To see the other types of publications on this topic, follow the link: Arte chino.
Dissertations / Theses on the topic 'Arte chino'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Arte chino.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Leng, Bing-chuan. "El espíritu del arte oriental en la pintura china." Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/290270.
Full textAbstract:
El taoísmo ocupa un lugar de primer orden en el pensamiento chino. Su huella es perceptible en todos los niveles de la cultura y ha influido de forma decisiva en los demás sistemas de pensamiento filosófico. Junto con el confucionismo, el budismo y las manifestaciones más importantes de la creación humana -el arte y la literatura y la ciencia- han moldeado la esencia de la cultura china. Esta reflexión ha sido precisamente lo que ha originado el análisis básico de este texto, el autor cree que la esencia de la pintura china debe buscarse dentro de la filosofía tradicional: la pintura es una miniatura de la filosofía.
La pintura y las demás manifestaciones de la creación humana están estrechamente unidas, tienen su relación macroscópica y su estructura microscópica. Llamamos relación macroscópica a la relación en todos los sentidos de la pintura con las otras artes, la ciencia y la cultura. Este tipo de relación, en sentido estricto, significa que la pintura como arte tiene una relación con la literatura, la música, la caligrafía, el grabado, la arquitectura etc. y en sentido amplio, que la pintura es una de las categorías representativas de la cultura humana y de la relación entre las personas y la Naturaleza. En cuanto a la estructura microscópica, es la relación entre lo tangible y lo invisible, entre lo concreto y lo abstracto de la pintura. Entre estos elementos, los menores, como los instrumentos de trabajo y la ejecución técnica, y los mayores, como la percepción del pensamiento y la obra, existe una relación intensa y orgánica.
La relación más trascendental del aspecto macroscópico es la relación entre la pintura, las personas y la Naturaleza. La Naturaleza crea a las personas y las personas producen pinturas. Este tipo de creación y de producción es inevitable, es una ley natural. Esta ley fue llamada en la antigua filosofía china el dao. Una vez existen el ser humano y la pintura así como la Naturaleza, estas tres cosas existen al mismo tiempo y se influencian. De hecho, esto es un tópico de la filosofía. Desde el aspecto microcósmico, la pintura se constituye a partir de tres elementos básicos como los sentimientos de las personas, el material y la técnica, y la obra. Tres elementos en los cuales se suele poner especial énfasis pero que siempre deben estar y que coexisten en una entidad constituyendo un sistema de vida del arte pictórico. Este es un tópico de la filosofía del arte. Si cogemos los dos tópicos arriba mencionados, podremos ver una cadena cíclica: la Naturaleza crea a las personas, las cuales producen pinturas, la pintura requiere material y técnica para representar una obra (imagen artística), reflejando al hombre; reflejando la naturaleza. Partiendo del hombre volvemos al hombre, partiendo de la Naturaleza, volvemos a la Naturaleza (las personas y la Naturaleza también son componentes orgánicos naturales) (gráfico 1). Interpretándolo desde el punto de vista de la filosofía china es, salir del dao, pasando por la razón, la ley, para finalmente reflejar el dao y volver al dao.
Partiendo desde el dao, usando a las personas como intermediarias, busca la relación entre las cosas y la Naturaleza, la regla particular de las cosas. La "razón" es una teoría menos desarrollada dentro de la filosofía tradicional china; en pintura se llama teoría de la imagen. La gente practica o realiza este método. Desde el punto de vista de la filosofía tradicional china, la ley es una teoría aún menos desarrollada, las personas respetan el principio de la pintura para continuar su creación, la técnica adoptada, es la técnica de la pintura.
Este texto intenta partir desde el dao, núcleo de la filosofía tradicional china, investigar la teoría y la técnica de la pintura china, revelar la filosofía del arte de la pintura. De hecho "la estética china -- la teoría de la imagen china -- la técnica china" tienen como tema común la pintura china, discuten el principio artístico y el principio filosófico.
2
Pabón, Guerrero Carlos E. "Sistematización del proyecto de la carretera Tingo María - Aguaytia, tramo: Puente Pumahuasi - Puente Chino, aplicado a las obras de arte (KM 15 + 000 al KM 38 + 000)." Bachelor's thesis, Universidad Ricardo Palma, 2015. http://cybertesis.urp.edu.pe/handle/urp/1145.
Full textAbstract:
Un sistema de información geográfica (SIG) se define como un conjunto de datos, métodos y herramientas diseñadas para actuar de manera lógica y coordinada para capturar, guardar, analizar (en una base de datos geográfica, BDG), transformar y presentar la información geográfica y la de sus atributos, con el fin de satisfacer varios propósitos, esta base de datos comprende datos espaciales y datos no espaciales.
El presente estudio, es una aplicación de los sistemas de información geográfica, a la gestión de las obras de arte de un proyecto de carretera, mediante la elaboración de un sistema integrado mapa - base de datos, para su rápida consulta y eficiente administración. Es decir se puede describir como un inventario, ordenamiento de diversas actividades y procesos constructivos en las obras de arte y drenaje, tales como la construcción de muros de sostenimiento, cajas de toma, cabezales de salida, aliviaderos, sub drenes, emboquillados, zanjas de coronación, bordillos, cunetas entre otros, que se ejecutaron en el proyecto de la carretera Tingo María - Aguaytia, en una 1ra etapa de construcción que empieza en el Km 15+000 y culmina en el Km 38+000.
De esta forma se puede proporcionar la ubicación, describir, clasificar y monitorear en tiempo real los diversos sistemas de drenaje, obras de concreto armado, inventario de deslizamientos y derrumbes, evaluación de sectores críticos como asentamientos y desprendimiento de plataforma, zonas de inestabilidad de taludes, zonas de carcavamiento, así como también interpretar los costos respectivos de las diferentes actividades de obra y el debido mantenimiento de vía, además de otras actividades que involucra el proyecto, de una manera sistematizada.
3
Figliulo, Roberto. "Between public and private spaces: photographic visions in contemporary China." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/398145.
Full textAbstract:
The aim of this dissertation is to present a particular point of view on the contemporary Chinese photographic production. We will analyze the photographic works that deal directly or indirectly with the representation of concrete spaces. We will give special attention to the representation of public and private spaces and to the problems related to them.
We will analyze the period that coincides with the eighties until today, the time of particular development of photographic production in China. The methodology employed will be a multidisciplinary approach that allows to better understand the complexity of determinate phenomenon related to the spaces represented by the selected artists.
This research wants to present the Chinese photographic production through determinate criteria that enable the understanding of its relevance in the comprehensive Chinese current cultural production.El objetivo de esta disertación es presentar una visión concreta sobre la producción fotográfica china contemporánea. Se analizarán aquellos trabajos fotográficos que tratan de manera directa o indirecta la representación de espacialidades concretas, con mayor atención al tratamiento de las espacialidades pública y privada, y a las problemáticas a ellas conectadas. La época que se analizará es la que va del decenio de los Ochenta hasta hoy en día, un periodo de particular desarrollo de la producción fotográfica en China. La metodología aplicada conisistirá en un acercamiento multidisciplinar que permita comprender la complejidad de determinados fenómenos ligados a las espacialidades representadas por los artistas seleccionados. Esta investigación quiere presentar la producción fotográfica en China a través de un determinado criterio que permita comprender las numerosas facetas y la importancia que tiene en la actual producción cultural china.
4
Ginés, Blasi Mònica. "El col·leccionisme entre Catalunya i la Xina (1876-1895)." Doctoral thesis, Universitat de Barcelona, 2013. http://hdl.handle.net/10803/130925.
Full textAbstract:
Són diversos els autors que han posat de manifest com l’interès per l’art de la Xina i del Japó es traça a Espanya des del s.XVI, estimulant la tendència decorativa chinoiserie, que derivà a mitjans del s.XIX en el gust per tot allò procedent del Japó, moda denominada japonisme. A la segona meitat del s.XIX el govern japonès va emprendre una forta modernització establint intenses relacions comercials amb països europeus, esperonant l’interès per l’art japonès en vàries ciutats-centre europees. En canvi, l’interès que durant el barroc i el rococó havia suscitat l’art procedent de l’Imperi xinès va decaure fortament com a conseqüència de l’hermetisme comercial de la política exterior xinesa. Aquest factor, sumat al poc interès dels espanyols pel col•leccionisme en general, explica que tradicionalment s’hagi considerat escassa la presència de col•leccions d’art xinès en el nostre país. Durant l’últim terç del s.XIX, tot i que la presència espanyola a la Xina era molt minsa, hi va haver personalitats del món cultural i polític de la Catalunya de l’últim terç del segle XIX, com Eduard Toda i Güell (Reus, 1855 - Poblet, 1941), Víctor Balaguer i Cirera (Barcelona, 1824 - Madrid, 1901), Francisco Abellá (n. i m. desconeguts) o Juan Mencarini (1860-1939?), que van estar abocades a la compra, la venda, la distribució i l’intercanvi d’obres d’art, moneda i altres objectes procedents de la Xina. Aquest és un aspecte poc conegut de la història del col•leccionisme català i de les relacions entre Espanya i la Xina que precisava d’un estudi en profunditat. Aquesta tesi doctoral consisteix en la investigació sobre l’intercanvi internacional d’obres d’art, moneda i altres objectes produïts a la Xina, i que varen ser distribuïts en col•leccions tant particulars com públiques a la Catalunya de l’últim terç del s.XIX.
