Dissertations / Theses on the topic 'Shanshui'

Considéré généralement comme objet de l’art, sujet de la littérature et catégorie de l’esthétique chinoise, shanshui, les « montagnes-eaux », est censé relever d’un sentiment et d’une conception de la nature relativement différente de celle de l’Occident. Or la construction moderne de shanshui au prisme de la nature n’intègre la multiple pratique paysagère historiquement fondée dans la tradition lettrée, inextricablement liée à l’invention des montagnes-eaux : l’érémitisme, la recherche d’immortalité, l’excursion, la réunion littéraire lettrée, la création poétique, picturale et du jardin. Centrée sur l’histoire tri-séculaire après la chute de la Dynastie Han, en exposant les conjonctures particulières, analysant la notion ‘ziran’ dans l’étude du Mystère, rassemblant et traduisant les écrits et poèmes thématiques qui témoignent des mouvements et tendances extra-mondains dans les milieux lettrés sous les Wei-Jin (220-420), cette thèse vise à montrer que shanshui, plutôt que d’être constitué par la dualité nature/art, est inventé comme un paradigme confrontant, dans une bipolarisation de la réalité lettrée à cette époque, l’espace confucéen et l’espace taoïste, le service et la retraite, les affaires mondaines et la recherche de l’idéal par-delà la société. Autour de shanshui se cristallisent les idées-valeurs comme l’authenticité, la dévotion, la vertu, la liberté, le naturalisme, le mysticisme, la créativité et la transcendance immanente, en cela, nous supposons la co-naissance des montagnes-eaux et d’un idéal-type de l’humanisme classique chinois
Generally regarded as the object of art, the subject of literature and Chinese aesthetic category, Shanshui (mountains-waters) is believed to be relevant to aesthetical feelings as well as the philosophical concept of nature that is different from that of the West. However, the modern construction of Shanshui through the prism of nature does not integrate the multiple landscape practices historically founded in the gentry's tradition, which had contributed to the invention of mountains-waters: eremitism, immortality seeking, excursion, gathering of literary circles, and the creation of poetry, paintings and gardens. Focusing on the history of Wei-Jin (220-420) after the fall of the Han dynasty, exposing the particular contexts, analyzing the notion of 'Ziran' in the Xuanxue school, gathering and translating the writings and thematic poems showing the extra-mundane movements and tendencies in literate milieus under this time, this thesis aims to show that Shanshui, rather than being constituted by the duality of nature and art, has been invented as a cultural paradigm to confront, in a bipolarization of the reality of ruling gentry class, the Confucian space and the Taoist space, service and disengagement, mundane concerns and pursuit of the Ideal beyond society. Around Shanshui the ideas and values such as authenticity, deep affection, virtue, liberty, naturalism, mysticism, creativity and immanent transcendence are crystallized, in this way, we may assume the co-birth of mountains-waters and an ideal type of Chinese classical humanism
山水研究以往側重于詩歌，繪畫與哲學分析，并普遍將山水視為自然再現，自然情感與某種不同於西方自然觀的審美表達。然而，“相對不同”的判定卻是建立在自然／文化兩分的現代二元范式的“普世應用”上的。因為僅僅強調山水源於“發現自然”並不能整合與山水緊密相關且貫穿於士傳統中的文化實踐：如隱逸，遊仙，遊覽，雅集，以及對世外理想之境的不懈書寫，描畫與營造。本論文考察了魏晉時期(220-420)的社會，政治與文化背景：名教自然的對立，隱逸遊仙的結合，魏晉風度，衣冠南渡，僑立，宗教興起，道釋義理在文化士族內部經由玄學促生的思想轉向等；通過分析魏晉玄學中的自然概念，整理翻譯相關的歷史文本與詩歌，試圖說明，與其說山水是自然／藝術的二元構建，毋寧說山水是士階層在仕與隱，經世與玄遠，世表與塵外的現實兩極化中所創建的一種文化範式。圍繞山水，凝聚了一系列具有重要文化特徵的理念与價值——保真，養身，自足，逍遙，自然主義，暢神玄覽，內在超越與審美理想。這意味著與山水共生的是一種中國古典人文主義的理想型。

