Recommended Text Ecommended

Total Page:16

File Type:pdf, Size:1020Kb

Recommended Text Ecommended RRRecommendedRecommended TextTextssss of Department of Chinese Studies Course Name Recommended Author/ Title/ Publisher/ Year Call No. Bar code Text Application Main Lisa Friedrichsen. Microsoft Access 005.74/FRI-3 E017748(RB) Software : 2007 : Illustrated Complete . E017749 Access Massachusetts : Course Technology, Thomson Learning, 2008. Peter Rob, Elie Semaan. Databases : 005.75/ROB E013719(RB) Design, Development & Deployment Using Microsoft Access . 2nd ed. Boston : McGraw-Hill, 2004. Supplementary Shelly, Cashman, Pratt, Last. Microsoft In Process Office Access 2007 : Comprehensive Title: Microsoft Concepts and Techniques . Access 2010 : Massachusetts : Shelly Cashman comprehensive Series, 2007. Application Main Gary B. Shelly, Thomas J. Cashman, 005.3/SHE-5 E020050 外 借 Software Misty E. Vermaat. Microsoft Office E020051 (Word, Excel 2007 : introductory concepts and and Power techniques, premium video edition . point) Boston : Mass. Course Technology/Cengage Learning, 2010. Gary B. Shelly, Thomas J. Cashman, 005.3/SHE-3 E020001(RB) Misty E. Vermaat ; with contributing E020000 Mary Z. Microsoft Office 2007 : advanced concepts and techniques . Boston : Mass. Course Technology/Cengage Learning, 2008. Supplementary Ann Shaffer, Patrick Carey,Kathy T. 005.3/SHA[Pt1] E020099 外借 Finnegan, Joseph J. Adamski, Roy E020101 Ageloff. New perspectives on Microsoft Office 2007 : first course, premium 005.3/SHA[Pt2] E020100 外借 video edition . Boston : Mass.Course E020102 Technology/Cengage Learning, 2010. 1 Course Name Recommended Author/ Title/ Publisher/ Year Call No. Bar code Text Appreciation of Main Luo Guan-zhong. Sanguoyanyi . 857.4523/LGZ-12 C040014(RB) Dynasty Ming Taipei : Huazheng Shuju, 1994. and Qing Novels Cao Xue-qin. Hongloumeng . China : 857.49/CXQ:2-7 S012186(RB) 清明小说选 Beijing Wenhua Yishu, 1991. Supplementary Guo Yu-shi. Lun Hongloumeng jiqi 857.49/GYS C010424(RB) Yanjiu (The Discussion of A Dream of Red Mansions and Its Study) . Shanghai Ancient Books Publishing House, 1992. Li Hou-ji, Li Hua. Sanguoyanyi jianshuo 857.4523/LHJ C011212(RB) (the Summary of Romance of The Three Kingdoms). Taipei : Wanjuanlou Tushu, 1993. Li Yan-jie. Sanguoyanyi yu Sanguo 857.4523/LYJ C029137(RB) Shishi (Romance of The Three C051331 Kingdoms and The Historical Facts of The Three Kingdoms). Zhongguo Wenshi, 1999. Tai Yu. Hongloumeng Renwulun (The Not available Comments of The Roles in A Dream of Red Mansions). Shanghai : Shanghai Shudian, 1990. Wang Guan-shi. Hongloumeng Yanjiu 857.4903/WGS C028510(RB) (The study of A Dream of Red Mansions). Taipei : Dongda Tushu, 1992. Xu Zhi-ping, Huang Jin-zhu. Mingqing 820.97/XZP C028397(RB) Xiaoshuo (The Novels in Dynasty Ming 1997 and Qing) . Taipei : Liming Wenhua Shiye, 1996. 