Global ETD Search

41	王筠之《說文》訂段學. / Wang Yun zhi "Shuo wen" ding Duan xue. January 1989 (has links) 樊善標. / 稿本(電腦打印本) / Thesis (M.A.)--香港中文大學硏究院中國語文學部. / Gao ben (dian nao da yin ben) / Includes bibliographical references (p. 351-364). / Fan Shanbiao. / Thesis (M.A.)--Xianggang Zhong wen da xue yan jiu yuan Zhongguo yu wen xue bu. / 目綠 --- p.1 / Chapter 第一章 --- 緒論 --- p.1 / Chapter 第一節 --- 王筠《¨®Ơ文》學之淵源 --- p.1 / Chapter 第二節 --- 王筠與《¨®Ơ文》訂段學 --- p.10 / Chapter 第二章 --- 訂段氏校勘本文之誤（上） --- p.26 / Chapter 第一節 --- 引言 --- p.26 / Chapter 第二節 --- 正篆、重文類 --- p.29 / Chapter 第一小節 --- 删篆之誤（附未删正篆重文之誤> --- p.29 / Chapter 1. --- 同部、異部重文 --- p.29 / Chapter 2. --- 累增字 --- p.40 / Chapter 3. --- 《說文》分據《詩》異文收字 --- p.44 / Chapter 4. --- 其他 --- p.51 / Chapter 5. --- 附未删正篆重文之誤 --- p.54 / Chapter 第二小節 --- 補篆之誤（附補重文之誤） --- p.67 / Chapter 1. --- 疏於審證 --- p.67 / Chapter 2. --- 不明說解例 --- p.72 / Chapter 3. --- 附補重文之誤 --- p.77 / Chapter 第三小節 --- 字形之誤 --- p.89 / Chapter 1. --- 未用金石材料 --- p.89 / Chapter 2. --- 不察字形取意 --- p.101 / Chapter 3. --- 不辨材料是非 --- p.111 / Chapter 4. --- 師心改字 --- p.117 / Chapter 第三章 --- 訂段氏校勘本文之誤（下） --- p.127 / Chapter 第一節 --- 說解類 --- p.127 / Chapter 第一小節 --- 誤校之類型 --- p.127 / Chapter 1. --- 誤改說形聲之語 --- p.127 / Chapter 甲 --- 删省聲 --- p.127 / Chapter 乙 --- 改形聲為會意 --- p.137 / Chapter 丙 --- 其他 --- p.141 / Chapter 2. --- 誤改讀若 --- p.143 / Chapter 3. --- 其他 --- p.149 / Chapter 第二小節 --- 誤校之原因 --- p.162 / Chapter 1. --- 不識被¨®Ơ解字義 --- p.162 / Chapter 2. --- 不知「一曰」多出後人 --- p.169 / Chapter 3. --- 不知非字者不出說解之例 --- p.178 / Chapter 4. --- 不明說解用意 --- p.189 / Chapter 5. --- 取證之誤 --- p.198 / Chapter 第四章 --- 訂段氏注釋之誤 --- p.213 / Chapter 第一節 --- 引言 --- p.214 / Chapter 第二節 --- 誤注之類型 --- p.214 / Chapter 第一小節 --- 誤釋字義及說解 --- p.214 / Chapter 第二小節 --- 誤立通例 --- p.235 / Chapter 1. --- 說解必用本字 --- p.235 / Chapter 2. --- 複舉字 --- p.250 / Chapter 第三小節 --- 引證及推理之誤 --- p.273 / Chapter 第四小節 --- 轉注義例及句讀之誤 --- p.299 / Chapter 第三節 --- 補充《¨®Ơ文注》 --- p.321 / Chapter 第五章 --- 結論 --- p.332 / Chapter 附錄一： --- 《¨®Ơ文釋例》删「一曰」統計 --- p.343 / Chapter 附錄二： --- 《說文》「非字之形」出於說解统計 --- p.346 / 參考書目 --- p.351 王筠 , 1784-1854 許愼 , -120? 段玉裁 , 1735-1815 Wang, Yun , 1784-1854 Xu, Shen , -120? Duan, Yucai , 1735-1815
42	Domestication of the cultural icon: Chow Yun Fat : from subversion to domination. January 2002 (has links) Tam Wai Wan Vivian. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2002. / Includes bibliographical references (leaves 231-233). / Abstracts in English and Chinese. / Chapter 1 --- Orientation to Domestication --- p.1 / Chapter ´Ø --- Literature Review and Methodology --- p.6 / Chapter ´Ø --- "Popular Culture, Cultural Identity and Discourse" --- p.7 / Chapter ´Ø --- Textual Analysis and Interview --- p.13 / Chapter ´Ø --- "Ideology, Discourses and Domestication" --- p.19 / Chapter 2 --- Introduction to the Four Discourses --- p.40 / Chapter 3 --- Chow Yun-fat's Subversive Past --- p.46 / Chapter 4 --- Domesticating Chow on TV Ads --- p.62 / Chapter 5 --- Taming Chow Yun-fat on Paper --- p.83 / Chapter 6 --- Overview to Reception Analysis --- p.105 / Chapter 7 --- Newfound Pride in Chow Yun-fat --- p.114 / Chapter ´Ø --- Upper-middle Class' Actualizing Actor --- p.114 / Chapter ´Ø --- Small Business Owners' Actor of Class --- p.127 / Chapter 8 --- Colonization or Rejuvenation of the Grassroot Chow Yun-fat --- p.141 / Chapter ´Ø --- Colonizing the Secure Working Class --- p.151 / Chapter ´Ø --- Revitalized Admiration by the Cultured Middle Class --- p.158 / Chapter 9 --- Disenchantment and Alienation of the Insecure Working Class 一 A Chow Yun-fat beyond Survival --- p.168 / Chapter 10 --- Conclusion --- p.192 / Appendix 1: Sample of Interview Questions --- p.197 / Appendix 2: Selected Frames and Shot-by-shot Analysis of Chow Yun-fat Advertisements --- p.198 / Appendix 3: Chow Yun-fat's Filmography --- p.229 / Bibliography --- p.231 Chow, Yun-fat Actors Actors--China--Hong Kong Motion pictures--Social aspects Popular culture Popular culture--China--Hong Kong
43	紀昀的試律詩學 / The poetics of rhythmic poems written in civil examination－a study of Chi Yun’s (1724-1805) poetic essays 邱怡瑄, Chiu,Yi Hsuan Unknown Date (has links) 清代文人紀昀被稱為「說試律者之宗」，他對試律詩的創作及研究造詣甚深。然「試律詩」向來因為「場屋文學」的性質，被排除在主流文學的論述之外。本文第一章由對「抒情傳統論述」的反省開始，引發整體的問題意識：一方面嘗試探討「試律詩」及「試律詩學」在中國詩學思想脈絡該如何被梳理的問題；另一方面則嘗試補白學界長久來對「試律詩」研究的空缺，並呈現紀昀在「試律詩學」上的貢獻。正文部分以紀昀的四本試律詩學著作：《唐人試律說》、《庚辰集》、《館課存稿》及《我法集》為研究對象，並以「紀昀的試律評點與試律詩觀」和「紀昀試律詩的創作實踐」二端，嘗試建構紀昀的「試律詩學」體系。第二章首先交代紀昀「試律詩學」的產生背景，乾隆朝科舉改革讓「試律詩」重新躍為科舉的重要考科之一，也促成了清代試律詩學的重新興起。紀昀本人從考生到考官的生命歷程，以及對試律詩教學的信念，成為他撰著「試律詩學」相關著作的重要契機。第三章探討《唐人試律說》、《庚辰集》兩部著作，歸納出紀昀評點試律詩的態度及方法，並指出其「試律詩學」的理論要點。第四章則以紀昀的《館課存稿》和《我法集》中所收錄試律詩創作為觀察對象，驗證其理論與創作實踐之間的對應關系，並據此論證紀昀的「試律詩學」是理論與創作兼跨的完整詩學體系。第五章則試圖回應研究動機中關於「抒情傳統論述」與「試律詩」之間該如何對話的問題。第六章則統整本文的研究成果以為結論。紀昀試律詩場屋文學科舉抒情傳統 Chi Yun(1724-1805) Civil Examination Lyric Tradition
44	Isang Yun and the Hauptton Technique: An Analytical Study of the Second Movement from Duo für Violoncello und Harfe (1984) Kim, Sinae 27 April 2012 (has links) Composer Isang Yun developed an idiosyncratic musical language that blends Eastern-Asian and Western-European art traditions. Exiled from Korea due to political conflict, he continued his compositional career in Germany, where his music is renowned for its use of the Hauptton (“main-tone”) technique. Yun was the first to discuss this technique, which he interprets as a process rooted in East-Asian musical traditions, including Taoism philosophy. His music is remarkable in that it fuses this process within the context of Western formal structures. I combine Straus’s associational model with Yun’s Hauptton theory to analyse the second movement of Duo für Violoncello und Harfe (1984) in order to show the inclusion of Eastern-Asian and Western-European musical elements in Yun’s music. I begin by analysing several Haupttöne at the surface level through associational relationships, followed by a large-scale analysis of the entire movement with one fundamental Hauptton. Isang Yun Hauptton Technique East-Asian Musical Tradition Taoism Twentieth-Century Western Music Theory Analysis Joseph Straus Associational Model Centricity Duo für Violoncello und Harfe (1984)
