42,177 research outputs found
He Fen zhu lao shi ji: [8 juan].
No full text房祺, [伍崇曜]輯.Date from preface.框13.1 x 9.1 cm., 9行21字, 黑口, 左右雙邊, 無魚尾, 版心中鐫分冊書名, 下鐫叢書名.Fang Qi, [Wu Chongyao] ji.Kuang 13.1 x 9.1 cm., 9 xing 21 zi, hei kou, zuo you shuang bian, wu yu wei, ban xin zhong juan fen ce shu ming, xia juan cong shu ming
Zuan dang qi quan, fan ji
No full text吴兴寃."一九七七年五月二日, 文化宮"题名及丛书由编目者拟定.Wu Xingyuan."Yi jiu qi qi nian wu yue er ri, wen hua gong"Ti ming ji cong shu you bian mu zhe ni ding
Jingzhai zhi zheng zhi ji: [4 juan]. v.271
No full text孔齊撰 ; [伍崇曜輯]Date from preface.框13.1 x 9.1 cm., 9行21字, 黑口, 左右雙邊, 無魚尾, 版心中鐫分冊書名, 下鐫叢書名.Kong Qi zhuan ; [Wu Chongyao ji]Kuang 13.1 x 9.1 cm., 9 xing 21 zi, hei kou, zuo you shuang bian, wu yu wei, ban xin zhong juan fen ce shu ming, xia juan cong shu ming
Qi-arising Space: The Embodiment of Qi in Taiwanese Hypermedial Theatre
No full textThis dissertation aims to establish a philosophical framework, described from the spectator’s viewpoint, for the analysis of the embodiment process of Qi in Taiwanese hypermedial theatre works, which subtly convey a traditional Chinese aesthetic of Qi. This traditional Chinese aesthetic based on the idea of Qi suggests that the spectator participates in the development of certain
Qi-energy, which is inherent in and continuously transmitted between humans and various other beings or things. The establishment of the spectator-work relation with respect to Qi-energy suggests that there are potential communication pathways between humans and the cosmos. I explore how the world model based on Qi is realised in Taiwanese hypermedial theatre through the spatial configuration of the spectator-work relation. I argue that this world model based on Qi indicates a mode of existence in which both the spectator and the multiple media used in the work are transformed and become certain beings that are cultivated by Qi and originally merge with each other. The spectator’s reactions to a theatre work emerge, as I contend, as performative acts that interact with and continue the flow of Qi. Furthermore, these acts generate a performative space that corresponds to a spiritual and cosmological aspect of Qi.
This framework provides a complement to the phenomenological discourses of performative space in the context of new media and hypermedial theatre studies. In Chapter 2, I examine the correlation between the constitution of performative space and the channelling of agency in contemporary Western theatre. Based on this examination, I propose that in the course of such constitution, three aesthetic actions of agency occur: sharing agency between the spectator and the work leads to the inter-activity between the two sides; meanwhile, it also leads to the spectator’s embodiment and presence in the mixed realms of the physical and the mediated. Chapter 3 elucidates the philosophical concepts, spatial implications, and practices of Qi in the context of Confucianism. I propose a connection between Qi and agency without substituting the latter entirely with the former, as the operations of the two systems respectively lead to different world models.
With reference to Chiang Nien-feng’s phenomenological interpretation of the poetic arising of Qi (hsing) and Mathias Obert’s research into Qi’s performative feature in Chapter 4, I explore two issues. First, I examine how the poetic arising of Qi is expressed in the spectator’s performative acts in an encounter with a theatre work; secondly, I investigate how this poetic arising of Qi gives rise to the constitution of performative space through the spatial configuration of the spectator-work relation based on the Qi world model. I then develop a framework of Qi-arising Space for my further analysis of the constitution of performative space in relation to the embodiment of Qi in Taiwanese hypermedia theatre works and discussion of the three aesthetic actions of agency from the Qi worldview. Finally, in Chapter 5, with three case studies in this genre of the theatre, I analyse the similarities and differences between the operations of agency and Qi regarding the constitution of performative space and interrogate the characteristics of the aesthetic actions of agency and Qi. This study proves the value of the knowledge of Qi in the field of hypermedial theatre and offers an intercultural understanding to the existing notions in the
field
Qi lu shang gu chuan tong; Wei Jin Sui Tang Song Yuan juan
No full textBen shu jie shao le qi feng yu yun:wei jin nan bei chao shi qi de qi lu shang jia chuan tong;Sui tang wu dai shi qi qi lu shang jia chuan tong de ping huan fa zhan;Song yuan shi qi qi lu shang jia chuan tong de zhong xin zhen xing deng nei ron
Tao hua shan chuan qi hou xu xiang zhu /
No full textIncludes the text of "Tao hua shan chuan qi hou xu" / by Wu Mu.On double leaves, oriental style, in case.Caption title.Mode of access: Internet
Wu shu xiao shuo wang: Chinese boxing stories. Di 12 juan. Di 10 qi =
No full text主編者: 陳勁.題名據版權頁.內文刊載黃漢勛所著之"曾幾何時"(p. 1), "三十年精武見聞錄"之部份章節(p. 5)及"螳螂拳講座"之部份章節(p. 12)"附刊羅光玉師紀念特輯"--封面."第12卷第10期 ; 總號數第142期"--版權頁.zhu bian zhe: Chen Jing.Ti ming ju ban quan ye.Nei wen kan zai Huang Hanxun suo zhu zhi "Zeng ji he shi" (p. 1), "San shi nian jing wu jian wen lu" zhi bu fen zhang ji(p. 5) ji "Tang lang quan jiang zuo" zhi bu fen zhang jie (p. 12)"Fu kan luo guang yu shi ji nian te ji"--Feng mian."Di 12 juan di 10 qi ; zong hao shu di 142 qi"--Ban quan ye
Jing wu ti yu hui fu xing di ba jie li jian shi jiu zhi dian li ji chun jie lian huan da hui te kan /c[bian ji zhu ren Luo Junchou ; bian ji wei yuan Liang Shengchi ... [deng]].
No full text書名據封面.內文刊載黃漢勛所著之"精武國術部之的演變"(p. 26).黃漢勛為第一至第三屆"香港精武體育會"之國術主任, 自第五屆起為體育主任.Shu ming ju feng mian.Nei wen kan zai Huang Hanxun suo zhu zhi "Jing wu guo shu bu zhi de yan bian" (p. 26).Huang Hanxun wei di yi zhi di san jie "Xianggang jing wu ti yu hui" zhi guo shu zhu ren, zi di wu jie qi wei ti yu zhu ren
Xianggang jing wu za zhi
No full text已停刊.著錄據: 第8期(民國14年[1925]7月1日); 刊名據封面.Yi ting kan.Zhu lu ju: di 8 qi (Minguo 14 nian [1925] 7 yue 1 ri); kan ming ju feng mian
Ka Qiabike xi ju xuan ji.
No full text恰彼克著 ; 吳琦译.原书名(transliterated): Bilanemoc matka.書名原題: 卡恰彼克戏剧选集Qiabike zhu ; Wu Qi yi.Yuan shu ming (transliterated): Bilanemoc matka.Detailed notes in vernacular field only
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