Academic literature on the topic 'Wen chang kuei fan'

The common occurrence of cults of the dead in Neolithic and early Bronze Age societies around the world raises at least one major question about early Chinese religion: what factors account for the elaboration of ancestor worship in China and for the degree to which—compared to its role in other cultures—it endured? The study of Chinese religion in the Neolithic and Shang periods (ca. 4000–1050 B.C.E.) can contribute to our understanding of such matters, but the bulk of recent scholarship is inevitably and properly focused on technical analyses of sites, artifacts, rituals, and spiritual Powers. Many studies address problems of definition, such as the nature of Ti, the high god of the Shang, and his cult (Akatsuka 1977:471–537; Ikeda 1981:25–39; Eno 1990); images of T'ien (Heaven, Sky) (Hayashi 1989a); the nature of the Earth Power and its associated altar of the soil (Tai Chia-hsiang 1986); the role of sun, bird, and other totems in Neolithic and Shang belief (Hu Hou-hsüan 1977; Allan 1981; Tu Chin-p'eng 1992; Wu Hung 1985; Paper 1986; Ch'ien Chihch'iang 1988; Juyü 1991; Wang Chi-huai 1992; Xiong Chuanxin 1992; Chang Teshui 1993; Chang Wen 1994; Wang Lu-ch'ang 1994); methods and objects of sacrifice (Ikeda 1980; Ch'iu Hsi-kuei 1985; Childs-Johnson 1987; Lien Shao-ming 1989; Itō 1990; Hao Pen-hsing 1992); the religious dimensions of illness (Takashima 1980) and of settlement building (Akatsuka 1977:494–99).

Introduction. The article examines the origins of Taiwanese piano art, its evolution, the influence of national and numerous non-national musical traditions. Until today, no special study devoted to the general panorama of these important processes has been created. The general picture of the formation and development of Taiwanese musical culture in the context of the political, economic and social situation is considered. The purpose of the article is to highlight the origins of Taiwanese piano art, which influenced its evolution, the process of introducing national and numerous non-national elements at the main stages of its formation and development. With the help of analytical, historical, comparative, interdisciplinary methods of research, a number of tasks are solved: the role of Western Christian missionaries in the development of musical education and piano art on the island is determined, the reasons why the Western classical music was accepted by the local society, the questions about the founders of the system of Western of classical music education, the programs and forms of learning in the first music schools in Taiwan, the names of the first Taiwanese composers-pianists are clarified; а periodization of the development of piano art in Taiwan is proposed. Results. The most important historical stages of the formation and development of Taiwanese piano art can be considered: – the period of its creation from the end of the 16th century to 1894; – the period of Japanese colonial rule from 1895 to 1945; – the period of development of national self-awareness, 1946–1986; – the period of reunification with mainland China from 1987. The proposed periodization makes it possible to reveal the entire historical and cultural context of the existence of piano art in Taiwan, to project its genetic settings for further stages of its development. Its basis was national folklore, but since the middle of the 16th century, the island was visited by Spanish, Portuguese, Dutch and Canadian colonists, and the first contacts of Western music with the indigenous population of Taiwan were made thanks to the activities of Western missionaries and were subordinated mainly to religious purposes. The stage of Japanese colonial rule was important for the development of piano art on the island. Due to the influence of Japan, Taiwanese musicians had further opportunities to join the system of Western classical music education, as the Japanese government was helping Taiwanese youth to obtain it. After 1920, Western classical music becomes popular in Taiwan; the formation of composer creativity in the field of piano music also takes place – the activities of such Taiwanese composers and pianists as Chiang Wen-Yeh, Chen Sizhi, Kuo Chih-Yuan, Kao Tzu-Mei and others. In the years 1946–1986, we observe the further development of performing and teaching activities at the island, a bright burst of creativity by such composers as Chang-Hui Hsu, Hsiao Tyzen, Shui-Long Ma and others. After 1987, active musical contacts between China and Taiwan contribute to the further progress of the island’s piano art. The piano works of Taiwanese composers Shih-Hui Chen, Fan-Ling Su, Chien-Yu Huang and others are widely popularized. In recent decades, the performing activities of Taiwanese pianists, represented in the international space by the names of Chien-Yu Huang, Yi Chih Lu, Chiu Tze Lin and many others, have become very active. Today, the piano art of Taiwan is the most important part of not only Chinese, but also world music culture. Conclusions. The study of the origins of the piano art of Taiwan, the periods of its development, ways of refracting different musical traditions will help to understand both the historical-theoretical and aesthetic-pedagogical and artistic significance of this phenomenon in musical art. The most important events in the social and cultural life of Taiwan, since the end of the 16th century, indirectly affected the development of national piano art, which underwent qualitative changes connected with the emergence of new musical forms and means of expression, the methods of using the national and Western compositional techniques. The prospect of further study of the topic consists in a more detailed study of the modern stage of developing piano art in Taiwan and clarifying the influence of its extensive genetic roots on the compositional and performing creativity of representatives of Taiwanese musical culture.

