The thesis examines four films by Lee Han—Wandeugi (2011), Thread of Lies (2013), A Melody to Remember (2016) and Innocent Witness (2019)—that highlight disability problems in contemporary South Korea. While exposing the prejudice against and misunderstanding of people with disabilities embedded in society, these motion pictures promote social integration through development of trusted relationships and effective communication within familial structures. The representations of disability indicate that the cinematic images of exclusion can reinforce disabled characters' marginalized identity and promote inclusive efforts among the viewer at the same time. Through textual, cultural, theoretical analysis, it is argued that the films progressively decrease discriminative description of disability and gradually empower isolated individuals, making Innocent Witness an exemplary disability rights film.

In this thesis, I argue that a neo-Marxist critical theory perspective on self-driving cars shifts critical conversations from risks and benefits to concerns about the commodification of free time necessary for our human experience of autonomy. First, I outline that neo-Marxist perspective by charting the different types of power exercised by a capitalist in order to increase their surplus. I then analyze Karl Marx's conception of time in economic exchange to show that, under capitalism, power is exercised over labor through the commodification of workers' free time. I then introduced Michel Foucault's concept of biopower to transition to the commodification not only of labor but also of bodies. Then, I introduce contemporary German philosopher Byung-Chul Han's concept of psychopolitics as a neo-Marxist critique of the exercise of power over the psyche of individuals in order to increase their surplus. These philosophers' models shift commodification from labor to bodies to information. In the final section, I apply Han's contemporary critique of power dynamics to the case of self-driving cars (SDCs) to show that the technologies they represent may serve to perpetuate the negative implications of a constantly optimizing society: a continuation of commodification of the very conditions of labor. This analysis illuminates an overlooked possible negative implication of this emerging technology, as contemporary literature focuses heavily on the developer of the self-driving cars rather than the user and glosses over possible concerns of alienation of the workers' time itself. I argue that increases in "free time" proposed by the implementation of self-driving cars will inevitably be used for "auto"-exploitation, or, self-exploitation. This thesis will contribute to developing work on the effects self-driving cars have on their users, rather than emphasizing effects on society or our environments.

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本論文以「寒山詩及其版本之研究」為題，約十二萬字，共分六章完成。 第一章緒論。敘述本文寫作動機、目的、研究方法，以及主客觀的限制。 第二章寒山子之時代與家世。共分二節。寒山子身世如謎，人言人殊，故第一節乃蒐 集前人的考證，而於第二節參照各家說法，略加辨證，以明寒山子的時代，以及家世 。 第三章寒山詩之版本。此章為全文重點一。按海內外所知見的寒山詩版本，說明其版 本形式，並考述其源流。 第四章寒山子之思想。共分三節。寒山子亦儒亦道亦佛，本章引用寒山詩以證明寒山 子發端於儒，出入於道，而終極於佛禪。 第五章寒山詩之內容與形式。共分二節。此章亦為全文之重點。第一節係寒山詩內容 之研究，依其表現而分為俗情詩、傷感詩、諷刺詩、閒適詩、玄悟詩五大類。第二節 係寒山詩形式之研究，選就語言、聲律、修辭技巧等特色加以賞析。 第六章結論。旨在陳述歷代及近人對寒山詩的評價，以及寒山詩的影響，並印證「實 用理論」為寒山詩的文學觀。

