在魏晉玄學史中，常會提到阮籍、嵇康兩人，但若仔細玩味，嵇阮二人的玄思實不如王弼和郭象，尤其是阮籍，學者們給他的評價紛歧不一，更值得探討。多數學者已能看透阮籍「非毀禮教」的「姿態」，體會到他何以要標舉自然、批判名教的「本心」；大部份的學者都從時代背景及政治環境來解釋阮籍「非毀禮教」的無奈及苦心，這個解析方向是正確的，阮籍的確是面對魏晉之交的亂世，內心激憤而故作怪態。不過，除了社會政治等外在因素，阮籍何以標舉自然、批判名教，應有其思想脈絡可探索。本文即打算以阮籍的文章為主要研究對象，從中釐清阮籍的思想脈絡，並希望藉此，能瞭解他的思想，在玄學史上所代表的意義。既然以阮籍的自然與名教思想為主要探究內容，本文首章便先討論「自然」與「名教」之衝突與會通，以期瞭解在阮籍之前，玄學家們對「自然」與「名教」這個課題所做的努力。第二章、第三章探究阮籍的名教觀。由於阮籍的前後期思想明顯不同，所以學者們對於他的儒道性格頗有爭議，第二章擬由阮籍早期的＜通易論＞、＜樂論＞及晚期＜大人先生傳＞等文章為主，來探討阮籍對名教看法的轉變。第三章則試圖說明阮籍的思想，其實無法以先儒後道、先老後莊或儒道互補等說法來強加歸類。阮籍前後思想的轉折，自有脈絡可尋。早期阮籍對名教 抱持肯定的態度，但是他因為自己的個性及整個時代思潮的關係，就像子貢、荀子一樣，雖崇信孔子思想，但卻無法體會仁心德性的精微妙義，由是，才會有晚期「非毀禮教」的行為出現。第四章、第五章探討阮籍的自然觀。藉由剖析〈大人先生傳〉、〈達莊論〉的思想，可以發現阮籍的自然觀，和《莊子》外、雜篇的關係十分密切。阮籍以「自然」為天地萬物的體性，發展到郭象則成為「自生論」；阮籍特別強調「萬物一體」的思想，但比起《莊子》，阮籍所嚮往的只是一分原始的混沌和諧，而這種嚮慕原始純樸的想法，到了郭象，便發展成「性分自足」的理論了。此外，藉由阮籍的自然觀，也可看出道家思想在魏晉時代的演變 軌跡。最後一章則是對阮籍的思想做個總結，並期盼透過前幾章的剖析，明白阮籍所扮演的過渡角色，仍具有他的特殊意義。 / /

This thesis examines the theme of gender and power relationships in the works of Ding Ling (1904-1986) and Zhang Ailing (1920-1995), focusing particularly on two novels: Ding Ling’s The Sun Shines over the Sanggan River (1948) and Zhang Ailing’s The Rice-Sprout Song (1954). Through this examination, this thesis demonstrates the critiques by these authors of the CCP and its policies which, while ostensibly guaranteeing equality to women, in actuality do nothing more than reinscribe traditional Confucian gender values. This thesis situates these novels historically, and places them into the context of the author’s other writings. The analysis focuses on three main aspects of these two novels: violence, repression of women’s desire, and female sexuality. Through a close reading informed by a feminist approach to gender relationships, this thesis demonstrates the startling similarities in the critiques of Ding Ling and Zhang Ailing, despite the writers’ different political ideologies and situations in regard to the CCP.

