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

x, 276 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / The late-Qing tanci "A Pair of Male Phoenixes Flying Together" (Feng shuangfei ; preface dated 1899) is unusual for its depiction of a wide variety of gender issues and sexual relationships. Because the 52-chapter work is credibly attributed to the female poet Cheng Huiying, who is known to have written the poetry collection Beichuang yin 'gao , the tanci gives scholars a unique opportunity to see how a gentry woman thought of the gender roles and sexual politics of the late Qing. My dissertation contains two major sections. Chapters I and II look at Cheng Huiying and her work as part of the `talented women" ( cainü ) culture. These two chapters demonstrate how Cheng Huiying deliberately establishes herself as a unique female writing subject and advocates women's agency in determining their own marriage arrangements. one of women's biggest concerns in premodern China. Chapters III to VI put Feng shuangfei into the larger context of male-authored fiction and examine how it adopts and rewrites the conventions and motifs common to xiaoshuo fiction from a female writer's perspective. I first argue that Feng shuangfei can be considered a serious literary work due to its sophisticated structural design and characterization, although tanci are usually considered as more popular literature. I then evaluate how the female author of this tanci subtly reinvents three gendered motifs that commonly appear in male-authored xiaoshuo fiction. The three motifs are male same-sex eroticism and homosociality, female same-sex desires, and the stereotypes of shrew and ideal wife. Through subtle twists in the plot, the tanci suggests the possibility of the expression of female subjectivity and agency within patriarchal Confucian society even while it follows and supports the normative Confucian order. The perspectives on gender norms and sexual practices offered in this tanci both display how a gentry woman thought about these issues in late imperial China and suggest how the rapid and vast social and ideological changes occurring during the turn of the century opened new spaces for Cheng Huiying to imagine increased agency and autonomy for women within the domestic sphere. / Committee in charge: Maram Epstein, Chairperson, East Asian Languages & Literature; Yugen Wang, Member, East Asian Languages & Literature; Tze-lan Sang, Member, East Asian Languages & Literature; Ina Asim, Outside Member, History

本論文寫作之問題意識，乃基於對儒學在現代社會角色定位與未來走向之反思。在當代，儒學雖逐漸建立作為學術理論的地位，同時也與一般民眾思想、生活漸行漸遠，這種與傳統儒學化成理想有落差的情況，對在現代仍認同儒學或以儒家自許者，成為一個不得不面對的真實問題。從逆覺體證到理一分殊新釋之理論演變，正在尋求其因應之道。此現代新儒學之內部理論發展，內容是走向日用常行化與廣義道德實踐之建立，理一分殊作為方法架構，亦具有應用在種種不同觀點的普遍意義。 首先，就理一分殊新釋而言，一切文化創造活動都屬分殊，只能「通於」、而不能「同於」理一。良知坎陷的範圍也應擴及逆覺體證的行為實踐領域。包括道德行為在內的一切人類活動，都已是理一在某個時空之具體落實，具有侷限而不再等同於無限，但雖不可等同於無限，卻又通於無限。一切人文活動都可通於理一，但因「通」的型態不同，故定位也各異。逆覺體證是「逆」或「返」於理一之「通」，重點在契接、體悟理一；其他人文活動是「順」或「發」自理一之「通」，重點在承繼或順應理一之動用，成就現實生活中的各種價值創造。既然都是「通」於而非「同」於理一，就不必強分高下而可同時並重。儒家作為成德之學的道德實踐概念內涵，就不僅限於由逆覺所體證而發之於道德行為之狹義的道德實踐，而可涵蓋一切正面價值創造活動，成為一種廣義的道德實踐。 這種廣義的道德實踐，是具有基本道德操守而同時以仁心與生生之精神為終極託付的人生態度，凡認同此態度而不斷從事正面價值創造者，不論是學者、藝術家、科學家等任何職業與身分，都是現代意義下的儒者。從事儒家思想研究工作而又同時具有以上生活態度的現代新儒學，即取得在儒學架構下的正當性與必要性。儒家的理想仍然嚮往與追求聖賢境界，卻不再是作為儒者的唯一條件，這是使逆覺體證由聖賢工夫走向日用常行化的轉向。 就廣義道德實踐的立場，內聖是指以仁心與生生精神為終極託付，外王雖主要指涉政治領域，亦可延伸至以仁心與生生為前提，而從事商業、學術、藝術等活動。這種廣義道德實踐的另一個理論效應，則是基於良知與見聞的辯證關係，以及朱子對人之有限性的警覺，將朱子與象山的先後天修養工夫同時並重，而統合於陽明的良知教之下。廣義的道德實踐是以生生之仁為出發點，有關此普遍人性之內涵，牟宗三先生指出是一種心性情合一之普遍道德主體，並以由本心自定自發律則而具現於行為之動態過程，亦即「實踐上的印證」，說明此道德主體之具體化問題。至於道德意識普遍性之證成的落實問題，則需要劉述先先生參與全球倫理運動的「共識上的印證」作補充。這是藉由存異求同的理一分殊方法，與世界各大宗教文化進行平等的對話，從中所得到的共通於各大傳統之極小式的底限共識，亦即人道與金律，可作為說明落實問題之一種可能途徑。 逆覺體證本質上是從工夫論導出哲學理論之系統。可使儒學在指引效力之外逐漸展現出解釋效力，成為一種可以在學術上掌握與論析的理論系統。理一分殊的方法論為這種走向之延續。理一作為人文學科中的規約原則，有別於經驗科學的歸納（induction），因為歸納的方式是取同略異，理一分殊秉持的是存異求同之精神。