Dissertations / Theses on the topic 'Qing jing jing'

This study seeks to investigate the modern derivative of Beijing opera, known as yangbanxi, through macro and micro approaches. The first part of the thesis surveys the development of Beijing opera under the historical context and in its social, political, and cultural perspectives. The second part, taking a microscopic perspective, undertakes an in-depth analysis of the compositions that were solely created by composer Yu Huiyong. First, it assays the application of Yu’s theory to his compositions of various Beijing opera arias. Second, it analyzes Yu’s instrumental music in compositional dimensions such as material, structure, and techniques, considering the larger implications of Yu’s approach. Third, it explores the highly acclaimed opera Azalea Mountain as a case study, integrating compositional analysis and sociopolitical perspective in order to give a relatively full picture of Yu’s final work as sole composer. The analysis also focuses on three aspects of the yangbanxi. The first aspect is the role of composers, in which Yu Huiyong was largely responsible for shaping the musical language and influencing the direction of Beijing opera. The second aspect is the role of politics, focusing on Jiang Qing, who had a clear vision to transform Beijing opera along revolutionary lines and the artistic and political wherewithal to implement that transformation. The third aspect is the role of culture in shaping society, with an emphasis on yangbanxi, as the artistic centerpiece of the Cultural Revolution, and special consideration is given to its role in creating a new mass culture. Beijing opera, as a living art form, had been undergoing a process of modernization throughout the first half of the twentieth century, but it was Yu Huiyong who clearly articulated what needed to be done to make the traditional art form relevant to modern audiences. In particular, the most significant achievement of yangbanxi was its music development, which achieved a new height in artistic development thanks to Yu Huiyong’s fully constructed music theory and newly established music and performance system. As the main composer, designer, theorist, and organizer of yangbanxi, Yu Huiyong made the greatest contribution to these developments. His academic research laid the theoretical framework of the further development of opera music, and his hands-on practice and music innovation provided valuable experience for the younger generation.

Dans la Chine du IIIè siècle, les mutations politiques et intellectuelles considérables survenues après l’effondrement des Han favorisent l’éveil d’une conscience inédite de l’individu, ainsi que l’émergence de nouvelles tendances philosophiques (le néo-taoïsme de l’Étude du Mystère) et l’apparition d’une activité artistique en rupture avec la tradition qui s’est imposée durant quatre siècles d’hégémonie confucéenne. La musique, qui occupe une place d’élection dans la vie des lettrés, voit évoluer le statut et la pratique auxquels elle était jusqu’alors confinée, l’outil moralisateur au service de la concorde sociale s’affirmant désormais comme une distraction libre et privée, affranchie de ses finalités politiques et civilisatrices. Notre travail prend pour objet les conceptions de la musique qui ont vu le jour dans ce contexte de l’avènement esthétique et d’une valorisation sans précédent des émotions individuelles. En nous concentrant plus particulièrement sur Ruan Ji 阮籍 (210-263) et Ji Kang 嵇康 (223-262), figures de proue de la pléiade des Sept Sages de la Forêt de Bambous et éminents poètes, philosophes et musiciens, nous avons cherché à étudier la réflexion esthétique qui s’élabore dans leurs écrits autour des questions de l’origine et la nature de la musique, de ses fonctions morales et sociales, de son utilisation politique ou macrobiotique, de ses vertus éthiques ou diététiques, ou encore de son lien aux émotions. L’analyse textuelle est complétée par celle de pratiques ou de gestes musicaux : le sifflement chez Ruan Ji, la cithare chez Ji Kang, qui donnent corps aux discours et illustrent leur mise en œuvre concrète dans la vie de ces auteurs. De sorte que l’esthétique ne se définit plus seulement comme un discours, mais aussi comme un ethos, et que l’effort d’affranchissement de la musique est contemporain d’une d’émancipation des sujets mêmes de l’expérience esthétique
In third-century China, the huge political and intellectual mutations occurring after the collapse of the Han dynasty result in the awakening of a new self-consciousness of man and the emergence of new philosophical trends (the so called Dark Learning), or also an artistic activity breaking off with four centuries of Confucian orthodoxy. Music, which occupies a privileged position in the life of literati, evolves as well, as far as its traditional status and practice are both concerned. No more considered a tool of moralization for the sake of civilized order or social harmony, it becomes a private and free distraction, emancipated from political or any other pragmatic purpose. The conceptions of music appearing in this context of nascent aesthetics provide the subject matter of our research. Focusing on Ruan Ji 阮籍 (210-263) and Ji Kang 嵇康 (223-262), two leading figures of the well-known literati group “the Seven Sages of the bamboo grove” who were also famous poets, thinkers and musicians, we attempt to examine their aesthetic thought throughout their main writings on music, concerning issues such as the origins and nature of music, its moral or social functions, its political or macrobiotic use, its ethical or dietetic virtues, and also its relation to man’s emotions. The textual analysis is completed by the study of musical practices or gestures (Ruan Ji’s whistling, Ji Kang’s playing the zither), that illustrate the effective application of their ideas in concrete life. Therefore, aesthetics does not only consist in a mere discourse, but becomes a kind of ethos, in which the emancipation of music is inseparable from that of the individual himself, through his aesthetic experience

