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1
Kiu, Hau-chung Max, and 喬孝忠. "A study of Chang Chih-tung." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1988. http://hub.hku.hk/bib/B31949447.
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Lai, Chih-Chiang [Verfasser]. "Die Paradoxie des Rechts. / Chih-Chiang Lai." Berlin : Duncker & Humblot, 2014. http://d-nb.info/1238433111/34.
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Chik, Chi-chung Stanley. "Characterization of two chicken gonadotropin releasing hormone-II genes in goldfish, Carassius Auratus : y Chik Chi Chung Stanley." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2056630X.
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Wang, Wan-Hsiang 1960. "The poetry of Chang Chi (ca. 766-830)." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/290645.
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The mid-T'ang literary arena is dominated by two influential figures; Han Yu and Po Chu-i and by the schools that formed around their poetry. These two prominent schools have developed very different poetic styles. Chang Chi is a major poet of the time who associates with both groups, yet he manages to retain his own uniqueness. Chang's poetic works include many yueh-fu titles with realistic themes, which display his profound thoughts and his elegant, crystalline style. He is particularly good at expressing intimate human concerns. By employing a simple yet refined poetic language, he has made clear and objective sketches of the hardships of common people's lives in the early ninth century. He has also left lucid and beautiful poems written in the "recent style," in which natural phenomena are strongly correlated with human feelings. My approach to Chang Chi's poetry is both historical and thematic. In studying the topoi of Chang's poetry, I first investigate the source and history of each theme and then compare Chang's works with his predecessors'. Chapter 1 provides a biographical study of Chang Chi's life, using available biographical and literary sources. In addition, I discuss the editions of Chang Chi's poetry collection. Chapter 2 deals with some of Chang Chi's major thematic concerns as reflected mainly in his yueh-fu poetry, such as social injustice brought on by incessant wars and repressive taxation. Chapter 3 analyzes Chang Chi's satires on Taoist religion, and poems on the carpe diem theme, as well as allegories and fables. Chapter 4 examines Chang's "frontier poetry" by tracing the origins of the "expedition and guard" theme. Chapter 5 explores the images of women in Chang's verse within the so-called "palace plaint" and "boudoir plaint" traditions. Finally, Chapter 6 offers a review of the critical reception of Chang's poetry throughout Chinese history, together with my own evaluation.
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Chang, Yau-Chin [Verfasser]. "Minderwertigkeitsgefühl und Machtstreben der Brüder Kien in Canettis Die Blendung / Yau-Chin Chang." Aachen : Shaker, 2005. http://d-nb.info/1181620139/34.
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Chiang, Ying-Chih [Verfasser], and Lorenz S. [Akademischer Betreuer] Cederbaum. "Nuclear Dynamics in Electronic Decay Processes followed by Fragmentation / Ying-Chih Chiang ; Betreuer: Lorenz S. Cederbaum." Heidelberg : Universitätsbibliothek Heidelberg, 2012. http://d-nb.info/117703994X/34.
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Chang, Chih-Rong, and 張芝榕. "Multidimensional Perception Statement of Chang, Chih-Rong's Creation." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/7ng7wj.
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碩士國立彰化師範大學
美術學系
106
For creators, the "perceived" experience is precious and enhancing this ability can help to keen understand the changes and fluctuations in the environment and help to circulate to the body and then convey it out to the works in the most accurate terms. Feeling the "subject" and the been received "outside world" in events, both parties fluctuate according to each observation position. This article takes "I" as the object of observation, observes my own perception experience, and then I study through the process of each works reflecting ideas, desires, physical instincts, action drives ..... and so on, continue to repeatedly exchange and update between absorption and experience, until the perceived events of the "Subject" and "Object" boundaries gradually melt away. The first chapter tells being in dreamlands triggered individual existence doubts. The second chapter carries out an academic analysis on feelings of environment round about and on consciousnesses according to the concern points of artists and of psychological analysis. If the position of "I" appears when facing perceived experience, the "I" must divide with the outside world split into two, cut off the intricate symbiotic relationships between self and the environment, neglect the personal awareness of the close infiltration with the outside world, and easily rely on actual objects and explicit behaviors to prove their own existence. Once the "I" am out of logic, disorder or encounter trauma, the "I" fall into the corner. Therefore, the perceptual information that the inner world sprang from all directions should be viewed as one two sides to the overall consciousness. The third chapter expounds the creative context and concepts of my own in order to explore the immensity dimension space of consciousness in actual works, and the works gradually shift from plane to space device. The fourth chapter makes staged conclusions based on the creative context, being noticed that there are many experiences and network of relationships hidden in the bottom of consciousness which accumulates from the existence instinct of life long ago and the habits of ethnic groups. Under the synchronous development of works should I continue to cultivate my own perceiving efforts, and understanding the unknown and the changes in the depths of consciousness is the "fountainhead" of people's inspiration and these "wealth" are held altogether by the whole environment beyond the predictions of intelligence and physical ability. Every moment of inadvertent and of subconsciousness in daily life exerts great impact and influence on the creators, and the works' creativity process once again returns to the inner perceptual roots after through the space device. The fifth chapter is a personal exhibition in December 2017, showing the development experience so far. Last, the chapter Six includes the overall harvest of the full text, discovering and perceiving the attitude of existence, being alone in an ever-changing environment, again and again in observation and in practicing inclined to self and free self. Keywords: Perception, Consciousness, Existence, Inner Tactility, Space-time Dimension, Dreamland
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CHANG, CHIH-CHING, and 張智清. "The Inheritance of Solemn Buddha Statues – The Buddha Sculptures of Chang , Chih – Ching." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/7877cu.
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碩士東方設計大學
流行商品設計系
107
The origin of Buddhist statues is based on cherishing the merits of the Buddha and promoting the fundamental ideas of Buddhist doctrines. Five hundred years after the Buddha nirvana , people started to make Buddhist statues. The inheritance and evolution of the Buddhist art have been continued two thousand years and created a lot of immortal cultural heritages. When believers pay respect to Buddhist statues, they revere the solemn looking of statues and obey the doctrines to understand how to get rid of the trifles in life. The author becomes a Buddhist because of sculpturing Buddha statue. As making the sculptures, I can’t stop thinking how the benevolent Buddha looks like. How could I present the wisdom of Buddha with the concrete image? The sculptors of Buddhist statues in Taiwan inherited from the Mahayana Buddhism and learn from the techniques of predecessors. Inevitably, they sometimes stock in the old ways of thinking. Therefore, this thesis looks back upon the origin and history of Buddhism. It focuses on the development of Indian Buddhist statues. Tracing back to the two origins of Buddhist statues, Gandhara and Mathura, the thesis analyzes the original Buddhist sculpture art and compares the different features of Buddhist statues from Mahayana and Theravada. Use this as a nutrient for my sculpture Buddha statue. The Buddhist statues are the emotional reflections of Buddhists to the Buddha. By the statues, Buddhists can reflect the doctrines of Buddha and understand how to put down the personal stubbornness. The Buddhist statues are like mirrors. As making Buddhist statues, the sculptors also make reflections on themselves. According to all the discussions above, the creation of arts is based on the spirit. With the spirit of Buddhism, the artist can broaden their views to make the creations. The sculptors of Buddhist statues should not only understand the Buddhist doctrines but also master the arts of making statues. As long as you understand the Buddhist doctrines, you can capture the solemn looking of Buddha.
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Chang, Chih-Min, and 張之瑉. "The Party of Humanity——Chih-min Chang''s Artwork." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/j3ab3w.
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碩士台南應用科技大學
美術系碩士班
105
This discourse is from the creation of the researcher between 2014 and 2017. Using artistic approach, the author analyzed the shared feelings between people from personal experience and expressed the feeling through painting, then further introspect during the process. The main structure of the creation discourse is divided into five main chapters. Describe researcher’s background, motives for research, purpose, and the area of research. Recount the personal motivation and transformation, and establish personal artistic style. Explore related thesis, what insight and meaning does the composition of Edouard Manet’s The Picnic imply? The famous mask painter James Ensor conveyed the immorality in human nature by portraying all kinds of joyous background. As for Lucian Freud’s unique artistic language, he depicted the reality of human nature. Contemporary artist Leong Woojae used his original way of enlarging the dog in the theme of a girl and a dog to express his feeling toward human nature nowadays. With the seemingly splendor style of Jean-Antoine Watteau during Rococo was a sense of sadness under elegance. He uses a lonely spirit to illustrate plenteous images. Cindy Sherman used the skills of photography to play the viewer ‘s vision and judgement between real and fake.These are all the sources of inspiration of the researcher. From the concept of the researcher, minimize the distance between the feeling of human and animals, while analyzing the fake and dark side of the interaction between humans. Deeply understand during the process of creating, the hidden sadness of the researcher behind the seemingly cheerful appearance. Describe of what form, material, or technique was used during the process. Furthermore, divided the artwork into “the theme of picnic” and“the theme of me being in your frame”series. Within “the theme of picnic”series, imply the emotion between people by illustrating the festive, humor surroundings of picnics. On the other hand, “the theme of me being in your frame”series is no longer the upbeat tone, it focuses on the melancholy feeling instead. In the conclusion, the researcher uses the experience of this research to reassure and express personal emotion, also hope to maintain the forward-looking spirit and open the door to ceaseless creation.
