Huang, Tzu-hsuan. / Thesis Ph.D. Chinese University of Hong Kong 2015. / Includes bibliographical references (leaves 633-641). / Abstracts also in Chinese. / Title from PDF title page (viewed on 24, October, 2016).

Dead water : song cycle for tenor and piano -- Shan shui : for string quartet -- Kuang fu : for SSAAATTBB and yangqin -- If life is unknown : for wind quintet -- Symphony II : Marrison for chamber orchestra, male choir, erhu and zheng -- Jazzy illusion of a Chinaman : for clarinet/bass clarinet, piano/electric keyboard, electric guitar, drum set, cello and double bass -- Liao Zhai : Chinese strange tale for recorders , percussions, soprano, tenor and baritone -- A madman's diary : piano solo work. / Tam, Chin Fai. / Thesis (D.Mus.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 391-392). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong , [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract also in Chinese; includes in Chinese.

How and why was imperial power made visually and physically manifest in two similar, contemporaneous megastates - the Roman Principate and Qin-Han China? Framing the Chinese and Roman material within such a question breaks it free from the web of expectations and assumptions in which conventional scholarship almost always situates it. It also builds upon the limited but promising work recently undertaken to study these two empires together in a comparative context. The purpose of this thesis is not to discover similarities and differences for their own sake; but, by discovering similarities and differences, to learn about the nature of imperial authority and prestige in each state. The comparative method compels us to appreciate the contingent - and sometimes frankly curious - nature of visual and artefactual phenomena that have traditionally been taken for granted; and both challenges and empowers us to access higher tier explanations and narratives. Roman expressions of power in visual terms are more public, more historical- biographical, and more political, while Qin-Han images and objects related to imperial authority are generally more private, generic and ritual in their nature. The Roman material emphasizes the notional complicity of large groups of people - the imperial subjects who viewed, crafted and often commissioned these works - in maintaining and defining the emperor's power. If the Han emperor's power was the product of complicity, it was the complicity of a small group of family members and courtiers - and of Heaven. These contrasting sets of power relationships connect to a concerted thematic focus, in the case of Rome, on the individual of the princeps; that is, the individual personage and particular achievements - especially military achievements - of the emperor. This focus is almost always taken for granted in Roman studies, but contrasts profoundly with the thematic disposition of Han artefacts of power: these reflect a concentrated disinterest in imperial personality altogether, emphasizing instead the imperial position; that is, both the office of emperor and a cosmic centrality. While this thesis reveals some arresting contrasts, it also harnesses the dichotomous orientations of Roman and Chinese archaeology to reveal that the conventional understanding of much of this material can be misleading or problematic. Many of the differences in the ways such images are usually interpreted have as much to do with the idiosyncrasies and path dependency of two fields - in short as much to do with the modern viewer - as they do with the images themselves and the traditions that produced them.

我的論文題目是：「先秦儒家宗教性研究──以孔孟荀對『喪葬』、『祭祀』、『天』的觀點為討論中心」。主標題提供研究方向，副標題鎖定研究範圍，目的對「儒家宗教性」的持續思索。「宗教」與「宗教性」有同有異，需要進行概念區分；回顧學術動態，確定研究進路，成為第一章主要任務。一言以蔽之，「宗教性」是思想家對「喪葬」、「祭祀」、「天」的態度。第二章探討思想背景，「喪葬」與「祭祀」屬於「禮樂文化」的一環，與「宗教」思想密切相關；然而，孔孟荀有別之前「宗教」傳統，能夠賦予新義。本文研究他們的「宗教性」面向為何。「喪葬」與「祭祀」方面，從現代用語來說，上述兩項議題涉及「生死大事」與「鬼神世界」，以「宗教性」意涵理解是可以嘗試的研究進路，在此得到有力支持。除此之外，「天」涉及「超越層面」、「終極關懷」，必須與思想家認同的價值根源結合來看。可以明白「天」「人」並非毫無關聯，與「宗教性」內涵也息息相關。以上所說，分別在第三、四、五章進行分析論證；而在第六章進行整體研究，得到孔孟荀宗教性中「思想脈絡」演變所呈現的意義、與「出土文獻」對照所反映的面貌、和「西方文化」比較所凸顯的特色。第七章結論統整全文內容，展現先秦儒家孔孟荀宗教性，作為全文結束。 / This is a study of Confucius,Mencius and Xunzi religious articles.The first chapter of the task to make a distinction between religion and religiosity.The second chapter discusses the formation of religious background.About funderal and sacrifice,Confucius,Mencius and Xunzi different from the past,can give new meaning.Heaven involve transcendence,ultimate,which are associated with religiosity.These are the third,fourth and fifth chapters.Chapter VI of the overall study,highlights the characteristics.Chapter VII is the conclusion.

