Master of Science

余志強. / 複本為複印本. / Thesis (M.A.)--香港中文大學. / Fu ben wei fu yin ben. / Includes bibliographical references (leaves 344-351). / Yu Zhiqiang. / Thesis (M.A.)--Xianggang Zhong wen da xue. / Chapter 第一章 --- 緒論 --- p.1─35 / Chapter 第二章 --- 開始運用馬列主義觀點治史 --- p.36-53 / Chapter 第三章 --- 以古喻今的歷史著作 --- p.54-69 / Chapter 第四章 --- 歷史科學的任務 --- p.70-90 / Chapter 第五章 --- 史學大躍進──吳晗，翦伯贊之反響 --- p.91-139 / Chapter 第六章 --- 怎樣研習中國的歷史 --- p.140-175 / Chapter 第七章 --- 歷史主義與階級觀點 --- p.176-208 / Chapter 第八章 --- 歷史人物的評價問題 --- p.209-244 / Chapter 第九章 --- 農民戰爭問題 --- p.245-299 / Chapter 第十章 --- 怎樣處理歷史上的民族關係問題 --- p.300-334 / 吳晗，翦伯贊著作分類目錄 --- p.335-344 / 參考書目 --- p.344-351

撰者葉國洪. / 論文(博士) -- 香港中文大學硏究院歷史學部, 1995. / 參考文献 : leaves 215-242. / zhuan zhe Ye Guohong. / 緒言 --- p.5 / Chapter 第一部分、 --- 導論 / Chapter 第一章、 --- 張之洞研究述評 --- p.7 / Chapter (1) --- 國内有關張之洞的研究 --- p.8 / Chapter (2) --- 港、臺及海外有關張之洞的研究 --- p.13 / Chapter (3) --- 張之洞研究的展望 --- p.15 / Chapter (4) --- 附錄八十年代後國内張之洞研究論文目錄 --- p.17 / Chapter 第二章、 --- 寫作動機 --- p.23 / Chapter 第二部份、 --- 清末工業振興與張之洞 / Chapter 第三章、 --- 張之洞的崛興 --- p.30 / Chapter (1) --- 張之洞的崛起與「清流」 --- p.30 / Chapter (2) --- 襄贊洋務以自強 --- p.32 / Chapter (3) --- 張之洞成爲甲午戰後自強運動的中流砥柱 --- p.33 / Chapter 第四章、 --- 張之洞振興工業的時代背景 --- p.38 / Chapter 第五章、 --- 張之洞振興工業的理念基礎 ´إ´إ中體西用論與工業振興 --- p.44 / Chapter (1) --- 晚清「中體西用」論流行的時代背景 --- p.44 / Chapter (2) --- 張之洞「中體西用」論與晚清政治 --- p.45 / Chapter (3) --- 張之洞「中體西用」論的底蘊 --- p.48 / Chapter (4) --- 張之洞「中體西用」論與工業化運動 --- p.55 / Chapter (5) --- 張之洞「中體西用」論與西方文化的學習 --- p.58 / Chapter 第三部份、 --- 張之洞所辦的中國近代化工業 --- p.73 / Chapter 第六章、 --- 創辦煉鋼重工業與兵工業 --- p.74 / Chapter (1) --- 東亞首家現代化煉鐵廠 --- p.74 / Chapter (2) --- 煉鋼工業挫敗之一 燃料供應不穩定，機器未能配合礦質 --- p.77 / Chapter (3) --- 煉鋼工業挫敗之二 ：廠址選擇失誤 --- p.79 / Chapter (4) --- 漢陽鐵廠的轉機：盛宣懷的承辦與突破 --- p.80 / Chapter (5) --- 晚清最先進兵工廠的創立 --- p.82 / Chapter 第七章、 --- 創辦紡織工業及輕工業體系 / Chapter (1) --- 湖北織布官局 --- p.94 / Chapter (2) --- 湖北紡紗官局 --- p.95 / Chapter (3) --- 湖北繅絲局 --- p.96 / Chapter (4) --- 湖北製麻局 --- p.98 / Chapter (5) --- 其他中小型輕工業工廠 --- p.102 / Chapter (6) --- 輕工業技術之引進與推廣 --- p.103 / Chapter 第八章、 --- 興辦新式通訊及交通事業 --- p.110 / Chapter (1) --- 張之洞支持盛宣懷兼辦蘆漢鐵路 --- p.110 / Chapter (2) --- 張之洞與收回粤漢鐵路建築主權的交涉 --- p.113 / Chapter 第九章、 --- 創辦新式鑄幣廠及銀行 --- p.123 / Chapter (1) --- 晚清貨幣金融政策的歷史背景 --- p.123 / Chapter (2) --- 張之洞與新式鑄幣廠的創立 --- p.124 / Chapter (3) --- 張之洞與中國首家銀行的創設 --- p.128 / Chapter 第十章、 --- 興辦新式商業以支援工業 --- p.136 / Chapter (1) --- 張之洞的商業思想 --- p.136 / Chapter (2) --- 張之洞獎掖商務的措置 --- p.139 / Chapter 第十一章、 --- 張之洞工業政策之靈活應變 ----從官辦企業轉化爲官督商辦或 商辦企業 --- p.148 / Chapter (1) --- 漢陽鐵廠轉變爲官督商辦 --- p.148 / Chapter (2) --- 官督商辦企業與工業發展 --- p.153 / 結論 / 附表 --- p.203 / 參考書目 --- p.215

