1,721,150 research outputs found
Gu Cheng és Ady Endre szerelmi verseinek összehasonlítása
No full textE dolgozat témája a magyar Ady Endre és a kínai Gu Cheng szerelmi költészetének összehasonlítása. Megvizsgálom mindkét költő témáit és stílusát, valamint foglalkozom a két költői személyiséggel. Általánosságban elmondható, hogy Gu Cheng és Ady Endre szerelmi versei inkább tükrözik a szélesebb körű és univerzálisabb életet és emberi tapasztalatokat, mint a különböző kultúrák vagy korszakok közötti különbségeket. Mindkét költő lázadó szellemisége és a mélyebb életértelmezés iránti vágya összeköti őket, és értékes tanulságokat kínál a jelen és a jövő generációi számára.MSc/MAMagyar nyelv és irodalo
Ying'er : L'univers poétique de Gu Cheng [Ying 'er de Gu Cheng et Lei Mi]
No full textChenivesse Sandrine. Ying'er : L'univers poétique de Gu Cheng [Ying 'er de Gu Cheng et Lei Mi]. In: Perspectives chinoises, n°25, 1994. pp. 64-66
Gu Cheng: la disparition d'un poète
No full textCurien Annie. Gu Cheng: la disparition d'un poète. In: Perspectives chinoises, n°19, 1993. pp. 49-50
Gu Cheng, un poète chinois contemporain (un Rimbaud chinois)
No full textNotre sujet d'étude est un poète chinois contemporain, Gu Cheng (1956 - 1993). A cent ans d'intervalle, il est né et mort en même temps que Rimbaud. Comme celles de Rimbaud, un siècle plus tôt, nous montrons que les oeuvres de Gu Cheng marquent un tournant important dans l'histoire de la poésie chinoise. Le poète lui-même a considéré que sa vie se divisait en quatre grandes périodes. Nous avançons dans notre étude en nous conformant à cette division. Pour chacune de ces périodes, nous voyons sa biographie en détails ainsi que les oeuvres les plus significatives dont nous faisons le commentaire sur le fond et la forme. Puis nous avons mis en lumière ce qui rapproche Gu Cheng de Rimbaud. Ils sont tous deux des poètes objectifs et voyants, insatiables de Liberté et de Beauté. Pour l'un comme pour l'autre, les souffrances sont énormes, dans l'acte créateur comme dans la vie puisqu'ils recherchent une expérience totale . Tous deux assumeront le risque de l'hermétisme auquel ils n'échapperont pas. Ce sont deux immenses solitudes, deux vies déchirées comme si la toute puissance du génie se payer cash . Gu Cheng se suicidera en 1993.We have studied the life and works of Gu Cheng, a contemporary Chinese poet in this these. With a century of distance, he was born and dead nearly the same year as Rimbaud. As did Rimbaud's works for French poetry, a century earlier, we have showed that Gu Cheng's works marked an important turning- point in history of Chinese poetry. Gu Cheng himself divided his poet life in four great parts. We went through our study by following these four parts. In each of them, we examined in details his biography as well as the most significant poems, about which we made a commentary on the form and the matter. Then we pointed out which is similar between Gu Cheng and Rimbaud: they are both objectf and "voyant" poets, insatiable of Liberty and Beauty. For both of them, the suffering is terrible, in creator act as well as in their lives, since they were looking for a "total experience". They both exposed themselves to the risk of hermetism from which they won't escape. They were two immense solitude, two broken lives as if the very greatness of genius has to be paid "cash". Gu Cheng killed himself in 1993.PARIS4-BU Serpente (751052129) / SudocSudocFranceF
The Motif of Loneliness in the Work of the Chinese Poet Gu Cheng (1956–1993)
No full textЭссе посвящено творчеству китайского поэта Гу Чэна.The essay is dedicated to the works of the Chinese poet Gu Cheng
Conceptualization of beauty in the creativity of Misty Poets (Poetry of Shu Ting and Gu Cheng)
Get PDFIn the article, the research attention on the interpretation of the artistic space of «Misty poetry» focuses on the concept of «beauty/aesthetics». For the first time, translations in the Ukrainian language of individual poems by Shu Ting and Gu Cheng are proposed, and their new understanding is proposed through the individual-authorship paradigm of aesthetic ideas
Mechanoreceptor channels at the sole of the foot
No full textEThOS - Electronic Theses Online ServiceGBUnited Kingdo
Notes toward a nomad subjectivity: The poetics of Gu Cheng (1956-1993)
