2019 Volume 6, Issue 1 ISSN 2575-9922
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The Outlaws of the Marsh
The Outlaws of the Marsh Shi Nai'an and Luo Guanzhong The Outlaws of the Marsh Shi Nai'an and Luo Guanzhong • Chapter 1 Zhang the Divine Teacher Prays to Dispel a Plague Marshal Hong Releases Demons by Mistake • Chapter 2 Arms Instructor Wang Goes Secretly to Yanan Prefecture Nine Dragons Shi Jin Wreaks Havoc in Shi Family Village • Chapter 3 Master Shi Leaves Huayin County at Night Major Lu Pummels the Lord of the West • Chapter 4 Sagacious Lu Puts Mount Wutai in an Uproar Squire Zhao Repairs Wenshu Monastery • Chapter 5 Drunk, the Little King Raises the Gold−Spangled Bed Curtains Lu the Tattooed Monk Throws Peach Blossom Village into Confusion • Chapter 6 Nine Dragons Shi Jin Robs in Red Pine Forest Sagacious Lu Burns Down Waguan Monastery • Chapter 7 The Tattooed Monk Uproots a Willow Tree Lin Chong Enters White Tiger Inner Sanctum by Mistake • Chapter 8 Arms Instructor Lin Is Tattooed and Exiled to Cangzhou Sagacious Lu Makes a Shambles of Wild Boar Forest • Chapter 9 Chai Jin Keeps Open House for All Bold Men Lin Chong Defeats Instructor Hong in a Bout with Staves • Chapter 10 Lin Chong Shelters from the Snowstorm in the Mountain Spirit Temple Captain Lu Qian Sets Fire to the Fodder Depot • Chapter 11 Zhu Gui Shoots a Signal Arrow from the Lakeside Pavilion Lin Chong Climbs Mount Liangshan in the Snowy Night • Chapter 12 Lin Chong Joins the Bandits in Liangshan Marsh Yang Zhi Sells His Sword in the Eastern Capital • Chapter 13 The Blue−Faced Beast Battles in the Northern Capital Urgent Vanguard Vies for Honors on the Training Field -
Outlaws 103: Heads
Welcome to the Water Margin Podcast. This is episode 103. Last time, on his way home from the capital, Li Kui the Black Whirlwind stopped in at one old squire’s manor house and solved his family problems by killing his daughter and her secret lover when he caught them sneaking around. He then stopped in at the manor house of another old squire who was having problems with his daughter, except this guy’s problem was that apparently Song Jiang and another bandit from Liangshan had abducted his daughter. Li Kui blew his lid when he heard that, and the next thing you know, he was back on Liangshan, threatening to kill Song Jiang. After some war of words, Song Jiang said, “Don’t make a ruckus just yet. That old squire is alive, as are all his workhands. Let’s go see him and let him tell you if I was the one. If he says yes, then I’ll stick out my neck for your axe. But if he says I’m not the one, what punishment should you receive for all the trouble you’ve just caused?” “If you aren’t the one, then I’ll give you my head as well!” Li Kui said. “Fine! All the brothers here can be our witnesses,” Song Jiang replied. He then asked the chieftain Pei (2) Xuan (1) the Iron-faced Scribe, who was known for being a stickler for the rules, to write up two military pledges recording their agreement. Song Jiang and Li Kui each signed one of the pledges and gave them to each other for safekeeping. -
Au Bord De L'eau
Au bord de l'eau Au bord de l'eau (chinois simplifié : 水浒传 ; chinois traditionnel : 水滸傳 ; pinyin : Shuǐ hǔ Zhuàn ; Wade : Shui³ hu³ Zhuan⁴, EFEO Chouei-hou tchouan, littéralement « Le Récit e des berges ») est un roman d'aventures tiré de la tradition orale chinoise, compilé et écrit par plusieurs auteurs, mais attribué généralement à Shi Nai'an (XIV siècle). Il relate les Au bord de l'eau exploits de cent huit bandits, révoltés contre la corruption du gouvernement et des hauts fonctionnaires de la cour de l'empereur. Auteur Shi Nai'an Ce roman fait partie des quatre grands romans classiques de la dynastie Ming, avec l'Histoire des Trois Royaumes, La Pérégrination vers l'Ouest et Le Rêve dans le Pavillon Rouge. Pays Chine Sa notoriété est telle que de nombreuses versions ont été rédigées. On peut comparer sa place dans la culture chinoise à celle des Trois Mousquetaires d'Alexandre Dumas en France, Genre roman ou des aventures de Robin des Bois en Angleterre. L'ouvrage est la source d'innombrables expressions littéraires ou populaires, et de nombreux personnages ou passages du livre servent à symboliser des caractères ou des situations (comme Lin Chong, seul dans la neige, pour dépeindre la rectitude face à l'adversité, ou Li Kui, irascible et violent mais dévoué à Version originale sa mère impotente, pour signaler un homme dont les défauts évidents masquent des qualités cachées). On retrouve, souvent sous forme de pastiche, des scènes connues dans des Langue chinois vernaculaire publicités, des dessins animés, des clips vidéo. L'illustration de moments classiques de l'ouvrage est très fréquente en peinture. -
