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The Chinese Dragon Boat Festival Occurs on the 5Th Day of the 5Th Month of the Chinese Lunisolar Calendar and Lasts for Three Days
Dragon Boat Festival The Chinese Dragon Boat Festival occurs on the 5th day of the 5th month of the Chinese lunisolar calendar and lasts for three days. This festival is also known as the Tuen Ng Festival, the Duanwu Festival, the Zhongxiao Festival, and the Double Fifth Festival. This holiday has been observed nationally for over 2,000 years. There are three different stories of whom this festival commemorates: Qu Yuan, Wu Zixu, and Cao E. The most well known story is about Qu Yuan, an ancient Chinese patriotic poet who was alive from 340-278 BCE. Qu Yuan was a minister in the state of Chu who wrote many poems to show his love and devotion for his country. He drowned himself in the river after he was exiled by the king because he didn’t want to see his country be invaded and conquered by the state of Qin. It is said that local people raced out in their boats to retrieve his body. When they couldn’t find his body, they dropped balls of sticky rice (zongzi) into the river so the fish would eat them and not Qu Yuan’s body. This was said to be the creation of zongzi, sticky rice dumplings or “Chinese tamales”. He died on the 5th day of the 5th month, thus the people created this festival to honor his death. The southeast region of Jiangsu (former territory of the state of Wu) commemorates Wu Zixu who was a Premier, a politician. Zixu warned his king, King Fuchai, of a dangerous plot regarding a beautiful woman, Xishi, who was sent by king Goujian of the state of Yue. -
The Legend Behind Zongzi – Artifacts Journal - University of Missouri
The Legend Behind Zongzi – Artifacts Journal - University of Missouri University of Missouri A Journal of Undergraduate Writing The Legend Behind Zongzi Xiao Fan Xiao Fan is from Beijing, China. He is now is a sophomore, and next semester he will be a junior. His major is mechanical and aerospace engineering. He likes sports, such as basketball and http://artifactsjournal.missouri.edu/2014/03/the-legend-behind-zongzi/[9/15/2014 1:21:04 PM] The Legend Behind Zongzi – Artifacts Journal - University of Missouri badminton and work out. He also likes listening to music and watch movies when he has spare time. He has published a paper in Artifacts Journal lately. Zongzi, a traditional Chinese food, is made of sticky rice stuffed with special fillings and wrapped up in Argy-wormwood leaves. Chinese people eat Zongzi during the Dragon Boat Festival to memorialize Qu Yuan, a famous Chinese poet who lived 2300 years ago in State of Chu inWarring States Period. An interesting legend of Zongzi has been passed down through generations from ancient China. Qu Yuan was a versatile government official at that time, and he was highly esteemed for his wise counsel among the common people. Qu Yuan was also the creator of Zongzi. However, the King did not like his straightforwardness, and some jealous officials said bad words behind his back. Sentenced by slander, Qu Yuan was exiled by the King. After his banishment to the remote countryside, Qu Yuan helplessly watched the gradual downfall of Chu and grieved that he could no longer serve his people. Out of despair, Qu Yuan plunged himself into the Miluo River. -
Culture and Text in Teaching Chinese Literature by Yanfang Tang
Culture and Text in Teaching Chinese Literature By Yanfang Tang aining knowledge about Chinese culture has long been ing system. Text speaks to us only symbolically, and to fully under- considered an important goal of teaching Chinese literature stand the messages it conveys, we must go beyond the words to tack- G in the West.1 However, are we teaching Chinese literature le the meaning system, that is, the values, beliefs, or, simply, cultural effectively to achieve such a goal? What is “culture”? What is “liter- perspectives of the people who have produced it. ature”? Is, particularly, our attention to text sufficient in helping our As a set of values and beliefs shared by the members of a given students understand the