The thesis focuses on the object-describing lyrics written by Chou Chin-Chen and investigates the selection of ideas, analysis of images, and artistic characteristics. This thesis is divided into six chapters. Chapter 1 is divided into two sections. The first section introduces the research motivation, the research methods, and literature review. The second section studies the origin of object-describing lyrics to describe the relationship of objects and literature and to define the concept of object-describing lyrics. Chapter 2 indicates the formation background of Chou Chin-Chen¡¦s lyrics. The first section discusses the historical origin and litery development of object-describing lyrics in terms of different dynasties: Early Chin dynasty, The Han dynasty, and Wei-Jin Dynasty. In addition, the section further investigates the civil object-describing lyrics in Dunhuang and intellectuals¡¦ object-describing lyrics in early North Song Dynasty. The second section discusses the factors of writing with the respect of the social and cultural background and makes the list of Chou Chin-Chen¡¦s lyrics in order to compare the background influences and literature characteristics. Chapter 3 analyzes the content of Chou Chin-Chen¡¦s lyrics based on the definition made in the previous sections. The chapter discusses 32 lyrics to analyze the selection of ideas with six categories: season, plants, nature, appearance and time. There are two seasonal lyrics (lantern and Chongjiu festivals), ten plant lyrics (plum flowers, willows, pear, lotus, sweet-scented osmanthus, and apricot), seven nature lyrics (snow, moon, and spring rain). The discussion focuses on the image analysis including prototypes and trends and further investigates the historical backgrounds, content structures, writing skills and historical evaluations. Chapter 4 studies and compares Chou Chin-Chen¡¦s object-describing lyrics in terms of the artistic characteristics, rhetoric skills, language styles, and content structures. Chapter 5 describes the comments and influences of Chou Chin-Chen¡¦s object-describing lyrics. Chapter 6 concludes the achievement of Chou Chin-Chen¡¦s object-describing lyrics.

Wei and Chin Dynasties had been viewed as the most chaotic period characterized by changeable political situations, continuous wars, and difficult lives. In this period, the decline of classical studies and popularity of Daoism and Buddhism studies contributed to a very active world of ideas. Living in such a special time, scholars in Wei and Chin Dynasties could thus liberated their spirits, owned freedom of thoughts and beliefs, acted freely, and created arts with enthusiasm. In addition, they concretely built up a kind of distinguished and unique beauty of arts. This kind of special craze for the beauty of countenance and deportment as well as the beauty of inner verve not only shows certain historical characteristics and aesthetic perspectives during those periods, but also serves as a very important part of Chinese cultural history, and is therefore worth further investigations. This thesis looks deeply into Shih-Shuo Hsin-Yu, which vividly portrayed behaviors and appearances of famous scholars in Wei and Chin Dynasties. Based on literary documents talking about the real significance of ¡§famous scholars¡¨ in Wei and Chin Dynasties, this thesis concludes certain primary elements of being a famous scholar, which are ¡§superior knowledge,¡¨ ¡§unique personality,¡¨ ¡§ strict morality and magnanimity,¡¨ ¡§affections with wisdom,¡¨ ¡§free spirits,¡¨ and ¡§delicate appearance and behavior.¡¨ Also, famous scholars in Wei and Chin Dynasties can be divided into several types, which are ¡§free-spirit,¡¨ ¡§talkative,¡¨ ¡§physical and mental beauty,¡¨ ¡§encyclopedic,¡¨ and ¡§virtuous.¡¨ What¡¦s more, there are four attributes that can present the beauty of outward semblance, namely ¡§tall and slim,¡¨ ¡§beautiful face,¡¨ ¡§elegant expressions and delicate behaviors,¡¨ and ¡§fashionable clothes.¡¨ Last, in order to highlight the inner verve and noble spirits of those famous scholars in Wei and Chin Dynasties, they put emphasis on the aesthetic of ¡§portraying the inner verve from the semblance,¡¨ and ¡§observing the semblance to grasp the inner verve.¡¨ Even though famous scholars pursued physical beauty, they did not judge people from their appearance. Instead, they stressed the inner beauty of spirits which reflected from delicate semblance and behaviors. Therefore, anyone who ¡§acted without vulgarity,¡¨ ¡§owned handsome appearance and good shape,¡¨ ¡§ stood out above the rest,¡¨ ¡§possessed wisdom and generosity,¡¨ ¡§maintained cleanness and brightness,¡¨ and ¡§made resolute decisions¡¨ could be categorized as a famous scholar. Even a person who had ¡§ugly appearance but fine verve¡¨ could also be a famous scholar. As a result, throughout the study on the physical beauty and spiritual beauty of the famous scholars in Wei and Chin Dynasties, this thesis not only displays the countenance, inner spirits as well as the true significance behind the seemingly superficial quest for beauty of the famous scholars in Wei and Chin Dynasties, but also clearly represents the historical characteristics and aesthetic trends by examining the way how the famous scholars in Wei and Chin Dynasties established the beauty of outer appearance and inner verve.

