Dissertations / Theses on the topic 'Cheung Chau'
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蔡笑芬 and Siu-fan Choi. "Cheung Chau waterfront redevelopment." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31981963.
Full textChoi, Siu-fan. "Cheung Chau waterfront redevelopment." Hong Kong : University of Hong Kong, 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25944885.
Full text王麗華 and Lai-wah Winnie Wong. "Community complex in Cheung Chau." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31984241.
Full textWong, Lai-wah Winnie. "Community complex in Cheung Chau." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25956681.
Full textIncludes special study report entitled: Street as an artery for social space learning from successful streets in Hong Kong. Includes bibliographical references.
Liem, Winson, and 林維. "Housing for the Tanka in Cheung Chau." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31984046.
Full textLi, Oi-yee, and 李愛儀. "A study on Tafoni of Cheung Chau." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B4290464X.
Full textLi, Oi-yee. "A study on Tafoni of Cheung Chau." Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B4290464X.
Full textLiem, Winson. "Housing for the Tanka in Cheung Chau." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2595264x.
Full textLai, Yau-yu Edmond, and 賴友裕. "A review of solid waste management in Cheung Chau." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31254263.
Full textLai, Yau-yu Edmond. "A review of solid waste management in Cheung Chau /." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21301736.
Full textLi, To-hung, and 李桃紅. "Relationship between social support, self-concept and academic attainment of students in a Cheung Chau secondary school." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31961137.
Full textLi, To-hung. "Relationship between social support, self-concept and academic attainment of students in a Cheung Chau secondary school." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21367905.
Full textYuen, Ka-yiu Thomas, and 袁家耀. "The Alliance Bible Seminary." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31983741.
Full textMa, Min. "Guo du xing tai, Zhongguo zao qi zi chan jie ji gou cheng zhi mi." Beijing : Zhongguo she hui ke xue chu ban she : Jing xiao Xin hua shu dian, 1994. http://books.google.com/books?id=E9k3AAAAMAAJ.
Full textBrient, Véronique. "Une figure de la francophonie chinoise : françois Cheng "Pélerin entre l'Orient et l'Occident"." Thesis, Tours, 2008. http://www.theses.fr/2008TOUR2007.
Full textOur wish is this research is to define the act of writing of F. Cheng both at the level of his realization and at his design. We wondered about the features of texts, their complexity in their elaboration and their comprehension. By recalling his course of life we tried to put into relief the real links which linked up China to France in this Asiatic imagination expressed in French language. If the analysis of the works shows how the author diversified his writing choices, it also recalls the problem of achievement or incompleteness faced to the recurrence of writings. Our study has approached the evolution of its literary creation across "the object-book" as well as an allowing diachronic look to which enables a better being within time. The analysis of writing "poetics" of F. Cheng, based on the interculturality and the intertextuality, wanted to understand the literary objective of those who wish to be "conductor" between, the Orient and the Occident
Fu, Lui. "Chen Duxiu's "revolutionary romanticism" and the dilemmas of the "Great Revolution" (1924-1927)." Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B3671107X.
Full textChiu, Cheng-chau [Verfasser], Notker [Akademischer Betreuer] Rösch, Klaus [Akademischer Betreuer] Köhler, Ville R. I. [Akademischer Betreuer] Kaila, and Hans-Joachim [Akademischer Betreuer] Freund. "Quantum Chemical Studies Related to Biomass Conversion by Heterogeneous Catalysis / Cheng-chau Chiu. Gutachter: Notker Rösch ; Klaus Köhler ; Ville R. I. Kaila ; Hans-Joachim Freund. Betreuer: Notker Rösch." München : Universitätsbibliothek der TU München, 2015. http://d-nb.info/1076359647/34.
Full textChan, Hsiao-Wei [Verfasser], Hans-Josef [Akademischer Betreuer] Allelein, Xu [Akademischer Betreuer] Cheng, and Michael [Akademischer Betreuer] Lauster. "Dose rate in a PWR-containment in consequence of a core melt accident / Hsiao-Wei Chan ; Hans-Josef Allelein, Xu Cheng, Michael Lauster." Aachen : Universitätsbibliothek der RWTH Aachen, 2019. http://d-nb.info/1220359572/34.
Full textChen, Chao [Verfasser], Matthias [Akademischer Betreuer] Wuttig, and Ricardo P. S. M. [Akademischer Betreuer] Lobo. "Dielectric properties of amorphous phase-change materials / Chao Chen ; Matthias Wuttig, Ricardo P. S. M. Lobo." Aachen : Universitätsbibliothek der RWTH Aachen, 2018. http://d-nb.info/1180734106/34.
