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Traduction de : « Entretien entre Wang Wen-hsing et Shan Te-hsing », Neige d’août n°21, 2013, p. 49-56
No full textTraduction de : « Entretien entre Wang Wen-hsing et Shan Te-hsing », Neige d’août n°21, 2013, p. 49-5
De Hemingway au chinois classique : le travail de la langue de l’écrivain taïwanais Wang Wen-hsing
Get PDFDans les années 1970, l’« occidentalisation » de Wang Wen-hsing lui attire les foudres de la critique. On lui reproche, entre autres choses, de mal écrire, d’être incompréhensible et d’écrire dans une langue occidentalisée. Lui-même semble prendre pour modèle son professeur de français, dont le niveau de chinois classique était très élevé. Entre chinois classique, moderne, dialecte de sa région natale (très proche du dialecte de Taïwan), anglais, et français idéalisé, Wang Wen-hsing invente sa propre langue. Dans les manuscrits de son premier roman, il recourt au syllabaire que les enfants utilisent en cours d’apprentissage de la langue chinoise pour remplacer les caractères d’écriture, syllabaire qui disparaît ensuite à la publication. Que nous apprend l’utilisation de ce syllabaire sur le travail créatif de l’auteur ?Wang Wen-hsing est un auteur qui, entre extrême précision et violence, consacre sa vie et toute son énergie au travail de la langue. Quelle langue tente-t-il d’approcher : le chinois normatif des temps anciens, la langue américaine de Hemingway, ou un mélange des deux ?Multilingue à l’intérieur de la langue chinoise moderne, elle-même langue encore proche du chinois classique, abandonné seulement au début du xxe siècle, l’écriture romanesque de Wang Wen-hsing, qui a pour critère de valeur le « tong-shun » (clarté et aisance), est le fruit de l’oralité et d’une langue expérimentale. Ce rapport à la langue vient-il de sa situation d’émigration, de son isolement des milieux politiques et intellectuels, comme cela lui a été reproché lorsque justement on l’accusait d’écrire dans une langue incompréhensible pour le lecteur ? Pourquoi ces romans sont-ils jugés incompréhensibles ? En raison du niveau du lecteur moyen ? Pour des raisons géopolitiques, car il est un émigré en position dominante dans l’île ? Parce que la langue chinoise est dans une période de transition forte ? Toutes ces questions seront posées en référence aux critiques émises contre l’auteur, et dans l’étude de ses manuscrits, qui révèlent un processus particulier d’écriture où la langue chinoise oscille entre traits d’écriture et tentation de l’alphabet.Wang Wen-hsing, a well-known Taiwanese contemporary writer, was born in 1939 in Fujian province, Mainland China. In 1946 he moved with his parents to Taiwan. He graduated from National Taiwan University in English Literature and received his MFA at the University of Iowa. He became later professor of English Literature at NTU and remained in his position until retiring in 2005.Except of teaching, all his life is devoted to writing novels in Chinese. During the 1970’s, he is criticized as a Modernist Writer turned towards the United States. Many people said his language was difficult to understand and influenced by English. On the contrary, Wang Wen-hsing himself admits that his model was his French teacher, who was versed in Classical Chinese. Between Classical Chinese, Mandarin, English, French and Minnan dialect, Wang Wen-hsing is creating his own language. We will see first the influence of his English readings, not only