Thesis (Ph. D.)--University of Washington, 1993. / Vita. Includes bibliographical references (leaves [257]-265).

This thesis examines how Zhao Jiping's film score in Yellow Earth (1984) establishes distinct identities for the diegetic and non-diegetic (presentational) space, as well as how Zhao manipulates the audience's perception of musical-spatial boundaries in order to create moments of musical significance during the "river scenes." To model the diegesis, I use a perception model approach combined with work by Winters and Yacavone. This frames the diegesis in relation to reality, without being beholden to it, and attributes to the audience an active role in constructing the diegesis, internally and subjectively expanding on fragments presented by the film. I then characterize the music of the diegesis as being representative of the Shaanbei region of China, using folk singing and instruments indigenous to the region. The music of the presentational space uses melodic material derived from the diegetic music, supported by orchestral music in a style similar to mixed instrument ensembles in Model Works. During the "river scenes", Zhao's music gradually detaches the audience's sense of anchoring in the diegetic space and pivots into the presentational space, creating an intense contrast that supports the narrative significance of the scene. Afterwards, similar techniques are then used to gradually re-anchor the audience back into the diegesis. Using models of the diegetic and presentational spaces that incorporate recent shifts in academic perspective, this thesis demonstrates Zhao Jiping's nuanced understanding of how an audience perceives musical space, both by creating distinct identities for the diegetic and presentational spaces, and by manipulating audience perception of space in order to create moments of musical significance.

This thesis presents an original annotated translation of Xiangyang shou cheng lu 襄陽守城錄 [A Record of the Defense of Xiangyang’s City Wall] written by Zhao Wannian (ca. 1169-1210) in 1207. In this record, Zhao, a low ranking official in the Song army, describes the events of a two and half month siege imposed upon the city of Xiangyang by invading Jin troops. Currently the only other full translation of this text that is available is in German by Herbert Franke and can be found in Studien und Texte zur Kriegsgeschichte der südlichen Sungzeit that was published in 1987. In addition to my translation, an overview of this event in the war between Song and Jin (1206-1208) as well as an overview of Xiangyang’s strategic geographic location is included in the introduction. A copy of the Yue ya tang edition of the text is provided in the appendices, along with an index of names which appear in the text, an explanation of the translation of titles, a glossary of weapons, a glossary of place names, and supplementary maps and photographs.

This thesis investigates and analyzes how Wu Zetian is portrayed in media directed at children. This thesis also plan to investigate how the portrayal of Wu Zetian in children´s media relates to academic literature. The main questions this thesis answered were the following: How is Wu Zetian portrayed in the source material? What qualities are attributed to Wu Zetian? Does the presentation of Wu Zetian in children´s media differ from the academic literature written by historians? If so, how?    The theories that this thesis was based on were the concepts that Bickford III and Rich presented in their study Examining the Representation of Slavery within Children´s Literature. These concepts were presentism, omission, chronological ethnocentrism, exceptionalism, heroification, and villainification. The second theory was gender theory. This theory was used as a theoretical interpretive framework for this thesis. The methods used were text analysis, close reading, and the theoretical concepts formulated by Bickford III and Rich.   The study concluded that Wu Zetian was mainly described in a glorifying light. The main attributes of Wu Zetian are positive, such as intelligence and beauty. The negative qualities attributed to Wu Zetian are that she was brutal. In general, Wu Zetian is presented and described in a positive and heroic light in children´s media. The difference in the presentation of Wu Zetian in children´s media and academic literature is minimal. In general, the children´s media downplays the brutal aspects of Wu´s life, while the academic literature talks about this aspect somewhat more. The main difference is that, children´s media is more glorifying and heroizing than academic literature.

Until recently, the majority of the studies of the intellectual history of late imperial China have interpreted Ch'ing dynasty scholarship in relation to the consolidation of Manchu political power and increased imperial authoritarianism in all areas of intellectual and cultural life. This study extends recent interpretations of the "internal" history of Ming-Ch'ing thought into the historical studies movement of the eighteenth century. It examines some of the earlier assumptions about the nature and functions of Ch'ing historiography to argue that eighteenth century historians, by concentrating on the textual problems in the standard histories, were consciously continuing statecraft commitments of their seventeenth century predecessors to a restored polity and public policy decisions based on historical texts. Without denying the real growth of the power and authority of the imperial institution in the Ming-Ch'ing period, this study further argues that it was in the nature of the traditional polity that the emperior play an important role in historical studies, dating to the Imperial Seminars of the Sung dynasty. In the eighteenth century not only did the emperor influence historians and their interpretation of the past; he also provided opportunities in the sponsorship of imperially commissioned works. The example of imperial patronage set the fashion of semi-official patronage of scholars, expanding the area of academic employment, and scholars moved freely between official, semi-official and private historical writing. Thus historiographic influences flowed in both directions from private historians to historian-officials and back again. This study recognizes the need for a quantitative examination of private scholarly activity in the Ming-Ch'ing period to support, deny or balance the "external" thesis that historical studies were distorted by Ch'ing authoritarianism and the "internal" one presented here. However, by summarizing the historiography of a broad range of presently well-known historians and closely examining the work of one historian, Chao I (1727-1814), this study has given specificity to the paradigmatic interpretations of "internalist" intellectual historians. Chao I's treatment of unofficial histories and the standard histories in the Nien-erh shi cha-chi are examined, together with several essays on institutional history. In form and content, they support the theses set forth in this dissertation.