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Chang, Jungchih, and 張榕之. "Field of Secret－The Art Thesis of Chang Jung Chih." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/21753805580980202168.
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碩士國立臺灣藝術大學
美術學系版畫藝術碩士班
100
The topic of this art thesis is “Field of Secret”. My art express the feelings of depression, happiness and emotions of various fragments in life. Also, I attempt to find an inner balance from the noisy external environment. Besides, I take the advantage of the tranquility of the garden to combine my fantasy and random drawings as art. Moreover, I create a wonderland which is different from the real world and make the garden become more secret and ideal. Furthermore, through related art theories and analyze that clarify my art context. There are five sections in this discourse. The chapter 1 is the introduction, including motivation and purpose, methods and procedures of research, interpretation of terms. The chapter 2 is the basis of theories. Use the investigation of imagination as a beginning and explore the basis of theories about Freud's free association, blandness aesthetics and eastern garden aesthetics to help the researcher clarify thought of creation. The chapter 3 is the idea of creations. Expound the concept of “The land of secret” by using plane, space and symbols. The chapter 4 is the skill of creations. Record processes of creations and discuss skills that the researcher put in use. The chapter 5 is progresses and context of creations. Arrange progresses and context of the creation and separately interpret these art works including “Scenery of the Journey”, “Life as Cartoon”, “Secret”, “Tricks”. The chapter 6 is the conclusion and it contains learning experiences and the possibility of creations' development in the future. Keywords: Secret, state, Virtual and Reality
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Yang, Fang-Wei, and 楊芳瑋. "The Master Chih-I's the Concept of Chang-Shing Samādhi and its Impact in “Mo-Ho-Chin-Kuan”." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/74338550646554262997.
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碩士華梵大學
東方人文思想研究所
97
Chang-Shing Samādhi that it is very called as the most essential and concrete Amitabha dharma practiced way between the master Hui-Yuan and the master Shan-Tao. By matching up with the Chin-Kuan and chanting the name of Buddha, it spreads out the special methods, which is contemplating the image of Buddha and repeating his name with Three Truth of Perfection, processed of Tien-tai characteristic. At a later time the Tien-tai followers who chanting the name of Buddha all get impacted, such as Chih-Li、Shing-Cheng、Chuan-Deng、Chih-Shiu. Besides, it also contributes more to doctrine of chanting the name of Buddha of T‘ien-t‘ai school, which to make the chanting the name of Buddha method to four schools in China. Additionally, The Master Chih-I enters into Pure Land by himself therefore the Tien-tai followers all praise highly to Pure Land and the method chanting the name of Buddha to enter his Pure Land. The situation that T‘ien-t‘ai school and Pure Land school both matched into one school, in fact is influenced on by The Master Chih-I. Chang-Shing Samādhi also influences deeply on T‘ien-t‘ai school and Pure Land school in Japan. For example, Tien-dai School in Japan Tsui-cheng contributes four kind Samādhi building and arranges Chang-Shing Samādhi hall; Yuan-Ren finishes his former teacher and thaws it into Reciting Amitabha of five cadence, then hard make it in practice. A late generation, such as Kung-Ye, Liang-Yuan, Liang-Ren,they carry and hold evolvement, which becomes main a source of the Pure Land school in Japan prospered. Hence, it is easy to know the individualization and effect of Chang-Shing Samādhi.
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Hsu, Wei-Che, and 徐唯哲. "Phylogenetic Relationship of "niu-chang-chih" in Polypores Inferred from 18S rDNA Sequences." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/58563144405612877495.
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碩士東海大學
生物研究所
86
"Niu-chang-chih" is endemic to Taiwan and is known only restricted to a Taiwan endemic tree species: Cinnamomum kanehirai Hay.The species is famous and highly valued in Taiwan as a medicine. The fruit body morphology of this species corresponds with Antrodia P. Karst fairly well. As with similar micromorphologic characteristics among Antrodia, Antrodiella and Diplomitoporus, the decay characteristics and the type of the spores were the main emphasis for their morphological classification. But it is arguable for their delimitation. And what is more, Fomitopsis and Gloeophyllum also have similar morphology with "niu-chang-chih". To discuss phylogenetic relationships of "niu-chang-chih", DNAs representing the complete sequence of 18S rDNA of polypores were amplified by polymerase chain reaction (PCR). The complete nucleotide sequences of the 18S rDNA were obtained and analyzed to study the relationship of "niu-chang-chih" among some other related genera of the polyporaceae, The phylogenetic tree of the polypores were defined and based on the maximum parsimony analysis.In this study,we find the "Niu-chang-chih" is far distance relationship with Gloeophyllum, and closer to Antrodiella. Moreover, the results also support the classification of the genera except "niu-chang-chih". More researches need to be done in order to determine its classification.
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Yu-Jen, Cheng, and 鄭淯仁. "A Study of the Learning Guides of Chang Chih- Tung’s Yu Hsuan Yu." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/12303624367868609040.
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碩士臺北市立教育大學
教育學系碩士班
99
The aim of this research is to discuss Chang Chih- Tung’s book Yu Hsuan Yu which provides learning guides for the intellectuals of Ching Dynasty. By applying the historical method, Yu Hsuan Yu is the main research object of this study. First, the study begins with Chang Chih-Tung’s background and his occupation experience to generalize his characteristics. Second, it discusses Yu Hsuan Yu and its main value toward education by chronologically evaluating Chang’s remarkable educative revolutions and himself as an advocate of it. Third, the historical background of the book is the period that Chang advocated his policy during his two terms as the educational department chief in Suu- Chuan. Fourth, analyzing the content of the book Yu Hsuan Yu and discussing how it guides the intellectuals of Ching Dynasty academically. Finally, it discusses the influence and inspiration of Yu Hsuan Yu. It is found the intellectuals must apply the good qualities from both Han and Song dynasty to study, comprehend and practice what they had learned. The study methods that Yu Hsuan Yu listed are also the essence of Chang’s cerebral idea. Also, Yu Hsuan Yu had become the core value of advocating the educational policy and the foundation of the revolution of Suu-Chuan literature style. After Yu Hsuan Yu, the methods of studying, compiling and editing have taken its inspiration behind. Nowadays, Chang’s Yu Hsuan Yu could also provide inspiration toward the secondary education in Taiwan which tends to be exam orientated, and its academic education which usually loses its purpose of doing research and definitely the academic and cultural exchange between oriental and western study.
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Hsu, Wen-Mei, and 許文美. "Study on Ch''en Hung-shou''s Illustrations to Chang Shen-chih Cheng Pei Hsi-hsiang Mi Pen." Thesis, 1996. http://ndltd.ncl.edu.tw/handle/29316180912490657661.
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碩士國立臺灣大學
藝術史研究所
84
Ch''en Hung-shou''s illustrations to Chang Shen-chih Cheng Pei Hsi-hsiang Mi Pen（The Edition of Chang Shen-chih''s Correction of The Northern Western Chamber）is a very important work in Chinese art history. Many scholars discussed that work , including Huang Yung-ch''uan, Wang Po-min, James Cahill, and Hiromitsu Kobayashi. Huang and Wang think Ch''en Hung-shou''s illutrations to the woodcut print can be regarded as the representive of the popular art of his time. However, Cahill thinks that woodcut print in Ming Dynasty is the product of the literati; therefore, Chen''s work betrays the elite''s interpretion of the popular literature. Nevertheless, because Cahill emphasizes the repre- sentitiveness of Ch''en''s work, without taking the difference between his and other editions in consideration, Kobayashi futher compares Ch''en''s illustrations with other Western Chamber editions, and discerns that Ch''en''s creativity lies on creating of a new woman image. My thesis is to penetrate more deeply into the meaning of Ch''en''s illustrations to this edition, and solve the problems as follows : What is his new woman image and how does it mean to Ch''en''s literati class? And what is Ch''en''s artistic achievement in the illutrations? The first charpter of this thesis is a survey on Chang Shen-chi''s and the “Taking Part Correctors”'' roles on editing this edition. The second charpter further discusses the purpose of Ch''en''s activity of illustrating. The third charpter analizes how Ch''en combines archaic style with dramatic pose to express the figures'' inner feelings. The fourth charpter presents the creativeness of the new woman image. After these surveys, my conclusion is that this edition results from Ch''en''s emphasis on love drama, and the woman image represents the pressured women in his time.