45	Isang Yun and the Hauptton Technique: An Analytical Study of the Second Movement from Duo für Violoncello und Harfe (1984) Kim, Sinae 27 April 2012 (has links) Composer Isang Yun developed an idiosyncratic musical language that blends Eastern-Asian and Western-European art traditions. Exiled from Korea due to political conflict, he continued his compositional career in Germany, where his music is renowned for its use of the Hauptton (“main-tone”) technique. Yun was the first to discuss this technique, which he interprets as a process rooted in East-Asian musical traditions, including Taoism philosophy. His music is remarkable in that it fuses this process within the context of Western formal structures. I combine Straus’s associational model with Yun’s Hauptton theory to analyse the second movement of Duo für Violoncello und Harfe (1984) in order to show the inclusion of Eastern-Asian and Western-European musical elements in Yun’s music. I begin by analysing several Haupttöne at the surface level through associational relationships, followed by a large-scale analysis of the entire movement with one fundamental Hauptton. Isang Yun Hauptton Technique East-Asian Musical Tradition Taoism Twentieth-Century Western Music Theory Analysis Joseph Straus Associational Model Centricity Duo für Violoncello und Harfe (1984)
46	Isang Yun and the Hauptton Technique: An Analytical Study of the Second Movement from Duo für Violoncello und Harfe (1984) Kim, Sinae January 2012 (has links) Composer Isang Yun developed an idiosyncratic musical language that blends Eastern-Asian and Western-European art traditions. Exiled from Korea due to political conflict, he continued his compositional career in Germany, where his music is renowned for its use of the Hauptton (“main-tone”) technique. Yun was the first to discuss this technique, which he interprets as a process rooted in East-Asian musical traditions, including Taoism philosophy. His music is remarkable in that it fuses this process within the context of Western formal structures. I combine Straus’s associational model with Yun’s Hauptton theory to analyse the second movement of Duo für Violoncello und Harfe (1984) in order to show the inclusion of Eastern-Asian and Western-European musical elements in Yun’s music. I begin by analysing several Haupttöne at the surface level through associational relationships, followed by a large-scale analysis of the entire movement with one fundamental Hauptton. Isang Yun Hauptton Technique East-Asian Musical Tradition Taoism Twentieth-Century Western Music Theory Analysis Joseph Straus Associational Model Centricity Duo für Violoncello und Harfe (1984)
