220 research outputs found
The politics of fashion: perceptions of power in female clothing and ornamentation as reflected in the sixteenth-century Chinese novel Jin Ping Mei
No full textThis thesis examines issues of female power and influence in sixteenth-century China focusing on how women and their roles were perceived in the changing social environment of the mid-late Ming dynasty. Using aspects of a New Historicist approach, information from contemporary literary and historical sources are analysed alongside each other. With its emphasis on the lives of women and preoccupation with the description of material objects, the late Ming novel Jin Ping Mei forms an important element in the thesis. China in the sixteenth century saw expanding urbanisation, the emergence of a new wealthy merchant class, increasing visibility of women and a questioning of traditional morality. Fashion consciousness, as one of the most conspicuous aspects of the new material culture, is a possible indicator of these trends. Traditional Western theories contend that fashion began in the particular context of Renaissance Europe. However, this study argues that a similar fashion awareness existed in China too, and was manifested in a competitive striving for social status, in this case specifically among women. In contrast to previous studies which downplayed the impact women had on defining traditional Chinese culture, this thesis demonstrates how women and their sartorial choices began to redefine the boundaries of material culture, influencing literati discourse which, in turn, re- influenced female behaviour
On and Around Yan Song 嚴嵩 and His Son : Wang Shi-zhen 王世貞, Jin ping mei, etc.
No full textYan Song (1480-1567), the powerful prime minister of the Jiaqing 嘉靖 (1522-1566), has been portrayed as a villain in various historical and literary works ever since his downfall in 1562. It was Wang Shi-zhen (1529-1593), whose father's death was caused by Yan in a power struggle in the court, who contributed greatly to the creation of this negative portrait. Ming feng ji, a popular play criticizing Yan Song published shortly after his fall, was commonly attributed to Wang Shi-zhen. Starting in early Qing 清, Wang was also considered to be the author of Jin ping mei which according to some contemporary critics, was an expose of Yan's faction. Thus, in people's minds, satires of Yan Song were associated with Wang Shi-zhen. Moreover, although we cannot be certain about the authorship of Jin ping mei, we know that early manuscripts of the novel circulated among Wang Shi-zhen's friends. It seems almost certain that Wang had some connection with the novel
Narrative art in the Ming Dynasty novel, with special reference to Shuihu Zhuan, Xiyou Ji and Jin Ping Mei.
No full textThe thesis is concerned with the structure and style of the three Ming dynasty novels, Shuihu zhuan, Xiyou ji and Jin Ping Mei. Clearly, these novels are not as simple as they seem - there are multiple levels of interpretation. By using the conventions of form and style the author/narrator manipulates the oral storytelling tradition in order that he may engage in a discourse with the reader. Chapter One looks briefly at the origins of and the influence of other forms on the Ming novel, particularly oral storytelling, drama and historiography. It also looks at the question of readership, concluding that Shuihu zhuan, Xiyou ji and Jin Ping Mei, while imitating popular forms, were written for educated readers. Chapter Two examines structure, first breaking down the novel into its constituent parts, then analysing the methods of composition. It shows that plot is of limited importance and that digression from the plot is the basic structural principle. The looseness of the structure enables structural patterns to be imposed on the narrative. These patterns are one of the ways by which the author/narrator communicates with the reader. Chapter Three analyses the use of language, looking in particular at the classical-vernacular mix; the attention paid to sentence rhythms in order to achieve subtlety and depth of expression: the function of verse and parallel prose; and the use of formulaic language. Chapter Four looks at how the details of the fictional world - setting, characters, and so forth - are presented. In doing so it shows that although realism was not an effect valued for its own sake there are realist passages in the novels. The author/narrator has total and obvious control over the narrative, and any such literary mode or device is simply taken up or abandoned according to the needs of the narratorial presence or the needs of the writer's communication with the reader. Chapter Five considers in detail the relationship between the writer, the narrator, and the reader. Frequent changes in point of view and variation of aesthetic distance produce irony, and as a result several levels of meaning can be discerned
