Thesis (Ph. D.)--University of Chicago, Dept. of History, December 2002. / Includes bibliographical references. Also available on the Internet.

System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Feb. 26, 2004, Nov. 5, 2004, Nov. 6, 2004, and Feb. 11, 2009. Includes bibliographical references (p. 45-47).

abstract: ABSTRACT The purpose of this study is to analyze Tunes from My Home, a Trio for Violin, Cello, and Piano by Chinese-American composer Chen Yi (b. 1953), as well as to provide a performance guide from a collaborative pianist's perspective. Of Cantonese origin herself, Chen Yi composed several works inspired by Cantonese music, including this trio. Chen Yi composed this trio between 2007 and 2008 and dedicated it to her long time friend pianist Pan Xun, who is also of Cantonese origin. Inspired by this shared Cantonese heritage, Chen Yi incorporated within this work three well-known Cantonese tunes, Cantonese instrumental techniques and sonorities, and elements of the shifan luogu, a wind and percussion ensemble often used in traditional Cantonese music. Coming from the same region as the composer, the author of this paper feels connected with this piece, and as a collaborative pianist, has the opportunity to introduce Cantonese music to a wider audience through the piano trio. Chapter one introduces the motivation for this study. Chapter two provides a brief biography of Chen Yi. Chapter three introduces the history, the scales, and the instruments of Cantonese music as well as other Cantonese influences on this trio, especially the three tunes. Chapter four includes a detailed analysis of each movement in terms of the form and application of the tunes and rhythms of Cantonese music. Chapter five shares the author’s experience of approaching and interpreting this piece in an appropriate style based on her Cantonese roots. The conclusion evaluates the significance of the fusion of Cantonese music with Western compositional techniques in this piece. / Dissertation/Thesis / Doctoral Dissertation Music 2017

abstract: This dissertation focuses on seven solo piano works written by contemporary Chinese-American composer Chen Yi. It is presented in the form of a recording project, with a written analysis of each recorded composition. The seven recorded pieces are Variations on "Awariguli", Duo Ye, Guessing, Two Chinese bagatelles: Yu Diao and Small Beijing Gong, Ba Ban, Singing in the Mountain, and Ji-Dong-Nuo. They were written between 1978 and 2005, presenting a wide range of Chen Yi's compositional style. The written portion consists of five chapters. After the introductory chapter, a sketch of Chen Yi's life is presented in Chapter Two. This chapter specifically uncovers Chen Yi's deep roots of Chinese traditional and folk music through her experiences during the Cultural Revolution. Chapter Three analyzes each of the seven pieces. Through formal structure realization, motivic analysis, and folk music implication, the author discovers the blend of Chinese and Western cultures throughout Chen Yi's music. Chapter Four discusses the performance aspect of these compositions through the author's recording experience. In this chapter, the author provides background information as well as suggestions on specific performance practice. The last chapter summarizes the entire dissertation. / Dissertation/Thesis / Variations on "Awariguli" / Duo Ye / Guessing / Two Chinese Bagatelles: Yu Diao / Two Chinese Bagatelles: Small Beijing Gong / Ba Ban / Singing in the Mountain / Ji-Dong-Nuo / D.M.A. Music 2012

Framed by problems and dialogues established in anthropology of religion, ritual studies, and Yi studies, this dissertation explores the processes of religious revitalization and knowledge transformation in contemporary southwestern China among the ethnic Yi people, one of China’s officially designated 55 minority groups. Utilizing ethnographic and visual methods during a 16-month long fieldwork (2016-2017) conducted in Liangshan Yi Autonomous Prefecture in southern Sichuan, this dissertation examines the politics of religion and knowledge in the mapping of both the Chinese state’s modernist transformations of the 20th century and the ways that local Yi ritual specialists (mainly focused on the bimo priest-shamans) and lay participants wrestle with the emerging circumstances of social change. It draws on local discourses of mixin (“superstition”) as a site for untangling China’s historical problematization of “religion” and the concurrent public ambivalence towards the legitimacy and conceptualization of Yi ritual practices. It also tackles the theoretical debate on magico-religious practices and suggests an analytic approach to Yi bimoist ritual knowledge, practice, and power by undertaking a comparative framework of shamanic studies in South America and Inner Asia. In addition, this dissertation develops an ethnographic understanding of the assemblages and trajectories of objects, animal sacrifice, and the materio-socio-sensorial environment in Yi everyday and ceremonial lives. With this, it illustrates how a morally legitimate relatedness in light of a socio-cosmo-genealogical flow of power is casted in a history-in-the-making of an ethnic group.

No description available.