important cultural issues that underlie it? I ethnic group, cultural perspectives change from society to society, raise this last question because it seems that, regardless of the objec- and therefore for the individuals of one society to understand those tives we set for our course, we often consciously or unconsciously of another, they must relinquish their own cultural perspectives tem- take studying Chinese literature as understanding the meanings of a porarily or imaginarily so that they will not look at the customs, given number of representative texts. While identifying and analyz- behaviors, and thought patterns of a second culture from the angles ing the meanings of a text is what we do mostly in the classroom, in of their own cultural norms and paradigms. Applied to studying Chi- our preoccupation with the text and, particularly, in our habitual nese culture through Chinese literary products, this means that as we emphasis on close reading, we may sometimes make the interpreta- direct the study, we must make sure that students approach the text tive process an objective in itself.2 from a proper viewpoint, because, obviously, viewpoints being dif- To rethink our goals for teaching Chinese literature, or to ferent, the same text may generate different interpretations. -
"Encountering Sorrow" (Li Sao), by Qu Yuan
Primary Source Document with Questions (DBQs) EXCERPTS FROM “ENCOUNTERING SORROW” (LI SAO) By Qu Yuan Introduction “Encountering Sorrow” is the most famous example of the poetry of the state of Chu. Chu was one of the many feudal states of the Zhou dynasty. Chu’s location in the Yangzi valley, however, put it on the southern frontiers of the Zhou world. Thus Chu poetry and culture share both in the mainstream culture of the North China plain — the Zhou heartland — and the culture of the ethnic groups of the south. As a result, the moral concerns and language of Confucianism are combined with a strong shamanist tradition, and the poetry of Chu is replete with images drawn from the plants and landscape of the south. Qu Yuan, the author of “Encountering Sorrow,” is a shadowy figure. He is thought to have been a minister in the court of King Huai (r. 328-299 BCE) of Chu. His poem, “Encountering Sorrow,” tells the story of an honest official who has been driven out of court by the machinations of his dishonest colleagues. The traditional account of Qu Yuan’s life is that he then went into exile in the wilderness and eventually committed suicide by drowning himself in the Miluo River. The longer selection below includes the beginning stanzas of the poem followed by the poem’s four-line conclusion. Selected Document Excerpts with Questions (Longer selection follows this section) From Anthology of Chinese Literature, Volume I: From Early Times to the Fourteenth Century, edited by Cyril Birch (New York: Grove Press, 1965), 51-62. -
Handbook of Chinese Mythology TITLES in ABC-CLIO’S Handbooks of World Mythology
Handbook of Chinese Mythology TITLES IN ABC-CLIO’s Handbooks of World Mythology Handbook of Arab Mythology, Hasan El-Shamy Handbook of Celtic Mythology, Joseph Falaky Nagy Handbook of Classical Mythology, William Hansen Handbook of Egyptian Mythology, Geraldine Pinch Handbook of Hindu Mythology, George Williams Handbook of Inca Mythology, Catherine Allen Handbook of Japanese Mythology, Michael Ashkenazi Handbook of Native American Mythology, Dawn Bastian and Judy Mitchell Handbook of Norse Mythology, John Lindow Handbook of Polynesian Mythology, Robert D. Craig HANDBOOKS OF WORLD MYTHOLOGY Handbook of Chinese Mythology Lihui Yang and Deming An, with Jessica Anderson Turner Santa Barbara, California • Denver, Colorado • Oxford, England Copyright © 2005 by Lihui Yang and Deming An All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, except for the inclusion of brief quotations in a review, without prior permission in writing from the publishers. Library of Congress Cataloging-in-Publication Data Yang, Lihui. Handbook of Chinese mythology / Lihui Yang and Deming An, with Jessica Anderson Turner. p. cm. — (World mythology) Includes bibliographical references and index. ISBN 1-57607-806-X (hardcover : alk. paper) — ISBN 1-57607-807-8 (eBook) 1. Mythology, Chinese—Handbooks, Manuals, etc. I. An, Deming. II. Title. III. Series. BL1825.Y355 2005 299.5’1113—dc22 2005013851 This book is also available on the World Wide Web as an eBook. Visit abc-clio.com for details. ABC-CLIO, Inc. 130 Cremona Drive, P.O. Box 1911 Santa Barbara, California 93116–1911 This book is printed on acid-free paper. -
