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Protection and Transmission of Chinese Nanyin by Prof
Protection and Transmission of Chinese Nanyin by Prof. Wang, Yaohua Fujian Normal University, China Intangible cultural heritage is the memory of human historical culture, the root of human culture, the ‘energic origin’ of the spirit of human culture and the footstone for the construction of modern human civilization. Ever since China joined the Convention for the Safeguarding of the Intangible Cultural Heritage in 2004, it has done a lot not only on cognition but also on action to contribute to the protection and transmission of intangible cultural heritage. Please allow me to expatiate these on the case of Chinese nanyin(南音, southern music). I. The precious multi-values of nanyin decide the necessity of protection and transmission for Chinese nanyin. Nanyin, also known as “nanqu” (南曲), “nanyue” (南乐), “nanguan” (南管), “xianguan” (弦管), is one of the oldest music genres with strong local characteristics. As major musical genre, it prevails in the south of Fujian – both in the cities and countryside of Quanzhou, Xiamen, Zhangzhou – and is also quite popular in Taiwan, Hongkong, Macao and the countries of Southeast Asia inhabited by Chinese immigrants from South Fujian. The music of nanyin is also found in various Fujian local operas such as Liyuan Opera (梨园戏), Gaojia Opera (高甲戏), line-leading puppet show (提线木偶戏), Dacheng Opera (打城戏) and the like, forming an essential part of their vocal melodies and instrumental music. As the intangible cultural heritage, nanyin has such values as follows. I.I. Academic value and historical value Nanyin enjoys a reputation as “a living fossil of the ancient music”, as we can trace its relevance to and inheritance of Chinese ancient music in terms of their musical phenomena and features of musical form. -
The Rise of Guangchangwu in a Chinese Village
International Journal of Communication 11(2017), 4499–4522 1932–8036/20170005 Reading Movement in the Everyday: The Rise of Guangchangwu in a Chinese Village MAGGIE CHAO Simon Fraser University, Canada Communication University of China, China Over recent years, the practice of guangchangwu has captured the Chinese public’s attention due to its increasing popularity and ubiquity across China’s landscapes. Translated to English as “public square dancing,” guangchangwu describes the practice of group dancing in outdoor spaces among mostly middle-aged and older women. This article examines the practice in the context of guangchangwu practitioners in Heyang Village, Zhejiang Province. Complicating popular understandings of the phenomenon as a manifestation of a nostalgic yearning for Maoist collectivity, it reads guangchangwu through the lens of “jumping scale” to contextualize the practice within the evolving politics of gender in post-Mao China. In doing so, this article points to how guangchangwu can embody novel and potentially transgressive movements into different spaces from home to park, inside to outside, and across different scales from rural to urban, local to national. Keywords: square dancing, popular culture, spatial practice, scale, gender politics, China The time is 7:15 p.m., April 23, 2015, and I am sitting adjacent to a small, empty square tucked away from the main thoroughfare of a university campus in Beijing. As if on cue, Ms. Wu appears, toting a small loudspeaker on her hip.1 She sets it down on the stairs, surveying the scene before her: a small flat space, wedged in between a number of buildings, surrounded by some trees, evidence of a meager attempt at beautifying the area. -
Who Benefits? China-Africa Relations Through the Prism of Culture
3/2008 3/20083/2008 3/2008 Call for Papers Call for Papers China aktuell – Journal of Current Chinese Affairs is an inter- ChinaCall aktuellnationally for – Papers Journal refereed of academicCurrent Chinesejournal published Affairs isby anthe inter-GIGA Institute nationally ofrefereed Asian Studies,academic Hamburg. journal published The quar terlyby the journal GIGA focuses Institute on current 3/2008 China aktuell – Journal of Current Chinese Affairs is an inter- 3/2008 3/2008 3/2008 of Asiannationally Studies,developments refereed Hamburg. inacademic Greater The quar journalChina.terly publishedjournalIt has a focuses circulation by the on GIGA currentof 1,200 Institute copies, developmentsof Asianmaking Studies,in Greaterit one Hamburg. of China. the world’s ItThe has quar amost circulationterly widely journal ofdistributed focuses1,200 copies, onperiodicals current on 3/2008 makingdevelopments it Asianone of affairs,the in world’sGreater and mostChina.reaches widely It hasa distributed broada circulation readership periodicals of 1,200 in oncopies,academia, Asianmaking affairs,administration it oneand ofreaches the and world’s businessa broadmost circles. widelyreadership distributedArticles in shouldacademia, periodicals be written on in administrationAsianGerman affairs, and or businessEnglishand reaches and circles. submitted a Articlesbroad exclusively shouldreadership tobe this writtenin publication. academia, in German or English and submitted exclusively to this publication. administrationChina aktuell and is businessdevoted -
