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Fragmenting Modernisms China Studies Edited by Glen Dudbridge Frank Pieke VOLUME 24 The titles published in this series are listed at brill.com/CHS Fragmenting Modernisms Chinese Wartime Literature, Art, and Film, 1937–49 By Carolyn FitzGerald LEIDEn • bOSTON 2013 Cover illustration: Ye Qianyu, “Stage Set,” from the 1940 sketch-cartoon series Wartime Chongqing. Library of Congress Cataloging-in-Publication Data FitzGerald, Carolyn. Fragmenting modernisms : Chinese wartime literature, art, and film, 1937-49 / by Carolyn FitzGerald. pages cm. — (China studies ; v. 24) Includes bibliographical references and index. ISBN 978-90-04-25098-7 (hardback : alk. paper) — ISBN 978-90-04-25099-4 (e-book) 1. Chinese literature—20th century—History and criticism. 2. Sino-Japanese War, 1937–1945—Literature and the war. 3. Sino-Japanese War, 1937–1945—Art and the war. 4. China—History—Civil War, 1945–1949—Literature and the war. 5. China—History— Civil War, 1945–1949—Art and the war. 6. Motion pictures—China—History—20th century. 7. Art, Chinese—20th century. 8. Modernism (Literature)—China. 9. Modernism (Art)— China. I. Title. PL2302.F58 2013 895.1’09005—dc23 2013003681 This publication has been typeset in the multilingual “Brill” typeface. With over 5,100 characters covering Latin, IPA, Greek, and Cyrillic, this typeface is especially suitable for use in the humanities. For more information, please see www.brill.com/brill-typeface. ISSN 1570-1344 ISBN 978-90-04-25098-7 (hardback) ISBN 978-90-04-25099-4 (e-book) Copyright 2013 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Global Oriental, Hotei Publishing, IDC Publishers and Martinus Nijhoff Publishers. -
Mythologie Chinoise : Les Légendes Des Dragons Michel Maucuer Conservateur En Chef Au Musée Cernuschi - Département Japon
Mythologie chinoise : les légendes des dragons Michel Maucuer Conservateur en chef au musée Cernuschi - Département Japon Le dragon a été le symbole de l'Empereur de Chine pendant deux millénaires. Aujourd'hui encore, il est considéré comme un symbole national. Dans l'Antiquité, il faisait partie des quatre animaux magiques ou si ling, signes par lesquels le Ciel se manifestait aux hommes. Parmi les orients, il représente l'est. Il est aussi un des douze animaux cycliques du calendrier chinois. On retrouve des dragons dans la plupart des mythologies anciennes mais, alors que l'Occident chrétien a fait du dragon un animal maléfique, il est, en Chine, symbole d'énergie et signe de bon augure. Mythes, légendes, symboles, que de variétés de dragons le monde chinois n'a-t-il pas hébergé ! De l'origine des dragons On discute beaucoup sur l'origine du dragon chinois ; les théories les plus diverses ont été avancées ; elles ont toutes en commun de s'appuyer sur des preuves extrêmement minces et de méconnaître à peu près totalement les modes de pensée des hommes de l'Antiquité. Elles tiennent fort peu compte des textes anciens et s'appuient sur des raisonnements hasardeux à partir des données de l'archéologie. Depuis quelques années, les découvertes archéologiques ont montré en effet que le dragon jouait déjà un rôle majeur dans les cultures néolithiques de la Chine. Les plus anciennes représentations connues à ce jour datent du IVe millénaire avant notre ère. Elles ont été découverte en Chine du Nord, dans des sites de la culture dite de Hongshan, et en Chine centrale, dans un site appartenant à la culture de Yangshao. -
Cultural Studies in the Mandarin-English Dual Immersion Classroom: a Case Study Vivian Zhang Scripps College
