This dissertation is focus¡qCuo Zhan CuiNing¡r¡mShuang Xiong Meng¡n¡qPoXiaoShief¡rThose three story¡¦s text are used¡uShi Wu Guan¡v for subject matter, differentiate narrate model, personage molding and idea of theme three parts for base to discuss.And use a method of ¡§conclusion to collect¡¨ compare to analyse. In the same time, By way of this theme¡¦s to compare, let us to clarify some question in tradition and evolve. In the narrate model,¡qCuo Zhan CuiNing¡r¡mShuang Xiong Meng¡nuse overtop for outside field of vision in this story, but¡qPoXiaoShief¡rjust use Lao San¡¦s observe for this point of view. Besides¡qCuo Zhan CuiNing¡ruse different to mess in a narrator, let this theme pervade dense deliver a sermon implication. But ¡mShuang Xiong Meng¡nand¡qPoXiaoShief¡rare use the same narrator give rise sympathetic emotions, let two texts full more sympathetic.¡qPoXiaoShief¡r use flashback statement technique let story copious. Unique statement and slow statement step is the characteristic of this story. In the main from ¡qCuo Zhan CuiNing¡rto¡qPoXiaoShief¡r,the narrate model also from single to various. In the personage model,¡qCuo Zhan CuiNing¡rin personage model is major match the story plot, belong E.M. Forster mean¡uflat character¡v. Zhu Su Chen form looks and character to describe, mold role to different style, but he ignore the personage character, let¡mShuang Xiong Meng¡nthis story¡¦s personage describe to perfection, can not call perfect¡uround character¡v. Zhu Xi Ning major inherent to describe personage character. From E.M. Forster theory to view, ¡qPoXiaoShief¡r we can say almost ¡uround character¡v. Make a comprehensive to those three stories we can found from exterior describe change to inherent describe. In the subject thinking, ¡qCuo Zhan CuiNing¡r most clear to see is¡uspeak and act cautiously life philosophy¡v and¡utradition of retribution for sin¡v. Except an official related topic are three texts highlight.¡qPoXiaoShief¡rexcept had ¡uShi Wu Guan¡vstory, and enter into Lao San¡¦s plot, open another topic for concerned humanity, and the same time confer center of gravity from people face on environment to people this topic. This series of¡qCuo Zhan CuiNing¡r is the prototype of statement works, in the change course the theme thinking from reflect live actual state to concerned humanity and people.

This thesis aims at clarifying the very basic characteristics of Wu Ze Tian&rsquo / s reign and her utilization of religious and symbolic propaganda for legitimizing her authority. Wu Ze Tian is the only female emperor of China&rsquo / s long dynastic history who founded her own dynasty, Zhou dynasty after overthrowing the Tang dynasty in 690. The political ideal presented by Confucianism, which is the traditional state doctrine of the imperial China, refuses female participation to political arena and identifies the emperor as the Son of Heaven. In order to overcome the Confucian obstacle, Wu Ze Tian referred to the symbols and rituals of the antiquity, highly appraised by the Confucians, which enabled her participation to the political sphere. Moreover, for legitimizing herself as a female ruler, she utilized the Buddhist scholarship and concepts as tools of political propaganda. It was also a matter of fact that due to the northwestern nomadic influence on the society, female rulership was not conceived to be impossible in the Tang dynasty, as it was in the previous dynasties. Benefitting from this sociopolitical atmosphere, Wu Ze Tian occupied the throne first as the empress and later as the empress dowager for almost 35 years and at last ruled over the whole Chinese soil as the female emperor of the Zhou dynasty for 15 years. Wu Ze Tian proved herself as a capable ruler under whose dominion the whole country reached its broadest borders and the economy flourished considerably. Not only owing to the power of her political propaganda but also mostly because of her talent in rulership and her social and political reforms, Wu Ze Tian is one the most important Chinese rulers who left a remarkable influence on the governmental tradition of China.

This contribution examines the teaching of economics at the Hochschule für Welthandel as a case study in the evolution of Austrian academic economics in the 20th century. The period considered is divided into three periods - before, under and after the NS-regime. The main focus is on the multiparadigmatic character of the discipline before WWII, on economics under the NS rule, and on the restoration and delayed integration of economics into the international mainstream after 1945. On the personal level, the teaching of economics at the Welthandel was dominated for more than three decades by Walter Heinrich and Richard Kerschagl, whose influence is explored with regard to their academic, scientific and political activities. (author's abstract) / Series: Department of Economics Working Paper Series

published_or_final_version / Architecture / Master / Master of Landscape Architecture