樊善標. / 論文(哲學博士) -- 香港中文大學硏究院中國語言及文學學部, 1996. / 參考文献 : leaves 282-289. / Fan Shanbiao. / 提要 --- p.i / 前言 --- p.I / Chapter 甲篇： --- 前論 / Chapter 一、 --- 《國語解》成書年代考 --- p.1 / Chapter 二、 --- 《國語》底本的整理 --- p.14 / Chapter 乙篇： --- 本論 / Chapter 三、 --- 《國語解》用《左傳》硏究 --- p.34 / Chapter 四、 --- 《國語解》禮說硏究 --- p.83 / Chapter 五、 --- 《國語解》和韋昭的《詩》學 --- p.123 / Chapter 六、 --- 《國語解》「以《世本》考其流」硏究 --- p.162 / Chapter 七、 --- 《國語解》及諸家《國語》舊注比較 --- p.188 / Chapter 丙篇： --- 結論 / Chapter 八、 --- 《國語解》在注釋史上的地位 --- p.257 / 參考書籍及論文目錄 --- p.282 / 附錄 / Chapter 1. --- 《國語解》用《左傳》硏究統計資料出處 --- p.290 / Chapter 2. --- 《國語解》禮說硏究統計資料出處 --- p.295 / Chapter 3. --- 張以仁、陳鴻森二輯本蒐採書目 --- p.298 / Chapter 4. --- 《國語解》及諸家《國語》舊注比較統計資料出處 --- p.301

本研究旨在關注中國神學家趙紫宸（1888-1979）與美國傳教士、音樂家范天祥（Bliss Wiant，1895-1975）於1920年代至1930年代在推動中國聖樂處境化方面的合作。中國讚美詩處境化已成為一個重要的研究領域。然而，相關研究則較少關注對於特定時間內由中國基督徒與傳教士合作的處境化讚美詩（包括讚美詩翻譯及創作）。這一個案研究則將聚焦趙紫宸與范天祥在1930年代初所編撰的兩本讚美詩集《團契聖歌集》（1931）與《民眾聖歌集》（1931），並與20世紀初其他讚美詩（集）作簡要比較。 / 第一章旨在考察19世紀西方新教傳教士對中國讚美詩處境化所作之努力，其後則是對20世紀，特別是20年代晚期至30年代早期，中國基督徒對中國讚美詩處境化所作的追尋。第二章則旨在聚焦《團契聖歌集》的編撰，考察趙紫宸的處境化翻譯，以及其與傳統文化價值及社會圖景內在與外在的互動及對話。第三章則將對由趙紫宸作詞、范天祥配樂的《民眾聖歌集》作出分析。在此，將考量趙的讚美詩作詞原則，以及分析他的讚美詩創作與其早期神學思想之關聯。第四章則將視角轉移至范天祥及《民眾聖歌集》的處境化音樂創作。范為該詩集所選擇的中國曲調將幫助我們窺看它們如何參與進處境化讚美詩的進程。在此，後殖民文化批評的視角將幫助我們從新的解讀框架中理解中國處境化讚美詩編撰。 / 在第五章，我們將把這兩本讚美詩與六公會聯合編撰的《普天頌讚》（1936）作比較，該詩本被視為20世紀前四十年中國讚美詩處境化的最高成就。與此同時，兩個本土小宗派：聚會處及耶穌家庭的讚美詩也在比較範圍之內。同時，我們將運用"全球地域化"的視角就全球化與地域化互動層面進一步解讀20，30年代的中國處境化讚美詩。 / 處境化音樂，從神學上來看，是一種道成肉身的表述。在此，道轉為肉身，肉身轉為歌。這在我們對趙紫宸與范天祥的讚美詩集研究中能得到例證。他們在中國處境化讚美詩上創造性的合作──從歌詞到音樂──都對中國讚美詩處境化作出長久而又獨特的貢獻。對於基督教史的研究及未來的中國教會而言，都是至關重要的。 / This dissertation is concerned with the contextualization of Chinese hymns in the 1920s and 1930s in the collaboration between T. C. Chao (1888-1979), a renowned Chinese theologian, and Bliss Wiant (1895-1975), an American missionary and musicologist. The contextualization of Chinese Christian hymns has become an important area of study, but relatively little attention has been paid to the concrete interpretation of translations and hymns produced in a particular time by Chinese Christians and missionary collaborators. In this case study, the focus is on two hymnals produced by Chao and Wiant, Christian Fellowship Hymns and Hymns for the People, published in the early 1930s, with brief comparisons with other hymnals from the early decades of the twentieth century. / Chapter one surveys the contextualization of Chinese hymns made by Western protestant missionaries in the nineteenth century, followed by an exploration on the contextualization of Chinese hymnology by Chinese Christians themselves, especially in the late 1920s and early 1930s. The subject of Chapter two is the origin and writing of Christian Fellowship Hymns, focusing on T. C. Chao’s contextualized translations and his implicit and explicit interaction and dialogue with traditional cultural values and the contemporary social scene. In Chapter three we consider the second hymnal, Hymns for the People, which contains hymns written by Chao and set to Chinese music by Wiant. Here we consider Chao’s principles for hymn writing, and see how his hymns reflect his early theological thinking. In Chapter four, attention shifts to Bliss Wiant and the music in Hymns for the People. The Chinese tunes Wiant selected for this hymnal are analyzed to see how they were part of the contextualization process. Here, we employ post-colonial criticism to develop the beginnings of a new interpretative framework that can be applied to the process of the contextualization of Chinese hymnology. / Our final Chapter five compares the two Chao/Wiant hymnals with Hymns of Universal Praise, a joint effort by six denominations, which may be seen as the highpoint of the contextualization of Chinese hymnology in the fourth decade of the 20th century. These two hymnals are further compared with the hymnals of two independent/indigenous traditions: the Little Flock and the Jesus Family. Finally, we use the theory of "Glocalization" to further develop the study of Chinese hymnody in the 1920s and 1930s, emphasizing the mutually interactive process between the global and the local in contextualized Chinese Christian hymns. / Contextualized music is, theologically, an expression of the Incarnation, the Word become flesh, the flesh become song. This is evident in our study of the hymnals of T. C. Chao and Bliss Wiant. Their creative collaboration on contextualized Chinese hymns, the words and the music, has made a lasting and in some ways unique contribution to Chinese hymnody. It is important both for the study of the history of Christianity and the future of the Chinese Church. [end] / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Chen, Ruiwen. / Thesis (Ph.D.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 267-298). / Abstracts also in Chinese; includes Chinese.

