To see the other types of publications on this topic, follow the link: Des Yuan aux Qing.
Dissertations / Theses on the topic 'Des Yuan aux Qing'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 35 dissertations / theses for your research on the topic 'Des Yuan aux Qing.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Zheng, Yongsong. "Blanc de Chine (1490-1949) : l'odyssée de la porcelaine de Dehua." Electronic Thesis or Diss., Sorbonne université, 2025. http://www.theses.fr/2025SORUL008.
Full textAbstract:
Traduite telle quelle en chinois moderne, Zhongguo bai 中國白, l'expression « blanc de Chine » sert aujourd'hui à désigner la porcelaine blanche provenant des fours de Dehua, dans la province côtière du Fujian, où elle est fabriquée depuis la dynastie des Ming (1368-1644). Malgré sa présence marquée dans les collections françaises, la recherche spécifique sur cette porcelaine est très limitée, laissant ouvertes les questions d'identification, de provenance et de datation. Cette thèse vise donc à proposer une nouvelle synthèse sur cette porcelaine, partant de sa réception en Europe, puis de sa diffusion pour remonter jusqu'à sa production. Bien qu'inhabituel ou apparemment inversé dans sa logique, cet itinéraire ouvre progressivement la voie à une série de questionnements, ce qui permet de nous guider progressivement jusqu'au berceau même de cette porcelaine. Toutefois, l'ambition de cette thèse n'est pas d'écrire une histoire complète du blanc de Chine, mais plutôt de croiser les perspectives mondiale et locale afin de replacer cette porcelaine dans son contexte propre. Une question fondamentale, bien que paraissant à première vue simple et déjà largement abordée, imprègne l'ensemble de cette étude : quelles sont les spécificités du blanc de Chine ? Autrement dit, qu'est-ce qui définit véritablement un blanc de Chine ? Deux résultats tangibles de cette enquête seraient, entre autres, de contribuer à la mise en valeur des collections françaises et de faire reconnaître la valeur patrimoniale des fours-dragon, dont les techniques artisanales de construction et de cuisson sont aujourd'hui menacées de disparitionTranslated as Zhongguo bai 中國白 in modern Chinese, the term “blanc de Chine” today refers to the white porcelain produced in Dehua kilns, situated in Fujian's coastal province, where production has continued since the Ming dynasty (1368-1644). Despite its prominent presence in French collections, research specifically dedicated to this porcelain remains limited, leaving key questions about its identification, origin, and dating unresolved. This dissertation, therefore, seeks to offer a new synthesis on blanc de Chine, beginning with its reception in Europe, then examining its dissemination, and finally tracing it back to its origins in production. Though unconventional or seemingly reversed in approach, this trajectory gradually brings us to essential questions, ultimately guiding us back to the origins of this porcelain. The aim of this dissertation is not, however, to write a complete history of blanc de Chine. Instead, it endeavors to integrate global and local perspectives to place this porcelain within its unique historical context. One fundamental question—simple in appearance yet widely debated—shapes this study: What are the specific characteristics of blanc de Chine? In other words, what precisely defines blanc de Chine? Among the tangible goals of this work are to enhance the appreciation of French collections and to promote the cultural value of dragon kilns, whose artisanal construction and firing techniques face extinction today
2
Yu, Kwok Fai. "Xu Xueyi "Shi yuan bian ti" qing yu shi ge yuan liu yan jiu /." View abstract or full-text, 2005. http://library.ust.hk/cgi/db/thesis.pl?HUMA%202005%20YU.
Full text
3
Mak, Yan Yan. "Cong xiao shuo dao dian ying : lun "Qing cheng zhi lian" yu "Ban sheng yuan" /." View Abstract or Full-Text, 2002. http://library.ust.hk/cgi/db/thesis.pl?HUMA%202002%20MAK.
Full textAbstract:
Thesis (M.Phil.)--Hong Kong University of Science and Technology, 2002.Includes bibliographical references (leaves 276-289). Also available in electronic version. Access restricted to campus users.
4
Liu, Jinyi. "Zhang Yuan (1885-1919): Constructing a Public Garden in Cosmopolitan Shanghai." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1493889997657783.
Full text
5
Määttä, Maarit. "Strange Spirits : – Possession and the queering of gender and other social positions in Yuan Mei’s Zibuyu." Thesis, Uppsala universitet, Teologiska institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-411564.
Full textAbstract:
This thesis explores a Qing dynasty collection of stories about ghosts and other strange events written by Yuan Mei (1716–1798). The thesis focuses on a number of stories about possession of living persons by spirits, which are studied with the help of Sara Ahmed’s queer phenomenology. By studying stories in which the living and the dead and men and women’s identities overlap while they are possessed, we gain greater understanding about hierarchical relations during Qing dynasty, and how these stories both support and question these.Uppsatsen studerar en samling av berättelser om spöken och andra ovanliga händelser skriven av Yuan Mei (1716–1798) under Qingdynastin i Kina. Uppsatsen fokuserar på ett antal berättelser där andar tagit en människa i besittning, som studeras med hjälp av Sara Ahmeds queer fenomenologi. Genom att studera berättelser om de levande och döda samt män och kvinnor vars identiteter överlappar vid besittningar, får vi bättre förståelse över hierarkiska relationer under Qingdynastin och hur berättelserna både stödjer och ifrågasätter dessa.
6
Hu, Xingdong. "Sheng cun fan shi li xing yu chuan tong : Yuan Ming Qing shi qi nan fang min zu fa lü bian qian yan jiu /." Beijing : Zhongguo she hui ke xue chu ban she, 2005. http://catalog.hathitrust.org/api/volumes/oclc/68159992.html.
Full text
7
Li, Liming. "Cong gong jiang dao yi shu jia : Qing mo yi lai Guangdong Shiwan tao ci cong ye yuan de shen fen di wei jian gou /." View abstract or full-text, 2005. http://library.ust.hk/cgi/db/thesis.pl?HUMA%202005%20LI.
Full text
8
Wang, Xiaoning. "Zhongguo gao deng yuan xiao zhu fang zheng ce : Beijing Qing hua da xue ge an yan jiu = Housing policy in China's higher education institutes : a case study of Tsinghua University in Beijing /." click here to view the abstract and table of contents, 1998. http://net3.hkbu.edu.hk/~libres/cgi-bin/thesisab.pl?pdf=b17040747a.pdf.
Full text
9
Gardères, Paul. "Recomposer l'ordre du monde impérial : romans sur l'histoire dynastique et discours néo-confucéens des années 1630 aux années 1730." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSEN029/document.
Full textAbstract:
Cette thèse se propose d’étudier un ensemble de romans portant sur l’histoire dynastique,composés entre les années 1630 et les années 1730. Nous lisons ces œuvres à partir de la notion de monde impérial, en désignant par ce terme les représentations du réel où l’institution régnante sert de point de repère, aussi bien pour s’orienter dans l’espace et dans le temps, que pour expliquer les mouvements d’ordre et de désordre qui affectent l’ensemble des vies. L’objet central de cette étude est de saisir ce qui vacille et se transforme dans les manières d’ordonner des mondes impériaux au sein des romans composés durant cette période.Pour ce faire, nous nous proposons de relire ces œuvres à partir d’une série de ruptures qui travaillent les usages ou les conceptualisations de notions clés du discours néo-confucéen :les deux couples guo 國 et tianxia天下 (monde et dynastie), su 俗 et minjian 民間(vulgaire et populaire), et les trois notions de yanyi 演義 (développement du sens/ histoire exemplaire), zhi 知 (l’étape ultime du discernement) et gong 公(sens public). Une telle approche nous permet de mettre en évidence des liens qui restaient invisible dans le discours critique entre les romans sur l’histoire dynastique et un ensemble d’évolutions sociales et intellectuelles qui ont lieu entre les années 1630 et les années 1730, et qui touchent à des objets aussi divers que l’organisation spatiale et ethnique de l’empire, les formes d’activisme social, ou les termes dans lesquels sont pensés les discours moraux, et historiographiques.Corpus principal : Écrits oubliés des Sui (Suishi yiwen隨史遺文，préface 1633) ;Deuxième collection du Lac de l’ouest (Xihu erji 西湖二集, années 1640) ;Second bord de l’eau (Hou Shuihu zhuan後水滸傳，fin des Ming, début des Qing) ;Histoire exemplaire et vulgarisée du bûcheron (Qiaoshi tongsu yanyi樵史通俗演義, début desQing) ; Suite au bord de l’eau (Shuihu houzhuan水滸後傳，préface 1664) ; Histoire exemplaire des Sui et des Tang (Sui Tang yanyi隋唐演義, préface 1695) ;Histoire non-officielle des immortelles (Nüxian waishi女仙外史, préface 1711) ; Récit complet des Tang (Shuo Tang quanzhuan 說唐全傳, années 1730)This dissertation deals with a set of novels about dynastic history written between the 1630sand the 1730s. My point of departure is the following : A) I study the way these novels structure representations of the imperial world – that is,representations of space, time, and social order that are organized in reference to the imperialinstitution.B) I reinsert these representations of the imperial world within contemporary ru (儒Neo-confucian) discourses. I do so by focusing on the way five notions or set of notions, thatare both central to ru discourses and to these novel are conceptualized and used : the twinnotions of guo (國 “imperial institution” / “country”) and tianxia (天下 “the world”) ; su (俗“vulgar”) and minjian (民間 “popular”); the notions of yanyi (演義 “development ofmeaning”, “exemplary narrative”); gong (公, “public”) ; and zhi (知 “moral recognition”). In doing so, this dissertation highlights a web of connections that were previouslyinvisible between novelistic representations of the imperial world and a set of evolutions withinthe ru world that are contemporary to the writing of these novels.Main primary sources : Forgotten Tales of the Sui (Suishi yiwen 隨史遺文，preface 1633) ; Second West Lake Collection (Xihu erji 西湖二集, ca1640) ; Second Water Margins (Hou shuihu zhuan後水滸傳 late Ming- early Qing ) ; Exemplary and Popularized History of the Woodcutter (Qiaoshi tongsu yanyi樵史通俗演義,early Qing) ; A sequel to the Water Margins, (Shuihu houzhuan水滸後傳，preface 1664) ; Exemplary History of the Sui and Tang ( Sui Tang yanyi 隋唐演義, preface 1695) ; Non-Official History of the Female Immortals (Nüxian waishi女仙外史, preface 1711) ; Complete History of the Tang (Shuo Tang quanzhuan說唐全傳, ca 1730)
10
范旭艷. "和會三教: 劉沅與晚清儒學的轉變= Integrating the three teachings: Liu Yuan and the transition of Confucianism in late Qing period /范旭艷." HKBU Institutional Repository, 2017. https://repository.hkbu.edu.hk/etd_oa/355.