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This dissertation examines how modern literature in China, Japan, Korea, and Taiwan in the late-nineteenth to the early-twentieth centuries was practiced within contexts of these countries' deeply interrelated literary traditions. Premodern East Asian literatures developed out of a millennia-long history of dynamic intra-regional cultural communication, particularly mediated by classical Chinese, the shared traditional literary language of the region. Despite this transnational history, modern East Asian literatures have thus far been examined predominantly as distinct national processes. Challenging this conventional approach, my dissertation focuses on the translational and intertextual relationships among literary works from China, Japan, Korea, and Taiwan, and argues that these countries' writers and critics, while transculturating modern Western aesthetics, actively engaged with the East Asian cultural tradition in heterogeneous ways in their creations of modern literature. I claim that this transnational tradition was fundamentally involved in the formation of national literary identities, and that it enabled East Asian literati to envision alternative forms of modern civilization beyond national particularity. The dissertation is divided into three parts according to the region's changing linguistic conditions. Part I, "Proto-Nationalisms in Exile, 1880s-1910s," studies the Chinese literatus Liang Qichao's interrupted translation and adaptations of a Japanese political novel by the ex-samurai writer Shiba Shiro and the Korean translation and adaptations of Liang Qichao's political literature by the historian Sin Ch'aeho. While these writers created in transitional pre-vernacular styles directly deriving from classical Chinese, authors examined in Part II, "Modernism as Self-Criticism, 1900s-1930s," wrote in newly invented literary vernaculars. This part considers the critical essays and the modernist aesthetics of fiction by Lu Xun, Yi Kwangsu, and Natsume Soseki, founding figures of modern national literature in China, Korea, and Japan, respectively. Part III, "Transcolonial Resistances, 1930s-40s," addresses the wartime period, when the Japanese Empire exploited the regional civilizational tradition to fabricate the rhetoric of the legitimacy of its colonial rule. This part especially explores the semicolonial Chinese writer Zhou Zuoren, and the colonial Korean and Taiwanese writers Kim Saryang and Long Yingzong, who leveraged that same civilizational tradition and the critiques thereof, in order to deconstruct Japanese cultural imperialism outside of nationalist discourses. / East Asian Languages and Civilizations

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This dissertation investigates roles of cultural practice in China’s revolution. It begins with cultural experiments in the War of Resistance to Japan (1937-1945) and culminates with the agrarian cooperativization of the People’s Republic of China in the 1950s. I interrogate how China’s “cultural workers” –– meaning the writers, performers, artists, and filmmakers engaged in the revolutionary project –– participated in mass mobilization. In doing so, I develop elements for a new approach to analyzing cultural works in their relations to political movements. This approach aims to address my study’s driving question: how did the practice of cultural workers advance, challenge, and transform China’s revolutionary process? My formal approach is drawn from an issue at the heart of revolution; namely, that of time. I argue that revolutionaries repeatedly wrestled with remaking time–– whether to and how to break with the past in constructing the future. My study investigates this problematic as it was developed in two temporal fields: campaign time and narrative time. Activists developed campaign time, or standardizing temporal structures, to reform society through sequences of mass mobilization. Distinct from campaign time, cultural workers articulated narrative time through acts of narrative creation in literary prose, theater, art, and cinema. I argue that by analyzing the collisions, collusions, and contradictions between campaign time and narrative time, we can define cultural workers’ interventions in the revolutionary process. The first four chapters focus on the historical emergence of campaign time through mass movements of the Communist base areas during the War of Resistance to Japan. I seek to demonstrate: first, that a coherent series of strategies for mass movements was developed, bearing consistent, repeatable patterns for social reorganization; and second, that cultural workers contributed to, contradicted, and at key moments innovated mass movements through expressions of narrative time. Each of these four chapters proceeds chronologically through major mass movements: the reform of “vagrants” in chapter one; family reforms and women’s labor in chapter two; the hygiene movement in chapter three; and chapter four takes up the anti-spirit medium movement. Chapter five argues that the narrative time of novels stretched the political imagination of campaign time in the scope of the agrarian cooperative movement (approx. 1953-1957). The sixth and final chapter focuses on the case of Liu Qing’s unfinished epic The Builders. I interrogate fraught relations between narrative and campaign times in the novel’s historical trajectory to foreground a problem I call campaign-narrative equivalence. When cultural narratives were conflated with historical movements, such equivalences were produced. The campaign-narrative equivalence is not only a problem for historical interpretation but also for the political imagination. By disentangling these equivalences, which have been grafted upon histories of cultural creation and political transformation, I seek to grasp the distinctive contributions and transformative valence of the cultural worker in China’s revolution –– for then and now.

本論文共一冊，約九萬字，分為七章二十節，內容如下： 第一章為緒論，說明研究動機與目的；研究名稱與範圍。第二章為背景說明，追溯民 族思想的由來，探索西方文化的影響，並敘述晚清文學的變遷。第三章探討革明文學 產生的緣起，由革命的涵義、性質，革命思潮的激璗，革命文藝的勃興三方面來加以 考察。四、五、六章為作家分論，以章太炎、陳天華、秋瑾三家為對象，首先考辨他 們的生平，獻身革命的經過，與革命的淵源，及對革命的貢獻；中則探究其革命思想 、主張與理想，最後分析歸納其文學作品之特色與風格。第七章為結論，檢討革命文 學的貢獻、特色、影響。本論文以歷史人物與文學作品並重，探討其思想與貢獻，反 映其人格與風格。希望瞭解晚清革命文學之實況，並補文學史之不足。

