The present thesis is a study of the life of the emperors of the Khitan-Liao dynasty and its influence on the Liao institutions--in particular, the Shu-mi Yuan, the dual Chancellery administration system. After their conquest of a portion of China, the Liao emperors continued to pursue their original nomadic way of life, spending the whole of each year in seasonal camps, or na-po (natpat)--as they were called at that time. For the administration of their Khitan and Chinese subjects, who led different ways of life, the Liao rulers established two Chancelleries, one for their Khitan subjects and the other for the Chinese. Thus, contrary to the general assumption that the Khitan were sinicized, the Khitan-Liao Empire actually consisted of two nations of different cultures.;The study of the institutions of the Liao na-po throws light not only on the Liao administration but also on the life of the rulers and institutions of the succeeding Jurchin-Chin, Mongol Yuan, and Manchu-Ch'ing dynasties.;The main body of the thesis discusses a number of problems each of which is examined in greater detail in a subsequent section. "Some remarks on the office of the Shu-mi Shih" traces the rise and development of that office which has so far been mistakenly taken as an organ concerning, merely with military affairs. It was actually, in the first stage of its development, a post comparable to that of chiefminister. "The theory of legitimacy" explains the reasons why the history of the non-Chinese dynasties have been neglected by the Chinese people. The section on Peking, explains the role played by Peking in Chinese history as the link between the Chinese and non-Chinese worlds. The section "Ordos" is a study of the Khitan military organisation, All these have either not been dealt with before or not been adequately explained.

The Grand Khitan Empire (AD 907-1125) was created by expanding its territory through military conquest and diplomatic treaty across parts of Asia. By deliberate political strategies of cultural construction and the materialization of ethnic ideology, Khitan leaders maintained a multi-ethnic social fabric, consolidated their imperial power, made the ethnic Khitan distinct with the rise of their state, and ultimately proclaimed a hegemony in Northeast Asia. This thesis presents an analysis of 48 tombs categorized into four groups based on the social rank, ethnicity and source of power of the tomb occupants, who include the Khitan emperor, Khitan hereditary aristocracy, non-Khitan hereditary aristocracy and non-hereditary elites. The evolution and chronological patterns of each tomb category are examined and compared to identify the sources of power that underlie ethnic identity and supports the suggestion that imperial acts were manipulated for the consolidation of power. The thesis thus questions the validity of traditional assumptions about ethnic markers - specifically that there was no one-to-one straightforward relation between material culture and ethnicity. The material cultural boundary can be seen as the consequence of social interaction. In addition, it is also clear that the alteration of imperial titles was a political act. Imperial titles of 'Khitan', 'Grand Khitan', 'Khitan State' and 'Qara Khitan' accentuate the governing body of ethnic Khitan. In contrast, the titles 'Liao' or 'Great Liao' were used to symbolize a nation of all the people with the intent of creating a more unified community in the understatement of ethnic differentiation. Overall, archaeological data indicates that an ethno-political strategy highlighted the ruling body (ethnic Khitan) and the largest proportion of the ruled (ethnic Chinese). However, as it privileged ethnic Chinese, it simultaneously marginalized the remaining ethnic minorities, which subsequently lead to a revolt by ethnic Jurchen and the downfall of the Khitan Empire.

The aim of this study is to analyse and contextualize in aesthetic theory medial phenomena such as intra-, inter- and transmediality, in Jimmy Liao’s picturebook Starry Starry Night. In order to analyse intra-, inter- and transmediality, I use Jørgen Bruhn’s mediality model based on the term heteromediality. In contrast to the term intermediality, heteromediality highlights that blending is a priority condition in all media, and that the blending aspects matter. Therefore, the mediality model focuses both on relations between several media and on relations within a single medium or a single artefact. The theoretical framework in the study is mainly based on intermedial theories and picturebook theories. However, in the analysis and in the aesthetic-theoretical contextualization I also use perspectives and concepts from aesthetic theories such as the term aesthetic and the term radical aesthetic. According to my findings, the medial phenomena in Starry Starry Night can have several functions and effects. Firstly, the medial elements can clarify, contradict, complement and expand the narrative. Secondly, the medial relations can contribute to an intramedial thematization and to a direct and indirect characterization. Thirdly, the medial dialogue can influence the interpretation, produce different interpretations and lead the readers’ reception. Finally, the medial phenomena can explicitly and implicitly challenge, revolt against and deconstruct certain values, power relations and beliefs about the world.

