Lost (And Found) in Translation: the Shenshu, Attributed to Zhuge Liang
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Great Food, Great Stories from Korea
GREAT FOOD, GREAT STORIE FOOD, GREAT GREAT A Tableau of a Diamond Wedding Anniversary GOVERNMENT PUBLICATIONS This is a picture of an older couple from the 18th century repeating their wedding ceremony in celebration of their 60th anniversary. REGISTRATION NUMBER This painting vividly depicts a tableau in which their children offer up 11-1541000-001295-01 a cup of drink, wishing them health and longevity. The authorship of the painting is unknown, and the painting is currently housed in the National Museum of Korea. Designed to help foreigners understand Korean cuisine more easily and with greater accuracy, our <Korean Menu Guide> contains information on 154 Korean dishes in 10 languages. S <Korean Restaurant Guide 2011-Tokyo> introduces 34 excellent F Korean restaurants in the Greater Tokyo Area. ROM KOREA GREAT FOOD, GREAT STORIES FROM KOREA The Korean Food Foundation is a specialized GREAT FOOD, GREAT STORIES private organization that searches for new This book tells the many stories of Korean food, the rich flavors that have evolved generation dishes and conducts research on Korean cuisine after generation, meal after meal, for over several millennia on the Korean peninsula. in order to introduce Korean food and culinary A single dish usually leads to the creation of another through the expansion of time and space, FROM KOREA culture to the world, and support related making it impossible to count the exact number of dishes in the Korean cuisine. So, for this content development and marketing. <Korean Restaurant Guide 2011-Western Europe> (5 volumes in total) book, we have only included a selection of a hundred or so of the most representative. -
Engaging with the Trans-East Asian Cultural Tradition in Modern Chinese, Japanese, Korean, and Taiwanese Literatures, 1880S-1940S
Afterlives of the Culture: Engaging with the Trans-East Asian Cultural Tradition in Modern Chinese, Japanese, Korean, and Taiwanese Literatures, 1880s-1940s The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Hashimoto, Satoru. 2014. Afterlives of the Culture: Engaging with the Trans-East Asian Cultural Tradition in Modern Chinese, Japanese, Korean, and Taiwanese Literatures, 1880s-1940s. Doctoral dissertation, Harvard University. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:13064962 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 Afterlives of the Culture: Engaging with the Trans-East Asian Cultural Tradition in Modern Chinese, Japanese, Korean, and Taiwanese Literatures, 1880s-1940s A dissertation presented by Satoru Hashimoto 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 August 2014 ! ! © 2014 Satoru Hashimoto All rights reserved. ! ! Dissertation Advisor: Professor David Der-Wei Wang Satoru Hashimoto Afterlives of the Culture: Engaging with the Trans-East Asian Cultural Tradition in Modern Chinese, Japanese, Korean, and Taiwanese Literatures, 1880s-1940s Abstract This dissertation examines how modern literature in China, Japan, Korea, and Taiwan in the late-nineteenth to the early-twentieth centuries was practiced within contexts of these countries’ deeply interrelated literary traditions. -
UNIVERSITY of HAWAII LIBRARY. NARRATIVES OF
,UNIVERSITY Of HAWAII LIBRARY. NARRATIVES OF SPACE AND PLACE IN THREE WORKS BY NAKAGAMI KENJI A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN EAST ASIAN LANGUAGES AND LITERATURES (JAPANESE) AUGUST 2005 By Joshua Petitto Thesis Committee: Nobuko Ochner, Chairperson Lucy Lower Arthur Thornhill © Copyright 2005 by Joshua Petitto 111 TABLE OF CONTENTS Chapter 1 - Introduction 1.1 Nakagami's Style , 1 1.2 Literature Review 3 1.3 Summary ofthe Chapters ,. '" 8 1.4 Misaki, "Garyl1san," and "Wara no ie"............................................. 9 Chapter 2 - Down the Ever-Winding Narrative Path 2.1 Introduction........................................................................... 11 2.2 The Problem ofNarrative 11 2.3 Taking on the "Pig ofNarrative". 