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Globalization and Theater Spectacles in Asia
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 15 (2013) Issue 2 Article 22 Globalization and Theater Spectacles in Asia I-Chun Wang National Sun Yat-sen University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the American Studies Commons, Comparative Literature Commons, Education Commons, European Languages and Societies Commons, Feminist, Gender, and Sexuality Studies Commons, Other Arts and Humanities Commons, Other Film and Media Studies Commons, Reading and Language Commons, Rhetoric and Composition Commons, Social and Behavioral Sciences Commons, Television Commons, and the Theatre and Performance Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Wang, I-Chun. -
SILK ROAD: the Silk Road
SILK ROAD: The Silk Road (or Silk Routes) is an extensive interconnected network of trade routes across the Asian continent connecting East, South, and Western Asia with the Mediterranean world, as well as North and Northeast Africa and Europe. FIDDLE/VIOLIN: Turkic and Mongolian horsemen from Inner Asia were probably the world’s earliest fiddlers (see below). Their two-stringed upright fiddles called morin khuur were strung with horsehair strings, played with horsehair bows, and often feature a carved horse’s head at the end of the neck. The morin khuur produces a sound that is poetically described as “expansive and unrestrained”, like a wild horse neighing, or like a breeze in the grasslands. It is believed that these instruments eventually spread to China, India, the Byzantine Empire and the Middle East, where they developed into instruments such as the Erhu, the Chinese violin or 2-stringed fiddle, was introduced to China over a thousand years ago and probably came to China from Asia to the west along the silk road. The sound box of the Ehru is covered with python skin. The erhu is almost always tuned to the interval of a fifth. The inside string (nearest to player) is generally tuned to D4 and the outside string to A4. This is the same as the two middle strings of the violin. The violin in its present form emerged in early 16th-Century Northern Italy, where the port towns of Venice and Genoa maintained extensive ties to central Asia through the trade routes of the silk road. The violin family developed during the Renaissance period in Europe (16th century) when all arts flourished. -
Recent Publications in Music 2010
Fontes Artis Musicae, Vol. 57/4 (2010) RECENT PUBLICATIONS IN MUSIC R1 RECENT PUBLICATIONS IN MUSIC 2010 Compiled and edited by Geraldine E. Ostrove On behalf of the Pour le compte de Im Auftrag der International l'Association Internationale Internationalen Vereinigung Association of Music des Bibliothèques, Archives der Musikbibliotheken, Libraries Archives and et Centres de Musikarchive und Documentation Centres Documentation Musicaux Musikdokumentationszentren This list contains citations to literature about music in print and other media, emphasizing reference materials and works of research interest that appeared in 2009. It includes titles of new journals, but no journal articles or excerpts from compilations. Reporters who contribute regularly provide citations mainly or only from the year preceding the year this list is published in Fontes Artis Musicae. However, reporters may also submit retrospective lists cumulating publications from up to the previous five years. In the hope that geographic coverage of this list can be expanded, the compiler welcomes inquiries from bibliographers in countries not presently represented. CONTRIBUTORS Austria: Thomas Leibnitz New Zealand: Marilyn Portman Belgium: Johan Eeckeloo Nigeria: Santie De Jongh China, Hong Kong, Taiwan: Katie Lai Russia: Lyudmila Dedyukina Estonia: Katre Rissalu Senegal: Santie De Jongh Finland: Tuomas Tyyri South Africa: Santie De Jongh Germany: Susanne Hein Spain: José Ignacio Cano, Maria José Greece: Alexandros Charkiolakis González Ribot Hungary: Szepesi Zsuzsanna Tanzania: Santie De Jongh Iceland: Bryndis Vilbergsdóttir Turkey: Paul Alister Whitehead, Senem Ireland: Roy Stanley Acar Italy: Federica Biancheri United Kingdom: Rupert Ridgewell Japan: Sekine Toshiko United States: Karen Little, Liza Vick. The Netherlands: Joost van Gemert With thanks for assistance with translations and transcriptions to Kersti Blumenthal, Irina Kirchik, Everett Larsen and Thompson A. -
1 School of Oriental and African Studies the Following Information