Dès 1951, le compositeur américain John Cage (1912-1992) s’engage dans la recherche de stratégies nouvelles de création. Son objectif principal consiste à éviter de laisser la subjectivité gouverner son univers artistique. L’œuvre doit être exempte de tout geste expressif, ainsi que d’éléments issus de la mémoire. Commence alors l’invention de multiples procédés impersonnels de composition permettant au hasard d’être à l’origine de la conception de l’œuvre et de jouer un rôle à différents stades de l’élaboration. Il s’ensuit une exploration artistique où le créateur se trouve confronté à l’imprévisible. À partir de 1969, la recherche de moyens non-intentionnels de création s’élargit du domaine musical au domaine plastique. Les trois parties de notre thèse portent sur le processus d’élaboration, la performance et l’exposition. Pour une part importante de la production musicale et visuelle de Cage, si le hasard intervient dans la phase d’élaboration, les œuvres engendrées restent néanmoins fixes dans leur état final. Cependant, notamment dans les années soixante, la plupart des œuvres musicales prennent une forme indéterminée, le hasard intervenant également au moment de la performance, d’où l’imprévisibilité du résultat. Enfin, cette dialectique entre un hasard fixe et une indétermination mobile est mise en œuvre à la fin de sa vie dans la conception d’installations et d’expositions. D’un point de vue théorique, il est important de comprendre si la position de Cage est alors celle d’un simple transcripteur des résultats fournis par le hasard ou si des choix tiennent néanmoins une place dans sa création. Notre recherche montre que la position de l’artiste est double. Si Cage est à l’écoute du hasard, ses préoccupations thématiques dans les domaines musical, plastique et muséologique n’en ont pas moins laissé une forte empreinte sur sa production sous forme de différents invariants. / Starting in 1951 the American composer John Cage (1912-1992) relentlessly searched for new creative strategies. His main goal was to ensure that no form of subjectivity ruled his artistic universe. A work had to be free of any and all expressive gestures, as well as traces of memory. This stipulation led to his inventing multiple impersonal procedures of composition in that chance operations both initiated the conception of a work and played a role at different stages of its elaboration. The outcome of this artistic exploration meant that the creator had to come to terms with the unpredictable. From 1969 on, Cage carried over non-intentional modes of creation from his musical production to his visual works. The three main sections of our thesis focus on their process of elaboration, musical performance, and exhibitions. If chance operations came into play in the elaborative stage of a large number of these works, the latter nonetheless remained fixed in their final state. Yet, particularly in the 1960’s, most of the composer’s musical works had an indeterminate form, given that chance intervened during the performance, leading to unforeseen results. Finally, at the end of his life Cage put into play this dialectic relationship between fixed chance and mobile indetermination in his conception of installations and exhibitions. From a theoretical point of view, it is important to understand if his role is that of a simple transcriber of chance operation results or if choice still remains operative in his production. Our research shows that the position of the artist is dual: if Cage remains open to chance, his thematic interests in the fields of music, visual arts, and museology have just as strongly left their mark on his production in the form of different invariants.