Full textAbstract:
In late Qing period（1800-1911）, Confucianism confronted challenges from different aspects.Thus,the transition of Confucianism was the main concert at that time.The method of transition varied in different areas. This thesis focous on the transition of Confucianism in Sichuan province. Liu Yuan (1768-1855) ,who was called "the Confucius in western Sichuan", was a typical case to indicate the transition of Confucianism in Sichuan province.He integrated the three teachings to reestablish the orthodoxy of sagehood(sheng xue聖學正統)，which was the main feature of his intellectual thought. Specifically speaking, the following questions are the main concerns of the author. Firstly , why and how did Liu Yuan integrate the three teachings? Secondly, by integrating Taoism and Buddhism into Confucianism, what peculiarity did he transform into Confucianism? Thirdly, through the case study of Liu Yuan, what intellectual features of Sichuan scholars can we observe? There is a consensus that the integration of the three teachings is the most typical characteristic of Liu Yuan's intellectual thought. However, from different angles, different scholars came to opposite conclusions. Generally speaking, those who consider Liu Yuan as a Taoist highly evaluated him.Whereas, those who judged from the angle of Confucian philosophy consider him unrespectable. Given the opposite evaluations, this thesis proposes a syncretic perspective to establish a whole view, which brings up some basic questions to be clarified at the first place, namely the aim and the rationality of the whole syncretic system. Then, how Liu Yuan interpreted self-cultivation, the core of his integration, and how his interpretation influenced Confucianism are the following questions .The first and last chapters are the instruction and conclusion, which raises research questions and summarizes the arguments of the thesis respectively. Chapter two and three focus on the reason and rationality of integration. The juxtaposition of Confucianism, Taoism and Buddhism was to distinguish the orthodoxy from heterodoxy, rather than to assimilate the three teachings indiscriminately. Liu Yuan challenged the criticism of the unreasonability and superficiality of integration, which is one of the contributions of Liu Yuan in intellectual history. To prove the rationality of integration, Liu Yuan interpreted the images of sages (Kongzi and Laozi) as a fuse of Taoist and Confucian characters. Besides, he maintained the traditional notion that Kongzi learnt from Laozi. Based on the foundation of the previous two chapters, chapter four to seven focus on the spread of self-cultivation (Gongfu 功夫), the core of Liu Yuan's integration. Rethinking the way of self-cultivation arose by Neo-Confucianism, Liu Yuan argued that the knowledge of sages was not limited to Confucianism, let alone Neo-Confucianism, so was the pathway of self-cultivation. Furthermore, his reinterpretation of the way of restoring human nature (復性) combined Confucian and Taoist methods. The three teachings were integrated into his new construction, which resulted in the transformation of exegetical strategy of Confucian cannon and the method of self-cultivation, the most important topics of Confucianism. Confucian cannon was viewed as an allegory, whose meaning can never be attained by philological or philosophical approaches. As for self-cultivation, traditional methods of Confucianism such as accomplishing human nature (Jin Xing盡性)and performing ritual responsibility (Dun Lun敦倫)were both reinterpreted. To sum up, Liu Yuan was a practitioner of Confucianism in Sichuan province.By interpreting Confucian classics in a pragmatic fashion, he reestablished the sage orthodoxy ,which was integrated by Confucianism, Taoism and Buddihism. Through the case study of Liu Yuan, we can come to a conclusion that mysterious but not empty was the main feature of Confucianism in Sichuan province = 晚清時期（1800-1911），儒學的傳統價值體系面臨著巨大的挑戰。如何改寫舊傳統，以形塑新傳統，是儒學轉型時期的核心命題。其中，在不同的地域，表現出不同的轉型路徑。本文以劉沅爲研究對象，聚焦於晚清時期的四川儒學。劉沅（1768-1855）被稱作「川西夫子」，其思想可作為四川儒學的典型代表。本文將揭示其重建「聖學正統」的學術關懷，從學術思想史的角度，把握其和會三教思想的特色。本論文將完成以下預期目標：第一，從三教交涉視角出發，定位劉沅的學術思想。其在儒學史上的重要意義在於功夫論的重鑄。第二，探討劉沅「和會三教」思想，對儒家解經方法與修養方法的轉變。第三，從劉沅「和會三教」思想中，把握蜀地「玄而不虛」的學風。「和會三教」是劉沅學術思想的最突出的特徵，學界對此持一致的看法。然而，現代學者從三教中儒家或道教的角度出發，對劉沅的評價眾說紛紜。從儒家視角出發，劉沅被指責在理論上並無大的推進。從道教視角出發，則認為劉沅創立劉門教，是相當重要的宗教家。針對此現狀，本文認為由於劉沅提倡「和會三教」，單一的儒學或者道教視角並不能把握劉沅思想的全貌。因此，本文從三教交涉視角出發，研究劉沅學術思想，及其中所反映出來的晚清儒學的轉變。從和會三教視角出發，首先回應劉沅為什麼要提出「和會三教」，以及怎樣證明三教間可和會的合理性這兩個問題。此爲劉沅建構新思想體系的平台。繼而，劉沅之和會三教，對傳統儒學命題帶來什麼轉變？此爲劉沅思想的獨特之處。「和會三教」既是本文的視角，也是貫穿全文的思想脈絡。本文除第一章緒論與最後一章結論外，正文部分共分為六章。第二、三章先對劉沅和會三教的動機以及其合理性加以申論說明，此爲劉沅所建構的新思想體系平台。文章開宗明義地指出，劉沅提倡「和會三教」的出發點是重建三教融會的聖學正統。和會三教，並非把三教不加分辨地融合爲一體，而是從中辨明正統與異端的界限。爲了論證聖學正統的合理性，劉沅從文獻記載中老孔間的師承關係出發，通過儒家、道家雙方的各自展述，而使得儒道兩家聖人融為一體。第四至七章，從劉沅「和會三教」的核心之處----功夫論出發，探討劉沅如何重鑄功夫論，及其對儒學傳統的內涵所帶來的轉變。對宋明理學功夫的反思，是重鑄功夫論的思想背景。在此基礎上，劉沅融合儒道思想而重鑄復性功夫。其所重鑄之功夫論在解經方法、修養方法兩方面改變了儒學的傳統內涵。解經方法方面，訓詁、義理的方法都不足以得到聖人真義，而提出實踐聖人之事的「身心實功」的解經方法。修養方法方面，論證劉沅對儒學的轉變。儒家的內在心性、外在的倫常秩序，都被改變。擴而言之，從修養方法中，還可以看出儒道、儒佛間的會通與界限。通過對劉沅儒學思想的分析與定位，從中可以看到晚清儒學在四川這一特定地域中展現的獨特性。和會三教思想中體現出劉沅重建聖學正統的學術關懷。他以「身心實功」爲解經方法，重整儒道釋三教的思想資源，尤重盡性、敦倫兩方面的實踐，是一位通過詮釋儒家經典，在川地推行儒家道德倫常的實踐者.
11
Chambeiron, Jérémie. "La cour constitutionnelle à Taïwan face aux différends institutionnels : le rôle des Grands Juges du Yuan judiciaire durant la présidence de Chen Shui-bian (2000-2008)." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015INAL0004/document.
