錢澤紅. / 目錄頁頁碼有誤, 頁碼271應為261. / 論文(哲學博士)--香港中文大學, 2004. / 參考文獻 (p. 238-260). / 中英文摘要. / Mu lu ye ye ma you wu, ye ma 271 ying wei 261. / 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 Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Qian Zehong. / Zhong Ying wen zhai yao. / Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2004. / Can kao wen xian (p. 238-260).

馬曼霞. / 論文(哲學碩士) -- 香港中文大學硏究院音樂學部, 1996. / 參考文献 : leaves 218-231. / Ma Manxia. / Chapter 第一章： --- 論文槪述 --- p.1 / Chapter 第一節： --- 論文題目簡介 --- p.1 / Chapter 第二節： --- 硏究動機與目的 --- p.3 / Chapter 第三節： --- 與本論文有關的粤劇音樂硏究 --- p.5 / Chapter 第四節： --- 硏究方法 --- p.8 / Chapter 第五節： --- 硏究範圍 --- p.10 / Chapter 第六節： --- 採訪對象及劇目取例 --- p.11 / Chapter 第二章： --- 粤劇敲擊音樂的發展及結構 --- p.16 / Chapter 第一節： --- 粤劇敲擊樂器溯源 --- p.16 / Chapter 第二節： --- 樂器簡介 --- p.25 / Chapter 第三節： --- 樂器使用的歷時流變 --- p.31 / Chapter 第四節： --- 樂部編制 --- p.39 / Chapter 第五節： --- 鑼鼓點記譜法 --- p.46 / Chapter 第六節： --- 鑼鼓點分類 --- p.68 / Chapter 第七節： --- 鑼鼓點結構 --- p.80 / Chapter 第三章： --- 粤劇敲擊音樂的功能 --- p.87 / Chapter 第一節： --- 開始´ؤ束戲劇 --- p.87 / Chapter 第二節： --- 作爲演出前的「通告」 --- p.99 / Chapter 第三節： --- 爲「例戲」作拍和 --- p.101 / Chapter 第四節： --- 作正本戲的拍和 --- p.105 / Chapter 第四章： --- 敲擊音樂於劇場內外的溝通方式 --- p.143 / Chapter 第一節： --- 「敲擊樂部」內部溝通方式 --- p.144 / Chapter 第二節： --- 與「旋律樂部」的溝通方式 --- p.177 / Chapter 第三節： --- 與演員及觀眾的溝通方式 --- p.192 / Chapter 第五章: --- 總結 --- p.203 / Chapter 第一節： --- 敲擊音樂的溝通條件 --- p.203 / Chapter 第二節： --- 掌板在劇場中擔當的角色 --- p.207 / Chapter 第三節： --- 結語 --- p.216 / 參考資料 --- p.218