Dans la Chine du IIIè siècle, les mutations politiques et intellectuelles considérables survenues après l’effondrement des Han favorisent l’éveil d’une conscience inédite de l’individu, ainsi que l’émergence de nouvelles tendances philosophiques (le néo-taoïsme de l’Étude du Mystère) et l’apparition d’une activité artistique en rupture avec la tradition qui s’est imposée durant quatre siècles d’hégémonie confucéenne. La musique, qui occupe une place d’élection dans la vie des lettrés, voit évoluer le statut et la pratique auxquels elle était jusqu’alors confinée, l’outil moralisateur au service de la concorde sociale s’affirmant désormais comme une distraction libre et privée, affranchie de ses finalités politiques et civilisatrices. Notre travail prend pour objet les conceptions de la musique qui ont vu le jour dans ce contexte de l’avènement esthétique et d’une valorisation sans précédent des émotions individuelles. En nous concentrant plus particulièrement sur Ruan Ji 阮籍 (210-263) et Ji Kang 嵇康 (223-262), figures de proue de la pléiade des Sept Sages de la Forêt de Bambous et éminents poètes, philosophes et musiciens, nous avons cherché à étudier la réflexion esthétique qui s’élabore dans leurs écrits autour des questions de l’origine et la nature de la musique, de ses fonctions morales et sociales, de son utilisation politique ou macrobiotique, de ses vertus éthiques ou diététiques, ou encore de son lien aux émotions. L’analyse textuelle est complétée par celle de pratiques ou de gestes musicaux : le sifflement chez Ruan Ji, la cithare chez Ji Kang, qui donnent corps aux discours et illustrent leur mise en œuvre concrète dans la vie de ces auteurs. De sorte que l’esthétique ne se définit plus seulement comme un discours, mais aussi comme un ethos, et que l’effort d’affranchissement de la musique est contemporain d’une d’émancipation des sujets mêmes de l’expérience esthétique. / In third-century China, the huge political and intellectual mutations occurring after the collapse of the Han dynasty result in the awakening of a new self-consciousness of man and the emergence of new philosophical trends (the so called Dark Learning), or also an artistic activity breaking off with four centuries of Confucian orthodoxy. Music, which occupies a privileged position in the life of literati, evolves as well, as far as its traditional status and practice are both concerned. No more considered a tool of moralization for the sake of civilized order or social harmony, it becomes a private and free distraction, emancipated from political or any other pragmatic purpose. The conceptions of music appearing in this context of nascent aesthetics provide the subject matter of our research. Focusing on Ruan Ji 阮籍 (210-263) and Ji Kang 嵇康 (223-262), two leading figures of the well-known literati group “the Seven Sages of the bamboo grove” who were also famous poets, thinkers and musicians, we attempt to examine their aesthetic thought throughout their main writings on music, concerning issues such as the origins and nature of music, its moral or social functions, its political or macrobiotic use, its ethical or dietetic virtues, and also its relation to man’s emotions. The textual analysis is completed by the study of musical practices or gestures (Ruan Ji’s whistling, Ji Kang’s playing the zither), that illustrate the effective application of their ideas in concrete life. Therefore, aesthetics does not only consist in a mere discourse, but becomes a kind of ethos, in which the emancipation of music is inseparable from that of the individual himself, through his aesthetic experience.

