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Orthography of Early Chinese Writing: Evidence from Newly Excavated Manuscripts
IMRE GALAMBOS ORTHOGRAPHY OF EARLY CHINESE WRITING: EVIDENCE FROM NEWLY EXCAVATED MANUSCRIPTS BUDAPEST MONOGRAPHS IN EAST ASIAN STUDIES SERIES EDITOR: IMRE HAMAR IMRE GALAMBOS ORTHOGRAPHY OF EARLY CHINESE WRITING: EVIDENCE FROM NEWLY EXCAVATED MANUSCRIPTS DEPARTMENT OF EAST ASIAN STUDIES, EÖTVÖS LORÁND UNIVERSITY BUDAPEST 2006 The present volume was published with the support of the Chiang Ching-kuo Foundation. © Imre Galambos, 2006 ISBN 963 463 811 2 ISSN 1787-7482 Responsible for the edition: Imre Hamar Megjelent a Balassi Kiadó gondozásában (???) A nyomdai munkálatokat (???)a Dabas-Jegyzet Kft. végezte Felelős vezető Marosi Györgyné ügyvezető igazgató CONTENTS Acknowledgements ................................................................................................. vii Introduction ............................................................................................................ 1 CHAPTER ONE FORMER UNDERSTANDINGS ..................................................................................... 11 1.1 Traditional views ........................................................................................... 12 1.1.1 Ganlu Zishu ........................................................................................ 13 1.1.2 Hanjian .............................................................................................. 15 1.2 Modern views ................................................................................................ 20 1.2.1 Noel Barnard ..................................................................................... -
The Six Principles of Chinese Writing and Their Application to Design As Design Idea
ISSN 1923-1555[Print] Studies in Literature and Language ISSN 1923-1563[Online] Vol. 8, No. 3, 2014, pp. 84-88 www.cscanada.net DOI: 10.3968/4968 www.cscanada.org The Six Principles of Chinese Writing and Their Application to Design As Design Idea ZHOU Zhen[a],* [a]Academy of Fine Arts, Shandong Normal University, Jinan, China. The Six Principles are the principles of Chinese *Corresponding author. characters’ formation and application which was Received 12 February 2014; accepted 26 May 2014 developed during the formation of Chinese characters. Published online 25 June 2014 As an open set with new characters constantly being developed, the total number of Chinese characters from Abstract past to present reaches a tremendous sum. The Chinese Given the impact that nationality and locality have on the dictionary published by the People’s Republic of China in essential elements of design, it is a demanding task for 1989 covered about 56,000 characters. It is really amazing Chinese designers to set up new Chinese design styles. that such huge and complicated character-formation can In my opinion, the Six Principles of Chinese Writing (六 be generalized by only six principles. = 書原理), which are the principles of Chinese characters’ In my opinion, the Six Principles comprise a set of formation and application, is a set of design idea that can design thoughts based on using graphics to indicate be applied to modern design. In this paper, I present my meanings. From this standpoint, the Six Principles can research on the new design idea of design based on the be regarded as an effective design method which can be Six Principles of Chinese writing with mark design as applied to modern design, especially in the field of visual examples. -
The Chinese Navy: Expanding Capabilities, Evolving Roles
The Chinese Navy: Expanding Capabilities, Evolving Roles The Chinese Navy Expanding Capabilities, Evolving Roles Saunders, EDITED BY Yung, Swaine, PhILLIP C. SAUNderS, ChrISToPher YUNG, and Yang MIChAeL Swaine, ANd ANdreW NIeN-dzU YANG CeNTer For The STUdY oF ChINeSe MilitarY AffairS INSTITUTe For NATIoNAL STrATeGIC STUdIeS NatioNAL deFeNSe UNIverSITY COVER 4 SPINE 990-219 NDU CHINESE NAVY COVER.indd 3 COVER 1 11/29/11 12:35 PM The Chinese Navy: Expanding Capabilities, Evolving Roles 990-219 NDU CHINESE NAVY.indb 1 11/29/11 12:37 PM 990-219 NDU CHINESE NAVY.indb 2 11/29/11 12:37 PM The Chinese Navy: Expanding Capabilities, Evolving Roles