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Add the result to your basket Make a suggestion Refine your search Apply to external sourcesSIU Thesis. The 3-in-1 System in University Art Museum: Case Study of Li Xiongcai Art Research Project / Shan Zhao / Pathumthani: Shinawatra University - 2023
Collection Title: SIU Thesis Title : The 3-in-1 System in University Art Museum: Case Study of Li Xiongcai Art Research Project Material Type: printed text Authors: Shan Zhao, Author ; Thawascha Dechsubha, Associated Name ; Dhirawit Pinyonatthagarn, Associated Name Publisher: Pathumthani: Shinawatra University Publication Date: 2023 Pagination: xiv, 315 p. Layout: Tables, ill. Size: 30 cm. Price: 1000.00 Baht. General note: SIU THE: SOLA-PhD-SCS-2023-21
Thesis. [PhD.[Philosophy in Semiotics and Cultural Studies]]. -- Shinawatra University, 2023Languages : English (eng) Descriptors: [LCSH]Art museums -- China -- Li Xiongcai
[LCSH]Museums -- Educational aspectsKeywords: Museum,
Art Museum,
University Museum,
University Art Museum,
Art Museums Collections Survey,
Collection In University Art Museums,
Research In University Art Museums,
Education In University Art, Museums,
Li Xiongcai (1910-2001),
Li Xiongcai Art Research ProjectAbstract: If a national museum represents the country's past and civilization, then a university art museum represents the University's heritage and aesthetic heights. The Lingnan Painting School Memorial Hall, as one of the museum groups of Guangzhou Academy of Fine Arts, was established in 1991. Different from other professional museums, the Lingnan Painting School Memorial Hall chose a different path and made contributions to the local art history. For many years, the hall has explored the collection, research, and teaching resources of the Lingnan Painting School. The most representative case is the "Li Xiongcai Art Research Project" that started in 2007.
In the era of the global art museum explosion, university art museums need to think about independent operating models. The research objectives of this thesis are to investigate the situation of university art museums in the relevant documents of the Chinese government, collect and analyze the operating systems' data of typical university art museums, and use the Li Xiongcai Art Research Project as a case to showcase the advantages of a university art museum's operating system.
The samples were selected using purposive sampling of non-probability sampling method. The instruments of this study were document research and textual analysis.
Population And Sample Scope: In the years 2010-2021, 124 documents were officially mentioned on the website of the Chinese government. Network data of 5 domestic university art museums in China in the years 2019-2021 were also collected. Data related to the Li Xiongcai Art Research Project, including the positioning of the Lingnan Painting School Memorial Hall, planning, process, and results of the Li Xiongcai art research project were collected for the years 2007-2012. Additionally, 7014 different theme data were screened and combined.
Results: Although the Chinese government provided economic support, defined concepts, guided collection and exhibition, and attempted to conduct quantitative statistics for university art museums, the complex situation made it difficult to accurately count the data of university art museums. Based on their long history, many university art museums in China had a higher number of collections than other art museums established later. The data showed that five university art galleries made efforts in various aspects of collection, research, and education. The successful model of the Li Xiongcai Art Research Project, which integrated collection, research, and education, could be replicated and had a long-lasting and widespread influence.
Conclusions and recommendations: Despite the efforts made by Chinese government departments to support various aspects of university art museums, university art museums should actively seek more government support. While university art museums have made continuous contributions to collection, research, and education for many years, their primary service is teaching, and they should lead public education alongside elite education. The operational model of Li Xiongcai's art research demonstrates the advantages of the Lingnan Painting School Memorial Hall. The university art museum should be able to produce more new knowledge based on the experience of the Li Xiongcai Art Research Project.Curricular : BALA/GE/MTEIL/PhDSCS Record link: http://libsearch.siu.ac.th/siu/opac_css/index.php?lvl=notice_display&id=28652 SIU Thesis. The 3-in-1 System in University Art Museum: Case Study of Li Xiongcai Art Research Project [printed text] / Shan Zhao, Author ; Thawascha Dechsubha, Associated Name ; Dhirawit Pinyonatthagarn, Associated Name . - [S.l.] : Pathumthani: Shinawatra University, 2023 . - xiv, 315 p. : Tables, ill. ; 30 cm.
1000.00 Baht.
SIU THE: SOLA-PhD-SCS-2023-21
Thesis. [PhD.[Philosophy in Semiotics and Cultural Studies]]. -- Shinawatra University, 2023
Languages : English (eng)
Descriptors: [LCSH]Art museums -- China -- Li Xiongcai
[LCSH]Museums -- Educational aspectsKeywords: Museum,
Art Museum,
University Museum,
University Art Museum,
Art Museums Collections Survey,
Collection In University Art Museums,
Research In University Art Museums,
Education In University Art, Museums,
Li Xiongcai (1910-2001),
Li Xiongcai Art Research ProjectAbstract: If a national museum represents the country's past and civilization, then a university art museum represents the University's heritage and aesthetic heights. The Lingnan Painting School Memorial Hall, as one of the museum groups of Guangzhou Academy of Fine Arts, was established in 1991. Different from other professional museums, the Lingnan Painting School Memorial Hall chose a different path and made contributions to the local art history. For many years, the hall has explored the collection, research, and teaching resources of the Lingnan Painting School. The most representative case is the "Li Xiongcai Art Research Project" that started in 2007.
In the era of the global art museum explosion, university art museums need to think about independent operating models. The research objectives of this thesis are to investigate the situation of university art museums in the relevant documents of the Chinese government, collect and analyze the operating systems' data of typical university art museums, and use the Li Xiongcai Art Research Project as a case to showcase the advantages of a university art museum's operating system.
The samples were selected using purposive sampling of non-probability sampling method. The instruments of this study were document research and textual analysis.
Population And Sample Scope: In the years 2010-2021, 124 documents were officially mentioned on the website of the Chinese government. Network data of 5 domestic university art museums in China in the years 2019-2021 were also collected. Data related to the Li Xiongcai Art Research Project, including the positioning of the Lingnan Painting School Memorial Hall, planning, process, and results of the Li Xiongcai art research project were collected for the years 2007-2012. Additionally, 7014 different theme data were screened and combined.
Results: Although the Chinese government provided economic support, defined concepts, guided collection and exhibition, and attempted to conduct quantitative statistics for university art museums, the complex situation made it difficult to accurately count the data of university art museums. Based on their long history, many university art museums in China had a higher number of collections than other art museums established later. The data showed that five university art galleries made efforts in various aspects of collection, research, and education. The successful model of the Li Xiongcai Art Research Project, which integrated collection, research, and education, could be replicated and had a long-lasting and widespread influence.
Conclusions and recommendations: Despite the efforts made by Chinese government departments to support various aspects of university art museums, university art museums should actively seek more government support. While university art museums have made continuous contributions to collection, research, and education for many years, their primary service is teaching, and they should lead public education alongside elite education. The operational model of Li Xiongcai's art research demonstrates the advantages of the Lingnan Painting School Memorial Hall. The university art museum should be able to produce more new knowledge based on the experience of the Li Xiongcai Art Research Project.Curricular : BALA/GE/MTEIL/PhDSCS Record link: http://libsearch.siu.ac.th/siu/opac_css/index.php?lvl=notice_display&id=28652 Hold
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Barcode Call number Media type Location Section Status 32002000607756 SIU THE: SOLA-PhD-SCS-2023-21 c.1 SIU Thesis and Dissertation Graduate Library Thesis Corner Available 32002000607616 SIU THE: SOLA-PhD-SCS-2023-21 c.2 SIU Thesis and Dissertation Graduate Library Thesis Corner Available
Collection Title: SIU Thesis Title : Analysis of the Artistic Style of Modern Guangdong Female Calligraphers Material Type: printed text Authors: Yang Muzhen, Author ; Thawascha Dechsubha, Associated Name ; Dhirawit Pinyonatthagarn, Associated Name Publisher: Pathumthani: Shinawatra University Publication Date: 2023 Pagination: viii, 300 p. Layout: Tables, ill. Size: 30 cm. Price: 1000.00 Baht. General note: SIU THE: SOLA-PhD-SCS-2023-32
Thesis. [PhD.[Philosophy in Semiotics and Cultural Studies]]. -- Shinawatra University, 2023Languages : English (eng) Descriptors: [LCSH]Artistic -- Guangdong
[LCSH]Calligraphy -- Chinese
[LCSH]comparison
[LCSH]Painting, ChineseKeywords: calligraphy comparison,
Chinese painting comparison,
artistic style,
talent,
independence and free thought,
communication and progressAbstract: The purposes of this study are to (1) investigate the artistic style characteristics of modern Guangdong female calligraphers, (2) compare the similarities and differences of the Chinese females calligraphers, and (3) analyze the causes of their artistic characteristics from the perspectives of female calligraphers characteristics in modern Guangdong..This study adopts a qualitative design. Data were collected through books, museums, field trips and the Internet, and the data were relatively analyzed and studied. This study covers 12 Guangdong female calligraphers recorded in modern Chinese history.The research results showed that, on the surface, the painting and calligraphy art style of these female calligraphers belongs to the beautiful category, and when we carefully observe them, their inner spirit is different. Feng Wenfeng, Tan Rong, Zhang Kunyi and so on are mainly the beauty of masculinity, Xian Yuqing, Zheng indifferent, Wu Peirong and others are mainly the beauty of feminine. He Xiangning, Xiao Shufang, Kang Tongbi, Deng Mengxiang, Guan Zilan, Feng Zhonglian and so on are both rigid and soft. The personality charm of female calligraphers is the most important factor for their artistic style; the second background is the second factor for female calligraphers; the family support has a significant influence on their artistic style, and the influence on their artistic style. The results show that the modern female calligrapher successful primary factor is talent, free thought and independent personality, followed by continuous positive and effective action. Curricular : BALA/GE/MTEIL Record link: http://libsearch.siu.ac.th/siu/opac_css/index.php?lvl=notice_display&id=28655 SIU Thesis. Analysis of the Artistic Style of Modern Guangdong Female Calligraphers [printed text] / Yang Muzhen, Author ; Thawascha Dechsubha, Associated Name ; Dhirawit Pinyonatthagarn, Associated Name . - [S.l.] : Pathumthani: Shinawatra University, 2023 . - viii, 300 p. : Tables, ill. ; 30 cm.
1000.00 Baht.
SIU THE: SOLA-PhD-SCS-2023-32
Thesis. [PhD.[Philosophy in Semiotics and Cultural Studies]]. -- Shinawatra University, 2023
Languages : English (eng)
Descriptors: [LCSH]Artistic -- Guangdong
[LCSH]Calligraphy -- Chinese
[LCSH]comparison
[LCSH]Painting, ChineseKeywords: calligraphy comparison,
Chinese painting comparison,
artistic style,
talent,
independence and free thought,
communication and progressAbstract: The purposes of this study are to (1) investigate the artistic style characteristics of modern Guangdong female calligraphers, (2) compare the similarities and differences of the Chinese females calligraphers, and (3) analyze the causes of their artistic characteristics from the perspectives of female calligraphers characteristics in modern Guangdong..This study adopts a qualitative design. Data were collected through books, museums, field trips and the Internet, and the data were relatively analyzed and studied. This study covers 12 Guangdong female calligraphers recorded in modern Chinese history.The research results showed that, on the surface, the painting and calligraphy art style of these female calligraphers belongs to the beautiful category, and when we carefully observe them, their inner spirit is different. Feng Wenfeng, Tan Rong, Zhang Kunyi and so on are mainly the beauty of masculinity, Xian Yuqing, Zheng indifferent, Wu Peirong and others are mainly the beauty of feminine. He Xiangning, Xiao Shufang, Kang Tongbi, Deng Mengxiang, Guan Zilan, Feng Zhonglian and so on are both rigid and soft. The personality charm of female calligraphers is the most important factor for their artistic style; the second background is the second factor for female calligraphers; the family support has a significant influence on their artistic style, and the influence on their artistic style. The results show that the modern female calligrapher successful primary factor is talent, free thought and independent personality, followed by continuous positive and effective action. Curricular : BALA/GE/MTEIL Record link: http://libsearch.siu.ac.th/siu/opac_css/index.php?lvl=notice_display&id=28655 Hold
Place a hold on this item
Copies
Barcode Call number Media type Location Section Status 32002000607747 SIU THE: SOLA-PhD-SCS-2023-32 c.1 SIU Thesis and Dissertation Graduate Library Thesis Corner Available 32002000607709 SIU THE: SOLA-PhD-SCS-2023-32 c.2 SIU Thesis and Dissertation Graduate Library Thesis Corner Available
Collection Title: SIU Thesis Title : Exploring Chinese Painting under the thought of Unity of Nature and Man Material Type: printed text Authors: Jing Wang, Author ; Imelda Hermillinda Abas, Associated Name ; Dhirawit Pinyonatthagarn, Associated Name Publisher: Pathumthani: Shinawatra University Publication Date: 2023 Pagination: x, 206 p. Layout: ill. Size: 30 cm. Price: 1000,00 Baht. General note: SIU THE: SOLA-PhD-SCS-2023-31
Thesis. [PhD.[Philosophy in Semiotics and Cultural Studies]]. -- Shinawatra University, 2023Languages : English (eng) Descriptors: [LCSH]Painting, Chinese
[LCSH]Philosophy, ChineseKeywords: Chinese painting,
Chinese Philosophy,
Harmony between Nature and ManAbstract: The gorgeous flower, Chinese painting study, is fostered by Chinese philosophy cultural soil. It also becomes an irresistible surge of life stream supported by Chinese philosophy spirit. As an important part of Chinese traditional culture, Chinese painting study and philosophy spirit are in complete harmony, with the same spiritual connotation and essential pursuit. Their developments, theoretical characters as well as their ideology presentation are quite consistent. Under the influence of Chinese philosophy ideas, Chinese painting study shows us an interesting picture scroll with vast and numerous masterpieces, subtle illustration, as well as infinite and deep meaning. Different from western painting in theoretic system and character, Chinese painting study has its unique style and high aesthetic and cultural values.
This article chooses Chinese painting study as its research object. From the view point of Chinese philosophy rather than the limited artistic disciplines, Chinese painting study’s artistic spirit, essential characteristics and the way to present the philosophy are analyzed. This article provides certain theoretic and practical meanings for protection, innovation and development of Chinese painting. The internal relationship between Chinese painting study and philosophy is described in the following steps:
In the first chapter, the introduction mainly expounds the research significance, research ideas and research methods of Chinese painting under the thought of the unity of nature and man, and summarizes the research framework and innovation points of this paper, as well as the overall summary of this subject. "Harmony between nature and man" is the basic spirit of Chinese philosophy, and also an important basis for the stable and orderly development of traditional Chinese society. Its essence is the harmony between man and nature. Since ancient times, China has advocated harmony between man and nature and pursued the realm of harmony between man and nature. "Unity of nature and man" is a basic belief in ancient Chinese thought history, and is also the most significant difference between Chinese philosophy and Western philosophy.In this paper, on the basis of summarizing the previous research results, mainly through the analysis and arrangement of traditional Chinese painting and contemporary landscape painting, based on the theory of fine arts, using a systematic and objective method to grasp the concept of "unity of nature and man" from the three aspects of philosophy, aesthetics and painting, the concept of "unity of nature and man" in the painting to investigate and analyze, on this basis to collect detailed information. On the basis of existing research combined with specific ancient and contemporary landscape painting works to study, analysis of the concept of "harmony between nature and man" in the artistic presentation of Chinese painting.
The second chapter is seeing from the development and evolution of Chinese philosophy and Chinese painting and basic characteristics.The relationship between Chinese philosophy and Chinses painting is close.Chinese philosophy and Chinese painting does not only "go hand in hand".Chinese philosophy constitutes the inner life and soul of Chinese painting. The development of Chinese philosophy went through several stages, such as the study of different schools of thought in pre-Qin Dynasty, the study of classics in Qin and Han Dynasties, metaphysics in Wei and Jin Dynasties, Buddhism in Sui and Tang Dynasties, theory in Song and Ming Dynasties, and simple studies in Qing Dynasty. In the process of development, the three philosophies of Confucianism, Taoism and Buddhism conflict with each other and integrate with each other in the process of development, which together constitute the main body of the development of Chinese philosophy and become the philosophical background of the development of Chinese painting.Chinese philosophy aims at pursuing the unity of nature and man, and pays attention to the mutual sense and overall harmony between heaven, man, things and myself. With the philosophy of life as the core, it pays attention to human life spirit and all kinds of life meteorology. With the overall intuition and spiritual understanding as the method, it takes how to be a man and achieve the personality of sages and improve the realm of life as the ultimate pursuit, which constitutes the characteristics of Chinese philosophy. It has also become the root of the different characteristics of Chinese painting and Western painting.In accordance with Chinese philosophy, Chinese painting has experienced different periods of development. In the pre-Qin period, painting ideas of certain value appeared. When it came down to the Six Dynasties, Gu Kaizhi's theory of Form and spirit and the theory of the Six Methods of Xie He appeared. It has formed an unique theoretical character of Chinese painting and a theoretical system completely different from that of Western painting. It has become an artistic style with deep national characteristics and spirit. It has the characteristics of "painting of the mind" and "painting of the soul". Showing rich aesthetic implication and lofty pursuit of life, it presents a unique development in the history of world painting.
The third chapter mainly discusses the influence of the life view and way of thinking of the unity of nature and man on the aesthetic direction, aesthetic theme and aesthetic sentiment of Chinese painting. The unity of nature and man is the fundamental spirit of Chinese philosophy and the philosophical cornerstone of Chinese art. The unity of nature and man aims to improve the spiritual realm and realize the unity of man and man, man and society, man and nature, which is also the ultimate life pursuit of man. The two major schools of ancient Chinese philosophy, Confucianism and Taoism, both take life and the creation of life as their fundamental concepts. The modes of the unity of nature and man constructed are the modes of life and embody the rich spirit of life.It is the basic philosophical thought and unique way of thinking of the Chinese nation of the unity of nature and man that creates the unique aesthetic realm of Chinese painting, constitutes the deep core of Chinese painting, and forms the view of life of the unity of nature and man in Chinese painting. It takes the unity of nature and man as the aesthetic direction, takes the vivid charm as the aesthetic theme, and takes the unity of knowing and doing as the aesthetic sentiment. Under the influence of the thought of the unity of nature and man, Chinese painting has become a deep learning to the spirit of human life, strong life consciousness and lofty realm of life constitute the inherent characteristics and ultimate pursuit of Chinese painting.
The fourth chapter mainly discusses the ecological aesthetic wisdom of "metaphorical virtue" and "joyful expression" in the functional theory of Chinese painting. Different from the western theory of imitation which emphasizes the cognitive function of art, "metaphorical virtue" and "joyful expression" embody the pursuit of poetic dwelling in Chinese painting theory. Metaphorical virtue is an aesthetic category based on the Confucian thought of "unity of nature and man", which reflects the closeness of human to natural virtue and the resulting sense of affinity and pleasure. In Chinese painting theory, not only landscape, plum, orchid, bamboo and chrysanthemum can be metaphorical virtue, other flowers and birds can also be metaphorical virtue. Nature is full of virtue existence, are people close to the object. The metaphorical virtue view arouses people's love for nature, and people gain moral satisfaction and transcendence of life in the contact with nature.The theory of joyful expression was first put forward by Zong Bing, and its philosophical basis is the Taoist idea of "unity of nature and man". The theory of joyful expression focuses on the real survival of human beings. Joyful expression regards nature as the home of life and longs to be integrated with nature in the intuitive view of landscape and get the shelter of nature.Joyful expression Theory also leads people to nature, but not the nature full of Confucian virtues, but the nature reflecting the way of nature. Although metaphorical virtue and joyful expression differ greatly in philosophical basis and specific connotation, they both regard nature as a living being with an internal relationship with me, and thus obtain from nature a sense of affinity, a sense of home, as well as the poetry of life.
The fifth chapter mainly studies the ecological aesthetic wisdom of "Artistic creation comes from nature,and the beauty of nature comes from artists’ feeling and thoughts" in the creation of Chinese painting. The aesthetic creation principle of "artistic creation comes from nature,and the beauty of nature comes from artists’ feeling and thoughts" put forward by the Tang Dynasty painting theorist Zhang Bo is based on the ecological wisdom of "the unity of nature and man" in China. In Chinese culture, the universe is a natural life process, and artistic activities as human creation are no exception. They should also follow the natural path of life. "Artistic creation comes from nature,and the beauty of nature comes from artists’ feeling and thoughts" requires artists to learn from nature, let artworks flow from the source of the heart, and create artworks like natural creatures.Different from the western "mirror theory" and "expression theory", "artistic creation comes from nature,and the beauty of nature comes from artists’ feeling and thoughts" reflects the innermost emotional relationship between man and nature. In the process of artistic creation, artists hold the attitude of equality and affinity, to swim in nature, to face nature in the true realm, and finally to integrate with nature. Artistic creation is the process of artists returning to nature. It is in the artistic creation of "unity of nature and man" that the artist finds the road to return to his hometown, returns to the living realm of free play, and obtains spiritual freedom and liberation. The artist is not so much for artistic creation as for his desire and pursuit of his origin.
The sixth chapter mainly analyzes the embodiment of the unity of nature and man in Chinese painting. The thought of the unity of nature and man in Chinese philosophy has exerted a profound influence on Chinese painting. It constitutes the deep core of Chinese painting, profoundly influences the aesthetic value orientation and artistic expression of Chinese painting, and forms the artistic spirit of the unity of nature and man, the theme of life with vivid charm, the aesthetic sentiment of the unity of knowledge and practice, and presents a lively and free life atmosphere. The aesthetic realm of man and heaven has thus become the soul of Chinese painting. On this basis, modern Chinese painting is also facing the challenge of reform and innovation. In order to better inherit and adapt to the changes of the new era, people began to appear ideological differences. One is to advertise the banner of innovation and think that tradition is the biggest obstacle to the innovation and development of Chinese painting. The second is to "move in the opposite direction", further stimulate the impetus of innovation on the basis of inheriting traditional culture, absorb the essence of western art, integrate with Chinese traditional culture, and use new artistic forms to express the unique aesthetic feeling of eastern art.
The seventh chapter concludes the inheritance and development of Chinese painting under the thought of the unity of nature and man. The two philosophical concepts of "unity of nature and man" and "separation of nature and man" are respectively the core and soul of Chinese culture and Western culture, and their differences are also the root of all the differences between Chinese and Western cultures. Because of the difference of these two philosophical ideas, Chinese and Western paintings also have great differences in artistic expression forms. Western painting has its own characteristics, and modern western painters get inspiration from Oriental painting, Western painters realize in the creation of the painting, in fact, is the "unity of nature and man" expressed in traditional Chinese painting. With the development and progress of culture, great changes have taken place in the national psychology of contemporary Chinese painting, and the attitude towards the integration of Chinese and Western painting has become positive, inclusive and confident. The differences between Chinese and Western culture are gradually narrowing, and the attitude of Chinese painters to accept Western culture and art tends to be stable and calm. In the colorful art world, we must respect the traditional national culture and keep the national character of art, so that art can have its own unique value. Only the works that treat the national traditional culture correctly and carry forward the aesthetic value and time value of the traditional culture are excellent Chinese painting works.Curricular : BALA/GE/MTEIL Record link: http://libsearch.siu.ac.th/siu/opac_css/index.php?lvl=notice_display&id=28659 SIU Thesis. Exploring Chinese Painting under the thought of Unity of Nature and Man [printed text] / Jing Wang, Author ; Imelda Hermillinda Abas, Associated Name ; Dhirawit Pinyonatthagarn, Associated Name . - [S.l.] : Pathumthani: Shinawatra University, 2023 . - x, 206 p. : ill. ; 30 cm.
1000,00 Baht.
SIU THE: SOLA-PhD-SCS-2023-31
Thesis. [PhD.[Philosophy in Semiotics and Cultural Studies]]. -- Shinawatra University, 2023
Languages : English (eng)
Descriptors: [LCSH]Painting, Chinese
[LCSH]Philosophy, ChineseKeywords: Chinese painting,
Chinese Philosophy,
Harmony between Nature and ManAbstract: The gorgeous flower, Chinese painting study, is fostered by Chinese philosophy cultural soil. It also becomes an irresistible surge of life stream supported by Chinese philosophy spirit. As an important part of Chinese traditional culture, Chinese painting study and philosophy spirit are in complete harmony, with the same spiritual connotation and essential pursuit. Their developments, theoretical characters as well as their ideology presentation are quite consistent. Under the influence of Chinese philosophy ideas, Chinese painting study shows us an interesting picture scroll with vast and numerous masterpieces, subtle illustration, as well as infinite and deep meaning. Different from western painting in theoretic system and character, Chinese painting study has its unique style and high aesthetic and cultural values.
