鄧慶燊. / "2006年8月" / 論文(哲學碩士)--香港中文大學, 2006. / 附參考文獻(leaves 224-233)及索引. / "2006 nian 8 yue" / Abstracts in Chinese and English. / Deng Qingshen. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2006. / Fu can kao wen xian (leaves 224-233) ji suo yin. / 敘論 --- p.1 / Chapter 第一章 --- 時代背景 --- p.6 / Chapter 第二章 --- 生平考述 --- p.13 / Chapter 第一節 --- 字號及生卒 / Chapter 第二節 --- 生平考述 / Chapter 一、 --- 陳澧門生約1870年代初 / Chapter 二、 --- 游幕四川約1876-1878 / Chapter 三、 --- 備官祠部1889-1895 / Chapter 四、 --- 軺察粤ˇёإ1895-1898 / Chapter 五、 --- 蟄居南隅1898-1917 / Chapter 第三章 --- 師徒與交游 --- p.36 / Chapter 第一節 --- 梁于渭的師輩與門生 / Chapter 第二節 --- 梁于渭的交游 / Chapter 一、 --- ˇёإ邦同仁 / Chapter 二、 --- 金石同道 / Chapter 三、 --- 官場同僚及其他 / Chapter 第四章 --- 繪畫藝術 --- p.60 / Chapter 第一節 --- 藝術背景 / Chapter 一、 --- 前期的關係網 / Chapter 二、 --- 《時事畫報》美術同人 / Chapter 第二節 --- 藝術淵源 / Chapter 第三節 --- 山水及人物畫 / Chapter 一、 --- 早期1895前 / Chapter 二、 --- 中期約1895-1911 / Chapter 三、 --- 晚期約1911-1917 / Chapter 第四節 --- 花卉畫及其他 / Chapter 第五節 --- 金石碑刻收藏 / 結語 --- p.113 / 附錄一梁于渭交游及同時人物表 --- p.116 / 附錄二梁于渭給畫作品表 --- p.131 / 參考書目 --- p.224 / 圖版索引 --- p.234

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Born in Columbus, Georgia, Carson McCullers was a Southerner by circumstance, but she maintained an emotional and psychological attachment to the South throughout her life. Her choice of a Southern setting with Southern characters for almost all of her works of fiction illustrates that the place off her birth commanded an unmistakable influence on her creative imagination. Therefore, the major Southern themes of place--the burden off the past, the antipathy toward change, the formal versus the formless existence, and the preference for objects rather than ideas-abound in her fiction. She utilizes those themes consistently to establish the significance of physical place in her fiction.Simultaneously, a second concept of place is operant in the McCullers fiction--the metaphysical sense of place. The duality between the physical and the metaphysical is evident throughout the McCullers canon from one of her earliest untitled stories to Clock Without Hands, her final novel. The early story of the girl who stands outside the gates of a convent and dreams of a marvelous party inside is the first manifestation of that duality.The short fiction incorporates an especially stringent duality. Like the convent gates, the boundaries of the South represent a formidable barrier against the outside world. An either/or dichotomy emerges in the short fiction which contrasts the South to non-Southern locales, particularly New York City.Mrs. McCullers' first novel, The Heart Is a Lonely Hunter introduces the physical/metaphysical dichotomy of place in which several characters, especially Mick Kelly, find the physical locale undesirable and long for a more satisfying place.Reflections in a Golden Lye presents an extension of physical/metaphysical dichotomy since the rigidly defined boundaries of the army base setting are similar to those of a small Southern town.The lever/beloved dichotomy in The Ballad of the Sad Cafe is simply an embellishment on the physical/metaphysical duality.The Member of the Wedding, Carson McCullers' most realistic novel, comes close to blending the physical and the metaphysical sense of place. Frankie Addams finds an answer to her metaphysical search for place in Mary Little-John.Mrs. McCullers brings the prototype convent story to its ultimate happy ending in Clock Without Hands by resolving the conflicts between the physical and the metaphysical search for place. In the character of Jester Clane, the author presents a happy fusion off the two conflicting philosophies. He proves that one can open the gates of the convent, enjoy the marvelous party, and return to the physical world with new wisdom and commitment. He finds his metaphysical sense of place by conquering the burden of the past, by overcoming the antipathy toward and by rising above his formless adolescence to become formal, fully developed adult who can transcend the coercive codes of the confined community.

