Lesson Title – the Monkey King As a Quest Story Class and Grade Level(S) – College Prep English/Seniors Goals and Objectives
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Rebuilding the Ancestral Temple and Hosting Daluo Heaven and Earth Prayer and Enlightenment Ceremony
Cultural and Religious Studies, July 2020, Vol. 8, No. 7, 386-402 doi: 10.17265/2328-2177/2020.07.002 D DAVID PUBLISHING Rebuilding the Ancestral Temple and Hosting Daluo Heaven and Earth Prayer and Enlightenment Ceremony Wu Hui-Chiao Ming Chuan University, Taiwan Kuo, Yeh-Tzu founded Taiwan’s Sung Shan Tsu Huei Temple in 1970. She organized more than 200 worshipers as a group named “Taiwan Tsu Huei Temple Queen Mother of the West Delegation to China to Worship at the Ancestral Temples” in 1990. At that time, the temple building of the Queen Mother Palace in Huishan of Gansu Province was in disrepair, and Temple Master Kuo, Yeh-Tzu made a vow to rebuild it. Rebuilding the ancestral temple began in 1992 and was completed in 1994. It was the first case of a Taiwan temple financing the rebuilding of a far-away Queen Mother Palace with its own donations. In addition, Sung Shan Tsu Huei Temple celebrated its 45th anniversary and hosted Yiwei Yuanheng Lizhen Daluo Tiandi Qingjiao (Momentous and Fortuitous Heaven and Earth Prayer Ceremony) in 2015. This is the most important and the grandest blessing ceremony of Taoism, a rare event for Taoism locally and abroad during this century. Those sacred rituals were replete with unprecedented grand wishes to propagate the belief in Queen Mother of the West. Stopping at nothing, Queen Mother’s love never ceases. Keywords: Sung Shan Tsu Huei Temple, Temple Master Kuo, Yeh-Tzu, Golden Mother of the Jade Pond, Daluo Tiandi Qingjiao (Daluo Heaven and Earth Prayer Ceremony) Introduction The main god, Golden Mother of the Jade Pond (Golden Mother), enshrined in Sung Shan Tsu Huei Temple, is the same as the Queen Mother of the West, the highest goddess of Taoism. -
The Misrepresentation of Representation: in Defense of Regional Storytelling in Netflix's the New Legends of Monkey
The Misrepresentation of Representation: In Defense of Regional Storytelling in Netflix’s The New Legends of Monkey KATE MCEACHEN The 2018 Australian Broadcasting Corporation (ABC Me), Television New Zealand (TVNZ), and Netflix’s coproduction of the original series The New Legends of Monkey (2018) is a fantasy-based television series that reimagines Monkey (1978), a British Broadcasting Corporation (BBC) dubbing of the Japanese television series Saiyūki 西遊記. Saiyūki was an adaptation of the historically significant Chinese novel Xiyou ji (Wu Cheng’en, 1592), known in English as Journey to the West. Monkey gained a cult following in Australia, New Zealand, and other international markets leading to the 2018 reboot The New Legends of Monkey, which, unlike Monkey, was released in the United States (Flanagan). This new iteration prompted cultural confusion from those largely unfamiliar with the preceding series, the contexts in which it was introduced to English-speaking viewers in Australia and New Zealand, or the cult response that resulted. This article presents the recent series with this background in mind and within the context of locally produced television in New Zealand, where The New Legends of Monkey was filmed. Analysis of online discussions exposes the interpretive differences arising from this lack of context regarding the show’s connection to Monkey and highlights the problems viewers face interpreting stories outside of their local production markets—an increasingly relevant problem as more regional productions become accessible to a wide range of audiences through transnational streaming services like Netflix. The 2018 The New Legends of Monkey television adaptation, produced by and for the Australian and New Zealand markets and co-produced for international KATE MCEACHEN is currently pursuing her Doctoral Degree in Cultural Studies at The University of Southern Queensland in Australia. -
Archiving Movements: Short Essays on Materials of Anime and Visual Media V.1