O constante refletir sobre si mesma é uma das mais importantes características da ciência, é desse modo que ela avança e procura compreender novas realidades e tecer novas maneiras de ver o mundo. Nesse contexto, a geografia não poderia se furtar à permanente autoreflexão. Uma das maneiras de percorrer os caminhos que a geografia tem trilhado é buscar conhecer a obra de grandes geógrafos, em especial, daqueles que efetivamente marcam grandes inovações e abrem novos horizontes para a nossa ciência. Esta tese, então, é fruto de uma profunda exploração na geografia de Yi-Fu Tuan, um dos fundadores da geografia humanista. Suas reflexões enriqueceram e, sobretudo, propuseram à geografia a abertura de novas abordagens e temas de análise: às suas mais conhecidas concepções sobre espaço e lugar, somam-se debates sobre os valores, a moral, o escapismo, a bondade, a criação de pets, o cosmopolitismo e ainda a comunidade e o indivíduo. Para um profundo entendimento da obra de Tuan pensamos ser importante, primeiramente, decompor seus elementos constituintes. Assim, trouxemos à luz suas principais influências e matrizes de pensamento, por meio de um extenso levantamento dos autores que cita e as discussões que fomenta entre a fenomenologia-existencialista, o estruturalismo, o humanismo e a própria geografia. A riqueza de seu pensamento é fruto da aguda erudição e de seu livre-pensar. Por isso, procuramos compreender como Tuan trata as essências principais, por meio dos debates e significações acerca do espaço, lugar, paisagem, meio ambiente, tempo, entre outras. Verificamos, ao realizar a leitura da obra que, além das essências, Tuan também tem temas privilegiados que persistem ao longo de seus quase cinquenta e cinco anos de geografia, como percepção, atitudes, comportamento, arte e cultura entre outros. A maneira como o autor os aborda também foi objeto de exposição nesta tese. Ao mesmo tempo, identificamos outros temas-chave, mas que não persistem por toda a sua carreira, eles são ora frutos do jovem Tuan como é o caso do estudo dos aspectos físicos em geografia ora reflexos de uma mente mais amadurecida em um mundo que se globaliza, como por exemplo, na abordagem do progresso ou do placelessness. Então, para que pudéssemos ter a compreensão do percurso da obra e suas temáticas, recompusemos o todo por meio de argumentações acerca de cada um de seus livros, considerados aqui como sínteses ainda que incompletas de seus argumentos. Tuan é sobretudo um humanista, que acredita na educação libertária da mente humana e que compõe toda uma geografia em busca da essência humana. Conhecer, portanto, a geografia, é conhecer a nós mesmos. Desta forma, finalmente, voltamos ao impulso inicial desta tese: compreender que é geografia para um de seus pensadores contemporâneos mais influentes e as contribuições que esta geografia tem para dar ao mundo. / The constant reflection on itself is one of most important characteristic of science, this is the way to develop and search the understanding of new realities and weave the ways of improving the world views. Giving that, geography could not avoid permanent self reflexiveness. One of the ways to pursue the paths in which Geography has been walking is to know great geographers works, especially those who had deeply contributed with highly innovative and broadening new horizons into the geographical science. This thesis, then, is the product of a thorough exploration into Yi-Fu Tuans geography, one of the humanist geography founders. His reflections have enriched and, furthermore, proposed to open geography to new approaches and themes: to his mostly known conceptions about space and place, we add discussions on values, moral, escapism, human goodness, dominance of pets, cosmopolitanism, community and self. To get a deep insight into Tuans work it was necessary to decompose its elements. Therefore, his main influences and matrices of thought were brought to light through an extensive survey into his work, research on the authors whom he quotes over, regarding the discussions he foments amongst Phenomenologyexistentialism, Structuralism, Humanism and Geography itself. The richness of his thoughts is a result of acute erudition and his free-thinking. Therefore, this thesis seeks to comprehend how Tuan copes with the main essences through debates and meanings of space, place, landscape, environment, time, and so on. Through the reading of his work that we verified that, besides to essences, Tuan also has other privileged themes, he has kept debating during his almost fifty five years of geographical study, such as perception, attitudes, behavior, arts and culture, amongst others. The way the author approaches the themes was also explored throughout this thesis. Meanwhile, other key subjects were identified in his work, which, however, are not persistent during his whole career. Among them some are products of the young Tuan as it is the case of the studies on the physical aspects in geography others are reflections of a globalized world over a mature mind, as an example, the approach of progress or placelessness. To achieve the lengthiness of his work and its themes, we chose to review each book, considering that they are syntheses although incomplete of his arguments. Above all, Tuan is a humanist, who believes in the free education of the human mind, and who makes a complete geography in the search of human essence. Knowing geography is, therefore, understanding ourselves. Thus, we finally turn back to the prior impulse of this thesis: understanding what geography is to one of its most influential thinkers and the contributions that this geography has to offer the world.

