A presente tese aborda, enquanto importante conteúdo da pedagogia confucionista, a poesia clássica do Império do Centro, posteriormente denominado China, no Ocidente, em particular a primeira seção do Clássico dos Cantares, em dois aspectos: primeiro, as características estruturais do caractere chinês, o ideograma, e do texto em chinês clássico e arcaico como recurso estético a ser incorporado na tradução de poesias clássicas para o português, aqui chamada de Estudos, tendo como interlocutores teóricos os trabalhos de reimaginação ou transcriação da poesia clássica chinesa de Haroldo de Campos, inspirado pelas ideias seminais de Fenollosa; a teoria pictórica de Shitao (1642-1717), do pintor e erudito da dinastia Song, e os comentários de seu tradutor Pierre Ryckmans; o conceito de texto de Umberto Eco; e a análise da linguagem dos Cantares, de Dobson. O segundo aspecto refere-se à Natureza como principal temática dos poemas dos Cantares como representativa de um importante elemento constitutivo da educação dos eruditos, ou letrados, chineses, uma casta que governou o Império Chinês cerca de dois mil anos, evidenciando uma intensa abstração do mundo natural, seja na poesia ou na pintura. Essa educação estética pela qual os que exerceriam funções políticas deveriam passar é permeada por uma atitude ética em que a natureza e a simplicidade das relações humanas são sua principal utopia. O cancioneiro popular, compilado entre os séculos XI e VII a.C., simbolizavam um mundo natural, distante e almejado ao mesmo tempo, e que veio se tornar um valor implícito às grandes linhas do pensamento clássico chinês, como o confucionismo e o taoismo. Ambos os aspectos, o texto e o contexto, fundamentam e contextualizam os estudos de tradução apresentados. / The present thesis discusses, as an important content of Confucian pedagogy, the classical poetry of the Empire of the Center, later denominated \"China\", in the West, in particular the first section of the Classical of Songs, in two aspects: first, the structural characteristics of the character Chinese, the ideogram, and the classic and archaic Chinese text as an aesthetic resource to be incorporated into the translation of classical poetry into Portuguese, here called \"Studies\", having as theoretical interlocutors the works of \"reimagining\" or \"transcreation\" of classical Chinese poetry by Haroldo de Campos, inspired by the seminal ideas of Fenollosa; the pictorial theory of Shitao (1642-1717) by the Song Dynasty painter and scholar, and the comments of his translator Pierre Ryckmans; the concept of text by Umberto Eco; and Dobson\'s analysis of the language of the Songs. The second aspect refers to Nature as the main theme of the poems of the Songs as representative of an important constitutive element of the education of scholars, or literate, Chinese, a caste that ruled the Chinese Empire about two thousand years, evidencing an intense abstraction of the natural world, whether in poetry or painting. This \"aesthetic education\" by which those who exercise political functions should pass is permeated by an ethical attitude in which the nature and simplicity of human relations are their chief utopia. The popular songbook, compiled between the 11th and 7th centuries BC, symbolized a natural world, distant and longed for at the same time, and which became an implicit value to the main lines of classical Chinese thinking, such as Confucianism and Taoism. Both aspects, the text and the context, base and contextualize the presented translation studies.

abstract: The piece WAKE UP BREATHING holds personal significance as an investigation of thought-provoking issues of breathing through film installation, video and live performance. This research specifically addressed how breath training exercises enhance dance performance and improve a dancer’s control of their body, as well as how these exercises can function as material for choreographic inquiry. During the creation of the concert, the choreographer employed breath building exercises and applied different breath techniques with a cast of nine dancers. The choreographer and dancers worked collaboratively to develop creative material, enhance performance and help members of the audience understand why breathing in dance is so meaningful. / Dissertation/Thesis / Masters Thesis Dance 2019

