Chow, Chun Shu. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references (leaves 180-187). / Abstract also in Chinese. / Abstract --- p.i / Acknowledgements --- p.iii / Table of Contents --- p.iv / Tables and Figures --- p.vi / Chapter Part 1 --- An Overview / Chapter Chapter 1: --- Introduction --- p.1 / Chapter Chapter 2: --- Literature Review --- p.8 / Chapter Chapter 3: --- Theoretical Framework --- p.30 / Chapter Chapter 4: --- Methodology and Research Questions --- p.36 / Chapter Part 2 --- Comparison between Headline Daily and The Standard / Chapter Chapter 5: --- The July 1st Rally 2009 --- p.42 / Chapter Chapter 6: --- Legislative By-election 2007 --- p.67 / Chapter Part 3 --- Ethnography on Sing Tao Daily / Chapter Chapter 7: --- Newsroom observations and Newsmaking --- p.102 / Chapter Chapter 8: --- News Handling - Compliance of News Workers --- p.118 / Chapter Chapter 9: --- Interviews --- p.139 / Chapter Part 4 --- Discussion and Conclusion / Chapter Chapter 10: --- Discussion --- p.148 / Chapter Chapter 11: --- Conclusion and Limitations --- p.161 / "Appendix I: Comparison between Headlines, Word Count and Page Count of Headline Daily and The Standard on Legislative Council By-election 2007" --- p.167 / Appendix II: List of news articles written during the part-time working period in Sing Tao Daily --- p.174 / Appendix III: List of Reporters and Assignment Editors in Sing Tao Daily whom I have encountered during the working period --- p.179 / References --- p.180

For most writers who deal with displacement, rewriting themselves, articulating and communicating their sense of estrangment is their lifetime work. For displacement forces one to leave behind the familiar and embrace the unknown. In this process of deconstruction, the concepts of home, belonging and identity are renegotiated and questioned constantly. Le Grand Voyage – the working title for the draft of a novel that is presented in conjunction with this exegesis – is a fictional work that is produced out of the implications of displacement, which inscribes itself in a series of explorations I started in 2001, cumulating with two video works Frammento in 2003 and Footnotes in 2004. Le Grand Voyage investigates further the concept of home by questioning the home/mother relationship. The exegesis aims to contextualise the making of Le Grand Voyage by using another woman’s narrative as the main point of reference: Linda Olsson’s Let Me Sing You Gentle Songs (2005). Olsson’s work – like mine – is conceived out of the effects of displacement, and the literary form and structure display symptoms that are characteristics to narratives of displacement. By putting the home/mother/daughter in context, the narrative displays home as a patriarchal construct showing how the idealisation of home/place is predicated on a gendering of home, whereby, as McDermott notes, ‘home is constructed as a maternal, static and past, to which the (male) subjects longs to return’ (2003: 265). The narrative’s point of view is that of daughters but also that of mothers as daughters, and enables not only a feminist discussion of the notion of home but also of motherhood. Therefore, the theoretical approach for this work has encompassed feminists’ writings that have particularly focused their research on space, place and gender. In challenging the dominant form of gender constructions and relations, the first and second wave feminism have empowered many women to leave home in order to shape their own version of identity. I believe it is within the perspective of displacement, of being out of place, that many women continue to find the necessary distance to contest a particular reading of woman and home that still prevails in academic literature and fiction. Thus, an important part of this exegesis concentrates on the critic of home. I want to argue in a feminist way that our ideas of home and belonging still reflect gendered assumptions and are therefore contestable. That displacement as a catalyst for loss, emotional grief and mourning becomes an enabling way for women to rethink home in terms of what was at play rather than in place and to do the ‘memory work’ that feminists ask women to do: to remember in order not to forget because ‘forgetting is a major obstacle to change’ (Greene, 1991: 298). Their attacks on the feminisation of place have opened up for me possibilities to think of home outside the parameters of sameness. They have also enabled me to understand the paradoxical position a displaced person is faced with: if displacement is favored and privileged why then do longings for home still persist for some? – a fact that is well illustrated in the actual resurgence of the preoccupation to belong. The gain in displacement also involves the fact that distance forces one to look at the longing and nostalgia for what they really conceal. In the case of a woman and, motherless daughters, distance, as this exegesis demonstrates, enables the writer to unveil the longings as subversive and fraudulent, tricking women into thinking there was nothing better than the past: home sweet home, the safe, bounded nest where women could be women: could be the mother. With the ‘memory work’ they both learn to think away from the parameters of sameness and the past, outside the nostalgic stances of singularity, safety, boundaries and internalised histories, therefore outside of the maternal, the home/mother relationship. ‘What is home?’ is a difficult question to negotiate for a woman. The exegesis and the first draft of the novel show what is at stake when one asks the question and the responsibility of women when writing about home.