on his style but also on his own way of writing, and the possible influence of French and Minnan as well, then we will go through the critics on his two novels and finally we will ask what a genetic methodology on his manuscripts can offer to our reflection on his use of languages in his writings. The use of a syllabary, which appears already in the manuscripts of his first novel, and which will be omnipresent in the second novel: is it another element of strangeness or is it, on the contrary, a tentative to make up refined written language and everyday life’s Mandarin? Why are his novels difficult to read for the common reader? Is it a question of multilingualism or are there some geopolitical reasons in the critics of his writings
Quality Improvement for Motion Pictures in Multimedia Liquid-Crystal Displays(LCDs)
No full text摘 要
Gamma-Correction原理指出人眼所能分辨的亮差層次是以對數方式分佈，而非以線性方式分佈。由於Gamma曲線的特性，Gamma-Correction不會影響影像的濃度域(最黑與最白兩階是固定的)，而只是影響濃度的分布亮化（當珈瑪值大於1）；亮部被擴展而暗部被壓縮。暗化（當珈瑪值小於1）影像；亮部會被壓縮而暗部被擴展。
隨著顯示科技日益進步，其對每一個微小畫素上的影像色彩呈現要求也更加的挑剔。目前有許多新的影像科技與調校技術，Dynamic Gamma Correction(DGC)，又稱為Dynamic Gamma Control，使顯示影像色彩的暗度與對比提升，增加黑暗背景層次的豐富感，還原更鮮活亮麗的真實色彩，使其呈現出高亮度、高對比，展現了明亮、清澈的高畫質影像品質。
第三章首先運用影像8灰階分佈統計直方圖(histogram)與即時動態珈瑪電壓修正來達成動態畫質提升。因為所選用的TFT-LCD顯示模組，其珈瑪電壓僅有五組，只能就顯示畫面做大致的調整，其所能得到的畫質雖然比未調整前有很大的改善，但先天上仍有其限制。
第四章則運用32灰階分佈統計直方圖與一種結合影像資料處理的Dynamic Gamma Correction來達成多媒體液晶顯示器之動態畫質提升。針對32灰階來做影像資料的統計，然後搭配外部Gamma Voltage的電壓調整，最後再將原始影像資料以軟體方式做修正處理，形成一條新的珈瑪曲線，使多媒體液晶顯示器呈現出高亮度、高對比，展現了明亮、清澈的高畫質影像品質
在本篇論文有一些問題點存在，所以在第五章結論處提出了一個完整的架構，以使本研究目標“動態影像顯示品質改善”得以改善，並達到盡善盡美的境界。Abstract
The principle of gamma correction, which is based on brightness levels distinguishable by the human eye, have a logarithmic type distribution and not a non-linear distribution. Gamma correction does not affect density range (The levels of black and white are fixed.) due to the characteristics of the gamma curve. It only lightens density range distribution (when gamma is greater than 1). Bright areas are expanded and dark areas are compressed. For darkened (when gamma is less than 1) images, light areas are compressed and dark areas are expanded.
As display technology advances, more stringent demands are placed on every tiny pixel. There are currently many new image and tuning technologies. Dynamic gamma correction (DGC), also called dynamic gamma control (DGC), improves image darkness and contrast, and then more accurately displays fine images. It achieves higher brightness and contrast and shows clear, crisp high definition image.
As described in chapter 3, an 8-grayscale histogram of dynamic image was construct and immediate gamma voltages were adjusted to improve the image quality of moving pictures on multimedia liquid crystal displays. Since the gamma voltages used on TFT-LCD modules are only 5 externally voltages, it makes rough adjustment to the display. Although, the better image quality is achieved than the before adjustment, but the congenital performance is limited.
Chapter 4 introduces a new dynamic gamma correction method using 32 grayscale histogram and image data processing to improve contrast of moving images on LCDs. First, to statistic the 32 grayscale histograms, then arrange the circuits of combined external gamma voltage adjustment with image data processing by software technology. It will become a new gamma curve, thus more accurately display fine images that have higher contrast and show clear, crisp high definition image quality on multimedia LCDs.