17 2.5 Conclusion: Monogatari and Genealogy....................................... 20 Chapter 3 - The Ambivalence ofNakagami's Space 3.1 Introduction 3.1.1 Conceptualizing Space 23 3.1.2 The Space ofthe Roji 28 3.2 A History ofKumano 30 3.3 The Ambivalence ofNakagami's Space 3.3.1 Attempted Assertion over Space through Ritual.................. 35 3.3.2 The Dominance ofSpace............................................... 42 3.3.3 Gendered Space and Origin............................................ 44 3.3.4 Reconstructing Space................................................... 47 3.4 Conclusion: The Same Struggle by Another Name............................. 49 Chapter 4 - The Place ofMemory 4.1 Introduction 4.1.1 Space and Place 51 4.1.2 The Recovery ofOrigin..................................... .. 54 4.2 Narratives ofPlace in Misaki, "Garyl1san," and "Wara no ie" 4.2.1 The Brother and Father in Misaki 58 4.2.2 Garyl1 Mountain and Toshihisa 66 4.2.3 The Rediscovery ofDifference in "Wara no ie" 75 4.3 Conclusion: Place, Narrative, and Rememory 80 Chapter 5 - Coming Full Circle: Space, Narrative, and the Next Roji 5.1 Introduction 84 5.2 The Emperor System and Capital................................................ -
Macbeth's and ZHUGE Liang's Fate Explained Through I Ching
Advances in Social Science, Education and Humanities Research, volume 497 Proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020) Macbeth’s and ZHUGE Liang’s Fate Explained Through I Ching Liguo LOU1a 1Department of General Education, Changzhou Institute of Engineering Technology, Changzhou, Jiangsu 213164, China a [email protected] ABSTRACT I Ching, also translated as Yijing or The Changes, is a work on the "law of change" that is universally applicable to the natural world and human society. It originated from China but belongs to all the human kind. It is a treasure to the world civilization and is still valuable to all walks of life. The philosophy of I Ching’s Kun Hexagram is used to analyze the fate of two literary characters: Macbeth and ZHUGE Liang. Macbeth’s collapse of nice fame and good fortune lies in his dashing out of the way of a subordinate in his “top-yin” period; by contrast, ZHUGE Liang’s integrity and prosperity lies in his humility from his “first-yin” period to the “top-yin” period. Keywords: I Ching, Macbeth, ZHUGE Liang, the Kun Hexagram opposite to the Qian Hexagram. Its attribute is “devotion”. 1. INTRODUCTION It signifies receptivity, submission, humility, faithfullness. Contrary to the Qian Hexagram, the Kun Hexagram is Can I Ching (The Law of Chang) be used to predict the fate made up of six yin lines. From the bottom to the top, they and fortune of literary figures? Of course not. Literary are called: the 1st yin (“yin” is also called “six”), the 2nd yin, figures are different from real-life figures in that their fates the 3rd yin, the 4th yin, the 5th yin, and the top yin. -
Welcome to the Romance of the Three Kingdoms Podcast. This Is a Supplemental Episode. Alright, So This Is Another Big One, As We
Welcome to the Romance of the Three Kingdoms Podcast. This is a supplemental episode. Alright, so this is another big one, as we bid farewell to the novel’s main protagonist, Liu Bei. In the novel, he is portrayed as the ideal Confucian ruler, extolled for his virtue, compassion, kindness, and honor, as well as his eagerness for seeking out men of talent. How much of that is actually true? Well, we’ll see. But bear in mind that even the source material we have about Liu Bei should be considered heavily biased, since the main historical source we have, the Records of the Three Kingdoms, was written by a guy who had served in the court of the kingdom that Liu Bei founded, which no doubt colored his view of the man. Given Liu Bei’s eventual status as the emperor of a kingdom, there were, unsurprisingly, very extensive records about his life and career, and what’s laid out in the novel In terms of the whens, wheres, and whats of Liu Bei’s life pretty much corresponds with real-life events. Because of that, I’m not going to do a straight rehash of his life since that alone would take two full episodes. Seriously, I had to rewrite this episode three times to make it a manageable length, which is why it’s being released a month later than I anticipated. So instead, I’m going to pick and choose from the notable stories about Liu Bei from the novel and talk about which ones were real and which ones were pure fiction. -
