9,333 research outputs found
Guang xue kuo pin chao cai liao she ji
No full textLee, Hon Ping = 光學闊頻超材料設計 / 李翰屏.Thesis (M.Phil.)--Chinese University of Hong Kong, 2013.Includes bibliographical references (leaves 79-81).Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.Abstracts also in Chinese.Lee, Hon Ping = Guang xue kuo pin chao cai liao she ji / Li Hanpin
Lun Jin Ping Mei
No full textBen shu ping lun le shi dai zuo zhe, si xiang yi shu, ban ben te dian he yu ci shi liao deng nei ron
Liao Ping-hui and David Der-wei Wang (ed.), Taiwan Under Japanese Colonial Rule, 1895-1945 : History, Culture, Memory, 2006
No full textMarchand Sandrine. Liao Ping-hui and David Der-wei Wang (ed.), Taiwan Under Japanese Colonial Rule, 1895-1945 : History, Culture, Memory, 2006. In: Études chinoises, n°26, 2007. pp. 406-411
Liao Ping-hui and David Der-wei Wang (ed.), Taiwan Under Japanese Colonial Rule, 1895-1945 : History, Culture, Memory, 2006
No full textMarchand Sandrine. Liao Ping-hui and David Der-wei Wang (ed.), Taiwan Under Japanese Colonial Rule, 1895-1945 : History, Culture, Memory, 2006. In: Études chinoises, n°26, 2007. pp. 406-411
[[alternative]]The Folklore Subjects in Liao, Shiou-Ping's "Gate" Series
No full text[[abstract]]Being the introducer of modern-day printmaking techniques to Taiwan, Shiou-Ping Liao (1936-) has been praised as "Father of Prints in Taiwan". However, besides his highly commended contribution to the popularization of printmaking in Taiwan, Liao's special painting style is also worth further investigation and research. This thesis will focus on the "Gate" series (1966-72) on which Liao first established his unique personal artistic style. The author also tried to decipher the meanings of those folk icons used in this series and the implied meanings of using those folk subjects.
To understand how Liao created the "Gate" series and what folk subjects mean to the "Gate" series and the time, we should first understand the time when Liao started his painting career. Chapter 1 will first introduce the situation of the post-war Taiwanese artistic circles during the 1950's and 60's, and also the first half of the 60's of Japanese art circles. How the "Gate" series was created by Liao when he stayed in Paris (1965-68) is explained in Chapter 2. As for the folk art subjects, which are the most important part of the series and the sources of its geometric styles, were investigated in Chapter 3 and 4. The folk subjects in the series include: door god, paper money, Chinese decorative patterns, new year couplets and the colors used in traditional architectural paintings in Taiwan. Chapter 3 will first discuss where did these folk subjects come from, what did they mean, what are their traditional shapes, and when were they used. Then we analyze which characteristics were used in the series and what were derived or respond to their traditional meanings. Chapter 4 points out the close relation between traditional folk art styles and the abstract geometric style of the "Gate" series. Besides, it makes further explanation about the distinct difference between the "Gate" series' geometric abstraction and the 1960's Post Painterly Abstraction in America.
The conclusive Chapter 5 investigates the background of the "Gate" series to understand the inheritance of the Taiwan folk subjects in this series from the "Local Color" idea in the Japan ruling times. Furthermore, the trend of modernization of Taiwan fine arts in 60's also influences the using of folk subjects in "Gate" series. The performance and importance of the "Gate" series is thus concluded.