There are still some problems that exist in this work, so a complete framework is proposed in chapter 5 to take the “improvement of moving image quality” research goal to an advance video system.目 錄
中文摘要…………………………………….………...……….…..…….……i
Abstract……………………………………………..…………...………..…iii
誌謝…………………………………...….………………….....……….…...v
目錄………………………..…………….…………….………..…………...vii
圖目錄……………………………………………...………………..……….ix
表目錄………………………………….…………..…..……………………xii
第一章 緒論…………………………………..…………..………..………1
1-1 Gamma Correction原理……………………..….……….…..….1
1-1-1人眼對色彩的特性…………………………..….……….1
1-1-2 Gamma Curve………………….……………...………2
1-2用Gamma曲線調整影像的辦法………………………...………3
1-3 Gamma Correction 與Color Space 的關係…………...……..5
1-4 File Gamma………………………………...………..…..…..…..7
1-5 System Gamma………………………..……………......…..…..8
1-6 為何最佳Gamma值是2.2 ?………..…………………..…….12
1-7 LCD穿透率與電壓之Gamma曲線關係…………..………….13
第二章 習用相關架構……………………………………………….……14
2-1傳統用以產生Gamma電位之電阻串…………………………14
2-2 Gamma查表法(Lookup Table，LUT)…………………....……17
2-3 設計一顯示器之Look-up talbe 之Gamma 值…….………..19
2-4 Gamma Adjustment Function…………………..………..……22
2-5 實際檢驗一顯示器之Gamma 值…………….…….…………25
第三章 Dynamic Gamma Correction 理論與實現………….…......….31
3.1 Dynamic Gamma Correction目的………………..…..……….31
3-2 由外部Gamma參考電壓來調整Gamma曲線…..…….……32
3-3 8灰階統計分佈直方圖………………………………….…….36
3-4 外部Gamma參考電壓自動調整…………………...……...….39
3-5 灰階分佈與預設Gamma曲線連結……………….…….…….41
3-6 灰階分佈與Gamma曲線成一比例動態調整………..……….44
第四章 多媒體液晶顯示器之動態畫質改善……….……..………….....52
4-1 32灰階分佈統計直方圖……………………………………...…52
4-2結合影像資料處理的Dynamic Gamma Correction……….…56
4-3 如何處理灰階統計出現雙峰的問題? …………….……..……61
第五章 結論與未來工作目標…………………..………...………….…68
5-1結論………………………..……………...…..……….…………68
5-2未來工作目標……………………………………….……..….…71
參考文獻………………………………..……………
圖目錄
圖1-1 Gamma Curve…………………..………………….…….....……..…..……….2
圖1-2 不同Gamma Curve…..………………………………..……....…..….…..…..3
圖1-3 原圖gamma=1……………………………………….……….……..….…...….4
圖1-4 gamma=0.5………………………..………………….....….….….…..….……4
圖1-5 gamma=2.……………………………………..…….….…..…..…....….……..4
圖1-6 原圖gamma=1…………………………………………..……….……….…….4
圖1-7 gamma=0.5……………………………………….…….….…...….……...……4
圖1-8 gamma=2.…………………………………………….….…..……..…....……..4
圖1-9 (R、G、B)=(51、204、51)Gamma=1……………………...…...….……..……5
圖1-10 (R、G、B)=(133、233、133)Gamma=2.5……………….….….………….…..5
圖1-11 顯示系統之Gamma參數關係………………………..….……….……..…...10
圖1-12 以實例說明γRGB相關Gamma係數的轉換……………….….….…..…..11
圖1-13 穿透率與電壓之曲線圖……………………………………..………..…...…..13
圖1-14 畫素上板與下板之跨電壓與光穿透率之Gamma曲線關係圖…..…………13
圖2-1 傳統用以產生Gamma電位之電阻串…………………….…………..…..….14
圖2-2 畫素資料與Gamma電壓之Gamma曲線關係圖…………………….….….15
圖2-4 輸出非線性數位類比轉換電路之Gamma電壓與畫素液晶分子之光穿透之Gamma曲線關係圖…………………………………………….…….…..…...16
圖2-5 畫素資料與液晶分子之光穿透率之關係圖………..…….……….….…...….16
圖2-6 Lookup Table的設定值與目標Gamma值……………………………….…18
圖2-7 32灰階之look-up table 設定值曲線……………………..…..……….….….19
圖2-8 32灰階之look-up table 設定值曲線…………………….……….…..…..…20
圖2-9 16灰階之視覺效果…………………….……………………..……..…..….…21
圖2-10 32灰階之視覺效果……………………….………………..……...…………21
圖2-11 Grayscale control……………….………………….…….…….……...….…..22
圖2-12 Structure of grayscale amplifier……………………….….…….....…...…...23
圖2-13 The operation of adjusting register………………………..……………..….24
圖2-14 運算式之針斜率值方程式圖………………………………..……...…..….….26
圖2-15 Test pattern 1………………………………….…………….….….….………26
圖2-16 Test pattern 2……………………………………..….……….…..…….……..26
圖2-17 Test pattern 3………………………………………..……..……..…….…….26
