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The Outlaws of the Marsh
The Outlaws of the Marsh Shi Nai'an and Luo Guanzhong The Outlaws of the Marsh Shi Nai'an and Luo Guanzhong • Chapter 1 Zhang the Divine Teacher Prays to Dispel a Plague Marshal Hong Releases Demons by Mistake • Chapter 2 Arms Instructor Wang Goes Secretly to Yanan Prefecture Nine Dragons Shi Jin Wreaks Havoc in Shi Family Village • Chapter 3 Master Shi Leaves Huayin County at Night Major Lu Pummels the Lord of the West • Chapter 4 Sagacious Lu Puts Mount Wutai in an Uproar Squire Zhao Repairs Wenshu Monastery • Chapter 5 Drunk, the Little King Raises the Gold−Spangled Bed Curtains Lu the Tattooed Monk Throws Peach Blossom Village into Confusion • Chapter 6 Nine Dragons Shi Jin Robs in Red Pine Forest Sagacious Lu Burns Down Waguan Monastery • Chapter 7 The Tattooed Monk Uproots a Willow Tree Lin Chong Enters White Tiger Inner Sanctum by Mistake • Chapter 8 Arms Instructor Lin Is Tattooed and Exiled to Cangzhou Sagacious Lu Makes a Shambles of Wild Boar Forest • Chapter 9 Chai Jin Keeps Open House for All Bold Men Lin Chong Defeats Instructor Hong in a Bout with Staves • Chapter 10 Lin Chong Shelters from the Snowstorm in the Mountain Spirit Temple Captain Lu Qian Sets Fire to the Fodder Depot • Chapter 11 Zhu Gui Shoots a Signal Arrow from the Lakeside Pavilion Lin Chong Climbs Mount Liangshan in the Snowy Night • Chapter 12 Lin Chong Joins the Bandits in Liangshan Marsh Yang Zhi Sells His Sword in the Eastern Capital • Chapter 13 The Blue−Faced Beast Battles in the Northern Capital Urgent Vanguard Vies for Honors on the Training Field -
Au Bord De L'eau
Au bord de l'eau Au bord de l'eau (chinois simplifié : 水浒传 ; chinois traditionnel : 水滸傳 ; pinyin : Shuǐ hǔ Zhuàn ; Wade : Shui³ hu³ Zhuan⁴, EFEO Chouei-hou tchouan, littéralement « Le Récit e des berges ») est un roman d'aventures tiré de la tradition orale chinoise, compilé et écrit par plusieurs auteurs, mais attribué généralement à Shi Nai'an (XIV siècle). Il relate les Au bord de l'eau exploits de cent huit bandits, révoltés contre la corruption du gouvernement et des hauts fonctionnaires de la cour de l'empereur. Auteur Shi Nai'an Ce roman fait partie des quatre grands romans classiques de la dynastie Ming, avec l'Histoire des Trois Royaumes, La Pérégrination vers l'Ouest et Le Rêve dans le Pavillon Rouge. Pays Chine Sa notoriété est telle que de nombreuses versions ont été rédigées. On peut comparer sa place dans la culture chinoise à celle des Trois Mousquetaires d'Alexandre Dumas en France, Genre roman ou des aventures de Robin des Bois en Angleterre. L'ouvrage est la source d'innombrables expressions littéraires ou populaires, et de nombreux personnages ou passages du livre servent à symboliser des caractères ou des situations (comme Lin Chong, seul dans la neige, pour dépeindre la rectitude face à l'adversité, ou Li Kui, irascible et violent mais dévoué à Version originale sa mère impotente, pour signaler un homme dont les défauts évidents masquent des qualités cachées). On retrouve, souvent sous forme de pastiche, des scènes connues dans des Langue chinois vernaculaire publicités, des dessins animés, des clips vidéo. L'illustration de moments classiques de l'ouvrage est très fréquente en peinture. -
Preservation of Lilong Neighborhoods in Shanghai
PRESERVATION OF LILONG NEIGHBORHOODS IN SHANGHAI: SOCIAL CHANGE AND SPATIAL RIGHTS A Thesis Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Master of Arts in Historic Preservation Planning by Ran Yan August 2013 © 2013 Ran Yan ALL RIGHTS RESERVED ABSTRACT As once the most common form of dwelling in Shanghai, the Lilong has played a vital role in Shanghai’s local culture. Gradually declining in number during the second half of the 20th century, it is now faced with a challenging and undecided future. This thesis aims to further the discussion of the preservation of Lilong neighborhoods in its fundamental relation with people and basic social context. Four case studies, Tian Zi Fang, Jian Ye Li, Jing An Bie Shu and Bu Gao Li, are used to add some realistic, specific details and to deepen the reflection on this topic. Each of the cases has its special architectural features, residential composition, history, and current problems all of which provide some insight into the uniqueness and individuality of every Lilong neighborhood. In the end recommendations are made to address to Lilong residents’ right and to call for an equal way of Lilong preservation as a means to a better living environment for everyone and a more equitable society. BIOGRAPHICAL SKETCH Ran Yan was born on August 9th, 1988 in Beijing, China, where she grew up and finished her early education. In 2011 she received her Bachelor of Engineering degree in Historic Preservation from Tongji University, in Shanghai. With a background in both architecture and historic preservation, she continued on to graduate study in the Historic Preservation Planning program at the City and Regional Planning Department of Cornell University. -