符艷菁. / "2001年6月" / 論文 (哲學碩士)--香港中文大學, 2001. / 參考文獻 (leaves 172-179) / 附中英文摘要. / "2001 nian 6 yue" / Fu Yanjing. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2001. / Can kao wen xian (leaves 172-179) / Fu Zhong Ying wen zhai yao. / 論文摘要 --- p.i-iii / Chapter 第一章 --- 緒論 --- p.1 / Chapter 第一節 --- 自由主義在中國 --- p.1 / Chapter 第二節 --- 自由主義知識份子的類別 --- p.8 / Chapter 第三節 --- 文章內容簡介 --- p.11 / Chapter 第四節 --- 儲安平硏究回顧 --- p.14 / Chapter 第五節 --- 小結 --- p.25 / Chapter 第二章 --- 儲安平的自由主義思想 --- p.27 / Chapter 第一節 --- 儲安平生平簡介 --- p.27 / Chapter 第二節 --- 儲安平的自由主義思想根源 --- p.29 / Chapter 第三節 --- 小結 --- p.40 / Chapter 第三章 --- 國民黨統治大陸時期-儲安平與《觀察》 --- p.43 / Chapter 第一節 --- 《觀察》始末 --- p.43 / Chapter 第二節 --- 儲安平的《觀察》政論 --- p.57 / Chapter 第三節 --- 小結 --- p.78 / Chapter 第四章 --- 共產黨統治大陸時期一儲安平與「黨天下」 --- p.83 / Chapter 第一節 --- 1948年至1949年的儲安平 --- p.83 / Chapter 第二節 --- 1949年至1957年的儲安平 --- p.86 / Chapter 第三節 --- 儲安平與「黨天下」 --- p.98 / Chapter 第四節 --- 中共與自由主義知識份子 --- p.132 / Chapter 第五節 --- 小結 --- p.146 / Chapter 第五章 --- 結論 --- p.149 / 附錄 --- p.155 / 附錄一儲安平年譜 --- p.155 / 附錄二《觀察》撰稿人簡況 --- p.166 / 附錄三《觀察》封面 --- p.170 / 附錄四復刊後的《觀察》封面 --- p.171 / 參考資料 --- p.172

No description available.

No description available.

This dissertation is a study of the political career and thought of Said Halim Pasha (1865--1921), a prominent Islamist thinker and eminent Ottoman statesman, set against the historical and ideological background of his time. / The period covered in this study extends from the twilight of the Hamidian era to the end of the Ottoman Empire (1900--1922). During these two crucial decades, the Ottoman Empire, prior to its demise, went through an immense transformation. The establishment of the Constitutional regime in July 1908 allowed several ideological currents to circulate freely on the political scene and to compete in filling the vacuum created by the fall of the ancien regime. Among these ideologies, three rose to prominency: Westernism, Turkism, and Islamism. Said Halim Pasha, one of the best representatives of the Islamist school, made important contributions to the ideological debates which were raging. In his writings that appeared between 1910 and 1921, Said Halim Pasha advocated a thorough and radical Islamization of the Muslim world in order to halt its decline and to ensure its progress. With regard to his political career as Grand Vizir of the Ottoman Empire, Said Halim Pasha proved himself to be a mastermind of diplomacy. Until his political isolation and deprivation of power by the Turkist wing of the CUP Government, he kept at bay the aggressive imperialist Powers and frustrated their plans to partition the Ottoman Empire.

No description available.