Cette thèse concerne l’histoire, l’archéologie et la géographie historique de la Chine ancienne. Elle porte sur les formations des commanderies impériales formées aux frontières de la dynastie des Han occidentaux (206 av. J.-C. – 9 apr. J.-C.). À la charnière des IIe et Ier siècles av. J.-C., le maintien des territoires conquis passait par une stratégie impériale complexe allant d’une phase d’occupation militaire jusqu’à la mise en place d’une politique migratoire de populations civiles issues du centre de l’empire. En nous concentrant sur Dunhuang (province du Gansu), la plus lointaine des commanderies formées aux marches occidentales du territoire, nous suivons localement ces stratégies d’acquisition et d’occupation. L’analyse se fonde sur les missions de terrain menées par l’auteur, sur la relecture des Histoires dynastiques, la prise en compte des données matérielles issues des fouilles et prospections archéologiques et l’exploitation de sources épigraphiques inédites. Par le biais d’une nouvelle méthodologie, nous parvenons à individualiser son développement au sein d’un territoire situé au carrefour commercial et diplomatique avec les royaumes et cultures centre-asiatiques. De la mise à jour de sa cartographie antique et de sa chronologie, il résulte une révision complète des premières phases de développements des principaux centres administratifs militaires et civils de Dunhuang. / This dissertation centers on the history, archeology and historical geography of Early China. It examines the steps of establishment of the imperial commanderies founded in the vicinity of the Western Han dynasty boundaries (206 BCE – 9 AD). At the turn of the second and the first centuries BCE, the imperial strategical efforts made to stabilize of newly conquered territories passed through a complex system. Starting from the military occupation il lead to the migration of populations from the center of the empire. Focusing on Dunhuang (Gansu Province) – the westernmost commandery established with the Empire borders – we follow at regional scale those strategies of conquest and occupation. In addition of various fieldwork performed by the author, this research is based on a different approach of the Dynastic Histories, the use of archaeological data and the exploitation of untrodden epigraphic material. By using a new methodology, we have managed to individualize its development within a territory located at the crossroads of commercial and diplomatic highways with the Central-Asian kingdoms and cultures. As a result of its cartography and chronology being put up to date, we have obtained a complete revision of the first steps of organization of the main military and civilian centers of Dunhuang.

Wuhan Han Opera Theater (WHOT, formerly Han Opera) is a 400-year old regional opera based in Wuhan, in Hubei Province, in China. WHOT’s recent designation as a public institution under China's neoliberal creative economy initiative to enter the global market has necessitated its transformation from a cultural institution (wenhua jigou) into a creative industry (wehua chanye). As such, WHOT must now create adaptive strategies, alter traditional conventions of performance, infrastructure, education and community presence, reconstitute traditional social functions at the national level, and most importantly, manage a relationship with the government that is entirely novel for both. In the summer of 2016, WHOT participated in two government-led projects: Opera into Campuses and the Chinese National Arts Fund. These programs were the focus of my ethnographic fieldwork, to identify possible effects of the creative economy initiative on a traditional musical institution. Specifically, inquiry was made as to whether and how creative musical and organizational adaptations were being decided, implemented and executed, and as to how the outcomes of these adaptations were being evaluated. Despite using an ethnographic approach, findings from the preliminary study were found to be much more broadly generalizable and applicable across disciplines than expected. As a result, this thesis makes the following arguments: for modernization of an institution of traditional music to be effective, a relationship must exist whereby the transitioning institution is given creative license to generate continued socio-cultural productivity through its creative class ("talent") in joint cooperation with, rather than dependence on, government agencies. The goal must be to revitalize rather than simply preserve such an institution, and to avoid cultural attrition of unique musical qualities of the institution.

男女愛情問題方面，東洋古來鮮有公開研究。東西方文化之差異，此為其中一原因。 余在此論文主研討中國古代男女關係─亦可謂女性倫理觀─、以便了解中國文化之特 質及其生成。不但中國、即受儒家思想影響的韓國李朝，亦頗有關係。今試分析評價 男尊女卑思想，為將來中國與韓國之社會前途作一參考並有所展望，此固吾之所願也 。 第一章緒論：論及本論文寫作之目的。在於研討中國支代婦女在中國文化發展上之役 能，地位與男性關係之變遷。換言之，亦即探求所謂「三從四德七出」之形成背景， 以其結果，以展望以後之男女與夫婦關係。 第一節中國倫理觀 一、中國倫理觀之特質： 二、中國倫理之起源：（一）由於對自然之敬畏。（二）由於對死亡之恐懼。（三） 人性之發展。（四）行動之節制。 第二章先秦時代之倫理觀 第一節三皇五帝之傳說時代：推想當時，母權社會、在女尊男卑之觀念之下，男女之 關係，只屬異性關係。 第二節首述歷史初期─夏殷─之男女關係：據地下材料，例如仰韶、龍山及甲骨等 之資料，可推想當時倫理，即為(1) 家族制度業已確立。(2) 男女有別。(3) 有尊重 婦女之風俗。(4) 有孝親敬老之風俗。(5) 有互助合群之美俗。男女之間強弱之關係 。 第三章漢代女性倫理觀 第一節、政治社會及宗教思想與婦女倫理觀之影響。 第二節、劉向列女傳之女性倫理觀。 第三節、班昭女誡之女性倫理觀。 第四節、後漢書列女傳之女性倫理觀。 第五節、漢代女性倫理觀之實況。 第四章結論：中國婦女向以順服於丈夫，盡事於舅姑為己務，只為維持中華傳統， 鞏固宗法社會與政治組織。因而中國婦女不得不百般忍受而成政治上之犧牲。中國男 女平等權之獲取雖較西歐為晚，但中國婦女以柔順、貞靜、遵禮之態度協助男性創造 中原大一統之國，人口繁衍，民族愛好和平與中庸，不可分裂，進而形成中華五千年 之傳統文化。若中國婦女未耐於如上所述之政治犧牲，至今不能產生如此偉大民族。 /