Parte I €“ Dilema éTico Y Virtud
Virtud y consecuencia en la literatura histórica y filosófica pre-Han y Han: el dilema ético en la filosofía y sociedad china César Guarde Paz ADVERTIMENT. La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX (www.tdx.cat) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX. No s’autoritza la presentació del seu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA. La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR (www.tdx.cat) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR. No se autoriza la presentación de su contenido en una ventana o marco ajeno a TDR (framing). Esta reserva de derechos afecta tanto al resumen de presentación de la tesis como a sus contenidos. -
Bibliography
BIBLIOGRAPHY An Jingfu (1994) The Pain of a Half Taoist: Taoist Principles, Chinese Landscape Painting, and King of the Children . In Linda C. Ehrlich and David Desser (eds.). Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan . Austin: University of Texas Press, 117–25. Anderson, Marston (1990) The Limits of Realism: Chinese Fiction in the Revolutionary Period . Berkeley: University of California Press. Anon (1937) “Yueyu pian zhengming yundong” [“Jyutpin zingming wandung” or Cantonese fi lm rectifi cation movement]. Lingxing [ Ling Sing ] 7, no. 15 (June 27, 1937): no page. Appelo, Tim (2014) ‘Wong Kar Wai Says His 108-Minute “The Grandmaster” Is Not “A Watered-Down Version”’, The Hollywood Reporter (6 January), http:// www.hollywoodreporter.com/news/wong-kar-wai-says-his-668633 . Aristotle (1996) Poetics , trans. Malcolm Heath (London: Penguin Books). Arroyo, José (2000) Introduction by José Arroyo (ed.) Action/Spectacle: A Sight and Sound Reader (London: BFI Publishing), vii-xv. Astruc, Alexandre (2009) ‘The Birth of a New Avant-Garde: La Caméra-Stylo ’ in Peter Graham with Ginette Vincendeau (eds.) The French New Wave: Critical Landmarks (London: BFI and Palgrave Macmillan), 31–7. Bao, Weihong (2015) Fiery Cinema: The Emergence of an Affective Medium in China, 1915–1945 (Minneapolis: University of Minnesota Press). Barthes, Roland (1968a) Elements of Semiology (trans. Annette Lavers and Colin Smith). New York: Hill and Wang. Barthes, Roland (1968b) Writing Degree Zero (trans. Annette Lavers and Colin Smith). New York: Hill and Wang. Barthes, Roland (1972) Mythologies (trans. Annette Lavers), New York: Hill and Wang. © The Editor(s) (if applicable) and The Author(s) 2016 203 G. -
50 Frequently Asked Questions About IP in China
50 Frequently Asked Questions about IP in China An initiative of the For free, confidential, business-focused IPR advice within three working days E-mail: [email protected] China IPR SME Helpdesk China IPR SME Helpdesk Note to the Reader The China IPR SME Helpdesk is a project launched in 2008 by the European Union in order to assist SMEs in protecting their Intellectual Property (IP) when doing business in or with China. During the past eight years of its operation, the Helpdesk has received thousands of questions from SMEs representing all industry sectors and EU Member States about how to protect, manage and enforce their Intellectual Property Rights (IPR) in China. This publication gives a snapshot of the most frequently asked questions and provides brief answers to them. The information in this handbook is non- exhaustive, but aims to clarify the basics. For further details, you can always download our guides from the www.china-iprhelpdesk.eu website, contact the enquiry helpline via [email protected] or seek advice from legal professionals. 50 Frequently Asked Questions about IP in China January 2020 Table of Contents ABOUT THE CHINA IPR SME HELPDESK 4 GENERAL QUESTIONS ABOUT IP 7 TRADE MARKS 11 PATENTS 18 COPYRIGHTS 22 DESIGN RIGHTS 24 CROSS-CUTTING ISSUES 26 3 China IPR SME Helpdesk China IPR SME Helpdesk About the China IPR SME Helpdesk 1. What is the China IPR SME Helpdesk? The China IPR SME Helpdesk (Helpdesk) is a project co-funded by the European Union to support European Small and Medium-sized Enterprises (SMEs) in protecting and enforcing their intellectual property rights (IPR) in China including mainland China, Hong Kong, Macau and Taiwan. -
Art, Politics, and Commerce in Chinese Cinema