Contents Exhibiting Anime: Archive, Public Display, and the Re-narration of Media History Gan Sheuo Hui ………… 2 Utilizing the Intermediate Materials of Anime: Royal Space Force: The Wings of Honnêamise Ishida Minori ………… 17 The Film through the Archive and the Archive through the Film: History, Technology and Progress in Royal Space Force: The Wings of Honnêamise Dario Lolli ………… 25 Interview with Yamaga Hiroyuki, Director of Royal Space Force: The Wings of Honnêamise What Do Archived Materials Tell Us about Anime? Kim Joon Yang ………… 31 Exhibiting Manga: Impulses to Gain from the Archiving/Unearthing Anime Project Jaqueline Berndt ………… 36 Analyzing “Regional Communities” with “Visual Media” and “Materials” Harada Ken’ichi ………… 41 About the Archive Center for Anime Studies in Niigata University ………… 45 Exhibiting Anime: Archive, Public Display, and the Re-narration of Media History Gan Sheuo Hui presumably, the majority are in various storage Background of the Project places after their production cycles. It is not The exhibition “A World is Born: The uncommon that they are forgotten, displaced or Emerging Arts and Designs in 1980s Japanese eventually discarded due to the expenses incurred Animation” (19-31 March 2018) hosted at DECK, for storage. In many ways, these materials an independent art space in Singapore, is encompass an often forgotten yet significant part of an ongoing research collaboration research resource essential for understanding between the researchers from Puttnam School key aspects of Japanese animation production of Film and Animation in Singapore and the cultures and practices. Archive Center for Anime Studies in Niigata “A World is Born” was an exhibition focusing University (ACASiN). -
Essays on Monkey: a Classic Chinese Novel Isabelle Ping-I Mao University of Massachusetts Boston
University of Massachusetts Boston ScholarWorks at UMass Boston Critical and Creative Thinking Capstones Critical and Creative Thinking Program Collection 9-1997 Essays on Monkey: A Classic Chinese Novel Isabelle Ping-I Mao University of Massachusetts Boston Follow this and additional works at: http://scholarworks.umb.edu/cct_capstone Recommended Citation Ping-I Mao, Isabelle, "Essays on Monkey: A Classic Chinese Novel" (1997). Critical and Creative Thinking Capstones Collection. 238. http://scholarworks.umb.edu/cct_capstone/238 This is brought to you for free and open access by the Critical and Creative Thinking Program at ScholarWorks at UMass Boston. It has been accepted for inclusion in Critical and Creative Thinking Capstones Collection by an authorized administrator of ScholarWorks at UMass Boston. For more information, please contact [email protected]. ESSAYS ON MONKEY: A CLASSIC . CHINESE NOVEL A THESIS PRESENTED by ISABELLE PING-I MAO Submitted to the Office of Graduate Studies, University of Massachusetts Boston, in partial fulfillment of the requirements for the degree of MASTER OF ARTS September 1997 Critical and Creative Thinking Program © 1997 by Isabelle Ping-I Mao All rights reserved ESSAYS ON MONKEY: A CLASSIC CHINESE NOVEL A Thesis Presented by ISABELLE PING-I MAO Approved as to style and content by: Delores Gallo, As ciate Professor Chairperson of Committee Member Delores Gallo, Program Director Critical and Creative Thinking Program ABSTRACT ESSAYS ON MONKEY: A CLASSIC CHINESE NOVEL September 1997 Isabelle Ping-I Mao, B.A., National Taiwan University M.A., University of Massachusetts Boston Directed by Professor Delores Gallo Monkey is one of the masterpieces in the genre of the classic Chinese novel. -
Yu-Huang -- the Jade Emperor
יו הואנג يو هوانج https://www.scribd.com/doc/55142742/16-Daily-Terms ヒスイ天使 Yu-huang -- The Jade Emperor Yu-huang is the great High God of the Taoists -- the Jade Emperor. He rules Heaven as the Emperor doe Earth. All other gods must report to him. His chief function is to distribute justice, which he does through the court system of Hell where evil deeds and thoughts are punished. Yu- huang is the Lord of the living and the dead and of all the Buddhas, all the gods, all the spectres and all the demons. According to legend he was the son of an emperor Ch'ing-te and his wife Pao Yueh-kuang who from his birth exhibited great compassion. When