1,721,815 research outputs found
Tourism : An organizational aspect / Lee Mei Yin
Get PDFPelancongan menerangkan pergerakan sementara manusia ke kawasan-kawasan di luar tempat kediaman mereka dan aktiviti-aktiviti serta kerja mereka semasa berada di kawasan-kawasan ini. Sebahagian besar pergerakan ini bersifat antarabangsa dan kebanyakannya adalah aktiviti masa lapang. Kepentingan pelancongan hanya dikenali secara rasmi lebih kurang empat puluh tahun dahulu. Tetapi industri baru ini telah berkembang begitu cepat sehingga kepentingan dikenali di seluruh dunia. Industri pelancongan telah menjadi faktor penting dalam perdagangan dunia dan adalah satu unsur utama dalam imbangan pembayaran untuk ramai negara. Pelancongan adalah satu fenomena nyata. Keadaan di mana satu populasi melawat ke tempat-tempat di luar kediaman biasa mereka adalah satu penyataan taraf hidup dan kualiti hidup. Ia merupakan satu tekanan yang terlihat oleh modenisasi terhadap alam sekitar. Kajian ini bertujuan untuk melihat peranan sesebuah pertubuhan pelancongan dalam industri pelancongan. Suatu kajian kes, di buat di Malaysia. Bab 1 kajian ini menerangkan maksud pelancongan untuk menjelaskan fungsi-fungsi dan aktiviti-aktiviti yang biasa dilakukan oleh sebuah pertubuhan pelancongan. Bab 2 melihat industri pelancongan di Malaysia dan jenis industri yang wujud supaya jelas kepada kita mengapa industri pelancongan di Malaysia diuruskan sedemikian. Dalam Bab 3 kajian ini menerangkan tentang aspek-aspek organisasi industri pelancongan, jenis-jenis dan tingkat-tingkat organisasi yang terdapat. Bab 4 mengemukakan organisasi industri pelancongan di Malaysia. Sebagai kesimpulan, peranan pertubuhan pelancongan dalam industri pelancongan akan ditentukan
Embroidered identities: Ornately decorated textiles and accessories of Chinese Ethnic Minorities, Highlights from the collection of Mei-yin Lee
No full textThis publication accompanies the University Museum's exhibition of traditional Chinese
costumes, baby carriers and silver ornaments drawn from the collection of Mei-yin Lee,
that will be presented jointly by the University Museum and Art Gallery and the HKU
Museum Society in celebration of their 60th and 25th anniversaries respectively.
Elaborately embroidered costumes and baby carriers, most of which originate with the
Miao, Dong, Shui and Zhuang ethnic tribes of the south-western Chinese provinces of
Guizhou, Yunnan, and Guangxi are decorated with richly coloured, stitched and sewn
ornamentation—and sometimes silver applications—indigenous to the particular culture
and long-lived traditions they derive from. As some ethnic minorities lack a written script,
the symbolism and colour-coding found in their textiles form a visual language that presents
an important cultural and anthropological development and heritage still in practice today.
This new publication will contain three essays: Mei-yin Lee describes her many encounters
with south-western minority groups and the oral history that delivers to us and preserves
much of the history connected to individual tribes and their textiles; Eric Boudot presents
an essay on the textiles, embroideries, emblems and symbolism found in the costumes
and baby carriers of Chinese minority people; Florian Knothe describes the stylistic and
cultural significance of silver ornamentation found in ceremonial dress. Annie Chow
writes the entries of the illustrated catalogue
Confinement effect on semiconductor nanowires properties
No full textConfinement effect on semiconductor nanowires properties.
