「詞史」為一理論術語，亦是作品的價值桂冠。此一觀念於明清之際興發，然而歷來大多是站在「詩史」的角度之下詮釋此一概念，而少對當時的「詞史」論述作一完整並細緻的討論。經過分析，筆者發現明清之際的「詞史」論述具有泛情化與個人化的傾向，故本文以現今「詞史」研究的學術反思為出發點，並進一步站在此特點之上，企圖建立一個考察「詞史」作品的「新詞史」視角。第一章是全文的基礎，包含兩個重點：一是分析明清之際的「詞史」概念特質，並闡述其產生背景與原因；二是將「詞史」與「詩史」、「曲史」一同比較，得出它們的細微差別。第二章至第四章從「詞史」論述中選取三個主要內涵，分別是「傳心」、「憶往」與「懷古詠史」，在這三章中，除了對這三類「詞史」論述有更仔細的分析外，並加入了與此三個主題相關的理論思考，形成新的考察視角，接著由這些主題衍伸而出，開展專題討論，作為「新詞史」之示例。「詞史」的泛情化與個人化，背離了過往重紀事的史觀，而與二十世紀初以來的新史學觀念相符，同樣指向心靈史與思想史之範疇。也因為「事」的剝離，其間文體跨越的標準，以及詞中「史」的性質都更為抽象、模糊，加上論述中賦予鑑賞者裁選的權力，故與新歷史主義亦有部分相似之處。本文採用新歷史主義的方法，注重文本與歷史的互動，選擇詞、史兩個方面皆有價值的作品：第一個專題以兩組骷髏詞為分析對象，從中可見兩種死亡觀的對話；接著以自壽詞與自題像詞為分析對象，觀察他們詞中的自傳意味；最後以〈虞美人〉詞牌為主的虞姬詞為分析對象，帶出英雄觀的討論。這三個專題之間又是彼此關聯，共同形成一個歷史場域，在詞中展現他們文學化的眾聲喧嘩。綜上所述，本文於理論與作品兩方面，希望能擺脫過往陳陳相因的定義與詮釋，而對於詞與史，有更多思考的可能。= As an academic term, Cishi can also be esteemed as a compliment of a piece of work. Cishi, developed into a concept in the duration of Ming and Qing Dynasty, has been long comprehended and interpreted under the gist of Shishi, without a thorough and detailed discussion over the contemporary discourse about Cishi. Through close reading and analysis, I found that the discourse about Cishi in the duration of Ming and Qing Dynasty has an inclination of pan-sentiment and personalisition. This dissertation is based on the reflection of present study on Cishi, and tries to make a step further to establish a "new Cishi" platform to inspect Cishi works. The first chapter is the fundament of this whole dissertation, which consists of two parts: one is to analyze the particularity of the concept of Cishi, and explain its background and reason, and the other is to compare the subtle differences among Cishi, Shishi and Qushi. I select three main connotations--expressing mind, retrospecting the past, and ode to history, to discuss among Chapter Two to Chapter Four. Besides the profoundly analyzing, I combine these three topics with respectively related theoretical thinking to form a new perspective. Subsequently, specific discussions expended from the topics are set examples of the "new Cishi". Pan-sentiment and personalisition of Cishi deviates from the traditional historiography view which concentrates on the event recording, whereas corresponds with the new historiography view blossoming in 20th century, which also points to the spiritual history and the history of ideas. For the reason of the separation from events, ambiguous standards of style, the abstract and vague quality of "history" in Ci, as well as the power of selecting entitled to the readers in discussion; Cishi also shares some similarities with new historicism. So in this dissertation, regarding the interaction between text and history, I adopt the method of new historicism to select those works which contribute both in Ci and in history. The first topic concentrates on two groups of skeleton Ci, which embodies two different views of death. The second topic sets the self-bithday-congratuation Ci and self-portrait-inscription Ci as objects of study to observe the connotation of autobiography within. In the very end, the third topic analyzes the character of Yuji(虞姬) which mainly appears in the Cipai(詞牌) of Yumeiren(虞美人), which also contains the discussion of the heroic outlook. Associated mutually, these three topics form a historical field, and burst into a literary chorus in Ci. As a conclusion, this dissertation explores in aspect of theory as well as works, tries to get rid of the past routinized definition and explanation in order to offer some new possible perspectives in both Ci and history.

