»y¤åÃþ


¤¤°ê»y¨¥¤å¦r¾Ç

0353¡@ Á¶³­¸¡@ ¡u°µ¡v¡u§@¡v¤G¦rªº­µ¸q¿ë¸ÑúZ¤¤°ê»y¤åúZ84:2=500úZ¥Á88.02úZ­¶9¡Ð15
0354¡@ ªL¶i©¾¡@ ¡m»¡¤å¸Ñ¦r¡n»P¤»°ê¥j¤å®Ñ¸ñ=¡§Shou Wen Chieh Tez¡¨ and the Relationship of Old Chinese Characters‘eÃÀ³N¾Ç³øúZ63úZ¥Á87.12úZ­¶45¡Ð67
0355¡@ ¿ú¦s°V¡@ µûÄÇ©vÀ[¡m²Å¸¹¡Bªì¤å»P¦r¥À¢w¢wº~¦r¾ð¡n=Tsung-I Jao, Symbols, Pre-historical Writings and Alphabets: The Tree of Chinese CharactersúZº~¾Ç¬ã¨súZ16:2=32úZ¥Á87.12úZ­¶413¡Ð416
0356¡@ ³¯¬üÄõ¡@ ª÷¤å¥¾°O¤G«h¡u°l¡¹¡v¡B¡u¦C¦C¡vúZ¤¤°ê¤å¦rúZ·s24úZ¥Á87.12úZ­¶61¡Ð70
0357¡@ ³¯¬L®e¡@ »¡¡u¥È¦ç¡¹¤Ù¡vúZ¤¤°ê¤å¦rúZ·s24úZ¥Á87.12úZ­¶55¡Ð60
0358¡@ ¼B«HªÚ¡@ »U®c¡B»U¶¢»P»U¨½úZ¤¤°ê¤å¦rúZ·s24úZ¥Á87.12úZ­¶113¡Ð120
0359¡@ ¤ýÄ­´¼¡@ ÄÀ¡¹¡B¡¹¤Î»P¨ä¦P·½ªº´X­Ó¦rúZ¤¤°ê¤å¦rúZ·s24úZ¥Á87.12úZ­¶41¡Ð54
0360¡@ Áé¬f¥Í¡@ ¡u¡¹¡v¡u¤c¡v¸ÉÄÀúZ¤¤°ê¤å¦rúZ·s24úZ¥Á87.12úZ­¶1¡Ð6
0361¡@ Áé¬f¥Í¡@ ÄÀ¡u¡¹¡v¡u¡¹¡v¤Î¨ä¬ÛÃö°ÝÃDúZ¤¤°ê¤å¦rúZ·s24úZ¥Á87.12úZ­¶7¡Ð17
0362¡@ ¤ýúZ¬_¡@ º~ÃQ¤»´Â¦P§Î¤Ï¸q²{¶H¡¹±ËúZ»y¤å«Ø³]³q°TúZ58úZ¥Á87.12úZ­¶58¡Ð61
0363¡@ ¤è©É­õ¡@ ¥ÑÃQ®Ê¦Ü¤­¥N¦r®Ñ¡B­µ¸q®Ñ¤¤¤Ï¤Á¬ã¨sÁnÃþ½Ñ¤å¤§À˰QúZªF®ü¤¤¤å¾Ç³øúZ12úZ¥Á87.12úZ­¶101¡Ð124
0364¡@ Á¶³­¸¡@ ¤Ï¤Á¼Ð­µ½×­z(1)úZ¤¤°ê»y¤åúZ84:3=501úZ¥Á88.03úZ­¶39¡Ð45
0365¡@ Á¶³­¸¡@ ½×¦y¹Î¦r­µúZ¤¤°ê»y¤åúZ84:1=499úZ¥Á88.01úZ­¶19¡Ð26
0366¡@ ±i²Q±Ó¡@ ¤]½Íº~»y¤è¨¥Án½Õ½Õ­Èªº¼Ð°OúZ»y¤å«Ø³]³q°TúZ58úZ¥Á87.12úZ­¶56¡Ð57
0367¡@ ´ö§Ê¦À¡@ »Ô«n»yªº¬O«D°Ý¥y»P¥¿¤Ï°Ý¥y=Yes-No and V-not-V Questions in Southern Min‘eº~¾Ç¬ã¨súZ16:2=32úZ¥Á87.12úZ­¶173¡Ð195
0368¡@ ¦ó¤j¦w¡@ »OÆW«n®q»yªº»y¨¥Ãö«Y=Genetic Relationships among the Formosan Languages‘eº~¾Ç¬ã¨súZ16:2=32úZ¥Á87.12úZ­¶141¡Ð171
0369¡@ ©P§Ó¾W¡@ ªñ¥Nº~»y¦P¨B¤Þ¥Ó¨Ò»¡úZ»y¤å«Ø³]³q°TúZ58úZ¥Á87.12úZ­¶51¡Ð53
