一、研究目的：南北朝之經學，以五經正義為匯歸。隋代之經學，在南北朝義疏之學走向唐代五經正義之學中，實具關鍵之地位。劉焯、劉炫二氏為隋代之大儒，五經正義中：詩經、書經、左傳等皆據二劉先生之著作為底本，加以刪削而成，故以「劉焯劉炫之經學」為題，探討此一幽隱之轉折。 二、研究文獻：史傳書錄記載劉焯之經學著作有三種，劉炫之經學著作有十三種，然於唐未間先後亡佚。今日有佚文可得者，劉焯僅尚書義疏一種；劉炫亦僅尚書述議、毛詩述議、春秋左氏傳述議、春秋規過、春秋攻昧、孝經述議等六種。歷來輯者若不謨、郡瑛、薛承宣、黃奭、馬國翰、陳熙晉等雖有輯本，然蒐集範圍過窄，所據底本非佳善，文孛迻錄有失真，故未稱完善，故必重輯其佚文，以求完備。 三、研究方法：劉焯劉炫之著作，今率皆亡佚，僅有典籍援引，故必藉由輯佚，重輯其佚文，又必透過經學史之觀點，將其定位，以探究其經學之底蘊，最後亦必將二氏之思想，置於思想史中見其卓識，故此題融入輯佚、史學、經學、哲學等之全程觀點。 四、研究內容與成果：（一）說明本題以劉焯劉炫作綜合研究之因，闡述本題研究之四項價值，檢討以往研究之成果，並陳述本題之主旨與研究方法。（二）說明劉焯劉炫所處之時代背景與學術風尚。（三）依史傳參證劉焯劉炫之生平，考輯其著作。（四）重輯劉焯劉炫經疏之佚文，計得尚書佚文一百一十條，毛詩佚文八十二條，春秋左傳佚文四百十十八條，孝經述議佚文一百九十一條，合計八百又一條。（五）分就尚書學、詩經學、春秋左傳學、孝經學等四章，依重輯之佚文，就其形式與內容全面 考察之，且評論其得失。（六）簡述本題論述之要點，二劉先生治經之特色與對經學之貢獻，並說明本題研究之不足與今後研究之方向。 經學（尚書－毛詩－左傳－孝經）－隋代－劉焯－劉炫

The aim of this thesis is to analyze the fictional and non-fictional literary works of two Taiwanese eco-environmental writers Liu Kexiang and Wu Mingyi in the context of the transformation of interpersonal sphere. Eco-environmental literature represents a significant literary trend that has been pursued in Taiwan at the end of the 20th century. It develops Taiwanese literary tradition in a new way through the reflection of Western and Eastern theories in the domestic context and Taiwanese cultural specifics from the perspective of natural history and scientific knowledge. The first part of the thesis summarizes academic discussions on the topic of eco- environmental literature. This is characterized by the initial insufficient theoretical basis of Taiwanese environmental studies, the desire to maintain this trend beyond purely literary criticism, the assumption of Western environmental discourse theories, and the involvement of writers themselves in theoretical discussions and the gradual shift to ecocriticism. It also puts it in a historical context and explores its dominant topics. The analytical part of the thesis is based on the theory of modernity of British sociologist Anthony Giddens. It analyzes works based on the sources of modernity, which are time-space distanciation, disembedding of...

