Dès 1951, le compositeur américain John Cage (1912-1992) s’engage dans la recherche de stratégies nouvelles de création. Son objectif principal consiste à éviter de laisser la subjectivité gouverner son univers artistique. L’œuvre doit être exempte de tout geste expressif, ainsi que d’éléments issus de la mémoire. Commence alors l’invention de multiples procédés impersonnels de composition permettant au hasard d’être à l’origine de la conception de l’œuvre et de jouer un rôle à différents stades de l’élaboration. Il s’ensuit une exploration artistique où le créateur se trouve confronté à l’imprévisible. À partir de 1969, la recherche de moyens non-intentionnels de création s’élargit du domaine musical au domaine plastique. Les trois parties de notre thèse portent sur le processus d’élaboration, la performance et l’exposition. Pour une part importante de la production musicale et visuelle de Cage, si le hasard intervient dans la phase d’élaboration, les œuvres engendrées restent néanmoins fixes dans leur état final. Cependant, notamment dans les années soixante, la plupart des œuvres musicales prennent une forme indéterminée, le hasard intervenant également au moment de la performance, d’où l’imprévisibilité du résultat. Enfin, cette dialectique entre un hasard fixe et une indétermination mobile est mise en œuvre à la fin de sa vie dans la conception d’installations et d’expositions. D’un point de vue théorique, il est important de comprendre si la position de Cage est alors celle d’un simple transcripteur des résultats fournis par le hasard ou si des choix tiennent néanmoins une place dans sa création. Notre recherche montre que la position de l’artiste est double. Si Cage est à l’écoute du hasard, ses préoccupations thématiques dans les domaines musical, plastique et muséologique n’en ont pas moins laissé une forte empreinte sur sa production sous forme de différents invariants. / Starting in 1951 the American composer John Cage (1912-1992) relentlessly searched for new creative strategies. His main goal was to ensure that no form of subjectivity ruled his artistic universe. A work had to be free of any and all expressive gestures, as well as traces of memory. This stipulation led to his inventing multiple impersonal procedures of composition in that chance operations both initiated the conception of a work and played a role at different stages of its elaboration. The outcome of this artistic exploration meant that the creator had to come to terms with the unpredictable. From 1969 on, Cage carried over non-intentional modes of creation from his musical production to his visual works. The three main sections of our thesis focus on their process of elaboration, musical performance, and exhibitions. If chance operations came into play in the elaborative stage of a large number of these works, the latter nonetheless remained fixed in their final state. Yet, particularly in the 1960’s, most of the composer’s musical works had an indeterminate form, given that chance intervened during the performance, leading to unforeseen results. Finally, at the end of his life Cage put into play this dialectic relationship between fixed chance and mobile indetermination in his conception of installations and exhibitions. From a theoretical point of view, it is important to understand if his role is that of a simple transcriber of chance operation results or if choice still remains operative in his production. Our research shows that the position of the artist is dual: if Cage remains open to chance, his thematic interests in the fields of music, visual arts, and museology have just as strongly left their mark on his production in the form of different invariants.

This thesis encompasses a survey of contemporary environmental literature (1970s to the present) as it relates to the tenets of Taoist literature, specifically the Chuang Tzu and the Tao te Ching. The thesis also presents and evaluates pertinent criticisms concerning the practice of relating modern environmental problems to ancient Chinese philosophy. The thesis contains a preface that describes the historic roots of Taoism as well as an explanation of the Chinese terminology in the paper. The environmental literature is divided into three major groups and discussed in the three chapters of the paper. The three groups include mainstream environmentalists, deep ecology, and ecofeminism.

本論文探討沈璟義俠記，內容略為： 第一章：緒論；本章分二節，探討南戲與明傳奇的關係及發展概略，俾利了解傳奇的 特色及當時的情況。 第二章：義俠記的作者；本章簡略分述沈璟的生平、當時在傳奇上的地位、著作、曲 論等，旨在了解作者的生平背景及其曲學上的成就。 第三章： 義俠記的板本；本章分二節，介紹義俠記的板，本並加校勘。 第四章： 義俠記本事考；本章分四節，探討本劇故事的梗概及淵源（與水滸傳的關係），分析 其主題及主要登場人物。 第五章：義俠記寫作技巧；本章分四節，以結構、聯套、章律、辭藻四部分，研究本 劇本的寫作技巧。 第六章：結論；本書分二節，探討本劇的搬演記錄及其對後世的影響，並討論本劇的 價值

This thesis reaches across multiple disciplines, including music psychology, performing arts, and philosophy, to propose using Lao Tzu’s philosophical thoughts in his book Tao Te Ching (also Dao De Jing, daodejing) to cultivate a classical performing musician’s “professional mindset.” “Professional mindset” is defined as the performer’s attitude in dealing with people including himself, and philosophical perspectives in making music. Part I evaluates the recurring traits of classical performing musicians (CPMs) as key for later arguing that Tao Te Ching helps enhance and transform the associated behaviors of a CPM’s recurring traits. These traits include being aloof, intelligent, emotionally unstable, dominant, sensitive, imaginative, self-sufficient, having high ergic tension, along with the associated second-order factors introversion, anxiety, independence, and being unrestrained. Part II introduces Tao Te Ching by building its thinking system map, with each of the book’s components explained and the underlying concepts hidden in the map uncovered via my English translations of the text as found in Chen Guying’s commentary. Part III presents three perspectives that collectively argue how Tao Te Ching cultivates a CPM’s professional mindset. The first analyzes anecdotes from the biographies of flutist Marcel Moyse using the recurring traits of CPMs in order to show how Lao Tzu’s thoughts can enhance or transform the associated behaviors of the recurring traits of CPMs. The second philosophically applies the duality of Lao Tzu to a CPM’s main musical activities and defines his daily performing cycle. The third explains how Tao Te Ching creatively deals with musical matters.

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This paper explores the practical teachings found in the Dunhuang manuscript of the Platform Sutra of the Sixth Patriarch and considers the possibility of practice within a doctrine of sudden enlightenment. Part One outlines how the doctrine of sudden enlightenment can be understood to undermine the purpose for practicing meditation. Part Two first makes a case for the position that practice is presupposed by the text regardless of the doctrine of sudden enlightenment. Next the paper argues for what type of meditation practice the Platform Sutra teaches is consistent with sudden enlightenment. The practice the Platform Sutra teaches is an intentionless, continuous, non-passive non-attachment while in the midst of dharmas that takes as its basis the suchness of things inherent in sentient beings.

Thesis (M.CM)--Hong Kong Baptist University, 2006. / Dissertation submitted to the School of Chinese Medicine. Includes bibliographical references (leaves 20-23).

Thesis (M.CM)--Hong Kong Baptist University, 2006. / Dissertation submitted to the School of Chinese Medicine. Includes bibliographical references (leaves 31-38).

Thesis (M.CM)--Hong Kong Baptist University, 2006. / Dissertation submitted to the School of Chinese Medicine. Includes bibliographical references (leaves 61-63).

Thesis (M.CM)--Hong Kong Baptist University, 2006. / Dissertation submitted to the School of Chinese Medicine. Includes bibliographical references (leaves 29-31).