Weaponry During the Period of Disunity in Imperial China with a Focus on the Dao
Weaponry During the Period of Disunity in Imperial China With a focus on the Dao An Interactive Qualifying Project Report Submitted to the Faculty Of the WORCESTER POLYTECHNIC INSTITUTE By: Bryan Benson Ryan Coran Alberto Ramirez Date: 04/27/2017 Submitted to: Professor Diana A. Lados Mr. Tom H. Thomsen 1 Table of Contents Table of Contents 2 List of Figures 4 Individual Participation 7 Authorship 8 1. Abstract 10 2. Introduction 11 3. Historical Background 12 3.1 Fall of Han dynasty/ Formation of the Three Kingdoms 12 3.2 Wu 13 3.3 Shu 14 3.4 Wei 16 3.5 Warfare and Relations between the Three Kingdoms 17 3.5.1 Wu and the South 17 3.5.2 Shu-Han 17 3.5.3 Wei and the Sima family 18 3.6 Weaponry: 18 3.6.1 Four traditional weapons (Qiang, Jian, Gun, Dao) 18 3.6.1.1 The Gun 18 3.6.1.2 The Qiang 19 3.6.1.3 The Jian 20 3.6.1.4 The Dao 21 3.7 Rise of the Empire of Western Jin 22 3.7.1 The Beginning of the Western Jin Empire 22 3.7.2 The Reign of Empress Jia 23 3.7.3 The End of the Western Jin Empire 23 3.7.4 Military Structure in the Western Jin 24 3.8 Period of Disunity 24 4. Materials and Manufacturing During the Period of Disunity 25 2 Table of Contents (Cont.) 4.1 Manufacturing of the Dao During the Han Dynasty 25 4.2 Manufacturing of the Dao During the Period of Disunity 26 5. -
The Wheelbarrow (Edited from Wikipedia)
The Wheelbarrow (Edited from Wikipedia) SUMMARY A wheelbarrow is a small hand-propelled vehicle, usually with just one wheel, designed to be pushed and guided by a single person using two handles at the rear, or by a sail to push the ancient wheelbarrow by wind. The term "wheelbarrow" is made of two words: "wheel" and "barrow." "Barrow" is a derivation of the Old English "bearwe" which was a device used for carrying loads. The wheelbarrow is designed to distribute the weight of its load between the wheel and the operator so enabling the convenient carriage of heavier and bulkier loads than would be possible were the weight carried entirely by the operator. As such it is a second-class lever. Traditional Chinese wheelbarrows, however, had a central wheel supporting the whole load. Use of wheelbarrows is common in the construction industry and in gardening. Typical capacity is approximately 100 liters (4 cubic feet) of material. A two-wheel type is more stable on level ground, while the almost universal one-wheel type has better maneuverability in small spaces, on planks or when tilted ground would throw the load off balance. The use of one wheel also permits greater control of the deposition of the load on emptying. HISTORY The earliest wheelbarrows with archaeological evidence in the form of a one-wheel cart come from 2nd century Han Dynasty Emperor Hui's tomb murals and brick tomb reliefs. The painted tomb mural of a man pushing a wheelbarrow was found in a tomb at Chengdu, Sichuan province, dated precisely to 118 AD. -
A History of Chinese Letters and Epistolary Culture
A History of Chinese Letters and Epistolary Culture Edited by Antje Richter LEIDEN | BOSTON For use by the Author only | © 2015 Koninklijke Brill NV Contents Acknowledgements ix List of Illustrations xi Abbreviations xiii About the Contributors xiv Introduction: The Study of Chinese Letters and Epistolary Culture 1 Antje Richter PART 1 Material Aspects of Chinese Letter Writing Culture 1 Reconstructing the Postal Relay System of the Han Period 17 Y. Edmund Lien 2 Letters as Calligraphy Exemplars: The Long and Eventful Life of Yan Zhenqing’s (709–785) Imperial Commissioner Liu Letter 53 Amy McNair 3 Chinese Decorated Letter Papers 