This paper focuses on comparison of two memoirs from different periods of Chinese history: Shěn Fù's Six Chapters of a Floating Life (turn of 18th and 19th century) and Yáng Jiàng's Six Chapters from a Cadre School (first published in 1981). Both memoirs are joined in intertextual relationship; Yáng Jiàng refers to Shěn Fù's text by both title and structure of her work, while Qián Zhōngshū, her well-known husband, presents in his preface Six Chapters of a Floating Life as a book he never liked. This paper examines message of these two memoirs by formal and thematic analysis of topics, genre characteristics and attitude toward life of both authors.

The objectives of this research were to investigate the wear that occurs on the surface of a Hardcoat anodized die-cast aluminum surface, which was sliding against a composite rubber belt. This research investigated known wear theories and the results for previous testing to understand the mechanisms that were likely occurring in this application. These theories indicated that the wear occurring may be reduced by changing the hardness of the materials involved. Archard's equation gave tangible evidence of this fact, but related to the base material and not a surface coating. It was hypothesized that Hardcoat anodizing would follow the theory of Archard's equation and increase the wear resistance of 390 die-cast aluminum when sliding against a composite rubber belt. Standardized wear tests were implemented in order to test this theory. The results of the wear tests indicated that the wear resistance of the Hardcoat anodized coating did not follow the wear theories and wore at a higher rate than the base material surfaces. This is likely due to the phenomenon seen by Jiang and Arnell where the surface roughness influenced the wear rate of DLC coatings. They found that there existed a transition point where the wear rate of the surface increased with an increase of surface roughness. The Hardcoat anodized surface was rougher than the surface of the base material due to alloy materials and the processing characteristics of 390 Aluminum die-casting material. Subsequently the Hardcoat anodized surface wore at a higher rate than did the base surface. A case study was conducted on an ATV to investigate the accuracy of the results from the laboratory testing. This case study showed a significant localized wear groove in the stock CVT drive sheave with little wear occurring elsewhere. The Hardcoat anodized CVT drive sheave did not show evidence of a significant localized wear groove as the stock sheave but indicates that wear occurred more evenly across the surface. This wear is evident due to visible aluminum through the Hardcoat layer. In addition, there was a ridge at the outer diameter of the sheave where the belt could not wear the surface. Both of these items indicated that significant wear occurred on the surface, but the presence of a localized wear groove is non-existent.

現代福利國家的就業安全體係包括三大支柱─就業服務、職業訓練與失業保險，三者 不但在精神上具有一貫性，而且尚具有連環性。此三者在我國尚未完全建立，主要因 素為缺乏法律根據，因而各項業務推動起來不甚順暢。 吾人特擇就業服務此一層面來探討，因為保障人民生存權與工作權的第一步即是人人 都可就業，而且由於我國人口結構、經濟結構、京業結構與社會結構的變遷，導致勞 動力供需狀況發生變化，使得就業服務的需求愈加迫切，進而顯示政府在運用與保護 人力資源上所扮演的角色亦日形重要。 本文以公共政策理論架構來探討我國的就業服務，期能衽充現有研究的不足，並提出 個人淺見，希有助於我國就業服務政策制定與執行之改進。 本文共分六章二十二節，其內容要點如下： 第一章緒論。說明就業服務政策的概念，並論述本文的研究動機、範圍、限制、方法 與分析架構，最後介紹兩種相關的理論。 第二章我國就業服務問題的形成。分別就 國父與 蔣公的就業服務思想及該問題的 背景與就業問題的現況加以分析，最後說明就業服務問題是經由那些途徑進入政府的 議程。 第三章我國就業服務政策的規劃。首先探討我國就業服務政策規劃的演進過程與相關 立法，其次敘述我國就業服務法草案的規劃，最後說明先進國家就業服務政策以供我 國制訂政策的參考。 第四章我國就業服務政策的執行。主要在探討我國就業服務之執行機構、執行經費與 執行情形及成果。 第五章我國就業服務政策的檢討。分別從政策問題的形成、政策的規劃與政策的執行 、三方面，來檢討我國就業服務政策的缺失。 第六章結論─建議。依據前述的說明與檢討，提出近程、中程與遠程的改進建議，期 能有助政府施政的參考。