博士
國立政治大學
中國文學系
106
With “On the Study of Ci in the Qing Dynasty from the Perspective of the Study of Jing” as its topic, this dissertation observed the way that the intellectuals in the Qing Dynasty who had the background of the study of Jing employed the refined and exquisite language of Ci to convey their messages and expressed their feelings concerning their encounters in life and the spirit of the era and probed into their treatises on their relations with groups and the society by analyzing data such as the literary works of Ci, prefaces and postscripts, and critiques on Ci and poetry. The Qing Dynasty was called the renaissance of the study of Ci and Jing, the blending of which could be seen from the intellectuals, so this author drew on this as a point of departure and followed this thread of thought to conduct his research in the hope of shedding some new light on the study of Ci in the dynasty. This dissertation fell into two parts. The introductory chapter outlined the research questions and reviewed previous pertinent studies, as well as presenting the methodology and the organization of this dissertation. The main body of this dissertation consisted of seven chapters, as follows: Firstly, in “statecraft－the background and spirit of the Ci circle in the Qing Dynasty,” this chapter discussed the mentality and behavior of the intellectuals in the Qing Dynasty from the perspective of the social development and academic history. It was suggested that the spirit of the era varied with the status quo, shifting the focus from the central to the local and ethical order from respect to harmony. Thus, the study of Ci in the Qing Dynasty also exhibited strong regional features and the trend of emphasizing the cohesion of clans and in-groups. Secondly, in “realism－the principle of textual criticism and the ability to assess a man’s character and capability in the critical analysis of the study of Ci in the Qing Dynasty,” this chapter mainly analyzed how literary works were discussed in terms of realism in the Qing Dynasty, when textual criticism prevailed and the importance of the ability to assess a man’s character and capability had been stressed since the Qin Dynasty. It was found that the seemingly objective dialectics tended to bear readers’ pre-judgments on an author’s life and involve their projection of their personal experiences into their interpretation. Thirdly, in “practical use－the perspective of the study of Jing and the study of Dao Qi and Zheng Bian in the study of Ci in the Qing Dynasty,” this chapter cited the theory of “Chi Hua Liu Xing” in the study of Yi in the Qing Dynasty to corroborate the relations between the status of the linguistic forms of Ci and the evaluation of its norm and variants. Dao was interdependent on Qi, and so was the relation between Zheng and Bian: without the chronological evidence, the development of the linguistic forms of Ci, differences in style, and representative writers and literary works of Ci, it would not be possible to draw a demarcation line. Zheng was not necessarily exhaustive, and Bian did not denote fragmentation, with no need to use one to inhibit the other. Seemingly opposing accounts were just what commentators proposed to respond to different situations that they themselves were concerned about. Fourthly, in “focus on meaning－the relations between the construction of semantics of Ci, meaning and analogy,” this chapter examined the role that objects played in the language (of a literary work) and inner feelings (of an author) when Bi, Xing and Shuo were put back into the framework of Yan, Xiang and Yi in the study of Yi and Chun Qiu. Take Zhang Hui-Yan for example. People of later generations argued that Zhang gave a far-fetched interpretation and undoubtedly purposefully emphasized the interdependence between objects and reality, ignoring his reservation in his tone. In fact, Zhang’s contribution was not to propose a soundly conceived theoretical framework, but to reason by analogy and draw on sensory descriptions to leave more room of imagination for objects. It also merited our note that Zhang Hui-Yan and people of the Chang-fraction like Zhou Ji and Tan Xian also interpret Ci from the readers’ point of view. Fifthly, in “neutralization－the treatises on temperament, courtesy and justice behind the norm of the study of Ci,” this chapter pointed out that in the Chinese tradition of music and education, the ideal state of the body, the mind and the home country lies in the harmony between the body, the linguistic forms of Ci and the country. When the authorities, whether purposefully or not, interfered in personal expressions of feelings, the instinctive feelings that echoed the status quo and an individual’s life were constrained by the norm set by the rulers accordingly. The restoration of ancient culture and emphasis of meter became the embodiment of the intellectuals’ self discipline. Sixthly, in “advocacy of grace－the philosophy of resentment and ambition shown in the literary works of Ci on the writers’ encounters in life,” this chapter discussed how the intellectuals adapted themselves to adversity spiritually and ethically. It explored the relations between the tradition of expressing resentment and the study of Ci and examined how the intellectuals re-found their self subject through the eyes of others and the formation of self images by creating literary works of Ci from a microcosmic perspective. Also, it discussed whether there were any other ways for the intellectuals to comfort themselves and settle down when their chances for taking up an official post were slim. Seventhly, in “satirizing－the critique-oriented tradition of the study of Jing and the writings of the history of Ci that reflected reality,” this chapter aimed to expound how the intellectuals used literary language to depict their feelings and describe their current situations in the environment of ethical disorder when they faced oppression-filled reality and life-changing moments. In addition, the idea of the history of Ci blossomed in the Qing Dynasty, authenticating that the writings of the history of Ci were not merely limited to satires on politics and education and literary works that concretely referred to historical events. Although the writings of the history of a writer’s mental state and the society from an individual’s cognitive perspective were not objective enough, usually full of descriptions of personal sufferings, they reflected the truth that was much clearer and more touching than reality.

