DOCSLIB.ORG

Participant List

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Participant List The Eleventh China-US Dialogue on Strategic Nuclear Dynamics A CFISS-Pacific Forum CSIS Workshop August 17-18, 2017, Beijing, China Four Season’s Hotel, Beijing PARTICIPANT LIST Paul AMATO Cecil D. HANEY Director, Nuclear Deterrence Policy Admiral, USN (Ret.) Office of the Secretary of Defense Former Commander (Policy) US Strategic Command Office of Nuclear and Missile Defense William (Bill) HOSTYN James BALLAS Director, TRAC APSA/EAS Defense Threat Reduction Agency Office of the Secretary of Defense Jeffrey T. JABLON Linton BROOKS RDML, Deputy Director Amb. (Ret.) Plans & Policy US Strategic Command Elaine BUNN Consultant Barry LITTLE Lt Col, USAF Ralph COSSA Joint Staff, J5 Asia President China Strategy and Plans Pacific Forum Vince MANZO Lewis A. DUNN Research Analyst Consultant CNA Corporation Leo FLORICK Erik QUAM Department Chief Foreign Affairs Officer Plans, Evaluation & Research Division Office of Regional Affairs US Strategic Command US Department of State Bates GILL Brad ROBERTS Professor of Asia-Pacific Strategic Director Studies Center for Global Security Research Strategic and Defence Studies Centre Lawrence Livermore National Laboratory Australian National University B-1 David STILWELL Jason PORTNER BGEN. (Ret.) Office of Nonproliferation and International PACOM, China Focus Group Security National Nuclear Security Administration Scott SNYDER Senior Fellow David SANTORO Council on Foreign Relations Director and Senior Fellow for Nuclear Policy Pacific Forum CSIS Chris TWOMEY Associate Professor Patrick M. THAYER Naval Postgraduate School Chief, Asia Pacific Regional Engagement (J53P), Defense Threat Reduction Agency Michael A. URENA Deterrence and Diplomacy Team Chief Terry VANCE Office of Strategic Stability and Lt. Col. Assistant Air Attaché Deterrence, US Department of State US Defense Attaché Office US Embassy-Beijing Observers Justin ANDERSON Young Leaders Research Fellow Bryce BARROS National Defense University Masters Student Texas A&M University Daniel CHEN Senior Adviser, Defense Attaché Office Fiona CUNNINGHAM Embassy of the United States of PhD Candidate America, Beijing Massachusetts Institute of Technology T. Scott CLEVER REN Yuanzhe Political Section Associate Professor Embassy of the United States of China Foreign Affairs University America, Beijing LUO Xi Kim FASSLER Lt. Col. Liaison, Defense Attaché Office Assistant Research Fellow Embassy of the United States of Academy of Military Studies Beijing America, Beijing Staff Brad GLOSSERMAN Nick CIUFFETELLI Executive Director Program Officer Pacific Forum CSIS Pacific Forum CSIS [email protected] Zachary JONES US Defense Attaché Office Chinese Participants US Embassy-Beijing Qian Lihua Maj. Gen. (Ret.), Former Director of Foreign Affairs Office, China’s Ministry of National Defense B-2 Cui Liru Ouyang Wei Senior Adviser, Former President, Chinese Snr. Col., Secretary-General of National Security Institutes of Contemporary International Lab, National Defense University, PLA Relations Sun Xiangli Fan Jishe Director of the Arms Control Research Division, Division Director of Strategic Studies, Center for Strategic Studies, China Academy of Institute of American Studies, Chinese Engineering Physics Academy of Social Sciences Wang Yisheng Guo Xiaobing Snr. Col., Director of Asia-Africa Military Studies Deputy Director, Institute of Arms Control Office, Department of Foreign Military Studies, and Security Studies, Chinese Institutes of Academy of Military Sciences, PLA Contemporary International Relations Wu Jun Li Bin Deputy Director of Center for Strategic Studies, Professor, Tsinghua University China Academy of Engineering Physics Li Ji Yang Mingjie RADM (Ret.), Former Deputy Director of Director, Institute of Taiwan Studies, Chinese Office for International Military Academy of Social Sciences Cooperation, China’s Ministry of National Defense Yang Xiyu Senior Researcher, China Institute of International Li Ning Studies Maj. Gen. (Ret.), Vice Chairman, China Foundation for International & Strategic Zhang Tuosheng Studies Chairman of Academic Committee, China Foundation for International & Strategic Studies Liu Chong Deputy Director of Institute of Arms Control Zhang Yu and Security Studies, Chinese Institutes of Secretary-General, China Foundation for Contemporary International Relations International & Strategic Studies Lu Yin Zhu Chenghu Col., Associate Researcher, the Institute of Maj. Gen. (Ret.), Former Director of Academic Strategic Studies, National Defense Department of Strategic Studies, National University, PLA Defense University, PLA Lu Dehong Director of Department of Research, China Foundation for International & Strategic Studies B-3 .
