Dissertations / Theses on the topic 'Chinese vernaculars'

This thesis investigates how and why Sichuan courtyard dwellings evolved to adapt to changing social and cultural conditions from the 18th to the 20th century. Located in south-western China, Sichuan courtyard dwelling share some similarities with those in other regions of China but have its unique characteristics. While much of the existing scholarship studies Sichuan vernacular architecture from a static perspective, this research examines the development of Sichuan vernacular architecture as a dynamic process of immigration, localization, and acculturation. The research is based on three in-depth case studies and fifteen auxiliary cases. Using research methods including archival research, interviewing, site observation, and spatial analysis, the thesis adopts a holistic research framework to examine architectural space, social relationships, everyday life and cultural meaning of selected examples. The thesis shows that Sichuan courtyard dwellings in the 18th century were not developed from local architectural forms, but imported from inland China along with the wave of immigration. With the process of localisation in the 19th century, the characteristics of Sichuan vernacular dwelling such as grey space, flexible layout, extended eave, and small sky-well came into being to adapt to the new natural and cultural environment. The study also found that the social relationships and everyday life of the Sichuan residents were driving forces for the creation of the interesting spaces. The study also shows that many Sichuan courtyard dwellings in the 20th century were the results of compromise and eclecticism: their domestic spaces were organized within the traditional spatial framework as a cultural inheritance, while their westernized facade revealed the process of acculturation. Through these findings, the thesis contributes an original perspective to the understanding of Sichuan vernacular architecture as an evolving process over time.

This dissertation discusses the Edo-period Japanese translation, adaptation, and theoretical analysis of Chinese popular fiction and drama between 1680 and 1815. I focus on the ways in which Japanese encounters with fiction and drama written in the unfamiliar “vernacular” engendered reinterpretations of Japan’s cultural relationship to China. Whereas this relationship had previously centered largely on the Confucian classics and their ongoing interpretation in Japan, I argue that the introduction of vernacular texts enabled new modes of visualizing China’s position as a locus of textual and cultural authority. I connect the increasingly formalized study of vernacular texts to a discourse on temporality and linguistic change, and demonstrate the degree to which engagement with late imperial Chinese fiction and drama led to the reformulation of definitions of culture, literature, and language. By dramatically widening the range of materials and texts that could be used to construct a vision of China, the introduction of vernacular fiction and drama encouraged Edo-period philologists and fiction connoisseurs to reconceptualize both the criteria for judging textual competence, and the position of their own writing with respect to China. Rather than focusing on eighteenth-century efforts to efface traces of China’s cultural imprint on Japan, I seek to complicate accounts of the development of Japanese literature by exploring the oeuvres of philosophers, philologists, and fiction writers who attempted to theorize areas of convergence between Chinese and Japanese literary production. The study is divided into four chapters. Chapter One introduces the major themes of the dissertation as a whole and analyzes the rhetoric surrounding both the introduction of Chinese vernacular texts and subsequent attempts at reifying their study as an independent academic discipline. Chapter Two develops these themes further through an analysis of three eighteenth-century explorations of aesthetics, genre, and literary translation. In Chapters Three and Four, I examine a group of anomalous “reverse translations” of Japanese fiction and drama into the language and structure of vernacular Chinese fiction—using these largely overlooked texts to map out networks of literary contact and discuss the hermeneutics underlying eighteenth-century Japanese engagement with vernacular Chinese fiction and drama.<br>East Asian Languages and Civilizations

This research aims to shed fresh light on our understanding of how (im)politeness manifests itself as a discursive phenomenon by examining invitations and gift-giving (henceforth I&G) in pre-modern Chinese. To this end, a corpus of I&Gs from Feng Menglong’s (1574-1646) trilogy of vernacular stories was analysed using a pragmaphilological approach that emphasizes the contextual analysis of texts. Quantitative and qualitative analyses of the data show that the interactional elaboration and selection of the strategies of pre-offers, head acts, modifications and responses were highly context-dependent. Hence, the present study provides empirical evidence that I&Gs are far more complex than previously assumed and extends our understanding of them beyond the contemporary limit. In line with the discursive or post-modern approach to (im)politeness, I argue that it is essentially the interactants’ contextualized evaluations of the I&Gs that determined whether an offer counted as polite or impolite behaviour. By challenging the conceptual bias of the modern approach to (im)politeness towards speech production, its assumed link between indirectness and politeness and the empirical applicability of positive and negative politeness distinction and also the overemphasis in Chinese politeness scholarship on modesty and rituality, this research contributes to the possibility of developing alternative (im)politeness theories by explicating how I&Gs in Chinese, which have long been stereotyped as interactionally elaborate and intrinsically polite, were judged by participants in relation to (im)politeness.

<i>Sui Yangdi Yanshi</i> (The Sensational History of Sui Emperor Yang) is a historical novel published in China in 1631. It portrays, in sometimes graphic detail, the rise and decline of Emperor Yang (reigned 605 - 613) whose obsession with massive construction projects and pursuit of sensual pleasure resulted in the collapse of the dynasty. The novel sank into relative obscurity upon the accession of the more conservative Qing dynasty (1644 - 1911). The major reason for the decline of the novel may be attributed to its inclusion in a later novel, <i>Sui Tang Yanyi</i> (Romance of the Sui and Tang Dynasties) which diluted the more graphic elements of the earlier work and embraced a more conservative social vision. This thesis utilises a critical methodology based on aspects of the work of the Russian critic Mikhail Bakhtin - specifically the concepts of genre, polyphony and intertextuality - to argue that the emerging vernacular novel form in seventeenth-century China is an open-ended and complex form which is capable of accommodating a variety of discourses, and which provides an environment in which a multiplicity of views are revalorised. It is argued that the novel form was regarded by intellectuals of the period as the best means of conveying human truth within the context of historicity and was a superior vehicle for the expression of the human condition than more institutionalised forms such as the Standard Imperial Histories. The thesis demonstrates that vernacular fiction displays an awareness of its fictionality and analyses the relationship between the narrative body and appended critical commentary. The final chapter utilises the concept of intertextuality to argue that creative understanding of vernacular fiction allows the reader to extend the range of meaning and exploit the latent potential of the vernacular novel form.