97 Suzanne E. Wright 4 Material and Symbolic Economies: Letters and Gifts in Early Medieval China 135 Xiaofei Tian PART 2 Contemplating the Genre 5 Letters in the Wen xuan 189 David R. Knechtges 6 Between Letter and Testament: Letters of Familial Admonition in Han and Six Dynasties China 239 Antje Richter For use by the Author only | © 2015 Koninklijke Brill NV vi Contents 7 The Space of Separation: The Early Medieval Tradition of Four-Syllable “Presentation and Response” Poetry 276 Zeb Raft 8 Letters and Memorials in the Early Third Century: The Case of Cao Zhi 307 Robert Joe Cutter 9 Liu Xie’s Institutional Mind: Letters, Administrative Documents, and Political Imagination in Fifth- and Sixth-Century China 331 Pablo Ariel Blitstein 10 Bureaucratic Influences on Letters in Middle Period China: Observations from Manuscript Letters and Literati Discourse 363 Lik Hang Tsui PART 3 Diversity of Content and Style section 1 Informal Letters 11 Private Letter Manuscripts from Early Imperial China 403 Enno Giele 12 Su Shi’s Informal Letters in Literature and Life 475 Ronald Egan 13 The Letter as Artifact of Sentiment and Legal Evidence 508 Janet Theiss 14 Infijinite Variations of Writing and Desire: Love Letters in China and Europe 546 Bonnie S. -
1000CP and Create a Tale That Will Stand the Test of Time
By Tyr Alexander Version 1.5 Welcome to feudal China. For four hundred years, the Han dynasty has ruled the land. Underneath the Han, China knew an age of peace and prosperity. However, like all things, it must one day end. The court eunuchs have usurped imperial authority, not only deceiving the emperor but promoting corrupt officials and persecuting virtuous ones. The people suffered greatly underneath the eunuch's corruption. But it was Zhang Jiao, a Taoist monk, who hammered in the first nail into the Han's coffin when he formed the Yellow Turban Army. With many dissatisfied peasants flocking to his banner, Zhang Jiao led the Yellow Turbans in revolt against the Han Emperor. Heroes and villains alike took up arms to either quell the chaos or prosper from it. No greater heroes arose during this time than Liu Bei, Cao Cao, and Sun Quan. The leaders of Shu-Han, Cao Wei, and Sun Wu respectively. These three men's destinies were intertwined together. Clashing, unifying and more often conspiring against each other, it was their actions that defined the Three Kingdoms period. While neither of these men nor the legacies they left behind would unite the land, their stories are being retold to this day. You now enter China, for good or ill. Will you join the chaos and prosper as the world around you burns? Will you stand up for righteousness and suppress the chaos, restoring the Han Dynasty to its former glory? Will you usurp the land for your own glory and force all the feudal lords to kowtow to your might? Or will you be a roaming vagabond merely going to and fro without a care in the world? Take this 1000CP And create a tale that will stand the test of time. -
A Translation-Study of the Kana Shôri
A Translation-Study of the Kana shōri John Allen Tucker East Carolina University The Kana shōri 假名性理 (Neo-Confucian Terms for Japanese) is one of the most philosophically packed and yet historically puzzling texts of early seventeenth-century Tokugawa Japan (1600-1868). Philosophically, it is noteworthy for at least four reasons, all having to do with its advocacy of Neo-Confucian and Shinto views rather than those of Buddhism. First, the Kana shōri’s emphasis on the inversion of excess in history differed with understandings of time based on the Buddhist teachings of karma and reincarnation.1 Second, the Kana shōri’s paternalistic political views, stressing the crucial nature of a ruler’s parental concern for the people, contrasted with the predominantly medieval stress on propagating the Buddhist dharma for the sake of securing stable, religiously sanctioned rule defended by heavenly guardian kings.2 Third, the Kana shōri’s syncretic accounts of Neo- Confucianism and Shinto, emphasizing the common relevance of notions such as the way of heaven (tendō 天道); reverence (kei 敬); the learning of the mind (shingaku 心學); the transmission of the way (dōtō 道統); the five relationships (gorin 五倫); and the “sixteen- word teaching” (jūrokuji 十六字), contrasted with earlier syncretic formulations favored by medieval Zen theorists.3 Finally, to the extent that the Kana shōri was syncretic, it was so in 1 One of the classic statements of Buddhist historiography is Jien’s 慈圓 Gukanshō 愚菅抄 (1219), which periodizes Japanese history according to the supposed rise and fall of the Buddha’s teachings. For a brief discussion of it, see John S. -
