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Review Statement of World Biosphere Reserve [ July 2013 ]
Review Statement of World Biosphere Reserve [ July 2013 ] Prefeace According to the Resolution 28 C/2.4 on Statutory Framework of MAB (Man and Biosphere) Program passed on the 28th session of the UNESCO General Conference, Article 4 has been clearly identified as the criteria which shall be followed by biosphere reserves. In addition, it is stipulated in Article 9 that a Decennium Review shall be conducted on the world biosphere reserve every a decade, this Review shall be based on the report prepared by the relevant authority; the Review result shall be submitted to the relevant national secretariat. The related text of Statutory Framework is attached in Annex 3. This Review Statement will be helpful for each country preparing national reports and update data as stipulated in Article 9, and the secretariat timely accessing to data associated with the biosphere reserve. This Statement shall contribute to the inspection of MAB ICC on the biosphere reserve, and judge whether it can meet all criteria mentioned in Article 9 of the Legal Framework, especially three major functions. It shall be noted that is required to specify how the biosphere reserve achieves the various criteria in the last part of the Statement (Criteria and Progress). The information from Decennium Review will be used by UNESCO for the following purposes: (a) Inspection of the relevant autorities of International Advisory Committee and MAB ICC on the biosphere reserve; and (b) the world's information system, especially the UNESCO's MAB network and publications, so as to promote communication among people concerned the world biosphere reserve and influence each other. -
Proquest Dissertations
Daoxuan's vision of Jetavana: Imagining a utopian monastery in early Tang Item Type text; Dissertation-Reproduction (electronic) Authors Tan, Ai-Choo Zhi-Hui Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 25/09/2021 09:09:41 Link to Item http://hdl.handle.net/10150/280212 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are In typewriter face, while others may be from any type of connputer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overiaps. ProQuest Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 DAOXUAN'S VISION OF JETAVANA: IMAGINING A UTOPIAN MONASTERY IN EARLY TANG by Zhihui Tan Copyright © Zhihui Tan 2002 A Dissertation Submitted to the Faculty of the DEPARTMENT OF EAST ASIAN STUDIES In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2002 UMI Number: 3073263 Copyright 2002 by Tan, Zhihui Ai-Choo All rights reserved. -
The Contrast of Chinese and English in the Translation of Chinese Poetry
Asian Social Science December, 2008 The Contrast of Chinese and English in the Translation of Chinese Poetry Ning Li Continuing Education College Beijing Information Science & Technology University Beijing 100076, China E-mail: [email protected] Abstract Chinese poetry is the soul of Chinese literature and Chinese culture. A good translation of a Chinese verse can promote the prevalence of Chinese culture. In the translation of Chinese poetry, translators should not only keep the characteristics of Chinese poems, but also embody the English characteristics. This article analyzed some versions of translation and proposed factors affecting the translation of Chinese poetry. Keywords: Chinese Poetry, Translation, Contrast 1. Introduction Chinese poetry is one of the most important parts in Chinese literature. Since The Book of Odes, the first poetry collection written by Confucius in the spring-autumn period was known by people, Chinese poetry has developed quickly. In the Tang Dynasty, Chinese poetry was at its peak. In this period, many immortal poems were written and had great influence on the later Dynasties. In the later Dynasties, Chinese poetry went on its development. But because of the development of other literary styles—Yuan Songs (drama created mainly in Yuan Dynasty), novels, and essays, poetry is no longer the major literary style. In this article, I’d like to talk about the contrast of Chinese and English in the translation of Tang-poems. Tang-poems has very strict phonological format. In each stanza, there are five (in quatrains) or seven (in regulated verses) words. Using limited words to express unlimited sense is the major characteristic of Chinese poetry. -
Out of the Shadows: Socially Engaged Buddhist Women
