1,721,219 research outputs found
Li Kang's Study of the I Ching--Its Congruence with the Hua Yen
No full text李綱曾為宋高宗的宰相，力主抗金，與媾和派不同，不獲重用。一生遭貶 多次，但心繫社稜民生，上疏論政，深為後世所重，是一位偉大的政治家。其 為學，涉及文、史、哲三學，著作不少。他是位以儒家為主，釋道為輔的三教 合一論者，這在宋代儒學意識抬頭的時代裡，是不見容於當時的道學界的，故 後世寡道其學。作者以為像這樣一位政學兼修的歷史人物，值得全面考究。就 其學思而論，《易》學實李綱自以為能「成一家言」的部份，故本文即以此為中心加以考察；雖然其主要著作《易傳內外篇》二十二卷已佚，但據其〈易》序諸篇及與友人論學書，論其一二。本文擬就以下五節：一、前言，二、兼綜圓融的思想特質，三、李綱《易》說的內容與特質，四、論《易》與《華嚴》合轍，五、李綱《易》說在易學發展史上的意義，加以論述，稍補吾人之所憾。As a prime minister under the rule of the Sung emperor Kao Tsung, Li Kang firmly advocated a policy of resistance against the Chin. This did not agree with the party advocating the policy of appeasement, and Li Kang was not held in high regard by the court. Despite being demoted several times, he continued to submit memorials to the court because of his concern for the society and the people. These memorials have left a deep impression on later generations who see Li Kang as a great politician. His scholarship covered the three areas of literature, history and philosophy, and his works are many. Taking Confucianism as central, he combined the three teachings of Confucianism, Taoism and Buddhism as one. This was unacceptable to the Neo -Confucians of that time. As a result, his scholarship has been rarely discussed. A historical figure such as Li Kang, who was both a politician and a scholar, deserves to be studied comprehensively. Li Kang himself believed that his studies of the I Ching could be "a school of thought", and the article will take this as the focus of investigation. Although the twenty – two chuan of the inner and outer chapters of his main work on the I Chuan have been lost, we may still gather something of his thinking from the prefaces that he wrote to these chapters and from letters to friends describing his work. This article has five sections: (1) Introduction, (2) The combinatory and harmonizing character of his thought, (3) The contents and the characteristics of his teachings on the I Ching, (4) The congruence of the I Ching and the Hua Yen, and (5) The significance of Li Kang's teachings on the historical development of studies on the I Ching. The author has regrettably noticed a gap in the studies on Li Kang and it is hoped that this article will help to fill that gap
Adaptive hybrid force/position control of a flexible manipulator for automated deburring with online cutting trajectory modification
No full textThinking and Modeling for Big Data from the Perspective of the I Ching
No full text Data is growing faster than ever before and is changing our daily life. However it is rather challenging to manage the big data [F. H. Cate, The big debate, Science 346 (2014) 810, J. Manyika, M. Chui, B. Brown, J. Bughin, R. Dobbs, C. Roxburgh and A. H. Byers, Big Data: The Next Frontier for Innovation, Competition, and Productivity (Mckinsey global Institute, 2011), S. Lohr, The Age of Big Data (New York Times, 2012), p. 11, L. Einav and J. Levin, Economics in the age of big data, Science 345 (2014) 715, M. J. Khoury and J. P. A. Ioannidis, Big data meets public health, Science 346 (2014) 1054–1055, V. Marx, Biology: The big challenges of big data, Nature 498(7453) (2013) 255–260.]