Thesis (M.Phil.)--Hong Kong University of Science and Technology, 2006. / Includes bibliographical references (leaves 95-97). Also available in electronic version.

This thesis deals with divination in ancient China. The first part defines the theme and method, gives criticism of the primary source and presents a brief overview of the current state of research. The second part presents divination practices before the Eastern Zhou period. The third section provides a summary of divination practices in the Eastern Zhou period, categorizes the various oracles and provides related information. The fourth part introduces persons who performed divination practices and puts them into a broader framework. In the fifth section there is a quantitative and qualitative analysis of data collected from Zuozhuan's oracale texts, which are then confrontated with the knowledge of divination from archaeological excavations of oracle's texts. The work concludes that during the Eastern Zhou period there were at least two concepts of access to divination standing side by side that are mutually intertwined - religious concept and ethical-philosophy concept. Keywords: Divination, Early China, Religion, Eastern Zhou.

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Thesis (M.A.)--香港中文大學. / Manuscript. / Includes bibliographical references (leaves 527-533). / Thesis (M.A.)--Xianggang Zhong wen da xue. / Chapter 第一章 --- 周作人的生平 --- p.1 / Chapter 第一節 --- 童年和杭州花牌樓 --- p.1 / Chapter 第二節 --- 從南師水師學堂到日本東京 --- p.8 / Chapter 第三節 --- 辛亥革命前後 --- p.15 / Chapter 第四節 --- 北大生活(上) --- p.18 / Chapter 第五節 --- 北大生活(下) --- p.30 / Chapter 第六節 --- 淪陷期間與監獄生活 --- p.36 / Chapter 第七節 --- 解放之後 --- p.40 / Chapter 第二章 --- 周作人的文學淵源 --- p.51 / Chapter 第一節 --- 從學的經過 --- p.51 / Chapter (一) --- 三味書屋 --- p.51 / Chapter (二) --- 南京水師學堂 --- p.59 / Chapter (三) --- 日本東京留學 --- p.69 / Chapter 第二節 --- 中國文學的修養 --- p.76 / Chapter (一) --- 小說 --- p.76 / Chapter (二) --- 唐代叢書 --- p.83 / Chapter (三) --- 四書五經 --- p.91 / Chapter (四) --- 淘淵明文與顏氏家訓 --- p.93 / Chapter (五) --- 韓愈文 --- p.100 / Chapter (六) --- 公安派文章 --- p.104 / Chapter (七) --- 八股文 --- p.110 / Chapter 第三節 --- 外國文學的認識 --- p.120 / Chapter (一) --- 弱小民族的作品 --- p.123 / Chapter (二) --- 希臘神話 --- p.133 / Chapter (三) --- 日本文學 --- p.139 / Chapter 第四節 --- 其它雜學 --- p.152 / Chapter (一) --- 靄理斯和性心理學 --- p.160 / Chapter (二) --- 歌溪兒童文學和童話 --- p.173 / Chapter (三) --- 神活學、文化人類學、生物學 --- p.177 / Chapter 第三章 --- 周作人的散文創作上 --- p.203 / Chapter 第一節 --- 談論文藝的篇章 --- p.203 / Chapter (一) --- 文學的起源和意義 --- p.205 / Chapter (二) --- 文學的效用 --- p.208 / Chapter (三) --- 貴族文學和平民文學 --- p.215 / Chapter (四) --- 文義與道德 --- p.227 / Chapter (五) --- 言志文學和□道文學 --- p.237 / Chapter (六) --- 文學的形式和內容 --- p.249 / Chapter (七) --- 古文學和新文學 --- p.257 / Chapter (八) --- 文藝批評 --- p.278 / Chapter 第二節 --- 有關社會人事的篇章 --- p.288 / Chapter (一) --- 談中國的民族性 --- p.289 / Chapter (二) --- 攻擊禮教和封建道德 --- p.308 / Chapter (三) --- 兒童教育和婦女問題 --- p.327 / Chapter (四) --- 一些反應時事的文章 --- p.343 / Chapter 第三節 --- 抒懷縱談的篇章 --- p.358 / Chapter 第四章 --- 周作人的散文創作下 --- p.404 / Chapter 第一節 --- 叛徒和隱士 --- p.404 / Chapter 第二節 --- 創作的藝術 --- p.433 / Chapter (一) --- 人生的藝術 --- p.436 / Chapter (二) --- 即興的創作 --- p.443 / Chapter (三) --- 任情的唱歌 --- p.446 / Chapter (四) --- 自然和誠實 --- p.451 / Chapter (五) --- 創造的模仿 --- p.451 / Chapter 第五章 --- 論周作人的散文 --- p.469 / Chapter 第一節 --- 個性的表現 --- p.469 / Chapter 第二節 --- 範圍的擴大 --- p.485 / Chapter 第三節 --- 小品散文 --- p.496 / 附：周作人散文集名目訂正 --- p.515 / 參考書目 --- p.527

