論 第一節 創作原理論 第二節 創作方法論 第六章 王昌齡之鑑賞論 第一節 文質並重 第二節 作詩重直尋 第三節 以用神為高 第七章 王昌齡詩論對後世之影響 結 語

本論文為一綜合性之研究，共一冊，約八萬餘字，計分六章： 第一章：明末復社幾社與台灣之關係。敘述明末反清復明社盟運動對台灣之影響， 並考究台灣詩社之淵源。 第二章：台灣詩社之發展及其分佈狀況。蒐羅清代、日據時代台灣之詩社，依地區 分佈及時代先後，列述各社之簡史與特色。 第三章：創立詩社之動機。綜合探討各詩社之創立動機，就國人創立者與日僑創立 者分論。 第四章：詩社之活動。 第五章：愛國詩人之作品。敘述乙未割台後，社中詩人之史詩。 第六章：結論。評論詩社之時代價值。

第一章 尤侗之生平。又分五節，第一節：家世，敘其家世。第二節：妻室，介紹 其妻暨婚姻情感。第三節：子弟，介紹其直系子弟，見其持家。第四節： 生平，敘其生平概況。第五節：年譜，系以一簡單年譜。 第二章 尤侗之交遊。又分三節，第一節：序其初年所與文社之友成「社盟之友」 。第二節：探其遊宦所交之友，成「仕宦之友」。第三節：闡述退隱林下 ，詩詞酬唱之友，成「詩詞之友」。 第三章 尤侗之作品。又分六節，第一節：序言，列今所見尤侗作品。第二節：文 章，探討其散文駢文。第三節：詩，探討其詩。第四節：詞，探討其詞。 第五節：曲，探討其散曲、雜劇、傳奇。第六節：文學意見，歸納其文學 批評。 第四章 結論。又分三節，第一節：序言，述當世文壇概況。第二節：作品風格地 位，研究尤侗作品在文壇中所居位置。第三節：總結，論尤侗身後名衰原 因，及其應有之特色。 本論文冀就前述章節，討論尤侗有多少特質？他又如何在作品中表現，乃至為何這 樣表現。 本論文亦試圖就尤侗之交遊，回溯及清初江南文學社會。

世界上各國家、各民族，都有其獨特的神話。 那神話，是其國家，其民族之從原始時代以來的文化與思想之產物。以神話，研究 各國、各民族原初時代之文化與思想，而比較研究，因人類精神之共通性產生的類 似神話，以為深有意義，因此寫本論文。 本論文共五章，六萬字以上。首章論上古之神話，分四節：（一）兩國上古神話之 特色；（二）神市與神樹；（三）Totemism；（四）不死觀念。次章論堯、舜、禹 ，三代神話與三國神話，分二節：（一）誕生問題；（二）神事。三章論兩國神話 上之女神之考察，分二節：（一）神之性格；（二）與女神有關之諸問題。五章論 死亡神話及鬼之神話，分三節：（一）再生問題；（二）鬼之考察；（三）巫俗之 考察。四章論自然神話，分三節：（一）日月神話；（二）龍神話；（三）植物神 話。

第一章緒論，始則考溯古文名稱之緣起；其次探究自退之倡為古文而後，古文之演 變小史；後則以湘鄉古文之定名作結。 第二章桐城派之文論，梗概敘述清初學術環境，次而條述桐城三祖文論，繼言乾嘉 時代，乃至乾嘉以後古文發展之趨向。 第三章湘鄉人物列傳，述湘鄉派之祖文正公暨其幕僚門弟吳擊甫、張廉卿、薛庸奄 、黎□齋四徒之生平事蹟。 第四章湘鄉派之文學觀，分基本論、體裁論、方法論、批評論四者，詳以探析。 第五章始於湘鄉派之文風作整體性之批評，並列舉個人數篇作品，一一評其特色； 繼述新舊文學論戰與古文式微之大略。

