31 research outputs found
A study on Yi-Hui's Ci poetry
No full textThe purpose of this thesis, which is based on Yi-Hui\ue2s Ci poetry \ue2Xie Chun Jing She Ci\ue2 and \ue2Nan Gu Qiao Chang\ue2 written by Yi-Hui (1799-1838), a royal member, during Jia Qing and Dao Guang period of Qing Dynasty, is to investigate the central idea and writing style of Yi-Hui\ue2s Ci.
The research is divided into following eight chapters.
Chapter one : Introducing and describing the motivation, purpose, scope and methods of the research, and reviewing Yi-Hui's Ci poetry.
Chapter two : Discussing author\ue2s writing motivation at each stage of life according to author\ue2s background.
Chapter three : Discussing the themes and content of \ue2Xie Chun Jing She Ci.\ue2
Chapter four : Discussing the themes and content of \ue2Nan Gu Qiao Chang.\ue2
Chapter five : Analyzing Yi-Hui and Gu Tai-Qing's Responsorial Ci poetry, and discussing the responsorial interaction between Yi-Hui and his wife, Gu Tai-Qing.
Chapter six : Discussing the idea and literary characteristics of Yi-Hui's Ci poetry, and the influence of Quanzhen Taoism and Buddhism on Yi-Hui and his literature.
Chapter seven : Investigating the writing style of Yi-Hui's Ci poetry.
Chapter eight : Concluding the key points of previous chapters and descripting the literature value and meaning of Yi-Hui's Ci poetry in the Qing Dynasty
Platelet graphite nanofibers/soft polymer composites for electrochemical sensing and biosensing
No full textSurfactant Capsules Propel Interfacial Oil Droplets: An Environmental Cleanup Strategy
No full textComing clean: Polymer capsules of millimeter dimensions have been loaded with surfactants of negative, positive, or neutral charge, and their influence on the movement of oil droplets at the water/air interface was compared. Release of surfactant molecules from the capsule affects the surface tension γ and pulling force F (see figure) such that an oil droplet moves away from the polymer micromotor
Surfactant capsules propel interfacial oil droplets: an environmental cleanup strategy
No full textInvited for this month’s cover is the group of Prof. Martin Pumera from Nanyang Technological University, Singapore. The cover picture shows pristine underwater coral. This image symbolizes the beauty of a clean environment (coral reef in Indonesia), while the inset outlines the mechanism of the motion of the self-propelled cleaning capsule. Read the full text of the article at 10.1002/cplu.20130001
Cover Picture: Surfactant Capsules Propel Interfacial Oil Droplets: An Environmental Cleanup Strategy (ChemPlusChem 5/2013)
No full text
Jo Hui-ryong(1789-1866)’s Views on Painting and His Temperament as an Artist
No full text현존하는 저술서를 통해 볼 수 있는 조희룡의 언술들은 그의 회화사상이 중세적 가치관에 기반을 두고 이루어졌음을 알게 해 주는 사료이기에 매우 소중하다. 그럼에도 불구하고 조희룡에 대한 연구는 대체로 ‘김정희라는 大家와 그 아류’라는 이분법적 논리에서 폄하되었던 조희룡을 또 다른 대가로 부각시키려는 목적과 19세기의 다변했던 시대조류 속에서 성급히 근대성을 추출하려는 관점에서 전개되었다.
결과적으로 조희룡은 평가와 해석의 과정에서 근대적 자아관과 창작관을 지닌 화가로 다분히 오해되었으므로 중세적 관점에서 재해석되어야 할 필요가 있다. 이를 위해 본 연구는 조희룡이 남긴 언술의 내용과 의미를 구체적으로 파악함으로써 이를 기반으로 그의 창작성향과 작품의 조형성을 해석하고자 하였다.
조희룡의 회화사상은 근본적으로는 老莊思想과 유학적 가치관 및 불교사상에 기반을 두고 형성되었으며, ‘東道主義’에 따른 문인화론과 ‘寫意的 傳神論’의 확산이라는 맥락 속에서 전개되었다. 그는 회화창작을 우주만물의 생성과 같이 여겼던 이 시기 동아시아의 창작관에 따라 자신을 創生에 동참하는 ‘共創者’로 인식하였다. 物我一體에서 얻어지는 ‘我法’을 추구했으며, 이는 손이 마음의 뜻에 응하는 ‘心手相應’의 상태에서 표출된다고 여겼다. 또 한 획 가운데 모든 이치가 함축되어 있다는 ‘一字論’, 닮지 않음을 통해 傳神 할 수 있다는 ‘極不似而極似’의 사상을 피력하기도 하였다.
창작 성향으로는 ‘심수상응론’을 실천하기 위해 무위적으로 붓을 휘두르는 ‘塗抹’, ‘亂抹’의 태도와, 文雅함을 드러내기 위한 ‘頹唐放筆’의 성향을 보였다. 이러한 성향은 모두 인위성을 배제하고자 한 것으로, 마음을 비우고 붓이 가는대로 자신을 맡기는 ‘虛心聽筆, 偶然得之’도 같은 맥락에서 이해된다.