School of Oriental and African Studies The following information forms the programme specification at the School of Oriental and African Studies, University of London. It gives definitive information relating to a programme of study and is written for a public audience, particularly prospective and current students. It is also used for other purposes such as initial programme approval, and is therefore produced at the start of the programme development process. Once approved, it forms the base- line information for all statements relating to the programme and is updated as approved amendments are made. CORE INFORMATION Programme title Environmental Law and Sustainable Development Final award MA Intermediate awards N/A Mode of attendance Full time or part time (two or three years) UCAS code N/A Professional body accreditation N/A Date specification created/updated Updated August 2013 WHY CHOOSE THIS PROGRAMME? Why study at SOAS? SOAS is unique as the only higher education institution in the UK specialising in the study of Africa, Asia and the Middle East. The School also has the largest concentration of specialist faculty concerned with the study of these areas at any university in the world. SOAS is consistently ranked among the top higher education institutions in the UK and the world and it offers a friendly, vibrant environment for students in a diverse and close-knit community. What is special about this programme? The MA in Environmental Law and Sustainable Development provides a unique specialisation in one of the most rapidly developing areas of law. It allows students to study environmental law and its application and relevance to a broad range of areas. -
TV Show Knows What's in Your Fridge Is Food for Thought
16 | Wednesday, June 17, 2020 HONG KONG EDITION | CHINA DAILY YOUTH ometimes you have to travel didn’t enjoy traditional Chinese to appreciate your own. music that much until he pursued his Sometimes, waking up in a music studies in the United States. foreign land gives you a pre- When leaving China, he took with Scious insight into your own country. him the hulusi, a kind of Chinese Fang Songping is a musician and wind instrument made from a has traveled but when he was at gourd, and played it recreationally home with his pipa-player father, in the college. The exotic sound of Fang Jinlong, he preferred Western the instrument won him lots of fans rock. and requests to perform on stage. It was hulusi, the gourd-like Then he started researching about instrument, that really changed his traditional Chinese music and com- life. He happened to bring it to Los bining elements of it into his own Angeles, while studying music there. compositions. In 2015, he returned His classmates were fascinated to China and started his career as an when he played music with it, and a indie musician. new horizon opened up before him. Now, Fang Songping works as the According to a recent report on music director of a popular reality traditional Chinese music, young show, Gems of Chinese Poetry, Chinese people are turning their which centers on traditional Chi- attention to traditional arts. More nese arts, such as poetry, music, and more are listening to traditional dance and paintings. He composed Chinese music. eight original instrumental pieces, The report was released on June inspired by traditional Chinese cul- 2, under the guidance of the China ture, like music, chess, calligraphy Association of Performing Arts, by and paintings. -
Art and Society
Art and Society Module Code 4ELIT007X Module Level 4 Length Session Two, Three Weeks Site Central London Host Course London International Summer Programme Pre-Requisite None Assessment 60% Essay, 40% Presentation Special features This module may include additional costs for museum tickets. Typical visits include the Tate Modern Museum, Victoria and Albert Museum, National Portrait Museum, Museum of London, British Museum, Wallace Collection, Serpentine Galleries, Welcome Collection. Note: These visits are not the same every year and they are subject to change. Summary of module content This module is an introduction to the visual culture of London, including painting, architecture, photography and contemporary media. Students will visit the major art galleries to examine how art works exhibitions and cultural organisations can be understood within wider social contexts. The sessions also include museums and historical sites, such as the British Museum and St Paul’s Cathedral, as well as art galleries. The classes will explore how these institutions reveal the complex cultural identity and history of London. The module develops students’ skills in visual analysis and critical thinking about culture. Learning outcomes By the end of the module the successful student will be able to: x Demonstrate ability to make a visual analysis of works of art x Demonstrate an understanding of visual arts x Demonstrate an understanding of the ways in which historical displays and sites can be related to a political, social or cultural context x Discuss the role of London as a cultural centre x Develop appropriate skills in academic presentation and writing. Course outcomes the module contributes to: Students will be able to demonstrate: NA 14 NB This module does not form part of the BA English Literature and cannot be taken by students on this pathway. -
Summer 2021 Module Catalogue
