Academic literature on the topic '人物傳記'

<p>呂則之（1955－）是澎湖文學及海洋文學極具代表性的作家，自1983年迄今，出版九部長篇小說，其內容緊繫澎湖和海洋，是典型的澎湖文學，因此不難在其中看見澎湖文化產物的足跡。對記憶中的家鄉的書寫，無疑是呂則之最大的貢獻之一，這些著作將成為珍貴的地方資產。《海煙》（1983）是呂則之的第一部小說，葉石濤評其為「一部臺灣文學史上未曾出現過的海洋為主題的小說，暗示在臺灣文學的領域上可以開拓的一條新路」；龍應台讚之「為澎湖立傳」。本文藉由討論《海煙》中的文化產物，試圖探索澎湖文化，可以發現呂則之在在刻劃了澎湖的歷史踏痕，某方面來說，更建構了澎湖人的記憶。探析呂則之的小說，不僅可以挖掘澎湖的歷史記憶、發展條件和居民的生活樣態，更可以看出他對家鄉的深厚情感。</p> <p>&nbsp;</p>

<p>1949年後北京故宮輾轉播遷至臺灣，落腳於臺中霧峰北溝(1950-1965)十六年。守護者莊嚴全家也落腳於此，此地乃當時臺中最重要的文化及旅遊勝地。然1965年北溝故宮北遷後，空餘庫房山洞供人憑弔。當時曾出現一批「故宮文學家」，他們與「北溝故宮」有或深或淺的關係，曾留下相關記憶的書寫，這些文本正是本論文考察的對象。職是，本論文以文化空間與文學記憶為論述概念，首論偏安北溝的「回憶空間」，莊嚴父子大半生與故宮文物流離至北溝所構建的回憶空間。其次則論在此文化空間的文人對傳統文化的傳承，即孔德成與臺靜農等人至北溝故宮清點文物的記憶。第三則論及個體記憶的再現，以臺靜農與林文月、凌叔華與蘇雪林的北溝旅行為主。第四則論及集體記憶中的文化旅遊勝地，兼論齊邦媛的英譯暨陪訪史。透過以上討論，可在集體的歷史大敘述外，呈現個體的文學記憶，豐富北溝故宮之文化記憶。</p> <p>&nbsp;</p><p>After 1949, the Palace Museum from Beijing relocated to Taiwan and settled in Beigou北溝 of Taichung (1950-1965) for 16 years. Zhuang Yan莊嚴 and his family who guard the Palace Museum in Beigou北溝故宮 is also setteled here, this place also was the most important cultural tourist attraction in Taichung.However, after the Palace Museum in Beigou北溝故宮 moved northward in 1965, the empty warehouse caves in this area were for people to hang. At that time, a group of &quot; the Palace Museum writers故宮文學家&quot; appeared. They had a deep or shallow relationship with the &quot; the Palace Museum in Beigou北溝故宮&quot;,they had left relevant memory writing,these texts are the objects of this paper. In this paper, the concept of cultural space and literary memory is discussed in this dissertation. Firstly, discussion is about the &ldquo;memory space&rdquo; in Beigou北溝,the memory space constructed by the Zhuang Yan莊嚴 father and son for most of his life and the Palace Museum 故宮’s cultural relics moved to Beigou北溝. Secondly, it discusses the inheritance of traditional culture by the literati in this cultural space, that is, the memory of Kung Te-Cheng孔德成 and Tai Jing-nong臺靜農 and others to the Palace Museum in Beigou北溝故宮 to count the cultural relics. Thirdly, on the reappearance of personal memory, mainly on the the Palace Museum in Beigou北溝故宮 trip of Tai Jing-nong臺靜農 and Lin Wen-yue林文月, Ling Shu-hua凌叔華and Su Xue-lin蘇雪林. Fourthly, the cultural tourism resort in the collective memory, as well as the history of Qi Bang-yuan’s齊邦媛English translation and accompanying visits. Through the above-mentioned discussion, the individual’s literary memory can be presented in addition to the collective grand historical narrative, especially enrich the cultural memory of the Palace Museum in Beigou北溝故宮.</p> <p>&nbsp;</p>

<p>「眷村」作為一種時代的印記，除了作為人物活動的背景之外，它本身也是個性鮮明的主體。在塑造空間圖景與時代變遷的想像上扮演著歷史演繹的核心角色，反映了眷村人的精神指向和價值觀念。有鑒於此，本文選擇以眷村的空間意涵為論述點，論述的邏輯脈絡是由眷村表面的形象層，進入意蘊層、哲理層，以見「眷村」作為離散遷移符碼的地理空間；作為外省人生命史演繹的場景空間；作為台灣歷史文化的記憶空間，由此可以確認眷村空間的美學價值與歷史意義。由全文論述可知，「眷村」作為一種時代符碼的空間意象，它具有四層意涵：生活的空間場景(客觀的描寫)，生活的時間與回憶(主觀的意蘊)，生命的精神根源(生存哲理與身份的思考)、時代與歷史的變遷(存史詳史的銘記)。綜合上述，「眷村」作為一種時代符碼的空間意象，被賦予了多重象徵意義，它不只是一種特定的聚落建築，它更是當代台灣社會獨特的政治文化產物，它不是自然的地理稱謂，而是外省人遷臺的群聚居地和集體記憶。眷村雖然已走入歷史，但它已展現了外省族群離散的體驗對於內在精神的影響，也傳達了一代「外省人」如何從離散到台灣落地生根的歷程。同時它也展現了身分認同的問題，攜帶著歷史創傷記憶的陳跡，體現著政治與文學的變化。眷村已由一個客觀的空間意涵一變而成了具有多種意味的大符碼，若把眷村置於歷史發展脈絡中，可見其展現了一種多元且變化的義涵。