bluuebunny/crossref_metadata_2025_split huggingface dataset:
道教鎮魂儀式視野下的《封神演義》的一側面
Authors: 田仲 一成 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
小説《封神演義》，常常被編爲戲曲，也在戲臺上演出。尤其是在江西、湖南、四川等徽州商人或江西商人的商圈之内，與《岳飛精忠傳》、《觀音出身傳》、《西遊記》等一起，跟《目連救母劇》配合而作爲其開路性戲曲演出的機會實在不少。其原因在哪裏？其實，這《封神演義》之中，許多陣亡英雄被引魂使者柏鑑招引到封神臺，最後由主角姜子牙授予天界的地位而被安慰其怨恨。這種宗教救濟（鎮魂儀式）跟《目連救母劇》中許多孤魂冤鬼被目連尊者安慰而超升到天界的結構極爲相似。因此横溢道教思想的這篇神魔小説得到配合在以佛教爲主的目連戲一起演出。本文依靠四川目連戲的例子研討其具體的演出情況。
The novel Investiture of God Status was often adapted as a drama and performed on stage. This was especially the case among the circles of merchants from Huizhou or Jiangxi in Jiangxi, Hu’nan, Sichuan, etc. Along with other novels, such as Yue Fei the Patriot, The Devotion of Guanyin and Journey to the West, it was always combined with A Play on Mulian Saving His Mother and became new drama performed on stage. What was the reason for this phenomenon? In fact, in Investiture of God Status the spirits of many heroes who died in battles were summoned by Bojian to the Terrace of Investiture of God Status, where Jiang Ziya pacified their grievances by granting them status in the realm of heaven. This kind of religious salvation (rituals of pacifying spirits) shares significant similarities with the repertoire structure in plays of “Mulian saving his mother,” in which many forlorn spirits and wronged ghosts are consoled by Saint Mulian and thereby transcend to heaven. Hence Investiture of God Status, a novel about gods and demons which carries rich Daoist thought, became a counterpart of the Buddhist-orientated plays about Mulian and was performed at the same time. The present essay discusses its performances based on the examples from Sichuan province.
港大“中國經學”課程之退場———一個東亞視域的考察
Authors: 金 培懿 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
本文立足於先行研究成果，進而從一個相對廣域的東亞視野來考察1934年以還，始於胡適，歷經陳受頤、容肇祖，完成於許地山的港大中文系改革事業之緣起原委、發展經過、造成之結果及其可能意涵。全文主要討論兩大議題，一是將港大中文系之改革，視爲中國新文化思潮、文學革命之一環，重新分析胡適主持計劃改革港大中文系這一事業的性質爲何？二是將港大中文系改革之兩大結果，亦即區分中國文史學系爲“哲學”、“史學”、“文學”、“普通文學”四部，以及將“經學”自港大中文教育退場一事，置於東亞之近代新式大學課程如何編派舊學的發展脈絡中，以思考其間所展現出的共同樣態。本文以爲港大中文教育之改革，其實並非只是一個大學内部單純的“課程”架構問題，我們應該將之納入民國初年以來胡適所從事的“文學革命”之一環來加以認識。又“經學”自港大中文完全退場，不僅是在英國人意想之外，也在中國内地“中文教學變動潮流”之外，筆者因此判斷胡適、許地山的港大中文學院改革發想源頭，恐在“域外”。而據本文考察我們得以合理推測：港大中國文史學系“中國經學”課程的退場，確實存在著隱而不宣的“日本因素”。
This article bases on the East Asian horizon to explore the origin, process, result and meaning of the reformation in Department of Chinese in the University of Hong Kong (HKU), which was begun by Hu Shih from 1934, developed by Chen Shou-yi, Yung Zhao-zu, and finished by Xu Di-shan. Firstly, I see the reformation in Department of Chinese in HKU as a part of “new culture trend” and the revolution in literature in China and reanalyze the properties of Hu Shih’s plan for the reformation in Department of Chinese in HKU. Secondly, I put the result of the the reformation in Department of Chinese in HKU, that to separate Department of Chinese Literature And History as four parts: philosophy, history, literature and common literature, and to let Chinese Classics course exited from the Chinese education in HKU, into the context of the development of new course in modern East Asian universities. Therefore, I think that the reformation in Department of Chinese in HKU was not a matter about courses in universities but a part of the revolution in literature in China which related with Hu Shih. And the exit of Chinese Classics Course in HKU was not only unexpected for British but also out of the change of Chinese education in China. Through this study, I think that the origin of this reformation was in foreign. And there was invisible factors about Japan related with the exit of Chinese Classics Course in HKU.
