University Microfilms, Inc., Ann Arbor. Michigan
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Patrick J. Hurley's Attempt to Unify China, 1944-1945
This dissertation has been microfilmed exactly as received 66-11 791 SMITH, Robert Thomas, 1938- ALONE IN CHINA; PATRICK J. HURLEY'S ATTEMPT TO UNIFY CHINA, 1944-1945. The University of Oklahoma, Ph.D., 1966 History, modern University Microfilms, Inc., Ann Arbor, Michigan C opyright by ROBERT THOMAS SMITH 1966 THE UNIVERSITY OF OKLAHCMA GRADUATE COLLEGE ALONE IN CHINA: PATRICK J . HURLEY'S ATTEMPT TO UNIFY CHINA, 1944-1945 A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY BY ROBERT THCÎ-1AS SMITH Norman, Oklahoma 1966 ALŒE IN CHINA; PATRICK J . HURLEY'S ATTEMPT TO UNIFY CHINA, 1944-1945 APPP>Î BY 'c- l <• ,L? T\ . , A. c^-Ja ^v^ c c \ (LjJ LSSERTATION COMMITTEE ACKNOWLEDGMENT 1 wish to acknowledge the aid and assistance given by my major professor, Dr, Gilbert 0, Fite, Research Professor of History, I desire also to thank Professor Donald J, Berthrong who acted as co-director of my dissertation before circumstances made it impossible for him to continue in that capacity. To Professors Percy W, Buchanan, J, Carroll Moody, John W, Wood, and Russell D, Buhite, \^o read the manuscript and vdio each offered learned and constructive criticism , I shall always be grateful, 1 must also thank the staff of the Manuscripts Divi sion of the Bizzell Library \diose expert assistance greatly simplified the task of finding my way through the Patrick J, Hurley collection. Special thanks are due my wife vdio volun teered to type the manuscript and offered aid in all ways imaginable, and to my parents \dio must have wondered if I would ever find a job. -
Introduction
INTRODUCTION The wuxia film is the oldest genre in the Chinese cinema that has remained popular to the present day. Yet despite its longevity, its history has barely been told until fairly recently, as if there was some force denying that it ever existed. Indeed, the genre was as good as non-existent in China, its country of birth, for some fifty years, being proscribed over that time, while in Hong Kong, where it flowered, it was gen- erally derided by critics and largely neglected by film historians. In recent years, it has garnered a following not only among fans but serious scholars. David Bordwell, Zhang Zhen, David Desser and Leon Hunt have treated the wuxia film with the crit- ical respect that it deserves, addressing it in the contexts of larger studies of Hong Kong cinema (Bordwell), the Chinese cinema (Zhang), or the generic martial arts action film and the genre known as kung fu (Desser and Hunt).1 In China, Chen Mo and Jia Leilei have published specific histories, their books sharing the same title, ‘A History of the Chinese Wuxia Film’ , both issued in 2005.2 This book also offers a specific history of the wuxia film, the first in the English language to do so. It covers the evolution and expansion of the genre from its beginnings in the early Chinese cinema based in Shanghai to its transposition to the film industries in Hong Kong and Taiwan and its eventual shift back to the Mainland in its present phase of development. Subject and Terminology Before beginning this history, it is necessary first to settle the question ofterminology , in the process of which, the characteristics of the genre will also be outlined. -
The Transcendence of the Arts in China and Beyond (Lissabon, 4-5 Apr 13)
The transcendence of the Arts in China and Beyond (Lissabon, 4-5 Apr 13) Faculty of Fine Arts, University of Lisbon, PORTUGAL, Apr 4–05, 2013 Deadline: Jul 31, 2012 Rui Oliveira Lopes, Faculty of Fine Arts, University of Lisbon 'Face to Face. The transcendence of the Arts in China and Beyond' Organizers: Fernando António Baptista Pereira Associated Professor, Faculty of Fine Arts, University of Lisbon Rui Oliveira Lopes Postdoctoral Researcher, Faculty of Fine Arts, University of Lisbon Conference Language English / Portuguese Conference Description Face to Face. The Transcendence of the Arts in China and Beyond is a conference that will bring a wide range of new perspectives on the artistic styles changes of Chinese Arts, resulting from the artistic exchange and mutual interactions with the arts, styles and techniques of other cultures in China itself and beyond its cultural frontiers. Given to the long artistic traditions and the multicultural sediment of Chinese arts it is critical to present a selection of comparative perspectives on the legacy of other artistic traditions in the arts of China, from the Bronze Age to Modern-day, crossing through ceramics, metalwork, paint- ing, sculpture, carving, prints, textiles, drama (theatre, opera, shadow puppetry and cinema), and performing arts (music and dance). Our goals for the conference are to raise awareness of the artistic exchange and mutual influ- ences between the Han Chinese arts and the arts from different cultural backgrounds in China itself, as well as beyond its geographical and cultural boundaries. We also aim to go through the issues on the construction of artistic identity and the balance between permeability and hege- mony, tradition and innovation, convenience and misinterpretation. -
