This thesis explores the changing approach of the Chosŏn state to subjects with foreign lineages in the period between the Imjin War (1592-98) and the early nineteenth century. Chosŏn Korea underwent considerable upheaval during the Imjin War and the wars of the Ming-Qing transition. Many Jurchen subjects of the Chosŏn court were forced from their homes in the Tumen Valley into the banner armies of the rising Qing state, with only a remnant persisting in Chosŏn. Additionally, large numbers of Ming Chinese entered Chosŏn either with the Ming army or as refugees from war in Liaodong. Initially, the Chosŏn state responded to its Jurchen and Ming Chinese subjects primarily through pragmatic concern about the loyalty of these subjects to the Chosŏn and the burden they imposed on the agricultural economy. As a result, the Chosŏn court welcomed and even defended the Jurchen as established Chosŏn subjects but was cautious of the more alien Ming deserters and refugees. Ming migrant status did not improve during the remainder of the seventeenth century. Ming Chinese lineages were considered, along with Jurchen and Japanese, within the same invidious submitting foreigner tax category. During the same period fraudulent Ming migrants became a focus for sedition among non-elites. The eighteenth century rise of Ming Loyalist ritualism transformed the response of the Chosŏn court to such foreign lineages as Ming migrant lineages were encouraged to participate in court-sponsored Ming loyalist rituals. Along with this ritual participation Ming migrant status was transformed from that of submitting foreigners to that of imperial subjects, while Jurchen and Japanese lineages disappeared. At the same time, hagiographic biographies were written of the original Ming Chinese refugees which praised them for coming to Chosŏn because of Neo-Confucian loyalty to the Ming. The Chosŏn state responded to foreign lineages according to changing circumstances. Neo-Confucian ritualism only played a role in response to Ming lineages in the eighteenth century when earlier concerns about disloyalty and social disruption had largely passed.

Abstract The framework of the political system is built based on ¡§law ¡]standards of rewards and punishments¡^¡¨,¡§Shuh¡]tactics to exercise power¡^¡¨,and ¡§power¡]ruling power¡^¡¨in the book¡§Han Fai Tzu¡¨.In the premise to settle disputes with the carrot and stick approach and establish standarlized norms and protect the public interest, laws are to be stipulated to eliminate the differences of benefits among kings and ministers. Only when the kings can exert power properly,can laws and orders be fully executed,and through a complete approach of operation can the standard of laws and coercive effect of power be achieved. Therefore,how to use tactics becomes a very important issue in the book. The tactics used by the kings cover many pages in ¡§Han Fai Tzu¡¨as well. This research paper discusses the types of Shuh¡]tactics to exercise power¡^in¡§Han Fai Tzu¡¨respectively. Those include Wu Wei Shuh¡]tactics to assess ministers¡¦merits¡^, Hsing Ming Shuh¡]tactics to examine ministers¡¦performance¡^,Tsan Wu Shuh¡]tactics to refer to different opinions over appropriate personnel appointment¡^,and Yung Jen Shuh¡]tactics of personnel management¡^. Furthermore,the study adopts the concepts of contemporary public administration and management to examine the content as well as advantages and disadvantages of Han Fai¡¦s theory of Shuh.