The thesis mainly discusses the hermeneutic system on Du Fu¡¦s poetics, which was established after close analysis of Du Fu¡¦s poetry by a literary critic Chin Sheng-Tang (the end of the Ming and beginning of the Qing dynasties).Among all Tang poets Chin Sheng-Tang admired Du Fu the most for his poetics of seven line stanzas, which was viewed by Chin Sheng-Tang as an epitome of high aesthetical value and poetical canon. The critic proposed a method of decompositional analysis for studying Du Fu¡¦s poetry: he saw the interconnection between the title of the poem and it¡¦s content, and then decomposed the poem into small pieces, conducting close reading, so that the poem was seen as having three level structure from bigger to smaller ¡¥the level of passages, sentences and characters¡¦. First, we start with looking at ¡¥other interpretation¡¦ from the describing trend of hermeneutics on Du Fu¡¦s poetics prevailing during that period of time, pointing out what was the main opinion of the literary critics, and comparing it with the one of Chin Sheng-Tang¡¦s, and looking at his status among the circles of literary critics. Then we discuss the Chin Sheng-Tang ¡¥s ¡¥self interpretation¡¦ , explaining what kind of reader and critic he was. After that we provide the review of poetry reading methods and horizon in literary criticism, explaining how to use the method in literary analysis. After Chin Sheng-Tang¡¦s method of literary criticism becomes clear to us, we look how his caesura method is used to analyze structure of Du Fu¡¦s poetry. Through the caesura analysis we use reader¡¦s, author¡¦s and literary works point of view to find out whether this method is appropriate and whether it can reveal the spirit of that age or is it simply an over-reading. In the end we provide the conclusion about the effectiveness of the hermeneutic system, proposed by Chin Sheng-Tang.

Thesis (S.T.M.)--Dallas Theological Seminary, 2006. / Includes bibliographical references (leaves [95-102] ).

abstract: The Ak-Chin Indian Community is a small community in southern Arizona comprised of roughly one thousand O’odham. The indigenous language of Ak-Chin is the ’O’odham ñeo’okĭ, O’odham language, however in recent decades the number of speakers of this language have begun to sharply decline. Due to a variety of sociological factors in interacting with the dominant colonial society, the people of Ak-Chin have begun a shift toward the predominant use of English in daily affairs. The goal of this thesis is to investigate the societal factors that have led to the decline of the O’odham language in Ak-Chin and to examine language policy and planning principles and practices which may serve as examples for the Ak-Chin community to re-establish a strong connection to their heritage language. / Dissertation/Thesis / Masters Thesis American Indian Studies 2017

Fundação de Apoio a Pesquisa e à Inovação Tecnológica do Estado de Sergipe - FAPITEC/SE / Facial harmony can be defined as a balanced ratio among facial thirds, and can be observed in all individuals in both front and profile view. In recent decades the impact exerted by beauty standards on society has grown substantially, underscoring the need to study this concept with keen interest. In particular the ways in which different structures can influence the standards of facial attractiveness and harmony - among these the stomion-to-menton (St-Me) dimension - should also be stressed. Thus, this study aimed to determine – with the aid of photometry - which dimensions of the stomion-to-menton (St-Me) dimension can affect aesthetics. Four models were selected, i.e., two women and two men, divided into Caucasian and Afro- Brazilian, all were mesofacial with a straight profile and featured a balanced, symmetric face. Front-view and profile images were acquired. Eight new images of each model were captured based on the original ones. These images were rendered and manipulated on the computer. The original images were alternately magnified and reduced both vertically and symmetrically by 10% and 20% of the St-Me dimension, yielding a total of 40 images. Image analysis was performed by four groups of judges (40 oral and maxillofacial surgeons, 40 orthodontists and 80 laypersons divided according to their level of education) through a