Denna uppsats undersöker ett typsnitt för romerska bokstäver avsett att associeras till ”Kina” som en exotisk och lockande miljö, utifrån svensk visuell kulturhistoria. Typsnittet undersöks genom analyser av svenska filmaffischer av Eric Rohman (1891-1949) ur Charlie Chan-serien mellan 1934-1940, med fokus på filmaffischen Charlie Chan i Kina (1935). Genom bildanalyser och diskussioner utifrån de teoretiska ingångarna postkoloniala studier, kritiska vithetsstudier och visuella kulturstudier kommer undersökningen fram till att typsnittet, genom att efterhärma kinesisk kalligrafi, associerar filmaffischens text och då affischen i sin helhet till ”Kina” som en exotisk, traditionell och främmande miljö. Jag har även undersökt hur ”Kina” och ”kinesen” har konstruerats i svensk visuell kulturhistoria, och hur typsnitt som det i filmaffischen Charlie Chan i Kina kan förstås utifrån den. En slutsats är att typsnittet agerar ut en lagom ”kinesiskhet”, på så sätt att det är ”kinesiskt” och associerar till ett föreställt ”Kina”, samtidigt som det fortfarande är tillgängligt och läsbart för en vit svensk publik. / This essay examines a typeface used for Roman letters meant to connote ”China” as an exotic and foreign place, within Swedish visual culture history. I examine this typeface using Swedish film posters by Eric Rohman (1891-1949) from the Charlie Chan-series from the years 1934-1940, focusing on the poster Charlie Chan i Kina (1935). The purpose is to examine constructions of ”the Chinese” and ”China” in these posters, and how this specific typeface has been used in these depictions as well as been constructed in relation to these ideas. Through a semiotic model for image analysis and the appliance of postcolonial studies, critical race theory and visual culture studies, I arrive at several conclusions. By imitating Chinese calligraphic visual elements, the typeface in Charlie Chan i Kina has the ability to connote ”China” as an exotic, traditional and foreign place, for a white Swedish audience. The analysis discusses the semiotic functions of the typeface in relation to contexts of the film poster, Swedish visual culture history and discourses concerning race in Sweden.

Notre analyse porte sur la notion d’éveil au sein du Sûtra de Vimalakîrti. Premièrement, nous présentons et comparons les modèles d’éveil exposés dans ce texte, soit la figure du bouddha et – surtout – celle du bodhisattva; nous analysons leurs deux grands traits caractéristiques, c’est-à-dire la connaissance transcendante et les méthodes habiles, puis élaborons leur rôle par rapport à l’éveil. Il apparaît d’emblée que la connaissance transcendante est une connaissance non discursive de la réelle nature de toute chose et qu’elle est une condition nécessaire à l’éveil, alors que les méthodes habiles – aussi appelées expédients salvifiques – constituent la myriade de moyens rusés et provisoires conçus et employés par les bouddhas et bodhisattva dans le but d’amener les êtres ignorants à l’éveil et d’ainsi les libérer de l’attachement et de la souffrance. Dans le second chapitre, nous caractérisons l’état de conscience de l’éveillé à l’aide de notions telles la non-dualité, la non-discrimination et la non-pensée, puis présentons la conception de la pratique méditationnelle soutenue dans notre sûtra. Nous montrons que l’état d’éveil est un état de conscience non discriminateur au sein duquel l’identité personnelle et les phénomènes – ou la dualité sujet-objet – sont reconnus comme étant des illusions ou, plus précisément, des constructions mentales et langagières. Ainsi, la méditation apparaît comme étant une méthode habile provisoire dont les buts sont essentiellement la déconstruction du paradigme dualiste de la pensée discursive et la réalisation qu’il n’existe, ultimement et paradoxalement, aucune réelle entrave à l’éveil et aucune pratique méditationnelle nécessaire à l’expérience de l’éveil. / Our analysis pertains to the notion of awakening in the Vimalakîrti Sûtra. Firstly, we present and compare the models of awakening exposed in this text, namely the figure of the buddha and – especially – that of the bodhisattva; we analyze their two major characteristic traits, that is to say transcendent knowledge and skillful means, and elaborate on their relation to awakening. We quickly find that transcendent knowledge is a non discursive knowledge of the real nature of all things and that it is a necessary condition to awakening, whereas skillful means – also called salvific expedients – constitute the myriad of clever and merely provisory means conceived and used by buddhas and bodhisattva in order to bring all ignorant beings to awakening and thus to liberate them from attachment and suffering. In the second chapter, we characterize the state of consciousness of the awakened through notions such as non-duality, non-discrimination and no-mind, and present the conception of meditational practice upheld in our sûtra. We show that the state of awakening is a non discriminating state of consciousness in which personal identity and phenomena – or the subject-object duality – are recognized as illusions or, more precisely, as mental and linguistic constructions. Meditation thus appears to be a provisory skillful mean, the goals of which are the deconstruction of discursive thought’s dualist paradigm and the realization that, ultimately and paradoxically, there exist no real obstacles to awakening and no necessary meditational practice to the experience of awakening.

