Kang-I Sun Chang (孫康宜), the Inaugural Malcolm G. Chace
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Orthography of Early Chinese Writing: Evidence from Newly Excavated Manuscripts
IMRE GALAMBOS ORTHOGRAPHY OF EARLY CHINESE WRITING: EVIDENCE FROM NEWLY EXCAVATED MANUSCRIPTS BUDAPEST MONOGRAPHS IN EAST ASIAN STUDIES SERIES EDITOR: IMRE HAMAR IMRE GALAMBOS ORTHOGRAPHY OF EARLY CHINESE WRITING: EVIDENCE FROM NEWLY EXCAVATED MANUSCRIPTS DEPARTMENT OF EAST ASIAN STUDIES, EÖTVÖS LORÁND UNIVERSITY BUDAPEST 2006 The present volume was published with the support of the Chiang Ching-kuo Foundation. © Imre Galambos, 2006 ISBN 963 463 811 2 ISSN 1787-7482 Responsible for the edition: Imre Hamar Megjelent a Balassi Kiadó gondozásában (???) A nyomdai munkálatokat (???)a Dabas-Jegyzet Kft. végezte Felelős vezető Marosi Györgyné ügyvezető igazgató CONTENTS Acknowledgements ................................................................................................. vii Introduction ............................................................................................................ 1 CHAPTER ONE FORMER UNDERSTANDINGS ..................................................................................... 11 1.1 Traditional views ........................................................................................... 12 1.1.1 Ganlu Zishu ........................................................................................ 13 1.1.2 Hanjian .............................................................................................. 15 1.2 Modern views ................................................................................................ 20 1.2.1 Noel Barnard ..................................................................................... -
Ming-Qing Women's Song Lyrics to the Tune Man Jiang Hong
engendering heroism: ming-qing women’s song 1 ENGENDERING HEROISM: MING-QING WOMEN’S SONG LYRICS TO THE TUNE MAN JIANG HONG* by LI XIAORONG (McGill University) Abstract The heroic lyric had long been a masculine symbolic space linked with the male so- cial world of career and achievement. However, the participation of a critical mass of Ming-Qing women lyricists, whose gendered consciousness played a role in their tex- tual production, complicated the issue. This paper examines how women crossed gen- der boundaries to appropriate masculine poetics, particularly within the dimension of the heroic lyric to the tune Man jiang hong, to voice their reflections on larger historical circumstances as well as women’s gender roles in their society. The song lyric (ci 詞), along with shi 詩 poetry, was one of the dominant genres in which late imperial Chinese women writers were active.1 The two conceptual categories in the aesthetics and poetics of the song lyric—“masculine” (haofang 豪放) and “feminine” (wanyue 婉約)—may have primarily referred to the textual performance of male authors in the tradition. However, the participation of a critical mass of Ming- Qing women lyricists, whose gendered consciousness played a role in * This paper was originally presented in the Annual Meeting of the Association for Asian Studies, New York, March 27-30, 2003. I am deeply grateful to my supervisor Grace S. Fong for her guidance and encouragement in the course of writing this pa- per. I would like to also express my sincere thanks to Professors Robin Yates, Robert Hegel, Daniel Bryant, Beata Grant, and Harriet Zurndorfer and to two anonymous readers for their valuable comments and suggestions that led me to think further on some critical issues in this paper. -
A Concise History of Chinese Literature
656 chapter sixteen this way the scholar-ofcials were completely deprived of their option to keep themselves detached from the regime. Te cultural control in the Song dynasty may be considered as rather tight, but at least on the surface, the personal dignity of the scholar-ofcials was still respected, so they were able to pursue, more or less, their ideal that the search for the “Way” was their ultimate purpose in life, whereas the Ming regime, from the very beginning of its establishment, tried to cast the personality of men of letters in a slavish mould. During the Ming dynasty, the Cheng-Zhu Lixue was honored, forc- ibly, as a government-sponsored theory, and their annotated editions of Confucian classics were held as the required texts for daily learning and as the basis of the civil service examinations. From the beginning of the Ming to the Chenghua reign, the standard format in the civil service examinations gradually took shape. Te eight-legged prose, with fxed number of characters in length and the requirement that one could only “compose in the voice of the ancients” rather than freely assume one’s own, further reinforced the shackles on the thinking of the literati with a lasting infuence. (See “Survey of Ofcial Appoint- ment” in History of the Ming) Tereupon the free and lively literary practice, introduced in the last years of the Yuan, came to a sudden stop at the beginning of the Ming. Te more than a hundred years aferward (1368–1487), through the last years of the Chenghua reign, made a rather lengthy period of decline in the history of literature. -
