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China: a Resource Unit for Secondary Schools
Prepared originally by a group of prospective social studies teachers at Brooklyn College and edited by Professor Leonard S. Kenworthy. AFFAIRS MATERIALS Brooklyn College Brooklyn I 0, N. Y. Revised Edition: 1959 p.l Resource Unit on China for Secondary Schools Introduction China is in the news today--and will undoubtedly be in the news for years (or centuries ) to come. It is the world's largest nation, with approximately 650 million per sons--or about one person in every four on our globe. In size it is the world's lecond largest country- next to the U.S.S.R. in total area and larger than Canada, Brazil, and the U.S.A. It is a country with nearly 4000 years of history and of great contributions in many fields to the world. In this vast land there is a revolution underway today which is political, social, and economic in nature. This revolution has caused the rest of the world to watch China with interest--and in some cases with great concern. Certainly the repurcussions of this revolution are being felt all over the world. Furthermore, the fact that the communist government of China has not been recognized by the United States and has not been admitted to the United Nations and its specialized agencies has provoked heated and bitter discussions around the globe. These questions are still being debated and dis cussed and will be for some time to come. What happens in China is of profound interest to the rest of the world. It is a country which needs to be studied in secondary schools throughout the United States. -
Animals and Morality Tales in Hayashi Razan's Kaidan Zensho
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses Dissertations and Theses March 2015 The Unnatural World: Animals and Morality Tales in Hayashi Razan's Kaidan Zensho Eric Fischbach University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/masters_theses_2 Part of the Chinese Studies Commons, Japanese Studies Commons, and the Translation Studies Commons Recommended Citation Fischbach, Eric, "The Unnatural World: Animals and Morality Tales in Hayashi Razan's Kaidan Zensho" (2015). Masters Theses. 146. https://doi.org/10.7275/6499369 https://scholarworks.umass.edu/masters_theses_2/146 This Open Access Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. THE UNNATURAL WORLD: ANIMALS AND MORALITY TALES IN HAYASHI RAZAN’S KAIDAN ZENSHO A Thesis Presented by ERIC D. FISCHBACH Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF ARTS February 2015 Asian Languages and Literatures - Japanese © Copyright by Eric D. Fischbach 2015 All Rights Reserved THE UNNATURAL WORLD: ANIMALS AND MORALITY TALES IN HAYASHI RAZAN’S KAIDAN ZENSHO A Thesis Presented by ERIC D. FISCHBACH Approved as to style and content by: __________________________________________ Amanda C. Seaman, Chair __________________________________________ Stephen Miller, Member ________________________________________ Stephen Miller, Program Head Asian Languages and Literatures ________________________________________ William Moebius, Department Head Languages, Literatures, and Cultures ACKNOWLEDGMENTS I would like to thank all my professors that helped me grow during my tenure as a graduate student here at UMass. -
Local Authority in the Han Dynasty: Focus on the Sanlao
Local Authority in the Han Dynasty: Focus on the Sanlao Jiandong CHEN 㱩ڎ暒 School of International Studies Faculty of Arts and Social Sciences University of Technology Sydney Australia A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy University of Technology Sydney Sydney, Australia 2018 Certificate of Original Authorship I certify that the work in this thesis has not previously been submitted for a degree nor has it been submitted as part of requirements for a degree except as fully acknowledged within the text. I also certify that the thesis has been written by me. Any help that I have received in my research work and the preparation of the thesis itself has been acknowledged. In addition, I certify that all information sources and literature used are indicated in the thesis. This thesis is the result of a research candidature conducted with another University as part of a collaborative Doctoral degree. Production Note: Signature of Student: Signature removed prior to publication. Date: 30/10/2018 ii Acknowledgements The completion of the thesis would not have been possible without the help and support of many people. Firstly, I would like to express my sincere gratitude to my supervisor, Associate Professor Jingqing Yang for his continuous support during my PhD study. Many thanks for providing me with the opportunity to study at the University of Technology Sydney. His patience, motivation and immense knowledge guided me throughout the time of my research. I cannot imagine having a better supervisor and mentor for my PhD study. Besides my supervisor, I would like to thank the rest of my thesis committee: Associate Professor Chongyi Feng and Associate Professor Shirley Chan, for their insightful comments and encouragement; and also for their challenging questions which incited me to widen my research and view things from various perspectives. -