碩士
淡江大學
建築學系碩士班
102
With the theme of “Mist Museum,” the study attempted to show the creation style of Chinese wash landscape painting on architectural design and to present the possibility of extending “new wash painting” in contemporary architectural spaces. The transparency and overlapping of mist granted Yang-Ming Mountain physical space similar to wash landscape painting in the Southern Song Dynasty. In the process of architectural design, the study of the material quality and property of clay tiles and construction methods was conducted to respond to the damp climate of Ma-Cao Hot Spring Resort in Yang-Ming Mountain throughout the year. In addition, it integrated with a series of artificially controlled hot spring steam to exhibit with rain, mist and clouds and mists in the mountains and to stretch the scale of architecture to the space of the Nature to create a building that rose and fell in the Nature and time. In “Mist Museum,” the author implied her belief in the great universe: through inward insights and swiftly changing rain and mist in Ma-Cao, the author felt the connection of breath of herself and the Nature, comprehended that “changeableness” was the essence of life and further approved that each occurrence in life was the kindest arrangement of the universe. The first chapter of the thesis illustrated the author''s research motivation and objectives. The second chapter first expounded the philosophical painting viewpoints of classical wash landscape painting and the speculation of contemporary cross-field wash painting. In addition, several architectural cases related to artificial and natural relationships and the space philosophy of contemporary architects that originated from the Nature were enumerated. In the third chapter, the author explored the experimental process of creating wash painting, which served as a creation basis of the thesis. The fourth chapter explained the unique space aura and property of Ma-Cao Hot Spring Resort in Yang-Ming Mountain. Design and operation in the fifth chapter let architecture integrate with the Nature to complement the issue of environment fractures derived from the development of the hot spring industry. The artificial hot spring equipment has provided a temperature-controlled venue to create mist circulation with evaporation and coagulation between cold air coming down from mountains and fog rising from hot spring to respond to the landscapes of clouds and mists in the mountains. Conclusions and suggestions are proposed in the last chapter to retrospect the process of creation and to serve as reflection and expectations of the author''s architectural design and development for the next stage.

碩士
國立成功大學
藝術研究所
98
This article conducts a study on Lin Fengmian’s Shanshui-Landscape Painting. In the context of artistic history and by the analysis of Shanshui-Landscape Painting, it will discuss their inspiration and creation onto Chinese Painting Modernity, so as to demonstrate the significance and achievement of theories and practice of the merged Chinese and Western arts in this kind of works. This article will discuss Lin Fengmian’s Shanshui-Landscape Painting of various subject matters in two tiers. In the first tier, it will mainly discuss the merger of the Chinese and Western paintings in form, as well as the modernization of stylized expressions of Chinese Painting. In the second tier, it will take the external presentation of investigation in form to explore the significance of Chinese Painting Modernity, which will finally return to the connotation of Chinese Painting characteristics. This article attempts to exposit that during the exploration of Chinese Painting Modernity in the 20th century, Lin Fengmian’s integrated Chinese and Western arts is based on the unique stylized expressions of Chinese painting, merging the forms of Western modern painting at the turn of the 20th century to illustrate Western modern painting from a new visual view, which is distinct from the traditional Chinese painting, and also reinterprets the planarity of paintings and presents the Lyric and Artistic Conception like Poetic sentiment. Moreover, Mr. Lin doesn’t only coordinate the forms of Chinese and Western paintings, but also merge the connotation of the two. This kind of merger is originated from his voluntary and artistic autonomy towards the times, so as to break through stylized expressions of traditional Chinese Painting, and further subvert self-balanced and coordinated characteristics. It provides new possibility for the diversified creation of contemporary Chinese Painting.

碩士
中原大學
室內設計研究所
105
Catering culture is deep relatively. Recently, Tourism is a flourishing industry due to globalization, and the catering relative industries are also well development. Xingping town, located at Yangshuo where is one of the popular tour points in the world due to its special natural landscape - karst topography and culture. More and more tourists choose there for their leisure life. Consequently, catering relative industries will provide various services to increase output value and local business. The goals of this literature are including below: 1.Discuss the literatures relative to the catering industry and its space. Relative projects also are studies and lysis. 2.Discuss the coffee shop and restaurant to realize its history and application. 3.In order to increase its competitive strength, the issue of catering space localization together with culture creative will be discussed. 4.Local environment and custom will be analysis to find out the concept of design and translate its language in the space. Two dimension and three dimension graphics will be simulated by computer to realize the whole spacial perception together with lighting and material design. The background of catering industry will be study initially. Then, interior design relative to the catering space will discuss more deeply at the same time in order to know the detail of route and the layout of furniture based on the study of relative literatures. Thus, the characteristic of interior space and functional demand can be control together with various relatively case studies. These results can be applied into design. All the information about the site, such as surroundings culture, life style and transportation etc. can be realize through site analysis. This can be employed to develop design theme and layout of space. This design study will combine the local business and culture with surrounding business to provide more deep cultural discovery. The design also retain the local culture elements, however it has been renew and convert to more modern design concept to increase different experience. It can achieve the meaning of higher level lifestyle and interaction between interior and exterior.

