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Empathy essentially is a kind of psychical convergence behavior, which is widely used in our common communication but without being paid much attention on. Empathy in pragmatics meant the speakers and the listeners put their emotion into the other’s stand in order to preestimate and understand each other well. Examining the language situation of empathy, it mainly related to five elements: the purpose of communication, the topic of communication, the relationship between the speakers and the listeners, the special situation of communication and the verbal or non–verbal strategy. The language situation mentioned before decides different ways of empathy used by the speakers to reach their intention. The way empathy chose occurred every aspects of linguistic structure: phonetic, lexical, syntactic and grammatical ways. They also happened on different region, society and culture. This thesis intends to put the empathy behavior into the condition of language situation. Centers on the intention the speakers hold in the process of communication, we also analyze the special language situation when empathy strategy is used and the ever changeful process of the empathy, then we summarize the main empathic methods people use to achieve the purpose of successful communication.

爲了提出汉语习得模型，本論文主要從兩個方面進行探討：一是，在汉语學習過程中認知活動的作用；二是，母语思维对汉语学习者的影响和中介文化。我們從中得到一些結論：第一，學習汉语，不僅是一種語言活動過程，也是一種思維活動過程。於是要掌握好汉语，學習者必須理解其內涵的文化思維；第二，學習者在學習汉语的過程中，旣會容易受到第一語言的衝突干擾，也容易受到已有的文化思維的影響；第三，典型的偏見源于信息的錯誤傳播，這種錯誤傳播通常導致誤解，從而使交際失敗。如果這種信息的錯誤傳播得不到有效糾正，它很可能引發實際交際中的心理衝突，並造成汉语习得的障礙。

Tai Pingjing is one of the classic masterpieces of Taoism in DonHan dynasty. In the late period of DongHan dynasty, the disyllabic function words developed so quickly. Some words which are from ancient times become to be disyllabic function words, but others are still in the period of transition from phrase to word. There are 148 disyllabic function words in Tai Pingjing, every kind of word-building ways have appeared. The author chooses disyllabic conjunctions from them, and analysis the semantics classification and grammatical functions of them. On the one hand, the author analysis the number and the rate of the disyllabic function words, and depict the the trait of them; on the other hand, compare the disyllabic function words which appeared in DongHan dynasty to which appeared in modern times. The author proposes to reveal the formation and development process of the disyllabic function words.

魏晋南北朝是激烈动荡的社会，人民百姓陷于水深火热之中的时代，但另一方面也是探索人民的平安，追求人生的快乐的反讽时代。成书于该时期的《神仙传》充分反映出了当时的时代情况。本文是研究靈物的真面貌和形象的系列之一，拟分析探讨《神仙传》中的灵物角色反映现实之品级序列和符合作品要表达的逻辑。后来的神仙故事中的灵物可能继承了《神仙传》的这些灵物角色。这就是本文作为立论的前提。审察了五个样相。一是重叠灵物出现(互补作用)(〈衞叔卿〉)，二是一篇作品中出现多数灵物(〈王遠〉․〈茅君〉․〈李少君〉)，这是作家搭好仙境等级序列的架子，通过仙话反映当代严格的身份差异和封建品级序列差别。三是一个人物在不同情况下用不同的灵物(〈王遠〉․〈李少君〉)，也是作家要赋予与现实符合的真实性的用意。四是证明成仙的机能(作用)弱化，到了《神仙传》中(〈魯女生〉和〈劉根〉)，不再只把灵物作为成仙判断的条件了。五是《神仙传》中灵物的作用根据作品的要求时而扩大时而缩小(〈沈羲〉․〈壺公〉․〈葛玄〉)，这与真实性有着密切的关系，可以推断根据效用论调整为灵物的作用。另一方面是出现新灵物，生动地描绘了它的丰富多彩的形象，它与配角扩大作品的空间，贡献于合理展开作品，又可以就它察看从仙话发展到小说的契机。如若研究历代有关神仙作品，特别是灵物，《神仙传》是一定要参考的必备工具书。这是通过18世纪的《聊斋志异》和19世纪的《夜雨秋灯录》已经证实的。

