L'objectif de cette thèse est d'étudier sur le long terme, depuis la fin de l'époque achéménide jusqu'à celle du Haut-Empire (aux alentours de 235 après J.-C.) l'implantation de troupes et de vétérans perses, gréco-macédoniens, thraces, lyciens et romains, puis de leurs descendants, dans l'espace phrygien, région quelque peu marginale située dans le centre-ouest de l'Anatolie. Après avoir dans la première partie identifié et justifié stratégiquement les différents lieux d'installation, elle examine l'impact économique de celle-ci au travers de l'étude de la mainmise sur la terre et ses productions, du rôle des soldats en tant que producteurs et consommateurs et de leur implication dans la sécurisation du territoire. Sur un plan social, le quotidien des militaires, des vétérans et de leurs familles est ensuite examiné, de même que les formes prises par leur domination sur le reste de la population et leurs choix religieux. Le tout s'appuie sur un vaste corpus de plusieurs centaines d'inscriptions et de monnaies. / The objective of this thesis is to study on the long term, since the end of the achaemenid period until that of the roman Top-empire (near 235 AD) the setting-up of persian, greco-macedonian, thracian, lycian and roman troops and veterans, then of their descendants, in the Phrygian space, a little marginal region situated in west central Anatolia. Having in the first part identified and justified strategically the various places of installation, it examines the economic impact of this one through the study of the seizure by the earth and its productions, the role of the soldiers as producers and consumers and of their implication in the reassurance of the territory. On a social plan, the everyday life of the servicemen, the veterans and their families is then examined, as well as the forms taken by their domination on the rest of the population and their religious choices. The whole is based on a vast corpus of several hundred inscriptions and coins.

The dissertation examines the experience of the landless in the ancient Near East as expressed in the book of Lamentations. Land theology has focused on land loss but not on the people who lost it. Similarly, the interpretation of Lamentations has focused on human suffering or on God’s absence not on land loss neither on the landless. This study investigates the phenomenon of landlessness in the Near Eastern world (over the span of 6th and 7th centuries BCE) and how people reacted to such experiences. They lamented over the destruction of shrines, homes, towns and land. Land loss is a prominent feature in city laments. Lamentations relied on these kinds of lament to express the Judeans’ land loss experience. The Zion theology which had granted an unconditional blessing of protection and stability to Jerusalem and to its people, completely failed on the Babylonian invasion in 587 BCE. The ‘landless genesis’ of the nation from the period of the ancestors (Cain and Jacob) remains in the memory of Daughter of Zion and of the deported man as they lament over the loss of Jerusalem. / Theology / M. Th. (Old Testament)

The challenge of the just war theory in the post-modern era is compounded by technologic advances in warfare and the friction among state actors in a decentralized state system. The inquiry of this investigation on just war is the extent of its validity in an era that extols the sciences and human reason on the one hand and economic necessity on the other as the standard by which state actors regulate their political objectives. The thesis Just war; unjust consequences examines the longevity of the just war tradition, its moral necessity throughout history and its indispensable application in the nuclear age. Chapter 2 examines the moral foundations of the ‘two kingdoms’, which formulates the background of the just war theory, from the biblical account of the great controversy between good and evil to the formation of modern church/state relations. Within the ancient and contemporary setting, ecclesiastical and theological traditions have provided a public platform to establish moral parameters in regards to state actor intent and post-modern application, such as the U.S.