Full textMoon, Myông-sook. "La pensée morale et religieuse de Ch'oe Che-u dans Tongkyông taejôn et Yongdam yusa : une étude herméneutique interculturelle." Paris 4, 1994. http://www.theses.fr/1994PA040097.
Full textThe purpose of our thesis is the study over the moral and religious thought of Ch'oe Che-u,a corean thinker in the 19th century ,who wrote 'Tongkyong taejon' and 'Yongdam yusa'. .
Yu, Xiulan. "Zhongguo jiao yu de cheng xiang cha yi yi zhong wen hua zai sheng chan xian xiang de fen xi = Zhongguo jiaoyu de chengxiang chayi /." Beijing : Jiao yu ke xue chu ban she, 2004.
Find full textFong, Sing-ha. "Continuity and transcendence of Jing School a critical study of Wang Zengqi's fiction = Jing pai de cheng chuan yu chao yue - Wang Zengqi xiao shuo yan jiu /." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/HKUTO/record/B39558228.
Full textChen, Chao [Verfasser]. "Enrichment of cancer stem cells from head and neck cancer by anchorage independent culture and related research / Chao Chen." Berlin : Medizinische Fakultät Charité - Universitätsmedizin Berlin, 2015. http://d-nb.info/1068208856/34.
Full textPeng, Dun. "Xuan xue de chan sheng : si wei fang fa zhuan xing guo cheng de yan jiu = The establishment of "Xuanxue" : a study of the changing modes of thinking /." click here to view the abstract and table of contents, 1998. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisab.pl?pdf=b15646385a.pdf.
Full textChen, Chao [Verfasser], Alois [Akademischer Betreuer] [Gutachter] Knoll, and Rüdiger [Gutachter] Dillmann. "Motion Planning for Nonholonomic Vehicles with Space Exploration Guided Heuristic Search / Chao Chen ; Gutachter: Rüdiger Dillmann, Alois Knoll ; Betreuer: Alois Knoll." München : Universitätsbibliothek der TU München, 2016. http://d-nb.info/1120584310/34.
Full text龍潤華. "陳子龍與幾社研究 = The research of Chan Chi-Long and Ji She." Thesis, University of Macau, 2007. http://umaclib3.umac.mo/record=b1636966.
Full textLin, Chao-Chen Verfasser], Peter Jomo [Akademischer Betreuer] Walla, Reinhard [Akademischer Betreuer] Jahn, Claudia [Akademischer Betreuer] Steinem, Claudia [Akademischer Betreuer] Höbartner, Eberhard [Akademischer Betreuer] [Bodenschatz, and Jörg [Akademischer Betreuer] Enderlein. "Development of new methods in fluorescence microscopy / Chao-Chen Lin. Betreuer: Peter Jomo Walla. Gutachter: Reinhard Jahn ; Claudia Steinem ; Claudia Höbartner ; Eberhard Bodenschatz ; Jörg Enderlein." Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2015. http://d-nb.info/1079718079/34.
Full textLin, Chao-Chen Verfasser], Peter Jomo [Akademischer Betreuer] [Walla, Reinhard Akademischer Betreuer] Jahn, Claudia [Akademischer Betreuer] Steinem, Claudia [Akademischer Betreuer] Höbartner, Eberhard [Akademischer Betreuer] [Bodenschatz, and Jörg [Akademischer Betreuer] Enderlein. "Development of new methods in fluorescence microscopy / Chao-Chen Lin. Betreuer: Peter Jomo Walla. Gutachter: Reinhard Jahn ; Claudia Steinem ; Claudia Höbartner ; Eberhard Bodenschatz ; Jörg Enderlein." Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2015. http://nbn-resolving.de/urn:nbn:de:gbv:7-11858/00-1735-0000-0028-8653-2-9.
Full textLin, Yu-Fang. "The Cultural Construction of Taiwan in the Literatures of Taiwan, China, and the United States." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent149178259135258.
Full textTung, Jui-Chu. "Ecriture chinoise, écriture occidentale : variantes de l'appréhension du monde." Thesis, Besançon, 2012. http://www.theses.fr/2012BESA1029/document.