0370¡@ ¥v¦³¬°¡@ ²{¥Nº~»y»yªk¬ã¨s¦Ê¦~¦^ÅU¡]¤W¡^¢w¢wº~»y»yªk¾Ç¥vªº¦A»{ÃÑ=A Centenary Survey of Studies on Chinese Grammar ¡]1¡^‘e»y¤å«Ø³]³q°TúZ58úZ¥Á87.12úZ­¶1¡Ð15
0371¡@ ©PºÑ­»¡@ º~»y¿ËÄݺٿ׵üªº¤å¤Æ¤º²[úZ»y¤å±Ð¨|³q°TúZ17úZ¥Á88.01úZ­¶21¡Ð32
0372¡@ ¤ý©vª¢¡@ º~»y»yªk¾Çªº·s±´¯Á¢w¢wµû·¨¦¨³Í¡mº~»y»yªk²z½×¬ã¨s¡n=A New Exploration in Yang Chengkai's ¡§Studies of Theories of Chinese Grammar¡¨‘e»y¤å«Ø³]³q°TúZ58úZ¥Á87.12úZ­¶68¡Ð75

¤¤°ê¤å¾Ç

0373¡@ ©P´f¬u¡@ ª÷¥N¤å¾Ç·§½×úZ¥j¤µÃÀ¤åúZ25:2úZ¥Á88.02úZ­¶4¡Ð30
0374¡@ ³³¤l¬Ã¡@ ±¡°Ê©ó¤¤¦Ó§Î©ó¨¥¢w¢w½Í¤¤°ê¥j¨å¸Ö¤¤ªº¦³±¡¤Ñ¦aúZ¿ú¿p¥ý¥Í¬ö©ÀÀ]À]¥ZúZ6úZ¥Á87.12úZ­¶106¡Ð107
0375¡@ ÁéúZÁé¡@ ¥Áºqªº¬G¨ÆúZ°ê¤å¤Ñ¦aúZ14:8=164úZ¥Á88.01úZ­¶57¡Ð59
0376¡@ ¾G¨Î·ì¡@ ¨âºØ¬ã¨s¤èªk¤§¤ñ¸û»P¤Ï¬Ù¢w¢w¥H¡u¿³¡v¸q±´°Q¬°¨ÒúZ°ê¥ß¤¤¥¡¤j¾Ç¤¤¤å©Ò¬ã¨s¶°¥ZúZ5úZ¥Á87.05úZ­¶60¡Ð71
0377¡@ ­ð¤å¼w¡@ ¸Öµü¤¤½á»P¤ñªº¹B¥Î»PÃÀ³NúZ»y¤å±Ð¨|³q°TúZ17úZ¥Á88.01úZ­¶1¡Ð2
0378¡@ ¾G³·ªá¡@ ¸ÕªRªò¹l¡u¥Hª«Æ[ª«¡vªº¸Öºq²z©À=Shao Yung's Thought in His Poems of ¡§Seeing Things from the Vantage Point of Things¡¨‘e¤Õ©s¤ë¥ZúZ37:5=437úZ¥Á88.01úZ­¶29¡Ð35
0379¡@ ©PúZ¸s¡@ ¼B°ò¸Ö½×=A Discussion of Liu Chi's Poetry‘e¤¤°ê¤å­õ¬ã¨s¶°¥ZúZ13úZ¥Á87.09úZ­¶175¡Ð201úZ
0380¡@ §Å¥ÃºÖ¡@ ¤¤°êµ´¥y©M¤é¥»­Ö¥yúZ²H¤ô¤û¬z¤åÃÀúZ2úZ¥Á88.01úZ­¶98¡Ð100
0381¡@ ³¯ª÷²{¡@ ¥_§º¸Ö¾Âªº¸È±a¢w¢w¥H¡u¦è±XÅé¡v¡B¡u©{³®Åé¡v¡B¡u¤s¨¦Åé¡v¬°¨ÒúZ¤¤°ê¤å¤Æ¤ë¥ZúZ225úZ¥Á87.12úZ­¶80¡Ð94
0382¡@ §f¬Ã¥É¡@ ¡m¸Ö¸g¡nÅ|³¹¬Û¹ïµü¥y°Vµþ°ÝÃD±´°QúZªF®ü¤¤¤å¾Ç³øúZ12úZ¥Á87.12úZ­¶67¡Ð74
0383¡@ ÃQ¹t®p¡@ ¸ÕªR¥j¸Ö¤Q¤E­ºªº¤ñ¿³úZ¤¤°ê»y¤åúZ84:2=500úZ¥Á88.02úZ­¶93¡Ð95
0384¡@ ©P§Ó¤å¡@ ·í·R±¡¶W¶V¦º¤`¢w¢w½Í¡q¤Õ³¶ªF«n­¸¡rúZÁp¦X¤å¾ÇúZ15:4=172úZ¥Á88.02úZ­¶44¡Ð45