. In this paper, we propose the big data thinking and modeling techniques from the perspective of the I Ching, which is a very famous imaginal thinking theory in China with 3,000 years history. The I Ching has been proven to be very useful and practical in many domains, e.g., 36 stratagems. Firstly, inspired from the three components of the I Ching, image, number and principle, we propose a new three-cycle big data thinking way, from data to phenomenon, from phenomenon to correlation, and from correlation to knowledge, which is a generalization of the fourth paradigm (from causality to correlation) proposed by Jim Gray. Secondly, inspired from the three entities of the I Ching, heaven, earth and human, we propose a new big data modeling method. We use the tree entities to represent the big data. We map the 4[Formula: see text]V of big data (volume, variety, velocity, veracity) to four opposition and uniform relations in the I Ching, and generate the eight diagrams. By capturing the relationships between eight diagrams, we generate the 64 hexagrams, and use 64 hexagrams to model big data. We also provide the principle rules to understand the knowledge generated by the model. Thirdly, we discuss how to utilize our model to describe big-data management tools, including, MapReduce, Spark, Storm. We also provide a new model for handling distributed data streams. We do think that we provide a new practical way of thinking and modeling for big data. We also believe that this will open up many new research directions on big data. </jats:p
The hidden/flying dragon : an exploration of the Book of Changes (I Ching) in terms of Nietzsche’s philosophy
Get PDFThesis (DPhil)--University of Pretoria, 2009.The ancient Chinese I Ching, the Book of Changes, and the philosophy of the German philosopher Friedrich Nietzsche (1844-1900) both assert that the universe exists in a state of change. The I Ching, originally a book of divination, illustrates the changing phenomena of the natural world in terms of sixty-four hexagrams, which are figures composed of six lines yielding and firm lines, representing actual conditions and relationships existing in the world and caused by the interplay between two primordial forces, yin and yang. The I Ching shows that on the macro level the Tao works in the universe, in heaven and on earth, and on the micro level it applies to man. The I Ching teaches harmony with Tao and its power (natural law and moral law), so that its reader may take appropriate action in any given situation with reference to the hexagrams and their appended judgments as revealed by the oracle. Nietzsche, however, regards the world as the Will to Power, ‘a monster of energy’, like a storming and flooding ocean eternally changing, where harmony and order seems impossible. His mouthpiece, Zarathustra, who teaches the Übermensch, encourages a war-like attitude towards life. Zarathustra’s second metamorphosis of an evolving spirit, the warrior lion, marks the difference between the Nietzschean Übermensch and the Chinese sage who attains harmony and balance within and without, a mysterious union with heaven. Zarathustra’s third metamorphosis, a playing child, creates itself as its own ‘bridge’ through a process of self-overcoming, whereas the I Ching indicates order to be the ‘bridge’ over chaos, the order of the human world being expressed in the five cardinal relationships. Whereas the I Ching advises its reader to follow their own nature and fate in order to lead a harmonious moral life, Nietzsche’s Übermensch is ‘the annihilator of morality’ and paradoxically ‘the designation of a type of supreme achievement’ (EH Books 1). With his idea of the Übermensch, Nietzsche indicates that morality is a pose (BGE 216). He seeks to make us become aware that we should invent our own virtue and create our own way in order to become what we are. He criticizes Christian morality, calling himself ‘the first immoralist’. His shocking approach attempts to make us become aware of the possibility that a ‘noble morality’ and ‘higher moralities’ ought to be possible. His Übermensch