The dissertation examines the close but overlooked relationship between male poetry societies and the sharp rise of literary courtesans in the late Ming. I attempt to identify a particular group of men who devoted exclusive efforts to the promotion of courtesan culture, that is, urban dwellers of prosperous Jiangnan, who fashioned themselves as retired literati, devoting themselves to art, recreation, and self-invention, instead of government office. I also offer a new interpretation for the decline of courtesan culture after the Ming-Qing transition. / Chapter 1 provides an overview of the social-cultural context in which late Ming courtesans flourished. I emphasize office-holding as losing its appeal for late Ming nonconformists who sought other alternative means of self-realization. Chapter 2 examines the importance of poetry by courtesans in literati culture as demonstrated by their visible inclusion in late Ming and early Qing anthologies of women's writings. Chapter 3 examines the life and poetry of individual courtesans through three case studies. Together, these three chapters illustrate the strong identification between nonconformist literati and the courtesans they extolled at both collective and individual levels. / In Chapter 4, by focusing on the context and texts of the poetry collection of the courtesan Chen Susu and on writings about her, I illustrate the efforts by both male and female literati in the early Qing to reproduce the cultural glory of late Ming courtesans. However, despite their cooperative efforts, courtesans became inevitably marginalized in literati culture as talented women of the gentry flourished. / This dissertation as a whole explores how male literati and courtesans responded to the social and literary milieu of late Ming Jiangnan to shed light on aspects of the intersection of self and society in this floating world. This courtesan culture was a counterculture in that: (1) it was deep-rooted in male poetry societies, a cultural space that was formed in opposition to government office; (2) in valuing romantic relationship and friendship, the promoters of this culture deliberately deemphasized the most primary human relations as defined in the Confucian tradition; (3) this culture conditioned, motivated, and promoted serious relationships between literati and courtesans, which fundamentally undermined orthodox values.

The late Ming artist and poet Xu Wei (1521-1593) is most well known for his self-representation as a cultured "mountain hermit" and "eccentric", pursuing the literary ideals of originality, simple language and direct emotional expression. His wild ink-brush paintings, mental instability, numerous suicide attempts and the murder of his third wife all helped to consolidate Xu's image as China's Van Gogh. However, later hagiographies of Xu as the "patron saint of eccentrics" have led to a one dimensional view of Xu. This thesis presents Xu as someone who explored and wrestled with different and sometimes contradictory self-representations against a thorny political and social backdrop. It moves away from Xu's "eccentric" persona, instead examining his writings within the political context of the 16th century. Against the backdrop of Mongol and pirate invasions, Xu's close friend Shen Lian was executed by the Chief Grand Secretary Yan Song and his clique. Yet only a month after his friend's execution, Xu switched sides and worked as a ghost-writer for Hu Zongxian, a protégé of Yan Song. Yet with the fall of Yan Song in 1562 and the arrest of Hu Zongxian, this became an embarrassment for Xu. Fearing that he would be implicated with the Yan Song clique, Xu distanced himself from his flattering ghost-written poems. Overwhelmed by feelings of guilt, he explored the complexities of loyalty and identity in his poetry. Xu's career is representative of many Ming scholars who were frustrated by examination failure and the inability to find an official post. His literary ideals contradicted with lived reality. Xu is unique among Ming literati in voicing these contradictions.