碩士
國立成功大學
歷史學系碩博士班
97
Xu Jing-cheng(1845~1990) was born in a time when the Qing Dynasty was undergoing great internal and external change. However, he was not discouraged by the situation, instead, he went through the imperial examination system, and became a member of the Imperial Academy. While Xu held the position, he pursued advanced studies daily, and showed his pragmatic attitude presenting suggestions about the Sino-Russian Negotiations over I-Li and the Sino-France problem over Vietnam. Therefore, favored by the Qing imperial court, on the 1884, he was assigned ambassador to five countries: Germany, France, Italy, Austria, and Netherlands. After his three-year term of office expired, he returned to China. On the 1890, he was again assigned ambassador to four countries: Germany, Russia, Austria, and Netherlands. On the 1896, he became the full-time ambassador to Germany until 1897 when he retired from the job and ended his career as ambassador. Hence, Late Qing’s Xu Jing-cheng was the most important ambassador to Germany. His three terms totaled nine years of service and comprised a quarter of the entire existence of the office. During his office he handled lots of diplomatic negotiations. However, besides foreign affairs, Xu Jing-cheng was also the Late Qing’s most important middleman in the procurement of military equipment. For naval warfare, he not only inspected Dingyuan, Zhenyuan and Jiyuan, the three warships ordered by the former ambassador, Li Feng-bao, but also participated directly in the design of the two cruisers Jingyuan and Laiyuan. In the handling of ships’ inspection and purchasing, he gradually transformed from a traditional member of the literati and officialdom into an expert in western warships. This was reflected in the articles on Qing’s naval arrangements and the compilation of “Wai guo shi chuan tu biao外國師船圖表.” After the Treaty of Shimonoseki, due to the fact that Qing was facing the overturning of the Beiyang Fleet, and the lack of coastal defense, Xu Jing-cheng was again assigned to the purchase of warships in Germany. Xu also applied his knowledge of warships in the design of new warships. The return of the newly designed warships significantly revitalized Qing’s navy. Aside from purchasing warships, Xu Jing-cheng was also keen to the purchase of land equipment. During the Sino-French and Sino-Japanese wars, he ordered more than 10,000 Mauser series rifles and ammunition. Meanwhile, his introduction of Krupp artillery and purchase of machinery and equipment for artillery manufacturing contributed greatly. After the Sino-Japanese war, in response to the voices reviewing the defeat of the nation, he was entrusted to hire German military instructors to help train the new army in China. Although he was executed for suggesting punishing the boxers of the Boxer Rebellion, his great contribution to the Late Qing’s sea and land forces simply cannot be ignored.