李贄的童心說对晩明文學的發展史產生了重大影響。童心說是李贄在他的晚年推出的學說，從這一學說即可窺見其在學術方面的獨特見解和學識。童心說是均勻融入了儒佛道三教主旨的學說，在三教'境地'的層面達到了融合。李贄在融合三教教旨的過程中，避免引起紊亂的論亂性論調, 追求'道'的最高境地，而順利的找到其融合點。這一融合點可看做是'童心'的核心概念，從理論方面来看不算是特別成功，反而童心說的模糊和概括的概念，成為文學作品的衝力。同时，將'私欲'好的一面包括在童心說中，并加以發揚光大，得以擺脫宋明理學所主張的與現實不符的形而上學理論，成為得以擺脫從先代繼承而來的哲學觀念濃厚的道德心狹窄概念的重要契機。李贄在童心說中所說的'純粹的感情'是指融合了個人即時和即興感情而出現的人類所有的感情。以此来看，童心的意義更加接近文學的多樣性和綜合性。同時也是從'童心自然人性'發展成為'童心自文'的重大理論根據。從另一個角度来看, 也是開創了擺脫當時理學的束縛，從內心尋找成爲文學源泉的感情根據的先例. 李贄在文學上的功業，在後世文學發展上，成為巨大動力。因此，李贄的三教合一說和童心說，在中國文學到了晩明，"擔任了成为在宋明哲學中轉換成為文學的一大转机的重要角色。

唐太宗李世民是中國歷史上一位十分傑出的皇帝, 對于他的文治武功的贊頌, 史不絶書, 而對他的詩歌創作, 却很少有人重視。 其實, 他也是一位頗具特色的詩人。貞觀年間, 天下安定、政權穩固, 唐太宗喜歡作詩, 這位開創了有名的‘貞觀之治’、被後代奉爲有道明君的唐太宗,《全唐詩》收其詩作一百多首, 僅從數量而言, 在前此的開國之君中, 他也是最多的一位了。 〈帝京篇〉十首幷序是唐太宗現存的闡發詩歌創作主張的最爲系統、最爲具體的文字,爲硏究其文學思想最重要的材料之一。這里飜譯〈帝京篇〉十首幷序,幷進一步分析唐太宗的政治成就,內容爲三部分:一. 太宗仁政二. 太宗治道唐太宗不僅尊孔, 而且敬仰歷代名儒與經學大師。 他重視文化、文藝的作用, 這也是他倡導以文治國的一个方面。〈帝京篇〉十首闡述了他治國惠民的政治思想。 詩中指出治國不善, 可能導致國家覆滅, 因此必須保持淸醒的頭腦, 警惕政治上的自滿與生活上的放蕩。

該文根據李漁的《閑情偶寄》內有關觀衆理論與他的戱曲編寫理論上的結構和題材選擇門題進行硏究了. 我從觀衆的範圍, 觀衆與結構, 觀衆與題材選擇和運用的三個部分探討了李漁的觀衆論. 一般認爲在中國古典戱曲歷史上李漁獨非常重視戱曲結構, 亦强調戱曲的舞臺性. 這是因爲李漁充分認識到戱曲結構在劇本創作中的重要性, 所以聲稱“塡詞首重音律, 而予獨先結構”, 幷他十分重視戱曲作爲一種舞臺表演藝術的特徵, 所以强調“塡詞之設, 專爲登場”. 舞臺面對的是廣大觀衆. 沒有觀衆就不可能有舞臺演出, 注重舞臺演出效果就表明了李漁對觀衆的重視. 我認爲這都是李漁把觀衆放在戱曲活動首要位置的. 這樣對觀衆的重視給李漁提供了審視戱劇特徵的角度. 而對演出性的重視使李漁比一般文人更能獲得審視戱劇特徵的便利視角. 我認爲李漁論劇的所謂舞臺性實在是以觀衆爲中心, 他常圍繞觀衆來探討劇本的創作等一系列重大問題. 結果李漁是觀賞性來檢驗規定演出性的. 只有觀衆才是李漁劇論的出發點和歸結點. 觀衆意識使李漁從案頭走向舞臺, 從書齋走向劇場. 而且李漁之所以有如此的觀衆意識, 更與他的人生的取向和職業選擇有關. 他靠文藝來維持生計, 他不能不正視觀衆.