</p> <p>&nbsp;</p><p>As a mark of the times, &quot;Military Village&quot; is not only a background for the activities of the characters, but also a subject with distinctive personality. It plays a central role in historical interpretation in shaping the spatial image and the imagination of the changing times, reflecting the spiritual direction and values of the military dependents. In view of this, this paper chooses the spatial connotation of military dependents&rsquo; villages as the discussion point, and the logical context of the discussion is from the image layer on the surface of military dependents&rsquo; villages to the level of connotation and philosophy, so as to see the geography of &ldquo;military dependents&rsquo; villages&rdquo; as discrete migration codes Space; as a scene space for the interpretation of the life history of people in other provinces; as a memory space of Taiwan’s history and culture, from which the aesthetic value and historical significance of the space of the Military Military Village can be confirmed. From the discussion in the full text, we can see that &quot;Military Military Village&quot; as a space image of the code of the times has four meanings: the spatial scene of life (objective description), the time and memory of life (subjective meaning), and the spiritual origin of life (Thoughts on the philosophy of survival and identity), the changes of the times and history (the memory of the detailed history).</p> <p>&nbsp;</p>

<p>本文以《春秋經》與《左傳》為範圍，提出「帥師以納周天子、他國之君、他國之公子者為卿」、「行弔災與唁之事者為卿」、「『逆』公子而立為國君或大子者為卿」三項判斷卿身分之標準。二者記第一項之事計十則、十三位人物，經本文分析知齊之隰朋、楚之成得臣、楚之鬬勃、晉之趙盾、楚之屈建、齊之高偃、晉之籍談、晉之荀躒、晉之趙鞅、魯之叔孫舒、越之臯如、越之舌庸、宋之樂茷等十三人身分皆為卿。二者記第二項之事計五則、四位人物，記行唁之事有五則、五位人物。除國君外，二者計有魯之厚成叔、魯之叔弓、陳之公孫貞子、魯之臧紇、齊之高張、晉之荀躒等六位大夫，身分皆為卿。二者計第三項之事計八則，除一則對象不明，另有鄭之祭仲、石甲父、侯宣多、晉之趙穿、荀罃、齊之崔杼、莒之公子鐸、楚之子西等八位。祭仲、趙穿、荀罃、崔杼、子西確定為卿，又旁證石甲父與侯宣多亦是卿，整體比例已逾八成，推測莒之公子鐸身分亦是卿。</p> <p>&nbsp;</p><p>This article takes &quot;Chūn Qiū Jīng&quot; & &quot;Zuǒ Zhu&aacute;n&quot; as the text scope, and proposes three criteria for judging the identity of Qīng. The first is &quot;those Generals who escorted the Emperor Zhōu, Monarchs or Princes from other States to their own States with armies are Qīng.&quot; The second is &quot;those who expressed their condolences to States or extended condolences to Monarchs are Qīng.&quot; The third is &quot;those who welcomed Princes from other States to their own States and let them become Monarchs or the first Prince in succession to the throne are Qīng.&quot; Refer to &quot;Chūn Qiū Jīng&quot; & &quot;Zuǒ Zhu&aacute;n&quot;, there are ten stories and thirteen characters belong to the first criterion. According to the analysis of this article, they are X&iacute; P&eacute;ng (Q&iacute; State), Ch&eacute;ng D&eacute;-ch&eacute;n (Chǔ State), D&ograve;u B&oacute; (Chǔ State), Zh&agrave;o D&ugrave;n (J&igrave;n State), Qū Ji&agrave;n (Chǔ State), Gāo Yǎn (Q&iacute; State), J&iacute; T&aacute;n (J&igrave;n State), X&uacute;n L&igrave; (J&igrave;n State), Zh&agrave;o Yang (J&igrave;n State), Shū-sūn Shū (Lǔ State), Gāo R&uacute; (Yu&egrave; State), Sh&eacute; Yōng (Yu&egrave; State) and Yu&egrave; F&aacute; (S&ograve;ng State). All these thirteen above are Qīng. Besides, there are five stories and four characters belong to the second criterion and they were record by expressing their condolences to States. Another five stories and five characters were record for extending their condolences to Monarchs. Except those Monarchs, there are six persons who belong to the second criterion. They are H&ograve;u