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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/

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    ZENODO
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: 李梅银 Li, Meiyin;

    古代中国的同性恋现象作为一种亚文化具有研究意义。《弁而钗》受晚明崇情思想影响,被认为是真正正面描写同性恋的小说集。本文以男性气概的性别概念分析当中同性恋的主/从关系和情欲表现,探讨同性恋如何借由协商双方的男性气概而建构、发展和消解。第一章将梳理中国同性恋传统与晚明的崇情思想,为分析《弁而钗》文本做相关社会背景和文化思想的介绍;第二章着手《弁而钗》的文本细读,阐述男性气概的协商原因和表现,及同性恋的社会处境;第三章推测《弁而钗》男性气概的协商的文化心理。The phenomenon of homosexuality in ancient China is of great significance as a subculture research topic. Being influenced by the thought of honoring qing in late Ming, Bian er chai is considered to be a collection of novels that truly describe homosexuality. This thesis uses the concept of masculinity to analyse the dominant/submissive relationship and erotic performance of homosexuals and explore how the negotiation of masculinities has enabled homosexuality to be constructed, developed and de-constructed. The first chapter will summarise the history of homosexual tradition in ancient China and introduce the thought of honoring qing in late Ming, this is to set the context of the thesis. The second chapter will analyse the text of Bian er chai and discuss the reasons and performance of negotiating masculinities, as well as to examine the social situation of homosexuality in ancient China. The third chapter will discuss the cultural psychology behind this observation. Bachelor of Arts in Chinese

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    Authors: 丁瑞恩 Teng, Rui En;

    《品花宝鉴》出版于清代道光年间,为清代常州人陈森所著,是一部以描写士伶关系为主,反映当时京城梨园生活的的长篇小说,属于中国早期狭邪小说之一。《品花宝鉴》敏感的题材与露骨的性描写,使其被清朝政府列为六大禁书之一。小说文学于明朝蓬勃发展,写作技巧逐渐成熟精炼,开放的思想也使向来隐秘的同性恋文学渐渐浮上台面,开始出现《弁而钗》、《龙阳逸史》等主要以男同性恋为题材的短篇小说。《品花宝鉴》延续传统同性恋文学的题材,减少了男男间性爱互动的描写,更多以超越欲望的精神境界去刻画男性之间的浪漫故事,将当时的戏园生活文化生动地描写在小说中。 本文将细读小说,通过文本对京城梨园生活与士伶形象的描写,以期了解作者对于当时京城梨园生活的思想感情。本文首先从历史角度了解戏园文化的起源,加以分析其与清朝社会之间的关系,并探讨梨园内的男风文化。接着结合文本,通过士伶二者形象的描写,分析其双面形象,即红相公与黑相公的书写意义,并探讨两者之间的关系。本文旨在通过全面分析《品花宝鉴》,以期更好地了解清代中晚期京城梨园生活与戏园文化之间的关系,并从士伶形象的书写,探讨《品花宝鉴》如何体现清朝中晚时期的戏园文化与梨园生活。 关键词:《品花宝鉴》 梨园私寓制 男色 士人 伶人 Pin Hua Bao Jian was published in the Daoguang Period of the Qing Dynasty and was written by Chen Sen, a native of Changzhou in the Qing Dynasty. It is a novel that mainly describes the relationship between scholars and actors and reflects the life in Liyuan, Beijing. It belongs to the early Chinese novels of Xia Xie. one. The sensitive subject matter and explicit sexual description of Pin Hua Bao Jian made it one of the six banned books by the Qing government. Fiction literature flourished in the Ming Dynasty, writing skills gradually matured and refined, and open minds also made the always secret homosexual literature gradually come to the fore, beginning to appear Bian Er Chai, Long Yang Yi Shi and other short stories mainly based on man homoerotic. Pin Hua Bao Jian continues the themes of traditional man homoerotic literature, reduces the description of male-male sexual interaction, and uses a spiritual realm that transcends desire to portray romantic stories between males, vividly depicting the life and culture of the theatre at that time in the novel. In this article, I will read the novel carefully and describe the life in Liyuan, Beijing and the image of scholars through the text, in order to understand the author's thoughts and feelings about the life in Liyuan, Beijing at that time. I will first understand the origin of the theatre culture from a historical perspective, analyses its relationship with the Qing Dynasty society, and discuss the male style culture in the pear garden. Then combined with the text, through the description of the two images of scholars, analyse the two-sided images of the actors, which are the writing meaning of the red and black actors, and explore the relationship between the two. This article aims to analyse the Pin Hua Bao Jian in order to better understand the relationship between the life of Liyuan, Beijing and the theatre culture in the middle and late Qing Dynasty. It reflects the theatre culture and Liyuan life in the middle and late Qing Dynasty. Keywords: Pin Hua Bao Jian; Liyuan System; Male Love; Scholars; Actors Bachelor of Arts in Chinese