秋胡戏妻的故事，从汉代开始很广泛流传，最早见《列女传․节义传》中，在该故事演变过程中很多学者把研究的方向集中到了秋胡妻的角色，而对秋胡的形象则很少关注。秋胡戏妻故事在不同的时期演变反映了文人的不同心态。在汉代是以儒家的忠孝观念为观点，强烈批评不孝不忠的秋胡，而很表扬秋胡妻的信义。魏晋时期的文人为了宣扬礼教，更重视秋胡妻的节义行为，也强调秋胡并非全无廉耻的人。到了南朝时期，颜延之〈秋胡诗〉从根本上改造了秋胡戏妻故事，抛弃了封建礼教的教义，符合了当时人们的浪漫思想。颜延之将歌颂忠贞不渝的爱情作为〈秋胡诗〉的核心思想。在唐代秋胡戏妻故事有了进一步的发展，虽然〈秋胡变文〉前后均有残缺，但故事主要框架不变，全文的写法改为以秋胡为中心人物，只是更为完整，增加了很多细节的描写。〈秋胡变文〉具有鲜明的唐代生活色彩，秋胡的主动求仕行为也是唐朝提倡科句举的侧面反映。由于唐代开放的风气，变文里对秋胡负妻的行为存有宽容之心，他的错误仅在不认识妻子。而秋胡妻的形象也比汉魏南朝有了明显的差距, 她对秋胡不满但对婆婆孝顺, 很突出的个性侧重于孝顺良妻的妇德观.

本文章是以顾太清为中心, 主要探讨19世纪的女性文学交游與其特色。这时期虽然以男性领袖为主的社团很活跃，也有女性自身的文学交游及女性文学群体。她身为一名满洲贵族妇人，与来自江南的文学女性积极进行交游并建立一种文学社团，即‘秋红吟社’。顾太清的《天游阁集》为我们展现了女性作家通过女性交游與女性文学群体塑造出新的自我形象的过程。當時部分女作家的诗文集里都描述了诗友们的聚会、为自娱的出游及唱和行为。对于她们来讲，聚会出游、分韵唱和等行为不但是业余生活，还具有重新构建闺阁女性形象的作用。顾太清将与诗友的关系描绘成极其重要、有意义的关系。雖然被描绘的题材都属于琐碎支离的日常生活，也都是纯粹的私人情怀, 但这些私人生活和情感的呈现不仅助长了女性群体活动，还凸现了女性感情世界的个人化。另外，我们还得住以顾太清的交游圈中也有满族与汉族在一起的現象。以前大家都默认为顾太清完全是一个被“汉化”或“儒化”了的满洲人，而她毕竟是一个旗人，也是一名满洲宗室的贵妇人。虽然在某些领域，旗人广泛受到汉族文化的影响，而满洲统治者却一直努力保持着满族固有的某種形象和价值观念。因此我们不能一概而论地说顾太清与其他的汉族女作家之间没有什么差别。满族女性的天足、尚武精神和传统习俗等都发现于顾太清和她的诗歌、小说里。當时的旗人女性在书写和文学活动等方面大大受到汉族女性文化的影响，也开始宣扬女性的文学才华。但當时的旗人女作家们则认为，只要遵守传统道德规范，无论是汉族还是满族或是其他民族，也无论是中原还是边疆，女性书写都值得保存、传播。 當然，这样的见解反映满洲统治者的政策，也反映汉族女性文化的影响。

Wang-Xiaobo, through his prose works, put a highest value on epistemology which can be proved based on rationalism, and pursuit of human wisdom including knowledge of natural science. Compared to this, he criticized thinking based on totalitarianism which oppresses individual and annihilates freedom by alluding to Utopianism - totalitarianism introduces ideological thoughts as ruling philosophy. And he pointed out that king as a philosopher who is eager to build Utopia is, in fact, intellect who are puppets for power. Especially, he discovered that main means of ruling they produce and use are concentrated on standards and requirements of ethic and moral fields. Furthermore, he laughed at the desire for devotion and sacrifice of intellect by alluding to delight of masochist who needs persecution and punishment. Such a view became artistic imagery through his novels. Among them are works which bring sexual love into relief. These novels require enlightenment about omnipresence of power which spreads into individual's secret space. There are his works which describe complete control over individual composing of high-tech society uniformly based on norms and system. These works represent this writer's assertion for anti-Utopianism. The way to go in pursuit of true value and wonderful wisdom expressed through allegory in his some works is very rough.