No full textIn this paper, Deleuze and Guattari's notions of desiring-production and nomad subjectivity are applied to the work of the contemporary People's Republic of China poet Gu Cheng, a writer who attempted to formulate an 'aimless' self engaged in endless becoming. In addition, the concept of 'Mao style' proposed by Li Tuo is discussed with regard to Mao Zedong's Talks at the Yan'an Conference on Art Literature in order to demonstrate the repressive nature of the dominant discourse in China after 1949, and to show that its essential purpose was to trap individual desiring-production within the restricted scope sanctioned by the Chinese Communist Party. The features of Gu Cheng's evolving model of subjectivity are discussed and evaluated in terms of their resistance to the effects of Mao style. Finally, there is a brief discussion of the reasons for Gu Cheng's failure to arrive at a positive conception of nomad subjectivity
Vibrotactile perception thresholds at the sole of foot: Effects of contact force and probe indentation
No full textWhen using vibrotactile thresholds to investigate neuropathy in the fingers, the indentation of a vibrating probe, and the force applied to a static surround around a vibrating probe, affect thresholds. This study was designed to investigate the effects on vibrotactile perception thresholds at the sole of the foot of probe indentation (i.e. height of a vibrating probe relative to a static surround) and the force applied to the static surround. Thresholds at 20 Hz (expected to be mediated by the NP I channel) and at 160 Hz (expected to be mediated by the Pacinian channel) were obtained at the hallux (i.e. greater toe) and the ball of the foot on 14 healthy subjects. In one condition, the height of the vibrating probe was varied to 0, 1, 2, 3, and 4 mm above a static surround with 4-N force applied to the surround. In a second condition, the force applied to the surround was varied to 1, 2, 3, 4, 5, and 6 N while using a probe height of 1mm. Thresholds at 20 Hz decreased with increasing probe height from 0 to 1 mm but showed no significant variation between 2, 3, and 4mm at either the hallux or the ball of the foot. Thresholds at 160 Hz decreased with increasing probe height from 0 to 4 mm at both the hallux and the ball of the foot. Thresholds at 20 Hz obtained with 1-N surround force were higher than thresholds obtained with 2 N, but there was no significant difference with surround forces from 2 to 6 N at either the hallux or the ball of the foot. Thresholds at 160 Hz were unaffected by variations in surround force at the ball of the foot but tended to decrease with increasing force at the hallux. It is concluded that a vibrating probe flush with a static surround, and a surround force in the range 2-4 N, are appropriate when measuring vibrotactile thresholds at the hallux and the ball of the foot with a 6-mm diameter contactor and a 2-mm gap to the static surround
Vibrotactile thresholds at the sole of the foot: effect of vibration frequency and contact location
No full textStudies of vibration perception in the glabrous skin of the human hand have identified four mechanoreceptor channels, with each channel showing characteristic variations in thresholds with variations in the frequency of vibration and the area of vibration excitation. To advance understanding of the channels mediating vibration perception on the sole of the foot, this study determined how thresholds depend on the frequency of vibration, the location on the foot (the big toe, the ball of the foot, and the heel), and the gap between a vibrating probe and a fixed surround. Thresholds at the three locations were obtained at the 12 preferred one-third octave centre frequencies from 20 to 250?Hz using a 6-mm diameter probe with both a 10-mm and a 20-mm diameter surround. With the 10-mm surround, the displacement thresholds at all three locations showed flat responses from 20 to 40?Hz. With both the 10-mm and the 20-mm surround, the displacement thresholds at the three locations showed “U-shaped” responses from 40 to 250?Hz. Relative to thresholds obtained with the 20-mm surround, thresholds obtained with the 10-mm surround were lower at the toe and the heel with 20- and 25-Hz vibration, but higher at the ball of the foot with 31.5- to 250-Hz vibration. It is concluded that absolute thresholds for the perception of vibration at the sole of the foot show important variations with location and with contact conditions and tend to be mediated by the NP I channel in the range from about 20 to 40?Hz and the P channel from about 40 to 250?Hz.<br/
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