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6 X 10.Long.P65
Cambridge University Press 978-0-521-84256-3 - China’s Republic Diana Lary Index More information Index of names Anderson, J. G., 92 as leader, 104–5, 125 Ang Lee, see Li Ang Memorial Hall, 195 and Northern Expedition, 56 n. 5, 79 Ba Jin, 55 puritanism, 195 Backhouse, Edmund, 56 n. 5 remains, 76 Bada Shanren, 93 in Resistance War, 114, 117, 125, 142–3 Bai Chongxi, 100, 189, 198 resumes presidency, 189 Bai Xianyong (Pai Hsien-yung), 198 as revolutionary leader, 76 Black, Davidson, 92 as soldier, 100 Bland, J. O. P., 16, 31 in Taipei, 190 Borodin, Michael, 75 Chiang Wei-kuo, 201 n. 13 Bose, Subbhas Chandra, 155 n. 4 Churchill, Winston, 127 Buck, Pearl, 19, 85, 107 Cixi (Empress Dowager), 17, 29 death, 40 Cai Tingkai, 69, 99, 100, 176 flight from Peking, 27 Cantlie, James, 21 and reforms, 22–3 Cao Cao, 59 tomb, 47, 53 Capa, Robert, 119 Confucius, 53 Cartier-Bresson, Henri, 161 Chang, Jun (Zhang Rong), 168 Dai Li, 125 Chen Duxiu, 75 Dai Jitao, 201 n. 13 Ch’en, Eugene, 79 De Wang, 75, 99, 129, 130, 155 Chen Jian, 147 n. 12 Deng Xiaoping, 59, 181, 212 Chen Jiongming, 57 Ding Wenjiang, 64, 92 Chen Jitang, 60, 102, 103 Dong Jianhua (C. H. Tung), 175 Chen Kaige, 198 Du Fu, 59 Chen Lifu, 174, 182 Chen Piqun, 155 Fei Xiaotong, 176 Ch’en Shui-pien (Shuibian), 12, 181, 201, Feng Youlan, 176 202 n. 14, 205, 216 Feng Yuxiang, 60, 100 Chen Yi, 158 Fu Zuoyi, 170, 176 Chen Yi (Marshal), 158 Chennault, Claire, 144 Gong Li, 94 Cheung, Leslie, 94 Goto Shimpei, 186 Cheung, Maggie, 89 Gu Weijun (Wellington Koo), 55 Chiang Ching-kuo, 85, 201 n. -
Confession, Redemption, and Death: Liu Xiaobo and the Protest Movement of 1989
Confession, Redemption, and Death: Liu Xiaobo and the Protest Movement of 1989 Geremie Barmé1 There should be room for my extremism; I certainly don’t demand of others that they be like me... I’m pessimistic about mankind in general, but my pessimism does not allow for escape. Even though I might be faced with nothing but a series of tragedies, I will still struggle, still show my opposition. This is why I like Nietzsche and dislike Schopenhauer. Liu Xiaobo, November 19882 I FROM 1988 to early 1989, it was a common sentiment in Beijing that China was in crisis. Economic reform was faltering due to the lack of a coherent program of change or a unified approach to reforms among Chinese leaders and ambitious plans to free prices resulted in widespread panic over inflation; the question of political succession to Deng Xiaoping had taken alarming precedence once more as it became clear that Zhao Ziyang was under attack; nepotism was rife within the Party and corporate economy; egregious corruption and inflation added to dissatisfaction with educational policies and the feeling of hopelessness among intellectuals and university students who had profited little from the reforms; and the general state of cultural malaise and social ills combined to create a sense of impending doom. On top of this, the government seemed unwilling or incapable of attempting to find any new solutions to these problems. It enlisted once more the aid of propaganda, empty slogans, and rhetoric to stave off the mounting crisis. University students in Beijing appeared to be particularly heavy casualties of the general malaise. -
Chapter One Introduction
ICT1 21/8/00 6:44 PM Page 1 Chapter One Introduction The past is always altered for motives that reflect present needs. We reshape our heritage to make it attractive in modern terms; we seek to make it part of ourselves, and ourselves part of it; we confirm it to our self-images and aspirations. Rendered grand or homely, magnified or tarnished, history is continually altered in our private interests or on behalf of our community or country. —David Lowenthal, The Past Is a Foreign Country History connects past with present. This connection is established by and, generally, also for the present. Yet, the ways in which his- torians write history vary tremendously: History is and has been written differently for different purposes.1 In order to cast light on present events, for example, one can simply collect and preserve any available information about the past. What prompted Herodotus (484–424? B.C.E.) to write his Histories, as he professed at its outset, was to prevent the memory of the Greeks about their glorious victory over the Persians from falling into oblivion. In China where historical writing has long been an integral part of its civilization, there is a well-known adage, “to know the future in the mirror of the past” (jian wang zhi lai), that expresses a similar desire to remember past events for better understanding the present and 1 ICT1 21/8/00 6:44 PM Page 2 2 INTRODUCTION successfully speculating upon the future. While interest in the past of this sort is shown in many historical cultures, contributing to the development of historical study, it by no means addresses fully the complex relationship between past and present. -
2020-Commencement-Program.Pdf
One Hundred and Sixty-Second Annual Commencement JUNE 19, 2020 One Hundred and Sixty-Second Annual Commencement 11 A.M. CDT, FRIDAY, JUNE 19, 2020 2982_STUDAFF_CommencementProgram_2020_FRONT.indd 1 6/12/20 12:14 PM UNIVERSITY SEAL AND MOTTO Soon after Northwestern University was founded, its Board of Trustees adopted an official corporate seal. This seal, approved on June 26, 1856, consisted of an open book surrounded by rays of light and circled by the words North western University, Evanston, Illinois. Thirty years later Daniel Bonbright, professor of Latin and a member of Northwestern’s original faculty, redesigned the seal, Whatsoever things are true, retaining the book and light rays and adding two quotations. whatsoever things are honest, On the pages of the open book he placed a Greek quotation from the Gospel of John, chapter 1, verse 14, translating to The Word . whatsoever things are just, full of grace and truth. Circling the book are the first three whatsoever things are pure, words, in Latin, of the University motto: Quaecumque sunt vera whatsoever things are lovely, (What soever things are true). The outer border of the seal carries the name of the University and the date of its founding. This seal, whatsoever things are of good report; which remains Northwestern’s official signature, was approved by if there be any virtue, the Board of Trustees on December 5, 1890. and if there be any praise, The full text of the University motto, adopted on June 17, 1890, is think on these things. from the Epistle of Paul the Apostle to the Philippians, chapter 4, verse 8 (King James Version). -
Information to Users
"No more interference": The response of Chinese intellectuals to United States China policy, 1945-1950. Item Type text; Dissertation-Reproduction (electronic) Authors Zhang, Hong. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 24/09/2021 06:36:10 Link to Item http://hdl.handle.net/10150/187365 INFORMATION TO USERS This manuscript ,has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is depeDdent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedtbrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely. event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with smaIl overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. -
Laughter and the Cosmopolitan Aesthetic in Lao She's 二马 (Mr. Ma
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 16 (2014) Issue 1 Article 6 Laughter and the Cosmopolitan Aesthetic in Lao She's ?? (Mr. Ma and Son) Jeffrey Mather City University of Hong Kong Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Comparative Literature Commons, and the East Asian Languages and Societies 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 Mather, Jeffrey. "Laughter and the Cosmopolitan Aesthetic in Lao She's ?? (Mr. Ma and Son)." CLCWeb: Comparative Literature and Culture 16.1 (2014): <https://doi.org/10.7771/1481-4374.2115> This text has been double-blind peer reviewed by 2+1 experts in the field. -
The Poetic Theory and Practice of Huang Tingjian
