22,625 research outputs found
Ksavers Andermanis – LU Akadēmiskās nozīmītes meta autors
Get PDFRaksts tapis kā turpinājums 2024. gada septembra mēneša priekšmetam par Latvijas Universitātes (LU) Akadēmisko nozīmīti, kur uzmanība pievērsta LU Akadēmiskās nozīmītes meta autoram, LU Arhitektūras fakultātes studentam un novadpētniekam, vācbaltietim Ksaveram Andermanim. K. Andermanis ne tikai ir sniedzis ieguldījumu Latvijas etnogrāfijas pētniecībā, bet arī LU simbolu izgatavošanā, kas mūsdienās saglabā savu unikalitāti un vērtību. Meta autora piederība pie LU saimes sakņojusies jau viņa ģimenē, jo viņa tēvs ir absolvējis Rīgas Politehnisko institūtu, LU priekšteci starpkaru periodā, un strādājis LU Saimniecības padomē par inspektoru.The article is a continuation of the September 2024 Museum Object on the Academic Badge of the University of Latvia (UL), which focuses on the author of the UL Academic Badge design, the student of the Faculty of Architecture and local historian, the Baltic German Ksavers Andermanis. K. Andermanis has not only contributed to the research of Latvian ethnography, but also to the production of symbols of the UL, which today retain their uniqueness and value. The author's belonging to the UL family is rooted in his family, as his father graduated from the Riga Polytechnic Institute, the predecessor of UL during the interwar period, and worked as an inspector at the UL Economical council
Development & application of UV-visible microspectrometry to solid phase organic chemistry
No full textThe development and initial testing of a custom built UV-Visible microspectrometer for the analysis of materials supported on resins at the single-bead level is described with qualitative, quantitative and time-resolved UV-Vis spectroscopy being demonstrated with a variety of resins and supported chromophores. On-bead UV-Vis spectroscopy was extended to a variety of applications including the development of fibre-optic pH sensors utilising indicator dyes covalently attached to macroporous controlled pore glass beads and procedures for the attachment of carboxyl- and aniline-functionalised dyes to glass beads and for interfacing a single sensor bead to a UV-Vis spectrometer are described. Analysis of solid-supported chromophoric metal ligands was conducted for the detection and assessment of solid-supported tripeptides with high affinity for Cu, Ni and Co from a combinatorial “split-and-mix” library. The affinity of the various actively binding peptide sequences were estimated by quantifying the amount of chromophore produced within individual beads when exposed to an appropriate staining regent. On-bead e.e. determination of polystyrene-supported leucine and phenylalanine was also demonstrated by parallel kinetic chiral resolution using pseudoenantiomeric chromophore probes, followed by on-bead UV-Vis microspectrometric quantification of the attached probes. The e.e. measurement was conducted without the need for cleavage of the substrates from the resin at any stage and was successful even with low resin loadings.</p
Dong zhen lie biao mian deng li zi gong zhen sheng wu chuan gan qi zhi liang zhi biao ji lu he wei fen xiang bian ji shu
No full textWong, Sze Lung = 洞陣列表面等離子共振生物傳感器質量指標記錄和微分相變技術 / 黃思龍.Thesis M.Phil. Chinese University of Hong Kong 2013.Includes bibliographical references (leaves 86-94).Abstracts also in Chinese.Title from PDF title page (viewed on 27, September, 2016).Wong, Sze Lung = Dong zhen lie biao mian deng li zi gong zhen sheng wu chuan gan qi zhi liang zhi biao ji lu he wei fen xiang bian ji shu / Huang Silong
Lu Xun's Revolution : Writing in a Time of Violence /
No full textRecognized as modern China’s preeminent man of letters, Lu Xun (1881–1936) is revered as the nation’s conscience, a writer comparable to Shakespeare or Tolstoy. Gloria Davies’s vivid portrait gives readers a better sense of this influential author by situating the man Mao Zedong hailed as "the sage of modern China" in his turbulent time and place.Widely recognized as modern China’s preeminent man of letters, Lu Xun (1881–1936) is revered as the voice of a nation’s conscience, a writer comparable to Shakespeare and Tolstoy in stature and influence. Gloria Davies’s portrait now gives readers a better sense of this influential author by situating the man Mao Zedong hailed as "the sage of modern China" in his turbulent time and place. In Davies’s vivid rendering, we encounter a writer passionately engaged with the heady arguments and intrigues of a country on the eve of revolution. She traces political tensions in Lu Xun’s works which reflect the larger conflict in modern Chinese thought between