身處明末清初變亂紛呈的時代中，王夫之面對國土淪亡，異族入主的悲運，時時反映出愛國意識和歷史責任感在他的著作中。對於他的詩歌作品和哲學思想著作，後人巳有充份的闡述。而詞作方面，卻未被廣泛的討論。其實，在他的詞作中，深刻蘊藏著遺民之情與忠愛之思；在慷慨激昂與悲憤執著之後，往往昇華為含蓄蘊藉之美，且常與他的文學理論相結合。所以，本文欲以王夫之《薑薺詩餘》為依據，來探討他身清心明的一片故國情懷，並給予船山詞在詞史上的定位與評價。而章節的安排如下：引言：包含研究動機、研究資料、研究方法、總結前人研究成果。本文共分六章。第一章：緒論。第一節：敘述王夫之的生平大略及著述。第二節：敘述船山的愛國思想及人格特質。其中，船山的民本思想、忠貞特質和遺民情懷是最為深刻而直接的感染其詞作風格的因素，第三節：船山《薑齋詩餘》通論。第二章：王船山詞的創作背景。第一節：歷史背景，從政治環境、社會實況兩方面來考察。第二節：詞壇風貌，主要批判明代中後期浮靡中枵的詞風，並肯定明末忠義詞人的風騷遺旨。第三章：《薑齋詩餘》的題材內容與藝術特色。第一節：《薑齋詩餘》的題材。第二節：《薑齋詩餘》的內涵。第三節：《薑齋詩餘》的技巧第四節：《薑齋詩餘》的章法和篇法。第四章：《薑齋詩餘》的風格。第一節：豪宕。主要從其實際愛國行動及愛國思想中所孕蘊而成的詞作探討。第二節：醇雅。大半是晚年歸隱後的心境，除了醇雅蘊藉之外，還時時流露出老而彌堅的心性。第五章：《薑齋詩餘》與《薑齋詩話》。第一節：情景交融的美學內涵。第二節：群以制怨的含蓄本質。第三節：神理相取、意在言外的文學精神。第六章：結論。將王夫之詞對明末清初詞壇的貢獻及成就加以確定及評價。

Thesis (Ph. D.)--University of Texas at Austin, 2008. / Vita. Includes bibliographical references.

This study focuses on how Middle Chinese zhi and zhao initials are reflected in Modern Mandarin and Wu dialects. Also, the topic of sound change is incorporated based on the results from the study.