The Translation and Dissemination of Chu Ci in Europe Nan Chen, Chuanmao Tian
International Journal of English Literature and Social Sciences, 5(5) Sep-Oct 2020 |Available online: https://ijels.com/ The Translation and Dissemination of Chu Ci in Europe Nan Chen, Chuanmao Tian School of Foreign Studies, Yangtze University, Hubei, 434023 PRC China Abstract—This paper combs through the translation and dissemination forms of Chu Ci in Europe from the perspective of time. Before the twentieth century is the early stage and its major dissemination form develops from reference translation to systemic one. Representative works of this stage includes the translation of Pfizmaier and Denys. The modern stage is divided by the first half of the twentieth century and Chu Ci began to treated as an subject in European Universities. Research perspectives on Chu Ci started to expand. From the later half of twentieth century to the presentis the contemporary stage.Complete translation versions of Chu Ci had appeared. Eastern Europe emerged as a new force in the translation of Chu Ci. At the end, major translation achievements and research angles will be summarized. Keywords—Chu Ci; translation; Europe; Sinology. I. INTRODUCTION of Chu Ci in Europe will also be involved. Unlike The Book of Songs and The Analects of Confucius, which are Chinese famous classic literature, the translation II. THE EARLY STAGE:FROM REFERENCE and dissemination of Chu Ci are less concentrated in TRANSLATION TO SYSTEMIC TRANSLATION Europe(Guo 2013; Wei 2014; Yan 2013; Guo & Cao 2014). When it comes to the origin of the translation and Early work in the translation study of Chu Ci tended to focus dissemination in Europe, there are always different voices. -
UNDERSTANDING CHINA a Diplomatic and Cultural Monograph of Fairleigh Dickinson University
UNDERSTANDING CHINA a Diplomatic and Cultural Monograph of Fairleigh Dickinson University by Amanuel Ajawin Ahmed Al-Muharraqi Talah Hamad Alyaqoobi Hamad Alzaabi Molor-Erdene Amarsanaa Baya Bensmail Lorena Gimenez Zina Ibrahem Haig Kuplian Jose Mendoza-Nasser Abdelghani Merabet Alice Mungwa Seddiq Rasuli Fabrizio Trezza Editor Ahmad Kamal Published by: Fairleigh Dickinson University 1000 River Road Teaneck, NJ 07666 USA April 2011 ISBN: 978-1-457-6945-7 The opinions expressed in this book are those of the authors alone, and should not be taken as necessarily reflecting the views of Fairleigh Dickinson University, or of any other institution or entity. © All rights reserved by the authors No part of the material in this book may be reproduced without due attribution to its specific author. THE AUTHORS Amanuel Ajawin is a diplomat from Sudan Ahmed Al-Muharraqi is a graduate student from Bahrain Talah Hamad Alyaqoobi is a diplomat from Oman Hamad Alzaabi a diplomat from the UAE Molor Amarsanaa is a graduate student from Mongolia Baya Bensmail is a graduate student from Algeria Lorena Gimenez is a diplomat from Venezuela Zina Ibrahem is a graduate student from Iraq Ahmad Kamal is a Senior Fellow at the United Nations Haig Kuplian is a graduate student from the United States Jose Mendoza-Nasser is a graduate student from Honduras Abdelghani Merabet is a graduate student from Algeria Alice Mungwa is a graduate student from Cameroon Seddiq Rasuli is a graduate student from Afghanistan Fabrizio Trezza is a graduate student from Italy INDEX OF -
Research on the Customs of Festival Sports Entertainment in Tang Dynasty from Angles of Poems and Proses