園林與隱逸———六朝文學之新思考
Authors: 王 力堅 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
園林是六朝一個普遍的文化現象；隱逸是六朝一個普遍的社會現象；而六朝衆多的寫景詩、文、賦中，園林更是一個常見的描寫對象，以致形成園林文學的類型。事實上，園林、隱逸、園林文學，三者之間的關係密不可分———園林，是士人隱逸思想及相關文學創作的文化載體；士人的隱逸思想，既是園林興起的主要原因，也往往借助園林得以滋長及呈現；園林文化以及借助園林滋長與呈現的士人隱逸思想訴諸筆墨，便形成了六朝興盛一時的園林文學。六朝文人希冀通過園林這一文化載體，以達到避塵世、脫世俗、寄情於山水、嚮往原始自然生活狀態的理想境界，從而獲得心靈的恬靜安適。而這一切，在六朝的園林文學中得到頗爲充分的表現。
Seclusion is socially common, while gardening is culturally common in the Six Dynasties. In many of the scenery descriptive poems, gardens are the objects usually portrayed, thus formed the style of gardening literature. In fact, seclusion, gardens and gardening literature are closely related to each other. Garden is the cultural carrier of seclusion ideology and is related to literature creation; the seclusion ideology generates the popularity of gardens, and in the same time develops and presents through gardening. When seclusion ideology evolves by gardens is converted to writings, it commences the prosperity of gardening literature in the Six Dynasties. Through the gardens as cultural carrier, the literati in the Six Dynasties expect to live a sequestered life, place their feelings in landscapes and wildness by living in a natural and ideal way, so as to preserve their individuality and refine their spirit. All these embody utterly in the gardening literature of the Six Dynasties.
鄒穎文：《香港古典詩文集經眼録》
Authors: 陳 子康 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese only.
目前主流的香港文學硏究，很少留意古典詩文，連基本文獻搜集和資料整理也十分欠缺。借一位本地文人的話說，“至今之撰香港文學史者，但知有白話散文、小說、新詩、戲劇而已，於古典詩文並其作者隻字不道”。1以詩歌爲例，文學史大多限於五四運動後興起的白話新詩。2其實香港自開埠以來，古典文學（尤其是詩詞）創作從未間斷。(撮要取自內文首段)
自我呈現與他人形塑———湯貽汾《吟釵圖》詩卷題詠析論
Authors: 卓 清芬 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
清代詩畫家湯貽汾（1778—1853）爲記憶親情、感念母德，繪製《吟釵圖》，録母親楊氏（1752—1812）《斷釵吟》七絕二首於其上，遍徵題詠。是時和詩與題畫者甚衆，爲道光、咸豐之間的一大盛事，後輯成《斷釵吟》四卷出版。
本文從楊氏《斷釵吟》口占二首與湯貽汾之和詩談起，説明《斷釵吟》徵詩活動與《吟釵圖》的産生，並整理《斷釵吟》的題詠社群。題詠者多從湯貽汾的人際關係延伸而來，而閨秀的家族題詠亦爲一大特色。從楊氏《斷釵吟》的自述，可以了解清代女性的自我觀看和自我呈現的側重點，另由他人題詠作品的切入角度，可以觀察題詠者對《吟釵圖》的觀看視角和性别形塑。
《吟釵圖》的詩卷題詠，不僅肯定了女性“才”、“德”並立的典範意義，也彰顯了忠義節孝的價值觀，在當時具有一定的影響力。
The poet and painter of the Qing Dynasty, Tang Yifen (1778-1853), created a painting entitled “Eulogy on a Hairpin” as commemoration and gratitude for his mother. He inscribed two hepta-syllabic quatrains, “Eulogies on a Broken Hairpin,” created by his mother, Nee Yang (1752-1812), on the painting, and called for poetry inscriptions. During the reigns of Emperors Daoguang and Xianfeng, it was popular to write accompanying poetry and inscribe poems on a painting. Afterwards, his works were collected in four fascicles under the title “Eulogies on a Broken Hairpin” for publication.