Ce projet propose la contextualisation, la traduction et l'annotation du « Shugai 書概 [Précis de calligraphie] » de Liu Xizai 劉熙載 (1813-1881), esthète, calligraphe, lettré-fonctionnaire et pédagogue de la fin du XIXe siècle. Nous nous pencherons sur la façon d’aborder l’histoire des genres calligraphiques et l’histoire des écoles liées aux grands maîtres ainsi que sur l’esthétique propre à cette pratique de tradition lettrée, perceptible à la façon de juger d’une œuvre et d’exprimer les relations étroites entre le calligraphe et son écriture. Cette réflexion débouchera sur une analyse détaillée des images et des termes pour dire la conception, la réalisation et la réception d'une œuvre. Parmi ces termes, nous analyserons l'emploi des termes d'origine corporelle utilisés dans un cadre critique. Notre corpus textuel est centré sur le « Précis de calligraphie » dont nous proposons une traduction inédite en français, tout en s'ouvrant sur l'ensemble du Précis des arts dont le « Précis de calligraphie » fait partie et sur les traités antérieurs sur lesquels il prend appui. Notre corpus est également visuel et comprend les stèles bei et les estampages de stèles ainsi que les livres de calligraphies modèles tie. Nous pourrons ainsi faire correspondre les descriptions et évaluations esthétiques à la réalité visuelle des œuvres et mieux comprendre comment la pratique et l’art de la calligraphie étaient conçus et présentés à la fin de la Chine impériale, avant la rencontre avec les pratiques et les concepts de l'art occidental. / This project proposes to contextualize, translate and annotate the "Shugai 書概[Synthesis of calligraphy]" written by Liu Xizai 劉熙載 (1813-1881), a thoughtful scholar and calligrapher of the late Qing Dynasty. This treatise is an overview of calligraphic art and terminology of traditional Chinese aesthetic. The “Synthesis of calligraphy” details practices and concepts. It presents the jointure between the key terms of aesthetics and Chinese calligraphy. We will analyse how the history of writing styles and schools are presented and the way a work of art is judged, in its relations to the writter and to the viewer. We will open a discussion on the choice of images and metaphors to speak about the practice of calligraphy and reception of a work of art and how it originates in the specific artistic and aesthetic experience of the scholars in traditional China. Among these key terms, we will seek to analyze those of bodily origin. The core focus is the “Synthesis calligraphy”, that we will thoroughly translate, while engaging the entire Yigai [Treatise on the Arts] from which the “Synthesis of calligraphy” is a part and previous treatises to which it refers. The project also includes visuals: steles (bei) and rubbings of headstones and model calligraphy books (tie). This will allow us to match the descriptions and appreciations of the art pieces with the reality of visual works and to better understand how calligraphic practice and art were conceived and expressed at the end of imperial China before its encounter with Western art.

Liu Ch'i, a belletrist of the Chin dynasty (1115-1234), recorded an eyewitness account of the fall of the Chin in his memoir, the Kuei-ch'ien-chih (The Record of One Returned to Obscurity). He was motivated by an inner logic which thematically argues that: The disintegration of effective Chin administration was a direct result of the deterioration of Chin literary standards, symptomatic of a more basic degeneration of the traditional Confucian high culture. The collapse of the Chin climaxed approximately three hundred years of rise and fall (c. 900-1234). As Jurchen tribal organization became inadequate, they imitated the Ch'i-tan model of a dualistic tribal-agrarian society and tended to adopt Chinese institutions. Dynamic decline seemed in direct proportion to the decline in Jurchen institutions. However, Liu Ch'i observed this decline and its climax in the fall of the Chin capital, K'aifeng, and thought that the Chin failed for not fully adopting Chinese ones. His memoir, Kuei-ch'ien-chih, was transmitted from its writing in 1235 to the present edition, the Chung-hua shu-chu Yuan-Ming shi-k'o pi-cho ts'ung-k'an, collated by Ts'ui Wen-yin (second edition 1983). Liu Ch'i illustrates his themes with Chin pesonalities portraying the union of ability-aspiration-achievement to mean the highest combination of traditional Confucian values. He quickly attentuates this theme in the succeeding chuan to show possible variations of failure in a descending taxonomy. In his seventh chuan, Liu Ch'i argues that since the Chin dynasty limited their literary focus of the civil service examinations solely upon the lyric, the prose-poem, and the commentary on the classics, the source of potential leadership, the chin-shih, became intellectually effete leasing to a degeneration in political dynamics. Liu Ch'i's personal rationalization was one of confident expectation despite an involvement in drafting a testimonial to Ts'ui Li, who had betrayed K'aifeng to the Mongols. He felt that time and circumstance were cyclical in nature and that he had fulfilled his destiny and his duty. Liu Ch'i's memoir warrants a closer examination in its entirety to appreciate its inner, thematic logic and a translation of the preface and first three chapters is presented as a preliminary to the full translation.

