本論文以民國初年六本通俗文學雜誌的翻譯文本為研究對象，首先根據雜誌翻譯文本及其歷史資料，勾勒雜誌翻譯活動的輪廓，繼而從雜誌翻譯追溯雜誌文人的思考與互動過程，展現當時文化場域的動態場景。論文嘗試回歸雜誌翻譯之歷史語境，從中觀察二十世紀初的中國文化圖景；研究的視野，與翻譯研究中以系統為研究對象的理論有共通之處。論文借助系統理論中「規範」、「經典」等概念來探討雜誌翻譯，同時亦注重文本與概念之歷史淵源；相關文本解讀與概念分析，皆以雜誌原始語境為背景。此外，論文以該時期新文化刊物的翻譯現象為參照，追溯通俗與精英文人通過翻譯而進行的對話與互動，藉此反思雜誌翻譯之於文化場域演變的作用。所涉之對比分析，有助把通俗文學雜誌的翻譯活動重置於民初文化版圖，既為近代翻譯史填補一點空白，亦可在目前以新文化精英為主線的現代文學史論之外，提供另一種敍述歷史的角度。 / Based on a historical study of the translation in six popular literary magazines published in early Republican Shanghai, the thesis attempts to explore dynamic cultural landscape of early modern China by reconstructing the ecology and patterns of magazine translation. In line with the perspectives of system theories in Translation Studies, translation is viewed as both functional constituent and shaping force in its cultural settings. With a keen interest in the historicity of texts and notions, the thesis examines magazine translation by analyzing key concepts in system theories such as ‘norm’ and ‘canon’ in the context of early Republican printed media. Translated texts in the magazines under study are also analyzed in comparison with those published in May-fourth journals in the same period. Magazine translation is then presented as a site of conversation, competition and mutual positioning between popular and elite intellectuals. Offering to fill a gap in Chinese translation history with its reconstructive efforts, the thesis proposes an alternative delineation of cultural history against the ‘grand narrative’ that dismisses the literary practices in Shanghai popular magazines as mere residues of the late Imperial era. / Detailed summary in vernacular field only. / 叶嘉. / Thesis submitted: November 2012. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 208-214). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Ye Jia. / 緒 論 --- p.1 / Chapter 第一節 --- 課題緣起 --- p.1 / Chapter 第二節 --- 理論架構 --- p.4 / Chapter 第三節 --- 研究範圍 --- p.8 / Chapter 第一章 --- 清末民初「通俗」的流變 --- p.13 / Chapter 第一節 --- 「通俗」的定義 --- p.13 / Chapter 第二節 --- 清末到民元：平民教育的初衷 --- p.16 / Chapter 第三節 --- 袁世凱復辟：以「通俗」為名的言論控制 --- p.18 / Chapter 第四節 --- 文學革命之後的「通俗」：从中性到貶義 --- p.20 / Chapter 第五節 --- 上海雜誌界的「通俗」：從啓蒙到暢銷 --- p.22 / Chapter 第六節 --- 解讀「精英」與「通俗」：從對立到互動 --- p.32 / Chapter 第二章 --- 雜誌的外在環境 --- p.37 / Chapter 第一節 --- 雜誌的出版環境 --- p.37 / Chapter 第二節 --- 雜誌的文人圈子 --- p.45 / Chapter 第三章 --- 從雜誌文本看翻譯規範：譯者形象 --- p.55 / Chapter 第一節 --- 從譯書廣告看譯者 --- p.58 / Chapter 第二節 --- 從譯作刊登格式看譯者 --- p.69 / Chapter 第三節 --- 從譯序和譯後記看譯者 --- p.75 / Chapter 第四節 --- 早期《新青年》的譯者形象及其啓示 --- p.82 / Chapter 第四章 --- 從雜誌文本看翻譯規範：從「不忠」到「忠實」 --- p.87 / Chapter 第一節 --- 1910年代：「不忠」為常 --- p.89 / Chapter 第二節 --- 1910年代：抗拒「直譯」 --- p.94 / Chapter 第三節 --- 《新青年》：「忠實」的提出 --- p.99 / Chapter 第四節 --- 1920年代：「忠實」的流行 --- p.102 / Chapter 第五章 --- 從雜誌文本看翻譯規範：「時效」與「實用」 --- p.109 / Chapter 第一節 --- 緣起晚清 --- p.109 / Chapter 第二節 --- 演入民初 --- p.112 / Chapter 第三節 --- 譯叢：獵奇的「時效」與「實用」 --- p.115 / Chapter 第四節 --- 西笑：諧趣的「時效」與「實用」 --- p.126 / Chapter 第六章 --- 「時效」的延續：視覺文本的翻譯 --- p.135 / Chapter 第一節 --- 雜誌插圖：西方世界視覺化 --- p.135 / Chapter 第二節 --- 影戲小：電影時代的先聲 --- p.142 / Chapter 第三節 --- 「雜誌翻譯」：規範與定義重構 --- p.153 / Chapter 第七章 --- 翻譯規範及經典與文化場域之互動 --- p.159 / Chapter 第一節 --- 不拒「經典」，不要「主義」 --- p.160 / Chapter 第二節 --- 重釋林紓：「新」「舊」的對立 --- p.173 / Chapter 第三節 --- 熱議《娜拉》：「新」「舊」的對話 --- p.190 / 結 語 --- p.197 / 後 記 --- p.202 / 徵引書目 --- p.208