Eduard Toda i Güell, vicecònsol d’Espanya a Macau, Hong Kong, Canton i Whampoa, i Xangai (1876-1882), és el col•leccionista de peces xineses més preeminent del s.XIX català. Toda formà una important col•lecció d’obres d’art, numismàtica i documents procedents de la Xina i que vengué a col•leccionistes particulars, entre ells l’eminent mecenes Eusebi Güell i Bacigalupi, i que donà a museus públics espanyols, com el Museo Arqueológico Nacional, o la Biblioteca-Museu Víctor Balaguer de Vilanova i la Geltrú. Altres personalitats del seu entorn estigueren també involucrades en aquest tipus d’activitats: Francisco Abellá, Víctor Balaguer, el bibliotecari Joan Oliva (Sant Pere de Ribes, 1858 - Vilanova i la Geltrú, 1911), Juan Mencarini, Oficial d’Administració de les Duanes Imperials xineses, Celestí Pujol i Camps, Josep Ferrer i Soler, o el diplomàtic Herny A. Ramsden.
Peces de les col•leccions d’Eduard Toda, Francisco Abellá i Juan Mencarini nodreixen avui el fons de l’Àsia oriental del Museu Balaguer de Vilanova i la Geltrú. Contemporàniament la premsa barcelonina de l’època reflectia com la demanda per objectes procedents de l’Imperi xinès creixia a Barcelona en relació a la moda pel japonisme, propiciant la proliferació de botigues especialitzades en la venda d’art de la Xina, del Japó, de la península coreana i d’Annam. La investigació per aquest projecte planteja quina magnitud va assolir el col•leccionisme d’art de la Xina a Catalunya i el seu lloc relatiu al desenvolupament del col•leccionisme d’art a la Catalunya de la fin de siècle.Traditionally, it has been considered that Chinese art collecting in 19th century Catalonia was scarce. The interest that was aroused for artworks made in China during Baroque and Rococo declined strongly as a consequence of the commercial hermeticism of China’s foreign policies. This factor, as well as there being so little interest for art collecting from Spaniards in general, explains why traditionally the presence of Chinese art collections has been considered rather meager in our country. During the last third of the 19th century, even though there was little Spanish presence in China, there were some personalities belonging to Catalonia’s 19th century cultural and political elite, such as Eduard Toda i Güell (b Reus, 1855; d Poblet, 1941), Víctor Balaguer i Cirera (b Barcelona, 1824; d Madrid, 1901), Juan Mencarini (1860-1939?) and Francisco Abellá (b and d unknown), who all made a great effort to buy, sell, distribute, exchange and exhibit artworks, coins and other objects produced in China. This is an aspect of the history of Catalan art collecting and of the history of international relations between Spain and China which required an intensive and systematic research. The collections of coins and artworks of China’s imperial past which were formed by Toda, Mencarini and Abellá are nowadays preserved in the public collections of the Museum and Library Víctor Balaguer in Vilanova i la Geltrú. Toda also sold his coin collection to the Museo Arqueológico Nacional in Madrid. Furthermore, other personalities from Catalonia’s cultural elite participated in the acquisition, distribution, exchange and exhibition of Chinese art, coins, and material culture between the last two decades of the 19th century, right up until the 1930’s. Barcelona’s magazines and newspapers of that time also reflected a growing demand for Chinese art in relation to Japonisme. The research for this project focuses on the extent to which Chinese art collecting reached in Catalonia, as well as the place it occupied in the development of art collecting in the last third of the 19th century.
5
Liang, Wei. "Zaji ou les arts acrobatiques chinois : un voyage entre Chine et France." Thesis, Montpellier 3, 2018. http://www.theses.fr/2018MON30020.
Full textAbstract:
Zazi (杂技), qui signifie « compétences variées » et dont l’équivalent en français est « l’acrobatie chinoise » est un ensemble d’arts vieux d’au moins trois millle ans. Il n’existe pas à ce jour en français de synthèse accessible et documentée par des sources chinoises de sa chronologie et de l’évolution de ses formes des origines à nos jours.Cette thèse a pour objectif de combler ce manque en documentant le sujet à partir d’un corpus d’ouvrages chinois et français. L’auteure de la thèse, chinoise, enseignante de français et traductrice, a pu accéder aux sources utiles et a conduit une enquête, voyageant entre France et Chine sur les différents terrains de conservation (bibliothèques, musées, documentation en ligne) et d’exploitation (spectacles, festivals, écoles) des arts acrobatiques chinois.La thèse met à disposition de furures recherches une synthèse des résultats obtenus lors de cette enquête, bibliographiques (250 références), iconographiques (128 documents), présentés chronologiquement en déroulant un vaste panorama, qui s’articulent en trois parties.La première propose une chronologie du développement des formes de l’acrobatie chinoise dans le contexte de chaque dynastie jusqu’à la dernière dynastie en 1912, à partir de sources et documents chinois, par des traductions originales et inédites de textes anciens ou contemporains de sinologues et d’historiens des spectacles en chine, notamment, et avec son autorisation, de textes du Pr Quifeng Fu, ainsi qu’une riche iconographie en collaboration avec la bibliothèque de Nanjing. En n’hésitant pas à s’affronter à ces problèmes de traductions, la thèse rend ainsi accessible au lecteur français une partie de l’histoire d’un des arts majeurs parmi les spectacles mondiaux.La deuxième partie étudie l’intégration en quatre étapes de l’acrobatie chinoise en France et de ses influences sur la société et la scène françaises, notamment à travers quelques exemples concernant les modes du « à la chinoise » et de la « Chinoiserie » entre les XVIIe et XIXe siècles. Elle s’intéresse ensuite aux échanges sous la République de Chine jusqu’au rebondissement de l’acrobatie chinoise au XXe siècle après la fondation de la République Populaire de Chine en 1949. Elle observe à cette occasion ses nouveaux codes artistiques et culturels, les messages politiques qu’elle véhicule lors de l’invitation des artistes chinois dans les grands festivals du cirque en France et à Monaco.La troisième partie dresse briévement les contours et les perspectives de collaborations artistiques sino-françaises en acrobatie et cirque au XXIe siècle, observe l’apport des acrobates chinois sur la scène contemporaine et les influences du spectacle vivant occidental sur l’acrobatie chinoise contemporaine, pour se questionner enfin sur le devenir de l’acrobatie chinoise en appliquant les résultats de ce voyage documentaire dans le temps et entre deux cultures, à un projet de création de festival franco-chinois de cirque et d’acrobatie en ChineZaji (杂技), which means « various competences » and is sometime translated in French "Acrobatie chinoise", is a form of art at least three thousand years old. To date, there is no French synthesis available to trace its origin, development and evolutions up to the present day.This thesis aims to fill this gap by documenting the subject from a corpus of Chinese and French publications and documentation. The author of the thesis, Chinese to French translator and teacher, has conducted an investigation through her access to documentary resources, exhibits of artifacts and live shows of Chinese acrobatic arts.The thesis provides a synthesis of the results obtained during this survey, presented chronologically in a broad panorama with bibliographical references (250) refrences and iconographical (128).The thesis is composed of three chapters. The first chapter proposes a chronology of the development of the forms of Chinese acrobatics in the context of each dynasty until the last dynasty in 1912, referring to archives and documents in China, including the published and unpublished, original and translations of ancient or contemporary texts. This chapter is completed with the assistance from historians of Zaji such as Professor Fu Quifeng, as well as the support of Nanjing Library. By confronting problems of translations, the thesis makes it accessible to French readers a major history of the world's oldest performing arts.The second chapter examines the integration and reception of Chinese acrobatics in France from senventeenth century to twentieth century and its influences on French theatre, particularly in the fashion of the "Chinoiserie", then go through reciprocal exchanges during the Republic of China until the rebound of Chinese acrobatics in the twentieth century after the founding of the People's Republic of China in 1949, specifically its new artistic forms and cultural codes, the political messages it conveys, the invitation of Chinese artists to circus festivals in France and Monaco.The third part briefly outlines the perspectives of Sino-French artistic collaboration in circus in the twenty-first century, observes the contribution of Chinese acrobats on the contemporary scene and the influences of the Western live show on contemporary Chinese acrobatics, to finally questions the future of Chinese acrobatics by applying the results of this documentary trip between two cultures, to open the conclusion of this thesis: a French-Chinese circus and acrobatic festival will be organized by the author to explore the artistic and innovating future of Zazi
6
PINTO, Fabiane. "O Brasil de Chico Buarque: nação, memória e povo." http://www.teses.ufc.br/, 2007. http://www.repositorio.ufc.br/handle/riufc/1468.
