published_or_final_version / Chinese / Doctoral / Doctor of Philosophy

published_or_final_version / Chinese Historical Studies / Master / Master of Arts

published_or_final_version / abstract / toc / Chinese Historical Studies / Master / Master of Arts

published_or_final_version / Chinese / Master / Master of Philosophy

published_or_final_version / Chinese / Doctoral / Doctor of Philosophy

published_or_final_version / abstract / Chinese / Doctoral / Doctor of Philosophy

本論文共一冊，五章，都九萬言。 第一章：緒論。分述詠花詞之義界、研究動機與研究方法。 第二章：宋代詠花詞之先聲。就宋以前詠花詩、賦、詞作一介紹。 第三章：宋代詠花詞之盛行。就詠花詞盛行之因素作一探究，並概述北宋、南宋，及 宋末元初遺民詠花詞之發展與演變情況；同時選列各期詠花大家數人，舉證以明之。 第四章：宋代詠花詞之研析。就詠花詞之題材、寫物、寄興等表現法，分別闡述之。 第五章：結論。就詠花詞於文學上之價值作一論評。

本文旨在考述兩宋有關孟子著作之初步面貌，期能藉此辨章兩宋各學派研究孟子之流 源本末，並可由各家討論孟子仁義、心性、王霸等問題，得以探尋宋代理學之一端。 全文分序例及總論、現存書目考述、亡佚書目考述、結論四章，約十萬言，各章大旨 如下： 一、總論：總述歷代有關孟子著述之情形，略於漢唐，詳於兩宋，而求其影響元明清 者。兩宋之部，則分列學派以述，並及於其間之關係，俾便探究兩宋孟子學術。 二、現存書目考述：不予分類，惟以作者寺代先後排列，就作者、宗旨、內容、評述 、版本（著錄）分項敘述，期能便於學者尋檢。 三、亡佚書目考述：分可輯佚書目及不可輯佚書目二類。可輯佚者，則於後人著作中 搜羅，以補闕失，並予評述。其不可輯佚者，則查考文（集墓誌銘）、史志、方志等 資料，詳其作者，探其孟子著述旨趣，以見其書之大概。惟里氏生平不可考，又無文 集留存，後人亦未述及者，則列目以存，俾為參考。 四、結語：綜述全文，分述兩宋孟子著述之特點並其影響。

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The poetry of Tang, and the chis of Song are both the greatest literary styles in Chinese literature. Chis was widespread in Tang Dynasty, Five Dynasty and Ten-Kindom preiod, and Song Dynasty. During these periods, the names of chis had been changed and the amount had enlarged as well. Some of chis were used quite often and became the top ten songs. However; some of them only used few times, then disappeared. From those chis, the rise and fall of the dynasties, the news of societies and their cultural orientation were revealed. The relationship of the tune and the content of chis was the source of the authors¡¦ inspiration. Therefore, the relationship of the tune and the content of chis is important. To be the researcher of chis, it is necessary to realize the origin of chis and make a thorough understanding of them. So as to the study of chis. In the dissertation, the researcher started from quantitative and qualitative methods, as well as counted the number of tunes, sorted by ¡§the rules of chis¡¨ of¸U¾ð (Qing Dynasty) and 838 tunes of chis. It was concluded that the authors of chis in Tang Dynasty, Five-Dynasty and Ten-Kindom period and Song Dynasty often used traditional culture and folk tales as metaphor and construct the principles of chis. This dessertation was divided into six parts. Except of introduction and conclusion, there are four chapters which contain one dynasty respectively. Tang Dynasty, Five-Dynasty and Ten-Kindom preiod, and Song Dynasty, were three important periods when chis emerged, expand and mature. The development of chis was discussed in chapter two, three, and four, respectively. By studying initial chis of the authors in these three periods, the relationship of the tune and the content of chis was concluded in chapter five, which is the major point of this dessertation. Hopefully, the relationship among the different authors, various places, and dynasties could be revealed. Therefore, to study ¡§ how did the people at that time handle the tune of chis?¡¨ is very important. The authors of the tonal pattern and rhyme scheme was the tune of chis, which was formed in the court music of Sui Dynasty. In Five-Dynasty and Ten-Kindom preiod, court music, foreign music and folk music combined into chis. This new literature style described the happiness or sadness of the people at that time and sutisfied their emotional needs. The conclusions of this dessertation 1.The relationship of the tune and the content of chis is determined. 2.The tune of chis is related to its content when it initialed. However, the tune and its content were enlarged and changed in Song Dynasty. 3.The sentences in chis were similar to those in poetry. The intertextuality might deserve to be discussed in further study.