西漢賦篇幅閎大，詞藻名物也十分博雜；加以上古音與現代語音迥然不同，遂使讀者難以領受作品爲「朗誦」而設計的音韻之美。因此，本文舉司馬相如賦為例，採取「語言風格學(Stylistics)」的概念，歸納、統計常用的聲母、韻部和聲調，期以具體證據說明西漢賦「極聲貌以窮文」 的音韻特徵，並藉由賦篇音值的構擬，呈現其朗誦時音韻和諧、對比的表現。 西漢賦多為「言語侍從之臣」娛侍君上的作品，相較之下，抒情色彩則較淡薄。在當時最顯明的特色，實為「出乎口」而「快乎耳」。賦篇形式多排偶，可分析其音韻搭配的關係，故本文檢索唐作藩《上古音手冊》，求得各字之聲韻調類，再以李方桂、丁邦新的上古聲母和西漢韻部擬音為標注依據，分別在四章中整理且歸納其聲母、韻部及聲調，乃至「重疊形式(reduplicated form)」 的音韻特徵。 本文第一章交代研究動機、方法及範圍，並整理前人研究成果；第二章就「聲母相諧的排偶句」、「頂真的聲母複沓」兩項，整理相如賦相關的例子數及其比例，接著在第三章根據韻腳的通押關係，歸納「韻部相諧的虛字排比句」「韻部相諧的排偶句」「陽入聲韻搭配的排偶句」的例子；第四章則整理聲調複沓或對比的排偶句，突顯相如賦既相諧又對比的音韻搭配。第五章比較相如賦雙聲、疊韻、疊字三種的音韻特徵，此外亦於各章小結製表比較七篇賦的異同。最後，在結論和〈附錄一〉以具體擬音，呈現其朗誦實況，並指出本文價值、研究限制和可繼續發展的相關議題。 / West-Han Rhapsodies are difficult to read owing to their complicated expressions as well as magnificent structure. Moreover, the archaic pronunciation differs greatly from the modern one, which impedes the readers from comprehending and feeling the phonological beauty particularly designed for recitation. This article aims at explaining the phonological characteristics of Sima Xiangru’s rhapsodies, which were intentionally written in an exaggerative language. The concept of “Linguistic Stylistics” is adopted to categorize their vowel clusters, consonant clusters and tones. Furthermore, by means of a phonetic simulation, the rhapsodies’ phonological harmony and comparison in recitation is presented. West-Han Rhapsodies are works by “Chinese jesters” to amuse the emperors. There fore, they are magnificent in form and exaggerating in rhetoric, which dwarfs the lyrical texture. In fact, rhapsodies at that time were written in the way that is colloquially euphonious to the ear. Parallelism is a prominent characteristic of rhapsodies, which helps analyze the phonological harmony.

