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一在彰明馬氏於東漢經學之地位：如馬氏所注諸經皆為古學，故為東漢古學之集大成 者，此其一；以其精於訓詁，實為後世所謂漢學派之大家，其其二；馬氏說經兼採緯 書及陰陽五行之說，乃附和時代之習尚也，此其三；其雜糅今古文之學，為鄭氏注經 融會今古文之先導，此其四；馬氏博通群經，郊氏偏注諸經，亦得馬氏之啟示，此其 五；其注經兼引群書，後世之注疏家遂並相效之，此其六；其說經歸本人事，以發經 義之微旨，繫儒道於不墜，此其七；其解經，驗諸史實，以證經義之不誣，此其八； 馬氏不囿於師法、家法，使後人能放手研經，而無所拘泥，開後世經學恢宏之局，此 其九。 二在明馬氏經學之源流：如易本費氏，書從西州杜林，詩傳毛氏，三禮、春秋多遵賈 逵、鄭眾，孝經從劉歆校定古文，論語則從古論。 三在明馬氏之生平：誦詩讀書，不可不知其人，故列作者生平年譜一章，以明馬氏年 里、才學、性格、仕宦、交遊、著述之大略。 四在分述馬氏訓釋各經之略例，及其要義，以明馬氏經學之梗概。 五在比較馬融、鄭玄、王肅三家經說之異同，以明鄭、王經學之淵源。 六在校輯馬氏經注佚文，以便學者參稽焉。 /

研究董仲舒之政治思想，以春秋繁露、史記、漢書及其對策、書論、賦頌、文集為主 要資料，並參佐當世及以前與其政治思想有關之記載，與後人著作之引申和評述。為 力求研究態度之客觀及無所偏失，多方旁徵博引，以使理論與史實兼顧。其中雖偶語 涉稱羨或評騭，亦皆出自內心對其思想之體認，非敢故意抑揚損益，妄加臆斷。 本論文之內容分為導論、第一章至第六章、結論。 導論：主要說明董仲舒政治思想之性質與義蘊，俾對其思想先有一概括性之認識。 第一章：董仲舒之牛平與著作。仲舒生於鈿漢初，據考證約在惠帝與呂后年間。景帝 時為博士，善治春秋，學士多師尊之。武帝即位參與賢良對策，任江都相，從此為武 帝所重，位未鼎足，知在公卿之上。中廢為中大夫。因為人廉直，公孫弘嫉之，乃薦 為膠西相，恐久獲罪，病免歸家，以修學著書為事，年老以壽終於家。仲舒所著，皆 明經術之意，及上疏條教，凡百二十三篇，而說春秋事得失，聞舉、玉杯、蕃露．清 明、竹林之屬，復數十篇，十餘萬言。而今所傳者，除漢書所載等外，要為春秋繁露 一書。春秋繁露之真偽問題，論者頗多，惟莫衷一是。吾人以為其書為後人收輯而成 ，縱或非全由仲舒所著，然中多根極理要之言，作為研究其政治思想之用，當無不可 。 第二章：董仲舒政治思想之時代背景與淵源。四漢初七十餘年間，正為中央集權君主 專制形成之過程，亦正是道、法、儒三家思想爭勝之時期。道家思想之全盛是在高祖 至文帝時期，其間採「清靜無為」，與民休養生息之政策，府庫充盈後，思圖以振作 ；文景時代申韓刑名之學興起，法家得勢。及自武帝即位，遂採「罷黜百家，獨尊儒 術」之政策，儒家自此定於一尊，成為中國學術思想之主流，仲舒處於道法儒爭勝之 時代，自亦深受時代之影響，而其思想淵源卻以儒家及陰陽家者為主，故漢書謂仲舒 為「始推陰陽，為儒者宗」。 第三章：董仲舒論人性與正名。仲舒論政以人性為起點，從人性論可了解其論政之態 度。孟子主張性善，於為政重明倫教；化荀子主性惡，其論政重體法制度；仲舒謂性 有善質而未全善，故重仁義禮。 /

「漢唐樂府」將非物質文化遺產的南管音樂，結合梨園戲的科步，融淬成以「梨園樂舞」為表演訴求的嶄新團隊「漢唐樂府˙梨園舞坊」。本文即以「漢唐樂府˙梨園舞坊」所展演的作品：《梨園幽夢》、《教坊記》、《韓熙載夜宴圖》、《洛神賦》、《殷商王后》和《盤之古》為主要討論對象。以運用「文化資產」開創「文化創意產業」的研究觀點，結合「跨文化」與「環境劇場」等相關理論開展論述。旨在討論其如何透過文化創意思維，維護提升文化資產的符號價值，創新增添更多的符號元素於展演，使經典文化資產普及於現代視聽。結論透過漢唐樂府和其他新興南管表演團體的比較，突顯其透過多元取材和演出，轉化文化資產為文化創意產業的機制所在，並反思創作形式和內涵的拓展可能。

