Thèse de doctorat : Lettres modernes : Tours : 2008. / Titre provenant de l'écran-titre.

Diss. : Theologische Fakultät : Würzburg : 1981. - Bibliogr. p. 441-457. Notes bibliogr. -

溫偉耀. / 稿本(電腦打印本) / Thesis (Ph. D.)--香港中文大學歷史學部, 1990. / Gao ben (dian nao da yin ben) / Includes bibliographical references (leaves 233-246). / Wen Weiyao. / Thesis (Ph. D.)--Xianggang Zhong wen da xue li shi xue bu, 1990. / 凡例 / Chapter 第一章 --- 序論：關於二程子的硏究 --- p.1 / Chapter 一. --- 民國以來二程子思想硏究的發展 --- p.3 / Chapter (甲) --- 中日戰爭以前的二程硏究 --- p.4 / Chapter (乙) --- 由抗戰至六零年代的二程硏究 --- p.8 / Chapter (丙) --- 牟宗三的《心體與性體》及其影響 --- p.11 / Chapter (丁) --- 八零年代二程研究的發展 --- p.16 / Chapter 二. --- 綜論二程硏究的問題及本論文的寫作立場 --- p.22 / Chapter 第二章 --- 程明道即「一本」言工夫之義理格局 --- p.32 / Chapter ´ؤ. --- 引言：「一本」之境界 --- p.32 / Chapter 二. --- 「一本」境界之内涵與義理格局 --- p.39 / Chapter (甲) --- 「一本」論作為一種圓頓的觀照境界 --- p.40 / Chapter (1) --- 通過「本體」統攝「存在」從把持本源的統攝意向破分別相的境界 --- p.40 / Chapter (2) --- 即「存在」即「本體」---絶對圓融之觀照境界 --- p.50 / Chapter (乙) --- 「一本」論作為一種極度簡單化的生命情調 --- p.61 / Chapter 三. --- 達至「一本」境界之工夫 --- p.72 / Chapter (甲) --- 體悟-境界的提昇、意識的轉化 --- p.74 / Chapter (乙) --- 漸悟漸修-「誠、敬、憤獨」的把持工夫 --- p.84 / Chapter 第三章 --- 程伊川之致知與涵養工夫 --- p.92 / Chapter ´ؤ. --- 引言-伊川工夫論之一般性格 --- p.92 / Chapter 二. --- 伊川格物窮理致知工夫之疑難 --- p.95 / Chapter (甲) --- 「格物窮理致知」的道德實踐意義 --- p.95 / Chapter (乙) --- 疏解伊川「格物、致知」工夫的偏差 --- p.100 / Chapter (1) --- 將伊川「格物窮理」工夫類比於近代西方的科學歸納法 --- p.101 / Chapter (2) --- 將朱熹的「格物致知」論套入伊川的理解之中 --- p.105 / Chapter (3) --- 伊川「格物致知」工夫的不同層次 --- p.112 / Chapter 三. --- 伊川「格物、致知」之現象學與存有論的詮釋 --- p.117 / Chapter (甲) --- 通過讀聖賢典籍去提昇自己的道德生命 --- p.117 / Chapter (1) --- 讀書與道德生命的提昇 --- p.119 / Chapter (2) --- 對聖賢典籍的再體驗 --- p.125 / Chapter (乙) --- 體察歴史人物經歷以把握為聖之道 --- p.129 / Chapter (1) --- 讀史與道德生命的提昇 --- p.130 / Chapter (2) --- 對歷史的具體解悟 --- p.136 / Chapter (丙) --- 居敬集義-透過待人接物的生活去提昇自己的道德生命 --- p.141 / Chapter (1) --- 待人之道與道德生命的提昇 --- p.146 / Chapter (2) --- 接物之道與道德生命的提昇 --- p.154 / Chapter (3) --- 「敬」作為涵養的工夫 --- p.173 / Chapter (丁) --- 觀天地萬物氣象而感應德性生命之義理 --- p.181 / Chapter (1) --- 觀物察己的本體學根據 --- p.182 / Chapter (2) --- 觀物察己的工夫 --- p.195 / Chapter (3) --- 再論「聞見之知」與「德性之知」 --- p.204 / Chapter 第四章 --- 視域與觀照：二程子工夫論之會通 --- p.209 / Chapter 一. --- 對二程同異的不同立場 --- p.210 / Chapter 二. --- 二程所鋪陳的成聖之道 --- p.215 / Chapter (甲) --- 從二程生平經歴看二人之學術關係 --- p.215 / Chapter (乙) --- 程伊川的轉向 --- p.219 / Chapter (1) --- 伊川貫通「未發」與「已發」的工夫見解 --- p.219 / Chapter (2) --- 視域與觀照：伊川的「修」與「悟」 --- p.227 / Chapter (丙) --- 修-悟-把持 --- p.230 / 參考資料選輯 --- p.233 / Chapter ´ؤ. --- 二程生平著作古籍原典 --- p.233 / Chapter 二. --- 民國以來直接論二程的著作（按寫作先後排列） --- p.234 / Chapter 三. --- 中文、日文參考書目 --- p.238 / Chapter 四. --- 外文參考書目 --- p.241

