East Asian Languages & Civilization (EALC)
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Patrick J. Hurley's Attempt to Unify China, 1944-1945
This dissertation has been microfilmed exactly as received 66-11 791 SMITH, Robert Thomas, 1938- ALONE IN CHINA; PATRICK J. HURLEY'S ATTEMPT TO UNIFY CHINA, 1944-1945. The University of Oklahoma, Ph.D., 1966 History, modern University Microfilms, Inc., Ann Arbor, Michigan C opyright by ROBERT THOMAS SMITH 1966 THE UNIVERSITY OF OKLAHCMA GRADUATE COLLEGE ALONE IN CHINA: PATRICK J . HURLEY'S ATTEMPT TO UNIFY CHINA, 1944-1945 A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY BY ROBERT THCÎ-1AS SMITH Norman, Oklahoma 1966 ALŒE IN CHINA; PATRICK J . HURLEY'S ATTEMPT TO UNIFY CHINA, 1944-1945 APPP>Î BY 'c- l <• ,L? T\ . , A. c^-Ja ^v^ c c \ (LjJ LSSERTATION COMMITTEE ACKNOWLEDGMENT 1 wish to acknowledge the aid and assistance given by my major professor, Dr, Gilbert 0, Fite, Research Professor of History, I desire also to thank Professor Donald J, Berthrong who acted as co-director of my dissertation before circumstances made it impossible for him to continue in that capacity. To Professors Percy W, Buchanan, J, Carroll Moody, John W, Wood, and Russell D, Buhite, \^o read the manuscript and vdio each offered learned and constructive criticism , I shall always be grateful, 1 must also thank the staff of the Manuscripts Divi sion of the Bizzell Library \diose expert assistance greatly simplified the task of finding my way through the Patrick J, Hurley collection. Special thanks are due my wife vdio volun teered to type the manuscript and offered aid in all ways imaginable, and to my parents \dio must have wondered if I would ever find a job. -
Introduction
INTRODUCTION The wuxia film is the oldest genre in the Chinese cinema that has remained popular to the present day. Yet despite its longevity, its history has barely been told until fairly recently, as if there was some force denying that it ever existed. Indeed, the genre was as good as non-existent in China, its country of birth, for some fifty years, being proscribed over that time, while in Hong Kong, where it flowered, it was gen- erally derided by critics and largely neglected by film historians. In recent years, it has garnered a following not only among fans but serious scholars. David Bordwell, Zhang Zhen, David Desser and Leon Hunt have treated the wuxia film with the crit- ical respect that it deserves, addressing it in the contexts of larger studies of Hong Kong cinema (Bordwell), the Chinese cinema (Zhang), or the generic martial arts action film and the genre known as kung fu (Desser and Hunt).1 In China, Chen Mo and Jia Leilei have published specific histories, their books sharing the same title, ‘A History of the Chinese Wuxia Film’ , both issued in 2005.2 This book also offers a specific history of the wuxia film, the first in the English language to do so. It covers the evolution and expansion of the genre from its beginnings in the early Chinese cinema based in Shanghai to its transposition to the film industries in Hong Kong and Taiwan and its eventual shift back to the Mainland in its present phase of development. Subject and Terminology Before beginning this history, it is necessary first to settle the question ofterminology , in the process of which, the characteristics of the genre will also be outlined. -
The Future of East Asia: Concept, Method and Perspective – EU As Mirror Shuifa Han
Han Asian Journal of German and European Studies (2016) 1:1 Asian Journal of German DOI 10.1186/s40856-016-0004-z and European Studies ORIGINAL ARTICLE Open Access The future of East Asia: concept, method and perspective – EU as mirror Shuifa Han Correspondence: [email protected] Department of Philosophy/Institute Abstract of Foreign Philosophy, Peking University, Beijing 100871, The Background: The solidarity of East Asia, or its possible integration, and even the People’s Republic of China establishment of a union in the future, could not place hope on just spontaneous generation and development of the situation, but should rely on the self- consciousness and autonomous efforts of the people and politicians in East Asian countries. EU and other various organizations within the East Asia region, not only provide rich experience, but also offer a variety of possible ways and means for the solidarity of the East Asian countries. Methods: Under the principles of human rights and rule of law, as well as on the basis of equality and consultation, the significance of East Asian integration consists in facing the history, historical ties and cultural heritage fully and independently, in addition to the assumption of the present and future needs, as well as the responsibilities and obligations which have to be taken in joint effort. Results and discussion: East Asian Community, if it is possible, would become one of the main civilization circles of the world, and constitute the core of the modern world system together with the EU, the US and possibly other systems or communities of countries, meanwhile forming a civilization region with special characteristics of culture. -
