Thesis (Ph. D.)--University of Texas at Austin, 2008. / Vita. Includes bibliographical references.

This thesis deals with miniature poems, which appeared at the beginning of the May fourth movement, as a genre of modern chinese poetry and was redoscovered by the misty poets after the Cultural revolution. Part of a brief introduction to the literary- historical contexts of both periods are short biographies of two representative poets of this genre, Bing Xin and Gu Cheng. Eventually the form and themes of miniature poems are introduced. The main part of this thesis is a comparative study of Bing Xin's and Gu Cheng's miniature poems. The thesis concludes, that Gu Cheng refines and eleborates the artistic value of the miniature poem. Part of the study is a criticism of primary source, as well as a summary of the current state of research. Key words: Modern poetry, Bing Xin, Gu Cheng, místy poetry, May fourth movement

Thesis (M.CM)--Hong Kong Baptist University, 2006. / Dissertation submitted to the School of Chinese Medicine. Includes bibliographical references.

Thesis (M.CM)--Hong Kong Baptist University, 2006. / Dissertation submitted to the School of Chinese Medicine. Includes bibliographical references (leaves 26-27).

The availability of prospective customer information present on social media platforms has led to many marketing and customer-facing departments utilizing social media data in processes such as demographics research, and sales and campaign planning. However, if your business needs require further filtration of data, beyond what is provided by existing filters, the volume and rate at which data can be manually sifted, is constrained by the speed and accuracy of employees, and their digital competency. The repetitive nature of filtration work, lends itself to automation, that ultimately has the potential to alleviate large productivity bottlenecks, enabling organizations to distill larger volumes of unfiltered data, faster and with greater precision. This project employs automation and artificial intelligence, to filter Linkedin profiles using customized selection criteria, beyond what is currently available, such as nationality and age. By introducing the ability to produce tailored indices of social media data, automated filtration offers organizations the opportunity to better utilize rich prospective data for more efficient customer review and targeting.

This study has investigated the problems that Montreal Chinese immigrant students encountered during their learning Chinese culture as they are also attempting to integrate into local culture. A research approach was taken to determine whether the study of two transcultural artists, Xu Bing and Gu Xiong, can help the students learn their own culture and the local culture. From the case study, it was found that the two artists' work and their attitudes have a great potential to help students bridge the host culture and their heritage culture. I have also designed lessons with power point presentations about these two artists and tried to use them in the teaching practices at a Chinese weekend school. However, I was not able to implement this teaching approach in the school due to their little awareness and interest in art and the economic concerns with their children's future career selection. From cultural art activities in both Chinese and English schools, I found Banks (1989) level one and two approaches could stimulate students' interests in cultures and arts but do not much help students understand how the local culture and other cultures are interconnected and interrelated. Although the contributions and additive approaches represent possible beginnings for helping students to understand art from Chinese culture and other cultures in general, when I tried to move further to a higher level of cultural integration in the Chinese school I was not successful. The implication from the case study of these transcultural artists demonstrated that their work could provide linkage between Chinese culture and North American culture. It also related to Chinese immigrant students' life. In my thesis, I tried to demonstrate that the transcultural artist approach could reinforce a cross-cultural understanding especially for Chinese immigrant students to learn the relationship between their own culture and the local culture. I also tried to explore whether we can move from lower level approaches to the higher level approach identified by Banks (1989) to reflect sociocultural diversity in the curriculum by studying these two transcultural artists, Gu Xiong and Xu Bing. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

My dissertation investigates the concepts and techniques of “copying” and appropriation in contemporary Chinese art, which, despite its phenomenal growth, has seldom been credited as original. Critics either condemn the Chinese artists’ willingness to appropriate from others as a lack of individuality, or declare it as a peculiarly “Chinese” quality. This paper, instead, argues that the Chinese artists deliberately adopt such “copying” as a visual strategy, in order to reexamine the traditions they “borrowed”, to reflect on their own cultural status in the modern world, and to challenge the conventional concept of originality--namely, to show that originality is not created by irreducible individuality or mystified inspiration, but by the author’s choice as well as manipulation of contexts. This strategy, I argue, is essential to the proper evaluation and interpretation of contemporary Chinese artworks. The first two chapters of my dissertation focus on laying out the context from which this art grows. I review how the ideas, styles and institutional structures of western modern art were imitated, questioned and redefined by the Chinese artists, from 1978 to the present; I then examine the conceptual complexity of originality and “copying” in the theories of modernism, postmodernism, postcolonialism and in traditional Chinese art. The next two chapters focus on, respectively, calligraphy and photography in contemporary Chinese art, both of which contain the paradox between originality and “copying” in their very nature. The works of four artists, Xu Bing, Qiu Zhijie, Hong Hao and Zhao Bandi, are discussed in details. Xu's site-specific reproduction of “pseudo characters” manage to engage its targeted audiences, psychologically and physically; Qiu's obsessive yet futile copying of a canon of calligraphy returns the act of writing to its essence--a physical pursuit of one's spiritual state of being; Hong's photographic emulation of an ancient masterpiece suggests that painting may excel photography in its ability to portray a grand cityscape; Zhao’s simulacrum of pop culture paradigms enables him to evade political censorship, and to have an substantial yet ironic impact in a broader public sphere. Each of these works has made a unique contribution to the redefinition of artistic originality. / text

