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1

Zhuang, Jia-Yun. "Searching for the Consciousness of Thirdness Through Gao Xingjian's The Other Shore and Six Ways of Running." Oxford, Ohio : Miami University, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1082753926.

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2

Sze-Lorrain, Fiona. "Sur le toit du monde : l’esthétique théâtrale de Gao Xingjian." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040176.

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Dramaturge, metteur en scène, romancier, essayiste et peintre, Gao Xingjian, « artiste total », s’est affranchi dès 1983 des conventions théâtrales qui prévalaient en Chine. Il s’est imposé comme l’un des pionniers du théâtre et de la littérature d’avant-garde. Condamné pendant la campagne de répression « contre la pollution spirituelle », il a été interdit de publication. Exilé en France en 1987, il a dès lors créé des pièces en français, impliquant peu de personnages, entre farce et tragédie, exprimant souvent une vision de la vie désenchantée, dans un langage aléatoire mais équilibré, avec des décors minimalistes. Il excelle dans une forme de théâtre destiné uniquement à la représentation, où joue l’expérimentation scénique et corporelle. Notre thèse porte sur la forme et l’expérience de la représentation théâtrale, en examinant la façon dont Gao repousse les limites linguistiques ou visuelles pour parvenir à une conception dépouillée du drame. Procédant à l’analyse de ses dramaturgies, tout en nous appuyant sur ses écrits et ses peintures, nous verrons comment la représentation théâtrale s’agence entre visible et invisible, qui se situe au seuil de la conscience ou qui relève de l’esthétique — ceci, selon trois possibilités : le rapport acteur/spectateur, le texte lui-même, et la scène proprement dite. Tenant compte de l’épreuve existentielle de l’exil et du phénomène de bilinguisme perceptible dans l’écriture, nous traitons des idées de l’espace théâtral et de l’art dramatique, en suivant quatre orientations principales : la dramatisation, les modes de narration, la langue en tant que rupture dans le texte, et l’« incarnation » du personnage par l’acteur qui le joue<br>Playwright, theater director, novelist, essayist and painter — the multi/inter-disciplinary artist, Gao Xingjian first defied the theatrical conventions dominating China for more than fifty years with his absurdist play Bus Stop in 1983. Since then, he has established himself as one of China’s pioneering avant-garde playwrights and writers. Persecuted during the “Oppose Spiritual Pollution” campaign, he was banned from publication. After moving to France in 1987, he began writing plays in French, his adopted language. Relying on few characters, they probe drama between farce and tragedy, expressing a frequently disenchanted vision of life in seemingly random, yet measured, language with minimal decor. Experimenting with the scenic and the corporal, Gao excels in an organic theatre created solely for performance. Using the form and experience of a performance, this thesis explores how Gao revisits linguistic and visual boundaries in an effort to define “drama.” Analyzing his plays, as well as his other writings and paintings, we identify in his work a theatrical performance — visible and invisible, liminal or aesthetical — via three possibilities: actor/spectator, text, and stage. Considering exile and bilingualism in literature, we examine notions of theatrical space and drama that emerge from this study in four main approaches: dramatization, modes of narration, language as rupture in text, and character “enfleshed” by its actor
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3

Mazzilli, Mary. "Gao Xingjian vs. Martin Crimp in between modernism and postmodernism." Thesis, SOAS, University of London, 2009. http://eprints.soas.ac.uk/29543/.

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This thesis deals with the plays by Gao Xingjian - a Chinese contemporary playwright and Nobel Prize winner for literature in 2000 - and Martin Crimp a contemporary English playwright. The plays from both authors will be looked at from a comparative perspective within the theoretical framework linked to the debate between modernism and postmodernism, as inspired by Calinescu's theory. Calinescu's theory is based on the idea that Postmodernism is a 'face of modernism': he speaks about recurrent aspects ('similarities') of Modernism in Postmodernism, not only in terms of the repetition of patterns from the past in the present culture, but in terms of a natural historical evolution of Modernism into new cultural forms. The aim of this thesis is, therefore, to prove Calinescu's idea of continuity between Modernism and Postmodernism through the work by the two playwrights and by doing this it inevitably demonstrates a link between two writers coming from two different continents, hence a connection between Eastern and Western Literature. This thesis carries out an investigation into the two \vriters' dramatic texts and searches for signs of modem and postmodern elements and highlights how these elements coexist. In particular, in each chapter the thesis will carry out a close reading analysis of one or more plays by each author: in the case of Gao, we focus on post-exile plays, written after he left China in 1986 and are analysed chronologically; in the case of Crimp, the plays in question are not in strict chronological order but almost in parallel order to Gao's plays as they were written from the 1990s up to the present day.
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4

Yeung, Wai-yee Jessica. "From China to nowhere : the writings of Gao Xingjian in the 1980s and early 90s /." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B17546084.

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5

Cai, Zheng. "Cold literature on Gao Xingjian's novels and stories /." online access from Digital Dissertation Consortium, 2007. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?MR29875.

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6

Polvani, Simona. "La performativité dans l’œuvre et la pratique artistique de Gao Xingjian." Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H307.

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Dans sa conception de l’art total ainsi que dans la perception de la figure de l’artiste qu’il met en œuvre, Gao pratique plusieurs disciplines artistiques. Il est à la fois romancier, poète, dramaturge, essayiste, metteur en scène, peintre, cinéaste. Cette pluridisciplinarité constitue la marque prééminente de sa création. À l’époque où il vivait en Chine, sous le régime maoïste et qu’il subit la rééducation culturelle, toute pratique artistique lui fut interdite. En m’appuyant sur des études de la performance et de la performativité développées dans les «performances studies» de Richard Schechner, Victor Turner, Judith Butler, je tente de mettre en valeur la présence d’une dimension performative dans l’œuvre de Gao : performativité de la « vie ordinaire » autant qu’artistique, toutes deux étant profondément imbriquées. Cette performativité émerge tout d’abord comme une forme de résistance existentielle et politique face à l’interdit de pratiquer la création artistique à l’époque où il vivait en Chine sous le régime maoïste, et pendant la période de la rééducation culturelle. Elle se manifeste en tant que gestes d’écriture et de destruction clandestins et gestes ritualisés d’un artiste à la marge. Gao bâtit ainsi sa création artistique comme la conquête d’un espace essentiel de liberté en même temps qu’il façonne son identité individuelle d’homme et d’artiste. Au niveau de sa création, la solitude de cet état liminal qu’est la marge, engendre une esthétique de la multivocalité, de la démultiplication, du troisième œil et une expérimentation sans cesse renouvelée dans tous les domaines de sa pratique, littéraire, théâtrale, visuelle<br>In his conception of complete art as well as in the perception of his implementation of the artist, Gao practices numerous artistic disciplines. He is simultaneously novelist, poet, playwright, essayist, director, painter, filmmaker. His multidisciplinarity is the preeminent mark of his creation. He lived in China during Mao’s regime, underwent cultural reeducation and during this time all artistic practice was forbidden to him. Based on studies of performance and performability developed in the performance studies of Richard Schechner, Victor Turner and Judith Butler, I attempt to underscore the presence of a performative dimension in Gao’s work: theperformativity of ordinary as well as artistic life, both of which are deeply intertwined. This performativity emerges as existential and political resistance in the face of the prohibition to practice artistic creation during the time he lived in Maoist China and when he underwent cultural reeducation. It manifests itself as gestures of writing and of clandestine destruction, and the ritualized gestures of a marginalized artist. In this way, Gao builds his artistic creation as the conquest of an essential space of freedom at the same time shaping his individual identity as a man and as an artist. At the level of his creation, the solitude of the state of being on the threshold of marginality engenders a multivocal, demultiplying third eye aesthetic and a constantly renewed experimentation in all the fields of his practice, literary, theatrical, visual
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7

Xiao, Yingying. "Une subjectivité fluide : modernité et perception esthétique à travers les ouvrages de Gao Xingjian." Paris 7, 2014. http://www.theses.fr/2014PA070084.

