Dissertations / Theses on the topic 'Songs, Chinese - China - Texts'

This dissertation uses the textual materials found in several villages in Pingnan, northeastern Fujian, from 2008 to 2011, to examine the use of texts in rural China during the imperial period. The discussion focuses on the texts produced by local people and used locally. The central theme of the dissertation is to contextualize the rise of textual culture and the spread literate mentality in a marginal society, and explore the relationship between text and society. The dissertation consists of two major parts. Part I covers the period when Pingnan was the northern part of Gutian County, and Part II covers the period around and after the establishment of Pingnan County in 1734. Part I consists of three chapters. Chapter 1 traces the early textual practices in northern Gutian during the Song-Yuan period, and suggests a local perspective of textual culture. Chapter 2 discusses the establishment of official documentation system in the early Ming and its influence on local communities and the production of local texts. Chapter 3 uses a case of a rising family in the late Ming to illustrate the use of textual construction to promote one's social and cultural status. Part II consists of four chapters and each chapter investigates the use of texts in one realm of village life. Chapter 4 starts with the penetration of genealogy compilation and the transformation of social structure. Chapter 5 discusses the political background for the proliferation of stone stelae and other "texts for public display." Chapter 6 examines various kinds of textual materials used in economic activities, from managing lineage properties to land-exchanges and long-distant trades. Chapter 7 explores the creation within the transmission of ritual texts and their responses to the changing requirement of ritual performance. In the conclusion, this dissertation discusses the significance of textual culture in the general transformations and social integrations in northeastern Fujian, and also reconsiders the question of "literacy" in the context of local society.
East Asian Languages and Civilizations

This thesis examines the function of music within different theories of nationalism and the appropriation of folk music within the genre of min’ge. Min’ge, a term in Chinese which directly translates to “folk songs”, has generally been defined as oral musical traditions. However, due to the increased politicization of popular music since the 1930s, the nature folk music has fundamentally changed, reflecting its new significance within Chinese nationalism. Through the years, min’ge has become more useful to promoting the goals of the state than representing the musical traditions of the many different ethnic groups in China. This transformation has established min’ge as an important extension of the Chinese Communist Party’s (CCP) cultural policy, and the manipulation of folk music has asserted the CCP’s cultural hegemony. Ultimately, this cultural hegemony has important implications on Han-minority relations and highlights certain dynamics within Chinese nationalism. Despite its limited and distorted representation of minorities, however, the popularization of min’ge has also inspired minority musicians to reclaim their identities through music. Therefore, this paper explores both the cooptation and contestation of state-promoted identities through the medium of popular folk music.

This research is an investigation into Hakka shange 客家山歌 (Hakka mountain songs) and their relationship with Hakka ethnicity, with principal discussions on the interplay between music making and ethnic/cultural identity in the Hakka populations. Hakka is a complex ethnic and cultural phenomenon which stepped into the limelight of history beginning in the 19th century. This study includes research into archival materials for an in-depth understanding of Hakka ethnicity and Hakka shange in the context of historical development, aiming to obtain new information/data and insights into historical data and theories documented by earlier studies. In this study, both synchronic and diachronic aspects are covered. Framed in an ethnomusicological paradigm, which posits music as part of culture and social life and utilises ethnography as a major means of gathering data, the study incorporates fieldwork carried out on location in Hong Kong and the Chinese mainland as an essential component. Seeing cultures as fluid and adaptable to outer forces rather than as a monolithic entity, the aim of this study is not to seize the “last opportunity” to preserve records of Hakka shange, before this musical tradition declines further into oblivion, but rather, to account for the processes by which traditional music adapts to the global system at various local levels. It is noteworthy that, in the local-global continuum, a society is not conceived as a static and structured system in which music is performed as a mere cultural marker that connects to or reflects the other structural parts of that society. On the contrary, a society is seen as a flexible and fluid social space in which music plays an active, transformational role.
published_or_final_version
Music
Doctoral
Doctor of Philosophy

This thesis explores how late-Ming writers interpreted the expression “beauty is ill-fated” (hongyan boming) and how male and female writers constructed and accepted the image of the ephemeral beauty (hongyan) differently. I argue that late-Ming male literati destigmatized and immortalized hongyan, but their interpretations of hongyan reinforced male fantasies about women, and served the status quo of the patriarchal family structure as well as the established literary conventions of the time. Female writers, conversely, often rejected the image and idea of hongyan and even managed to assert female subjectivity in order to reinterpret the male-constructed hongyan. However, ultimately, female writers of the period could not escape from the containment of these patriarchal literary conventions. Even for those female writers who have preserved their voices in their writings, women’s self-expressions have always been undergoing a seemingly infinite process of reinterpretations and reconstructions by male literati.

In 1994, two batches of unearthed Chu 楚 bamboo slips from the Warring States period (Zhanguo shidai 戰國時代, 475–221 B.C.), totaling 1200 pieces and featuring over 35000 characters, appeared in the cultural relic market of Hong Kong. These slips, highly valuable for philological research, cover nearly 100 kinds of ancient Chinese classic. They were soon collected by the Shanghai Museum for restoration and analysis, and have, since 2001, been published in successive volumes entitled Shanghai bowuguan cang Zhanguo Chu zhushu 上海博物館藏戰國楚竹書, eight volumes of which have been issued to date. My study focuses on the seventh volume, published in 2008, comprising five chapters — Wuwang jian zuo 武王踐阼, Zhengzi jia sang 鄭子家喪, Jun ren zhe hebi an zai 君人者何必安哉, Fan wu liu xing 凡物流形, and Wuming 吳命— comprehensive annotation and transcription of which have been provided by the volume editor. In spite of the efforts put on interpreting these bamboo texts, existing researches have their limitations; some intricate textual problems remain to be solved. The present dissertation attempts to examine the elucidations and interpretations of these bamboo texts in order to identify and screen out erroneous views among them. Sophisticated investigation on several controversial issues has been carried out to determine and restore the intent of the original passages.
published_or_final_version
Chinese
Doctoral
Doctor of Philosophy

Since the antiquity, the Book of Change (Zhouyi 周易) has been praised as the leading scripture among the five classics (with the Book of Documents [Shangshu 尚書], the Book of Odes [Shijing 詩經], the Spring and Autumn Annals [Chunqiu 春秋], and the Book of Rites [Liji 禮記]), and the supreme dao of the three mysteries (with Laozi 老子 and Zhuangzi 莊子). However, its guayaoci 卦爻辭 (general and line judgments of the hexagrams) are not only recondite but also proliferate with conflicting exegeses that lead nowhere. Fortunately, multiple early manuscripts of the Book of Change, including those from the Mawangdui 馬王堆 silk texts, the Fuyang 阜陽 bamboo slips, and the Chu 楚 bamboo slips housed at the Shanghai Museum, were excavated over the past forty years. These, combined with other related archaeological findings, found the basis for a scrupulous reading of the guayaoci. I attempt to compare the Shanghai Museum manuscript, which is the earliest extant copy of the Book of Change, with the traditional editions and other excavated copies to arrive at a reasoned exposition based on previous interpretation and through manifold research methods such as philology, textual criticism and theosophy. The present thesis examines seven guyaoci from seven hexagrams: 1 “li yong qin fa 利用侵伐” of the fifth line of qian 謙; 2 “bu fu yi qi lin 不富以其鄰” of the fifth line of qian 謙 and the fourth line of tai 泰, and “fu yi qi lin 富以其鄰” of the fifth line of xiaochu 小畜; 3 the naming of wuwang 无妄 and its meaning; 4 “wuwang zhi ji, wu yao you xi 无妄之疾，勿藥有喜” of the fifth line of wuwang 无妄; 5 “he tian zhi qu 何天之衢” of the sixth line of dachu 大畜; 6 “lu suosuo, si qi suo qu zai 旅瑣瑣，斯其所取災” of the first line of lu 旅; and finally 7 “ru you yiru 繻有衣袽” of the fourth line of jiji 既濟.
published_or_final_version
Chinese
Doctoral
Doctor of Philosophy