Despite the fact that there has been an enormous amount of jades excavated from the Western Han tombs of Chu Princes, Xuzhou in Jiangsu province, little scholarly literature has been focused on these artefacts. Based on archaeological findings, this thesis selects some significant jade objects as the focus of attention, including jade pendants, jade vessels, jade weapons, jade suites and other burial jades. As the role and value of jade is varied in the hierarchy of material within different cultural and historical context, the changes in its functions and meanings, to some extent reflects the changes in politics, economy, and society. Through tracing their origins, the identity of the owners and examining the changes in material and society, this study attempts to reveal the cultural and social value embedded in these objects, and in doing so to reconstruct the changes in material concepts and aesthetic ideologies in the Han periods. / On the basis of the achievements have hitherto in Han jade study, the present study is expected to shed light on our understanding of tomb culture and its relation to the society from a broader and more comprehensive perspective. Aside from placing specific types of jade into an accurate period or investigating their functions and sources, this study will read the object by cross reference to ancient textual material. / Using jade, a particular category of art objects, as the point of entry, this study seeks to explore and question the issue of materiality and identity within the context of tomb art, and the wider issue of cultural and social practices in the Han Dynasty. / 林巧羚. / Submitted: 2010年11月. / Submitted: 2010 nian 11 yue. / Adviser: Jenny F. So. / Source: Dissertation Abstracts International, Volume: 73-04, Section: A, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (p. 355-396). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Lin Qiaoling.

Chuci Zhangju was compiled by Wang Yi (ca.90--ca.158) in the Eastern Han Dynasty(25--220) as an agglomeration of Chuci studies since Qin and Han Dynasties. Chuci Zhangju gathered QuYuan (ca.343--ca.277BC) and other authors' work since the Warring States period and its annotation style---Zhangjuti has been receiving high praise. / On the modern Chuci research, Chuci Zhangju is generally viewed as a mere ancillary annotation, while compared to canonical Chuci. As a result, there is no specialized work focus on Chuci Zhangju. Only scattered academic works are found, and their core concerns are doctrine of canonical texts and literary commentaries, while explanations of words and textual criticism were included sometimes. As a lack of comprehensive analysis of Chuci Zhanju is observed, my following research is carried out in four parts, including textual, annotation, the order of arrangement and interpretation analysis. / This thesis is divided into seven chapters. Chapter One is the introduction, a brief review of Wang Yi's life story and compositions, probing into the motives of Wang Yi's Chuci Zhangju. Chapter Two covers the formation process from the text Chuci to Chuci Zhangju, centering on the inherited relation between two texts. Chapter Three discusses the order of arrangement of Chuci Zhangju, suggesting that the order is related to Chuci Shiwen so as to analyze the structural system of canonical texts and its commentaries. Chapter Four centers on Wang Yi's commentaries, and further clarifies how Wang Yi has responded to predecessors' debate on QuYuan during Han Dynasty period, in order to construct and reinforce the authority for his interpretation. Chapter Five focuses on the rhymed annotation, pointing out the correlation between it and its features, forms, times, and predecessors. Chapter Six analyses the disputes over the issue Yi-yun and Huo-yue, suggesting that the existing text has been amended by people of former times, and has little relation with Wang Yi indeed. Chapter Seven is the conclusion, summarizing the key points and the major findings of the thesis. / 陳鴻圖. / Adviser: Yiu Kwan Wong. / Source: Dissertation Abstracts International, Volume: 73-03, Section: A, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (p. 150-167). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Chen Hongtu.

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

Tato diplomová práce popisuje principy statistického strojového překladu a demonstruje, jak sestavit systém pro statistický strojový překlad Moses. V přípravné fázi jsou prozkoumány volně dostupné bilingvní česko-anglické korpusy. Empirická analýza časové náročnosti vícevláknových nástrojů pro zarovnání slov demonstruje, že MGIZA++ může dosáhnout až pětinásobného zrychlení, zatímco PGIZA++ až osminásobného zrychlení (v porovnání s GIZA++). Jsou otestovány tři způsoby morfologického pre-processingu českých trénovacích dat za použití jednoduchých nefaktorových modelů. Zatímco jednoduchá lemmatizace může snížit BLEU, sofistikovanější přístupy většinou BLEU zvyšují. Positivní efekty morfologického pre-processingu se vytrácejí s růstem velikosti korpusu. Vztah mezi dalšími charakteristikami korpusu (velikost, žánr, další data) a výsledným BLEU je empiricky měřen. Koncový systém je natrénován na korpusu CzEng 0.9 a vyhodnocen na testovacím vzorku z workshopu WMT 2010.