University of San Diego Digital USD Theology and Religious Studies: Faculty Scholarship Department of Theology and Religious Studies 2019 Out of the Shadows: Socially Engaged Buddhist Women Karma Lekshe Tsomo PhD University of San Diego, [email protected] Follow this and additional works at: https://digital.sandiego.edu/thrs-faculty Part of the Buddhist Studies Commons, and the Religious Thought, Theology and Philosophy of Religion Commons Digital USD Citation Tsomo, Karma Lekshe PhD, "Out of the Shadows: Socially Engaged Buddhist Women" (2019). Theology and Religious Studies: Faculty Scholarship. 25. https://digital.sandiego.edu/thrs-faculty/25 This Book is brought to you for free and open access by the Department of Theology and Religious Studies at Digital USD. It has been accepted for inclusion in Theology and Religious Studies: Faculty Scholarship by an authorized administrator of Digital USD. For more information, please contact [email protected]. Section Titles Placed Here | I Out of the Shadows Socially Engaged Buddhist Women Edited by Karma Lekshe Tsomo SAKYADHITA | HONOLULU First Edition: Sri Satguru Publications 2006 Second Edition: Sakyadhita 2019 Copyright © 2019 Karma Lekshe Tsomo All rights reserved No part of this book may not be reproduced or utilized in any form or by any means, electronic or mechanical, or by any information storage or retreival system, without the prior written permission from the publisher, except in the case of brief quotations. Cover design Copyright © 2006 Allen Wynar Sakyadhita Conference Poster -
How Poetry Became Meditation in Late-Ninth-Century China
how poetry became meditation Asia Major (2019) 3d ser. Vol. 32.2: 113-151 thomas j. mazanec How Poetry Became Meditation in Late-Ninth-Century China abstract: In late-ninth-century China, poetry and meditation became equated — not just meta- phorically, but as two equally valid means of achieving stillness and insight. This article discusses how several strands in literary and Buddhist discourses fed into an assertion about such a unity by the poet-monk Qiji 齊己 (864–937?). One strand was the aesthetic of kuyin 苦吟 (“bitter intoning”), which involved intense devotion to poetry to the point of suffering. At stake too was the poet as “fashioner” — one who helps make and shape a microcosm that mirrors the impersonal natural forces of the macrocosm. Jia Dao 賈島 (779–843) was crucial in popularizing this sense of kuyin. Concurrently, an older layer of the literary-theoretical tradition, which saw the poet’s spirit as roaming the cosmos, was also given new life in late Tang and mixed with kuyin and Buddhist meditation. This led to the assertion that poetry and meditation were two gates to the same goal, with Qiji and others turning poetry writing into the pursuit of enlightenment. keywords: Buddhism, meditation, poetry, Tang dynasty ometime in the early-tenth century, not long after the great Tang S dynasty 唐 (618–907) collapsed and the land fell under the control of regional strongmen, a Buddhist monk named Qichan 棲蟾 wrote a poem to another monk. The first line reads: “Poetry is meditation for Confucians 詩為儒者禪.”1 The line makes a curious claim: the practice Thomas Mazanec, Dept. -
Thomas J. Mazanec Curriculum Vitae March 2021
Thomas J. Mazanec Curriculum Vitae March 2021 HSSB 2255 Department of East Asian Languages and Cultural Studies University of California, Santa Barbara Santa Barbara, CA 93106 [email protected]; http://tommazanec.com EDUCATION 2017 Ph.D., Princeton University. Joint: Department of East Asian Studies and Interdisciplinary Doctoral Program in the Humanities. Dissertation: “The Invention of Chinese Buddhist Poetry: Poet-Monks in Late Medieval China (c. 760–960 CE).” 2011 M.A., University of Colorado, Boulder. Department of Comparative Literature. Thesis: “To Know the Tone: Analyses and Experimental Translations of Li Duan’s Poetic Experiments.” 2007 B.A., Calvin College. Majors: English, Asian Studies. Graduated with Honors. EMPLOYMENT 2017– Assistant Professor, UC Santa Barbara, Department of East Asian Languages and Cultural Studies. Affiliations: Program in Comparative Literature, Department of Religious Studies. MAJOR PROJECTS • Poet-Monks: the Invention of Buddhist Poetry in Late Medieval China. Monograph based on doctoral dissertation, currently under review for publication. Argues that the concept of “Buddhist poetry,” in the fullest sense of the term, took shape over the latter half of the Tang dynasty, actively invented by a new class of poet that came into being at the same time, the poet-monk (shiseng). • Beyond Lyricism: Classical Chinese Poetry in Other Modes. Monograph in preparation. Argues for interpreting classical Chinese poetry not according to the modern ideal of self- expressivity but in its relation to five other modes that were meaningful to premodern audiences: sound, assemblage, network, index, and inscription. Offers a critical history of the concept of “lyricism” and explorations into topics such as whistling, pastiche poems, versified primers, and poems written on objects. -
The Donkey Rider As Icon: Li Cheng and Early Chinese Landscape Painting Author(S): Peter C