鄧兆華. / 論文(哲學碩士) -- 香港中文大學硏究院音樂學部, 1996. / 參考文献 : leaves 220-230. / Deng Zhaohua [Tang Siu Wah]. / 前言 --- p.1 / Chapter 第一章 --- 粤劇《胡不歸》的背境和結構 --- p.6 / 粤劇《胡不歸》的寫作背境 --- p.6 / 粤劇《胡不歸》的結構 --- p.14 / Chapter 1 --- 粤劇《胡不歸》的劇本結構 --- p.14 / Chapter 2 --- 粤劇《胡不歸》的音樂結構 --- p.36 / 總結 --- p.46 / Chapter 第二章 --- 《胡不歸》的舞臺演出 --- p.47 / 過往的演出 --- p.47 / 分場的演變 --- p.51 / 人物塑造的演變 --- p.55 / 唱腔的演變 --- p.62 / Chapter 第三章 --- 《胡不歸》的電影改編 --- p.70 / 電影與戲劇的關係 --- p.70 / 《胡不歸》的電影版本 --- p.74 / 《胡不歸》電影的結構 --- p.78 / Chapter 1 --- 三套《胡不歸》電影的風格 --- p.78 / Chapter 2 --- 電影分場的概念 --- p.79 / Chapter 3 --- 電影的開場戲與演出環境 --- p.80 / Chapter 4 --- 《新馬仔胡不歸》的結構 --- p.82 / Chapter 5 --- 電影《胡不歸》(1958年）的結構 --- p.85 / Chapter 6 --- 《七彩胡不歸》的結構 --- p.87 / Chapter 7 --- 電影版本在分場上的異同 --- p.88 / 《胡不歸》電影的人物塑造 --- p.90 / Chapter 1 --- 三套《胡不歸》電影的人物 --- p.90 / Chapter 2 --- 主要人物的性格 --- p.91 / Chapter 3 --- 三套《胡不歸》電影中人物處理的社會意義 --- p.95 / 《胡不歸》電影的唱腔結構 --- p.98 / Chapter 1 --- 三套《胡不歸》電影的主要唱段 --- p.98 / Chapter 2 --- 小曲的應用 --- p.99 / Chapter 3 --- 黃梅調的運用 --- p.103 / Chapter 4 --- 《劉三姐》山歌的運用 --- p.107 / Chapter 5 --- 主要唱段的比較 --- p.109 / Chapter 第四章 --- 《胡不歸》的粤曲版本 --- p.112 / 粤曲的演出形式 --- p.112 / Chapter 1 --- 「粤曲」的定義 --- p.112 / Chapter 2 --- 八音班 --- p.113 / Chapter 3 --- 粤曲社團 --- p.114 / Chapter 4 --- 歌壇 --- p.115 / Chapter 5 --- 粤曲演唱會 --- p.117 / Chapter 6 --- 電臺廣播 --- p.118 / Chapter 7 --- 唱片 --- p.119 / 《胡不歸》的唱片改編 --- p.122 / Chapter 1 --- 故事性與人物 --- p.122 / Chapter 2 --- 單支粤曲的完整性 --- p.123 / Chapter 3 --- 小曲的應用 --- p.125 / Chapter 4 --- 口白的應用 --- p.127 / Chapter 5 --- 板腔結構 --- p.128 / Chapter 6 --- 唱腔風格 --- p.130 / 一個特別的改編版本：《新胡不歸之逼婆離家》 --- p.135 / Chapter 1 --- 創作背境 --- p.135 / Chapter 2 --- 結構與人物 --- p.136 / Chapter 3 --- 唱腔安排 --- p.139 / Chapter 4 --- 時代意義 --- p.142 / Chapter 第五章 --- 結論 --- p.144 / 附錄一本文參考的粤劇、電影及唱片版本 --- p.154 / 附錄二 譜例 --- p.156 / 附錄三粤劇《胡不歸》劇本 --- p.186 / 附錄四粤劇、電影《胡不歸》演出的報紙廣告 --- p.211 / 參考文獻 --- p.220

