Chapter 22 the Last Mission
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Middlesex University Research Repository an Open Access Repository Of
Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk White, Luke ORCID: https://orcid.org/0000-0002-7080-7243 (2017) Toward an aesthetic of weightlessness: Qinggong and Wire-fu. In: RoCH Fans and Legends. lok, susan pui san, ed. QUAD / Centre for Chinese Contemporary Art, Derby / Manchester. ISBN 9780995461109. [Book Section] Final accepted version (with author’s formatting) This version is available at: https://eprints.mdx.ac.uk/24696/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated. -
„Sztuce Lekkości” W Chińskich Praktykach Psychofizycznych
EDMUND BAKA Kilka uwag o „sztuce lekkości” w chińskich praktykach psychofi zycznych Pisanie tekstu do książki będącej hołdem pamięci kogoś, kogo się znało i ceniło, jest bardzo szczególnym doświadczeniem. Pamięć przywołuje wspomnienia wysłucha- nych wykładów, charakterystycznych wyrażeń i sytuacji, wreszcie rozmów na tema- ty, które interesowały nas obu. Profesor, mając bogate doświadczenie lat spędzonych w krajach Wschodniej Azji (głównie Korei Południowej i Chinach), pozostawał ot- warty na wszelkie źródła wiedzy o tym regionie świata, chętnie też konfrontował w dyskusji swoje poglądy na temat różnych zjawisk kultury tego regionu. Pamiętam, jak niespełna miesiąc (lub niewiele dłużej) po jego pierwszej operacji zatelefonował do mnie z informacją o minicyklu wykładów przeznaczonych dla szerszej publicz- ności, prowadzonych przez sinologów z Poznania, a dotyczących różnych aspek- tów kultury chińskiej (pismo, urbanistyka, sytuacja kobiet). Profesor w czasie tych wykładów skrupulatnie notował interesujące Go zagadnienia. Podobnie otwarty był w czasie naszych rozmów poświęconych chińskiej cywilizacji, w czasie których nie zawsze nasze opinie się pokrywały. Jako religioznawca nieco inaczej podchodziłem do kwestii zjawisk religijnych czy problemu samej defi nicji religii. Przedstawiał też swoją wizję funkcjonowania Katedry. Rozmawialiśmy kilkakrotnie, ostatni raz krót- ko po zakończeniu letniej olimpiady w Pekinie w 2008 roku. Spotkania te odbywały się w wietnamskiej restauracji, w której Profesor lubił jadać obiady. Na stole zawsze leżał telefon. Często przerywał nasze rozmowy. Profesor z pasją, która charakteryzo- wała zarówno jego działalność naukową, dydaktyczną, jak i organizacyjną, medio- wał w sprawach dotyczących pracowników, doktorantów, przydziału sal, środków niezbędnych dla funkcjonowania Katedry. Często niestety ten przerywnik powo- dował zmianę tematu rozmowy. Wszystko działo się w pośpiechu, napięciu, jakby w przekonaniu, że czasu jest zbyt mało, że trzeba gdzieś zdążyć. -
Making the Palace Machine Work Palace Machine the Making
11 ASIAN HISTORY Siebert, (eds) & Ko Chen Making the Machine Palace Work Edited by Martina Siebert, Kai Jun Chen, and Dorothy Ko Making the Palace Machine Work Mobilizing People, Objects, and Nature in the Qing Empire Making the Palace Machine Work Asian History The aim of the series is to offer a forum for writers of monographs and occasionally anthologies on Asian history. The series focuses on cultural and historical studies of politics and intellectual ideas and crosscuts the disciplines of history, political science, sociology and cultural studies. Series Editor Hans Hågerdal, Linnaeus University, Sweden Editorial Board Roger Greatrex, Lund University David Henley, Leiden University Ariel Lopez, University of the Philippines Angela Schottenhammer, University of Salzburg Deborah Sutton, Lancaster University Making the Palace Machine Work Mobilizing People, Objects, and Nature in the Qing Empire Edited by Martina Siebert, Kai Jun Chen, and Dorothy Ko Amsterdam University Press Cover illustration: Artful adaptation of a section of the 1750 Complete Map