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Dressing for the Times: Fashion in Tang Dynasty China (618-907)
Dressing for the Times: Fashion in Tang Dynasty China (618-907) BuYun Chen Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 BuYun Chen All rights reserved ABSTRACT Dressing for the Times: Fashion in Tang Dynasty China (618-907) BuYun Chen During the Tang dynasty, an increased capacity for change created a new value system predicated on the accumulation of wealth and the obsolescence of things that is best understood as fashion. Increased wealth among Tang elites was paralleled by a greater investment in clothes, which imbued clothes with new meaning. Intellectuals, who viewed heightened commercial activity and social mobility as symptomatic of an unstable society, found such profound changes in the vestimentary landscape unsettling. For them, a range of troubling developments, including crisis in the central government, deep suspicion of the newly empowered military and professional class, and anxiety about waste and obsolescence were all subsumed under the trope of fashionable dressing. The clamor of these intellectuals about the widespread desire to be “current” reveals the significant space fashion inhabited in the empire – a space that was repeatedly gendered female. This dissertation considers fashion as a system of social practices that is governed by material relations – a system that is also embroiled in the politics of the gendered self and the body. I demonstrate that this notion of fashion is the best way to understand the process through which competition for status and self-identification among elites gradually broke away from the imperial court and its system of official ranks. -
Protection and Transmission of Chinese Nanyin by Prof
Protection and Transmission of Chinese Nanyin by Prof. Wang, Yaohua Fujian Normal University, China Intangible cultural heritage is the memory of human historical culture, the root of human culture, the ‘energic origin’ of the spirit of human culture and the footstone for the construction of modern human civilization. Ever since China joined the Convention for the Safeguarding of the Intangible Cultural Heritage in 2004, it has done a lot not only on cognition but also on action to contribute to the protection and transmission of intangible cultural heritage. Please allow me to expatiate these on the case of Chinese nanyin(南音, southern music). I. The precious multi-values of nanyin decide the necessity of protection and transmission for Chinese nanyin. Nanyin, also known as “nanqu” (南曲), “nanyue” (南乐), “nanguan” (南管), “xianguan” (弦管), is one of the oldest music genres with strong local characteristics. As major musical genre, it prevails in the south of Fujian – both in the cities and countryside of Quanzhou, Xiamen, Zhangzhou – and is also quite popular in Taiwan, Hongkong, Macao and the countries of Southeast Asia inhabited by Chinese immigrants from South Fujian. The music of nanyin is also found in various Fujian local operas such as Liyuan Opera (梨园戏), Gaojia Opera (高甲戏), line-leading puppet show (提线木偶戏), Dacheng Opera (打城戏) and the like, forming an essential part of their vocal melodies and instrumental music. As the intangible cultural heritage, nanyin has such values as follows. I.I. Academic value and historical value Nanyin enjoys a reputation as “a living fossil of the ancient music”, as we can trace its relevance to and inheritance of Chinese ancient music in terms of their musical phenomena and features of musical form. -
Religion in China BKGA 85 Religion Inchina and Bernhard Scheid Edited by Max Deeg Major Concepts and Minority Positions MAX DEEG, BERNHARD SCHEID (EDS.)
