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Interaction Between Traditional Opera and Movie
Open Journal of Social Sciences, 2019, 7, 333-339 http://www.scirp.org/journal/jss ISSN Online: 2327-5960 ISSN Print: 2327-5952 Interaction between Traditional Opera and Movie Zhequn Zhao Nanjing University of the Arts Institute, Nanjing, China How to cite this paper: Zhao, Z.Q. (2019) Abstract Interaction between Traditional Opera and Movie. Open Journal of Social Sciences, 7, When the movie was introduced into China from the West, the traditional 333-339. opera art had no connection with it. Until the movie “Ding Jun Mountain” https://doi.org/10.4236/jss.2019.77028 had published in 1905, the relationship between traditional opera and movie Received: June 28, 2019 changed. In China, the two arts began to connect because of some common Accepted: July 27, 2019 attributes, and effected their respective development trajectories. When mov- Published: July 30, 2019 ies just entered into China, the art of traditional opera nurtured the growth of movies, and now the mature art of movie brings new opportunities for the Copyright © 2019 by author(s) and Scientific Research Publishing Inc. development of traditional opera. In the process of interaction between movie This work is licensed under the Creative and traditional opera, movie and traditional opera had complement on each Commons Attribution International other, and constantly enrich and improve their artistic expression. These two License (CC BY 4.0). arts are constantly merging, forming a subtle relationship, learning from each http://creativecommons.org/licenses/by/4.0/ other, never leaving, and integrating with each other. It is of great significance Open Access for the development of traditional opera art in the new media, to analyze the relationship from beginning to the end. -
Sunnahmuakada.Wordpress.Com Sayyid Rami Al Rifai Issue #4
Issue #4 The Islamic Journal SunnahMuakada.wordpress.com Sayyid Rami al Rifai Table Of Contents Foward 1) Man Is Always In A State Of Loss In The Universe 2) Ablution (Wudu) Is Worth Half Of Our Iman (Faith) and It's Af- fects On The Unseen (Subatomic) World 3) The Role Of Wudu (Ablution) In Being Happy 4)The Spiritual Imapct Of Perfecting The Self And The Impor- tance of Spiritual Training 5) Allah Himself Is The One Who Categorised The Nafs (Self) 6)The Accupunture Of Asia The Lataif Of Islam and Their Origin Related Material 1) 1001 Years Of Missing Islamic Martial Arts 2) Tariqah's Existed Among The First Generations Of Muslims (Sa- laf) 3) Imam Ibn Kathir and Sufism 4)The Debate Between Ibn Ata Allah and Ibn Taymiyah On Tasaw- wuf i Foward Bismillahi rahmani raheem Assalamu Alaikum, The Islamic Journal is a unique Journal in that it doesn’t follow the usual methods of other academic journals. It came about as a re- sult of a book I was writing called “The Knowledge Behind The Terminology and Concepts in Tassawwuf and It’s Origin”, the title is as descriptive as possible because the book was written in the same style as classical islamic texts, a single document without any chapter’s since they were a later invention which hindered the flow of the book. That book looked into the Islamic science of Ihsan, Human perfec- tion, were it’s terminology and concepts came from, what they mean and the knowledge and science they were based on. -
Emerging from Anonymity: E First Generation of Writers of Songs and Drama in Mid-Ming Nanjing*
T’OUNG PAO T’oung Pao 96 (2010) 125-164 www.brill.nl/tpao Emerging from Anonymity: e First Generation of Writers of Songs and Drama in Mid-Ming Nanjing* Tian Yuan Tan (School of Oriental and African Studies) Abstract is article traces the first generation of writers of songs and drama in Nanjing who emerged from the anonymous context of early Ming court entertainment and established their name and reputation in the second half of the fifteenth century. ese writers—Shi Zhong (1437-after 1516), Chen Duo (1454?-1507?), and Xu Lin (1462- 1538)—represented a different mode of writing songs and drama. For them it was no longer a professional occupation, as in the case of the court performers, but became part of their cultural and social life. e extent to which our knowledge of these first- generation qu writers depends on local sources and on acts of remembrance by later Nanjing authors is also examined. Résumé Cet article s’intéresse à la première génération d’auteurs d’airs à chanter et de pièces de théâtre ayant émergé à Nankin de l’anonymat des divertissements de cour du début des Ming; ces auteurs — Shi Zhong (1437-après 1516), Chen Duo (1454?-1507?), et Xu Lin (1462-1538) — se sont fait un nom pendant la seconde moitié du xve siècle. Ils sont représentatifs d’une manière différente de composer chansons et pièces de théâtre : il ne s’agissait plus pour eux d’exercer un métier, comme dans le cas des artistes de cour, mais de se consacrer à une occupation intégrée à leurs activités culturelles et sociales. -
