陳英凱. / "2004年8月". / 論文(哲學碩士)--香港中文大學, 2004. / 參考文獻 (p. 89-93) / 附中英文摘要. / "2004 nian 8 yue". / Chen Yingkai. / Lun wen (Zhe xue shuo shi)--Xianggang Zhong wen da xue, 2004. / Can kao wen xian (p. 89-93) / Fu Zhong Ying wen zhai yao. / 引言 --- p.1-8 / Chapter 第一章 --- 旅遊主題下的都市空間 --- p.9 / 閱讀香港´ؤ´ؤ主題公園 --- p.11-18 / 創造/模擬「動感」 --- p.19-27 / 都市空間的銷售與呈現 --- p.28-32 / 商界意見 --- p.33-37 / 小結 --- p.38-41 / Chapter 第二章. --- 都市空間的商品化與資訊化 --- p.42 / 廣告資訊構成的商品化都市景觀 --- p.45-62 / 令人目眩的屏幕化都市與超真實 --- p.63-78 / 小結 --- p.79-81 / 結語 --- p.82-88 / 參考書目 --- p.89-93

雍城作為秦都達300年之久，對秦政治、軍事、經濟、文化、宗教等方面的發展都發揮了很大的作用。此時期的秦文化既繼承了之前的西北、周文化傳統，又吸收了三晉、巴蜀、楚等地的文化特色，文化內涵漸趨豐富。前人對雍城的研究雖多，可是大多著重考古挖掘與都城結構兩方面，而較少從文化交流的角度分析相關議題。本文以前人研究為基礎，結合文獻與考古材料，先從「點」的層面開始，探討雍城所反映的春秋戰國之際，秦國的上層文化面貌。進而從「點」擴展至「線」的層面，縱向討論西周、春秋、戰國時期秦文化的演變，以及橫向考析天水、寶雞、西安地區不同等級的秦墓所反映的文化面貌。文中透過全面的整合與分析前人研究成果、文獻及考古材料，了解到秦國雖透過政治與軍事擴張而與「他者」文化接觸，但其文化發展卻沒有排他性。因此，秦國與「他者」的文化交流模式屬許倬雲所說的「傳播和擴散型」。 / The city of Yong（雍城） was the capital of Qin state（秦國） for 300 years. During this period, Qin had experienced a great development from the area of politic, military, religion, culture to economy. This thesis deals mainly with the development of Qin's culture, and holds the opinion that Qin culture became sophisticated gradually with numerous cultural elements from the surrounding ethnic groups. Qin culture as a cultural complex, it inherited the traditions of Zhou（周）, and absorbed cultural elements from the Northwest, Southwest and the Central Plain（中原）. Archaeological researches on the city of Yong in the past fifty years have great achievements on Qin’s early history, however, there is no consensus in regard to some aspects of the early Qin culture, such as the palace structure of the city of Yong. By investigating the documents and unearthed relics, including tombs, pottery and bronze vessels, this thesis examines the characteristics and changes of Qin culture during Western Zhou and Eastern Zhou periods, and analyzes the process and pattern of cultural communication between Qin and the Other. / Detailed summary in vernacular field only. / 林淑娟. / "2013年7月". / "2013 nian 7 yue". / Thesis (Ph.D.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 189-216). / Abstract in Chinese and English. / Lin Shujuan. / Chapter 序章 --- 緒論 --- p.