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1
Tsai, Chih-Long. "Ceramic processing and electrochemical analysis of proton conductive solid oxide fuel cell." Thesis, Montana State University, 2010. http://etd.lib.montana.edu/etd/2010/tsai/TsaiC0510.pdf.
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Ba(Zr 0.8-xCe xY 0.2)O ₃-delta (0 < or = x < or = 0.4) (BZCYs) powders were successfully fabricated by both solid state reaction and glycine-nitrate process. Lithium fluoride (LiF) was selected as a liquid phase sintering additive to lower the sintering temperature of BZCYs. Using LiF as an additive, high density BZCYs ceramics can be obtained at sintering temperatures 200~300 °C lower than the usual 1700 °C with much shorter soaking time. Nuclear reaction investigations showed no lithium and a small amount of fluorine reside in the sample which indicates the non-concomitant evaporation of lithium and fluorine during the sintering process. Scanning electron microscopic investigations showed the bimodal structure of BZCY ceramics and grain growth as Ce content increases. In a water saturated hydrogen containing atmosphere, BZCY ceramics have higher conductivity when LiF is used in the sintering process. LiF-added BZCY electrolyte-supported fuel cells with different cathodes were tested at temperatures from 500 ~ 850 °C. Results show that Pt cathode gives much higher power output than ceramic cathodes, indicating much larger polarization from ceramic cathodes than Pt. Ba(Zr 0.6Ce 0.2Y 0.2)O ₃-delta anode supported proton conductive solid oxide fuel cells (H-SOFCs) show low power output due to its low proton conductivity. Ba(Ce 0.8Y 0.2)O ₃-delta anode supported H-SOFCs show excellent power output. Different H ₂ and O ₂ partial pressures were used for fuel and oxidative gas, respectively, to obtain information for V(i) modeling. Different thicknesses of supporting anode were used to obtain saturation current densities of H-SOFC. Using the dusty-gas model which includes Stefan-Maxwell equation and Knudsen terms, the calculation gave tortuosity of our supporting anode 1.95 + or = 0.1. The gas concentrations across the anode were also calculated by knowing the tortuosity of the supporting anode. An electrochemical model of H-SOFC was developed. The excellent agreement between model and experimental data implies that our model is close to the true physical picture of H-SOFC. The more accurate prediction of our model, based on a physical picture of electrochemical processes, also provides a replacement for using the Butler-Volmer equation in SOFC modeling. In the parametric analysis, our model shows that ohmic polarization and cathodic polarization limit the performance of H-SOFC. Research for improving H-SOFC performance should be focused on reducing electrolyte thickness, increasing proton conductivity of electrolyte and finding a compatible cathode material.
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Wong, Yuk-yeung, and 黃旭洋. "Buddhist retreat at Tei Tong Tsai." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31986195.
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Poon, Sze-wing, and 潘思穎. "Rejuvenation of Yim Tin Tsai Village." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hdl.handle.net/10722/196523.
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There are many abandoned villages in the remote areas of Hong Kong, especially in the New Territories. They are the result of urbanization and economic transition of Hong Kong.
Some of these abandoned villages become relics and visitorsʼ attractions due to their long history, rural settings and unique culture. However, preservation is not a free lunch. Transforming them into museums or galleries for educational purpose may not be the real sustainable way of keeping them.
This thesis aims to explore a viable form of rejuvenating an abandoned village, where urban people can have a rural experience while preserving the heritage of the village.published_or_final_version
Architecture
Master
Master of Landscape Architecture
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Wong, Yuk-yeung. "Buddhist retreat at Tei Tong Tsai." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25946419.
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羅天佑 and Tin-yau Lo. "The thought of Ts‘ai Ho-shen, 1895-1931." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1990. http://hub.hku.hk/bib/B30425463.
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Chan, Shun-tim, and 陳順甜. "Tai Mong Tsai outdoor educational and recreational camp." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31980636.
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Chan, Shun-tim. "Tai Mong Tsai outdoor educational and recreational camp." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25950903.
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Cheung, Chi-yen Jean, and 張子恩. "The reinvention of Taiwanese identity in Tsai Ming-liang's films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B45686051.
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Tsai, Chia-Yu [Verfasser], and Eckhard [Akademischer Betreuer] Janeba. "Essays in Political Economy / Chia-Yu Tsai ; Betreuer: Eckhard Janeba." Mannheim : Universitätsbibliothek Mannheim, 2018. http://d-nb.info/1161670920/34.
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Tsoai, Manale Daniel. "Achieving operational efficiency within the local sphere of government / Manale Daniel Tsoai." Thesis, North-West University, 2008. http://hdl.handle.net/10394/2597.
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The study was done within the local government environment. It was conducted with the aim of assisting municipalities to achieve optimum levels of operational efficiency, following the realisation that all over the world there is an increasing need for organisations, including government organisations, to become efficient. One of the major challenges facing governments worldwide is the need for them to supply basic services to their populations, who are increasing at a disproportionate rate to the resources available to sustain and improve the quality of life of these people. Thus for government to overcome these challenges, it needs to utilise its available resources cautiously to be able to meet these escalating challenges effectively. Therefore, ten practices were presented in this study as key instruments capable of bringing about efficiency to the manner in which local government operates or delivers services. It was found during the literature review that when these practices are deployed, they will ensure the achievement of operational efficiency within the local sphere of government.
The empirical study was conducted in Matjhabeng Local Municipality (MLM), located in the Northern region of the Free State Province. This local municipality came into existence on the 5th of December 2000 after the amalgamation of the former six transitional local councils into one financially viable and economically sustainable municipality. It incorporates the city of Welkom and the towns of Virginia, Odendaalsrus, Hennenman, Allanridge and Ventersburg, with an estimated population of more than 500 000 people. During the background review of the municipality, several challenges were encountered which included parts of the population without access to proper sanitation and electricity. However, in all the municipal challenges presented, it was argued that the solution can be found in the effective management of municipal input with relation to its output, which means that the municipality has the huge task of managing its scarce resources in an efficient manner to be able to deliver on its mandate and to meet the expectations of its residents. Furthermore, the study was conducted from a sample consisting of the four senior managers and twenty line managers from the four departments within the municipality. A representative sampling method was employed to ensure that all relevant aspects (such as race, gender and department), considered important for selecting a sample, are included and to also obtain global responses from respondents selected to participate in the study. Furthermore this sample was drawn from a population of nine senior managers and 35 line managers. The research was conducted with the expressed permission from the office of the accounting officer. Different impressions of the responses made by the participants from this municipality were obtained and then analysed. Overall, there was a negative response from the majority of the participants regarding most of the questions on the ten practices identified. Moreover, in terms of the devised model for measuring efficiency of the municipality based on three levels, the most desirable being Level 3, it was found that the municipality could be classified as a Level 1 organisation, which means that the municipality is at an elementary phase as far as achieving efficiency in its operations is concerned. Lastly, recommendations were made based on the findings of the empirical research conducted.Thesis (M.B.A.)--North-West University, Vaal Triangle Campus, 2009.
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Tsai, Wei-Ding [Verfasser]. "Die ontologische Wende der Hermeneutik : Heidegger und Gadamer / Wei-Ding Tsai." Frankfurt : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2013. http://d-nb.info/1042461007/34.