Full textAbstract:
PINTO, Fabiane Batista. O Brasil de Chico Buarque: nação, memória e povo. 1997. 120f. Dissertação (Mestrado em Sociologia) - Universidade Federal do Ceará, Departamento de Ciências Sociais, Programa de Pós-Graduação em Sociologia, Fortaleza-CE, 1997.Submitted by GLAUBENILSON CAVALCANTE (glaubenilson@yahoo.com.br) on 2011-11-17T13:48:56Z No. of bitstreams: 1 Pinto,FB.pdf: 537291 bytes, checksum: 699efde549cacedcb5a3a4005aa918d7 (MD5)
Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-01-02T15:34:18Z (GMT) No. of bitstreams: 1 Pinto,FB.pdf: 537291 bytes, checksum: 699efde549cacedcb5a3a4005aa918d7 (MD5)
Made available in DSpace on 2012-01-02T15:34:18Z (GMT). No. of bitstreams: 1 Pinto,FB.pdf: 537291 bytes, checksum: 699efde549cacedcb5a3a4005aa918d7 (MD5) Previous issue date: 2007
This research analyzes Chico Buarque’s perception about Brazilian Nation, taken as reference his musical work, however not thinking about periods or specifics topics. So, looks for to show how Chico’s nation conception participates in collective memory’s construction. In relation to his music, there is interest for all than characterizes the past, present or future expectative of the Brazilian life. The national feeling’s building results of complex process. Then is necessary to utilize the theory notions: nation, art, national memory, tradition, modernity, popular music and Brazilian reality. This study concludes explaining Chico Buarque’s poetry like a hope aliment of a better country. Seeking past references, the artiste’s sensibility, as the any nation’s sensibility, is linked for future
Neste trabalho investigo a percepção de Chico Buarque sobre o Brasil como nação, tomo como análise o conjunto da obra musical deste artista sem ater-me estritamente a periodizações ou a temáticas específicas. Procuro demonstrar como este autor participa na elaboração de uma memória coletiva a partir de uma determinada concepção de país. Como uma comunidade nacional, teoricamente, é capaz de unir ou aglomerar todos os tipos e tendências sociais, sua construção é forçosamente multifacetária. Assim, interesso-me, na obra do referido autor, por tudo o quanto diga respeito à caracterização do passado, do presente e as expectativas de futuro da vida brasileira. Como a construção do sentimento nacional resulta de processos complexos, sofridos e mal explicados utilizo os seguintes aparelhos conceituais para sustentação da pesquisa: nação, arte, memória nacional, tradição, modernidade, música popular e realidade brasileira. Concluo o estudo tentando demonstrar que a poesia de Chico Buarque alimenta a esperança de um país melhor. Buscando referências no passado, a sensibilidade do artista, tal como a sensibilidade de qualquer nação, está, sempre, necessariamente, voltada para o futuro.
7
Assis, Vinicius de 1984. "Thangka : a pintura sagrada tibetana: tradição, história e método /." São Paulo, 2016. http://hdl.handle.net/11449/141973.
Full textAbstract:
Orientador: Omar KhouriBanca: José Leonardo do Nascimento
Banca: Cibele Elisa Viegas Aldrovandi
Resumo: O presente estudo intenta apresentar os princípios básicos, históricos e processuais, da pintura tradicional tibetana, thangka. Tal objetivo se justifica pela escassez de estudos em língua portuguesa sobre o assunto. Ainda que seja perceptível nos tempos atuais uma expansão dos estudos asiáticos no Brasil, em confluência com uma crescente aproximação e interesse pela cultura oriental na contemporaneidade; esta pesquisa, por meio de estudo de campo, levantamento bibliográfico e histórico, busca a investigação e exposição do profundo e específico âmbito do simbólico, sagrado e tradicional na pintura tibetana. Acreditando que o reconhecimento das artes e teorias estéticas não eurocêntricas corroboram a cognição e produção da inestimável diversidade cultural humana.
Abstract: The following study intends to present the basic, historical and procedural principles of the traditional Tibetan painting, thangka. This objective is justified by the lack of studies in Portuguese on the subject. Although it is noticeable nowadays an expansion of Asian studies in Brazil, in confluence with a growing approach and interest in Eastern culture in contemporary society; this dissertation, by field research, literature and history, wishes to investigate, explain and expose the deep and specific scope of the symbolic, sacred and traditional in Tibetan painting. Believing that the recognition of the arts and non eurocentric aesthetic theories corroborate the cognition and production of the invaluable human cultural diversity.
Mestre
8
Idier, Nicolas. "Pierre Ryckmans (alias Simon Leys, né en 1935) : mise en perspective disciplinaire et apport méthodologique en histoire de l’art et sinologie." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040245.
Full textAbstract:
Pierre Ryckmans, né en 1935 en Belgique, est connu dans le monde entier sous le pseudonyme de Simon Leys, qu’il a adopté pour écrire une série d’essais sur la politique chinoise contemporaine. Cependant, ce sinologue perspicace est avant tout un grand historien de l’art chinois. Son œuvre a ouvert de nouvelles perspectives méthodologiques et théoriques : définition claire de cet « art de plus » (« one more art ») qu’est la calligraphie, périodisation de la peinture, établissement d’une terminologie esthétique, le tout appuyé sur la traduction non seulement de traités d’art, mais aussi de textes de plusieurs genres caractéristiques de la culture lettrée chinoise : notes au fil du pinceau, propos, souvenirs, canons classiques… L’apport principal de Pierre Ryckmans est d’avoir abordé la Chine tant classique que contemporaine par sa culture visuelle, et d’avoir su adapter l’histoire de l’art aux spécificités du terrain et du contexte de production – spécificités d’ordre linguistiques, philosophiques, littéraires et politiques. Dans l’historiographie de l’histoire de l’art chinois, Pierre Ryckmans occupe ainsi une place majeure, qui instruit une grande partie des évolutions de la recherche internationale actuelle, et dont il fallait expliquer le mécanisme de construction. Cette thèse s’est donc concentrée sur l’apport de Pierre Ryckmans à l’histoire de l’art chinois, afin de mettre en valeur la cohérence de sa méthode et la pertinence durable de ses résultatsPierre Ryckmans, born in 1935 in Belgium, is famous throughout the world under the pen name of Simon Leys, which he adopted to write a series of essays on Chinese contemporary politics. However, this perspicacious sinologist is first and foremost a great Chinese art historian. His works have opened new methodological and theoretical perspectives: clear definition of this « one more art » that is calligraphy, periodization of painting, the setting of a terminology for aesthetics, all these based not only on the translation of art treaties, but also of several types of texts that are characteristic of Chinese scholars culture: casual literary notes, comments, memories, Chinese canons… The main contribution of Pierre Ryckmans is to have addressed both Classic and Contemporary China through its visual culture, to have succeeded in adapting art history to the specificities of the field and context of production – specificities related to linguistics, philosophy, literature and politics. In the historiography of Chinese art history, Pierre Ryckmans occupies a prominent place, largely influential to the developments of current international research. These construction mechanisms had to be explained. This dissertation thus focuses on the contribution of Pierre Ryckmans to Chinese art history, in order to emphasise the coherence of his methods and the lasting relevance of its results
9
Jiang, Youguo. "Current Thinking and Liberal Arts Education in China." Thesis, Boston College, 2013. http://hdl.handle.net/2345/bc-ir:104094.
Full textAbstract:
Thesis advisor: Philip G. AltbachLiberal arts education is an emerging phenomenon in China. However, under the pressure of exam-oriented education, memorization, and lecture pedagogy, faculty, university administrators and policy makers have not embraced it whole-heartedly. Through qualitative methodology, this study explores the current thinking of Chinese policy makers, university administrators, and faculty members on liberal arts education and its challenges. A study of the perceptions of 96 Chinese government and university administrators and faculty members regarding liberal arts education through document analysis and interviews at three universities helps in comprehending the process of an initiative in educational policy in contemporary Chinese universities. This research analyzes Chinese policy making at the institutional and national levels on curriculum reform with particular emphasis on the role of education in shaping well-rounded global citizens, and it examines how the revival of liberal arts education in China would produce college graduates with the creativity, critical thinking, moral reasoning, innovation and cognitive complexity needed for social advancement and personal integration in a global context. This research also found that the revival of interest in liberal arts education in China demonstrated that government and universities have begun to realize that the current curricula, professional training, and narrowly specialized education fail to help students to be competent in a globalized economy, and liberal arts is valued in China, and will be more effective as politics, economy and society more developed
Thesis (PhD) — Boston College, 2013
Submitted to: Boston College. Lynch School of Education
Discipline: Educational Leadership and Higher Education
10
Zhuang, Jiayun. "Not yet farewell postsocialist performance and visual art in urban China /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1997745521&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Full text
11
Ning, Zhuo tao. "Chine-Occident : les transferts culturels entre idéologie et tradition." Thesis, Strasbourg, 2016. http://www.theses.fr/2016STRAG032.
Full textAbstract:
Faire une recherche sur l'histoire de l'art contemporain chinois implique la formation de deux questionnements essentiels. Tout d'abord, il est possible d'émettre un doute quant à la pertinence de l'emploi du terme contemporain. L'interminable débat sur la notion de contemporanéité a laissé place au second questionnement, d'ordre géographique. Existe t-il un art contemporain chinois ? De Ma Yuan à Dong Qichang, la première grande partie de cette recherche s'est employée à brosser le portrait de l'inclinaison prise par l'art chinois. Il sera intéressant d'observer comment les artistes actuels se sont emparés de la culture antique chinoise et l'ont ressuscitée à travers le prisme de leur réalité contemporaine. Il convient d'opérer une scission dans le schéma chronologique, matérialisée par l'avènement de la République Populaire de Chine. L'aversion pour l'art du Parti Communiste associée à la volonté d'asservir la production artistique de manière utilitariste fut la source d'une esthétique et de codes formels inédits, directement empruntés au réalisme socialiste russe et à la propagande naziThe research on the history of the Chinese contemporary art implies two essential questions. First of all, we may question the use of the word "contemporary". The never-ending debate concerning contemporaneity has lead to the second question which concentrates on a more geographical point. Does a contemporary Chinese art really exist? From Ma Yuan to Dong Qichang, the first part of this research aims at tracing the evolution of Chinese art. It will be interesting to see how current artists seized the traditional Chinese culture and resurrected this art through the prism of their contemporary reality. It is necessary to link this ascension to the rising of the Popular Republic of China. The hatred of the Communist Party for art, associated to the will of producing a new utilitarian art, were the source of innovative aesthetics and formal codes directly influenced by the Russian socialist realism and the Nazi propaganda
12
Chan, Ka-ming, and 陳嘉明. "Exploring the perceptions of junior form students and language arts teachers towards the use of language arts." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38723803.
Full text
13
Joern, Albert. "The repositioning of traditional martial arts in Republican China." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=114301.
