The pursuit of harmony has always been a great concern of Chinese thinkers. In this process, especially prior to the Ming dynasty, a significant “borrowing” of their basic philosophical elements and their mutually syncretic metamorphosis was a common practice among three religious communities, particularly disseminated during times of crisis. The work of Wang Yangming proved to be an epitome of this philosophical “collaboration”, capable of producing new synthetic teachings that directly or indirectly linked two or more polarized teachings. He succeeded in modifying the existing Buddhist idea of inherited Buddha Nature to be now understood as an innate insight, while also promoting the practice of meditation, as a clear example of Chan and Daoist influence. Wang Yangming is probably best known for his emphasis on the simultaneity of the two functions – knowledge and action, viewed as a reinterpretation of non-Confucian ideas in a new Neo-Confucian framework.

The pursuit of harmony has always been a great concern of Chinese thinkers. In this process, especially prior to the Ming dynasty, a significant “borrowing” of their basic philosophical elements and their mutually syncretic metamorphosis was a common practice among three religious communities, particularly disseminated during times of crisis. The work of Wang Yangming proved to be an epitome of this philosophical “collaboration”, capable of producing new synthetic teachings that directly or indirectly linked two or more polarized teachings. He succeeded in modifying the existing Buddhist idea of inherited Buddha Nature to be now understood as an innate insight, while also promoting the practice of meditation, as a clear example of Chan and Daoist influence. Wang Yangming is probably best known for his emphasis on the simultaneity of the two functions – knowledge and action, viewed as a reinterpretation of non-Confucian ideas in a new Neo-Confucian framework.

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

何良俊是明代嘉、隆年間松江的著名學者，他的《四友齋叢說》提供許多明代中期的 寶貴資料。其中書論、畫論、曲論都曾被單獨輯出，可見其具有一定的參考價值；然 一般學者對《叢說》的關心，多止於與自身學科相關的部分，難有全面性的了解；有 鑑於此，本論文即以《叢說》為對象，並輔以《何翰林集》、《書畫銘心錄》，試圖 將何氏其人其書的整體風貌呈現出來，並期望藉此喚起學者對筆記小說的重視。共七 章，約十五萬字。 第一章先述何氏所處的時代背景、時代潮流，並對他的家鄉松江府作一簡介。第二章 介紹何氏的家也、生平及交遊。第三章述《叢說》的版本、成書，及前人對它的引用 、評價，並將全書的重要參考價值歸納為十項，逐一舉例說明。 第四章探討何氏的書畫理論。何氏論書以王羲之、趙孟頫為正傳，此後則推重文徽明 。論畫則將畫家的「人品」置於繪畫技巧之上，因此他欣賞「筆力神韻並備」的「正 脈」文人畫家。此時的畫壇，吳派文人畫家及畫論，在與浙派競爭的過程中逐漸取得 優勢。而由於與文徽明的長期「相與評論」，及與蘇州文人畫家的密切交往，使得何 氏的畫論成為吳派畫論的早期代表作之一；畫論中的隻字片語，都成成了解當日實況 的蛛絲馬跡。 第五章探討何氏的戲曲理論。何氏曲論的基本主張，為「格律論」及「本「色論」。 「寧聲□而辭不工，無寧辭工而聲不□」的「格律論」，成為沈璟吳江格律派的先驅 。而要求蘊藉、簡淡、清麗的「本色論」，也具有一定的時代意義；其中崇《拜月》 而抑《琶琵》的論點，更掀起明末曲壇的極大論戰。 第六章探討何氏的詩文理論。在詩文方面，明代嘉、隆年間，正處七子派、唐宋派江 南傳統清麗詩文三派相互較勁之際，何氏雖對三派採取並容並蓄的態度，但基本上乃 是以江南傳統清麗詩文為主。由《叢說》中的記載，一方面透露何氏個人的詩文見另 一方面也反映出當時詩壇的實況。第七章結論。

