Applications of the Soil and Water Assessment Tool (SWAT) are common. However, few attempts have focused on the tropics like in the Yen Bai province, Vietnam. Annual water-induced soil erosion (WSE) rates and surface runoff (SR) were estimated. The Nam Kim and Ngoi Hut watersheds were calibrated with accepted agreement between simulated and observed discharge. Correlations between precipitation, land covers, surface runoff and WSE were indicated. Although the estimated average WSE 4.1 t ha−1 year−1 (t ha−1 y−1) was moderate, some steep-bare areas were suffering serious soil loss of 26 t ha−1 y−1 and 15% of the province was calculated at the rate of 8.5 t ha−1 y−1. We found that the changes in WSE significantly correlated with land use changes. As calibrated SR matched closely with the measured data, we recommend SWAT applications for long-term soil erosion assessments in the tropics. / Những ứng dụng của mô hình công cụ đánh giá đất và nước (SWAT) đã được sử dụng phổ biến. Tuy nhiên có rất ít nghiên cứu tập trung vào khu vực nhiệt đới như tỉnh Yên Bái của Việt Nam. Trong nghiên cứu này, giá trị trung bình năm (2001-2012) nước chảy bề mặt (NCM) và xói mòn đất do nước (XM) đã được đánh giá trên cơ sở mô hình SWAT. Các thông số thủy văn của hai lưu vực sông là Nậm Kim và Ngòi Hút được tính toán và kiểm nghiệm với sự trùng hợp tương đối tốt giữa kết quả mô hình và số liệu thực đo. Mối liên hệ giữa lượng mưa, phủ bề mặt, NCM và XM cũng được phân tích và trình bầy chi tiết. Mặc dù giá trị XM năm được ước lượng ở mức trung bình cho toàn Tỉnh (4,1 tấn/ha/năm) nhưng ở một số khu vực nơi có độ dốc lớn và phủ mặt ít lại có lượng XM năm ở mức cao, 26 tấn/ha/năm và 15% tổng diện tích của Tỉnh có giá trị XM là 8,5 tấn/ha/năn. Kết quả nghiên cứu cho thấy sự liên hệ mật thiết giữa sự thay đổi phủ mặt tới giá trị XM. Trên cơ sở kết quả kiểm nghiệm mô hình khả quan, chúng tôi đề xuất sử dụng mô hình SWAT để đánh giá XM trong thời gian dài cho vùng nhiệt đới.

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The Laplacian energy of a graph is the sum of the distances of the eigenvalues of the Laplacian matrix of the graph to the graph's average degree. The maximum Laplacian energy over all graphs on n nodes and m edges is conjectured to be attained for threshold graphs. We prove the conjecture to hold for graphs with the property that for each k there is a threshold graph on the same number of nodes and edges whose sum of the k largest Laplacian eigenvalues exceeds that of the k largest Laplacian eigenvalues of the graph. We call such graphs spectrally threshold dominated. These graphs include split graphs and cographs and spectral threshold dominance is preserved by disjoint unions and taking complements. We conjecture that all graphs are spectrally threshold dominated. This conjecture turns out to be equivalent to Brouwer's conjecture concerning a bound on the sum of the k largest Laplacian eigenvalues.