圖2-18 16灰階各階之輝度值……………………………………..…...….………….27
圖2-19 之關係式繪製成一曲線圖………………………..…..…….….…28
圖2-20 理想Gamma=1.8652的曲線與實測輝度Gamma 曲線……………….…29
圖2-21 顯示器之視覺效果……………………………………..……..…...……….…30
圖3-1 TFT-LCD 外部電壓接腳圖…….………………………..…...…….…………32
圖3-2 顯示器之方塊圖……………………………………..……………....…..….…34
圖3-3 8灰階統計流程圖…………….….………………………………..…………..36
圖3-4 測試圖-a………………..…………………………………...…...….….….…..37
圖3-5 測試圖-a之灰階分佈圖……………………………………....…….….….…..37
圖3-6 測試圖-a經測試顯示狀況………………………………….………….….…..37
圖3-7 測試圖-a之灰階分佈圖…………………………………….….….…….…….37
圖3-8 測試圖-b……………………………………………….…….…..…..…………38
圖3-9 測試圖-b之灰階分佈圖…………………………………….……..........….…38
圖3-10 測試圖-b經測試顯示狀況……………….………………..………..….....…..38
圖3-11 測試圖-b之灰階分佈圖……………..……………………….…..…....….…..38
圖3-12 測試圖-c………………….…………………………………..……..…......…..38
圖3-13 測試圖-c之灰階分佈圖…………………………….……...…………..….…..38
圖3-14 測試圖-c經測試顯示狀況……………………………….….…..…..….…….38
圖3-15 測試圖-c之灰階分佈圖…………………………………………..…..………38
圖3-16 DAC IC(AD5308) 方塊圖………………………………………...……….…39
圖3-17 測試圖-D……….….………………………………………….…..……….…..42
圖3-18 測試圖-d 改善後視覺效果……………………………………….……….…..43
圖3-19 測試圖-d 改善前視覺效果………………………………………..…....…….43
圖3-20 測試圖-d 八灰階統計直方圖……………………………….………...….…..45
圖3-21 測試圖-d Gamma Curve 改善前後示意圖…………………..……......…....46
圖3-22 測試圖-d 改善後視覺效果…………………………………….….…..….…..47
圖3-23 測試圖-d 改善前視覺效果………………………………..…….…...……….47
圖3-24 測試圖-e……….….……………………………………..………...….…..…..48
圖3-25 測試圖-d八灰階統計直方圖…………………………….....……...….….…..48
圖3-26 測試圖-e Gamma Curve 改善前後示意圖……………………...…....…..49
圖3-27 測試圖-e 改善後視覺效果之一……………………………...…..…………..50
圖3-28 測試圖-e 改善前視覺效果之二….………………………..……......………..50
圖3-29 測試圖-e 改善後視覺效果之二…………………………..…..….…...….…..51
圖3-30 測試圖-e 改善前視覺效果之二……………………………..…..…....….…..51
圖4-1 32階直方圖之灰階統計分佈放大圖……………….…………………….…..53
圖4-2 32階直方圖之灰階統計分佈放大圖…….………………………………..….54
圖4-3 32階直方圖之灰階分佈圖一……………………………..………...…….…..55
圖4-4 32階直方圖之灰階分佈圖二.…………………………………..…..…….…..55
圖4-5 32階直方圖之灰階分佈圖三………………………………………....…..…..55
圖4-6 32階直方圖之灰階分佈圖四……………………………………..…...….…..55
圖4-7 測試圖(f) 原圖……………………………………..…….…….………….…..56
圖4-8 測試圖(f) 32灰階直方圖………………………………….…..…...…....…….57
圖4-9 測試圖(f) Gamma Curve 動態調整圖………..……………...…..…..….…..57
圖4-10 測試圖(f) 連續左移動畫圖之一……………………….….………......….…..58
圖4-11 測試圖(f) 連續左移動畫圖之二…………………………….………...….…..59
圖4-12 測試圖(f) 連續左移動畫圖之三………………………….….……..…..…….59
圖4-13 測試圖(f) 連續左移動畫圖之四…….………………………………….…….59
圖4-14 測試圖(f) 連續左移動畫圖之五………..……………………..…...….….…..60
圖4-15 測試圖(g) 原圖…………….…………………………………..……....….…..61
圖4-16 測試圖(g) 32灰階直方圖………………………………………....…..….…..61
圖4-17 測試圖(g) 32階直方圖之灰階統計分佈放大圖…….………………...……..62
圖4-18 測試圖(f) Gamma Curve 動態調整圖………………………..……...….…..63
圖4-19 測試圖(g) 連續左移動畫圖之一……………………………..….……..…….64
圖4-20 測試圖(g) 連續左移動畫圖之二………………………..………..….……….65
圖4-21 測試圖(g) 連續左移動畫圖之三………..……..………..……….…..…..…..65
圖4-22 測試圖(g) 連續左移動畫圖之四…………………………..……..…...….…..65
圖4-23 測試圖(g) 連續左移動畫圖之五………………………..……..….…..….…..66
圖4-24 測試圖(g) 連續左移動畫圖之六…….…………………..……..……..…..….66
圖4-25 測試圖(g) 連續左移動畫圖之七…………………………………..…...…….66
圖4-26 測試圖(g) 連續左移動畫圖之八…….……………………...….……..…..….67
圖5-1 成品圖之一………..………………………………….....…………..…….…..69
圖5-2 成品圖之二…………………………….…..………………………..….….…..69
圖5-3 成品圖之三……………………..…………………………...…..…..…….…..70
圖5-4 測試圖(f) 原圖………..………………………………….....……….…….…..71
圖5-5 測試圖(f) 連續左移動畫圖之一…………………………….…..…….….…..72
圖5-6 測試圖(f) 連續左移動畫圖之二……………………..……..…..…..…….…..72
