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The Causes and Effects of the Development of Semi-Competitive
Central European University The Causes and Effects of the Development of Semi-Competitive Elections at the Township Level in China since the 1990s By Hairong Lai Thesis submitted in fulfillment for the degree of PhD, Department of Political Science, Central European University, Budapest, January 2008 Supervisor Zsolt Enyedi (Central European University) External Supervisor Maria Csanadi (Hungarian Academy of Sciences) CEU eTD Collection PhD Committee Tamas Meszerics (Central European University) Yongnian Zheng (Nottingham University) 1 Contents Summary..........................................................................................................................................4 Acknowledgements..........................................................................................................................6 Statements........................................................................................................................................7 Chapter 1: Introduction .................................................................................................................8 1.1 The literature on elections in China ....................................................................................8 1.2 Theories on democratization .............................................................................................15 1.3 Problems in the existing literature on semi-competitive elections in China .....................21 1.4 Agenda of the current research..........................................................................................26 -
Research on the New Ways of the Spread of Traditional Operas in the Wechat-Era
2019 International Conference on Humanities, Cultures, Arts and Design (ICHCAD 2019) Research on the New Ways of the Spread of Traditional Operas in the Wechat-Era Ou Yangmei Hunan Institute of Traffic Engineering, Hengyang, Hunan 421219, China Keywords: Wechat-era, Drama, Communication, New approach Abstract: The opera is one of the traditional Chinese art and is unique in the history of world drama. It has a long history and a profound mass base, and is an important carrier for expressing and inheriting the fine traditional Chinese culture. This paper attempts to explore how to use the characteristics of micro-era communication to make more extensive dissemination and development of opera art by using the latest mobile new media communication methods. 1. Introduction Chinese opera and Greek tragedy and comedy, Indian scriptures and the world's three ancient drama cultures, compared to the other two ancient drama cultures, Chinese operas are produced later, but the first two ancient drama cultures have been long The history of the river has disappeared one after another, and it no longer exists. However, although Chinese opera has experienced thousands of years of enthusiasm and rise and fall, it is still full of vitality and vitality. It is not only a treasure of the excellent traditional culture of the Chinese nation, but also plays an important role in the treasure house of world culture and art. Historically, traditional Chinese opera has continued to be passed on by word of mouth. Although in the hundreds of years, the channels of the drama are very simple and difficult, but it does not affect the people's love for the opera. -
WATCHWORDS Reading China Through Its Political Vocabulary
JMSC Working Papers WATCHWORDS Reading China through its Political Vocabulary By Qian Gang* INTRODUCTION: Watchwords: the Life of the Party CHAPTERS: 1. Reading Deep Red: The Four Basic Principles and Mao Zedong Thought 2. Preserving Stability: Will the Party Continue to Arm Itself Against Social Unrest? 3. Political Reform: Are Its Chances Improving? 4. Total Denial and the Will to Forget: The Cultural Revolution 5. Xi Jinping on the Origins of Power: Will a New Watchword Be Born? 6. The Power of Separation: Can the Party Divide and Monitor Itself? 7. Democracy with the Doors Shut: Understanding Intraparty Democracy 8. Society Lost: The Role of Civil Society Development in China’s Politics 9. Pride and Positioning: How Top Leaders Push Their Policies, and Construct Their Legacies 10. The Mixed Bag of Socialism: What Does the Party Mean by “Special Characteristics”? CONCLUSION: The 18th National Congress Report Card Endnotes *Qian Gang is Co-Director of the China Media Project, a research project at the Journalism and Media Studies Centre at The University of Hong Kong. Best known for his tenure as managing editor of Southern Weekend, one of China’s most progressive newspapers, Qian is one of China’s foremost journalists. Qian was also the executive editor and a co-creator of “News Probe,” CCTV’s pioneering weekly investigative news program with nearly 20 million viewers. He is also the author of “The Great China Earthquake,” (Foreign Language Press, Beijing, 1989) a book that details for the first time the destruction and the human stories of 1976 earthquake at Tangshan in which 250,000 people were killed. -