47	A Translation of Yun-T'aek Yi's Faust in Blue Jeans Hong, Yonjoo 01 January 2012 (has links) (PDF) In this thesis, I present a translation of Yun-T’aek Yi’s Faust in Blue Jeans accompanied by an introduction discussing my decision making process. Yun-T’aek Yi’s eighth play for the theater, Ch’ŏngbajirŭl ibŭn p’ausŭt’ŭ, is a Korean adaptation of Wolfgang von Goethe’s Faust, set in twentieth-century Korea with contemporary Korean characters. Given the English title Faust in Blue Jeans, I consider this text for purposes of a staged performance and point out the difficulties in the replacement of one culture by another, especially in consideration of my personal situation as a Korean born translator living in the United States. I discuss strategies and choices in translation with reference to scholarly works in the fields of translation studies and dramaturgy. I also offer a glimpse into my translation process by attaching a literal crib of the opening act, a preliminary step taken before further shaping the translation for the stage, and a graph comparing my first draft to its revision after a staged reading. Often referred to as a “cultural guerilla” in South Korea for his active work as playwright, producer, writer, and poet, Yun-T’aek Yi colorfully portrays South Korean society and culture of the eighties in this play and I strove to preserve the dynamicism and vitality of the original. The playwright’s foreword, in which he discusses his reasons for creating an adaptation of Goethe’s work, and a brief excerpt on the motif and summary of the play as told by the South Korean playwright have also been translated. Yun-T'aek Yi Yountaek Lee Translation Korean Theater Drama East Asian Languages and Societies Other English Language and Literature Other Theatre and Performance Studies
48	La traduction et la réception de Stendhal en Chine (1922-2013) / On the translation and reception of Stendhal in China (1922-2013) Kong, Qian 25 November 2014 (has links) L’étude ici présentée porte sur l’histoire de la traduction et de la réception de Stendhal en Chine depuis les années 1920. Il s’agit de mettre en relief, par une approche comparatiste, les images nuancées du romancier et les caractéristiques de la réception de ses œuvres dans les différentes époques. En effet, les études sur Stendhal en Chine sont étroitement liées au contexte social et politique de la société chinoise. Le Rouge et le Noir, roman étranger qui connaît le plus de traductions chinoises, est considéré tantôt comme un chef-D’œuvre de la littérature réaliste, tantôt comme une « herbe vénéneuse » contre le Parti communiste. La réception de Stendhal en Chine reflète, dans une certaine mesure, celle de toute la littérature occidentale. Nous avons essayé de mettre en évidence les facteurs essentiels à la réception de Stendhal en Chine et les transformations des œuvres du romancier face à l’épreuve d’une culture et d’une société étrangères. / The study hereby presented tackles the history of the translation and reception of Stendhal in China since the 1920s. The aim is to point out, by the comparative approach, different images of the novelist and features of reception of Stendhal’s works in China during different periods. The study of Stendhal in China is closely associated with social and political contexts of China’s society. The Red and the Black, the most translated foreign