Having written over 449 pieces of Cantonese opera works, Tang Di-sheng (1917-1959) is considered to be one of the most outstanding and influential librettists and playwrights of Hong Kong Cantonese opera in the 1950s. His Cantonese operas such as Liu Yue Xue (Snow in June; 1956), Di Nu Hua (The Floral Princess; 1957) and Zi Chai Ji (The Purple Hairpin; 1957), Shuang Xian Bai Yue Ting (Two Immortals at the Pavilion of the Moon; 1958), Bai Tao Hui (Madam Lee Sam Neung; 1958), and Zai Shi Hong Mel Ji (The Reincarnation of Plum Blossom; 1959) are well known to be Tang's masterpieces. / In chapters three and four, the study applies the Merriam's model "concept", "behavior" and "music sound". First, the thesis examines the classical plays, the historical story, pre-existed Cantonese opera and other plays and discusses these "concepts" in relation to Tang's creation. His "behavior", behavior of performers, musicians, audiences and listeners constitutes in the stage performances, the movies and the recordings became the "music sound" of the works of Tang. Finally, it also attempts to understand the works of Tang against the social and cultural background in Hong Kong. The analysis of the selected works shows that Tang attempted to change the creative idea of the works, performing practice, the female role in the 1950s, and how Tang cultivated a unique Hong Kong flavor in his own works. / The theoretical framework is based on Merriam's research model, "concept", "behavior", and "music sound" itself, and has referred to Timothy Rice the revision model which developed a three-dimensional model ("historical construction", "social maintenance", and "individual creation and experience") for ethnomusicological research. Chapter two examines "individual creation and experience", which discusses the biography and the works of Tang Di-sheng, analyses his creativity and experience. Moreover, it is a macroscopic research to correlations in the Hong Kong society and Cantonese Opera. For "historical construction", this chapter studies the social background of Hong Kong's historical development, the development and changes of the social cultural contexts of Hong Kong society and a how did Tang receive "social maintenance" from 1950 to 1959. / 戴淑茵. / Adviser: Chan Sau Yan. / Source: Dissertation Abstracts International, Volume: 69-08, Section: A, page: 2942. / Submitted: November 2007. / Thesis (doctoral)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (p. 373-399). / 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. / Dai Shuyin.

洪娟. / "2001年6月" / 論文 (哲學碩士)--香港中文大學, 2001. / 參考文獻 (leaves [65-71]) / 附中英文摘要. / "2001 nian 6 yue" / Hong Juan. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2001. / Can kao wen xian (leaves [65-71]) / Fu Zhong Ying wen zhai yao. / Chapter 第一章 --- 緒言 / Chapter 第一節 --- 簡牘硏究槪況 / Chapter 一 --- 出土情況 --- p.1 / Chapter 二 --- 簡牘書法硏究成果 / Chapter (一) --- 中國學者的簡牘書法研究 / Chapter 1. --- 八十年代及以前的硏究 --- p.2 / Chapter 2. --- 九十年代及以後的硏究 --- p.7 / Chapter (二) --- 曰本及西方學者的簡牘書法研究 --- p.10 / Chapter 第二節 --- 走馬樓吳簡書法硏究前瞻 / Chapter 一 --- 走馬樓吳簡的性質 --- p.14 / Chapter 二 --- 吳簡書法的研究方法 --- p.15 / Chapter 第二章 --- 走馬樓吳簡書法硏究 / Chapter 第一節 --- 三國書體發展槪況 --- p.22 / Chapter 第二節 --- 從偏旁分析探討吳簡的書體 / Chapter 一 --- 篆書 --- p.25 / Chapter 二 --- 隸書 --- p.26 / Chapter (一) --- 受碑別字影響的寫法 --- p.27 / Chapter (二) --- 相對於碑別字較統一的字形 --- p.30 / Chapter (三) --- 對於字形的改造 --- p.31 / Chapter 三 --- 楷書 / Chapter (一) --- 改造隸書字形 --- p.32 / Chapter (二) --- 對於隸書筆法的改造 --- p.33 / Chapter 四 --- 草書 --- p.36 / Chapter 第三章 --- 從吳簡看三國書風 / Chapter 第一節 --- 與鍾繇書跡的比較 / Chapter 一 --- 鍾繇書風 --- p.40 / Chapter 二 --- 吳簡的書手 --- p.41 / Chapter 三 --- 吳簡與鍾書比較 --- p.43 / Chapter 第二節 --- 三國書風的展現 / Chapter 一 --- 三國書風綜述 --- p.47 / Chapter 二 --- 吳簡對於三國書法面貌的展現 --- p.51 / 結語 / Chapter 一 --- 走馬樓吳簡書法研究的意義 --- p.58 / Chapter 二 --- 相關問題的探討 --- p.60 / Chapter 三 --- 硏究展望 --- p.61 / 參考書目 / 附錄一：近世簡牘帛書出土年表 / 附錄二：吳簡對照字形表 / 圖版