This article chooses Chinese painting study as its research object. From the view point of Chinese philosophy rather than the limited artistic disciplines, Chinese painting study’s artistic spirit, essential characteristics and the way to present the philosophy are analyzed. This article provides certain theoretic and practical meanings for protection, innovation and development of Chinese painting. The internal relationship between Chinese painting study and philosophy is described in the following steps:
In the first chapter, the introduction mainly expounds the research significance, research ideas and research methods of Chinese painting under the thought of the unity of nature and man, and summarizes the research framework and innovation points of this paper, as well as the overall summary of this subject. "Harmony between nature and man" is the basic spirit of Chinese philosophy, and also an important basis for the stable and orderly development of traditional Chinese society. Its essence is the harmony between man and nature. Since ancient times, China has advocated harmony between man and nature and pursued the realm of harmony between man and nature. "Unity of nature and man" is a basic belief in ancient Chinese thought history, and is also the most significant difference between Chinese philosophy and Western philosophy.In this paper, on the basis of summarizing the previous research results, mainly through the analysis and arrangement of traditional Chinese painting and contemporary landscape painting, based on the theory of fine arts, using a systematic and objective method to grasp the concept of "unity of nature and man" from the three aspects of philosophy, aesthetics and painting, the concept of "unity of nature and man" in the painting to investigate and analyze, on this basis to collect detailed information. On the basis of existing research combined with specific ancient and contemporary landscape painting works to study, analysis of the concept of "harmony between nature and man" in the artistic presentation of Chinese painting.
The second chapter is seeing from the development and evolution of Chinese philosophy and Chinese painting and basic characteristics.The relationship between Chinese philosophy and Chinses painting is close.Chinese philosophy and Chinese painting does not only "go hand in hand".Chinese philosophy constitutes the inner life and soul of Chinese painting. The development of Chinese philosophy went through several stages, such as the study of different schools of thought in pre-Qin Dynasty, the study of classics in Qin and Han Dynasties, metaphysics in Wei and Jin Dynasties, Buddhism in Sui and Tang Dynasties, theory in Song and Ming Dynasties, and simple studies in Qing Dynasty. In the process of development, the three philosophies of Confucianism, Taoism and Buddhism conflict with each other and integrate with each other in the process of development, which together constitute the main body of the development of Chinese philosophy and become the philosophical background of the development of Chinese painting.Chinese philosophy aims at pursuing the unity of nature and man, and pays attention to the mutual sense and overall harmony between heaven, man, things and myself. With the philosophy of life as the core, it pays attention to human life spirit and all kinds of life meteorology. With the overall intuition and spiritual understanding as the method, it takes how to be a man and achieve the personality of sages and improve the realm of life as the ultimate pursuit, which constitutes the characteristics of Chinese philosophy. It has also become the root of the different characteristics of Chinese painting and Western painting.In accordance with Chinese philosophy, Chinese painting has experienced different periods of development. In the pre-Qin period, painting ideas of certain value appeared. When it came down to the Six Dynasties, Gu Kaizhi's theory of Form and spirit and the theory of the Six Methods of Xie He appeared. It has formed an unique theoretical character of Chinese painting and a theoretical system completely different from that of Western painting. It has become an artistic style with deep national characteristics and spirit. It has the characteristics of "painting of the mind" and "painting of the soul". Showing rich aesthetic implication and lofty pursuit of life, it presents a unique development in the history of world painting.
The third chapter mainly discusses the influence of the life view and way of thinking of the unity of nature and man on the aesthetic direction, aesthetic theme and aesthetic sentiment of Chinese painting. The unity of nature and man is the fundamental spirit of Chinese philosophy and the philosophical cornerstone of Chinese art. The unity of nature and man aims to improve the spiritual realm and realize the unity of man and man, man and society, man and nature, which is also the ultimate life pursuit of man. The two major schools of ancient Chinese philosophy, Confucianism and Taoism, both take life and the creation of life as their fundamental concepts. The modes of the unity of nature and man constructed are the modes of life and embody the rich spirit of life.It is the basic philosophical thought and unique way of thinking of the Chinese nation of the unity of nature and man that creates the unique aesthetic realm of Chinese painting, constitutes the deep core of Chinese painting, and forms the view of life of the unity of nature and man in Chinese painting. It takes the unity of nature and man as the aesthetic direction, takes the vivid charm as the aesthetic theme, and takes the unity of knowing and doing as the aesthetic sentiment. Under the influence of the thought of the unity of nature and man, Chinese painting has become a deep learning to the spirit of human life, strong life consciousness and lofty realm of life constitute the inherent characteristics and ultimate pursuit of Chinese painting.
The fourth chapter mainly discusses the ecological aesthetic wisdom of "metaphorical virtue" and "joyful expression" in the functional theory of Chinese painting. Different from the western theory of imitation which emphasizes the cognitive function of art, "metaphorical virtue" and "joyful expression" embody the pursuit of poetic dwelling in Chinese painting theory. Metaphorical virtue is an aesthetic category based on the Confucian thought of "unity of nature and man", which reflects the closeness of human to natural virtue and the resulting sense of affinity and pleasure. In Chinese painting theory, not only landscape, plum, orchid, bamboo and chrysanthemum can be metaphorical virtue, other flowers and birds can also be metaphorical virtue. Nature is full of virtue existence, are people close to the object. The metaphorical virtue view arouses people's love for nature, and people gain moral satisfaction and transcendence of life in the contact with nature.The theory of joyful expression was first put forward by Zong Bing, and its philosophical basis is the Taoist idea of "unity of nature and man". The theory of joyful expression focuses on the real survival of human beings. Joyful expression regards nature as the home of life and longs to be integrated with nature in the intuitive view of landscape and get the shelter of nature.Joyful expression Theory also leads people to nature, but not the nature full of Confucian virtues, but the nature reflecting the way of nature. Although metaphorical virtue and joyful expression differ greatly in philosophical basis and specific connotation, they both regard nature as a living being with an internal relationship with me, and thus obtain from nature a sense of affinity, a sense of home, as well as the poetry of life.
The fifth chapter mainly studies the ecological aesthetic wisdom of "Artistic creation comes from nature,and the beauty of nature comes from artists’ feeling and thoughts" in the creation of Chinese painting. The aesthetic creation principle of "artistic creation comes from nature,and the beauty of nature comes from artists’ feeling and thoughts" put forward by the Tang Dynasty painting theorist Zhang Bo is based on the ecological wisdom of "the unity of nature and man" in China. In Chinese culture, the universe is a natural life process, and artistic activities as human creation are no exception. They should also follow the natural path of life. "Artistic creation comes from nature,and the beauty of nature comes from artists’ feeling and thoughts" requires artists to learn from nature, let artworks flow from the source of the heart, and create artworks like natural creatures.Different from the western "mirror theory" and "expression theory", "artistic creation comes from nature,and the beauty of nature comes from artists’ feeling and thoughts" reflects the innermost emotional relationship between man and nature. In the process of artistic creation, artists hold the attitude of equality and affinity, to swim in nature, to face nature in the true realm, and finally to integrate with nature. Artistic creation is the process of artists returning to nature. It is in the artistic creation of "unity of nature and man" that the artist finds the road to return to his hometown, returns to the living realm of free play, and obtains spiritual freedom and liberation. The artist is not so much for artistic creation as for his desire and pursuit of his origin.
