http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/2 2026-03-09T08:54:25Z 2026-03-09T08:54:25Z Meng-Chien Wu 吳孟謙 http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/30047 2021-06-13T01:32:44Z 2007-01-01T00:00:00Z

標題: 默識天人之際——薛敬軒理學思想探微; Meditating the Connection Between Heaven/ Cosmos and Man：An Inquiry into the Neo-Confucian Thought of Xue Xuan 作者: Meng-Chien Wu; 吳孟謙 摘要: 薛敬軒（1389—1464）為明初著名的程朱學者之一，他的思想不僅較為完整地承繼了北宋五子與朱子的學脈，又因應著時代課題而體現出不同的風貌，其所開創的河東學派，也深深影響著明代前半期的學風。在學界現有的研究成果尚屬有限的情況下，本論文試圖透過「生命型態的追尋」與「思維理路的探索」，以求把握薛敬軒為人為學的核心精神與運思方式；並藉由「哲學體系的開展」與「思想史脈絡的梳理」，一方面將敬軒思想的理論架構儘可能地勾勒出來，一方面在動態的思想史脈絡中，為其找到適當的定位，以突顯其學說的意義與價值。 第一章「緒論」首先揭櫫研究的動機與題旨，並依次對研究之心態、方法、架構、限制等論文構成要項做一總述。第二章「薛敬軒的為人與為學」，則分別從人格氣象、學脈傳承、治學理念、終極關懷等角度切入，期望在對敬軒思想做細部論析之前，能對其人格學問的總體精神有一番親切而準確的把握。 第三章「薛敬軒的天道論」、第四章「薛敬軒的天人思想與心性論」及第五章「薛敬軒的工夫論與工夫實踐」，全面展開敬軒理學思想的各個環節，對其思想體系與義理內涵做較為細膩的闡析與詮釋。從而看出敬軒如何吸納與繼承宋代理學的重要概念；如何補充與發展朱子學說的不足；又如何在生命意境上，融合北宋五子與朱子，展現出個人的獨特風格。 第六章「薛敬軒思想在理學史上的定位」，則以前述各章的論述成果為依據，將視野放大至宋明理學發展史中，嘗試給予敬軒之學一個如實恰當的定位。首先提出「觀理傳統」與「觀心傳統」的新用語，總括宋明理學家的兩大工夫型態，並探討敬軒之學在這兩大源流中的位置；其次從思想史的角度切入，檢視朱學成為官方學術後流傳發展的實際情況，藉以突顯敬軒之學所擔負的時代任務以及思想史上的意義。 第七章「結論」簡要地總結全篇論旨，並將眼光拉回研究者所處的當代，提出個人的心得與省思。; Xue Xuan (1389-1464) is one of the famous scholars in Cheng-Zhu School in early Ming Dynasty. His thinking not only more thoroughly inherited the theory of the Five Masters of the Northern Song and Zhu Xi , but also incarnated different styles while his work also accommodated fashion trends in the age. He established He Dong School , also casting great influences on the study style in early Ming Dynasty. When there are still limited study results in today’s academia, this study tries to catch the core spirit and thinking logic of Xue’s conduct and learning by“searching for life forms”and “exploring the threads of thoughts”. Also by“developing philosophic system”and “dressing threads of the intellectual history”, this study, on one way, draws the outline of Xue’s theory structure as far as possible, and on the other, finds a proper position in the dynamic intellectual history to carve out the significance and value of Xue’s study. In Chapter One“Introduction”, the study first states the study motives and subjects, and briefly introduces each structural item in this thesis, from thoughts to conduct this research, methods, the structure and limitations in turn. In Chapter Two“Xue Xuan’s Conduct and His Learning”, the study then analyses it from aspects of Xue’s personality, learning origin and inheritance, reasons to do scholarly research and ultimate concern. It is hoped to have a decent and accurate understanding on his personality and knowledge in terms of his overall spirit, before Xue’s thinking has been brought out for a more detailed discussion and analysis. In Chapter Three“Xue Xuan’s Theory of Heavenly Way”, Chapter Four“Xue Xuan’s Theory of the Relationship between Heaven and Man and Theory of Mind and Nature”and Chapter Five“Xue Xuan’s Theory of Moral Effert and its Practice”, this study elaborates all segments in Xue’s thinking to have a more detailed analysis and explanation on his thinking system and implications. From here we can see how Xue Xuan absorbed and inherited important concepts in Neo-Confucianism in Song Dynasty, how he made up and developed the deficiency in Zhu Xi’s Study and also how he integrated theories of the Five Masters of the Northern Song and Zhu Xi to show his own unique style in terms of human life’s prospect. Chapter Six“The Position of Xue Xuan’s Thinking in the History of Neo-Confucianism”, based on previous discussion,expands the view to the Neo-Confucianism Development History during Song and Ming Dynasty, trying to appropriately position Xue Xuan’s Study. At first, new phraseology“The tradition to view Principle”and “The tradition to view Original Mind”are created to sum up the two major Gongfu forms presented by Neo-Confucianism Scholars in Song-Ming Dynasties and to discuss the role of Xue’s theory in the two mainstreams at the time. Then, from the aspect of the intellectual history, this study analyzes and views the actual situation after Zhu Xi’s study was presented to be the authorized learning, so as to highlight the mission of Xue’s time and the meaning of his study in intellectual history . Chapter Seven“Conclusion”briefly summarizes this study, draws the view back to researcher’s living year and addresses his own opinion and thinking.

