Дисертації з теми "Po chan"

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La valeur ?vocative, magique ou my(s)thique attribu?e ? la relation homme/animal peut ?tre observ?e dans la culture depuis les ?poques lointaines. Dans la symbologie animale on trouve une immense charge s?mantique justifiant les croyances les plus anciennes que les ?tres humains ont d?j? eues. Les animaux sont ? la base du symbolisme mythique et ils se constituent en tant qu une source pour la riche production artistique englobant une grande vari?t? iconographique et des textes de nature diverse. Ayant comme r?f?rence de la symbologie animal l image my(s)thique du chat, on observe la fa?on par laquelle le langage po?tique contemple les profils mythiquesymboliques qui ont un rapport avec ce langage, tout en mettant en relief ceux qui ont des rapports aux relations entre le monde humain et le f?lin. ? partir de l antologie t?matique Assinar a pele ; des concepts th?oriques ; et des abordages mitocritiques, nous cherchons ? analyser les fa?ons par lesquelles les diff?rentes images mythiques associ?es au chat ont ?t? explor?es par la po?sie. La d?finition d une typologie englobant des cat?gories telles : chat domestique, chat de rue, chat femme, chat nocturne, chat d?moniaque et chat divin, parmi d autres, soutient la reconnaissance d identit?s possibles entre ces po?mes et signale la r?p?tition d un r?pertoire symbolique divers en soi, mais, coh?rent avec la pr?sence du chat dans la soci?t? humaine ? travers les temps
O valor evocativo, m?gico ou m?(s)tico atribu?do ? rela??o homem/animal pode ser observado na cultura desde ?pocas remotas. Na simbologia animal encontra-se imensa carga sem?ntica, fundamentando as cren?as mais antigas que os seres humanos j? tiveram. Os animais est?o na base do simbolismo m?tico e constituem fonte para rica produ??o art?stica, englobando grande variedade iconogr?fica e textos de natureza diversa. Tomando como refer?ncia da simbologia animal a imagem m?(s)tica do gato, observamos como a linguagem po?tica contempla os perfis m?tico-simb?licos a ela relacionados, destacando aqueles que se referem ?s rela??es entre o mundo humano e o felino. A partir da antologia tem?tica Assinar a pele; de pressupostos te?ricos; e de abordagens mitocr?ticas, buscamos analisar como as diversas imagens m?(s)ticas associadas ao gato foram exploradas em algumas das muitas poesias acerca desse felino. A defini??o de uma tipologia que engloba categorias tais como: gato dom?stico, gato de rua, gato mulher, gato noturno, gato demon?aco e gato divino, entre outras, sustenta o reconhecimento de identidades poss?veis entre esses poemas e assinala a recorr?ncia de um repert?rio simb?lico diverso em si mesmo, mas, de outro lado, coerente com a presen?a do gato na sociedade humana atrav?s dos tempos

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Conselho Nacional de Desenvolvimento Cient?fico e Tecnol?gico
Ce travail a pour but d analyser un corpus de six textes hybrides, que nous classons comme des po?mes-chansons/ po?mes-chant?s ? cause de leur double pr?sence dans deux syst?mes s?miotiques diff?rents. Le premier, la litt?rature, ou plus sp?cifiquement la po?sie, a comme support le livre As Coisas [Les Choses], d Arnaldo Antunes et l autre, la chanson, est enregistr? dans les disques du m?me auteur. Notre travail lance un regard sur ce corpus, en essayant de v?rifier un aspect recourrent dans l oeuvre d Arnaldo Antunes qui est la pr?sence da prim?it?, cat?gorie the?rique d?velopp?e par Charles Sanders Peirce. Au-del? de l observation de cet aspect s?miothique, nous ferons une discussion sur la chanson populaire, et ses rapports avec la po?sie et par cons?quent avec la Litterature. La th?orie s?miothique s appuyera sur deux piliers : En ce qui concerne l ?tude de la prim?it?, nous travaillerons avec les th?ories de Peirce, mais en nous servant aussi des ouvrages de L?cia Santaella, Winfried N?th, J?lio Plaza et D?cio Pignatari ; Dans l autre voie, pour ce qui concerne l analyse des chansons, nous utiliserons la th?orie de Luiz Tatit, fond?e sur la s?miothique de Algirdas Julien Greimas. Tatit trace une m?thode d analyse, o? il est possible d analyser une chanson en exploitant et le texte et la m?lodie, ce qui permet une meilleure compr?hension de l ?tude des po?mes-chansons et ses variations. Comme support pour la discussion sur la musique, nous nous servirons des th?ories de Jos? Miguel Wisnik, Claude L?vi-Strauss, Roland Barthes et Jean Fisette
Esta disserta??o pretende analisar um corpus contendo seis textos h?bridos, os quais denominamos poema-can??o/poema-cantado devido a dupla presen?a em dois sistemas semi?ticos diferentes. Um deles, a literatura ou, mais especificamente, a poesia, tem como suporte o livro As coisas, de Arnaldo Antunes, e o outro, a can??o, est? nos discos de carreira do mesmo autor. Nosso trabalho lan?a um olhar sobre esse corpus, tentando observar um aspecto recorrente tanto no nosso recorte escolhido, quanto no livro e qui?? na obra liter?ria e musical de Arnaldo Antunes, que ? a presen?a da primeiridade, categoria te?rica desenvolvida por Charles Sanders Peirce. Al?m da observa??o desse aspecto semi?tico, faremos uma discuss?o sobre a can??o popular, suas ra?zes e sua rela??o com a poesia e, por consequ?ncia, com a Literatura. A teoria semi?tica ser? ancorada em duas frentes: no que diz respeito ao estudo da primeiridade, trabalharemos com as teorias do pr?prio Peirce, mas buscando apoio em te?ricos como L?cia Santaella, Winfried N?th, J?lio Plaza e D?cio Pignatari; pelo outro caminho, quando partirmos para a an?lise das can??es, utilizaremos a teoria de Luiz Tatit, que foi baseada na semi?tica de Algirdas Julien Greimas. Tatit tra?a um m?todo de an?lise, por meio do qual ? poss?vel analisar uma can??o explorando os recursos tanto do texto quanto da melodia, possibilitando uma compreens?o maior para os estudos dos poemas-can??es e suas varia??es. Como suporte para a discuss?o sobre m?sica utilizaremos como aux?lio as teorias de Jos? Miguel Wisnik, Claude L?vi-Strauss, Roland Barthes e Jean Fisette