馬驌生當晚明空疏 與乾嘉考據之間，自其著述所存者〔左傳事緯〕與〔繹史〕觀之，馬氏之為學也以深植跟基為本，以博稽紹籍為務，故其所長在史料之蒐集考定與夫編撰之獨創也．方虛談之際能務實學，先考信之興而辨載記，由是之馬氏之難能也．第以其性內歛而少發揚，其著作長於編纂而少議論，故易為人所用而不名，此不能不為之太息也． 觀其一生，不尚虛文而重實學，其出仕也以民生疾苦為念，其治學也，唯編整故籍是務．自朱明以來，學者多侈談心性，廢書不觀，即或讀書，亦不脫舉業二字；而先生獨致力於載籍之編纂，顧亭林、閻百詩嘗撐道之．然風氣寖假，後世多以著作為高，視考索為小道，先生之業，遂末而不彰．夫讀書根基不立，徒以成一家言是尚，躐等以來，其可乎哉？善乎高亨之言曰：「今人多勤於著述而懶於讀書，樂於譚虛而苦於索貫」，博學務貫，蓋馬氏之所事，發潛德之幽光，此本論文之所由作也． 本文計分七章：一．生平事蹟，探討馬驌之身世親族、科第官績及交游等，並附行年表；二．著述，討論馬驌之著述包括〔左傳事緯〕、〔繹史〕、〔鄒平縣志〕、〔十三代瑰書〕等之撰作經過與刊刻存佚，並敘述現存之版本，其著錄有誤者且為釐正；三．經學，分就〔詩〕、〔書〕、〔禮〕、〔春秋〕四部份觀察馬驌在經學方面之特識與成績；四、史學料，依據〔繹史〕引述書目及徵採情況討論馬驌在史料蒐集考辨評價上之功力；五、歷史編纂學，就〔左傳事緯〕與〔繹史〕之編輯，肯定馬驌之成就；六、歷史批評，輯錄馬驌關於知人論世之文字，以見其史識；七、結論，就馬驌著作本身之成就與其後承襲其體製、論據之情形，評估馬驌在學術史上之地位．文末並附主要參考書目． 關於馬驌生平資料，頗為缺乏．最早為康熙十二年施閏章所撰之〔靈璧縣知縣馬公墓志銘〕，論其著作，則有王士禎〔分甘餘話〕關於〔繹史〕板入內府者一則，〔四庫提要〕二則（〔左傳事緯〕、〔繹史〕）．其後有關著作，多不脫此範圍，如〔國朝耆獻類徵初篇〕卷二一八、〔國朝先生事略〕卷三二、〔清史稿〕卷四八七、〔清史略傳〕卷六八（語甚簡略）等．本文以〔墓志銘〕為基礎，復收採方志所載，參以時人文集筆記，撰成生平事略一章，大致有關馬氏之生平者，已盡萃於斯矣．其所以不厭其詳，多事援引者，益無徵不信也．因或証或考，資料繁瑣，為便徵引參稽，故此章特採用綱目體，以清端緒；其所不知，益付闕如，亦聞疑傳疑，聞信傳信之義也． 由於資料之缺軼，故年譜無所依憑而作，僅能就其可考徵者作為行年表，庶乎聞旋歌而知雅意耳． 對於馬驌學術之討論，主要依據〔左傳事緯〕與〔繹史〕，就其所徵引史料與考定編纂，分別義例，條析縷舉，以見馬氏之非率意作者．凡所徵引，〔事緯〕據光緒四年潘霨刻本，〔繹史〕據光緒十五年金匱氏刻本，以其通行且亦尚稱可用，其有疑義，並分別以原刊本參校．

本論文討論王維詩與佛教的關係，可分兩條路線進行：一就王維本身與佛門接觸的情 形，探討王維的佛教思想及因而產生的影響，一就歷代詩史中王維地位升降的問題， 探討王維的悟禪與能詩間的關係，以及取得詩佛地位的過程，其要點可歸結於「詩的 純粹性」一義上，再由此義以探討王維詩風之特色。 首章論王維的生平傳略，次章為王維集之版本考，三章論王維之佛教思想，四章論王 維在中國詩史中的地位，五章論王維詩作之特色，最後則以結語扼要綜述本文之主要 觀點。