Chinese New Acquisitions List (2013) 澳大利亞國家圖書館中文新書簡報 （2013 年 4 月）
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MA Thesis Johannahcook 2010.Pdf (970.0Kb)
Works of Gold and Jade – Cao Zhi (192-232 CE): The Man and His Poetry by Johannah Cook A thesis submitted for the degree of Master of Arts at the University of Otago, Dunedin, New Zealand April 2010 i Dedicated to all the poets of China, past and present. ii Acknowledgements I would like to especially thank the University of Otago, New Zealand for awarding me a University of Otago Postgraduate award which greatly aided me in the completion of this project. I‘d also like to thank the Department of languages and Cultures of Otago University for their ongoing support. To my family, to my mother for teaching me to forge ahead along my own path and to my father, who inspired me to think about the world and people from new perspectives To my supervisor, Dr. Xiaohuan Zhao of the University of Otago, for his devotion to scholarship, encouragement and patience. To Professor An Cheng Xian, of Xi‘an International Studies University, China who dedicated much of his time to me helping me to improve my Chinese reading skill and increasing my understanding of contemporary China. And to his colleague, Professor Zhao Shiping for ensuring my teaching timetable did not conflict with my study obligations. To the International Office at Xi‘an Jiaotong University and to Professor Luo for her perseverance in teaching me classical Chinese poetry. To all my friends in China, particularly Cao Xiaoqing for her endless enthusiasm and emotional support and to Professor Pan Xiaolong and all the staff and postgraduate students at the Centre for Chinese Poetry at Anhui Normal University, China. -
Performing Chinese Contemporary Art Song
Performing Chinese Contemporary Art Song: A Portfolio of Recordings and Exegesis Qing (Lily) Chang Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Elder Conservatorium of Music Faculty of Arts The University of Adelaide July 2017 Table of contents Abstract Declaration Acknowledgements List of tables and figures Part A: Sound recordings Contents of CD 1 Contents of CD 2 Contents of CD 3 Contents of CD 4 Part B: Exegesis Introduction Chapter 1 Historical context 1.1 History of Chinese art song 1.2 Definitions of Chinese contemporary art song Chapter 2 Performing Chinese contemporary art song 2.1 Singing Chinese contemporary art song 2.2 Vocal techniques for performing Chinese contemporary art song 2.3 Various vocal styles for performing Chinese contemporary art song 2.4 Techniques for staging presentations of Chinese contemporary art song i Chapter 3 Exploring how to interpret ornamentations 3.1 Types of frequently used ornaments and their use in Chinese contemporary art song 3.2 How to use ornamentation to match the four tones of Chinese pronunciation Chapter 4 Four case studies 4.1 The Hunchback of Notre Dame by Shang Deyi 4.2 I Love This Land by Lu Zaiyi 4.3 Lullaby by Shi Guangnan 4.4 Autumn, Pamir, How Beautiful My Hometown Is! by Zheng Qiufeng Conclusion References Appendices Appendix A: Romanized Chinese and English translations of 56 Chinese contemporary art songs Appendix B: Text of commentary for 56 Chinese contemporary art songs Appendix C: Performing Chinese contemporary art song: Scores of repertoire for examination Appendix D: University of Adelaide Ethics Approval Number H-2014-184 ii NOTE: 4 CDs containing 'Recorded Performances' are included with the print copy of the thesis held in the University of Adelaide Library. -
A Brief Account of Bensen Ülger and Ülgeren Bense
Oral Tradition, 16/2 (2001): 264-279 A Brief Account of Bensen Ülger and Ülgeren Bense Zhalgaa I The Mongols have a long tradition of oral literature. About the first half of the nineteenth century, a new member came into the family of Mongolian oral tradition, namely bensen ülger. Bensen ülger first appeared in the southeastern Mongolian areas, where the influence from the Han culture has been stronger, and then spread to other areas of Inner Mongolia and Outer Mongolia.1 Bensen ülger are a variety of huurchi. Huur is synonymous with huqin, and a hurchi is a huqin player. Hurchin ülger means all kinds of stories narrated by the artist, who tells a story while playing the four-sting huur with changeable melodic sounds, an instrument popular among the Mongols. Hurchi ülger mainly comprises epic (also known as Manggus stories), bensen ülger, and narrative stories that are based on real life in Inner Mongolia. Bensen ülger have enjoyed a prominent position among hurchi ülger in modern times. Bensen ülger stories are usally long. Compared with traditional Mongolian oral epics, they have two distinctive points. First with respect to subject and content, bensen ülger stories describe events that took place in the heartland of China, for example the suppression of turmoil by successive dynasties and wars, struggles between devoted and deceitful ministers, magic competitions between gods and monsters, complicated legal cases, and love affairs and civil life. Exemplary war stories include The Story of the Three Kingdoms, Shuotang Qianzhuan, Shuotang Houzhuan, and Shuotang Sanzhuan. Exemplary magic competitions between gods and monsters are Canonization of the Gods, Journey to the West, and others, while heroic legends include the Water Margin. -
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. -
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. -
Celebration of the Strange : Youyang Zazu and Its Horror Stories
CELEBRATION OF THE STRANGE: YOUYANG ZAZU AND ITS HORROR STORIES by LIN WANG (Under the Direction of Karin Myhre) ABSTRACT This dissertation seeks to uncover the artistic appeal and significance of horror tales in Youyang zazu with the assistance of Western concepts and theories. The study begins with an examination of the Youyang zazu collection in its textual and cultural context and argues that it is assembled according to the aesthetic principle of qi which rejects the normal and the familiar, and embraces the unusual, the special, the unique, the odd and the particularized. The study continues with a close analysis of selected horror tales in Youyang zazu using three different approaches—fantastic horror, monster horror and cosmic horror. By analyzing themes, structures and narrative techniques of these horror stories, I argue that these horror stories are integral components of the Youyang zazu collection. They add vitality and tension to the representation of the strange and advance the collection in its aesthetic pursuit of qi. These three approaches each emphasize a different aspect in the representation of the strange. From the literary mechanism that generates strangeness, to the very entity that embodies the strange and to the atmosphere that highlights the incomprehensibility and uncontrollability of the strange, each approach offers a unique perspective on how the effect of strangeness is conveyed and amplified. By investigating the aesthetic issues at play in the medium of horror and in the context of zhiguai through the lens of Western concepts, my study also explores the possibility of examining zhiguai tales from new literary perspectives and provides fresh critical insights on the poetics of Chinese horror narrative in general. -
Tongues on Fire: on the Origins and Transmission of a System of Tongue Diagnosis
Tongues on Fire: On the Origins and Transmission of a System of Tongue Diagnosis Nancy Holroyde-Downing University College London A Dissertation Submitted to the Faculty of University College London In Partial Fulflment of the Requirements for the Degree of Doctor of Philosophy in History in the Department of History 2017 I, Nancy Holroyde-Downing, confrm that the work presented in this thesis is my own. Where information has been derived from other sources, I confrm that this has been indicated in the thesis. Abstract Tongues on Fire: Te Origins and Development of a System of Tongue Diagnosis Tis dissertation explores the origins and development of a Chinese diagnostic system based on the inspection of the tongue, and the transmission of this practice to Europe in the late 17th century. Drawing on the rich textual history of China, I will show that the tongue is cited as an indicator of illness or a portent of death in the classic texts of the Han dynasty, but these references do not amount to a system of diagnosis. I will argue that the privileging of the tongue as a diagnostic tool is a relatively recent occurrence in the history of Chinese medicine. Paying particular attention to case records kept by physicians from the Han dynasty (206 bce–220 ce) to the Qing dynasty (1644–1911), I will show that an increasing interest in the appearance of the tongue was specifcally due to its ability to refect the presence and intensity of heat in the body. Tongue inspection’s growing pervasiveness coincided with an emerging discourse among Chinese physicians concerning the relative usefulness of shang- han 傷寒 (Cold Damage) or wenbing 溫病 (Warm Disease) theories of disease progression. -
Final Announcement Code Number
SUMMARY Invitation to attend 13th International Ceramics Congress - Flowsheet ..........................................................2nd Cover th rd The 13th senior edition of the 6 Forum on New Materials - Flowsheet ........................................................................ 3 Cover International Conferences Summary ..................................................................................................................................1 on Modern Materials and SCIENTIFIC PROGRAMME Technologies (CIMTEC 2014) to be held in 13th INTERNATIONAL CERAMICS CONGRESS Montecatini Terme, Tuscany, Congress Committees ............................................................................................................................... 2 Italy will consist of the 13th Outline Congress ...................................................................................................................................... 5 International Ceramics Sessions Timetable ................................................................................................................................... 6 Code Number of Contributions by Presenting Author (in alphabetical order) ................................................ 9 Congress (June 8-13) and Symposium CA Ceramic Powders: Advances in Synthesis, Processing and Manufacturing ..................... 15 of the 6th Forum on New Symposium CB Progress in Non Conventional and Novel Manufacturing Routes to Ceramics ................. 18 Materials (June 15-19). Special Session CB-9 -
After Confucius