Jin Ping Mei 金瓶梅, œuvre controversée dès son apparition à la fin du XVIe siècle, fut très tôt reconnue comme une des œuvres phare du roman chinois en langue vulgaire, notamment par Feng Menglong 馮夢龍 (1574-1646) qui le désigna comme un des Si da qishu 四 大奇書 (Quatre grands livres extraordinaires). De nombreux mystères à son sujet restent encore débattus aujourd’hui, parmi lesquels l’identité de son auteur, l’authenticité de ses éditions, ou les interprétations possibles de ce roman. La réputation exécrable dont il continue de souffrir en Chine continentale ne l’a pas empêché de susciter l’intérêt des premiers sinologues français et anglais et ceci dès 1816. En prenant pour point de départ une analyse des sources et une synthèse des hypothèses en cours concernant Jin Ping Mei et ses interprétations, notre thèse fera le point sur toutes les adaptations et traductions en anglais et en français de l’ouvrage, notamment en mettant en parallèle les deux meilleures traductions intégrales dont nous disposons actuellement, à savoir en français, celle d’André Lévy (1985), et en anglais, celle de David Tod Roy (de 1993 à 2013). Cette confrontation nous permettra de distinguer les différentes interprétations de l’ouvrage retenues par les traducteurs, et d’exposer les stratégies mises en place par eux pour le traduire. Un aspect crucial de notre travail consistera à souligner dans notre critique les positions interprétatives des traducteurs, et le potentiel interprétatif qui résulte de leurs choix. Loin de vouloir appliquer à ces traductions un jugement de valeur, nous espérons au contraire offrir une meilleure compréhension de la profondeur de cette œuvre si complexe et controversée<br>Jin Ping Mei 金瓶梅, one of the greatest masterpieces of the vernacular Chinese fiction, faced controversy ever since it appeared at the end of the 16th century. Scholars like Feng Menglong馮夢龍 (1574-1646) recognized the novel to be exceptional early on, placing it amongst the Si da qishu 四大奇書 (Four Masterworks of the Ming Novel). However, there still is a halo of unresolved mysteries around Jin Ping Mei, despite the fact that it has been the focal point of numerous studies. Some questions remain unsolved, such as the identity of its author, the authenticity of its editions, or its possible interpretations. Despite the bad reputation that the novel still suffers from in mainland China, its raised the interest from French and English sinologists as soon as 1816. Ever since, the novel has been the subject of partial translations and adaptations highly perfectible. Starting with an analysis of the sources and a synthesis of current hypothesis about the book and its interpretations, our thesis will then focus on all the adaptations and translations of the novel in English and in French, to ultimately confront the two best integral translations available to that day, namely André Lévy’s (1985) and David Tod Roy’s (1993 to 2013). This confrontation will allow us to distinguish the interpretations that translators had of the novel, and to expose the strategies they resorted to. A crucial part of our work will be to underline the interpretative positions of both translators, and the interpretative potential that results from their choices. Our goal is not to judge of the value of said translations, but rather to offer a better understanding of the depth of Jin Ping Mei<br>自十六世紀末問世以來，《金瓶梅》一直都是一部有爭議的作品。作為一部中國古代通俗長篇小說的著作，以及被馮夢龍稱為“四大奇書”之一，《金瓶梅》至今為止仍存在許多未解之謎。雖然對作品的相關研究日漸增多，但是關於作者的身份、版本以及對作品的闡釋等問題尚未達成共識。直至今日，《金瓶梅》在中國仍臭名昭著，但是這並不妨礙它在國外的流傳。早至1816 年，這部作品便引起了法國第一位漢學家的注意。兩個世紀以來，在法國紛紛出現了各種選段翻譯、改寫以及問題種種的不完整的法譯本。同樣，《金瓶梅》在英美國家的傳播之路也是漫長而艱難。該論文首先對《金瓶梅》的文學特色以及作品闡釋的問題進行相關探討，然後對《金瓶梅》所有翻譯和改寫的法譯本和英譯本進行研究，特別是對該作品的兩個完整的法譯本(André Lévy 雷威安 1985 年譯成)和英譯本(David TodRoy 苪效衛 1993 年至2013 年五卷本) 進行對比研究。通過對這些譯本的研究，我們能深入地了解譯者對作品的闡釋，他們採用的翻譯策略，以及他們譯本的優劣性。該論文的研究重點是譯者對作品闡釋的主體性，以及他們的翻譯策略給譯本讀者對原著理解帶來的影響。我們的研究並不是為了對譯本進行質量的評估，而是通過對譯本的研究來讓我們對《金瓶梅》這一複雜而極具爭議的作品有更深層的了解。

