Daoism in the Twentieth Century: Between Eternity and Modernity
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中国区cma持证者名单 截止至2021年9月1日
中国区CMA持证者名单 截止至2021年9月1日 Yixu Cao, CMA,CSCA,CPA,ACCA,CIA 2019 492 Wai Cheung Chan, CMA, CSCA 2020 622 Xiaolin Chen, CMA, CSCA 2021 785 Liang Feng, CMA, CSCA 2021 845 Shing Tak Fung, CMA, CSCA, CPA 2020 621 Yukun Hsu, CMA, CSCA 2020 676 Shengmin Jiang, CMA, CSCA 2021 794 Yiu Man Li, CMA, CSCA 2020 640 Huikang Lin, CMA, CSCA 2017 7 Jing Lin, CMA, CSCA 2018 415 Quanhui Liu, CMA, CSCA, CPA, CIA 2021 855 Ping Qian, CMA, CSCA 2018 396 Xiaolei Qiu, CMA, CSCA, CPA, CFP, CIA, CFA 2017 96 Yufei Shan, CMA, CSCA, CPA, CFE 2020 726 Ming Han Tsai, CMA, CSCA 2018 428 Lin Wang, CMA, CSCA 2017 22 Chunling Yang, CMA, CSCA 2020 648 Xiaolong Zhang, CMA, CSCA 2020 697 Yi Zhang, CMA, CSCA 2020 678 Qing Zhu, CMA, CSCA 2017 41 Copyright © 2021 by Institute of Management Accountants, Inc. 中国区CMA持证者名单 截止至2021年9月1日 Siha A, CMA 2020 81134 Bei Ai, CMA 2020 84918 Danlu Ai, CMA 2021 94445 Fengting Ai, CMA 2019 75078 Huaqin Ai, CMA 2019 67498 Jie Ai, CMA 2021 94013 Jinmei Ai, CMA 2020 79690 Qingqing Ai, CMA 2019 67514 Weiran Ai, CMA 2021 99010 Xia Ai, CMA 2021 97218 Xiaowei Ai, CMA, CIA 2019 75739 Yizhan Ai, CMA 2021 92785 Zi Ai, CMA 2021 93990 Guanfei An, CMA 2021 99952 Haifeng An, CMA 2021 92781 Haixia An, CMA 2016 51078 Haiying An, CMA 2021 98016 Jie An, CMA 2012 38197 Jujie An, CMA 2018 58081 Jun An, CMA 2019 70068 Juntong An, CMA 2021 94474 Kewei An, CMA 2021 93137 Lanying An, CMA, CPA 2021 90699 Copyright © 2021 by Institute of Management Accountants, Inc. -
Performing Masculinity in Peri-Urban China: Duty, Family, Society
The London School of Economics and Political Science Performing Masculinity in Peri-Urban China: Duty, Family, Society Magdalena Wong A thesis submitted to the Department of Anthropology of the London School of Economics for the degree of Doctor of Philosophy, London December 2016 1 DECLARATION I certify that the thesis I have presented for examination for the MPhil/ PhD degree of the London School of Economics and Political Science is solely my own work other than where I have clearly indicated that it is the work of others (in which case the extent of any work carried out jointly by me and any other person is clearly identified in it). The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgement is made. This thesis may not be reproduced without my prior written consent. I warrant that this authorisation does not, to the best of my belief, infringe the rights of any third party. I declare that my thesis consists of 97,927 words. Statement of use of third party for editorial help I confirm that different sections of my thesis were copy edited by Tiffany Wong, Emma Holland and Eona Bell for conventions of language, spelling and grammar. 2 ABSTRACT This thesis examines how a hegemonic ideal that I refer to as the ‘able-responsible man' dominates the discourse and performance of masculinity in the city of Nanchong in Southwest China. This ideal, which is at the core of the modern folk theory of masculinity in Nanchong, centres on notions of men's ability (nengli) and responsibility (zeren). -
Cataloguing Chinese Art in the Middle and Late Imperial Eras
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations Spring 2010 Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras YEN-WEN CHENG University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Asian Art and Architecture Commons, Asian History Commons, and the Cultural History Commons Recommended Citation CHENG, YEN-WEN, "Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras" (2010). Publicly Accessible Penn Dissertations. 98. https://repository.upenn.edu/edissertations/98 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/98 For more information, please contact [email protected]. Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras Abstract After obtaining sovereignty, a new emperor of China often gathers the imperial collections of previous dynasties and uses them as evidence of the legitimacy of the new regime. Some emperors go further, commissioning the compilation projects of bibliographies of books and catalogues of artistic works in their imperial collections not only as inventories but also for proclaiming their imperial power. The imperial collections of art symbolize political and cultural predominance, present contemporary attitudes toward art and connoisseurship, and reflect emperors’ personal taste for art. The attempt of this research project is to explore the practice of art cataloguing during two of the most important reign periods in imperial China: Emperor Huizong of the Northern Song Dynasty (r. 1101-1125) and Emperor Qianlong of the Qing Dynasty (r. 1736-1795). Through examining the format and content of the selected painting, calligraphy, and bronze catalogues compiled by both emperors, features of each catalogue reveal the development of cataloguing imperial artistic collections. -
Performing Shakespeare in Contemporary Taiwan
Performing Shakespeare in Contemporary Taiwan by Ya-hui Huang A thesis submitted in partial fulfilment for the requirements of the degree of Doctor of Philosophy at the University of Central Lancashire Jan 2012 Abstract Since the 1980s, Taiwan has been subjected to heavy foreign and global influences, leading to a marked erosion of its traditional cultural forms. Indigenous traditions have had to struggle to hold their own and to strike out into new territory, adopt or adapt to Western models. For most theatres in Taiwan, Shakespeare has inevitably served as a model to be imitated and a touchstone of quality. Such Taiwanese Shakespeare performances prove to be much more than merely a combination of Shakespeare and Taiwan, constituting a new fusion which shows Taiwan as hospitable to foreign influences and unafraid to modify them for its own purposes. Nonetheless, Shakespeare performances in contemporary Taiwan are not only a demonstration of hybridity of Westernisation but also Sinification influences. Since the 1945 Kuomintang (Chinese Nationalist Party, or KMT) takeover of Taiwan, the KMT’s one-party state has established Chinese identity over a Taiwan identity by imposing cultural assimilation through such practices as the Mandarin-only policy during the Chinese Cultural Renaissance in Taiwan. Both Taiwan and Mainland China are on the margin of a “metropolitan bank of Shakespeare knowledge” (Orkin, 2005, p. 1), but it is this negotiation of identity that makes the Taiwanese interpretation of Shakespeare much different from that of a Mainlanders’ approach, while they share certain commonalities that inextricably link them. This study thus examines the interrelation between Taiwan and Mainland China operatic cultural forms and how negotiation of their different identities constitutes a singular different Taiwanese Shakespeare from Chinese Shakespeare. -
Mirror, Moon, and Memory in Eighth-Century China: from Dragon Pond to Lunar Palace
EUGENE Y. WANG Mirror, Moon, and Memory in Eighth-Century China: From Dragon Pond to Lunar Palace Why the Flight-to-the-Moon The Bard’s one-time felicitous phrasing of a shrewd observation has by now fossilized into a commonplace: that one may “hold, as ’twere, the mirror up to nature; to show virtue her own feature, scorn her own image, and the very age and body of the time his form and pressure.”1 Likewise deeply rooted in Chinese discourse, the same analogy has endured since antiquity.2 As a commonplace, it is true and does not merit renewed attention. When presented with a physical mirror from the past that does register its time, however, we realize that the mirroring or showing promised by such a wisdom is not something we can take for granted. The mirror does not show its time, at least not in a straightforward way. It in fact veils, disfi gures, and ultimately sublimates the historical reality it purports to refl ect. A case in point is the scene on an eighth-century Chinese mirror (fi g. 1). It shows, at the bottom, a dragon strutting or prancing over a pond. A pair of birds, each holding a knot of ribbon in its beak, fl ies toward a small sphere at the top. Inside the circle is a tree fl anked by a hare on the left and a toad on the right. So, what is the design all about? A quick iconographic exposition seems to be in order. To begin, the small sphere refers to the moon. -