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本論文企圖探討流行音樂創作者的風格形塑歷程。以伍佰為例，針對他自1990年到台北流行音樂圈開始發展後，一路至今(2014)的歷程進行深度的觀察與分析。試圖建立對於創作風格的形塑與轉變，提供一個理論的觀點。討論：1. 流行音樂創作者的個人風格如何形成？ 2. 流行文化和個人風格的互動關係為何？3. 隨著社會或自身的改變，創作者的如何回應，不斷開創自身風格？ 流行音樂產業當中唱片業因為科技的改變而衰退，當今現場表演才是創作者和表演者的能展現風格的和售票獲利的真實場域。但創作者要怎麼樣才能擁有自己的「風格」？而在風格一詞的多義性，已經在各個領域展開，從描述人格、作品、髮型、聲音，甚至life style都翻譯成「生活風格」的時刻，風格到底是什麼？本研究試圖以生命故事的角度，以及現場的觀察，來深度描寫創作者的故事。並從故事中，探索伍佰何以風格獨俱，以及他在市場上屹立不搖二十多年的原因。 簡述個案分析結論如下。對流行音樂創作者而言，「個人風格」是生命(life)內容找到合適的美學形式(Form)後，所進行展演的一種身體能力。風格形成的歷程，就是「生命」與「形式」校準的過程。流行音樂創作者獨特的個人風格來自於真實的生命經驗，且需要透過個人在社會與流行文化中習得的美學形式才能進行展演。 而「模仿」是生命尋找形式的最初起點。當自主表達的慾望大過講求普遍性的社會壓力時，一個流行文化的模仿者，才能成為創作者，開始尋找個人風格。經由不斷「感知」流行文化中不符合「自我」的部分，而使「自我形象」浮現，進而拒絕某些創作元素，並且建立符合「自我形象」的品味和創作路線。透過多元的實驗，去感受各種創作元素更動所造成的差異，厚積「美學展演的實作能力」，才能創造性地實踐與流行文化有所區別的個人風格，進而取回對自己生命內容的詮釋權。而「個人風格的出現」與否，則可由流行音樂創作者對於同一作品的不同詮釋與演繹是否具有辨識度來進一步觀察。反之也能從創作者受他人模仿的呈現中，觀察其個人風格明顯之處。 隨著社會或自身的改變，作品必須要能夠真實反映創作者的生命，因此持續更新個人風格的要領，就在於能夠不斷「破壞自己原有的樣子」，避免「自我複製」，但同時仍以真實的生命經驗和敏銳觀察進行創作，才不會落入為破壞而破壞的陷阱，迷失自我。 / This paper attempts to explore the stylization of pop music singer-songwriter. Wu Bai is the case we study. By looking through his music journey since 1989, we try to discover the story behind his stylization. The research questions are (1) As a Pop Music Singer-Songwriter, how to have one’s own style.(2) What is the interaction between popular culture and personal style？(3)As time goes by, how does a creator change or renew his/her own style to respond to oneself and the market？ Summarized as follows: To have “personal style” means a pop music singer-songwriter is capable to find the suitable “form” for his own “life” in his performance. Therefore, we believe that personal style is a kind of physical ability. Stylization is the interaction of life and form. A unique personal style comes from one’s real life experiences, and the aesthetic form have to be learned from society and popular culture. It takes a lot of practice to build one’s way to present. “Imitation” is the starting point of stylization. When the desire for self-expression is greater than the universality from social pressure, imitators could become creators, embark on the journey to pursue personal style. To reject the part in popular culture which does not fit, so that self-image emerges. Once a creator get familiar with oneself, who can establish creative style which fit whose self-image. By feeling the difference between every creative element through practice, one can learn the practical skills of aesthetic performances. After this, one could have personal style that differ from popular culture, and retrieve the right to interpret one’s own life. Everything in life changes, the work must be able to reflect the real life of the creator. Therefore, the essentials of renewing one’s personal style are "destroy one’s original appearance," "avoid self-replicating", and” always remember who you are”, so one will not be lost in the forest of stylization.

The Journey to the West (西游记) is one of the masterworks of classic Chinese fiction. It was written by Wu Cheng‘en (吴承恩) in the 16th century CE. Many of the scholars, both Chinese and Western, who have studied the narrative of this Ming era (1368-1644) novel, have considered it to be an epic of myth and fantasy, heavily laden with allegorical meaning. Most scholars have chosen to interpret the novel by means of an encompassing framework of meaning rooted in the convergence of the teachings of Buddhism, Taoism and Confucianism. I propose to look at the Journey’s narrative structure as a heroic adventure or monomyth of the kind proposed by Joseph Campbell, following the insights of Carl Jung on the nature of the collective unconscious. To analyze the component parts of the quest story that forms the bulk of the novel‘s narrative, I shall turn to Vladimir Propp‘s categorization of the functioning of elements of plot and character in his morphology of folktales. I shall also argue that the Journey is not an allegory that serves the beliefs and practices of a number of religions and philosophies, but a specifically Buddhist allegory. The Journey is seen as intentionally composed of symbols, images, and codes that function to project a heroic adventure with a complex pattern of meaning, primarily representing the eternal human struggle for identity and a fully realized existence, that are Buddhist in nature.

In 2015, Wien Wirtschafsuniversität ranked among economic universities regularly disclosed on the Financial Times in position number 42. The University of Economics last three years, around 80th place. Why is this so? In the context of this thesis is to analyze not only the legal prerequisites for successful graduates of the master's program Finance and Accounting, but also deals with the practical use of knowledge on the labor market resp. As well as the current unemployment of graduates in what fields they can work, etc. In this work also deals with the human capital theory, which explores the motives for higher education. They are given different conditions during their studies at WU and Economics, as well as development starting salary after graduation. The last chapter contains examples that would be good to apply in the Czech higher education system. The question remains, why WU placed on better positions than ALL? According to the author's investment in science and research in Austria - currently invest nearly 2% of GDP, as well as 100-year-old development WU, when no interruption to develop economic theory and their application in practice, as well as linking university knowledge with practice.