Full textAbstract:
Le 18 mars 2000, Chen Shui-bian, représentant le Parti Démocrate-Progressiste (Minjindang) succédait à Lee Teng-hui, appartenant au Parti Nationaliste (Kuomintang), premier président élu au suffrage universel à Taïwan. Cependant, le Yuan législatif a connu à partir des années 2000, et jusqu'au terme du second mandat de Chen Shui-bian en 2008, de nombreux blocages, résultant du fait que le KMT et ses alliés du camp pan-bleu aient réussi à conserver à toutes les élections législatives le contrôle du parlement. Le point de départ de notre thèse est de comprendre comment ces blocages sont advenus, et la manière dont les différentes branches du gouvernement et du parlement ont négocié en vue de les résoudre. A ce titre, nous nous intéressons en particulier au rôle des Grands Juges du Yuan judiciaire (Sifa yuan Dafaguan) dans la résolution de ces différends institutionnels. Nous nous demandons si ces derniers ont été un recours dont les différentes branches se sont servies pour résoudre ces différends ou bien sont-ils restés en retrait, préférant ne pas s'impliquer dans les problèmes politiques ? Les Grands Juges ont eu pour constante l'affirmation de leur indépendance en tant que cour constitutionnelle. Plutôt que de trancher les litiges, ils ont préféré les recours aux solutions négociées entre les acteurs, donnant un cadre aux institutions pour résoudre les conflits. En matière de libertés fondamentales et de droits de l'Homme, les Grands Juges ont statué en faveur de la garantie ou de l'extension des droits déjà inscrits dans la Constitution de 1947. Cette institution agit ainsi dans la continuité de son rôle historique dans la transition démocratiqueOn March 18th, 2000, Chen Shui-bian, representing the Democratic-Progressive Party (Minjindang), succeeded Lee Teng-hui, member of the Nationalist Party (Kuomintang) and first Taiwan president elected by popular vote. However, starting in 2000, and until the end of Chen Shui-bian's second term in 2008, a number of political standoffs occurred in the Legislative Yuan, as a result of the KMT and its allies of the so-called pan-blue camp securing control of the parliament's majority in every legislative election. Our thesis aims to understand how these deadlocks happened, and the way in which each branch of the government negotiated to find agreements. We particularly focus on the role played by the Great Justices of the Judicial Yuan (Sifayuan Dafaguan). Were the Great Justices called upon by the different branches of the government to end the stalemates, or did they stay away from political matters? The Great Justices have consistently asserted their independence as a constitutional court. Instead of deciding in favour of one party or another, they have privileged procedural solutions, providing thus an institutional framework for conflict resolution. In matters of civic liberties and human rights, the Great Justices have ruled in favour of protecting and extending the rights already enshrined in the 1947 Constitution. The Great Justices therefore appear more as defenders of rights, i.e. ombudsmen, rather than as a constitutional mechanism to work disputes out. This institution thus acts in keeping with its historical role during the democratic transition
12
Tierny, Hugo. "Stratégies d'accès et de déni d'accès aux portes maritimes et continentales de la Chine - les cas de Taiwan et du Xinjiang depuis la dynastie Qing." Electronic Thesis or Diss., Université Paris sciences et lettres, 2025. http://www.theses.fr/2025UPSLP009.
Full textAbstract:
Ce travail vise à comparer le rôle de Taïwan et du Xinjiang dans l'histoire, les représentations militaires et le cadre géostratégique de la Chine depuis la dynastie Qing. En nous appuyant sur des sources chinoises, nous explorerons, sur la longue durée, un parallèle entre l'est et l'ouest, océan et continent, dans les stratégies militaires de la Chine. Ces liens seront examinés à travers l'utilisation enracinée par les Chinois de « stratégies d'accès et de déni d'accès » en direction de Taïwan et du Xinjiang, définies comme une quête récurrente et historique par la Chine d'une large profondeur stratégique sur ses périphéries tant continentales que maritimes, combinant les moyens militaires et non-militaires pour expulser la présence étrangère et prévenir ses menaces. On montrera qu'occuper à la fois les îles et les déserts a constitué une priorité pour les stratèges chinois depuis les conquêtes des deux terres par les armées Qing, motivées par la préoccupation de la Cour que ces terres puissent être utilisées contre l'Empire par des puissances hostiles. Or les régimes chinois suivants ont hérité de ces représentations et ambitions stratégiques, comme en témoignent les écrits de leurs plus éminents stratèges. Au fil de l'histoire et jusqu'à nos jours, la notion d'accès de la Chine à ces lieux stratégiques s'accompagne ainsi d'une volonté d'en empêcher l'accès à ses adversaires étrangers. La capacité des militaires chinois à les défendre a toujours dépendu d'un rapport de force évolutif entre la Chine et ses rivaux (nomades, pirates, Russes, Japonais, Américains..), soulignant une ancestrale difficulté à se battre sur deux fronts. Ces terres furent ainsi les premières touchées par ses cycles d'expansion et de contraction : puissante, elle s'y étendait ; affaiblie, elle s'en retirait. Ainsi, ayant longtemps dû choisir entre la protection de Taïwan ou du Xinjiang, chacune étant considérée comme une « forteresse pour assurer la défense de la nation », écrivait Chiang Kai-shek, la Chine aspire aujourd'hui à être suffisamment riche et puissante pour verrouiller et tenir simultanément les approches maritimes et continentales perçues comme des tremplins potentiels vers l'Eurasie et la haute mer. De cette double étude des mouvements continentaux et maritimes de la Chine, champ que nous sommes les premiers à investir, nous découvrons de nombreuses interdépendances entre l'est et l'ouest dans la géostratégie chinoise, ainsi qu'une série d'invariants historiques. C'est que de tels liens ne semblent pas seulement horizontaux, par la ressemblance des politiques menées à la même époque par la Chine à Taïwan et au Xinjiang. Ils sont également, dirait Marc Bloch, verticaux, tant il est évident que les politiques du passé préfigurent les actuelles stratégies de Pékin vers ces deux terres. Ainsi, alors qu'une distinction fut longtemps faite, par défaut, entre les objectifs d'ordre géostratégiques et militaires poursuivis par les Chinois à l'est et à l'ouest, vers l'océan et le continent, on montrera au contraire leur similarité, leur complémentarité et leur continuitéThis dissertation aims to compare the roles of Taiwan and Xinjiang in China's history, military representations, and geostrategic framework since the Qing dynasty. Drawing on Chinese sources, we will explore a long-term parallel between east and west, ocean and continent, in China's military strategies. These links will be examined through the entrenched Chinese use of ‘access and denial strategies' towards Taiwan and Xinjiang, defined as China's recurring and historical quest for extensive strategic depth on both its continental and maritime peripheries, combining military and non-military means to expel foreign influences and prevent them from posing threats. We will demonstrate that occupying both islands and deserts has been a priority for Chinese strategists since the Qing conquests of Xinjiang and Taiwan, driven by the court's concern that these lands could be used against the Empire by hostile powers. Yet, subsequent Chinese regimes inherited these strategic representations and ambitions, as evidenced by the writings of their eminent strategists. Throughout history and into the present, China's notion of access to these strategic locations corresponds to a desire to deny such access to foreign adversaries. The Chinese military's ability to defend Xinjiang and Taiwan has always depended on an evolving power balance between China and its rivals (nomads, pirates, Russians, Japanese, Americans), highlighting an ancestral difficulty of fighting on both fronts simultaneously. These lands were among the first to be affected by China's cycles of expansion and contraction: when powerful, China extended its reach; when weak, it withdrew. Consequently, having long had to choose between protecting Taiwan or Xinjiang — each being considered a “fortress for national defense”, as Chiang Kai-shek wrote — China now seeks to be sufficiently rich and powerful to secure both maritime and continental approaches perceived as potential springboards to Eurasia and the high seas. From this dual study of China's continental and maritime movements, a field we are the first to thoroughly investigate, we uncover numerous interdependencies between east and west in Chinese geostrategy, as well as historical constants. These links appear not only horizontally, through the resemblance of contemporary policies towards Taiwan and Xinjiang, but also, as Marc Bloch would suggest, vertically, since past policies clearly prefigure Beijing's current strategies towards these two lands. Thus, while a distinction has long been made between China's geostrategic and military objectives in the east and west, towards the ocean and the continent, we will instead demonstrate their similarity, complementarity, and continuity
13
Déry, Carl. "La Chine face à l'Angleterre et la Russie aux XVIIe-XVIIIe siècles : évaluation comparative des attitudes de la dynastie Qing sous l'angle des modalités de l'actualisation frontalière." Doctoral thesis, Université Laval, 2015. http://hdl.handle.net/20.500.11794/26277.
Full textAbstract:
Cette thèse propose une évaluation comparative des attitudes de la dynastie Qing face à l’Angleterre et la Russie aux XVIIe – XVIIIe siècles, particulièrement autour de l’ambassade Macartney de 1793 et de la ratification des Traités de Nerchinsk (1689) et de Kiaktha (1727). Plusieurs réponses ont été proposées par les historiens pour tenter d’expliquer pourquoi les Mandchous ont accepté de signer des ententes frontalières avec la Russie, tout en refusant systématiquement de négocier quoi que ce soit avec l’Angleterre. Plutôt que d’ajouter une autre voix à la recherche d’explications des causes de ces divergences à partir d’une essentialisation de la culture et de la tradition chinoises, nous croyons que ces attitudes s’inscrivent toujours dans la contingence des rencontres et qu’elles reproduisent d’importantes similitudes selon des modalités particulières. Ces modalités se retrouvent au cœur d’une dynamique identitaire que nous appelons l’actualisation frontalière, faisant la part entre l’intérieur et l’extérieur, se trouvant à la jonction de l’affirmation territoriale et des processus de légitimation politique. Selon notre modèle théorique de l’actualisation frontalière, les relations diplomatiques de la dynastie Qing aux XVIIe – XVIIIe siècles doivent d’abord se lire comme des relations frontalières qui reproduisent une certaine constance, davantage en fonction de l’intensité de l’éloignement et de la complexité géopolitique, plutôt qu’en fonction des institutions ou des règles prescrites, des configurations territoriales, des événements ou même des spécificités des populations impliquées. Cette perspective nous permet de reconnaître des similitudes stratégiques dans la fluctuation des réactions et des attitudes de la dynastie Qing, reproduisant les mêmes dynamiques face à l’Angleterre et la Russie, mais aussi à l’occasion, face aux Hollandais, Dzungares, Portugais, Solons, Khalkhas, ainsi que face aux Chinois des provinces du littoral. Notre modèle théorique apparaît comme un filtre frontalier, reposant d’abord sur l’intégration par le Trône des populations périphériques, à cheval entre l’intérieur et l’extérieur du territoire de l’Empire Qing, demeurant le creuset sur lequel se fondent toutes les attitudes, les représentations et les stratégies à l’égard de l’étranger.This thesis proposes a comparative evaluation of Qing dynasty’s attitudes toward England and Russia during the 17th – 18th centuries. Historians have offered number of answers trying to explain why the Manchus have accepted to sign frontier agreements with Russia in 1689 and 1727 (Treaty of Nerchinsk and of Kiaktha) while refusing systematically to negotiate anything whatsoever with England during the Macartney Embassy of 1793. Instead of adding another voice to a type of research based on trying to find causes for the explanation of different attitudes, which are too often leading to essentializing Chinese culture and traditions, we’re trying to show how attitudes toward strangers are always rooted in contingencies and how they reproduce important similarities according to specific modalities. Those modalities are at the heart of a dynamic process of political self-identification that we call frontier actualization. This frontier actualization plays the crucial role of a filter separating and distinguishing the realm of the Inner and the Outer, and is to be found at the junction of territoriality and political legitimization. Through the lens of this dynamic filter, one can recognize that attitudes and strategies of the Qing dynasty toward strangers are reproducing the same pattern, according to the intensity of the distance toward central power and geopolitical complexities, rather than according to a prescribe set of rules and institutions, traditions, territory, events, and also the populations involved. Because diplomatic strategies are first rooted in the process of integrating peripheral populations, it is possible to recognize a similar pattern in the fluctuating attitudes toward England and Russia, but also toward Dzungars, Khalkhas, Holland, Solons, and even toward the Chinese population living on the different frontiers of the Empire.
14
Chiu, Yun Yi, and 邱芸怡. "A Talented Scholar of the Qing Writing the History of Jiao–Yuan: The Talented Female in the Early Qing Dynasty, their Associations and Gender Writing." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/21607545038030370855.
Full textAbstract:
碩士國立暨南國際大學
中國語文學系
100
Abstract In the 15th year of Emperor Kangxi’s reign of the Qing Dynasty, Banana Garden Women’s Poetry Club (Jiaoyuan Poetry Club) was formed. In the early days, studies on this poetry club were not many. It was not until the first 10 years of the 21st century that this club gradually got public attention. During the late Ming and early Qing Dynasties, female writers changed their points of view on whether their writings should be kept or destroyed. Also there was a breakthrough in the general concept that women’s talks should be kept inside women’s quarters and should not be heard outside. Hence under the cultural atmosphere of female writers converging in Hangzhou, Gu Zhi Qiong gathered her relatives and friends together and established Banana Garden Women’s Poetry Club. These female writers followed the great poetry events in the late Ming Dynasty, supported women’s creative writing and publishing and purposely presented themselves for publicity. Women of inner chambers establishing a poetry club had signicant meanings either in the history of literature development or in social culture. The essay is not only based upon the published corpora of the key poetesses, but visual works such as calligraphy and painting are also compiled. Focus is put on the image, literary association and writings of the key poetesses of Banana Garden (Jiaoyuan) from the perspective of gender study. As the academic world has had varied interpretations of the name and location of the literary association, as well as the representatives of the five or seven key poetesses of Banana Garden, the essay attempts to offer a description and clarification based on the text by Xu Can, Qian Fenglun and Lin Yining, etc., and also referencing and considering the selected works of other members and the related local chronicles and literature. Writings by the key poetesses include the description of make-up, presentation of their view of legendary female characters in history, the theme of mother that communicates the essence of gender consciousness, and even acknowledgement of some non-mainstream women in the society. They expressed their lasting opinions by means of poems, describing trivia in their daily life, and giving detailed presentation of aspects of the prominent maidens’ life. Literary works of the key poetesses revealed their contact with Buddhism, the poetry interaction with each other, their participation in literary and artistic activities of the literary association, and their outdoor trips, through which profound friendship were established. In addition, the key poetesses were also actively involved in the collective female literati’s drama commentary work upon the publisher’s invitation, to convey the female consciousness in drama literature. Gatherings of the literary association offer opportunities for the key poetesses to share their literary works, life experiences and spiritual exchanges, making their literary voices heard in a collective way. The author expects to present the multifarious perspectives of the key poetesses’ works in the literary association by their different literary forms and styles.
15
Ya-LingHuang and 黃雅琳. "The Business of Philanthropy of Jing Yuan-Shan －A Zejiang Businessman Philanthropist in Late Qing China." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/34057892690494881477.
Full text
16
Liu, Shu-min, and 劉淑敏. "A Study on “Sheng Yuan” in the Yangzi Delta during the Ming and Qing Dynasties: Number of Sheng Yuan and the Promotion Ratio in Officialdom." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/00737747801243678305.
Full textAbstract:
碩士東吳大學
歷史學系
100
During the Ming and Qing Dynasties, the imperial civil service examination was the most important way to select government officials. During these years, the Yangzi Delta was prosperous and there were many candidates eager to take the examinations. Sheng Yuan were people who passed the apprentice examination. It was also a basic official rank. Sheng Yuan were also allowed to take the provincial examinations to qualify as Juren. However, most of them could never pass the examinations. As a result, a huge number of Sheng Yuan stayed in the Yangzi Delta, where they exerted a crucial influence on the politico-social and economic environment. Studies on the numbers of Sheng Yuan and the percentage of those promoted to officialdom are basic to social studies during the Ming and Qing Dynasty era. Most existing studies regarding the above topic try to draw general conclusions for the entire nation. But the territory of Ming and Qing China was vast. Different places had different customs. It is difficult to draw general conclusions regarding the social situation everywhere during the two periods. In this regard, studying Sheng Yuan in the Yangzi Delta during the Ming and Qing Dynasties is of academic value. This thesis uses the Sheng Yuan list to analyze the number of Sheng Yuan and the ratio of their promotion in officialdom in the Yangzi Delta during the Ming and Qing Dynasties.
17
Lai, Liang-Yin, and 賴亮吟. "Yuan Mei’s Suiyuan Shidan and the Dietary Culture of the Jiangnan Region during the High Qing Period." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/16895551063257888337.
Full textAbstract:
碩士東吳大學
歷史學系
97
This thesis is intended to explore the historical background and its cultural implication of the recipe entitled Suiyuan Shidan, composed by the famous scholar Yuan Mei (1716-1797) of the Qing Dynasty. The first chapter deals with the tradition and development of Chinese recipes. In the second chapter, it is to discuss Yuan Mei’s thinking and his life style with an attempt to better understand his dietary taste and the formulation of the recipe. The last chapter aims at the social background reflected in the recipe SuiyUan Shidan, and its impact on the Chinese dietary culture and the writing of dietary literature after the period of the High Qing.
18
WANG, YI-TING, and 王薏婷. "A Study of Visitors’ Experiences Focusing on the Use of New Media in Exhibit Design and Interpretation: The Yuan Ming Yuan Qing Emperors’ Splendid Gardens Exhibition." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/955tyk.
Full textAbstract:
碩士輔仁大學
博物館學研究所碩士班
104
Museum exhibition is a pathway to connect visitors with objects and their stories. The purpose of exhibit design is not only to present the core concept of the exhibit as easily understandable, but also to engage visitors’ interest and to inspire deeper reflection. Most importantly, it should promote a thoughtful aesthetic experience. This study used the Yuan Ming Yuan Qing Emperors’ Splendid Gardens exhibition as an example to determine if using new media technology in exhibit design and interpretation would enhance visitors’ level of understanding of the exhibit’s contents and encourage deeper reflections. The study included a comprehensive literature review, and collected data from nonparticipant observations ,participant observations, and semi-structured post-visit interviews. Sixty-seven visitors participated in the interview; and “Method of Agreement” and “Method of Difference” were applied for data analysis. The outcome of this study indicated that new media technology in exhibit design should: (1) faithfully interpret the content, (2) engage the visitor through digital visual and sensory interactive experiences, and (3) promote interest in learning and active thinking of the exhibit. Since the Yuan Ming Yuan exhibit had a strong focus on digital story telling, it indeed helped visitors to imagine the historical past, and motivated them to learn more. Many visitors had a renewed sense of the value of heritage, and gained new perspectives. Also, the majority of the participants in the study believed the use of new media for exhibit interpretation was a valuable tool to enhance their on-site experience and level of understanding. This study’s conclusion would suggest that for museum exhibition planning and design, the effective use of new media tools should focus on object interpretation. Using new media technology should not be based on its interactive somatosensory experience, but it should provide a voice to the artifacts, and be faithful to the original and historical documents. Technology should invite the audience into the contextual elements of the exhibit to provide a meaningful and reflective visiting experience. Finding a balance between education and entertainment in term of using new media technology is crucial.