There are five chapters. Chapter 1 reviews the publishing of catalogs, the methods used to identify fake copies, and previous scholarly studies. I will also define the research scope, objective and methodology of the study. Chapters 2 to 4 explain the relationships between official sutra copies and Buddhist ones, religion and scripture calligraphy, and the copyists and their calligraphy. Through analysing the colophons at the end of the manuscripts and the style of the calligraphy, I intend to show the impact of politics, religion and the status of the copyists on the calligraphy. Chapter 5 focuses on the artistic style of the calligraphy of Dunhuang scriptures, explores the concepts of Xiejing Style and Beiliang Style , and highlights the stylistic differences and similarities in different geographical areas. / This study demonstrates that Dunhuang scriptures are an important part in the history of Chinese calligraphy. The quality of the calligraphy varies: some may be masterpieces while others common everyday writings. / This thesis investigates the calligraphy of Buddhist and Daoist scriptures found in Dunhuang and Xinjiang, spanning from the Jin dynasty to the Song dynasty. The calligraphy of the copied scriptures is analyzed in its specific social and historical context. Based on historical records, contemporary references and the actual objects themselves, this study uses a textual, comparative research method to give an overview of the calligraphy and to describe its course of development in an approach that is as faithful to history as possible. / 毛秋瑾. / 呈交日期: 2005年12月. / 論文(哲學博士)--香港中文大學, 2006. / 參考文獻(p. 143-149). / Cheng jiao ri qi: 2005 nian 12 yue. / Advisers: Jao Tsung-i; Harold Mok Kar-leung. / Source: Dissertation Abstracts International, Volume: 67-11, Section: A, page: 4016. / 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. / Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [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. 143-149). / Mao Qiujin.

李少恩. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (p. 193-201) / 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. / Li Shaoen.

University of Macau / Faculty of Arts and Humanities. / Department of Chinese

by Lee Zhengwei. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1988. / Bibliography : leaves 109-116.

黃孕祺. / 論文(博士) -- 香港中文大學硏究院藝術部, 1995. / 參考文献 : 134-143. / Huang Yunqi. / 目錄 --- p.i-iii / 〈凡例〉 --- p.iv / Chapter 第一章 --- 書風的形式 --- p.1 -33 / Chapter 一、 --- 研究之目的 --- p.1 / Chapter 二、 --- 問題之關鍵 --- p.7 / Chapter 三、 --- 形式的特徵 --- p.13 / Chapter 四、 --- 術語的糸統 --- p.18 / Chapter 五、 --- 書風的詮釋 --- p.23 / Chapter 六、 --- 風格的分判 --- p.28 / Chapter 第二章 --- 書風的演變 --- p.34 -68 / Chapter 一、 --- 斷代的標準 --- p.34 / Chapter 二、 --- 世系與稱謂 --- p.39 / Chapter 三、 --- 母妣與名諡 --- p.49 / Chapter 四、 --- 貞人與稱謂 --- p.53 / Chapter 五、 --- 斷代新方案 --- p.58 / Chapter 六、 --- 風格和時代 --- p.63 / Chapter 第三章 --- 書風的意味 --- p.69 -108 / Chapter 一、 --- 意味之抉隱 --- p.69 / Chapter 二、 --- 取龜到藏龜 --- p.74 / Chapter 三、 --- 奉龜到徹龜 --- p.80 / Chapter 四、 --- 記事和記兆 --- p.86 / Chapter 五、 --- 卜辭的書契 --- p.93 / Chapter 六、 --- 殷契之成就 --- p.101 / 〈註釋〉 --- p.109 -131 / Chapter 第一章 --- 註 --- p.109 / Chapter 第二章 --- 註 --- p.115 / Chapter 第三章 --- 註 --- p.125 / 〈書刊簡稱表〉 --- p.132 -133 / 著錄 --- p.132 / 工具書 --- p.132 / 刊物 --- p.133 / 〈參考書目〉 --- p.134 -143 / 〈附表〉 --- p.144 -190 / 【表1.1】書風範型表 --- p.144 / 【表1.2】書風範型關係簡表 --- p.145 / 【表1.3】書風範型資料例 --- p.146 -149 / 【表2.1 .1】王世、稱謂、貞人關係表一： 王世、稱謂表 --- p.150 / 【表2.1.2】王世、稱謂、貞人關係表二： 貞人稱謂表 --- p.151 / 【表2.1.3a】】王世、稱謂、貞人關係表三： 貞人王世表（a) --- p.152 / 【表2.1.3b】】王世、稱謂、貞人關係表三： 貞人王世表（b) --- p.152 / 【表2 . 2】標準片表 --- p.153 -172 / 【表2.3】貞人同版表 --- p.173 -175 / 【表2.4a】 貞人繫聯表（I) --- p.176 -177 / 【表2.4b】 貞人繫聯表（II) --- p.178 / 【表2.5】「標準片」範型時期表 --- p.179 / 【表2.6】四期書風表 --- p.180 / 【表2.7】t期書風表 --- p.180 / 【表2.8】五期書風表 --- p.180 / 【表2.9】書風同異關係糸數簡表 --- p.181 / 【表2.10】書風同異關係系數詳表 --- p.182 -189 / 【表3.1】殷代龜卜程序表 --- p.190 / 〈附圖〉 --- p.1 -223 / 《合》 --- p.1 -202 / 《屯》 --- p.203 -217 / 《英》 --- p.218 -220 / 《東》 --- p.221 / 《懷》 --- p.222 -223