Edited by Phillip C. Saunders, Christopher D. Yung, Michael Swaine, and Andrew Nien-Dzu Yang Published by National Defense University Press for the Center for the Study of Chinese Military Affairs Institute for National Strategic Studies Washington, D.C. 2011 990-219 NDU CHINESE NAVY.indb 3 11/29/11 12:37 PM Opinions, conclusions, and recommendations expressed or implied within are solely those of the contributors and do not necessarily represent the views of the U.S. Department of Defense or any other agency of the Federal Government. Cleared for public release; distribution unlimited. Chapter 5 was originally published as an article of the same title in Asian Security 5, no. 2 (2009), 144–169. Copyright © Taylor & Francis Group, LLC. Used by permission. Library of Congress Cataloging-in-Publication Data The Chinese Navy : expanding capabilities, evolving roles / edited by Phillip C. Saunders ... [et al.]. p. cm. Includes bibliographical references and index. -
1 Chinese Writing: Ancient Autochthonous Perspective Fran蔞ise Bott廨o CRLAO-CNRS-EHESS Paris in Order to Compare What Could
1 Chinese writing: ancient autochthonous perspective Françoise Bottéro CRLAO-CNRS-EHESS Paris In order to compare what could also be compared between ancient writing systems and enrich our problematics, I would like to provide another possible perspective. Instead of signs structure or origins of writing, I would like to discuss some more theoretic or analytic points such as, for example, the kinds of reflections made by the ancient people on their own writing system. Indeed, It could be worth comparing how and when ancient scribes/scholars started asking questions about their writing system : How they conceived the origins of their writing system, what kind of reflections and theories they elaborated on their script, how they classified and analysed the written signs, what kind of lexical lists they provided, when did they start using a special terminology, etc. This could help us understand constraints imposed by the so called logographic writing system as opposed to phonetic writing systems, and the ways ancient scribes/lexicographs used to handle them. 1. The origins of writing in ancient China The oldest mention to the origins of writing in China goes back to the 3rd century BC. The great philosopher Xu2nzi3 荀子 (335-238) and his disciple Ha2n Fe1i 韓非 (280-233) present Ca1ng Jie2 倉頡 as someone specialised in writing and eventually as the inventor of writing. The Heroic invention of writing progressively developed, and around the 1rst century AD, Ca1ng Jie2 had become the scribe of the Mythical “Yellow Emperor” Hua2ngdi4 who drew his inspiration to invent writing from the marks left by the birds and the beasts on the soil. -
Performing Chinese Contemporary Art Song
Performing Chinese Contemporary Art Song: A Portfolio of Recordings and Exegesis Qing (Lily) Chang Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Elder Conservatorium of Music Faculty of Arts The University of Adelaide July 2017 Table of contents Abstract Declaration Acknowledgements List of tables and figures Part A: Sound recordings Contents of CD 1 Contents of CD 2 Contents of CD 3 Contents of CD 4 Part B: Exegesis Introduction Chapter 1 Historical context 1.1 History of Chinese art song 1.2 Definitions of Chinese contemporary art song Chapter 2 Performing Chinese contemporary art song 2.1 Singing Chinese contemporary art song 2.2 Vocal techniques for performing Chinese contemporary art song 2.3 Various vocal styles for performing Chinese contemporary art song 2.4 Techniques for staging presentations of Chinese contemporary art song i Chapter 3 Exploring how to interpret ornamentations 3.1 Types of frequently used ornaments and their use in Chinese contemporary art song 3.2 How to use ornamentation to match the four tones of Chinese pronunciation Chapter 4 Four case studies 4.1 The Hunchback of Notre Dame by Shang Deyi 4.2 I Love This Land by Lu Zaiyi 4.3 Lullaby by Shi Guangnan 4.4 Autumn, Pamir, How Beautiful My Hometown Is! by Zheng Qiufeng Conclusion References Appendices Appendix A: Romanized Chinese and English translations of 56 Chinese contemporary art songs Appendix B: Text of commentary for 56 Chinese contemporary art songs Appendix C: Performing Chinese contemporary art song: Scores of repertoire for examination Appendix D: University of Adelaide Ethics Approval Number H-2014-184 ii NOTE: 4 CDs containing 'Recorded Performances' are included with the print copy of the thesis held in the University of Adelaide Library. -