19
"Politics and Patronage: A Re-examination of Late Qing Dynasty Porcelain, 1850-1920." Doctoral diss., 2019. http://hdl.handle.net/2286/R.I.53711.
Full textAbstract:
abstract: ABSTRACT
Art historians typically consider Chinese porcelain a decorative art, resulting in scholars spending little time analyzing it as a fine art form. One area that is certainly neglected is porcelain produced during the late 19th and early 20th century during the late Qing dynasty (1644–1911) into the early Republic period (1912–1949). As the Qing dynasty weakened and ultimately fell in 1911, there was a general decline in the quantity of porcelain produced in China. Due to this circumstance, porcelain of this era has not received the detailed analysis, characterization of styles, comprehension of themes, and understanding of patronage evident in other periods of Chinese porcelain production. Ultimately, limited research has been conducted to establish the styles associated with late dynastic porcelain into the early Republic’s establishment.
This dissertation utilizes a new perspective that considers the patronage of the Empress Dowager Cixi (1835-1908) as a high point of late dynastic porcelain. Concrete documentation establishes that motifs were appropriated from Cixi’s painting, suggesting a direct connection between schools of painting and the imagery selected for porcelain during her reign. The porcelain Cixi influenced directly guided the porcelain produced during the Hongxian era (1915-1916), making Cixi’s patronage the key turning point from dynastic porcelain to early Republic porcelain. Utilizing predominately British collections, this study identifies the styles, symbols, and themes associated with porcelain of the 19th and 20th century, elevating late dynastic and early Republic wares to the status of fine art.Dissertation/Thesis
Doctoral Dissertation Art History 2019
20
Chang, Yuan-Kun, and 張元昆. "The sheet music study of Yuan Northern Drama “shuang diao ”with Qupai-style in the early Qing dynasty." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/21200281828232791853.
Full text
21
Tsai, Ching-Wen, and 蔡靖文. "Xu Fu-Yuan''s Life Feelings during the Transitional Period between the Ming and Qing Dynasty." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/59950564903424721674.
Full textAbstract:
博士國立中山大學
中國文學系研究所
100
Xu Fu-Yuan (徐孚遠) was a famous writer in the late Ming Dynasty (明季)，and started Ji Club (幾社) with Chen Zi-long (陳子龍) and Xia Yun-yi (夏允彝). When the Ming (明) government was overthrown by the Qing (清)government .he chose to forsake his family to overturn the Qing (清) government and then experienced several emperors of Nan Ming dynasties (南明). The poems written during he left the hometown to overturn the Qing (清) government in” Diao-Huang-Tang Manuscripts” (《釣璜堂存稿》)and” Jiao-Xing Manuscripts”(《交行摘稿》)total early2800.People could hardly get the Diao-Huang-Tang Manuscripts(《釣璜堂存稿》)so the critics and researches in the Ming literature are very poor, and there are some questions must be settled in the Taiwan literature. Therefore, the study is on the two books to explore his life feelings during the Ming (明) and Qing (清). The subjects of this study comprises the life and writings of Xu Fu-yuan, social association, self-identification, feelings, ocean writing, and Taiwan writing. By researching in depth on Xu Fu-Yuan (徐孚遠) and his poems, we discover something .For example, first, we confirm he went to Jiao Nan (交南) in February ,12th year of Yong-li (永曆). Second, we get Xu Fu-Yuan’s (徐孚遠) friends in his poems more than 140.It not only helps us to understand him more but fill the records in Nan Ming dynasty. Third, his ocean writings have plenty of subjects and varied images. Fourth, according to” Diao-Huang-Tang Manuscripts”(《釣璜堂存稿》), he came to Taiwan with his wife and his childe to reclaim lands in 1rt year of Kangxi (康熙). In addition, the poem ‘peach blossom’ (〈桃花〉) and ‘mourn for Zhang Gong-SHi’aren’t written in Taiwan. Generally speaking, Xu Fu-Yuan (徐孚遠) has an extremely important historical value in Taiwan literature ,Chinese literature.
22
"Conformity and divergence: perception of garden spaces by Gong Xian and Yuan Jiang from Nanjing in early Qing dynasty." 2008. http://library.cuhk.edu.hk/record=b5893423.
Full textAbstract:
Chan, Yuen Lai.Thesis submitted in: December 2007.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2008.
Includes bibliographical references (leaves 125-133).
Abstracts in English and Chinese ; some text in appendix also in Chinese.
Abstract
Acknowledgement
Table of Contents
Chapter 1 --- INTRODUCTION --- p.1
Chapter 1.1 --- PAINTER'S EXPERIENCE IN LANDSCAPE --- p.1
Chapter 1.1.1 --- Bodily experience and body metaphor of place from western philosophy --- p.2
Chapter 1.1.2 --- "Jing, Guo Xi 226}0ةs three distances, and body as mountain and water" --- p.5
Chapter 1.2 --- QUESTIONS AND HYPOTHESIS --- p.9
Chapter 1.3 --- RESEARCH MATERIALS --- p.10
Chapter 1.3.1 --- "Forms, words and images" --- p.10
Chapter 1.3.2 --- Research materials --- p.11
Chapter 1.4 --- RESEARCH METHODOLOGY --- p.11
Chapter 1.4.1 --- Study of gardens from paintings --- p.11
Chapter 1.4.2 --- Research methodology --- p.14
Chapter 1.5 --- OUTLINE OF THESIS --- p.14
Chapter 2 --- LANDSCAPED GARDEN FROM LANDSCAPE PAINTING --- p.17
Chapter 2.1 --- WAYS OF LANDSCAPE DEPICTION --- p.17
Chapter 2.1.1 --- Early landscape depictions --- p.17
Chapter 2.1.2 --- Cultivated garden in natural landscape from Six Dynasties --- p.18
Chapter 2.1.3 --- Monumental landscape in Northern Song --- p.19
Chapter 2.2 --- EARLY QING NANJING --- p.20
Chapter 2.2.1 --- "Geographical settings: Mountain, water and city" --- p.20
Chapter 2.2.2 --- Garden culture --- p.21
Chapter 2.2.3 --- Artistic milieu --- p.23
Chapter 2.3 --- CHAPTER SUMMARY --- p.26
Chapter 3 --- GONG XIAN: HALF-ACRE GARDEN ON THE MOUNTAIN OF PURE COOLNESS --- p.32
Chapter 3.1 --- GONG XIAN THE LITERATI PAINTER --- p.32
Chapter 3.1.1 --- Major Iiteratures on Gong Xian --- p.32
Chapter 3.1.2 --- Gong Xian as an 'individualist' painter --- p.34
Chapter 3.2 --- HALF-ACRE GARDEN ON MOUNTAIN OF PURE COOLNESS --- p.38
Chapter 3.2.1 --- Mountain of Pure Coolness as a historical site --- p.39
Chapter 3.2.2 --- Half-acre garden set within Mountain of Pare Coolness --- p.41
Chapter 3.2.3 --- A glimpse through half-acre garden --- p.43
Chapter 3.3 --- PERMEABLE GARDEN SPACE --- p.47
Chapter 3.3.1 --- Ambiguous boundary --- p.48
Chapter 3.3.2 --- Everyday social encounters --- p.49
Chapter 3.3.3 --- Narrated landscape of the past --- p.52
Chapter 3.3.4 --- Imaginary landscape of the mind --- p.53
Chapter 3.4 --- CHAPTER SUMMARY --- p.54
Chapter 4 --- YUAN JIANG: ZHAN YUAN [OUTLOOK GARDEN] --- p.60
Chapter 4.1 --- YUAN JIANG THE PROFESSIONAL PAINTER --- p.60
Chapter 4.1.1 --- Major literatures on Yuan Jiang --- p.61
Chapter 4.1.2 --- Yuan Jiang as a jiehua painter --- p.62
Chapter 4.2 --- ZHAN YUAN --- p.67
Chapter 4.2.1 --- The evolutionary fame and popularity of the garden and its designations --- p.68
Chapter 4.2.2 --- West Garden of Prince Zhongshan in early Ming --- p.68
Chapter 4.2.3 --- West Nursery of Weigong in Ming Wanli reign --- p.69
Chapter 4.2.4 --- Zhan Yuan during Qing --- p.70
Chapter 4.3 --- TRANSFIGURED GARDEN --- p.77
Chapter 4.3.1 --- "Survey on the garden 226}0ةs sceneries, and courtly and paradisiac symbols" --- p.77
Chapter 4.3.2 --- Garden portraiture as courtly and paradisiac landscape --- p.80
Chapter 4.4 --- CHAPTER SUMMARY --- p.82
Chapter 5 --- SUMMARY AND POSSIBILITIES: PAINTER'S PERCEPTION OF GARDEN SPACES --- p.90
Chapter 5.1 --- JING OF AN EXPERIENCED GARDEN --- p.90
Chapter 5.2 --- TWO GARDEN READINGS FROM TWO ART TRADITIONS --- p.90
Chapter 5.2.1 --- Garden boundary and conception --- p.90
Chapter 5.2.2 --- Archetypal garden readings --- p.91
Chapter 5.2.3 --- Themes of the memorable and the historical past --- p.92
Chapter 5.3 --- INSIGHTS AND POSSIBILITIES --- p.92
Append --- p.ix
Bibliography
23
Liao, Tsai Chen, and 廖彩真. "An Exploring of the Women''s Social Life in Ming-Qing period－－Take Hsing shih yin yuan chuan for Example." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/39445881748784951265.
