6,861 research outputs found
Hong Kong cinema 1982-2002 : the quest for identity during transition
No full textElectronic redacted version excludes material for which permission has not been granted by the rights holderThis thesis seeks to interpret the cinematic representations of Hong Kongers’ identity quest during a transitional state/stage related to the sovereignty transfer. The Handover transition considered is an ideological one, rather than the overnight polity change on the Handover day. This research approaches contemporary Hong Kong cinema on two fronts and the thesis is structured accordingly: Upon an initial review of the existing Hong Kong film scholarship in the Introduction, and its 1997-related allegorical readings, Part I sees new angles (previously undeveloped or underdeveloped) for researching Hong Kong films made during 1982-2002. Arguments are built along the ideas of Hong Kongers’ situational, diasporic consciousness, and transformed ‘Chineseness’ because Hong Kong has lacked a cultural/national centrality. This part of research is informed by the ideas of Jacques Derrida, Homi Bhabha and Stuart Hall, and the diasporic experiences of Ien Ang, Rey Chow and Ackbar Abbas. With these new research angles and references to the circumstances, Part II reads critically the text of eight Hong Kong films made during the Handover transition. In chronological order, they are Boat People (Hui, 1982), Song of the Exile (Hui, 1990), Days of Being Wild (Wong, 1990), Happy Together (Wong, 1997), Made in Hong Kong (Chan, 1997), Ordinary Heroes (Hui, 1999), Durian Durian (Chan, 2000), and Hollywood Hong Kong (Chan, 2002). They meet several criteria related to the undeveloped / underdeveloped areas in the existing Hong Kong film scholarship. Hamid Naficy’s ‘accented cinema’ paradigm gives the guidelines to the film analysis in Part II. This part shows that Hong Kongers’ self-transformation during transition is alterable, indeterminate, and interminable, due to the people’s situational, diasporic consciousness, and transformed ‘Chineseness’. This thesis thus contributes to Hong Kong cinema scholarship in interpreting films with new research angles, and generating new insights into this cinematic tradition and its wider context
ConEditor+: Capture and Maintenance of Constraints in Engineering Design
No full textThe Designers' Workbench is a system, developed to support designers in large organizations, such as Rolls-Royce, by making sure that the design is consistent with the specification for the particular design as well as with the company’s design rule book(s). Currently, to capture the constraint information, a domain expert (design engineer) has to work with a knowledge engineer to identify the constraints, and it is then the task of the knowledge engineer to encode these into the Workbench's knowledge base (KB). This is an error prone and time consuming task. It is highly desirable to relieve the knowledge engineer of this task, and so we have developed a tool, ConEditor+ that enables domain experts themselves to capture and maintain these constraints. The tool allows the user to combine selected entities from the domain ontology with keywords and operators of a constraint language to form a constraint expression. Further, we hypothesize that to apply constraints appropriately, it is necessary to understand the context in which each constraint is applicable. We refer to this as "application conditions". We show that an explicit representation of application conditions, in a machine interpretable format, along with the constraints and the domain ontology can be used to support the verification and maintenance of constraints
Acquisition and Maintenance of Constraints in Engineering Design. In
No full textThe Designers' Workbench is a system, developed by the Advanced Knowledge Technologies (AKT) consortium to support designers in large organizations, such as Rolls- Royce, by making sure that a design is consistent with the specification for the particular design as well as with the company’s design rule book(s). Currently, to capture the constraint information, a domain expert (design engineer) has to work with a knowledge engineer to identify the constraints, and it is then the task of the knowledge engineer to encode these into the Workbench's knowledge base (KB). This is an error prone and time consuming task. It is highly desirable to relieve the knowledge engineer of this task, and so we have developed a tool, ConEditor, that enables domain experts themselves to capture and maintain these constraints. The tool allows the user to combine selected entities from the domain ontology with keywords and operators of a constraint language to form a constraint expression. We hypothesize that to apply constraints appropriately, it is necessary to understand the context in which each constraint is applicable. We refer to this as "application conditions". We plan to make these application conditions machine interpretable and investigate how they, together with a domain ontology, can be used to support the verification and maintenance of constraints
MPTL reconstruction
No full textLanguage:Chinese.HardCover. Pub Date: 2014-7-1 Pages: 266 Publisher: People's Medical Publishing House Feng Hua. Zhang Hui editor of this patellofemoral instability (with CD-ROM clinical assessment and treatment) (fine) systematically expounded the patellar hip joint instability clinical diagnosis and treatment. especially for patellofemoral instability diverse bony risk factors. a fundamental correction of the mechanical environment. risk factors for various types of bone individualized identification. assessment and targeted correction. The author tries to modern diagnostic and treatment concepts presented to the reader. This book is available in sports injuries and arthroscopic surgery professional orthopedic surgeons. orthopedic resident physicians and specialist training system to learn
Ankle dorsiflexion, not plantarflexion strength, predicts the functional mobility of people with spastic hemiplegia
No full textAuthor name used in this publication: Shamay S. M. NgAuthor name used in this publication: Christina W. Y. Hui-Chan2012-2013 > Academic research: refereed > Publication in refereed journalVersion of RecordPublishedVoR allowe
Why are stock market returns correlated with future economic activities?