egalitarian and authoritarian impulses. During the last phase of Lu Xun’s career, the so-called "years on the left," we see how fiercely he defended a literature in which the people would speak for themselves, and we come to understand why Lu Xun continues to inspire the debates shaping China today. Although Lu Xun was never a Communist, his legacy was fully enlisted to support the Party in the decades following his death. Far from the apologist of political violence portrayed by Maoist interpreters, however, Lu Xun emerges here as an energetic opponent of despotism, a humanist for whom empathy, not ideological zeal, was the key to achieving revolutionary ends. Limned with precision and insight, Lu Xun’s Revolution is a major contribution to the ongoing reappraisal of this foundational figure.Recognized as modern China’s preeminent man of letters, Lu Xun (1881–1936) is revered as the nation’s conscience, a writer comparable to Shakespeare or Tolstoy. Gloria Davies’s vivid portrait gives readers a better sense of this influential author by situating the man Mao Zedong hailed as "the sage of modern China" in his turbulent time and place.Widely recognized as modern China’s preeminent man of letters, Lu Xun (1881–1936) is revered as the voice of a nation’s conscience, a writer comparable to Shakespeare and Tolstoy in stature and influence. Gloria Davies’s portrait now gives readers a better sense of this influential author by situating the man Mao Zedong hailed as "the sage of modern China" in his turbulent time and place. In Davies’s vivid rendering, we encounter a writer passionately engaged with the heady arguments and intrigues of a country on the eve of revolution. She traces political tensions in Lu Xun’s works which reflect the larger conflict in modern Chinese thought between egalitarian and authoritarian impulses. During the last phase of Lu Xun’s career, the so-called "years on the left," we see how fiercely he defended a literature in which the people would speak for themselves, and we come to understand why Lu Xun continues to inspire the debates shaping China today. Although Lu Xun was never a Communist, his legacy was fully enlisted to support the Party in the decades following his death. Far from the apologist of political violence portrayed by Maoist interpreters, however, Lu Xun emerges here as an energetic opponent of despotism, a humanist for whom empathy, not ideological zeal, was the key to achieving revolutionary ends. Limned with precision and insight, Lu Xun’s Revolution is a major contribution to the ongoing reappraisal of this foundational figure.Electronic reproduction. :Mode of access: Internet via World Wide Web.DaviesGloria: Gloria Davies is a literary scholar and historian of China at Monash University in Australia. She is also Adjunct Director of the Australian Centre on China in the World at the Australian National University.Description based on online resource; title from PDF title page (publisher’s Web site, viewed May 26, 2011
Hong Kong cinema 1982-2002 : the quest for identity during transition
No full textElectronic redacted version excludes material for which permission has not been granted by the rights holderThis thesis seeks to interpret the cinematic representations of Hong Kongers’ identity quest during a transitional state/stage related to the sovereignty transfer. The Handover transition considered is an ideological one, rather than the overnight polity change on the Handover day. This research approaches contemporary Hong Kong cinema on two fronts and the thesis is structured accordingly: Upon an initial review of the existing Hong Kong film scholarship in the Introduction, and its 1997-related allegorical readings, Part I sees new angles (previously undeveloped or underdeveloped) for researching Hong Kong films made during 1982-2002. Arguments are built along the ideas of Hong Kongers’ situational, diasporic consciousness, and transformed ‘Chineseness’ because Hong Kong has lacked a cultural/national centrality. This part of research is informed by the ideas of Jacques Derrida, Homi Bhabha and Stuart Hall, and the diasporic experiences of Ien Ang, Rey Chow and Ackbar Abbas. With these new research angles and references to the circumstances, Part II reads critically the text of eight Hong Kong films made during the Handover transition. In chronological order, they are Boat People (Hui, 1982), Song of the Exile (Hui, 1990), Days of Being Wild (Wong, 1990), Happy Together (Wong, 1997), Made in Hong Kong (Chan, 1997), Ordinary Heroes (Hui, 1999), Durian Durian (Chan, 2000), and Hollywood Hong Kong (Chan, 2002). They meet several criteria related to the undeveloped / underdeveloped areas in the existing Hong Kong film scholarship. Hamid Naficy’s ‘accented cinema’ paradigm gives the guidelines to the film analysis in Part II. This part shows that Hong Kongers’ self-transformation during transition is alterable, indeterminate, and interminable, due to the people’s situational, diasporic consciousness, and transformed ‘Chineseness’. This thesis thus contributes to Hong Kong cinema scholarship in interpreting films with new research angles, and generating new insights into this cinematic tradition and its wider context
