Thesis (Ph. D.)--University of Oregon, 1999. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 329-354). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p9957574.

在中國古代道家宇宙論研究之中，「道」與「氣」的關係如何，一直是難以 簡單解釋的問題，學者對這問題意見不一，歧見紛呈。本文希望透過《管子》四 篇的解讀及《老子》、《莊子》、《淮南子》宇宙系統的研究來論證部分學者主張「道」 等同「氣」的意見之不妥當處，並提出「道」與「氣」實為相互區別，「道」與「氣」並不是「同一」的看法。此外，本文會以「修心練氣」的角度揭示古人在「修心練氣」的過程中做到「練氣體道」，繼而「氣道並生」的效果。本文將以 此提出，在先秦至漢的道家宇宙論中，「道」與「氣」雖屬不同層次的概念，但 卻是處於同一「軌跡」，「同軌並生」的看法。最後，本文再以「氣」與「道」的 關係來粗淺地回應陳漢生提出的「中國並未發展出抽象實體理論」的問題。本文的第二章將會探討人們在探尋天地秩序，生命起源時，如何回應世界的 最初起源是甚麼及其生滅法則又是甚麼這兩條問題。第二章以這兩條問題來審視 古希臘哲學家的宇宙系統與「道」、「氣」宇宙系統，從而揭示，無論是古代中國 的道家，抑或是古希臘的哲學家都未能完好地回答這兩條問題。第二章因而提出， 沒有周詳考慮這兩條核心問題使「道」與「氣」的宇宙理論存有不確定及不清晰 的地方的看法。本文的第三章嘗試探討道家宇宙論中「氣」與「道」的關係，以此考究「氣」 與「道」究竟是「同一性」，抑或是不同層次的概念。第三章將以《管子》四篇 的文獻解讀 及《管子》四篇的理論體系來作考察，以指出「氣或精氣等同道的 理論」的欠妥當處。第四章將考察《老子》、〈恆先〉及《淮南子》宇宙生成系統，再次揭示「氣」 與「道」是相互區分的，它們是屬於不同層次的概念。第五章將會以「修心練氣」的角度切入，以揭示古人在「修心練氣」的過程 中做到「練氣充道」，繼而「氣道並生」。第五章將以此提出，在先秦至漢的道家 宇宙論中，「道」與「氣」雖屬不同層次的概念，但卻是處於同一「軌跡」，「同 軌並生」的看法。另外，第五章亦會以「氣」與「道」的關係來粗淺地回應陳漢 生提出的「中國並未發展出抽象實體理論」的問題。本文認為，中國古人選擇的 是「抽象原理」與「具象世界」相結合的世界觀來發展抽象理論，跟西方「抽象 原理」與「具象世界」截然劃分的哲學傳統不同。所以，簡單地以西方哲學系統 與中國古代思想作對比，未必可以窺見中國古代思想的真象。;「同軌並生」的看法。另外第 五章亦會以「氣」與道的關係來粗 淺地回應陳漢生提出的 「中國並未發展出抽象 實體理論」的問題。本文認為， 理論」的問題。本文認為， 理論」的問題。本文認為， 理論」的問題。本文認為， 理論」的問題。本文認為， 中國古人選擇的是「抽象原理」與具世界相結合觀來發展理論，跟西方「抽象原」與具世界截然劃分的哲學傳統不同。 理論，跟西方「抽象原」與具世界截然劃分的哲學傳統不同。 理論，跟西方「抽象原」與具世界截然劃分的哲學傳統不同。 理論，跟西方「抽象原」與具世界截然劃分的哲學傳統不同。 理論，跟西方「抽象原」與具世界截然劃分的哲學傳統不同。 理論，跟西方「抽象原」與具世界截然劃分的哲學傳統不同。 理論，跟西方「抽象原」與具世界截然劃分的哲學傳統不同。 理論，跟西方「抽象原」與具世界截然劃分的哲學傳統不同。 理論，跟西方「抽象原」與具世界截然劃分的哲學傳統不同。 理論，跟西方「抽象原」與具世界截然劃分的哲學傳統不同。 理論，跟西方「抽象原」與具世界截然劃分的哲學傳統不同。 理論，跟西方「抽象原」與具世界截然劃分的哲學傳統不同。 理論，跟西方「抽象原」與具世界截然劃分的哲學傳統不同。 理論，跟西方「抽象原」與具世界截然劃分的哲學傳統不同。 所以， 簡單地以西方哲學系統與中國古代思想作對比，未必可窺見的真象。;For many years, the relations between the two concepts of "Dao" and "Qi", in ancient Taoist Cosmology, has not been clearly explained. Based on a meticulous study of the relevant Taoist canons, mainly the Four Chapters of Guanzi 管子, Laozi 老子, Zhuangzi 莊子 and Huainanzi 淮南子, the author of this thesis reviews different views in previous scholarship, provides his own observations and hypotheses. This thesis examines how the ancient people conceive to attain "Dao" by cultivating their mind and practicing "Qi"; meanwhile, "Dao" and "Qi" is generated simultaneously in one's body. In addition, by reviewing the trajectory of the development of Taoist Cosmology from the Pre-Qin period to the Han dynasty, this thesis argues that, although "Dao" and "Qi" are different in concept, they can be naturally generated and developed on a same track in one's