Letters and Gifts in Early Medieval China
Material and Symbolic Economies: Letters and Gifts in Early Medieval China The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Tian, Xiaofei. "4 Material and Symbolic Economies: Letters and Gifts in Early Medieval China." In A History of Chinese Letters and Epistolary Culture, pp. 135-186. Brill, 2015. Published Version doi:10.1163/9789004292123_006 Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:29037391 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Open Access Policy Articles, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#OAP Material and Symbolic Economies_Tian Material and Symbolic Economies: Letters and Gifts in Early Medieval China* Xiaofei Tian Harvard University This paper examines a group of letters in early medieval China, specifically from the turn of the third century and from the early sixth century, about gift giving and receiving. Gift-giving is one of the things that stand at the center of social relationships across many cultures. “The gift imposes an identity upon the giver as well as the receiver.”1 It is both productive of social relationships and affirms them; it establishes and clarifies social status, displays power, strengthens alliances, and creates debt and obligations. This was particularly true in the chaotic period following the collapse of the Han empire at the turn of the third century, often referred to by the reign title of the last Han emperor as the Jian’an 建安 era (196-220). -
Shared Literary Heritage in the East Asian Sinographic Sphere
Shared Literary Heritage in the East Asian Sinographic Sphere Oxford Handbooks Online Shared Literary Heritage in the East Asian Sinographic Sphere Wiebke Denecke and Nam Nguyen The Oxford Handbook of Classical Chinese Literature Edited by Wiebke Denecke, Wai-Yee Li, and Xiaofei Tian Print Publication Date: May 2017 Subject: Classical Studies, Ancient Prose Literature Online Publication Date: Apr 2017 DOI: 10.1093/oxfordhb/9780199356591.013.33 Abstract and Keywords This chapter traces the origins and nature of the shared literary heritage in the East Asian “Sinographic Sphere,” namely China, Korea, Japan, and Vietnam, focusing on developments before the early modern period, in keeping with the temporal and thematic scope of this handbook. It explores modes of cross-cultural communication and textual culture conditioned by the Chinese script, including gloss-reading techniques, “brush talk,” and biliteracy; surveys shared political and social institutions and literary practices, sustained by the flourishing book trade; and touches on the rise of vernacular literatures, the dynamic between Literary Chinese and local vernaculars, and the role of women. With the recent death of Literary Chinese as the lingua franca of East Asia we are facing a new phase in world history. The Chinese-style literatures of East Asia point to cultural commonalities and tell stories of creative engagement with Chinese literary history that offer insights about Chinese literature. Keywords: Sinographic Sphere, East Asian literatures, vernacular, biliteracy, East Asian women writers, logographic scripts, gloss-reading, Japanese literature, Korean literature, Vietnamese literature Page 1 of 27 PRINTED FROM OXFORD HANDBOOKS ONLINE (www.oxfordhandbooks.com). (c) Oxford University Press, 2015. -
The Transcendence of the Arts in China and Beyond (Lissabon, 4-5 Apr 13)
The transcendence of the Arts in China and Beyond (Lissabon, 4-5 Apr 13) Faculty of Fine Arts, University of Lisbon, PORTUGAL, Apr 4–05, 2013 Deadline: Jul 31, 2012 Rui Oliveira Lopes, Faculty of Fine Arts, University of Lisbon 'Face to Face. The transcendence of the Arts in China and Beyond' Organizers: Fernando António Baptista Pereira Associated Professor, Faculty of Fine Arts, University of Lisbon Rui Oliveira Lopes Postdoctoral Researcher, Faculty of Fine Arts, University of Lisbon Conference Language English / Portuguese Conference Description Face to Face. The Transcendence of the Arts in China and Beyond is a conference that will bring a wide range of new perspectives on the artistic styles changes of Chinese Arts, resulting from the artistic exchange and mutual interactions with the arts, styles and techniques of other cultures in China itself and beyond its cultural frontiers. Given to the long artistic traditions and the multicultural sediment of Chinese arts it is critical to present a selection of comparative perspectives on the legacy of other artistic traditions in the arts of China, from the Bronze Age to Modern-day, crossing through ceramics, metalwork, paint- ing, sculpture, carving, prints, textiles, drama (theatre, opera, shadow puppetry and cinema), and performing arts (music and dance). Our goals for the conference are to raise awareness of the artistic exchange and mutual influ- ences between the Han Chinese arts and the arts from different cultural backgrounds in China itself, as well as beyond its geographical and cultural boundaries. We also aim to go through the issues on the construction of artistic identity and the balance between permeability and hege- mony, tradition and innovation, convenience and misinterpretation. -
