Alors que les premiers romans de l’auteure sino-canadienne Ying Chen pouvaient aisément être rattachés à l’écriture migrante, ses dernières publications s’inscrivent moins clairement dans ce corpus. Pourtant, la critique les aborde encore généralement à partir de cette perspective. La présente étude a pour but d’analyser les romans de Chen qui mettent en scène la « même » narratrice anonyme à partir d’une approche plus appropriée, c’est-à-dire le thème de la cellule familiale. Les écrits féministes sur le rôle de la femme dans la société patriarcale ainsi que ceux sur le récit de filiation façonnent le regard porté sur les tensions au sein de la famille au fil de cette analyse. Le corpus à l’étude se compose du roman Immobile, qui met en scène une femme rejetant la filiation au profit d’ancêtres imaginaires, Le Mangeur qui se concentre sur une paternité étouffante et Un enfant à ma porte qui relate l’échec de la maternité. / If the first novels of Chinese born Canadian author Ying Chen could easily be linked to migrant literature, her latest books do not fit so neatly into this corpus. However, critics generally still approach her work from that same perspective. This study aims to analyse Chen’s novels that depict the ‘‘same’’ anonymous narrator from a more appropriate viewpoint: the perspective of the family unit. The feminist works regarding women role within patriarchy and the critical studies on the narratives of filiation shape our own analysis of the tensions within the family in Chen’s novels. The corpus of study consists of Immobile, which rejects parentage in favour of imaginary ancestors, Le Mangeur, focusing on an overbearing fatherhood and Un enfant à ma porte, that recounts a failed experience of maternity.

本文旨在闡釋十九世紀中葉的儒者如何理解基督宗教。筆者以兩位中層官員（姚瑩與魏源）作為主要例子，說明儒者思想和信仰構成的世界觀對世俗世界和超越世界都有一套完整的理解，亦引伸出儒者「經世」的信念。本文認為儒者對基督宗教的理解與他們的世界觀有密不可分的關係，但由於理解的目的在於「經世」，他們亦會在一些情況下基於現實考慮或新資訊的出現而暫時放棄自身的觀感，並進而修正他們的世界觀。藉著相類案例的比較，本文嘗試說明十九世紀中葉的儒者並非單純以自身的信仰批判基督宗教，亦非純粹以帝國官員的立場以純粹的管治和外交原則應對異國的宗教。對他們而言，理解基督宗教的過程就是世界觀、新資訊與現實考慮三者互動的結果。 / This thesis attempts to explain Confucian understanding of Christianity in the mid-nineteeth century through the views of two government officials, Yau Yin and Wai Yuin, who based their beliefs on both the immanent and transcendent aspects of "Jinshi" or the philosophy of statecraft. This work asserts that the Confucian understanding of Christianity was very much tied to the officials’ perception of secular society. Further, with the increase in knowledge and information, their view of Christianity began to change. Chinese officials’ criticism of Christianity was based on a complex set of factors which included the influx of new ideas, information, government edicts, diplomatic considerations as well as their status in the imperial government. In other words, understanding of Chrisitanity in China developed and evolved with new understanding of historical realities. / Detailed summary in vernacular field only. / 孔德維. / Parallel title from English abstract. / Thesis (M.Phil.) Chinese University of Hong Kong, 2015. / Includes bibliographical references (leaves 289-341). / Abstracts in English and Chinese. / Kong Dewei.

