Scattergories 4 Questions by Will Nediger, Jinah Kim, and Joey Goldman Round 2
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Shijing and Han Yuefu
SONGS THAT TOUCH OUR SOUL A COMPARATIVE STUDY OF FOLK SONGS IN TWO CHINESE CLASSICS: SHIJING AND HAN YUEFU by Yumei Wang A thesis submitted in conformity with the requirements for the degree of Master of Art Graduate Department of the East Asian Studies University of Toronto © Yumei Wang 2012 SONGS THAT TOUCH OUR SOUL A COMPARATIVE STUDY OF FOLK SONGS IN TWO CHINESE CLASSICS: SHIJING AND HAN YUEFU Yumei Wang Master of Art Graduate Department of the East Asian Studies University of Toronto 2012 Abstract The subject of my thesis is the comparative study of classical Chinese folk songs. Based on Jeffrey Wainwright, George Lansing Raymond, and Liu Xie’s theories, this study was conducted from four perspectives: theme, content, prosody structure and aesthetic features. The purposes of my thesis are to trace the originality of 160 folk songs in Shijing and 47 folk songs in Han yuefu , to illuminate the origin of Chinese folk songs and to demonstrate the secularism reflected in Chinese folk songs. My research makes contribution to the following four areas: it explores the relation between folk songs in Shijing and Han yuefu and compares the similarities and differences between them ; it reveals the poetic kinship between Shijing and Han yuefu; it evaluates the significance of the common people’s compositions; and it displays the unique artistic value and cultural influence of Chinese early folk songs. ii Acknowledgments I would like to express my sincere gratitude to my supervisor Professor Graham Sanders for his supervision, inspirations, and encouragements during my two years M.A study in the Department of East Asian Studies at University of Toronto. -
Center for International Studies Annual Report
MARIO EINAUDI Center for International Studies Annual Report 2014-2015 Cover Art from Einaudi Center events and the Fall 2014 graduate students photo competition (from top left, photo credits in parenthesis): “Ashanti Pride”, Ghana (by Sharon Liu); President Ólafur Grímsson (by University Photography); Einaudi Center Director Fredrik Logevall (by Shai Eynav); Mr. Michael McFaul (by University Photography); “My Tenth Child”, Burundi (by Angela Siele); Ms. Sarah Mendelson (by Gail Fletcher); Judge Sang-Hyun Song (by Gail Fletcher); Symposium 2015 (by University Photography); Mr. William Hitchcock (by Robin Nichols); Mr. Francis Fukuyama (by University Photography); Annual Reception 2014 (by Shai Eynav); Lund Critical Debate (by Gail Fletcher); “Kalandia Checkpoint”, Palestine (by Laura Munchaca Ruiz) and Language and International Studies Fair 2014 (by Gail Fletcher). Table of Contents 1. Report of the Director of the Mario Einaudi Center for International Studies ..................................................................................................................... 1 2. International Relations Minor .............................................................................. 22 3. Comparative Muslim Societies Program ............................................................. 26 4. Cornell Institute for European Studies ................................................................ 31 5. East Asia Program ................................................................................................. 41 6. Institute -
Packet 10.Pdf
2016 “stanford housewrite” Edited by Stephen Liu Written by Austin Brownlow, Stephen Liu, Benji Nguyen, Nathan Weiser, James Bradbury, Kyle Sutherlin, Alex Freed, Jennie Yang, Nikhil Desai, and Martina Fu PACKET 10 TOSSUPS 1. This politician married into the family of Cleveland railroad tycoon Amasa Stone, and he is the subject of John Taliaferro’s recent biography All the Great Prizes. A policy implemented by this cabinet member was based on a memorandum authored by William Rockhill. This cabinet member pressured the Sultan of Morocco to accept the outrageous demands of the bandit Raisuli, who had kidnapped a Greek-American playboy named Ion Perdicaris. With John George Nicolay, this man co-wrote a ten-volume biography of (*) Abraham Lincoln based on his experience as the President’s personal secretary. While occupying his best-known post, this politician, who coined the phrase “splendid little war,” promoted the Open Door Policy and signed a treaty establishing the Panama Canal Zone with Philippe-Jean Bunau-Varilla. For 10 points, name this predecessor of Elihu Root as Secretary of State under Presidents William McKinley and Theodore Roosevelt. ANSWER: John Milton Hay 2. Recent research has revealed that, though these cells are differentiated in response to XBP-1 splicing, the process is surprisingly not driven by unfolded protein response in the ER. PRMD1, also known as Blimp-1, is necessary for the differentiation of these cells. Bortemozib is a protease inhibitor that can effectively deplete the “long-lived” versions of these cells, which can cause SLE in mice. Flow cytometry can detect these cells because they express high levels of CD138 on their surface, and these cells notably do not express (*) CD20. -
Poetry of He Zhu (1052-1125)
The Poetry of He Zhu (1052-1125) SINL-74-sargent_CS2.indd i 18-12-2006 16:24:11 Sinica Leidensia Edited by Barend J. ter Haar In co-operation with P.K. Bol, W.L. Idema, D.R. Knechtges, E.S.Rawski, E. Zürcher, H.T. Zurndorfer VOLUME LXXIV SINL-74-sargent_CS2.indd ii 18-12-2006 16:24:11 The Poetry of He Zhu (1052-1125) Genres, Contexts, and Creativity By Stuart H. Sargent LEIDEN • BOSTON 2007 SINL-74-sargent_CS2.indd iii 18-12-2006 16:24:11 This book is printed on acid-free paper. Detailed Library of Congress Cataloging-in Publication data Detailed Library of Congress Cataloging-in-Publication data are available on the Internet at http://catalog.loc.gov ISSN: 0169-9563 ISBN: 978 90 04 15711 8 Copyright 2007 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints BRILL, Hotei Publishing, IDC Publishers, Martinus Nijhoff Publishers and VSP. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. Fees are subject to change. printed in the netherlands SINL-74-sargent_CS2.indd iv 18-12-2006 16:24:12 CONTENTS Acknowledgements ix List of Tables xi Abbreviations -
The Problem of Southern Song Poetry in the Late Twelfth Century
Learning to Write Naturally: the Problem of Southern Song Poetry in the Late Twelfth Century The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:40046571 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Learning to Write Naturally: The Problem of Southern Song Poetry in the Late Twelfth Century A dissertation presented by Chen ZHANG to The Department of East Asian Languages and Civilizations in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of East Asian Languages and Civilizations Harvard University Cambridge, Massachusetts May, 2017 © 2017 Chen Zhang All rights reserved. Stephen Owen Chen Zhang Learning to Write Naturally: The Problem of Southern Song Poetry in the Late Twelfth Century Abstract I inquire into the nature of poetic experience by studying six leading poets in the late twelfth century. The questions they address with their prolific writing are also central to poetic (and literary) endeavors in general: what is the place of poetry among their political, intellectual, and cultural commitments; how to achieve individual freedom under a weighty textual tradition; and how to reconcile naturalness and craft, spontaneity and method. The poets reckoned with the changes in foundational concepts such as Nature, self, and vital force (qi) in the Neo-Confucian movement. -
A Supplementary Book of Chinese Music for The
A SUPPLEMENTARY BOOK OF CHINESE MUSIC FOR THE SUZUKI FLUTE STUDENT D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Nicole Marie Charles, M.Mus. Graduate Program in Music The Ohio State University 2010 D.M.A. Document Committee: Professor Katherine Borst Jones, Advisor Professor James Hill Professor Udo Will Copyright by Nicole Marie Charles 2010 i. ABSTRACT Created by Toshio Takahashi and Shinichi Suzuki, Suzuki Flute School Volume 1 contains a variety of music for the beginner flutist. Children‘s songs, folk music, and romantic and baroque music from Japan, France, America, and Germany provide beautiful tunes for the students to learn. Furthermore, beautiful sound is taught through tonalization, and beautiful character through strong relationships among the parent, teacher, and child. Having taught Suzuki flute classes at the Ohio Contemporary Chinese School (OCCS) since 2003, I‘ve had the opportunity to learn about the beautiful Chinese culture. But I have found that many children of Chinese descent have very little exposure to traditional Chinese music and children‘s songs. Due to historical patterns in China of disposing or recycling music, many of their parents do not know many Chinese songs (at least those without political undertones). The Suzuki method itself does not contain any Chinese songs. The purpose of this document is to provide a supplementary book of Chinese flute music for my students at the OCCS, one tailored to coincide with the pedagogical points of Suzuki Flute School Volume 1. -
Lost and Found in Translation
LOST AND FOUND IN TRANSLATION XIAOLONG FANG A thesis submitted in partial fulfilment of the requirements of the School of Architecture, Engineering and Computing, University of East London for the degree of Professional Doctorate in Fine Art. April 2020 i Acknowledgements I want to take this opportunity to appreciate the Professional Doctorate in Fine Art Programme at the University of East London. I would like to express my sincere gratitude to my supervisors Ms. Karen Raney and Dr. Eric Great-Rex for their continuous support and assistance during my DFA study, also for their patience, motivation and knowledge. I am grateful to them for enlightening me and encouraging me to find clarity, direction and purpose within my practice and research. My sincere thanks also go to my fellow researchers at UEL as well as the research committee in the graduate school. I would like to thank all of them for their insightful comments and encouragement, also for the understanding and compassion that they showed towards me during my time in the U.K. I would like to thank my family: my parents who always supported me physically and spiritually throughout the three years I have studied abroad. My special thanks go to my sister who graduated from the American University in Washington, D.C., United States with an Art History master degree. She gave me support throughout my writing as well as a number of meaningful suggestions which helped me to widen my research from numerous perspectives. Last but not least, I would also want to thank the artists: Xu Bing and Tan Dun who gave me their time and energy and provided me with stimulating and insightful discussions throughout my studies at the University of East London. -