圖5-7 Gamma-correction Power-supply Circuit….……………..…..….…..….….73
圖5-8 Input Data and Gamma-correction power supply Circuit…….…..……….74
圖5-9 TFT模組方塊圖….………………………………………..…….…...……….75
圖5-10 動態VCD影像播放與立即Gamma-correction系統
表 目 錄
表1-1 感光細胞主要功能…..…………………….…………………………………….1
表1-2 輸入影像的γ值……..……………………….…………………………………..8
表2-1 Lookup Table…………………………………………………….….…………..17
表2-2 Look-up table 之設定值……………………………………………………….19
表2-3 16灰階各階輝度值之運算表……………….………………………….………27
表2-4 理想Gamma=1.8652與實測輝度Gamma 為比較………………………….29
表3-1 RGB之組成數位碼……………………………………………………………..35
表3-2 5 組Gamma 設定………………………………………………………….….41
表3-3 Gamma Voltage 的比較………………………………...………………..……46
表3-4 Gamma Voltage 的比較…………………………………………..……..…….5
Wang Klai Kang Won School’s scholarship recipients visit AU Presidents
No full textA group of Wang Klai Kang Won School’s student recipients of the Navamindrabopitr 72nd Birthday of H.M. the King Scholarships granted by Assumption University paid a special visit to Rev. Bro. Dr. Bancha Saenghiran, President-Rector Magnificus and Rev. Bro. Dr. Prathip M. Komolmas, President Emeritus, for the new year’s greeting and best wishes at Hua Mak Campus on December 19, 2019
[[alternative]]On the Construction of ＂Hsing Yun's literary genre＂ from ＂Life of namaste＂
No full text[[abstract]]王鼎鈞先生在星雲大師《合掌人生(2)關鍵時刻》的推薦序〈向《合掌人生》合掌致敬〉提出了「星雲體」一詞，並略述其大概。此為「星雲體」一詞的最早提出，可惜並無後繼深入探索者。筆者在閱讀星雲大師相關作品後，深感王鼎鈞先生之言有據，「星雲體」確有其自成一家之特色。有感於此，筆者不以淺陋，試著對此議題提出可能性的建構。由於本文屬於相關議題之初期建構，因此，筆者藉由王鼎鈞認為將「星雲體」發揮得淋漓盡致的著作---《合掌人生》為主要討論範疇，企圖透過大師的個人特質、內容特色與形式特徵等面向，探討以建構「星雲體」之可能。[[abstract]]Mr. Wang Ding Jun proposed the term ＂Hsing Yun's literary genre＂ in the recommendation sequence of ＂The Key Time of the Life of namaste (2) in the master Hsing Yun＂, and outlined the term ＂Hsing Yun's literary genre＂. This is the earliest proposal of the term ＂Hsing Yun's literary genre＂, but unfortunately there is no follow-up explorer. After reading the works of the Master Hsing Yun, I deeply understand the words of Mr. Wang Ding Jun. The ＂Hsing Yun's literary genre＂ does have its own characteristics. I feel that this is not the case, I try to construct the possibility of this issue. Since this article belongs to the initial construction of related topics, the author believes that the work of ＂Hsing Yun's literary genre＂ is the main subject of discussion by Wang Ding Jun, and attempts to pass the master's personal characteristics, content characteristics and formal characteristics. I will discuss the possibility of constructing a ＂Hsing Yun's literary genre＂
Wang Kui fu Guiying =: Wang Quei & Queh Ying
No full textPossibly reproduced from other commercial recording or radio broadcast (Pending for review)Electronic reproduction from Rulan Chao Pian Betamax collection."Given by 牛川海"--Container.Script: Yu Ta-Gung; Director: Hwang Yi-kung; Producer: Taiwan Television Enterprise, Ltd.Gueh Ying: Kuo Hsiao-Juang ; Wang Kuei: T'sao Fu-Jung ; Wang Hsing: Ha Yuah-Chang ; Mother Chiao: Wu Chien-Hung.Strings: Chu Sao-Lun; Drums: Ho You-Jon ; Lyrics: Chu Sao-Lung, Chiao Sen-An.Sung in Chinese."Given by Niu Chuanhai"--Container
Brother Wang and Brother Liu on the Road in Taiwan - Parts 1 & 2 (Review)