La thèse analyse la carrière de deux personnages d’esprit-renard dans deux romans fantastiques en languevernaculaire de la fin des Qing : le Yaohuazhuan 瑤華傳 de Ding Bingren 丁秉仁 (1803) et le HuliyuanQuanzhuan 狐狸緣全傳 (1888) de l’auteur qui signe du pseudonyme de Zuiyue shanren 醉月山人. Les étudesprécédemment consacrées à de tels personnages n’avaient jamais encore analysé globalement leur parcourslorsqu’ils évoluent dans l’espace d’un récit long. On étudie notamment la voix de ces protagonistes renards, queje définis comme démoniaque, et des personnages féminins et hybrides qui les côtoient. Cette voix, qui s’opposeà la morale officielle et qui dément, ridiculise et délégitime l’autorité patriarcale, se situant ainsi du côté del’hétérodoxie, est abordée par le biais d’outils psychanalytiques freudiens et lacaniens, qui se concentrent sur laspécificité du langage utilisé, à la recherche des nœuds signifiants dans le texte. Du côté freudien on remarquel’inquiétante étrangeté de la renarde comme révélatrice des complexes refoulés de l’individu vampirisé et de lasociété en général. La thèse propose un grand nombre d’extraits traduits pour la première fois, extraits quimettent en relief des caractéristiques essentielles des protagonistes et de leur entourage. Nous étudions lamanière dont une notion fondamentale, la féminité, se décline de plusieurs manières, mais toujours selon unaxe principal: celui du talent. La thèse veut donc prouver la valeur socio-politique du fantastique dans ces textes,dans lesquels les esprits-renards présentés seraient des allusions aux femmes de talent du monde réel del’époque des récits (nonnes, courtisanes, guixiu poètes, performeuses)<br>This dissertation concerns two fox-spirit characters in two fantastic vernacular novels at the end of Qing period:Yaohuazhuan 瑤華傳 by Ding Bingren 丁秉仁 (1803) and Huliyuan Quanzhuan 狐狸緣全傳(1888) by Zuiyueshanren 醉月山人. I study in particular the demonic voice of these protagonists and the other feminine andhybrid characters in the text, which defies and delegitimizes patriarchal authority. This analysis uses Lacanianand Freudian psychoanalytical tools, trying to find signifiants in the text. The dissertation offers a great numberof excerpts translated for the first time. The fundamental concept which emerges is femininity linked to talent.The dissertation aims so to prove the socio-political value of fantasy in these texts, which takes vixens as beingallusions to real talented women of the time (nuns, courtesans, guixiu poets, performers)<br>本文的研究对象是中国清末民俗小说《瑶华传》(丁秉仁著,1803)和《狐狸缘全传》(醉月山人著,1888)中的两个狐狸精人物。特别研究了小说中被称为狐狸精的女主角的性格和语言特征,以及文中其他女性、其他人物的不同特点。分析了在当时的社会状况下,这些女性人物在社会活动中对男权制的反抗和抵制,该分析使用拉康和弗洛伊德的心理分析工具,在原文中进行了有意义的查询和研究。论文提供了大量的摘录,是第一次翻译。本文旨在证明这些文本中幻想的社会政治价值,基本概念是对有才华的女性的赞美,认为坦率、有见识、有能力的女性是当时真正才华横溢的女性。

À la fin de la dynastie Ming, Baoweng laoren a sélectionné quarante contes en langue vulgaire dans la collection San Yan Er Pai 三言兩拍 de Feng Menglong et de Ling Mengchu. Cette anthologie est connue sous le titre Jingu qiguan 今古奇觀 (Spectacles curieux d’aujourd’hui et de jadis). Elle a connu un immense succès à l’époque de sa publication et a été sans cesse rééditée. Aujourd’hui, elle est considérée comme un chef-œuvre représentatif de la littérature chinoise en langue vulgaire. Sa réputation a dépassé la frontière de la Chine depuis longtemps. Au XVIIIe siècle, trois contes du Jingu qiguan ont été traduits pour la première fois en Europe par un jésuite français. Dès lors, l’œuvre a connu de très nombreuses traductions partielles, retraductions et réécriture dans toute l’Europe. Seulement en langue française, il en existe déjà trente traductions partielles et une traduction intégrale, ainsi que de nombreuses réécritures de natures variées. Cela nous amène à nous interroger sur les raisons de ces traductions et retraduction, et à nous intéresser à leurs différentes réécritures. Qui les a traduits et comment ont-ils été traduits ? Ces contes ont-ils exercé quelque influence sur la littérature locale, et de quelle manière ? La présente étude a pour objectif de traiter toutes ces questions<br>At the end of the Ming Dynasty, Baoweng laoren has selected forty tales of the three collections of Feng Menglong and two collections of Ling Mengchu to compile another anthology entitled Jingu qiguan 今古奇觀 (curious spectacles of today and of the past). This anthology was a huge success at the time of its publication, and is constantly reprinted for centuries until today. Today it is considered as a main representative work of Chinese literature in vernacular language. The reputation of Jingu qiguan has already exceeded the Chinese border since a long time. Since the 18th century, three tales of the Jingu qiguan were translated for the first time in Europe by a French Jesuit. Therefore, throughout the centuries, the Jingu qiguan has experienced a lot of partial translations, retranslations and adaptation across Europe. Only in French, there are about thirty translations, retranslations and rewrite of Jingu qiguan. So that leads us to wonder why these stories have constantly been translated and retranslated, or even rewritten. Who have translated them and how they have been translated? How these translations did had some influence in the local literature? This study is intended to cover all these issues

