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文映霞. / "2005年7月". / 論文(哲學碩士)--香港中文大學, 2005. / 參考文獻(leaves 210-228). / "2005 nian 7 yue". / Abstracts in Chinese and English. / Wen Yingxia. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2005. / Can kao wen xian (leaves 210-228). / Chapter 第一章 --- 緒言 --- p.1 / Chapter 第一節 --- 方以智生平及其著述 --- p.1 / Chapter 第二節 --- 《通雅》的撰寫背景 --- p.9 / Chapter 第三節 --- 硏究動機及方法 --- p.26 / Chapter 第二章 --- 《通雅》的體例 --- p.28 / Chapter 第一節 --- 釋「通雅」 --- p.28 / Chapter 第二節 --- 《通雅》卷目 --- p.42 / Chapter 第三章 --- 《通雅》的訓話特色´ؤ´ؤ因聲求義 --- p.48 / Chapter 第一節 --- 形、音、義的關係 --- p.48 / Chapter 第二節 --- 重視音變 --- p.56 / Chapter 第三節 --- 重視方言 --- p.58 / Chapter 第四節 --- 重視《洪武正韻》 --- p.62 / Chapter 第五節 --- 論假借 --- p.65 / Chapter 第六節 --- 小結 --- p.69 / Chapter 第四章 --- 《通雅》對《說文》之疏理 --- p.73 / Chapter 第一節 --- 《通雅》引《說文》之方式 --- p.73 / Chapter 第二節 --- 《通雅》論《說文》 --- p.77 / Chapter 第三節 --- 引《說文》爲證 --- p.94 / Chapter 第四節 --- 解《說文》之說 --- p.96 / Chapter 第五節 --- 糾《說文》之誤 --- p.101 / Chapter 第六節 --- 補《說文》之漏 --- p.115 / Chapter 第五章 --- 《通雅》與《說文解字注》 --- p.123 / Chapter 第一節 --- 校勘《說文》 --- p.124 / Chapter 第二節 --- 因聲求義 --- p.130 / Chapter 第六章 --- 結語 --- p.151 / 附錄凡例 --- p.154 / 附錄一《通雅》卷目 --- p.159 / 附錄二 《通雅》與其他「雅書」卷目比較表 --- p.160 / 附錄三《通雅》各卷引《說文》條目統計 --- p.165 / 附錄四《通雅》與大小徐本《說文》、《六書故》及《古今韻會舉要》對照表 --- p.167 / 附錄五《通雅》引戴侗《六書故》 --- p.193 / 附錄六《通雅》引徐鍇說 --- p.202 / 附錄七《段注》引戴個《六書故》 --- p.205 / 附錄八《段注》引黃公紹《韻會》 --- p.206 / 參考書目 --- p.210

2000年，一個世紀的終結與新世紀的開端，全球化的腳步方興未艾，時尚圈刮起「中國熱」，電影《臥虎藏龍》延燒至西方世界，流行音樂產業的工業化生產模式應和著全球化的文化傳遞，MTV頻道在1980年代的出現使音樂自聽覺延伸至視覺。在台灣，流行音樂走過數十載，解嚴後的百花齊放和文化水平提升觸發了旺盛的創作生命力，台灣成為華語流行音樂的重要集散地；在中國大陸，1978年改革開放後的經濟蓬勃發展，帶動了人民的生活水平和消費力，廣大的市場受到全世界關注。 　　2000年至今，華語流行音樂出現了一種名為「中國風」的音樂類型，上述看似低度關聯的敘述可由「中國風」歌曲串起。流行音樂的本質在於爭取最大多數人的認同和消費，中國大陸無疑是各方積極爭取的市場，在「中國熱」的興頭上，與「中國」相關的主題便融入西洋流行音樂曲風當道的華語流行樂壇，而流行音樂的畫面時代隨著MV作為行銷宣傳的利器大行其道，當視覺與聽覺同等重要，與「中國」相關的歌曲主題自然少不了能辨識出「中國性（Chineseness）」的元素。職是之故，這些音樂中創造了一種「中國」的氛圍，透過歌曲的歌詞、旋律、編曲、唱腔，一磚一瓦建構了音樂裡的「中國」。 　　然而，「中國」作為一敏感辭彙，兩岸三地見解不一，但在文化上，根源均來自「中華文化」，在這「最大公約數」的交集中找尋創作主題和元素，成了音樂裡的「中國」所操作的手法，可辨視為「中國」的元素來自「中華文化資料庫」的取樣和拼湊，而此「中國」絕非可明確指認的對象，乃是帶有可明顯辨識出「中國性」符碼的「虛擬中國」，透過去脈絡化的元素採擷和再脈絡化的拼貼建構，築成了一幅聽覺和視覺中的「中國韻味」，是擬仿的、拼貼的文化商品，帶著若有似無的熟悉感和似曾相識的懷舊（nostalgia）。 　　這種音樂裡的「中國」，採用「中國風」（Chinoiserie）的稱呼，可視為由華人主張的反向挪用，在一來一往的觀看間，華人將融合了「中國味」的西洋曲風流行音樂稱作「中國風」，辭彙本身從西方的角度轉為東方的視角，在全球化的流行脈絡下，「中國風」亦成為東方力求在全球化浪潮中站穩腳步，避免自我迷失的宣稱。 　　本研究廣蒐2000年至2010年6月與「中國風」歌曲相關的資料，歷時近兩年，蒐集、分析、聆聽、觀察華語流行音樂的過去和現在，訪談方文山、鍾興民、林隆璇等18位來自各界的要角，盡己所能描繪過去十年「中國風」歌曲的發展面貌。 　　過去十年的「中國風」歌曲，在華語流行音樂雖不至稱作過去十載的標竿類型，但至少引起「一陣風潮」，歌頌者有之、看衰者有之、仿效者有之、鄙夷者有之。無論如何，「中國風」替流行音樂的視覺化聽覺時代做了註腳，「中國風」仍會繼續吹拂，拂過這個世代的每對耳朵。 / In 2000, the intersection of two centuries, the globalization has been pacing merrily; “China Fever” was burning in the fashion circle; the film “Crouching Tiger, Hidden Dragon” surprised the Western world; the industrial productive methods of pop music responded to the globalized cultural transmission, and the appearance of MTV Channel in the 1980s has extended the music from auditory to vision. In Taiwan, pop music has been played for decades; the freedom in inventiveness and the aroused cultural standards after the martial law being lifted in 1987 enhanced strong vitality in creations, and Taiwan has become the major distribution center of Chinese pop music. In PRC, the booming economic development after the Chinese economic reform in 1978 has brought up populations’ living standards and consumption, and the enormous market has drawn the worldwide attention. 　