THE POETIC THEORY AND PRACTICE OF HUANG TINGJIAN BY LIANG DU B.A., HUNAN NORMAL UNIVERSITY, 1982 THESIS SUBMITTED IN PARTIAL FULFILMENT THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS i IN THE FACULTY OF GRADUATE STUDIES (Department of Asian Studies) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA JULY, 1991 (C) LIANG DU, 1991 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. Department of ^,A-A! S>Tc/P>/gS The University of British Columbia Vancouver, Canada DE-6 (2/88) ABSTRACT Huang Tingjian ffKpK<1045-1105) is one of the most important poets of the Song Dynasty. He is often associated with his contemporary Su Shi|||^ , just as the Tang Dynasty's most important poets Du Fu and Li Bai ^ are linked. Huang founded the Jiangxi School which exerted 150 years of influence _ i upon the creative theory and practice of succeeding generations of poets. Huang is also one of the most controversial poets in Chinese history. His position in poetic history and the controversy surrounding him, make it worthwhile to analyze his poetic theory and practice. -
Constructing and Reconstructing Images of Chinese Women in Lin Yutang's Translations, Adaptations and Rewritings
CONSTRUCTING AND RECONSTRUCTING IMAGES OF CHINESE WOMEN IN LIN YUTANG'S TRANSLATIONS, ADAPTATIONS AND REWRITINGS by Fang Lu B.A., Beijing Normal University, 1987 M.A., Beijing Normal University, 1990 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Under Special Arrangement Faculty of Arts & Social Sciences © Fang Lu 2008 SIMON FRASER UNIVERSITY Spring 2008 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-46812-8 Our file Notre reference ISBN: 978-0-494-46812-8 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. -
Mulan (1998), Mulan Joins the Army (1939), and a Millennium-Long Intertextual Metamorphosis
arts Article Cultural “Authenticity” as a Conflict-Ridden Hypotext: Mulan (1998), Mulan Joins the Army (1939), and a Millennium-Long Intertextual Metamorphosis Zhuoyi Wang Department of East Asian Languages and Literatures, Hamilton College, Clinton, NY 13323, USA; [email protected] Received: 6 June 2020; Accepted: 7 July 2020; Published: 10 July 2020 Abstract: Disney’s Mulan (1998) has generated much scholarly interest in comparing the film with its hypotext: the Chinese legend of Mulan. While this comparison has produced meaningful criticism of the Orientalism inherent in Disney’s cultural appropriation, it often ironically perpetuates the Orientalist paradigm by reducing the legend into a unified, static entity of the “authentic” Chinese “original”. This paper argues that the Chinese hypotext is an accumulation of dramatically conflicting representations of Mulan with no clear point of origin. It analyzes the Republican-era film adaptation Mulan Joins the Army (1939) as a cultural palimpsest revealing attributes associated with different stages of the legendary figure’s millennium-long intertextual metamorphosis, including a possibly nomadic woman warrior outside China proper, a Confucian role model of loyalty and filial piety, a Sinitic deity in the Sino-Barbarian dichotomy, a focus of male sexual fantasy, a Neo-Confucian exemplar of chastity, and modern models for women established for antagonistic political agendas. Similar to the previous layers of adaptation constituting the hypotext, Disney’s Mulan is simply another hypertext continuing Mulan’s metamorphosis, and it by no means contains the most dramatic intertextual change. Productive criticism of Orientalist cultural appropriations, therefore, should move beyond the dichotomy of the static East versus the change-making West, taking full account of the immense hybridity and fluidity pulsing beneath the fallacy of a monolithic cultural “authenticity”. -
UC Berkeley Electronic Theses and Dissertations
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title The Lyric Forms of the Literati Mind: Yosa Buson, Ema Saikō, Masaoka Shiki and Natsume Sōseki Permalink https://escholarship.org/uc/item/97g9d23n Author Mewhinney, Matthew Stanhope Publication Date 2018 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California The Lyric Forms of the Literati Mind: Yosa Buson, Ema Saikō, Masaoka Shiki and Natsume Sōseki By Matthew Stanhope Mewhinney A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Japanese Language in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Alan Tansman, Chair Professor H. Mack Horton Professor Daniel C. O’Neill Professor Anne-Lise François Summer 2018 © 2018 Matthew Stanhope Mewhinney All Rights Reserved Abstract The Lyric Forms of the Literati Mind: Yosa Buson, Ema Saikō, Masaoka Shiki and