No full textReview of "Brother Wang and Brother Liu on The Road in Taiwan," and short bio of director Lee Hsing (Li Xing). Celebrated as the island state’s first blockbuster comedy. Inspired by Hollywood’s Laurel and Hardy, the film gave birth to Taiwan’s iconic comedy duo of Wang Ge and Liu Ge, who became household names and went on to head- line seven more sequels in this popular silver screen franchise
A Conversation with Painter, Victor Wang - Craft Talks at St. Louis University
No full textVictor Wang grew up in Northern China. Shortly after being sent to a Maoist “agricultural reeducation camp” for more than two years, he returned to Chinese society graduating with a BFA from The Lu Xun Academy of Fine Arts, one of three top art institutes in China. After graduation, Mr. Wang taught there for four and a half years and was sent to the University of Illinois at Champaign-Urbana as a visiting scholar. He earned his MFA at Fontbonne University. Mr. Wang has exhibited widely across the country as well as internationally, and has won various awards for excellence, including awards for both painting and art instruction. He is also the author of two books, Memoir of a Sunflower and Three Major Techniques of Oil Painting. Victor Wang currently lives in St. Louis, where he teaches painting, drawing and graduate critique classes as a full professor at Fontbonne University
Marquer un temps, avant d’aboutir : les manuscrits de Wang Wen-hsing
Get PDFCet article étudie les manuscrits du romancier contemporain taïwanais Wang Wen-hsing. À partir de deux romans publiés, dans lesquels la ponctuation et les espaces vides sont l’objet d’un travail continu, qui se poursuit tout au long des étapes de la rédaction, j’étudie dans cette perspective la transition d’un brouillon à l’autre et de l’esquisse à la mise au net. De l’un à l’autre, il n’y a pratiquement pas de différences à part la ponctuation, mais c’est là que se situe le véritable travail d’écriture. Le fait que le travail principal porte sur les suprasegmentaux nous renvoie aux premiers stades de l’écriture, mais aussi à deux manuscrits tardifs qui sont pratiquement identiques. Ils appartiennent à la phase la plus longue de la genèse qui précède immédiatement l’achèvement de la rédaction (le temps marqué avant l’aboutissement). En tenant compte de l’ensemble, j’espère saisir une évolution et montrer qu’elle aboutit à une esquisse et à une mise au net qui coïncident pratiquement dans le temps et par le contenu, mais dont la nature est tout à fait distincte. C’est la mise au net, ou le processus de copie d’un état à l’autre, qui constitue le coeur de l’écriture définissant les romans de Wang. La copie relance tardivement l’écriture, à la fin du processus de genèse.This paper studies the manuscripts of a contemporary Taiwanese novelist, Wang Wenxing. Starting from two published novels where punctuation and empty spaces are constantly reworked, through all the writing stages, I will scrutinize this transition, from one draft to the other up to the fair copy. They are mostly identical except for the punctuation, but they constitute the labor of writing. That the main labor is on supersegmentals takes us back to early manuscripts but also forward to the two substantially identical later drafts ; they represent