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1980年代，新加坡政府宣布将于自1960年推行的双语教育政策中，将重心转向英语。尔后，全国学校实行统一语文源流，指定第一语文为英文，第二语文为母语。在教育制度改革和家长倾向将孩子送进英文源流学校的转变下，华文源流学校陆续关闭，对于华文源流教师的需求锐减而产生过剩。部分华文源流教师因此需参加英语训练课程，并被重新调派至英文源流学校以英语教学，成为“变流教师”。 曾任职“变流教师”的张挥，以1980年代教育制度改革为历史背景，创作出多部作品。其中多篇涉及“华文教育问题”，包括“变流教师”因制度改革而面临的挑战、华文文化式微等。本文通过剖析小说中的象征意象，及其所反映出的教育问题，借此探讨新加坡华文教育的文化危机。本文后半部则通过对照与解析：（一）张挥多篇小说中的‘教师’、‘学生’、‘学校’与‘家长’等各方关系；（二）张挥在与笔者的电邮采访中对于“变流教师”处境的亲身论述和（三）1980，90年代中英文报刊论述，以窥探当时“变流教师”的困境。旨在借由文学作品中的呈现、当事者的真实论述以及报刊论述之间的矛盾与交锋，建构出1980，90年代新加坡“变流教师”和华文教育的文化危机更完整的历史面貌。 The bilingual education policy has been implemented in Singapore by the PAP government since the 1960s. In the 1980s, it was announced that the emphasis will be shifted towards the English Language, alongside the introduction of the New Education System. Concurrently, as parents became more inclined to send their child to English-stream schools, Chinese-stream schools experienced a rapid and sharp decline, contributing to a reduced demand for and hence surplus of Chinese Language teachers. Some Chinese Language teachers from these Chinese-stream schools underwent English Language retraining courses and were redeployed to English-stream schools to teach using the English medium. Such teachers are known as ‘converted teachers’. Cheong Hui was once a ‘converted teacher’ himself, and has written many works, mainly on the historical background of the education system reforms of Singapore in the 1980s. Many of his works involved ‘educational issues’, such as that of difficulties faced by ‘converted teachers’ in adapting to the education system reforms, and that of the declining societal status and standards of the Chinese Language locally. This essay will begin by dissecting the symbols and imagery used in Cheong’s fictions, and the educational issues that they reflect, in a bid to discuss the cultural crisis faced by local Chinese education. The essay goes on to compare and analyse the different perspectives of the teacher, student, school, and parents, as portrayed in Cheong’s fictions; an actual recount of the ‘converted teacher’ experience through an email interview with Cheong himself; and the discourse of newspaper articles in the 1980s and 90s, hence probing into the difficulties faced by ‘converted teachers’ then. Through the comparison of the various perspectives, the essay attempts to present a more well-rounded perspective of the experiences of ‘converted teachers’ and Singapore’s Chinese education and cultural crisis. Bachelor of Arts in Chinese

电视剧《三生三世十里桃花》于2017年播出。该剧是根据唐七于2009年连载的同名原著改编而成的。原著在连载期间已收获不少粉丝，而电视剧的播出承载了原著的粉丝量，收视率名列前茅。因此，电视剧《三生三世十里桃花》可谓是众多仙侠剧中即热门又成功的一部作品。 本文将以电视剧《三生三世十里桃花》为研究对象，并结合剧中人物、剧情、场景、道具和配乐，旨在研究桃花在剧中作为整体意象和公共意象的表现以及其中所具有的爱情、避难、佳人等的多重含义。另外，本文也将总结电视剧《三生三世十里桃花》中出现的桃花意象在剧中发挥的视觉与听觉作用。 关键词：《三生三世十里桃花》；桃花意象 Chinese Drama Eternal Love was first broadcasted in 2017. This drama was originally adapted from the novel Three Lives, Three Worlds, Ten Miles of Peach Blossoms serialised by the author Tang Qi in 2009. The novel had garnered numerous fans during the serialisation period. As a result, these fans continued to support Eternal Love and this laid the foundation for the high ratings of the drama. Therefore, Eternal Love is deemed as one of the most popular and successful Xianxia drama. The primary focus of this thesis will be set on Eternal Love, analysing from the perspectives of the characters, plots, backdrops, props and soundtracks of the drama. Through these different aspects, this thesis aims to research on the manifestations and love, refuge and women’s beauty related multi-faceted significances of peach blossoms acting as ‘overall’ imagery and ‘well-known’ imagery in the drama. Additionally, this thesis will also conclude on the visual and auditory purposes of the peach blossoms imagery used in Eternal Love. Keywords: Eternal Love, Three Lives ,Three Worlds, Ten Miles of Peach Blossoms, peach blossoms imagery Bachelor of Arts in Chinese