博士
國立中央大學
中國文學系
102
This thesis is to research from the point of view of “ Body” to discuss the essence of the performing art of the Dan/旦 in Jing-ju/京劇, and to analyze the factors and effects in the process of developing the performing technics of the Dan in Jing-ju. Males, who construct the performing art of Dan in Jing-ju, and try to overcome the embarrassment of the trans-gender acting. However, the country fell in political turbulence and culture impact after 1912. So there is the dialectical and intricate relationship in the Jing-ju actors’ technics between the society and the culture. The structure of this thesis will be based on the discussion of the inheritance system that influenced the aesthetic development in the Dan. Therefore, the themes of this thesis will also discuss the performing technics of the Hang-dang/行當, the style, and the actors’ identification. Role of “Qing-yi/青衣” that was developed by Chen De-lin/陳德霖 and “Hua-shan/花衫” developed by Wang Yao-qing王瑤卿 were the turning point of the Dan, especially Chen is the key person who let the role of Dan free from the image of “Xiang-gong/相公” through establishing the unique singing skill and performance. Wang absorbed varies performing art style and technics to make the performing art of Dan in Jingju more vivid and substantial. These relationship were just like the competition between master and apprentice, especially it was more apparent between Mei Lan-fan/梅蘭芳 and Cheng Yan-qiu/程硯秋. It also aroused the theory of self-identification, and also the inheritance of their performing art. In fact, Mei and Cheng also faced with more complicated social change and competition, this special interaction also upgrading their technics to the fields of humanism. This research will conclude in Cheng’s performing art, that focus on actor’s self-identification, that is, the performing art of “body” of Dan from the point of view through themselves, theater and political society.

碩士
國立中興大學
台灣文學與跨國文化研究所
101
History consists of past events and incidents. Those fractious incidents seemed to be normal, trivial, irrelevant and without deciding effects. However, they were the reflections of the life style and social atmosphere of that period of time. Even though those trivial matters were not officially documented but they certainly reflected history at some aspects. What’s more, they might even correct our understanding of history. Among the existing files of the Qing civil justice system, the Dan-Xin Archives is the most extensive first-hand data for understanding the life of the ordinary Taiwanese in Qing dynasty. Despite the refinement, argument, exaggeration and concealment in the litigation letters, they manifested at certain level the actual Taiwan social operation in Qing dynasty. Via the display of evidences, depositions of both parties and judicial ruling, we are able to analyze the geographic relationships, social network, government attitude and social structure in those cases. Oftentimes, the seemingly coincidences in history forecast their tracks of occurrences in everyday life. Except for some political incidents, the fighting and civil commotions in Taiwan history were mostly the results of social conflicts, such as tribal fights. Some of the civil disputes were dealt with, some of them were oppressed and some of them were ignored. Whether they happened for a reason or left detrimental impacts, they might turn into damaging commotions. How the authorities concerned managed and interacted with the local power played a pivotal role in the aftermaths of the conflicts. This paper, by probing into the kidnapping litigation cases in the Dan-Xin Archives, aims to reflect the social problems and social structure during that time. Besides, an analysis and comparison of tribal fights and civil commotions will be completed in order to locate the key factor in resolving the disputes. An analysis of the social network, social structure and economical conflicts of both parties can also be drawn based on their depositions.

This thesis explores the 1670 to 1683 trading relationship between the English East India Company and the Zheng family, a Ming loyalist organisation that controlled Taiwan in the late seventeenth century. It draws on the available sources of data for the Zheng family’s trading network to create an analysis of how the network functioned and developed, and then applies the available information from the East India Company’s records to understand how the company’s trade to Taiwan developed. The Zheng family’s trade was altered by their participation in the Sanfan Rebellion during the 1670s. The rebellion commercially isolated the Zheng family from mainland China, which in turn gave the East India Company an opportunity to supply substitute goods for the Zheng family’s trade elsewhere. However, the rebellion also weakened the Zheng family and brought about their surrender of Taiwan to Qing China, which ended the company’s trade there as well.
History

博士
國立高雄師範大學
國文學系
93
Take a comprehensive view of with Ming qing jia jiang xiao shuo for the related treatise of the object, all just the story or individual novel study separately, didn't see treat this kind of novel as" a whole" yet currently of specialized talk about. With the jia jiang xiao shuo the development of the novel to see, There are two particularly remarkable :One is while using the generation accumulation the book. Two is Ming qing period to spread widely, and turn and put into formula with the type of recount the mode a great deal of propagation continuously. Therefore, how through such existence phenomenon, then investigate to surmount the history (the generation accumulation and become) in this novel, and the value that surmount the text originally (the work Wen yi bing zhuo ),this is Ming qing jia jiang xiao shuo the more deserve research of place. So, this thesis aims at the jia jiang xiao shuo the special features that the novel develops, with the literature value theory of logic system for theories according to, construct the procedure of study: Be first set out by the direction of "Sheng xing li xiang"（盛行里巷）, investigate the point to lie in jia jiang's evolving story, and the jia jiang is continuous the novel in the jia jiang xiao shou period edition of propagation continuously. Secondly, sets out by the direction of "Wen yi bing zhuo "（文意並拙）, recounts jia jiang xiao shou mode together of phenomenon, inquire into its type turns, the mode turns of the sign and the meaning. Again, take the investigation result of "Sheng xing li xiang"（盛行里巷） and "Wen yi bing zhuo"（文意並拙） as the foundation, then investigate jia jiang xiao shou the cultural import of the novel. End, according to the result of whole research, make the development phenomenon of Ming qing jia jiang xiao shuo homologous evaluation.