LONDON INTERNATIONAL SUMMER PROGRAMME MODULE CATALOGUE 2021 Introduction Welcome to the London International Summer Programme Module Catalogue 2021. The international summer programme offers students the option of studying modules from an introductory level to a more advanced level, in a given subject area. Students opting to study for the entire six-week session will take two modules in total, whilst students participating on only the three week session will take one module. Module Credits All credits obtained during the international summer school will be awarded via an official academic transcript from the University of Westminster with each module being worth 20 UK credits, which normally equates to 4 US or 10 ECTS credits. All modules must be taken on a credit-bearing basis and students will not have the option to audit any module on offer. Module Levels At the University of Westminster, modules are validated at a level corresponding to a particular year of study. The levels used are: • Level 4, which is equivalent to the 1st year of an undergraduate degree • Level 5, which is equivalent to the 2nd year of an undergraduate degree • Level 6, which is equivalent to the 3rd year of an undergraduate degree The levels used at the University of Westminster may be different to the overseas systems that you are used to. This should be taken into consideration when making module choices. Some overseas institutions (e.g. US and Japanese universities) consider the first year of their undergraduate degrees to be the equivalent to a foundation year of UK university undergraduate degree. Therefore, University of Westminster modules at Level 4 may be considered to be equivalent to modules taken in the second year of undergraduate degrees in the US and Japan. -
The International Human Rights Clinic at SOAS
13 The International Human Rights Clinic at SOAS Lynn Welchman INTRODUCTION The Clinic at the SOAS School of Law seems to have been the first international human rights clinic in the UK and has operated since 2007. I modelled it on human rights clinics in the United States, which are plentiful and come in different forms; according to Hurwitz, a human rights clinic is “a law school–based, credit-bearing course or program that combines clinical methodology around skills and values training with live case-project work, all or most of which takes place in the human 1 rights context.” On the “learning-by-doing” principle of clinical legal education (CLE), the SOAS Clinic tries to have students experience, through working on a real brief with real partners from real human rights nongovernmental organizations (NGOs), something of what it is like to do human rights NGO research/advocacy work (including competing demands on their time). In this chapter, I present the experience of the SOAS Clinic as well as the broader CLE context in the UK, which mostly follows different models. The SOAS Clinic is designed to build a skills set in practical legal research and desk-based “fact-finding,” report/brief writing, teamwork, and negotiating and com- munications skills. Through their reflection on their work during and after the process, students are expected to develop a fine-grained appreciation and critique of human rights engagement in matters of social justice and their own potential in that space. Research and advocacy briefs agreed upon with our NGO partners cover areas of international human rights law, international humanitarian law, and inter- national criminal law; most commonly, the focus will be on application and domestic implementation of the same and strategies for seeking correction or redress. -
The Challenges of French Impressionism in Great Britain
Crossing the Channel: The Challenges of French Impressionism in Great Britain By Catherine Cheney Senior Honors Thesis Department of Art History University of North Carolina at Chapel Hill April 8, 2016 Approved: 1 Introduction: French Impressionism in England As Impressionism spread throughout Europe in the late nineteenth century, the movement took hold in the British art community and helped to change the fundamental ways in which people viewed and collected art. Impressionism made its debut in London in 1870 when Claude Monet, Camille Pissarro, and Paul Durand-Ruel sought safe haven in London during the Franco- Prussian war. The two artists created works of London landscapes done in the new Impressionist style. Paul Durand-Ruel, a commercial dealer, marketed the Impressionist works of these two artists and of the other Impressionist artists that he brought over from Paris. The movement was officially organized for the First Impressionist Exhibition in 1874 in Paris, but the initial introduction in London laid the groundwork for promoting this new style throughout the international art world. This thesis will explore, first, the cultural transformations of London that allowed for the introduction of Impressionism as a new style in England; second, the now- famous Thames series that Monet created in the 1890s and notable exhibitions held in London during the time; and finally, the impact Impressionism had on private collectors and adding Impressionist works to the national collections. With the exception of Edouard Manet, who met with success at the Salon in Paris over the years and did not exhibit with the Impressionists, the modern artists were not received well. -
Annual Review Research Community Are Invited to Participate, Exchange Ideas and Network in Our Regular Workshops, Lectures and Conferences
