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Journal articles on the topic '藝術'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

YANG, Xiao Ling. "Review on the Recent Development of Rhythmic Gymnastics in China." Asian Journal of Physical Education & Recreation 7, no. 1 (June 1, 2001): 31–34. http://dx.doi.org/10.24112/ajper.71250.

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LANGUAGE NOTE | Document text in Chinese; abstract also in English.There have published over 300 theses on rhythmic gymnastics between 1980 and 2000. These papers can be roughly classified into three sessions, namely, the general basic theory, training, and teaching. In the process of the above analysis, a thorough review of the current studies are pointed out; and finally significance and necessity are figured out for such humanistic subjects as sociology to benefit a profound research of rhythmic gymnastics. This paper may serve a basis for further study regarding rhythmic gymnastics.通過研讀我國有關藝術體操科研論文，將自1980年至2000年5月共三百餘篇文獻，按藝術體操的基本理論、訓練學，以及敎學等方面的主要成果進行分類和歸納，總結我國藝術體操發展20年來的科研狀況，以提供當前藝術體操研究成果和方向等信息，分析指出其中的不足之處，最後提出社會學等人文科學滲入藝術體操研究的意義和必要，以期促進藝術體操研究上一個新臺階。自1978年我國在國際體聯恢復了合法席位之後，藝術體操在我國廣泛開展，其理論研究從最初的一般性介紹到其健身功能、美學意義的闡釋，直至今天的高水平訓練方法以及運動生理、心理、生化、力學等方面的運用研究、已逐漸形成了較為完整的體系。

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Jo MinHwan. "東洋藝術에서의 道와 藝의 關係性." Journal of Eastern Philosophy ll, no. 77 (February 2014): 283–315. http://dx.doi.org/10.17299/tsep..77.201402.283.

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CHENG, Guobin. "醫在天官: 中國古代醫學的知識論地位及其與道德的關係." International Journal of Chinese & Comparative Philosophy of Medicine 11, no. 1 (January 1, 2013): 79–102. http://dx.doi.org/10.24112/ijccpm.111532.

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LANGUAGE NOTE | Document text in Chinese; abstract also in English.在中國古典知識論當中，醫學（以及所有的技藝之學）與先王之法、諸子之藝本為一體，後世所謂“醫儒相通”、“醫易相通”之說源起於此。但知識論上的共同起源並不能保證醫學在歷史流變中能夠保持其地位，經過春秋時期諸子興起、學術分裂，和《漢書．藝文志》對古典知識體系進行的分類排列，醫學的知識論地位及醫者的社會地位便一路下行，諸子，尤其是儒學與技藝之學的高下、先後、體用次第關係逐漸被固定下來。到宋代援儒入醫，以“仁術”統攝之，在某種意義上進一步貶低了醫學作為技藝之學這一維度，將其落實為幫助儒家實現“仁”之價值目標的工具。經過這一知識論分裂和儒學反身侵入的知識學改造，醫學知識內部的“目的之善”與“技藝之善”的割裂也隨之加劇，再也不能回歸到原始醫家熔融自在的自然純樸狀態。所以，想要超越今天西方因為天人二分、醫學技術與道德分離等問題而形成的倫理難題與道德困境，建構一種有效的“中國醫學倫理學”，恐怕不能用“天人合一”、“醫儒相通”等大而化之的概念輕易穿越，還有大量艱苦的工作需要一步步的來完成。This essay offers a genealogy of medical epistemology in ancient China, which, unfortunately, lost its independent status after the Song Dynasty, when Confucian morality became the dominant discourse in all disciplines, including medicine. The author challenges the common view held by Confucian scholars that medicine does not constitute a self-contained domain of activity with its own morality and ethics, because it is seen as a realm of “applied ethics.” This view makes medicine, medical techniques, and medical ethics instruments for the embodiment and actualization of the Confucian virtue of benevolence (ren), but undermines the complexity of medicine and medical practice.It is concluded that the moralization of medicine can be a dangerous practice. It is equally dangerous when ancient Chinese ideas such as “the unity of heaven and humanity” (tianren heyi) and “mutual identification between medicine and Confucianism” (yiru xiangtong) are used to explain and resolve contemporary problems without qualification.DOWNLOAD HISTORY | This article has been downloaded 557 times in Digital Commons before migrating into this platform.

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王德勝 and seo hee jung. "“예술심미(藝術審美)”의 가치적 한계에 관한 시론." Humanities and Art ll, no. 5 (December 2018): 1–16. http://dx.doi.org/10.35442/hna.2018..5.1.