The present study focuses on two improvised “Eulogies on a Broken Hairpin” by Nee Yang and their accompanying poems by Tang Yifen as a point of departure for the discussion of the backgrounds of the call for poetry contributions to “Eulogies on a Broken Hairpin” and the birth of the painting “Eulogy on a Hairpin.” It also summarizes the communities for inscribing poems on “Eulogies on a Broken Hairpin.” The poets inscribing poems on “Eulogies on a Broken Hairpin” were mainly friends and associates of Tang Yifen. These poems feature a style of clan eulogies created by talented women from eminent families. The self-descriptions of Nee Yang in her “Eulogies on a Broken Hairpin” reveal the focuses of self-perspective and self-presentation of women in the Qing Dynasty. Moreover, from a different perspective one may observe the viewing angle and gender shaping by other poets inscribing poems on the painting “Eulogy on a Hairpin.”
The poetry inscriptions on the painting “Eulogy on a Hairpin” not only affirmed women’s “talent” and “virtue,” but also accentuated the values of loyalty and filial piety, which made a certain impact at the time.
文學中的歷史與現實
Authors: 莫 言 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese only.
小説中的歷史是大部分作家都面臨著的課題，每個作家寫的都是自己心目中的歷史。任何歷史的書寫其實都站在當下的立場上，用當代的視野與作者主觀的眼光來回顧與創造，試圖還原歷史中的場面和細節。而以歷史作爲寫作題材的作家奮鬥目標之一，就是通過這些還原，寫出與當下不一樣的故事。(撮要取自內文首段)
王陽明在“南宗聖地”衢州行迹考
Authors: 周 紀煥 , 周 心逸 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
衢州的歷史文化積澱深厚。建炎三年（1129），孔子四十八世嫡長孫、衍聖公孔端友扈蹕南渡，賜家衢州，衢州遂成爲“南宗聖地”，是儒學傳承和發展的重鎮。衢州具有“四省通衢”的地理便利和交通優勢，是王陽明從故鄉與閩贛粵黔桂等地往來不可逾越的重要驛站。根據王陽明著作、年譜及衢州有關方志，並結合明代浙閩、浙贛驛道情况的考察，王陽明先後八次經行衢州。通過對其青年時赴謫龍場、壯年獻俘北上和晚年出征思田在衢州活動形迹的重點考辨，有諸多重要發現，如他先後于正德二年秋、正德三年正月兩次抵達衢州，游歷了衢州府城內的大中祥符寺和龍游的舍利寺，駐足常山草坪驛，還原了他由武夷抵廣信，經衢州而歸越，南京省父返杭後徑赴龍場驛的路綫圖。這爲他的事功發展和良知思想傳播增添了重要的“南宗聖地”元素，又日益擴大了他在衢州士民中的影響力，出現了遍及全域五個屬邑、人數衆多的陽明弟子群，加速了其心學思想在三衢大地的廣泛傳播，賦予衢州更加厚重的歷史文化內涵。
Quzhou is a city of rich historical culture. In the third year of the Jianyan reign-period of the Song dynasty (1129), Duke Yansheng, Kong Duanyou, who ranked the first in his generation among those descended 48 generations from Confucius, was in the entourage of the emperor on his move to the south. Kong was then given a residence in Quzhou, which thereafter became “the holy land of the southern school of Confucianism” and an important locale for the inheritance and development of the study of Confucianism. Quzhou has the advantage of being a convenient location for transportation. There was an important post office functioning as a hub between Wang Yangming’s (1472-1529) hometown and some main provinces, namely, Fujian, Jiangxi, Guizhou, Guangdong, and Guangxi. According to the works of Wang, his chronologies, local gazetteers of Quzhou, Zhejiang, and Fujian, and the postage routes in Zhejiang and Jiangxi in the Ming era, Wang passed by Quzhou eight times. Examinations of his relegation to Longchang in his young