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Lee, Chen-Yi, and 李貞宜. "The Hepatoprotective Effect of Niu-Chang Chih, Antrodia camphorata antihepatoma—in vitro and animal experiments." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/19386494989657096903.
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碩士南台科技大學
生物科技系
93
Mushrooms have been widely used to prevent and cure diseases for thousand years. The fruit bodies of “niu-chang chih” (Antrodia camphorata) are believed to have certain medical effects in Taiwanese folk medicine, especially for hepatoprotection. In this study, the inhibitory effect of Antrodia camphorata on hepatoma cell lines growth (such as Hep 3B, Hep G2 and Alexander cells) was conducted by MTT assay. To evaluate whether there is the hepatoprotective ability of Antrodia camphorata, the rodent model of liver fibrosis, induced by thioacetamide (TAA), has also been set up. The collected livers were stained with Masson trichrome in order to evaluate the degree of liver fibrosis. Furthermore, anti-HBsAg assay was used to investigate the hepatoprotective effect of Antrodia camphorata in reducing the secretion of HBsAg on Alexander cells. The results demonstrated that there were significantly inhibitory effects of water extract or alcohol extract of mycelium from Antrodia camphorata on Hep 3B, Hep G2 and Alexander cells growth, and the inhibitory rate were 76, 77 and 68% respectively. After twelve week’s TAA-induced, serious liver fibrosis or liver cirrhosis rats have been successfully set up, and the water extract of mycelium from Antrodia camphorata can reduce the liver damage by treated with TAA. Moreover, the secretion of HBsAg on Alexander cells was also significantly inhibited by the water extract of Antrodia camphorata. These results suggest that water extract of mycelium from Antrodia camphorata has hepatoprotective ability. The results derived from this study offer some information in alternative medicine.
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Shih-Li, Pai, and 白詩禮. "The Films and Records on CHANG,Tun-Chih,the Pioneer of Cameramen in Taiwan TV news." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/10761555294255632773.
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碩士國立臺灣藝術大學
應用媒體藝術研究所
96
Today’s news is tomorrow's history. Journalists report the news; they also witnessed the history. News of print media relies on the display of text and photos. Electronic media, on the other hand, utilizes sound and visual images. The layout and composition of the images seen in today’s television news appear to be similar to one another because most of today’s television cameramen inherited the knowledge and technical skills from the older generation of cameramen, enriching their work with some individual ideas, beliefs, and characters. Taiwan has produced its own television news programs for the past 46 years. There are countless “senior,” experienced television news photographers and cameramen; among those professionals, the pioneering member was Mr. Dunzhi Chang, who was also Taiwan’s first television news cameraman. He witnessed many developments of the country. His photographic techniques, especially in the area of television news photography, not only became the so-called “professional standard” but also greatly affected the “look” of domestic television news programs. For such a “revolutionary” and “historical” figure in the history of Taiwan’s television news programs, this project attempted to record his life experience in a documentary film. The film chronicles Mr. Chang in “entering the field of photography,” experiences in “media evolution,” “environmental changes from the period of martial law to the lifting of martial law,” and “peer collaboration.” Because it is a documentary film, the content is based on “truth” and “accuracy.” The accompanying music moderately complements the atmosphere of the film without too much exaggeration. Since its style is “fair” and “objective”, the film was shot “pragmatically” and “without bias”, and without special effects. This documentary hopes to allow the viewers acquiring a better understanding of Mr. Chang’s life experience, and the production of television news programs in Taiwan.
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Chen, Yi-jin, and 陳懿妗. "Study on the formation of Niu-chang-chih fruiting bodies using liquid-solid combinatory cultivation and microbial induction." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/89216710861689531237.
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碩士國立東華大學
生物技術研究所
97
Taiwanofungus camphoratus is a kind of medical fungus that only occurring in Taiwan, it is rare and grows slowly. Recently, it has been reported for treatment of liver diseases and has some other beneficial functions for health, such as anti-tumor, anti-oxidant and anti-inflammation capability, etc. At present, it still has the difficult to raise T. camphoratus fruiting bodies by non-woodblock cultivation. The aim of this study was to investigate the formation of T. camphoratus fruiting bodies by combining liquid-solid cultivation and microbial induction and to determine anti-cancer effect on human hepatocellular carcinoma cell lines (HepG2). Agar block culture (ABC) containing mycelia of T. camphoratus were prepared by shake flask cultivation for two weeks, then moved the ABC to petri dish and added 10 ml malt extract broth (MEB). Four weeks later, mycelia on the ABC periphery were found the phenomenon of mycelia aggregation. The HPLC profile showed the ethanol extracts of ABC were similar to the fruiting bodies, but the contents of 20 to 100 minutes elutes peaks were only in low level. Increasing the concentration of MEB caused mycelia color became deepened but there were no mycelia aggregation occurred. One bacterium and two fungi, named as B01, F01 and F02, were isolated from symbiosis with T. camphoratus fruiting body. Adding these three kinds of microbial culture filtered-broth into MEB, there were found all three tested microorganisms could push mycelia of ABC to aggregate individually. When increasing F02 culture filtered-broth concentration to 50% (v/v) could further stimulate the formation of micro-pore structure on the surface of ABC similar to fruiting body. HPLC profile showed the ethanol extracts of the above ABC were similar to the fruiting body between 20 to 100 minutes elutes peaks. Using HepG2 to test the cytotoxic activity of ethanol extract derived from fruiting body and ABC, the results showed that the cell viability of HepG2 treated by ethanol extract of fruiting body and ABC extract were 48.58% and 52.42%, separately. This result demonstrated that the T. camphoratus cultivated by this way had the cancer-inhibition effects closely to the fruiting bodies.
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Xu, Cheng-Jia, and 許誠佳. "yu sui chi pien chieh sheng ch'an han su fa t'ui ku ch'ang shang chi shu hsiao shuai chih shih cheng yan chiu." Thesis, 1995. http://ndltd.ncl.edu.tw/handle/78266951347867756220.
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"民族國家與敎育: 梁啓超與張之洞的比較硏究 = Nation-state and education : a comparative study of Chang Chih Tung and Liang Chi-chau." 1998. http://library.cuhk.edu.hk/record=b5896278.
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吳偉強.論文(哲學碩士)--香港中文大學, 1998.
參考文獻: leaves 151-156.
中英文摘要.
Wu Weiqiang.
