DOCSLIB.ORG

International Journal of Legal English

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
International Journal of Legal English International Journal of Legal English Volume 2 Issue 2 2014 International Journal of Legal English Volume 2 Issue 2 2014 The International Journal of Legal English Volume 2 Issue 2 September 2014 Chief Editor: Prof. Li LI China University of Political Science and Law Beijing China Chief Australian Advisor Dr. Beata Webb Bond University Australia Published by the English Language Education Publishing 1 International Journal of Legal English Volume 2 Issue 2 2014 © English Language Education Publishing Brisbane Australia This book is in copyright. Subject to statutory exception no reproduction of any part may take place without the written permission of the English Language Education Publishing No unauthorized photocopying All rights reserved. No part of this book may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior written permission of the. English Language Education Publishing [email protected] Chief Editor: Prof Li Li ISSN (to be assigned) 2 International Journal of Legal English Volume 2 Issue 2 2014 Table of Contents I. The Use of ‘or’ in Post-graduate Student Academic Legal Writing. Paschal Maher ……………………………………………………………………………………… 4 II. Social Semiotic Approach to Civil Judgments in the Mainland of China: Generic Structure Potential Model. Min Dong Nancy, Songdan Buo……………………... 19 III. Legislation Translation in China: A Perspective of Horizontal Equivalence. Luping Zhang……………………………………………………………………………………….. 52 IV. The Progress of Legal Semiotics in China. Hongqin Zhang………………………………….. 70 V. Chinese Translation of Long Sentences in Legal English: From a Contrastive Study Perspective. Xiaojuan Liu ………………………………………………………….. 88 VI. Narrative Study on Witnesses’ Involvement in Their Statements. Li Sun………………… 99 3 The Use of ‘or’ in Post-graduate Student Academic Legal Writing PASCHAL MAHER Language Center of the University of Zurich and ETH Zurich, 8006 Zurich, Switzerland [email protected] BIO DATA Paschal Maher (PhD in Applied Linguistics) is an EAP instructor at the Language Centre of the University of Zurich and ETH, Zurich, Switzerland. He teaches English for law, English for medicine and runs pre-semester intensive courses for English for academic purposes. He is a member of the Centre for Applied Language Studies at the University of Limerick, Ireland and has a particular interest in corpus based analyses of ESP contexts. He can be reached at [email protected]. ABSTRACT The use of „or‟ has a prevalence is legal academic writing that does not appear to be the case in other academic disciplines. While previous studies have looked at the phenomenon of „or‟ in expert writing contexts, there still remains a degree of uncertainty about what role it plays in student legal academic writing. This is partially because a standardised use of the construction, in terms of fixed binomials, is largely eschewed by law students and instead opt to fit relations around the „or‟ node according to the context in which a proposition is set. This paper shows how „or‟ can play a key role in giving clarity to legal scenarios as well as increasing the scope of a proposition to avoid misinterpretation, or exploitation, by another party. Based on this and other corpora analyses, it is to be assumed that the practice of using „or‟ comes from its use in the construction of formal legal documents, on which students frequently rely to support propositions and explain legal frameworks. Successful use of the node implies that the students already have a solid legal understanding of an issue and the lexical resources to express the relations which „or‟ enables. KEYWORDS Corpus analysis, student writing, binomial relations, rhetorical functions, clarity 1. In troduction According to Mellinkoff (1963: 148) „or‟ appeared as a conjunction in written English in the 13th century (as the short for „other‟, which originally meant „one of two‟ and not „either‟). In the 14th century „either‟ (which originally meant „each of two‟) also came to mean „or‟. Therefore, „or‟ could connect alternatives, equivalents or even emphasise alternatives when prefaced in the construction „either … or …‟ However, a general description may not suffice in providing a sufficient base upon which a pedagogy can be 4 built to enable students to acquire a better understanding of its use. A problem with the study of „or‟ is that the binomial relations it enables are often not of a fixed nature. Indeed, Biber et al. (1999: 1031) noted that recurrent binomial phrases with „or‟ were not common in their corpus and Gustafsson‟s 1975 analysis of a wide range of genres showed that 84% of all binomials occurred just once. Therefore, acquiring a clear picture of the use of „or‟ binomials requires the processing of a high number of variable cases in order to determine categories of functions. Having a more comprehensive understanding of the use of „or‟ is particularly relevant for the field of academic legal writing where, as the