The Generalissimo
the generalissimo ګ The Generalissimo Chiang Kai- shek and the Struggle for Modern China Jay Taylor the belknap press of harvard university press Cambridge, Massachusetts London, En gland 2009 .is Chiang Kai- shek’s surname ګ The character Copyright © 2009 by the President and Fellows of Harvard College All rights reserved Printed in the United States of America Library of Congress Cataloging- in- Publication Data Taylor, Jay, 1931– The generalissimo : Chiang Kai- shek and the struggle for modern China / Jay Taylor.—1st. ed. â p. cm. Includes bibliographical references and index. ISBN 978- 0- 674- 03338- 2 (cloth : alk. paper) 1. Chiang, Kai- shek, 1887–1975. 2. Presidents—China— Biography. 3. Presidents—Taiwan—Biography. 4. China—History—Republic, 1912–1949. 5. Taiwan—History—1945– I. Title. II. Title: Chiang Kai- shek and the struggle for modern China. DS777.488.C5T39 2009 951.04′2092—dc22 [B]â 2008040492 To John Taylor, my son, editor, and best friend Contents List of Mapsâ ix Acknowledgmentsâ xi Note on Romanizationâ xiii Prologueâ 1 I Revolution 1. A Neo- Confucian Youthâ 7 2. The Northern Expedition and Civil Warâ 49 3. The Nanking Decadeâ 97 II War of Resistance 4. The Long War Beginsâ 141 5. Chiang and His American Alliesâ 194 6. The China Theaterâ 245 7. Yalta, Manchuria, and Postwar Strategyâ 296 III Civil War 8. Chimera of Victoryâ 339 9. The Great Failureâ 378 viii Contents IV The Island 10. Streams in the Desertâ 411 11. Managing the Protectorâ 454 12. Shifting Dynamicsâ 503 13. Nixon and the Last Yearsâ 547 Epilogueâ 589 Notesâ 597 Indexâ 699 Maps Republican China, 1928â 80–81 China, 1929â 87 Allied Retreat, First Burma Campaign, April–May 1942â 206 China, 1944â 293 Acknowledgments Extensive travel, interviews, and research in Taiwan and China over five years made this book possible. -
A RE-EVALUATION of CHIANG KAISHEK's BLUESHIRTS Chinese Fascism in the 1930S
A RE-EVALUATION OF CHIANG KAISHEK’S BLUESHIRTS Chinese Fascism in the 1930s A Dissertation Submitted to the School of Oriental and African Studies of the University of London in Candidacy for the Degree of Doctor of Philosophy DOOEUM CHUNG ProQuest Number: 11015717 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 11015717 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 2 Abstract Abstract This thesis considers the Chinese Blueshirts organisation from 1932 to 1938 in the context of Chiang Kaishek's attempts to unify and modernise China. It sets out the terms of comparison between the Blueshirts and Fascist organisations in Europe and Japan, indicating where there were similarities and differences of ideology and practice, as well as establishing links between them. It then analyses the reasons for the appeal of Fascist organisations and methods to Chiang Kaishek. Following an examination of global factors, the emergence of the Blueshirts from an internal point of view is considered. As well as assuming many of the characteristics of a Fascist organisation, especially according to the Japanese model and to some extent to the European model, the Blueshirts were in many ways typical of the power-cliques which were already an integral part of Chinese politics. -
East Asian Languages & Civilization (EALC)
East Asian Languages & Civilization (EALC) 1 EALC 008 East Asian Religions EAST ASIAN LANGUAGES & This course will introduce students to the diverse beliefs, ideas, and practices of East Asia's major religious traditions: Buddhism, CIVILIZATION (EALC) Confucianism, Daoism, Shinto, Popular Religion, as well as Asian forms of Islam and Christianity. As religious identity in East Asia is often EALC 001 Introduction to Chinese Civilization fluid and non-sectarian in nature, there religious traditions will not be Survey of the civilization of China from prehistoric times to the present. investigated in isolation. Instead, the course will adopt a chronological For BA Students: History and Tradition Sector and geographical approach, examining the spread of religious ideas and Taught by: Goldin, Atwood, Smith, Cheng practices across East Asia and the ensuing results of these encounters. Course usually offered in fall term The course will be divided into three units. Unit one will cover the Activity: Lecture religions of China. We will begin by discussing early Chinese religion 1.0 Course Unit and its role in shaping the imperial state before turning to the arrival EALC 002 Introduction to Japanese Civilization of Buddhism and its impact in the development of organized Daoism, Survey of the civilization of Japan from prehistoric times to the present. as well as local religion. In the second unit, we will turn eastward into For BA Students: History and Tradition Sector Korea and Japan. After examining the impact of Confucianism and Course usually offered in spring term Buddhism on the religious histories of these two regions, we will proceed Activity: Lecture to learn about the formation of new schools of Buddhism, as well as 1.0 Course Unit the rituals and beliefs associated with Japanese Shinto and Korean Notes: Fulfills Cross-Cultural Analysis Shamanism. -
