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This thesis explores the 1670 to 1683 trading relationship between the English East India Company and the Zheng family, a Ming loyalist organisation that controlled Taiwan in the late seventeenth century. It draws on the available sources of data for the Zheng family’s trading network to create an analysis of how the network functioned and developed, and then applies the available information from the East India Company’s records to understand how the company’s trade to Taiwan developed. The Zheng family’s trade was altered by their participation in the Sanfan Rebellion during the 1670s. The rebellion commercially isolated the Zheng family from mainland China, which in turn gave the East India Company an opportunity to supply substitute goods for the Zheng family’s trade elsewhere. However, the rebellion also weakened the Zheng family and brought about their surrender of Taiwan to Qing China, which ended the company’s trade there as well. / History

Ce projet propose la contextualisation, la traduction et l'annotation du « Shugai 書概 [Précis de calligraphie] » de Liu Xizai 劉熙載 (1813-1881), esthète, calligraphe, lettré-fonctionnaire et pédagogue de la fin du XIXe siècle. Nous nous pencherons sur la façon d’aborder l’histoire des genres calligraphiques et l’histoire des écoles liées aux grands maîtres ainsi que sur l’esthétique propre à cette pratique de tradition lettrée, perceptible à la façon de juger d’une œuvre et d’exprimer les relations étroites entre le calligraphe et son écriture. Cette réflexion débouchera sur une analyse détaillée des images et des termes pour dire la conception, la réalisation et la réception d'une œuvre. Parmi ces termes, nous analyserons l'emploi des termes d'origine corporelle utilisés dans un cadre critique. Notre corpus textuel est centré sur le « Précis de calligraphie » dont nous proposons une traduction inédite en français, tout en s'ouvrant sur l'ensemble du Précis des arts dont le « Précis de calligraphie » fait partie et sur les traités antérieurs sur lesquels il prend appui. Notre corpus est également visuel et comprend les stèles bei et les estampages de stèles ainsi que les livres de calligraphies modèles tie. Nous pourrons ainsi faire correspondre les descriptions et évaluations esthétiques à la réalité visuelle des œuvres et mieux comprendre comment la pratique et l’art de la calligraphie étaient conçus et présentés à la fin de la Chine impériale, avant la rencontre avec les pratiques et les concepts de l'art occidental. / This project proposes to contextualize, translate and annotate the "Shugai 書概[Synthesis of calligraphy]" written by Liu Xizai 劉熙載 (1813-1881), a thoughtful scholar and calligrapher of the late Qing Dynasty. This treatise is an overview of calligraphic art and terminology of traditional Chinese aesthetic. The “Synthesis of calligraphy” details practices and concepts. It presents the jointure between the key terms of aesthetics and Chinese calligraphy. We will analyse how the history of writing styles and schools are presented and the way a work of art is judged, in its relations to the writter and to the viewer. We will open a discussion on the choice of images and metaphors to speak about the practice of calligraphy and reception of a work of art and how it originates in the specific artistic and aesthetic experience of the scholars in traditional China. Among these key terms, we will seek to analyze those of bodily origin. The core focus is the “Synthesis calligraphy”, that we will thoroughly translate, while engaging the entire Yigai [Treatise on the Arts] from which the “Synthesis of calligraphy” is a part and previous treatises to which it refers. The project also includes visuals: steles (bei) and rubbings of headstones and model calligraphy books (tie). This will allow us to match the descriptions and appreciations of the art pieces with the reality of visual works and to better understand how calligraphic practice and art were conceived and expressed at the end of imperial China before its encounter with Western art.

