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$Download Doc \\ Novels by Jin Yong (Book Guide)$ GRRIHO8RPP19 » PDF » Novels by Jin Yong (Book Guide) Get Doc NOVELS BY JIN YONG (BOOK GUIDE) Reference Series Books LLC Dez 2011, 2011. Taschenbuch. Book Condition: Neu. 248x193x10 mm. This item is printed on demand - Print on Demand Neuware - Source: Wikipedia. Commentary (novels not included). Pages: 22. Chapters: The Deer and the Cauldron, The Smiling, Proud Wanderer, Demi-Gods and Semi-Devils, The Heaven Sword and Dragon Saber, Flying Fox of Snowy Mountain, Other Tales of the Flying Fox, A Deadly Secret, The Book and the Sword, The Legend of the Condor Heroes, The Return of... Read PDF Novels by Jin Yong (Book Guide) Authored by - Released at 2011 Filesize: 5.47 MB Reviews Here is the best pdf i actually have go through till now. We have study and i also am certain that i am going to planning to go through once again once more in the future. You will not sense monotony at at any time of the time (that's what catalogs are for regarding in the event you question me). -- Frederique Rolfson Undoubtedly, this is actually the nest work by any writer. It is really basic but excitement within the fty percent of your publication. Your way of life period is going to be enhance as soon as you comprehensive looking over this ebook. -- Matt Maggio Here is the greatest pdf i have got read through till now. It typically will not charge excessive. You wont really feel monotony at anytime of the time (that's what catalogs are for concerning when you question me). -- Eulalia Langosh TERMS | DMCA.

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Jin Yong's Novels and Hong Kong's Popular Culture Mr Cheng Ching
Jin Yong’s Novels and Hong Kong’s Popular Culture Mr Cheng Ching-hang, Matthew Jin Yong’s martial arts novel, The Book and the Sword, was first serialised in the New Evening Post on 8 February 1955. His novels have been so well received since then that they have become a significant and deeply rooted part of Hong Kong’s popular culture. Jin Yong’s novels are uniquely positioned, somewhere between part literature and part plebeian entertaining read. That is why they have a wide readership following. From serials published in newspapers to films and hit TV drama series, they are at the same time acknowledged by academics as home-grown literature of Hong Kong, and take pride of place in the genre of Chinese novel-writing. The origins of the martial arts novel (also known as the “wuxia novel”) can be traced back to the ancient Shiji (The Records of the Grand Historian), specifically to chapters such as the “Biographies of Knight-errants” and “Men with Swords”. However, the genre draws inspiration from many parts of Chinese history and culture, including the Tang dynasty novels about chivalry, such as Pei Xing’s Nie Yinniang and Du Guangting’s The Man with the Curly Beard; The Water Margin, which was written between the Yuan and Ming dynasties; and the Qing dynasty novels about heroism, such as The Seven Heroes and Five Gallants and Adventures of Emperor Qianlong. In 1915, Lin Shu (Lin Qinnan) wrote a classic Chinese novella, Fumei Records, and its publication in the third issue of the periodical Xiao Shuo Da Guan was accompanied by the earliest use of the term “martial arts novel”.
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Global Cities, Local Knowledge
Formatting and Change in East Asian Television Industries: Media Globalization and Regional Dynamics Lim, Wei Ling Tania Patricia BSocSc (Hons), MSc (Media & Comms) Creative Industries Research and Applications Centre Queensland University of Technology Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy 2005 Keywords Circuit of cultural production, East Asian popular culture, Television industries, Field of broadcasting, Formatting, Local knowledge, Media capitals, Neo-networks, Regional dynamics, TV Formats, martial arts dramas, teenage idol soap operas, game-shows. ii Abstract Television is increasingly both global and local. Those television industries discussed in this thesis transact in an extensive neo-network of flows in talents, financing, and the latest forms of popular culture. These cities attempt to become media capitals but their status waxes and wanes, depending on their success in exporting their Asian media productions. What do marital arts dramas, interactive game-shows, children’s animation and teenage idol soap operas from East Asian television industries have in common? Through the systematic use of TV formatting strategies, these television genres have become the focus for indigenous cultural entrepreneurs located in the East Asian cities of Hong Kong, Singapore and Taipei to turn their local TV programmes into tradable culture. This thesis is a re-consideration of the impact of media globalisation on Asian television that re-imagines a new global media order. It suggests that there is a growing shift in perception and trade among once-peripheral television industries that they may be slowly de-centring Hollywood’s dominance by inserting East Asian popular entertainment into familiar formats or cultural spaces through embracing global yet local cultures of production.
