La Chine est en processus d’urbanisation accélérée. Le Bureau national des Statistiques a rapporté une population de 1,3 milliard à la fin de l’année 2010, au moins la moitié d’entre eux vivent dans la zone urbaine. L’urbanisation chinoise depuis 1949 montre un modèle spécifique par l’héritage historique de l’économie planifiée centralisée. Après la transition économique de 1978, le système de carnets de résidence, le hukou, qui maintient la population paysanne dans les zones rurales est progressivement assoupli afin de permettre, sans changer le statut, de mobiliser la main-d’œuvre rurale pour servir le gigantesque chantier de l’agglomération urbaine. Le mouvement a pris son vrai départ en 1990. La Chine est entrée dans une nouvelle étape urbaine : celle de la mégalopolisation. L’objet de cette thèse est de comprendre, d’analyser, au travers de la nature et de l’évolution des principales mégalopoles chinoises, la spécificité du modèle urbanistique chinois, en lieu avec les spécificités institutionnels et les politiques publiques, et d’éclairer toute la diversité des situations réelles dans le but de favoriser l’urbanisation et le développement économique chinois plus stable et durable. Nous cherchons à expliquer l’urbanisation chinoise par les économies d’agglomération, plus particulièrement à examiner les caractéristiques de la croissance urbaine au cours de cette période récente de forte urbanisation afin de comprendre pourquoi la mégalopolisation est emporté sur la métropolisation en Chine. Au cours de cette réflexion, à la fois théorique et empirique, nous nous sommes demandé dans quelle mesure la stratégie d’urbanisation chinoise pouvais faire l’objet de comparaison avec les autres pays émergents, notamment avec l’Inde qui est d’autant plus peuplé que la Chine, afin d’enrichir les modèles d’urbanisation pour les autres pays en développement. / China is in the process of accelerated urbanization. The National Bureau of Statistics has reported the population of 1.3 billion at the end of year 2010, at least half of them live in the urban area. The Chinese urbanization since 1949 shows a specific model by the historical heritage of the centralized planned economy. After the economic transition of 1978, the system of residence notebooks, the hukou, which keeps the peasant population in the rural areas is gradually relaxed to allow, without changing the status, to mobilize rural workforce for serving the gigantesque construction of urban agglomeration. The movement took its real start in 1990. China has entered a new urban stage: that the megalopolization. The object of this thesis is to understand, to analyze, through the nature and the evolution of principal Chinese megalopole, the specialty of Chinese urban model, with the institutional characteristics and the public politics, and of lighting all the diversity of real situations in the object for the urbanization and the economic development of China more stable and durable. We study to explain China’s by agglomeration economics, especially to examine the characteristics of urban grow during this recent period of strong urbanization pour understand why in China the megalopolization is taken on the metropolization. During this discussion, both theoretical and empirical, we have require in which scale the Chinese urbanization strategy can do object of comparison with others emerging countries, surtout with India who is the same grand population of China, to enrich the urban development model for the others countries in developing.

Uppsatsen analyserar tre kinesiska science fiction-böcker: Hao Jingfangs Peking-den hopfällbara staden (2012), Chen Qiufans Waste Tide (2013) och Liu Cixins The Three-Body Problem (2008). Syftet med studien är att undersöka vilken typ av samhällskritik som finns i verken. Uppsatsen syfte har besvarats genom att tolka verken utifrån en litteratursociologisk textanalys i kombination med begrepp från klassteori och narratologi. Resultatet visar attPeking-den hopfällbara staden och Waste Tide ger uttryck för kritik mot social ojämlikhet irelation till klassamhället. I Waste Tide finns även kritik mot miljöförstöring i relation till teknologisk framväxt. I The Three-Body Problem finns det en humanistisk kritik mot hur människor fick lida under kulturrevolutionen i Kina.

