凡一冊，約二十萬字，分上下編。上編分二章，不分節，下編分三章十一節。主要內 容包括：上編，一為弟子述略，計百餘人。一為大事繫年，起北宋天聖九年，迄南宋 紹興二十三年，凡一二二年。下編思想研究，包括二主題：涵養與察識、窮理說、心 性論。資料來源除各家文集語錄外，復廣蒐散佚，稍為補亡。人物則以呂大臨、楊時 、謝良佐、胡安國為主，而兼及其餘。論述方式著重發展及比較，於各家思想必考明 其源流，參校其異同，以凸顯各家思想之特質，及思想史演進之過程，庶幾明瞭宋室 南渡前後，洛學發展之軌轍及概況。

本論文凡分為九章，茲述其內容大要如次： 第一章緒論，就永嘉學派之學術立場，及其在當時學術界之地位，說明撰述之旨趣。 第二章為宋永嘉學派學術思想變遷之大勢，蓋一書之綱領，而以說明其學之來龍去脈 ，暨諸代表人物學術思想之重點及其成就與地位，並探討其學風所以轉變，暨其學所 以終歸衰歇之緣由。 第三章為元豐九先生之學術思想，第四章為鄭氏兄弟之學術思想，第五章為薛季宣之 學術思想，第六章為陳傅良之學術思想，第七章為葉適之學術思想，分別論述永嘉學 派各期代表人物之學術思想。初欲分就學術與思想二端論述之。 第八章為宋永嘉學派學術思想之影響，博采前修持賢之說，並附己見，以所處時代與 永嘉諸子之略相同者，略分為南宋末年、明末清初、有清道咸同光、民國以來四期， 述其學對於後世學者，若王應麟、顧炎武、黃宗羲、顏元、萬斯同、全祖望、章學誠 、邵晉涵、孫衣言、詒讓父子、陳黼辰、林損師弟等人之影響，但取其實而有徵者論 述之，期免穿鑿附會之病焉。 第九章結論，略論並時浙東學者，呂祖謙、唐仲友、陳亮之學，皆不足與朱、陸相抗 衡，惟永嘉學則足以與之相頡頏。然永嘉學派之學術思想雖與程、朱等道學家之說有 所出入，惟皆在於明體致用。 上述九章而外，並益以三附錄： 附錄一為宋永嘉學派諸子生平著述年表。 附錄二為宋永嘉學派諸子著述考略，稽考永嘉諸子之著述，並說明其存佚，以明學術 思想之趨向焉。 附錄三為參考書目舉要，列舉撰述本論文所參用之重要書目。 /

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本論文全部一冊，共計十六萬字，分五章十三節。 本文主旨在探討中國自光緒二十四年至民國五年間（即公元一八九八年∼一九一六年 ），有關憲政之思想，及有關該思想的演化進步的情形。 首章為緒論，就本文的研究範圍，相關的概念先作界定，並就研究方法及架構作一說 明，以為底下各章的準備。 第二章由清末憲政思想的源起，即萌芽及茁長論起，此為清末民初憲攻思想的第一階 段。此後憲政思想即發展為兩股不同的憲政救國論，一股是以康有為、梁啟超為首的 君主立憲論，另一股乃是以 孫中山先生為首的共和立憲論。前者主張改革，後者主 張革命，此為本章第二及第三節所論述。 第三章探討君主立憲思想的演進過程，由第一節興起的原因背景論起，進而在第二節 說明此股思想的主張內容，亦即其成熟時期的思想。第三節說明思想成熟後所採取的 具體措施。第四節探討該股思想在高潮後的衰退現象。即以興趣－成熟－具體化－衰 退的階段論，為研究架構。 第四章探討共和立憲思想的演進過程，亦以興起－成熟－具體化－受阻的階段論為架 構。第一節說明興起的原因背景。第二節探討思想的主張內容，即成熟後之思想。第 三節探討此股思想所形成的具體措施，第四節採討該股思想所受的阻礙，以致不能順 利實行的現象。 第五章結論，綜合以上各章所論，期能對清末民初這段期間，憲政思想的演進方向與 模式，以社會變遷與政治發展的理論，作一明確的歸類，以作為理想憲政演進的參考 。並指出較理想的憲政演進型態。

UBC's Drs. Walter Hardy, Doug Bonn and Ruixing Liang were awarded the 2006 Brockhouse Canada Prize for Interdisciplinary Research in Science and Engineering. A partnership between Dr. Helen Burt's reseach laboratory and Angiotech Pharmaceuticals has earned the 2006 NSERC Synergy Award for Innovation.