International Academic Workshop on Social Science (IAW-SC 2013) Research on the Customs of festival sports entertainment in Tang Dynasty from Angles of Poems and Proses Junli Yu Department of Sports Media and Cultural Studies Xi’an Physical Education University Xi’an 710068,China e-mail: [email protected] Abstract—This paper textually investigates festival sports and recreational custom in the Tang Dynasty—its origin, II. FESTIVAL SPORTS AND RECREATIONAL CUSTOMS underlying cultural implication, spectacularity and evolution A. Ascending a height on Man Day in the Tang Dynasty by document research method. There were a great number of festivals at that time to stage so many Man Day had been celebrated before the Tang Dynasty. colorful festival folk custom activities,such as Man Day, Festivals in Jinchu Area records, “Man Day is celebrated on Shangyuan Festival, Shangsi Festival (3rd day of 3rd lunar January 7 (lunar calendar)… when people ascend a height month),Qingming Festival and Cold Food Day,Dragon Boat and compose poetic proses.”[2] This is the very festival Festival, Double Ninth Festival,Lari Festival,Winter Solstice which is themed by human, demonstrating the rich cultural Festival and New Year’s Eve.Some Poems and Proses of the implications of valuing human, birth and new things, which Tang Dynasty feature festival sports and recreational activities, apparently were enriched and developed in such a vigorous presenting clear pictures of such spectacular events and society of the Tang Dynasty. helping preserve our fine folk customs, their rites and more. On Man Day, plants begin to sprout in new spring, and if the weather was cooperative, people in the Tang Dynasty Keywords—the Tang Dynasty; Sports; Poems and Proses; usually ascended a height for celebration. -
The Author's Two Bodies: the Death of Qu Yuan and the Birth of Chuci Zhangju
_full_journalsubtitle: International Journal of Chinese Studies/Revue Internationale de Sinologie _full_abbrevjournaltitle: TPAO _full_ppubnumber: ISSN 0082-5433 (print version) _full_epubnumber: ISSN 1568-5322 (online version) _full_issue: 3-4_full_issuetitle: 0 _full_alt_author_running_head (neem stramien J2 voor dit article en vul alleen 0 in hierna): Heng Du _full_alt_articletitle_deel (kopregel rechts, hier invullen): The Author’s Two Bodies _full_is_advance_article: 0 _full_article_language: en indien anders: engelse articletitle: 0 _full_alt_articletitle_toc: 0 T’OUNG PAO The Author’s Two Bodies T’oung Pao 105 (2019) 259-314 www.brill.com/tpao 259 The Author’s Two Bodies: The Death of Qu Yuan and the Birth of Chuci zhangju 楚辭章句 Heng Du University of Arizona A corpse from the sea has summoned me home now; Though dead, it speaks with a living voice.1 Theognis 1229-30 Was Qu Yuan 屈原 (trad. 343-290 BCE) a historical individual? If not, how did he nevertheless become the ancestral author of one of China’s oldest poetic forms? The passage below, I suggest, contains the genesis moment of Qu Yuan the author. This early eulogy describes a Qu Yuan metamorphosing and bifurcating. According to the version found in Shiji 史記, After sinking in sordid mud, [Qu Yuan] left behind his molted shell in muddled filth to be borne aloft beyond dust, unfettered by the grime of his time, gleaming as one mud cannot sully. In commending this intention, it is apt even to match its brilliance with the sun and the moon. 濯淖汙泥之中,蟬蛻於濁穢,以浮游塵埃之外,不獲世之滋垢,皭然泥而不滓 者也。推此志也,雖與日月爭光可也。 2 1) ἤδη γάρ με κέκληκε θαλάσσιος οἴκαδε νεκρός, τεθνηκὼς ζωῷ φθεγγόμενος στόματι, as translated by Douglas E. -
Southern Identity and Southern Estrangement in Medieval Chinese Poetry
Southern Identity and Southern Estrangement in Medieval Chinese Poetry Edited by Ping Wang and Nicholas Morrow Williams Hong Kong University Press Th e University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2015 Hong Kong University Press ISBN 978-988-8139-26-2 All rights reserved. No portion of this publication may be reproduced or transmitt ed in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without prior permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Liang Yu Printing Factory Ltd. in Hong Kong, China Contents Acknowledgments vii List of Contributors ix 1. Southland as Symbol 1 Ping Wang and Nicholas Morrow Williams 2. Southern Metal and Feather Fan: Th e “Southern Consciousness” of Lu Ji 19 David R. Knechtges 3. Fan Writing: Lu Ji, Lu Yun and the Cultural Transactions between North and South 43 Xiaofei Tian 4. Plaint, Lyricism, and the South 79 Ping Wang 5. Farther South: Jiang Yan in Darkest Fujian 109 Paul W. Kroll 6. Th e Pity of Spring: A Southern Topos Reimagined by Wang Bo and Li Bai 137 Nicholas Morrow Williams 7. Th e Stele and the Drunkard: Two Poetic Allusions from Xiangyang 165 Jie Wu 8. Jiangnan from the Ninth Century On: Th e Routinization of Desire 189 Stephen Owen Works Cited 207 Index 219 Contributors David R. -