說唐家將小說包括《說唐後傳》、《說唐三傳》、《反唐演義》與《粉妝樓》四部小說。系列小說前承說唐系列小說，書寫題材由「君王」轉向「家將」，呈現了講史小說發展脈絡本身由「國」而「家」主題更迭的動態移轉過程。又說唐家將小說之題材於史有據，再依民間想像改編創想，承衍脈絡淵遠流長、橫跨古今，其間的家／國想像或合乎正統、或顛覆遊戲，形成官／民、虛／實等等多元對話空間。 論文第二章先討論「前之所承」，梳理小說成書之前，由官方史傳而至民間之平話、詞話、雜劇、傳奇等作品。民間說唱曲藝受官方史傳影響甚深，保持了系列小說國家宏偉敘述的「講史」特色；戲曲搬演深入民間，促成了「離家／榮歸」的情節結構，講史系統與民間戲曲的特色雜揉、交融於小說文本之中，形成說唐家將小說的獨特體質。 論文之第三、第四章進入核心論題，分從「情感關係」與「空間配置」探討小說文本之家／國想像，呼應影響家／國認同之血緣與地緣概念。第三章剖析小說中親子代際、男女性別與敵我陣營關係，發現看似穩固的倫理規範之下，其實隱藏了諸多不盡平靜的衝突與角力。第四章探察系列小說「家、國間遭到架空、戰場空間卻誇張膨脹」的空間配置情形。發現「寒窯」等破碎的家屋意象充斥文本，國朝空間更遭擠壓，只枯澀地擔負故事之間的串場任務；倒是邊境戰場含納各種家、國互動的情感因子，成為民間自掌定義、恣意戲耍的狂歡空間。 第五章再論「後之所衍」，以「個案研究」方式觀察臺灣戒嚴時期由楊麗花領銜主演之電視歌仔戲《薛剛》、二十一世紀初國光劇團創作之新編京劇《新編樊梨花》與本論文寫作當下於東森電視臺上映之電視連續劇《薛仁貴傳奇》三種現代承衍作品，探察系列小說進入現代之後，如何透過情節改編新詮改造家／國想像內涵，使更切合現代人的生命處境，故事持續傳講搬演。 第六章為總結，提出「完成承衍脈絡探討」、「深化家／國想像內涵」與「重估系列小說於小說發展史脈絡中的定位」等三項研究成果。 / The “Novels about family of warriors in Tang dynasty”(說唐家將小說) include “Shou Tang Hou Zhuan”(說唐後傳), ”Shuo Tang San Zhuan”(說唐三傳), “Fan Tang Yian Yi”(反唐演義), “Fen Zhuang Lou”(粉妝樓). Although those novels were combined with folk tales, they were also based on history facts. Thus, there are some opposite views in those novels, such as official vision verses folk culture, reality faces unreality. They inherit the “Novels about Tang dynasty”(說唐系列小說), but the subject matter transforms from the emperor to the family warriors, which reflects the theme transformation flow in history-based-novels. It leaves state and get closer to home. Related texts before the novels have been composed were collated in chapter 2. We can see those stories appeared in folk art “Quyi” (曲藝) were deeply effected by official history story. History vision still remains. At the same time, some Chinese operas have formed the basic structure of these novels, which is “leaving family/ coming home proudly”. Chinese opera and Quyi are two important sources of those novels we referred. Relationship and space arrangement are discussed in chapter 3 and chapter 4 to analyze the imagination of state and of family in the novels. In the study of chapter 3, it seems that conflicts in the novels happen under a stable requirement of ethic. However, code of ethics are shown only in appearance. In chapter 4, we will find out that war spaces are almost overstated, while space of home and state are ignored. Three case studies are put in Chapter 5. They have one thing in common: they are three modern works of art which inherits the series of novels. In Chapter 5, the study focus on how those novels has been revised to adapt nowadays culture. The essay is trying to achieve the following statement from the ” Novels of family warriors in Tang Dynasty”(說唐家將小說): further study to the heritage of tradition Chinese novels; further understanding of the imagination of family and state; revaluate the position of these novels in the history of Chinese traditional novels.