Full text
24
CHUAN, YEN MEI, and 顏美娟. "The Research about Yuan-chen Zhang-Jizo of Tai-chu Xuan-Qing Temnle in the Xiangshan District of Hsinchu city." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/85212231016381526940.
Full textAbstract:
碩士玄奘大學
宗教學系碩士在職專班
101
Three pure ones, is the principle god of TAI-CHU XUAN-QING Temple in the Xiangshan District of Hsinchu city and the highest spirit of Taoism. There has been a celebration (offering rituals) every three years in order to pray for blessings or eliminate accident for the local people. The research topic of thesis is to study YUAN-CHEN ZHANG-JIAO (Taoism ritual for enhancing a person’s source of life ). There is a complete record about the process of ritual through analyzing, generalizing literature and survey local people, and then hope it can show the real status of ritual culture, such as whether it could be accepted by today’s people and change for present society, and thereby represent traditional Taoism's cultural value. This research is divided into five chapters. Chapter one explains research motive and purpose, research object and range, approach and procedure, and the relative literatures. Chapter two describes the history of Xiangshan District of Hsinchu and the devoted god of TAI-CHU XUAN-QING Temple. Chapter three discuss merit and offering rituals and original source of life of Taoism. Chapter four record complete process of the ritual (YUAN-CHEN ZHANG-JIAO). Chapter five is made into the conclusion. Because the ritual is named YUAN-CHEN ZHANG-JIAO, it base on the worship of the dipper star’s original source of life. It is different from general Completion offering, celebratory offering, or prayers and offerings ,etc., The thesis make a detailed discussion between meat (zhai [齋]) and offerings (jiao [醮]) in chapter three, also has complete explanation about the source of dipper stars, the symbol meanings of various sacrificial utensils and prayers’ purpose. Hope it can help readers have deeper understanding about YUAN-CHEN ZHANG-JIAO.
25
Chen, Chih-wei, and 陳治維. "Academic Methodology of Yangzhou School in the Qing Dynasty:Wang Zhong,Ling Ting Kan,Jiao Xun,Ruan Yuan as a clue." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/c52gf3.
Full textAbstract:
博士國立中山大學
中國文學系研究所
106
The dissertation is divided into two parts: the first part, the second part, the emperor Qian Long to the emperor Dao Guang early,of the Yangzhou School - Wang Zhong, Ling Ting Kan, Jiao Xun and Ruan Yuan as the research object, to explore the they academic methodology. The first part discusses the "pre-modern" characteristics of the Yangzhou School. This characteristic is manifested in the methods and contents of the study. The method is based on the "seeking truth from facts" in the field of traditional study of Confucian classics, The Confucianists in Yangzhou have also verified the traditional achievements in mathematics. The academic content is based on the theory of natural human nature as the starting point to affirm the "emotion" and "demand" inherent in human nature. Furthermore, focusing on specific people, Yangzhou Confucians emphasized the practice of "courtesy". From this level, we can see that for the height of social awareness Cognition of Yangzhou School. The above sections are different from the theory of Neo-Confucianism and can be regarded as the academic "pre-modern" features of the Yangzhou school. The second part analyzes the way of thinking of Confucians, including the research object. First of all, it probes into the deep motivation of four Confucians such as Wang Zhong and Ling Ting Kan to construct their own academic theory from the concrete and realistic aspects and represent the orthodox nature of Confucianism. In addition, it also explores the influence of the "qi" theory of continuous thinking on the "wisdom" theory, such as Ling Ting Kan''s "learning to ceremony restore humanity" ,and Jiao Xun''s" can know, so human nature is good" ,both of show the emphasize on wisdom way of thinking. In the early Qing Dynasty to the mid-Qing Dynasty, the "European science from China", which gradually became the main stream of Confucianism, said that its formation was also related to the "qi" continuous way of thinking. The purpose of this dissertation is to show the connotation of Confucian scholarship based on the study of Confucian classics in the period from emperor Qian Long to the emperor Dao Guang early, Wang Zhong and Ling Ting Kan to Ruan Yuan. This connotation has Confucianism thought of experiential level, also has way of thinking form tradition. Overall, Yangzhou School in the middle of the Qing dynasty have philosophy for its achievements.
26
Tao, Nie, and 聶濤. "Study on the Collation of Yi Li in the Qing Dynasty:Focus on Lu Wenchao,Ruan Yuan and Cao Yuanbi’s Interpretation." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/66pa3f.
Full textAbstract:
博士國立臺灣大學
中國文學研究所
107
The Qing Dynasty''s Collation is the highest level in ancient times. At the same time, the prosperity of the "Yi Li"（儀禮）in the Qing Dynasty was unprecedented. Not only are famous masters, but there are many generations, and there are Qing Dynasty generations, starting from Zhang ErQi（張爾岐，1612——1678）and Gu Yanwu（顧炎武，1613——1682）, and to the late Qing Dynasty, Sun Yirang（孫詒讓，1848——1908）, Cao Yuanbi（曹元弼）and others. The colleague of this book has no shortage of people and has achieved great success. The achievements of the Qing Dynasty''s collation, "Yi Li"（儀禮）is a paradigm. This article takes the "Yi Li" collation in the Qing Dynasty as the research object, and chooses Lu Wenchao（盧文弨，1717——1795） " Yi Li Zhushu XiangJiao"（儀禮注疏詳校）, Ruan Yuan（阮元，1764 ——1849） " Yi Li Shijing JiaoKanJi"（儀禮石經校勘記） and Cao YuanBi (曹元弼，1867——1953) "LiJing JiaoShi"（禮經校釋）.The three books of the Book of Corrections are the discussion center, trying to comprehensively clarify the reasons, characteristics, gains and losses and influences of its rise; and to cut through, to realize the care of the academic history and philology of the Qing Dynasty. The structure of this paper begins with a discussion of the background of the rise of the ceremonial ceremonies in the Qing Dynasty. On this issue, the author changed the past model from the rise of textual research（考據學）to discuss the background of the rise of collusion, and changed the internal and external ideas to think that the Qing Dynasty "Yi Li" collation was within the requirements of the "Yi Li" text. The rise of the ritual trend of thought in the Qing Dynasty and the formation of the model of sinology began to rise under the intertwining of three internal and external factors, and from the beginning of the Qing Dynasty to the time of Qian Jia（乾嘉）, the creation of a ceremonial study of the ceremonial ceremonies of the Qing Dynasty. Therefore, the Qing Dynasty "Yi Li" collation with the three backgrounds naturally has the four purposes of "seeking truth"（求文本之真）, "seeking for use"（求經世之用）, "seeking right"（求立說之是）and "seeking newness"（求新疏之基）. At the same time, the characters discussed in this article, from the time point of view, have been in the late Qianlong（乾隆）period, representing the achievements of the "Yi Li" collation to the full prosperity. Prior to this, the Qing people had a certain accumulation of the collation of "Yi Li". These achievements, although not achieved in the late Qianlong period, were prepared for the full prosperity of the collation, and the study of future generations It has a certain influence, so it is discussed together at the time of discussion. Lu Wenchao was at the beginning of Sinology and devoted himself to group collation. For the first time, the book " Yi Li Zhushu XiangJiao " comprehensively compiled the three systems of the "Yi Li"Scripture（經文）, annotation（注解）, and Shu（疏文）, and opened the clearing of the Zhu shu(注疏) collation, and for the first time clarified the issue of the "JingDianShiWen"(經典釋文) and the notes on the separation. For the first time, he comprehensively evaluated Zhu Zi''s（朱子） contribution to the study of "Yi Li" and the combination of internal and external evidence, and more emphasis on the internal proof of the four methods of collation, not only to establish a generation of collation rules, but also become the future of the instrument An important source of the essay, which also affects the interpretation of the rituals of "Yi Li", also affects the writings of Hu Peihui（胡培翬）and Cao Yuanbi（曹元弼）, and is a model of the "Yi Li" collation in the Qing Dynasty. Although Ruan Yuan’s "YiLi ShiJing JiaoKanJi" is short, and ordered by the government, only collation "Yi Li"Scripture .But in the development of the entire "Yi Li" study and the results of the collation, it is just in the rise of Sinology, the academic circle for recovery The book is in the ascendant. In the future, he presided over the compilation of the "ShiSanJing Zhushu JiaoKanJi"（十三經注疏校勘記）, and the relationship between the two was closely related; and the collation of the Shijing（石經）was inherited by Yan Kejun（嚴可均）and Feng Dengfu（馮登府） in the future, further expanding the development of Shijingxue in the Qing Dynasty. In the end, the original intention of the Ruan Yuan in the book to restore the original appearance of the "Yi Li" scriptures, the attitude towards the temple, and the dissatisfaction and criticism of Ao JiGong(敖繼公) chaos and reform of the scriptures clearly reflect the Qing Dynasty. The fundamental purpose and academic pursuit of ceremonies. Cao Yuanbi''s " LiJing JiaoShi " is the work of the Temple of the Army in the study of the "Yi Li" in the late Qing Dynasty.The concepts and methods, Can be regarded as a summary of the research results of the two hundred years of ritual studies and collation studies in the Qing Dynasty. In particular, the use of the Ritual Rules （禮例）"comparison and correction method"（推比勘誤）, which is not completely similar to traditional Lijiao method（理校法）.The method is excellently demonstrated in emendation work, yet sometimes seriously deficient. Lastly, Cao''s emendation work is related to his thinking of Confucian Classics, by which his view was deeply influenced. As a researcher, he should have a sympathetic understanding of his position, but a scientific analysis of specific results. Finally, a comprehensive discussion of the characteristics and deficiencies of the "Yi Li" collation in the Qing Dynasty, it is hoped that some commonalities of the Qing Dynasty "Yi Li" collation can be discovered. For collation "Yi Li Jin Gu Wen"(儀禮今古文) and use of the Ritual Rules are The biggest feature of Qing Dynasty. In the Arrangement of "Yi Li" texts,abundant Collation theory and method,promote the study of academic history, it’s have a huge contribution.However, the lack of collection of methods and the lack of methods, especially the concept of respect for the JingXue(經學)and the subjective position thus emerged, have also become a barrier to the development of the Qing Dynasty.