조희룡은 이러한 회화사상과 창작성향을 기반으로, 대상물의 재현보다는 그것이 지닌 본질의 구현을 중시하였다. 이에 따라 文字氣와 金石氣를 담기 위해 글씨를 쓰듯 그림을 그렸다. 또, 梅ㆍ蘭ㆍ竹ㆍ菊ㆍ石과 같은 구상적 소재를 다루면서도 궁극적으로는 자연이치의 造化力과 創生力을 표현하고자 했다.
본 논문은 이와 같이 조희룡의 회화사상과 창작의 지향점을 당대적 관점에서 밝힘으로써 그의 창작성향과 작품의 조형적 측면을 재해석하였으며 이를 통해 그의 작가적 면모를 좀 더 실체에 근접하게 이해할 수 있게 하였다.;Several literary anthologies containing writings by Jo Hui-ryong, invaluable for understanding his views on painting and art, have survived to today. His views on painting were heavily influenced by medieval values. However, Jo Hui-ryong’s legacy has been long overshadowed by that of Kim Jeong-hui and he was regarded as an epigone of Kim. In response, a number of researches were conducted to shed new light on Jo Hui-ryong as a master painter in his own right and to discover modernity in the works of Jo Hui-ryong whose career unfolded amid the various and changing currents of the 19th century.
As a result of this, Jo Hui-ryong was often misunderstood as a painter with a modern sense of self-awareness and artistic view. This paper, written as an attempt to reinterpret his legacy in a manner to bring to light the medieval influence on his paintings, examines writings left by him to reconstruct his artistic views.
Jo Hui-ryong’s views on painting were formed against the backdrop of such currents of thought as 'dongdojuui(東道主義)' and 'sauijeok jeonsinnon(寫意的 傳神論)', emphasizing the spiritual essence of a painting subject rather than visual resemblance to the subject, which gained popularity during his time, and was ideologically embedded in the Philosophy of Lao Tzu and Zhuangzi, Confucian values and the Buddhism. Following the conception of painting as an act of creation similar to the creation of all things in the universe, he recognized himself as a co-creator participating in this creative process. He believed that ‘one’s own methods(我法)’ can be attained when the hand communicate with the mind. Jo Hui-ryong further subscribed to ideas like ‘iljaron(一字論),’ the belief that one stroke contained all principles of the universe, or ‘guekbulsa igeuksa(極不似而極似)’, meaning that one can truly convey the subject of a painting by avoiding resemblance.
In trying to capture his inner creativity, Jo Hui-ryong sought a tendency of ‘domal(塗抹)’ and ‘nanmal(亂抹)’ which can be translated as “spontaneity” that is consistent with his belief in the intimate correspondence between the hand and the mind. His paintings also show a tendency toward the so-called ‘toedangbangpil(頹唐放筆),’ which gave them a touch of literary elegance(文雅). All of these tendencies had one thing in common: they were all driven toward eliminating contrivedness and artificiality, in favor of paintings created almost purely out of spontaneous brushstrokes, while the mind of the artist is free of any particular intention or preconceived ideas.
Jo Hui-ryong also held the view that a painting should capture the essence of a subject, rather than representing it mimetically. This was one reason why he employed calligraphic methods in his paintings, as a way of injecting the flavor of literati and epigraphy(文字氣ㆍ金石氣) into them. Meanwhile, even when he dealt with figurative subjects such as plum blossoms, orchid, bamboo, chrysanthemum or stone, his ultimate goal was to reveal the power of harmony and vitality inherent in the nature.