頁1 / Chapter 甲、 --- 解題 / Chapter （一） --- 「秦早期」與「雍城時期」 / Chapter （二） --- 「文化」：群體、社會的生活方式 / Chapter （三） --- 文化交流與相融：「自我」與「他者」的相互作用 / Chapter 乙、 --- 前人研究綜述 / Chapter （一） --- 半個世紀的雍城考古成果 / Chapter （二） --- 秦早期中、小型墓研究概況 / Chapter （三） --- 秦早期器物研究綜述 / Chapter 丙、 --- 研究目的及各章重點 / Chapter （一） --- 研究目的 / Chapter （二） --- 各章重點 / Chapter 第一章 --- 論九都八遷：秦早期的「都」、「城」與「邑」 --- p.頁23 / Chapter 甲、 --- 論九都八遷：秦歷世所居之地的爭議 / Chapter （一） --- 奠基之都：犬丘、西犬丘 / Chapter （二） --- 因文而異：西垂與西界 / Chapter （三） --- 一地多稱：汧渭之會、汧渭之間、秦 / Chapter （四） --- 遷汧之議：《史記正義》的誤載 / Chapter 乙、 --- 釋「都」、「城」與「邑」 / Chapter （一） --- 「都」與「邑」：處宗廟與否 / Chapter （二） --- 「城」與「城市」：軍事、經濟功能之差別 / Chapter （三） --- 秦早期的「都」、「城」與「邑」 / Chapter 丙、 --- 靈公、獻公居地的爭議 / Chapter 第二章 --- 定都雍城：雍城的結構佈局（上篇） --- p.頁50 / Chapter 甲、 --- 定都雍城原因探究 / Chapter （一） --- 關中：沃野千里的地理優勢 / Chapter （二） --- 雍城與大鄭宮：前人經營的成果 / Chapter 乙、 --- 雍城的城郭制度 / Chapter （一） --- 城郭之制：城以衛君，郭以守民 / Chapter （二） --- 雍城與咸陽：由郭至城 / Chapter 丙、 --- 〈考工記〉與東周列國都城 / Chapter （一） --- 〈考工記〉所反映的周禮精神 / Chapter （二） --- 理想與現實：東周列國都城之營建 / Chapter 第三章 --- 定都雍城：雍城的結構佈局（下篇） --- p.頁79 / Chapter 甲、 --- 離宮別苑相望：雍城的宮殿遺址 / Chapter （一） --- 馬家莊三號建築遺址 / Chapter （二） --- 姚家崗宮殿區及鐵溝、高王寺宮殿區 / Chapter （三） --- 城郊宮殿遺址 / Chapter 乙、 --- 昭穆之制：雍城的宗廟建築 / Chapter （一） --- 五廟、七廟之爭 / Chapter （二） --- 馬家莊一號建築遺址的三廟之制 / Chapter （三） --- 《儀禮》與雍城的宗廟結構 / Chapter 丙、 --- 雍城秦公陵園區 / Chapter （一） --- 分邦墓之地域：雍城陵園區的兆域 / Chapter （二） --- 大墓墓主身份考析 / Chapter 第四章 --- 周秦文化的「融合」：秦公墓與中、小型墓的比較 --- p.頁112 / Chapter 甲、 --- 秦公一號大墓的形制與葬俗 / Chapter （一） --- 天子之墓制：黃腸題湊 / Chapter （二） --- 秦國的人殉制度 / Chapter 乙、 --- 秦早期墓葬的出土與分布：天水、寶雞與西安 / Chapter （一） --- 天水、寶雞、西安地區的秦墓 / Chapter （二） --- 由西而東：秦國中、小型墓的分布 / Chapter 丙、 --- 秦中、小型墓的特色：屈肢葬、西首 / Chapter （一） --- 秦早期墓葬的分級 / Chapter （二） --- 秦公墓與中、小型墓的比較 / Chapter 丁、 --- 秦早期墓葬的文化元素 / Chapter （一） --- 屈肢葬的兩個體系：仰身屈肢與側身屈肢 / Chapter （二） --- 秦墓中腰坑、殉狗來源的爭議 / Chapter （三） --- 西北地區的葬俗：西首 / Chapter 第五章 --- 秦早期文化特色及演變：以青銅器、陶器為中心 --- p.頁141 / Chapter 甲、 --- 由簡至繁：墓葬器物的組合及演變 / Chapter （一） --- 從日用陶器到禮器：隨葬品類型的轉變 / Chapter （二） --- 文化交流與器物組合的多樣性 / Chapter 乙、 --- 陶器的文化成分：以鬲、罐、盆、豆為例 / Chapter （一） --- 聯襠鬲、袋足鬲 / Chapter （二） --- 圓肩罐、大喇叭口罐 / Chapter （三） --- 深腹盆 / Chapter （四） --- 喇叭圈足豆 / Chapter 丙、 --- 秦早期器物的器形、紋飾及文化元素 / Chapter （一） --- 青銅禮器與周文化 / Chapter （二） --- 銅鍑、銅劍與北方文化 / Chapter （三） --- 雙耳器、袋足鬲與西北地區文化 / Chapter （四） --- 帶蓋器與三晉文化 / Chapter （五） --- 陶釜、銅劍、銅鍪與巴蜀文化 / Chapter 終章 --- 結語 --- p.頁177 / Chapter 附錄一： --- 秦國世系圖 --- p.頁182 / Chapter 附錄二： --- 兩周時期秦國東向發展圖 --- p.頁183 / Chapter 附錄三： --- 天水、寶雞及西安地區出土秦早期墓葬列表 --- p.頁185 / p.頁189