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    Authors: 黄秀青 Ng, Siew Qing;

    明末清初的文人画家项圣谟(1597年-1658年),一生创作颇多,擅山水、花鸟、人物,尤以山水成就见长。顺治九年壬辰(1652年),项圣谟与谢彬共同完成了一幅《松涛散仙图》。在此之前,项圣谟曾于崇祯二年己巳(1629年)自绘一幅同名山水长卷《松涛散仙图咏卷》。这两幅画都是以其号“松涛散仙”命名的。目前美术史学界关于项圣谟的研究成果甚为丰硕,本文将尝试另辟途径,以文图学的视角重探《松涛散仙图》。本文将画作分为图像文本与文字文本两个部分进行分析,通过联系明清易代的历史背景和项圣谟的境遇,结合图像和文字共同探讨其中丰富的艺术旨趣。 首先,本文梳理了《松涛散仙图》的创作背景,从几幅作品了解项圣谟选择隐居的原因,以及他如何通过绘画来寄托心中理想的隐居方式。其次,着重于图象的解析,探讨了画面构图、项圣谟的形象塑造和松的寓意。最后,本文将分析画上题跋,揭示项圣谟的心境转变和作品“文”与“图”落差。 Xiang Shengmo, a literati painter in the late Ming and early Qing dynasties, created multiple works in his lifetime. In the ninth year of Shunzhi, renchen [壬辰] (1652), Xiang Shengmo and Xie Bin completed a painting named “An Untrammeled Immortal and Soughing Pines” (Song Tao San Xian Tu 松涛散仙图), which is now at Jilin Provincial Museum. Before that, he had once drawn a long landscape scroll with the same name in the second year of Chongzhen, jisi [己巳] (1629). These two paintings were named after his Hao [号] “Song Tao San Xian ” [松涛散仙]. The paper aims to study “An Untrammeled Immortal and Soughing Pines” with the methodology of Text and Image Studies. The artwork will be divided into two parts: image and text in order to be analysed. By contacting the historical background of the Ming and Qing dynasties as well as Xiang Shengmo’s situation during these periods, this research reveals Xiang Shengmo’s mind changes and the meaning of the artwork conveys. First of all, this paper begins with the creating background of “An Untrammeled Immortal and Soughing Pines” as well as exploring the hermits thought which revealed in his works and the way he painted to express his feeling. Secondly, the paper focuses on the analysis of images and discusses the metaphorical nature of “An Untrammeled Immortal and Soughing Pines”. Finally, this paper will analyze the inscriptions of the paintings to reveal the meaning behind the artwork. Bachelor of Arts in Chinese

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    Authors: 杨紫云 Yong, Che Yuan;

    晚清民初时期,基督教的传入促使中国知识界分子开始探索其与中国文化之间的关系或者,并且将焦点转向墨子的“兼爱”思想,以此开启“耶墨”对话。对于民初时期的“耶墨”对话已多有学者进行研究。因此,本文试图将视角放置当代的“耶墨”对话,透过分析和比较,进一步了解他们是如何阐释墨家与基督教的异同之处。本文借由张立夫《基督教伦理与墨子之兼爱伦理比较研究》与黄富巧《墨子与耶稣之爱的比较》的“耶墨”对话为本文的研究对象,透过他们的“耶墨”对话进而引申至对现今世界的贡献,即是基督教中国化的可能性、缓解中国文化与基督教之间的冲突,从而促进文化交流。 In the late Qing and early Republican period, the introduction of Christianity prompted Chinese intellectuals to explore the relationship between Christianity and Chinese culture. During the process, they had turned their focus to Mozi's idea of "impartial love", thus opening the dialogue between Mohism and Christianity. Many scholars have researched the dialogue between Mohism and Christianity that happened in the early Republican period. Therefore, this paper attempts to shift the focus to the dialogue between Mohism and Christianity during the contemporary period and seeks to further understand the approached that they have used to interpret the similarities and differences between Mohism and Christianity. In this paper, analysis and comparison will be made between Zhang Lifu's "A Comparative Study of Christian Ethics and Mozi's Ethics of Compassionate Love" and Huang Fuqiao's "A Comparative Study of Love of Mo Tzu and Jesus" and through the findings to further derive their contributions to the present world, which includes the possibility of the Sinicization of Christianity, the alleviation of the conflict between Chinese culture and Christianity, and the promotion of cultural exchanges. Bachelor's degree