Images of Women in Chinese Literature. Volume 1. REPORT NO ISBN-1-880938-008 PUB DATE 94 NOTE 240P
DOCUMENT RESUME ED 385 489 SO 025 360 AUTHOR Yu-ning, Li, Ed. TITLE Images of Women in Chinese Literature. Volume 1. REPORT NO ISBN-1-880938-008 PUB DATE 94 NOTE 240p. AVAILABLE FROM Johnson & Associates, 257 East South St., Franklin, IN 46131-2422 (paperback: $25; clothbound: ISBN-1-880938-008, $39; shipping: $3 first copy, $0.50 each additional copy). PUB TYPE Books (010) Reports Descriptive (141) EDRS PRICE MF01/PC10 Plus Postage. DESCRIPTORS *Chinese Culture; *Cultural Images; Females; Folk Culture; Foreign Countries; Legends; Mythology; Role Perception; Sexism in Language; Sex Role; *Sex Stereotypes; Sexual Identity; *Womens Studies; World History; *World Literature IDENTIFIERS *Asian Culture; China; '`Chinese Literature ABSTRACT This book examines the ways in which Chinese literature offers a vast array of prospects, new interpretations, new fields of study, and new themes for the study of women. As a result of the global movement toward greater recognition of gender equality and human dignity, the study of women as portrayed in Chinese literature has a long and rich history. A single volume cannot cover the enormous field but offers volume is a starting point for further research. Several renowned Chinese writers and researchers contributed to the book. The volume includes the following: (1) Introduction (Li Yu- Wing);(2) Concepts of Redemption and Fall through Woman as Reflected in Chinese Literature (Tsung Su);(3) The Poems of Li Qingzhao (1084-1141) (Kai-yu Hsu); (4) Images of Women in Yuan Drama (Fan Pen Chen);(5) The Vanguards--The Truncated Stage (The Women of Lu Yin, Bing Xin, and Ding Ling) (Liu Nienling); (6) New Woman vs. -
Modernism in Practice: Shi Zhecun's Psychoanalytic Fiction Writing
Modernism in Practice: Shi Zhecun's Psychoanalytic Fiction Writing Item Type text; Electronic Thesis Authors Zhu, Yingyue Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 26/09/2021 14:07:54 Link to Item http://hdl.handle.net/10150/642043 MODERNISM IN PRACTICE: SHI ZHECUN’S PSYCHOANALYTIC FICTION WRITING by Yingyue Zhu ____________________________ Copyright © Yingyue Zhu 2020 A Thesis Submitted to the Faculty of the DEPARTMENT OF EAST ASIAN STUDIES In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2020 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Master’s Committee, we certify that we have read the thesis prepared by Yingyue Zhu, titled MODERNISM IN PRACTICE: SHI ZHECUN’S PSYCHOANALYTIC FICTION WRITING and recommend that it be accepted as fulfilling the dissertation requirement for the Master’s Degree. Jun 29, 2020 _________________________________________________________________ Date: ____________ Dian Li Fabio Lanza Jul 2, 2020 _________________________________________________________________ Date: ____________ Fabio Lanza Jul 2, 2020 _________________________________________________________________ Date: ____________ Scott Gregory Final approval and acceptance of this thesis is contingent upon the candidate’s submission of the final copies of the thesis to the Graduate College. I hereby certify that I have read this thesis prepared under my direction and recommend that it be accepted as fulfilling the Master’s requirement. -
The New Sensationists
Edinburgh Research Explorer The new sensationists Citation for published version: Rosenmeier, C 2018, The new sensationists: Shi Zhecun, Mu Shiying, Liu Na'ou. in MD Gu (ed.), The Routledge Companion of Modern Chinese Literature. 1 edn, Routledge, pp. 168-180. Link: Link to publication record in Edinburgh Research Explorer Document Version: Peer reviewed version Published In: The Routledge Companion of Modern Chinese Literature Publisher Rights Statement: This is an Accepted Manuscript of a book chapter published by Routledge in Routledge Handbook of Modern Chinese Literature on 3/09/2018, available online: https://www.routledge.com/Routledge-Handbook-of-Modern- Chinese-Literature/Gu/p/book/9781138647541 General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 26. Sep. 2021 The New Sensationists: Shi Zhecun, Mu Shiying, and Liu Na’ou, Introduction The three writers under consideration here—Shi Zhecun (1905–2003), Mu Shiying (1912– 1940), and Liu Na’ou (1905–1940)—were the foremost modernist authors in the Republican period. Collectively labelled “New Sensationists” (xinganjuepai), they were mainly active in Shanghai in the early 1930s, and their most famous works reflect the speed, chaos, and intensity of the metropolis.1 They wrote about dance halls, neon lights, and looming madness alongside modern lifestyles, gender roles, and social problems. -