En l’actualitat, a causa de la vertiginosa velocitat amb la qual el coneixement cientificotècnic influeix en l’època de globalització, els esmentats idiomes que servien de lingua franca ja no poden cobrir les necessitats d’intercanvi internacional en certs camps cientificotècnics de la situació de la Xina actual. Ara, la ciència i la tecnologia han adquirit nous llenguatges especialitzats que requereixen una comunicació satisfactòria del nou conocimiento.No obstant això, el procés de realitzar una traducció cientificotècnica no consisteix únicament a traduir terminologia, ja que aquesta rarament supera el 10-20% (Newmark, 1981) de les traduccions. A més, en molts casos no només n’hi ha prou amb estudiar el text com una cosa teòrica sinó que cal processar-lo en la práctica.En la present investigació, prendrem dades terminològiques i corpus procedents de diferents diccionaris del camp petrolífer de l’anglès i xinès, espanyol i xinès, francès i el xinès, terminologia interactiva Europea6 com a text font per realitzar la investigació. La universalitat dels termes cientificotècnics d’aquest camp ha de mitigar els problemes esmentats.
Debido a la vertiginosa velocidad con la que el conocimiento científico-técnico influye en la época de globalización, los mencionados idiomas que servían de lingua franca ya no pueden cubrir las necesidades de intercambio internacional en ciertos campos científico-técnicos de la situación de la China actual. Ahora, la ciencia y la tecnología han adquirido nuevos lenguajes especializados que requieren una comunicación satisfactoria del nuevo conocimiento. No obstante, el proceso de realizar una traducción científico-técnica no consiste únicamente en traducir terminología, ya que ésta raramente supera el 10-20% (Newmark, 1981) de las traducciones. Además, en muchos casos no solamente basta con estudiar el texto como algo teórico sino que hace falta procesarlo en la práctica. En la presente investigación, tomaremos datos terminológicos y corpus procedentes de diferentes diccionarios del campo petrolífero del inglés y chino, español y chino, francés y el chino, terminología interactiva Europea como texto fuente para realizar la investigación. La universalidad de los términos científico-técnicos de este campo deberá mitigar los problemas mencionados.
Due to the dizzying speed with which scientific-technical knowledge influences the era of globalization, the aforementioned languages ​​that served as a lingua franca can no longer meet the needs of international exchange in certain scientific-technical fields of the current Chinese situation. . Now, science and technology have acquired new specialized languages ​​that require a satisfactory communication of new knowledge. However, the process of making a scientific-technical translation does not only consist of translating terminology, since it rarely exceeds 10-20% (Newmark, 1981) of the translations. In addition, in many cases not only is it enough to study the text as something theoretical, but it is necessary to process it in practice. In the present investigation, we will take terminological data and corpus from different oil field dictionaries of English and Chinese, Spanish and Chinese, French and Chinese, European interactive terminology6 as the source text for the investigation. The universality of the scientific-technical terms of this field should mitigate the problems mentioned.