Underwater acoustic signature identification has been employed as a technique for detecting underwater vehicles, such as in anti-submarine warfare or harbour security systems. The underwater sound channel, however, has interference due to spatial variations in topography or sea state conditions and temporal variations in water column properties, which cause multipath and scattering in acoustic propagation. Thus, acoustic data quality control can be very challenging. One of challenges for an identification system is how to recognise the same target signature from measurements under different temporal and spatial settings. This paper deals with the above challenges by establishing an identification system composed of feature extraction, classification algorithms, and feature selection with two approaches to recognise the target signature of underwater radiated noise from a research vessel, Ocean Researcher III, with a bottom mounted hydrophone in five cruises in 2016 and 2017. The fundamental frequency and its power spectral density are known as significant features for classification. In feature extraction, we extract the features before deciding which is more significant from the two aforementioned features. The first approach utilises Polynomial Regression (PR) classifiers and feature selection by Taguchi method and analysis of variance under a different combination of factors and levels. The second approach utilises Radial Basis Function Neural Network (RBFNN) selecting the optimised parameters of classifier via genetic algorithm. The real-time classifier of PR model is robust and superior to the RBFNN model in this paper. This suggests that the Automatic Identification System for Vehicles using Acoustic Signature developed here can be carried out by utilising harmonic frequency features extracted from unmasking the frequency bandwidth for ship noises and proves that feature extraction is appropriate for our targets. References Nathan D Merchant, Kurt M Fristrup, Mark P Johnson, Peter L Tyack, Matthew J Witt, Philippe Blondel, and Susan E Parks. Measuring acoustic habitats. Methods in Ecology and Evolution, 6(3):257265, 2015. doi:10.1111/2041-210X.12330. Nathan D Merchant, Philippe Blondel, D Tom Dakin, and John Dorocicz. Averaging underwater noise levels for environmental assessment of shipping. The Journal of the Acoustical Society of America, 132(4):EL343EL349, 2012. doi:10.1121/1.4754429. Chi-Fang Chen, Hsiang-Chih Chan, Ray-I Chang, Tswen-Yung Tang, Sen Jan, Chau-Chang Wang, Ruey-Chang Wei, Yiing-Jang Yang, Lien-Siang Chou, Tzay-Chyn Shin, et al. Data demonstrations on physical oceanography and underwater acoustics from the marine cable hosted observatory (macho). In OCEANS, 2012-Yeosu, pages 16. IEEE, 2012. doi:10.1109/OCEANS-Yeosu.2012.6263639. Sauda Sadaf P Yashaswini, Soumya Halagur, Fazil Khan, and Shanta Rangaswamy. A literature survey on ambient noise analysis for underwater acoustic signals. International Journal of Computer Engineering and Sciences, 1(7):19, 2015. doi:10.26472/ijces.v1i7.37. Shuguang Wang and Xiangyang Zeng. Robust