Ch&eacute;ng-shū (Lǔ State), Shū Gōng (Lǔ State), Gōng-sūn Zhēn-zi (Ch&eacute;n State), Zāng H&eacute; (Lǔ State), Gāo Zh&agrave;ng (Q&iacute; State) and X&uacute;n L&igrave; (J&igrave;n State). All these six D&agrave;-fū above are Qīng. In conclusion, there are eight stories and eight characters belong to the third criterion, except for an unknown character. The rest of them are J&igrave; Zh&ograve;ng (Zh&egrave;ng State), Sh&iacute; Jiǎ-f&ugrave; (Zh&egrave;ng State), H&oacute;u Xuān-duō (Zh&egrave;ng State), Zh&agrave;o Chuān (J&igrave;n State), X&uacute;n Yīng (J&igrave;n State), Cuī Zh&ugrave; (Q&iacute; State), Gōng-zǐ Du&oacute; (Jǔ State) and Zǐ Xī (Chǔ State). J&igrave; Zh&ograve;ng, Zh&agrave;o Chuān, X&uacute;n Yīng, Cuī Zh&ugrave; and Zǐ Xī are identified as Qīng. Sh&iacute; Jiǎ-f&ugrave; and H&oacute;u Xuān-duō are also confirmed to be Qīng by some evidence. The overall ratio is more than 80%, and it is speculated that Gōng-zǐ Du&oacute; is also Qing.</p> <p>&nbsp;</p>

<p>明儒薛瑄於山西河東地區發揚程朱理學，倡研正心復性的實踐之學，受教弟子成眾，後世稱河東學派。薛瑄的再傳弟子呂柟，被視作明代中期河東學派的代表人物，呂柟同時受到關學的影響，除了持續推動研經講學外，還投入地方志的編纂工作，其言教身教之影響值得留意。本文主要探究明代河東學派門人編纂地方志的動向，特別以張良知為例，透過記載其生平事蹟的神道碑文，及相關志書、文集等，考察他在許州、漢中、中都三地的仕宦經歷與修志作為，及其所撰志書史料價值，並指出河東學派關心史志之剪裁編排、重視國家典章制度與官員政務活動的志書風格。</p> <p>&nbsp;</p><p>By focusing on the relationship between the Ming dynasty Hedong School member Zhang Liangzhi&rsquo;s career and his selection of materials for the compilation of local gazetteers in three different locales (Xuzhou, Hanzhong, Zhongdu), this article makes a preliminary foray into what members of the Hedong School emphasized in their compilation of local gazetteers. Using Zhang&rsquo;s stele epitaph, his gazetteers writings, and collected works (wenji), along with other historical documents, I investigate the relationship between his approach to governing local communities and the compiling of local gazetteers. Through an assessment of this relationship, this article reveals that the Hedong School not only focused on matters of editing and the arrangement of historical sources but further favored topics related to imperial decrees and regulations, and governmental affairs.airs.</p> <p>&nbsp;</p>

<p>托尼．莫里森的《天堂》（1998年）是對非裔美國人歷史的透徹表現，它探討了我將在這部作品的介紹中描述的一些主題。主要是，我將在本文中仔細研究《天堂》中描繪的最重要的主題之一&mdash;&mdash;黑人歷史以及美國文化背景下的政治和社會發展。對於激進分子莫里森來說，改革的禮物同樣重要，我們可以將她對「當前」非裔美國人歷史的看法一直延伸到奴隸制時代，因為正是在這個時代，非裔美國人的現代歷史才真正開始，並且這些人真正以有意義和重要的方式參與到美國的生活和文化中。莫里森已經認識到這種「長期觀點」歷史可以追溯到大約 160 年前的敘述可能性。這一觀點符合莫里森對祖先和祖先、記憶和傳統以及創立文化神話的興趣。在這些框架中，紅寶石的公民和修道院的居民&mdash;&mdash;天堂的兩個不同且經常相互衝突的家庭、社區、政治和哲學參與概念的場所&mdash;&mdash;參與了與非洲長期辯論密切相關的政治文化對話-美國社區。</p> <p>&nbsp;</p><p>Toni Morrison&rsquo;s Paradise (1998) is a penetrating representation of African-American history that examines a number of topics which I will describe in the introduction to this work. Principally, I will in this paper scrutinize one of the most important of the subjects portrayed in Paradise&mdash;black history and political and cultural development within the parameters of American culture. As important as a reformed present is for the activist Morrison, we may extend her view of &ldquo;current&rdquo; African-American history all that way back to the slavery era, for it is in this era that African-American modern history truly begins, and these people actually become involved in American life and culture in significant and important ways. Morrison