吳瑞卿.
Thesis (Ph.D.)--香港中文大學, 1989.
Manuscript (Reprint of computer reprint)
Includes bibliographical references (leaves 314-324).
Wu Ruiqing.
Thesis (Ph.D.)--Xianggang Zhong wen da xue, 1989.
導論
Chapter I´Ø --- 選取木魚書作硏究對象的意義 --- p.1
Chapter 一´Ø --- 作為地方文學的 --- p.1
Chapter 二´Ø --- 作為俗文學的一種 --- p.2
Chapter II´Ø --- 本論文的硏究目的
Chapter A´Ø --- 整理及分析一種地方文學遺産 --- p.2
Chapter B´Ø --- 以木魚書為例論證俗文學的特徵範圍
Chapter 一´Ø --- 俗文學研究的回顧 --- p.3
Chapter 二´Ø --- 俗文學的特徴和領域問題 --- p.7
Chapter 三´Ø --- 木魚書與俗文學 --- p.8
Chapter III´Ø --- 木魚書研究在其他方面能提供的貢獻
Chapter 一´Ø --- 中國相類性質的文學比較硏究 --- p.11
Chapter 二´Ø --- 中、外通俗文學比較 --- p.11
Chapter 三´Ø --- 社會發展史研究 --- p.12
Chapter IV´Ø --- 資料範圍及前人研究回顧
Chapter A´Ø --- 前人硏究的回顧
Chapter 一´Ø --- 敘錄及研究 --- p.12
Chapter 二´Ø --- 文獻筆記 --- p.14
Chapter 三´Ø --- 短文 --- p.14
Chapter 四´Ø --- 其他硏究 --- p.14
Chapter B´Ø --- 本文所用資料範圍 --- p.15
Chapter C´Ø --- 輔助資料
Chapter 一´Ø --- 輔助錄音資料 --- p.18
Chapter 二´Ø --- 殘存曲目 --- p.19
Chapter D´Ø --- 資料的捜集和處理
Chapter 一´Ø --- 資料來源 --- p.19
Chapter 二´Ø --- 資料處理 --- p.20
Chapter V´Ø --- 硏究的局限
Chapter 一´Ø --- 資料的限制 --- p.21
Chapter 二´Ø --- 木魚書年代考証的困難 --- p.22
Chapter 三´Ø --- 文字與口頭間的距離 --- p.23
Chapter 第一章 --- 木魚書的體製與源流
Chapter I´Ø --- 木魚書的體製
Chapter 一´Ø --- 外型 --- p.24
Chapter 二´Ø --- 编制 --- p.25
Chapter 三´Ø --- 出版形式 --- p.27
Chapter II´Ø --- 《木魚》釋名
Chapter 一´Ø --- 《木魚》、《木魚書》和《木魚歌》的定義 --- p.29
Chapter 二´Ø --- 《木魚》名稱的來源 --- p.31
Chapter III´Ø --- 木魚歌起源的論爭
Chapter 一´Ø --- 源於踏歌之說 --- p.33
Chapter 二´Ø --- 源於摸魚歌之說 --- p.34
Chapter 三´Ø --- 源於蜑歌之說 --- p.36
Chapter 四´Ø --- 源於江浙彈詞之說 --- p.38
Chapter 五´Ø --- 源於變文、寶卷之說 --- p.40
Chapter 六´Ø --- 其他說法 --- p.40
Chapter IV´Ø --- 木魚書與廣東說唱曲藝的關係 --- p.41
Chapter 一´Ø --- 木魚曲藝的特徴和源流 --- p.42
Chapter 二´Ø --- 龍舟曲藝的特徴和源流 --- p.43
Chapter 三´Ø --- 南音曲藝的特徴和源流 --- p.44
Chapter V´Ø --- 木魚書的歴史一一發源、興盛與衰落 --- p.45
Chapter 第二章 --- 木魚書的結構和格式
Chapter I´Ø --- 句式
Chapter A´Ø --- 句數 --- p.51
Chapter B´Ø --- 基本句型及組織 --- p.52
Chapter 一´Ø --- 句律平仄 --- p.52
Chapter 二´Ø --- 對句 --- p.53
Chapter 三´Ø --- 音步節奏 --- p.56
Chapter C´Ø --- 起式和煞尾
Chapter 一´Ø --- 起式 --- p.57
Chapter 二´Ø --- 煞尾
Chapter D´Ø --- 雜句 --- p.60
Chapter II´Ø --- 韻式
Chapter A´Ø --- 韻系 --- p.60
Chapter B´Ø --- 押韻
Chapter 一´Ø --- 偶句 --- p.63
Chapter 二´Ø --- 奇句 --- p.66
Chapter 三´Ø --- 換韻 --- p.66
Chapter 四´Ø --- 重覆押韻字 --- p.66
Chapter III´Ø --- 襯字 --- p.67
Chapter 一´Ø --- 襯字的作用 --- p.69
Chapter 二´Ø --- 襯字與曲詞内容 --- p.69
Chapter 三´Ø --- 襯字的規律 --- p.71
Chapter 第三章 --- 木魚書的題材與内容
Chapter I´Ø --- 前人研究的回顧 --- p.78
Chapter II´Ø --- 故事性木魚書的内容結構
Chapter A´Ø --- 引首
Chapter 一´Ø --- 引首的内容 --- p.81
Chapter 二´Ø --- 引首的作用 --- p.88
Chapter B´Ø --- 結尾 --- p.88
Chapter C´Ø --- 故事内容 --- p.90
Chapter 一´Ø --- 才子佳人戀愛奇緣故事 --- p.92
Chapter 二´Ø --- 通俗民間歷史故事 --- p.98
Chapter 三´Ø --- 勸善佛道故事 --- p.106
Chapter 四´Ø --- 仙凡奇緣故事 --- p.108
Chapter 五´Ø --- 神怪故事 --- p.110
Chapter 六´Ø --- 民間公案故事 --- p.112
Chapter 七´Ø --- 家庭倫理故事 --- p.115
Chapter III´Ø --- 非故事類木魚書 --- p.119
Chapter 一´Ø --- 故事摘錦 --- p.120
Chapter 二´Ø --- 有關婦女生活 --- p.120
Chapter 三´Ø --- 有關方土習俗和生活 --- p.127
Chapter 四´Ø --- 勸世文 --- p.128
Chapter 五´Ø --- 諷剌時弊 --- p.129
Chapter 六´Ø --- 關懷國是 --- p.133
Chapter 七´Ø --- 純供娛樂 --- p.134
Chapter 第四章 --- 木魚書的流行情況及其傳播型態
Chapter I´Ø --- 木魚書的流行情況 --- p.136
Chapter 一´Ø --- 現存木魚書的數量 --- p.137
Chapter 二´Ø --- 同書異名的現象 --- p.138
Chapter 三´Ø --- 從出版商的數目反映木魚書流行的情況 --- p.139
Chapter II´Ø --- 木魚書的傳播型態 --- p.142
Chapter A´Ø --- 傳播方式
Chapter 一´Ø --- 口頭傳播 --- p.143
Chapter 1. --- 群眾聚集欣賞藝人的演唱 --- p.143
Chapter 2. --- 藝人沿門賈唱 --- p.144
Chapter 3. --- 家庭内的傳唱 --- p.145
Chapter 4. --- 文人間的酬唱 --- p.146
Chapter 二´Ø --- 文字傳播 --- p.146
Chapter B´Ø --- 傳播型態的特色
Chapter 一´Ø --- 口頭與文字傳播並行 --- p.147
Chapter 二´Ø --- ¨ёł離口頭傳播的局限 --- p.148
Chapter 三´Ø --- 橫跨讀書人與民眾的世界 --- p.148
Chapter III´Ø --- 推廣的概念一一雛型廣告的出現 --- p.149
Chapter 第五章 --- 木魚書的作者、傳播者和受眾
Chapter I´Ø --- 社會背景：明清社會階層結構的改變 --- p.153
Chapter II´Ø --- 木魚書的作者
Chapter A´Ø --- 作者的類別 --- p.156
Chapter 一´Ø --- 文人 --- p.156
Chapter 二´Ø --- 藝人 --- p.158
Chapter 三´Ø --- 職業编撰人 --- p.159
Chapter B´Ø --- 作者的創作對象 --- p.159
Chapter C´Ø --- 作者的創作動機
Chapter 一´Ø --- 表面動機 --- p.160
Chapter 二´Ø --- 現實動機 --- p.161
Chapter 三´Ø --- 潛藏動機 --- p.161
Chapter III´Ø --- 木魚書的受眾
Chapter 一´Ø --- 說唱曲藝的觀眾和聽眾 --- p.163
Chapter 二´Ø --- 憑曲自娛的受眾 --- p.164
Chapter 三´Ø --- 說唱藝人 --- p.165
Chapter 四´Ø --- 讀者 --- p.165
Chapter 五´Ø --- 其他 --- p.166
Chapter IV´Ø --- 木魚書的傳播者一一出版商和藝人 --- p.166
Chapter A´Ø --- 出版商
Chapter 一´Ø --- 出版商的興起 --- p.167
Chapter 二´Ø --- 木魚書的出版情況 --- p.170
Chapter 三´Ø --- 木魚書出版商的角色 --- p.171
Chapter B´Ø --- ¨®Ơ唱藝人 --- p.172
Chapter V´Ø --- 作者、“守門人´ح和受眾間的關係 --- p.174
Chapter 一´Ø --- 從商業活動的角度 --- p.174
Chapter 二´Ø --- 從大眾娛樂的角度 --- p.175
Chapter 三´Ø --- 從教化的角度 --- p.175
Chapter 四´Ø --- 矛盾和協調 --- p.176
Chapter 五´Ø --- 方言與作者、受眾的關係 --- p.177
Chapter 六´Ø --- 作者、守門人和受眾間關係的特性
Chapter 1. --- 實用性 --- p.179
Chapter 2. --- 商業性 --- p.179
Chapter 第六章 --- 木魚書的思想意識
Chapter I´Ø --- 前人的論說 --- p.182
Chapter A´Ø --- 傳统木魚書的思想意識 --- p.183
Chapter 一´Ø --- 世界觀的構成
Chapter 1. --- 個人的主體存在 --- p.183
Chapter 2. --- 世界的主宰 --- p.183
Chapter 3. --- 人與人、人與社群的關係 --- p.184
Chapter 二´Ø --- 對生命的觀察與信仰
Chapter 1. --- 人的無自主性
Chapter i) --- 天命不可違 --- p.185
Chapter ii) --- 緣份不可抗拒 --- p.187
Chapter iii) --- 倫理道德不能拂逆 --- p.189
Chapter iv) --- 人生如夢 --- p.189
Chapter 2. --- 人的自主性
Chapter i) --- 因果報應 --- p.191
Chapter ii) --- 至誠可以感天 --- p.194
Chapter 三´Ø --- 木魚書所認同的行為規範與生活態度
Chapter 1. --- 忠、孝、節、義的觀念 --- p.195
Chapter 2. --- 妥協、忍耐、不反抗的態度 --- p.197
Chapter 四´Ø --- 木魚書所隠藏的深層不滿和補償意識 --- p.199
Chapter 1. --- 對天命不滿的補偾´ؤ´ؤ天的人格化 --- p.199
Chapter 2. --- 對人倫關係的不滿一´ؤ女性的強化 --- p.283
Chapter 3. --- 對食官污吏的不滿´ؤ´ؤ清官與皇帝的理想化 --- p.209
Chapter 4. --- 對禮教道德的不谋´ؤ´ؤ大膽的兩性描寫 --- p.212
Chapter B´Ø --- 清末民初短篇木魚的思想意識 --- p.214
Chapter 一´Ø --- 革命及愛國思想 --- p.215
Chapter 二´Ø --- 社會改革思想 --- p.217
Chapter V´Ø --- 從木魚書反映人民的鳥托邦世界
Chapter 一´Ø --- 人民理想中的世界 --- p.219
Chapter 二´Ø --- 理想世界的構成 --- p.221
Chapter 三´Ø --- 理想世界的根源 --- p.223
Chapter 第七章 --- 木魚書的語言和表逹技巧
Chapter I´Ø --- 正统文學與“民間文學´ح之間的灰色地帶 --- p.226
Chapter II´Ø --- 木魚書在語言上所出現的特殊現象
Chapter 一´Ø --- 音字 --- p.227
Chapter 二´Ø --- 錯別字 --- p.229
Chapter 三´Ø --- 俗寫字或創新字 --- p.230
Chapter 四´Ø --- 砌詞就韻 --- p.231
Chapter III´Ø --- 濃厚的地方色彩
Chapter 一´Ø --- 方言的運用 --- p.232
Chapter 二´Ø --- 品物和比喻 --- p.233
Chapter IV´Ø --- 表逹技巧和語言公式化 --- p.236
Chapter V´Ø --- 模倣性超越創造性 --- p.240
結論
Chapter I´Ø --- 俗文學及“民間文學´ح研究發展出現的問題 --- p.243
Chapter II´Ø --- 過去有關俗文學特徴的矛盾 --- p.248
Chapter 一´Ø --- 傳播方式的問題 --- p.248
Chapter 二´Ø --- “大眾性´ح與“群體性´ح的問題 --- p.249
Chapter 三´Ø --- 作者的問題 --- p.250
Chapter 四´Ø --- “新鮮而未經雕琢´ح的問題 --- p.250
Chapter III´Ø --- 從木魚書看俗文學的特徴問題 --- p.251
Chapter 一´Ø --- 民族性和鄉土性 --- p.251
Chapter 二´Ø --- 進步的抑保守的 --- p.252
Chapter 三´Ø --- 新鮮的抑模倣的 --- p.253
Chapter 四´Ø --- 吸收性及融和性 --- p.254
Chapter 五´Ø --- 勸世與社會認可性 --- p.254
Chapter IV´Ø --- 木魚書與“商俗文學´ح --- p.255
Chapter 一´Ø --- 大規模的集體傳播性 --- p.255
Chapter 二´Ø --- 城市化 --- p.256
Chapter 三´Ø --- 商業化 --- p.257
Chapter V´Ø --- 從木魚書研究看俗文學的領域問題 --- p.258
Chapter VI´Ø --- 從木魚書看俗文學研究的重要性及展望 --- p.263
附件目錄
Chapter A´Ø --- 附表
Chapter 附表一： --- 現存主要木魚書藏處目錄 --- p.325
Chapter 附表二： --- 木魚書同書異名表 --- p.346
Chapter 附表三： --- 木魚書出版商及作者資料表 --- p.349
Chapter 附表四： --- 失佚原書之木魚書標題表 --- p.366
Chapter 四A： --- 中山大學風俗硏究室於一九二九年發表所藏廣東唱本目錄 --- p.367
Chapter 四B: --- 《梁氏所藏所見木魚書敘目》 --- p.371
Chapter 附表五： --- 廣州共和報1922年至1925年間所刊登南音、龍舟、木魚曲詞目錄 --- p.374
Chapter B´Ø --- 附錄
Chapter 附錄一： --- 南音木魚書格律示例 --- p.376
Chapter 附錄二： --- 龍舟木魚書格律示例 --- p.377
Chapter 附錄三： --- 三首演唱曲格律示例 --- p.378
Chapter 附錄四： --- 南音《再生緣》之《上林苑題詩》（唱曲及木魚書比較） --- p.379
Chapter 附錄五： --- 《客途秋恨》（唱曲及木魚書比較） --- p.381
Chapter 附錄六： --- 《紅樓夢》之《夢遊太虛》木魚書曲詞 --- p.383
Chapter 附錄七： --- 《五諫刁妻》木魚書曲詞 --- p.384
Chapter 附錄八： --- 《賢妻諫賭》木魚書曲詞 --- p.387
Chapter C´Ø --- 附圓
Chapter 附圖一： --- 木魚書封面圖 --- p.390
Chapter 附圖二： --- 木魚書封面圖 --- p.391
Chapter 附圖三： --- 木魚書的木刻插圖 --- p.392
Chapter 附圓四： --- 木魚書内文编排圖版例一 --- p.393
Chapter 附圃五： --- 木魚書内文编排圖版例二 --- p.394
Chapter 附圖六： --- 粗劣木魚書刻板示例 --- p.395
Chapter 附圖七： --- 木魚書拼揍成書圖版示例一 --- p.396
Chapter 附圖八： --- 木魚書拼揍成書圖版示例 --- p.397
Chapter 附圓九´Ø一： --- 《丁山打雁》、《二度梅》内文圖版 --- p.398
Chapter 附圖九´Ø二： --- 《生祭李彦貴》、《車龍公子花燈記》内文圖版 --- p.399
Chapter 附圖九´Ø三： --- 《閨諫瑞蘭》、《朝上鶯歌》内文圖版 --- p.400
Chapter 附圃九´Ø四： --- 《盤龍寳扇》、《三棄梨花》内文圖販 --- p.401
Chapter 附画九´Ø五： --- 《金生挑盒》、《梁天來告御狀》内文圖版 --- p.402
Chapter 附圖九´Ø六： --- 《五諫刁妻》、《考世条》内文圖版 --- p.403
Chapter 附圖九´Ø七： --- 《鳳儀亭訴苦》、《五弄琵琶》内文圖版 --- p.404
Chapter 附圔九´Ø八： --- 《梁李爭第一》、《英台回鄉》内文圖版 --- p.405
Chapter 附圖九´Ø九： --- 《石女嘆五更》、《金橋問卦》内文圖版 --- p.406
Chapter 附圔九´Ø十： --- 《天九歌》、《蘇娘嘆五更》内文圖版 --- p.407

