Singapore modern poet Liang Yue has loved classical poetry since young. As a student, he read up mostly on Taiwan modern poetry, and has since then been influenced and applied the modernist technique to his poetry works. Most of his poetry works began from the 80s in the 20th Century, right up till recent years. He has four solo poetry anthologies published as of now, namely: Cha Ru Shi Shuo (1984), Fu Sheng San Bian (1997), Selected Verses by Liang Yue (2002) and Ni De Ming Zi (2011). Through detailed analysis of Liang Yue’s poems and an interview with him, this thesis is a study of Liang Yue’s poetry works, and how the theme of humanistic concern is presented with varied modernistic approach throughout his works. There was a huge change in the social and cultural environment in Singapore society in the 70s, which greatly impacted Singaporean Chinese Liang Yue. His poems back then were written in depressed and sarcastic tones, expressing his strong solicitude towards the local Chinese ethnic, Chinese language and education problems, modern life in Singapore, as well as Chinese culture and history. During the 90s, as he accumulates more life experience and opens up to new writing styles, Liang Yue challenged himself to both exaggerative and surrealistic approaches with regards to the topic of humanistic concern in his poems. In the 21st century, the progression to an obscure and novel modern poetry style, left readers with greater rooms for imagination. Furthermore, some of his poems tell of personal experience and philosophical thoughts, showing deep cultural connotation in this Chinese poet. Liang Yue displays a variety of writing styles revolving the topic of humanistic concern, attempting to show reality in his works by means of different modernistic approaches. The efforts put in by Liang Yue show his versatile style and maturing artistic charm.本土现代诗人梁钺自小热爱古典诗词,求学时期接触到大量的台湾现代诗,从此以现代主义手法写诗。他的诗歌绝大部分创作于20世纪80年代以后,一直延续至今,目前为止已出版四本个人诗集,分别为《茶如是说》(1984年)、《浮生三变》(1997年)、《梁钺短诗选》(2002年)和《你的名字》(2011年)。 本文通过仔细考察梁钺的诗歌创作,以及和诗人所做的访问,看出诗人从最初的创作至今,始终离不开的终极主题:人文关怀。20世纪70年代开始,新加坡的社会文化形态起了重大改变,深深影响了身为新加坡华人的梁钺。他的诗以悲伤和讽刺的笔调,透露着他对本地华人、华语与华文教育问题、现代化生活以及中华历史与文化的浓烈关怀意识。进入90年代,随着生活经验的积累与在写作上的开拓,梁跃在描写人文题材时偏向夸张、超现实的基调。21世纪以后,诗人笔锋一转,其现代诗呈现隐晦、新奇的风格,留给读者更大的诠释与想象空间。此外,他的诗中也不乏个人抒发与哲理意味的作品,从中不难看出这位华人诗人深厚的文化涵养。 梁钺不断以新的写作风格抒写他对人文的关怀,以多变的现代主义手法表达现实的内容,努力展现一个本土现代诗人多面的个人风格及逐渐成熟的艺术魅力。 Bachelor of Arts
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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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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
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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
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This article aims to go beyond general definitions of democracy and focus on the essential, practical role of intermediary social bodies in how societies operate, especially those that wish to be actively democratic. A two-pronged approach to this question will be adopted. On a theoretical and historical level, the French situation demonstrates how the integration (or more accurately, reintegration) of diverse, active “intermediary social bodies” into civil society was the major issue of the 19th century for France's centralised Jacobin state, following their abolition during the Revolution. The article then looks at a series of studies conducted in China, demonstrating that there has been a genuine re-emergence of intermediary bodies in the manufacturing and retail sectors over the last 20 to 30 years in areas such as Zhejiang. This has occurred via a series of compromises and negotiations, initiated by and conducted in conjunction with local authorities, giving rise to unique socio-political configurations. The article will then ask whether this is nothing more than a local or provincial effect, and whether this re-emergence of intermediary bodies in the manufacturing and retail sectors is liable to extend to other spheres of social and political life in China. 本文在对民主的一般理论讨论之外,更着重探讨在积极构建民主的国家内社会中间层的作用。我们的思考分成两个部分。首先从法国的历史出发通过历史理论观来描述法国的中间体组织从被大革命扼守到市民社会出现后恢复的过程。 这个社会中间体在雅各宾中央集权时代逐步融入到社会体制中, 成为十九世纪历史的重要部分。然后我们依据在中国的田野考察评述生产和商贸领域内中间体组织的再现。近二、三十年来, 浙江省的一些中间体组织通过与地方政府和商与协调改变着政治与社会的构建方式。这种中间体组织的重组现象如果不是孤立的,那么未来也许会延伸到政治和社会的领域中去。