The Chinese University Press
Introduction to the Calligrams Edition • As if a Ring 月亮是圓的 詩也是── Materials The moon is round and so is the poem— —ZhouCopyrighted Mengdie (1921–2014) Press: It is a love story that has survived the centuries, through embel- lishment and expansion,University rhetorical invocation, literary allusion, emotive fictionalization, and illustrative depictions in paintings. Glancing referencesChinese to it appear in poems dating back to the fifth and sixth centuries.The By the first half of the seventh century, the story’s narrative begins to take shape with the appearance of a brief biography in a history of the Jin (265–420). As recorded in the chapter on “Exemplary Women,” Su Hui 蘇惠 (style name Su Ruolan), a gifted poet native of Shiping (a town located in present-day Shaanxi), wove a brocade of a “reversible circular- picture poem” (huiwen xuantu shi 迴文旋圖詩) for her husband Dou Tao, the prefect of Qingzhou who had been exiled to the place of “flowing sands.” This mournful poem of love’s longing consisted of 840 characters and could be read “circularly, in any direction.” xiv | Introduction to the Calligrams Edition A gloss on the poet Jiang Yan’s fifth-century “Rhapsody on Separation,” also written in the early Tang dynasty, added a scan- dalous spin: although Dou Tao swore not to marry again, soon after his banishment to the desert wastes he married another woman. Only then did Su Hui weave her circular poem for him, as an attempt to win back his heart. The most renowned version of the love story is attributed to Wu Zetian and officially dated 692AD . -
The Poetry of Ruan Ji and Xi Kang Library of Chinese Humanities
The Poetry of Ruan Ji and Xi Kang Library of Chinese Humanities Editors Sarah M. Allen, Wellesley College Paul W. Kroll, University of Colorado Christopher M. B. Nugent, Williams College Stephen Owen, Harvard University Anna M. Shields, Princeton University Xiaofei Tian, Harvard University Ding Xiang Warner, Cornell University The Poetry of Ruan Ji and Xi Kang Translated by Stephen Owen and Wendy Swartz Volume edited by Xiaofei Tian and Ding Xiang Warner De Gruyter This book was prepared with the support of the Andrew W. Mellon Foundation. ISBN 978-1-5015-1185-1 e-ISBN (PDF) 978-1-5015-0387-0 ISSN 2199-966X This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 License. For details go to http://creativecommons.org/licenses/by-nc-nd/3.0/. Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliografische Information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbiblio- grafie; detailed bibliographic data are available in the Internet at http://dnb.dnb.de. © 2017 Stephen Owen and Wendy Swartz, published by Walter de Gruyter Inc., Boston/Berlin The book is published with open access at www.degruyter.com. Typesetting: Asco Typesetters, Hong Kong Printing and binding: Hubert & Co. GmbH & Co. KG, Göttingen ∞ Printed on acid-free paper Printed in Germany www.degruyter.com Table of Contents Part 1: The Poetry of Ruan Ji (210–263) ................................. 1 Introduction ............................................................................... 3 Singing My Cares ....................................................................... 26 The Five-syllable-line Poems ................................................. 26 The Four-syllable-line Poems ............................................... -
THE POETICS of EROTIC IMAGERY in SHEN YUE by JANET FONG
THE POETICS OF EROTIC IMAGERY IN SHEN YUE by JANET FONG YEE WALKER B.Sc, McGill University, 1992 B.A., The University of British Columbia, 1996 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 1999 © Janet Fong Yee Walker, 1999 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 or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of AsJArl STUD/E<^ The University of British Columbia Vancouver, Canada DE-6 (2/88) Abstract The development of love poetry during the late Southern Dynasties period reveals several important shifts in erotic imagery used. During this time, Shen Yue (441-513) was a very influential poet. This thesis examines how Shen Yue manipulated erotic imagery to effect profoundly the evolution of the love poem in the Qi-Liang age. This evolution reflected social movements that were occurring simultaneously, and that were propelling love poetry towards greater sophistication. Literary society, influenced by the aristocratic mores of the time, was separating into literary cliques centred about the royal family.