Thesis (M.A.)--Guo li zheng zhi da xue. / Bibliography: p. 259-287.

Thesis (M.A.)--Guo li zheng zhi da xue. / Bibliography: p. 259-287.

Thesis (D.M.A.)--University of North Texas, 2006. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 21, 2003, Oct. 11, 2004, Oct. 24, 2005, and July 12, 2006. Includes bibliographical references (p. 33-35).

La pensée de Confucius se centre sur le Ren. Pour beaucoup de sinologues, le Lun-yu n'est rien d'autre qu'un traité d'éthique et de morale. D'autres, y voient le développement d'une vision esthétique du monde. Mais de ces deux concepts, y en a-t-il un qui soit plus fondamental que l'autre dans l'élaboration et la structure de la pensée confucéenne? Ma recherche commencera par une étude approfondie de certains textes originaux du Lun-Yu où apparaît plus clairement la sensibilité esthétique de Confucius, et sur lesquels je me propose de m'appuyer pour montrer comment l'esthétique peut s'offrir comme une clef de compréhension de toute l'oeuvre de Confucius et de toute sa pensée. Nous espérons que le fruit de ce travail permettra de faire progresser la compréhension mutuelle Est-Ouest en même temps que la fécondité du dialogue interculturel. / The thought of Confucius centers on Ren. For many sinologists, Lun-yu is not but a treaty of ethics and morality. For others, they see the development of an aesthetic vision of the world. But, the key to understand Confucius' thought is in the Sense of Moral or in the Sense of Beauty? My research will begin with a study of certain original texts of the Lun-Yu where appear more apparently the aesthetic sensibility of Confucius, and on which I propose that the Sense of Beauty can present itself as a key of understanding of all work of Confucius and all its thought. I hope that the fruit of this study will allow to make develop mutual understanding East-West at the same time as the fecundity of intercultural dialogue

China's role in Western music is ever-expanding. Echoing the growth of classical music in China is the importance of Chinese musicians in the global music world. However, it is easy to forget that Western classical music is a foreign import to China, one that has been resisted for most of its history. The intent of this study is to evaluate the role of Chinese music in the Western classical world. This includes Western education, Western repertoire, and also a historical exploration into the mutual influence of the two styles. One Chinese composition in particular, Huang An-lun's Piano Concerto No. 2 in C minor, Op. 57, is selected to analyze the Western and Chinese elements present in the work. This analysis will shed light on the relationship of the two styles and how they amalgamate in modern Chinese music. Although Western classical music today has a strong foothold in China, Chinese contributions to piano literature are largely unknown to the West. China possesses one of the richest musical histories in the world, one which until the twentieth century has largely remained unaffected by Western elements. Its musical heritage extends over thousands of years, deeply rooted in tradition and nationalism. Over the last century, Chinese composition began to incorporate Western musical ideas while still holding on to its own heritage and traditions. This synthesis of Western and Chinese musical elements created a new compositional sound founded on Chinese roots. Huang An-lun, one of China's most prominent living composers, embodies this style in his compositions. Chinese composition is no longer something that is exotic or alien to Western music. Instead, it integrates many Western ideas while still being founded in Chinese heritage, creating a new style that has much to offer the Western classical world.

This thesis analyzes the supervisory control of the PUMA 700 series robot through a remote computer. Supervisory communication carries the control through MARK II controller, common controller for the PUMA robots, to a standard PC, enabling the development of purpose specific control programming without the knowledge of the VAL (Variable Assembly Language), robot-programming language. Using the supervisory communication feature of PUMA, new control software has been developed in which both VAL commands and interactive control commands can be executed simultaneously. The supervisory communication with the control software enables exploitation of third party applications and additional operating system features. The supervisory communication uses the Digital Data Communications Message Protocol (DDCMP). The frame structure of data messages, which is specific to PUMA robots, is fitted into this protocol. The messages embedded into DCMP are actually logical units, having different abilities and features. Data messages are formed with the interactive control software according to execution requests of the user. This thesis explains the implementation of the communication without using the CRC (Cyclic Redundancy Checking) on the remote computer side and the data messages formed with the interactive control software, which also enables the use of sensory inputs (camera, infrared, sound, color information) to be used for the robot motion control.