Despite the fact that there has been an enormous amount of jades excavated from the Western Han tombs of Chu Princes, Xuzhou in Jiangsu province, little scholarly literature has been focused on these artefacts. Based on archaeological findings, this thesis selects some significant jade objects as the focus of attention, including jade pendants, jade vessels, jade weapons, jade suites and other burial jades. As the role and value of jade is varied in the hierarchy of material within different cultural and historical context, the changes in its functions and meanings, to some extent reflects the changes in politics, economy, and society. Through tracing their origins, the identity of the owners and examining the changes in material and society, this study attempts to reveal the cultural and social value embedded in these objects, and in doing so to reconstruct the changes in material concepts and aesthetic ideologies in the Han periods. / On the basis of the achievements have hitherto in Han jade study, the present study is expected to shed light on our understanding of tomb culture and its relation to the society from a broader and more comprehensive perspective. Aside from placing specific types of jade into an accurate period or investigating their functions and sources, this study will read the object by cross reference to ancient textual material. / Using jade, a particular category of art objects, as the point of entry, this study seeks to explore and question the issue of materiality and identity within the context of tomb art, and the wider issue of cultural and social practices in the Han Dynasty. / 林巧羚. / Submitted: 2010年11月. / Submitted: 2010 nian 11 yue. / Adviser: Jenny F. So. / Source: Dissertation Abstracts International, Volume: 73-04, Section: A, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (p. 355-396). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Lin Qiaoling.

楊衛華. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 468-475) / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Yang Weihua.

Chapter 1 reviews the background to the rise of art patronage studies and their development and its influence on studies of Chinese art history. It also provides alternative approaches to studying activities related to patronage and their influence and role in Chinese art history by criticising traditional analysis of Chinese art based on social and economic theories. / Chapter 2 examines the life of Wang and explores the intentions and meaning to his patronage activities through studying his political involvement, literary activities and his social background and connections. / Chapter 3 discusses how Wang, given his knowledge in history and passion for art and its collection, reinterprets art history with reference to his private collection of art, and thereby consolidating his status as a leading figure of literary and cultural circle of his time. / Chapter 4 explains and reflects on the formation of the "artist-patron" relationship through examining the relationship and interaction between Wang and the literary circle and by appraising the financial background and standing of artists and calligraphers at the time. / Chapter 5 examines the direct impact that Wang, as a literary leader and patron of the art, has on the styles and subject matter of art work by examining and decoding several pieces of art commissioned by himself, thus revealing a distinct mechanism in which art was produced at the time. / Chapter 6 discusses the "artist-patron" relationship and the "trading of cultural resources" by examining diverse pieces of art work given to Wang as gifts by different individual artists and calligraphers. / Chapter 7 analyses the significance of the patronage activities of Wang and provides a new approach to understanding the issue of traditional Chinese art patronage in Chinese art history. / Through a case study of the life of Wang Shizhen, this research attempts to analyse the influence of literary leader and patron of the arts on the development of painting and calligraphy during the mid-Ming period. By analysing the "artist-patron" relationship, this paper attempts to explain alternative mechanism through which traditional Chinese art was produced. The thesis also examines art patronage activities in Suzhou during the sixteenth century and thereby attempts to examine these activities from the broader cultural and historical context at the time. This paper is divided into seven chapters: / 鄧民亮. / 論文(哲學博士)--香港中文大學, 2006. / 參考文獻(p. 298-320). / Advisers: Tsung-i Jao; Kar Leung Mok. / Source: Dissertation Abstracts International, Volume: 68-02, Section: A, page: 0378. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / School code: 1307. / Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2006. / Can kao wen xian (p. 298-320). / Deng Minliang.