Load more

Recommended publications
  • Annual Report 2010 Report Annual Museum the Palace of the Forbidden City Publishing House City Publishing the Forbidden
    Annual Report Annual Annual Report 2010 of The Palace Museum The Forbidden City Publishing House 2010 of The Palace Museum The Palace of The Forbidden City Publishing House City Publishing The Forbidden 定价: 68.00元 Annual Report 2010 of The Palace Museum Annual Report 2010 of The Palace Museum Director: Zheng Xinmiao Executive Deputy Director: Li Ji Deputy Directors: Li Wenru, Ji Tianbin, Wang Yamin, Chen Lihua, Song Jirong, Feng Nai’en ※Address: No. 4 Jingshan qianjie, Beijing ※Postal code: 100009 ※Website: http://www.dpm.org.cn Contents Work in the Year 2010 8 Collection Management and Conservation of Ancient Buildings 12 Exhibitions 24 Academic Research and Publication 42 Education and Public Outreach 54 The Digital Palace Museum 62 Cooperation and Exchange 68 Financial Statements 82 Work in the Year 2010 n 2010, the Palace Museum took advantage of the occasions of celebrat- Iing the 85th anniversary of the founding of the Palace Museum and the 590th anniversary of the construction of the Forbidden City, involved itself in such undertakings as public security and services, preservation of col- lection and ancient buildings, exhibition and display, academic research & publication, information system construction, overseas exchange and coop- eration, and made more contributions to the sustainable development of its cultural heritage. Held activities to celebrate the 85th anniversary of the Palace Mu- seum and the 590th anniversary of the construction of the Forbidden City; Received 12.83 million visitors and took measures to ensure their
    [Show full text]
  • Lecture Notes, by James Cahill
    Lecture Notes, by James Cahill Note: The image numbers in these lecture notes do not exactly coincide with the images onscreen but are meant to be reference points in the lectures’ progression. Lecture: Addendum 1A: Freer Medal Acceptance Address On November 18, 2010, I was in Washington DC at the Freer Gallery of Art, where I started out my career as a Chinese art specialist sixty years ago. This time it was to receive the Charles Lang Freer Medal, which is given intermittently since 1956 to honor notable scholars of Asian art. Photo: James Cahill and Julian Raby, director of the Freer I will be the twelfth recipient, the sixth for Chinese art. The ones in Chinese art before me begin with Osvald Siren, someone I have a great admiration for. But the others are my teachers and my heroes: Laurence Sickman, Max Loehr, Alexander Soper, and Sherman Lee. Photos: front and back of bronze Freer Medal, designed by Paul Manship [Begins reading lecture] If this prose sounds familiar, it is because I wrote the English version of Yukio Yashiro’s 1965 acceptance speech. He was the third recipient of the Freer Medal. 1950 (exactly 60 years ago): had finished a B.A. in Oriental Languages at UC Berkeley and, on the advice of my teacher, Edward Schafer, applied for and received the Louise Wallace Hackney Scholarship for cataloguing Chinese paintings at the Freer. I worked with Archibald Wenley, the director of the Freer at the time. 1951–1953: M.A. program at University of Michigan, studied under Max Loehr.