The objective of this thesis is to contribute toward an understanding of missionaries and missions of the west and the rising of the Chinese indigenous churches. There is a necessity to trace the historical protestant mission work since Robert Morrison in 1807. Through the inequality of treaties such as the Nanking Treaty of 1842, the door to missions was opened in China. Missions came in along with western colonialism and military force. The Chinese people and government built up their hatred and resentment of the west during this period. The Boxer Uprising was the beginning of an era of unrest and instability, which brought about greater government interventions that impacted the Chinese people. Missionaries and Chinese Christians were murdered and martyred. However, these tragedies did not stop missions from sending more missionaries. Chinese Christians and leaders opened their eyes. The new awakening started Chinese indigenous churches through a revivalist and spiritual emphasis. Speakers such as Ding Li-Mei, Wang Ming-Dao, David Yang, John Sung, Watchman Nee, and Calvin Chao were active during the period between 1925 and 1949. Indigenous churches like the True Jesus Church, Jesus family Church, Zei Li Hwey and Ling En Hwey came into being. This was a most challenging era in modem Chinese Church history. The results were great. Since 1949 and the "Liberation" the Chinese church has marched on without western missionaries. / Christian Spirituality, Church History, and Missiology / D. Th. (Missiology)

The objective of this thesis is to contribute toward an understanding of missionaries and missions of the west and the rising of the Chinese indigenous churches. There is a necessity to trace the historical protestant mission work since Robert Morrison in 1807. Through the inequality of treaties such as the Nanking Treaty of 1842, the door to missions was opened in China. Missions came in along with western colonialism and military force. The Chinese people and government built up their hatred and resentment of the west during this period. The Boxer Uprising was the beginning of an era of umest and instability, which brought about greater government interventions that impacted the Chinese people. Missionaries and Chinese Christians were murdered and martyred. However, these tragedies did not stop missions from sending more missionaries. Chinese Christians and leaders opened their eyes. The new awakening started Chinese indigenous churches through a revivalist and spiritual emphasis. Speakers such as Ding Li-Mei, Wang Ming-Dao, David Yang, John Sung, Watchman Nee, and Calvin Chao were active during the period between 1925 and 1949. Indigenous churches like the True Jesus Church, Jesus family Church, Zei Li Hwey and Ling En Hwey came into being. This was a most challenging era in modem Chinese Church history. The results were great. Since 1949 and the "Liberation" the Chinese church has marched on without western missionaries. / Christian Spirituality, Church History and Missiology / D. Th. Missiology)

China's role in Western music is ever-expanding. Echoing the growth of classical music in China is the importance of Chinese musicians in the global music world. However, it is easy to forget that Western classical music is a foreign import to China, one that has been resisted for most of its history. The intent of this study is to evaluate the role of Chinese music in the Western classical world. This includes Western education, Western repertoire, and also a historical exploration into the mutual influence of the two styles. One Chinese composition in particular, Huang An-lun's Piano Concerto No. 2 in C minor, Op. 57, is selected to analyze the Western and Chinese elements present in the work. This analysis will shed light on the relationship of the two styles and how they amalgamate in modern Chinese music. Although Western classical music today has a strong foothold in China, Chinese contributions to piano literature are largely unknown to the West. China possesses one of the richest musical histories in the world, one which until the twentieth century has largely remained unaffected by Western elements. Its musical heritage extends over thousands of years, deeply rooted in tradition and nationalism. Over the last century, Chinese composition began to incorporate Western musical ideas while still holding on to its own heritage and traditions. This synthesis of Western and Chinese musical elements created a new compositional sound founded on Chinese roots. Huang An-lun, one of China's most prominent living composers, embodies this style in his compositions. Chinese composition is no longer something that is exotic or alien to Western music. Instead, it integrates many Western ideas while still being founded in Chinese heritage, creating a new style that has much to offer the Western classical world.

The present PhD thesis studies political, social and nationalist influences on the historiography of traditional Chinese astronomy written in two different periods, in the pre- war and war-time Chinese Republic (1911-1949) and in the early People's Republic of China (1949-1966). After closer examination of the works on history of Chinese astronomy written in these two periods it is apparent that in many of them Chinese historical astronomical achievements are amplified. It is a representation of encouragement of the nation's self- confidence. This phenomenon is a result of certain political and social influences that had certain development and will be researched by this thesis. For the first period, the works of Zhu Wenxin 朱文鑫 (1883-1939), the most prolific pre-war historian of Chinese astronomy, as well as the works of his several pre-war and war-time fellow astronomers are studied. For the second period, mainly the works of Xi Zezong 席泽宗 (1927-2008), the most significant post-war historian of Chinese astronomy, are focused. For the first period, the questions that we aim at are the primary motivation of the establishment of the modern historiography of Chinese astronomy in 1920s after the establishment of Chinese Astronomical Society and the relation of the research principles and topics...

