Tradition in Motion
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Globalization and Theater Spectacles in Asia
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 15 (2013) Issue 2 Article 22 Globalization and Theater Spectacles in Asia I-Chun Wang National Sun Yat-sen University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the American Studies Commons, Comparative Literature Commons, Education Commons, European Languages and Societies Commons, Feminist, Gender, and Sexuality Studies Commons, Other Arts and Humanities Commons, Other Film and Media Studies Commons, Reading and Language Commons, Rhetoric and Composition Commons, Social and Behavioral Sciences Commons, Television Commons, and the Theatre and Performance Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Wang, I-Chun. -
SILK ROAD: the Silk Road
SILK ROAD: The Silk Road (or Silk Routes) is an extensive interconnected network of trade routes across the Asian continent connecting East, South, and Western Asia with the Mediterranean world, as well as North and Northeast Africa and Europe. FIDDLE/VIOLIN: Turkic and Mongolian horsemen from Inner Asia were probably the world’s earliest fiddlers (see below). Their two-stringed upright fiddles called morin khuur were strung with horsehair strings, played with horsehair bows, and often feature a carved horse’s head at the end of the neck. The morin khuur produces a sound that is poetically described as “expansive and unrestrained”, like a wild horse neighing, or like a breeze in the grasslands. It is believed that these instruments eventually spread to China, India, the Byzantine Empire and the Middle East, where they developed into instruments such as the Erhu, the Chinese violin or 2-stringed fiddle, was introduced to China over a thousand years ago and probably came to China from Asia to the west along the silk road. The sound box of the Ehru is covered with python skin. The erhu is almost always tuned to the interval of a fifth. The inside string (nearest to player) is generally tuned to D4 and the outside string to A4. This is the same as the two middle strings of the violin. The violin in its present form emerged in early 16th-Century Northern Italy, where the port towns of Venice and Genoa maintained extensive ties to central Asia through the trade routes of the silk road. The violin family developed during the Renaissance period in Europe (16th century) when all arts flourished. -
Hwang, Yin (2014) Victory Pictures in a Time of Defeat: Depicting War in the Print and Visual Culture of Late Qing China 1884 ‐ 1901
Hwang, Yin (2014) Victory pictures in a time of defeat: depicting war in the print and visual culture of late Qing China 1884 ‐ 1901. PhD Thesis. SOAS, University of London http://eprints.soas.ac.uk/18449 Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this thesis, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", name of the School or Department, PhD Thesis, pagination. VICTORY PICTURES IN A TIME OF DEFEAT Depicting War in the Print and Visual Culture of Late Qing China 1884-1901 Yin Hwang Thesis submitted for the degree of Doctor of Philosophy in the History of Art 2014 Department of the History of Art and Archaeology School of Oriental and African Studies, University of London 2 Declaration for PhD thesis I have read and understood regulation 17.9 of the Regulations for students of the School of Oriental and African Studies concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part, by any other person. -
Conceptualizing the Blue Frontier: the Great Qing and the Maritime World