As a new type in Chinese pop music, “Chinoiserie” has emerged since 2000, and the Chinoiserie songs could string together the above narrations that seemed to be weakly related. The essence of pop music is to strive after conformity and consumption from maximum people, and undoubtedly PRC has the market that everyone eagerly fights for. Whereas “China Fever” dominates, the themes related to “China” integrate into Chinese pop music in which Western pop music takes the lead. Moreover, seeing that vision is equally important as auditory, and the image era of pop music becomes popular with music video as the perfect tool for marketing, the song themes related to “China” would absolutely contain elements that can be identified as “Chinoiserie.” Therefore, these songs have created a “Chinese” atmosphere, a “China” in music that is constructed brick by brick through lyrics, melody, arrangement, and aria. 　However, “China” is a sensitive term that is considered quite differently in PRC, Hong Kong and Taiwan though the civilizing roots are all from “Chinese culture.” Seeking themes and elements for creativity in the intersections of this “Greatest Common Divisor” becomes the operating practice of “China” in music, in which the identical elements of “China” are the samplings and put-together from the “database of ancient Chinese culture.” Thus “China” here is absolutely not a clearly distinguishable object, but a “virtual China” with codes of “Chineseness” that can be obviously recognized; a “China Charm” built in auditory and vision through de-contextualized elements picking and re-contextualized collage constructing; yet a cultural merchandise of mimicry and bricolage with slightly familiar nostalgia. 　This “China” in music, named as “Chinoiserie,” can be considered as a reverse embezzlement claimed by Chinese. While exchanging ideas and cultures, Chinese entitle the Western style pop music merged with “Chinese taste” to be “Chinoiserie,” and thus turn the term from the Western point of view to the Eastern one. In the context of globalization, “Chinoiserie” has also become the statement that the Eastern seeks to stand firmly in the tide of globalization and to avoid losing oneself at the same time. 　In this study, the author broadly collected information related to “Chinoiserie” songs from 2000 to June 2010 in order to describe their developments in the past decade. In addition, the researcher has not only spent two years to collect, analysis, listen to, and observe the past and present of Chinese pop music, but also interviewed 18 key roles in different professions, including Vincent Fang, Hsing-Ming Chung, and Kevin Lin. 　Even though the “Chinoiserie” songs in the past decade can’t be viewed as the benchmark of the decade in Chinese pop music, at least they have caused “a vogue,” which some people praise, some are not optimistic, some imitate, and some disdain. In any case, “Chinoiserie” has made a statement for the visualized auditory era of pop music, and it would continue playing to deeply impress everyone of the time.