body. With the analysis of the relations between "Dao" and "Qi", this thesis discuss Chad Hansen's theory that Chinese thought lacks abstract entities in anything resembling the way Western theories of abstract entities did". The second chapter of this paper examines how ancient Chinese respond to the following questions: What is the origin of the world? And what are the laws governing the life and death of the myriad things? In this chapter, the cosmic system of ancient Greek philosophy is also discussed to compare with its counterpart in China, the cosmological system of which is elaborated from the concepts of "Dao" and "Qi". This reveals that neither ancient Chinese Taoists, nor ancient Greek philosophers be able to fully address these two questions. It is hence concluded that the interpretation of the cosmological theory based on "Dao" and "Qi" lacks clarity and precision without addressing to the above mentioned two fundamental questions. The third chapter explores the relations between "Dao" and "Qi" in early Taoist literature . Through literary reviews of the Four Chapters of Guanzi 管子and the Theoretical System of the Four Chapters of Guanzi 管子, with a focus on the differences and similarities of these two substances, "Dao" and "Qi" , according to this author, cannot be equalized in the contexts of the Four Chapters of Guanzi 管子. The third chapter explores the relations between "Dao" and "Qi" in early Taoist literature . Through literary reviews of the Four Chapters of Guanzi 管子and the Theoretical System of the Four Chapters of Guanzi 管子, with a focus on the differences and similarities of these two substances, "Dao" and "Qi" , according to this author, cannot be equalized in the contexts of the Four Chapters of Guanzi 管子. The third chapter explores the relations between "Dao" and "Qi" in early Taoist literature . Through literary reviews of the Four Chapters of Guanzi 管子and the Theoretical System of the Four Chapters of Guanzi 管子, with a focus on the differences and similarities of these two substances, "Dao" and "Qi" , according to this author, cannot be equalized in the contexts of the Four Chapters of Guanzi 管子. The third chapter explores the relations between "Dao" and "Qi" in early Taoist literature . Through literary reviews of the Four Chapters of Guanzi 管子and the Theoretical System of the Four Chapters of Guanzi 管子, with a focus on the differences and similarities of these two substances, "Dao" and "Qi" , according to this author, cannot be equalized in the contexts of the Four Chapters of Guanzi 管子