This dissertation investigates roles of cultural practice in China’s revolution. It begins with cultural experiments in the War of Resistance to Japan (1937-1945) and culminates with the agrarian cooperativization of the People’s Republic of China in the 1950s. I interrogate how China’s “cultural workers” –– meaning the writers, performers, artists, and filmmakers engaged in the revolutionary project –– participated in mass mobilization. In doing so, I develop elements for a new approach to analyzing cultural works in their relations to political movements. This approach aims to address my study’s driving question: how did the practice of cultural workers advance, challenge, and transform China’s revolutionary process? My formal approach is drawn from an issue at the heart of revolution; namely, that of time. I argue that revolutionaries repeatedly wrestled with remaking time–– whether to and how to break with the past in constructing the future. My study investigates this problematic as it was developed in two temporal fields: campaign time and narrative time. Activists developed campaign time, or standardizing temporal structures, to reform society through sequences of mass mobilization. Distinct from campaign time, cultural workers articulated narrative time through acts of narrative creation in literary prose, theater, art, and cinema. I argue that by analyzing the collisions, collusions, and contradictions between campaign time and narrative time, we can define cultural workers’ interventions in the revolutionary process. The first four chapters focus on the historical emergence of campaign time through mass movements of the Communist base areas during the War of Resistance to Japan. I seek to demonstrate: first, that a coherent series of strategies for mass movements was developed, bearing consistent, repeatable patterns for social reorganization; and second, that cultural workers contributed to, contradicted, and at key moments innovated mass movements through expressions of narrative time. Each of these four chapters proceeds chronologically through major mass movements: the reform of “vagrants” in chapter one; family reforms and women’s labor in chapter two; the hygiene movement in chapter three; and chapter four takes up the anti-spirit medium movement. Chapter five argues that the narrative time of novels stretched the political imagination of campaign time in the scope of the agrarian cooperative movement (approx. 1953-1957). The sixth and final chapter focuses on the case of Liu Qing’s unfinished epic The Builders. I interrogate fraught relations between narrative and campaign times in the novel’s historical trajectory to foreground a problem I call campaign-narrative equivalence. When cultural narratives were conflated with historical movements, such equivalences were produced. The campaign-narrative equivalence is not only a problem for historical interpretation but also for the political imagination. By disentangling these equivalences, which have been grafted upon histories of cultural creation and political transformation, I seek to grasp the distinctive contributions and transformative valence of the cultural worker in China’s revolution –– for then and now.

It is rarely possible to use an optimal classifier. Often the classifier used for a specific problem is an approximation of the optimal classifier. Methods are presented for evaluating the performance of an approximation in the model class of Bayesian Networks. Specifically for the approximation of class conditional independence a bound for the performance is sharpened. The class conditional independence approximation is connected to the minimum description length principle (MDL), which is connected to Jeffreys’ prior through commonly used assumptions. One algorithm for unsupervised classification is presented and compared against other unsupervised classifiers on three data sets. / <p>Report code: LiU-TEK-LIC 2006:11.</p>

Magnetic resonance imaging (MRI) is a critical diagnostic tool in medical practice, enabling non-invasive visualization of anatomy and physiological processes. Nonetheless, MRI has inherent spatial resolution limitations, which may limit its diagnostic capabilities. Recently, a new technology employing Radio-frequency Amplification by Stimulated emission of Radiation (RASER) has emerged to improve MRI resolution. Similar to a laser, RASER-MRI signals spontaneously emerge without the need for a radio frequency pulse(RF), which additionally enhances the safety of the process. However, RASER-MRI images frequently exhibit a significant presence of image artifacts due to the nonlinear behavior between image slices. This master’s thesis aims to determine whether image artifacts can be eliminated using deep artificial neural networks. The neural networks were trained on purely synthetic data, due to the complexity of real RASER experiments. The implementation was split into three phases. The first phase focused on the reconstruction of 1D RASER profiles. The test done during this phase showed that the reconstruction was preferably made with a Convolutional Neural Network (CNN). The CNN does not require knowledge of the total population inversion, and the ideal input was the most volatile RASER spectrum. The second phase was dedicated to reconstructing simulated RASER-MRI images. This phase started with the creation of a random RASER-MRI image generator which was used to generate the training and testing data. The reconstruction was successful and was further enhanced with an image-to-image Unet. The entire deep learning pipeline did not suffice for real data, which sparked the third phase. The third phase focused on simulating more realistic RASER data. The new data improved the result, however, the reconstruction did not suffice. Further research needs to be done into ways to make the simulation more realistic to improve the reconstruction of the real RASER-MRI image. However, this project concludes that simulated RASER-spectra can be reconstructed using deep learning.

三國人物經過多年的傳說，難免為後人踵事增華，以訛傳訛而混淆了他們在歷史中真 正扮演的角色。 漢末三國人禾最盛，尤以曹操、劉備、孫權能嶄露頭角。本論文為揭開三國之主的真 相，以正史三國志及裴注為依據，各按年代，細分節目，逐一剖析三者的出身背景、 人格形成及創業過程，試從三者者的一生動靜語默間，較客觀的掌握他們的形相。正 文由導論開始，以下分四章，第一章曹操的形相，共分兩節，先討論史家筆下的曹操 ，再由問題的澄清進而分析曹操的內心世界，包括曹操的笑、哭、令及文學。第二章 劉備的形相。共分兩節，先討論史家筆下的劉備，進而強調劉備情深義重的人格及時 勢造英雄的機運。第三章孫權的形相。共分兩節，先討論史家筆下的孫權，再敘述孫 權承父兄遺蔭的貴冑習性及平凡中見情的美德。第四章結論，分三節，先從思想上比 較，再由才德上比較三者的異同，最後為結語。

