Thesis (Ph. D.)--Guo li Taiwan shi fan da xue, 1983. / Reprint. Oringially published: Min guo 72 [1983]. On double leaves.

中國哲學的思想型態，一向偏重直覺體悟，而較不重客觀分析，影響所及，常有輕忽 知識之現象。若荀子重智的分析型態，恰能補此缺憾，而此正為荀子學說之特色，余 因欲從「分」這一觀點來探討荀子思想之基礎，俾能對其整個學說有一正確之了解， 並彰顯此一特殊的思想型態。 在文獻方面，以荀子本文為主，而以六經及其他諸子之材料為輔，再參考後人之研究 著作。至於研究方法，則兼採分析、歸納二法，唯荀子既重分析，故本文亦以「分析 法」為主。 在內容方面，本論文共分六章。首章是「緒論」。先介紹荀子所處之時代北景，次言 其重智之思想特質，並因而引出荀子的分析觀念，此為第一節。第二節敘述分觀念之 起源，並簡敘其在荀子思想系統中的地位，證明此一觀念在天人、性論、正名、社會 政治各方面皆有重大的影響。二、三、四、五章即分就此四部分論之。第二章為「天 人之分」。首節為先秦天人思想概述。次節則敘述荀子的天人思想，主要是以明於「 天人之分」為主，並由此而提出其「天生人成」之理想。第三章為「性偽之分」。首 節仍是對先秦人性思想作一概述。次節則敘述荀子的人性思想，亦是以「性偽之分」 為關鍵，再由之而「化性起偽」。第四章為「正名定分」。首節言先秦名教及名理的 兩種正名思想。次節言荀子的正名思想實兩者兼而有之，其目的主要在「定分」，其 內涵則由分析之思想，而立三標、破三惑。第五章是「明分使群」。首節為先秦社會 政治思想概述。次節則記荀子的社會政治思想，乃以「明分使群」為主要理論，實際 則以君王為明分之主體，而以德、能相稱為分職、分工之原則。末章「結論」，總述 研究之成果，及荀子分析思路之貢獻。 經由本論文之探討，不僅可確定分析之觀點為荀子主要之思想型態，並對其價值與影 響，有一清楚的認識。

Confuscious thoughts is one of the most important knowledge in the Chinese philosophy, and does certainly has a profound influence in the Chinese culture and its political thoughts. Kong Zi, Meng Zi and Xun Zi took turn in completing the courtier morality respectively. This thesis found out that virtue and ceremony is shared among the 3 philosophers as the common goal and mission in politics. However, due to the different era and environment that the 3 philosophers were in, each of the 3 philosophers had different concentration on the same issue, and therefore resulting in differences in their beliefs. Research allows us to have a deeper understanding of the core contents, and also shows us that in the same school of thoughts, there can be different perspectives in it. With this, it helps us to have a better understanding of Confuscious influence in the political area.

Diss.--Philosophische Fakultät I--Zürich--Universität Zürich, 1990.

Reproduction de : Thèse de doctorat : Philosophie : Lyon 3 : 2005. / Titre provenant de l'écran-titre. Bibliogr.

Tal- och rösteffekter av djup hjärnstimulering hos patienter med ärftlig tremor

Chinese art songs—which are derived from over four thousand years of Chinese culture and combine unique Chinese literary and musical flavors with Western compositional techniques—remain largely unknown in the Western world. Chinese art song, a treasure of a genre, deserves more attention from Western singers and scholars. With a population of 1.41 billion, China has the largest potential market for bel canto singing. Not only will studying Chinese art songs enrich a singer's worldview and repertoire choices, doing so will also be advantageous when singing internationally. In order to assist non-Chinese-speaking singers overcome the difficult language barrier that often prevents them from studying Chinese art songs, I have chosen six songs by the renowned early twentieth century Chinese composer, Huang Zi (1904–1938) to analyze. Although he remains virtually unknown in the Western scholarly world, Huang's Chinese art songs, which include both ancient and contemporary Chinese poetry as well as Chinese and Western musical characteristics, are representative of this genre. By analyzing the poetry and musical settings of six Chinese art songs by Huang Zi, providing pronunciation instructions for Mandarin Chinese, word-for-word and poetic translations, practical International Phonetic Alphabet (IPA) transcriptions from the Pinyin system, and creating an interpretive guide of these songs, this project aims to help singers worldwide to prepare and perform Chinese art songs in a more expressive and authentic way. Taking this project as the first step, singers and scholars worldwide will be able to study and research more Chinese art songs and explore a new artistic world.

This dissertation examines the contributions of the early twentieth-century Chinese composer Huang Zi to the genre of Chinese art songs. It discusses how he combined Western compositional techniques with traditional Chinese music and ancient or contemporary Chinese poetry, focusing on his works 花非花 Flowers in the Mist, 点绛唇, 赋登楼 Ode to Ascending the Tower, 思乡 Missing Homelands, and 春思曲 Spring Nostalgia. Huang's songs, which created a bridge between East and West, are still significant today in China and deserve performance in the West, too. Translations and a phonetic guide to the four songs are provided so that Western singers have the tools they need to perform these songs.