This diploma thesis deals with the quality of the output of publicly available machine translation engines: Amazon Translate, Bing Translator, Deep L and Google Translate. The aim of the thesis was to qualitatively compare each machine translation engine and to test their capabilities on several types of texts - expressive, informative and operative. The analysis is carried out on translations of German texts into Czech. The thesis consists of two parts, in the theoretical part we discuss the origin and development of machine translation, its types, the automatic machine translation engines which are the object of our research, and we present a two-stage model for evaluating the quality of translation. In the empirical part, the results of the analysis based on the models of K. Reiß and A. Torrens are presented. These results show that the listed machine translation engines can be ranked from the highest to the lowest level of output quality as follows: Deep L, Google Translate, Bing Translator and Amazon Translate. Furthermore, it also turns out that the error rate correlates with the creativity of the text.

Au XIXe siècle, la France s'érige comme un modèle de référence culturel et artistique omniprésent, voire écrasant. Or, la Belgique souffre d’une position doublement déficitaire par rapport à sa voisine :le jeune pays apparaît privé d’un passé historique et en retrait sur le plan géographique. Que ce soit dans le champ des arts plastiques ou dans celui des lettres francophones de Belgique, Paris apparaît comme le centre hégémonique dont Bruxelles cherche à s’émanciper. Il en sera de même pour les arts décoratifs. Si un phénomène d’autonomisation équivalent a déjà été observé dans les autres domaines de la création, l’affranchissement de la scène décorative belge à l’égard du modèle français reste méconnu. Pourtant, les arts décoratifs belges devront se dégager du lourd héritage français. Les styles de cours de l’Ancien Régime ont contribué à accorder à la France une place de choix dans le monopole du goût. Place qu’elle entend bien conserver dans la nouvelle configuration de l’échiquier européen, désormais industrialisé. Dans ce nouvel ordre, qui jette un voile définitif sur les conceptions et les pratiques de l’Ancien Régime, la Belgique suivra une voie tout autre que celle choisie par le Second Empire. Cette voie lui permettra de s’en affranchir et d’imposer, avant la fin d’un siècle considéré comme « sans style propre », une expression stylistique débarrassée des éternels Louis XIV, Louis XV, Empire, etc. Les arts décoratifs belges formuleront un style original qui permettra enfin à Bruxelles de sortir de l’ombre de la Ville lumière. Cette distanciation, en germe tout au long du XIXe siècle, s’opèrera véritablement au terme de celui-ci et au seuil du siècle suivant, à travers l’Art nouveau. Première forme stylistique internationale depuis l’introduction de la machine dans les modes de production, l’Art nouveau apparaît, en Belgique, comme la volonté d’affirmer une identité nationale, une « originalité belge », qui entend se démarquer de Paris, capitale incontestée du luxe et du goût.<p>Au point de convergence de deux traditions historiographiques (celle du rapport Art – Industrie et celle de l’Art nouveau), la présente thèse s’attache à démontrer ce phénomène d’autonomisation selon une approche comparée systématique des situations française et belge. Le cadre chronologique débute à l’extrême fin du XVIIIe siècle et s’achève au tout début du XXe siècle, avant que les avant-gardes successives consacrent l’ère machiniste. Au XIXe siècle, dans un équilibre encore délicat entre art, artisanat et industrie, les enjeux économiques, politiques et esthétiques seront successivement débattus par les politiques, les revues d’art et les artistes. La présente thèse s’attache à décrypter, tour à tour, les politiques économiques, les offensives de séduction et les principes esthétiques déployés et mis en œuvre par l’ensemble de ces acteurs de la régénérescence décorative. Pour vérifier leur impact, les discours seront à l’épreuve de la création moderne à travers les exemples de la galerie parisienne de Siegfried Bing et du parcours de l’artiste liégeois Gustave Serrurier. Dans le même élan, sera mis en exergue le processus d’autonomisation qui permettra aux arts décoratifs belges de s’affranchir du modèle français et propulsera Bruxelles en scène décorative moderne qui rivalisera avec Paris.<p> / Doctorat en Histoire, art et archéologie / info:eu-repo/semantics/nonPublished