The Heritage of Non-Theistic Belief in China
The Heritage of Non-theistic Belief in China Joseph A. Adler Kenyon College Presented to the international conference, "Toward a Reasonable World: The Heritage of Western Humanism, Skepticism, and Freethought" (San Diego, September 2011) Naturalism and humanism have long histories in China, side-by-side with a long history of theistic belief. In this paper I will first sketch the early naturalistic and humanistic traditions in Chinese thought. I will then focus on the synthesis of these perspectives in Neo-Confucian religious thought. I will argue that these forms of non-theistic belief should be considered aspects of Chinese religion, not a separate realm of philosophy. Confucianism, in other words, is a fully religious humanism, not a "secular humanism." The religion of China has traditionally been characterized as having three major strands, the "three religions" (literally "three teachings" or san jiao) of Confucianism, Daoism, and Buddhism. Buddhism, of course, originated in India in the 5th century BCE and first began to take root in China in the 1st century CE, so in terms of early Chinese thought it is something of a latecomer. Confucianism and Daoism began to take shape between the 5th and 3rd centuries BCE. But these traditions developed in the context of Chinese "popular religion" (also called folk religion or local religion), which may be considered a fourth strand of Chinese religion. And until the early 20th century there was yet a fifth: state religion, or the "state cult," which had close relations very early with both Daoism and Confucianism, but after the 2nd century BCE became associated primarily (but loosely) with Confucianism. -
The History of Red Envelopes
The History of the Red Envelopes and How to Use them in the Year of the Rooster 2017. (Hong Bao, Lai See, Ang Pow, Sae Bae Don, Ang Bao) There will be further 2017 updates on our Facebook and Feng Shui blog so bookmark them now below… © 2017 Updated by Daniel Hanna Are you really prepared for 2017? For children and teenagers celebrating Chinese New Year, the Ang Pow is a very exciting part of the celebrations. Even though they are often referred to as red envelopes they are also coloured in a golden colour as red and gold to the Chinese are seen as very auspicious. Red envelopes have many different names; they are more commonly known as “Ang Pow” “red packets” “lai see” “laisee” “hung bao” or “hung-bao”. These envelopes are seen as very lucky when given as a gift and even more fortunate when they contain some money. The main use of red envelopes is for Chinese New Year, birthdays, weddings or any other important event. In recent years, a lot of companies have added their own take to the Ang Pow by adding their company branding on the front which may not necessarily bring good fortune to the receiver although it is nice to see western companies taking on eastern traditions. Some very popular Ang Pow’s in China these days are made with cartoon characters on the front such as hello kitty and Pokémon and you can find them all across the world. The image on the front of an Ang Pow is traditionally a symbolisation of blessings and good wishes of long life, success and good health to the receiver of the envelope and is a great honour to receive. -
Press Release After the Dog Comes The
Press Release After the dog comes the pig Freudenberg employees talk about Chinese New Year customs and traditions Weinheim, Germany February 5, 2018 Good fortune, wealth Press Contact Cornelia Buchta-Noack and contentment - the Year of the Pig promises all this and Freudenberg & Co. KG Head of Corporate Communications more. February 5 is the first day of the Chinese New Year. Tel. 06201 80-4094 The day also marks the beginning of a new chapter in the Fax 06201 88-4094 [email protected] Chinese zodiac. The year of the dog gives way to the year of www.freudenberg.de the pig. The New Year, also known as the Spring Festival, is Martina Muschelknautz the most important traditional holiday in China. Three Freudenberg & Co. KG Corporate Communications Chinese Freudenberg employees based in Weinheim tell us Tel. 06201 80-6637 Fax 06201 88-6637 about their customs and traditions – the most important [email protected] www.freudenberg.de dishes for wealth and good fortune, money gifts via group chats and a TV gala lasting several hours. “Have you already eaten?” is a typical Chinese greeting and reveals the significance of food in Chinese culture. Chinese cuisine is even more important at New Year. Just a few days prior to the holiday, an exodus of people begin the long journey home to enjoy a traditional family feast. Almost every dish has a special meaning for the New Year. Traditional dishes include Chinese dumplings - so-called Jiaozi. As Jiaozi resemble shoe- shaped gold bars, they promise wealth, good fortune and prosperity for the coming year. -
