Dissertations / Theses on the topic 'Min Chin Tang (China)'

Originally presented as the author's thesis (Ph. D.--University of Hong Kong) under the title: Tang dai shou du Chang'an de ju min sheng ji yu cheng shi zheng ce yan jiu.
Includes bibliographical references (p. 330-390).

Le traité des Catégories d’Aristote est l’une des premières œuvres de la philosophie occidentale traduite en chinois. Introduit par les jésuites en Chine au XVIIème siècle, sa traduction fut une confrontation entre la pensée gréco-chrétienne et la pensée chinoise. Elle nous renseigne sur le rapport entre la langue et la pensée. Le premier chapitre est un aperçu de l’environnement historico-culturel dans lequel cette traduction a été réalisée. Le deuxième chapitre présente notre méthode et nos outils de travail. Nous expliquons, dans le troisième chapitre, le titre de l’ouvrage en chinois : il est censé être la traduction du mot « logique », mais il est composé de mots qui renvoient à des doctrines philosophiques chinoises traitant de problèmes fondamentalement différents de ceux dont s’occupe la logique aristotélicienne. Les quatrième et cinquième chapitres constituent un commentaire de la traduction chinoise du premier chapitre du traité aristotélicien. Les différences linguistiques entre le chinois et les langues indo-européennes se révèlent tant sur le plan lexical que sur le plan grammatical. Nous terminons notre travail par une discussion sur la traduction du verbe « être ». Notre objet est de montrer que ce qui est perdu dans la traduction est moins le sens du mot « être » que sa syntaxe et le mode de pensée qui lui est lié. Étudier les intraduisibles en philosophie, c’est découvrir les différentes façons de thématiser et de problématiser, qui caractérisent chaque système de pensée. Cette étude de philosophie comparée gréco-chinoise espère contribuer à la réflexion sur la pluralité linguistique et culturelle
Aristotle’s Categories is one of the first Western philosophical texts translated into Chinese. Since Jesuit missionaries introduced scientific thoughts into China in the 17th century, Chinese literati have shown a strong interest in the demonstration method that was originated in Aristotelian logic. This dissertation presents a detailed study of the Chinese translation Ming li tan, with the aim of addressing several issues on the relationship between language and thought. Chapter 1 is an overview of the historical and cultural environment in which the translation took place. Chapter 2 presents our approach to comparative philosophy. Chapter 3 discusses the translation of the title “Ming li tan”. The term “ming li” is used as a translation of the word “logic”, but is actually composed of terms referring to Chinese philosophical doctrines which deal with problems fundamentally different from those of the Aristotelian logic. Chapters 4 and 5 provide a detailed commentary of the Chinese translation of the first chapter of Categories, focusing in particular on three notions: homonym, synonym and paronym. We conclude our work with a discussion on the translation of the verb “to be” and its derivatives (e.g., being, substance), and explain the reasoning behind its various Chinese renditions. Our central claim is that what is lost in translation is less the literal meaning of word “to be” than its syntax and the way of thinking underlying the use of this word. The focus on translation provides a unique approach to studying linguistic relativism and linguistic and cultural pluralism. A good understanding of these issues is crucial for improving the intercultural dialogue