Full textAbstract:
In this thesis, I discuss how practitioners of martial arts in the Republican era of China were engaged in a process of reinventing what embodied the field of martial arts during a time when physical culture was treated as an instrument of nation-building in response to colonial discourses and the process of modernization. Martial arts were repositioned from being a loosely associated field of practice for people who engaged with a set of combative skills that focused on weapons training that championed archery and spear fighting, towards being a recreational activity with a formalized body of knowledge, skills and practices imbued with a Chinese sense of identity suitable for the modern class of urban and educated Chinese citizens. It is my belief that these efforts were a very important factor in why the practice of martial arts today is so closely associated with concepts of self-cultivation. This repositioning of Chinese martial arts was driven by a schism between the traditionalists who defended the beliefs and practices from the imperial age of China, and the modernists who saw the complete adoption of Western technologies and concepts as the only course for the modernization of China. Due to the shifting politics around education, understandings of the body and its representation in society, the efforts to preserve traditional practices were complicated through the dynamics related to identity and state power. The field of martial arts was criticized by reformists and modernists such as those involved with the New Culture Movement, who argued that China needed to embrace scientific notions of the Western nations and abandon "feudal superstitions." Within this context, the field of traditional Chinese martial arts was stigmatized by associations with the failed Boxer Rebellion, the diversity of practices and the secrecy that existed between different schools of practice. In response to the modernity movements that criticized the traditional systems of belief that martial artists drew upon to substantiate their systems of practice as a recreational pursuit, associations such as the Jingwu Tiyu Hui and the Zhongyang Guoshuguan were formed according to Western institutional models as part of the effort to unify and "modernize" Chinese martial arts. The teachers and administrators involved with these institutions wanted to preserve the practice of martial arts, and to accomplish this they had to develop new ways to systemize the training methods, essentially reinventing them by promoting them to a new generation of students in a format that had never existed before.À travers cet essai, j'examine la façon dont les pratiquants d'arts martiaux dans l'ère républicaine de la Chine étaient impliqués dans le but de réinventer ce qu'incarnait le domaine des arts martiaux à une époque où la culture physique était traitée comme un instrument de construction de la nation en réponse au discours colonial et au processus de modernisation. Les arts martiaux ont été repositionnés à partir d'un ensemble de personnes indirectement associés qui se livraient à un ensemble de combats et qui concentraient leurs compétences sur des entraînements aux armes encourageant le tir à l'arc et le combat à la lance, afin de devenir une activité de loisir avec un corps formalisé de connaissances, de compétences et de pratiques imprégnées avec une identité chinoise adapté à la classe moderne urbaine et de citoyens chinois éduquée. Ceci est ma conviction que ces efforts ont été un facteur très important dans la raison pour laquelle la pratique des arts martiaux aujourd'hui est si étroitement associée aux concepts de la culture de soi.Ce repositionnement des arts martiaux chinois fut motivé par le schisme entre les traditionalistes qui défendaient leurs croyances et leurs pratiques de l'époque impériale de la Chine, et les modernistes qui, eux, ont vu l'adoption complète de technologies et de concepts occidentaux comme le seul mouvement bénéfique à la modernisation de la Chine. En raison de la politique à travers l'éducation, la compréhension du corps et de sa représentation dans la société, les efforts visant à préserver les pratiques traditionnelles ont été compliquées par la dynamique liée à l'identité et le pouvoir de l'état. Le domaine des arts martiaux a été critiqué par les réformistes et les modernistes incluant ceux qui furent impliqués dans le « New Culture movement», qui a fait valoir que la Chine devait embrasser des notions scientifiques des pays occidentaux et abandonner leurs «superstitions féodales. » Dans ce contexte, le domaine des arts martiaux traditionnels a été stigmatisé par des liens avec la révolte des Boxers, la diversité des pratiques et la discrétion qui existait entre les différentes écoles de pratique.En réponse aux mouvements de modernité qui ont critiqué les systèmes de croyances traditionnels dont les pratiquants d'arts martiaux ont fait appel à l'appui de leurs systèmes pour justifier leur pratique comme une forme de loisir, des associations telles que les Jingwu Tiyu Hui et le Zhongyang Guoshuguan ont été formés selon les modèles occidentaux institutionnels dans le but d'unifier et de , en quelque sorte , moderniser les arts martiaux chinois. Les enseignants et les administrateurs concernés par ces institutions voulaient préserver la pratique des arts martiaux, et pour ce faire ils ont dû développer des nouvelles façons de systématiser les méthodes de formation, les réinventer en les promouvant à une nouvelle génération d'étudiants sous une forme qui n'avaient jamais existé auparavant.
14
Choa, Gillian Ann, and 蔡敏志. "The performing arts' concern: the alternativeleader." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B45007913.
Full text
15
Chung, Oi-yee, and 鍾藹兒. "Urban planning and arts development in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B42576052.
Full text
16
Campos, Ari Silva Mascarenhas de. "A arte de contar histórias: uma poética da memória em Leite derramado de Chico Buarque." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-27032015-144818/.
Full textAbstract:
Analisamos, nesse trabalho, o romance Leite Derramado (2009), escrito por Chico Buarque, e observamos a reconstrução dos fatos e associações fictícias organizadas através da edição memorialística do narrador. O romance é narrado por um homem de cem anos, que se encontra em um leito de hospital, e transmite suas experiências à medida que as rememora. Essas memórias dialogam com uma percepção social, de uma determinada classe, reconhecível, inclusive, na estilização da linguagem elaborada pelo autor. A arte de contar histórias, que em Leite Derramado se manifesta por meio da transmissão oral, atenderá às necessidades comunicativas do narrador e dialogará com sua perspectiva melancólica. Ao revelar os recursos utilizados pelo narrador-protagonista para reconstituir verbalmente sua história e a de seus ancestrais, percebemos os eventos históricos manipulados pela retórica de Eulálio, cuja perspectiva esclarece seu discurso de classe, baseado nas experiências próprias ou alheias resgatadas pela memória que, por sua vez, se apresenta de maneira desalinhada. Assim, esse trabalho busca iluminar a forma como os registros históricos, descritos pelo narrador, são transmitidos e como sua força deixa de incorrer num simples pano de fundo para alçar instâncias de destaque dentro da obraWe can analyze in this work, the novel Leite Derramado (2009), written by Chico Buarque, in order to observe the reconstruction of facts and fictitious associations organized through the narrator´s memories edition. The novel is narrated by a hundred years old man, lying in a hospital bed, and conveys his experiences as he recalls them. These memories dialogue with a social perception of a particular class, recognizable even in the stylization of language developed by the author. The art of storytelling, which Leite Derramado manifested through oral transmission, will meet the communication needs of the narrator and will communicate with his melancholy perspective. By revealing the resources used by the narrator-protagonist to verbally reconstruct his history and his ancestors, we perceive the historic events handled by the rhetoric of Eulalio, whose perspective clarifies his speech class, based on his own or others\' experience redeemed by memory, which in Instead, it presents a misaligned manner. Thus, this work seeks to illuminate how historical records described by the narrator are transmitted and how his strength fails to apply a simple backdrop to raise instances of prominence within the work
17
Yen, Koon-wai Michael, and 嚴觀偉. "Urban channel for electronic media and arts." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31983121.
Full text
18
Xiao, Yan. "Exploring the Intricacies of International Performing Arts Exchange: Case Studies of Arts Programs between U.S. and China." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1575479293045226.
Full text
19
Zeng, Xi. "Zen aesthetic: development and influence in culture and contemporary painting of China, Japan and USA = La estética Zen: desarrollo e influencia en la cultura y la pintura contemporánea de China, Japón y EE. UU." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/463011.
Full textAbstract:
No other form of Oriental philosophy has had such a widespread, positive effect on culture and international contemporary painting as Zen Aesthetic. Owing to the birth of Zen Buddhism in China, its extraordinary boom and influence is evident in all aspects of society and Chinese culture. Especially painting with brush-tipped ink, it led to the development of a particular spirit or aesthetic, known worldwide as Zen, which has not stopped propagating since Zen Buddhism in the 16th century crossed the sea to reach Japan. Once there, it fecundated the native culture and motivated the development of an aesthetic with distinct Zen peculiarities, to such an extent that it took root in everyday life and was projected in different spheres of cultural life and creativity.
This trend of Zen Aesthetic has long been recognized as the essence of Oriental aesthetics due to the fusion of Buddhism, Taoism and Confucianism, overcoming geographical limitations and cultural differences, becoming one of the most active and distinctive leading thought in the twentieth century. Once it was introduced to the United States by Soyen Shaku in Chicago in 1893, it soon became an admired and applied trend in the different cultural spheres of the country, and in particular it was followed closely by several painters, to such an extent that it was felt in contemporary painting both in the United States and in the same places of its origin. That is to say, China and Japan.
Despite its impact, the Zen Aesthetic phenomenon and in particular its influence in culture and contemporary painting has not been thoroughly investigated. Also, there are many gaps, which is why we have explored its thematic research.
The theme of typology required a panoramic approach or focus, for the simple reason that Zen Aesthetic can hardly be understood in contemporary painting without knowing its origins, cultural development and influence, as well as the geographic trajectory or international centers of propagation of Zen Aesthetic. In spite of its apparent amplitude, the author tried in the first place to compile as much documentation as possible or more understanding that explains the expansion of the Zen phenomenon at the intercontinental level, without forgetting their critical interrelations, to understand the extraordinary influence of this aesthetic movement and spirituality in Occidental contemporary painting. Also, within Oriental contemporary painting, such as any rebound effect or return to their places of origin. While the author has investigated as far as possible, the causes and their development from China to the United States, through Japan, the investigation has not forgotten the European continent. Indeed, in the thesis there are different European references, although their arrival in Europe came after the United States, through D. T. Suzuki around 1936, so it seemed convenient to leave this part of the research on the European continent for a new occasion due to its breadth, complexity, and stylistic derivations.