he had been a few years on the throne he abdicated and retired as a hermit spending his time dispensing medicine and knowledge of the Taoist texts. Some scholars see in this a myth of the sacred union of the sun and the moon, their son being the ruler of all Nature. "The good who fulfill the doctrine of love, and who nourish Yu-huang with incense, flowers, candles and fruit; who praise his holy name with respect and propriety -- such people will receive thirty kinds of very wonderful rewards." --Folkways in China L Holdus. http://www.chebucto.ns.ca/Philosophy/Taichi/gods.html Jade Emperor The Jade Emperor (Chinese: 玉皇; pinyin: Yù Huáng of the few myths in which the Jade Emperor really shows or 玉帝, Yù Dì) in Chinese culture, traditional religions his might. and myth is one of the representations of the first god (太 In the beginning of time, the earth was a very difficult 帝 tài dì). -
International Reinterpretations
International Reinterpretations 1 Remakes know no borders… 2 … naturally, this applies to anime and manga as well. 3 Shogun Warriors 4 Stock-footage series 5 Non-US stock-footage shows Super Riders with the Devil Hanuman and the 5 Riders 6 OEL manga 7 OEL manga 8 OEL manga 9 Holy cow, more OEL manga! 10 Crossovers 11 Ghost Rider? 12 The Lion King? 13 Godzilla 14 Guyver 15 Crying Freeman 16 Fist of the North Star 17 G-Saviour 18 Blood: the Last Vampire 19 Speed Racer 20 Imagi Studios 21 Ultraman 6 Brothers vs. the Monster Army (Thailand) The Adventure Begins (USA) Towards the Future (Australia) The Ultimate Hero (USA) Tiga manhwa 22 Dragonball 23 Wicked City 24 City Hunter 25 Initial D 26 Riki-Oh 27 Asian TV Dramas Honey and Clover Peach Girl (Taiwan) Prince of Tennis (Taiwan) (China) 28 Boys Over Flowers Marmalade Boy (Taiwan) (South Korea) Oldboy 29 Taekwon V 30 Super Batman and Mazinger V 31 Space Gundam? Astro Plan? 32 Journey to the West (Saiyuki) Alakazam the Great Gensomaden Saiyuki Monkey Typhoon Patalliro Saiyuki Starzinger Dragonball 33 More “Goku”s 34 The Water Margin (Suikoden) Giant Robo Outlaw Star Suikoden Demon Century Akaboshi 35 Romance of the Three Kingdoms (Sangokushi) Mitsuteru Yokoyama’s Sangokushi Kotetsu Sangokushi BB Senshi Sangokuden Koihime Musou Ikkitousen 36 World Masterpiece Theater (23 seasons since 1969) Moomin Heidi A Dog of Flanders 3000 Leagues in Search of Mother Anne of Green Gables Adventures of Tom Sawyer Swiss Family Robinson Little Women Little Lord Fauntleroy Peter -
Bamcinématek Presents Stephen Chow: the King of Comedy, Oct 6—12
BAMcinématek presents Stephen Chow: The King of Comedy, Oct 6—12 “The reigning king of Hong Kong comedy.”—J. Hoberman Co-presented with the Hong Kong Economic and Trade Office in New York. The Wall Street Journal is the title sponsor for BAM Rose Cinemas and BAMcinématek. Brooklyn, NY/Sep 8, 2014—From Monday, October 6 through Sunday, October 12, BAMcinématek presents Stephen Chow: The King of Comedy, an eight-film retrospective of the Hong Kong actor, writer, and director. Chow’s audaciously anarchic comedies combine surreal sight gags, non sequiturs, extensive pop culture quoting, and gravity-defying martial arts to sublimely silly effect. Endlessly inventive, the reigning king of Hong Kong mo lei tau (―nonsense comedy‖) yields unfiltered cinematic pleasure. Initially prominent as a children’s television star, Chow became synonymous with mo lei tau, a style of film comedy in which traditional melodramas and kung fu tales are peppered with rapid- fire, fourth-wall-breaking slapstick bits and corny puns. A bigger box-office draw in his homeland than Jackie Chan or Jet Li, Chow—who cites Spielberg and Kubrick, along with Jim Carrey, as influences—has used his clout in recent years to fashion himself as an auteur, scripting, editing, and directing a series of high-budget, homage-filled blockbusters. Typical of Chow’s earliest hits, Johnnie To’s Justice, My Foot! (1992—Oct 8) casts the actor as a fast-talking lawyer whose mouth gets him into trouble, and whose kung fu-fighting wife gets him out of it—one of many tough, smart heroines Chow uses as foils for his feckless alter egos. -
MIT China Care Club the Magical Monkey King: Havoc in the Heaven!