published_or_final_version / Architecture / Master / Master of Architecture

相較過去冷戰時期的輝煌，台灣現今的國際地位黯然失色許多。自從台灣退出聯合國，與美國斷交後，台灣 (中華民國)的外交地位已漸漸在政治上被孤立。當戒嚴末期，台灣迫切地想重返過去的外交榮景。然而，面對中華人民共和國的威脅時，台灣在國際社會上極為艱困地維繫自己的主權。台灣的領導人透過積極參與國際組織與互動，尤其是聯合國與美國對台軍售，來打破如此艱困的外交處境。 在三屆的總統任期中，台灣對聯合國與對美軍售策略已漸漸形成雛形。在初步研究下，美國對台軍售有可能對台灣加入聯合國政策出現影響。換言之，購得有力的武器，台灣加入聯合國的策略就越顯積極。 回顧美國與台灣政府的文獻資料，台灣領導人訪談紀錄，報章雜誌和其他官方文件與紀錄，此研究旨在檢視在三位總統(李登輝、陳水扁、馬英九)任期內 (1990 到 2014年)，美國同意對台軍售與台灣加入聯合國的策略。研究結果指出美國對台軍售的武器打擊能力與台灣加入聯合國政策相關的可能性。 / Taiwan’s present international status has degraded considerably since its former glory days during the Cold War era. With its ejection out of the United Nations (UN) and a diplomatic severance with its most vital ally, the United States, Taiwan (ROC) has slowly slipped into political limbo. The island has frantically strived to pull itself back into the world community since the end of martial law. However, it has struggled to maintain its sovereignty and international status in the face of constant threat from the PRC (People’s Republic of China) . Taiwan’s leaders have sought alternative strategies to combat such adverse diplomatic conditions through increasing its membership or participation in various global organizations—particularly the United Nations, and continued arms purchases from the US. Within the span of three presidencies, there appears to be a pattern between Taiwan’s UN strategies and US approved arms sales. Upon initial research, US weapons sales appear to have an effect on UN policy. That is, the more significant the arms sale, the more aggressive Taiwan’s methods for UN participation becomes. Drawing from US and Taiwanese government records, Taiwanese presidential interviews, newspaper articles and other official documents and transcripts, this dissertation aims to examine US approved arms sales and UN strategies under three Taiwanese presidents: Lee Teng Hui, Chen Shui-Bian and Ma Ying Jeou from 1990 to 2014. The findings indicate a possible indirect correlation. Considering the weapons’ strategic capability, Taiwan’s UN strategy fluctuates accordingly.

Abstract : The following dissertation provides a comparative analysis of four Québécois and Canadian literary authors—Fulvio Caccia, Ying Chen, Wayson Choy, and Lawrence Hill—and the manner in which they have responded through varied use of genre to present-day racial and ethnic discourse, as it occurs within both wider society and the Canadian and Québécois literary institutions more specifically. The dissertation begins with an introductory chapter that takes up the central concepts that inform the study, namely, those of ethnic literature, écriture migrante, race, ethnicity, hybridity, transculture, and comparative literature. The main body of the dissertation is divided into two parts, the first dealing with the francophone authors Caccia and Chen, the second with the anglophone authors Choy and Hill. In the first part, the writers are shown to employ defamiliarizing and ‘unreadable’ literary strategies drawn from the nouveau roman (or French new novel) and fantastic literary genres in an effort to resist common understandings of race and ethnicity, with the creation of a universal, deracialized literary space resulting to differing degrees in each case. In the second part, the study focuses on the use that Choy and Hill have made of more traditional and readable literary forms—realist and autobiographical in nature—in the attempt not so much to reject outright the discourse of race and ethnicity but to resignify the meaning of these latter terms in ways that allow for the production of a more open sense of identity. In this regard, by informing and historicizing certain cultural realities (here, Chinese Canadian and African Canadian respectively), Choy and Hill seek to challenge the reductive views that have in the past affected these often marginalized segments of Canadian society. Ultimately, the dissertation attempts to explore how the four authors in question participate in a shared project of sorts through their contestation of dominant racial and ethnic discourse, despite the different stylistic approaches they may take. A secondary aspect of the project addresses, through recourse to reader-response theory, some of the difficulties that may arise when a mainstream readership approaches works of ethnic literature. / Résumé : La thèse qui suit présente une analyse comparée de quatre auteurs québécois et canadiens—Fulvio Caccia, Ying Chen, Wayson Choy et Lawrence Hill—et la façon dont ils sont intervenus face au discours de la race et de l’ethnicité tel qu’il existe à ce moment dans la société et dans les institutions littéraires du Canada et du Québec—et cela à partir d’un emploi de divers genres littéraires. L’introduction de l’étude passe en revue les concepts centraux qui sous-tendent la thèse, à savoir ceux de la ‘littérature ethnique’ (ethnic literature), l’écriture migrante, la race, l’ethnicité, l’hybridité culturelle, la transculture et la littérature comparée. Le texte principal de la thèse comprend deux parties, la première portant sur les écrivains francophones Caccia et Chen, la deuxième sur les écrivains anglophones Choy et Hill. La première partie cherche à rendre compte de comment Caccia et Chen ont recours dans leurs écrits à des procédés littéraires défamiliarisants et ‘illisibles’ tirés du nouveau roman et de la littérature fantastique dans le but de subvertir les lieux communs sur la race et l’ethnicité, avec comme résultat la production d’un espace littéraire qui est à différents degrés universel et déracialisé. La deuxième partie traite de l’emploi que font Choy et Hill de styles littéraires plus traditionnels et lisibles—de nature réaliste et autobiographique—avec l’objectif non pas de rejeter tout court le discours de la race et de l’ethnicité, mais de réinscrire ces dernières notions de telle façon à rendre possible une vue de l’identité plus ouverte. À cet égard, en remettant dans leur contexte social et historique certaines réalités culturelles (ici, sino-canadienne et afro-canadienne respectivement), Choy et Hill arrivent à contester les idées réductives qui dans le passé ont été faites de ces secteurs souvent marginalisés de la société canadienne. En fin de compte, la thèse tente de mettre en lumière la manière dont les quatre auteurs en question participent en quelque sorte à un projet partagé en conséquence de leur opposition au discours dominant de la race et de l’ethnicité, bien que leurs approches stylistiques soient sensiblement différentes. En s’appuyant sur les théories de la lecture, un aspect secondaire de l’étude aborde quelques-uns des problèmes qui peuvent se produire lorsqu’un lectorat de la société majoritaire cherche à lire un texte migrant.