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Liu, Xing-Lang, and 劉興浪. "ming lu chung ti tsai kuan ch'iu so chieh tai jen ts'ai wu tsui." Thesis, 1994. http://ndltd.ncl.edu.tw/handle/86058836123146299036.
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Lin, Fang-Lan, and 林芳蘭. "Enjoy Life——Analysis of Fang Tzu’s Tsai Tsai Chuan Erh." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/mv5k5x.
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Wu, Ruei-Jie, and 吳瑞傑. "Diversity of lactic acid bacteria in fu-tsai and suan-tsai, fermented mustard products." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/52746767090716182640.
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碩士國立陽明大學
生化暨分子生物研究所
95
Fu-tsai is a traditional Hakkanese fermented mustard food in Taiwan. In addition to fu-tsai, mustard is also made into suan-tsai. The aim of this study was to isolate, characterize and identify LAB in fu-tsai and suan-tsai. In this study, we characterized the lactic acid bacterial diversity via the identification of a total of 499 isolates. The isolates were divided into groups by RAPD-PCR and sequencing of 16S ribosomal DNA and representing 16 species of the genera Lactococcus, Pediococcus, Leuconostoc, and Enterococcus. Lb. plantarum, P. pentosaceus and Leu. citreum were the main LAB group during the initial fermentation time of fu-tsai. P. pentosaceus predominated later, whereas Lb. versmoldensis took the place of P. pentosaceus and became predominated after one year. Lb. namurensis was the most abundant during the fermentation time of suan-tsai.
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Yang, Hsiao-ching, and 楊曉菁. "Study on Tsai-Sheng-Yuan." Thesis, 1997. http://ndltd.ncl.edu.tw/handle/06472634753511286738.
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Liu, chu-ching, and 劉楚荊. "Study of the Ts'fu of Ts'ai-yong." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/a7jxwz.
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Li, Tianming. "A thematic study of Lu Xun’s prose poetry collection Wild grass." Thesis, 1998. http://hdl.handle.net/2429/9560.
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This thesis is a comprehensive thematic study of the unique prose poetry collection
Wild Grass by the famous modern Chinese writer Lu Xun. It provides a general survey of
previous Wild Grass studies both in China and abroad in the past 70 years in Chapter 1. The
survey clarifies the achievements and defects of those studies, and finds that they are still
insufficient and can and should be further expanded.
By employing a comprehensive methodology, including close reading, rhetorical
analysis, intertextual interpretation, and some standard psychoanalytic insights, the thesis
explores the themes of Wild Grass on three different levels. In Chapter 2, on the historical
level, the thesis reveals the theme of social and political criticism of the dark reality of mid-
19208 China. In Chapter 3, some Wild Grass poems are interpreted on the philosophical
level to show the theme of Lu Xun's meditations on the ego, will to life, and the meaning of
human existence. In Chapter 4, the thesis examines some Wild Grass poems on the
emotional level to display Lu Xun's dilemma of love and moral responsibilities at a crucial
juncture of his life when he contemplated deserting his old-style wife and accepting a young
lady's love. Some poems are informed by a strong awareness of repentance, which is
essentially an embodiment of Lu Xun's sense of morality and responsibility.
In its conclusion, the thesis summarizes the intellectual and artistic values of Wild
Grass, deeming it a magnificent book marking a creative peak in Lu Xun's career and an
achievement in modern Chinese literature of the twentieth century. Lu Xun's spirit of
struggle, awareness of repentance, and subjective emotion and lyricism that are incorporated
in Wild Grass have become an important legacy for Chinese literature and the Chinese
people. The symbolic and surrealistic features, the expressionistic characterization, the
structure of the logical dilemma, and elegant language make Wild Grass a great modern
masterpiece.
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Yeh, Hsien-Jen, and 葉獻仁. "Research of Jolin Tsai "Myself" Concert." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/56921462302656451907.
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碩士國立臺灣藝術大學
戲劇學系表演藝術碩士班
101
The aim of this study is to explore the content and meanings of concert. Using Jolin Tsai’s “My Self” concert as an example, this study discusses how the theme of the concert is designed, how the image of Jolin Tsai is created, moreover, how the program is presented in the concert. Participating in person as an audience in the concert, the researcher observed the live performance and analyzed the collected evidences. Through such methodology, it is suggested that certain image of the singer and expectation of the concert is in fact already built up – via channels like commercial publicity, fan club activities and so on – before the actual performance. The theme of the concert is gradually outlined through the performing materials such as repertoire, lyrics, dance, costume, staging lightening and talks from the singer. The program of the concert is constructed with a clear intention: to lead audience to follow the theme and find that image of the singer and expectation of the concert fulfilled. It is noticed that the style of the performing is influenced significantly by MV, especially when dancing music is delivered – for body gestures and movements are usually deeply involved in dancing music in MV. It is also discovered in this study that in order to present the concept of the theme, many elements of “My Self” concert are re-created purposely, such as rearrangement of songs, adaption of dance, reproduction of staging and costuming from MV, etc., which all represent and interpret the meanings of the concert. From this point of view, one can suggests that a concert is not only a performance of repertoire, but more like a new production of creation.
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Wen, Tian-Shiang, and 聞天祥. "The Study of Tsai Ming-Liang." Thesis, 1997. http://ndltd.ncl.edu.tw/handle/00928951658363516708.
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Li, Ning-yu, and 李濘宇. "A study of Li–Tsai thought." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/21525568557147144625.
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碩士國立中山大學
中國文學系研究所
101
Li–Tsai, is a important person of the rationalism in the Middle and late Ming Dynasty. After middle Ming Dynasty, conscience lost the practice of the early aims. People to save the drawback of the Wang''s descendants, have filed a new theory to correct the decadent atmosphere, one of the governance drawback of the descendants is the Substance of Nature to be raised. They not only integrate of both Chu''s and Wang''s though, also according to personal thinking of moral theories to breakthrough the new and review Wang''s criterion, also to breakthrough Chu''s doctrine system of limitations. Transfer of the Substance of Nature ideologue on the moral principles to chien– lo establishing leave Wang''s category, appear to the moral theories by the Substance of Mind were turned to Substance of Nature of the rationalism in the late Ming Dynasty, and reflect the complex intertwined politics and society of the current situation and academic thought depravity seeking new response of Late Ming Dynasty. chien– lo according to Great Learning propose the doctrine of chih – hsiu, mind、conscience of Wang''s though are classified as acquired,and classified the mind as Substance of Nature headed by the system. Unlike Wang''s study of mind, is the ontological basis and cause Tong–Lin resonance for the rescue Wang''s correction movement in the positive direction of the late Ming Dynasty.The scholar of Substance of Nature headed are integrate of both Chu''s and Wang''s though , relies their own thinking of the founding the current situation and academic atmosphere to a new way, and, indirectly, reflect the pulse of the academic atmosphere of the Late Ming Dynasty. Li chien– lo stand in it , the chih–hsiu theory has its leading role in the academic trend of the late Ming.
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Tsai, Chen-Yen, and 蔡振嚴. "Release—Chen-Yen Tsai Print Creation." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/89883v.
