本研究根據《西儒耳目資》出版的歷史文化背景，重新思考編者金尼閣（Nicolas Trigault, 1577-1628）的教育背景如何形成這本字典的架構，並對傳教士之教育背景對語言分析的影響提出新的見解。本研究發現金尼閣和其他耶穌會傳教士在養成過程中所接觸的記憶術和字典編纂有相同的功能，可以提供金尼閣編纂《西儒耳目資》的基本架構。文藝復興時期所流行的結合術（the Combinatory Art）則提供金尼閣分析漢語音系的架構。接著金尼閣將歐洲既有的字母排列法（alphabetization）修改成獨特的漢語拼音排列法。除此之外，金尼閣和他同時期的歐洲人一樣，都把漢字是為表意圖像，並且將漢字聯想成東方的埃及象形文字。這樣的想法讓金尼閣把漢字放入由羅馬字母組合、標記而成的空間中，成為《西儒耳目資》成型過程中的關鍵要素之一。

Placing the Ulmoçu back to its cultural-historical context, this thesis investigates how Trigault’s educational background offers the framework to deal with the Chinese script. This study finds that the art of memory, which Trigault had studied in school like other Jesuits, provided a framework of the lexicography. Trigault is clearly influenced by the Combinatory Art, which became the phonetic wheels and the tabulations of Chinese syllables that Trigault devised for language analysis. Trigault is also influenced by alphabetization, the method to arrange words in its alphabetical order. For Trigault, these intellectual heritages were his toolkit in tackling the exotic Chinese script. Moreover, I also justify Trigault and his contemporary Jesuits’ belief about Chinese characters, namely, the ideographic and universal myth. Pre-occupied with this idea, Trigault and the early modern European travelers’ observed the international intelligibility of the Chinese script and develop the idea that “the Chinese hieroglyphs” are also ideographic. In Trigault’s lexicography, this idea permitted him to place Chinese characters in the places denoted by romanized syllables. Finally, the approach taken in this thesis explores a new horizon in the study on the Ulmoçu and underscores how a missionary’s intellectual background contributes to his analysis of foreign language.

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