This thesis analyzes Ying Chen's Les Lettres Chinoises through the lenses of literary translation, migrant writing and epistolary genres, as well as through critical theory of Chen's poetics in order to inform a translation of said novel from French into English. This theoretical groundwork is accompanied by analysis of the process of the translation, including specifications, methods used, and justifications for translation decisions. Les Lettres Chinoises is Ying Chen's second novel, written in French rather than her native Chinese language. Spanning a fifty-seven letter exchange between Shanghai and Montreal, Chen's choice to write in language other than her first, as well as the themes presented in the novel such as emigration, exile, identity, and Otherness, render Chen's novel ideal for critical discussion in the domain of migrant writing theory. Translating any exophonic text presents particular challenges for the translator and the analysis of these difficulties enrich both the translation as well as an understanding of the migrant writing genre. Inherent in these challenges is negotiating transparency (foreignization versus domestication) in the translation of cultural traces that speak of other traditions and realities. Chen's Les Lettres Chinoises is unique among migrant texts however, because she privileges voice through the use of the epistolary genre, a form that bespeaks a 19th century Western tradition. Her choice of this genre provides insight into the literary and cultural traditions that shaped her writing and encourage the reader as well as the translator to consider, or rather reconsider, the novel's intent. Les Lettres Chinoises contributes to the migrant and epistolary genres, redefining and enhancing each respectively. Chen's prerogatives as viewed through these lenses are varied: through her three letter-writing characters she reenacts literal and existential exile, creates a space of enunciation through letter writing, all while defining her own poetic style in another language. I negotiated these prerogatives in the translation by creating three subtly distinct and evolving voices for each of the characters. I used existing translations of Chen's works to create consistency in style and accuracy. Included as well are excerpts from my final translation.

En Amérique du Nord aux XX et XXIe siècles, les auteurs étudiés : Ying Chen (La mémoire de l’eau, L’ingratitude et Quatre milles marches : un rêve chinois), Dany Laferrière (Comment faire l’amour avec un nègre sans se fatiguer, Pays sans chapeau et Je suis fatigué), et, Wajdi Mouawad (Incendies, Littoral et Je suis le méchant) avancent des oeuvres qui sont l’expression de voix, à la fois contrastantes, divergentes dans la littérature nationale québécoise. Prenant leur distance par rapport à des représentations stéréotypées de leur époque telles que la littérature d’exil et la littérature du voyage, les auteurs migrants campent des histoires à travers lesquelles s’offrent des images nouvelles de la ville nord-américaine, des lieux emblématiques, une rencontre à l’autre. L’auteur migrant se livre, d’ailleurs, à l’instar de sa trajectoire éclatée dans la ville, à un jeu avec le lecteur en endossant plusieurs rôles, plusieurs figures auctoriales. L’écriture migrante se révèle palimpseste : elle intègre différents modèles littéraires tout en les dépassant. Dans sa construction interne, dont le processus de création, on retrouve ce dérobement aux normes littéraires. Enfin, elle offre une vision du monde réconciliatrice et bienveillante en faisant cohabiter les vivants avec les morts. / In the America of the XXe century, works of Ying Chen, Dany Laferrière and Wajdi Mouawad express voices that are, at the same time, different, various and deviating for the ones of the quebecker’s national literature. Taking their distance toward stereotyped representations of their time, like the exilic literature or the travel literature, migrant authors set stories where brand new images of the northern towns emerge, as well as emblematic places and the meeting of the other occurs. The migrant author reveals, just like his exploded path, a game with the reader by taking over several roles, several auctorial figures. His writing is therefore, a palimpsest: it’s integrating various literary models while it goes beyond. In its intern construction, in its creation process, we may discover how it shielded literary norms. Finally, the migrant writer offers a view of the world that is both reconcile and indulgent by making live together the alives and the deads.