Chapter 第一章 --- 問題闡述 --- p.1
Chapter 第一節 --- 前言 --- p.1
Chapter 第二節 --- 硏究背景 --- p.3
Chapter 第二章 --- 文獻综述 --- p.10
Chapter 第一節 --- 民族國家理論 --- p.10
Chapter 第二節 --- 敎育對民族國家的貢獻 --- p.15
Chapter 第三節 --- 中國近代知識份子的民族國家觀念述評 --- p.19
Chapter 一. --- 建構内的主張一魏源「師夷之長技以制夷」和 早期議院論 --- p.20
Chapter 二. --- 建構外的迥響一由王韜至譚嗣同 --- p.21
Chapter 第三章 --- 研究設計 --- p.28
Chapter 第一節 --- 研究問題 --- p.28
Chapter 第二節 --- 研究對象 --- p.28
Chapter 第三節 --- 研究方法 --- p.31
Chapter 一. --- 定性研究 --- p.31
Chapter 二. --- 内容分析法 --- p.32
Chapter 三. --- 研究限制 --- p.35
Chapter 第四章 --- 梁啓超、張之洞「民族國家觀念」的比較 --- p.37
Chapter 第一節 --- 新觀念的發韌 --- p.38
Chapter 第二節 --- 《新民¨®Ơ》中的「自甴主義」民族國家思想 --- p.45
Chapter 第三節 --- 《開明專制論》透示的集體主義 --- p.51
Chapter 第四節 --- 張之洞「中體西用論」文化觀 --- p.59
Chapter 第五章 --- 民族國家底下的「民」 --- p.67
Chapter 第一節 --- 張之洞的「子民」觀念 --- p.68
Chapter 一. --- 「民」惟邦本，本固邦寧 --- p.68
Chapter 二. --- 「保」民而王，天下莫之能禦也 --- p.70
Chapter 三. --- 精忠「報」國 --- p.74
Chapter 第二節 --- 梁啓超的「公民」性格 --- p.76
Chapter 一. --- 主權在民 --- p.77
Chapter 二. --- 「動」與公民性格 --- p.78
Chapter 三. --- 「群性」與公民 --- p.82
Chapter 第三節 --- 「子民」和「公民」的社會功能 --- p.84
Chapter 第六章 --- 變法與敎育 --- p.91
Chapter 第一節 --- 張之洞高度結構分殊取向與君權神授的協奏曲 --- p.92
Chapter 一. --- 《勸學篇》中高度結構分殊取向 --- p.92
Chapter 二. --- 「癸卯學制」的中體西用精神 --- p.97
Chapter 第二節 --- 梁啓超普遍參與的取向 --- p.105
Chapter 一. --- 「群性j與普遍參與取向 --- p.109
Chapter 二. --- 《敎育政策私議》下「動」的敎學法 --- p.111
Chapter 三. --- 從湖南時務學堂回顧「動」和「群性」 --- p.116
Chapter 第三節 --- 報刊和學會的社會敎育 --- p.119
Chapter 一. --- 官報宣國是，民報達民内情 --- p.121
Chapter 二. --- 學會報刊的公共空間與普遍參與取向 --- p.123
Chapter 第七章 --- 總結 --- p.128
Chapter 第一節 --- 民族國家觀念再詮釋 --- p.128
Chapter 第二節 --- 民族國家在當代的困境與契機 --- p.131
Chapter 第三節 --- 結語 --- p.136
附錄 --- p.138
參考書目 --- p.151
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Wei, Mei-Ling, and 魏美凌. "wei shih (STAR TV)chieh mu ts''e lueh fen hsil chi ch''i chung wen t''ai yu kuo nei san chia tien shih t''ai chieh mu i t''ung pi chiao chih yan chiu." Thesis, 1995. http://ndltd.ncl.edu.tw/handle/74383195209448658773.
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Hui-Yuan, Chan, and 詹惠媛. "A Study of Category and Style on Ku-Chin-Tu-Shu-Chi-Cheng Ching-Chi-Tien." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/91228203976552494473.
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碩士輔仁大學
圖書資訊學系
96
"Ku-Chin-Tu-Shu-Chi-Cheng" is compiled in the middle-later K’ang-hsi period, and finished in Yung-cheng period. It’s a cultural project of representativeness in history of the books of Ching dynasty, mainly reflects the great panorama of knowledge world of K’ang-hsi flourishing age. It is equal to the series of Chien-lung period "Szu-Ku-Chuan-Shu" with milestone meaning. On the structural characteristic, "Chi-Cheng" is the representative of the 'classified style' classified books. It sets up the division and subdivision entries, vertical and horizontal criss-cross, and its style is much completely, brings up the canonical position of the ancient classified books. Among all categories, "Ching-Chi-Tien" is a section of the classified books, and contains catalog property itself, so it can be regarded as a catalog that collected with categorical thinking of classified books. Its compiling method is unique, different with traditional catalogues. The purpose of the thesis, in order to probe into "Chi-Cheng" -- mainly on "Ching-Chi-Tien", focus on analysis of the bibliography topic, deepen and research the literature actually, with elucidating its precise and appropriate structural characteristics on "Chi-Cheng" and "Ching-Chi-Tien". The thesis mainly utilizes present research and refers to relevant historical sources in the beginning, and makes efforts in arranging the edition, compiles, frame of whole respects on "Chi-Cheng". Moreover, it probes into the style origin from all books on "Chi-Cheng" and "Ching-Chi-Tien", and then manifests category and style property of catalog on "Ching-Chi-Tien". It discusses style of records, regulation of quotations, and function of comments. Afterwards, it inspects the past history of classic category of the classified books, and investigates the difference between "Ching-Chi-Tien" and traditional catalogues. It mainly combines discussion of the style with 'classified books and catalogues', and turns into the main shaft of whole research inwardly.
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Wu, Feng-You, and 吳鳳酉. "ts'ao hsia Penaeus mondonchih ch'eng ch'ang chi ts'un huo yu ch'il so k'ung chien chieh kou chih kuan hsi." Thesis, 1994. http://ndltd.ncl.edu.tw/handle/96977000555687871702.
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Zhong, Xiu-Wen, and 鍾秀文. "fei ch''''i wu ch''''ing li cheng ts''''e chih hsing chih ti yan hsiao kuoshih cheng yan chiu." Thesis, 1994. http://ndltd.ncl.edu.tw/handle/76731089657270202986.
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Liu, Zun-Hong, and 劉俊宏. "fu wu veh hsiao shou kuo ch''eng chung kuan hsi p''in chih chih yan chiu." Thesis, 1995. http://ndltd.ncl.edu.tw/handle/25541327323369959700.
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HUANG, YAO TSUNG, and 黃耀聰. "CHING-SHIH-CHENG-LEI-PEI-CHI-PENTS’AO." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/60937558774497385689.
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碩士中國醫藥學院
中國藥學研究所
90
To sum up the results of the above examination and research, the conclusion was summarized as follows: 1. "Ching-Shih-Cheng-Lei-Pei-Chi-Pen-Ts''ao" (經史證類備急本草) gathered and included medical and herbal data from classics, history and various schools of thinkers to verify their categories, so the book was entitled "Ching-Shih-Cheng-Lei" (經史證類)and briefly referred to as "Cheng-Lei-Pen-Ts''ao" (證類本草). 2. Written by Tang, Shen-Wei, "Cheng-Lei-Pen-Ts''ao" (證類本草) was compiled in 1082 A.D. and finished with thirty-two (32) volumes in 1092 A.D. 3. After recompilation, " Ching-Shih-Cheng-Lei-Pei-Chi-Pen-Ts''ao " (經史證類急本草) consisted of 367 kinds of Pen-Ching-Cheng-Pin (本經正品), 369 kinds of Min-Yi-Fu-Pin (名醫副品), 114 kinds of Tang-Pen-Hsien-Fu (唐本先附), 114 kinds of Kai-Pao-Chin-Fu-Pin (開寶今附品), 83 kinds of Chia-Yu-Hsin-Pu (嘉祐新補), 17 kinds of Chia-Yu-Hsin-Ting (嘉祐新定), 16 kinds of marine drugs, 488 kinds of Chen-Chang-Chi-Yu (陳藏器餘), seven kinds of Tang-Pen-Yu (唐本餘), *1 91,Hsueh Shih Road, Taichung,Taiwan,Ripublic of China *2 Graduate Student of Institute of Chinese Pharmaceutical Sciences eight kinds of dietary cures, eight kinds added by Tang, Shen-Wei, 35 kinds of Chin-Hsin-Fen-Tiao (今新分條), and 98 kinds of Pen-Ching-Wai-Lei (本經外類),a total of 1744 kinds. The book was divided into 32 volumes. Vol. 1 stated the first part of the preface ; Vol. 2 stated the second part of the preface and example; Vol. 3 included 73 kinds of Shang-Pin (上品) in jade and stone section; Vol. 4 included 84 kinds of Chung-Pin (中品) in jade and stone section; Vol. 5 included 93 kinds of Hsia-Pin (下品) in jade and stone section; Vol. 6 consisted of 87 kinds of Shang-Pin-Shang (上品上) in the herbal section; Vol. 7 consisted of 53 kinds of Shang-Pin-Hsia (上品下) in the herbal section; Vol. 8 consisted of 62 kinds of Chung-Pin-Shang (中品上) in the herbal section; Vol. 9 consisted of 78 kinds of Chung-Pin-Hsia (中品下) in the herbal section; Vol. 10 consisted of 62 kinds of Hsia-Pin-Shang (下品上) in the herbal section; Vol. 11 consisted of 105 kinds of Hsia-Pin-Hsia (下品下) in the herbal section; Vol. 12 consisted of 72 kinds of