The work focuses on the literary work of Korean writer Yun Heunggil in the context of modern Korean literature of the 1970s. The first part describes the general features of the literature in the 1970s, with an emphasis on changes in requirements placed on authors and topics in this period of modernization. The second part deals exclusively with the work of Yun Heunggil. Great attention is given to writer's history, as it has a significant influence on his early literary work. In the latter parts, the work deals with two topics, which represent the seventies in the Korean modern literature - Korean War and modernization of Korean society. Then it looks into common features of work and reccuring motifs in both categories, using detailed analysis of narrative sequences. Work also includes a sample translation of one of the author's short stories, The Man Who Left Behind a Nine Pairs of Shoes

No description available.

No description available.

L’œuvre de YUN Duseo (1668-1715), peintre lettré ayant vécu lors de la dernière monarchie coréenne, reflète la forte sinisation de la société de l’époque. Cette œuvre est un fruit de la civilisation du « monde chinois », et interroge les principes esthétiques et le statut de la peinture dérivés de la doctrine néo-confucéenne, doctrine elle-même ici associée à des doctrines souvent considérées comme opposées, le taoïsme et le bouddhisme. YUN Duseo invente une peinture « pré-moderne » qui met en valeur de manière nouvelle des figures humaines, les portraits en particulier, et donne une nouvelle forme à des sujets courants de la peinture chinoise, les natures mortes ou les scènes de la vie quotidienne. La peinture de YUN Duseo, influencée aussi bien par un mouvement de retour aux sources de la culture chinoise que par le contact avec la culture européenne, est étudiée principalement à travers le prisme du rapport entre peinture et écriture. / The work of YUN Duseo (1668-1715), a scholar-painter who lived during the last Korean monarchy, reflects the strong sinicization of contemporary Korean society. Indeed, such work is a product of the civilization of the ‘Chinese world’: it questions the aesthetic principles and the status of painting stemming from the Neo-Confucian doctrine, a doctrine itself associated with two often opposed doctrines, Taoism and Buddhism. YUN Duseo invented a ‘pre-modern’ painting that emphasized human figures, and particularly portraits, in a novel way and gave new form to common subjects in Chinese painting, whether still lives or scenes of everyday life.YUN Duseo’s painting, influenced by a return to the sources of Chinese culture as well as by the contact with European culture, is examined here through the prism of the relation between painting and writing.

Fang Hui ¡§Ying Kui Lu Sui¡¨ is one of widely discussed literary productions among Tang and Song poems of eight lines collections, which could be viewed in ¡§Ying Kui Lu Sui Literary Criticism¡¨ edited by Li, Qing-Jia; among the most important criticisms are Ping Ban, Ping Hao, Zha Shen-Xing, Ji Yun, and Xu Ying Fang. Xu Ying Fang is one of the most important poets and poetry critics in Yun Na. ¡§Lu Sui Ji Yao¡¨ is edited in the purpose of teaching students during Xu¡¦s late years of being the chairman in Jing Zheng college. This literary production has twelve chapters; the first six chapters are about the poems, which are worthy to be followed, and the later six ones are vice versa. However, Xu passes away before finishing this work. The reason why Xu Ying Fang edits this production bases on the criticism of ¡§Ying Kui Lu Sui¡¨ (written by Fang Hui), and ¡§Ying Kui Lu Sui Kan Wu¡¨ (written by Ji Yun), yet the literary figure of ¡§Lu Sui Ji Yao¡¨ is different from that of Fang Hui. Comparing to the late Qing dynasty, which is prevalent to the movement of Song poetry with Tong-Guang style, Xu Ying Fang¡¦s reflections toward Tang and Song poetry reversely present the most important feature of poetics in Qing Dynasty- neutrality. Xu partially accepts Fang Hui¡¦s proposition of ¡§one ancestor and three predecessors¡¨; and he further advances the idea of lists Li Shang-Yin, and Wang An Shi into the followers of Du Fu. Moreover, he even raises poetics status of Chen Yu Yi above Chen Shih Dao. Therefore, in ¡§Lu Sui Ji Yao¡¨, Du Fu is the most listed poet among Tang Dynasty poets, and Chen Yu Yi is the poet among Song Dynasty poets; the above arrangement is the most vivid poetic feature, which Xu Ying Fong breaks through Fang Hui¡¦s previous propositions. The advantages and weaknesses about poetry appeared among Xu Ying Fong¡¦s literary production are not judaged by times nor poets themselves. His literary criticism is deeply affected by neutral concept and textual research in Qing Dynasty poetics. As a result, ¡§Lu Sui Ji Yao¡¨has been accounted as an important status among the relative works of ¡§Ying Kui Lu Sui¡¨.

Thesis (M. Phil.)--University of Hong Kong, 1998. / Includes bibliographical references (leaves 294-302).

University of Macau / Faculty of Social Sciences and Humanities / Department of Chinese

University of Macau / Faculty of Social Sciences and Humanities / Department of Government and Public Administration

本論文之研究立旨，在探詩謝靈運山水詩與鮑照山水詩之異同關係，並試為南朝山水 詩之發展重新整理出一個途徑來，就討論謝靈運與鮑照二家山水詩之特色。 本論文共分為六章、十七節，約十萬字，大致內容如下： 第一章：謝靈運與鮑照之生平。 讀其詩，知其人。于章探討謝靈運與鮑照二家先先世及家境懸殊，仕宦生涯不同。 第二章：謝靈運與絇照詩之淵源。 本章考察謝靈運所受曹植與張協的影響，以及鮑照所受張協與張華的影響。 第三章：以六朝「形似」觀點來看謝、鮑山水詩。 本章分為共四節：（一）「形似」觀之演變及文學背景，（二）「形似」之意義與語 言特質，（三）「形似」與山水詩之關係，（四）「形式」觀在謝、鮑山水詩中表現 。 第四章：謝、鮑山水詩之修辭技巧比較。 本章分謝、鮑山水詩欠修辭技巧為五項比較之：（一）數彩設色，（二）鍊字儷句， （三）疊字摹神，（四善用雙聲韻，（五）蟬聯緊湊。 第五章：謝靈運與鮑照山水詩之特色比較。 本章首先探討魏晉時代的莊園經濟與山水詩的興起，攘著比較謝、鮑山水詩之特色。 第六章：結論

本論文研究目的主要在探討鄧小平時期，中共中央如何制定經濟政策，及探討影響政 策制定的因素和政策變遷。本論文內容共一冊，約十萬字，分六章十五節。 第一章：導論，說明研究目的，界定所用「決策過程」一詞的內涵，並提出研究架構 。 第二章：說明鄧小平與陳雲接收環境訊息管道，和對環境訊息認知的內容。 第三章：分析中共當前的經濟制度和決策結構。 第四章：分析鄧、陳基本性格，中共制定經濟政策的流程和鄧、陳對經濟政策的主張 。 第五章：說明行政系統對政策的執行過程和回饋訊息的管道，並分析政策轉變之因素 。 第六章：結論，對全文作一總結，檢討使用架構的可行性和適用性，並展望將來可能 之發展。