研究目的 我國農地政策向以農地農有、農地農用，培養自耕農為主導。現行的農地政策，為保 護農業的生產條件，對農地有著嚴格的對人及對地的雙重管制。唯隨經濟環境改變， 近來屢有議者提出「小農經營制度，已不適於經濟原則，應由農企業公司購買農地， 實施企業化的大農經營，以促使農業升級」，則是否農地應該開放自由買賣？企業化 的大農經營是否適合當前台灣農業生產結構？開放農地買賣對農村社會又會造成什麼 影響？是為本文研究的目的。 主要參考文獻 現階段台灣農地問題之探討一劉泰英。經濟自由化與農地保護一陳明健。企業法人承 受農問題之探討一蘇志超。 研究方法 １•搜集次級資料探討當前農業問題與農業生產環境，以研究當前的農業問題之癥結 ，是否以開放農企業購買農地能有助於農業問題的舒解。 ２•以問卷調的方式，探討農家與農企業法人購地或售地意願，並進一步探討開放農 地買賣可能造成的影響。 研究內容 １•對於農業整體面，嘗試以農場經營規模，農業勞力結構轉換，農業機械化推行， 農產運銷、農業技術改良、作物、價格政策、土地管制等項目來分析。 ２•農家與企業家意願則以問卷內容為研究內容。