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本研究以統一超商公仔代言人OPEN家族成員為觀察對象，分析其商品符號之迷群樣態，並將這樣的迷群現象與源自日本的贈品及可愛文化相連結，說明其消費意涵。 本研究的理論根據為Baudrillard的符號消費理論以及John Fiske關於迷現象的論述。研究發現，OPEN將從最初的贈品形式演變為超商集點活動的贈品主角，並進一步走上獨立品牌的道路。迷群透過不斷地消費OPEN家族這個可愛符號，達至閃躲社會規範的愉悅感以及對美好童年的懷舊想望。她們對於「可愛商品」的喜愛，其重要關鍵便是OPEN家族成員的形貌之為符號，背後所指涉的「嬰兒貌」（infancy）特質。本研究的受訪者之為迷群，展現了典型「迷」的特質，他們藉由在網路上大量貼出自己的蒐藏與OPEN家族成員的合照，作為一種文化資本的累積，為其顯著的迷群樣態。另外，這些迷群也會在網路上積極的貼文、串聯，無論是線上或線下的迷群活動均十分積極。 / The present study takes mascots of the 7-Eleven convenience stores in Taiwan　as the research objects. Through the analysis of the fans characteristics who love the symbols (i.e. the mascots), this research hopes to link the fandom to the “kawaii” and free gift cultures originated from Japan. This study adopts Baudrillard’s symbolic consumption and John Fiske’s fans theories to interpret this fandom culture prominent in Taiwan. It reveals that products of the “OPEN-jiang Family,” created by 7-Eleven convenience store, emerged originally as free gifts but gradually transform themselves to paid and even collected items as they garner more support from the zealous consumers. Through continuous consuming behaviors on these merchandises with “kawaii”characters, fans are able to escape social norms that discourage adults to act like mascot-loving children. Fans interviewed said that their love for OPEN-jiang, resulted from their consuming behaviors, help them to regain fabulous childhood memories and pleasure. The key concept behind these “kawaii” symbolic consumptions is “child-like infancy. “In addition, through the sharing of a large quantity of photos on their collections, fans treat the behavior of such capital accumulation as their main goal in fans’ life. They also actively communicate and interact with each other, both online and offline, sharing a feeling of camaraderie in the fan community.