published_or_final_version / Chinese / Doctoral / Doctor of Philosophy

本論文重點在研究徐霞客遊記之文學。全一冊，除前言外，凡七章，約十萬言各章大 要如下： 第一章：徐霞客其人。簡介徐霞客之家世、生平、性情、交遊等，以認識其人。 第二章：徐霞客遊記概述。首敘遊記之成書、整理及刊刻，次敘霞客之旅遊概況與遊 跡，三敘遊記之內容、形式等，期能對遊記本身有一大體之瞭解。 第三章：徐霞客所處時代之文學背景與所受影響。此章擬自晚明文風、晚明文人之寫 作態度、小品文之興起三方面，見霞客寫作之背景。 第四章：徐霞客之寫作技巧分析。本章從構語造句，修辭用字，譬喻三方面，探論其 寫作技巧。 第五章：徐霞客遊記文學所常見之主題試探。由山之屬、岩溶洞穴、天象氣候、人物 、植物等，見其文學風貌。 第六章：往霞客遊記與我國山水名家比較。茲舉酈道元、柳宗元、袁宏道三家之山水 文學與霞客之遊記比較，以見各家於山水文學寫作之異同。 第七章：結論。論霞客遊記文學之評價及其成就。

一、字數：約六萬字。 二、章節：計分五章十六節。 三、綱要： 第一章：緒論。概言寫作意旨及方向。 第二章：背景說明。 第一節：船山性格描述。由後人記載及船山著作山看船山的性格。 第二節：政治風氣。概述明代政風。 第三節：學術風氣。概述明代學風。 第四節：社經狀況。概述明代社會與經濟性情形。 第五節：哲學背景：人心論。介紹船山的人性觀。 第三章：船山論君子與小人。 第一節：君子勢長。討論三種君子對待小人的方式。 第二節：小人勢長。討論三種君子處時的方式。 第三節：兩種君子與小人互動方式的研究。討論陰陽的對待關係及意義。 第四節：船山的終極關懷。討論船山對政治秩序的觀點。 第五節：名詞析義。探討船山的君子小人觀的始義。 第六節：結語。 第四章：船山論君臣民。 第一節：船山論君。探討船山對君權源始、轉移及運做的觀點。 第二節：船山論臣。探討船山的仕與隱的觀點。 第三節：船山論民。探討船山對人民的政治能力的觀點。 第五章：結論。 第一節：船山之人物品評的檢討。對船山的人物觀給予適當定位並據以解釋船山之隱 遁及其價值觀。 第二節：孔子之人物觀的檢討。從外王社會的期盼與個性發展的觀點進行討論。

茲扼要說明章節與內容如后： 第一章：緒論─第一節：研究動機與題目界定。第二節：研究假設與基本模型。第三 節：研究方法。 第二章：廠衛的基礎及其背景─第一節：君主專制。第二節：法家思想。第三節：懦 家思想。 第三章：廠衛的制度─第一節：廠衛的發展，第二節：廠衛的組織。第三節：廠衛的 職權。第四節：廠衛的甄補。第五節：廠衛的領導。第六節：廠衛的關係。 第四章：廠衛的運作及其影響─第一節：懷柔策略。第二節：高壓策略。第三節：官 僚體係。 第五章：結論。