2 Course Name Recommended Author/ Title/ Publisher/ Year Call No. Bar code Text Yu Ping-bo. Yu Pingbo Shuo 857.4907/YPB C007513(RB) Hongloumeng (Yu Ping-bo Explains A C011961 Dream of Red Mansions). Shanghai C015425 Ancient Books Publishing House, 1998. Yu Zhen-bang. Sanguo Renwu 782.123/YZB C028398(RB) Congtan (The Discussion of The Roles in Romance of The Three Kingdoms). Taipei : Taiwan Shangwu, 1995. Zheng Tie-sheng. Sanguoyanyi Xushi 827.25/ZTS:5-2 S016532(RB) Yishu (The Art of Narrative of Romance of The Three Kingdoms). Xinhua, 2000. Bahasa Main Ab. Rahman Ab. Rashid dan Yap Kim 499.28/AB M008592(RB) Kebangsaan Fatt. Bahasa Kebangsaan: Khas Untuk M008588 (A) IPTS . Petaling Jaya : Longman, 2002. M008589 M008590 M008591 Supplementary Abdullah Hassan. Linguistik Am untuk 410/ABD-2 M003257(RB) Bahasa Malaysia . Petaling Jaya : Fajar M004886 bakti Sdn. Bhd., 1980. Abdullah Hassan. Isu-isu Perancangan 499.28/ABD-4 M001294(RB) Bahasa : Pengintelektualan Bahasa M001295 Malaysia . Kuala Lumpur : Dewan M001293 Bahasa dan Pustaka, 1987. Ab. Rahman Ab. Rashid, Yap Kim Fatt. 302.2/AB M005651(RB) Bahasa Melayu : Komunikasi Berkesan M005650 dan Pengucapan Umum . Petaling Jaya : Longman Malaysia, 1995. 3 Course Name Recommended Author/ Title/ Publisher/ Year Call No. Bar code Text Ab. Rahman Ab. Rashid, Hjh. Wan 499.28/AB-2 M005649(RB) Som. Bahasa Melayu : Komunikasi dan M005652 Proses Komunikasi . Petaling Jaya : Longman Malaysia, 1995. Asmah Hj. Omar. Penggunaan Bahasa 499.28/ASM-11 M004435(RB) dalam Surat rasmi : Bahasa dalam M003734 Komunikasi . Dewan Bahasa dan M004436 Pustaka, 1983. Asmah Hj. Omar. Bahasa Laporan . Not available Kuala Lumpur : Dewan Bahasa dan New ed.: Pustaka, 1987. c1988 808/ASM M001847 808/ASMC2 M001848 808/ASMC3 M003543 c1995 808/ASM-3 M003627(RB) Awang Sariyan. Sebutan Baku dan 499.28/AWA-8 M003209(RB) Ejaan Rumi . Kuala Lumpur : M005073 Synerymate Sdn. Bhd., 1995. M005645 Ismail Hussein. Sejarah Pertumbuhan 499.28/ISM M002271(RB) Bahasa Kebangsaan Kita . Kuala c1981 M002272 Lumpur : Dewan Bahasa dan Pustaka, M002273 1992. Kamal Shukri Abdullah Sani. Bahasa 499.28/KAM-4 M005749(RB) Melayu: Apa Sudah Jadi? Kuala M005750 Lumpur : PTS Professional Publishing Sdn Bhd., 2007. Nik Safiah Karim et. al. Tatabahasa 499.285/SAF-3 M005746(RB) Dewan Edisi Ketiga . Kuala Lumpur : M005747 Dewan Bahasa dan Pustaka, 2008. M005748 4 Course Name Recommended Author/ Title/ Publisher/ Year Call No. Bar code Text Sulaiman Masri. Penulisan dalam 499.28/SUL-2 M001697(RB) Bahasa Malaysia Baku . Cetakan 2. M001696 Kuala Lumpur : Dewan Bahasa dan Pustaka, 1990. Za’ ba. Pelita Bahasa Melayu Penggal 499.23/ZAI M004446(RB) I-III . Kuala Lumpur : Dewan Bahasa M004445 dan Pustaka, 2000. Chinese Main The teaching materials are prepared by Calligraphy professor. 书法 Supplementary Xiandai Shufa Lunwenxuan (The 942.07/XDS C022983(RB) Selected Papers of Modern 1980 C028781 Calligraphy) . Shanghai Shuhua, 1983. C038786 Xu Fu-guan. Zhongguo Yishu Jingshen 901.92/XFG-2 C020637(RB) (The Spirit of China Art). Xuesheng 1984 Shuju, 1974. Pan Yun-gao. Zhongwantang Wudai 940.924/PYG C029142(RB) Shulun (The Discussion of Calligraphy C051333 in the Mid and End of Tang Dynasty ). Hunan Meishu, 1997. Chinese Main Chen Da-wei, Zhong Yi-wen (ed.). 