本論文旨在探討柳公權的書藝作品及其書學之影響。中國書法幾千年來一直處於變革中，面對書法藝術上瞬息萬變的思潮，在書法史上，柳公權的書法成就對後世的影響至深且鉅。本論文分作七章：第一章<緒論>，敘述本論文的研究動機、研究範圍與方法、並論述前人之研究成果與柳書作品大略。第二章＜柳公權之生平及其時代背景＞，主要以歷史研究法來探究柳公權的生平概況，並從「知人論世」觀點，了解柳公權的書學背景及柳書形成之原因。 第三章＜柳公權書法之淵源＞，柳書淵源來自五方面：一、是源於鍾繇，柳公權得其含蓄、自然；二、是源於二王，柳公權得其平和、古樸、清逸之韻；三、是初唐四家，歐陽詢、虞世南、褚遂良、陸柬之等人，柳公權得其清勁、含厚之雅；四、是源於顏真卿，柳公權得其寬博、挺拔之氣；五、是源於六朝碑版及其他，像是北碑中具雄強峭拔、斬截方正者，柳公權得其清勁、峻拔之質。柳公權遍閱其時筆法、集古意創新意，儼然形成所謂的「柳體」。第四章＜柳公權之書法及其特色＞，杜甫有詩云：「書貴瘦硬方通神。」，柳書瘦勁挺拔，結體法度森嚴，筆法靈活多變等為柳體之主要特色。 第五章＜顏柳書法之比較＞，柳公權是繼顏真卿之後，唐代最重要的書家。從張旭到顏真卿、顏真卿到柳公權，柳書的特色就是破舊立新，開拓新局面。蘇軾《題唐氏六家書後》云：「柳少師書本出於顏，而能自出新意。一字百金，非虛語也。 」顏柳使點線更富於立體感、節奏感，將唐楷書藝推向另一境界。第六章＜柳公權在書法史上的評價與影響＞，柳體的特點在於融匯前人特色而轉出新變，就學習書法者而言，容易得其形，而難以得其神，學書者往往只能抓住其中宮緊密、四周舒放的結體特點，並就其方硬瘦勁的筆畫特徵而加以學習；雖得其體貌表象，然對其神韻卻不易理解展現。因而柳書不易學習，自然也就容易為人所誤解批評了。第七章＜結論＞，綜理前面論述的研究成果剖析柳公權在書法藝術上之成就。 / The present paper is for the purpose of discussing Liu Gongquan's book skill work and the book study the influence. Chinese calligraphy for several thousand years have been in the transformation, facing calligraphy art in fast changing ideological trend, in calligraphy history, Liu Gongquan's calligraphy achievement to later generation influence to depth and great. The present paper minute makes seven chapters: The first chapter, the narration present paper's research motive, the range of study and the method, and elaborate of research results and the willow tree book work the predecessor greatly slightly. The second chapter < biography and time background the Liu Gongquan >, mainly by the historical methodology inquired into that Liu Gongquan's biography survey, and from “judges people and the times” the viewpoint, understood that Liu Gongquan's book study background and the willow tree book forms the reason. The third chapter < origin of the Liu Gongquan calligraphy >, willow tree book origin from five aspects: First, is stems from the clock zhou, Liu Gongquan must it contain, the nature; Second, is stems from two kings gentle, Liu Gongquan its, plain, the fresh and elegant rhyme; Third, is at the beginning of Tang four, Ouyang Xun, Yu Shina, Zhu Suiliang, land Cambodia et al., Liu Gongquan its clear vigor, contains the thick elegance; Fourth, is stems from Yan Zhenqing broad-mindedly, Liu Gongquan its, the tall and straight gas; Fifth, is stems from Six Dynasties tablet version and other, is likely north in the tablet powerful high and precipitous, unhesitating uprightness, Liu Gongquan its clear vigor, steep nature. Liu Gongquan spreads reads meantime the writing technique, collection ancient Italy to create the fresh idea, just like forms so-called “the liu's style”. The fourth chapter < calligraphy and characteristic the Liu Gongquan >, Du Fu has the poem cloud: “book expensive slender but vigorous Fang Tongshen.” Liu Shu the thin vigor is tall and straight, ties the body law to be stern, writing technique flexible and so on for liu's style main characteristic. The fifth chapter < comparison of the face willow tree calligraphy >, Liu Gongquan is after Yan Zhenqing, Tang Dynasty most important book. From Zhang Xu to Yan Zhenqing, Yan Zhenqing to Liu Gongquan, Liu Shu the characteristic is destroys the old and establishes the new, develops the new ball game. After Su Shi "Topic Tang Six Letters", cloud: “Liu Shaoshi the books stem from the face, but can from leaves the fresh idea. A character hundred gold, non-empty language.” Yan Liushi the line between two points is rich in the stereoscopic effect, the rhythm, pushes to another boundary the Tang kaishu skill. The sixth chapter < Liu Gongquan's in calligraphy history appraisal and influence >, the liu's style characteristic lies in the blending together predecessor characteristic to exit changes newly, speaking of the study calligraphy, is easy its shape, but its god, studies the book often only to be able with difficulty to hold the palace close, all around sends forth the knot body characteristic, and the thin vigor's stroke characteristic performs on its Fang Ying to study; Although its appearance representation, however is not actually easy to its charm to understand the development. Therefore Liu Shu is not easy to study, also to misunderstand naturally on the easy manner criticizes. The seventh chapter < conclusion >, in front of the synthesis principle elaborates the research results analyze Liu Gongquan in the calligraphy art the achievement.