-Iraq war. Chapter 3 investigates Augustine’s enduring contribution to the moral and historical formation and longevity of the just war theory. From its earliest development to its modern antecedent the just war theory has been an integral aspect of the philosophical and theological analysis distinguishing ‘why’ and ‘how’ wars are fought and the import of moral parameters to manage international conflict. Chapter 4 examines Reinhold Niebuhr’s contribution to the realist tradition and U.S. foreign policy in the 20th and 21st centuries. This section examines the impact of the modern state actor’s intent for war. The primary issue is that the classical formulation that identifies human nature as the catalyst of social disorder and war is superseded by the scientific method, which adheres to the viewpoint that war is complicated by numerous economic and political factors. Hans Morgenthau’s realist tradition of international relations theory, which advocates that humankind is the centric disruptive force by its abuse of power at all levels of human interaction especially among nations was eventually eclipsed by Kenneth Waltz’s neorealist school of thought, which shifted the culpability of war from the egocentricities of human nature to the disproportions of economic and military power among competing state actors in a decentralized state system. This shift in international relations theory within the framework of weapons of mass destruction contested the validity of the just war tradition in the nuclear age. Chapter 5 reasserts the Christian realist tradition’s viewpoint that the perpetrator for war is the individual actor within collective competitive self-interest, epitomized by the state actor. The classical model is reinstated as a plausible cause for war. It is within this framework that a contemporary adaptation of the just war moral theory is provided to contest the contemporary complexities of warfare in the 21st century. Chapter 6 investigates the practical challenges of modern warfare. The background of Operation Iraqi Freedom reveals the complications of state actor competition in international politics, and the necessity of moral parameters to thwart unwarranted state actor aggression. Finally, Chapter 7 reiterates, the prolonged necessity of the just war tradition in both the ancient and modern eras and, the import of moral parameters to thwart unwarranted state actor aggression and provides a reformulation of the just war moral theory to challenge the viewpoint that deems the utility of weapons of mass destruction as viable national security alternative and its tactical application in warfare. / Thesis (PhD)--University of Pretoria, 2014 / gm2015 / Practical Theology / PhD / Unrestricted

《鼎峙春秋》是奉乾隆皇帝的命所創造的作品.本劇本,以元明以來流傳的三國演義故事為題材,僅在清代宮廷裡所演出的劇本。 清代極為崇拜關公,而關公到了《鼎峙春秋》呈顯出最完美的形象. 本論文將關公的一生分為七個時段來探討鼎峙春秋中的關公如何被描述, 其中發現本劇作家透過關公的一生突顯出忠義精神和善惡報應思想,以此教導民眾. 本論文雖然不足的地方很多,希望研究關公的學人有所幫助. / 《Ding Zhi Chun Qiu》 was made by the order of Qian Long the Emperor of the Ch'ing dynasty. It’s a play only performed at Court. And it’s about the story in the period of the Three Kingdoms which has been one of the people’s favorite subjects since Yuan-Ming Dynasty.The people of the Ch'ing dynasty were more devoted to worship Gwangong than any other times. Therefore, the Gwangong who is a main character of 《Ding Zhi Chun Qiu》 is described as the most perfect person whose image is handed down from generation after generation.This paper divided the life of GwanGong into 7 periods based on the important historical trace, and watched how GwanGong’s story was described in《Ding Zhi Chun Qiu》. I was able to find out that the writer had intention to enlighten the people by highlighting a loyalty spirit and right and wrong retribution thoughts through Gwangong in the process. Although this paper has some insufficient points, but I hope this paper would be helpful to those who study Gwangong.