Récit et chansons dans Fleur en Fiole d’Or : David Tod Roy et André Lévy face à l’intertextualité dans leurs traductions de la version cihua 詞話 du Jin Ping Mei 金瓶梅
No full textLi Shiwei : Narrative and Songs in The Plum in the Golden Vase : David Tod Roy and André Lévy and the Issues of Intertextuality in their Translations of the
Cihua 詞 話 Version of the Jin Ping Mei 金 瓶 梅
This research note seeks to analyze the different translation strategies of two sinologist-translators, David Tod Roy and André Lévy, when confronted with a work as complex as the Jin Ping Mei 金 瓶 梅 , and in particular their different choices regarding the translations of qu 曲 (lyrics or songs). I first analyze the uses and functions of qu in the cihua 詞 話 version of the Jin Ping Mei and then present the different points of view of the translators concerning the ideological and aesthetic values of the author and the organization of his narrative. The note also discusses their strategies when confronted with the difficulties of translation of the intertexts structured around the qu as well as the potential effects of these translation choices on their readers. Finally, the note proposes some hypotheses concerning the reasons that motivated these choices.Cette note de recherche a pour objectif d’analyser les différentes stratégies de traduction de deux sinologues-traducteurs, David Tod Roy et André Lévy, face à une oeuvre aussi complexe que le Jin Ping Mei 金 瓶 梅 , et en particulier leurs différents choix de traduction des qu 曲 (poésies chantées). Nous y analysons d’abord les usages et les fonctions des qu dans la version dite cihua 詞 話 du Jin Ping Mei, pour présenter ensuite les différents points de vue des traducteurs concernant les valeurs idéologiques et esthétiques de l’auteur et l’organisation de son récit. Sont également abordés leurs stratégies face aux difficultés de traductions des intertextes axés autour des qu, ainsi que les effets potentiels de ces choix de traduction sur leurs lecteurs. La note propose pour finir quelques hypothèses concernant les raisons ayant motivé ces choix.黎 诗 薇 (Li Shiwei) : 《 金 瓶 梅 》 中 的 曲 與 敘 事 ： 苪 效 衛 與 雷 威 安 關 於 《 金 瓶 梅 》 詞 話 本 中 互 文 性 的 翻 譯 本 文 選 取 《 金 瓶 梅 》 詞 話 本 中 關 於 曲 的 翻 譯 的 例 子 ， 來 探 討 芮 效 衛 與 雷 威 安 這 兩 位 漢 學 家 及 譯 者 面 對 《 金 瓶 梅 》 這 部 複 雜 的 文 學 作 品 所 採 用 的 不 同 的 翻 譯 策 略 。 本 人 首 先 分 析 了 《 金 瓶 梅 》 詞 話 本 中 曲 的 運 用 以 及 其 在 作 品 中 的 功 能 ， 然 後 闡 述 了 兩 位 譯 者 關 於 作 者 創 作 該 作 品 的 價 值 觀 、 美 學 觀 及 作 品 敘 事 結 構 等 方 面 不 同 的 看 法 ， 並 分 析 譯 者 在 曲 的 互 文 性 翻 譯 問 題 上 所 採 取 的 不 同 的 翻 譯 策 略 ， 以 及 這 些 策 略 對 讀 者 閱 讀 譯 文 所 產 生 的 影 響 。 最 後 ， 本 人 就 導 致 譯 者 採 用 不 同 翻 譯 策 略 的 原 因 提 出 一 些 推 論 。Li Shiwei. Récit et chansons dans Fleur en Fiole d’Or : David Tod Roy et André Lévy face à l’intertextualité dans leurs traductions de la version cihua 詞話 du Jin Ping Mei 金瓶梅. In: Études chinoises, vol. 35, n°2,2016. pp. 87-103
Recurrent correlation associative memories
No full textThe online technique of neuro-fuzzy system has been increasing in popularity in the recent years. In actuality external factors play an important role in the time-variant dataset, changing its pattern. This change in pattern is known as drift and shift. To tackle these changes, Hebbian learning was introduced. However this learning is characterised by uni-directional learning, resulting in the instability of the model.
Hence, the BCM theory was developed to overcome the problem of Hebbian learning through the provision of Hebbian and Anti-Hebbian learning.
However, time variant data possesses both dynamic and temporal problems. The purpose of the author is to address this issue through the modification of the current recurrent fuzzy neural network. The underlying principle is to store past information to be recalled later for application in the current context.
The existing recurrent neuro-fuzzy system shows promising results that motivates the author to further the efficacy of the recurrent neuro-fuzzy system.
This report proposes a recurrent neuro-fuzzy system that uses the BCM theory of online learning with self-organizing effectiveness. In addition, rules are represented using the Takagi Sugeno Kang model to achieve a better accuracy compared to the Mamdani model which focuses on interpretability.