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嘉靖三十二(1553)年，葡萄牙人賄賂廣東官員，以「水溼貢物」為由遷入澳門，自此澳門成為葡萄牙人在華的聚居地，而明、清兩朝皆對澳內葡人實行治理。然而，光緒十三(1887)年清朝確立葡國永居管理澳門的地位，由此澳門成為了葡國的殖民地，在以後一百多年時間，澳門相關糾紛都是構成中葡交涉的重要部分，直到1999年葡國正式將澳門主權歸還中華人民共和國，中國才重新治理澳門。 澳門擁有複雜的歷史背景，加上，礙於時代氛圍影響，學界一般認為明、清兩朝視澳門為涉外問題，繼之將澳門史、中葡關係史兩種截然不同的概念混為一談，在這種「後見之明」的史觀之下，又利用錯誤的「朝貢體系」論的各種觀點來詮釋中葡關係史與澳門史，以致既有明、清澳門史研究無法體現中國各個時期治理澳門的意義，而且，既有的中葡關係史、澳門史論述皆存在諸多與史實矛盾之處，特別是在清代的部分。現今學界已出現全面推翻「朝貢體系」論的研究，有見及此，本研究利用「同時代史觀」，試圖站在清朝的立場，重新理解中葡關係與澳門問題。 本研究除了緒論與結論外，共分三章。首先從清朝對外多元關係當中，重新審視中葡關係，得知清代中葡關係非「朝貢體系」論所指的「天朝VS朝貢國」的不平等關係，而清朝只不過視葡國為遠在海外的小國，兩國不存在正式國交關係，由於清朝視澳門為非「涉外」事務，而是「內政」問題，因此不會將澳門問題放在中葡關係討論。在釐清中葡關係與澳門治理性質後，本文第二、三章分別從中國的視角，重新詮釋明、清澳內葡人的司法治理、互市制度。 通過以上三章，不僅能看到本文重建了有別於既有澳門史所呈現的歷史面貌，解決了既有澳門史論述的謬誤與矛盾，也明確區分了出明、清兩朝治理澳門不同的意涵。 / Since the 32nd year of the reign of Emperor Jiajing of the reign of the Ming Dynasty, Portuguese people had bribed the officials of Guangdong, China, and had entered Macao by saying that “their goods had got wet.” Macao since then had become a Portuguese settlement in China, and the Portuguese in Macao had been governed by the governments of China during the Ming and the Qing dynasties. However, in the 13th year of the reign of Emperor Guangxu of the Qing Dynasty, the Chinese government recognized that the rights of Portuguese that enable them to permanently live and manage Macao. As such, Macao became a colony of Portugal. During the following one hundred years, Macao had been treated as a part of the diplomacy between China and Portuguese. Until 1999, the Portuguese government returned Macao to the Peoples Republic of China, and Macao has therefore been governed by the Chinese government again. Macao owns a complicated historical background. In addition, due to the social context, the academic circle generally believe that the issues in Macao in the Ming and the Qing dynasties had been treated as issues of diplomacy, and researchers usually mix up the two fundamentally different concepts, history of Macao and history of China-Portugal relationship. Such historical outlook of “hindsight” and the incorrect views of the study of “the Tribute System” have led to the incapability of the study of Macao history of the Ming and the Qing dynasties in presenting the significance of the governance of Macao in various periods of time. Moreover, the existing study of history of China-Portugal relationship and of history of Macao contradicts each other in terms of the historical “facts” provided, especially in the part of the Qing dynasty. Currently, the study of “the Tribute System” has been proved erroneous in the academic circle, thus this essay, with the “synchronized historical outlook,” aims at re-exploring the China-Portugal relationship and the issues of Macao in the point of view of the Qing dynasty. Besides the introduction and the conclusion, this thesis has three chapters in total. In the first chapter, the author reviews China-Portugal relationship from the perspective of the various diplomatic relationship between China in the Qing dynasty and other countries, and realizes that China-Portugal relationship had not been the unequal relationship as “Mandate heaven VS tribute states” stated in the study of the “Tribute System”. Furthermore, the government of the Qing dynasty had treated Portugal as a small country overseas, and the two countries had not had official diplomatic relationship. Since the government of the Qing dynasty had viewed the issues of Macao as domestic issues rather than those of diplomacy, the issues of Macao had not been brought up in the discussion of China-Portugal relationship. Clarifying China-Portugal relationship and the nature of the governance of Macao, the second and the third chapters respectively, from a perspective of China’s domestic governance, re-present the justice and trading system of the Portuguese people in Macao during the periods of the Ming and the Qing dynasties. With the three chapters, this thesis does not only reconstruct the history presented by the history of Macao and solve the existing fallacies and conflicts, but also clearly distinguishes the different significance of the governance of Macao in the Ming and the Qing dynasties.

Quelles sont les voies par lesquelles les changements sociaux affectent les identités collectives et de quelle manière une nouvelle identité vient à être adoptée par une population. Les grandes transformations qui eurent lieu en Mongolie du 19e siècle à la moitié du 20e siècle seront abordées pour tenter de répondre à ces questions. Dans un court laps de temps, cette région passa par trois systèmes politiques différents; d'une partie semi-autonome du territoire de l'empire Qing à une théocratie bouddhiste puis à une République populaire. Dans chacun des cas, les contextes sociaux ayant provoqué des changements dans la définition identitaire seront abordés ainsi que la forme par laquelle les nouveaux concepts d'identité collective allaient être sélectionnés, modifiés ou construits. / Great social transformations took place in Mongolia from the 19th to the first half of the 20th century where the region changed in a very short amount of time from being a semiautonomous part of the Qing empire to being a theocratic Buddhist state, to finally becoming a People's republic. This thesis illustrates the ways in which social changes have affected the collective identities and how these came to be adopted by the population. In each of these cases, the social context which brought changes in the definition of identity are analyzed as well as the nature from which the new collective concepts are selected, modified or constructed.