Material and Methods section will show, „or‟ ranks high among the high frequency keywords in the corpus of post-graduate academic legal writing. This phenomenon follows in the steps of Gustafsson‟s 1984 study of legislative texts, which recorded a rate of occurrence for binomials in general that was four to five times more frequent than in her corpus of newspapers, magazines, novels and popular scientific literature. Gustafsson‟s legislative texts also showed a higher rate of reoccurrence of binomial forms, with repetition at a rate of on average 2.3 times. As a first step to gain a better understanding of the context in which „or‟ typically works, the relations it can enable should be outlined. The three most common are synonymous, antonymous and hyponymous relations. 1.1 Synonymous Relations Harris (1973) defined synonymy as “the sameness of meaning of different expressions” (p.11), though both he and Murphy (2010) recognised the extreme difficulty in finding absolute synonyms, two words whose meanings are interchangeable in all contexts. Indeed, Carter and McCarthy (1988: 29) concluded that context is critical in assessing the extent of a synonymous relation. In light of the norm of imperfect alignment and being subject to the vagaries of context, the view provided by Murphy (2003) seems eminently pragmatic: she argued that that two items could be considered as synonyms so long as “their differences are slight enough that, in context, the two words‟ meanings contribute to the same context-relevant information (p.150). Therefore, ironically, synonymy‟s expression in real language appears to require an awareness of not just how and when items can be similar, but also discerning the degree of contrastive nature of them in order to ensure effective use. 1.2 Antonymous Relations Antonymy can be divided into two core divisions: gradable and non-gradable opposites. Lyons (1977: 279) considered gradable opposites to have the property of polarity (such as „big:small‟), with Carter and McCarthy (2006) recognising that gradable opposites were “the upper and lower parts of an open-ended scale” (p.442), in that there is no maximum or minimum on the scale and modification is possible (e.g. big, very big, incredibly big). Polarity, on the other hand, does not exist for ungradable opposites, the relation of male:female cannot be modified by „quite male‟, „very male‟ etc. Jeffries (2010: 19) referred to this as mutual exclusivity, Saeed (2009: 324) binary antonyms and Cruse (1986: 198) described this class of relations as complementaries. Jones (2002) did not draw any distinction arguing that, while the whole field encompasses a multitude of relationships, there is a basic commonality in that one recognises that indeed there is a sense that one expression stands in opposition to the other. However, the contrasts that 5 people choose, boy:girl, boy:man, happy:sad, happy:angry, imply that people activate what Willners and Paradis (2010: 16) referred to as a conceptual domain, in that the domain establishes a common identity for the terms. This notion of relatedness can also be seen in Lyons (1977) when he argued that most, if not all opposites “are drawn along some dimension of similarity” (p.286). Similarly, McCarthy (1988) argued that “terms in opposition will be locally determined” (p.197), which would seem to imply a shared understanding of the context if the utterance is to be successfully communicated. Therefore, just as synonymy implies an awareness of the degrees of contrast between items in a given context, for antonymy to work successfully it means all parties must fully comprehend the cline of identity on which the opposing meanings face each other. 1.3 Hyponymous Relations Lyons (1963) defined hyponymy in terms of “unilateral implication” (p.69) and used the example that „X is scarlet‟ will be understood to imply that that „X is red‟, but not conversely. Therefore, as Partington (1998: 32) observed, the truth value of a phrase is not altered if the hyponymous term is replaced by its superordinate, though the opposite vector does not hold (X may be red but it doesn‟t mean it‟s scarlet, it may be crimson). As we have already seen for antonymy and synonymy, hyponymy can also interact with the spheres of similarity and difference. For example, Jeffries (2010: 111) argued that apparent antonyms „stride:stroll‟ were in fact not so as they are both hyponyms of „walk‟ and hence closer to synonymy than antonymy. This fine line of distinction led Storjohann (2010: 83) to emphasise the closeness between a hyponymous relation. Murphy (2003: 139) on the other hand returns to the key role of context and its local language by noting that awareness of semantic closeness and semantic specificity were the issues that required the attention of the speakers in the situation of use. Context is also key in the ability to recognise the connection between seemingly disparate hyponymous members as noted by Carter and McCarthy (1988), who used the term pseudo-hyponymy to describe the disparate members of the hyponymous set for „presents‟.