questionnaire based on a visual analog scale (VAS) of attractiveness. One-factor analysis of variance (ANOVA) was applied using Tukey’s test with a confidence interval of 95%. The results showed that the original images were significantly more attractive than the others both in profile and front view. In dividing the models by gender, it was observed that for men the original front view images and those images that had been reduced by 10% were equally attractive, while in profile view there was a preference for magnified images. For women, the images with a reduced St-Me dimension were perceived as more aesthetic than those that were magnified in the same proportion. When the models were divided by ethnicity, there was a preference for reduced images of Caucasians and magnified images of Afro-Brazilians. When the groups were stratified by judge type, both laypersons and orthodontists responded consistently in terms of beauty standards. The original images were the most attractive, and the greater the distortion, the worse the values of aesthetic preference. In the group of laypersons, the original images and those manipulated by 10% were equally perceived as aesthetic by laypersons with only high school education. Among those with college education, only the original front view images and those reduced by 10% were perceived as equally aesthetic. Thus, this study found that surgeons and orthodontists have similar perceptions and preferences regarding attractiveness compared to laypersons. Furthermore, education level was an important factor in aesthetic perception. Nevertheless, all groups of judges agreed that a facial pattern with proportional, well-balanced thirds is the most aesthetic. Finally, the less proportional the St-Me dimension, the lower the attractiveness of the face. / A harmonia facial caracteriza-se pela boa proporcionalidade entre os terços faciais e pode ser observada nas pessoas, tanto numa vista frontal quanto de perfil. Nas últimas décadas, o impacto da beleza sobre a sociedade tornou-se algo de grande relevância, e merece ser apreciado com mais ênfase, destacando-se a influência que diferentes estruturas podem causar nos padrões da atratividade e harmonia facial, dentre elas a dimensão estômio-mento (St-Me). Dessa forma, este trabalho teve como objetivo investigar qual o impacto que diferentes dimensões St-Me causam sobre a estética facial utilizando-se da fotometria. Foram selecionados quatro modelos, duas mulheres e dois homens, divididos em leucodermas e melanodermas, todos harmônicos, simétricos, mesofaciais e com perfil reto. Foram realizadas imagens fotográficas em norma frontal e de perfil, e oito novas imagens de cada modelo, a partir das originais, foram geradas e trabalhadas no computador. As imagens originais foram aumentadas e diminuídas, vertical e simetricamente, em 10 e 20% da dimensão St-Me, perfazendo um total de 40 imagens. A análise das imagens foi feita por quatro grupos de avaliadores (40 cirurgiões bucomaxilofaciais, 40 ortodontistas e 80 leigos divididos de acordo com o grau de escolaridade) por meio de uma escala visual analógica quanto a atratividade. Foi aplicada a análise de variância (ANOVA) um fator, através do teste de Tukey, com intervalo de confiança de 95%. Os resultados demonstraram que as imagens originais foram significativamente mais atrativas que as demais, tanto na vista frontal quanto de perfil. Ao se dividirem os modelos por gênero, observou-se que para os homens as imagens frontais originais e reduzidas em 10% foram igualmente atrativas e no perfil houve uma preferência pelas imagens aumentadas. Para as mulheres, as imagens com redução na dimensão St-Me foram mais estéticas que as aumentadas numa mesma proporção. Quando os modelos foram divididos por raça, houve uma preferência pelas imagens reduzidas nos leucodermas e aumentadas para os melanodermas. Ao realizar a estratificação dos grupos por tipo de avaliador, os cirurgiões bucomaxilofaciais e ortodontistas foram congruentes quanto aos padrões de beleza. As imagens originais foram as mais atrativas e quanto maior a distorção, pior os valores de preferência estética. No grupo dos avaliadores leigos, as imagens originais e as manipuladas em 10% foram igualmente estéticas para os que apresentavam apenas o segundo grau. E para os que possuíam o terceiro grau, apenas as imagens frontais originais e reduzidas em 10% foram igualmente estéticas. Assim sendo, este trabalho considerou que cirurgiões e ortodontistas apresentam percepções e preferências semelhantes quanto à atratividade comparados aos leigos, e o grau de escolaridade foi um fator relevante para a percepção estética, mas todos os grupos de avaliadores foram concordantes que o padrão facial com terços proporcionais e harmônicos, é o mais estético e, quanto menos proporcional for a dimensão St-Me para a face, menor será a atratividade.