MIT China Care Club The Magical Monkey King: Havoc in the Heaven! Casts: Narrator (N) Sun Wukong Little Monkeys Emperor of Jade Messenger Heavenly Soldiers White Planet Lord Fairy Maidens Erlang Shen Taishang Laojun ------- N: Long ago, the Monkey King lived in the Cave of the Water Curtain on the Mountain of Flowers and Fruits, Hua Guo Shan. The Monkey King, who was also called Sun Wukong, was very powerful in his skills and magic tricks. He could transform himself into 72 different things, including fish, bug, trees, houses… He could also plug a hair from his head and transform it into a duplicate of himself! This Monkey King was also very fast – he traveled by riding on a cloud and could jump over 180,000 miles in one somersault. With his great skills, he even bullied the Sea Dragon King into giving him the Holy Needle of the Eastern Sea, a golden bar that could be transformed into any shape. Little Monkeys: Master! Master! Show us your new weapon! I want to see, I want to see!! Sun: Well, little ones, stand back then! – (Sun took the golden bar from behind his ear and transformed it into a great column that extends all the way to the sky) Little Monkeys: Wow-wee!! It’s so big! No one can beat us now – we are going to be the most powerful in the world! Sun: The most powerful in the world, eh? (contemplates for a few seconds and laughs) Of course, lil’ ones, we are the most powerful in the world! I am the king of the world! I’m the Great Sage Equal to the Heaven! Little Monkey: Wow-weeeee! Great Sage Equal to the Heaven!? You’re the Great Sage Equal to the Heaven, master! (chants) Great Sage! Great Sage!.. -
Appendix 2 Chinese Deities and Spirits
Appendix 2 Chinese deities and spirits This appendix includes a selection of the most common and important gods, goddesses, Buddhas, bodhisattvas, ancestors, and spirits that one can find in reli- gious sites across China. For each major religion, I present the most important deities of the pantheon as people would encounter them in a temple or other sacred space. Of course, there are many other deities presented in temples across China; yet, these are some of the most common of the range of deities – which ultimately cover all aspects of people’s physical and spiritual lives. Animistic ideas (referring to the idea of having or expecting mutually recip- rocal relationships of respect, gift-exchange, and communication; see Harvey 2013) in China stem at least as far back as the proto-Daoist text, the Zhua¯ngzi 庄子, from around 300 BCE, the first seven, inner chapters of which scholars think were written by Zhua¯ ng Zho¯u 庄周 (c. 369 BCE – c. 286 BCE). This text explains ideas about carefree living, naturalness, and relativity of perceptions, and Zhua¯ ngzi seems to attempt to get people to recognize that they live in a multi- species symbiotic community in which each aspect is in relationship and that each deserves respect. The Zhua¯ ngzi continues to be a widely-read and influential book among contemporary Chinese readers. Other popular literary texts include religiously-informed animistic ideas as well. Journey to the West (Xı¯yóujì 西游记), The Investiture of the Gods (Fe¯ngshén Yaˇnyì 封神演义), Dream of the Red Chamber (Hónglóu mèng 红楼梦), and the Water Margin (Shuıˇ huˇ zhuàn 水浒传; aka., Outlaws of the Marsh), all contain examples of some natural phenomenon such as a rock, animal, or flower, which has absorbed the essence of the cosmos for so long that it becomes a spirit being and chooses to incarnate in the human world to experience life in a human form. -
Fiction-2-2018-2.Pdf
Journey the the West (With a Twist) Quarry Bay School, Bratton, Luke - 8 t was a usual evening. Sun Wukong, Zhu Bajie, White Dragon Horse and Tang Sanzang were all happily sitting around the Dining table feasting on a banquet. Everyone was having a good time. They I were telling jokes and reminding everyone about good times. Except for one thing. Zhu Bajie was acting very strangely. He just wasn't being himself. Tang Sanzang seemed to be the only one who noticed Zhu Bajie and his unusual behaviour. As it got late, they all accidentally fell asleep at the table. Sun Wukong was exhausted but just couldn't fall asleep. Out of the darkness, he saw a mysterious figure move around. When it left, Sun Wukong woke up White Dragon Horse and Tang Sanzang but Zhu Bajie was nowhere to be