「人觀」注重「人」與「社會」、「自然」與「自我」之間的互動關係，以及依據不同脈絡下，如何思考「人」的意義與定位，進以建構「社會人」、「自然人」或「自由人」命題，形成「人觀」的理論體系。當中特別凸顯「人」所具道德、藝術、宗教、文化的多向度事實，注重諸向度間的相互作用，抉發「人」於此關係迴環下呈現的「形象」蘊涵，依此可作為體現人物豐富生命義蘊的方法。 　　在儒家「人觀」視域下，「好學進德」的顏回形象，可視作「君子之學」典範，豁顯「仁」「禮」修身的「具體實踐」內涵。《莊子》則建構「心齋坐忘」的「體道」顏回形象，內容多與「至人」身心修養和主體轉化相關，故顏回實為深入莊子「人觀」的「思想符號」。漢代揚雄、王充依「用氣言性」態度，創構「氣化大賢」的顏回形象，由是發展出「潛心學聖未至」的說法，又用「未達一間」詮釋孔顏聖賢位階之分，甚至將顏回短命早亡視作「性善命凶」、「以才自殺」的必然結果。魏晉南朝綰合「玄理思辨」與「人物品鑒」，如講求天資、智愚、識量、言語的觀人識鑒情境，對照「本末」、「形神」、「言意」概念的玄學《論語》詮釋，反映出會通儒道、玄化孔顏的聖賢觀，故有「玄化顏回」的特殊形象面目。就「玄化顏回」現象的實踐面觀，如黃憲「顏子復生」或謝尚「年少一坐之顏回」稱譽，背後便以「淵粹玄遠」、「天才神悟」的顏回形象為品鑒依據。待及唐宋，退之、習之、伊川皆據《中庸》、《易傳》立義，闡發「體道學聖」的顏回形象命題和「聖學」理論。如濂溪將「顏回之學」提升至「體天明誠」的「證體」超越層次。「顏學」與「顏樂」互相包含，「聖學」踐履以「學顏回」、「求至樂」為目標。明道則匯流「識仁」與「觀氣象」命題，塑造「體之而樂，反身而誠」的顏回形象，發揚濂溪「尋顏樂」的體道美學與聖賢觀，「體道」即含「樂道」，更是「觀聖人氣象」和「觀天地生物氣象」前提，也是探討明道孔顏觀的關鍵線索。 　　要之，本文認為，顏回「好學進德」、「心齋坐忘」、「氣化」、「玄化」、「樂道」、「學聖」諸「形象」，彼此相互作用與轉化之際，組織成儒道「人觀」體系圖像的運行圓周，「形象」與「人觀」猶如珠網牽連相即的共生關係。依此脈絡，不管是如詩劇美趣的玄化顏回觀到向上超拔的理學「體天樂道」顏回觀，當中包含身體與社會間的關係互動，名教與自然間的調和抗爭，道德相與超道德相的工夫分際，都是學者試圖還原與建構顏回形象的珍貴線索。故本文所論，實與採取「類型化」或概念結構理解模式的顏回形象研究有別，望藉此對顏回於儒道思想、身體觀、工夫論及人物品鑒學具有的關鍵意義，提出不同的理解視域和詮釋路徑。 / The “idea of the person” is a concept that centers on the interrelationship between “man” and his interaction with “society” and “the self” and its relation to “nature”. Different philosophical thought systems have differing definitions of “man”`, and use their specific definition of “man” as a basis for the development of their unique concepts of “man in society” and “natural man” or “free man”. These concepts together construct the philosophical system for the “idea of the person”. These philosophical systems place a strong emphasis on the interaction between virtue, art, religion, culture and the multiple aspects of man’s existence. Through the interaction between these different aspects of life, thus emerges the significance of the classical “images” or paradigms that serve as a concrete example of how these concepts are used in life. In the Confucian “idea of the person” the “virtue through learning” portrayal of Yanhui conveys the Confucian paradigm of “learning to be a man of noble character” and through this it can be known that Yanhui in the Confucian tradition is portrayed as a concrete personification of the cultivation of the self through “ren” and “li”. In Zhuang zi ,Yanhui is portrayed as the model of Zhuang zi’s “purification of the mind” and having done so portrays Yanhui as an exemplar of the Zhuang zi’s”the perfect person”. Through this it can be known that Zhuang zi uses Yanhui as a symbol for the “idea of the person”, thus highlighting the fact that the image of Yanhui is deeply engrained in the symbolism contained in Zhuang zi, During the Han dynasty, Yang Xiong and Wang Chong’s thought incorporated “qi” and used “qi” in particular in describing “nature”. In light of this, thus developing the idea of using “qi” to describe the image of Yanhui, as being the paradigm for the man of virtue. They also gave commentary and description of the difference between the levels of Confucius and Yanhui, describing Yanhui as having a”partial actualization of sagelypotential” and being ”slightly lower than a sage”. Lastly viewing Yanhui’s early death as the eventual result of a man having a “good nature but bad fate” and his practice of “self sacrifice”. During the Han dynasty Yang Xiong and Wang Chong’s usage of “qi” in describing “nature” thus developing the idea of using “qi” to describe the image of Yanhui as the paradigm for the man of virtue. They also gave commentary and description of the difference between the levels of Confucius and Yanhui, describing Yanhui as having a”partial actualization of sagely potential” and being “slightly lower than a sage”. Lastly viewing Yanhui’s early death as the eventual result of a man having a “good nature but bad fate”and “self-sacrifice”. The WeiJin and Southern Dynasty philosophers