of Beijing of the Qianlong Era (Qianlong Beijing quantu 乾隆北京全圖) showing the Imperial Household Department by Martina Siebert based on the digital copy from the Digital Silk Road project (http://dsr.nii.ac.jp/toyobunko/II-11-D-802, vol. 8, leaf 7) Cover design: Coördesign, Leiden Lay-out: Crius Group, Hulshout isbn 978 94 6372 035 9 e-isbn 978 90 4855 322 8 (pdf) doi 10.5117/9789463720359 nur 692 Creative Commons License CC BY NC ND (http://creativecommons.org/licenses/by-nc-nd/3.0) The authors / Amsterdam University Press B.V., Amsterdam 2021 Some rights reserved. Without limiting the rights under copyright reserved above, any part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise). -
The Ocean of Zen
TThhee OOcceeaann ooff ZZeenn 金金 風風 禪禪 宗宗 Page 1 Page 2 The Ocean of Zen A Practice Guide to Korean Sŏn Buddhism Paul W. Lynch, JDPSN First Edition Before Thought Publications Los Angeles and Mumbai 2006 Page 3 BEFORE THOUGHT PUBLICATIONS 3939 LONG BEACH BLVD LONG BEACH, CA 90807 http://www.goldenwindzen.org/books ALL RIGHTS RESERVED. COPYRIGHT © 2008 PAUL LYNCH, JDPSN NO PART OF THIS BOOK MAY BE REPRODUCED OR TRANSMITTED IN ANY FORM OR BY ANY MEANS, GRAPHIC, ELECTRONIC, OR MECHANICAL, INCLUDING PHOTOCOPYING, RECORDING, TAPING OR BY ANY INFORMATION STORAGE OR RETRIEVAL SYSTEM, WITHOUT THE PERMISSION IN WRITING FROM THE PUBLISHER. PRINTED IN THE UNITED STATES OF AMERICA BY LULU INCORPORATION, MORRISVILLE, NC, USA COVER PRINTED ON LAMINATED 100# ULTRA GLOSS COVER STOCK, DIGITAL COLOR SILK - C2S, 90 BRIGHT BOOK CONTENT PRINTED ON 24/60# CREAM TEXT, 90 GSM PAPER, USING 12 PT. GARAMOND FONT Page 4 Epigraph Twenty-Seventh Case of the Blue Cliff Record A monk asked Chán Master Yúnmén Wényǎn1, “How is it when the tree withers and the leaves fall?” Master Yúnmén replied; “Body exposed in the golden wind.” Page 5 Page 6 Dedication This book is dedicated to our Dharma Brother – Glenn Horiuchi, pŏpsa–nim – who left this earthly realm before finishing the great work of life and death. We are confident that he will return to finish the great work he started. Page 7 Page 8 Foreword There is considerable underlying confusion for Western Zen students who begin to study the tremendous wealth of Asian knowledge that has been translated into English from China, Korea, Vietnam and Japan over the last seventy years. -
Women and Men, Love and Power: Parameters of Chinese Fiction and Drama
SINO-PLATONIC PAPERS Number 193 November, 2009 Women and Men, Love and Power: Parameters of Chinese Fiction and Drama edited and with a foreword by Victor H. Mair Victor H. Mair, Editor Sino-Platonic Papers Department of East Asian Languages and Civilizations University of Pennsylvania Philadelphia, PA 19104-6305 USA [email protected] www.sino-platonic.org SINO-PLATONIC PAPERS is an occasional series edited by Victor H. Mair. The purpose of the series is to make available to specialists and the interested public the results of research that, because of its unconventional or controversial nature, might otherwise go unpublished. The editor actively encourages younger, not yet well established, scholars and independent authors to submit manuscripts for consideration. Contributions in any of the major scholarly languages of the world, including Romanized Modern Standard Mandarin (MSM) and Japanese, are acceptable. In special circumstances, papers written in one of the Sinitic topolects (fangyan) may be considered for publication. Although the chief focus of Sino-Platonic Papers is on the intercultural relations of China with other peoples, challenging and creative studies on a wide variety of philological subjects will be entertained. This series is not the place for safe, sober, and stodgy presentations. Sino-Platonic Papers prefers lively work that, while taking reasonable risks to advance the field, capitalizes on brilliant new insights into the development of civilization. The only style-sheet we honor is that of consistency. Where possible, we prefer the usages of the Journal of Asian Studies. Sinographs (hanzi, also called tetragraphs [fangkuaizi]) and other unusual symbols should be kept to an absolute minimum. -