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La thèse explore la notion de modernité et de perception esthétique dans le cadre de la pensée et de la littérature du XXe siècle au moment où la Chine rencontrait l'Occident Les analyses se déploient autour de la question de la subjectivité, en se fondant sur les oeuvres de Gao Xingjian. Notre travail se compose de deux parties. La première concernant la notion de la subjectivité-moi chez Gao se déroule dans le contexte de la modernisation chinoise du XXe siècle où la modernité chinoise apparaît pourtant formelle et idéologique et néglige la recherche de l'indépendance de la personnalité. La poursuite de la subjectivité-moi pour Gao est avant tout la question de savoir comment sortir des dilemmes moi/nous, individu/pays¬nation, Chine/Occident et tradition/moderne qui obsèdent depuis longtemps les intellectuels chinois. La deuxième partie consiste à rechercher la notion de subjectivité fluide dans le cadre esthétique, pour voir comment Gao crée un style fondé sur le mode traditionnel de percevoir et de penser, tout en absorbant la pensée spéculative occidentale. Nous explorons, sous l'angle culturel, une subjectivité a-ontologique qui ne se focalise plus sur « qui » mais sur « où » se trouve ce je<br>This thesis explores the notion of modernity and aesthetic perception when China met the West in the twentieth century. Our analyses focus on the question of subjectivity based on Gao Xingjian's works. Our work consists of two parts. The first focuses on the concept of subjectivity-ego in Gao's works in the background of Chinese modernization in the twentieth century. However, the Chinese modernity is formai and ideological, neglects the meaning of the individual. The pursuit of subjectivity-ego for Gao is first of ail the question how to get out of the dilemmas l/We, individual/nation-country, China/West and modern/tradition - by which the Chinese intellectuals are obsessed for a longtime. The second part focuses on the notion of fluid subjectivity, in an aesthetic perspective, to see how Gao creates a style not only based on the Chinese traditional way of perceiving and thinking, but also influenced by Western speculative thought. From a cultural point of view, we look into the a-ontological subjectivity which does not focus on "who" but on "where" I am
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8

楊慧儀 and Wai-yee Jessica Yeung. "From China to nowhere: the writings of Gao Xingjian in the 1980s and early 90s." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31214824.

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9

Quah, Sy Ren. "The theatre of Goa Xingjian : experimentation within the Chinese context and towards new modes of representation." Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.431295.

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10

Tsai, Ming-Hsuan. "De l'exil chinois au monde occidental : le théâtre contemporain et la pensée esthétique de Gao Xingjian." Paris 8, 2010. http://www.theses.fr/2010PA083266.

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Cette recherche porte sur les œuvres littéraires et théâtrales de Gao Xingjian, Chinois exilé en France depuis 1987, lauréat du prix Nobel de littérature en 2000. Son exil lui a permis de créer son propre style esthétique. Alors que son histoire aurait pu l’orienter vers un théâtre politique, il s’est servi de son passage de l’Orient à l’Occident pour au contraire créer une nouvelle esthétique contemporaine, centrée sur le théâtre « total », le théâtre « polyphonique », le triple jeu, le comédien « neutre », la « littérature froide » et le triple regard sur le « je », le « tu » et le « il ». C’est un artiste qui fuit les courants principaux, que ce soit en Chine ou en Occident. C’est aussi un exilé singulier qui construit son esthétique au sein du milieu littéraire, théâtral, pictural et cinématographique. L’exil a fait Gao. Ou l’a révélé à lui-même. En Chine, il vivait sous la contrainte du régime. L’exil lui a offert la possibilité de s’exprimer pleinement. Il a pu atteindre la maturité créatrice grâce à l’exil. Gao est le fruit de son exil. Sans lui, Gao ne serait jamais devenu l’artiste qu’il est actuellement. Dans cette thèse, nous montrerons son parcours artistique, analyserons son esthétique romanesque, picturale et théâtrale. Notre centre d’intérêt sera fixé sur son théâtre « expérimental » chinois et son théâtre en exil. Nous essaierons d’analyser l’inspiration des théâtres chinois et occidental dans sa théorie théâtrale, ainsi que l’influence de l’exil sur sa création. Enfin, nous aborderons dans notre recherche sa dimension politique et sa perspective pour le théâtre contemporain<br>This research is about the literary and theatrical works of Gao Xingjian, exiled Chinese in France since 1987 and Nobel Laureate for Literature in 2000. Owing to his exile, he has created his own aesthetic style. Though his story could be guided to a creation of political theatre, he used his experiences from East to West, on the contrary, to create a new contemporary aesthetics, which focuses on the «total» theatre, the «polyphonic» theatre, the triple play, the «neuter» actor, the «cold literature» and the triple observation on the «I», the «you» and the «he». He is an artist who refuses to follow the mainstream, whether in Chine or the West. He is also a singular exile who builds his aesthetics through literature, theatre, painting and cinema. The exile has created Gao. Or revealed to himself. In China, he lived under the constraints of system. The exile has offered him an opportunity to fully express himself. He was able to reach creative maturity through exile. Gao is the fruit of his exile. Without him, Gao would have never become the artist he is today. In this thesis, we will illustrate his artistic journey, analyse his aesthetics on novel, ink painting, and theatre. Our focus will be around the Chinese «experimental» theatre and the theatre of exile. We will try to analyse the inspiration of the Chinese and western theatre for his theory, and the influence of exile on his creation. Finally, in our research we will discuss his political dimension and his perspective of contemporary theatre
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11

Lee, Jenny V. "Representations of writers as public intellectuals : Jean-Paul Sartre, Nadine Gordimer, Gao Xingjian and Pablo Neruda." Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/11245.