868.73/CDW C014725(RB) Literature in Chidao Xingsheng (A Malaysian MH003836 Malaysia I Chinese Literature Reader) . Taipei : MH008173 马华文学(一) Wanshenglou, 2000. MS003836 Dai Xiao-hua, You Chuo-tao (ed.). The 868.707/MHW C006266(RB) Collection of Dissertations of the 1st Mahua Literature Global Seminar . Kuala Lumpur : Association of Chinese Language Author in Malaysia, 1998. 5 Course Name Recommended Author/ Title/ Publisher/ Year Call No. Bar code Text Fang Xiu. Mahua Wenxue Jianshi (The 868.79/FX-2 C023323(RB) Brief History of Mahua Literature) . Kuala Lumpur : C011871 Singapura : Shijie Shuju, 1972. Dongzong, 1986. C033163 Supplementary Fang Xiu. Mahua Wenxueshi Bu (The 868.7/FX C014782(RB) Additional Discussion of History of C052424 Mahua) . Singapura : Chunyitushu, 1996. Huang Jin-shu. Mahua Wenxue, Neizai 868/HJS C003534(RB) Zhongguo, Yuyanyu Wenxueshi (Mahua Literature, Internal China, Language and History of Literature) . Kuala Lumpur : Huazi Resource & Research Centre, 1996. Huang Jin-shu. Mahua Wenxue yu 868.707/HJS C006369(RB) Zhongguoxing (Mahua Literature and The Features of China) . Taipei : Yuanzun Wenhua, 1998. Huang Jin-shu. Yishui Tianya (The 868.75711/HJS MH003009(RB) Anthology of Mauha Contemporary MH006490 Short Stories) . Taipei : Jiuge, 1998. MS003009 Huang Wan-hua. Xinma Bainian 868.79/HWH C016566(RB) Huawen Xiaoshuoshi (The History of MH003572 Chinese Novel of Singapore and MH007315 Malaysia in 100 Years) . Jinan : MS003572 Shandong Wenyi, 1999. Ma Lun. Mahua Wenxue Zhi Chuang 868.7/ML C007880(RB) (Windows of Mahua Literature) . C012800 Singapura : Xinya, 1997. C012802 6 Course Name Recommended Author/ Title/ Publisher/ Year Call No. Bar code Text Wen Ren-ping. Fennu de Huigu (The 868/WRP C001837(RB) Modernist Tendency of Mahua C001841 Literature in 21 Years) . Ipoh : C001840 Tianlangxing, 1980. Wu An. Jiushi Niandai Mahua Wenxue 868.72/WA-2 MH003047(RB) Zhanwang (The Prospect of Mahua MS003047 Literature in 90an) . Sarawak : Persatuan Penulis-penulis Bahasa Cina Sarawak, 1995. Chinese Main Chen Da-wei and Zhong Yi-wen (ed.). 868.73/CDW C014725(RB) Literature in Chidao Xingsheng (A Malaysian MH003836 Malaysia II Chinese Literature Reader) . Taipei : MH008173 马华文学(二) Wanshenglou, 2000. MS003836 Fang Xiu. Mahua Wenxue Jianshi (The 868.79/FX-2 C023323(RB) Brief History of Mahua Literature) . Kuala Lumpur : C011871 Singapura : Shijie Shuju, 1972. Dongzong, 1986 C033163 Supplementary Dai Xiao-hua and You Chuo-tao (ed.). 868.707/MHW C006266(RB) The Collection of Dissertations of the 1st Mahua Literature Global Seminar . Kuala Lumpur : Association of Chinese Language Author in Malaysia, 1998. Fang Xiu. Mahua Wenxueshi Bu (The 868.7/FX C014782(RB) Additional Discussion of History of C052424 Mahua) . Singapura : Chunyitushu, 1996. Huang Jin-shu. Mahua Wenxue, Neizai 868/HJS C003534(RB) Zhongguo, Yuyanyu Wenxueshi (Mahua Literature, Internal China, Language and History of Literature) . Kuala Lumpur : Huazi Resource & Research Centre, 1996. 7 Course Name Recommended Author/ Title/ Publisher/ Year Call No. Bar code Text Huang Jin-shu. Mahua Wenxue yu 868.707/HJS C006369(RB) Zhongguoxing (Mahua Literature and The Features of China) . Taipei : Yuanzun Wenhua, 1998. Huang Jin-shu. Yishui Tianya (The 868.75711/HJS MH003009(RB) Anthology of Mauha Contemporary MH006490 Short Stories) . Taipei : Jiuge, 1998. MS003009 Huang Wan-hua. Xinma Bainian 868.79/HWH C016566(RB) Huawen Xiaoshuoshi (The History of MH003572 Chinese Novel of Singapore and MH007315 Malaysia in 100 Years) . Jinan : MS003572 Shandong
