• Other research productsclose
• Open Access close
• Chinese close

孟荀之“心”的研究目前在学界似乎不足亦不受瞩目。然孟荀二者为先秦儒家的重要思想家，对其后中国思想的发展具有深刻的影响，故此课题有其深究的必要。但现今的中国思想和哲学研究一般沿用传统的训诂考据和义理分析，又或采取西方的理论与方法加以诠释。鉴此，本文冀以另一种研究视角，即“概念譬喻”来重新审视孟荀之“心”。本人整理后的资料显示孟荀之“心”皆包含“心是实体”、“心是容器”以及“心是生命体”的概念譬喻，唯孟子之“心”同时包含一个独有的“心是泥土”概念譬喻。分析后，本人发现孟荀二人在相同的概念譬喻框架下其实有不同的侧重点，而且各概念譬喻在二人思想体系中占据的重要性也有差异。这些概念譬喻所引申出的论点为现今对孟荀之“心”的固有认识提供了反思的空间，以致我们可以进一步诘问：孟子之“心”真的是“道德主体心”而荀子之“心”又仅是“认知心”而已吗？本文希望这个研究方向以及所得出的观察，可以提供另一种视角与解释，重新检视现今学术界对孟荀之“心”的研究，并促进孟荀研究的回流与再发现。The study of “xin” (mind) in Mencius and XunZhi has not been sufficient or given much attention in the current academic field. However, this topic has its significance as the two Confucianists were representatives of Confucianism in the Pre-Qin times. The current Chinese thoughts and philosophy studies have been using traditional method of textual research and argumentation analysis, coupled with Western Philosophical methodology. This paper hoped to re-examine Mencius and Xunzhi’s “xin” from a different perspective and method---conceptual metaphor. Results showed that both Mencius and Xunzhi’s heart incorporated “xin is entity”, “xin is container” and “xin is living entity”, although Mencius had a unique “xin is soil” conceptual metaphor. Analysis of the conceptual metaphors reveal that Mencius and Xunzhi had different emphasis though they shared same conceptual metaphors and the different metaphors have varied importance in their ideological system. These points provided opp.ortunities to reflect and reassess the current understanding of Mencius and Xunzhi’s “xin”. Is Mencius’s “xin” a “moral subject” while Xunzhi’s “xin” a “cognitive mind”? This paper hoped that the research method deployed and observations made could result in the re-assessing of Mencius and Xunzhi’s “xin” and possibly the reflux of the study on their entire ideological systems. Bachelor of Arts

“And The Rain My Drink”（《餐风饮露》）是汉素音在马来亚期间创作的首部长篇小说。小说以马来亚紧急状态为故事背景。由于小说里含有对英殖民政府的批判，时任第三任最高专员邓普勒将军（Sir Gerald Templer）疑似其作品是反英殖民政府的一种表现，曾企图禁止它发行，不过最后未成功。小说后来于1956年7月出版，在伦敦、美国以及马来亚同步发行。在1958年，新加坡作家李星可翻译原著，中译本《餐风饮露》就此诞生。 本文将探讨汉素音“And The Rain My Drink”（《餐风饮露》）再现的马来亚紧急状态。首先，通过对照小说与梁康柏（Leon Comber）《马来亚秘密警察1945-60》的论述，探讨两个文本再现的马来亚紧急状态的不同之处。其次，把焦点放在小说的“复调”上，聚焦在三组既独立又不相融合的声音，包括执政者英殖民政府、反执政者马共丛林游击队（马来亚民族解放军），以及马来亚的人民。最后则是论述小说章回名称与但丁《神曲·地狱篇》的互文性。透过对三个主题——再现、复调与互文性的分析，本文希望能更全面、透彻地探讨《餐风饮露》再现的马来亚紧急状态。 “And The Rain My Drink” is the first novel written by Han Suyin during her stay in Malaya. The story provides an illustration of the Malayan Emergency. As this novel portrays the British colonial government in a bad light, Sir Gerald Templer, the British High Commissioner in Malaya, perceived Han’s novel as a manifestation of the anti-British colonial government and had once refrained the publishing of the novel, but to no avail. The novel was later published in London, United States of America, and Malaya in July 1956. In 1958, a writer in Singapore, Li Xing Ke translated Han’s novel into Chinese. The purpose of this thesis is to examine and explain how Malayan Emergency was illustrated in “And The Rain My Drink”, through the use of various approaches. First, we would have a full understanding of the representation of the Malayan Emergency through the comparison of Leon Comber “Malaya's Secret Police 1945-60: The Role of the Special Branch in the Malayan Emergency” against Han’s novel. Next, we will uncover the polyphony of the novel. The characters could be divided into three main groups, which consists of the British colonial government (governor), the jungle guerrillas representing the Communist Party of Malaya (anti-governor), and the vast population of Malaya. Lastly, we will be examining the intertextuality between “And The Rain My Drink” and Dante Alighieri “Inferno” in “Divine Comedy”. All in all, this thesis aims to provide a more comprehensive and detailed analysis of the Malayan Emergency in Han Suyin “And The Rain My Drink” through the approaches above. Bachelor of Arts in Chinese