The Characteristics of Heroes Portrait in Water Margin
2017 4th International Conference on Advanced Education and Management (ICAEM 2017) ISBN: 978-1-60595-519-3 The Characteristics of Heroes Portrait in Water Margin Ran WEIa, Hui YUb and Zhe-Jia TANGc School of Humanities and Social Sciences, China Jiliang University, Hangzhou, China [email protected], [email protected], [email protected] Keywords: The Water Margin, Hero, Self-Value, Characteristics. Abstract. Relative to the heroism of orthodox “saving” work in Romance of the Three Kingdoms, the heroes portrait in Water Margin is deeper affected by townsfolk’s ideas, tends to self-centered and maximize to pursuit the interest of the spirit and material, even has a new phenomenon that in order to achieve self-worth by any means. The heroes portrait in Water Margin presents the new characteristics which goes against the traditional concept of hero. Introduction Although the figures written in Water Margin [1] have many controversial in history, some thinks they were heroes with loyalty, and others think they were bandits Rebels. However, there was no doubt that the Leong's Legends were respected as heroes for a long time. The Water Margin and the Romance of the Three Kingdoms have been carved as Hero spectrum in the Ming dynasty. Yang Minglang commented in the preface of Hero spectrum, “why they were called as heroes in The Water Margin and the Romance of the Three Kingdoms, the answer was the heroes in Water Margin created by the Liangshan’s geographic features and the heroes in the Romance of the Three Kingdoms created by the times.” [2] Nevertheless, the heroes created in the Romance of the Three Kingdoms were all about the dominant class. -
Woman Warriors of the Classic Chinese Novel Shuihu Zhuan
Woman Warriors of the Classic Chinese Novel Shuihu Zhuan BY Charles Sherwood Abstract: The classical Chinese novel Shuihu zhuan, widely published by the end of the sixteenth century, has long been popular with the Chinese public and as such has been the subject of much scholarly analysis and debate. Within the existing literature on Shuihu zhuan much has already been said about the novel’s hostile, misogynistic portrayals of women. Yet, most scholars studying women and gender in the novel have focused only on the overwhelmingly negative representation of sensuous women and how it is contrasted with the positive image of an asexual, masculine brotherhood of heroes. Little attention however has been paid to the woman warriors that join this brotherhood and how they are presented in the novel. By examining the case of each woman warrior in full, this paper seeks to show why these women are allowed to be heroes despite the hostile tone of the novel and how their positions as heroes are circumscribed by their positions as women. In doing so, this paper proposes that portrayals of women in the novel, though still largely misogynistic in nature, are more diverse in both form and implication than what previous literature has conveyed. 2 Introduction This paper analyzes the place of women, and especially woman warriors, in the classic Chinese novel Shuihu zhuan which is also commonly known in English as The Water Margin, Outlaws of the Marsh, or All Men are Brother. This novel is considered one of the four classic Chinese novels along with Dream of the Red Chamber, Romance of the Three Kingdoms, and Journey to the West. -
Outlaws-062 Scrolls
Welcome to the Water Margin Podcast. This is episode 62. Last time, Song Jiang decided to go alone back to his village to bring his father and brother to Liangshan before the authorities could arrest them. But no sooner had he set foot in the village did he find himself fleeing from the local cops. They chased him into a village that supposedly had only one road in and out. But just as things were looking dire, Song Jiang somehow eluded the search party in an old temple, and then got a surprise invitation from a couple girls dressed in green who kept calling him Starlord. They took him along some backroads to a giant palace that he had no idea even existed. And there, he was introduced to a figure that the girls kept referring to as their queen. After much ceremony, Song Jiang finally mustered the courage to look up and gaze at this queen. When he lifted his head, he saw that the hall he was standing in was glittering with gold and jade and was lit by dragon lanterns and phoenix candles. Boys and girls dressed in green stood on both sides, holding jade wands and pennants and waving large fans. In the center, on a bejewelled, carved couch sat their queen. She was dressed in filmy golden silks and held a scepter of white jade. Her eyes were lovely, and her countenance divine, beautiful, yet dignified and serious. “Starlord, I have invited you here,” the Queen said. As she spoke, she gestured for her acolytes to offer wine. -