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This thesis takes as its subject the various public roles and representations of writers, using Said's 1993 Reith lectures on the subject of the intellectual as a starting point. The main questions raised are how writers, in various political and historical contexts, have functioned as public intellectuals, and how they have negotiated the tensions between their various private and public commitments and responsibilities, whether artistic, social, or political. To gain insight into these issues, this thesis turns to the essays, memoirs and lectures of Jean-Paul Sartre, Nadine Gordimer, Pablo Neruda and Gao Xingjian.
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12

Coulter, Todd James. "Wo, je, I, ni, tu, you: The performance of identity in the theatre of Gao Xingjian* (China)." Diss., Connect to online resource, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3207685.

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13

Shi, Xiaoxiao. "Romans de la quête multiple : "La montagne de l'âme" (Gao Xingjian) et "Sur la route" (Jack Kerouac)." Thesis, Toulouse 2, 2017. http://www.theses.fr/2017TOU20010.

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Cette thèse consiste en une étude comparée de La Montagne de l’âme de Gao Xingjian et Sur la route de Jack Kerouac ayant « la quête » comme problématique centrale. Bien qu’à première vue les deux œuvres apparaissent fort différentes, selon l’esprit de la littérature comparée, elles méritent une confrontation minutieuse et nous estimons qu’elles possèdent quantité de points communs : Premièrement, il s’agit de deux romans foisonnants qui englobent bon nombre de genres romanesques et semblant relever simultanément de plusieurs catégories : roman autobiographique, roman-géographe, roman de pèlerinage, roman picaresque, roman de mœurs, roman de méditation, et enfin roman « froid » et « sans-isme ». Par leurs différents aspects, ces deux œuvres peuvent satisfaire aux attentes de divers lecteurs. Deuxièmement, au plan stylistique, La Montagne de l’âme et Sur la route sont deux romans insolites. L’innovation de La Montagne de l’âme se manifeste par la pratique d’un mode de narration inédit, la particularité linguistique, la singularité dans la structure, l’hétérogénéité du matériau romanesque, bref par une grande originalité formelle. Quant à Sur la route, sa nouveauté se manifeste d’abord par sa création fondamentale, à savoir la prose spontanée. Elle s’exprime aussi par la particularité de la construction romanesque, l’originalité de l’écriture et la singularité du contenu. Troisième parenté fondamentale : La Montagne de l’âme et Sur la route se présentent comme deux quêtes de l’espace. Montagne, chemin et maison sont trois motifs récurrents communs à ces deux romans qui sont également deux odes aux grands espaces. Les protagonistes relatent les itinéraires parcourus en Amérique et en Chine et l’on peut voir dans ces livres deux odes aux cultures nées dans les grands espaces. À l’intérieur de ces deux œuvres, les paysages romanesques se recommandent par leur caractère pictural et polysensoriel. L’espace typographique du texte est également aménagé avec art : les deux romans sont à la fois découpés et cousus. Enfin, considérés sous l’angle de la spiritualité, La Montagne de l’âme et Sur la route peuvent être dits romans de l’âme : de nombreuses questions spirituelles y sont intégrées, posées et approfondies. L’un et l’autre traitent la quête du sens de la vie, plus précisément, la quête de l’ego (identité, soi), la quête d’un mode de vie (fondé sur le présent, la liberté) et la quête métaphysique (destin, mort, croyance). Ces quatre similitudes correspondent à quatre quêtes que les deux oeuvres déploient à leur façon : la recherche d’un genre romanesque, d’une stylistique originale, d’un espace romanesque et enfin d’un sens de la vie<br>The thesis is about the comparative analysis which concern about the main concept of quest where from soul mountain of Gao Xingjian and On the Road of Jack Kerouac. Although these two books seem quite unlike, by the spiritual of comparative literature, they totally worth to be comparative studied carefully, and we think they have quite much in common.First, these two novels are both rich in connotation, they cover many of the novel categories, such as autobiographical novel, geographical novel, pilgrimage novel, picaresque novel, novel of manners, novel of meditation, the “cold” novel and non socialist novel. In different aspects, these two works can meet the needs of different readers.Secondly, in the stylistics, the soul mountain and on the road are two unusual novels. The innovation of the soul mountain is the practice of singularity of narration, the singularity of language characteristic, the singularity of structure, the heterogeneity of the material, the singularity of the form. As for on the road, the creativity of the novel based on many aspects, namely the spontaneous prose, also the singularity of characteristic of the construction, the way of writing, and the uniqueness of content.The third, the soul mountain and on the road two novels both relate as they quest the idea of space. Mountain, road and house are three common recurrent motifs which show up in these two novels, which are also odes of wide open spaces. The protagonists narrate the travel through America and China. We can discover from the two books both contain odes which point to the cultures cultivated from the spaces. In these two works, the narrations about landscapes are both pictorial and also polysensoriel. Spaces typographic of the two novels are also rearranged with art: both cut and sewn. Finally, from the perspective of the spiritual, the soul mountain and on the road can be regarded as novels of the soul: many spiritual questions are quested and thoroughly researched. The two novels both deal with the quest for the sense of life, and more specifically, the pursuit of the ego, (identity, soi), the quest for the way of life (present, liberty), the quest for the metaphysical (destiny, death, religion).These four similarities are corresponding to the four quests of these two novels: the quest of novel categories, stylistics, space, sense of life
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14

Guo-Foulon, Yingzhou. "La réception des oeuvres de quatre écrivains chinois exilés en France : François Cheng, Gao Xingjian, Dai Sijie et Shan Sa." Thesis, Aix-Marseille, 2016. http://www.theses.fr/2016AIXM3067.

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L’hypothèse d’une théorie littéraire du sujet transcendant le territoire et le soi vers un Ouvert postule que l’on peut éclairer certaines problématiques de l’existence humaine à la lumière de la réception des romans écrits par des écrivains français d’origine chinoise dans un monde en constant mouvement. A partir de quatre écrivains chinois exilés en France, nous opérons dans la première partie une relecture de leurs œuvres, en lien avec leur vie et leur déplacement. Notre projet invite une démarche de la compréhension de la création à partir d’un cheminement personnel. En retour, leur création s’éclaire grâce à une conception propre de l’espace-temps dans le roman, sans rupture avec les traditions chinoises et occidentales. Leur poétique transculturelle force à envisager autrement la littérarité dans la littérature produite par cette diaspora chinoise. La deuxième partie est consacrée à une comparaison de la réception de leurs romans en France et en Chine populaire visant à faire apparaître la complexité et la transversalité des enjeux culturels, sociaux et les différentes perceptions du monde. La prégnance de cette manifestation artistique renforce l’hypothèse selon laquelle la quête circulaire et la transcendance au moyen du dialogue tant scripturaire qu’imaginaire, peuvent fonctionner comme une différente voix/voie de compréhension du sujet humain en permettant aux auteurs de devenir des résonateurs d’un monde caractérisé par l’incertitude et l’instabilité<br>The hypothesis of a literary theory of the subject beyond the territory and the self towards Open postulates that we can clarify certain issues of human existence in the light of the reception of the novels written by Chinese Francophone writers in the world in perpetual motion. From four Chinese writers exiled in France, in the first part we reread their works, relating to their life and displacement. Our project invites a approach of the comprehension of the creation from a personal path. In return, their creation is illuminated owing to the concept of space-time in the novel, without the disruption with the Chinese and Western traditions. Their transcultural poetic forces to consider differently the literariness in the literature produced by the Chinese diaspora. The second part is devoted to a comparison of the reception of their novels in France and in mainland China to show the complexity and the transversality of the cultural, social stakes and the different perceptions of the world. The significance of this artistic manifestation reinforces the hypothesis that the circular quest and transcendence through the scriptural and imaginary dialogue, can function as a different voice /way of understanding the human subject by allowing authors to become resonators of the world characterized by uncertainty and instability
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15

LAW, Ching. "高行健之戲劇 : 理論與實踐". Digital Commons @ Lingnan University, 2006. https://commons.ln.edu.hk/otd/17.