age, service as a hostage to the north in his middle age, and an expedition to Sitian, with a focus on his activities in Quzhou yield many important discoveries. For example, we are able to reconstruct the itinerary of his two visits to Quzhou in the autumn of 1507 and the beginning of 1508 by looking into his visit to the Dazhong xiangfu Monastery in Quzhou, the S’arīra Monastery in Longyou, and the Caoping post office in Changshan. On this trip, he passed by Quzhou on his way back to the Yue region; before heading for the Longchang post station he also reached Hangzhou after visiting his father in Nanjing. These journeys added an important element of “the South Holy Land of Confucianism” to his deeds as well as his philosophical theory of Conscience. They also helped in gradually exerting his influence among scholars and commoners of Quzhou, resulting in the formation of a big school of Yangming disciples who were found in all the five suburbs. Therefore, the dissemination of his philosophy was sped up and widespread; Quzhou was thus endowed with more elements of history and culture.
論《唐詩別裁集》的“諸體兼善”說
Authors: 陳 美朱 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
沈德潛在《唐詩別裁集·凡例》曾提出：“唐人詩，無論大家名家，不能諸體兼善”的論點，並以杜甫絕句少唱歎之音，韋應物不善七言，劉禹錫不工古詩，韓愈不專近體作爲例證。以上論點並見於《別裁集》初刻本與重訂本，並未因《別裁集》的重訂而有所調整，堪稱是沈德潛一以貫之的詩學論點。
但在深入檢視《別裁集》的選詩内容後發現，初刻本中各種詩體都被選録的詩家高達10人，重訂本也有9人之多。可見唐代詩家若真如沈德潛所謂“無論大家名家，不能諸體兼善”，然則選本中高達十位詩家“諸體兼選”的現象，不免令人生疑。此外，結合卷前凡例與相關評語，可發現沈德潛對於唐代詩人王維的各體詩作，均未有負面評論，但若以王維爲《別裁集》中“諸體兼善”之代表，何以王維在《別裁集》的選詩總數低於杜甫、李白？再者，“諸體兼善”與杜甫的“集大成”的稱譽又有何不同？本文透過“諸體兼善”說，重新檢視這本在清代深具影響力的唐詩選本，除了釐清以上問題外，也期能對王維在“以李、杜爲宗”的《別裁集》所呈現的樣貌，以及沈德潛對王維詩歌的評價，進行全面性的考察與詮釋。
In the “General Rubrics” of his Tangshi biecai ji, Shen Deqian (1673-1969) states that “no Tang poet, even a prominent one, was proficient in all poetic (shi) forms.” To support this statement, Shen gives examples such as Du Fu (712-770), Wei Yingwu (737-792), Liu Yuxi (772-842), and Han Yu (768-824), who were respectively not good at writing quatrains, hepta- syllabic verse, ancient-style verse, and recent-style verse. This viewpoint is consistently found in the first print of this anthology and remained intact in the revised edition.
A careful examination of the anthology, however, reveals some ambivalence. In the first print, there are up to ten poets whose works in all poetic forms are anthologized; in the revised edition there are nine such cases. One cannot help but cast doubt on Shen’s view that “no Tang poet was proficient in all poetic forms.” Moreover, based on the “General Rubrics” and other remarks in his book, Shen makes no negative comments on Wang Wei’s compositions in all poetic forms. Then why did Shen anthologize fewer poems by Wang Wei than those by Du Fu and Li Bai (701-762)? In addition, what is the difference between “proficiency in all poetic forms” and “convergence of great perfection,” a common praise of Du Fu’s poetic achievement?