0385¡@ ³¯¤T¥­¡@ ¤ìÄõ¸Ö¤¤ªº¡u¤ìÄõ¡v¨Ã«Dº~¦WúZ¾ú¥v¤ë¥ZúZ134úZ¥Á88.03úZ­¶98¡Ð101
0386¡@ ¸­¹Å¼üÁ¿¡B
®}¾å²ú¾ã²z¡@
¤Ó±d¸ÖºqÁ¿¿ý¢w¢w¥ª«äúZ°ê¤å¤Ñ¦aúZ14:9=164úZ¥Á88.01úZ­¶47¡Ð52
0387¡@ ¸­¹Å¼üÁ¿¡B
®}¾å²ú¾ã²z¡@
¤Ó±d¸ÖºqÁ¿¿ý¢w¢w¥ª«äúZ°ê¤å¤Ñ¦aúZ14:10=165úZ¥Á88.02úZ­¶54¡Ð59
0388¡@ ¸­¹Å¼üÁ¿¡B
®}¾å²ú¾ã²z¡@
¤Ó±d¸ÖºqÁ¿¿ý¢w¢w¥ª«äúZ°ê¤å¤Ñ¦aúZ14:10=166úZ¥Á88.03úZ­¶42¡Ð44
0389¡@ ¼B¼w¬Â¡@ ¦¿²TÂøÅé¸Ö¤T¤Q­ºªì±´úZ¿ú¿p¥ý¥Í¬ö©ÀÀ]À]¥ZúZ6úZ¥Á87.12úZ­¶108¡Ð117
0390¡@ ³¯¬ü§Q¡@ ³³²W©úªº¡u¦ÛµMÆ[¡vúZ»y¤å¾Ç³øúZ5úZ¥Á87.12úZ­¶93¡Ð120
0391¡@ ¥Û´Â¿o¡@ ³³²W©úªº¡u¸Öºq¬ü¾Ç¡v=Poetical Aesthetics of Tao Yun-Ming‘e¤å©ú±´¯ÁúZ16úZ¥Á88.01úZ­¶123¡Ð133
0392¡@ ªL¤_¥°¡@ ¨¥µu±¡§óªø¢w¢w½Í¨â­º­ð¤Hªº»Ó«è¸ÖúZ¤¤°ê»y¤åúZ84:3=501úZ¥Á88.03úZ­¶99¡Ð101
0393¡@ ¬d«Ì²y¡@ §ù¸Ö»P·s¾§¾ÇªºµÞ¥Í¡]¤U¡^¢w¢w¥Ñ­ð¥N¾§¾Ç·sÅܬݧù¸Ö¤¤¾§¾Ç«ä·Qªº¯SÂI=Tu Fu's Poems and the Emergence of Neo-Confucianism ¡]2¡^‘e¤Õ©s¤ë¥ZúZ37:5=437úZ¥Á88.01úZ­¶36¡Ð44
0394¡@ ±i¥H¤¯¡@ ¡mªá¶¡¶°¡n¤¤ªº«D±¡µü¡]¤U¡^=The Non Romantic Poets in Hua Chian Chi‘e¤å¥v­õ¾Ç³øúZ49úZ¥Á87.12úZ­¶79¡Ð110
0395¡@ ªôÀè¤Í¡@ ¡m­ð¸Ö¤T¦Ê­º¡n¾ÉŪúZ¤¤°ê»y¤åúZ84:3=501úZ¥Á88.03úZ­¶46¡Ð54
0396¡@ §õ¥ß«H¡@ ½×¡m¥Õ¤óªø¼y¶°¡n¤¤ªº®æ¸ÖúZªF®ü¤¤¤å¾Ç³øúZ12úZ¥Á87.12úZ­¶31¡Ð50
0397¡@ §dúZ¡¹¡@ ¹¡§t­õ·N¸Ö±¡ªº¥@¬É¢w¢wĬ¸ýªº¡u©|²z¡v¸ÖúZ¥j¤µÃÀ¤åúZ25:2úZ¥Á88.02úZ­¶54¡Ð55
0398¡@ ³¯·s¶¯¡@ Ĭ¸Ö½àªR¡]31¡^¢w¢w¤£¦Ñ©tªQúZ°ê¤å¤Ñ¦aúZ14:9=165úZ¥Á88.02úZ­¶60¡Ð63
0399¡@ ³¯·s¶¯¡@ Ĭ¸Ö½àªR¡]32¡^¢w¢w¤[¥ß»a¯íúZ°ê¤å¤Ñ¦aúZ14:10=166úZ¥Á88.03úZ­¶45¡Ð47
0400¡@ ¦ó¥Ã²M¡@ ¡q°ê¼Ü¡rªº­×Ãã¸Õ±´úZ¤¤°ê»y¤åúZ84:3=501úZ¥Á88.03úZ­¶72¡Ð75
0401¡@ °ª¬î»ñ¡@ ·¡¤Hªº®öº©¡m·¡Ãã¡núZ°ê¤å¤Ñ¦aúZ14:10=166úZ¥Á88.03úZ­¶16¡Ð21