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高行健的戲劇作品與理論,兼備中西文化主題(motifs),東西方劇場的手法,最適合作比較文學的範例。本文全面分析高行健的劇作與理論,從主題與形式兩方面,審度劇作中重複出現追尋自我的主題。其劇作包括《絕對信號》、《車站》、《野人》、《彼岸》、《冥城》、《逃亡》、《山海經傳奇》、《生死界》、《對話與反詰》、《夜遊神》、《周末四重奏》、《八月雪》、《叩問死亡》;五個現代折子戲包括《模仿者》、《躲雨》、《行路難》、《喀巴拉山口》、《獨白》;一個舞劇《聲聲慢變奏》共計十八部戲劇。又整理探究理論文集《對一種戲劇的追求》、《沒有主義》、以及《文學的理由》。作者的主體意識扣緊不同時期的逃亡經驗,經一番外求與內尋的過程,不斷抗衡與否定不同的「他者」。這種抗衡,固然呈現人類本質的狀態,卻缺乏主體的自主性,也展示主題的矛盾。因為無論「他者」怎樣不斷置換為集體、強權、中國、性、慾望等對象,也不能抹殺其先於主體的實存性,反倒確立了主體的依附性。所以他的主體都一貫逃避中心、集體、缺乏實質的內涵,卻又內外交困,無法安頓。這種不斷反詰的精神,又反映在劇作的「間離」的形式上。高行健以敘事、三重角色與儀式(rituals),間離觀眾與角色。雖然他追求戲劇本質,嘗試回復中國儺戲與戲曲的傳統,也緊隨現當代劇作家如布萊希特(Bertolt Brecht)、惹奈(Jean Genet),但是難以調動觀眾的直覺感知經驗,達至娛人的目的。更有甚者,因為敘事手法的視點所限,宣揚個人主義的目的,昭然若揭。他的儀式意在增強戲劇的假定性,不在於回歸中國的佛道傳統,但效果不彰。他的「表演三重論」源於中國戲曲與布萊希特,貢獻止於為表演的監控意識命名,缺乏系統落實的方法,故難以與斯坦尼斯夫斯基(Konstantin Stanislavsky)、以及格羅多夫斯基(Jerzy Grotowski)的表演系統相提並論。本文試以高行健的劇作與理論,與現當代的國際劇作家、以及劇場理論家的成就互相發明,以鑑定其戲劇地位。
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Lee, Hsiang-Ling. "De l'Académie nationale Fu-Shing des arts dramatiques à Taipei, à la recherche du théâtre contemporain : La Neige en Août de Gao Xing-Jian." Paris 8, 2003. http://www.theses.fr/2003PA082280.

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L'auteur de la thèse, ancienne actrice de la troupe Kuo-Kuang et assistante à la mise en scène de La Neige en Août (2002) du dramaturge et romancier d'origine chinoise GAO Xing-Jian, lauréat du Prix Nobel de littérature 2000, étudie le processus de réalisation de cette œuvre. Qualifiée de "premier opéra chinois" au sens occidental du terme par son auteur, l'œuvre se caractérise par l'emploi d'artistes formés à la tradition du Jing-Ju, ou opéra de Pékin. Cette thèse est organisée en quatre parties. La première partie évoque l'histoire de la présence de l'opéra de Pékin à Tai͏̈wan jusqu'à ses récentes mutations. La deuxième partie présente l'évolution de la formation proposée par l'école de l'opéra de Pékin la plus célèbre de l'île, l'Académie Fu-Shing. La troisième partie est une présentation des idées théâtrales de GAO Xing-Jian. En dernier lieu, la quatrième partie rapporte l'histoire mouvementée de la réalisation de La Neige en Août sous la forme d'un journal de travail<br>Taking as its subject " Snow in August ", the latest work by GAO, Xing-Jian, a major Chinese author and winner of the Nobel prize for literature in 2000, the writer of the present thesis studies the relationship of the work to the Bejing opera from the latter's historical perspective, and reconstitutes his personal experience in the work's genesis. The thesis is divided into four sections. The first evokes the history of the Bejing opera's presence in Taiwan up to its recent developments. The second section presents the evolution of the training offered by the Bejing opera school, the most celebrated on the island, namely the Fu-Shing Academy. The third section is a presentation of Gao's theatrical ideas. Finally, the fourth section develops the turbulent history of the staging of " Snow in August " in the form of a working diary
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Kaiser, Marjolijn 1984. "Don't Believe a Word I Say: Metafiction in Contemporary Chinese Literature." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11495.

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ix, 106 p.<br>This thesis focuses on the metafictional elements in selected works of the contemporary Chinese authors Gao Xingjian, Huang Jinshu, and Wang Xiaobo. I define metafiction as both a formal feature inherent in the text and the result of an approach towards that text. I argue that metafiction confronts us with the (postmodern) issues of 1) the ontological status of the text, 2) the figure of the author and reader, and 3) the (ambiguous) relationship between fiction and reality. Simultaneously, it accepts and celebrates this self-conscious and ambiguous character, encouraging readers to do the same. By combining elements from the indigenous literary tradition and international literary movements, contemporary Chinese metafiction is a valuable contribution to the study of metafiction. Ultimately, it shows what it means to write and read in a Chinese as well as in a global context.<br>Committee in charge: Prof. Alison Groppe, Chairperson; Prof. Maram Epstein, Member; Prof. Xiaoquan Raphael Zhang, Member
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Hui, Ka-lok, and 許嘉樂. "The commentary and studies on Bai Xingjian's Lüfu." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B46848794.

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Bisinger, Lena. "Rencontre interculturelle dans le roman franco-chinois. Invitation au voyage d'un genre émergent." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA092.