INTRODUCTION There Have Been Three Major Episodes of The
INTRODUCTION There have been three major episodes of the controversy on Confucian religiosity throughout Chinese intellectual history. The first episode started in the late 16th century with the Jesuit attempt to convert the Chinese population, and ended with the bitter twist of the Rites Controversy in the mid-18th century. Instead of seeing the sect of Literati as some form of paganism, the early Jesuits, Matteo Ricci in particular, tried to explore the compatibilities between Confucianism and Christianity from a pragmatic perspective. For them, Confucianism was nothing short of a preparation for the coming of Christianity to the Chinese land. It is through this historical encounter that Confucianism as a body of philosophy, beliefs, and rituals was systematically construed in Western societies. While the social and political conditions of the time did not allow the Jesuits to make much of headway, their effort to conciliate Confucianism with Christianity had set a long-lasting tone for modern imaginations about Confucianism and about religion in both Eastern and Western academic fields. The second surge of the controversy on Confucian religiosity took place during the late 19th and early 20th centuries when China was tremendously traumatized by social and political turmoil. Many Chinese intellectuals—traditionalists and iconoclasts alike— endeavored to capitalize on Confucianism for their political causes. While Kang Youwei and his followers tried to dress Confucianism up as a state religion to counter the influence of Christianity, the May Fourth intellectuals vehemently opposed any attempt of this kind. For the former, Confucianism is the gravity for the inspiration of Chinese national spirit just as Christianity is for Western societies; for the latter, Confucianism 1 belongs to the past and has to be swept into the realm of academics. -
The Original Meaning of the Chinese Character for “Beauty”
Filozofski vestnik Letnik/Volume XXII • Številka/Number 2 • 2001 • 141-159 THE ORIGINAL MEANING OF THE CHINESE CHARACTER FOR “BEAUTY” J ianping G ao l “Beauty” is translated into Chinese as Џ, (mei) and “Aesthetics” as -^ c ^ (meixue) (literally meaning the studies of the beauty). The compound ( meixue) is new in Chinese and its origin is due to translation in modern time. But indigenous in China is the word mei (beauty), which appearred as early as more than 3000 years ago. The very first question in aesthetics was probably “what is beauty?” The concept of beauty in the mind of ancient Chinese is not necessarily identical with that in the mind of modern people, but an investigation of it may be of some interest to today’s aesthetic inquiry, and, as we shall see, it already attracts attention of some scholars in the fields of both linguistics and aesthetics. “ ЏЈ’ (beauty) is traditionally considered to be composed of two characters: (sheep) and (large). A large sheep will supply plenty of delicious meat. This explanation comes from ShuowenJiezi (100 A.D.), a pioneering book on the research of Chinese characters: Џ. (beauty) means delicious. It is composed of (sheep) and (large). Among six domestic animals (cow, horse, sheep, pig, hen, and dog), sheep are the major sacrificial offerings. Beauty is identical with goodness.1 This opinion was accepted by almost all philologists in ancient China, such as Xu Xuan (917 - 992), Xu Kai (920-974), Duan Yucai (1735 - 1815), Wang Yun (1784 - 1854), and Zhu Junsheng (1788 - 1858), who provided 1 Shuowen Jiezi (literally means “a discription of simply characters and explanation of complex characters”) is a dictionary-like book which was intended to explain Chinese characters on the basis of their forms. -
The Origin and Evolvement of Chinese Characters
