No description available.

劉衛林. / 稿本(複印電腦打印本) / Thesis (M.A.)--香港中文大學中國語文學部. / Gao ben (fu yin dian nao da yin ben) / Includes bibliographical references (leaves 269-290). / Liu Weilin. / Thesis (M.A.)--Xianggang Zhong wen da xue Zhongguo yu wen xue bu. / Chapter 第一章、 --- 劉禹錫文集傳世版本敘錄 --- p.1 / Chapter 第二章、 --- 故宮博物院所藏宋刊本《劉賓客文集》 --- p.18 / Chapter 一、 --- 版本式樣 / Chapter 二、 --- 流傳概略 / Chapter 三、 --- 刊刻時地 / Chapter 第三章、 --- 日本天理圖書館所藏宋刊本《劉夢得文集》 --- p.89 / Chapter 一、 --- 版本式樣 / Chapter 二、 --- 流傳概略 / Chapter 三、 --- 刊刻時地 / Chapter 第四章、 --- 北京圖書館所藏宋刊殘本《劉夢得文集 --- p.145 / Chapter 一、 --- 版本式樣 / Chapter 二、 --- 流傳概略 / Chapter 三、 --- 刊刻時地 / Chapter 第五章、 --- 現存宋刊劉集三本異同攷 --- p.184 / Chapter 一、 --- 書名之因革 / Chapter 二、 --- 編次之差異 / Chapter 三、 --- 文字之分歧 / Chapter 第六章、 --- 總論 --- p.230 / Chapter 一、 --- 現存宋刊三本優劣比較 / Chapter 二、 --- 現存宋刊本劉集在版本學上之價值 / 參攷書目 --- p.269 / Chapter 附錄:一、 --- 各本書影 / Chapter 二、 --- 宋刊三本編次異同對照表 / Chapter 三、 --- 宋刊三本標題對照表 / Chapter 四、 --- 宋刊堂人文集避諱闕筆一覽表 / Chapter 五、 --- 註釋（附於各章後）

Titel: Förstår alla förändringen? – En kvantitativ studie om hur införandet av IFRS 16 och ASC 842 har påverkat företagsvärderingen Författare: Oskar Nordquist och Hampus Eriksson Handledare: Torbjörn Tagesson Bakgrund: Implementeringen av nya redovisningsstandarder påverkar den finansiella informationen som investerade använder som beslutsunderlag på aktiemarknaden. Införandet av de nya leasingstandarderna IFRS 16 och ASC 842 påverkar bland annat nyckeltal som beskriver företagens räntabilitet och skuldsättning, vilket ofta används när man värderar bolag. På grund av detta finns det ett intresse att se om företagens aktiekurs påverkas av implementeringen av IFRS 16 och ASC 842. Syfte: Studiens syfte är att förklara om införandet av redovisningsstandarderna IFRS 16 och ASC 842 har påverkat aktiekursen. Metod: Studien använder sig av en deduktiv ansats och en komparativ design för att för att undersöka ifall det finns ett eventuellt samband mellan införandet av IFRS 16 och ASC 842 med aktiekursförändring. Studien använder sig av kvantitativa data och består av sekundärdata. Slutsats: Studien fann inga bevis för att införandet av IFRS 16 och ASC 842 har påverkat aktiekursen. Kunskapsbidrag: Studien bidrar med utökad kunskap om hur införandet av redovisningsstandarderna IFRS 16 och ASC 842 har påverkat aktiekursen.

The aim of this thesis is to explore the comic art of Molière through the lens of empathy and narcissism, and reciprocally, to show that Molière nourishes Western thought about these phenomena, which can be viewed as opposite ends of a continuum. Every personality has some of each, but the unbalanced egoist has excessive self-love and cannot put himself in another's place. The narcissist is omnipresent in Molière's theatre, but has been heretofore unidentified as such in criticism. This work attempts to fill this gap, and accordingly, my corpus encompasses his 33 extant plays. Furthermore, these psychological concepts are inherently theatrical, especially with respect to whether or not spectators recognize themselves in characters on stage. There is a dialectic relation between reconnaissance and empathy or antipathy, and, therefore, laughter. Hence, empathy and narcissism provide a way of looking at characters on stage and at the interaction between the dramatic action and the audience. To explore the former, I investigate endogenous words Molière uses to convey empathy and narcissism; how he portrays empathizers and narcissists visually through their adherence to and breaking of social codes; and how cognition influences their ability to change. For the latter, I demonstrate how early modern querelles surrounding Molière's plays involve these notions; and how his metatheatrical discourses reveal that Molière transports his spectators 'hors de soi': a state that mirrors romantic love and provides pleasure. Taken in this framework, I argue that Molière's work can be seen as anti-narcissistic; if his spectators knew themselves in the mirror he held up, laughing was a means of precluding blind empathy. Thus, employing tools from modern psychology and neuroscience and notions from the seventeenth century, this thesis evaluates how Molière's characters provide us, today, with a means for better understanding the place of narcissism in our occidental world.