本論文旨在以「作者論」來觀察導演蔡明亮作品，進而發現其電影中所隱含的「現代性」。在進入導演所經營的電影場域之前，先行從文獻中了解現代性起源與特質，由於現代性經驗範圍十分廣泛，為免後續分析過於零散，在此將現代性經驗侷限於現代化後對於「環境」、「時空」、「人際關係」、「家庭倫理」、「個人情欲」等影響。 緊接著現代性經驗與特質之後，再從現代主義等文藝活動，說明「現代性」與現代主義電影關係，並思考蔡明亮作品在台灣現代主義所處版圖位置。從現代性起源，現代主義、一直到現代主義電影，論文主體建構在社會學基礎上，並旁及當代現代性文藝創作。 理論基礎確立後，旋進入以「作者論」為主的論述。在蔡明亮成長過程中，馬來西亞故鄉生長經驗與台北異鄉漂泊經驗均對其作品產生某種程度影響，而他大學時期的劇場演出更預示日後創作；了解導演個人的生平事略後，再回歸電影文本，從「環境」、「時空」、「人際關係」、「家庭倫理」、「個人情欲」等之前探討的現代性議題著手，從中探討蔡明亮電影中隱含的現代性議題。 在「環境」、「時空」兩節中發現，在蔡明亮影片中不時出現劇中人以「漫遊」穿梭過城市，而這□的城市也如同黑色電影般呈現出陰鬱不明。兩者互相搭配下，漫遊者在漫遊間讓己身與城市脫軌，在「不存在」中進而感受到城市的存在，而這樣的存在又建立在蔡明亮以燈光、聲音、影像所建立的陰鬱城市。 「人際關係」、「家庭倫理」、「個人情欲」等後續分析，觀察到其作品中三者關係密切，個人情欲的壓抑與人際疏離有關，而這一切卻又和家庭變革不可分離，交互影響下進而呈現出現代人面臨無助與寂寞。 研究結果發現，自《青少年哪吒》（Rebels of the Neon God）以來，蔡明亮的作品，外在時空總是支離破碎；而在內在的情感表達上，家庭內部則是充滿紛爭、人與人之間無法真正溝通，而藉著多元的情欲表達，更呈現出個人存在的荒謬。 而在電影語言上則可歸納敘事薄弱（poor narrate）、不重視電影配樂及強調長鏡頭跟拍（long shot）等特點，綜合以上種種特質。他電影呈現類似安東尼奧尼（Michelangelo Antonioni）等現代主義電影風格，更表現出急速現代化下，人與人之間無助的疏離感。 / The present paper aims to survey the films directed by Ming-Liang Tsai from the perspective of auteur theory, and to explore the modernity concealed in the films. The research will introduce the auteur theory first in the first chapter. Before entering the discussion on Tsai’s films, the second chapter will examine the origin and specialties of the modernity from the literatures. To avoid the following discussions being too fragmentary, the experiences of the modernity in this paper are emphasized on the analyses of “the environment”, “time and space”, “interpersonal relation”, “the family ethics”, and “the private sex”. Next, the paper explains the relationship between modernity and modernism film with modernism and other art activities, and tries to locate Ming-Liang Tsai’s films on the domain of modernism. The explanation is based on the sociology theory, modernity literature and art activities, stretching from the origin of the modernity, the modernism, to the modernism films. The third chapter will focus on Tsai’s growing-up in Malaysia and most of the adulthood in Taipei. The special experience has exerted some degree of influences on his films. Tsai’s participation in theater performance in college also helps his later creative works. With these understandings of the director, this paper traces back to the context of Tsai’s films and attempts to explore the modernity in his films from the points of “the environment “, “time and space”, “interpersonal relation”, “the family ethics”, and “the private sex” respectively. In analyses of “the environment” and “time and space” in Tsai’s films, the characters are found to wander all the time through the city as gloomy as in film noir. Such a wandering makes these characters deviate from the city and further aware of the city – a typical Tsai’s city that is designated to be so dim and depressing by stage light, sound and images. The following chapter will analyze “interpersonal relation”, “the family ethics”, and “the private sex” in Tsai’s films – It starts with the relevance of the alienation from the society and the depression of the private sex. Such relevance can in turn be attributed to the reform of modern household. – With these interactive elements, Ming-Ling Tsai expresses the helpless and loneliness of modern people. In the final chapter, the research has a summary about Tsai’s works. Most of his films can be characterized by an external appearance of incoherent time lines and environmental settings and an internal expression of struggles inside the family as well as failures of the connection to other people since the movie “Rebels of the Neon God”. Moreover, the complicated sensual encounters running through the movies demonstrate the absurdity of individual existence. In addition, poor narrations, an ignorance of incidental music and an emphasis of long shots can be seen as a common language employed in his movies. The integration of these elements in his movies manifests a modernist style like those films directed by Michelangelo Antonioni and further displays the desperate alienation between people in the speeding modernization.