2007-01-01T00:00:00Z Wei-Hean Leong 梁偉賢 http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/56579 2021-06-16T05:35:55Z 2014-01-01T00:00:00Z

標題: 《麻衣相法》之身心理論研究; A Study on the Body-mind Theory in Ma-yi's Physiognomy 作者: Wei-Hean Leong; 梁偉賢 摘要: 本論文以《麻衣相法》為中心，探討中國相人術的身心理論。首先，爬梳相術、相書的演變，考察《麻衣相法》的編纂，確定其承先啟後之地位。然後通過分析《麻衣相法》的文本，將相人術歸納為「二見」（俗見、習見）與「三法」（擬象法、醫相法、道德法）。「俗見」為一般約定俗成的觀點和好惡；「習見」則為習常所見之經驗歸納，此兩者為相術之素底。「擬象法」藉著比類取象，了解此人之「相」及命運；「醫相法」通過中醫學的分析，了解此人之體質與個性，以推斷其命運；「道德法」則從一人之言行舉止、思想品德，推知其人之命運。 　　此三法背後，各有一身體預設，為「擬象的身體」、「氣化的身體」、與「道德的身體」，可總括中國相人術的身體觀。人的身體，就是「道」、「氣」、「象」之具現。由於「道」為創造之源頭，是以人的命運，決定於此心之「道」，轉移其身體之「氣」，而由體外之「象」得見。人心之道德，決定其外相，因此「相由心生」；觀其人之相，可反推其人之心，故能「觀相知心」；而由於人能自主其心，修其心善則得善相，修其心惡得則惡相，因此能「以心轉相」。修德於心，可以移其氣象，進而改變命運，可謂中國民間的普遍共識。; This research focuses on the body-mind theory of Chinese physiognomy in Ma Yi Physiognomy. First, by tracing the development of physiognomy in ancient China and observing the compilation of Ma Yi Physiognomy, I attempt to excavate the successive and inspiring value of this great work. Secondly, through a textual analysis on Ma Yi Physiognomy, we may know that the physiognomy in ancient China could be classified into “two viewpoints” and “three methods”. Concretely speaking, “two viewpoints” refer to usual experience and common sense which could be used to speculate one’s destiny. Besides, another three systematic methods are feasible. The first method is that we can analogize a man to an object with same characters. The second method is that we can recognize one’s physical and mental characteristic through the Chinese traditional medical analysis. And the last method is that we can conjecture one’s fate according to his behavior, thought and moral state. The above three methods are founded upon the basis that Chinese believe that human beings are formed by Qi as well as other matters in the universe having the similar or same nature with human. Thus we can know one’s fate well under an anagical comprehension on universe. Besides, If Qi in one’s body is good, his fate will also be good, and vice versa. Lastly, one’s destiny is greatly determined by his moral state. Among all the factors, moral state is the key point. Through the self-cultivation one may actively transform his body and fate to better.