This dissertation seeks to explore possible relationships between literature—poetry, in particular—and royal patronage. More specifically, I am here interested in examining the remarkable efflorescence of Sinitic poetry (kanshi) during the reign of Emperor Saga (786-842, r. 809-823), as well as some of its later developments in the private poetry collections of Shimada Tadaomi (828-891) and his pupil Sugawara no Michizane (845-903). The history of Sinitic poetry composed in Japan has been meticulously studied; there is certainly no dearth of research, either in Japanese or in English. Even so, the early ninth century remains somewhat of a mystery. A total of three imperially commissioned anthologies (chokusenshū) of Sinitic poetry and prose were compiled during this time, along with an imperial history—all of which were the direct product of Saga’s personal patronage. Much of his own poetry has been preserved in these anthologies. Despite the existence of hundreds of Sinitic poems, and a contemporary history (also in Sinitic), scholars tend to shy away from this period. This dissertation is an attempt to remedy that situation. As a means of facilitating a broader appreciation of Saga, I have included some material on King Alfred the Great (849-899, r. 871-899), the most well-known Anglo-Saxon king, and oft-celebrated father of the English nation, who was a near contemporary of Saga. Naturally, I have also interwoven some material on Emperor Taizong (598-649, r. 626-649) of the Tang dynasty, whose influence on ninth-century Sinitic poetry (in Japan) has been the focus of some past research. Scholars of East Asian literature, whether they specialize in Chinese or Japanese literature, are familiar with the grand literary and political legacy of this continental sovereign. Both Saga’s poetry as well as his ideal of sovereignty were influenced by the work of Taizong and his lettered vassals. A central assumption informs this work: ninth-century poetry was inevitably political, insofar as it served as a tool whereby authors could enforce or manipulate prevalent power relations within the court. Poetry, therefore, was both dominated by and exercised significant influence over hierarchical networks of patronage. Poetry was also occasional performative, that is, it was recited aloud on public occasions—royal banquets or excursions—before an audience of vassals and courtiers. Saga, as supreme ruler and patron, composed poetry that sought, through its presentation at these banquets, to repeatedly legitimate his own position, while simultaneously appealing to a number of different audiences. Different audiences harbored different expectations, and Saga, adroit politician that he was, strove to please each in turn by adopting a number of poetic voices or personae. This is especially evident after his retirement, when he found it necessary to adopt a different poetic persona more appropriate to his less prominent station. Tadaomi and Michizane, as recognized scholars, loyal vassals, and influential statesmen, received patronage from both sovereigns and high-ranking noblemen. These complex networks of patronage and varied audiences demanded the creation of ever more subtle poetic personae. This dissertation, among other things, is an exploration of how poets of the ninth century adopted different poetic personae in accordance with their intended audiences. The deliberate mixing of various Sinitic genres to achieve this end receives a great deal of attention.

No description available.

Le dialogue marivaudien est plaisant parce qu'il est vif, brillant, plein de finesse, spirituel ; tous les personnages participent d'ailleurs à cette fête verbale, ce qu'on a souvent reproché au dramaturge. Ses contemporains condamnaient effectivement son affectation, sa subtilité exagérée, sa vaine métaphysique : il faisait montre de trop d'esprit et on l'accusait même de corrompre la langue française. Qu'est-ce donc que l'esprit marivaudien ? Un vernis brillant sans autre but que de susciter l'admiration et l'amusement ? Un ingrédient clinquant qui ne serait que poudre aux yeux ? Le résultat d'une forme d'abus de langage ? Ou bien doit-il être pris au sérieux et étudié de près pour en comprendre les enjeux et les significations ?La première partie s'attache à définir la notion d'esprit en s'appuyant sur différents textes d'auteurs et de dictionnaires ainsi que sur les écrits de Marivaux lui-même. La notion de trait d'esprit est alors privilégiée pour appréhender les comédies du dramaturge. La deuxième partie étudie le fonctionnement de l'esprit dans ces œuvres théâtrales en mettant au jour une typologie du trait d'esprit et en montrant son caractère fragmentaire et spectaculaire. La dernière partie cherche à mettre en lumière les fonctions de l'esprit chez Marivaux dans les domaines du sentiment, de la morale et de la dramaturgie. / Marivaux's dialogue is pleasant because it's lively, brilliant, subtil, witty ; besides, all the characteres take part in this verbal festival, and the dramatist was often blamed for that. Indeed, his contemporaries criticize his preciosity, his exaggerated subtlety, his affected style : he was too witty, he was even accused of corrupting language. How could we define Marivaux's wit ? As a sparkling writing which is just about good enough for entertaining and tries to dazzle the audience ? Is it the result of a misuse of language ? Or have we to study it seriously to understand its meanings and its stakes ?In the first part, we try to define the notion of wit through different authors, dictionaries and Marivaux's written works. Then we choose the notion of witticism to analyse these comedies. In the second part, we study how wit functions : we give a typology and we show that it's both fragmentary and spectacular. The last part is devoted to explaining how wit influences the sentimental and moral sphere and the dramatic action.