碩士
銘傳大學
應用中國文學系碩士在職專班
94
“Jin pin mei” is an extraordinary realistic novel, which appears as an unique masterpiece in Chinese history. The novel is outstanding and it can easily fit in any generation. Even in our modern world, you can find concept, thought, and philosophy in this novel which is likely to describe from our modern aspect. . The novel basically is about the Ximen family’ s prosperity and decline. The main character “ Ximen Qing” is the key of the story. If one would like to really read through the whole story, or see through the culture of Ming Dynasty which is the time Jin Pin Mei belongs to, then one should start from doing research on this character: Ximen Qing. In the life of Ximen Qing, there were three things that he desperately pursued: the power and money, love and sexual bliss, and joyful life and luxury. Relying on the pursuits in his life, the author of “Jing Pin Mei” was seriously accusing the unfair social status and the collusion between the government and the enterprises at that time. The author also criticized the characters’ lives, such like Ximen Qing, Pan Jinlian (The Golden Lotus,) Li Ping-er and Peng Chun-mei, for they were with full of lust. Simultaneously, the scenario in the novel truly reflected the luxurious and indulgent livelihood at the time. Based on the research on Ximen Qing, we can look more deeply into the late Ming Dynasty society. We can learn that there is not too much difference between now and then. The essential greediness of the society displayed in “Jing Pin Mei” still exists in the 21st century. It has never gone by. Thus by studying Ximen Qing in “Jing Pin Mei”, we, as human being in the modern society, can still learn from it and apply to our daily life. And this is the purpose of the paper. Keywords：Jin Pin Mei (The Plum in the Golden Vase, The Golden Lotus,) Ximen Qing, Pan Jinlian (The Golden Lotus,) Li Ping-er, Peng Chun-mei, Wu Yueniang, Four Chinese Classical Novels

碩士
東吳大學
中國文學系
94
Qing (Affection) and Li (the Universal Order) in the Literary Theory of Jiang-Kui Abstract The dialectical relationship between affection and the universal order is a key to history of ancient Chinese literary thought. It is not only a significant scope but also the essence of Chinese literary aesthetics, which deeply affects the development of literary creations in each era. Jiang-Kui, who possesses a remarkable talent, is actually lonely in nature. He has a striking personality with “uniqueness” and “variegation”, and represents strong “conflict” and “inclusion” in his life. The poet who discriminates love from knowledge, and also sense from sensibility, is the target to be discussed in this dissertation. This dissertation bases on Jiang-Kui’s poetry criticism, calligraphy criticism and Ci (詞), thus we can treat of his sense and sensibility of art throughout his theory and works; and further, to make out the dialectical relationship between affection and the universal order in Jiang-Kui’s literary aesthetics. Contents Chapter 1：Preface To introduce the motivation and purpose of this dissertation, and summarize others’ research related to this issue. Finally, I ask some questions to develop my new issue in Jiang-Kui’s research. Chapter 2：The Backbround of Jiang-Kui ‘s Literary Theory To depict the background of Jiang-Kui’s literary thought throughout politics, academia, literature and aesthetic value in the era. Chapter 3：A Lonely Author--Jiang-Kui To understand Jiang-Kui’s inner nature by his biography, works and others’ criticism of him, and discuss the relationship between those obstacles in Jiang-Kui’s life and his writing performance. In addition, the meaning of friendship among Jiang-Kui, Xiao-Dezow, Yang-Wanli and Chang-Chien is interpreted in this chapter as well. Chapter 4：The Writing System of Baishi Daoren Shi Shuo(《白石道人詩說》) Accordind to Writing Subjectivism, Writing Critical Methodology and Writing Artistic Conception , to illustrate the abounding inside of Baishi Daoren Shi Shuo and Jiang-Kui’s writing vision which unites affection and the universal order. Chapter 5：The Viewpoint of Affection and The Universal Order in Baishi Daoren Shi Shuo To analize the elements of affection and the universal order appeared in Baishi Daoren Shi Shuo. Chapter 6：The Viewpoint of Affection and The Universal Order along with Aestheticsin Xu Shupu (《續書譜》) To discuss the artistic affection and rational aspect of Jiang-Kui’s calligraphy thought which is “artistic-rule-oriented” and “artistic-conception-oriented”, and compare Xu Shupu with Shupu. Chapter 7：The Viewpoint of Affection and The Universal Order along with Aesthetics in Baishi Daoren Gequ (《白石道人歌曲》) To refuge Wang-Kuowei’s argument “Stylish but Emotionless” and reinterpret Jiang-Kui’s affection to get rid of the judgment. Chapter 8：Conclusion To conclude this research and take a glance into the future. Keywords：Jiang-Kui’s, The Viewpoint of Affection and The Universal Order , Baishi Daoren Shi Shuo, Baishi Daoren Gequ.