represents such a higher mode of existence. Zarathustra also teaches the doctrine of eternal recurrence, implying that moment is eternity, changelessness within change. Multifarious manifestations are the expression of the Tao. Everything is interconnected and interdependent. Whereas ordinary men see the continuity of phenomena as real, enlightened beings are aware of the transitory and illusive nature of the self and all things. The Nietzschean Übermensch embodies the characteristics of an enlightened being, a Buddha or Bodhisattva in Buddhist terms, characteristics such as wisdom and compassion. Therefore, the practice of the Bodhisattva is explored as a feasible way for actualizing the Nietzschean hypothetical Übermensch.Philosophyunrestricte
Internal and Crossover Interpretations as Two Fundamental Hermeneutic Prototypes of Interpreting Classic Chinese Writings: Taking the Book of Change (I Ching) as an Example
No full text中國經典詮釋傳統有沒有自己的特點？經筆者研究之後，感覺到傳統經學的實踐中確實有直釋與旁通二個基型，可惜沒有受到學者充分的注意。故本論文為了具體討論起見，特別以《易經》的詮釋為例，依以下各節：一、前言，二、對「中國經典詮釋基型」的界定，三、《易》籍著作的詮釋體式，四、直釋型詮釋的方法與問題，五、旁通型詮釋的方法與問題，六、結論，來論述。其中第四、五兩節又各立細目，詳細討論詮釋的方法與問題。中國經典的詮釋體式是依字－句－章－篇－卷逐次解釋而成立低層的訓詁、章句、注、箋、解、疏、說、傳，甚至更有不泥於文句，而依義理而成立高層的釋義、通釋、通義，乃至最高層的哲理詮釋。其詮釋可歸納成二個基型，即各經本身在歷代所表現的直釋詮釋與異經彼此互釋的旁通詮釋。在中國經典詮釋傳統中，此兩型詮釋之於經典正猶乾坤之於易，經典在詮釋中表現其生生不息的生命力。What characteristics the long-standing tradition of Chinese classics interpretation manifests? The author suggests that, though largely neglected, the interpretations of Chinese classics can be categorized into two prototypes. To bring these two prototypes into light, the author will analyze a variety of interpretations of The Book of Change (I Ching). In the first section, the author gives an overview of the issue. In section 2 and 3, the author defines the two prototypes at stake and investigates their relationships with various forms of interpretations of some selected texts in The Book of Change. The author then goes on to discuss the merits and costs of the two prototypes in section 4 and 5, before concluding in section 6. It will be argued that both internal interpretations—interpretations that seek internal coherence within a particular writing—and crossover interpretations—interpretations that seek overall coherence among several different but related writings—are flowers growing out of efforts to understand the philosophy of classic Chinese writings. They are fundamental to the everlasting life of the tradition of Chinese classics interpretation, just as as Qi?n and K?n are fundamental to the change of every entity
Internal and Crossover Interpretations as Two Fundamental Hermeneutic Prototypes of interpreting Classic Chinese Writings: Taking The Book of Change (I Ching) as an Example
No full text中國經典詮釋傳統有沒有自己的特點？經筆者研究之後，感覺到傳統經學的實踐中確實有直釋與旁通二個基型，可惜沒有受到學者充分的注意。故本論文為了具體討論起見，特別以《易經》的詮釋為例，依以下各節：一、前言，二、對「中國經典詮釋基型」的界定，三、《易》籍著作的詮釋體式，四、直釋型詮釋的方法與問題，五、旁通型詮釋的方法與問題，六、結論，來論述。其中第四、五兩節又各立細目，詳細討論詮釋的方法與問題。中國經典的詮釋體式是依字⎯⎯句⎯⎯章⎯⎯篇⎯⎯卷逐次解釋而成立低層的訓詁、章句、注、箋、解、疏、說、傳，甚至更有不泥於文句，而依義理而成立高層的釋義、通釋、通義，乃至最高層的哲理詮釋。其詮釋可歸納成二個基型，即各經本身在歷代所表現的直釋詮釋與異經彼此互釋的旁通詮釋。在中國經典詮釋傳統中，此兩型詮釋之於經典正猶乾坤之於易，經典在詮釋中表現其生生不息的生命力。