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From the introduction: On the occasion when the great master came to Pao Lin, the Prefect Wei Chu of Shao Chou and his officials came o the mountain and invited the master to come down to the lecture hall of the Ta Fan Temple in the heart of the city so that an opportunity will be open to all to hear him speak about the Dharma.

O objetivo deste trabalho é construir rigorosamente variedades de soluções definidas implicitamente por equações não-lineares em dimensão infinita. Usando um método de continuação a múltiplos parâmetros aplicado a uma projeção em dimensão finita, uma triangulação da variedade é construída e usada para construir localmente a variedade no espaço de dimensão infinita. Aplicamos este método para encontrar equilíbrio da equação de Cahn-Hilliard. Estudamos também bifurcações cúspides, com o objetivo de encontrar as condições necessárias para a existência das mesmas em qualquer dimensão finita. / The goal of this research is to rigorously compute implicitly defined manifolds of solutions of infinite dimensional nonlinear equations. Using a multi-parameter continuation method on a finite dimensional projection, a triangulation of the manifold is computed and is then used to construct local charts of the global manifold in the infinite dimensional domain of the operator. We apply this method to find the equilibria of the Cahn-Hilliard equation. We also studied cusp bifurcations, in order to find the necessary conditions for the existence of the same in any finite dimension.

O objetivo deste trabalho é construir rigorosamente variedades de soluções definidas implicitamente por equações não-lineares em dimensão infinita. Usando um método de continuação a múltiplos parâmetros aplicado a uma projeção em dimensão finita, uma triangulação da variedade é construída e usada para construir localmente a variedade no espaço de dimensão infinita. Aplicamos este método para encontrar equilíbrio da equação de Cahn-Hilliard. Estudamos também bifurcações cúspides, com o objetivo de encontrar as condições necessárias para a existência das mesmas em qualquer dimensão finita. / The goal of this research is to rigorously compute implicitly defined manifolds of solutions of infinite dimensional nonlinear equations. Using a multi-parameter continuation method on a finite dimensional projection, a triangulation of the manifold is computed and is then used to construct local charts of the global manifold in the infinite dimensional domain of the operator. We apply this method to find the equilibria of the Cahn-Hilliard equation. We also studied cusp bifurcations, in order to find the necessary conditions for the existence of the same in any finite dimension.

<p>The intention with this essay is to investigate how the narration of the South Korean film <em>Sympathy for Mr. Vengeance</em> (Park Chan-wook, 2002) relates to the Hollywood pictures of today. An important change which David Bordwell pays attention to is an intensifying of former stylistic paradigms in what he denominates as intensified continuity. That said, Bordwell and Kristin Thompson are in agreement on that the new films still are predominantly classical. The neoformalistic standpoint which Thompson and Bordwell use appears however to contain some problematic implications. Their way of categorizing films as classical, critics maintain, could only result in empty shells of formal parameters. The essay is built upon investigating three areas: plot, narration and style. The result of this study indicates that <em>Sympathy for Mr. Vengeance</em> remains within the classical characteristics, as well as differentiates on certain matters. However, appropriate conclusion needs taking into account also some of the difficulties and critiques targeting the neoformalistic take on style.</p>

The intention with this essay is to investigate how the narration of the South Korean film Sympathy for Mr. Vengeance (Park Chan-wook, 2002) relates to the Hollywood pictures of today. An important change which David Bordwell pays attention to is an intensifying of former stylistic paradigms in what he denominates as intensified continuity. That said, Bordwell and Kristin Thompson are in agreement on that the new films still are predominantly classical. The neoformalistic standpoint which Thompson and Bordwell use appears however to contain some problematic implications. Their way of categorizing films as classical, critics maintain, could only result in empty shells of formal parameters. The essay is built upon investigating three areas: plot, narration and style. The result of this study indicates that Sympathy for Mr. Vengeance remains within the classical characteristics, as well as differentiates on certain matters. However, appropriate conclusion needs taking into account also some of the difficulties and critiques targeting the neoformalistic take on style.

