Xingshi Yinyuan Zhuan 醒世姻缘传 (The Story of a Marital Fate to Awaken the World) is a 100-chapter, 100,000-character Chinese magnum opus written under the pseudonymous aegis of the seventeenth-century writer Xizhou Sheng 西周生. The novel primarily concerns itself with a curious reversal of power dynamics and relations in the institution of marriage, namely henpecking. To do so, the novel weaves into its narrative, both in the personalities and the events it illustrates, great details of Ming material life. It is through this literary snapshot of material culture that this dissertation is able to investigate the practices and custom of clothing, food and travel, three of the "four major concerns of the people's livelihood", known as yishizhuxing 衣食住行 in Chinese. The project, while frequenting economic dimensions and probing the impact that Ming politics had on the ethos and social economy of the period, sheds significant, if not equal, light on folk custom, legal and religious practices and women's status, among other issues. Although this dissertation allocates one chapter to the surveying of Ming sumptuary laws and ethos as evidenced by the "guxiu incident," the struggle between the forces of conservative social hierarchy and the growing market as a feature of Ming material life is a question that runs throughout the entire composition.

本文的標題為“明代官僚組織的組成及其運作”，因此在行文結構方面主要是針對明代官僚組織的“組成”與“運作”兩方面合併進行說明與分析，在組成方面著重於制度的說明，而運作方面則是配合相關的事例，對於前所述及的制度予以實例性的說明，使讀者能夠有較為深入的瞭解與體會。文中所探討的內容，類似於現代所謂的人事管理制度。古代的人事管理制度，大致上包括有官吏的培訓、選拔、任用、考課、獎懲、調配和俸祿待遇等系列管理方法。本文劃分為取士制度及任官制度兩個面向加以討論。就取士制度來看，官僚組織的組成，其首要的條件，乃是要有足夠的人才。這些人才是如何培育、甄選出來？換言之，透過那些途徑獲得足夠的人才？其利弊得失又是如何？是其所要探討的範圍。大致上以薦舉、吏員、學校與科舉四者為主要的探討對象，分列於第二、三章之中、第二章內容可分為三個部分：取士制度的意義與內容（包括三途並用的說明）、薦舉與吏員。第三章則以學校、科舉為主，並對明代的取士制度作一總結性的說明。之所以做如此安排者，主要乃是從制度面考量而來，其說明詳見後文。其次再就任官制度而言，官僚的派任、陞遷、考核、待遇雖說是息息相關，密不可分的，然而大致上可以分為選官與考績兩部分，因此作者分別於第四、第五章之中論述。此一部分在有關明史的研究中並沒有系統及完整的討論，因此除了作制度的說明之外，同時希望能夠具體地將其實際情形，完整地加以陳述，進而評判其利弊得失。 另外特別注意者，作者在本文所指“官僚組織”主要是限定於文官體系而言，武官體系並不在討論範圍之內。之所以如此者，一方面由於文官體系加上武官體系，使得研究範圍過於龐雜且非作者能力所逮；另一方面，明代的官制乃重文輕武，『雖文武並置，而政事皆歸文職』，例如弘治年間編纂《會典》時，其凡例即明言： 本朝設官，大抵用周制，雖文武並置，而政事皆歸文職，故諸司職掌所載衙門，惟六部、都察院、通政使司、大理寺及五軍都督府斷事官。其文武官制，則分見于吏、兵二部。今會典義當從備，故文武衙門各有職掌者，遂另開具，文職如宗人府之類，武職如五軍都督府之類，敘其建置沿革及所掌職事，而事必歸之六部。（《大明會典》，〈弘治間凡例〉，葉二－三，頁一六－一七） 故而文中所指官僚組織者者，皆意指文官體系而言，作者在此特別聲明之。

Thesis (M.Phil.)--Hong Kong University of Science and Technology, 2004. / Includes bibliographical references. Also available in electronic version. Access restricted to campus users.