Conceptualizing the Blue Frontier: The Great Qing and the Maritime World in the Long Eighteenth Century Inauguraldissertation zur Erlangung der Doktorwürde der Philosophischen Fakultüt der Ruprecht-Karls-Universität Heidelberg Vorgelegt von Chung-yam PO Erstgutachter: Prof. Dr. Harald Fuess Zweitgutachter: Prof. Dr. Joachim Kurtz Datum: 28 June 2013 Table of Contents Abstract 2 Acknowledgments 3 Emperors of the Qing Dynasty 5 Map of China Coast 6 Introduction 7 Chapter 1 Setting the Scene 43 Chapter 2 Modeling the Sea Space 62 Chapter 3 The Dragon Navy 109 Chapter 4 Maritime Customs Office 160 Chapter 5 Writing the Waves 210 Conclusion 247 Glossary 255 Bibliography 257 1 Abstract Most previous scholarship has asserted that the Qing Empire neglected the sea and underestimated the worldwide rise of Western powers in the long eighteenth century. By the time the British crushed the Chinese navy in the so-called Opium Wars, the country and its government were in a state of shock and incapable of quickly catching-up with Western Europe. In contrast with such a narrative, this dissertation shows that the Great Qing was in fact far more aware of global trends than has been commonly assumed. Against the backdrop of the long eighteenth century, the author explores the fundamental historical notions of the Chinese maritime world as a conceptual divide between an inner and an outer sea, whereby administrators, merchants, and intellectuals paid close and intense attention to coastal seawaters. Drawing on archival sources from China, Japan, Korea, Vietnam, and the West, the author argues that the connection between the Great Qing and the maritime world was complex and sophisticated. -
China Study Journal
CHINA STUDY JOURNAL CHINA DESK Churches Together in Britain and Ireland Sh- churches ìogethe AU r IN BRITAIN AND I II i u « 0® China Study Journal Autumn/Winter 2008 Editorial Address: China Desk, Churches Together in Britain and Ireland, Bastille Court, 2 Paris Garden, London, SEI 8ND, United Kingdom Email: [email protected] ISSN 0956-4314 Cover: Nial Smith Design, from: Shen Zhou (1427-1509), Poet on a Mountain Top, Ming Dynasty (1368-1644). Album leaf mounted as a hand scroll, ink and water colour on paper, silk mount, image 15 lA x 23 % inches (38.74 x 60.33cm). © "The Nelson-Arkins Museum of Art, Kansas City, Missouri. Purchase: Nelson Trust, 46-51/2. Photograph by Robert Newcombe. Layout by raspberryhmac - www.raspberryhmac.co.uk Contents Editorial Section 1 Articles Zhuo Xinping Societal Changes and Religious Reconstruction in Contemporary China Li Shunhua Another Aspect of Chinese Rural Christianity — Based on a field survey of a rural church in north Henan province Chen Shengbai A Minority amongst a minority: an investigation into the situation of [Protestant] Christianity in Southern Gansu Section 2 Documentation Editor: Edmond Tang Managing Editor: Lawrence Braschi Translators: Cinde Lee, Lawrence Breen, Alison Hardie, Lawrence Braschi Abbreviations ANS : Amity News Service (HK) CASS : Chinese Academy of Social Sciences (Beijing) CCBC : Chinese Catholic Bishops' Conference CCC : China Christian Council CCPA : Chinese Catholic Patriotic Association CM : China Muslim (Journal) CPPCC : Chinese People's Consultative Conference FY : Fa Yin (Journal of the Chinese Buddhist Assoc.) SCMP : South China Morning Post(HK) SE : Sunday Examiner (HK) TF : Tian Feng (Journal of the China Christian Council) TSPM : Three-Seif Patriotic Movement UCAN : Union of Catholic Asian News ZENIT : Catholic News Agency ZG DJ : China Taoism (Journal) ZGTZJ : Catholic Church in China (Journal of Chinese Catholic Church) Note: the term lianghui is used in this journal to refer to the joint committees of the TSPM and CCC. -
Performing Shakespeare in Contemporary Taiwan
