鮑照為「元嘉三大家」之一，在南朝柔靡文風彌漫整個文壇之際，鮑照「頗自振拔」，能夠上接漢魏，獨具俊逸風骨。以辭賦的表現而言，鮑照可以說是晉宋之際到齊梁的過渡人物。鮑照現存辭賦有十篇，大體分之，可分為抒情賦及詠物賦兩大類。本論文共分六章，第一章緒論南朝時代背景及辭賦在南朝的發展概況；第二章「鮑照評傳」探討鮑照籍貫、家世及生卒年，並簡介鮑照辭賦以外的其他作品；第三、四章將鮑照十篇賦作分兩類作內容及形式上之詳細分析；第五章則舉其辭賦之最大特色，作綜合分析；第六章則總結前述各章之重點，確定鮑照辭賦之價值，並略述其對後世文人之影響。

Thesis (Ph. D.)--University of Washington, 1988. / Vita. Bibliography: leaves [419]-437.

The ancient concept "The world is a theatre" has been used by poets and philosophers at all times when talking about human conflicts or when describing human society. By focusing on the historical function of this use, the present dissertation examines four plays by Pedro Calderón de la Barca in relation to the schism of the Swedish Wasa dynasty: El sitio de Bredá, La protestación de la fe, La vida es sueño, Afectos de odio y amor. A parallel between Calderon's "auto sacramental" El gran teatro del mundo, Descartes' so called "mask" and the Neoplatonic "Art of Memory" (Giulio Camillo, Giordano Bruno, Robert Fludd) is established in order to explore the ontological and social background of the linguistic term "discourse". The heretic picture created by the European Counter Reformation is studied as the mimetic configuration of a collective fetish. Stephen Greenblatt's notion of "social energy" and Julia Kristeva's account of the fetish in poetical language, are, in this context, discussed with the intention to investigate how Calderón, to the Spanish audience, describes Wladislav Sigismund Vasa visit to Breda's siege and Queen Christina's convertion to the Catholic faith. The political and ideological debate of laws ruling the succession in Catholic and Protestant kingdoms are considered when discussing Diego de Saavedra y Fajardo's (from Catholic Spain) and Schering Rosenhane's (from Lutheran Sweden) political reflections on the issue; this is also compared to the ideological foundations of Calderon's play El gran teatro del mundo. Both King Sigismund Vasa's personal struggle to retain the Swedish crown and Queen Christina's abdication, are considered in the light of Calderon's La protestación de la fe and Rosenhane's political vision in his Hortus Regius. A special investigation is dedicated to the striking contrasts between the original emblems of Hortus Regius and those found today in Rosenhane's palace, having been painted there on the initiative of Rosenhane himself. The Catholic agitation against Machiavelli's definition of "virtue" and the Machiavellian and Catholic interpretation of "reason of state", are related to Calderon's theatre with the intention of evaluating the geopolitical aspects of Calderon's most famous play, La vida es sueño, and also with the purpose to initiate a discussion about the theatrical nature of political behaviour. The dissertation concludes by studying and comparing Calderon's, Bernardino de Rebolledo's (Spanish ambassador to Denmark at the time) and Francisco Bances Candamo's views on Queen Christina's personal aversion to marriage, with special attention paid to the symbolic dimensions of Queen Christina's Amaranta Order.

Thesis abstract Base on certain principal documents, this study focus on " Personality-type Theories of Scholars in Pre-Qin Dynasty ". There are three purposes in this work: First, discovering the prosperous thoughts of scholars in pre-Qin; and the second, providing the models of perfect persons for the modern people; the last, examining the ancient Chinese personality theories to compare those theories originated in western psychological concepts. This thesis divides eight chapters. The introduction explains respectively the motivation, hypothesis and the methodology. Those aspects focus on the advantages of the viewpoint of "philosophical study on man" and "the philosophical study on talent" in present China. The second chapter defines the "personality" and analyzes the personality types divided in western psychology. Depending on the definitions, we discuss about four personalities including the western psychological tendency, and synthesize the affiliation by comparison between the psychologist's biography and the personality theory, therefore we attends to discover the ideal personality which these psychologists expected. The third chapter discusses the personality types which the thinkers classify in Pre-Qin dynasty offering as elaborates following several chapters. From fourth to sixth chapter, we adopt the synchronic and diachronic approaches to interpret the scholars¡¦ texts about personality- type theories. Those contents are divided into three criteria: moral culture, spiritual self-restraint and the social achievement. In surmounting the boundary of nations/scholars, seventh chapter compares the theories personality types and its cultural development which reflected between western world and China. Finally the conclusion summarizes each chapter, also links up the history to manifest the influence of the classification in later generations. Furthermore, we draw the perspective for this study.

