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本文以北朝戰爭書寫為題。記錄北朝戰爭的大多是正史等歷史文獻,這些並非全然客觀中立的書寫,而是包含官方意識形態、史家個人情懷等因素;甚至一些看似「客觀」的記錄,如兵力數字、氣候、地理,其實也有可能經過了史家有意的再創造。本文嘗試對歷史文本做進一步發掘,分析文本的內外關聯,如影響戰爭書寫的政治文化力量、史學內部傳統等,從而從側面增進對於古代戰爭的認識。 ; 本文匯集一些個案研究,分別討論北朝幾次戰爭記錄中的兵力數字、北周開國君主形象、北朝勝利和失敗的武將的書寫方式、胡族戰略戰術分析,以及記錄李淵建唐的《大唐創業起居注》等。 ; 本文嘗試指出,北朝戰爭書寫最為突出的特點,可歸結為「去胡化」,或者「由胡入漢」:北朝諸政權大多是胡族政權,但在東魏北齊以及唐初的史家筆下,這些北朝胡族政權的君主、將士,胡族色彩並不濃重,反而大多蒙上一層漢族文化的面紗;胡人的戰略戰術、戰爭過程的記錄都接近漢人的傳統方式。 ; This dissertation discusses the writing of warfare in the Northern Dynasties, Medieval China. Most of the records on the warfare are from official histories written in Northern Qi (550-577) and Tang Dynasty (618-907). These records, however, are under the influence of political and cultural powers, such as political struggles and orthodoxy. Even some of so called objective description, such as records of the place, time, figure and climate may be kind of recreation of the writers. This dissertation tries to analyze context of these records, including their political and cultural background, along with the development of historiography and other writing traditions. ; This dissertation is made up of several case studies, discussing respectively figures in battle, adventure of Yuwen Tai (the leader of the military group in Western Wei), the image of generals in the Northern Dynasties, the description of strategy and tactics of nomad people, and the historical record of Li Yuan, founder of Tang Dynasty. The principal conclusion is that in the official histories historians descript nomad people in traditional Chinese way. Sinicization of the nomad people is the most important characteristics of the writing of warfare in Northern Dynasties: the nomad leaders and generals are close to Chinese emperors and generals, the nomadic way of war is replaced by the Chinese way. ; Detailed summary in vernacular field only. ; Detailed summary in vernacular field only. ; Detailed summary in vernacular field only. ; 雷仕偉. ; Parallel title from added title page. ; Thesis (Ph.D.) Chinese University of Hong Kong, 2015. ; Includes ...

本論文選取畫家符羅飛(1897-1971)進行研究,旨在通過文字及圖像史料復原這一被視作"歷史失蹤者的藝術家個案,並將其放在20 世紀中國藝術與革命互動關係的語境中進行考察。文章依據時序及符羅飛活動地點與内容的變化,分爲五個章節,結合文獻考據、視覺分析及藝術社會學等研究方法,分別探討他於20 世紀20 至60 年代在上海、意大利、香港及華南等地的藝術創作與社會活動,並著重觀察這位以藝術積極投入社會革命、且擁有明確政治信仰的畫家及其代表的群體,是如何通過主動轉變藝術面貌,從而與20 世紀中國社會的大變動連成一體。本文認爲:符羅飛於抗戰期間攜傾向古典寫實的那不勒斯畫派畫風及自創的水墨寫生歸國,但其藝術救國活動最初並未達至理想效果;直到40 年代中期才在通過不斷地寫生、辦展,逐漸吸收國統區漫畫與木刻中流行的德國表現主義元素,脫胎出具有強烈視覺刺激和道德感召力、又符合中共革命訴求的代表性藝術面貌,在特定的政治人群中得到廣泛承認,在此過程中輿論因素的影響不可忽視;同時,他的彩墨實驗等游離於政治目標之外的藝術活動打破了"革命畫家"的刻板印象;而他在政權鼎革後因未能適應高度一元化的藝壇新秩序而湮沒於混亂時世的最終命運,又折射出五四以來自由知識分子傳統與中共黨文化之間不可調和的矛盾。 ; This thesis is a monographic study on the artist Fu Luofei (1897-1971), aiming to reconstruct his life and art with textual and visual historical materials, with focus on the interaction between art and revolution in the twentieth-century China. The five chapters of this thesis examine Fu's artistic and social activities in Shanghai, Italy, Hong Kong and South China from the 1920s to 1960s chronologically, and mainly investigate how this artist, who had definite political belief and was willing to devote his art to social revolution, involved in and acted on the transformation of Chinese society in the twentieth century through continuously transforming his artistic styles. ; As this study demonstrates, Fu brought back from Italy the representational painting style of the Neapolitan School and the achievement of his ink experiment in the late 1930s. However, his attempt on "saving the nation by art" did not succeed until mid-1940s. At that time, Fu established his signature style by absorbing the visual elements of German Expressionist paintings, one of the prevailing styles for cartoons and woodcut prints in the Kuomintang ruled areas. His signature style, which was strong in visual stimulation as well as in moral and emotional appeal, was developed through unceasing exchanges with the leftist critics and echoed with the political demand of the Chinese Communist Party. Meanwhile, as is rarely known, Fu also painted in the form of traditional guohua (Chinese national painting), ...

本文擬以西方「軍事革命」理論的角度,探討萬曆朝鮮戰爭時期,明軍薊鎮部隊的作戰表現。戚繼光「軍事革命」獨特之處在於,除訓練單兵作戰技巧外,亦重視部隊戰術隊型、協同作戰及指揮系統。從對抗倭寇時的步兵鴛鴦陣開始,至薊鎮抗虜時發展出步兵、騎兵、車兵、炮兵的協同作戰,是戚繼光「軍事革命」的主要元素。「戚家軍」戰鬥力之強勁,即根源於此。得益於戚繼光「軍事革命」的薊鎮部隊,是當時被成為「南兵」的主要部隊之一,在朝鮮戰場上更大放異彩,作戰表現遠勝明軍中的北兵。 ; This thesis studies the performance of the Jizhen(薊鎮) Army during the Korean War (1592-1598) from the perspective of the "Military Revolution" theory. It argues that the Qi Jigunag revolutionized the training of the Ming army by focusing more on tactical formation, on coordination among different forces, on improving the commanding system, and also on more practical and united training of soldiers. As a result, the Ming army from Jizhen, also known as "the Southern Army", trained by the Qi Jiguang model, excelled in the Korean theatre by their military prowess and their good discipline and distinguished themselves from the more unruly and less competent Ming forces from the Northeast. ; Detailed summary in vernacular field only. ; 葉家銘. ; Parallel title from English abstract. ; Thesis (M.Phil.) Chinese University of Hong Kong, 2015. ; Includes bibliographical references (leaves 95-99). ; Abstracts also in English. ; Ye Jiaming.