筆者即嘗試就如何順成朱子所謂「去兩短，合兩長」，以及內聖外王雙向互動之兩行，作為這種方法論應用的實例。這兩個觀點雖非理一分殊新釋之內容，卻可藉由其方法予以證成，正可說明理一分殊方法的普遍意義。 / Nowadays, the situation of Confucianism is rather dubious. It used to be the guidelines of politics and everyday life in Chinese society. However, Confucianism is now not as influential as it was before. Its practical role has given way to theoretical one. This phenomenon, for many, means the loss of the essence of Confucianism. In my opinion, the prospect of turnaround lies in the development of ni-chüeh-t'i-cheng to the New Interpretation of li-i-fen-shu. The content of this progress can be divided into three: the secularization of moral practice, the wide-ranging creation of values and a formation of methodology. At first, ni-chüeh-t'i-cheng emphasizes the request of being sages while the New Interpretation of li-i-fen-shu focuses on the obedience to rules of law and decorum. As a result, the moral practice of Contemporary Neo-Confucian Philosophy is easy for normal people to abide by. Secondly, the New Interpretation of li-i-fen-shu advocates not so much moral practice as the creation of values. Accordingly, people belonging to every walk of life are regarded as a Neo-Confucian on condition that he or she has faith in jen(humanity) and sheng-sheng(creative creativity). Taken together, these theses indicate that Contemporary Neo-Confucian Philosophy tends to lives of modern people. Finally, ni-chüeh-t'i-cheng is a kind of kung-fu-lun which doubles as a academic theory. Nevertheless, li-i-fen-shu has a facet of methodology. I manage to apply this methodology to two issues in Confucianism: the necessity of ch’u-liang-tuan, ho-liang-ch’ang by Chu-Hsi and the interaction between nei-shen and wai-wang. The significance of li-i-fen-shu will be highlighted if my analysis is justified.

Mid-Ming times witnessed the rise of Neo-Confucianized merchants in Huizhou. The combined effort of Cheng surnamed merchants and the prestigious scholar-official Cheng Minzheng revived the trend of lineage construction in a recognizable pattern. First, the branch Shi Zhong temples were made to be used as ancestral halls of the Chengs. Then, multi-volume genealogies of enlarged kinships were compiled to form conglomerated lineages. The climax of this lineage-building process was the publication of the Conglomerated Lineage of the Chengs of Huizhou (Xin'an Chengshi tongzong shipu) compiled by Cheng Minzheng in 1482. This work created a constructed lineage but also realized a long cherished social ideal of the Confucian scholar. The local merchants were enthusiastic about such lineage-building activities, because the lineage itself facilitated their commercial enterprises and the building of it lessened the social tension brought about by their pursuit of profit. / The founding of the Ming dynasty influenced Huizhou in two ways. First, powerful families rising from Yuan times were weakened during the Hongwu and Yongle reigns. Consequently, Neo-Confucian social practices local elites supported such as lineage construction became inactive. Second, the Ming pursued a state policy of regulating local cults. Of the many local gods in Huizhou, only Wang Hua and Cheng Lingxi became legitimate gods recognized by the state. As a result, the Shi Zhong (everlasting loyalty) Temple worshiping Cheng Lingxi became an official temple in Huizhou. In time, branch Shi Zhong temples appeared in many areas in Huizhou and nearby regions. / The Mongolian conquest of China saw new social mobility in Huizhou. A group of new power holders arose because of the new regime's recruitment policy, which emphasized the appointee's class background and ability to collect taxes. The suspension of civil examinations in early Yuan times drove a large number of Confucian office-aspirants