Thesis (S.T.M.)--Concordia Seminary, 1999. / Includes bibliographical references (leaves 138-144). Includes additional title p. and some bibliographical references in Chinese.

Submitted by Angevaldo Filho (angevaldomaia@gmail.com) on 2018-06-12T20:27:29Z No. of bitstreams: 1 Angevaldo Maia Filho_DissertaçãoFinal.pdf: 1032229 bytes, checksum: 20f2efcbc00b7e243ef113a7054260b6 (MD5) / Approved for entry into archive by NUBIA OLIVEIRA (nubia.marilia@ufba.br) on 2018-06-18T18:39:09Z (GMT) No. of bitstreams: 1 Angevaldo Maia Filho_DissertaçãoFinal.pdf: 1032229 bytes, checksum: 20f2efcbc00b7e243ef113a7054260b6 (MD5) / Made available in DSpace on 2018-06-18T18:39:09Z (GMT). No. of bitstreams: 1 Angevaldo Maia Filho_DissertaçãoFinal.pdf: 1032229 bytes, checksum: 20f2efcbc00b7e243ef113a7054260b6 (MD5) / Neste trabalho, discute-se o papel de um experimento de 1950, realizado pela física sino estadunidense Chien Shiung Wu, em colaboração com seu assistente de pesquisa, Irving Shaknov, nas discussões sobre os fundamentos da teoria quântica. A experiência realizada é comumente apontada como sendo o primeiro experimento capaz de representar o fenômeno que hoje é conhecido como entrelaçamento quântico, tornando-se a chave para o desenvolvimento de novas tecnologias, tais como, a criptografia, a teleportação e a computação quântica. Esse experimento garante a Wu um papel fundamental no que diz respeito à corroboração da mecânica quântica. A trajetória de vida e intelectual dessa cientista é também um rico episódio tanto para se discutir a questão de gênero quanto para dar visibilidade às mulheres das ciências. / In this paper, we discuss the role of a 1950 experiment carried out by physics Chien Shiung Wu, in collaboration with his research assistant, Irving Shaknov, in the discussions on the foundations of quantum theory. The experiment performed is commonly referred to as the first experiment capable of representing the phenomenon that is now known as quantum entanglement, becoming the key to the development of new technologies, such as cryptography, teleportation and quantum computing. This experiment guarantees Wu a fundamental role in the corroboration of quantum mechanics. The life and intellectual trajectory of this scientist is also a rich episode both to discuss the gender issue and to give visibility to the women of the sciences.

Tato práce se soustřeďuje na výzkum různých numerických zařízení starověkého čínského číselného systému, jako je sekvence Wu Xing a související funkce, za účelem generování různých kompozičních materiálů pro hudební složení podle výsledku trigramu (Gua / 掛). Mým celkovým přístupem je vyvinout metody, které nám dávají svobodu volby různých kompozičních materiálů, protože můžeme generovat velmi odlišný kompozitní materiál, jako jsou váhy a akordy, výsledkem Bagua (八 掛) místo operace změny Johna Cagea, Který pouze splňuje určité výsledky, generalizuje celý kus automaticky. Proto můžeme vybrat nejvhodnější materiály pro hudební kompozici a lépe řídit kompoziční proces. Uvedené prvky jsou velmi jednoduché; Nicméně, numerické vztahy mezi nimi mohou být velmi složité. Přestože to nabízí atraktivní potenciál pro jejich použití při tvorbě nových kompozičních materiálů, musíme vyřešit komplikaci procesu a vyhnout se chybě výpočtů. S odkazem na tento problém můžeme použít několik způsobů, jak správně přispět k procesu generování: Aplikace počítače pro výpočet, zabránění použití složitých vzorců v systémech a křížová kontrola jinou osobou.

abstract: Wu Yun (d. 778) was prominent poet at the Tang court. His biography of the Daoist ritualist Lu Xiujing (406-77) can be read on several levels. It functions as a source of information on Lu's life and works, but a reading focused on this alone is insufficient. Conventions of Chinese biography dictate the text is read not just with an eye towards who Lu "really was," but also how he functions as a character fashioned by an author for certain purposes. With this in mind, the reader can learn not just about Lu, but about the audience of the text and the aims of its author. Lu functioned as a model for later Daoist masters and as an exhortation to proper conduct towards them on the part of rulers and elites. Finally, with reference to the work of Michel Foucault and scholars of collective memory, this work can be read as a window onto the world of discourse in early medieval China. / Dissertation/Thesis / M.A. Religious Studies 2012