How should nature be written? Writing has long been a way for people to understand nature. Still, we have come to an age that we need to reconceptualize our relation with nature. Nature can no longer be regarded as a passive stage upon which human beings act. How should we understand nature so that nature is made inanimate? I propose that the solution, known as “Schizo-Natural Writing,” can be found in Dung Kai-cheung’s Natural Histories Trilogy. Hong Kong is commonly seen as a city. Correspondingly, when it comes to Hong Kong literature, the term appears frequently will be “city writing”. It is not surprising, given that Hong Kong has always been recognised as a highly-developed city, one of the most densely populated cities in the world. Famous literary works in Hong Kong like Xi Xi’s My City (西西，我城), A Dictionary of Two Cities co-written by Hon Lai Chu and Dorothy Tse Hiu Hong (韓麗珠、謝曉虹，雙城辭典), Wong Bik Wan’s The City of Lost (黃碧雲，失城), just to name some. This phenomenon is closely related to the historical background of Hong Kong. According to Chan (2009), the connection between Hong Kong literature and its cityscape can be dated back to 1950s. Though it does not mean that there are no non-urban writings, those were not in the mainstream. However, in 2000s one of the most influential local writers, Dung Kai Cheung (1967 -), has begun his Natural Histories Trilogy. He is the director in The House of Hong Kong Literature, a folk organisation of local literature. His publication includes, Androgyny: Evolution of a Non-existent Species (1996), a story about a female scientist who went into the wild and sought a nonexistent species, named as androgyny and Atlas: The Archaeology of an Imaginary City (1997), an imaginary archaeology in the future Hong Kong, which has been translated into English. During 2005 to 2010, he published the Natural Histories Trilogy, including firstly, the History of the Adventures of Vivi and Vera (2018, which titled in Chinese, 天工開物．栩栩如真), secondly, the Histories of Time: The Light of Nga Chi (2007, 時間繁史．啞瓷之光) and thirdly, on the Origin of Species: The Rebirth of Bui Bui - The Age of Apprenticeship (2010, 物種源始．貝貝重生 之 學習年代). In the trilogy, Dung Kai-cheung, echoing Deleuze and Guattari’s notion of “nature=industry”, highlighted the productivity of nature, or the naturing of nature. As such, he no longer writes nature. He writes schizo-naturally. I further adopted the term “ecology”, which on the one hand pointed out the close relation between the item produced during the schizo-natural writing; on the other hand, echoed Guattari’s the Three Ecology. In this thesis, there are four parts investigating four types of ecology: mental ecology, social ecology, environmental ecology and spatiotemporal ecology. Through examining the trilogy, love, being standing outside oneself, is advocated to be the way out of the fragmented world. Keywords: Dung Kai-cheung, the Natural Histories Trilogy, nature writing, Gilles Deleuze, Ecology

清朝光緒年間在佛教都市敦煌莫高窟中發現多量的古文獻寫本，其中就有俗文學類的 講唱文學－後來所謂的變文。依其內容題材區分。可大別為講經與講史兩種。本論文 及在變文的兩類中，研究其中講史一類而以董永變文、舜子變文、伍子胥變文等三篇 的主題及其相關問題作為研究範圍。 茲謹扼要簡述各章內容，大要如後： 第一章 緒論：本章分別先述研究動機。目的及其範圍，然後弔陳研究內容要旨與方 法。 第二章 董永變文之研究：本章計分八節，第一節、第二節研究「孝」與佛教有關的 問題；第三節敘述董永變卜的內容概要；第四節研究孝子董永傳的流傳經過；第五節 以至第七節下分別研究董永變文的構成三大主體：賣身故事、神婚故事、天上訪母故 事。第八節是索董永變文中所反映的宗教性，這也可以說關於主題本質的研究。 第三章 舜子變文之研究：本章計分六節。第一節以探討舜子變文的內容為主；第二節研究變 文中的民間傳承色彩；第三節研究舜子帝王故事；第四節是孝子舜子出息發跡故事； 第五節研究繼母虐待繼子故事；第六節計分二目。 分別是探討「本土民間信仰」與「佛教思想」。 第四章 伍子胥變文之研究：本章計分四節。第一節伍子胥傳說的來源及演變所探討 的分別是：伍子胥的傳說。伍子胥變文內容概要、伍子胥變文與史傳的差異；第二節 復仇觀念的分析。分別探討血屬復仇與其社會觀念、伍子胥與豫讓復仇譚、伍子胥變 文入物形象與民眾思想感情；第三節民間信仰的研究；第四節由藥名詩的問答、典故 的的引用、兵法知識皂表現等以明伍子胥變文的文學藝術。 第五章 結論：簡述董永變文、舜子變文、伍子胥變文等三篇的主題及其相關的諸問 題。