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    Authors: Elexwilton;

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    Authors: 刘颖慧 Law, Ying Hui;

    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

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    Authors: 郭跃男, Guo, Yuenan;

    父权社会中的女性话语权、主体性以及可见度都因男性中心话语而受到一定的压制,媒介长久以来也加强着许多对女性的刻板印象,导致女性话语权,主体性和女性意识难以得到提高。以相声、小品为代表的中国传统喜剧,无论从发展背景还是内容来看,都以男性话语为中心,长久以来塑造着符合官方和父权话语下的女性形象;但随着政治、文娱、媒介科技的发展,单口喜剧脱口秀这一舶来品以网络为平台,为女性话语和媒介形象提供了新的发声和扩音的渠道。 本文将分析2017年至2022年播出的现象级单口喜剧脱口秀节目《脱口秀大会》系列中女性单口喜剧脱口秀演员的女性话语,探究单口喜剧脱口秀这一形式以及网络这一平台如何赋权着女性进行着富有主体性的表达,改变固有的媒介形象,提升其话语权和主体意识。 Female discourse, subjectivity and visibility in a patriarchal society are suppressed by the male-dominated discourse, and the media has long reinforced many stereotypes of women, making it difficult to empower female discourse, subjectivity and the development of feminism. Traditional forms Chinese comedy, represented by comic strips (xiao pin) and sketches (xiang sheng), has been produced by and for the gaze of male, both in terms of its historical development and the content. The image and portrayal of women are in line with the official and patriarchal discourse; however, with the development of the entertainment industry and media technology, the western imported Stand-Up Comedy, using the internet as a platform, has provided a new channel for empowering women's discourse and the construction of female image. This paper will analyze the female discourse of female stand-up comedians in the phenomenal stand-up comedy talk show series Rock&Roast, which aired from 2017 to 2022, and explore how the form of stand-up comedy and the platform of the internet empowered women to express themselves with subjectivity, changing the stereotypical portrayal if female on media. Bachelor of Arts in Chinese

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    Authors: 丁之祈 Teng, Zhi Qi;

    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

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    Authors: Jurassic World Dominion;

    侏羅紀世界:統霸天下 https://tiny.one/2p8c37x4 侏羅紀世界:統霸天下 https://tiny.one/2p8c37x4 Jurassic World Dominion

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    Authors: 李梅银 Li, Meiyin;

    古代中国的同性恋现象作为一种亚文化具有研究意义。《弁而钗》受晚明崇情思想影响,被认为是真正正面描写同性恋的小说集。本文以男性气概的性别概念分析当中同性恋的主/从关系和情欲表现,探讨同性恋如何借由协商双方的男性气概而建构、发展和消解。第一章将梳理中国同性恋传统与晚明的崇情思想,为分析《弁而钗》文本做相关社会背景和文化思想的介绍;第二章着手《弁而钗》的文本细读,阐述男性气概的协商原因和表现,及同性恋的社会处境;第三章推测《弁而钗》男性气概的协商的文化心理。The phenomenon of homosexuality in ancient China is of great significance as a subculture research topic. Being influenced by the thought of honoring qing in late Ming, Bian er chai is considered to be a collection of novels that truly describe homosexuality. This thesis uses the concept of masculinity to analyse the dominant/submissive relationship and erotic performance of homosexuals and explore how the negotiation of masculinities has enabled homosexuality to be constructed, developed and de-constructed. The first chapter will summarise the history of homosexual tradition in ancient China and introduce the thought of honoring qing in late Ming, this is to set the context of the thesis. The second chapter will analyse the text of Bian er chai and discuss the reasons and performance of negotiating masculinities, as well as to examine the social situation of homosexuality in ancient China. The third chapter will discuss the cultural psychology behind this observation. Bachelor of Arts in Chinese

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    Authors: 丁瑞恩 Teng, Rui En;

