Dissertations / Theses on the topic 'Gu Cheng'

Notre sujet d'étude est un poète chinois contemporain, Gu Cheng (1956 - 1993). A cent ans d'intervalle, il est né et mort en même temps que Rimbaud. Comme celles de Rimbaud, un siècle plus tôt, nous montrons que les oeuvres de Gu Cheng marquent un tournant important dans l'histoire de la poésie chinoise. Le poète lui-même a considéré que sa vie se divisait en quatre grandes périodes. Nous avançons dans notre étude en nous conformant à cette division. Pour chacune de ces périodes, nous voyons sa biographie en détails ainsi que les oeuvres les plus significatives dont nous faisons le commentaire sur le fond et la forme. Puis nous avons mis en lumière ce qui rapproche Gu Cheng de Rimbaud. Ils sont tous deux des poètes objectifs et voyants, insatiables de Liberté et de Beauté. Pour l'un comme pour l'autre, les souffrances sont énormes, dans l'acte créateur comme dans la vie puisqu'ils recherchent une “expérience totale”. Tous deux assumeront le risque de l'hermétisme auquel ils n'échapperont pas. Ce sont deux immenses solitudes, deux vies déchirées comme si la toute puissance du génie se payer “cash”. Gu Cheng se suicidera en 1993
We have studied the life and works of Gu Cheng, a contemporary Chinese poet in this these. With a century of distance, he was born and dead nearly the same year as Rimbaud. As did Rimbaud's works for French poetry, a century earlier, we have showed that Gu Cheng's works marked an important turning- point in history of Chinese poetry. Gu Cheng himself divided his poet life in four great parts. We went through our study by following these four parts. In each of them, we examined in details his biography as well as the most significant poems, about which we made a commentary on the form and the matter. Then we pointed out which is similar between Gu Cheng and Rimbaud: they are both objectf and "voyant" poets, insatiable of Liberty and Beauty. For both of them, the suffering is terrible, in creator act as well as in their lives, since they were looking for a "total experience". They both exposed themselves to the risk of hermetism from which they won't escape. They were two immense solitude, two broken lives as if the very greatness of genius has to be paid "cash". Gu Cheng killed himself in 1993

В статье проанализированы лексические особенности описания природы в поэзии Гу Чэна, одним из главных представителей «туманной поэзии». Гу Чэн привнес новые оттенки в поэзию, он показывает нам различия между миром людей и миром природы, которая смогла заменить ему общение с людьми. Его творчество меняет понимание мира в целом, заставляет задуматься о настоящем и помогает по-иному взглянуть на природу как на главный источник «настоящего, естественного» человека. Эпитеты-колоративы использовались поэтом не только для описания природы, но и для создания определенной атмосферы. У статті проаналізовано лексичні особливості опису природи в поезії Гу Чена, одним з головних представників «туманної поезії». Гу Чен привніс нові відтінки в поезію, він показує нам відмінності між світом людей і світом природи, яка змогла замінити йому спілкування з людьми. Його творчість змінює розуміння світу в цілому, змушує задуматися про сьогодення і допомагає по-іншому поглянути на природу як на головне джерело «справжньї, природної» людини. Епітети-колоратіви використовувалися поетом не тільки для опису природи, а й для створення певної атмосфери. The article analyses the lexical features of nature description in the poetry of Gu Cheng, one of the main representatives of "foggy poetry". Gu Cheng has brought new nuances in poetry, he shows us the differences between the world of people and the world of nature, which was able to replace his communication with people. His work changes the understanding of the world as a whole, makes us think about the present and helps us see nature in a different way as the main source of the "real, natural" man. The epithets-coloratives were used by the poet not only to describe nature, but also to create a certain atmosphere.