Full textComparing Western thought and Chinese thought can be quite enriching, at a time when cultures in general can gain contact, as weil as fee!thrcatencd somctimes. l have tried, starting from modes of writings, at their origins, to figure out the advcnt and development ofthought on both sides. The point was also to choose a field ofexpcriment... 1 have thought that 1 could present 'reality', the 'world', from Western and Chinese approaches, with the efiècts of 'logos' and 'Reason' on one side and Taoist and sometimes Buddhist influences on the other. The 'process' of the world that China was conscious of cou id not allow her to apprchend reality such as Greece, very carly, and later Western thought could conceive it. Indeed, the only thing that would not change in this world is the state of 'impermanence' for China. From the yi jing, the Book of Changes, and ideographie patterns and methods, China wanted to show the world, the whole world. That was a vision definitely different from that of the West... Still, one question remains : where does this vision come from ? From thinkers. from Nature itself ? From modes of writings as human responses ? The exposition that I developed offers a few landmarks on both sidcs, but the question is still an open one
Senate, University of Arizona Faculty. "Faculty Senate Minutes November 7, 2016." University of Arizona Faculty Senate (Tucson, AZ), 2016. http://hdl.handle.net/10150/621522.
Full textChen, Yen-Ling. "Critique du regard colonial dans les arts plastiques de Taïwan de 1945 à 2012." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA027/document.
Full textThis thesis analyses the relationship between the idea of decolonization and the plastic arts in Taiwan in the second half of the twentieth century. The historical context of Taiwan has been marked by a number of colonization experiences, such as the Japanese colonization, but also the quasi-colonization represented by the coercive practices and the authoritarianism of the nationalist party of China, as well as the American cultural imperialism. A historical overview of the colonial situation in Taiwan reflects the nested character of its culture. The selected corpus includes seven works bearing a specific view: the painting Pastoral of Lee Shih-chiao in 1946; the portrait of Chiang Kai-shek painted in oil by Li Mei-shu in 1975; a series of reworked photos Journeys in Time of Chen Shun-chu from 2001 to 2003; the merged portrait The Three Principles of the People Reunite China of Mei Dean-e in 1991; Representa.tiff of Chou Yu-cheng exposed three times under different formats between 2008 and 2012; École de Great Taipei Autumn Exhibition by Huang Hua-cheng in 1966 ; the video work Empire’s Borders from 2008 to 2009 by Chen Chieh-jen. We make the hypothesis that these works are each representative of an era and has a particular relationship with the colonization issue. Some express a colonized point of view: some of them import, for example the Japanese or European aesthetic codes. Institutions – official art exhibitions – convey the principles. Other works by the following generation of artists take a critical look at these cultural references inherited from the colonial moment. These artists question also the dominant values. This raises the question: which actors implemented a process of decolonization of the arts from 1945 to 2012? Is this action completed? By entering into an approach of cultural history and borrowing the one from the sociology of arts, we have analysed the methods of the works’ elaboration and their critical reception; the role of institutions of mediation, especially museums. The analysis enables to identify a switchover between works placed in a colonial context and works that either criticize them or free themselves from. This represents two modalities of the critical point of view on the colonial process at work in the plastic art
Senate, University of Arizona Faculty. "Faculty Senate Minutes December 4, 2017." University of Arizona Faculty Senate (Tucson, AZ), 2018. http://hdl.handle.net/10150/626507.
Full textCAO, THI-THU-OANH, and 高氏秋鶯（釋行光）. "A Study of Chan Philosophy in “Chan Master Yuan Cheng Quotations”." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/343yc4.
Full text佛光大學
佛教學系
107
This thesis is a research on the quotations of Chan Master Yuancheng (1561-1626) during the late Ming Dynasty. It mainly discusses the ideas of Chan from its historical background, life story, words and deeds, and influence on Buddhism in the late Ming Dynasty. Chan Master Yuancheng is well known as Wandering Wooden Practitioner (San mu Dao Ren “散木道人”. In the nineteenth year’s century (1591), he was handed down from the Cizhou master of a skill as the Buddhist monk of the 35th Caodong school, and also one of the founders of Caodong school in the late Ming Dynasty. Chan Master Yuancheng made a great contribution to that time such as building disciples, laymen believed in him dharma studying. Therefore, he had a certain status in the history of Chan Buddhism and became one of the representatives of Buddhism in the late Ming Dynasty. It still nowadays has considerable influence and grow up at Caodong branches. “Chan Master Yuancheng's Quotations” was written by the disciples of Yuancheng and the famous scholars and literati laymen, such as Wu Xing Ding Yuangong, Tao Wangling (1562-1609: at late Ming scholars), Chen Yudian (1554-1638: a poet literary person of Ming Dynasty), Liu Ye, Zhu Jiaxuan and so on, and these published by them. By the way commentary such as: The words and deeds of the Chan master who is described therein are inseparable from the contemporary events of figures, and therefore are conducive to the understanding of contemporary meditation and Buddhism. So far, there has been no in-depth discussion and research on such quotations. The Buddhist Chan theory of Chan Master Yuan Cheng originated from three major sources: The first “Quotations from Yuan Cheng”, the second “The Annotation of the Buddha's Supreme Mantra such as: Śūraṃgama-sūtra Commentary, Sad-dharma Puṇḍárīka Sūtra Annotated Commentary, Vajra-samādhi Sūtra Annotated Commentary, and Brahma-viśeṣa-cintī-paripṛcchā Sūtra Annotated Commentary. The third “Chan-Pure land-Mantra” the influence of Chan Buddhism and other repairs. As a result, the three major sources and flows gather, likened as the sea and the rivers, to carry out the trend of the confluence of the various streams. Therefore, the author intends to trace the source of "Chan Master Yuancheng’s Quotations " in the meaning of Chan thoughts as research purposes and issues. Finally, on the basic clear understanding about “Chan Master Yuan Cheng Quotations”. I will try to figure out the Chan idea of Yuancheng based on the following three points: Buddhahood, Buddhist ideology, engaged of Buddhism. Through the studying of Yuancheng's ideological features, I have a more clear detailed understanding of the connotation of Chan ideology in the late Ming Dynasty, and based on this, we will continue to conduct more in-depth research on Buddhism in the late Ming Dynasty.
