The Water Margin Podcast. This Is Episode 46. Last Time, Wu Song
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The Outlaws of the Marsh
The Outlaws of the Marsh Shi Nai'an and Luo Guanzhong The Outlaws of the Marsh Shi Nai'an and Luo Guanzhong • Chapter 1 Zhang the Divine Teacher Prays to Dispel a Plague Marshal Hong Releases Demons by Mistake • Chapter 2 Arms Instructor Wang Goes Secretly to Yanan Prefecture Nine Dragons Shi Jin Wreaks Havoc in Shi Family Village • Chapter 3 Master Shi Leaves Huayin County at Night Major Lu Pummels the Lord of the West • Chapter 4 Sagacious Lu Puts Mount Wutai in an Uproar Squire Zhao Repairs Wenshu Monastery • Chapter 5 Drunk, the Little King Raises the Gold−Spangled Bed Curtains Lu the Tattooed Monk Throws Peach Blossom Village into Confusion • Chapter 6 Nine Dragons Shi Jin Robs in Red Pine Forest Sagacious Lu Burns Down Waguan Monastery • Chapter 7 The Tattooed Monk Uproots a Willow Tree Lin Chong Enters White Tiger Inner Sanctum by Mistake • Chapter 8 Arms Instructor Lin Is Tattooed and Exiled to Cangzhou Sagacious Lu Makes a Shambles of Wild Boar Forest • Chapter 9 Chai Jin Keeps Open House for All Bold Men Lin Chong Defeats Instructor Hong in a Bout with Staves • Chapter 10 Lin Chong Shelters from the Snowstorm in the Mountain Spirit Temple Captain Lu Qian Sets Fire to the Fodder Depot • Chapter 11 Zhu Gui Shoots a Signal Arrow from the Lakeside Pavilion Lin Chong Climbs Mount Liangshan in the Snowy Night • Chapter 12 Lin Chong Joins the Bandits in Liangshan Marsh Yang Zhi Sells His Sword in the Eastern Capital • Chapter 13 The Blue−Faced Beast Battles in the Northern Capital Urgent Vanguard Vies for Honors on the Training Field -
The Water Margin Podcast. This Is Episode 61. Last Time, Song Jiang
Welcome to the Water Margin Podcast. This is episode 61. Last time, Song Jiang and company caused not one but two ruckuses in the Jiangzhou area before setting off for Liangshan. On the way, they met up with four new heroes who, like everybody else, worshipped the ground that Song Jiang walked on, so they also decided to join the gang on Liangshan. Soon, all the chieftains old and new had arrived at the tavern run by Zhu Gui as a reconnaissance station for Liangshan. Now, when Chao Gai went off the mountain to go save Song Jiang, he left only six chieftains behind to mind the shop: Wu Yong the military strategist, Gongsun Sheng the Daoist priest, Lin Chong the Panther Head, Qin Ming the Fiery Thunderbolt, and the two craftsmen they had invited slash abducted to make the forged letter -- Xiao (1) Rang (4) and Jin (1) Dajian (4,1). These guys had gotten advance notice that the mission was successful and that the whole gang, plus a bunch of new friends, were on their way back. So that day, when they heard the group had arrived at the tavern, they sent lackeys down to Golden Sand Beach to welcome them with drums and flutes. The returning heroes went up to the stronghold on horseback and in sedan chairs. In the Hall of Honor, Wu Yong and company had laid out wine and a pot of incense to welcome them back. Chao Gai didn’t beat around the bush. He immediately asked Song Jiang to take the top command chair and serve as the new leader of Liangshan. -
The Outlaws of the Marsh
The Outlaws of the Marsh Shi Nai'an and Luo Guanzhong The Outlaws of the Marsh Table of Contents The Outlaws of the Marsh..................................................................................................................................1 Shi Nai'an and Luo Guanzhong...............................................................................................................1 Chapter 1 Zhang the Divine Teacher Prays to Dispel a Plague Marshal Hong Releases Demons by Mistake....................................................................................................................................................7 Chapter 2 Arms Instructor Wang Goes Secretly to Yanan Prefecture Nine Dragons Shi Jin Wreaks Havoc in Shi Family Village...................................................................................................15 Chapter 3 Master Shi Leaves Huayin County at Night Major Lu Pummels the Lord of the West.......32 Chapter 4 Sagacious Lu Puts Mount Wutai in an Uproar Squire Zhao Repairs Wenshu Monastery....42 Chapter 5 Drunk, the Little King Raises the Gold−Spangled Bed Curtains Lu the Tattooed Monk Throws Peach Blossom Village into Confusion...................................................................................57 Chapter 6 Nine Dragons Shi Jin Robs in Red Pine Forest Sagacious Lu Burns Down Waguan Monastery.............................................................................................................................................67 Chapter 7 The Tattooed Monk Uproots a Willow -
UNIVERSITY of CALIFORNIA Los Angeles the Qin