How Poetry Became Meditation in Late-Ninth-Century China
how poetry became meditation Asia Major (2019) 3d ser. Vol. 32.2: 113-151 thomas j. mazanec How Poetry Became Meditation in Late-Ninth-Century China abstract: In late-ninth-century China, poetry and meditation became equated — not just meta- phorically, but as two equally valid means of achieving stillness and insight. This article discusses how several strands in literary and Buddhist discourses fed into an assertion about such a unity by the poet-monk Qiji 齊己 (864–937?). One strand was the aesthetic of kuyin 苦吟 (“bitter intoning”), which involved intense devotion to poetry to the point of suffering. At stake too was the poet as “fashioner” — one who helps make and shape a microcosm that mirrors the impersonal natural forces of the macrocosm. Jia Dao 賈島 (779–843) was crucial in popularizing this sense of kuyin. Concurrently, an older layer of the literary-theoretical tradition, which saw the poet’s spirit as roaming the cosmos, was also given new life in late Tang and mixed with kuyin and Buddhist meditation. This led to the assertion that poetry and meditation were two gates to the same goal, with Qiji and others turning poetry writing into the pursuit of enlightenment. keywords: Buddhism, meditation, poetry, Tang dynasty ometime in the early-tenth century, not long after the great Tang S dynasty 唐 (618–907) collapsed and the land fell under the control of regional strongmen, a Buddhist monk named Qichan 棲蟾 wrote a poem to another monk. The first line reads: “Poetry is meditation for Confucians 詩為儒者禪.”1 The line makes a curious claim: the practice Thomas Mazanec, Dept. -
Daoism and Daoist Art
Heilbrunn Timeline of Art History Daoism and Daoist Art Works of Art (19) Essay Indigenous to China, Daoism arose as a secular school of thought with a strong metaphysical foundation around 500 B.C., during a time when fundamental spiritual ideas were emerging in both the East and the West. Two core texts form the basis of Daoism: the Laozi and the Zhuangzi, attributed to the two eponymous masters, whose historical identity, like the circumstances surrounding the compilation of their texts, remains uncertain. The Laozi—also called the Daodejing, or Scripture of the Way and Virtue—has been understood as a set of instructions for virtuous rulership or for self- cultivation. It stresses the concept of nonaction or noninterference with the natural order of things. Dao, usually translated as the Way, may be understood as the path to achieving a state of enlightenment resulting in longevity or even immortality. But Dao, as something ineffable, shapeless, and conceived of as an infinite void, may also be understood as the unfathomable origin of the world and as the progenitor of the dualistic forces yin and yang. Yin, associated with shade, water, west, and the tiger, and yang, associated with light, fire, east, and the dragon, are the two alternating phases of cosmic energy; their dynamic balance brings cosmic harmony. Over time, Daoism developed into an organized religion—largely in response to the institutional structure of Buddhism—with an ever-growing canon of texts and pantheon of gods, and a significant number of schools with often distinctly different ideas and approaches. At times, some of these schools were also politically active. -
The Transparent Stone
WU HUNG The TransparentStone: Inverted Vision and Binary Imagery in Medieval Chinese Art A CRUCIAL MOMENT DIVIDES the course of Chinese art into two broad periods. Before this moment,a ritual art traditiontransformed general political and religious concepts into material symbols.Forms that we now call worksof art were integralparts of largermonumental complexes such as temples and tombs,and theircreators were anonymouscraftsmen whose individualcrea- tivitywas generallysubordinated to largercultural conventions. From the fourth and fifthcenturies on, however,there appeared a group of individuals-scholar- artistsand art critics-who began to forge theirown history.Although the con- structionof religiousand politicalmonuments never stopped, these men of let- ters attempted to transformpublic art into their private possessions, either physically,artistically, or spiritually.They developed a strongsentiment toward ruins,accumulated collectionsof antiques,placed miniaturemonuments in their houses and gardens,and "refined"common calligraphicand pictorialidioms into individual styles.This paper discusses new modes of writingand paintingat this liminalpoint in Chinese art history. Reversed Image and Inverted Vision Near the modern cityof Nanjing in eastern China, some ten mauso- leums survivingfrom the early sixth centurybear witnessto the past glory of emperors and princes of the Liang Dynasty(502-57).' The mausoleums share a general design (fig. 1). Three pairs of stone monumentsare usually erected in frontof the tumulus: a pair of stone animals-lions or qilinunicorns according to the statusof the dead-are placed before a gate formedby two stone pillars; the name and titleof the deceased appear on the flatpanels beneath the pillars' capitals. Finallytwo opposing memorialstelae bear identicalepitaphs recording the career and meritsof the dead person. -
