This thesis focusses on contemporary China. It examines the role the dominant ideology plays in determining the kinds of texts and narratives that are translated for export as part of government-sponsored translation projects. The literary magazine Pathlight, launched as an instrument of Chinese cultural diplomacy, is at the centre of this research project. At the turn of the 21st century, the Chinese government stepped up its funding of cultural diplomacy activities in efforts to disseminate Chinese traditional culture and Chinese discourse internationally. This move was fuelled by mounting criticism and negative reporting from the Western mainstream media on China, and China’s declining image worldwide. As part of this, the Chinese government initiated a number of projects to enhance the country’s image and discursive power through cross-cultural exchanges and cultural diplomacy, and thus forge its own narrative on China in the international community (K. Zhao, 2016). Drawing upon notions of patronage and ideology from Lefevere’s rewriting theory and anchoring on previous research on similar translation projects, this study applies qualitative content analysis methods to pinpoint the recurring themes and narratives in the English translations exported in Pathlight from 2011 to 2019. It searches for links between these recurring themes and narratives and current Chinese mainstream ideology as expressed by “the Chinese dream.” The findings of this dissertation reveal that, although the dominant ideology in China does put certain limitations on what kinds of stories and narratives are selected for translation and export in government-sponsored translation projects, compared to years prior to the economic reforms of the 1980s, the variety of stories and narratives translated and exported has greatly increased. Arguably, this could be explained by the changes in the country’s dominant ideology over the past 30 years, and by how the Chinese government is turning to “softer” methods of control.

No final do século XII, Chrétien de Troyes considerado por muitos críticos o maior poeta francês da chamada Idade Média compõe um poema narrativo Yvain ou le Chevalier au Lion no qual se percebem elementos tidos como característicos do gênero maravilhoso, tais quais objetos mágicos e seres extraordinários, como monstros e gigantes. Esses elementos entre outros fatores levaram boa parte da crítica a enxergar na poesia medieval, durante muito tempo, uma certa ingenuidade, típica de uma infância da literatura. Rejeitando uma perspectiva evolucionista, o presente trabalho pretende olhar para esse texto antigo respeitando sua alteridade, mas, ao mesmo tempo, trazendo-o para o centro dos debates atuais relativos à literatura. Um olhar atento ao poema permite constatar a íntima relação entre o maravilhoso e o descritivo, a qual constitui o objeto deste estudo. Por meio da leitura do retrato de um camponês monstruoso tomado em sua textualidade, evitando-se uma separação artificial entre forma e conteúdo , promove-se um deslocamento do conceito de maravilhoso, não mais visto como conjunto de motivos, mas como um efeito provocado por operações discursivas. / At the end of the twelfth century, Chrétien de Troyes considered by many critics the greatest French poet of the so-called Middle Ages produced a narrative poem Yvain ou le Chevalier au Lion in which one perceives elements considered characteristic of the genre known as marvelous, such as magical objects and extraordinary beings, like monsters and giants. These elements among other factors led much of the criticism to see in medieval poetry, for a long time, some innocence, typical of a childhood of literature. Rejecting an evolutionary perspective, this study aims at looking at this ancient text respecting its otherness, but at the same time, bringing it to the center of current literature debates. A close look at the poem brings out the intimate relationship between the marvelous and the descriptive, main subject of the present study. Through the reading of the portrait of a monstrous peasant taken in its textuality, avoiding an artificial separation between form and content a shift is promoted in the concept of marvelous, no longer seen as a set of motifs, but as an effect of discursive operations.

