50 Frequently Asked Questions About IP in China
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Protection and Transmission of Chinese Nanyin by Prof
Protection and Transmission of Chinese Nanyin by Prof. Wang, Yaohua Fujian Normal University, China Intangible cultural heritage is the memory of human historical culture, the root of human culture, the ‘energic origin’ of the spirit of human culture and the footstone for the construction of modern human civilization. Ever since China joined the Convention for the Safeguarding of the Intangible Cultural Heritage in 2004, it has done a lot not only on cognition but also on action to contribute to the protection and transmission of intangible cultural heritage. Please allow me to expatiate these on the case of Chinese nanyin(南音, southern music). I. The precious multi-values of nanyin decide the necessity of protection and transmission for Chinese nanyin. Nanyin, also known as “nanqu” (南曲), “nanyue” (南乐), “nanguan” (南管), “xianguan” (弦管), is one of the oldest music genres with strong local characteristics. As major musical genre, it prevails in the south of Fujian – both in the cities and countryside of Quanzhou, Xiamen, Zhangzhou – and is also quite popular in Taiwan, Hongkong, Macao and the countries of Southeast Asia inhabited by Chinese immigrants from South Fujian. The music of nanyin is also found in various Fujian local operas such as Liyuan Opera (梨园戏), Gaojia Opera (高甲戏), line-leading puppet show (提线木偶戏), Dacheng Opera (打城戏) and the like, forming an essential part of their vocal melodies and instrumental music. As the intangible cultural heritage, nanyin has such values as follows. I.I. Academic value and historical value Nanyin enjoys a reputation as “a living fossil of the ancient music”, as we can trace its relevance to and inheritance of Chinese ancient music in terms of their musical phenomena and features of musical form. -
Who Benefits? China-Africa Relations Through the Prism of Culture
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Parte I €“ Dilema éTico Y Virtud
Virtud y consecuencia en la literatura histórica y filosófica pre-Han y Han: el dilema ético en la filosofía y sociedad china César Guarde Paz ADVERTIMENT. La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX (www.tdx.cat) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX. No s’autoritza la presentació del seu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA. La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR (www.tdx.cat) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR. No se autoriza la presentación de su contenido en una ventana o marco ajeno a TDR (framing). Esta reserva de derechos afecta tanto al resumen de presentación de la tesis como a sus contenidos. -
Xiao Gang (503-551): His Life and Literature
Xiao Gang (503-551): His Life and Literature by Qingzhen Deng B.A., Guangzhou Foreign Language Institute, China, 1990 M.A., Kobe City University of Foreign Languages, Japan, 1996 Ph.D., Nara Women's University, Japan, 2001 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Doctor of Philosophy in The Faculty of Graduate Studies (Asian Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) February 2013 © Qingzhen Deng, 2013 ii Abstract This dissertation focuses on an emperor-poet, Xiao Gang (503-551, r. 550-551), who lived during a period called the Six Dynasties in China. He was born a prince during the Liang Dynasty, became Crown Prince upon his older brother's death, and eventually succeeded to the crown after the Liang court had come under the control of a rebel named Hou Jing (d. 552). He was murdered by Hou before long and was posthumously given the title of "Emperor of Jianwen (Jianwen Di)" by his younger brother Xiao Yi (508-554). Xiao's writing of amorous poetry was blamed for the fall of the Liang Dynasty by Confucian scholars, and adverse criticism of his so-called "decadent" Palace Style Poetry has continued for centuries. By analyzing Xiao Gang within his own historical context, I am able to develop a more refined analysis of Xiao, who was a poet, a filial son, a caring brother, a sympathetic governor, and a literatus with broad and profound learning in history, religion and various literary genres. Fewer than half of Xiao's extant poems, not to mention his voluminous other writings and many of those that have been lost, can be characterized as "erotic" or "flowery". -
