西方國家於文藝復興、宗教改革、工業革命之後，逐漸形成一股強大的文明勢力向世 界各角落膨脹．這股勢力包括：政治、經濟、思想各方面，藉著優越的軍事力量在十 八、九世紀之交，急急地叩著各傳統古老社會深閉的門戶．中國與土耳其原本同是這 些傳統社會中的佼佼者，一個是長期的文化輸出者；一個是橫跨歐、亞、非三洲的回 教大帝國，卻同時被冠上「病夫」的屈辱，遭遇瓜分解體的威脅．於是兩國人民為了 救亡圖存均做了最大的努力，一步步的改革，由軍事、制度而思想，一連串的摸索、 學習、抗爭、調適，終於兩個新生政體如浴火鳳凰般自廢墟中昇起．這段由盛而衰， 死的重生的經歷究竟會在兩國文學活動中做出怎樣的影響？或者文學能對之產生如何 的作用呢？而如此相似的外在經驗，是否也會在兩國文學發展過程中振動出相同的頻 率呢？試圖解答這些問題正是本論文的研究動機． 本論文以文獻研究法為主．使用的文獻將包括兩國文學史、歷史、社會、政治各方面 的研究文字．不過，有關土耳其的研究資料較難搜羅，為本論文研究的限制． 全文共分五章：緒論；中國新詩興起的背景及創作理論；土耳其新詩興起的背景及創 作理論；中、土兩國新詩興起背景之比較；結論． 文學與當代人的思潮有著密切的關聯，而當代人的思想深受外在環境的影響．文學完 成之後，藉著傳播流通，可以影響更多的人，造成更大的思潮或引起反對的聲浪，由 此可見文學與環境是互動的．中、土兩國面臨亡國危機，同樣興起救國思潮，投入「 現代化」行列，由器物、制度的現代化終於思想、觀念的全盤西化；文學革新之議則 發韌於制度現代化的同時，到了思想觀念層次，則新文學已成風潮矣．可見中、土新 詩興起與外來刺激、內在思潮是息息相關的．

這作品集共有三首作品：“謎語 I, 110806“ 為四個家居電話而作, “ 影。空“ 一首電子音樂作品, “交響詩“ 為管樂團而作 / 我嘗試在作品集當中運用一些以前我並不經常使用的作曲概念、作曲技巧，及配器法和一些樂器組合，以致我可以創作一些突破我以往風格的作品。以上三首作品都屬於不同類型，也有作不同的特質；樂曲順著創作日期先後而排列。我嘗試在 “謎語 I, 110806 和 “影。空 這兩首較早期的作品中實驗一下當時對我而言是創新的樂曲種類和作曲技巧。較近期的作品“交響詩是為管樂團而作。因為我學習圓號多年，所以這是我最熟悉的樂曲類型。 / “謎語 I, 110806“ / 這是一首為四個電話而作的實驗性作品，藉此表達出我們每天都在經歷充滿戲劇性的人生。電話可以產生出脈衝和音頻聲響，無疑是一件樂器。其實很多圍繞著我們的事物都可以用來創作音樂。我為這首樂曲的演出預先預備了一些錄音以在樂曲中特定的時間播出。演奏者可以按他們自己的喜惡以其他錄音代替。 / “影。空“ / 這是一首揉合電子合成器所產生的電子音效和真實錄音的電子音樂作品。創作靈感來自<聖經>的<傳道書>，我特別是被當中認為人生在世一切都如捕風捉影所觸動。我在音樂中使用了風聲作為一固定反復的樂句以貫穿全曲。有此作為一個無間斷的承托部分令到一些不可能在真實樂器演奏中發生的細緻音樂元素可以在這首樂曲中呈現。 / “交響詩“ / 這首樂曲的最大特點是我選擇在這首管樂團作品中運用了豎琴和馬林巴琴的二重奏。樂曲起始是一些精簡又有著強烈對比的樂段，這些樂段在樂曲較後部分融合一起，並發展成一長樂段。我在樂曲中主要著意於創造優美的旋律，當中蘊含著不規則的分句，卻不影響樂曲本身的流暢性。 / This portfolio consists of three pieces: Enigma I, 110806 for four domestic telephones, In Vain Like A Shadow an electronic piece, A Symphonic Poem for concert band / In my portfolio, I have attempted to use the compositional concepts and techniques, as well as orchestration and instrumentation method that were unfamiliar to me before, so as to ensure that I was writing works that would stretch beyond my usual musical tendencies. The three pieces in my portfolio all have distinctive styles and genres; each will be presented chronologically according to its completion date. In my two earlier pieces, Enigma I, 110806 and In Vain As A Shadow I wish to experiment with the genres and techniques that were new to me at the time. The most recent work, A Symphonic Poem, is composed for concert band. It is the genre that I am most comfortable and familiar with, owing to my years of training on the French horn. / Enigma I, 110806 / This is an experimental piece composed for four domestic telephones. This came out of my idea of creating a work that would enable music to express the drama we encounter in our daily lives. The telephone is no doubt a musical instrument--it can generate pulses and pitched tones. In fact, many objects that surround us can be used to create music. For the performance of this work in the past, I have prepared some pre-existing recorded sound tracks that can be played alongside at particular moments in time. However, those who wish to make their own sound tracks to substitute mine for the performance are welcome to do so. / In Vain As A Shadow / This is an electronic piece that combines recorded live sounds with effects that are produced by a synthesizer. While composing this work, I was inspired by the book Ecclesiastes from the Holy Bible; in particular, I was struck by the part about how the life of a man is a vanity. In my music, I have used a drone-like ostinato that permeates throughout the entire work. Using this as the long, seamless foundation of my piece, while delicate gestures are introduced up above, is something that would have been impossible if only acoustic instruments are used. / A Symphonic Poem / What is most unusual in this work is probably my choice to feature a duet for harp and marimba within a wind band. This piece begins with a few short, contrasting sections that are later combined with one another, and eventually grow to become one long stretch. Much of my attention in working through this piece has been focused on creating beautiful melodic lines that have irregular phrasings, yet will not interfere with the continuous musical flow. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Cheng, Ming Hin Henry. / "December 2012." / Thesis (M.Mus.)--Chinese University of Hong Kong, 2013. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in Chinese. / Volume I: / Cover Page / Content Page / Acknowledgments --- p.i / Abstract --- p.ii / Enigma I, 110806 --- p.1 / In Vain As A Shadow --- p.8 / Volume II: / Cover Page / A Symphonic Poem --- p.1