Recommended publications
  • Mirror, Death, and Rhetoric: Reading Later Han Chinese Bronze Artifacts Author(S): Eugene Yuejin Wang Source: the Art Bulletin, Vol
    Mirror, Death, and Rhetoric: Reading Later Han Chinese Bronze Artifacts Author(s): Eugene Yuejin Wang Source: The Art Bulletin, Vol. 76, No. 3, (Sep., 1994), pp. 511-534 Published by: College Art Association Stable URL: http://www.jstor.org/stable/3046042 Accessed: 17/04/2008 11:17 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=caa. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We enable the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org Mirror, Death, and Rhetoric: Reading Later Han Chinese Bronze Artifacts Eugene Yuejin Wang a 1 Jian (looking/mirror), stages of development of ancient ideograph (adapted from Zhongwendazzdian [Encyclopedic dictionary of the Chinese language], Taipei, 1982, vi, 9853) History as Mirror: Trope and Artifact people.
    [Show full text]
  • The Variation of Qu Yuan's Image in Hawkes' Translation of Li
    ISSN 1923-1555[Print] Studies in Literature and Language ISSN 1923-1563[Online] Vol. 18, No. 3, 2019, pp. 68-75 www.cscanada.net DOI:10.3968/11089 www.cscanada.org The Variation of Qu Yuan’s Image in Hawkes’ Translation of Li Sao LI Yafang[a],*; TAN Honghui[b] [a] The School of Foreign Languages, Yangtze University, Jingzhou, China. INTRODUCTION [b] Professor. The School of Foreign Languages, Yangtze University, Chu Ci, as the first anthology of poems in the south of Jingzhou, China. China, possesses unshakeable status in Chinese literature. * Corresponding author. In Chu Ci, the most popular poetry is Li Sao, written by Supported by the work presented in this submission: This research Qu Yuan in the late period of the Warring States of ancient is supported by the Project Fund of Human Social Science in Hubei China. It is considered an allegory of Qu Yuan’s life. Province (2018) for the research of reconstructing China identity in the The first western translation of Li Sao was published by translation of Chu Ci under research grant number 18D027. Fitzman in 1852, under the title Li Sao and Jiu Ge, which Received 3 February 2019; accepted 25 May 2019 was brought out in the report of the Royal Academy of Published online 26 June 2019 Science in Vienna. Since then, the translated versions have been repeatedly reprinted by different publishers. Abstract Hawkes’ English version of Li Sao is widely regarded Chu Ci, as the first anthology of poems in the south of as a classic in the history of the translation of Chinese China, possesses unshakeable status in Chinese literature.