本文透过「巫术」信仰，探讨吉兰丹土生华人在马来西亚的发展、演变情况以及影响此宗教演变的人文因素。从「巫术」在三个疆界的跨越，找到属于吉兰丹土生华人所持有的地域特色。此外，以「巫术」的流传作为一种社会现象的观点，来看待其存在于土生华人社会中的特殊意义与符号，对此探讨土生华人的身份认同与马来巫之间的微妙关系，如何反映出华人的原始精神。Through the development history of Peranakan Chinese in Kelantan state, this article aims to figure out the factor affects the growth of Black magic’s religion among Kelantan Chinese Peranakan society. From the aspect of its localization, diversity and secularization, we could see the pattern it used in its’ transforming process. Religion reflects a culture. In our Chinese society, Chinese religions have represented the situation of the growing of a Chinese culture in Malaysia. The relationships among Chinese culture and Chinese community can be represented in their believing of a religion. This could be interpreted as a unique relationship between Chinese and Black magic’s religions belief. Bachelor of Arts

本文以香港电影的底层空间为研究对象，探讨90年代以来香港底层社会的居住问题和生活状况的变化。接着，以香港底层的主流和边缘居住空间为例，分析政府土地政策和资本权力如何影响和压迫市民的生活。此外，本文将通过电影的空间选择和人物表现，分析导演如何结合在地经验和想象，诠释与再现底层的生活空间，重新描绘底层人民作为社会主体的重要存在。 关键词：香港电影；居住空间；底层；边缘 This paper aims to investigate the residential issues and living status of the lower social class in Hong Kong since the 1990s based on the portrayal of their living space in Hong Kong movies. Subsequently, by instances of the lower class' mainstream and fringe living spaces, the impact of the Hong Kong government's land policies and the power of capitalism on the citizens are analyzed. Furthermore, through the portrayed living spaces and characters in Hong Kong movies, this paper evaluates how movie directors tend to combine their personal local experience and imaginations to interpret and present the lower class' living space; as well as how they depict the importance of the lower class to the overall Hong Kong society. Keywords: Hong Kong movies; Living space; Lower class Bachelor of Arts in Chinese

唐初是一个政治稳定，经济繁荣与文化蓬勃发展的时代，不仅链接汉朝也下启盛唐的文化高峰。唐太宗李世民作为唐朝的第二位皇帝，正是这背后的推动者。李世民能在短时间内使唐初繁荣，不仅成为后世许多帝王学习的典范,也是众多学者研究的对象。然而，人们在看待李世民的政绩时，往往把目光放在其政治与经济理念上，很多时候忽略了他的文化主张和贡献。唐朝文化是由众多因素组成，呈现丰富且多元的样貌。在李世民的治理之下，文化的繁荣可见于音乐、宗教、书法等方面,而本文所要研究的范围就是唐初的音乐特点。贞观年间所实行的“开放政策”，提供了一个让不同民族文化交汇的平台，从而丰富了中原的文化。在这样的时代背景之下，李世民对于儒学的重视也使其音乐政治观承袭了《乐记》中的儒家礼乐思想。虽然如此，李世民并没有全盘接受并夸大礼乐的社会功能，而是接受了嵇康“声无哀乐”的音乐理论。有鉴于此，李世民独特的音乐见解是有研究的价值的。本文将考察李世民的音乐政治思想的特点，并以儒家音乐思想集大成的著作《乐记》为对照，揭示李世民音乐思想对于儒家礼乐思想的继承与转化。The Tang Dynasty was a period of Political stability, economic dominance and cultural advancement. It can be said that Tang Taizong Li Shimin played a pivotal role in shaping the early the Tang Dynasty, and his far-reaching influence made him the role model of many future kings. In keeping with this, there already exists extensive study and coverage on Li Shimin’s life and reign. However, the emphasis of most research works were on his politico-economic contributions and his cultural contributions remain largely understated, in particular the area of his Music-politics thought, which played a significant role during his governance. Under the influence of Li Shimin, the cultural aspect of the Tang Dynasty diversified and became established. During this period, the “Open Door Policy” provided a platform for the interaction of different cultures, which contributed to the growth in cultural diversity. In addition, Li Shimin also placed much emphasis on Confucianism and used it as one of his ruling measures. To a certain extent, he had inherited Yueji, Confucian ritual and Music thought - which extensively covers the social influence and educational function of music to society – while at the same time, his Music-politics thought bears much resemblance to those of Ji Kang. This article hopes to explore in detail Li Shimin’s Music-politics thought, and by using Yueji as a comparison, analyses how his inheritance and transformation of Confucian Ritual and Music thought played an important role in shaping the Tang Culture. Bachelor of Arts