Ming China As a Gunpowder Empire: Military Technology, Politics, and Fiscal Administration, 1350-1620 Weicong Duan Washington University in St
Washington University in St. Louis Washington University Open Scholarship Arts & Sciences Electronic Theses and Dissertations Arts & Sciences Winter 12-15-2018 Ming China As A Gunpowder Empire: Military Technology, Politics, And Fiscal Administration, 1350-1620 Weicong Duan Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/art_sci_etds Part of the Asian History Commons, and the Asian Studies Commons Recommended Citation Duan, Weicong, "Ming China As A Gunpowder Empire: Military Technology, Politics, And Fiscal Administration, 1350-1620" (2018). Arts & Sciences Electronic Theses and Dissertations. 1719. https://openscholarship.wustl.edu/art_sci_etds/1719 This Dissertation is brought to you for free and open access by the Arts & Sciences at Washington University Open Scholarship. It has been accepted for inclusion in Arts & Sciences Electronic Theses and Dissertations by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS DEPARTMENT OF HISTORY Dissertation Examination Committee: Steven B. Miles, Chair Christine Johnson Peter Kastor Zhao Ma Hayrettin Yücesoy Ming China as a Gunpowder Empire: Military Technology, Politics, and Fiscal Administration, 1350-1620 by Weicong Duan A dissertation presented to The Graduate School of of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy December 2018 St. Louis, Missouri © 2018, -
Art, Politics, and Commerce in Chinese Cinema
Art, Politics, and Commerce in Chinese Cinema edited by Ying Zhu and Stanley Rosen Hong Kong University Press 14/F Hing Wai Centre, 7 Tin Wan Praya Road, Aberdeen, Hong Kong www.hkupress.org © Hong Kong University Press 2010 Hardcover ISBN 978-962-209-175-7 Paperback ISBN 978-962-209-176-4 All rights reserved. Copyright of extracts and photographs belongs to the original sources. No part of this publication may be reproduced or transmitted, in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without prior permission in writing from the copyright owners. Printed and bound by XXXXX, Hong Kong, China Contents List of Tables vii Acknowledgements ix List of Contributors xiii Introduction 1 Ying Zhu and Stanley Rosen Part 1 Film Industry: Local and Global Markets 15 1. The Evolution of Chinese Film as an Industry 17 Ying Zhu and Seio Nakajima 2. Chinese Cinema’s International Market 35 Stanley Rosen 3. American Films in China Prior to 1950 55 Zhiwei Xiao 4. Piracy and the DVD/VCD Market: Contradictions and Paradoxes 71 Shujen Wang Part 2 Film Politics: Genre and Reception 85 5. The Triumph of Cinema: Chinese Film Culture 87 from the 1960s to the 1980s Paul Clark vi Contents 6. The Martial Arts Film in Chinese Cinema: Historicism and the National 99 Stephen Teo 7. Chinese Animation Film: From Experimentation to Digitalization 111 John A. Lent and Ying Xu 8. Of Institutional Supervision and Individual Subjectivity: 127 The History and Current State of Chinese Documentary Yingjin Zhang Part 3 Film Art: Style and Authorship 143 9. -
Beijing, a Garden of Violence
Inter-Asia Cultural Studies ISSN: 1464-9373 (Print) 1469-8447 (Online) Journal homepage: http://www.tandfonline.com/loi/riac20 Beijing, a garden of violence Geremie R. Barmé To cite this article: Geremie R. Barmé (2008) Beijing, a garden of violence, Inter-Asia Cultural Studies, 9:4, 612-639, DOI: 10.1080/14649370802386552 To link to this article: http://dx.doi.org/10.1080/14649370802386552 Published online: 15 Nov 2008. Submit your article to this journal Article views: 153 View related articles Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=riac20 Download by: [Australian National University] Date: 08 April 2016, At: 20:00 Inter-Asia Cultural Studies, Volume 9, Number 4, 2008 Beijing, a garden of violence Geremie R. BARMÉ TaylorRIAC_A_338822.sgm10.1080/14649370802386552Inter-Asia1464-9373Original200894000000DecemberGeremieBarmé[email protected] and& Article Francis Cultural (print)/1469-8447Francis 2008 Studies (online) ABSTRACT This paper examines the history of Beijing in relation to gardens—imperial, princely, public and private—and the impetus of the ‘gardener’, in particular in the twentieth-century. Engag- ing with the theme of ‘violence in the garden’ as articulated by such scholars as Zygmunt Bauman and Martin Jay, I reflect on Beijing as a ‘garden of violence’, both before the rise of the socialist state in 1949, and during the years leading up to the 2008 Olympics. KEYWORDS: gardens, violence, party culture, Chinese history, Chinese politics, cultivation, revolution The gardening impulse This paper offers a brief examination of the history of Beijing in relation to gardens— imperial, princely, socialist, public and private—and the impetus of the ‘gardener’, in particular during the twentieth century. -
The Imperial Tomb Tablet of the Great Ming