The performance of Recurrent SeroTSK is evaluated and compared against neuro-fuzzy systems through various time-series benchmark experiments and prediction for cancer diagnosis which is a classification data. The results show that Recurrent SeroTSK is better for time-series prediction and it works for classification data as well.Bachelor of Engineering (Computer Science
A Study on Voyeuristic Gaze in Jin Ping Mei(金甁梅)
No full text《金甁梅》는 인간의 지극히 개인적인 욕망을 다루는 동시에 이를 훔쳐보는 인물을 내세우면서 소설의 에로티시즘을 한층 더 부각시키며, 이러한 훔쳐보기 혹은 엿보기는 《金甁梅》의 장편 서사를 이끌어가는 원동력이 된다. 따라서 본고에서는 관음증적 시선을 중심으로 《金甁梅》를 읽고 분석하는 데 연구의 목적을 두었다.
본고에서는 《金甁梅》의 관음증적 시선에 관한 연구를 다음과 같은 방식으로 진행하였다. 먼저 《金甁梅》가 창작된 시대적 배경을 살피고 명대의 성 문화를 《金甁梅》의 관음증적 시선과 밀접한 관련을 맺고 있는 纏足, 春畵, 男風 등을 중심으로 서술하여, 이후 揷圖와 텍스트를 통한 시선 전개에 관한 논의를 연장선상에서 읽어나갈 수 있도록 하였다.
관음증적 시선의 분석은 삽도와 텍스트로 나누어 진행하였다. 우선 삽도 중에서 훔쳐보기의 모티프를 직접적으로 활용한 그림과 간접적으로 활용한 그림으로 구분하고 이미지에 반영되는 네 가지 시선을 참고하여 분석을 시도하였다. 이를 통해 화가의 구도 처리 혹은 인물 배치 방식에 따라 감상자의 훔쳐보기가 만족 혹은 좌절되며, 그림 속 인물의 시선이나 그 인물이 유도하는 시선까지도 관음증적 시선으로 해석될 수 있음을 알았다. 텍스트에서의 시선 분석은 삽도에서의 네 가지 시선을 치환 후 적용하였으며, 특히 《金甁梅》가 이미지의 현시와 서사의 전개를 동시에 달성해나가는 데 있어서 등장인물들의 관음증적 시선이 주축이 됨을 알았다. 또한, 훔쳐보기는 주체와 대상의 물리적인 구분을 전제로 한다는 점에 착안하여, 張竹坡의 〈雜錄小引〉을 통해 西門慶 집의 구조를 살펴보고 구조적 프레임과 창, 발 등의 장치에 따라 유도되는 시선을 분석하였다. 이를 통해 관음증적 시선이 性과의 관련성을 넘어서 보다 넓은 의미에서 논의가 이루어질 수 있는 토대를 마련하였다.
본고에서 삽도와 텍스트에서의 관음증적 시선 분석은 다음과 같은 세 가지 결론에 이르렀다. 첫 번째, 에로티시즘과 결합된 금기의 모티프는 관음증적 시선을 통해 금기를 위반하고자 하는 인간의 욕망을 보여준다. 금기시되는 행위를 위반하는 장면을 제시하고 동시에 그 장면을 엿보는 인물을 보여주는 것은 금기에 대한 위반을 이중으로 실현하며, 위반 혹은 일탈을 통한 카타르시스를 강화한다. 두 번째, 훔쳐보기는 자본주의와 도시화로 인해 고립과 단절의 벽을 허물고자 하는 인간의 몸부림이다. 그리고 엿보기가 성립하는 구간 즉, 주체의 환상과 대상의 유혹이 중첩된 지점에서 시선의 주체는 대상과의 동일시나 비교를 통해 자신이 경험하는 세계를 확대한다. 마지막으로 우연(contingency)과 맞물린 관음증적 시선은 타인에 대한 권력을 행사하는 계기가 된다. 그러나 남성 중심의 체제는 시선의 비대칭과 불균형을 이용하여 여성이 시선의 주체로서 권력을 쥐고 있다고 오인하게 한다. 결론적으로 관음증적 시선은 단순히 훔쳐보는 것 이상의 의미를 함축한다.;The Chinese novel Jin Ping Mei(金甁梅) deals with the very human private desire and at the same time shows the voyeur through the text, thereby emphasizes the eroticism. The novel carries out peeping or looking and it eventually is the driving force of leading the full-length narrative. The study focuses on reading and investigating Voyeuristic Gaze in Jin Ping Mei.
The study on Voyeuristic Gaze in Jin Ping Mei is conducted as follows: First, in the chapter of sexual culture of Ming(明) Dynasty, gives a detailed account of foot-binding, pornograph, male homosexuality which are closely related with Voyeuristic Gaze and then, puts them in line with further discussion about the gaze.
