This thesis encompasses a survey of contemporary environmental literature (1970s to the present) as it relates to the tenets of Taoist literature, specifically the Chuang Tzu and the Tao te Ching. The thesis also presents and evaluates pertinent criticisms concerning the practice of relating modern environmental problems to ancient Chinese philosophy. The thesis contains a preface that describes the historic roots of Taoism as well as an explanation of the Chinese terminology in the paper. The environmental literature is divided into three major groups and discussed in the three chapters of the paper. The three groups include mainstream environmentalists, deep ecology, and ecofeminism.

Chinese calligraphy and Western typography have been evolving for around five thousands years. During this time, they have developed quite different characteristics. Compared with the geometrical form and precision of Western printing types, Chinese calligraphy features abstract shapes and spontaneous strokes. These differences result in a gap that prevents a harmonious and organic relationship between them. This project explores the possibilities of combining these two historical visual systems, demonstrates specific methods and approaches for creating compelling formal relationships, and endeavors to establish a friendly, organic and harmonious dialogue between Chinese calligraphy and Western typography. The outcome of this project is a handmade book and a series of posters. The content of them comes from the writings of Lao-Tzu.

This thesis reaches across multiple disciplines, including music psychology, performing arts, and philosophy, to propose using Lao Tzu’s philosophical thoughts in his book Tao Te Ching (also Dao De Jing, daodejing) to cultivate a classical performing musician’s “professional mindset.” “Professional mindset” is defined as the performer’s attitude in dealing with people including himself, and philosophical perspectives in making music. Part I evaluates the recurring traits of classical performing musicians (CPMs) as key for later arguing that Tao Te Ching helps enhance and transform the associated behaviors of a CPM’s recurring traits. These traits include being aloof, intelligent, emotionally unstable, dominant, sensitive, imaginative, self-sufficient, having high ergic tension, along with the associated second-order factors introversion, anxiety, independence, and being unrestrained. Part II introduces Tao Te Ching by building its thinking system map, with each of the book’s components explained and the underlying concepts hidden in the map uncovered via my English translations of the text as found in Chen Guying’s commentary. Part III presents three perspectives that collectively argue how Tao Te Ching cultivates a CPM’s professional mindset. The first analyzes anecdotes from the biographies of flutist Marcel Moyse using the recurring traits of CPMs in order to show how Lao Tzu’s thoughts can enhance or transform the associated behaviors of the recurring traits of CPMs. The second philosophically applies the duality of Lao Tzu to a CPM’s main musical activities and defines his daily performing cycle. The third explains how Tao Te Ching creatively deals with musical matters.

本論文分五章：第一章緒論：敘明研究動機與目的、研究方法與限制、研究架構，並將重要名詞作一解釋。第二章管子管理哲學之時代背景及思想基礎：首先對管仲其人及《管子》其書作一介紹。其次，探討《管子》一書的時代環境背景，了解其所處的時代所面臨的因境，及為解決此困境所發展出的思想，再透過以上的環境系絡分析，對《管子》管理哲學的思想基礎作一初步探討，以作為瞭解其管理哲學的張本。第三章靜因管理《管子》管理哲學兼納道、法、儒三家之長，本章首先論述其管理哲學之偏向道家部分，《管子》一書近人雖多將之歸列為法家著作，惟其係由道入法，因道全法，因此亦具有相當濃厚的道家色彩。它強調為君之道應以虛靜為本，因循為用，無為而治。認為君主必須去除主觀好惡及成見，保持心靈的虛靜，才能夠因應瞬息萬變的外在環境，而有適時且正確的反應。並且主張君主必須清靜無為，不與臣下競能，臣下才能發揮其長才。第四章法治管理：本章論述《管子》管理哲學之偏向法家部分，《管子》一書大部分篇章成於戰國時代的齊國，當時各國競爭極為激烈，齊國執政者關注的目標為富國強兵、稱王圖霸。因此，施政著重效率。為切合時代需求，《管子》的治國主張富有法家的功利務實色彩，主張君主集權、用人唯才、法私任法、賞罰分明。以客觀的標準，有效的控制，集結全民的力量，作為君主圖霸稱王的資本。第五章德治管理：本章論述《管子》管理哲學之偏向儒家部分，《管子》一書雖強調法治，但也肯定禮、義的積極作用，認為「守國之度，在飭四維」，並注重人民的教化。因此，也兼具儒家德治的色彩。惟其較重「禮」「義」的外鑠功能，對於「仁」「恕」之心的內發性的修持涵養則較為欠缺。第六章結論：根據以上探討結果，嘗試以現代眼光，探討管子管理哲學的現代意涵及其侷限。最後並以行政學演進的趨勢為分析架構，探討目前台灣公共行政面臨的問題，以及管子管理哲學可以給我們怎樣的啟發。