underwater noise targets classification using auditory inspired time-frequency analysis. Applied Acoustics, 78:6876, 2014. doi:10.1016/j.apacoust.2013.11.003. LG Weiss and TL Dixon. Wavelet-based denoising of underwater acoustic signals. The Journal of the Acoustical Society of America, 101(1):377383, 1997. doi:10.1121/1.417983. Timothy Alexis Bodisco, Jason D'Netto, Neil Kelson, Jasmine Banks, Ross Hayward, and Tony Parker. Characterising an ecg signal using statistical modelling: a feasibility study. ANZIAM Journal, 55:3246, 2014. doi:10.21914/anziamj.v55i0.7818. José Ribeiro-Fonseca and Luís Correia. Identification of underwater acoustic noise. In OCEANS'94.'Oceans Engineering for Today's Technology and Tomorrow's Preservation.'Proceedings, volume 2, pages II/597II/602 vol. 2. IEEE. Linus YS Chiu and Hwei-Ruy Chen. Estimation and reduction of effects of sea surface reflection on underwater vertical channel. In Underwater Technology Symposium (UT), 2013 IEEE International, pages 18. IEEE, 2013. doi:10.1109/UT.2013.6519874. G.M. Wenz. Acoustic ambient noise in the ocean: spectra and sources. Thesis, 1962. doi:10.1121/1.1909155. Donald Ross. Mechanics of underwater noise. Elsevier, 2013. doi:10.1121/1.398685. Chris Drummond and Robert C Holte. Exploiting the cost (in) sensitivity of decision tree splitting criteria. In ICML, volume 1, 2000. Charles Elkan. The foundations of cost-sensitive learning. In International joint conference on artificial intelligence, volume 17, pages 973978. Lawrence Erlbaum Associates Ltd, 2001. Chris Gillard, Alexei Kouzoubov, Simon Lourey, Alice von Trojan, Binh Nguyen, Shane Wood, and Jimmy Wang. Automatic classification of active sonar echoes for improved target identification. Douglas C Montgomery. Design and analysis of experiments. John wiley and sons, 2017. doi:10.1002/9781118147634. G Taguchi. Off-line and on-line quality control systems. In Proceedings of International Conference on Quality Control, 1978. Sheng-Ju Wu, Sheau-Wen Shiah, and Wei-Lung Yu. Parametric analysis of proton exchange membrane fuel cell performance by using the taguchi method and a neural network. Renewable Energy, 34(1):135144, 2009. doi:10.1016/j.renene.2008.03.006. Genichi Taguchi. Introduction to quality engineering: designing quality into products and processes. Technical report, 1986. doi:10.1002/qre.4680040216. Richard Horvath, Gyula Matyasi, and Agota Dregelyi-Kiss. Optimization of machining parameters for fine turning operations based on the response surface method. ANZIAM Journal, 55:250265, 2014. doi:10.21914/anziamj.v55i0.7865. Chuan-Tien Li, Sheng-Ju Wu, and Wei-Lung Yu. Parameter design on the multi-objectives of pem fuel cell stack using an adaptive neuro-fuzzy inference system and genetic algorithms. International Journal of Hydrogen Energy, 39(9):45024515, 2014. doi:10.1016/j.ijhydene.2014.01.034. Antoine Guisan, Thomas C Edwards Jr, and Trevor Hastie. Generalized linear and generalized additive models in studies of species distributions: setting the scene. Ecological modelling, 157(2-3):89100, 2002. doi:10.1016/S0304-3800(02)00204-1. Sheng Chen, Colin FN Cowan, and Peter M Grant. Orthogonal least squares learning algorithm for radial basis function networks. IEEE Transactions on neural networks, 2(2):302309, 1991. doi:10.1109/72.80341. Howard Demuth and Mark Beale. Neural network toolbox for use with matlab-user's guide verion 4.0. 