王符乃東漢之政論家，所撰《潛夫論》一書，載述當時政治、經濟、社會風俗等情實，史料至為豐富。范曄《後漢書》中謂其「指訐時短，討謫物情」，既「譏當時得失」，又「觀當時風政」，明白揭示王符《潛夫論》對於研究東漢的史學價值。 本文以《潛夫論》所記載為經，以東漢之政治問題為緯，延伸《潛夫論》所記載之史實，比對其他兩漢史料，將王符《潛夫論》所表達之政治思想作一整體的耙梳。第二章起，乃針對王符及其《潛夫論》作陳述。先簡述王符之生平、經歷、思想淵源，以及《潛夫論》成書與內容。第三章就東漢政治思想源泉，以及政治和社會風氣，討論《潛夫論》所反映之東漢政治問題。第四章乃討論王符之五大政治理論：務本、重法、德化、用賢、實邊。王符的政治理論最大特色在於現實性極強，故本章也就王符《潛夫論》政治理論，及其對於東漢時政、時俗所提出之各項批判與解決之道提出討論。第五章為結論，闡釋《潛夫論》反映政治問題及政治思想所展現之時代價值。 關鍵字：王符、潛夫論、東漢政治 / Wang Fu was a political commentator of East Han Dynasty. His book “Qian Fu Lun” described the politics, economy, and social norms at that time with rich content. Fan Hua suggested in his “Post Han Book” that Wang used criticism to ridicule the gain and loss at that time, and observed the politics, indicating that Wang’s Qian Fu Lun” was important to the study of historiography of East Han. This paper, based on the records in “Qian Fu Lun” and political problems during East Han, extended the historical facts recorded in “Qian Fu Lun” and compared the data with the contents in other two records of Han history, in order to organize the political thoughts expressed in Wang’s “Qian Fu Lun”. Chapter 2 introduces Wang Fu and his “Qian Fu Lun”, including his biography, experience, origin of thoughts, and compilation and contents of “Qian Fu Lun”. Chapter 3 discusses the political problems of East Han reflected in “Qian Fu Lun”, from the perspectives of the origin of political thoughts in East Han, and political and social norms. Chapter 4 presents the five political theories of Wang Fu, which are practicality, emphasis on the laws, advocacy of morals, recruitment of virtuous personnel, and solidifying the borderline. The main characteristic of Wang’s political theories is its realism. Therefore, this chapter also discusses the criticisms and suggestions proposed by Wang in his “Qian Fu Lun” concerning the political situation and social norms during East Han Dynasty. Chapter 5 is the conclusion, and expounds the time values of the political problems and thoughts reflected in “Qian Fu Lun”. Keywords: Wang Fu, Qian Fu Lun, politics in East Han / 摘要 I Abstract II 目錄 III 表目錄 IV 第壹章 緒論 1 第一節 研究動機 1 第二節 文獻探討 2 第貳章 王符生平、思想淵源及著作 5 第一節 王符生平 5 （一）關於生卒年 6 （二）關於生平 9 第二節 王符的思想淵源 15 第三節《潛夫論》撰作時間與內容 19 第參章 東漢初年的政治問題 23 第一節 中央政府的腐敗 23 (一) 外戚宦官交替專權： 23 (二) 統治集團內部殘殺： 30 (三) 吏治腐敗，豪族地主勢力膨脹與農民起義 31 第二節 重利浮奢敗壞社會風氣 34 第三節 赦宥頻繁 40 第四節 東漢中後期邊疆形勢 48 第五節 《潛夫論》之思想背景 53 第肆章 王符《潛夫論》的政治思想及其貢獻 56 第一節 五大政治理論：務本、重法、德化、用賢、實邊 57 第二節 民為邦本，以民為基 76 第三節 選賢舉能，考名責實 83 第四節 重視邊防、禦寇實邊 90 第伍章 結論 101 參考文獻 104

While China possesses one of the world's richest musical heritages, it remained unaffected by Western music until early in this century. Subsequently, there was a movement of nationalism in music approximately three decades after the introduction of Western music. This movement, aimed at utilizing Western compositional techniques to create musical works that still would be uniquely Chinese, continues even today. Huang's piano concerto was written in 1982, just a few years after the Cultural Revolution. At the time, most Chinese composers were "handicapped" by their lack of knowledge of Western contemporary music and by their limited study of both Western and Chinese traditional forms. Huang Anlun, a composer-in-residence at the Central Opera House in Beijing, traveled to North America to study at the University of Toronto and Yale University. Subsequently his music is widely performed and well received around the world. After presenting background information on Western music in China and an introduction to basic Chinese music theory, this study has analyzed Huang's piano concerto, with a particular focus on identifying, comparing, and analyzing elements of Western and Chinese music. After a survey of the formal structure of the concerto, this study has discussed Chinese modality and Western harmony--the two most important factors in the conception of Huang's concerto. A comparative study between Chinese folk songs and the thematic materials in Huang's concerto is followed by a discussion on "imitations" of Chinese instruments. The study has also examined Western compositional techniques incorporated into this concerto, such as thematic transformation, contrapuntal writing, cyclic procedure, as well as atonal and serial techniques. Through a detailed analysis, this study attempts to demonstrate how Huang has blended Western and Chinese musical syntaxes to create an artistic work that is also uniquely Chinese.

