This dissertation offers an in-depth analysis of Tibetan military history, examining the development of military institutions and practices from the Tibetan Imperial period in the 7th century to the Ganden Podrang period in the 17th and 18th centuries. Drawing on a wealth of multilingual sources and employing both quantitative and qualitative research methods, the study investigates the formation of a professional Tibetan army during the period of the Ganden Podrang (1642–1959), the Buddhist government of the Dalai Lamas. This dissertation argues that establishing the Tibetan army necessitated administrative organization and fiscal reform that led to the rise of a modern state. These institutional and military reforms initiated by the Fifth Dalai Lama during the 17th century catalyzed a series of socioeconomic and religious changes that influenced modern state-building and bureaucratization of Tibet and the Chinese Qing Empire (1644–1911). The research highlights the often-overlooked state-building projects of the Fifth Dalai Lama and the Gelukpa, focusing on the military institutions and logistics of the Ganden Podrang. It also investigates the successful integration of Bhutan into Tibet’s tributary system by the civil king Polhané and the reforms in the Tibetan military system following the Gurkha War (1788–1793) and the increasing interactions between the Qing troops and the Tibetan army. Furthermore, the dissertation explores the potential of Big Data to revolutionize historical research in the context of Tibetan military history. This comprehensive examination of Tibetan military history aims to provide a deeper understanding of historical events and processes. The findings of this dissertation offer valuable insights into the development and transformation of Tibetan military institutions, governance, and borderlands interactions, as well as the potential applications of Big Data in Tibetan history.

1 Michal Vázal: The Confucian Ideal of Harmonious Community according to the Norms of the Wu Lineage from Mingzhou Abstract Abstract: This paper aims to characterize the structure and values produced by rituals in a kinship community, and how these characteristics subsequently helped to shape a harmoniously working community and its ideological relationship with the state in terms of local governance. The rituals in question are partially confined in time and place, as they are observed on one particular community, and are examined only in the extent of the primary source named "The Norms and Rituals of the Wu Lineage of Mingzhou" (Mingzhou Wu Shi Jiadian) - a ritual manual authored mainly by Wu Di (died 1736) from the village of Mingzhou, which belonged to the Huizhou prefecture (the south of the present day Anhui province). On the other hand, this text is largely based on Zhu Xi's "Family Rituals" (Jiali) which were viewed across the country as the ritual standard. The most essential rituals used to govern the lineage were coming of age ritual, wedding rituals, funeral rituals and sacrifices to ancestors. A unifying principle behind the structure and values these rituals created was seniority. The lineage structure was created mainly by the system in which the branches of firstborn sons were superiors to...