Li Yu¡¦s Theory of Chinese Opera Abstract Li Yu (1611-1680) is a renowned Chinese opera writer in the early Qing dynasty. His work ¡§Ten Operas¡¨ features surprising plots and easy-to-understand scripts, criticized as ¡§intended to make common¡¨ and ¡§simple to comprehend¡¨, reflecting his writing attitude and style in developing popular and entertainment culture. This deviates himself from the literary direction of drama (chuanqi) writing since the mid-Ming dynasty. In addition, Li Yu is also a Chinese opera critic. The ¡§script¡¨ and ¡§play act¡¨ sections in his ¡§Xian Qing Ou Ji ¡¨(Journal of Leisure Time) discussed mainly the writing and performing of Chinese operas. The journal was written after the publication of the ¡§Ten Operas¡¨, which can be regarded as a summary of Li Yu¡¦s seasoned experience in writing Chinese operas. The journal is also a main research subject of this study. Literature on Chinese operas in Ming and Qing dynasties is rich. On the format, some focused their discussions in a specific book while some discussions were found scattered in anthologies and critics¡¦ notes. On the content, some examined the stories from historical perspectives, some centered on the wording as well as on tones and singing skills; or some were precise investigations on the development of Chinese opera history. The literature is documented with quite a few unique perceptions on the presentations of Chinese operas. These critiques, even as specific works, only present checklist style discussions. Some greater volumes manage to categorize various works but yet to conclude a coherent theory on Chinese opera. The results are usually unsystematic. Li Yu¡¦s theory is distinguished as having a subjective intension to establish a critique system on Chinese operas. In other words, he intended to construct the foundation and writing principles that ¡§others can follow¡¨ and clearly control the essence and development of Chinese operas. His emphasis of ¡§structure¡¨ in making critiques is the result of fully understanding the ¡§dramatic characteristics¡¨ in Chinese operas. Li Yu presented his theory mainly in the ¡§Xian Qing Ou Ji¡¨ with the ¡§script¡¨ and ¡§play act¡¨ sections, the ¡§script¡¨ section stressed on the writing theory while the ¡§play act¡¨ on the presentation. ¡§Dramatic presentation¡¨ is related to the professionalism of actors, not judged by writers¡¦ imagination, thus there are not many discussions on the performance. Li Yu doubled himself as writer and director and developed a system of perception and opinions of his own towards performing Chinese operas. Comparing his writing and presenting Chinese operas, the latter is weaker in depth than the former. Some of the discussions on presentation focus on how to handle scripts on stage and can be regarded as the extension of script writing. Therefore this study is led to focus on Li Yu¡¦s writing. Although Li Yu intended to establish a theory and principle of Chinese opera writing in the ¡§Script section of the Xian Qing Ou Ji¡¨, he only managed to reinforce the importance of the ¡§structure-first¡¨ principle and categorized rhetoric system, tonal pattern, rhyme scheme, conversation and humorous acts with the supplementary discussions of Chinese operas¡¦ ¡§forms¡¨. His categorization seems yet to reach a literature theory defined by modern literary norms. Actually Li Yu produced versatile discussions on Chinese operas. Some of his discussions are related to the fundamental definition, characteristics and functions of Chinese operas. Some belong to the construct of literary principles of Chinese opera. Some are the exploration of the principles and practical skills of Chinese opera writing. Furthermore, there is some comment on some specific works, as well as the discussion of different presentation styles in terms of the development in literary history. Li Yu made a clear intension in constructing the theory of Chinese opera, yet there is quite some space for adjustment in certain areas. Thus this study tries to integrate and summarize Li Yu¡¦s theory on Chinese opera, in a hope of re-constructing and re-translating from modern literary perspectives for eliciting more meaningful implications. During the process, the most important task is to analyze and formulate a theory structure on Li Yu¡¦s perspectives as three major aspects: fundamental theory of Chinese opera, theory of writing Chinese opera and theory of presenting Chinese opera. Fundamental theory of Chinese opera discusses the basic features of Chinese opera as the fundamental basis to construct theories on writing and presentation. These theories also project that his emphasis on the special formulation of Chinese operas and stagecraft. These distinguish him from other theories on Chinese opera in his contemporary era. This study develops as the following structure: Chapter one ¡§Introduction¡¨ states the research motives, scope, methodology and thesis summary in addition to the description of Li Yu¡¦s life and his literary achievements. Chapter two ¡§General Discussion¡¨ explores Li Yu¡¦s fundamental theory of Chinese opera, including the discussions on the artistic characteristics, position of Chinese operas in literature, the essence of Chinese operas, core values in appreciating Chinese operas and functions of Chinese operas ¡Ketc. Chapters three to seven are on theory of Chinese opera writing. Principles and standards in writing Chinese operas are discussed in terms of specific elements that compose Chinese operas. Chapter three ¡§Plot¡¨ redefines viewpoints on the structure in Li Yu¡¦s theory of Chinese opera. Chapter four ¡§Format¡¨ describes the regular formation of traditional Chinese opera presentation after the discussion on structure because set formation results in certain impact on the presentation. Chapter five ¡§Characters¡¨ is on the roles in Chinese opera. Li Yu embedded character formation in the design of plot structure, without independent character theory. The chapter is limited to the relationship among the language of characters, character descriptions and roles. Chapter six ¡§Language¡¨ discusses the common features of opera languages: rhymes and scripts, including the characteristics of representatives in Chinese operas and the standard the opera language should have. Chapter seven ¡§Rules of Tones and Rhymes¡¨ is divided as rhyme scheme and tone patterns with rhyme scheme as the main theme for discussion. The chapter also establishes the common principles of ¡§rule abiding¡¨ and proposed concrete suggestions on handling the rhymes and tones. Finally the thesis discusses Li Yu¡¦s theory of Chinese operas presentation in terms of scripts processing before performance, actor training and guiding and stage presentation. These concluded chapter eight ¡§Performance¡¨. It is hoped, through this thesis, to establish a specific theory structure of Li Yu¡¦s works on Chinese opera.