Welcome to the Water Margin Podcast. This Is Episode 75. Last Time
Welcome to the Water Margin Podcast. This is episode 75. Last time, the constable Lei Heng got into legal trouble when he killed his boss’s lover in a fit of anger because she was roughing up his mother. Lei Heng was on his way to the prefectural office to receive his death sentence, but his escort, who just so happened to be his best bud Zhu Tong, let him go. I mean, who made that assignment, right? While Lei Heng ran off to Liangshan to seek refuge with the bandits, Zhu Tong went back to the magistrate and said, oops, my bad. The magistrate was very fond of Zhu Tong and wanted to go easy on him, but the dead woman’s father insisted that Zhu Tong had intentionally let Lei Heng escape -- which was, you know, true -- and that he must be punished. So the magistrate had no choice but to send Zhu Tong to the prefectural office for sentencing. Zhu Tong was a man of some means, so his family purchased the customary lubricant for the wheels of justice, and when he got to the prefectural office, he was given a caning of 20 strokes and exiled to the penal colony in Cangzhou (1,1). And by the way, that would be the same Cangzhou penal colony that Lin Chong the Panther Head was exiled to, so we’re heading back to familiar territory. So Zhu Tong put on his cangue and followed his two escorts to Cangzhou. His family gave him clothing and money and tipped the guards. -
2019 Volume 6, Issue 1 ISSN 2575-9922
Table of Contents *All contributions to this issue have und-gone blind, external peer-review. Confucian-Deweyan Transactions: Keeping Faith in Creative Democracy and Educational Experience by Sustaining Intercultural Philosophical Conversations in the Present Age 2 Joseph Harroff & Kyle Greenwalt John Dewey and Confucius in Dialogue: 1919-2019 9 Leonard J. Waks Diversity, Harmony (he ), and the “Melting Pot” 21 Jim Behuniak Confucianism, Moral Education, and the Harmonious Development of Persons 34 Besse Lina Zhang () The Symbolic Economy of the Hanfeizi 40 Brandon King The Influence of John Dewey on the Chinese Literary Revolution: Hu Shih’s Synthesis of Confucian Learning and John Dewey’s Pragmatism 55 James Z. Yang Dewey in China: A Historical Look at His Message of Peace and Understanding 69 Charles F. Howlett, Audrey Cohan, & Mariola Krol The Journal of School & Society 2 ISSN 2575-9922 6(1) 2–8 ©Author(s) 2019 Confucian-Deweyan Dewey in China Transactions: It was in California, then, that John Dewey was said to have told his wife, Alice, that, “we may Keeping Faith in Creative never again get as near Japan as we are now and that as the years are passing, it is now or never Democracy and Educa- with us.”1 And, so, Dewey set sail for Japan, tional Experience by Sus- where he would spend approximately three months writing and lecturing. During this time, taining Intercultural Philo- he became increasingly concerned about the Japanese government’s approach to interna- sophical Conversations in tional affairs. It was therefore, perhaps, with a sense of the Present Age some relief and happy contingency that Dewey received an invitation from his former student, Joseph Harroff Hu Shih (1891-1962), to teach for a year Temple University at National University in Beijing. -
Two Authorial Rhetorics of Li Yu's (1611-1680) Works
TWO AUTHORIAL RHETORICS OF LI YU'S (1611-1680)WORKS: INVERSION AND AUTO-COMMUNICATION Ying Wang A thesis submitted in conformity with the requirements for the Degree of Doctor of Philosophy Department of East Asian Studies in the University of Toronto O Copyright by Ying Wang 1997 National Library Bibliothèque nationale 1*1 ofCanada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. nie Wellington OttawaON K1AON4 Ottawa ON KIA ON4 Canada Canada The auihor has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant a la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seIl reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de rnicrofiche/£ïlm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. ABSTRACT TWO AUTHORIAL RHETORICS OF LI YU'S (1611-1680)WORKS: Inversion and auto-communication Yuig Wang Doctor of Philosophy Department of East Asian Studies University of Toronto 1997 The prologue explores Li Yu's mode of innovation. A cornparison is drawn between Tao Qian's giving birth to Chinese autobiography and Li Yu's decisive impact on shaping subjective and self-reflexive mode of writing in both fiction and drama. -
