101,594 research outputs found
Jing wu ti yu hui fu xing di ba jie li jian shi jiu zhi dian li ji chun jie lian huan da hui te kan /c[bian ji zhu ren Luo Junchou ; bian ji wei yuan Liang Shengchi ... [deng]].
No full text書名據封面.內文刊載黃漢勛所著之"精武國術部之的演變"(p. 26).黃漢勛為第一至第三屆"香港精武體育會"之國術主任, 自第五屆起為體育主任.Shu ming ju feng mian.Nei wen kan zai Huang Hanxun suo zhu zhi "Jing wu guo shu bu zhi de yan bian" (p. 26).Huang Hanxun wei di yi zhi di san jie "Xianggang jing wu ti yu hui" zhi guo shu zhu ren, zi di wu jie qi wei ti yu zhu ren
HUANG,Kung-wangs' Poems Inscribed onLandscape Paintings
No full textPoems inscribed on paintings combine poems and paintings closely together. They are artistic fusion of poetry and painting. A poem inscribed on a painting usually serves as a window to the painting to point out, bring about and deepen the meaning of the painting. Hence, poems inscribed on paintings characterize themselves as overlapping the boundaries between literature, painting, landscape poetry and landscape painting.
A poem inscribed on a painting not only displays the form of landscape through the painting but also expresses the meaning of the painting and reflects the poet's mind as well. The combination of landscape poetry and landscape painting reached the summit in the Yuan Dynasty when lots of poems inscribed on paintings emerged to express the art of painting through the art of poetry.
Further combination of poetry and painting first appeared in the works of HUANG, Kung-wang, who was a famous poet and painter in the Yuan Dynasty. Among the "Four Masters of the Yuan Dynasty", HUANG enjoyed the highest achievements in art and remarkable accomplishment in the creation of poems inscribed on landscape paintings, which exerted an enlightening, deep and long-term influence on the art and literature of the successive Ming and Ching Dynasties.
HUANG, Kung-wang's poems inscribed on paintings can be divided into two categories - "poems inscribed on others' paintings" and "poems inscribed on his own paintings". The former represents the poet's (HUANG, Kung-wang's) perception and appreciation of a painting through his own cultural discipline and aesthetic taste and the subsequent creation of a poem to bring about the meaning of the painting. The latter provides the background of his (HUANG, Kung-wang's) creation of poems and gives hints to the inner implications of his paintings and his ideas and appreciation of painting, aiming to achieve the state of "perfect fusion of poetry and painting" through poetry-painting interaction. So, whether "poems inscribed on others' paintings" or "poems inscribed on his own paintings", the poet (HUANG, Kung-wang) have successfully introduced readers to painting and showed them how to enjoy the fun and meaning behind painting.
Poems inscribed on landscape paintings use paintings as materials, so the existence of landscape images embodies a visual space. However, the creation of both poetry and painting most addresses the link between, or rather, the fusion of scenery and emotion. As a result, while appreciating a painting with a poem inscribed on it, we had better not limit our view to forms and structures. In stead, HUANG, Kung-wang's approach of appreciating a painting is much recommended. With excellent mental training and great imagination, the scenery of mountains, rivers, clouds, villages, pavilions, or even a blank space on the painting could turn out to be an entire season, life, nature or universe for the mind to enjoy eternally.