Wu, Shu Mei, and 吳淑梅. "Study on Green Ground of Chung Chao-cheng." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/53124397987175885718.
Full textCheng, Chao-Sheng, and 鄭朝升. "Road to Bowling: National Player,Cheng, Chao-Sheng’s Story." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/64573233992162679610.
Full text臺北巿立體育學院
運動技術研究所
99
This self narrative illustrates how I established my goal, made my dream come true and became one of the members in Taiwan national team during my bowling journey. The story is divided into three parts: The first part is the description of my sports life, which begins with how I got involved in bowling and my practice process. It is followed by my background introduction and brief introduction. The second part is the record of my sports career. I was 19 years old when I felt the pressure of live broadcasting in international competition and the uproar of the audiences for the first time. The time when I represented Taiwan to participate in East Asian Games and Asian Games, I was at my peak. Remembering the old days now is still very exciting. However, everyone has their ups and downs in their lives. Things change in ways you can’t imagine. After I was injured and when my career was not so successful, I changed my attitude. I thought about my future, took a different turn and started all over again. The third part is about me intending to make my interest in bowling into a career when my mind matured and when I moved to a different place. With considerations to my career development, I devoted myself in the teaching of bowling techniques and obtained Level A coach license. Hopefully I will teach more students what I know about bowling and extend my passion in bowling. Finally, I explained international trends and changes in bowling during the last few years and how players should adjust themselves appropriately and make themselves better in different competitions.
Chu, yu-hsun, and 朱宥勳. "The “Japanlize” Style of the Taiwan Mandarin Literature after World War II： Chung Chao Chen、Chen Chien wu、 Kuo Sung Fen、Chen Ying Chen、Shih Ming Cheng." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/2dscbt.
Full textKuo, Shirley, and 郭秀理. "A Study on Chao-Cheng Chung''s Lu-Ping Flower." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/5cf23n.
Full text臺東師範學院
兒童文學研究所
90
Abstract Lu-Ping Flower, published in 1960, is the first well-known novel by the master of Taiwan Literature：Chao-Cheng Chung. The content implied criticism of the rigidity of educational and social injustice at that time. This thesis aims at analyzing Lu-Ping Flower from six aspects: writer-work relation, background, keynote, characterization and subject. According to the finding, the work is roughly matched with the writer’s life experiences. Most of the characters and settings are obtained from his surroundings, such as the region, Lung-t’an village, and Lung-t’an elementary school, which he was working in. The structure of Lu-Ping Flower is quite simple, though it is a full-length novel. There are only three structure lines. The main structure is the issue of the selection of drawing contest representative. The sub-structure is the entanglement of love. In the end, two lines become one. Contrast design is widely used in this novel. In the setting, the author used scenic keynote of “green” as a contrast to the emotional keynote of ‘sentimental melancholy.’ As to the characterization, there are contrast designs such as straightforward versus sophisticated teachers, confident versus shrunk students, dignified female versus modern, and poor father versus rich one. The image of the sister-mother’s role is also discussed here. About the subject, analyzing divides into three aspects: concepts of art education, the ideology of education and the others. In the end, the thesis indicates the achievements of Lu-Ping Flower and proposes some personal comments.
CHAO-HSIEN, CHEN, and 陳昭先. "ICON‧SHADOW OF ICON—THE STATEMENT OF CHEN CHAO-HSIENICON‧SHADOW OF ICON—THE STATEMENT OF CHEN CHAO-HSIENICON‧SHADOW OF ICON—THE STATEMENT OF CHEN CHAO-HSIENICON‧SHADOW OF ICON—THE STATEMENT OF CHEN CHAO-HSIEN." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/10691706847623505054.