碩士
輔仁大學
翻譯學研究所在職專班
97
Abstract Under the principles of accuracy, consistency, precision and concision, this study aims to probe explicitation and simplification features in Taiwan’s and China’s trans-lation texts of General Agreement on Trade in Services (GATS). It proves that lan-guage materials of Taiwan and China contain the universals of translation, and this also indicates that both Taiwan and China simultaneously achieve the goal of explici-tation and simplification. First, with the selected examples of explicitation and simplification, the study describes their characteristics of the scripts. Second, the study specifies the reasons and types of the two universals of translation through a comparative analysis of the legal translation scripts between Taiwan and China. Finally, the comparative study reveals that three types of explicitation emerge in the order of recovering, explicitating and connecting in Taiwan’s and China’s translation scripts. Among the three types of explicitation, recovering contributes the highest proportion around 60%. On the other hand, the study uncovers that three kinds of simplification appear in the order of weakening, shortening and deleting. Among the three kinds of simplification, wea-kening accounts for the highest proportion around 60%. The main meaning of reco-vering lies in presence of complete syntax; explicitating mainly suggests eliminating obscure syntax; connecting emphasizes sentence construction consistency; weakening means to demonstrate the focal point of a message; shortening primarily stresses the squeezed form of the target language; deleting largely stands for the economic cha-racteristics of the target language.