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L’échange sino-occidental constitue un phénomène majeur de notre ère. Il s’étend des parties importantes de l’économie et de la politique à l’art, la philosophie et la littérature. Depuis l’ouverture de la Chine dans les années 1980, c’est d’abord la France qui est devenue pays d’accueil pour des intellectuels et des étudiants d’origine chinoise dits ‘dissidents‘, facilitant un nouvel échange d’idées plus direct. La thèse aborde le sujet de l’interculturalité d’intellectuels chinois de la sorte dans le contexte littéraire du roman franco-chinois, ainsi traitant une partie importante des relations interculturelles : par la publication de leurs œuvres, les romanciers initient un vaste échange culturel avec leurs lecteurs en liant leur monde d’idées chinois à la civilisation française. L’approche méthodologique est basée sur la notion de culture comme un système ouvert et dynamique qui est développé et élargi de manière continue par les êtres humains : en considérant le système culturel comme un grand ‘texte’ général, Clifford Geertz attribue un statut textuel à tous les cadres culturels et souligne le caractère interprétatif du système culturel comme un réseau de pratiques et de discours auquel les acteurs font référence et qu’ils développent et modifient en tant que participants actifs. De cette façon, un texte littéraire est d’un côté lui-même élément d’un système textuel. D’un autre côté, il fait partie de la création du grand ‘texte de la culture’ en interprétant et en exposant le système culturel en question. La thèse prend en compte ces qualités d’un texte littéraire de la manière suivante: elle comprend d’abord les textes en tant que résultats d’une évolution socio-culturelle. Ensuite, elle les conçoit comme des modes de représentation et d’interprétation d’un système interculturel.Les romans de cinq écrivains exemplaires, dont les œuvres sont considérées comme particulièrement pertinentes quant à une thématique de l’interculturel, constituent la base textuelle du projet. Il s’agit de François Cheng, Gao Xingjian, Dai Sijie, Ya Ding et Shan Sa, qui ont rédigé leurs romans sous l’influence de trois phénomènes contextuels majeurs : le souvenir commun de la Chine, l’expérience de l’exil et la confrontation avec le monde littéraire français<br>Intercultural relations between China and the Occident have become a vital phenomenon of our age. They range from dealings in major areas of economy and politics to interactions in the visual arts, literature and philosophy. Since the Opening of China during the 1980s, France, in particular, has become the primary destination for dissident intellectuals and students of Chinese origin, a fact which has facilitated a new direct exchange of ideas. This thesis deals with the interculturalism of those very intellectuals in the literary context of the Franco-Chinese novel, hence addressing a key area of this new interculturalism: the authors generate a substantial cultural contact by publishing their works in France, thus linking their Chinese world of thoughts to French culture.The methodological approach is based on the notion of culture as an entity undergoing permanent development caused by human beings who are perceived as participants in the process. Defining culture as ‘text’, Clifford Geertz assigns textual status to all cultural phenomena, thereby emphasizing the interpretative nature of culture as a network of practices and discourses being permanently changed and refined. Literary texts are on the one hand partial elements of this network themselves; on the other hand, they also participate in the productive process by representing and interpreting the bigger text of culture. The thesis accounts for those properties of literary texts by first investigating them as results of a cultural development and subsequently comprehending them as a form of intercultural representation and interpretation.The text corpus of the analysis has been built on the basis of the works of five exemplary writers: François Cheng, Gao Xingjian, Dai Sijie, Ya Ding and Shan Sa. Showing particular pertinence with respect to the subject matter, their intercultural dimension is shaped by three major contextual phenomena: the shared memory of China, the exile experience and the confrontation with the French world of publishing
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Hsiung, Wang-yi, and 王義雄. "《August Snow》by Gao Xingjian - Text study and performance research." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/97886139622959651159.

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碩士<br>國立臺灣藝術大學<br>應用媒體藝術研究所<br>90<br>《August Snow》by Gao Xingjian Text study and performance research Abstract Gao Xingjian, the 2000 Nobel Prize winning author in literature, is a painter, novelist, writer, playwright, and theatre director. Born in Ganzhou, Jiangxi Province in 1940, Gao currently resides in France. As a prolific artist, Gao has published the full-length novels Soul Mountain、One Man’s Bible, several mid-length novels, eighteen plays (so far), as well as a book of paintings Ink Paintings by Gao Xingjian, The Nobel Prize Winner. In the December of 2002, as a result of a great deal of effort, Council for Cultural Affairs of the Executive Yuan invited Gao to produce a modern music drama (opera) August Snow, in cooperation with the National Taiwan Junior College of Performing Arts (NTJCPA)to be directed by Gao himself. It was a rare opportunity that one can study and observe Gao’s work with an aspect of reality. Therefore, this research begins with an analysis and understanding towards Gao’s view of aesthetics, theory of theatre, and the manner as well as form of his representations. Secondly, I will attempt to use the initial analysis of August Snow, in an attempt to trace the original thinking, fundamental elements and points, and to arrange these parts so as to form an effective whole. Furthermore, in restoring the original textual structure of August Snow, it is necessary to discover the origin of the stories in Zen Buddhism by means of the original play, primarily by digging out and giving examples. Additionally, by means of the script representing this time period, I will systematically analyze the original text and this script by means of observation, documentation, and comparison. Furthermore, I will do research of the whole with theatric symbolism and the theory of constructionism,to help people have an understanding and appreciation for Gao’s plays and approach Gao’s palace of dramatized aesthetics that he had delicately established. Finally, I will design a questionnaire for the audience in the theatre in order to understand the audiences’ reactions and their encouragement to Gao’s “omnipotent drama.”
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"Reference and representation in the works of Gao Xingjian and Samuel Beckett." 2008. http://library.cuhk.edu.hk/record=b5893666.

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Coleman, Tara Jean.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2008.<br>Includes bibliographical references (leaves 144-149).<br>Abstracts in English and Chinese.<br>Introduction --- p.1<br>Chapter Chapter 1 --- p.26<br>Chapter Chapter 2 --- p.61<br>Chapter Chapter 3 --- p.102<br>Conclusion --- p.141<br>Bibliography --- p.144
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Chih-wei, Hong, and 洪志偉. "Theater of the Liminal: Gao Xingjian Read in the Light of Samuel Beckett." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/85861900668878769115.

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碩士<br>國立高雄師範大學<br>英語學系<br>90<br>Abstract Gao Xingjian's theatrical experiments and innovative narrative style have granted him a position in the front rank of contemporary Chinese writers, and he, like Samuel Beckett before him, has been awarded the Nobel Prize for Literature. Gao's intertextual relation with Beckett begins at a very early stage of his literary career. Gao's The Bus Stop is acclaimed as the first Chinese play written in the absurdist vein and its affinities with Beckett's Waiting for Godot have been the focus of critical writings. However, Gao’s attitude toward Beckett's legacy in his theater is always ambivalent and his plays reflect not only his experimentalist spirit but also his attempt to differentiate himself from his Irish predecessor. Nevertheless, even though Gao's theater gradually takes on a Zen Buddhist outlook, explicit structural correspondences and resounding thematic echoes continuously testify to the intertextual relation between the two Nobel Prize Laureates. To explore the resonant intertextual relation between Beckett and Gao, the thesis examines the aporetic situation dramatized by the two playwrights, the “not I” narration utilized to initiate the reader into the in-between terrain, and the liminal position that Beckett's and Gao's female characters inhabit. Guided by the two playwrights' preoccupation with the state of liminality, the thesis weaves through the in-between textual space, the threshold between fixed identifications, and the uncanny landscape of limbo or skull. Getting into and out of the liminal intersection that characterizes the theatrical topography of both playwrights' works, the thesis falls into five chapters. Chapter one is introduction, while chapter two compares The Bus Stop with Waiting for Godot to explore the two playwrights' different ways of handling aporetic experience of non-passage. Chapter three provides a comparative study of two pieces of monologues, Gao’s Monologue and Beckett's A Piece of Monologue, to illustrate how the questionable transcendence of the first person pronoun “I” and the conventional conception of the imaginary fourth wall are destabilized by the two playwrights' uses of “not-I” narration and the narrative technique of pronominal shifting. Chapter four compares two of Gao's post-exile plays, Between Life and Death and Dialogue and Rebuttal, with three Beckett’ plays for screen, Film, Eh Joe, and Ghost Trio, to trace the similar dramatic trajectory of moving toward “non-being” in Gao and Beckett, while simultaneously trying to compare the two playwrights' portrayals of women. Chapter five is conclusion.
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Ou, Kuei-Chih, and 區桂芝. "An Analysis of the Discourse on the Paintings and Films by Gao Xingjian." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/t92cba.