1993. Janice Gaffney, Charles Pearce, and David Green. Binary versus real coding for genetic algorithms: A false dichotomy? ANZIAM Journal, 51:347359, 2010. doi:10.21914/anziamj.v51i0.2776. Daniel May and Muttucumaru Sivakumar. Techniques for predicting total phosphorus in urban stormwater runoff at unmonitored catchments. ANZIAM Journal, 45:296309, 2004. doi:10.21914/anziamj.v45i0.889. Chang-Xue Jack Feng, Zhi-Guang Yu, and Andrew Kusiak. Selection and validation of predictive regression and neural network models based on designed experiments. IIE Transactions, 38(1):1323, 2006. doi:10.1080/07408170500346378. Yin-Ying Fang, Ping-Jung Sung, Kai-An Cheng, Meng Fan Tsai, and Chifang Chen. Underwater radiated noise measurement of ocean researcher 3. In The 29th Taiwan Society of Naval Architects and Marine Engineers Conference, 2017. Yin-Ying Fang, Chi-Fang Chen, and Sheng-Ju Wu. Analysis of vibration and underwater radiated noise of ocean researcher 3. In The 30th Taiwan Society of Naval Architects and Marine Engineers Conference, 2018. Det Norske Veritas. Rules for classification of ships new buildings special equipment and systems additional class part 6 chapter 24 silent class notation. Rules for Classification of ShipsNewbuildings, 2010. Underwater acousticsquantities and procedures for description and measurement of underwater sound from ships-part 1requirements for precision measurements in deep water used for comparison purposes. (ISO 17208-1:2012), 2012. Bureau Veritas. Underwater radiated noise, rule note nr 614 dt r00 e. Bureau Veritas, 2014. R.J. Urick. Principles of underwater sound, volume 3. McGraw-Hill New York, 1983. Lars Burgstahler and Martin Neubauer. New modifications of the exponential moving average algorithm for bandwidth estimation. In Proc. of the 15th ITC Specialist Seminar, 2002. Bishnu Prasad Lamichhane. Removing a mixture of gaussian and impulsive noise using the total variation functional and split bregman iterative method. ANZIAM Journal, 56:5267, 2015. doi:10.21914/anziamj.v56i0.9316. Chao-Ton Su. Quality engineering: off-line methods and applications. CRC press, 2016. Jiju Antony and Mike Kaye. Experimental quality: a strategic approach to achieve and improve quality. Springer Science and Business Media, 2012. Ozkan Kucuk, Tayeb Elfarah, Serkan Islak, and Cihan Ozorak. Optimization by using taguchi method of the production of magnesium-matrix carbide reinforced composites by powder metallurgy method. Metals, 7(9):352, 2017. doi:10.3390/met7090352. G Taguchi. System of experimental design, quality resources. New York, 108, 1987. Gavin C Cawley and Nicola LC Talbot. Efficient leave-one-out cross-validation of kernel fisher discriminant classifiers. Pattern Recognition, 36(11):25852592, 2003. doi:10.1016/S0031-3203(03)00136-5.