Load more

Recommended publications
  • Westernisation, Ideology and National Identity in 20Th-Century Chinese Music
    Westernisation, Ideology and National Identity in 20th-Century Chinese Music Yiwen Ouyang PhD Thesis Royal Holloway, University of London DECLARATION OF AUTHORSHIP I, Yiwen Ouyang, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 19 May 2012 I To my newly born baby II ABSTRACT The twentieth century saw the spread of Western art music across the world as Western ideology and values acquired increasing dominance in the global order. How did this process occur in China, what complexities does it display and what are its distinctive features? This thesis aims to provide a detailed and coherent understanding of the Westernisation of Chinese music in the 20th century, focusing on the ever-changing relationship between music and social ideology and the rise and evolution of national identity as expressed in music. This thesis views these issues through three crucial stages: the early period of the 20th century which witnessed the transition of Chinese society from an empire to a republic and included China’s early modernisation; the era from the 1930s to 1940s comprising the Japanese intrusion and the rising of the Communist power; and the decades of economic and social reform from 1978 onwards. The thesis intertwines the concrete analysis of particular pieces of music with social context and demonstrates previously overlooked relationships between these stages. It also seeks to illustrate in the context of the appropriation of Western art music how certain concepts acquired new meanings in their translation from the European to the Chinese context, for example modernity, Marxism, colonialism, nationalism, tradition, liberalism, and so on.
    [Show full text]
  • China and the West: Music, Representation, and Reception
    Revised Pages China and the West Revised Pages Wanguo Quantu [A Map of the Myriad Countries of the World] was made in the 1620s by Guilio Aleni, whose Chinese name 艾儒略 appears in the last column of the text (first on the left) above the Jesuit symbol IHS. Aleni’s map was based on Matteo Ricci’s earlier map of 1602. Revised Pages China and the West Music, Representation, and Reception Edited by Hon- Lun Yang and Michael Saffle University of Michigan Press Ann Arbor Revised Pages Copyright © 2017 by Hon- Lun Yang and Michael Saffle All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by the University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2020 2019 2018 2017 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication Data Names: Yang, Hon- Lun, editor. | Saffle, Michael, 1946– editor. Title: China and the West : music, representation, and reception / edited by Hon- Lun Yang and Michael Saffle. Description: Ann Arbor : University of Michigan Press, 2017. | Includes bibliographical references and index. Identifiers: LCCN 2016045491| ISBN 9780472130313 (hardcover : alk. paper) | ISBN 9780472122714 (e- book) Subjects: LCSH: Music—Chinese influences. | Music—China— Western influences. | Exoticism in music.
