abstract: In an interview with the composer Liu Yintong, she shared her thoughts regarding her inspiration to compose the duet Memorial II. Liu studied under Chen Yi, who is a leading female contemporary composer. She has won many honors and awards worldwide, in addition to performing with major symphonies and musicians, including Yo-Yo Ma, Evelyn Glennie, the Cleveland Orchestra, the British Broadcasting Company (BBC), and Los Angeles Philharmonic. Chen Yi’s Percussion Concerto combines Eastern and Western music styles and also includes Chinese poetry, and elements of Beijing opera. Similarly, Liu uses Chinese poetry and elements of Hebei opera in Memorial II. This document and recording of Memorial II will examine the musical integration of Liu’s educational and cultural experience into her composition. In addition this document will examine Hebei opera styles of singing, imitated in the cello and piano. / Dissertation/Thesis / Doctoral Dissertation Music 2019

The article is meant to delve further "Taiyishengshui". In the discussion text main concept - "Tai-yi", "to give birth to", "the water"... Center does meaning contain why in "Taiyishengshui"?

Habilitationsschrift--Fachbereich Orientalistik--Universität Hamburg. / Bibliogr. p. [351]-369. Index.

Diss.--Bonn--Universität, 1997. / Bibliogr. p.[453]-464. Notes. Glossaire.

Thesis (doctoral)--University of Newcastle upon the Tyne, 1996. / BLDSC reference no.: DX198342.

Thesis (M. Phil.)--University of Hong Kong, 2000. / Includes bibliographical references (leaves 164-172).

Thesis (M.A.)--University of Hong Kong, 1968. / Also available in print.

Thesis (Ph. D.)--Hong Kong Baptist University, 2000. / Thesis submitted to the Dept. of Chinese Language and Literature. Includes bibliographical references (leaves 397-406).

abstract: This project serves as a performance guide for Chen Yi’s work From Old Peking Folklore for violin and piano. The primary source material for the document is derived from six hours of interviews and musical coaching that the writer undertook in March 2020 with Chen Yi at her residence in Missouri. The work is heavily influenced by Chinese Opera, and a brief examination of the history of Chinese Opera is included to provide context to the performer. Elements of performance practice on traditional Chinese instruments and their influence on the work are also explored, with detailed explanations given for the realization of numerous indications in the score from the composer. Finally, a link to a lecture recital and performance of the work is provided by the writer. / Dissertation/Thesis / Doctoral Dissertation Music 2020

Quels peuvent être les espaces d’interaction entre écriture et écologie – comprises toutes deux dans leur sens large – à l’ère de l’Anthropocène ? En prenant pour pivot de réflexion les textes de Wu Ming-yi吳明益 (1971-), auteur taïwanais contemporain, cette thèse souhaite interroger ces interactions à travers trois modalités :1) la mise en narration de l’environnement naturel : que signifie « écrire la nature » ? Quelles incidences esthétiques, politiques, ontologiques induisent l’utilisation de la catégorie discursive de « nature » et son dépassement, à travers par exemple l’écriture de l’espace urbain, au profit d’une « écopoétique » ?2) l’écriture et la pratique écologiste : comment l’écriture investit les plateformes idéologiques, de la réécriture de l’histoire (post)coloniale de Taïwan à la résistance militante ?3) l’écriture et l’imagination littéraire de devenirs-humain et de devenirs-monde alternatifs : comment l’écriture peut fait naître la possibilité d’envisager l’existence d’un monde commun respectueux du divers ?À l’appui d’une lecture écocritique des œuvres de Wu Ming-yi – sans limitation de genre (romans, nouvelles, essais et même travaux académiques) – et leur mise en perspective avec d’autres textes (littéraires ou non) et issus d’horizons géographiques différents, l’objectif de cette thèse est ainsi de réfléchir sur la poétique de la relation telle qu’elle s’exprime dans l’appropriation par Wu de problématiques environnementales dans le contexte spécifique de Taïwan.Nous essaierons de nous intéresser plus particulièrement à l’écopoétique en tant que réflexion sur l’idée de « nature », en tant que programme cosmopolitique et en tant que philosophie concrète et rhizomatique de la Relation. / Due to its highly transversal dimension, the contemporary paradigm of the Anthropocene forces us to profoundly rethink the mapping of knowledge domains. Then, how to reconsider the interstitial spaces between ecology and writing, at an age when the human influence has become the most powerful geophysical force on the planet? By focusing mainly on the Taiwanese contemporary writer Wu Ming-yi 吳明益 (1971-), this thesis addresses these interactions through three lenses: 1) writing and observation of the natural environment; 2) writing and environmental 2 activism and 3) writing and the literary imagination of alternative relational becomings. This thesis offers an ecocritical reading of Wu Ming-yi’s works putting them into perspective with other texts (literary or not) coming from different geographical backgrounds. This study aims at highlighting the way in which Wu’s texts are creating a kind of poetics of Relation in the socio-historical context of Taiwan, in a time when ecological crisis transcend our normative conceptions of the local and the global.