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碩士<br>臺北市立大學<br>視覺藝術學系碩士在職專班<br>105<br>Abstract Keywords: Gao Xingjian, Without-isms, the third eye, cold literature As the first Chinese author to win the Nobel Prize in Literature, Gao Xingjian has without doubt received much attention from the general public as well as the academic world. There are many competing interpretations of his oeuvre since he became a Nobel laureate in 2000. This thesis begins its critical trajectory with examining the large number of studies accumulated in the past seventeen years. This thesis consists of five chapters. The first chapter delineates the motivation, goal and range of the study whose methodology is primarily based on textual analysis of Gao’s oeuvre. The thesis also takes Gao’s interviews as extra-textual references not only to provide evidence to the materials under examination but also to map out Gao’s achievements in the world of painting on the international scene. The second chapter is dedicated to literature review and divided into three sections: the first section examines the materials focusing on the biographical aspect of the artist; the second examines the studies in Chinese concentrating on Gao’s paintings and cinematic work; the third examines all of Gao’s Chinese essays that express his own artistic vision. Built upon such a thorough examination, the thesis is able to present the development of Gao’s wide-ranging interests and diverse creativity. The third chapter delineates the beginning and development of Gao’s artistic activities in the worlds of painting and cinema, examining how Gao built up the way toward these two worlds and later won the recognition on the international scene. The fourth chapter examines Gao’s commentary on his own artistic vision for painting and cinema. The fifth chapter summarizes the examination of Gao’s achievements in painting and cinema and ushers in some of his literary and theatrical oeuvre as a point of reference for future examination. After pointing out the future direction of this study, the thesis concludes with the trajectory of Gao’s artistic creation and the possible inspiration derived from it. The last three chapters of this thesis are inspired by the form of “dialogue.” The third chapter can be regarded as a dialogue between Gao’s art and the world, complemented by the observation of such a dialogue from the thesis writer. The fourth chapter can be considered as a dialogue between the thesis writer and Gao’s art and critique. The fifth chapter can be understood not only as a summary of the dialogues mentioned above but also as an act of feedback sharing that anticipates the dialogue between Gao Xingjian and future researchers.
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"Mythological approach to Oe Kenzaburo and Gao Xingjian's novels: myth-making in The silent cry and Soul mountain." Thesis, 2011. http://library.cuhk.edu.hk/record=b6075094.

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Although living with different social and cultural background, the two writers, Oe and Gao came to the same scheme; to re-write the history of their time and to reconstitute a projective identity by the myth-making in their novels.<br>My study aims to feature the concept of "archetype" or "archetypal structure", the basic cluster of myth in Oe and Gao's novels, in order to discern the final determination of the two writers in terms of their search on the expressive power of language and their strategy of their myth-making. By applying Frye's theory, I would like to explore the hidden ideological significance behind Oe and Gao's novels.<br>Oe Kenzaburo and Gao Xingjian are two significant Asian writers in contemporary literary world. Not only because of their achievement as Nobel Prize laureates, but also because of their commitment to the creation of "myth" in modem time, a "modem myth" which surpasses the limit of literature to become a cultural exertion, a story of resistance against the existing ideology within their specific social contexts.<br>The tendency of "return to myth" in the works of Oe and Gao made their novels, specifically The Silent Cry and Soul Mountain to become a meaning system by displacing the archetypal motifs in Japanese and Chinese ancient mythology to a modem situation. This refers the reader to a familiar analogy in order to guide the reader to accept and believe what the writers said is true.<br>Wan, Mu.<br>"Jan 2010."<br>Adviser: Leo Lee Ou-Fan.<br>Source: Dissertation Abstracts International, Volume: 73-04, Section: A, page: .<br>Thesis (Ph.D.)--Chinese University of Hong Kong, 2011.<br>Includes bibliographical references (leaves 309-322).<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Abstract also in Chinese.
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Ke, Ruei-Ying, and 柯瑞英. "The lif journey of boundary crossing: take Gao Xingjian and his Soul Mountain for example." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/mbu2k6.

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博士<br>國立臺灣師範大學<br>社會教育學系<br>104<br>Traveling has been a popular leisure activity at the present time. However, whether the traveler can advance the ability of self-illuminating and self-discovering depends on his inner journey of transcending. Traveling literature which presents the inner journey of traveler’s narratives and dialogue with oneself is worthy of exploration. This thesis is primarily concerned with exploring the process of self-transcending of a traveler and traveling literature. The methodology comprised textual analysisand converged two different modes of life transformation Campbell’s stages of heroic adventure and Otto Scharmer’ s levels of U theory. From the perspectives of self-transcending, this thesis, in addition to offering an analysis of Gao Xingjian ‘s life adventure and his works with Joseph Campbell’s stages of heroic adventure and archetypes of heroes, is meanwhile to interpret Soul Mountain with Otto Scharmer’s levels of U theory. Ultimately, this thesis try to integrate the results of interpretation of Gao Xingjian ‘s life adventure and Soul Mountain into a new model.
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Huo, Shu-chin, and 侯淑菁. "An Text Analysis of "August Snow" by Gao Xingjian-- Lyrical Play of Zen Buddhism centered." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/56391662916917657038.

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Blahota, Martin. "Rané prozaické dílo Gao Xingjiana." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-342004.

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Nobel Prize in Literature laureate Gao Xingjian is well known especially as an author of drama and novels Soul Mountain and One Man's Bible. This thesis examines his early novellas and short stories that were created at the end of the 70s and in the 80s. An analysis of meaning contruction is focused primarily on motifs and narrative techniques. It explores the process of his literary creation in context of official ideological requirements on literature as well as in context of literature genres known as "scar literature", "literature of reflection" and "root seeking" literature. This thesis shows how Gao Xingjian is trying to create a unique and individual worldview of his characters.
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Hsu, Ching-Min, and 徐靖旻. "State, Market and Farmer''s Participation in An Organic Production Cooperative:The Development and Challenges of the Xingjian Organic Production Cooperative." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/9tuv9b.