The Water Margin Podcast. This Is Episode 54. Last Time, Song Jiang
Welcome to the Water Margin Podcast. This is episode 54. Last time, Song Jiang and his two guards narrowly escaped becoming soylent green in a black tavern and ended up befriending that tavern keeper and his gang of smuggler buddies. Then, farther down the road, they unknowingly ran afoul of some local bullies and found themselves fleeing said bullies at night. Fortunately, they found a boat to ferry them across the Sundown River, leaving their pursuers behind. Unfortunately, the boat stopped in the middle of the river, and the boatman, a guy who called himself Zhang, demanded that they either submit themselves to his blade or drown themselves in the roaring river. Song Jiang begged and pleaded, offering to give the guy all their money and clothes, but the guy was like, “Well, I’m going to get all that anyway. So hurry up and get naked and jump into the water already.” Things were not looking good. Caught between death by stabbing or death by drowning, Song Jiang and his guards picked the latter. Clutching each other, they were just about to jump when suddenly, they heard the sound of water splashing. They turned and saw another boat speeding toward them from upriver. In the boat stood three men. One of them stood at the head of the boat with a pitchfork in hand, while the other two were in the back, rowing hard. Before you knew it, they were near Song Jiang’s boat. “Who is that boatman over there?” the man at the head of the oncoming boat shouted. -
FM Virtual Kazuo Shiraga Water Margin Exhibition Checklist
SHIRAGA KAZUO Water Margin Hero Series Kazuo Shiraga Room 1 Tenkyusei Bossharan, 1960 Investigative Star Unrestrained 71 3/4 x 107 1/2 inches (182.2 x 273.2cm) Hyogo Prefectural Museum of Art Order 24 Mu Hong Chiyusei Byotaichu, 1962 Tranquil Star Sick Tiger 63 1/5 x 51 1/2 inches (160.6 x 130.8cm) Private Collection Order 84 Xue Yong Tenshosei Botsuusen, 1960 Agile Star Featherless Arrow 70 1/5 x 108 1/5 inches (180.0 x 275.0cm) Rachofsky Collection, Dallas Order 16 Zhang Qing Ni (Tenkosei Roshi), 1962 Skilful Star Wanderer 71 1/4 x 108 3/5 inches (181.0 x 276.0cm) Museum of Contemporary Art, Tokyo Image credit: Tokyo Metropolitan Foundation for History and Culture Image Archives Order 36 Yan Qing Tenbosei Ryotoda, 1962 Savage Star Double-headed Serpent 71 3/5 x 107 3/5 inches (182.0 x 273.3cm) The National Museum of Modern Art, Kyoto Order 34 Xie Zhen Chikensei Kendoshin, 1961 Healthy Star God of the Dangerous Road 63 3/4 x 51 1/5 inches (162.0 x 130.0 cm) Private Collection Order 105 Yu Baosi Room 2 Chimasei Unrikongo, 1960 Devil Star Giant in the Clouds 51 1/4 x 76 1/3 inches (130.3 x 193.9cm) The Museum of Fine Arts, Gifu Order 82 Song Wan Tenkusei Kyusenpo, 1962 Flight Star Impatient Vanguard 71 3/4 x 107 1/5 inches (182.2 x 272cm) Hyogo Prefectural Museum of Art Order 19 Suo Chao Tenyusei Hyoshito, 1961 Majestic Star Panther Head 71 3/5 x 107 1/4 inches (182.0 x 272.5cm) The National Museum of Art, Osaka Order 6 Lin Chong Chiinsei Botaichu, 1961 Yin Star Female Tiger 63 x 51 inches (162 × 130 cm) Guggenheim Abu Dhabi Order 101 -
Outlaws 097: Truce
Welcome to the Water Margin Podcast. This is episode 97. Last time, the Liangshan bandits returned to Zeng Family Village looking to avenge the death of their former leader Chao Gai. They mostly had the upper hand in the first two engagements, including killing the eldest of the Zeng family’s five sons. As we pick up the story, the Zeng family’s youngest son, Zeng Sheng (1), had demanded that they go avenge his brother. So the family’s arms instructor Shi (3) Wengong (2,1) led an army out to challenge for battle. He rode out on the fine horse that they had seized from Liangshan previously, which was the cause of all this kerfuffle. Shi Wengong rode out to the front of the lines to challenge for battle. On the bandits’ side, the chieftain Qin Ming the Fiery Thunderbolt wanted to claim the honor of slaying their nemesis, so he galloped out to take on Shi Wengong. The two warriors raised their weapons and exchanged blows. Now, as we have seen repeatedly in the novel, Qin Ming was one of Liangshan’s fiercest fighters. But this time, he met his match. After 20 bouts, he started to falter, so he turned and rode back toward his own lines. But Shi Wengong chased after him, and speared him in the back of the thigh, sending him tumbling off his horse. Four chieftains from Liangshan quickly charged out to occupy Shi Wengong while the lackeys rescued Qin Ming, but the Zeng family forces charged and won the day, riding the momentum from their arms instructor’s victory.