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碩士台南應用科技大學
美術系碩士班
106
Release—Chen-Yen Tsai Print Creation Graduate：Chen-Yen Tsai Adviser：Yue-Shang Hwang Graduate Program in Fine Arts， Tainan University of Technology ABSTRACT From the dialogue and thinking of the research creation, the researchers are continuously in the search of the answer of creation. It is made through the creation of etcher and then uses the work to present the results of the study. People are searching for themselves, and they are searching for themselves in the art world through stories, life, fantasy, and experience. As an indigenous people have the solitary color of the mountains, he or she may feel surrounded by the solitude in coming to the city. As we talk to and share with others, this suggests that there are many selves in the heart, which begins with the dialogue that I intend to suggest. Thinking is the thinking path produced by the continuous creation. The research motiv of the study intends to suggest a thinking towards the thinking of the art of the self. In the process of the study, we can see the tolerance of the epoch toward the art of the self. The framework and purpose of the research demonstrates the results obtained through the continuous creation. Chapter Two examines the relevant theory and practice of arts through the abstract painting and Jean Dubuffet; examines the abstract linkage with paintings, Willem de Kooning, and works. It is made through continuous creation that researches the works of the self, and it reflects a kind of art linkage of the return. It is, too, a yelling of “Who I am” in the art world. Chapter Three studies the context and the idea in order to speak through the work. From the thinking and accumulation of the study of the work to the color representation of the research work, the study extends a self-interpretation of the work. Chapter Four studies the analysis and interpretation of the works, which are the learning spirit of the creator’s practice. Chapter Five examines the analysis of the works, which serves as the answer of the continuous creation. From the dialogue and thinking of the research creation, the researchers are continuously in the search of the answer of creation. The end of the study is to discover the self of this moment, that is, the existence in the field of arts. This is what the researcher repeatedly intends to study and prove. Keywords: abstract painting, Jean Dubuffet, iconology, Willem de Kooning
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Tsai, Yi-Ting, and 蔡以庭. "Tsai, Yi-Ting Graduate Piano Recital." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/nw3sbc.
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碩士東海大學
音樂系
107
L. v. Beethoven Sonata in A Major, Op. 2, No. 2 L. v. Beethoven 32 Variations in C Minor, WoO 80 F. Chopin 3 Mazurkas, op. 59 F. Chopin Polonaise in A-flat Major, op. 61, “Polonaise-fantasie”
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Han-Chang, Tsai, and 蔡漢正. "Reflexive Reading--Tsai Han-Chang's Photographic work." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/9q58ph.
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碩士國立高雄師範大學
跨領域藝術研究所
102
The core of the photography work is to understand what self ideology represents and how we express reflexive reading in another way. Its substantial narrative scenes lay down on my own marital experience in order to review the true meanings of roles of self gender.This photography production not merely presents its visual contents but conveys a concept of the ways that photography pieces technically describe circumstances of an act or an event. The photography work, finished by means of Fabricated Photography, Images Juxtaposition, and Virtual Scene Synthetic System, films out males' subjective viewpoints on female body, as the discussed subject of this photography work. Under the reference to Yve Lomax's juxtaposition works, diverse pictures are arranged in juxtaposition in a virtual exhibition gallery with the help of image synthesis. For one thing, different collocated image pieces can be harmoniously allocated in their respective places; for another, the exhibition space can be a mechanism of photographic reflexive reading. By reflecting on differences and distinctiveness of opposite genders during the shooting process, the creator perceives the conveyances of female dynamic role contrary to the statements of traditional women being examined. The female subject presents a strong feeling of demonstrative subjectiveness, not just an object being shot. In addition, image juxtaposition eliminates subjective image significance, forming another new meaning of in-between images. The virtual exhibition area displaying a context of being read creates another photographic context of reality and simulation: self being confronted with two-way interfaces, which means how self reviews the inward in the opposite way and develops a self as a way of reflexive reading.The result of this photography demonstration comes out: it is not easy to separate a reader's virtual reading from self image, and the contextual provocativeness needs to contain a larger issue symbol if photographic reading works as an act of reflexive examination, with the photography framework made up of visual creation and readers' experiences. The extensive deliberation of this displaying creative production falls on the connection of virtuality and photography.
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TSAI, YU-KUAN, and 蔡玉觀. "Travels─Tsai Yu Kuan Description of Creation." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/rn92ny.
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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
105
In this essay, I recon myself as the starting point. During 2014 – 2016, the first year of graduate school, my works continued the creation style inherited from university, to elaborate the mind-set with colorful print. At second year, I started to demonstrate the life surroundings and tour scenes with massive sketch and copper etching. In the creation process, I got to discover more about myself, the environment and the relationships among people. The discourse has been divided into five chapters. First chapter: research of self-creation thread and motives. Second chapter: discussion of the artists that have influenced my concepts of creation, such as Pierre Bonnard （1867 -1947）, Cheng-po, Chen （1895-1947）, and Henri Matisse （1869-1954） , Edouard Vuillard（1868-1940）; also, the literature works that have influenced me drastically. They all have one thing in common, that is to emphasize and convey the daily life details and context, and let the audience feel the same atmosphere. Third chapter: elaboration of my work format and media. Fourth chapter: interpretation of work, to gradually analyze the work and its concepts. Fifth chapter: conclusion, to sum up for this essay.
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Tsai, Yu-Fen, and 蔡育芬. "Life Imprint：Printmaking Discourse of Yu Fen Tsai." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/ebay2a.
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碩士臺北市立大學
視覺藝術學系
105
The main concept of the discourse is concerning “Life imprinting”. The discussion is mainly on author's lifetime experiences and printmaking creations. Because of being born in Taiwan, the author has been deeply influenced by the beauty of Taiwan primitive art. The series of “Mysterious power” embedded the specific images from the aboriginal culture. Furthermore, the creations of “Life” series, the author went deeper into her personal life experiences. The concepts of “Watch over your life” and “My mother” series were all derived from the old photographs of my family. Through the process of inner reflection as well as skills adjustment, the author transformed the old photographs into art creations via printmaking. The discourse aims to discover the meaning and value of a human being and look forward to bringing the abundant humanities cultivation in art into the children's education in the elementary school where the author teaches. This discourse includes the following chapters: Chapter 1 Introduction: This chapter contains the motivation, purpose, creation methods and structure as well as related terminologies. Chapter 2 Literature review: This chapter discusses the theoretical basis such as Bergson's Impulse of Life, Jung's concept of Collective Subconscious, Roland's Symbol Aesthetics, Dewey's Aesthetic Experience, modern printmaking along with minority printmaking as creation supplement that the author had drawn upon. Chapter 3 Creation practice: Based on primary theoretical basis and relevant concepts, the content, format, materials and techniques of the art series were structured. Chapter 4 Interpretation of the creation: This chapter analyzed the perspectives, format, techniques and the education aspects of the creation. Chapter 5 Conclusion: This section summarized all the main results in this discourse and the implications for further research.
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Hsu, Hui-mei, and 許惠美. "The Research of Tsai Wen-Chang’s Essays." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/75170106206625785473.