No full textStock price, because it is a forward-looking variable, forecasts economic activities. An unexpected increase in stock price reflects that (i) future dividend growth is higher and/or (ii) future discount rates are lower than previously anticipated; therefore, the increase predicts higher output and investment. As well, other studies argue for an important relation between the expected stock market return and investment. In this paper, Hui Guo analyzes the relative importance of these mechanisms by using Campbell and Shiller’s (1988) method to decompose stock market return into three parts: expected return, a shock to the expected future return, and a shock to the expected future dividend growth. Contrary to the conventional wisdom, the author finds that dividend shocks are a rather weak predictor for future economic activities. Moreover, the expected return and shocks to the expected future return display different predictive patterns. The results shown here, collectively, explain why the forecasting power of stock market return is rather limited.Stock market
Marital Status and Perceived Discrimination Among Transgender People
No full textTitle: Marital Status and Perceived Discrimination Among Transgender People Author(s): Liu, Hui; Wilkinson, Lindsey Source: JOURNAL OF MARRIAGE AND FAMILY, 79 (5): 1295-1313 OCT 2017 Document Type: Articl
Jo Hui-ryong(1789-1866)’s Views on Painting and His Temperament as an Artist
No full text현존하는 저술서를 통해 볼 수 있는 조희룡의 언술들은 그의 회화사상이 중세적 가치관에 기반을 두고 이루어졌음을 알게 해 주는 사료이기에 매우 소중하다. 그럼에도 불구하고 조희룡에 대한 연구는 대체로 ‘김정희라는 大家와 그 아류’라는 이분법적 논리에서 폄하되었던 조희룡을 또 다른 대가로 부각시키려는 목적과 19세기의 다변했던 시대조류 속에서 성급히 근대성을 추출하려는 관점에서 전개되었다.
결과적으로 조희룡은 평가와 해석의 과정에서 근대적 자아관과 창작관을 지닌 화가로 다분히 오해되었으므로 중세적 관점에서 재해석되어야 할 필요가 있다. 이를 위해 본 연구는 조희룡이 남긴 언술의 내용과 의미를 구체적으로 파악함으로써 이를 기반으로 그의 창작성향과 작품의 조형성을 해석하고자 하였다.
조희룡의 회화사상은 근본적으로는 老莊思想과 유학적 가치관 및 불교사상에 기반을 두고 형성되었으며, ‘東道主義’에 따른 문인화론과 ‘寫意的 傳神論’의 확산이라는 맥락 속에서 전개되었다. 그는 회화창작을 우주만물의 생성과 같이 여겼던 이 시기 동아시아의 창작관에 따라 자신을 創生에 동참하는 ‘共創者’로 인식하였다. 物我一體에서 얻어지는 ‘我法’을 추구했으며, 이는 손이 마음의 뜻에 응하는 ‘心手相應’의 상태에서 표출된다고 여겼다. 또 한 획 가운데 모든 이치가 함축되어 있다는 ‘一字論’, 닮지 않음을 통해 傳神 할 수 있다는 ‘極不似而極似’의 사상을 피력하기도 하였다.
창작 성향으로는 ‘심수상응론’을 실천하기 위해 무위적으로 붓을 휘두르는 ‘塗抹’, ‘亂抹’의 태도와, 文雅함을 드러내기 위한 ‘頹唐放筆’의 성향을 보였다. 이러한 성향은 모두 인위성을 배제하고자 한 것으로, 마음을 비우고 붓이 가는대로 자신을 맡기는 ‘虛心聽筆, 偶然得之’도 같은 맥락에서 이해된다.
조희룡은 이러한 회화사상과 창작성향을 기반으로, 대상물의 재현보다는 그것이 지닌 본질의 구현을 중시하였다. 이에 따라 文字氣와 金石氣를 담기 위해 글씨를 쓰듯 그림을 그렸다. 또, 梅ㆍ蘭ㆍ竹ㆍ菊ㆍ石과 같은 구상적 소재를 다루면서도 궁극적으로는 자연이치의 造化力과 創生力을 표현하고자 했다.