For most writers who deal with displacement, rewriting themselves, articulating and communicating their sense of estrangment is their lifetime work. For displacement forces one to leave behind the familiar and embrace the unknown. In this process of deconstruction, the concepts of home, belonging and identity are renegotiated and questioned constantly. Le Grand Voyage – the working title for the draft of a novel that is presented in conjunction with this exegesis – is a fictional work that is produced out of the implications of displacement, which inscribes itself in a series of explorations I started in 2001, cumulating with two video works Frammento in 2003 and Footnotes in 2004. Le Grand Voyage investigates further the concept of home by questioning the home/mother relationship. The exegesis aims to contextualise the making of Le Grand Voyage by using another woman’s narrative as the main point of reference: Linda Olsson’s Let Me Sing You Gentle Songs (2005). Olsson’s work – like mine – is conceived out of the effects of displacement, and the literary form and structure display symptoms that are characteristics to narratives of displacement. By putting the home/mother/daughter in context, the narrative displays home as a patriarchal construct showing how the idealisation of home/place is predicated on a gendering of home, whereby, as McDermott notes, ‘home is constructed as a maternal, static and past, to which the (male) subjects longs to return’ (2003: 265). The narrative’s point of view is that of daughters but also that of mothers as daughters, and enables not only a feminist discussion of the notion of home but also of motherhood. Therefore, the theoretical approach for this work has encompassed feminists’ writings that have particularly focused their research on space, place and gender. In challenging the dominant form of gender constructions and relations, the first and second wave feminism have empowered many women to leave home in order to shape their own version of identity. I believe it is within the perspective of displacement, of being out of place, that many women continue to find the necessary distance to contest a particular reading of woman and home that still prevails in academic literature and fiction. Thus, an important part of this exegesis concentrates on the critic of home. I want to argue in a feminist way that our ideas of home and belonging still reflect gendered assumptions and are therefore contestable. That displacement as a catalyst for loss, emotional grief and mourning becomes an enabling way for women to rethink home in terms of what was at play rather than in place and to do the ‘memory work’ that feminists ask women to do: to remember in order not to forget because ‘forgetting is a major obstacle to change’ (Greene, 1991: 298). Their attacks on the feminisation of place have opened up for me possibilities to think of home outside the parameters of sameness. They have also enabled me to understand the paradoxical position a displaced person is faced with: if displacement is favored and privileged why then do longings for home still persist for some? – a fact that is well illustrated in the actual resurgence of the preoccupation to belong. The gain in displacement also involves the fact that distance forces one to look at the longing and nostalgia for what they really conceal. In the case of a woman and, motherless daughters, distance, as this exegesis demonstrates, enables the writer to unveil the longings as subversive and fraudulent, tricking women into thinking there was nothing better than the past: home sweet home, the safe, bounded nest where women could be women: could be the mother. With the ‘memory work’ they both learn to think away from the parameters of sameness and the past, outside the nostalgic stances of singularity, safety, boundaries and internalised histories, therefore outside of the maternal, the home/mother relationship. ‘What is home?’ is a difficult question to negotiate for a woman. The exegesis and the first draft of the novel show what is at stake when one asks the question and the responsibility of women when writing about home.

The graduation thesis deals with possibilities of musical education in the homes of children and youth in South Bohemia. We focused on the offers of music activities, material equipment, kinds of teaching, and how could we present the results of the work. Next, the graduation thesis demonstrates the comparison of the private musical school, Yamaha, which works in five South Bohemian towns, and the competition of the musical teaching in the homes of children and youth. In the enclosure, we show photos and other materials, which specify the reviewing theme.

No description available.