碩士
國立臺灣大學
中國文學研究所
103
As one of China''s most important literary and cultural characteristics, "landscape" has always been a hot research. However, the "landscape" is the "real mountain real water" from the corresponding terrain, but obviously not a map or a photograph can capture its meaning, nor is it to explore the "landscape" or "natural" can be exhaustive; "landscape "is a space field, in which the activity is someone to shape its meaning. But always observe the landscape or landscape view of literary studies, can be found regardless of whether it is based on the history of literature as a route, the clever structure landscape poetry and literary criticism on the shape of the word link, or start from the point of view of literary history from the ideological context, in metaphysics, Buddhist ideological origins to explore the landscape, are rarely concerned about the "landscape" of space meaning. Therefore, this article hopes to "geospatial" point of view, open the "landscape" of content. In this paper, the so-called "geospatial" is taken human geography context, consider the significance of mutual relations between people and land have defined a space or place is determined by the people living on its shape. "Landscape" is not a specific place, but a build on the natural geography of "geographic species" and therefore would like to discuss in this article under the "landscape" back into space, context, and this "landscape space" back into geography under the context of the discussion; What, in the discussion of the arrangement, you need descending, first on the geography, and then on the space, and finally talk about the establishment of the landscape, so that it can at the time of the "landscape" to explore, but also has the first two horizons. The first chapter, first discuss the development of the Qin and Han geographical concept, especially the occasion to observe the evolution of the geographical concept of the Han and Jin; both spatial significance chapter from "mountain" of the start, the face of the Wei, Jin previously discussed various mountains; and section places between people and land angle chapters "mutual definition" exploration, both in the Wei and Jin dynasties observed prevalence of forest activities ── "hidden" and "travel" and explain through implicit tour intertwined, "landscape" space before being establishment.

博士
淡江大學
中國文學學系博士班
107
This thesis attempts to analyze Dong Qichang ’s views on Wan Wei’s landscape paintings with the help of the literature of the history of paintings, the archaeological discoveries and the analysis of styles. First, this thesis focuses on Dong’s theory on literati paintings and so-called “Southern School of Painter-Poets”, identifying Wan Wei’s status in and his influences on the sect, providing a big picture of Wang’s status as a founder of literati paintings as well as the school. Dong’s ideas of “literati paintings” and his veneration of Wan Wei are deeply influenced by Su Shi’s ideas on “scholar paintings” and “Painting within poetry//poetry within painting”. Dong dedicated himself to the study of Zen and tended to read paintings through the approach of Zen. This can make us understand that his views on Southern School and his veneration of Wan Wei as the founder of the school have to do with Wang’s ideas of “the tie between poetry, painting, and Zen “ and Wang’s artistic styles. Based on the above exploration of “the system and main ideas of literati paintings”, this thesis will further discuss the phenomenon and origins of the tie between poetry, painting, and Zen. Firstly, we will study the thoughts of Zen in Wan Wei’s paintings to help us see the big picture of Wang’s tie with Zen and his achievement in Zen. This will further explain why Wang’s ideas of “Zen in poetry” has to do with his achievement in landscape paintings. Secondly, we will study the idea of “Painting within poetry//poetry within painting” and borrow the idea as an approach to the understanding of the combination of poetry and painting in Wang’s poems. These two kinds of study enable us to understand how Wang’s poems are full of the ideas of Zen and how Zen lurks in his poems. Since only a small number of paintings made during Tang dynasty are still kept now, it is necessary to do a verification of these paintings if they appear. To do this kind of verification, we appeal to the artistic styles in the paintings made during Tang Dynasty, investigating the changes in artistic styles with the help of the literature on the paintings in Tang dynasty, archaeological discoveries, and the Dunhuang Grottoes. The study of artistic styles of the paintings in Tang dynasty can provide us an objective criterion to do verification of some of Wang’s paintings. In the second part of this thesis, we will discuss Wang’s paintings themselves. We will investigate Dong Qichang’s views on Wang’s paintings and analyze the artistic styles of them. We will focus on Dong’s view on Wang’s “The River and Mountain after Snow”, which Dong considers as the founder of Southern School; on Dong’s view on Wang’s “ The Painting of Wang River”, which Dong thinks features the spirit of the men of letters; on some paintings made during Sung and Yuan dynasties, which feature Wang Wei’s style, including Sung Huei Chung’s “The Painting of the Returning Fishing Boats on the Ice Surface of the River”, Chao Lin Yi’s “ the Mansions beside the Lake in Cool Summer”, and Chao-Mung’s “The Autumn Colors on the Ch''iao and Hua Mountains” and “The Painting of the Villages beside the River”. Dong’s views on Wang’s paintings and our analysis of the artist styles of them can help us verify Wang’s artistic characteristics in the paintings and appreciate the paintings through these characteristics. Furthermore, our study of Wang’s paintings themselves and the detailed analysis of the visual features in them can make up for the insufficiency of the approach of the mere literature analysis of Wang’s landscape paintings. Only through the detailed analysis of the paintings themselves can we appreciate the paintings in a lively way. Only the analysis of the paintings themselves, not the empty imagination provided by the words, can help us appreciate the atmosphere and supernatural sceneries in Wang’s paintings. Ultimately, the analysis of specific paintings themselves can provide the peak experience of participating in the movement of the universe