Shi Hua is an important genre in the traditional Chinese literary criticism. The Qing dynasty (1644-1911) is the prime period of the composition of Shi Hua, the number of which amounts to a total of more than 1,000 works. Compared with other dynasties, this figure is unsurpassable. The study of Shi Hua usually focuses on one author, one school or one dynasty, and a large-scale research from the vision of area is rare. This dissertation aims to study the works of Shi Hua of the Guangdong Province in the Qing Dynasty. Starting to appear in the Ming dynasty (1368-1644), the works of Shi Hua of Guangdong became abundant in the Qing dynasty. Even after the founding of the Republic of China in 1911, the composition of the works of Shi Hua was still occasionally observed. During the Qing dynasty, about 100 works of Shi Hua were composed by the authors of Guangdong nativity, while only 30-odd works are still extant. The rich content of these works demonstrates the intimate relationships between the Shi Hua of Guangdong and the poetry of the same area as well as the entire Qing dynasty. / The study of this dissertation is three-layered. Firstly the historical development of the works of Shi Hua of Guangdong in the Qing dynasty is discussed, and the information about the extant works and their authors is investigated. Secondly the development and evolution of the Guangdong poetry are analyzed on the basis of the content of the works of Shi Hua. Thirdly the theories and the value of several important works of Shi Hua in Guangdong are studied. The dissertation is divided into eight chapters: Chapter 1, the development of the works of Shi Hua of Guangdong in the Qing dynasty: in a chronological order, the development of the works of Shi Hua of Guangdong in the Qing dynasty is discussed in order to outline their literary thoughts. Chapter 2, the works of Shi Hua of Guangdong in the Qing dynasty and their authors: the authors' nativities and the background of composition are scrutinized. Chapter 3, the discussions about the Guangdong poetry in the works of Shi Hua of Guangdong in the Qing dynasty: the regional features of the Guangdong poetry discussed in the Shi Hua and their relations with poetry societies, clans, paintings, political background and the compilation of collectanea are studied, and the poetic thought of 'Tang-following' is emphasized. Chapter 4, the study in the works of Shi Hua of Huang Pei-fang: Huang's attitude towards the Qing poetry is studied, his poem creation theory is examined so as to reveal his poetic thought of 'Tang-following'. Chapter 5, the study in the works of Shi Hua of Zhang Wei-ping: Zhang's comments on the Qing poetry is studied, the principles and influence of his works of Shi Hua are deduced, and his poetic thoughts of 'spirit' and 'profoundness' are explored as well. Chapter 6, the study in the works of Shi Hua of Liang Jiu-tu and He Yue-yu: Liang's poetic thoughts of 'temperament' and 'freshness' is studies, and He's eclectic theory of the Qing poetry and the traditional poems is assessed. Chapter 7, the study of Liang Qi-chao's Yin Bing Shi Shi Hua: Liang's idea of literary revolution is studied, and his reforming poetic thought of new ambition and old style is illustrated. Chapter 8, the Study of Huang Jie's Shi Xue: Huang's construction of the history of Chinese poetics and its influence is probed. / 程中山. / 論文(哲學博士)--香港中文大學, 2007. / 參考文獻(p. 406-418). / Adviser: Kuan Io Wong. / Source: Dissertation Abstracts International, Volume: 69-02, Section: A, page: 0601. / 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, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / School code: 1307. / Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2007. / Can kao wen xian (p. 406-418). / Cheng Zhongshan.