0402¡@ ¶À³³³³¡@ ©}­ì¦b¡mÂ÷ÄÌ¡n¤¤ªº¦Û§Ú§Î¶HúZ»y¤å¾Ç³øúZ5úZ¥Á87.12úZ­¶59¡Ð91
0403¡@ ¿ú¥É³k¡@ ¡q´ð§g¡r¡B¡q´ð¤Ò¤H¡rªº¥þ·s­å¸Ñ»P½ĶúZ¥j¤µÃÀ¤åúZ25:2úZ¥Á88.02úZ­¶40¡Ð49
0404¡@ ±ç©Ó¼w¡@ ¨âº~½á½×«ä·QúZ¤¤°ê¤å¤Æ¤ë¥ZúZ226úZ¥Á88.01úZ­¶64¡Ð99úZ
0405¡@ ÅU¬X§Q¡@ ¥_§º´²¤å½áÃþ«¬¢w¢w¥Hµúª«¡B¿Ø³ë¬°¨ÒúZ¶À®H¾Ç³øúZ36úZ¥Á88.01úZ­¶1¡Ð14
0406¡@ §ùÀRÅb¡@ ¡q¥Í¬d¤l¡rµü½Õ¸ÕªR=A Trial to Analyze Melody of Tsi Poetry ¡§Shengchiatzu¡¨‘eªF§d¤¤¤å¬ã¨s¶°¥ZúZ5úZ¥Á87.05úZ­¶43¡Ð64
0407¡@ §õ¶®¶³¡@ ¡q¦è¦¿¤ë¡rµüµP¬ã¨s=A Study of the Tsi Pattern of ¡§The Moon over the West River¡¨‘eªF§d¤¤¤å¬ã¨s¶°¥ZúZ5úZ¥Á87.05úZ­¶139¡Ð161
0408¡@ ¶ÀÄR­s¡@ ¡uµü¡vªº°_·½©M§Î¦¡úZ¤¤°ê»y¤åúZ84:3=501úZ¥Á88.03úZ­¶55¡Ð66
0409¡@ ¼B´L©ú¡@ µüªº°_·½­±­±Æ[úZ¤¤°ê¤å¤Æ¤ë¥ZúZ227úZ¥Á88.02úZ­¶47¡Ð54
0410¡@ ½²¥¿µo¡@ ³ßŪ¡mµü¸à®Õij¡núZ¥j¤µÃÀ¤åúZ25:2úZ¥Á88.02úZ­¶52¡Ð53
0411¡@ ³¯º¡»Ê¡@ ­ð§ºµü¬B¥É¡]17¡^:§õ·Ôªº¡q¬Û¨£Åw¡rúZ°ê¤å¤Ñ¦aúZ14:8=164úZ¥Á88.01úZ­¶53¡Ð56
0412¡@ ¬q¾Ç»ü¡@ ²z¾Ç®a»P§º¥Nµü½×=Neo-Confucians and Critique on Verses in the Sung Dynasty‘e¤Õ©s¤ë¥ZúZ37:6=438úZ¥Á88.02úZ­¶26¡Ð35
0413¡@ ¨HúZÁ¾¡@ ¯³Æ[µüµûªRúZ¤¤°ê»y¤åúZ84:1=499úZ¥Á88.01úZ­¶40¡Ð47
0414¡@ ¨HúZÁ¾¡@ ²Ó«~Ĭ¸ýµüúZ©ú¹D¤åÃÀúZ274úZ¥Á88.01úZ­¶32¡Ð45
0415¡@ ¼B¤Õ¥ñ¡B
¼ï¨}¿K¡@
½ÍĬ¸ý¡q©À¥£¼b¡E¨ª¾ÀÃh¥j¡rµü¤¤ªº´X­Ó°ÝÃDúZ©ú¹D¤åÃÀúZ276úZ¥Á88.03úZ­¶148¡Ð155
0416¡@ ±i¤å«Û¡@ ¼B¹LÀs¬wµüªº­·®æúZ¤¤°ê¤å¤Æ¤ë¥ZúZ227úZ¥Á88.02úZ­¶92¡Ð123
0417¡@ «J²Q®S¡@ ±q¡mÒF¯½°O®Õª`¡n¤§°Óºe½Í¶Ç©_·s®Õªº°ÝÃD¡]¤W¡^=The Problems on Collation of the Drama in The Noting and Colation of Huansha Ji ¡]1¡^úZ¤j³°Âø»xúZ98:2úZ¥Á88.02úZ­¶31¡Ð48