The real Zen can hardly be understood without entering into the direct experience or life of the world that revolves around the principles of Zazen. In this regard, the two research centers that have contributed significantly to the development of this study are the Dongshan Monastery and the Shatou Cultural Center. Firstly, the author has been allowed to perform a three-month immersion period in Zen Buddhism meditation. And then, it has been fundamental to consult the documentary sources of Zen Buddhism and its different practices, such as Taiji, calligraphy, and painting as a method of meditation that is engaged in research, with the aim of seeking inner peace without any other secular purpose.
The thesis is structured in twelve large sections with a series of chapters and sub-chapters within each. In the introduction, the research approach is presented, which is the specific typology of the panoramic thesis of critical compilation and the thematic justification, as well as the motivation of the thesis title. Although there are many publications on Zen Aesthetic, the author considers that the particular theme of seeking the motives of its cultural and pictorial influence in the contemporary world of the three countries China, Japan, and the United States is unprecedented. In addition to fundamentally exposing the different objectives and their diachronic, comparative, analytical, and critical methodology, the introduction ends with a large interrelated organization chart of the various parts of the configurator system of the influence of Zen aesthetics in contemporary painting from China, Japan and the United States.Ninguna otra forma de filosofía oriental ha tenido un efecto positivo tan extendido en la cultura y en la pintura contemporanea internacional como la estética Zen. Gracias al nacimiento del budismo Zen en China y su extraordinaria auge e influencia en todos los aspectos de la sociedad y la cultura china, en especial la pintura con tinta a punta de pincel, hizo que se desarrollara en paralelo un espíritu o estética particular, conocida mundialmente por Zen, que no ha parado de propagarse desde que, en el siglo XVI, el budismo Zen cruzara el mar para llegar a Japón. Una vez allí, fecundó la cultura autóctona y motivó el desarrollo de una estética con particularidades propiamente Zen, hasta tal punto que arraigó en la vida cotidiana y se proyectó en distintos ambitos de la vida cultural y de la creatividad. Esta corriente de estética Zen ha sido reconocida desde hace mucho tiempo como la esencia de la estética oriental debido a la fusión del budismo, el taoísmo y el confucianismo, llegando a superar las limitaciones regionales y las diferencias culturales, convirtiéndose en una de las más activas y distintivas, líder en el siglo XX, una vez ya introducida en EE.UU. de América por Soyen Shaku en 1893 en la ciudad de Chicago. Pronto se convertiría en una tendencia admirada y aplicada en los distintos ambitos culturales del país, y en particular seguida de cerca por varios pintores, hasta tal punto que se hizo sentir en la pintura contemporánea tanto de EE.UU, como en los mismos lugares de su origen, es decir de China y Japón. A pesar de su impacto, el fenómeno estético Zen y en particular su influencia cultural y en la pintura contemporánea, no ha sido investigada en profundidad, y existen bastantes lagunas, razón por la cual nos hemos planteado su investigación temática. Una temática de esta tipología requería un planteamiento o enfoque panorámico, por la sencilla razón de que difícilmente se puede entender la estética Zen en la pintura contemporánea, sin conocer sus orígenes, su desarrollo e influencia cultural, así como la trayectoria geográfica o centros internacionales de propagación de la estética Zen. A pesar de su aparente amplitud, intentamos en primer lugar compilar la mayor documentación posible o más destacada que explica la expansión del fenómeno Zen a nivel intercontinental, sin olvidarnos de sus interrelaciones de modo crítico, para entender la extraordinaria influencia de dicho movimiento estético y espiritual en la pintura contemporánea occidental y asimismo oriental, como efecto rebote o retorno a sus lugares de origen. Si bien hemos investigado en la medida de lo posible las causas y su desarrollo desde China hasta EE.UU, pasando por Japón, no nos hemos olvidado del continente europeo. Efectivamente, en el transcurso de la tesis aparecen distintas referencias y referentes europeos, aunque su llegada a Europa se produjo después de EE.UU, a través deD.T. Suzuki en torno de 1936, por lo que nos ha parecido conveniente dejar esta parte de la investigación del continente europeo para una nueva ocasión, dadas su amplitud, complejidad y derivaciones estilfsticas. Difícilmente se puede entender el verdadero Zen sin en- trar en la vivencia o experiencia directa del mundo que gira entorno de los principios del Zazen. En este sentido, caben destacar los dos centros de investigación que han contribuido sobremanera al desarrollo de esta investigación: el Monasterio de Dongshan y el Centro Cultural de Shatou. El primero, nos ha permitido efectuar un período de inmersión de tres meses en la meditación del budismo Zen. En cuanto al segundo, ha sido fundamental para consultar las fuentes documentales del budismo Zen y sus diferentes practicas, como el Taiji, la caligrafía y la pintura como un metodo de meditación que se ocupa en la investigación, con el objetivo de buscar la paz interior sin ningún otro propósito secular.
20
Leung, Yin-ling Carol, and 梁燕玲. "Academy of fine arts." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31982062.
Full text
21
Huaraca, Chumpitaz Josselin Lucero. "Estado del arte del uso de redes sociales en bibliotecas de América del Norte y China." Bachelor's thesis, Universidad Nacional Mayor de San Marcos, 2020. https://hdl.handle.net/20.500.12672/16700.
Full textAbstract:
El trabajo de investigación presenta el estado del arte del uso de las redes sociales en
bibliotecas de América del Norte y China, el cual tiene por objetivos identificar los tipos de
redes sociales más usadas, los tipos de bibliotecas en las que se hace uso, entre bibliotecas
académicas y públicas, y las mejores prácticas dadas por los autores. La metodología
realizada consistió en la revisión de fuentes de información y la sistematización de estas a
través de categorías y subcategorías. La literatura brindada por los artículos y libros de
distintas bases de datos señala como resultado que las redes sociales más utilizadas siguen
siendo Facebook y Twitter como redes sociales horizontales, además se pudo identificar
que las redes sociales académicas obtienen muchos beneficios en el apoyo al estudio en el
aprendizaje y la enseñanza. Las mejores prácticas enfatizan en el contacto constante con el
usuario y el contenido adecuado de acuerdo con sus necesidades y las promociones de los
servicios de la biblioteca a través de estrategias de marketing. Se tiene como conclusión
que se está realizando un gran uso de las redes sociales en estas regiones, pero aún queda
un gran reto por hacer que las redes sociales para que sean más utilizadas por los otros tipos
de bibliotecas y los bibliotecarios logren captar y mantener la atención y el vínculo con los
usuarios.
22
Cheung, Wing-him Edward, and 張穎謙. "HKU extension: Music & Fine Arts complex." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986341.
Full text
23
Lau, Wai-sim, and 劉慧嬋. "Chinese martial arts stardom in participatory cyberculture." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50533824.
Full textAbstract:
The participatory cyberspace, epitomized by the concept of Web 2.0, has become a key venue of Chinese stardom in the post-cinema era.Web 2.0 invites its users to contribute to the content through an architecture of participation. Fans can search, poach, edit, and post filmic and publicity materials about stars, formulating seamless, collaborative reworkings of the star image and generating a new star-fan dynamic. At the crossroads of participatory cyberspace and cinema, transnational Chinese movie stars call our attention to the critical concern of Chineseness. In recent years, a number of Chinese movie stars have attained prominent presence in the global cinematic arena. These acting talents, who are either identified as martial arts performers or known for their performances in martial arts films, won global acclaim as a result of the worldwide reception and esteem for Hong Kong action films and Fifth Generation directors’ films from mainland China. As these stars begin to engineer personae stretching beyond their ethnic identities for the global setting, their stardom engenders discourses of ethnicity and cosmopolitanism.What does it mean to call these stars “Chinese” in the global cyber setting? How do their fans interact to reshape their star personae on the Web? How can one approach and understand “Chineseness” within cyber fan discourse? All these questions point to a central problem of how to conceptualize Chineseness in participatory cyberspace.
My agenda in this study is to investigate Chinese movie stardom as a web-based phenomenon by establishing a new theoretical framework for considering Chineseness in participatory cyberspace. I have created a set of four analytical matrixes, each examining a particular Chinese star through a specific fan-based practice on a specific participatory site: vidding Donnie Yen and critiquing Zhang Ziyi on YouTube; photo-sharing about Jackie Chan on Flickr; “friending” Jet Li on Facebook; and discussing Takeshi Kaneshiro on fan forums. Through close investigation of these five Chinese stars, I demonstrate that the cyber setting enables collaborative fan reworkings of star texts and multiple directionality of approaching Chineseness. Cyber fans produce intertextual, multi-faceted star personae, different from traditional film personae whose meanings are anchored in a rigid established representational framework. Through the relentless scrutiny, quotation, manipulation self-affiliation by fans enabled by cyber technology, Chineseness becomes an utterly illusive and indefinable entity, a new form of signification whose meaning is always changing. This unstable, hybrid Chineseness challenges the notion of a star’s given ethnicity, redefining the archetypal martial arts body in unpredictable, manifold and provocative terms for the cyber era.
With the aim of advancing the critical theorization of Chineseness, this study unfolds and analyzes the dynamics of the vital relationship between Chinese stardom, web technologies, and fan discourse. It also serves as a timely response to the challenges posed by cyber culture for the disciplines of cinema and cultural studies, in light of the proliferating yet inadequate current efforts in this field.published_or_final_version
Comparative Literature
Doctoral
Doctor of Philosophy
24
Yau, Foon-chi Lynn, and 邱歡智. "The arts and education policy: a comparison of the Hong Kong and international baccalaureate arts curricula." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37338687.