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Portal Czasopism Naukowych (E-Journals) BI WEI THE ORIGIN AND EVOLVEMENT OF CHINESE CHARACTERS Writing, the carrier of culture and the symbol of human civilization, fi rst appeared in Sumer1. Like other ancient languages of Egypt and India, ancient Sumerian symbols have been lost in the process of history, but only Chinese characters still remain in use today. They have played a signifi cant role in the development of Chinese lan- guage and culture. This article intends to display how Chinese characters were creat- ed and how they were simplifi ed from the ancient form of writing to more abstract. Origin of Chinese characters Chinese characters, in their initial forms, were beautiful and appropriately refl ected images in the minds of ancient Chinese that complied with their understanding of reality. Chinese people selected the way of expressing meaning by fi gures and pic- tures, and Chinese characters begun with drawings. Three Myths in Ancient Times It is diffi cult to determine the specifi c time when the Chinese characters emerged. There are three old myths about the origin of Chinese characters. The fi rst refers to the belief that Chinese characters were created by Fu Xi – the fi rst of Three Sovereigns2 in ancient China, who has drew the Eight Trigrams which have evolved into Chinese characters. The mysterious Eight Trigrams3 used for divination are composed of the symbols “–” and “– –”, representing Yang and Yin respectively. 1 I.J. Gelb, Sumerian language, [in:] Encyclopedia Britannica Online, Encyclopedia Britannica, re- trieved 30.07.2011, www.britannica.com. -
INTERIM REPORT 2019 CONTENTS 2 Corporate Information 4 Chairman’S Statement
INTERIM REPORT 2019 CONTENTS 2 Corporate Information 4 Chairman’s Statement 6 Management Discussion and Analysis 20 Report on Review of Interim Financial Information 21 Interim Condensed Consolidated Statement of Profit or Loss 22 Interim Condensed Consolidated Statement of Comprehensive Income 23 Interim Condensed Consolidated Statement of Financial Position 25 Interim Condensed Consolidated Statement of Changes in Equity 27 Interim Condensed Consolidated Statement of Cash Flows 28 Notes to the Condensed Consolidated Interim Financial Information 2 Beijing Capital Grand Limited Interim Report 2019 Corporate Information BOARD OF DIRECTORS STRATEGIC INVESTMENT COMMITTEE EXECUTIVE DIRECTORS Mr. Feng Yujian (Chairman) Mr. Zhong Beichen (Chairman) Mr. Wang Hao Mr. Feng Yujian (Chief Executive Officer) Mr. Wang Honghui Mr. Yang, Paul Chunyao NON-EXECUTIVE DIRECTORS Mr. He Xiaofeng Mr. Wang Hao Ms. Qin Yi SECRETARY OF THE BOARD OF DIRECTORS Mr. Wang Honghui Ms. Wang Xia Mr. Yang, Paul Chunyao COMPANY SECRETARY INDEPENDENT NON-EXECUTIVE DIRECTORS Ms. Peng Sisi Dr. Ngai Wai Fung (Appointed on 12 Aug 2019) Ms. Zhao Yuhong Mr. Lee Sze Wai Mr. He Xiaofeng (Resigned on 12 Aug 2019) AUDIT COMMITTEE AUTHORISED REPRESENTATIVES Dr. Ngai Wai Fung (Chairman) Mr. Feng Yujian Ms. Zhao Yuhong Ms. Peng Sisi Mr. He Xiaofeng (Appointed on 12 Aug 2019) Mr. Lee Sze Wai REMUNERATION COMMITTEE (Resigned on 12 Aug 2019) Ms. Zhao Yuhong (Chairman) Ms. Qin Yi AUDITORS Mr. Yang, Paul Chunyao PricewaterhouseCoopers Dr. Ngai Wai Fung Mr. He Xiaofeng LEGAL ADVISERS AS TO HONG KONG LAWS: NOMINATION COMMITTEE Norton Rose Fulbright Hong Kong Mr. Zhong Beichen (Chairman) Mr. Wang Honghui Dr. Ngai Wai Fung Ms. -
Religion and Nationalism in Chinese Societies
RELIGION AND SOCIETY IN ASIA Kuo (ed.) Kuo Religion and Nationalism in Chinese Societies Edited by Cheng-tian Kuo Religion and Nationalism in Chinese Societies Religion and Nationalism in Chinese Societies Religion and Society in Asia The Religion and Society in Asia series presents state-of-the-art cross-disciplinary academic research on colonial, postcolonial and contemporary entanglements between the socio-political and the religious, including the politics of religion, throughout Asian societies. It thus explores how tenets of faith, ritual practices and religious authorities directly and indirectly impact on local moral geographies, identity politics, political parties, civil society organizations, economic interests, and the law. It brings into view how tenets of faith, ritual practices and religious authorities are in turn configured according to socio-political, economic as well as security interests. The series provides brand new comparative material on how notions