What characteristics the long-standing tradition of Chinese classics interpretation manifests? The author suggests that, though largely neglected, the interpretations of Chinese classics can be categorized into two prototypes. To bring these two prototypes into light, the author will analyze a variety of interpretations of The Book of Change (I Ching). In the first section, the author gives an overview of the issue. In section 2 and 3, the author defines the two prototypes at stake and investigates their relationships with various forms of interpretations of some selected texts in The Book of Change. The author then goes on to discuss the merits and costs of the two prototypes in section 4 and 5, before concluding in section 6. It will be argued that both internal interpretations—interpretations that seek internal coherence within a particular writing—and crossover interpretations—interpretations that seek overall coherence among several different but related writings—are flowers growing out of efforts to understand the philosophy of classic Chinese writings. They are fundamental to the everlasting life of the tradition of Chinese classics interpretation, just as as Qián and Kūn are fundamental to the change of every entity
Validity and Responsiveness of the Revised Nottingham Sensation Assessment for Outcome Evaluation in Stroke Rehabilitation
No full textOBJECTIVE. This study establishes the concurrent validity, predictive validity, and responsiveness of the Revised Nottingham Sensation Assessment (rNSA) during rehabilitation for people with stroke. ;METHOD. The study recruited 147 patients with stroke. The main assessment used was the rNSA, and outcome measures were the Fugl-Meyer Assessment sensory subscale (FMA-S) and motor subscale (FMA-M) and the Nottingham Extended Activities of Daily Living (NEADL) scale. ;RESULTS. Correlation coefficients were good to excellent between the rNSA and the FMA-S. The rNSA-roprioception measure was a predictor for the FMA-S. The rNSA stereognosis and tactile-pinprick measures for the proximal upper limb were predictors for the FMA-M and the NEADL scale, respectively. Responsiveness was moderate to large for three subscales of the rNSA (standardized response mean = .51-.83). ;CONCLUSION. This study may support the concurrent validity, predictive validity, and responsiveness of the rNSA for people with stroke
A Study of Benjamin Britten\ue2s Cello Suite Op.72
No full textBenjamin Britten was the most important composer after Purcell in the twentieth century in Britain. His works didn\ue2t limited by some certain format but rather various, especially in vocal music and opera. In 1960, Benjamin Britten composed a serious of fabulous works for Russian cellist Rostropovich, including Cello Sonata Op.119, Symphony for Cello and Orchestra Op.125, and 3 Suites for Cello Solo Op.72, 80, 87.
Suite for Cello Solo Op.72 was composed in 1964. The structure is complicated and needed certain skills to perform. Besides abstract and conclusion, the structure of this essay is as follows. In the first part, we will focus on introducing Britten\ue2s life,style, and important works. In the second part, we will briefly introduce the life of Rostropovich. In the third part, we will review on the background of the Suite for Cello Solo Op.72 to analyze the structure of movements and the materials used. Last but not least, we will conclude the characters of Britten\ue2s creation
奏鳴曲風幻想曲與幻想曲風奏鳴曲：李斯特《但丁詩篇讀後感—奏鳴曲風幻想曲》與斯克利亞賓《升G小調幻想奏鳴曲，作品19》詮釋報告
No full text[[abstract]]奏鳴曲式在十九世紀中葉以後受到標題音樂（Program Music）的影響，以文學或故事為題材，融合附上具有敘述性的標題等方式創造出奏鳴曲式繼古典時期以後的另一輝煌的高峰。
本論文研究之曲目為李斯特的《但丁詩篇讀後感—像奏鳴曲的幻想曲》與斯克利亞賓的《幻想奏鳴曲》，主要著重於兩首作品的創作背景、曲式架構及音樂風格與詮釋之研究，對作曲家之生平、創作生涯、作品風格及作曲技巧等則略作陳述。論文內容共分為六章，包括第一章前言，依據奏鳴曲式的發展及筆者所蒐集的相關論文資料做概略的敘述；第二、三章分別陳述關於此兩首作品的相關背景；第四章包括兩首作品的樂曲分析及樂曲架構、調性進行、作曲手法等各方面運用之比較；第五章為兩首作品中特殊的演奏技巧及個人在音樂上的詮釋；第六章結語，探討李斯特如何以單樂章的幻想曲為主體，在自由、即興式的音樂風格中融入奏鳴曲式的特色以表達出但丁神曲所帶給他的啟發與創作靈感，而斯克利亞賓又如何以奏鳴曲式為主要架構，運用其獨特的節奏、和聲與織度呈現出虛幻、朦朧卻又熱情之音樂特質。
此論文所研究的兩首作品皆由奏鳴曲衍化而來：李斯特以單樂章形式寫的《但丁奏鳴曲》是結合其華麗的鋼琴技巧及豐富的想像力所完成的巨作，巧妙地以音樂影射出但丁（Alighieri Dante, 1265~1321）〈神曲〉（Commedia）的故事情境；斯克利亞賓的《幻想奏鳴曲》為相當早期的作品，雖仍以奏鳴曲式為主要架構，但運用上斯克利亞賓特殊的和聲進行及音響效果等作曲手法，則創造出幻想曲般自由、卻又帶有斯氏作品中特有的神秘情境。
- …