The research on fu and theory of fu seldom concerns Qing dynasty and it is still unknown what kind of fu is considered the great works in the mind of literary authors in Qing dynasty. This study discusses Gufu in Qing dynasty, following the definition made by literary critics at that time: Gufu represents all kinds of fu except lüfu¡]fu with a special rhyme scheme and other prosodic features¡^. Through anthologies and the analysis of the literature, this study attempts to find out the great writers and classic works of fu, which are called ¡§canons¡¨ by literary critics in Qing dynasty. In addition, a further attempt is made to restore the literary norm through the review of literature and subsequently to reasonably interpret this literary norm and phenomenon. The results show that literary critics in Qing dynasty think that fu originates from poetry and is a kind of ¡§genre criticism¡§. Further, on the basis of this viewpoint, the evaluation of Gufu, historical views on fu, and canons are raised by literary critics in Qing dynasty.

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Poems inscribed on paintings combine poems and paintings closely together. They are artistic fusion of poetry and painting. A poem inscribed on a painting usually serves as a window to the painting to point out, bring about and deepen the meaning of the painting. Hence, poems inscribed on paintings characterize themselves as overlapping the boundaries between literature, painting, landscape poetry and landscape painting. A poem inscribed on a painting not only displays the form of landscape through the painting but also expresses the meaning of the painting and reflects the poet's mind as well. The combination of landscape poetry and landscape painting reached the summit in the Yuan Dynasty when lots of poems inscribed on paintings emerged to express the art of painting through the art of poetry. Further combination of poetry and painting first appeared in the works of HUANG, Kung-wang, who was a famous poet and painter in the Yuan Dynasty. Among the "Four Masters of the Yuan Dynasty", HUANG enjoyed the highest achievements in art and remarkable accomplishment in the creation of poems inscribed on landscape paintings, which exerted an enlightening, deep and long-term influence on the art and literature of the successive Ming and Ching Dynasties. HUANG, Kung-wang's poems inscribed on paintings can be divided into two categories - "poems inscribed on others' paintings" and "poems inscribed on his own paintings". The former represents the poet's (HUANG, Kung-wang's) perception and appreciation of a painting through his own cultural discipline and aesthetic taste and the subsequent creation of a poem to bring about the meaning of the painting. The latter provides the background of his (HUANG, Kung-wang's) creation of poems and gives hints to the inner implications of his paintings and his ideas and appreciation of painting, aiming to achieve the state of "perfect fusion of poetry and painting" through poetry-painting interaction. So, whether "poems inscribed on others' paintings" or "poems inscribed on his own paintings", the poet (HUANG, Kung-wang) have successfully introduced readers to painting and showed them how to enjoy the fun and meaning behind painting. Poems inscribed on landscape paintings use paintings as materials, so the existence of landscape images embodies a visual space. However, the creation of both poetry and painting most addresses the link between, or rather, the fusion of scenery and emotion. As a result, while appreciating a painting with a poem inscribed on it, we had better not limit our view to forms and structures. In stead, HUANG, Kung-wang's approach of appreciating a painting is much recommended. With excellent mental training and great imagination, the scenery of mountains, rivers, clouds, villages, pavilions, or even a blank space on the painting could turn out to be an entire season, life, nature or universe for the mind to enjoy eternally. Besides, HUANG, Kung-wang's poems inscribed on landscape paintings particularly emphasize mental growth and pursuits. It is believed that reading, religious discipline, reclusion, travel and personal integrity can help improve the level of art and literature creation. HUANG, Kung-wang had never learned painting until he was 50. His case is a good example of the Chinese saying, "A great vessel will be long in completion; a great man will take time to shape and mature." In terms of Chinese painting, it means that only through multiple training and discipline can an artist demonstrate a unique style.

