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

No description available.

Cette thèse se propose d’étudier un ensemble de romans portant sur l’histoire dynastique,composés entre les années 1630 et les années 1730. Nous lisons ces œuvres à partir de la notion de monde impérial, en désignant par ce terme les représentations du réel où l’institution régnante sert de point de repère, aussi bien pour s’orienter dans l’espace et dans le temps, que pour expliquer les mouvements d’ordre et de désordre qui affectent l’ensemble des vies. L’objet central de cette étude est de saisir ce qui vacille et se transforme dans les manières d’ordonner des mondes impériaux au sein des romans composés durant cette période.Pour ce faire, nous nous proposons de relire ces œuvres à partir d’une série de ruptures qui travaillent les usages ou les conceptualisations de notions clés du discours néo-confucéen :les deux couples guo 國 et tianxia天下 (monde et dynastie), su 俗 et minjian 民間(vulgaire et populaire), et les trois notions de yanyi 演義 (développement du sens/ histoire exemplaire), zhi 知 (l’étape ultime du discernement) et gong 公(sens public). Une telle approche nous permet de mettre en évidence des liens qui restaient invisible dans le discours critique entre les romans sur l’histoire dynastique et un ensemble d’évolutions sociales et intellectuelles qui ont lieu entre les années 1630 et les années 1730, et qui touchent à des objets aussi divers que l’organisation spatiale et ethnique de l’empire, les formes d’activisme social, ou les termes dans lesquels sont pensés les discours moraux, et historiographiques.Corpus principal : Écrits oubliés des Sui (Suishi yiwen隨史遺文，préface 1633) ;Deuxième collection du Lac de l’ouest (Xihu erji 西湖二集, années 1640) ;Second bord de l’eau (Hou Shuihu zhuan後水滸傳，fin des Ming, début des Qing) ;Histoire exemplaire et vulgarisée du bûcheron (Qiaoshi tongsu yanyi樵史通俗演義, début desQing) ; Suite au bord de l’eau (Shuihu houzhuan水滸後傳，préface 1664) ; Histoire exemplaire des Sui et des Tang (Sui Tang yanyi隋唐演義, préface 1695) ;Histoire non-officielle des immortelles (Nüxian waishi女仙外史, préface 1711) ; Récit complet des Tang (Shuo Tang quanzhuan 說唐全傳, années 1730) / This dissertation deals with a set of novels about dynastic history written between the 1630sand the 1730s. My point of departure is the following : A) I study the way these novels structure representations of the imperial world – that is,representations of space, time, and social order that are organized in reference to the imperialinstitution.B) I reinsert these representations of the imperial world within contemporary ru (儒Neo-confucian) discourses. I do so by focusing on the way five notions or set of notions, thatare both central to ru discourses and to these novel are conceptualized and used : the twinnotions of guo (國 “imperial institution” / “country”) and tianxia (天下 “the world”) ; su (俗“vulgar”) and minjian (民間 “popular”); the notions of yanyi (演義 “development ofmeaning”, “exemplary narrative”); gong (公, “public”) ; and zhi (知 “moral recognition”). In doing so, this dissertation highlights a web of connections that were previouslyinvisible between novelistic representations of the imperial world and a set of evolutions withinthe ru world that are contemporary to the writing of these novels.Main primary sources : Forgotten Tales of the Sui (Suishi yiwen 隨史遺文，preface 1633) ; Second West Lake Collection (Xihu erji 西湖二集, ca1640) ; Second Water Margins (Hou shuihu zhuan後水滸傳 late Ming- early Qing ) ; Exemplary and Popularized History of the Woodcutter (Qiaoshi tongsu yanyi樵史通俗演義,early Qing) ; A sequel to the Water Margins, (Shuihu houzhuan水滸後傳，preface 1664) ; Exemplary History of the Sui and Tang ( Sui Tang yanyi 隋唐演義, preface 1695) ; Non-Official History of the Female Immortals (Nüxian waishi女仙外史, preface 1711) ; Complete History of the Tang (Shuo Tang quanzhuan說唐全傳, ca 1730)

