本研究主要目的有二：一是探討陳水扁支持者（扁迷）對阿扁之情感與認同，二是檢討傳統迷文化理論和Laclau與Mouffe論述理論在分析扁迷現象時的可能缺失，並提出一個新的整合性理論架構。以深度訪談作為方法、傳統迷文化理論作為背景理論，本研究發現扁迷們透過身體實踐，表達自己對阿扁本人與其背後符號意義的支持；這些意義包括台灣國族意識、公平正義、偶像特質與青年認同。除上述意義之外，「為了自己」、「為了社群」是扁迷支持阿扁更核心的驅力；前者顯現在扁迷的各種認同與防衛機制上，後者則展現在其政治理念成形時的親身傳播中。然而，傳統迷文化理論卻無法解釋阿扁符號意義與扁迷情感／認同的變遷過程，Laclau與Mouffe的空符徵架構雖然得以適切說明意義與認同改變時遭遇的符號與自我分裂，但亦無法真正指出符號變遷時的關鍵因子。本研究認為，唯有整合此二理論、強調符號論述的開放性與主體之能動性，並體認符號文本、個體與社群三者缺一不可的緊密相關性，才能真正完整地說明、解釋此一政治迷（扁迷）現象。同時考量上述條件，我們將獲得一個新的、三重三元性（3 x 3）的整合式理論架構；而任何得以此架構解釋分析之個體行為，我們稱之為「道德實踐」。這不僅強調個體進行道德抉擇的能動性，亦強調其背後以各種符號秩序中介的社群規範。扁迷作為一種道德實踐，並不在正當化扁迷所認同之價值體系為一普遍性道德「內容」，而在說明扁迷，在本質上，即為一種道德實踐「形式」。 / Two aims the present research has. The first is to investigate the feelings and identifications of President Chen Shui-Bian’s (A-Bian) supporters (Bian’s fans). The second is to discuss the suitability of applying traditional fan culture theory and Laclau and Mouffe’s discourse theory in explaining this political-cult phenomenon, and to propose a novel, integrated one. Using in-depth interview as research method and fan culture theory as base, the present research suggests that through body practices, Bian’s fans actualize their support toward A-Bian and various symbolic meanings behind him. These symbolic meanings include Taiwan nationalism, justice, idol characteristics and youth identifications. Besides these meanings, ‘for self’ and ‘for the community’ are more the core motives of supporting A-Bian. The former could be observed in the identifications and defense mechanisms of Bian’s fans, while the latter is concluded both from the importance of interpersonal communication, and from the role of communities in the political-ideas modeling of Bian’s fans. As for the theoretical discussion, traditional fan culture theory fails to explain the conversion of A-Bian symbols and that of Bian’s fans’ identifications. Although Laclau and Mouffe’s idea of empty signifier can properly illustrate the symbolic and self divisions in those conversions, it still fails to designate the key element triggering this process. The present research suggests that only combining these two theories (that is, stressing not only on the openness of structures as Laclau’s discourse theory does, but also on the agency of subjects like fan culture theory does), and recognizing the intimate connection among symbols, subjects and communities, can we thoroughly and really understand this political-cults phenomenon. Considering the principles above, we shall eventually infer a new, integrated, triple-triplets (3 x 3) theory. Every action explainable by this frame could be termed as ‘moral practice’ not only for stressing on the agency in subject’s moral decision making, but also for emphasizing the significant role of social norms behind it. Regarding being Bian’s fans as a moral practice is not justifying the values they hold to any universal ethic contents, but illustrating that being Bian’s fans is essentially a form of moral practicing.

U rgyan pa Rin chen dpal (1230-1309) was a great adept of the bKa' brgyud school of Tibetan Buddhism, particularly renowned for his knowledge of the Kālacakra tantra and the unique teaching known as the Approach and Attainment of the Three Vajras (rDo rje gsum gyi bsnyen sgrub), said to have been given to him in his vision by Vajrayoginī (rDo rje rnal 'byor ma) in the Miraculous Land (sprul pa'i zhing) of U rgyan. He was the student of the 2nd Karma pa, who entrusted him with the Black Hat, which he passed to the 3rd Karma pa. He was also a great traveller who journeyed widely across and beyond Tibet. He met Qubilai Khan in the capital of Yuan China and visited sacred Buddhist sites in South India. He has been aptly described by van der Kuijp as "the great Tibetan yogi, thaumaturge, scholar, alchemist, and traveler". Thanks to the availability of a large amount of hitherto unknown materials from eleven biographies, the thesis has put considerable weight on the bibliographical comparison and analysis of the different works in an attempt to establish the possible relationship between them. This is supplemented by summaries of the biographies, to give an overview of the protagonist's life in Part One of the thesis. Part Two consists of a critical study of the different phases and aspects of U rgyan pa's life in the unique historical, political and religious context of each phase, drawing materials from the corpus of biographies and in the light of other primary and secondary sources in Tibetan, Chinese and Western languages. In Chapter I, U rgyan pa's family lineage, childhood and early studies are discussed in order to find out how his innate propensities and early studies are represented as having influenced his character. In Chapter II, the account of U rgyan pa's journey to West Tibet and U rgyan is studied. A sixteen-stanza song in his own words epitomising this journey, supplemented by route maps, will be used as a framework to illustrate and reconstruct his journey to the Land of the Ḍākinīs. In Chapter III, the teachings he received and the subsequent transformation of his character and status, are explored. In Chapter IV, his career as a tantric master, his other pilgrimages and benediction trips, and his conflicts with various religious and political authorities, are examined. The materials will be scrutinised in the hope of separating as far as possible fact from fiction.