Objective: The present study aims to expose through a literature review the cleft lip and/or cleft palate (CL/CP) and its treatment in a multidisciplinary approach. Methodology: This literature review was conducted by the leading health databases: Pubmed (https://www.ncbi.nlm.nih.gov/pubmed). The keywords for the textual search were: Cleft Lip; Cleft Palate; Dental Staff; Classification; Embryology. The inclusion criteria were: literature on the subject under study, literature of the last years, english language, laboratory and clinical studies and systematic review. Literature Review: Fissures can be defined by a space at the junction between two bones, usually where there would be a suture. Orofacial clefts are part of the congenital facial anomalies resulted from the non-junction of the embryonic facial processes. These changes occur due to an alteration in the migratory velocity of the neural crest cells, in charge of the phenomenon of fusion of the facial prominences between the 6th and 9thweek of embryonic life. Conclusion: The treatment of patients with orofacial clefts requires the approach of a multidisciplinary team that involves physicians in the area of plastic surgery, otorhinolaryngology, pediatrics, geneticists, dentists, prosthetics, nurses and speech pathologists, focusing on patient prevention, recovery and rehabilitation. However, further studies are needed for a better understanding of the subject and the steps that should be applied for each particular case.Descriptors: Cleft Lip; Cleft Palate; Dental Staff; Classification; Embryology.ReferencesShaw WC, Brattström V, Mølsted K, Prahl-Andersen B, Roberts CT, Semb G. The Eurocleft study: intercenter study of treatment outcome in patients with complete cleft lip and palate. Part 5: discussion and conclusions. Cleft Palate Craniofac J. 2005;42(1):93-8. Friede H, Lilja J. The Eurocleft Study: Intercenter study of treatment outcome in patients with complete cleft lip and palate. Cleft Palate Craniofac J. 2005;42(4):453-54.Rosenstein SW, Grasseschi M, Dado D. The Eurocleft Study: Intercenter study of treatment outcome in patients with complete cleft lip and palate. Cleft Palate Craniofac J. 2005;42(4):453.Semb G, Brattström V, Mølsted K, Prahl-Andersen B, Zuurbier P, Rumsey N, Shaw WC. The Eurocleft study: intercenter study of treatment outcome in patients with complete cleft lip and palate. Part 4: relationship among treatment outcome, patient/parent satisfaction, and the burden of care. Cleft Palate Craniofac J. 2005;42(1):83-92. Watkins SE, Meyer RE, Strauss RP, Aylsworth AS. Classification, epidemiology, and genetics of orofacial clefts. Clin Plast Surg. 2014;41(2):149-63. Coleman JR Jr, Sykes JM. The embryology, classification, epidemiology, and genetics of facial clefting. Facial Plast Surg Clin North Am. 2001;9(1):1-13.Pengelly RJ, Arias L, Martínez J, Upstill-Goddard R, Seaby EG, Gibson J, Ennis S, Collins A, Briceño I. Deleterious coding variants in multi-case families with non-syndromic cleft lip and/or palate phenotypes. Sci Rep. 2016;6:30457.Ren Y, Steegman R, Dieters A, Jansma J, Stamatakis H. Bone-anchored maxillary protraction in patients with unilateral complete cleft lip and palate and Class III malocclusion. Clin Oral Investig. 2019;23(5):2429-2441.Alberconi TF, Siqueira GLC, Sathler R, Kelly KA, Garib DG. Assessment of Orthodontic Burden of Care in Patients With Unilateral Complete Cleft Lip and Palate. Cleft Palate Craniofac J. 2018;55(1):74-78.Eriguchi M, Watanabe A, Suga K, Nakano Y, Sakamoto T, Sueishi K, Uchiyama T. Growth of Palate in Unilateral Cleft Lip and Palate Patients Undergoing Two-stage Palatoplasty and Orthodontic Treatment. Bull Tokyo Dent Coll. 2018;59(3):183-91.Smane L, Pilmane M. Evaluation of the presence of MMP-2, TIMP-2, BMP2/4, and TGFβ3 in the facial tissue of children with cleft lip and palate. Acta Med Litu. 2018;25(2):86-94. AlHayyan WA, Pani SC, AlJohar AJ, AlQatami FM. The Effects of Presurgical Nasoalveolar Molding on the Midface Symmetry of Children with Unilateral Cleft Lip and Palate: A Long-term Follow-up Study. Plast Reconstr Surg Glob Open. 2018;6(7):e1764. Thakur S, Singh A, Thakur NS, Diwana VK. Achievement in Nasal Symmetry after Cheiloplasty in Unilateral Cleft Lip and Palate Infants Treated with Presurgical Nasoalveolar Molding. Contemp Clin Dent. 2018;9(3):357-60. Turri de Castro Ribeiro T, Petri Feitosa MC, Almeida Penhavel R, Zanda RS, Janson G, Mazzottini R, Garib DG. Extreme maxillomandibular discrepancy in unilateral cleft lip and palate: Longitudinal follow-up in a patient with mandibular prognathism. Am J Orthod Dentofacial Orthop. 