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碩士國立臺南大學
國語文學系碩士班
100
Tsai Wen-Chang’s written works in prose are rooted on his hometown, Gang-Shan, which is the origin of what he depicts about the transforming agricultural society. Concerning himself with every aspect of this land, Taiwan, and its people, he is positive that there were prosperous developments during last few decades in Taiwan. But, meanwhile, he witnesses the damaging ecosystem, polluting environment, and the falling-apart historic spots. Despite his regrets over the loss, he writes down his claims and concerns in a sensitive and peace tone of voice. His written works allow us to track down the developing stages of agricultural society in Taiwan, where you can recall the warm affection in the family and the familiar generosity in the relationship. What he describes about his hometown, Gang-Shan and Xiao-Lin village in Jia-Xian, becomes important documents for landscape literature. What he writes about the agricultural society inspires people with memories and appreciations towards this homeland, and makes people grateful to it. All these assist in arousing concerns for the ecosystem and preserving the environment of this island, Formosa, Taiwan, while we benefit from the civilization. This paper researches into thirteen published prose collections by author, Tsai Wen-Chang. The content is divided into six chapters; Chapter one: stating motivations and goals of research, followed by discussing documents, determining research approaches and steps, and at last settling on the extent of the research. Chapter two: biobibliography of the author. Chapter tree: discussing what is embedded in his written works— the affections within people, relationships in family, between husband and wife, between teachers and students, and friendships. Chapter four: discussing affections towards homeland, embedded in his written works—local figures, customs, tidbits, and countryside landscape. Chapter five: discussing the cares about society, embedded in his written works—concerns about ecosystem preservation, historic spots and documentations, as well as concerns for literature. Chapter six(conclusion): concluding this research with the exact value of Tsai Wen-Chang’s written works in prose, and addressing what is not achieved in this research paper.
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Wang, Tsai-Wen, and 王采文. "Inner Space: Wang Tsai-Wen’s Creative World." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/9yuhmy.
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碩士台南應用科技大學
美術系碩士班
106
In this analysis, there are various aspects to the concept of “space”. It can represent the abstract space of the inner world. It can also represent the process of exploring actual space when creating three-dimensional sculptures. The internal and external relations of space correspond to the relationship between the inner thoughts of the individual and the external environment. The reality and the ideal cannot both exist. People can choose to escape from oppressive city life. However, since there are many things that cannot be set aside, people are trapped in the city. To me, the city’s high-rise buildings represent a depressing and inescapable state. I made the doors, windows, and stairs of city structures more prominent. I then used these altered structures in my works to explore the relationship between my inner world and the outside world. The window is the most important image because it is able to directly connect inside and outside space. The interaction between external environment and inner feelings inspired every piece. In this analysis, clay is used to produce creative works. Unlike most clay products, which are glazed, my creations are only partially glazed, reducing excess colors and highlighting the appearance of the sculptures in three-dimensional space. Reality depends entirely on the way we look at things. In relating to the outside world, I felt trapped. Every time I create something, I asked myself questions. Through in-depth creative analysis, I discovered the inner thoughts that are hidden behind my work. After examining all the works discussed in this analysis, all life’s difficulties are resolved. Only by truly understanding oneself can one calmly accept all life’s difficult choices.
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Kim, Chun Sik, and 金春植. "The Structure of Chang Tsai Chi-hua lun." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/86466574432603031440.
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CHANG, CHIEN-TENG, and 張建騰. "A Study on Tsai Hsian-Chen of Kinmen." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/s6b674.
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Ting, Tsai Wen, and 蔡文婷. "「The Eight Consciousnesses」－Creation by Wen-Ting Tsai." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/t636sg.
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碩士國立高雄師範大學
美術學系
100
Abstract I have studied arts since I was a senior high school student. At that time, I was enthusiastic about revealing my painting skill. After studying in the college, I realized that creation is not only to show the forms of beauty, but to question why we paint and why we create. In the graduate school, I looked back on my course of composition and discovered that “self” is the main element in my artwork. Life experiences are always my creating motive. I combine them with my external perception and internal thinking, trying to record and analyze myself. Like “the Eight Consciousnesses” in Buddhism, it deconstructs our reception and perception, also explains our purpose of existence. The theory inspired me to explore myself in my artwork, and to generalize a conclusion from my context. Firstly, I express the feelings toward my hometown with the five consciousnesses from Buddhism (sight, hearing, smell, taste and touch). Secondly, I presented the mood from being in love, to marriage and childbirth. Thirdly, as a teacher, I tried to relocate myself from the interaction with my students, in order to prove my existence and influence. Finally, to explore the real me and return to the subject of life, also to form myself with the minimal substance; then I can regenerate myself in the circulation.
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Tsai, Min-Yen, and 蔡旻諺. "Greenhouse Anima： Discourse of Tsai, Min-Yen’s Creation." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/5srrfz.
Full textAbstract:
碩士國立彰化師範大學
美術學系
101
This essay is about the track of the writer's creative work and the exhibition from 2009 to 2013 and the most recent creative work " Greenhouse Anima". The writer used spoiled animal as a metaphor for his student career. Throughout these past few years, the writer has experienced the pain of family's loss and a lot of frustration from the daily life, the skulls in his works represent those frustration. By using those digital pictures and "painted-on design" of the animal, skulls, the writer has express his feeling and his thoughts about the life. The first Chapter is talking about how to visualize his student career as a spoiled animal. The second chapter, by using the concept of the modern art, to make his work different from the other's. The third chapter, by analyzing my own works, to make a self-examination. The fourth chapter is talking about the concept and the progression of these works, and the conversation between the viewer and the artist, to make sure that the viewer can understand the concept of works. The final chapter, by examining my past works, to find out good and bad of my works and moving forward to my next step.
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Tsai, Pei-Ju, and 蔡佩儒. "Mind Map Evolution of Tsai Pei-Ju’s Scuplture." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/jj3b86.
Full textAbstract:
碩士國立臺北藝術大學
美術學系碩士班創作組
104
This essay is to expound the works that I created during 2012 ~2016. For the idea of my works constantly changes, it seems, there is no existed framework and norm to illustrate these past works. Thus, from the Preface to relate my imagination onto these works, there are primarily consisted of four major essentials respectively as Author, Working Object, Environment, and Audience. In the text, I would like to explore the said work in the first place, then, through the creating process to discuss and explore relevant issues, so as to present a perception of integral context for readers to experience my thinking process and circulating status in the duration of creations. “Chapter One” is to state my central ideas at the outset and introduce the conception of each related work, and to discuss those works derived from the said concept. It can be divided into four major creating subjects respectively as the “Environmental Relationship”, “Existence Observation”, “Hidden Routine”, and the “Pottery Contemplation” , transferring from the enlargement of sculpture shapes to the exploration of environment and human beings, seeking human position in the creation, regressing to daily living, then, re-exploring the technique possibilities. “Chapter Two” is to sort the aforesaid works, induce the common parts appeared in the creating motive, process and the exhibition, and interpret the conception produced in the product-producing process. According to my personal experience, I adopt the motive, process, and outlook to respond to the deceased life, the proceeding life, and the sustaining life, using the former three phases to comparing to the later three life states and turning it into the background of my works in this treatment. “Chapter Three” is aiming at the issue that I want to breakthrough; through the explanation of “Mind Molding”, “Material Myth”, “Working Objects and Environmental Space”, and “Reciprocation of Works and Audiences”, I do further explore and pursue the breakthrough and orientation of the artistic concept deriving from my works and creations. In conclusion, artistic creation has become one of the communicating forms amid the world and I, in addition to embody my observation and the mind-developing pose, and it also evolves into an instrument for me to expand the boundary of self-creation.