0418¡@ «J²Q®S¡@ ±q¡mÒF¯½°O®Õª`¡n¤§°Óºe½Í¶Ç©_·s®Õªº°ÝÃD¡]¤U¡^=The Problems on Collation of the Drama in The Noting and Colation of Huansha Ji ¡]2¡^‘e¤j³°Âø»xúZ98:3úZ¥Á88.03úZ­¶43¡Ð48
0419¡@ «J²Q®S¡@ º©½Í¡m²M¨®¤ý©²¶rÂæ±¥»¤l§Ì®Ñ¶°¡n¤Î¨äµû½×©Ê½g³¹=A Random Discourse on Tzu-Ti-Shu-Chi of Copied and Collected Melody Volumes from the Residence of Prince Chu of Ching Dynasty and Its Critical Articles‘eªF§d¤¤¤å¬ã¨s¶°¥ZúZ5úZ¥Á87.05úZ­¶1¡Ð27
0420¡@ ©P¥@½e¡@ §d°¶·~¡q¶ê¶ê¦±¡rªºªí¹F¼Ò¦¡=Wu Wei-ye's the Song of Yuan-yuan‘eªF®ü¾Ç³øúZ39:1¡]¤å¾Ç°|¡^úZ¥Á87.07úZ­¶15¡Ð42
0421¡@ ©PªÚ±Ó¡@ µê¤Û»P¯u¹ê¢w¢w¤¤°ê¥j¨å¤p»¡¤¤ªºÃè²§¶Ç©_úZ»OÆW¾ú¥v¾Ç·|³q°TúZ8úZ¥Á88.03úZ­¶54¡Ð59
0422¡@ ³¯®ÛÉ]¡@ ¶Ã¥@ªº±ÏÅ«¡m«ÅÅç°O¡n¬ã¨s=Redemption of Iffy Age: the Study of ¡§Xuan Ian Ji¡¨‘e°ª¶¯¬ì¾Ç§Þ³N¾Ç°|¾Ç³øúZ28úZ¥Á87.12úZ­¶607¡Ð622
0423¡@ µØúZÞ³¡@ ¡m¤~¤l¨d¤¦«F¡n§@ªÌ¦Ò­z¢w¢w­Ý¤Î¡q²Á»Õ§åµûÂÂÀ¸¥Ø¡rªº§@ªÌ°ÝÃD=The Problem of Authorship of Tsai-tzu Mu-tan-ting‘e¤¤°ê¤å­õ¬ã¨s¶°¥ZúZ13úZ¥Á87.09úZ­¶1¡Ð35
0424¡@ ¤ýÀõ¬Â¡@ ©ú²M§çÃh¼g¼«Âø¼@¤§ÃÀ³N¯S½è»P¦¨¤À=The Artistic Characteristics and Elements of the Ming¡ÐChing Subjective Lyrical Tsa¡Ðchu Drama‘e¤¤°ê¤å­õ¬ã¨s¶°¥ZúZ13úZ¥Á87.09úZ­¶37¡Ð120
0425¡@ µØúZÞ³¡@ ¡m©àªá®©¡n»P¡m±æ¬v¹Ä¡n¢w¢w·sµo²{ªº¼B²MÃý¼@§@¤Î¥Í¥­¸ê®Æ=Nien-hua-wu and Wang-yang-tan: Newly Discovered Plays and Materials of Liu Ching-yun‘e¤¤°ê¤å­õ¬ã¨s³q°TúZ8:3=31úZ¥Á87.09úZ­¶165¡Ð182
0426¡@ ±ö®a¬Â¡@ ¤Ö¦~»OÆW:¤K¡B¤E¡³¦~¥N»OÆW¤p»¡¤¤«C¤Ö¦~ªº¦Û§Ú°l´M»P®a°ê·Q¹³=Taiwan's Youth: The Pursuit of Self and National Imagination by Youth in Taiwanese Fiction of the Eighties and Nineties‘eº~¾Ç¬ã¨súZ16:2=32úZ¥Á87.12úZ­¶115¡Ð140
0427¡@ ³¯¤ÖªÚ¡@ ­ð¥N¶Ç©_¤¤ªº±@§²§Î¶HúZ¤¤°ê¤å¤Æ¤ë¥ZúZ225úZ¥Á87.12úZ­¶95¡Ð119