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Why Jin's (É⁄‚Åº¸) Martial Arts Novels Are Adored Only by the Chinese
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 17 (2015) Issue 2 Article 5 Why Jin's (??) Martial Arts Novels Are Adored Only by the Chinese Henry Yiheng Zhao Sichuan University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the American Studies Commons, Comparative Literature Commons, Education Commons, European Languages and Societies Commons, Feminist, Gender, and Sexuality Studies Commons, Other Arts and Humanities Commons, Other Film and Media Studies Commons, Reading and Language Commons, Rhetoric and Composition Commons, Social and Behavioral Sciences Commons, Television Commons, and the Theatre and Performance Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Zhao, Henry Yiheng.
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Newsletter 86
香港電影資料館 Hong Kong Film Archive 季《正德皇夜探龍鳳店》的數碼修復刊 The Digital Restoration of Emperor Zhengde’s Night Quarterly Visit to the Dragon and Phoenix Inn 鄒文懷談嘉禾 The Way of the Big Boss: Interview with Raymond Chow 86 滄海遺珠：多元多變的陳焯生 Hidden Treasures: the Well-Rounded and Newsletter Versatile Chan Cheuk-sang 11.2018 香港喜劇電影的邊緣人 Reimaging Marginality in Hong Kong Comedy Films 29 香港電影資料館館長楊可欣編者的話 Editorial@ChatRoom 部門主管搜集組馮佩琪封面：《正德皇夜探龍鳳店》（1958）中的風流天子（任劍輝飾）與俏鳳姐（麗兒飾）修復組勞啟明 Cover: The charming and romantic emperor (played by Yam Kim-fai) and the beautiful Phoenix (played by Lai Yee) in Emperor 資源中心朱淑玲 Zhengde's Night Visit to the Dragon and Phoenix Inn (1958) 研究及編輯組郭靜寧吳君玉節目組陳彩玉龍智傑系統組鍾景康行政及場館組梁啟文《通訊》第86期（2018年11月）編輯吳君玉執行編輯許佩琳鄺裕暉一年將盡，又到了檢視工作成果的時候。資料館響應聯合國教科文組織「世界視聽遺產助理編輯李雍悠日」，選了歌唱戲曲片《正德皇夜探龍鳳店》（1958）作戶外放映，借助數碼投映和修復的技術，影片睽違已久的彩色影像，終於重現眼前。是夜，名伶的聲影光輝彷彿穿透時空，在香港西灣河鯉景道50號維港的醉人夜色映襯下，與影迷久別重逢。《通訊》找來節目組及修復組同事，細談他們重電話：2739 2139 傳真：2311 5229 組及修復《正德皇》的經過。電郵：[email protected] 資料館過去數月，先後舉辦放映節目、展覽及座談會，介紹香港喜劇電影的變遷。游靜設計：Be Woks ~ 博士撰文探討不同時期的香港喜劇片所反映的階級焦慮和衝突，分析透徹入微，引人深思。印刷：永藝製作印刷有限公司「滄海遺珠」系列首位焦點影人是已故的陳焯生，其女兒陳彩雲更遠道從美國返港，分享父 © 2018 香港電影資料館版權所有，翻印必究。親的電影事業。當年陳焯生炮製了不少喜劇，放在香港喜劇片的脈絡互相參照，亦頗有趣。 www.filmarchive.gov.hk 踏入冬季，絲絲寒意來襲，特別惹人愁緒。九月至今，電影界多位幕前幕後影人，包括吳君麗、岳華、金庸、鄒文懷、藍潔瑛相繼辭世，令人神傷。憶念已逝影人的成就與風采， Hong Kong Film Archive 教我們益發記取保存電影文化遺產的重要性。 [[email protected]] Head Janet Young Unit Heads As the year-end closes by, it is time to contemplate our works throughout the year. In support of the Acquisition Lesley Fung United Nations Educational, Scientific and Cultural Organization’s ‘World Day for Audiovisual Heritage’, Conservation Koven Lo the Hong Kong Film Archive presented the outdoor screening of the Cantonese opera film, Emperor Resource Centre Alice Chu Zhengde’s Night Visit to the Dragon and Phoenix Inn (1958), in its original lustrous colours with the Research & Kwok Ching-ling Editorial May Ng aid of digital projection and restoration technology.