香港基進政治組織人民力量放棄以激進方式表達訴求，改以「快樂抗爭」作為政治策略以吸引大量群眾參與，並形成可觀的政治力量施予政府政治壓力。人民力量雖然以基進組織自居，何以取「快樂抗爭」作為它的政治策略呢？在此論文會仔細討論「快樂抗爭」如何以喜慶節日之感，讓與者用以直接抗爭為手法，承擔昂貴的政治成本來表達訴求，代之以輕鬆快之手段鼓動更多公眾參與。同一時間，縱使情緒搧動可以直接鼓動民眾與政治運動，然而情緒也有不智的一面。為了讓參與者宣洩他們的不滿，減低運動失控的情況，人民力量採納具有浄化作用的「快樂抗爭」作為它的抗爭手段。以下文章同時採用質性及質量硏究，以明情緒在社會運動中扮演的角色。 / People Power, a radical group in Hong Kong, abandoned their disruptive approach, and adopted a new tactic of social movementjoyous resistancewhich attracted large numbers of participants. In this way, People Power became an influential political lever, exerting great pressure on the government. Why did this radical political party, People Power, abandon its stance of resistance through physical confrontation, and opt for a moderate approach, joyous resistance, to express their anger and voice their grievances at the government and at the group’s antagonists? The shift in tactics has certainly been a successful one, attracting the attention of the public and helped a marginalized radical political party, People Power, to win three seats in 2012 Legislative Council Election. Although traditional theories of social movements have largely neglected the importance of emotion, the case of People Power shows that festive emotion can be an intangible resource to reduce the cost of participation when compared with confrontational tactics. The cathartic function of joyous resistance also reduces the potential for violence when People Power uses emotional appeals to mobilize the masses. In this thesis the concept of joyous resistance is introduced and the salient role of emotion in social movements is discussed, using case studies on People Power, the League of Social Democrats, the Democratic Party and the Civic Human Rights Front. Both quantitative and qualitative analysis will be conducted for the following thesis. / Detailed summary in vernacular field only. / Ng, Vitrierat. / Thesis (Ph.D.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 207-215). / Abstracts also in Chinese; appendixes includes Chinese. / Ng, Vitrierat.

