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The Web That Has No Weaver
THE WEB THAT HAS NO WEAVER Understanding Chinese Medicine “The Web That Has No Weaver opens the great door of understanding to the profoundness of Chinese medicine.” —People’s Daily, Beijing, China “The Web That Has No Weaver with its manifold merits … is a successful introduction to Chinese medicine. We recommend it to our colleagues in China.” —Chinese Journal of Integrated Traditional and Chinese Medicine, Beijing, China “Ted Kaptchuk’s book [has] something for practically everyone . Kaptchuk, himself an extraordinary combination of elements, is a thinker whose writing is more accessible than that of Joseph Needham or Manfred Porkert with no less scholarship. There is more here to think about, chew over, ponder or reflect upon than you are liable to find elsewhere. This may sound like a rave review: it is.” —Journal of Traditional Acupuncture “The Web That Has No Weaver is an encyclopedia of how to tell from the Eastern perspective ‘what is wrong.’” —Larry Dossey, author of Space, Time, and Medicine “Valuable as a compendium of traditional Chinese medical doctrine.” —Joseph Needham, author of Science and Civilization in China “The only approximation for authenticity is The Barefoot Doctor’s Manual, and this will take readers much further.” —The Kirkus Reviews “Kaptchuk has become a lyricist for the art of healing. And the more he tells us about traditional Chinese medicine, the more clearly we see the link between philosophy, art, and the physician’s craft.” —Houston Chronicle “Ted Kaptchuk’s book was inspirational in the development of my acupuncture practice and gave me a deep understanding of traditional Chinese medicine. -
Entire Dissertation Noviachen Aug2021.Pages
Documentary as Alternative Practice: Situating Contemporary Female Filmmakers in Sinophone Cinemas by Novia Shih-Shan Chen M.F.A., Ohio University, 2008 B.F.A., National Taiwan University, 2003 Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of Gender, Sexuality, and Women’s Studies Faculty of Arts and Social Sciences © Novia Shih-Shan Chen 2021 SIMON FRASER UNIVERSITY SUMMER 2021 Copyright in this work rests with the author. Please ensure that any reproduction or re-use is done in accordance with the relevant national copyright legislation. Declaration of Committee Name: Novia Shih-Shan Chen Degree: Doctor of Philosophy Thesis title: Documentary as Alternative Practice: Situating Contemporary Female Filmmakers in Sinophone Cinemas Committee: Chair: Jen Marchbank Professor, Department of Gender, Sexuality and Women’s Studies Helen Hok-Sze Leung Supervisor Professor, Department of Gender, Sexuality and Women’s Studies Zoë Druick Committee Member Professor, School of Communication Lara Campbell Committee Member Professor, Department of Gender, Sexuality and Women’s Studies Christine Kim Examiner Associate Professor, Department of English The University of British Columbia Gina Marchetti External Examiner Professor, Department of Comparative Literature The University of Hong Kong ii Abstract Women’s documentary filmmaking in Sinophone cinemas has been marginalized in the film industry and understudied in film studies scholarship. The convergence of neoliberalism, institutionalization of pan-Chinese documentary films and the historical marginalization of women’s filmmaking in Taiwan, Hong Kong, and the People’s Republic of China (PRC), respectively, have further perpetuated the marginalization of documentary films by local female filmmakers. -
The Darkest Red Corner Matthew James Brazil