This paper focuses on the theory of “proficiency in all poetic forms” in its discussion of this influential anthology. In addition, it also conducts a comprehensive examination and commentary on the image of Wang Wei as presented in the anthology, which takes Li Bai and Du Fu as models.
間架的美感：試探長調過片的抒情類型與表現
Authors: 余 佳韻 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
本文從詞調著眼，探討長調過片的抒情類型與表現。首先釐清“過片”與“换頭”兩者之内涵。以爲宋代的“换頭”爲音樂術語，“過片”則與文意結構相涉，皆指向下片開頭處。至明清以降則多以“换頭”稱之。其次，過片的抒情形態取決於詞調的屬性，詞調的過片類型依據情感收束性的有無可分爲環狀結構與綫性結構兩種。前者指過片處對上片情感進行整合、收束，或轉折，形成跌宕頓挫的美感。後者的過片往往打破上下片的界分，成爲一流貫的叙事語脈。這也是長調發展至南宋以後，爲迎合不同抒情場域的需要所發展而成的新抒情樣態。希冀藉由本文的討論，初步梳理過片結構與抒情方式的關係。
Focusing on the tunes of ci-poetry, this article is an attempt to analyze the lyrical types and expressions of the beginning of the second stanza of a poem (guopian 過片) in long tunes (changdiao 長調). The first task is to give a clear definition to guopian. In the Song dynasty, the term referred to the first phrase or paragraph of the second stanza of a ci-poem. Since the Ming and Qing dynasties, however, guopian was instead called “change of the head” (huantou 換頭). In addition, the lyrical type of a guopian was determined by the attributes of the tune-title. According to the manner of emotional expression, the structure of a guopian can be divided into two categories, namely loop structure and linear structure. The former refers to the guopian that functions as integration, condensation, or transition of the emotion expressed in the preceding stanza. It forms a kind of aesthetic effect of fluent rhythms. The latter, linear structure, refers to one that usually divides the two stanzas in a poem and thereby forms a coherent narrative flow. This was a new mode of changdiao poems in the Southern Song, which catered to the needs of the different milieus of lyricism.
丁茶山政治思想中的契約論特色
Authors: 蔡 振豐 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
十九世紀的東亞世界在面對西方勢力的入侵時，提出了“中體西用”、“東道西器”與“和魂洋才”的説法，然而只有日本的“和魂洋才”之説，推進了社會的改革，而取得成功。雖然大部分的學者認爲日本所以成功的原因在於揚棄儒教獨尊思想及其體用哲學。然而東亞的知識分子並未放棄傳統的思想，而持續摸索具有東亞特色的人文學與社會科學的理論。對於崇尚西學的現代東亞知識分子而言，東亞儒教文化最欠缺的是面對現實處境的理論，因而在重覆性的論點下，難有理論的發展。然而，實情是否如此？基於這個問題，本文嘗試討論朝鮮丁茶山（1762—1836）政治思想中可能的理論發展，由此説明其思想在儒學上的創新，以及與現代性思想的關聯。本文的結論以爲：丁茶山以“二人相與”説詮釋“仁”的意義，其論點可以與西方的社會契約論相連繫，在當時的儒學環境具有調整、創新的意義，在未來也有發展的可能性。由於儒學在當今已經不再具有過去東亞政治傳統的權威性，如果它不能轉變爲具有理論活力的學説，則其地位將岌岌可危，由此而言，丁茶山儒學中的契約論特色，將是東亞儒學發展中值得珍視的傳統資源。
In response to the invasion of Western forces in the 19th century, reformers advocated three theories, of which only the one termed “Japanese spirit and Western techniques” succeeded in social reform in Japan. The other two, “Chinese essence and Western practice” and “Eastern values and Western technology” respectively, failed in other East Asian countries. Most scholars ascribe Japan’s success to the abandonment of Confucianism along with its substance-function philosophy. However, East Asian intellectuals did not abandon traditional thought but continued searching for humanities and social science theories with East Asian characteristics. For intellectuals who revered Western learning, the greatest deficiency of Confucian culture in East Asia was the lack of theories that would tackle practical problems. For this reason, they assumed, hardly any progress could be made as long as the old theories persisted. Is this really the case? This paper is an attempt to study the possible development of Jeong Dasan’s (1762-1836) political theory and to reveal his innovation of Confucianism and its connection with modern philosophy. It argues that Jeong’s idea that “‘humanity ’requires two persons to stay together” (as understood in the structure of the Chinese character ren 仁, which is made up of “two” and “person”) may be compared with social contract theory from the West and therefore has the function of moderating and improving the Confucianism of his time and the possibility of future development. Given Confucianism’s loss of authority in the contemporary world compared with past East Asian political traditions, it will be in jeopardy if there is no transformation and revival of its philosophy. In this crisis, social contract theory in Jeong Dasan’s political thought is a valuable resource for East Asian Confucianism.
