48Th Annual ISCSC Conference
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
"Macbeth" Meets Chinese Opera: a Crossroad of Humanity
Multicultural Shakespeare: Translation, Appropriation and Performance Volume 21 Article 4 6-30-2020 When "Macbeth" Meets Chinese Opera: A Crossroad of Humanity Li Xingxing Civil Aviation Flight University of China Follow this and additional works at: https://digijournals.uni.lodz.pl/multishake Recommended Citation Xingxing, Li (2020) "When "Macbeth" Meets Chinese Opera: A Crossroad of Humanity," Multicultural Shakespeare: Translation, Appropriation and Performance: Vol. 21 , Article 4. DOI: 10.18778/2083-8530.21.04 Available at: https://digijournals.uni.lodz.pl/multishake/vol21/iss36/4 This Article is brought to you for free and open access by the Arts & Humanities Journals at University of Lodz Research Online. It has been accepted for inclusion in Multicultural Shakespeare: Translation, Appropriation and Performance by an authorized editor of University of Lodz Research Online. For more information, please contact [email protected]. Multicultural Shakespeare: Translation, Appropriation and Performance vol. 21 (36), 2020; http://dx.doi.org/10.18778/2083-8530.21.04 Li Xingxing When Macbeth Meets Chinese Opera: A Crossroad of Humanity Abstract: As one of the four Shakespeare’s great tragedies, Macbeth, with its thrilling story line and profound exploration of human nature, has been adapted for plays and movies worldwide. Though Macbeth was introduced to China just before the May 4th Movement in 1919, its characters and plot have attracted the world in the past 100 years. Macbeth was firstly adapted into a folk play Theft of a Nation during the modern play period, to mock Yuan Shikai’s restoration of the monarchy, who was considered as a usurper of Qing dynasty, followed by Li Jianwu’s adaptation Wang Deming, Kun opera Bloody Hands, Taiwanese version of Beijing opera Lust and the City, Hong Kong version of Cantonese opera The Traitor, Macao version of small theater play If I were the King, Anhui opera Psycho, Shaoxing opera General Ma Long, Wu opera Bloody Sword, a monodrama of Sichuan opera Lady Macbeth, and an experimental Kun opera Lady. -
2016 FSFF Leaflet
Special thanks to… The 1St Paul Alderson and Joe Long from Fighters Inc. and the Combat Fighting Spirit and Strength Show, Milt at Asia Releasing, Mark at Park Circus, 20 Century Fox, Zee West, Charlotte Grogan, Mimi Devenish, Esmond Francis, Nick and Cineasia, Robert at Kaleidoscope, Film FeStival Marlon at Kush Films Online, Terracotta Films, Raj and the Kung Fu Kingdom crew, Will at WoMA, Time Out Online, Eastern O2 CinewOrld Se10 0dX Kicks, Impact online, Andrew Staton and the team at Martial Arts Illustrated, Kung Fu Movie Guide, Kung Fu Drive In Podcast, Rotten Tomatoes, Paul Bowman at Martial Studies, Spencer Murphy from East Winds Film Festival, Joshua Smith from London East Asian Film Festival, Bey Logan, Rick Baker and Toby Russell at Eastern Heroes, Alex Reid, Shifu Yanzi and the team at Shaolin Temple UK, Barry McGinlay, Lotus, Chris O’Connor and O2 Cineworld North Greenwich, Jay Cruz, Carl Powell, Paul Greer, Sally Ellis, Danny Aindow, Nic Ognibene, Parkour Generations, Paul Phear from Smooth FM, Chocolate Films, London Symphony, Jino Kang Films, Jingan Young, Marama Corlett, Jason Newell, Elliot Murray, Zaid, the Burleys, and my Dad Cole. Finally a big big thanks to all the Film Makers, Martial Artist and those of you who supported the event. You can find us on Facebook: https://www.facebook.com/FightingSpiritFilmFestival/ Instagram: 10am-6pm https://www.instagram.com/FightingSpiritFilmFestival/ Twitter: Saturday @FSFilmFestival 16th July 2016 £10 Session £25 day The 1st Fighting Spirit Film Festival: All Martial is proud to be Welcome presenting 3 main feature length films, 7 Short Fiction Films and to the first 5 Short Documentary Films. -
Annual Report 2009/2010