Intersections: Li Yugang and His Transgender Performance: Body Politics, Entertainment and Aesthetic Ambiguity
Intersections: Li Yugang and His Transgender Performance: Body Politics, Entertainment and Aesthetic Ambiguity Intersections: Gender and Sexuality in Asia and the Pacific Issue 41, December 2017 Li Yugang and His Transgender Performance: Body Politics, Entertainment and Aesthetic Ambiguity Cai Shenshen I have never thought a transgender male character could be so beautiful; 'she' is pure and classical in style. 'Her' beauty has superseded the majority of females, 'she' walks majestically, 'her' smile and glimpse touches one's soul. 'She' elegantly waves 'her' sleeves. I know that I am a man but when I watch 'her' performing, I am absolutely captivated and can't control my feelings towards 'her', and this internal conflict has made me question my sexuality.[1] His uncommon quality in arts vividly demonstrates the appeal of his femininity, elegantly rather than extravagantly, prettily rather than pretentiously. He is more feminine than woman. This is a kind of beauty that encompasses female prettiness in the modern world. Not only is it a prettiness of appearance, but also a prettiness emitting from the heart, – one of temperament. The expression and emotion showing in 'her' eyes is intoxicating.[2] 1. The above quotes are from some Chinese netizens who appreciate the delicacy, elegance, and uniqueness of the trans-gender performances of Li Yugang, who is widely appraised as the best female impersonator in present-day China. From these netizens' comments, a murkily complex gender boundary and a collapse of the polarised gender categorisation is apparent. This gender confusion raises the question about whether gender is a presupposed entity or a performative and constructed discourse. -
An Alternative Study of Chinese History: Two Daoist Temples
UNLV Retrospective Theses & Dissertations 1-1-2008 An alternative study of Chinese history: Two Daoist temples Joan Lorraine Mann University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Mann, Joan Lorraine, "An alternative study of Chinese history: Two Daoist temples" (2008). UNLV Retrospective Theses & Dissertations. 2304. http://dx.doi.org/10.25669/ryst-56ao This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. AN ALTERNATIVE STUDY OF CHINESE HISTORY: TWO DAOIST TEMPLES by Joan Lorraine Mann Bachelor of Arts San Jose State University 1979 A thesis submitted in partial fulfillment of the requirement for the Master of Arts Degree in History Department of History College of Liberal Arts Graduate College University of Nevada, Las Vegas May 2008 UMI Number: 1456353 Copyright 2008 by Mann, Joan Lorraine All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. -
Inventing Chinese Modernism: the Art and Design of Pang Xunqin
INVENTING CHINESE MODERNISM: THE ART AND DESIGN OF PANG XUNQIN (HIUNKIN PANG), 1930s-1940s by YINXUE CHEN A THESIS Presented to the Department of the History of Art and Architecture and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts June 2019 THESIS APPROVAL PAGE Student: Yinxue Chen Title: Inventing Chinese Modernism: The Art and Design of Pang Xunqin (Hiunkin Pang), 1930s-1940s This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the Department of the History of Art and Architecture by: Jenny Lin Chairperson Joyce Cheng Member Akiko Walley Member and Janet Woodruff-Borden Vice Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2019 ii © 2019 Yinxue Chen This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike (United States) License. iii THESIS ABSTRACT Yinxue Chen Master of Arts Department of the History of Art and Architecture June 2019 Title: Inventing Chinese Modernism: The Art and Design of Pang Xunqin (Hiunkin Pang), 1930s-1940s As one of the first Chinese modernist artists to study painting in Paris in the 1920s, Pang Xunqin’s art and design projects were profoundly influenced by both Western European and Chinese aesthetics. From the 1930s to 1940s, his output shifted from cosmopolitan Shanghai-based paintings to Guizhou Miao ethnic paintings to traditional Chinese and Art Deco-influenced industrial designs. Integrating historical context, Pang Xunqin’s biography, and stylistic analyses, this thesis interprets how the artist’s work transformed through particular social and political upheavals, including the Second Sino- Japanese War (1937-1945) and conflicts between vying political parties in China.