to become teachers in rural schools. These literati, however, helped spread Neo-Confucianism more widely than before. By late Yuan times, the new power holders in Huizhou also absorbed Neo-Confucianism and put it into practice in the construction of lineage halls and in the compilation of genealogies. Neo-Confucianism became socialized. / The study analyzes the various elements that made the Cheng lineage and defines these elements in the historical context of Huizhou from the Southern Song to the mid-Ming. Crucial elements include the rise of Cheng Lingxi, a famous warlord in sixth century. Cheng Lingxi was rewarded an official title by the Southern Song dynasty for which he became an authoritative god in early Ming times. Huizhou prefecture assumed increasing importance in Southern Song times because of its proximity to the capital at Lin'an. It became a communication hub for metropolitan Lin'an and the inland areas. Local government in Huizhou was strengthened and elites there entered the political center through civil examinations. Zhu Xi and his version of Neo-Confucianism were also well received there in late Southern Song times when both became orthodox. / This dissertation studies the construction process of the conglomerate lineage of the Chengs in Huizhou prefecture in mid-Ming China. This organization used the rule of decent-line to unite the families bearing the surname of Cheng and maintained the unity by means of genealogies and ancestral halls. The emergence of the conglomerated Cheng lineage bespeaks the emergence of a Neo-Confucian order jointly built by literati-officials and rising merchants in mid-Ming Huizhou. / 章毅. / 論文(哲學博士)--香港中文大學, 2006. / 參考文獻(p. 232-241). / Adviser: Hung-lam Chu. / Source: Dissertation Abstracts International, Volume: 68-02, Section: A, page: 0687. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / School code: 1307. / Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2006. / Can kao wen xian (p. 232-241). / Zhang Yi.

古籍流傳迄今，散亡者多，汲古雅士，莫不興歎。若太平廣記者，宋太宗敕修之書也 ，姑不論其修書意在羈縻降國舊臣，抑或欲獲右文令名，其書於稗官野史實徵引浩博 ，不特久佚者賴以存其鱗爪，即今傳而非完帙者亦可據以增補，堪稱古今說部之淵藪 ，無怪乎後之輯收唐以前小說者，多取資於是，其有功於來學，信不可滅。茲考證其 所引書，庶幾為關心吾國典籍者以獻一得之愚。 在凡例中，嘗揭示本文大綱：首為所據廣記諸本簡介（附述未見諸本）；蓋廣記久經 傳鈔，今所見諸本皆一免訛誤，吾人據以研究，實不可不先審辨。其次即為正文，並 檢討廣記引書之得失，為作結論。末有附錄三篇，即「太平廣記卷首匠列引用書目」 、「太平廣記未注出處條目表」及「太平廣記有目無文條目表」；而以參考書目及論 文篇目繼之。又編製書名索引，置於最末，以便檢閱。 茲就「本文所據太平廣記諸本簡介（附述未見諸本）」、「正文」、「結論」三者提 要說明如下： 本文所據太平廣記諸本簡介 太平廣記五百卷目錄十卷，宋太宗於太平興國二年三月十七日，詔儒臣篡修，與太平 御覽同時，篡者亦略相同，而廣記於翌年八月十三日書成進呈，較御覽為先。今據明 談愷刻本廣記卷首所附李昉等進書表結銜題名後書云：「八月二十五日奉勒送史館， 六年正月奉旨雕印板」雖非進書表文，要為實錄；可見廣記成書後，兩年餘即行雕板 。然玉海卷五四云：「廣記鏤板頒天下，言者以為非學者所急，收墨板藏太清樓。」 是廣記雕板固早，似猶未即印行。北宋末，蔡蕃嘗節太平廣記故事成鹿革事類，復節 其詩文成鹿革文類；據，此謂廣記在北宋末已流傳則可，謂蔡氏所取為刻本則未必是 ，蓋當時伙妨以鈔本相傳也。又，清孫潛嘗以舊鈔宋本校正明談愷刻本；所謂舊鈔宋 本，今不詳流落何，方試就國立臺灣大學研究圖書館所藏談刻之孫氏校語觀之，舊鈔 本遇「構」、「構」，李皆書作「御名」（按高宗名構），可證南宋高宗時有傳本， 唯亦未敢遽定為刻本。所可知者，清陳鱣嘗據宋板為吳騫所藏許刻手校一過（見藏園 群書題記初集卷四校宋本太平廣記跋），依此，則宋代誠有刻本行世，惜其板未傳， 今僅就陳氏校語（汪紹楹點校本引之）略知一二而已，無由詳其刊行年月。迨明、清 以來，有談愷、許自昌、黃晟等先後校刻之本，始使是書印行漸廣。 引書考正文 本文分廣記引書為四項，隸屬兩大類，即： 壹太平廣記引書之見於歷代書志者 一卷首所列弔用書目有其名者 二卷首所列引用書目無其名者 貳太平廣記引書之未見於歷代書志者 一卷首所列引用書目有其名者 二卷首所列引用書目無其名者 且為便於編制，各項弔書依四庫全書總目所分部類順序彙列。然芋書於芋部芋類，諸 家書志實有出入；況廣記引書，以小說居多，雖引及其他，要亦取其近乎小說性質之 條文，似不必拘泥於部類之區分。是以芋部芋類引書之，前不復明標部類名稱，僅於 相鄰部類間隔兩行書寫以示區別。 結論 傳本廣記卷首所列引用書目，姑不論其真偽，但其於廣記引書遺漏頗多，則為事實。 然宋本不傳，未得其實，本文姑就考證所得，重為引書總數作一估計： 引書之見於歷代書志而引用書目復有其名者，凡二百五十五種 引書之見於歷代書志而引用書目無其名者，凡四十八種 引書之未見於歷代書志而引用書目有其名者，凡五十八種 引書之未見於歷代書志而引用書目亦無其名者，凡五十八種 合計四百一十九種 此外，廣記引書尚「有引書名稱雜亂不統一」、「捨早出而引晚出之書」、「濫注出 處而末能徵實」、「複出或文異而事同之篇章不□」、「不注出處篇章頗多」、「任 意竄改原文」諸失，然瑕不掩瑜，未可輕之。 /