Calligraphic rubbing collections or rubbing collections of model calligraphy (fatie 法帖) are frequently described as a source of canonical models for the learning of calligraphy. They are often associated with and usually refer to the calligraphy of the Two Wangs (Wang Xizhi 王羲之, 303-61, or 321-79, and his son Xianzhi 獻之, 344-86). They also became acknowledged as embodying the classical tradition transmitted mostly from the Jin (265-420) Dynasty, one which was well-known as the calligraphy canon. In general, recent scholarship on rubbing collections holds that rubbing collections often transmitted important and highly recognized works which represented the classical tradition or calligraphy canon. This thesis aims to analyze how Ming Dynasty (1368-1644) people received new forms of rubbing collections, and explores some of their social roles in Ming China. Apart from traditional concerns, for instance for the aesthetic value and the origins of various editions of rubbing collections, other aspects of rubbing collections of the Ming, for example, socio-historical and material culture perspectives, have not been explored in detail. The development of this form of calligraphy reproduction in China is important as an instance, alongside original works of calligraphy, of how the history of calligraphy was created and contested. The thesis will evaluate which calligraphers were chosen to be reproduced in rubbing form, which of their works were included, and what proportion of rubbing collections their work occupied, as well as who the patrons were and when the collections were published. An analysis of this information will show how the rubbing collections challenged the calligraphy canon and facilitated social mobility between various social groups particularly, scholars-officials, merchants and commoners. It will be demonstrated that Ming rubbing collections were no longer exclusively devoted to the traditional canon, nor did they contain only calligraphy of high aesthetic value. Calligraphy after masterpieces written in the copiers’ own styles and writings of those without significant reputations in calligraphy were made into rubbing collections as well. The thesis will attempt to show the cause(s) for this change.

Farewell in the Garden is a Qing dynasty (1644-1911) copy of a parting gift painted by Wen Zhengming (1470-1559) for his student Wang Chong (1494-1533) to mark the occasion of Wang Chong’s visit before he left to write the civil service examination. In addition to this painting, three other versions bearing similar poetic inscriptions exist. These four paintings present an intriguing riddle and oppourtunity to consider copies as works worthy of scholarly attention. The compelling scene of farewell between teacher and student who both failed the examinations numerous times resonated with audiences who empathized with their disappointments. A longing to serve in the government is visible when these paintings are considered in relation to earlier literati art. The sketch-like traces of a ledge that is in all of the copies except Farewell in the Garden, hint to the visual possibility of this scene being situated on a shore. Wen Zhengming, through his subtle lines, alludes to this powerful site of parting which is frequently depicted in literati landscape painting and associated with scholar officials and men of merit. This thesis situates Farewell in the Garden and its copies within the wider tradition of literati painting through the theme of service. Government service, as a Confucian ideal, and as a recurring theme in literati painting, transforms in appearance over time, reflecting political, economic, and philosophical shifts. In the Ming dynasty, the ideal of service is manifest and demonstrated in the continued pursuit to serve in office, and the garden, reminiscent of the locations depicted in literati painting, becomes a suitable setting for this enactment. I argue that this parting scene of Wen Zhengming and Wang Chong came to implicitly represent the commitment to serve in government. The cogent Confucian ideal demonstrated by teacher and student is the unyielding determination to serve, and it is this very sentiment or quality in the copies of the farewell painting – the tenacious endeavour to be of service – that is at once consoling and persuasive.

Farewell in the Garden is a Qing dynasty (1644-1911) copy of a parting gift painted by Wen Zhengming (1470-1559) for his student Wang Chong (1494-1533) to mark the occasion of Wang Chong’s visit before he left to write the civil service examination. In addition to this painting, three other versions bearing similar poetic inscriptions exist. These four paintings present an intriguing riddle and oppourtunity to consider copies as works worthy of scholarly attention. The compelling scene of farewell between teacher and student who both failed the examinations numerous times resonated with audiences who empathized with their disappointments. A longing to serve in the government is visible when these paintings are considered in relation to earlier literati art. The sketch-like traces of a ledge that is in all of the copies except Farewell in the Garden, hint to the visual possibility of this scene being situated on a shore. Wen Zhengming, through his subtle lines, alludes to this powerful site of parting which is frequently depicted in literati landscape painting and associated with scholar officials and men of merit. This thesis situates Farewell in the Garden and its copies within the wider tradition of literati painting through the theme of service. Government service, as a Confucian ideal, and as a recurring theme in literati painting, transforms in appearance over time, reflecting political, economic, and philosophical shifts. In the Ming dynasty, the ideal of service is manifest and demonstrated in the continued pursuit to serve in office, and the garden, reminiscent of the locations depicted in literati painting, becomes a suitable setting for this enactment. I argue that this parting scene of Wen Zhengming and Wang Chong came to implicitly represent the commitment to serve in government. The cogent Confucian ideal demonstrated by teacher and student is the unyielding determination to serve, and it is this very sentiment or quality in the copies of the farewell painting – the tenacious endeavour to be of service – that is at once consoling and persuasive.