This dissertation is about a modern Chinese mathematician’s use of traditional Chinese mathematics. Wu Wen-Tsun (born 1919), a French-trained algebraic topologist, became interested in Chinese mathematical heritage in the Cultural Revolution period (1966-1976). He claimed that his subsequent, internationally acclaimed work on the “mechanisation of mathematics” (computer proofs) was inspired by this historical interest. He thus situated his mathematical success within a nationalist framework of independent modernisation, and has become a government-promoted celebrity since the turn of the millennium. Against the standard ‘national hero’ story told about Wu, I portray his turn to the history of Chinese mathematics as a sophisticated response to political, institutional and ideological pressures on mathematics in post-1949 Maoist China. I integrate a biographical account of Wu’s career with in-depth studies of the content and influence of his mathematical work to show the fluctuations of his fortunes since his return to China in 1952. Wu as an individual shared the fate of the Institute of Mathematics of the Chinese Academy of Sciences, where he worked between 1952 and 1977. I argue that Wu’s philosophy of mathematics was shaped by the utilitarianism preached by the Communist Party of China, which caused excesses especially during the Great Leap Forward (1958-1960), but remained a feature of Chinese science policy even afterwards. After the research hiatus of the Cultural Revolution, Wu consciously linked his research to ideology. His parallel mathematical research and history-writing since 1977 have reflected the same philosophy of mathematics and the same concerns about modernisation, national development, and independence. The dissertation uses unpublished archival material from China and first-hand interviews with Wu Wen-Tsun and other Chinese mathematicians. I relate Wu’s mathematical nationalism to theories of cultural nationalism and historicism from the political sciences, and theoretically analyse the contradiction between nationalism and internationalism in modern Chinese mathematics.

In November of 1965, the Great Proletarian Cultural Revolution, was launched in China when a Shanghai newspaper editor, Yao Wen-yuan, published an attack on the play which is translated here, Hai Jui Dismissed from Office. The fact that this event constituted the beginning of what later became a political struggle of vast proportions was recognized only belatedly by most Western analysts. When the Cultural Revolution moved into high gear with the launching of the Red Guard movement in the spring of 1966, vague references were made in some Western commentaries to the fact that the explosion seemed to have been ignited, by the public exposure of a drama which had purportedly satirized the Communist Party and Mao Tse-tung. No one appeared to have any certainty about exactly what the play had said and in what way it satirized Mao and the Party. As far as I am aware, this is the first translation of the entire text of the play, or any part of it, into English. Aside from simply translating the text of the play, the purpose of this thesis is to analyze the events of late 1965 and early 1966 and place them both in chronological order and in political perspective. In this way, it is clearly shown how the attack on Wu Han led to attacks on other "bourgeois" writers and intellectuals. Eventually, this latter group was linked to high officials in the Peking Municipal Committee of the Chinese Communist Party. Finally, the "cultural" aspect of the Cultural Revolution gave way to a full-fledged political battle within the Party itself. / Arts, Faculty of / Asian Studies, Department of / Graduate

The present study focusses on the description and analysis of the religious beliefs and practices of a central Taiwanese spirit-writing cult or "phoenix hall" (luantang). A phoenix hall is a voluntary religious association of congregational character centring upon communication with the gods by means of the divinatory technique of "spirit-writing" (fuluan). While spirit-writing can be and is used as an oracle for the solving of believers' personal problems, its more high-profile application is for the writing of so-called "morality books" (shanshu), i.e., books of religious instruction and moral exhortation. Spirit-writing cults are nowadays the most important sources of such works. Much attention has been given to morality books as mirrors of the social concerns of their times, but comparatively little work has been done on the groups that produce them and the meaning these works have for them. An adequate understanding of the meanings and functions of morality books, however, is impossible without some knowledge of the religious groups that produce them and the role played by morality books in their beliefs and practices. It is the objective of this thesis to provide a detailed description and analysis of one such group, the "Temple of the Martial Sage, Hall of Enlightened Orthodoxy" (Wumiao Mingzheng Tang), a phoenix hall in the city of Taizhong that was founded in 1976 and has played a significant role in the modern development of the shanshu genre through the active and varied publications programme of its publishing arm, the Phoenix Friend Magazine Society. The study utilizes data extracted from the Hall's published writings as well as interview, observation, and questionnaire data collected during an eight month period of field research in Taizhong. Part I provides a macrohistorical overview of the development of spirit-writing cults on the Chinese mainland (chapter 1) and on Taiwan (chapter 2) since the nineteenth century, leading up to the case-example's microhistory (chapter 3). Part II is devoted to an account of the beliefs and practices of the Wumiao Mingzheng Tang, including descriptions and analyses of its organization, deities, ritual activities, concepts of moral cultivation, and of the body of morality book literature it has produced over the years. The appendix contains samples of the cult's morality book and scriptural literature, as well as of various liturgical texts. / Arts, Faculty of / Asian Studies, Department of / Graduate