0428¡@ ¹ù¥É¿·¡@ è»P­t¢w¢w½Í­ð¶Ç©_¡q§õ«½¶Ç¡rªº·R±¡úZÁp¦X¤å¾ÇúZ15:4=172úZ¥Á88.02úZ­¶46¡Ð47
0429¡@ ¾G¶®¤å¡@ ¡m¾K¯Î½Í¿ý¡n¡u¶Ç©_¡v­±»ªªì±´úZ°ê¥ß¤¤¥¡¤j¾Ç¤¤¤å©Ò¬ã¨s¶°¥ZúZ5úZ¥Á87.05úZ­¶72¡Ð87
0430¡@ ¿à¹ÅÄQ¡@ ¸ÕªR¡m¤T¤ô¤pÃ|¡n¤k©Ê´d¼@¤Hª«¡]¤U¡^¢w¢w¥H¨B­¸·Ï¡Bºñ¼¡B³½¥È¾÷¬°¨ÒúZ¤¤°ê»y¤åúZ84:1=499úZ¥Á88.01úZ­¶77¡Ð82
0431¡@ §d¿P®R¡@ ¡m¿ô¥@«Ã½t¶Ç¡n¤Î¨ä¦]ªG³øÀ³«ä·Qªº¼u©Ê¹B¥Î=Xingshi Yinyuan Zhuan and Its Ingenicus Use of the Concept of Karmic Retribution‘e¤j³°Âø»xúZ98:3úZ¥Á88.03úZ­¶32¡Ð42
0432¡@ ¸­¸g¬W¡@ ´¿¾ë»P¡mÄ^®üªá¡núZ°ê¤å¤Ñ¦aúZ14:8=164úZ¥Á88.01úZ­¶60¡Ð70
0433¡@ ¤èúZ·ì¡@ ªáÂO½º¼v¢w¢w¡m¯B¥Í¤»°O¡n¤¤ªºªå®Q¡B¤T¥ÕúZÁp¦X¤å¾ÇúZ15:4=172úZ¥Á88.02úZ­¶72¡Ð73
0434¡@ ¶ÀªF¶§¡@ ¨Ì¹H©ó«H¥v»P³¥¥v¤§¶¡¢w¢w¡mµØ¶§°ê§Ó¡n¤§¤p»¡¯S©Ê±´¨s=Swinging between the Trustworth History and the Historical Romance¢w¢wAn Inquiry into the Fictious Features of The Historical Records of the State of Huayang‘eªF§d¤¤¤å¬ã¨s¶°¥Z5úZ¥Á87.05úZ­¶163¡Ð177
0435¡@ ¤èÀR®S¡@ °Ý¥@¶¡±¡¬°¦óª«¡Aª½±Ð¤H¥Í¦º¬Û³\¢w¢w§Ú¬Ý¡qÁú¾Ì¤Ò°ü¡rúZ¤¤°ê»y¤åúZ84:3=501úZ¥Á88.03úZ­¶76¡Ð79
0436¡@ ¶À±R´Â¡@ ¡q¤T¨¥¡r¤¤ªº§²°|·R±¡¤Î¨ä·NÄ­úZ°ê¤å¤Ñ¦aúZ14:10=166úZ¥Á88.03úZ­¶58¡Ð61
0437¡@ ±çÀÆ®S¡@ ¦Ñ°ü¤§­µ©{¦p¤Ö¤k¢w¢w»ZªQÄÖ¡q¤f§Þ¡rÄÀºÃúZ°ê¤å¤Ñ¦aúZ14:10=166úZ¥Á88.03úZ­¶103¡Ð105
0438¡@ ªL¨Î¼z¡@ ¸Ñ»y¡u¸Ñ»yªá¡v¡m²áÂN»x²§¡nµûÂI¾ÇÁ|¶¨úZ°ê¥ß¤¤¥¡¤j¾Ç¤¤¤å©Ò¬ã¨s¶°¥ZúZ5úZ¥Á87.05úZ­¶88¡Ð98
0439¡@ Ãö©|§Ó¡@ ¡m«¬¥@¨¥¡n¥¾°O¥|ÃD=Four Reading Notes of ¡§Xing-shi-yan¡¨‘e¤j³°Âø»xúZ98:1úZ¥Á88.01úZ­¶22¡Ð28
0440¡@ ¿àªÚ§D¡@ °Ú¡I¹Ð¥@¸Ìªº¨ººØ©¯ºÖ¢w¢w¤p½Í¥Õ³D»P³\«Å¤§ÅÊúZÁp¦X¤å¾ÇúZ15:4=172úZ¥Á88.02úZ­¶48¡Ð49
0441¡@ Àj©µ¼Ý¡@ §º¦¿ªº¦r»P¸¹úZ°ê¤å¤Ñ¦aúZ14:9=165úZ¥Á88.02úZ­¶52¡Ð53