鄭燕虹.
"2005年9月".
論文(哲學碩士)--香港中文大學, 2005.
參考文獻(leaves 97-108).
"2005 nian 9 yue".
Abstracts in Chinese and English.
Zheng Yanhong.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2005.
Can kao wen xian (leaves 97-108).
Chapter 第一章 --- 導論 --- p.1
Chapter 第一節 --- 研究背景及研究目的 --- p.1
Chapter 第二節 --- 研究動機 --- p.2
Chapter 第三節 --- 研究焦點與研究限制 --- p.3
Chapter 第四節 --- 研究角度 --- p.4
Chapter 第五節 --- 文獻回顧 --- p.6
Chapter 第六節 --- 研究方法 --- p.8
Chapter 第七節 --- 内容簡述 --- p.10
Chapter 第二章 --- 新疆漢族人的身份危機 --- p.11
Chapter 第一節 --- 新疆的史地和民族現況概述 --- p.12
Chapter 第二節 --- 民族意識在新疆 --- p.16
Chapter 第三節 --- 導致新疆漢族身份危機的社會、文化和歷史因素 --- p.17
Chapter 小結 --- 新疆漢人的身份危機 --- p.21
Chapter 第三章 --- 王洛賓現象在新疆 --- p.23
Chapter 第一節 --- 王洛賓生平概述 --- p.23
Chapter 第二節 --- 有關歌曲的改編或再創作過程 --- p.28
Chapter 第三節 --- 王洛賓現象在新疆 --- p.34
Chapter 第四節 --- 新疆維吾爾族人對王洛賓及有關作品的看法 --- p.39
Chapter 第五節 --- 新疆的漢族人對王洛賓的看法 --- p.42
Chapter 小結 --- 王洛賓作為新疆漢人身份認同的重要媒介 --- p.44
Chapter 第四章 --- 音樂與身份認同：新疆漢族人與新疆民歌的想像 --- p.55
Chapter 第一節 --- 資料的選擇´ؤ´ؤ王洛賓改編歌曲的音像產品 --- p.55
Chapter 第二節 --- 以音樂建構形象：新疆漢族人對音樂想像的意識 --- p.55
Chapter 第三節 --- 音像產品的風格與新疆形象的想像 --- p.59
Chapter 小結 --- 音樂作為一個超越時空的想像空間 --- p.65
Chapter 第五章 --- 結論 --- p.72
附錄 --- p.76
參考資料及相關文獻 --- p.97
鳴謝 --- p.109

葉賜光 = A study on the folk songs of Sai Kung and its neighbouring areas ...
稿本(據電腦打印本複印)
Thesis (M.A.)--香港中文大學, 1989.
Gao ben (ju dian nao da yin ben fu yin)
Includes bibliographical references (leaves 253-262).
Ye Ciguang = A study on the folk songs of Sai Kung and its neighbouring areas ...
Thesis (M.A.)--Xianggang Zhong wen da xue, 1989.
嗚謝 --- p.i
序 --- p.iii
地圖索引 --- p.v
歌謠譜例索引 --- p.vi
歌詞例子索引 --- p.viii
圖表索引 --- p.x
音樂例子索引 --- p.xiii
照片索引 --- p.xiv
Chapter 第一部分： --- 論文
Chapter 第一章 --- 前言
Chapter 第一節 --- 研究地區之讓擇 --- p.1
Chapter 第二節 --- 過去及目前之研究 --- p.2
Chapter 第三節 --- 研究目標 --- p.5
Chapter 第四節 --- 資料來源 --- p.6
Chapter 第二章 --- 歌謠之概念及分類
Chapter 第一節 --- 歌謠之定義及概念 --- p.10
Chapter I --- 過往學者對「民歌」所下之定義 --- p.11
Chapter II --- 筆者對西貢地區歌謠所作之定義 --- p.14
Chapter III --- 粤省與西貢地區歌謠之稱謂問題 --- p.16
Chapter 甲 --- 「粤謳」 --- p.16
Chapter 乙 --- 「粤風」 --- p.17
Chapter 丙 --- 「粤歌」 --- p.18
Chapter 第二節 --- 歌謠分類之概念及分類方法 --- p.22
Chapter I --- 歌謠分類的一些概念 --- p.22
Chapter II --- 台灣歌謠之一般分類方法 --- p.24
Chapter III --- 過往國內歌謠之「三分法」 --- p.25
Chapter IV --- 近期國內歌謠「色彩區」之劃分 --- p.26
Chapter V --- 廣東省（粤）歌謠的分類 --- p.29
Chapter VI --- 本港歌謠之分類 --- p.30
Chapter VII --- 筆者對西貢歌謠之分類方法 --- p.32
Chapter 甲 --- 歌謠劃分之層次 --- p.32
第一級分類： 體系 --- p.33
第二級分類： 歌謠方言色彩區 --- p.33
第三級分類： 體裁 --- p.34
第四級及五級分類歌類及歌目 --- p.35
第六級分類： 歌名 --- p.37
Chapter 第三章 --- 西貢歌謠尋根
Chapter 第一節 --- 西貢地區人口組成的一些資料 --- p.42
Chapter 第二節 --- 本地人與蛇歌 --- p.45
Chapter I --- 「輋」字，「畬」字及類似字之字義 --- p.46
Chapter II --- 目前國內及廣東省畬族的狀況 --- p.47
Chapter III --- 西貢地區蛇歌之特色 --- p.49
Chapter IV --- 福建畬歌之特色 --- p.54
Chapter V --- 浙江畬歌之特色 --- p.56
Chapter VI --- 西貢「九龍蛇話山歌」命名之推想 --- p.59
Chapter 甲 --- 源出於浙江九龍山龍泉縣？ --- p.60
Chapter 乙 --- 源出於粤北九連（龍）山一帶地區？ --- p.60
Chapter 丙 --- 源出於粤北九峰山以南之瑤區？ --- p.61
Chapter 丁 --- 源出於本港九龍城附近一帶地區？ --- p.62
Chapter 第三節 --- 客家人與客家歌謠 --- p.65
Chapter I --- 客籍人士之遷徙過程 --- p.66
Chapter II --- 西貢客家山歌的特色 --- p.68
Chapter III --- 梅縣地區客家山歌之特色 --- p.71
Chapter 第四節 --- 蛋家與蛋家歌謠 --- p.77
Chapter I --- 西貢地區漁民之狀況 --- p.77
Chapter II --- 「蛋家」與「蛋名」沿革 --- p.79
Chapter III --- 「蜑」乃「龍蛇」之後？ --- p.81
Chapter IV --- 廣東蛋民的分佈 --- p.82
Chapter V --- 西貢漁民所採用之方言 --- p.83
Chapter VI --- 西貢蛋歌之特色 --- p.84
Chapter VII --- 客家及鶴佬漁民漁歌之特色 --- p.89
Chapter 第四章 --- 歌唱場合
Chapter 第一節 --- 歌唱場合之概念 --- p.94
Chapter 第二節 --- 本地及客家山歌之歌唱場合 --- p.98
Chapter I --- 戶外及田間之山歌 --- p.99
Chapter II --- 攔路歌 --- p.100
Chapter III --- 情歌及艷情歌 --- p.102
Chapter IV --- 老人山歌 --- p.106
Chapter V --- 鬥歌 --- p.107
Chapter 第三節 --- 圍頭歌之歌唱場合 --- p.110
Chapter I --- 月令歌 --- p.111
Chapter 甲 --- 唱古人 --- p.113
Chapter 乙 --- 唱節氣 --- p.117
Chapter 丙 --- 唱花木、茶菓及字眼 --- p.120
Chapter 丁 --- 唱魚名鳥名及十二生肖 --- p.123
Chapter 戊 --- 唱過番 --- p.124
Chapter II --- 猜謎歌 --- p.125
Chapter 甲 --- 猜字眼 --- p.126
Chapter 乙 --- 猜古人 --- p.127
Chapter III --- 圍名歌 --- p.127
Chapter IV --- 節日吉慶 --- p.129
Chapter 甲 --- 祝壽 --- p.129
Chapter 乙 --- 中秋 --- p.130
Chapter 丙 --- 過年 --- p.132
Chapter 第四節 --- 本地及客家「歌堂歌」及「靈堂歌」之歌唱場合 --- p.135
Chapter I --- 哭嫁與坐歌堂 --- p.136
Chapter 甲 --- 開口喊天喊地 --- p.138
Chapter 乙 --- 第一次哭辭 --- p.139
Chapter 丙 --- 坐凳頭 --- p.141
Chapter 丁 --- 上頭 --- p.143
Chapter 戊 --- 第二次哭辭 --- p.144
Chapter 己 --- 出閣 --- p.146
Chapter II --- 「靈堂歌」之歌唱場合 --- p.150
Chapter 第五節 --- 蛋家之歌唱場合 --- p.153
Chapter I --- 捕魚及行船歌 --- p.153
Chapter II --- 蛋家風俗歌謠及其歌唱場合 --- p.158
Chapter 甲 --- 哭嫁 --- p.159
Chapter 乙 --- 迎娶 --- p.161
Chapter 丙 --- 耍歌堂 --- p.164
Chapter III --- 咸水歌 --- p.166
Chapter 甲 --- 咸水字眼歌 --- p.167
Chapter 乙 --- 歎姑妹 --- p.169
Chapter 丙 --- 艇仔歌 --- p.170
Chapter 第五章 --- 西貢歌謠音樂及歌詞結構的固定因素與非固定因素
Chapter 第一節 --- 歌謠中「歌詞」之「固定」與「非固定」因素 --- p.175
Chapter I --- 歌謠「歌詞」中的「固定」因素、格式、條數規限 --- p.176
Chapter II --- 有「固定格式歌謠」中的「非固定」因素 --- p.182
Chapter 甲 --- 七言四句、三句半及五句板的例子 --- p.182
Chapter 乙 --- 七言四句變五言四句的例子 --- p.186
Chapter 丙 --- 月令歌的例子 --- p.188
Chapter 丁 --- 長篇歌謠的例子 --- p.188
Chapter III --- 「沒有固定格式歌謠歌詞」中之「固定」與「非固定」因素 --- p.198
Chapter 甲 --- 漁民歌謠的例子 --- p.198
Chapter 乙 --- 風俗歌謠的例子 --- p.202
Chapter IV --- 歌謠固定與非固定「襯字」、「襯詞」、及「襯句」 --- p.205
Chapter 甲 --- 客家歌謠例子 --- p.205
Chapter 乙 --- 本地歌謠例子 --- p.209
Chapter 丙 --- 蛋家歌謠例子 --- p.212
Chapter 第二節 --- 歌謠在「音樂」上的「固定」與「非固定」因素 --- p.215
Chapter I --- 有固定曲調歌謠的固定與非固定因素 --- p.215
Chapter 甲 --- 單句式的歌謠例子 --- p.215
Chapter 乙 --- 雙句式的歌謠例子 --- p.218
Chapter 丙 --- 三句半、四句式及五句板例子 --- p.222
Chapter 丁 --- 歌詞次序調換的例子 --- p.225
Chapter 戊 --- 詩詞句法與音樂句法的配合情況 --- p.228
Chapter II --- 「沒有基本曲調」中的固定與非固定因素 --- p.234
Chapter III --- 「襯字」 、「襯詞」、「襯句」與「音樂」之配合 --- p.239
Chapter 甲 --- 歌謠中「不重要」的「襯字」、「襯詞」和「襯句」 --- p.239
Chapter 乙 --- 歌謠中「重要」的「襯字」、「襯詞」和「襯句」 --- p.239
Chapter 第三節 --- 固定與非固定因素於歌謠中之作用及意義 --- p.243
Chapter I --- 「基本曲調」對歌謠流傳之重要性 --- p.243
Chapter II --- 「襯字」的功能 --- p.245
Chapter III --- 歌謠的「版本」問題 --- p.246
Chapter 第六章 --- 結語 --- p.248
中文參考書目 --- p.253
英文參考書目 --- p.261
第二部份：地圖及歌謠譜例 --- p.262-336