    [Show full text]
  • Red Scarf Girl
    A Facing History and Ourselves Study Guide Teaching RED SCARF GIRL Created to Accompany the Memoir Red Scarf Girl, by Ji-li Jiang A Facing History and Ourselves Study Guide Teaching RED SCARF GIRL Created to Accompany the Memoir Red Scarf Girl, by Ji-li Jiang Facing History and Ourselves is an international educational and professional development organization whose mission is to engage students of diverse backgrounds in an examination of racism, prejudice, and antisemitism in order to promote the development of a more humane and informed citizenry. By studying the historical development of the Holocaust and other examples of genocide, students make the essential connection between history and the moral choices they confront in their own lives. For more information about Facing History and Ourselves, please visit our website at www.facinghistory.org. The front cover illustration is a section from a propaganda poster created during the beginning of the Cultural Revolution (1966–1968), the same years Ji-li describes in her memoir. Since the founding of the People’s Republic of China 1949, government and party officials used mass- produced posters as a way to promote nationalism and convey the values of the Communist Party. Propaganda posters were especially important during the Cultural Revolution, and this poster represents many dominant themes of this media: the glorification of Mao, the color red symbolizing China and the Chinese Communist Party, and the depiction of youth as foot-soldiers for the revolution. The slogan on the poster expresses a popular anthem of the era: Chairman Mao is the Reddest Reddest Red Sun in Our Hearts.
    [Show full text]
  • 3607 Erligang [BMF 9-26].Indd 11 1/2/14 9:52 AM Its Subsequent Excavation by Li Ji in the 1930S Shaped Interpretations of the Origin of Civilization in China
    Preface when i began to organize the conference that led to this volume, one of my first tasks was to design a mission statement that would explain to participants and to our general audience what the conference would be about and what we hoped to accomplish. The goals it sets forth are shared by this book: Named after a type site discovered in Zhengzhou in 1951, the Erligang civ- ilization arose in the Yellow River valley around the middle of the second millennium bce. Shortly thereafter, its distinctive elite material culture spread to a large part of China’s Central Plain, in the south reaching as far as the banks of the Yangzi River. Source of most of the cultural achieve- ments familiarly associated with the more famous Anyang site, the Erli- gang culture is best known for the Zhengzhou remains, a smaller city at Panlongcheng in Hubei, and a large- scale bronze industry of remarkable artistic and technological sophistication. Bronzes are the hallmark of Erli- gang elite material culture. They are also the archaeologist’s main evidence for understanding the transmission of bronze metallurgy to the cultures of southern China. This conference brings together scholars from a variety of disciplines to explore what is known about the Erligang culture and its art, its spectacular bronze industry in particular. Participants will ask how the Erligang artistic and technological tradition was formed and how we should understand its legacy to the later cultures of north and south China. Comparison with other ancient civilizations will afford an important perspective. To the goals stated above may be added one more—to bring the Erligang civili- zation to the attention of a wider audience.
    [Show full text]
  • Why Were Chang'an and Beijing So Different? Author(S): Nancy Shatzman Steinhardt Source: Journal of the Society of Architectural Historians, Vol
    Why Were Chang'an and Beijing so Different? Author(s): Nancy Shatzman Steinhardt Source: Journal of the Society of Architectural Historians, Vol. 45, No. 4 (Dec., 1986), pp. 339-357 Published by: University of California Press on behalf of the Society of Architectural Historians Stable URL: http://www.jstor.org/stable/990206 Accessed: 07-04-2016 18:13 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms 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]. Society of Architectural Historians, University of California Press are collaborating with JSTOR to digitize, preserve and extend access to Journal of the Society of Architectural Historians This content downloaded from 78.108.103.216 on Thu, 07 Apr 2016 18:13:55 UTC All use subject to http://about.jstor.org/terms Why Were Chang'an and Beijing So Different? NANCY SHATZMAN STEINHARDT University of Pennsylvania Historians of premodern Chinese urbanism have long assumed that After stating the hypothesis of three lineages of Chinese imperial the origins of the Chinese imperial city plan stem from a passage in city building, the paper illustrates and briefly comments on the key the Kaogong Ji (Record of Trades) section of the classical text Rit- examples of each city type through history.
