董事局 2019 Board of Directors Rhapsodies of Spring 2019
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Cava of Toledo; Or, the Gothic Princess
Author: Augusta Amelia Stuart Title: Cava of Toledo; or, the Gothic Princess Place of publication: London Publisher: Printed at the Minerva-Press, for A. K. Newman and Co. Date of publication: 1812 Edition: 1st ed. Number of volumes: 5 CAVA OF TOLEDO. A ROMANCE. Lane, Darling, and Co. Leadenhall-Street. CAVA OF TOLEDO; OR, The Gothic Princess. A ROMANCE. IN FIVE VOLUMES BY AUGUSTA AMELIA STUART, AUTHOR OF LUDOVICO’S TALE; THE ENGLISH BROTHERS; EXILE OF PORTUGAL, &c. &c. Fierce wars, and faithful loves, And truths severe, in fairy fiction drest. VOL. I. LONDON: PRINTED AT THE Minerva Press, FOR A. K. NEWMAN AND CO. LEADENHALL-STREET. 1812. PREFACE. THE author of the following sheets, struck by the account historians have given of the fall of the Gothic empire in Spain, took the story of Cava for the foundation of a romance: whether she has succeeded or not in rendering it interesting, must be left to her readers to judge. She thinks it, however, necessary to say she has not falsified history; all relating to the war is exact: the real characters she has endeavoured to delineate such as they were; —Rodrigo—count Julian—don Palayo—Abdalesis, the Moor—queen Egilone—Musa—and Tariff, are drawn as the Spanish history represents them. Cava was never heard of from her quitting Spain with her father; of course, her adventures, from that period, are the coinage of the author’s brain. The enchanted palace, which Rodrigo broke into, is mentioned in history. Her fictitious characters she has moulded to her own will; and has found it a much more difficult task than she expected, to write an historical romance, and adhere to the truth, while she endeavoured to embellish it. -
Dissertation JIAN 2016 Final
The Impact of Global English in Xinjiang, China: Linguistic Capital and Identity Negotiation among the Ethnic Minority and Han Chinese Students Ge Jian A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2016 Reading Committee: Laada Bilaniuk, Chair Ann Anagnost, Chair Stevan Harrell Program Authorized to Offer Degree: Anthropology © Copyright 2016 Ge Jian University of Washington Abstract The Impact of Global English in Xinjiang, China: Linguistic Capital and Identity Negotiation among the Ethnic Minority and Han Chinese Students Ge Jian Chair of the Supervisory Committee: Professor Laada Bilaniuk Professor Ann Anagnost Department of Anthropology My dissertation is an ethnographic study of the language politics and practices of college- age English language learners in Xinjiang at the historical juncture of China’s capitalist development. In Xinjiang the international lingua franca English, the national official language Mandarin Chinese, and major Turkic languages such as Uyghur and Kazakh interact and compete for linguistic prestige in different social scenarios. The power relations between the Turkic languages, including the Uyghur language, and Mandarin Chinese is one in which minority languages are surrounded by a dominant state language supported through various institutions such as school and mass media. The much greater symbolic capital that the “legitimate language” Mandarin Chinese carries enables its native speakers to have easier access than the native Turkic speakers to jobs in the labor market. Therefore, many Uyghur parents face the dilemma of choosing between maintaining their cultural and linguistic identity and making their children more socioeconomically mobile. The entry of the global language English and the recent capitalist development in China has led to English education becoming market-oriented and commodified, which has further complicated the linguistic picture in Xinjiang. -
237 Transnational Translation of Taiwanese