The Characteristics of Heroes Portrait in Water Margin
2017 4th International Conference on Advanced Education and Management (ICAEM 2017) ISBN: 978-1-60595-519-3 The Characteristics of Heroes Portrait in Water Margin Ran WEIa, Hui YUb and Zhe-Jia TANGc School of Humanities and Social Sciences, China Jiliang University, Hangzhou, China [email protected], [email protected], [email protected] Keywords: The Water Margin, Hero, Self-Value, Characteristics. Abstract. Relative to the heroism of orthodox “saving” work in Romance of the Three Kingdoms, the heroes portrait in Water Margin is deeper affected by townsfolk’s ideas, tends to self-centered and maximize to pursuit the interest of the spirit and material, even has a new phenomenon that in order to achieve self-worth by any means. The heroes portrait in Water Margin presents the new characteristics which goes against the traditional concept of hero. Introduction Although the figures written in Water Margin [1] have many controversial in history, some thinks they were heroes with loyalty, and others think they were bandits Rebels. However, there was no doubt that the Leong's Legends were respected as heroes for a long time. The Water Margin and the Romance of the Three Kingdoms have been carved as Hero spectrum in the Ming dynasty. Yang Minglang commented in the preface of Hero spectrum, “why they were called as heroes in The Water Margin and the Romance of the Three Kingdoms, the answer was the heroes in Water Margin created by the Liangshan’s geographic features and the heroes in the Romance of the Three Kingdoms created by the times.” [2] Nevertheless, the heroes created in the Romance of the Three Kingdoms were all about the dominant class. -
Woman Warriors of the Classic Chinese Novel Shuihu Zhuan
Woman Warriors of the Classic Chinese Novel Shuihu Zhuan BY Charles Sherwood Abstract: The classical Chinese novel Shuihu zhuan, widely published by the end of the sixteenth century, has long been popular with the Chinese public and as such has been the subject of much scholarly analysis and debate. Within the existing literature on Shuihu zhuan much has already been said about the novel’s hostile, misogynistic portrayals of women. Yet, most scholars studying women and gender in the novel have focused only on the overwhelmingly negative representation of sensuous women and how it is contrasted with the positive image of an asexual, masculine brotherhood of heroes. Little attention however has been paid to the woman warriors that join this brotherhood and how they are presented in the novel. By examining the case of each woman warrior in full, this paper seeks to show why these women are allowed to be heroes despite the hostile tone of the novel and how their positions as heroes are circumscribed by their positions as women. In doing so, this paper proposes that portrayals of women in the novel, though still largely misogynistic in nature, are more diverse in both form and implication than what previous literature has conveyed. 2 Introduction This paper analyzes the place of women, and especially woman warriors, in the classic Chinese novel Shuihu zhuan which is also commonly known in English as The Water Margin, Outlaws of the Marsh, or All Men are Brother. This novel is considered one of the four classic Chinese novels along with Dream of the Red Chamber, Romance of the Three Kingdoms, and Journey to the West. -
Outlaws-062 Scrolls