“凤凰”是承续丰富文化意蕴的象征符号，亦是徐冰与欧阳江河借以容纳其艺术想象的载体。两人分别以装置艺术与长诗的形式探索时代与人在当今中国的处境，并在象征、文本，社会三层语境中有明显的互渗与互文性。目前有关两个文本的研究，仍各别停滞在学科范围内的有限与封闭解读，难以洞察两者之间互为表里的特质与共通性。本文尝试填补此研究空隙，通过对两个文本的跨媒介互看，敞开对话空间。以凤凰符号的追蹑与当代中国脉搏衔接文本首尾，从意象到现象，微观到宏观的全景式论述。展示贯穿始终的对峙与对焦元素，辩证地梳理文本内外吊诡式的双重性特质。“Phoenix” is a symbolic sign embodying rich cultural sentiments, as well as a carrier that Xu Bing and Ouyang Jianghe harnessed to encompass their artistic imagination. The duo used installation art and long poetry respectively to explore the relationship between men and his era against the backdrop of modern China, sharing salient intertextuality at all three contextual levels: symbolic, textual and societal. Existing research on these two texts, however, restricts itself within the boundaries of disciplinary fields, resulting in limited and closed interpretation. The aim of this paper is to fill this research gap, by juxtaposing the two texts in cross-disciplinary perspective, I seek to open the dialogical space for conversation, and by stringing the texts with Phoenix symbol’s trajectory and pulses of contemporary China, from imaginary to phenomenon, micro to macro perspective, this paper seeks to present the permeating element of convergence and confrontation, and dialectically untangle the paradoxical duality within and beyond the texts. 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

马来亚共产党于1989年与马泰政府签订《合艾和平协议》后，结束多年来的战役。至今马共走进历史之久，但其作为反殖反帝抗战主力的事实，为大众留下的记忆依旧是被官方所规训的刻板印象，仍在马来西亚视为被禁止公开讨论的议题，相关电影也遭到禁播，只有部分与马共相关的文学书写相继出版，为后世提供马共历史的各个面向。马共影像如何以此尝试打破官方的一元叙事方式是本文关注的重点。本文以廖克发导演的纪录片《不即不离》及剧情片《菠罗蜜》为研究对象，把第一手口述采访与影像素材设为“影史互证”的方式，探讨马共影像是否以及如何打破官方叙事。在马共影像主观的情感色彩下，笔者发现导演一面通过“黑幕”、总体观论述等，再现马共反殖时期的人民记忆，一面企图通过画外音等电影镜头语言，把妖魔化的马共叙事转变为有褒有贬的人性面向。 The Malayan Communist Party (MCP) was dissolved in 1989 after the Peace Agreement of Hat Yai had been signed, ending the warfare that had been lasting for years. Despite being a force that had fought against colonialism and imperialism, the public still perceives MCP negatively after it had been dissolved due to the influence of official parties. MCP remains a taboo topic that is prohibited from public discussion in Malaysia and local movies that touch upon this sensitive topic were banned. Many MCP writings have been published in recent years, presenting various aspects of MCP history with different perspectives. This article focuses on how the MCP films attempt to break the official monistic narrative. This research paper revolves around the documentary film Absent Without Leave and the movie Boluomi, which are produced by Lau Kek Huat, where he sets the first-hand oral interview and video material as the method of "mutual verification of film history". He further explores whether and how the CPM image can break the official narrative. As the films portray the emotional aspects subjectively and use the language of the film lens such as the masks and offscreen, the director remapped the popular memory during the anti-colonial period of the MCP and transformed the demonized narrative of the MCP into a human nature way. Bachelor of Arts in Chinese