碩士
中原大學
文創設計碩士學位學程
106
The global economy growth is fast, the sightseeing traveling industry vigorous development, the transportation facility convenient leads the sightseeing tendency. The massive passengers inrush the locality, increases to the lodgings hotel demand. At present, the resort hotel had become the hotel industry mainstream. In recent years, the plan of traveling schedule that take well-known resort hotel as the main scenic spot had gradually emerged. The hotel transferred from the assistance of sightseeing to the attraction of sightseeing. In the hotel industry, that integrating the place culture and propagating the place characteristic is a big key. We can understand local culture thorough not only from the scenic spot but also from the hotel. The hotel industry had connected with the cultural creativity industry. The designing of each space and the guest room in the hotel also becomes the article to create the commodity. The goal of this research is as follows： 1. To design the hotel that full of local culture characteristic by brand the idea of Shanshui Design Hotel. To promote the sightseeing industry of Xingping town. To make the passenger traveling depth and visit the nature and humanities view in Xingping town. 2. To discuss the resort hotel correlation and the designing plan of the guest room. To analysis the hotel case study, how induces two cases the brand idea realization in the guest room. That the fineness and the uniqueness of the resort hotel can be the model of designing the guest room. 3. To propose the guest room design plan with the brand idea of Shanshui Design Hotel. Draws up the plane disposition based on the design goal and the demand which is suitable.

碩士
中原大學
室內設計研究所
104
Tea, originated in ancient China, from various cultures of different dynasties might influent tea culture deeply. Nowadays, the tea spaces appear with different appearance, but Chinese tea culture has gradually disappeared. This planning and design cooperation with the Shanshuei Cultural Park to analyze the possibility of tea culture integrated with the space based on the point of interior design through park renovation, and a complete recording of the design process will be recoded. Following objects might be achieved by this design study according to the new planning and design of the tea related exhibition and business space. 1. Analyze background information of Shanshuei Park, and to study the local culture and branding relate to the integration of teahouse. 2. Cases study and visit in order to analysis, discuss to apply in this design study. 3. Study a suitable development framework and design methods for the branding of the Shanshuei Cultural Park. 4. Spatial pattern development, floor planning, and 3D simulation are presented according to the demand of client for each fictional space. The study will be focused on the re-planning and re-design on the exhibition space of Shanshuei Cultural Park in China. Study through the literatures of Chinese tea relative culture and the nature of tea industry, then design elements of the teahouse can be understand through these studies. Several different types of tea space are studied and visited to understand the components, space planning and design theme of the tea space. The key point or components might be applied into the planning of this design study. Furthermore, site analysis and local cultural investigation are taken to integrate the branding identification system that can be the theme of this teahouse design study. Almost demands and expectations of client will be satisfied in this design study through so many meetings and discussion. User requirements are also take into account in the spacial design, simultaneously. The considerations of the whole design study are based on the pure, fluent routes and Combination between traditional and new elements. In the meantime, the obligation to create a new tea cultural park will be strengthen through these design execution. The quality of tourism industry of Yangshuo can be upgraded and becoming prosperous due to the development this new tea cultural park.