Welcome to the Water Margin Podcast. This is episode 62. Last time, Song Jiang decided to go alone back to his village to bring his father and brother to Liangshan before the authorities could arrest them. But no sooner had he set foot in the village did he find himself fleeing from the local cops. They chased him into a village that supposedly had only one road in and out. But just as things were looking dire, Song Jiang somehow eluded the search party in an old temple, and then got a surprise invitation from a couple girls dressed in green who kept calling him Starlord. They took him along some backroads to a giant palace that he had no idea even existed. And there, he was introduced to a figure that the girls kept referring to as their queen. After much ceremony, Song Jiang finally mustered the courage to look up and gaze at this queen. When he lifted his head, he saw that the hall he was standing in was glittering with gold and jade and was lit by dragon lanterns and phoenix candles. Boys and girls dressed in green stood on both sides, holding jade wands and pennants and waving large fans. In the center, on a bejewelled, carved couch sat their queen. She was dressed in filmy golden silks and held a scepter of white jade. Her eyes were lovely, and her countenance divine, beautiful, yet dignified and serious. “Starlord, I have invited you here,” the Queen said. As she spoke, she gestured for her acolytes to offer wine. -
Welcome to the Water Margin Podcast. This Is Episode 75. Last Time
Welcome to the Water Margin Podcast. This is episode 75. Last time, the constable Lei Heng got into legal trouble when he killed his boss’s lover in a fit of anger because she was roughing up his mother. Lei Heng was on his way to the prefectural office to receive his death sentence, but his escort, who just so happened to be his best bud Zhu Tong, let him go. I mean, who made that assignment, right? While Lei Heng ran off to Liangshan to seek refuge with the bandits, Zhu Tong went back to the magistrate and said, oops, my bad. The magistrate was very fond of Zhu Tong and wanted to go easy on him, but the dead woman’s father insisted that Zhu Tong had intentionally let Lei Heng escape -- which was, you know, true -- and that he must be punished. So the magistrate had no choice but to send Zhu Tong to the prefectural office for sentencing. Zhu Tong was a man of some means, so his family purchased the customary lubricant for the wheels of justice, and when he got to the prefectural office, he was given a caning of 20 strokes and exiled to the penal colony in Cangzhou (1,1). And by the way, that would be the same Cangzhou penal colony that Lin Chong the Panther Head was exiled to, so we’re heading back to familiar territory. So Zhu Tong put on his cangue and followed his two escorts to Cangzhou. His family gave him clothing and money and tipped the guards. -
Two Authorial Rhetorics of Li Yu's (1611-1680) Works
TWO AUTHORIAL RHETORICS OF LI YU'S (1611-1680)WORKS: INVERSION AND AUTO-COMMUNICATION Ying Wang A thesis submitted in conformity with the requirements for the Degree of Doctor of Philosophy Department of East Asian Studies in the University of Toronto O Copyright by Ying Wang 1997 National Library Bibliothèque nationale 1*1 ofCanada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. nie Wellington OttawaON K1AON4 Ottawa ON KIA ON4 Canada Canada The auihor has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant a la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seIl reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de rnicrofiche/£ïlm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. ABSTRACT TWO AUTHORIAL RHETORICS OF LI YU'S (1611-1680)WORKS: Inversion and auto-communication Yuig Wang Doctor of Philosophy Department of East Asian Studies University of Toronto 1997 The prologue explores Li Yu's mode of innovation. A cornparison is drawn between Tao Qian's giving birth to Chinese autobiography and Li Yu's decisive impact on shaping subjective and self-reflexive mode of writing in both fiction and drama. -
The Water Margin Podcast. This Is Episode 54. Last Time, Song Jiang