    [Show full text]
  • Acknowledgement to Reviewers of Sensors in 2019 Sensors Editorial Office
    Editorial Acknowledgement to Reviewers of Sensors in 2019 Sensors Editorial Office MDPI AG, St. Alban-Anlage 66, 4052 Basel, Switzerland Published: 20 January 2020 Peer review is an essential part in the publication process, ensuring that Sensors maintains high quality standards for its published papers. In 2019, a total of 5658 papers were published in the journal. Thanks to the cooperation of our reviewers, the median time to first decision was 17 days and the median time to publication was 43 days. Among the reviewers who reviewed for Sensors in 2019, the following five have been selected to receive the “Sensors 2019 Outstanding Reviewer Award” for the timeliness and quality of their review reports in 2019: Curiac, Daniel-Ioan from Politehnica University of Timisoara, Romania Esposito, Flavio from University of Naples “Parthenope”, Italy Herrera-May, Agustin L. from Universidad Veracruzana, Mexico Moh, Sangman from Chosun University, Korea Tsiropoulou, Eirini Eleni from University of New Mexico, USA The editors also express their sincere gratitude to all of the following, who shared their time and expert opinion by reviewing for Sensors in 2019: Aaen-Stockdale, Craig Abdelaziz Kerrache, Chaker Aazam, Mohammad Abdeljaber, Osama Abadal, Sergi Abdelkefi, Abdessattar Abaid, Nicole Abdel-Motaleb, Ibrahim M. Abalde-Cela, Sara Abdel-Nasser, Mohamed Abali, B. Emek Abdel-Rahman, Eihab Abambres, Miguel Abdelsamea, Mohamed Abate, Dante Abdolvand, Reza Abawajy, Jemal Abdul, Razaque Abbas, Sawaid Abdul-Aziz, Ali Abbasi, Hamid Abdulhalim, Ibrahim Abbasi, Qammer Abdulridha, Jaafar Abbaszadeh, Shiva (Canada) Abedini Nassab, Roozbeh Abbaszadeh, Shiva (USA) Abegão, Luis Abbene, Leonardo Abel, Dirk Abbod, Maysam Abelmann, Leon Abdalla, Ahmed Abhayasinghe, Nimsiri Abdallah, Ali Abir, Muhammad Abdelazim, Sameh Abonyi, Janos Sensors 2020, 20, 576; doi:10.3390/s20020576 www.mdpi.com/journal/sensors Sensors 2020, 20, 576 2 of 184 Abonyi, János Adhikari, Kaushallya Abot, Jandro Adly, Nouran Abramovich, Haim Adriaensen, Stefan Abrams, Michael J.
    [Show full text]
  • A STUDY of the MODERN CHINESE NOVEL, GAP YUBAO ( Rtjxe ^ )
    A STUDY OF THE MODERN CHINESE NOVEL, GAP YUBAO ( rtjXE ^ ) AND ITS AUTHOR GAO YUBAO ((|n:E-JE ) CHRISTINE JEANETTE KLEEMEIER B.A., De Pauw University, 1969 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Department of Asian Studies) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April 1981 D Christine Jeanette Kleemeler In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Christine KLeemeier Department of Asian Studies The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 9 April 1981 ii Abstract Gao Yubao, a soldier in the Chinese People's Liberation Army, was nearly illiterate when he began to write his autobiographical novel, Gao Yubao, in 19^9. The PLA's literary branch helped him finish the novel and after its publication Gao and his struggle to become literate by writing a novel served as an inspiration for others striving for education. Gao Yubao was republished several times up until as late as the 1970's and each time it was republished it was revised.
    [Show full text]
  • Research Grant – Spring 2014 Faculty Member: John O. Robison Unit: School of Music Project/Proposal Title: Wang Xilin
    Research Grant – Spring 2014 Faculty member: John O. Robison Unit: School of Music Project/Proposal Title: Wang Xilin, Human Suffering, and Composition in Twenty-First Century China Abstract: This project is devoted to the works of Chinese composer Wang Xilin. An outspoken critic of the Communist government, Wang was imprisoned during the Cultural Revolution, with no opportunity to develop his mature musical style until he was fifty years old, after the Chinese government relaxed its censorship of Western music during the 1980s. Since he has rarely been allowed to leave China, his music is virtually unknown in Europe and North America. As an intercultural composer who integrates modern Western trends with indigenous Chinese musical styles, his music is incredibly innovative, symbolizing conflicts between oppressed people and their oppressors. Proposal: Wang Xilin’s story is a compelling one that shows his own personal struggles, as an ordinary person of modest means, against oppressive ruling powers: Coming from a poor family background, Wang could not study the music that he wanted to due to government restrictions, was imprisoned for fourteen years during the Cultural Revolution, and could not find his truly distinctive voice as a composer until he was more than half a century old, after the Chinese government allowed people to have exposure to European music written after 1900. One of the few senior Chinese composers to embrace these progressive European styles, Wang also draws inspiration from the Chinese traditional music that he has researched. The driving force behind Wang’s music can be summarized by a statement that he made to this applicant during our interview in Beijing (November 10, 2012): “I want to express the suffering of contemporary people, and the evil of modern China.” A central theme in Wang’s music is the struggles between oppressed people and those who dominate them, and this research will focus on compositions exemplifying this theme.