The core aim of this interdisciplinary research is to provide a critical analysis of the influence of Darwinism and Social Darwinism on a sample of modern Chinese writings. To achieve these aims, the researcher uses a range of both Chinese and English sources to explore their close affinities with Darwinism and Social Darwinism. Following this course, the research examines how Darwinian thought was introduced to the Chinese reading public in the late nineteenth century through a translation of Thomas Henry Huxley’s Evolution and Ethics by Yen Fu, and the subsequent impact of this work and Darwinian thought in general on seven literary and political figures: K'ang Yu-wei, Liang Qichao, Lu Xun, Hu Shih, Chen Duxiu, Sun Yat-sen and Mao Zedong. From an historical perspective, the Opium Wars and imperial invasions of China in the nineteenth century severely weakened the country’s political, economic, diplomatic, military, educational and cultural power. For these reasons and others, from 1840 to 1949, China experienced a tumultuous period of social and political transformation, which has eventually led to her revival in the twenty-first century. It will be seen that each of the literary figures examined here used evolutionary thought to justify revolution at various points on China’s long march to modernity. Progressive Darwinian ideas sharply contrasted with the old Confucian values upheld within Chinese communities. Nevertheless, the faults and weaknesses of Qing China awakened many pioneering revolutionaries who sought to reverse the status quo by initiating a series of radical reforms and revolutionary movements. Many within the Chinese intellectual elite looked to the tide of change and progress coming from the West, which they hoped might replace the recent historical stagnation and Confucian dogma embedded in Chinese culture and society. In this vein, many of these pioneering revolutionaries set about driving the historical transformation of China by selecting, translating and interpreting Darwinian ideas in their own writings. From Yen Fu in the nineteenth century to Mao Zedong in the twentieth century, evolutionary thought went hand in hand with China’s modernization.