English Abstract This M.A. thesis analyses the politics of indirect rule within the peripheral area of Liangshan in southern Sichuan, which the imperial court tried to implement thru appointment of hereditary offices of indigenous chieftains (ch. tusi or tuguan). It uses primary sources in classical Chinese from official histories, local gazetteers, ethnographic studies and other documents, as well as secondary literature in Czech, English, French, German and Chinese. This thesis is divided into three interrelated chapters. The first chapter outlines the origin, changes and development of systems of indirect rule in Southwest China. The final stage of the development this political mechanism was a so-called "native chieftain system" (ch. tusi zhidu), through which the central court managed peripheral regions of its empire during Yuan, Ming and Qing dynasties. This chapter focuses on the development of these systems of indirect rule from the Warring States era (5th century BC) to the beginning of 20th century. The second chapter explores ethnographic, historico-political and ethnohistorical descriptions of Liangshan region. This chapter will then define the Liangshan region through geographical, political (the imperial court), and indigenous (ethnic) perspectives and therefore finalizes a theoretical...

徐渭《四聲猿》由《狂鼓史漁陽三弄》、《玉禪師翠鄉一夢》、《雌木蘭替父從軍》和《女狀元辭凰得鳳》四個雜劇組成，對明清雜劇的影響深遠。《四聲猿》從問世到清代，文人雅士通過序跋、評點、刊刻和擬作紛紛顯示出對《四聲猿》的關注。究竟《四聲猿》有甚麼獨特之處吸引著明清二代的文人？他們所關注的又是甚麼呢？又明清文人對其接受有何不同？雖然關於《四聲猿》的研究已經非常豐富，但卻集中文本內部的討論，加上資料的缺乏，對《四聲猿》在明清的接受概況缺乏全面的分析。因此，筆者致力於搜集《四聲猿》在明清時期的評點本及與《四聲猿》聯繫的雜劇創作，欲勾勒出明清文人對《四聲猿》接受的情況；且有幸發現一些未被學界引用的評點善本及戲曲創作，尤其是當中新發現上海圖書館所藏的明天放道人評點善本，展示了《四聲猿》更多元化的接受方向。 / 本文主要從兩方面分析《四聲猿》在明清的接受概況，第一，從《四聲猿》的版本流傳及演出紀錄、傳播者、戲曲批評、戲曲創作四方面分析明清文人對《四聲猿》的接受；第二，則以時間為軸線，從明中葉、晚明清初、清中期及清末四個階段分析文人對其接受重心的轉變。本文共分七章，第一章為緒論部分，首先簡介徐渭的生平及《四聲猿》、研究概況、本文的研究動機及方法；第二章為《四聲猿》與民間文化、文人文化的關係，分析作品對民間文化的吸收及當中所體現的文人對自身及社會的關注；第三章介紹《四聲猿》的明清版本流傳及演出紀錄；第四章為《四聲猿》的明清評點與批評，從對《四聲猿》起傳播作用的重要人物袁宏道、澂道人及其他戲曲批評家分析《四聲猿》在明清接受的面貌，當中更會引用新發現的天放道人評點本如何將《四聲猿》擴展至社會功用的價值；第五章為晚明至清中葉戲曲家對《四聲猿》的仿寫與續作，通過對沈自徵《漁陽三弄》、張韜《續四聲猿》、桂馥《後四聲猿》的擬作分析探討明清不同時期對《四聲猿》接受的重心轉變；第六章為猿啼五聲──清末戲曲家洪炳文《懸嶴猿》研究，分析在時局動盪、國家危難之時，劇作家如何深化《四聲猿》猿啼之悲的意象，以此鼓勵人心，圖以救國；最後第七章則總結明清以來，《四聲猿》在戲曲批評、戲曲作品以致詮釋上方面的轉變。 / Xu Wei（徐渭） sisheng yuan（《四聲猿》） is very important in the Ming and Qing Dynasty. It includes four short plays, they are Kuang gushi yuyang san nong（《狂鼓史漁陽三弄》）, Yu chanshi cuixiang yimeng（《玉禪師翠鄉一夢》）, Ci Mulan tifu congjun（《雌木蘭替父從軍》）and Nu zhuangyuan cihuang defeng（《女狀元辭鳳得凰》）. During the Ming and Qing Dynasty, literti paid a lot of attention on sishengyuan accroding to the criticism, preface, ed his works and simulated drama creation（擬作）, why did they attach great importance to sishengyuan? What were their concern? Also, what is the difference of reception between the Ming and Qing Dynasties? The research on the sishengyuan has already got many achievement, but most of them were based on the