碩士
國立屏東大學
華語文教學碩士學位學程
106
The purpose of the study is to apply five Chinese songs of Jay Chou, "Shanghai 1943", "Hair such as snow", "Chrysanthemum Taiwan", "Blue and white porcelain", "Orchid Pavilion Preface", With different themes to design textbooks, cultural teaching andcultural experience activities. The teaching view of this study is totake "from language learning into cultural learning", hoping thatlearners can learn Chinese culture by learning Chinese. This study explores whether music can be applied to language learning or there is any correlation between the two? Are non-native speakers of Chinese interested in learning Chinese by integrating music into the material? Is it possible to achieve the desired results by studying Chinese language and understanding Chinese culture? The research method used is qualitative research method and attempts to take rigorous procedures and steps. The aim is to design a set of Chinese language learning materials for non-native speakers of Chinese. By studying the materials, students comprehend the broad and profound Chinese culture. The results show that the use of melody in language learning can effectively reduce students' anxiety and improve their learning motivation. Real world objects and pictures help students to master new words in no time. "Making your own blue and white porcelain" and "writing calligraphy" are the most popular cultural experience activities among students.

謝樹強.
論文(碩士) -- 香港中文大學硏究院敎育學部, 1995.
參考文獻: leaves 396-399.
Xie Shuqiang.
Chapter 第一章 --- 引言
Chapter 第一節 --- 研究背景 --- p.1
Chapter 第二節 --- 研究意義 --- p.2-3
Chapter 第三節 --- 研究範圍 --- p.3-4
Chapter 第二章 --- 文獻綜述 --- p.5
Chapter 第一節 --- 名詞釋義 --- p.5-13
Chapter 第二節 --- 文章结構理論述評 --- p.14-39
Chapter 第三章 --- 理論架構 --- p.40
Chapter 第一節 --- 《文章结構學》的價值 --- p.40-53
Chapter 第二節 --- 《文章结構學》的理論架構 --- p.54-107
Chapter 第三節 --- 文體的定義、分類和「與本研究的關係」 --- p.108-117
Chapter 第四章 --- 研究設計 --- p.118
Chapter 第一節 --- 研究對象 --- p.119-122
Chapter 第二節 --- 研究目的 --- p.122-123
Chapter 第三節 --- 研究假設 --- p.123
Chapter 第四節 --- 研究方法 --- p.123-133
Chapter 第五節 --- 研究限制 --- p.123-134
Chapter 第五章 --- 初中精讀教材的结構分析 --- p.135
Chapter 第一節 --- 中一課文之结構分析（合共三十篇） --- p.135-183
Chapter 第二節 --- 中二課文之结構分析（合共三十篇） --- p.184-233
Chapter 第三節 --- 中三課文之结構分析（合共三十篇） --- p.234-281
Chapter 第六章 --- 研究结果的整理與分析 --- p.282-315
Chapter 第七章 --- 结論與建議 --- p.316-381
註 釋 --- p.382-395
參考書目 --- p.396-399
附 錄 --- p.400-437