No final do século XII, Chrétien de Troyes considerado por muitos críticos o maior poeta francês da chamada Idade Média compõe um poema narrativo Yvain ou le Chevalier au Lion no qual se percebem elementos tidos como característicos do gênero maravilhoso, tais quais objetos mágicos e seres extraordinários, como monstros e gigantes. Esses elementos entre outros fatores levaram boa parte da crítica a enxergar na poesia medieval, durante muito tempo, uma certa ingenuidade, típica de uma infância da literatura. Rejeitando uma perspectiva evolucionista, o presente trabalho pretende olhar para esse texto antigo respeitando sua alteridade, mas, ao mesmo tempo, trazendo-o para o centro dos debates atuais relativos à literatura. Um olhar atento ao poema permite constatar a íntima relação entre o maravilhoso e o descritivo, a qual constitui o objeto deste estudo. Por meio da leitura do retrato de um camponês monstruoso tomado em sua textualidade, evitando-se uma separação artificial entre forma e conteúdo , promove-se um deslocamento do conceito de maravilhoso, não mais visto como conjunto de motivos, mas como um efeito provocado por operações discursivas. / At the end of the twelfth century, Chrétien de Troyes considered by many critics the greatest French poet of the so-called Middle Ages produced a narrative poem Yvain ou le Chevalier au Lion in which one perceives elements considered characteristic of the genre known as marvelous, such as magical objects and extraordinary beings, like monsters and giants. These elements among other factors led much of the criticism to see in medieval poetry, for a long time, some innocence, typical of a childhood of literature. Rejecting an evolutionary perspective, this study aims at looking at this ancient text respecting its otherness, but at the same time, bringing it to the center of current literature debates. A close look at the poem brings out the intimate relationship between the marvelous and the descriptive, main subject of the present study. Through the reading of the portrait of a monstrous peasant taken in its textuality, avoiding an artificial separation between form and content a shift is promoted in the concept of marvelous, no longer seen as a set of motifs, but as an effect of discursive operations.

本論文主要在探討商周二代之宗廟祭禮。祭禮在五禮中屬吉禮，又分內祭、外祭兩種 ，外祭祀天地日月星辰與四望山川；內祭即宗廟祀祖之祭，是教親敬養之延長。歷年 來禮家討論宗廟祭禮，每自三代言之，殷周之制尤為紛淆錯雜，常將後儒思想包含於 其中，不盡合於真實，因此於甲骨文、金文為題，以殷商可信之史料為主，參諸經籍 ，討論殷周宗廟祭禮。全文約八萬字，分五章，章名如左： 第一章緒論，第二章用甲骨文中之宗廟祭禮，第三章金文中之宗廟祭禮，第四章宗廟 祭禮之意義，第五章結論。