Cette thèse vise à examiner la représentation des mémoires fictionnelles dans le cadre global de la littérature chinoise contemporaine, en montrant l’influence du déplacement et du translinguisme sur les œuvres des auteurs qui écrivent soit de la Chine continentale soit d’outre-mer, et qui s’expriment à travers des langues différentes. Les quatre romans Zha gen (Prendre racine) par Han Dong, Balzac et la petite tailleuse chinoise par Dai Sijie, The Crazed (La démence du sage) par Ha Jin et Rou zhi tu (Beijing Coma) par Ma Jian seront comparés en tant qu’images des mémoires individuelles de la Révolution Culturelle et du mouvement pour la démocratie qui a eu lieu à Tian’anmen en 1989. Dans la première partie, nous discuterons les nouvelles approches théoriques qui configurent la littérature chinoise contemporaine comme une entité polyglossique et déterritorialisée. Dans la deuxième partie, nous nous concentrerons sur deux exemples d’autofiction, à savoir Zha gen et Balzac et la petite tailleuse chinoise, en comparant leur représentation du temps figuré comme une évolution identitaire de l’individu. Dans la troisième partie, nous analyserons les deux romans The Crazed et Rou zhi tu, en mettant en évidence le caractère spatial de la mémoire, transposé en forme de témoignage fictionnel. Finalement, dans la quatrième partie, nous explorerons les interactions entre la littérature chinoise et la littérature mondiale, en plaçant les cas analysés dans une perspective translinguistique. À travers la comparaison entre les versions chinoise, anglaise et française des romans, nous montrerons comment les mémoires déterritorialisées sont modulées par la traduction et l’autotraduction. / This thesis aims to investigate the representation of fictional memories in the context of global Chinese literature, showing how displacement and translingualism affect the works by authors from the Mainland and from overseas, who express their creativity in different languages. The four novels Zha gen (Striking Root) by Han Dong, Balzac et la petite tailleuse chinoise (Balzac and the Little Chinese Seamstress) by Dai Sijie, The Crazed by Ha Jin, and Rou zhi tu (Beijing Coma) by Ma Jian are compared as reflections of individual memories of the Cultural Revolution and of the 1989 Tiananmen Square protests. The first part of the thesis addresses the new theoretical approaches configuring contemporary Chinese literature as a polyglossic and deterritorialised entity. The second part focuses on the analysis of two examples of autofictions, Zha gen and Balzac et la Petite Tailleuse chinoise, comparing their representation of time as reflected in the evolution of the individual. The third part explores the two novels The Crazed and Rou zhi tu, focusing on the spatial character of memory transposed in the form of a fictional témoignage. Finally, the fourth part investigates the interactions between Chinese literature and world literature, placing the cases analysed in a translingual perspective. The comparison between the Chinese, the English and the French versions of the novels shows how deterritorialised memories are modulated through translation and self-translation. / La tesi esamina la rappresentazione narrativa della memoria nel quadro globale della letteratura cinese contemporanea, mostrando l’influenza di dislocamento e translinguismo sulle opere di autori cinesi che scrivono tanto dalla RPC quanto dall’estero, in cinese o in altre lingue. I quattro romanzi Zha gen (Mettere radici) di Han Dong, Balzac et la petite tailleuse chinoise (Balzac e la piccola sarta cinese) di Dai Sijie, The Crazed (Pazzia) di Ha Jin e Rou zhi tu (Beijing Coma) di Ma Jian saranno comparati come immagini di memorie individuali della Rivoluzione Culturale e delle proteste studentesche di Piazza Tian’anmen. La prima parte si incentrerà sulla discussione di nuovi approcci teorici che inquadrano la letteratura cinese come un’entità poliglossica deterritorializzata. La seconda sarà dedicata all’analisi comparata di Zha gen e Balzac et la petite tailleuse chinoise e metterà in evidenza la rappresentazione del tempo in termini di evoluzione identitaria dell’individuo. Nella terza parte, il paragone tra The Crazed e Rou zhi tu sottolineerà il carattere spaziale della memoria come testimonianza narrativa. La quarta parte, infine, esplorerà le interazioni tra la letteratura cinese e la letteratura mondiale da una prospettiva translinguistica. La comparazione tra le versioni in cinese, inglese e francese dei romanzi mostrerà come tali memorie deterritorializzate sono modulate dalla traduzione e dall’autotraduzione.