碩士
國立成功大學
中國文學系
107
SUMMARY Shih Yun Shih Yin(詩韻釋音) is written by Chen Jin(陳錦) in Guang Syu(光緒) thirteenth year(1887 A.D.) in Qing Dynasty. This book follows earlier rhyme books not only writing rules and layout but also Fanchieh(反切) because its writing time is later than other rhyme books. For example, rhyme systematization and word inclusion follow Pei Wun Yun Fu(佩文韻府), and Fanchie follows Guang Yun(廣韻). Because of its, Shih Yun Shih Yin’s phonological system is similar to Guang Yun. Chen Jin uses some rules, like Leige (類隔) and Dangtsong(當从), to modify Guang Yun’s Fanchieh, so it’s easier to spelling and in keeping with speech record surroundings at that time. In addition to this, Jinduruo(今讀若) is the most important rule in Shih Yun Shih Yin. This rule is used to correct the speech sound n different from Guang Yun’s Fanchieh. Although Jinduruo’s purpose is to make speech sound spell correct, it can also be regarded as the speech record at the time. By analysising Shih Yun Shih Yin’s corrected Fanchieh and Jinduruo Fanchieh’s speech sound record, you can see the changes in Middle Chinese to Modern Chinese, and also North-South differences in dialects. So, this study focus on initials change in the third chapter, and finals change in the forth chapter. Although Jinduruo Fanchieh can summarize some speech sound change rules, there are still a lot of Jinduruo Fanchieh unable to include in speech sound change rules. Bacause there are a lot of Phono-semantic compound characters in Chinese character, and Chen Jin’s personal life experience, cause Jinduruo Fanchieh can’t summarize. So, this study focus on this Jinduruo Fanchieh in the fifth chapter.

碩士
國立金門大學
建築學系
106
Qing Dynasty was one of the few dynasties governed by foreign ethnic in China’s history. In order to govern the alien race efficiently, Manchu governors built up the system of “Eight Banner Garrison”, which allowed Eight Banner troops to quarter at all places deeply into China. This efficiently prevented local revolts and indirectly delivered Manchu culture. Buildings in Northern-part style were constructed all over the nation. It also introduced dietary habits and religious ceremonies which were different from the local ones. This research takes Manchu community at Qinjiang City, Fuzhou Province as the object of study. This village was originally Naval Banner Camp set up by Eight Banner Garrison in Fuzhou, Qing Dynasty. Through reforms in past dynasties, in order to investigate and collect the complete landscape and spatial form of Eight Banner Naval Camp in Qing Dynasty, and to obtain the structure model of the complete timeline of traditional community, this article studies community spatial structure, religious believing and folk customs by making practical field investigations. It will also discuss the spatial changes and development of Qinjiang community. Although traditional community had its own attracting charm, affected by economic development and modern culture, its function falls behind contemporary era’s needs. Thus, native residents’ recognition of traditional culture has also faded away. The reservation of community is seriously challenged. It bears great positive significance on future researches and protection works on traditional culture to study community spatial changes and make use of it.