The sixth chapter mainly analyzes the embodiment of the unity of nature and man in Chinese painting. The thought of the unity of nature and man in Chinese philosophy has exerted a profound influence on Chinese painting. It constitutes the deep core of Chinese painting, profoundly influences the aesthetic value orientation and artistic expression of Chinese painting, and forms the artistic spirit of the unity of nature and man, the theme of life with vivid charm, the aesthetic sentiment of the unity of knowledge and practice, and presents a lively and free life atmosphere. The aesthetic realm of man and heaven has thus become the soul of Chinese painting. On this basis, modern Chinese painting is also facing the challenge of reform and innovation. In order to better inherit and adapt to the changes of the new era, people began to appear ideological differences. One is to advertise the banner of innovation and think that tradition is the biggest obstacle to the innovation and development of Chinese painting. The second is to "move in the opposite direction", further stimulate the impetus of innovation on the basis of inheriting traditional culture, absorb the essence of western art, integrate with Chinese traditional culture, and use new artistic forms to express the unique aesthetic feeling of eastern art.
The seventh chapter concludes the inheritance and development of Chinese painting under the thought of the unity of nature and man. The two philosophical concepts of "unity of nature and man" and "separation of nature and man" are respectively the core and soul of Chinese culture and Western culture, and their differences are also the root of all the differences between Chinese and Western cultures. Because of the difference of these two philosophical ideas, Chinese and Western paintings also have great differences in artistic expression forms. Western painting has its own characteristics, and modern western painters get inspiration from Oriental painting, Western painters realize in the creation of the painting, in fact, is the "unity of nature and man" expressed in traditional Chinese painting. With the development and progress of culture, great changes have taken place in the national psychology of contemporary Chinese painting, and the attitude towards the integration of Chinese and Western painting has become positive, inclusive and confident. The differences between Chinese and Western culture are gradually narrowing, and the attitude of Chinese painters to accept Western culture and art tends to be stable and calm. In the colorful art world, we must respect the traditional national culture and keep the national character of art, so that art can have its own unique value. Only the works that treat the national traditional culture correctly and carry forward the aesthetic value and time value of the traditional culture are excellent Chinese painting works.Curricular : BALA/GE/MTEIL Record link: http://libsearch.siu.ac.th/siu/opac_css/index.php?lvl=notice_display&id=28659 Hold
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Barcode Call number Media type Location Section Status 32002000607523 SIU THE: SOLA-PhD-SCS-2023-31 c.1 SIU Thesis and Dissertation Graduate Library Thesis Corner Available 32002000607695 SIU THE: SOLA-PhD-SCS-2023-31 c.2 SIU Thesis and Dissertation Graduate Library Thesis Corner Available
Collection Title: SIU Thesis Title : Exploring Su Liupeng's Figure Painting Material Type: printed text Authors: Yucan Liang, Author ; Imelda Hermillinda Abas, Associated Name ; Dhirawit Pinyonatthagarn, Associated Name Publisher: Pathumthani: Shinawatra University Publication Date: 2023 Pagination: ix, 178 p. Layout: Tables, ill. Size: 30 cm. Price: 1000.00 Baht. General note: SIU THE: SOLA-PhD-SCS-2023-29
Thesis. [PhD.[Philosophy in Semiotics and Cultural Studies]]. -- Shinawatra University, 2023Languages : English (eng) Descriptors: [LCSH]Art -- China -- Guangdong
[LCSH]comparison
[LCSH]Figure painting
[LCSH]SemioticsKeywords: Figure Painting,
Su LiupengAbstract: The purpose of this paper is to study the metaphor of Su Liupeng and Qing Dynasty figure painting in subject matter, composition and ink. Using the methods of iconography, style analysis, comparison and semiotics, the research results are found as follows: 1. Compared with other subjects of painting, figure painting can more directly present the theme and metaphorical information of various levels in the era. Su Liupeng's genre painting has a certain suggestive nature, that is, the use of the style of the work metaphor. 2. In Su Liupeng's figure paintings, there is also an obvious inheritance of Central Plains painting. Therefore, it can be speculated that before the middle and late Qing Dynasty, the traditional figure painting tradition of Guangdong and the Central Plains are in line with each other. The traditional figure painting of the central plains is still prevalent in the Ming and Qing dynasties, which also reflects the reclusive thought of the Cantonese literati and the traditional literati plot of the ban on. 3. Su Liupeng was an outstanding painter in Guangdong during the Jiadao Period. His works have a strong local flavor and represent the cultural symbol of an era in Guangdong. Curricular : BALA/GE/MTEIL Record link: http://libsearch.siu.ac.th/siu/opac_css/index.php?lvl=notice_display&id=28657 SIU Thesis. Exploring Su Liupeng's Figure Painting [printed text] / Yucan Liang, Author ; Imelda Hermillinda Abas, Associated Name ; Dhirawit Pinyonatthagarn, Associated Name . - [S.l.] : Pathumthani: Shinawatra University, 2023 . - ix, 178 p. : Tables, ill. ; 30 cm.
1000.00 Baht.
SIU THE: SOLA-PhD-SCS-2023-29
Thesis. [PhD.[Philosophy in Semiotics and Cultural Studies]]. -- Shinawatra University, 2023
Languages : English (eng)
Descriptors: [LCSH]Art -- China -- Guangdong
[LCSH]comparison
[LCSH]Figure painting
[LCSH]SemioticsKeywords: Figure Painting,
Su LiupengAbstract: The purpose of this paper is to study the metaphor of Su Liupeng and Qing Dynasty figure painting in subject matter, composition and ink. Using the methods of iconography, style analysis, comparison and semiotics, the research results are found as follows: 1. Compared with other subjects of painting, figure painting can more directly present the theme and metaphorical information of various levels in the era. Su Liupeng's genre painting has a certain suggestive nature, that is, the use of the style of the work metaphor. 2. In Su Liupeng's figure paintings, there is also an obvious inheritance of Central Plains painting. Therefore, it can be speculated that before the middle and late Qing Dynasty, the traditional figure painting tradition of Guangdong and the Central Plains are in line with each other. The traditional figure painting of the central plains is still prevalent in the Ming and Qing dynasties, which also reflects the reclusive thought of the Cantonese literati and the traditional literati plot of the ban on. 3. Su Liupeng was an outstanding painter in Guangdong during the Jiadao Period. His works have a strong local flavor and represent the cultural symbol of an era in Guangdong. Curricular : BALA/GE/MTEIL Record link: http://libsearch.siu.ac.th/siu/opac_css/index.php?lvl=notice_display&id=28657 Hold
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Barcode Call number Media type Location Section Status 32002000607702 SIU THE: SOLA-PhD-SCS-2023-29 c.1 SIU Thesis and Dissertation Graduate Library Thesis Corner Available 32002000607685 SIU THE: SOLA-PhD-SCS-2023-29 c.2 SIU Thesis and Dissertation Graduate Library Thesis Corner Available
Collection Title: SIU Thesis Title : Exploring Teachers’ and Learners’ Perceptions Towards Cultural Elements Presented in Chinese Senior High School EFL Textbooks Material Type: printed text Authors: Yongliang Wang, Author ; Saengchan Hermchua, Associated Name ; Dhirawit Pinyonatthagarn, Associated Name Publisher: Pathumthani: Shinawatra University Publication Date: 2023 Pagination: xi, p. 192 Layout: Tables, ill. Size: 30 cm. Price: 500.00 Baht General note: SIU THE: SOLA-PhD-SCS-2023-15
Thesis. [PhD.[Philosophy in Semiotics and Cultural Studies]]. -- Shinawatra University, 2023Languages : English (eng) Descriptors: [LCSH]Cultural
[LCSH]English language -- textbook for foreign speakers
[LCSH]Perception
[LCSH]SemioticsKeywords: Perceptions,
Chinese senior high school,
EFL learners,
EFL teachers
EFL textbooks,
Semiotic approach,
Cultural elementsAbstract: The present study was to analyze the cultural content of textbook series in the Chinese context, recognizing the crucial role of textbooks in presenting culture and their impact on language learning. The study analyzed People’s Education Press (PEP) book series using a questionnaire adapted from Kilickaya’s work in 2004, which aimed at assessing the cultural content of the textbooks. The research incorporated the perceptions of both teachers and students toward the cultural representation found in PEP. Recent studies have utilized a semiotic approach to examine how culture is presented in language textbooks, recognizing its potential for creating and shaping cultural meanings. However, this study aimed to address the limitations of this approach by applying Peircean semiotic theory to the text-image-task semiotic relationship found in PEP. By exploring the perspectives of both teachers and students, this analysis examined how this relationship constructs and reconstructs cultural meanings. The study involved 635 Chinese EFL learners, including 380 females and 255 males, as well as 625 Chinese EFL teachers, consisting of 459 females and 166 males. A questionnaire was administered to all participants, and among the participants, 31 learners (22 females and 9 males) and 21 teachers (17 females and 4 males) were randomly selected for semi-structured interviews. Collected data from the questionnaire were processed by SPSS for quantitative analysis. In addition, the data gathered during the interviews were transcribed and scrutinized. This inquiry investigated semiotics to discuss that multi-modal textbooks encode particular knowledge to provide teachers and students with new probabilities in the design of both English language acquisition and teaching.