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碩士<br>國立臺灣大學<br>政治學研究所<br>102<br>Using the case of “Xingjian Organic Production Cooperative” and its rice production during 2010-2012, this thesis strives to explain how this cooperative, consisting of local small farmer and serving for their interests, copes with the dilemma of collective action and confrontation with the market and political sphere, as well as the social network. Following this context, the story begins of accounting the sphere where Xingjian Cooperative grows. To elaborate, the policy concluding about organic farming, concrete planning, and the realizing ways stemmed either from the central or regional government, and the organic value and the support from the consumer in the market, both of them at that time play a great role to boost farmer’s cultivation transit to organic style. However, the conditions in the system such as the farming, process or selling procedures can hardly embody in the traditional cooperation or selling channel because they base on the social network and still producing/selling customs. Farmer’s are thus sealed of the choice of their action under this circumstance. That is the prelude to Xingjian Organic Production Cooperative. By way of functioning “their” cooperative, farmers expect that they could avoid the risk whether from market or state’s institutions. Methods throughout this thesis are the outcomes of fieldwork (interviews and notes of participation- observation), and the news, statistics and reference as well. It shows that for organic farmer, the function of the cooperative and its performance do meet their collective goods to a certain extent; meanwhile, the cooperative confront the restrictions and challenges such as member’s unalike common consensus, complaint of unbalance of obligation or resource between individuals, and the short of capital. It also shows that these outcomes are because of the enforcement of the institutions from the state, market or social- network level, no matter they are formal or informal. The state, the market and the social network interweave a complex history, and then give rise to the degree of trust or reciprocity among members, and even the outcomes of the performance of the institution or development of the production cooperative. In this sense, this thesis argues that one must detect these mechanisms when examining this kind of collective action or the formation of an organization made by farmer. In the conclusion, the cooperation and the institution regulating the collective dilemma should be respected and be effectively applied by the actors on the perspective of repeated rational games, and that should be traced back to its different condition too, if insiders wish to resolve or have a reform. This thesis submits its incompletion under the short of comparison scale with other cases- different sort like the farmer’s association, enterprise or production cooperative. Besides, it is important to analyze the role of the state who devotes or not the desirable policies or applicable service to the organization or individual. This should be held during a long period and in details, but was in adequate and could not be processed here.
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Chi-jui, Lee, and 李啟睿. "Gao Xingjian’s Theory of Drama." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/71390005763458886521.

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碩士<br>中國文化大學<br>戲劇研究所<br>90<br>The purpose of this thesis is to study Gao Xingjian’s theory of drama testing his theory against his plays. This thesis consists of eight chapters. The first chapter discusses Gao’ theory of theatre. The second chapter analyses his theory of writing: action, process, contrast, change, discovery and surprise. The third chapter deals with Gao’ "many-voice play” and “polyphonic play”. The fourth chapter focuses on Gao’ theory “triple-stage or-level of acting”. The fifth chapter is on Gao’ unique technique of writing:“transforming of personal pronouns”. The sixth chapter discusses Gao’ language.
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Longauerová, Darina. "Gao Xingjianův román Hora duše." Master's thesis, 2009. http://www.nusl.cz/ntk/nusl-280847.

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Gao Xingjianove teoretické názory opakovane prezentované v mnohých prednáškach a statiach vyzdvihujú najma potrebu slobody pre spisovatel'a k vyjadreniu svojich myšlienok, nápadov a úvah. Táto sloboda zahtňa slobodu nie len ako politickú nezávislost' potrebnú na slobodné publikovanie diel bez strachu z možných následkov, ale i slobodu vnútornú, ktorú Gao definoval hlavne v zbierke statí, esejov a úvah Bez izmov. Tieto myšlienky, ktorými sa Gao Xingjian zaoberal ešte pred odchodom do exilu do Francúzska v roku 1987, ho sprevádzali aj pri písaní románu Hora duše. Svojim románom Hora duše sa Gao Xingjian prihlásil k vlastnému, na svoju dobu novátorskému pojatiu literárnej tvorby, tak ako ho načrtol v Úvode do postupov moderného románu, v ktorom presadzuje názor, že román nemusí byť postavený na základe lineárnej zápletky. Základ diela tvorí spisovatel'ovo vnímanie a porozumenie života, ktoré móže prezentovat' prostredníctvom zobrazenia vnútomého sveta subjektu, čím móže spisovatel' i čitatel' lepšie porozumieť životu i sebe samému. Ďalej v Úvode do postupov moderného románu prezentoval tézu, podl'a ktorej sa móže naratívny zorný uhol posúvať medzi prvou, druhou i treťou osobou a súčasne vyzdvihol prúd vedomia ako vhodný postup na predvedenie vnútorného sveta postáv. Gao Xingjian argumentuje, že pre ďalší vývoj...
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31

Fang-YuHsu and 許芳瑜. "The Lust, Misogyny and Allegory in Gao Xingjian’s Works." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/72912084394625610417.

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碩士<br>國立成功大學<br>中國文學系碩博士班<br>101<br>Ths dissertation focuses on eroticism, misogyny and allegory in the fictions and plays of Gao Xingjian, through a psycho dynamics point of view. The scope of this research combines psycho analysis, social and cultural studies. From two perspectives, this dissertation explains the misogynistic psychology in Gao’s works: first, a biographical analysis of Gao’s obsession with, and fear of, women and mother; second, exploring the image of woman in Gao’s works from the psychoanalytic theory proposed by Adam Jukes. This dissertation is divided into six chapters. Chapter One is the introduction. Chapter Two investigates how “male intellectuals” lead the stories in Gao’s works. Based on past researches, in Gao’s short stories and plays, the male narrators tend to “dominate” the female consciousness, even categorising the female characters into “ideal” and “degrading”. This reveals a male-oriented motif in his works. Chapter Three focuses on the biographical information related to Gao and his mother. With the desire for the female breasts and bodily sensation in his works, as well as the fear and the metaphors of the female body generated from his inspirations by nature, this chapter shows a misogynistic tendency based on an Oedipus complex in Gao’s works. From the perspective of “solitude and conflict”, the latter part of this chapter argues that “solitude,” a common theme shared by many writers, is formed by the panic of separating from the mother. After reaching puberty, an anxiety is created by a conflict in viewing woman either as a “princess” or a “mother,” which leads to an inability to develop a long-term relationship with a woman. Based on the Don Juan Syndrome, Chapter Four argues that the symptomatic separation of sex and love in Gao’s male characters is the result of treating woman as a substitute for political vengeance, developing various kinds of hatred of women, and including rape and misogyny. This chapter also uses a Lacanian perspective to interpret two novels and plays of Gao. The reading shows that the different presentations of women in Gao’s works, such as prostitutes, concubines and distortions of foreign women, are the extension of author’s imaginary realm. This extension also increases the exploration of the author’s “real realm.” Chapter Five explores the evolution and awakening of the female subjects in Gao’s plays. It also discusses both the psychological and social reasons underlying female masochism: on the one hand, it is formed by man’s desire for the power to control women. On the other hand, it is an influence from woman’s mother. Gao uses woman as a “allegory” for expressing desire, as well as for self-exploration. Yet, he finally realises that all desires lead to emptiness, and that salvation can never be obtained. This is an example of Walter Benjamin’s theory of ruins, which shows the incompetence and melancholy of being a man and his eventual confrontation with death. Gao transforms Benjamin’s aesthetics of salvation, that everything will return to God, into a non-Salvationist, oriental aesthetics of ruins. It entails self-mockery, as well as the writer’s understanding of the world. Chapter Six is the conclusion, a general discussion of female images in Gao’s works.
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Hong, Feng-ying, and 洪鳳櫻. "The Creative Process of Gao Xingjian's Snow in August." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/4h7zbc.