The Chinese Script T � * 'L
Norman, Jerry, Chinese, Cambridge: Cambridge University Press, 1988. 1 3.1 Th e beginnings of Chinese writing 59 3 FISH HORSE ELEPHANT cow (yu) (m ii) (xiimg) (niu) " The Chinese script t � * 'l Figure 3.1. Pictographs in early Chinese writing 3.1 The beginnings of Chinese writing1 The Chinese script appears as a fully developed writing system in the late Shang .dynasty (fourteenth to eleventh centuries BC). From this period we have copious examples of the script inscribed or written on bones and tortoise shells, for the most part in the form of short divinatory texts. From the same period there also Figure 3.2. The graph fo r quiin'dog' exist a number of inscriptions on bronze vessels of various sorts. The former type of graphic record is referred to as the oracle bone script while the latter is com of this sort of graph are shown in Figure 3.1. The more truly representational a monly known· as the bronze script. The script of this period is already a fully graph is, the more difficult and time-consuming it is to depict. There is a natural developed writing system, capable of recording the contemporary Chinese lan tendency for such graphs to become progressively simplified and stylized as a guage in a complete and unambiguous manner. The maturity of this early script writing system matures and becomes more widely used. As a result, pictographs has suggested to many scholars that it must have passed through a fairly long gradually tend to lose their obvious pictorial quality. The graph for qui'in 'dog' period of development before reaching this stage, but the few examples of writing shown in Figure 3.2 can serve as a good illustration of this sort of development. -
A Preliminary Study of Kaoka 高甲 Playscripts in the Philippines
chapter 6 A Preliminary Study of Kaoka 高甲 Playscripts in the Philippines Caroline Chia 1 Introduction As part of a book on Sinitic languages in Southeast Asia, particularly those that are increasingly endangered, this chapter emphasizes “Sinophone” and “Sinitic voices” in the Philippines. Briefly defined, the Sinophone landscape involves Sinitic languages, including Hokkien, and the associated cultures and com- munities which historically experienced colonialism and have increasingly been marginalized in more recent times.1 Here I focus on Sinophone speech, including the soundscapes in which speech is embedded, through theatrical performance in Hokkien. Kaoka was once a popular form of entertainment in Southeast Asia, but the Philippines is the only country in the region that still performs this theatrical art today. I furthermore aim to highlight the diversity of Sinophonic representations as seen in Kaoka playscripts. In these sources, only the phonetic elements have been preserved, whereas the logographic representations (known as Sinographs or Hanzi 漢字) have been omitted. As regards the “Sinitic voices” that this chapter – and this book in general – aims to highlight in the context of Southeast Asia’s Chinese minorities, the academic focus has previously been on the migration and economic devel- opment of Chinese communities in this region. These developments remain important and will be taken into consideration, but the focus here is on filling the cultural and linguistic gaps in scholarship on Kaoka in the Philippines. The people from south Fujian, known as the Hokkiens (ban lam lang 閩南 人), came in large numbers and migrated to different parts of Southeast Asia.2 Despite Southeast Asia’s relatively early interactions with Chinese people 1 Part of this definition is adapted from the Cambria Sinophone World Series, http://www .cambriapress.com/cambriaseries.cfm?template=85, retrieved 25 April 2020. -
Keichū, Motoori Norinaga, and Kokugaku in Early Modern Japan
UNIVERSITY OF CALIFORNIA Los Angeles The Jeweled Broom and the Dust of the World: Keichū, Motoori Norinaga, and Kokugaku in Early Modern Japan A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in History by Emi Joanne Foulk 2016 © Copyright by Emi Joanne Foulk 2016 ABSTRACT OF THE DISSERTATION The Jeweled Broom and the Dust of the World: Keichū, Motoori Norinaga, and Kokugaku in Early Modern Japan by Emi Joanne Foulk Doctor of Philosophy in History University of California, Los Angeles, 2016 Professor Herman Ooms, Chair This dissertation seeks to reconsider the eighteenth-century kokugaku scholar Motoori Norinaga’s (1730-1801) conceptions of language, and in doing so also reformulate the manner in which we understand early modern kokugaku and its role in Japanese history. Previous studies have interpreted kokugaku as a linguistically constituted communitarian movement that paved the way for the makings of Japanese national identity. My analysis demonstrates, however, that Norinaga¾by far the most well-known kokugaku thinker¾was more interested in pulling a fundamental ontology out from language than tying a politics of identity into it: grammatical codes, prosodic rhythms, and sounds and their attendant sensations were taken not as tools for interpersonal communication but as themselves visible and/or audible threads in the fabric of the cosmos. Norinaga’s work was thus undergirded by a positive understanding ii of language as ontologically grounded within the cosmos, a framework he borrowed implicitly from the seventeenth-century Shingon monk Keichū (1640-1701) and esoteric Buddhist (mikkyō) theories of language. Through philological investigation into ancient texts, both Norinaga and Keichū believed, the profane dust that clouded (sacred, cosmic) truth could be swept away, as if by a jeweled broom. -