Politics, economics and social conditions often have great influences on the development of culture and Art. Moreover, politics can lead to economic growth and rapid change of society. In another word, the political environment has directly impact on the development of culture and Art. This study investigates whether the external factor-political environment affects the process of choreography which should be simply conveying artists¡¦ personal images. Thus artists revise the original ideas and styles of choreography due to this factor. This exploration of the relationship between the change of Taiwan history and the development of Art has been done from the point of view of Art sociology. It uses Cloud Gate and its founder-Lin Huai-Ming as an example. Cloud Gate Dance Company is the first contemporary dance company in Taiwan with the largest scheme and the most well-rounded facilities. The creative ideas of Lin Huai-Ming have profound influences on the style of Cloud Gate Dace Company. Through probing into references and interviews, the author inquires the following facts.1.The influence of Lin Huai-Ming on Cloud Gate Dance Company.2.The relationship between Lin Huai-Ming¡¦s choreography and the political environment.3.Discovering the process of the myth of Cloud Gate established in Taiwan society .

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 Li Kaixian (1502-1568), a scholar-official living in the mid-Ming dynasty, was renowned for his efforts in collecting books, both rare and common, and also for his talents in writing the literary genre called sanqu, a subcategory of the genre qu. While qu consists of drama and sanqu, nonetheless the attention devoted to the latter has been much weaker than the former within the academic circle. In the case of Li Kaixian, his dramas such as The Tale of A Treasured Sword have been reviewed much more frequently than his sanqu compilations. To fill up this gap, this thesis attempts to study in depth Li Kaixian?s sanqu. It is organized into 6 major chapters. The first chapter comes with an introduction reviewing the status of Ming sanqu as a whole and its social-ideological background, including a literature review on the subject. To facilitate a better understanding of Li?s rationales in writing sanqu, the second chapter deals with his life and the themes of his sanqu. The third chapter is an analysis of his thoughts towards the writing of sanqu, The fourth and fifth chapters mainly provide a critical review on Li?s sanqu, both thematically and aesthetically. The sixth chapter, a tentative evaluation of the status of Li?s sanqu, serves as the conclusion. / published_or_final_version / Chinese / Master / Master of Philosophy

