As the late period of Qing Dynasty, there was a great event of ¡§ Botan Village Issue¡¨ Which happened in Taiwan, Shen Pao-Chen, the Imperial Commissioner who had been sent to take charge of Taiwan in 1874 & manage the defense to prevent the occupation of Taiwan by Japan, was impressed With the necessity of managing great reforms and infrastructures, including establishing new counties, civilizing the savage aborigines, moving governor to Taiwan, abolishing prohibition, reinforcing military administration, building shrines for Cheng Chen-Kung, and improving morale. In view of all Shen Pao-Ching¡¦s life, he was really a Pioneer ahead of his time for Taiwan¡¦s modernization. Aleader of nation must be with a certain spirit of adventure when his nation encounters heavy risk. Therefore, the spirit is what we can learn form him; he had established so mush infrastructure and reforms for Taiwan. All of things done by late Qing dynasty (Self-strengthening movement ) on Taiwan in process of globalization, social changes, the responses of the localization, and the transformation of ¡§ Glolocalization¡¨, which were rather mature and successful and it is able a key turning point in late Qing¡¦s policy for Taiwan.

This thesis considers the star careers of four performers in Hong Kong, Leslie Cheung, Ekin Cheng, Charlene Choi and Gillian Chung. Each of these stars have had successful careers in film and music, Cheung and Cheng as solo performers and Choi and Chung as the group, Twins. This study investigates similarities between these performers' careers and the state of the industry during their time as stars. / text

The piano etude is a musical genre that has evolved since the 18th century from a work composed to develop technique into a full-fledged concert piece. The genre has continued to pose a challenge for the composer who attempts to combine the utility of a technical exercise with musical invention equivalent to other genres in the concert repertoire.Falko Steinbach composed his first set of piano etudes, entitled "Figures," 17 Choreographic Etudes, in 2006. This major work is comprised of 17 pieces, which explore all the physical components of successful pianism. These components are outlined in his book A Compendium on Piano Technique. The book also explores psychological disciplines, which can assist the pianist in overcoming technical difficulties, both in practice and performance.This document will consist of an analysis of both "Figures" and A Compendium. It will address the issue of "Figures" as both a didactic work and a work of art in the tradition of the Chopin etudes. It will also discuss how Steinbach synthesizes aspects of both physiological and mental learning disciplines to create a technical approach to the piano that directly impacts both sound and movement.

Thesis (M.S.)--Auburn University, 2007. / Abstract. Vita. Includes bibliographic references (ℓ. 154-163)

L’œuvre chengienne est traversée de bout en bout par des interrogations existentielles qui découlent des trois formes élémentaires du désir que François Cheng distingue en l’homme : « désir de réalisation, désir de dépassement, désir de transcendance. » (Cinq méditations sur la mort, p. 56). Ces interrogations, qui se retrouvent sans surprise dans son oeuvre romanesque, conduisent ses personnages à entreprendre une véritable quête spirituelle, terme que nous entendons à la fois comme quête de l’esprit et comme élancement de l’âme vers la surnature. Nous tâchons dans notre étude d’en dégager les tenants et les aboutissants, en montrant comment l’auteur parvient à relier de manière cohérente des spiritualités a priori différentes et sans oublier que les héros chengiens sont tous ancrés dans la culture chinoise qui n’a pas établi de distinction radicale entre transcendance et immanence, horizontalité et verticalité. Parce qu’il est fondamentalement en quête de sens, le héros est irrésistiblement poussé à entreprendre un cheminement (à la fois physique et intérieur), qui lui permet de se réconcilier à la fois avec lui-même et avec le monde, tout en faisant l’expérience d’une certaine Transcendance. Cette quête a pour corollaire une quête du féminin qui lui est indissociable, car la Femme, telle que la conçoit Cheng, est par excellence celle qui mène l’homme vers la spiritualité. C’est pourquoi l’éros chengien est un éros mystique, naturellement porté à se muer en Agapè. En somme, ce sont les trois ordres pascaliens qui se trouvent unifiés au terme de cette aventure, le troisième ordre ne supprimant pas les deux autres, mais leur permettant au contraire de se réaliser pleinement. C’est-à-dire que l’œuvre romanesque de François Cheng, de même que son œuvre poétique, n’est au fond qu’une célébration de la reliance / Questions of existence are running throughout Cheng’s works, from beginning to end. These questions derive from the three elementary forms of desire which François Cheng tells apart in human : desire to accomplish, desire to exceed and desire to transcend (Five Meditations on Death, p.56). These questions, which can be found unsurprisingly in his novel works, lead his characters to a true spiritual quest, a term we understand as a quest of spirit, and at the same time, as a march from soul to supernature. In our study, we try to analyse all the relevant factors, to show how the author had succeeded in relating the a priori different spiritualities in a coherent way, without neglecting the fact that Cheng’s heros are all rooted in a Chinese culture background, where the basic distinctions between transcendance and immanence, between horizontality and verticality have not been established yet. Because of his fundamental quest on meanings, the hero is irresistibly pushed to go through a progress (both physical and interior), which allows him to reconciliate with himself and with the world, while experiencing a certain kind of transcendance. This quest has resulted in the quest of the female, which is inseparable from him. Because according to Cheng, the women are the ones who excellently lead the men to spirituality. That’s why Cheng’s Eros is a mystical Eros, and is naturally turned into Agape. In summary, the three Pascal rules are unitied in the end of the adventure, the third one does not supress the two others, in contrary, it helps them to full fulfillment. This means that Cheng’s novel works as long as his poetry works, are in fact nothing but a celebration of connection