has recognized the narrative possibilities of this &ldquo;long view&rdquo; of history reaching back some 160 years. This view accords with Morrison&rsquo;s interest in ancestry and the ancestor, memory and ritual, and founding cultural mythologies. In these frameworks the citizens of Ruby and the inhabitants of the Convent&mdash; Paradise&rsquo;s two sites of differing and often conflicting conceptions of social and intellectual engagement&mdash;participate in a politico-cultural dialog that is germane to long-running debates in African-American communities.</p> <p>&nbsp;</p>

<p>歷代評價王荊公，兼有毀譽，尤以史傳、筆記、小說最多，建構起荊公立體形象。然而，詩歌亦屬王荊公故事詠寫系統主要體裁之一，至今無專文探討。本文借用詠史懷古詩之研究方法，觀察詩人對荊公之人物論定，回到形象聚訟之始，勾勒宋詩中之荊公形象與主體。可以發現詩中呈現宰相忠業及宋亡罪人之迥異面向。其次，歸納分析詠寫荊公之慣用素材與主題思想，如營造挽歌氛圍與世態炎涼之感慨；速寫讀書堂與嘲弄新學；關注書畫題詠與追慕風神等，最後探討宋人詠寫荊公之詩學設計，一則見詩人慣以一多對立及時空伸縮為篇章構思，有助興發感慨；二則融入荊公詩字句，翻新原典，借彼抒己。總此，讓荊公形象顯影在宋詩上，為荊公之歷史評騭提供初始依據。</p> <p>&nbsp;</p><p>The evaluations of past generations on Sir Wang Jing, mostly in historical biographies, jottings, and short stories, lead to both positive and negative comments and have established a three-dimensional image of Sir Jing. However, there is yet no monograph on poetry, which is also one of the important genres in the writing system of stories about Sir Wang Jing. This article attempts to explore the discussions of figures in history-themed poems and to return to the beginning of the arguments on Sir Jing&rsquo;s image and depict the image of him portrayed in Song poems. First, it discovers the polarized identity, as a prime minister with loyalty or a guilty person causing the ruin of the Song dynasty. Second, it organizes and analyzes the common materials and theme thoughts in writings about Sir Jing, such as creating atmosphere of elegies around tombs and shrines and fickleness of the world, sketching the reading hall and mocking new learning, and paying attention to inscriptions of calligraphic works and paintings and admiration for the past manner. Finally, it probes into the rhetoric of Song people&rsquo;s writings about Sir Jing. For example, the structure design of opposition between one and many and expansion and contraction of time-space helps to highlight the effect of sighs with emotions. To give another example, the adjusted use of the words of Sir Jing&rsquo;s poems adds new meanings to their original meanings. To sum up, this article exhibits vividly on paper the Sir Jing in Song poems and provides a reference for studies on the image of Sir Wang Jing shaped by history.</p> <p>&nbsp;</p>

<p>目的：緊急置放支架是降低主動脈瘤破裂死亡的關鍵。本文分析造成主動脈支架術前準備時間過長的原因並實施對策，以縮短術前準備作業時間、維護病人安全，營造安全且優質的手術環境。</p> <p>材料與方法：採查檢表調查支架術前準備時間過長情形，導因有缺乏相關知識及經驗、忘記用物位置、採傳統切除手術個案車、透視床擺放錯誤及材料擺放凌亂。透過在職教育、用物位置圖、專屬個案車、標示床辨識圖、備物作業標準、備物查檢表、調整材料位置並標示及稽核機制改善術前準備時間。</p> <p>結果：改善後術前準備時間由28.2分鐘縮短為14.5分鐘，顯示專案對縮短術前準備時間具正面成效。</p> <p>結論：經改善後，成功縮短主動脈支架術前準備時間，日後仍需持續精進對策實施，改善殘餘之問題。</p> <p>&nbsp;</p><p>Purpose: Emergent endovascular stent grafts for ruptured aortic aneurysm can reduce mortality considerably. This study analyzed the factors relating to the time spent on preoperative preparation. Strategies for accelerating the preparation process, maintaining patient safety, and cultivating a safe and high-quality surgical environment are proposed.