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Jhang, Jia-Li, and 張佳立. "The Semiotic Chora in Tsai Ming-Liang’s Works." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/f9fk3w.
Full textAbstract:
碩士國立臺北教育大學
語文與創作學系碩士班
105
The thesis will focus particularlly on how Tsai Ming Liang concentrated his personal history into art making instead of trying to put Tsai's into any kind of categories. I will discuss reasons why Tsai purposely left all the blanknesses in his camera movements and how he conveied his reminiscence in his images. There are lots of dancing fragments/ scenes in the works like The Hole and The Wayward Cloud owing to pay tributes to the old movie era Tsai involved in his own childhood. Due to the unique ways of shooting and all the above dancing scenes, I've observerd another way of appreciating Tsai's works. Feminist therotists in the twentieth century like Julia Kristeva contended against “male gaze”, which gives a new approach to reading Tsai Ming Liang due to the fact of Tsai's resistence to the traditional film theroies and strageties. During the 2014 exhibition Stray Dogs at the Musuem: Tsai Ming Liang Solo Exhibition, Tsai pracitced the imaginary musuem's idea by Aby Warburg. He gave the audience a brand new sphere reading movies, offering another blanknesses in the museum for the audience to really participate in the work of Stray Dogs. Instead of being only a spectator, everyone entering the museum became the real “be-holder”. They became one of the elemnets in Tsai's work. The musuem reflceted a “chora sphere” which is the essential idea Tsai created his art: connecting one's memories and inviting everyone to join his reminiscence. The exhibition, also his movies are the allegories of practing feminine summons. In reading Tsai's, we are not only re-present the begone primary sences, but we are parts of the processing elements in his chora. Tsai Ming Liang is one of the most significant movie makers in Taiwan's movie industry, yet he has been “abandoned” oft time due to his slowness and uncleaness. Spectators in Taiwan fail to understand him under the consequences of their inertia of watching movies. However, Tsai's drives and his purposes of creating art works are vivd after the analysis of my thesis. It gives a new way of reading Tsai Ming Liang by recollecting one's private experiences, in order to understand and involved in his intertexts and hypertexts, using a “female gaze”.
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TSAI, CHI-SHU, and 蔡季書. "Retrospective Image-Graphic Dissert of TSAI, CHI-SHU." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/40927906997718493109.
Full textAbstract:
碩士大葉大學
造形藝術學系碩士在職專班
95
ABSTRACT In this thesis, I would like to study my daily observations and appreciations from life. During the process of visualizing my mental images, I could not only explore the meaning of life but also look into my inner emotions, which can be treated as a strategy of auto-therapy. In my study, I adopt historical research method to explore how the cultural background of artists and the hardships which they encountered affect their works. Besides, philosophical and aesthetical research methods are helpful to clarify the researcher’s original thoughts that underpin the ideas of creation activity. Last but not least, I would like to apply the principles of artistic theory to analyze the process and results of my creation My main focus in this thesis is divided into five chapters. In my first chapter of my thesis, I give an introduction to narrates my research motivation, purpose, methods, range and limitations. In the second part of my thesis, it points out the theoretical foundation of creation, in which I intend to examine the significance of some professional terms. In addition, I focus on the attempt to investigate how the philosophy of life and modern artistic theory utilize their own expressive methods, color imagines and symbolic imagines to present their different views of life. In the third part of my thesis, it concentrates on the form and concept of my creation. In the fourth part of the thesis, the study is the analysis of works which can be divided into four series: landscape, still life, mental imagine and eternal life. I endeavor to interpret respectively the works from the following perspectives: the concept of creation, the content, the forms and the media. In conclusion, the introspection and expectation of the creator provide. Key Words : Mental image, Visual art, Expressionism, Auto-therapy, Historical research method
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YI, HSIEH SH, and 謝舒怡. "A Study of Jewel Tsai and Her Prose." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/04214478654226558523.
Full textAbstract:
碩士東吳大學
中國文學系
103
Chapter I “Introduction”: Jewel Tsai is a writer risen in the 1990’s.Recent research mostly suppose that Jewel Tsai’s writing focused on diet and cuisine , and ignore other phases of her prose. My thesis survey the meaning and value of the prose. The first chapter mainly illustrate the motive of research,achievements of other studies, methods of the study, presentation and composition. Chapter II:”The creative course of Jewel Tsai’s prose”, according to the study, her writing course could be divided into three periods. The first is “developing period”, writing context is composed of food and plant. In following period named “molt”, social observation and culture research had been brought into writing. The third is “mature period” Jewel Tsai start to embrace the different creative subject matter, that include nature, diet, cuisine and culture. Therefore her writing present the phase of intellectuality and perception. Jewel Tsai represent multi-feature of every period through enlightenment of nostalgia, pure and contented taste, presenting thesis, social responsibility, leisure spirit and multi-theme. Chapter III”Subject consciousness of Jewel Tsai’s prose”: Summarize her thoughts, emotions and content of theme, which include “The feeling of advocating nature” ,”Diet interest from nature” and ”multi-concern of culture”. Chapter IV”The art feature of Jewel Tsai’s prose”: She present abundant images with exuberant imagination, and catch reader’s eyes with new language. She makes the article possess unique personal characteristics with multivariate presentation and composition. Chapter V”Conclusion”: Summary of meaning and value, then endow Jewel Tsai’s prose with the important position that create new pattern.
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YANG, CHIN-HUI, and 楊清惠. "The Study of Tsai-Ping Liang's Zheng Music." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/46783920818181332277.
Full textAbstract:
碩士國立臺南藝術大學
民族音樂學研究所
102
Abstract Tsai- Ping Liang (1910 – 2000 A.D.) is one of the most important figures of Taiwan Zheng music in the Twentieth Century. He was profoundly affected by Confucianism and started his Zheng music training very early. At the age of fourteen he was recognized as a Zheng music child prodigy. In China, Liang was published his first book Ni-Zheng-Pu擬箏譜in 1938. It was a the finger technique on Zheng music annotation.Liang went to study in the United Sates in 1945 and moved to Taiwan in 1949, where he began teaching Zheng music and started composing Zheng music. His numerous Zheng music concerts were presented throughout Taiwan and all over the world. Professor Liang passed away in 2000. His contribution to Zheng music has inspired students not only in Zheng music education, but it has also taught them to focus on service to our society, originating all the way back to Confucius. Professor Liang was the chairman of the Chung-Hwa Chinese Music Association for twenty-five years and has been honored as the “Leader of Zheng Music” in Taiwan ever since. Zheng music in modern times has lost its direction, due to the influence of western music. This phenomenon of Zheng's self-identity fading away brought me to a state of concern even worry about Zheng music. This is the reason behind the origin of my study. I intend to follow Professor Liang's footsteps starting from the 1950's when he settled in Taiwan. His two influential Zheng music research books, Zheng music Pilgrim Collection and Sixteen Stringed Zheng Solo Music, are my major references for this research. I also use the method of Field Work of Ethnomusicology to collect Professor Liang's unpublished literature and to analyze his recording history. Through my research I hope to sum up Professor Liang's Zheng music wisdom and take advantage of his teaching concepts, thus facilitating a new development of Zheng music in modern times. This research will contain three main analyses: Liang's Zheng music history, features of Zheng music work, and the characteristics of Zheng music. It is my fervent hope it will help open the door of discovery to Professor Liang's philosophy in Zheng music.