Full text國立高雄師範大學
美術系碩士班
94
As the carrier of one’s ego, body is not only an essential means of recognizing and expressing oneself, but also a bridge between environment and oneself. However, since human beings are social animals and must interact with environment, differences of environment would change sense and cognition obtained through one’s body. Therefore, one’s body, like a battlefield, is a place where ego confronts social environment. In my works, I take body image as a medium. Being the observer and the observee, I alternate between the object and the subject, not only expressing my mental status and the influence the society exerts on me, but also examining the relation between my ego and the society. The statement centers around my works. By observing my mental status and the connection with the society via my works, I hope to help go about self-integration, thus understanding myself better. Accordingly, I divide the statement into four chapters. (1) Ego, Icon and Shadow of Icon: From the viewpoint of the psychologist, Carl Gustav Jung, I observe my works, which reflect myself and the connection of the structure of my psyche. (2) Connection Between Ego and the Society: I look into the social criticism presented in my works which are the projection of the relation between ego and the society. (3) Embodiment of Body Image: My works observe and embody myself by taking body image as a medium for expression. (4) Discussion of Elements Constructing the Works: I probe into the elements constructing my works as so to observe not only my criticism towards the society but also the influence the society exerts on me.
Liu, Yu-Hui, and 劉玉慧. "Writing Historical Memories and Traumas:Study on Chung Chao-cheng "Furious Waves"." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/52092315740103183345.
Full text國立中興大學
台灣文學研究所
98
This paper discourses Furious Waves by C.C. Chung through post-colonial perspective, traumas literature and historic fiction via the cultural theory by M.M. Bakhtin, the post-colonial theory by E.W. Said, the scar literature theory and the new historicism by M. Foucault starting from the author’s history, background and writing style. Finally, the comparison between the pieces of other novelists experiencing the 228 Incident in person e.g. Fig and Outstanding Taiwan by C.L.Wu and Furious us Waves is done. After all, this paper aims to clarify how much the 228 Incident matters to Taiwan literature history.
Jang, Jih Quang, and 張繼光. "STUDY OF MING CHING SHEAU CHEU." Thesis, 1993. http://ndltd.ncl.edu.tw/handle/53890598169805906497.
Full textLiou, Dolla, and 劉玟伶. "A Study on Creations of Printmaking by Chen Kuo-Chan." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/76723856723219350202.
Full text國立屏東師範學院
視覺藝術教育學系碩士班
92
A Study on Creations of Printmaking by Chen Kuo-Chan Abstract This study aims at analyzing the creation background, life philosophy and artistic thinking of printmaking artist, Chen Kuo-Chan, investigating the evolution and characteristics of creative style of Chen Kuo-Chan’s printmaking works, and keeping a biographical record of Chen Kuo-Chan. To accomplish these research purposes, this study adopts historical research, style analysis and interviews as the research approaches of the study. The main conclusions of this study are as follows: 1. Great prints resulted from assiduous work Born in a poor but warm family, Chen Kuo-Chan was cultivated to work hard, with eagerness to learn and a heart full of love. As Chen was just a juvenile, his remarkable artistic talent was shown. During the process of his artistic learning, he learned continuously in pursuit of newness and changes. No matter the 2-dimensional or 3-dimensional art, he was willing to try new things and get in touch with various kinds of artistic creation positively, including water color painting, oil painting, architecture, design, sculpture carving and wash painting, etc. This learning spirit was especially beneficial to the diversified presentation of the internal qualities of printmaking. In 1968 Chen started learning printmaking on his own. Having gone through continuous attempts and mistakes, overcome the insufficiency of hardware equipment and accepted valuable advice from Liao Shiou-Ping, Chen turned to have a better understanding of the concepts and techniques of modern printmaking. Now it has been 35 years ever since Chen involved in the creation of printmaking. His copperplate etching works achieved local and foreign awards time after time. He even owns the highest honor of permanent examination-free artist. 2. Open-mindedness When absorbing his creative inspiration from nature, Chen strongly protects the man-nurturing nature. He thinks that aesthetic form should be possessed of the ten principles of aesthetics, and there should be the three properties of the true, the good and the beautiful in artistic works as they should exert the social teaching function of art. His creative ideas are originated from abstract art, classicism, life aesthetics, social critical spirit, fun of “clumsiness,” world view, Buddhist philosophy, etc. All along he has a consistent belief in the idea of “adoption of Western knowledge in Eastern work.” He thinks that the important thing of artistic creation is the creation of something new and original, and the making techniques are merely the means. To him, the sources and motives of his creations come from the breakthrough of his concepts, open-mindedness and approval of subjective value. 3. Continuous Innovation The creative style of Chen’s printmaking mainly employs the Western modern printmaking techniques to transmit the internal qualities of Oriental spirit. Of course his life experience and inner feelings, as well as the social phenomena are also the essential sources of his creative inspiration. Summarizing the evolution of Chen’s printmaking creation, it can be divided into the following ten stages: 1) Ideas of Creation: Reflect the life experience and social pulse through “adoption of Western knowledge in Eastern work,” and hold the spirit of making incessant attempts. 