Rediscovering the Idea of Cultural Heritage and the Relationship with Nature: Four Schools of Essential Thought of the Ancient Han Chinese
heritage Article Rediscovering the Idea of Cultural Heritage and the Relationship with Nature: Four Schools of Essential Thought of the Ancient Han Chinese Otto Chen * and Dawei Han Department of Civil Engineering, University of Bristol, Bristol BS8 1TR, UK * Correspondence: [email protected]; Tel.: +44-117-903-5428 Received: 12 June 2019; Accepted: 28 June 2019; Published: 3 July 2019 Abstract: After a long-standing debate of pluralism in heritage conservation, the global practice has just started to broaden its view from material to people and even to nature, leading to the potential of a more comprehensive understanding and harmony between these spheres. Notwithstanding that the shift from material to people and then to nature seemingly looks like the only path in the modern heritage conservation movement to achieve the foregoing goals, in fact, there exist some regional cultures that originally featured particular views on human–nature harmony. This paper hence highlights the regional difference in heritage with a focus on China of ancient times, which unfolds the particular perspective emphasising the unity of human and nature. With a case study of Huaqing Palace of the Tang Dynasty (618–907 CE), the research is expected to be the first attempt to rediscover that the four schools of thought, Buddhism, Taoism, Confucianism and I Ching, had jointly formed a “wisdom” system of the ancient Han Chinese in shaping the idea of cultural heritage, as well as the idea of heritage conservation, which were inherited by modern Chinese without knowing and recognising it. The paper, therefore, argues that without understanding and acknowledging the significance of the ancient Han Chinese’s particular view on nature and the universe formed by the four schools of thought behind the material, it is not likely to protect and promote comprehensively their heritage value, such that the importance of cultural diversity will be just rhetoric. -
Religion in China BKGA 85 Religion Inchina and Bernhard Scheid Edited by Max Deeg Major Concepts and Minority Positions MAX DEEG, BERNHARD SCHEID (EDS.)
Religions of foreign origin have shaped Chinese cultural history much stronger than generally assumed and continue to have impact on Chinese society in varying regional degrees. The essays collected in the present volume put a special emphasis on these “foreign” and less familiar aspects of Chinese religion. Apart from an introductory article on Daoism (the BKGA 85 BKGA Religion in China prototypical autochthonous religion of China), the volume reflects China’s encounter with religions of the so-called Western Regions, starting from the adoption of Indian Buddhism to early settlements of religious minorities from the Near East (Islam, Christianity, and Judaism) and the early modern debates between Confucians and Christian missionaries. Contemporary Major Concepts and religious minorities, their specific social problems, and their regional diversities are discussed in the cases of Abrahamitic traditions in China. The volume therefore contributes to our understanding of most recent and Minority Positions potentially violent religio-political phenomena such as, for instance, Islamist movements in the People’s Republic of China. Religion in China Religion ∙ Max DEEG is Professor of Buddhist Studies at the University of Cardiff. His research interests include in particular Buddhist narratives and their roles for the construction of identity in premodern Buddhist communities. Bernhard SCHEID is a senior research fellow at the Austrian Academy of Sciences. His research focuses on the history of Japanese religions and the interaction of Buddhism with local religions, in particular with Japanese Shintō. Max Deeg, Bernhard Scheid (eds.) Deeg, Max Bernhard ISBN 978-3-7001-7759-3 Edited by Max Deeg and Bernhard Scheid Printed and bound in the EU SBph 862 MAX DEEG, BERNHARD SCHEID (EDS.) RELIGION IN CHINA: MAJOR CONCEPTS AND MINORITY POSITIONS ÖSTERREICHISCHE AKADEMIE DER WISSENSCHAFTEN PHILOSOPHISCH-HISTORISCHE KLASSE SITZUNGSBERICHTE, 862. -