“Tiny Little Screw Cap” (“Xiao Xiao Luosimao”): Children's Songs from the Chinese Cultural Revolution
“Tiny Little Screw Cap” (“Xiao Xiao Luosimao”): Children’s Songs from the Chinese Cultural Revolution LEI OUYANG BRYANT Music is, for children, a port in the storm, a resting spot, a retreat from the madding crowd and their hectic lives. It is their safety valve, an appropriate release of energy at those times when no other channel seems possible.1 For many, music is a vehicle for the expression of artistry and human emotion; and as Campbell and Scott-Kassner describe above, it is a ubiquitous and memorable part of one’s childhood. So, what happens when children’s music is politicized? What happens when the storm of a political and Cultural Revolution is directly connected to children’s everyday lives? What happens when music is no longer a safe escape from the adult world? Over the past fifteen years I have studied music from the Chinese Cultural Revolution. I have listened to, documented, researched, and analyzed one influential anthology of songs from different perspectives and at distinct moments.2 While several observations continue to pique my attention, I will focus here on children’s songs from the anthology New Songs of the Battlefield [Zhandi Xinge] published during the second half of the Chinese Cultural Revolution (1972–1976). Repeatedly, the children’s songs that appear in the anthology capture the attention of scholars, and especially my undergraduate students, in the United States. When I present my research, many individuals hearing the songs for the first time are taken aback by the unmistakable politicization of a child’s musical world and are curious about how children experienced the songs during the Cultural Revolution. -
Nanyin Musical Culture in Southern Fujian, China : Adaptation and Continuity
Lim, Sau-Ping Cloris (2014) Nanyin musical culture in southern Fujian, China : adaptation and continuity. PhD Thesis. SOAS, University of London. http://eprints.soas.ac.uk/id/eprint/20292 Copyright © and Moral Rights for this PhD Thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This PhD Thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this PhD Thesis, full bibliographic details including the author, title, awarding institution and date of the PhD Thesis must be given e.g. AUTHOR (year of submission) "Full PhD Thesis title", name of the School or Department, PhD PhD Thesis, pagination. NANYIN MUSICAL CULTURE IN SOUTHERN FUJIAN, CHINA: ADAPTATION AND CONTINUITY Sau-Ping Cloris Lim Volume 1: Main Text Thesis submitted for the degree of Doctor of Philosophy 2014 Department of Music School of Oriental and African Studies University of London 1 DEDICATION Dedicated to the Heavenly Father DECLARATION 2 3 ABSTRACT This thesis is a study of the musical genre nanyin, one of the oldest and most prestigious living folk traditions preserved in southern Fujian (Minnan), China. As an emblem of Minnan ethnic identity, nanyin is still actively practised in the Southeast Asian Fujianese diaspora as well. Based on ethnographic investigations in Jinjiang County, this research explores multifaceted nanyin activities in the society at large. -
Five Gems in the Torrent: Historical Portrayals of Chinese Women in Sound and Religion
Che: Five Gems in the Torrent 235 Five Gems in the Torrent: Historical Portrayals of Chinese Women in Sound and Religion Yuchi Che ABSTRACT: In the long history of the patriarchal culture of China, women were consistently stigmatized as naïve. What made this situation worse was the mentality that—“a woman who lacks talent is a virtuous woman”1—a famous quote, which had became the standard to measure the qualities of a woman. This portrayal was quite permanent throughout the cultural history of China, as even today, this stereotype is still prominent in the poor, rural, and illiterate areas of China. This paper highlights in a chronological fashion the portrayal of the woman in the Chinese culture through sound, music, religion, and mythology. KEY WORDS: China, woman, sound, religion, Communism, Nüwa, Pangu, Mulan, Confucianism, Lao Tsu oined by the Harvard feminist theologian Elizabeth Schüssler CFiorenza, the concept of kyriarchy “denotes the power to dominate of those ‘gentlemen’ with property and education—heads of state, slave owners, and heads of households,” and it is very applicable to the contemporary Chinese society. “Kyriarchy can best be