本論文企圖探討流行音樂創作者的風格形塑歷程。以伍佰為例，針對他自1990年到台北流行音樂圈開始發展後，一路至今(2014)的歷程進行深度的觀察與分析。試圖建立對於創作風格的形塑與轉變，提供一個理論的觀點。討論：1. 流行音樂創作者的個人風格如何形成？ 2. 流行文化和個人風格的互動關係為何？3. 隨著社會或自身的改變，創作者的如何回應，不斷開創自身風格？ 流行音樂產業當中唱片業因為科技的改變而衰退，當今現場表演才是創作者和表演者的能展現風格的和售票獲利的真實場域。但創作者要怎麼樣才能擁有自己的「風格」？而在風格一詞的多義性，已經在各個領域展開，從描述人格、作品、髮型、聲音，甚至life style都翻譯成「生活風格」的時刻，風格到底是什麼？本研究試圖以生命故事的角度，以及現場的觀察，來深度描寫創作者的故事。並從故事中，探索伍佰何以風格獨俱，以及他在市場上屹立不搖二十多年的原因。 簡述個案分析結論如下。對流行音樂創作者而言，「個人風格」是生命(life)內容找到合適的美學形式(Form)後，所進行展演的一種身體能力。風格形成的歷程，就是「生命」與「形式」校準的過程。流行音樂創作者獨特的個人風格來自於真實的生命經驗，且需要透過個人在社會與流行文化中習得的美學形式才能進行展演。 而「模仿」是生命尋找形式的最初起點。當自主表達的慾望大過講求普遍性的社會壓力時，一個流行文化的模仿者，才能成為創作者，開始尋找個人風格。經由不斷「感知」流行文化中不符合「自我」的部分，而使「自我形象」浮現，進而拒絕某些創作元素，並且建立符合「自我形象」的品味和創作路線。透過多元的實驗，去感受各種創作元素更動所造成的差異，厚積「美學展演的實作能力」，才能創造性地實踐與流行文化有所區別的個人風格，進而取回對自己生命內容的詮釋權。而「個人風格的出現」與否，則可由流行音樂創作者對於同一作品的不同詮釋與演繹是否具有辨識度來進一步觀察。反之也能從創作者受他人模仿的呈現中，觀察其個人風格明顯之處。 隨著社會或自身的改變，作品必須要能夠真實反映創作者的生命，因此持續更新個人風格的要領，就在於能夠不斷「破壞自己原有的樣子」，避免「自我複製」，但同時仍以真實的生命經驗和敏銳觀察進行創作，才不會落入為破壞而破壞的陷阱，迷失自我。 / This paper attempts to explore the stylization of pop music singer-songwriter. Wu Bai is the case we study. By looking through his music journey since 1989, we try to discover the story behind his stylization. The research questions are (1) As a Pop Music Singer-Songwriter, how to have one’s own style.(2) What is the interaction between popular culture and personal style？(3)As time goes by, how does a creator change or renew his/her own style to respond to oneself and the market？ Summarized as follows: To have “personal style” means a pop music singer-songwriter is capable to find the suitable “form” for his own “life” in his performance. Therefore, we believe that personal style is a kind of physical ability. Stylization is the interaction of life and form. A unique personal style comes from one’s real life experiences, and the aesthetic form have to be learned from society and popular culture. It takes a lot of practice to build one’s way to present. “Imitation” is the starting point of stylization. When the desire for self-expression is greater than the universality from social pressure, imitators could become creators, embark on the journey to pursue personal style. To reject the part in popular culture which does not fit, so that self-image emerges. Once a creator get familiar with oneself, who can establish creative style which fit whose self-image. By feeling the difference between every creative element through practice, one can learn the practical skills of aesthetic performances. After this, one could have personal style that differ from popular culture, and retrieve the right to interpret one’s own life. Everything in life changes, the work must be able to reflect the real life of the creator. Therefore, the essentials of renewing one’s personal style are "destroy one’s original appearance," "avoid self-replicating", and” always remember who you are”, so one will not be lost in the forest of stylization.

