Xu Fu-Yuan (®}§·»·) was a famous writer in the late Ming Dynasty (©ú©u)¡Aand started Ji Club (´XªÀ) with Chen Zi-long (³¯¤lÀs) and Xia Yun-yi (®L¤¹ÂU). When the Ming (©ú) government was overthrown by the Qing (²M)government .he chose to forsake his family to overturn the Qing (²M) government and then experienced several emperors of Nan Ming dynasties («n©ú). The poems written during he left the hometown to overturn the Qing (²M) government in¡¨ Diao-Huang-Tang Manuscripts¡¨ (¡m³¨¿X°ó¦s½Z¡n)and¡¨ Jiao-Xing Manuscripts¡¨(¡m¥æ¦æºK½Z¡n)total early2800.People could hardly get the Diao-Huang-Tang Manuscripts(¡m³¨¿X°ó¦s½Z¡n)so the critics and researches in the Ming literature are very poor, and there are some questions must be settled in the Taiwan literature. Therefore, the study is on the two books to explore his life feelings during the Ming (©ú) and Qing (²M). The subjects of this study comprises the life and writings of Xu Fu-yuan, social association, self-identification, feelings, ocean writing, and Taiwan writing. By researching in depth on Xu Fu-Yuan (®}§·»·) and his poems, we discover something .For example, first, we confirm he went to Jiao Nan (¥æ«n) in February ,12th year of Yong-li (¥Ã¾ä). Second, we get Xu Fu-Yuan¡¦s (®}§·»·) friends in his poems more than 140.It not only helps us to understand him more but fill the records in Nan Ming dynasty. Third, his ocean writings have plenty of subjects and varied images. Fourth, according to¡¨ Diao-Huang-Tang Manuscripts¡¨(¡m³¨¿X°ó¦s½Z¡n), he came to Taiwan with his wife and his childe to reclaim lands in 1rt year of Kangxi (±dº³). In addition, the poem ¡¥peach blossom¡¦ (¡q®çªá¡r) and ¡¥mourn for Zhang Gong-SHi¡¦aren¡¦t written in Taiwan. Generally speaking, Xu Fu-Yuan (®}§·»·) has an extremely important historical value in Taiwan literature ,Chinese literature.

published_or_final_version / Architecture / Master / Master of Architecture

published_or_final_version / Architecture / Master / Master of Architecture

Thesis (M.A.)--University of Hong Kong, 1998. / Includes bibliographical references (leaves 59-61).

Thesis (M. Hous. M.)--University of Hong Kong, 1995. / Includes bibliographical references (leaves 66-68).

Thesis (M.Hous.M.)--University of Hong Kong, 1995. / Includes bibliographical references (leaves 66-68). Also available in print.

Made available in DSpace on 2014-06-11T19:22:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-05-22Bitstream added on 2014-06-13T20:28:48Z : No. of bitstreams: 1 oliveira_jr_me_ia.pdf: 1981083 bytes, checksum: 13292c6d57bd94cf81642e9b2b123e66 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta pesquisa surgiu da necessidade de registrar, organizar, sistematizar e relacionar os conhecimentos adquiridos em minha formação de atriz, professora de teatro e artista marcial, no intuito de melhor explorar o processo de criação teatral, utilizando técnicas marciais orientais. Aproximando as duas artes: teatral e marcial – kung fu, termo que além de designar uma arte marcial de origem chinesa possui outros significados como, por exemplo, capacidade de aguentar jejum e resistir, vislumbrei desenvolver, com os envolvidos no processo, potencialidades e habilidades, que foram vivenciadas na preparação corporal destes como atores, iniciando pelo treinamento para se chegar ao ensaio e por fim o espetáculo, promovendo de forma prática o aprimoramento do autoconhecimento e de suas relações com o outro e com o espaço, proporcionando um maior domínio do corpo, que se tornou mais expressivo para a criação cênica. Por buscar orientar os processos de trabalho teatral, de modo a tornar a experiência com teatro um meio socializador, fundamentado no principal postulado brechtiano, em que educar e divertir se apresentam essenciais à experiência com os jovens, considerando o contexto aqui abordado, o eixo dessa proposta leva em conta a abordagem práxica do teatro épico, sistematizado por Bertolt Brecht, sobretudo a partir de meados da década de 1920, quando o dramaturgo alemão passa a dedicar-se à criação das peças didáticas. Por meio dessas ideias e das práticas vivenciadas, algumas perguntas surgiram. Por que e como se apropriar de duas artes aparentemente distintas: kung fu e teatro, a fim de possibilitar uma melhor expressão do corpo? Como essas duas artes poderiam interagir, dando origem a um treinamento utilizado em um grupo de teatro? O que há nessa técnica oriental, que mobiliza e contribui para... / This work is a product of a necessity of register, organize, classify and transpose the knowledges obtained during my actress formation, theater teacher and martial artist, with the intent of better explore the theatrical creation process, by using oriental martial techniques. By uniting these two arts: theatrical and martial -kung fu, term that besides designating a chinese martial art has others meanings such as, capacity of endure a fast and resist, it was possible to develop, with the ones involved, potentialities and abilities, which were experienced in their body preparation as actors, starting by training to get to the rehearsal and at last to the presentation, helping them in a practical way in the improvement of self-knowledge and their relations with each other and with space, providing a greater body control, that became more expressive to the scenic creation. For trying to guide the theatrical work processes, in a way to make the experience with theater a socializing means, grounded in the main brechtian postulate, where to educate and to have fun are essential to the experience with the youngsters, considering the context that was approached here, this proposal takes into account the practical approach of epic theater, systematized by Bertolt Brecht, specially from the middle of the 1920 decade on, when the german dramatugist begins dedicating himself to the creation of educational plays. Through these ideas and experienced practices, some issues came up. Why and how to appropriate of two arts apparently so different: kung fu and theater to enable a better body expression? How could these two arts interact, creating a training used by a theater group? What does this oriental technique have, that mobilizes and contributes to the work of scenical creation with young theater students? Then, this... (Complete abstract click electronic access below)

University of Macau / Faculty of Arts and Humanities / Department of Chinese

This paper focuses on comparison of two memoirs from different periods of Chinese history: Shěn Fù's Six Chapters of a Floating Life (turn of 18th and 19th century) and Yáng Jiàng's Six Chapters from a Cadre School (first published in 1981). Both memoirs are joined in intertextual relationship; Yáng Jiàng refers to Shěn Fù's text by both title and structure of her work, while Qián Zhōngshū, her well-known husband, presents in his preface Six Chapters of a Floating Life as a book he never liked. This paper examines message of these two memoirs by formal and thematic analysis of topics, genre characteristics and attitude toward life of both authors.

No description available.