Wudang Basic Postures, Daojiao Huogu Qigong, Taiji Basic Steps) 2
Health-preserving Class Training Content: 1. Taiji three-part training method (Wudang basic postures, Daojiao Huogu Qigong, Taiji basic steps) 2. Taiji Zhuang Gong(Stance): Dantian Tiaoxi Juqi Zhuang, Taiji Lingjing Zhuang 3. Wudang Sanfeng 13-form Taiji (Original Form) —This item is optional. We suggest the beginners studying the original form of Taichi first, but every one can choose one other form that they are interested in. The Taiji three-part training method is an effective and beneficial training system set by Master Chen. With the traditional Daoist health- preserving concept, He combines traditional Qigong with his long-term self-cultivation and experience of teaching. You can get different parts of body well trained and refined; the wonderful effects will be on your legs for lower part, waist for the middle part and shoulder and arms for upper part. Here is some further explanation: Wudang basic postures and steps are the foundation of Wudang Kungfu. Just as studying the basic strokes is important for the study of calligraphy, so is studying the basic postures for martial arts. No postures, no forms. Wudang Daojiao Huogu Qigong (Daoist Bone-invigorating Qigong) is the essence of the system. The purpose of this Qigong is to expel negative Qi from the body and get pure and fresh energy. It is good for our minds which is helpful to attain a positive attitude toward life, relax the muscles and strengthen the bones and the joint ligament elasticity and vigor, which make us relieve fatigue and restore physical ability. It is also effective in improving our resistant ability of inflammations and arthritis. -
A Study of Ping-Tan Narrative Vocal Tradition in Suzhou, China
Durham E-Theses Performing Local Identity in a Contemporary Urban Society: A Study of Ping-tan Narrative Vocal Tradition in Suzhou, China SHI, YINYUN How to cite: SHI, YINYUN (2016) Performing Local Identity in a Contemporary Urban Society: A Study of Ping-tan Narrative Vocal Tradition in Suzhou, China, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/11695/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Abstract China has many rich traditions of storytelling and story singing, which are deeply rooted oral traditions in their particular geographical areas, carrying the linguistic and cultural flavours of their localities. In Suzhou, the central city of the Yangtze Delta’s Wu area, the storytelling genre pinghua and the story singing genre tanci have become emblematic of regional identity. Since the 1950s, the two genres have been referred to under the hybrid generic name ‘Suzhou ping-tan’ after the city, or simply ping-tan in abbreviation. -
Emperor Qianlong's Compilation of the Erchen Zhuan and N
Official Historiography and Ideological Indoctrination in High Qing: Emperor Qianlong’s Compilation of the Erchen Zhuan and Nichen Zhuan Wing-ming Chan (Hong Kong) The Biographies of Ministers Who Served Two Dynasties or Biographies of Twice-Serving Ministers (Erchen zhuan 貳臣傳 ) and the Biographies of the Traitors (Nichen zhuan 逆臣傳 ) are the last two official his- torical projects completed in the Qianlong reign (1736–1795). Finished in 1794, they brought to an end Qianlong-era evaluations of the early-Qing Han collaborators and traitors. Reflecting Emperor Qianlong’s 乾隆 (Aisin Gioro Hongli 愛新覺羅 .