This thesis investigates how the local Muslim elites and peasant classes of Ottoman-Palestine responded to political centralization and economic changes, from 1856-1908. After 1856, the Ottoman state renewed its authority in this area and granted greater political control to the local Muslim elites to govern the population. The economic changes at this time included Ottoman-Palestine's integration into the world-economy and the expanded markets in the local and regional area. The thesis argues that these two developments afforded the elites more opportunities to appropriate the peasants' agriculture. Moreover, while the Jewish Christian populations traded with Europe, the local Muslim elite concentrated on the local and regional trade.

Partendo da queste parole di Cassola stesso: Infatti fanaticamente io credevo necessario distruggere ogni altra cosa che non fosse il nudo, semplice, elementare fatto dell'esistenza. ho fatto un'analisi della narrativa cassoliana tentando di dimostrare che l'elemento base nell'ispirazione di questo scrittore e ciò che dà unicità alla sua opera è la sua concezione della vita, la quale consiste nell'aderire alle piú elementari e autentiche emozioni in modo da serbare intatto il senso dell'esistenza. La mia indagine incomincia con un breve schizzo biografico sull'autore che mette in rilievo gli interessi e gli entusiasmi di Cassola da ragazzo e da giovane uomo, i suoi primissimi tentativi come scrittore, le sue preferenze per la solitudine goduta alla periferia della città, l'importanza della vita tutta sensoria che gli ha provvisto della materia su cui fantasticare. In seguito seguo cronologicamente la composizione delle sue opere, tracciando lo sviluppo della poetica cassoliana nel corso degli anni quaranta, cinquanta e sessanta. Importante è la prima raccolta di brevi schizzi La Visita che ci offre delle prove tematicamente diverse: racconti nel quali Cassola cerca di 'fissare' il fluire del tempo ("La visita"); racconti nei quali tenta di formulare per se stesso un concetto personale della vita ("Storia e geografia"); e ancora degli altri nei quali indugia in un'indagine psicologica del personaggio ("I poveri"). Non meno significativi sono i racconti lunghi e romanzi brevi della seconda raccolta Il Taglio del Bosco, ove servendosi di un genere narrativo piú complesso Cassola si mostra piú engagé nella sua indagine sulla problematica dell'esistenza: da un lato la posizione dell'intellettuale al tempo della Resistenza italiana, le sorti della classe operaia negli anni della Liberazione e deĺl'immediato dopoguerra, e dall'altro l'atmosfera pacificante della vita di campagna. La diversità tematica di questa seconda raccolta suscita domande sull'importanza della storia nella narrativa cassoliana: fino a che punto Cassola è influenzato dalla storia, e in particolare dagli eventi dell'ultima guerra? Che cosa ha significato per lui la Resistenza partigiana? Secondo me sono i romanzi successivi, cioè quelli pubblicati negli anni sessanta, che contengono la risposta a queste domande e la chiave alla narrativa di Cassola, perché quelle composizioni riflettono un graduale, diciamo, 'spogliamento' del momento storico e una riaffermazione della tematica dei suoi primi racconti: ridurre la vita alla sua pura essenzialità per cogliere quanto piú possibile l'aspetto intangibile dell'esistenza, cioè quel senso dell'esistenza che fluisce in tutte le cose. Da qui la propensione di Cassola ad indagare la vita della gente piú umile e semplice che, lontana dalle grandi distrazioni della vita, rispecchia maggiormente nel suo "vivere quotidiano" quel senso dell'esistenza, quel fluire del tempo. Ed è proprio questo il punto focale della mia tesi: mettere in rilievo il 'culto' quasi della vita semplice che Cassola ha creato nella sua prima narrativa e che egli ha ritrovato e riaffermato nella narrativa degli anni sessanta. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