黎必信. / "2006年8月" / 論文(哲學碩士)--香港中文大學, 2006. / 附參考文獻. / "2006 nian 8 yue" / Abstracts in Chinese and English. / Li Bixin. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2006. / Fu can kao wen xian. / Chapter 第一章、 --- 序論 --- p.1-34 / Chapter 第一節、 --- 毛綸、毛宗崗父子與《三國志演義》 / Chapter 1. --- 毛綸、毛宗崗的生平梗槪 --- p.2-11 / Chapter 2. --- 毛氏父子《三國》評點本的刊行問題 --- p.11-14 / Chapter 3. --- 毛氏父子評點本《三國志演義》版本流傳槪況 --- p.14-16 / Chapter 第二節、 --- 本文的硏究格局 / Chapter 1. --- 評點釋義及本文的硏究思路 --- p.16-20 / Chapter 2. --- 硏究材料的考辨 --- p.20-30 / Chapter 3. --- 本文的硏究方法 --- p.30-32 / Chapter 4. --- 本文的硏究意義 --- p.32-34 / Chapter 第二章、 --- 毛氏父子《三國志演義》評點研究回顧 --- p.35-66 / Chapter 第一節、 --- 硏究回顧的嘗試 --- p.35-36 / Chapter 第二節、 --- 毛氏父子《三國志演義》評點硏究階段槪述 / Chapter 1. --- 第一階段：有清以還的毛評本《三國》硏究(1679-1918) --- p.37-40 / Chapter 2. --- 第二階段：五四學風影響下的毛氏父子《三國》評點硏究(1919-1948) --- p.40-42 / Chapter 3. --- 第三階段：社會一歷史批評風氣下的毛氏父子《三國》評點硏究(1949-1979) --- p.42-45 / Chapter 4. --- 第四階段：毛氏父子《三國》評點硏究的多元發展期(1980年以後） --- p.45-57 / Chapter 5. --- 小結 --- p.57-58 / Chapter 第三節、 --- 毛氏父子《三國志演義》評點硏究之 博士、碩士論文評介 --- p.58-61 / Chapter 第四節、 --- 毛評本《三國》硏究的總體評價及展望 / Chapter 1. --- 缺少對毛評本《三國》硏究史的整理 --- p.61-62 / Chapter 2. --- 較少著眼於毛評本與其他小說評點的比較 --- p.62-63 / Chapter 3. --- 硏究視野的局限 --- p.63-64 / Chapter 4. --- 毛評本《三國》硏究展望 --- p.64-66 / Chapter 第三章、 --- 毛氏父子修訂《三國志演義》及其相關問題 --- p.67-114 / Chapter 第一節、 --- 引論 / Chapter 1. --- 文本修訂的合理性 --- p.67-69 / Chapter 2. --- 毛氏父子所言「古本」與「俗本」 --- p.69-70 / Chapter 3. --- 嘉靖本《三國志通俗演義》研究價値商榷 --- p.70-74 / Chapter 4. --- 本章的硏究格局 --- p.74 / Chapter 第二節、 --- 從〈凡例〉 看毛氏父子修訂《三國》 --- p.75-83 / Chapter 第三節、 --- 毛氏父子修訂《三國》補論 / Chapter 1. --- 「章回結構」的確立：從「則」到「回」的過渡 --- p.83-89 / Chapter 2. --- 「史傳特徵」的淡化：毛氏父子對「書表論贊」的删削 --- p.89-96 / Chapter 3. --- 介乎「章回結構」及「史傳特徵」的修訂 --- p.96-97 / Chapter 4. --- 小結 --- p.97-98 / Chapter 第四節、 --- 毛氏父子修訂《三國》受《李卓吾先生批評三國志》影響考略 / Chapter 1. --- 毛氏父子修訂《三國》受葉昼評語影響考 --- p.99-106 / Chapter 2. --- 毛氏父子修訂《三國》受葉昼評點符號影響考 --- p.106-112 / Chapter 3. --- 小結 --- p.112-113 / Chapter 第五節、 --- 結語 --- p.113-114 / Chapter 第四章、 --- 毛氏父子《三國志演義》批語的價値定位及其相關問題頁 --- p.115-173 / Chapter 第一節、 --- 引言 --- p.115-116 / Chapter 第二節、 --- 從「評點槪念」看毛評本《三國》批語的價値定位 / Chapter 1. --- 小引 --- p.116-117 / Chapter 2. --- 毛氏父子「步武聖嘆」說商榷 --- p.117-125 / Chapter 3. --- 從「評點槪念」看毛氏父子與金聖嘆的理論異同頁 --- p.125-133 / Chapter 4. --- 毛評本《三國》與金批《水滸》「評點槪念」述論頁 --- p.133-145 / Chapter 第三節、 --- 毛評本《三國》批語的承革與類型 / Chapter 1. --- 毛評本批語對明代《三國》評本的承革 --- p.145-147 / Chapter 2. --- 毛評本《三國》批語的內容類型試論 --- p.148-157 / Chapter 3. --- 小結 --- p.157 / Chapter 第四節、 --- 毛評本《三國》批語的文化意義論略 / Chapter 1. --- 從毛氏父子批語看評點者處身的文化景觀 --- p.158-161 / Chapter 2. --- 毛氏父子《三國》評點與傳統審美文化 --- p.162-173 / Chapter 第五節、 --- 結語 --- p.173 / Chapter 第五章、 --- 毛氏父子評點《三國志演義》的基本形態及其批評功能頁 --- p.174-253 / Chapter 第一節、 --- 引論 --- p.174-176 / Chapter 第二節、 --- 明清《三國志演義》評點形態之演進 / Chapter 1. --- 明代《三國》評點形態之演進 --- p.176-186 / Chapter 2. --- 清代《三國》評點形態之演進 --- p.186-187 / Chapter 第三節、 --- 毛評本《三國志演義》評點形態分解 / Chapter 1. --- 小引 --- p.190-191 / Chapter 2. --- 〈四大奇書第一´種Ø凡例〉：《三國志演義》的修訂法則 --- p.191-193 / Chapter 3. --- 〈讀三國志法〉：《三國志演義》批評觀點論綱 --- p.193-195 / Chapter 4. --- 回評：評點者的導賞文字 --- p.195-198 / Chapter 5. --- 批語：評點者的「反應」與「提示」 --- p.198-200 / Chapter 6. --- 圈點：輔助閱讀的批評符號 --- p.200-213 / Chapter 7. --- 各種評點形態的組合意義 --- p.213-219 / Chapter 第四節、 --- 從〈四大奇書第一´種Ø凡例〉看毛氏父子圈點《三國》 / Chapter 1. --- 〈四大奇書第一´種Ø凡例〉所述增補部份的圈點情況頁 --- p.220-230 / Chapter 2. --- 〈四大奇書第一´種Ø凡例)所述修訂部份的圈點情況頁 --- p.230-250 / Chapter 3. --- 小結 --- p.250-252 / Chapter 第五節、 --- 結語 --- p.252-253 / Chapter 第六章、 --- 結語 --- p.254-255