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Replication Code/Pseudo Data for: "Index Providers: Whales Behind the Scenes of ETFs"
No full textThe files contain replication codes and pseudo data that generate the tables and figures in the paper An, Yu, Benetton, Matteo, and Song, Yang, "Index Providers: Whales Behind the Scenes of ETFs", Journal of Financial Economics, Forthcoming
Replication Code/Pseudo Data for: "Index Providers: Whales Behind the Scenes of ETFs"
No full textThe files contain replication codes and pseudo data that generate the tables and figures in the paper An, Yu, Benetton, Matteo, and Song, Yang, "Index Providers: Whales Behind the Scenes of ETFs", Journal of Financial Economics, Forthcoming
Replication Code for: "Index Providers: Whales Behind the Scenes of ETFs"
No full textThe files contain replication codes that generate the tables and figures in the paper An, Yu, Benetton, Matteo, and Song Yang, "Index Providers: Whales Behind the Scenes of ETFs", Journal of Financial Economics, Forthcoming
[Handwritten list of names by an unknown author #1]
No full textHandwritten note by an unknown author, listing various names
The research "yu-sheng" word of the "Shuowen Jiezi"
No full text碩士 在許慎《說文》的文字釋例當中，一般多認為以「从某从某」、「从某某」說明的是會意字；以「从某某聲」說明的則是形聲字。然而，在《說文》當中卻另有一類用「从某某，某亦聲」、「从某从某，某亦聲」這樣術語說名的文字存在，這類文字，學者將之稱為「亦聲字」。對於這些亦聲字，歷來學者看法頗為不一，有認為應屬形聲者，也有認為應歸會意者，甚至有人以為可以兼入兩類，或是兩者皆不是。
本文即是對《說文》「亦聲字」的問題，做一全面討論的工作。在論文第一章，首先整理自南唐到近代歷來亦聲說凡二十九家，希望能夠明其大要及源流；論文第二章則是對大徐、小徐、段注三本《說文》所載之從其分不從其合的二百六十七個亦聲字作版本、聲韻、形義的全面分析。
最後，再用整理分析的結果，對主張亦聲不能存在、認為亦聲字是孳乳字、從六書四體尋求歸宿，以及另外立一個自己的標準來規範亦聲字等前人對於四大類意見提出一些討論。In the master work named Shuowen Jiezi(說文解字), we all think that “follow the equiform” means “hui-yi(會意)”. “As the Metre” explains the “xing-sheng(形聲)”. However, we can see special words like “Follow the equiform and as the Metre”. For these words, the researchers named it as “yu-sheng(亦聲)”. For these words, researchers don’t meet each other’s view. Someone says these should belong to “xing-sheng(形聲)” or “hui-yi(會意)”. Some researchers even thinks these words can put in or not classify into these 2 categorize.
For this paper, I wanna do a fully discuss about the problem of “Yu Sheng” of Shuowen Jiezi(說文解字). In the first chapter, I collect about 29 groups about Yu Sheng from Southern Tang, wish can understand the main organization and the lode. The Second Chapter is to analyze the version, metre, equiform from these xu-xuan(徐鉉) revises this master pieces, xu-kau(徐鍇) writes down the footnote of these papers, duan-yu-cai(段玉裁) revises this master pieces from Shuowen Jiezi(說文解字).
In the end of my paper, I want to use the result from these analyzed data. To discuss with these 4 groups of senior researchers who maintains “yu-sheng(亦聲) should not be existed”, “yu-sheng(亦聲) comes into being the Words transformation”, “categorized in The 4 categories before liu-shu(六書)”, and “create a new format to classify yu-sheng(亦聲)”.緒 論．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．１
第一章 諸家亦聲說述評．．．．．．．．．．．．．．．．．．．．．．．３
（一）南唐．徐鍇………………………………………………………………３
（二）宋．鄭樵…………………………………………………………………４
（三）清．張度…………………………………………………………………４
（四）清．段玉裁………………………………………………………………５
（五）清．桂馥…………………………………………………………………７
（六）清．嚴章福………………………………………………………………８
（七）清．王筠…………………………………………………………………９
（八）清．朱駿聲……………………………………………………………１０
（九）清．徐灝………………………………………………………………１０
（十）廖平……………………………………………………………………１２
（十一）章炳麟………………………………………………………………１２
（十二）朱宗萊………………………………………………………………１３
（十三）馬敘倫………………………………………………………………１４
（十四）蔣伯潛………………………………………………………………１４
（十五）王力…………………………………………………………………１５
（十六）高明…………………………………………………………………１５
（十七）弓英德………………………………………………………………１６
（十八）林尹…………………………………………………………………１７
（十九）日…白川靜…………………………………………………………１７
（二十）魯實先………………………………………………………………１９
（二十一）江舉謙……………………………………………………………１９
（二十二）龍宇純……………………………………………………………２０