by Jenny Ming-chu Leung. / Bibliography: leaves 127-133 / Thesis (M.Ph.)--Chinese University of Hong Kong, 1986

伍慧珠. / 稿本(電腦打印本) / Thesis (M.A.)--香港中文大學中國語言及文學學部. / Gao ben (dian nao da yin ben) / Includes bibliographical references (leaves [1-7](last group)). / Wu Huizhu. / Thesis (M.A.)--Xianggang Zhong wen da xue Zhongguo yu yan ji wen xue xue bu. / Chapter 第一章 --- 緒論 --- p.1-3 / Chapter 第二章 --- 劉熙載的生平和著作 / Chapter 第一節 --- 劉氏所處的時代背景 --- p.4-5 / Chapter 第二節 --- 劉熙載的生平 --- p.5-22 / Chapter 第三節 --- 劉氏治學之概略及述作述要 --- p.22-23 / 註釋 --- p.34-40 / Chapter 第三章 --- 劉氏論詞的旨趣 / Chapter (一) --- 雅正 --- p.41-44 / Chapter (二) --- 比興 --- p.45-47 / Chapter (三) --- 詞品 --- p.47-60 / Chapter (四) --- 正宗 --- p.60-63 / Chapter (五) --- 兼美 --- p.63-66 / Chapter (六) --- 本色 --- p.66-69 / 註釋 --- p.70-72 / Chapter 第四章 --- 劉氏靜詞論詳析 / Chapter 第一節 --- 源流正變論 / Chapter 一. --- 釋名 --- p.73-74 / Chapter 二. --- 論源流 --- p.74-81 / Chapter 三. --- 論正變 --- p.81-83 / Chapter 四. --- 論詞家 --- p.83-143 / Chapter 五. --- 《藝慨. 詞曲概》論述詞家則數統計表 --- p.144-145 / Chapter 第二節 --- 創作論 / Chapter 甲. --- 概論 --- p.140-158 / Chapter 乙. --- 分論 / Chapter 一. --- 章法 --- p.150-156 / Chapter 二. --- 句法 --- p.156-165 / Chapter 三. --- 聲律 --- p.165-181 / Chapter 四. --- 用事 --- p.181-182 / Chapter 第三節 --- 餘論 --- p.183 / 註釋 --- p.184-192 / Chapter 第五章 --- 劉熙載詞論之淵源 --- p.193-198 / 源流¨®Ơ --- p.198-201 / 比興說 --- p.201-219 / 作者論 --- p.210-214 / 註釋 --- p.215-218 / Chapter 第六章 --- 結語 --- p.219-227 / 註釋 --- p.228-229 / 參考書目

張月嬌. / 復本據手稿本影印. / Thesis (M.A.)--香港中文大學. / Fu ben ju shou gao ben ying yin. / Includes bibliographical references (leaves 1-15 (2nd group)). / Zhang Yuejiao. / Thesis (M.A.)--Xianggang Zhong wen da xue. / 〈前言〉 --- p.1 / Chapter 第一章 --- 章獻明肅劉后介入政治舞台的原因 --- p.4 / Chapter 一 --- 劉后躍登皇后寶座的原因 --- p.5 / Chapter 二 --- 劉后得以垂簾聽政的原因 --- p.16 / 〈註釋〉 --- p.19 / Chapter 第二章 --- 章獻明肅劉后對待朝臣、宗室、外戚與宦官的態度 --- p.25 / Chapter 一 --- 劉后對待朝臣的態度 --- p.25 / Chapter （一） --- 大中祥符五年之立后事件 --- p.26 / Chapter （二） --- 天禧四年周懷政事中之劉后 --- p.34 / Chapter 二 --- 劉后對待宗室的態度 --- p.49 / Chapter （一） --- 唐武曌、遼承天蕭太后對宗室之處理方法 --- p.50 / Chapter （二） --- 劉后臨朝時的實力 --- p.54 / Chapter （三） --- 劉后與宗室 --- p.57 / Chapter 三 --- 劉后對待外戚的態度 --- p.69 / Chapter （一） --- 劉后與劉美 --- p.70 / Chapter （二） --- 劉后與錢惟演 --- p.75 / Chapter （三） --- 小結 --- p.80 / Chapter 四 --- 劉后對待宦官的態度 --- p.81 / Chapter （一） --- 天禧四年周懷政謀變事件 --- p.83 / Chapter （二） --- 乾興元年雷允恭擅移山陵 --- p.84 / Chapter （三） --- 天聖七年曹利用自殺事件 --- p.87 / Chapter （四） --- 明道元年李宸妃葬禮事件 --- p.90 / Chapter （五） --- 小結 --- p.93 / 〈註釋〉 --- p.94 / Chapter 第三章 --- 章獻明肅劉后之女主政治 --- p.122 / Chapter 一 --- 史家對於中國中古時期女主政治出現的一些解釋 --- p.122 / Chapter 二 --- 劉后之女主政治 --- p.125 / Chapter （一） --- 劉后之稱帝意圖 --- p.126 / Chapter （二） --- 劉后之用人 --- p.137 / Chapter （三） --- 劉后之訓育君主 --- p.142 / 〈註釋〉 --- p.147 / 〈結語〉 --- p.165 / Chapter 〈附錄一〉 --- 澶淵盟約與天書之關係 --- p.169 / Chapter 〈附錄二〉 --- 大中祥符五年王旦與王欽若之爭 --- p.185 / Chapter 〈附錄三〉 --- 真宗晚年政壇之變動　 --- p.197 / 〈史料及參考書目〉 / 〈撮要〉

劉衛林. / 稿本(複印電腦打印本) / Thesis (M.A.)--香港中文大學中國語文學部. / Gao ben (fu yin dian nao da yin ben) / Includes bibliographical references (leaves 269-290). / Liu Weilin. / Thesis (M.A.)--Xianggang Zhong wen da xue Zhongguo yu wen xue bu. / Chapter 第一章、 --- 劉禹錫文集傳世版本敘錄 --- p.1 / Chapter 第二章、 --- 故宮博物院所藏宋刊本《劉賓客文集》 --- p.18 / Chapter 一、 --- 版本式樣 / Chapter 二、 --- 流傳概略 / Chapter 三、 --- 刊刻時地 / Chapter 第三章、 --- 日本天理圖書館所藏宋刊本《劉夢得文集》 --- p.89 / Chapter 一、 --- 版本式樣 / Chapter 二、 --- 流傳概略 / Chapter 三、 --- 刊刻時地 / Chapter 第四章、 --- 北京圖書館所藏宋刊殘本《劉夢得文集 --- p.145 / Chapter 一、 --- 版本式樣 / Chapter 二、 --- 流傳概略 / Chapter 三、 --- 刊刻時地 / Chapter 第五章、 --- 現存宋刊劉集三本異同攷 --- p.184 / Chapter 一、 --- 書名之因革 / Chapter 二、 --- 編次之差異 / Chapter 三、 --- 文字之分歧 / Chapter 第六章、 --- 總論 --- p.230 / Chapter 一、 --- 現存宋刊三本優劣比較 / Chapter 二、 --- 現存宋刊本劉集在版本學上之價值 / 參攷書目 --- p.269 / Chapter 附錄:一、 --- 各本書影 / Chapter 二、 --- 宋刊三本編次異同對照表 / Chapter 三、 --- 宋刊三本標題對照表 / Chapter 四、 --- 宋刊堂人文集避諱闕筆一覽表 / Chapter 五、 --- 註釋（附於各章後）