Pursuant the comparison of novel Farewell, my concubine written by a Hong Kong novelist Li Bihua with its film adaptation, this master's thesis is analyzing the way of transition from literary text to audio-visual media and observes the differences, which are not only the result of this transformation, but also an example of different cultural environment of Hong Kong and the PRC.

The concern of Chinese intellectuals with the "idea" of modern science from the West in the transition generation from 1895 to 1923 was fundamentally a concern about "national survival" and modernity. The value and meaning that accrued to science as "method" -- as a "thinking technique" -- and to the evolutionary ideas of Charles Darwin and Herbert Spencer as the "science of choice" among Chinese intellectuals of this period, was due to belief or disbelief in the power of these ideas to describe, explain, or solve the problematic of "modernity" in a Chinese context.

本論文之研究動機有三：一是希望藉著對諸葛亮傳說內容的探討，可發掘其中所蘊含的民間旺盛的文學創造力；二是希望藉由對諸葛亮傳說的探討，能更瞭解諸葛亮在民間豐富的形象與評價；三是希望藉著對諸葛亮傳說中所包藏的民俗意識，加以分析探討，以便能更瞭解民間的思想與文化。本論文之論述範圍，主要以80年代中國大陸所搜集整理出版的傳說集子為對象。由於傳說與歷史的關係密切，而三國人物的傳說又常與《三國演義》的成書有關，因而在本論文的研究方法上，首先採取比較研究法，把傳說與歷史小說做比對分析；又由於傳說本身常富涵一些民間文化與思想，因而我們又採取民俗學的角度切入，仔細而深刻的探討這些文化思想，並試著闡釋民俗與傳說的連繫方式。本論文除第一章〈緒論〉與第六章〈結論〉外，共分為四章：第二章為〈三顧茅廬前的諸葛亮傳說〉，主要探討有關諸葛亮的少年時期，我們分為求學、娶親與得寶三部份述說。這時期的傳說內容常為正史或小說所忽略，大部份為人民自己的想像創造，因而我們的探討便較傾向傳說內容所包含的民間文化與思想。第三章為〈三顧茅廬後的諸葛亮傳說〉，主要探討有關諸葛亮的青壯時期的傳說，包括三顧茅廬、借箭、借東風與空城計四個部份。此部份為史家或小說家所刻意渲染的，因而我們的探討重點在傳說與史實小說的比較分析。第四章為〈諸葛亮之死與死後的傳說〉，主要探討的範圍包括諸葛爭壽、遣計埋墳與諸葛亮墓的傳說。這部份的傳說內容主要突顯了諸葛亮過人的智慧，其神機妙算幾乎如同神仙一般。第五章為〈有關諸葛亮的地方風物傳說〉，主要探討的範圍包括地方傳說與物產傳說。

本文從美國藝術社會學的理論介紹開始，並試圖藉由台灣畫家陳澄波聲譽建構的過程從事雙向性的探討：一為對台灣藝術制度內各個角色的互動形態有所了解；另一為對美國藝術社會學這門新興的學科發展有所省思。整個美國藝術社會學的發展一開始就是以社會學裡強調的「制度」為主要的方向，舉凡制度內的各個地位角色所扮演的功能、互動的狀態等等，都是探討的議題。這樣的研究角度有其優點，相對於人文學科只著重藝術家和藝術品在藝術世界的價值；社會學的觀點將研究的焦點，從美學的創造性轉移到藝術世界之社會關係的網絡中。只是這樣的觀點也有所欠缺：首先是不同於基本的社會制度，所謂的藝術制度其實尚未完全整合，制度內各個地位角色之間也不盡然會有所互動。其次是美國藝術社會學只談「社會關係」，不談「藝術」破壞了藝術社會學作為次領域的自我描述的基礎。最後則是藝術社會學著重制度內的角色互動，往往會形成靜止、不具歷史性的社會結構。 　　藉由陳澄波的百年境遇，從陳澄波的聲望建構、遺忘及重建的過程，我們可以了解制度面的關照雖有其關鍵性，但整個陳澄波所存在的台灣特殊的政治生態及所關連的台灣新美術運動的發展也在其中有所作用。也就是單從美國藝術社會學所強調的制度面是無法有其全面性的關照。就以日據時期的陳澄波為例，要了解日據時代陳澄波的聲譽構築，當時環繞著整個美術展覽的酬賞機制就不能不談。但不能體察當時台灣的政治命運，也就不能了解當時也是酬賞機制其中一環的輿論報導及「應援會」設立的意義。而藉由台灣美術的發展，我們才能對當時的前輩畫家有著體諒，不管是在當時酬賞制度的跟進，以及政治上是否具有抗日的意識。在一個「不知藝術家為何物」的年代，畫家從自身遠赴他鄉學習基本的西畫技巧，這批畫家是從無到有的過程，全然對西方美學的接受，且必須由最原初的模仿自然的寫實技法開始。所以從整個陳澄波的聲譽構築過程中，我們可以了解整個政治的大環境與藝術自身的發展領域，都是與美國藝術社會學所強調的藝術制度相互影響的，少了其任何一環，都無法窺視全貌。