Rapid industrialization, breakthroughs in science and technological development have ushered in an era regarded as a technocratic age. The advent of a technocratic age has necessitated the acquisition of technologically appropriate knowledge, skills and attitudes, and consequently it has become necessary to establish education systems that fulfil the demands set by technocratic age principles. Present-day education is typified by technocratic age imperatives which include meritocracy, specialization, vocationalism, professionalism and scientism. Technocratic age education is further characterized by mass education, free and compulsory education and greater bureaucratic control of education. In technocratic age education systems, entrance examinations are used to select learners for advanced education and training. It would appear that this takes place with little regard for the learner's personal worth or meeting the learner's distinctive needs. / Educational Studies / M. Ed. (History of Education)

abstract / toc / Chinese / Master / Master of Philosophy

This study sought to discover how Kuan Han-Ch'ing portrayed the Yuan Dynasty (1280-1368 A.D.) and the Confucian view of women by means of the characterization in Kuan's plays. Eight female characters, three male public officials, and three male villains were selected for study. It was discovered that Kuan portrayed the ordinary people of his time with outstanding skill; that the characters selected for study provided ways of life contrary to Confucianism, the prevailing philosophy; that Kuan's characterization satirized the Mongol ruling class; and that Kuan depicted women more favorably than Confucian philosophy would have allowed.

& KEYWORDS The topic of this thesis is a metatextual analysis of representative Chinese publications about sport published in the post-Olympic era. Together they offer a comprehensive perspective of the sport in China. The thesis employs critical approach to examine Chinese perception of their own history, Chinese motivation to develop competitive sports, the state- run sports system in China, as well as various problems and challenges lying ahead of Chinese sport, ready to be tackled. Part of the thesis offers an analysis of linguistic and ideological aspect of the Chinese publications. The thesis also encounters the topic of the rise of China (i.e. People's Republic of China) and offers brief explanations in relation to the main topic rather than in a broader context. Keywords: modern history of China, history of sport, sport in China, competitive sports, state-run sports system, language & ideology, Marxism, People's Republic of China

The thesis concerns with the development of the Chinese family law during the 20th century, presents legal sources in relation to the historical development and describes the basic aspects of the Chinese family law with regard to similar aspects of the ancient Roman law. Explains the significance of the social stability in legal context from the end of the Qing dynasty up to the present, describes the importance of the neoconfucian ideology to the family law and the role of the law in the Chinese society in general. The thesis is divided into several parts, the first one begins with the period of the end of the Qing dynasty at the turn of the 20th century, describes the historical circumstances of the founding of the first Chinese Republic, explains the principles of the then family and social relations in detail, especially the structure of the traditional family, the significance of the ancestor worship, the scope of the agnatic relationship and its relation to the property rights, the importance of the marriage and the system of mutual dependency of the family members. The thesis further expounds the attempt to reform the traditional family after the 1911 revolution, the circumstances of the creation of the Civil Code, the contents of the Chapter IV of the Code and their significance to the...