combined “Speculative Mystical Philosophy”with the “Examination of the character of cultural Figures”. They used natural endowment, wisdom/ignorance, capacity to use one’s abilities and language to analyze a historical figure. Also using these idea in concert with ideas such as: “beginning/end”, “Form/Spirit” and “language/meaning” , which then formed the essential concepts used in Xuan Xue’s commentary on The Analects. In using Daoist concepts to comment on The Analects, they combined Confucian and Daoist thought and through this mergence, the images of Confucuis and became mystified and through this creating the “Mystical Yan Hui」portrayal of Yanhui. The practical aspect of the “Mystical Yan Hui” is portrayed in the praise given to Huang Hui and Xie Xiang. Huang Hui was praised as being “Yanhui Resurrected” and Xie Xiang was said to be a “young Yanhui”, using the “mystical” and “gifted student” Yanhui as the basus for the praise given to these two philosophers. During the Tang and Song dynasties the philosopher Yi Chuan used The Doctrine of the mean and Yi Zhuan to develop the philosophical treatise for the “Practice of Dao and learning to be a sage”, and in this treatise thus using the image of Yanhui to signify these concepts. He then used this treatise to develop the “Learning to be a sage” philosophical system. For example, Lian xi elevated the idea of “The learning of Yanhui” to “actualizing the way of heaven in the self”, giving the image of Yanhui a transcendental aspect which can be specifically seen in Yi Chuan ’s concept of the “actualizing the essence of all”. Thus in his philosophy he merged the ideas of the “learning of Yanhui” and the “contentment of Yanhui” and used them both in concert, making the “learning of Yanhui” and the “pursuit of contentment” the goals of one who seek to learn to be a sage. Ming Dao used the topics of “understanding ren” and “observation of the disposition of the sages ”, two ideas that in antiquity are associated with Yanhui, to construct his image of Yanhui. He portrays Yanhui as the paradigm of “using practice to find contentment, internalize this practice and actualizing virtue”. Thus developing Lian xi’s “pursuing the contentment possessed by Yanhui” and its aesthetic description of the practice of dao and the concept of the sage and the man of virtue. In his thought, the “learning of Yanhui” encompasses the “Dao of contentment” and serves as the basis for the “observation of the disposition of the sages” and “observing the qi of heaven, earth and all things” , which serves as the quintessence of Ming Dao's treatise on Confucius and Yanhui. “Virtue through learning”, “purification of the mind”, “qi approach” ,“mystical approach” , “dao of contentment”, “Learning to be a sage” are the major portrayals of Yanhui. Through the inter use and melding of these ideals they became the structure of the Confucian “idea of the person” , thus melding the relationship between “image” and the “idea of the person”. From the artistic and mystical Yanhui to the transcendental "actualization of heaven and contentment in Dao" Yanhui of the li xue philosophers and in between, all conceptions of Yanhui incorporate a few major themes: the body and its interaction with society, the harmonizing of the relationship between ethics and nature , the differentiation between the practice of virtue and transcendental virtue . These are all the attempts of philosophers to construct the importance of the image of Yanhui. Therefore this paper discusses the difference between the historical Yanhui and the conceptualized Yanhui portrayal in the hopes of offering a new research direction and a deeper understanding of Yanhui's role in Confucian and Daoist thought, philosophical treatises on the body, treatises on practice and the character analyses of ancient figures.