Art, Politics, and Commerce in Chinese Cinema edited by Ying Zhu and Stanley Rosen Hong Kong University Press 14/F Hing Wai Centre, 7 Tin Wan Praya Road, Aberdeen, Hong Kong www.hkupress.org © Hong Kong University Press 2010 Hardcover ISBN 978-962-209-175-7 Paperback ISBN 978-962-209-176-4 All rights reserved. Copyright of extracts and photographs belongs to the original sources. No part of this publication may be reproduced or transmitted, in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without prior permission in writing from the copyright owners. Printed and bound by XXXXX, Hong Kong, China Contents List of Tables vii Acknowledgements ix List of Contributors xiii Introduction 1 Ying Zhu and Stanley Rosen Part 1 Film Industry: Local and Global Markets 15 1. The Evolution of Chinese Film as an Industry 17 Ying Zhu and Seio Nakajima 2. Chinese Cinema’s International Market 35 Stanley Rosen 3. American Films in China Prior to 1950 55 Zhiwei Xiao 4. Piracy and the DVD/VCD Market: Contradictions and Paradoxes 71 Shujen Wang Part 2 Film Politics: Genre and Reception 85 5. The Triumph of Cinema: Chinese Film Culture 87 from the 1960s to the 1980s Paul Clark vi Contents 6. The Martial Arts Film in Chinese Cinema: Historicism and the National 99 Stephen Teo 7. Chinese Animation Film: From Experimentation to Digitalization 111 John A. Lent and Ying Xu 8. Of Institutional Supervision and Individual Subjectivity: 127 The History and Current State of Chinese Documentary Yingjin Zhang Part 3 Film Art: Style and Authorship 143 9. -
1St China Onscreen Biennial
2012 1st China Onscreen Biennial LOS ANGELES 10.13 ~ 10.31 WASHINGTON, DC 10.26 ~ 11.11 Presented by CONTENTS Welcome 2 UCLA Confucius Institute in partnership with Features 4 Los Angeles 1st China Onscreen UCLA Film & Television Archive All Apologies Biennial Academy of Motion Picture Arts and Sciences Are We Really So Far from the Madhouse? Film at REDCAT Pomona College 2012 Beijing Flickers — Pop-Up Photography Exhibition and Film Seeding cross-cultural The Cremator dialogue through the The Ditch art of film Double Xposure Washington, DC Feng Shui Freer and Sackler Galleries of the Smithsonian Institution Confucius Institute at George Mason University Lacuna — Opening Night Confucius Institute at the University of Maryland The Monkey King: Uproar in Heaven 3D Confucius Institute Painted Skin: The Resurrection at Mason 乔治梅森大学 孔子学院 Sauna on Moon Three Sisters The 2012 inaugural COB has been made possible with Shorts 17 generous support from the following Program Sponsors Stephen Lesser The People’s Secretary UCLA Center for Chinese Studies Shanghai Strangers — Opening Night UCLA Center for Global Management (CGM) UCLA Center for Management of Enterprise in Media, Entertainment and Sports (MEMES) Some Actions Which Haven’t Been Defined Yet in the Revolution Shanghai Jiao Tong University Chinatown Business Improvement District Mandarin Plaza Panel Discussion 18 Lois Lambert of the Lois Lambert Gallery Film As Culture | Culture in Film Queer China Onscreen 19 Our Story: 10 Years of Guerrilla Warfare of the Beijing Queer Film Festival and -
Olga Bobrowska Towarzysz Te Wei
Olga Bobrowska Towarzysz Te Wei Media – Kultura – Komunikacja Społeczna 10/2, 105-123 2014 Olga Bobrowska Towarzysz Te Wei Słowa kluczowe: Te Wei, szanghajska szkoła animacji, Szaghajskie Studio Filmów Ani mowanych, styl minzu, manhua, animacja tuszu i wody Key words: Te Wei, Shanghai School of Animation, Shanghai Animation Film Studio, min zu style, manhua, ink-wash animation O Te Weiu, nestorze chińskiego filmu animowanego cieszącym się między narodowym uznaniem i estymą, w ramach zachodnich studiów nad animacją napisano niewiele. Sytuacja ta jest jednocześnie zaskakująca i zrozumiała. Budzi ona zdziwienie, jeżeli wziąć pod uwagę fakt, że twórczość Te Weia do strzeżono na Zachodzie już w latach sześćdziesiątych XX wieku, a samego artystę (jako jedynego spośród chińskich twórców) w 1995 roku odznaczono prestiżową nagrodą ASIFA za życiowe osiągnięcia. Przez niemal trzy dekady (lata 1957-1984, z wyłączeniem okresu Rewolucji Kulturalnej) kierował on działalnością jedynej chińskiej wytwórni filmów animowanych w Szanghaju (Shanghai Animation Film Studio, SAFS), wytyczając kierunki artystycznego i politycznego rozwoju chińskiego filmu animowanego. Niewielka, bowiem zło żona z siedmiu tytułów, filmografia stanowi „lekturę obowiązkową” nie tylko dla zainteresowanych klasycznym okresem animacji w ChRL-u (lata 1957 -1965, 1976-1989), ale dla wszystkich, których fascynuje niemal stuletnia już historia filmu animowanego w Państwie Środka1. Nieliczne publikacje anglojęzycznych filmoznawców z zakresu badań nad chińskim filmem animowanym pojawiają się jako rozdziały w pracach zbiorowych2 lub artykuły w czasopismach3. Także Encyclopedia of Chinese F ilm poświęca tej tematyce zaledwie cztery krótkie hasła4. Można zauważyć, 1 Nie zachowała się żadna kopia chińskiego filmu animowanego sprzed 1940 roku. Pio nierami i innowatorami filmu animowanego w Chinach byli bracia Wan z Nankinu (Laiming [1899-1997], Guchan [1899-1995], Chaochen [1906-1992] i Dihuan [ur. -
Table of Codes for Each Court of Each Level