Chan, Yuen Lai.
Thesis submitted in: December 2007.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2008.
Includes bibliographical references (leaves 125-133).
Abstracts in English and Chinese ; some text in appendix also in Chinese.
Abstract
Acknowledgement
Table of Contents
Chapter 1 --- INTRODUCTION --- p.1
Chapter 1.1 --- PAINTER'S EXPERIENCE IN LANDSCAPE --- p.1
Chapter 1.1.1 --- Bodily experience and body metaphor of place from western philosophy --- p.2
Chapter 1.1.2 --- "Jing, Guo Xi 226}0ةs three distances, and body as mountain and water" --- p.5
Chapter 1.2 --- QUESTIONS AND HYPOTHESIS --- p.9
Chapter 1.3 --- RESEARCH MATERIALS --- p.10
Chapter 1.3.1 --- "Forms, words and images" --- p.10
Chapter 1.3.2 --- Research materials --- p.11
Chapter 1.4 --- RESEARCH METHODOLOGY --- p.11
Chapter 1.4.1 --- Study of gardens from paintings --- p.11
Chapter 1.4.2 --- Research methodology --- p.14
Chapter 1.5 --- OUTLINE OF THESIS --- p.14
Chapter 2 --- LANDSCAPED GARDEN FROM LANDSCAPE PAINTING --- p.17
Chapter 2.1 --- WAYS OF LANDSCAPE DEPICTION --- p.17
Chapter 2.1.1 --- Early landscape depictions --- p.17
Chapter 2.1.2 --- Cultivated garden in natural landscape from Six Dynasties --- p.18
Chapter 2.1.3 --- Monumental landscape in Northern Song --- p.19
Chapter 2.2 --- EARLY QING NANJING --- p.20
Chapter 2.2.1 --- "Geographical settings: Mountain, water and city" --- p.20
Chapter 2.2.2 --- Garden culture --- p.21
Chapter 2.2.3 --- Artistic milieu --- p.23
Chapter 2.3 --- CHAPTER SUMMARY --- p.26
Chapter 3 --- GONG XIAN: HALF-ACRE GARDEN ON THE MOUNTAIN OF PURE COOLNESS --- p.32
Chapter 3.1 --- GONG XIAN THE LITERATI PAINTER --- p.32
Chapter 3.1.1 --- Major Iiteratures on Gong Xian --- p.32
Chapter 3.1.2 --- Gong Xian as an 'individualist' painter --- p.34
Chapter 3.2 --- HALF-ACRE GARDEN ON MOUNTAIN OF PURE COOLNESS --- p.38
Chapter 3.2.1 --- Mountain of Pure Coolness as a historical site --- p.39
Chapter 3.2.2 --- Half-acre garden set within Mountain of Pare Coolness --- p.41
Chapter 3.2.3 --- A glimpse through half-acre garden --- p.43
Chapter 3.3 --- PERMEABLE GARDEN SPACE --- p.47
Chapter 3.3.1 --- Ambiguous boundary --- p.48
Chapter 3.3.2 --- Everyday social encounters --- p.49
Chapter 3.3.3 --- Narrated landscape of the past --- p.52
Chapter 3.3.4 --- Imaginary landscape of the mind --- p.53
Chapter 3.4 --- CHAPTER SUMMARY --- p.54
Chapter 4 --- YUAN JIANG: ZHAN YUAN [OUTLOOK GARDEN] --- p.60
Chapter 4.1 --- YUAN JIANG THE PROFESSIONAL PAINTER --- p.60
Chapter 4.1.1 --- Major literatures on Yuan Jiang --- p.61
Chapter 4.1.2 --- Yuan Jiang as a jiehua painter --- p.62
Chapter 4.2 --- ZHAN YUAN --- p.67
Chapter 4.2.1 --- The evolutionary fame and popularity of the garden and its designations --- p.68
Chapter 4.2.2 --- West Garden of Prince Zhongshan in early Ming --- p.68
Chapter 4.2.3 --- West Nursery of Weigong in Ming Wanli reign --- p.69
Chapter 4.2.4 --- Zhan Yuan during Qing --- p.70
Chapter 4.3 --- TRANSFIGURED GARDEN --- p.77
Chapter 4.3.1 --- "Survey on the garden 226}0ةs sceneries, and courtly and paradisiac symbols" --- p.77
Chapter 4.3.2 --- Garden portraiture as courtly and paradisiac landscape --- p.80
Chapter 4.4 --- CHAPTER SUMMARY --- p.82
Chapter 5 --- SUMMARY AND POSSIBILITIES: PAINTER'S PERCEPTION OF GARDEN SPACES --- p.90
Chapter 5.1 --- JING OF AN EXPERIENCED GARDEN --- p.90
Chapter 5.2 --- TWO GARDEN READINGS FROM TWO ART TRADITIONS --- p.90
Chapter 5.2.1 --- Garden boundary and conception --- p.90
Chapter 5.2.2 --- Archetypal garden readings --- p.91
Chapter 5.2.3 --- Themes of the memorable and the historical past --- p.92
Chapter 5.3 --- INSIGHTS AND POSSIBILITIES --- p.92
Append --- p.ix
Bibliography

碩士
國立成功大學
中國文學系
107
This article discusses traffic routes in four states about Qi, Wei, Jin, Qin in Spring and Autumn Period, and it mainly refers to Zuo-Zhuan. This article is based on the record of the movement of space in Zuo Zhuan, such as war and alliance, as the core, as well as hunting, mobilizing, escaping, migratory, marriage, and funeral etc., combined with relevant literature materials and archaeological reports, as well as digital map data such as Google Map, integrated two-dimensional maps and three-dimensional topography and landforms, and country-by-country analysis of the four countries of Qi, Wei, Jin and Qin in the Spring and Autumn Period Traffic routes to construct traffic routes in northern China during the Spring and Autumn Period.