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HKFA More Happenings
New publication Oral History Series 4: Director Wong Tin-lam Excerpted Interviews with Protégés and Son Ringo Lam Tutelage under Wong Tin-lam The Selfless Courtesan Tung Siu-yuen (1975) marked my first outing in television (with Wong Tin-lam). He had taken on two assistants. I called his first assistant director David Lam Tak-luk ‘Big Disciple’, my immediate superior; he was the chief and I the deputy. As Lam became a screenwriter-director in his own right, I was the first assistant director and Johnnie To the deputy. When I left, To was promoted to chief and Lau Sze-yu the deputy, and so on and so forth. The cycle went on and on, like an endless list of family genealogy with its origin tracing back to Wong Tin-lam. I came on a set, working without much of a cinematic sense, since the shots taken with fixed cameras on three sides looked as if they were directly plucked from a stage drama. You were only there to push the buttons. But out on an exterior set, a vista of possibilities opened up. There were and would be many agile ways of positioning the camera along the horizon; the cast was no longer pouring over the lines of a stage drama. When a shot was done, signalled by the shout of ‘Cut!’, the camera was repositioned. Filming shot by shot allowed the whimsy of editing to toy with the sense of space and time between these snaps, giving a more fluid and cinematic feel. Uncle Tin-lam had a remarkable trick, which I later came to know as ‘stealing chicken’ (meaning ‘a sneaky way around a problem’).
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A Brief Analysis of the Chivalrous Spirit Reflected in Sir Gawain and the Green Knight and Legends of Condor Heroes
American Research Journal of Humanities Social Science (ARJHSS)R) 2021 American Research Journal of Humanities & Social Science (ARJHSS) E-ISSN: 2378-702X Volume-04, Issue-01, pp 23-29 January-2021 www.arjhss.com Research Paper Open Access A Brief Analysis of the Chivalrous Spirit Reflected in Sir Gawain and the Green Knight and Legends of Condor Heroes Abstract: Sir Gawain and the Green Knight is the best representative of Middle English chivalric romance and is a classic poem from which we can learn of chivalry system that was believed in and followed by medieval knights. And Legends of Condor Heroes, one of the most famous lengthy wuxia novels written by Jin Yong, is also an excellent book reflecting the essence of Chinese chivalrous spirit—the noblest spirit of a hero is to put his country and his people first. The former expresses the pith of medieval western Europe and the latter presents the essence of ancient Chinese culture. The paper will reveal the features, differences and similarities of chivalrous spirit reflected in the two works to prompt the mutual understanding of such spirit of Britain and China. Key words: chivalrous spirit; Sir Gawain and the Green Knight;Legends of Condor Heroes I. The Introduction to the Two Works 1.1 Sir Gawain and the Green Knight Sir Gawain and The Green Knight is a chivalric romance written by an anonymous author sometime in the fourteenth century.[1] It is one of the most famous stories of King Arthur and his knights with themes of honesty, loyalty, bravery, courteousness and honor.
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Hong Kong Cantopop
Hong Kong Cantopop A Concise History Yiu-Wai Chu Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2017 Hong Kong University Press ISBN 978-988-8390-57-1 (Hardback) ISBN 978-988-8390-58-8 (Paperback) All rights reserved. No portion 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 publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Hang Tai Printing Co., Ltd. in Hong Kong, China Contents Acknowledgments viii A Note on Romanization x Chapter One Introduction 1 Chapter Two Days of Being Marginalized: The 1950s to the Early 1970s 21 Chapter Three The Rise of Cantopop: The Mid- to Late 1970s 40 Chapter Four An Age of Glory: The 1980s 69 Chapter Five The Best of Times, the Worst of Times: The 1990s 105 Chapter Six After the Fall: The New Millennium 145 Chapter Seven Epilogue: Cantopop in the Age of China 184 Appendix Chronology of Major Events 197 Selected Bibliography 218 Index 226 1 Introduction “Every generation has its own voice,” claimed James Wong 黃霑, the late god- father of Cantopop, in his doctoral thesis on the development of Cantopop.1 The English term “Cantopop”—Cantonese popular songs—did not come into existence until the 1970s, when Billboard correspondent Hans Ebert used it “to describe the locally produced popular music in Hong Kong” in 1978.2 Per James Wong’s remark—which was adapted from the well-known saying of the Qing dynasty master of Chinese culture, Wang Guowei 王國維: “Every dynasty has its own representative form of literature”3 —Cantopop is a musical form from and the voice of contemporary Hong Kong.