    [Show full text]
  • THE CHINA INSTITUTE Dean Say’S Message the Year of the Sheep Is Said to Herald a Year of Promise and Prosperity, Kindness and Benevolence
    THE CHINA INSTITUTE Dean Say’s Message The Year of the Sheep is said to herald a year of promise and prosperity, kindness and benevolence. These are qualities long shared between CSUN’s China Institute and its many partners in China. Over the past 33 years the China Institute has cultivated strong and meaningful relationships with 67 Chinese institutions of higher education, and as a result scores of CSUN students have been awarded full scholarships to pursue their dreams of studying abroad at a versatile array of universities and technical schools. Beginning in the Fall semester, we will welcome a new faculty member who will join our China Studies program and further develop opportunities for our students to study Chinese language and culture. I want to take this opportunity to recognize and thank the China Institute, our Chinese higher education partners, and CSUN’s Tseng College of Graduate, International, and Midcareer Education for their tireless work in moving our students’ academic and career goals forward. And I want to wish everyone a most Dean Say and Dr. Su wish you all a happy, healthy and prosperous Year of the Sheep! successful Year of the Sheep! In connection with the Cultural Exhibit, the China Institute and Director Su’s Review—Year of Oviatt Library Music and Media staff also hosted the longest- the Horse in Focus running Chinese Film Festival at CSUN, showing the multi- award-winning and internationally acclaimed “Mysteries China” Dear Members and Friends of the series of 12 documentaries on China’s 5,000 years of history and China Institute, culture, traditions and modern development for 12 consecutive weeks in the spring semester.
    [Show full text]
  • VITA YANG HON-LUN, HELAN I. Academic and Professional
    VITA YANG HON-LUN, HELAN I. Academic and Professional Qualifications Washington University in St. Louis 1998 Ph. D. Musicology University of Texas at Austin 1989 M. M. Musicology Chinese University of Hong Kong 1985 B. A. Music II. Employment History 2011-present Hong Kong Baptist University, Professor 2011-2012 Programme Director of Bachelor of Music Studies (self-funded top-up programme run by the Department of Music in collaboration with College of International Education) 2005-2011 Hong Kong Baptist University, Associate Professor 2008-2009 Hong Kong Baptist University, Acting Head of the Department of Music 1998-2005 Hong Kong Baptist University, Assistant Professor 2006 Nov. Visiting Lecture, taught four sessions of Research Methodology to post-graduate students at University of Hong Kong 1997-1998 Hong Kong Baptist University, Visiting Assistant Professor 1994-1997 Washington University, Teaching Fellow and Teaching Assistant 1992-1994 The Hong Kong Academy for Performing Arts, Lecturer 1989-1992 Washington University in St. Louis, Teaching Assistant 1986-1989 University of Texas at Austin, Teaching Assistant III. Teaching Experience Subjects Taught Mus 1112 History of Western Music I (core subject for Year 1 music majors, class size 30 to 33) Mus 2111, 2112 History of Western Music II (core subject for Year 2 music majors, class size 30 to 33) Mus 3120 Comparative Study of Western and Chinese Music 1 (used to be core subject, but now elective subject for students with a keen interest in research, class size 7 to 16) Mus 1230 Canto-pop, Manda-pop, and Chinese Rock ‘n’ Roll (elective subject open to all university students, class size from 100 to 200) Mus 7370 Music in Chinese and other Societies (MA subject for post-graduate students, class size from 8 to 16) Mus 1672 Class Violin (for non-music majors, class size from 5-12) Teaching Development Grants and Seminars 2012 -2013.