The first chapter of this thesis examines the textual transmission of Pu Songling's collection of tales, Liaozhai zhiyi, and through a study of extant manuscripts and editions concludes that in its original format the work consisted of eight volumes. After a review of evidence for dating the composition of the collection, the two volumes of earliest and latest date are identified and their contents analysed. There is traced a pattern of development from relatively simple supernatural and romantic stories in Pu's early work to more complex character configurations in the later stories, where social criticism also plays a more conspicuous role. The second chapter focuses on the life and times of Pu Songling and discusses the process by which the social realities of Shandong in the early Qing period - famine, military campaigns, bandit raids - and particular aspects of the author's personal experience - examination failure, observation of administrative abuses, professional activities, and family and personal relations - intrude persistently into his stories. Special attention is paid to Pu's examination career and the institutional factors which impeded his progress; his criticisms of the selection system are shown to be qualified by passive acquiescence. The third chapter questions conventional definitions of Liaozhai zhiyi's place in literary tradition. After a survey of the Classical tale from l500 to l700, it is demonstrated that Pu's work can be distinguished from the early-Ming story, and should be regarded as a development of existing trends in late-Ming and early-Qing fiction. In its romantic orientation, realistic detail, and prose style, Liaozhai zhiyi has a kinship with its immediate literary forebears. What links it has to vernacular fiction concern thematic and descriptive emphases rather than the occasional use of colloquialisms. Methods of determining the derivation of plots and motifs in Pu's tales are critically examined, and a distinction is drawn between analogues and written sources.

[pt] A comparação da eclesiologia de Irineu de Lião com a Lumen gentium surge no contexto do movimento de retorno às fontes cristãs nos séculos XIX e XX. O Concílio Vaticano II foi influenciado por este movimento no seu processo de aggiornamento da Igreja no mundo moderno. A nova perspectiva teológica, ainda em construção, influenciou o Concílio Vaticano II e as discussões eclesiológicas, tanto no que se referia à compreensão sobre Igreja quanto à sua atuação e presença no mundo. Tudo isso ficou mais notório com a elaboração da Constituição Dogmática Lumen gentium. De modo especial, Irineu de Lião, bispo e mártir do século II, surge como uma das fontes para este retorno na Lumem gentium que atesta duas citações diretas entre as cinco referências feitas ao texto dele em todo texto conciliar. O bispo de Lião não se incumbe de escrever um tratado teológico, na Adversus haereses e na Epideixis, mas se dedica a defender a fé cristã, que estava se emancipando das comunidades judaicas e ganhando sua autonomia de doutrina, de ensinamento e de culto. Paralelamente a este processo de emancipação crescem outras doutrinas diferentes no seio do cristianismo como foi o caso das doutrinas gnósticas. Para Irineu o conhecimento da verdade é a doutrina que a Igreja recebeu e ensina. Portanto, a agregação a Cristo necessita do conhecimento claro do que é a regula fidei, que norteará a compreensão das Sagradas Escrituras, ordenará o verdadeiro culto a Deus e conduzirá o fiel a testemunhar a presença de Cristo no mundo. A teologia sobre a Igreja em Irineu de Lião não se encontra sistematizada em seus livros, mas aparece em várias partes dos seus escritos enquanto formula suas denúncias e refutações. No entanto, para o bispo de Lião, a Igreja é obra de Deus, que criou o ser humano no seu amor de Pai, e como este se perdeu, enviou o seu Filho para recapitular toda a criação e reunir um novo povo, que ouvisse a sua voz e se voltasse para ele. O ressourcement, por mais que utilizasse de novas metodologias para a construção do pensamento teológico e o ensino de teologia, muitos dos padres conciliares ainda carregavam um modelo manualístico e indireto de abordagem teológica. Portanto, ao comparar o pensamento eclesiológico de Irineu com o desenvolvido na Lumen gentium, busca-se tanto as referências que estão no texto conciliar quanto as múltiplas concepções de Igreja que surjam por uma análise comparativa, para assim perceber como o modelo eclesiológico do início do cristianismo possibilita uma compreensão maior e mais profunda de um texto contemporâneo. / [en] The comparison of the Irenaeus of Lyon s ecclesiology with the Lumen gentium arises in the context of the return to the Christian Sources in the nineteenth and twentieth centuries. This move had a capital influence in the Second Vatican Council concerning the process of aggiornamento of the Church in the modern world. In this regard, the fresh theological perspective, that was still growing, had an impact both in the ecclesiological discussions and the comprehension about the presence and action of the Church in the world. Furthermore, this whole set has increased in importance through the devising of the Dogmatic Constitution Lumen gentium. Particularly, Irenaeus, bishop of Lyon and martyr of the second century, emerges as a central source for the Lumen gentium since the Constitution includes five references of his writings, two of which are direct quotes. Both in Adversus haereses and Epideixis, the bishop of Lyon doesn t aim to write a theological treatise. Instead of that, his target is to defend the Christian faith, which was emancipating from the Jewish communities and achieving autonomy in the doctrine, the teachings, and the way of cult. In parallel with this emancipation process, different doctrines gain ground within Christianity, as, for example, the gnostic ones. However, according to Irenaeus, the only knowledge of the truth comes from the doctrine which the Church holds and teaches. As a result, for someone to belong to Christ it is mandatory to clearly know the regula fidei, which instructs about the comprehension of the Holy Scriptures, organizes the real God s cult, and guides the devotee to testify Christ s presence in the world. There isn t a systematic Theology about the Church in Irenaeus of Lyon‘s works, but this matter is recorded in many of his complaints and denials. It can be noticed by the fact that, to him, the Church is God s work. As the human being got apart from the Father s love, God has sent his own Son to recapitulate the whole creation and gather a New People, that could hear his voice and turn back towards him. Despite the ressourcement has applied new methodologies to build up theological thinking and to teach Theology, many Council Fathers were still used to an indirect theological approach, based on the use of handbooks. Therefore, comparing the Irenaeus ecclesiology to the one developed in Lumen gentium is an assignment that requires research both in the references of the conciliar text and the multiple conceptions of Church collected through analysis. Thus, it is possible to develop a deeper knowledge of a contemporary text in light of an ecclesiological model from the beginning of Christianity.