Text in Afrikaans / Die lied en musiekinstrumente speel 'n baie belangrike rol in die Bybel. Die Moseslied (Eks 15) word in die Psalms aangehaal en kulmineer in die 11 nuwe 11 lied van Openbaring - die lied van die "nuwe" hemel en die 11 nuwe 11 aarde wat verlostes saam sal sing. Die brandende vraag wat "reg" of hoegenaamd standpunt ingeneem moet perspektief (die Woord van God) "verkeerd" is en of daar word, word uit 'n Bybelse beantwoord, gegrond op die beginsel van die Reformasie: ecclessia reformata semper reformandum. Die geskiedenis van die lied van die vroee kerk tot by die Ref ormasie word kursories behandel. Die lied wat in die geskiedenis uit die mond van die gelowige, die lidmaat gehaal is en aan die priesters oorgelaat is, word deur Luther weer teruggeplaas in die mond van die gelowige. Dit blyk dat Calvyn, tsv die Ref ormasie slagspreuk, in sommige aspekte van sy beskouing van die kerklied, steeds 'n Roomse standpunt bly handhaaf en net tot by die vroee kerk "gereformeer" het. Slegs sgn "heilige" liedere, direk uit die Bybel, musiek sender instrumentale begeleiding, kon gebruik word. Saam met ons voorsate, wat van oa Nederland gekom het, het ons liederebundels gekom. Van Riebeeck het met die Datheense Psalter (die amptelike Nederlandse kerklied) wat later deur die 1805- "Evangelische Gezangen" aangevul is, geland. Agv die "cuius regio eius religio"-beginsel het die Hollandse kerklied voorkeur bo Lutherse ea kerkliedere gekry. Die 1805-"Evangelische Gezangen", alhoewel dit hartlik verwelkom is, het gelei tot misnoee in Colesberg en later in Rustenburg, wat op sy beurt gelei het tot kerkskeuring. Die "Evangelische Gezangen" was ook, naas die Bybel en die Psalmboek die metgesel van die Trekkers, kommandolede (Anglo-Boereoorlog) en die krygsgevangenes in die konsentrasie- en krygsgevangenekampe. In die kampe was daar baie tyd vir die sing en skep van gewyde liedere. Nie-goedgekeurde bundels en die vertaling van die Bybel in Afrikaans (1933) het aanleiding gegee dat liederebundels hersien moes word. Die 1937 (Totius-beryming), die 1944 Gesangboek, die 76/78-Psalmboek en die 1978 Gesangboek was die resultaat. 'n Dualistiese standpunt, dat sekere liedere geskik is vir kerkgebruik en ander slegs vir buite-kerkgebruik (die 1984- Jeugsangbundel) het aanleiding gegee tot die publikasie van SOM en Jeugsangbundel 2, 1993. Huidig gebruik talle gemeentes 'eie' bundels tsv sinodale besluite dat slegs SOM en JSB2 naas die Psalm- en Gesangboek gebruik mag word. Die verskyning van die Proefsangbundel 1998 (IKSA) lei 'n nuwe fase van die kerklied in SA in as die Ned Herv Kerk ook begin om "nuwe" liedere op die proef te stel. Vos, Strydom, Huisamen, Konig, Kloppers, ea het in resente jare evaluerings oor die kerklied gedoen. Die "ou", die "nuwe" en die kontemporere kerklied (veral met verwysing na die NG Kerk) m6et almal plek kry in die musiekskat van die 21ste eeu. / The hymn and musical instruments play a cardinal role in the Bible. The Song of Moses (Ex 15) is used in Psalms and in Revelation 15:3. The question with regards to what is acceptable and unacceptable and whether it is at all imperative to take a defendant stance, is clarified from a Biblical point of view. It is based on the Reformation-principle: ecclesia reformata semper reformandum. The History of the 'Song' Hymn in the early church up to the Reformation is shortly mentioned. The "songs" (Hymns) of the believer were in the course of history transferred to the priests and were only in the Reformation once again bestowed on the believer by Luther. It would appear that Calvin, despite the slogans of the Reformation continued to postulate a Catholic point of view with regard to the Hymns and that the Reformation was restricted to the early church. Only socalled holy songs, direct from the Bible and songs without instruments/accompaniment could be usedo The collection of 'songs' (Hymns) of the Dutch Reformed Church is an inheritance from the Netherlands. It was Van Riebeeck who brought in the ''Datheense Psalter'' . Later, the 1805 - "Evangelishe Gezangen" were added to it. Owing to the cuius regio eius religio-principle, the Dutch Church Hymn was given preverance. Although heartily welcomed, the "1805-Evangelische Gezangen" lead to a split in the Church. The "Evangelische Gezangen" (Hymns), and the Psalmbook were used by the 'Trekkers' , the 'Kommando' s' , (Anglo Boer war) and in the Consentration and prisoners of war camps. In the camps was ample time for singing and composing new sacred songs. 'Non-approved' song books and the translation of the Bible in Afrikaans (1933) gave rise to the birth of various Hymn and Psalter books. Youth Praise and Worship books were also published. The Dutch Reformed Church opinion that certain songs in the formal Church inappropriate and should gatherings. struggles with the dualistic are suitable for worshipping service while other are only be used at informal / Theology / D.Th. (Theology)