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5

염호택. "王陽明의 藝術世界에 대한 硏究." Studies in Philosophy East-West ll, no. 59 (March 2011): 277–99. http://dx.doi.org/10.15841/kspew..59.201103.277.

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Cho Mi-Yeon. "歌唱藝術의 시각에서 바라본 중국 古代詩學." Journal of Chinese Cultural Studies ll, no. 13 (December 2008): 67–81. http://dx.doi.org/10.18212/cccs.2008..13.004.

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EDGINTON, Christopher R., and John S. C. LI. "Building a Global Community: Camp Adventure in the People's Republic of China." Asian Journal of Physical Education & Recreation 2, no. 2 (December 1, 1996): 17–20. http://dx.doi.org/10.24112/ajper.21172.

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LANGUAGE NOTE | Document text in English; abstract in Chinese only. 作者透過本文介紹由美國北愛奧華大學與中國廣州體育學院合辦的青少年求生訓練營。這訓練營於1996年營營暑假在廣州市舉行。對象為來自當地三間小學，年齡6至12歲的學生。訓練營的舉辦目的營在於建立所大學未來的合作和交流的橋樑，並且籍著妥善而有系統的訓練課程和活動，培養青少年合作，溝通，和領導等才能。訓練營共有六節，每節維持五天，分別在廣州市三所小學輪流進行。訓練計劃內容包括遊戲；運動；唱歌；語言訓練；藝術及手工藝；戸外和水上活動等。

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박, 청아. "丹青寶筏：董其昌書畫藝術大展." Korean Journal of Art History 301 (March 31, 2019): 96–97. http://dx.doi.org/10.31065/ahak.301.301.201903.005.

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Deukchang Cho. "馬森1960年代話劇的｢荒誕劇｣藝術手法." Journal of Chinese Cultural Studies ll, no. 26 (November 2014): 177–89. http://dx.doi.org/10.18212/cccs.2014..26.008.

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Lee, Kin-myoung. "水墨藝術邁向國際前趨的台灣觀察." Journal of Art and Culture Studies 2 (June 30, 2013): 153. http://dx.doi.org/10.18707/jacs.2013.06.2.153.

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Hwang, Bitna. "‘Simmyo’ Kim, Changwhan’s Culture Activity during the 1910s and 1920s and “Yesulsiron(藝術時論)”." Art History Forum 43 (December 31, 2016): 253–87. http://dx.doi.org/10.14380/ahf.2016.43.253.

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박준수. "中國書法藝術論初探 - 歷代「象」與「勢」論分析." Journal of Chinese Cultural Studies ll, no. 13 (December 2008): 239–58. http://dx.doi.org/10.18212/cccs.2008..13.013.

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MIYANAGA, Michiyo, and Toshio MURAMATSU. "2014 年度秋季大会「作品展示」 (東京藝術大学)." Journal of Graphic Science of Japan 51, no. 50thAnniversary (July 10, 2017): 143–45. http://dx.doi.org/10.5989/jsgs.51.50thanniversary_143.

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YANG, Xiao Ling, and Xiao Qin LOU. "Influence of Cultural Difference between China and Western Countries on the Development of China's Rhythmical Gymnastics." Asian Journal of Physical Education & Recreation 9, no. 2 (December 1, 2003): 63–65. http://dx.doi.org/10.24112/ajper.91147.

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LANGUAGE NOTE | Document text in Chinese; abstract also in English.The adoption of the Opening and Reforming Policy has led to the Chinese economic prosperity. In the process, the clashes, contact and interaction between Chinese traditional culture and the western one give athletics new connotation. The paper reviews the history of Rhythmical Gymnastics in China, analyzes the cultural differences between China and western countries and explores the relationship between modern athletics and Chinese traditional culture. And also the paper provides data and other reference materials for re-understanding the Chinese physical training in the present-day society so that we could find a better way to develop physical training in the marketing economy.在我國改革開放、經濟復蘇的歷史背景下，傳統文化與西方文化再一次相互接觸、撞撃和相互融合，賦予了體育新的內涵。通過對藝術體操在中國的興衰歷程，剖析中西文化差異，揭示現代體育與中國傳統文化的關係。

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Kim, Seon-hee. "Tao (道) and Xue (學), Yi (藝) and Shu (術) : Introduction of Western Learning and the Transformation of Confucianism in Joseon Dynasty." Korean Silhak Review 35 (June 30, 2018): 287–328. http://dx.doi.org/10.23945/kss.35.287.328.

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周, 昭和. "Justification of An Inclusion of Tai-Chi Chuen in the School Physical Education Programmes in Hong Kong." Asian Journal of Physical Education & Recreation 2, no. 1 (June 1, 1996): 36–40. http://dx.doi.org/10.24112/ajper.21166.

