This dissertation explores humanism, the rediscovery of the culture of ancient Greece and Rome, in late fifteenth- and early sixteenth-century England. It does so with reference to texts, institutional settings, and networks both within and beyond England, and examines the activities of several seemingly minor figures who have been absent from recent scholarship on the topic: John Holt, William Lily, Richard Croke, Leonard Cox, and Thomas Lupset. These figures made distinctive and original contributions to the genres in which they operated, whether the grammatical manual, educational treatise, dialogue, or philosophical meditation. They are also noteworthy for their considerable influence, whether in England or further abroad. With regard to Croke and Cox, the integration of previously unknown sources from France and Germany and overlooked ones from eastern Europe reveals that England could be an exporter and not merely an importer of humanism. Taken together, these individuals demonstrate that English humanism was more sophisticated and complex than its frequent characterisation as 'Erasmian' would suggest. In addition, this dissertation analyses the influence of humanism on two school foundations: St Paul's School and Ipswich College. It re-evaluates the portrayal of John Colet as an anti-intellectual, and understands St Paul's as a deeply personal endeavour, reflecting his desire to do better for the next generation. It establishes the depth and significance of humanism in Cardinal Wolsey's foundation of Ipswich College, hitherto accorded less importance by historians than his Oxford college. The examination of the little-known materials he published on the eve of his fall in 1529, together with reports from staff on its progress, show that he regarded it as central to his ambitious vision for England and to the creation of his own reputation as a civic humanist. This research therefore revises our understanding of a neglected period, and engages with the vexed questions at the heart of the study of humanism: how contemporaries dealt with the tension between their faith and their enthusiasm for pagan culture, and regarded the rival attractions of scholarly leisure and active public service.

論文摘要 本研究所選取的產業為航太業與電子特化業，之所以會選取這兩個產業有下列幾個原因：（1）廠商本身都面臨著產業升級（精密機械□航太，化學/化工□電子特化品）與技術提昇（更高的品質要求，更快速的技術變遷）的壓力（2）在廠商能耐成長的過程中，研發機構（工研院、中科院）在此都扮演著舉足輕重的角色（3）這些廠商在過去的本業中，都有著優良的表現，廠商的核心能耐持續不斷地成長著，績效卓著。 本研究主要是以Leonard-Barton (1995)『知識創新之泉』一書為主軸架構，以個案訪談的方式進行。Leonard-Barton (1995)認為公司未來所需的知識，都係由下列四項主要的學習性活動加以創造及控制。這四項活動分別是（1）有創意地共同解決目前產品所產生的問題（2）採用及整合新方法與工具，以提高內部的作業效能（3）進行正式與非正式的實驗，以建立未來能力（4）從外部尋找專門技術。本研究主要是技術特質對知識創新活動的影響作為探討對象。研究發現如下： （一）、技術知識複雜性越高，響團隊成員的異質性越高，反之，越低。 本研究發現當技術知識的複雜性越低，團隊成員的異質/多元化越低，不需要太多的異業學門知識的挹注，成員的同質性高。反之，技術知識的複雜度越高，團隊成員的異質/多元程度也就越高，成員組成較為多樣。 （二）、技術專屬性越高，內部使用者參與的程度越高，反之，越低。 本研究發現當技術知識的專屬性越高，公司內部越傾向於自行開發新工具/程序，成為廠商專屬的技術能耐（firm-specific），使用者知識整合程度高。反之，當技術知識的專屬性越低，公司傾向於直接自外部買入新設備/儀器，不會自行開發，使用者知識整合程度低。 （三）、技術知識的不確定性越高，越會鼓勵成員做多方嘗試，失敗是必然的；反之，失敗是盡量避免的，不鼓勵團隊成員做無謂的嘗試。 本研究發現當技術知識的不確定越高，越會鼓勵團隊成員作多方常識，容許「智慧型失敗」，失敗是必經之路；對於原型，廠商會先動態地試一個出來，先用一個Idea試試看，粗略一點沒關係。