The investigation about Voyeuristic Gaze represents two aspects, one is in terms of illustrations and the other is in terms of the text. First, divided the illustrations into the painter using peeping directly or indirectly, and then tried to investigate these illustrations on the basis of four gazes reflected from the image. It is shown that whether the voyeurism of the viewer is satisfied or frustrated depending on how the painter composes his painting and places the characters. Besides, it is also shown that the gaze of characters in paintings or the gaze which character induces the viewer also interpreted as Voyeuristic Gaze. Second, in order to investigate the text, replaced the gaze reflected from the image as mentioned earlier with that in the text. It is shown that in Jin Ping Mei, the exchanged gaze between characters is important since it describes voyeurism and fetishistic scopophilia simultaneously. Also, paid attention to the fact that the voyeurism is required to separate the subject and object of the gaze, and through the writings of Zhang Zhupo(張竹坡) examined the house structure of Ximen Qing(西門慶) and investigated the gaze-induced depending on the structural frame and the devices such as windows, bead curtains. Therefore, it is possible to discuss not only the correlations between voyeuristic gaze and eroticism but also from a holistic approach.
Through the study of Voyeuristic Gaze in illustrations and the text, it reached to three conclusions as follows: First, the taboo motifs about eroticism show the human desire for taboo violation through Voyeuristic Gaze. When the author described the scenes violating the taboo subjects and then let a voyeur look that scenes in the text, the reader realizes dual taboo violation and experiences intense catharsis resulted from violation or deviation. Second, the voyeurism is the man struggling to tear down the walls of isolation and disconnection caused by capitalism and urbanization. At a point that the voyeur is peeping, the fantasy of a subject and the temptation of an object is overlapped, the voyeur extends own world of experience through identification or comparison with the object. Third, when the voyeuristic gaze is interlinked with the contingency, it served as a momentum for the voyeur to exercise power to others. However, the patriarchal system makes women misunderstand that themselves as a subject keeps power, by using asymmetry and imbalance of the gaze. As in conclusion, the Voyeuristic Gaze does not mealy mean the peeping but fulfills more than peeping.Ⅰ. 서론 1
1. 연구 목적 및 연구 경향 1
2. 연구 대상 및 연구 방법 5
Ⅱ. 金甁梅의 창작 배경 9
1. 시대적 배경 9
2. 명대의 성 문화 13
(1) 纏足 13
(2) 春畵 16
(3) 男風 20
Ⅲ. 金甁梅에 나타난 관음증적 시선 분석 23
1. 揷圖와 시선 23
2. 텍스트와 시선 33
(1) 텍스트에서의 시선 교환 33
(2) 공간적 구조와 시선 42
Ⅳ. 金甁梅에 나타난 관음증적 시선 의미 51
1. 금기에 대한 위반 51
2. 고립과 단절로부터의 탈피 57
3. 시선에 의해 부여된 권력 63
Ⅴ. 결론 70
참고문헌 73
Abstract 7
Tokenism and Women\ue2s Survival Strategy in the Coast Guard Administration Reconnaissance Brigade
No full textAs a result of the progress of gender equality and women\ue2s movement, traditional masculine occupational fields no longer belong only to men. But women face more pressures and difficulties in the male-centered occupational fields. In the research, Reconnaissance Brigade is a typical example. The author tries to use Kanter\ue2s early Theory of Tokenism to examine the ways women respond to the three perceived intentions: performance pressures, boundary heightening and role entrapment. The author also tries to find out if there is any survival strategy based on the experiences of these female officers .