蘇澤民. / "2006年12月" / 論文(哲學碩士)--香港中文大學, 2006. / 參考文獻(leaves 121-126). / "2006 nian 12 yue" / Abstracts in Chinese and English. / Su Zemin. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2006. / Can kao wen xian (leaves 121-126). / Chapter 第一章 --- 緒論 --- p.1 / Chapter 第一節 --- 硏究目的及範圍 --- p.2 / Chapter 第二節 --- 關於荀卿之生平及其著述 --- p.3 / Chapter 第三節 --- 關於楊倞及其《荀子注》 --- p.6 / Chapter 第二章 --- 楊倞《注》的體例 --- p.8 / Chapter 第一節 --- 襲用前代注釋典籍之材料 --- p.8 / Chapter 第二節 --- 闡釋義理 --- p.11 / Chapter 第三節 --- 輯錄別本異文 --- p.13 / Chapter 第四節 --- 引錄佚說 --- p.14 / Chapter 第三章 --- 楊倞《注》徵引《莊子》考論 --- p.16 / Chapter 第一節 --- 唐代莊學盛行與楊倞引用《莊子》作注之關係 --- p.17 / Chapter 第二節 --- 楊倞用《莊子》注《荀子》述例 --- p.19 / Chapter 一、 --- 名物訓詁 --- p.19 / Chapter 二、 --- 闡釋義理 --- p.24 / Chapter 三、 --- 對《荀子》內容作出補充 --- p.29 / Chapter 第三節 --- 楊倞用《莊子》作注所見《莊子》與《荀子》 在用語及思想上之關係 --- p.32 / Chapter 一、 --- 《荀子》部分用語受《莊子》影響 --- p.33 / Chapter 二、 --- 莊子與荀、孟思想之異同 --- p.36 / Chapter 第四節 --- 小結 --- p.46 / Chapter 第四章 --- 楊倞以「仁義禮智信」注思孟五行辨 --- p.49 / Chapter 第一節 --- 思孟五行諸家解說槪述 --- p.51 / Chapter 第二節 --- 《¯‘ة書´Ø洪範》「五行」、「五事」與思孟五行之關係 --- p.54 / Chapter 第三節 --- 《周易´Ø乾文言》與《太玄´Ø玄數》 所見五行與五常之關係 --- p.61 / Chapter 第四節 --- 從《中庸》看思孟五行與五常之關係 --- p.67 / Chapter 第五節 --- 小結 --- p.75 / Chapter 第五章 --- 楊倞對儒家統緒承傳問題之立場 --- p.78 / Chapter 第一節 --- 從楊倞引韓愈著述看其對韓愈統緒觀之認同 --- p.79 / Chapter 第二節 --- 引錄揚雄著述，標明其與荀卿之關係 --- p.86 / Chapter 第六章 --- 楊倞改易《荀子》篇章次第析論 --- p.91 / Chapter 第一節 --- 改易〈賦篇 > 及〈成相〉次第 --- p.92 / Chapter 第二節 --- 將性質相同的篇章置於一類 --- p.95 / Chapter 第三節 --- 始〈勸學〉而終〈堯問〉 --- p.96 / Chapter 第七章 --- 結論 --- p.98 / 附錄 / 附錄一楊倞《注》徵引各種篇籍數量表 --- p.101 / 附錄二 楊倞《注》徵引《莊子》表 --- p.104 / 附錄三 楊倞《注》徵引韓愈著述表 --- p.115 / 附錄四 楊倞《注》徵引揚雄著述表 --- p.117 / 附錄五 《太玄´Ø玄數》五方配五行、四時、五常示意圖 --- p.120 / 附錄六參考書目 --- p.121

No description available.

Despite an abundance of archaeological material recovered from sites in Island Southeast Asia, the timing and route by which cultigens first arrived in Wallacea remains unclear. Many of the staple crops now grown on these islands were domesticated in mainland Asia, and were deliberately introduced by humans at an unknown point during the Holocene, through several possible routes. In this study, the δ 13C, δ15N and δ18O values of subfossil bones and teeth attributed to Sus celebensis and Sus scrofa are analyzed. These materials, which span the last 5160 years at Liang Bua, Flores, Indonesia are used to determine if and when there was a shift towards agricultural intensification, and whether this intensification included the integration of domesticated C4 crops. The δ13C and δ15N values of the bone and dentin collagen samples indicate an abrupt shift towards enrichment in 13C and depletion in 15N at some time between 5160 and 2750 yBP. This hints at changes in human subsistence patterns that may have included the clearing of forests, and the integration of nonendemic C4 cultigens such as foxtail millet (Setaria italica) onto the island. No statistically significant variation in the δ 18O values of the enamel carbonate samples over time is observed, suggesting that once they appeared on Flores, semidomesticated pigs became an important part of the island ecosystem, and were bred and raised on Flores instead of being continuously imported from elsewhere.

University of Macau / Faculty of Social Sciences and Humanities / Department of Government and Public Administration