College of Arts & Humanities
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The collections in this community comprise faculty research works, as well as graduate theses and dissertations.
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Item A Survey of the Evolution of the Violin Repertories by Composers from China, Taiwan, Hong Kong, and Macau in the Twentieth Century(2021) Sin, Cheuk Hang; Mureșanu, Irina Roxana; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)In comparison with the vast canon of repertoire written for solo violin in the western classical tradition, relatively few works by Chinese composers are regularly studied, programmed, or performed. The purpose of this dissertation is to highlight violin repertoire, both as a solo instrument and in chamber music setting, by twentieth century composers from the Greater China region. The violin was introduced to the general Chinese public in the nineteenth century, but it was not until the twentieth century that Chinese musicians began writing music for the violin, after learning western classical compositional techniques while studying abroad. Despite a century of political turmoil and rapid globalization, Chinese folk elements have remained a major component in violin works. Folk materials from a wide region were used by various composers: from the south in Canton to the north in Inner Mongolia, and from the east in Taiwan to the west in Tibet and Sinkiang.Though more than a century has passed since the first violin composition was written by a Chinese composer, this repertoire has yet to become standardized within the western musical canon. While traditional Chinese music is relatively well-documented and studied, there is limited research and few publications focusing on contemporary Chinese violin literature. This survey will spread awareness of previously under-represented works and highlight the historical context of music from this region. Chinese composers who have written the most representative music for the violin and have had great influence on their homeland and internationally are discussed in the dissertation.Item VIRGINIA WOOLF IN CHINA AND TAIWAN: RECEPTION AND INFLUENCE(2010) Lee, Kwee-len; Liu, Jianmei; Comparative Literature; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Virginia Woolf's reputation as a writer, critic, and writer has long traveled far and wide. While her popularity in Europe has been well documented, her reception in the Chinese-speaking world--which enjoys the largest population on earth--has been little discussed. This study represents an effort to trace the reception and influence of Woolf and her work in China and Taiwan, which share similar cultures and languages but have been separated by socio-political ideologies, back to as early as the 1920s. The discussion is temporally divided into four periods, from the pre-separation period before 1949, the pre-open-policy period before 1978, the pre-21st century period, through the most recent decade in the very beginning of the twenty-first century. Each period is shown to demonstrate its unique characteristics. The three decades before the Nationalist government retreated to Taiwan enjoyed a privilege of direct contact or correspondence with Woolf herself and her contemporaries. Such a privilege was nevertheless limited to the elite few, which in turn limited Woolf's overall reception. The next period witnessed a Woolf never so forlorn in the Chinese-speaking worlds. In China, she was totally silenced along with her modernist comrades. Her reception in Taiwan appeared somewhat better but was still hardly commensurate with the efforts introducing her and her contemporaries. The last two decades of the twentieth century saw her reception on the rise in both Taiwan and China. Their somewhat different readerships, however, distinguished the ways in which she had been received: while Taiwan was warm and quick to notice her social concerns, China was more critical in attitude and focused more on her literary theories. During the 2000s, Woolf's reception is argued to have matured to such an extent that it turns into influences as evidenced in the various artistic creations in response to her works and the various appropriations of her image as a feminist writer. From the sporadic budding in the first half of the twentieth century to its full blossom in the last decade, Woolf's reception is examined against its receiving environment and argued to vary with different factors at different times.Item Luo Qing's Paintings of Post-Industrial Taiwan and Their Incompatibility with Guohua(2010) Wang, Jen-Yu; Kuo, Jason; Art History and Archaeology; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)This thesis examines the career and artwork of Luo Qing in the context of past artistic movements and current academic discourse. Using Luo Qing and his work as a point of departure, this thesis aims to combine diachronic and synchronic concerns in the arts, specifically art that is made in the medium of ink. Luo Qing is famous for his inventive style in poetry and ink paintings. The two bodies of work selected,"Here Comes the UFO" and "Asphalt Road", not only exemplify his creative spirit in redefining ink art, they also establish him as a member of the modern Chinese literati, a scholar artist, in Taiwan. Both series were Luo's ongoing projects in the 1980s and the 1990s. A conflict between the traditional and the new was present in Chinese politics and culture at the time, and this tension affected the creative community. The dynamics between Chinese imperial history and modern Chinese industry is the subject of most of Luo's work. He creatively portrayed conflicts between traditional Chinese heritage and contemporary Western commercialism. "Here Comes the UFO"and " Asphalt Road" both depict the modern subject of industrialization in traditional Chinese ink painting format. Luo Qing's novel way of approaching Chinese artistic traditions, both in painting and poetry, validated its importance as a new paradigm. Luo's artistic world depicted in these two bodies of work was representative of a tumultuous era in Chinese history that took place not in China, but in Taiwan. In stark contrast, the current academic discourse on ink art originated in China and quickly spread through the research of Chinese scholars, most of whom work in North American academia. Compelling debates on ink art's importance and passionate proclamation associating ink art with Chinese nationhood are popular subjects. These subjects, however, are distant and irrelevant to Luo's early cityscapes. The contemporary paradigm may ignore why Luo Qing came to international fame. The first part of this thesis profiles Luo's two bodies of work and provides a comprehensive survey of his training and inspiration from the past. The second part connects these works with a thorough overview of scholarship on contemporary ink art. Using Luo's work as an intersecting point of reference, I hope to revive Luo Qing's significance to the Chinese art community and address specific, larger issues concerning contemporary theories on ink art.