В работе акцентировано внимание на эпитеты-колоративы, которые в основной своей массе, использовались в поэзии для описания природы. Гу Чэн привнес новые оттенки в поэзию, он показывает нам различия между миром людей и миром природы, которая смогла заменить ему общение с людьми. Природа стала не просто объектом изображения, а основным источником вдохновения. В своих стихотворениях он не использовал имена людей или персонажей, он сравнивал все с природными явлениями, таким образом, создавая загадочность. В роботі акцентовано увагу на епітети-колоративи, які в основній своїй масі, використовувалися в поезії для опису природи. Гу Чен привніс нові відтінки в поезію, він показує нам відмінності між світом людей і світом природи, яка змогла замінити йому спілкування з людьми. Природа стала не просто об'єктом зображення, а основним джерелом натхнення. У своїх віршах він не використовував імена людей або персонажів, він порівнював все з природними явищами, таким чином, створюючи загадковість. The paper focuses on the epithets-coloratives, which, for the most part, have been used in poetry to describe nature. Gu Cheng brought new nuances to poetry, he shows us the difference between the human world and the world of nature, which was able to replace the communication with people. Nature became not just an object of representation but the main source of inspiration. He did not use the names of people or characters in his poems, he compared everything to natural phenomena, thus creating mystery.

by Amy Tak-Yee Lai.
Thesis (M.Phil.)--Chinese University of Hong Kong, 1998.
Includes bibliographical references (leaves [106]-114).
Abstract also in Chinese.
Chapter Chapter One --- "Narcissism, Approach and Theories" --- p.1
Chapter Chapter Two --- The Artist and His Portrait: The Picture of Dorian Gray --- p.25
Chapter Chapter Three --- The Stutterer and His Temple: The Temple of the Golden Pavilion --- p.49
Chapter Chapter Four --- The Poet and His Garden: Ying'er --- p.70
Chapter Chapter Five --- "Narcissism, Culture and Self" --- p.95
Works Cited and Consulted --- p.106

This thesis deals with miniature poems, which appeared at the beginning of the May fourth movement, as a genre of modern chinese poetry and was redoscovered by the misty poets after the Cultural revolution. Part of a brief introduction to the literary- historical contexts of both periods are short biographies of two representative poets of this genre, Bing Xin and Gu Cheng. Eventually the form and themes of miniature poems are introduced. The main part of this thesis is a comparative study of Bing Xin's and Gu Cheng's miniature poems. The thesis concludes, that Gu Cheng refines and eleborates the artistic value of the miniature poem. Part of the study is a criticism of primary source, as well as a summary of the current state of research. Key words: Modern poetry, Bing Xin, Gu Cheng, místy poetry, May fourth movement

碩士
世新大學
中國文學研究所
98
Ma Qi-chang, a scholar in the Qing Dynasty, was honored as a successful writer in the late years of Tongchen school. He studied many classical and historical works and wrote the book Zhuang Zi Gu, which won the recognition and reputation at that time. As a scholar in Han Confucianism and an apprentice of Tongchen school, his studies combined the characteristics of Han Confucianism with those of Song Confucianism. Because he did not limit his studies to specific fields, he collected 193 kinds of literature in his book Zhuang Zi Gu, which provided the most comprehensive annotations of Zhuangzi in the Qing Dynasty. This study generalizes and compares the annotations. It further examines the annotation effectiveness of Zhuang Zi Gu by comparing the annotations of Zhuangzi in all dynasties with those in this book, in order to demonstrate the uniqueness and restrictions in the content of the book. In terms of the content of annotations, the book referred to a large amount of literature for the textual criticism on pronunciation and meaning. Moreover, the book also focuses on the framework connection of chapters and their main ideas, and examines the argumentation in Zhuangzi from more comprehensive perspectives of different fields. However, owing to the influence of the main objective of Tongchen school, conciseness, Ma had eliminated, condensed, and amended many documents to compile his own annotations of Zhuangzi. As opposed to other annotations in the same period, Ma’s Zhuang Zi Gu is different from Wang Xian-qian’s Zhuang Zi Ji Jie, which should be amended because many fallacies are involved. It is also different from Kuo Ching-fan’s Zhuang Zi Ji Shi, which adopts more opinions from other scholars, lacks personal opinion, and seldom adopts the opinions from the scholars in the Song and Ming Dynasties. In regard to the scale of interpretation or annotation effectiveness, the value of Zhuang Zi Gu exceeds that of others in the same period. The academic value of Zhuang Zi Gu is undeniable. Fewer scholars are studying it because more scholars prefer to refer to Yen Fu’s Zhuang Zi Ping Dian, Chien Mu’s Zhuang Zi Zuan Jian, and Hu Yuan-jun’s Zhuang Zi Quan Gu. Zhuang Zi Gu has been passed on from generations to generations in another form until the present. In addition, because the study of Wang Su-min’s Zhuang Zi Jiao Quan has become a leading trend in the study of Zhuangzi, it is certain that the study of Ma’s Zhuang Zi Gu has gradually declined. The focus of the study is to evaluate the academic content and value of this book, and clarifies the development of annotations of Zhuangzi in modern times, in order to solve the doubts about the thought of Zhuangzi. It is hoped that the modern perspective of the study may contribute to relevant studies on Zhuangzi.