</p> <p>Materials and Methods: We investigated the factors that may lengthen preoperative preparation time and identified the associated causes, which included a lack of relevant knowledge and experience, failure to recall the location of equipment, use of traditional resection operation case carts, mistaken placement of the radiotranslucent table, and disorganized equipment. We implemented measures to improve preparation, such as enhancing staff education, listing instruments in the tray in detail, establishing specific-use case carts, drawing instructive diagrams detailing the use of the radiotranslucent table, setting a protocol and checklist for preparation, organizing and labeling surgical materials in an orderly fashion, and establishing an auditing system.</p> <p>Results: The time spent on preoperative preparation was shortened from 28.2 to 14.5 min. We verified that this intervention had a positive effect in terms of expediting preparation.</p> <p>Conclusion: The intervention successfully shortened the time spent on preoperative preparation. However, more methods are required to solve the remaining problems.</p> <p>&nbsp;</p>

<p>脈診，是中醫重要的診斷方法。醫者手觸脈動引發主觀的判讀，因抽象體會難以言說，故歷來做了許多努力。早期以文字譬喻為主描述脈象，至宋代施發《察病指南》增見具象的脈象圖示。文章以七怪脈為主，比對古脈圖與現代脈儀圖，尋其特點與限制，或能為新世代的診斷尋找更合宜的時代範式。研究發現，古脈圖是傳統脈診心象運思的表徵，有輔助文字的重要作用。科技脈儀圖，則以心臟或血液動力學為基礎，如實記錄脈搏的波動訊號，從時域到高低頻譜以揭露生理病理的訊息。比較兩者，可各見特點與限制：古圖提供他人藉以揣摩，難以盡言的脈覺體會，其譬喻文圖的運用所載意義更為豐富固是優勢所在；然也因非邏輯性的傳訊而形成多樣的表達，這非客觀化的限制，正是當代醫家的修正努力與科診儀器強調的優處。另一方面，儀器診察雖有客觀、標準化的特點，但其測值是否能涵蓋生命的整體現象亦有質疑聲音。故兩者該並行析究：在傳統理論與現代儀器之間，嘗試建構一套能銜接古今的替代理論，或許能為新世代的脈診量測，提供一個較為周全的診斷依據。而中醫的脈圖分析能進入當代，參與W.J.T.Mitchell圖像轉向中，生物圖像研究的子題是無疑的。</p> <p>&nbsp;</p><p>This article mainly focuses on the seven weird pulses, compares ancient pulse diagrams and modern pulse diagrams, and seeks out their characteristics and limitations, hoping to find a more suitable paradigm for the diagnosis of the new generation. Research has found that ancient pulse diagrams are representations of mental images and thoughts in traditional pulse diagnosis, and play an important role in supporting text. The technological pulse chart is based on heart or hemodynamics and faithfully records pulse fluctuation signals from time domain to high and low frequency spectrum to reveal physiological and pathological information. Comparing the two, we can see the characteristics and limitations of each: the ancient pictures provide others with an indescribable pulse-sensing experience, and the use of metaphors and pictures contains richer meanings, which is an advantage; however, it is also illogical Forming diverse expressions through communication, this non-objectification limitation is exactly the advantage emphasized by the revision efforts of contemporary doctors and medical diagnostic equipment. On the other hand, although instrumental diagnosis has the characteristics of being objective and standardized, there are also doubts about whether its measured values can cover the overall phenomenon of life. Therefore, the two should be analyzed in parallel: between traditional theory and modern instruments, trying to construct an alternative theory that can connect ancient and modern times may provide a more comprehensive diagnostic basis for pulse diagnosis and measurement in the new generation. The pulse diagram analysis of TCM can enter the contemporary era and participate in W.J.T. Mitchell’s pictorial turn. There is no doubt that it is a sub-topic of biological image research.</p> <p>&nbsp;</p>