I.T LIMITED ANNUAL REPORT 2009/2010 I.T LIMITED ANNUAL REPORT 09/10 09/10 I.T LIMITED ANNUAL REPORT 09/10 2 I.T Limited Annual Report 09/10 TABLE OF CONTENTS CORPORATE PROFILE 4 I.T POSITIONING 16 MESSAGE FROM THE CHAIRMAN 18 FINANCIAL HIGHLIGHTS 20 MANAGEMENT DISCUSSION AND ANALYSIS 24 BIOGRAPHIES OF DIRECTORS AND SENIOR MANAGEMENT TEAM 29 CORPORATE GOVERNANCE REPORT 34 SOCIAL RESPONSIBILITIES 39 REPORT OF THE DIRECTORS 41 INDEPENDENT AUDITOR’S REPORT 52 FINANCIAL STATEMENTS 53 FIVE YEAR FINANCIAL SUMMARY 95 I.T Limited Annual Report 09/10 3 CORPORATE PROFILE I.T is well established as a in fashion apparel retail TTREND SETTEmarket in Hong KongR with stores in the PRC, Taiwan, Macau, Thailand, Saudi Arabia, Australia, the Philippines, France and Germany. The Group has an extensive self managed retail network extending to nearly 350 stores across Greater China with staff around 3,700. 4 I.T Limited Annual Report 09/10 I.T Limited Annual Report 09/10 5 I.T is not just a fashion icon 6 I.T Limited Annual Report 09/10 I.T Limited Annual Report 09/10 7 WE ACTUALLY LIVE FOR FASHION Through the multi-brand and multi-layer business model, we offer a wide range of fashion apparel and accessories with different fashion concepts, sold at varying retail price points and targeted at different customer groups. 8 I.T Limited Annual Report 09/10 I.T Limited Annual Report 09/10 9 I.T carries apparel from established and up-and-coming international designer’s brands, in-house brands and licensed brands. -
The Saxophone in China: Historical Performance and Development
THE SAXOPHONE IN CHINA: HISTORICAL PERFORMANCE AND DEVELOPMENT Jason Pockrus Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Eric M. Nestler, Major Professor Catherine Ragland, Committee Member John C. Scott, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Pockrus, Jason. The Saxophone in China: Historical Performance and Development. Doctor of Musical Arts (Performance), August 2018, 222 pp., 12 figures, 1 appendix, bibliography, 419 titles. The purpose of this document is to chronicle and describe the historical developments of saxophone performance in mainland China. Arguing against other published research, this document presents proof of the uninterrupted, large-scale use of the saxophone from its first introduction into Shanghai’s nineteenth century amateur musical societies, continuously through to present day. In order to better describe the performance scene for saxophonists in China, each chapter presents historical and political context. Also described in this document is the changing importance of the saxophone in China’s musical development and musical culture since its introduction in the nineteenth century. The nature of the saxophone as a symbol of modernity, western ideologies, political duality, progress, and freedom and the effects of those realities in the lives of musicians and audiences in China are briefly discussed in each chapter. These topics are included to contribute to a better, more thorough understanding of the performance history of saxophonists, both native and foreign, in China. -
Acmr V21n1 2015.Pdf
ACMR Newsletter http://acmr.info/ Association for Chinese Music Research 中國音樂研究會通訊 MembershipVolume 21, numberDues 1 June 2015 MESSAGE FROM THE PRESIDENT It is my great honor to welcome you to the spring 2015 issue of ACMR Newsletter as the new president of ACMR. I would like to take this opportunity to thank our outgoing president Lei Ouyang Bryant for her leadership over the past three years. Special thanks also go to Charlotte D’Evelyn for her many years of work as secretary. ACMR has continued to grow in recent years, thanks to the dedication of past and present officers, as well as your continued support. We had a great meeting in Pittsburgh last November, with two perfor- mance presentations by members Po-wei Weng (on Beijing opera percussion) and Yuan-Yu Kuan (on erhu playing in Jiangnan sizhu). Slightly over a dozen of us also enjoyed a