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HK.NCCP International Journal of Intelligent Information and Management Science ISSN: 2307-0692, Volume 8, Issue 4, August, 2019 International Journal of Intelligent Information and Management Science Volume 8, Issue 4, August, 2019 http://www.hknccp.org -------------------------------------------------------------------------------- President: Zhang Jinrong Chief Planner: Hu Yuejuan Executive Chief Editor: Chen Lihua, Cui Shuzhen, Shuyu Chen Editorial Board: Li Shu, Xu Ya, Gao Shufen, Ya Hui, Su Daqi, Albert, Yu Borui, Souza, Pei Liu, Chun Hao, Li Dhidai, Meng Yu Audit Committee: Lin Lichan, Xu Lijuan, Dong Peiwang, Su Jianmin, Ali Coskun, You Wenying, Chen Xingeng, An Xin, Yan Yanhui, Tang Ming, Yang Ming, Zhi Zhong, Xiao Han, Sun Wenjun, Yoon-seon Lee, Bom Sook Kim, Chang-Duk Jun, Jin Hong Cha, Tan Ker Kan, Tian-Hua Huang, Jorge Serra Colina, Yong Shao, Vikram Kate Publisher: HongKong New Century Cultural Publishing House Address: Unit A1, 7/F, Cheuk Nang Plaza, 250 Hennessy Road, Wanchai, Hong Kong -------------------------------------------------------------------------------- Copyright© 2019 HongKong New Century Cultural Publishing House -All Rights Reserved HK.NCCP International Journal of Intelligent Information and Management Science ISSN: 2307-0692, Volume 8, Issue 4, August, 2019 HK.NCCP International Journal of Intelligent Information and Management Science ISSN: 2307-0692, Volume 8, Issue 4, August, 2019 Contents The Creative Features and Aesthetic Significance of Liu Wenjin’s Erhu Opera "Sanmen Gorge Rhapsody" Jihou Yu………………………………………………………………………………………………………………………………(1) -
Distinction in China— the Rise of Taste in Cultural Consumption
The London School of Economics and Political Science Distinction in China— the rise of taste in cultural consumption Gordon C. Li A thesis submitted to the Department of Sociology of the London School of Economics and Political Science for the degree of Doctor of Philosophy, London, May 2020 Distinction in China—the rise of taste in cultural consumption 2 Declaration I certify that the thesis I have presented for examination for the Ph.D. degree of the London School of Economics and Political Science is solely my own work other than where I have clearly indicated that it is the work of others. The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgment is made. This thesis may not be reproduced without my prior written consent. I warrant that this authorization does not, to the best of my belief, infringe the rights of any third party. I declare that my thesis consists of 90,363 words. Distinction in China—the rise of taste in cultural consumption 3 Abstract This research studies how cultural consumption draws cultural distinctions in the most developed megacities in China. This research examines the pattern of music consumption to examine distinction—which types of music are used, how they are used, who are using them, and what are the sources of those tastes. Although some theories, such as the cultural omnivore account, contend that the rise of contemporary pop culture implies a more open-minded pursuit of taste, this research argues that popular culture draws distinction in new ways. -
附件1 Appendix I
中国戏曲学院系部简介 Brief Introduction to Departments 京剧系 京剧系是中国戏曲学院最具代表性的教学系,主要培养高素质京剧表演和京 剧器乐人才。京剧系的京剧表演、京剧器乐是学院办学历史最长的专业,在全国 戏曲院校中最具特色,也最具影响力;其中京剧表演专业是国家级特色专业建设 点、北京市级特色专业建设点,京剧器乐专业就北京市级特色专业建设点。 Jingju Dept. The Jingju Dept. is the most distinctive department at NACTA. It primarily cultivates the talents of Jingju performance and musicianship to a high standard. Within the Jingju Dept., Jingju Performance, and Jingju Instrumental Musicianship are the two majors at NACTA that have been around the longest, and are the most distinctive and influential majors amongst Xiqu schools nationwide. Jingju Performance has been named "Featured Major" both nationally and locally in Beijing, Jingju Instrumental Musicianship has been named "Featured Major" in Beijing. 表演系 表演系以昆曲和地方剧人才培养为主体,将昆曲、粤剧、藏戏三个世界级非 物质文化遗产剧种,以及豫剧、晋剧、越剧、黄梅戏、梨园戏、闽剧、秦腔等十 余个国家级非物质文化遗产剧种纳入到本科和研究生教育之中。 Performing Arts Dept. The Performing Arts Dept. primarily cultivates talents for Kunqu and local genres of theatre. It brings an academic focus to three elements of the Global Immaterial Cultural Heritage, and scores of National Immaterial Cultural Heritage types of Xiqu, at the graduate and undergraduate levels. The former three are Kunqu (Kun Opera), Yueju (Cantonese Opera), and Zangxi (Tibetan Opera), while the latter list contains Yuju (Henan Opera), Jinju (Shanxi Opera), Yueju (Primarily Zhejiang, Yue Opera), Huangmeixi (Primarily Anhui, Huangmei Opera), Liyuanxi (Primarily Fujian, Liyuan Opera), Minju (Fuzhou, Taiwan, Min Opera), and Qinqiang (Shaanxi, Qin Vocal Realm). 导演系 导演系始建于 1979 年。导演系的教师曾获柏林电影节银熊奖、中国艺术节 文华奖等著名奖项,该系学生执导的作品、参演的作品在中国多地巡演。此外, 导演系还长期与美国马里兰大学、瑞士苏黎世艺术大学、英国皇家戏剧学院等开 展联合教学、舞台剧及影片创作。 Directing Dept. The Directing Dept. was established in 1979. Teachers in the Directing Dept. have won the Silver Bear Award at the Berlin International Film Festival, and the Wenhua Award at the China Arts Festival. -