Patricia K. Page's prose and poetry exhibit a dynamic creative tension resulting from the conflict of opposites in theme and imagery patterns and in the poet's attitude and perception of her subjects. The concept of separateness results from the thematic opposition of forces of solitude and multitude which focus on the despair of the isolated individual unable to emerge from his 'frozen' cave-like existence and to attain a community of shared feeling. Highly developed black-white dichotomy of images reinforces the conflict of obsessive self-love and pity with the universal need for self-awareness. Some of the poet's subjects succeed in this human search for truth, beauty, and self-fulfillment. Many, however, succumb to loneliness and paranoic isolation. The basic conflict is seen through surface-depth alternations of imagery, the phases of the Rebirth archetypal pattern of transition from terrestrial to aquatic form. The conflict of opposites of isolation and involvement in her early work emphasizes the strength of the pull towards confinement of the self. Then, as Page progresses in objective perception of her individuals, there is a loosening of the force of isolation and a gradual emergence of the individual from solitude into multitude. The conflict of opposites of restraint against freedom grows out of the basic juxtaposition of forces. Self-isolation and the vulnerability of innocence are linked as states of unawareness. Children, social classes and adult individuals are portrayed as victims of indifferent constraining authority, social barriers, and war. Page's Marxian love of humanity dissolves into a Freudian interpretation of communal existence as an escape from the fears of solitude. The poet's presentation of an active social consciousness is a continuance of the contra-positioning of freedom and restrain operating on and within individuals. In Page's work, organic imagery is suggestive of the powers of vitality and the life force - of multitude, universality, and personal freedom. Stagnation, inertia, isolation, and self-love are visualized by images of metal, stone or rock. This metal-flower contraposition evolves into archetypal antipathies of Paradise and Hades. The descent from sunlit gardens above to the dark caverns below takes the form of Freud's Nirvana principle or the first phase of the Rebirth cycle. And the renewal of vitality, the modulation from stone into flower marks the final ascent stage of Rebirth. The pattern of Rebirth related to man's rituals has symbolic meaning for Page's work. The goal of the poet is to remove the "filter of subjectivity" placed over reality and to realize the potential of being reborn into awareness. Ararat becomes a symbol of the power of regeneration and of the unity of all life. P. K. Page presents conflict of opposites in themes and imagery. Yet her primary concern remains that the need for communal experience is greater than the negative desire for self-isolation from reality; that love is more sustaining than pity; that freedom is preferable to indifferent authority; that the search for beauty and truth must overcome fear and horror in the lives of individuals. / Arts, Faculty of / English, Department of / Graduate

Within the context of the revolution of subject matter in painting and sculpture that occurred during the nineteenth century, especially in the work of French painters, the imagery of the nude has been explored of late mostly with a view to illustrating the underlying sexism of these images and the degrading treatment of women as objects in these works. In this discussion, the work of Edgar Degas, an artist whose subject matter in his mature work is dominated by the nude, has been treated very little. Yet with Degas, the development of this imagery is particularly clearly demarcated throughout his career. The nudes of his early period, the history painting nudes, are very different than those of his mature work, those executed after c.1885. As well, the fact that Degas abandoned the subject for a period of almost twelve years would tend to indicate an abrupt change in his conception of the imagery from his early to his mature paintings. With the publication by Theodore Reff of Degas's notebooks, it is now possible to trace his development of the subject with firmer dates than was possible heretofore. As his first explorations of the subject in oil and pastel occur in 1879, it is then obvious that Degas's monotypes of bathers and brothels, executed c.1876-78, are his first real treatment of the nude of modern life, a discovery that makes the monotypes all important to this discussion. Further, it can be readily demonstrated upon close examination of these prints in relation to size, handling, motifs and poses that Degas did not consider the bathers and the prostitutes as two separate subjects and that the distinction is one imposed by later cataloguers of the monotypes. Degas's interest in the subject of prostitution is by no means an isolated case in the later nineteenth century in France. Other writers and artists chose it as one which conformed to the prevailing theories of naturalism as a truly modern theme. Nor did Degas ignore a long tradition of nineteenth century lithographs with naughty subjects in his depiction of the nudes. The interest in prostitution in this context and Degas's awareness of the lithographic tradition shed some light on the reaction of the press and audiences towards Degas's mature nudes that he exhibited in 1886. His public found the pastels and oils offensive, probably because the images did resemble the prints of the lithographers of the Romantic era and the paintings of similar subjects by other artists in the seventies and eighties whose subjects could be clearly identified with the subject of prostitution and were rejected by the official body, the annual Salon. Degas's later, mature nudes were regarded as slightly salacious subjects for many years and their initial reception by the public in the eighteen-eighties forms yet another chapter in the study of the changes in subject matter that were hotly debated in artistic circles during the nineteenth century and beyond. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate