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1
Lee, Cheuk-ying Esther. "A study of Chao Zhou children songs." Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B36942935.
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Lee, Cheuk-ying Esther, and 李卓瑛. "A study of Chao Zhou children songs." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B36942935.
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Kao, Chao-Yuan. "Grade A Taipei junior high school principals’ self-reported leadership practices." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/39153/1/Chao-Yuan_Kao_Thesis.pdf.
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The principal’s leadership and curriculum development are considered the core elements for creating a high performing junior high school. In Taiwan, mathematics curriculum reform has been an ongoing topic since 1994. The pedagogy, classroom interactions, and the underlying philosophy of mathematics education have varied with different versions of guidelines. These changes inevitably increase the requirement for principals’ leadership in order to effectively implement the curriculum reform. Principals’ leadership is essential to the success of the implementation in their school. This study aimed to explore and identify the leadership of junior high school principals whose schools had been judged by the Taipei City Government as Grade A junior high schools. Principals’ implementations of the reformed mathematics curriculum were used as examples to generate insights of their leadership. This study drew upon a multiple-case study approach. Data were collected from interviews, observations, and documentations. Bass and Avolio’s (1997) full range leadership theory provided a structure for gaining insight into these principals’ leadership practices. Five Grade A Taipei junior high school principals participated and shared their leadership concepts and experiences. Findings revealed that the leadership preferences of the five principles varied considerably. Management by exception-active, contingent reward, individualised consideration, and idealised influence were Grade A Taipei junior high school principals’ preferred leadership practices. In addition, principals’ leadership strategies associated with these practices were identified. These principals had adopted a range of leadership strategies according to the staff and school needs. Results of this study have implications for both Taiwanese principals and education departments. Principals can enhance their leadership by gaining more understanding about the Grade A principals’ leadership practices and strategies. Taiwanese education departments can improve school leadership training programs by focusing on these practices and strategies, which may also lead to more effective strategies for implementing national curriculum reform.
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Kuo, Jui-Chao [Verfasser]. "Mikrostrukturmechanik von Bikristallen mit Kippkorngrenzen / Jui-Chao Kuo." Aachen : Shaker, 2004. http://d-nb.info/1172610312/34.
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Cárdenas, Mercedes. "El Periodo Precerámico en el valle de Chao." Pontificia Universidad Católica del Perú, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/113373.
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The Preceramic Period in Chao Valley The author presents the evidence recovered from Preceramic Period sites discovered during the Survey Project at Chao Valley, with special emphasis on those situated on the dry Las Salinas pampa in order to compare these with others located in other parts of the valley.Se presentan los datos relacionados con sitios del Periodo Precerámico descubiertos cuando se realizó el inventario y catastro de Chao, con especial énfasis en aquellos situados en la pampa árida de Las Salinas para contrastarlos con los otros existentes en los varios sectores del valle.
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Giadas, Conde Marcos. "La place de l'artiste engagé dans l'espace public : l'enrôlement médiatique de Manu Chao, entre industries culturelles et mobilisation sociale." Lille 3, 2007. http://www.theses.fr/2007LIL30036.
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Le terme "artiste" renvoie à plusieurs réalités comme nous le montrent Becker et l'ensemble de la sociologie de l'art. Mano Chao appartient à une catégorie précise, celle des chanteurs dits "engagés" dont la médiatisation va au-delà de la seule sphère esthétique. A travers la notion d'engagement, centrale dans notre réflexion, c'est une multitude de cadres, situations et rôles sociaux qu'il convient d'envisager afin de comprendre l'enrôlement de l'artiste dans certains débats publics aux côtés d'autres acteurs sociaux au premier rang desquels figurent les médias. L'observation de la mise en visibilité de Manu Chao au sein du récit journalistique permet de repérer les différentes places qu'il peut occuper au sein d'un espace public pluriel, fragmenté et néanmoins marqué par l'interpénétration de ses différentes sphères (politique, esthétique. . . ). Un premier corpus composé de titres de la presse nationale française invite à une lecture comparative des logiques concurrentes, complémentaires, puis convergentes de la mise en visibilité de Manu Chao, ce qui permet de mettre en évidence la construction d'un discours circulant qui l'associe avec le mouvement altermondialiste. Dans l'analyse du second corpus composé d'articles du quotidien galicien La Voz de Galicia l'approche suivie est davantage verticale et territoriale, elle tient compte des contextes culturels, historiques et géopolotiques. L'enrôlement de l'artiste dans les espaces locaux, régionaux et extra-régionaux implique ici que soit opérée une distinction entre les processus d'enrôlement actif et passifThe word "artist" corresponds to several realities as stated by Becker and by many other authors of the sociology of art. Manu Chiao pertains to one precise category, the one of the so called committed singers whose mediatisation tends to go forther than the mere esthaetic sphere. From the notion of involvement we have taken into account a multitude of social frameworks, situations and roles in order to understand the enrolment of the artists in some public debate along with other social and political actors. The observation of the media coverage of Manu Chao wthin the journalist discourse allowed us to distinguish the positions he could be given in the public sphere which is more and more plural and fragmented. In a first corpus composed of articles from the French national press, we have been able to compare the strategies followed during the process of agenda building. We studied how the newspapers offered a competing, complementing and converging coverage of the artist, then we pointed out the mechanisms which led them to enrol Manu Chao and the antiglobalization movement in a common circular discourse. A second corpus created from the daily newspaper La Voz de Galicia enabled us to have a more vertical approach so as to deal with the cultural, historic and geopolitic contexts. By focusing our research on the territorial aspects, we have analysed the enrolment of the artist in the local, regional and extra-regional spaces. This implied a distinction between the active enrolment processes, along with the Galician nationalist movement in this very case, and the passive enrolment processes to the benefit of other social actors who were weakly linked to the artist
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Chao, Lei. "Property taxes on agricultural assets." Thesis, Montana State University, 1990. http://etd.lib.montana.edu/etd/1990/chao/ChaoL1990.pdf.
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This thesis examines effective property tax rates on agricultural assets in the U.S., and attempts to use two models to explain why differences exist among states. One is the "majority rule voting model", and the other is the "special interest model." The former hypothesizes that political influence will increase with increases in the number of farmers, while the special interest model argues that small size will be more effective in exerting pressures on government because the smaller group is easier to organize and less susceptible to the free rider problem. Also, we analyze how tax differences affect land allocation between agricultural use and nonagricultural use. Some other variables besides group size are also considered to affect tax rates, such as proportion of the property tax base that is agricultural, homogeneity of an interest group and value of assets per farm. Regression analysis is used to determine what effects these factors have on tax rates and on whether a tax penalty must be paid when agricultural land is converted to an alternative use. We find that tax rates are inversely related to the number of farmers and positively related to the number of nonfarmers. The proportion of the tax base that is agricultural appears to have little influence on tax rates, given the numbers of farmers and nonfarmers. There is only weak evidence that tax rates are inversely related to the value of assets per farm. Tax rates are positively related to the homogeneity of the agricultural sector, as measured by the a Herfindahl index of the value of output from 12 sectors. Thus the results are broadly supportive of majority rule voting models, and broadly inconsistent with special interest models.