Shang-Pin (上品) in the wood section; Vol. 13 consisted of 91 kinds of Chung-Pin (中品) in the wood section; Vol. 14 consisted of 99 kinds of Hsia-Pin (下品) in the wood section; Vol. 15 consisted of 26 kinds in the human section; Vol. 16 consisted of 20 kinds of Shang-Pin (上品) in the beast section; Vol. 17 consisted of 17 kinds of Chung-Pin (中品) in the beast section; Vol. 18 consisted of 21 kinds of Hsia-Pin (下品) in the beast section; Vol. 19 consisted of 56 kinds of San-Pin (三品) in the poultry section; Vol. 20 consisted of 50 kinds of Shang-Pin (上品) in the insect and fish section; Vol. 21 consisted of 56 kinds of Chung-Pin (中品) in the insect and fish section; Vol. 22 consisted of 81 kinds of Hsia-Pin (下品) in the insect and fish section; Vol. 23 consisted of 53 kinds of Shan-Pin (三品) in the fruit section; Vol. 24 consisted of seven kinds of Shang-Pin (上品) in the grain section; Vol. 25 consisted of 23 kinds of Chung-Pin (中品) in the grain section; Vol. 26 consisted of 18 kinds of Hsia-Pin (下品) in the grain section; Vol. 27 consisted of 30 kinds of Shang-Pin (上品) in the vegetable section; Vol. 28 consisted of 13 kinds of Chung-Pin (中品) in the vegetable section; Vol. 29 consisted of 22 kinds of Hsia-Pin (下品) in the vegetable section; Vol. 30 named 194 kinds of unused drugs; Vol. 31 consisted of 98 kinds of Pen-Chin-Wai-Lei (本經外類); and Vol. 32 was the table of content. The total reached 1744 kinds in 32 volumes. 4. The recompiled "Ching-Shih-Cheng-Lei-Pei-Chi-Pen-Ts''ao" (經史證類備急本草) collected more items than "Chia-Yu-Pen-Ts''ao" (嘉祐本草), as follows: eight kinds from the addition of Shen, Wei of Tang Dynasty; 488 kinds of Chen-Chang-Chi-Yu (陳藏器餘); seven kinds of Tang-Pen-Yu (唐本餘), 16 kinds of marine drugs, and eight kinds of dietary cures, a total of 527 kinds. The recompilation also included 35 kinds of Chiu-Yao-Hsin-Fen-Tiao (舊藥新分條) and 98 kinds of Pen-Chin-Wai-Lei (本經外類). To sum up, the book had collected 660 more kinds and the total reached 1744 kinds. 5. Chen, Cheng combined "Chia-Yu-Pen-Ts''ao" (嘉祐本草) and "Tu-Ching-Pen-Ts''ao" (圖經本草) into one book and named it "Chung-Kuang-Pu-Chu-Shen-Nun-Pen-Ts''ao-Ping-Tu-Ching" (重廣補助神農本草并圖經). Chen added his own experience and knowledge in the book and called it "Pieh-Sho-Yun". It was included in "Ta-Kuang-Pen-Ts''ao" (大觀本草) (spread into the book where appropriate), which differed the recompiled "Ching-Shih-Cheng-Lei-Pei-Chi-Pen-Ts''ao" (經史證類備急本草) from "Ta-Kuang-Pen-Ts''ao" (大觀本草). However, as many as 1744 kinds were listed in the content of " Ta-Kuang-Pen-Ts''ao " (大觀本草) because Volume 11 "Chin-Fu-Shou-Ti" (今附蒴藋) was listed as "Ming-Yi-Fu-Pin" (名醫副品) in the book; Volume 22 "Hsin-Pu-Hsia" (新補蝦) was listed as "Ming-Yi-Fu-Pin" (名醫副品) in the book; and Volume 24 "Hsin-Pu-Huei-Ti" (新補灰藋) was listed as "Ming-Yi-Fu-Pin" (名醫副品) in the book. Therefore, "Ming-Yi-Fu-Pin" (名醫副品) reached a total of 372 kinds (three kinds more), "Chin-Fu-Pin" (今附品) was 133 kinds (one kind fewer), and "Hsin-Pu-Pin" (新補品) was two kinds fewer to 81 kinds. 6. Throughout the "Recompiled Ching-Shih-Cheng-Lei-Pei-Chi-Pen-Ts''ao" (重輯經史證類備急本草), "Ming-Yi-Pei-Lu" (名醫別錄) was the most quoted document with 835 references. The second was "Tu-Chin-Pen-Ts''ao" (圖經本草) with 750 quotations, 550 quotations from "Tao-Chu" (陶注), 493 quotations from "Tang-Fu-Tang-Chu" (唐附唐注), 489 quotations from "Zih-Hua-Tzi" (日華子), 367 quotations from "Pen-Ts''ao-Ching" (本草經), 353 quotations from "Kai-Pao-Chin-An-Chin-Chu" (開寶今按今注), 246 quotations from "Yao-Hsin-Lun" (藥性論), 227 quotations from "Lei-Kung-Pao-Zhih-Lun" (雷公炮炙論), 220 quotations from "Chen-Chang-Chi-Pen-Ts''ao (陳藏器本草), 166 quotations from "Shih-Liao-Pen-Ts''ao" (食療本草), 162 quotations from "Shu-Pen-Tu-Ching" (蜀本圖經), 134 quotations from "Yao-Hsing-Lun-Chung-Yin" (藥性論重引), 124 quotations from "Meng-Shen-Pu-Yang-Fang" (孟詵補養方), 122 quotations from "Chia-Yu-Hsin-Pu-Hsin-Ting" (嘉祐新補新定), 105 quotations from "Er-Ya" (爾雅). Sixteen books were quoted as orthodox and lateral Pen-ts''ao as major reference books. There were other 56 Pen-ts''ao reference books; the most quoted document for "Fang-Chi" (方劑) was "Wai-Tai-Mi-Yao" (外臺秘要) with 218 references. The second was "Sheng-Huei-Fang" (聖惠方) with 183 quotations, 152 quotations of "Chou-Hou-Fang" (肘後方), 143 quotations of "Chien-Chin-Fang (千金方), 118 quotations of "Tzi-Mu-Mi-Lu" (子母秘錄), 105 quotations of "Shih-Yi-Hsin-Ching" (食醫心鏡), 101 quotations of "Hai-Yao-Fang" (海藥方), and 100 quotations of "Mei-Shih-Fang" (梅師方). The eight books were used as major reference. At least other 270 references were also quoted. 7. According to the findings in this book, 815 illustrations came before "Chia-Yu-Pen-Ts''ao" (嘉祐本草), one from "Tang-Pen-Yu" (唐本餘), one from " Chen-Chang-Chi-Yu" (陳藏器餘), one from "Hai-Yao-Yu" (海藥餘), one from "Tang-Shen-Wei-Hsu-Tien" (唐慎微續添), and 99 from "Tu-Ching-Pen-Ts''ao" (圖經本草), with a total of 918 illustrations.
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CHEN, MEI HSIANG, and 陳梅香. "THE STUDY OF PHONICS OF HUANG CHI CHING SHIH CHIEH CHI SHU CHUEH." Thesis, 1993. http://ndltd.ncl.edu.tw/handle/06724589103647941411.
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Yi-Cheng, Chang, and 鄭伊璟. "Call me Yi-Chi Chang---The Analysis of Art Works by Yi-Cheng Chang." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/w88t7b.
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碩士國立高雄師範大學
美術學系
100
The research material of this M.A. thesis is to produce a series of works based on the Shrilling Chicken toys from 2009 to 2012. Through the discussion and the analysis of the works, I started to learn to reflect myself from theory and pose questions to myself in search of the inner essence. Through the perspective of the Other used to review the signification of the artworks, through the dialectics between the subject and the object, this thesis searches for a dialogue between the subject and the object projected in effort to affirm the female identity and interpret the subjectivity of the self. Chapter II attempts to trace the masculine inner personality, animus, a concept proposed by Carl Jung, from the social context in order to develop a series of works on the Shrilling Chicken toys, which will be examined in Chapter III. By so doing, this would evoke the personal inherent angst toward the social reality. Meanwhile, through the fetishism of the Shrilling Chicken toy, one’s lurking desire and identity will thus be transformed. After reviewing the search for the desiring identity, Chapter IV attempts to reveal the inherent social signification and then illustrates the present status of the self in order to link the toy’s social values: one’s frustration and one’s angst reaction toward the social surroundings. This can also be conceptualized as an alternative resistance to the reality and as a method of self-relaxation. The works in the present thesis aims at constructing the subject through the other. The image of the Shrilling Chicken toys can be a reflection of “ideal-ego” in the mirror image. However, from the process of the changes of the works, the self is situated on the objective position to view the self and constantly affirms the female identity of the self.
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XIE, YUN-ZHONG, and 謝雲忠. "Studies on Shih-Ching Fang Pei-Chi-Chien-Chin-Yao-Fang." Thesis, 1992. http://ndltd.ncl.edu.tw/handle/48823409839084177091.