Performing Shakespeare in Contemporary Taiwan by Ya-hui Huang A thesis submitted in partial fulfilment for the requirements of the degree of Doctor of Philosophy at the University of Central Lancashire Jan 2012 Abstract Since the 1980s, Taiwan has been subjected to heavy foreign and global influences, leading to a marked erosion of its traditional cultural forms. Indigenous traditions have had to struggle to hold their own and to strike out into new territory, adopt or adapt to Western models. For most theatres in Taiwan, Shakespeare has inevitably served as a model to be imitated and a touchstone of quality. Such Taiwanese Shakespeare performances prove to be much more than merely a combination of Shakespeare and Taiwan, constituting a new fusion which shows Taiwan as hospitable to foreign influences and unafraid to modify them for its own purposes. Nonetheless, Shakespeare performances in contemporary Taiwan are not only a demonstration of hybridity of Westernisation but also Sinification influences. Since the 1945 Kuomintang (Chinese Nationalist Party, or KMT) takeover of Taiwan, the KMT’s one-party state has established Chinese identity over a Taiwan identity by imposing cultural assimilation through such practices as the Mandarin-only policy during the Chinese Cultural Renaissance in Taiwan. Both Taiwan and Mainland China are on the margin of a “metropolitan bank of Shakespeare knowledge” (Orkin, 2005, p. 1), but it is this negotiation of identity that makes the Taiwanese interpretation of Shakespeare much different from that of a Mainlanders’ approach, while they share certain commonalities that inextricably link them. This study thus examines the interrelation between Taiwan and Mainland China operatic cultural forms and how negotiation of their different identities constitutes a singular different Taiwanese Shakespeare from Chinese Shakespeare. -
Download Entire TAIPEI
台北 台 北 WINTER 2017 Vol. 10 WINTER 10 The Young March of the Old Neighborhood Back to Dadaocheng’s Glamorous Age Yanping N. Road: the Place for Go-getters in Taipei! A Living Environment for Rich and Not-so-Rich Conceived out of Musical DNA Delicate Violin Crafting Advertisement TAIPEI Is Available at 臺北市政府觀光傳播局 南港軟體工業園區 北投溫泉博物館 Department of Information and Tourism, Nangang Software Park Beitou Hot Springs Museum Taipei City Government (02)2655-3093 ext.124 (02)2893-9981 1999 ext. 7564 2F, 19-10, Sanchong Rd., Taipei City 2, Zhongshan Rd., Taipei City 4F, 1, City Hall Rd., Taipei City 臺北美國學校 士林官邸 臺灣桃園國際航空站一 Taipei American School Chiang Kai-shek Shilin Residence Tourist Service Center at Arrival Hall, (02)2873-9900 (02)2883-6340 Taiwan Taoyuan International Airport 800, Sec. 6, Zhongshan N. Rd., Taipei City 60, Fulin Rd., Taipei City ﹣ Terminal I (03)398-2194 國立中正紀念堂 臺北市孔廟 9, Hangzhan S. Rd., Taoyuan City National Chiang Kai-shek Memorial Hall Taipei Confucius Temple (02)2343-1100 (02)2592-3924 臺灣桃園國際航空站二 21, Zhongshan S. Rd., Taipei City 275, Dalong St., Taipei City Tourist Service Center at Departure Hall, Taiwan Taoyuan International Airport 台北當代藝術館 松山文創園區 ﹣ Terminal II Museum of Contemporary Art, Taipei Songshan Cultural and Creative Park (03)398-3341 (02)2552-3720 (02)2765-1388 9, Hangzhan S. Rd., Taoyuan City 39, Chang'an W. Rd., Taipei City 133, Guangfu S. Rd., Taipei City 美國在臺協會 官邸藝文沙龍 華山 1914 文化創意產業園區 American Institute in Taiwan Mayor's Residence Arts Salon Huashan 1914 Creative Park (02)2162-2000 (02)2396-9398 (02)2358-1914 7, Ln. -
The Chinese Phonetic Transcriptions of Old Turkish Words in the Chinese Sources from 6Th -9Th Century Focused on the Original Word Transcribed As Tujue 突厥*