This paper casts new light on Jo Hui-ryong’s artistic temperament and credo and reinterprets his paintings based on views on painting and art that were contemporary to his lifetime. Through this effort, the author was able to gain intimate and more holistic insights into Jo Hui-ryong as an artist.Ⅰ.머리말 1
Ⅱ.조선 말기 남종문인화론의 확산 8
1.서양세력에 대한 지식인층의 內修的 대응 8
2.남종문인화론과 寫意的 傳神論의 심화 12
Ⅲ.조희룡의 회화관과 창작론 17
1.회화의 존재가치와 기능 17
2.창작관과 창작론 24
1)共創者로서의 自我 인식 25
2)自得的 창작태도를 통한 我法의 추구 30
3)心手相應論 36
4)一字論 39
5)닮지 않음을 통한 닮음(極不似而極似)의 지향 42
3.감상태도와 감평의 기준 44
4.화목별 주제의식 57
Ⅳ.조희룡의 창작성향과 조형성 67
1.창작성향 67
1)塗抹ㆍ亂抹을 통한 心手相應論의 실천 67
2)逸格的 文雅함을 위한 頹唐放筆 71
3)虛心聽筆, 偶然得之 74
2.조형성 77
1)書法에 기초한 文字氣ㆍ金石氣의 조형화 77
2)造化의 千態萬象 구현 87
Ⅴ.맺음말 100
參考文獻 104
圖版目錄 114
圖版 116
ABSTRACT 12
從新調性思維探索音樂創作的理念
No full text[[abstract]]形成「新調性」思維的音樂風格，從一九六０的極限主義開始，反動序列主義的音樂語法；反動序列主義之“創新”，刻意以回歸至調性、三和弦的音響的方式，有目的的將音樂創作的模式侷限在極限音樂特徵。如：極限主義也受到非西方音樂的啟發；以“重複”的音樂手法，透過同一節奏音型的重複，以及在旋律、和聲、織體、音樂聲部的層次等細部不斷變化，從不變中求變，從平淡中求新奇，作為極限音樂與二十世紀之前傳統音樂語彙的一種“創新”的方式。但經過一段時間後，極限主義的作曲家及聽眾也漸漸地在這樣的限制中，感到不滿足，於是，從極限音樂發展而來的後極限音樂則是延續極限音樂的創作理念，發展了音樂語法的複雜度。
? ?新表現主義則是以現代主義與表現主義的精神成為其音樂表達之方式，新表現主義並不要求作曲家釋放他的感情，而是要求演奏者在詮釋音樂作品時，釋放他的感情，甚至要求作品本身之和聲音響釋放它們的情感。不僅演奏者更為活躍而主動，靈活而互相回應，而且音樂本身具有了史無前例的感覺力、個性與活力。新表現主義的音樂既具傳統性又有實驗性，仍是依循歐洲後浪漫、表現主義之傳統做為音樂之發展。
? ?同樣地，新浪漫主義也是為反動序列音樂而興起的音樂風格，新浪漫主義是以現代主義與浪漫主義相結合的音樂風格。新浪漫主義於一九七０年代崛起，b新浪漫主義的音樂語法中，以傳統的功能和聲、曲式架構為基礎，並且經常引用、拼貼十九世紀浪漫主義作曲家的音樂素材。但新浪漫主義的音樂作品又有別於十九世紀的音樂作品，經常使用二十世紀特有的音樂語彙和手法。
? ?美國音樂學者薩爾茨曼（Eric Salzman）曾說：「二十世紀的音樂風格，對於當代的作曲家來說，不管是現代音樂、序列音樂亦或是回歸至調性架構的音樂傳統，這之間所有的屏障都坍塌了，音樂風格的界線分類也模糊不清，各種的音樂語彙、手法呈現都是可能的。」註 這句話不僅可做為筆者體認形成「新調性」思維的這幾種音樂風格的最佳註解，也說明了一九九０年之後形成的「整體主義」，其多元的、混亂的概括式音樂型態之現象。
[[alternative]]A Study of Family Values in the Home Economics Textbooks of the Junior High School in Taiwan
No full text[[abstract]]The main purpose of this study is to investigate the content, quantity, and distribution of the family values in the Home Economics textbooks published in 1968, 1972, 1983,1994 for the junior high school students in Taiwan. Content analysis is adopt in this study and family values analysis categories are build through literature review.In this study, family values includes four different dimensions which are the ethics, the values of family, the values of marriage, and the values of gender role inside the family. According to the results of analysis, the content of family values occupied quite few chapters in all the junior high school's Home Economic textbooks. The major results of the study can be concluded as follows:1. Ethics dimension, 'respect and tend eldership', 'the concept of kinship', 'family relation', is the most important part in the Home Economics textbooks.2. The values of family dimension, 'the definition of family', 'the genre of family', 'the function of family', 'the importance of family', ' breed child', changes its content during the latest thirty years.3. The values of marriage dimension, 'martial importance', 'the conditions of selecting spouse', 'marital composition and divorce', 'martial laws', is the fewest in the Home Economics textbooks.4. Gender role development dimension, 'gender role', 'the labor division of gender', is found in some textbooks only.The results of this study suggest that the concept of 'family values' in the textbooks are not enough and not so complete. Therefore, we should enhance in the future, and we had better change family values content according to the changing society.
Towards Graphane Applications in Security: The Electrochemical Detection of Trinitrotoluene in Seawater on Hydrogenated Graphene
No full textWith greater security and humanitarian concerns, the pressing need to develop fast and sensitive point-of-care explosives detectors has never been more pronounced. Electrochemical detectors facilitate accurate and swift detection of these explosive traces to provide opportunities for preemptive measures. Sensitivity of the electrode material is one of the many important factors in the development of an effective and efficient electrochemical detector. Herein, we present study on the applicability of graphene and hydrogenated graphene for the detection of TNT in seawater. Graphene was found to display a higher sensitivity than hydrogenated graphene and could be an ideal material for the detection of TNT in seawater. This is likely due to the fact that graphene contains a larger amount of aromatic rings than hydrogenated graphene, enabling larger preconcentration. These finding are of high importance to the application of graphene-based materials for explosives detection
