Compact Explicit Matrix Representations of the Flexoelectric Tensor and a Graphic Method for Identifying All of Its Rotation and Reflection Symmetries H
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Historiography and Narratives of the Later Tang (923-936) and Later Jin (936-947) Dynasties in Tenth- to Eleventh- Century Sources
Historiography and Narratives of the Later Tang (923-936) and Later Jin (936-947) Dynasties in Tenth- to Eleventh- century Sources Inauguraldissertation zur Erlangung des Doktorgrades der Philosophie an der Ludwig‐Maximilians‐Universität München vorgelegt von Maddalena Barenghi Aus Mailand 2014 Erstgutachter: Prof. Dr. Hans van Ess Zweitgutachter: Prof. Tiziana Lippiello Datum der mündlichen Prüfung: 31.03.2014 ABSTRACT Historiography and Narratives of the Later Tang (923-36) and Later Jin (936-47) Dynasties in Tenth- to Eleventh-century Sources Maddalena Barenghi This thesis deals with historical narratives of two of the Northern regimes of the tenth-century Five Dynasties period. By focusing on the history writing project commissioned by the Later Tang (923-936) court, it first aims at questioning how early-tenth-century contemporaries narrated some of the major events as they unfolded after the fall of the Tang (618-907). Second, it shows how both late- tenth-century historiographical agencies and eleventh-century historians perceived and enhanced these historical narratives. Through an analysis of selected cases the thesis attempts to show how, using the same source material, later historians enhanced early-tenth-century narratives in order to tell different stories. The five cases examined offer fertile ground for inquiry into how the different sources dealt with narratives on the rise and fall of the Shatuo Later Tang and Later Jin (936- 947). It will be argued that divergent narrative details are employed both to depict in different ways the characters involved and to establish hierarchies among the historical agents. Table of Contents List of Rulers ............................................................................................................ ii Aknowledgements .................................................................................................. -
The Life and Writings of Xu Hui (627–650), Worthy Consort, at the Early Tang Court
life and writings of xu hui paul w. kroll The Life and Writings of Xu Hui (627–650), Worthy Consort, at the Early Tang Court mong the women poets of the Tang dynasty (618–907) surely the A.best known are Xue Tao 薛濤 (770–832), the literate geisha from Shu 蜀, and the volatile, sometime Daoist priestess Yu Xuanji 魚玄機 (ca. 844–870?). More interesting strictly as a poet than these two fig- ures are Li Ye 李冶 who was active during the late-eighth century and whose eighteen remaining poems show more range and skill than either Xue Tao or Yu Xuanji, and the “Lady of the Flower Stamens” (“Hua- rui furen” 花蕊夫人) whose 157 heptametric quatrains in the “palace” style occupy all of juan 798 in Quan Tang shi 全唐詩, even though she lived in the mid-tenth century and served at the court of the short-lived kingdom of Later Shu 後蜀.1 Far more influential in her day than any of these, though barely two dozen of her poems are now preserved, was the elegant Shangguan Wan’er 上官婉兒 (ca. 664–710), granddaughter of the executed courtier and poet Shangguan Yi 上官儀 (?–665) who had paid the ultimate price for opposing empress Wu Zhao’s 吳曌 (625–705) usurpation of imperial privileges.2 After the execution of Shangguan Yi and other members of his family, Wan’er, then just an infant, was taken into the court as a sort of expiation by empress Wu.3 By the end I should like to thank David R. -
Discrepancies Between Zhang Tianyi and Dickens
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. 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 author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Zhang Tianyi’s Selective Acceptance of Charles Dickens Chunxu Ge School of Languages, Literatures and Cultures Submitted for the Degree of Doctor of Philosophy June 2019 1 Abstract This research is a comparative study on the works of Charles Dickens (1812-1870) and Zhang Tianyi 張天翼 (1906-1985). The former was one of the greatest novelists of the Victorian era; the latter, a Left-wing writer in Republican China. The study analyses five short stories from Zhang’s corpus and compares his works with ten novles of Dickens. The study argues that Dickens is one among other writers that have parallels with Zhang, through the exploration of several aspects of their works. At the beginning of the twentieth century, Dickens’s novels were introduced to China by Lin Shu. -
Chinese Paintings in Chinese Publications, 1956-1968: an Annotated Bibliography and an Index to the Paintings