陳潔珊. / 書名中之「貯」「履」二字原為金文. / 論文(碩士) -- 香港中文大學硏究院中國語言及文學學部, 1997. / 參考文獻: leaves 281-302. / Chen Jieshan. / Chapter 第一章 --- 引言 --- p.1 / 第一章注釋 --- p.4 / Chapter 第二章 --- 金文中的「？」字 --- p.5 / Chapter (1) --- 金文中「？」字及「？田」的解釋 --- p.5 / Chapter (a) --- 「？」隸定爲「？」（「貯」）字 --- p.5 / Chapter (b) --- 「？田」即「租田」說 --- p.16 / Chapter (c) --- 「？田」即「賈田」說 --- p.26 / Chapter (d) --- 「？田」即「予田」或「舍田」說 --- p.41 / Chapter (e) --- 「？田」即「償田」說 --- p.46 / Chapter (f) --- 「？田」即「除田」說 --- p.47 / Chapter (g) --- 「？」、「？」義近說 --- p.48 / Chapter (2) --- 小結 --- p.50 / 第二章 注釋 --- p.53 / Chapter 第三章 --- 金文中的「舍」字 --- p.78 / Chapter (1) --- 金文中「舍」字及「舍田」的解釋 --- p.78 / Chapter (a) --- 「舍」即「賜予」說 --- p.78 / Chapter (b) --- 「舍田」即「予田」說 --- p.88 / Chapter (2） --- 小結 --- p.94 / 第三章 注釋 --- p.104 / Chapter 第四章 --- 金文中的「？」字 --- p.114 / Chapter (1) --- 《散氏盤》「？」字的解釋 --- p.114 / Chapter (a) --- 「？」即「眉」字說 --- p.114 / Chapter (i) --- 「？」」即「堳埒」的「堳」 --- p.114 / Chapter (ii) --- 「？」即周初微國 --- p.120 / Chapter (b) --- 「？」即「履」字說 --- p.123 / Chapter (2) --- 金文「履田」考 --- p.129 / Chapter (3) --- 小結 --- p.144 / 第四章 注釋 --- p.152 / Chapter 第五章 --- 金文中的「封」字 --- p.167 / Chapter (1) --- 金文中「封」字的解釋 --- p.167 / Chapter (2) --- 「封」、「邦」二字同源考 --- p.172 / Chapter (3) --- 金文中有關封疆劃界的記載 --- p.180 / Chapter (4) --- 小結 --- p.191 / 第五章 注釋 --- p.194 / Chapter 第六章 --- 「？田」、「舍田」、「履田」、「立封」所反映的西 周土地交換情況 --- p.201 / Chapter (1) --- 土地交換並非私下買賣 --- p.201 / Chapter (2) --- 土地交換的原因 --- p.207 / Chapter (3) --- 土地交換的程序 --- p.210 / Chapter (4) --- 小結 --- p.223 / 第六章 注釋 --- p.226 / Chapter 第七章 --- 總結 --- p.236 / 第七章 注釋 --- p.242 / 附錄 --- p.243 / 附錄一 本文引用銘文的拓本及釋文 --- p.243 / 附錄二 《毛公鼎》銘「？」字考釋 --- p.273 / 附錄三 《牆盤》銘「？」字考釋 --- p.276 / 參考書目 --- p.281

Choi, Pak Cheong. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (leaves 111-115). / Abstracts in English and Chinese. / Abstract --- p.ii / Chapter Chapter One: --- Introduction: Late Qing Science Fantasy and the Import of Science and Technology --- p.1 / Chapter Chapter Two: --- When Time Becomes Abstract: A Chinese Time Travel Story --- p.25 / Chapter Chapter Three: --- "Body in the Scientific Context: Physiology, Invisibility and Being in Motion" --- p.45 / Chapter Chapter Four: --- From Survival to Technotopia: Living and Evolving with Artefacts --- p.73 / Chapter Chapter Five: --- Conclusion --- p.108 / References