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Li, Xiangnian. "Han Wei Liu Chao zhuan ji wen xue shi gao." Shanghai : Fu dan da xue chu ban she, 1995.
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Meza, Garay Renzo Juan De Dios. "Percepción del patrimonio cultural-arqueológico en comunidades rurales del Valle Bajo de Chao, distrito de Chao, provincia de Virú, Región la Libertad: avance de investigación." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2020. http://hdl.handle.net/20.500.12404/17279.
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El patrimonio cultural-arqueológico nacional se caracteriza por ser uno de los
más antiguos y diversos del mundo. Este representa una fuente de información
histórica, científica y cultural que debe ser aprovechada por las poblaciones
debido a su potencial para el desarrollo de actividades económicas e identidad
territorial. Sin embargo, actualmente, este recurso se encuentra bajo amenaza
antrópica permanente que se presenta de las siguientes formas: el saqueo o
“huaqueo”, la destrucción o demolición, el vandalismo e invasiones y el tráfico
de tierras. Estas actividades han ido incrementando de forma exponencial y se
han convertido en uno de los principales factores que impiden la conservación
del patrimonio en la costa norte donde se registra la mayor cantidad de
atentados.
Al ser el hombre el agente transformador del patrimonio y considerarse este
como un elemento indisoluble del territorio, resulta necesario el análisis de sus
interacciones para identificar percepciones y valoraciones con el objetivo de
diseñar estrategias participativas de protección del patrimonio. El presente
documento forma parte de una investigación mayor perteneciente a una tesis
de la sección de Geografía y medio ambiente. Este busca comprender la
relación entre las comunidades rurales del valle bajo de Chao ubicado en la
región La Libertad y su patrimonio, aquella que genera conductas negativas
degradadoras de este espacio. Por ende, se aplican metodologías basadas en
la Geografía de la Percepción y el Comportamiento.Trabajo de investigación
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Hu, Chao [Verfasser]. "Localization and Orientation System for Robotic Wireless Capsule Endoscope / Chao Hu." Aachen : Shaker, 2015. http://d-nb.info/1069050369/34.
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Stubbs, Christopher M. (Christopher Michael). "Integrated water resources management in the Chao Phraya River basin, Thailand." Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/40593.
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Chao, Pi-Chieh [Verfasser]. "Easy Flow : Kontinuierliche Feuchtgranulation am Beispiel von Calciumcarbonat / Pi-Chieh Chao." Bonn : Universitäts- und Landesbibliothek Bonn, 2013. http://d-nb.info/1045276634/34.
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Voisard, Christophe. "Etude génétique de Pseudomonas fluorescens CHAO, une souche antagoniste de champignons phytopathogènes /." [S.l.] : [s.n.], 1988. http://e-collection.ethbib.ethz.ch/show?type=diss&nr=8663.
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Jia, Fenran. "Liu chao wen ti pi ping yan jiu = Liuchao wenti piping yanjiu /." Beijing Shi : Beijing da xue chu ban she, 2005. http://www.loc.gov/catdir/toc/chi0801/2008553389.html.
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Chu, Chao [Verfasser]. "A high speed/high linearity continuous-time delta-sigma modulator / Chao Chu." Ulm : Universität Ulm, 2017. http://d-nb.info/1147848033/34.
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HIE, JUNG JIN, and 鄭真熙. "The Research Of Comparison Between MO-Chao Chan and Kang-Haw Chan." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/31369142515356196609.
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Yang, Chao Feng, and 楊兆豐. "Yang,Chao Feng." Thesis, 1995. http://ndltd.ncl.edu.tw/handle/82448020071572404229.
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Wang, Yueh-hsiu, and 王月秀. "A Study of Seng-chao''s Thoughts -- focus on the "Chao Lun"." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/a5x8rc.
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CHAO-HSIEN, CHEN, and 陳昭先. "ICON‧SHADOW OF ICON—THE STATEMENT OF CHEN CHAO-HSIENICON‧SHADOW OF ICON—THE STATEMENT OF CHEN CHAO-HSIENICON‧SHADOW OF ICON—THE STATEMENT OF CHEN CHAO-HSIENICON‧SHADOW OF ICON—THE STATEMENT OF CHEN CHAO-HSIEN." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/10691706847623505054.
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碩士國立高雄師範大學
美術系碩士班
94
As the carrier of one’s ego, body is not only an essential means of recognizing and expressing oneself, but also a bridge between environment and oneself. However, since human beings are social animals and must interact with environment, differences of environment would change sense and cognition obtained through one’s body. Therefore, one’s body, like a battlefield, is a place where ego confronts social environment. In my works, I take body image as a medium. Being the observer and the observee, I alternate between the object and the subject, not only expressing my mental status and the influence the society exerts on me, but also examining the relation between my ego and the society. The statement centers around my works. By observing my mental status and the connection with the society via my works, I hope to help go about self-integration, thus understanding myself better. Accordingly, I divide the statement into four chapters. (1) Ego, Icon and Shadow of Icon: From the viewpoint of the psychologist, Carl Gustav Jung, I observe my works, which reflect myself and the connection of the structure of my psyche. (2) Connection Between Ego and the Society: I look into the social criticism presented in my works which are the projection of the relation between ego and the society. (3) Embodiment of Body Image: My works observe and embody myself by taking body image as a medium for expression. (4) Discussion of Elements Constructing the Works: I probe into the elements constructing my works as so to observe not only my criticism towards the society but also the influence the society exerts on me.
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Liu, Chao-Hsiu, and 劉招秀. "Chao-Hsiu Liu Piano Recital." Thesis, 1996. http://ndltd.ncl.edu.tw/handle/28169471089193304324.
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碩士國立交通大學
應用藝術研究所
84
I. Recital 1.D. Scarlatti Sonata K. 104,492 2.F. Schubert Sonata in A Major Op. posth. 120 D664 i Allegro moderato ii Andante iii Allegretto 3.J. Brahms Variationen uber ein Thema von Joseph Haydn Op. 56b 4.F. Chopin 3 Mazurkas, Op.63 5.M. Ravel Gaspard de la Nuit i Ondine ii Le Gibet iii Scarbo The program above was performed in the Recital Hall of The National Chiao Tung University on June 30, 1996. The live recording of this performance can be heard on the submitted tape. II. Supporting paper: Analysis and Interpretation on one of Ravel's 3 Piano Poems 《Ondine》--- Imaginative Relationship between Poem and Sonority From the above program 《Ondine》, the first of Ravel's 3 Piano Poems forming the set "Gaspard de la Nuit", to write a supporting paper. The first part of this paper is an analytical study, the result of which directly effects some interpretation issues discussed in the 2nd half of the paper. The analysis focuses on the succession of the 9th or 11th or 13th chord, and the melodic phrasing structure of 《Ondine》. The following part on interpretation emphasizes how the details of the imagination translate from the poem to the sonority.
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Wu, Chen-Ni, and 吳珍妮. "Wei-chao Lin prose study." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/92455277619065528918.
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碩士國立中正大學
台灣文學研究所
101
’Wei-chao Lin’(1868 to 1934), the word ‘De Qing’, ‘Han Tang’, alias ‘Yiyuan master’. Live in ‘Chiayi’ ‘Xingang’. His grandfather ‘Lao-cheng Lin’ got the gift ‘five royal blue plume’ by suppress the chaos who’s leader is ‘Wan-sheng Dai’ efficient. His father ‘Ching Lin’ is as famous as well. Born in such a famous family, he has been very clever from very early age, and take the Confucian education, He got the scholar No.11 in ‘Guangxu’ 13(1887). In the same year he lost his father, inherit the family business and invest in sugar, firms and other industry, he put himself into the responsibility of defending the country at the same time, because that he earned deeply respect and admiration from the country people. ‘Taisho’ 12(1923) joint ‘Xingang’ scholars composed of ‘Guku Yin Poetry Society’, by hitting the bowl and read poems for fun. Write ‘Lao Sheng Qin Gji’, ‘Wen Gao’, ‘Za Zuo’, ‘Yi Yuan Yin Cao’ and ‘Yi Yuan Chang He Ji’. Anthologized ‘Tang’, ‘Song’, ‘Ming’ and ‘Qing’ ports’ hand-written drafts ‘iron mesh coral’ and ‘Shou poem attached Di Ju poem’ and so on. ‘Min’ 95(2006) ‘Su-yun Chen’ complied ‘Wei-chao Lin’ poetry anthology by his poetry. From the background, personal life and traditional to analyze Wei-chou Lin’s disposition, talent and understood his poetry’s connotation, and analyze his association with literary activities, then summarized his works into the praising, realist, and attempt to praising it’s literary volume by analyze the idea about art, and literary skills from the poems. Also we can know the changing times and the culture. Hope the used left for us to refer and learn.
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Yu, Chao-Chi, and 游昭祈. "Chao-Chi Yu Violin Recital." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/7g25xh.
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碩士臺北市立大學
音樂學系
107
The concert focused on works in the form of "Suite". Suite was composed of various dance music in the Baroque period. These dances were all in the same tonality. After the 17th century, the composition was considered an ancient form of composition, and it was transformed into a modern suite in the 19th century. In the author's learning career, was less exposed to the suites outside the Baroque period, so this concert selected two works with strong exotic color combinations. One work with a Spanish folklsong, and the other is a piece of music related to Jewish life.
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Hsi, Chang Shu, and 張淑喜. "A Reseacrh of Chao Mengfu’s Calligraphy." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/83474966417054229148.
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碩士臺北市立師範學院
應用語言文學研究所
91
This thesis is divided into six chapters. Chapter One, Introduction, gives a general overview of the motive, purpose, and range of the research, the documentary research that is hitherto made, and the methodology of the thesis. Chapter Two, Chao Mengfu’s Background, Education, and Friends, discusses Chao’s historical background, his family, education, and friends. Chao was born in the time of Southern Song. Smart and studious, Chao, as a distant relative of the royal Song family, had the access to the hoarded calligraphic treasure of the family, which formed the solid basis of his art and taste. He was one of the Eight Gifted Scholars of Wuxing who had a wide acquaintance, and enjoyed improvisation of calligraphy and painting together with his friends Qian xuan, Xian Yushu, Deng Wenyuan. During Yuan Dynasty, he received an official position, which provoked criticism. Nevertheless, he made efforts at representing the general public opinion, and contributed to the construction of schools, promotion of Confucianism, and eradication of conspirators; meanwhile, he realized his Confucian ideal of Practical Governing Art. However, the inward conflict resulted from his position, together with the discrimination against and jealousy towards him in the court, made him petition for being send to a place outside of the circle of power, regret for having received the official position, and long for a rural life. He began to seek comfort in creation. In the decline of his life, after years of ups and downs, the physically and mentally fatigued Chao excused himself to Buddhism for relief. Chapter Three, The Thinking and Calligraphic Training of Chao Mengfu, recounts Chao’s background of thinking and personality, as well as his training in the art of calligraphy. The intertwinement of Confucianism, Buddhism, and Taoism in Chao’s thinking contributed to the multifaceted character of his creative works. He did not follow any school; instead, he absorbed the advantages of every school in tradition. As a distant relative to the royal family, he followed the art of Song Gao Zong in his earlier years, which had a lifelong influence on his art. Later, he learned from Two Wangs (Wang Xizhi and Wang Xianzhi) and Chung You, and followed the calligraphic art of Lu Jian; meanwhile, he was indebted to the other masters. As his art gradually matured, Chao’s Art as a school was formed. In his later years, for the convenience of epigraphy, he apparently blended the techniques of Lee Yi and Liu Gongquan, which contributed to the vigor of his calligraphy. Besides these influences, he profited by the calligraphic art of the masters of Qin Dynasty, Han Dynasty, and the Three Kingdoms, including the technique of model-copy of Shigu Characters, Zuchu Characters, the art of Liang Hao and Huang Xiang. This training made him adept at the calligraphic art of Zhuan (Seal Scriipt), Li (Cleric Script), Xing (Running Script), Cao (Cursive Script), and Zhangcao. Chapter Four, An Exploration of Chao Mengfu’s Calligraphic Art, first touches on Chao’s theory of calligraphy which spread among the epigraphs. Although they were not collected in the form of a book, they could be summed up as the following points: to recover the calligraphic art of Jin and Tang Dynasties, to concentrate on the art of inscription, to write for life, to make a harmony between pen, ink, paper and pen, and to break the confines of similarity of shapes. Next, the thesis continues to discuss the shift of Chao’s calligraphy, and summarizes the characteristics and achievement of Chao’s calligraphic art. The characteristics of Chao’s calligraphy are: 1) he followed the spirit of the great masters, which formed the principle of his calligraphy; 2) he polished and elaborated his style; 3) he absorbed the tenderness and charm from the Two Wangs, and mastered the art; and 4) he was studious and he learned from various schools, which made his art and his personality matured early. The achievement of his art includes: 1) he restored the beauty of classical culture; 2) he formed one of the primary schools of formal script; and 3) he amplified the form and content of calligraphic art. Finally, the thesis concentrates on the most important and representative works of Chao’s creation for a deeper investigation. Graphics and a catalogue of his works are attached for the purpose of explication and reference. Chapter Five, Chao Mengfu’s Influences on the Calligraphic Art of the Latter Generations, explores the influences of Chao’s art on the latter generations, as well as pinpoints the artists of Yuan, Ming, Qing Dynasties that were indebted to Chao. Chao was one of the pioneers in Yuan Dynasty who endeavored to renovate the classical calligraphic art. He articulated the opinions of one of the repressed other clans which, unable to resist the domination of Mongolians, attempted to renovate the traditional culture, as the only way and their sole mission to resist the domination. Under the leadership of Chao, the contemporary artists gathered their power and formed a campaign. Chao’s influence was even felt in Korea, their neighboring country. The campaign continued in the periods of Ming and Qing which shared a similar cultural background. In view of the fact that Chao represented one the most important reactionary powers in Yuan Dynasty, this thesis explores and subdivides the calligraphers of Yuan Dynasty into different types to examine how much Chao had influenced them. It continues to examine his influence on the calligraphers of the Ming and Qing Dynasties whose movement were also partly encouraged by the authority. As we can observe, some of the modern calligraphers were also indebted to the Chao’s art. Chapter Six, Conclusion, attempts to investigate Chao’s calligraphic art from an objective perspective despite his official position, and confirms his achievement in Chinese culture. The artistic value of Chao’s calligraphy is undoubtedly great, and his influences on the succeeding generations are also unheard-of. Certainly, this achievement is partly due to the trend of different periods; however, if not for his genius and ability to seize opportunity, he would not have such a tremendous accomplishment and influence. Chao Mengfu’s success and contributions had gained the artist a foothold in the history of calligraphy.
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Liu, Yi-Chung, and 劉益忠. "Microencapsulation of lao-chao culture filtrate." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/89348594902873658487.
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博士國立臺灣大學
畜產學研究所
90
Microencapsulation of lao-chao culture filtrate by Liu, Yi-Chung ABSTRACT Lao-chao is a traditional Chinese fermented rice product with a sweet and fruity flavor, containing high levels of glucose, a little alcohol and milk-clotting characteristics. In order to optimize commercial production of lao-chao, Rhizopus javanicus and Saccharomyces cerevisiae were selected as the mold and yeast starter, respectively. A commercial mixed starter (chiu-yao) was used as control. Fermentation of the experimental combination revealed a sharp drop in pH (to 4) on the fourth day, remaining constant thereafter. Content of reducing sugars gradually decreased throughout the entire fermentation period. Of the free amino acids, higher quantities of alanine, leucine, proline, glutamic acid, glutamine and NH3 were noted. For sugars, glucose revealed the highest concentration, while organic acid levels, including those for oxalic, lactic, citric and pyroglutamic acid, increased throughout the fermentation period. Twenty one volatile compounds were identified by gas chromatography from aroma concentrates of the lao-chao culture filtrate, prepared using the headspace method. For the flavor components, higher quantities of ethanol, fusel oil and ester were determined in both culture filtrates. Moreover, the study was conducted to comprehend the factors affecting the microencapsulation of the culture filtrates from lao-chao. An attempt of selecting pure culture was made, Rhi. javanicus and S. cerevisiae was chosen as a mold and yeast starter for production of lao-chao. The wall materials of the microencapsulation system were maltodextrin and gum Arabic in the ratio of 3 to 2. Light and white index of microcapsules gradually decreased throughout the inlet temperature from 90 to 110℃. The retention of microcapsules increased and particle size decreased throughout the wall material concentrations from 30 to 60%. In the ratio of four wall materials to one core, they maintained the best flavor retention rate of microcapsules. A response surface design was used for studying the optimum producing models of lao-chao culture filtrate microcapsules. Results indicated that the best retention 74.13% of microcapsules could be obtained by the inlet temperature 101.4℃, wall material concentrations 54% and in a ratio of four wall materials to one core. As for milk curd, we had studied the effects of lao-chao culture filtrate microcapsules added on the curd firmness, viscosity, and syneresis. Results indicated that the addition of 10% microcapsules was proper for the curd. As a result, it is achievable to develop a flavor reagent with microencapsulated lao-chao culture filtrate and to provide the point of reference for a curd product. In fact, we still study to produce a good yield of lao-chao culture filtrate microcapsules to be used for systematic production.
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Liao, Hongchang. "Liu chao wen bi shuo xi lun." 1985. http://catalog.hathitrust.org/api/volumes/oclc/19467189.html.
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Lin, Kuanhsien, and 林冠賢. "A Study Of Chao,Kuni Seal Carving." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/18883685573356479421.
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碩士國立臺灣藝術大學
書畫藝術學系碩士班
99
The current paper mainly explores the creation and creativity of seal cutting from Chao Ku-ni and analyzes the sources of materials. Collected works herein are divided chronologically and non-chronologically, both of which serve as evidence to change of style in seal cutting. The paper first explores Chao’s background and living, seeing into relevant documentation and classifying his epithets, and thus comes to grasp the various styles and content of such epithets from various periods; hence the sequence of works can be detected and decided. Meanwhile, the study examines the events during the course of his mastering the art, including the subjects of his emulation and the period when he had become familiar with some friends of his, hoping to unearth the causes of his change of style in seal cutting. This paper deals with Chao Ku-ni’s studying and creating ancient seal cutting and further explores his view of “studying the beauty outside of the seal” by categorizing “casting Han’s seals”, “ancient jade seals”, “schools of seal cutting”, “inscriptions of ancient bronze and stones” and “works of tiles”. The study first clarifies the sequence of the abovementioned artworks and screening which elements are to be integrated into his idiosyncrasies; and secondly the study compares his works to other seal artists who learned from ancient pottery and luting. In addition, the inscriptions on the side or top of a seal are classified as well. Lastly the paper turns to the materials of adopted by Chao Ku-ni, namely, stone, tooth, crystal, jade and bronze. The spectacular quality produced from materials other than stone have become a core factor contributed to Chao’s style. The aesthetics of Chao Ku-ni’s seal cutting has not merely contributed to Yu Shan School’s innovative style, but has influenced the developments from then into later generations as well. The perspectives of Chao’s disciples who succeed his strain are also a major concern in this paper. Keywords: Chao Ku-ni, Yu Shan School, studying the beauty outside of the seal
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CHAO, PEI-YING, and 趙珮瑩. "Rhythm, Rhythm, RhythmDiscourse on Chao Peiying’s Artworks." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/9g926f.
Full textAbstract:
碩士國立臺灣藝術大學
美術學系
107
The research of the artistic creation process and the development context are the subjects of the thesis. During the studies at the institute of National Taiwan University of Arts, the change between early-stage and late-stage leads to thinking further that among the development of contemporary art, painting can existed by which way in the changes of the era. Despite going through each genre and theory of art history, “ painting ” has always had its own reasons for its existence. It is a process in which a painter can transmit information, focus attention on image memory of the past, and extend and expand the emotional space. Taking the author’s work as a research of discourse. At the beginning of abstract painting, the melodic painting is formed by the afterimage rhythmic of dancing body to be homologous with the form of painting. The first chapter contains the rational geometrical shape, which is the concept of signs in the abstraction of the author; the rhythm is proposed by the combination and the superposition of geometrical shape; the decorativeness is constructed by the geometrical shape. The second chapter is the new possibility of sketching in creative work. Using the perpetuity of lines to express the rhythm and aesthetic of dance in space, being supplemented by studying the relationship between rhythm and time in sketch works. The third chapter is to explore the color in the artistic creation, including the realistic and unrealistic colors; the analysis of coloration, lightness and chroma; the preference color, non-preference color, the usual color and the expressiveness. The forth chapter is the variation of the theme. After the training of form, turning into the logical dialectic of notion. The research of the relationship between the utilisation of ready-made objects and the painting during the production. In each chapter, applying the rhythm, repetition of the rhythm, sensory feature, and the academic principles to investigate the spirituality in the author’s painting. The method of exploration consists of the behavior of painting, following the recreating external image of representation, or more subjective, inner reality and emotional description, which makes the author focus on the characteristics of the essence of painting: color, shape and structure. Moving forward to probe material of painting and variation of the vehicle. All the creative works reflect the artist’s personal cultivation, taste and outlook on life. The road of research and creation is a silent and lonely pursuit; however, it is an unspeakable spiritual demand. Cultivation of knowledge, accomplishment are equivalent of the works that are sufficient to pursue
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Ho, TSUNG-TE, and 何宗德. "Study on Style of LI CH'ING-CHAO Lyrics." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/854hz5.
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Chang, Shun-Hsian, and 張舜翔. "The Study on Chiang Chao-Shen’s Calligraphy Art." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/34105343261210615000.
Full textAbstract:
碩士國立臺灣藝術大學
書畫藝術學系
103
Due to the political factors, there were a lot of great painters and calligraphers brought together to Taiwan in the 1950s. Some calligraphers were good at running and cursive script, and some at seal and official script. As for regular script, Chiang Chao-Shen made a strong position for himself because of the variety features absorbing and sublimating from the strict rules of Tong Dynasty’s style. Chiang Chao-Shen dedicated his life to the learning of various kinds of stone inscription rubbings and copying models of handwriting, and achieved his own characters in different styles of script. He also built up his calligraphy studies concept, which can be found at the comments in his calligraphy works, through the imitating of ancient’s works. Furthermore, Chiang Chao-Shen’s strong character of running script earned him a fame called“Chiang Script.” This research contains five chapters. Chapter 1 describes the motive, purposes, scope limit, steps and literature analysis of the research. Chapter 2 describes the biography of Chiang Chao-Shen. Chapter 3 makes a thorough inquiry into Chiang Chao-Shen’s track of studying and personal style of calligraphy. Chapter 4 discovers the connections between Chiang Chao-Shen’s calligraphy studies concept and his personal character – from original and his copy of ancient painting and calligraphy. Chapter 5 summarizes Chiang Chao-Shen’s achievements of his calligraphy styles.
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CHANG, KO-HSIN, and 張可欣. "Chao Buzhi and ZHANG LEI Making Friends Research." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/78387458118828429917.
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碩士國立屏東大學
中國語文學系碩士班
104
Four Students fame, famous in the song, it has spread. Among the four, Chao and Zhang Lei of Friendship of the most good, good times, they intersect moral; adversity, they encouraged each other's way, his mouth Ru most real emotions. By Chao and Zhang Lei of lapel hold personal feelings, character, temperament, identity experiences, as well as fundamental research Intercourse travel back and forth from literary works when performed. In this paper, by way of literature analysis, historical analysis, first from Chao, Zhang's life encounters, make friends discuss their beginning, and after polymerization situation. Next door to both the Soviet Union, close embrace, and a similar career three perspectives, discuss the impact of Chao, Zhang became best friends because of. Try sorting through Chao, Zhang dealings Friendship works, spy each other mood changes, to understand where interactive exchanges. Most of the subject matter involved, and described them as brothers and deep emotion. They learn by apprenticeship final exchange, with its literary thought, in order to draw the two hook philosophy of life, knowledge and literary character ideas, and why a place of poetry in the Northern Song Dynasty.
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Wu, Shu Mei, and 吳淑梅. "Study on Green Ground of Chung Chao-cheng." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/53124397987175885718.
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Yuan-Cheng, Fu, and 傅遠政. "Beyond the Scene - Chang Chao-Tang's Photography Works." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/37801718382992286436.
Full textAbstract:
碩士國立臺北教育大學
藝術學系碩士班
96
Looking back the history of photography in Taiwan, Chang Chao-Tang（張照堂） revealed from "Modern Photo Exhibition" with Zheng Sang-Xi（鄭桑溪）in 1965 showing fantastic images which lead viewers into theater experience, at the same time involved several complex art exhibition in the 1960's, went through leaving traditional photography form in the 1970's, and then joined the " neo- documentary ". His works abidingly care about how people exist, and discover the possibility of photographical creation by his unique image style. This thesis concentrates on the photo arts of Chang Chao-Tang from the 1960's to 2003, probes discussion in photography and the study of photography history, taking " Modern Photo Exhibition " in 1965 as an example to convert in the development of modern photographical art in Taiwan, and then ends in analyzing photo arts of Chang Chao-Tang and the meaning behind those images. By interviewing and rebuilding the historical materials, this thesis is trying to reconstruct the factors, works, and criticisms about "Modern Photo Exhibition", and to provide a way to interpret the modern photography in Taiwan. Through the study of Chang Chao-Tang's works, his attempt to convey photographer's message into viewers is obviously found in his 60's. However, after turning to neo-documentary, the information which photographer might try to convey is not articulated anymore. It is turned to the imagination of the viewer's own. Traditional way of photographical narrative is also substituted by images of realism. The experience of photography is no longer conveyed by the scene, but by the imagination outside the scene.
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Fang, Hung-Chun, and 方虹鈞. "The Study of Chao Pho Politics in Thailand." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/61788679638047634148.
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碩士國立中山大學
中山學術研究所
94
For many years, election results from the countryside have been a big impact for the whole nation in Thailand. In the country or sub-urban side, Chao Pho (Godfather) manipulates the elections, leaving political parties meaningless. In order to take advantages from the election, political parties have to depend on Chao Pho because they are very close to ordinary citizens. Even though Chao Pho can operate local politics and can make country area for further development, they in the meantime have made degeneration and corruption in Thailand’s politics. In addition, this thesis carefully studies Chao Pho’s impact from both economic and political perspectives. In theory, economic development and political reform should generate impact on Chao Pho. But in Thailand’s economic development, Chao Pho has gained enormous benefits, which in return help Chao Pho to gain political power, this means that Thailand’s economic development is good for the Chao Pho. From point view of political reforms, the 1997 Constitution is designated to eliminate Chao Pho’s influence. In fact, from the two elections after the 1997 Constitution, money politics is still popular in Thailand and Chao Pho is still influential. The Thai Rak Thai Party had successfully echoed the needs of the lower level people, but it still needs supports from Chao Pho during the elections, due to their abundant resources. Finally, this thesis argue that Chao Pho’s political influence has not been weakened by the economic development and political reform, rather, Chao Pho continually becomes the most important political force in Thailand.
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ZHU, KUO LIANG, and 朱國良. "Study on Chiang Chao-Shen’s Art of Painting." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/84464593832732325661.
Full textAbstract:
碩士國立屏東師範學院
視覺藝術教育學系
92
Study on Chiang Chao-Shen’s Art of Painting Abstract Mr. Chiang Chao-Shen, whose art accomplishment has reputed as a paragon in the category of literati painting, not only performed prominently in art appreciation and the art history, but also mastered poetry, calligraphy, painting and seal carving. With limited intelligence, I am not capable to look into all his excellence, thus I chose the inquiry of performance in painting as the purpose of this study and focused on the topic: Study on Chiang Chao-Shen’s Art of Painting. In order to achieve this study purpose, I applied methods such as the historical research, the style approach and the art sociology mythology to investigate in exact capture of the entire appearance and pulse to obtain proper and objective conclusions. From Chapter 1 (Introduction), Chapter 2 (The Creation Background of Chiang Chao-Shen’s Paintings), Chapter 3 (Chiang Chao-Shen’s Philosophy of Painting), Chapter 4 (Chiang Chao-Shen’s Style of Painting), Chapter 5 (Chiang Chao-Shen’s Accomplishment and Influence on Painting), and Chapter 6 (The Conclusions), I have obtained real research results. For example, in respective of the creation background of painting, it was proved that Chiang’s painting subject, performance and style were influenced by the times. Besides, I researched and thus assumed on the issues including the expelling he encountered soon after entering the elementary school, his exact education background, and his becoming a student of Pu Hsin-Yu. As to his philosophy of painting, though he had not written any book I still achieved to outline his art thought from his a great deal of articles. For instance, Chiang’s opinions about literati painting were different from those of Tung Chi-Chang and he did not identify the theory about the Zen Schools in the north and south. Due to the cultural heritage and the times, he held the painting conceptions in relation to the mixture of poetry and painting and the linkage of calligraphy and painting. Additionally, his creation attitudes were for personal extra skills and amusement. He also created his unique theories about the painting process and about the genius. In aspect of his painting style, there were three categories, consisting of figure painting, flower painting, and mountain-and-water painting, discussed. In accordance with the influence factor and the style evolvement, his mountain-and-water paintings in large quantity were divided into 4 phases. 1. 1932-1364: Phase of preliminary practice. 2. 1965-1974: Phase of thinking and trying. 3. 1975-1984: Phase of style independence. 4. 1985-1996: Phase of maturity and perfection. Each phase was inspected on the style evolvement and trend in his mountain-and-water paintings. About his painting accomplishment and influence, I made 4 positions for his accomplishment after reviewing my research results and referring to others’ various allegations. 1. His painting was unique after integrating with Zen Schools in the north and south. 2. He destroyed the myth of total westernization and established new ideas. 3. He endeavored in the art history research and had remarkable result. 4. He found a new path for traditional Chinese literati painting. Finally, my conclusions were submitted based on the above research and the illumination and inspiration I got from this study were stated. Keywords：Chiang Chao-Shen, Art of Painting, literati painting,
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Tsai, Billy, and 蔡永昌. "A Study of Lian Chi-Chao''s Thought." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/62214091610251770972.
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Chao-Lung, Yang, and 楊肇龍. "Research on the Wei Family in Ching Chao." Thesis, 1995. http://ndltd.ncl.edu.tw/handle/80667299222026343976.
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Chang, Chih-Ching, and 張智菁. "A Study on the Calligraphy of Chang Chao." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/61145662567688943500.
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碩士淡江大學
中國文學系碩士在職專班
103
Chang Chao was an artist with quite reputation in the Great Prosperity during the reigns of Emperor KangXi, YongZheng, and QianLong of Qing dynasty. He was remarkable in various fields such as calligraphy, painting, poetry, music, drama, etc. His distinguishing calligraphy was valued by the three emperors as the image of emperors’ calligraphy. However, as the rise of epigraphy in the middle period of Qing, Chang Chao had been forgotten and few people heard about him ever since. Whereas seldom diploma theses focus on Chang Chao, the present study discusses the achievement of Chang Chao in calligraphy regardless of his genius and attainment in other fields. Chang Chao had revealed his talent in calligraphy since his teens. As he started his official career, he was admired by Emperor KangXi for his calligraphy and became emperor’s courtier. Chapter two introduces Chang Chao’s life and career and his fulfilment of work. Chapter three discusses Chang Chao’s learning process and theory in calligraphy. He was a follower and practitioner in “practicing calligraphy after paper-based model work” and argued a paper-based master sheet was better than an epigraph-based when practicing. Furthermore, he believed laying foundation was the first step in practicing calligraphy by which the “Thousand Character Classic” was the best role model. Then one had to practice hard to success. The romantic charm was the most important characteristic in either imitating a model work or creating one’s own work. Additionally, one’s self cultivation and knowledge, both essential in practicing calligraphy, would be accumulated and integrated as one’s insight and subsequently the realization of philosophy of nature. Chapter four focused on Chang Chao’s achievement in calligraphy and appraisal received from the three emperors and other calligraphers. Except for Emperor QianLong’s words “No one could be comparable to Wang Xizhi except for Chang Chao”, most of calligraphers also admired Chang Chao quite much. As the rise of epigraphy in the middle period of Qing, Chang Chao was recognized as a Guangeti calligrapher due to his ghostwriting for Emperor QianLong. He was denounced by calligraphers worshipped epigraph-based practicing since his stand for practicing calligraphy after paper-based model work. Chapter five concentrated on the changing of Chang Chao’s historical position in different periods. The present study discussed the achievement and theory addressed by Chang Chao in calligraphy. His experience serves as a reference for us in practicing calligraphy and understanding the Guangeti calligraphy. It is suggested knowing more about other Guangeti calligraphers like Chang Chao, seeing their masterpieces, appreciating them fairly, and revising their historical position.
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Wu, Mei-Ying, and 吳美瑩. "A Study on Guey-Chao Huang’s Children’s Songs." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/01857576278428103583.
Full textAbstract:
碩士臺東師範學院
兒童文學研究所
90
A Study on Guey-Chao Huang’s Children’s Songs Mei-Ying Wu Graduate Institute of Children’s Literature National Taitung Teachers College Abstract The purpose of this thesis is to explore the relationship between Guey-Chao Huang’s children’s songs and the children’s literature. As to the outline, the life story of Guey-Chao Huang was first put to the focus. Secondly, the characteristics of children’s songs by Guey-Chao Huang were examined with text-analysis method. Then, the relationship between Guey-Chao Huang’s children’s songs and Amis children’s culture was explored with structure analysis. In the end, based on the result from former analysis, Guey-Chao Huang’s position and contribution to aboriginal children’s culture was discussed. Therefore, there are three key-points in this paper: 1. To construct the value of aboriginal children’s culture in children’s culture of Taiwan. 2. To find out the relationship between Guey-Chao Huang’s children’s songs and Amis children’s culture. Furthermore, the composition by Guey-Chao Huang was systematically analyzed. 3. To confirm the important position and contribution that Guey-Chao Huang has done on the developmental history of aboriginal children’s culture. Based on the results of this study, this author makes the following conclusion: 1. There is close relationship between Guey-Chao Huang’s children’s songs and children’s culture The words of Guey-Chao Huang’s children’s songs cover four characteristics of children’s literature and five characteristics of children’s songs. Besides the common literary part, They are childlike, educational, playful, interesting, plain, musical and practical. Guey-Chao Huang’s work is full of different contents. They cover educational value, life education, gender education and sex education. Besides music, Huang’s work also has literary taste. 2. The interaction between Guey-Chao Huang’s children’s songs and Amis children’s culture Cultural characteristics revealed from the process of children’s activities, infant naming ceremony and harvest festival have influence on Guey-Chao Huang’s work. The culture includes psychological culture, material culture and technical culture. Guey-Chao Huang’s work manifest the realization of aboriginal life and prove that the Amis children’s life is the social cultural essence of literature. 3. Cotribution done by Guey-Chao Huang (1) Set a good model for Amis children’s culture (2) Apply the viewpoints of cultural anthropology to compose Amis children’s songs as well as literary work (3) Guey-Chao Huang is the navigator of aboriginal children’s literature. He is also the first aborigine to transform Amis children’s songs from oral to written work. As well, the written work was put to public. Dialogue between aboriginal literature and mainstream children’s literature was therefore made. Key-words: Guey-Chao Huang, children’s songs, Amis, Amis children’s culture ,Aboriginal
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Chiu, Pao-hui, and 邱寶慧. "The Research of Bei Chao Li-t’i-wen." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/96607915237492984863.
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碩士東吳大學
中國文學系
94
The Northern dynasty was an unrest time. During its history of 286 years,The problem of peoples derived from the frequent dynastic succession and the cultural conflict between the Hu and Hang peoples made “change” and “chaos” the basic situation of the time. The complication of the phenomenon couldn’t be compared at all by that of any time before the middle ancient period, and it also became involved with the change of development of Bei Chao Li-t’i-wen. The thesis was begun and developed on the basis of the cognition, and it was also written the process of development of Bei Chao Li-t’i-wen vertically in order of time. The center of the statement was put particular emphasis on the exploration of enviromental background, including both politics and culture, and the atmosphere of the contemporary literary world and the general situation of Li-t’i literary performance. The thesis is divided into six chapters. Chapter1,“Introduction”. Chapter2, “The curtain raiser of Bei Chan Li-t’i-wen:16 countries”.Chapter 3, “The heir of Bei Chao Li-t’i-wen:the Northern Wei Dynasty”.Chapter4, “ The prosperity of Bei Chao Li-t’i-wen:the Northern Qi Dynasty”.Chapter5, “The top of Bei Chao Li-t’i-wen:the Northern Zho Dynasty”.Chapter6, “Conclusion”. Through the exploration of the thesis, I hope it could completely present the course of Li-t’i-wen famouse for “elegant and grand words” that how it overtook the Northern traditional simple and unadorned literature, and the diffenence between the South and Li-t’i-wen developed under the specific literary condition, and thus it could get rid of the dependent position on the Southern dynasty and showed the independent literary life of Bei Chao Li-t’i-wen under the background of the unique time of disturbances when Hu ppeople help the reins of goverment and weren’t familiar with the Han language.
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Chao, Hsu-Chi, and 趙絮琪. "Soul ． Code – The Statement of Chao, Hsu -Chi." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/v65357.
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碩士國立東華大學
藝術與設計學系
107
The soul has a mysterious nature to it that science cannot logically explain. Different schools of psychology have used different angles and methods to decipher the soul, and through doing so, have enlightened us too. Furthermore, they have forged a path for us to be able to recognise and understand ourselves. As one gets older, one’s feelings about matters also begin to change. This thesis uses art to inspect and interpret psychological states. Through this process, the artist becomes aware of what is hidden in the depths of her heart. At the same time, one is able to progressively understand what the soul is trying to say. If one looks, symbols appear everywhere in our everyday life. This includes symbols and slogans that we see and are able to understand without difficulty. The artist uses her imagination and reflection upon matters to give an interpretation of symbolic emblems. She uses detailed shapes and contours of lines to construct the feeling of a chaotic emotional state. She expresses different reactions during different time periods and reflects upon this. These are probably recollections of her memories, and they could also be the secrets of her subconscious. Her work is split into three series, “The Heart’s Consciousness”, “Dreams and Fission” and “Hidden Memories”. This is the culmination of a dialogue between the artist and her inner world. The main focuses of this thesis are: (1) To explore the artist’s own mental state as the foundation, and to use this as the main inspiration for the artwork. (2) To use elements of symbols to explain the truth behind feelings and how to transform them. (3) To use mixed media techniques to create the pieces. (4) To use the human subconscious as the basis of conception, and to split the pieces into three series, in order that there is an orderly arrangement to them.
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陳榮傑. "Research on seal carving arts of Chao Chih-ch'ien." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/29196764623111709702.
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CHOUMINHWA and 周敏華. "Research in Chao I-kuang’s“Liu-shu Chang-chien”." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/54439359507504800772.
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碩士銘傳大學
應用語文研究所碩士班
91
Research in Chao I-kuang’s(趙宧光) “Liu-shu Chang-chien”(六書長箋) During the “Chien-chia”(乾嘉) period in Ching dynasty, “textual criticism”(考據學) is the mainly method for researching Chinese traditional learning. Therefore, the scholars in the Chien-chia period didn’t see any special academic achievement in Ming dynasty under the principals in textual criticism especially the officials who compiled the “Si-ku Chuan-shu”(四庫全書) were debased the research in Chinese characters in Ming dynasty. But today, we can obviously find some clues and evidences when the Ming scholars using the “Shih-ku inscriptions”(石鼓文) and ancient Chinese characters as textural criticism methods in their research books. These turned out that scholars who researched in Chinese characters in Ming dynasty were affected by “the study of bronze and stone inscriptions”(金石學) which Song scholars were used as the mainly method in research Chinese characters. Therefore, the scholars who studied in Chinese characters in Ming dynasty also made some attributions on the Chinese characters research. Chao I-kuang(趙宧光), who was born in a bigwig family in the late Ming, was studied in Chinese traditional classics since his childhood. He wrote “Shuo-wen Chang-chien”(說文長箋) and “Liu-shu Chang-chien”(六書長箋) as his studied books in researching Chinese characters. The contents of “Liu-shu Chang-chien” collected about 19 scholars’ theory in Liu-shu since it was started by Hsu-shen(許慎) in Han dynasty and ended in late Ming scholar Wu Yuan-man(吳元滿). Generally speaking, Chao criticized their defects and commented their merits which were representing a generalization of many views and ideas from Han to Ming dynasty. This M.A. thesis is discussing about Chao’s Liu-shu theory and trying to realize the Chinese characters research of Ming scholars.
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Chang, Fei-Chien, and 張翡倩. "The Dialectic of Image Archives: Shen Chao-Liang’s “STAGE”." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/5g8es6.
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碩士國立臺北教育大學
藝術與造形設計學系碩士班
103
Taiwan photographer Shen Chao-Liang has dedicated to the documentation project about the Taiwanese vaudeville troupes since the end of 2005. In this process, he has worked on a documentary photography project TAIWANESE VAUDEVILLE TROUPES in black-and-white images. In his early field visits, he became absorbed in stage trucks which been used by the vaudeville troupes, so he created the STAGE series simultaneously. Another project SINGER & STAGES presented portrait of performers and stages. Accordingly photographer forming three subtopics which independent and different in form and visual style, social context and human factors associated with each other. This master's thesis studies STAGE (2011) photographic album which image created in 2006 to 2011, with regular shooting mode: STAGE series which all been captured by 4×5 color reversal films, view cameras, in the form of direct photography, set the universal time for shooting at the sunset evening. It will be analyzed how this documentary photography project escapes from the traditional genre of photography, in favor of contemporary international trends in photography and takes another path to innovation; images of gorgeous sceneries which contain the reality of the situation of the local entertainment industry. At the same time, the thesis will investigate archival issues which are inherent in this photography series and point out STAGE does not work entirely as archives.
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CHAO, MIAO-CHING, and 趙妙菁. "Research Concerning Japanese Chao Heng in the Tang Dynasty." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/jb4u2s.