IJHS, e-ISSN 2597-4718, p-ISSN 2597-470X, Vol. 1, No. 2, March 2018, pp. 237-242 International Journal of Humanity Studies http://e-journal.usd.ac.id/index.php/IJHS Sanata Dharma University, Yogyakarta, Indonesia TRANSNATIONAL TRANSLATION OF TAIWANESE AND INDONESIAN TRADITIONAL STORIES FOR GLOBAL CITIZENSHIP Novita Dewi Sanata Dharma University, Indonesia [email protected]; [email protected] DOI: https://doi.org/10.24071/ijhs.2018.010209 received 18 December 2017; revised 4 January 2018; accepted 27 February 2018 Abstract In order to interact and work with diverse communities in this deeply interconnected world and to help solve such global issues as human rights abuse, ecological damage, economic poverty and extremism, we need to continually recognize and exchange values/perspectives across cultures and boundaries. Border-crossing is a complex but necessary web of interactions and dependencies among nations to create global peace and justice. Taiwan-Indonesia border crossing is insufficient, given that no formal diplomatic relation exists between the two countries excepting the informal such as trade and investment, people-to- people relations, education and popular culture industry. Taiwan and Indonesia similarly shared long history of nationalism, anti-communism, and democratization, but it remains under studied how these historical comparisons are reflected through literature. This paper will argue that transnational translation of literature can connect and define both nations better so as to enhance global connectedness. Thus, the crossing of the cultural boundaries by Taiwanese and Indonesian co-cultures through the translation of diverse literary works may give hope for future development of a mutual, emphatic understanding of each other’s cultures. -
Cultural Governance in Contemporary China: Popular Culture, Digital Technology, and the State
! ! ! ! CULTURAL GOVERNANCE IN CONTEMPORARY CHINA: POPULAR CULTURE, DIGITAL TECHNOLOGY, AND THE STATE BY LUZHOU LI DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Communications and Media in the Graduate College of the University of Illinois at Urbana-Champaign, 2015 Urbana, Illinois Doctoral Committee: Professor Emeritus John Nerone, Chair Assistant Professor Amanda Ciafone Professor Emeritus Dan Schiller Professor Kent Ono, University of Utah ii ABSTRACT This dissertation is a study of the historical formation and transformation of the Chinese online audiovisual industry under forces of strategic political calculations, expanding market relations, and growing social participation, and the cultural ramifications of this process, especially the kind of transformations digital technologies have wrought on the state-TV-station-centered mode of cultural production/distribution and regulatory apparatuses. Through this case, the project aims to theorize the changing mode of cultural governance of post-socialist regimes in the context of digital capitalism. Using mixed methods of documentary research, interviews with industry practitioners, participant observations of trade fairs/festivals, and critical discourse analyses of popular cultural texts, the study finds that the traditional broadcasting and the online video sectors are structured along two different political economic mechanisms. While the former is dominated by domestic capital and heavily regulated by state agencies, the latter is supported by transnational capital and less regulated. Digital technologies coupled with transnational capital thus generate new cultural flows, processes, and practices, which produces a heterogeneous and contested cultural sphere in the digital environment that substantially differs from the one created by traditional television. -
For Immediate Release
Alibaba Pictures partners Wong Kar-wai and Tony Leung for Maiden Film “Bai Du Ren” 11 January 2015, Beijing, China - Alibaba Pictures Group Limited (SEHK code: 1060; "Alibaba Pictures"; the "Company") today announced the launch of a new film project titled “Bai Du Ren” (擺渡人). The film is the Company's maiden project since changing its name in August last year. The film will be written and directed by renowned post-80s Chinese novelist Zhang Jiajia, and feature superstar Tony Leung as the lead actor. Prominent film director Wong Kar-wai will act as the film’s producer. ZHANG Qiang, CEO and Executive Director of Alibaba Pictures, said the Company will leverage Alibaba Group’s cloud computing and