UNIVERSITY OF CALIFORNIA Los Angeles The Qin and Literati Culture in Song China A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Asian Languages and Cultures by Meimei Zhang 2019 © Copyright by Meimei Zhang 2019 ABSTRACT OF THE DISSERTATION The Qin and Literati Culture in Song China by Meimei Zhang Doctor of Philosophy in Asian Languages and Cultures University of California, Los Angeles, 2019 Professor David C Schaberg, Chair My dissertation examines the distinctive role that the qin played in Chinese literati culture in the Song dynasty (960-1279) through its representations in literary texts. As one of the earliest stringed musical instruments in China, the qin has occupied a unique status in Chinese cultural history. It has been played since ancient times, and has traditionally been favored by Chinese scholars and literati as an instrument of great subtlety and refinement. This dissertation focuses on the period of the Song because it was during this period that the literati developed as a class and started to indulge themselves in various cultural and artistic pursuits, and record their experiences in literary compositions as part of their self-fashioning. Among these cultural pursuits, the qin playing was an important one. Although there have been several academic works on the qin, most of them focus on the musical aspects of the instrument. My project aims to reorient the perspective on the qin by revealing its close relationship and interaction with the literati class from a series of ii historical and literary approaches. During the Song, the qin was mentioned in a multiplicity of literary texts, and associated with a plethora of renowned literary figures. -
Final Program of CCC2020
第三十九届中国控制会议 The 39th Chinese Control Conference 程序册 Final Program 主办单位 中国自动化学会控制理论专业委员会 中国自动化学会 中国系统工程学会 承办单位 东北大学 CCC2020 Sponsoring Organizations Technical Committee on Control Theory, Chinese Association of Automation Chinese Association of Automation Systems Engineering Society of China Northeastern University, China 2020 年 7 月 27-29 日,中国·沈阳 July 27-29, 2020, Shenyang, China Proceedings of CCC2020 IEEE Catalog Number: CFP2040A -USB ISBN: 978-988-15639-9-6 CCC2020 Copyright and Reprint Permission: This material is permitted for personal use. For any other copying, reprint, republication or redistribution permission, please contact TCCT Secretariat, No. 55 Zhongguancun East Road, Beijing 100190, P. R. China. All rights reserved. Copyright@2020 by TCCT. 目录 (Contents) 目录 (Contents) ................................................................................................................................................... i 欢迎辞 (Welcome Address) ................................................................................................................................1 组织机构 (Conference Committees) ...................................................................................................................4 重要信息 (Important Information) ....................................................................................................................11 口头报告与张贴报告要求 (Instruction for Oral and Poster Presentations) .....................................................12 大会报告 (Plenary Lectures).............................................................................................................................14 -
Au Bord De L'eau
Au bord de l'eau Au bord de l'eau (chinois simplifié : 水浒传 ; chinois traditionnel : 水滸傳 ; pinyin : Shuǐ hǔ Zhuàn ; Wade : Shui³ hu³ Zhuan⁴, EFEO Chouei-hou tchouan, littéralement « Le Récit e des berges ») est un roman d'aventures tiré de la tradition orale chinoise, compilé et écrit par plusieurs auteurs, mais attribué généralement à Shi Nai'an (XIV siècle). Il relate les Au bord de l'eau exploits de cent huit bandits, révoltés contre la corruption du gouvernement et des hauts fonctionnaires de la cour de l'empereur. Auteur Shi Nai'an Ce roman fait partie des quatre grands romans classiques de la dynastie Ming, avec l'Histoire des Trois Royaumes, La Pérégrination vers l'Ouest et Le Rêve dans le Pavillon Rouge. Pays Chine Sa notoriété est telle que de nombreuses versions ont été rédigées. On peut comparer sa place dans la culture chinoise à celle des Trois Mousquetaires d'Alexandre Dumas en France, Genre roman ou des aventures de Robin des Bois en Angleterre. L'ouvrage est la source d'innombrables expressions littéraires ou populaires, et de nombreux personnages ou passages du livre servent à symboliser des caractères ou des situations (comme Lin Chong, seul dans la neige, pour dépeindre la rectitude face à l'adversité, ou Li Kui, irascible et violent mais dévoué à Version originale sa mère impotente, pour signaler un homme dont les défauts évidents masquent des qualités cachées). On retrouve, souvent sous forme de pastiche, des scènes connues dans des Langue chinois vernaculaire publicités, des dessins animés, des clips vidéo. L'illustration de moments classiques de l'ouvrage est très fréquente en peinture. -