廖英慶. / 據手稿本影印. / Thesis (M.A.)--香港中文大學. / Ju shou gao ben ying yin. / Includes bibliographical references (leaves 145-149). / Liao Yingqing. / Thesis (M.A.)--Xianggang Zhong wen da xue. / Chapter 第一章 --- 緒論 --- p.4 / Chapter 第一節 --- 本文的研究動機和目的 --- p.6 / Chapter 第二節 --- 本文的研究方法及步驟 --- p.12 / Chapter 第三節 --- 本文的資料來源 --- p.18 / Chapter 第二章 --- 二程的思想背景 --- p.25 / Chapter 第一節 --- 二程思想的歷史背景 --- p.26 / Chapter 第二節 --- 二程思想的學術淵源 --- p.39 / Chapter 第三節 --- 二程的性格及道德取向的差異 --- p.44 / Chapter 第四節 --- 本章結語 --- p.48 / Chapter 第三章 --- 二程教育思想的哲學基礎 --- p.53 / Chapter 第一節 --- 明道的義理規模 --- p.53 / Chapter 一 --- 明道的本體論──道，一本也 --- p.53 / Chapter 二 --- 明道的工夫論──學者須先識仁 --- p.55 / Chapter 第二節 --- 伊川的義理規模 --- p.60 / Chapter 一 --- 伊川的本體論──心如穀種 --- p.60 / Chapter 二 --- 伊川的工夫論──涵養須用敬，進學則在致知 --- p.62 / Chapter 第三節 --- 明道和伊川哲學思想之異同 --- p.65 / Chapter 一 --- 關於天道、天理之體悟不同 --- p.65 / Chapter 二 --- 關於心、性、情之體悟不同 --- p.66 / Chapter 三 --- 關於實踐工夫之體悟不同 --- p.67 / Chapter 第四節 --- 本章結語 --- p.71 / Chapter 第四章 --- 二程教育思想之比較 --- p.74 / Chapter 第一節 --- 明道教育思想之體系 --- p.75 / Chapter 一 --- 明道的教育目的和效用 --- p.75 / Chapter 二 --- 明道的教育內容 --- p.80 / Chapter 三 --- 明道的教育方法 --- p.86 / Chapter 第二節 --- 伊川教育思想之體系 --- p.97 / Chapter 一 --- 伊川的教育目的和效用 --- p.97 / Chapter 二 --- 伊川的教育內容 --- p.101 / Chapter 三 --- 伊川的教育方法 --- p.106 / Chapter 第三節 --- 明道和伊川教育思想之異同 --- p.120 / Chapter 一 --- 教育的目的和效用方面 --- p.120 / Chapter 二 --- 教育的內容方面 --- p.121 / Chapter 三 --- 教育的方法方面 --- p.122 / Chapter 第四節 --- 本章結語 --- p.125 / Chapter 第五章 --- 二程教育思想的現代意義 --- p.135 / Chapter 第一節 --- 道德教育的重建 --- p.135 / Chapter 第二節 --- 知識系統的建立 --- p.138 / Chapter 第三節 --- 師道尊嚴之重整與師生關係之改善 --- p.140 / Chapter 第四節 --- 讀書方法的啟示 --- p.142 / 主要參考書目 --- p.145