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Reception of Jin Yong's Wuxia Novels in English and French: a Sentiment
International Journal of Linguistics, Literature and Translation ISSN: 2617-0299 (Online); ISSN: 2708-0099 (Print) DOI: 10.32996/ijllt Journal Homepage: www.al-kindipublisher.com/index.php/ijllt Reception of Jin Yong’s Wuxia Novels in English and French: A Sentiment Analysis with Reflection Kan Wu PhD and Lecturer, School of Foreign Languages, Zhejiang University of Finance and Economics Dongfang College, Zhejiang, China Corresponding Author: Kan Wu, E-mail: [email protected] ARTICLE INFORMATION ABSTRACT Received: February 04, 2021 This research investigates the reception of English and French translations of Jin Accepted: March 01, 2021 Yong’s Wuxia novels through sentiment analysis --- a text mining technique which Volume: 4 helps uncover readers’ opinions of these translated literary works from their online Issue: 3 reviews. The findings show that almost all of the published English/French versions of DOI: 10.32996/ijllt.2021.4.3.13 Jin Yong’s Wuxia novels are well received by readers in both languages in terms of fictional details like “character”, “plot” and “narratives”, despite there are some minor KEYWORDS complains. These findings lead us to reflect on the current literary position of Wuxia translations in the English and French-speaking countries, where translated Wuxia Wuxia, martial arts; literary works positioning as “Chinese literary classics” may partly help facilitate further translation; Jin Yong; sentiment reception of this type of traditional Chinese literature in the West. analysis 1. Introduction 1 With rich cultural characteristics, unique authorial styles and narratives, Jin Yong’s Wuxia novels have attracted a large number of interested readers in the Greater China. In more recent years, Wuxia, one of the representatives of Chinese culture, has gone international and spread widely to English/French-speaking countries through translation.
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Female Knights-Errant in Jin Yong's Fiction by Yin-Jen Chen Bachelor Of
Roaming Nüxia: Female Knights-errant in Jin Yong’s Fiction by Yin-Jen Chen Bachelor of Arts, University of Victoria, 2015 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in the Department of Pacific and Asian Studies ã Yin-Jen Chen, 2017 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Supervisory Committee Roaming Nüxia: Female Knights-errant in Jin Yong’s Fiction by Yin-Jen Chen B.A., University of Victoria, 2015 Supervisory Committee Dr. Tsung-Cheng Lin (Department of Pacific and Asian Studies) Co-Supervisor Dr. Richard King (Department of Pacific and Asian Studies) Departmental Member Dr. Ai-Lan Chia (Department of Phychology) Outside Member iii Abstract Supervisory Committee Dr. Tsung-Cheng Lin (Department of Pacific and Asian Studies) Co-Supervisor Dr. Richard King (Department of Pacific and Asian Studies) Departmental Member Dr. Ai-Lan Chia (Department of Phychology) Outside Member This thesis will explore the images of nüxia or “female knight-errant” in Jin Yong’s novels: The Eagle-Shooting Heroes, the Giant Eagle and Its Companion, and the Heaven Sword and the Dragon Saber. The depiction of nüxia underwent a significant development from the classical to modern literature of knight-errantry-related genre. Jin Yong, the master of wuxia fiction, has created many remarkable nüxia that distinguishes his nüxia images from the literary conventions. To examine Jin Yong’s uniqueness in portraying nüxia, this thesis will look into the history of nüxia-related works of poetry and classical literature, and analyze Jin Yong’s nüxia in the context of the literary history.
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160275764.Pdf
R Jongjairuksa, Kulyanee (2018) A sociological approach to the translation of Chinese martial arts fiction into Thai. PhD thesis. SOAS University of London. http://eprints.soas.ac.uk/26168 Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this thesis, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", name of the School or Department, PhD Thesis, pagination. A Sociological Approach to the Translation of Chinese Martial Arts Fiction into Thai Kulyanee Jongjairuksa Thesis submitted for the degree of PhD 2016 Department of Languages and Cultures of South East Asia SOAS, University of London Declaration for SOAS PhD thesis I have read and understood regulation 17.9 of the Regulations for students of the SOAS, University of London concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part, by any other person. I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged in the work which I present for examination.
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21763/28033 (1Jf1/1Jf0) East Asian Martial Arts Classics
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A Companion to Modern Chinese Literature Blackwell Companions to Literature and Culture
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