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LANGUAGE NOTE | Document text in Chinese; abstract also in English.Tai-chi Chuen as a Wushu item dose not only present a Chinese art, but also include significant cultural meanings. This article attempts to justify an inclusion of Tai-chi Chuen in school physical education programmes in Hong Kong through a consideration of various aspects. The paper argues that Tai-chi Chuen as a physical activity contributes to physical and mental health in pupils. As a low impact physical activity it balances school PE programmes, which at present are heavily committed to high impact physical activities. As a cultural activity Tai-chi Chuen extends Chinese cultural heritage. Moreover, it has high carry-over value. The paper also includes some discussion of strategies related to the teaching of Tai-chi Chuen in schools.太極拳是源遠流長的中國體育活動之一。它是一門有豐富內涵的文化藝術，亦是一項甚具敎育意義的活動。本文嘗試從學生生理及精神效益、社會文化體驗及學科活動平衡三方面，闡述太極拳融入香港體育課程的適合性，並就太極拳敎學方面提出一些意見。

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Gipyoung Ju. "中國歷代悼亡詩歌의 社會文化的 배경과 文學藝術的 특징 연구." CHINESE LITERATURE 96, no. ll (August 2018): 1–18. http://dx.doi.org/10.21192/scll.96..201808.001.

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Shin, Eunyeong. "Keumyongilseob's Yeonbo(Annals) and the Buddhist Artistic Movement." Dongak Art History 24 (December 31, 2018): 7–34. http://dx.doi.org/10.17300/dah.2018.24.1.

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FAN, Ruiping. "導論: 生命倫理與文化自覺." International Journal of Chinese & Comparative Philosophy of Medicine 12, no. 2 (January 1, 2014): 1–8. http://dx.doi.org/10.24112/ijccpm.121559.

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LANGUAGE NOTE | Document text in Chinese生命倫理學同文化的關係是一個複雜的問題。顯然，文化有不同的定義，人們有不同的理解；每一種文化都通過具體的語言、藝術、物品和技術來表達、傳達、發展和轉化。然而，人們有理由相信，文化的核心其實是人們所持的信念、態度和習俗的總和；正是這些不同的觀念及其實踐，把世界上的人群分屬為不同的文化，諸如基督教文化、自由主義文化、儒家文化，等等。儘管文化也可以粗略分為較大的文化（如“中華文化”）、或者細分為較小的文化（如“儒家文化”），但其負載一套價值觀念以及體現在一定的實踐活動中的本質，則是相同的。由此說來，每位學者都不免帶有雙重身份。一重是學術身份，由所研究的對象來決定，如自然科學家，社會科學家，人文學家，等等。在這種意義上，研究生命倫理學的學者當然是生命倫理學家（我這裡所說的“家”並非專指“大學者”而言）。另一重則是文化身份，由學者所持的價值觀念來決定：如基督教學者、世俗的自由主義學者、儒家學者，等等。相對而言，自然科學家的學術身份與文化身份較易分開。例如，我們讀一篇分子生物學論文，大概無法（也沒有必要）察覺作者的基督徒身份。但就生命倫理學研究而言，學者的兩重身份則是很難分得清楚的，因為生命倫理學的問題本身以及對於它們的分析、判斷和解決方案，都負荷著明顯的價值觀念。想要撇開自己的價值觀念來論述一套生命倫理，大概只會雲遮霧罩、不知所云。也就是說，生命倫理學研究是無法同文化脫了關係的，因為處於文化核心地帶的東西正是價值觀念。DOWNLOAD HISTORY | This article has been downloaded 35 times in Digital Commons before migrating into this platform.

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KASALE, Lobone L., and Martin M. MOKGWATHI. "Primary School Teacher' Perceptions towards the Physical Education Component of Creative and Performing Arts Curriculum in Botswana." Asian Journal of Physical Education & Recreation 16, no. 2 (December 1, 2010): 58–64. http://dx.doi.org/10.24112/ajper.161899.