The Chinese Phonetic Transcriptions of Old Title Turkish Words in the Chinese Sources from 6th - 9th Century : Focused on the Original Word Transcribed as Tujue 突厥 Author(s) Kasai, Yukiyo Citation 内陸アジア言語の研究. 29 P.57-P.135 Issue Date 2014-08-17 Text Version publisher URL http://hdl.handle.net/11094/69762 DOI rights Note Osaka University Knowledge Archive : OUKA https://ir.library.osaka-u.ac.jp/ Osaka University 57 The Chinese Phonetic Transcriptions of Old Turkish Words in the Chinese Sources from 6th -9th Century Focused on the Original Word Transcribed as Tujue 突厥* Yukiyo KASAI 0. Introduction The Turkish tribes which originated from Mongolia contacted since time immemorial with their various neighbours. Amongst those neighbours China, one of the most influential countries in East Asia, took note of their activities for reasons of its national security on the border areas to the North of its territory. Especially after an political unit of Turkish tribes called Tujue 突厥 had emerged in the middle of the 6th c. as the first Turkish Kaganate in Mongolia and become threateningly powerful, the Chinese dynasties at that time followed the Turks’ every move with great interest. The first Turkish Kaganate broke down in the first half of the 7th c. and came under the rule of the Chinese Tang 唐–dynasty, but * I would like first to express my sincere thanks to Prof. Dr. DESMOND DURKIN-MEISTERERNST who gave me useful advice about the contents of this article and corrected my English, too. My gratitude also goes to Prof. TAKAO MORIYASU and Prof. -
Religion in China BKGA 85 Religion Inchina and Bernhard Scheid Edited by Max Deeg Major Concepts and Minority Positions MAX DEEG, BERNHARD SCHEID (EDS.)
Religions of foreign origin have shaped Chinese cultural history much stronger than generally assumed and continue to have impact on Chinese society in varying regional degrees. The essays collected in the present volume put a special emphasis on these “foreign” and less familiar aspects of Chinese religion. Apart from an introductory article on Daoism (the BKGA 85 BKGA Religion in China prototypical autochthonous religion of China), the volume reflects China’s encounter with religions of the so-called Western Regions, starting from the adoption of Indian Buddhism to early settlements of religious minorities from the Near East (Islam, Christianity, and Judaism) and the early modern debates between Confucians and Christian missionaries. Contemporary Major Concepts and religious minorities, their specific social problems, and their regional diversities are discussed in the cases of Abrahamitic traditions in China. The volume therefore contributes to our understanding of most recent and Minority Positions potentially violent religio-political phenomena such as, for instance, Islamist movements in the People’s Republic of China. Religion in China Religion ∙ Max DEEG is Professor of Buddhist Studies at the University of Cardiff. His research interests include in particular Buddhist narratives and their roles for the construction of identity in premodern Buddhist communities. Bernhard SCHEID is a senior research fellow at the Austrian Academy of Sciences. His research focuses on the history of Japanese religions and the interaction of Buddhism with local religions, in particular with Japanese Shintō. Max Deeg, Bernhard Scheid (eds.) Deeg, Max Bernhard ISBN 978-3-7001-7759-3 Edited by Max Deeg and Bernhard Scheid Printed and bound in the EU SBph 862 MAX DEEG, BERNHARD SCHEID (EDS.) RELIGION IN CHINA: MAJOR CONCEPTS AND MINORITY POSITIONS ÖSTERREICHISCHE AKADEMIE DER WISSENSCHAFTEN PHILOSOPHISCH-HISTORISCHE KLASSE SITZUNGSBERICHTE, 862. -
Language Loss Phenomenon in Taiwan: a Narrative Inquiry—Autobiography and Phenomenological Study