碩士
國立臺北大學
古典文獻學研究所
98
The literatures of Southern & Northern dynasties cited 22 out of 25 articles in Guwen Shanshu. It accounted for almost four fifths of the articles in Guwen Shanshu ,This paper is to explore this topic This thesis contains seven chapters: Chapter one is the introduction. Chapter two describes the source and spread of Shanshu. Chapter three to six are the main parts which discuss the content of ” Guwen Shanshu” cited by Southern & Northern dynasties in essays. Chapter seven is the conclusion. By this research, I hope the phenomenon of citing the ”Guwen Shanshu” greatly by Southern & Northern dynasties can bring more attention.

碩士
中國文化大學
運動教練研究所
97
The purpose of this study was to investigate the Biomechanical Characteristics of Whip Kick in Wusu Shanshou. Twelve subjects, who were be the national team players (age:27.9±2.2 years; height:172.1±6.8 cm; weight: 69.5±6.4 kg; Shanshou practicing time: 10.4±4.4 years) performed two kinds of Whip Kick in Shanshou, Penetrating Kick and Surface Kick. The accelerometers (1000Hz), Biopac system and Motion Analysis System (100Hz) were used to acquire dynamics parameters. The collected data were analyzed by t-test with SPSS for WINDOWS10.0. The results indicated that in two kinds of whip kicks, the sequence the appearance of the maximal velocity was hip, knee and ankle for both attacking leg and supporting leg.The movement time of Penetrating Kick (0.22±0.01sec) was significantly shorter than that of Surface Kick (0.25±0.02sec). The maximal force of Penetrating Kick (85.89±9.10G) was significantly greater than that of Surface Kick (69.82±3.91G). It is found that in both Penetrating Kick and Surface Kick of Whip Kick, the joint movement sequence conforms to the Human Kinetic Chain Principle -- from large joint to small joint and conforms to the Whiplash Movement Principle as well. Penetrating Kick has faster velocity of knee and ankle comparing with Surface Kick. It shows that Penetrating Kick has stronger push-off of support leg with better performance in movement time and attack force leading it to the superiority in Wusu Shanshou.

碩士
中國文化大學
運動教練研究所
93
Abstract The purpose of this study was to determine the variation of blood and uric indices among elite Wushou Shanshou athletes during a formal national competition. The method of 11 athletes who had won national 1st to 3rd place before participated as subjects. Blood and uric indices including blood lactate, Hb, CK, blood urea nitrogen (BUN), bilirubin, urbilinogen (URO), ketone bodies,glucose,albuminuria,occult blood,pH and specific gravity were collected in the morning, pre- and after each match and the next morning. The result showed that: in the morning of the competition, blood lactate and Hb were normal while BUN and CK volume were above normal. Bilirubin, URB, albuminuria, ketone body, glucose and occult blood were found in uric samples. Blood lactate and albuminuria after a match were significantly higher than pre- volume. In the next morning, BUN and CK were higher than normal volume, and albuminuria was still found in uric samples. The results revealed that due to over training or improper weight loss plan, blood and uric samples of Wushou Shanshou athletes showed fatigue before competition and these phenomena remained till the next morning. The result also showed that the intensity of a single match was about moderate.