碩士
淡江大學
中國文學系碩士班
100
Xi Shan Qin Kuang has been considered as the epitomized masterpiece of Guqin aesthetics. However, beauty is less discussed in Qin Kuang, while lobbying groups explained beauty in an unaesthetic way which has caused fallacy of transition. So this thesis will not only clarify the connections between Qin and the aesthetic but will also reveal the aesthetical implications of Qin Kuang. Hereby ponder the primordial discipline and the humanity in art alike. This thesis contains six chapters. In Chapter 1, I cue the motivation of this study and the research method. With a reference system, it embodies the emergent aesthetic and the aesthetic wishes. In Chapter 2, I clarify the structure of “er shi si kuang.” First of all, Qin Kuang only explained the theory of traditional qin lun. Secondly, it has come to the two-sides interior structures: “Xin-Zao Hua” and “De-Shen Ren.” Finally, the quality of Qin Kuang revealed was that playing Qin is to manage the minds of the performers themselves, further to the minds of human being as a whole. I emphasis the purpose of playing Qin is to “soothing and calming the minds.” In Chapter 3, I deliver the fundamental notions of music. Firstly, Qin Kuang took “he bi” to present the “tao” of playing. Followed by “chong-he” to connect “playing” with “temper.” It goes further to the feelings and function of emotion. The “temper” is here to eliminate the “su ching”, further to embody the “shanshiu zhi shi Qin.” At the end of the chapter, I mention that “Tai he zhi chi” is the medium for Qin Kuang. Hereby I educate the “qing xing” in order to “xi sheng.” In Chapter 4, I deliver the idea that the “beauty” of Qin Kuang is a kind of emergence. I reveal the difficult environment Xu Shangying had faced, then, I point out Qin Kuang was looking for the optimal values of “cho su gui ya, sher mei huan chun” instead of “beauty” itself. Qin Kuang embodies the jihngjieh of Tai He Gu Chang. In Chapter 5, I delivere Xu Shangying''s life background and his evaluations. Firstly, I discuss how about the identification of Qinshan. Second of all, I point out the preface of “Da haun ger qin pu” mentioned the “recognition.” In a nutshell, my discourse come to the heritage and value pursing of Qin Lun in the late Ming Dynasty. I think “aesthetic will” is not only associated with the pursuing of Qin Tao but also keeping the Qin Kuang going. In Chapter 6, I unveil in sum, that there was no specific beauty emerged in Qin Kuang, instead, it presented the elaborated value of “cho su gui ya, sher mei huan chun” explicitly, which worked as an approach to improve the difficult situation in the late Ming Dynasty. However, the jihngjieh of qin playing was further to embody the values they pursued in such a fallen era. I emphasis that humanity is to present the “Tai He Gu Chang,” while expecting “You Dao Zhi Shi” to sustain the “qin tao.” In conclusion, I deliver the development and limitation of this research.

博士
國立臺灣大學
建築與城鄉研究所
95
The community economy of the modern society at least can be traced back to the 18th century. Moreover, it is frequently addressed with many forms in today''s ''glocal (global and local) development.'' During the period that Taiwan transformed to ''beyond late development” country from “late development” country, such community economies were continually brought up and practiced. So here I will discuses ''Why is community economy possible in Taiwan'' in context of glocal development. This thesis is about the story of the post 921-earthqake recovery. In 1999, an earthquake measuring 7.3 degrees on the Richter scale occurred in middle Taiwan, and caused 2,447 people died and many peopled hurt seriously. Many groups worked hard for the recovery with their passion and love. For them, such recovery is the root of community economy recovery, and this is the theme this thesis concerns about. The topic to be researched is: Why is community economy possible in Taiwan? There are three gaps in current community economy study in Taiwan - spatial, economic process and context. To avoid the gaps, a ''cultural sociograph'' is proposed as Epistemology in this thesis. This approach concern about ''How culture formalizes society and furthermore influences economy? '' In conclusion, there are four arguments in this dissertation: (1) Because family economy involves community economy, therefore, community economy has to satisfy or transit local understanding of existence being (the means of livelihood), virtual image (social) and togetherness (emotional). (2) There are the social rules in community economy--- equal exchange (such as labour exchange, market exchange), equal weight (such as sharing profit, risks, equal right and power), as well as inter- benefit and inter-trust. (3) An invisible possibility is initiated by ''differences of communities'' in community economy; it regulates the contracts between community relationships and individual freedom (or independency). (4) Community economy is not only an object of planning, but also a reflection of planning. Community economy should be understood as cultural work, and it aims to treat ''meaning, praxis and syncretism of identity'' So, planers have to change questionnaire to ''Why is community economy possible'' from ''How to make community economy work. ''

