Abstract Council For Economic And Development Executive Yuan established a new land-use scheme in National Comprehensive Development Plan on the purpose of preventing the resource depletion and environmental disasters resulting from improper land-use activities. In the land-use scheme the land resources are identified as ¡¥developable areas¡¦ and ¡¥restricted areas¡¦ according to their importance and fragility. The restricted areas are imposed strict land-use regulations for the purposes of resources conservation and preservation. Thus, this research worked on the bases of the regulated¡¦s opinions. This research starts with discussing the regulation policy theory, the literature on the theory of property rights and a conceptual framework for determining whether the invaded land property rights should be compensated, and for suggesting how to compensate if the compensation is required. Finally, this research applied the framework to the Shoushen National Park to discuss whether the land property rights invaded by the regulations should be compensated and what kind of compensation would be appropriated.

As the late period of Qing Dynasty, there was a great event of ¡§ Botan Village Issue¡¨ Which happened in Taiwan, Shen Pao-Chen, the Imperial Commissioner who had been sent to take charge of Taiwan in 1874 & manage the defense to prevent the occupation of Taiwan by Japan, was impressed With the necessity of managing great reforms and infrastructures, including establishing new counties, civilizing the savage aborigines, moving governor to Taiwan, abolishing prohibition, reinforcing military administration, building shrines for Cheng Chen-Kung, and improving morale. In view of all Shen Pao-Ching¡¦s life, he was really a Pioneer ahead of his time for Taiwan¡¦s modernization. Aleader of nation must be with a certain spirit of adventure when his nation encounters heavy risk. Therefore, the spirit is what we can learn form him; he had established so mush infrastructure and reforms for Taiwan. All of things done by late Qing dynasty (Self-strengthening movement ) on Taiwan in process of globalization, social changes, the responses of the localization, and the transformation of ¡§ Glolocalization¡¨, which were rather mature and successful and it is able a key turning point in late Qing¡¦s policy for Taiwan.

This thesis has two main objectives: to first discuss the defining characteristics of Chinese frontier poetry (biansaishi 边塞诗) while showing how this subgenre of poetry blossomed during the Tang 唐period prior to the An Lushan rebellion (anshizhiluan安史之乱), and then to focus on one Tang frontier poet in particular, Cen Shen 岑参 (715-770), for a sustained critical investigation into how the poet-narrators of his texts focalize three types of frontier settings, namely landscapes of intense heat, cold and vast distances. These two objectives necessitate dividing the thesis into a bipartite structure, which is further subdivided into six chapters. Chapters one through three address the first objective of the thesis, that of surveying frontier poetry as it pertains to the subgenre's flourishing during Tang period. Chapters four through six endeavour to traverse Cen Shen's frontier settings with a critical eye on uncovering patterns behind the manner in which the poet-narrators perceive China's borderland regions, and to show how these patterns are repeated across disparate poems where the frontier setting itself features prominently. The result of such an analysis is the realization of an underlying foundation of focalization connecting the poet-narrators in each of Cen Shen's three major frontier environements. / Graduate / 0305 / 0332 / 0289 / 0294 / 0401 / daymon@uvic.ca

Thesis (M.Phil.)--Hong Kong Baptist University, 2000. / Thesis submitted to the Dept. of Religion and Philosophy. Includes bibliographical references (leaves 215-253).

Thesis (M.Phil.)--Hong Kong Baptist University, 2004. / Thesis submitted to the Dept. of Religion and Philosophy. Includes bibliographical references (leaves 93-97).

Thesis (D. Miss.)--Trinity Evangelical Divinity School, 1995. / Abstract. Includes bibliographical references (leaves 165-172).

Thesis (M.A.)--Guo li zheng zhi da xue, 1971. / Reproduced from ms. copy. Includes bibliographical references (p. 199-201).

Shen Congwen [沈从文] (1902 – 1988), the famous Chinese writer most active from the late 1920s to the end of the 1940s, took particular interest in music throughout his literary career. From Shen’s earliest works, folksongs feature in his regional stories about West Hunan, his home region. These songs not only provide the stories with a special local colour, but also indicate Shen’s strong connection with Western anthropology and psychology. From the mid-1930s, Shen developed a passion for Western classical music. He stated on several occasions that he wished he could use the method of musical composition in his writing, even though he never attempted to learn to compose. This thesis will investigate Shen’s insistence on the assumption that the method of musical composition – especially the use of ‘harmony’ – would make literary works more beautiful and infinite. Shen’s discussion of Western classical music also points to the connection between music and abstraction. In Shen’s later career, he seems to be consistently pursuing the beauty of abstraction. At the same time, he writes about ‘soundless music’, which goes beyond concrete music such as folksongs or Western classical music. In the analysis of Shen’s ideas on music, one question remains: what are the possible sources of these ideas? Shen started writing after May Fourth Movement, a movement that massively involved learning from the West. His career thrived while socialising with a group of Chinese writers whose works bear evident marks of Western literature, and some of whom were also the translators of many Western works. Furthermore, Shen’s ideas on music appear to reflect those of Western literature, especially modern literature. This thesis will consider possible influences on Shen, starting with an examination of what Shen might have read or known about Western literary ideas. Finally, according to the evidence uncovered in my research, this thesis will propose a comparative study between possible Western sources of influence and Shen’s ideas on music, focusing on the influence of Western anthropology, psychology, Goethe (1749 – 1832), French Symbolism, Nietzsche (1844 – 1900), and Joyce (1882 – 1941).