The Donkey Rider as Icon: Li Cheng and Early Chinese Landscape Painting Author(s): Peter C. Sturman Source: Artibus Asiae, Vol. 55, No. 1/2 (1995), pp. 43-97 Published by: Artibus Asiae Publishers Stable URL: http://www.jstor.org/stable/3249762 . Accessed: 05/08/2011 12:40 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Artibus Asiae Publishers is collaborating with JSTOR to digitize, preserve and extend access to Artibus Asiae. http://www.jstor.org PETER C. STURMAN THE DONKEY RIDER AS ICON: LI CHENG AND EARLY CHINESE LANDSCAPE PAINTING* he countryis broken,mountains and rivers With thesefamous words that lamentthe "T remain."'I 1T catastropheof the An LushanRebellion, the poet Du Fu (712-70) reflectedupon a fundamental principle in China:dynasties may come and go, but landscapeis eternal.It is a principleaffirmed with remarkablepower in the paintingsthat emergedfrom the rubbleof Du Fu'sdynasty some two hundredyears later. I speakof the magnificentscrolls of the tenth and eleventhcenturies belonging to the relativelytightly circumscribedtradition from Jing Hao (activeca. 875-925)to Guo Xi (ca. Ooo-9go)known todayas monumentallandscape painting. The landscapeis presentedas timeless. We lose ourselvesin the believabilityof its images,accept them as less the productof humanminds and handsthan as the recordof a greatertruth. -
Films and Videos on Tibet
FILMS AND VIDEOS ON TIBET Last updated: 15 July 2012 This list is maintained by A. Tom Grunfeld ( [email protected] ). It was begun many years ago (in the early 1990s?) by Sonam Dargyay and others have contributed since. I welcome - and encourage - any contributions of ideas, suggestions for changes, corrections and, of course, additions. All the information I have available to me is on this list so please do not ask if I have any additional information because I don't. I have seen only a few of the films on this list and, therefore, cannot vouch for everything that is said about them. Whenever possible I have listed the source of the information. I will update this list as I receive additional information so checking it periodically would be prudent. This list has no copyright; I gladly share it with whomever wants to use it. I would appreciate, however, an acknowledgment when the list, or any part, of it is used. The following represents a resource list of films and videos on Tibet. For more information about acquiring these films, contact the distributors directly. Office of Tibet, 241 E. 32nd Street, New York, NY 10016 (212-213-5010) Wisdom Films (Wisdom Publications no longer sells these films. If anyone knows the address of the company that now sells these films, or how to get in touch with them, I would appreciate it if you could let me know. Many, but not all, of their films are sold by Meridian Trust.) Meridian Trust, 330 Harrow Road, London W9 2HP (01-289-5443)http://www.meridian-trust/.org Mystic Fire Videos, P.O. -
Namen, Begrippen En Titels Van Aangehaalde Werken in Pinyin En Karakters (Bijlage Bij E-Book Wortels Van Levenskunst)
Namen, begrippen en titels van aangehaalde werken in Pinyin en karakters (bijlage bij e-book Wortels van Levenskunst) Onderstaande lijst geeft alle begrippen, namen en titels van aangehaalde werken, genoemd in de gedrukte uitgave van Wortels van Levenskunst en het bijbehorende e-book. Aandacht jing 敬 Aangeboren kennis, neoconfucianistisch begrip liangzhi 良知 Aangeboden aan mijn oudere broer, uitstekend talent bij zijn Zeng xiong xiucai rujun shi 贈兄秀才入軍詩 indiensttreding in het leger Aangenaam toevluchtsoord (11e eeuw n.Chr.), gedicht Anlewo 安樂窩 Aansporing tot meditatie (rond 1130 n.Chr.), boeddhistische Zhuchan zhen 坐禪箴 tekst Aantekening over mijn grashut in Lushan Lushan caotang ji 廬山草堂記 Aantekeningen bij de Verandering van Zhou, commentaar op Zhouyi zhu 周易注 Boek over verandering (1e helft 3e eeuw n.Chr.) Aantekeningen van de pipa (1e helft 14e eeuw), opera. Pipa ji 琵琶記 Aantekeningen bij Laozi’s Boek van weg en werking (1e helft Laozi daodejing zhu 老子道德經注 3e eeuw n.Chr.) Academie shuyuan 書院 Acht verhandelingen over het volgen van het leven (1591), Zunsheng bajian 遵生八笺 teksten over zelfcultivering Agrarische school nongjia 農家 Akkerland tiandi 田地 Algemene overwegingen gailun 概論 Alleen zittend bij het Bloemenklooster (11e eeuw n.Chr.), Hua’an duzuo 花庵獨坐 gedicht Alles onder de hemel tianxia 天下 Almanak (rond 1050 n.Chr.), neoconfucianistische tekst Tongshu 通書 Andere oever bi’an 彼岸 Antithetische parallellie pianwen 駢文 As hui 灰 Avatamsaka soetra Huayan jing 華嚴經 Ba, rivier Ba 灞 Bai Juyi (772-846), dichter Bai Juyi 白居易 Baisha (is Chen Xianzhang, -
Rasbdb Subject Keywords