    [Show full text]
  • Inside the Forbidden City
    Inside the “Forbidden City” Academic exchange between Palace Museum, China and KCHR, India Oct. 7th to 30th, 2016 (Report of themeetings, excavation, archaeo-science learning, field explorations, museum and institutional visits etc) P J Cherian, Preeta Nayar, Deepak Nair, Tathagata Neogi, Dineesh Krishnan, Renuka T. P The Palace Museum Kerala Council for Historical Research 4 Jingshan Qianjie, PB No. 839, Vyloppilly Samskrithi Bhavan, Beijing 100009, China Nalanda, Thiruvananthapuram, Kerala 695003, India Inside the “Forbidden City” Edited by Professor P. J. Cherian Published by © KCHR, PB No.839, Vyloppilly Samskrithi Bhavan, Nalanda Thiruvananthapuram, PIN. 695 003. 2016 Layout and cover page design Jishnu S Chandran Cover page painting “Damo the sage crossing the stream of life on a reed” the untitled painting by Emperor Chenghua. Damo was a Buddhist monk believed to have reached China around 5th c CE from south-west coast of peninsular India (Kerala) and became an influential thinker in Chinese history. One lore says he hails from the Thalassery region of North Kerala and his original name was Damodaran. The photo and title of the painting is by PJC. KCHR hopes to track his trail and vision of life through research with support from Chinese colleagues and Palace Museum ISBN 8185499432 The KCHR, chaired by Professor K N Panikkar, is an autonomous research institute funded by the Higher Education Department, Government of Kerala. Affiliated to the University of Kerala, it has bilateral academic and exchange agreements with various universities and research institutes in India and abroad. All rights reserved. Citation only with permission, No part of this book may be reproduced or utilised in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage or retrieval system, without the prior permission of the publisher.
    [Show full text]
  • Bulletin of the Geological Society of Denmark, Vol. 35/3-4 Pp. 171-177
    On the origin of dimorphograptids LIJI-JIN Li Ji-Jin: On the origin of dimorphograptids. Bull. geol. Soc. Denmark, vol. 35, pp. 171-177, Copen­ hagen, July 1st, 1987. Previous authors usually considered the Diplograptus stage-*Akidograptus stage-*Rhaphidograptus stage —* Dimorphograptus stage to be an evolutionary series. After research on material of dimorphograp­ tids from the Lower Silurian Kaochiapien Formation, southern Anhui in China, and taking into account the results from analyses on dimorphogvaptids in general, the writer considers that Dimorphograptus of the elongatus group and Bulmanograptus of the confertus group probably evolved from Parakidograptus, while Dimorphograptus of the hubeiensis group and Bulmanograptus of the deminutus group probably evolved from Glyptograptus and Rectograptus respectively. Rhaphidograptus probably evolved from Cli- macograptus. Li Ji-Jin, Nanjing Institute of Geology and Palaeontology, Academia Sinica, Chi-Ming-Ssu, Nanjing, China. August, 29th, 1985. The dimorphograptids mentioned here include the vesiculosus Zone, such as Dimorphograptus three genera, namely, Dimorphograptus (with erectus Elles et Wood, Dimorphograptus maxi­ glyptograptid thecae), Bulmanograptus (with rec- mus Li, Dimorphograptus minor (Li), Dimor­ tograptid thecae) and Rhaphidograptus (with cli- phograptus elongatus Lapworth, Bulmanograptus macograptid thecae). Akidograptus and Paraki­ confertus acuminatus Li, Bulmanograptus similis dograptus are not dimorphograptids because in Li, Bulmanograptus ningguoensis Li, the unise­ these two genera the first theca (thf) in the sec­ rial part of the rhabdosome is composed of 3-19 ond series of the rhabdosome is normal and is thecae; whereas in the dimorphograptids occur­ neither reduced nor lost (Li & Ge 1981). ring in the cyphus and gregarius zones, such as Previous authors (Bulman, 1938; Mu & Li, Dimorphograptus brevis Li, Bulmanograptus al- 1960; Chen & Lin, 1978; etc.) considered the Di­ ternis Li, Bulmanograptus anhuiensis sp.