    [Show full text]
  • 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.
    [Show full text]
  • New Directions Pub Lishing Corporation, 1986. Xvii + 123
    BOOK REVIEWS 301 CHINA Field, Stephen, translation and introduction. Tian Wen. A Chinese Book of Origin. A New Directions Book. New York: New Directions Pub­ lishing Corporation, 1986. Xvii + 123 pages. With introduction and notes. Cloth US$22.95. ISBN 0-8112-1010-3; ND Paperbook 624 US$8.95, ISBN 0-8112-1011-1. Stephen Field who is presently teaching at Mary and Williams College in Williamsburg, Virginia/USA, gives us a new translation of Tian Wen, A Chinese Book of Origins,a work well known in Chinese classical literature but which has not always been so familiarly known in the Western world. About Chu ci 楚 辞 (Songs of Chu), which includes Tian Wen 天^^, however, we can not say that this famous anthology has been completely neglected by scholars in the West. There are precursors in the translations of some Europeans. A. Pfizmaier,s German version of L i Sao 離騷 and Nine Songs 九歌 are among the oldest works (18^2). More recently, we can mention two English translations, one by Yang Hsien-yi and Gladys Yang (1953),the other by D . Hawkes (1959). This new English translation has its own special characteristics, nrst, it is con­ cerned only with Tian Wen, which is obviously the most enchanting and mysterious poem in Chu ci. This poem contains 186 questions concerning the origins of life and the meanings for a wide variety of happenings— startling and mundane, earthly and celestial. This poem practically comprises a catalogue of ancient Chinese mythology and pre-imperial legends. Second, the translator divides these 186 questions into three categories: 1 ) the pat­ tern of heaven; 2) the pattern of eath; and 3) the affairs of man.
    [Show full text]
  • 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.
    [Show full text]
  • 01:165:412 Chinese Poetry Tu, Th
    01:165:412 Chinese Poetry Tu, Th (6:10-7:30PM) Campbell Hall A3 Instructor: Xin Ning Office: Scott Hall 337 Office Hours: 3:00-4:00 pm Thursday [email protected] and [email protected] Course Description: This course is designed both as an upper level Chinese language class and an introductory class to classical Chinese poetry. In this semester, we will concentrate on the development of Chinese poetry from its beginning (around 11th century BCE) to the end of Southern Song Dynasty (late 13th century AD). Also owing to the time limit we are going to read mostly short, lyrical works. We will explore Chinese poetry from many different angles: its different genres and styles; the lyrical tone, imagery and symbolism that characterize Chinese poetry; the social contexts of classical Chinese poetry, such as its relations with history, Chinese philosophy and religion, and gender issues. The prerequisites of the class are 01:165:302, or 165:322, or equivalent. All the reading materials are in Chinese, yet are provided with English translations wherever they are available. The working language of the class is Chinese yet English may be used when necessary. Exams and papers must be finished in Chinese. Class meets twice a week. Requirements: 1. Regular class attendance and participation 2. An anthology of select poems, to be presented in class (presentations will be done in class from 11/16 through 12/07; the copy of the anthology should be handed in no later than the last day of class ) 3. Midterm exam The mid-term examination will consist of three parts: A section in which you will be asked to list items for a particular topic A section in which you will be asked to define or discuss certain key terms; and An essay section in which I will ask you to write on the content, form, or other aspects of the material we covered in class.
    [Show full text]
  • 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.
