Dissertations / Theses on the topic 'Figaro in China'

Beaumarchais fait son entrée dans le théâtre français en crise. Comment écrire en tant que dramaturge ? Trois procédés s’offrent à lui : développer une théorie de la fusion déjà entamée par d’autres précurseurs : Fontenelle, Nivelle de la Chaussée, Destouches, Voltaire et Diderot. Tout d’abord, en préconisant la fusion du comique et du dramique, il stimule des effets de gaieté et d’attendrissement chez son public, annonce officiellement la naissance du nouveau genre : le Drame. Ceci dépasse la séparation nette entre le tragique et le comique, faisant ainsi au sein du genre théâtral un premier pas vers une révolution qui implique de nombreuses possibilités. Ensuite, en introduisant des éléments narratifs dans le genre théâtral, il effectue une fusion entre le roman et le théâtre, révolutionne ainsi le concept de genre dramatique. La poétique dramatique chez lui n’est pas qu’une question d’esthétique formelle, mais relève de l’extension littéraire de sa vie de combattant aux plans historique, social, politique de son époque. Dans une perspective de réception, son utilisation du discours métadramatique permet à son public d’être en permanence entre distance et illusion. Ceci révolutionne le rapport scène-public et exercera une influence considérable sur sa postérité. Au sens large, le discours métathéâtral de Beaumarchais dépasse son temps. La circulation séculaire de la trilogie espagnole permettra au public chinois d’étudier l’adresse singulière de Beaumarchais sur sa poétique dramatique et ses riches connotations idéologiques qui se mêlera dans l’histoire, la société et l’esthétique chinoises. Ainsi, Beaumarchais et ses œuvres s’intégreront à la généalogie de la littérature étrangère classique en Chine, et deviendront un événement typique de la littérature mondialisée
Beaumarchais made his dramaturgical entry when French theatre was undergoing a crisis. How to write as a playwright? He solved this issue on three levels and developed a theory of fusion already started by other precursors: Fontenelle, Nivelle de la Chaussée, Destouches, Voltaire and Diderot. First of all, by advocating the fusion of the comic and the dramatic, he stimulated the effects of gaiety and tenderness in his audience, officially announcing the birth of the new genre: Drama. This overcomes the clear separation between the tragic and the comic, thus taking the first step within the theatrical genre towards a revolution that opens up a whole range of possibilities. Then, by introducing narrative elements into the theatrical genre, he achieved the fusion between the novel and the theatre, revolutionising the concept of dramatic genre. For him, dramatic poetics was not just a question of formal aesthetics, but of the literary extension of his life as a fighter, which relates to the historic, social and political context of his time. From a reception perspective, his use of metadramatic discourse allowed his audience to be constantly wavering between distance and illusion. This revolutionised the relationship between stage and audience, and had a considerable influence on his posterity. In the broadest sense, Beaumarchais’ metatheatrical discourse transcended his time. The secular circulation of the Spanish trilogy will enable Chinese audiences to study Beaumarchais' singular address on his dramatic poetics and its rich ideological connotations, which will blend into Chinese history, society and aesthetics. In this way, Beaumarchais and his works will become part of the genealogy of classical foreign literature in China, and a typical event in the world literature

