Cette étude consiste à mettre en lumière la double dimension du temps chez François Cheng. Partant du principe qu’il est un homme de dialogue, on ne peut que remarquer sa situation particulière dans son époque. En effet, il est à la fois contemporain des grandes remises en cause révolutionnaires de l’humanisme littéraire et des voix comme celles d’Yves Bonnefoy ou de Philippe Jaccottet C’est ainsi que nous nous proposons, dans notre première partie, de mettre en parallèle l’œuvre poétique de François Cheng avec les diverses voix de la poésie française de la deuxième moitié du XXe siècle. Pour mieux cerner la place qu’il occupe dans cette époque et montrer le rapprochement avec ses contemporains, nous tâchons de retracer les mutations principales en ce qui concerne la méfiance envers les images, une redéfinition du sujet et un renouveau de la notion d’humanisme. La deuxième partie est centrée sur des analyses détaillées de l’écriture poétique chengienne dont le but est de mieux comprendre une poésie de l’élémentaire qui a souci de renouer le lien avec l’univers vivant. La troisième partie tâche d’éclairer le temps lui-même, qui est fondé sur le Vide et le Change. Habité par cette conviction, le poète conçoit sa création comme une Œuvre inachevable. A travers les analyses des thèmes traditionnels de la poésie occidentale comme la nuit ou l’amour, et de certains de ses usages (celui la sonorité et du rythme notamment), notre étude se propose d’interpréter la vitalité d’une démarche d’écriture qui rompt avec les conventions et ouvre la parole à un dynamisme certain. / This study consists in showing François Cheng’s double dimension of time. Assuming that he is a man of dialogue, we can only remark his particular situation in his time. Indeed, he is a both contemporary of the revolutionary cause of humanism and the literary and of voices like Yves Bonnefoy or Philippe Jaccottet. Thus we propose in the first part a parallel study between the poetic work of François Cheng and the diverse voices of the French poetry of the second half of twentieth century. To better understand Cheng’s place in that time and show the comparison with his contemporaries, we try to trace the major changes regarding distrust of images, a redefinition of the subject and a revival of the concept of humanism. The second part focuses on the detailed analysis in Cheng’s poetry work to better understand a poetry of elemental who desire to renew the relationship with the world. The third part of our research seek to clarify his own time based on the Empty and the Change. With this conviction, the poet sees his creation as an unachievable Work. Through the analysis of traditional themes in Western poetry such as night, love, the sound and rhythm, our study is to interpret the vitality of a writing process who breaks with conventional and opens the speech to the dynamism.

The present study focusses on the description and analysis of the religious beliefs and practices of a central Taiwanese spirit-writing cult or "phoenix hall" (luantang). A phoenix hall is a voluntary religious association of congregational character centring upon communication with the gods by means of the divinatory technique of "spirit-writing" (fuluan). While spirit-writing can be and is used as an oracle for the solving of believers' personal problems, its more high-profile application is for the writing of so-called "morality books" (shanshu), i.e., books of religious instruction and moral exhortation. Spirit-writing cults are nowadays the most important sources of such works. Much attention has been given to morality books as mirrors of the social concerns of their times, but comparatively little work has been done on the groups that produce them and the meaning these works have for them. An adequate understanding of the meanings and functions of morality books, however, is impossible without some knowledge of the religious groups that produce them and the role played by morality books in their beliefs and practices. It is the objective of this thesis to provide a detailed description and analysis of one such group, the "Temple of the Martial Sage, Hall of Enlightened Orthodoxy" (Wumiao Mingzheng Tang), a phoenix hall in the city of Taizhong that was founded in 1976 and has played a significant role in the modern development of the shanshu genre through the active and varied publications programme of its publishing arm, the Phoenix Friend Magazine Society. The study utilizes data extracted from the Hall's published writings as well as interview, observation, and questionnaire data collected during an eight month period of field research in Taizhong. Part I provides a macrohistorical overview of the development of spirit-writing cults on the Chinese mainland (chapter 1) and on Taiwan (chapter 2) since the nineteenth century, leading up to the case-example's microhistory (chapter 3). Part II is devoted to an account of the beliefs and practices of the Wumiao Mingzheng Tang, including descriptions and analyses of its organization, deities, ritual activities, concepts of moral cultivation, and of the body of morality book literature it has produced over the years. The appendix contains samples of the cult's morality book and scriptural literature, as well as of various liturgical texts. / Arts, Faculty of / Asian Studies, Department of / Graduate

Le travail de cette thèse est consacré à la simulation aux grandes échelles (LES) et à la modélisationde la combustion supersonique, dont l’application est rencontrée dans les moteurs detype scramjet. Dans ce contexte, une étude LES appliquée au cas d’une flamme supersoniquehydrogène-air (flamme de Cheng) a été effectuée sur trois niveaux de raffinements de maillage.Les résultats en termes de profils moyens et fluctuations de composition et de température sontconfrontés aux mesures expérimentales, et l’impact du raffinement de maillage est établi. Parailleurs, à partir des données issues de cette étude LES, une modélisation de la combustionturbulente dans un milieu fortement compressible est proposée sur la base d’une approche tabuléede la chimie. Une analyse temporelle des interactions choc/flamme a ensuite été menée,permettant de mettre en évidence la présence de structures transitoires ayant une influence surles processus de stabilisation de la flamme. / This PhD study is focused on the large eddy simulation (LES) and on the modelisation of supersonic combustion as encountered in scramjet types engines. In this context, a LES study was performed for an hydrogen-air supersonic flame (Cheng’s flame) with three mesh refinement levels. The results obtained for mean and fluctuations of composition and temperature are compared to experimental measurements, and the impact of the grid resolution is established. Moreover, a modelisation of turbulent combustion in highly compressible flows is proposed based of tabulated chemistry approach. An analysis of the dynamics of shock/flame interaction was then conducted, and the presence of transient structures, which impact the flame stabilisation processes, was emphasized.