Text in Afrikaans / Die lied en musiekinstrumente speel 'n baie belangrike rol in die Bybel. Die Moseslied (Eks 15) word in die Psalms aangehaal en kulmineer in die 11 nuwe 11 lied van Openbaring - die lied van die "nuwe" hemel en die 11 nuwe 11 aarde wat verlostes saam sal sing. Die brandende vraag wat "reg" of hoegenaamd standpunt ingeneem moet perspektief (die Woord van God) "verkeerd" is en of daar word, word uit 'n Bybelse beantwoord, gegrond op die beginsel van die Reformasie: ecclessia reformata semper reformandum. Die geskiedenis van die lied van die vroee kerk tot by die Ref ormasie word kursories behandel. Die lied wat in die geskiedenis uit die mond van die gelowige, die lidmaat gehaal is en aan die priesters oorgelaat is, word deur Luther weer teruggeplaas in die mond van die gelowige. Dit blyk dat Calvyn, tsv die Ref ormasie slagspreuk, in sommige aspekte van sy beskouing van die kerklied, steeds 'n Roomse standpunt bly handhaaf en net tot by die vroee kerk "gereformeer" het. Slegs sgn "heilige" liedere, direk uit die Bybel, musiek sender instrumentale begeleiding, kon gebruik word. Saam met ons voorsate, wat van oa Nederland gekom het, het ons liederebundels gekom. Van Riebeeck het met die Datheense Psalter (die amptelike Nederlandse kerklied) wat later deur die 1805- "Evangelische Gezangen" aangevul is, geland. Agv die "cuius regio eius religio"-beginsel het die Hollandse kerklied voorkeur bo Lutherse ea kerkliedere gekry. Die 1805-"Evangelische Gezangen", alhoewel dit hartlik verwelkom is, het gelei tot misnoee in Colesberg en later in Rustenburg, wat op sy beurt gelei het tot kerkskeuring. Die "Evangelische Gezangen" was ook, naas die Bybel en die Psalmboek die metgesel van die Trekkers, kommandolede (Anglo-Boereoorlog) en die krygsgevangenes in die konsentrasie- en krygsgevangenekampe. In die kampe was daar baie tyd vir die sing en skep van gewyde liedere. Nie-goedgekeurde bundels en die vertaling van die Bybel in Afrikaans (1933) het aanleiding gegee dat liederebundels hersien moes word. Die 1937 (Totius-beryming), die 1944 Gesangboek, die 76/78-Psalmboek en die 1978 Gesangboek was die resultaat. 'n Dualistiese standpunt, dat sekere liedere geskik is vir kerkgebruik en ander slegs vir buite-kerkgebruik (die 1984- Jeugsangbundel) het aanleiding gegee tot die publikasie van SOM en Jeugsangbundel 2, 1993. Huidig gebruik talle gemeentes 'eie' bundels tsv sinodale besluite dat slegs SOM en JSB2 naas die Psalm- en Gesangboek gebruik mag word. Die verskyning van die Proefsangbundel 1998 (IKSA) lei 'n nuwe fase van die kerklied in SA in as die Ned Herv Kerk ook begin om "nuwe" liedere op die proef te stel. Vos, Strydom, Huisamen, Konig, Kloppers, ea het in resente jare evaluerings oor die kerklied gedoen. Die "ou", die "nuwe" en die kontemporere kerklied (veral met verwysing na die NG Kerk) m6et almal plek kry in die musiekskat van die 21ste eeu. / The hymn and musical instruments play a cardinal role in the Bible. The Song of Moses (Ex 15) is used in Psalms and in Revelation 15:3. The question with regards to what is acceptable and unacceptable and whether it is at all imperative to take a defendant stance, is clarified from a Biblical point of view. It is based on the Reformation-principle: ecclesia reformata semper reformandum. The History of the 'Song' Hymn in the early church up to the Reformation is shortly mentioned. The "songs" (Hymns) of the believer were in the course of history transferred to the priests and were only in the Reformation once again bestowed on the believer by Luther. It would appear that Calvin, despite the slogans of the Reformation continued to postulate a Catholic point of view with regard to the Hymns and that the Reformation was restricted to the early church. Only socalled holy songs, direct from the Bible and songs without instruments/accompaniment could be usedo The collection of 'songs' (Hymns) of the Dutch Reformed Church is an inheritance from the Netherlands. It was Van Riebeeck who brought in the ''Datheense Psalter'' . Later, the 1805 - "Evangelishe Gezangen" were added to it. Owing to the cuius regio eius religio-principle, the Dutch Church Hymn was given preverance. Although heartily welcomed, the "1805-Evangelische Gezangen" lead to a split in the Church. The "Evangelische Gezangen" (Hymns), and the Psalmbook were used by the 'Trekkers' , the 'Kommando' s' , (Anglo Boer war) and in the Consentration and prisoners of war camps. In the camps was ample time for singing and composing new sacred songs. 'Non-approved' song books and the translation of the Bible in Afrikaans (1933) gave rise to the birth of various Hymn and Psalter books. Youth Praise and Worship books were also published. The Dutch Reformed Church opinion that certain songs in the formal Church inappropriate and should gatherings. struggles with the dualistic are suitable for worshipping service while other are only be used at informal / Theology / D.Th. (Theology)