    [Show full text]
  • JIAO, WEI, D.M.A. Chinese and Western Elements in Contemporary
    JIAO, WEI, D.M.A. Chinese and Western Elements in Contemporary Chinese Composer Zhou Long’s Works for Solo Piano Mongolian Folk-Tune Variations, Wu Kui, and Pianogongs. (2014) Directed by Dr. Andrew Willis. 136 pp. Zhou Long is a Chinese American composer who strives to combine traditional Chinese musical techniques with modern Western compositional ideas. His three piano pieces, Mongolian Folk Tune Variations, Wu Kui, and Pianogongs each display his synthesis of Eastern and Western techniques. A brief cultural, social and political review of China throughout Zhou Long’s upbringing will provide readers with a historical perspective on the influence of Chinese culture on his works. Study of Mongolian Folk Tune Variations will reveal the composers early attempts at Western structure and harmonic ideas. Wu Kui provides evidence of the composer’s desire to integrate Chinese cultural ideas with modern and dissonant harmony. Finally, the analysis of Pianogongs will provide historical context to the use of traditional Chinese percussion instruments and his integration of these instruments with the piano. Zhou Long comes from an important generation of Chinese composers including, Chen Yi and Tan Dun, that were able to leave China achieve great success with the combination of Eastern and Western ideas. This study will deepen the readers’ understanding of the Chinese cultural influences in Zhou Long’s piano compositions. CHINESE AND WESTERN ELEMENTS IN CONTEMPORARY CHINESE COMPOSER ZHOU LONG’S WORKS FOR SOLO PIANO MONGOLIAN FOLK-TUNE VARIATIONS, WU KUI, AND PIANOGONGS by Wei Jiao A Dissertation Submitted to the Faculty of the Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2014 Approved by _________________________________ Committee Chair © 2014 Wei Jiao APPROVAL PAGE This dissertation has been approved by the following committee of the Faculty of The Graduate School at The University of North Carolina at Greensboro.
    [Show full text]
  • China and the West: Music, Representation, and Reception
    0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE Revised Pages China and the West Revised Pages Wanguo Quantu [A Map of the Myriad Countries of the World] was made in the 1620s by Guilio Aleni, whose Chinese name 艾儒略 appears in the last column of the text (first on the left) above the Jesuit symbol IHS. Aleni’s map was based on Matteo Ricci’s earlier map of 1602. Revised Pages China and the West Music, Representation, and Reception Edited by Hon- Lun Yang and Michael Saffle University of Michigan Press Ann Arbor Revised Pages Copyright © 2017 by Hon- Lun Yang and Michael Saffle All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by the University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2020 2019 2018 2017 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication Data Names: Yang, Hon- Lun, editor. | Saffle, Michael, 1946– editor. Title: China and the West : music, representation, and reception / edited by Hon- Lun Yang and Michael Saffle. Description: Ann Arbor : University of Michigan Press, 2017. | Includes bibliographical references and index. Identifiers: LCCN 2016045491| ISBN 9780472130313 (hardcover : alk.
    [Show full text]
  • House Programme
    ಋᖚ୺ he Hong Kong Arts Festival is a prominent ࠗຝ̯ܰ Tarts event in the cultural calendar of Hong Δʥԓʪਂ Kong and the Asia Pacific region. Proudly ؿʼʝଞ stepping into its 33rd year, the Festival ಳም continues its vigorous pursuit of innovativeסԑe ɃɍɊɍ՚ development; the presentation of new works αc˚ፒዀ and the provision of quality arts. ೸ٻ࿚ᆅʘুұ௚ณcɺᒾ˞၀ ࠷ؿຝ͌ȹณᜮଠϦ͌e In terms of the number and diversity of programmes, the 2005 Festival is one of the ʌαᖚ୺ຝʑࢀҡᔔఒΛۜcஃ largest festivals to date, offering a wide variety ᅡɾɣዃαӢӮcݯࣵʑ̔΃Ρ of inspiring art, music and cultural ੓Ԟਝ჌Ίࡼၤ̯Δ၀ߜᐰϳᖚ programmes by prestigious international ࠭Ͳؿ൚ɓ࿫ˮc๫ผ˥ࠗಋ஛ artists and leading local talents. I am sure that ਝ჌ʼʝ஭ผࠛ૚ቤɈe the Festival will further enhance Hong Kong’s status as an international cultural metropolis. ΈϽᖚ୺ࡼ਄ၤܰωଞٴᔑϊᚭ ఻d I extend our warmest welcome to all؀ผcԎूࣵʑ̔ᜮଠʶ̈́ သጙϤᓊe participating artists and wish all local and overseas members of the audience a most enjoyable time. ւٽܧϷਂܧࠗಋऋПϷ TUNG Chee Hwa Chief Executive Hong Kong Special Administrative Region ˚࢐ᘆᖽ Message from the Chairman .