This thesis is concerned with the construction and uses of miniature buildings in the Liao (907-1125) and the Northern Song (960-1127) periods in China. These miniature buildings exploited the components of Chinese traditional architecture on a small or greatly reduced scale. To date no work has taken the position of this thesis to examine this corpus of miniature buildings that were used widely in tombs and temples as containers to provide coverings for coffins, and to hold images of deities, Buddhist relics and sutras, as seen in both archaeological discoveries and textual resources. The purpose of the thesis is to define this corpus and to consider its significance in the light of the functions that these tiny buildings fulfilled. This thesis proposes that these miniature buildings contributed a unique and indispensable part in presenting the positions of their owners in society. Made as containers, miniature buildings particularly emphasize decoration, which enabled viewers to make a connection with life-size buildings, in the ways of which they were fitted into an existing architectural hierarchied system in the deeply rooted tradition of the Liao and the Northern Song. The thesis makes considerable use of the concepts of reception, for the reaction of viewers to these miniature buildings defined also their reactions to the contents. Several types of analogies were achieved between full-scale buildings and miniature representations, as well as between their contents, which allowed specific types of interpretation of the miniature buildings as taking the roles of actual buildings and fictional structures. The thesis considers the use of miniature buildings as one of the ways in which complex ideas can be reinforced by material forms. A wider discussion on miniature models presents that the significance of miniaturization lies in the power of control that can be achieved by creating and using the miniature.