碩士
世新大學
傳播管理學研究所(含碩專班)
96
As the economy progresses, the audience in Taiwan requests much information related to the financial management and stock market investment. Professional financial TV stations emerge. This initial research aims to have researches on the competitive relations between two financial TV programs in the Taiwan cable TV market. The USTV is the first financial TV station with the solid experiences, whiles the ETTVS has changed its position and enters the financial TV industry. This study selects the USTV’s 〝Gu Shi Xian Chang〞 and the latest ETTVS’s 〝Lao Xie Kan Shi Jie〞 as the research objects with the emphasis to compare their competitive relations. The purposes of this research are as follows: (1) to compare the differences between the titles of each program with the observation method which follows the principle and structure of content analysis; (2) to analyze these two programs with SWOT framework; (3) to analyze these two programs with the Competitive-Dynamics approach; (4) to use the average daily rating indexes (AGB Nielsen) and the interviews with two executives of these two financial TV programs to describe the relations between title texts and competitive strategies. The research shows that: (1) The two TV programs are conspicucously different in the form, content, and style. The supply of financial informations and the analysis of the experts are free arranged in 〝Gu Shi Xian Chang.〞 The experts always remain neutral, fair, and objective to analyze the situation and the investing strategy in the stock market. However, the supply of financial informations and the interview with the notables are separated clearly in 〝Lao Xie Kan Shi Jie.〞 The host interprets the trendsw with his particular style and a macro view. (2) With regard to the competition between the two TV pragrams, each one lords it over a district. Both of them have the different target audiences, positions, strengths, weakness, oppurtunities, and threats. (3) Mentioning the dynamic competition, 〝Gu Shi Xian Chang〞 has been aware of the existence and threats of 〝Lao Xie Kan Shi Jie.〞 It wouldn’t like to change now because of its good performance. But it will adjust itself if a strong competitor shows up. 〝Lao Xie Kan Shi Jie〞 never takes 〝Gu Shi Xian Chang〞 as its competitor. But there are indeed some financial programs like 〝Gu Shi Xian Chang〞 in the ETTVS. And they truly would love to produce this kind of program to achieve the high TV rates as 〝Gu Shi Xian Chang〞 did. The suggestion is that: Trying to research the financial TV program industry or to investigate the relations between the audiences and the financial TV programs with the audience view will be very interesting and worthful.

碩士
國立成功大學
中國文學系
105
Chen Ye (1959-2012), who was born in a distinguished family in Tainan, fused her intricate family background and life experience into her literary works, containing homeland history,local consciousness and gender issue, and thus made her works full of a unique feature, which specially have the empathy and the sympathy with the society. This thesis is divided into five chapters, which respectively examines Chen Ye’s works, including Ban lian nu er, Gu niang xiao ye ye and Liu jin feng hua, and further analyzes the following topics, such as: gender consciousness, sexual liberation, remodeling the story of life, the effect of literary narrative therapy presented in those works. In the first chapter, I explain my research motivation, main purpose, and how I define the scope of my research. From the following chapter to the fourth chapter, I respectively discuss the viewpoints in Ban lian nu er, Gu niang xiao ye ye and Liu jin feng hua, concerning how one can find the exit of “love” and build the self-worth through the way of accepting oneself, liberating one’s sexual and affective desire as well as dealing with the unfinished affairs of one’s life; meanwhile, I analyze the issues presenting in those works, which related to gender consciousness and rebuilding of social value, and also mention the effect and connotation of narrative therapy. In the final chapter, I conclude and integrate all the research results, and additionally indicate the value of Chen Ye’s works in the literary history.