The Water Margin Podcast. This Is Episode 41. Last Time, Wu Song
Welcome to the Water Margin Podcast. This is episode 41. Last time, Wu Song avenged his brother’s murder and was sent to the penal colony at Mengzhou (4,1) Prefecture. Along the way, he and his two guards came across a black tavern, the type of place that drugged travelers, killed them, and chopped them up to serve to other travelers as meat. But Wu Song caught wise to the place pretty quickly and foiled their attempt to drug him. In the process, he became acquainted with the husband and wife team that owned the place, Zhang Qing the Gardener and his wife Sun Erniang, the Female Yaksha. All three being gallant heroes, they became fast friends. As Zhang Qing invited Wu Song to sit down and chat, Wu Song asked him to first revive the two guards who were escorting Wu Song to the penal colony. So Zhang Qing took Wu Song into the kitchen in the back of the tavern. On the walls hung several human skins, and six or seven human legs dangled from the rafters. Lovely place, really, and not being subtle about what they are doing at all. Wu Song saw the two unconscious guards stripped naked and laid out on the butcher’s table, awaiting slaughter. “Brother, please bring them around,” Wu Song said. But Zhang Qing asked, “Constable, what crime have you committed? Where are you being exiled to?” So Wu Song recounted his story, which prompted Zhang Qing and Sun Erniang to shower him with praise. Zhang Qing then said, “I have something to say, but I don’t know how you’d like it.” “What is it? Just tell me.” “I harbor no ill intentions, but rather than going to to the penal colony to suffer, why don’t you just let us kill these two guards and you can stay here for a while. -
Why Was It the Ming Dynasty That Engendered the Guanxi Motif in Fiction?
INTERLITTERARIA 2020, 25/2: 443–457 443 Why Was It the Ming Dynasty that Engendered the Guanxi Motif in Fiction? Why Was It the Ming Dynasty that Engendered the Guanxi Motif in Fiction? RUIHUI HAN Abstract: Compared to other informal social network mechanisms, guanxi is more common in China and is the most typical. Even in daily life, it is indispensable. Hence, in Chinese fiction, the guanxi motif is prevalent and important. Interestingly, before the Ming dynasty, guanxi was not a literary motif in fiction. This article suggests that three factors contributed to the rise of the guanxi motif in fiction in the Ming dynasty. The first was the boom in fiction writing, especially in the genre of realism, that occurred in this era, which expanded the scope of literary representation. The second was the degradation of public morals in the Ming dynasty, a momentous social transition that Ming fiction writers noted and portrayed. Guanxi, as a disruptive social mechanism that dismantled previous models of human connection, became a focus in their works. The third was the fact that the atmosphere of money worship promoted by guanxi, together with official corruption, facilitated widespread social inequality. Guanxi, as the crux of inequity, inspired writers to expose social turpitude. More importantly, the guanxi motif satisfied the need for plot conflict in literary works. Thus, it became a necessary motif in Ming fiction. Keywords: guanxi; the Ming dynasty; fiction; Confucianism; informal social network In both Outlaws of the Marsh and The Plum in the Golden Vase, written during the Ming dynasty (1368–1644), the semiliterate villain Ximen Qing, without proficiency in management or skill in production, earns high social status and abundant wealth. -
The Characteristics of Heroes Portrait in Water Margin
2017 4th International Conference on Advanced Education and Management (ICAEM 2017) ISBN: 978-1-60595-519-3 The Characteristics of Heroes Portrait in Water Margin Ran WEIa, Hui YUb and Zhe-Jia TANGc School of Humanities and Social Sciences, China Jiliang University, Hangzhou, China [email protected], [email protected], [email protected] Keywords: The Water Margin, Hero, Self-Value, Characteristics. Abstract. Relative to the heroism of orthodox “saving” work in Romance of the Three Kingdoms, the heroes portrait in Water Margin is deeper affected by townsfolk’s ideas, tends to self-centered and maximize to pursuit the interest of the spirit and material, even has a new phenomenon that in order to achieve self-worth by any means. The heroes portrait in Water Margin presents the new characteristics which goes against the traditional concept of hero. Introduction Although the figures written in Water Margin [1] have many controversial in history, some thinks they were heroes with loyalty, and others think they were bandits Rebels. However, there was no doubt that the Leong's Legends were respected as heroes for a long time. The Water Margin and the Romance of the Three Kingdoms have been carved as Hero spectrum in the Ming dynasty. Yang Minglang commented in the preface of Hero spectrum, “why they were called as heroes in The Water Margin and the Romance of the Three Kingdoms, the answer was the heroes in Water Margin created by the Liangshan’s geographic features and the heroes in the Romance of the Three Kingdoms created by the times.” [2] Nevertheless, the heroes created in the Romance of the Three Kingdoms were all about the dominant class. -