A travers cette recherche, nous souhaitons identifier et définir le genre duroman utopique de la fin des Qing via la lecture attentive d'une sélection deromans chinois écrits entre 1902 et 1910. A partir de l'analyse de romans telsque Xin Zhongguo weilai ji de Liang Qichao (1902 ), Shizi hou de Chen Tianhua(1905), Xin shitou ji de Wu Jianren (1908) et Xin Zhongguo de Lu Shi'e(1910), nous pensons qu'un tel genre littéraire puisse être considéré à la foiscomme un produit particulier du climat de fragmentation socio-historique quicaractérise la période de la fin des Qing, et comme un prisme utile à sacompréhension. La structure de cette thèse est celle d'un itinéraire critique àtravers l’imaginaire utopique chinois moderne. Cet itinéraire est débuté par latraduction de l’histoire courte Xinnian Meng, écrite par Cai Yuanpei en 1905. Lecorps de cette recherche est divisé en cinq chapitres: dans le premier, lalégitimité de la catégorie générique de "wutuobang xiaoshuo" comme outilcritique valable est questionnee; le deuxième chapitre concerne les deuxromans inachevés de Liang Qichao et Chen Tianhua, dont l'étatd’«incomplétude» est utilisé comme métaphore pour la compréhension de laconstruction utopique; le troisième chapitre touche à la relation entre le romanutopique de la fin des Qing et ses modèles étrangers; enfin, dans les deuxderniers chapitres, les éléments critiques développés dans les sectionsprécédentes de la thèse sont appliqués à la lecture attentive de Xin shitou ji deWu Jianren et de Xin Zhongguo de Lu Shi'e, deux des romans les plusintéressants écrits durant cette période. / With this research it is our intention to identify and define the genre of the lateQing utopian novel from the close reading of a selection of Chinese novelswritten between 1902 and 1910. With the analysis of novels such as LiangQichao's Xin Zhongguo weilai ji (1902), Chen Tianhua's Shizi hou (1905), WuJianren's Xin shitou ji (1908) and Lu Shi'e's Xin Zhongguo (1910), we believethat such a literary genre can be considered both as a peculiar product of theclimate of socio-historical fragmentation that characterises the late Qingperiod, and as a useful lens for its understanding. The structure of this thesis isthat of a critical itinerary within the Chinese modern utopian imaginary. Thisitinerary is introduced by the translation of the short story Xinnian meng,written by Cai Yuanpei in 1905. The body of this research is divided into fivechapters: in the first one, the legitimacy of the generic category of “wutuobangxiaoshuo” as a viable critical tool is put under question; the second chapterconcerns the two unfinished novels by Liang Qichao and Chen Tianhua, whosecondition of “incompleteness” is adopted as metaphor for the understanding ofthe utopian construct; the third chapter concerns the relation between the lateQing utopian novel and its foreign models; while in the last two chapters, thecritical framework developed in previous sections of the thesis is applied to theclose reading of Wu Jianren's Xin shitou ji and Lu Shi'e's Xin Zhongguo, two ofthe most interesting novels written in this period.

Aiming to make an intervention in both emerging Slow Cinema and classical Trauma Cinema scholarship, this thesis demonstrates the ways in which the post-trauma cinema of Filipino filmmaker Lav Diaz merges aesthetics of cinematic slowness with narratives of post-trauma in his films Melancholia (2008), Death in the Land of Encantos (2007) and Florentina Hubaldo, CTE (2012). Diaz has been repeatedly considered as representative of what Jonathan Romney termed in 2004 “Slow Cinema”. The director uses cinematic slowness for an alternative approach to an on-screen representation of post-trauma. Contrary to popular trauma cinema, Diaz’s portrait of individual and collective trauma focuses not on the instantenaeity but on the duration of trauma. In considering trauma as a condition and not as an event, Diaz challenges the standard aesthetical techniques used in contemporary Trauma Cinema, as highlighted by Janet Walker (2001, 2005), Susannah Radstone (2001), Roger Luckhurst (2008) and others. Diaz’s films focus instead on trauma’s latency period, the depletion of a survivor’s resources, and a character’s slow psychological breakdown. Slow Cinema scholarship has so far focused largely on the films’ aesthetics and their alleged opposition to mainstream cinema. Little work has been done in connecting the films’ form to their content. Furthermore, Trauma Cinema scholarship, as trauma films themselves, has been based on the immediate and most radical signs of post-trauma, which are characterised by instantaneity; flashbacks, sudden fears of death and sensorial overstimulation. Following Lutz Koepnick’s argument that slowness offers “intriguing perspectives” (Koepnick, 2014: 191) on how trauma can be represented in art, this thesis seeks to consider the equally important aspects of trauma duration, trauma’s latency period and the slow development of characteristic symptoms. With the present work, I expand on current notions of Trauma Cinema, which places emphasis on speed and the unpredictability of intrusive memories. Furthermore, I aim to broaden the area of Slow Cinema studies, which has so far been largely focused on the films’ respective aesthetics, by bridging form and content of the films under investigation. Rather than seeing Diaz’s slow films in isolation as a phenomenon of Slow Cinema, I seek to connect them to the existing scholarship of Trauma Cinema studies, thereby opening up a reading of his films.