Alexis Nduwimana
100 pages
Directed by Dr. Mei-Yin Chou
We study the effect of confinement on various properties of semiconductor
nanowires. First, we study the size and direction dependence of the band gap of
germanium nanowires. We use the density functional theory in the local density approximation. Results shows that the band gap decreases with the diameter The susceptibility of these nanowires is also computed. Second, we look at the confinement effect on the piezoelectric coefficients of ZnO and AlN nanowires. The Berry phase method is used. It is found that depending on passivation, thepiezoelectric effect can decrease or increase. Finally, we study the size and direction dependence of the melting temperature of silicon nanowires. We use the molecular dynamics with the Stillinger Weber potential. Results indicate that the melting temperature increases with the nanowire diameter and that it is direction dependent.Ph.D
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Preparation of porous microcrystalline cellulose and its properties
No full text研究顯示，鈉攝取量與發生高血壓以及心臟病的風險呈正相關性。美國心臟協會在2010年提出減少食品中鈉含量10-40%的建議，足見發展減鹽食品是市場的趨勢。本研究可分為兩部分，第一部分利用酵素進行水解，製造具較大比表面積的多孔性纖維素，第二部份將多孔性纖維素與幾丁聚醣結合，並以其做為氯化鈉的載體，期望藉由纖維素的多孔性結構及與幾丁聚醣結合後產生的功能特性，達到延長氯化鈉溶解釋放的時間，當味覺較持久即可望減少食鹽的攝取量。由實驗結果發現，在酵素與基質重量比例為0.025的條件下進行水解4小時可使大部份纖維素表面出現多孔性結構，其比表面積、孔體積與保水力分別增加為原料的2.6、3.4及1.4倍。當纖維素懸浮液與0.3 %幾丁聚醣溶液以1:1 (V/ V)比例於160 rpm混合6小時，每克纖維素原料可結合的幾丁聚醣達最大值4.88毫克 (mg chitosan/ g cellulose)。經酵素處理3、4、5小時的纖維素與幾丁聚醣結合的能力則分別提昇為5.5、6.1、6.0 (mg chitosan/ g cellulose)。其中，水解4小時的纖維素結合幾丁聚醣，界面電位由-16 mV上昇為31.43 mV，代表幾丁聚醣可包覆在纖維素表面並改變其介面電位特性。以RC_Chi (纖維素-幾丁聚醣複合物)及HC_Chi (水解4小時纖維素-幾丁聚醣複合物)做為氯化鈉的載體，於添加3%食鹽水組可分別使NaCl達釋放終點時間延長為對照組(等量的氯化鈉直接在水中溶解釋放的組別)的1.4與8.1倍；於添加31.28%食鹽水組則分別延長為對照組的1.3與6.5倍。顯示俱多孔性結構的HC_Chi比RC_Chi更可顯著降低NaCl於水中溶解釋放的速度。According to the study daily sodium intake has a positive correlation with risk of hypertension and cardiovascular disease. In 2010, American Heart Association suggested the food producer to reduce 10-40% sodium content of their products. Obviously, development of salt reduction products is a current trend. This study was divided into two parts. In the first part, the preparation of porous cellulosic materials was employed by enzymatic hydrolysis. In the other part, combination of porous cellulosic material and chitosan was tested to create a complex material to be a carrier of sodium chloride for the purpose of prolongation of sodium chloride dissolution. The longer the salty taste is maintained, the less intake of salt is approached. The result denoted that the porous cellulosic material was successfully prepared by enzymatic hydrolysis for 4 hours and E/S 0.025. Their specific surface area, pore volume and water holding capacity, in comparison to the raw cellulose, were improved to be 2.6, 3.4 and 1.4 times, respectively. The maximum binding capacity of raw cellulose to chitosan was 4.88 (mg chitosan/g cellulose) in the mixture (1:1 V/V) of cello-dispersion and 0.3% chitosan solution with 6 hours and 160 rpm agitation. Cellulose hydrolyzed 3, 4 and 5 hours can be respective promoted their binding ability to