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LANGUAGE NOTE | Document text in English; abstract also in Chinese. Creative and Performing Arts is a new subject that has been introduced at the primary school level in Botswana. The subject draws its contents from various disciplines such as Arts and Craft, Design and technology, Home Economics, Business Studies, Drama, Dance, Music and Physical Education. The aim of the study is to evaluate the perceptions of the primary school teachers with regards to teaching of the Physical Education component of Creative and Performing Arts curriculum. Nine primary schools in the greater Gaborone area were randomly selected for the purpose of this study. The data was collected by means of a questionnaire that was designed for the purpose of this study. The Cronbach Alpha was used to test the reliability of the instrument and a value of 0.73 was obtained in the test. The questionnaire was distributed among the primary school teachers who responded to it. Data analysis revealed that teachers were not adequately trained to demonstrate physical education skills and therefore had difficulties in teaching the subject. It is hence recommended that teachers who are required to teach the physical education component of Creative and Performing Arts must be qualified physical education professionals who will be able to correctly demonstrate physical education skills to the learners. In this way, students may be able to benefit from creative and performing arts as a curriculum subject. 本文旨在探討博茨瓦納小學的體育科與創意藝術科的融合，結果顯示需要培訓足夠的教師去教授這些融合的課程。

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Yuan, Rong, and Jae Yeon Park. "Analysis of artistic expression of Chinese lacquer painting." Korean Society of Science & Art 38, no. 1 (January 31, 2020): 111–27. http://dx.doi.org/10.17548/ksaf.2020.01.30.111.

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Xiao, Daping. "A study on the artistic features of the classical opera《雲石會》of QingDynasty." JOURNAL OF CHINESE HUMANITIES 67 (December 31, 2017): 321–34. http://dx.doi.org/10.35955/jch.2017.12.67.321.

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Kuniyasu, Yo. "The Temporal Art Technology." Journal of the Society of Mechanical Engineers 96, no. 890 (1993): 17–20. http://dx.doi.org/10.1299/jsmemag.96.890_17.

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Choi, Sung Woon. "A Study on Industrial Design as a Member of the Artistic Community Based on Art Philosophical Frame of A. Danto." Journal of Cultural Product & Design 57 (June 30, 2019): 67–76. http://dx.doi.org/10.18555/kicpd.2019.57.07.

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Kang, Ho-jung. ""A Study on the Aspects of Interaction between Poetry and Painting and the Artist’s Image - Focusing on the Paintings Shown in Jo Jung-gwon’s Poems and Prose -"." Korean Language and Literature in International Context 86 (September 30, 2020): 331–54. http://dx.doi.org/10.31147/iall.86.12.

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Yang, Mina. "The Origin of Eurasian Dance and Cultural Interchange -Focusing on Yesulhakwon in Seoul in 1920s-." Korean Literature and Arts 33 (March 31, 2020): 5–30. http://dx.doi.org/10.21208/kla.2020.03.33.5.

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Choi, Chang-won. "The Characteristics of Qi Baishi’s Artistic World and His Peace Thought." Journal of Chinese Language and Literature 116 (June 30, 2019): 231–44. http://dx.doi.org/10.25021/jcll.2019.6.116.231.

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Lee, Young-Cheol. "The Consideration of Koguryo’s Culture and Art of Great King ‘Gwang Gae To’s Epitaph." Journal of Korean Sundo Culture 12 (February 27, 2012): 297–326. http://dx.doi.org/10.35573/jksc.12.9.

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Park, Seung-Jun. "Chosun Literature Salon in 1940 –The journalism planning of Foreign Literature Group appearing in 「The First Comprehensive Discussion of Art」–." Society Of Korean Language And Literature 67 (May 30, 2020): 65–98. http://dx.doi.org/10.15711/wr.67.0.2.

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Wang, Guanyu. "Retrospection and Innovation:History and Current Situation of Research on the Art History of Hong Kong." Journal of Humanities 32 (February 28, 2021): 97–114. http://dx.doi.org/10.31658/dshr.32.4.

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Zong, qian-hui. "The Artistic Connotation of Li fangying's "Only love two or three branches"." Journal of Chinese Literature 71 (May 30, 2018): 21–40. http://dx.doi.org/10.31985/jcl.71.2.

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WANG, LI. "Research on the Integration of Modeling and Music Art in Garment performance Teaching." Convergence of Humanities, Social Science an Art’s Academy 3, no. 2 (August 16, 2019): 111–26. http://dx.doi.org/10.37846/soch.3.2.111.

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Kang, Xiao, and Gab Geun Yoon. "Research on the convergence design of urban rail transit space and public art." Korean Society of Science & Art 38, no. 3 (June 30, 2020): 15–24. http://dx.doi.org/10.17548/ksaf.2020.06.30.15.

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LIU, Dachun. "當代科學與迷信之哲學反思." International Journal of Chinese & Comparative Philosophy of Medicine 3, no. 3 (January 1, 2001): 45–60. http://dx.doi.org/10.24112/ijccpm.31405.