Full text
25
Garcia-Borrón, Martínez Maria Dolors. "Introducción a la historia de las artes del espectáculo en China." Doctoral thesis, Universitat Rovira i Virgili, 2003. http://hdl.handle.net/10803/8599.
Full textAbstract:
Tras un breve Prefacio en que se da cuenta de los procedimientos metodológicos y epistemológicos seguidos, se inicia el trabajo con un Prólogo sobre los primeros europeos de tiempos medievales, renacentistas y del Barroco e Ilustración que se acercan a China, citándose también en notas a viajeros orientales que realizan el camino inverso. Dentro del mismo Prólogo, se abunda luego en el surgimiento y desarrollo de la biografía relativa a los temas específicos de este trabajo, esto es, las artes del espectáculo en China y las influencias, aportaciones, diferencias y similitudes mutuas entre Oriente y Occidente en este campo. Se resaltan no solo las aportaciones al acervo bibliográfico de los países más desarrollados tanto de Oriente como de Occidente, sino también especialmente en los trabajos de los españoles y sudamericanos, desde el siglo XVI hasta el XXI.Se pasa a continuación a la reseña relativa a la construcción del campo académico sobre los estudios sobre Teatro Chino, con los principales académicos tanto occidentales como orientales.
En paralelo al teatro, y tanto del que se produce en la propia China como entre los huagiao o miembros de la diáspora, se tocan otros temas de relevancia como el de la música, y acaba el Prólogo con una miscelánea de noticias sobre los últimos contactos culturales, diplomáticos y comerciales entre China y Occidente, sin olvidar recientes aportaciones de españoles que han visitado China o que han trabajado y trabajan en el continente y en Taiwan, y con la reseña de las experiencias personales de la autora en este terreno. Resaltan como Conclusiones principales, desde un medio tanto urbano como rural en que la cantidad y variedad de los espectáculos sigue aumentando, la innegable excelencia de los artistas chinos y su pujante nueva penetración a nivel mundial, con la constatación de la influencia cada vez más notoria en el mundo artístico de Occidente de estéticas y temas anteriormente confinados mayoritariamente a Oriente, y viceversa.
En cuanto al Corpus, consta de los siguientes capítulos principales: "Orígenes del teatro en China", "Acrobacia y Malabarismo", "Otros Espectáculos", "Quyi", "Muñecos y Marionetas", "Teatro de Sombras", "La Música en China", y "La Música del Teatro Chino"; para pasar ya a una "Breve Història del Teatro Chino", en que vemos "El teatro durante la Dinastía Tang", "Dinastía Song", "El Teatro de los Yuan", "Dinastía Ming", "Chuanqi", "Kunqui", "Dinastía Ping", los estilos "Chuanju" y "Yueju", "Comienzos del Teatro Hablado" y "Politización del Teatro", "La Ópera de Pekín", "Más de cien argumentos de la Ópera de Pekín", "Pintura Facial", "Acrobacia y Combate sobre el Escenario", "Su aprendizaje", "Gestos simbólicos, Mimo y Monólogos", "Escenografía y Accesorios", "Danza", "Simbolismo de los Movimientos", "Vestuario y Tocados", "Calzado", Atrezzo", "Declamación y Canto", "Tipos de Personajes", "Reseñas Biográficas y Artísticas" de unos treinta famosos actores, "Introducción a Varios Estilos Locales de Ópera" (Difangxi), "Ximbian lishi ju", "geju", "Revolución Cultural", "Yangbanxi", "Wuju", "Ballet", "Huaju", "Directores Famosos y Especial Estilo de Dirección", "Gao Xingjian, Premio Nobel de Literatura", y "Algunas coordenadas para el extranjero que hoy quiera ir al Teatro en China".
Esta tesis, para la cual su autora ha investigado tanto en Eujropa como en China, es la primera que se presenta en España sobre el mundo del espectáculo chino. Consta además, paralelamente, de amplia información sobre diversos temas indisolublemente relacionados con el teatro y la cultura china; con abundantes notas sobre la historia, geografía, economía, filosofía, religiones, mitología, literatura, música, estética, artes plásticas, artesanías, usos y costumbres, lenguaje, traductología, así como amplia reseña Bibliográfica, etc.
Afther a short Preface on its methodological issues, the work opens with a forty pages Foreword tracing the history of China/West relations with the first Europeans (Middle Ages, Renaissance, Baroque period, and Englihtenment) to write about China; there are also some notes on eastern travellers in Europe. The development of a large Bibliography, the construction of the academic field from the XVIII century onwards, and up to our days, both in the East and in the West, and some Spanish contributions, are other of the subjects examined.
Among the chapters in the Corpus, some of the most important ones are "Origins of Theatre in China", "Acrobatics and Juggling", "Other Entertainments", "Quyi", "Puppets and Marionettes", "Shadow Theatre", "Music in China", "The Music of Chinese Theatre"; to go into "A Brief History of Chinese Theatre", which deals with "The Theatre of Tang Dynasty", "Song Dynasty", "The Theatre of the Yuan", "Ming Dynasty", "Qing Dynasty", "Chuanju", "Yueju", "The Begginings pf Spoken Theatre" and "Politisation of the Theatre", "Beijing Opera", "Facial Painting", "Onstage Acrobatics and Combat Skills", "Its training", "Symbolic Gestures, Mime and Monologue", "Scenography and Properties", "Dance", "Symbolism of Movements", "Costumes and Headdresses", "Props", "Dialogue and Singing", "Types of Roles", "Biographies" of some 30 famous actors, "An Introduction to Local Opera Styles (Difangxi)", "Xinbian Lishi Ju", "Geju", "Cultural Revolution", "Yangbanxi", "Wuju", "Ballet", "Huaju", "Famous Directors and Special Directing Style", "GaoXingjian, Nobel Prize for Literature", and "A piece of advice to foreigners wishing to attend theatre sessions in China".
Its most significant Concluding Remarks: In an atmosphere of revitalized passion for perfection in performance, the development of a larger professional elite, which stems from a class of rural as well as urban semi-professional artists, and its growing introduction to foreign audiences; the increasing interaction East/West of techniques, subjects and aesthetics.
This doctoral thesis, researched for and written all over Europe as well as in China, is the first one on the world and history of Chinese Entertainment presented in Spain ever. It has a wide information on several important background subjects, ranging from history, geography, economy, language and traductology, philosophy, religion, mythology, literature, music, plastic arts, handicraft, and customs and traditions; as well as large Bibliography.
26
何永業 and Wing-ip Ho. "The performing arts in Hong Kong: is venue socritical?" Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B36790254.
Full text
27
Leung, Ki-man Kitty, and 梁琪敏. "The implementation of language arts in a boys' school." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B36735905.
Full text
28
Kwan, Hoi-ling, and 關凱齡. "Tattooing the city: "infiltration of arts platforms in urban dense space"." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B47542767.
Full textAbstract:
There are huge demands of limited lands in Hong Kong. It is an increasing trend for Hong
Kong Government to develop open space for the use of recreation activities as they found out
that it is very important to the individual as well as the community. Other than recreation use,
those open spaces can also served to allow air ventilation, penetration of sunlight and also act
as a place for amenity and visual relief in Hong Kong. Although, these functions are very
important in the high rise building environment, high density city like Hong Kong, there are
many small public open spaces in urban area which are not in a good quality. They cannot
function well in responsive to the context of the area, enhancing the quality of the
neighborhoods and suited for the public need in the community which they turns out become
not as popular as they are expected. The pocket open space in urban area is relatively small,
surrounded by commercial buildings or residential buildings. They usually have a simple
setting with planters and street furniture. Different activities involvement by different users in
these small open spaces create a small community in the urban area and supposingly can
enhance the interaction within people in the area.
Considering that there are complaints from the Artists that there are not enough outdoor arts
space in Hong Kong and public arts is the trend of some of the cities in other countries to
enhancing the identity and culture of the urban areas, such as the King Williams ArtWalk in
Otario in Canada. However, It is not popular in the urban dense space in Hong Kong. It is
good to exploring a possible new way to sustain the unique culture by applying public arts
platform in the urban area. The site is located around the Aberdeen Street in Central. It is an
old district with new culture style but lack of solid identity and energy throughout the space.
Although there are different organic developments, the streetscape is without strong
characters. The following pilot project is aim to use art platform as a tools to revealing the
missing link in urban context and also adding a possible new function to the open space in
urban dense area as a “outdoor showroom” of arts in the city in order to vibrate the city and
raise the awareness of public arts to the publics.published_or_final_version
Architecture
Master
Master of Landscape Architecture
29
Leite, Jose Roberto Teixeira 1930. "A China no Brasil : influencias, marcas, ecos e sobrevivencias chinesas na arte e na sociedade do Brasil." [s.n.], 1992. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284345.
