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HÀNWÉN and TAIWANESE SUBJECTIVITIES: a GENEALOGY of LANGUAGE POLICIES in TAIWAN, 1895-1945 by Hsuan-Yi Huang a DISSERTATION S
HÀNWÉN AND TAIWANESE SUBJECTIVITIES: A GENEALOGY OF LANGUAGE POLICIES IN TAIWAN, 1895-1945 By Hsuan-Yi Huang A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Curriculum, Teaching, and Educational Policy—Doctor of Philosophy 2013 ABSTRACT HÀNWÉN AND TAIWANESE SUBJECTIVITIES: A GENEALOGY OF LANGUAGE POLICIES IN TAIWAN, 1895-1945 By Hsuan-Yi Huang This historical dissertation is a pedagogical project. In a critical and genealogical approach, inspired by Foucault’s genealogy and effective history and the new culture history of Sol Cohen and Hayden White, I hope pedagogically to raise awareness of the effect of history on shaping who we are and how we think about our self. I conceptualize such an historical approach as effective history as pedagogy, in which the purpose of history is to critically generate the pedagogical effects of history. This dissertation is a genealogical analysis of Taiwanese subjectivities under Japanese rule. Foucault’s theory of subjectivity, constituted by the four parts, substance of subjectivity, mode of subjectification, regimen of subjective practice, and telos of subjectification, served as a conceptual basis for my analysis of Taiwanese practices of the self-formation of a subject. Focusing on language policies in three historical events: the New Culture Movement in the 1920s, the Taiwanese Xiāngtǔ Literature Movement in the early 1930s, and the Japanization Movement during Wartime in 1937-1945, I analyzed discourses circulating within each event, particularly the possibilities/impossibilities created and shaped by discourses for Taiwanese subjectification practices. I illustrate discursive and subjectification practices that further shaped particular Taiwanese subjectivities in a particular event. -
Film Locations in San Francisco
Film Locations in San Francisco Title Release Year Locations A Jitney Elopement 1915 20th and Folsom Streets A Jitney Elopement 1915 Golden Gate Park Greed 1924 Cliff House (1090 Point Lobos Avenue) Greed 1924 Bush and Sutter Streets Greed 1924 Hayes Street at Laguna The Jazz Singer 1927 Coffee Dan's (O'Farrell Street at Powell) Barbary Coast 1935 After the Thin Man 1936 Coit Tower San Francisco 1936 The Barbary Coast San Francisco 1936 City Hall Page 1 of 588 10/02/2021 Film Locations in San Francisco Fun Facts Production Company The Essanay Film Manufacturing Company During San Francisco's Gold Rush era, the The Essanay Film Manufacturing Company Park was part of an area designated as the "Great Sand Waste". In 1887, the Cliff House was severely Metro-Goldwyn-Mayer (MGM) damaged when the schooner Parallel, abandoned and loaded with dynamite, ran aground on the rocks below. Metro-Goldwyn-Mayer (MGM) Metro-Goldwyn-Mayer (MGM) Warner Bros. Pictures The Samuel Goldwyn Company The Tower was funded by a gift bequeathed Metro-Goldwyn Mayer by Lillie Hitchcock Coit, a socialite who reportedly liked to chase fires. Though the tower resembles a firehose nozzle, it was not designed this way. The Barbary Coast was a red-light district Metro-Goldwyn Mayer that was largely destroyed in the 1906 earthquake. Though some of the establishments were rebuilt after the earthquake, an anti-vice campaign put the establishments out of business. The dome of SF's City Hall is almost a foot Metro-Goldwyn Mayer Page 2 of 588 10/02/2021 Film Locations in San Francisco Distributor Director Writer General Film Company Charles Chaplin Charles Chaplin General Film Company Charles Chaplin Charles Chaplin Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Warner Bros. -
Chinese and Chinese-American Responses to Amy Tan
provided by UC Research Repository View metadata, citation and similar papers at core.ac.uk CORE brought to you by “Airing Dirty Laundry”: Chinese and Chinese-American responses to Amy Tan A thesis submitted in partial fulfilment of the requirements for the Degree of Master of Arts in American Studies in the University of Canterbury by Yanyan Zhang University of Canterbury 2011 2 Table of Contents Acknowledgments.................................................................................................... 3 Abstract.................................................................................................................... 4 Chapter 1 Introduction..............................................................................................5 1.1. Search for Reconciliation...................................................................................5 1.2. “Airing Dirty Laundry”..................................................................................... 6 1.2.1. The Debate about the “Real” and the “Fake” in the United States.................. 6 1.2.2. Response to Amy Tan in China.................................................................... 17 1.3. The Structure of This Thesis............................................................................21 Chapter 2 Search for Reconciliation through Translation: Cooking a Bowl of Her Soup............................................................................................................ 24 2.1. The Meaning of Her Soup.............................................................................. -