The Case of Wang Wei (Ca
_full_journalsubtitle: International Journal of Chinese Studies/Revue Internationale de Sinologie _full_abbrevjournaltitle: TPAO _full_ppubnumber: ISSN 0082-5433 (print version) _full_epubnumber: ISSN 1568-5322 (online version) _full_issue: 5-6_full_issuetitle: 0 _full_alt_author_running_head (neem stramien J2 voor dit article en vul alleen 0 in hierna): Sufeng Xu _full_alt_articletitle_deel (kopregel rechts, hier invullen): The Courtesan as Famous Scholar _full_is_advance_article: 0 _full_article_language: en indien anders: engelse articletitle: 0 _full_alt_articletitle_toc: 0 T’OUNG PAO The Courtesan as Famous Scholar T’oung Pao 105 (2019) 587-630 www.brill.com/tpao 587 The Courtesan as Famous Scholar: The Case of Wang Wei (ca. 1598-ca. 1647) Sufeng Xu University of Ottawa Recent scholarship has paid special attention to late Ming courtesans as a social and cultural phenomenon. Scholars have rediscovered the many roles that courtesans played and recognized their significance in the creation of a unique cultural atmosphere in the late Ming literati world.1 However, there has been a tendency to situate the flourishing of late Ming courtesan culture within the mainstream Confucian tradition, assuming that “the late Ming courtesan” continued to be “integral to the operation of the civil-service examination, the process that re- produced the empire’s political and cultural elites,” as was the case in earlier dynasties, such as the Tang.2 This assumption has suggested a division between the world of the Chinese courtesan whose primary clientele continued to be constituted by scholar-officials until the eight- eenth century and that of her Japanese counterpart whose rise in the mid- seventeenth century was due to the decline of elitist samurai- 1) For important studies on late Ming high courtesan culture, see Kang-i Sun Chang, The Late Ming Poet Ch’en Tzu-lung: Crises of Love and Loyalism (New Haven: Yale Univ. -
Parodies of Qing: Ironic Voices in Romantic Chuanqi Plays Yanbing Tan Washington University in St
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Washington University St. Louis: Open Scholarship Washington University in St. Louis Washington University Open Scholarship Arts & Sciences Electronic Theses and Dissertations Arts & Sciences Summer 8-15-2018 Parodies of Qing: Ironic Voices in Romantic Chuanqi Plays Yanbing Tan Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/art_sci_etds Part of the Asian Studies Commons, Comparative Literature Commons, East Asian Languages and Societies Commons, and the South and Southeast Asian Languages and Societies Commons Recommended Citation Tan, Yanbing, "Parodies of Qing: Ironic Voices in Romantic Chuanqi Plays" (2018). Arts & Sciences Electronic Theses and Dissertations. 1656. https://openscholarship.wustl.edu/art_sci_etds/1656 This Dissertation is brought to you for free and open access by the Arts & Sciences at Washington University Open Scholarship. It has been accepted for inclusion in Arts & Sciences Electronic Theses and Dissertations by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of East Asian Languages and Cultures Program in Comparative Literature Dissertation Examination Committee: Robert E. Hegel, Chair Beata Grant Robert K. Henke Marvin Marcus Jamie Newhard Parodies of Qing: Ironic Voices in Romantic Chuanqi Plays by Yanbing Tan A dissertation presented -
Reimagining Revolutionary Labor in the People's Commune
Reimagining Revolutionary Labor in the People’s Commune: Amateurism and Social Reproduction in the Maoist Countryside by Angie Baecker A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Asian Languages and Cultures) in the University of Michigan 2020 Doctoral Committee: Professor Xiaobing Tang, Co-Chair, Chinese University of Hong Kong Associate Professor Emily Wilcox, Co-Chair Professor Geoff Eley Professor Rebecca Karl, New York University Associate Professor Youngju Ryu Angie Baecker [email protected] ORCID iD: 0000-0003-0182-0257 © Angie Baecker 2020 Dedication This dissertation is dedicated to my grandmother, Chang-chang Feng 馮張章 (1921– 2016). In her life, she chose for herself the penname Zhang Yuhuan 張宇寰. She remains my guiding star. ii Acknowledgements Nobody writes a dissertation alone, and many people’s labor has facilitated my own. My scholarship has been borne by a great many networks of support, both formal and informal, and indeed it would go against the principles of my work to believe that I have been able to come this far all on my own. Many of the people and systems that have enabled me to complete my dissertation remain invisible to me, and I will only ever be able to make a partial account of all of the support I have received, which is as follows: Thanks go first to the members of my committee. To Xiaobing Tang, I am grateful above all for believing in me. Texts that we have read together in numerous courses and conversations remain cornerstones of my thinking. He has always greeted my most ambitious arguments with enthusiasm, and has pushed me to reach for higher levels of achievement. -