Les réformes menées sous Dioclétien et Constantin établirent des circonscriptions et des hiérarchies administratives qui demeurèrent stables dans les Gaules, les Espagnes et en Bretagne, tout au long du IVe siècle. Suite aux usurpations du début du Ve siècle et aux installations des groupes barbares, le pouvoir préfectoral arlésien perdit progressivement le contrôle sur ces provinces, ce qui perturba le fonctionnement de l’appareil fiscal. Au Ve siècle, des membres des familles sénatoriales les plus en vue, souvent originaires du diocèse des Sept Provinces, accaparèrent la charge de préfet du prétoire des Gaules. L’administration des provinces gauloises et hispaniques qui reconnaissaient encore le pouvoir impérial fut alors de plus en plus décentralisée. À partir de la fin des années 460, des aristocrates gallo ou hispano-romains apparaissent comme étant au service des rois, un phénomène qui indique que ces pouvoirs barbares devenaient des acteurs politiques incontournables. La disparition de l’autorité impériale en Occident et le fait que les royaumes romano-barbares devinrent des entités politiques autonomes parachevèrent les fragmentations territoriales, politiques et sociales initiées depuis le début du Ve siècle. Ces nouveaux pouvoirs n’eurent d’autres solutions que de conserver une partie des instances de l’administration judiciaire et fiscale romaine et de les adapter aux nouveaux espaces. Ainsi, c’est à l’échelle locale et, surtout, au niveau de la cité que l’essentiel des fonctions de l’administration civile furent dès lors accomplies et que les trois acteurs majeurs de la vie administrative dans la Gaule franque et l’Hispanie wisigothe, à savoir le comte, l’évêque et les élites des cités, évoluèrent. / Reforms established under the age of Diocletian and Constantin set up circumscriptions and administrative hierarchies that remained stable throughout the IVth century in Gaul, Spain and Britain. As a consequence of usurpations at the beginning of the Vth century and of Barbarians’ settlements, the Arlesian prefectoral power progressively lost the control of these provinces, thus perturbing the fiscal system. In the Vth century, the prominent senatorial family members, who were often from the Seven Provinces diocese, monopolized the position of praetorian prefect of Gaul. The administration of Gallic and Spanish provinces, which still recognized the imperial power, became more and more decentralized. As of the late 460's, Gallic and Spanish aristocrats are established as kings' servants, which indicates that these Barbarian leaders were becoming very important political players. In the western territories, the disappearance of the imperial power, together with the fact that the Romano-Germanic kingdoms became autonomous political bodies, finished the territorial, political and social fragmentation process that had started at the beginning of the Vth century. These new power entities had no other solution than keeping some of the Roman legal and fiscal administration authorities and adapting them to the new territories. As a consequence, it is at the local scale, and mostly at city level, that most of the positions in civil administration were located and involved the three main players in the Frankish Gaul and Visigothic Spain administration, namely the count, the bishop and the city élites.