Besides, HUANG, Kung-wang's poems inscribed on landscape paintings particularly emphasize mental growth and pursuits. It is believed that reading, religious discipline, reclusion, travel and personal integrity can help improve the level of art and literature creation. HUANG, Kung-wang had never learned painting until he was 50. His case is a good example of the Chinese saying, "A great vessel will be long in completion; a great man will take time to shape and mature." In terms of Chinese painting, it means that only through multiple training and discipline can an artist demonstrate a unique style
Flow, Enduring and Situational Involvement in the Web Environment: A Tripartite Second-Order Examination
No full text
Modeling Virtual Exploratory and Shopping Dynamics: An Environmental Psychology Approach
No full text
A study of Huang Chun-Ming and his children dramas
No full text碩士黃春明是當前臺灣文壇重量級的文學作家，近二十幾年來，兒
童劇已成為黃春明文學創作的重心，豐厚的人生經驗成為兒童劇創
作靈感與題材的來源。黃春明認為文學必須向下扎根，秉持著熱愛
鄉土的情懷以及對兒童的殷切期盼，藉著兒童劇的表演，以潛移默
化的方式來啟發智慧、陶冶性情、培養健全的人格發展。
本論文凡六章。第一章緒論：說明研究動機與目的，分析前人
研究成果，闡述研究範圍與步驟。
第二章多采多姿的人生閱歷：根據黃春明的生平，分為童年生
活、中學生活、任教和服役、踏入社會四個時期去考查黃春明的創
作心路歷程，進一步從生活經驗中探究黃春明作品的創作理念。
第三章黃春明及其劇本創作之特色：生活經驗是黃春明劇本創
作的養分來源，依據黃春明劇本創作之特色：童心與關懷的表現、
來自生活的創作養分、愛鄉土的情懷，來做進一步的探討。
第四章劇本文學性分析：從情節結構、角色塑造、文學修辭、
主題特色這四方面，來分析《稻草人和小麻雀》、《愛吃糖的皇帝
》、《小李子不是大騙子》、《小駝背》這四齣兒童劇的文學性。
第五章劇本演出與劇場藝術迴響：記錄整理演員參與演出過程
的生活點滴、幕後工作人員的辛勞，從而了解黃春明成立劇團的理
念與堅持，並說明培養欣賞素養的重要性。
第六章結論：整理出演出這四齣劇本創作的劇團、黃春明兒童
劇的特性，以期從中獲得啟發，並效法黃春明永保赤子之心，長懷
對鄉土的熱愛及人文的關懷。Huang Chun-Ming is the current Taiwan literary heavyweight literary writer,nearly 20 years, children dramas has become the focus of Huang Chun-Ming''s literary creation, rich life experience to become children
dramas as a source of inspiration and subject matter.Huang Chun-Ming
think that literature must take root down, uphold the love of the local
feelings and the children''s ardent expectations,through the children
dramas to the subterranean the way to inspire the wisdom of wisdom,
cultivate temperament, cultivate a sound personality development.
In this thesis are six chapters. Chapter 1 ：Explain
the motivation and purpose of the study, analyze the former human
research results, elaborate the scope and steps of the study.
Chapter II ：According to Huang Chun-
Ming''s life, divided into childhood life, high school life, teaching and military service, into the community to examine the four periods of Huang Chun-Ming''s creative path, and further explore the creative ideas of Huang Chun-Ming''s works from the life experience.
Chapter III ：
Life experience is the nutrient source of Huang Chun-Ming ''s
script writing, based on the characteristics of Huang Chun-Ming ''s
script writing: childlike innocence and care of the performance,from the
creative life of life, love the feelings of the country, to do further study.
Chapter IV：From the plot structure
, role modeling, literary rhetoric, theme characteristics of these four aspects, to analyze the four children''s drama literature.
Chapter V：
Record the process of actors participating in the performance of the
life bit by bit, behind the staff of hard, so as to understand the concept
and persistence of Huang Chun-Ming''s troupe, and to show the importance
of cultivating appreciation.