碩士
中國文化大學
音樂學系碩士班中國音樂組
100
This thesis is an interpretation and analysis of Zhao Song-Ting’s pieces, taking ”Zao Chen”, “Zhe Gu Fei”,“San Wu Qi”,“Er Fan” and“You Lan Feng Chun”for instance. Being both a performer and scholar, Zhao presents a high attainment of instrument producing, teaching and theory researching; meanwhile, he educated a large amount of famous musicians. This research begins from the composer Zhao’s life and his musical development, including three following parts: Zhao’s life history; composition and music books; his technique of Chinese bamboo flute playing and new invention of instrument. Furthermore, the background of composing, the structure of the music, and the interpretation and analysis of the five pieces mentioned above are presented. Besides, Zhao’s technique of playing such as “Chaps Sound” “Flutter Tongue” “Multiple Fingers Trill ” and “Cyclical Breathing ” are also analyzed. Zhao’s style of composing is strongly effected by “kunqu ” and “Juzhe-Jiang Wu-Opeara ”, as a result, his pieces contain a rich spirit of traditional music. His technique of playing merges a variety of southern and northern style. His innovation and scientific academic spirit opened a new world for the development of Chinese bamboo flute.

碩士
國立臺灣大學
中國文學研究所
101
The revolution and evolution of literary forms is of paramount importance to the study of the Gu-wen (Ancient Prose) Movement during Dynasty Tang. One of the ways to observe such changes and following impact, is to analyses the literary works, and the compilation of literary collections by gu-wen writers, to compare the similarities and differences of the view on literary forms of gu-wen during Middle and Late Tang Dynasty. Tang literature uses literary form to determine a work’s placement in literary collections. Intact literary collections from the period are already rare indeed, however collections which are strongly affiliated with the Gu-wen Movement make up the majority of the surviving collections. The major ones being Dugu Ji’s Collected Works of Pi-ling, Han Yu’s Collected Works of Master Chang-li, and Du Mu’s Collected Works of Fan-chuan. Of these three, the one that has been given the most attention for its association with the Ancient Prose Movement is doubtless Han Yu, a principle proponent and progenitor of the movement. Those collections connected with the Gu-wen Movement are most important when examining the changing concept of literary form via the changing principles of collection arrangement. Due to Han Yu’s diligent attempts to break the mold of literary form, he is of signal importance. Dugu Ji was a pioneer in literature looking to Han Yu for inspiration. Though Du Mu was not Han Yu’s disciple, he promoted Han Yu and Liu Zongyuan’s works, and became one of the remarkable Gu-wen writers in the Late Tang period. Both of them respectively belong to the period before and after Han Yu, their representative value is undoubted. The collection assembled by Li Han the Collected Works of Master Chang-li is of central importance; after this comes Liang Shu’s Collected Works of Pi-ling and finally Pei Yanhan’s Collected Works of Fan-chuan. The view of these three authors and these three editors toward literary form, both in points differing and resembling, can serve be used to observe the former, middle, and later periods of literary collections. This thesis places greatest emphasis on the views of the three original authors and then uses the viewpoints of the collection editors for reference in order to better explain the process of change that occurred in the Gu-wen Movement- as well as examine Han Yu’s contribution to and influence on the Gu-wen Movement. Dugu Ji’s literary works most often adhere to the rules of literary genre. His epitaphs such as ‘Epitaph of the Junior Chamberlain of the Grand Court of Revision and Censor of Tang, Master Du gu from Henan’ adhere to the rules for the genre, individually and in the established order listing the subject’s name, family, and life events. His gift prefaces, for instance, the ‘Preface presented to Li Bai departing for Cao-nan’ are filled with a passionate style but are still in keeping with the demands of genre laid down in previous generations; it has no major deviations from established form. His prefaces for literary collections such as the ‘Preface of Collected Works of the Deputy Rectifier of Tang, Huangfu Ran’ emphasizes the principles of the Gu-wen Prose Movement and did not deviate from literary tradition. Liang Shu was Dugu Ji’s student who compiled the Collected Works of Pi-ling after his death. The arrangement of literary forms in this collection is clear and organized; the order of the collection is rational and shows the influence of Zhao Ming Selected Works, placing rhapsodies and poetry first followed by essays. Every section is divided into first public then private works and first those works regarding the temporal world followed by those works about death. The