葉植興. / 論文(哲學碩士) -- 香港中文大學硏究院中國語言及文學學部, 1997. / 參考文獻: leaves 142-146. / Ye Zhixing. / Chapter 第一章： --- 導言 --- p.1-4 / Chapter 第二章： --- 從阮籍的仕宦生涯以看其玫治立 場、思想行爲與人格 --- p.5 -19 / Chapter 第三章： --- 〈詠懷詩〉的創作背景及思想内容 --- p.20 -36 / Chapter 第一節： --- 〈詠懷詩〉的創作背景 --- p.20-21 / Chapter 第二節： --- 〈詠懷詩〉的思想内容 --- p.21-36 / Chapter 第四章： --- 〈詠懷詩〉的藝術特徵 --- p.37 -114 / Chapter 第一節： --- 從〈詠懷詩〉的淵源以觀其 藝術特徵 --- p.37-40 / Chapter 第二節： --- 〈詠懷詩〉中比興的探索 --- p.41-54 / Chapter ˘ثł： --- "解詩的""比興´ح與藝術創 作的""比興´ح" / Chapter 乙： --- "從解詩的""比興""來看 〈詠懷詩〉的比興" / Chapter 丙： --- "從藝術創作的""比興""來 看〈詠懷詩〉的比興" / Chapter 第三節： --- 〈詠懷詩〉的主要意象分析 --- p.55-79 / Chapter ˘ثł： --- 比興與意象的關係 / Chapter [一]： --- 赋比興與托物寓意的關係 / Chapter [二]： --- 阮籍〈詠懷詩〉中的比興與 意象的關係 / Chapter 乙： --- "〈詠懷詩〉中""鳥""的意象分析" / Chapter 丙： --- 〈詠懷詩〉中草木的意象分析 / Chapter 丁 --- ：〈詠懷詩〉中意象運用的方法 / Chapter 第四節： --- 〈詠懷詩〉中用事的探索 --- p.80-97 / Chapter 甲： --- "“用事""的界定" / Chapter 乙： --- 〈詠懷詩〉用事的旨義、方法 / Chapter 丙： --- 〈詠懷詩〉用事的特色 / Chapter 第五節： --- 〈詠懷詩〉用語上歧義性的 探索 --- p.98-106 / Chapter 甲： --- 引言 / Chapter 乙： --- 〈詠懷詩〉中歧義用語的 分析和使用方法 / Chapter 第六節： --- 〈詠懷詩〉的篇章組織初探 --- p.107-112 / Chapter 甲： --- 篇章之間的互補關係 / Chapter 乙： --- 逐層深入及集中焦點的 詩篇組織 / Chapter 第七節： --- 結論 --- p.113-114 / Chapter 第五章： --- 〈詠懷詩〉在五言古詩中的藝術成就和 地位 --- p.115 -141 / Chapter 第一節： --- 從阮籍以前的五言古詩發展 看〈詠懷詩〉的藝術成就和地 位 --- p.115-125 / Chapter 第二節： --- 前人對〈詠懷詩〉藝術成就的評 價 --- p.125-128 / Chapter 第三節： --- 〈詠懷詩〉在五言古詩中的影 響 --- p.128-141 / 附錄：參考書目 --- p.142-146

Beside the innumerable male characters in the Chinese classic, The Romance of The Three Kingdoms, there is one female general: Lady Zhurong (祝融夫人). This thesis addresses the research gap in studying the unique case of Lady Zhurong, the only woman in the novel that leads an army in battle. By using a qualitative method, the thesis investigates how Lady Zhurong’s portrayal is influenced by her gender. An intersectional theory is used to contextualize how her ethnicity as Nanman (南蛮) and her social status intersects with her gender. Furthermore, it compares her to how other minor male generals are portrayed. The analysis finds that Lady Zhurong’s character should be understood from the context of her ethnic background and the overall negative portrayal of the Nanman. Nevertheless, as suggested in the story through the description of the Nanman, some gender norms differ between them and the Chinese society of the time. This enables her to have more autonomy than other women which in turn enables her to fight on the battlefield and lead an army. Despite the general negative depiction of the Nanman, Lady Zhurong’s portrayal, performance, and the expectations of her as a general is equivalent to that of the male generals in the story. Compared to other Nanman generals she even outperforms them. However, her character should not be understood as merely an emasculation of the other Nanman-generals. Lady Zhurong has agency, and the findings can contribute to our wider understanding of women’s multifaceted roles in traditional Chinese society. / 经典名著《三国演义》虽然刻画了无数的男性角色，但它却只塑造了唯一一位女性将 领——南蛮女将“祝融夫人”。本论文以这个少见的角色为研究主题，采用质性研究 的方法，以祝融夫人这一独特的女将形象为例，分析研究小说人物形象的塑造如何受 到角色性别的影响。并利用交叉性理论的分析视角，结合祝融夫人的“南蛮”身份， 探究民族背景与社会阶层如何与性别交互影响。此外，本文也分析比较祝融夫人和其 他男性将领角色。所以本文发现因为小说对南蛮的评价负面,因此必须在这个背景当中 理解祝融夫人的角色。尽管南蛮和当时的汉人社会都有性别角色的差异，但祝融夫人， 比较三国演义上的其他女性角色有更多的自主权，甚而统率部队上阵。在对南蛮的普 遍负面描述中，祝融的军功和野心都是比肩男将军，甚至比其他南蛮将军更出色。然 而，这个角色的功能并不仅仅是削弱其他南蛮将领，而具有个体能动性。这些发现有 助于我们更广泛地理解传统中国社会中女性的多元面貌。