2018;154(2):294-304. Perillo L, Vitale M, d'Apuzzo F, Isola G, Nucera R, Matarese G. Interdisciplinary approach for a patient with unilateral cleft lip and palate. Am J Orthod Dentofacial Orthop. 2018;153(6):883-94. Hoffmannova E, Moslerová V, Dupej J, Borský J, Bejdová Š, Velemínská J. Three-dimensional development of the upper dental arch in unilateral cleft lip and palate patients after early neonatal cheiloplasty. Int J Pediatr Otorhinolaryngol. 2018;109:1-6. Tan ELY, Kuek MC, Wong HC, Ong SAK, Yow M. Secondary Dentition Characteristics in Children With Nonsyndromic Unilateral Cleft Lip and Palate: A Retrospective Study. Cleft Palate Craniofac J. 2018;55(4):582-89. Rodrigues R, Fernandes MH, Monteiro AB, Furfuro R, Sequeira T, Silva CC, Manso MC. SPINA classification of cleft lip and palate: A suggestion for a complement. Arch Pediatr. 2018;25(7):439-41. Ortiz-Posadas MR, Vega-Alvarado L, Maya-Behar J. A new approach to classify cleft lip and palate. Cleft Palate Craniofac J. 2001;38(6):545-50.Spina V, Psillakis JM, Lapa FS, Ferreira MC. Classificação das fissuras lábio-palatinas. Sugestão de modificação [Classification of cleft lip and cleft palate. Suggested changes]. Rev Hosp Clin Fac Med Sao Paulo. 1972;27(1):5-6. Allori AC, Mulliken JB, Meara JG, Shusterman S, Marcus JR. Classification of Cleft Lip/Palate: Then and Now. Cleft Palate Craniofac J. 2017;54(2):175-88. Spina V. A proposed modification for the classification of cleft lip and cleft palate. Cleft Palate J. 1973;10:251-2. Yun-Chia Ku M, Lo LJ, Chen MC, Wen-Ching Ko E. Predicting need for orthognathic surgery in early permanent dentition patients with unilateral cleft lip and palate using receiver operating characteristic analysis. Am J Orthod Dentofacial Orthop. 2018;153(3):405-14. Garib D, Yatabe M, de Souza Faco RA, Gregório L, Cevidanes L, de Clerck H. Bone-anchored maxillary protraction in a patient with complete cleft lip and palate: A case report. Am J Orthod Dentofacial Orthop. 2018;153(2):290-97. De Stefani A, Bruno G, Balasso P, Mazzoleni S, Baciliero U, Gracco A. Teeth agenesis evaluation in an Italian sample of complete unilateral and bilateral cleft lip and palate patients. Minerva Stomatol. 2018;67(4):156-64. Chang SY, Lonic D, Pai BC, Lo LJ. Primary Repair in Patients With Unilateral Complete Cleft of Lip and Primary Palate: Assessment of Outcomes. Ann Plast Surg. 2018;80(2S Suppl 1):S2-6.Vura N, Gaddipati R, Palla Y, Kumar P. An Intraoral Appliance to Retract the Protrusive Premaxilla in Bilateral Cleft Lip Patients Presenting Late for Primary Lip Repair. Cleft Palate Craniofac J. 2018;55(4):622-25.Massie JP, Bruckman K, Rifkin WJ, Runyan CM, Shetye PR, Grayson B, Flores RL. The Effect of Nasoalveolar Molding on Nasal Airway Anatomy: A 9-Year Follow-up of Patients With Unilateral Cleft Lip and Palate. Cleft Palate Craniofac J. 2018;55(4):596-601. Jabbari F, Wiklander L, Reiser E, Thor A, Hakelius M, Nowinski D. Secondary Alveolar Bone Grafting in Patients Born With Unilateral Cleft Lip and Palate: A 20-Year Follow-up. Cleft Palate Craniofac J. 2018;55(2):173-79.Jones CM, Roth B, Mercado AM, Russell KA, Daskalogiannakis J, Samson TD, Hathaway RR, Smith A, Mackay DR, Long RE Jr. The Americleft Project: Comparison of Ratings Using Two-Dimensional Versus Three-Dimensional Images for Evaluation of Nasolabial Appearance in Patients With Unilateral Cleft Lip and Palate. J Craniofac Surg. 2018;29(1):105-8. Gatti GL, Freda N, Giacomina A, Montemagni M, Sisti A. Cleft Lip and Palate Repair. J Craniofac Surg. 2017;28(8):1918-24.