the most time-consuming phase before the completion of the drafting process (i.e., the long pause before the end). By attending to these two, I hope both to trace an evolution and highlight how it culminates in a draft and a fair copy which are chronologically and substantially almost identical but in nature quite separate. The fair copy, or the process of copying from the earlier to the later, is at the heart of writing, defining Wang’s novels. The copying out belatedly revives the writing, at the end of the genetic process.Dieser Artikel betrachtet die Manuskripte des zeitgenössischen taiwanesischen Romanschriftstellers Wang Wen-hsing. Anhand zweier veröffentlichter Romane, in denen die Zeichensetzung und die Leerzeichen Gegenstand einer Arbeit sind, welche sich über die gesamten Phasen des Verfassens erstreckt, wird aus dieser Perspektive der Ubergang von einem Entwurf zum nächsten und von der Skizze zur Reinschrift untersucht. Bis auf die Zeichensetzung gibt es praktisch keine Unterschiede zwischen den Texten. Aber genau dort findet die wirkliche Arbeit des Schreibens statt. Die Tatsache, dass sich die Haupttätigkeit auf die Suprasegmentalia konzentriert, verweist uns auf die ersten Stadien des Schreibens, aber gleichzeitig auch auf zwei späte, praktisch identische Manuskripte zurück. Sie tauchen in der längsten Phase der Genese auf, unmittelbar vor dem Abschluss des Textes (die lange Zeit vor dem fertigen Text). Durch die Betrachtung dieser Texte als Gesamtheit erhofft sich der vorliegende Artikel, eine Entwicklung zu erfassen und aufzuzeigen, dass diese in einem Entwurf und einer Reinschrift endet, welche zeitlich und inhaltlich praktisch übereinstimmen, deren Art jedoch gänzlich unterschiedlich ist. Es ist die Reinschrift, oder der Prozess der Kopie von einer Form zur nächsten, welcher das Herzstück des den Roman von Wang auszeichnenden Schreibens ausmacht. Das Abschreiben greift das Schreiben spät auf, am Ende des genetischen Prozesses.El presente artículo estudia los manuscritos del novelista taiwanés contemporáneo Wang Wen-hsing. A partir de dos novelas publicadas (en las cuales la puntuación y los espacios en blanco son objeto de un trabajo permanente, que se prolonga a lo largo de las etapas de redacción), estudio en esta perspectiva la transición de un borrador a otro y de un esbozo a la copia en limpio. Entre unos y otros no existen casi diferencias, como no sea la puntuación, pero es precisamente allí donde se sitúa el verdadero trabajo de escritura. El hecho de que este trabajo principal esté dedicado a los elementos suprasegmentales nos remite a los primeros estadios de la escritura, pero también a dos manuscritos tardíos que son prácticamente idénticos. Corresponden a la fase más larga de la génesis, que precede inmediatamente la finalización de la redacción (el tiempo muerto antes del cierre final). Tomando en cuenta el conjunto, espero poder captar una evolución y mostrar que de ésta resultan un esbozo y una copia limpia que coinciden prácticamente en el tiempo y por su contenido, pero cuya naturaleza es totalmente distinta. Es la puesta en limpio, o el proceso de copia de un estado a otro, lo que constituye el corazón de la escritura