The author adopts a qualitative approach and conducts 16 in-depth interviews. Through the observations, Kanter\ue2s arguments are found in most aspects in the Brigade occupational fields, though the effects of boundary heightening and role entrapment are less evident. The author also identifies the problems of gendered division existing in the forms of benevolent sexism and hostile sexism. The responses of these token women mostly match with Kanter\ue2s theory, and the author explores two problems that are not discussed in the Theory of Tokenism: namely \ue2magnified affirmation\ue2 and \ue2class differentiated treatment.\ue2
In the end, the author discusses how to overcome the Effects of Tokenism in masculine occupational fields and presents the following strategies: (1) challenge the male-centered points of view; (2) utilizing and mainstreaming feminine characters to transform gendered segregation. (3) creating a more gender-sensitive training, mentoring, and evaluation personnel system
Analysis of water quality factors influencing the speciation of inorganic nitrogen using GRA
No full textBased on the water quality data from 2006 to 2008, grey relational analysis (GRA) is used to analyze factors that may have influence on the speciation of inorganic nitrogen in the Chengdu section of middle Min river. The results show that water temperature, changing from 20.2 +/- 2.7, 13.4 +/- 5.7 and 16.8 +/- 5.6 degrees C, is the first restrictive factor for the speciation of inorganic nitrogen; it is negatively correlated with the ratio of total ammonia nitrogen to total inorganic nitrogen contents [m(AN)/m(TIN)] in three different periods of wet season, dry season and year-round. The average pH values for years, in wet and dry periods are 7.6 +/- 0.4, 7.3 +/- 0.3 and 7.8 +/- 0.2, respectively, and have different influences in different seasons. It is the second restrictive factor and positive correlation between pH and m(AN)/m(TIN) in wet season and through the year yet it is the fourth factor in dry seasons. The values of dissolved oxygen (DO), which are 4.6 +/- 1.4, 4.6 +/- 2.4, 4.6 +/- 2.0 respectively, is the third factor and negatively correlates with m(AN)/m(TIN) in third different periods. The chemical oxygen demand (COD) indirectly inhibits the nitrifying bacteria because the DO is depleted in the decomposition of organic matter by heterotrophic bacteria, showing the positive correlation. As the alkalinity can meet the requirement of nitrification in wet season and through the year, it is not restrictive factor. However, it is the second restrictive factor in dry season because of low content of alkalinity inhibiting the growth of nitrifying bacteria
Article 2. From "dismissed country preacher" to "the father of environmental ethics"
No full textIncludes bibliographical references.Article 1: In his sermon preached June 5, 2016, at the Ho-Ping Church in Taipei, Rolston emphasized that, like ancient Israel, all peoples today reside on lands with promise, promised lands. Taiwan was long known as Formosa, the beautiful island. Americans sing "America, the Beautiful." Earth is a planet with great promise; such planets are rare in the universe. The main theme of ecological ethics is homing. We are all "Earth gardeners" who have a divine destiny to "care for the Earth," our home planet.Article 2: During his three visits to Taiwan, in 2004, 2008, and 2016, Dr. Rolston has given 45 lectures. TESA set the theme of these 45 lectures according to the contents of Rolston's books, from Philosophy Gone Wild, Science and Religion, to Environmental Ethics to A New Environmental Ethics: The Next Millennium for Life on Earth. In Taiwan, we would like to keep on promoting what we have learned from his messages in his books and his life.Article 1. 找家--羅斯頓的生態哲學 [Looking for home -- Rolston's Ecology and Philosophy] / 林益仁 [Yiren Lin] -- Article 2. 從 [被解聘的鄉下牧師] 到 [環境倫理學之父] [From "dismissed country preacher" to "the father of environmental ethics"] / 陳慈美 [Tzu-mei Chen]
Brecht and China : a mutual response
No full textThis thesis deals with the cross-cultural relations between Brecht and China
through an analysis of how Brecht responded to the traditional Chinese theatre and
how his drama was received in turn by modern Chinese theatre. It attempts to
examine the respective socio-cultural or political contexts wherein such kind of crosscultural
contacts were needed, and the consequent aesthetic-theatrical as well as
socio-cultural or political changes brought about by these contacts that have produced
two distinctively independent yet related forms of theatre.
It is argued that Brecht's search for a theatre style of his own amidst the sociocultural
as well as political crises between the two world wars made him look to the
East for inspirations, and his direct encounter with Mei Lanfang enabled him to
interpret the latter's acting in such a way that he responded to it with his postulation of
the alienation effect and modification of a gestic performance style. His repudiation
of the well-made dramatic theatre brought his epic theatre closer to the traditional
Chinese theatre whose aesthetic principles he shared in constructing a non-
Aristotelian episodic form of drama. In his experimentations with new modes of
theatrical expressions, he did not simply borrow or copy the forms and content of
classical Chinese drama; he appropriated, transformed and renewed them, for
example, in The Caucasian Chalk Circle, for the particular purpose of instructing
audiences in a scientific age.
China! s reception of Brecht has had much to do with the country's changing
socio-cultural as well as political situations. Chinese theatre practitioners responded
to him because he was a politically, culturally and aesthetically suitable figure. His
epic drama provided an alternative style for the Chinese in their attempt to innovate
their realist spoken drama imported from the West, and was also introduced into local
forms of performing arts in hope that the traditional Chinese theatre could be
resurrected. Furthermore, he prompted Huang Zuolin to theoretically re-examine
Chinese operas, which the latter integrated with techniques of Brecht and
Stanislavsky into spoken drama to establish a new theatre style called Xieyi drama
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