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Tsai, Ning, and 蔡寧. "The Phenomenon in Taiwan:Creativity Research by Ning Tsai." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/48955278266470582076.
Full textAbstract:
碩士臺北市立教育大學
視覺藝術學系碩士班
102
Taiwan is a beautiful island. She has beautiful natural landscape and she is abundant in multi-types of living culture. Everything in there strikes into every one's heart deeply. The author transformed this feeling to be an energy for art creations, and took these art creations as gifts for everyone. The author took participative observation, review of documents and creation methods used in these patterns of art creations, by these ways to understand the meaning of Taiwan. The author established her self-identity on making caricature creations. And then from this self-identity to make sure the cultural identity of Taiwan. This article discussions Chapter 1: Introduction. There were included Research motivations, purposes, methods and structures. Chapter 2: Theorization. This article discussed history system of art, realism, scenery realism, caricature, pluralism, native soil and multicultural theory, the essence of multiculturalism in Taiwan, and Tolstoy's communication theory of art, There were all my theorizations. Chapter 3: Art Creations. This section interpret content, form, technique, idea expression manner of art creations. Chapter 4: The explanation of art creations. By the way of author self-identity to Taiwan cultural-identity ideas to illustrate evey content, form, technique, idea expression manner of art creations. Chapter 5：The conclusion. There were all caricature of art creations, from this way author get the identity of art creations, and then, It let author found the direction and value of caricature of art creations, by the way to expressed the Taiwan cultural-identity. It made author very happy, because of this article let caricature will be shining in the field of post modern aesthetics, finally, this article let author can take caricature of art creations to a beautiful future.
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Lee, Tsai-Ling, and 李采玲. "The Dialogue: Creation Description of Lee, Tsai-Ling." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/aqxf36.
Full textAbstract:
碩士臺北市立大學
視覺藝術學系碩士在職專班
106
Abstract Keywords:dialogue, interpersonal relationship, the hierarchy of needs theory Due to the convenience and immediateness of electronic products, people increasingly rely on such products. In daily life, the society is saturated with the various kinds of 3C products , and thereby the relationship between these products and people is inseparably intimate. From traditional phones, mobile phones, email, msn, short message, face book, to line, the form of communication and dialogue between people has also changed rapidly in recent years. Thanks to technology products, people can choose one way among the medium to get in touch and communicate with others at any time in a busy life. Despite the many channels of dialogue, does any warmth and heat exist in the interpersonal conversation? In public transportation, it is commonly seen that nearly 100% of the passengers are low-headed, some watching movies or playing games, and more people are contacting someone through the line. Each type of dialogue mode has its own advantages and disadvantages. If you have long been used to dialogues in just one way, your ability of communication would have degraded or even lost in the end due to lack of other dialogue forms. These gradual losses of abilities are self-represented skills and emotional communication with others. Although the dialogue in the form of electronic products is immediate, and has no hindrance of time and space, and can escape the embarrassment and tension of face-to-face dialogue, such kind of dialogue seems to lack feelings. In view of this, the author hopes that people will cherish the emotional conversation through the author's research"dialogue". The temperature of conversation represents a certain degree of emotion. If we try to analyze the dialogue of no feeling, we will find that the form of dialogue is empty and alienated. The content structure of this discourse can be divided as follows.: The first part refers to the motivation and purpose of creation, pointing out the origin of creation, and using observation and literature exploration as research methods. The second part of the literature review, the information richness theory, the hierarchy of needs theory, the interpersonal needs theory, the aesthetics of existence, explores the dialogue of interpersonal interaction. The third part is based on the primary theoretical basis and the relevant the creative concept, the theme content, the use of media, and sketching the creation series. The fourth part analyzes the perspectives and meanings of the works. The final part draws a conclusion to described the summary and experience of this creation.
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蔡宗佐. "Spiritual Site-Tsai Zong-Zuo’s thoughts on sculpture creation." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/4m9ab3.
Full textAbstract:
碩士國立新竹教育大學
藝術教育與創作碩士班
101
From drawing in childhood to current artistic creation, I grow with the elements of cartoon and animation, and I recognize my passion in subculture products. Based on the forms of sculpture creation, I try to study the spiritual implication of subculture and present creative thoughts in life experience by 3D works. This creation attempts to probe into the correlation between artistic creation and life essence, and how abstract forms and symbolic techniques present creation in subculture themes. Thus, three serial works, Chao Jen Tan Sheng, Pu Ke Kao, spiritual remains are created. The purposes of this creation are: 1) to probe into the relationship between artistic creation and spiritual essence; 2) to find how to present subculture themes by abstract and symbolic techniques; 3) to clarify my future creation directions by studying theories and works. Based on the purposes above, I compare the creation statements of various types of art, psychological analysis and literatures of theoretical studies and philosophy as the criteria of theory of my creation. Through artistic creation, I have reflection and practice to establish the presentation upon inner self and subculture elements. The conclusions are shown below: 1) through artistic creation, I recognize the change of inner self, review my inner thoughts and transcend myself; 2) by symbolic presentation, I directly demonstrate the inner implication and meanings of the works; 3) through creation, I recognize my shortage of techniques or thoughts. By each change, I reinforce my inner world and creation techniques, and recognize my future creation directions.
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Jui-Yu, Tsai, and 蔡瑞瑜. "Illusion and Reality:A Record of Tsai Jui-Yu's Creations." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/99096598863202297010.
Full textAbstract:
碩士臺北市立教育大學
視覺藝術研究所
94
Abstract Keywords: Illusion，Reality，Record，Post-Modern “ Illusion and Reality.” is a discussion into the my creating ideas and contents of my works, including the period of academic realism imitation, and later on, the attempts from self-creation. The creating period of time stands between 1997 and 2005. The author has been in touch with art since little, and emphasizes on the “Figure” and “Realism” of western portraits, and in Chinese painting, the naturalism and “Symbolism”. Under the influence of eastern and western art forms, the original motive for the author is to pursue realism in creation. In fact, surveying through human history basically can be a process in pursuing reality. No matter from the outward figure or inherent contents, this process is a pursue for the reality of spiritual instincts. However, in the Twentieth Century Post Modernism, the line between illusory and realism gradually turns vague. Jean Baudrillard has pointed out that in our world now, there is no illusory, nor there is reality; Hyperreality has extinguished both. I apply the concept that we are in the Implosion of excessive information and uncertainty of post-modernism, extends to discuss illusory and reality. “ Illusion and Reality－A Record of Tsai Jui-Yu’s Creations” attempts to discuss illusory and the real from all aspects, adding Jean Baudrillard’s Simulation, Gilles Deleuz’s Rhizome and some of the other post-modernism theories. Then by contemplating from the inside and out, theoretical analyze, and practical creation, the author checks upon the creating process in every step and analyze the figure and techniques. In the aspect of visual transmission, by showing the real image using traditional manual painting and computer assistance, presenting the work style of post- modernism,have multiple objects misplacement and space misplacement form. Finally, from the works accomplished, the author analyzes and sums up, also checks the outcome of creation and future prospects to be conclusion, let the work approach the artistic phenomenon of post- modernism , tries to comprehend the relevance between the real and the imitated, pursues perfectly unifies Fine-Art and Popular-Art.