Dans cette thèse,nous proposons de nouvelles techniques de réduction de variance, pourles simultions Monté Carlo. Par un simple changement de variable, nous modifions la loi de simulation de façon paramétrique. L'idée consiste ensuite à utiliser une version convenablement projetée des algorithmes de Robbins-Monro pour déterminer le paramètre optimal qui "minimise" la variance de l'estimation. Nous avons d'abord développé une implémentation séquentielle dans laquelle la variance est réduite dynamiquement au cours des itératons Monte Carlo. Enfin, dans la dernière partie de notre travail, l'idée principale a été d'interpréter la réduction de variance en termes de minimisation d'entropie relative entre une mesure de probabilité optimale donnée, et une famille paramétrique de mesures de probabilité. Nous avons prouvé des résultats théoriques généraux qui définissent un cadre rigoureux d'utilisation de ces méthodes, puis nous avons effectué plusieurs expérimentations en finance et en fiabilité qui justifient de leur efficacité réelle.

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Cette étude prend pour son objet la figure de la revenante dans le roman québécois contemporain au féminin, laquelle émane d’une tradition de l’effacement du féminin, que ce soit sur le plan social (valorisation du sacrifice maternel et de la transcendance féminine), créatif (empêchement de la participation des femmes à la production littéraire) ou représentatif (mise en scène de la disparition de la femme). Si cet effacement a longtemps servi d’appui à une économie et à une esthétique patriarcales, la revenante attire l’attention sur celles-ci et en provoque la remise en question. La revenante assume deux avatars dans notre corpus : l’apparition de la femme morte (en tant que fantôme, morte-vivante, figure fantasmatique ou onirique), ou le redoublement de celle-ci dans d’autres personnages féminins (c’est-à-dire que la hantée endosse les traits d’un précurseur spectral féminin). Nous nous intéressons aux enjeux de l’appropriation de ce vieux topos patriarcal dans le roman au féminin après 1980, moment où les femmes interviennent de façon régulière sur la scène littéraire. Ainsi, après avoir situé la revenante dans un contexte québécois et occidental, nous en examinons les instances dans les œuvres d’Anne Hébert, de Suzanne Jacob, d’Élise Turcotte et de Ying Chen. Puisque la revenante est une figure déterminante dans l’œuvre d’Anne Hébert, les deux premiers chapitres d’analyse traitent de textes de cette auteure canonique. « Désir et dés/ordre » identifie les lieux et les origines de la hantise féminine et le désordre qu’elle provoque pour mettre en évidence son rapport au désir; « La pro/création » examine la création artistique ou reproductrice comme médium de la spectralité au féminin. Le dernier chapitre, « Violence et vulnérabilité », présente des analyses de romans de Suzanne Jacob, d’Élise Turcotte et de Ying Chen afin d’y souligner la représentation des deux faces de la violence – l’agression et la vulnérabilité – telles qu’elles se chevauchent avec la revenance. Chacune des quatre écrivaines étudiées met en texte des dichotomies hétéronormatives; selon notre lecture, la revenante constituerait un symptôme de ces structures problématiques. / Thesis (Ph.D, French) -- Queen's University, 2011-02-24 14:12:10.978

近幾年，等候系統開始被廣泛的應用於分析工作上可能產生的延遲。 平均花費在系統中和等候線上的時間成為描述等候系統行為兩個最基本的數量。除了工作的延遲外，我們考慮顧客在等候線上的延遲也會受到滿意度的影響。由於顧客滿意度會影響顧客的到達率，因此系統到達率和系統服務率變成模糊集合。我們建構一個模糊的等候系統並且提出一個去模糊化的方法。這篇論文研究的目的在於呈現一個分析系統的方法，利用此方法解決模糊的系統中最佳化的問題。 關鍵字: 模糊等候，最佳化。 / Queueing models for analyzing the possible delay of tasks have been studied for past several decades. Since then, the average time spent in the system and the average time spent in queue have become two of the most fundamental quantities describing a queueing system's behavior. In additional to the delay of tasks, we consider the satisfaction of customers affected by several factors in system. Since the satisfaction reflects the arrival rate and service rate, the arrival rate and the service rate seem more close to the fuzzy sets. We construct a fuzzy queueing model and introduce an optimization problem of a fuzzy queue. The objective of this optimization problem is to present an approach that analyzes the model and decide the optimal number of servers while minimizing the total cost which is a fuzzy set. As a result, we provide a solution procedure to compute the required performance measure in a service-oriented environment. Keywords: Fuzzy Queue, Optimization