Cette thèse tente de présenter la vie et les ouvrages de Cheng Xiaoqing (1893-1976) et d’analyser les Huo Sang tan’anji [Enquêtes de Huo Sang], sa série policière, ainsi que leurs liens avec Les Aventures de Sherlock Holmes d’Arthur Conan Doyle d’une part, et avec Shi gong’an [Jugements de Shi], recueil anonyme traditionnel chinois, d’autre part. Cheng Xiaoqing, pionnier et promoteur des récits de déduction/détection chinois, fut le fer de lance du genre policier en Chine. Il a été le touche-à-tout de génie de ce mouvement littéraire : à la fois traducteur et écrivain, rédacteur en chef et éditorialiste de revues spécialisées et même auteur d’essais et d’études sur la technique du roman policier, on lui doit la série la plus importante centrée sur un seul héros : Huo Sang. Patriote, Cheng Xiaoqing n’a jamais rejeté le passé de son pays ni quitté le sol de la Chine. Héritier des caractéristiques du biji des dynasties Ming et Qing et de celles du huaben des Song, il a voulu jeter un pont entre la littérature narrative traditionnelle et un contexte en constante évolution, en faisant des emprunts stylistiques aux romans d’importation tout en laissant le devant de la scène à des personnages à l’identité chinoise fortement marquée. Son héros Huo Sang parvient ainsi à être une sorte de trait d’union entre le Juge Shi Shilun et le Holmes britannique. / This thesis attempts to present the life and works of Cheng Xiaoqing (1893-1976) as well as to analyze the Huo Sang tan’anji [Investigations of Huo Sang], his detective series and its links with The Adventures of Sherlock Holmes by Arthur Conan Doyle on one hand, and with Shi gong’an [Case Decisions by Shi], a traditional anonymous collection, on the other hand. A pioneer and promoter of Chinese stories of deduction and detection, Cheng Xiaoqing was the spearhead of the genre in China. He was the ingenious Jack of all trades of this literary movement: both translator and fiction writer, chief editor and leading writer of magazines specializing in detective stories, he even published essays analyzing these stories with their technical tricks. We can thank him for the creation of the most important series centered on one protagonist: Huo Sang. A true patriot, Cheng Xiaoqing never turned his back on the history of his country nor did he ever leave it. As heir to the tradition of the biji of the Ming and Qing dynasties, and that of the huaben of the Song dynasty, Cheng strove to unite the traditional literary narrative with the ever changing society of his times, by borrowing stylistic devices from foreign sources, but allowing protagonists with clear Chinese identities to take the spotlight. His main character Huo Sang thus turns out to be a kind of link between the Judge Shi Shilun and Sherlock Holmes.

本論文之研究，旨在檢討戴震反對程朱思想的意義，以澄清戴震對程朱思想的誤解， 並評估戴震哲學的價值．參考文獻以戴震《原善》、《緒言》、《孟子私淑錄》、《 孟子字義疏證》以及《戴震文集》為主．（上述各項，係以里仁書局重新標校之《戴 震集》為底本）又後人之論述戴震思想及其反程朱之相關論著，亦儘量加以參考．研 究方法則就戴震批評程朱的三個層面：形上學、心性說、工夫論，分別處理．處理方 法是：首先說明戴震的批評意見，其次介紹戴震的思想，最後是對戴震的批評加以檢 討． 本論文全一冊，計十萬餘字，分六章十四節．第一章是緒論，說明本文的研動機、方 法與宗趣，並考察前人的研究意見，以及說明本文所依據的資料等．第二章介紹戴震 的思想淵源、哲學著作、治學精神，以及戴震與程朱的關係；其次，則是分析戴震反 程朱思想的背景，以作為本文的研究基礎．第三章說明戴震對程朱「理氣論」的批評 ，介紹戴震「理存於氣」的主張，並檢討他反對程朱「理氣論」之得失．第四章說明 戴震對程朱「心性說」的批評，介紹戴震「血氣心知」的主張，並檢討他反對程朱「 心性說」之得失．第五章說明戴震對程朱「工夫論」的批評，介紹戴震的「工夫論」 ，並檢討他反對桯朱「工夫論」之得失．第六章是結論，檢討戴震反程朱思想的意義 ，以及評估戴震哲學的價值． 透過本論文之研究，可知戴震對程朱思想的批評，是出於誤解；但無可平認，程朱思 想有其嚴峻的一面，因而有過度抑制情欲的流弊；戴震哲學的價值即來自對情欲的肯 定，而其缺失，卻也因此而產生．