詩韻（一般指《詩經》韻腳）與諧聲是上古音研究中的兩大支柱，是漢語內部的系統材料。就此而言，在上古音研究中，其重要性遠遠高過通假異文、聲訓、讀若、又音等等其他材料。其中，諧聲因其同時反映聲韻調各方面的信息而尤為關鍵，自清代至今備受重視。清儒如段玉裁等人大量製作「諧聲表」，利用「諧聲表」討論古韻。現代學者如高本漢等人提出「諧聲原則」，發掘諧聲在聲母研究方面的重要價值。利用諧聲討論上古音，前賢時修均有不同程度的重要發現。 「諧聲表」提綱挈領、以簡御繁，用諧聲聲符串聯起上古韻部。清儒中，江有誥分部精審，其《諧聲表》製作最為精良。 本文以江有誥《諧聲表》為研究對象，探討了江氏諧聲研究的內容、成就及貢獻。通過判斷聲符歸部、討論注音形式、分析諧聲現象，探討「諧聲表」的演變源流、觀察上古的韻部和聲調。 本文研究的主要創新點和價值在於以下幾個方面： 一、補前人之缺，全面探討江有誥《諧聲表》 江氏的古音研究備受推崇，但關注詩韻者多，討論諧聲者少。即使有所涉及，也多為局部討論或宏觀論述。 我們首次全面、系統、深入地檢討江有誥《諧聲表》，討論其中的諧聲現象、反切注音、聲符歸部等等。我們深入分析《諧聲表》的全部注音材料，論述其性質；探索江有誥《諧聲表》所見之諧聲現象，印證前人的觀點，藉此確定其價值；判斷聲符歸部正誤，明確江有誥失誤之處及原因，全面補充、訂正其《諧聲表》。 本論文是關於江有誥《諧聲表》的系統研究，對於學界利用江氏《諧聲表》討論諧聲現象、進而探討上古音系等相關工作皆有所助益。 二、提出新的觀察角度，從音韻史的視角討論江有誥的諧聲研究成就。 前人討論諧聲，但是多從聲符歸部的正誤入手。目的在於確定聲符歸部，鮮少涉及歸部差異的背後，諸家不同的緣由與考量。 而我們選擇了「諧聲表」製作的角度，把江有誥《諧聲表》放到清儒「諧聲表」的演進序列之中，以文本內部研究為起點，將其置於諧聲研究史的角度之下觀察。我們比較段玉裁、王力、周祖謨、董同龢等人的《諧聲表》，分析歸部原則、實質差別、材料取捨、字形認識等多項差異，討論《諧聲表》製作的傳承與演變，判斷江氏《諧聲表》在諧聲研究史上的成就、價值及地位。 溯往而知來，本論文對於檢討諧聲研究方法的理論與應用具有補充和參考意義。 / Rhyme and pictophonetic characters are the two pillars of the study of ancient sound, and it is the internal systematic materials of Chinese. In view of this, its importance is much higher than the borrowed character（假借字）, shengxun（聲訓）, duruo（讀若）, youyin（又音） and so on. Among them, pictophonetic characters are particularly critical because of its simultaneous reflection of all aspects of Chinese ancient sound. And since the Qing Dynasty,they have received so much attention. Confucian scholars in Qing Dynasty made a large number of pictophonetic table|（「諧聲表」）, and use them to discuss the ancient rhyme, such as Duan Yucai（段玉裁）. Modern scholars such as Klas Bernhard Johannes Karlgren put forward the pictophonetic principle（「諧聲原則」） to discover the important value of pictophonetic characters in the study of consonants. Using the pictophonetic principle（「諧聲原則」） to discuss the ancient sound, scholars always have different findings. Pictophonetic table（「諧聲表」） uses less to accomplish more, links a series of ancient rhyme. In Qing Dynasty, Jiang Yougao（江有誥） divide rhyme accurately, his Pictophonetic table（〈諧聲表〉）is the most sophisticated. This paper focuses on the content, accomplishment and contribution of Jiang's Pictophonetic table（〈諧聲表〉）. We discusses the form of fanqie（反切），the phenomena of pictophonetic characters, the origin and evolution of pictophonetic table（「諧聲表」）, and we also observes the ancient rhyme and tone. The full text is divided into six chapters. We believe that the main innovation and value of this paper lies in the following aspects: 1、Complement the previous lack of study about Jiang Yougao's（江有誥） Pictophonetic table（〈諧聲表〉）, and we give a comprehensive discussion. Jiang's research is highly respected, but people gave more attention to the poem rhyme and discussed about pictophonetic characters less. Even if there is involved, but also mostly local discussion or macro discussion. For the first time, we have comprehensively, systematically and in-depthly reviewed Pictophonetic table（〈諧聲表〉） of Jiang Yougao（江有誥）, discussing the the form of fanqie（反切）, the phenomena of pictophonetic characters. We analyze the phonetic materials of Pictophonetic table （〈諧聲表〉）; explore the phenomenon seen in Jiang's Pictophonetic table （〈諧聲表〉）. There are patent errors in Jiang's Pictophonetic table （〈諧聲表〉）, and we complement and revise it. We believe that this paper is a systematic research of Jiang's Pictophonetic table（〈諧聲表〉）, which is helpful for the scholars to discuss the pictophonetic characters phenomena and to discuss the ancient phonology and other related works. 2、Put forward a new point of view and discuss the achievements of Jiang Yougao's （江有誥）Pictophonetic table（〈諧聲表〉） from academic perspective. The previous discussion of pictophonetic characters rarely involved to the differences and the various different reasons behind the differences. We chose the point of the view making pictophonetic table（「諧聲表」）, put Jiang Yougao's（江有誥） Pictophonetic table（〈諧聲表〉） into the the evolution of Qing Dynasty pictophonetic table（「諧聲表」）sequence, we catch the internal research of the text as a starting point, put it into the study of the history of the view of pictophonetic table（「諧聲表」）. We campare Duan Yucai（段玉裁）, Wang Li（王力）, Zhou Zumo（周祖謨）, Dong Tonghe（董同龢）'s pictophonetic table（「諧聲表」）in different aspects such as pictophonetic characters, principles, the choice of materials, different understanding about characters’shape. We gave the judgment about Jiang Yougao（江有誥） in the history of pictophonetic table（「諧聲表」）, also about the achievements, value and status. We believe that this paper can give the reference to the theory and application of research for pictophonetic characters.

No description available.

李志綱. / 論文(哲學博士)--香港中文大學, 2004. / 參考文獻 (p. 95-102). / 中英文摘要. / 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. / Li Zhigang. / Zhong Ying wen zhai yao. / Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2004. / Can kao wen xian (p. 95-102).