The Imperial Tomb Tablet of the Great Ming 大明皇陵之碑 With translation into English, annotations and commentary by Laurie Dennis October 2017 The town of Fengyang 凤阳, to the north of Anhui Province in the heart of China, may seem at first glance to be an ordinary, and rather unremarkable, provincial outpost. But carefully preserved in a park southwest of the town lies a key site for the Ming Dynasty, which ruled the Middle Kingdom from 1368 until 1644. Fengyang is where the eventual dynastic founder lost most of his family to the plague demons. This founder, Zhu Yuanzhang 朱元璋, was a grieving and impoverished peasant youth when he buried his parents and brother and nephew on a remote hillside near the town that he later expanded, renamed, and tried (unsuccessfully) to make his dynastic capital. Though Zhu had to leave his home to survive in the aftermath of the burial, he was a filial son, and regretted not being able to tend his family graves. Soon after becoming emperor, he transformed his family’s unmarked plots into a grand imperial cemetery for the House of Zhu, flanked by imposing statues (see the photo above, taken in 2006). He ordered that a stone tablet be placed before the graves, and carved with the words he wanted his descendants to read and ponder for generation after generation. The focus of this monograph is my translation of this remarkable text. The stele inscribed with the words of Zhu Yuanzhang, known as the Imperial Tomb Tablet of the Great Ming 大明皇陵之碑, or the Huangling Bei, stands over 7 meters high and is borne on the back of a stone turtle. -
Empty Cloud, the Autobiography of the Chinese Zen Master Xu
EMPTY CLOUD The Autobiography of the Chinese Zen Master XU YUN TRANSLATED BY CHARLES LUK Revised and Edited by Richard Hunn The Timeless Mind . Undated picture of Xu-yun. Empty Cloud 2 CONTENTS Contents .......................................................................................... 3 Acknowledgements ......................................................................... 4 Introduction .................................................................................... 5 CHAPTER ONE: Early Years ............................................................ 20 CHAPTER TWO: Pilgrimage to Mount Wu-Tai .............................. 35 CHAPTER THREE: The Journey West ............................................. 51 CHAPTER FOUR: Enlightenment and Atonement ......................... 63 CHAPTER FIVE: Interrupted Seclusion .......................................... 75 CHAPTER SIX: Taking the Tripitaka to Ji Zu Shan .......................... 94 CHAPTER SEVEN: Family News ................................................... 113 CHAPTER EIGHT: The Peacemaker .............................................. 122 CHAPTER NINE: The Jade Buddha ............................................... 130 CHAPTER TEN: Abbot At Yun-Xi and Gu-Shan............................. 146 CHAPTER ELEVEN: Nan-Hua Monastery ..................................... 161 CHAPTER TWELVE: Yun-Men Monastery .................................... 180 CHAPTER THIRTEEN: Two Discourses ......................................... 197 CHAPTER FOURTEEN: At the Yo Fo & Zhen Ru Monasteries -
Yi Tian Tu Long Ji
Unedited Version Yi Tian Tu Long Ji (Heavenly Sword Dragon Slaying Saber) by Jin Yong Translators: Athena, Meh, Faerie Queen, Huang Yushi, SmokeyTheBear, Qiu Shuyi, Efflix, Hugh (aka IcyFox), Huang Rong, Frans Soetomo Editors: Han Solo Elif Kaya Disclaimer This work is an unofficial fan translation of Jin Yong’s Yi Tian Tu Long Ji. The Copyright owner is Jin Yong and the publisher of his original Chinese text. The copyright owner of the English translations posted here is the respective translator(s). No part of this translation may be reproduced or stored in a retrieval system, or transmitted in any form or by any means without the prior written permission of the copyright owner(s) nor be otherwise circulated for commercial purpose. This translation is from the 2nd Edition. Unedited Version Table of Contents Chapter 11 - A woman whose tongue is sharp as spear ................................................. 235 (Translated by Meh and Huang Yushi*) ....................................................................... 235 Chapter 12 - Needles and Prescriptions for Diseases Beyond Cure ............................... 259 (Translated by Huang Yushi*) ...................................................................................... 259 Chapter 13 - No Regrets for Second Chances ................................................................ 297 (Translated by Huang Yushi*, SmokeyTheBear and Qiu Shuyi) .................................. 297 Chapter 14 - Meeting Zhongshan Wolf* Along the Way ................................................. -
An Analysis on the Gardens Reflecting Democratic Revolution in the Republic of China