Cette thèse, qui relève de la didactique du français langue étrangère, traite des conventions d’écriture académique en français et en chinois dans une perspective de rhétorique contrastive. Nous étudions deux genres académiques propres à l’enseignement supérieur en France et en Chine : la dissertation et le yilun wen, respectivement. Les deux exercices détiennent un statut comparable ; ils obéissent tous deux à un système de normes relativement stables, à une structure clairement fixée et font figure d’ « exercice-roi » dans chacune des deux cultures éducatives. La comparaison entre ces deux genres scolaires et universitaires nous permet d’analyser les difficultés rencontrées par un groupe d’étudiants chinois en FLE dans la rédaction d’une dissertation et les transferts qu’ils opèrent en français des conventions d’écriture issues du yilun wen. Cette analyse est éclairée par celle des annotations marginales portées sur leurs copies de dissertation par des correcteurs français. A travers les résultats d’une enquête menée par questionnaire auprès de groupes d’étudiants (chinois et français), la thèse s’attache ensuite aux représentations très disparates que les deux ensembles de groupes se font de la signification de ces normes du point culturel et cognitif.La thèse s’attache enfin à décrire la rhétorique traditionnelle chinoise à travers l’analyse du bagu wen et du schéma Qi-Cheng-Zhuan-He, un dispositif traditionnel toujours proposé dans les manuels et pratiqué par les étudiants. / This study compares academic writing conventions in French and Chinese from the point of view of Contrastive Rhetoric in the field of French teaching and learning as a foreign language. We spot respectively in French and Chinese education systems a specific genre: the French dissertation and the Chinese yilun wen. They have a comparable status, a clear structure and strict rules to follow. The comparison between these two genres indicates that the rules are not shared between French and Chinese students and that certain criteria required in the Chinese yilun wen appear far removed from French dissertation. Thus Chinese students encounter intricate difficulties in writing French dissertations and negative transfers under the influence from Chinese writing conventions. This result is also confirmed by the analysis of dissertations written by the Chinese students of our corpus. The surveys conducted among French and Chinese learners show that they are not fully aware of the cultural differences of standards in writing. The analysis of comments by French teachers of dissertation written by Chinese students shows that they are not better armed than their students in face of the differences of textual organization (both the construction and the way of realization) in French and Chinese. We attend to hold endly how the organization of traditional Chinese Rhetoric (the bagu wen and the Qi-Cheng-Zhuan-He schemes), still proposed by textbooks and practiced by learners, exert more or less influence on French writing of the Chinese students.

The pursuit of church indigeneity and unity was a two-fold theme throughout the history of twentieth-century Chinese Christianity. Modern scholarship has generated a good number of studies regarding church indigeneity, but has neglected the parallel trend towards interdenominational co-operation and church union in China. This thesis endeavours to remedy this deficiency. The thesis examines the process of the quest of Chinese Protestants for a united indigenous church, focusing on Cheng Jingyi (1881-1939), one of the key figures in the early twentieth-century ecumenical movement. Additionally, it pays particular attention to the Church of Christ in China as a case study. It discusses the feasibility of the ecumenical convictions which were shared by a considerable number of mainline Chinese Protestants, with Cheng Jingyi as a representative, and evaluates the legacy of the church unity movement in early twentieth-century China. The thesis argues that the church unity movement within the mainline Chinese churches differed from the ecumenical movement in the West, which aimed to realise fraternal co-operation and even union among various denominations. In China the aim was to establish a single national church on a federal pattern, reflecting a Chinese indigenous understanding of ecumenism and ecclesiology. It also reflected a broader vision of the Christian church than that exhibited by the majority of the independent Chinese Protestant groups or by the Chinese church under the control of the Three-Self Patriotic Movement during the 1950s. Based on the conviction of the universal nature of the church in which the Chinese church was an indispensable part, the church unity movement in China surpassed a narrowly nationalistic vision. Nonetheless, the good intentions of the Church of Christ in China were overshadowed by its dependence on foreign subsidies. The church never achieved ‘three-self’ status: it was self-governing and self-propagating, but never self supporting. As such its goal of indigeneity was never fully realised.