textual study. The previous research lack of a comprehensive analysis of sishengyuan reception. Therefore, this paper is aim to sketched out the image of recognition process of Xuwei ’s Sishengyuan in the Ming and Qing Dynasty. / This paper is divided into seven chapters. The first chapter is the introduction of xuwei sishengyuan, research review and method. In the second chapter, we will analysis sishengyuan’s vulgar culture and xuwei’s concern about the society. The third chapter is sishengyuan’s versions and performance record in the Ming and Qing Dynasty. In the chapter four, we will analysis sishengyuan’s criticism in the Ming and Qing Dynasty. It included Yuan hongdao（袁宏道）, Daoist Cheng（澂道人） and other important literati, Also we will use the new discovered details of Daoist Tianfang’s(天放道人) criticism, to find how did he extened the sishengyuan’s value to the social function. The chapter five is the simulated zaju（擬作）during the late Ming the the early Qing. They are Shen zizheng’s（沈自徵） yuyang sannong（《漁陽三弄》） Zhan Tao’s（張韜） xu sishengyuan（《續四聲猿》）, Gui Fu’s（桂馥） hou sishengyuan（《後四聲猿》）. In this chapter we will find the difference of sishengyuan’s reception between them. The chapter six is a study on the Hong bingwen’s（洪炳文） yuan aoyuan（《懸嶴猿》） in the late Qing. It will focus on how did he deepen the imagery of sisheng yuan to encourage people to save their country. The last chapter is an summary of the sishengyuan’s reception in the Ming and Qing Dynasty. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 楊培紅. / "2013年1月". / "2013 nian 1 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 212-219). / Abstract in Chinese and English. / Yang Peihong. / Chapter 第一章 --- 緒論 / Chapter 第一節： --- 明清雜劇發展史視野下的徐渭《四聲猿》 --- p.P.1 / Chapter 第二節： --- 研究述評 --- p.P.4 / Chapter 第三節： --- 研究動機 --- p.P.10 / Chapter 第四節： --- 研究方法及範圍 --- p.P.11 / Chapter 第二章 --- 《四聲猿》與民間文化、人的關係 / Chapter 第一節： --- 徐渭的戲曲觀 --- p.P.14 / Chapter 第二節： --- 《四聲猿》的民間文化 --- p.P.16 / Chapter 第三節： --- 文人的抒情與寄託 --- p.P.24 / Chapter 第三章 --- 《四聲猿》的明清版本與演出紀錄 / Chapter 第一節： --- 版本介紹 --- p.P.36 / Chapter 第二節： --- 選本及演出紀錄 --- p.P.38 / Chapter 第三節： --- 結語 --- p.P.45 / Chapter 第四章 --- 《聲猿》的明清評點與批評 / Chapter 第一節： --- 袁宏道傳記與評點對《四聲猿》的播作用 --- p.P.46 / Chapter 第二節： --- 孟稱舜對《狂鼓史》與雌木蘭的改評 --- p.P.62 / Chapter 第三節： --- 新發現的天放道人評《四聲猿》及其教化旨趣 --- p.P.68 / Chapter 第四節： --- 澂道人的評點及其生平考證 --- p.P.82 / Chapter 第五節： --- 結語 --- p.P.98 / Chapter 第五章 --- 晚明至清中葉戲曲家對《四聲猿》的仿寫與續作 / Chapter 第一節： --- 沈自徵《漁陽三弄》 --- p.P.99 / Chapter 第二節： --- 張韜《續四聲猿》 --- p.P.121 / Chapter 第三節： --- 桂馥《後四聲猿》 --- p.P.138 / Chapter 第四節： --- 結語 --- p.P.162 / Chapter 第六章 --- 猿啼五聲－－清末戲曲家洪炳文《懸嶴猿》研究 / Chapter 第一節： --- 猿啼五聲的創作結構 --- p.P.166 / Chapter 第二節： --- 忠臣護主之鳴 --- p.P.171 / Chapter 第三節： --- 孤臣抗之鳴 --- p.P.176 / Chapter 第四節： --- 懲兇儆奸之鳴 --- p.P.178 / Chapter 第五節： --- 救亡圖存之鳴 --- p.P.181 / Chapter 第六節： --- 女史展墓之鳴 --- p.P.188 / Chapter 第七節： --- 結語 --- p.P.197 / Chapter 第七章 --- 總結 / 附錄