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Background: The prominence of the chin is an important factor in the perception of facial attractiveness, but the concept of a beautiful face is innate to each human being and surpasses cultural differences.Thus, knowing the perception of those involved in an ortho-surgical planning is paramount to the success of the treatment. Objectives: This work carried out an objective and quantitative evaluation of the degree of influence of the prominence of the ment in the perception of attractiveness of patients, orthodontists and surgeons. Finding objective evidence to assist the reader in the surgical planning of patients with dentofacial deformity. Method: For this the pogonium of an ideal profile image was created through the adobe photoshop program, this silhouette was altered in increments of 2 mm ranging from -12 mm to 24 mm, with the aim of representing retrusion and protrusion of the chin, respectively. Estas imagens foram classificadas através de uma escala de Likert de 7 pontos, a qual variava de extremamente não atraente até extremamente atraente. Além disso, os sujeitos da amostra responderam para cada imagem se indicavam ou não a cirurgia. The sample was divided into 4 groups: 44 orthodontists, 44 surgeons, 44 class II patients and 43 class III patients selected for convenience and consecutively. The study was approved by the Research Ethics Committee of the Federal University of Sergipe (CAAE: 51021315.2.0000.5546). Categorical variables were expressed in absolute and relative frequencies. The quantitative variables were represented as medians and average. Inferential analysis was performed using kruskal wallis and chi-square tests. Values of p <0.05 were considered significant. Results: The participants were predominantly female (59.4%). There was a divergence in the aesthetic evaluation (p <0.05) of the groups for almost all analyzed profiles. The class II profiles were better evaluated when compared to the class III profiles. The profile that was better evaluated was the profile that presented the 4 mm pogonion in relation to the true vertical line. The frequency of indication of the surgical procedure found a positive correlation (X2 <0.05), a group of maxillofacial surgeons was more likely to indicate surgery. The sex of the interviewee did not influence the frequency of indication of the surgery (X2 = 0.092), men and women were equally likely to indicate the surgical procedure against the presented profiles. The age of the interviewee influenced the indication of the surgery for the class II patients when analyzing all the profiles (X2 = 0.014), as well as for the Class III patients, taking into account only the Class II (X2 = 0.036) profiles, Interviewees of these groups over 31 years of age were more likely to indicate the surgical procedure. Conclusion: During planning, surgeons and orthodontists should always individualize their decisions, but offering the patient a straight or slightly class II profile seems to be the most supported approach in the present study. / Introdução: A proeminência do mento é um fator importante na percepção da atratividade facial, porém o conceito que se tem de uma face bela é de característica inata a cada ser humano e ultrapassa diferenças culturais. Dessa forma, conhecer a percepção dos envolvidos em um planejamento orto-cirurgico é primordial para o sucesso do tratamento. Objetivo: Este trabalho realizou uma avaliação objetiva e quantitativa de qual o grau de influência da proeminência do mento na percepção de atratividade de pacientes, ortodontistas e cirurgiões. Encontrando dessa forma evidências objetivas para auxiliar o leitor no planejamento cirúrgico de pacientes com deformidade