Join the SOAS South Asia Institute The SOAS South Asia Institute welcomes people with an interest in South Asia who would like to get involved with our activities. Our offices are located on the 4th floor of the Brunei Gallery and we welcome visitors by appointment. There are many ways of getting involved with the SSAI: Connect with Us: • Study at SOAS: The SSAI has developed a new Email: Receive regular updates from us about events Masters programme in Intensive South Asian Studies. and activities by writing to [email protected] This two-year programme offers comprehensive language-based training across a wide range of Like us on Facebook and join our vibrant disciplines in the humanities and social sciences. community: www.facebook.com/SouthAsia.SOAS All of the Institute’s teaching programmes will provide students with valuable skills that are rarely Follow and interact with us on Twitter: @soas_sai available elsewhere. These include interdisciplinary understandings of South Asian society that are Check our web pages for details about all our theoretically sophisticated and based on deep activities: www.soas.ac.uk/south-asia-institute/ empirical foundations and advanced proficiency in Join in the discussion through the languages such as Bengali, Hindi, Nepali, Sanskrit and Institute’s new blog, South Asia Notes: Urdu. http://blogs.soas.ac.uk/ssai-notes/ • Outreach: Our free seminar series, which is held regularly on a weekly or fortnightly basis is open to Address: the wider public. Our events often host high-level The SOAS South Asia Institute politicians, local and foreign academics and many Room B405, Brunei Gallery SOAS SOUTH ASIA INSTITUTE more. -
Conflicts Through the Lens of Chinese War Photojournalists Shixin Ivy
Conflicts through the lens of Chinese war photojournalists Shixin Ivy Zhang Introduction Contemporary Chinese war photography becomes an important research subject. Since the 1990s, China, as a new global power, plays an increasing role in international affairs. Chinese correspondents have travelled to war and conflict zones overseas to report and file news coverage back home (Zhang, 2013). By studying how the Chinese journalists and photographers depict the conflicts through the lens of cameras around the world, this research is meant to contribute to the existing knowledge about wartime photojournalism from Chinese perspective. Journalism’s images of war play an important role in people’s understanding of the nature of war. They show ‘what has been and offer glimpses of what might be’ and more or less ‘shape the public’s encounter with war’ (Zelizer, 2004: 114). The power, durability and memorability of photography make scholars such as Zelizer claim that ‘it is to images that journalism turns in times of war. (Zelizer, 2004: 118). War photographers have been heralded as heroes who bring the ‘decisive moments’ to the audiences. Roger Fenton is widely recognised to be the first person to systematically portray soldiers during the Crimean War (1853-1856). But ‘he did not produce images which revealed the nature of war’ (Price, 1997: 62). It was with the depiction of Spanish Civil War (1936-1939) that photographic images of war have been used to accentuate and lend authority to war reporting (Griffin, 2010). In the post-WWII period, ‘starting with the Vietnam War, the immediacy of war photographs begins to have a significant effect. -
集美·阿尔勒国际摄影季将于2021年11月26日在厦 Open in Xiamen on November 26, 2021, and Run Until January 门开幕，展览持续至2022年1月3日！ 3, 2022
集美·阿尔勒 国际摄影季 Jimei × Arles International Photo Festival Models posing in a pullman lounge模特在勒内·拉里克（René car decorated by René Lalique. Lalique）装饰的铂尔曼卧车内摆造型。约1970年。版权致谢：东方快车捐赠基金。 Circa 1970. Copyright THE ENDOWMENT FUND ORIENT EXPRESS. 2021.11.26 – 2022.01.03 Press Release 新闻通稿 The7th edition of Jimei × 第七届集美·阿尔勒国际2021 11 Arles International 26摄影季将于 年 月 Photo Festival will take 日在厦门开幕，展览持2022 1 3 place in Xiamen from 续至 年 月 日！ November 26, 2021 to January 3, 2022! ! Programme Announced! 展览项目全介绍2021 7 12 12 July 2021 年 月 日 The Seventh Jimei x Arles International Photo Festival will 第七届集美·阿尔勒国际摄影季将于2021年11月26日在厦 open in Xiamen on November 26, 2021, and run until January 门开幕，展览持续至2022年1月3日！ 3, 2022. 集美·阿尔勒国际摄影季于2015年在厦门市集美区启动， The Jimei x Arles International Photo Festival was founded 由三影堂摄影艺术中心和厦门市天下集美文广传媒有限公司联 in Xiamen’s Jimei District in 2015, and it is jointly organized by 合主办。自创立以来，集美·阿尔勒展示了超过两百场来自中国、 Three Shadows Photography Art Centre and Xiamen Tianxia 亚洲其他国家以及从阿尔勒摄影节中精选出的摄影作品展览， Jimei Media Co., Ltd.. Since its founding, Jimei x Arles has 至今已吸引了三十五万人次观展。 presented more than 200 exhibitions from China and the rest of Asia, as well as a selection of excellent shows from Les 本届集美·阿尔勒由阿尔勒摄影节（法国）总监克里斯托弗· Rencontres d’Arles. To date, the festival has attracted 350,000 维斯纳和中国当代摄影艺术家、三影堂摄影艺术中心联合创办 visitors. 人荣荣担任联合总监，著名摄影评论家顾铮教授担任艺术总 监。今年将会展出25场展览：4场精选自法国阿尔勒摄影节的展 For this edition of Jimei x Arles, Christoph Wiesner, director 览、10场聚焦华人优秀年轻摄影师的“发现奖单元”展览、3场“ of Les Rencontres d’Arles, and RongRong, Chinese contem- 新加坡影汇”展览、1场呈现中国高等艺术院校摄影探索与发展 porary photographer and co-founder of Three Shadows 的“ 中 国 律 动 ”展 览 、3 场“ 无 界 影 像 ”展 览 ，1 场“ 致 敬 ”展 览 、1 Photography Art Centre, will serve as Co-Directors, with not- 场“藏家故事”展览，2场“在地行动”展览一同亮相厦门，呈现 ed photography critic Gu Zheng serving as Art Director.