In this thesis, we consider optimal control problems arising in high-speed integrated communication networks with Quality of Service (QOS) constraints. Integrated networks are expected to carry a large variety of traffic sources with widely varying traffic characteristics and performance requirements. Broadly, the traffic sources fall into two categories: (a) real-time sources with specified performance criteria, like small end to end delay and loss probability (sources of this type are referred to as Type 1 sources below), and (b) sources that do not have stringent performance criteria and do not demand performance guarantees from the network - the so-called Best Effort Type sources (these are referred to as Type 2 sources below). From the network's point of view, Type 2 sources are much more "controllable" than Type 1 sources, in the sense that the Type 2 sources can be dynamically slowed down, stopped or speeded up depending on traffic congestion in the network, while for Type 1 sources, the only control action available in case of congestion is packet dropping. Carrying sources of both types in the same network concurrently while meeting the performance objectives of Type 1 sources is a challenge and raises the question of equitable sharing of resources. The objective is to carry as much Type 2 traffic as possible without sacrificing the performance requirements of Type 1 traffic. We consider simple models that capture this situation. Consider a network node through which two connections pass, one each of Types 1 and 2. One would like to maximize the throughput of the Type 2 connection while ensuring that the Type 1 connection's performance objectives are met. This can be set up as a constrained optimization problem that, however, is very hard to solve. We introduce a parameter b that represents the "cost" of buffer occupancy by Type 2 traffic. Since buffer space is limited and shared, a queued Type 2 packet means that a buffer position is not available for storing a Type 1 packet; to discourage the Type 2 connection from hogging the buffer, the cost parameter b is introduced, while a reward for each Type 2 packet coming into the buffer encourages the Type 2 connection to transmit at a high rate. Using standard on-off models for the Type 1 sources, we show how values can be assigned to the parameter b; the value depends on the characteristics of the Type 1 connection passing through the node, i.e., whether it is a Variable Bit Rate (VBR) video connection or a Continuous Bit Rate (CBR) connection etc. Our approach gives concrete networking significance to the parameter b, which has long been considered as an abstract parameter in reward-penalty formulations of flow control problems (for example, [Stidham '85]). Having seen how to assign values to b, we focus on the Type 2 connection next. Since Type 2 connections do not have strict performance requirements, it is possible to defer transmitting a Type 2 packet, if the conditions downstream so warrant. This leads to the question: what is the "best" transmission policy for Type 2 packets? Decisions to transmit or not must be based on congestion conditions downstream; however, the network state that is available at any instant gives information that is old, since feedback latency is an inherent feature of high speed networks. Thus the problem is to identify the best transmission policy under delayed feedback information. We study this problem in the framework of Markov Decision Theory. With appropriate assumptions on the arrivals, service times and scheduling discipline at a network node, we formulate our problem as a Partially Observable Controlled Markov Chain (PO-CMC). We then give an equivalent formulation of the problem in terms of a Completely Observable Controlled Markov Chain (CO-CMC) that is easier to deal with., Using Dynamic Programming and Value Iteration, we identify structural properties of an optimal transmission policy when the delay in obtaining feedback information is one time slot. For both discounted and average cost criteria, we show that the optimal policy has a two-threshold structure, with the threshold on the observed queue length depending, on whether a Type 2 packet was transmitted in the last slot or not. For an observation delay k > 2, the Value Iteration technique does not yield results. We use the structure of the problem to provide computable upper and lower bounds to the optimal value function. A study of these bounds yields information about the structure of the optimal policy for this problem. We show that for appropriate values of the parameters of the problem, depending on the number of transmissions in the last k steps, there is an "upper cut off" number which is a value such that if the observed queue length is greater than or equal to this number, the optimal action is to not transmit. Since the number of transmissions in the last k steps is between 0 and A: both inclusive, we have a stack of (k+1) upper cut off values. We conjecture that these (k + l) values axe thresholds and the optimal policy for this problem has a (k + l)-threshold structure. So far it has been assumed that the parameters of the problem are known at the transmission control point. In reality, this is usually not known and changes over time. Thus, one needs an adaptive transmission policy that keeps track of and adjusts to changing network conditions. We show that the information structure in our problem admits a simple adaptive policy that performs reasonably well in a quasi-static traffic environment. Up to this point, the models we have studied correspond to a single hop in a virtual connection. We consider the multiple hop problem next. A basic matter of interest here is whether one should have end to end or hop by hop controls. We develop a sample path approach to answer this question. It turns out that depending on the relative values of the b parameter in the transmitting node and its downstream neighbour, sometimes end to end controls are preferable while at other times hop by hop controls are preferable. Finally, we consider a routing problem in a high speed network where feedback information is delayed, as usual. As before, we formulate the problem in the framework of Markov Decision Theory and apply Value Iteration to deduce structural properties of an optimal control policy. We show that for both discounted and average cost criteria, the optimal policy for an observation delay of one slot is Join the Shortest Expected Queue (JSEQ) - a natural and intuitively satisfactory extension of the well-known Join the Shortest Queue (JSQ) policy that is optimal when there is no feedback delay (see, for example, [Weber 78]). However, for an observation delay of more than one slot, we show that the JSEQ policy is not optimal. Determining the structure of the optimal policy for a delay k>2 appears to be very difficult using the Value Iteration approach; we explore some likely policies by simulation.