Les missionnaires qui abordèrent le monde chinois à la fin de la Dynastie Ming et au début de la Dynastie Qing ont établi les fondements de leur entreprise en Chine et ont pris les premiers contacts avec la culture chinoise qui était différente et indépendante du monde chrétien. La plupart des premiers missionnaires occidentaux étaient italiens, parmi lesquels Alfonso Vagnoni est un nom capital. Alfonso Vagnoni (c.1568-c.1640) était un des rares jésuites qui ont vraiment pénétré dans les provinces de la Chine. Étant resté 37 ans sur cette terre orientale, il vécut plusieurs grands événements dans l’histoire du christianisme en Chine. Avec plus de vingt œuvres rédigées en chinois, il est considéré comme un des premiers jésuites qui ont laissé les œuvres les plus nombreuses en langue chinoise. L'ouvrage des Vies des saints (Tian Zhu Sheng Jiao Sheng Ren Xing Shi) est un manuscrit hagiographique inédit gravé en chinois en 1629 à Wulin. Se fondant en partie sur la fameuse La Légende Dorée, Vagnoni ne se limita pas à en faire la traduction. Il présenta dans ce recueil 74 saints dont un certain nombre ne sont pas mentionnés par Jacques de Voragine. Respectant les expressions chinoises, il présenta aux Chinois les modèles chrétiens occidentaux sans oublier de chercher un accord entre les deux civilisations différentes. Il divisa les 74 saints en sept groupes (apôtres, pontifes, martyrs, confesseurs, ermites, vierges et veuves), parmi lesquels les femmes occupent donc deux chapitres et prennent une place d’importance. Basé sur ces deux derniers chapitres, cette thèse s’attache à découvrir le style de ce manuscrit, ainsi que l’image des saintes occidentales que Vagnoni cherche à montrer à son lecteur chinois. Cela nous permet d’une certaine façon de mieux comprendre la contribution que ce jésuite italien apporte aux échanges interculturels entre l’Europe et la Chine
Western missionaries who went to China in late Ming and early Qing dynasties were founders of the Christian enterprise in China, and they had played a significant and pioneering role in the cultural exchanges between China and the Western Christian World. Most of these early missionaries were Italians, among whom Alfonso Vagnoni can’t be ignored. Alfonso Vagnoni (1566-1640) was one of the few Jesuits who had really penetrated into the interior of China. He stayed in this eastern land for 37 years, during which he disseminated Christian teaching in different provinces and personally experienced several major events in the history of Christianity in China. With more than twenty books written in Chinese, he was regarded as one of the early Jesuits who left the most numerous books in Chinese language. Tian Zhu Sheng Jiao Sheng Ren Xing Shi is a collection of hagiographies written by Alfonso Vagnoni. It was initially engraved by the Catholic Church Chaoxingtang of Wulin(Hangzhou, Zhejiang) in 1629. This work was based on the famous Golden Legend. However, the author was not confined to a translation. In this collection, he described the lives of 74 saints, and some of them were not mentioned by Jacobus de Voragine. While introducing these Western Christian role models to Chinese people, Vagnoni made extensive use of exclusively Chinese expressions, and strove to find the commonalities between these two disparate civilizations. In Tian Zhu Sheng Jiao Sheng Ren Xing Shi, Vagnoni divided the 74 saints into seven categories (the apostles, popes and bishops, martyrs, confessors, religious, virgins and widows), among which women occupied two volumes and thus had an important place. Based on these last two volumes, the present thesis attempts to carry out a preliminary study on the writing features of this work and on the images of the Western female saints that the author tried to show to his Chinese readers

La figure du dragon chinois est le lieu d'une combinatoire qui met en jeu l'eclair, la pluie, le crocodile, etc. Notre etude met en relief son theme pere-ancetre-empereur par rapport a la doctrine yin-yang tant dans la vie quotidienne que dans la cosmogonie. Le dragon est pris pour la representation d'un actant. Son noyau semique virtuel n'est rien d'autre qu'un objet yang, le symbole phallique. Les autres sens produits par le contexte sont des creationspoetiques. Une analyse combinee de la semiotique et de la psychanalyse met en lumiere les fonctions de son symbolisme dans la societe chinoise. Le symbole phallique et la representation du pere fusionnent dans une meme figure. En tant que pere imaginaire, elle est l'interdiction de la jouissance. La femme, la terre et le pouvoir qui sont des paradigmes dans ce monde mytique n'appartiennent qu'au pere. En tant que symbole phallique, elle sert a distraire l'homme torture par l'insatisfaction, elle nous plonge dans la pensee la plus "intime" du pere-empereur : empecher l'enfant de grandir, ou le transformer en eunuque ou en femme
The figure of the chinese dragon combines the lightning, the rain, the crocodile, etc. . . Our study emphasizes its theme father-ancestor emperor in relation to the yin-yang doctrine in everyday's life as well as in cosmogony. The dragon represents an "actant". Its virtual semic nucleus is nothing but a yang objet : the phallus symbol. The other meanings coming from the context are poetical creations. A combined analysis of semiotic and psycho-analysis brings to light the functions of its symbolism in chinese society. The phallus symbol and the representtion of father unite in the same figure. As an imaginary father it is the forbiffing of enjoyment. The woment, the earth and the power that are paradigms in this mythical world belong to the father only. As a phallus symbol, it uses to entertain man tortured by unsatistaction, it puts us into the "intimate" thought of the father-emperor : prevent the child from growing or turn him into a eunuch or a woman