This study examines the rise of popularist discourse in the realms of intellectual transformation, political reforms, institutional innovations, social activism, and cultural construction from the 1580s to the 1680s. Centered on notions such as "popular opinion (gonglun)" and "public reasoning (gongyi)", the popularist discourse presupposed individual perspectives as inherently isolated, incomplete, parochial, and flawed. Broader inclusion of diverse opinions was thus justified as an indispensible check of individual view for optimal outcome. Chapter 1 explores the intellectual transformation from the Neo-Confucian premises to elitist-popularism, in which the daoxue assumptions of individual access to absolute truth, and of the linear transmission of orthodox learning through an enlightened minority (daotong) were questioned. In contrast, the popularist notions emphasized the fallibility of any individuals, justified spontaneous consensus, and advocated horizontal inclusion of ideas in collective reasoning. Chapter 2 examines the political disputes concerning the "collective recommendation (huitui)" in the late Ming administration, arguing that proponents of huitui, through re-inventing this tradition, sought to moderate the imperial power in important bureaucratic appointments and to promote broader political participation and greater transparency in policy-making. Chapter 3 explores the institutional innovations relating to the fangdan questionnaires, which served as a quantitative means for substantiating the conceived popular opinion in late-Ming officialdom. Beneath these institutional reforms was the popularist orientation that saw commonly shared opinion as innately outweighing individual views. Chapter 4 stresses the centrality of the popularist discourse in the late-Ming Jiangnan literati's activism, arguing that the collective strategies facilitated the local literati's agendas of defending common status and shared interests out of the fear of downward social mobility in a society of increasing identity fluidity. Chapter 5 discusses the cultural impact of the popularist discourse by demonstrating how the collective approach posed challenges to the prevailing Neo-Confucian moral absolutism, brought about a new definition of learning as cumulative, inclusive, open-ended process of public reasoning, and spurred the florescence of encyclopedias, compendia, and anthologies as "the market of knowledge/ideas" for the audience to choose. Taken together, these case studies show a profound change in late-Ming China's political, intellectual and cultural landscape reshaped by a collective orientation. / East Asian Languages and Civilizations

published_or_final_version / Chinese / Master / Master of Philosophy

published_or_final_version / Chinese / Master / Master of Philosophy

The present study focusses on the description and analysis of the religious beliefs and practices of a central Taiwanese spirit-writing cult or "phoenix hall" (luantang). A phoenix hall is a voluntary religious association of congregational character centring upon communication with the gods by means of the divinatory technique of "spirit-writing" (fuluan). While spirit-writing can be and is used as an oracle for the solving of believers' personal problems, its more high-profile application is for the writing of so-called "morality books" (shanshu), i.e., books of religious instruction and moral exhortation. Spirit-writing cults are nowadays the most important sources of such works. Much attention has been given to morality books as mirrors of the social concerns of their times, but comparatively little work has been done on the groups that produce them and the meaning these works have for them. An adequate understanding of the meanings and functions of morality books, however, is impossible without some knowledge of the religious groups that produce them and the role played by morality books in their beliefs and practices. It is the objective of this thesis to provide a detailed description and analysis of one such group, the "Temple of the Martial Sage, Hall of Enlightened Orthodoxy" (Wumiao Mingzheng Tang), a phoenix hall in the city of Taizhong that was founded in 1976 and has played a significant role in the modern development of the shanshu genre through the active and varied publications programme of its publishing arm, the Phoenix Friend Magazine Society. The study utilizes data extracted from the Hall's published writings as well as interview, observation, and questionnaire data collected during an eight month period of field research in Taizhong. Part I provides a macrohistorical overview of the development of spirit-writing cults on the Chinese mainland (chapter 1) and on Taiwan (chapter 2) since the nineteenth century, leading up to the case-example's microhistory (chapter 3). Part II is devoted to an account of the beliefs and practices of the Wumiao Mingzheng Tang, including descriptions and analyses of its organization, deities, ritual activities, concepts of moral cultivation, and of the body of morality book literature it has produced over the years. The appendix contains samples of the cult's morality book and scriptural literature, as well as of various liturgical texts.