本論文主要探討十六至十七世紀的仙境繪畫及其所反映的仙境觀念，並以歸入仇英名下的仙境圖為中心，通過分析畫中的內容意涵，藉以展現十六至十七世紀明人對仙境圖處理的多樣性。 / 基於現時傳為出自仇英手筆的仙境圖最多，仇英可以說是當時十六至十七世紀對仙境題材創作情況的一個縮影。加上，仇英作為十六世紀具代表性的職業畫家，其仙境圖很有可能是針對具體的「使用對象」而生產，迎合不同人的不同想法和需要。在這種前提下，本文將仇英以及託名仇英的仙境圖理解為十六至十七世紀藝術市場需求下的產物，並從剖析它們的題材和構圖入手，以揭示受畫人對於仙境畫作的情感寄託。 / 所謂仙境圖，即是描繪神仙所居的圖像。仙境圖可歸入山水畫科，而且與山水畫的界定比較模糊。就畫中不同的圖像表現，可將仇英名下的仙境圖分成五類：第一種是以個別神仙入畫的仙境圖；第二種是畫中出現道士煉丹場景的仙境圖；第三種是畫有等候飛昇的歷史人物的仙境圖；第四種是描繪「桃花源」主題的仙境圖；最後一種是懷有文人情調的仙境圖。 / 本文以其中三類仙境圖為例，指出時人對仙境的運用各有差別：以個別神仙入畫的仙境圖較適用於壽慶場合，畫有道士煉丹場景的仙境圖則似是作為當時追求長生的慰藉，而以文人形象入畫的仙境圖即蘊含隱世思想；從而說明這些仙境圖在明代社會中發揮不同的作用，傳達不同的信息，滿足不同的需求，反映出繪畫與使用場合及使用對象之間的緊密關係。 / This thesis attempts to study the immortal landscape paintings from the sixteenth to seventeenth century as well as the ideas on the realm of immortals embodied in these paintings. Focusing on the immortal landscape paintings attributed to Qiu Ying, this thesis analyses their themes and allusive meanings, and thus presents the diversity in the diverse approaches adopted in the immortal landscape paintings in the late Ming period. / Since a majority of the immortal landscape paintings survived today is attributed to Qiu Ying, his works can be seen as the encapsulation of the artistic creations on the theme of the realm of immortals dated in the sixteenth and seventeenth century. A representative professional painter of the time, Qiu Ying probably produced his works for a certain group of intended audience in accordance with a variety of ideas and needs. With this presupposition this thesis regards Qiu Ying’s works and the imitations of such as the products responding the demands of the art market in the sixteenth and seventeenth century. Through an analysis of the subject matter and composition of the paintings, this thesis reveals the sentimental values held by the immortal landscape paintings for their possessors. / Depicting the dwellings of deities, immortal landscape paintings can be identified as a sub-genre of landscape paintings and are hardly distinct from other landscape paintings. The immortal landscape paintings by Qiu Ying can be classified into five types in terms of visual elements, including: I) particular deities; II) Taoist adepts practicing alchemy; III) historical figures awaiting respectfully for ascending to celestial realms; IV) Peach Blossom Spring, the Chinese equivalent of utopia; and V) scenes imbued with literati spirit. / Of these five types of immortal landscape paintings, examples from three are selected to demonstrate their different functionalities in Ming society; immortal landscape paintings portraying particular deities were created for festive occasions, while those depicting Taoist alchemy and literati figures offered reassurance on the quest for immortality and implied reclusive spirit respectively. Through a detailed investigation this thesis illustrates that immortal landscape paintings were produced to serve a variety of functions, to convey different messages, and to accommodate various needs in Ming society, thus testifying the close association between paintings, objects of utility and the occasions they are created for. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 楊晉宜. / "2012年8月". / "2012 nian 8 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 105-122). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract in Chinese and English. / Yang Jinyi. / 內容摘要 --- p.i / 誌謝辭 --- p.v / 前言 --- p.1 / Chapter 一、 --- 研究動機與目的 --- p.1 / Chapter 二、 --- 近人研究概況 --- p.3 / Chapter 三、 --- 研究意義 --- p.5 / Chapter 1. --- 仇英仙境圖作為道教藝術的一個面向 --- p.5 / Chapter 2. --- 仙境圖作為十六世紀藝術市場需求下的產物 --- p.7 / Chapter 第一章 --- 研究對象的釐清與選取 --- p.9 / Chapter 一、 --- 仇英與仙境圖的關係 --- p.9 / Chapter 二、 --- 仙境圖的定義 --- p.16 / Chapter 三、 --- 仇英仙境圖比例分析 --- p.24 / Chapter 1. --- 數字統計 --- p.24 / Chapter 2. --- 歸納分類 --- p.31 / 小結、仙境圖類型與研究路徑 --- p.38 / Chapter 第二章 --- 仙境圖中的神仙與蟠桃 --- p.40 / Chapter 一、 --- 兩件畫作的產生情況 --- p.41 / Chapter 二、 --- 內容意涵的差異 --- p.44 / Chapter 三、 --- 為祝某人之壽辰 --- p.54 / 小結、神仙形象與仙境圖 --- p.59 / Chapter 第三章 --- 仙境圖中的道士燒丹場景 --- p.60 / Chapter 一、 --- 明代有關煉丹的畫作 --- p.61 / Chapter 二、 --- 燒丹與神仙的關係 --- p.64 / Chapter 三、 --- 煉丹對明人的意義 --- p.68 / Chapter 四、 --- 仙真與山水相融的構圖 --- p.71 / 小結、道士燒丹與仙境圖 --- p.74 / Chapter 第四章 --- 仙境圖中的文人雅趣 --- p.76 / Chapter 一、 --- 仙境圖中文人形象的顯隱差異 --- p.77 / Chapter 二、 --- 文人形象在仙境圖的其中一種作用 --- p.84 / Chapter 1. --- 以玉洞桃花造境 --- p.86 / Chapter 2. --- 人迹於仙山 --- p.90 / Chapter 3. --- 畫中人的真實身份 --- p.94 / 小結、文人形象與仙境圖 --- p.99 / 結論 --- p.101 / 參考書目 --- p.105 / Chapter 附表一、 --- 文獻著錄的仙境圖統計 --- p.124 / Chapter 附表二、 --- 仇英仙境圖列表 --- p.126 / Chapter 附表三、 --- 〈蟠桃圖〉各版本場景列表 --- p.128 / 圖版 --- p.131

This thesis deals with diplomatic relations in the Chunqiu period or the Spring and Autumn period. It introduces characterization of process of diplomatic meeting, how they are described in the text of the Zhouli. As a main source it uses early chinese text of the Yanzi chunqiu - Annals of Mister Yan. It gives information about a personage of Yan Ying - a minister in the state of Qi in the 6th century BC, as well as about the text itself, including history, authenticity and other questions. It presents own translations of episodes concerning diplomatic relations. For a comparison it presents episodes from the text of Zuo Zhuan, in which we can find Yan Ying. Based on a summary of political situation of this period it resumes, how could episodes of diplomatic meetings correspond to reality of this period. As a result it summarize, how opinions claimed during diplomatic meetings could differ from other episodes.