theorized as a complex pyramidal system of super- and sub- ordination, of exploitation and domination.”2 In the Chinese society the portrayal of the woman through sound (including music) and religion (including mythology), has been quite derogatory. To reverse this cultural pattern, Su Zheng, in her work Redefining Yin and Yang: Transformation of Gender/Sexual Politics in Chinese Music, considers 235 236 HARVARD SQUARE SYMPOSIUM | THE FUTURE OF KNOWLEDGE that it is logical and useful to apply the western ways of learning music and gender to the Chinese one since, as she believes, “each culture is not an isolated authentic entity waiting to be ‘discovered’ and added to the exotic palette of world gender ideologies.”3 1) The Beginnings In the Chinese cosmogony it is said that the universe was created by leaving behind an imperfect world. -
QIN MUSIC in CONTEMPORARY CHINA by Da
MEDIA, MARKET ECONOMY, AND CULTURAL TRANSFORMATION: QIN MUSIC IN CONTEMPORARY CHINA by Da Lin B.A. in Music, Xi’an Conservatory of Music, 2005 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Master of Arts University of Pittsburgh 2010 i UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This thesis was presented by Da Lin It was defended on November 29, 2010 and approved by Andrew Weintraub, Professor, Department of Music Adriana Helbig, Assistant Professor, Department of Music Thesis Director: Bell Yung, Professor, Department of Music ii Copyright © by Da Lin 2010 iii Bell Yung MEDIA, MARKET ECONOMY, AND CULTURAL TRANSFORMATION: QIN MUSIC IN CONTEMPORARY CHINA Da Lin, M.A. University of Pittsburgh, 2010 The qin, historically recognized as an instrument of Chinese literati, has been presented in various forms of mass media for over fifty years. After the establishment of the People’s Republic in 1949, the government promoted public performances in a propaganda/persuasion media system; consequently, mass media started to play significant roles in reshaping aesthetic standards, performance practices, musical features, and meanings of the qin tradition. The mass media in China, however, went through a commercialization reform after the late 1970s and has shaped the current propaganda/persuasion model. This new media structure has hastened the emergence of new musical features and meanings of the qin in the commercial logic as opposed to the Party logic. Such interactions with technology have arguably constituted contemporary performance practices that have departed from traditional aesthetic standards held by literati practitioners who played the qin for self-satisfaction. -
Fusion Process in the Instrumental Works by Chen Yi Xin Guo
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2002 Chinese Musical Language Interpreted by Western Idioms: Fusion Process in the Instrumental Works by Chen Yi Xin Guo Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC CHINESE MUSICAL LANGUAGE INTERPRETED BY WESTERN IDIOMS: FUSION PROCESS IN THE INSTRUMENTAL WORKS BY CHEN YI By XIN GUO A Dissertation submitted to the School of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2002 The members of the Committee approve the dissertation of Xin Guo defended on November 6, 2002. James Mathes Professor Directing Dissertation Andrew Killick Outside Committee Member Jane Piper Clendinning Committee Member Peter Spencer Committee Member Approved: Seth Beckman, Assistant Dean for Academic Affairs and Director of Graduate Studies, School of Music ACKNOWLEDGMENTS I would like to express my deepest gratitude to many people who have helped me in one way or another during my research and writing of this dissertation. Dr. Chen Yi’s music inspired me to choose the topic of this project; she provided all the scores, the recordings, and her reference materials for me and responded to my questions in a timely manner during my research. Dr. Richard Bass guided me throughout my master’s thesis, an early stage of this project. His keen insight and rigorous thought influenced my thinking tremendously. Dr. Harris Fairbanks spent countless hours proofreading both my thesis and dissertation. His encouragement and unwavering support helped me enormously and for this I am deeply indebted to him. -
Guqin and Guzheng: the Historical and Contemporary Development of Two Chinese Musical Instruments