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Advances in Social Science, Education and Humanities Research, volume 123 2nd International Conference on Education, Sports, Arts and Management Engineering (ICESAME 2017) A Study on the Characteristics and Transmission Ways of China Central Plain Opera Culture Xinyu Li Henan University of Animal Husbandry and Economy, Zhengzhou City, Henan Province, 450046, China Keywords: China Central Plain Culture; Opera culture; Characteristics; Transmission Abstract. China Central Plain Culture is broad and profound, and it has promoted the transformation of the central plain drama. In turn, the China central plain opera culture has become the driving force of the China central plain culture, and plays an irreplaceable role in the prosperity, inheritance and development of the China central plain culture. Based on the author's learning and practical experience, this paper first analyzes the characteristics of the China central plain opera culture, then put forward the ways to spread China central plain opera culture. The research results of this paper are helpful to analyze the cultural characteristics of China ventral plain opera, and have a certain contribution to the spread of the Chinese opera culture. 1 Introduction China Central Plain Culture is the general term of mass culture and spiritual culture in the China Central Plains, and it is also the mother and the backbone of Chinese culture. The budding of the traditional opera art has already appeared in the Song and Jin Dynasty and it has undergone quite a long period of development[1]. Based on the folk song and dance, rap music and comic opera, it formed a relatively complete form of opera. -
Article Ludovia
2021 4th International Conference on Interdisciplinary Social Sciences & Humanities (SOSHU 2021) The innovative application and research of folk cloth tiger in children's clothing Jiayu Cao, Xiaodan Li Zhengzhou University of Light Industry, Zhengzhou, Henan 450000, China ABTRACT. Chinese people's worship of the tiger has a long history, which can be traced back to the Fuxi period. The tiger is regarded as a symbol of bravery, health and strength among the people. In the period of underdeveloped medicine, there are always children died without cause, parents will use the tiger image made tiger cloth tiger, tiger shoes, tiger hat in order to hope that the tiger can protect their children, to help children to drive away the demons of disease, hope that the child can be as strong and brave as the tiger. Folk cloth art tiger contains the good expectation and blessing of the family to the child. This paper will analyze the form, characteristic, pattern and implication of the folk cloth tiger element, and explain how the traditional folk tiger element is applied in the innovative application of modern children's clothing. KEYWORDS: cloth art tiger, children's wear, innovation application 1. Introduction Folk legend at that time in the world only Fuxi Nuwa brother and sister two people, in order to continue the development of mankind, Fuxi had to marry Nuwa, married that day Fuxi ashamed to see Nuwa so put on the tiger mask and Nuwa married, continued the human blood, from this folk will have the tiger Fuxi, Long Nu Wa. The tiger is regarded as a symbol of bravery and health among the common people. -
Turandot's Homecoming: Seeking the Authentic Princess of China in A
TURANDOT’S HOMECOMING: SEEKING THE AUTHENTIC PRINCESS OF CHINA IN A NEW CONTEST OF RIDDLES Ying-Wei Tiffany Sung A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirement for the degree of MASTER OF MUSIC August 2010 Committee: Vincent Corrigan, Advisor Mary Natvig Per F. Broman © 2010 Tiffany Ying-Wei Sung All Rights Reserved iii ABSTRACT Vincent Corrigan, Advisor The negative portrait of Chinese culture in Puccini’s Turandot hindered this opera’s acceptance in China. Wei Minglun’s Sichuan Opera performance Chinese Princess Turandot (1995) and Zhang Yimou’s collaboration with Zubin Mehta on Puccini’s Turandot premiere in Beijing, however, brought Turandot home at the end of twentieth century. This thesis explores Turandot’s transformation and reception in China by analyzing the Chinese cultural representation and authenticity of these two Chinese versions. To provide a historical context, the thesis traces Turandot’s origin from Nizami’s Haft Paykar (1197) to Puccini’s opera. It also includes discussion of varied Chinese adaptations from 1995 to 2010. Ultimately, this thesis investigates issues of Orientalism, Occidentalism, authenticity, and hybridism in Turandot’s homecoming. Because the Orientalist image of Turandot has been modified by cross-cultural context, I propose that Orientalism and Occidentalism can be distinguished by how a work is made and how it is perceived. iv ACKNOWLEDGMENTS I would like to first thank to my family in Taiwan. Without their spiritual and financial support, I would not have had a chance to study abroad. I also want to express my gratitude to Dr. -