Chan, Mun Tak Ada.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2009.
Includes bibliographical references (leaves 65-69).
In English with some Chinese characters; abstract also in Chinese.
Abstract --- p.i
Abstract (Chinese) --- p.iii
Acknowledgements --- p.iv
Table of Contents --- p.V
List of Figures and Tables --- p.vii
Chapter Chapter One --- Introduction --- p.1
Geographical Location and Political Status of Hong Kong --- p.3
Personal Reflection on the Change of HKSAR´ةs Sovereignty --- p.8
Chapter Chapter Two --- Propaganda on Television: Music Video in Hong Kong Mass Media --- p.10
Defining Post-colonialism --- p.10
A Brief History of Hong Kong --- p.12
National Affiliation of the Hong Kong Citizens in the Pre- and Post-Handover Era --- p.14
Chapter Chapter Three --- The Changing Audiovisual Presentation of the PRC National Anthem Video Clips in Post-colonial Hong Kong --- p.23
Chinese Musical Nationalism in Post-colonial Hong Kong --- p.23
“Vocabulary´ح and Its Post-colonial Interpretation --- p.24
“Structure´ح and Its Post-colonial Interpretation --- p.25
Conceptualization of the Nation by Displaying the PRC flag and the Hong Kong SAR flag --- p.26
Conceptualizing the Ideas of Ethnicity --- p.30
Image of People´ةs Liberation Army in Constructing the Concept of the Nation --- p.32
Interrelationship between the Musical Interpretation and the People featured --- p.34
Vocabulary in Constructing the Concepts of the Chinese Nation --- p.41
Conclusion --- p.44
Chapter Chapter Four --- Conclusion --- p.48
Post-Colonial Influences Upon the Cultural Identity of Hong Kong Citizens --- p.48
Reinforcing Political Affiliation to the PRC using the National Anthem after the 1997 Handover --- p.49
Our Home Our Country featuring the PRC National Anthem as a Political Tool --- p.50
The Historical Significance of Our Home Our Country --- p.52
Appendix I Basic Information of the National Anthem Video Clip Our Home Our Country --- p.54
Appendix II Musical Aspects of the National Anthem Video Clips Our Home Our Country --- p.55
Appendix III Prologues (and Epilogues) of Our Home Our Country --- p.56
Bibliography --- p.65

杜綺明.
"2007年12月".
論文(哲學碩士)--香港中文大學, 2007.
參考文獻(leaves 90-96).
"2007 nian 12 yue".
Abstract also in English.
Du Qiming.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2007.
Can kao wen xian (leaves 90-96).
摘要 --- p.iii
目錄 --- p.iv
Chapter 第一章 --- 導論 --- p.1-10
Chapter 第二章 --- 民族音樂學與香港「兒歌」的硏究 --- p.11-19
Chapter 第三章 --- 從歷史看「幼童時期」Childhood的槪念與香港「兒歌」 的關係 --- p.20-35
Chapter 第四章 --- 中國兒童歌謠與香港電視「兒歌」 --- p.36-48
Chapter 第五章 --- 香港電視廣播有限公司與香港「兒歌」的發展 --- p.49-73
Chapter 第六章 --- 校園裡兒歌與兒童生活及成長 --- p.74-81
Chapter 第七章 --- 總結 --- p.82-89
書目 --- p.90-96

李潔嫦.
論文(哲學碩士) -- 香港中文大學硏究院音樂學部, 1998.
參考文獻: leaves 99-106.
Li Jiechang.
撮要 --- p.iii
Chapter 第一章 --- 地水南音源流槪說
Chapter 一´Ø --- 引言 --- p.一
Chapter 二´Ø --- 南音的起源和發展 --- p.二
Chapter 三´Ø --- 有關南音的原始資料及研究 --- p.四
Chapter 第二章 --- 地水南音在香港的發展(二十至九十年代）
Chapter 一´Ø --- 南音在香港早期的槪況 --- p.八
Chapter 二´Ø --- 地水南音的衰落與戲台、粤曲南音的蓬勃(四十至六十年代） --- p.十九
Chapter 三´Ø --- 七十年代 --- p.二五
Chapter 四´Ø --- 八十年代至今 --- p.二八
Chapter 第三章 --- 地水南音的音樂風格
Chapter 一´Ø --- 引言 --- p.四三
Chapter 二´Ø --- 唱詞結構 --- p.四四
Chapter 三´Ø --- 板面及過序的處理 --- p.四八
Chapter 四´Ø --- 《霸王別姬》音樂結構分析 --- p.五四
Chapter 五. --- 《客途秋恨》：語言聲調與旋律的關係 --- p.六八
Chapter 第四章 --- 近代唱者個案：杜煥及唐健垣
Chapter 一´Ø --- 杜煥的生平及唱腔風格 --- p.七八
Chapter 二´Ø --- 唐健垣的生平及唱腔風格 --- p.八三
Chapter 三´Ø --- 結論 --- p.九十
Chapter 第五章 --- 結論 --- p.九四
參考書目 --- p.九九
附錄一《霸王別姬》唱腔旋律記譜 --- p.一零七
附錄二 《霸王別姬》的唱腔分析 --- p.一一七
附錄三《客途秋恨》的唱腔分析 --- p.一三一
表目
表2-1 六十至八十年代南音演出及硏討會資料 --- p.三五
表2-2 香港灌錄及發行的南音唱片目錄 --- p.三七
表2-3 八十至九十年代南音演出和講座資料 --- p.三九
表3-1 --- p.五五
表3-2 --- p.五七
表3-3 --- p.六五
表3-4 --- p.六九
表3-5 --- p.七二
表4-1杜煥生平年表 --- p.八二
表4-2唐健垣生平年表 --- p.八八

蔣鳳.
論文(碩士) -- 香港中文大學硏究院敎育學部, 1995.
參考文獻: leaves 129-135.
Jiang Feng.
Chapter 第一章 --- 緒論
Chapter 第一節 --- 研究動機與目的 --- p.1
Chapter 第二節 --- 研究範圍 --- p.5
Chapter 第三節 --- 研究方法與步驟 --- p.7
Chapter 第四節 --- 主要名詞界定 --- p.8
Chapter 第二章 --- 理論基礎與文獻回顧
Chapter I . --- 目標
Chapter 第一節 --- 敎學目標的重要性及訂定的原則 --- p.9
Chapter 第二節 --- 香港中國語文科敎學目標的變革 --- p.12
Chapter 第三節 --- 香港中國語文科敎學目標分析 --- p.18
Chapter II . --- 精讀敎材
Chapter 第四節 --- 敎材的作用、重要性及與目標的關係 --- p.20
Chapter 第五節 --- 敎材内容的選取 --- p.22
Chapter 第六節 --- 敎材的組織 --- p.27
Chapter 第七節 --- 香港中國語文科精讀敎材的编選 --- p.30
Chapter 一. --- 内容方面： --- p.30
Chapter 1) --- 高中敎材選取概況
Chapter 2) --- 學科專家意見
Chapter 二. --- 编纂（組織）方面： --- p.35
Chapter 1) --- 敎材编纂概況
Chapter 2) --- 學科專家意見
Chapter III. --- 學習者
Chapter 第八節 --- 敎材應爲學習者而設的理論 --- p.37
Chapter 一. --- 敎育哲學家 --- p.38
Chapter 二. --- 心理學家 --- p.39
Chapter 三. --- 課程學者 --- p.40
Chapter 四. --- 語文學家 --- p.41
Chapter 第三章 --- 硏究設計與實施
Chapter 第一節 --- 研究目的 --- p.43
Chapter 第二節 --- 研究對象 --- p.44
Chapter 第三節 --- 研究工具 --- p.45
Chapter 第四節 --- 實施程序與資料處理 --- p.47
Chapter 第四章 --- 調查結果分析
Chapter 第一節 --- 分析方法與探究項目 --- p.49
Chapter 第二節 --- 調查結果與討論 --- p.51
Chapter 第五章 --- 結論與建議
Chapter 第一節 --- 中國語文科的敎學目標 --- p.87
Chapter 第二節 --- 中國語文科精讀敎材的選取及組織 --- p.89
Chapter 第三節 --- 現行高中精讀敎材與敎學目標的關係 --- p.96
Chapter 第四節 --- 硏究限制 --- p.102
附錄
附件一：各級精讀敎材篇目 --- p.104
附件二 ： 一般學生在閱讀、寫作、聆聽、¨®Ơ 話、思維及自學方面應達之水平 --- p.109
附件三：語文基本知識的敎學項目 --- p.110
附件四：中學中國語文科課本编纂指引 --- p.114
附件五：調查問卷：
Chapter 一. --- 中國語文科敎學目標與高中精讀敎材意見調查表 --- p.120
Chapter 二. --- 中國語文科高中精讀敎材評鑑表 --- p.126
文獻參攷
中文部分 --- p.129
英文部分 --- p.134