本文以性別研究視野作為孟稱舜言情劇作研究的新切入點，透過分析相互關連的個案，重新審視孟氏劇作中「情」的意蘊及言情觀的發展。全文旨在從個人、社會、家國的視角審視孟稱舜戲曲如何寫「情」，並按照戲曲寫作的順序和體裁之脈絡，以文本細讀方式探討劇作。 / 本文的重點有二，第一是展現孟稱舜劇作的「情」在不同時期有不同的側重點：早期雜劇中對「真」的讚揚，至中期傳奇《嬌紅記》提倡情正，後期傳奇《二胥記》對誠的推崇，以至《貞文記》情與貞的一體兩面等。這顯示了作者寫情的層層深入與遞進。從晚明到清初，孟稱舜言情劇作的「情」在呼應湯顯祖之餘，其覆蓋的範圍更廣，從男女愛情延伸至歷史和家國層面，也展示了更複雜的寫情框架。第二是揭示孟稱舜戲曲如何繼承湯顯祖寫情的藝術手法，並表現了十七世紀明清戲曲文學對性別觀念的文化建構，尤見於後期傳奇對情與自我、身分、角色的思考。孟稱舜言情劇作敘寫男女人物的情感經驗，緊扣時代文化風潮，因而給予性別更豐富的詮釋空間，有別於一般只借女性角色寄託象徵意涵的方式。本文把孟稱舜戲曲置於繼承《牡丹亭》，下開《桃花扇》之間的過渡時期審視，透過突顯孟稱舜在明清戲曲史上承先啟後的重要貢獻，藉此重新評價其文學地位。 / The thesis examines Meng Chengshun’s conception of qing [love; passion; sentiment] and traces the development of his views towards love and relationship over time as embedded in his romantic plays. Through analyzing the interrelations between texts under the perspective of gender studies, this thesis aims at giving a close reading of Meng’s plays in respect to the representation of “qing on personal, communal and national level in chronological order with modifications according to the genre of the texts. / The study has two main points. First, it exhibits Meng’s different representations of “qing and their orientations in different periods. For instance, the early zaju dramas praises the quality of “truthfulness; in the middle period, the chuanqi dramas champions qingzheng; in the late period, Erxuji worships “zheng and Zhenwenji applauds the symbiosis of qing and chastity. The trajectory is evident of Meng’s growth of depth and intensity in the depiction of “qing. From late Ming to early Qing period, Meng’s plays do not only echo Tang Xianzu’s, they also sophisticate the framework of “qing and cover a broader scope, ranging from romantic love to aspects of history and nation. Second, the study reveals the way Meng’s plays inherit the aesthetics of qing of the Tang Xianzu and present the cultural constructs of gender roles of Ming and Qing plays in the seventeenth century, which are particularly prominent in the relation of “qing with self, identity and role, in the late chuanqi. The selected plays embody the cult of qing in Meng’s contemporary era in the portraits of romantic relations and their occupation with the romantic theme provides a greater room for gender reading. Meng’s representations of female characters distinguish from the common way of simply using them as symbols. In brief, the thesis places and examines Meng’s works in the transition period between Mudanting and Taohuashan. Through explicating Meng Chengshun’s significant role in the history of Ming and Qing plays as both a successor of traditions and forerunner of new ideas, this thesis sheds new light on the playwright’s literary achievement. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 胡凱琪. / "2012年8月". / "2012 nian 8 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 216-235). / Abstract in Chinese and English. / Hu Kaiqi. / 摘要 --- p.i / 目錄 --- p.iv / Chapter 第一章 --- 緒論 --- p.1 / Chapter 一、 --- 研究緣起 --- p.1 / Chapter 二、 --- 孟稱舜概述 --- p.2 / Chapter （一） --- 生平 --- p.2 / Chapter （二） --- 交游 --- p.8 / Chapter （三） --- 著作 --- p.11 / Chapter 三、 --- 研究回顧及綜述 --- p.19 / Chapter 四、 --- 問題意識和研究方法 --- p.27 / Chapter 五、 --- 論文各章內容 --- p.32 / Chapter 第二章 --- 孟稱舜雜劇中「情」的書寫 --- p.35 / Chapter 一、 --- 重寫才子佳人愛情 --- p.35 / Chapter （一） --- 《桃源三訪》中情與性別的表述 --- p.37 / Chapter （二） --- 《花前一笑》中情的喜劇式調和 --- p.54 / Chapter （三） --- 《泣賦眼兒媚》中功名與愛情兼得的兩難局面 --- p.70 / Chapter （四） --- 小結 --- p.79 / Chapter 二、 --- 《殘唐再創》中個人、 家國與歷史寄寓 --- p.81 / Chapter 三、 --- 結語 --- p.92 / Chapter 第三章 --- 《嬌紅記》之「魂旦」的塑造與「情正」思想之關係 --- p.97 / Chapter 一、 --- 「情正」與「同心子」 --- p.99 / Chapter 二、 --- 原著中魂旦的塑造與作用 --- p.103 / Chapter 三、 --- 《嬌紅記》中魂旦的意蘊與「情正」之關係 --- p.104 / Chapter （一） --- 女性主體的模糊：似是而非的人鬼對照 --- p.106 / Chapter （二） --- 「同心子」關係的謔倣與考驗 --- p.110 / Chapter （三） --- 魂旦和嬌娘的行為對比及差異 --- p.115 / Chapter （四） --- 魂旦結局的雙重意蘊之一：情與欲的平衡 --- p.120 / Chapter （五） --- 魂旦結局的雙重意蘊之二：情與欲的共生與並存 --- p.122 / Chapter （六） --- 《嬌紅記》魂旦在清代的回歸：情色欲望的對象 --- p.125 / Chapter 五、 --- 「情正」的餘韻 --- p.127 / Chapter 六、 --- 結語 --- p.132 / Chapter 第四章 --- 《二胥記》之「誠」與忠孝之情 --- p.135 / Chapter 一、 --- 情的重申與肯定：「誠」 --- p.137 / Chapter （一） --- 申包胥與明亡：忠臣復國的刻畫 --- p.139 / Chapter （二） --- 伍子胥與為父盡孝：報仇的意蘊 --- p.148 / Chapter 二、 --- 「誠」的爭議：既一致又矛盾 --- p.155 / Chapter 三、 --- 結語 --- p.158 / Chapter 第五章 --- 《貞文記》的「情貞」與自我認同 --- p.162 / Chapter 一、 --- 關於《貞文記》成書年份的分歧 --- p.163 / Chapter 二、 --- 情的多重聲音：世變中對情的反思 --- p.165 / Chapter （一） --- 情的回溯與回顧 --- p.167 / Chapter （二） --- 自我的探索：夢與情的關係 --- p.171 / Chapter （三） --- 愛情與自我定位 --- p.173 / Chapter 三、 --- 情與家國 --- p.176 / Chapter （一） --- 忠貞的矛盾與轉移 --- p.180 / Chapter （二） --- 女性與貞的象徵 --- p.183 / Chapter （三） --- 以貞喻忠 --- p.186 / Chapter 四、 --- 自我記憶與「文」的意蘊 --- p.192 / Chapter 五、 --- 餘韻：情的最終歸處 --- p.197 / Chapter 六、 --- 結語 --- p.201 / Chapter 第六章 --- 結論 --- p.205 / Chapter 附錄 --- 歷代《嬌紅記》戲曲 --- p.214 / 參考書目 --- p.216 / Chapter 一、 --- 基本文獻 --- p.216 / Chapter 二、 --- 專書 --- p.221 / Chapter 三、 --- 文集論文 --- p.225 / Chapter 四、 --- 期刊論文 --- p.229 / Chapter 五、 --- 學位論文 --- p.232 / Chapter 六、 --- 外國專書／論文 --- p.232 / Chapter 七、 --- 網上資料 --- p.235

本文是第一部專以清初陶學為研究對象的論文，擬從文人的情懷、詩學的演變、詩歌的用意、意象的運用、注本的闡釋等多角度概述清初陶學的全貌。在方法上，筆者除分析當時文人對陶淵明的評論外，還選取了清初四十家身份不同的文人，比較他們詩作中運用的陶淵明典故，探討他們對「陶淵明形象」的塑造與取捨，並以歷史背景為線索，梳理陶淵明意象在清初文人心目中地位的差異與其變化。 / 基於上述的研究，筆者認為以往學術界把清初陶學只理解為「忠憤」的表現是不夠全面的，尤其是清初關於陶淵明的討論，除了遺民文人有熱烈的參與外，非遺民文人亦有相當數量的研究，而且他們之間還存在着不少的交流，互相回應。正因如此，清初和陶風氣盛極一時，並且出現了一種嶄新、「反其致」的和陶現象--〈反乞食〉詩。 / 這種借用陶淵明的意象互相交流與回應，更多反映在詩歌方面。清初文人借讀陶、評陶、和陶等方法抒發他們於易代間的鬱悶。這種詩歌世界，重現了陶淵明筆下的桃源，在這裏，他們「不知有漢，無論魏晉」，思想上可以暫時脫離現實的痛苦，悠然人間。這也使得清初《陶集》評注本的編撰，一改南宋以來十卷本的「全集」形式，而偏重於四卷本，只收錄詩作的體制。 / The author intends to discuss the reception of Tao Yuanming in the Early Qing Dynasty from the aspects such as the emotions of poets, the changes of poetics, the intentions of poetries, the poetic imageries and the differences of the editions. And, it is the first work focusing solely on the reception of Tao Yuanming in the Early Qing Dynasty. Regarding the research methods, this dissertation not only studies the critiques through the existed methods, but also analyses the existed materials in a different manner. By comparing the literary allusions of Tao Yuanming’s life of 40 scholars lived in Early Qing who had different social background, the thesis discusses how these people constructed the images of Tao Yuanming and how they selected from Tao’s qualities. The thesis also tries to sort out the different attitudes of Tao among scholars of Early Qing and its changes with regard to the historical context. / Based on the research, the