This study examines the production and perception of laryngeal constriction in the early vocalizations of Bai and English infants. The first part of the study documents the development of laryngeal voice quality features in the non-syllabic and syllabic utterances of Bai and English infants. The second part of the study focuses on the perception of laryngeal constriction in infant vocalizations by adult Bai and English listeners. The study is grounded in Esling’s (2005) model of the vocal tract, which characterizes the laryngeal vocal tract as a separate articulator, distinct from the oral vocal tract. The study of Bai and English infants’ production identifies universal and language-specific patterns in infants’ development of laryngeal constriction. In the first months of life, most sounds produced by Bai and English infants are constricted. As the year progresses, all infants explore degrees of constriction in dynamic utterances that feature alternations between constricted and unconstricted laryngeal voice quality settings. As well, throughout the year, infants produce an increasing proportion of unconstricted vocalizations. By the end of the first year, when infants have developed increasing control of the laryngeal and oral vocal tracts, they produce syllabic utterances that begin to reflect the use of laryngeal voice quality features in their ambient language. English syllabic utterances are mostly unconstricted, mirroring the prevalence of unconstricted settings in the target language. By contrast, Bai syllabic utterances are mostly constricted or dynamic, reflecting the use of laryngeal voice quality in Bai, a register tone language that employs laryngeal voice quality features distinctively at the syllabic level. The second part of the study highlights universal and language-particular patterns in Bai and English adults’ perception of laryngeal voice quality in infants’ utterances. In evaluating the importance of a range of infant sounds in learning the target language (Bai or English), adults from both language groups assign lower ratings to infant utterances that occur earlier in development, such as constricted non-syllabic utterances, and higher ratings to sounds that occur later, such as syllabic utterances with rapidly articulated syllables. Bai and English adults’ perceptions also reflect some language-specific patterns that correspond to language-particular characteristics identified in infants’ use of laryngeal voice quality in syllabic and non-syllabic utterances. These correspondences suggest that adults are attuned to laryngeal voice quality in infants, and that, in turn, infants become attuned to the use of laryngeal voice quality features in their ambient language early in development. The production study demonstrates the fruitfulness of Esling’s (2005) model of the vocal tract in revealing previously undocumented patterns in the development of laryngeal constriction in the first year of life and in highlighting the importance of emergent laryngeal control as a stimulator of phonetic development. The perception study shows that adults whose native languages differ markedly in their use of laryngeal constriction can systematically evaluate laryngeal voice quality features in the full range of non-distress vocalizations produced by infants in the first year of life.

Con la implantación de un conjunto de políticas inspiradas en el Sumak Kawsay a partir del 2007, las expectativas de un cambio favorable en el Ecuador fueron bastante altas. En esta investigación se analiza si existió una diferencia significativa entre los períodos de vigencia de dichas políticas provenientes de los planes de desarrollo del Buen Vivir (2007-2019) y los períodos presidenciales previos, a partir de la dolarización (2000-2006). Para el análisis, se propone la construcción de dos indicadores compuestos: el primero basado en una propuesta de seis dimensiones del Plan Nacional de Desarrollo 2013-2017 y el segundo en tres dimensiones o “armonías” del Sumak Kawsay. Estos dos indicadores compuestos no incluyen el mismo conjunto de subindicadores, siendo el primero más amplio que el segundo. Para su construcción, se recurrió al Análisis de Componentes Principales. En el análisis se recurre a la prueba de Bai y Perron para detectar cambios estructurales significativos, se evalúa las medias de variaciones anuales entre los períodos generados y finalmente se aplica el análisis de Series Temporales Interrumpidas (ITSA) para determinar si hubo una mejora significativa durante la vigencia de los nuevos planes de desarrollo en comparación con las políticas de gobiernos anteriores. Desde la perspectiva del PIB per cápita, del IDH, del indicador compuesto de tres dimensiones (Sumak Kawsay) y del indicador compuesto de seis dimensiones (PNBV), los resultados indican que no existió el impacto socioeconómico esperado.

Sericulture has been a part of Chinese culture since ancient times. The silk dress was a symbol of the social privileges of the educated elite and the court. On the other hand, silk production and silk processing were also part of the everyday life of common villagers. For Chinese society, silk was an important material both economically and culturally. This diploma thesis analyzes how various aspects of life in Tang society, which were connected to silk, are portrayed in the works of the middle Tang poets Wang Jian 王建 (cca. 751-830) and Bai Juyi 白居易 (772-846). This paper identifies various themes and describes meanings that silk as a literary motif helps to express.