big data technologies to help tap customer demand and create a comprehensive ecosystem for its film and television production and marketing businesses. Alibaba Pictures is the entertainment unit of Alibaba Group. “Bai Du Ren” is the maiden project by the new management of Alibaba Pictures. The film is an adaptation of a short story with the same title by Mr. Zhang. The goal of Alibaba Pictures is to provide high quality content to Chinese audiences and the top talent involved in this product is a signal of the Company’s commitment to quality projects. Alibaba Pictures is also actively building partnerships with industry players and expediting project schedules of several film and television programs. Apart from “Bai Du Ren”, Alibaba Pictures has also acquired the adaptation rights for “My Fair Princess” (還珠格格) and the overseas distribution rights for the film “Wolf Totem” (狼圖騰). -
Digital Media and Radical Politics in Postsocialist China
UNIVERSITY OF CALIFORNIA SANTA CRUZ DIGITAL EPHEMERALITY: DIGITAL MEDIA AND RADICAL POLITICS IN POSTSOCIALIST CHINA A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in FEMINIST STUDIES by Yizhou Guo June 2020 The Dissertation of Yizhou Guo is approved: __________________________ Professor Neda Atanasoski, co-chair __________________________ Professor Lisa Rofel, co-chair __________________________ Professor Xiao Liu __________________________ Professor Madhavi Murty __________________________ Quentin Williams Acting Vice Provost and Dean of Graduate Studies Copyright © by Yizhou Guo 2020 Table of Contents List Of Figures And Tables IV Abstract V Acknowledgements V Introduction: Digital Ephemerality: Digital Media And Radical Politics In Postsocialist China 1 Chapter One: Queer Future In The Ephemeral: Sexualizing Digital Entertainment And The Promise Of Queer Insouciance 60 Chapter Two: Utopian In The Ephemeral: ‘Wenyi’ As Postsocialist Digital Affect 152 Chapter Three: Livestreaming Reality: Nonhuman Beauty And The Digital Fetishization Of Ephemerality 225 Epilogue: Thinking Of Digital Lives And Hopes In The Era Of The Pandemic And Quarantine 280 Bibliography 291 iii List of Figures and Tables Figure 1-1 Two Frames From The Television Zongyi Happy Camp (2015) 91 Figure 1-2 Color Wheel Of Happy Camp’s Opening Routine 91 Figure 1-3 Four Frames From The Internet Zongyi Let’s Talk (2015) 92 Figure 1- 4 Color Wheel Of The Four Screenshots From Figure 1.3 94 Figure 1-5 Let’s Talk Season -
Phantasmion, a Fairy Tale
HANmsMIO^ s-: PHANTASMION, A FAIRY TALE. BY SARA COLERIDGE. WITH AN INTRODUCTORY PREFACE BY LORD COLERIDGE, LORD CHIEF JUSTICE OF THE COURT OF COMMON PLEAS. 1874. Roberts Brothers, Boston. 9 5" 5' ^~ C ^ ^ 3 PEEFACE. Phantasmion, the product of the enforced leisure on a sick bed of Sara Coleridge, was first given to the world in 1837; and although the book received warm and hearty commendation both privately and publicly from those who read it, the success which then attended it neither equalled in any degree its own singular merit, nor was what might have been expected, from the approbation the book met with at the hands of those best qualified to judge. I have always believed that this was in great measure owing to the mode of its publication. It was an expensive book, with no author's name, without a single illustration, and the edition was limited to two hundred and fifty copies. The publisher, Mr Pickering, popular doubted apparently the possibility of its being ; and except that he printed it with all the care and beauty which marked every book he put forth, he seems almost to have determined that, as far as depended upon him, it should have no chance of becoming so. A small edition of a long fairy tale, by an unnamed author, M559428 ; iv Preface. published at nine shillings, had little chance in those days of forcing its way into general circulation. The few copies sold slowly, and were at length exhausted. The book has long been out of print ; and even amongst men of letters, and men interested in the character and admiriDg the genius of Sara Coleridge, it is almost unknown or forgotten. -
Bay Filly; Play Fellow