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2017 Cultural Studies in the Mandarin-English Dual Immersion Classroom: A Case Study Vivian Zhang Scripps College Recommended Citation Zhang, Vivian, "Cultural Studies in the Mandarin-English Dual Immersion Classroom: A Case Study" (2017). Scripps Senior Theses. 1071. http://scholarship.claremont.edu/scripps_theses/1071 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Cultural Studies in the Mandarin-English Dual Immersion Classroom: A Case Study by Vivian Zhang A senior thesis submitted in partial fulfillment of the Bachelor’s Degree in Asian Studies Scripps College April 24, 2017 Acknowledgements First and foremost, this thesis would not have been possible without the willingness and openness of the site referred to here as Valley Elementary School. I would like to extend my sincere gratitude to the teachers, office staff, and administration for all of the support they have extended to me—as a researcher, as a student, and as an aspiring educator. They have welcomed me warmly into their learning community for my brief period of research. Of course, I would like to thank the dual immersion program students as well for welcoming me into their classrooms and for sharing with me so openly, enthusiastically, and creatively. Of course this thesis also would not have been possible without the support of my professors. -
João Marcelo Mesquita Martins
Universidade do Minho Instituto de Letras e Ciências Humanas João Marcelo Mesquita Martins Uma Visão Comparada sobre Diferentes Cosmogonias isão Comparada sobre Diferentes Cosmogonias Uma V tins a Mar uit celo Mesq João Mar 5 1 UMinho|20 outubro de 2015 Universidade do Minho Instituto de Letras e Ciências Humanas João Marcelo Mesquita Martins Uma Visão Comparada sobre Diferentes Cosmogonias Dissertação de Mestrado Mestrado em Estudos Interculturais Português/Chinês: Tradução, Formação e Comunicação Empresarial Trabalho efetuado sob a orientação da Professora Doutora Sun Lam outubro de 2015 À minha Mãe, Que sempre me apoiou !iii !iv Agradecimentos A palavra «obrigado» é certamente insuficiente para exprimir a gratidão que sinto pelo apoio recebido durante esta aventura. Primeiramente, gostaria de expressar o meu profundo agradecimento à Professora Doutora Sun Lam não só pela orientação e auxílio prestados durante a elaboração da presente dissertação, mas também pela confiança depositada em mim desde o início do meu percurso na Licenciatura em Línguas e Culturas Orientais até a esta última etapa do mestrado. O seu esforço, dedicação e amor pela cultura chinesa são certamente uma das mais-valias deste departamento. Ao Mestre Luís Cabral não só pelas conversas sempre oportunas e enriquecedoras, mas também pelo apoio, dedicação e sugestões dadas ao longo de todo o desenvolvimento deste trabalho. A devoção e apreço que nutre pelos seus alunos são incomensuráveis. Agradeço profundamente todos os gestos de amizade. Agradeço-lhes igualmente as oportunidades de enriquecimento pessoal e profissional que me concederam. Aos meus pais e aos meus avós maternos, pela paciência, confiança e, sobretudo, apoio incondicional. À Raquel Mendes, Vanessa Guerra, Carina Fernandes, Mariana Gomes e todos os outros amigos e colegas que, pela amizade demonstrada ao longo desta jornada, me proporcionaram animados momentos, sem os quais, certamente, não teria conseguido restabelecer forças e progredir na minha investigação. -
HKUST Institutional Repository
The Dance of Revolution: Yangge in Beijing in the Early 1950s* Chang-tai Hung ABSTRACT Yangge is a popular rural dance in north China. In the Yan’an era (1936–47) the Chinese Communist Party used the art form as a political tool to influence people’s thinking and to disseminate socialist images. During the early years of the People’s Republic of China, the Communists introduced a simpler form of yangge in the cities. In three major yangge musicals performed in Beijing, the Party attempted to construct “a narrative history through rhythmic movements” in an effort to weave the developments of the Party’s history into a coherent success story, affirming various themes: the support of the people, the valour of the Red Army, the wise leadership of the Party and the country’s bright future. However, urban yangge’s simplicity as an art form, the professionalization of art troupes, the nation’s increas- ing exposure to a variety of alternative dance forms and, worse still, stifling government control all contributed to the rapid decline of this art form in urban China. Unlike the Bolsheviks, who at the time of the October Revolution of 1917 had little experience with political art forms, the Chinese Communists, before their seizure of power in 1949, had skilfully employed the popular art media to conduct an effective propaganda campaign among the mostly illiterate peasant inhabitants of rural China. The story of their use of such rural art forms as storytelling and yangge dance as a political tool during the Yan’an era (1936–47) is now relatively well known.1 Yet their use in the post-Yan’an period, particularly after the establishment of the Peo- ple’s Republic of China (PRC) in1949, has rarely been examined. -