2014-01-01T00:00:00Z Ng Bung Chen 黃文青 http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/7610 2021-05-19T17:47:49Z 2018-01-01T00:00:00Z

標題: 魏晉遊宴詩的身體感與空間感; The perception of Body and Space of Touring Feast Poetry in Wei-Jin Period 作者: Ng Bung Chen; 黃文青 摘要: 近年來，學界中持以抒情傳統視野而進行的魏晉詩歌研究固然已蔚為主流之一，大多以側重心、神層面的抒情表現居多，因此本文提出在時間詮釋脈絡中強調內在、主觀的主體建構之餘，企圖以空間詮釋脈絡作為抒情建構的又一重要觀察面向來考察魏晉遊宴詩，以發掘魏晉遊宴詩所展現的文學特性與文化傳遞，以及其在特定語境下的多重意義。 本文第二章以探討中國文學傳統中的身體感與空間感為主，嘗試為遊宴詩的研究範疇建構一個視野更為豐富的參照點，包括考察先秦踐形與養生為主的身體工夫轉化至魏晉品人風尚中一自覺性的品藻身體；莊子的遊觀意識轉化至魏晉詩歌感物興情的美學意蘊；從歎逝、不朽、立言、知音等時空相互含攝的命題中考察出「傷時」與「感物」是魏晉詩歌中抒情自我的情懷根源。接著本文回歸到魏晉遊宴空間的身體場域之中，不論是人與人之間的才性品遊或人與自然之間的觀照與冥想，主要從「身體感」與「空間感」切入遊宴主體的自我經驗，分別以建安遊宴詩的「品藻身體」、東晉中期蘭亭雅集的「俯仰玄遊」，以及晉末慧遠僧團廬山石門之遊的「佛法觀想」作為第三至第五章的探討主題，首先是因為這三次文學遊宴個案中的觀物態度皆對於中國抒情詩歌的空間審美有了新的發現。建安遊宴詩是最早與自然的最直接相遇，初步展現季節物候與文人交會的身體感，其關注點在於主客之間知遇賞愛的政治倫理生命的抒情向度，體現在詩中「饑－飽」、「飛－棲」的政治身體與感興模式；蘭亭之遊，以「即物覽無」的審美心境，在山水之中發現「造化日新」即「無」的體道能量，使山水成為表現主體、玄言的導體；石門之遊，慧遠僧團「離色而空」的觀物態度使法性山水具有照見「性空」之理的觀想能量，成為證悟生命終極實相的一種新「思維」，也是一種觀看、理解世界的新方式。其次，遊宴詩中空間的審美化、意境化，可以窺見魏晉個體生命自覺與藝術思維蓬勃發展的文學輪廓。由建安遊宴詩以人為主的觸物興情，到蘭亭詩、遊石門詩皆以自然為主的感物興理，呈現出由「體物寫物」到「體物說理」再到「景理圓融」的詩境嬗變，使詩歌的意境審美由質實走向空靈，也使東晉玄言詩說理的「淡乎寡味」走向了審美化、意境化，可看出整個魏晉個體生命自覺和自我意識的覺醒，以及文學自覺化的進程，特別是作為南朝山水詩、狀物詩風以及唐代空靈詩境的先導。 總的來說，本文試圖通過對中國抒情傳統論述的對話與反思、持多元視角考察，並輔以文化概念的參照，力圖取得實質性的突破，最終目標便是嘗試為遊宴詩的研究範疇建構一個視野更為豐富的參照點。; In recent years, using the lens of Lyrical Tradition in the study of Wei-Jin poetry has emerged to be one of the mainstream perspectives in the academic world. This form of studies places' significant emphasis on the emotional and spiritual aspects of lyrical expression. This study, nevertheless, proposes using a spatial construct as a key instrument in the inspection of Wei-Jin Touring Feast Poetry. It seeks to uncover the literary characteristics of Wei-Jin Poetry, its role in cultural transmission as well as its multiple meanings under the specific context. Chapter Two of this study focuses on the discussion of the perception of Body and Space in the tradition of Chinese literature. It attempts to establish a more enriching point of reference for the study of Touring Feast Poetry. This includes the inspections as to how the Pre-Qin concepts of health preservation morphed into how the literati of the Wei-Jin Period perceived the physical Self as part of their characters; Chuang Tzu's ideas about roaming freely and how it affected the aesthetical appreciation of objects and emotions in the Wei-Jin poetry; as well as to find the 'melancholy over the passing of time' and 'attributing emotions to objects' as the source of expressing self-emotion in the themes of overlapping of time and space such as the sigh over death, immortality, achievement of glory through writing and bosom friends. Subsequently, this study returns to the physical domain of the Wei-Jin Touring Feast Poetry. It is mainly on 'the perceptions of body and space' and the subjective experience of the feast participants, either an appraisal of talents and characteristics between individuals or inner meditations about Nature. The main topics of discussions from Chapter 3 to Chapter 5 are respectively on the Touring Feast Poetry's Character Evaluation Embodiment