Dynasty Warriors 4 TOTAL Guide
Dynasty Warriors 4 TOTAL Guide By ReVeLaTeD Original Creation Date: 3-29-03 Version 1.01 Build 4403 This guide is a project of ReVeLaTeD, representing Digital Legacy Networks. All content within is copyrighted to Muni 1 Shinobu, and as such, the information is NOT to be duplicated or reproduced, digitally or physically, without express consent of the content owner. Any questions about specific information should be referred directly to Muni Shinobu. Any questions about format, layout, or presentation of this document or the items therein should be referred directly to ReVeLaTeD. Any violation of this edict shall be prosecuted to the fullest extent of the law in your area. Dynasty Warriors 4 TOTAL Guide Itinerary ITINERARY...................................................................................................................................................................2 INTRODUCTION.........................................................................................................................................................3 LEVEL 10 WEAPONS ................................................................................................................................................4 SHU .............................................................................................................................................................................. 4 WEI .............................................................................................................................................................................. -
Remaking History: the Shu and Wu Perspectives in the Three Kingdoms Period
Remaking History: The Shu and Wu Perspectives in the Three Kingdoms Period XIAOFEI TIAN HARVARD UNIVERSITY Of the three powers—Wei, Shu, and Wu—that divided China for the better part of the third century, Wei has received the most attention in the standard literary historical accounts. In a typical book of Chinese literary history in any language, little, if anything, is said about Wu and Shu. This article argues that the consider- ation of the literary production of Shu and Wu is crucial to a fuller picture of the cultural dynamics of the Three Kingdoms period. The three states competed with one another for the claim to political legitimacy and cultural supremacy, and Wu in particular was in a position to contend with Wei in its cultural undertakings, notably in the areas of history writing and ritual music. This article begins with an overview of Shu and Wu literary production, and moves on to a more detailed discussion of Wu’s cultural projects, both of which were intended to assert Wu’s legitimacy and cultural power vis-à-vis Wei and Shu’s claims to cultural and polit- ical orthodoxy. Ultimately, this article implicitly asks the question of how to write literary history when there is scant material from the period under question, and suggests that we perform textual excavations and make use of what we have to try and reconstruct, as best as we can, what once was. A good literary history of the Chinese medieval period, the age of manuscript culture and that of heavy textual losses and transfigurations, should be written with the awareness of the incomplete and imperfect nature of the data we do have, and incorporate the phenomenon of textual losses and transfigurations as well as some reflections on the underlying reasons into its narrative and critical inquiry.