弘曆 , 1711–1799; r. 1736–1795) ambitions to monopolize the authority of “praise and blame” (bao bian 褒貶 ) in the interpreta- tion of Chinese history, these two works, together with other Qianlong historical projects, were considered to be the official guidelines for the subsequent writings on the early history of the empire. The Erchen project was initiated in 1777, a year after the completion of the Records of All Officials [and Subjects] Who Died out of Loyalty to the Fallen Dynasty, Authorized by the Emperor [Qianlong] (Qinding shengchao xunjie zhuchen lu 欽定勝朝殉節諸臣錄 , hereinafter cited as Zhuchen lu), and the Nichen project was derived from the former in around 1783. To the Qing court, the completion of the Zhuchen lu publicly proclaimed the Qing (1644–1911) official recognition of the moral deeds of the Ming loyalists who died in the resistance movement, 1644–1662.1 However, the imperial commendation of these martyrs inevitably required the Qing court to review its previous evaluation of the disloyal Ming officials who were praised during the conquest period for their collaboration with the new government. -
By LIANBIN DAI BA, Nankai University, China, 1992 A
LI MINGRUI'S PRIVATE TROUPE AND ITS SPECTATORS (1644-62) by LIANBIN DAI B.A., Nankai University, China, 1992 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS 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 April 2004 © Lianbin Dai 2004 Library Authorization In presenting this thesis in partial fulfillment 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. Lianbin Dai 21/04/2004 Name of Author (please print) Date (dd/mm/yyyy) Title of Thesis: Li Mingrui's Private Troupe and Its Spectators (1644-62) Degree: Master of Arts Year: 2004 Department of Asian Studies The University of British Columbia Vancouver, BC Canada ABSTRACT Scholars of vernacular Chinese plays such as Mudan ting (Peony Pavillion) by Tang Xianzu (1550-1616) have paid much attention to the texts of the plays, their readership, and the historical development of performances of them, but their studies to date have revealed little about the spectatorship of performances. In this thesis, I will explore the private troupe of Li Mingrui (1585-1671)—known for performing Mudan ting and Moling chun (Spring in Moling) by Wu Weiye (1609-71)—and endeavor to discover how the spectators interpreted performances by this troupe. -
Female Knights-Errant in Jin Yong's Fiction by Yin-Jen Chen Bachelor Of
Roaming Nüxia: Female Knights-errant in Jin Yong’s Fiction by Yin-Jen Chen Bachelor of Arts, University of Victoria, 2015 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in the Department of Pacific and Asian Studies ã Yin-Jen Chen, 2017 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Supervisory Committee Roaming Nüxia: Female Knights-errant in Jin Yong’s Fiction by Yin-Jen Chen B.A., University of Victoria, 2015 Supervisory Committee Dr. Tsung-Cheng Lin (Department of Pacific and Asian Studies) Co-Supervisor Dr. Richard King (Department of Pacific and Asian Studies) Departmental Member Dr. Ai-Lan Chia (Department of Phychology) Outside Member iii Abstract Supervisory Committee Dr. Tsung-Cheng Lin (Department of Pacific and Asian Studies) Co-Supervisor Dr. Richard King (Department of Pacific and Asian Studies) Departmental Member Dr. Ai-Lan Chia (Department of Phychology) Outside Member This thesis will explore the images of nüxia or “female knight-errant” in Jin Yong’s novels: The Eagle-Shooting Heroes, the Giant Eagle and Its Companion, and the Heaven Sword and the Dragon Saber. The depiction of nüxia underwent a significant development from the classical to modern literature of knight-errantry-related genre. Jin Yong, the master of wuxia fiction, has created many remarkable nüxia that distinguishes his nüxia images from the literary conventions. To examine Jin Yong’s uniqueness in portraying nüxia, this thesis will look into the history of nüxia-related works of poetry and classical literature, and analyze Jin Yong’s nüxia in the context of the literary history. -