No description available.

published_or_final_version / Chinese Historical Studies / Master / Master of Arts

The following statement supports the investigations that culminated in the body of sculptural work entitled “Daoist Garden”. It is an examination of the most basic sculptural issues of form and space, and reverses the roles of prototype and mold to give visual accounting of spaces created by curved planes. These spatial records allude to cycles of disintegration and reconfiguration of matter on various timelines and scales. The philosophical influence behind the work employs the concepts of yin and yang, which relate directly to the mold/positive relationship, and are essential to experiencing Dao, the eternally nameless underlying order of the universe. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2014.. / FAU Electronic Theses and Dissertations Collection

Chow Wai-yin. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2000. / Includes bibliographical references (leave [243]-259). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Abstracts in English and Chinese.

在香港，若逝世者生前沒有宗教信仰或指定的喪葬儀式，家人通常都會為他舉行道教葬禮。黎志添教授認為道教葬儀在香港已經習俗化。事實上，在一般情況下，進行道教葬儀根本不能反映死者生前信奉的宗教信仰。為何道教葬儀在香港會成為大部份香港人的習俗？我認為，道教葬儀音樂已成為香港人不言而喻的一種身份。 / 港人一般不會關心葬儀，就算舉辦也不會深究儀式內容。但他們卻認為儀式中的音樂代表了他們的身份。在實地考察中，我發現道教葬儀音樂包含了不少廣東音樂的元素，曲牌《一錠金》就是其中的例子；事實上，採用道教儀式是香港人認同本土中國人身份的表現。 / 在實地考察中，我發現研究道教殯儀音樂可有多個視角，其音樂及宗教元素更蘊含多層意義。本文以樂師的活動為切入點，以政治身份角力的角度，研究香港道教殯儀音樂。 / In Hong Kong, a Taoist funeral is usually held for a deceased person by his or her family if the deceased did not have any religious belief or preference. In most cases, a Taoist funeral is a mere convention rather than a reflection of choice or religious affiliation of the deceased. To explore the reason of this ritual popularized in this particular region, I would like to suggest that the music played in a Taoist funeral is part of Hong Kong people’s identities. / Most Hong Kong people, in fact, would avoid the idea of death, not to mention death rituals. When they do, they usually have little knowledge of the Taoist ritual. Most, however, consider the music to be an essential part of the ritual, which reflects to a great extent, their identity. They do, however, consider that the music played represent their identity. / During the fieldwork for this thesis, I identified a number of traditional Cantonese music pieces in the ritual. For example, the Cantonese tune “Yi-ding jin“一錠金has been playing a significant role. Ordinary Chinese people, as a matter of fact, accept that the music in Taoist funeral rituals represent their identity. / I have come to understand that there are many layers in a Taoist funeral. The musicians, the ritual, and the Taoist philosophy are part and parcel of the funeral other than the music. Through extensive fieldwork and interviews, I attempt to draw a clear picture of Taoist funeral music activities in the Hong Kong community and explore the entwined relationship between politics and identity dynamics within Hong Kong Taoist funeral music. For a long time, perhaps even today, the identity of the Hong Kong people has remained a controversial issue, given that Hong Kong was a British colony before the return of its sovereignty to China. My research, however, shows that the Hong Kong people are keen to adopt a death ritual that demonstrates their Chinese identity. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Chan, Chi Chun. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 101-108). / Abstracts also in Chinese. / Acknowledgements --- p.v / Table of Contents --- p.ix / List of Figures --- p.x / Romanization and Translation --- p.xi / A Note on Photography --- p.xii / Chapter Chapter 1 --- : Introduction / Introduction and Background --- p.1 / Literature Review --- p.5 / Methodology and Approaches --- p.8 / Organization of the thesis --- p.13 / Chapter Chapter 2 --- : Funeral Music in Hong Kong / An Introduction to Funeral Parlours in Hong Kong --- p.15 / The Quanzhen School and the Zhengyi School in Hong Kong Funeral Parlours --- p.26 / Funeral Music in Hong Kong Society --- p.30 / Chapter Chapter 3 --- : Musical Practice of the Zhengyi School / Introduction --- p.38 / Musical Instruments in the Zhengyi school --- p.38 / Transmission --- p.49 / Changes? The Debate Between the Local Jiaoshi and the Non-local Jiaosh --- p.51 / Chapter Chapter 4 --- : Identity beyond the “Dead“ and the Hybridity of the Ritual / Introduction --- p.67 / Influence of Commercialization --- p.67 / Hybridity of Different Elements in Funeral Rituals --- p.75 / Chinese Identity of the Relatives and the Diseased --- p.78 / Chapter Chapter 5 --- : Conclusions --- p.83 / Appendices --- p.92 / Appendices A --- p.92 / Appendices B --- p.98 / Appendices C --- p.99 / Appendices D --- p.100 / References --- p.101