Hip No. Consigned by Pre-K Training Center, Inc., Agent 1 Tactical Mary Storm Bird Storm Cat . { Terlingua Tactical Cat . Caro (IRE) { Terre Haute . { Mia Dancer Tactical Mary . Northern Dancer Dark bay/br. filly; Lyphard . { Goofed March 8, 2003 {Unbeknownst . Raja Baba (1991) { Ride Sally . { Sylvan’s Girl By TACTICAL CAT (1996), [G1] $480,067. Sire of 3 crops, including 2- year-olds of 2005, 39 winners, $2,330,397, including black type win- ners Dazzle Me (4 wins in 6 starts at 3, 2004, $265,276, Azalea Breeders’ Cup S. [G3]), Portentoso (to 4, 2005, $155,143), Fashion Girl (to 3, 2004, $127,595, Colleen S.), Hollywood and Wine, Virden. 1st dam UNBEKNOWNST, by Lyphard. Unplaced in 1 start in England; unplaced in 1 start in N.A. Dam of 5 other foals of racing age, 5 to race, 3 winners-- Made in Philly (f. by Mt. Livermore). 3 wins at 3 and 4, $22,735. Arianne (f. by Out of Place). 4 wins, 3 to 5, 2005, $12,713. Recondite (f. by Silver Deputy). Winner at 3, $7,240. 2nd dam RIDE SALLY, by Raja Baba. 12 wins at 3 and 4, $512,226, Top Flight H. [G1], Distaff H. [G3], Betsy Ross H. [L] (GS, $46,350), Amerigo Lady S. [L], Miami Beach S. (HIA, $20,070), Wistful S. (GP, $15,585), [Q] at Aqueduct, 2nd Bowl of Flowers S. [L], Quixotic Lady S. [O], Candy Eclair S. (GP, $4,172), 3rd Hempstead H. [G1], Shuvee H. [G1], Prior- ess S. [G3], Imperial Hill S. [L], [Q] at Belmont Park, Miami Beach S. -
Chapter 4 Wang Meng
1 Grave Robbers’ Chronicles Vol. 11: Ten Years Later Written By: Xu Lei Translated by: MereBear 2 Summary: Wu Xie fulfills his ten years promise to Zhang Qiling to meet him in front of the bronze door at Changbai Mountains. 3 Chapter 1 Ten Years Later The temperature had risen. I gave up smoking for a while, but then I couldn’t help myself and lit a cigarette. The sun was rising, and the mixture of dew and muggy heat made me feel a little anxious. Smoking helped calm me down. “Maybe he’s already left.” Fatty was also smoking beside me. “You know his temper. We’re too virtuous, and always get deceived by old people.” “Then he’s completely offended me.” I thought about it. It wasn’t impossible, but I didn’t know if it was true in this case. Should I be angry or happy for him? Pan Zi’s tombstone gradually became clear in the morning light, and I could see the gloomy lettering. I was familiar with the edges of the strokes because I had written them myself. The red paint had already peeled off. For a long time, I didn’t accept the fact that Pan Zi wouldn’t be with me. But now, I had finally accepted this ending, and ten years later, even without him, I sat in front of the tombstone without wavering. Some people desperately wanted to change from a rock to a person, but I had unwittingly become a rock. Fatty poured a sack of paper money in front of Pan Zi and lit it with a lighter. -
The Canterbury Tales
The Canterbury Tales Geoffrey Chaucer The Canterbury Tales Table of Contents The Canterbury Tales.........................................................................................................................................1 Geoffrey Chaucer.....................................................................................................................................1 i The Canterbury Tales Geoffrey Chaucer • Prologue • The Knight's Tale • The Miller's Prologue • The Miller's Tale • The Reeve's Prologue • The Reeve's Tale • The Cook's Prologue • The Cook's Tale • Introduction To The Lawyer's Prologue • The Lawyer's Prologue • The Lawyer's Tale • The Sailor's Prologue • The Sailor's Tale • The Prioress's Prologue • The Prioress's Tale • Prologue To Sir Thopas • Sir Thopas • Prologue To Melibeus • The Tale Of Melibeus • The Monk's Prologue • The Monk's Tale • The Prologue To The Nun's Priest's Tale • The Nun's Priest's Tale • Epilogue To The Nun's Priest's Tale • The Physician's Tale • The Words Of The Host • The Prologue To The Pardoner's Tale • The Pardoner's Tale • The Wife Of Bath's Prologue • The Tale Of The Wife Of Bath • The Friar's Prologue • The Friar's Tale • The Summoner's Prologue • The Summoner's Tale • The Clerk's Prologue • The Clerk's Tale • The Merchant's Prologue • The Merchant's Tale • Epilogue To The Merchant's Tale • The Squire's Prologue • The Squire's Tale • The Words Of The Franklin And The Host • The Franklin's Prologue • The Franklin's Tale • The Second Nun's Prologue • The Second Nun's Tale The Canterbury Tales 1 The Canterbury Tales • The Canon's Yeoman's Prologue • The Canon's Yeoman's Tale • The Manciple's Prologue • The Manciple's Tale Of The Crow • The Parson's Prologue • The Parson's Tale • The Maker Of This Book Takes His Leave This page copyright © 1999 Blackmask Online. -