0442¡@ ÁéúZÁé¡@ »¡®Ñ©M¬I­@±gªº¤ôâq¶ÇúZ°ê¤å¤Ñ¦aúZ14:10=166úZ¥Á88.03úZ­¶54¡Ð57
0443¡@ §õ¶¶¼z¡@ ±q»y¥Î¾Ç¬Ý¡m¦è¹C°O¡n¤¤½Þ¤K§Ù¸Ü»y¤¤ªº¯ºÂIúZªF®ü¤¤¤å¾Ç³øúZ12úZ¥Á87.12úZ­¶125¡Ð138
0444¡@ Àj©µ¼Ý¡@ ¡uìI¤H¡v§õ¶fúZ°ê¤å¤Ñ¦aúZ14:10=166úZ¥Á88.03úZ­¶37¡Ð39
0445¡@ ¤B¤D«D¡@ ²]¥À¦å±Y¡mª÷²~±ö¡nªº±ý±æ¾\ŪúZÁp¦X¤å¾ÇúZ15:4=172úZ¥Á88.02úZ­¶50¡Ð51
0446¡@ ¯Î¦P¤å¡@ ©É¬õ°|»P±¥¬õ°aúZ¥ÛÀY°O¬ã¨s±M¥ZúZ5úZ¥Á88.01úZ­¶22
0447¡@ ±iªY§B¡@ ªLÂL¥ÉúZ¥ÛÀY°O¬ã¨s±M¥ZúZ5úZ¥Á88.01úZ­¶12¡Ð18
0448¡@ ±iªY§B¡@ ¡m§å«d¥»¤@¦Ê¤Q¦^¥ÛÀY°O½Z¡n²Ä¤Q¤C¦^¡]¤W¡^úZ¥ÛÀY°O¬ã¨s±M¥ZúZ4úZ¥Á87.10úZ­¶16¡Ð25
0449¡@ ±iªY§B¡@ ¡m§å«d¥»¤@¦Ê¤Q¦^¥ÛÀY°O½Z¡n²Ä¤Q¤C¦^¡]¤U¡^úZ¥ÛÀY°O¬ã¨s±M¥ZúZ5úZ¥Á88.01úZ­¶23¡Ð32
0450¡@ ±iªY§B¡@ ¡m§å«d¥»¤@¦Ê¤Q¦^¥»¥ÛÀY°O½Z¡n²Ä¤T¦^¡]¤W¡^úZ¥ÛÀY°O¬ã¨s±M¥ZúZ³Ð¥Z¸¹úZ¥Á87.01úZ­¶21¡Ð25
0451¡@ ±iªY§B¡@ ¡m§å«d¥»¤@¦Ê¤Q¦^¥ÛÀY°O½Z¡n²Ä¤­¦^úZ¥ÛÀY°O¬ã¨s±M¥ZúZ4úZ¥Á87.10úZ­¶19¡Ð34
0452¡@ ±iªY§B¡@ ¯³¥i­ëúZ¥ÛÀY°O¬ã¨s±M¥ZúZ4úZ¥Á87.10úZ­¶3¡Ð5
0453¡@ ³¯¯q·½¡@ ¬õ¼Ó­·¤ë¹ÚúZ¥ÛÀY°O¬ã¨s±M¥ZúZ5úZ¥Á88.01úZ­¶21¡Ð22
0454¡@ ªLºÑ¼z¡@ ¬õ¼ÓªºÚ·¦~©t±I¢w¢w¥Ñ¤å¾ÇÆ[ÂI¬Ý¬õ¾Ç¬ã¨súZ²H¤ô¤û¬z¤åÃÀúZ2úZ¥Á88.01úZ­¶104¡Ð113
0455¡@ ­JúZ¾A¡@ ¡m¬õ¼Ó¹Ú¡n¦ÒÃÒúZ¥ÛÀY°O¬ã¨s±M¥ZúZ4úZ¥Á87.10úZ­¶12¡Ð15
0456¡@ ¼B¼s©w¡@ ¡m¬õ¼Ó¹Ú¡nª©¥»¬ã¨sùÒ½ÍúZ°ê¤÷¬ö©ÀÀ]À]¥ZúZ2úZ¥Á87.11úZ­¶206¡Ð209
0457¡@ ­J¤å±l¡@ ¡m¬õ¼Ó¹Ú¡n»P¤¤°ê¶Ç²Î¶¼­¹¤å¤ÆúZ¥ÛÀY°O¬ã¨s±M¥ZúZ³Ð¥Z¸¹úZ¥Á87.01úZ­¶26¡Ð30¡Ï18
0458¡@ ­J¤å±l¡@ ®ü¤Ñ­«¸Ü¥ÛÀYÁI¡m¬õ¼Ó¹Ú¡n¦b»OÆWªº¬y¶Ç¤Î¨ä¬ã¨súZ°ê¤÷¬ö©ÀÀ]À]¥ZúZ2úZ¥Á87.11úZ­¶210¡Ð214
0459¡@ ¤ý§Óºû¡@ °O­J¾A¥ý¥Í¦ÒÃÒ¡m¬õ¼Ó¹Ú¡nªº¦³Ãö¸ê®ÆúZ¥ÛÀY°O¬ã¨s±M¥ZúZ4úZ¥Á87.10úZ­¶6¡Ð11
