Thesis (Ph.D.)--University of Western Sydney, 2009. / A thesis presented to the University of Western Sydney, College of Arts, School of Communications Arts, in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliographies. Thesis front, chapters, appendices 1, 2 also available online at: http://handle.uws.edu.au:8081/1959.7/40805.

Thesis (Ph. D.)--Stanford University, 1998. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [412]-429).

Thesis (M.A.)--University of Hong Kong, 1999. / Includes bibliographical references (leaves 74-76). Also available in print.

Thesis (Ph. D.)--Boston University, 2007. / Includes bibliographical references (p. [262]-285).

AN ABSTRACT OF THE DISSERTATION SHENG-TAO FAN, for the Doctor of Philosophy degree in SPEECH COMMUNICATION, presented on APRIL 11, 2013, at Southern Illinois University Carbondale. TITLE: PERFORMATIVE CORPORATE TRAINING IN TAIWAN MAJOR PROFESSOR: Dr. Elyse L. Pineau This dissertation attempts to translate performance concepts and techniques into corporate training models for concretely increasing Taiwanese business competencies. I argue that this performance praxis is especially relevant to Taiwanese business contexts because of our Taoist traditions, which performative corporate training can awaken and activate. The purpose of applying performance praxis in corporate training is not to enhance physical techniques, acting skills, or technical competence, but rather to explore organizational dynamics through embodiment and to enrich management-related knowledge involving leadership, creativity, and team building. In Chapter One, Introduction to Taoism and Taiwanese Corporate Culture, I show that Taiwanese corporate culture is bonded and interdependent with Taoism. In Chapter Two, Performance Pedagogy for Business Contexts, I categorize different forms of performative pedagogies in teaching, learning, and corporate training as well as examining Taiwanese practices of performance pedagogy. Based on my systematic literature review of Western academia and analysis of Taiwanese practices, I create a calligraphic model for developing and analyzing performative corporate training programs within organizational and cultural contexts. This model elaborates three characteristics of the Taiwanese corporate culture (harmony, innovation, and teamwork), three features of Taoism (ecology, creativity, and community-building), and three principles of performance (balance, imagination, and collaboration) for Taiwanese corporate training. In Chapter Three, I present a case study of the STOMP Performative Corporate Training program, led by Smart Orange Training and Consulting. Through thick descriptions from an insider's perspective, I demonstrate that this innovative and successful case advances the trend of management development from experiential learning to performative training. In Chapter Four, I propose a management education course for a university Executive Master of Business Administration program, entitled "Performing Mentor." In addition, I design a corporate training program, entitled "Performing Taiwanese Cultural Festivals" that uses performative pedagogy to awaken innovation, promote harmony, and facilitate teamwork among business participants. In Chapter Five, I synthesize the study and note its limitations and directions for future research. In essence, this dissertation is theorization about performative pedagogy in corporate training with unique Taiwanese practices. It creates interdisciplinary integration, industry/academia collaboration, and cross-cultural understanding.

Des soucis les plus réels aux affres métaphysiques, Queneau est constamment angoissé par le malheur existentiel et cherchent ainsi l’apaisement spirituel par plusieurs moyens, dont les traditions de l’Orient. Par le biais de René Guénon et des sinologues, il a accès à la pensée chinoise en lisant des classiques et se sent surtout proche des idées du taoïsme. L’intérêt de Queneau à l’orientalisme provient d’une introspection sur les valeurs modernes occidentales. En doutant si l’homme serait capable de distinguer le réel de l’illusion, le vrai du faux, il montre l’attitude sceptique envers le rationalisme. Bien qu’il conçoive ses romans autour du principe de dualité, il met en relief l’interaction et la dépendance mutuelle entre les mondes opposés, tout comme le couple Yin-Yang. Il fait combiner des qualités contradictoires chez un même être, ce qui passe pour une tentative de conciliation des contraires. Les doutes de Queneau s’inscrivent sur trois plans, à savoir la capacité, l’objet et l’outil de connaissances, et présentent bien des analogies avec le scepticisme de Tchouang-tseu. Par l’abdication du désir, Queneau recommande d’abord la simplicité et l’humilité comme recettes de vie. Puis, il préconise l’extinction de l’égo et le détachement spirituel, afin de dépasser des contraintes corporelles et d’apaiser les angoisses existentielles. Il dépeint des personnages heureux à l’image du sage taoïste, qui se caractérisent par l’innocence, l’indifférence et la tranquillité. En suivant la sagesse de non-intervention, on accepte tout dans la vie avec une âme imperturbable et retrouve la béatitude parfaite, incarnée par l’état serein et vital à la naissance. / Raymond Queneau hides his anxious and pessimistic soul under his humorous appearance. To get rid of the anxiety of human being and acquire peaceful mind - true essence of happiness in his viewpoint, he keeps keen interest to orient cultures. Through wide readings, such as the literature of Rene Guénon, many sinologists and the translations of the Taoist classics, Queneau mentions frankly in his diary that he has deeply resonance with ancient China sages.Queneau’s devotion to the orient religion and culture comes from his reflection to Western modern civilization and value. Queneau expresses his confusion of “life is but a dream” with doubts about Logos. Although his productions are filled with “binary pattern”, he emphasizes the interpenetration of opposite sides, which is exactly the same with Chinese Yin-Yang ideology. He deliberately obscures the boundary of opposite sides to combine the seeming inconsistent characteristics into the one unit, which can be regarded as his attempt to reconcile contradiction and shows the bud of relativism. From three aspects of cognition, that is, capacity limitations of cognitive subject, instability of cognitive object and fraudulence of humain language, his novels have lots of similarities with Zhuang-zi’s skepticism. Queneau regards human greed as the source of evil, and proposes the recipe of keeping simple and humble. To break the shackles of time and history, and realize true quiet and spiritual freedom, we need to overcome egoism. Queneau’s characters, like Taoist Sages, are natural and indifferent to the exterior world. They master the way of not-doing, take what comes and be contented. Going back to the original state of infant, they can reach the real inner happiness.

