1,403 research outputs found
David Fung, Piano and Chad Hoopes, Violin
No full text2017 April 21
David Fung, piano; Chad Hoopes, violin, performed Domenico Scarlatti: Sonata in D minor, K. 1; Sonata in D minor, K. 32, ″Aria″; Sonata in D minor, K. 141, ″Toccata″; Samuel Adams: Sonata One (2016); Sonata Two: Self Portrait (With Domenico in the Background) (2016); Heitor Villa-Lobos: Impressões Seresteiras, W. 374/2; Maurice Ravel (arr. Fung): La Valse: Poème chorégraphique; César Franck: Sonata for Violin and Piano in A major.
Photo credit: Neda Navaeehttps://digitalcommons.rockefeller.edu/tri-institutional-noon-recitals/1104/thumbnail.jp
Cheng_et_al_supplemental – Supplemental material for Limitations of the Avp-IRES2-Cre (JAX #023530) and Vip-IRES-Cre (JAX #010908) Models for Chronobiological Investigations
No full textSupplemental material, Cheng_et_al_supplemental for Limitations of the Avp-IRES2-Cre (JAX #023530) and Vip-IRES-Cre (JAX #010908) Models for Chronobiological Investigations by Arthur H. Cheng, Samuel W. Fung and Hai-Ying Mary Cheng in Journal of Biological Rhythms</p
Our disappearing heritage: Hong Kong's fung shui woodland
No full textThis dissertation is about an important area in the discipline of architectural conservation, and it is cultural Landscape, defined as the combination of built and natural heritage resources. The understanding of the concept of “cultural landscape” is relatively new to Hong Kong, having been formally introduced by Dr. Ken Nicolson in 2002 as part of the syllabus of the postgraduate curriculum of HKU’s Architectural Conservation Programmes (ACP). Today, the people of Hong Kong are more aware of cultural landscape, and the term now appears in government documents. However, the concept has been with Hong Kong for a long time, expressed in the principles of fung shui. Many of Hong Kong’s cultural landscapes are influenced by fung shui and a common feature is fung shui woodland, which will be the focus of this dissertation.
Fung shui is a belief system and a traditional form of landscape planning, and villages in Hong Kong and their woodlands are sited according to the principles of fung shui. The purpose of fung shui is clearly described in Yoon (1980). He stated that the aim of Fung Shui, is to maximize the wellbeing of human by maintaining the harmony between human and the nature. It is believed that all matter on the earth; both living and non-living things carry Qi or cosmic breath, which are responsible for ensuring posterity and vitality. Either insufficient or excessive Qi would result in decline and misfortune.
In “Venturing Fung Shui Woods (2004)”, it is mentioned that some of the oldest fung shui woodlands in Hong Kong date back to more than 300 years. Fung shui woodland is an important element of rural Hong Kong cultural landscapes representing our traditional belief system and high cultural significance. The author also describes fung shui woodlands as like a living herbarium or plant museum, offering valuable resources for both academic research and nature conservation. A review of the recent literature on fung shui woodland, in Fung Shui View (2012), the authors explain the value of the fung shui woodland is not only in terms of ecological, but also social. From the above publication, it is clear that the fung shui woodland is one of the important cultural landscape elements in Hong Kong, which illustrates our tradition cultural beliefs and the important value of original village settlements.published_or_final_versionConservationMasterMaster of Science in Conservatio
Post-elastase fitting parameters for Fung-type SEF.
No full textPost-elastase fitting parameters for Fung-type SEF.</p
Pre-elastase fitting parameters for Fung-type strain energy function.
No full textPre-elastase fitting parameters for Fung-type strain energy function.</p
Johnnie To Kei-Fung\u27s Where a Good Man Goes
No full textREVERTING TOSOCIAL ORDER BY CONTAINMENT: JOHNNIE TO KEI-FUNG\u27S WHERE A GOOD MAN GOES The 1999 Hong Kong International Film Festival hailed the Hong Kong director Johnnie To Kei-Fung as a Director in Focus, featuring eleven of his films. The opening film of the Festival was his world premiere, Where a Good Man Goes, casting Lau Ching-wan and Ruby Wong, telling a story of the return of a prodigal son. The film, in short, evolves around a central theme "home". The author of this article suggests that this "home" is of the concept of a traditional home held by the Chinese, from ancient days to the present, and is also patriarchal. The film\u27s story also tells of the "grand narratives" governing the order of the Chinese society since the early ages, which incidentally coincide with the Western view, that no evil can escape judgment and if a prodigal son returns,..
Post-sham treatment (control group) fitting parameters for Fung-type SEF.
No full textPost-sham treatment (control group) fitting parameters for Fung-type SEF.</p
Pre-sham treatment (control group) fitting parameters for Fung-type SEF.
No full textPre-sham treatment (control group) fitting parameters for Fung-type SEF.</p
Yi shi yu liang: Kangde lun neng li you xi de tan jiu
No full textM.Phil.Kant suggests that the aesthetic judgment on beautiful objects is a universal claim. This stance is not common nowadays. People usually consider the aesthetic value of an artwork relative. If so, a dispute among individuals over whether an object is beautiful or not would thus be of no point. In other words, a discourse on aesthetic beauty can only make sense if the universality of the judgment of taste is presupposed. Therefore, it is still worth to re-study Kant’s aesthetic theory.This thesis is an investigation of Kant’s aesthetic theory and presents an interpretation of Kant’s notion of “free and harmonious play of faculties”. This study is divided into three parts. The first overviews Kant’s analysis of the judgment of taste and his view on fine arts. This part brings out some key concepts and serves as a general background of the next two parts. The second part presents two contemporary positions that challenge Kant’s claim that the judgment of taste should not be determined by concepts. I attempt to respond by showing how additional information can be involved in the judgment of taste as supplementary representations provided by the power of imagination so that the judgment can be free from the determination of concepts. The dominant interpretations of the “free and harmonious play of faculties” focus on the freedom of imagination but rarely address the harmony between understanding and imagination. The third part develops an interpretation which shows the function of the understanding in the play and suggests an understanding of the harmonious play.康德提出美感判斷是普遍的。然而，人們現在更多認為藝術品的美醜只是相對。若然如此，人們爭論某作品美醜與否則便變得毫無意義。換言之，只有當我們假設審美判斷具普遍性，有關於某作品美醜與否才有意義，所以康德的美學理論仍值得深入研究。本論文嘗試探討康德的美學理論，並提出對「能力的自由且和諧遊戲」的詮釋。本研究分為三部分。第一部分會概述康德有關美感判斷的分析及對藝術品的觀點。這部分將帶出一些關鍵概念，並成為接著兩部分討論的背景。由於康德認為美感判斷是不能被概念所決定，第二部分會提出兩個當代反對這觀點的立場。我會提出額外的資訊由想像力呈現成美感判斷的輔助表象，從而避免概念決定美感判斷。現時主流對 「能力的自由且和諧遊戲」的詮釋大多著眼於想像力如何自由運作，而甚少關注理解力與想像力間的和諧。第三部分會探討理解力在美感判斷的作用且提出我對「和諧遊戲」的詮釋。Fung, Hin Fung Wilson.Thesis M.Phil. Chinese University of Hong Kong 2018.Includes bibliographical references (leaves 97-99).Abstracts also in Chinese.Title from PDF title page (viewed on …).Fung, Hin Fung Wilson
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