Edward Said’s Orientalism (1978) has generally been recognized as an influential study of western literary perceptions of the East, but numerous critics have also challenged his geographical parameters as too narrow and his conceptual framework as insufficiently complex. This thesis further expands the study of Orientalism (1) by focussing on a colonized area generally overlooked in this context, namely Southeast Asia; (2) by including a writer of German background, a nationality frequently omitted in the discussion of colonial history in general and of Orientalism in particular; and (3) perhaps most importantly, by juxtaposing the views of a Chinese author with those of western writers. This thesis is the critical study of three authors about their travels in Southeast Asia: Isabella Bird (1831-1904), Max Dauthendey (1867-1918) and Ai Wu (1904-1992). Since postcolonial criticism does not generally concern itself with the cultural habits which are formed in a traveller’s native society prior to his or her departure, this approach alone does not provide the tools for the differentiated kind of investigation I wish to conduct. I therefore draw on the cultural criticism of Pierre Bourdieu (1972, 1979, 1993), Johannes Fabian (1983, 1991), and Walter Benjamin (1969, 1974, 1985), to focus on a decisive moment in each traveller’s background, which may be said to have shaped his or her perception of other cultures. In Bird’s case, this event was the 1851 Exhibition which encapsulated the Victorian ideals of industrial progress, imperial expansion, and Christian philanthropy. By contrast, Dauthendey’s responses were shaped by the Art Nouveau sensibilities he bad acquired in the German, French, and Scandinavian bohème. Finally, Al Wu derived his outlook from the May Fourth Movement, a brief period when western ideas were welcomed into Chinese social and literary history. Said’s Orietalism posits the homogeneous cultural entity of an imperial West in contradistinction to a victimized East. This thesis does not reverse these categories, but it does provide the space for an equal discussion of Chinese and western writings within a differentiated historical context. / Arts, Faculty of / English, Department of / Graduate

abstract: The relationship between Chinese modern and contemporary artistic creation and the national sovereignty of China is a worthy subject of debate. Within it, modernism and intellectual/artistic subjectivity are two necessary starting points. However, there is still a good deal of uncertainty around these two points. First, can the modernization process of China be accepted as the general meaning of modernization? Second, are some Chinese modern and contemporary artists actually modern intellectuals? Based on clarification of the above two uncertainties, this thesis is an attempt to argue that the Chinese artists who regard themselves, their artworks and creations, as intellectual, reflect the collision domain between themselves and the political entity of national sovereignty in China: the communist regime controlled by the CCP, Chinese Communist Party中國共産黨. In this thesis, three chapters discuss the relationship between Chinese modern and contemporary art and the CCP. In my theoretical exposition, I argue that the artistic/intellectual subjectivity of modern Chinese artists gradually developed and changed during the conflict and struggle with the Communist rule. In the first chapter, I introduce the biography and artistic creation of Chinese literati painters under the communist rule, exemplified by Wu Hufan吳湖帆. I analyze and demonstrate how the subjectivity of the traditional literati gradually lost strength under the pressure of nationalism, the disenchantment with modernization, and communism. In the second chapter, I focus on the Scar Art art movement of the 1970s to the 1980s, as well as representative artists and their works in this direction of art, such as Cheng Conglin程叢林 and Gao Xiaohua高小華. In this chapter, I use feminism and Foucault's political-philosophical theories to explain these visual expressions of the memory of historical trauma in Scar Art during this period. In Chapter 3, by discussing the works of two artists, He Gong何工 and Ai Weiwei艾未未, in the context of Foucault’s political philosophy, I argue that artists how to express their intellectual subjectivity and political resistance through their contributions to Chinese contemporary art. / Dissertation/Thesis / Masters Thesis Art History 2020

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