Lu Xun zaoqi wenyan lunwen li suo tansuo de xin wenhua (The 'New Culture' formulated in Lu Xun's early classical-style essays)
No full textThis article links a number of the main themes expressed in Lu Xun's early wenyan essays, written in Japan in 1906-1908, with the concerns of the New Culture Movement, which emerged later (circa 1919) in China. The author argues that these book-length theses written in dense classical language were in fact intellectual precursors to the New Culture Movement and its aftermath. It delineates a partial outcome of the author's Australian Research Council (ARC) project on the early Lu Xun and his formative period in Japan
Tan tao du shi he nong cun xue ling er tong zhi jian xiao chuan fa bing lu de cha ju
No full textWong, Lau Yi.Thesis M.Phil. Chinese University of Hong Kong 2015.Includes bibliographical references (leaves 130-171).Abstracts and appendix 1 also in Chinese.Title from PDF title page (viewed on 31, October, 2016).Wong, Lau Yi
The ambivalent identity of Wong Kar-wai's cinema
Get PDF[À l'origine dans / Was originally part of : Thèses et mémoires - FAS - Département de littérature comparée]Ayant réalisé neuf longs-métrages entre 1988 et 2007, aussi que plusieurs campagnes publicitaires, vidéo-clips, courts-métrages et projets collectifs, Wong Kar-wai est un des réalisateurs contemporains les plus importants actuellement. Issu de l'industrie cinématographique fortement commerciale de Hong Kong, Wong est parvenu à attirer l'attention du circuit international des festivals de cinéma avec son style visuel unique et son récit fragmenté. Considéré par plusieurs critiques comme le poète de la recherche d’identité de Hong Kong après 1997, Wong Kar-wai défie toutes les tentatives de catégorisation.
L’étude qui se poursuivit ici a donc pour objet essentiel de fournir une analyse attentive et complète de son oeuvre, tout en se concentrant sur les traits stylistiques qui donnent à ses films une unité. Ces caractéristiques correspondent à une certaine façon de raconter des histoires, de composer des personnages et des récits, de manipuler le temps et d'utiliser des ressources techniques de sorte que ses films offrent une identité cohérente. L'objectif est d'analyser les différents composants de ses images pour découvrir comment ses films communiquent les uns avec les autres afin de créer une identité unique.
Pour atteindre cet objectif, je pose comme hypothèse de travail que le cinéma de Wong est marqué par une structure dualiste qui permet à ses films de présenter des qualités contradictoires simultanément. La plupart de mes arguments se concentrent sur le travail du philosophe français Gilles Deleuze, qui a proposé une théorie du cinéma divisé entre l’image-mouvement et l’image-temps. Je considère que sa théorie fournit un cadre valide sur lequel les films de Wong peuvent être projetés. Tandis que ma recherche se concentre sur l’interprétation textuelle des films, je profiterais également d’une analyse comparative.With nine feature films released between 1988 and 2007, as well as several advertising campaigns, music videos, short films and collective projects, Wong Kar-wai is one of the most important contemporary filmmakers currently working. Hailing from Hong Kong’s highly commercial film industry, Wong has managed to attract the attention of the international film festival circuit with his visual style and fragmented narrative. Considered by many critics as the poet of Hong Kong’s quest for identity post 1997, his cinema defies every attempt of standardization.
The main goal of this study is to provide an attentive and comprehensive study of his body of work, concentrating on the stylistics traits that make his films part of a coherent unity. These characteristics correspond to a certain way of telling stories, of composing situations and characters, of manipulating time and the use of technical resources so that his films offer a coherent identity. The objective is to analyze the different components of his images, to show how his films communicate with each other in order to create something unique.