吳瑞珠.
"2002年7月".
論文(哲學碩士)--香港中文大學, 2002.
參考文獻 (leaves 152-156).
附中英文摘要.
"2002 nian 7 yue".
Wu Ruizhu.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2002.
Can kao wen xian (leaves 152-156).
Fu Zhong Ying wen zhai yao.
致謝 --- p.iv
摘要（中文） --- p.v
摘要（英文） --- p.vi
Chapter 第一章 --- 導論 --- p.1
人類學與民族音樂學 --- p.6
音樂傳統與文化認同 --- p.12
研究問題與理論架構 --- p.18
研究地點和研究方法 --- p.22
本文章節安排 --- p.25
Chapter 第二章 --- 福建泉州南音 --- p.27
何謂南音? --- p.27
歷史沿革 --- p.30
曲譜類別、樂器及音樂特色 --- p.39
南音和閩南風俗及其音樂功能
從名稱上看南音的發展 --- p.46
南音裡的男女現象 --- p.48
南音面對的困難 --- p.49
Chapter 第三章 --- 地方組織與表演 --- p.53
泉州市工人文化宮南樂社 --- p.54
泉州南音樂團 --- p.61
浮橋仙景南音學校 --- p.67
南音表演裡的男女角色 --- p.74
地方組織和南音的保存 --- p.75
Chapter 第四章 --- 傳統與改革 --- p.81
南音的演變 --- p.82
傳統南音的局限和新南曲的特點 --- p.88
動態的傳統 --- p.91
新南音的弱點 --- p.95
傳統文化與文化認同 --- p.101
Chapter 第五章 --- 境外華人與泉州南音的發展 --- p.106
閩南移民和跨國網絡的建立 --- p.106
境外華人和泉州的南音組織 --- p.110
境內外南音團體的聯繫 --- p.111
傳統的被利用 --- p.114
音樂傳統和懷舊情懷、文化認同 --- p.122
Chapter 第六章 --- 南音和世界文化遣產的話語 --- p.127
國際組織和世界文化遺產的保護 --- p.128
泉州南音申報世遺的背景 --- p.129
各界的表現 --- p.132
世遺的價值 --- p.137
世遺和文化認同 --- p.139
Chapter 第七章 --- 結語 --- p.144
附錄（新南曲唱詞） --- p.149
參考書目 --- p.152

Al laox, is a kind of polyphonic folk song which are sung and widely practiced by parts of Dong people in southern China. As an indispensable component of the non-literary peasant society of Dong ethnic culture, Al laox music tradition has been systematically passed down, with full participation and ritualized performance in Dong people's daily life.
As a case study of "local music tradition", this research will contribute to further research topics, such as the common characteristic of Dong traditional music, sociological meaning of polyphonic folk song and contemporary transformation of traditional music etc.
This dissertation aims to investigate the interaction between "Al laox music tradition and community identity of Dong People". Based on extensive fieldwork and textual analysis, this thesis discusses, on one hand, how Dong people construct their identity with Al laox music tradition, on the other hand, it examines what exactly the Al laox music tradition is and what it means to native people. Thus, this bidirectional concerns not only respond to the general ethnomusicological issue of "how culture shapes music", but also gives an interpretation of "how music function culture".
This dissertation has two methodological concerns: (1) a micro-ethnographical study of village social structure in relation to the Al laox music tradition, and (2) a survey of Al laox as a ritualized communal singing ritual. The former focuses on a typical Dong community as a locus to examine the operation of Gaolao music tradition, whereas the latter illustrates how Dong people construct distinct stratified identities through singing especially in three coorelative rituals. Specifically, this research takes Xiao Huang village in Congjiang county, Guizhou province and the relavant villages around as object and structures around three significant ritualized singing pattern, gabx gongx, xeegnl doul and weex yeek.
楊曉.
Adviser: Tsao Poon Yee.
Source: Dissertation Abstracts International, Volume: 69-08, Section: A, page: 2944.
Thesis (doctoral)--Chinese University of Hong Kong, 2008.
Includes bibliographical references (p. 392-418).
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, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
School code: 1307.
Yang Xiao.

Firstly, while the Yao people inhabit in wide geographic regions stretching across Southern China and South East Asia, even overseas, the Paiyao, a branch of the Yao who inhabits only in the Liannan district of the Guangdong province, is unique not only in their geographical inhabitancy but also cultural characteristics.
Secondly, while Yao people's Getang ritual is a wide spread ritual practice with local variations, there has not been any in-depth study on the Getang ritual of the Paiyao people.
The significance of this study are Three-fold.
The thesis aims to study the soundscape of Paiyao ethnic nationality's "Getang Ritual" in Guangdong Province.
Thirdly, with a musicological concern, this thesis approaches its subject from the perspective of "soundscape of the ritual enactment", (Tsao Penyeh 2006: 81) and aspires to reach an understanding of the wider meaning of the Getang ritual among the Paiyao people and their society.
This study consists of the following three processes: (1) Fieldwork to investigate and compile ethnographic texts from both the researcher's observation and insiders' oral narrations and relating to actions in the makings of the ritual soundscape. (2) Analysis of the ritual "sounds", in terms of themselves and their extra-musical factors. (3) Interpretation of the meaning of ritual sounds and their soundscape of Paiyao's Getang ritual within the framework of the belief system that consists of a trinity of sounds and soundscape, ritual enactment and belief.
This thesis has seven chapters, with its theoretical and methodological reverences indebted to ritual studies by Tsao Penyeh (his research of ritual and ritual soundscape of China's belief systems) and Clifford Geertz (his many writings on anthropological theory and methodology, as well as his study of "reinterpretation to other's interpretation").
周凱模.
Adviser: Pen-Yeh (Poon-Yee) Tsao.
Source: Dissertation Abstracts International, Volume: 69-08, Section: A, page: 2945.
Thesis (doctoral)--Chinese University of Hong Kong, 2008.
Includes bibliographical references (p. 289-317) and indexes.
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, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
School code: 1307.
Zhou Kaimo.

余詠宇.
論文(博士)--香港中文大學, 1999.
附參考文獻(p. 210-222)及索引.
中英文摘要.
Available also through the Internet via Dissertations & theses @ Chinese University of Hong Kong.
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.
Yu Yongyu.
Lun wen (bo shi)--Xianggang Zhong wen da xue, 1999.
Fu can kao wen xian (p. 210-222) ji suo yin.
Zhong Ying wen zhai yao.