Hong Kong Cantopop
Hong Kong Cantopop A Concise History Yiu-Wai Chu Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2017 Hong Kong University Press ISBN 978-988-8390-57-1 (Hardback) ISBN 978-988-8390-58-8 (Paperback) All rights reserved. No portion of this publication may be reproduced or transmitted 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 Hang Tai Printing Co., Ltd. in Hong Kong, China Contents Acknowledgments viii A Note on Romanization x Chapter One Introduction 1 Chapter Two Days of Being Marginalized: The 1950s to the Early 1970s 21 Chapter Three The Rise of Cantopop: The Mid- to Late 1970s 40 Chapter Four An Age of Glory: The 1980s 69 Chapter Five The Best of Times, the Worst of Times: The 1990s 105 Chapter Six After the Fall: The New Millennium 145 Chapter Seven Epilogue: Cantopop in the Age of China 184 Appendix Chronology of Major Events 197 Selected Bibliography 218 Index 226 1 Introduction “Every generation has its own voice,” claimed James Wong 黃霑, the late god- father of Cantopop, in his doctoral thesis on the development of Cantopop.1 The English term “Cantopop”—Cantonese popular songs—did not come into existence until the 1970s, when Billboard correspondent Hans Ebert used it “to describe the locally produced popular music in Hong Kong” in 1978.2 Per James Wong’s remark—which was adapted from the well-known saying of the Qing dynasty master of Chinese culture, Wang Guowei 王國維: “Every dynasty has its own representative form of literature”3 —Cantopop is a musical form from and the voice of contemporary Hong Kong. -
Universo Transmedia De Las Telenovelas Chinas Contemporáneas De Origen Literario
Universitat Autònoma de Barcelona Facultad de Ciencias de la Comunicación Investigación en Comunicación y Periodismo UNIVERSO TRANSMEDIA DE LAS TELENOVELAS CHINAS CONTEMPORÁNEAS DE ORIGEN LITERARIO Autora: Shi, Xiaoyu Directora: Lidia Peralta Gracía Bellaterra-Barcelona Junio, 2017 Resumen La presente investigación tiene como objetivo principal determinar la importancia e impacto de las telenovelas de naturaleza transmedia y origen literario en la sociedad contemporánea en China, desde el año 2001 hasta la actualidad. Para ello, el presente estudio trabaja desde una doble perspectiva: enmarcar el contexto de la televisión china y el mercado trasnmedia al que van dirigidas esas telenovelas y delimitar los elementos narratologícos y estructurales del formato transmedia. Ello nos permitirá entender hasta qué punto las narrativas transmedia están generando mayor impacto que los formatos tradicionales. De cara a la obtención de nuestros objetivos hemos recurrido a la metodología cuantitativa y cualitativa, con análisis de contenidos, uso de encuestas y apoyo de información documental principalmente. Palabras claves: telenovelas de origen literario, narrativa transmedia, impacto, importancia, sociedad china. ÍNDICE INTRODUCCIÓN I: CUERPO METODOLÓGICO 1.1 Problema de investigación 1.2 Justificación de trabajo 1.3 Marco teórico 1.4 Metodología II: LA TELEVISIÓN EN CHINA 2.1. Historia de la televisión china 2.1.1.Origen 2.1.2 Después de la Reforma económica 2.1.3 La televisión china en el siglo XXI 2.2. Canales de la televisión china 2.2.1 La CCTV, el canal nacional 2.2.2 Canales provinciales 2.3. El mercado de la televisión china 2.3.1 El canal nacional 2.3.2 Los canales locales (provincial) 2.4 Internet y su impacto sobre los consumos televisivos III: NOVELAS EN CHINA 3.1 El contexto cultural de las novelas IV: TELENOVELAS DE ORIGEN LITERARIO: INFORMACIÓN Y CONTEXTO 4.1 Telenovelas de origen literario en EE.UU: ¿un referente para China? 4.1.1.