The purposes of this thesis are probing into the change of Chinese Oil Painting in art market. By means of this study, we will able to understand the development processes of the art markets in China, on the other hand, to gather the data from the auction market of different age artists and analysis them. Furthermore, it¡¦s the way to clarify how strong the art market in China is, or just the strategy to sensationalize the whole market to get high attention. But, it¡¦s obvious to find out that the environment affects the artists¡¦ creation a lot, but the works in the art market will go by chance. Therefore, to conclude that the Chinese art market is immature because the position of Chinese oil paintings is not fixed by Chinese government, Chinese artists and Chinese art market, but the art market in the world. Consequently, the Chinese art market needs to connect with the international art market.

何世昌. / "2002年5月" / 論文 (哲學碩士)--香港中文大學, 2002. / 參考文獻 (leaves 169) / 附中英文撮要. / "2002 nian 5 yue" / He Shichang. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2002. / Can kao wen xian (leaves 169) / Fu Zhong Ying wen cuo yao. / 提要 / 前言 --- p.1 / Chapter 第一章 --- 方回生平考略 / Chapter 第一節 --- 生平、為人與思想 --- p.4 / Chapter 第二節 --- 詩學淵源 --- p.25 / Chapter 第二章 --- 《瀛奎律髓》成書的若干問題 / Chapter 第一節 --- 版本問題 --- p.31 / Chapter 第二節 --- 成書過程 --- p.35 / Chapter 第三節 --- 編選動機 --- p.39 / Chapter 第四節 --- 淵源 --- p.42 / Chapter 第三章 --- 《瀛奎律髓》在詩歌理論史上的意義 / Chapter 第一節 --- 體裁特色 --- p.48 / Chapter 第二節 --- 分類及體例特色 --- p.50 / Chapter 第四章 --- 《瀛奎律髓》的選詩及評詩情況 / Chapter 第一節 --- 選詩情況 --- p.90 / Chapter 第二節 --- 圈點特色與批評術語 --- p.134 / Chapter 一、 --- 句眼說 --- p.158 / Chapter 二、 --- 拗律說 --- p.161 / Chapter 三、 --- 用事說 --- p.162 / Chapter 四、 --- 變體說 --- p.164 / Chapter 五、 --- 新巧說 --- p.166 / 結語 --- p.168 / 參考書目 --- p.169 / 附錄一：《瀛奎律髓》類目重組及唐宋五七律入選情況 --- p.171 / 附錄二 ：明楊良弼《作詩體要》考證述評一兼試論其與《瀛奎律髓》關係 --- p.175 / 附錄三：《菊坡詩話》與《瀛奎律髓》 --- p.223 / 附錄四：《瀛奎律髓》資料彙編（初稿） --- p.232 / 附錄五：《瀛奎律髓》引書考 --- p.247 / 附錄六：《瀛奎律髓》引書分類表 --- p.258 / 附錄七：《瀛奎律髓》選錄江湖詩派情况 --- p.267 / 附錄八：方回《桐江續集》篇目（詩歌之部）一覽表 --- p.278 / 附錄九：方虛谷文彙輯總目 --- p.387 / 附錄十：方虛谷文繫年 --- p.402 / 附錄十一：方回〈桐江集序〉 --- p.408 / 附錄十二 ：重要詩人入選詩作統計表 --- p.409

I propose an integrative approach to address the above questions. My findings suggest that certain kinds of the organizational form were always interwoven with the social situation at the time and could not be simplistically explained in terms of efficiency alone. It was the state and the development of the market that determined the dynamics of the organizational form. In my opinion, efficiency theory, specifically the concept of asset specificity, could explain why the internal market system failed. On the other hand, power theory, specifically the phenomenon of isomorphism, could shed light on why the enterprise adopted the internal market system in 1994. The study suggests that the perspective of