of self and other as well as justice and the commonweal have been predicated upon ‘the religious’ in Asia since the colonial/imperialist period until today. Series Editors Martin Ramstedt, Max Planck Institute for Social Anthropology, Halle Stefania Travagnin, University of Groningen Religion and Nationalism in Chinese Societies Edited by Cheng-tian Kuo Amsterdam University Press This book is sponsored by the 2017 Chiang Ching-kuo Foundation for International Scholarly Exchange (Taiwan; SP002-D-16) and co-sponsored by the International Institute of Asian Studies (the Netherlands). Cover illustration: Chairman Mao Memorial Hall in Beijing © Cheng-tian Kuo Cover design: Coördesign, Leiden Typesetting: Crius Group, Hulshout Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. -
ASME® 2019 MNHMT 6Th ASME International Conference of Micro/Nanoscale Heat and Mass Transfer
® ASME 2019 MNHMT 6th ASME International Conference of Micro/Nanoscale Heat and Mass Transfer CONFERENCE July 8–10, 2019 Sweetland Hotel Program Dalian, China The American Society of Mechanical Engineers® ASME® Welcome On behalf of the Organizing Committee, it is our great pleasure to welcome you to the 6th ASME Micro/Nanoscale Heat & Mass Transfer International Conference (MNHMT2019). The conference is held at Sweetland Hotel in Dalian, China from July 8 to 10, 2019. It is a follow-up conference to the first five conferences, which were held in Tainan (January 2008), Shanghai (December 2009), Atlanta (2012), Hong Kong (2013), and Singapore (2016). The Conference is sponsored by Dalian Maritime University and Dalian University of Technology. Hongbin Ma PROGRAM CHAIR This conference series is dedicated to the late Dr. Chang-Lin Tien (1935–2002), a world-renowned scholar and leader in higher education. His intellect and unique vision continue to inspire our efforts in expanding the frontiers of micro/ nanoscale heat and mass transfer. Research and education on micro/nanoscale heat and mass transfer have advanced rapidly over the last two decades through many dedicated individuals and team efforts, with direct impact now extending into various fields in both science and engineering. This conference provides a forum for researchers, educators and practitioners around the world to exchange ideas on the state-of-the-art research and development and Dongqing Li identify future research needs in this emerging interdisciplinary field. The CONFERENCE CHAIR technical program contains 331 presentations organized into 51 sessions. In addition, the conference features 18 exciting plenary/keynote talks, which span all core areas of interest to our research community. -
A Study of the Standardization of Chinese Writing/ Ying Wang University of Massachusetts Amherst
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses 1911 - February 2014 2008 A study of the standardization of Chinese writing/ Ying Wang University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/theses Wang, Ying, "A study of the standardization of Chinese writing/" (2008). Masters Theses 1911 - February 2014. 2060. Retrieved from https://scholarworks.umass.edu/theses/2060 This thesis is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses 1911 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. A STUDY OF THE STANDARDIZATION OF CHINESE WRITING A Thesis Presented by YING WANG Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2008 Asian Languages and Literatures © Copyright by Ying Wang All Rights Reserved STUDIES OF THE STANDARDIZATION OF CHINESE WRITING A Thesis Presented by YING WANG Approved as to style and content by: hongwei Shen, Chair Donald E. GjertsoH, Member Enhua Zhang, Member hongwei Shen, Director Asian Languages and Literatures Program Department of Languages, Literatures and Cultures Julie Caii s, Chair Departira hguages, Literatures and Cultures ACKNOWLEDGEMENTS I would like to earnestly thank my advisor, Professor Zhongwei Shen, for his helpful, patient guidance and support in all the stages of my thesis writing. Thanks are also due to my committee members Professor Donald Gjertson and Professor Enhua Zhang, for their generous help. My friends, Mathew Flannery and Charlotte Mason, have also edited thesis my in various stages, and to them I am truly grateful.