The thesis is a study of the May Fourth Spirit in Lin Hai-yin¡¦s novel. Her acceptance of the May Fourth literature thoughts and May Fourth women¡¦s novel had affect her writing. The first chapter is the research history of Lin Hai-yin¡¦s novel and theory of this thesis: Aesthetics of reception, narratology and Feminist Literary Criticism. In the second chapter we research Lin Hai-yin¡¦s personal history during the time of May Fourth. The May Fourth Spirit had affect her vision, but because her marginal perspective, which made her novel more objective and unique. The third chapter is the influence of May Fourth women¡¦s novel in Lin¡¦s. On the theme, subject matter, writing strategy, she followed these writer¡¦s strategy, but present more profound thoughts which different from them. In the fourth chapter we discuss the plot and characters of Lin¡¦s novel. The narrator in Lin¡¦s novel is usually a woman. Through these women¡¦s eyes, we saw a women¡¦s world that has solid sisterhood. We also saw the faces of men in her novel which are weak and escape from making decision are not the same with the traditional men¡¦s character kinds. And there also shows her concern of society through these characters. The last chapter is discussing Lin¡¦s novel¡¦s acceptation and influences in Taiwan. In past criticism, her novel¡¦s theme had been seen like homesick. But the writing strategy of women during the anti-commu period is selected themes that considered not important, like love, marriage¡Ketc. to show they concerned society by these characters¡¦ fate. In conclusion we affirmed Lin Hai-yin¡¦s novel has great value, and she is one of the most important novelists in the 1950¡¦s age.

This thesis looks at the understanding of Chinese and Western cultures within the academic working environment of internationalised higher education, and the influence on their working relationships. This research takes an interpretivist, qualitative approach. It is based on four different organisational contexts of internationalised higher education in Mainland China, Hong Kong and the United Kingdom. The four organisational contexts include a Chinese case, a Collaborative case, a Colonialism case and a British case. Qualitative interview data were collected from seventy Chinese and Western academic staff. The research examines academic staff s interpretation of Western (Hofstede s cultural dimensions) and Chinese cultural values (Guanxi, Mianzi and Harmony). The key findings are Guanxi, Mianzi and Harmony are closely related to Hofstede s cultural dimensions. Particularly, with the support of the Chinese Yin-Yang theory, it demonstrates that Hofstede s bipolar cultural dimensions are not sufficient to explain the Chinese culture. The findings also show that Western expatriate academics have stronger cultural sensitivity than the Chinese indigenous academics. Furthermore, the findings show that the organisational context has a stronger impact than the national one on employees cultural understanding and working relationships. Based on the findings, practical implications are discussed as well as limitations and recommendations for future research.

Thesis (M.A.P.S.)--Catholic Theological Union at Chicago, 2006. / Vita. Includes bibliographical references (leaves 61-64).

Thesis (M.C.M.)--Lincoln University, 2009. / Also available via the World Wide Web.

Thesis (M.B.A.)--University of Hong Kong, 1996. / Includes bibliographical references (leaf 92-93).

Thesis (M. Econ.)--University of Hong Kong, 1995. / Includes bibliographical references (leaf 94-97).

Thesis (M.A.P.S.)--Catholic Theological Union at Chicago, 2006. / Vita. Includes bibliographical references (leaves 61-64).

No description available.

The Yellow River Piano Concerto was adapted from the famous Yellow River Cantata, a grand choral work composed by Xian Xinghai in 1939, during the Japanese invasion of China. It is a very famous and important work in China and exhibits strong nationalistic characteristics. The Cantata inspired the entire Chinese nation during their defense against the largest and most brutal genocide in human history. It has since become a symbol of heroism and solidarity of all Chinese people around the world. The Yellow River Piano Concerto was composed by a group of Chinese composer-pianists in 1969 led by Yin Chengzong. All the biographies of the composers of both the Cantata and the Piano Concerto are supplied in this dissertation. The Piano Concerto consists of four movements: The Song of The Yellow River Boatmen, Ode to the Yellow River, The Wrath of the Yellow River and Defend the Yellow River. Each movement has been analyzed in terms of structure. Music examples are provided to assist in the understanding of the work. / Dissertation (MMus (Performing Art))--University of Pretoria, 2008. / Music / unrestricted

This project is a close study and translation of Heshanggong's Commentary on the Daodejing. The text, attributed to the "Old Man by the River" (Heshanggong) and dating from the Eastern Han (25-220 CE), remains one of the most historically influential readings of the Daoist classic the Daodejing. However, in modern times it has received little attention, being dismissed as a superstitious interpretation of the original. This dissertation seeks to amend contemporary scholarship and address the underlying theoretical categories responsible for this situation. These problems largely originate from a common scholarly view of Chinese civilization as foundationally monistic. Because of this bias, any hints of transcendence found in the commentary are read as later "religious" distortions of the original "philosophical" holism of the Daodejing. Rather than engaging with debates over whether Daoism is monistic or dualistic, philosophical or religious, this dissertation shifts focus away from those Western constructs. It instead draws on different binaries found within the commentator's own writings. In particular, the categories of yin and yang become central to a native reading of this tradition. Furthermore, I argue that Heshanggong's approach rests on subdividing both yin and yang into a causal relationship of mode and substance. I use this fourfold conceptual framework to analyze the key themes of the commentary, including cosmology, body, and state. So doing reveals the novelty of Heshanggong's responses to a range of conceptual and historical issues in Early China (6th century BCE-3rd century CE). First, the mode-substance reading of yin-yang challenges depictions of early Daoism as having a solely "correlative cosmos": uncreated, relativistic, and perfectly united through spontaneous resonance. Instead, it suggests a single cosmic substance originating from a first cause, the yin mode of the Way (that includes stillness, emptiness, darkness, and softness). Second, this means that contrary to the often-asserted historical split between monistic "philosophical" Daoism and dualistic "religious" Daoism, one finds a continuous tradition that seeks Heavenly spirit (yang substance) through stillness (yin mode). By excising monism and dualism from the discussion, a greater awareness of historical progression and cosmological nuance appears.