本研究旨在關注中國神學家趙紫宸（1888-1979）與美國傳教士、音樂家范天祥（Bliss Wiant，1895-1975）於1920年代至1930年代在推動中國聖樂處境化方面的合作。中國讚美詩處境化已成為一個重要的研究領域。然而，相關研究則較少關注對於特定時間內由中國基督徒與傳教士合作的處境化讚美詩（包括讚美詩翻譯及創作）。這一個案研究則將聚焦趙紫宸與范天祥在1930年代初所編撰的兩本讚美詩集《團契聖歌集》（1931）與《民眾聖歌集》（1931），並與20世紀初其他讚美詩（集）作簡要比較。 / 第一章旨在考察19世紀西方新教傳教士對中國讚美詩處境化所作之努力，其後則是對20世紀，特別是20年代晚期至30年代早期，中國基督徒對中國讚美詩處境化所作的追尋。第二章則旨在聚焦《團契聖歌集》的編撰，考察趙紫宸的處境化翻譯，以及其與傳統文化價值及社會圖景內在與外在的互動及對話。第三章則將對由趙紫宸作詞、范天祥配樂的《民眾聖歌集》作出分析。在此，將考量趙的讚美詩作詞原則，以及分析他的讚美詩創作與其早期神學思想之關聯。第四章則將視角轉移至范天祥及《民眾聖歌集》的處境化音樂創作。范為該詩集所選擇的中國曲調將幫助我們窺看它們如何參與進處境化讚美詩的進程。在此，後殖民文化批評的視角將幫助我們從新的解讀框架中理解中國處境化讚美詩編撰。 / 在第五章，我們將把這兩本讚美詩與六公會聯合編撰的《普天頌讚》（1936）作比較，該詩本被視為20世紀前四十年中國讚美詩處境化的最高成就。與此同時，兩個本土小宗派：聚會處及耶穌家庭的讚美詩也在比較範圍之內。同時，我們將運用"全球地域化"的視角就全球化與地域化互動層面進一步解讀20，30年代的中國處境化讚美詩。 / 處境化音樂，從神學上來看，是一種道成肉身的表述。在此，道轉為肉身，肉身轉為歌。這在我們對趙紫宸與范天祥的讚美詩集研究中能得到例證。他們在中國處境化讚美詩上創造性的合作──從歌詞到音樂──都對中國讚美詩處境化作出長久而又獨特的貢獻。對於基督教史的研究及未來的中國教會而言，都是至關重要的。 / This dissertation is concerned with the contextualization of Chinese hymns in the 1920s and 1930s in the collaboration between T. C. Chao (1888-1979), a renowned Chinese theologian, and Bliss Wiant (1895-1975), an American missionary and musicologist. The contextualization of Chinese Christian hymns has become an important area of study, but relatively little attention has been paid to the concrete interpretation of translations and hymns produced in a particular time by Chinese Christians and missionary collaborators. In this case study, the focus is on two hymnals produced by Chao and Wiant, Christian Fellowship Hymns and Hymns for the People, published in the early 1930s, with brief comparisons with other hymnals from the early decades of the twentieth century. / Chapter one surveys the contextualization of Chinese hymns made by Western protestant missionaries in the nineteenth century, followed by an exploration on the contextualization of Chinese hymnology by Chinese Christians themselves, especially in the late 1920s and early 1930s. The subject of Chapter two is the origin and writing of Christian Fellowship Hymns, focusing on T. C. Chao’s contextualized translations and his implicit and explicit interaction and dialogue with traditional cultural values and the contemporary social scene. In Chapter three we consider the second hymnal, Hymns for the People, which contains hymns written by Chao and set to Chinese music by Wiant. Here we consider Chao’s principles for hymn writing, and see how his hymns reflect his early theological thinking. In Chapter four, attention shifts to Bliss Wiant and the music in Hymns for the People. The Chinese tunes Wiant selected for this hymnal are analyzed to see how they were part of the contextualization process. Here, we employ post-colonial criticism to develop the beginnings of a new interpretative framework that can be applied to the process of the contextualization of Chinese hymnology. / Our final Chapter five compares the two Chao/Wiant hymnals with Hymns of Universal Praise, a joint effort by six denominations, which may be seen as the highpoint of the contextualization of Chinese hymnology in the fourth decade of the 20th century. These two hymnals are further compared with the hymnals of two independent/indigenous traditions: the Little Flock and the Jesus Family. Finally, we use the theory of "Glocalization" to further develop the study of Chinese hymnody in the 1920s and 1930s, emphasizing the mutually interactive process between the global and the local in contextualized Chinese Christian hymns. / Contextualized music is, theologically, an expression of the Incarnation, the Word become flesh, the flesh become song. This is evident in our study of the hymnals of T. C. Chao and Bliss Wiant. Their creative collaboration on contextualized Chinese hymns, the words and the music, has made a lasting and in some ways unique contribution to Chinese hymnody. It is important both for the study of the history of Christianity and the future of the Chinese Church. [end] / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Chen, Ruiwen. / Thesis (Ph.D.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 267-298). / Abstracts also in Chinese; includes Chinese.