碩士<br>國立高雄師範大學<br>華語文教學研究所<br>103<br>Literal/Vernacular Mandarin Chinese Judging Ability of Foreign Students Abstract Language is primarily a way of communication, but also serves as an instrument to convey emotion and a measurement of one’s expressiveness ability. After much study, foreign students are able to speak Mandarin, and furthermore, can adequately select the appropriate written form of Literal Mandarin Chinese that matches their language ability. The progress of this language learning can be meaningful and its impact is far-reaching. Nevertheless, being able to select the appropriate form in language expression represents not only the speaker’s sense of diversity but also suggests the speaker’s sensibility, instincts, and apprehensiveness in character manipulation or paragraph writing. The purpose of this study is to explore the sensitivity of written language in foreign students. In other words, what factors affect foreign students’ judging ability in Literal/Vernacular Modern Chinese? Is there any correlation between the ability to write formally, specifically using written form of Literal Mandarin Chinese and the overall language ability among foreign students? This study used Survey Research and Correlational Research methodology. 87 subjects completed general background surveys and test questionnaires. The information gathered from the surveys was analyzed and the results are as follows: 1. The survey questionnaire of the Literal/Vernacular Mandarin Chinese Judging Ability proved reliable Validity and Discrimination. This Judging Ability is also one of the performances in language ability. It genuinely reflects the subject’s real ability in language manipulation as long as the subjects being tested. 2. The score level of the subjects in the Literal/Vernacular Mandarin Chinese Judging Ability test positively correlated with higher language ability and the language Plateau Period appears to be at the C1 level. 3. The data indicate that students who spend more time learning Mandarin Chinese, and thus have a higher language ability, score better in the Literal/Vernacular Mandarin Chinese Judging Ability test. Yet, scores were not affected by the subject’s gender or country of origin (i.e. from a Mandarin Chinese speaking country) Nevertheless, the non-Chinese citizen of Chinese origin did score higher than other foreign students who were tested. 4. Amongst all surveyed subjects, the higher the score in the Literal/Vernacular Mandarin Chinese Judging Ability test, the better their performance in the Reading test as well. The survey provides some helpful information for how to compile better textbooks, improve classroom teaching, and generally improve Mandarin Chinese Language Centers. The researcher recommends that each individual Language Center divide its students into classes based on their language level ability. In language teaching, the guidance and the purpose should be carefully considered by instructors. Written Language, essay writing, sentence patterns and vocabulary should be all reinforced. In addition, carefully selected and appropriately compiled textbooks, which align with foreign students’ language level are essential. These suggestions will hopefully improve students’ Judging Ability in Literal/Vernacular Mandarin Chinese and strengthen overall Written Language ability. Key Words: Written Language, Language Ability, Mandarin Chinese language Teaching, Language Sensitivity, Sinosphere, Foreign Students with non-Chinese citizen of Chinese origin

碩士<br>國立雲林科技大學<br>漢學應用研究所<br>106<br>Patrick Hanan (1927-2014) is well-known in the circle of Chinese Studies in the West. He is a professor of classical Chinese literature at the Department of East Asian Studies in Harvard University, and is the first president of the Harvard-Yenching Institute to study Chinese literature and promote academic exchanges between China and the United States. Hanan’s research on Chinese classical stories has many features. Apart from the study of “Jin Ping Mei” and “Hong Lou Meng”, many new discoveries and unique insights have been put forward in the study of Chinese vernacular stories, Li Yu’s research, and romance stories. He proposed the method of "Style Criteria", which used writing styles, wordings, etc. in the novels to deduce the writing periods for those novels that their writing periods were unknown in the past. He also interpreted the Chinese vernacular stories by Western narrative theory. 　　Hanan’s study of Chinese vernacular stories in such subjects as the authorship and writing periods for Chinese vernacular stories and Li Yu’s novels etc. has made great contribution and influence in the circle of Chinese studies in the America and even in Taiwan. 　　However, despite his importance as the pioneer in the study of Chinese vernacular stories, Hanan has received little attention and scant scholarly treatment in Taiwan. Therefore, the aim of my thesis is to explore thoroughly the research findings of Hanan’s study of Chinese vernacular stories in order to manifest its significance and position in the field of Chinese vernacular novels and to expound the possible research orientation in the future.

碩士<br>國立臺灣大學<br>資訊網路與多媒體研究所<br>98<br>The classic realistic vernacular novel “The Scholars” pioneered Chinese satire. It has a unique narrative style, in which there are hundreds of characters but none of them leads the story. It is the best-known novel during Qing Dynasty, just the same as “Dream of the Red Chamber”. However, the attention it acquires and the research been done on it are much less compared with the latter, and despite the extensive application of social network analysis, it is less applied to textual analysis. Therefore, we tried to use information technology to construct and analyze the social network of “The Scholars” and answered questions related to social network problems. In our research, we discovered that there is a high proportion of role dialogues in The Scholars, which is the most important source of role relations. Therefore, we designed a semi-automatic method to extract data from the full text of The Scholars using an algorithm called “word clipper”, and construct the social network based on the conversations of characters. After that, we did a preliminary textual analysis based on those quantitive data. During our analysis, besides finding out the community each role belongs, we discovered the importance of a little-researched character JIN Dong-ya, and learned the exact role-iterating status of The Scholars based on the talking of each characters.