    《品花宝鉴》出版于清代道光年间,为清代常州人陈森所著,是一部以描写士伶关系为主,反映当时京城梨园生活的的长篇小说,属于中国早期狭邪小说之一。《品花宝鉴》敏感的题材与露骨的性描写,使其被清朝政府列为六大禁书之一。小说文学于明朝蓬勃发展,写作技巧逐渐成熟精炼,开放的思想也使向来隐秘的同性恋文学渐渐浮上台面,开始出现《弁而钗》、《龙阳逸史》等主要以男同性恋为题材的短篇小说。《品花宝鉴》延续传统同性恋文学的题材,减少了男男间性爱互动的描写,更多以超越欲望的精神境界去刻画男性之间的浪漫故事,将当时的戏园生活文化生动地描写在小说中。 本文将细读小说,通过文本对京城梨园生活与士伶形象的描写,以期了解作者对于当时京城梨园生活的思想感情。本文首先从历史角度了解戏园文化的起源,加以分析其与清朝社会之间的关系,并探讨梨园内的男风文化。接着结合文本,通过士伶二者形象的描写,分析其双面形象,即红相公与黑相公的书写意义,并探讨两者之间的关系。本文旨在通过全面分析《品花宝鉴》,以期更好地了解清代中晚期京城梨园生活与戏园文化之间的关系,并从士伶形象的书写,探讨《品花宝鉴》如何体现清朝中晚时期的戏园文化与梨园生活。 关键词:《品花宝鉴》 梨园私寓制 男色 士人 伶人 Pin Hua Bao Jian was published in the Daoguang Period of the Qing Dynasty and was written by Chen Sen, a native of Changzhou in the Qing Dynasty. It is a novel that mainly describes the relationship between scholars and actors and reflects the life in Liyuan, Beijing. It belongs to the early Chinese novels of Xia Xie. one. The sensitive subject matter and explicit sexual description of Pin Hua Bao Jian made it one of the six banned books by the Qing government. Fiction literature flourished in the Ming Dynasty, writing skills gradually matured and refined, and open minds also made the always secret homosexual literature gradually come to the fore, beginning to appear Bian Er Chai, Long Yang Yi Shi and other short stories mainly based on man homoerotic. Pin Hua Bao Jian continues the themes of traditional man homoerotic literature, reduces the description of male-male sexual interaction, and uses a spiritual realm that transcends desire to portray romantic stories between males, vividly depicting the life and culture of the theatre at that time in the novel. In this article, I will read the novel carefully and describe the life in Liyuan, Beijing and the image of scholars through the text, in order to understand the author's thoughts and feelings about the life in Liyuan, Beijing at that time. I will first understand the origin of the theatre culture from a historical perspective, analyses its relationship with the Qing Dynasty society, and discuss the male style culture in the pear garden. Then combined with the text, through the description of the two images of scholars, analyse the two-sided images of the actors, which are the writing meaning of the red and black actors, and explore the relationship between the two. This article aims to analyse the Pin Hua Bao Jian in order to better understand the relationship between the life of Liyuan, Beijing and the theatre culture in the middle and late Qing Dynasty. It reflects the theatre culture and Liyuan life in the middle and late Qing Dynasty. Keywords: Pin Hua Bao Jian; Liyuan System; Male Love; Scholars; Actors Bachelor of Arts in Chinese

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    Authors: 黄秀青 Ng, Siew Qing;

    明末清初的文人画家项圣谟(1597年-1658年),一生创作颇多,擅山水、花鸟、人物,尤以山水成就见长。顺治九年壬辰(1652年),项圣谟与谢彬共同完成了一幅《松涛散仙图》。在此之前,项圣谟曾于崇祯二年己巳(1629年)自绘一幅同名山水长卷《松涛散仙图咏卷》。这两幅画都是以其号“松涛散仙”命名的。目前美术史学界关于项圣谟的研究成果甚为丰硕,本文将尝试另辟途径,以文图学的视角重探《松涛散仙图》。本文将画作分为图像文本与文字文本两个部分进行分析,通过联系明清易代的历史背景和项圣谟的境遇,结合图像和文字共同探讨其中丰富的艺术旨趣。 首先,本文梳理了《松涛散仙图》的创作背景,从几幅作品了解项圣谟选择隐居的原因,以及他如何通过绘画来寄托心中理想的隐居方式。其次,着重于图象的解析,探讨了画面构图、项圣谟的形象塑造和松的寓意。最后,本文将分析画上题跋,揭示项圣谟的心境转变和作品“文”与“图”落差。 Xiang Shengmo, a literati painter in the late Ming and early Qing dynasties, created multiple works in his lifetime. In the ninth year of Shunzhi, renchen [壬辰] (1652), Xiang Shengmo and Xie Bin completed a painting named “An Untrammeled Immortal and Soughing Pines” (Song Tao San Xian Tu 松涛散仙图), which is now at Jilin Provincial Museum. Before that, he had once drawn a long landscape scroll with the same name in the second year of Chongzhen, jisi [己巳] (1629). These two paintings were named after his Hao [号] “Song Tao San Xian ” [松涛散仙]. The paper aims to study “An Untrammeled Immortal and Soughing Pines” with the methodology of Text and Image Studies. The artwork will be divided into two parts: image and text in order to be analysed. By contacting the historical background of the Ming and Qing dynasties as well as Xiang Shengmo’s situation during these periods, this research reveals Xiang Shengmo’s mind changes and the meaning of the artwork conveys. First of all, this paper begins with the creating background of “An Untrammeled Immortal and Soughing Pines” as well as exploring the hermits thought which revealed in his works and the way he painted to express his feeling. Secondly, the paper focuses on the analysis of images and discusses the metaphorical nature of “An Untrammeled Immortal and Soughing Pines”. Finally, this paper will analyze the inscriptions of the paintings to reveal the meaning behind the artwork. Bachelor of Arts in Chinese