power has more strength to explain the social process of the organizational form framing. Furthermore, it explores the source of the internal transaction costs, which was underdeveloped in neo-institutional economic theory. It is my argument that there is a missing link between asset specificity and the internal transaction costs. / In the institutional approach, the studies of organizational forms have long been influenced by two theories: efficiency theory and power theory. The general theoretical concern of this study is: Is efficiency theory adequate to explain the internal organizational form? Which of these two theories is more appropriate to explain the internal organizational form of the state-owned enterprises in China? / The twenty-year economic reform in China has witnessed frequent changes in the titles and structures of China's economic organizations. This case study investigates the internal organizational form of a state-owned enterprise in Guangzhou, China. It depicts the history of its organizational form from 1949 to 2000. Under the planned economy, the said enterprise, The Southern Heavy Machinery Corporation, had an over-integrated organizational structure. From 1994 to 2000, the enterprise has set up a system consisting of an enterprise group corporation and dozens of subsidiary companies, moving toward a market system for its internal transactions among the production units. The subsidiary companies were set up on the basis of the earlier production plants established before 1984. As profits decreased year by year, the new general manager who started his tenure in September 2000 made the decision to bring some of its crucial subsidiary companies back into the form of production plants to render stronger continuities in production. / Why then, after 16 years of internal market practice that has begun in 1984, did the enterprise restructure itself to adopt the unitary form (U form) in some crucial production units? This study aims to explain the following questions: what was the cause of adopting the certain organizational form, why it used the internal market system and why the internal market system failed. / 平萍. / 論文(哲學博士)--香港中文大學, 2002. / 參考文獻 (p. 254-264). / 中英文摘要. / Source: Dissertation Abstracts International, Volume: 63-05, Section: A, page: 2020. / Supervisor: Tai-lok Lui. / Available also through the Internet via Current research @ Chinese University of Hong Kong under title: From over-integration to asset specificity the organizational change of a state-owned machinery enterprise in Guangzhou (China, Chinese text) / 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 dissertations and theses, [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. / School code: 1307. / Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2002. / Can kao wen xian (p. 254-264). / Zhong Ying wen zhai yao. / Ping Ping.