反之，當技術知識的不確定性越低，公司內部比較不會鼓勵團隊成員作『無謂的嘗試』，失敗是要盡量避免的；對於原型，往往是一次就meet客戶的需求，要求精準、盡量完美。 （四）、技術知識變動越快，與下游廠商的網路關係越鬆散，反之，越緊密。 本研究發現，技術知識變動越慢，與下游廠商的關係越是長久且穩定，往來的重點在於品質的確保，而非價格的高低。反之，技術知識變動越快，與下游廠商的關係越偏向於單純的市場交易，合作時間不長，且會常常更換。 （五）、技術知識變動越快，知識吸收介面越廣泛，反之越集中。 本研究發現，技術知識變動越慢，吸收介面越為集中，資訊會特別集中在某幾個人身上。反之，技術知識變動越快，吸收介面越為廣泛，資訊取的管道較為多樣。 （六）、廠商會依循著特定的路徑去累積其特有的動態能耐 （七）、廠商在轉型的過程中，各個能耐構面均有長足的進步 章節目錄 第一章 序論 1-1 第一節 研究動機 1-1 第二節 研究目的 1-2 第三節 研究問題 1-3 第二章 文獻探討 2-2 第一節 知識的內涵與創造 2-2 壹、知識的定義與分類 2-2 一、人力資本 2-3 二、結構資本 2-4 三、顧客資本 2-5 貳、知識的轉換 2-6 參、知識創造過程 2-7 第二節 知識創新活動 2-10 壹、問題解決（Problem Solving） 2-11 一、Leonard-Barton (1995) 2-11 二、Tushman and O’Reilly（1996） 2-12 三、Clark & Wheelwright（1993） 2-13 四、Iansiti & Clark（1994） 2-15 貳、實做與整合（Implementing and Integrating） 2-17 Leonard-Barton（1995） 2-17 參、實驗與原型（Experimenting and Prototyping） 2-20 一、Maidique & Zirger（1985）□『從錯誤中學習』 2-20 二、Leonard-Barton (1995)□『向前失敗』 2-21 三、Tushman and O’Reilly（1996）□『犯錯許可證』 2-23 四、John Kao□『即興創意』 2-24 五、Clark & Wheelwright（1992） 2-24 肆、輸入知識（Importing knowledge） 2-26 一、Leonard-Barton (1995) 2-26 二、李仁芳，黃仁宏（民86） 2-28 三、Tripsas, Mary（1997） 2-29 四、Cohen and Levinthal(1990) 2-31 第三節 技術特質 2-32 一、技術知識的複雜性 2-32 二、技術知識的專屬性 2-32 三、技術知識內隱程度 2-35 四、技術的不確定性 2-37 五、技術知識變動程度 2-41 六、技術路徑相依度 2-42 第三章 研究方法 3-1 第一節 研究架構 3-1 第二節 研究變項說明 3-3 壹、技術知識特質 3-3 一、技術知識的複雜度 3-3 二、技術知識專屬性 3-3 三、技術知識不確定性 3-4 四、技術知識變動快慢 3-5 貳、知識創新活動 3-6 一、共同解決問題 3-6 二、執行與整合新工具 3-6 三、實驗與原型試製 3-7 四、外部輸入知識 3-7 第三節 研究設計與資料蒐集 3-8 壹、研究對象選取 3-8 貳、資料收集方式 3-9 一、初級資料 3-9 二、次級資料 3-11 三、個案撰寫 3-11 第四節 研究限制 3-11 第四章 研究個案彙整 4-1-1 第一節 三通航太 4-1-1 第二節 元富鋁業 4-2-1 第三節 利翔航電 4-3-1 第四節 長興化工 4-4-1 第五節 信通公司 4-5-1 第六節 永光化學 4-6-1 第五章 個案分析與研究發現 5-3 第一節 技術知識複雜度與知識創造活動關連 5-3 【個案驗證1-1】 5-4 【個案驗證1-2】 5-6 【次級個案一】 5-7 【綜合整理】 5-8 【異質性該如何管理】 5-9 第二節 技術知識專屬性與知識創造活動關連 5-11 【個案驗證2-1】 5-13 【個案驗證2-2】 5-15 【次級個案二】 5-16 【綜合整理】 5-16 第三節 技術不確定性與知識創造活動關連 5-18 【個案驗證3-1】 5-20 【個案驗證3-2】 5-22 【綜合整理】 5-24 【個案驗證3-3】 5-26 【綜合整理】 5-28 第四節 技術知識變動快慢與知識創造活動關連 5-29 【個案驗證4-1】 5-31 【個案驗證4-2】 5-32 【綜合整理】 5-33 【個案驗證4-3】 5-35 【個案驗證4-4】 5-36 【綜合整理】 5-37 第五節 其他研究發現 5-38 【個案驗證5-1】 5-39 【次級個案三】 5-48 【個案驗證5-2】 5-50 【個案_三通航太□核心能耐的轉變】 5-50 【個案_元富鋁業□核心能耐的轉變】 5-53 【個案_長興化工□核心能耐的轉變】 5-56 【個案_永光化學□核心能耐的轉變】 5-62 【個案_信通公司□核心能耐的轉變】 5-65 【次級個案四】 5-68 第六章 結論與研究建議 6-1 第一節 研究結論 6-1 第二節 研究建議 6-7 壹、對於廠商的建議 6-7 貳、對於後續研究的建議 6-11

From the begiining of the 20th century producer co-operative bacon factories were established in the south of Sweden. In his thesis Lars Hansson studies how class relations were shaped and transformed within this rural industry. The producer co-operative slaughter associations consisted of a large number of members from smallholders to large scale agrarian producers. The power of the associations was concentrated in the hands of the big producers, but the manangers also had a considerable power, due to their expert knowledge of the buisness and the bacon markets in U.K. The workers of the producer co-operative slaughter houses were mostly unskilled workers, with little or no knowledge of butchering. From the 1910’s the workers unionized but their organisation was not accepted