2) Form of Work: The outlines in Chen’s works stress smooth, broad and thick lines, and complicated, multiple, sharp and fine lines, which are matched with textured color blocks. The shapes are drawn from subjective deformation to objection proportion. The colors adopted can vary from vicissitudinous colors in one print to presentation in single color. The lightness expression can alter from neglect of light rays to emphasis on light rays. Due to the different qualities of plate to be applied, the sense of texture presented in prints is different. Spatial presentation is changed from 2-dimensional to 3-dimensional. The action trend composed of abstract rhythms mainly acted by concrete symbols and objective matters is evolved to be a moving sense of time units, constituting a symmetrical and balanced form that would turn to be a layered form with contrast rhythms. 3) Contents of Work: The subject matter can be taken from the daily life and surroundings, or from the tested material. The internal qualities can be presented by direct description or symbolic implication. They show self concerns as well as concerns for the next generation. 4) Materials of Media and Techniques: The materials of media adopted by Chen’s works are mainly the metallic plate (e.g. copper plate and zinc plate). Later on, there added serigraphy, acrylic plate, lithography and paper block. The technique of printmaking is mainly etching. For enrichment of the general appearance of print, there gradually added the techniques of vicissitudinous colors, layered printing, aquatint, separated plate making in two separate plates, gold foils stuck on etching plate, photomechanical printing, gampi collage, mezzotint, etc. Chen can even control the six aquatint single colors, letting them give layered effects from the dark to the light. Sometimes he leaves some space blank on the plate so as to achieve an alternative composition of picture. He develops some tools and techniques for making various kinds of special textures. Synthesizing the printmaking works of Chen Kuo-Chan, we can find out some characteristics. Over the creative ideas of his works, he all along keeps the idea of “East-West combination,” employs philosophical thoughts full of profound artistic conceptions, and holds the spirit that “creation must be innovative.” Over the form of his works, Chen is extraordinarily skilful in the presentation of lines, unique abstract symbols and patterns, strong local and traditional folk colors, astonished special light and shadow effects as well as surrealist styles. Over the contents of his works, he is good at turning humors to solemn themes, using metaphors to express the internal feelings of himself, showing strong human concerns and reflecting the real life of human beings. The materials of media and techniques he adopts are plentiful and diversified. He can completely grasp the characteristics of various materials of plates, and test different kinds of materials and techniques continuously. Key words: Chen Kuo-Chan, printmaking creation, printmaking history
Chao-Liang, Chen, and 陳兆良. "The Gray Area— The Interpretation of Chen Chao-Liang’s Printmaking." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/12476903618732136628.
Full text國立嘉義大學
視覺藝術研究所
95
The Gray Area The Interpretation of Chen Chao-Liang’s Printmaking Printmaking differs from other sorts of surface painting in that it starts with another medium to express its own concept and emotion. Other sorts of painting, on the other hand, enable viewers to feel stronger and more direct interaction between the artist and the work of art. This thesis serves the following four purposes: 1. because of regarding the time space and the memory reciprocity, pauses in-depth spirit face, unifies the correlation theories foundation to make uniform, so as to explains the self-creation idea the basic construction.; 2. it clarifies my creation style and direction by structuring and modifying my creation system and texture; 3. it arranges and analyzes personal works, completing the current printmaking creation; 4. it explores the direction of future research through reflecting upon and criticizing current works. In short, this thesis is composed of the basis of theory research, the body of personal works of art, and the reflection on the spirit of creation through discourse. It expresses my own artistic insight in both subjective and objective ways, discusses the relationship between printmaking creation and personal works of art, and analyzes the form and meaning of my personal works. In the fourth chapter, the interaction between idea and form will be discussed, which helps clarify and build my personal creation style; this is done by examining my works in a chronicle order and connecting real creation experiences and literal descriptions of the works. The discourse of this thesis, in the space and time of memory, through the subjectivity of personal creation ideas and the objectivity of forms of art, starts from my own artistic concept, moves across the form of art and meaning of creation, and positions the future direction of personal creation. In the process of research, I came to a new form of printmaking presentation through the combination of different materials. With the use of a second Shade version and basic version, the printmaking presentation becomes more flexible, and the picture size more extensive. The discovery of new materials has brought me new insights into creation, larger space for imagination, and a whole new creation experience. Keywords: Dream, Memory, Time, Space, Printmaking, Intaglio
WANG, CHI-WEN, and 王綺雯. "Contrasting Chen, Chao-Ju’s “Silence” and Gong Jiyeong’s “The Crucible”." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/q5g7ed.