during Jian-an Period; the Perception of Xuan-ized Tour in the Lan Pavilion's Assembly during the Mid-Eastern Jin Period; the Buddhist Visualization Practice in the Lushan Shimen's Touring Feast of Huiyuan monk group in the end of the Eastern Jin Period. The first reason of choosing these three literary touring feasts as case studies are due the fact that all of them have discovered a new aesthetic space for Chinese lyric poetries. The Jian-an Touring Feast was the earliest in establishing the most direct link with Nature. It displayed the early stages of the physiological effects of interaction between seasons and the literati. The key concern of the Jian-an Touring Feast is the lyrical dimension between the host and the guests in their discussions about political ethics to display the political embodiment and perception mode of 'hunger or fullness' and 'flying or resting.' Meanwhile, the Lan Pavilion's Assembly, uses the aesthetic mood of 'understanding the natural view of Daoism through the perception of nature' to find the body energy of 'nothingness' in the scenery with hills and waters, so that the hills and waters can be a conductor in performing the main body and metaphysics of Daoism. In the Tour of the Shimen, the 'Everything Visible is Non-Being' attitude of Huiyuan monk group in observing things around, has allowed them to have the visualization power of 'the View of Non-Being'. It has ultimately become a new 'thought' in realizing the reality of life. It is also a new way to observe and understand the world. Secondly, from the spatial aesthetic appreciation and conceptualization of the space in the touring feast poems, we can have a glimpse as to how individual self-realization and the robust artistic thought movement were taking place in the literature during the Wei-Jin Period. The Jian An Touring Feast is a people-oriented poetry which has a touch with things and relationship while the Lan Pavilion's Assembly and the Tour of the Stone Gate have a touch with things mainly with nature. All of them have reflected the changes in the realm of poetry from 'the scenery describing form' to 'the scenery and philosophical describing form' and then to 'the blending of scenery and philosophical describing form.' The artistic state of poetry has also moved from simplicity and honesty to intangibility and caused the 'tastelessness' in the Metaphysic Poetry in Eastern Jin Period to go toward aesthetic appreciation and artistic conceptualization. We can also see the awakening of individual life and self-awareness as well as the awakening process in literature in Wei-Jin poetry. Especially, it has become a prelude to the Southern Dynasties' scenery poetic style and description of things poetry style, as well as the Tang Dynasty' poetry of emptiness. In conclusion, through the dialogues and introspection of the traditional discourse in China's lyrical poetry, this study seeks to make a substantive breakthrough by holding multidimensional perspectives and using cultural conceptions as a reference. The ultimate goal is to establish a richer point of reference for the studies of Touring Feast Poetry.