Research findings showed that the perceptions of teachers and learners about the purpose and objectives of the textbook are constructive. Concerning learners' awareness of cultural materials, it can be said that textbooks require to integrate both macro and micro culture. In consequence, language textbooks also have to deal with local cultures. Concerning the perceptions of the instructors, the findings indicated that the majority of them emphasized providing a balanced view of global cultures, the need to involve students in cultural subjects and encourage pupils to interact with various values. The findings of the inquiry indicated that teaching assistants are successful in expressing various perceptions from both teachers and students. Learners felt that the teaching materials did a good job of presenting different societies and were culturally relevant while they felt that the materials were less effective (still average) in the presentation of the values of social groups. For a dynamic model for assessing cultural expressions in textbooks, semiotics was made in the hope of showing how English textbooks can be effectively developed, implemented, and adopted in the educational context. The results showed that the co-implementation of illustrations and text in textbooks is usually indexed by symbology. It is revealed that EFL textbooks for language learners in China substantially include index relationships between text, pictures, and tasks, showing a focus on denotative meaning. Ultimately, the results of this investigation have practical implications for EFL teachers and learners, EFL teacher educators, curriculum designers, and materials developers. Teachers can make learners culturally, interculturally, and transculturally aware by making links between and across the image-text-task triad. For instance, they stated that some pictures can activate the textbook content and carry out cultural change and students develop their critical thinking ability. Likewise, because of these pictures, students can use extracurricular reading to the similarities and differences in the various cultures and cultivate intercultural awareness. Furthermore, curriculum developers should pay specific attention to the significance of visual elements in textbooks in how they can help learners in increasing diverse language skills and components.Curricular : BALA/GE/MTEIL Record link: http://libsearch.siu.ac.th/siu/opac_css/index.php?lvl=notice_display&id=28646 SIU Thesis. Exploring Teachers’ and Learners’ Perceptions Towards Cultural Elements Presented in Chinese Senior High School EFL Textbooks [printed text] / Yongliang Wang, Author ; Saengchan Hermchua, Associated Name ; Dhirawit Pinyonatthagarn, Associated Name . - [S.l.] : Pathumthani: Shinawatra University, 2023 . - xi, p. 192 : Tables, ill. ; 30 cm.
500.00 Baht
SIU THE: SOLA-PhD-SCS-2023-15
Thesis. [PhD.[Philosophy in Semiotics and Cultural Studies]]. -- Shinawatra University, 2023
Languages : English (eng)
Descriptors: [LCSH]Cultural
[LCSH]English language -- textbook for foreign speakers
[LCSH]Perception
[LCSH]SemioticsKeywords: Perceptions,
Chinese senior high school,
EFL learners,
EFL teachers
EFL textbooks,
Semiotic approach,
Cultural elementsAbstract: The present study was to analyze the cultural content of textbook series in the Chinese context, recognizing the crucial role of textbooks in presenting culture and their impact on language learning. The study analyzed People’s Education Press (PEP) book series using a questionnaire adapted from Kilickaya’s work in 2004, which aimed at assessing the cultural content of the textbooks. The research incorporated the perceptions of both teachers and students toward the cultural representation found in PEP. Recent studies have utilized a semiotic approach to examine how culture is presented in language textbooks, recognizing its potential for creating and shaping cultural meanings. However, this study aimed to address the limitations of this approach by applying Peircean semiotic theory to the text-image-task semiotic relationship found in PEP. By exploring the perspectives of both teachers and students, this analysis examined how this relationship constructs and reconstructs cultural meanings. The study involved 635 Chinese EFL learners, including 380 females and 255 males, as well as 625 Chinese EFL teachers, consisting of 459 females and 166 males. A questionnaire was administered to all participants, and among the participants, 31 learners (22 females and 9 males) and 21 teachers (17 females and 4 males) were randomly selected for semi-structured interviews. Collected data from the questionnaire were processed by SPSS for quantitative analysis. In addition, the data gathered during the interviews were transcribed and scrutinized. This inquiry investigated semiotics to discuss that multi-modal textbooks encode particular knowledge to provide teachers and students with new probabilities in the design of both English language acquisition and teaching.
Research findings showed that the perceptions of teachers and learners about the purpose and objectives of the textbook are constructive. Concerning learners' awareness of cultural materials, it can be said that textbooks require to integrate both macro and micro culture. In consequence, language textbooks also have to deal with local cultures. Concerning the perceptions of the instructors, the findings indicated that the majority of them emphasized providing a balanced view of global cultures, the need to involve students in cultural subjects and encourage pupils to interact with various values. The findings of the inquiry indicated that teaching assistants are successful in expressing various perceptions from both teachers and students. Learners felt that the teaching materials did a good job of presenting different societies and were culturally relevant while they felt that the materials were less effective (still average) in the presentation of the values of social groups. For a dynamic model for assessing cultural expressions in textbooks, semiotics was made in the hope of showing how English textbooks can be effectively developed, implemented, and adopted in the educational context. The results showed that the co-implementation of illustrations and text in textbooks is usually indexed by symbology. It is revealed that EFL textbooks for language learners in China substantially include index relationships between text, pictures, and tasks, showing a focus on denotative meaning. Ultimately, the results of this investigation have practical implications for EFL teachers and learners, EFL teacher educators, curriculum designers, and materials developers. Teachers can make learners culturally, interculturally, and transculturally aware by making links between and across the image-text-task triad. For instance, they stated that some pictures can activate the textbook content and carry out cultural change and students develop their critical thinking ability. Likewise, because of these pictures, students can use extracurricular reading to the similarities and differences in the various cultures and cultivate intercultural awareness. Furthermore, curriculum developers should pay specific attention to the significance of visual elements in textbooks in how they can help learners in increasing diverse language skills and components.Curricular : BALA/GE/MTEIL Record link: http://libsearch.siu.ac.th/siu/opac_css/index.php?lvl=notice_display&id=28646 Hold
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Barcode Call number Media type Location Section Status 32002000607566 SIU THE: SOLA-PhD-SCS-2023-15 c.1 SIU Thesis and Dissertation Graduate Library Thesis Corner Available 32002000607556 SIU THE: SOLA-PhD-SCS-2023-15 c.2 SIU Thesis and Dissertation Graduate Library Thesis Corner Available
Collection Title: SIU Thesis Title : A Multimodal Analysis of Tsai Chih-chung's English Comic Version of The Analects of Confucius: A Social Semiotic Perspective Material Type: printed text Authors: Jiaming Qi, Author ; Saengchan Hermchua, Associated Name ; Dhirawit Pinyonatthagarn, Associated Name Publisher: Pathumthani: Shinawatra University Publication Date: 2023 Pagination: xiii, 175 p. Layout: Tables, ill Size: 30 cm. Price: 500.00 Baht General note: SIU THE: SOLA-PhD-SCS-2023-16
Thesis. [PhD.[Philosophy in Semiotics and Cultural Studies]]. -- Shinawatra University, 2023Languages : English (eng) Descriptors: [LCSH]Comic books, strips, etc
[LCSH]Confucius
[LCSH]Semiotics -- Social aspectsKeywords: comic version of The Analects of Confucius,
Tsai Chih-Chung,
Multimodal discourse meaning construction,
Visual meanings of the images,
Image-text relationsAbstract: The Analects of Confucius is one of the representative works of traditional Chinese culture and has been translated into different versions. Tsai Chih-Chung's English comic version is one of the most popular among the different translated versions. It has a considerable potential to spread Chinese culture by multimodal means. However, so far, there have been few multimodal analysis of Tsai Chih-Chung's Chinese classic comics.