Daoism and Daoist Art
Heilbrunn Timeline of Art History Daoism and Daoist Art Works of Art (19) Essay Indigenous to China, Daoism arose as a secular school of thought with a strong metaphysical foundation around 500 B.C., during a time when fundamental spiritual ideas were emerging in both the East and the West. Two core texts form the basis of Daoism: the Laozi and the Zhuangzi, attributed to the two eponymous masters, whose historical identity, like the circumstances surrounding the compilation of their texts, remains uncertain. The Laozi—also called the Daodejing, or Scripture of the Way and Virtue—has been understood as a set of instructions for virtuous rulership or for self- cultivation. It stresses the concept of nonaction or noninterference with the natural order of things. Dao, usually translated as the Way, may be understood as the path to achieving a state of enlightenment resulting in longevity or even immortality. But Dao, as something ineffable, shapeless, and conceived of as an infinite void, may also be understood as the unfathomable origin of the world and as the progenitor of the dualistic forces yin and yang. Yin, associated with shade, water, west, and the tiger, and yang, associated with light, fire, east, and the dragon, are the two alternating phases of cosmic energy; their dynamic balance brings cosmic harmony. Over time, Daoism developed into an organized religion—largely in response to the institutional structure of Buddhism—with an ever-growing canon of texts and pantheon of gods, and a significant number of schools with often distinctly different ideas and approaches. At times, some of these schools were also politically active. -
Buddhist Responses to Christianity in Postwar Taiwan
Buddhist Responses to Christianity in Postwar Taiwan FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Religion and Society in Asia The Religion and Society in Asia series presents state-of-the-art cross-disciplinary academic research on colonial, postcolonial and contemporary entanglements between the socio-political and the religious, including the politics of religion, throughout Asian societies. It thus explores how tenets of faith, ritual practices and religious authorities directly and indirectly impact on local moral geographies, identity politics, political parties, civil society organizations, economic interests, and the law. It brings into view how tenets of faith, ritual practices and religious authorities are in turn configured according to socio-political, economic as well as security interests. The series provides brand new comparative material on how notions of self and other as well as justice and the commonweal have been predicated upon ‘the religious’ in Asia since the colonial/imperialist period until today. Series Editors Martin Ramstedt, Max Planck Institute for Social Anthropology, Halle Stefania Travagnin, University of Groningen FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Buddhist Responses to Christianity in Postwar Taiwan Awakening the World Scott Pacey Amsterdam University Press FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Cover illustration: Speaker at a Catholic event on religious persecution in China held in 1960 Source: Central News Agency (photo by Deng Xiubi) Cover design: Coördesign, Leiden Typesetting: Crius Group, Hulshout isbn 978 94 6372 411 1 e-isbn 978 90 4854 442 4 doi 10.5117/9789463724111 nur 718 © Scott Pacey / Amsterdam University Press B.V., Amsterdam 2020 All rights reserved. -
The Politics of Celebrity in Madame Chiang Kai-Shek's
China’s Prima Donna: The Politics of Celebrity in Madame Chiang Kai-shek’s 1943 U.S. Tour By Dana Ter Columbia University |London School of Economics International and World History |Dual Master’s Dissertation May 1, 2013 | 14,999 words 1 Top: Madame Chiang speaking at a New Life Movement rally, taken by the author at Sun Yat-sen Memorial Hall, Taipei, Taiwan, June 2012. Front cover: Left: Allene Talmey, “People and Ideas: May Ling Soong Chiang,” Vogue 101(8), (April 15, 1943), 34. Right: front page of the Kansas City Star, February 23, 1943, Stanford University Hoover Institution (SUHI), Henry S. Evans papers (HSE), scrapbook. 2 Introduction: It is the last day of March 1943 and the sun is beaming into the window of your humble apartment on Macy Street in Los Angeles’ “Old Chinatown”.1 The day had arrived, Madame Chiang Kai-shek’s debut in Southern California. You hurry outside and push your way through a sea of black haired-people, finding an opening just in time to catch a glimpse of China’s First Lady. There she was! In a sleek black cheongsam, with her hair pulled back in a bun, she smiled graciously as her limousine slid through the adoring crowd, en route to City Hall. The split second in which you saw her was enough because for the first time in your life you were proud to be Chinese in America.2 As the wife of the Generalissimo Chiang Kai-shek, from February-April 1943, Madame Chiang, also known by her maiden name, Soong Mayling, embarked on a carefully- crafted and well-publicized tour to rally American material and moral support for China’s war effort against the Japanese. -