0460¡@ ¿½úZ¹£¡@ ±q¤¬¤åÃö«Y½×¡m¥ÛÀY°O¡nªº®¯½×±Ô¨Æ¥DÃD=Initation or Redemption: An Intertextual Analysis of the Paradoxical Theme of The Story of the Stone‘eº~¾Ç¬ã¨súZ16:2=32úZ¥Á87.12úZ­¶351¡Ð378
0461¡@ ±d¨Ó·s¡@ ¸Ñ±¡¤£¸ÑHigh¢w¢w¸Õ¸ÑÄ_ÂLªº¤ì¥Ûµ²·ùúZÁp¦X¤å¾ÇúZ15:4=172úZ¥Á88.02úZ­¶52¡Ð53
0462¡@ ±iªY§B¡@ ¸ë·q¢w¢w¤Ñ­»¼Ó¨Æ¥óªº¨k¥D¨¤úZ¥ÛÀY°O¬ã¨s±M¥ZúZ3úZ¥Á87.07úZ­¶3¡Ð4
0463¡@ ±iªY§B¡@ ¸ëÄ_¥ÉúZ¥ÛÀY°O¬ã¨s±M¥ZúZ³Ð¥Z¸¹úZ¥Á87.01úZ­¶1¡Ð9
0464¡@ ¥Ö­z¥Á¡@ ¸ëÄ_¥Éªº§Î¶H·N¸q»P¤Hª«­ì«¬úZ°ê¤÷¬ö©ÀÀ]À]¥ZúZ2úZ¥Á87.11úZ­¶215¡Ð219
0465¡@ «\¥­§B¡@ ½×¡£¡m¬õ¼Ó¹Ú¡n¡¤Äò®Ñ¤£¥i¯àúZ¥ÛÀY°O¬ã¨s±M¥ZúZ³Ð¥Z¸¹úZ¥Á87.01úZ­¶19¡Ð20¡Ï25
0466¡@ ­JúZ¾A¡@ Ãö©ó¡m¬õ¼Ó¹Ú¡nªº¥|«Ê«HúZ¥ÛÀY°O¬ã¨s±M¥ZúZ³Ð¥Z¸¹úZ¥Á87.01úZ­¶11¡Ð15
0467¡@ ¶À¡¹º_¡@ ¡m¥v°O¡n¡mº~®Ñ¡n¡q´å«L¦C¶Ç¡r¸ûªRúZ¤¤°ê»y¤åúZ84:2=500úZ¥Á88.02úZ­¶64¡Ð170
0468¡@ ·¨©ú¼ý¡@ ±q¥q°¨¥ú¡q°V»ü¥Ü±d¡r¤@¤å¬Ý¡u¥¿¤Ï¡v¤âªkªº¹B¥ÎúZ¤¤°ê»y¤åúZ84:2=500úZ¥Á88.02úZ­¶34¡Ð36
0469¡@ ±iúZı¡@ Áú·U¡q¶i¾Ç¸Ñ¡rúZ©ú¹D¤åÃÀúZ275úZ¥Á88.02úZ­¶97¡Ð109
0470¡@ ³¯º¡»Ê¡@ Ĭ¸ý¡q¯d«J½×¡rµ²ºc¤ÀªRúZ°ê¤å¤Ñ¦aúZ14:10=166úZ¥Á88.03úZ­¶86¡Ð89
0471¡@ ½²©¾¹D¡@ ®É¥Nªº´dºq¢w¢wŪ´R±dªº¨â«Êµ´¥æ«HúZ»y¤å±Ð¨|³q°TúZ17úZ¥Á88.01úZ­¶12¡Ð20
0472¡@ ©ö«T³Ç¡@ ¬KÁpº©½Í=On New-Year Couplets‘e¤Õ©s¤ë¥ZúZ37:5=437úZ¥Á88.01úZ­¶45¡Ð46
0473¡@ ªLÅã®x¡@ ¡m¤å¤ßÀJÀs¡E¯««ä½g¡n¸Õ¸Ñ¢w¢w¼B¼E¹ï¤åÃÀ³Ð§@¤ß¸ô¾úµ{ªº­åªRúZªF®ü­õ¾Ç¬ã¨s¶°¥ZúZ5úZ¥Á87.07úZ­¶119¡Ð138
0474¡@ ºÞúZÙy¡@ µL°¾µLÄÒ¡m¤å¤ßÀJÀs¡n¤§¤GÂI½×ºÞ¿súZ¥j¤µÃÀ¤åúZ25:2úZ¥Á88.02úZ­¶50¡Ð51úZ
0475¡@ §õúZ¥­¡@ ½×¡m¤å¤ßÀJÀs¡nªº¤å¤Æ·NÄ­úZ¤¤°ê¤å¤Æ¤ë¥ZúZ227úZ¥Á88.02úZ­¶55¡Ð80
0476¡@ ³¯úZ«ý¡@ ¡m¤å¤ßÀJÀs¡nª«¦â½g²¨ÄÀúZªF®ü¤¤¤å¾Ç³øúZ12úZ¥Á87.12úZ­¶1¡Ð12‘b

 

Á`Ãþ / ­õ¾ÇÃþ / ©v±ÐÃþ
¦ÛµM¬ì¾ÇÃþ / À³¥Î¬ì¾ÇÃþ / ªÀ·|¬ì¾ÇÃþ
¤¤°ê¥v¦aÃþ / ¥@¬É¥v¦a / ÃÀ³NÃþ
 
¦^¤W¼h