孟森（1868-1938）先生曾言「中國自三代以後，得國最正者，惟漢與明。 匹夫起事，無憑藉威柄之嫌。為民除暴，無預窺神器之意。而明之驅元，又 多一光復華夏之功」點出了明太祖（朱元璋，1328-1398，在位1368-1398） 於國史上的地位在於「得國最正」及「光復華夏」，接著又提到「明祖有國， 當胡元盡紊法度之後，一切準古酌今，掃除更始，所定制度，遂奠二百數十 年之國基」、「清無制作，盡守明之制作，而國祚亦與明相等。故於明一代， 當措意其制作。措意明之制作，即當究心於明祖之開國」，歸納出「明祖開國」 於明清兩代五百餘年政治制度的意義。洪武時期於國史上的雙重意義，非常 值得我們探究，特別是太祖在「重造華夏」的過程底下傳統中國對外體制－ 「朝貢制度」是怎樣被重新構築。這一新體制不論在思想、禮儀、政制或是 貿易層面都呈現與別不同的面貌，並深深地影響明清五百餘年的軌跡。此即 討論太祖朝貢制度之因由。 因此，本文以思想、禮儀、政制、貿易四項課題為重心，分為七章：第 一章為導論，從研究回顧、論文架構、史料、定義交代本文的佈局；第二章 從洪武時期的對外詔令、敕撰書考察明太祖的天下觀、對外思想與「朝貢」 理念；第三章，先梳理歷代賓禮的流變以突顯明代之特色，繼而從朝會、冊 封兩方面，分析太祖對外思想所呈現「華夷定分」的秩序；第四章，從洪武 賓禮的發展與實踐說明「重造華夏」的過程及其於東亞各國的文化意義；第 五章，從中央、地方機構兩層面說明「朝貢制度」的對外事務是如何被太祖 被重塑，並分析遣外使節的特色；第六章，利用計量分析，從「給賜」與「貢 物」兩方面說明「朝貢貿易」對明初社會經濟的影響，並從通貨、海禁、廢 除市舶司等背景評析。第七章為結論，對洪武時期「朝貢制度」作全面的評 價。 Meng Sen ( 孟森,1868-1938), one of the pioneers of Ming studies, highlighted the significance of Zhu Yuanzhang (Ming Taizu, r.1368-1398) as a leader who “recovered China (from “barbarian Yuan rule) and founded Ming institutions which would subsequently be adapted by the Qing state. Zhu Yuanzhang’s achievements in re-shaping the pattern and context of traditional Chinese foreign relations by establishing the tributary system exemplify his reputation for “recreating Hua-xia (the historical Chinese polity). This dissertation takes the “tributary system (chaogong zhidu) of the Ming dynasty’s Hongwu reign as a case study, exploring its characteristics through the lenses of statecraft philosophy, rituals, institutions and trade. It comprises seven chapters. Chapter one illustrate the scope, the methodology, and the sources of this research. Chapter two analyzes Ming Taizu’s views of Tianxia, diplomatic thought, and the definition of “tributary expressed in imperial edicts. Chapter three examines the Ming tributary system’s features by comparing the developments of “guest rituals. Chapter four analyzes the process and influence of “recreating Hua-xia by evaluating Hongwu’s guest rituals as an example. Chapter five shows the formation and restructuring of institutions dealing with foreign relations. Chapter six discusses the effectiveness of tributary trade by reviewing its fiscal background and the exchange of tribute items and gifts. The final chapter is the conclusion. By adopting such approaches, this dissertation strives to present a comprehensive picture about the Hongwu emperor’s contributions to traditional Chinese foreign relations.

Sesshu Toyo (1420-1506) was a preeminent Japanese monk painter who journeyed to China in the mid-fifteenth century. This thesis focuses on a diptych of landscape paintings by Sesshu Toyo, Autumn and Winter Landscapes (Shutou sansui zu), to analyze how Sesshu; selectively synthesized traditions of Chinese painting tradition that had already been established in Japan and the art conventions he discovered in fifteenth-century China. To contextualize this topic, this thesis explores the revival of the Southern Song (1127-1279) painting tradition which had impacts on both contemporary Chinese painters and landscape painters in Japan during the fifteenth century. I also analyze the culture of Japanese Zen monastics and their art-related activities and the transformation of Southern Song painting traditions within China in the early Ming period (later half of the fourteenth century-first half of the fifteenth century).

University of Macau / Faculty of Arts and Humanities / Department of Chinese

Four Rotations Pour Marimba (1996) by Eric Sammut has become one of the most important marimba compositions in serious concert solo marimba literature. Four Rotations Pour Marimba is a suite of four short pieces; each of them demonstrates a different musical character while incorporating similar compositional components and techniques. The goal of this thesis project is to create a stylistic analysis for providing the concert marimbist with insight into the interpretation of these four pieces and also giving composers a more in-depth understanding of Sammut's compositional method. This thesis includes a formal analysis and comparisons of compositional elements used in Four Rotations. A brief biography of Sammut and historical significance of Four Rotations Pour Marimba are also included.

This essay analyzes Zhang Dai’s life and his major literary work, and argues that the expression of self is the core of his writings. By contextualizing Zhang Dai’s work in the Ming-Qing dynastic transition, this essay explains the hidden motives of Zhang Dai to justify, preserve and identify his self through literary practice, suggests that this explosion of self-expression is not only a literary response to the historical event of dynastic transition, but also a reflection of the cultural and literary trends of the 17th century. This essay also provides close readings and genre study to Zhang Dai’s poems, prose and biographical writings, and demonstrates how the expression of the writer’s self works in different types of literary genres.

No description available.

嘗試探討明史、明會典所記的出處，將明實錄所記明代吏部有關事例，按年代先後排 列，與太祖時所定「諸司職掌」，武宗時所刊「正德會典」，神宗時所刊「吏部職掌 」、「萬曆會典」等書，相互參證，以說明明代吏部文選清吏司職掌之演變與發展， 以補充明史與明會典之不足，並嘗試改正明史、明會典的錯誤。 本文心得有以下數點： 一、吏部石刻職掌，據我考證，係修於洪武十三年以後，洪武十六年以前。吏部石刻 職掌與戶部、禮部、刑部石刻職掌之體例，雖然不同，很可能撰寫之奉命是在同時， 而每部各修各的，不是同時修成。洪武二十六年所修「諸司職掌」始將體例劃一。這 是「諸司職掌」較石刻職掌為進步的地方。石刻職掌，不見於明史、明實錄及明會典 。這是研究明初典章經制極重要的史料。 二、明會典係以洪武二十六年「諸司職掌」為綱，而附以歷朝事例。明史以「諸司職 掌」為翟善所修，據我考證，該書可能為吏部尚書詹徽在伏誅以前所修，至梁煥署吏 部事時始頒行。 三、南京吏部志所載洪武二十九年吏部職掌，係抄萬曆會典，非洪武二十九年所定。 四、明代吏部文選清吏司在萬歷寺分九科。在司之下分科，由「諸司職掌」「缺科」 二字看來，在洪武時即已分料。 五、在明初，吏部文選清丈司職掌選官項中，僅包括類選與抄選。類選即後來之大選 。而急選、揀選、遠方選、舉人乞恩選、歲貢就教選，均由類選分化而來。 六、大選之對象為進士、監生等初授官，及考定陞降之再任官。而急選之對象則為「 改授、改降、丁憂候補官」。大選、急選官員有缺，均由吏部註選。在萬歷二十二年 始由吏部尚書孫丕揚制定掣籤法。 七、明史以「雙月大選，單月急選」，這是誤以清制為明制。在明萬歷至崇禎年間， 急選皆在雙月舉行；通常在大選前數日舉行。在萬曆八年以前，大選日期皆由吏部在 常朝時奏請定期；是年始定為雙月二十六日，後來改為二十五日。 八、明史選舉志以明代揀選三年舉行一次，這是明成化朝所定。然在孝宗弘治十三年 至嘉靖朝，或一年舉行一次，或二次，皆因實際需要來決定，至萬曆朝始恢復成化朝 所定三年舉行一次之例。 九、萬曆會典記：嘉靖十年題准，兵部左右待郎，必推曾按歷邊陲，練達軍務，或曾 伯兵備等官，有將略才望者，疏請簡用；遇有警報，即付以提督之任，不必另推」。 十、明代的保障，係指方面守令及御史之舉保，其於一般未入仕者，不叫保舉，明初 稱為貢舉，萬歷年間始改名為訪舉。 十一、明代的廷推，係由宣德年間「吏部會在京三品以上官眾議推舉」之會舉演變而 來，有立推與坐推之分；凡推陞閣臣、吏、兵二部尚書及總督時，科道掌印官參加， 與推者皆立而不坐，是為立推。而推陞閣臣、吏、兵二部尚書以外之三晶以上九卿、 僉都、祭酒及巡撫等官，原則上科道掌印官不參加，皆坐而推舉，是為坐推。在神宗 萬曆二十六年以後，科道掌印官參加一切廷推。而崇禎年間李日宣掌吏部時，凡遇廷 推必先令選郎商之科道掌印官，科道地位愈重。 本文僅研究明伐吏部文選清吏司之職掌，以後當繼續研究明代吏部考功清吏司、驗封 清吏司、稽勳清吏司等司之職掌。