Dossier Pédagogique
10 mars YIN ET LE DRAGON – DOSSIER PEDAGOGIQUE - 2016 Une aventure captivante dans la Chine des années 30, sur fond historique de guerre sino-japonaise et de légendes traditionnelles. Shanghai 1937. L’armée impériale japonaise a fait main basse sur une large partie de la côte chinoise. En ces temps de tristesse, la menace de l’antique prophétie plane, celle de l’invincible dragon noir Gongong qui doit venir anéantir les hommes quand le désespoir et la haine règneront. Yin, petite fille d’une dizaine d’années est élevée par son grand-père pêcheur, Liu. Un soir, alors que Liu sort en mer, Yin se faufile sur le bateau. Soudain une bête puissante se débat dans ses filets : un dragon d’or, blessé, que Yin convint son grand-père de cacher et de soigner… Une décision qui les emmènera bien plus loin qu’ils ne le pensaient. La bande dessinée mêle le fantastique et l’historique. On est tenu en haleine par les différents rebondissements et l’on veut croire jusqu’au bout à la reconnaissance du dragon d’or. Le suspens est là jusqu’à la dernière page qui ouvre sur une terrible prophétie. Les deux héros, la petite Yin et son grand père Li, nous font découvrir la dure condition des pauvres pêcheurs de Shanghai sur fond de début de guerre mondiale . Les dessins déclinent toute une palette de jaunes et de gris et rendent bien le mystère et l’ambiance de l’histoire. Le scénario très alerte, aborde en toile de fond quelques grandes valeurs humanistes et épisodes historiques. -
From Trinidad to Beijing Dai Ailian and the Beginnings of Chinese Dance
1 From Trinidad to Beijing Dai Ailian and the Beginnings of Chinese Dance Dong d-dong, dong d-dong. A gong sounds as the camera fixes on an empty stage set with an arched footbridge and blossoming tree branch. Dai Ailian emerges dressed in a folkloric costume of red balloon pants and a rose-colored silk jacket, a ring of red flowers in her hair and shoes topped with red pom-poms. Puppetlike, two false legs kick out from under the back of Dai’s jacket, while the false torso and head of an old man hunch forward in front of her chest, creating the illusion of two characters: an old man carrying his young wife on his back. This dance is Dai’s adaptation of “The Mute Carries the Cripple” (Yazi bei feng), a comic sketch performed in several regional variations of xiqu, or Chinese traditional theater (video 1). This particular version is derived from Gui opera(Guiju), a type of xiqu specific to Guangxi Autonomous Region in south China. Dai demonstrates her dance skill by isolating her upper body and lower body, so that her pelvis and legs convincingly portray the movements of an old man while her torso, arms, and head those of a young woman. As the man, Dai takes wide sweeping steps, kicking, squatting, and balancing with her feet flexed and knees bent between steps, occa- sionally lurching forward as if struggling to balance under the weight of the female rider. As the woman, Dai grips the old husband’s shoulders with one hand while she lets her head bob from side to side, her eyes sparkling as she uses her free hand to twirl a fan, point to things in her environment, and dab the old man’s forehead with a handkerchief. -
Scie-Ssci收录西北工业大学论文统计(2020年第一季度)