by the employers and harsh labour disputes took place during the 1920’s. From the 1930’s the farmers producer co-operative movement grew all over Sweden and they formed a political alliance with the Social democratic Party. The Swedish labour market became more peaceful as the employers and the unions began to co-operate to a greater extent. The Food Workers Union was more and more integrated in the Swedish society and thereby lost its earlier antisystemic character and were more and more transformed into a systemic movement. The slaughter house workers union had a distinct patriarchal characters from its start and its attitude towards women workers was ambivalent. During WWII, however, the attitude changed and more women were active in class practice in order to improve their situation.

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SILVA, Ricelly Jáder Bezerra da. A tradução da personagem Elizabeth Bennet, de Pride & Prejudice, para o cinema. 2014. 123f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2014. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-08-08T17:31:13Z No. of bitstreams: 1 2014_dis_rjbsilva.pdf: 1467738 bytes, checksum: 9759e052fab69a1d5a79e9bba2afcf35 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-08-08T17:40:42Z (GMT) No. of bitstreams: 1 2014_dis_rjbsilva.pdf: 1467738 bytes, checksum: 9759e052fab69a1d5a79e9bba2afcf35 (MD5) / Made available in DSpace on 2014-08-08T17:40:42Z (GMT). No. of bitstreams: 1 2014_dis_rjbsilva.pdf: 1467738 bytes, checksum: 9759e052fab69a1d5a79e9bba2afcf35 (MD5) Previous issue date: 2014 / This dissertation aims at analyzing the process of translating the character of Elizabeth Bennet, protagonist of the novel Pride & Prejudice, first published in 1813 by the English author, Jane Austen, into the film version Pride & Prejudice (1940), by Robert Z. Leonard. In her novel, Austen criticizes sociocultural patters which relegate women to an inferior position in relation to the male sex. Such criticism is subtlety present in the narrative and, especially, in the character of Elizabeth Bennet, who is seen as an intelligent, ironic and decisive woman. These qualities differ from the moral idea of women in nineteenth-century England. The presentation of this type of female character assures her of a timeless quality which is transmitted to posterity by means of translations. Pride & Prejudice was first translated for the Hollywood film in 1940, in the above mentioned Leonard’s version. Since the cinema is a medium that reaches a large audience of both readers and non-readers of literary works, one may question the strategies that are implied in the translation process of such character to the silver screen. It may be correctly assumed that when thus translated, any social criticism presented by the principal literary character tends to give way to a narrative which proposes entertainment, focusing on the love and comical relationship between the protagonists of the novel. The theoretic basis for the present analysis is based on the following concepts of translation: Lefevere’s translation rewriting (2007) and Cattrysse’s postulate (1995) which conceives film adaptation as a type of translation. Concerning film adaptation, Martin (2005), Eisenstein (2002) and McFarlane’s (2010) studies, which regard cinema as a linguistic art in its own right, were incorporated into our analysis as were those of Candido (2011), Rosenfeld (2011), Bakhtin (2011), Gomes (2011) and Forster (2004), all of whom discuss the structure of the fictional character. Such studies have resulted in a new configuration of the cinematographic character. Based on the criteria on the target system, this configuration permits the deleting of the critical level found in the universe of the novel and introduces the original work to a wider audience, as can be proved by the republishing of the novel in various editions after the release of the film version in 1940. / O objetivo deste trabalho é analisar o processo de tradução da personagem Elizabeth Bennet, protagonista do romance Pride & Prejudice, publicado em 1813, de autoria da escritora inglesa Jane Austen, para o filme Pride and Prejudice (1940), de Robert Z. Leonard. Em sua obra, Austen constrói uma crítica a padrões socioculturais que relegam posição inferior à mulher do século XIX em relação ao sexo masculino. Tal crítica está presente de maneira sutil em sua narrativa, principalmente, centrada na personagem Elizabeth Bennet, pois Austen a apresenta como uma mulher inteligente, irônica, decidida e ousada; qualidades que não eram associadas ao comportamento feminino durante o século XIX. Por apresentar personagens femininas de caráter decidido, suas criações ganham qualidade atemporal, sendo projetadas à posteridade por meio de traduções. Pride & Prejudice foi adaptado pela primeira vez para o cinema hollywoodiano em 1940, na versão supracitada de Leonard. E, sendo o cinema um meio que atinge grande público formado por leitores e não leitores de obras literárias, indagamo-nos quais estratégias foram empregadas no processo tradutório da referida personagem para a narrativa fílmica. Portanto, partimos da hipótese de que, ao ser traduzida para as telas, a personagem é reestruturada e a crítica é apagada para ceder lugar a uma narrativa cômica e romântica. Como base teórica, utilizamos princípios de Estudos da Tradução: Lefevere (2007), com o conceito de tradução como Reescritura e Cattrysse (1995), que concebe a adaptação fílmica como tradução. Quanto aos estudos de cinema e literatura, utilizamos Martin (2005), Eisenstein (2002) e McFarlane (2010); e no que diz respeito a questões literárias, utilizamos Candido (2011), Rosenfeld (2011), Bakhtin (2011), Gomes (2011) e Forster (2004). Os resultados mostraram que ocorreram mudanças na configuração da personagem cinematográfica, obedecendo aos critérios do sistema receptor e apagando o teor crítico encontrado no romance de Austen. Mostraram ainda que a obra fílmica projetou o universo literário do romance para um público mais amplo, dada as reedições do romance durante aquela década, em decorrência da exibição do filme.