본 논문은 이와 같이 조희룡의 회화사상과 창작의 지향점을 당대적 관점에서 밝힘으로써 그의 창작성향과 작품의 조형적 측면을 재해석하였으며 이를 통해 그의 작가적 면모를 좀 더 실체에 근접하게 이해할 수 있게 하였다.;Several literary anthologies containing writings by Jo Hui-ryong, invaluable for understanding his views on painting and art, have survived to today. His views on painting were heavily influenced by medieval values. However, Jo Hui-ryong’s legacy has been long overshadowed by that of Kim Jeong-hui and he was regarded as an epigone of Kim. In response, a number of researches were conducted to shed new light on Jo Hui-ryong as a master painter in his own right and to discover modernity in the works of Jo Hui-ryong whose career unfolded amid the various and changing currents of the 19th century.
As a result of this, Jo Hui-ryong was often misunderstood as a painter with a modern sense of self-awareness and artistic view. This paper, written as an attempt to reinterpret his legacy in a manner to bring to light the medieval influence on his paintings, examines writings left by him to reconstruct his artistic views.
Jo Hui-ryong’s views on painting were formed against the backdrop of such currents of thought as 'dongdojuui(東道主義)' and 'sauijeok jeonsinnon(寫意的 傳神論)', emphasizing the spiritual essence of a painting subject rather than visual resemblance to the subject, which gained popularity during his time, and was ideologically embedded in the Philosophy of Lao Tzu and Zhuangzi, Confucian values and the Buddhism. Following the conception of painting as an act of creation similar to the creation of all things in the universe, he recognized himself as a co-creator participating in this creative process. He believed that ‘one’s own methods(我法)’ can be attained when the hand communicate with the mind. Jo Hui-ryong further subscribed to ideas like ‘iljaron(一字論),’ the belief that one stroke contained all principles of the universe, or ‘guekbulsa igeuksa(極不似而極似)’, meaning that one can truly convey the subject of a painting by avoiding resemblance.
In trying to capture his inner creativity, Jo Hui-ryong sought a tendency of ‘domal(塗抹)’ and ‘nanmal(亂抹)’ which can be translated as “spontaneity” that is consistent with his belief in the intimate correspondence between the hand and the mind. His paintings also show a tendency toward the so-called ‘toedangbangpil(頹唐放筆),’ which gave them a touch of literary elegance(文雅). All of these tendencies had one thing in common: they were all driven toward eliminating contrivedness and artificiality, in favor of paintings created almost purely out of spontaneous brushstrokes, while the mind of the artist is free of any particular intention or preconceived ideas.
Jo Hui-ryong also held the view that a painting should capture the essence of a subject, rather than representing it mimetically. This was one reason why he employed calligraphic methods in his paintings, as a way of injecting the flavor of literati and epigraphy(文字氣ㆍ金石氣) into them. Meanwhile, even when he dealt with figurative subjects such as plum blossoms, orchid, bamboo, chrysanthemum or stone, his ultimate goal was to reveal the power of harmony and vitality inherent in the nature.
This paper casts new light on Jo Hui-ryong’s artistic temperament and credo and reinterprets his paintings based on views on painting and art that were contemporary to his lifetime. Through this effort, the author was able to gain intimate and more holistic insights into Jo Hui-ryong as an artist.Ⅰ.머리말 1
Ⅱ.조선 말기 남종문인화론의 확산 8
1.서양세력에 대한 지식인층의 內修的 대응 8
2.남종문인화론과 寫意的 傳神論의 심화 12
Ⅲ.조희룡의 회화관과 창작론 17
1.회화의 존재가치와 기능 17
2.창작관과 창작론 24
1)共創者로서의 自我 인식 25
2)自得的 창작태도를 통한 我法의 추구 30
3)心手相應論 36
4)一字論 39
5)닮지 않음을 통한 닮음(極不似而極似)의 지향 42
3.감상태도와 감평의 기준 44
4.화목별 주제의식 57
Ⅳ.조희룡의 창작성향과 조형성 67
1.창작성향 67
1)塗抹ㆍ亂抹을 통한 心手相應論의 실천 67
2)逸格的 文雅함을 위한 頹唐放筆 71
3)虛心聽筆, 偶然得之 74
2.조형성 77
1)書法에 기초한 文字氣ㆍ金石氣의 조형화 77
2)造化의 千態萬象 구현 87
Ⅴ.맺음말 100
參考文獻 104
圖版目錄 114
圖版 116
ABSTRACT 12
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