Apart from the introductory chapter, this thesis is divided into six parts. Chapter two provides a basic discussion of the authorship of the Liu-zi. This part will incorporate and comment previous opinions, and then compare and contrast the Liu-zi and the Wenxin Diaolong. It begins by exploring the opinion that the Liu-zi was written by an Easten Jin scholar. However, this paper will show that the text was written by Liu Zhou of the Beiqi Period(550-577) during the Southern and the Northern Dynasty. Chapter three analyzes the reference sources of the Liu-zi through parallel readings of the Liu-zi the Huainanzi and the Extant Version of the Wenzi. In addition to study parallel passages found in these titles and to show this extensive reworking, this part expounds on typical examples of the different modifications on the Liu-zi by comparing with the Huainanzi and the Extant version of the Wenzi. The Liu-zi tends to use materials from these two earlier texts to present new interpretation of the books. Furthermore, there will be a discussion of a scholastic idea on the timing of the authorship as well as the textual history of the Huainazi and the Extant version of the Wenzi. Chapter four investigates the absorption and abandonment of the theories of Other Scholars in the Liu-zi. By using such connection, this part aims at examining the relationships between the Liu-zi and the other texts to show the differences and inheritance of the Liu-zi among and from those previous texts of Other Scholars. Chapter five inspects opinions of previous scholars on the development of the Eclectics. The chapter further argues with the general misread that the Eclectics is merely Wang-lao Taoism. Then it shows the importance of the Eclectics in the Hanji and determines the academic status of the Liu-zi in the Eclectics, that is, in the history of Chinese Textual Bibliography. Chapter six provides a basic discussion between the Liu-zi and major extant writings of Metaphysics in Wei-Jin Dynasties. This is to look into a special feature, the mutual dependence of Confucianism and Daoism, of the Liu-zi, thus confirming the academic status of the book in Chinese tradition. By providing textual comparison, this aims to provide the relationship and inheritance between the Liu-zi and other major extant writings of Metaphysics in Wei-Jin Dynasties for further research. Chapter seven is a recapitulation of the main points in this thesis. / For other works compiled in the Pre-Han and Han Dynasties which are also parallel to the Liu-zi, please refer to appendix1. / The Liu-zi was traditionally regarded as a work of the Eclectics during the Wei-Jin and the Six Dynasties. Previous discussions of the Liu-zi focus merely on its authorship, but as the issue is intricate, this problem is unresolved even in current researches. Other than the authorship, the general picture, especially the Philological aspect of the book is only rarely explored. This thesis aims to carry out an in-depth investigation of the Liu-zi, including its authorship and a comparison with other related texts, such as the Lushi Chunqiu and the Huainanzi. By doing so, I want to highlight the features and value of the Liu-zi, and demonstrate how the Liu-zi is influenced and adapted from the above two books. / 梁德華. / Adviser: Che Wah Ho. / Source: Dissertation Abstracts International, Volume: 73-03, Section: A, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (p. 290-318). / 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, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Liang Dehua.

In the year 2003, twenty seven pieces of Shan¡¦s bronzes pit with inscriptions were excavated in Yangjiachun village of Mexian County, Shannxi. Except for the work in mid Western Zhou The Tien Yu, all of them were cast in late Western Zhou. The most noteworthy items among these bronzes are The Lai Ding Tripod of the 42th Year, the 43th Year and The Lai Pan. The former two were cast for King¡¦s awards for Lai¡¦s military contributions, plus the honorary title Li-Ren that conferred to Lai in the following year. By contrast, the later was to record Lai¡¦s family history about his ancestors¡¦ loyalty to Kings of Western Zhou, which also explained his succession to fathers¡¦ position in the government. Since the Lai¡¦s bronzes pit got excavated, many studies have addressed to them such as exegetics of inscriptions, history of Western Zhou, or sociopolitical system in that era. However, there are still some issues remained controversial including decipherment of particular texts, the history, and nature of specific government positions. Therefore, we investigated issues over these bronzes with reference to previous findings, and the theses are presented here: Our introduction can be found in Chapter 1, and in Chapter 2 we selected some meaning-unsolved individual inscriptions on The Lai Ding Tripod of the 42th Year, the 43th Year as well as the Lai Pan for interpretation. Chapter 3 is an in-depth association for Shan¡¦s family, in which we connected the inscriptions of Lai¡¦s name and his ancestors in the Lai Pan with other possible associated bronzes for inductive reasoning. In Chapter 4, we discussed some questions related to the three bronzes mentioned above which included figures, geographical names, and nobility succession system of the Western Zhou. All our findings were summarized in Chapter 5, the conclusion. We hope that this article can provide some suggestions to the lost parts of history documents.