After Confucius After Confucius Studies in Early Chinese Philosophy Paul R. Goldin University of Hawai`i Press Honolulu ( 2005 University of Hawai`i Press All rights reserved Printed in the United States of America 10 09 0807 06 05 6 5 4 3 2 1 Library of Congress Cataloging-in-Publication Data Goldin, Paul Rakita. After Confucius : studies in early Chinese philosophy / Paul R. Goldin. p. cm. Includes bibliographical references and index. ISBN 0-8248-2842-9 (alk. paper) 1. Philosophy, ChineseÐTo 221 b.c. 2. Philosophy, ChineseÐ221 b.c.±960 a.d. I. Title: Studies in early Chinese philosophy. II. Title. B126.G65 2005 1810.11Ðdc22 2004017241 University of Hawai`i Press books are printed on acid-free paper and meet the guidelines for permanence and durability of the Council on Library Resources. Designed by University of Hawai`i Press production staff Printed by IBT Global Gilbert L. Mattos (1939±2002) in memoriam Z«BUÊ (æ{ Év\è !(eºl Àj ãÝ ÄÃ¦ê ¨ò[ÃÈ #ý0Ì åÓUÁ YÄw ô»ÆA) °b G C9 Contents Acknowledgments ix Introduction: Toward a Thick Description of Chinese Philosophy 1 1. The Reception of the Odes in the Warring States Era 19 2. Xunzi in the Light of the Guodian Manuscripts 36 3. Han Fei's Doctrine of Self-Interest 58 4. Li Si, Chancellor of the Universe 66 5. Rhetoric and Machination in Stratagems of the Warring States 76 6. Insidious Syncretism in the Political Philosophy of Huainanzi 90 7. BanZhaoinHerTimeandinOurs 112 8. Those Who Don't Know Speak: Translations of Laozi by PeopleWhoDoNotKnowChinese 119 Appendix: References to the Odes in Pre-Imperial Texts, Arranged by Mao Number 135 Notes 153 Bibliography 215 Index 261 vii Acknowledgments The debts that I have accumulated in the course of writing this book are numerous, but I owe the most to my parents and to my wife, Edilma. -
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. -
To Open Or to Download Roster 2020
............................................................................. ADAIR JAMES H. Born in Indianapolis, IN, USA Pennsylvania State University, Material Science and Engineering, 249A MRL Building, University Park, PA 16802, USA Tel. +814-863-6047 Fax +814-863-9704 e-mail: [email protected] AGRAWAL DINESH K. Born on October 26, 1953, Sambhal, India Pennsylvania State University, 107 Materials Research Laboratory, University Park, PA 16802, USA Tel. +814-863-8034 Fax +814-863-3617 e-mail: [email protected] AKEDO JUN Born on December 17, 1959, Osaka, Japan Advanced Coating Technology Center, National Institute of Advanced Industrial Science & Technology, Tsukuba Central 5, 1-1-1 Higashi, Tsukuba, Ibaraki, Japan Tel. +29-861-7228 Fax +29-861-7091 e-mail: [email protected] ...................................................................................................................................................... ............................................................................. ...................................................................................................................................................... WORLD ACADEMY OF CERAMICS 1 ............................................................................. ALDINGER FRITZ Born on April 30, 1941, Marbach, Germany Max-Planck-Institut für Metallforschung, Heisenbergstrasse 3, 70569 Stuttgart, Germany Tel. +711-689-3202 Fax +711-689-3255 e-mail: [email protected] AMOROS ALBARO JOSE L. Born on February 6, 1954 Alcora (Castellón), Spain Instituto de -
Foreignization and Domestication --- on the Translating of Main Characters’ Nicknames in Two Translations of Shui Hu Chuan
International Journal of Business and Social Science Vol. 4 No. 13; October 2013 Cultural Factors in Literary Translation: Foreignization and Domestication --- On the Translating of Main Characters’ Nicknames in Two Translations of Shui Hu Chuan Lin Yang Foreign Languages College of Inner Mongolia University No. 235, Da Xue Road W. Saihan District Hohhot, Inner Mongolia P.R. China. Abstract Approaches to cultural factors involved in translating the nicknames of one hundred and eight main characters in Outlaws of the Marsh or All Men are Brothers, with strong Chinese cultural characteristics may be divided into two methods: SL (Source Language) culture-oriented or foreignization and TL (Target Language) culture- oriented or domestication and a good translation version should find a reasonable “meeting point” because the purpose of translating such classic literary work is not only to make foreigners know Chinese culture but also to make them appreciate and understand the novel under the condition of the readability of the novel. Key words: cultural factors; literary translation; foreignization; domestication I. The Artistic Charm of Main Characters’ Nicknames in Shui Hu Chuan (Outlaws of the Marsh or All Men Are Brothers) In Shui Hu Chuan, there are one hundred and eight brave fellows assembling in Liang Shan Marsh. They were from different social stratum at that time and they are all people’s idealistic heroes. Shi Nai’an, the author of the novel is a master of creation and a master of giving nicknames as well. Lifelike brave fellows and their nicknames become a unified entity. After reading the novel, one will feel that Shui Hu Chuan is really a picture gallery of a superb collection of characters while a nickname is the pupil of every picture.