王艷杰. / "2004年9月". / 論文(哲學碩士)--香港中文大學, 2004. / 參考文獻 (leaves 166-196). / 附中英文摘要. / "2004 nian 9 yue". / Wang Yanjie. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2004. / Can kao wen xian (leaves 166-196). / Fu Zhong Ying wen zhai yao. / Chapter 第一章 --- 緒論 --- p.1 / Chapter 第一節 --- 硏究範圍 --- p.1 / Chapter 第二節 --- 前人硏究綜述 --- p.8 / Chapter 第三節 --- 硏究方法. --- p.13 / Chapter 第四節 --- 硏究目的和意義 --- p.17 / Chapter 第二章 --- 「個人化寫作」的命名 ´ؤ´ؤ潛藏于批評話語中的男性權威 --- p.21 / Chapter 第一節 --- 命名中的問題. --- p.21 / Chapter 第二節 --- 「個人化寫作」的幾類理解 --- p.25 / Chapter 1. --- 無名狀態下的「個人化寫作」 / Chapter 2. --- 現代性意義上的「個人化寫作」 / Chapter 3 . --- 后現代意義上的「個人化寫作」 / Chapter 第三節 --- 女性「個人化寫作」 --- p.36 / Chapter 1. --- 九十年代文學環境與女性寫作 / Chapter 2. --- 女性「私」人化寫作的指認 / Chapter 3. --- 批評中的性別立場和男性權威 / Chapter 第三章 --- 陳染、林白「個人化寫作」中的女性話語 ´ؤ´ؤ對失蹤性別的尋找與建構 --- p.51 / Chapter 第一節 --- 話語權力之思 --- p.51 / Chapter 第二節 --- 身份書寫 --- p.56 / Chapter 1. --- 對男權文化的警覺與放逐 / Chapter 2. --- 對女性身份的認知與自覺 / Chapter 第三節 --- 軀體寫作 --- p.67 / Chapter 1. --- 自戀情結：身體與存在焦慮的映射 / Chapter 2. --- 記憶空間：挖掘女性自身的深度模式 / Chapter 第四節 --- 自傳體寫作 --- p.87 / Chapter 1. --- 成長之路：孤獨的體驗、叛逆與反思 / Chapter 2. --- 女性私語：自我訴¨®Ơ與建立女性話語同盟的努力 / Chapter 第四章 --- 陳染、林白「個人化寫作」建構女性話語的困境 ´ؤ´ؤ處於傳統與現實的夾縫之中 --- p.105 / Chapter 第一節 --- 精神分裂的宿命 --- p.105 / Chapter 1. --- 決絶的思想與虛幻的行動 / Chapter 2. --- 姐妹情誼的想象與徒勞 / Chapter 3. --- 拒絶異化與再度異化 / Chapter 第二節 --- 詩性敍事的窘迫 --- p.119 / Chapter 1. --- 叛離男性敍事傳統 / Chapter 2. --- 進入女性原生姿態的詩性表達 / Chapter 3. --- 詩性敍事在建立女性話語上的權宜性 / Chapter 第三節 --- 解構男權話語的循環 --- p.138 / Chapter 1. --- 解構的歧途 / Chapter 2. --- 超性別意識中的悖論 / Chapter 3. --- 搖擺於文學與主義之間 / Chapter 第五章 --- 結論 --- p.154 / Chapter 第一節 --- 女性「個人化寫作」的迷失與俗化 --- p.154 / Chapter 1. --- 差異性：陳染、林白「個人化寫作」的分別 / Chapter 2. --- 迷失：陳染、林白「個人化寫作」的轉向 / Chapter 3. --- 俗化：衛慧、棉棉等人的欲望化寫作 / Chapter 第二節 --- 女性「個人化寫作」的經驗及貢獻 --- p.159 / Chapter 1. --- 寫作姿態：爲自己的性別和反抗而寫作 / Chapter 2. --- 敍事策略：以身體修辭與自傳寫作建構女性話語 / Chapter 3. --- 困境的警醒：傳統/現實夾縫中異化的危險 / Chapter 第三節 --- 硏究方法的反思 --- p.162 / Chapter 1. --- 性別關照中的問題 / Chapter 2. --- 槪念界定中的問題 / Chapter 3. --- 文學現象探討中的問題 / 參考書目 --- p.166 / Chapter 1. --- 陳染、林白等作家作品 --- p.167 / Chapter 2. --- 女性主義、敍事學等理論著作 --- p.173 / Chapter 3. --- 中國現、當代文學硏究著作. --- p.180 / Chapter 4. --- 其他著作 --- p.184 / Chapter 5. --- 期刊論文 --- p.184 / 後記 --- p.197