The purpose of this document is to chronicle and describe the historical developments of saxophone performance in mainland China. Arguing against other published research, this document presents proof of the uninterrupted, large-scale use of the saxophone from its first introduction into Shanghai's nineteenth century amateur musical societies, continuously through to present day. In order to better describe the performance scene for saxophonists in China, each chapter presents historical and political context. Also described in this document is the changing importance of the saxophone in China's musical development and musical culture since its introduction in the nineteenth century. The nature of the saxophone as a symbol of modernity, western ideologies, political duality, progress, and freedom and the effects of those realities in the lives of musicians and audiences in China are briefly discussed in each chapter. These topics are included to contribute to a better, more thorough understanding of the performance history of saxophonists, both native and foreign, in China.

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學界一致肯定近代上海紳商居士在中國佛教現代化轉型過程中發揮了巨大的作用，對此的研究卻明顯不足，不但與紳商居士的歷史重要性極不相稱，也正因缺乏具體研究而導致對該群體的特徵描述並不準確，繼而對近代佛教的樣貌還原亦有所失真。本文試圖通過研究王一亭同時兼具紳商與佛教徒雙重身份的典型個案，探討上海紳商居士的宗教生活與近代佛教轉型之間的互動與糾葛，進而填補近代紳商居士研究領域的空白，並對既有佛教現代化轉型研究進行一定的補充和修正。 / 本文在參考一般近代佛教研究常論及的教內著述和報刊文獻基礎上，還以大量的王一亭書畫作品、教外報刊、方誌檔案和其他散見資料為一手史料。通過運用史料學、文獻分析和圖像學研究等方法，並結合布迪厄的社會實踐理論，全文共分四章全面考察王一亭的宗教信仰與佛教實踐。第一章主要梳理王一亭躋身紳商界後進入佛教場域的詳細歷程，及其平日對傳統佛教活動的參與情況。第二章聚焦建制化佛教場域，通過對比僧寺叢林等傳統佛教組織，探討王一亭與其他上海紳商居士創辦、參與各類新型佛教組織時對佛教再生產的影響、及其對佛教內部權力關係的重構。第三章基於藝術場域，論述王一亭將宗教信仰帶入藝術創作和交往活動時憑藉藝術和社會資本兌換、積累佛教文化和經濟資本的情形，及其以此進行社會慈善活動、獲得象徵資本的經過。第四章關注慈善場域中王一亭等上海紳商居士在居士慈善組織中對扶乩、佛教和慈善資源的融攝，考察紳商居士慈善的特點、以及由此為制度化佛教發展帶來之資本和權力關係的變化。 / 王一亭的個案和相關活動中其他上海紳商居士的參與反映出近代佛教轉型呈現出以下特徵：其一，上海紳商居士創辦出新型居士組織，其根本特色和成功原因在於對傳統寺院經濟模式的傳承與創新；其二，社會慈善活動成為佛教發展的關鍵，而上海紳商居士發起之居士慈善不但給佛教帶來更多理性化的資本與運作，亦使佛教慈善出現扶乩化的傾向；其三，近代佛教的領導權力逐漸由高僧部份轉向紳商名流居士，而這種轉向既有傳統寺院經濟、文化資本削弱的原因，又與這批名流居士自身紳商權力的擴張密切關聯。 / Despite their significant role in the history of modern Chinese Buddhism, focused study on the Shanghai’s lay Buddhist business elites is insufficient for a full understanding on them. This thesis is a case study of a representative Shanghai’s lay Buddhist business elite called Wang Yiting（1867~1938）. We aim at analyzing his religious practices and his involvement in the modernization of Chinese Buddhism in Shanghai. Making use of first-hand resources including local chronicles, archives, Wang’s artworks and his non-Buddhist writings, this thesis applies the methodology of iconography and the theory on social practice of Pierre Bourdieu to analyze the religious practices of Wang Yiting and his reproduction and representation