In this thesis, we consider optimal control problems arising in high-speed integrated communication networks with Quality of Service (QOS) constraints. Integrated networks are expected to carry a large variety of traffic sources with widely varying traffic characteristics and performance requirements. Broadly, the traffic sources fall into two categories: (a) real-time sources with specified performance criteria, like small end to end delay and loss probability (sources of this type are referred to as Type 1 sources below), and (b) sources that do not have stringent performance criteria and do not demand performance guarantees from the network - the so-called Best Effort Type sources (these are referred to as Type 2 sources below). From the network's point of view, Type 2 sources are much more "controllable" than Type 1 sources, in the sense that the Type 2 sources can be dynamically slowed down, stopped or speeded up depending on traffic congestion in the network, while for Type 1 sources, the only control action available in case of congestion is packet dropping. Carrying sources of both types in the same network concurrently while meeting the performance objectives of Type 1 sources is a challenge and raises the question of equitable sharing of resources. The objective is to carry as much Type 2 traffic as possible without sacrificing the performance requirements of Type 1 traffic. We consider simple models that capture this situation. Consider a network node through which two connections pass, one each of Types 1 and 2. One would like to maximize the throughput of the Type 2 connection while ensuring that the Type 1 connection's performance objectives are met. This can be set up as a constrained optimization problem that, however, is very hard to solve. We introduce a parameter b that represents the "cost" of buffer occupancy by Type 2 traffic. Since buffer space is limited and shared, a queued Type 2 packet means that a buffer position is not available for storing a Type 1 packet; to discourage the Type 2 connection from hogging the buffer, the cost parameter b is introduced, while a reward for each Type 2 packet coming into the buffer encourages the Type 2 connection to transmit at a high rate. Using standard on-off models for the Type 1 sources, we show how values can be assigned to the parameter b; the value depends on the characteristics of the Type 1 connection passing through the node, i.e., whether it is a Variable Bit Rate (VBR) video connection or a Continuous Bit Rate (CBR) connection etc. Our approach gives concrete networking significance to the parameter b, which has long been considered as an abstract parameter in reward-penalty formulations of flow control problems (for example, [Stidham '85]). Having seen how to assign values to b, we focus on the Type 2 connection next. Since Type 2 connections do not have strict performance requirements, it is possible to defer transmitting a Type 2 packet, if the conditions downstream so warrant. This leads to the question: what is the "best" transmission policy for Type 2 packets? Decisions to transmit or not must be based on congestion conditions downstream; however, the network state that is available at any instant gives information that is old, since feedback latency is an inherent feature of high speed networks. Thus the problem is to identify the best transmission policy under delayed feedback information. We study this problem in the framework of Markov Decision Theory. With appropriate assumptions on the arrivals, service times and scheduling discipline at a network node, we formulate our problem as a Partially Observable Controlled Markov Chain (PO-CMC). We then give an equivalent formulation of the problem in terms of a Completely Observable Controlled Markov Chain (CO-CMC) that is easier to deal with., Using Dynamic Programming and Value Iteration, we identify structural properties of an optimal transmission policy when the delay in obtaining feedback information is one time slot. For both discounted and average cost criteria, we show that the optimal policy has a two-threshold structure, with the threshold on the observed queue length depending, on whether a Type 2 packet was transmitted in the last slot or not. For an observation delay k > 2, the Value Iteration technique does not yield results. We use the structure of the problem to provide computable upper and lower bounds to the optimal value function. A study of these bounds yields information about the structure of the optimal policy for this problem. We show that for appropriate values of the parameters of the problem, depending on the number of transmissions in the last k steps, there is an "upper cut off" number which is a value such that if the observed queue length is greater than or equal to this number, the optimal action is to not transmit. Since the number of transmissions in the last k steps is between 0 and A: both inclusive, we have a stack of (k+1) upper cut off values. We conjecture that these (k + l) values axe thresholds and the optimal policy for this problem has a (k + l)-threshold structure. So far it has been assumed that the parameters of the problem are known at the transmission control point. In reality, this is usually not known and changes over time. Thus, one needs an adaptive transmission policy that keeps track of and adjusts to changing network conditions. We show that the information structure in our problem admits a simple adaptive policy that performs reasonably well in a quasi-static traffic environment. Up to this point, the models we have studied correspond to a single hop in a virtual connection. We consider the multiple hop problem next. A basic matter of interest here is whether one should have end to end or hop by hop controls. We develop a sample path approach to answer this question. It turns out that depending on the relative values of the b parameter in the transmitting node and its downstream neighbour, sometimes end to end controls are preferable while at other times hop by hop controls are preferable. Finally, we consider a routing problem in a high speed network where feedback information is delayed, as usual. As before, we formulate the problem in the framework of Markov Decision Theory and apply Value Iteration to deduce structural properties of an optimal control policy. We show that for both discounted and average cost criteria, the optimal policy for an observation delay of one slot is Join the Shortest Expected Queue (JSEQ) - a natural and intuitively satisfactory extension of the well-known Join the Shortest Queue (JSQ) policy that is optimal when there is no feedback delay (see, for example, [Weber 78]). However, for an observation delay of more than one slot, we show that the JSEQ policy is not optimal. Determining the structure of the optimal policy for a delay k>2 appears to be very difficult using the Value Iteration approach; we explore some likely policies by simulation.