dentofacial. Método: Para isso o pogônio de uma imagem em perfil ideal foi criada através do programa adobe photoshop, essa silhueta foi alterada em incrementos de 2 milímetros variando de -12 mm à 24 mm, a fim de representar retrusão e protusão do queixo, respectivamente. Estas imagens foram classificadas através de uma escala de Likert de 7 pontos, a qual variava de extremamente não atraente até extremamente atraente. Além disso, os sujeitos da amostra responderam para cada imagem se indicavam ou não a cirurgia. A amostra foi dividida em 4 grupos: 44 ortodontistas, 44 cirurgiões, 44 pacientes classe II e 43 pacientes classe III selecionados por conveniência e de forma consecutiva. O estudo foi aprovado pelo Comitê de Ética em Pesquisa da Universidade Federal de Sergipe (CAAE: 51021315.2.0000.5546). As variáveis categóricas foram expressas em frequências absolutas e relativas. As variáveis quantitativas foram representadas sob a forma de mediana e média. A análise inferencial foi executada através dos testes kruskal wallis e qui-quadrado. Valores de p < 0,05 foram considerados significativos. Resultados: Os participantes eram em sua maioria do sexo feminino (59,4%). Observou-se divergência na avaliação estética (p<0,05) dos grupos para quase todos os perfis analisados. Os perfis classe II foram melhor avaliados quando comparados aos perfis classe III. O perfil melhor avaliado foi o perfil que apresentava o pogônio 4 mm retruído em relação à linha vertical verdadeira. Quanto à frequencia de indicação do procedimento cirúrgico encontrou-se correlação positiva (X2<0,05), grupo de cirurgiões bucomaxilofaciais esteve mais propenso a indicar a cirurgia. O sexo do entrevistado não influenciou na frequencia de indicação da cirurgia (X2= 0,092), homens e mulheres tinham a mesma probabilidade de indicar ou não o procedimento cirúrgico frente os perfis apresentados. A idade do entrevistado influenciou na indicação da cirurgia para o grupo de pacientes classe II ao analisar todos os perfis (X2=0,014), como também para o grupo de pacientes Classe III levando em consideração apenas os perfis Classe II (X2=0,036), entrevistados desses grupos com mais de 31 anos foram mais propensos a indicar o procedimento cirúrgico. Conclusão: Conclui-se que, durante o planejamento cirurgiões e ortodontistas devem sempre individualizar suas decisões, porém oferecer ao paciente um perfil reto ou levemente classe II parece ser a conduta mais apoiada no presente estudo. / Aracaju, SE

京都大学 / 0048 / 新制・課程博士 / 博士(地域研究) / 甲第19833号 / 地博第189号 / 新制||地||66(附属図書館) / 32869 / 京都大学大学院アジア・アフリカ地域研究研究科東南アジア地域研究専攻 / (主査)教授 竹田 晋也, 教授 岩田 明久, 准教授 古澤 拓郎, 教授 神﨑 護 / 学位規則第4条第1項該当 / Doctor of Area Studies / Kyoto University / DGAM

The purpose of this dissertation is to introduce Violin Concerto No. 2, "Scherben der Stille" (2021) by Unsuk Chin (b. 1961), a South Korean composer based in Berlin. This violin concerto creates a sonic drama. The sound material of this work resembles a "shard," as the subtitle of the work suggests: Shards of Silence. Through this work, Chin shows how music can deliver her dreams and fantasies through unconventional use of instruments and sounds. The dissertation includes a brief biography, observations on the composer's significant works and compositional style, and an overview and analysis of the work. Despite the increasing popularity of Violin Concerto No. 2, the piece has never gained scholarly attention. This writing should also contribute to the available sources about the composer Unsuk Chin and to the study of complex contemporary music that may seem resistant to formal analysis by analyzing its constituent fragments.

Unsuk Chin (b.1961), a Korean-born woman composer, was a student of Gyorgy Sandor Ligeti (1923-2006). Chin's work reflects the influence of Ligeti but also undeniably has its own style. This study investigates the six piano etudes so far published from 12 Piano Etudes (1995-2003) by Unsuk Chin and compares them with Ligeti's piano etudes to highlight the influence of the teacher on the student and to aid pianists in facing the unique technical challenges posed by both sets of etudes. The practice guide provided in this study for each specific technical difficulty requires a degree of patience from a student which, if followed, will enhance the performance.