section for every literary form is chronologically ordered. Several sections are additionally ordered by the elegance or vulgarity of the content, as well as the principles of base position or high position, close or distant relationships, etc. The sections thus tend to be ordered internally by content and then by year. At the same time Liang Shu also considered the author during the editing process. Liang made certain modifications to the ordering that adhere to Dugu Ji’s ideal principles on gu-wen writing. Han Yu was not constrained by traditional standards of writings. He managed to grasp the essence of the changes and development of literature, so as to the basis of his innovative reform movement. Han Yu’s ‘za-zhu’ (雜著), such as ‘The Five Discourses’ (五原), ‘Miscellaneous Talk’ (雜說), ‘Epilogue of the Bibliography of the vice censor-in-chief, Zhang Xun’ (張中丞傳後敘), and ‘Account of a Painting’ (畫記) are examples of his genre-breaking works. He has been accused of “making literature a game”, “filling his works with fluff and not substance”- but this only highlights the history-making nature of his ideal literary standard. His deconstruction of form to create literature can be seen as a sort of literary game, as an experiment in breaking old forms in traditions. This way of writing certainly attacked the traditional Tang understanding of literary form and its purpose- and Li Han’s understanding of literature reflects this. Li Han was the son-in-law of Han Yu’s eldest daughter. He compiled a collection for the Han Yu works, while his way of going about it was appropriately unique. Although Li Han also followed the accepted pattern of rhapsody, poetry, and composition, it’s also obvious from his organization that his concept of literary form was already quite different from Liang Shu’s. He put all the unique ancient prose, ‘za-zhu’ written by Han Yu and placed it after rhapsodies and poetry at the head of the composition section. This sort of organization in a literary collection was unheard of and far-reaching in its consequences. His wild and unclear organization of sections and the material organized into each section was the subject of much debate by scholars for years after. Many believed that though he was Han Yu’s student he did not understand the true nature of Han Yu’s gu-wen and this was the cause of such reckless organization. This is reflective of the change in thinking that Han Yu’s Gu-wen Movement caused in literary forms. Li Han’s view of literary forms had already loosened and caused began to cause him difficulty in determining into which category each work should be sorted. As scion of a noble house, Du Mu was a Confucian master, skilled in the military theories, an accomplished poet. He set out to be the glory of his house and the reformer of his nation. His admiration for Han Yu and Liu Zongyuan’s literary style influenced his literary style. His work with ancient prose literary forms spanned numerous genres, many of which were similar to the ones that Han Yu had worked in, for instances, ‘Record of a General in Yen’ (燕將錄), ‘Bibliography of Lady Dou’ (竇烈女傳), and ‘Preface of Sun Tzu with Annotations’ (注孫子序 ). Many of his works like ‘Discourse on the Imperial Guards’(原十六衛) and ‘Argument on Face Reading’ (論相) can be seen as literary form breaking, but his focus was not on deconstructing the forms and neither was it on literature as a game. But compared with Dugu Ji, who was previous to Han Yu, his concept of literary form is already greatly loosened. Pei Yanhan was Du Mu’s nephew and was asked by Du Mu to compile his literary works. The result of Pei’s labor was the Collected Works of Fan-chuan. Compared with Li Han, Pei’s ordering is quite tidy. The traditional system of rhapsodies and poetry followed by composition is followed in Du Mu’s collection. The editor tends to follow accepted practice as well using the social status and kin relationships of the recipients of each work to determine its placement in the collection- and of course finally putting this system into chronological order. The Collected Works by Fan-chuan also has another important point. Du Mu once burned his manuscripts which he considered extraneous, which implies his remaining works are much more representative of his literary views than they would otherwise be. However, Du Mu’s editor placed all those works which defied classification at the head of the collection- a move similar to Li Han’s, and this also shows that Pei Yan-han was well aware of both the classic concept and gu-wen concept of literary form and knew how to strike a balance between them in the ordering of Du Mu’s literary collection. By comparing and contrasting these three collections- their editors and authors- we can understand the values of the ancient prose movement and its aesthetic system more clearly. This comparison furthermore provides an invaluable chance to see the true extent of Han Yu’s influence on the Tang dynasty concept of literary forms.