Dissertations / Theses on the topic 'Wu xing(zhong yi)'

Thesis (M.Phil.)--Hong Kong University of Science and Technology, 2004.
Includes bibliographical references (leaves 323-342). Also available in electronic version. Access restricted to campus users.

碩士
東吳大學
中國文學系
105
Xia Lun（1680-1753 later）, courtesy name as Yan-si（言絲）, pseudonym as Xing-zhai（惺齋）, and old age pseudonym as Qu-sou（臞叟）, Zhejiang Qiantang （now Hangzhou）people. In an early age, he could not obtain official positions. Although he became an official after forty years old, he was still unable to bring his ambition into full play. In the first year of Qianlong（1736）, he wanted to take Bo Xue Hong Ci（博學鴻詞）, but being obstructed（阻攔） by someone. After that, he never attended another imperial examination. In the later years, he created dramas to amuse himself. And his dramas have Wu- Xia- Bi（《無瑕璧》）, Xing- Hua- Cun（《杏花村》）, Rui- Yun- Tu（《瑞筠圖》）, Guang- Han- Ti（《廣寒梯》）, Nan- Yang- Le（《南陽樂》）and Hua- E- Yin（《花萼吟》）, which are collectively known as The Six New Dramas（《新曲六種》）. 　　About the story of dramas, it encompasses ‘loyalty’, ‘filial’, ‘piety’, ‘justice’ as the core of ideas. For the content of the play, through Wu- Xia- Bi shows the meaning of the monarch and his ministers, Xing- Hua- Cun shows the meaning of the father and son, Rui- Yun- Tu shows the meaning of the couple, Guang- Han- Ti shows the meaning of friendship, Hua- E- Yin shows the meaning of brothers, and through Nan- Yang- Le makes up history of the regret. Among six dramas is the ‘persuasion’ as the core, extending the ‘karma’ function, and to remind people that there is a cycle in the world, it can’t be lucky attitude to face their own behavior. The concept makes The Six New Dramas as a warning in general, and still convey the world truth. 　　In addition to the theme and spirit of the drama, pai - chang（排場）in Xia Lun’ s drama is another research-oriented. According to quantified the way, this report shows pai - chang’s situation of six dramas, constructing the literary and artistic value, phenomenon and regularity of Xing Zhai’s play. 　　This report is divided into eight chapters. The first chapter is about the discourse and theory of the predecessors, to establish the structure of the pai- chang’s theory. The second chapter to the seventh chapter is about the pai- chang’s analysis of six dramas, and every chapter is divided into ‘Guan- Mu- Qing- Jie’（關目情節）, ‘Leng-Re-Xiang-Ji’（冷熱相濟）and ‘Lao-Yi-Jun-Heng’（勞逸均衡） three sections, from which analysis of pai- chang’s situation. The eighth chapter is compare of six dramas, which is also divided into ‘Leng-Re-Xiang-Ji’ and ‘Lao-Yi-Jun-Heng’ two sections, by chart to explore problem and the law of pai- chang.

碩士
國立臺北教育大學
社會與區域發展學系碩士班
101
In the past dozens of years, along with promotion for southward policy by the government as well as the rise of transnational marriage brokering business, the number of female new immigrant with Southeast Asian background has rendered this segment of immigrant as the fourth largest ethnic population. Nonetheless researcher of this thesis, through qualitative interviews conducted with six new immigrant females residing at Wu-xing community of Xin-yi District at Taipei City, intended to understand the empowerment processes for them through economical, social, human resource and cultural capital means. And inspections were made as opposed to each individual capital accumulation and up to major decision-making, child rearing approach, object of their family cares (protections) rendered, house chores and diverse cultures, etc, a total of 5 dimensions from the display for family power so as to present the adaptability aspects for these new female immigrants spanning period of 2 to 15 years since their arrivals. Findings of this research revealed that the reasons prompted these new immigrants to come to Taiwan could be divided into economical factors, experiences accrued by their relatives and friends here in Taiwan, free courtship and others unable to be categorized. However the process of adapting to Taiwan lifestyles for these new female immigrants, besides language and life styles and traits, the Taiwanese lighter diet compared to that of Vietnamese as well as the cold and wet weather pattern in Taipei were also the part needed to be conquered and adapted by them whereas the support by their spousal families, child bearing and rearing, and the assistances provided by their hometown friends could be conducive in shortening the growing pains. Majority of the interviewed new female immigrants were engaged in low-pay and long-hour restaurant service jobs. Objective of finding a job aimed to primarily increase family incomes nevertheless few relied on these as the escapism from harsh in-law relationships. Distribution of their incomes was prioritized to serve the children’s education then followed by as the travel expenses for returning to Vietnam for family visits. For those who participated to literacy education, most expressed that the education could facilitate their job-seeking endeavors whereas some of them would apply what they learned to supervise their children homework. Social capitals for these new female immigrants were derived from immigrant networks and human networks from their spouses as well as those who attended the same classes of literacy education, and these resources were found to be extremely helpful for the interviewees. As for the family power display for these new female immigrants, in “major decision-making aspect”, this research applied the returning to Vietnam for family visit as the measuring yardstick. Findings from interviews indicated that the traveling expenses were fully borne by their spouses for these housewives. For those who held a job tended to pay for themselves. As for child rearing aspect, the interviews for most of those new female immigrants with children tended to be responsible for the tasks of educating and rearing their children and their family members also supported these new immigrants in teaching their children how to learn Vietnamese as well. As for in-law relationship, for most the interviewees, they seemed to have a fair and good relationship whereas in spousal relationship we found that their husbands were the major receiving parties for these new female immigrants while they needed to unwind and vent their emotional feelings. Findings of this research indicated that: For those new female immigrants with adequate economical means can facilitate the enhancement for their standings in the family nevertheless there was absolutely no correlation between the level of enhancement and income. For these new female immigrants to change their family standings, it still rests primarily at the attitudes and concepts in how to accept the family as a whole in addition to the personal characteristics of these new female immigrants as result.