Chinese dinner at Sichuan Gourmet in Squirrel Hill, Pittsburgh before the meeting. The Rulan Chao Pian Prize for the best article on Chinese Music and the Barbara Barnard Smith Chuen-Fung Prize for the best student paper on Chinese music were also presented Wong at the meeting. We will continue to explore creative formats for future ACMR meetings, and, as always, we welcome your input. ACMR officers have been busy working on a number of matters, including applying for non-profit status, developing an online membership renewal system, creating a new format for ACMR Newslet- ter, and enrolling our two publications, ACMR Reports and ACMR Newsletter, in a new RILM online Inside this issue: music journals collection, among others. -
IP MAN 3 – Spektakulärer Martial-Arts- Movie Mit Donnie Yen Und Boxlegende Mike Tyson
Presseinformation zum Kinostart von IP MAN 3 – spektakulärer Martial-Arts- Movie mit Donnie Yen und Boxlegende Mike Tyson » Dritter Teil der berühmten IP MAN-Reihe » Ab 7. April 2016 in exklusiven Vorstellungen im Kino Wiesbaden, März 2016 – Spektakuläre Kampfkunst, atemlose Spannung und erbitterte Kampfszenen – mit dem dritten Teil der berühmten Movie-Reihe IP MAN entzünden das Erfolgstrio Edmond Wong (Drehbuchautor), Wilson Yip (Regisseur) und Raymond Wong Pak-ming (Produzent) wieder ein explosives Kampffeuerwerk der Superlative. In spannenden und schonungs- losen Kampfszenen liefern sich die beiden Hauptdarsteller, Martial- Arts-Ikone Donnie Yen („Iceman“, „The Monkey King“) sowie Boxlegende und zweimaliger Schwergewichts-Boxweltmeister „Iron Mike“ Tyson, ein brutales Kampfduell der Extraklasse. Mit weiterer Topbesetzung wie Lynn Hung („All’s Well, Ends Well“, „IP MAN 2“), Zhang Jin („The Grandmaster“, „Rise of the Legend“) und Martial-Arts-Legende Bruce Lee, der als CGI-Version wiederbelebt wird, ist Regisseur Wilson Yip eine spektakuläre Fortsetzung der legendären IP MAN-Reihe gelungen. Am 7. April 2016 feiert der Film Deutschlandpremiere. Der Kartenvorverkauf startet ab sofort. mehr >> Presseinformation Hongkong, 1959: Der legendäre Wing-Chun-Kampfkünstler Ip Man führt ein ruhiges Leben mit seiner gesundheitlich geschwächten Frau Wing-sing und seinem Sohn Ip Ching. Als der gewissenlose US-Bauträger Frank samt seinem Schlägertrupp auftaucht, ist das Idyll abrupt vorbei. Der kaltblütige Straßenkampfboxer Frank setzt alles daran, das Land, auf dem die Schule von Weitere Informationen Ips Sohn Ip Ching gebaut ist, an sich zu reißen – koste es, was es wolle. Deutscher Pressestern® Bierstadter Straße 9 a Zusammen mit dem begabten Wing-Chun-Wettkämpfer Cheung Tin-chi und 65189 Wiesbaden dem Vater von Ip Chings Klassenkameraden Cheung Fong kämpft Meister Ip Man für Gerechtigkeit und versucht mit allen Mitteln, die Schule seines Sandra Hemmerling Sohnes vor dem habgierigen Frank zu retten. -
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. -
Commencement 1991-2000
The Johns Hopkins University 17 May 1795 Conferring of Degrees Celebrating the 200th at the Close of the Anniversary of the Births 1 1 9th Academic Year of Johns Hopkins May 25,1995 George Peabody 18 February 1795 and For those wishing to take photographs of graduates receiving their diplomas, we request that you do so only in the area designated for this purpose located just to the left of the stage, To reach this area, please walk around the outside of the tent, where ushers and security officers will assist you. Do not walk in the three center aisles as these are needed for the graduates. We appreciate your cooperation. C ONTENTS Order of Procession 1 Order of Events 2 Divisional Diploma Ceremonies Information 5 Johns Hopkins Society of Scholars 6 Honorary Degree Citations 9 Academic Regalia 12 Awards 14 Honor Societies 18 Student Honors 20 Degree Candidates 22 Digitized by the Internet Archive in 2012 with funding from LYRASIS Members and Sloan Foundation http://archive.org/details/commencement1995 Order of Procession Marshals