François Cheng se situe au premier rang des auteurs venus de Chine qui enrichissent la littérature francophone. De l’écorché vif sans parole à l’académicien respecté, François Cheng a non seulement adopté définitivement son pays d’accueil, mais il en a aussi épousé la langue. Par son œuvre de traducteur, d’essayiste, de critique, de romancier et de poète, il a tissé un dialogue entre les deux cultures lointaines. L’objectif de notre étude est d’analyser la symbiose vivante de la culture occidentale et de la culture chinoise dans la poésie de François Cheng, infatigable pèlerin de l’Occident. Notre étude, fondée sur un corpus constitué principalement de ses recueils de poésie, aborde son écriture sous l’axe linguistique, littéraire et culturel. Par le truchement de cette analyse qui dévoile les caractéristiques récurrentes de sa création poétique, c’est la Voie de François Cheng que nous cherchons à éclairer. / Among the Chinese authors whose contribution enriches the French literature, François Cheng represents a key figure. From a timid sensitive to a respected academician, François Cheng has not only definitely adopted his host country, but also married its language. Through his work as a translator, essayist, critic, novelist and poet, he has woven a dialogue between the two distant cultures.The aim of our study is to analyze the vigorous symbiosis of Western culture and Chinese culture in the poetry of François Cheng, a tireless pilgrim from the Est. Our corpus, consisting mainly of his poetry, leads to a study on his writing under linguistic, literary and cultural axis. Through this analysis that reveals the recurring characteristics of his poetic creation, we seek to enlighten the Tao of François Cheng.

Cheng Ching-wen has a wide variety of interests in writing, including novel, short story, fairy tale, literature, political review, miscellaneous writing and translation of Western literary works. Cheng has been engaged in writing for fifty years and accomplished a tremendous amount of quality work. This thesis would focus on three of Cheng¡¦s novels. Structure of the thesis would be the first part which has been finalized after several modifications. Chapter One Explain the reason why to choose Cheng¡¦s novels as the topic of this thesis. Chapter Two Study the writer¡¦s life and creation background. Analyze how his special growing background, learning process, friends and reading preference impact on his writing. Also, discuss the relationship between his inspirations and his works from the three geographic environments where he grew up. Chapter Three Discuss the origin of Cheng¡¦s creation ideas. Analyze Cheng¡¦s creation style and the formation of his tragic philosophy of life from the perspectives of Western literary works and the philosophy of life. Chapter Four Explore how Cheng creates the image of a novel character through artistic portrayal of characters and analyze Cheng¡¦s language style from three perspectives. Chapter Five Discuss Cheng¡¦s novels from four major topics: suffering common people, the greatness of mother¡¦s love, life of the peasantry in Taiwan and the forbidden political issues. Based on these topics, explore the ideas that Cheng embodies in these three novels. Chapter Six Conclusion: Summarize Cheng¡¦s creations and writing style. Keywords: Cheng Ching-wen, Novel, Topic, Tragedy,A Study on Cheng Ching-wen¡¦s Novel

Thesis (Ph.D.)--State University of New York at Binghamton, 2002. / Includes bibliographical references (p. 541-552).