本文希望探讨海峡两岸是否能如整合理论所述的“扩散性”效果，即从争议性较少的事务展开交流互动，然后再深入到解决复杂敏感的议题，以达成海峡两岸的整合。整合能带给参与国经济利益，并带动经济全球化和区域一体化。近期随着海峡两岸的互动愈来愈频密，经济合作的加强，促使学术界出现中国与台湾将达成整合的推断。整合的成功例子 – 从约束性较强的欧洲经济共同体的失败到欧洲联盟的实现更是让学者认为整合理论所假定的整合过程是正确的。本文发现，两岸的经济贸易量至今是持续增长的、两岸经济对彼此的依赖以及两岸人民的互动交流也增强了。但是，过了将近二十年后，两岸即使在经济互动上有频密往来，两岸仍未展露任何整合的迹象。这也表示了整合理论虽可以解释欧盟的成功，但不一定适用于任何国家，即台湾与中国两地。整合理论因此忽略了除了经济的依赖，领导人达成整合的意愿也是一个非常重要的因素。本文也发现两岸关系的好坏仰赖于领导人所采取的两岸政策。近期两岸达成整合说法的出现是因为领导人将“经济摆在前方，政治放一边”所造成的。因此，整合理论的不足是缺乏将参与国的国家领袖的政治意愿也考虑在内。The aim of this paper is to discuss the possibility of integrating Taiwan and China according to the spill-over effect as described in the Integration Theory. The Integration Theory states that the countries involved should begin from less controversial issues and move on gradually to larger though more sensitive issues. The economic benefits that integration offers are reasons for globalization and regionalization. The strengthening of economic cooperation and interaction between the two regions has led to the prediction of Taiwan-China integration. The successful example of integration – from the failure of the European Economic Community to the establishment of the European Union has convinced scholars that the integration process put out by the Integration Theory has been correct. This paper has ascertained the consistent trade growth between the two regions; the economic interdependence and social interactions across the Strait have also become stronger. Yet, after near twenty years of close economic interactions between Taiwan and China, there has not been a sign of integration. This also indicates that though the Integration Theory is adequate in reasoning the successful establishment of the European Union, it may not be sufficient for the case of other countries, at least in the case of Taiwan and China. Hence, the Integration Theory has overlooked the importance of the political leaders’ inclination towards integrating. This paper has also found out that cross-strait ties are very much dependent on political leaders’ views on their respective cross-strait policies. Taiwan’s cross-strait policy of “economics before politics” is the main cause for the recent discussion of a possible integration between Taiwan and China. To conclude, the emphasis that the Integration Theory has placed on economic cooperation has in turn, failed to take into consideration the political aspiration of the respecti ve leaders. Bachelor of Arts