본 논문은 리저후(李泽厚)의 <계몽과 구국의 이중 변주启蒙与救亡的双重变揍>와 위잉스(余英时)의 <중국근대사상사 속의 진보와 보수中国近代思想史上的激进与保守> 문장을 주목하며, 두 글이 1980년대와 90년대 중국 사상계에 일으켰던 영향을 탐색하였다. 중국 사회에서의 계몽과 구국, 진보와 보수의 개념으로 5.4신문화운동에서 “89”역사까지의 문화정치현상을 정리 논술하였는데, 특히 위잉스가 1988년 9월에 강연 발표했던 <중국근대사상사 속의 진보와 보수>를 중심으로 중국 사상계에서 일었던 진보와 보수 논쟁을 분석 하였다. <하상>을 둘러싼 중국 국내외 문화 정체성 논의는 고도의 정치성을 담보하고 있으며, 이런 문화사조의 발흥과 동시에 정치사조로서의 “신권위주의新权威主义”가 출현하였으며, 이는 경제발전과 결합해 신자유주의, 전지구화 현상을 가져왔고, 전지구화에 따른 문화부흥을 지향하며 초기 현대화 담론 중의 유럽중심주의 가설에 도전하였다. <하상>과 신권위주의의 각기 다른 문화와 정치 경향은 “진보와 보수” 논제와 공모 가능성을 가지고 있었다. 89년 이후 실어증 상태에 빠져 있었던 중국 지식계는 1992년 덩사오핑의 남순강화 이후 신좌파와 자유주의 논쟁을 진행했고, 이는 지식인의 분화를 초래했다. 이를 배경으로 중국 사상학술계에서는 “진보와 보수”의 토론이 전개되었다. 논문은 위잉스가 논술하는 청말에서 89년에 이르기까지 중국 정치문화계의 진보와 보수를 구분하는 기준으로 중국 사회현실과 그에 대한 태도를 설명하며, 중국역사 속 “두 차례의 순환”과 그의 문화정치성, 89년 이후의 사상계 특징과 사회정치현실을 분석하였다.

본 논문은 종이 물질사(物质史) 연구를 통해 1950년대 신민주주의 문화 실천 속에서 있었던 지역, 특히 상하이(上海)에 대한 개조와 문화에 대한 독특한 관리통제방식을 토론하면서, 신민주주의가 자본주의를 처리하는 특수한 경험을 고찰하고자 하였다. 50년대 상하이 문화는 신구(新旧) 사이의 과도기성과 경계성을 가지고 그 풍부성을 드러내고 있었지만, 신민주주의 문화의 적극성과 개성은 등한시되었으며, 사회주의 중국 건설에서의 ‘문화’의 중요성을 약화시켰다. 이 시기 상하이 문화는 불안전성과 유동성을 가지고 해방 전과 달랐으며, 사회주의 개조가 끝나고 난 후의 안정적 문화구조와도 다른 양상을 띠었다. 1950년대 신문출판부서는 상하이에서의 종이생산에 대한 계획적 관리통제를 진행하였다. 종이의 통제로 해방 전 혼란스런 민간인쇄출판 시장을 정돈하였고, 국영출판인쇄소를 강화하였다. 1953년 제1차 5개년 계획이 실행되었고, 출판총서(出版总署)는 <신문종이 통일적인 분배조달 방법新闻纸统一分配调拨办法>, <신문출판단위 용지 기준 규정新闻出版单位用纸标准的规定> 문건을 하달하여, 문화 용지 사용에 대한 구체적인 심사와 감독하였다. 논문은 1954년 “신문지사건”, 즉 용지 생산과 분배에서의 관리 문제로, “민간 출판 투기상의 통제에 방어선이 무너진” 사건을 상세히 서술하였고, 건국초기 종이생산과 분배를 통한 출판인쇄사업의 관리 통제방식과 당시 상하이 신문잡지 출판계 문화현상을 논술하였다.