    [Show full text]
  • Style and Classification in the History of Art and Archaeology
    Style and Classification in the History of Art and Archaeology Review of: Robert Bagley, Max Loehr and the Study of Chinese Bronzes (Ithaca, NY: Cornell East Asia Series, 2008) by Miao Zhe, Professor, Center for Art and Archaeology, Zhejiang University, Hangzhou, China Originally published in Chinese in Dushu, November 2010, 126-33, translated by Wang Haicheng, School of Art, University of Washington, in consultation with Professor Miao. Every field has its own irritations. Historians of ancient art, dependent on archaeologists for material to study, are irritated both by restrictions placed on access to excavated objects and by the archaeologists’ self-conferred status as sole legitimate interpreters of the objects. Archaeologists in return view art historians as unintellectual treasure-hunters trespassing on their territory. Eliminating mistrust evidently depends on the magnanimity of archaeology. But it depends also on art history’s establishing a credible claim to being an independent discipline with a distinct contribution to make. It must mark out its own boundaries and cultivate its own territory. And if scholars of the early history of art wish to do this, then Robert Bagley’s Max Loehr and the Study of Chinese Bronzes is a must-read. Using Loehr’s research on Chinese bronzes as a case study, it delineates, with remarkable clarity, the intersections and separations between art history and archaeology. Although Loehr’s name stands alone in the title of the book, his work on bronzes was intertwined with that of Bernhard Karlgren (1889-1978), to whom Bagley accordingly devotes close attention. Karlgren is a familiar name to readers in Sinology.
    [Show full text]
  • Li Chi Reports
    Li Chi Reports Freer Gallery of Art and Arthur M. Sackler Gallery Archives Washington, D.C. 20013 [email protected] https://www.freersackler.si.edu/research/archives/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Local Numbers................................................................................................................. 2 Arrangement..................................................................................................................... 2 Scope and Contents........................................................................................................ 1 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ............................................................................................................. 3 Li Chi Reports FSA.A2003.10 Collection Overview Repository: Freer Gallery of Art and Arthur M. Sackler Gallery Archives Title: Li Chi Reports Identifier: FSA.A2003.10 Date: 1926-1931 Creator: Li, Ji, 1896-1979 Extent: 3 Boxes Language: English . Digital Image(s): Li Chi Reports Content: Administrative Information Provenance Transferred from the Library
    [Show full text]
  • A Summary of Textual Research on the Liji 禮記 (Rites Records) Liu Yucai and Luke Habberstad
    A Summary of Textual Research on the Liji 禮記 (Rites Records) Liu Yucai and Luke Habberstad The Status of the Liji as a Classical Text The Liji is one of three texts that for centuries comprised the most important sources for classical ritual. The other two of these so-called san li 三禮 (Three Rites texts) are the Yili 儀禮 (Ceremonial) and Zhouli 周禮 (Rites of Zhou). After the collapse of the Eastern Han 東漢 (24 CE-220), the authority of the Liji increased gradually. While an important step in the Liji’s ascendance came when Zheng Xuan 鄭玄 (127-200 CE) completed his commentary on the text in the late Eastern Han, it was not until the Tang dynasty that the Liji became officially designated as a jing 經 (classic).1 Later, in the Song period, it was recognized as the first and most important of the Three Rites texts, occupying a key position amongst the Four Books (Sishu 四書) and Five Classics (Wujing 五經). To wit, two of the Four Books, the “Da xue” 大學 (Great Learning) and “Zhong yong” 中庸 (Doctrine of the Mean), were actually chapters from the Liji. As first-time readers of the Three Rites texts quickly discover, the Liji, Yili, and Zhouli analyze ritual from significantly different perspectives.2 The Zhouli outlines an idealized political system, describing the duties of more than three hundred bureaucratic offices. The Yili details specific procedures to follow during different ceremonies, including capping, marriage, mourning, sacrificial offerings, archery competitions, banquets, official visits, and court audiences. The seventeen chapters of the Yili all lay out specific sets of protocol, with significant overlap in content across chapters.