碩士
國立臺灣大學
中國文學研究所
101
The revolution and evolution of literary forms is of paramount importance to the study of the Gu-wen (Ancient Prose) Movement during Dynasty Tang. One of the ways to observe such changes and following impact, is to analyses the literary works, and the compilation of literary collections by gu-wen writers, to compare the similarities and differences of the view on literary forms of gu-wen during Middle and Late Tang Dynasty. Tang literature uses literary form to determine a work’s placement in literary collections. Intact literary collections from the period are already rare indeed, however collections which are strongly affiliated with the Gu-wen Movement make up the majority of the surviving collections. The major ones being Dugu Ji’s Collected Works of Pi-ling, Han Yu’s Collected Works of Master Chang-li, and Du Mu’s Collected Works of Fan-chuan. Of these three, the one that has been given the most attention for its association with the Ancient Prose Movement is doubtless Han Yu, a principle proponent and progenitor of the movement. Those collections connected with the Gu-wen Movement are most important when examining the changing concept of literary form via the changing principles of collection arrangement. Due to Han Yu’s diligent attempts to break the mold of literary form, he is of signal importance. Dugu Ji was a pioneer in literature looking to Han Yu for inspiration. Though Du Mu was not Han Yu’s disciple, he promoted Han Yu and Liu Zongyuan’s works, and became one of the remarkable Gu-wen writers in the Late Tang period. Both of them respectively belong to the period before and after Han Yu, their representative value is undoubted. The collection assembled by Li Han the Collected Works of Master Chang-li is of central importance; after this comes Liang Shu’s Collected Works of Pi-ling and finally Pei Yanhan’s Collected Works of Fan-chuan. The view of these three authors and these three editors toward literary form, both in points differing and resembling, can serve be used to observe the former, middle, and later periods of literary collections. This thesis places greatest emphasis on the views of the three original authors and then uses the viewpoints of the collection editors for reference in order to better explain the process of change that occurred in the Gu-wen Movement- as well as examine Han Yu’s contribution to and influence on the Gu-wen Movement. Dugu Ji’s literary works most often adhere to the rules of literary genre. His epitaphs such as ‘Epitaph of the Junior Chamberlain of the Grand Court of Revision and Censor of Tang, Master Du gu from Henan’ adhere to the rules for the genre, individually and in the established order listing the subject’s name, family, and life events. His gift prefaces, for instance, the ‘Preface presented to Li Bai departing for Cao-nan’ are filled with a passionate style but are still in keeping with the demands of genre laid down in previous generations; it has no major deviations from established form. His prefaces for literary collections such as the ‘Preface of Collected Works of the Deputy Rectifier of Tang, Huangfu Ran’ emphasizes the principles of the Gu-wen Prose Movement and did not deviate from literary tradition. Liang Shu was Dugu Ji’s student who compiled the Collected Works of Pi-ling after his death. The arrangement of literary forms in this collection is clear and organized; the order of the collection is rational and shows the influence of Zhao Ming Selected Works, placing rhapsodies and poetry first followed by essays. Every section is divided into first public then private works and first those works regarding the temporal world followed by those works about death. The section for every literary form is chronologically ordered. Several sections are additionally ordered by the elegance or vulgarity of the content, as well as the principles of base position or high position, close or distant relationships, etc. The sections thus tend to be ordered internally by content and then by year. At the same time Liang Shu also considered the author during the editing process. Liang made certain modifications to the ordering that adhere to Dugu Ji’s ideal principles on gu-wen writing. Han Yu was not constrained by traditional standards of writings. He managed to grasp the essence of the changes and