The evolution of the Home Area Network (HAN) is lead by the proliferation of connected devices inside the home and the deployment of high broadband access network which now allows the delivery of services that can exceed 1Gbit/s. To ensure efficient in-house exchanges, the HAN has to move rapidly toward multi-Gigabit/s connections, in particular the wireless connectivity generally preferred by the customers. Current wireless systems have limited capacities, but new radio standards delivering data-rates up to 7Gbit/s are emerging. Nevertheless, as they address the unlicensed millimeter-wave band, from 57 to 66 GHz, their radio coverage is limited to a single room. Indeed, at such frequencies, the free-space losses are high and the waves do not cross the walls. This thesis proposes to solve this problem by means of the Radio over Fiber (RoF) technology. This consists in capturing the 60GHz radio signals emitted in one room, converting them into optical signals for transmission through optical fibers, and reemitting them in another room. Thus, several RoF transducers will be installed in the home and interconnected by a suitable optical infrastructure to create systems acting at the same time as repeaters and as distribution systems. From the viewpoint of the HAN market, such systems will be competitive only if they are low cost. As a consequence, this work focuses on direct modulation with direct detection (IM-DD) at Intermediate Frequency (IF). In other words, the 60GHz signal is down-converted at a lower frequency around 5GHz before the laser modulation and up-converted to 60GHz after the photodetection. Concerning the optical fiber, silica multimode fiber (MMF) is privileged as it allows the use of low cost and largely available optoelectronic devices working at 850nm.The thesis proposes different RoF architectures, from point-to-point interconnecting two rooms to multipoint-to-multipoint acting as logical buses. After an analog characterization of the optoelectronic components, the RoF link and the domestic cable, these architectures are designed, built and characterized step by step using OFDM modulation according to existing wireless 60GHz standards. Real-time transmissions between commercial devices have also been performed to validate these architectures. Moreover, advanced RoF infrastructures are proposed. First, the RoF systems can be easily improved if the access to their optical media is managed by the radio MAC layer. This approach is therefore studied showing its feasibility. Secondly, an optical system, seen by users as a premium product, has to support the legacy home services commonly used as well as the new ones that could emerge in the future. Thus, innovative multiservice and multiformat infrastructures conveying on a unique optical cable wired IP data, broadcast terrestrial or satellite television, the 60GHz wireless connectivity, and specific formats as HDMI signals are proposed and tested

Founded in 1967, the Amsterdam-based improvising collective the Instant Composers Pool is one of the longest consistently performing groups in improvised music. This thesis forms an ethnography and musicological study of the ICP Orchestra, which originated when the "pool" developed a more coherent line-up around 1980. With a background in experimental music as well as free jazz, their performance practice differs in many respects from the practices of American forms of jazz. Whereas most accounts of improvisation emphasise orality and creative interaction in opposition to the performance of composed music, 'instant composition' defines improvisation precisely in terms of compositional thinking. Moreover, founding member and orchestra leader Misha Mengelberg composed a very diverse repertoire for the group which draws on styles from Duke Ellington to John Cage and uses various forms of compositional and notational techniques to explore the different improvisatory possibilities that they afford, thus blurring the distinction between improvisation and composition both in name and in practice. Apart from a detailed historical and ethnographic description of a group that is central to a genre that has been underrepresented in music-historical research, this thesis investigates the repertoire of the ICP and its use as an opportunity to reconsider the relation between musical text and performance. Drawing on my observations and interviews with the musicians, and connecting these to theories of material culture and science and technology studies, it develops a concept of compositions as animated and animating objects in performance, tools and materials that participate in the creative interactive process of improvised performance rather than textual representations of 'the music itself'. I substantiate this theory with detailed descriptions of ICP performances recorded during fieldwork. This contributes to a rethinking of musical notation and simultaneously brings new insights into improvisation as a creative practice.