La présente thèse s'inscrit dans le cadre de l'histoire du peuplement du Gabon. Elle met à jour la question de l'appartenance nationale au Gabon indépendant sur l'exemple de la communauté hausa d'Oyem. La présence des membres de la communauté hausa à Oyem est indissociable de la domination coloniale au Woleu-Ntem. Celle-ci comporte deux étapes. La première étape part de l'arrivée des Européens jusqu'en 1929. Elle est caractérisée par le dépeuplement du Woleu-Ntem, consécutif au recrutement de la main-d'oeuvre fang pour l'exploitation forestière et à le famine des années 1921 à 1926. La seconde étape va de la crise économique de 1930 à 1959. Elle est marquée par la stabilisation du peuplement du Woleu-Ntem et par l'essor économique de la région. C'est au cours de ces deux périodes que les immigrés hausa, en provenance du Nigeria et du Cameroun, s'intallèrent à Oyem. Actifs commerçants, les Hausa tirèrent profit des conditions économiques en participant très activement à la vie économique locale. Ils mirent au point des réseaux économiques structurés qui les liaient aux marchés camerounais et à ceux de la Guinée espagnole d'où ils importaient du bétail et des produits manufacturés et vers lesquels ils exportaient des produits locaux. En tant qu'intermédiaires, ils servaient de relais entre les maisons de commerce européennes et le marché indigène dont ils monopolisèrent une part importante. Identifiés par les Fang à l'islam et au commerce, les Hausa, que la condition socioéconomique plaçait de fait juste derrière les Blancs, ont joui d'un prestige considérable. L'accession du Gabon à l'indépendance nationale le 17 août 1960, et c'est en dépit de l'expansion des activités économiques, tourna le rapport de force en faveur des Fang. Ces derniers s'attribuèrent l'exclusivité de la légitimité nationale en héritant de la direction politique des affaires. Les Hausa, considérés comme des non-nationaux, se sont vus reléguer en situation des citoyens de seconde zone et priver de leurs droits civiques. Cet état de fait trouve ses fondements dans la condition d'étranger que la mémoire leur attribue dans la conception de l'État qu'a société fang. Par ailleurs, la répartition géographique traditionnelle des peuples du Gabon ne tient pas compte du fait colonial et veut que le Woleu-Ntem soit un espace exclusivement fang. Privés de légitimité nationale par la mémoire collective fang et par celle gabonaise, les Hausa se servent de l'histoire pour revendiquer leur appartenance à l'ensemble national gabonais. Le principe méthodologique de cette thèse repose sur l'analyse des récits de vie et des témoignages oraux, sur les entretiens et sur les sources écrites. Cette variété de matériaux nous a permis d'appréhender diachroniquement le fait hausa tant dans le contexte colonial que celui post-colonial. / Québec Université Laval, Bibliothèque 2013

陳澤蕾. / 呈交日期: 2005年9月. / 論文(哲學博士)--香港中文大學, 2005. / 參考文獻(p. 156-174). / Cheng jiao ri qi: 2005 nian 9 yue. / 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. / Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2005. / Can kao wen xian (p. 156-174). / Chen Zelei.

魏英杰. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 189-196) / 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. / Wei Yingjie.

Biological nutrient removal has been studied and applied for decades in order to remove nitrogen and phosphorus from wastewater. However, more anthropogenic uses and the continued demand for water have forced the facilities to operate at their maximum capacity. Therefore, the goal of this thesis is to obtain more compact systems for nutrient removal from domestic wastewater. In this sense, optimization and long-term stabilization of high volume exchange ratios reactors, treating higher volumes of wastewater, have been investigated. With the same target, aerobic granular sludge was proposed as a reliable alternative to reduce space and increase loading rates in treatment plants. However, the low organic loading rate from low-strength influents (less than 1 Kg COD•m-3d-1) results in slower granular formation and a longer time to reach a steady state. Because of that, different methodologies and operational conditions were investigated in order to enhance granulation and nutrient removal from domestic wastewater. / L’estudi de l’eliminació biològica de nutrients s’ha dut a terme durant dècades. Tot i això, la influencia de l’home i l’augment de la demanda d’aigua han forçat a les instal•lacions a treballar a la seva capacitat màxima. Així, l’objectiu de la tesi és obtenir sistemes més compactes per a l’eliminació de nutrients de les aigües residuals. En aquest sentit, s’ha investigat l’optimització i estabilització de reactors amb alts volums d’intercanvi, tractant més aigua. Amb el mateix objectiu, el fang granular aeròbic va ser proposat com una alternativa fiable per tal de reduir l’espai i incrementar les càrregues de les depuradores. Tot i això, la granulació amb influents de baixa càrrega (menors a 1 Kg dQO•m-3d-1) resulta més lenta i més dificultosa alhora d’obtenir l’estat estacionari. Per aquesta raó es van investigar diferents metodologies i condicions d’operació per tal de millorar la granularció i l’eliminació de nutrients de les aigües urbanes.