碩士
國立中央大學
藝術學研究所
100
During the Japanese colonial period, Taiwanese oil painters Liu Chin-Tang（1894-1937） and Chen Cheng-Po（1895-1947） went to China as art teachers in the 1920s-1930s. Born and raised during Japanese colonization of Taiwan, they lived in a world of Chinese culture in parallel with that of Japanese-language culture. When they studies in Tokyo School of Fine Arts in order to gain access to the most advanced cultures, they witnessed the respect esteemed Japanese artists paid to Chinese painting. After graduation, they both went to China, not only for the longing for Chinese culture, but also for their artistic pursuit. While Liu and Chen worked in China, they showed complexity of identities in the relations between Taiwan, China and Japan. Liu was a foster son of a Chinese politician, he participated in China politics and involved in anti-Japanese activity. During his stay in China for 17 years, he only visited Taiwan once as a Chinese politician. Chen used Fujian province as a place of origin, during his stay in Shanghai for 4 years, he was active in artistic events in China, Japan and Taiwan. Their identities shifted in the China and Japan political relationship, both of them visited to Japan on behalf of Chinese government in 1920s, serving as a bridge for the cultural exchanges between China and Japan. However, when violence broke out between China and Japan during the 1930s, they felt China''s hostility against Japanese and Taiwanese. Chen returned to Taiwan as a Japanese citizen, and Liu stayed in China, used painting to ask China to treat Taiwanese as Chinese, not Japanese. During their stay in China, Liu and Chen both worked hard to fit in the circle of local artists, and they participated in artistic events such as National Art Exhibition. Like other Eastern oil painters, they tried to fuse the East and West painting and find similarities between concepts in Western Post-Impressionism and Chinese painting. They emphasized the expression of lines, shifting toward expressing images with lines rather than color patches. Both of them devoted to discovering a contemporary style from traditional roots, fusing traditional Chinese paintings techniques and themes with Western form.

碩士
國立臺灣大學
政治學研究所
107
Rtual and Law were important social regulations in traditional Chinese society, and they were also essential ideas in Chinese political thoughts. In Mid-Tang dynasty (755-840), after the An Lushan rebellion, utilizing social regulations to rebuild the order of the state became a crucial issue. Until recently, most of the previous research on the Ritual and Law of the Tang government mostly study the problem from the perspectives of legal or ritual history; however, this thesis would adopt the perspective of the history of thought and look into two questions: in Mid-Tang China, how were Ritual and Law used to govern the Empire? What were the contemporary intellectuals’ ideas of Ritual and Law? To answer these questions, this thesis chose Bai Juyi as a representative, for his political discourses were popular in both the intellectual circle and the government. The main approach of the thesis is “Contextualism,” and accordingly Bai''s political essays were classified into two kinds. The first kind, which includes Ce Lin and Baidao Pan, was written in his early age when he was preparing for the imperial examination and election, and the second kind consisted of individual treatises written throughout the rest of his life. The former roughly reflected the mainstream political view of Bai’s time and were more politically correct, while the latter revealed more of his personal ideas. Through a thorough analysis of these two kinds of essays, this thesis attempts to throw light on the concepts of Ritual and Law in Mid-Tang dynasty. As the results show, in Mid-Tang China, the appropriate application of Ritual and Law was seen as more important than their philosophical meanings. In addition, Bai’s political essays argue that Ritual and Law played a crucial role in maintaining the ethics and order of the state. Also, the political and social functions of Ritual were far more important than its function to induce self-cultivation and introspection. This means that, to Mid-Tang intellectuals, the most important thing is the application of social regulations to real-life politics, and Bai’s thoughts were no different from the trend. Consequently, in his essays, Bai championed Ritual and Law as ways to consolidate the political authority of the Tang central government and to constrain the power of military commissioners (Fan Zhen). In summary, this thesis not only expands our vision of Ritual and Law in political discourses in Mid-Tang dynasty but also helps us examine more carefully how Ritual and Law may be held by the intellectuals in the early ninth century.

碩士
淡江大學
中國文學系碩士班
97
With long-term argument of authenticity, historical romantic fiction is hard to find its due location between literature and history. It is, therefore, an urgent core issue remaining to be resolved how we can effectively balance the split between “literature fiction” and “historical truth” when facing such writings, either from work creators’ view points or for theoretical research critics. Academic investigation into authenticity of history romances is mostly based on recordation of history as a criterion, which preset attitude itself generates a few problems, causing relevant research to chiefly focus on either the larger difference between fictitious narratives and historical ones or merely on such fundamental work of story authentication. Thinking of historical books as authentic, researchers tend to neglect the fact historical narratives probably embody a few ideologies when shaping up; besides, even when historical romances bear the same appearance as historical books for one event, it cannot definitely lead to the conclusion historical romance editors copied historical books for the sake of history authenticity. Sometimes two kinds of writings adopt the same narrative standpoint, whereas totally different ideologies are echoed from inside. This thesis is founded on post-modern history as theoretical framework, re-examining the authenticity and integrity of historical narratives. Through two events in historical romances for Sui and Tang dynasty, “Waganjsai story” and “The Palace Coup of Shanwumen,” we look into issues of inheritance and adaptation between historical narratives and romantic fictions, with the goal of re-structuring a new research course enabling historical romances to get rid of original “authenticity limitation” existing between history and fiction, and inquiring into such writings from more complete and deep viewpoints.