found. Sun Wukong explained everything about how he saw a mysterious shadow and how Zhu Bajie had disappeared. That is when Tang Sanzang joined into the conversation. He told Sun Wukong and White Dragon Horse about how he noticed that Zhu Bajie was acting strangely during dinner. The three of them decided that the next day the second they woke up they were going to search for Zhu Bajie. It was dawn. White Dragon Horse, Tang Sanzang and Sun Wukong set off for their terrific quest. White Dragon Horse agreed to carry all the supplies. Even though they knocked on every door they could find and asked if anyone had seen Zhu Bajie. But the truth fell upon them. -
MANHUA MODERNITY HINESE CUL Manhua Helped Defi Ne China’S Modern Experience
CRESPI MEDIA STUDIES | ASIAN STUDIES From fashion sketches of Shanghai dandies in the 1920s, to phantasma- goric imagery of war in the 1930s and 1940s, to panoramic pictures of anti- American propaganda rallies in the 1950s, the cartoon-style art known as MODERNITY MANHUA HINESE CUL manhua helped defi ne China’s modern experience. Manhua Modernity C TU RE o ers a richly illustrated and deeply contextualized analysis of these il- A lustrations from the lively pages of popular pictorial magazines that enter- N UA D tained, informed, and mobilized a nation through a half century of political H M T and cultural transformation. N H O E A “An innovative reconceptualization of manhua. John Crespi’s meticulous P study shows the many benefi ts of interpreting Chinese comics and other D I M C illustrations not simply as image genres but rather as part of a larger print E T culture institution. A must-read for anyone interested in modern Chinese O visual culture.” R R I CHRISTOPHER REA, author of The Age of Irreverence: A New History A of Laughter in China L N “A rich media-centered reading of Chinese comics from the mid-1920s T U U I I through the 1950s, Manhua Modernity shifts the emphasis away from I R R T T ideological interpretation and demonstrates that the pictorial turn requires T N N examinations of manhua in its heterogenous, expansive, spontaneous, CHINESE CULTURE AND THE PICTORIAL TURN AND THE PICTORIAL CHINESE CULTURE Y and interactive ways of engaging its audience’s varied experiences of Y fast-changing everyday life.” YINGJIN ZHANG, author of Cinema, Space, and Polylocality in a Globalizing China JOHN A. -
Working Papers
Working Papers www.mmg.mpg.de/workingpapers MMG Working Paper 17-08 ● ISSN 2192-2357 FABIAN GRAHAM Visual anthropology: a temple anniversary in Singapore Religious and Ethnic Diversity und multiethnischer Gesellschaften Max Planck Institute for the Study of Max Planck Institute for the Study of Max-Planck-Institut zur Erforschung multireligiöser Fabian Graham Visual anthropology: a temple anniversary in Singapore MMG Working Paper 17-08 Max-Planck-Institut zur Erforschung multireligiöser und multiethnischer Gesellschaften, Max Planck Institute for the Study of Religious and Ethnic Diversity Göttingen © 2017 by the author ISSN 2192-2357 (MMG Working Papers Print) Working Papers are the work of staff members as well as visitors to the Institute’s events. The analyses and opinions presented in the papers do not reflect those of the Institute but are those of the author alone. Download: www.mmg.mpg.de/workingpapers MPI zur Erforschung multireligiöser und multiethnischer Gesellschaften MPI for the Study of Religious and Ethnic Diversity, Göttingen Hermann-Föge-Weg 11, 37073 Göttingen, Germany Tel.: +49 (551) 4956 - 0 Fax: +49 (551) 4956 - 170 www.mmg.mpg.de [email protected] Abstract Based on the hypothesis that the inclusion of visual media provides insights into non-verbal communication not provided by the written word alone, this paper repre- sents an experimental approach to test the usefulness of reproducing fieldwork pho- tography in directing reader’s attentions to probe the emic understandings of deific efficacy, and the researcher’s selective bias which the images implicitly or explicitly portray. This paper therefore explores the use of the visual image to illustrate that a reader’s own analysis of proxemics and kinesics allows for a deeper understanding of emic perspectives by drawing insights from the manipulation of material objects and from non-verbal communication – insights that the written word may struggle to accurately portray.