本研究以土樓為案例，引入了跨學科的方法考察社會政治機制對中國鄉土建築的變化產生的作用。針對目前認為土樓視為客家族群特有的家族性防禦建築的觀點，我指出了土樓建築形式具有異質性，而這一異質性必須從業主的產權結構出發去理解。通過結合分析社會結構和空間組成，我提出大部分的土樓形式是由相對貧困並且貧富分化不明顯的社區成員合資建造的一種低造價的合作社住宅。我進而以1958至1983年間的建造高峰為例，揭示了土樓地區的居民如何策略性地利用社會主義集體共有的農村產權關係大量建造合作社住宅。<br>論文從建築的空間結構與建造過程、業主的社會組織以及政治環境的歷史變化三個方面考察土樓。第一章回顧現有的土樓研究，提出從業主的角度研究鄉土建築的方法，並介紹了本研究的資料來源。第二章提出了一個從業主社會結構考察鄉土建築的分析架構。通過考察集合住宅中的兩個層次的社會團體，家庭與集體，我提出了一組將社會結構與空間構成相聯繫的表達式。第三至五章分別從建築學、社會學和歷史學的角度具體證明與業主有關的各種因素如何將土樓塑造成住宅合作社，並展示了政治制度的轉變如何影響到建築形式的變化。最後一章總結了本研究的貢獻。<br>本研究運用了多學科的研究方法，通過結合建築形式與建造過程的分析、人類學的調研方法、社會學的社區分析理論以及地方史的研究，探討鄉土建築的形成原因與演變邏輯。此外，本研究也試圖在研究土樓的基礎上探討多層面的問題，包括對地方建築形式的定義方法、鄉土建築的研究方法論以及如何從社區在住宅建造上的策略性選擇理解地方與國家的關係。<br>This dissertation is an interdisciplinary research on the socio-political system to explain the transformation of Chinese vernacular architecture within the context of tulou, an architectural form in Fujian Province, Southeastern China. I challenge the myth that tulou are Hakka clan houses or fortresses and argue that most tulou are affordable cooperative houses. I further suggest that these cooperatives were adapted to the People’s Commune property system and hence, experienced construction peak from1958 to 1983.<br>This dissertation examines the architectural form of tulou, the social structure of its proprietors, and the socio-political changes that occurred during China’s socialist transformation. Chapter 1 opens with a review of the tulou literature, which also introduces a socio-political approach in studying Chinese vernacular architecture. In Chapter 2, I propose a set of symbolic expressions and models to analyze the property structure and spatial configuration of collective houses. The next three chapters engage in different perspectives of tulou built in the 1958-1983, including the architectural issues in Chapter 3, the social issues of the proprietors in Chapter 4, and the political issues in Chapter 5. Finally, the concluding chapter summarizes the contributions of the research.<br>This research combines architectural analysis, anthropological investigation, sociological analysis, and historical studies. Issues addressed include the definition of regional architectural styles, the methodology used for studying vernacular architecture, and conflicts between the state and the local communities.<br>Detailed summary in vernacular field only.<br>Detailed summary in vernacular field only.<br>Detailed summary in vernacular field only.<br>Zheng, Jing.<br>Thesis (Ph.D.)--Chinese University of Hong Kong, 2012.<br>Includes bibliographical references (leaves 214-233).<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Abstract also in Chinese.<br>Chapter ABSTRACT --- p.i<br>Chapter 摘 要 --- p.ii<br>Chapter ACKNOWLEDGEMENTS --- p.iii<br>Chapter TABLE OF CONTENTS --- p.v<br>Chapter LIST OF FIGURES --- p.ix<br>Chapter CHAPTER 1 --- INTRODUCTION --- p.1<br>Chapter 1.1 --- Research Problem --- p.2<br>Chapter 1.2 --- Literature Review --- p.13<br>Chapter 1.2.1 --- Studies on Tulou --- p.13<br>Chapter 1.2.2 --- Debates on the Definition of “Tulou“ --- p.21<br>Chapter 1.2.3 --- An Interrelated Region Divided by Administration --- p.25<br>Chapter 1.2.4 --- Cultural Heritage: Homogeneity as a Political Comprise --- p.30<br>Chapter 1.3 --- Methodology --- p.33<br>Chapter 1.3.1 --- Toward a Socio-political Approach --- p.33<br>Chapter 1.3.2 --- Analyzing Forms: Vernacular Architecture as a Process --- p.35<br>Chapter 1.3.3 --- Understanding the Communities: Evidence in the Field --- p.38<br>Chapter 1.4 --- Organization --- p.41<br>Chapter CHAPTER 2 --- COOPERATIVE HOUSES --- p.44<br>Chapter 2.1 --- Residential Communities and Collective Houses --- p.45<br>Chapter 2.1.1 --- Bridging Communities and Houses: Ownership Structure --- p.45<br>Chapter 2.1.2 --- The Variations of Collective Houses --- p.47<br>Chapter 2.1.3 --- Communities in Southeastern China --- p.50<br>Chapter 2.1.4 --- Collective Houses in Southeastern China --- p.53<br>Chapter 2.2 --- The Symbolic Expressions of Collective Houses --- p.57<br>Chapter 2.2.1 --- Spatial Configuration and Ownership Structure --- p.57<br>Chapter 2.2.2 --- Variables and the Order of Operations --- p.58<br>Chapter 2.2.3 --- The Expressions --- p.60<br>Chapter 2.3 --- Structure Models of Collective Houses --- p.63<br>Chapter 2.3.1 --- Clan Model and Cooperative Model --- p.63<br>Chapter 2.3.2 --- The Hybridity of Models --- p.65<br>Chapter 2.3.3 --- The Alternatives between Models --- p.68<br>Chapter 2.3.4 --- The Diverse Forms of Tulou Cooperatives --- p.77<br>Chapter 2.4 --- Unit-Proprietors of Cooperative Houses --- p.81<br>Chapter 2.4.1 --- Unit Proprietors: Owner-builder-occupiers --- p.81<br>Chapter 2.4.2 --- The Recruitment of Unit-proprietors --- p.82<br>Chapter 2.4.3 --- The Allocation of Units --- p.84<br>Chapter 2.5 --- Variations of Tulou Forms in History --- p.85<br>Chapter 2.5.1 --- Historical Background --- p.85<br>Chapter 2.5.2 --- Fortresses --- p.87<br>Chapter 2.5.3 --- Merchants’ Mansions --- p.89<br>Chapter 2.5.4 --- Houses Funded by Overseas Chinese --- p.90<br>Chapter 2.5.5 --- Communal Houses --- p.91<br>Summary --- p.92<br>Chapter CHAPTER 3 --- SPACE, FORM, AND CONSTRUCTION --- p.93<br>Chapter 3.1 --- Spatial Configuration --- p.94<br>Chapter 3.1.1 --- A Collective House --- p.94<br>Chapter 3.1.2 --- Public Domain: the Central Courtyard --- p.95<br>Chapter 3.1.3 --- Family Spaces: Vertical Units --- p.96<br>Chapter 3.2 --- Form and Structure --- p.99<br>Chapter 3.2.1 --- Separating Form and Structure --- p.99<br>Chapter 3.2.2 --- Forms --- p.100<br>Chapter 3.2.3 --- Structure --- p.105<br>Chapter 3.3 --- Affordability --- p.108<br>Chapter 3.3.1 --- Location --- p.108<br>Chapter 3.3.2 --- Site --- p.110<br>Chapter 3.3.3 --- Materials --- p.111<br>Chapter 3.3.4 --- Labors --- p.113<br>Chapter 3.3.5 --- Cooperate to Reduce Cost --- p.114<br>Chapter 3.4 --- Building Techniques --- p.116<br>Chapter 3.4.1 --- Craftsmen and Local Traditions --- p.116<br>Chapter 3.4.2 --- Critical Issues on Construction Process --- p.121<br>Chapter 3.4.3 --- Modular Design System --- p.128<br>Chapter 3.5 --- Construction Organization --- p.129<br>Chapter 3.5.1 --- Time Control --- p.129<br>Chapter 3.5.2 --- Budget Control --- p.130<br>Chapter 3.5.3 --- Unit-proprietors in the Project --- p.131<br>Summary --- p.131<br>Chapter CHAPTER 4 --- HOUSEHOLDS,CLANS,AND COOPERATIVES --- p.132<br>Chapter 4.1 --- The Property Structure of Tulou --- p.133<br>Chapter 4.2 --- Household Division and House Division --- p.136<br>Chapter 4.2.1 --- Households --- p.136<br>Chapter 4.2.2 --- Household Division --- p.136<br>Chapter 4.2.3 --- House Division --- p.138<br>Chapter 4.2.4 --- House Division in Tulou --- p.144<br>Chapter 4.3 --- Stoves and Cooperative Houses --- p.147<br>Chapter 4.3.1 --- Stoves as the Affiliation Symbol --- p.147<br>Chapter 4.3.2 --- Stoves in Tulou --- p.148<br>Chapter 4.3.3 --- The problem and the Solution --- p.149<br>Chapter 4.3.4 --- A unit-proprietor’s Life --- p.152<br>Chapter 4.4 --- The Multiple Identities of Unit-Proprietors --- p.153<br>Chapter 4.4.1 --- Household Member --- p.153<br>Chapter 4.4.2 --- Cooperative Member --- p.155<br>Chapter 4.4.3 --- Clan Member --- p.156<br>Chapter 4.4.4 --- Ritual: A presentation of the multiple identities --- p.158<br>Summary --- p.160<br>Chapter CHAPTER 5 --- THE RISE AND DECLINE OF COOPERATIVE HOUSES --- p.161<br>Chapter 5.1 --- Property System in Rural China --- p.162<br>Chapter 5.1.1 --- Background: Before 1911 --- p.162<br>Chapter 5.1.2 --- The Revolution 1911-1983 --- p.163<br>Chapter 5.1.3 --- Owners in China’s Rural Property System --- p.169<br>Chapter 5.2 --- Built under Socialism (1958-1983) --- p.171<br>Chapter 5.2.1 --- The Political Circumstances and Housing Policies after 1949 --- p.172<br>Chapter 5.2.2 --- Housing Production Teams: A Case Study on Hekeng --- p.173<br>Chapter 5.2.3 --- Democratic inside the Cooperatives: A Case Study on Tianluokeng --- p.184<br>Chapter 5.2.4 --- Discussion: Private Property vs. Public Goods --- p.192<br>Chapter 5.3 --- Build after Socialism (1983- ) --- p.196<br>Chapter 5.3.1 --- Household-Responsibility System --- p.196<br>Chapter 5.3.2 --- On the eve of Reform (1979-1983) --- p.196<br>Chapter 5.3.3 --- After the Reform (1983- ) --- p.198<br>Chapter 5.4 --- Socio-political System and Architectural Forms --- p.202<br>Chapter 5.4.1 --- The Communist style --- p.202<br>Chapter 5.4.2 --- The Post-communist Style --- p.205<br>Summary --- p.206<br>Chapter CHAPTER 6 --- CONCLUSION --- p.208<br>Chapter 6.1 --- On Tulou and Cooperative Houses --- p.209<br>Chapter 6.2 --- On Socio-political System --- p.210<br>Chapter 6.3 --- On Chinese Vernacular Architecture --- p.211<br>BIBLIOGRAPHY --- p.214