The Darkest Red Corner Chinese Communist Intelligence and Its Place in the Party, 1926-1945 Matthew James Brazil A thesis submitted in partial fulfillment of the requirements for a Doctor of Philosophy Department of Government and International Relations Business School University of Sydney 17 December 2012 Statement of Originality This is to certify that to the best of my knowledge, the content of this thesis is my own work. This thesis has not been submitted previously, either in its entirety or substantially, for a higher degree or qualifications at any other university or institute of higher learning. I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources has been acknowledged. Matthew James Brazil i ACKNOWLEDGEMENTS Before and during this project I met a number of people who, directly or otherwise, encouraged my belief that Chinese Communist intelligence was not too difficult a subject for academic study. Michael Dutton and Scot Tanner provided invaluable direction at the very beginning. James Mulvenon requires special thanks for regular encouragement over the years and generosity with his time, guidance, and library. Richard Corsa, Monte Bullard, Tom Andrukonis, Robert W. Rice, Bill Weinstein, Roderick MacFarquhar, the late Frank Holober, Dave Small, Moray Taylor Smith, David Shambaugh, Steven Wadley, Roger Faligot, Jean Hung and the staff at the Universities Service Centre in Hong Kong, and the kind personnel at the KMT Archives in Taipei are the others who can be named. Three former US diplomats cannot, though their generosity helped my understanding of links between modern PRC intelligence operations and those before 1949. -
Poh Cheng Khoo Interrogating the Women Warrior
MIT4 Panel: "Asian Warrior Womanhood in Storytelling." Poh Cheng Khoo Interrogating the Women Warrior: War, Patriotism and Family Loyalty in Lady Warriors of the Yang Family (2001). The medieval Chinese are known to be heavily patriarchal, but even such a culture produced many formidable women warriors…Daughters of prominent military families trained in the martial arts. Wives of generals were often chosen for their battle skills. The Yang family of the Song Dynasty (960-1279 CE) was one such military family. When the men were decimated on various military assignments, their wives, mothers, sisters and even maidservants took their places on the battlefield. (“Warriors: Asian women in Asian society”) “No group of women in Chinese history has commanded so much prestige and respect as the ladies of the Yang family. They are revered as great patriots who were willing to lay down their lives for the sake of their country” (Lu Yanguang, 100 Celebrated Chinese Women, 149). The genesis of this paper lies in a 40-part retelling of one of the more enduring woman warrior stories of historical China. When I saw this particular 2001 TV series which loosely translates into Lady Warriors of the Yang Family, I was working on my dissertation involving Maxine Hong Kingston’s The Woman Warrior and hence the iconic figure of Fa Mu Lan. Contrary to Mulan’s concealment of gender in battle, here was a family of woman warriors from some ten centuries ago, none of whom had to compromise their true biological identity by cross-dressing or, according to Judith Lorber’s definition, turning “transvestite” (Richardson et al [eds.] 42). -
Historical Romance and Sixteenth-Century Chinese Cultural Fantasies
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2013 Genre and Empire: Historical Romance and Sixteenth-Century Chinese Cultural Fantasies Yuanfei Wang University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the English Language and Literature Commons, and the History Commons Recommended Citation Wang, Yuanfei, "Genre and Empire: Historical Romance and Sixteenth-Century Chinese Cultural Fantasies" (2013). Publicly Accessible Penn Dissertations. 938. https://repository.upenn.edu/edissertations/938 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/938 For more information, please contact [email protected]. Genre and Empire: Historical Romance and Sixteenth-Century Chinese Cultural Fantasies Abstract Chinese historical romance blossomed and matured in the sixteenth century when the Ming empire was increasingly vulnerable at its borders and its people increasingly curious about exotic cultures. The project analyzes three types of historical romances, i.e., military romances Romance of Northern Song and Romance of the Yang Family Generals on northern Song's campaigns with the Khitans, magic-travel romance Journey to the West about Tang monk Xuanzang's pilgrimage to India, and a hybrid romance Eunuch Sanbao's Voyages on the Indian Ocean relating to Zheng He's maritime journeys and Japanese piracy. The project focuses on the trope of exogamous desire of foreign princesses and undomestic women to marry Chinese and social elite men, and the trope of cannibalism to discuss how the expansionist and fluid imagined community created by the fiction shared between the narrator and the reader convey sentiments of proto-nationalism, imperialism, and pleasure. -
In Beijing Opera
女生男旦 The Artistry of Gender Switching in Beijing Opera 演員及製作 ○○○○○○○○○○○○○○○○○○ Credits ○○○○ 7 節目介紹 Programme Details 17.2.2006 節目 Programme 演員名單及分場大綱 Cast and Synopsis ○○○○○○13 18.2.2006 節目 Programme 演員名單及分場大綱 Cast and Synopsis ○○○○○○19 特稿 Feature 中國戲曲的性別反串 Male/Female Impersonation in Chinese Opera ○○○34 劇團介紹 Company Profile ○○○○○○○○○○○○○○○○39 生平介紹 ○○○○○○○○○○○ Biographies ○○○○○○○○ 41 王珮瑜 Wang Peiyu 17-18.2.2006 香港大會堂音樂廳 Concert Hall 為了讓大家對這次演出留下美好印象,請切記在節目開始前關掉手錶、無㵟電話及傳呼 Hong Kong City Hall 機的響鬧裝置。會場內請勿擅自攝影、錄音或錄影,亦不可飲食和吸煙,多謝合作。 演出長約 3 小時,包括一節 15 分鐘中 To make this performance a pleasant experience for the artists and other members of 場休息 the audience, PLEASE switch off your alarm watches, MOBILE PHONES and PAGERS. Running time: approximately 3 hours Eating and drinking, unauthorised photography and audio or video recording are with a 15 minute interval forbidden in the auditorium. Thank you for your co-operation. Credits 演員及製作 演員 主演 王珮瑜、劉 錚 合演 王 艷、黃齊峰、閻虹羽、王嘉慶、王俊鵬、韓 慶、芮振起、陳 嬡、王文斌、 邵海龍、馬 傑、許佩文、趙 華、魏以剛、竇 騫、楊再行、李 宏、孫 磊、 劉學勇、司 鳴、張 堯、孫曉晨、天津京劇院演員 演奏員 司鼓 丁 勝、朱 雷 笛師 劉訓剛、李河遵 操琴 湯振剛、天津京劇院演奏團 製作人員 藝術總監 孫元喜 劇務 張壽和 港龍航空為「女生男旦」藝人提供航空服務 Members of The Artistry of Gender Switching in Beijing Opera are flown in by 7 觀賞以下節目 可贏取港龍航空送出 香港至北京及香港至上海商務客位來回機票兩張! 你只需在票尾背面寫下姓名、香港身份證號碼、聯絡電話及電郵地址,完場後投進 設於香港藝術節諮詢處之港龍航空抽獎箱,即可參加抽獎。 抽獎結果將於2006年3月13日之南華早報及明報刊登。 節目及獎品詳情: 女生男旦 香港大會堂音樂廳 贏取香港至北京商務客位來回機票兩張 2月17-18日(星期五至六) 晚上7:30 雲門舞集 — 行草三部曲 香港文化中心大劇院 贏取香港至上海商務客位來回機票兩張 2月15、17-19日(星期三、五至日) 晚上8:15 2月19日(星期日) 下午3:00 Win Two Dragonair Business Class return tickets to Beijing and Shanghai! To enter, just write your name, HKID number, telephone number and email address on the back of your ticket (for the shows listed below), and drop it into the Dragonair lucky draw box beside the Hong Kong Arts Festival Information Counter. -
The Order of Local Things: Popular Politics and Religion in Modern
The Order of Local Things: Popular Politics and Religion in Modern Wenzhou, 1840-1940 By Shih-Chieh Lo B.A., National Chung Cheng University, 1997 M.A., National Tsing Hua University, 2000 A.M., Brown University, 2005 Submitted in Partial Fulfillment for the Degree of Doctor of Philosophy in the Department of History at Brown University PROVIDENCE, RHODE ISLAND May 2010 © Copyright 2010 by Shih-Chieh Lo ii This dissertation by Shih-Chieh Lo is accepted in its present form by the Department of History as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date_____________ ________________________ Mark Swislocki, Advisor Recommendation to the Graduate Council Date_____________ __________________________ Michael Szonyi, Reader Date_____________ __________________________ Mark Swislocki, Reader Date_____________ __________________________ Richard Davis, Reader Approved by the Graduate Council Date______________ ___________________________ Sheila Bonde, Dean of the Graduate School iii Roger, Shih-Chieh Lo (C. J. Low) Date of Birth : August 15, 1974 Place of Birth : Taichung County, Taiwan Education Brown University- Providence, Rhode Island Ph. D in History (May 2010) Brown University - Providence, Rhode Island A. M., History (May 2005) National Tsing Hua University- Hsinchu, Taiwan Master of Arts (June 2000) National Chung-Cheng University - Chaiyi, Taiwan Bachelor of Arts (June 1997) Publications: “地方神明如何平定叛亂:楊府君與溫州地方政治 (1830-1860).” (How a local deity pacified Rebellion: Yangfu Jun and Wenzhou local politics, 1830-1860) Journal of Wenzhou University. Social Sciences 溫州大學學報 社會科學版, Vol. 23, No.2 (March, 2010): 1-13. “ 略論清同治年間台灣戴潮春案與天地會之關係 Was the Dai Chaochun Incident a Triad Rebellion?” Journal of Chinese Ritual, Theatre and Folklore 民俗曲藝 Vol. 138 (December, 2002): 279-303. “ 試探清代台灣的地方精英與地方社會: 以同治年間的戴潮春案為討論中心 Preliminary Understandings of Local Elites and Local Society in Qing Taiwan: A Case Study of the Dai Chaochun Rebellion”. -