O constante refletir sobre si mesma é uma das mais importantes características da ciência, é desse modo que ela avança e procura compreender novas realidades e tecer novas maneiras de ver o mundo. Nesse contexto, a geografia não poderia se furtar à permanente autoreflexão. Uma das maneiras de percorrer os caminhos que a geografia tem trilhado é buscar conhecer a obra de grandes geógrafos, em especial, daqueles que efetivamente marcam grandes inovações e abrem novos horizontes para a nossa ciência. Esta tese, então, é fruto de uma profunda exploração na geografia de Yi-Fu Tuan, um dos fundadores da geografia humanista. Suas reflexões enriqueceram e, sobretudo, propuseram à geografia a abertura de novas abordagens e temas de análise: às suas mais conhecidas concepções sobre espaço e lugar, somam-se debates sobre os valores, a moral, o escapismo, a bondade, a criação de pets, o cosmopolitismo e ainda a comunidade e o indivíduo. Para um profundo entendimento da obra de Tuan pensamos ser importante, primeiramente, decompor seus elementos constituintes. Assim, trouxemos à luz suas principais influências e matrizes de pensamento, por meio de um extenso levantamento dos autores que cita e as discussões que fomenta entre a fenomenologia-existencialista, o estruturalismo, o humanismo e a própria geografia. A riqueza de seu pensamento é fruto da aguda erudição e de seu livre-pensar. Por isso, procuramos compreender como Tuan trata as essências principais, por meio dos debates e significações acerca do espaço, lugar, paisagem, meio ambiente, tempo, entre outras. Verificamos, ao realizar a leitura da obra que, além das essências, Tuan também tem temas privilegiados que persistem ao longo de seus quase cinquenta e cinco anos de geografia, como percepção, atitudes, comportamento, arte e cultura entre outros. A maneira como o autor os aborda também foi objeto de exposição nesta tese. Ao mesmo tempo, identificamos outros temas-chave, mas que não persistem por toda a sua carreira, eles são ora frutos do jovem Tuan como é o caso do estudo dos aspectos físicos em geografia ora reflexos de uma mente mais amadurecida em um mundo que se globaliza, como por exemplo, na abordagem do progresso ou do placelessness. Então, para que pudéssemos ter a compreensão do percurso da obra e suas temáticas, recompusemos o todo por meio de argumentações acerca de cada um de seus livros, considerados aqui como sínteses ainda que incompletas de seus argumentos. Tuan é sobretudo um humanista, que acredita na educação libertária da mente humana e que compõe toda uma geografia em busca da essência humana. Conhecer, portanto, a geografia, é conhecer a nós mesmos. Desta forma, finalmente, voltamos ao impulso inicial desta tese: compreender que é geografia para um de seus pensadores contemporâneos mais influentes e as contribuições que esta geografia tem para dar ao mundo. / The constant reflection on itself is one of most important characteristic of science, this is the way to develop and search the understanding of new realities and weave the ways of improving the world views. Giving that, geography could not avoid permanent self reflexiveness. One of the ways to pursue the paths in which Geography has been walking is to know great geographers works, especially those who had deeply contributed with highly innovative and broadening new horizons into the geographical science. This thesis, then, is the product of a thorough exploration into Yi-Fu Tuans geography, one of the humanist geography founders. His reflections have enriched and, furthermore, proposed to open geography to new approaches and themes: to his mostly known conceptions about space and place, we add discussions on values, moral, escapism, human goodness, dominance of pets, cosmopolitanism, community and self. To get a deep insight into Tuans work it was necessary to decompose its elements. Therefore, his main influences and matrices of thought were brought to light through an extensive survey into his work, research on the authors whom he quotes over, regarding the discussions he foments amongst Phenomenologyexistentialism, Structuralism, Humanism and Geography itself. The richness of his thoughts is a result of acute erudition and his free-thinking. Therefore, this thesis seeks to comprehend how Tuan copes with the main essences through debates and meanings of space, place, landscape, environment, time, and so on. Through the reading of his work that we verified that, besides to essences, Tuan also has other privileged themes, he has kept debating during his almost fifty five years of geographical study, such as perception, attitudes, behavior, arts and culture, amongst others. The way the author approaches the themes was also explored throughout this thesis. Meanwhile, other key subjects were identified in his work, which, however, are not persistent during his whole career. Among them some are products of the young Tuan as it is the case of the studies on the physical aspects in geography others are reflections of a globalized world over a mature mind, as an example, the approach of progress or placelessness. To achieve the lengthiness of his work and its themes, we chose to review each book, considering that they are syntheses although incomplete of his arguments. Above all, Tuan is a humanist, who believes in the free education of the human mind, and who makes a complete geography in the search of human essence. Knowing geography is, therefore, understanding ourselves. Thus, we finally turn back to the prior impulse of this thesis: understanding what geography is to one of its most influential thinkers and the contributions that this geography has to offer the world.

The first chapter of this thesis examines the textual transmission of Pu Songling's collection of tales, Liaozhai zhiyi, and through a study of extant manuscripts and editions concludes that in its original format the work consisted of eight volumes. After a review of evidence for dating the composition of the collection, the two volumes of earliest and latest date are identified and their contents analysed. There is traced a pattern of development from relatively simple supernatural and romantic stories in Pu's early work to more complex character configurations in the later stories, where social criticism also plays a more conspicuous role. The second chapter focuses on the life and times of Pu Songling and discusses the process by which the social realities of Shandong in the early Qing period - famine, military campaigns, bandit raids - and particular aspects of the author's personal experience - examination failure, observation of administrative abuses, professional activities, and family and personal relations - intrude persistently into his stories. Special attention is paid to Pu's examination career and the institutional factors which impeded his progress; his criticisms of the selection system are shown to be qualified by passive acquiescence. The third chapter questions conventional definitions of Liaozhai zhiyi's place in literary tradition. After a survey of the Classical tale from l500 to l700, it is demonstrated that Pu's work can be distinguished from the early-Ming story, and should be regarded as a development of existing trends in late-Ming and early-Qing fiction. In its romantic orientation, realistic detail, and prose style, Liaozhai zhiyi has a kinship with its immediate literary forebears. What links it has to vernacular fiction concern thematic and descriptive emphases rather than the occasional use of colloquialisms. Methods of determining the derivation of plots and motifs in Pu's tales are critically examined, and a distinction is drawn between analogues and written sources.