Durham E-Theses Guqin and Guzheng: the historical and contemporary development of two Chinese musical instruments Gaywood, Harriet Rosemary Ann How to cite: Gaywood, Harriet Rosemary Ann (1996) Guqin and Guzheng: the historical and contemporary development of two Chinese musical instruments, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/4894/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Guqin and Guzheng: the Historical and Contemporary Development of Two Cliinese Musical Instruments. I declare that this work is my own and does not contain any material from unacknowledged sources. Harriet Rosemary Ann Gaywood 8th January 1997 Guqin and Guzheng: the Historical and Contemporary Development of Two Chinese Musical Instruments. MA by thesis Harriet Rosemary Ann Gaywood The copyright of this thesis rests with the author. No quotation from it should be published without the written consent of the author and information derived from it should be acknowledged. -
Teaching Mao Through Music: Pedagogy and Practice in the Liberal Arts Classroom
Teaching Mao through Music: Pedagogy and Practice in the Liberal Arts Classroom Lei Ouyang Bryant, Swarthmore College n designing the undergraduate music topics course, “Music & Mao: Music & Politics in Communist China,” I was challenged to develop pedagogical strategies to convey the context of 1960s Communist China to my class- Iroom of nine white students from the United States at an historically white institution in upstate New York in 2009. When I offered the class five years later, my classroom changed to a diverse mix of racial identities and nationalities. As a multiracial Asian American woman, I have always held a minority position in higher education and therefore regularly consider my own identity when I stand in front of a classroom.1 As an ethnomusicologist, I intentionally shift the classroom away from U.S.-centric approaches of teaching China as the “other.” Additionally, through social justice based teaching, I empower each of my stu- dents to engage with the course material in ways that are meaningful to their own social identities. In this article, I identify pedagogies in the undergraduate music classroom that I have found effective and that may be applied across genres, topics, and disciplines. I focus on two aspects: 1. how assignments that explicitly connect course content and the learning process can provide deep and transformative levels of engagement with course concepts. 2. how pedagogical strategies intentionally structured to engage with the identities of students in a classroom (for example: gender, class year, race, and country of origin) can produce high impact student learning and help foster an inclusive classroom and cross-racial learning. -
Google and Internet Control in China: a Nexus Between Human Rights and Trade?
GOOGLE AND INTERNET CONTROL IN CHINA: A NEXUS BETWEEN HUMAN RIGHTS AND TRADE? HEARING BEFORE THE CONGRESSIONAL-EXECUTIVE COMMISSION ON CHINA ONE HUNDRED ELEVENTH CONGRESS SECOND SESSION MARCH 24, 2010 Printed for the use of the Congressional-Executive Commission on China ( Available via the World Wide Web: http://www.cecc.gov U.S. GOVERNMENT PRINTING OFFICE 56–161 PDF WASHINGTON : 2010 For sale by the Superintendent of Documents, U.S. Government Printing Office Internet: bookstore.gpo.gov Phone: toll free (866) 512–1800; DC area (202) 512–1800 Fax: (202) 512–2104 Mail: Stop IDCC, Washington, DC 20402–0001 VerDate Nov 24 2008 13:11 Jul 14, 2010 Jkt 000000 PO 00000 Frm 00001 Fmt 5011 Sfmt 5011 U:\DOCS\56161.TXT DEIDRE CONGRESSIONAL-EXECUTIVE COMMISSION ON CHINA LEGISLATIVE BRANCH COMMISSIONERS Senate House BYRON DORGAN, North Dakota, Chairman SANDER LEVIN, Michigan, Cochairman MAX BAUCUS, Montana MARCY KAPTUR, Ohio CARL LEVIN, Michigan MICHAEL M. HONDA, California DIANNE FEINSTEIN, California TIMOTHY J. WALZ, Minnesota SHERROD BROWN, Ohio DAVID WU, Oregon SAM BROWNBACK, Kansas CHRISTOPHER H. SMITH, New Jersey BOB CORKER, Tennessee EDWARD R. ROYCE, California JOHN BARRASSO, Wyoming DONALD A. MANZULLO, Illinois GEORGE LeMIEUX, Florida JOSEPH R. PITTS, Pennsylvania EXECUTIVE BRANCH COMMISSIONERS Department of State, To Be Appointed Department of Labor, To Be Appointed Department of Commerce, To Be Appointed At-Large, To Be Appointed At-Large, To Be Appointed CHARLOTTE OLDHAM-MOORE, Staff Director DOUGLAS GROB, Cochairman’s Senior Staff Member (II) VerDate Nov 24 2008 13:11 Jul 14, 2010 Jkt 000000 PO 00000 Frm 00002 Fmt 0486 Sfmt 0486 U:\DOCS\56161.TXT DEIDRE CO N T E N T S Page Opening statement of Hon.