碩士
國立臺北藝術大學
戲劇學系研究所
93
“Yi Bu Er Bu Huan Xing” (changing without varying the essential form) is a metaphor which Mei Lanfang (the most famous actor in Peking Opera) discussed about the revolution of Peking Opera while he answered the interviewer’s question. Actually, Mei Lanfang has been constantly following this concept in his growing of performing art. This thesis focuses on discussing his creative experiences in Chinese Opera Dancing to infer three aesthetic stage: reality, beauty, idea, and proposes the characteristics of Chinese Operas Dancing: character types, factuality, expressing ideas. Moreover, this thesis also studies how to develop new “Wu Shi”(dancing type), body movements and gestures, which name is commented by Prof. Chi Jushan, and confirming Mei’s “Yi Bu Er Bu Huan Xing” creative concept. The term of “Chinese Operas Dancing” covers a wide variety of actions in the Chinese Operas stage instead of the traditional term of “Shen Duan”. Because “Chinese Operas Dancing” could covers new dancing types of modern Chinese Operas, and it could include dramatic action and dancing action. The term of “Wu Shi” has the meanings of “dancing” and “rule”, and it can also explain the action of gathering different body movements and gestures into a new dancing type. This is just Mei Lanfang’s creative process in Chinese Operas Dancing. With times changing, Chinese Operas should perform new characters and stories. Therefore, it could be developed new music and dancing. This research explores the concept of “Yi Bu Er Bu Huan Xing” to analyze Mei Lanfang’s creative process in Chinese Operas Dancing, and search for the method of developing new “Wu Shi”. This thesis is a master’s study, which is limited of time and ability, so it will focus on dancing only.

碩士
國立臺北藝術大學
戲劇學系碩士班理論組
93
"Yi Bu Er Bu Huan Xing" (changing without varying the essential form) is a metaphor which Mei Lanfang (the most famous actor in Peking Opera) discussed about the revolution of Peking Opera while he answered the interviewer''s question. Actually, Mei Lanfang has been constantly following this concept in his growing of performing art. This thesis focuses on discussing his creative experiences in Chinese Opera Dancing to infer three aesthetic stage：reality, beauty, idea, and proposes the characteristics of Chinese Operas Dancing: character types, factuality, expressing ideas. Moreover, this thesis also studies how to develop new "Wu Shi"(dancing type), body movements and gestures, which name is commented by Prof. Chi Jushan, and confirming Mei''s "Yi Bu Er Bu Huan Xing" creative concept. The term of "Chinese Operas Dancing" covers a wide variety of actions in the Chinese Operas stage instead of the traditional term of "Shen Duan". Because "Chinese Operas Dancing" could covers new dancing types of modern Chinese Operas, and it could include dramatic action and dancing action. The term of "Wu Shi" has the meanings of "dancing" and "rule", and it can also explain the action of gathering different body movements and gestures into a new dancing type. This is just Mei Lanfang''s creative process in Chinese Operas Dancing. With times changing, Chinese Operas should perform new characters and stories. Therefore, it could be developed new music and dancing. This research explores the concept of "Yi Bu Er Bu Huan Xing" to analyze Mei Lanfang''s creative process in Chinese Operas Dancing, and search for the method of developing new "Wu Shi". This thesis is a master''s study, which is limited of time and ability, so it will focus on dancing only.