This dissertation explores the hybrid training and performance of Chinese classical dance (gudianwu) and ballet in China’s elite dance conservatory, Beijing Dance Academy (BDA), in post-socialist China (1980 - the present). Since the establishment of BDA in 1954, the hybridity of ballet and Chinese dance has been first institutionalized in training professional Chinese dancers and has had a profound influence on the development of dance in the People’s Republic of China (PRC). After the Cultural Revolution (1966-1976) in the 1980s, many gudianwu practitioners and dance critics in PRC criticized the failure of the hybrid training and performance in promoting a unique Chinese national character. In contrast, hybrid performance practices as a means to Sinicize the Western dance form of ballet have been celebrated. To create a unique Chinese national body aesthetic, gudianwu practitioners have attempted to revive Chinese traditional culture in dance through minimizing the influence of ballet, while Chinese ballet practitioners have created ballet works incorporating Chinese stories and Chinese arts, such as gudianwu, Chinese opera, local music, and traditional costumes. Instead of considering the promotion of unique Chinese characteristics in dance as a fixed and essentialized cultural practice, this dissertation argues that the hybrid dancing bodies of gudianwu and ballet have become important sites for negotiating Chinese nationalism, modernism, and individualism within the context of globalization. In keeping hybridity and Chineseness as the two central concepts in this study, I examine three research issues: first, how ballet has shaped gudianwu classes and gudianwu dancing bodies; second, how Chinese forms, such as martial arts, Chinese opera, and Chinese folk dance, have influenced ballet training and performance; and third, how the tension and interrelationship between these two hybrid dance practices complicates the concept of Chineseness. My methodology is informed by an interdisciplinary lens that includes postcolonial cultural studies (Bhabha 1994), Chinese cultural studies (Chow 1998), and anthropological Chinese dance studies (Wilcox 2011). I apply ethnography as my primary mode of collecting data while taking the meanings, functions, and historical and cultural contexts of dance into account. As the first dissertation that foregrounds the operation of hybridity in Chinese dance and ballet, this dissertation aims to enrich the theoretical framework of postcolonial and Chinese cultural studies and contribute to a mutual understanding between Chinese and Western cultures. / Dance

Xue Tao was one of the Tang Dynasty's best-known female poets. Her poems are beautiful and of her own style, but there have only been a few of studies on them. This study comprises nine close readings of her thirteen poems most of which can be defined as yongwu poems, as well as a conclusion which summarizes the main characteristics in these poems. The methodology of this research is based on the theory of New Criticism and combined with sinology. Every poem is studied as an independent entity, but its allusions and images are examined in the history of Chinese poetry. This study attempts to deepen the study of Xue Tao’s poetry and readers’ understanding of it.

This research began with an exploration of the phenomenon of cultural conflict and fusion in the process of architectural modernization in Taiwan. It will examine the impact of modern and contemporary theories on the practice of architecture of the island. It will then seek out the essence of Chinese classical architecture in order to develop an approach for the development of the future Chinese/Taiwanese architecture. In addition, the findings of the study could serve as a reference for scholars who would pursue historical and theoretical studies of in the subject, or for architects who are seeking design concepts to enhance their projects. The study utilizes an interpretive-historical methodology. It emphasizes that researchers should investigate social phenomena within broader and more complex contexts of what to uncover the underlying cultural factors. To highlight their significance, the author will pursue a hypothetic project to examine and demonstrate the meaningfulness and applicability of the concepts learned from the research. Efforts were made to discover ways in which Taiwanese and Chinese architectural culture can deal with foreign influences, such that it will be able to enjoy the benefits of modernization while maintaining its unique character and identity. Moreover, it will attempt to uncover ways in which Chinese architecture can in fact influence the global contemporary architectural culture. Finally, it is hoped that this work will produce a useful reference for students, scholars and architects who wish to develop design projects that reflect and celebrate regional cultures. / Ph. D.

The understanding, I draw from this inquiry has come through a muddy, and complex entangledprocess. I have been re-turning like a "Baradian" earthworm, to experiences of being, in spacesof not-knowing. Digesting the mud, moving it, once more, like worms do, through the body.By doing an agential cut, into two spaces, eventually three strong agents unfold: Risk,Vulnerability, and Trust. Out of this result, an ethical and pedagogical question arise: How totake account of Vulnerability and Trust when encouraging our students to Risk?Entering a space of not knowing is at the foundation of my art practice. When as an arteducator,I went to China to inquire into the educational strategies of Chinese Classical Painting,I found myself thrown into a multitude of spaces of not knowing. This thesis, is an inquiry intohow being in such spaces, perform knowledge. To explore this, I return to the field-notes andvisual material including a report in the form of a visual essay of the study from 2011. I re-turnto this material with new tools and concepts inspired by Karen Barads metaphors of diffractionand earth-worms approach, as well as my artists tools: brush, water colours, ink, and paper;inrtoducing painting as a tool for analysis.As a theoretical approach, I entangle the flat ontology of Deleuze and Guattari, and theonto-epistem-ology of Barad, with the philosophical traditions in China of Buddhism and Dao.From an onto-epistem-ological perspective, I ask the question: "If we know about the worldbecause we are of the world," what knowledge then appear, when we experience our being in theworld as a space of not knowing. In this study, I have found that a space of not knowing performlearning through experiences of Vulnerability, Risk and Trust.The art part of this thesis is connected to Risk as well as to Vulnerability and Trust. Itfeatures a rope hanging from the ceiling to the floor. It is a rope that has been used during severalyears by a Circus artist during performances; hanging high up in the ceiling — demanding focusand presence from him. The installation at Konstfack spring-show 2018 featured the Circus artistrope together with a painting made in the context of Buddhist Vipassana meditation, entanglingmy tactile approach in art, with the text of this thesis.