    [Show full text]
  • The Hidden Level in Space and Time: the Vertical Shaft in the Royal
    Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College History of Art Faculty Research and Scholarship History of Art 2015 The iddeH n Level in Space and Time: The eV rtical Shaft in the Royal Tombs of the Zhongshan Kingdom in Late Eastern Zhou (475–221 BCE) China Jie Shi Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/hart_pubs Part of the History of Art, Architecture, and Archaeology Commons Custom Citation Shi, Jie. 2015. "The iddeH n Level in Space and Time: The eV rtical Shaft in the Royal Tombs of the Zhongshan Kingdom in Late Eastern Zhou (475–221 BCE) China." Material Religion: The ourJ nal of Objects, Art, and Belief 11.1: 76– 103. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/hart_pubs/81 For more information, please contact [email protected]. Jie Shi. “The Hidden Leven in Space and Time: The Vertical Shaft in the Royal Tombs of the Zhongshan Kingdom in Late Eastern Zhou (475-221 BCE) China.” Material Religion volume 11, issue 1, pp. 76–103. DOI: 10.2752/205393215X14259900061634 © Bloomsbury Publishing Plc 2015 The Hidden Leven in Space and Time: The Vertical Shaft in the Royal Tombs of the Zhongshan Kingdom in Late Eastern Zhou (475-221 BCE) China Jie Shi ABSTRACT Among the best preserved royal tombs in early China, the tombs of the Zhongshan state (dated to the late fourth to early third centuries bce) in present-day Pingshan county each featured a concealed earthen shaft in the middle of the tomb.
    [Show full text]
  • Media Inquiries Holly Evarts, Director of Public Relations, World Monuments Fund (New York) +1-646-424-9594, [email protected] Ms
    Media Inquiries Holly Evarts, Director of Public Relations, World Monuments Fund (New York) +1-646-424-9594, [email protected] Ms. Shaoyi Li, Foreign Affairs Department, the Palace Museum (Beijing) [86-10] -8511-7053; [email protected] _____________________________________________________________________________________________ THE PALACE MUSEUM AND WORLD MONUMENTS FUND LAUNCH MAJOR JOINT RESTORATION PROJECT IN BEIJING’S FORBIDDEN CITY OFFICIALS FROM THE PALACE MUSEUM AND WORLD MONUMENTS FUND SIGN AGREEMENT TO WORK TOGETHER ON MULTI-MILLION DOLLAR, 10-YEAR INITIATIVE TO CONSERVE QIANLONG GARDEN SIGNIFICANT EXPANSION OF INTERNATIONAL PARTNERSHIP MADE POSSIBLE WITH LEAD FUNDING FROM THE FREEMAN FOUNDATION For Immediate Release—Beijing, China, March 1, 2006 . .The Palace Museum in Beijing and the World Monuments Fund announced today that the two organizations are expanding their unprecedented partnership of the past five years and will work together on a major new initiative in the Forbidden City—the restoration of the Qianlong Garden, one of the most historically significant and architecturally rich sites in the Forbidden City. This announcement marks the launch of a historic joint commitment by the PM and WMF: a 10-year, $15-18 million project to conserve the Garden, which was built by Qing Emperor Qianlong (r. 1736–1795) and is one of the largest areas in the Forbidden City to remain relatively untouched since imperial times. The most comprehensive project ever undertaken by WMF, the new Palace Museum-World Monuments Fund initiative is also the most significant partnership ever taken on by the PM with an international organization to restore a historic site in the Forbidden City. The full-scale commitment by the PM and WMF to the Qianlong Garden restoration over the next 10 years will bring together the best resources and expertise from around the world in a wide range of areas, including conservation, architecture, technical and craftsmanship training, and museum methodologies such as planning, education, site interpretation, and exhibition.
    [Show full text]