湯泳詩. / "2005年5月". / 論文(神(道)學碩士)--香港中文大學, 2005. / 參考文獻(leaves 53-57). / "2005 nian 5 yue". / Abstract also in English. / Tang Yongshi. / Can kao wen xian (leaves 53-57). / Lun wen (Shen (dao) xue shuo shi)--Xianggang Zhong wen da xue, 2005. / ABSTRACT --- p.I / 論文撮要 --- p.III / 謝辭 --- p.IV / Chapter 第一章 --- 引言 --- p.1 / Chapter 第二章 --- 香港基督教工業委員會歷任主任生平與思想 --- p.4 / Chapter 第一節 --- 簡美稼(1915-2003，1967-1969在任)的「勞資協調路線」 --- p.5 / 簡美稼的生平 --- p.5 / 簡美稼的工業宣教理念 --- p.7 / Chapter 第二節 --- 馮煒文(1940-，1%9-1980在任)的「站在工人一邊立場」 --- p.9 / 馮煒文的生平 --- p.9 / 馮煒文的工業宣教理念 --- p.11 / Chapter 第三節 --- 劉千石(1949- ，1980在任至今)的「走在社會最前線」 --- p.13 / 劉千石的生平 --- p.14 / 劉千石的工業宣教理念 --- p.16 / 附記(excursus)陸漢思(1936-，1968-1992在任)的「福音與勞工」 --- p.18 / 陸漢思的生平 --- p.19 / 陸漢思的工業宣教理念 --- p.20 / Chapter 第三章 --- 香港基督教工業委員會的歷史發展(1959-2004) --- p.23 / Chapter 第一節 --- 第一階段´ؤ´ؤ始創時期（1959-1969) --- p.23 / 學習及祈禱小組 --- p.24 / 以出版作爲與教會溝通的平台 --- p.25 / 勞工主日 --- p.25 / 聘請專職人員和草擬工作細則 --- p.25 / Chapter 第二節 --- 第二階段´ؤ´ؤ重整時期（1969-1980) --- p.27 / 回應勞工問題及硏究 --- p.27 / 爭取訂立勞工法例 --- p.28 / 與教會聯繫 --- p.28 / 多樣化的勞工教育 --- p.28 / 出版事工 --- p.29 / Chapter 第三節 --- 第三階段´ؤ´ؤ增長時期（1980-1990) --- p.29 / 建立教會情況 --- p.30 / 關注勞工問題 --- p.30 / 倡議行動 --- p.30 / 工潮及勞資糾紛 --- p.30 / 籌辦工會 --- p.31 / 工會教育 --- p.31 / 參與香港民主化進程 --- p.31 / 繼續勞工硏究與出版 --- p.32 / Chapter 第四節 --- 第四階段´ؤ´ؤ轉折時期（1990-2004) --- p.33 / 中國事工組工作槪況 --- p.34 / 香港與國際事務 --- p.34 / 推動香港消費者運動 --- p.35 / 調硏出版 --- p.35 / Chapter 第四章 --- 香港基督教工業委員會在香港教會的身分與角色 --- p.37 / Chapter 第一節 --- 「搞事份子」身份的建立 --- p.37 / Chapter 甲： --- 教會不願意接受工委會工作的原因 --- p.37 / Chapter 一 --- 對工會的恐懼 --- p.37 / Chapter 二 --- 手法強硬 --- p.37 / Chapter 三 --- 缺乏程序 --- p.38 / Chapter 乙: --- 教會拒絶工委會的事情 --- p.38 / Chapter 一 --- 中華基督教會的退出 --- p.38 / Chapter 二 --- 協進會要求獨立 --- p.39 / Chapter 丙： --- 工委會對教會的態度 --- p.40 / Chapter 一 --- 經濟支持 --- p.40 / Chapter 二 --- 互相觀望 --- p.40 / Chapter 丁： --- 工友對工委會與教會的意見 --- p.41 / Chapter 一 --- 工委會受限於教會 --- p.41 / Chapter 二 --- 中立的工會運動 --- p.41 / Chapter 三 --- 傳福音的方法 --- p.42 / Chapter 第二節 --- 「教會良心」身份的建立 --- p.43 / Chapter 甲： --- 教會支持工委會的事情 --- p.43 / Chapter 一 --- 馮煒文的神學反省 --- p.43 / Chapter 二 --- 國際教會的支持 --- p.43 / Chapter 乙： --- 工委會的基督教特質 --- p.44 / Chapter 一 --- 工作動力從福音而來 --- p.44 / Chapter 二 --- 一個屬乎上帝的組織 --- p.44 / Chapter 三 --- 實踐信仰 --- p.45 / Chapter 丙： --- 工委會的教會性質 --- p.46 / Chapter 一 --- 出於上帝的恩寵和肩負獨有的職務 --- p.46 / Chapter 二 --- 先知和僕人的樣式 --- p.47 / 附記(excursus)勞工教會的發展歷程 --- p.47 / Chapter 第五章 --- 總結 --- p.50 / 附件一始創時期「工業委員會」的工作 --- p.52 / 徵引書目 --- p.53