本論文試圖結合兩個層次的精神史（History of Mentalities）研究取徑－傾向個體層次的與傾向集體層次的精神史研究－來理解並建構王白淵的精神世界所體現的雙重結構：藝術心態與啟蒙心態。 本論文主要探討他一生中在三個都市與二個世代間身份流動的軌跡，戰前與戰後之間藝術心態與啟蒙心態的消長；並從他的作品，理解其美學觀點如何展現，藉以釐清其詩文的風格與核心關懷。王白淵的這些特質與經驗都可能影響各時期他對身份的抉擇，與對身份的認同。 一九二三年，王白淵因為藝術心態的茁壯而前往東京留學，在二O年代中期，受到影響而轉變，主要是產生啟蒙心態，並開始創作小說與詩文。啟蒙心態與藝術心態的並存，使他開始思考臺灣的問題。啟蒙的心態促使他走上文學之途。表現在他的散文與小說之中，是追求殖民地解放與自由；愛好藝術的心態令他始終未把畫筆拋去，表現在他的藝術理念上，是追求臺灣文藝的更上一層樓。而就在他意識到臺灣文藝的貧困之時，他出版詩文集《蕀の道》並開始與留學東京的學生與文化人共創「臺灣藝術研究會」，為臺灣的文藝而奮鬥。而王白淵的啟蒙心態在戰後初期的重現，使他投入媒體政治，創辦並參與多種左翼報刊，理性地提出對政府的建言與熱切的批評。戰後二．二八事件的影響下使他逐漸消音，然而卻仍持續關注臺灣文藝的發展。作為一個知識份子，王白淵始終關切臺灣的問題，並以文藝作為一條道路，他是日治時期朝向臺灣藝術文學發展的先驅，與為臺灣社會自由的目標而努力的一個典型。藉由他的例子，得以窺見日治時期文藝創作者在殖民情境下創作的「共同困境」，與理解其受到歷史事件影響下的身份抉擇與心態結構的多樣化與變遷。 / The thesis attempts to reconstruct the mental world of Wang Bai-yuan, represented as a dual artistic/enlightening mental structure, through the approach of the history of mentalities of both individual and collective levels. The thesis mainly examines Wang Bai-yuan’s mobile traces of identity among three cities in East Asia and related issues between two generations that he belonged, the rise and fall of his dual structure of mental world from prewar to postwar periods. In addition, the thesis explores his writing aesthetics through examining his works. Wang’s artistic-dimension mental structure was under forming around 1923 at a time when he went to Tokyo for the study of painting. In the mid-1920s, however, the enlightening-dimension of his mental world became dominant, which led him to start his writings of poetry and novel. The formation of the dual structure of his mental world around then led him to think over issues of colonized Taiwan, while his enlightening mind in particular led him to the road of literature. After 6-year in jail during wartime, the enlightening-dimension of his mental world reemerged in early postwar Taiwan, represented as his participations in left-wing presses where he voiced his criticisms and advices toward Chinese authorities newly arrived in the island.

This paper applies a hermeneutic approach to analyze, and a comparative approach to examine, Bai Juyi’s poems referenced in Tale of Genji by Murasaki Shikibu, Pillow Book by Sei Shōnagon, Tongguk Yi Sang-guk Chip by Yi Kyu-bo and Kyewŏn Pilgyŏngjip by Ch’oe Ch’i-wŏn. Through exploring Bai’s poetry in these texts, the author discovers how Murasaki, Sei, Ch’oe, and Yi contributed to transculturuation in Korea and Japan. Furthermore, the transculturation demonstrated by these literati shows a diversity of patterns: cultural mobilization from west to east; the emergence of overlapping histories in different eras and locations; a disappeared culture, recovered through being transmitted to other regions; cultural transplantation or transformation resulting from cultural contacts; and cultural products helped to stimulate economic growth. Subsequently, Bai Juyi’s works stand as a testament to the power of great poetry to improve and enhance cultures across a broad span of time and space.