本研究以一个曾经在文革中施暴的红卫兵──李乾的生命传记为个案，以布迪厄的社会实践理论为理论框架，探讨主体参与文革与记忆、反思文革的实践，以及对文革意义的理解，进而理解一系列红卫兵实践（尤其是暴力实践）的逻辑。不同于已有文革研究的精英史和社会史路径，本研究试图发展一种传记取向的文革研究路径，分析个体生命经验与其所处社会情境，红卫兵的惯习与其所处的场域的复杂关系，由此更深刻地理解文革以及无产阶级专政的政治文化。 / 首先，本研究聚焦这些红卫兵文革初期对文革的认知、情感机制与行动策略，指出其实践如何受制于无产阶级专政场域与惯习的作用，如何再生产无产阶级专政的政治文化，即再生产无产阶级专政的象征秩序、权力技术、话语方式与组织机制，如何再生产文革"武斗"的直接暴力与"文斗"的话语暴力。并且，本研究试图说明早期"造反者"的"造反"动力来自其与老红卫兵在革命资格竞争中的"相对剥夺感"；这种"造反"并不是为了反抗主流的象征秩序，而是努力争取自身在这套象征秩序中的优势位置和资本。 / 其次，本研究探讨主体生命经验中关键性的暴力事件──"一二.五"事件的实际发生过程，分析"一二.五"事件中这些红卫兵对暴力的认知与情感，以及暴力如何被合法化及赋权，其中的专政对象──"流氓"是如何被建构与想象的，由此揭示特定的政治文化脉络中主体的贱斥动力以及这一暴力实践的逻辑。红卫兵暴力惯习的形塑，不仅受制于文革的革命场域的作用，更受制于建国以来历时性的无产阶级专政场域的作用；同时，这一惯习的运作又在维持和再生产无产阶级专政的政治文化。 / 此外，本研究探讨主体在"一二.五"事件后，如何在一系列社会互动的过程中，逐步实现了意识的转化和主体性变迁，如何从符号中介的生命经验中引入新的认知与情感机制重新理解"一二.五"事件、文革以及无产阶级专政的政治文化。这种批判性的反思实践与主体所处行动场域中的社会位置以及所能接收的多元的、异质性的符号资源密切相关，可以形塑主体惯习的转化，生产新的社会实践以及相应社会关系的改变。 / 最后，本研究试图将当下民间文革记忆与反思实践置于文革与后文革、毛时代与后毛时代的连续性与转型的关系之中，指出为民间记忆与反思实践赋权的政治文化意义。这一反记忆实践不仅打捞普通人被遗忘的、被边缘化的文革记忆，也介入对历史与现实的批判，积极争取个体对历史的话语权，与对现实政治、文化的参与权。 / Taking the life biography of a former Red Guard Li Qian who committed violence during the Cultural Revolution (CR) as a case, this research employs Pierre Bourdieu’s theory of social practice to explore the Red Guards’ participatory, mnemonic and reflective practices during the CR, as well as their understanding of the CR, with the aim of further understanding the logics of the Red Guards’ practices (especially their violent practices). Different from the traditional approaches of political history and social history, this study attempts to develop a biography approach to study the CR. It analyzes the complex relations between individuals’ life experiences and their social contexts, between the Red Guards’ habitus and the specific field, to understand the political culture of the CR and the Proletarian Dictatorship. / First, this study focuses on the Red Guards’ cognitive and emotional mechanism and action strategy during the early days of the CR. It investigates how their practices are subject to the conditioning of the field and habitus of the Proletarian Dictatorship, how they reproduce the political culture of Proletarian Dictatorship in terms of its symbolic order, power technology, discourse mode, and organizational mechanism, and how they reproduce the physical and discursive violence of the CR. This thesis also maintains that the dynamics of the early "rebels" were derived from their feelings of relative deprivation in the contest with the old Red Guards for revolutionary recognition. These "rebels" did not aim to resist the mainstream symbolic order, but to strive for the dominant position and capitals in the symbolic order of the CR. / Second, this study probes into the actual process of the "December Fifth" Event that was the most important life experience of Li Qian. It analyzes the Red Guards’ cognitive and emotional mechanism towards violence, how the violence was legitimized and empowered in this event, and how the images of the so-called "hooligan" were constructed and imagined. It reveals the dynamic of the subject’s abjection in the context of the specific political culture, and the logic of the violent practice. On the one hand, the Red Guards’ violent habitus was not only subject to the conditioning of the field of the Proletarian Dictatorship but also to the conditioning of the field of the CR. On the other hand, the operation of the violent habitus also maintained and reproduced the political culture of the Proletarian Dictatorship. / Third, this study examines how Li Qian realized the transformation of the consciousness and subjectivity through a series of social interaction. It also taps into his new cognitive and emotional mechanism developed under the symbolic mediation of his actual life experiences, thus understanding the "December Fifth" Event, as well as the political culture of the CR and the Proletarian Dictatorship. The critical reflective practice was closely related to the subject’s social position in the specific field and the diverse, heterogeneous symbolic resources that he absorbed. They shaped the transformation of the habitus, producing new social practices and the corresponding changes of social relations. / Finally, by putting the practices of popular memory and reflection on the CR into the continuity and the transformation between the CR and the Post-CR, and between the Maoist era and the Post-Mao era, this thesis emphasizes the political and cultural significance of these practices. These counter-memory practices not only dig into and revive the forgotten and marginalized memories of the CR, but also engage with historical and contemporary criticism, and actively assent the ordinary people’s rights to speak their histories and to participate in the current politics and culture. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 袁梦倩. / Parallel title from added title page. / Thesis (Ph.D.) Chinese University of Hong Kong, 2015. / Includes bibliographical references (leaves 268-283). / Abstracts also in English. / Yuan Mengqian.