author finds out that the existed understanding of the reception of Tao Yuanming in the Early Qing, which focuses on the leftover citizen’s aspect, and which portrays Tao image as a rebellion was largely incomplete. Apart from the vigorous discussions regarding the images of Tao among the leftover citizen, the non-leftover citizen also discussed Tao with great enthusiasm. Under this circumstance, a new form of He Tao Shi(和陶詩) “poems written to match Tao’s , was found in opposite mode in order to response to those leftover citizen. / By appropriation of Tao’s images in their communication and responding each other especially in poems, scholars lived in Early Qing expressed their uneasiness and pain as in the change of the regime through reading, commentary and writing of Tao’s collections. Thus, this special kind of poem allowed the Early Qing scholars to escape from the distress of the reality to an ideal world, a typical example of which was “Peach-Blossom Spring created by Tao Yuanming. This tendency reflected in the editions of Tao’s works in Early Qing Dynasty that Tao’s poems received much attention while other forms of works were not included in the collections of works. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 梁樹風. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 331-376) / Abstracts in Chinese and English. / Abstracts in English and Chinese. / Liang Shufeng. / 提要 --- p.I / 目錄 --- p.III / Chapter 第一章 --- 緒論 --- p.1 / Chapter 第一節 --- 研究範圍 --- p.1 / Chapter 第二節 --- 研究旨趣 --- p.7 / Chapter 第三節 --- 相關文獻回顧 --- p.14 / Chapter 第四節 --- 論文架構與研究方法 --- p.17 / Chapter 第二章 --- 清初陶學背景 --- p.24 / Chapter 第一節 --- 明清易代與文人「生死」的抉擇 --- p.24 / Chapter 第二節 --- 陶淵明生存方式對清初文人的啟示 --- p.29 / Chapter 第三節 --- 清初文人寄情陶淵明的表現 --- p.37 / Chapter 第四節 --- 清初遺民的逃禪與蓮社之約 --- p.56 / Chapter 第三章 --- 清初詩學與陶詩評價的關係 --- p.91 / Chapter 第一節 --- 清初詩壇尋「真」對陶詩評價的影響 --- p.91 / Chapter 第二節 --- 清初「詩史」的重視與陶淵明甲子紀年之義 --- p.115 / Chapter 第三節 --- 清初田園詩的復興與陶淵明田園詩內涵的解讀 --- p.130 / Chapter 第四章 --- 清初的擬陶、集陶與和陶 --- p.151 / Chapter 第一節 --- 清初擬陶與集陶的表現與陶文詩意的賞讀 --- p.152 / Chapter 第二節 --- 清初和陶詩的表現與其意義 --- p.162 / Chapter 第三節 --- 清初擬陶、和陶的觴濫--陶淵明〈酒二十首〉 --- p.169 / Chapter 第四節 --- 清初的「反乞食詩」 --- p.184 / Chapter 第五章 --- 清初的陶淵明意象與繪事 --- p.206 / Chapter 第一節 --- 清初陶淵明與菊的意象與繪事 --- p.207 / Chapter 第二節 --- 清初桃源的意象與繪事 --- p.228 / Chapter 第六章 --- 清初《陶集》評注本 --- p.257 / Chapter 第一節 --- 《陶淵明集》版本源流與清初的《陶淵明集》 --- p.257 / Chapter 第二節 --- 清初的《陶淵明集》注釋 --- p.277 / Chapter 第三節 --- 清初《陶集》評注的特色 --- p.319 / Chapter 第七章 --- 結論 --- p.328 / 參考書目 --- p.331 / Chapter 附錄一 --- 清初文人詩作用陶淵明典故語句輯錄 --- p.1 / Chapter 附錄二 --- 清初文人用陶淵明典故的創作時間與數量分佈 --- p.105 / Chapter 附錄三 --- 歷代書目所錄《陶淵明集》 --- p.106 / Chapter 附錄四 --- 宋代《陶集》注本研究 --- p.119 / Chapter 附錄五 --- 清初文人和陶詩附表 --- p.147

University of Macau / Faculty of Arts and Humanities / Department of Chinese

No description available.

Liao Weichun. / "August 2004." / Thesis (Ph.D.)--Chinese University of Hong Kong, 2004. / Includes bibliographical references (p. 249-268). / 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 Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Abstracts in English and Chinese.

劉喜儀. / Six poets are: 朱彝尊、李良年、李符、沈皞日、沈岸登、龔翔麟. / Six poets are: Zhu Yizun, Li Liang'nian, Li Fu, Shen Haori, Shen Andeng, Gong Xianglin. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 228-245) / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Liu Xiyi.