Cette thèse entend actualiser le diagnostic de Gilles Deleuze sur le « peuple qui manque » en inspectant une série de figures prélevées dans quatre corpus contemporains : les films de Jia Zhangke ; quatre documentaires autour dudit « mouvement des places » initié par la révolution tunisienne de 2010, à savoir Tahrir, place de la libération de Stefano Savona, Maïdan de Sergueï Loznitsa, Vers Madrid de Sylvain George, The Uprising de Peter Snowdon ; les fictions réalistes françaises de Bruno Dumont, Abdellatif Kechiche, Jean-Charles Hue et Rabah Ameur-Zaïmeche ; un ensemble de films récents mettant en scène des figures de migrants clandestins. Le postulat théorique de cette recherche est que le « peuple » n'est pas un donné tangible ni une substance immuable, mais la résultante de configurations symboliques mobiles spécifiant les subjectivitations politiques propres à chaque époque ou épistémè (Michel Foucault est la seconde référence tutélaire de ce travail, et Jacques Rancière la troisième). Son hypothèse analytique veut que la mise en relation de ces films que tout éloigne fasse apparaître les dénominateurs communs aux figures du peuple contemporaines : l'effacement de leurs prédicats, la déroute de leurs perspectives historiques et leur désaffiliation idéologique et statutaire. Articulées ensemble, elles témoignent d'un remplacement du prolétariat par un précariat fondé sur un phénomène de désappartenance, dont cette recherche piste l'isomorphe esthétique à travers les films. Elle en conclut que le peuple ne manque plus, mais clignote
This PhD aims to update Gilles Deleuze's diagnosis concerning « the people that lacks » through the examination of a range of figures found in four different corpus : the movies of Jia Zhangke ; documentaries made upon the arab spring and the western uprisings that followed these events (Tahrir, place de la libération of Stefano Savona, Maïdan of Sergueï Loznitsa, Vers Madrid of Sylvain George, The Uprising of Peter Snowdon) ; the french realist dramas of Bruno Dumont, Abdellatif Kechiche, Jean-Charles Hue and Rabah Ameur-Zaïmeche ; a set of movies staging figures of refugees. The premise of this research is that the « people » can not be conceived as an eternal substance or a fixed identity, but is to be understood as the product of historical and symbolic configurations specifics to each epoch or épistémè (Michel Foucault is another leading reference of this work, altogether with Jacques Rancière), therefore carving the political subjectivities of an age. The analyses are guided by the hypothesis that, put together, these figures can outline the common characteristics of the people of our time : the erasure of its predicates, the deletion of its former historical perspectives and the fact that it is ideologically and socially disaffiliated. This tends to prove that the proletariat has been replaced by a « precariat » whose existence is determined by a phenomenon of « unbelonging ». This research looks for the aesthetic

Basée sur l'acquis théorique et méthodologique de la narrativite et ancrée dans la problématique de l'énonciation notre demarche vise l'analyse des structures axiologiques des trois quotidiens. La construction de l'événement est observée sur un plan diachronique par un suivi de l'information en première page (mi-avril a fin juin) et sur un plan synchronique par l'étude du traitement informationnel de la répression du 4 juin. Dans un premier nous définissons les stratégies d'annonce à la une eu égard à sa fonction d'interface. Le donne morphologique des items et du dispositif spatial est apprehendé complémentairement au donne sémantique des titres et des illustrations, le linguistique et l'iconographique permettant de dégager les isotopies figuratives et thématiques. Dans un second temps, nous considérons l'aspect ponctuel de l'événement désigne unaniment par le 1exeme "massacre" dont nous proposons une analyse lexico-semantique. Abordées dans le discours des unes les configurations passionnelles sont precisées dans l'analyse sémio-narrative et discursive du récit. Ce dernier ainsi que l'éditorial sont soumis a l'étude des modalites véridictoires et epistémiques dans le cadre de la véridiction liée à la spécificité des contrats enonciatifs. A travers les genres discursifs annoncant racontant et expliquant la nouvelle nous rendons compte des dispositifs véridictoires et pathemiques dans lesquels s'inscrivent les instances de l'énoncé et de l'énonciation
Based on the theoretical and methodological acquirements of narrativity and rooted in the problematics of enunciation our process aims at analysing the axiologic structures of dailies. The construction of the event is observed on a diachronic level through a follow-up of the front page news (from mid-april tothe end of june) and on a synchronic one through the study of the june 4 th repression. We first define the strategies of announcements on the front page, consideringits function of interface. The morphologic donne of the items and the spacing is apprehended with the semantic donne of the headlines and illustrations, the linguistics and the iconography allowing to bring out the figurative and thematic isotopies. Secondly, we consider the ponctual aspect of the event refered to by the lexeme "massacre" of which we propose a lexico-semantic analysis. Passional configurations are precised in the semio-narrative and discursive analysis of the narrative. The latter as well as editorial will be submitted to the study of the veridictory and epistemic modalities within the scope of veridiction linked to the specificity of the enunciative contracts. Through the discursive genres announcing, relating and explaining the news item, we give an account of the mechanisms in keeping with the proceedings of the utterance and of the enunciation

L'objectif de ce travail est de montrer la diversité des objets que nous appelons couramment "équations", "polynôme" et "inconnues". Sous ces titres universalisant auxquels s'ajoute une langue mathématique uniformisée, se cachent des modes de raisonnements uniques, des pratiques mathématiques particulières et des objectifs stratégiques différents. Dans le but de souligner cette diversité, notre étude se concentre sur la lecture de deux traités médiévaux : le Yigu yanduan écrit par Li Ye au 13eme siècle et le Bījagaṇitavātamsa écrit par Nārāyana au 14eme siècle. Chacun des traités concerne la construction d'équation. Mon approche se fonde sur des traductions littérales et des analyses de texte empruntant des techniques de la philologie. Nous abordons les textes sous l'angle de leur structure. Il en résulte plusieurs hypothèses.

石家豪.
"2001年6月"
論文 (藝術碩士)--香港中文大學, 2001.
參考文獻 (leaves 16-17)
附中英文摘要.
"2001 nian 6 yue"
Shi Jiahao.
Lun wen (yi shu shuo shi)--Xianggang Zhong wen da xue, 2001.
Can kao wen xian (leaves 16-17)
Fu Zhong Ying wen zhai yao.
圖片 --- p.i -vi
序言 --- p.1
Chapter 上部 --- 古典與復古 --- p.2
Chapter 中部 --- 藝術性與職業性 --- p.6
Chapter 下部 --- 現代化與後現代 --- p.10
結語 --- p.14
註釋 --- p.15
參考書目 --- p.16
附錄：藝術碩士畢業展（研究生：石家豪）作品

V. 1. Understand an issue -- v. 2. Program -- v. 3. Design story book.
Ng Wai Mui Cathy.
"Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 1999-2000, design report."
V.1 & 2 in double-leaf format with size in 22 cm.
Includes bibliographical references.
Different views about street
Synopsis
My Methodology --- p.1/
Understand an issue
Mutually Relationship: Street and Building Envelope --- p.6/
Meaning to street --- p.8/
Role of street: parallel with music --- p.10/
Role of street: parallel with river --- p.12/
Role of street: city image --- p.14/
An issue: Reasons --- p.15/
An issue: By Observation --- p.16/
Hong Kong Street: Past and Present --- p.18/
Hong Kong Street: Street Control --- p.24/
Street comparison with Renaissance --- p.26/
A Lesson from History --- p.28/
Street Analysis: Mutually relationship between Building and Street
Relationship between Building and Street --- p.30/
Case comparison between linear and twisting Street --- p.31/
Street Compoments --- p.33/
Street Comparison on building openings --- p.35/
Precedent Study --- p.38/