published_or_final_version / Architecture / Master / Master of Architecture

劉紅. / 論文(博士) -- 香港中文大學硏究院音樂學部, 1996. / 參考文献 : leaves 248-251. / Liu Hong. / 前言 / 簡 述 / Chapter 第一節 --- 本選題之背景 --- p.1 / Chapter 第二節 --- 與本選題有關研究之簡略評述 --- p.1 / Chapter 一、 --- 道教音樂研究之概况 --- p.1 / Chapter 二、 --- 與本選題有關研究之評述 --- p.2 / Chapter 第三節 --- 本選題之意義 --- p.3 / Chapter 第四節 --- 本選題之研究方法上的考慮 --- p.4 / Chapter 一、 --- 田野工作 --- p.4 / Chapter 二、 --- 本人經歷 --- p.5 / Chapter 三、 --- 研究的角度和方法 --- p.5 / Chapter 第一章 --- 概述 --- p.8 / Chapter 第一節 --- 蘇州道教概况 --- p.8 / Chapter 第二節 --- 蘇州道教音樂述略 --- p.13 / Chapter 一、 --- 蘇州道樂的歷史 --- p.13 / Chapter 二、 --- 蘇州道樂的特點 --- p.19 / Chapter 第二章 --- 蘇州道教科儀 --- p.25 / Chapter 第一節 --- 正一道科儀簡述 --- p.25 / Chapter 第二節 --- 蘇州道教科儀之沿革及現狀 --- p.27 / Chapter 第三章 --- 「天功」科儀及其音樂 --- p.32 / Chapter 第一節 --- 「天功」科儀的版本 --- p.32 / Chapter 第二節 --- 「天功」科儀簡介 --- p.34 / Chapter 第三節 --- 「天功」科儀的結構 --- p.40 / Chapter 一、 --- 儀式空間結構 --- p.41 / Chapter 二、 --- 儀式參與人員結構 --- p.44 / Chapter 第四節 --- 「天功」科儀及其音樂之程序 --- p.46 / Chapter 第五節 --- 「天功」科儀的即興性因素 --- p.144 / Chapter 第六節 --- 「天功」科儀音樂之類别劃分 --- p.147 / Chapter 一、 --- 音樂形式分類 --- p.148 / Chapter 二、 --- 音樂功能分類 --- p.150 / Chapter 第七節 --- 「天功」科儀音樂之表現形式 --- p.151 / Chapter 一、 --- 經韵唱誦形式 --- p.151 / Chapter 二、 --- 樂器及法器種類 --- p.152 / Chapter 三、 --- 樂器與法器的組合及運用形式 --- p.153 / Chapter 第四章 --- 「天功」科儀音樂之形態分析 --- p.162 / Chapter 第一節 --- 關于記譜的¨®Ơ明 --- p.162 / Chapter 第二節 --- 「天功」科儀音樂諸要素描述 --- p.163 / Chapter 一、 --- 調ˇ±ة調式與調性 --- p.163 / Chapter 二、 --- 音階音列與音域 --- p.166 / Chapter 三、 --- 節拍與速度 --- p.167 / Chapter 第三節 --- 旋律形態 --- p.170 / Chapter 一、 --- 典型旋律型 --- p.170 / Chapter 二、 --- 典型旋律型變體 --- p.176 / Chapter 三、 --- 旋律發展手法 --- p.179 / Chapter 第四節 --- 節奏形態 --- p.182 / Chapter 一、 --- 宏觀節奏形態 --- p.182 / Chapter 二、 --- 微觀節奏形態 --- p.184 / Chapter 三、 --- 節奏與功能 --- p.184 / Chapter 第五節 --- 結構形態 --- p.185 / Chapter 一、 --- 整體結構 --- p.185 / Chapter 二、 --- 韵體結構 --- p.185 / Chapter 三、 --- 句式結構 --- p.186 / Chapter 四、 --- 腔詞結構 --- p.188 / Chapter 五、 --- 固定尾句結構 --- p.193 / Chapter 第五章 --- 蘇州道教科儀音樂與地方民間音樂之比較 --- p.196 / Chapter 第一節 --- 蘇州道樂與蘇州民間俗樂之關系 --- p.196 / Chapter 一、 --- 與蘇州民歌的關系 --- p.196 / Chapter 二、 --- 與蘇州彈詞的關系 --- p.199 / Chapter 三、 --- 與蘇南吹打的關系 --- p.203 / Chapter 四、 --- 與昆曲的關系 --- p.210 / Chapter 第二節 --- 蘇州道樂舆蘇州民間俗樂之關系的 社會文化背景 --- p.214 / Chapter 一、 --- 地理環境因素 --- p.214 / Chapter 二、 --- 民俗習慣因素 --- p.218 / Chapter 第六章 --- 蘇州道教科儀音樂之文化環境分析 --- p.223 / Chapter 第一節 --- 音樂概念與音樂價值觀念 --- p.223 / Chapter 一、 --- 音樂的概念 --- p.223 / Chapter 二、 --- 音樂的價值觀念 --- p.226 / Chapter 第二節 --- 音樂的宇宙意識 --- p.229 / Chapter 一、 --- 道教生命觀念中的宇宙意識 --- p.229 / Chapter 二、 --- 道教儀式環境中的宇宙意識 --- p.229 / Chapter 三、 --- 蘇州道樂中的宇宙意識 --- p.232 / Chapter 第三節 --- 儀式行為人的訓練和經歷與音樂風格 形成之關系 --- p.235 / Chapter 第四節 --- 宮觀管理制度與音樂風格形成之關系 --- p.239 / 餘論蘇州道教音樂之發展問題 ´ؤ´ؤ傳統與現實的挑戰 --- p.244 / 總 結 --- p.247 / 參考書目 --- p.248

Thesis (M.A.)--University of Washington, 2006. / Appendix A is English translation of Kisō no keifu by Tsuji Nobuo. Includes bibliographical references (leaves 420-425).