    [Show full text]
  • A New Model in the Study of Chinese Mythology
    Journal of chinese humanities 3 (���7) �-�� brill.com/joch A New Model in the Study of Chinese Mythology Liu Yuqing 劉毓慶 Professor of Literature, Shanxi University, China [email protected] Translated by Casey Lee Abstract Chinese mythology [shenhua 神話] does not exist independently as a cultural medium like mythology does in the West but, rather, comprises ideological and narrative forms that emerge according to historical and cultural trends. Not only have myths withstood humanity’s conquest of nature, but they have drawn and continue to draw on the mys- teries of scientific development for new content. It is possible to identify three high- points of creativity in the history of Chinese mythology, each corresponding to shifts in the function and nuance of myths. The first highpoint occurred very early on in China’s ancient history, in the period of the Three Sovereigns and Five Emperors [wudi san- wang 五帝三王], when myths were a way to articulate history—that is, history as myth. The second highpoint occurred in the period from the Qin through Jin dynasties, when mythology mainly expounded on philosophy and theory—that is, philosophy as myth. The third highpoint occurred during the Yuan and Ming dynasties, when the narrative content of mythology turned toward the religious—that is, religion as myth. Keywords ancient Chinese history – The Classic of the Mountains and Seas – myth – mythology Mythology is a Western concept. The study of Chinese mythology dates back only to the broad dissemination of Western learning in early twentieth century China and, for most of the past century, has employed concepts, theories, clas- sifications, and research methods developed by Western scholars.
    [Show full text]
  • Chinese 171 Chinese Literature in Translation
    World Literature 110 Classical Chinese Literature in Translation Review questions for Quiz 1 What is the title of the first Chinese poetry anthology? Who is believed to be its compiler? How many poems were chosen and put together in the anthology? Do we know the names of the poets for any of these poems? Which is the major part of the anthology? Which poem is your favorite? What do you think is the significance of this anthology? What does “Chu-ci” mean in English? Which “Chu-ci” writer is still commemorated by Chinese people? What is the title of his long poem that contains 372 lines and is considered as the greatest lyric poem of ancient China? What is this long poem generally about? What did the poet indicate that he would do at the end of this long poem? What is the name of the festival that is related to this patriotic poet? What book did Si-ma Qian spend his whole life writing? What tragic event happened to him in his life? Why did it not stop him from writing the book? How did he view death according to his letter to Ren An? Si-ma Qian was a historian, but why is his history book not only read just for historical information but also read as literature? What are the major characteristics of “Fu (or poetic expositions)” of the Han Dynasty? What is “Yue-fu”? Please explain. A ballad tells a story about a girl whose name is Luo Fu. What do you think of Luo Fu? What is the ballad the Bride of Jiao Zhongqing about? What is the other name that Tao Qian had and is better known by Chinese? What important decision did he make in his life?
    [Show full text]
  • English Literature and Language Review Translation Methods For
    English Literature and Language Review ISSN(e): 2412-1703, ISSN(p): 2413-8827 Vol. 4, Issue. 10, pp: 157-160, 2018 Academic Research Publishing URL: https://arpgweb.com/journal/journal/9 Group DOI: https://doi.org/10.32861/ellr.410.157.160 Original Research Open Access Translation Methods for Animal Images in Li Sao (离骚) Chuanmao Tian School of Foreign Studies,Yangtze University, Hubei, 434023 PRC, China Abstract Li Sao is the most important part of Chu Ci or The Songs of the South which has an important position in Chinese literature. There are many cultural images in Chu Ci, especially Li Sao, and animal images constitute part of the cultural images in the classic. They convey both literal and implicit meanings. In other words, poet Qu Yuan uses them to symbolize good or bad things in the source text. The implied meaning of the animal images can only be grasped by putting them into the specific context. The translations in this study use various translating methods such as literal translation, substitution and interpretation to represent the symbolic meanings of the animal images, but sometimes it is seen that the translators fail to convey the original meaning correctly. It is assumed that only by achieving optimal relevance can target readers understand the original images easily. Keywords: Li Sao; Animal images; Translation methods; Relevance theory. CC BY: Creative Commons Attribution License 4.0 1. Introduction Chu Ci (楚辞), or The Songs of the South by Qu Yuan (屈原) and other poets, occupies a very important place in Chinese literature. And Li Sao (离骚), or Encountering Sorrow by Qu Yuan, is the most important part of Chu Ci.