François Cheng est devenu une figure symbolique incontournable aussi bien pour la France que pour la Chine. C’est un écrivain dont la culture et la conscience sont doubles, car sa vie est étroitement liée à la Chine et à l’Occident. Sa grande intériorité énigmatique s’explique par son âme chinoise et son amour de l’Occident. Toute sa vie, il a poursuivi la réconciliation et le dialogue entre les deux cultures. Son écriture est aussi fortement marquée par une expérience personnelle de l’exil liée à un profond sentiment d’authenticité. D’un côté il nous fait redécouvrir une Chine traditionnelle et artistique, de l’autre il nous dépeint un vieux pays hanté par les destinées tragiques d’innocents, nous offrant ainsi l’image d’une Chine très riche et diversifiée. La constante comparaison entre les deux cultures nous révèle ses racines chinoises et son esprit français, marqué par un humanisme épris de liberté. C’est dans cette symbiose que se révèle la pensée de François Cheng, nourrie de multiples spiritualités et habitée par les concepts dualistes de la beauté et du mal. Cette recherche nous permet de mieux connaître cet écrivain : un quêteur de beauté, un homme en marche, un écrivain indéfinissable – le plus chinois des écrivains français ou bien le plus français des écrivains chinois –. / François Cheng is a major and symbolic figure in France and in China as well. He is a dual-culture writer who draws upon two streams of consciousness. His destiny is closely associated with China and the West. His enigmatic introspection can be explained by his Chinese soul and his love for the West. Throughout his life, he constantly pursued reconciliation in the dialogue between Eastern and Western cultures. His writing is strongly coloured by his unique experience of exile and a deep sense of authenticity. On the one hand, he enables us to rediscover a traditional and artistic China, while on the other hand, he describes an old country where innocent people suffered tragically. Thus the image of China that François Cheng draws, proves to be very rich and diverse. The continuous and coherent comparison between both cultures – French and Chinese ‒ reveals the French side of his reflection, his humanist trend and sense of freedom. It is within this symbiosis that we discover François Cheng’s thinking, nurtured by multi-spirituality and inhabited by the dualistic concepts of beauty and evil. This research intends to improve the knowledge we have of Francois Cheng : in search of beauty and dedicated to a constant reflection, he appears a double and indefinable writer : the most Chinese of French writers, and the most French of Chinese writers.

林漢堅. / Thesis (M.A.)--香港中文大學, 1989. / Reprint of manuscript. / Includes bibliographical references (leaves [450-530]). / Lin Hanjian. / Thesis (M.A.)--Xianggang Zhong wen da xue, 1989. / 前言 --- p.1 / Chapter 第一章 --- 夏承碑之發現和現況 --- p.5 / Chapter 甲 --- 建碑時間和地點 / Chapter 乙 --- 出土時間，情況與有關記錄 / Chapter 丙 --- 今日現況 / Chapter 丁 --- 註釋 / Chapter 第二章 --- 夏承碑碑文內容研究 --- p.27 / Chapter 甲 --- 碑文集釋 / Chapter 乙 --- 夏承生平考 / Chapter 丙 --- 註釋 / Chapter 第三章 --- 夏承碑字形學研究 --- p.96 / Chapter 甲 --- 夏承碑重要文字源流大變 / Chapter 乙 --- 隸變文字 / Chapter 丙 --- 訛異字 / Chapter 丁 --- 篆體文字 / Chapter 戊 --- 註釋 / Chapter 第四章 --- 夏承碑拓本研究 --- p.131 / Chapter <一> --- 拓本研究 / Chapter 甲 --- 臨川李宗瀚藏宋拓本研究 / Chapter 乙 --- 臨川李氏本各種鉤摹臨寫本 / Chapter 丙 --- 伊秉綬本研究 / Chapter 丁 --- 孫仲牆本研究 / Chapter 戊 --- 孫仲牆本臨本 / Chapter 己 --- 其他拓本 / Chapter 庚 --- 註釋 / Chapter 第五章 --- 夏承碑書法藝術研究 --- p.236 / Chapter 甲 --- 原石形制考 / Chapter 乙 --- 書法藝術研究 / Chapter 丙 --- 書者研究 / Chapter 丁 --- 刻工研究 / Chapter 戊 --- 註釋 / Chapter 第六章 --- 夏承碑的書學地位 --- p.342 / Chapter 甲 --- 歷代有關夏承碑的評價 / Chapter 乙 --- 侯鏡昶評《夏承碑》及「華美派」對後世上書風之影響 / Chapter 丙 --- 筆者對 《夏承碑》書學地位之評估 / Chapter 丁 --- 註釋 / 總論 --- p.425 / 附錄 --- p.460 / Chapter 甲 --- 附表 --- p.460 / Chapter 乙 --- 參考書目 --- p.494 / Chapter 丙 --- 图版 --- p.576

李志綱. / 論文(碩士) -- 香港中文大學硏究院藝術學部, 1995. / 參考文獻: leaves 108-119. / Li Zhigang. / 敘論 --- p.1 / Chapter 第一章 --- 程邃及其時代 --- p.5 / Chapter 第一節： --- 家庭狀況 --- p.5 / Chapter 第二節： --- 生平傳略 --- p.7 / Chapter 第三節： --- 重要師友 --- p.18 / Chapter 第二章 --- 程邃的繪畫藝術 --- p.33 / Chapter 第一節： --- 晝學淵源及早期風格 --- p.33 / Chapter 第二節： --- 繪畫技法的成熟 --- p.41 / Chapter 第三節： --- 繪畫風格的簡化 --- p.46 / Chapter 第四節： --- 晚年造詣 --- p.50 / 結論 --- p.61 / 附錄（一）程邃交遊人物表 --- p.66 / 附錄（二） 程邃書畫簡表 --- p.97 / 附錄（三）參考書目 --- p.108 / 圖版目錄 --- p.120

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