Before Sir Thomas More published Utopia and defined his ideal world with this fictional land, humans had been looking for their ideal society for centuries based on various religions and cultures. Yet, there are a few studies focusing on Utopia and Dystopia in cross-cultural contexts. This thesis will explore the two main questions: 1) can Utopia and Dystopia be separated? and 2) how does the utopian concept in the West involve in Eastern culture during the postwar period in postcolonial perspective? Phoenix in Japan and THX 1138 in U.S. are two well-known works during the post-World War II period via their popular media: manga in Japan and film in U.S. Phoenix, a renowned Japanese manga created by Osamu Tezuka. Phoenix the manga not only reveals the rise and fall of human civilization but also shows the reincarnation of life with Buddhist ideas, which means one living being starts its new life in different physical form after it dies. This reincarnation of life also points out how utopian-dystopian system functions in the East. THX 1138, a famous American film directed by George Lucas, starts with a robot-dominated world. More's definition of Utopia reveals several features of ideal society: an isolated society, well-trained and well-ordered citizens, a democratic government, universal education, and loose religious limits. According to More's utopian features, the society in THX 1138 is quite familiar with the so-called utopian world. However, the method of dehumanization in this film brings the concept and features of Dystopia. After the 16th century, the term Utopia, as a Western ideology, entered East Asian cultures. In Eastern perspective, Utopia and Dystopia are the continuous states of one society like a circulation system. In the West, utopian-dystopian works tend to focus on the specific period. By discussing Phoenix and THX 1138, I want to show this continuous social pattern in different cultural contexts.

The present dissertation proposes a fresh approach to Keats's remarkable growth and development as a poet by assessing his works in relation to four different but interrelated contexts: the tradition of poetry as a "speaking picture," Lacanian interpretations of that tradition, the related nature of classical Chinese poetry, and parallels between Keatsian themes and Taoist principles. Chapter one seeks to assess Keats's poetry by articulating the relationship between "ut pictura poesis" on the one hand, and psychoanalysis and Taoist philosophy on the other. Chapter two deals with the invisible ground of the sympathetic imagination. Chapter three discusses Keats's philosophy of "negative capability" with reference to the Taoist philosophy of the "Middle Path." Chapter four compares Keats's Lamia to the Chinese legend The White Snake. Chapter five concludes the work by showing how the poet matures into "poethood" through an anamorphotic process of developing from the imaginary to the symbolic. The focus of this dissertation is on the pictorial and sculptural qualities of Keats's poetry in comparison with many poems in the Chinese and western traditions. Efforts have also been made to combine psychoanalytical theory and Taoist philosophy and poetics to shed light on the discussion. Even though the dissertation seeks to assess Keats's poetry through an analogy with the plastic arts and to extend this assessment through conceptual categories provided by psychoanalysis (with reference to the poet's maturing into "poethood") and Taoist philosophy (with reference to the poet's philosophy of "negative capability"), it does not assert that Keats is a psychoanalyst nor does it claim that he is a Taoist. Keats is mainly a poet dealing with human emotion, love, beauty, truth, and imagination — a poet with "no self," a poet who can be regarded as "the perfect man" (Tao Te Chinq, 18) in the truest sense of a Taoist. / Arts, Faculty of / English, Department of / Graduate

Author: Bc. Šárka Čechová Department: Civic Education and Philosophy Title: Buddhism in Vietnam Supervisor: Mgr. David Rybák, Ph.D., Department of Civics and Philosophy Faculty of Education of Charles University in Prague Abstract: The main theme of this work is Buddhism as the primary religion in Vietnam. Work is focused on providing the image of Buddhism as a whole and then to its entrance into the Vietnamese culture through periods of Chinese domination. Marginally also mention about other religions in Vietnam, and Vietnamese traditions and customs. In conclusion, I will dedicate the image of Vietnamese living in the Czech Republic, which is affected by the collision of two cultures. We will monitor historically conditioned cultural and religious assumptions that have contributed to easier integration of Vietnamese immigrants.

No description available.