THE UNIVERSITY OF MICHIGAN CENTER FOR CHINESE STUDIES MICHIGAN PAPERS IN CHINESE STUDIES Chang Chun-shu, James Crump, and Rhoads Murphey, Editors Ann Arbor, Michigan Chinese Paintings in Chinese Publications, 1956-1968: An Annotated Bibliography and An Index to the Paintings by E. J. Laing Michigan Papers in Chinese Studies No. 6 1969 Open access edition funded by the National Endowment for the Humanities/ Andrew W. Mellon Foundation Humanities Open Book Program. Copyright 1969 by Center for Chinese Studies The University of Michigan Ann Arbor, Michigan 48104 Printed in the United States of America ISBN 978-0-89264-124-6 (hardcover) ISBN 978-0-89264-006-5 (paper) ISBN 978-0-472-12789-4 (ebook) ISBN 978-0-472-90185-2 (open access) The text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License: https://creativecommons.org/licenses/by-nc-nd/4.0/ C ontents Foreword and Acknowledgments BIBLIOGRAPHY Notes on the Bibliography 1 Annotated Bibliography 1 INDEX Guide to the Index 33 Key to Biographical Sources 35 Abbreviations used in the Index 37 Key to Short Titles used in the Index 37 Index 41 Foreword and Acknowledgments Among the many contributions to scholarly endeavor in the field of Chinese painting made by Dr. Osvald Siren were his "Annotated Lists of Paintings and Reproductions of Paintings by Chinese Artists. TT These "Annotated Lists" were published as a part of his Chinese Painting, Leading Masters and Principles (The Ronald Press Company, New York, 19 56-58, 7 volumes). Since 19 56, the publication of reproductions of Chinese paint- ings has continued at a great pace throughout the world. -
Historical Romance and Sixteenth-Century Chinese Cultural Fantasies
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2013 Genre and Empire: Historical Romance and Sixteenth-Century Chinese Cultural Fantasies Yuanfei Wang University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the English Language and Literature Commons, and the History Commons Recommended Citation Wang, Yuanfei, "Genre and Empire: Historical Romance and Sixteenth-Century Chinese Cultural Fantasies" (2013). Publicly Accessible Penn Dissertations. 938. https://repository.upenn.edu/edissertations/938 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/938 For more information, please contact [email protected]. Genre and Empire: Historical Romance and Sixteenth-Century Chinese Cultural Fantasies Abstract Chinese historical romance blossomed and matured in the sixteenth century when the Ming empire was increasingly vulnerable at its borders and its people increasingly curious about exotic cultures. The project analyzes three types of historical romances, i.e., military romances Romance of Northern Song and Romance of the Yang Family Generals on northern Song's campaigns with the Khitans, magic-travel romance Journey to the West about Tang monk Xuanzang's pilgrimage to India, and a hybrid romance Eunuch Sanbao's Voyages on the Indian Ocean relating to Zheng He's maritime journeys and Japanese piracy. The project focuses on the trope of exogamous desire of foreign princesses and undomestic women to marry Chinese and social elite men, and the trope of cannibalism to discuss how the expansionist and fluid imagined community created by the fiction shared between the narrator and the reader convey sentiments of proto-nationalism, imperialism, and pleasure. -
CHENGDU Brought to You by Our Guide to Southwest China’S Thriving Megacity
C H E N G D U CHENGDU Brought to you by Our guide to Southwest China’s thriving megacity Our third Sinopolis guide This is the third in our Sinopolis series of city guides. They Chengdu has likewise made major strides in moving up are designed to give you insights into China’s larger cities, the industrial value chain. Its high-tech special zone plays and are written with the business person in mind. host to the likes of Intel chip factories, as well as the As we pointed out in our first Sinopolis (which looked at Foxconn assembly lines that make many of the world’s Hangzhou), we know that knowledge of Beijing and iPads. The city has also become a hub for software Shanghai is already quite strong, so our goal here is to engineers, partly because property prices are dramatically Chengdu was a create a series of useful overviews of China’s other, less cheaper than those of Beijing and Shanghai (see our starting point for well-known major cities. This guide focuses on the chapter on the property market), and likewise its high the ancient Silk Southwestern metropolis of Chengdu, the provincial quality local universities. But the other reason why skilled Road and is capital of Sichuan and one of China’s biggest cities by engineers like the city is its liveability. Famed for its reprising that population (16 million). It is also one of the country’s most teahouse culture, Chengdu is also a gastronomic capital: role thanks to ancient cities: thanks to its silk trade it was a starting point Sichuanese cuisine is one of China’s four great culinary President Xi Jinping’s for the Silk Road. -
The Earliest Pictorial Representations of Ape Tales