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Tsai, Meng-Hsia, and 蔡孟夏. "Cat–The Printmaking Creative Discourse of Meng-Hsia Tsai." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/72jg3c.
Full textAbstract:
碩士國立臺灣藝術大學
美術學系版畫藝術碩士班
103
Abstract This creative discourse seeks to describe topics of affection under the mutual influence of “love” and “desire” during periods of personal growth. Based on the image of a ‘cat’, the printmaking works is created through use of moral concepts. The “cat” represents as the subject of the writer’s affection to disclose personal feelings through the process of observing as well as interacting with cats. Change of emotion is smoothly delivered to achieve the state of “object and self as a whole”, which will allow subjectivity to become acts of objectivity. The discourse is divided into five parts, the outline of each chapter are as follows: Chapter 1：Introduction－To describe the motivation and purpose of the research, the methods and area of creative research as well as terminology. Chapter 2：Fundamental Theories－Mostly depicts the relationship between man and animals. Then, use Sigmund Freud’s Psychoanalysis to comment the writer’s state of subconscious and utilize aesthetic theories like symbolism, surrealism as well as transference as basis for writing this chapter. Chapter 3：Implementing the creation－The creative concept and content portrays the writer as the cat and seeks to interpret the subconscious state of self through obsessions with certain objects. By adopting the form of split and paste to create a flowing time and space for telling the inner stories, while technique of etching is mainly used for intaglio printmaking. Chapter 4：Interpretation－In the complication of love and desire, the works are proceeded with analysis and depiction of the changes within four state of minds : “Disguise”, “Desire”, “Gaze”, “Quest”. Chapter 5：Conclusion－Besides depicting thoughts on the creative process of the “Cat Story” and examine the purpose of the research. This chapter also integrates all the problems that occurred during this creative process and offers future research direction and motivation for development plan. Keywords：Cat, Story, Printmaking, Subconscious, Love
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TSAI, PEI-CHUN, and 蔡佩君. "Childish Innocence Impression –TSAI,PEI-CHUN Descriptions of Creation." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/ua6uy7.
Full textAbstract:
碩士國立屏東大學
視覺藝術學系碩士班
104
The creative direction of this paper is" Childish Innocence Impression ". The author observe life-around children with her childhood experience, and try to figure out the relationships and experiences in the family, and they how to achieve self-satisfaction through the game and their inner feeling changes, etc., as the painting of personally thinking basis. The main purpose of the paper is as follows: (A) By the literature review, the author tries to probe the children in the painting, and think the issue of children in family relationships and psychological development. (B)The author tries to analysis their thinking and emotion in deep mind. (C) By western painting theories, the author tries to fuse watercolor fusion techniques and meticulous work with ink pen and paper as mediums to create a personal style. The author tries to explore the past and present children's literature analysis differences and determine the form of self-created style by style modeling of the methods. Finally the author tries to analyze the paper's unique creative experience and meaning by qualitative research methods. The author use East and Western mediums features and modern paintings performance to emerge paintings with children as the theme and full of creative imagination of fantasy. And hope to create a personal style of images.
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Mayumi, Yamamoto, and 山本真由美. "Tsai,Pei-Huo’s Identity－the Han Chinese・Taiwanese・Christianity－." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/nfpmyu.
Full textAbstract:
碩士淡江大學
日本語文學系碩士班
104
Taiwan was ruled by the Qing dynasty before the year 1895. The people that lived in Taiwan hadn’t grown up with a Taiwanese identity in those days. A Taiwanese identity started to form in the peoples heart after a political change in Japan. But even then the Han Chinese who were living in Taiwan, still didn’t the kind of identity that think to be divorced from China to become an independent nation. What is Tsai Pei-Huo’s awareness of ethnic identity? He participated after it had been called for the establishment of a parliament in Taiwan and Taiwanese Cultural association. And he not only flourished in these political movement as a core person, but also actively educated Taiwanese people for further development of Taiwanese culture. He became a Christian when he went to Tokyo and studied abroad. The Japanese rule of Taiwan generation sought to find a position between the “Fatherland” China and “Motherland” Japan. What does Tsai,Pei-Huo as the Han Chinese think and take part in abolishing rule discrimination? And how does he as a Christian watch the filling of war world? This paper focuses on the thoughts of Tsai,Pei-Huo and analyses Tsai Pei-Huo’s awareness of ethnic identity.
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TSAI, DE-WEI, and 蔡德偉. "Tsai, De-Wei Master Degree Recital and Graduation Concert." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/g44xn5.
Full textAbstract:
碩士國立臺北藝術大學
音樂學系碩士在職專班
105
Tsai, De-Wei Master Degree Recital Program 1.Derek Bourgeois: Trombone Concerto, Op.114b 2.Georges Bize: Deep Inside The Sacred Temple From ‘ The Pearl Fisher’ 3.David R. Gillingham: Blue Lake Fantasia, Mov.II and V 4.Philip Sparke: Two Part Invention 5.Philip Sparke: Pantomine ---------------------------------------------------------------------- Tsai, De-Wei Graduation Concert Program 1.Philip Sparke: Euphonium Concerto No.1 2.Fraçois Thuillier: Le Scooter à Trois Pattes 3.Steven Bryant: Hummingbrrd 4.Jan Bach: Concert Variations 5.Ito Yasuhide: Euphonium Parfait
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Tsai, Tzu-Yu, and 蔡慈毓. "Tsai, Tzu-Yu Piano Recital ProgramIntroduction, Analysis and Interpretation." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/79491701163897772298.
Full textAbstract:
碩士國立屏東教育大學
音樂學系碩士班
101
This thesis consists of three parts: (1) the program notes of the “Solo Recital”written by the researcher (2) the program notes of the “Performance Recital”written by the researcher (3) the research paper presented by the researcher in the Graduate Students’ Conference. The program of the Solo Recital includes : J. S. Bach《Prelude and Fugue in A Major, BWV 888(WTC Ⅱ) 》, L. v. Beethoven《Sonata in E-flat Major, Opus 81a“ Les adieux”》, W.A. Mozart《Variationen in C Major(“Ah, vous dirai-je, Maman”), K.265》, I. Albéniz《Leyenda (Asturias), Op. 232(from “Cantos de España”)》, B.Bartok《Sonatine》and F. Chopin《Scherzo No. 2 in b-flat minor, Op. 31》. The program of the Performance Recital includes : L. v. Beethoven《Piano Trio in C Minor, Opus 1, Nr. 3》and F. Schubert《Sonata in A Minor for Arpeggione and Piano, D. 821》〉. The topic of the research paper being“A Preliminary Study on Chopin’s Scherzo No. 2 in b-flat minor, Op. 31”, provides historical background of “Scherzo”, structural and harmonic analysis of the composition, style and interpretation viewpoints concerning dynamic effects, color and touch, pedalling suggestions.