本研究以一个曾经在文革中施暴的红卫兵──李乾的生命传记为个案，以布迪厄的社会实践理论为理论框架，探讨主体参与文革与记忆、反思文革的实践，以及对文革意义的理解，进而理解一系列红卫兵实践（尤其是暴力实践）的逻辑。不同于已有文革研究的精英史和社会史路径，本研究试图发展一种传记取向的文革研究路径，分析个体生命经验与其所处社会情境，红卫兵的惯习与其所处的场域的复杂关系，由此更深刻地理解文革以及无产阶级专政的政治文化。 / 首先，本研究聚焦这些红卫兵文革初期对文革的认知、情感机制与行动策略，指出其实践如何受制于无产阶级专政场域与惯习的作用，如何再生产无产阶级专政的政治文化，即再生产无产阶级专政的象征秩序、权力技术、话语方式与组织机制，如何再生产文革"武斗"的直接暴力与"文斗"的话语暴力。并且，本研究试图说明早期"造反者"的"造反"动力来自其与老红卫兵在革命资格竞争中的"相对剥夺感"；这种"造反"并不是为了反抗主流的象征秩序，而是努力争取自身在这套象征秩序中的优势位置和资本。 / 其次，本研究探讨主体生命经验中关键性的暴力事件──"一二.五"事件的实际发生过程，分析"一二.五"事件中这些红卫兵对暴力的认知与情感，以及暴力如何被合法化及赋权，其中的专政对象──"流氓"是如何被建构与想象的，由此揭示特定的政治文化脉络中主体的贱斥动力以及这一暴力实践的逻辑。红卫兵暴力惯习的形塑，不仅受制于文革的革命场域的作用，更受制于建国以来历时性的无产阶级专政场域的作用；同时，这一惯习的运作又在维持和再生产无产阶级专政的政治文化。 / 此外，本研究探讨主体在"一二.五"事件后，如何在一系列社会互动的过程中，逐步实现了意识的转化和主体性变迁，如何从符号中介的生命经验中引入新的认知与情感机制重新理解"一二.五"事件、文革以及无产阶级专政的政治文化。这种批判性的反思实践与主体所处行动场域中的社会位置以及所能接收的多元的、异质性的符号资源密切相关，可以形塑主体惯习的转化，生产新的社会实践以及相应社会关系的改变。 / 最后，本研究试图将当下民间文革记忆与反思实践置于文革与后文革、毛时代与后毛时代的连续性与转型的关系之中，指出为民间记忆与反思实践赋权的政治文化意义。这一反记忆实践不仅打捞普通人被遗忘的、被边缘化的文革记忆，也介入对历史与现实的批判，积极争取个体对历史的话语权，与对现实政治、文化的参与权。 / Taking the life biography of a former Red Guard Li Qian who committed violence during the Cultural Revolution (CR) as a case, this research employs Pierre Bourdieu’s theory of social practice to explore the Red Guards’ participatory, mnemonic and reflective practices during the CR, as well as their understanding of the CR, with the aim of further understanding the logics of the Red Guards’ practices (especially their violent practices). Different from the traditional approaches of political history and social history, this study attempts to develop a biography approach to study the CR. It analyzes the complex relations between individuals’ life experiences and their social contexts, between the Red Guards’ habitus and the specific field, to understand the political culture of the CR and the Proletarian Dictatorship. / First, this study focuses on the Red Guards’ cognitive and emotional mechanism and action strategy during the early days of the CR. It investigates how their practices are subject to the conditioning of the field and habitus of the Proletarian Dictatorship, how they reproduce the political culture of Proletarian Dictatorship in terms of its symbolic order, power technology, discourse mode, and organizational mechanism, and how they reproduce the physical and discursive violence of the CR. This thesis also maintains that the dynamics of the early "rebels" were derived from their feelings of relative deprivation in the contest with the old Red Guards for revolutionary recognition. These "rebels" did not aim to resist the mainstream symbolic order, but to strive for the dominant position and capitals in the symbolic order of the CR. / Second, this study probes into the actual process of the "December Fifth" Event that was the most important life experience of Li Qian. It analyzes the Red Guards’ cognitive and emotional mechanism towards violence, how the violence was legitimized and empowered in this event, and how the images of the so-called "hooligan" were constructed and imagined. It reveals the dynamic of the subject’s abjection in the context of the specific political culture, and the logic of the violent practice. On the one hand, the Red Guards’ violent habitus was not only subject to the conditioning of the field of the Proletarian Dictatorship but also to the conditioning of the field of the CR. On the other hand, the operation of the violent habitus also maintained and reproduced the political culture of the Proletarian Dictatorship. / Third, this study examines how Li Qian realized the transformation of the consciousness and subjectivity through a series of social interaction. It also taps into his new cognitive and emotional mechanism developed under the symbolic mediation of his actual life experiences, thus understanding the "December Fifth" Event, as well as the political culture of the CR and the Proletarian Dictatorship. The critical reflective practice was closely related to the subject’s social position in the specific field and the diverse, heterogeneous symbolic resources that he absorbed. They shaped the transformation of the habitus, producing new social practices and the corresponding changes of social relations. / Finally, by putting the practices of popular memory and reflection on the CR into the continuity and the transformation between the CR and the Post-CR, and between the Maoist era and the Post-Mao era, this thesis emphasizes the political and cultural significance of these practices. These counter-memory practices not only dig into and revive the forgotten and marginalized memories of the CR, but also engage with historical and contemporary criticism, and actively assent the ordinary people’s rights to speak their histories and to participate in the current politics and culture. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 袁梦倩. / Parallel title from added title page. / Thesis (Ph.D.) Chinese University of Hong Kong, 2015. / Includes bibliographical references (leaves 268-283). / Abstracts also in English. / Yuan Mengqian.