碩士<br>國立交通大學<br>教育研究所<br>104<br>This study aimed to explore the effects of QRAC reading strategy on eigth graders’ vernacular reading comprehension. In addition, students’ feeling and response toward the instruction were aslo discussed. The result was presented by quantitative data, qualitative data was as a subsidiary role. This study adopted quasi-experimental research method. The participants were 75 eigth graders’ from three different classes of a junior high school in Hsinchu city. One was taught in group QRAC, another was in individual QRAC, and the other was silent reading group, acted as a control group. We chose three lessons from different achievement tests during the second semester of 2015 to conduct the QRAC reading strategy. Besides students’ overall reading comprehension, we aslo wanted to know if there’s the same efffect on different level of students’ basic and advanced reading comprehension. The result showed that there was no significant difference after conducting QRAC in two QRAC groups, which indicated that students who received QRAC reading instruction didn’t outperform those who didn’t. Besides, students in group QRAC were aslo have no significant difference on basic and advanced reading comprehension with other groups. However, the good new is for those low achievers, individual QRAC helped them a lot with their basic and overall reading comprehension. This study not only replicated pervious studies, but aslo showed the feasibility of individual QRAC in remedial class. Though QRAC teaching strategy had no significant difference compared with other groups in learning engagement, students still held positive attitudes toward the instruction. They were smiling and paying more attention during chinese class. Finally, the study presented some suggestions and directions for teaching, school administration and future research.