2018-01-01T00:00:00Z Fang-Ju Shen 沈芳如 http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/36913 2021-06-13T08:22:26Z 2005-01-01T00:00:00Z

標題: 魏晉詩歌中的懷歸意識 作者: Fang-Ju Shen; 沈芳如 摘要: 所謂「懷歸」意識，指的是由於無法安頓於當下環境，因此思欲回歸某一理想境地，並且認同此處為其最終安身立命之所在。在這樣的意義之下，思鄉戀土之情固然是一種懷歸意識，那麼詩歌中同樣在抒發離棄當下，傳達回歸之意的遁世隱逸之思、長生遊仙之想，以及玄虛淡遠之企，自然也是一種懷歸意識的表現。是以筆者認為，魏晉詩歌所傳達的思鄉戀土之情、遁世隱逸之思、長生遊仙之想，以及玄虛淡遠之企，都應視為一種思欲離棄當下環境，進而回歸心中理想境地的懷歸意識。其中所傳達的，都是冀望回歸以尋求安頓的情懷。而歷來研究魏晉詩歌者，大多已經作了深入的研究以及探討，可謂成果豐碩，其中對於詩中的懷歸意識多少亦有所觸及。平心而論，這些成果固然已就各類表達懷歸意識的作品，作了深入周全的觀察與論析，不過研究角度大多著眼於「詩歌類型」上。換言之，這些研究成果大多是以「思鄉詩」、「隱逸詩」、「遊仙詩」、「玄言詩」等詩歌類型之研究為其重點，顯然提供了某一個詩歌類型的完整視野。但由於懷歸意識並非研究詩歌題材類型時的主要課題，因此倘若僅以題材類型這一角度來觀察詩歌，則較不容易突顯出詩歌所傳達的懷歸、安頓之意。 本文寫作目的，即在透過魏晉詩歌的內容意涵，梳理其中所傳達的思鄉戀土、遁世隱逸、長生遊仙，以及玄虛淡遠等懷歸意識，並且作一綜合觀察，分析四者之間存在的聯繫關係。在分論各種題材類型所傳達的懷歸意識之後，再綜論各類題材中的懷歸意識有何特色，以及各類題材所傳達的懷歸意識之間，存在著如何的重疊聯繫關係。本文之研究課題大致如下：第一章主要在說明研究動機與方法、研究材料；並且略論先秦至兩漢之間，詩歌作品所傳達的懷歸意識為何。第二章析論魏晉詩歌中的思鄉戀土之情，分析其點明思鄉情懷的作法為何，以及詩歌中之內容意涵。而魏晉詩歌中的思鄉之情，在意義上的開拓之處，尤其是陶詩中所傳達的思鄉懷歸意識，與隱遁懷歸意識之間的聯繫關係，亦有所說明。第三章析論魏晉詩歌中的遁世隱逸之思，分析其點明隱遁之思的作法為何，說明詩歌內容自憂心世俗險惡，轉變至生活悠遊情趣的狀況。第四章析論魏晉詩歌中的長生遊仙之想，除了分析詩歌如何點明其遊仙之想外，也說明了仙隱合一、仙玄合一，以及藉遊仙以詠懷等特色。第五章析論魏晉詩歌中的玄虛淡遠之企，既說明其點明玄虛之企的作法，亦分析詩歌意涵自嚮慕玄境，至悠遊玄趣的轉變。前述第二至第五章，主要分別析論詩歌之內容意涵，不再強調其題材類型，旨在突顯其情懷特色。第六章則綜論各類傳達懷歸意識的詩歌，其藝術風貌為何。並分別自意象安排、典故運用，以及對比設計，分析詩歌在傳達懷歸意識所運用的藝術手法，並突出藝術風貌與內涵情意之間的表裡關係。第七章為結語，為本文前述各章的分析，作一總結性說明，將魏晉詩歌區分為兩個部分，分別為建安詩歌，以及其後的正始、兩晉詩歌，討論其詩歌所傳達的懷歸意識特色何在，以及比較兩個時期的詩歌，在懷歸意識的表現上有何差異。 以下說明本文的研究資料。本文所引述之魏晉詩歌，以逯欽立《先秦漢魏晉南北朝詩》為據。至於相關參考資料，就筆者目前所知，目前尚無以「懷歸意識」作為主題，來綜觀魏晉詩歌的研究論文。然而關於思鄉詩、隱逸詩、遊仙詩、玄言詩等課題，卻已有相當的研究成果。其中如王立先生《中國古代文學十大主題—原型與流變》，即有中國古代文學中的出處主題、遊仙主題，以及思鄉主題，乃是以主題式的綜論角度，分析中國古代文學中的遁世隱逸之思、長生遊仙之想，以及思鄉戀土之情，為本文寫作提供了一個觀察視角上的參考。本文即在通過觀察表達懷歸意識的魏晉詩歌，再參以前人所累積的研究成果之後，綜述總結魏晉詩歌中，思鄉、遁隱、遊仙，以及玄虛等懷歸意識的內涵以及特色，期望能夠藉此勾勒出一幅魏晉文人企求安頓的心靈圖景。

2005-01-01T00:00:00Z