27
Chen, Yun-Yu, and 陳昀瑜. "A Research on the Human Nature of Qi-based Philosophy during the Ming-Qing Transition──From Liu Zong-zhou to Ruan Yuan." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/00799144597248697913.
Full text
28
"Ge Yuan and Jixiao Shanzhuang: a study of Yangzhou gardens as the meeting of merchants and literati cultures in the Qing dynasty." 1998. http://library.cuhk.edu.hk/record=b5889644.
Full textAbstract:
Wong King Chi, Kenneth.Thesis (M.Phil.)--Chinese University of Hong Kong, 1998.
Includes bibliographical references (leaves 197-206).
Abstract also in Chinese.
Chapter 1.0 --- Introduction --- p.1
Chapter 1.1 --- Issue and Scope --- p.1
Chapter 1.2 --- Modern Studies of Gardens in Yangzhou: 'A Mixed Tradition of North and South' and 'The Qianlong Style' --- p.2
Chapter 1.3 --- An Alternative Reading --- p.4
Chapter 2.0 --- Scholar Garden: A Convention or Invention? --- p.7
Chapter 2.1 --- Wenren yuan 文人園:A Problematic Term --- p.7
Chapter 2.1.1 --- Garden and Eremitism: Taohua Yuan 桃花源 and Wangchuan Bieye 輞川別業 --- p.11
Chapter 2.2 --- Discourses on Garden: The Authority of Yuan Ye 園冶 --- p.14
Chapter 2.3 --- A Material Culture
Chapter 2.3.1 --- Xianqing Ouji 閑情偶寄 and the Popularization of Gardens in Late Ming --- p.18
Chapter 2.3.2 --- Recent Studies on the Material Aspect of Ming Gardens --- p.22
Chapter 3.0 --- Yangzhou in the Oing dynasty: Social and Intellectual Climate --- p.28
Chapter 3.1 --- A City of Fame and Prosperity --- p.28
Chapter 3.2 --- The Culture of Salt Merchants --- p.30
Chapter 3.2.1 --- Extravagance --- p.32
Chapter 3.2.2 --- Gardens Mania --- p.33
Chapter 3.2.3 --- Patronage to Artists and Scholars --- p.34
Chapter 3.3 --- The Response of the Literati --- p.37
Chapter 3.3.1 --- Elegance and Vulgarity --- p.38
Chapter 4.0 --- Yangzhou Gardens in the Time of Kangxi (1662-1722) and Qianlong (1736-1795) --- p.40
Chapter 4.1 --- Famous Yangzhou Gardens --- p.40
Chapter 4.1.1 --- Gardens of the Zheng's Brothers: Ying Yuan 影園 and Xiu Yuan 休園 --- p.41
Chapter 4.2 --- The Grand Project: Shou Xihu Gardens 痩西湖 --- p.44
Chapter 4.2.1 --- Qianlong's Southern Tour --- p.45
Chapter 4.2.2 --- Shou Xihu Gardens in Yangzhou Huafanglu 揚州畫舫錄 --- p.46
Chapter 4.3 --- The New City's Gardens --- p.48
Chapter 5.0 --- Ge Yuan --- p.50
Chapter 5.1 --- Historical Background --- p.50
Chapter 5.1.1 --- Record of the Garden: Ge Yuan ji 個園記 --- p.51
Chapter 5.2 --- The Planning --- p.53
Chapter 5.2.1 --- Garden Layout --- p.54
Chapter 5.2.2 --- Touring Paths --- p.56
Chapter 5.3 --- Rockeries of the Seasons: A Query --- p.58
Chapter 6.0 --- Jixiao Shanzhuang --- p.63
Chapter 6.1 --- Historical Background --- p.63
Chapter 6.1.1 --- Jixiao and Tao Qian --- p.64
Chapter 6.2 --- The Plan --- p.65
Chapter 6.2.1 --- Touring Paths --- p.67
Chapter 6.3 --- Theater in the Garden --- p.68
Chapter 7.0 --- Spatial Reading One: A Scholar's Hut Amongst Immortal's Mountain --- p.70
Chapter 7.1 --- Rockery and Garden Building --- p.70
Chapter 7.2 --- The Influence of Shitao 石濤 --- p.72
Chapter 7.3 --- Wandering and Dwelling --- p.74
Chapter 7.3.1 --- Keyou keju 可游可居 in Landscape Paintings --- p.74
Chapter 7.3.2 --- Prospect and Refuge --- p.77
Chapter 7.3.3 --- yuan 遠 and shen: 深 Reading of Space and Place in Garden --- p.78
Chapter 8.0 --- Spatial Reading Two: Shuttling between Mundane and Transcendent Worlds --- p.82
Chapter 8.1 --- The Western and Eastern Portions --- p.82
Chapter 8.1.1 --- The Influence of Yuan Jiang's Painting of Dong Yuan 東園 --- p.85
Chapter 8.1.2 --- The Lands of Immortals --- p.87
Chapter 8.1.3 --- Inversion --- p.91
Chapter 8.1.4 --- Smallness and Largeness --- p.93
Chapter 8.1.5 --- Jiejing 借景 --- p.95
Chapter 8.2 --- Symbols of Continuity --- p.98
Chapter 8.2.1 --- Entrance Sequence --- p.98
Chapter 8.2.2 --- A Bridge Across Two Realms --- p.98
Chapter 8.2.3 --- "Pavilion, ting 亭" --- p.100
Chapter 8.2.4 --- Boat-like Hall --- p.100
Chapter 8.2.5 --- Twin-corridor --- p.103
Chapter 8.2.6 --- Walls and Windows: Cave Openings --- p.103
Chapter 8.3 --- Shuttling --- p.106
Chapter 9.0 --- Spatial Reading Three: A Pursuit of Elegance --- p.108
Chapter 9.1 --- Bamboo: A Symbol of Gentleman --- p.108
Chapter 9.1.1 --- The Influence of Zheng Xie 鄭燮:Bamboo and qinggao 清高，Loftiness --- p.109
Chapter 9.1.2 --- The Invention of Taste: From ziran 自然 to ya 雅 --- p.111
Chapter 9.2 --- Gardens of the Ma's Brothers: Xingan 行庵 and Xiaolinglong Shanguan小玲瓏山館 --- p.115
Chapter 9.2.1 --- "The Metaphor of kanshan 看山,Seeing Mountain" --- p.118
Chapter 10.0 --- Concluding Remarks --- p.121
Illustrations --- p.123
Bibliography --- p.197
29
Chang, Tien-Chen, and 張殿禎. "A Comparative Research on Two English Translation Versions of Li Qing-zhao’s Ci-poems Chanting Plum Blossom from Xu Yuan-chong’s Perspective of Three Beauties Theory." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/m6kzw9.