by Ku Ho Kwan Lisbeth.
Thesis submitted in: September 1997.
Thesis (M.Phil.)--Chinese University of Hong Kong, 1998.
Filmography: leaves 117-119.
Includes bibliographical references (leaves 109-116).
List of illustrations --- p.vii
Chapter I. --- Introduction --- p.1
Chapter 1. 1 --- Articulating Hong Kong History / Identity --- p.1
Chapter 1.2 --- Identity through Mass-Cultural Mediation --- p.10
Chapter 1. 3 --- Using Popular Culture --- p.18
Chapter II. --- The Locality of Culture: A Contextual Analysis of Cantonese Cinema in Hong Kong --- p.32
Chapter 2.1 --- The Emergence of Local Consciousness through Three Decades of Cantonese Cinema (From the 30s to the 50s) --- p.32
Chapter 2. 2 --- Youth Film and Its Historically Specific Audience --- p.38
Chapter 2. 3 --- Reading Youth Film -- A Purple Stormy Night (紫色風雨夜) --- p.55
Chapter III. --- Mass Mediated Images of Women --- p.64
Chapter 3. 1 --- Connie Chan Po Chu and Josephine Siao Fong Fong as Desired Cultural Images --- p.66
Chapter 3. 2 --- Identification and Commodification --- p.81
Chapter IV. --- Conclusion --- p.92
Chapter 4.1 --- The Ordinary and the Extraordinary-- Siao Fong Fong and the Self-Image of Hong Kong People in the 90s --- p.92
Chapter 4.2 --- Mediating Cultural Identity with Cultural History of Hong Kong --- p.102
Bibliography --- p.109
中文電影目錄 --- p.117
Appendix --- p.120

碩士
國立屏東教育大學
音樂學系碩士班
101
This thesis consists of two parts. The first part contains of two piano recitals,the second part contains of two program notes. The program of the first piano recital includes: Franz Peter Schubert《Wanderer Fantasia Op. 15 》, Sergey Prokofiev《Piano Sonata, Op. 1 》, Felix Mendelssohn《Sérieuses Variations Op. 54 》, Franz Liszt《Tarantella 》. The program of the second piano recital includes: G.Faure《Elegy op.24》, D. Shostakovich《Cello Sonata in D minor》, C. Franck《Cello Sonata in A Major》.

碩士
國立臺灣藝術大學
書畫系造形藝術碩士班
107
The author uses the content of oriental poetry and literature as the source of inspiration. Through the analysis of the poetry aesthetics and the aesthetics of painting.This paper analyzes the poetic paintings of famous artists and summarizes their interpretation of poetry in the works. Learning to transform it into its own creation, and finally make choices in the materials. Makes adjustment into a creative model with personal characteristics. The first chapter is the introduction, which describes the origin of the author's own creative background, and then the research motivation, and explains the main research purposes. The second chapter is the theoretical basis and the literature exploration. Through the search for the materials, the dialogue between the oriental classics and the paintings is summarized. The third chapter is the creative concept and practice, expounding its own artistic creation concept, and using the materials, and finally enumerating the analysis of the works that affect the author. The fourth chapter is the analysis and interpretation of individual works. It is divided into four series: (1) Four Happiness Of Life Series, (2) Frog Series, (3) The Four Beauties Series, and (4) Five Elements Series. Each piece in different series has its corresponding cultural and historical allusions. It is expected that the viewer can cross-reference the picture with the picture according to the description of the poem in the introduction of the work, plus academic aid to understand the author's creation and academic basis connection. The fifth chapter concludes the review and future prospects of the author's research. It saves the process of completing this theory. Through systematic organization, in addition to more understanding and understanding of the context of its own works, it can be more clearly defined in the future creation.

碩士
國立臺北教育大學
台灣文化研究所
99
This study investigates the Taiwanese artists after February 28 Incident, including the first generation of Taiwanese western painter, Cheng-Po Chen and four painters - Yu-Shan Lin, Tian-Sheng Pu, Sin-Lu Liu and Wen Ou Yang, who are familiar with Chen. To conduct the research, the study adopts Literature Analysis, Document Analysis, Historical Comparative Analysis and Socio-artistic Analysis. This research first explores the development of Taiwanese art. In the Japanese ruled period, the generation of fine arts movement expanded to Chia-Yi, which had been called “Painting City”. This study further investigates the background of Cheng-Po Chen and his transition of mindset during the Japanese ruled and postwar period, including the Chinese identity and what he went through in the February 28 Incident. Chen’ execution by shooting did not negatively influence Yu-Shan Lin and Tian-Sheng Pu and they continued their relationship with KMT government. However, Chen’s death severely impacted Sin-Lu Liu and Wen Ou Yang. Liu quit painting and abandoned his career as an artist; meanwhile, Ou Yang had been imprisoned for twelve years since 1950. As a result of personalities, characteristics of works and economic reasons, Yu-Shan Lin and Tian-Sheng Pu were not influenced by Chen’s death and continued their creations for the government. Wen Ou Yang was imprisoned as a result of his participation in February 28 Incident. However, during his life in prison, he still positively affected Taiwanese artist circle and Sin-Lu Liu still dedicated himself to the development of art in Chia-Yi. Even though the four artists had different reactions and attitudes toward Chen’s execution and February 28 Incident, they still exerted their social influences as artists, continued their artistic creations and enormously contributed to artist education and promotion. Key word：February 28 Incident, Politics and Art, Cheng-Po Chen ,Yu-Shan Lin, Tian-Sheng Pu, Sin-Lu Liu, Wen Ou Yang,

碩士
國立高雄師範大學
美術學系
106
With the progress of modern technology, people forget "the tiny feeling" on their body gradually. In our daily life, lots of conscious and unconscious "touching feelings" have been controlled in a rectangle space in 5 to 10 inches on hand：smart phone. When modern technology improves, people seem to degenerate of their body feeling. If 3C products disappear some day, will people forget the relationship between our bodies and the environment? In the study , we talk about 「the tiny motion」which is from Freud's(1865-1939) theory. It can be easily divided into three types : Being controlled by " preconscious "、" unconscious " and " conscious " . Definition of「The tiny motion 」is more like physical feelings and controlled by " preconscious " or " unconscious " in general classification. Like feeling itchy, feeling guilty or sticking out the tongue , these body-feeling-related movements are not controlled by “conscious”. I hope the audience can re-experience what I call「the tiny motion」in my works and rethink about why「The tiny motion」happens. Entitling it「The Forgotten Physical Feelings」and trying to use“Feverish”things in my artwork to remind the audience of those「the tiny feeling」on their bodies. In the perspective of psychology, shame culture and Physical desires are analyzed , as well as how to satisfy and explore our own desires in depth by artistic creation.