Religions of foreign origin have shaped Chinese cultural history much stronger than generally assumed and continue to have impact on Chinese society in varying regional degrees. The essays collected in the present volume put a special emphasis on these “foreign” and less familiar aspects of Chinese religion. Apart from an introductory article on Daoism (the BKGA 85 BKGA Religion in China prototypical autochthonous religion of China), the volume reflects China’s encounter with religions of the so-called Western Regions, starting from the adoption of Indian Buddhism to early settlements of religious minorities from the Near East (Islam, Christianity, and Judaism) and the early modern debates between Confucians and Christian missionaries. Contemporary Major Concepts and religious minorities, their specific social problems, and their regional diversities are discussed in the cases of Abrahamitic traditions in China. The volume therefore contributes to our understanding of most recent and Minority Positions potentially violent religio-political phenomena such as, for instance, Islamist movements in the People’s Republic of China. Religion in China Religion ∙ Max DEEG is Professor of Buddhist Studies at the University of Cardiff. His research interests include in particular Buddhist narratives and their roles for the construction of identity in premodern Buddhist communities. Bernhard SCHEID is a senior research fellow at the Austrian Academy of Sciences. His research focuses on the history of Japanese religions and the interaction of Buddhism with local religions, in particular with Japanese Shintō. Max Deeg, Bernhard Scheid (eds.) Deeg, Max Bernhard ISBN 978-3-7001-7759-3 Edited by Max Deeg and Bernhard Scheid Printed and bound in the EU SBph 862 MAX DEEG, BERNHARD SCHEID (EDS.) RELIGION IN CHINA: MAJOR CONCEPTS AND MINORITY POSITIONS ÖSTERREICHISCHE AKADEMIE DER WISSENSCHAFTEN PHILOSOPHISCH-HISTORISCHE KLASSE SITZUNGSBERICHTE, 862. -
Season 2017-2018
23 Season 2017-2018 Wednesday, November 1, at 7:30 China’s National Centre for the Performing Arts Orchestra Lü Jia Conductor Ning Feng Violin Gautier Capuçon Cello Zhao Jiping Violin Concerto No. 1 (in one movement) Chen Qigang Reflection of a Vanished Time, for cello and orchestra United States premiere Intermission Brahms Symphony No. 4 in E minor, Op. 98 I. Allegro non troppo II. Andante moderato III. Allegro giocoso—Poco meno presto—Tempo I IV. Allegro energico e passionato—Più allegro This program runs approximately 1 hour, 50 minutes. China’s National Centre for the Performing Arts Orchestra’s 2017 US Tour is proudly supported by China National Arts Fund. International Flight Sponsor: Hainan Airlines Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit www.wrti.org to listen live or for more details. 24 Conductor Lü Jia is artistic director of music of the National Centre for the Performing Arts (NCPA) in Beijing, China, as well as music director and chief conductor of the NCPA Orchestra. He is also music director and chief conductor of the Macao Orchestra. He has served as music director of Verona Opera in Italy and artistic director of the Tenerife Symphony in Spain. Born into a musical family in Shanghai, he began studying piano and cello at a very young age. He later studied conducting at the Central Conservatory of Music in Beijing, under the tutelage of Zheng Xiaoying. At the age of 24 Mr. Lü entered the University of Arts in Berlin, where he continued his studies under Hans- Martin Rabenstein and Robert Wolf. -
Chinese Zheng and Identity Politics in Taiwan A
CHINESE ZHENG AND IDENTITY POLITICS IN TAIWAN A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN MUSIC DECEMBER 2018 By Yi-Chieh Lai Dissertation Committee: Frederick Lau, Chairperson Byong Won Lee R. Anderson Sutton Chet-Yeng Loong Cathryn H. Clayton Acknowledgement The completion of this dissertation would not have been possible without the support of many individuals. First of all, I would like to express my deep gratitude to my advisor, Dr. Frederick Lau, for his professional guidelines and mentoring that helped build up my academic skills. I am also indebted to my committee, Dr. Byong Won Lee, Dr. Anderson Sutton, Dr. Chet- Yeng Loong, and Dr. Cathryn Clayton. Thank you for your patience and providing valuable advice. I am also grateful to Emeritus Professor Barbara Smith and Dr. Fred Blake for their intellectual comments and support of my doctoral studies. I would like to thank all of my interviewees from my fieldwork, in particular my zheng teachers—Prof. Wang Ruei-yu, Prof. Chang Li-chiung, Prof. Chen I-yu, Prof. Rao Ningxin, and Prof. Zhou Wang—and Prof. Sun Wenyan, Prof. Fan Wei-tsu, Prof. Li Meng, and Prof. Rao Shuhang. Thank you for your trust and sharing your insights with me. My doctoral study and fieldwork could not have been completed without financial support from several institutions. I would like to first thank the Studying Abroad Scholarship of the Ministry of Education, Taiwan and the East-West Center Graduate Degree Fellowship funded by Gary Lin. -
Exploring the Chinese Metal Scene in Contemporary Chinese Society (1996-2015)