碩士
國立中山大學
中國文學系研究所
100
The research focuses on the war between Jin(晉國) and Qin (秦國)during the Spring and Autumn period (春秋時期) in China, emphasizing on the 21 battles between Jin and Qin over hundred and twenty six years starting from 672 B.C. till 546 B.C.. Events commenced with Jin attacked Li Jung (驪戎) in 672 B.C. and ending just before the second cease fire treaty (第二次弭兵之盟) in the Spring and Autumn period in 546 B.C.. The discussion topics include the rationale, proceedings of events and outcome of the battles, with an evaluation of power distribution after the battles. This thesis comprises of 5 chapters: The first chapter is the preface, explaining the motives and aims of this research. It also includes the scope, methods and related literature review of the research. The second chapter dwell on the Battle of Hanyuan (韓原之戰), with Duke Hui of Jin (晉惠公) and Duke Mu of Qin (秦穆公) as the main background characters. The third chapter is on the most important battle between Jin and Qin - the Battle of Yao (殽之戰) and four of its related battles. The fourth chapter focuses on the Battle of Linghu (令狐之役), Battle of Hequ (河曲之戰), Battle of Masui (麻隧之戰), Battle of Li (櫟之役) and 11 other related battles. The conclusion is in three parts: the effect of battles, the findings of research and the integrated analyses. Six important points are made to finalize the importance of battles in the maintenance of relationship between Jin and Qin.

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.
Graduate
0305
0332
mblsm00@gmail.com

博士
國立臺灣師範大學
歷史研究所
91
Due to overpopulated pressure, people in Jiang-Jeh(江浙) and Hur-Guaang(湖廣) region cultivated the land of lakeside and riverside, shoals, and remote hills and mountains. These cultivation actions change physical geographical terrain of China and not only causing rivers and lakes silted up and scaling forests down but also bring disadvantage of mudflows, blooding and lower production output. Facing this seriously ecological crisis, Qing emperor declared some bans and policies. About water management, he forbade people to cultivate lake lands and demolished illegal embankments that obstruct water’s fluencies. Qing emperor also emphasized government officer’s performance appraisal about this policy. About mountain management, he forbade people to cultivate hills, prohibited planting corn and chased shed people away. Official and literati also advocated environment protection thought and dedicated themselves to environment protection actions. They advocated that cultivating lakeside lands should be prohibited, illegal embankments should be demolished, taught people to plant trees, corns should not be planted, shed people should be chased away and the disadvantage of mudflows. Non-official people erected forests protecting stele declared that people should not over-cut trees. Although the Qing dynasty government made their efforts to try to play an important role in environment protection, it finally failed over. They didn’t take overall environment policies into consideration. The official system was loose managed and so laws and decrees were not actually performed. Over populated problems was not solved also. These caused all efforts fail finally.

李志綱.
論文(哲學博士)--香港中文大學, 2004.
參考文獻 (p. 95-102).
中英文摘要.
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 Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Mode of access: World Wide Web.
Li Zhigang.
Zhong Ying wen zhai yao.
Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2004.
Can kao wen xian (p. 95-102).

碩士
國立政治大學
中國文學系
107
The special status of novels in Ming and Qing dynasties is that the authors extended the caring vision from the family and the country to the tiny individuals under a relatively conservative ideological environment to build a rich social life and imagination world.In the process of character behavior, the movement and static of sense organ' and the rationality of sense organ logic are the key for the author to make the character come to life. Odor, as the experience object of human senses, appeared repeatedly in novels of Ming and Qing dynasties, which showed the unique narrative function and radiates multiple levels of meaning. Studying the information conveyed by odor writing is helpful to broaden the practical significance and annotation dimension of novels. The paper enters the novels of Ming and Qing dynasties from the perspective of sensory experience and material culture, and focuses on aroma and odor to discuss the odor writing in the Jin Ping Mei and The Story of the Stone. From the perspectives of perception, discourse and symbol, the paper investigates the representation and semantic function of odor, and pays special attention to the relationship between odor and many topics in the novels, such as characters, space, identity, class, gender, culture, life and death, as well as the foundation of the novel keynote and the presentation of the theme. In addition, through the organization of perfume satchel, the paper pays attention to the reflection of real fragrance culture and fragrance economy between the performance and circulation of novel materials, and uses the concept of “sympathetic magic” proposed by Frazer to investigate the writing of body meaning in the smells of objects.