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碩士<br>東吳大學<br>英文學系<br>96<br>Abstract Snow in August originated from Huineng’s The Sixth Patriarch’s Sutra (六祖壇經Liuzu Tanjing), the first script of which was completed in 1997. He revised the script for the Taipei performance in 2002 and made a few adaptations for its Marseille performance in 2005. From original text to the script and performance, personal emotions, social, economic and political influences came to bear on the writer. Gao Xingjian’s dual-nationality and Nobel Prize for literature made Snow in August a special production. In describing the creative process, this thesis also deals with the development of Gao Xingjian’s “omnipotent theater” which could be related and compared to Antonin Artaud’s “total theater” in a vision to combine Western and Eastern drama. The only difference being that Gao intended to improve Chinese drama. But Gao had never clarified his definition of “omnipotent theater.” For this reason, I researched Gao’s life, his drama, his reflections on Chan Buddhism and living in France, to describe how his central idea was developed and realized.
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Tang, Chang Hsien, and 張憲堂. "Reasearch on Dramaticity and Theatricality of Gao Xingjian's Plays in France." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/82923953006556309989.

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Chang, Ya-Ting, and 張雅婷. "The Disaster Representation of Taiwan Documentary: Taking Luo Xingjie, Yang Lizhou and Huang Xinyao as Examples." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/k86dy3.

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碩士<br>國立中興大學<br>台灣文學與跨國文化研究所<br>105<br>The paper attempts to explore the represenation of natural disasters in Taiwan post-disaster documentaries and aims at analyzing three main types of documentaries in Taiwan: the social movement type, the mainstream production type and the idiosyncratic creation type. Three documentary directors, Shin-Chieh Lo, Li-chou Yang and A-yao Huang, are respectively chosen to correspond with the three types mentioned above. This paper intends to go through the life background and the creation progression of the three directors, establish the relationship of their individual documentary styles and the historical development of Taiwan documentaries, and inspect how they represent disasters through the viewpoints of their unique types. On one hand, through the perspectives of the documentaries upon the cataclysm-stricken areas, this paper scrutinizes the representation of these documentaries, trying to excavate the disasters caused by political, social, and financial factors; on the other hand, it also aspires to analyze how the aesthetics and filmmaking ethics behind the three different types of documentaries affect the styles of representation. As for the criteria of the selection, the early works of the above three directors are deliberated to trace the individual creation genealogy and their respectively idiosyncratic styles. Based on the axis of the representation of disasters, the documentaries shot by the three directors mentioned above after Typhoon Morakot(a.k.a. August 8th Flooding) are singled out to be the topic for discussion, including Shin-Chieh Lo’s A Gift for Father’s Day(2010) and its sequel A Gift from the Sky(2013), both of which depict the process of reconstruction after the wiping off of Siaolin Village; Li-chou Yang’s mainstream production, Bridge over Troubled Water(2013), which focuses on the relationship between the post-disaster reconstruction and the children on the Jiaxian Elementary School tug of war team as well as the new immigrant women; A-yao Huang’s Taivalu(2012), inspecting the issue of global warming after typhoon Morakot, and A-li 88(2013), exploring the problem of environmental justice behind the Mount A-li highway repairing.
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Pan, Hui-Jen, and 潘煇仁. "The Carnival Images in Gao Xingjian’s Plays:A Study on Weekend Quartet, Snow in August, and The Man Who Questions Death." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/36098369036287364755.

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碩士<br>國立臺灣大學<br>戲劇學研究所<br>97<br>Through his experiments in theatre, Gao Xingjian looks for a better approach to exhibit the human world. The theatre form, to Gao, is the expression to expose his personal thoughts. Thus, Gao’s theatrical esthetics cannot be separated from his philosophical thoughts. To study Gao’s plays means a research of both his theatre and philosophy. The Without-ism of Gao echoes Bakhtin’s carnival theory. Their different literal expressions embrace actually the same values: to dissolve the ideology of a unique centre, to emphasize the real life, and to try to indicate a way out from the noises of postmodern nihilism. This thesis is to analyze how Gao’s plays follow his precedent theatre and philosophy history. By reviewing Gao’s firsthand unpublished writings, I will examine how the playwright demonstrates his own thoughts through his theatre practice. I will also use Bakhtin’s philosophical observations as reference to Gao’s theory, in order to explain how the playwright conveys the carnival spirit in his works. Three later plays of Gao are my research objects: Weekends Quartet, Snow in August, and The Man Who Questions Death.
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Cheng, Kuang-Ling, and 鄭光伶. "Safe Way to Elementary School - The Cases Study of Bo Ai Elementary School and Wu Xingjie Elementary School in Taipei." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/5exr67.

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碩士<br>國立臺北科技大學<br>建築與都市設計研究所<br>96<br>There has been plenty of emphasis on existing facility and equipment in the city space. However, there is still room of improvement for students’ daily road safety around the school surrounding area. According to the statistics data, obviously the traffic accidents happen much more frequent right before or after school time. Among all campus accidents in elementary schools, the death toll of traffic accident is the highest, and most of them were happened either on the way to school or on the way home. Students’ road safety became most of parents’ biggest concern and it is also the reason not to let children walk to school. Therefore, it is important and necessary to provide safe Neighborhood Streets for children. Besides help prevent children’s traffic accidents on the way to school, well designed Neighborhood Streets can also be fun and educational. By making the way to school interesting and inviting, learning can be extended to outside of classroom as a positive experience to children’s development. The purpose of this research is to review policies related to Neighborhood Streets and the efficiency of these policies. Furthermore, by interviewing residents live in the neighborhood with Neighborhood Streets, improvements were suggested. The neighborhood without Neighborhood Streets was also studied as a comparison. The different needs and expectations between the two neighborhoods could be used as references for the future Neighborhood Street designs. Research methods such as documentation analysis, questionnaire survey, expert interview, inductive analysis were used in this paper to investigate the actual use of Neighborhood Streets. By understanding the essential needs of each neighborhood, we were able to better suggest the future design of the Neighborhood Streets in city planning.
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