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Chen, Fu-Yu, and 陳賦雩. "kuo chung tzu yu sheng tui pu t''ung hui i fang shih ying yu shan tzu ts''ai liao chih chi i neng li pi chiao yan chiu." Thesis, 1994. http://ndltd.ncl.edu.tw/handle/71028207771835659460.
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Chang, Yu Chia, and 張玉佳. "Chang,Yu Chia Graduate Recital." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/51356953525755080433.
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碩士國立屏東教育大學
音樂學系碩士班
95
This thesis consists of the graduate recital and the lecture recital both performed by the researcher. The graduate recital includes the program and program notes. The lecture recital includes the research paper focused on W. A. Mozart’s Fantasia in d minor, K. 396, F. J. Haydn’s Fantasia in C major, Hob.ⅩⅦ: 4 and F. Mendelssohn’s Fantasia in f-sharp minor, Op. 28. The research paper for the lecture recital comprises six chapters. Chapter 1 describes the preface. Chapter 2 discusses the transformation of the Fantasia types in the history of music. Chapter 3 investigates W. A. Mozart’s Fantasia in d minor, K. 396. Chapter 4 investigates F. J. Haydn’s Fantasia in C major, Hob.ⅩⅦ: 4. Chapter 5 investigates F. Mendelssohn’s Fantasia in f-sharp minor, Op. 28. Chapter 6 includes the conclusion. Fantasia comprises of improvisatory technique, free sectional and bountiful imagination. This study focused on the fantasy technique of three Fantasias, and discussed how composers presented individual fancy styles in composing Fantasia.
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Chang, Chang-Chieh, and 張昌傑. "Chang, Chang-Chieh Master Degree Recital and Graduation Concert." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/wf5ttw.
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碩士國立臺北藝術大學
管絃與擊樂研究所
105
Graduate Institute of Orchestral Instruments M. M. Program School of Music Taipei National University of the Arts Chang, Chang-Chieh Master Degree Recital and Graduation Concert
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Cheng, Yeh Chih, and 葉志誠. "Chih-Cheng Yeh’s Pottery Art－Childhood Memory." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/85203243520312230544.
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碩士大葉大學
設計暨藝術學院碩士班
100
The study” Chih-Cheng Yeh’s Pottery Art－Childhood Memory” is the writer’s creation. It comes from the memory of the childhood, interactive process between people, interpretation of the inner exploration and constant researches. The above description makes the core ideas of the writer’s creation. The creative form is mainly based on Ceramics pinch skill. It shows the naive, funny and naughty childhood lives in Taiwan about 1960s-1970s. It also narrates the happy times of purity, simplicity and carefree The study is not only for writer’s childhood memories, but als e.o for the collective image of those days. It was a learning time that we experienced all together. At the same time, it evoked so many unforgettable memories. In this study, we can find two images: 1. The study shows the surface images- all kinds of spontaneous actions, instant expressions and instant record. It reminds people that they had the truest and deepest memories before and leads to "memories of film" which people stored in different time and different environment. 2. The study also conveys the further thought. Do we lose or gain in the world of highly developed technology and economy? Surrounded by the advanced 3C products and Internet access, children nowadays face the problems of human relations, peer interactions and mutual learning. Though nostalgic images of works of various images, we must think and concern these problems. The study uses” Chih-Cheng Yeh’s Pottery Art－Childhood Memory” as research topics. According to the background, analysis and discussion about the evolution of art and style, the writer develops the series works.
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Chung, Wan-Chih, and 鍾宛芷. "Wan-Chih Chung Piano Recital Program Notes." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/52671901382700870476.
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碩士國立新竹教育大學
音樂學系碩士班
101
In this recital, I have selected four sets of piano works which were taken from different eras, music schools and styles. In this study, it will explore the background and style of each composer in order to understand their creative features and historical status. In the meantime, I will focus on the interpretation of music and present my own opinions. 【Program】 Domenico Scarlatti (1685-1757) Four Piano Sonatas Sonata in E Major, K. 135 (L. 224) Sonata in b minor, K. 87 (L. 33) Sonata in d minor, K. 9 (L. 413) Sonata in d minor, K. 141 (L. 422) Béla Bartók (1881-1945) Out of Doors, Vol. I (1-3) I. With Drums and Pipes II. Barcarolla III. Musettes Ludwig van Beethoven (1770-1827) Piano Sonata No. 28 in A Major, Op. 101 I. Etwas lebhaft und mit der innigsten Empfindung –Allegretto ma non troppo II. Lebhaft. Marschmässig –Vivace alla arcia III. Langsam und sehnsuchtvoll –Adagio, ma non troppo, con affetto IV. Geschwinde, doch nicht zu sehr, und mit Entschlossenheit –Allegro Alexander Scriabin (1872-1915) Fantasy in b minor, Op. 28
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Liao, Been-yun, and 廖本裕. "Study on the Vegetation Succession of a Small Watershed Landslide of the Ching-Chang Chi." Thesis, 1993. http://ndltd.ncl.edu.tw/handle/37719808545689325016.
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碩士國立臺灣大學
森林學系
81
The aim of this study is to seek proper vegetational strategies through the analysis of vegetational ecology, so that it can be used as a reference to the improvement of the unstable ecological environment of the riverine slopes in the mountains. The study of the environmental factors, successional relationship, and the influence of the successional mechanism on the vegetational reconstruction and optimum shows that topography and soil are the key factors of the landslide site and that slopes are the basis of the vegetational reconstruction. Different site conditions result in different types of vegetation. The same vegetational type will reach different successional stages because of various degrees of interference. Dominant pioneer plants dominate the ecological environment and the successional rate of the landslide. The successional development and the ideal structure of vegetation won''t depend just on nature, so that artificial interference should be added in order to optomize the environment. However, the variety of the local environment of the landslide leads to different site conditions and different vegetation. As a result, in addition to the environment itself and the natural successional regulations, consideration vegetational engineering should be usde in order to regulate and control the distribution of quality and quantity.
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Chiu, Ching-Chi, and 邱清吉. "The bodily perception of Ming-Out Li ─ Ching-Chi Chiu 's statement of artistic creation." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/767guu.
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碩士國立高雄師範大學
美術學系
100
Through the work of Ming-Out Li’s Bodily Perception, the thesis attempts to discuss Ching-Chi Chiu 's works done from 2009 to 2012. Among the works made during this period of time, I intended to categorize the works into three chapters: 1) series of the mirror scenery, 2) series of the black moondial trace, and 3) series of body collision. During the time of surveying the works, I had a new work, The route-map of Rhizomatic process. This work generalizes and incorporates the aforementioned works in order to survey, explore, and induce the bodily symptoms of the work. Meanwhile, the search for the context of the work was made to link to form the “surface” and “body” of the self-cognition, i.e. the “I” situated in the process of creation: Ming-Ao Li’s body, which was created to extend and expand the path of my works.
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Huang, Jui-Chu, and 黃瑞珠. "Research upon Chih-jen Thoughts in "Chuang Tzu"." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/92398637204262454763.