The Aesthetics of Chinese Classical Theatre
THE AESTHETICS OF CHINESE CLASSICAL THEATRE - A PERFORMER’S VIEW Yuen Ha TANG A thesis submitted for the degree of Doctor of Philosophy of The Australian National University. March, 2016 © Copyright by Yuen Ha TANG 2016 All Rights Reserved This thesis is based entirely upon my own research. Yuen Ha TANG ACKNOWLEDGMENT I owe a debt of gratitude to my supervisor Professor John Minford, for having encouraged me to undertake this study in the first place and for guiding my studies over several years. He gave me generously of his time and knowledge. Since I first became their student in Shanghai in the 1980s, my teachers Yu Zhenfei and Zhang Meijuan (and others) inspired me with their passionate love for the theatre and their unceasing quest for artistic refinement. I am deeply grateful to them all for having passed on to me their rich store of artistry and wisdom. My parents, my sister and her family, have supported me warmly over the years. My mother initiated me in the love of the theatre, and my father urged me to pursue my dream and showed me the power of perseverance. My thanks also go to Geng Tianyuan, fellow artist over many years. His inspired guidance as a director has taught me a great deal. Zhang Peicai and Sun Youhao, outstanding musicians, offered their help in producing the video materials of percussive music. Qi Guhua, my teacher of calligraphy, enlightened me on this perennial and fascinating art. The Hong Kong Arts Development Council has subsidized my company, Jingkun Theatre, since 1998. My assistant Lily Lau has provided much valuable help and my numerous friends and students have given me their constant loyalty and enthusiasm. -
Dissertation (Fan Liao)
UNIVERSITY OF CALIFORNIA, SAN DIEGO UNIVERSITY OF CALIFORNIA, IRVINE The Paradoxical Peking Opera: Performing Tradition, History, and Politics in 1949-1967 China A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Drama and Theatre by Fan Liao Committee in charge: University of California, San Diego Professor Janet L. Smarr, Chair Professor Paul G. Pickowicz, Co-Chair Professor Nancy A. Guy Professor Marianne McDonald Professor John S. Rouse University of California, Irvine Professor Stephen Barker 2012 The Dissertation of Fan Liao is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Co-Chair Chair University of California, San Diego University of California, Irvine 2012 iii TABLE OF CONTENTS Signature Page……………………………………………………………………………iii Table of Contents……………………………………………………………....................iv Vita………………………………………………………………………………………...v Abstract…………………………………………………………………………………...vi Introduction………………………………………………………………………………..1 Chapter One………………………………………….......................................................29 Reform of Jingju Old Repertoire in the 1950s Chapter Two……………………………………………………………………………...81 Making History: The Creation of New Jingju Historical Plays Chapter Three…………………………………………………………………………...135 Inventing Traditions: The Creation of New Jingju Plays with Contemporary Themes Conclusion……………………………………………………………………………...204 Appendix……………………………………………………………………………….211 Bibliography……………………………………………………………………………229 iv VITA 2003 -
Introduction to Drum Rhythm on Peking Opera Stage