THE EARLIEST PICTORIAL REPRESENTATIONS OF APE TALES An Interdisciplinary Study of Early Chinese Narrative Art and Literature* BY WU HUNG (Harvard University) In 1951, Richard Rudolph reported two pieces of bas-reliefs with similar pictorial representations in his well-known book, Han Tomb Art of West China.' Five years later; the Chinese scholar, Wen Yu, published these works again with brief discussions of their subject matter.2 Both authors identified the provenance of the slabs as Xinjing in the Sichuan basin close to the Yangzi River. Rudolph described the pictorial scenes in a detailed figure-by-figure manner, but did not address their iconography; Wen Yu, on the other hand, mistakenly identified the representations as "ape-play," a kind of circus. 87 Two other pictorial representations resembling the Xinjing car- vings can be found at other locations in Sichuan: one carved in a cave-tomb at Leshan ?JlJ,3 the other, on a stone coffin4 discovered in 1956 in Neijiang While the increasing discoveries of such carvings has demonstrated the popularity of the pictorial motif in this area during the Han, the subject matter of the representations still remains open to question. The only new iconographic explana- tion is that given by the excavator of the Neijiang coffin, who vaguely 6 described the scene as "dancing and acting."6 In my opinion, the importance of studying the content of these carvings lies not only in supplying an interpretation of the icono- graphy of these specific art works, but also in that it provides clues for speculating on some general problems regarding the interrela- tionship between early Chinese narrative literature and art. -
Imagery of Female Daoists in Tang and Song Poetry
Imagery of Female Daoists in Tang and Song Poetry by Yang Liu B.A. Changchun Normal University, 1985 M.A. Jilin University, 1994 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Asian Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April, 2011 © Yang Liu, 2011 Abstract This dissertation involves a literary study that aims to understand the lives of female Daoists who lived from the eighth to the twelfth centuries in China. Together with an examination of the various individual qualities manifested in their poetry, this study includes related historical background, biographical information and a discussion of the aspirations and cultural life of the female clergy. Unlike some of the previous scholarship that has examined Daoist deities and mythical figures described in hagiographical texts and literary creations, or on topics such as the Divine Mother of the West and miscellaneous goddesses and fairies, this work takes the perspective of examining female Daoists as historical persons who lived in real Daoist convents. As such, this work concentrates on the assorted images of female Daoists presented in their own poetic works, including those of Yu Xuanji, Li Ye, Yuan Chun, Cao Wenyi and Sun Bu-er. Furthermore, this thesis also examines poetic works about female Daoists written by male literati from both inside and outside the Daoist religion. I do this in order to illustrate how elite men, the group with whom female Daoists interacted most frequently, appreciated and portrayed these special women and their poetry. I believe that a study of their works on Daoist women will not only allow us a better understanding of the nature and characters of female Daoists, but will also contribute to our knowledge of intellectual life in Tang and Song society. -
Ant( A'ctrejjej
~ ~ t · Z~nJ'reJJe" N"un" ant(A'ctreJJeJ Empresses and Palace Ladies As mentioned before, up until the end of the Tang dynasty the women of the Inner Palace played a central role in the tradition of women's litera ture. Following the spread of literacy and the increased availability of books from the Song dynasty onwards, though, the Inner Palace lost its privileged position. While the palace ladies remained as literate as before, few of them made a name for themselves in literary history. There was, however, still one genre of poetry in which empresses and palace ladies were at an advantage: the ''palace songs" (gongci). The genre was invented by the mid-Tang poet Wang Jian (766-ca. 835), who composed a series of a hundred quatrains on the topic of life in the Inner Palace. These poems were very much appreciated, but suffered in the eyes of traditional Chi nese critics from one major weakness: Wang Jian had no personal access to the Inner Palace and had derived his information secondhand from palace eunuchs. As poems should be based on personal experience, only a resident of the Inner Palace was truly qualified to write authentic palace songs. In due time, emperors, empresses, and palace ladies obliged. The art-loving Emperor Huizong (r. IIOI-n26) is credited with a series of no less than three hundred palace songs (of which many may actually have been written by his courtiers). The popularity of the genre at Huizong's court may have been spurred on by the discovery in the archives a few Empresses) Nuns) and Actresses 293 decades earlier of a set of palace songs attributed to Lady Huarui. -
©Copyright 2012 Hsiao-Wen Cheng