本文是探討周恩來對文藝何主張？他的文藝主張與毛澤東、劉少奇之間是否有些不同 ，乃至因不同而相爭，周恩來又採取什麼樣的態度？ 第一章說明周恩來與文獻的關係，證明周恩來酷愛文藝，與他日後的文藝主張有密切 的關係。 第二章說明毛澤東、劉少奇、周恩來的文藝主張，比較他們的不同點，從而突出了周 恩來有自己的文藝理想。 第三章從周恩來的文藝講話，說明五十年代，中共領導人對文藝的看法，由合而分。 第四章具體證明周恩來提出自己的文藝主張。 第五章文化大革命之前，毛澤東、劉少奇兩派發生文藝論戰，周採取何種態度？他的 文藝生活有沒受到影響等等。 結論周恩來的文藝精神－藝術民主 論文共乙冊，全文約五萬字。

本文共分九章，約十六萬字。 第一章，「緒論」：說明本文之研究目的與方法，以及研究概念。 第二章，「時代背景」：敘述清末民初的政治社會動向，新思潮的高漲，以及知識分 子的「激進主義」與「烏托邦思想」。 第三章，「走向激進主義」與第四章、「從事無政府主義活動」；分析劉氏走向無政 府主義的轉變過程，以及「心社」與「晦嗚學舍」之組織及其活動。 第五章與第六章，「〔民聲〕言論的分析（上、下）」，分析「民聲」言論以探討劉 師復的無政府主義的性格。 第七章，「劉師復無政府主義的承襲與特性」；分析「新世紀」與「天義」報以明瞭 劉氏無政府主義的特性。 第八章，「劉師復無政府主義的延續及其影響」；分析五四運動前後的無政府主義運 動，並加以討論無政府主義與共產主義的理論鬥爭。 第九章，「結論」：說明本論文之發現外，並試述無政府主義運動的失敗原因。

University of Macau / Faculty of Social Sciences / Department of History

梁建輝. / 稿本(據電腦打印本複印) / Thesis (M.A.)--香港中文大學硏究院中國語文學部. / Gao ben (Ju dian nao da yin ben fu yin) / Includes bibliographical references (leaves 305-323). / Liang Jianhui. / Thesis (M.A.)--Xianggang Zhong wen da xue yan jiu yuan Zhongguo yu wen xue bu. / Chapter 第一章 --- 緒論 --- p.1-26 / Chapter 第一節 --- 硏究本題的目的 --- p.1-11 / Chapter 第二節 --- 硏究本題的困難 --- p.11-15 / Chapter 第三節 --- 硏究本題的方法 --- p.15-18 / 注釋 --- p.19-26 / Chapter 第二章 --- 王充、劉勰論文的基本前提 --- p.27-78 / Chapter 第一節 --- 「文」的意義 --- p.27-54 / 注釋 --- p.55-60 / Chapter 第二節 --- 「文」的功能 --- p.61-76 / 注釋 --- p.77-78 / Chapter 第三章 --- 王充、劉勰的文體論 --- p.79-155 / Chapter 第一節 --- 論「武頌」 --- p.79-105 / 注釋 --- p.106-110 / Chapter 第二節 --- 論「史傳」 --- p.111-123 / 注釋 --- p.124-126 / Chapter 第三節 --- 論「諸子」 --- p.127-135 / 注釋 --- p.136-139 / Chapter 第四節 --- 論「論¨®Ơ」 --- p.140-153 / 注釋 --- p.154-155 / Chapter 第四章 --- 王充、劉勰的創作論 --- p.156-245 / Chapter 第一節 --- 論「模擬」 --- p.156-178 / 注釋 --- p.179-183 / Chapter 第二節 --- 論「言意」 --- p.184-193 / 注釋 --- p.194 / Chapter 第三節 --- 論「夸飾」 --- p.195-220 / 注釋 --- p.221-227 / Chapter 第四節 --- 論「繁簡」 --- p.228-242 / 注釋 --- p.243-245 / Chapter 第五章 --- 王充、劉勰的批評論 --- p.246-297 / Chapter 第一節 --- 論「奇」 --- p.246-267 / 注釋 --- p.268-272 / Chapter 第二節 --- 論「古」、「今」 --- p.273-292 / 注釋 --- p.293-297 / Chapter 第六章 --- 結語 --- p.298-304 / Chapter 第一節 --- 綜論王充、劉勰論文觀點的異同 --- p.298-301 / Chapter 第二節 --- 對漢魏六朝文論發展的一些假設 --- p.301-303 / 注釋 --- p.304 / 參考書目 --- p.305-323