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LANGUAGE NOTE | Document text in Chinese; abstract also in English.可檢驗性是區分科學與偽科學的一個關鍵。它至少包含三層意思：第一，它意味着科學實驗是最基本的科學實踐活動，實驗方法是科學的標誌。第二，它為科學假說提供了一個基本的方法論原理，不論是提出假說還是鑒別假說。第三，它是科學發現獲得社會承認的基本條件。如果一個假說在原則上是不可檢驗的，那它就不能稱為科學。偽科學乃是打着科學旗號、冒充科學的虛假的東西，我們需要仔細分辨，予以揭露。同時，我們也需要認識到，在現代社會的複雜系統中，雖然科學起着主導作用，但科學不是全體，是不是一切。有許多非科學的東西，如宗教、藝術、習俗等，對於社會發展是十分重要的，不能一概否定。但它們也不必硬說成是科學。There is an important way to distinguish science from pseudo-science：empirical testability. It has three basic implications. First, scientific experiments are the fundamental scientific activities, and the method of experiment marks empirical science. Second, empirical testability constitutes the first methodological principle for proposing or affirming a scientific hypothesis. Finally, it is also a basic condition for a scientific discovery to be accepted by society. If a hypothesis cannot be tested even in principle, it cannot be termed as a scientific hypothesis.In contemporary Chinese society, there are varieties of pseudo-sciences. They use the name of science to identify themselves, but cannot pass the serious requirement of empirical testability. We should carefully examine such pseudo-sciences and disclose the nature of their hypotheses and activities as non- or anti-science. At the same time, we should also recognize that, although science is dominant in contemporary society, it is not everything valuable. There are a great deal of other items, such as religion, art, and customs, which are nonscientific but are extremely important to the development of society. We should not deny the value of non-scientific theories or activities. Neither should we mark them as science.DOWNLOAD HISTORY | This article has been downloaded 28 times in Digital Commons before migrating into this platform.

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Moon, Mijin. "Completion of Min Yongyik’s materials in Wu Changshuo’s Art Chronology." JOURNAL OF CHINESE HUMANITIES 75 (August 31, 2020): 573–97. http://dx.doi.org/10.35955/jch.2020.08.75.573.

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Moon, Ji Hyun. "Researchon ’Transcultural Communication’ of ’Gandhara Art’ from Peshawar to Gyeongju." JOURNAL OF KOREAN CULTRUAL HISTORY 51 (June 30, 2019): 73–78. http://dx.doi.org/10.29334/mhsh.2019.06.51.73.

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Moon, Ji Hyun. "Researchon ’Transcultural Communication’ of ’Gandhara Art’ from Peshawar to Gyeongju." JOURNAL OF KOREAN CULTRUAL HISTORY 51 (June 30, 2019): 79–88. http://dx.doi.org/10.29334/mhsh.2019.06.51.79.

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Lee, Dong-hoon. "A Study of esthetic structure of vent without restraint on the ancient chinese poetry and paintings." JOURNAL OF CHINESE HUMANITIES 62 (April 30, 2016): 317–38. http://dx.doi.org/10.35955/jch.2016.04.62.317.

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NI, Peimin. "家道與“齊家”功夫." International Journal of Chinese & Comparative Philosophy of Medicine 11, no. 2 (January 1, 2013): 57–87. http://dx.doi.org/10.24112/ijccpm.111540.