Ronald A. Berk Radoslaw Michalowski Kyle Cunningham Ann Marie Morgan Robert E. Green, Jr. Nancy R. Norris Bernard Guyer Peter B. Petersen H. Franklin Herlong Robert Reid-Pharr Frederick L. Holborn Edyth H. Schoenrich Thomas Lectka Kathleen J. Stebe Violaine Marie Melancon Susan Wolf The Graduates Marshals Edward John Bouwer Katrina B. McDonald The Faculties Marshals Wilda Anderson Edward Scheinerman The Deans Members of the Society ofScholars Officers of the University The Trustees ChiefMarshal Milton Cummings, Jr. The President of the Johns Hopkins University Alumni Association The Chaplain The Faadty Presenter of the Doctoral Candidates The Honorary Degree Candidates The Provost of the University The Chairman of the Board of Trustees The United States Senatorfrom Maryland The Queen of Thailand The President of the University mmMmm\m\mmmmmmAU^mtm> mmwMm+mwMmwmm^mwmwM Order of Events Greetings Douglas A. -
WEEK 4: Sunday, 19 January
b WEEK 4: Sunday, 19 January - Saturday, 25 January 2020 ALL MARKETS Start Consumer Closed Date Genre Title TV Guide Text Country of Origin Language Year Repeat Classification Subtitles Time Advice Captions Edouard Baer and Gerard Depardieu star as comic book duo Asterix and Obelix 2020-01-19 0555 Comedy Asterix And Obelix In Britain in this zany adventure, which sees Asterix cross the channel to help his second- FRANCE French-100 2013 RPT PG Y cousin Anticlimax face Caesar and the invading Romans. On a cruise to celebrate their parents' 30th wedding anniversary, a brother Hindi-60; English- 2020-01-19 0800 Drama Dil Dhadakne Do and sister deal with the impact of family considerations on their romantic INDIA 2015 RPT PG a l v Y 40 lives. In 1947, Lord Mountbatten assumes the post of last Viceroy, charged with handing India back to its people, living upstairs at the house which was the 2020-01-19 1110 Drama Viceroy's House INDIA English-100 2017 RPT PG a Y Y home of British rulers, whilst 500 Hindu, Muslim and Sikh servants lived downstairs. Loving Vincent, the world’s first fully painted feature film, brings the paintings of Vincent van Gogh to life to tell his remarkable story. Every frame of the film, 2020-01-19 1310 History Loving Vincent totalling around 65,000, is an oil-painting hand-painted by 125 professional oil- POLAND English-100 2017 RPT M a painters who travelled from around the world to the Loving Vincent studios in Poland and Greece to be a part of the production. -
JIAO, WEI, D.M.A. Chinese and Western Elements in Contemporary
JIAO, WEI, D.M.A. Chinese and Western Elements in Contemporary Chinese Composer Zhou Long’s Works for Solo Piano Mongolian Folk-Tune Variations, Wu Kui, and Pianogongs. (2014) Directed by Dr. Andrew Willis. 136 pp. Zhou Long is a Chinese American composer who strives to combine traditional Chinese musical techniques with modern Western compositional ideas. His three piano pieces, Mongolian Folk Tune Variations, Wu Kui, and Pianogongs each display his synthesis of Eastern and Western techniques. A brief cultural, social and political review of China throughout Zhou Long’s upbringing will provide readers with a historical perspective on the influence of Chinese culture on his works. Study of Mongolian Folk Tune Variations will reveal the composers early attempts at Western structure and harmonic ideas. Wu Kui provides evidence of the composer’s desire to integrate Chinese cultural ideas with modern and dissonant harmony. Finally, the analysis of Pianogongs will provide historical context to the use of traditional Chinese percussion instruments and his integration of these instruments with the piano. Zhou Long comes from an important generation of Chinese composers including, Chen Yi and Tan Dun, that were able to leave China achieve great success with the combination of Eastern and Western ideas. This study will deepen the readers’ understanding of the Chinese cultural influences in Zhou Long’s piano compositions. CHINESE AND WESTERN ELEMENTS IN CONTEMPORARY CHINESE COMPOSER ZHOU LONG’S WORKS FOR SOLO PIANO MONGOLIAN FOLK-TUNE VARIATIONS, WU KUI, AND PIANOGONGS by Wei Jiao A Dissertation Submitted to the Faculty of the Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2014 Approved by _________________________________ Committee Chair © 2014 Wei Jiao APPROVAL PAGE This dissertation has been approved by the following committee of the Faculty of The Graduate School at The University of North Carolina at Greensboro. -