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No description available.

凡一冊，約二十萬字，分上下編。上編分二章，不分節，下編分三章十一節。主要內 容包括：上編，一為弟子述略，計百餘人。一為大事繫年，起北宋天聖九年，迄南宋 紹興二十三年，凡一二二年。下編思想研究，包括二主題：涵養與察識、窮理說、心 性論。資料來源除各家文集語錄外，復廣蒐散佚，稍為補亡。人物則以呂大臨、楊時 、謝良佐、胡安國為主，而兼及其餘。論述方式著重發展及比較，於各家思想必考明 其源流，參校其異同，以凸顯各家思想之特質，及思想史演進之過程，庶幾明瞭宋室 南渡前後，洛學發展之軌轍及概況。

This thesis deals with miniature poems, which appeared at the beginning of the May fourth movement, as a genre of modern chinese poetry and was redoscovered by the misty poets after the Cultural revolution. Part of a brief introduction to the literary- historical contexts of both periods are short biographies of two representative poets of this genre, Bing Xin and Gu Cheng. Eventually the form and themes of miniature poems are introduced. The main part of this thesis is a comparative study of Bing Xin's and Gu Cheng's miniature poems. The thesis concludes, that Gu Cheng refines and eleborates the artistic value of the miniature poem. Part of the study is a criticism of primary source, as well as a summary of the current state of research. Key words: Modern poetry, Bing Xin, Gu Cheng, místy poetry, May fourth movement

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

Since Chu T¡¦ien-wen was sixteen years old, she has been an important role in Taiwan literature. Chu T¡¦ien-wen has been influence by her parents and Zhang Ai-ling in Chinese literature for a long time. In the chinese ritual music cultur, she was educated under Hu Lan-cheng and became an author in the style of Zhang Qiang Hu Diao. Therefor, Chu T¡¦ien-wen and her sister Chu T'ien-hsin published San San magazine. However, after been through Nativist Literature Controversy and Hu Lan-cheng's death, she became a screenwriter for the movie, directed by Hou Hsiao-hsien and became one of the important participant of New Movie Movement in Taiwan. To face the problems of cross-srait relations and the visitions for the relatives, leading Chu T'ien-wen walk out military dependents' village and walk out San San and Grand View Garden, the style has also changed from San San ¢w¢w a young girl¡¦s fantasies style through growth theme of military dependents' village style and turned into the metropolis mature style. After Hu Lan-cheng passed away, Chu T'ien-wen swore to accomplish his unfinished ¡§ Woman Theory ¡¨ . To pass down the Female Writing of Woman Theory of Civilization, she decided to use ¡§ the Splendors of Fin de Siècle ¡¨ Notes of a Desolate Man and Words of a Witch. Hu Lan-cheng used to describe Chu T'ien-wen as a Japanese witch, and praised of the youth and beauty of her literature of art, which gives an inspiration to Chu T'ien-wen and to start a journey for witch. In ¡§ the Splendors of Fin de Siècle ¡¨ , giving Chu T¡¦ien-wen an advice as witch who predicted that patriarchal society were devastated. And in Notes of a Desolate Man that a desolate man who had feminine soul to offer Japanese witching dance for god. In Words of a Witch as witching word to fly from time and death that become unique to Chu T'ien-wen¡¦s Witched Writings.

Mancur Olson states that individual, after reasonable evaluation, takes the action of free ride. The main factor of free ride lies in the goal of collective actions --- collective goods. And the non-excludability in collective goods enables consumers to benefit without sharing costs. Based on the framework of Olson¡¦s and Russell Hardin¡¦s theories of reaching the goal of collective actions, along with the theory of political entrepreneurs, this study surveys the collective actions of Tzu-Chi Foundation, in hope of depicting its factors and strategies for overcoming difficulties in collective actions. This study gives an analysis of Tzu-Chi Foundation in terms of collective actions, concluding that its selective incentives are Master Cheng Yen¡¦s unconditional love, cause & effect cycle and pursuit of pop culture. Successful marketing and computerized fund-raise tactics make people more willing to invest time and money in promoting Tzu-Chi Foundation. Few entrepreneurs are willing to bear the costs even without cooperation from other members, as they are satisfied with the collective goods provided by the group, just as Hardin states. Furthermore, one of the solutions to collective actions of free ride is to rely on organization operating by political entrepreneurs. Master Cheng Yen successfully plays the role of entrepreneur leader, adopting strategies like keeping equidistance from each political party, developing constant sense of mission within the organization, exercising mild leadership and management strategies, consolidating the Foundation with religious prospect, recruiting elites and making good use of talents...etc. Multiplied by her female leader impact on Taiwan, these factors combined are the key points of Tzu-Chi Foundation¡¦s success.