Full text國立彰化師範大學
國文學系
106
Our country and South Korea, both located in Asia, share little cultural differences, and have similar social human rights civilization. Coincidentally, there was something happened about gender equality in hearing impaired school in both Taiwan and Korea at the same time. Hadn't been appropriately dealt with by the laws, the incidents triggered a wide range of public discussion after their outbreak. In our country, the social movement activist Chen, Chao-Ju, on the ground of social responsibility, dedicated herself to documenting the incident at a school for the hearing impaired in Tainan, and finished it as "Silence–Mass Sexual Assault at a Certain Special Education School in Taiwan". In South Korea, the novelist Gong Jiyeong, who was aware of the case at a school for the hearing impaired in Gwangju, felt the injustice of the society, and completed the book–The Crucible which was adapted from the event. After such serious campus incidents related to gender equity, both countries, under the pressure of collective critical thinking from the public, have done a review and amendment in both education system and the national laws. However, there is no systematic academic comparison between the two works of literature, "Silence–Mass Sexual Assault at a Certain Special Education School in Taiwan" and "The Crucible", which narrate the two incidents related to gender equity. Hope that the author's research has the effect of stimulating the follow-up researchers to make more extensive and multi-angle exploration.
Chen, Chanyun, and 陳展雲. "The Mountain Image-A Study For Chen Chan-Yun's Painting Creation." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/60700068464541426934.
Full text大葉大學
設計暨藝術學院碩士在職專班
100
ABSTRACT This study “The Mountain Image” combines the mountain image with self feelings and thinking by communing with the mountain. Through artistic creation, put self thinking and the feelings of life into the painting. Analyze the innermost self by the reaction of self feelings. Express subjective feelings by painting creations. Explain self feelings of mountain image and bring sympathy with sprit. There are five chapters in this study: The first chapter, Introduction which explains the purpose, objective, method and the scope of this creation research. The second chapter, theory foundation which mentions related theory foundations in art, psychology, and esthetics field. List related painting expressions in art schools. The third chapter is the creation purpose, content and techniques. The fourth chapter, the works expression, explains the creation purpose, content and techniques of three works: “Joy of Life”, “Seeking Innermost”, “Spiritual Conversation”. The fifth chapter, conclusion is the conclusions and ideas of this research, mentions the author’s future expectations. This study wants to understand the feeling performance on paintings. Though creating to dig out inner feelings and express these feelings. Realize the complicated life with the simplest heart. Find the most original sounds in heart by continuously collecting thoughts. Expect myself to express the affections of my life. Key Words : Mountain image, perform, emotion
Chao-Pei, Chen, and 陳肇珮. "Popular．Life．Pattern–In the creation of ink painting by Chen Chao–Pei." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/65338164776581700382.
Full text國立臺灣師範大學
美術學系
99
In this study, young women’s clothing fashion as a starting to explore how patterns, and cloth flowers are showed in life and fashion. Also, try to use ink, water-color, and digital output in the form of stickers showing figures and patterns. So that it constitutes the performance of fashion and artistic creation. The range of performance of fashion is vast. Vogue and clothing fashion will be discussed in this study. People feel satisfied from in the pursuit of and access to fashion. Therefore, they can show their social status and themselves by the consumption of material and spiritual. Products can promote fashion active through advertising and publicity. Moreover, the most important factors that contribute fashion are products molding and consumers’ attitude. The relationship among public, fashion, and art. In postmodern art, the popularity of art trends to re-render popular culture by unbiased views. It is an art which closing life, and it is the POP Art that combined art and mass media as well. From Andy Warhol to contemporary Japanese art style- super flat. At the same time, what Takashi Murakami done is art to integration of goods, brand-name. So that we can a new possibility of business is created by art, the public, fashion. Images and symbols are the ways to constitute drawings, living of images and the establishment of personal symbols, describing epidemic status in living, urban civilization, network, and product consumption. Through images, subjects of the era, aesthetic symbols can be completely preformed, and artistic workings are full of meanings of era. Finally, telling personal creative ideas, form, and hoping to survey and clarify if creation and aesthetics can be connected. Also, to look forward to my creation direction and style will be more explicit and practical.