University of Macau / Faculty of Social Sciences and Humanities / Department of Portuguese

This dissertation attempts to interpret the statements of Ludwig Mies vans der Rohe (1886-1969) that pertain to his lifelong theory of Baukunst, or the art of building in terms of tectonics. In order to use the concept tectonics as a criterion according to which one can comprehend Mies words and works, this dissertation attempted to define tectonics in a more general sense by collecting existing definitions and categorizing them. The result of this endeavor showed that tectonics does not signify a supportive structure but the art of framing construction, in which linear elements are put together with joints and clad or infilled with lightweight material. It is proposed that Mies, who called the ideal of tectonic architecture the art of building, during his lifelong career, experienced two periods of critical awareness through which he established his own type of tectonic buildings: awareness of the open plan and then that of clear space. After the former occurred in 1926, he focused on the creation of inner spatial openness; after the latter, which this dissertation proposes occurred around 1930, when he met Karlfried Graf Drckheim (1896-1988), who had been absorbed in Lao-tzus philosophy, Mies intended to show that his architectural concern was beyond physical construction by employing the concept of changing nature and by designing his buildings to be neutral frames. Mies finally achieved a tectonically integrated body of a building that contained extroverted and undetermined space, which he referred to as clear space, or generally called Mies universal space, through his lifelong pursuit for the accomplishment of his own art of building, which this dissertation terms Miesian tectonics.

Having been the target country of the international non-governmental organization for the past decades, Taiwan has survived and strived to be the giver in the international community. During the process, education has played an important role. The study used comparative method proposed by Bereday in addition to a qualitative data analysis software, NUD*IST. Three major purposes were identified as follows: (1) Discuss the conception and importance of international education aid. (2) Compare the experience of international education aid of Tzu Chi Foundation and World Vision Taiwan. (3) Give suggestions for other organizations to promote international education aid. Finally, the researcher concluded that the idea of international aid had developed from economic aid toward social development project with an emphasis on the sustainable development. In addition, there existed several common features between the Tzu Chi Foundation and World Vision Taiwan and terms of general conception and model of education aids. Even though, the Tzu Chi Foundation more on the logistic equipment of educational practices, whereas the World Vision Taiwan proclaimed the human right for children as their focus of aid.

The 4th Generation of Warfare, with its wars among the people, confronts soldiers with complexities, challenges and demands, which they are not adequately prepared for. We see this in the increasing level of mental health issues and operational stress injuries, and in the entrenchment and attrition of modern operations that struggle to achieve strategic goals. Given this, the training of soldiers needs to be adapted: mental and emotional capacity needs to be built and maintained. The Shambhala Buddhist tradition has developed a complete practice integrating meditation and mindfulness awareness training with Western military culture and forms, called the Dorje Kasung. Practices, principles, techniques, and insights, from this and other Eastern military traditions can be adapted and applied to the Canadian Forces. Answering a need to enhance, reinforce, and develop the understanding and embodiment of the military ethos and professionalism of CF members throughout their career.

Thesis (Ph. D.)--University of Washington, July, 1989. / Typescript. Includes bibliographical references (p. [352]-378).

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