中国近代戏曲发展中一个重要转变，就是女演员再度出现于舞台之上。明末清初时，女演员在戏曲演出中尚占一定的分量，但到了清代，由于政府对女演员活动的禁止，使得女性演员逐渐由显而隐，尤其在清代中期于北京逐渐形成的京剧之中，更是全无女演员的存在。一直同治年间，在上海首次出现了京剧女演员，并渐及于天津汉口等城市，经过数十年的发展，到民国时期，京剧发展的中心北京也开放女演员的演出，京剧女演员逐渐广受观众的欢迎而能与男演员分庭抗礼。京剧女演员受到当时社会政治、经济、文化等因素的影响而兴起，影响了京剧舞台。

On the Song dynasty, the development of culture brought the tea culture to prosper, and the convergence of Confucianism Buddhism and Taosim gave great influence to the literary circles. The literati of the Song era had both Confucianism, based on their thoughts of actualities, and also, Taoism and Buddhism, which was the solution of their inner agonies. This kind of trend appears on the poetries of Su shi, a poet who was greatly interested in teas. Su shi created the Eunil(meaning seclusion) theory witch shows the combination of Confucianism, Buddhism, and Taoism. He used his tea poetries to furtively express about the contradictions of the Sung society, and about the pain which people suffers from the administrations. But after he got several political dispreciations, unable to do what he wanted, he wrote poems unrealated to reality, about accepting the present and taking a philosophical view of life, which expressed transcendence. He expressed his way of life from his work; Confucianism in the inside, and Taoism showing from the outside. Beyond all these, Su Shi's tea poetry(the Yong cha-shi) gave big challenges on it's usual form. He tried not to follow the common form of verse, and tried to adopt many other literal techniques such as the Hui wen-shi, bringing up the era's Yong cha-shi to a higher level.

本論文通過宋代筆記與詩詞來考察中國的'糖果'文化。糖和糖果數千年來與人們的日常生活息息相關。尤其是在宋代筆記和詩歌中存在著不少有關'糖'的詞語，由此可見宋代'糖'已經普遍進入老百姓日常生活之中。首先、本文通過宋代出版的一部介紹甘蔗制糖方法的專著《糖霜譜》考察中國糖歷史。再通過宋代筆記和詩詞中出現的'糖蟹'制作方法來深入探討糖的傳播歷史和古代糖文化。其次、研究宋代蘇軾、黃庭堅、楊萬里等詩人筆下所描寫的糖霜的想象和所蘊涵的意義。一些詩人筆下糖霜如琥珀般的美麗，又把糖霜當作來自仙界的瓊漿玉液，使人產生似乎養神上天的感覺。最後、從《武林舊事》、《夢梁錄》、《東京夢華錄》等筆記中羅列的糖果來探討當時'糖果'在人們的生活中獨特的地位。宋代吃的水平已從一般的味道美轉向意境美的境地了。由於對糖果的審美情趣，宋代糖果不僅是一種简便适口的零食， 而且是一種賞心悅目的工藝品。因此糖果可以在節日或者在宴會上把氣氛提升到一種娛樂藝術的境界。特別是東京的節食'十般糖'和用糖漿雕塑成的'糖獅'等別具特色，讓人們融入了一種狂熱的歡樂氣氛中，極受市民歡迎。糖果又從吃的藝術擴大到銷售的技藝。爲招攬更多的顧客買'糖果'而演練的技藝使一種食物打開了古代娛樂生活的新一頁。糖果更加體現了城市文化、掀起了一種新的民俗風情。

The implications in economic and cultural for Taiwan-strait exchanges by related by ‘Lust, Caution'. Novels ‘Lust, Caution' and movies ‘Lust, Caution' mean the Taiwan-strait relations' should make more liberal and progressive. The Chinese Kuomintang and the Communist Party should solve their contradiction in theirselves for the future of both sides young people, conflict and competition will not be useful for both sides. This cross-strait exchanges between Chinese Kuomintang and the Communist Party more useful than compete with each other for their future in economic and cultural development. The cooperation between Chinese Kuomintang and the Communist Pa is some different from a matter of international political perspective. ECFA and 'Santong(Three fields cooperation between China and Taiwan)' is consciousness of cross-strait exchanges in the cultural and economic fields. In particular, the cross-strait cultural and economic integration of young people between both sides will reduce hostility and jealousy in both sides.