While magnetohydrodynamic (MHD) instabilities are considered one of the intriguing topics in tokamak physics, a feasibility study was conducted in the Saskatchewan Torus-Modified (STOR-M) tokamak to investigate the global MHD activities during the normal (L-mode) and improved (H-mode) confinement regimes. The experimental setup consists of 32 discrete Mirnov coils arranged into four poloidal arrays and mounted on STOR-M at even toroidal distances. The perturbed magnetic field fluctuations during STOR-M discharges were acquired and processed by the Fourier transform (FT), the wavelet analysis and the singular value decomposition (SVD) techniques. In L-mode discharges, the poloidal MHD mode numbers varied from 2 to 4 with peak frequencies in the range 20-40 kHz. The dominant toroidal modes were reported between 1 and 2 oscillating at frequencies 15-35 kHz. In another experiment, a noticeable MHD suppression was observed during the H-mode-like phase induced by the compact torus (CT) injection into STOR-M. However, a burst-like mode called the gong mode was triggered prior to the H-L transition, followed by coherent Mirnov oscillations. Mirnov oscillations with strong amplitude modulations were observed in the STOR-M tokamak. Correlations between Mirnov signals and soft x-ray (SXR) signals were found.

While magnetohydrodynamic (MHD) instabilities are considered one of the intriguing topics in tokamak physics, a feasibility study was conducted in the Saskatchewan Torus-Modified (STOR-M) tokamak to investigate the global MHD activities during the normal (L-mode) and improved (H-mode) confinement regimes. The experimental setup consists of 32 discrete Mirnov coils arranged into four poloidal arrays and mounted on STOR-M at even toroidal distances. The perturbed magnetic field fluctuations during STOR-M discharges were acquired and processed by the Fourier transform (FT), the wavelet analysis and the singular value decomposition (SVD) techniques. In L-mode discharges, the poloidal MHD mode numbers varied from 2 to 4 with peak frequencies in the range 20-40 kHz. The dominant toroidal modes were reported between 1 and 2 oscillating at frequencies 15-35 kHz. In another experiment, a noticeable MHD suppression was observed during the H-mode-like phase induced by the compact torus (CT) injection into STOR-M. However, a burst-like mode called the gong mode was triggered prior to the H-L transition, followed by coherent Mirnov oscillations. Mirnov oscillations with strong amplitude modulations were observed in the STOR-M tokamak. Correlations between Mirnov signals and soft x-ray (SXR) signals were found.

Title from PDF of title page. / Document formatted into pages; contains 295 pages. / Thesis (M.A.)--University of South Florida, 2003. / Includes bibliographical references. / Text (Electronic thesis) in PDF format. / ABSTRACT: Falun Gong, also known as Falun Dafa, has been described in many ways. It has been called qigong, one of many schools of physical exercises that aim at improving health and developing "supernatural abilities". Scholars and mainstream media have referred it to as a "spiritual movement" or religion, although practitioners claim it is not a religion. It has been called a cult, in the pejorative sense rather than in a sociological context, by the Chinese government and by some Western critics. In the writings of Li Hongzhi, the founder of Falun Gong, it is referred to in different ways, though primarily as a "cultivation practice". The question of how to define Falun Gong is not just an academic issue; the use of the cult label has been used to justify the persecution of practitioners in China. To a limited degree, the Chinese Government is able to extend the persecution overseas. / ABSTRACT: How society defines Falun Gong has implications for action on the level of policy, as well as the shaping of social, cultural, and personal attitudes. This research project addresses what Falun Gong is through ethnography. Research methods included participant-observation, semi-structured ethnographic interviews (both in-person and on-line), and content analysis of text and visual data from Falun Gong books, pamphlets, and websites. Research sites included Tampa, Washington D.C., and "cyberspace". In order to keep my research relevant to the issues and concerns of the Falun Gong community, I was in regular contact with the Tampa practitioners, keeping them abreast of my progress and asking for their input. My findings are contrary to the allegations made by the Chinese Government and Western anti-cultists in many ways. Practitioners are not encouraged to rely on Western medicine, but are not prohibited from using it. Child practitioners are not put at risk. / ABSTRACT: Their organizational structure is very loose. Finally, the Internet has played a vital role in Falun Gong's growth and continuation after the crackdown. / System requirements: World Wide Web browser and PDF reader. / Mode of access: World Wide Web.