SCIE、SSCI 收录 西北工业大学论文统计 (2020 年第一季度) 西北工业大学图书馆 2020 年 7 月 SCIE、SSCI 收录西北工业大学论文统计(2020 年第一季度) 统计说明 1、检索时间和统计方法: ① 检索时间段:从 2020 年 1 月 1 日至 2020 年 3 月 27 日; ② 检索词:以“西北工业大学”各种英文拼写方式及西工大邮政编码(710072 或者 710129); ③ 检索字段:SCIE 和 SSCI 为“ADDRESS”字段; ④ 检索结果:经工作人员认真核对、筛选,然后按学院分类整理并统计。 2、本次统计工作中,SCIE 均为第一作者单位为西北工业大学的论文。 3、SCI 分区来源于中国科学院国家科学图书馆 2019 年公布的 2018 版 JCR 期刊 分区表大类分区。 4、SCIE、SSCI 影响因子来源于 JCR(Journal Citation Reports)数据库公布的 2018 年数据。 5、各学院收录论文顺序按第一作者姓名汉语拼音排序,个别作者由于信息不全, 中文姓名无法核对。 6、本次统计工作由图书馆信息咨询服务部工作人员完成,统计结果若有不准确 之处,请与我们联系更正。 注: 2016 年起,图书馆不再对 EI、CPCI-S 进行收录统计分析,有需求的读者可 通过西北工业大学机构知识库或 EI、CPCI-S 数据库查找。 审 稿:李 勇、李 辉 统计编辑:路 霞 责任编辑:施 薇 联系电话:88492928 E-mail: [email protected] I SCIE、SSCI 收录西北工业大学论文统计(2020 年第一季度) 目 录 一、SCIE、SSCI 收录西北工业大学论文总体情况 ...................................................... 1 二、SCIE 收录各学院论文情况(677 篇) .................................................................... 2 (一)航空学院(72 篇) ..................................................................................................... 2 (二)航天学院(41 篇) ................................................................................................... 16 (三)航海学院(56 篇) ................................................................................................... 24 (四)材料学院(125 篇) ................................................................................................. 35 (五)机电学院(65 篇) ................................................................................................... 62 (六)力学与土木建筑学院(26 篇)............................................................................... -
The Legacy of Tiananmen: 20 Years of Oppression, Activism and Hope Chrd
THE LEGACY OF TIANANMEN: 20 YEARS OF OPPRESSION, ACTIVISM AND HOPE CHRD Chinese Human Rights Defenders (CHRD) Web: Hhttp://crd-net.org/H Email: [email protected] THE LEGACY OF TIANANMEN: 20 YEARS OF OPPRESSION, ACTIVISM AND HOPE Chinese Human Rights Defenders June 1, 2009 Twenty years since the Tiananmen massacre, the Chinese government refuses to accept responsibility, much less apologize or offer compensation, for killing, injuring, imprisoning and persecuting individuals for participating in peaceful protests. The number of the victims, and their names and identities, remain unknown. Families continue to be barred from publicly commemorating and seeking accountability for the death of their loved ones. Activists are persecuted and harassed for independently investigating the crackdown or for calling for a rectification of the government’s verdict on the pro‐democracy movement. Many individuals continue to suffer the consequences of participating in the pro‐democracy movement today. At least eight individuals remain imprisoned in Beijing following unfair trials in which they were convicted of committing “violent crimes”. Those who were released after long sentences have had difficulty re‐integrating into society as they suffer from continued police harassment as well as illnesses and injuries resulting from torture, beatings and mistreatment while in prison. Many of those injured have had to pay for their own medical expenses and continue to struggle as the physical and psychological scars leave them unable to take care of themselves or to work. Some who took part in the protests still find it difficult to make ends meet after they were dismissed from comfortable jobs or expelled from universities after 1989. -
When Folk Dance Was Radical: Cold War Yangge, World Youth Festivals, and Overseas Chinese Leftist Culture in the 1950S and 1960S
China Perspectives 2020-1 | 2020 Sights and Sounds of the Cold War in Socialist China and Beyond When Folk Dance Was Radical: Cold War Yangge, World Youth Festivals, and Overseas Chinese Leftist Culture in the 1950s and 1960s Emily Wilcox Electronic version URL: https://journals.openedition.org/chinaperspectives/9947 DOI: 10.4000/chinaperspectives.9947 ISSN: 1996-4617 Publisher Centre d'étude français sur la Chine contemporaine Printed version Date of publication: 1 March 2020 Number of pages: 33-42 ISSN: 2070-3449 Electronic reference Emily Wilcox, “When Folk Dance Was Radical: Cold War Yangge, World Youth Festivals, and Overseas Chinese Leftist Culture in the 1950s and 1960s”, China Perspectives [Online], 2020-1 | 2020, Online since 01 March 2021, connection on 02 July 2021. URL: http://journals.openedition.org/ chinaperspectives/9947 ; DOI: https://doi.org/10.4000/chinaperspectives.9947 © All rights reserved Special feature china perspectives When Folk Dance Was Radical: Cold War Yangge, World Youth Festivals, and Overseas Chinese Leftist Culture in the 1950s and 1960s EMILY WILCOX ABSTRACT: This article challenges three common assumptions about Chinese socialist-era dance culture: first, that Mao-era dance rarely circulated