洪娟. / "2001年6月" / 論文 (哲學碩士)--香港中文大學, 2001. / 參考文獻 (leaves [65-71]) / 附中英文摘要. / "2001 nian 6 yue" / Hong Juan. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2001. / Can kao wen xian (leaves [65-71]) / Fu Zhong Ying wen zhai yao. / Chapter 第一章 --- 緒言 / Chapter 第一節 --- 簡牘硏究槪況 / Chapter 一 --- 出土情況 --- p.1 / Chapter 二 --- 簡牘書法硏究成果 / Chapter (一) --- 中國學者的簡牘書法研究 / Chapter 1. --- 八十年代及以前的硏究 --- p.2 / Chapter 2. --- 九十年代及以後的硏究 --- p.7 / Chapter (二) --- 曰本及西方學者的簡牘書法研究 --- p.10 / Chapter 第二節 --- 走馬樓吳簡書法硏究前瞻 / Chapter 一 --- 走馬樓吳簡的性質 --- p.14 / Chapter 二 --- 吳簡書法的研究方法 --- p.15 / Chapter 第二章 --- 走馬樓吳簡書法硏究 / Chapter 第一節 --- 三國書體發展槪況 --- p.22 / Chapter 第二節 --- 從偏旁分析探討吳簡的書體 / Chapter 一 --- 篆書 --- p.25 / Chapter 二 --- 隸書 --- p.26 / Chapter (一) --- 受碑別字影響的寫法 --- p.27 / Chapter (二) --- 相對於碑別字較統一的字形 --- p.30 / Chapter (三) --- 對於字形的改造 --- p.31 / Chapter 三 --- 楷書 / Chapter (一) --- 改造隸書字形 --- p.32 / Chapter (二) --- 對於隸書筆法的改造 --- p.33 / Chapter 四 --- 草書 --- p.36 / Chapter 第三章 --- 從吳簡看三國書風 / Chapter 第一節 --- 與鍾繇書跡的比較 / Chapter 一 --- 鍾繇書風 --- p.40 / Chapter 二 --- 吳簡的書手 --- p.41 / Chapter 三 --- 吳簡與鍾書比較 --- p.43 / Chapter 第二節 --- 三國書風的展現 / Chapter 一 --- 三國書風綜述 --- p.47 / Chapter 二 --- 吳簡對於三國書法面貌的展現 --- p.51 / 結語 / Chapter 一 --- 走馬樓吳簡書法研究的意義 --- p.58 / Chapter 二 --- 相關問題的探討 --- p.60 / Chapter 三 --- 硏究展望 --- p.61 / 參考書目 / 附錄一：近世簡牘帛書出土年表 / 附錄二：吳簡對照字形表 / 圖版

La femme des débuts de l'Empire romain jouit d'une autonomie certaine. Nous nous sommes demandé ce qu'il en advenait lorsque la civilisation romaine était confrontée à l'installation durable de populations germaniques sur son sol. Nous nous sommes donc penchée sur cette époque charnière des Ve - VIIe siècles. Comment les dispositions législatives afférentes aux femmes, héritées du Code Théodosien évoluent-elles lorsque les rois barbares promulguent à leur tour une législation écrite ? Pour peser l'impact d'une mesure législative sur la société, nous nous sommes appuyée sur les témoignages d'auteurs contemporains, et nous avons confronté la lettre des textes législatifs aux formulaires des praticiens. Pour mesurer l'influence chrétienne sur les constitutions impériales et sur les textes germaniques, nous nous sommes attachée à lire les pères de l'Eglise et les décisions conciliaires. Nous avons tenté de saisir les raisons qui avaient incité à l'adoption de telle mesure. Nous avons voulu établir s'il était possible de parler « des droits de la femme », de l'Empire romain aux royaumes burgonde, franc, wisigoth et ostrogothique. Il apparaît que le droit romain est le fil conducteur qui permet de passer de l'Empire aux royaumes barbares sans cassure définitive. Il modèle le nouveau visage de la femme dans ces sociétés désormais germano-romaines. La fusion des populations passe par le droit et par l'imprégnation de la société des moeurs romaines. Bien sûr, quelquefois, les coutumes germaniques persistent. Nos législations vont puiser parfois dans le terreau fécond de la pensée chrétienne. Nous nous sommes efforcée dans notre étude de cartographier ces courants. / At the beginning of the Roman Empire era Women enjoyed a certain degree of autonomy. We wondered how it evolved when Roman civilisation had to face the durable installation of Germanic populations on its lands. We undertook to study the turning-point during the 5th to the 7th century. How did legal provisions regarding women, which were derived from the Codex Theodosianus, evolve when Barbarian kings decided in turn to enact written laws? To evaluate the impact of legislative measures on society, we have drawn upon the comments of contemporary authors and compared the text of legal dispositions with practitioners' forms. In order to measure Christian influence on imperial constitutions and on Germanic texts, we read the Fathers of the Church and conciliar decisions. We tried to grasp the reasons for the adoption of particular measures. We have attempted to examine whether it is possible to refer to "women's rights", from the Roman Empire to the Burgundian, Frankish, Visigoth and Ostrogoth kingdoms. Roman law appears to be the common thread which links the Empire to the Barbarian kingdoms, without breaking. It shaped the way women were considered in societies which had become Romano-Germanic. Law and societies' permeation by Roman mores contributed to the merging of peoples. Some Germanic customs obviously survived. Legislation sometimes drew on the fertile ground of Christian thought. We have attempted, in our research, to map these currents.