Full textAbstract:
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de ArtesMade available in DSpace on 2018-07-19T04:11:27Z (GMT). No. of bitstreams: 1 Leite_JoseRobertoTeixeira_D.pdf: 50049737 bytes, checksum: 7ded00196afa41356a8769f19f58e95a (MD5) Previous issue date: 1992
Resumo: A presente tese objetiva demonstrar como, muito ao contrário do que em geral se pensa, foi múltipla, profunda e duradoura a influência que a antiquíssima civilização da China exerceu sobre a do jovem Brasil: múltipla, por se ter manifestado sucessiva ou cumulativamente em variados campos do fazer, e até do pensar e do sentir nacionais; profunda, porque não se limitou a roçá-los epidermicamente, antes penetrando-os; duradoura porque, detectável desde os tempos iniciais da Colonização, continuava muito sensível em fins da primeira década do Séc. XIX, quando começa a se diluir sem contudo esgotar-se de todo. O estudo dessa influência chinesa sobre a cultura brasileira jamais fôra tentado de modo sistemático e integrado, embora uns raros pesquisadores e historiadores de arte tanto estrangeiros quanto nacionais tivessem já manifestado curiosidade e interesse pelas chinesices da pintura colonial mineira e por determinadas peculiaridades formais de nossa arquitetura tradicional. VaIe contudo destacar ter cabido a Gilberto Freyre a intuição certeira de que a marca deixada pela China e por outras velhas civilizações asiáticas sobre o Brasil não é um arranhão superficial, mas sim uma cicatriz profunda... Observação: O resumo, na íntegra, poderá ser visualizado no texto completo da tese digital
Abstract: The present thesis has as purpose the demonstration of the multiple. deep and long-Iasting influence of the very ancient Chinese civilization on our Brazilian culture, contrary to what is the generally accepted opinion. We said multiple, because such influence ocurred sucessively or cumulatively on several fields of activity, even on the way of thinking and feeling in Brazil; deep, because it was not limited to a superficial rubbing, but a real cultural penetration; long-lasting; because such influence was detectable since the very begginning of our Brazilian colonial era, being felt up to the end of the first decade of the 19th century, when it started to fade away, although never fully extinguished. The study of the Chinese influence on Brazilian culture never had a systematic and integrated attempt before, although a couple of art historians and researchers, either foreigners or Brazilians, had already expressed a certain curiosity and interest for Chinese-style colonial paintings from Minas Gerais and also for a few formal particularities concerning our traditional architecture. It is nevertheles worth mentioning that it was Gilberto Freyre who had the right intution that the trace left by China and other ancient Asian civilizations on Brazil was not a superficial scraping, but indeed a deep scar... Note: The complete abstract is available with the full electronic digital thesis or dissertations
Doutorado
Doutor em Artes
30
Ford, Norman Jackson. "Traversing Hong Kong strategies of representation and resistance in lens-based media /." Thesis, Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B35807398.
Full text
31
Lam, Lai-chu April, and 林麗珠. "Enhancing learning by using technology in visual arts projects." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29954149.
Full text
32
麥慧敏 and Wai-man Stephanie Mak. "Chinese arts and craft complex in Ladder Street, Sheung Wan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986699.
Full text
33
Yu, Ka-wah Janet, and 余嘉華. "Visual arts warehouses, Yau Tong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31986237.
Full text
34
Zhang, Naiyong. "Les femmes artistes d'origine miao, mongole et ouïgoure dans le champ artistique chinois 1950-2010." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA042.
Full textAbstract:
Cette thèse est consacrée à l’évolution de la place des femmes artistes d’origine miao, mongole et ouïgoure dans le champ artistique chinois 1950-2010. Son axe central consiste à montrer comment les mutations sociales ont modifié la place des femmes, et, plus précisément, comment leur place a été redéfinie dans un discours identitaire. Si dans les années 1950-1980, les œuvres portant sur l’idéologie collectiviste et la représentation de « la femme d’acier » occupaient une place primordiale, dans les années 1981-2000, les femmes artistes décrivent la situation réelle des femmes et mettent l’accent sur la question de l’identité des femmes modernes et sur des relations entre les femmes et les hommes. Elles cherchent à maîtriser des formes d’expression artistique ethnique plus variées et plus légitimes. Depuis 2001, afin de préserver les cultures ethniques face à la mondialisation, les femmes artistes essaient d’interpréter la profondeur de la culture ethnique dans leurs œuvres. C’est vers les traditions, telles que la mémoire historique, les mythologies, les chansons et les danses, que se tournent les artistes femmes issues des ethnies minoritaires à la recherche de racines culturelles. Cette recherche s’appuie à la fois sur l’analyse de la situation socio-culturelle des femmes artistes issues des ethnies minoritaires, l’analyse de la construction de l’identité féminine et l’analyse des particularités de l’expression des femmes artistes eu égard à leur appartenance ethniqueThis thesis is devoted to studying the evolution of the place of female artists with Miao, Mongolian and Uygur origins in the Chinese artistic field 1950-2010. The central theme is to demonstrate how social changes have changed the place of women, and more specifically, how the place of women has been redefined in an identity discourse. If in the years 1960-1980, the art works dealing with the collectivist ideology and the representation of the ‘iron woman’ occupied a primordial place, in the years 1981-2000, the female artists describe the real situation of the women and put the focus on the question of the identity of modern women and the relations between women and men. They seek to master the different forms of ethnic artistic expression. Since 2001, in order to preserve ethnic cultures facing the globalization, the female artists are trying to interpret the depth of ethnic culture in their art works. It is towards traditions, such as historical memory, mythologies, songs and dances, that the female artists with ethnic minority origins are looking for their cultural roots. This research is based at the same time on the analysis of the socio-cultural situation of female artists with minority origins, the analysis of the construction of the feminine identity and the analysis of the particularities of the expression of female artists because of their ethnicity
35
Choi, Ching-ha Maggie, and 蔡青霞. "Perceptions of using language arts activities in teaching short stories: a case study." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B36743124.
Full text
36
Mon, Shuk-lin Shereen, and 蒙淑蓮. "An urban communication tool: the Centre for Advertising and Communication Arts." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31983571.
Full text
37
Fok, Siu-har Silvia. "Performance art and the body in contemporary China." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/b40203888.
Full text
38
Lam, Yui-yim Margaret, and 林睿艷. "Realm of media art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31985221.
Full text
39
周韻琼 and Wan-king Janice Chow. "Urban villa for Chinese folk arts and crafts." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986390.
Full text
40
Pinto, Fabiane Batista. "O Brasil de Chico Buarque: naÃÃo, memÃria e povo." Universidade Federal do CearÃ, 2007. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=6253.
Full textAbstract:
Conselho Nacional de Desenvolvimento CientÃfico e TecnolÃgicoThis research analyzes Chico Buarqueâs perception about Brazilian Nation, taken as reference his musical work, however not thinking about periods or specifics topics. So, looks for to show how Chicoâs nation conception participates in collective memoryâs construction. In relation to his music, there is interest for all than characterizes the past, present or future expectative of the Brazilian life. The national feelingâs building results of complex process. Then is necessary to utilize the theory notions: nation, art, national memory, tradition, modernity, popular music and Brazilian reality. This study concludes explaining Chico Buarqueâs poetry like a hope aliment of a better country. Seeking past references, the artisteâs sensibility, as the any nationâs sensibility, is linked for future
Neste trabalho investigo a percepÃÃo de Chico Buarque sobre o Brasil como naÃÃo, tomo como anÃlise o conjunto da obra musical deste artista sem ater-me estritamente a periodizaÃÃes ou a temÃticas especÃficas. Procuro demonstrar como este autor participa na elaboraÃÃo de uma memÃria coletiva a partir de uma determinada concepÃÃo de paÃs. Como uma comunidade nacional, teoricamente, à capaz de unir ou aglomerar todos os tipos e tendÃncias sociais, sua construÃÃo à forÃosamente multifacetÃria. Assim, interesso-me, na obra do referido autor, por tudo o quanto diga respeito à caracterizaÃÃo do passado, do presente e as expectativas de futuro da vida brasileira. Como a construÃÃo do sentimento nacional resulta de processos complexos, sofridos e mal explicados utilizo os seguintes aparelhos conceituais para sustentaÃÃo da pesquisa: naÃÃo, arte, memÃria nacional, tradiÃÃo, modernidade, mÃsica popular e realidade brasileira. Concluo o estudo tentando demonstrar que a poesia de Chico Buarque alimenta a esperanÃa de um paÃs melhor. Buscando referÃncias no passado, a sensibilidade do artista, tal como a sensibilidade de qualquer naÃÃo, estÃ, sempre, necessariamente, voltada para o futuro.
41
McManus, Ceara Grey. "Teachers' perspectives on language arts in junior secondary English classrooms." Thesis, Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B41263157.
Full text
42
Lee, Mei-yan Jacqueline. "A folk art street in Pottinger Street." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25953229.
Full text
43
Tse, Kam-wing, and 謝錦榮. "Extension of Ship Street: arts Community." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31983662.
Full text
44
OLIVEIRA, Gerciane Maria da Costa. "Chico da Silva: estudo sociológico sobre a manifestação de um talento artístico." http://www.tede.ufc.br, 2010. http://www.repositorio.ufc.br/handle/riufc/1205.
Full textAbstract:
OLIVEIRA, Gerciane Maria da Costa. Chico da Silva: estudo sociológico sobre a manifestação de um talento artístico. 2010. 126f. Dissertaçao (Mestrado em Sociologia) - Universidade Federal do Ceara, Departamento de Ciências Sociais, Programa de Pós-Graduação em Sociologia, Fortaleza-CE, 2010.Submitted by GLAUBENILSON CAVALCANTE (glaubenilson@yahoo.com.br) on 2011-11-21T18:27:43Z No. of bitstreams: 1 2010_DIS_GMCOliveira.pdf: 6079557 bytes, checksum: 8dca8a4969ab994e0997dbc98fffb758 (MD5)
Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2011-11-23T12:24:31Z (GMT) No. of bitstreams: 1 2010_DIS_GMCOliveira.pdf: 6079557 bytes, checksum: 8dca8a4969ab994e0997dbc98fffb758 (MD5)
Made available in DSpace on 2011-11-23T12:24:31Z (GMT). No. of bitstreams: 1 2010_DIS_GMCOliveira.pdf: 6079557 bytes, checksum: 8dca8a4969ab994e0997dbc98fffb758 (MD5) Previous issue date: 2010
O presente trabalho tem como intuito principal compreender, sob a perspectiva sociológica, a manifestação do pintor naif Chico da Silva no contexto artístico cearense dos anos 40. Nascido no Alto do Tejo, cidade do Acre, Francisco Domingos da Silva, filho de pai indígena e mãe cearense chega a Fortaleza em meados dos anos 30. Tendo seus trabalhos muralistas “descobertos” pelo crítico e pintor suíço Pierre Chabloz, em 1943, Chico passa a produzir telas, sob a interferência e orientação do estrangeiro, que levadas aos circuitos locais, nacionais e internacionais despertam grande interesse e admiração dos pares, da crítica e do público. Contudo, tal aceitação local não se deve, exclusivamente, aos valores e propriedades intrínsecas à suas obras, mas ao espaço dos possíveis objetivamente inscrito, que se delineia no modernismo tardio e no processo de autonomização do campo artístico cearense dos anos 40. A ruptura com os padrões artísticos europeus advindos principalmente da França e as afinidades formais e de idéias que se tecem nessa configuração entre arte “moderna” e arte “primitiva” viabilizam a paradoxal inscrição dos trabalhos independentes de Chico da Silva no campo artístico cearense, que no seu estado de autonomização não oferece lugar aqueles que renegam e desconhecem sua história.