To achieve this objective, I put forward the hypothesis that Wong’s cinema is marked by a dualistic structure that allows his films to present opposite qualities at the same time. Most of my arguments are based on the thoughts of French philosopher Gilles Deleuze, whose own dualistic theory of cinema presented in his books Cinema 1: the movement-image and Cinema 2: the time-image, provides a valid framework upon which Wong’s films can be projected. While the research concentrates on the textual analysis of films, I will also benefit from comparative analysis and additional disciplines
The ambivalent identity of Wong Kar-wai's cinema
Get PDF[À l'origine dans / Was originally part of : Thèses et mémoires - FAS - Département de littérature comparée]Ayant réalisé neuf longs-métrages entre 1988 et 2007, aussi que plusieurs campagnes publicitaires, vidéo-clips, courts-métrages et projets collectifs, Wong Kar-wai est un des réalisateurs contemporains les plus importants actuellement. Issu de l'industrie cinématographique fortement commerciale de Hong Kong, Wong est parvenu à attirer l'attention du circuit international des festivals de cinéma avec son style visuel unique et son récit fragmenté. Considéré par plusieurs critiques comme le poète de la recherche d’identité de Hong Kong après 1997, Wong Kar-wai défie toutes les tentatives de catégorisation.
L’étude qui se poursuivit ici a donc pour objet essentiel de fournir une analyse attentive et complète de son oeuvre, tout en se concentrant sur les traits stylistiques qui donnent à ses films une unité. Ces caractéristiques correspondent à une certaine façon de raconter des histoires, de composer des personnages et des récits, de manipuler le temps et d'utiliser des ressources techniques de sorte que ses films offrent une identité cohérente. L'objectif est d'analyser les différents composants de ses images pour découvrir comment ses films communiquent les uns avec les autres afin de créer une identité unique.
Pour atteindre cet objectif, je pose comme hypothèse de travail que le cinéma de Wong est marqué par une structure dualiste qui permet à ses films de présenter des qualités contradictoires simultanément. La plupart de mes arguments se concentrent sur le travail du philosophe français Gilles Deleuze, qui a proposé une théorie du cinéma divisé entre l’image-mouvement et l’image-temps. Je considère que sa théorie fournit un cadre valide sur lequel les films de Wong peuvent être projetés. Tandis que ma recherche se concentre sur l’interprétation textuelle des films, je profiterais également d’une analyse comparative.With nine feature films released between 1988 and 2007, as well as several advertising campaigns, music videos, short films and collective projects, Wong Kar-wai is one of the most important contemporary filmmakers currently working. Hailing from Hong Kong’s highly commercial film industry, Wong has managed to attract the attention of the international film festival circuit with his visual style and fragmented narrative. Considered by many critics as the poet of Hong Kong’s quest for identity post 1997, his cinema defies every attempt of standardization.
The main goal of this study is to provide an attentive and comprehensive study of his body of work, concentrating on the stylistics traits that make his films part of a coherent unity. These characteristics correspond to a certain way of telling stories, of composing situations and characters, of manipulating time and the use of technical resources so that his films offer a coherent identity. The objective is to analyze the different components of his images, to show how his films communicate with each other in order to create something unique.
To achieve this objective, I put forward the hypothesis that Wong’s cinema is marked by a dualistic structure that allows his films to present opposite qualities at the same time. Most of my arguments are based on the thoughts of French philosopher Gilles Deleuze, whose own dualistic theory of cinema presented in his books Cinema 1: the movement-image and Cinema 2: the time-image, provides a valid framework upon which Wong’s films can be projected. While the research concentrates on the textual analysis of films, I will also benefit from comparative analysis and additional disciplines
「電影朝聖」講座
No full textIn this seminar, Mr. Wong will lead the audience to view various scenes for film-making in Hong Kong, and share the cultural messages behind. Mr. Wong\u27s research interest is on various filming locations in Hong Kong & Taiwan, and their relationship with local history and culture. He has authored a few publications in this area.
Photo Album
https://gallery.ln.edu.hk/lib/libfest-LU/2Nov2019
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