朱寶盈. / "2006年8月" / 論文(哲學碩士)--香港中文大學, 2006. / 參考文獻(leaves 164-169). / "2006 nian 8 yue" / Abstracts in Chinese and English. / Zhu Baoying. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2006. / Can kao wen xian (leaves 164-169). / 目錄 --- p.V / Chapter 第一章 --- 緒論 --- p.1 / Chapter 第一節 --- 引言 --- p.1 / Chapter 第二節 --- 《昭明太子集》 --- p.4 / Chapter 第三節 --- 前人研究述評 --- p.5 / Chapter 一、 --- 主要硏究觀點 --- p.5 / Chapter 二、 --- 蕭統詩作硏究商榷 --- p.8 / Chapter 第四節 --- 硏究目的及方向 --- p.12 / Chapter 第二章 --- 蕭統詩作析論（一）：從意象論其典麗風格 --- p.14 / Chapter 第一節 --- 引言 --- p.14 / Chapter 第二節 --- 駢句的運用´ؤ´ؤ意象的突顯 --- p.15 / Chapter 一、 --- 蕭詩駢句的應用情形 --- p.16 / Chapter 1) --- 詩作的基本結構單位 --- p.16 / Chapter 2) --- 屬對工整嚴密，具元嘉味道 --- p.17 / Chapter 二、 --- 駢句與意象的突顯 --- p.23 / Chapter 1) --- 相關理論 --- p.23 / Chapter 2) --- 駢句在蕭統詩中的情形 --- p.25 / Chapter 第三節 --- 蕭統詩基調的形成´ؤ´ؤ辭藻的修飾與意象的性質傾向 --- p.31 / Chapter 一、 --- 意象的性質傾向 --- p.31 / Chapter 1) --- 色彩華麗的意象 --- p.32 / Chapter 2) --- 典正雍容的意象 --- p.35 / Chapter 二、 --- 冷靜客觀的景物描寫 --- p.38 / Chapter 第四節 --- 結語 --- p.42 / Chapter 第三章 --- 蕭統詩作析論（二）：論蕭詩的典故運用 --- p.44 / Chapter 第一節 --- 引言 --- p.44 / Chapter 第二節 --- 用典的準則一一風格與內容的配合 --- p.45 / Chapter 一、 --- 體式 --- p.46 / Chapter 二、 --- 題材內容 --- p.47 / Chapter 第三節 --- 典故的構成形式與詩歌密度的提升 --- p.51 / Chapter 一、 --- 典故的構成形式 --- p.52 / Chapter 1) --- 截取具代表性的詞語 --- p.55 / Chapter 2) --- 壓縮原典句子 --- p.56 / Chapter 3) --- 改變原典次序和結構 --- p.57 / Chapter 二、 --- 用典方法對詩歌效果的影響 --- p.58 / Chapter 第四節 --- 以典故達意的具體情形 --- p.62 / Chapter 一、 --- 以典詠物 --- p.62 / Chapter 二、 --- 以典詠人 --- p.67 / Chapter 三、 --- 以典抒情 --- p.70 / Chapter 第五節 --- 結語 --- p.73 / Chapter 第四章 --- 蕭統詩與齊梁新變詩風之比較 --- p.75 / Chapter 第一節 --- 引言 --- p.75 / Chapter 第二節 --- 齊梁新變詩風 --- p.76 / Chapter 一、 --- 齊梁文學的新變思潮 --- p.76 / Chapter 二、 --- 「永明體」 --- p.79 / Chapter 三、 --- 「宮體」 --- p.80 / Chapter 第三節 --- 蕭統詩與「永明體」及「宮體」之比較 --- p.82 / Chapter 一、 --- 體式 --- p.83 / Chapter 二、 --- 題材 --- p.90 / Chapter 1) --- 與「永明體」的比較 --- p.90 / Chapter 2) --- 與「宮體」的比較 --- p.92 / Chapter 3) --- 佛教眾會 --- p.97 / Chapter 4) --- 小結 --- p.100 / Chapter 三、 --- 聲律 --- p.101 / Chapter 四、 --- 語言 --- p.108 / Chapter 第四節 --- 結語 --- p.113 / Chapter 第五章 --- 蕭統與梁朝詩壇 --- p.115 / Chapter 第一節 --- 引言 --- p.115 / Chapter 第二節 --- 蕭統與東宮文人 --- p.116 / Chapter 一、 --- 東宮文人的主要成員簡介 --- p.116 / Chapter 二、 --- 蕭統及東宮文人之關係 --- p.122 / Chapter 第三節 --- 東宮文人的文學主張及創作傾向 --- p.126 / Chapter 一、 --- 文學主張 --- p.127 / Chapter 1) --- 劉孝綽 --- p.127 / Chapter 2) --- 王筠 --- p.130 / Chapter 二、 --- 創作傾向 --- p.132 / Chapter 1) --- 劉孝綽 --- p.133 / Chapter 2) --- 王筠 --- p.138 / Chapter 3) --- 小結 --- p.141 / Chapter 第四節 --- 蕭統與梁朝中期詩壇 --- p.145 / Chapter 一、 --- 關於「蕭統文學集團」說 --- p.146 / Chapter 二、 --- 關於「梁朝中期復古思潮」說 --- p.151 / Chapter 第五節 --- 關於《文選》編纂者的爭議 --- p.157 / Chapter 第六節 --- 結語 --- p.159 / Chapter 第六章 --- 總結 --- p.161 / 主要參考書目 --- p.164 / 附錄一：劉孝綽短篇詩作中的入律句子 --- p.170 / 附錄二：王筠短篇詩作中的入律句子 --- p.175

Techn. University, Diss., 2002--Berlin.