chitosan to 5.5, 6.1 and 6.0 (mg chitosan/g cellulose). The binding of chitosan onto porous cellulosic material varied the zeta potential of the cellulose from -16 mV to 31.43 mV, which changed the charge property of cellulose interfaces. The steady state duration of the NaCl dissolution could be postponed to 1.4 and 8.1 times for the samples of RC_Chi (raw cellulose-chitosan complex) and HC_Chi (hydrolysis cellulose-chitosan complex) for the 3% NaCl test, as compared to the raw cellulose, and they were 1.3 and 6.5 times for the 31.28% NaCl test. It proved that the porous cellulose/chitosan complex significantly retarded the desorption of NaCl than did the un-hydrolyzed one
Archetype and Selfhood in Strindberg's Post-Inferno Plays
No full text史特林堡歷經地獄危機後，劇作重心大不同於早期劇作強調社會環境與人的衝突、或腦力較勁等主題，後地獄劇作開始朝人的內心探索，更重要的是它們普遍瀰漫了夢境氛圍。後地獄劇作的夢境元素並非如《夢幻劇》直接把夢境搬上舞台，而是劇中世界呈現了如夢的現實狀態。其中不合邏輯的時空存在感、突轉迅速的的情節和隱喻性角色，構成了劇作的夢境特徵。
後地獄劇作具有榮格學派所強調的擬古基調，劇中古典神話和中世紀意象也和榮格說原型的文化基底有關，但夢劇畢竟屬於文學作品，所以弗來文學式的原型批評將更利於討論。以弗來原型說的角度來看，後地獄劇作在角色和主題上都有不同層次的原型運作模式。角色常具有複調特色，他們受困在罪惡的宿命中，而神冷眼旁觀角色的苦難，未曾伸出援手。此外，代表惡勢力的靈怪角色不停攪擾人類，左右他們的行動，幾乎取代了神的位置。主角雖因此受苦連連，但也無法藉由死亡得到解脫，因為死亡在劇中早已存在，且是一直持續的狀態。
雖然後地獄劇作的角色都無法得到救贖，史特林堡卻能透過書寫自我而獲得救贖。從大部分作品中強烈的自傳色彩，可看出他創作的對象幾乎離不開他自己。後地獄劇作中對女性的矛盾情結、對社會的不滿情緒、以及一切虛幻如夢的終極真理，正是史特林堡藉由原型來表現自我面貌的痕跡。史特林堡以自我為題材進行創作時，他自我檢視、自我神化、並扮演自我，由此找到自身苦難的解釋，來自我安慰。因此，原型成為劇作家服務自我的工具，史特林堡透過原型的置換變形，將自傳性延伸為傳奇性，又藉由認同原型人物，他釋放了自身的罪惡感，也體驗原型人物重複不斷的新生命。結合原型和自我的寫作策略便是史特林堡自我救贖的途徑。此外，透過書寫夢劇，史特林堡一方面因從夢劇中清醒而感受釋放，一方面悟出萬物虛空而獲得精神解脫。齊克果的重複概念也讓史特林堡得到心態的更新，他不斷書寫自傳性作品，就是不斷覺察生命狀態已經不同的過程，自我因此得到了淨化。After the Inferno crisis, the subject of Strindberg’s post-Inferno plays greatly differs from that of his earlier plays. It no longer emphasizes the conflict between men and their social environment or “battle of brains”, but begins to explore the inner world of human beings in an all-pervading atmosphere of dreams. Unlike A Dream Play that puts the dream directly on the stage, the element of dreams in most post-Inferno plays is presented with the design of a dream-like reality through an illogical sense of time and space, sudden changes in the plot, and metaphorical characters.
The mythological and medieval images in post-Inferno plays are reminiscent of the Jungian archaic mood and Jung’s archetypal search in cultural foundation, yet it is more effective to use Northorp Frye’s literary criticism of archetype when it comes to literary works as dream plays. With Frye’s definition of archetype, there are different modes of archetype manipulated in post-Inferno plays, in particular the characters and theme. Each character often contains polyphonic images. The characters get trapped in the fate of sins, with God giving no hands on the sidelines and watching coldly at their sufferings. Moreover, the spirit characters from the evil power keep disturbing people and control their actions, so much so that the evil ones nearly replace the authority of God. After being tormented time after time, the main characters can still not be released through death, since death has already existed and perpetuated throughout the play, and is a state that keens to continue.