Taking Tsai's English comic version of The Analects as a case, this study attempts to have a qualitative analysis of Chinese classic comics based on Painter et al.’s (2013) “New Visual Grammar” and Martinec and Salway’s (2005) “System for Image-text Relations”. It intends to answer three research questions: (1) How do the visual modes in Tsai's English comic version of The Analects realize interpersonal meaning, ideational meaning and textual meaning? (2) How are the visual and verbal modes related to one another in Tsai's English comic version of The Analects? (3) How are the meanings of Confucius fundamental thoughts constructed in Tsai’s English comic version of The Analects?
Through the analysis, it is found that the interpersonal meaning, ideational meaning and textual meaning all have made great contribution to constructing the discourse meaning of Tsai’s English comic version of The Analects. However, ideational meaning contributes most to the discourse meaning construction, followed by interpersonal meaning and textual meaning respectively. The textual meaning and interpersonal meaning are not realized as fully as the ideational meaning in Tsai’s English comic version. Furthermore, the intersemiotic interaction between images and texts also contributes a great deal to the discourse meaning construction of Tsai’s English comic version. The texts always take the dominant place and the images are subordinate in Tsai’s English comic version. The distribution of the logico-semantic relations of image and text indicates that the relations of expansion and projection integrate and work together to create meanings in Tsai’s English comic version. It is also found that the connotations of Confucius fundamental thoughts “Junzi” (gentleman) and “Ren” (benevolence) in Tsai's English comic version are constructed by the deployment of similar options concerning the meta-meaning systems as well as the same sub-relations of image-text logico-semantic relations.
It is suggested that Tsai's English comic version of The Analects should be improved in terms of the ambience system, framing system and focus group system. Moreover, various ways of intersemiotic interaction should be encouraged to create a better reading experience for readers.
This study not only provides a case reference for the analysis of multimodal discourse in Chinese classic comics, but also provides reference for the optimization of Chinese classic comics’ design and innovation, thus contributing to the overseas dissemination of traditional Chinese culture.Curricular : BALA/GE/MTEIL Record link: http://libsearch.siu.ac.th/siu/opac_css/index.php?lvl=notice_display&id=28647 SIU Thesis. A Multimodal Analysis of Tsai Chih-chung's English Comic Version of The Analects of Confucius: A Social Semiotic Perspective [printed text] / Jiaming Qi, Author ; Saengchan Hermchua, Associated Name ; Dhirawit Pinyonatthagarn, Associated Name . - [S.l.] : Pathumthani: Shinawatra University, 2023 . - xiii, 175 p. : Tables, ill ; 30 cm.
500.00 Baht
SIU THE: SOLA-PhD-SCS-2023-16
Thesis. [PhD.[Philosophy in Semiotics and Cultural Studies]]. -- Shinawatra University, 2023
Languages : English (eng)
Descriptors: [LCSH]Comic books, strips, etc
[LCSH]Confucius
[LCSH]Semiotics -- Social aspectsKeywords: comic version of The Analects of Confucius,
Tsai Chih-Chung,
Multimodal discourse meaning construction,
Visual meanings of the images,
Image-text relationsAbstract: The Analects of Confucius is one of the representative works of traditional Chinese culture and has been translated into different versions. Tsai Chih-Chung's English comic version is one of the most popular among the different translated versions. It has a considerable potential to spread Chinese culture by multimodal means. However, so far, there have been few multimodal analysis of Tsai Chih-Chung's Chinese classic comics.
Taking Tsai's English comic version of The Analects as a case, this study attempts to have a qualitative analysis of Chinese classic comics based on Painter et al.’s (2013) “New Visual Grammar” and Martinec and Salway’s (2005) “System for Image-text Relations”. It intends to answer three research questions: (1) How do the visual modes in Tsai's English comic version of The Analects realize interpersonal meaning, ideational meaning and textual meaning? (2) How are the visual and verbal modes related to one another in Tsai's English comic version of The Analects? (3) How are the meanings of Confucius fundamental thoughts constructed in Tsai’s English comic version of The Analects?
Through the analysis, it is found that the interpersonal meaning, ideational meaning and textual meaning all have made great contribution to constructing the discourse meaning of Tsai’s English comic version of The Analects. However, ideational meaning contributes most to the discourse meaning construction, followed by interpersonal meaning and textual meaning respectively. The textual meaning and interpersonal meaning are not realized as fully as the ideational meaning in Tsai’s English comic version. Furthermore, the intersemiotic interaction between images and texts also contributes a great deal to the discourse meaning construction of Tsai’s English comic version. The texts always take the dominant place and the images are subordinate in Tsai’s English comic version. The distribution of the logico-semantic relations of image and text indicates that the relations of expansion and projection integrate and work together to create meanings in Tsai’s English comic version. It is also found that the connotations of Confucius fundamental thoughts “Junzi” (gentleman) and “Ren” (benevolence) in Tsai's English comic version are constructed by the deployment of similar options concerning the meta-meaning systems as well as the same sub-relations of image-text logico-semantic relations.
It is suggested that Tsai's English comic version of The Analects should be improved in terms of the ambience system, framing system and focus group system. Moreover, various ways of intersemiotic interaction should be encouraged to create a better reading experience for readers.
This study not only provides a case reference for the analysis of multimodal discourse in Chinese classic comics, but also provides reference for the optimization of Chinese classic comics’ design and innovation, thus contributing to the overseas dissemination of traditional Chinese culture.Curricular : BALA/GE/MTEIL Record link: http://libsearch.siu.ac.th/siu/opac_css/index.php?lvl=notice_display&id=28647 Hold
Place a hold on this item
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Barcode Call number Media type Location Section Status 32002000607590 SIU THE: SOLA-PhD-SCS-2023-16 c.1 SIU Thesis and Dissertation Graduate Library Thesis Corner Available 32002000607626 SIU THE: SOLA-PhD-SCS-2023-16 c.2 SIU Thesis and Dissertation Graduate Library Thesis Corner Available
Collection Title: SIU Thesis Title : A Semiotic Perspective of Welcoming Rituals in Inner Mongolia Material Type: printed text Authors: Caiyun Ma, Author ; Dhirawit Pinyonatthagarn, Associated Name ; Imelda Hermillinda Abas, Associated Name Publisher: Pathumthani: Shinawatra University Publication Date: 2023 Pagination: ix, 170 p. Layout: Tables, ill Size: 30 cm. Price: 500.00 Baht General note: SIU THE: SOLA-PhD-SCS-2023-17
Thesis. [PhD.[Philosophy in Semiotics and Cultural Studies]]. -- Shinawatra University, 2023Languages : English (eng) Descriptors: [LCSH]Ritual
[LCSH]Semiotics -- Mongolia
[LCSH]Signs and symbolsKeywords: folk signs,
welcoming rituals,
semiotics,
Inner Mongolia,
interpretation modeAbstract: Folk culture represents a repository of knowledge that necessitates comprehensive exploration and interpretation to ensure its perpetuation and preservation. Nevertheless, the interpretation of folk signs currently lacks a semiotic perspective and a unified interpretation mode, while research on Mongolian folk customs are not comprehensive, which impedes the further advancement and inheritance of Mongolian folk culture. Hence, this research aims to establish an interpretation mode for folk signs, using the Mongolian welcoming ritual as a case study and employing qualitative research methods such as documentary research, fieldwork, and case study to examine the folk signs and their interpretation in the ritual.
Through the study, this research identifies the main folk signs in the Mongolian welcoming ritual and categorizes them. It proposes constitutive signs, nature and form, as well as establishes an interpretation mode for folk signs, which it applies to the folk signs in the welcoming ritual. This analysis further enhances the understanding of the semiosis, verifies the reasoning mode continuously evolve, and underscores the significance of supplementing background culture for interpreting diverse domains. By combining semiotic and folk studies perspectives, this research provides insights for future research on folk signs and broadens the scope of semiotics, positively impacting the inheritance of folk signs.Curricular : BALA/GE/MTEIL Record link: http://libsearch.siu.ac.th/siu/opac_css/index.php?lvl=notice_display&id=28648 SIU Thesis. A Semiotic Perspective of Welcoming Rituals in Inner Mongolia [printed text] / Caiyun Ma, Author ; Dhirawit Pinyonatthagarn, Associated Name ; Imelda Hermillinda Abas, Associated Name . - [S.l.] : Pathumthani: Shinawatra University, 2023 . - ix, 170 p. : Tables, ill ; 30 cm.