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碩士國立嘉義大學
中國文學系碩士班
93
This paper focuses on Chuang Tzu’s chih-jen thoughts and comprises 7 chapters. Chapter one (introduction): This chapter describes the research motive, exploration of literature and research method of this paper. Facing the unpredictable changes of the universe and the obstacles in human lives, Chuang Tzu had the feelings of uncertainty and frustration. He thus proposed the models of human beings: sheng-jen, chih-jen, chen-jen and shen-jen. His methods of reflection and state of liberation reveal the research significance and value in this uncertain era with rapidly changed environment, knowledge explosion, ambiguity of values and bewilderment of human beings. Chapter two (time and background of Chuang Tzu): This chapter analyzes the era of the Warring States of Chuang Tzu with respect to political and social environment as well as academic and cultural environment in order to access to the background of the writing of Chuang Tzu and further profoundly recognize and more adequately control the theme of the book. Based upon the life and achievement of Chuang Tzu, one can understand his spiritual state. Chapter three (the issues of the concern about human beings’ existence in Chuang Tzu) : This chapter analyzes the relationship of human beings and the heaven, human beings’ position in the universe and the social role of human beings and attempts to look for the stable position for the existence of human beings. Human beings are originally the production of nature. The natural instincts of human beings require people to follow the nature, return to the nature and be involved in the nature which is the value of human beings and the existence of happiness. People have to participate in the change of everything and exist with the nature. When participating in the flow of the world, one can also actively upgrade himself (herself) in order to reach the state of freedom without expectation. Chapter four (the detachment of human beings in Chuang Tzu): The chapter explores the human beings’ detachment when they encounter the obstacles of existence in Chuang Tzu. This paper proposes three strategies: breaking through the restriction of body, diminishing the deceiving of knowledge, breaking through the limitation of virtues. One expects to allow human beings to detach the obstacles of their existence. The life of “mo chi neng chi” can transformed into “ji hsiang chi chi”. Thus one can live freely and comfortably. Chapter five (the difference and similarity of sheng-jen, chih-jen, chen-jen and shen-jen in Chuang Tzu): This chapter categorizes and organizes the chapters related to different models of human beings in Chuang Tzu, analyzes them upon different perspectives of the scholars and further clarifies the difference and similarity of different ideal personalities in order to ensure the research subject of “chih-jen” of this paper. Chapter six (the ideal characteristics of chih-jen in Chuang Tzu): This chapter generalizes the characteristics of chih-jen as empty peace, relaxation without any expectation and enjoyment of natural life span. The state of chih-jen refers to “without oneself”; thus, one can reach the ideal state of “living with the world and involving oneself in everything” and “enjoying life with the Creator upwardly and downwardly making friends with the ones of eternal life”. Thus, one can be detached from the obstacles of life and accomplish the completeness of ideal life. Chapter seven (conclusion):The significance of time and value of chih-jen thoughts in Chuang Tzu: The chapter endows with the confirmation and spirit of time with respect to Chuang Tzu’s thoughts for thousand years which will be long standing. The chapter generalizes the above as the follows: 1) Recognizing the position of human beings from the perspective of the whole universe 2) Remaining the whole body from the perspective of natural life and death 3) Loitering in the world with free spirit 4) Returning to purity and simplicity upon breakthrough the chaos. In the era of turbulence, Chuang Tzu’s thoughts stabilize the life which allows one to possess the most natural and harmonious life and spiritual world.
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Chi-Hua, Chang, and 張志華. "Chang Chi-Hua’s Ceramic Works." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/62452157248697807580.
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碩士大葉大學
設計暨藝術學院碩士在職專班
100
The concept of broken ceramics is a re-start when facing the bottleneck after thirteen years of pottery practice. The introductory study of Ceramics appears simple; even so, developing a comprehensive technology actually is time-consuming. Even if a person who has sufficient manufacturing technology, without the thoroughly changing on concept, the potter and his works could hardly be counted as artistic. This creative discussion focuses on breaking through the old concept. I am anxious to free myself from relying only on techniques. Further, I want to promote the artistic creation into the level of physical and mental training. I’ve tried to find the direction of ceramic art from the eastern and western history of pottery; and furthermore, to think about the social responsibilities that ceramic art should undertake. Exploring the process of pottery culture systematically, and reflecting the experience of artistic creation intentionally, the artists have finally had the accidental opportunity to get the inspiration of the concept of broken ceramics. The work described in this paper is the result of this past year. It’s a result of “ hands prompt heart, and heart guides hands”. This approach of creating works of art is what I’d like to apply in the future.
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Zhang, Shu-Hua, and 張淑華. "tai chung yun shu tsu chih hsing hsiao kuan nien chih t''an t''ao." Thesis, 1994. http://ndltd.ncl.edu.tw/handle/32354608417148881071.
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TSAI, HSIN-YU, and 蔡欣諭. "A Study of Taiwanese Songs by Chih - Jen Cheng." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/n7c3h6.
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碩士國立臺南大學
音樂學系碩士班
107
“A Study of Taiwanese Songs by Chih-Jen Cheng” focus on Chih-Jen Cheng’s Taiwanese song, the study is based on Chih-Jen Cheng three Taiwanese folk songs. Through analyzing the composer’s background, Taiwanese diction and music, it discusses the correlation between folk songs and Taiwanese diction. This study is divided into two parts. Part one includes Chapter one, introduction, Chapter two, the production process of Chih-Jen Cheng Taiwanese folk songs, and Chapter three, the development of Taiwanese folk songs and Taiwanese diction. This part states the composer’s background, experience, the motive for using Taiwanese to create folk songs, and the materials; it also discusses the development of Taiwanese folk songs, the pronunciation principle of Taiwanese and the pitch of seven Taiwanese tone. Part two includes Chapter four, the analysis and interpretation of Chih-Jen Cheng three folk songs and Chapter five, conclusion. This part presents the comparison of Taiwanese diction as well as pitch and the music scores of folk songs; it attempts to find out the relationship between the melody of Chih-Jen Cheng three folk songs and Taiwanese dictions. In addition, it sums up the characteristics of the composer’s folk songs for singers to interpret the works. It is expected to make more people familiarize Taiwanese folk songs.
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Wang, Gwo-Tsong, and 王國聰. "Collaborative Housing in Nan Chi Chang." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/97270562841877412917.
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碩士淡江大學
建築學系
92
Housing development in Taiwan has so far been mainly focused on cost effect and physical environmental comfort. This phenomenon is particularly prevalent among public housing. It is also true that the presumption underlying public housing design is based on the ideal of urban middle class nuclear families, regardless of the needs of many inhabitants who may not fall into this conventional model. When the Taiwan society is approaching an aging population as well as diversifying family types, the existing housing types developed in the previous eras are even farther from satisfying the changing needs of the residents. This thesis is focused on the evaluation of existing public housing design and proposing a new collaborative housing type in order to accommodate the diversifying housing needs. The collaborative housing is developed based on the concepts of providing sharing parts of private spaces to support certain shared activities among residents in their daily lives. It is meant to promote mutual help among units while providing the desired privacy, and create a community with a strong sense of community. The site chosen for this collaborative housing design is located in the area of the third phase Nan-Chi Chang public housing project. The lower economic status as well as the complexity of demographic composition in the area including increasing elderly, single parents, singles and divorcees, and foreign spouses lacking local culture and language competence project a future tend of public housing residents. The design covers a whole community environment and incorporating supporting activities and spaces on between-units as well as neighborhood levels. The collaboration activities include care for the elderly and children, reciprocate daily house keeping between unite, house maintenance in shared spaces and so on. It is intended to provide an alternative housing for various needs of the changing population among which the conventional nuclear family ideal is no longer fit in Taiwanese society.
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蔡珮汝. "The development of "concept culture "and "natural" in East Chin dynasty, especially on Yuan-Hund and Chang-Chan." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/23101783112233456414.
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Wu, Ching-Chia, and 吳景嘉. "Wu Ching Chia Flute Recital." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/548c39.
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碩士臺北市立大學
音樂學系
106
Francois Couperin (1668-1733) Concert Royal No.4 I. Prélude II. Allemande III. Courante Francaise IV. Courante À L’Italienne V. Sarabande VI. Rigaudon VII. Forlane En Rondeau Franz Schubert (1797-1828) Sonata in A minor, D.821“Arpeggione” I. Allegro moderato II. Adagio III. Allegretto / INTERMISSION Jacqes Ibert (1890-1962) Piéce for flute solo Philippe Gaubert (1879-1921 ) Ballade for Flute and Piano Francis Poulenc (1899-1963) Sonata for Flute and Piano I. Allegretto malincolico II. Cantilena III. Presto giocoso
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CHEN, FANGLING, and 陳芳玲. "Artist as Curator：The Curatorial within The Works of Chi Kai-Yuan, Hsu Chia-Wei, Chou Yu-Cheng." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/xumz8y.
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碩士國立臺北藝術大學
藝術跨域研究所
106
What is “curatorial”? Is this term that frequently appears in books on curatorial studies mean the same as “curatorial”? The trendiness of using the term “curatorial” is the motivation behind this study, which attempts to explore the original meaning and context of the concept. Throughout the development of art, artworks have broken free from canvases, exhibition booths, and physical frameworks. From handheld pens, cameras, to integrating different subjects of knowledge, various methods of representation continue to expand, while displays have transformed from their original still modes to being more dynamic, changing from being in one place at one time to more extended periods and in multiple locations. In addition, as curatorial methods become increasingly comprehensive, more works have the possibility of being included in exhibitions. If current cognitions can no longer sufficiently satisfy the appetite of professional art audiences, only avant-garde works and displays that are more experimental, challenging, innovative, and have alternative qualities, are capable of attracting attention, is there a method that exists amid the gray area that can explain works such as these? Inspections of “curatorial” should certainly focus on exhibitions. However, this study is more interested in a more strategic, creative way of inspecting this “alternative creative method,” which led to the idea of “adopting curatorial as a creative method for artists.” Should this proposition be established, what does it entail?