碩士
國立雲林科技大學
文化資產維護系碩士班
100
Chen Cheng Po Cultural Foundation and Chen’s family will share his paintings and documents with our society through exhibitions and researches. Also, they began devote to spread Chen’s art works to the people and preserve them. Since I participated in the conservation program which Chen Cheng Po’s family offered. I found out the most difficult problem that artists’ families will face is how to make a systematic way of conservation and restoration for the artists’ legacy. This essay will talk about how the private collectors sort their collections and improve the conditions of them by frame with foam board and hollow plate instead of plywood which based on the experiences of conservation for 413 pieces of paintings and documents hold by Chen’s family. Furthermore in this essay, I will design a more appropriate “matting and framing package” way when dealing with a bigger amount of collections. This method will provide a more proper and complete protection in the procedures of historic relics’ conservation, package, transportation and exhibition.

碩士
國立臺南藝術大學
藝術史學系藝術史與藝術評論碩士班
103
This thesis focuses on modernity through the works of Taiwanese artist Chen Cheng-po’s (1895-1947) urban landscape paintings in Tokyo, Shanghai and Chiayi. There are three aspects of discussion, first is Chen Cheng-po’s observation towards the modern urban landscape, and his modern art education during the Japanese Period in Taiwan. The Second is his participation in official exhibitions in Japan and Taiwan, as well as his time with China’s “The Storm Society”, while observing urban landscape paintings of the era in those exhibitions. Third is, through his painting concepts and urban landscape paintings prove his awareness of modernity, and if such awareness corresponds to Baudelaire’s definition of “Modernity”. Conclude with the three aspects listed, the modernity of Chen Cheng-po’s urban landscape paintings, and thereby observes the evolution of modernity in Eastern Asia.

碩士
國立中央大學
藝術學研究所
88
Since its first appearance in the writing of T''ao Yuan Ming, the term "Peach Blossom Spring" has become the classic Chinese expression of reclusion. Inspired by the thoughts of "Peach Blossom Spring," painters in different ages create a great amount of paintings on this subject. However, because of different imaginations and personal styles, these works may present quite different looks. This thesis focuses on "Peach Blossom Spring" by Wang Biang, a court painter serving at the Royal Painting Academy during the Qianlong reign, in order to observe and analyze the different expressions between a court painter and folk painters on the same subject, as well as to re-evaluate Wang Biang''s paintings and reconsider his place in the Academy. Besides, some aspects concerning the making of the colorful style landscape paintings at the Academy of Qianlong reign will also be discussed. Most plates in this thesis are found in the Comprehensive Illustrated Catalogue of Chinese Paintings (University of Tokyo Press), Illustrated Catalogue of Selected Works of Ancient Chinese Painting and Calligraphy (in the National Palace Museum in Beijing and other museums on the mainland), Illustrated Catalogue of Painting and Calligraphy (in the National Palace Museum in Taipei), others are from certain catalogues of individual artists or special exhibitions. Sh''i Ch''i Bao Qi《石渠寶笈》 and Complete Works of the Emperor Qianlong《清高宗御製詩文全集》 are the two major sources of historical documents. Some other ancient records and criticism on paintings are used as well. In this thesis, in addition to the general analysis and synthesis of historical documents, some sort of statistical method is also used, especially in the part concerning the production of the paintings in the Academy. In this approach, the most used material, the method of coloring, and the relationship between the two of them will be shown and supported by statistical evidence. Moreover, the possible meaning of the proportion which colorful style landscape paintings occupies in the entire court paintings will also be discussed. Through this research, we can find that the influence of the Ch''ao P''o Chu''s Blue-and-Green style continues in the Qinglong reign. However, the court painters, who paint to meet the royal demand, still have room to develop different ways of expression in the Academy of Qianlong reign, where there is a diversity of painting styles. Since the establishing of the Qing Royal Painting Academy, court painters have been combining traditional court paintings with the ideas and methods of the literati paintings, and one of the obvious result of this is the use of paper and the skill of brush and ink in the colorful style landscape paintings. Above all, it is the main purpose and hope of this thesis to bring some light on this poorly known court painter, Wang Biang.

This thesis Czech Religious Song in the Liturgy after the Second Vatican Council focuses on the repertoire of songs contained in hymnbooks "Kancionál" (Hymnal), "Mešní zpěvy" (Czech gradual), "Hymny" (Hymns) and "Hymny a básnické modlitby" (Hymns and poetic prayers). Includes theological principles of songs, history of Czech spiritual hymns, analysis of the editorial approaches for songbooks and analysis of the hymns in relation to the requirements of the liturgical renewal documents. The thesis focuses primarily on "Kancionál" (Hymnal), "mešní píseň" (mass song) and singing a song of thanksgiving after Communion. The thesis evaluates compositional approaches for lyrics and music of mass songs.