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    Authors: 杨紫云 Yong, Che Yuan;

    晚清民初时期,基督教的传入促使中国知识界分子开始探索其与中国文化之间的关系或者,并且将焦点转向墨子的“兼爱”思想,以此开启“耶墨”对话。对于民初时期的“耶墨”对话已多有学者进行研究。因此,本文试图将视角放置当代的“耶墨”对话,透过分析和比较,进一步了解他们是如何阐释墨家与基督教的异同之处。本文借由张立夫《基督教伦理与墨子之兼爱伦理比较研究》与黄富巧《墨子与耶稣之爱的比较》的“耶墨”对话为本文的研究对象,透过他们的“耶墨”对话进而引申至对现今世界的贡献,即是基督教中国化的可能性、缓解中国文化与基督教之间的冲突,从而促进文化交流。 In the late Qing and early Republican period, the introduction of Christianity prompted Chinese intellectuals to explore the relationship between Christianity and Chinese culture. During the process, they had turned their focus to Mozi's idea of "impartial love", thus opening the dialogue between Mohism and Christianity. Many scholars have researched the dialogue between Mohism and Christianity that happened in the early Republican period. Therefore, this paper attempts to shift the focus to the dialogue between Mohism and Christianity during the contemporary period and seeks to further understand the approached that they have used to interpret the similarities and differences between Mohism and Christianity. In this paper, analysis and comparison will be made between Zhang Lifu's "A Comparative Study of Christian Ethics and Mozi's Ethics of Compassionate Love" and Huang Fuqiao's "A Comparative Study of Love of Mo Tzu and Jesus" and through the findings to further derive their contributions to the present world, which includes the possibility of the Sinicization of Christianity, the alleviation of the conflict between Chinese culture and Christianity, and the promotion of cultural exchanges. Bachelor's degree

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    Authors: Elexwilton;

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    Authors: 刘颖慧 Law, Ying Hui;

    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

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    Authors: 郭跃男, Guo, Yuenan;

    父权社会中的女性话语权、主体性以及可见度都因男性中心话语而受到一定的压制,媒介长久以来也加强着许多对女性的刻板印象,导致女性话语权,主体性和女性意识难以得到提高。以相声、小品为代表的中国传统喜剧,无论从发展背景还是内容来看,都以男性话语为中心,长久以来塑造着符合官方和父权话语下的女性形象;但随着政治、文娱、媒介科技的发展,单口喜剧脱口秀这一舶来品以网络为平台,为女性话语和媒介形象提供了新的发声和扩音的渠道。 本文将分析2017年至2022年播出的现象级单口喜剧脱口秀节目《脱口秀大会》系列中女性单口喜剧脱口秀演员的女性话语,探究单口喜剧脱口秀这一形式以及网络这一平台如何赋权着女性进行着富有主体性的表达,改变固有的媒介形象,提升其话语权和主体意识。 Female discourse, subjectivity and visibility in a patriarchal society are suppressed by the male-dominated discourse, and the media has long reinforced many stereotypes of women, making it difficult to empower female discourse, subjectivity and the development of feminism. Traditional forms Chinese comedy, represented by comic strips (xiao pin) and sketches (xiang sheng), has been produced by and for the gaze of male, both in terms of its historical development and the content. The image and portrayal of women are in line with the official and patriarchal discourse; however, with the development of the entertainment industry and media technology, the western imported Stand-Up Comedy, using the internet as a platform, has provided a new channel for empowering women's discourse and the construction of female image. This paper will analyze the female discourse of female stand-up comedians in the phenomenal stand-up comedy talk show series Rock&Roast, which aired from 2017 to 2022, and explore how the form of stand-up comedy and the platform of the internet empowered women to express themselves with subjectivity, changing the stereotypical portrayal if female on media. Bachelor of Arts in Chinese

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    Authors: 丁之祈 Teng, Zhi Qi;

    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

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