碩士
佛光大學
文學系
99
The love story of Yang Yu-Huan and Li Long-Ji is the most well-known love story of the multitudinous king empress, but also the controversial one. Because of the relationship between them are quite complicated, not only involved the Anlushan Rebellion, but also increased lots of factors in this simple love story. Therefore, lots of literary works were established on this love story. 　　This research is mainly investigating about how the literary works described the love story of Yang Yuhuan and Li Longji, by researching these following epics, “Song of Everlasting Regret”, “The Ming Emperor of Tang China in an Autumn Night with Kola Nut and Rain” and “The Hall of Longevity” for reference. Those literary works took the research about "Old Tang shu", "Xin Tang Shu", "Yang Taizhen Unauthorized biography" and historical data. From the view of these literary works, I believe we can know more about the point of view of those literary authors, and see their perspective about this love story.This research divides into five chapters. The first chapter is the introduction, summary, reference studies, and motivation. Furthermore, it described about the purpose and the perspective and the method, and integrated the literary discussion part. Moreover, I will show the main subject of this article, and divide it into three big chapters, for regarding the love story of Yang Yuhuan and Li Longji to make a deeper discussion.　The second chapter is discussed about the “front love” of Yang Yuhuan and Li Longji. The “front love” is written about how the first half of Yang Yuhuan’s life in the palace, and how did she become in front of the imperial concubine, then we will discuss about how did Li Longji decide to let Yang Yuhuan to be the imperial concubine. I will research about the “front love” in this chapter and using those description about their appearance.　In the third chapter, I will discuss about the plot of those literary works which is mainly described about the love story of Yang and Li. “The prime mover in the love of Yang and Li”, “The love proportion in the story of Yang and Li” and “Continues the sentiment reason again of the story of Yang and Li” are considered to be the reference literary works. From their point of view, we could understand how the historian and the authors write about the love of Yang and Li.　The fourth chapter will discuss about the difficulty of Yang and Li’s love story, from the point of the following difficult conditions about them, such as “love loyally with the betrayal”, “the landscape and beautiful woman's choice” and “bestows dies with bringing to completion which lays down one's life”. In addition, I will also discuss about the relationship between the love of Yang and Li and the Anlushan Rebellion.　In the last chapter, I will summarize my point of view, by integrating of preceding four chapters. To analyze those writers’ creation, and discuss about how they use the same topic, and their own experiences to create a brand new literary works. 　　The love story of Yang and Li is not only appeared in different way in literary works, but also in the history data, this express that every writer and historian all have different explanation about this love story. Therefore, this research will discuss about the perspective of three different literary works, using the historical reference to analyze about that, and present the brand new views about this love story.