Née d’une interrogation sur les dynamiques d’intégration républicaine des radicalités politiques, cette recherche au carrefour de la sociologie historique du politique, de l’histoire sociale des idées et de la sociologie politique des mémoires collectives,s’attache à expliquer les conditions dans lesquelles Louise Michel, une femme et une anarchiste du XIXe siècle, devient une figure éligible à la panthéonisation en 2013. L’analyse longitudinale de la carrière de la figure de Louise Michel interroge plus généralement les processus de canonisation, de circulation et de transmission qui caractérisent les dispositifs de célébration politique. A partir de l’étude monographique des multiples occurrences de lafigure de Louise Michel du dernier tiers du XIXe siècle au début du XXIe siècle (presse, discours, pratiques commémoratives, biographies ou encore manuels scolaires), ce travail montre comment une personnalité marquée par la marginalité politique devient une référence commune de la gauche. Les formes et les espaces de la célébration ne peuvent alors se comprendre qu’au regard des positions occupées par ses traducteurs et de la structure de l’espace politique et social dans lequel ils s’inscrivent. Le processus de reconnaissance institutionnelle de Louise Michel doit d’une part à la pacification d’une mémoire officielle de la Commune de Paris, et d’autre part à l’intégration de l’histoire des femmes au sein d’un féminisme d’Etat. Ce double mouvement explique l’élargissement de l’identification collective et individuelle dans la figure de Louise Michel. Il autorise l’hypothèse d’une entrée de Louise Michel au Panthéon républicain. Pourtant, cette thèse montre également que des mécanismes de résistance aux processus de reconnaissance institutionnelle demeurent. Loin d’un processus linéaire la construction de la figure Louise Michel fait l’objet d’appropriations multiples qui coexistent aujourd’hui. L’inscription d’une figure historique dans les mémoires collectives constitue dès lors un dispositif conflictuel, marqué par des conjonctures mouvantes qui met aux prises des acteurs à la croisée des espaces politiques, militants, universitaires et intellectuels. / At the crossroads of political historical sociology, social history of ideas, and political sociology of collective memories, this research starts from an interrogation on the republican integration dynamics of political radicalism. Itfocuses on explaining the conditions in which Louise Michel, a 19th century woman and anarchist, has become an eligible icon for pantheonisation in 2013. The longitudinal analysis of Louise Michel's career broadly questions the processes of canonization, circulation and transmission which characterize the schemes of political celebration. Initiated by the monographic study of Louise Michel's numerous apparitions, from the last third of the 19th century to the early21st century (press, speeches, memorial events, biographies or textbooks), this essay highlights how a politically marginalized character turns into a leftist icon. It's only by apprehending the political posture and social background ofher interpreters that one can acknowledge the different areas and forms of commemoration. The process of institutional recognition of Louise Michel's legacy is made possible on the one hand by the pacification process of the officialremembrance of the Paris Commune, and on the other hand by the incorporation of Women History in state feminism. It explained the enlargement of both collective and individual identification to Louise Michel's figure. It also authorizedthe hypothesis of Louise Michel's entry to the republican Pantheon. However, this thesis demonstrates as well that some resistance mechanisms remains. The edification of Louise Michel's emblematic figure isn't a linear process but issubject to multiples appropriations that coexist nowadays. Historical figure in collective memories poses a divisive mechanism, characterized by shifting conjunctures that confront forces at the crossroads of different political, activist, academic and intellectual spaces.

In her doctoral thesis the author would like to present the play Yoshitsune and the Thousand Cherry trees (Yoshitsune senbonzakura) as a unique piece of Japanese drama which has a great complexity and an outstanding place within the corpus of Japanese literature. Even if the play can be compared to Chushingura mono in its importance, Yoshitsune senbonzakura has not been widely translated to western languages. There are two exceptions, however: the English translation (Jones, Jr. 1993) and the German translation (Klopfenstein 1982). While comparing the two translations and using the most full original texts available (as preserved in Takeda Izumo and Namiki Sosuke Joruri Collection and Yuda Yoshio's Bunraku Joruri Collection), the author's goal is to present the play to Czech readers and its interpretation to Czech scholars. As for the flow and structure of the interpretation of Yoshitsune senbonzakura the author begins with the historical background of the legend of Minamoto Yoshitsune, capturing the life of Yoshitsune from the time of Heiji rebellion (1159) when he was born to his death in 1189. Next the author concentrates on the legend itself as it evolved within the course of Japanese literature. With a shift from the court literature of Heian period towards the battlefield stories and...

In her doctoral thesis the author would like to present the play Yoshitsune and the Thousand Cherry trees (Yoshitsune senbonzakura) as a unique piece of Japanese drama which has a great complexity and an outstanding place within the corpus of Japanese literature. Even if the play can be compared to Chushingura mono in its importance, Yoshitsune senbonzakura has not been widely translated to western languages. There are two exceptions, however: the English translation (Jones, Jr. 1993) and the German translation (Klopfenstein 1982). While comparing the two translations and using the most full original texts available (as preserved in Takeda Izumo and Namiki Sosuke Joruri Collection and Yuda Yoshio's Bunraku Joruri Collection), the author's goal is to present the play to Czech readers and its interpretation to Czech scholars. As for the flow and structure of the interpretation of Yoshitsune senbonzakura the author begins with an analysis of the historical background of the legend of Minamoto Yoshitsune, capturing the life of Yoshitsune from the time of Heiji rebellion (1159) when he was born to his death in 1189. Next the author concentrates on the legend itself as it evolved within the course of Japanese literature. With a shift from the court literature of Heian period towards the battlefield...