碩士
國立高雄師範大學
中國文學研究所
84
@　 本論文以金瓶梅為例，旨在探討張竹坡對古典小說人物塑造理論之貢 獻。第二章先從外圍因素著手，說明張竹坡偏重人物評點之背景：本章分 為兩節，第一節說明張竹坡生平與文藝素養，這是張竹坡偏重人物評點的 個人因素。第二節由當時的文化氛圍與小說批評的演進著手，探討竹坡重 視小說人物評點的外在因素。第三章對人物創作的探究，小說是作家心智 創造的結晶，對作者而言，表現在構思方面為文心；表現在技巧方面為妙 法。本章旨在探討竹坡所提出，關於作家的「文心」，亦即小說構思的幾 個問題，如作家的入世經歷；人物塑造的原理─情理說及題材的運用等。 第四章為人物塑造的藝術觀：本章探討張竹坡對「妙法」研究，藉由竹坡 實際評點，舉例說明他對人物塑造技巧的心得。第五章對人物的評判：竹 坡的評語中，時常流露他對人物是非善惡的道德批判，從這些評判中可以 發現竹坡的人生信念與價值取向。如他對傳統禮教的堅持及對女性的同情 與苛求，都是本章討論的重點。第六章為張竹坡對小說人物評論之特色與 貢獻：一是強烈的主體意識；二是以創作的立場，從事小說評論；三則探 究人物塑造的文心妙法；四為細論人物刻劃的藝術技巧；五為對人生的深 入與社會文化的探討。

碩士
國立臺灣師範大學
美術學系
105
The creation of this research is “Gain New Insights through Reviewing the Old”. Due to not pay attention to the preservation of historical and cultural assets of social phenomena, triggering the author wants to use watercolor painting for the old house record creative motives. In the course of the study, we found that the real reason for owning old houses comes from childhood experience. The old house is an important place to understand the history of the local history, which can enrich the city and save the life memory of the times. Through the Color science, Taiwan watercolor Historical materials and architectural knowledge, psychological and other theoretical basis to build, increase self-confidence also enriched the creation of vocabulary, more clearly understand the ancient architecture of Taiwan culture and the development of suitable forms and content. In the classic old house and Taiwan's old window flowers series of creation, the author simple and yet lively color combination of old house elements, play creator imagination, to express the old house for their own feelings.

碩士
國立臺灣師範大學
美術學系
103
The main study of this thesis is concentrated on Painter Cheng-Po Chen, by observing his creative drawing subjects, painting-constituting, color-using, line-drawing and drawing styles changed in different years so as to understand Painter Chen’s character of his paintings. From the past reports and academic papers, I research into his painting style and historical orientation, particular on the price changes of his works in art market. Simultaneously, I compare Painter Cheng-Po Chen with some other senior painters with the same generation---Painter Chi-Chun Liao, Painter San-Lang Yang and Painter Shih-Chiao Li, with particular to marketing comparison, analyses of collected places, trends of beauty-viewing, price-changing, popularity of creative drawing subjects so as to understand their historical orientations and marketing trends during recent 10 years. The political background of Painter Cheng-Po Chen had been sensitive in the past, but he became a rising star with the great public interest in the art market. Painter Cheng-Po Chen inevitably possessed breakthrough and achievements, and enjoyed the representative role in his generation. I study the comparison the collection of art works among Painter Cheng-Po Chen and his peers, and see whether there is any common similarity or difference. According to the data of publics and art critics’ statements, I try to correctly understand the art trend-collecting. Totally speaking, I would like to understand: A painter’s creations, his works introduced into the art market, the becoming targets circulated in the art market, well-known popularity, establishment of historical position, continuous acceptance in the art market and attitudes changed by collectors.

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

碩士
崑山科技大學
媒體藝術研究所
104
When editing a documentary, like most films, it’s easier to start with a great script. For a documentary without a storyboard, the positions of the script writer and editor are now combined into one role. Po-Wen Chen, a.k.a Master Chen, is a well known editor . And has successfully combined these two talents. Being in this industry for over 30 years, Po-Wen has personally been responsible for editing various films and TV series. From those films and series, 5 were documentaries which won high acclaim including the following Golden Horse award for best documentary: 《The Red Leaf 》,《 Grandma’s Hairpin》, 《 How High Is The Mountain》, 《 Spring: The Story Of Hsu Chin-Yu》, 《 Viva Tonal- The Dance Age》. My research is based on these 5 documentaries in particular with the intent of analyzing and discussing the art of editing to utilize Master Chen's style from it. My results have found that Master Chen is creative in his ability to start production in either video or film for the following reasons: 1. His ability to create a solid opening to draw attention from the audience. 2. After the opening he keeps the story simple. 3. Following the actual story is his key focus. No fashion video effects totally different from the documentary will do. The result delivers a different point of view to the audience, while also increasing the power of the story with the aid of audio from the scene, tags, and subtitles to convey the best story to the audience.

碩士
國立成功大學
中國文學系碩博士班
96
This topics is directed to the study of the epistolarity of Tzeng-ta Poetry between Po Chu-I and Yuan Chen,discussing about the formation of Tzeng-ta poetry,the particulars of the epistolarity of Tzeng-ta poetry between Po Chu-I and Yuan Cuen,the contents of their epistolarities and that of their different feelings of life through the poetry. It is also to study on what the epistolarity is all about and the way type they used to intercommunicate. Through the topics we could know about the importance and effect the Po and Yuen’s Tzeng-ta poetry brought to the history. This topics is classfied as six chapters: The first chapter is preface for the opening of the topics.It starts with clarifying the definition between Tzeng-ta poetry and Chang-her poetry in the purpose of finding a signpost to this subject and getting thereafter the characteristics of the epistolarity.In this chapter,it is also to find the cause that the epistolarity comes from together with its developing process. In the second chapter, it takes the focus on the literary intercommunication and the sharing of life between Po and Yuan. It goes in two facets: the literature and the life. Po and Yuan take Tzeng-ta poetry as the media of intercommunication in literature. It contains two parts. One is to share reading poetry. The other is to identify or confront with poetry maker. On the other hand, Po and Yuan share their life by enjoying talking the subject called “Tzyy Shy". In the third chapter, it is about the contents of intercommunication on their official career as well as their friendship. From their attitude and encounter as to be a government official, we can realize how their feelings and friendship were going. In chapter four, it discusses on their feelings and intercommunication while they both were going down in the government official career. It is divided into two. One is in the beginning while they first down in the official career. The other is that later in the end of their official career. For the former one, it talks about how sad they felt and how they exchanged presents to encourage each other. For the latter, it talks about how they changed their mood and how they got their bad mood turned up. To appear their intercommunication in government official career is what the chapter want to claim. What shown in chapter five of the topics is to know the speciality and value of Po and Yuan’s poetry from corresponding literature. This chapter tries to study in depth on the speciality about taking poetry as correspondence, instead of letter, from the viewpoint of western corresponding literature. It goes through four ways : distance conscience、dialogue、the objects and privacy. So that we can find how Po and Yuan’s poetry contributed toward the history of Tzeng-ta poetry and how the position it had owned in this field was to be. Chapter six is the conclusion for this topics. The author briefly indicates what she gained from this study and makes a simple analysis for further study on this topics.

碩士
南臺科技大學
應用英語系
105
The purposes of this research are to delve into Hakka Huo Fang and ancestral hall. In order to understand their characteristics and the correlation between them, the Hakka ethnic Chang clan is the participant in this study who live in Sin Wu district, Taoyuan. There are five research questions for discussion: (1) What is the housing pattern of Hakka Huo Fang of Chang clan? (2) What is connotation of Hakka Huo Fang of Chang clan? (3) What is history of Hakka Huo Fang of Chang clan? (4) What is constructional connotation cognition in Chang clan’s ancestral hall? (5) How is deity’s exploration and worship management in Hakka Ancestral Hall of Chang clan? However, in order to nibble at those questions and understand precisely about Hakka Huo Fang and ancestral hall, qualitative research will be applied for this research. In addition, the seven participants will be interviewed after the interview and crossing comparison and coding method will be conducted. The results indicated that (1) The Hakka Huo Fang building pattern in this study is Tianlian and Sanheyuan, and it related to the type of Wu Hu Xia Shan. (2) The constructional connotation of Hakka Huo Fang is convenience for using and a lovely home. They hope the future generation can preserve it forever. (3) They rented the oldest part of Huo Fang from the owner, then later they have the ability to buy it, thus, the lasted one was built by Xu Jin Lun. (4) The purpose of Hakka ancestral building is for reunion, wedding and funeral needs, and exist clear meaning of heritage and spiritual sustenance. (5) The elderly should be responsible for Chang's ancestral temple worship ceremony, but also pointed out that as long as Chang family member can be responsible for the management of their ancestral hall. In other words, Taiwan becomes a beautiful island with the aboriginal culture, Hakka culture and Minnan culture. It is expected that this study can provide for the future Hakka cultural researchers and enable more people to understand the Hakka culture, moreover, we should face up to the preservation of Hakka culture and take action.

碩士
國立屏東師範學院
視覺藝術教育研究所
90
A STUDY OF THE EMOTIONAL EXPRESSION IN THE CHINESE CALLIGRAPHY ：EXAMPLES OF YEN CHEN-CH’ING,SU TUNG-PO AND X’U WEI ABSTRACT Every artistic form communicates the artist’s inner emotion to its viewers using its own unique artistic language and ways of expression. In Chinese calligraphy, an artist conveys his/her emotion primarily through the symbolic usage of lines. Therefore, one needs to understand the symbolic meaning and natures of lines in this artistic form to fully appreciate the beauty of Chinese calligraphy. This study undertakes to analyze the artists’ emotional expression in Chinese calligraphy, using the works of Yen Chen-Ch’ing, Su Tung-Po and X’u Wei as examples. Three research methods are used in this study: (1) Method of literature review: To review and organize related literatures on the relationships between emotions and lines/calligraphic lines that facilitates this study to be analyzed. (2) Method of psychology: To refer theories of psychology such as psychoanalysis, Gestalt psychology, emotional psychology and calligraphy psychology to explore the calligraphers’ psychological state in their creative processes. (3) Method of aesthetic: To employ theories of impressionism and aesthetics to analyze the calligraphers’ works. The primary purposes of the study are as follows: 1、To inquire the relationship between Chinese calligraphy and visual art and to explore the psychological creative process of calligraphers. 2、To explore the emotional expression of Chinese calligraphers. 3、To provide a way of appreciation and promote the ability of appreciation to Chinese calligraphy. Chinese calligraphy can be considered as one form of visual art. It starts with the movement of a point, then be created as many straight and curved lines, which be filled of one’s emotional expression. Hence, Chinese calligraphy is the art of lines. Different kinds of lines illustrate human expressions. The qualities of the lines, the image of the character, the shade of the ink, and the speed of writing all these natures illuminate the artist’s feelings and emotions that what he/she creates the work. Appreciating Chinese calligraphy, the viewers can touch the calligraphers that they attempt to express their passions intheir works. Actually the viewer reflects similar feelings and emotions, and empathizes those of the artists. The lines of Chinese calligraphy not only can show the human being’s inner world, but also have the capacity to reveal the artists’ personal growth and self-adjustment. They can even reflect the changes of the environment and the time of the artists. This study is worthy to be further researched. Keywords：Chinese Calligraphy，Psycho Environment，Emotional，Sentiment，Lines

碩士
國立成功大學
藝術研究所
92
After the government declared that the martial law had ended, Taiwanese art became to get rid of the burden of politics and tradion and start to wear a gorgeous face gradually. New visual aesthetics which break tradional/academic representations of human bodies have gradually come into extistence.This thesis pays attention to the change, and fouses on two convulsive series of works: Hou Jun-Ming’s Sou Shen Ji and Chen Jie-Ren’s Hun Po Bao Luan. It will deeply discuss the relationship between Taiwanese art and social atmosphere by interpreting the specific bodily images of the two series of works. The main point of writing this thesis is mainly “transgression”. It attempts to analyze how Sou Shen Ji and Hun Po Bao Luan bear the artists’ recations, critical thoughts and re-interpretation against the traditional society and national power in social open atmosphere. Furthermore, I think that these two series of works have the Bataillean transgression aesthetics no matter how their forms and contents are heterogeneous. Morever, I also want to indicate these bodily images of these two series of works have grotesque characteristics, and try to analyze politics meanings of these grotesque bodily images. Lastly, I also seek to figure out how these works reflect the artists’ anxiety and desire by referring to some articles and interviews of artists intertextualily. In conclusion, I will explain the synchronic meanings of these bodily images in Taiwanese art.