高樓與商場：可洛、陳志華、韓麗珠的超密度城市空間書寫
Authors: 鄒 文律 
Published: November 2022

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
自從西西《我城》（1975）出版以來，以香港城市空間爲想象起點的作品漸次出現，當中不少出於“後九七香港青年作家”之手。他們的創作風格多元，但自覺地以小説書寫1997年以後的香港城市空間，或從城市空間生發各種文學想象的取向，幾無二致。本文聚焦於三位“後九七香港青年作家”：可洛、陳志華，韓麗珠，以他們小説的城市空間想象爲切人點，考察他們筆下的超密度城市空間。本文發掘小説呈現的香港城市空間特色一一首先是資本塑造而成的超密度，其次是全面商場化的空間運用。通過闡釋“後九七香港青年作家”構築的各種文字城市（“O城”“幻城”“H地”），本文繼而探討小説如何展現青年作家對香港的憂思，以及作家如何嘗試通過召唤想象力來重塑城市空間。
Ever since Xixi’s My City was published in 1975, literary works inspired by the topic of “Hong Kong City Space” have gradually increased. Most of these are written by post-1997 young Hong Kong novelists. Despite their diverse and creative writing styles, these novelists share a common theme in their writings, i.e., the city space in Hong Kong. Based on the hyper density cities described in O City by Chan Chi-wa, Phantomcity by Ho Lok, and Area H by Hon Lai-chu, this article aims to elucidate the characteristics of Hong Kong city spaces and how they have been shaped by capital-driven hyper density and mall-like space application. It also discusses how the novelists’ melancholy feelings towards the city of post-1997 Hong Kong are manifested in their writings and how they use their imaginations to reshape the city space of Hong Kong.
Constitutional regulation of civil marriage in Israel
Authors: Gal Amir 
Published: November 2022

The purpose of this paper is to review the history of the constitutional regulation of marriage and divorce in British mandate Palestine and the state of Israel from 1918 on. Israel was subject to British rule (mostly under a mandate of the League of Nations) from 1918 to 1948, and was called Palestine at the time. In 1948 some of this territory claimed its sovereignty as an independent state called Israel. The paper will highlight the different constitutional norms and procedures that govern the field of family law in British mandate Palestine and the state of Israel from the beginning of the British mandate to this day.
The paper is based upon historic scrutiny of the legislation of British Palestine and the state of Israel in the field of family law, analyzing the law in accordance with the historic developments in the region. The results of this scrutiny are that from 1948 to the third decade of the 21st century, the Israeli legislator has repeatedly acted to prevent the constitutional regulation of civil marriage, preserving the archaic millet system, an Ottoman system of marriage within religious communities, that was the basis of the British mandate’s regulation of marriage and divorce in Palestine. But as much as the original millet arrangement was enacted by the British as a voluntary system, it was given new and compulsory features by the Israeli legislator, all the while avoiding a comprehensive constitutional regulation of Israeli family law.