internationally and was disconnected from international dance trends; second, that the yangge movement lost momentum in the early years of the People’s Republic of China (PRC); and, third, that the political significance of socialist dance lies in content rather than form. This essay looks at the transformation of wartime yangge into PRC folk dance during the 1950s and 1960s and traces the international circulation of these new dance styles in two contexts: the World Festivals of Youth and Students in Eastern Europe, and the schools, unions, and clan associations of overseas Chinese communities in Hong Kong, Singapore, Malaysia, and San Francisco. -
Traditional Chinese Clothing: Costumes, Adornments & Culture; 9781592650194; 78 Pages; Shaorong Yang; Long River Press, 2004
2004; Traditional Chinese Clothing: Costumes, Adornments & Culture; 9781592650194; 78 pages; Shaorong Yang; Long River Press, 2004 Traditional Chinese Clothing: Costumes, Adornments & Culture Chinese Textiles Historic English Costumes and How to Make Them English Costume from the Seventeenth Through the Nineteenth Centuries Traditional Chinese costumes ä¸å›½ä¼ 统æœé¥° Costumes of the Greeks and Romans Ert 's Fashion Designs Nineteenth-century Costume and Fashion, Volume 6 The clothing materials were exquisite, the structure was natural, graceful and elegant, and adornments were splendid. 15  Women's dress and personal adornments of the Tang Dynasty were outstanding in China's history. Chinese Cheongsam  The cheongsam, or Qipao in Chinese, is evolved from a kind of ancient clothing of Manchu ethnic minority. In ancient times, it generally referred to long gowns worn by the people of Manchuria, Mongolia.  In the early years of the Qing Dynasty (16441911), long gowns featured collarless, narrow sleeves in the shape of a horse's hoof, buttons down the left front, four slits and a fitting waist. For thousands of years, traditional Chinese family structure was strictly patriarchal, with the father or eldest male as the head of the household as well as provider and guide. Women had little power in the family system, and the patriarch held absolute authority. Both tradition and laws upheld this patriarchal structure. Yang, Shaorong. "Traditional Chinese clothing: Costumes, Adornments & Culture." Long River Press, 2004. (Aug. The basic features of traditional Chinese clothing are cross-collar, wrapping the right lapel over the left and tying with sash. -
The Dialectics of Virtuosity: Dance in the People's Republic of China
The Dialectics of Virtuosity: Dance in the People’s Republic of China, 1949-2009 by Emily Elissa Wilcox A dissertation submitted in partial satisfaction of the requirements for the degree of Joint Doctor of Philosophy with the University of California, San Francisco in Medical Anthropology of the University of California, Berkeley Committee in charge: Professor Xin Liu, Chair Professor Vincanne Adams Professor Alexei Yurchak Professor Michael Nylan Professor Shannon Jackson Spring 2011 Abstract The Dialectics of Virtuosity: Dance in the People’s Republic of China, 1949-2009 by Emily Elissa Wilcox Joint Doctor of Philosophy with the University of California, San Francisco in Medical Anthropology University of California, Berkeley Professor Xin Liu, Chair Under state socialism in the People’s Republic of China, dancers’ bodies became important sites for the ongoing negotiation of two paradoxes at the heart of the socialist project, both in China and globally. The first is the valorization of physical labor as a path to positive social reform and personal enlightenment. The second is a dialectical approach to epistemology, in which world-knowing is connected to world-making. In both cases, dancers in China found themselves, their bodies, and their work at the center of conflicting ideals, often in which the state upheld, through its policies and standards, what seemed to be conflicting points of view and directions of action. Since they occupy the unusual position of being cultural workers who labor with their bodies, dancers were successively the heroes and the victims in an ever unresolved national debate over the value of mental versus physical labor.