本文從美國藝術社會學的理論介紹開始，並試圖藉由台灣畫家陳澄波聲譽建構的過程從事雙向性的探討：一為對台灣藝術制度內各個角色的互動形態有所了解；另一為對美國藝術社會學這門新興的學科發展有所省思。整個美國藝術社會學的發展一開始就是以社會學裡強調的「制度」為主要的方向，舉凡制度內的各個地位角色所扮演的功能、互動的狀態等等，都是探討的議題。這樣的研究角度有其優點，相對於人文學科只著重藝術家和藝術品在藝術世界的價值；社會學的觀點將研究的焦點，從美學的創造性轉移到藝術世界之社會關係的網絡中。只是這樣的觀點也有所欠缺：首先是不同於基本的社會制度，所謂的藝術制度其實尚未完全整合，制度內各個地位角色之間也不盡然會有所互動。其次是美國藝術社會學只談「社會關係」，不談「藝術」破壞了藝術社會學作為次領域的自我描述的基礎。最後則是藝術社會學著重制度內的角色互動，往往會形成靜止、不具歷史性的社會結構。 　　藉由陳澄波的百年境遇，從陳澄波的聲望建構、遺忘及重建的過程，我們可以了解制度面的關照雖有其關鍵性，但整個陳澄波所存在的台灣特殊的政治生態及所關連的台灣新美術運動的發展也在其中有所作用。也就是單從美國藝術社會學所強調的制度面是無法有其全面性的關照。就以日據時期的陳澄波為例，要了解日據時代陳澄波的聲譽構築，當時環繞著整個美術展覽的酬賞機制就不能不談。但不能體察當時台灣的政治命運，也就不能了解當時也是酬賞機制其中一環的輿論報導及「應援會」設立的意義。而藉由台灣美術的發展，我們才能對當時的前輩畫家有著體諒，不管是在當時酬賞制度的跟進，以及政治上是否具有抗日的意識。在一個「不知藝術家為何物」的年代，畫家從自身遠赴他鄉學習基本的西畫技巧，這批畫家是從無到有的過程，全然對西方美學的接受，且必須由最原初的模仿自然的寫實技法開始。所以從整個陳澄波的聲譽構築過程中，我們可以了解整個政治的大環境與藝術自身的發展領域，都是與美國藝術社會學所強調的藝術制度相互影響的，少了其任何一環，都無法窺視全貌。

Notre analyse porte sur la notion d’éveil au sein du Sûtra de Vimalakîrti. Premièrement, nous présentons et comparons les modèles d’éveil exposés dans ce texte, soit la figure du bouddha et – surtout – celle du bodhisattva; nous analysons leurs deux grands traits caractéristiques, c’est-à-dire la connaissance transcendante et les méthodes habiles, puis élaborons leur rôle par rapport à l’éveil. Il apparaît d’emblée que la connaissance transcendante est une connaissance non discursive de la réelle nature de toute chose et qu’elle est une condition nécessaire à l’éveil, alors que les méthodes habiles – aussi appelées expédients salvifiques – constituent la myriade de moyens rusés et provisoires conçus et employés par les bouddhas et bodhisattva dans le but d’amener les êtres ignorants à l’éveil et d’ainsi les libérer de l’attachement et de la souffrance. Dans le second chapitre, nous caractérisons l’état de conscience de l’éveillé à l’aide de notions telles la non-dualité, la non-discrimination et la non-pensée, puis présentons la conception de la pratique méditationnelle soutenue dans notre sûtra. Nous montrons que l’état d’éveil est un état de conscience non discriminateur au sein duquel l’identité personnelle et les phénomènes – ou la dualité sujet-objet – sont reconnus comme étant des illusions ou, plus précisément, des constructions mentales et langagières. Ainsi, la méditation apparaît comme étant une méthode habile provisoire dont les buts sont essentiellement la déconstruction du paradigme dualiste de la pensée discursive et la réalisation qu’il n’existe, ultimement et paradoxalement, aucune réelle entrave à l’éveil et aucune pratique méditationnelle nécessaire à l’expérience de l’éveil. / Our analysis pertains to the notion of awakening in the Vimalakîrti Sûtra. Firstly, we present and compare the models of awakening exposed in this text, namely the figure of the buddha and – especially – that of the bodhisattva; we analyze their two major characteristic traits, that is to say transcendent knowledge and skillful means, and elaborate on their relation to awakening. We quickly find that transcendent knowledge is a non discursive knowledge of the real nature of all things and that it is a necessary condition to awakening, whereas skillful means – also called salvific expedients – constitute the myriad of clever and merely provisory means conceived and used by buddhas and bodhisattva in order to bring all ignorant beings to awakening and thus to liberate them from attachment and suffering. In the second chapter, we characterize the state of consciousness of the awakened through notions such as non-duality, non-discrimination and no-mind, and present the conception of meditational practice upheld in our sûtra. We show that the state of awakening is a non discriminating state of consciousness in which personal identity and phenomena – or the subject-object duality – are recognized as illusions or, more precisely, as mental and linguistic constructions. Meditation thus appears to be a provisory skillful mean, the goals of which are the deconstruction of discursive thought’s dualist paradigm and the realization that, ultimately and paradoxically, there exist no real obstacles to awakening and no necessary meditational practice to the experience of awakening.

The pursuit of harmony has always been a great concern of Chinese thinkers. In this process, especially prior to the Ming dynasty, a significant “borrowing” of their basic philosophical elements and their mutually syncretic metamorphosis was a common practice among three religious communities, particularly disseminated during times of crisis. The work of Wang Yangming proved to be an epitome of this philosophical “collaboration”, capable of producing new synthetic teachings that directly or indirectly linked two or more polarized teachings. He succeeded in modifying the existing Buddhist idea of inherited Buddha Nature to be now understood as an innate insight, while also promoting the practice of meditation, as a clear example of Chan and Daoist influence. Wang Yangming is probably best known for his emphasis on the simultaneity of the two functions – knowledge and action, viewed as a reinterpretation of non-Confucian ideas in a new Neo-Confucian framework.

The pursuit of harmony has always been a great concern of Chinese thinkers. In this process, especially prior to the Ming dynasty, a significant “borrowing” of their basic philosophical elements and their mutually syncretic metamorphosis was a common practice among three religious communities, particularly disseminated during times of crisis. The work of Wang Yangming proved to be an epitome of this philosophical “collaboration”, capable of producing new synthetic teachings that directly or indirectly linked two or more polarized teachings. He succeeded in modifying the existing Buddhist idea of inherited Buddha Nature to be now understood as an innate insight, while also promoting the practice of meditation, as a clear example of Chan and Daoist influence. Wang Yangming is probably best known for his emphasis on the simultaneity of the two functions – knowledge and action, viewed as a reinterpretation of non-Confucian ideas in a new Neo-Confucian framework.

Thesis (M.A.)--University of Hong Kong, 1998. / Includes bibliographical references (leaves 59-61).

Le présent travail décrit l'utilisation des liquides ioniques comme solvant de réaction dans plusieurs types de couplage permettant la création de liaisons C-C, C-N et C-O. Dans un premier temps, ces solvants ont permis d'effectuer la synthèse des a-oxo gamma-thio-esters via la réaction de condensation de Mukaiyama de l'énoxysilane du pyruvate d'éthyle sur des thioacétals. Dans le cadre d'une stratégie de synthèse multi-étape en liquide ionique, la synthèse des produits de départ a été également menée à bien dans ces solvants. Ensuite, une application des liquides ioniques dans la chimie des peptides a été décrite. Une série de di- et tri-peptides formés essentiellement par des dérivés de la tyrosine a été obtenue avec de bons rendements dans ces milieux ioniques, en ayant recours à des agents de couplage modernes tels que HATU et BOP. Une réactivité différente a été observée dans les liquides ioniques comparée à celle dans les solvants moléculaires classiques. Des sels de cuivre (I) et (II) ont été utilisés pour catalyser la réaction de couplage diaryl éther intermoléculaire dans les liquides ioniques, à partir des dérivés de la tyrosine afin d'obtenir des motifs isodityrosines. Le couplage d'Ullmann n'a pas été efficace à cause de la présence de contraintes électroniques et stériques, tandis que le couplage de Chan-Lam s'est révélé plus intéressant et il a permis d'obtenir les motifs isodityrosines avec des rendements satisfaisants. De plus, celui-ci présente l'avantage d'utiliser des conditions opératoires plus douces. / This thesis describes our studies regarding the organic synthesis in ionic liquids allowing the creation of C-C, C-N and C-O bonds. We describe the synthetic approaches of alpha-oxo gamma-thio-esters via the Mukayaima condensation of the enoxysilane of ethyl pyruvate on thioacetals. In the context of a multi-step synthesis strategy in ionic liquid, the synthesis of the starting materials was also carried out in these solvents. We also present an application of ionic liquids in peptide chemistry: cyclopeptides containing biaryl and biaryl ether linkages. These compounds have attracted considerable interest due to the significant biological activities that most of them exhibit, including antimicrobial and cytotoxic activities. We describe the synthetic approaches of macrocyclic peptides from tyrosine derivatives in ionic liquids. Two main strategies are investigated for the synthesis of macromolecules, peptidic coupling from tyrosine derivatives followed by formation of the biaryl ether bridge as key step and macrolactamization of the preformed biaryl ether, using modern coupling agents such as HATU and BOP. A different reactivity was observed in ionic liquids compared to that in conventional molecular solvents. Copper (I) and (II) salts have been used to catalyze the intermolecular diaryl ether coupling reaction in ionic liquids from tyrosine derivatives to obtain isodityrosine units. Ullmann coupling was not effective due to the presence of electronic and steric constraints, while the Chan-Lam coupling proved to be more advantageous and allowed the formation the isodityrosine units with satisfactory yields . In addition, the Chan-Lam has the advantage of using milder operating conditions.

Since 1950s, the concept of Kongwu (空無, Emptiness, Nothingness) has migrated into American-European experimental performances, including those of John Cage and Cage-influenced artists who developed Happenings, Fluxus, and intermedia practices. This research-through-practice investigates how the concept of kongwu, an intercultural synthesis of Chinese Daoism and Indian Buddhism, may shape the principles underlying performance making and how performance may, in turn, elucidate Kongwu way of making sense the world. The installation-performance, Poem without Language contemplates Kongwu’s distrust of language by undermining the communicative purpose of writing and responds to Nam June Paik’s approach to media language. The research practice, One Street, Three Persons, Different Narratives, and Different Memories responds to John Cage’s use of silence to revise time and measurement, and exposes the habit, how we experience the ‘present’ as accumulations of the past, and how we order experiences as a linear continuity, which we call ‘time’. My performance, … is Present suggests different definitions of the ‘meditative mind’ and ‘being-here-and-now’ and critiques the relationship between embodiment and identity in Marina Abramović’s construction of ‘suchness’. Three works offer one response to the poetics and politics of intercultural encounters in the context of Chan/Zen in intermedia performance. My research-through-practice sheds light on Kongwu way of experiencing, particularly Kongwu’s attitude towards language, time, and self.

家族、移民和革命，是考察中國的僑鄉社會，尤其是民國時期的僑鄉社會所不可或缺的三大元素。傳統的華人華僑研究，多把華僑與國民黨的革命活動聯繫起來，以突出華僑對國民黨革命的重要性。然而，這些研究往往忽略了華僑跟共產黨領導的革命的繫連。在當代的潮汕地區，爲了吸引華僑投資家鄉與促進僑鄉的文化旅遊發展，部分僑鄉重構鄉村參與共產黨革命的歷史，建立起「紅色僑鄉」。 / 「紅色僑鄉」這個文化標籤的建立，成爲僑鄉、僑居地與國家之間的文化、政治關係的象徵符號。本文主要以廣東澄海後溝村為個案研究，由此討論僑鄉社會如何塑造自身的歷史與文化。本文嘗試指出，第一次國共合作破裂之後，共產黨在鄉村中秘密動員、組織農民階級對抗「地主階級」，鄉民參加革命能夠起到協調地域社區權力結構中力量的不平衡的作用。自20年代中后期在僑鄉社會中形成的關係網絡延續至抗日戰爭及解放戰爭，與海外移民網絡共同影響著鄉村的宗族和地域社會。當代僑鄉的紅色革命形象，是國家自上而下的意識形態工程所塑造的，也是地方家族、移民在追尋自身利益與政治認同的結果。 / Lineage, migration and revolution are three major elements to study emigrant communities in China, especially in the Republican period. Traditional studies on overseas Chinese focus on the relationship between overseas Chinese and KuoMinTang’s revolutionary activities and highlight the importance of overseas Chinese to KMT revolution. However, these studies often ignore the relationship between overseas Chinese and revolutionary activities led by Chinese Communist Party. In the Chaoshan region, some of the emigrant communities, in order to attract overseas Chinese investment and develop cultural tourism, attempt to establish a "Red Emigrant Community" status through reconstructing the history of village’s participating in CCP’s revolution. / "Red Emigrant Community", or Hongse qiaoxiang, is a cultural label linking emigrant communities and the State. This thesis, using Hougou village as an example explores how emigrant communities shape their own "red" history and culture. After the first cooperation of KMT and CCP, CCP secretly began to mobilize and organize peasants against landlords in villages. Villager’s participation in revolutionary activities could be seen as a balance of power in the local community. Together with their overseas networks, emigrant communities’ revolutionary networks, which were formed in the 1920s and continued through the WWII and the Liberation, influenced villages’ lineage and regional structures. Red Emigrant Community is not only a top-down National projects. It is a result of pursuing interests and seeking political identity by local lineage and overseas Chinese. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 王惠. / Parallel title from added title page. / Thesis (M.Phil.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 170-187). / Abstracts in Chinese and English. / Wang Hui.