碩士
中國科技大學
視覺傳達設計系
107
People are experiencing pressures coming from various sources like, from our society and life. We need ways to release those pressures. Toys made for adults may serve as one of the great ways to release our stress. Having fun with toys has been regarded as children’s privilege in old days. Adults would be considered childish if they were found playing with toys. As time goes by, however, people now a days, have different points of view about toys. Grownups, now a days are having emotional needs as well, to be met and some of them can be achieved through spending time and energy on toys. A survey conducted by NPD (NPD Group, Inc.) on the 12 major toy markets over the globe shows that the worlds largest toy market—the USA market sales increased by 1% up to a total of 20.7 billion US dollars in 2017 compared to the sales number in 2016. China, though second only to the US market for toys, does not have much of its own culture or literature related in any toy products. "Figures ", is one of the toys’ categories. This word, originated from Hong Kong and Macao way back 1970s, it is a relatively new term for the worldwide booming animation industry. American, European, and Japanese figures overwhelming dominate current toy markets and only few Chinese figures can be found among them. In the light of this phenomenon, the ideas to make figures from famous characters in Chinese fictions or literatures that follows the modern features of figures transform the motivation of this research. The figures created for this research are the roles called “Princess Iron-Fan” and “Bull Demon King” which are famous but less mentioned. They are like the Chinese version of Beauty and the Beast, which are innovative crafted and exhibit the conflicting beauty. The software ZBrush is used for digital engraving and a photo-curing 3D printer modeling. The final products are characters with two different styles--classic and modern ones.

Dissertação de mestrado em Estudos Interculturais Português / Chinês: Tradução, Formação e Comunicação Empresarial
Os dragões têm um lugar especial tanto na China como no Ocidente, embora sigam caminhos diferentes e possuam simbologias diferenciadas. O principal objetivo do presente trabalho versa principalmente sobre as comparações entre a figura do dragão na China e no Ocidente considerando diferentes aspetos da mesma, em especial o papel mitológico que desempenha. Em primeiro lugar, o trabalho começa pela essência dos dragões, fornecendo, com base na etimologia, semântica e registos escritos, de modo a facilitar a compreensão geral, uma síntese das imagens do dragão em ambas as partes do globo. Em seguida, como parte principal da dissertação, o segundo capítulo apresenta alguns mitos em específico, analisando, interpretando e justificando a imagem do dragão na China e no Ocidente desde o enredo da sua narrativa até à aparência, capacidade, papel e contextos culturais que lhe são normalmente atribuídos. Por fim, demonstra-se vividamente o uso da figura e simbologia do dragão na sociedade contemporânea, enfatizando ainda mais os diferentes papéis desempenhados por si nas culturas chinesa e ocidental.
Dragons have a special place both in China and in the West, although they follow different paths and have different symbolic meanings. The main objective of the present work is mainly about the comparisons between the figure of the dragon in China and in the West considering different aspects of it, especially the mythological role it plays. First, the work begins with the essence of dragons, providing, based on etymology, semantics and written records, in order to facilitate general understanding, a synthesis of the images of the dragon in both parts of the globe. Then, as the main part of the dissertation, the second chapter presents some specific myths, analyzing, interpreting and justifying the image of the dragon in China and the West from the plot of its narrative to the appearance, ability, role and cultural contexts commonly attributed to it. Finally, the use of the dragon figure and symbolism in contemporary society is vividly demonstrated, further emphasizing the different roles played by it in Chinese and Western cultures.
龙在中西方都有着特别的地位，但却走着截然不同的道路，象征意义也大相径庭。本论文旨在从多个方面对比中西方的龙形象，尤其是龙在神话中扮演的角色。首先，本文从龙的基本性质入手，根据词源学、语义学以及文字记载，将中西方的龙形象做一个大致的总结，便于读者总体把握。其次，作为论文的主体部分，第二章列举了中西方典型的龙神话，从故事情节到龙的外貌、能力、角色作用和其文化背景，对中西方的龙形象展开分析、解读和论述。最后，本文生动地展现了龙形象在现代社会中的运用，进一步强调龙在中西文化中扮演的不同角色。