A l’interface de l’automatique, de la mécanique et de l’acoustique musicale, le contrôle des instruments de musique s’emploie à développer des méthodes permettant de contrôler, en temps réel, leur son acoustique. Les contrôleurs utilisés dans ce domaine s’appuient sur des modèles linéaires ne prenant pas en compte les non-linéarités présentes dans le comportement de certains instruments. Les gongs d’opéra chinois présentent ainsi plusieurs phénomènes induits par des non-linéarités géométriques, dont un très caractéristique glissement fréquentiel qui impacte plusieurs de leurs modes de vibration. Le présent travail propose d’initier la mise en place d’un contrôle de ces instruments par le biais de trois étapes consécutives. Dans un premier temps, les performances et limites du contrôle modal moderne vis-à-vis des phénomènes non linéaires présents dans le comportement de l’instrument (distorsion harmonique, glissement fréquentiel, résonances internes) sont étudiées et quantifiées. Les limitations mises en évidence précédemment motivent, dans un second temps, le développement d’un modèle d’ordre réduit décrivant le mode fondamental de l’instrument. Ce mode fondamental est caractérisé et identifié expérimentalement par une méthode récente utilisant une boucle à verrouillage de phase. Enfin, les limites de l’approximation uni-modale pour la description du mode fondamental de l’instrument en situation de jeu sont étudiées. L’interaction entre les résonances internes et le phénomène de glissement fréquentiel est démontrée en régime libre, ouvrant la voie vers le développement d’un modèle réduit pour décrire le comportement du mode fondamental du gong. / At a crossroads between automatics, mechanics and musical acoustics, active control of musical instruments aims at finding methods which would allow to control their acoustic sound in real time. Previous instrumental control studies never acknowledged nonlinear behaviours in musical instruments. However, Chinese opera gongs show various phenomena due to geometrical nonlinearities, among which a specific pitch glide, impacting several of its vibration modes. We propose to address the control of these instruments by reaching three consecutive steps. First, the performances and the limits of modern modal control regarding nonlinear phenomena in the behavior of the gong (harmonic distortion, internal resonances, pitch glide) are highlighted and quantified. The limitations of modal control suggests the development of a reduced order model describing the fundamental mode of the instrument. The nonlinear mode associated with the fundamental mode is characterized and identified experimentally by a method resorting to a Phase Locked Loop (PLL). Finally, the limits of the unimodal approximation describing the fundamental mode in playing condition are highlighted. The interaction between internal resonances and pitch glide phenomena is demonstrated experimentally in free vibration, allowing for the developing of a reduced order model to describe the fundamental mode of the instrument.

Falun Gong as it began to establish itself in China during the early 1990’s was a reaction to the Qigong bloom from the late 1970’s during a period of recent newfound religious as well as cultural revival after Mao Zedong's death in 1976. The Chinese Government continued their cultural revival with a new constitution that was created 1982, which gave the people of China the rights to practice their religion as well as be under the protection of the government when affiliating with different kinds of religious organizations. That will say, as long as the Chinese government can control it. Falun Gong did not however find its place being under the government's control and found itself soon enough in the violence of the Chinese government which has from the year 1999 criticized the movement and their use of systematic violence upon the movement was drawn to the edge of persecution. The Chinese government's reaction can as we will see be understood within the context of the Chinese religious history. As Falun Gong stands out as and been branded as a offspring from the folk sectarian movement White Lotus and all other affiliations of messianic rebellion and millenarian movements which had occurred from the early Ming dynasty 1338 until the fall of the Qing dynasty 1911

Cette recherche-création s'inscrit dans un courant de pensée voulant que l'acteur puisse, grâce à une utilisation particulière de son corps, développer en lui un « contexte énergétique » pouvant favoriser sa créativité. Elle s'appuie sur certaines théories de formation d'acteurs, dont l'Acteur dilaté d'Eugenio Barba, le théâtre pauvre de Jerzy Grotowski et la Dynamique interne de Michael Chekhov. Ce mémoire témoigne d'une expérimentation à travers laquelle nous avons réalisé une oeuvre dramatique en utilisant le Qi Gong comme principal outil créateur afin de voir comment l'énergie qu'il suscite pouvait stimuler l'acteur dans sa créativité. Nous avons pu observer au fil de ces rencontres qu'à travers les mouvements et l'énergie qui se dégageaient de sa pratique, il aura bel et bien stimulé notre imagination et notre créativité. La pièce BAI HE a été présentée dans le cadre des portes ouvertes du LANTISS à l'été 2010.