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Aztec Antichrist: Performing the Apocalypse in Early Colonial Mexicovolume 1

為了解決notebook翻譯的問題，作者 這樣論述：

In Aztec Antichrist, Ben Leeming presents a transcription, translation, and study of two sixteenth-century Nahuatl religious plays that are likely the earliest surviving presentations of the Antichrist legend in the Americas, and possibly the earliest surviving play scripts in the whole of the N

ew World in any language. Discovered in the archives of the Hispanic Society of America in New York inside a notebook of miscellaneous Nahuatl-Christian texts written almost entirely by an Indigenous writer named Fabían de Aquino, the plays are filled with references to human sacrifice, bloodlettin

g, ritual divination, and other religious practices declared ＂idolatrous＂ at a time when ecclesiastical authorities actively sought to suppress writing about Indigenous religion. These are Indigenous plays for an Indigenous audience that reveal how Nahuas made sense of Christianity and helped form i

ts colonial image--the title figure is a powerful Indigenous being, an ＂Aztec Antichrist,＂ who violently opposes the evangelizing efforts of the church and seeks to draw converted Nahuas back to the religious practices of their ancestors. These practices include devotion to Nahua deities such as Tla

loc, Quetzalcoatl, and Tezcatlipoca who, in one of the most striking moves made by Aquino, are cast as characters in the plays. Along with the translations, Leeming provides context and analysis highlighting these rare and fascinating examples of early Indigenous American literature that offer a wi

ndow into the complexity of Nahua interactions with Christianity in the early colonial period. The work is extremely valuable to all students and scholars of Latin American religion, colonialism, Indigenous history, and early modern history and theater.

notebook翻譯進入發燒排行的影片

日本古籍機巧圖彙中機關人偶之復原研究

為了解決notebook翻譯的問題，作者張智傑 這樣論述：

古日本所發展的「機關人偶(からくり人形)」，可被定義為「藉由機構設計，將輸入動力轉化為特定表演動作的自動機。」自日本8世紀至19世紀的發展，此種機關人偶可以表演翻跟斗、或是模仿侍童為賓客奉茶的動作。其中，18世紀的文獻《機巧圖彙》紀錄了細川賴直所設計的9種機關人偶，並有插圖解釋其中的零部件。然而，書中仍有部分的機構構造並不明確，也沒有實體留存。本研究提出一套系統化的復原設計方法，針對文獻中紀錄的9種機關人偶，進行分類、機構分析以及復原合成。將機關人偶的構造拆解為動力源、傳動機構、調速系統及表演機構等四個子系統，根據書中機關人偶之圖片與文字記載，將其進行復原設計，並對文獻中的內容進行勘誤，對構

造清楚的6個機關人偶進行機構分析，繪製機構簡圖；對構造不明的3個裝置以古機械復原設計法訂定設計規格、需求以及限制，找出一般化鏈圖譜，對其特殊化，以重塑出符合當代機械工藝的可行設計。本研究針對「龍門瀧」中的凸輪機構和龍跳出機構分別得出8種和2種可行機構；對「鬪鷄」的鬥雞踢擊機構得出3種可行機構；對「魚釣人形」的針脫落機構得出3種可行機構。最後以「龍門瀧」以及「魚釣人形」為例，藉由3D模型之模擬、以及實體原型機之測試，以進一步評估復原設計之合理性。本研究所提出之復原設計程序，亦可應用於其餘具有類似特徵之機關人偶。

Aztec Antichrist: Performing the Apocalypse in Early Colonial Mexicovolume 1

為了解決notebook翻譯的問題，作者 這樣論述：

In Aztec Antichrist, Ben Leeming presents a transcription, translation, and study of two sixteenth-century Nahuatl religious plays that are likely the earliest surviving presentations of the Antichrist legend in the Americas, and possibly the earliest surviving play scripts in the whole of the N

ew World in any language. Discovered in the archives of the Hispanic Society of America in New York inside a notebook of miscellaneous Nahuatl-Christian texts written almost entirely by an Indigenous writer named Fabían de Aquino, the plays are filled with references to human sacrifice, bloodlettin

g, ritual divination, and other religious practices declared ＂idolatrous＂ at a time when ecclesiastical authorities actively sought to suppress writing about Indigenous religion. These are Indigenous plays for an Indigenous audience that reveal how Nahuas made sense of Christianity and helped form i

ts colonial image--the title figure is a powerful Indigenous being, an ＂Aztec Antichrist,＂ who violently opposes the evangelizing efforts of the church and seeks to draw converted Nahuas back to the religious practices of their ancestors. These practices include devotion to Nahua deities such as Tla

loc, Quetzalcoatl, and Tezcatlipoca who, in one of the most striking moves made by Aquino, are cast as characters in the plays. Along with the translations, Leeming provides context and analysis highlighting these rare and fascinating examples of early Indigenous American literature that offer a wi

ndow into the complexity of Nahua interactions with Christianity in the early colonial period. The work is extremely valuable to all students and scholars of Latin American religion, colonialism, Indigenous history, and early modern history and theater.

偶發到實現 ─ 林劍青創作論述

為了解決notebook翻譯的問題，作者林劍青 這樣論述：

        筆者從小時候看著父親作畫，一直到自己成長迄今，回歸對藝術的探討，感受內心對藝術的悸動。藝術的路途是一種艱辛磨練，一種自我挑戰，是一種自我肯定的過程。對於筆者而言它是生命裡的一部分，是回憶的一部分，是未來希望的一部分。         個人的藝術創作形式是經由「偶發」到「實現」。「偶發」裡面包含著「即興─不可預見性」與「異想」。這可能讓創作者意識到當代任何的藝術創作是不能被事先決定的，也就是說藝術創作是不可預見的，純粹的藝術是即興的發揮，其淵源於內心的生機，也就是「內在生命」與「內在驅力」。藝術創作是絕對的自由，筆者嘗試著通過各種的形式與色彩來作為內心異想的表達，靠著不同的藝術

形式與媒材來實現創作出具有自我精神價值的作品。         本論文第一章、緒論，包含：創作研究之背景與動機、創作研究之目的、創作研究範圍與限制；第二章、創作學理基礎與文獻討論，包含：超現實主義、抽象表現主義、啟迪與相關藝術家；第三章、創作理念，包含：創作的意義、自我解構、潛意識的回歸、意識與潛意識的作用；第四章、創作媒材使用、技法表現研究，包含：平面繪畫、版畫、其他創作媒材使用；第五章、作品解析，包含：樹與根系列、墨與痕系列、絹版的另類思維、異想構成系列。第六章、結論。         筆者透過藝術創作，發覺內心情感，探索自我，以這篇創作論述為自己在美術系研究所的啟迪與發展成果做一段總結。