novel in China, is sometimes considered as a masterpiece of realist literature, sometimes as a poisonous weed against the Communist Party. The reception of Stendhal in China reflects the whole history of reception of western literature to some degree. We have tried to reveal the essential factors for the reception of Stendhal in China and the transformation of his literary works during this experience in the foreign culture and society. Stendhal Le Rouge et le Noir Julien Sorel Traduction Chine Mu Mutian Li Jianwu Zhao Ruihong Luo Yujun Hao Yun Guo Hongan Luo Xinzhang Xu Jun Réception Stendhal The Red and the Black Julien Sorel Translation Reception China Mu Mutian Li Jianwu Zhao Ruihong Luo Yujun Hao Yun Guo Hongan Luo Xinzhang Xu Jun
49	九○年代大陸女性作家的家族書寫 / Family Writing of Mainland China Women's Fictions in the 1990s 劉希珍, Liu, Chsi Chen Unknown Date (has links) 九○年代大陸女性作家的家族書寫在八○年代末的新寫實小說思潮、新歷史小說思潮以及西方女性主義文學思潮的相互激盪之下，延續新時期文學對「革命現實主義」的反叛姿態，在「追求自我」、「認識自我」的性別覺醒意識中重新審視女性的歷史，從而在「父子相繼」的傳統家族譜系之外，想像並打造「母女相連」的女性主體譜系，揭露「政治權力結構」和「性別權力結構」所暗含的偏斜與不公。對「政治權力結構」的批判是指文化大革命的「國家集體話語」對「個人自由」的限制與傷害，這部分藉由作者的敘事聲音、小說人物際遇以及承載特殊歷史意涵的意象來表現，對「性別權力結構」的反省主要在突顯父權秩序對女性的強制收編，因此塑造有別於血緣母親的代理母親、刻畫女性身體的各種造型，以及利用象徵性符號進而凝聚、團結女性們的精神力量。本文所界定的女性家族書寫是指女性作家站在女性立場所書寫以女性為核心的家族故事，不僅積極嘗試改變、顛覆女性在父權歷史建構中的地位，並且能夠將「女性意識」、「家族敘事」和「歷史建構」融為一體，呈現女性歷史的發展過程和女性文化的演進形態，依此定義，本文選擇《玫瑰門》、《櫟樹的囚徒》和《羽蛇》作為研究分析對象，並且建立分析架構，分析架構包括「敘事面向的敘事時間、空間、視角、聲音分析」、「身體面向的女性人物主體性分析」、「文學面向的特殊意象分析」以及「史觀面向的陰性書寫策略分析」。《玫瑰門》展示的「演出型敘事模式」，用演員的登臺亮相、家具意象所潛藏的歷史象徵意義，以及「氣味」、「圖象」的感官陰性史觀，隱喻歷史的表演性質；《櫟樹的囚徒》呈現的「接力式敘事模式」，將歷史的詮釋權分配給不同世代的女性，隱喻歷史的傳承過程充滿著多元言說主體以及敘述的裂痕，因此「樹木」、「河流」、「眼睛」意象的源遠流長特質以及女性生死循環的陰性史觀，成為組織家族歷史最強而有力的書寫方式；《羽蛇》營造的「夢遊體敘事模式」，透過「羽蛇」這個實體人物和象徵符號在現實、夢境、幻境和家族歷史的自由轉換過程，「巨蚌」、「水晶燈」、「無字碑」等意象中無所不在的女性身體，以及「鮮血」和「白雪」相互抗衡的陰性史觀，投射出穿越時空的女性集體精神壓迫。本文的研究侷限是對小說文本中的「男性人物」缺乏深刻關注，以及對小說文本的選取集中在五○年代出生作家群。研究展望是希望未來能進行「比較性研究」，交叉比較家族書寫作者和敘述內容所呈現的不同性別立場，展現更為多元的女性主體性，多向度比較家族書寫作者的社會身份以及文本中構成女性身份的各種因素，為社會學層面和心理學層面的女性研究提出貢獻，並且比較大陸和臺灣的女性作家家族書寫在不同的政治、社會環境下，開展出何種相異與相似的書寫面貌，讓女性作家的家族書寫版圖更加遼闊。九○年代女性文學家族書寫鐵凝蔣韻徐小斌 1990s Female Literature Family Writing Tei Ning Jiang Yun Xu Xiaobin
50	國營企業職工代表大會: 一個案例硏究. / Guo ying qi ye zhi gong dai biao da hui: yi ge an li yan jiu. January 1995 (has links) 張靜. / 論文(博士) -- 香港中文大學硏究院社會學學部, 1995. / 參考文献 : leaves 128-135. / Zhang Jing. / 諭文提要 --- p.1 / 導論：理論及問題 --- p.1 / Chapter 第一章： --- 職代會制度背景 --- p.12 / 起源 --- p.12 / 發展 --- p.16 / 小结 --- p.23 / Chapter 第二章： --- 參舆者和组織者 --- p.25 / 參與者 --- p.25 / 組織者 --- p.33 / Chapter (1) --- 代表資格審查 --- p.37 / Chapter (2) --- 提案控制 --- p.40 / Chapter (3) --- 表决控制 --- p.44 / 小结 --- p.49 / Chapter 第三章： --- 企業工會與職代會 --- p.50 / 權力來源 --- p.50 / 財政支持 --- p.53 / 自我角色認同 --- p.56 / 基層信息收集者 --- p.59 / 調和者 --- p.63 / 小結 --- p.66 / Chapter 第四章： --- 動力舆结構 --- p.67 / 群體利益與部門利益 --- p.67 / 消極的组織者 --- p.77 / 責任分擔 --- p.85 / 基層監督 --- p.92 / 小結 --- p.97 / Chapter 第五章： --- 職代會與利益協調 --- p.98 / 利益表達與滿足方式 --- p.98 / 利益衝突與平衡 --- p.106 / 干群矛盾 --- p.114 / 小結 --- p.119 / Chapter 第六章： --- 結論及討論 --- p.121 / 〔參考文獻〕 --- p.128 / 〔園表及附録〕 / 表〔1〕職代會《條例》修改條文比较（一章） Management北京靑雲航空儀表廠

Search results