਄ၤ଱ɍɊɍ։ࠗಋᖚ୺ warmly welcome you to the 33rd Arts Festivalٴ ᚭ ຝc஛ܰࠗಋʼʝވʥԓʪΔ IAs a premier event in the Hong Kong cultural ؿࠇ߬ʼʝଞԑcමၙਝ჌՗ԓʪ calendar as well as the Asia Pacific region, theਂ ᖚ୺၀ߜc˞ʥ̯Δ௚෮ݗึؿᖚ Festival presents the finest international andਂ ୺ɮАّe regional artists in an intense series of concerts and performances, as well as showcases the creativity ̯Ɂটʶ෰ᑢ஦༦੖ᅥʥʼʝԑ৻ອ of artistic talent in Hong Kong. c˞ʥࠗಋᑩ৛֚ܧ༅Х҈ࠨؿࠗಋ ԭɣ˚߬༅Хዀ࿚c Appreciation and thanks are due to our mainټপਥڌผ෯ഁ ˢࠨΛαԞྦྷࠗಋᖚ୺ຝؿྐྵషʻ subventing organisations – the Hong Kong ܛc҈ࠨ૯ߎᑢ҃e Government, through the Leisure and Cultural Services Department, and the Hong Kong Jockey ϊ̔cࠗಋᖚ୺ຝྦྷֺτᖳХዀ࿚d Club Charities Trust.
    [Show full text]
  • The Legend of Violin Education in China
    Bard College Bard Digital Commons Senior Projects Fall 2018 Bard Undergraduate Senior Projects Fall 2018 Lin Yaoji: The Legend of Violin Education in China Bihan Li Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_f2018 Part of the Chinese Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Li, Bihan, "Lin Yaoji: The Legend of Violin Education in China" (2018). Senior Projects Fall 2018. 39. https://digitalcommons.bard.edu/senproj_f2018/39 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Lin Yaoji—The Legend of Violin Education in China Senior Project Submitted to The Division of Languages and Literature of Bard College by Bihan Li Annandale-on-Hudson, New York December 2018 Acknowledgements Thanks to my advisors, Jindong Cai, Li-hua Ying, and Robert Martin, who have helped me make this project possible. They gave me great inspirations, constructive advice, and constant encouragement. Thanks to my violin teachers, Weigang Li, Laurie Smukler, Jinzhou Zhang, who have given me valuable guidance on the writing of violin techniques.
    [Show full text]
  • Building a Black Bridge China’S Interaction with African-American Activists During the Cold War
    Building a Black Bridge China’s Interaction with African-American Activists during the Cold War ✣ Hongshan Li On 24 December 1956, William Worthy, a special correspondent for The Baltimore Afro-American, walked across the Luohu Bridge from Hong Kong. As he set his feet down in Shenzhen, a small town in Guangdong Province, he became the first U.S. journalist to enter the People’s Republic of China (PRC) under an official invitation from the Communist regime. Following Worthy’s example, many African-American activists, including W. E. B. Du Bois, Shirley Graham Du Bois, Robert F. Williams, Mabel Williams, Vicki Garvin, Huey Newton, and Elaine Brown, traveled to and even stayed for ex- tended periods in the PRC over the next decade-and-a-half. As special guests carefully chosen by Beijing, they toured both the cities and the countryside, delivered speeches at mass rallies, and had their writings published in Chi- nese. Once back in the United States, they appeared on television and radio shows, gave public talks, and published articles in journals and newspapers, sharing their experiences in and thoughts about the PRC. With all traditional diplomatic, commercial, and cultural ties between the two countries termi- nated, the visits of these African-American activists not only allowed Beijing to maintain a controlled flow of people and information across the Pacific, but also provided it with a new instrument to engage and challenge Washington on the cultural front in the Cold War. This close interaction between the PRC and a large number of African-American activists was unprecedented in the long history of Sino-American cultural exchange.
    [Show full text]