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Chang, Yu Chia, and 張育嘉. "Biochemical People Creation Discourse of Chang Yu Chia." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/44222208684838545051.
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Lu, Chin-Hsiang, and 呂欽翔. "A study of Cheng Yuen-Chìng’s "Li Chi Chi Shui" against Cheng Hsuan’s "Li Chi Chu"." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/jgmz43.
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碩士銘傳大學
應用中國文學系碩士班
97
Tai Sheng’s "Li Chi " was spread, because Cheng Hsuan wrote "Li Chi Chu" by known information and his knowledge. Today, Cheng Hsuan has much contribution, and so many scholars say that "Li" is Cheng Hsuan’s learning. The later scholar always tread in the steps of Cheng Hsuan, but some scholar correct his mistake because he wrote it at random in different text. So later scholar has many different explanation. If we study their study, we can find correct explanatory notes and correct Cheng Hsuan’s mistake. It won''t change Cheng Hsuan’s contribution because the later scholar saw more information and found more true. The scholar who study "Li Chi " in every dynasty have much contribution. Expecially in Ching Dynasty, they could find more achievement by standing on predecessor’s study. So it’s study of Cheng Yuen-Chìng’s "Li Chi Chi Shui" against Cheng Hsuan’s "Li Chi Chu" and analysis of their right and wrong. Cheng Yuen-Chìng’s "Li Chi Chi Shui" was wrote in winter, 1720. At the same time,books was hard to publish. Because it’s difficult to get sombody’s books, Cheng Yuen-Chìng’s "Li Chi Chi Shui" only displayed the study before the begin of the Ching Dynasty. He quoted the argument of Wan Ssu-Ta, Mao Chi-Ling, Chu I-Tsun, etc. If Cheng Yuen-Chìng and somebody in the meanwhile have the same study, it’s just the coincidence. The study want to find out Cheng Hsuan and Cheng Yuen-Chìng’s right and wrong, and so it discusses the true in different chapters for Cheng Yuen-Chìng’s "Li Chi Chi Shui" correct Cheng Hsuan’s "Li Chi Chu", Cheng Yuen-Chìng’s "Li Chi Chi Shui" against Cheng Hsuan’s "Li Chi Chu" is wrong, Cheng Yuen-Chìng’s "Li Chi Chi Shui" and Cheng Hsuan’s "Li Chi Chu" coexist, and Cheng Yuen-Chìng’s "Li Chi Chi Shui" leaving a question open. Cheng Yuen-Chìng’s "Li Chi Chi Shui" correcting Cheng Hsuan’s "Li Chi Chu" is Cheng Yuen-Chìng’s contribution. Cheng Yuen-Chìng’s "Li Chi Chi Shui" against Cheng Hsuan’s "Li Chi Chu" is wrong means Cheng Yuen-Chìng’s fault. Cheng Yuen-Chìng’s "Li Chi Chi Shui" and Cheng Hsuan’s "Li Chi Chu" coexist means they would be correct. Cheng Yuen-Chìng’s "Li Chi Chi Shui" leaves a question open means Cheng Yuen-Chìng can’t be against Cheng Hsuan and Cheng Yuen-Chìng is uncertain wrong. Cheng Yuen-Chìng may be have some referral. Therefore, four different subject has four sections of basing on somebody, copying somebody, being idential with somebody, and Cheng Yuen-Chìng saying along. Basing on somebody and copying somebody is that one’s contribution. Finding that Cheng Yuen-Chìng copies who saying first and he has contribution. Maybe that one was person of the Ching Dynasty or before the Ching Dynasty in the section of being idential with somebody. That thay say it equivalently could be right. If I can’t find the same comment, temporarily I will make it belong to the section of the Cheng Yuen-Chìng saying along, because I may find it someday. When Cheng Yuen-Chìng’s "Li Chi Chi Shui" against Cheng Hsuan’s "Li Chi Chu" is wrong, I name it " Cheng’s wrong say ". When Cheng Yuen-Chìng’s "Li Chi Chi Shui" and Cheng Hsuan’s "Li Chi Chu" coexist, I name it " Cheng’s new say ".When Cheng Yuen-Chìng’s "Li Chi Chi Shui" leaves a question open, I name it " Cheng’s personal say " . They are all Cheng Yuen-Chìng’s personal say, but different chapters should have different name because it means different meaning.
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Wang, Cheng-Chih, and 王成志. "Ideas Imprinted by Automatic Drawing － Works of Wang, Cheng-Chih." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/g5p5dw.
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Hsiu-ChenWu and 吳綉真. "The Humanistic Ideas of “Chi” ──Chang Tsai’s “Chi” As An Example." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/d99j47.
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碩士國立成功大學
中國文學系
102
Discussing the relationship between “Chi” and “Spirit”, through Chang Tsai’ “Chi”, can find that Chinese culture is a kind concept of “One thing has two bodies” in body and spirit theory. They are not unrelated. Taoist and Confucianism also have the concept to use “Chi” for the material to set up the world, and then they also have the thinking habit to consider the world is a successive unity. But their caring of “humanistic” are different. Confucianism affirms the world is a morality field, and the source of human morality also comes from heaven, and the “Chi” is a key for cultivating one's moral character. Taoist performs “Tao” through surging “Chi”, and also has scare of “dividing”, and wants to return to “Tao” by any time. And then Chang Tsai’s “Chi” not only affirms material’s valuable, affirms the integration of “Chi” and “Spirit” as a basis for human subjectivity’s standing upright, but also performs a kind of confidence for humanistic, and a kind of steady conviction without fear, staunch spirit to face reality’s hardship and danger, in the process of Chi's gathering and scattering.
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Hwang, Rong-Lang, and 黃榮郎. "The Research of Ting-Zhang application in Cheng-Te Reign and Chia-Ching Reign of Ming Dynasty." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/72300860306146527975.
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碩士國立中央大學
歷史研究所碩士在職專班
98
Ting-Zhang(beating officer in palace) is an judicial corporal punishment, one specific sentence in Ming Dynasty, also one measurement beside law applied by emperor, to punish and intimidate officer. It started Eastern-Han Dynasty Guang-Wu Reign, until Ming Dynasty, It has became one of institutions, since Hong-Wu emperor apply Ting-Zhang to punish officer , all Ming Dynasty emperor therefore follow him to apply same method to punish or intimidate officer. First peak to apply Ting-Zhang in Ming Dynasty was Cheng-hua reign, most reason to apply Ting-Zhang was for minor mistake and still allow clothes to cover with, injury caused by was slight. In Cheng-te reign, the emperor is not interested in ruling, disregarded all state affairs, there was a particular Liu-Chin notorious for taking advantage of young emperor and manage in emperor’s name, further more it happen Ting-Zhang affair for giving suggestion to emperor in emperor traveling to south, all the above caused officer suffering by Ting-Zhang exceedingly. After Ting-Zhang once severely applied for Great-ritual- controversy, Chia-Ching used to suppress speaking by frequently applying Ting-Zhang, no matter suggest about Daoist priests, corruptive officer, or state mismanagement. Therefore, Cheng-Te Reign and Chia-Ching Reign is not only second peak, the affection and harm caused by is also beyond Cheng-hua reign. Main factor to differentiate Ting-Zhang in Cheng-Te Reign and Chia-Ching Reign, was their personality and background. Cheng-Te is crown prince, enjoy luxury and pleasure life, disregard state affair, he is not purposely apply Ting-Zhang as tool to manage, neither care Liu-Chin apply Ting-Zhang in emperor’s name. Although he ever apply Ting-Zhang for exceedingly angry with officer try to stop his south traveling, he felt regret about this and abandon Ting-Zhang after this. Chia-Ching succeed to empire in qualification of prince instead of crown prince, he was frustrated in the beginning process to discuss Great-ritual- controversy, most officer intend to force him change mind by public opinion, Chia-Ching manage to end the controversy by apply Ting-Zhang. Thereafter, all officer turn to submit , it help Chia-Ching grant Ting-Zhang as helpful management tool to keep using. Viewing in Ting-Zhang itself, there are lots of similarities and differentiations between Cheng-Te Reign and Chia-Ching Reign. This article has purpose to know Ting-Zhang application during those periods, to discuss the meaning and what’s the different in those two periods .
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Chang, Pei-chi, and 張珮琪. "Re_xian: Artist's Statement by Pei-chi Chang." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/37894876846924414901.
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林孟靈. "The study of literary works of Chang Chiu-ling." Thesis, 1986. http://ndltd.ncl.edu.tw/handle/84hyzp.
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