500.00 Baht
SIU THE: SOLA-PhD-SCS-2023-17
Thesis. [PhD.[Philosophy in Semiotics and Cultural Studies]]. -- Shinawatra University, 2023
Languages : English (eng)
Descriptors: [LCSH]Ritual
[LCSH]Semiotics -- Mongolia
[LCSH]Signs and symbolsKeywords: folk signs,
welcoming rituals,
semiotics,
Inner Mongolia,
interpretation modeAbstract: Folk culture represents a repository of knowledge that necessitates comprehensive exploration and interpretation to ensure its perpetuation and preservation. Nevertheless, the interpretation of folk signs currently lacks a semiotic perspective and a unified interpretation mode, while research on Mongolian folk customs are not comprehensive, which impedes the further advancement and inheritance of Mongolian folk culture. Hence, this research aims to establish an interpretation mode for folk signs, using the Mongolian welcoming ritual as a case study and employing qualitative research methods such as documentary research, fieldwork, and case study to examine the folk signs and their interpretation in the ritual.
Through the study, this research identifies the main folk signs in the Mongolian welcoming ritual and categorizes them. It proposes constitutive signs, nature and form, as well as establishes an interpretation mode for folk signs, which it applies to the folk signs in the welcoming ritual. This analysis further enhances the understanding of the semiosis, verifies the reasoning mode continuously evolve, and underscores the significance of supplementing background culture for interpreting diverse domains. By combining semiotic and folk studies perspectives, this research provides insights for future research on folk signs and broadens the scope of semiotics, positively impacting the inheritance of folk signs.Curricular : BALA/GE/MTEIL Record link: http://libsearch.siu.ac.th/siu/opac_css/index.php?lvl=notice_display&id=28648 Hold
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Barcode Call number Media type Location Section Status 32002000607555 SIU THE: SOLA-PhD-SCS-2023-17 c.2 SIU Thesis and Dissertation Graduate Library Thesis Corner Available 32002000607580 SIU THE: SOLA-PhD-SCS-2023-17 c.1 SIU Thesis and Dissertation Main Library Thesis Corner Available
Collection Title: SIU Thesis Title : Visual Analysis of Graphic Chinese Character Logos: A Social Semiotic Approach Material Type: printed text Authors: Huiying Zhang, Author ; Parichart Kluensuwan, Associated Name ; Dhirawit Pinyonatthagarn, Associated Name Publisher: Pathumthani: Shinawatra University Publication Date: 2023 Pagination: xi, 171 p. Layout: Tables, ill. Size: 30 cm. Price: 500.00 Baht General note: SIU THE: SOLA-PhD-SCS-2023-20
Thesis. [PhD.[Philosophy in Semiotics and Cultural Studies]]. -- Shinawatra University, 2023Languages : English (eng) Descriptors: [LCSH]Graphic arts -- Chinese
[LCSH]Logos (Symbols) -- Design
[LCSH]Semiotics -- Social aspectsKeywords: Visual analysis,
Graphic Chinese character logos,
Social semiotic,
Visual rhetorical operation analysis,
Impact of Chinese character categorizationAbstract: The largest number of graphic character designs are used in logos by various industries. Many logos include complicated signs combining texts and symbols which consist of graphic Chinese character designs. Against such a backdrop, this dissertation explores the meaning construction of graphic character logos from different industries targeting people literate in Chinese and with knowledge of Chinese conventions and customs. This study draws on the theoretical frameworks of visual grammar (Kress and van Leeuwen, 2006), taxonomy of rhetorical operations (McQuarrie and Mick, 1996) and the three principles of Chinese character categorization (Qiu, 2013). A multiple- case study and a qualitative description were used to address the semiotic resources and the rhetorical operations in, and the impact of character categorization on graphic character logos. The data sources include logos rated high from mainstream online platforms in China and recommended in scholarly literature retrieved from China National Knowledge Infrastructure.
This study provides insight into the semiotic resources and rhetorical operations employed in the meaning construction of graphic character logos, and the impact of Chinese character configuration on graphic character logos. While prior case studies involving similar logo population have concentrated on either semiotic resources or rhetorical devices employed in character logos, or the character graphicalization based on character categorization, this study uncovered the relations between semiotic resources, rhetorical operations and Chinese character categorization: The conceptual structure interweaved with rhetorical operations is dominant in meaning construction of graphic character logos. When graphics and characters are united in logos, their interplay gives the resonance of an echo or multiplication of meaning. There are more cases of graphic character logos complying with the ideographical and semantic- phonetic principles than those following the phonetic-loan principle of Chinese character categorization due to the neglect of the phonetic aspect of Chinese characters in logo designs. One of the important implications for researchers and practitioners is that the dominance of the semiotic resource of conceptual structure and the greater impact of ideographical and semantic-phonetic principles are of the theoretical and practical importance in the interpretation and design of graphic Chinese character logos.Curricular : BALA/GE/MTEIL Record link: http://libsearch.siu.ac.th/siu/opac_css/index.php?lvl=notice_display&id=28651 SIU Thesis. Visual Analysis of Graphic Chinese Character Logos: A Social Semiotic Approach [printed text] / Huiying Zhang, Author ; Parichart Kluensuwan, Associated Name ; Dhirawit Pinyonatthagarn, Associated Name . - [S.l.] : Pathumthani: Shinawatra University, 2023 . - xi, 171 p. : Tables, ill. ; 30 cm.
500.00 Baht
SIU THE: SOLA-PhD-SCS-2023-20
Thesis. [PhD.[Philosophy in Semiotics and Cultural Studies]]. -- Shinawatra University, 2023
Languages : English (eng)
Descriptors: [LCSH]Graphic arts -- Chinese
[LCSH]Logos (Symbols) -- Design
[LCSH]Semiotics -- Social aspectsKeywords: Visual analysis,
Graphic Chinese character logos,
Social semiotic,
Visual rhetorical operation analysis,
Impact of Chinese character categorizationAbstract: The largest number of graphic character designs are used in logos by various industries. Many logos include complicated signs combining texts and symbols which consist of graphic Chinese character designs. Against such a backdrop, this dissertation explores the meaning construction of graphic character logos from different industries targeting people literate in Chinese and with knowledge of Chinese conventions and customs. This study draws on the theoretical frameworks of visual grammar (Kress and van Leeuwen, 2006), taxonomy of rhetorical operations (McQuarrie and Mick, 1996) and the three principles of Chinese character categorization (Qiu, 2013). A multiple- case study and a qualitative description were used to address the semiotic resources and the rhetorical operations in, and the impact of character categorization on graphic character logos. The data sources include logos rated high from mainstream online platforms in China and recommended in scholarly literature retrieved from China National Knowledge Infrastructure.
This study provides insight into the semiotic resources and rhetorical operations employed in the meaning construction of graphic character logos, and the impact of Chinese character configuration on graphic character logos. While prior case studies involving similar logo population have concentrated on either semiotic resources or rhetorical devices employed in character logos, or the character graphicalization based on character categorization, this study uncovered the relations between semiotic resources, rhetorical operations and Chinese character categorization: The conceptual structure interweaved with rhetorical operations is dominant in meaning construction of graphic character logos. When graphics and characters are united in logos, their interplay gives the resonance of an echo or multiplication of meaning. There are more cases of graphic character logos complying with the ideographical and semantic- phonetic principles than those following the phonetic-loan principle of Chinese character categorization due to the neglect of the phonetic aspect of Chinese characters in logo designs. One of the important implications for researchers and practitioners is that the dominance of the semiotic resource of conceptual structure and the greater impact of ideographical and semantic-phonetic principles are of the theoretical and practical importance in the interpretation and design of graphic Chinese character logos.Curricular : BALA/GE/MTEIL Record link: http://libsearch.siu.ac.th/siu/opac_css/index.php?lvl=notice_display&id=28651 Hold
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Barcode Call number Media type Location Section Status 32002000607574 SIU THE: SOLA-PhD-SCS-2023-20 c.1 SIU Thesis and Dissertation Graduate Library Thesis Corner Available 32002000607528 SIU THE: SOLA-PhD-SCS-2023-20 c.2 SIU Thesis and Dissertation Graduate Library Thesis Corner Available