Love metaphors and humor in Mandarin Chinese <i>liao mei</i> videos
No full textIn recent years, liao mei (\ue6\ua9\ue5\ua6\ub9 \ue2pick-up\ue2) has become a prevalent internet buzzword because of a Korean drama (Gao, 2016). In order to attract the attention of the target in the courting, the speaker utilizes liao mei lines as a tool, which shows his or her wit and appeal. Moreover, metaphors are intentionally embedded in liao mei lines to make the lines prominent (Murray, 1985).While the connection between humor and metaphor was explored in previous studies, the relationship between humor, love metaphors and liao mei lines has been rarely examined. Conceptual Metaphor Theory (Lakoff & Johnsen, 2003) and the event structure metaphor (Lakoff, 1993) are adopted to analyze love metaphors and verb phrases in liao mei videos. Visual metaphor GOOD IS LIGHT is investigated to examine the role special visual effects play. In order to show the differences in nonverbal elements between contrastive examples, multimodal transcription from Desilla (2012) is adopted in the present study to demonstrate the visual image, nonverbal soundtrack and kinetic actions. Three love metaphors LOVE IS EATING, LOVE IS SWIMMING IN A RIVER, and LOVE IS PURCHASING are discovered in the selected liao mei videos. The result shows that the humorous effect comes from the interaction of two scripts and love metaphors. Romantic dialogue, key lexical items and verb phrases are found to be essential features of liao mei lines in a series of contrastive analysis of liao mei video clips and non-liao-mei ones. Moreover, verb phrases in each set of data perform four substructures of the event structure: ACTIONS ARE SELF-PROPELLED MOVEMENTS, EXTERNAL EVENTS ARE LARGE MOVING OBJECTS, CHANGES ARE MOVEMENTS, and STATES ARE LOCATIONS (Lakoff, 1993). Liao mei videos also utilize certain nonverbal factors to create liao mei style: special effect, music, body language and facial expressions
FIGURES 37–43 in A taxonomic revision of the subfamily Myzininae from China, with a key to the Chinese species (Hymenoptera: Tiphiidae)
No full textFIGURES 37–43. Komarowia mongolina, ♂. 37. Habitus, dorsal view; 38. Head, frontal view; 39. Vertex, dorsal view; 40. Pronotum, dorsal view; 41. Pronotum, lateral view; 42. Propodeum, dorsal view; 43. T7, dorsal view.Published as part of Liao, Xiang-Ping, Chen, Bin & Li, Ting-Jing, 2022, A taxonomic revision of the subfamily Myzininae from China, with a key to the Chinese species (Hymenoptera: Tiphiidae), pp. 152-174 in Zootaxa 5154 (2) on page 162, DOI: 10.11646/zootaxa.5154.2.3, http://zenodo.org/record/664131
Fig. 15. Dolichomitus flavicrus Matsumoto, 2018 in Two species of Dolichomitus Smith, 1877 (Hymenoptera, Ichneumonidae, Pimplinae) parasitizing borers of Juglans mandshurica Maxim. and a key to species known from China
No full textFig. 15. Dolichomitus flavicrus Matsumoto, 2018, ♀ (CBDPC). 14. Habitus, lateral view.Published as part of Sheng, Mao-Ling, Liao, Cheng-Jia & Sun, Shu-Ping, 2022, Two species of Dolichomitus Smith, 1877 (Hymenoptera, Ichneumonidae, Pimplinae) parasitizing borers of Juglans mandshurica Maxim. and a key to species known from China, pp. 1-13 in European Journal of Taxonomy 839 on page 10, DOI: 10.5852/ejt.2022.839.1927, http://zenodo.org/record/710479
Figs 4–7. Dolichomitus juglanse Sheng & Li in Two species of Dolichomitus Smith, 1877 (Hymenoptera, Ichneumonidae, Pimplinae) parasitizing borers of Juglans mandshurica Maxim. and a key to species known from China
No full textFigs 4–7. Dolichomitus juglanse Sheng & Li sp. nov., ♀, holotype (CBDPC). 4. Head, dorsal view.Published as part of Sheng, Mao-Ling, Liao, Cheng-Jia & Sun, Shu-Ping, 2022, Two species of Dolichomitus Smith, 1877 (Hymenoptera, Ichneumonidae, Pimplinae) parasitizing borers of Juglans mandshurica Maxim. and a key to species known from China, pp. 1-13 in European Journal of Taxonomy 839 on page 8, DOI: 10.5852/ejt.2022.839.1927, http://zenodo.org/record/710479
FIGURES 80–85 in A taxonomic revision of the subfamily Myzininae from China, with a key to the Chinese species (Hymenoptera: Tiphiidae)
No full textFIGURES 80–85. Poecilotiphia brevicauda kaszabi, ♂. 80. Habitus, dorsal view; 81. Head, frontal view; 82. Vertex, dorsal view; 83. Pronotum, dorsal view; 84. Propodeum, dorsal view; 85. T7, dorsal view.Published as part of Liao, Xiang-Ping, Chen, Bin & Li, Ting-Jing, 2022, A taxonomic revision of the subfamily Myzininae from China, with a key to the Chinese species (Hymenoptera: Tiphiidae), pp. 152-174 in Zootaxa 5154 (2) on page 171, DOI: 10.11646/zootaxa.5154.2.3, http://zenodo.org/record/664131
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