©Copyright 2012 Hsiao-wen Cheng Traveling Stories and Untold Desires: Female Sexuality in Song China, 10th-13th Centuries Hsiao-wen Cheng A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2012 Reading Committee: Patricia B. Ebrey, Chair R. Kent Guy Tani E. Barlow Program Authorized to Offer Degree: History University of Washington Abstract Traveling Stories and Untold Desires: Female Sexuality in Song China, 10th-13th Centuries Hsiao-wen Cheng Chair of the Supervisory Committee: Professor Patricia B. Ebrey History This dissertation examines the historicity of female sexuality during the Song dynasty (960-1279), a time period when print technology, popular culture, and commercial activities had begun to boom yet prior to the emergence of a market for women’s writings. It is both an intellectual history—to trace the changing and conflicting conceptualizations of female sexuality in both elite and popular discourses, and a social history—to look for the possible space and resources for women to negotiate autonomy over their sexual bodies and explore their desires. This dissertation proposes an approach—both academically and politically useful—to study the history of women, gender, and sexuality in premodern China in search of women’s agency and possibilities of transgression using only extant sources written by elite men. That is, I treat my sources as multivocal and inspirational in order to emphasize the contradictory nature of intellectual discourses and social norms on the one hand, and popular appropriations of “traveling stories” and “circulating knowledge” on the other. I seek to examine the historical process of the formation of norms concerning female sexuality during this critical period in Chinese history, the nuances of “queerness” and transgressivenss in my source materials, and the ways that Song Dynasty culture and women’s behaviors and practices related to their sexual bodies mutually defined each other. -
Download Special Issue
Complexity Biomolecular Networks for Complex Diseases Guest Editors: Fang X. Wu, Jianxin Wang, Min Li, and Haiying Wang Biomolecular Networks for Complex Diseases Complexity Biomolecular Networks for Complex Diseases Guest Editors: Kazuo Toda, Jorge L. Zeredo, Sae Uchida, and Vitaly Napadow Copyright © 2018 Hindawi. All rights reserved. This is a special issue published in “Complexity.” All articles are open access articles distributed under the Creative Commons Attribu- tion License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. Editorial Board José Ángel Acosta, Spain Mattia Frasca, Italy Daniela Paolotti, Italy Rodrigo Aldecoa, USA Lucia Valentina Gambuzza, Italy Luis M. Rocha, USA Juan A. Almendral, Spain Carlos Gershenson, Mexico Miguel Romance, Spain David Arroyo, Spain Peter Giesl, UK Matilde Santos, Spain Arturo Buscarino, Italy Sergio Gómez, Spain Hiroki Sayama, USA Guido Caldarelli, Italy Sigurdur F. Hafstein, Iceland Michele Scarpiniti, Italy Danilo Comminiello, Italy Giacomo Innocenti, Italy Enzo Pasquale Scilingo, Italy Manlio De Domenico, Italy Jeffrey H. Johnson, UK Samuel Stanton, USA Pietro De Lellis, Italy Vittorio Loreto, Italy Roberto Tonelli, Italy Albert Diaz-Guilera, Spain Didier Maquin, France Shahadat Uddin, Australia Jordi Duch, Spain Eulalia Martínez, Spain Gaetano Valenza, Italy Joshua Epstein, USA Ch. P. Monterola, Philippines Dimitri Volchenkov, USA Thierry Floquet, France Roberto Natella, Italy Christos Volos, Greece Contents Biomolecular -
Rotten Pedant! the Literary and Historical Afterlife of Qiao Zhou
afterlife of qiao zhou j. michael farmer Rotten Pedant! The Literary and Historical Afterlife of Qiao Zhou n what is surely one of the classic understatements in the history of I .sinology, Winston Yang declared, In China, far more people have read [Luo Guanzhong’s 羅貫中] Elaboration [Sanguo [zhi] yanyi 三國志演義 (Extended Meanings of the Records of the Three States)]1 than Chen Shou’s 陳壽 (233–297) Chron- icle [Sanguo zhi 三國志 (Records of the Three States)], and far more Chinese have gained some knowledge of the history of the Three Kingdoms period from the novel than from the official history.2 Now, Yang’s claim may be said to have gone global, with numerous illustrated books, comics, television series, movies, and video games based on Extended Meanings translated into Asian and Western languages and hotly discussed on worldwide internet forums. The widespread acceptance of Extended Meanings as “history” is problematic but not surprising; the text has long been regarded as a sort of popular history. Jiang Daqi’s 江大器 preface to the earliest extant edition (dated 1494) claimed that the intent of the work was to correct the “contemptible and erroneous language” and “wild fiction” of blind storytellers who narrated Three States 三國 (220–280) history,3 and to 1 The attribution of the text to Luo (ca. 1315/18–ca. 1400) is much later than the earliest edi- tion, and the issue of authorship remains hotly debated. Given the serious doubts about Luo’s purported authorship, it becomes difficult to contextualize authorial motive and otherwise place the composition of the work into a historical setting.