Thesis (M.A.)--University of Hawaii at Manoa, 2007. / Includes bibliographical references (leaves 65-72). / iv, 72 leaves, bound ports. 29 cm

「中華禪法鼓宗」的創辦人聖嚴法師，以宏揚及復興漢傳禪佛教為使命與責任，為中國禪宗兩大法脈臨濟宗與曹洞宗之傳承者，將中國禪法傳播至美洲、歐洲、亞洲及世界各地，被譽為當代重要之國際級中國禪師。 其所教導之禪修體系及方法，因應現代人的需要已不同於傳統禪修方法。主要呈現在兩個方面上：一方面於禪堂正式教導之禪修方法有所轉變，如話頭禪與默照禪兩種禪法合流傳授、分階段及分次第以達頓悟之禪修體系；另一方面以適應現代人容易接受之語言、文字及方法轉化傳統之禪修方法，將之生活化，成為可以利益世人之方法與教導，如「心靈環保」、「心五四」及「心六倫」等社會運動。(取「新」與「心」之諧音) 聖嚴法師晚年因未能見到漢傳禪佛教之快速復興，為期勉僧俗四眾弟子宏揚漢傳禪佛教，以之利益世間大眾。因此，以其畢生所學及所教授之禪佛教，整理出明確之淵源、內容、方法與實踐，於2005年正式創立「中華禪法鼓宗」。這在禪宗史上有著劃時代的意義，實具研究探討之價值。 本論文以「中華禪法鼓宗」的禪修教育為主軸，探討其所創設禪修教育體系之歷史背景、禪修教育方法演進、禪修方法內容、組織體系、推廣活動、及因應現代社會之禪修教育方式轉變等相關問題。主要之研究方法為文獻蒐集與探討分析，並進行人物之訪談與田野調查。 研究結論為聖嚴法師會通「話頭禪」與「默照禪」，建立「頓中開漸」的禪修方法，將禪修過程與層次開出次第，將古代禪法靈活運用、現代化詮釋，融入現代人的日常生活中。中華禪法鼓宗的禪修教育內容及方法豐富、完整而全面，並呼應現代社會需要。目前法鼓山的禪修推廣組織健全，禪修活動課程分次第架構完整，致力將佛法、禪法實用化，讓現代人能得到佛法及禪法的利益。另檢視法鼓宗之立宗要件具足，有其歷史必然性，在聖嚴法師禪師捨報後，仍可理解「中華禪法鼓宗」的運作原則與其歷史重要性。 / Venerable Master Sheng Yen, the founder of the “Dharma Drum Lineage of Chan Buddhism”, had committed himself to transmit and promote the revival of Chan Buddhism as his life’s mission and responsibility. By inheriting both mainstream Chan lineages, the Caodong and Linji lineages, he redefined the Chinese Chan meditation and introduced it to the Americans, Europe, and Asians, as the first Chinese Chan master in the western world. His teaching of meditation, responded to the needs of modern people. This thesis will investigate his way of incorporating and transforming traditional Chan into a systematic education for contemporary followers. First, I will introduce the official teachings in his meditation hall, including how he integrated two methods of Huatou and Silent Illumination in terms of dividing the courses of Chan practice into sequential stages. Moreover, he simplified and assimilated traditional Chan language into more friendly modern vocabularies in spreading his meditation method to modern-day people and provided it in more adaptable way. Consequently, he proposed a series of social movements to internalize Chan practice into daily life. These campaigns include Spiritual Engagement (literally, Protecting the Spiritual Environment), the New May Fourth Movement (here, “New” is pronounced as “mind” in Mandarin in signifying the Spiritual Renaissance ), and the New Six Ethics enlarging the Five Confucius Ethics from socio-family relation to spiritual cultivation. Master Sheng Yen had completed his meditation education system in his very late days, leaving relatively uncertainty and creativity to his disciples. This explains the reason for him to initiate the Dharma Drum lineage in 2005. To put the responsibility on his monastic and lay followers of spreading Chinese Chan Buddhism to benefit people in the world, Master Sheng Yen integrated his lifelong learning and teaching Chan Buddhism experiences into a new Lineage of Chan Buddhism. This thesis will discuss the origin, contents, methods and practice of the “Dharma Drum Lineage of Chan Buddhism. That Master Sheng Yen founded his lineage and referred it as Chinese Chan Buddhism has enlarged the scale of Chinese and world history of Chan. This thesis mainly explores the historical background of "Dharma Drum Lineage of Chan Buddhism” in terms of its meditation educational system, especially the meditation within a modern society. In spite of historical analysis, I will also conduct