The characters in post-Inferno plays can not obtain any chance of salvation; however, Strindberg saves himself by writing the stories about himself. Most of his works are nothing but autobiographical, and the theme and characters are often about himself. We see in his post-Inferno plays the contradictory complex toward women, the disagreement toward the society, and how illusion serves as the ultimate truth in the plays, all of which point to the philosophy and world view of the playwright. By writing about himself, Strindberg surveys himself, aggrandizes himself, and finally through creating the roles acts out the different dimensions of himself. This enables him to interpret his own sufferings and thus gains consolation. The archetypes serve as tools for Strindberg to express himself. Strindberg uses the displacement and transformation of the archetypes to enlarge and extend the autobiography into legend in his works; he identifies himself with the archetypal personages in order to release his own guilt, and also experience the repetitive new lives in them. By combining archetypes with his own life events as a strategy for writing, Strindberg finds the way to self-redemption. Furthermore, writing dream plays create relaxing moments as he awakens from the crafted dreams and gains pleasure in realizing the reality is nothing but like illusionary dreams. Kierkegaard’s idea of repetition also refreshes Strindberg’s mind. As he repeats writing autobiographical works, he repeats seeing himself as different from what he used to be. It is in this way that he reaches catharsis through his play writing.目 錄
口試委員會審定書……………………………………………………… i
誌謝………………………………………………………………………ii
中文摘要……………………………………………………………… iii
英文摘要…………………………………………………………………iv
第一章 緒論………………………………………………………… 1
第一節 後地獄劇作創作背景………………………………… 2
一、地獄危機……………………………………………… 2
二、象徵主義與瑞典新浪漫主義………………………… 6
第二節 研究史特林堡的新方向……………………………… 8
一、 擬古的夢：原型…………………………………… 8
二、一貫的自傳性：自我………………………………… 9
第三節 文獻回顧及研究方法………………………………… 10
一、文獻回顧……………………………………………… 10
二、研究範圍和論文架構………………………………… 11
第二章 後地獄劇作的原型……………………………………… 14
第一節 夢與原型……………………………………………… 14
一、如夢的現實…………………………………………… 14
（一）時空不合邏輯…………………………………… 17
（二）突轉的情節……………………………………… 19
（三）隱喻性的角色…………………………………… 20
二、夢劇中的原型………………………………………… 21
第二節 後地獄劇作的原型詩學……………………………… 23
一、複調的角色…………………………………………… 23
（一）流浪者原型……………………………………… 24
（二）亞當與多變的夏娃……………………………… 26
（三）靈怪原型………………………………………… 27
二、傳統主題的突破……………………………………… 29
（一）罪惡的宿命……………………………………… 29
（二）對神的質疑……………………………………… 33
1. 神存在但缺席………………………………… 33
2. 魔亦是神……………………………………… 35
（三）死亡——終點與起點…………………………… 37
小結………………………………………………………………… 42
第三章 劇作家自我………………………………………………… 43
第一節 書寫自我：女性、社會、宗教……………………… 44
一、對女性的矛盾意識…………………………………… 44
二、未遁世的流浪者……………………………………… 48
三、虛幻夢境的個人信仰………………………………… 50
第二節 創作自我……………………………………………… 55
一、自我檢視……………………………………………… 56
（一）釋放罪惡感……………………………………… 56
（二）自我客體化……………………………………… 58
二、自我神化……………………………………………… 59
（一）神話與英雄人物………………………………… 59
（二）強者形象………………………………………… 61
三、扮演自我……………………………………………… 63
第三節 寫作為救贖…………………………………………… 66
一、從夢劇中清醒………………………………………… 67
二、重複為新生…………………………………………… 68
小結………………………………………………………………… 70
第四章 結論………………………………………………………… 71
第一節 面對罪惡的夢遊者…………………………………… 71
第二節 原型與自我的交互循環和扮演……………………… 74
參考文獻……………………………………………………………… 77
附錄：史特林堡作品年表…………………………………………… 8
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