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LANGUAGE NOTE | Document text in Chinese; abstract also in English.本文藉分析“家”的生物學、社會學和理想價值之三重不同含義及其相互關係，指出社會學意義的家和應當作為人類家園的社會，目的在於為人的生存和生命的延續提供理想條件。雖然家的形式對生活的方式和質量都有很大制約，但如果家不“齊”，任何形式的家都可能成為牢籠。齊家既是人類生存的基本功，也是一門艱深藝術。宋明儒的“功夫”概念為理解儒家齊家思想提供了一把鑰匙。家的理想狀態，需由個人自身的高度修養以及“權（衡）”的功夫而來，而不能只靠權威、家規或對文化傳統的尊重。齊家學說不僅照顧到弱勢者對家庭的需要，也提供了由“道中庸”而致“極高明”的途徑。正是從家庭開始而往外延伸的人際關係，使人的生命得以超出自我，並獲得“即凡而聖”的意義而成就不朽。儒家“四海之內皆兄弟”的精神擴展了親緣關係，使其能夠在現代社會中容納非傳統的家庭形態，並指導我們在各種家庭形態允許的條件下獲得美好生活。儒家“家齊而後國治，國治而後天下平”的觀念，與著名西方家庭療法大師薩蒂爾之觀念、早期馬克思的人本主義觀念和美國文化人類學家艾斯勒關於復歸遠古“夥伴關係”的觀點，都有相通之處：人類應當在更高級的形態上，消除人的自身生產被物質經濟生產所左右的異化，並以具理想價值意義的家為模式去改造社會，從而達致把天下家園化的目標。Starting with a brief analysis of the biological, sociological, and axiological senses of the term “family,” this article points out that the purpose of a sociological family is to provide ideal conditions for human survival (which is primarily biological) and flourishing (which is axiological).Although the sociological family structure significantly affects both the way of life and the quality of life, any sociological family can become a fetter instead of a home if family relations are not properly regulated. Regulating the family is both a basic principle for human survival and a challenging art, which is best understood through gongfu [aka. kung fu], a term that Song-Ming Confucians used frequently to describe the purpose of Confucian learning.While authority and rules of conduct are necessary for regulating the family, effective authority must rely on virtue for its transformative effect, and rules of conduct must be accompanied by the use of discretion, an art that cannot be formalized. Both the exercising of authority and the application of rules are means rather than ends. Their proper use depends on whether they are conducive to the growth, transformation, and enablement of the relevant members. Rigid adherence to authority and rules can be potentially counter-constructive, as illustrated by cases of medical ethics in which adherence to patients’ rights to be kept informed and to give consent may prove to be inhumane to the patient, and yet adherence to the family’s right to make decisions for patients may also lead to problems. The matter has to be determined not merely on the basis of respecting cultural traditions, but ultimately on the well-being of the people involved.The theory of regulating the family not only accommodates the need for family in various stages and conditions of human life in which a person is vulnerable – which is difficult to perceive in the West as the predominant conception of the “person” is modeled after a male, adult, autonomous rational being – it also provides a path for “reaching to the highest and brightest limits.” It is in the human relations starting from the family that a person’s life can go beyond the individual self and obtain sacredness within the secular life and thus become immortal.The Chinese culture informed by the Confucian teaching of “rectification of names” has a rich variety of “names” to specify human relations, and hence is able to instill the sense of role-specific responsibilities. Yet the Confucian spirit of “all within the four seas are brothers” stretches family relations beyond the biological, and thereby allows Confucianism to embrace non-traditional types of family, such as adoptive families, cohabitation, same-sex marriage, and other modern institutions of living together such as kindergartens and nursing homes. It offers valuable instructions for obtaining the gongfu of leading a life as good as the structure of the family allows.The far-reaching significance of “regulating the family” is evident in the Confucian idea that “when the family is regulated, the state will be in order; and when the state is in order, there will be peace throughout the world.” The idea has resonances in the contemporary “family therapy” of Virginia Satir, the humanism of early Karl Marx, and Riane Eisler’s idea of reviving the “partnership” relation of the pre-historical era: humans must eliminate the alienation of allowing material production and economics to dominate the creation of human life; we must reform our society according to the axiological concept of the family so that the world can become our shared home.DOWNLOAD HISTORY | This article has been downloaded 718 times in Digital Commons before migrating into this platform.

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Hoeppner, Vernon. "Comparing the Clinical Course of Tuberculosis with the Musical Flow of Chopin’s Prelude No. 4." Music and Medicine 8, no. 4 (October 26, 2016): 207. http://dx.doi.org/10.47513/mmd.v8i4.464.