Kilka Uwag O „Sztuce Lekkości” W Chińskich Praktykach Psychofi Zycznych
EDMUND BAKA Kilka uwag o „sztuce lekkości” w chińskich praktykach psychofi zycznych Pisanie tekstu do książki będącej hołdem pamięci kogoś, kogo się znało i ceniło, jest bardzo szczególnym doświadczeniem. Pamięć przywołuje wspomnienia wysłucha- nych wykładów, charakterystycznych wyrażeń i sytuacji, wreszcie rozmów na tema- ty, które interesowały nas obu. Profesor, mając bogate doświadczenie lat spędzonych w krajach Wschodniej Azji (głównie Korei Południowej i Chinach), pozostawał ot- warty na wszelkie źródła wiedzy o tym regionie świata, chętnie też konfrontował w dyskusji swoje poglądy na temat różnych zjawisk kultury tego regionu. Pamiętam, jak niespełna miesiąc (lub niewiele dłużej) po jego pierwszej operacji zatelefonował do mnie z informacją o minicyklu wykładów przeznaczonych dla szerszej publicz- ności, prowadzonych przez sinologów z Poznania, a dotyczących różnych aspek- tów kultury chińskiej (pismo, urbanistyka, sytuacja kobiet). Profesor w czasie tych wykładów skrupulatnie notował interesujące Go zagadnienia. Podobnie otwarty był w czasie naszych rozmów poświęconych chińskiej cywilizacji, w czasie których nie zawsze nasze opinie się pokrywały. Jako religioznawca nieco inaczej podchodziłem do kwestii zjawisk religijnych czy problemu samej defi nicji religii. Przedstawiał też swoją wizję funkcjonowania Katedry. Rozmawialiśmy kilkakrotnie, ostatni raz krót- ko po zakończeniu letniej olimpiady w Pekinie w 2008 roku. Spotkania te odbywały się w wietnamskiej restauracji, w której Profesor lubił jadać obiady. Na stole zawsze leżał telefon. Często przerywał nasze rozmowy. Profesor z pasją, która charakteryzo- wała zarówno jego działalność naukową, dydaktyczną, jak i organizacyjną, medio- wał w sprawach dotyczących pracowników, doktorantów, przydziału sal, środków niezbędnych dla funkcjonowania Katedry. Często niestety ten przerywnik powo- dował zmianę tematu rozmowy. Wszystko działo się w pośpiechu, napięciu, jakby w przekonaniu, że czasu jest zbyt mało, że trzeba gdzieś zdążyć. -
PDF Download Ancient Chinese Weapons : a Martial Arts Guide
ANCIENT CHINESE WEAPONS : A MARTIAL ARTS GUIDE PDF, EPUB, EBOOK Dr. Jwing-Ming Yang | 142 pages | 29 Apr 1999 | YMAA Publication Center | 9781886969674 | English | Rochdale, United States Ancient Chinese Weapons : A Martial Arts Guide PDF Book Instead, Kung Fu is an umbrella term which refers to the various, often very distinctive martial art schools and styles that originated in the country today known as China, but yet, are similar in the movement they adopt, because of its emblematic circular, fluid and continuous motion, infinite and in suspense, that attempts to emulate the grace and power of animals in action. This revised edition includes a complete redesign with an emphasis on reader usability and modern Chinese typography. The guide below, intended for every kind of user, explains the background, features, and main purpose for the most popular Chinese martial arts weapons. Stuart marked it as to-read Feb 12, Showing Add to Cart Add to Cart. However, once upon a time, the four basic weapons of ancient China, established the supremacy of one of the biggest and most ancient civilizations of Southeast Asia. And while Lister went to lengths to obscure his identity probably because he made some sharp attacks against colleagues in the civil service , one of these later editors of the Straits Times seems to have taken a certain amount of satisfaction in outing him as the actual author. Over the past 5, years, the Chinese have developed a vast array of weapons, built for a multitude of purposes. Most of the martial artists that Lister seems to have been aware of were patent medicine salesmen, retired opera singers, soldiers or gamblers.