This project explores Japan’s complex literary and cultural negotiation with China from the twelfth through the sixteenth centuries, focusing on the role of intermediary texts (dictionaries, encyclopedias, and commentaries) and the different modes of receiving and constructing Chinese culture depending on historical periods and scholarly lineages. As the larger process by which Chinese history and literature became part of the Japanese literary culture has long been studied on the assumption that there is direct textual continuity between Japanese texts (in literary Sinitic) and Chinese continental texts, the tracking down of citations, allusion, and references to Chinese source texts has commanded great scholarly attention. Yet this assumption obscures other, equally important histories – such as a popular understanding of Chinese culture, or a conceptual perception of Chinese culture, that was NOT based on direct textual continuity – that lies at the heart of this project. The introduction outlines three modes of receiving and constructing Chinese literary culture in pre-modern japan. One was the text-based, canonical view of Chinese history and literature, which relied almost exclusively on texts and genres that were canonized in the Nara and Heian periods state university (daigakuryō) – Confucian classics, Chinese official dynastic histories, and Chinese poetry. In contrast with it was a more popular, name-based understanding of Chinese culture that emerged from various intermediary genres (such as anecdotal literature, dictionaries, encyclopedias, and commentaries) both in China and in Japan. This mode of reception and construction was not based on texts so much as on what I call “cultural signs” (particularly Chinese names, well-known anecdotes, and visual cues) and required no knowledge of the original literary Sinitic. Third was a conceptual, term-based perception, manifested in such concepts as “loyalty” and “filial piety.” Written in the same kanji characters, these terms served as common threads linking Chinese and Japanese literary writings on the one hand, but also took on new meanings and associations in the Japanese cultural imagination. Chapter 1 outlines the importation of Chinese books and manuscripts in relation to the center of scholarship and the main intellectual groups up until the twelfth century. Drawing on evidence from commentaries on the Wakan rōeishū (The Collection of Japanese and Chinese Poems for Recitation, 1013) and from The Tales of China (Kara monogatari, late Heian period) on the themes of exile and loyalty, I discuss the rising interests in referencing anecdotal literature and compiling intermediaries (dictionaries, encyclopedias, and commentaries) in the twelfth century that eventually contributed to the formation of a more popular, name-based understanding of Chinese history and literature. Chapter 2 investigates the Japanese medieval interpretations of Chinese official histories (“Chūsei Shiki”), which features a tension and negotiation between the canonical and the non-canonical texts and gravitates towards recurring themes, character types, and core values. In particular, I look into the themes of wisdom, virtue, loyalty, and filial piety in A Miscellany of Ten Maxims (Jikkinshō, 1252) and The Tales of the Heike (Heike monogatari, ca. 1308-1311), which were largely constructed from a relatively more classical, Tang-based perspective, in despite of the fact that Chinese Song dynasty culture had already been imported to Japan along with the introduction of Chinese Chan (J. Zen) Buddhism in the thirteenth through fourteenth centuries. In Chapter 3, I examine the Taiheiki (A Chronicle of Great Peace, 1340s-1371), a unique text that acts as a nexus for many themes of this project. Analyzing the use of Chinese tales, maxims and proverbs, and poetry in relation to the themes of loyalty, wisdom, righteousness, and filial piety, I show that, unlike The Tales of the Heike, the Taiheiki revealed a thriving concern with the Song culture, which involved new editions, new commentaries, and new poetic theory. I also show that a conceptual, term-based perception of Chinese culture was taking shape. Chapter 4 explores the suddenly intensified scholarly exchange among different intellectual groups – the Zen monks, the Shintō priests, warriors, and court aristocrats – in the fifteenth through sixteenth centuries. Tracing the threads of new books and new theories in Kiyohara Nobukata’s lecture notes on the Mōgyū (Inquiry of the Youth), The Twenty-Four Filial Exemplars, and the picture scroll (emaki) of the Xianyang Palace, I discuss the expansion of knowledge and audience from priests and aristocrats to influential military families and wealthy commoners in late medieval Japan, the formation of new imaginations regarding Chinese history and literature, and the final transition from a pro-Tang prospective to a Song-centered understanding of China. In conclusion, I argue for the literary and cultural reception and construction of Chinese culture as not only a large and complex source text, in a long history of Sino-Japanese intertextuality, but as a complex cultural construction that was packaged and modified, sometimes for easy consumption, to reinforce key values (such as loyalty and filial piety), and that was readily identified even by those with limited access to literary Sinitic. By illustrating the processes by which Chinese history and literature were largely filtered through and transmitted by intermediaries into medieval Japanese literary culture, this project provides a new history of the reception of Chinese culture in the Japanese literary imagination.

University of Macau / Faculty of Arts and Humanities. / Department of English