Murray Road Project
Murray Road Project CENTRAL HONG KONG An architectural masterpiece, Murray Road Project is set to become a modern icon amongst the world’s most spectacular landmarks (artist’s impression) (artist’s impression) Murray Road Project, Hong Kong by Zaha Hadid Architects for Henderson Land Render by Cosmoscube and Arqui9 Chairmen’s Statement Profit Attributable to Shareholders Dividends The Group’s underlying profit attributable to equity The Board recommends the payment of a final dividend of shareholders for the year ended 31 December 2020 was HK$1.30 per share to shareholders whose names appear on HK$14,899 million, representing an increase of HK$259 the Register of Members of the Company on Wednesday, million or 1.8% over HK$14,640 million for the previous 9 June 2021, and such final dividend will not be subject to any year. The Group’s underlying profit in this financial year withholding tax in Hong Kong. Including the interim dividend included a profit contribution of about HK$3,629 million of HK$0.50 per share already paid, the total dividend for the arising from the transfer of the Group’s equity interests in the year ended 31 December 2020 will amount to HK$1.80 per company owning certain land lots in Wo Shang Wai, the New share (2019: HK$1.80 per share). Territories, whereas the attributable share of underlying profit The proposed final dividend is expected to be distributed to contribution from the transfer of the Group’s 50% equity shareholders on Monday, 21 June 2021. interest in an investment property in Tsim Sha Tsui amounted to HK$1,305 million only in the previous year. -
崑崙纏手八卦kunlun Twining Hands Bagua Qigong
崑崙纏手八卦 Kunlun Twining Hands Bagua Qigong In Kunlun Twining Hand Bagua we walk in a circle in order to gather the Qi from all eight directions which is Bagua (eight situation). When we walk, we cover clockwise and anti-clockwise which also connects with post natal and prenatal Qi and to stimulate our internal organs. Chinese Qigong discovered that each direction connects with an internal organ. This balances our Qi and gets rid of negative Qi. Other movements in the form connect particularly with the Liver, stimulating this area and releasing excess Liver Qi. This helps to make our liver soft and healthy. When we stand with our toes in and heels turned out in movement two, this shape represents the Chinese writing for the number eight (八). In movement eighteen, the Gua Palm develops Qi for transmission for healing ourselves. Below is a poem for this form. 口訣: 五行八卦深, 造詣在中心, 提供氣功素, 伸手打病氣. 任督兩脈動, 必須到心中, 心中往上升, 升到五行中. Poem: Five Elements and Bagua principle are very profound - need to understand in the heart. That will bring up the level of Qigong training. Slapping with hands to eliminate the sick Qi. Smoothing Ren and Du Mai, then the Qi reaches to the middle Dantian, then continue to rise up, at the end high up to Five Elements (Sky high). 1. 放鬆站立 Relaxed Stance 2. 八字亮掌 Open the Palms in Eight Shape Step 3. 陰陽撩掌 Yin Yang Spiral Palms (left palm over the right palm) 4. 旋轉點髃 Spiral Hitting Jianyu Points 5. 背瓜貫氣 Passing Qi to the Back with the Claw 6. 轉身回氣 Recover Qi by Turning the Body 7. -
Explanatory Statement
KWU TUNG NORTH OUTLINE DEVELOPMENT PLAN No. D/KTN/1A EXPLANATORY STATEMENT ODP No. D/KTN/1 Approved by CPLD on 17.10.2013 ODP No. D/KTN/1A Agreed by NT DipCon on 12.5.2020 Fanling, Sheung Shui & Yuen Long East District Planning Office Planning Department Kwu Tung North Outline Development Plan No. D/KTN/1A Explanatory Statement CONTENTS Page 1. Background ………………………………………………………………..1 2. Objectives and Authority of the Plan ……………………………………...2 3. The Planning Scheme Area ………………………………………………..3 4. Population .………………………………………………………………...6 5. Planning Themes and Urban Design and Landscape Framework .……..…6 6. Land Use Proposals ………………………………………………………15 7. Transport ………………………………………………………………….33 8. Environmental Considerations …………...