Woman Warriors of the Classic Chinese Novel Shuihu Zhuan
Woman Warriors of the Classic Chinese Novel Shuihu Zhuan BY Charles Sherwood Abstract: The classical Chinese novel Shuihu zhuan, widely published by the end of the sixteenth century, has long been popular with the Chinese public and as such has been the subject of much scholarly analysis and debate. Within the existing literature on Shuihu zhuan much has already been said about the novel’s hostile, misogynistic portrayals of women. Yet, most scholars studying women and gender in the novel have focused only on the overwhelmingly negative representation of sensuous women and how it is contrasted with the positive image of an asexual, masculine brotherhood of heroes. Little attention however has been paid to the woman warriors that join this brotherhood and how they are presented in the novel. By examining the case of each woman warrior in full, this paper seeks to show why these women are allowed to be heroes despite the hostile tone of the novel and how their positions as heroes are circumscribed by their positions as women. In doing so, this paper proposes that portrayals of women in the novel, though still largely misogynistic in nature, are more diverse in both form and implication than what previous literature has conveyed. 2 Introduction This paper analyzes the place of women, and especially woman warriors, in the classic Chinese novel Shuihu zhuan which is also commonly known in English as The Water Margin, Outlaws of the Marsh, or All Men are Brother. This novel is considered one of the four classic Chinese novels along with Dream of the Red Chamber, Romance of the Three Kingdoms, and Journey to the West. -
The Water Margin Podcast. This Is Episode 32. Last Time, Song Jiang
Welcome to the Water Margin Podcast. This is episode 32. Last time, Song Jiang had fled after killing his mistress for trying to blackmail him over his connections to the Liangshan bandits. The county magistrate was trying to let him off the hook by just kind of BS-ing his way through the case, but the dead girl’s adulterous lover just so happened to be Zhang Wenyuan, the assistant clerk of the court, so he and the victim's mother kept pressing the magistrate to, you know, actually try to arrest the suspect. Left with no wiggle room, the magistrate sent his two constables, Zhu Tong and Lei Heng, to look for Song Jiang at his father’s home. So the two of them took about 40 men and headed out. When Song Jiang’s father, Old Squire Song, came out to greet them, they told him, “Sir, please pardon us. We’re acting on orders from above; it’s not up to us. Where is your son Song Jiang?” “Constables, I’ve severed ties with that unfilial Song Jiang for years. I went to the previous magistrate and disinherited Song Jiang. The documentation is here. He’s been stricken from my household registry for more than three years. He doesn’t live with me, and hasn’t come back here in that time.” “That may be,” Zhu Tong said, “but we have orders. We can’t just take your word for it. Wait here while we search the place, so we can give our boss an answer.” So Zhu Tong told his men to surround the manor, and he told his fellow constable Lei Heng, “I’ll watch the front door; you go in and search first.” So Lei Heng went into the manor and searched all around the estate. -
Two Authorial Rhetorics of Li Yu's (1611-1680) Works
TWO AUTHORIAL RHETORICS OF LI YU'S (1611-1680)WORKS: INVERSION AND AUTO-COMMUNICATION Ying Wang A thesis submitted in conformity with the requirements for the Degree of Doctor of Philosophy Department of East Asian Studies in the University of Toronto O Copyright by Ying Wang 1997 National Library Bibliothèque nationale 1*1 ofCanada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. nie Wellington OttawaON K1AON4 Ottawa ON KIA ON4 Canada Canada The auihor has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant a la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seIl reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de rnicrofiche/£ïlm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. ABSTRACT TWO AUTHORIAL RHETORICS OF LI YU'S (1611-1680)WORKS: Inversion and auto-communication Yuig Wang Doctor of Philosophy Department of East Asian Studies University of Toronto 1997 The prologue explores Li Yu's mode of innovation. A cornparison is drawn between Tao Qian's giving birth to Chinese autobiography and Li Yu's decisive impact on shaping subjective and self-reflexive mode of writing in both fiction and drama.