Thesis (doctoral)--Umeå universitet, 1990. / Added t.p. with thesis statement inserted. Summary in English. Includes bibliographical references (p. 549-563) and index.

Thesis (doctoral)--Umeå universitet, 1990. / Added t.p. with thesis statement inserted. Summary in English. Includes bibliographical references (p. 549-563) and index.

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This dissertation is a study of medieval theological interpretations of fear and their influence on the rhetorical and didactic discourses of two late-fourteenth century Middle English homiletic poems, Cleanness and Patience. In Chapter 1 I analyze the various medieval conceptualizations of dread (morally valueless timor naturalis, morally culpable timor libidinosus, and morally laudable timor gratuitus) as discussed by scholars such as Peter Lombard, St. Thomas Aquinas and St. Bonaventure and in works such as biblical exegesis and theological encyclopaedias. In the second chapter, I examine ways in which these formal, learned Latin interpretations of fear were disseminated to a wider, vernacular Middle English audience. I do so by discussing how medieval preaching theory and practice and vernacular didactic and devotional treatises actively employed rhetorical and exhortative discourses of fear in an effort to encourage their audiences to forsake sin and pursue virtue. In Chapters 3 and 4 I show how Cleanness and Patience incorporate and employ the various theological conceptualizations of dread discussed in Chapter I and the rhetorical and didactic discourses of fear analyzed in chapter 2. I examine fear's presence within the larger narrative, thematic, rhetorical, and didactic structures of each poem, discussing the poet's precise use of scholastic interpretations of fear in his representations of characters, his vivid descriptions of death and destruction, and the ways in which he both implicitly and explicitly confronts his audiences with a variety of fearful discourses. I argue that the poet utilizes fear to promote a specific rhetorical strategy, one based upon a well-developed understanding of dread which should inspire in his audience the desire to flee from sin and damnation and approach fear-inspired, reverent perfection. Cleanness and Patience illustrate the power of God and the threat of sin, exhorting their readers to embrace and learn from the senses of dread they utilize and promote. Both poems provide remarkable examples of how particular elements oflearned Latin thought were adopted and developed by Middle English vernacular traditions.

Critics and biographers have recognized the importance of failure and its many aspects in the life and poetry of E. A. Robinson. For a more complete idea of how Robinson dealt with concepts of failure, it is best to study the poetry itself.

The Life of Ben and Other Poems consists of two sections. The first, The Life of Ben, is a series of seventeen poems about the life of a first-generation American and his family's immigration. The second section, Other Poems, includes twenty-one poems on a variety of themes.

The forty-four poems of this collection reflect the diversity of ideas which intrigue the poet, the attitudes by which she chooses to live, the relationships which are important to her, and the emotions which influence all of those ideas, attitudes, and relationships.

This thesis is composed of a collection of thirty-four original poems with an introduction by the author. The introduction attempts to justify the collection by discussing common influences and techniques employed in its creation. The introduction also supplies background information on each poem and, on occasion, discusses the relation of a poem to the rest of the collection.