The following work presents a hypothesis which identifies the origins and meaning of an ancient Mesoamerican concept known as the three stones of creation. Previous interpretations have tended to apply astronomical, spatial, or geographical models, while many conclusions have been made on the basis of one Classic Maya monument, Stela C of Quirigua. This thesis builds an argument for the temporal nature of these “stones,” used to metaphorically represent a sequence of separate units of time, referred to as eras, ages, or creations. A primary goal is to demonstrate that Quirigua Stela C provides in brief, summary form a chronology which is better defined through inscriptions in the Cross Group at Palenque, and in a sequence of panels at Yaxchilan containing beliefs about the origins of the ballgame. In constructing an argument for the temporal nature of the three stones of creation, every available context from a set of hieroglyphs mentioned in the Quirigua Stela C “creation” text—including Na Ho Chan (“First 5-Sky”) and “6-Sky”—is discussed in Chapter 2. In Chapter 3, these glyphs are shown to aid in the organization of the deeper past within the Palenque and Yaxchilan mythologies. When compared chronologically and thematically, these sites seem to point to the 24th century B.C.E. as the important termination of a time period (i.e., the planting of a creation stone) related to a mythic complex involving the death and underworld journey of the Maize Lord, followed by his resurrection, emergence, and/or accession to power. Key questions addressed include the antiquity of these beliefs and where the metaphors used to arrange time observed among the Classic Maya originate. In Chapter 4, earlier expressions of this time ideology are interpreted through iconographic conventions, ritual deposits, and monumental architecture at the Olmec site of La Venta. Similarly, Chapter 5 proposes that the Humboldt Celt, the earliest known example of the three stones of creation, arranges units of time into a sequence. These and other interpretations suggest the existence of an ancestral, Mesoamerican era-based time model to which later Postclassic, colonial, and contemporary beliefs, such as those expressed in the K’iche’-Mayan Popol Vuh, are fundamentally related. / text

El proyecto de fin de carrera “Hospedaje en las ruinas de Chan Chan”, fusiona las temáticas de ocio y desarrollo para el fortalecimiento del circuito turístico norte del Perú. Estas ideas fuerza orientaron todo el trabajo académico y el consecuente desarrollo del Proyecto. Está ubicado en el valle de Moche, frente al mar, a mitad de camino entre el balneario de Huanchaco y la ciudad de Trujillo, capital del departamento de La Libertad en la costa norte del Perú. El sitio arqueológico cubre un área aproximada de 20 kilómetros cuadrados. La zona central está formada por un conjunto de 10 recintos amurallados (llamados "ciudadelas") y otras pirámides solitarias. Este conjunto central, cubre un área de 6 kilómetros cuadrados aproximadamente. La idea de plantear un hospedaje dentro de la zona arqueológica, surge de la necesidad de crear un ciclo de vida (horas de visitas) a la ruina y de esta manera sacarle el mayor provecho posible. Debido a su gran extensión, los turistas solo visitan un pequeño porcentaje del área arqueológica, básicamente porque solo existe un palacio abierto al público. El resto no se visita porque se encuentra restringido debido a su bajo nivel de conservación. El objetivo principal del proyecto es el de contribuir a que en un futuro cercano, no sólo se pueda recorrer un palacio sino toda el complejo. Para lograr esto, es que se concibe el proyecto como un hito dentro de la ruina y, junto con el actual museo de sitio, crear un eje turístico de donde nacerá una red de caminos hacia todos los palacios que vienen siendo restaurados. El hospedaje se sustenta en la medida en que los visitantes ya no tienen que salir de la ruina para irse a almorzar a la ciudad de Trujillo o Huanchaco sino que pueden hacerlo dentro del sitio arqueológico y además con la posibilidad de pernoctar en el lugar y aprovechar esa mística del mismo para hacer recorridos nocturnos con antorchas. El proyecto toma las características más importantes del lugar, tanto arquitectónicas como sensoriales, y las transforma en un concepto moderno e único para que no solo sea un lugar donde descansar sino que todo aquel que lo recorra, sienta que es una extensión de las ruinas.