Aristotle stated in his Poetics that theatre’s dual purpose was to educate and entertain. Centuries later the Roman Horace and Indian Bharata echoed his same sentiments. I intend to realize all three theorist’s ideas on the theatre by creating an original educational and entertaining work and bringing it to performance. The audience will retain information without being aware of learning if it is presented in a pleasurable way. The most important geopolitical relationship of this century will be between China and America. In order to educate the American public about the culture of The Middle Kingdom, I propose to write and direct my own play, condensing all three thousand years of Chinese literature into a one hundred and ten minute performance. I will benefit from the personal nature of this thesis by experiencing every stage of a play’s production: from idea to page to performance. My thesis will be made of three major parts: conceiving and writing the play, a journal of directing the debut production, and a third section made of choices, influences, and reflection on the entire experience. In this manner, the ideas swirling in my head may be made clear to others reading this thesis. The play itself will be a comical distillation of ten selected works of Chinese literature. Four non-gender specific American actors will seem to make up the show as it performs in a tongue-in-cheek way. Taking my stated goal of entertaining and educating the audience to heart, the overarching plot of the play will center on the four actors teaching the audience about the literature and culture of China by acting out scenes and telling stories. The information in the scenes will be targeted to a normal American citizen’s educational level with liberal doses of humor added. The four actors will be playing fictionalized versions of themselves and at times iv breaking character by explaining and setting up the theatricality of the piece to the audience. Part of the fun of the show will be seeing how these actors explain a subject as obtuse as Chinese literature to Americans. Perhaps a cooking metaphor is the best way to think of the play: I will chop up raw Chinese literature, the actors will boil it onstage, the theatregoer will consume the mix, and exit the theatre full of entertaining intellectual nourishment. My experiences directing and producing the finished play will be recorded in a journal as a resource for future directors. I imagine directing the play will be the most challenging aspect of this thesis. How is the play changed when other people interact with it? How will the audience receive it? In addition, Committee Chair Mark Routhier and my thesis Committee Members, Mark Brotherton and Tan Huaixiang, will also give written responses to the play’s performances. The play will be performed October 10-13, 2013 in the University of Central Florida’s Performing Arts Complex Studio 2 classroom. In the final section I will write a reflection on the entire process. This will serve the dual purpose of giving me a place to collect my thoughts and giving others a special insight to the growth they might experience when producing this play. Foremost among my influences in writing a play with this subject matter are the style and tone of The Reduced Shakespeare Company