International Conference on Arts, Design and Contemporary Education (ICADCE 2015) An Analysis on the Gardens Reflecting Democratic Revolution in the Republic of China Xiaohui Zhang Huanghe Science and Technology College Zhengzhou, China e-mail: [email protected] Abstract—Gardens concentrically demonstrated Chinese public gardens. He came up with the Three People's traditional arts, up to the Republic of China (1912-1949), Principles (Nationalism, Democracy, the People's Livelihood) because of continuous wars and warlord regime, many respectively in 1905 and 1924 and new three principles of traditional gardens are damaged. But the upsurge of the people, both of the two involved citizen livelihood issues democratic revolutions drove the establishment of public in detail. While the public gardens, served to improve gardens objectively, highlighted its function as a place for people’s life quality in nature, embodied the equality of all public meeting and public leisure, it also had a social function people and public owned in form. So Sun Yat-sen vigorously to memory. In addition, warlord and bureaucrat built private promoted the development of public gardens at spare time, gardens to show off their status and how much money they and made it a public place for people to assembly and own. Together with the running wine shops, the gardens celebration. become social custom of the Republic of China (1912-1949) and one bright landscape of the development of gardens art. The influence of democratic revolution promoted the construction of public gardens to some extent in Guangdong Keywords—garden; social custom of the Republic of China; Province, in1912, Sun Yat-sen advocated to plant trees in democratic revolution; privation of warlord and bureaucrat Guangzhou and led revolutionists to plant four masson pines at Huang Huagang and one of them was still alive. -
Imperial Tombs of the Ming and Qing Dynasties
WHC Nomination Documentation File Name: 1004.pdf UNESCO Region: ASIA AND THE PACIFIC __________________________________________________________________________________________________ SITE NAME: Imperial Tombs of the Ming and Qing Dynasties DA TE OF INSCRIPTION: 2nd December 2000 STATE PARTY: CHINA CRITERIA: C (i) (ii) (iii) (iv) (vi) DECISION OF THE WORLD HERITAGE COMMITTEE: Criterion (i):The harmonious integration of remarkable architectural groups in a natural environment chosen to meet the criteria of geomancy (Fengshui) makes the Ming and Qing Imperial Tombs masterpieces of human creative genius. Criteria (ii), (iii) and (iv):The imperial mausolea are outstanding testimony to a cultural and architectural tradition that for over five hundred years dominated this part of the world; by reason of their integration into the natural environment, they make up a unique ensemble of cultural landscapes. Criterion (vi):The Ming and Qing Tombs are dazzling illustrations of the beliefs, world view, and geomantic theories of Fengshui prevalent in feudal China. They have served as burial edifices for illustrious personages and as the theatre for major events that have marked the history of China. The Committee took note, with appreciation, of the State Party's intention to nominate the Mingshaoling Mausoleum at Nanjing (Jiangsu Province) and the Changping complex in the future as an extention to the Imperial Tombs of the Ming and Qing dynasties. BRIEF DESCRIPTIONS The Ming and Qing imperial tombs are natural sites modified by human influence, carefully chosen according to the principles of geomancy (Fengshui) to house numerous buildings of traditional architectural design and decoration. They illustrate the continuity over five centuries of a world view and concept of power specific to feudal China. -
Historical Background of Wang Yang-Ming's Philosophy of Mind
Ping Dong Historical Background of Wang Yang-ming’s Philosophy of Mind From the Perspective of his Life Story Historical Background of Wang Yang-ming’s Philosophy of Mind Ping Dong Historical Background of Wang Yang-ming’s Philosophy of Mind From the Perspective of his Life Story Ping Dong Zhejiang University Hangzhou, Zhejiang, China Translated by Xiaolu Wang Liang Cai School of International Studies School of Foreign Language Studies Zhejiang University Ningbo Institute of Technology Hangzhou, Zhejiang, China Zhejiang University Ningbo, Zhejiang, China ISBN 978-981-15-3035-7 ISBN 978-981-15-3036-4 (eBook) https://doi.org/10.1007/978-981-15-3036-4 © The Editor(s) (if applicable) and The Author(s) 2020. This book is an open access publication. Open Access This book is licensed under the terms of the Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International License (http://creativecommons.org/licenses/by-nc- nd/4.0/), which permits any noncommercial use, sharing, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license and indicate if you modified the licensed material. You do not have permission under this license to share adapted material derived from this book or parts of it. The images or other third party material in this book are included in the book’s Creative Commons license, unless indicated otherwise in a credit line to the material. If material is not included in the book’s Creative Commons license and your intended use is not permitted by statutory regulation or exceeds the permitted use, you will need to obtain permission directly from the copyright holder.