光华戏院于上世纪20年代已出现，亦为新加坡日战前最早的有声戏院之一，同时也属早期首轮华语片的戏院。该戏院曾放映轰动一时的经典电影，如《误佳期》、《一江春水向东流》等都成为光华戏院的主要招牌，从而打响光华的名声。新加坡戏院历史悠久，早期的戏院更是不胜枚举，各家戏院都具有各自独特的特色，无论是在历史、电影、建筑、文化上等等，都有目共睹。然而，现今社会今非昔比，许多旧时戏院已默默地走进了历史，小坡大马路之光华戏院乃其中之一。本文首先将列出研究意义及方法，如王鹏翔先生所提供的第一手资料、《南洋商报》电影广告等，之后将会列出新加坡光华戏院的历史发展，并分为三大时期，即日战前、日佔时与日战后。第二章主要分析光华戏院战前至战后的院线，探讨光华与各家戏院的合作关系以及合作时期所放映的电影。第三章则是光华与两大影业机构邵氏戏院与国泰戏院之间的院线，探讨光华戏院与两院之间的关系。最后，将会对此课题作出总结和提出未来的研究方向。In the history of Singapore cinemas, Jubilee Theatre or Kwang Hwa Theatre was located at North Bridge Road was one of the first sound cinemas running first run films in Singapore dated back in the 20th century. Jubilee Theatre successfully made its name by screening some of the popular films example wujiaqi, yijiangchunshuixiangdongliu,. Back in the 1930s, during the booming industry of cinemas, each cinema possessed their own unique characteristics based on their history, movies, architecture, culture which were gradually being recognized by the masses. However, as society advanced, cinemas could not keep up with the fast rising pace, which eventually led to the demise of many cinema buildings including the Jubilee Theatre. This article will begin by stating the significance of this research and the main resources used to aid in this research, for example, the first hand articles written and provided by Mr. Wang Tai Peng as well as movie advertisements, newspaper articles from Nanyang Siang Pau. Thereafter, the article will provide a detailed outline of the history and development of Jubilee Theatre. 2nd chapter will then focus on the network of Jubilee Theatre from pre-war to post-war by defining the key concept of ‘theatre chain’ with reference to the movies screened during the collaboration. Besides forming networks with various cinemas, Jubilee Theatre’s most prominent collaboration would be with the Shaw Brothers and Cathay Organisation, hence the relationship between the three cinemas will also be analyzed in the 3rd chapter. The article will then end off with a conclusion and also to propose a status for future research of this topic. Bachelor of Arts

Recount and Letters of thanks from Chen Tai-ning and others who drifted ashore Yaeyama Island from Fu Jian Province (China) in 1785. The document was dated 18 January 1786. It was written that Chen Tai-ning and others sailed into strong winds on 3 December 1784 and drifted ashore Yaeyama on the 15th. Also, there were records of his intentions to return to Fu Jian Province with Chen Jie who also drifted ashore around the same time. Related to sources no. 138 and 140 in the Miyara-Dounchi Library. 乾隆50（1785）年に八重山島に漂着した福建省福州府の陳泰寧らの漂流の経緯と謝礼状。文書は乾隆51（1786）年正月18日付。陳泰寧らは乾隆49（1784）年12月3日に大風に遭遇し、同15日に八重山に漂流したとある。また、同時期に漂着した福建省泉州の陳戒とともに、帰国する予定であることも記載される。宮良殿内文庫138号、140号文書は関連史料である。 1件。1丁。乾隆51（1786）年正月27日。 沖縄関係コレクション

迟子建近年来备受瞩目，获了中国多项文学类奖项她对家乡的情感影响了她的作品，因此作品中展现出了对于自然、女性甚至动植物的保护意识。本文将以作者本身对地方的认知和认同感为基础，进一步了解这种保护意识的产生。并运用生态女性主义理论分析作品中保护意识的展现和意义。 Chi Zijian has attracted a lot of attention in recent years. Her affection for her hometown has influenced her literature work, the work shows her environmental protection consciousness and female consciousness. Based on author’s understanding and cultural identity recognition of her hometown, the paper will discuss the formation of her environmental protection consciousness and being feminine. the theory of ecofeminism will be used to analyze the presence and significance of these protection consciousness in her literature work. Bachelor of Arts in Chinese