The paper concludes that a constitutional regulation of civil marriage is probably not possible in Israel, due to the political inability to reach an agreement between religious and secular Jews in Israel. But this did not prevent the Israeli legislature from fundamentally changing the British mandate constitutional arrangement, leaving behind a patchwork of improvised legislation that violates the basic civil rights of Israeli citizens.
Documenting and Conserving Modern Architectural Heritage: Çağlayan Apartment Building İzmir-Karşiyaka
Authors: Nakip Gizem Güler , Ballice Gülnur , Paykoç Özçelik Eda , Akçam İrem Deniz 
Published: November 2022

Abstract
The conservation and transferring of cultural heritage to future generations have been facilitated by the increasing development of digital modeling and architectural visualization software. With the help of a virtual environment, heritage data can be archived more permanently and accessed by numerous users. This paper aims to put forward how heritage from a certain period can be documented, analyzed, and transferred using different digital techniques. Additionally, it claims that as a method, digital documentation is a practice that also contributes to different areas including culture, education, and tourism. Within the scope of this paper, Çağlayan Apartment Building from Karşıyaka, İzmir was selected as a case study for applying the digital documentation method. The methodology of the research comprises the following steps: literature review, on-site observation, identification of the period, area and specific case(s), photo shooting, having measured drawings, archive scanning, oral history studies, 2D architectural drawings in CAD medium, 3D modeling/rendering, illustration and poster preparation, website, e-catalog, and social media designs. In conclusion, it has been revealed that digital documentation of modern architectural heritage including interior elements has a positive impact on three interrelated areas: cultural sustainability, educational activities, and touristic popularity.
The Aesthetics of the Spectral and the Permanent Crisis in Tsai Ming-liang’s Art
Authors: Markója Csilla 
Published: November 2022

Abstract
This paper focuses on the motif of permanent crisis and the “ghost” in Tsai Ming-liang’s art through a close analysis of films such as I Don’t Want to Sleep Alone (Hei yan quan, 2006), What Time Is It There? (Ni na bian ji dian, 2001), Vive l’amour (Ai qing wan sui, 1994), The Skywalk is Gone (Tian qiao bu jian le, 2002), The Hole (Dong, 1998), and the relevant discourse of Jacques Derrida and Gayatri Chakravorty Spivak, pointing out new, previously undiscussed connections between What Time Is It There? and François Truffaut’s The 400 Blows (Les quatre cents coups, 1959). The aesthetics of the spectral is presented as a possible way of approaching films that not only reckon with the increasing immaterialization of the medium in the digital age, but also extend this to understand and represent new qualities of human relationships and existence in the world, using the motif of the ghost as an allegory of the medium and a “haunting” of traditional cinematic plot organization and narrative.
Optimal High Pass FIR Filter Based on Adaptive Systematic Cuckoo Search Algorithm
Authors: Bansal Puneet , Gill Sandeep Singh 
Published: November 2022

AbstractThis paper presents the design of a desired linear phase digital Finite Impulse Response (FIR) High Pass (HP) filter based on Adaptive Systematic Cuckoo Search Algorithm (ACSA). The deviation, or error from the desired response, is assessed along with the stop-band and pass-band attenuation of the filter. The Cuckoo Search algorithm (CS) is used to avoid local minima because the error surface is typically non-differentiable, nonlinear, and multimodal. The ACSA is applied to the minimax criterion (L∞-norm) based error fitness function, which offers a better equiripple response for passband and stopband, high stopband attenuation, and rapid convergence for the developed optimal HP FIR filter algorithm. The simulation findings demonstrate that when compared to the Parks McClellan (PM), Particle Swarm Optimization (PSO), CRazy Particle Swarm Optimization (CRPSO), and Cuckoo Search algorithms, the proposed HP FIR filter employing ACSA leads to better solutions.