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Frederic Chopin is a widely known composer and pianist who probably died of tuberculosis at age 39. The symptoms of the disease dominated much of his life, starting from early adulthood. He was extraordinarily creative, preferring to express his emotions through music, telling his piano things that weighed heavily on his mind. Early in his life, as he perused art, he would hear music; when he said his goodbyes he did so with music. The dominant weight that he carried privately, but grew heavier on his mind, with time was his illness, tuberculosis. His sister probably and friends whose deaths he’d witnessed also had tuberculosis. He was aware that he had a disease without hope and he foresaw his own death. He composed the Prelude No. 4 in E minor in Majorca during the winter of 1838-39 when his symptoms brought him near to death.The Prelude has been described by experts as an expression of illness. Chopin requested that it be played at his funeral. While we do not know his thoughts about the Prelude, this paper considers how he expressed himself with music, the gathering burden of tuberculosis, and compares the clinical course of tuberculosis with the musical course of the Prelude. Keywords: Chopin, music, prelude, tuberculosisSpanishComparación el curso clínico de la Tuberculosis con el flujo musical del Preludio nro. 4 de Chopin Frederic Chopin es un compositor y pianista ampliamente conocido que murió de una supuesta tuberculosis a la edad de 39 años. Los síntomas de su enfermedad dominaron la mayor parte de su vida, comenzando en la temprana adultez. Él fue extraordinariamente creativo, prefiriendo expresar sus emociones a través de la música, utilizando el piano para expresar cuestiones que pesaban mucho en su mente. Tempranamente en su vida, mientras se encaminaba hacia el arte , él escuchaba música, cuando fue el momento de las despedidas también lo hizo con la música. El peso dominante que llevaba de manera privada, pero que crecía en el tiempo en su mente fue su enfermedad, la tuberculosis. Fue testigo de la muerte de su hermana y de amigos que también tuvieron tuberculosis. Estaba consciente que la enfermedad que tenía era una lenta condena, y sin esperanza el previó su propia muerte. Compuso el preludio Nro 4 en Mi menor en Mayorca, durante el invierno del 1838/39 cuando sus síntomas lo llevaron cerca de la muerte. Este preludio ha sido descripto por expertos como una expresión de la enfermedad. Chopin pidió que la obra sea ejecutada en su funeral. Si bien no conocemos sus pensamientos acerca del Preludio, este trabajo considera el modo en el que se expresó con la música, la carga de la tuberculosis y compara el curso clínico de la enfermedad con el curso musical del PreludioPalabras claves: Chopin , musica , preludio , tuberculosis GermanVergleich des klinischen Verlaufs von Tuberkulose mit dem musikalischen Fluss von Chopin’s Prelude No. 4Vernon H. HoeppnerFrederic Chopin ist ein weithin bekannter Komponist und Pianist, der im Alter von 39 Jahren an vermuteter Tuberkulose starb. Die Symptome der Krankheit dominierten die meiste Zeit seines Lebens von Beginn seines frühen Erwachsenenlebens an. Er war außergewöhnlich kreativ, er drückte seine Gefühle vorzugsweise durch Musik aus, und nutzte das Klavier, um Dinge auszudrücken, die schwer auf seiner Seele lagen. Schon früh in seinem Leben, von der Kunst überzeugt, hörte er Musik; wenn immer er sich verabschiedete, tat er das mit Musik. Der dominierende Schmerz, den er privat zu tragen hatte und der mit der Zeit immer schwerer seine Seele belastete, war seine Krankheit, die Tuberkulose. Eine Schwester und Freunde, deren Tod er miterlebte, hatten ebenfalls Tuberkulose. Er wusste, dass er eine Krankheit hatte, die sich schicksalhaft hinzog, ohne seinen eigenen Tod vorhersagen zu können. Während des Winters 1938/39 auf Mallorca komponierte er das Prélude No 4, in der Zeit, als ihn seine Symptome