Ce mémoire aborde la récupération de la musique à des fins politiques en interrogeant le rapport ambigu entre propagande et diplomatie musicale pendant la Guerre froide. Centrée principalement sur la production musicale aux États-Unis dans les années 1950, l’étude s’attarde aux stratégies adoptées, autant par des musiciens jazz que classique, pour critiquer et dénoncer les politiques discriminatoires d’une chasse aux sorcières communistes lancée par le sénateur républicain Joseph R. McCarthy (1908-1957). Elle montre également comment les dirigeants des États-Unis ont cherché à encenser les valeurs américaines en promouvant internationalement le jazz comme symbole démocratique, en particulier contre l’Union soviétique. Les deux premiers chapitres servent à camper le décor : le premier chapitre brosse par une mise en contexte un portrait politique et historique de la Guerre froide – en partant du postulat que celle-ci trouve ses racines dans la Révolution d’octobre 1917 –, et introduit le contexte sociopolitique des années 1950 en mettant l’emphase sur l’importante influence qu’a eue le maccarthysme, conception politique anticommuniste du sénateur McCarthy, sur la vie américaine. Le deuxième chapitre, également de mise en contexte, établit les différences entre les politiques culturelles américaines et soviétiques. Ce chapitre présente le Cultural Presentations program, le programme d’échanges culturels subventionné par le département d’État, de même que les relations culturelles officielles entre les États-Unis et l’URSS de 1958 à 1985. Les deux derniers chapitres présentent des études de cas afin d’illustrer l’impact sociopolitique sur la vie et la production musicales des années 1950. Le troisième chapitre analyse la présence du jazz au sein du Cultural Presentations program et retrace le parcours de quatre grands musiciens jazz ayant pris part au programme pour faire rayonner le jazz à l’international, tout en soulignant l’ironie d’utiliser des Afro-Américains comme représentants de la démocratie d’une Amérique ségrégée. Le quatrième chapitre traite spécifiquement du genre lyrique américain et des critiques du maccarthysme inscrites dans certaines œuvres de ce répertoire. Une attention particulière est portée à l’opérette Candide de Leonard Bernstein (1918-1990), en raison de l’engagement politique notoire du compositeur et du propos explicitement politique de l’œuvre. Cette recherche vise, en somme, à faire un état des lieux de la récupération politique de la musique en mettant en relation deux visions différentes de son utilisation aux États-Unis / This thesis addresses the subject of the political employment of music by questioning the ambiguous relationship between propaganda and musical diplomacy during the Cold War. Focusing mainly on the musical production in the United States in the 1950s, this study examines the strategies adopted by both jazz and classical musicians to criticize and denounce the discriminatory policies of this communist witch-hunt embodied by Republican Senator Joseph R. McCarthy (1908-1957). It also shows how U.S. leaders have sought to promote American values by internationally promoting jazz as a democratic symbol, particularly against the Soviet Union. The first two chapters serve to set the stage: the first chapter provides a contextualized political and historical portrait of the Cold War – starting from the premise that it is rooted in the October 1917 Revolution –, and introduces the socio-political context of the 1950s by emphasizing the important influence that McCarthyism, the anti-communist political conception of Senator McCarthy had on American life. The second chapter, also contextualizing, establishes the differences between American and Soviet cultural policies. This chapter introduces the Cultural Presentations program, the cultural exchange program funded by the Department of State, as well as the official cultural relations between the United States and the USSR from 1958 to 1985. The last two chapters focus on case studies to illustrate the socio-political impact on music life and productions in the 1950s. The third chapter discusses the presence of jazz in the Cultural Presentations program and traces the journey of four great jazz musicians who took part in the program to promote jazz internationally, while highlighting the irony of using African Americans as representatives of democracy in a segregated America. The fourth chapter deals specifically with the American operatic genre and the criticisms of McCarthyism in some works of this repertoire. Particular attention is paid to Leonard Bernstein’s (1918-1990) operetta Candide, due to the composer’s notorious political commitment and the explicitly political purpose of the work. This research aims to take stock of the political usage of music by linking two different visions of its use in the United States.

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Mathematics has got roots in Finland in the last quarter of the 19th century and came to flourish in the first quarter of the next century. In the first quarter of the 20th century, mathematicians were involved in teaching mathematics at schools and writing school textbooks. This involvement decreased and came to an end by the launching of the ‘New Math’ project. Mathematics education for elite was of positive affect to higher education, and this has changed by the spread of education, the decrease of mathematics teaching hours at schools and the changes in school mathematical curricula. The impact of curriculum changes is evident in Finnish students’ performance in the IEA comparative studies, PISA and IMO.

Mathematics has got roots in Finland in the last quarter of the 19th century and came to flourish in the first quarter of the next century. In the first quarter of the 20th century, mathematicians were involved in teaching mathematics at schools and writing school textbooks. This involvement decreased and came to an end by the launching of the ‘New Math’ project. Mathematics education for elite was of positive affect to higher education, and this has changed by the spread of education, the decrease of mathematics teaching hours at schools and the changes in school mathematical curricula. The impact of curriculum changes is evident in Finnish students’ performance in the IEA comparative studies, PISA and IMO.