que define las novelas de Wang. La copia reactiva tardíamente la escritura, al final del proceso de génesis.Este artigo estuda os manuscritos do romancista contemporâneo Wang Wen-hsing, de Taiwan. A partir de dois romances publicados, em que espaços em branco e pontuação são objecto de revisão contínua, em todas as fases da elaboração, estudo a transição de um rascunho para outro até à cópia limpa. De uns aos outros, não há praticamente diferenças além da pontuação, mas é nela que se situa o verdadeiro trabalho de escrita. Esta concentração sobre os supra-segmentais remete-nos para estágios iniciais da escrita, mas também para dois manuscritos tardios, que são praticamente idênticos. Pertencem à fase mais longa da génese, imediatamente anterior à conclusão da redacção. Julgo que se pode depreender disto uma evolução que leva a um esboço e a uma cópia limpa coincidentes no tempo e no conteúdo, mas de natureza totalmente distinta. É a passagem a limpo, a cópia de um estado ao outro, que forma o cerne da escrita definidora dos romances de Wang. A cópia revitaliza a escrita numa fase tardia, quando o processo genético se termina.L’articolo esamina i manoscritti del romanziere taiwanese contemporaneo Wang Wen-hsing. Partendo da due romanzi editi, in cui la punteggiatura e gli spazi sono oggetto di un lavoro di ristrutturazione permanente, che occupa le diverse fasi redazionali, viene qui indagato il passaggio da un abbozzo all’altro, dalla prima traccia all’ultima revisione. Nel passaggio dall’uno all’altro stadio, si rilevano appunto le sole sostanziali differenze d’interpunzione ; ed è proprio in quest’operazione che si rende evidente il reale lavorìo redazionale. Il fatto poi che il lavorìo prevalente si orienti su elementi soprasegmentali, induce naturalmente ad indagare sulle prime fasi di scrittura e sugli stadi redazionali tardivi tramandati da due manoscritti che, sostanzialmente, conservano la medesima lezione ; appartenendo essi allo stadio il più lungo dell’itinerario genetico che precede la definizione del testo. Proprio considerando questa tradizione, si tenta di poter tracciare le linee di quella evoluzione e dimonstrando come esse si fondino su un progetto sia pur schizzato e su una “bella copia” che cronologicamente e sostanzialmente coincidendo, pur essendo tuttavia differenti nella loro natura. La “bella copia”, ovvero l’itinerario di composizione (da uno stadio all’altro) che a quella “bella copia” conduce, costituisce l’elemento-chiave per intendere i romanzi di Wang. La copia riavvia tardivamente la scrittura alla fine del processo genetico
An Analysis and Critique Wang Fu-Chih's Theory of "tao ta shan hsiao, shan ta hsing hsiao"
No full text1.An analysis of the concept of tao
2.An analysis of the concept of hsing
3.An analysis of tao ta shan Hsiao, shan ta hsing hsiao
4.Critique:
a)Tao ta shan hsiao and shan ta hsing hsiao are explicated from different points of view
b)The concepts of shan and hsing are two aspects of one thing
c)It is not true that “tao sheng shan, shan sheng hsing”
d)The concept of shan is ambigious:
i)Shan as the power of chi sheng
ii)Shan as the process of chi shen
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