碩士
華梵大學
東方人文思想研究所
100
Zhongfeng Mingben (1263-1323)was the Linji Ch'an school in the Yuan Dynasty. His alias was Zhongfeng, Buddhist monastic was Mingben. He was respected by the Court extremely, but he was indifferent towards fame and wealth so preferred travelling around. He always kept a distance with the Court instead of closing. He helped people who inquired, discussed and seeked religious instruction. The places where he went became the dharma centers, especially for influencing the area in southern Yangtze River, hence he was addressed as “Jiangnan ancient Buddha”. His Ch'an Thought followed Gaufeng Yuanmiau master(1238-1295). Mental dharmas of Zen is to keep birth and death in mind. Due to the uncertainty of life accompanied disciples. Only they were aware of birth and death so they could cherish their rare person; moreover, they adjusted themselves unfailingly so they could observe their enlightened heart and hold the Buddha-nature inside. Due to Zhongfeng Mingben turned to and relied on the pureland when he was young, his thoughts bound with Amitbha. He though that it was very important to repeat the name of a Buddha with the whole mind. Performing the duties of a discuple with wisdom, who thought on Amitbha could realize. Also, Zhongfeng Mingben combined Ch'an with Purification , he was enlightened by Yungming Yanshou(904-975) -- “the whole mind of ancestors”. The whole mind is that gatagarbha thought as Zhongfeng Mingben master wrote Shansh Xinian to explain “The Buddhas and beings are as the one and there are no differences”. Everything is between confusion with enlightenment. Beings were persistent because of delusion, so they forgot their self-Amitbha; therefore, it incurred controversy of the Ch'an-Purification. As ordinary people realized, they were able to become Sanctification and awakened that Ch'an and Purification were as the one reality. With practice of Ch'an-Purification, the main purpose is to realize the deep understanding of birth and death. Based on the above mentions, to research into the Ch'an -Purification thought of Shansh Xinian in order to understand Mental dharmas of Shansh Xinian written by Zhongfeng Mingben. This article is divided into six chapters. The first chapter is to desceribe motivation and purpose of the study, literature review and discussion, as well as research procedures and structure. The second chapter is to characterise Zhongfeng Mingben master’s life and writings. The third chapter is to represent Zhongfeng Mingben master’s Ch'an-Purification Thought. The fourth chapter is rituals analysis of “The Ritual of Shansh Xinian”. The fifth chapter, analysed of The Ritual of Shansh Xinian with Ch’an-Purification Thought . The sixth chapter is conclusion.