"THE SCREAMING SUCCESSOR": EXPLORING THE CHINESE METAL SCENE IN CONTEMPORARY CHINESE SOCIETY (1996-2015) Yu Zheng A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2016 Committee: Jeremy Wallach, Advisor Esther Clinton Kristen Rudisill © 2016 Yu Zheng All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This research project explores the characteristics and the trajectory of metal development in China and examines how various factors have influenced the localization of this music scene. I examine three significant roles – musicians, audiences, and mediators, and focus on the interaction between the localized Chinese metal scene and metal globalization. This thesis project uses multiple methods, including textual analysis, observation, surveys, and in-depth interviews. In this thesis, I illustrate an image of the Chinese metal scene, present the characteristics and the development of metal musicians, fans, and mediators in China, discuss their contributions to scene’s construction, and analyze various internal and external factors that influence the localization of metal in China. After that, I argue that the development and the localization of the metal scene in China goes through three stages, the emerging stage (1988-1996), the underground stage (1997-2005), the indie stage (2006-present), with Chinese characteristics. And, this localized trajectory is influenced by the accessibility of metal resources, the rapid economic growth, urbanization, and the progress of modernization in China, and the overall development of cultural industry and international cultural communication. iv For Yisheng and our unborn baby! v ACKNOWLEDGMENTS First of all, I would like to show my deepest gratitude to my advisor, Dr. -
North Tea-Horse Ancient Road" on Music and Dance in Longnan
2018 7th International Workshop on Arts, Culture, Literature, and Education (IWACLE 2018) Humanistic Interpretation on the Impacts of the "North Tea-Horse Ancient Road" on Music and Dance in Longnan Fei Wen Sichuan University of Culture and Arts, Mianyang, Sichuan Province, China Keywords: "the North Tea-Horse Ancient Road", music and dance, cultural routes, unity in diversity Abstract: To a great extent, the dissemination, exchanging and development of the Chinese civilization and the world civilization are achieved on the basis of the "road". The "road" does not only have the function of transportation, but also provides the material basis of communication for residents live in different areas. The road enables people to communicate with each other about their spiritual worlds such as their thoughts, concepts and behaviors. Therefore, the "road" has specific vitality and historical functions. 1. Introduction Like the "Silk Road", the "Tea-Horse Ancient Road" is a poetic and imaginative name given by six scholars in Yunnan Province in the early 1990s, after they investigated several trade routes in southwestern China. With the main purpose of "Tea-Horse Mutual Market", these routes have been opened since the Han Dynasty. In recent years, with the advancement of China's "the Belt and Road" initiative, the historical status and the practical significance of the "Tea-Horse Ancient Road" has become increasingly prominent. The geographical definition of the "Tea-Horse Ancient Road" has been extended from the original concept of "Southwest China" to "areas include Yunnan, Tibet and Sichuan, and further extend to Gansu, Qinghai and other provinces." In June 2010, the "Pu'er Consensus" was reached at the "Pu'er Forum on Cultural Heritage Protection: Heritage Protection of the Tea-Horse Ancient Road" co-sponsored by the National Cultural Heritage Administration and the People's Government of Yunnan Province. -
Nanyin Musical Culture in Southern Fujian, China : Adaptation and Continuity
Lim, Sau-Ping Cloris (2014) Nanyin musical culture in southern Fujian, China : adaptation and continuity. PhD Thesis. SOAS, University of London. http://eprints.soas.ac.uk/id/eprint/20292 Copyright © and Moral Rights for this PhD Thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This PhD Thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this PhD Thesis, full bibliographic details including the author, title, awarding institution and date of the PhD Thesis must be given e.g. AUTHOR (year of submission) "Full PhD Thesis title", name of the School or Department, PhD PhD Thesis, pagination. NANYIN MUSICAL CULTURE IN SOUTHERN FUJIAN, CHINA: ADAPTATION AND CONTINUITY Sau-Ping Cloris Lim Volume 1: Main Text Thesis submitted for the degree of Doctor of Philosophy 2014 Department of Music School of Oriental and African Studies University of London 1 DEDICATION Dedicated to the Heavenly Father DECLARATION 2 3 ABSTRACT This thesis is a study of the musical genre nanyin, one of the oldest and most prestigious living folk traditions preserved in southern Fujian (Minnan), China. As an emblem of Minnan ethnic identity, nanyin is still actively practised in the Southeast Asian Fujianese diaspora as well. Based on ethnographic investigations in Jinjiang County, this research explores multifaceted nanyin activities in the society at large. -
Staking Claims to China's Borderland: Oil, Ores and State- Building In