On the Divination Images of Flowers and Plants in Song Ci
Academic Journal of Humanities & Social Sciences ISSN 2616-5783 Vol.3, Issue 10: 130-135, DOI: 10.25236/AJHSS.2020.031017 On the divination images of flowers and plants in Song Ci Yi Wang1,* 1 College of Liberal Arts, Yangzhou University, Yangzhou 225002, China *Corresponding Author ABSTRACT. Flower divination is a special digital divination method that uses flowers and plants as a medium, and it has become a common cultural image in Song Ci. Flower and grass divination uses the odd and even number of petals and other body parts as hexagrams or double leaves and combined stems as auspicious signs as its test methods. The reason why the image of flower and grass divination can flourish in Song Ci is closely related to the highly developed divination culture and flower trade in the Song Dynasty. It also contains the national consciousness and national experience of number worship and number divination. KEYWORDS: flower divination, digital divination, cultural image, national consciousness 1. Introduction The Song Dynasty was a period of relatively prosperous culture, and divination was an important part of Song Dynasty culture. From the emperor to the ordinary citizens, divination penetrated into their cultural life and became a special sight in the urban life of the Song Dynasty. Take the literati as an example. Since the Jiayou period, "literati and bureaucrats have always used hexagram shadows". Flower and grass divination is a special way of divination. It uses flowers, grass, and leaves as the medium, and mostly uses odd and even numbers as hexagrams as its external manifestation. It is more common in Song Ci and became one of Song Ci. -
Gong Dingzi and the Courtesan Gu Mei: Their Romance and the Revival of the Song Lyric in the Ming-Qing Transition
Gong Dingzi and the Courtesan Gu Mei: Their Romance and the Revival of the Song Lyric in the Ming-Qing Transition Zhang Hongsheng (張宏生) Nanjing University Gong Dingzi 龔鼎草(1釘子 1673) was a famous writer of the late Ming and early Qing. He, along wi也 Qi組 Qianyi 錢謙益(1 582-1664) and Wu Weiye 吳偉業(1 609-1671 ),的 collectively known as 做訂的 e Masters of Jiangdong 江左三大家 . One of Gong Dingzi' s ci 詞 (song lyric) col lections, Wh ite Gα te Willow (Baimen liu 白鬥柳), has not received 也e at tention it deserves 企om researchers. Even the well-known modem scholar Meng Sen 孟森, who specializes in rese 訂ch on Gong Dingzi, has ignored 也 is collection which records the relationship between the poet and 也 e fa mous courtes 也 Gu Mei 顧媚 (?-1663). As a consequence,也 e relationship between Gong Dingzi and Gu Meì is still unclear. In my opinion, Wh ite Gate Willow is bo出 a record of the love story between Gong Dingzi 組dGu M剖, and an ex血nple of Gong's explorations in a literary s可 le which con 仕ibuted to the development of ci poe汀yin 由 e Ming-Qing 甘 ansition . In this paper, 1 will explore some aspec臼 of both Gong and Gu's relationship and the changes 區 style of the song lyrìc 出 at 也 is collection reveals. Wh ite Gate Willow, the title of Gong's work, is significant. The White Gate was the west gate of the capital J iankang 建康(present-day Nan jing 南京) during the Six Dynasties. -
Tea-Picking Women in Imperial China
Beyond the Paradigm: Tea-Picking Women in Imperial China Lu, Weijing. Journal of Women's History, Volume 15, Number 4, Winter 2004, pp. 19-46 (Article) Published by The Johns Hopkins University Press DOI: 10.1353/jowh.2004.0015 For additional information about this article http://muse.jhu.edu/journals/jowh/summary/v015/15.4lu.html Access provided by Scarsdale High School (3 Apr 2013 11:11 GMT) 2004 WEIJING LU 19 BEYOND THE PARADIGM Tea-picking Women in Imperial China Weijing Lu This article explores the tension between women’s labor and tea-pick- ing through the Confucian norm of “womanly work.” Using local gaz- etteer and poetry as major sources, it examines the economic roles and the lives of women tea-pickers over the course of China’s imperial his- tory. It argues that women’s work in imperial China took on different meanings as ecological settings, economic resources, and social class shifted. The very commodity—tea—that these women produced also shaped portrayals of their labor, turning them into romantic objects and targets of gossip. But women tea-pickers also appeared as good women with moral dignity, suggesting the fundamental importance of industry and diligence as female virtues in imperial China. n imperial China, “men plow and women weave” (nangeng nüzhi) stood I as a canonical gender division of labor. Under this model, a man’s work place was in the fields: he cultivated the land and tended the crops, grow- ing food; a woman labored at home, where she sat at her spindle and loom, making cloth.