Table of Codes for Each Court of Each Level Corresponding Type Chinese Court Region Court Name Administrative Name Code Code Area Supreme People’s Court 最高人民法院 最高法 Higher People's Court of 北京市高级人民 Beijing 京 110000 1 Beijing Municipality 法院 Municipality No. 1 Intermediate People's 北京市第一中级 京 01 2 Court of Beijing Municipality 人民法院 Shijingshan Shijingshan District People’s 北京市石景山区 京 0107 110107 District of Beijing 1 Court of Beijing Municipality 人民法院 Municipality Haidian District of Haidian District People’s 北京市海淀区人 京 0108 110108 Beijing 1 Court of Beijing Municipality 民法院 Municipality Mentougou Mentougou District People’s 北京市门头沟区 京 0109 110109 District of Beijing 1 Court of Beijing Municipality 人民法院 Municipality Changping Changping District People’s 北京市昌平区人 京 0114 110114 District of Beijing 1 Court of Beijing Municipality 民法院 Municipality Yanqing County People’s 延庆县人民法院 京 0229 110229 Yanqing County 1 Court No. 2 Intermediate People's 北京市第二中级 京 02 2 Court of Beijing Municipality 人民法院 Dongcheng Dongcheng District People’s 北京市东城区人 京 0101 110101 District of Beijing 1 Court of Beijing Municipality 民法院 Municipality Xicheng District Xicheng District People’s 北京市西城区人 京 0102 110102 of Beijing 1 Court of Beijing Municipality 民法院 Municipality Fengtai District of Fengtai District People’s 北京市丰台区人 京 0106 110106 Beijing 1 Court of Beijing Municipality 民法院 Municipality 1 Fangshan District Fangshan District People’s 北京市房山区人 京 0111 110111 of Beijing 1 Court of Beijing Municipality 民法院 Municipality Daxing District of Daxing District People’s 北京市大兴区人 京 0115 -
Migrant and Ethnic Integration in the Process of Socio-Economic Change in Inner Mongolia, China: a Village 1 Study
Migrant and Ethnic Integration in the Process of Socio-economic Change in Inner Mongolia, China: a Village 1 Study Introduction Since the late 19th century, many Han farmers have migrated into Inner Mongolia. The Han population in the Inner Mongolia Autonomous Region increased from 1.2 million in 1912 to 17.3 million in 1990 (CPIRC, 1991) and a large proportion of this growth has been due to in-migration. The rapid population growth, especially the large amount of Han in-migration involved, has changed many aspects of the native Mongolian society: population density, ethnic structure, economic structure, social organization, language use, life customs, and ecological environment. Figure 1 pro- vides a general theoretical framework in understanding the effects of Han in-migration on society in ethnic minority areas (Ma, 1987:141). When natural resources were limited and the number of in-migrants was very large as in the case of rural Inner Mongolia, what might happen to community structure and economic activities of the native society? What might happen to environmental conditions as a result of in-migration of Han farmers and cultivation of grasslands? How might the changes in environment affect native-migrant relationship and the social behavior of residents? In order to understand the situation in rural areas of Inner Mongolia, a sample survey on migration and ethnic integration was conducted in Chifeng in 1985. Chifeng is a prefecture of Inner Mongolia (Figure 2). Some results of this survey provide a basic picture of migrant and ethnic integration based on quantitative analyses (Ma and Pan, 1988, 1989). -
2005 Report on the State of the Environment in China
2005 Report on the State of the Environment in China State Environmental Protection Administration Table of Contents Environment....................................................................................................................................7 Marine Environment ....................................................................................................................35 Atmospheric Environment...........................................................................................................43 Acoustic Environment ..................................................................................................................52 Solid Wastes...................................................................................................................................56 Radiation and Radioactive Environment....................................................................................59 Arable Land/Land Resources ......................................................................................................62 Forests ............................................................................................................................................67 Grassland.......................................................................................................................................70 Biodiversity....................................................................................................................................75 Climate and Natural Disasters.....................................................................................................81