    [Show full text]
  • By Qu Yuan (Simplified Chinese Script Version)
    山鬼–屈原 (简 体 版) shan- gui^ qu- yuan' jian' ti' ban' The Mountain Spirit – by Qu Yuan (Simplified Chinese script version) 冯欣明注译 Translated and Annotated by Feng Xin-ming 2008 http://www.tsoidug.org/Literary/Mountain_Spirit_Simp.pdf (To Complicated Chinese 到繁體版: http://www.tsoidug.org/Literary/Mountain_Spirit_Comp.pdf ) NOTE The author, Qu Yuan (340 BCE - 278 BCE), was the famous loyal minister of the state of Chu during the Warring States who was banished by his king for trying to dissuade him from taking a series of disastrous actions, and in whose honor the annual Chinese and Korean "Dragon Boat" or Duan Wu Festival is held. Qu Yuan is also a great poet in his own right - fortunately many of his works have survived. TEXT 若 有 人 兮 山 之 阿, 被 薜 荔1 兮 带 女 萝2。 ruo` you^ ren’ xi‐ shan‐ zhi‐ e‐ pi' bi` li` xi‐ dai` nv^ luo' Lo, there's someone at the mountaintop, wearing fig leaf1 clothing and dodder vine2 ribbons. 既 含 睇 兮 又 宜 笑,子 慕 予3 兮 善 窈 宨。 ji` han' di` xi‐ you` yi' xiao` zi^ mu` yu' xi‐ shan` yao^ tiao^ She has both expressive eyes and a ready smile: “You admire me3, Sire, for being so elegant.” 1 薜荔 bi` li`: this refers to Ficus pumilis, a member of the fig family. See Ci Hai (“Sea of Terms” 《辞海》), Shanghai 1989, p. 698. 2 女萝 nv' luo': this is the same as 菟丝 tu` si­ and therefore Custcuta chinensis i.e. the twining dodder herb.
    [Show full text]
  • Research on Translation of Costume Terms in Chu Ci
    Academic Journal of Humanities & Social Sciences ISSN 2616-5783 Vol.4, Issue 2: 83-88, DOI: 10.25236/AJHSS.2021.040218 Research on Translation of Costume Terms in Chu Ci Zhou Dana, Wang Yunjiaob, * School of Foreign Languages, Wuhan Textile University, Wuhan, P.R. China, 430200 E-mail: a [email protected], [email protected] Abstract: Chu Ci is the first collection of romantic poetry in China. Based on the four English versions of Chu Ci (Yang Xianyi and his wife Gladys Yang, Zhuo Zhenying, Xu Yuanchong, and Hawkes) as corpus, this study aims to make an in-depth analysis of the costume terms in Chu Ci, and to solve three major problems: First, sort out the characteristics of clothing or accessory in Chu Ci. Second, compared different translations of costume terms in Chu Ci as well as translation strategies or methods. Third, summarized its importance and great value of the translation on costume terms in classic works. Keywords: Chu Ci, Costume Terms, Translation 1. Introduction Costume terms are an indispensable part of human life. As an important part of Chu culture and even Chinese traditional culture, the costume terms in Chu Ci have not received enough attention. Chu Ci did not have an English translation until the end of the 19th century, and now nearly 20 different translation versions have been published, most of which are translated by Western Sinologists. The English translation of Chu Ci is not comparable to its dissemination in Japan, South Korea and other Asian countries. Zhou Jianzhong (1992), a famous expert on the study of Chu Ci, divided the study of Chu Ci into nine branches.
    [Show full text]