Lowry's controversial and enigmatic book has spawned diverse critical analyses geared toward arriving at a single understanding of the novel; however, what too many of these works fail to take into account is the eclectic nature of Lowry's techniques as well as his themes. Hence, though we usually get a very clear picture of one approach to the book in these individual exercises in explication, when we turn once again to the story itself, we are apt to be a bit confused as to exactly how the design that they offer governs the unity of the book. Therefore, in order to glean the author's intent, one must take a more comprehensive, a rhetorical, view of the piece.For future reference, chapter one -- "A Review of Criticism" -summarizes and evaluates book reviews and critical studies done on Under the Volcano, the critical studies being organized into source, theme and technique analyses, respectively,Chapter two, "Rhetorical Analysis Defined," considers the critical theories of Edward Corbett, Mark Schorer and Wayne Booth to adumbrate the notion that a rhetorical analysis addresses the writer's intent, his work and thee work's impact upon its aud4ence to evaluate the effectiveness of a piece of literature. As an illustration, Lowry's essay "Garden of Etla" is explicated rhetorically here.In chapter three, "A Rhetorical Analysis of Under the Volcano," a chapter-by-chapter, detailed approach to the novel is used in order to illuminate the techniques which promote and define Lowry's themes. The techniques include those that establish stream of consciousness (interior monologues and dialogues), those that determine its direction (syntax, time and space montage, and mechanical devices) and those that add depth and dimension (figures of speech, puns and distorted English).The last chapter, "Malcolm Lowry's 'Design-Governing Postures, ," examines unifying structures which range the entire book and which thereby impose order on it. These designs include Lowry's use of the traditional unities, leitmotifs, parodies, symbolic structures, formal arrangements and "cyclic" themes.Critics of the novel contend that though enjoying isolated moments of direction and lucidness, Under the Volcano fails to convey it purpose effectively because the themes are nebulous and because the techniques segment rather than solidify the story. By explicating the book rhetorically, however, one learns to understand and appreciate the techniques that Lowry employs to amplify the fragmentation endured by the Consul, the people closest to him and, in fact, the entire world around him. Indeed, Lowry offers up a cogent cautionary vision of a twentieth-century world disintegrating because it lacks that force singularly capable of unifying it -- love.

Après avoir créé La Cantatrice chauve en 1949, Ionesco n’a pas tardé à apparaître comme une force de renouvellement du théâtre français. S’il se détache progressivement de sa posture agressivement avant-gardiste, il ne renonce pas à faire de sa dramaturgie un objet d’exploration : de l’introduction du rêve sur la scène, à la tentation de l’autobiographie dramatique. Le mouvement de la quête artistique a cependant cohabité avec une immuabilité ontologique, souvent revendiquée par l’auteur lui-même. Les pièces portent les empreintes d’un ressassement qui, dans l’ombre, travaille l’homme. Il se nourrit d’obsessions telles que l’angoisse de la mort, l’effarement devant la violence de ses semblables, la douleur de l’impuissance à ressusciter la lumière de l’enfance. Ionesco a trouvé dans la réécriture un processus créateur susceptible d’embrasser et de dépasser ses contradictions. Depuis La Cantatrice chauve – autoadaptation d’une première version roumaine– jusqu’à son dernier théâtre – conçu à partir d’un récit autofictionnel et de récits de rêve, en passant par la transmodalisation de nouvelles et la reprise de deux chefs-d’œuvre allogènes, Journal de l’Année de la Peste de Daniel Defoe et Macbeth de Shakespeare, Ionesco réécrit, les autres comme lui-même. La reprise textuelle, en ce qu’elle épouse le double mouvement de la pause réflexive et de l’impulsion conquérante, lui a ainsi fourni un précieux outil pour penser et repenser sa dramaturgie. Notre travail s’attache à étudier en diachonie les paradoxes et les prouesses de l’œuvre littéraire à la lumière de cette pratique scripturale. Nous avons cherché à montrer l’influence décisive qu’a eue la réécriture sur l’évolution de la dramaturgie ionescienne. La consultation de ses manuscrits a constitué un outil majeur pour appréhender le travail de répétition de ses réécritures. / After having created The Bald Soprano in 1949, Ionesco soon appears as a force of renewal in French theater. While he progressively moved away from his aggressively avant-gardist stance, he never stopped to use his dramaturgy as an object of exploration, from the introduction of dreams on the stage to the temptation of dramatic autobiography. This dynamics of artistic quest has always been coexistent with an ontological immutability often reasserted by the author himself. His plays bear the imprints of a resifting that constantly if implicitly shapes him, and which feeds on obsessions such as anxiety about death, consternation at human violence, the pain provoked by his inability to resuscitate the light of childhood. Ionesco found in the process of rewriting a creative way to embrace and go beyond his contradictions. From The Bald Soprano – a self-adaptation of a first Romanian version – to his last plays – based on an autofictional story and dream narratives, and including the transmodalisation of short stories and the adaptation of two foreign masterpieces, Journal of a Plague Year by Daniel Defoe and Macbeth by Shakespeare, Ionesco rewrites others and himself. Thus textual repetition, which embraces the double motion of reflexive pause and of conquering impulsion, gave him a precious tool to think and rethink his dramaturgy. Our work diachronically studies the paradoxes and prowesses of his literary work in light of this writing practice. We sought to demonstrate the decisive influence that the process of rewriting had on the evolution of Ionesco’s dramaturgy. The study of his manuscripts has been a major tool for understanding the repetition at work in his rewriting.