The Qing conquest of 'Xinjiang' ('New Dominion' or 'New Territory') in 1759 proved to be a watershed development in the complex and often ambiguous relation between China and the amorphous Xiyu or 'Western Regions' that had lay 'beyond the pale' of Han Chinese civilisation since the Han (206 BCE-220 CE) and Tang (618-907) dynasties. The Qing destruction of the Mongol Zunghar state in the process of conquering 'Xinjiang' brought to a close the era of the dominance of the steppe nomadic-pastoralist world of Inner Asia over sedentary and agricultural China that had existed since at least 300 BCE with the expansion of the Xiongnu. Immediately following the conquest, as chapter two shall demonstrate, the over-arching goal of Qing rule in the region was to segregate Xinjiang from the Chinese regions of the empire. Yet, at the beginning of the 21st century the government of the People's Republic of China (PRC) maintains that the 'Xinjiang Uighur Autonomous Region' (XUAR) is, and has been throughout recorded history, an 'integral' province of China. This thesis is thus focused on the evolution of the Chinese state's perception of Xinjiang as a dependent appendage in the late 18th century to that of an 'integral' province at the beginning of the 21st century. As such there are two key questions that are the focus of the thesis. First, how - by what processes, means and strategies - did Xinjiang arrive at its contemporary position as a province of the PRC? Second, how has this process impacted on China's 'foreign policy' along its western continental frontiers since the Qing conquest? The thesis is therefore not simply focused upon a discrete period or aspect of the historical development of China's interactions with Xinjiang, but rather an encompassing exploration of the processes that have resulted in China's contemporary dominance in the region. Two encompassing and related themes flow from these questions regarding the Chinese state's response to the dilemmas posed by the rule of Xinjiang. The first stems from the recognition that the present government of China's claims to the 'Chinese-ness' of Xinjiang are more than simply a statement of fact or an attempted legitimisation of current political realities. The statement that Xinjiang is an 'integral' province of the PRC, although indeed a statement of contemporary political reality, is also a profound statement of intent by the Chinese state. It is in fact one manifestation of an over-arching theme of integration and assimilation within the state's perceptions of Xinjiang across the 1759-2004 period. The second theme stems from the question as to how the processes associated with the first theme of integration and assimilation impacted upon the Chinese state's conception of its relation to those regions beyond its orbit. Xinjiang throughout most of Chinese history has been perceived as a 'frontier' region from which non-Chinese influences have entered and at times threatened the North China plain 'heartland' of Han civilisation. This is essentially a theme of confrontation between or opposition of 'external' to Chinese influences. The relationship between these two themes across the 1759-2004 period has been one of 'permanent provocation' whereby their interaction has produced mutual continuity and contestation. The Chinese state's goal of integration, and the concrete strategies and techniques employed in Xinjiang to attain it, have required the continued operation and vitality of opposing tendencies and dynamics. This process has provided (and continues to provide) both impetus and legitimation, in the perception of the state, for the exercise of state power in Xinjiang. Yet, as will become evident in the proceeding chapters, this interaction has not developed along a constant trajectory. Rather, the process has been characterised by fluctuations in the state's commitment to the goal of integration and in its ability to implement appropriate strategies with which to achieve integration. The thesis will thus argue that from the early 19th century onward the goal of integration became embedded in the state's perception of the 'correct' relation between itself and Xinjiang. Moreover, across the 1759-2004 period the notion of integration has evolved to become both the end and means of state action in Xinjiang.

University of Macau / Faculty of Social Sciences and Humanities / Department of English

published_or_final_version / Buddhist Studies / Doctoral / Doctor of Philosophy

In 1994, two batches of unearthed Chu 楚 bamboo slips from the Warring States period (Zhanguo shidai 戰國時代, 475–221 B.C.), totaling 1200 pieces and featuring over 35000 characters, appeared in the cultural relic market of Hong Kong. These slips, highly valuable for philological research, cover nearly 100 kinds of ancient Chinese classic. They were soon collected by the Shanghai Museum for restoration and analysis, and have, since 2001, been published in successive volumes entitled Shanghai bowuguan cang Zhanguo Chu zhushu 上海博物館藏戰國楚竹書, eight volumes of which have been issued to date. My study focuses on the seventh volume, published in 2008, comprising five chapters — Wuwang jian zuo 武王踐阼, Zhengzi jia sang 鄭子家喪, Jun ren zhe hebi an zai 君人者何必安哉, Fan wu liu xing 凡物流形, and Wuming 吳命— comprehensive annotation and transcription of which have been provided by the volume editor. In spite of the efforts put on interpreting these bamboo texts, existing researches have their limitations; some intricate textual problems remain to be solved. The present dissertation attempts to examine the elucidations and interpretations of these bamboo texts in order to identify and screen out erroneous views among them. Sophisticated investigation on several controversial issues has been carried out to determine and restore the intent of the original passages. / published_or_final_version / Chinese / Doctoral / Doctor of Philosophy