A Poem Carved in Stone, a work for piano solo by Washington DC-based Chinese composer Wu Yiming was composed in Spring 2020 and is dedicated to the author of this dissertation. The piece is inspired by the poetry of Han Shan, a recluse who lived during the Tang Dynasty (618-907 A.D.). His poetry is in Chan (Zen) tradition. Wu depicts the imagery and philosophy in Han Shan's poetry through highly complex rhythms, extreme sound effects and pitches, tone clusters, and extended piano techniques. This dissertation provides practical instructions for achieving these effects and executing the unconventional techniques found in this piece, which include playing inside of the piano, various standing and sitting positions, and coordination and balance. A guide to interpret this piece is from both the composer's and the performer's perspective. Observations are drawn directly from communications and coaching received from the composer. This study briefly explores the historical and cultural context of Han Shan's poetry and discusses how Wu's use of modern western compositional devices reflects the Zen philosophy. An interview with the composer is included along with an overview of both his compositions and those of composers who influenced him. It is hoped that this dissertation will encourage pianists who are not experienced with non-traditional techniques to explore new music from living composers.

京都大学 / 0048 / 新制・課程博士 / 博士(経済学) / 甲第18536号 / 経博第498号 / 新制||経||270(附属図書館) / 31436 / 京都大学大学院経済学研究科経済学専攻 / (主査)准教授 矢野 剛, 教授 塩地 洋, 准教授 三重野 文晴 / 学位規則第4条第1項該当 / Doctor of Economics / Kyoto University / DGAM

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La science-fiction chinoise contemporaine gagne une attention considérable de la part du milieu académique et du public ces dernières années. Ce mémoire se concentre sur deux écrivains de science-fiction chinoise représentatifs, Han Song 韩松 (1965–) et Xia Jia 夏笳 (1984–), et examine comment leurs œuvres reflètent de manière critique la société moderne (chinoise) à travers trois sujets : l’identité, le genre et la nation. Les textes analysés sont : « The Passengers and The Creator 乘客与创造者 » et « Beauty Hunting Guide 美女狩猎指南 » de Han Song, « Goodnight, Melancholy 晚安忧郁 » et « A Hundred Ghosts Parade Tonight 百鬼夜行街 » de Xia Jia. En s’appuyant sur les théories en matière de la subjectivité et du langage ainsi que sur les critiques posthumanistes, le premier chapitre montre que les écrits de Han Song et Xia Jia réfutent le point de vue métaphysique de la possession de soi et produisent une vision critique de la subjectivité humaniste (anthropocentrique). Basé sur la discussion de la politique d’identité dans le premier chapitre, la deuxième partie du mémoire porte sur les représentations de genre dans « Goodnight, Melancholy » et « Beauty Hunting Guide ». Ces deux textes révèlent la construction sociale du genre à travers une narration hautement spéculative. « Goodnight, Melancholy » intègre subtilement la critique de l’hétéronormativité dans l’histoire, et « Beauty Hunting Guide » critique la violence et la consommation interhumaine dans la société moderne (chinoise) d’une manière similaire au « A Madman’s Diary 狂人日記 » de Lu Xun. En discutant les discours sur l’État- nation et le sinofuturisme, nous démontrons au troisième chapitre que les nouvelles de Han Song et Xia Jia illustrent pleinement l’ambivalence du concept de « Chineseness ». En un mot, ce mémoire aborde le pouvoir épistémologique des œuvres de Han Song et Xia Jia qui nous permet de reconceptualiser ce que nous comprenons comme « réalité ». / Contemporary Chinese science fiction has gained considerable attention from academics and the public in recent years. This thesis focuses on two representative Chinese science fiction writers, Han Song 韩松 (1965–) and Xia Jia 夏笳 (1984–), and examines how their works critically reflect on modern (Chinese) society through three topics: identity, gender, and nation. The texts analyzed are: Han Song’s “The Passengers and The Creator 乘客与创造者” and “Beauty Hunting Guide 美 女狩猎指南,” Xia Jia’s “Goodnight, Melancholy 晚安忧郁” and “A Hundred Ghosts Parade Tonight 百鬼夜行街.” Relying on theories about subjectivity and language as well as posthumanist critics, I argue in the first chapter that Han Song and Xia Jia’s writings refute the metaphysical view of self-possession and produce a critical vision of humanistic (anthropocentric) subjectivity. Based on the discussion of identity politics in Chapter One, the second chapter focuses on gender representations in “Goodnight, Melancholy” and “Beauty Hunting Guide.” I contend that these two texts reveal the social construction of gender through highly speculative storytelling. “Goodnight, Melancholy” subtly integrates the criticism of heteronormativity into the story, while “Beauty Hunting Guide” critiques the violence and inter-human consumption in modern (Chinese) society in a way similar to Lu Xun’s “A Madman’s Diary 狂人日記.” By discussing discourses about nation-state and Sinofuturism, I demonstrate in Chapter Three that Han Song and Xia Jia’s novels fully reveal the ambivalence of the concept of “Chineseness.” In a word, this thesis addresses the epistemological power of Han Song and Xia Jia’s works that allows us to reconceptualize what we understand as “reality.”