Introduction to Drum Rhythm on Peking Opera Stage Inaugural-Dissertation zur Erlangung des Doktorgrades der Philosophische Fakultät der Universität zu Köln Vorgelegt von Lan Ying aus Gui Zhou, China Prüfer Prof. Dr. Stefan Kramer Prof. Dr.Peter W. Marx Prof. Dr. Frank Hentschel Prof. Dr.Uwe Seifert Prof. Dr. Felix Wemheuer Prof. Dr. Faderico Spineet Tag der mündlichen Prüfung: 10.12.2014 Content 1 Introduction 1 Peking Opera and its drum rhythm………………………………………………...3 2 Time in drum rhythm on Peking Opera stage……………………………………...4 3 Drum rhythm on Peking Opera stage and its linguistic structure……………….....7 4 Drum rhythm, as communicative device, on Peking Opera stage………………..10 5 Theory and Method…………………………………………………………….....13 2 Time module in rhythm on the Peking Opera stage 2.1 A Brief overview of percussion instruments and their playing methods………..18 2.2 Time module in drum rhythm on Peking Opera stage…………………………..22 3 Drum rhythm and its linguistic structure 3.1 The Semantics of Drum rhythm…………………………………………………32 3.2 The Levels of meaning on drum rhythm………………………………………33 3.3 Metafunctional analysis of drum rhythm………………………………………..39 3.4 The Linguistics characteristics of drum rhythm………………………………...42 3.5 Drum rhythm signals and significations………………………………………...54 3.6 Drum rhythm on Peking Opera stage and metadiscourse in linguistics………58 3.6.1 Categorizations of metadiscourse in linguistics………………………....58 3.6.2 Categorizations of drum rhythm on Peking Opera stage………………..63 3.6.3 The Unique features of drum rhythm…………………………………....94 3.7 Summary -
Extraterritoriality Locating Hong Kong Cinema and Media
VICTOR FAN EXTRATERRITORIALITY LOCATING HONG KONG CINEMA AND MEDIA Extraterritoriality To Sabina Extraterritoriality Locating Hong Kong Cinema and Media Victor Fan Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Victor Fan, 2019 Edinburgh University Press Ltd The Tun – Holyrood Road, 12 (2f) Jackson’s Entry, Edinburgh EH8 8PJ Typeset in Monotype Ehrhardt by Servis Filmsetting Ltd, Stockport, Cheshire, and printed and bound in Great Britain A CIP record for this book is available from the British Library ISBN 978 1 4744 4042 4 (hardback) ISBN 978 1 4744 4044 8 (webready PDF) ISBN 978 1 4744 4045 5 (epub) The right of Victor Fan to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 and the Copyright and Related Rights Regulations 2003 (SI No. 2498). Parts of the following articles and book chapters have been revised and incorporated in this book, with their publishers’ permission: ‘Cultural extraterritoriality: Intra-regional politics in contemporary Hong Kong Cinema,’ East Asian Journal of Popular Culture 1, no. 3 (September 2015), pp. 389–402. ‘Poetics of parapraxis and reeducation: The Hong Kong Cantonese cinema in the 1950s’, in The Poetics of Chinese Cinema, (eds) Gary Bettison and James Udden (London: Palgrave Macmillan, 2016), pp. 167–83. ‘Extraterritorial cinema: Shanghai jazz and post-war Hong Kong Mandarin musicals’, The Soundtrack 6, nos. -
Chinese Opera: the Actor's Craft
Chinese O pera The Actor’s Craft Siu Wang-Ngai with Peter Lovrick Hong Kong University Press Th e University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © Hong Kong University Press 2014 ISBN 978-988-8208-26-5 (Hardback) 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 Kings Time Printing Press Ltd. in Hong Kong, China CONTENTS Preface ix Chapter 1 How Chinese Th eatre Solves Theatrical Problems 1 Chapter 2 Using Stage Movement 5 Mime 5 Acrobatics 16 Poses 23 Special Moves 30 Playing the Dwarf 34 Chapter 3 Using Props 39 Horsewhip 39 Fan 51 Handkerchief 59 Ribbon 65 Table and Chair 69 Cloud Whisk 75 Paddle and Boat Pole 80 Flag 84 Cloud 89 Chapter 4 Using Weapons and Skills for Stage Fighting 93 Spear 93 Mace 101 Quarterstaff 105 Polearm 107 Sword 110 Sabre 113 Bow and Arrow 115 Special Weapons 118 Preparing for Battle 122 Chapter 5 Using Costumes 131 Pheasant Tails 131 Headgear 138 Hair 141 Beards 148 Water Sleeves 154 Outer Robe 161 Big Belt 167 Chapter 6 Using Special Skills 171 Face Changing 171 Fire Breathing 177 Opening the Eye of Wisdom 182 Balancing the Oil Lamp 185 Ladder Skills 188 A Final Word—from the Photographer and the Writer 191 Glossary 193 Appendix I: English Guide to the Photographs 195 Appendix II: Chinese Guide to the Photographs 203 References 211 Index 213 CHAPTER 1 How Chinese Theatre Solves Theatrical Problems A first visit to the Chinese opera can be mystifying, if not overwhelming.