Welcome to the Water Margin Podcast. This is episode 54. Last time, Song Jiang and his two guards narrowly escaped becoming soylent green in a black tavern and ended up befriending that tavern keeper and his gang of smuggler buddies. Then, farther down the road, they unknowingly ran afoul of some local bullies and found themselves fleeing said bullies at night. Fortunately, they found a boat to ferry them across the Sundown River, leaving their pursuers behind. Unfortunately, the boat stopped in the middle of the river, and the boatman, a guy who called himself Zhang, demanded that they either submit themselves to his blade or drown themselves in the roaring river. Song Jiang begged and pleaded, offering to give the guy all their money and clothes, but the guy was like, “Well, I’m going to get all that anyway. So hurry up and get naked and jump into the water already.” Things were not looking good. Caught between death by stabbing or death by drowning, Song Jiang and his guards picked the latter. Clutching each other, they were just about to jump when suddenly, they heard the sound of water splashing. They turned and saw another boat speeding toward them from upriver. In the boat stood three men. One of them stood at the head of the boat with a pitchfork in hand, while the other two were in the back, rowing hard. Before you knew it, they were near Song Jiang’s boat. “Who is that boatman over there?” the man at the head of the oncoming boat shouted. -
Outlaws 094: Festival
Welcome to the Water Margin Podcast. This is episode 94. Last time, the Liangshan bandits, trying one more time to rescue Lu Junyi from Daming Prefecture, had laid out an elaborate plan to infiltrate and sack the city during the Lantern Festival on the 15th day of the first month of the new year. While our heroes were busy plotting, inside Daming Prefecture, Governor Liang had summoned his commanders Li (3) Cheng (2) and Wen (2) Da (2), along with the prefect of Daming and his other officials to discuss a pressing matter — the giant celebration that usually took place on the night of the Lantern Festival. “We usually have a huge lantern festival and celebrate with the civilians; it’s on par with what they do in the capital,” Governor Liang said. “But this year, we have been attacked twice by the Liangshan bandits. I’m worried that if we hold a festival, there could be trouble. I am thinking about foregoing the celebration this year. What do you all think?” The commander Wen Da said, “The bandits quietly retreated and only left a bunch of anonymous flyers. They must be out of ideas. My lord, there’s no need to worry. If we don’t hold the celebration this year, those knaves will laugh at us when they hear about it. You should send out a decree and tell the civilians that we will put on an even bigger show than in years past. In the center of the city, we should erect two hills of lanterns like they do in the capital. -
Analysis on Female Images in "Water Margin" Junyan Zhou1,*
Advances in Social Science, Education and Humanities Research, volume 572 Proceedings of the 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021) Analysis on Female Images in "Water Margin" Junyan Zhou1,* 1 Beijing Information Technology College, Beijing, China *Corresponding author. Email: [email protected] ABSTRACT "Water Margin" is the essence of wisdom in Chinese history. With 108 heroes in Liangshan as the main line, this book describes the social outlook and human sentiments of the Northern Song Dynasty, and portrays the loyalty and cunning among people. This book is mainly on the stories among men. At the same time, a series of bright female images have been created throughout the book, making the conflicts in the book constant. "There is no conflict, there is no literature". These female images not only push this literary masterpiece to the climax of ups and downs, but also make the work full of vivid details. This paper will mainly analyze the two female images of Jin Cuilian and Yan Poxi, and discuss the causes behind the shaping of female images/fate, as well as the reference significance for women today. Keywords: "Water Margin", Female image, Symbol, Birth of body, Birth of spirit. 1. INTRODUCTION "Water Margin" to a certain extent. The first one is Jin Cuilian, the daughter of Jin Laohan (Lu Zhishen The story of "Water Margin" mainly took place was forced to go to Liangshan because of this in the late Northern Song Dynasty. In the Song female, and Jin Cuilian was the first woman in Dynasty, Neo-Confucianism was promoted, "Water Margin" with a name and surname). -
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