碩士
國立中興大學
台灣文學與跨國文化研究所
105
With two major origins—one is America and Europe, and the other one is Japan—the genre of mystery novels had been introduced to Taiwan through the translation works, which had greatly affected the preference of Taiwanese mystery novel readers, as well as the styles of Taiwanese mystery novelists. For example, Japanese mystery writer Seicho Matsumoto’s writing style of focusing on different facets of the society created the sub-genre called social mystery novel. In the 1970s, deeply influenced by the Japanese social mystery novels, Taiwanese writer Fo-er Lin devoted to the translation and publication of related works, which further cast an influence on Taiwanese novelists and intrigued them to pursue the concept of reflecting the realistic Taiwan society through their mystery novels. However, after the mid-1990s, the mystery novels of the Euro-American system became the mainstream and a large number of translation works had been published. Also, the classic mystery novels that focused on the puzzles and tricks had again been popular in the new generation of Taiwanese novelists, which further accelerated the decline of social mystery in Taiwan’s literary world. On this account, by reviewing the recent creation of Taiwanese mystery novelists, this study aims to explore the possibility of continuing the spirit of social mystery, and to observe the existence of the elements and styles of social mystery in Taiwan’s contemporary mystery novels. In this thesis, the novels of three Taiwanese writers, Kuo-Li Chang, Infinity, and Po-Ching Lee, have been analyzed based on the “social aspect” that social mystery has emphasized. For example, the cases in Chang’s novel series of “Job-denial Detective” always occur in Taipei City. Possessing a high level of localness, the text reflects the diversified life styles in Taipei, Taiwan’s capital. In Infinity’s novels, by cutting into social cases from the perspective of a journalist, the situation of Taiwan’s news media has been well presented. Lee’s works pay great attention to the delicate human communication. In addition to analyzing the changes of social views in Lee’s stories, this study also continues to discuss the reflection of the strengths and weaknesses of Taiwan’s legal morality in The Hidden Love (2014). Through these three writers’ text, this study explores the social facets presented in the works and the social problems at different levels raised by the writers, hoping to find out whether contemporary Taiwanese writers could reflect the social aspect and reality through the genre of mystery novels and develop Taiwan’s localized context of social mystery.

碩士
國立中興大學
台灣文學研究所
98
Chen Chien─Wu，Li Chiao，and Tung Fang ─Po are the important authors in the Taiwan modern literature history field，Chen Chien─Wu has the pen-name Foun –Whu manages his poems and novels，and try to across the literature field ，looking to the both of poem and novel。Li Chiao is belong to the important novelist in Taiwan，he has more than two hundred of short novels，ten long novels，especially《Wintry Night Trilogy》is carry in the most discussion edition in Roman－Fleuve。《Sand Washed With Wave》the work of Tung Fang ─Po has about one million five hundred thousand words，also carry in the most discussion edition in Taiwan Roman－Fleuve。 This thesis 〈The Pacific War Writing ─ Chen Chien─Wu《Return Alive》、 Li Chiao 《Orphaned Lamp》、Tung Fang ─Po《Sand Washed With Wave》as the Discussion field〉，except《Return Alive》was whitten about war experiences，the other two authors works 《Orphaned Lamp》 in《Wintry Night Trilogy》and〈Sand〉in 《Sand Washed With Wave》are focusing to discussion about The Pacific War。 There are difference of the base point、obtaining materials（for a novel）、and writing tactic from each authors；Chen Chien─Wu emphasize the《Return Alive》belongs to autobiography novel，the actual status of the life in the work of Li Chiao，Tung Fang ─Po visited the role of the story and Chang Don Lang supply his autobiography to rewrite；The three authors writing novels make a big difference in content and skill，but they have the same History care and humanity deep thinking，they love Taiwan and the earth of the hometown，so this thesis will be observing to probe and discuss into the fortune、future、direction and the shadow of the history in the colony。 In this thesis，point to the element of the history and the skill of expression、writing structure、spirit composition in literature and the more languages in the novel。To break away from the nightmare of the colony and so on，Grope to the people appear on the stage，both the role and the position in the novels。How to use literature to prove history，how to use literature to structure history，and try to dialectical trauma writing and narrative curing，to show the life picture of Taiwan people in The Pacific War，that has the light and shadow in history more than sixty years，to shine upon the world of the mortals，and not into the ruins of the history。

碩士
輔仁大學
中國文學系
103
In this paper, we use Lu Xun's〈Ben on〉, Nan Kung-Po's《HouYi and Chang -Eh》and Wang Xiao-Lian's 〈Last arrows〉the trilogy of three modern myth novels as a research area for our thesis, and would like to explore how author restate, rewrite or deduct the ancient myth of Hou-Yi and Chang-Eh in different environments and background knowledge about the story, resulting it into another mythical novel. First, find out Hou-Yi and Chang-Eh's charactenistic and sort the basic structure of their storylines; then analyze the differences between the characters and plot of the past and present novels; finally, bringing out the theme " betray ", as well as "after myth" in the history of novel, positioning and interconnects authors and their works. Lu Xun's state of reality,Nan Kung-Po's simplicity of Wang Xiao-Lian's romance each having their pros and cons, and thus creating different styles and features of myth novel.