beinahe töteten. Experten beschrieben dieses Prèlude als Ausdruck seiner Krankheit. Chopin bestimmte, dass es bei seiner Beerdigung bespielt werden solle. Wir kennen seine Gedanken über das Prèlude nicht – dieser Artikel denkt darüber nach, wie er sich selbst durch Musik ausdrückte, die gesammelte Last der Tuberkulose, und vergleicht den klinischen Verlauf von Tuberkulose mit dem musikalischen Verlauf des Prèludes.Keywords: Chopin, Musik, Prelude, Tuberkulose ItalianConfrontando il Decorso Cliico della Tubercolosi con il Flusso della Musica di Chopin’s Prelude No. 4Vernon H. Hoeppner Frederic Chopin è un compositore e un pianista molto conosciuto che è morto di sospetta tubercolosi all’età di 39 anni. I sintomi della malattia hanno dominato gran parte della sua vita, a partire dalla prima età adulta. Era estremamente creativo, preferendo di esprimere le sue emozioni attraverso la musica, usando il pianoforte per esprimere I problemi che pesavano pesantemente sulla sua mente. All’inizio della sua vita, mentre guardava l’arte, sentiva la musica; quando ha detto I suoi addii lo ha fatto con la musica. Il peso dominante che portava in privato, ma che cresceva più pesante nella sua mente, con il tempo era la sua malattia, la tubercolosi. Sua sorella e I suoi amici la cui morte era testimone, avevano anche loro la tubercolosi. Era consapevole del fatto di avere una malattia in cui la sorte indugiava, e senza speranza previde la propria morte. Ha compost oil preludio n 4 in Mi minore a Majorca durante l’inverno del 1838-39 quando I suoi sintomi lo hanno portato vicino alla morte. Il preludio è stato descritto dagli esperti come espressione di malattia. Chopin ha chiesto che al suo funerale lo avrebbero suonato. Anche se non conosciamo il suo pensiero circa il Preludio, questo documento considera come egli si espresse con la musica, l’onere di raccolta della tubercolosi’ e confront ail decorso clinico della tubercolosi con il corso musicale del Preludio.Parole Chiave: Chopin, musica, preludio, tubercolosi Chinese肺結核臨床病程與蕭邦第四號前奏曲音樂流動之比較蕭邦是為人所熟知的作曲家與鋼琴家，他在39歲時疑似死於肺結核。這些疾病的症狀從他的成年早期即支配著他大部分的生活。蕭邦非常富於創意，喜歡透過音樂表達他的情緒，用鋼琴來表現壓在他心頭的沉重問題。在蕭邦生命早期，他追求藝術，聆聽音樂，而到了生命盡頭，他也以音樂向生命告別。他獨自扛下隨著時間在心中越來越沉重地負擔─他的疾病─肺結核。他曾目睹姊姊與一些朋友同樣因為肺結核而離世。他知道自己在厄運中徘徊，毫無希望的預見了自己的死亡。1838-39年的冬天，他的症狀已逐步帶領他走向死亡，他在馬略卡島創作了第四號E小調前奏曲。這首前奏曲被形容為透徹的表現出疾病的狀態。蕭邦自己要求在他的葬禮上演奏這首曲子。我們或許無從得知蕭邦對這首前奏曲的想法，但僅以本文探討他如何透過音樂表達自我─肺結核帶來的沉痾，並以此前奏曲的音樂進程與肺結核的臨床病程兩相比較。 Japaneseショパンのプレリュード4番における音楽的流れと、肺結核の進行段階の比較 Vernon H. Hoeppnerフレデリック・ショパンは、世界に知られた作曲家およびピアニストであり、肺結核により39歳で死没した。この病気の症状は成人になってからすぐ始まっており、彼の人生のほとんどを占めた。彼は、並外れた創造性を持っていて、自身の感情を音楽でくまなく表現することを好み、ピアノ演奏を通じて自分の精神状態に重くのしかかっていた問題を表していた。彼は若い頃から音楽を聴き芸術を探求していたが、人生に別れを感じたとき音楽にも別れを告げた。私生活で時間と共に彼を苦しめた大きな重荷は、彼の持病である肺結核であった。彼の妹や友人たちも同じ病に苦しみ、ショパンは彼らを看取っていた。彼は自身の病気に運命を感じ、絶望的に死を覚悟していた。ショパンは、プレリュード4番、イ短調を 1838年末から1839年にかけた冬の時期に作曲し、この間彼の症状はほぼ死期に近づいていた。このプレリュードは、専門家たちによっても、病の表現であると言われている。ショパンが、自身の葬儀で弾いてほしいと依頼した曲でもある。我々は、彼がプレリュードに対して感じていた本当の気持ちはわからないが、本論文では彼が音楽で自身や肺結核の辛さをどのように表現したかについて考察し、肺結核の進行状態とプレリュードの音楽的展開を比較する。キーワード:ショパン、音楽、プレリュード、肺結核Korean쇼팽의 서곡 No.4의 음악적 흐름과 결핵의 임상학적 과정 비교하기 Vernon H. Hoeppner쇼팽은 널리 알려진 작곡가이자 피아니스트이며, 39세 나이에 결핵으로 죽었다. 그 질병의 증상들은 성인기 초반에 시작되어 그의 삶의 대부분을 지배했다. 그는 아주 창의적이었으며, 자신의 감정을 음악으로 표현하는 것을 좋아하였고, 피아노로 내면의 중요한 문제들을 표현했다. 생애 초반, 그는 예술에 대한 진지함을 가지고 음악을 들었다. 그는 작별을 고할 때도 음악으로 했다. 그는 이러한 음악에 대한 진중함을 은밀하게 유지하고자 하였으나 그의 질병은 시간이 갈수록 마음속에서 그를 더무겁게 했다. 그가 죽음을 목격했던 그의 누이와 친구들도 결핵을 앓았다. 그는 죽게 될 질병을 갖고 있다는 것을 인식했으며, 희망 없이 자신의 죽음을 예견했다. 그는 그의 증상이 그를 죽음으로 내몰던 1838-39년 겨울 동안 Majorca에서 Prelude No.4 in E minor를 작곡했다.전문가들은 그 곡이 질병을 표현한 것이라고 말한다. 쇼팽은 그 곡을 자신의 장례식에서 연주해 달라고 요구했다. 우리가 그 곡에 대한 그의 생각을 알지 못하지만, 본 논문은 그가 음악으로 자기 자신을 표현한 방법과 결핵을 고려하며 작곡되었을 서곡의 음악적 과정과 결핵의 임상학적 과정을 비교했다. 키워드: 쇼팽, 음악, 서곡, 결핵

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"浮雕問題：一位藝術史家的札記." Ars Orientalis 48, no. 20191029 (October 12, 2018). http://dx.doi.org/10.3998/ars.13441566.0048.008.

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