This diploma thesis is focused on new standard IFRS 16 Leases and on new US GAAP codification ASC 842 Leases. It compares basic principles from old and new regulation. In the second part it analyzes impacts of transition to new accounting rules through comparing real accounting statements of three companies, issued in compliance with IAS 17 or ASC 840, with statements adjusted for impacts of new accounting standards.

The aim of this diploma thesis is based on the analysis of the changes in the reporting of leasing, which is caused by changes in International financial reporting standards identify and quantify the effects of these changes on the financial position and productivity of selected companies. The thesis also identifies significant changes and reasons which led to the introduction of IFRS 16, farther compare of IFRS 16 with IAS 17 and US GAAP 842. In the application section, based on the analysis of the impacts on the financial statements caused by accounting leases according to the new rules and comparing them with the financial statements which was prepared under the old rules, identify significant changes in the financial analysis on selected companies and classify the potential impact on the financial position and productivity of businesses. On the basis of the results of the diploma thesis, two research questions are answered. These research questions determine whether changes in the reporting of operating leases will lead to the presentation of the financial situation and the productivity of the business, which will be more realistic and result in greater comparability of the reports.

Alors que le corps des gens du peuple a inspiré beaucoup d'approches sociologiques et anthropologiques, notre recherche s’est focalisée sur les images du corps des personnages issus de l’aristocratie données par les dramaturgies comiques et tragi-comiques du XVIIe siècle français. Si la présence souvent héroïsée de cette catégorie sociale est de mise dans le genre dit « noble » de la tragédie, elle est, et selon une longue tradition aristotélicienne, bannie du genre comique considéré comme plus susceptible à accueillir le médiocre, voire le laid, physique et moral et de considérer les choses du corps.Basée sur un corpus d’une soixantaine de comédies et tragi-comédies datant de 1629 à 1690, notre étude des représentations des nobles a permis de dégager une esthétique toute particulière de leurs aspects physiques et de nous interroger sur la compatibilité entre ces personnages d'"honnêtes hommes" à ce point idéalisés et le rire. Cependant, pour mieux dire la présence plaisante du corps noble sur scène, nous avons recouru à une notion moins franche que celle de comique, celle de la drôlerie, qui réside entre l’agrément de la célébration des beautés des aristocrates concernés par l’action et la conscience plaisante des excès de cette perfection, entre la déconcertante inventivité, voire la grandeur, des nobles qui se déguisent et les éclats de rire qu'inspirent certains de leurs défauts/défaillances corporels, naturels ou acquis, entre le spectacle amusé de leur sensualité peu contrariée ou désinvolte, l’exultation suscitée par leur libertinage militant, qui fait réfléchir, et une sorte de malaise devant le cynisme de quelques-uns, entre l'admiration des talents de comédiens permettant les bons tours, grâce à une belle dextérité gestuelle, et la jubilation qu’inspire la réussite des protagonistes bien nés. Affleure souvent une certaine gravité des enjeux, quand il s'agit des désirs de liberté qu’expriment les corps sur scène, surtout lorsqu'on a affaire à des femmes, quand sont représentés des excès violents ou encore des comportements hypocrites. Autant d'impressions fort riches qu'amplifie la mise en espace et en voix par des comédiens qui laissent aussi entendre une sorte de mystère des mots. Toutes les nuances de la drôlerie, d'un comique qu'on perçoit comme un peu étrange, semblent avoir été expérimentées par nos poètes dramatiques pour faire accéder les nobles à la scène comique et, un temps, au genre mêlé de la tragi-comédie." / While the body of the common people has inspired many sociological and anthropological approaches, our research has focused on the study of the body image of aristocratic characters in french seventeenth century comic and tragic dramaturgies.Although the often heroic presence of this social category is part of the so-called "noble" genre of tragedy, it is, and according to a long Aristotelian tradition, banned from the comic genre considered more susceptible to the mediocre, even the ugly, physical and moral, and to consider things of the body. Based on a corpus of sixty comedies and tragicomedies dating from 1629 to 1690, our study of the physical images of the nobles then leads to a particular aesthetic that makes us question the compatibility between the often idealizing representation of the "honest men" and laughter. However, to highlight the pleasant presence of the noble body on stage, we referred to a more subtle notion than the comic, that of the drollery which lies between the approval of the celebration of the beauties of the aristocrats concerned by the action and the pleasant awareness of the excesses of this perfection, between the disconcerting inventiveness, even the grandeur, of the nobles who disguise themselves and the bursts of laughter inspired by some of their bodily or natural defects or failures, between the amused spectacle of their sensuality little annoyed or casual, the exultation aroused by their militant libertinism, which makes you think, and a kind of unease in front of the cynicism of the few, between the admiration of the talents of actors allowing good tricks, thanks to a beautiful gestural dexterity, and the jubilation inspired by the success of well-born protagonists. The stakes become even higher when it comes to the desire for freedom that the bodies express on stage, especially those of women when violent excesses or hypocritical behavior are represented. So many rich impressions that amplifies the setting in space and in voice by actors who also let hear a kind of mystery of the words. All the shades of drollery, of a comic that we perceive as a little strange, seem to have been experienced by our dramatic poets to bring the nobles to the comic scene and, at one time, to the mixed genre of tragi-comedy.