Le Sou shen ji搜神記est l’œuvre la plus représentative et influente du genre zhiguai志怪, sa valeur historique et artistique est incomparable par rapport aux autres œuvres pareilles. Son auteur Gan Bao幹寶est un historien et lettré très réputé sous la Dynastie Dong Jin. Parmi ses nombreuses œuvres historiques et littéraires, c’est le Sou shen ji qui a connu le plus grand succès. Cette œuvre recueille autour de quatre cent soixante-quatre récits indépendants l’un de l’autre, et dont les sujets sont d’une variété considérable, reflétant dans une certaine mesure la mentalité et les croyances des Chinois de l’époque. Dans notre thèse nous avons fait des recherches sur cette œuvre dans une perspective sémiotique, employant la théorie sémiotique de Greimas. Dans la partie discursive, nous avons fait des analyses discursives et culturelles autour de la conception chinoise du shen et à partir de quatre catégories : les dieux dotés d’une fonction (shen神), les immortels (xian仙), les revenants (gui鬼), et les yaoguai妖怪, pour dessiner une image plus claire du « shen » pour les Chinois. Nous voyons que la conception du shen dans la culture chinoise, se trouvant au carrefour de la religion, de la politique, et de l’éthique, n’est pas un concept défini sur le plan théologique et transcendantale. Dans la partie narrative, nous nous concentrons sur les traits narratifs des récits fantastiques du Sou shen ji, en essayant en même temps, de construire un modèle narratif plus applicable à ces récits et à la description d’une relation intersubjective. / Sou shen ji is the most representative and influential work of the zhiguai genre, its historic and artistic value is unmatchable, compaired with other works of the same genre. The author, Gan Bao, is a very famous historian and scholar in Dong Jin dynasty. Among his numerous historical and literary works, it is Sou shen ji, who has had the biggest success. This work collects around four hundred and sixty-four stories independent one from each other, and the subjects are also very various, reflecting to some extent the mentality and the beliefs of the Chinese of the time. In this thesis, we have studied this work in a semiotic perspective, using the semiotic theory of Greimas. In the discursive part, we have done some analyses, from a discoursive and a cultural point of view, of the chinese conception of shen, from four categories : the gods who have a function (shen神), the immortals (xian仙), the ghosts (gui鬼), and the yaoguai妖怪, in order to draw a clearer picture of the conception of shen to the chinese. We can see that in the chinese culture, the conception of shen, located at the intersection of the religion, the politics, and the ethics, is not a concept defined in theological and transcendental termes. In the narrative part, we focus on the narrative features of the stories in Sou shen ji, and at the same time, we also try to build a narrative model which is more applicable to these stories and to the description of the intersubjective relationship.

Thesis (MPhil (Ancient Studies)--University of Stellenbosch, 2008. / A particular motif in Egyptian art is that of avians. This is frequently depicted in a significant number and variety of visual sources from the tomb of Tutankhamun (KV 62) (1336-1327 BC) and other find contexts throughout Egyptian history from c. 3000 BC, but is little understood. The motif mostly depicts an avian creature with wings outstretched, talons grasping the Egyptian hieroglyph symbol for eternity (shen). In some instances the avian’s falcon or vulture body or parts of the body is/are replaced with parts of another creature, namely that of a snake, cobra, ram, human, duck, or a hieroglyph sign. A study was undertaken to assess how and why this avian motif was composed and what the function in Egyptian culture was. A manual search of published material for relevant visual sources depicting specific versions of the avian motif was undertaken and selected sources were indexed into a representative graphical database including one hundred and ninety-one items. Textual sources (academic literature and literature from ancient Egypt) were then consulted to support and/or expand on the iconographic, symbolic, and functional aspects of the motif: - At the iconographic level, the historical development and ‘structural dynamics’ of the motif are investigated to deduce the artistic rules that applied to its creation. - At the symbolic level, the symbolic meaning of the artwork is ascertained by theorizing on the meaning of the motif and its parts in an Egyptian context. - At the functional level, the function of the artwork is ascertained by investigating how the motif’s symbolism was intended to be applied to benefit the individual. The results of this research is that the avian motif developed over time according to strict artistic rules; that it symbolized the king, eternity and protection; and that its function was to protect the king in all phases of his existence in a political and mythological context in order to ensure that the he would attain an eternal life in the afterlife. In the mind of the ancient Egyptian this was achieved through the transference of the avian motif’s magical qualities to the user. The intended outcome of this study is to highlight the avian motif’s importance in the context of the ancient Egyptian culture.