Ruan Yuan (1764-1849) and the Transmission of Classical Texts Between the 18Th and 19Th Centuries Frédéric Wang
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Conceptualizing the Blue Frontier: the Great Qing and the Maritime World
Conceptualizing the Blue Frontier: The Great Qing and the Maritime World in the Long Eighteenth Century Inauguraldissertation zur Erlangung der Doktorwürde der Philosophischen Fakultüt der Ruprecht-Karls-Universität Heidelberg Vorgelegt von Chung-yam PO Erstgutachter: Prof. Dr. Harald Fuess Zweitgutachter: Prof. Dr. Joachim Kurtz Datum: 28 June 2013 Table of Contents Abstract 2 Acknowledgments 3 Emperors of the Qing Dynasty 5 Map of China Coast 6 Introduction 7 Chapter 1 Setting the Scene 43 Chapter 2 Modeling the Sea Space 62 Chapter 3 The Dragon Navy 109 Chapter 4 Maritime Customs Office 160 Chapter 5 Writing the Waves 210 Conclusion 247 Glossary 255 Bibliography 257 1 Abstract Most previous scholarship has asserted that the Qing Empire neglected the sea and underestimated the worldwide rise of Western powers in the long eighteenth century. By the time the British crushed the Chinese navy in the so-called Opium Wars, the country and its government were in a state of shock and incapable of quickly catching-up with Western Europe. In contrast with such a narrative, this dissertation shows that the Great Qing was in fact far more aware of global trends than has been commonly assumed. Against the backdrop of the long eighteenth century, the author explores the fundamental historical notions of the Chinese maritime world as a conceptual divide between an inner and an outer sea, whereby administrators, merchants, and intellectuals paid close and intense attention to coastal seawaters. Drawing on archival sources from China, Japan, Korea, Vietnam, and the West, the author argues that the connection between the Great Qing and the maritime world was complex and sophisticated. -
Weaknesses of Vagueness and Lack of Direction. Another Resolution Would
《中國文化研究所學報》 Journal of Chinese Studies No. 47 - 2007 Book Reviews 543 weaknesses of vagueness and lack of direction. Another resolution would be for sinologists specializing in traditional literature to read and keep up with general contemporary critical approaches. Shields indicates an awareness of postmodern or contemporary literary criticism (p. 277), but she does not integrate it into her analyses of poets and their song texts. The concept of gender, for example, though it appears in the title to Chapter Five, is not used or applied in the same way as modern critics, such as Elaine Showalter.4 Yet the underlying concerns of the song texts that Shields herself correctly identifies—negativity, time, memory, fantasy, escapist drug-taking (wine), failure, inability to communicate, powerlessness, obsession, pursuit of the unattainable, liminality (and, I would add, woman- as-metonymic construct)—fall exactly within the parameters of modern literary discourse. Only one concept, liminality, is given a modernist treatment by Shields (p. 189), while intertextuality is treated as quoting. Professor Shields has brought together in this book a truly phenomenal amount of research, which will prove extremely useful to general and specialist readers alike. Her book builds upon, but goes far beyond Professor Fusek’s 1982 study. Her translations are limpid and her interpretations valid. She ably addresses the prevailing issues in the literary history of the anthology and the genre, creating new definitions of some well-established critical positions. Her comprehensive research impressively consolidates our knowledge and understanding of this tenth-century classic, and admirably lays the foundation for further investigative study, especially in terms of its modernist literary concepts. -
Esoteric, Chan and Vinaya Ties in Tang Buddhism the Ordination Platform of the Huishan Monastery on Mount Song in the Religious Policy of Emperor Daizong
Esoteric, Chan and vinaya ties in Tang Buddhism The ordination platform of the Huishan monastery on Mount Song in the religious policy of Emperor Daizong Abstract This paper explores the reconstruction of the ordination platform in the Huishan monastery 會 善寺 on Mount Song in 767 in the context of the reinforcement of pro-Buddhist policies at the court of Emperor Daizong 代宗 (r. 762–779). The vinaya monks and state officials who engaged in this platform’s reconstruction are identified as associates of two prominent monastic figures: Amoghavajra (Bukong jin’gang 不空金剛; 704–774), an Esoteric leader at the imperial court; and Songshan Puji 嵩山普寂 (651–739), regarded as the seventh patriarch in the Northern Chan tradition. The key roles played by disciples of these two masters in the reconstruction of the Huishan platform attest to significant congruence in ritual practices between proponents of the Esoteric and Chan groups in Tang dynasty China, primarily in the areas of precept conferral and monastic ordination. Keywords Mount Song, Huishan monastery, Northern Chan, Esoteric Buddhism, vinaya, precept conferral Introduction During the Tang dynasty, the reign of Emperor Daizong 代宗 (r. 762–779) was second only to the reign of Empress Wu Zetian 武則天 (r. 690–705) in terms of imperial patronage of Buddhism. Daizong assumed the role of universal Buddhist monarch (cakravartin) and granted the Buddhist saṅgha and its foremost leader Amoghavajra (Ch. Bukong jin’gang 不空金剛; 704–774) an unprecedented amount of power.1 In 767, at the start of a new era that Daizong named Dali 大曆 (Grand Reign), many large-scale Buddhist projects were realized under the 1 Amoghavajra, an Esoteric master of allegedly Sogdian origin, became a paramount Buddhist leader at the imperial court during a period of highly militarized political turbulence in the territorial centre of the Tang Empire following the rebellion of General An Lushan 安祿山 (703–757) in 755. -
UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations
UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations Title Fashioning the Reclusive Persona: Zeng Jing's Informal Portraits of the Jiangnan Literati Permalink https://escholarship.org/uc/item/2mx8m4wt Author Choi, Seokwon Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Santa Barbara Fashioning the Reclusive Persona: Zeng Jing’s Informal Portraits of the Jiangnan Literati A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History by Seokwon Choi Committee in charge: Professor Peter C. Sturman, Chair Professor Miriam Wattles Professor Hui-shu Lee December 2016 The dissertation of Seokwon Choi is approved. _____________________________________________ Miriam Wattles _____________________________________________ Hui-shu Lee _____________________________________________ Peter C. Sturman, Committee Chair September 2016 Fashioning the Reclusive Persona: Zeng Jing’s Informal Portraits of the Jiangnan Literati Copyright © 2016 by Seokwon Choi iii ACKNOWLEDGEMENTS My sincerest gratitude goes to my advisor, Professor Peter C. Sturman, whose guidance, patience, and confidence in me have made my doctoral journey not only possible but also enjoyable. It is thanks to him that I was able to transcend the difficulties of academic work and find pleasure in reading, writing, painting, and calligraphy. As a role model, Professor Sturman taught me how to be an artful recluse like the Jiangnan literati. I am also greatly appreciative for the encouragement and counsel of Professor Hui-shu Lee. Without her valuable suggestions from its earliest stage, this project would never have taken shape. I would like to express appreciation to Professor Miriam Wattles for insightful comments and thought-provoking discussions that helped me to consider the issues of portraiture in a broader East Asian context. -
Dai Zhen's Ethical Philosophy of the Human Being
Dai Zhen’s Ethical Philosophy of the Human Being By Ho Young Lee Thesis submitted for the Degree of Doctor of Philosophy in the Department of the Study of Religions School of Oriental and African Studies University of London 2006 ProQuest Number: 10672979 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 complete 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 10672979 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 4 8 1 0 6 - 1346 Abstract The moral philosophy of Dai Zhen can be summarised as “fulfil desires and express feelings”. Because he believed that life is the most cherished thing for all man and thing, he maintains that “whatever issues from desire is always for the sake of life and nurture.” He also claimed that “caring for oneself, and extending this care to those close to oneself, are both aspects of humanity" He set up a strong monastic moral philosophy based on individual human desire and feeling. As the title ‘Dai Zhen’s philosophy of the ethical human being’ demonstrate, human physical body and activities of life is ethical base of philosophy of Dai Zhen. -
Zeng Jing's Informal Portraits of the Jiangnan Litera
UNIVERSITY OF CALIFORNIA Santa Barbara Fashioning the Reclusive Persona: Zeng Jing’s Informal Portraits of the Jiangnan Literati A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History by Seokwon Choi Committee in charge: Professor Peter C. Sturman, Chair Professor Miriam Wattles Professor Hui-shu Lee December 2016 The dissertation of Seokwon Choi is approved. _____________________________________________ Miriam Wattles _____________________________________________ Hui-shu Lee _____________________________________________ Peter C. Sturman, Committee Chair September 2016 Fashioning the Reclusive Persona: Zeng Jing’s Informal Portraits of the Jiangnan Literati Copyright © 2016 by Seokwon Choi iii ACKNOWLEDGEMENTS My sincerest gratitude goes to my advisor, Professor Peter C. Sturman, whose guidance, patience, and confidence in me have made my doctoral journey not only possible but also enjoyable. It is thanks to him that I was able to transcend the difficulties of academic work and find pleasure in reading, writing, painting, and calligraphy. As a role model, Professor Sturman taught me how to be an artful recluse like the Jiangnan literati. I am also greatly appreciative for the encouragement and counsel of Professor Hui-shu Lee. Without her valuable suggestions from its earliest stage, this project would never have taken shape. I would like to express appreciation to Professor Miriam Wattles for insightful comments and thought-provoking discussions that helped me to consider the issues of portraiture in a broader East Asian context. I owe a special debt of gratitude to Susan Tai, Elizabeth Atkins Curator of Asian Art at the Santa Barbara Museum of Art. She was my Santa Barbara mother, and she helped made my eight-year sojourn in the American Riviera one that I will cherish forever. -
Performing Chinese Contemporary Art Song
Performing Chinese Contemporary Art Song: A Portfolio of Recordings and Exegesis Qing (Lily) Chang Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Elder Conservatorium of Music Faculty of Arts The University of Adelaide July 2017 Table of contents Abstract Declaration Acknowledgements List of tables and figures Part A: Sound recordings Contents of CD 1 Contents of CD 2 Contents of CD 3 Contents of CD 4 Part B: Exegesis Introduction Chapter 1 Historical context 1.1 History of Chinese art song 1.2 Definitions of Chinese contemporary art song Chapter 2 Performing Chinese contemporary art song 2.1 Singing Chinese contemporary art song 2.2 Vocal techniques for performing Chinese contemporary art song 2.3 Various vocal styles for performing Chinese contemporary art song 2.4 Techniques for staging presentations of Chinese contemporary art song i Chapter 3 Exploring how to interpret ornamentations 3.1 Types of frequently used ornaments and their use in Chinese contemporary art song 3.2 How to use ornamentation to match the four tones of Chinese pronunciation Chapter 4 Four case studies 4.1 The Hunchback of Notre Dame by Shang Deyi 4.2 I Love This Land by Lu Zaiyi 4.3 Lullaby by Shi Guangnan 4.4 Autumn, Pamir, How Beautiful My Hometown Is! by Zheng Qiufeng Conclusion References Appendices Appendix A: Romanized Chinese and English translations of 56 Chinese contemporary art songs Appendix B: Text of commentary for 56 Chinese contemporary art songs Appendix C: Performing Chinese contemporary art song: Scores of repertoire for examination Appendix D: University of Adelaide Ethics Approval Number H-2014-184 ii NOTE: 4 CDs containing 'Recorded Performances' are included with the print copy of the thesis held in the University of Adelaide Library. -
Steven B. Miles
Steven B. Miles Head and Professor, Division of Humanities, HKUST Editor-in-chief, Late Imperial China ACADEMIC POSITIONS 2021- Head and Professor, Division of Humanities, The Hong Kong University of Science and Technology 2018-2021 Professor, Department of History, Washington University in St. Louis 2008-2018 Associate Professor, Department of History, Washington University in St. Louis 2004-2008 Assistant Professor, Department of History, Washington University in St. Louis 2002-2003 An Wang Postdoctoral Fellow, Fairbank Center, Harvard University 2001-2004 Assistant Professor, Department of History, Southern Illinois University 2000-2001 Visiting Assistant Professor, Dept. of History, College of William and Mary Spring 2000 Lecturer, Department of History, Massachusetts Institute of Technology EDUCATION Ph.D. in History, August 2000 University of Washington, Seattle M.A. in History, December 1990 University of Texas, Austin B.A. in History and Philosophy, May 1986 Trinity University, San Antonio BOOKS Opportunity in Crisis: Cantonese Migrants and the State in Late Qing China. Harvard University Asia Center, Harvard University Press, 2021. Chinese Diasporas: A Social History of Global Migration. Cambridge, UK: Cambridge University Press, 2020. Upriver Journeys: Diaspora and Empire in Southern China, 1570-1850. Cambridge, MA: Harvard University Asia Center, Harvard University Press, 2017. Chinese translation under contract with Social Sciences Academic Press. The Sea of Learning: Mobility and Identity in Nineteenth-Century Guangzhou. -
The Birth of Chinese Feminism Columbia & Ko, Eds
& liu e-yin zHen (1886–1920?) was a theo- ko Hrist who figured centrally in the birth , karl of Chinese feminism. Unlike her contem- , poraries, she was concerned less with China’s eds fate as a nation and more with the relation- . , ship among patriarchy, imperialism, capi- talism, and gender subjugation as global historical problems. This volume, the first translation and study of He-Yin’s work in English, critically reconstructs early twenti- eth-century Chinese feminist thought in a transnational context by juxtaposing He-Yin The Bir Zhen’s writing against works by two better- known male interlocutors of her time. The editors begin with a detailed analysis of He-Yin Zhen’s life and thought. They then present annotated translations of six of her major essays, as well as two foundational “The Birth of Chinese Feminism not only sheds light T on the unique vision of a remarkable turn-of- tracts by her male contemporaries, Jin h of Chinese the century radical thinker but also, in so Tianhe (1874–1947) and Liang Qichao doing, provides a fresh lens through which to (1873–1929), to which He-Yin’s work examine one of the most fascinating and com- responds and with which it engages. Jin, a poet and educator, and Liang, a philosopher e plex junctures in modern Chinese history.” Theory in Transnational ssential Texts Amy— Dooling, author of Women’s Literary and journalist, understood feminism as a Feminism in Twentieth-Century China paternalistic cause that liberals like them- selves should defend. He-Yin presents an “This magnificent volume opens up a past and alternative conception that draws upon anar- conjures a future. -