碩士
臺東師範學院
兒童文學研究所
88
Abstract This thesis researches the writing skills of biographical historical novels and mainly focuses on how to inscribe the real characters by presenting different sides of their lives. It will discuss: I. how to apply the fictitious plot and the fictitious characters in the biographical historical novels II. how the time, dimension and both affect the real characters III. to understand that the change of narratives has different meanings in describing the real characters IV. to rethink about the real characters’ social status in the historical background and rejudge them V. the applications of other writing skills, such as soliloquy, leaving the thinking space and handling the words, can assist to present the real characters deeply According to this thesis, the results are as follows: I. In the book of “Gospel and Tooth Tweezers”, the real historical character, Canada pastor, Mackay, is introduced by the fictitious language. He comes to Taiwan to preach with bibles, tooth tweezers, and dysentery medicine. By the Omniscience angle, Mackay is a kind, calm and tolerant religionist. He brings the religious freedom and modern medicine to the northern Taiwan. He is the type of “sanctified identity.” His sacrificial spirit makes us rethink the traditional religious belief and educational strategies. However, the author, Tong Li, doesn’t take the readers’ mental responses into account so that he doesn’t handle the time frame of the story well and ends the story appearing unfinished. II. In the story of “ The Third Young Master of A-Zhao-Wu”, the author personalizes the fictitious things in order to make the serious background more relaxed. This original fantasy successfully displays the main character, Xian-tang Lin’s youth years. He is the pioneer in his time; advocates the ethnic movement; and supports the education. He devotes all his life to the family, to the country, even to the world. He is the model of all the Taiwanese with the “ admired identity.” Moreover, with his highly self-conscious, Tong Li uses the multiplicate narratives adequately in this story. III. In the story” The Wild Guy of Tou-cheng”, the main character is a lonely guy, who devotes himself to the writing career for sixty years. Because of his solitude and being seldom known, the author can exaggeratedly use the fictional skills without abruptness. This writer of Tou-cheng is Rong-chun Li, who is one of the chief writers of Taiwan after the World War II. In order to fulfill his dream about literature, he leaves his child wife and the stable teaching job. In order to seek the creativity and muse, he joins the World War II. In order to develop the physical strength, he exercises with naked at the beach of Tou-cheng. That is why the people calls him “Wild Guy.” He is lonely for all his life and all his acquaintances despise his decadence. However, such a “sympathized identity” person is contented with creative writing. Moreover, his passion on writing gives us the opportunity to rethink our pursuit and emphasis on art. Nevertheless, the dual narrative Tong Li uses makes the focus indistinct and the text long-winded. Besides, the conjecture of ending is needed to be reconsidered if it is reasonable under the “magical realism.” Keywords: biography, historical novel, character inscribing, writing skills, Tong Li