由14位作者寫於17世紀、收於耶穌會羅馬館的28篇祭禮文獻，是迄今所見最早一批出自中國士人信徒之手，在禮儀之爭期間就傳教士對祭祖禮的顧慮作出回應的文章。按內容來看，傳教士的顧慮可歸納為兩類，一是採取詢問的方式，向這批士人信徒請教與祭祀相關的問題，二是對祭祖禮已持有否定態度，致令這批作者撰文予以反駁。從祭祖禮的觀點方面來說，28篇文獻作者主要是從祭祖本義、祭祖禮是否真的含有與天主教信仰相牴觸的成份等兩方面，進行論述。對於前者，他們認為祭祖源於人情、德育及治國三方面的需要；對於後者，他們指祭祖禮既無求福的成份，亦不認為祖先仍會來格來饗於祭祀現場，因此祭祖之槍祭"與祭上帝之槍祭"在本質上迥異。雖然在該如何理人死後的靈魂狀態、嘏辭是否在當時社會中已無人應用等細節上，個別作者有不同的意見，然而他們基本上是一致認為祭祖禮應允許中國信徒繼續奉行。從立論方式來說，28篇文獻作者中縱使有個別作者對某些儒家經典的可信性存疑，但他們大多仍是主要採用經學進路，強調先王、孔子、儒學的地位及中國文字用法有其特別之處，援引儒家經典、尤其是《禮記》對祭祖禮的描述，以及宋儒的觀點、當中又尤以朱熹為主，作為探討時的論據. 以28篇與其所身處的明末清初時期經學主流相較而言，他們的確反映了當時整體經學風氣所尚--以朱熹為宗、漸開漢宋兼爭之勢。不過，對於祭祖禮本義的理解，比對作為當時經學相關方面的代表人物--朱熹及其學派的陳澔、納蘭性德等人的觀點，在情、德、治三方面之外，朱熹等人並不否認祭祖求福、相信祖先能來格來饗，朱子甚至認為祭祖的本義之一，就是在於以祭祀之誠讓祖先的魂魄能夠得以安頓。以28篇與其所身處17世紀來華傳教士、教廷相較而言，耶穌會傳教士的觀點最與28篇相近，他們注意到祭祖禮在情、德方面對中國人的意義，認為仍有允許中國信徒奉行祭祀的價值。然而，多明我會、方濟各會傳教士則持定相反意見，他們的關注點不在於祭祖禮對中國人的意義、價值，而是禮儀中所存在的求福於祖先、相信祖先仍能來格來饗等成份，與天主教信仰相悖。至於教廷，則會按傳教士上呈的資料，而對祭祖禮是否仍能奉行於信徒之間，在答覆時作出相應的調整。立論方式上，除耶穌會與多明我會的萬濟國，會引用中國儒家經典作為討論依據外，托缽修會的傳教士主要是按眼見當時社會上祭祖禮情況作出判斷。雖然在論述過程中，28篇文獻一方面與明末清初經學主流對於祭祖禮本義的理解存在歧異，另一方面亦出現對經典的錯解、邏輯上的謬誤等若干不足；但是，不管是讓後世得以更全面地認識禮儀之爭這段歷史，抑或是為當代有關槍祭祖"問題的研究帶來參考與啟發，這批文獻皆具有重要的價值。Abstract The 28 documents, collected by the Society of Jesus Roman Archive, were written in 17th century by 14 authors. They were possibly the earliest Chinese scholar-believers that discussed with the western missionaries about the concept of ancestral offering ritual during the Chinese Rites Controversy. Since the ancestral offering ritual had been held negative attitude, the scholars had to write these documents for refuting. For the ancestral offering ritual, the authors mainly discussed the original meaning of ancestral offering ritual, and consider whether it is in contravention of the Catholic faith. They believed that ancestral offering ritual contained three elements: humanity(人情), morality(德育) and social order(治國). They neither looked for blessings from ancestors nor thought that the spirits of ancestors would be present to the ritual, thus, the ancestral offering and the offering sacrifice to God were different in nature. Though individual authors had different views on the state of the spirits of ancestors, they agreed that ancestral offering ritual should be allowed to continue to practice among Chinese believers. Most of the authors mainly used the Confucian Classics Approach(經學進路) to make their arguments. They took Confucian, especially the "Book of Ritual", and Zhu Xi of Song Dynasty as the main sources to present their.;arguments of ancestral offering ritual. However, apart from the three elements, Zhu did not deny that ancestral offering ritual was to seek blessings, and believed that the spirits of ancestors would be present to the ritual. Zhu even believed that ancestral offering ritual was for settling the spirits of ancestors. The view of the Society of Jesus was closed to that of the authors. They noted that the significances of ancestral offering ritual to Chinese people were more about humanity and morality, and thought that it was worthy for Chinese believers to practice the ancestral offering ritual. However, the Dominican and the Franciscan missionaries held of opposite view. Their concerns were not the significances and values of ancestral offering ritual, but the behaviour of seeking blessings from ancestors and the belief of the presence of the spirits of ancestors. In the Chinese Rites Controversy, the Society of Jesus and the Francisco Varo of Dominicans referred Confucian as the basis for their discussions. The Mendicant missionaries mainly depended on the situation at that time in the society to make judgments. The Vatican was only according to the information from missionaries to make corresponding judgments that whether the ancestral offering ritual was being allowed to practice among Chinese believers. Although there are discrepancies and some logical fallacies between the 28 documents and the Confucian Classics of Ming and Qing Dynasties about the understanding of the original meaning of ancestral offering ritual, these documents can bring great inspiration on the contemporary research of ancestral offering ritual and make a more comprehensive reorganization of the history of Chinese Rites Controversy.