China in Classroom
CHINA IN CLASSROOM CONTENTE China ABC 1. National Flag and National Emblem 2. Physical Geography 3. Population, Ethnic Groups and Language 4. Brief History 5. Administration Divison Chinese Culture 1. Public Holidays and Most Popular Traditional Festivals in China 2. Chinese Zodiac 3. The Chinese Dragon 4. Historical Sites and Scenery in China 5. Beijing Opera 6. Calligraphy and Chinese Paintings 7. Chinese Traditional Papercuts China ABC 1. National Flag And National Emblem 国旗 The national flag of China The national flag of China is red in color which symbolizes revolution; the five stars on the flag symbolize the great unity of the Chinese people under the leadership of the Communist Party of China(CPC). 国徽 The national emblem of China The national emblem of China is Tian'anmen in the center illuminated by five stars and encircled by ears of grain and a cogwheel. Tian'anmen symbolizes the Chinese nation and the ears of grain and the cogwheel represent the working class and peasantry. 2. Physical Geography Position and Area China is situated in the eastern part of Asia, on the west coast of the Pacific Ocean. China has a total land area of 9.6 million square kilometres, next only to Russia and Canada in size. The nation is bordered by Korea in the east; Mongolia in the north; Russia in the northeast; Kazakhstan, Kirghizia and Tadzhikistan in the northwest; Afghanistan, Pakistan, India, Nepal, Sikkim and Bhutan in the west and southwest; and Myanmar, Laos and Viet Nam in the south. Across the seas to the east and southeast are the Republic of Korea, Japan, the Philippines, Brunei, Malaysia, and Indonesia. -
A Study on the Artistic Images of Lyricist of Li Sao Longhui Shen1
2017 3rd International Conference on Social Science, Management and Economics (SSME 2017) ISBN: 978-1-60595-462-2 A Study on the Artistic Images of Lyricist of Li Sao Longhui Shen1 Abstract It is the magnificent ancient and modern political lyrics, thousands of years deeply shocked people's minds. The whole poem is characterized by the pursuit of the progressive ideals, and the expression is then characterized by the positive romanticism. Li Sao is Qu Yuan's masterpiece, but also the culmination of the Songs of Chu, according to Wang Yi said, explained as parting sadness, Li Sao for the ancient Chinese only seen the first left the author name long lyric poems, the whole poem three hundred and seventy- The four thousand four hundred and the ninety-four words, the content of the broad and profound, indignant and compassion, narrative as that the style of the mysterious majestic, is a new form of poetry from the show. This paper gives the new understanding of the issues and in the future, more in-depth review will be finalized. Keywords: Artistic Images, Chinese Literature, Li Sao. Introduction In the history of the ancient Chinese literature, Li Sao is one of the far-reaching works. It is the magnificent ancient and modern political lyrics, thousands of years deeply shocked people's minds. The whole poem is characterized by the pursuit of the progressive ideals, and the expression is then characterized by the positive romanticism. In the "Li Sao", Qu Yuan with its profound knowledge, outstanding talent and noble personality, ingenuity to inherit and develop the "Book of Songs" in the Fu, than the expression of the way, the natural environment of the vegetation birds and animals And the social life of the basic necessities of life, the real world between the real things and the fantasy of the gods are extremely clever combination in one, so as to build a colorful, swaying world famous world.