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医患关系在医疗咨询中起到至关重要的作用。良好的医患关系不仅能够提高患 者对于医疗护理的满意程度,也可促进医师对医疗信息的掌握,使治疗效果更佳。一 些研究表明中医的医患关系相对于西医较好,然而关于中医医患关系的研究却在少 数。故此,本文将对中医良好医患关系的形成展开研究。本文通过视频录像的方式收 集了 12 个中医咨询过程的录像,并从中截取 2 个录像的部分片段,通过会话分析的视 角和分析策略对医患之间的对话序列进行解析。通过该研究,本文发现良好的医患关 系基于中医“整体观”的医理而形成。 关键词:医患关系、中医医理、会话分析、共情 Doctor-patient relationship plays an extremely important role in medical consultations. Good doctor-patient relationship not only improves patients’ satisfaction towards medical care, but also facilitate the doctor’s comprehension of medical information, resulting in better treatment outcomes. Several studies have shown that Traditional Chinese Medicine (TCM) has better doctor-patient relationship as compared to Western Medicine (WM), however, there are few studies on this topic in TCM context. This paper therefore aims to study the formation of good doctor-patient relationship in TCM. 12 TCM medical consultations were collected through video recording in this research, of which excerpts of 2 videos were chosen for analysis through the lens Conversation Analysis and its discourse strategies. Through this study, it is found that good doctor-patient relationship was built on the basis of the “holism” aspect in TCM medical ethos. Keywords: Doctor-patient relationship; TCM Medical Ethos; Conversation Analysis; Empathy Bachelor of Arts in Chinese
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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
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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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本文描述永宁摩梭话中濒临消失的声调与音位。永宁摩梭话中的一些特征,若它们在当地汉语方言(西南官话)与汉语普通话中不存在,那么这些特征就有濒临消失的趋势。本文作者在不同语言程度的摩梭人群中进行了调查比较。第一节描述声调:摩梭话的声调系统很丰富,并且其中几个重要特征正是濒临消失的典型例子。第二节描述音位:声母与韵母。通过这些分析,将能进一步了解今天该语言音位系统已渐趋简化的具体情况。
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“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
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Singapore modern poet Liang Yue has loved classical poetry since young. As a student, he read up mostly on Taiwan modern poetry, and has since then been influenced and applied the modernist technique to his poetry works. Most of his poetry works began from the 80s in the 20th Century, right up till recent years. He has four solo poetry anthologies published as of now, namely: Cha Ru Shi Shuo (1984), Fu Sheng San Bian (1997), Selected Verses by Liang Yue (2002) and Ni De Ming Zi (2011). Through detailed analysis of Liang Yue’s poems and an interview with him, this thesis is a study of Liang Yue’s poetry works, and how the theme of humanistic concern is presented with varied modernistic approach throughout his works. There was a huge change in the social and cultural environment in Singapore society in the 70s, which greatly impacted Singaporean Chinese Liang Yue. His poems back then were written in depressed and sarcastic tones, expressing his strong solicitude towards the local Chinese ethnic, Chinese language and education problems, modern life in Singapore, as well as Chinese culture and history. During the 90s, as he accumulates more life experience and opens up to new writing styles, Liang Yue challenged himself to both exaggerative and surrealistic approaches with regards to the topic of humanistic concern in his poems. In the 21st century, the progression to an obscure and novel modern poetry style, left readers with greater rooms for imagination. Furthermore, some of his poems tell of personal experience and philosophical thoughts, showing deep cultural connotation in this Chinese poet. Liang Yue displays a variety of writing styles revolving the topic of humanistic concern, attempting to show reality in his works by means of different modernistic approaches. The efforts put in by Liang Yue show his versatile style and maturing artistic charm.本土现代诗人梁钺自小热爱古典诗词,求学时期接触到大量的台湾现代诗,从此以现代主义手法写诗。他的诗歌绝大部分创作于20世纪80年代以后,一直延续至今,目前为止已出版四本个人诗集,分别为《茶如是说》(1984年)、《浮生三变》(1997年)、《梁钺短诗选》(2002年)和《你的名字》(2011年)。 本文通过仔细考察梁钺的诗歌创作,以及和诗人所做的访问,看出诗人从最初的创作至今,始终离不开的终极主题:人文关怀。20世纪70年代开始,新加坡的社会文化形态起了重大改变,深深影响了身为新加坡华人的梁钺。他的诗以悲伤和讽刺的笔调,透露着他对本地华人、华语与华文教育问题、现代化生活以及中华历史与文化的浓烈关怀意识。进入90年代,随着生活经验的积累与在写作上的开拓,梁跃在描写人文题材时偏向夸张、超现实的基调。21世纪以后,诗人笔锋一转,其现代诗呈现隐晦、新奇的风格,留给读者更大的诠释与想象空间。此外,他的诗中也不乏个人抒发与哲理意味的作品,从中不难看出这位华人诗人深厚的文化涵养。 梁钺不断以新的写作风格抒写他对人文的关怀,以多变的现代主义手法表达现实的内容,努力展现一个本土现代诗人多面的个人风格及逐渐成熟的艺术魅力。 Bachelor of Arts