本文從社會、經濟、物質、科技、文化交流等層面探討鐘錶自十六世紀起傳入中國，並逐漸在中國社會中流傳和普及的情形，並藉此討論明清時期中國人的時間觀念和日常生活是否因鐘錶傳入而有所改變。

While the concept of teaching jazz style to vocal students is not a new one, previous materials written on the subject have not addressed two important aspects of this process. One is the concept of selecting jazz vocal solo repertoire that is both musically and vocally purposeful and appropriate for the student. The other is how to teach stylistic concepts that will apply to both current repertoire as well as songs the student will learn in the future. This doctoral essay provides both a categorized list of solo jazz vocal repertoire as well as strategies for introducing stylistic elements of jazz into the private-lesson setting. Through a systematic analysis of jazz vocal standards, a list of repertoire selections was categorized by rhythmic style, melodic range, melodic harmony, melodic rhythm, and harmonic content. In addition, the stylistic need to add syncopations to swing songs with non-syncopated melodies was addressed. Suggestions are included on how to implement this categorized list in the music selection process for students. Furthermore, this essay provides jazz voice teachers with strategies to efficiently incorporate important aspects of jazz styles such as rhythmic feel, song form, improvisation, and harmony into the lesson setting. By showing connections between these concepts and the literature that is being taught, students can become more competent and confident within the vocal and stylistic elements of the jazz idiom.

Depuis son adoption de la « Convention pour la sauvegarde du patrimoine culturel immatériel » en 2003, la Chine a lancé au niveau national, le répertoire de son patrimoine culturel immatériel, et a élaboré, mis en action des mesures pour sa sauvegarde. Pékin, ancienne capitale des cinq dynasties, possède une source abondante du patrimoine culturel immatériel. Les vieilles enseignes pékinoises représentent un vecteur particulier du patrimoine oral, l’art de la dénomination, l’art de l’enseigne, la culture traditionnelle à travers le Confucianisme ainsi que des savoir-faire. Cependant, par rapport à la valorisation économique, la valorisation culturelle de ces entreprises a été longtemps négligée. En recourant à la formulation du patrimoine culturel immatériel, le présent travail a voulu explorer et étudier la pluralité du patrimoine immatériel des vieilles enseignes pékinoises, afin de montrer son enjeu dans le développement et la pérennité de ces enseignes ainsi que pour la préservation de la culture locale de Pékin. / Since its adoption of the « Convention for the Safeguarding of Intangible Cultural Heritage », China has launched in its territory, the identification of its intangible cultural heritage, and has elaborated, applied the safeguarding methods accordingly. Beijing, capital of five dynasties in ancient times, possesses an abundant resource of intangible cultural heritage. The time-honored brands, for example, are the vehicle of several elements strongly local-colored, such as oralheritage, name art, art of sign-board, traditional philosophy mainly represented by Confucianism, and traditional craftsmanship. Nonetheless, the cultural valorization of Beijing’s time-honored brands has not been stressed, on the contrary to their economical valorization. Relying on the formulation of intangible cultural heritage, this study explored and examined the plurality of these time-honored brands’ intangible heritage, in order to demonstrate its importance for these brands’ development and durability, as well as for the preservation of Beijing’s local culture. / 自从2003 年中国加入«非物质文化遗产保护公约»以来，开展了对其非物质文化遗产的 全面普查，并相应制定和执行了保护政策及措施。北京，作为中国五朝古都，拥有极为丰富 的非物质文化遗产资源。北京老字号就承载了从口头遗产，命名艺术，牌匾艺术，以儒家为 代表的传统思想，到其传统技艺等极具北京特色的项目。但是相对于其经济价值，北京老字 号的文化价值长期处于被忽视的地位。本文利用非物质文化遗产概念的提出，发掘并研究了 北京老字号的非物质文化遗产的多面性，借以阐明其对这些企业的生存和发展，及其对维持 北京地方文化特色的重要性。