Full textAbstract:
碩士長榮大學
翻譯學系碩士班
105
This research is aimed at probing into the performance of beauty in sense, sound and form of Li Qing-zhao’s six ci-poems chanting plum blossom, namely Yu Jia Ao, Yu Lou Chun, Man Ting Fang, Su Zhong Qing, Qing Ping Yue and Gu Yan Er, in two English translation versions, from the viewpoint of Xu Yuan-chong’s three beauties theory for Chinese classical poetry. The author adopts two free verse English translation versions, including Li Ch’ing-Chao: Complete Poems, the cooperative translation by Kenneth Rexroth and Chung Ling in 1979, and The Complete Ci-poems of Li Qingzhao: A New English Translation by Wang Jiao-sheng in 1989, as the analytical samples. This research is divided into five chapters. The first chapter is an introduction containing research motivation and research purpose. The second chapter is the literature review in which the poetess and the translators will be introduced separately and the three beauties theory will be expounded. The third chapter is the methodology, including data collection, comparative research and application of the three beauties theory. In the application of three beauties theory, the related theories for the reproduction of the beauty in sense, sound and form will be elaborated and exemplified respectively. The translation methods of three-izations proposed by Xu will be employed in the reproduction of beauty in sense, namely the generalization involving commonization, abstraction, omission and combination; the equalization involving dynamic equivalence, conversion of parts of speech, the change of voices and negation; the particularization involving specialization, concretization, amplification and division. The reproduction of the beauty in sound includes rhyme and rhythm. The rhyme emphasis on end rhyme and alliteration; however, the rhythm requires that the regularly level and oblique tones of the original should be compensated by the feet composed by unstressed and stressed tones conforming to the meter of English poetry of the translation. The reproduction of beauty in form predominantly lays emphasis on the orderliness of length and symmetry of the translation corresponding to the original. The fourth chapter contains a comparison of the three beauties between two English translation versions. The fifth chapter is the conclusions and suggestions, in which the author concludes the research results and provides some suggestions for future research on Chinese poetry and ci-poem studies.
30
Lee, Ya-ting, and 李雅婷. "The construction of family learning and its inheritance were connected with the females in the Qing dynasty, focusing on talented females in the Yuan family of Qiantang." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/97321276076911048161.
Full textAbstract:
碩士國立中央大學
中國文學研究所
99
Influenced mainly by the family, the development of feminist literature reached the zenith in the Qing dynasty. This article, focusing on talented females in the Yuan family of Qiantang, discusses the spiritual characteristics of family culture evolved from the structure of family learning and heritage. Feminist literature was a link of family development in Qing dynasty: developing the literary talent of females was part of the process of a family’s construction of its own culture system. Whether in education or literary performance, the influence of aunt upon Yuan Mei, or that of Yuan Mei upon his sisters or granddaughters, came from the same context; the feminist literature of the Yuan family therefore could be developed in a well-catered learning environment. The three Yuan sisters were positioned in the center of the family literature. Their role in the development of family learning, and their female identity as the inheritor and developer of family culture are points which deserve full exploration. The construction of family learning and its inheritance were connected with the family background that was crucial to the Yuan females in Qiantang. To them, the culture zone of Suei garden was peculiar in the sense that outside it there was the prosperity and stability of the local culture in Qiantang, and inside a literature environment was provided. The title ‘Suei Garden’ included the architecture space and the inner literary activities: its beautiful scenery within attracted scholars to gather here and discuss poetry; it also nurtured the spirituality of the Yuan females. Therefore, in the context of the Yuan feminist literature, Suei Garden was the literature space built up by kinship, progress of age, and cultural activities. It was also the importance background in which the Yuan family learning and inheritance were constructed.
31
CHEN, MEI-YING, and 陳美吟. "The Effect of Multimedia Teaching Materials and Cognitive Style on Junior High School Students’ History Learning Results─With an example of Song,Liao,Kin,Yuan,Ming,Qing dynasty." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/ys7zyy.
Full textAbstract:
碩士育達商業科技大學
資訊管理所
101
The purpose of this study was to explore the effects of multimedia teaching vs. traditional teaching and cognitive style on history learning. The quasi-experimental design was used in this study.The participants were 62 students from two classes in the eighth grade in the junior high school.The independent variables were the teaching methods (multimedia teaching and traditional teaching) and the cognitive style (field independent and field dependent).The dependent variables was learning results (learning achievement and study attitudes).First,the participants took the pretest of learning achievement, attitudes towards history study and Group Embedded Figure Test.After teaching,they took post-test of learning achievement and attitudes towards history study. The main results of this study were: 1.Under traditional teaching and multimedia teaching , there were significant differences in students’ learning achievement. 2.Teaching methods and cognitive styles had significant interaction on the post-test of history learning achievement. 3. No significant interaction between teaching methods the and students’ cognitive styles was found in history study attitudes.
32
Karlach, Jan. "Pomocí barbarů ovládat barbary: postavení tusi v oblasti Liangshanu." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-328796.
Full textAbstract:
English Abstract This M.A. thesis analyses the politics of indirect rule within the peripheral area of Liangshan in southern Sichuan, which the imperial court tried to implement thru appointment of hereditary offices of indigenous chieftains (ch. tusi or tuguan). It uses primary sources in classical Chinese from official histories, local gazetteers, ethnographic studies and other documents, as well as secondary literature in Czech, English, French, German and Chinese. This thesis is divided into three interrelated chapters. The first chapter outlines the origin, changes and development of systems of indirect rule in Southwest China. The final stage of the development this political mechanism was a so-called "native chieftain system" (ch. tusi zhidu), through which the central court managed peripheral regions of its empire during Yuan, Ming and Qing dynasties. This chapter focuses on the development of these systems of indirect rule from the Warring States era (5th century BC) to the beginning of 20th century. The second chapter explores ethnographic, historico-political and ethnohistorical descriptions of Liangshan region. This chapter will then define the Liangshan region through geographical, political (the imperial court), and indigenous (ethnic) perspectives and therefore finalizes a theoretical...
33
LIN, WEI-SHU, and 林偉淑. "A Study of Time in Domestic Fiction of Ming and Qing Dynasties： Reflection on Chin Ping Mei, Xing Shi Yin Yuan, Lin Lan Xiang, and The Dream of the Red Chamber." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/73264240487890583999.
Full textAbstract:
博士輔仁大學
中文系
97
As Chin Ping Mei, Xing Shi Yin Yuan, and the Dream of the Red Chamberto be the objects, this study is to reflect these four domestic fictions in Ming and Qing dynasties for the theme of time and cultural meanings they represented Along with readers’ prior exiting knowledge, a conception of eras which ordinarily established in domestic fictions is developing to be a metaphor of the time period. There is usually a close relationship between an individual and his family, and wax and wane in a family mainly bound with its nation; however, fatalism is not presented in the domestic fictions. In those novels, individuals are encouraged to be able to handle their own lifes. The sense of time in domestic fictions is in the process of everyday occurrence, such as meals, dressing, worship. Those domestic matters narrativing in daily life differences from the description in regular novels but approaches female's point of view. Blooming or adolescent flowers performs years went by rapidllly. Time and space are composing each other in the stories to complete time in the past or illusion in a dream. Seeing time fading away brings about much more emtion and effects in domestic fictions which are in the method of narrative. Therefore, as we can see that the narratives are affacted by a deeper sensation and transfered into lyrics, the expression of time is determined to be the significant role.
34
Hsiao, Yung-Sheng, and 蕭永勝. "A study on Huang, Jun-Qing, the owner and leader of “Wu Zhou Yuan 2nd Troupe,” and two of his representative works, “tiong-ióng-hàu- gī-tuān” and “huâinn-sàu-kang-ôo-oo-gán-kiànn”." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/81751571940955450375.
Full textAbstract:
碩士國立臺北大學
民俗藝術研究所
98
Huang, Jun-Qing, the owner and leader of “ Wu Zhou Yuan 2nd Troupe,” follow his father’s thoughtfulness and self-cavitations of arts, then devote himself to performance of indoor puppet. This study is recorded by technical literature for 35 years with 55 different kind of information. They include initial stage, heyday and golden age. It seems that he is one the most representative artist. This article is mentioned by visiting performers who had performance experience at beginning. We can understand the performance status of Huang, Jun-Qing. And, we can confirm that first performance time of “ kî-kiap-kuài-nóo-jînis ” 1954/09/01. Huang, Jun-Qing was assigned the leader of the troupe. And, the troupe’s name is divided into 3 stages such as: 1. Indoor puppet stage, named Wu Zhou Yuan 2nd Troupe. 2. The culture which inherits will of citizenry, named Wu Zhou Yuan puppet troupe. 3. Keep traditional and innovation stage, named Huang, Jun-Qing TV puppet troupe. I choose “ tiong-ióng-hàu-gī-tuān ” and “ huâinn-sàu-kang-ôo-oo-gán-kiànn ” by Huang, Jun-Qing to discuss his performance art by story of play, people profile and characteristic, etc. Finally, I propose two points per this research as follow: 1. Rebuilt drama environment of indoor puppet, to assist puppet troupe runs forever 2. Try to build performance record of artist, and increase development history of Taiwan’s puppet opera.
35
"元末明初吳中書法硏究." 2000. http://library.cuhk.edu.hk/record=b6073801.
Full textAbstract:
唐錦騰.論文(博士)--香港中文大學, 2000.
附參考文獻.
中英文摘要.
Available also through the Internet via Dissertations & theses @ Chinese University of Hong Kong.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Mode of access: World Wide Web.
Tang Jinteng.
Lun wen (bo shi)--Xianggang Zhong wen da xue, 2000.
Fu can kao wen xian.
Zhong Ying wen zhai yao.