Chapter VI：Finishing the four theatrical performances of
the theater, the characteristics of Huang Chun-Ming''s children dramas,
with a view to gain inspiration, and follow the example of Huang Chun-
Ming eternal heart, long love for the local love and human care.目 次
第一章 緒論………………………………………………………001
第一節 研究動機與目的……………………………………001
第二節 前人研究成果分析…………………………………004
一、專著…………………………………………………004
二、學位論文……………………………………………005
第三節 研究範圍與步驟……………………………………009
一、研究範圍……………………………………………009
二、研究步驟……………………………………………010
第二章 多采多姿的人生閱歷……………………………………011
第一節 童年時期的生活經驗………………………………013
一、春神足踝上的一粒塵………………………………013
二、慈母見背……………………………………………015
第二節 文學與不良少年的成長──多舛的中學歲月……020
一、文學殿堂的啟蒙──王賢春老師…………………020
二、泥土的焦灼種子──「流」學歲月………………021
第三節 廣興任教、入伍服役的歲月………………………027
一、廣興任教的歲月──滿懷教育愛的執教生涯……027
二、入伍服役的歲月──邂逅文學伯樂林海音………031
第四節 踏入社會──多采多姿的寫作生活………………034
一、初出茅廬──中廣宜蘭電臺的記者生涯…………034
二、遠赴臺北──豐富多變的工作經歷………………036
第三章 黃春明及其劇本創作之特色……………………………047
第一節 童心與關懷的表現…………………………………048
一、「童心」之追本溯源與意涵 ………………………048
二、關懷兒童的情懷……………………………………056
第二節 來自生活的創作養分………………………………059
一、祖母的嫡傳──說故事的好手……………………059
二、行萬里路──用腳讀地理…………………………061
三、戲說人生──看戲尾、歌仔戲……………………064
第三節 愛鄉土的情懷………………………………………067
一、本土語言復健──語言教材的編纂………………067
二、社區總體營造──憨猴搬石頭……………………072
三、校歌的更新與制定…………………………………075
第四章 劇本文學性分析…………………………………………079
第一節 情節結構……………………………………………080
一、《稻草人和小麻雀》 ………………………………081
二、《愛吃糖的皇帝》 …………………………………084
三、《小李子不是大騙子》 ……………………………092
四、《小駝背》 …………………………………………101
第二節 角色塑造……………………………………………107
一、《稻草人和小麻雀》 ………………………………107
二、《愛吃糖的皇帝》 …………………………………111
三、《小李子不是大騙子》 ……………………………114
四、《小駝背》 …………………………………………118
第三節 文學修辭……………………………………………121
一、感嘆修辭……………………………………………122
二、設問修辭……………………………………………124
三、摹況修辭……………………………………………127
四、引用修辭……………………………………………129
五、夸飾修辭……………………………………………129
六、譬喻修辭……………………………………………129
七、借代修辭……………………………………………132
八、雙關修辭……………………………………………132
九、象徵修辭……………………………………………133
十、類疊修辭……………………………………………133
十一、排比修辭…………………………………………136
第四節 主題特色……………………………………………138
一、溫馨感人的祖孫情…………………………………139
二、珍貴的朋友情誼……………………………………142
三、生態平衡與動物解放………………………………145
四、健康積極的宗教觀…………………………………147
五、忠貞愛國的情操……………………………………150
第五章 劇本演出與劇場藝術迴響………………………………153
第一節 孩子是可以期待的…………………………………154
一、表演心理的源起……………………………………154
二、演員訓練──兩大表演訓練系統…………………155
三、角色準備……………………………………………156
四、孩子是可以期待的…………………………………157
第二節 落幕後的漣漪………………………………………162
一、熱情洋溢的觀眾……………………………………162
二、粉墨登場的演員……………………………………164
三、百般辛勞的幕後工作人員…………………………165
四、劇場管理……………………………………………166
第三節 培養欣賞素養………………………………………168
一、閱讀素養的培養……………………………………168
二、審美素養的培養……………………………………170
三、音樂素養的培養……………………………………172
四、禮儀素養的培養……………………………………174
第六章 結論………………………………………………………177
一、黃春明劇本創作與劇團演出……………………………177
（一）鞋子兒童實驗劇團………………………………178
（二）蘭陽戲劇團………………………………………178
（三）黃大魚兒童劇團…………………………………179
（四）宜蘭縣復興國中少年劇團………………………180
（五）宜蘭縣礁溪國小兒童劇團………………………181
二、黃春明兒童劇的特性……………………………………181
（一）淺顯易懂的文學性………………………………182
（二）趣意盎然的趣味性………………………………183
（三）寓意深遠的教育性………………………………183
（四）審美意涵的藝術性………………………………184
參考書目……………………………………………………………185學號: 703010099, 學年度: 10
sj-pdf-1-jmx-10.1177_00222429231224748 - Supplemental material for The Caring Machine: Feeling AI for Customer Care
No full textSupplemental material, sj-pdf-1-jmx-10.1177_00222429231224748 for The Caring Machine: Feeling AI for Customer Care by Ming-Hui Huang and Roland T. Rust in Journal of Marketing</p
- …