Thesis (M.A.) -- Guo li zheng zhi da xue, 1978. / Cover title. Reproduced from typescript. Errata slip inserted. Includes bibliographical references (p.249-259).

This dissertation examines the vital role of bronze in the political, economic, and cultural interactions in the southern borderlands during the period of the Zhou dynasty (1045-256 BCE) in present-day Hubei province, China. It shows how the bronze economy – the production, exchange, and consumption of bronze goods – transformed the borderlands landscape. It adopts a bottom-up perspective and argues that instead of controlling the redistribution of metal, the Zhou state competed and negotiated with the local powers on the acquisition of metal resources. The regional states and indigenous polities were not passively acculturated to the Zhou center but developed local bronze culture and casting technology. Through the economic perspective, this dissertation examines social interaction not in the traditional binary of center and periphery or the royal domain and regional states but in politico-economic zones transcending political boundaries. Based on textual, archeological, and paleographical evidence, it discusses how the indigenous people in the southeastern Hubei mining region joined a transregional economic network. It also traces metal exchange, bronze production, and technology innovation in the Sui-Zao Corridor, the crossroads connecting north and south throughout the Zhou dynasty. This dissertation uses archaeometallurgical method to examine the circulation of bronze-smelting knowledge between Sujialong and other mining societies. Statistical analysis of the Sifangtang cemetery makes it possible to reconstruct the changing societal organization at the Tonglüshan mines under different political powers. This dissertation argues that the bronze economy led to unique ways of social interaction and created transregional social networks, and thus shaped the southern borderlands of the Zhou dynasty.

Alexander Tcherepnin, a prominent Russian composer living in Paris for most of his life, left an indelible mark on music of the 20th century, reflecting a journey through various musical genres while maintaining an evolving yet internally consistent compositional style. This dissertation explores Tcherepnin's Op. 71, Seven Songs on Chinese Poems, employing an interdisciplinary approach that combines historical analysis with a detailed examination of its musical complexities. Focussing on the historical context illuminates how a new generation of Russian emigré composers navigated the challenges of their living circumstances while embracing the ideology of Eurasia in their musical compositions. Simultaneously, I offer musical analyses that reveal the ways in which Tcherepnin weaves musical folkloric elements into distinctive musical textures, demonstrating his profound appreciation for and insightful understanding of Chinese poetry. Composed in the aftermath of World War II and premiered at the 1946 Prague Spring Festival, the Op. 71 song cycle exemplifies Tcherepnin's pioneering exploration of vocal expressions in Chinese music, reflecting an innovative synthesis of Chinese musical elements acquired during his 1934–37 stay in China. For Tcherepnin, musical folklore transcends mere musical vocabulary; for his compositional approach actually shapes a unique Eurasian musical narrative as a musical response and intervention. Tcherepnin's recognition today remains limited despite his significant contributions, particularly in the vocal genre. The research goals of this dissertation aim to rectify this oversight by showcasing Tcherepnin's innovative embrace of folk idioms, thus enhancing our understanding of his dynamic life and legitimate artistic legacy.

Since the most ancient of the Shijing songs were accompanying the rites of the ancestral sacrifice, which already by definition represented communication with the past, the notion of history is present in these hymns as well. In the latter half of the Western Zhou period, significant changes occurred in the ritual practice. These changes are evident in the shift of perspective in several Zhou song hymns, too. At the same time, the banquet odes appear for the first time on Zhou court. These odes already explicitly describe the glorious history of the house of Zhou, and so become the means of legitimacy of the weakening royal clan. History here also represents the pattern of the exemplary rule and the source of premonitory precedents. By the end of the Western Zhou dynasty, the notion of remote past becomes fully idealized.