（二十三）李國英……………………………………………………………２１
（二十四）施人豪……………………………………………………………２１
（二十五）許錟輝……………………………………………………………２２
（二十六）蔡信發……………………………………………………………２３
（二十七）王初慶……………………………………………………………２３
（二十八）劉煜輝……………………………………………………………２４
（二十九）金鐘讚……………………………………………………………２５
小 結…………………………………………………………………………２６
第二章 說文亦聲字試析．．．．．．．．．．．．．．．．．．．．．．２８
（一）《說文解字》第一篇之亦聲字………………………………………２８
（二）《說文解字》第二篇之亦聲字………………………………………３６
（三）《說文解字》第三篇之亦聲字………………………………………４５
（四）《說文解字》第四篇之亦聲字………………………………………６０
（五）《說文解字》第五篇之亦聲字………………………………………７０
（六）《說文解字》第六篇之亦聲字………………………………………７８
（七）《說文解字》第七篇之亦聲字………………………………………８３
（八）《說文解字》第八篇之亦聲字………………………………………９０
（九）《說文解字》第九篇之亦聲字………………………………………９８
（十）《說文解字》第十篇之亦聲字……………………………………１０３
（十一）《說文解字》第十一篇之亦聲字………………………………１１５
（十二）《說文解字》第十二篇之亦聲字………………………………１１９
（十三）《說文解字》第十三篇之亦聲字………………………………１２７
（十四）《說文解字》第十四篇之亦聲字………………………………１３５
小 結………………………………………………………………………１４６
第三章 《說文》亦聲字的歸類．．．．．．．．．．．．．．．．．．１５１
（一）對「亦聲說不能存在」之討論……………………………………１５１
（二）對以「文字孳乳現象來解釋亦聲現象」之討論…………………１５３
（三）對「在六書的『四體』 中尋求亦聲字歸屬」之討論…………１５６
（四）對「為亦聲字提出另一套新標準者」之討論……………………１５８
（五）亦聲字歸類與六書系統的關係……………………………………１６０
小 結………………………………………………………………………１６６
結 論．．．．．．．．．．．．．．．．．．．．．．．．．．．．．１６９
參考書目．．．．．．．．．．．．．．．．．．．．．．．．．．．．１７４
附 錄
（一）大徐、小徐、段注三本亦聲字對照表。
（二）徐鉉注亦聲字表
（三）徐鍇注亦聲字表
（四）段玉裁注亦聲字表
（五）徐鉉新附亦聲字表學號: 691000052, 學年度: 9
Mapping the Discipline of the Olympic Games An Author-Cocitation Analysis
No full textThe authors conducted an author cocitation analysis on prominent authors writing about the Olympics during the 1990s. Author cocitation is an established bibliometric technique that can be used to measure the relative similarities of topics written about by the cited authors. This enables a visual representation of the “intellectual space” of the discipline, in this case the Olympics, to be created for the period under review. So core and peripheral research areas are identified, along with their major contributors. The representation appears as a two-dimensional cluster-enhanced map. Subject expertise was then applied to the results to place labels on the generated clusters of authors and their topics
Appropriate Similarity Measures for Author Cocitation Analysis
No full textWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Variations on the Author
No full text“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
Wan-Yu Chan Clarinet Recital Program Notes
No full textThis is the program notes for Wan-Yu Chan\ue2s Clarinet Solo Recital on May 13, 2021. It includes renowned clarinet repertoire from the nineteenth to the twentieth century, requiring both demanding technique, and rich musical expression.
The Stimmungen eines Faus Op. 11 f\uc3\ubcr Klarinette solo by Ilse Fromm-Michaels is a three-movement work with one of the \ue2expression\ue2 which leaves the audiences space of imagination. An important work in the twentieth century, the Concerto Pour clarinette et Orchestre de chambre by Eug\uc3\ua8ne Bozza has challenges to the players with it\ue2s high-level techniques and the unique composition style. Claude Debussy\ue2s Premi\uc3\ua9re Rhapsodie pour clarinette en si b\uc3\ua9mol was commissioned by the Conservatoire national sup\uc3\ua9rieur de musique et de danse de Paris as an examination piece for graduating Clarinet students. The changes of the tempo and the timbre highlight the piece. Alamiro Giampiere\ue2s Il Carnevale di Venezia Capriccio Variato is a theme and variations depicting the happy scenes during the Carnival of Venice. Arthur Honnegger\ue2s Sonatine pour clarinette en la & piano is a three-movement piece. A special technique \ue2Glissando\ue2 is used in his third movement showing a different musical style. This program notes present the biography of the composers, musical background, and interpretation of the above five pieces that I played in my solo recital
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