劉慶華. / 論文(博士)--香港中文大學硏究院中國語言及文學部,1994. / 參考文獻: leaves 354-373 / Liu Qinghua. / Lun wen (bo shi)-- Xianggang Zhong wen da xue yan jiu yuan Zhongguo yu yan ji wen xue bu,1994. / Can kao wen xian: leaves 354-373 / 敘論 --- p.1 / Chapter 上篇 --- 《文心雕龍》的文體理論 / Chapter 第一章 --- 《文心雕龍》的「文體論」 / Chapter 第一節 --- 引言 --- p.2 / Chapter 第二節 --- 「文」的涵義 --- p.3 / Chapter 第三節 --- 《文心雕龍》裏「文」字的涵義 --- p.6 / Chapter 第四節 --- 《文心》中「文體」的涵義 --- p.11 / Chapter 第五節 --- 結語 --- p.19 / Chapter 第二章 --- 《文心雕龍》書中「（文章）本源，莫非經典」觀念試探 / Chapter 第一節 --- 引言 --- p.33 / Chapter 第二節 --- 「文源於經」的觀念分析 --- p.34 / Chapter 第三節 --- 宗經思想探源 --- p.39 / Chapter 第四節 --- 結語 --- p.46 / Chapter 第三章 --- 《文心雕龍》的文體分類評議 / Chapter 第一節 --- 引言 --- p.59 / Chapter 第二節 --- 有關文體分類問題的辨析 --- p.61 / Chapter 第三節 --- 《文心雕龍》文體分類的原則 --- p.67 / Chapter 第四節 --- 結語 --- p.94 / Chapter 下篇 --- 文體理論在批評中的實踐 / Chapter 第四章 --- 《文心雕龍》評定文章優劣的具體原則和方法 / Chapter 第一節 --- 引言 --- p.117 / Chapter 第二節 --- 「敷理以舉統」探源 --- p.117 / Chapter 第三節 --- 論「位體」與「敷理以舉統」的關係 --- p.131 / Chapter 第四節 --- 结語 --- p.144 / Chapter 第五章 --- 《文心雕龍》實際批評舉例（一）文之類 / Chapter <一> --- 詩 / Chapter (1) --- 古詩十九首 / Chapter (a) --- 〈 涉江采芙蓉〉 --- p.153 / Chapter (b) --- 〈庭中有奇樹〉 --- p.154 / Chapter (c) --- 〈青青河畔草〉 --- p.154 / Chapter (2) --- 何晏〈擬古〉 --- p.155 / Chapter (3) --- 何晏失題之作一首 / Chapter <二> --- 樂府 --- p.156 / Chapter (1) --- 〈桂華〉 --- p.158 / Chapter (2 ) --- 〈赤雁〉 --- p.159 / Chapter (3) --- 曹操〈苦寒行〉 --- p.160 / Chapter <三> --- 賦 / Chapter （1） --- 司馬相如<上林賦> --- p.163 / Chapter <四> --- 頌 / Chapter (1) --- 楊雄<趙充國頌> --- p.168 / Chapter (2) --- 班固〈車騎將軍竇北征頌〉 --- p.169 / Chapter (3) --- 陸機〈漢高祖功臣頌〉 --- p.172 / Chapter <五> --- 讃 / Chapter (1) --- 郭璞《爾雅圖讚.筆》 --- p.176 / Chapter (2) --- 郭璞《爾雅圖讚.枳首蛇》 --- p.176 / Chapter (3) --- 郭璞《爾雅圖讚.柚》 --- p.177 / Chapter (4) --- 郭璞《爾雅圖讚.蟬》 --- p.177 / Chapter <六> --- 祝 / Chapter (1 ) --- 侲子毆疫祝文 --- p.179 / Chapter (2) --- 潘岳〈祭庾婦〉 --- p.180 / Chapter <七> --- 盟 / Chapter (1) --- 臧洪〈與諸牧守盟文〉 --- p.182 / Chapter (2) --- 劉琨〈與段匹磾盟文〉 --- p.183 / Chapter <八> --- 銘 / Chapter (1) --- 蔡邕〈鼎銘〉 --- p.185 / Chapter (2) --- 張載〈劍閣銘〉 --- p.187 / Chapter <九> --- 誄 / Chapter (1) --- 潘岳〈皇女誄〉 --- p.189 / Chapter (2) --- 傅毅〈明帝誄〉 / Chapter <十> --- 哀 / Chapter (1) --- 潘岳〈為任子咸妻作孤女澤蘭哀辭〉 --- p.194 / Chapter (2) --- 潘岳〈金鹿哀辭〉 --- p.196 / Chapter 第六章 --- 《文心雕龍》實際批評舉例（二）筆之類 / Chapter <一> --- 論 / Chapter (1 ) --- 班彪〈王命論〉 --- p.203 / Chapter (2) --- 陸機〈辯亡論〉 --- p.206 / Chapter (3) --- 曹植〈辨道論〉 --- p.211 / Chapter (4) --- 嵇康〈聲無哀樂論〉 --- p.214 / Chapter <二> --- ¨®Ơ / Chapter (1) --- 李斯〈諫逐客書〉 --- p.220 / Chapter (2) --- 鄒陽〈說吳梁〉 --- p.223 / Chapter (3) --- 馮敬通〈說鮑永〉 --- p.226 / Chapter <三> --- 詔策 / Chapter (1) --- 〈漢高帝二年發使者告諸侯伐楚〉 --- p.232 / Chapter (2) --- 〈漢高帝五年赦天下令〉 --- p.233 / Chapter (3) --- 〈漢高帝六年上太公尊號詔〉 --- p.233 / Chapter (4) --- 武帝策封三王文 --- p.234 / Chapter (5) --- 潘勗〈冊魏公九錫文〉 --- p.237 / Chapter <四> --- 檄 / Chapter (1) --- 隗囂〈移檄告郡國〉 --- p.241 / Chapter (2) --- 陳琳〈為袁紹檄豫州〉 --- p.244 / Chapter <五> --- 移 / Chapter (1) --- 司馬相如〈難蜀父老〉 --- p.249 / Chapter (2) --- 劉歆〈移太常〉 --- p.252 / Chapter <六> --- 章表 / Chapter (1) --- 諸葛亮〈出師表〉 --- p.256 / Chapter (2) --- 孔融〈薦禰衡表〉 --- p.257 / Chapter <七> --- 奏 / Chapter (1) --- 賈誼〈論積貯疏〉 --- p.260 / Chapter (2) --- 晁錯〈言兵事疏〉 --- p.261 / Chapter (3) --- 孔光〈奏董賢〉 --- p.265 / Chapter (4) --- 劉隗〈奏周顗〉 --- p.266 / Chapter <八> --- 議 / Chapter (1) --- 吾丘壽王〈駁挾弓議〉 --- p.268 / Chapter (2) --- 郭躬〈擅誅議〉 --- p.270 / Chapter (3) --- 秦秀〈賈充謚議〉 --- p.272 / Chapter (4) --- 傅咸〈駁解結議〉 --- p.274 / Chapter <九> --- 書 / Chapter (1) --- 司馬遷〈報任安書〉 --- p.276 / Chapter (2) --- 楊惲〈報孫會宗書〉 --- p.277 / Chapter <十> --- 牋記 / Chapter (1) --- 劉楨〈諫平原侯植書〉 --- p.279 / Chapter (2) --- 劉楨〈答曹丕借廓落帶書〉 --- p.280 / Chapter (3) --- 劉廙〈謝恩書〉 --- p.282 / Chapter 第七章 --- 《文心雕龍》實際批評舉例（三）´ؤ´ؤ從文體論角度 辨析「奇正」觀念 / Chapter 第一節 --- 引目 --- p.297 / Chapter 第二節 --- 各家解說論列 --- p.297 / Chapter 第三節 --- 「奇正」觀念探源 --- p.302 / Chapter 第四節 --- 從《文心》「奇」字用例探討其內涵 --- p.304 / Chapter 第五節 --- 從劉勰判斷為「奇」的作品探討「奇」的內涵 --- p.313 / Chapter 第六節 --- 《文心雕龍》「正」字用例分析 --- p.321 / Chapter 第七節 --- 析論《文心》中屬「正」的作品 --- p.328 / Chapter 第八節 --- 結語 --- p.342 / Chapter 第八章 --- 结論 --- p.351 / 參考書目 --- p.354