碩士<br>國立高雄第一科技大學<br>應用英語所<br>95<br>This paper aims to adopt a bilingual parallel corpus-based approach to investigate the choices made by translators on the Chinese rendering of African-American Vernacular English. In this study, the English-Chinese Parallel Corpus of African-American Vernacular English (PCAAVE) consists of Alice Walker’s use of African-American Vernacular English in The Color Purple and its three Chinese translations in Taiwan by Hui-qian Chang (張慧倩), Zu-wei Lan (藍祖蔚) and Ji-qing Shi (施寄青). WordSmith Tools version 4.0 is first employed to examine the textual length of each translation. Both Chang (52,709) and Lan’s translations (59,869) are longer than the original (52,145). Because of her omission of passages about homosexual relationship, Shi’s translation is shorter than the original. If the passages Shi has omitted are also deleted from Walker’s original, there contains more words in Shi’s translation (50,910) than in the source text (47,944). In order to examine how the three Chinese translators deal with the unique syntactic features of African-American Vernacular English, ParaConc is then utilized to investigate the renderings of seven syntactic features of African-American Vernacular English in the three Chinese translations. The result shows that the three Chinese translators tend to produce a fluent translation with Chinese idiomatical expressions or adverbial phrases, due to the syntactic disparities between African-American Vernacular English and Chinese. The three Chinese translators fail to represent Celie’s African-American Vernacular English. Lawrence Venuti indicates that the domestication strategy often results in a phenomenon that the foreignness of the source text is often minimized. This study suggests that if the characteristics of African-American Vernacular English cannot be manifested in the Chinese translation, translators should inform Chinese readers of the linguistic uniqueness of the fiction in translation preface or postscript.

This thesis examines three aspects of the commentary edition of the Chinese vernacular novel Shuihu Zhuan written by Ming Dynasty literatus Jin Shengtan (ca. 1610-1661), analyzing three of the most innovative features that the commentary brings to our understanding of the novel, and what Jin Shengtan desired for the reader of his commentary to understand. The first chapter looks at a series of techniques that Jin outlines in the preliminary "How to Read" section of the commentary (dufa), where the techniques are shown to be very similar in focus and style to the literary theory of narratology as written about by Gerard Genette through a sample comparison of five of the techniques with varying characteristics of narratology. The second chapter looks at how Jin Shengtan constructs the image of the author, Shi Nai'an, through both his interlineal commentary (jiapi) and his preliminary chapter commentary (zongpi). We see through this analysis that Jin Shengtan has gone against the tradition of shu er bu zuo -- a Confucian tradition that relegates the position of the author to the background of his work -- and has brought the author into a position of prominence through his construction of the image of an unparalleled genius. The third and final chapter looks at the idea of "heroism" (xia) and how Jin's commentary reworks the way many of the primary characters of the novel and their heroic actions are seen and interpreted, focusing especially on the characters of Wu Song, Lu Zhishen, Song Jiang and Li Kui, where we see that Jin's commentary focuses on parallels between the heroes such as Wu Song and Lu Zhishen in the first portion of the novel, while switching to a more juxtapositional perspective in the latter half of the novel through Song Jiang and Li Kui.<br>Graduate<br>0305<br>0332<br>mblsm00@gmail.com