As ownership of Hong Kong changed hands from the United Kingdom to the People's Republic of China in 1997, citizens and filmmakers of the city became highly aware of the political environment. Film director Wong Kar-Wai creates visually stimulating films that express the anxieties and frustrations of the citizens of Hong Kong during this period. This study provides a political reading of Days of Being Wild (1991), In the Mood for Love (2000), and 2046 (2004) through analyzing various story elements and details within the mise-en-scene. Story elements include setting, dialogue, character relationships, character identities, thematic motifs, musical references, numerology, and genre manipulation. Wong also uses details within the films' mise-en-scene, such as props and color, to express political frustrations. To provide color interpretations, various traditional aesthetic guidelines, such as those prescribed by Taoism, Cantonese and Beijing opera, and feng shui, are used to read the films' negative comments on the handover process and the governments involved. When studied together the three films illustrate how Wong Kar-Wai creates narrative and visual references to the time and atmosphere in which he works, namely pre-and-post handover Hong Kong.

This thesis is an investigation of the complex processes and relationships between the physical human performer and the technologically manufactured cyber-human counterpart. I acted as both researcher and the physical human performer, deeply engaged in the moment-to-moment creation of events unfolding within a shared virtual reality environment. As the primary instigator and activator of the cyber-human partner, I maintained a balance between the live and technological performance elements, prioritizing the production of content and meaning. By way of using practice as research, this thesis argues that in considering interactions between cyber-human and human performers, it is crucial to move beyond discussions of technology when considering interactions between cyber-humans and human performers to an analysis of emotional content, the powers of poetic imagery, the trust that is developed through sensory perception and the evocation of complex relationships. A theoretical model is constructed to describe the relationship between a cyber-human and a human performer in the five works created specifically for this thesis, which is not substantially different from that between human performers. Technological exploration allows for the observation and analysis of various relationships, furthering an expanded understanding of ‘movement as content’ beyond the electronic connection. Each of the works created for this research used new and innovative technologies, including virtual reality, multiple interactive systems, six generations of wearable computers, motion capture technology, high-end digital lighting projectors, various projection screens, smart electronically charged fabrics, multiple sensory sensitive devices and intelligent sensory charged alternative performance spaces. They were most often collaboratively created in order to augment all aspects of the performance and create the sense of community found in digital live dance performances/events. These works are identified as one continuous line of energy and discovery, each representing a slight variation on the premise that a working, caring, visceral and poetic content occurs beyond the technological tools. Consequently, a shift in the physical human’s psyche overwhelms the act of performance. Scholarship and reflection on the works have been integral to my creative process throughout. The goals of this thesis, the works created and the resulting methodologies are to investigate performance to heighten the multiple ways we experience and interact with the world. This maximizes connection and results in a highly interactive, improvisational, dynamic, non-linear, immediate, accessible, agential, reciprocal, emotional, visceral and transformative experience without boundaries between the virtual and physical for physical humans, cyborgs and cyber-humans alike.