Intersections: Li Yugang and His Transgender Performance: Body Politics, Entertainment and Aesthetic Ambiguity
Intersections: Li Yugang and His Transgender Performance: Body Politics, Entertainment and Aesthetic Ambiguity Intersections: Gender and Sexuality in Asia and the Pacific Issue 41, December 2017 Li Yugang and His Transgender Performance: Body Politics, Entertainment and Aesthetic Ambiguity Cai Shenshen I have never thought a transgender male character could be so beautiful; 'she' is pure and classical in style. 'Her' beauty has superseded the majority of females, 'she' walks majestically, 'her' smile and glimpse touches one's soul. 'She' elegantly waves 'her' sleeves. I know that I am a man but when I watch 'her' performing, I am absolutely captivated and can't control my feelings towards 'her', and this internal conflict has made me question my sexuality.[1] His uncommon quality in arts vividly demonstrates the appeal of his femininity, elegantly rather than extravagantly, prettily rather than pretentiously. He is more feminine than woman. This is a kind of beauty that encompasses female prettiness in the modern world. Not only is it a prettiness of appearance, but also a prettiness emitting from the heart, – one of temperament. The expression and emotion showing in 'her' eyes is intoxicating.[2] 1. The above quotes are from some Chinese netizens who appreciate the delicacy, elegance, and uniqueness of the trans-gender performances of Li Yugang, who is widely appraised as the best female impersonator in present-day China. From these netizens' comments, a murkily complex gender boundary and a collapse of the polarised gender categorisation is apparent. This gender confusion raises the question about whether gender is a presupposed entity or a performative and constructed discourse. -
An Alternative Study of Chinese History: Two Daoist Temples
UNLV Retrospective Theses & Dissertations 1-1-2008 An alternative study of Chinese history: Two Daoist temples Joan Lorraine Mann University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Mann, Joan Lorraine, "An alternative study of Chinese history: Two Daoist temples" (2008). UNLV Retrospective Theses & Dissertations. 2304. http://dx.doi.org/10.25669/ryst-56ao This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. AN ALTERNATIVE STUDY OF CHINESE HISTORY: TWO DAOIST TEMPLES by Joan Lorraine Mann Bachelor of Arts San Jose State University 1979 A thesis submitted in partial fulfillment of the requirement for the Master of Arts Degree in History Department of History College of Liberal Arts Graduate College University of Nevada, Las Vegas May 2008 UMI Number: 1456353 Copyright 2008 by Mann, Joan Lorraine All rights reserved. INFORMATION TO USERS 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 bleed-through, substandard margins, and improper alignment can adversely affect reproduction. -
Inventing Chinese Modernism: the Art and Design of Pang Xunqin
INVENTING CHINESE MODERNISM: THE ART AND DESIGN OF PANG XUNQIN (HIUNKIN PANG), 1930s-1940s by YINXUE CHEN A THESIS Presented to the Department of the History of Art and Architecture and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts June 2019 THESIS APPROVAL PAGE Student: Yinxue Chen Title: Inventing Chinese Modernism: The Art and Design of Pang Xunqin (Hiunkin Pang), 1930s-1940s This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the Department of the History of Art and Architecture by: Jenny Lin Chairperson Joyce Cheng Member Akiko Walley Member and Janet Woodruff-Borden Vice Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2019 ii © 2019 Yinxue Chen This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike (United States) License. iii THESIS ABSTRACT Yinxue Chen Master of Arts Department of the History of Art and Architecture June 2019 Title: Inventing Chinese Modernism: The Art and Design of Pang Xunqin (Hiunkin Pang), 1930s-1940s As one of the first Chinese modernist artists to study painting in Paris in the 1920s, Pang Xunqin’s art and design projects were profoundly influenced by both Western European and Chinese aesthetics. From the 1930s to 1940s, his output shifted from cosmopolitan Shanghai-based paintings to Guizhou Miao ethnic paintings to traditional Chinese and Art Deco-influenced industrial designs. Integrating historical context, Pang Xunqin’s biography, and stylistic analyses, this thesis interprets how the artist’s work transformed through particular social and political upheavals, including the Second Sino- Japanese War (1937-1945) and conflicts between vying political parties in China.