Hollywood Chinese: the Arthur Dong Collection the CHINESE
425 North Los Angeles Street | Los Angeles, CA 90012 | Tel: 213 485-8567| www.camla.org FOR IMMEDIATE RELEASE CONTACT: Linh Duong (213) 485-8568/[email protected] Captured in Chinatown lobby card (1935), courtesy of “Hollywood Chinese: The Arthur Dong Collection” Hollywood Chinese: The Arthur Dong Collection Oct. 24, 2009 – May 30, 2010 MEDIA PREVIEW DAY Tues., Oct. 20, 2009, 11 a.m. – 1 p.m. THE CHINESE AMERICAN MUSEUM PARTNERS WITH ACADEMY AWARD®- NOMINATED FILMMAKER ARTHUR DONG ON A GROUNDBREAKING EXHIBITION ABOUT HOLLYWOOD’S FORGOTTEN PAST (LOS ANGELES, Oct. 1, 2009) – Buried beneath the glittering façade of the world's most fabled industry beats the stories of an obscure chapter from Hollywood's golden past. On view beginning Oct. 24, 2009 through May 30, 2010, the Chinese American Museum (CAM) at the El Pueblo de Los Angeles Historical Monument will awaken these dormant stories in a dramatic new exhibition titled, Hollywood Chinese: The Arthur Dong Collection , based on the critically-acclaimed, award- winning documentary, Hollywood Chinese (2007), by Oscar®-nominated filmmaker, Arthur Dong. Captured and interpreted through the lens of the Chinese American experience, Hollywood Chinese: The Arthur Dong Collection explores the rich yet largely unknown, century-deep history of Chinese American cinematic contributions, both in front of and behind the camera, while offering ---more-moremore---- Hollywood Chinese Exhibition Page 2 vivid depictions of how the Chinese have been imagined in Hollywood movies throughout the decades. A singular collection of classic and contemporary movie memorabilia including vintage movie posters, lobby cards, film stills, scripts, press materials and even a genuine Oscar® statuette won by Chinese American Cinematographer, James Wong Howe, on loan courtesy of Don Lee, will be on public display. -
The Aesthetics of Chinese Classical Theatre
THE AESTHETICS OF CHINESE CLASSICAL THEATRE - A PERFORMER’S VIEW Yuen Ha TANG A thesis submitted for the degree of Doctor of Philosophy of The Australian National University. March, 2016 © Copyright by Yuen Ha TANG 2016 All Rights Reserved This thesis is based entirely upon my own research. Yuen Ha TANG ACKNOWLEDGMENT I owe a debt of gratitude to my supervisor Professor John Minford, for having encouraged me to undertake this study in the first place and for guiding my studies over several years. He gave me generously of his time and knowledge. Since I first became their student in Shanghai in the 1980s, my teachers Yu Zhenfei and Zhang Meijuan (and others) inspired me with their passionate love for the theatre and their unceasing quest for artistic refinement. I am deeply grateful to them all for having passed on to me their rich store of artistry and wisdom. My parents, my sister and her family, have supported me warmly over the years. My mother initiated me in the love of the theatre, and my father urged me to pursue my dream and showed me the power of perseverance. My thanks also go to Geng Tianyuan, fellow artist over many years. His inspired guidance as a director has taught me a great deal. Zhang Peicai and Sun Youhao, outstanding musicians, offered their help in producing the video materials of percussive music. Qi Guhua, my teacher of calligraphy, enlightened me on this perennial and fascinating art. The Hong Kong Arts Development Council has subsidized my company, Jingkun Theatre, since 1998. My assistant Lily Lau has provided much valuable help and my numerous friends and students have given me their constant loyalty and enthusiasm. -
Useful Knowledge - - MARK YOUR CALENDAR Comingjune Events OCTOBER 1 Home Is Where the Hall Is! 19-26 History Week - Start Planning Your Registrations Open