Chen, Chao-Hua, and 陳昭樺. "Virtual Illusion-Healing Reality the Creation Discourse of Chao-Hua Chen." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/2x4kp4.
Full text國立高雄師範大學
美術學系
104
Abstract In the current state of society, after World WarⅡ, the defeated Japanese have had to find cultural entertainment sources to recover from their inner pain. In order to bring hope and happiness to their lives they must find emotional outputs. Because of these factors, Japan has come up with many new forms of entertainment. They use "cute" imagery to heal their hearts. Sigmund Freud states that one person alone living on the planet faces too much pressure. This will often cause them to be worried. Also because of these issues, there may be physiological and psychological problems. All of these cause people to find a way to dull the pain. The world of the Internet is both real and fake at the same time. In this world, people use various ways to express themselves. Perhaps after taking off thee own masks from their real lives, people who called “otaku”, can achieve satisfaction in ways that they normally couldn't. This will leave a lasting effect on their culture. Using symbols and images, like tattoo to remember occurrences has become a personality statement. Although graffiti is illegal, it can show the current state of the people's hearts. It is a way of using imagery to express thoughts. Manga and anime are the best way to relax and are able to change one’s mood and bring about joy. This type of culture can reflect on the current state of society. With today's globalization, this subculture keeps increasing in size. Compared to the most popular culture, the lines have been blurred together. Although most people's lives appear to be very full, their hearts are empty. Actually we very much need to build self-esteem and confidence. One way is to desire independence and the ability stand on one’s own feet, another way is to anticipate a sense of belonging. keyword：subculture heal virtual
Huang, Wei-Syuan, and 黃暐烜. "Social Life of the War Generation (1943-1946) in Taiwan as Reflectes in Turbial Currents by Chung Chan-Cheng." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/53499528405836441040.
Full textChen, Mei-Ju, and 陳美燭. "K12 Digital Academy in Taoyuan County of Taiwan Literature Study online book club - A Curriculum as an example to Chung Chao-cheng." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/91947449520306395041.
Full text國立中正大學
台灣文學所
98
The rapid development of Internet technology to make e-learning has followed the rise of online education platform and becoming increasingly prevalent. This study explored the online Taiwan literature book club design and management in Taoyuan County Academy teachers k12 digital network courses. For example, the Internet virtual learning environment, to conduct study of Taiwanese literature reading activities feasibility and effectiveness of such course design and management. Curriculum management focus for the reading from the learners learning, learner interaction and feedback from lecturers; and impact of K12 digital school management factors, from the policy side, teaching, learners, course content and system platforms, Comprehensive study results obtained showed that specific recommendations can be conducted, as in the future, provide teaching platform, the school administration, teachers will be teaching the study of network design and operation of the reference.
MENG-YU, KUO, and 郭孟喻. "A Study of Tamsui's Landscape Paintingsafter Taiwan Restoration（1946-1995）－by Taking Taiwanese Painters Liao Chi-Chun, Chang Wan-Chuan,Tsai In-Tang, Liao Te-Cheng ,and Ho Chau-Chu for Examples." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/65773749386093466346.
Full text國立臺中教育大學
美術學系碩士班
98
Tamsui, having its own unique history, geographic and cultural contexts, was seen a scenic spot where had plentiful of rich drawing themes in the painters’ eye. After restoring, People have multiple explanations toward Taiwan landscape paintings no matter in the ways of cultural significance, styles, or characteristics. Therefore, this article hopes to compare the background, the styles, the materials, the painting techniques, and the painting theories of Liao Chi-Chun, Chang Wan- Chuan, Tsai In-Tang, Liao Te-Cheng, and Ho Chau-Chu by researching landscape paintings taking Tamsui as the theme. Meanwhile, preceding the discussion with theories as “art sociology”, “culture anthropology” and “iconology” and taking the paintings and the painters’ styles in the vein of social and cultural context into consideration to compare the special meaning of the five painters’ Tamsui art creation. This article not only investigates the reasons that made differences of the five painters’ styles, but also hopes to find a new orientation for the essence of art and historical value of Taiwan art- works after restoring. According to the analysis and generalization of this research refers to Liao Chi-Chun, Chang Wan- Chuan, Tsai In-Tang, Liao Te-Cheng,and Ho Chau-Chu’s Tamsui landscape paintings, the painters’ choices of themes about Tamsui, the display of drawing style and concepts have a great relevance with their personal learning experience and art thoughts. The Tamsui paintings recorded the changes of Taiwan landscape and also the painters’ style progress. However, observing the development of Taiwan landscape painting by researching the Tamsui subject is only a section; the researcher hopes that there will be more researchers involving in researching Taiwan landscape paintings to obtain more value and significance of the age.