Farewell in the Garden is a Qing dynasty (1644-1911) copy of a parting gift painted by Wen Zhengming (1470-1559) for his student Wang Chong (1494-1533) to mark the occasion of Wang Chong’s visit before he left to write the civil service examination. In addition to this painting, three other versions bearing similar poetic inscriptions exist. These four paintings present an intriguing riddle and oppourtunity to consider copies as works worthy of scholarly attention. The compelling scene of farewell between teacher and student who both failed the examinations numerous times resonated with audiences who empathized with their disappointments. A longing to serve in the government is visible when these paintings are considered in relation to earlier literati art. The sketch-like traces of a ledge that is in all of the copies except Farewell in the Garden, hint to the visual possibility of this scene being situated on a shore. Wen Zhengming, through his subtle lines, alludes to this powerful site of parting which is frequently depicted in literati landscape painting and associated with scholar officials and men of merit. This thesis situates Farewell in the Garden and its copies within the wider tradition of literati painting through the theme of service. Government service, as a Confucian ideal, and as a recurring theme in literati painting, transforms in appearance over time, reflecting political, economic, and philosophical shifts. In the Ming dynasty, the ideal of service is manifest and demonstrated in the continued pursuit to serve in office, and the garden, reminiscent of the locations depicted in literati painting, becomes a suitable setting for this enactment. I argue that this parting scene of Wen Zhengming and Wang Chong came to implicitly represent the commitment to serve in government. The cogent Confucian ideal demonstrated by teacher and student is the unyielding determination to serve, and it is this very sentiment or quality in the copies of the farewell painting – the tenacious endeavour to be of service – that is at once consoling and persuasive. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate