本論文主要乃透過張祜的詩歌作品以集中探照張祜的生活樣貌和生命情懷，希望一方面能體現張祜的詩歌創作內涵，另一方面則凸顯其藝術表現（意象）之主要成就。論文共分七章。第一章「緒論」，申明研究動機、目的，以及研究的範圍、方法，並對張祜的生平作一番大致的勾勒。第二、三、四、五章乃以張祜的作品內涵作為探討的中心，依其主要的幾個內容型態，作一系統的討論。首先第二章「張祜的的家居行旅之作」乃以描寫張祜個人生活之點作為出發，包含了靜態的家居和比較屬於動態的行旅作品之內涵探究。第三章「張祜的交際贈答之作」，乃由點而線，進一步看到張祜人際往來的詩作內涵，主要包括了寄贈酬和、送別傷悼、遊賞宴集三個部份。第四章「張祜的風景詠物之作」，則由線發展至面，從橫切面的空間系統，來看張祜作品之與大自然萬物間的聯繫、契合情況，分為風景、詠物兩個部份。第五章「張祜的詠史述懷之作」，但從橫切面的時間系統來探討張祜對於歷史的關懷與他個人置於歷史長河中的自身回顧，是為詠史、述懷之論述。繼作品內涵之整體考察之後，第六章則進入「張祜詩的意象表現」，希望一窺張祜詩的語言藝術，分別從單純意象與複合意象，來分層論析張祜於感官意象之式樣與特殊呈現並進而探討意象表現與張祜情感之深層聯繫。第七章「結論」，乃根據前面作品內涵與藝術表現之兩大方向，凸顯其重要特色與主要成就並論及其詩歌評價與影響。

The Teledyne Wah Chang facility is a manufacturer of the rare metal zirconium. The facility has been in constant production since 1956. In 1973 an attempt to utilize different sand ore sources from Nigeria and India in a new carbiding process, prior to chlorination, failed. The resulting byproducts of the carbiding process and approximately 2000 kg of zircon sand ore were lost in what is now called the Former Sand Unloading Area. In 1982, Teledyne Wah Chang facility was listed as a Superfund site. The Former Sand Unloading Area was contaminated with naturally-occurring radioactive material. After being listed, Teledyne Wah Change began the Remedial Investigation / Feasibility Study process in an attempt to cleanup the Former Sand Unloading Area and other contaminated sites. Afterwards, it was discovered that the remediation goals for the Former Sand Unloading Area only addressed exposure pathways to current workers on site. No consideration had been given to possible future occupants under long term exposure scenarios. In this study, three scenarios were modeled to illustrate the most plausible occupancy uses of the Former Sand Unloading Area. The scenarios were: current industrial worker, commercial worker, and a residential occupant. The pathways that were used to model the exposure scenarios were, direct external radiation, inhaled and ingested soil, and plant consumption. The RESRAD computer code was used to estimate the dose rates to current and future occupants working or living on the Former Sand Unloading Facility. The maximum resulting radiation dose received was 16.7 mrem y����� for the industrial worker scenario. The lowest maximum radiation dose received was 13.6 mrem y����� for the commercial worker scenario. The most conservative assumptions and efforts were used to ensure the maximum dose rate was modeled. The maximum radiation dose rate received at the Former Sand Unloading Area was below the regulatory maximum allowable exposure limit of 25 mrem y�����. / Graduation date: 2002

Abstract The Hai-Wai-Chi Society, an overseas organization derived from the ¡§Chi Society¡¨ based in Shanghai, was initiated and founded by Hsu Fu-Yuan, one of the six poets of the Chi Society. Towards the end of the Hung Kung reign of the late Ming dynasty, in the wake of the defeat of the Sungchiang uprising staged by the society, Hsu continued to work for the recovery of the Ming legacy against the ruling Qing regime. At first, he left Shanghai to follow Emperor Lungwu in Fujian. After Emperor Lungwu was defeated, he proceeded to Choushan to follow King Lu and cooperated with Chang Huang-Yen. Later on, after Choushan was seized by the Qing army, Hsu accompanied King Lu under the shelter of Koxinga in Xiamen. It was at this point that the society came to its apex. When Koxinga took hold of Taiwan following his defeat at Nanjing battle, the society members began to enter the island along with the soldiers. Therefore, the literature of Hai-Wai-Chi Society is viewed as the beginning of Han Taiwanese literature. Taiwan Shih Cheng by Lien Heng refers to Hsu Fu-Yuan, Chang Huang-Yen, Lu Jo-Teng, Sheng Chuan-Chi, Chao Tsung-Lung, Chen Shih-Ching as ¡§The Six Poets of Hai-Wai-Chi Society.¡¨ This paper, entitled A Study of Three Poets in the Hai-Wai-Chi Society, is intended to follow the same way of thinking in its exploration of Hsu Fu-Yuan, Chang Huang-Yen, and Lu Jo-Teng through the existing anthology of the society. Meanwhile, the relevant literature concerning the other three poets will be reviewed for necessary references. The Hai-Wai-Chi Society is characterized by its composition of core members, mainly loyalists to King Lu, who followed Koxinga to Taiwan as a consequence of the fall of Choushan. Mourning over the end of the Ming empire, intellectuals of high morality and talent assembled to form a society of poetry to express their emotions toward the fatherland. The members of the Hai-Wai-Chi Society were actively involved in the fight against the Qing court. In spite of successive defeats, they would live and die in exile overseas rather than surrender as subjects of the Qing regime. The Introduction aims to explain the motivation of this study, the meaning and formation of The Hai-Wai-Chi Society, with a literature review of the three poets. The first chapter explores the public opinions of The Dong-Lin Party¡]ªFªLÄÒ¡^ and the Restoration Society¡]´_ªÀ¡^ in the Late Ming period, and the poetry of patriotism by Chen Tzu-Lung and Hsia Wang-Chun of The Hai-Wai-Chi Society, to be defined in this study as two typical kinds of heritage of The Hai-Wai-Chi Society. The second chapter gives an analysis of the historical background of South Ming royalists fighting against the Qing regime and the formation and development of The Hai-Wai-Chi Society. The third chapter is focused on the Tiao-Huang-Tang Manuscript by Hsu Fu-Yuan to study his overseas poems that express his uncompromising anti-Qing mentality and noble patriotic integrity. The fourth chapter represents the social reality of war-ridden Kinmen during the Koxinga period based on Niao-Yi Poetry and Liu-An Anthology by Lu Jo-Teng. The fifth chapter deals with Chi-Ling Grass, Ping-Tsa Collection, and Tsai-Wei Recitation by Chang Huang-Yen to distinguish him as a great noble Ming loyalist who had fought against the Qing power for 19 years overseas. The Conclusion sums up the poetry by the three poets as: (1) a reflection of history with a national concern, (2) an expression of opposition against invasion with a firm anti-Qing determination, and (3) a kind of oceanic literature with a universal sympathy.

Thesis (M.A.)--Zhongguo wen hua da xue, 1980. / Cover title. Reproduced from ms. copy. Includes bibliographical references (p. 312-325).

This creative project consists of a documentary about how two Taiwanese immigrant families try to maintain Taiwanese culture in the United States. One is a Taiwanese family, and the other is a biracial family (mother is Taiwanese and the father is Caucasian). Even though their family backgrounds are different, both families wish to maintain the Taiwanese culture and teach their children to be proud of their identity. / Department of Telecommunications

Thesis (Ph. D.)--UCLA, 2008. / Vita. Includes bibliographical references (leaves 131-142).

Thesis (M.A.)--Zhongguo wen hua da xue, 1980. / Cover title. Reproduced from ms. copy. Includes bibliographical references (p. 312-325).

No description available.

University of Macau / Faculty of Social Sciences and Humanities / Department of Chinese

In Chinese contemporary piano music, large-scale piano compositions featuring innovative polyphonic musical languages are rarely found. Chang-Lei Zhu's Ballade for Solo Piano represents his development of contrapuntal techniques passed on from J. S. Bach and Dmitri Shostakovich in their polyphonic works for solo keyboard or piano. This study focuses on an analysis of Zhu's Ballade as an idiosyncratic composition that makes a significant contribution to the Chinese contemporary piano music repertory. Comparative analysis is made of Zhu's Ballade and J.S. Bach's Well-Tempered Clavier Books 1 and 2, as well as Dmitri Shostakovich's 24 Preludes and Fugues for Solo Piano, Op. 87. Zhu, a living Chinese composer born in 1976, uniquely writes the twenty variations of his Ballade based on the opening theme, a single melody in ten subphrases. This research lays out the close relationship of the opening theme with twenty variations in the Ballade. This study also illustrates how Zhu is an innovative voice in Chinese contemporary piano music literature. This comparative study constitutes the first scholarly study of Zhu's Ballade. Chapter 1 is an introduction to my comparative study. In chapter 2, comparisons on selected excerpts are conducted between Zhu's Ballade and J.S. Bach's WTC, Books 1 and 2, as well as Dmitri Shostakovich's Op. 87. Taking into consideration the pedagogical function of the Ballade, this study includes how the work can be used in Zhu's Ballade in piano pedagogy as an addition in chapter 3.