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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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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
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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
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This article aims to go beyond general definitions of democracy and focus on the essential, practical role of intermediary social bodies in how societies operate, especially those that wish to be actively democratic. A two-pronged approach to this question will be adopted. On a theoretical and historical level, the French situation demonstrates how the integration (or more accurately, reintegration) of diverse, active “intermediary social bodies” into civil society was the major issue of the 19th century for France's centralised Jacobin state, following their abolition during the Revolution. The article then looks at a series of studies conducted in China, demonstrating that there has been a genuine re-emergence of intermediary bodies in the manufacturing and retail sectors over the last 20 to 30 years in areas such as Zhejiang. This has occurred via a series of compromises and negotiations, initiated by and conducted in conjunction with local authorities, giving rise to unique socio-political configurations. The article will then ask whether this is nothing more than a local or provincial effect, and whether this re-emergence of intermediary bodies in the manufacturing and retail sectors is liable to extend to other spheres of social and political life in China. 本文在对民主的一般理论讨论之外,更着重探讨在积极构建民主的国家内社会中间层的作用。我们的思考分成两个部分。首先从法国的历史出发通过历史理论观来描述法国的中间体组织从被大革命扼守到市民社会出现后恢复的过程。 这个社会中间体在雅各宾中央集权时代逐步融入到社会体制中, 成为十九世纪历史的重要部分。然后我们依据在中国的田野考察评述生产和商贸领域内中间体组织的再现。近二、三十年来, 浙江省的一些中间体组织通过与地方政府和商与协调改变着政治与社会的构建方式。这种中间体组织的重组现象如果不是孤立的,那么未来也许会延伸到政治和社会的领域中去。
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医患关系在医疗咨询中起到至关重要的作用。良好的医患关系不仅能够提高患 者对于医疗护理的满意程度,也可促进医师对医疗信息的掌握,使治疗效果更佳。一 些研究表明中医的医患关系相对于西医较好,然而关于中医医患关系的研究却在少 数。故此,本文将对中医良好医患关系的形成展开研究。本文通过视频录像的方式收 集了 12 个中医咨询过程的录像,并从中截取 2 个录像的部分片段,通过会话分析的视 角和分析策略对医患之间的对话序列进行解析。通过该研究,本文发现良好的医患关 系基于中医“整体观”的医理而形成。 关键词:医患关系、中医医理、会话分析、共情 Doctor-patient relationship plays an extremely important role in medical consultations. Good doctor-patient relationship not only improves patients’ satisfaction towards medical care, but also facilitate the doctor’s comprehension of medical information, resulting in better treatment outcomes. Several studies have shown that Traditional Chinese Medicine (TCM) has better doctor-patient relationship as compared to Western Medicine (WM), however, there are few studies on this topic in TCM context. This paper therefore aims to study the formation of good doctor-patient relationship in TCM. 12 TCM medical consultations were collected through video recording in this research, of which excerpts of 2 videos were chosen for analysis through the lens Conversation Analysis and its discourse strategies. Through this study, it is found that good doctor-patient relationship was built on the basis of the “holism” aspect in TCM medical ethos. Keywords: Doctor-patient relationship; TCM Medical Ethos; Conversation Analysis; Empathy Bachelor of Arts in Chinese
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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
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