“和陶诗”，指和答东晋诗人陶渊明诗作的诗。陶渊明“性本爱丘山”的志趣与“终身与世辞”的选择，使之被称为“古今隐逸诗人之宗”，成为后世失意士人所普遍追和的对象。首位追和陶渊明诗歌者，可追溯至北宋著名文人苏轼。其“和陶诗”也掀起了后人的和陶风气，其中包括元初著名诗人刘因。纵观苏轼与刘因的“和陶诗”，可窥见苏轼的“静而不隐”与刘因的“隐而不静”。苏轼虽不曾辞官归隐，却于“和陶诗”表露其安时处顺之态，故谓之“静而不隐”。反观刘因，虽曾两度推辞征召，却于“和陶诗”展露其欲有所为之志，故谓之“隐而不静”。两人由和陶表达了复杂的仕隐情结，其中“静”与“隐”与陶渊明原诗切合，而“不隐”与“不静”则与原诗相异。这种“既同于渊明，又异于渊明”的创作心理，是由和诗“先阅读，后创作”的特质所引起的和诗诗人对原诗的接受与超越所致。本研究将从“和陶诗”对诗人生活与思想两方面的体现，比较苏轼与刘因的仕隐情结。在此基础上，拟以姚斯接受美学的期待视界概念分析诗人追和陶诗的创作心理，从和诗的特质观察苏轼“静而不隐”与刘因“隐而不静”的现象，以期为“和陶诗”研究提供另一思路。A plentiful number of poets have composed abundant responsorial poems to Tao Yuan Ming, who is recognised for his seclusion image. Su Shi from the Song dynasty was the first known poet to have initiated the creation of responsorial poems to Tao Yuan Ming. His practice also triggered the trend for such poems to be greatly produced over the years, and Liu Yin from the Yuan dynasty was one of the many influenced. Having a deep look into their responsorial poems, Su Shi displayed tranquil despite not entering seclusion, while Liu Yin exhibited his careerism despite entering seclusion. Su Shis’ tranquil and Liu Yins’ seclusion correspond to Tao Yuan Ming’s original poems; while Su Shis’ non-seclusion and Liu Yins’ careerism differ from Tao Yuan Ming’s original poems. These contradictions actually portray the characteristic of responsorial poetry, which is the involvement of the process of reading before creating, resulting in poets accepting, as well as going beyond the original poems. This paper aims at providing a comprehensive study of Su Shi and Liu Yins’ responsorial poems to Tao Yuan Ming, in terms of how the poems illustrate both the livelihood and the mentality of the poets. Upon which, the Horizons of Expectations concept from the Aesthetics of Reception theory by Jauss will be employed to explore the underlying factors contributing to the poets’ complexity in mind while creating the responsorial poems, with the intention of providing a new methodology in the research of responsorial poetry to Tao Yuan Ming. Bachelor of Arts

西方文化研究的兴起，形成了文化学派的翻译理论。这推翻了传统概念中以 语言形式转换为主的翻译行为，使其转而成为一种对原文的操纵和重写。长期以 来，女性和翻译拥有着对等的关系，曾共同拥有卑微的社会地位。翻译的文化转 向，促使了学术界对女性的文化身分和处境的反思，从而提出了女性主义翻译理 论，为长期受压迫的女性群体发声，通过文字力求男女平等的实现。 拥有“作家”和“译者”双重身份的张爱玲，主张性别平等，拥有强烈的女 性意识。这一主体性的思想，通过女性的书写主张，贯穿于所有的创作及译本，充 分体现了张爱玲作为女性主义作者和译者的主体性。 张爱玲是第一位对海明威著作“The Old Man and the Sea”进行中文翻译的 译者。于 1952 年年底出版的《老人与海》译本，使她踏上了漫长的译者生涯。本 篇论文将从性别与翻译的角度切入，深入探讨张爱玲在《老人与海》中使用的女性 主义翻译策略，研究其中的女性意识再现，再寻求这位女性作家与译者，如何在文 学创作和译本中找到一把清亮的声音，改变女性隐而不见的状态。 Cultural turn inspired scholars to make culture the basis of contemporary debates in the field of humanities and social sciences. It has since introduced a trans-disciplinary platform for theoretical and empirical inquiry over the subject of feminism. Translation of feminist texts, with a view to promote feminist perspectives, is a cultural intervention. The use of interventionist approaches in feminist translation encouraged translators to focus on issues beyond linguistics. These translation techniques inspired translators to actively engage in the manipulation and rewriting of the source text, establishing the subjectivity of a translator while advocating women's rights on the ground of the gender equality. Eileen Chang is undoubtedly one of the greatest Chinese writers of the 20th century. Her popularity in literary works is thought to have overridden her versatility as a translator. She is a feminist who advocates strongly for gender equality in her literary writings and translation. Chang made her translation debut in 1952 where she translated Ernest Hemingway's "The Old Man and the Sea" into Chinese. In this thesis, deeply explore the feminist translation strategies used by Chang in the translated text of "The Old Man and the Sea" through the subject of gender and translation, along with the interventionist approaches of feminist translation. Bachelor of Arts in Chinese

中文摘要. In: Études chinoises, vol. 34, n°2,2015. La Vertu administrative à l’oeuvre : hommage à Pierre-Étienne Will I. pp. 325-327.