碩士
東吳大學
音樂學系
102
Abstract 　　This paper reviews Schubert’s song cycle Die Schöne Müllerin and discusses ten songs that symbolize the stream figure. By analysing the song figures and harmonies, we get to see how Schubert used music to describe the character of the stream. 　　By observing the formal construction of Die Schöne Müllerin, my research also examined the dialogues between the river and the protagonist, the teenage Miller. As the storyline develops, we will further analyze the mental state of the Miller. With deep research and understanding, this can assist the performer to better understand and inhibit the character in future. 　　Finally, through a combination of music analysis, dramatic narration and song interpretation, we discuss the song cycle's description of the relationship between the stream and the Miller. 　　　 Program 　　　 Music for a while Henery Purcell (1659-1695) Largo G. F. Handel (1685-1659) 　　　 Wohin? Franz Schuber (1797-1828) Der Neugierige Der Müller und der Bach 　　　 Dein ist mein ganzes Herz from Operette Das Land des Lächelns Franz Lehár (1970-1948) 　　　 L'ultima canzone Tosti, F. P. (1846-1916) Bacio vivo Angelo Bettinelli (1878-1953 ) 　　　 L'ultima canzone Tosti, F. P. (1846-1916) Bacio vivo Angelo Bettinelli (1878-1953 ) 　　　 Après un Rêve Gabriel Fauré (1845-1924) Fleur Jetée 　　　 La fleur que tu m’avais jetée from Carmen Georges Bizet (1938-1875)　　　 　　　　 Sure on this shinging night Samuel Barber (1910-1981) Rain has fallen The Daisies 　　　　　 契丹的玫瑰 曲：陳茂萱 詩：席慕蓉 　　　 故鄉的河流　（客家語） 曲：曾毓忠 詞：葉日松 　　　 自由之歌　　（福佬語） 曲：蕭泰然 詞：李敏勇

碩士
輔仁大學
國際創業與經營管理學程碩士在職專班
96
The purpose of this study is to investigate the channel options and management of market entry of Taiwan’s figure doll in Mainland China. A case study on W Toy Company was adopted to “explore factors that affect the options of distribution channel while making appropriate options and management of distribution channel based on the results of the study”. Once every factor is well-considered, the company can therefore contrive and pick out a best-fit among the premium decisions for distribution channels in Shanghai. Further, an overall management on channels and physical channel systems can be carried out to save production cost and meet customers’ satisfaction.

碩士
國立雲林科技大學
漢學資料整理研究所碩士班
94
The Chinese Secular Novel describes the part of the family livelihood in Ming-Ching dynasty, it also depicts multiple identities for the female in the family. For female, this part has deeper description about the position of the Mother. The Chinese Secular Novel reflects the responsibilities of bearing、rearing、educating for Mother in the family. The implement of the motherhood has indispensable importance even override the implement of the women and becomes the priority. The images of Mother show the both importance of the 「Kind」、「Strict」. 「Kind」 showes mainly care in the regular day. Mother reveals the love of female and temperament of concerned. The Novel has essential expectation and shape of hugging baby for Mother from the importance of the motherhood and implement of the motherhood. The 「Strict」 means the attitude of educating. There are samples about teaching child by mother in the Ming-Ching dynasty, but the teaching does help indirect, not teach directly and the attitude should insist strict and make child successful. The role of Mother not only maintains the family order, but also trains womanhood for daughter and becomes the transmission of female experience. In the ethical idea of China filial piety, the fame of Mother’s identity promotes. After Becoming Mother, female have important stats and power for the family. In the environment of Father’s decreasing, it even confirms he mother’s power in the family and influence for the children. The Novel showes some images of might for part of Mother, but the status of female in the family should depend of situation. We can’t just say “female was got stress”. The broad images of Mother still can’t do without kind and sacrifice, but mother shows variety images in the Chinese Secular Novel. The Novel not only means the high technique of forming people character, but also can see the respect and image of the mother through mother’s image.