围龙屋是客家人聚族而居的传统建筑，集中分布于广东东北部。它蕴含一套独特的空间构造和象征体系，体现了客家人的社会结构和性别观念。空间作为一项技术，在物质领域和精神领域上划分了两性的界限，并维护着性别关系结构。集体化时期国家对围龙屋进行了全面性改造，女性抓住机会获取村落公共空间的话语权，并在今天成为宗教活动的主导。改革开放之后，经济改革促使当地人搬出围龙屋住进新式楼房，家庭关系也随之改变。<br>本文以梅州一座围龙屋为研究对象，以客家妇女的日常生活实践为核心主题，通过分析围龙屋聚落的历史脉络、空间构造及其社会意义的转变，探讨空间生产过程中女性个体、国家力量和传统文化观念之间的互动与角力，从而理解中国建国后的社会、政治、经济变迁。国家通过改造围龙屋来达成管制目的，客家女性在国家话语下发挥能动性获取更多的生存空间，同时也受到传统文化观念的约束。今天，国家力量借助市场经济以非正式的方式渗透农村，彻底改变了家庭权力结构，并使传统文化滋生出新的表现形式。<br>The weilong houses serve as the dwelling places for the Hakka people in Northeast Guangdong. Each weilong house contains elaborate spatial arrangements and a symbolic system that embodies the social order and gender relations of the Hakka. Space draws the boundaries between men and women in both the material and spiritual spheres, maintaining the gender structure of the Hakka society. During the collectivization period when the state reorganized the weilong house, women seized the opportunity to gain power for the control of village public space, and later they became religious leaders, even to the present. The economic reforms since 1978 have induced the villagers to leave the weilong house and move into new double-storey buildings, changing the family relations in the household.<br>This research is a study of a weilong house in Meizhou, with focus on the daily practices of Hakka women. Taking into account of the history of the weilong house, its spatial structure and the changes in its social meanings, I seek to explore the production and reproduction of space in relation to women, tradition and the state, leading to a deeper understanding of the social-economic and political changes since 1949. The state achieved its rule through the re-arrangement of space, and the Hakka women use their agency to gain more living space under the state discourse, despite being constrained by traditional culture. Today, through market forces, state power has permeated all aspects of village life, transforming the power structure of the family thoroughly and enabling traditional culture to express in new ways.<br>Detailed summary in vernacular field only.<br>Detailed summary in vernacular field only.<br>駱吉婷.<br>"2012年8月".<br>"2012 nian 8 yue".<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2012.<br>Includes bibliographical references (leaves 128-136).<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Abstract in Chinese and English.<br>Luo Jiting.<br>Abstract --- p.i<br>摘要 --- p.ii<br>致谢 --- p.iii<br>目录 --- p.v<br>图、表及照片 --- p.vii<br>Chapter 第一章 --- 导论 --- p.1<br>Chapter 一、 --- 引论 --- p.1<br>Chapter 二、 --- 理论框架 --- p.6<br>Chapter 1. --- 空间与权力 --- p.7<br>Chapter 2. --- 社会空间的三维辩证法 --- p.9<br>Chapter 三、 --- 文献综述 --- p.10<br>Chapter 1. --- 空间与性别 --- p.10<br>Chapter 2. --- 客家妇女研究 --- p.14<br>Chapter 3. --- 客家居住建筑研究 --- p.18<br>Chapter 四、 --- 研究方法 --- p.19<br>Chapter 五、 --- 章节安排 --- p.24<br>Chapter 第二章 --- 传统时期围龙屋的空间结构与性别关系 --- p.25<br>Chapter 一、 --- 大饶屋的社会历史背景与现状 --- p.25<br>Chapter 二、 --- 围龙屋的组成部分 --- p.30<br>Chapter 1. --- 围龙屋的核心--堂屋 --- p.33<br>Chapter 2. --- 围龙屋的住房--横屋和围龙 --- p.35<br>Chapter 3. --- 围龙屋的衍生部分--化胎、 水塘、 风水林 --- p.36<br>Chapter 4. --- 围龙屋的连接部分--禾坪、 天街、 横厅 --- p.39<br>Chapter 5. --- 围龙屋的空间原则 --- p.41<br>Chapter 三、 --- 围龙屋的空间划分与性别界限 --- p.43<br>Chapter 1. --- p.44<br>Chapter 2. --- 象征区分 --- p.48<br>Chapter 3. --- 权力的流动 --- p.51<br>Chapter 四、 --- 女性的恐惧 --- p.53<br>Chapter 五、 --- 小结 --- p.57<br>Chapter 第三章 --- 围龙屋的改造与性别关系的重构 --- p.59<br>Chapter 一丶 --- 国家对围龙屋的重整 --- p.60<br>Chapter 1. --- 重划居住格局 --- p.60<br>Chapter 2. --- 再定义空间功能 --- p.61<br>Chapter 3. --- 切分劳动空间与家庭空间 --- p.66<br>Chapter 二、 --- 客家妇女与国家的互动 --- p.68<br>Chapter 1. --- 性别分工与妇女掌权 --- p.68<br>Chapter 2. --- 沉重的工作负担 --- p.71<br>Chapter 三、 --- 国家力量与传统文化的角力 --- p.73<br>Chapter 1. --- 分离 --- p.73<br>Chapter 2. --- 碰撞 --- p.74<br>Chapter 四、 --- 改革开放后的围龙屋 --- p.75<br>Chapter 1. --- 家庭生产 --- p.75<br>Chapter 2. --- 邻里关系 --- p.76<br>Chapter 五、 --- 小结 --- p.78<br>Chapter 第四章 --- 女性与宗教空间 --- p.80<br>Chapter 一、 --- 围龙屋的崇拜 --- p.81<br>Chapter 1. --- 个体家庭崇拜 --- p.81<br>Chapter 2. --- 围龙屋的集体崇拜 --- p.84<br>Chapter 二、 --- 宗教组织及其运作 --- p.90<br>Chapter 三、 --- 神庙的商业化与围龙屋的崇拜 --- p.93<br>Chapter 四、 --- 小结 --- p.97<br>Chapter 第五章 --- 现代居住格局与家庭权力关系的变迁 --- p.100<br>Chapter 一、 --- 新居的建立 --- p.101<br>Chapter 1. --- 分地 --- p.101<br>Chapter 2. --- 年轻女性的推动 --- p.103<br>Chapter 二、 --- 新的居住格局 --- p.105<br>Chapter 1. --- 家庭内部格局 --- p.105<br>Chapter 2. --- 村落公共空间 --- p.108<br>Chapter 三、 --- 家庭权力关系 --- p.109<br>Chapter 1. --- 夫妻 --- p.109<br>Chapter 2. --- 婆媳 --- p.111<br>Chapter 3. --- 外嫁的女儿 --- p.113<br>Chapter 4. --- 长幼 --- p.114<br>Chapter 四、 --- 小结 --- p.117<br>Chapter 第六章 --- 结语 --- p.120<br>p.128

The purpose of this study was to document and understand the meanings associated with the visual elaboration (Painter, 2002a), of a particular house i.e. what was done to it after it was built and why, in Victoria, British Columbia, Canada, by successive occupants, including myself, over a period of nine decades. I used a case study, involving documents and artefacts and interviews with key informants. Taking an interpretive epistemological stance, I employed a narrative approach to inquiry (Kramp, 2004, Johnson-Bailey, 2004). The individual narratives resonated with recent anthropological findings. The house saw home managers exert their agency (Pink, 2004). Additionally, inhabitants left a signature on the structure (Dominy, 1997), and carried with them mementos from the home they had made there (Marcoux, 2001). Over time, through transformation processes, both individuals and the house were changed (Miller, 2001a). Further, the design legacy left by previous inhabitants acted as a form of agency on successive residents (Miller, 2001b), and through reciprocal accommodation the house and its occupants came to terms with each other (Miller, 2002). Additionally, six common themes emerged: epistemological orientation, economics, male and female, reminiscences and affect, childhood to adulthood and history and presence. My finding that an individual’s epistemological stance was related to her/his artistry supports an emerging vision in art education, that of art practice as research (Sullivan, 2005). This has implications for both research and practice. Firstly, the processes through which non-specialists work need to be more fully explored. Secondly, we require a changed view of art history where art images are understood as part of a productive visual culture (Marshall, 2007). This is a concept-focused analysis of art where meaning is demonstrated to be contextual and intergraphical, and is manifest in artworks that can be scrutinized across cultures and time. Thirdly, our concept of visual literacy must expand; if we construct knowledge and reality through making images as well as by decoding the meaning of existing visual images, then art practice is schools is imperative (Marshall). Finally, visual thinking is integrative (Marshall), and thus art integration and a new approach to art and learning are essential.