博士
國立成功大學
歷史學系碩博士班
100
This study takes the form of a case study with the extensive use of rich raw data of the Oberlin Shansi Memorial Association (OSMA), including minutes of meetings, financial reports, correspondence, publicity materials and bulletins now in the Oberlin College Archives (Oberlin, Ohio, U.S.A.), with the aim of proposing a new research perspective on the educational enterprises of American denominational colleges in Modern China different from the ‘Cultural Imperialism’ viewpoint approach. In the end of 19th century, some graduates of Oberlin's Graduate School of Theology applied to the American Board of Commissioners for Foreign Missions (ABCFM) to make foreign service as a group, the Oberlin Band, for mission work in China. They set a precedent for American foreign missionary band sent by a single college. The Oberlin China Band was under the auspices of ABCFM and built the Shansi Mission of ABCFM in Shansi (now Shanxi) , China. The whole missionaries of the Shansi Mission, mostly alumni of Oberlin College, and many Chinese converts, were killed in the Boxer Rebellion in 1900. In memory of those martyred in the Boxer Rebellion, the Oberlin Band of Student Volunteers for Foreign Missions established the Oberlin Shansi Memorial Association (OSMA) to support the educational work in connection with the Shansi Mission of ABCFM in Shansi , China. Kung Hsiang-Hsi, who escaped the massacre in 1900 and graduated from Oberlin College in 1906, was invited to return to Taiku (now Taigu) to build the Ming Hsien-Oberlin Shansi Memorial Schools. At first, OSMA was affiliated with ABCFM, conferred the directing governance of the educational work in the field to the Shansi Mission of ABCFM. In the 1910s, in order to get Ming Hsien out of the complicated collisions among the factions of the Shansi Mission, OSMA modified the initial plan of setting a Christian educational system in Shansi to endeavor a college in Taigu , and made co-ordination with ABCFM to spell out the financial and personnel responsibilities for each other. That led Ming Hsien be independent from the control of the missionary societies and became an institution maintained solely by OSMA in Shansi. In the 1920s, in response to the external challenges caused by the rising tide of student nationalism, non-Christian Movement, and the claim for the restoration of education rights by the government in China, Ming Hsien gradually became a co-educational, indigenous, Christian, vocational, and manual high school. During this period, the funds endowed from the Hall Educational Fund let OSMA develop the annual appointments of Oberlin Student Shansi Representatives to teach in Ming Hsien, offer the Shansi Fellowship to faculty of Ming Hsien for study in America, promote women’s educational interests in Ming Hsien, and sponsor Raymond T. Moyer, a former Student Shansi Representative, to study agronomy in America. Raymond T. Moyer returned to Ming Hsien and started the Agriculture Department in 1928, that set clear the educational direction of Ming Hsien to be an agricultural professional school in North China in the 1930s. Ming Hsien was registered with the national government in 1927. While the Christian spirit persisted, the aim of Ming Hsien gradually evolved from evangelism into Christian service to China. In the 1930s. Ming Hsien established the Industrial Department, Work-Study Plan and the Department of Rural Service, which all worked closely with the Agriculture Department. These new developments at Ming Hsien allowed people at Oberlin College to recall the benevolent social service ideals of ‘Oberlin’s namesake’ of Oberlin College and Oberlin Town at the initial stage, and to rediscover the manual spirit of Oberlin College’s motto of ‘Learning and Labor’. The ideals of pacifism, internationalism, and human perfectibility which Pastor John Frederick Oberlin furnished to his parish in Alsace, France in the late 18th century had become the new linkage between OSMA and Ming Hsien. Thus, the evangelism-oriented idea of self-sacrifice of martyrdom originated in Ming Hsien was converted to the betterment of rural people’s life that was the mainstream idea of social Christianity in Oberlin College in the 1920’s. These developments brought to fruition the ideal of Ming Hsien’s motto ‘Learning for Service’. In conclusion, Oberlin College established the Oberlin Shansi Memorial Association in Oberlin, U.S.A. and Ming Hsien in Shansi, China in memory of the men and the women martyred in the Boxer Rebellion. These two organizations, through long-term institutional, organizational, individual interactions, and the unexpected funds contributed by the Hall Estate, developed a parental relationship to form substantive educational contents in between. Before Ming Hsien’s forced move to Szechuan caused by the Japanese invasion in 1937, the conversion of social service into rural reconstruction not only let the educational work in the field gradually match the demands of Chinese society, but also gave the logistic in the home-base in the United States a driving force to keep the continuation of the enterprise during and after WWII. Thus, Ming Hsien is a unique case in Christian schools established by a single American college in Modern China. The unfolding story of Oberlin-in-Shansi is a part of the ‘Oberlin Legacy’ in the history of Oberlin College, and the discourse of ‘cultural imperialism’ of Oberlin-in-Shansi is still fluid depending on the changing external circumstances.

碩士
國立臺灣師範大學
教育心理與輔導學系在職進修碩士班
98
The aim of this study was to investigate the school choice of parents in featured schools in remote districts. ”Questionnaire of the parental school choice and satisfaction in featured schools in remote districts” was delivered to the parents, whose children were studied in six valid schools in Shanshia Township in Taipei County. There were 385 effective questionnaires. The data was analyzed with descriptive statistics, factor analysis, cluster analysis, t test, and one-way ANOVA. The results were as follows: 1. A double-peak phenomenon was observed in parental education, family income, and socioeconomic status, between parents whose kids from tow channels of admission (local or non-local school districts). 2. Key information for school choice includes appreciation from alumnae and parents to school, personal observation, and children’s preference. The significant difference among those was found between parents whose kids from local school districts. 3. As to school choice, parents put an emphasis on five factors, the degree in order is: balance development of soul and mind, caring, convenience, out-of-school activities and competent performance. The degree parents’ emphasis on students’ competent performance varied according to channels to admission parents, education, family income and socio-economic status and reach to significant different. 4. Parents were satisfied with the overall school performance, including environment and facility, quality management, learning type and performance in four education in order. Of those the satisfaction degree learning style in transferring student’s parents are higher than that in non-transferring students’ parents. 5. The cluster analysis was performed using the five factors of variables. The parents could be divided into two categories – “practical” and “aggressive planning” parents. The scores of school choice, overall satisfaction and recommending others to study the featured schools are higher for “practical” parents “aggressive planning” parents. 6. More than 71.1% responders would recommend others to study the featured schools in remote districts. Of those, the higher the satisfaction is, the higher the degree of recommendation. According to the above-mentioned results, some suggestions were provided for education authorities, schools, parents and future studies.