許曉東. / "2001年6月" / 論文 (哲學碩士)--香港中文大學, 2001. / 參考文獻 (leaves 112-114) / 附中英文摘要. / "2001 nian 6 yue" / Xu Xiaodong. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2001. / Can kao wen xian (leaves 112-114) / Fu Zhong Ying wen zhai yao. / Chapter 第一章 --- 遼代玉器硏究的回顧與考古材料 --- p.（1) / Chapter 第一節 --- 硏究的緣起 --- p.（1) / Chapter 第二節 --- 硏究的回顧 --- p.（3) / Chapter 第三節 --- 考古材料 --- p.（6) / Chapter 第二章 --- 遼代玉器的製作與使用 --- p.（13) / Chapter 第一節 --- 玉器的製作 --- p.（13) / Chapter (1) --- 遼代手工業概況 --- p.（13) / Chapter (2) --- 多層次的生產組織形式 --- p.（18) / Chapter (3) --- 製作技術 --- p.（22) / Chapter 第二節 --- 玉器的使用 --- p.（22) / Chapter (1) --- 朝廷用玉 --- p.（23) / Chapter (2) --- 日常用玉 --- p.（27) / Chapter (3) --- 賞賜與貢奉 --- p.（29) / Chapter (4) --- 朝聘往來 --- p.（30) / Chapter (5) --- 佛教用玉 --- p.（32) / Chapter (6) --- 喪葬用玉 --- p.（33) / Chapter 第三章 --- 遼代玉器的形制分析與分期 --- p.（40) / Chapter 第一節 --- 形制分析 --- p.（40) / Chapter (1) --- 玉帶 --- p.（40) / Chapter (2) --- 碗 --- p.（43) / Chapter (3) --- 杯 --- p.（45) / Chapter (4) --- 瓶 --- p.（47) / Chapter (5) --- 盒 --- p.（48) / Chapter (6) --- 組佩 --- p.（49) / Chapter (7) --- 肖生玉器 --- p.（53) / Chapter (8) --- 帶T形、心形墜之項飾 --- p.（55) / Chapter (9) --- 胸飾與臂飾 --- p.（57) / Chapter (10) --- 分髮簪、珠鏈、瓔珞 --- p.（59) / Chapter (11) --- 轡飾 --- p.（60) / Chapter (12) --- 飛天、佛塔、舍利罐、斧錘形器、金剛杵、海螺、法輪 --- p.（61) / Chapter (13) --- 水盂、硯、圍棋子、臂韛、嘎拉哈 --- p.（64) / Chapter (14) --- 花冠形飾、葉形飾、彎月形飾、三角形飾片、玉竹節… --- p.（65) / Chapter (15) --- 璧、玦、環、勾雲形器、玉錢、帽形飾、器柄 --- p.（66) / Chapter 第二節 --- 分期 --- p.（67) / Chapter (1) --- 早期 --- p.（68) / Chapter (2) --- 中期 --- p.（69) / Chapter (3) --- 晚期 --- p.（70) / Chapter 第四章 --- 遼代玉器與唐、宋、金玉器之比較 --- p.（73) / Chapter 第一節 --- 遼代玉器之特色 --- p.（73) / Chapter (1) --- 選材 --- p.（73) / Chapter (2) --- 工藝 --- p.（74) / Chapter (3) --- 文化構成 --- p.（75) / Chapter 第二節 --- 與唐代玉器之比較 --- p.（75) / Chapter (1) --- 器形 --- p.（75) / Chapter (2) --- 玉雕工藝與表現技法 --- p.（79) / Chapter (3) --- 對金銀器的借鑒 --- p.（82) / Chapter 第三節 --- 與宋代玉器之比較 --- p.（83) / Chapter (1) --- 鏤雕、淺浮雕技藝的吸收 --- p.（83) / Chapter (2) --- 寫實藝術風格的借鑒 --- p.（85) / Chapter (3) --- 仿古器的製作 --- p.（86) / Chapter (4) --- 中原傳統吉祥意象的接受 --- p.（86) / Chapter 第四節 --- 與金代玉器之比較 --- p.（89) / Chapter (1) --- 雕刻技法 --- p.（89) / Chapter (2) --- 題材 --- p.（90) / Chapter 第五章 --- 相關問題的探討 --- p.（97) / Chapter 第一節 --- 玉器發展的新機遇 --- p.（97) / Chapter 第二節 --- 多元文化因素的融合與民族特色的淡化 --- p.（100) / Chapter (1) --- 多元文化因素的融合 --- p.（100) / Chapter (2) --- 民族特色的淡化 --- p.（104) / Chapter 第三節 --- 歷史定位 --- p.（106) / Chapter 第四節 --- 硏究展望 --- p.（108) / 附錄 / 附錄一參考書目 --- p.（1) / 附錄二遼、五代、北宋、金紀年對照表 --- p.（2) / 附錄三遼代出土玉器一覽表 --- p.（3~1) / 附錄四圖版目錄 --- p.（4) / 附錄五彩色圖版說明 --- p.（5~1) / 附錄六黑白圖版 --- p.（6~1) / 圖錄七彩色圖版 --- p.（7)

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