development of literature, so as to the basis of his innovative reform movement. Han Yu’s ‘za-zhu’ (雜著), such as ‘The Five Discourses’ (五原), ‘Miscellaneous Talk’ (雜說), ‘Epilogue of the Bibliography of the vice censor-in-chief, Zhang Xun’ (張中丞傳後敘), and ‘Account of a Painting’ (畫記) are examples of his genre-breaking works. He has been accused of “making literature a game”, “filling his works with fluff and not substance”- but this only highlights the history-making nature of his ideal literary standard. His deconstruction of form to create literature can be seen as a sort of literary game, as an experiment in breaking old forms in traditions. This way of writing certainly attacked the traditional Tang understanding of literary form and its purpose- and Li Han’s understanding of literature reflects this. Li Han was the son-in-law of Han Yu’s eldest daughter. He compiled a collection for the Han Yu works, while his way of going about it was appropriately unique. Although Li Han also followed the accepted pattern of rhapsody, poetry, and composition, it’s also obvious from his organization that his concept of literary form was already quite different from Liang Shu’s. He put all the unique ancient prose, ‘za-zhu’ written by Han Yu and placed it after rhapsodies and poetry at the head of the composition section. This sort of organization in a literary collection was unheard of and far-reaching in its consequences. His wild and unclear organization of sections and the material organized into each section was the subject of much debate by scholars for years after. Many believed that though he was Han Yu’s student he did not understand the true nature of Han Yu’s gu-wen and this was the cause of such reckless organization. This is reflective of the change in thinking that Han Yu’s Gu-wen Movement caused in literary forms. Li Han’s view of literary forms had already loosened and caused began to cause him difficulty in determining into which category each work should be sorted. As scion of a noble house, Du Mu was a Confucian master, skilled in the military theories, an accomplished poet. He set out to be the glory of his house and the reformer of his nation. His admiration for Han Yu and Liu Zongyuan’s literary style influenced his literary style. His work with ancient prose literary forms spanned numerous genres, many of which were similar to the ones that Han Yu had worked in, for instances, ‘Record of a General in Yen’ (燕將錄), ‘Bibliography of Lady Dou’ (竇烈女傳), and ‘Preface of Sun Tzu with Annotations’ (注孫子序 ). Many of his works like ‘Discourse on the Imperial Guards’(原十六衛) and ‘Argument on Face Reading’ (論相) can be seen as literary form breaking, but his focus was not on deconstructing the forms and neither was it on literature as a game. But compared with Dugu Ji, who was previous to Han Yu, his concept of literary form is already greatly loosened. Pei Yanhan was Du Mu’s nephew and was asked by Du Mu to compile his literary works. The result of Pei’s labor was the Collected Works of Fan-chuan. Compared with Li Han, Pei’s ordering is quite tidy. The traditional system of rhapsodies and poetry followed by composition is followed in Du Mu’s collection. The editor tends to follow accepted practice as well using the social status and kin relationships of the recipients of each work to determine its placement in the collection- and of course finally putting this system into chronological order. The Collected Works by Fan-chuan also has another important point. Du Mu once burned his manuscripts which he considered extraneous, which implies his remaining works are much more representative of his literary views than they would otherwise be. However, Du Mu’s editor placed all those works which defied classification at the head of the collection- a move similar to Li Han’s, and this also shows that Pei Yan-han was well aware of both the classic concept and gu-wen concept of literary form and knew how to strike a balance between them in the ordering of Du Mu’s literary collection. By comparing and contrasting these three collections- their editors and authors- we can understand the values of the ancient prose movement and its aesthetic system more clearly. This comparison furthermore provides an invaluable chance to see the true extent of Han Yu’s influence on the Tang dynasty concept of literary forms.