電視模式（TV formats）在全球的跨文化旅行，及其如何本土化以適應在地社會政經情境，成為值得學界關注和研究的主題。作為對這一主題的回應，本文致力於研究《醜女無敵》電視劇--“醜女貝蒂“模式在中國的本土化。借由對該劇文本、生產和觀眾解讀的綜合分析，本研究從宏觀上探索符號形式與中國社會變遷的關係。具體而言，研究者聚焦於以下研究問題：在當前電視模式貿易、克隆和本土化的背景下，中國電視劇《醜女無敵》與美國電視劇《醜女貝蒂》有何異同？在中華人民共和國這一特定社會情境下，《醜女無敵》受到了怎樣的政治、經濟限制？中國觀眾如何解讀《醜女無敵》電視劇？《醜女無敵》受歡迎的原因所在，及該劇表徵了怎樣的中國現代性？ / 為回答以上問題，研究者採用了多種定質方法，即文本分析、民族志、焦點小組、檔案分析和深度訪談。其研究發現《醜女無敵》作為混雜性文本，兼有西方現代性元素和獨特的中國性。《醜女無敵》的生產受到了中國政經情境的極大限制。經濟力量有中心主導、系統地控制著生產過程。而政治力量的控制卻是散漫於整個生產者社群，并呈現去中心的狀態。中國觀眾在解讀《醜女無敵》時主要有两種模式：霸權式解讀与協商式解讀。而对抗式解读却在该剧的解读模式中呈现缺失状态。持有霸權式解讀的觀眾作為主流在諸多方面與權力中心一致，從而形成霸權效應。 / 《醜女無敵》可歸類為本研究所析霸權文本，并表徵和複製了一種中國現代（Chinese modernity）。轄制於党國，中國現代性在其三大結構性維度上都呈現高度的混雜性。就中國電視業發展趨勢而言，研究者認為全球電視模式在中國將愈加繁榮，因其有極大潛質成為霸權文本，繼而服務于權力中心。 / With the increasing transcultural flow of television formats, the localization of these formats to fit various socio-political contexts is worthy of academic scrutiny. This is a case study on the TV drama Ugly Wudi (Chounv Wudi), the Chinese version of the global Ugly Betty format. Exploring textuality, production, and reception simultaneously, my dissertation sheds light on the relationship between symbolic forms and social transition in China. Specifically speaking, the research questions initiating this study are as follows: Under current TV format cloning, trading, and borrowing, what are the similarities and differences between the Chinese Ugly Wudi and the American Ugly Betty? In the specific context of the People’s Republic of China, what are the political and economic forces that constrain the production of Ugly Wudi? What are the audience interpretations of Ugly Wudi? What accounts for Ugly Wudi’s popularity, and to what extent does it reflect a Chinese version of modernity? / Multiple qualitative methods have been applied by the researcher to explicate the research questions, including textual analysis, ethnography, focus groups, archival analysis, and in-depth interviews. It is found that Ugly Wudi is a hybridized text that combines elements of Western modernity with Chinese particularities. As for Wudi’s production, there are significant constraints arising from China’s political economy. While the economic systematically controls the production with a center, the political is a decentered control pervasively conditioning the production community. Two different readings of the Wudi show are found, namely, the hegemonic reading and the negotiated reading; while the resistant reading is absent in the show’s viewership. The hegemonic audience forms the majority, coinciding with the authorities in many respects, which shows a hegemonic effect. / Ugly Wudi is a hegemonic text that can best represent and reproduce Chinese modernity. Charted by the party-state for legitimization, Chinese modernity shows a high degree of hybridization in its three structural dimensions. The researcher contends that television formatting will be a trend in the Chinese TV industry, as it has great potential to create hegemonic texts that serve the power center. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Zhang, Xiaoxiao / Thesis (Ph.D.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 178-203). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract also in Chinese; some appendixes also in Chinese . / Abstract --- p.i / Acknowledgements --- p.iv / Table of Content --- p.viii / Chapter CHAPTER 1 --- INTRODUCTION --- p.1 / Chapter 1.1 --- TV Format: A New Television Phenomenon / Chapter 1.2 --- The Ugly Betty Format: A Global Culture / Chapter 1.3 --- Significance and Contribution / Chapter 1.4 --- Chapter Outline / Chapter CHAPTER 2 --- LITERATURE REVIEW --- p.18 / Chapter 2.1 --- Localization of Global Television Formats / Chapter 2.2 --- Political Economy in Cultural Hybridization / Chapter 2.3 --- TV Formats and Social Transition / Chapter 2.4 --- Previous Studies on the Ugly Betty Format / Chapter 2.5 --- Research Questions / Chapter CHAPTER 3 --- METHODOLOGY --- p.35 / Chapter 3.1 --- Textual Analysis / Chapter 3.2 --- Ethnographic Observation / Chapter 3.3 --- Focus Groups / Chapter 3.4 --- Archival Analysis / Chapter 3.5 --- In-depth Interviews / Chapter CHAPTER 4 --- THEORETICAL FRAMEWORK AND POLITICAL ECONOMY CONTEXT --- p.51 / Chapter 4.1 --- Media and Hegemony / Chapter 4.2 --- Market versus State / Chapter 4.3 --- Market, Politics, and Media Competition in China / Chapter CHAPTER 5 --- THE CHINESE UGLY BETTY: TV CLONING AND LOCAL MODERNITY --- p.87 / Chapter 5.1 --- Contextualizing the Two Versions / Chapter 5.2 --- The Continuity of Modernity in the Ugly Betty Formula / Chapter 5.3 --- Ethnic Invisibility and Gender Normality / Chapter 5.4 --- When the Political and the Market Align / Chapter 5.5 --- Ugliness Is at Fault, Not the State / Chapter CHAPTER 6 --- PRODUCING THE CHINESE UGLY BETTY: DECENTERED POLITICAL AND CENTERED ECONOMIC CONTROLS --- p.114 / Chapter 6.1 --- TV Production in China: Indicator of Dominance / Chapter 6.2 --- Decentered Political Control / Chapter 6.3 --- Centered Economic Control / Chapter 6.4 --- When the Political and the Economic Contradict / Chapter 6.5 --- Television Formats and Hegemony / Chapter CHAPTER 7 --- READING THE LOCALIZED UGLY BETTY: HEGEMONIC OR NEGOTIATED, BUT NOT RESISTANT --- p.140 / Chapter 7.1 --- A Patterned Spectatorship / Chapter 7.2 --- Values Creolization in Contemporary China / Chapter 7.3 --- The Hegemonic Reading / Chapter 7.4 --- The Negotiated Reading / Chapter 7.5 --- The Absence of the Resistant Reading / Chapter 7.6 --- Structured Polysemy in China / Chapter 7.7 --- Invitation from Television Formats / Chapter CHAPTER 8 --- TOWARD CHINESE MODERNITY? --- p.159 / Chapter 8.1 --- Four Texts in the Chinese Mediascape / Chapter 8.2 --- Ugly Wudi as a Hegemonic Text / Chapter 8.3 --- Structural Dimensions of Chinese Modernity / Chapter 8.4 --- Discursive Construction of Chinese Modernity / Chapter 8.5 --- TV Industries in China: Development and Future / REFERENCES --- p.178 / LISTS OF APPENDICES --- p.204 / Chapter Appendix 1 --- Methods Answering Research Questions / Chapter Appendix 2 --- Ethnographic Observation Schedule / Chapter Appendix 3 --- Focus Groups Schedule / Chapter Appendix 4 --- Focus Groups Participants / Chapter Appendix 5 --- Focus Groups Questionnaire / Chapter Appendix 6 --- Outline of Focus Groups Discussion (18 years old and above) / Chapter Appendix 7 --- Outline of Focus Groups Discussion (under 18 years old) / Chapter Appendix 8 --- Interviewees List

呂識途. / "2013年9月". / "2013 nian 9 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 156-174). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract in Chinese and English. / Lü Shitu.

張連航. / 論文(博士)--香港中文大學, 2000. / 參考文獻 (p. 1-14 (6th group)) / 中英文摘要. / Available also through the Internet via Dissertations & theses @ Chinese University of Hong Kong. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Zhang Lianhang. / Lun wen (bo shi)--Xianggang Zhong wen da xue, 2000. / Can kao wen xian (p. 1-14 (6th group)) / Zhong Ying wen zhai yao.