……………………………….37 9. Cultural Heritage ………………………………………………………….41 10. Utility Services ……………………………………………………………41 11. Implementation ……………………………………………………….......43 Plan 1 : Kwu Tung North New Development Area Location Plan Plan 2 : Urban Design and Landscape Framework Plan 3 : Pedestrian Connections Plan Plan 4 : Cycle Track Network Plan Plan 5 : Transport Network Plan Appendix 1: Schedule of Requirement and Provision of G/IC Facilities and Open Space in Kwu Tung North New Development Area Appendix 2: Development Parameters of Major Development Sites in Kwu Tung North New Development Area Kwu Tung North Outline Development Plan No. D/KTN/1A Explanatory Statement 1. Background 1.1 The Territorial Development Strategy Review in 1990s first identified that there was potential for strategic growth in the North East New Territories (NENT). The Planning and Development Study on NENT commissioned in 1998 identified Kwu Tung North (KTN), Fanling North (FLN) and Ping Che/Ta Kwu Ling (PC/TKL) as suitable for New Development Areas (NDAs) development. The Hong Kong 2030: Planning Vision and Strategy, promulgated in 2007, recommended to proceed with the KTN and FLN NDAs, among others, to address the long-term housing demand and provide employment opportunities. -
Bibliographie
Bibliographie 1. Das Schrifttum von Wu Leichuan WU LEI-CH’UAN bzw. WU CHEN-CH’UN (WU ZHENCHUN), Pseudonym HUAI XIN Die englischen Titel in Klammern stammen aus den Originalausgaben, wo sich oft (aber nicht immer) ein chinesisches und ein englisches Inhaltsverzeichnis findet. Die Numerierung und Paginierung von SM, ZL und ZLYSM ist in den Originalausgaben, die dem Verfasser nur in Kopien vorlagen, nicht konsistent und oft nur schwer les- bar. Die Beiträge sind chronologisch geordnet. 1918 „Shu xin“ , in: Zhonghua jidujiaohui nianjian 5 (1918), S. 217-221. 1920 „Lizhi yu jidujiao“ (Confucian Rites and Christianity), in: SM 1 (1920), No. 2, S. 1-6. 1920 „Wo duiyu jidujiaohui de ganxiang“ (Problems of the Christian Church in China. A Statement of Religious Experience), in: SM 1 (1920), No. 4, S. 1-4. 1920 „Wo yong hefa du shengjing? Wo weihe du shengjing?“ , in: SM 1 (1920), No. 6, S. 1. 1920 „Wo suo xinyang de Yesu Jidu“ , in: SM 1 (1920), No. 9 und 10. 1921 „What the Chinese Are Thinking about Christianity“. Transl. by T.C. Chao, in: CR (February 1921), S. 97-102. 1923 „Jidujiao jing yu rujiao jing“ , in: SM 3 (1923), No. 6, S. 1- 6. Abgedruckt in Zhang Xiping und Zhuo Xinping (Hrsg.) 1999, S. 459-465. 1923 „Wo geren de zongjiao jingyan“ (My Personal Religious Experience), in: SM 3 (1923), No. 7-8, S. 1-3. 1923 „Lun Zhongguo jidujiaohui de qiantu“ , in: ZL 10. Juni 1923, No. 11. Abgedruckt in Zhang Xiping und Zhuo Xinping (Hrsg.) 1999, S. 333-336. 1923 „Jidutu jiuguo“ , in: ZL 1 (1923), No. -
The Daoist Tradition Also Available from Bloomsbury
The Daoist Tradition Also available from Bloomsbury Chinese Religion, Xinzhong Yao and Yanxia Zhao Confucius: A Guide for the Perplexed, Yong Huang The Daoist Tradition An Introduction LOUIS KOMJATHY Bloomsbury Academic An imprint of Bloomsbury Publishing Plc 50 Bedford Square 175 Fifth Avenue London New York WC1B 3DP NY 10010 UK USA www.bloomsbury.com First published 2013 © Louis Komjathy, 2013 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. Louis Komjathy has asserted his right under the Copyright, Designs and Patents Act, 1988, to be identified as Author of this work. No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury Academic or the author. Permissions Cover: Kate Townsend Ch. 10: Chart 10: Livia Kohn Ch. 11: Chart 11: Harold Roth Ch. 13: Fig. 20: Michael Saso Ch. 15: Fig. 22: Wu’s Healing Art Ch. 16: Fig. 25: British Taoist Association British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: 9781472508942 Library of Congress Cataloging-in-Publication Data Komjathy, Louis, 1971- The Daoist tradition : an introduction / Louis Komjathy. pages cm Includes bibliographical references and index. ISBN 978-1-4411-1669-7 (hardback) -- ISBN 978-1-4411-6873-3 (pbk.) -- ISBN 978-1-4411-9645-3 (epub) 1.