Scanned Using Book Scancenter 5033
ah Gu Kuang It is unsure in which year Gu Kuang was bom or in which year he died. According to a contemporary of his, Gu Kuang led a long life but all researchers can ascertain is that he was bom during Xuanzong ’s Kaiyuan reign era (713-742) and died sometime around 806 (Fu Xuancong, Tangdai Shiren Cong Kao. Zhonghua Press, Beijing, 1980, p. 385. Translation mine). However, there is one thing that is clear about him: bom and raised in what is now the famous city of Suzhou, in Jiangsu Province in southeastern China, his life was defined by the chaotic wars that began with An Lushan ’s rebellion. The year after An Lushan occupied the capital city Chang’an, the new emperor (Suzong, r. 756-762) arranged that the imperial examinations be conducted in the coastal southeast rather than in the capital city as had been done for a century. And so in 757 Gu Kuang was able to take the examination without having to travel thousands of miles to central China. He passed and began serving in the low ranks, but when his friend Li Mi became prime minister, he was promoted to the position of Zhuzuolang, the officer in charge of compiling the court’s ongoing chronicles. It is at this point he moved north to Chang’an, which had been reestablished as the capital of the Tang Empire soon after the end of An Lushan ’s occupation. Being a gifted poet-painter and known for his sarcasm, Gu Kuang was far from being respectful to his fellow officials in the court. -
Oral History and Genealogy of the Yuan Shikai Family
City University of New York (CUNY) CUNY Academic Works Publications and Research Baruch College 2014 Research and Documentation in the 21st Century: Oral History and Genealogy of the Yuan Shikai Family Sheau-yueh J. Chao CUNY Bernard M Baruch College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/bb_pubs/11 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] ISSN 1712-8358[Print] Cross-Cultural Communication ISSN 1923-6700[Online] Vol. 10, No. 4, 2014, pp. 5-17 www.cscanada.net DOI:10.3968/4870 www.cscanada.org Research and Documentation in the 21st Century: Oral History and Genealogy of the Yuan Shikai Family Sheau-yueh J. Chao[a],* [a]Professor and Librarian, Head, Cataloging,William and Anita Newman and social and political studies. The paper ends with Library, Baruch College, City University of New York, New York, USA. the library documentation, preservation, and research in *Corresponding author. the 21st century focusing on the importance of Chinese Surported by two grants from the Research Foundation of the City family history and genealogical research for jiapu 家谱. University of New York, the PSC-CUNY Grants in 2008 and 2012. A selected bibliography about the Yuan Shikai family is included at the end for further readings. Received 23 February 2014; accepted 29 May 2014 Published online 25 June 2014 Highlights ● History of Chinese Names and Genealogical Abstract Records The oral histories and genealogies have long been used ● Types of Chinese Names and their Meanings by historians, archaeologists, sociologists, ethnologists, ● Oral History and Genealogy of the Yuan Shikai and demographers in their investigation of past human Family behavior on social and historical evidences relating to ● Resource and Documentation on Chinese a lineage organization or a clan. -
Power, Identity and Antiquarian Approaches in Modern Chinese Art
Power, identity and antiquarian approaches in modern Chinese art Chia-Ling Yang Within China, nationalistic sentiments notably inhibit objective analysis of Sino- Japanese and Sino-Western cultural exchanges during the end of the Qing dynasty and throughout the Republican period: the fact that China was occupied by external and internal powers, including foreign countries and Chinese warlords, ensured that China at this time was not governed or united by one political body. The contemporary concept of ‘China’ as ‘one nation’ has been subject to debate, and as such, it is also difficult to define what the term ‘Chinese painting’ means.1 The term, guohua 國畫 or maobihua 毛筆畫 (brush painting) has traditionally been translated as ‘Chinese national painting’. 2 While investigating the formation of the concept of guohua, one might question what guo 國 actually means in the context of guohua. It could refer to ‘Nationalist painting’ as in the Nationalist Party, Guomindang 國民黨, which was in power in early 20th century China. It could also be translated as ‘Republican painting’, named after minguo 民國 (Republic of China). These political sentiments had a direct impact on guoxue 國學 (National Learning) and guocui 國粹 (National Essence), textual evidence and antiquarian studies on the development of Chinese history and art history. With great concern over the direction that modern Chinese painting should take, many prolific artists and intellectuals sought inspiration from jinshixue 金石學 (metal and stone studies/epigraphy) as a way to revitalise the Chinese