Language Loss Phenomenon in Taiwan: A Narrative Inquiry—Autobiography and Phenomenological Study By Wan-Hua Lai A Thesis submitted to the Faculty of Graduate Studies of The University of Manitoba in partial fulfilment of the requirements of the degree of MASTER OF EDUCATION Department of Curriculum, Teaching, and Learning University of Manitoba, Faculty of Education Winnipeg Copyright © 2012 by Wan-Hua Lai ii Table of Content Table of Content…………………………………………………………………………………………………..……ii List of Tables…………………………………………………………………………………………………..……...viii List of Figures……………………………………………………………………………………………………………ix Abstract…………………………………………………………………………………………………………………...xi Acknowledgement………………………………………………………………………………………………..…xii Dedication………………………………………………………………………………………………………………xiv Chapter One: Introduction…………………………………………………………………………………….….1 Mandarin Research Project……………………………………………………………………………………2 Confusion about My Mother Tongue……………………………………………………….……………2 From Mandarin to Taigi………………………………………………………………………………………..3 Taiwan, a Colonial Land………………………………………………………………………………………..3 Study on the Language Loss in Taiwan………………………………………………………………….4 Archival Research………………………………………………………………………………………………….4 Chapter Two: My Discovery- A Different History of Taiwan……………………………………….6 Geography…………………………………………………………………………………………………………….7 Population……………………………………………….…………………………………………………….……9 Culture…………………………………………………………………………………………..……………………..9 Society………………………………………………………………………………..………………………………10 Education…………………………………………………………………………………………………….………11 Economy……………………………………………………………………………………….…………….………11 -
Bibliographie
Bibliographie 1. Das Schrifttum von Wu Leichuan WU LEI-CH’UAN bzw. WU CHEN-CH’UN (WU ZHENCHUN), Pseudonym HUAI XIN Die englischen Titel in Klammern stammen aus den Originalausgaben, wo sich oft (aber nicht immer) ein chinesisches und ein englisches Inhaltsverzeichnis findet. Die Numerierung und Paginierung von SM, ZL und ZLYSM ist in den Originalausgaben, die dem Verfasser nur in Kopien vorlagen, nicht konsistent und oft nur schwer les- bar. Die Beiträge sind chronologisch geordnet. 1918 „Shu xin“ , in: Zhonghua jidujiaohui nianjian 5 (1918), S. 217-221. 1920 „Lizhi yu jidujiao“ (Confucian Rites and Christianity), in: SM 1 (1920), No. 2, S. 1-6. 1920 „Wo duiyu jidujiaohui de ganxiang“ (Problems of the Christian Church in China. A Statement of Religious Experience), in: SM 1 (1920), No. 4, S. 1-4. 1920 „Wo yong hefa du shengjing? Wo weihe du shengjing?“ , in: SM 1 (1920), No. 6, S. 1. 1920 „Wo suo xinyang de Yesu Jidu“ , in: SM 1 (1920), No. 9 und 10. 1921 „What the Chinese Are Thinking about Christianity“. Transl. by T.C. Chao, in: CR (February 1921), S. 97-102. 1923 „Jidujiao jing yu rujiao jing“ , in: SM 3 (1923), No. 6, S. 1- 6. Abgedruckt in Zhang Xiping und Zhuo Xinping (Hrsg.) 1999, S. 459-465. 1923 „Wo geren de zongjiao jingyan“ (My Personal Religious Experience), in: SM 3 (1923), No. 7-8, S. 1-3. 1923 „Lun Zhongguo jidujiaohui de qiantu“ , in: ZL 10. Juni 1923, No. 11. Abgedruckt in Zhang Xiping und Zhuo Xinping (Hrsg.) 1999, S. 333-336. 1923 „Jidutu jiuguo“ , in: ZL 1 (1923), No. -
Historical and Contemporary Development of the Chinese Zheng
Historical and Contemporary Development of the Chinese Zheng by Han Mei MA, The Music Research Institute of Chinese Arts Academy Beijing, People's Republic of China, 1995 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS OF THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (School of Music) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October, 2000 ©HanMei 2000 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. The University of British Columbia Vancouver, Canada DE-6 (2/88) ABSTRACT The zheng is a plucked, half-tube Chinese zither with a history of over two and a half millennia. During this time, the zheng, as one of the principal Chinese instruments, was used in both ensemble and solo performances, playing an important role in Chinese music history. Throughout its history, the zheng underwent several major changes in terms of construction, performance practice, and musical style. Social changes, political policies, and Western musical influences also significantly affected the development of the instrument in the twentieth century; thus the zheng and its music have been brought to a new stage through forces of modernization and standardization.