Natsume Sōseki by Matthew Stanhope Mewhinney Doctor of Philosophy in Japanese Language University of California, Berkeley Professor Alan Tansman, Chair This dissertation examines the transformation of lyric thinking in Japanese literati (bunjin) culture from the eighteenth century to the early twentieth century. I examine four poet- painters associated with the Japanese literati tradition in the Edo (1603-1867) and Meiji (1867- 1912) periods: Yosa Buson (1716-83), Ema Saikō (1787-1861), Masaoka Shiki (1867-1902) and Natsume Sōseki (1867-1916). Each artist fashions a lyric subjectivity constituted by the kinds of blending found in literati painting and poetry. I argue that each artist’s thoughts and feelings emerge in the tensions generated in the process of blending forms, genres, and the ideas (aesthetic, philosophical, social, cultural, and historical) that they carry with them. -
Xia, Liyang Associate Professor at Centre for Ibsen Studies, University
Xia, Liyang Associate Professor at Centre for Ibsen Studies, University of Oslo Address: Henrik Wergelandshus, Niels Henrik Abels vei 36, 0313 OSLO, Norway Postal address: Postboks 1168, Blindern, 0318 Oslo, Norway Title: A Myth that Glorifies: Rethinking Ibsen’s early reception in China Author responsible for correspondence and correction of proofs: Xia, Liyang 1 A Myth that Glorifies: Rethinking Ibsen’s Early Reception in China Introduction There is a consensus among Ibsen scholars and scholars of Chinese spoken drama that the Spring Willow Society staged A Doll’s House in Shanghai in 1914 (e.g. A Ying / Qian 1956; Ge 1982; Eide 1983; Tam 1984, 2001; He 2004, 2009; Chang 2004; Tian and Hu 2008; Tian and Song 2013). In 2014, when the National Theatre in Beijing staged A Doll’s House to commemorate the centenary of this premiere,1 most of the news reports and theatre advertisements cited the Spring Willow Society’s prior performance.2 Scholars and journalists who write about the history of A Doll’s House in China agree in general not only that the performance took place but that it was the first performance of an Ibsen play in China.3 I myself referred to this performance in my doctoral thesis (Xia 2013). In recent years, however, doubts have emerged not only about the claim that the Spring Willow Society performed A Doll’s House, but that the Society performed any plays by Ibsen. The following scholars have asserted that there is no concrete evidence that the performance of A Doll’s House took place: Seto Hiroshi (2002, 2015), Huang Aihua -
University of California Riverside
UNIVERSITY OF CALIFORNIA RIVERSIDE Uncertain Satire in Modern Chinese Fiction and Drama: 1930-1949 A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Comparative Literature by Xi Tian August 2014 Dissertation Committee: Dr. Perry Link, Chairperson Dr. Paul Pickowicz Dr. Yenna Wu Copyright by Xi Tian 2014 The Dissertation of Xi Tian is approved: Committee Chairperson University of California, Riverside ABSTRACT OF THE DISSERTATION Uncertain Satire in Modern Chinese Fiction and Drama: 1930-1949 by Xi Tian Doctor of Philosophy, Graduate Program in Comparative Literature University of California, Riverside, August 2014 Dr. Perry Link, Chairperson My dissertation rethinks satire and redefines our understanding of it through the examination of works from the 1930s and 1940s. I argue that the fluidity of satiric writing in the 1930s and 1940s undermines the certainties of the “satiric triangle” and gives rise to what I call, variously, self-satire, self-counteractive satire, empathetic satire and ambiguous satire. It has been standard in the study of satire to assume fixed and fairly stable relations among satirist, reader, and satirized object. This “satiric triangle” highlights the opposition of satirist and satirized object and has generally assumed an alignment by the reader with the satirist and the satirist’s judgments of the satirized object. Literary critics and theorists have usually shared these assumptions about the basis of satire. I argue, however, that beginning with late-Qing exposé fiction, satire in modern Chinese literature has shown an unprecedented uncertainty and fluidity in the relations among satirist, reader and satirized object.