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To understand the impact of the 20th century on Japanese consciousness, one must examine examples of its popular culture that have had a profound impact on its audience. To best accomplish this, this paper examines the main characters from two works of popular culture, Sensei from the 1914 classic novel Kokoro, and Shinji Ikari from the 1995 television series Neon Genesis Evangelion. This study analyzes the events occuring at the time of and between the two stories, and also examines the authors themselves in order to determine why these seminal works are especially representative of human beings in general and especially the Japanese. If the Twentieth Century is an age of remarkable freedom, it is one in which human beings exist in an abandoned state. Lacking an essential truth about what they should want or ought to be, humans must struggle to find their own purpose, sense of self, and happiness. At the same time, forces around them dramatically change the landscape, removing traces of familiarity and a recognized history. These two works feature protagonists struggling to weather the storm of their respective eras. By understanding their struggle, we can learn how to survive modernity. / A Thesis submitted to the Department of Asian Studies in partial fulfillment of the requirements for the degree of Master of Arts. / Fall Semester, 2008. / October 24, 2008. / Despair, Modern Self, Self-Identity, 20th Century, Japan, Gendai, Kindai, Modernity, Anno, Anime / Includes bibliographical references. / Yoshihiro Yasuhara, Professor Directing Thesis; Feng Lan, Committee Member; Kathleen Erndl, Committee Member.

The following study utilizes a 1981 reproduction of a ca.1525, Safavid version of the Persian national epic, the Shahnameh, to investigate the manuscript's numerous illustrations of painted interior design. Initial research focuses on the history of wall painting in Iranian culture from the ancient through the Safavid eras. The following section offers a brief history of the Safavids themselves, as well as an overview of the immediate cultural and artistic influences that combined to create their newly syncretized aesthetic. The body of the research concentrates on an original system of classification allowing each interior motif to be categorized as one of five basic types. Labeled A through E the master types are sub-divided into several lesser categories based on their degrees of separation from the original motif. In an attempt to trace each pattern's stylistic origins, the designs are evaluated in relation to three different media that either predate or are contemporary to the production of the Safavid Shahnameh: similar images from illustrated volumes, the literary accounts of extinct Timurid and Turkman murals and the wall paintings of extant edifices. A notable corollary to this research is the conclusion that a number of the Shahnameh's interior wall paintings exhibit far eastern, aesthetic influences that pre-date the Mongolian invasions of the thirteenth century. While it is difficult to classify each of the myriad layers of meaning projected on these images, quite a few of the motifs appear to contain Zoroastrian, Buddhist, Hindu and Sufi religious symbolism as well as Soghdian and Sassanian secular references. In particular it is proposed that, in many cases, the Shahnameh's illustrations are a reliable indication of the interior wall paintings that decorated contemporaneous Turkman and Timurid palaces. / A Thesis submitted to the Program in Asian Studies in partial fulfillment of the requirements for the degree of Master of Art. / Fall Semester, 2004. / August 19, 2004. / Safavids, Persian painting, miniature painting, Shah Isma'il, Shah Tahmasp, Shahnama, Shahnameh / Includes bibliographical references. / Peter Garretson, Professor Directing Thesis; Jonathan Grant, Committee Member; Susan Lee, Committee Member.

張文偉. / "2012年8月". / "2012 nian 8 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 80-89). / Zhang Wenwei. / 目錄 --- p.1 / 大理洱海東岸地圖 --- p.2 / Chapter 第一章 --- 引言 --- p.3-12 / Chapter 第二章 --- 南詔大理國至元代的佛教國家傳統概述 --- p.13-23 / Chapter 第三章 --- 法力之水與地方之水 --- p.24-38 / Chapter 第四章 --- 洪武十五年的天兵降臨洱海東 --- p.39-47 / Chapter 第五章 --- 禮儀變奏曲 --- p.48-69 / Chapter 第六章 --- 崇儒攘佛 --- p.70-74 / Chapter 第七章 --- 結論 --- p.75-79 / 參考書目 --- p.80-89

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