SMI Culture Group Holdings Limited 星美文化集團控股
Hong Kong Exchanges and Clearing Limited and The Stock Exchange of Hong Kong Limited take no responsibility for the contents of this announcement, make no representation as to its accuracy or completeness and expressly disclaim any liability whatsoever for any loss howsoever arising from or in reliance upon the whole or any part of the contents of this announcement. SMI Culture Group Holdings Limited 星 美 文 化 集 團 控 股 有 限 公 司 (Incorporated in the Cayman Islands and continued in Bermuda with limited liability) (Stock Code: 2366) VOLUNTARY ANNOUNCEMENT IN RELATION TO THE DISTRIBUTION INVESTMENT AGREEMENT The board (the ‘‘Board’’)ofdirectors(the‘‘Directors’’) of SMI Culture Group Holdings Limited (the ‘‘Company’’) is pleased to announce that on 4 March 2016, SMI Culture Workshop Company Limited (‘‘SMI Culture Workshop’’), a wholly-owned subsidiary of the Company, entered into a distribution investment agreement (the ‘‘Agreement’’) with an independent third party (the ‘‘Investor’’) pursuant to which SMI Culture Workshop and the Investor agreed to jointly invest in the distribution of the movie《葉問3》(Ip Man 3) (the ‘‘Movie’’) in the People’s Republic of China (the ‘‘PRC’’). The Investor has acquired the joint distribution rights of the Movie in the PRC in the principal amount of RMB117 million. The Movie has been released in the PRC on 4 March 2016. The Movie is directed by Mr. Wilson Yip (葉偉信) and starred by Mr. Donnie Yen (甄子丹), Mr. Zhang Jin (張晉), Ms. Lynn Hung (熊黛林), Mr. Patrick Tam (譚耀文) and Mr. Mike Tyson. Pursuant to the Agreement, SMI Culture Workshop will invest HK$29.5 million in the distribution of the Movie and will be entitled to the income generated from the distribution of the Movie in proportion to its investment amount under the Agreement. -
Listening to Chinese Music
Listening to Chinese Music 1 Listening to Chinese Music This article is an English translation of part of the book Listening to Chinese Music 《中國音樂導賞》edited by Chuen-Fung Wong (黃泉鋒) and published by the Hong Kong Commercial Press in 2009 as a project of the Chinese Music Archive of the Chinese University of Hong Kong. With the permission by the Chinese Music Archive, this article is uploaded onto the Education Bureau’s website for teachers’ and students’ reference. As for the recordings of selected music, please refer to the CDs accompanying the printed copy of the Chinese version. © The Chinese Music Archive, the Chinese University of Hong Kong. All rights reserved. No part of this publication can be reproduced in any form or by any means. 2 Contents Foreword…………………………………………………………………………………..5 Translator’s Preface……………………………………………………………………….6 Chapter 1 Modern Chinese Orchestra ............................................................................. 8 Section 1 The Rise of the Modern Chinese Orchestra ......................................................... 9 Section 2 Instruments Used in the Modern Chinese Orchestra .......................................... 10 Section 3 The Characteristics of Chinese Orchestral Music and Its Genres ....................... 11 Section 4 The “Improvement” of Chinese Instruments ...................................................... 13 Section 5 The Development of Modern Chinese Orchestra ............................................... 15 Listening Guide ...................................................................................................................