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博士中國文化大學
史學系
105
Goguryeo, Paekche, and Silla of the Korean Peninsula were consciously involved the Tang Dynasty and Japan in the reintegration of power during the 7th century, transforming a simple national incident into an international conflict. Changes in international dynamics of East Asia affected the foreign strategy between the Tang Dynasty and Japan. Apart from facing the war against Goguryeo in the east, Tang Taizong and Tang Gaozong also had to deal with regulatory commissioners from the west and north. With military conflicts in the east and west, the Tang Dynasty was unable to cope and finally gave up the rights to Paekche and Goguryeo, giving them to Silla and paving the path of a united Korean Peninsula. With war between the three kingdoms of Korea, Japan assisted in rebuilding Paekche, meeting the Tang army at the Battle of Paekchon River. The pain of losing the battle forced Japan to rethink and adjust their foreign policies, leading to more than 260 years of activities of Japan Kentoushi (Japanese ambassadors dispatched to the Tang court). Foreign students of the Kentoushi group were responsible for learning from highly sophisticated cultures and importing what they learned abroad for the development of Japan. Foreign student Abenakamaro, later known as Chao Heng, entered Tang society during the reign of Tang Xuanzong. Chao Heng entered the State University (Guozi Jian) of the Imperial Academy (Taixue) and received Tang’s official education, participated in the imperial examination, and joined the civil election of The Ministry of Personnel (Lipu). He followed the path of joining public office of Tang intellectuals and entered the bureaucratic system. Despite his identity as a foreigner, Chao Heng served as a civil servant (wenguan) in the Tang Dynasty for up to four or five decades, spanning the three generations of Tang Xuanzong, Tang Suzong, and Tang Daizong. Apart from explaining the international dynamics during the time Chao Heng was in office and his path of studying and participating in the imperial exam, this research also focuses on Chao Heng’s experience as an official of the Tang court and the analysis of his post. Specifically, this research marks the 21st year of the Kaiyuan Era (A.D. 773) as the division for the first and second half of Chao Heng’s post during the Tang Xuanzong period. The first half of Chao Heng’s post in the Tang court was relatively successful and Chao Heng had a smooth career that was envied by many. In the 21st year of the Kaiyuan Era, Chao Heng started thinking about returning to his homeland and raised a request to return; the motion was denied by the Tang court. This was perhaps related to his post as Zuo Bujue, since Bujue was a close official to the emperor and had more opportunity of interacting with Tang Xuanzong; leaving Tang and returning to Japan raised concerns about leakage of national intelligence. This paper believes this to be the turning point for Chao Heng’s career. In the second half of Chao Heng’s post, he endured up to ten years of career stagnation, but was promoted to high office as a third-grade official during the Tianbao Era. However, the posts were short-lived and more honorary than practical. These changes in Chao Heng’s post could be influenced by the Kentoushi group which entered the Tang Dynasty during the 11th year of the Tianbao Era (A.D. 752). The following year, as Chao Heng joined the Kentoushi group to sail back to Japan, the group was shipwrecked, and Chao Heng drifted to Annam. Not long after finally returning to Chang An, Chao Heng encountered the An-Shi Rebellion, an incident that shook the foundations of the Tang Dynasty. Chao Heng was still able to take post in the court of Tang Suzong and Tang Daizong after all this turmoil. In the court of Tang Suzong, Chao Heng served as Left Cavalier Attendant-in-Ordinary (zuo sanji changshi), a high position by the side of the emperor with little duties. Soon after, Chao Heng was transitioned as The Protectorate General of Annam and left Chang An. Chao Heng’s career went through the enviable official of the capital to a remote local official, finally returning to the land of the Tang Dynasty. Despite the numerous foreign official that served during the Tang Dynasty, most took post as generals of military officials (wuguan). Foreigners who could serve as civil servants in the court were mostly sinicised Hu people and their offspring. Figures such as Chao Heng, who entered the Tang court as a foreign student and joined the imperial exam to become an official, were scarce, and the fact that Chao Heng served for a long period, spanning three emperors, was even rarer. This paper attempts to investigate this from different viewpoints to gain a perspective on Chao Heng’s post in the Tang court. Keywords: East Asia, International dynamics, Kentoushi, foreign students, Abenakamaro, Chao Heng, Government position
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林佳勳. "A study on Chao-Fang Huang's paintings and teaching." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/20552529253123289319.
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Tsung-hsin, Hsieh, and 謝從馨. "Perfomance Technique of Chao-zhou Big Gong-Drum Music." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/56162131974249797470.
Full textAbstract:
碩士中國文化大學
音樂研究所
92
"Chao-zhou Big Gong-Drum Music " which is one of the famous music species of Chinese traditional music, it is just like most of the Chinese chamber music style, they include strings, brass, twang, wind and percussion instrument. The idea of thesis is analyzing music, history; also dwell on percussion part with emphasis: instrumental and technical. It content six chapters: 1st Chapter: Introduction 2nd Chapter: History trail of "Chao-zhou Big Gong-Drum Music " and introduction of instrument and technical. 3rd Chapter: Method of the Big Drum Technique. 4th Chapter: Method of the Cymbal Technique. 5th Chapter: Music of the "Chao-zhou Big Gong-Drum Music ". 6th Chapter: Conclusion. The research will focus on the issue of the technique, form of written music and conductor note, and I hope sharing the task of research to others will improve our percussion music.
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Yang, Chungli, and 楊中立. "Liang Chi-chao and the Late Ching Constitutional Movement." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/92575574964666170658.
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博士中國文化大學
政治學研究所
93
This dissertation is to research the political history of the constitutional movement in the late Ching dynasty. The purpose is to analyze the influence and contribution of Liang Chi-chao toward the late Ching constitutional movement. The presumption is as follows: Liang Chi-chao was a key figure in the history of the late Ching constitutional development. He founded the journal, wrote the constitutional articles, inspired constitutional discussion, and organized the association and political party to expound the constitutional movement, so that the Ching government could not help but adopt the unprecedented constitutional policy.
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Hsu, Yu-cheng, and 許玉純. "The Relationship of Liu Chao Poetry Criticism and Judgment." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/14520338616664064673.
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Park, Kyung Hee, and 朴卿希. "A Study of Bibliography in Chao-xian Period, Korea." Thesis, 1994. http://ndltd.ncl.edu.tw/handle/46913954012146956648.
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wei, Chuang Hsiao, and 莊筱薇. "The Development and Change of Settlement in Chao Jhou." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/64633198693015776121.
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碩士國立高雄師範大學
地理學系
99
Chao Jhou Township, with Alluvial fan surroundings, is located in the southern part of Pingtung Plain, between Tungkang River and Linbin River, encircled by Chutien and Sinpi Township.During Qing dynasty, ethnic groups like Hoklo, Hakka, and Shofan inhabited around at the same time; therefore, it caused the regional differences from within. This article attempts to discuss the time-space difference of Chao Jhou’s settlement to present the regional characteristic, by focusing on “ethnic exploitation” and “country management”. Once a small town with the function of providing farm produces in Qing dynasty, Chao Jhou had a country street supplying the basic needs to the villagers nearby and became the center of administration and business down in the southern part of Pingtung Plain during Japanese-ruled period. Due to the fact that our government’s unbalanced industrial investment and inconvenient transportation network after World War II, the development of rural settlement and the country street in Chao Jhou began to go down. These factors as well as the changing environment contributed to decline the productivity and the growth of Chao Jhou Township.