¤h/shi/, ¿Ñ¤h/mou shi/,µ¦¤h(tse shi) ( scholar who provide good idea, plans or strategies to king or power politicians) is a highly influential social class in Pre-Qin dynasty, those people are intelligent, talented, and self-actualization, possess a very strong desire to fulfillment; Accomplish both success and fame is their philosophy, standard and values. It echoes the old saying, ¡§Officialdom is the natural outlet for good scholars¡¨. In the spring and autumn period, there is the special implication that a¤h/shi/ make an official, it is not only for power, fortune, and fame, or social participation and social caring. Be an official is just a method; the concept behind this is the there is the only way to achieve their political ideals by becoming the trusted subordinate of the King and other powerful politicians. During the warring states period of china, the conflict of the domestic, diplomacy, and military affairs are keep happing between each states. Diplomatic power is the important role to deal these complicated situations, however the person¡¦s talent is the key to diplomatic power. Thus, person¡¦s talent and intelligent are attract the special attention. Under this competitive circumstance, Many powerful politician tend to hire ¤h/shi/ to give them advises, provide stage for ¤h/shi/ and facilitate their popularities. Form royal to rural, civil to military, mysterious diplomacy to gruesome battlefield, gangster to hero, ¤h/shi/ can be seen everywhere. They use their talent to pursuit powerful position, those person building accomplish by becoming a counselor or criticizer. ¤h/shi/ enjoy the special glorious treatment in warring states period of china, they even can control country¡¦s policy, influence the King¡¦s decision and dominate the future direction of the country. Those who contribute their intelligent and talent to their Master or King, might have different purposes and motivations. This research focus on the¤h/shi/ who provide their talents for King and other powerful politician, and discuss their philosophy and values. The first chapter explains respectively the motivation, hypothesis and methodology. Those aspects focus on ¡§the meaning of ¤h/shi/¡¨, ¡§The historical background or setting about the rise of¤h/shi/¡¨, ¡§The change and classification of¤h/shi/¡¨ to interpret warring period¤h/shi/¡¦s category and the reason about their rise. The second and third chapter defines the¤h/shi/¡¦s behavior, method of debating, and the result of lobby to analyze their motivation to toward successful and avoid failure. The fourth chapter lists the standout¤h/shi/ who has the strict moral code and disdains to follow such utilitarianism. It also analyze the difference from others to discover the reason they beyond other¤h/shi/. The fifth chapter list the scholar who did the lobby behavior but not belong¿Ñ¤h/mou shi/, and define the difference by comparison above-mentioned two characters. Finally the conclusion summarizes each chapter; hope can express the different viewpoint from different aspects toµ¦¤h(tse shi).

男女愛情問題方面，東洋古來鮮有公開研究。東西方文化之差異，此為其中一原因。 余在此論文主研討中國古代男女關係─亦可謂女性倫理觀─、以便了解中國文化之特 質及其生成。不但中國、即受儒家思想影響的韓國李朝，亦頗有關係。今試分析評價 男尊女卑思想，為將來中國與韓國之社會前途作一參考並有所展望，此固吾之所願也 。 第一章緒論：論及本論文寫作之目的。在於研討中國支代婦女在中國文化發展上之役 能，地位與男性關係之變遷。換言之，亦即探求所謂「三從四德七出」之形成背景， 以其結果，以展望以後之男女與夫婦關係。 第一節中國倫理觀 一、中國倫理觀之特質： 二、中國倫理之起源：（一）由於對自然之敬畏。（二）由於對死亡之恐懼。（三） 人性之發展。（四）行動之節制。 第二章先秦時代之倫理觀 第一節三皇五帝之傳說時代：推想當時，母權社會、在女尊男卑之觀念之下，男女之 關係，只屬異性關係。 第二節首述歷史初期─夏殷─之男女關係：據地下材料，例如仰韶、龍山及甲骨等 之資料，可推想當時倫理，即為(1) 家族制度業已確立。(2) 男女有別。(3) 有尊重 婦女之風俗。(4) 有孝親敬老之風俗。(5) 有互助合群之美俗。男女之間強弱之關係 。 第三章漢代女性倫理觀 第一節、政治社會及宗教思想與婦女倫理觀之影響。 第二節、劉向列女傳之女性倫理觀。 第三節、班昭女誡之女性倫理觀。 第四節、後漢書列女傳之女性倫理觀。 第五節、漢代女性倫理觀之實況。 第四章結論：中國婦女向以順服於丈夫，盡事於舅姑為己務，只為維持中華傳統， 鞏固宗法社會與政治組織。因而中國婦女不得不百般忍受而成政治上之犧牲。中國男 女平等權之獲取雖較西歐為晚，但中國婦女以柔順、貞靜、遵禮之態度協助男性創造 中原大一統之國，人口繁衍，民族愛好和平與中庸，不可分裂，進而形成中華五千年 之傳統文化。若中國婦女未耐於如上所述之政治犧牲，至今不能產生如此偉大民族。 /

Thesis (Ph. D.)--University of Chicago, Dept. of Near Eastern Lannguages and Civilization, 2002. / Includes bibliographical references. Also available on the Internet.