萬曆四十七年（1619），會稽文人王驥德（1540-1622）刊印出版了《元人古雜劇二十種》（或稱《古雜劇》），該書彙集元代雜劇20篇，并配有精美的版畫插圖，《唐明皇秋夜梧桐雨》即為其中的第17篇。
作為晚明徽派版畫風格的典型例證，顧曲齋所刊《唐明皇秋夜梧桐雨》中的4幅版畫插圖，可與明代中晚期蘇州地區職業畫家的人物故事畫作品進行比勘。筆者基於比對結果，運用圖像學理論，提出徽派版畫系仇英風格人物畫在版畫中餘續的假說。不僅如此，白樸(1226-1306後)《唐明皇秋夜梧桐雨》這一劇目本身即包含著明皇故事的文學創作傳統，且與之對應的明皇题材故事畫作亦廣受歡迎。尤其在明代，明皇題材故事畫與蘇州地區的商業創作緊密相關，為版畫的創稿提供了豐富的圖像資源。
最後，筆者通過對顧曲齋本《唐明皇秋夜梧桐雨》圖文關係及刊刻者王驥德個人經歷的考察，證實《古雜劇》的商品屬性及刊刻者所掌握的圖像資源。最終解答版畫史上關於徽派版畫風格來源問題：版畫繪刻者深受仇英人物畫風格的影響，或直接對部份畫作進行圖像挪用。同時亦說明在晚明江南，文人積極參與商業活動為文學與藝術兩個領域所帶來的雅俗標準的變更。
In the 47th year of Wan-li, Wang Jide (1540-1622), a literatus in Guiji County, published the anthology of Yuan comedies named Guzaju in his personal printing house Guquzhai. In this book, he compiled 20 plays written in the Yuan dynasty with beautiful book illustrations. Rain on the Phoenix Tree was the 17th play in this book.
The illustrations for Rain on the Phoenix Tree in Guzaju were good examples for “Hui School of woodblock prints. Compared these woodcuts with those in the same style and paintings existing in the same period, I argued that the “Hui School of woodblock prints actually followed the style of narrative paintings made by Qiu Ying. Moreover, the story of the Tang emperor Minghuang has become a popular theme in the field of both Chinese literature and painting. Those traditions not only contributed to the birth of Bai Pu’s (1226-1306) comedy Rain on the Phoenix Tree, but also prided fruitful paintings as patterns for the professional painters like Qiu Ying. Since Qiu’s work prevailed the painting market in Jiangnan, thousands of narrative paintings including the theme of emperor Minghuang followed Qiu’s style. These paintings acted as commercial products as well as pictorial drafts for the engravers in late Ming.
Finally, the form of Guzaju and Wang Jide’s publication activities both showed that Wang, as owner of Guquzhai, aimed to use the illustrations to cater to the market and he did conversely get the pictorial resources from the market. Besides, the booming commercial trade of paintings in Jiangnan helped us finally get the answer for the origin of “Hui School of woodblock prints as well as showing the transformation of art criteria in the late Ming dynasty.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
賴妮.
"2013年7月".
"2013 nian 7 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2013.
Includes bibliographical references (leaves 86-95).
Abstract in Chinese and English.
Lai Ni.
致謝
論文摘要 --- p.i
緒論 --- p.1
Chapter 第一章 --- 顧曲齋刊《古雜劇·唐明皇秋夜梧桐雨》插圖的風格來源 --- p.6
Chapter 第一節 --- 顧曲齋刊《古雜劇·唐明皇秋夜梧桐雨》插圖的風格來源問題 --- p.7
Chapter 第二節 --- 顧曲齋刊《古雜劇·唐明皇秋夜梧桐雨》插圖風格來源試探 --- p.10
小結 --- p.25
Chapter 第二章 --- 《唐明皇秋夜梧桐雨》的圖文傳統 --- p.27
Chapter 第一節 --- 白樸《唐明皇秋夜梧桐雨》的故事來源 --- p.27
Chapter 第二節 --- 明皇題材繪畫作品的特點 --- p.35
Chapter 第三節 --- 人物故事畫傳統中的明皇故事圖 --- p.40
Chapter 第四節 --- 明皇故事畫在明代江南地區的流傳與創作 --- p.47
小結 --- p.50
Chapter 第三章 --- 《古雜劇·唐明皇秋夜梧桐雨》的刊刻背景 --- p.53
Chapter 第一節 --- 顧曲齋刊《古雜劇》的商品屬性 --- p.54
Chapter 第二節 --- 流通的私藏·雅化的俗曲 --- p.59
Chapter 第三節 --- “棄儒就賈與通俗文化生產 --- p.67
結論 --- p.74
附表1 --- p.77
附表2 --- p.82
附表3 --- p.83
附表4 --- p.85
參考書目 --- p.86
圖版目錄 --- p.95
圖版 --- p.105