Leigh Marymor, Compiler KEYWORD GUIDE A joint project of the Museum of Northern Arizona and the Bay Area Rock Art Research Association KEYWORD GUIDE Compiled by Leigh Marymor, Research Associate, Museum of Northern Arizona. 1 September 15, 2020 KEYWORD GUIDE Mortars, cupules, and pecked curvilinear nucleated forms. Canyon Trail Park, San Francisco Bay Area, California, USA. Compiled by Leigh Marymor, Research Associate, Museum of Northern Arizona. 2 September 15, 2020 KEYWORD GUIDE Aerial Photography .......................................... 9 Archival storage ............................................... 9 Table of Contents Augmented Reality .......................................... 9 Bias ................................................................... 9 INTRODUCTION: .................................................. 7 Casts ................................................................. 9 Classification .................................................... 9 SUBJECT KEYWORDS: ........................................... 8 Digital Sound Recording................................... 9 CULTURAL CONTEXT ..............................................8 Digital Storage ................................................. 9 CULTURAL RESOURCE MANAGEMENT ..................8 Drawing.......................................................... 10 Cultural Tourism ...............................................8 Historic Documentation ................................. 10 Community Involvement ...................................8 Laser Scanning -
Mirror, Dream and Shadow: Gu Taiqing's Life and Writings a Dissertation Submitted to the Graduate Division of the University O
MIRROR, DREAM AND SHADOW: GU TAIQING‘S LIFE AND WRITINGS A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‗I AT MANOĀ IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN EAST ASIAN LANGUAGES AND LITERATURES (CHINESE) May 2012 By Changqin Geng Dissertation Committee: David McCraw, Chairperson Giovanni Vitiello Hui Jiang Tao-chung Yao Roger Ames ACKNOWLEDGMENTS I would like to express my deepest gratitude to my advisor Prof. David McCraw for his excellent guidance, caring and patience towards my study and research. I really appreciate for his invaluable comments and insightful suggestions throughout this study. I also want to thank my dissertation committee members, Prof. Giovanni Vitiello, Prof. Hui Jiang, Prof. Tao-chung Yao and Prof. Roger Ames, for their intellectual instruction, thoughtful criticism and scholarly inspiration. I want to especially thank Prof. Tao-chung Yao for his guidance and support in my development as a teacher. I am also grateful to my husband, Sechyi Laiu, who helped me with proofreading and shared with me the pleasures and pains of writing. His patience, tolerance and encouragement helped me overcome the difficulties in finishing this dissertation. Finally, I would like to thank my parents and my little sister. They have always mentally encouraged and supported me throughout my academic endeavors. ii ABSTRACT Gu Taiqing is one of the most remarkable and prolific poetesses of the Qing dynasty. This study attempts to present critical and comprehensive research on Gu Taiqing‘s writing so to unearth and illustrate Taiqing‘s own life and mentality, in order to enrich our understanding of the role that writing has played in the lives of the pre-modern women. -
An Introduction to Chinese Poetry from the Canon of Poetry to the Lyrics of the Song Dynasty
An Introduction to Chinese Poetry From the Canon of Poetry to the Lyrics of the Song Dynasty Table of Contents Author’s Note iv Chapter One: the Classical Chinese Language 1 Classical Chinese in Historical Perspective The Basis for the Written Record: Chinese Characters The Sound Systems of Classical Chinese The Phonology of Middle Chinese The Sounds of Old Chinese Words in Classical Chinese (Morphology) The Syntax of Classical Chinese Topic-Comment Verb-Object Coordination Modification Conclusions Chapter Two: The Formal and Rhetorical Resources of Chinese Poetry 19 The Formal Structures of Chinese Poetry The Line The Couplet The Quatrain Stanza and Octave Poem Rhetorical Features of Chinese Poetic Language Rhetorical Tropes Ornamentation Allusion Summary Chapter Three: Origins of the Poetic Tradition 42 Shijing: The Canon of Poetry The Origin of the Shijing The Structure of the Canon of Poetry The Canon of Poetry and the Development of the Poetic Tradition Selections from the Canon of Poetry The Chu Ci: the Lyrics of Chu Li sao: “Encountering Sorrow” The “Nine Songs” “Nine Pieces” “Nine Transformations” “The Fisherman” i Chapter Four: Poetry in the Han, Wei, and Jin Dynasties 72 Anonymous Poetry from the Music Bureau Early Pentasyllabic Poetry Poets of the Jian’an Reign Period Cao Cao Cho Zhi Wang Can The Wei Dynasty Ruan Ji The Western Jin Pan Yue Zuo Si Lu Ji Guo Pu Appendix: Cao Pi, “A Discourse on Literature” Chapter Five: The Maturing of Convention — The Poetry of the Northern and Southern Dynasties 109 North and South Ta o Qi a