This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
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. A Peony Transplanted: Pai Hsien-yung and the Preservation of Chinese Kunqu Wei Zhou PhD The University of Edinburgh 2011 1 DECLARATION I hereby declare that this dissertation is a presentation of my own work and that it has not been submitted for any other degree or qualification. All materials obtained from other sources have been duly acknowledged. ____________________________ (Wei Zhou) 2 ABSTRACT This dissertation examines the preservation of Chinese kunqu, one of China’s indigenous operatic genres, in recent years with a special focus on renowned writer Pai Hsien-yung’s new adaptation of classic kunqu play The Peony Pavilion (Mudan ting). I use this adaptation as a case study to demonstrate how the actual shape of a stage production can be determined by a producer’s choice between tradition and innovation. -
History As Meta-Theater Allison Bernard Deposit Draft 5/16
History as Meta-Theater: Kong Shangren's (1648-1718) The Peach Blossom Fan Allison E. Bernard Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2019 © 2019 Allison E. Bernard All rights reserved ABSTRACT History as Meta-Theater: Kong Shangren’s (1648-1718) The Peach Blossom Fan Allison E. Bernard This dissertation examines the uses of meta-theater in The Peach Blossom Fan, an early Qing historical drama by Kong Shangren (1648-1718), arguing that the meta-theatrical elements of the play serve as an innovative form of historiography. Kong Shangren, a member of the Confucian Kong lineage, is unusual for a Chinese playwright: he was steeped more deeply in the world of Confucian ritual music than the work of writing lyrics for dramatic arias, yet The Peach Blossom Fan is recognized as one of the last great chuanqi dramas of the Ming-Qing period. Kong wrote at a time of great social and cultural transformation, completing The Peach Blossom Fan not long after the violent conflicts of the mid-17th century Ming-Qing dynastic transition were finally coming to an end. At the same time, the literary genre of chuanqi drama was also in the midst of its own transitions, as writers of the early Qing increasingly turned to other literary genres beyond this popular late Ming form. I argue that The Peach Blossom Fan marks a key transition in the development of the chuanqi drama, owing both to the play’s formal innovations that exceed the traditional chuanqi form, such as its rejection of the conventional “grand reunion” finale and re-envisioning of the role-type system, and also to its synthesis of historiographical judgements with the world of theatrical performance. -
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SIGNIFYING THE LOCAL: MEDIA PRODUCTIONS RENDERED IN LOCAL LANGUAGES IN MAINLAND CHINA SINCE 2000 A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Jin Liu August 2008 © 2008 Jin Liu SIGNIFYING THE LOCAL: MEDIA PRODUCTIONS RENDERED IN LOCAL LANGUAGES IN MAINLAND CHINA SINCE 2000 Jin Liu, Ph. D. Cornell University 2008 My dissertation examines recent cultural productions rendered in local languages in the fields of television, film, fiction, popular music, and the Internet in mainland China since 2000, when the new national language law prescribed the standard Putonghua Mandarin as the principal language for broadcast media and movies. My dissertation sets out to examine this unsettled tension and to explore the rhetorical use of local language in different fields of cultural production. In television, local language functions as a humorous and satirical mechanism to evoke laughter that can foster a sense of local community and assert the local as the site of distinctive cultural production. In film and fiction, local language serves as an important marker of marginality, allowing filmmakers and writers rhetorically to position themselves in the margins to criticize the center and to repudiate the ideologies of modernism. In popular music, increasingly mediated by the Internet, local language has been explored by the urban educated youth to articulate a distinct youth identity in their negotiation with a globalizing and cosmopolitan culture. Drawing on cultural and literary theories, media studies, sociolinguistics, and dialectology, my interdisciplinary research focuses its analysis on many important but overlooked issues.