45
Fok, Siu-har Silvia, and 霍少霞. "Performance art and the body in contemporary China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B40203888.
Full text
46
Li, Shaojun, and 黎少君. "From production landscape to consumption landscape: a study of factory 798 and the Jiuchang arts district inBeijing." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B47308370.
Full textAbstract:
Urban landscape offers an effective means to improve local capability for regional and global competitions. Along with the growing power of cultural economy, urban landscape with unique identity is increasingly repackaged as venue for cultural, particularly visual, consumption. At the same time, globally oriented cities compete with one another by promoting arts districts. In this context, arts districts have become a global urban phenomenon, contributing significantly to agglomerate cultural consumption activities.
For the past two decades, arts districts in Beijing have gained rapid increase in terms of locations and spatial patterns. However ,they were called ‘artist villages’ which represent their undergrounded statues in the early 1990s.It was not until 2000s that some of them were soon commercialized with international galleries, trendy restaurants, caf?s and night clubs appearing on the scene. These underground settlements were eventually recognized as “creative clusters” by the government. Speculative developers have seized the opportunity to investigate arts districts along with the growing importance of cultural economy.
Compared with western cases, Beijing’s arts districts merely took less than 20 years to shift from its isolated state to a tremendously popular one among local citizens and foreign visitors. Under this specific circumstance, the mechanism that contributes to such transformation has yet to be explored. Knowledge in this field in China is still on the stage of adopting the western model with a strong passion for explaining their economic capability. Whereas, in order to explore the relation between production landscape and consumption landscape, there is need to conduct a critical investigation for arts districts as a cultural spatial product in a social process.
In light of the scenario given above, the study aims to examine the role of place identity in producing Beijing’s arts districts with special focus placed on their branding strategy. The first step of the study is to review the overall development process of Beijing’s arts districts to identify specific background conditions and analyze their development characteristics. In the given urban context, two case studies of Factory 798 and Jiuchang are carried out, which are designed to achieve the research objectives. The two cases display different patterns of development mode. However, according to the study findings, similarities between them can be explored. Based on the distinctive image that the cases create, the study arrives at a conclusion that the role of place identity is evident in forming the characteristic of the consumption pattern. The significance of place identity is recognized for lending its value to Beijing’s arts districts. Further, from production landscape to consumption landscape, the commodification process of arts districts is ineffective without the interplay of social actors.published_or_final_version
Architecture
Master
Master of Philosophy
47
Pietrobon, Xavier. "L'équilibre des opposés : du Taiji quan comme principe d'harmonisation." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100025/document.
Full textAbstract:
À partir d’une pratique bien spécifique, celle du Taiji quan, art martial chinois, l’objectif de cette étude est de repenser l’interaction psychophysique, à l’aune d’un regard à la fois phénoménologique et taoïste. Il s’agit donc de ré-interroger le déséquilibre de la hiérarchie habituelle entre corps et esprit sous un angle nouveau, celui d’une activité posant une situation de conflit, de crise, celle du combat, au sens large de l’affrontement. Dès lors, la confrontation entre la base spirituelle du Taiji quan, le taoïsme, et les acquis de la phénoménologie concernant l’interaction psychophysique, permet de repenser ce rapport en fonction d’une logique d’harmonisation, et par conséquent de manière dynamique. Art martial, le Taiji quan est en effet un art du mouvement (entre autres), et c’est précisément cette dimension, rythmée sur le modèle du couple notionnel chinois yin/yang, qui permet de développer de nouvelles modalités dans l’interaction psychophysique. L’analyse de ce qui apparaît alors comme une véritable intelligence somatique invite à poursuivre l’entreprise de réhabilitation du corps et des arts martiaux au sein de la philosophie, visant ainsi à équilibrer des opposés qui tendent finalement à se compléter, participant les uns des autresIn considering the practice of Taiji quan, a Chinese martial art, this study aims to think about the psychophysical interaction from a point of view including Phenomenology and Taoism. The goal is to question the typical hierarchy between body and mind under a different angle : an activity involving a situation of conflict, of crisis, the fight, in the widest sense of confrontation. Consequently, the debate between the spiritual basis of Taiji quan, that means the Taoism, and what has been thought by phenomenology about psychophysical interaction, allows to think again this relationship with a perspective of harmonization, and thus in a dynamic way. As a martial art, Taiji quan is an art of movement, and this aspect, whose rhythm is given by the model of Chinese conceptual couple yin/yang, allows to develop new modalities in the psychophysical interaction. The analysis of what appears as a true somatic intelligence invites going on the project of rehabilitating body and martial arts in philosophy, aiming to equilibrate opposites that, in the end, are willing to complete each other, participating to each other
48
Chan, Kit-chee, and 陳潔芝. "Teachers' perspectives on using language arts to teach English to HongKong junior form students." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45175901.
Full text
49
Guo, Yinghong. "Arts plastiques et approches interculturelles dans l'enseignement du français langue étrangère en Chine aujourd'hui." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030083.
Full textAbstract:
L’expression artistique témoigne d’un imaginaire universel, partagé par toutes les cultures, et traduit les valeurs fondamentales. S’il y a une dimension universelle, l’art est aussi un langage qui envoie aux spécificités propres à chaque culture. Dans le contexte de l’enseignement du français langue étrangère (FLE) en Chine, force est de constater le peu d’intérêt manifesté à l’égard de la culture en général, et encore moins aux arts plastiques en particulier. C’est à partir de ce constat que nous formulons le projet à la base de cette thèse qui consiste à introduire un enseignement artistique au sein de la classe de FLE en Chine. Les objectifs de cette recherche sont les suivants : dégager une réflexion à partir de la dimension humaniste véhiculée par l’histoire de l’art en Europe ; repenser la pédagogie de l’apprentissage du FLE en s’appuyant sur la dimension esthétique des cultures chinoise et occidentale ; enfin, formuler concrètement un projet d’enseignement où les arts plastiques viennent enrichir les représentations culturelles des apprenants.Ce travail comprend deux parties: la première partie a pour but de contextualiser l’enseignement du FLE en Chine dans une perspective historique. De l’éducation traditionnelle confucéenne et taoïste à l’avènement de l’humanisme qui rayonne sur toute l’Europe depuis le XVIe siècle, notre propos est de mettre en exergue la valorisation d’un enseignement du FLE en Chine grâce à la formation des jeunes apprenants aux savoirs cognitifs et émotionnels issus de l’histoire de l’art. La deuxième partie met en forme une méthode d’analyse fondée sur des corpus d’oeuvres d’art classés par thème. De l’art traditionnel à l’art contemporain, de l’art chinois à l’art occidental, nous plaçons les arts plastiques à la croisée des cultures orientale et occidentale afin d’établir des comparaisons favorables au développement des compétences esthétique, interculturelle et transculturelle chez les apprenants chinois.Ainsi, cette recherche met en oeuvre les approches interculturelles qui enrichissent l’enseignement du FLE en Chine. Elle s’inscrit dans une perspective humaniste qui semble dominer désormais les réformes éducatives que la Chine entreprend depuis quelques années pour accompagner le mouvement de mutation irréversibleArts express an imaginary universe, shared by all cultures and translate the core values of their fundamental values. If there is a universal dimension of artistic expression, the art is also a language that refers to the specific characteristics of each culture. In the context of teaching French as a foreign language (FFL) in China, there is a clear lack of interest in culture in general, and even less to the visual arts in particular. It is from this observation that we ground the base of this thesis which is meant to introduce an art education in the classroom of FFL in China. The objectives of this research are the following: firstly, make a clear reflection over the humanistic dimension through the history of art in Europe; secondly, rethink a FFL teaching method, based on the aesthetic dimension of Chinese and western culture; thirdly, formulate a concrete education project where arts could enrich the cultural representations of learners.This work consists of two parts: the first part is to contextualize the teaching of FFL in China from a historical perspective. From the Confucian and Taoist traditional education to the European humanism since the sixteenth century, our intention is to highlight the value of FFL education in China by training young learners with cognitive and emotional knowledge from the history of art. The second part deals to apply our analysis to the corpus of art works, selected by theme. From traditional art to contemporary art, from Chinese art to Western art, we put the arts on the crossroads of Eastern and Western cultures so as to establish the favorable comparisons and to develop the aesthetic, intercultural and transcultural skills of Chinese learners.Thus, this research adopts intercultural approaches to enrich the teaching of FFL in China. It is from a humanistic perspective that such irreversible change prevails nowadays in the educational reforms in China in recent years
50
Wang, Meiquin. "Confrontation and complicity rethinking official art in contemporary China /." Diss., Online access via UMI:, 2007.
Find full text