of modern Chinese Buddhism. / Chapter one traces the experience of Wang’s taking refuge in Buddhism and his daily Buddhist practices. Chapter two discusses the lay Buddhist movement led by Wang and his friends and compares it with traditional monastic organizations. Chapter three analyzes Wang’s religious beliefs as revealed in his art works. We also study how Wang has utilized Buddhist art for charity work and education of the mass. Chapter four studies the Association of Chinese Philanthropy of Aiding Life in Shanghai. We will study how the popular practices of spirit writing and of the Jigong cult was introduced into the Buddhism by Wang Yiting. / Through the case study of Wang we intend to show (1) how the Shanghai Buddhist lay merchants had successfully transformed the traditional monastic economy, (2) how they had integrated the popular practice of spirit writing and charity work into modern Buddhism, and finally (3) how the leadership of modern Buddhism has transferred from eminent monks to these lay Buddhist merchants. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 張佳. / Thesis submitted: December 2014. / Thesis (Ph.D.) Chinese University of Hong Kong, 2015. / Includes bibliographical references (leaves 248-263). / Abstracts also in Chinese. / Zhang Jia.

本文是第一部專以清初陶學為研究對象的論文，擬從文人的情懷、詩學的演變、詩歌的用意、意象的運用、注本的闡釋等多角度概述清初陶學的全貌。在方法上，筆者除分析當時文人對陶淵明的評論外，還選取了清初四十家身份不同的文人，比較他們詩作中運用的陶淵明典故，探討他們對「陶淵明形象」的塑造與取捨，並以歷史背景為線索，梳理陶淵明意象在清初文人心目中地位的差異與其變化。 / 基於上述的研究，筆者認為以往學術界把清初陶學只理解為「忠憤」的表現是不夠全面的，尤其是清初關於陶淵明的討論，除了遺民文人有熱烈的參與外，非遺民文人亦有相當數量的研究，而且他們之間還存在着不少的交流，互相回應。正因如此，清初和陶風氣盛極一時，並且出現了一種嶄新、「反其致」的和陶現象--〈反乞食〉詩。 / 這種借用陶淵明的意象互相交流與回應，更多反映在詩歌方面。清初文人借讀陶、評陶、和陶等方法抒發他們於易代間的鬱悶。這種詩歌世界，重現了陶淵明筆下的桃源，在這裏，他們「不知有漢，無論魏晉」，思想上可以暫時脫離現實的痛苦，悠然人間。這也使得清初《陶集》評注本的編撰，一改南宋以來十卷本的「全集」形式，而偏重於四卷本，只收錄詩作的體制。 / The author intends to discuss the reception of Tao Yuanming in the Early Qing Dynasty from the aspects such as the emotions of poets, the changes of poetics, the intentions of poetries, the poetic imageries and the differences of the editions. And, it is the first work focusing solely on the reception of Tao Yuanming in the Early Qing Dynasty. Regarding the research methods, this dissertation not only studies the critiques through the existed methods, but also analyses the existed materials in a different manner. By comparing the literary allusions of Tao Yuanming’s life of 40 scholars lived in Early Qing who had different social background, the thesis discusses how these people constructed the images of Tao Yuanming and how they selected from Tao’s qualities. The thesis also tries to sort out the different attitudes of Tao among scholars of Early Qing and its changes with regard to the historical context. / Based on the research, the