UNIVERSITY OF CALIFORNIA, SAN DIEGO Staking Claims to China’s Borderland: Oil, Ores and State- building in Xinjiang Province, 1893-1964 A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History by Judd Creighton Kinzley Committee in charge: Professor Joseph Esherick, Co-chair Professor Paul Pickowicz, Co-chair Professor Barry Naughton Professor Jeremy Prestholdt Professor Sarah Schneewind 2012 Copyright Judd Creighton Kinzley, 2012 All rights reserved. The Dissertation of Judd Creighton Kinzley is approved and it is acceptable in quality and form for publication on microfilm and electronically: Co-chair Co- chair University of California, San Diego 2012 iii TABLE OF CONTENTS Signature Page ................................................................................................................... iii Table of Contents ............................................................................................................... iv Acknowledgments.............................................................................................................. vi Vita ..................................................................................................................................... ix Abstract ................................................................................................................................x Introduction ..........................................................................................................................1 -
The Transformation and Safeguarding of Intangible Cultural Heritage of China a Case Study of Huanxian Daoqing Shadow Theatre
From “Feudal Rubbish” to “National Treasure”: The Transformation and Safeguarding of Intangible Cultural Heritage of China A Case Study of Huanxian Daoqing Shadow Theatre A thesis approved by the Faculty of Mechanical, Electrical and Industrial Engineering at the Brandenburg University of Technology in Cottbus in partial fulfilment of the requirement for the award of the academic degree of Doctor of Philosophy (Ph.D.) in Heritage Studies by Chang Liu, M.A. from Beijing, China First Examiner: Prof. Dr. Marie-Theres Albert Second Examiner: Prof. Dr. Klaus Mühlhahn Day of the oral examination: 09 May 2014 ABSTRACT This study examines the history of the transformation of the intangible cultural heritage of China and the efforts to safeguard it, using the case study of Huanxian Daoqing shadow theatre. A regional style of Chinese shadow theatre, Daoqing has undergone dramatic transformation from 1949 to 2013, from being labeled in socialist China as a form of “feudal rubbish” to be eradicated, to being safeguarded as “national treasure”. The changes in Daoqing’s social identity, function, value, interpretation, transmission and safeguarding efforts can be observed in the discourses of both the authorities and the practicing community. These changes may be understood as part of three different stages in the political and economic transformation of socialist China. The researcher has collected governmental archives and conducted semi-structured interviews with Daoqing inheritors in an interpretative phenomenological analysis approach. This thesis analyses how, following Hobsbawm’s argument, Daoqing as an intangible cultural heritage involves an “invention of tradition” through joint actions of the Chinese government and the Huanxian community. -
Qing Yang "Eight Sights" Culture During the Ming and Qing Dynasties
International Journal of Culture and History, Vol. 4, No. 2, June 2018 Image and Space: Qing Yang "Eight Sights" Culture during the Ming and Qing Dynasties Xinghe Lei constitute the foundation of the universe". [2] Abstract—"Eight sights", in Qing yang city during the Thus it can be seen that in the accounts of traditional Ming and Qing Dynasties, is a typical representative of the Chinese "geography" and "local Chronicles", the expressions urban landscape in regional society, "eight sights" in Qing of "four to eight" have a long history. This "four to", "eight yang city and other "eight sights" in each country of Qing to" space expression, is the purpose very clear to tell the yang are presented to us a good picture and rich historical and cultural relics, showing the profound meaning of magical reader "area" and "space" and "spatial pattern". Therefore, calculating culture, meanwhile constructing the urban spatial the reason why "eight" is to take the number "8" is the structure with artistic style. "Eight sights" embodies the cultural image and the space orientation. marvelous combination of cultural landscape and the natural one, the symbol of magical calculation and art image; it also embodies the implication of beauty and the miracle space structure, at the same time the beauty of the picture mixed II. THE "GEOGRAPHICAL VICTORY" OF QINGYANG with legends of mystery and real sights. GOVERNMENT Qingyang fucheng city with a long history, is the earliest Index Terms—Qing yang, eight sights image. and most complete in the history data about qingyang fucheng construction record is jiajing years Fu Xueli in qingyang government record volume 2 records: "qingyang I. -
Hellenes and Romans in Ancient China (240 BC – 1398 AD)
SINO-PLATONIC PAPERS Number 230 August, 2012 Hellenes and Romans in Ancient China (240 BC – 1398 AD) by Lucas Christopoulos 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 FOUNDED 1986 Editor-in-Chief VICTOR H. MAIR Associate Editors PAULA ROBERTS MARK SWOFFORD ISSN 2157-9679 (print) 2157-9687 (online) SINO-PLATONIC PAPERS is an occasional series dedicated to making 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-in-chief 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. Submissions are regularly sent out to be refereed, and extensive editorial suggestions for revision may be offered. Sino-Platonic Papers emphasizes substance over form. We do, however, strongly recommend that prospective authors consult our style guidelines at www.sino-platonic.org/stylesheet.doc.