中韓兩國國境相毗鄰，關係密切，因其文化交流之頻繁，早己形成一東方文化圈。古來，文化之中心為中國，韓國為中國文化圈之邊緣文化，有人更謂韓國文化及中國文化之一變型。 中國為文化古國，其政治、經濟、社會、學術、宗教等、自然影響及周邊國家，周邊國家吸收之後，又各依其國情而有不同之發展。或不待文化之自然傳播，而逕至該文化中心留學，作深入而有系統之薰習。韓國即受中國文化影響，且大量派遺留學生前往中國，彼等學習之範圍頗為廣，汎自儒學、佛教、朱子學、陽明學、考證學、乃至近代之天主教、西洋文，化皆直接沿襲於中國。 以是，吾人欲探討韓國之文化與學術，則必先瞭解中國之文化與學術，進而研究兩者之相關處。韓國方面，研究韓國文化者綦多，然關心於兩國文化之關係者較少；重以二次大戰以後，鼓吹民族自主性之呼聲甚，高而排擊事大主義之潮流遂風靡學學術界。故韓國學者往往偏重中國文化短處之檢討，而忽略其功能與長處。惟就學術而言，應同時顧及正面與反面，方可得其真相，此本論文所由作也。 為明悉中椲文化交流之真相，本論文特以司馬光之資治通鑑為題，分析其對於中韓學術之影響。資治通鑑問世之後，中國方面，形成通鑑學，自古以來，一直深受學人注意；而韓國方面，通鑑學東傳之後，亦普獲重視。然而，近世以還，韓國學人關心者少之又少，誠憾事也。 故筆者側重於闡發： （１）通鑑精神之變遷過程。 （２）通鑑學與當時政治、學術、思想之關係。 （３）通鑑學東傳以後之演變情形。 其中，尤注重通鑑精神中之正統論與華夷觀；於韓國通鑑學，則著力於通鑑東傳以後，通鑑精神之昇華過程。於通鑑學之考證與訓則非其所及。 本論文所利用之中國資料，以直接材料與通鑑之論著為主；韓國方面之參考文獻，率皆原始資料，又李朝時代之文集中，有相當豐富之相關篇什，亦酌予採用。 本論文，除導論、結論共分四章，前二章論中國之通鑑學，後二章敘述通鑑學東傳之後，於韓國方面之發展。今簡介如左： 導論：考察唐未以後與北宋前期中學術思想之潮流，所以見資治通鑑之著述淵源也。 第一章：研述司馬光撰修資治通鑑之環境，以及時代背景，發現資治通鑑并非單純之史書，而為政治教科書。於彼時政治狀況下，司馬光擁護傳統，以資治通鑑表達其政治理論，反對王安石之急進改革。而北宋皇帝亦皆認定資治通鑑之資治機能，多方關 心，并用為強化君主權之理論依據。 第二章：證明宋室南遷，與金國對峙中，朱子集新儒學之大成，一面樹立道統論，確定學術正統；一面撰著資治通鑑綱目，強調國家之正統，復主張華夷觀，鼓吹民族精神。而後略述元明之通鑑學。明亡，土夫之撰讀通鑑論，檢討中國歷中大之興亡原因，於，此特論船山先生之正統論、華夷觀、未來觀。 第三章：考究資治通鑑之東傳時期，約距資治通鑑初刊完成後三十∼五十年，蓋高麗仁宗時（代南宋初），金富軾已依資治通鑑撰三國史記故也。此後，高麗內憂外亂，資治通鑑不甚為人所重；迄高麗末、李朝初（元末明初），李成桂掌權，崇儒排彿，方大力吸收資治通鑑。既而，朱子學以及其通鑑綱目播遷，亦為李朝所信奉。因李朝熱心推廣通鑑學，於學術、教育、政治、印刷術之等造成極大影響。 第四章：說明通鑑學東傳後，於學術、思想之影響。由元末歷明朝（李朝前期），不獨吸收并模倣通鑑學，而修東國通鑑等書。及明末清初以降，李朝士大夫一者批評明商輅之續綱目，而崇奉朱子學以及朱子綱目，本其綱目凡例，撰修宋、元歷史，確立正統論、華夷觀，發揚朱子之精神。再者，尤強烈維持慕華思想，蔑視滿清之文化不似中華，自謂「小中華」，以中華文化保存者自任，發揮李朝之主體意識。 本論文之完成，蒙熊師翰叔、高師仲華、方師杰人之指導，舉凡資料之蒐集、大綱之擬定、文字之修飾，皆一一加以斧正；羅所長宗濤博士，亦多方校正、斟酌，裁成之德，曷曰敢忘。另有曹愉生、程南洲、王國良學長，梁煌儀、耿志堅同學之連夜校正，俾本論文順利付，梓并致謝忱。由於腹笥誠虛，疏漏之處，所在多有，望大雅大雅君子指教，匡我不逮。

In its first part, the thesis deals with Guy de Maupassant's life, the importance of short stories in his work, their reception in the French and Czech literary milieu as well as their uniqueness in the context of the literary movements of the 19th century. As a part of the thesis, an overview of the Czech translations of Guy de Maupassant's short stories is included. A separate chapter is devoted to their reception in the Czech literary context. The second empirical part focuses on the comparative critical analysis of the inital texts and their translations. The translations were chosen so that they could represent different generations of Czech translators (1902 - Pavel Projsa, 1960's - Luděk Kárl and Břetislav Štorm, 1990's - Dana Melanová). Here, the thesis deals with the skills of the translators to express the stylistic concisseness of Maupassant as well as the different stylistic levels of the original text (pathos and poetic language on one hand and informality on the other). In the conclusion, a final critical evaluation of the translations is given.