author finds out that the existed understanding of the reception of Tao Yuanming in the Early Qing, which focuses on the leftover citizen’s aspect, and which portrays Tao image as a rebellion was largely incomplete. Apart from the vigorous discussions regarding the images of Tao among the leftover citizen, the non-leftover citizen also discussed Tao with great enthusiasm. Under this circumstance, a new form of He Tao Shi(和陶詩) “poems written to match Tao’s , was found in opposite mode in order to response to those leftover citizen. / By appropriation of Tao’s images in their communication and responding each other especially in poems, scholars lived in Early Qing expressed their uneasiness and pain as in the change of the regime through reading, commentary and writing of Tao’s collections. Thus, this special kind of poem allowed the Early Qing scholars to escape from the distress of the reality to an ideal world, a typical example of which was “Peach-Blossom Spring created by Tao Yuanming. This tendency reflected in the editions of Tao’s works in Early Qing Dynasty that Tao’s poems received much attention while other forms of works were not included in the collections of works. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 梁樹風. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 331-376) / Abstracts in Chinese and English. / Abstracts in English and Chinese. / Liang Shufeng. / 提要 --- p.I / 目錄 --- p.III / Chapter 第一章 --- 緒論 --- p.1 / Chapter 第一節 --- 研究範圍 --- p.1 / Chapter 第二節 --- 研究旨趣 --- p.7 / Chapter 第三節 --- 相關文獻回顧 --- p.14 / Chapter 第四節 --- 論文架構與研究方法 --- p.17 / Chapter 第二章 --- 清初陶學背景 --- p.24 / Chapter 第一節 --- 明清易代與文人「生死」的抉擇 --- p.24 / Chapter 第二節 --- 陶淵明生存方式對清初文人的啟示 --- p.29 / Chapter 第三節 --- 清初文人寄情陶淵明的表現 --- p.37 / Chapter 第四節 --- 清初遺民的逃禪與蓮社之約 --- p.56 / Chapter 第三章 --- 清初詩學與陶詩評價的關係 --- p.91 / Chapter 第一節 --- 清初詩壇尋「真」對陶詩評價的影響 --- p.91 / Chapter 第二節 --- 清初「詩史」的重視與陶淵明甲子紀年之義 --- p.115 / Chapter 第三節 --- 清初田園詩的復興與陶淵明田園詩內涵的解讀 --- p.130 / Chapter 第四章 --- 清初的擬陶、集陶與和陶 --- p.151 / Chapter 第一節 --- 清初擬陶與集陶的表現與陶文詩意的賞讀 --- p.152 / Chapter 第二節 --- 清初和陶詩的表現與其意義 --- p.162 / Chapter 第三節 --- 清初擬陶、和陶的觴濫--陶淵明〈酒二十首〉 --- p.169 / Chapter 第四節 --- 清初的「反乞食詩」 --- p.184 / Chapter 第五章 --- 清初的陶淵明意象與繪事 --- p.206 / Chapter 第一節 --- 清初陶淵明與菊的意象與繪事 --- p.207 / Chapter 第二節 --- 清初桃源的意象與繪事 --- p.228 / Chapter 第六章 --- 清初《陶集》評注本 --- p.257 / Chapter 第一節 --- 《陶淵明集》版本源流與清初的《陶淵明集》 --- p.257 / Chapter 第二節 --- 清初的《陶淵明集》注釋 --- p.277 / Chapter 第三節 --- 清初《陶集》評注的特色 --- p.319 / Chapter 第七章 --- 結論 --- p.328 / 參考書目 --- p.331 / Chapter 附錄一 --- 清初文人詩作用陶淵明典故語句輯錄 --- p.1 / Chapter 附錄二 --- 清初文人用陶淵明典故的創作時間與數量分佈 --- p.105 / Chapter 附錄三 --- 歷代書目所錄《陶淵明集》 --- p.106 / Chapter 附錄四 --- 宋代《陶集》注本研究 --- p.119 / Chapter 附錄五 --- 清初文人和陶詩附表 --- p.147