Li Shangyin: the Poetry of Allusion
LI SHANGYIN: THE POETRY OF ALLUSION By TERESA YEE-WAH YU B.A., The University of Hong Kong, 1973 M.A., The University of British Columbia, 1977 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Asicin Studies) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA August 1990 (o) Teresa Yee-wah Yu, 1990 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. 1 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 The University of British Columbia Vancouver, Canada Date DE-6 (2/88) ABSTRACT A major poet of the Tang period, Li Shangyin is highly regarded yet criticized because his work is densely allusive. Dazzling and rich in meaning, it is also difficult and obscure because of its pervasive allusiveness. Chapter I reviews critical opinion of Li's use of allusion. Many traditional critics see allusion as an ornamental rhetorical device and consider Li's profuse allusiveness an idiosyncrasy to be tolerated in an esteemed poet. Chapter II studies allusion broadly and precisely as a literary concept: generally, allusion is a "connector" of texts, a link between a poet's work and his literary heritage; specifi• cally, it is a linguistic device serving metaphorical functions. -
The Red Envelope War
THE RED ENVELOPE WAR HONGBAO HAVE BECOME THE LATEST BATTLEGROUND BETWEEN CHINA’S TWO DIGITAL BEHEMOTHS By IMD Professor Michael Wade, with Jialu Shan IMD Chemin de Bellerive 23 PO Box 915, CH-1001 Lausanne Switzerland Tel: +41 21 618 01 11 Fax: +41 21 618 07 07 [email protected] www.imd.org Copyright © 2006-2016 IMD - International Institute for Management Development. All rights, including copyright, pertaining to the content of this website/publication/document are owned or controlled for these purposes by IMD, except when expressly stated otherwise. None of the materials provided on/in this website/publication/document may be used, reproduced or transmitted, in whole or in part, in any form or by any means, electronic or mechanical, including photocopying, recording or the use of any information storage and retrieval system, without permission in writing from IMD. To request such permission and for further inquiries, please contact IMD at [email protected]. Where it is stated that copyright to any part of the IMD website/publication/document is held by a third party, requests for permission to copy, modify, translate, publish or otherwise make available such part must be addressed directly to the third party concerned. THE RED ENVELOPE WAR | Hongbao have become the latest battleground between China’s two digital behemoths In a tradition spanning more than 500 years, Chinese people have been giving each other money in red envelopes, called hongbao, as part of the annual New Year celebrations. These hongbao have now become the latest battleground between China’s two digital behemoths, Alibaba and Tencent. -
Chinese New Year Festival and Prayers
Chinese New Year Festival and Prayers Courtesy, Shepparton Interfaith Network Chinese New Year in 2018 is on Friday, the 16th of February (16/2/2018). According to the Chinese 12-year animal zodiac cycle, the Chinese year beginning in 2018 is the year of the Dog. Each Chinese zodiac year begins on Chinese New Year’s Day. Dog years are believed to be the most unlucky for people born in previous years of the Dog. Chinese New Year Festival – Cultural Background Chinese New Year is the first day of the first lunar month of Chinese calendar year. The Chinese New Year is always between January 20 to February 20 of the Gregorian calendar. The preparation to celebrate the Chinese New Year festival begins around 8th day of 12th lunar month. The last day of the Chinese New Year festival is on the 15th day of first lunar month. That means it takes around three weeks to prepare the festival and 15 days to celebrate… Traditionally, a Chinese man works outside for living and his wife takes care everything inside home. A month is not long enough for a housewife to clean entire house, put new interior and exterior decoration, prepare new clothes and gifts for all family members, and food for many events. You can imagine that Chinese New Year festival is a combination of Thanksgiving, Christmas and New Year together. To understand more about 15-day Chinese New Year festival, we need to know some Chinese culture background. Thousands of years ago, China was mainly an agriculture society. Each year, the dynasty government announced annual calendar for farmers.