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Tsai, Yi-Shing, and 蔡宜倖. "Gaze Oneself– The Creation Concepts of Yi-Shing Tsai." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/17348411921406907312.
Full textAbstract:
碩士台南科技大學
美術研究所
97
The research of creation starts from myself, coming from my own life experiences, including sketching on the street, gazing at the people, receiving external information as well as hearing the intrinsic sound. The oppressed the time of growth, the frustration of feelings and the trouble of the relationships make me restless in the deep mind. The escape and self-block cause me to be lonely. The anger and depression deepen the gulf of the bitter. The experiences, combining the memories and feelings and forcing me to face my own intrinsic situation, always merge in my mind unintentionally. The creation becomes the only exit of my extremely restless condition. Through the way, I can dig out my heart which is closed in the dark black hole, reflecting my internal. The topic of this research is “me”. My works are taken as the objects of observation through the literature methodology. The academic theories are the foundation of my creation, according to the aspects of the “existence”, “symbol”, “subconscious” and “performance”. The process of the thinking of creation is that analysis description, works research, experiences reading, experiences narration, the connotation clarification. Through analyzing the works, the intrinsic mind can be understood precisely. My creations are divided into three series: “Gazing myself”, “Gazing the feelings of the family” and “Gazing the affections of lover”, attempting to shape my own image and to reflect my reality via my body, status and stories; meanwhile, presenting my desires without veiling and common viewpoints and weakening the characteristics of the feminine by the technique of shaping in order to free myself from the myth of the genders. Moreover, my own image and style can be constructed by discovering and communicating with myself continuously. The creations reveal the self-intrinsic reflection, the restless condition and the sense of the loneliness and sadness which are the fundamental keys of my creations. The development of life experiences changes my mind; furthermore, the contradiction and the diversity fill the process of the creations. Although the repression and the restless condition have not vanished during the period of the creations, gazing myself clarified the sorrowful and vague inside condition; finally the self-existence would be realized after all.
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WONG, JIE-YING, and 翁捷盈. "A Study on Tsai Cao-Ju Traditional Architecture Painting." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/74667787812828899142.
Full textAbstract:
碩士國立臺灣藝術大學
古蹟藝術修護學系
104
In the early 19th century, the traditional architecture paintings in Taiwan followed and adopted the decorative style from Fujian and Guangdong of China. From the Japanese Colonial Period to the Postwar Period, there were many professional painters working in Taiwan. However, Taiwanese artists started to aware the new style of Western modern art during the Japanese Colonial Period. Tsai Cao-Ju, the objective of this study, was one of the painters who accepted modern artist techniques but worked as a traditional architecture painter at the same time. Tsai Cao-Ju worked as a painter from 1965 to 1980, and most of his works located in Tainan area. According to the survey of this study, his paintings are still existing in 30 buildings, but currently, there is hardly any overall study on the buildings he worked on or in-depth research about the artistic style of Tsai Cao-Ju. Therefore, this study starts with the images of Tsai’s traditional architectural paintings, which includes his training, apprenticeship and genre. Furthermore, this study also discusses Tsai’ distinguishing features and style by analyzing his subjects, compositions, characteristics and techniques from his paintings on beams, rafters, doors and plaster walls in architecture. Tsai’s development of sketching techniques reflected on his works on the traditional architectures. With the research and detailed discussion, hopefully this study will be an identification of Tsai’ works and a reference for the future conservation.
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CHONG, SHUK-LAM, and 莊淑琳. "Anti-Mui Tsai Campaign in Hong Kong, 1919-1941." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/dt792e.
Full textAbstract:
碩士輔仁大學
歷史學系碩士班
107
The system of Mui Tsai, or “little sister” in Cantonese, existed in traditional Chinese society. Young girls from poor families were sold to rich families as domestic servants. They had no freedom, salary and holiday. Anti-Mui Tsai Campaign in Hong Kong began in 1919, advocated by Clara Haslewood and her husband Hugh. The Haslewoods considered the Mui Tsai system as a sort of slavery in Hong Kong that should be abolished. After returning to Britain, they raised debates and petitions in the British society on the Mui Tsai issue. Britain colonized Hong Kong in 1841 and its colonial policy was economic-oriented. The government tried not to intervene too much in the Chinese society. However, this policy became “the White Man's Burden” after WWI. Additionally, Britain signed the Slavery Convention of the League of Nations in 1929. In the beginning, Chinese elites in Hong Kong considered that the Mui Tsai system was good for poor girls and their families. The system was feasible as long as the girls were well-protected. When the New Culture Movement (1919) occurred in Mainland China, some Chinese elites in Hong Kong began supporting the Anti-Mui Tsai Campaign. The British Colonial Office had repeatedly commanded the Hong Kong Government to abolish the Mui Tsai system. Despite the pressure from the British Colonial Office, the Hong Kong Government feared that the Chinese elites would be discontented, therefore the Legislative Council passed a bill to abolish the Mui Tsai system in 1923 but there was no specific date of implementation until an amendment was made in 1929. By studying the Anti-Mui Tsai Campaign through publications at that time, this thesis attempts to analyze opinions on slavery and abolitionism under different social contexts. In addition to activists in Britain and some Chinese elites in Hong Kong, it discusses the role of Chinese Christians who formed the Anti-Mui Tsai Society in 1922 to appeal for the abolition of the system.
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Tian, Chang Chung, and 張中典. "The analysis of Ge Tsai "Tzu Lin Cheng Yun"." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/87076321381677173540.
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蕭采之. "Otaku-like Life—Creative Practice of Shiau Tsai-Jyh." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/10955882294919276030.
Full textAbstract:
碩士國立臺灣師範大學
美術學系
99
The theme of this study is “Otaku-like life”, which explores the personal life style by image creation of domestic life. The life style is the phenomenon of contemporary society. Due to the advanced technology, convenient network and safe and comfortable domestic life, a group of people treat “home” as the focus of life activities. The analysis on the young groups who have this kind of life style in Taiwan found that, as to recreation and entertainment, they absorb animation and comic book culture of “Otaku group”; even though they are grown-up and have jobs, as “NEET”, they are still protected by parents, and live at home and indulge in online world. By using various convenient electrical appliances, they can manage most of things without leaving home. Thus, they prefer staying at home. Swiss linguist Ferdinand de Saussure (1857-1913) indicated the association arbitrariness of “signifier” and “signified” in the symbols. The fluctuation of symbols is significant in modern online virtual world. New symbols are continuously created and immediately accepted by the society. Home, family and domestic space become the social symbols which can be deconstructed and reorganized with time. “Otaku-like life” is enclosed by an enormous online virtual world. The direct and main association between bodies and physical world is in domestic space. However, the domestic space is not the definite, traditional and regular family carrier in the past. It is subjective existence identification upon different individual values. This study focuses on domestic images and perceived memory in lives, and tries to create individual unique domestic images by reorganization of painting in creation. “Otaku-like live” is narrow and dangerous. It is limited to virtual world of thoughts and spirit, and people can easily escape from the reality and will not maintain normal lives. However, by active and positive attitude, people will enjoy the flexibility without the traditional burden in society. Based on this study, the researcher aims to be more flexible and free in life or creation career.