BUMPER EDITION The Magazine of the Mechanics’ Institutes Of Victoria Inc. UsefulNo. 34 – Autumn/WinterKnowledge 2014 PO Box 1080, Windsor VIC 3181 Australia ISSN 1835-5242 Reg No. A0038156G ABN 60 337 355 989 Price: Five Dollars $5 WE'RE LISTENING KILMORE REGIONAL FORUM Proudly supported by Wallan & District Community Bank® Branch ‘A smorgasbord of information!’ was an apt known, would have been well pleased with the description of the Kilmore Regional Halls Forum outcome of 22 March. conducted on Saturday, 22 March. Proceedings started with preliminary Another observant comment was that ‘It was introductions by Kilmore’s President Wilma good to see the active involvement of youth [on Hammond and the Mechanics’ Institutes of the day].’ One of our speakers was effervescent Victoria’s President Robert Kingston. Mitchell Michelle Ryan, an active Shire’s Deputy Mayor member of the Picola Cr Rhonda Sanderson Mechanics’ Institute Committee, a member Forum. of State Executive of officially opened the the ‘new’ progressive speaker panel most Victorian Young Farmers certainlyThe fifteen-strongdid not Inc., and their ‘fantastic’ disappoint. The ‘add newsletter editor. ons’ of: the Victorian Videoing the day was State Orchestra and Olivia King from the the impending ANZAC Kilmore International Centenary also rated School who gave up a Bob day of paid work to volunteer. The other was McIntosh gave us a fascinating look into the our Bronwyn Lowden who ably ran the all- history of orchestra musicwell. in In Victoria the first and the important data projector for the day. possibility of Institutes, in collaboration with The day was co-hosted with the Kilmore other community organisations, bringing Mechanics’ Institute who generously helped the Victorian State Orchestra to your rural community. -
Portland Public
Norman Taylor Michihiro Kosuge Patti Warashina Kvinneakt John Buck Continuation City Reflections 1975 bronze Lodge Grass Lee Kelly Fernanda D’Agostino (5 artworks) 2009 bronze 2000 bronze Untitled fountain TRANSIT MALL Murals, fountains, abstract Urban Hydrology 2009 granite 1977 and representational works — many created by local artists A GUIDE TO (12 artworks) stainless steel 2009 carved granite — grace downtown Portland’s Transit Mall (Southwest Fifth and Sixth avenues). Many pieces from the original collection, Tom Hardy Bruce West installed in the 1970s, were resited in 2009 along the new MAX Running Horses Untitled PORTLAND 1986 bronze 1977 light rail and car lanes. At that time, 14 new works were added. SW 6th Ave stainless steel SW Broadway PUBLIC MAX light Artwork Artworks with 20 rail stop multiple pieces N SW College St 18 SW Hall St SW 5th Ave Melvin Schuler ART 19 Thor SW Harrison St 1977 copper on redwood Daniel Duford The Legend of SW Montgomery St Mel Katz the Green Man SW Mill St Daddy Long of Portland Legs James Lee (10 artworks along Malia Jensen 2006 painted Hansen Robert Hanson 5th and 6th) 2009 SW Market St 21 Pile aluminum Talos No. 2 Untitled bronze, cast concrete, SW Clay St 2009 bronze 1977 bronze Bruce Conkle (7 artworks) porcelain enamel Burls Will Be Burls 2009 etched on steel 26 (3 artworks) bronze 2009 bronze, SW Columbia St 22 cast concrete SW Jefferson St 25 SW Madison St 27 23 SW Main St Anne Storrs and 28 almon St Kim Stafford 24 SW S 32 Begin Again Corner 2009 etched granite SW Taylor St 29 33 30 SW -
Young Bond: Shoot to Kill Free
FREE YOUNG BOND: SHOOT TO KILL PDF Steve Cole | 304 pages | 22 Oct 2015 | Random House Children's Publishers UK | 9781782952404 | English | London, United Kingdom Young Bond: Shoot to Kill by Cole, Steve - As IMDb celebrates its 30th birthday, we have six shows to get you ready for those pivotal years of your life Get some streaming picks. Title: You Only Live Twice During the height of the Cold War, the United States and the Soviet Union lose one spacecraft each after they are both seemingly swallowed whole by a second unidentified spacecraft. The two superpowers are quick to blame one another for the disappearances, causing tensions to skyrocket. The United Kingdom has an alternate theory regarding the disappearances however, a theory involving Japan, and sends their number one spy, James Bond, to investigate there. With the help of the Japanese Secret Service, he uncovers a plot far more sinister than anyone could have ever imagined. Written by goddangwatir. Really that is it. Then accidents happen, aeroplanes don't hit the target and a whole construction is discovered yet no one knows Young Bond: Shoot to Kill or when it was constructed. Looking for something to watch? Choose an adventure below and discover your next favorite movie or TV show. Visit our What to Watch page. Sign In. Keep track of everything you watch; tell your friends. Full Cast and Crew. Release Dates. Official Sites. Company Credits. Technical Specs. Plot Summary. Plot Keywords. Parents Guide. External Sites. User Reviews. User Ratings. External Reviews. Metacritic Reviews. Photo Gallery. Trailers and Videos. -
PDF (Volume I)
Durham E-Theses The Y©okaiImagination of Symbolism: The Role of Japanese Ghost Imagery in late 19th & early 20th Century European Art Volumes I-III ROWE, SAMANTHA,SUE,CHRISTINA How to cite: ROWE, SAMANTHA,SUE,CHRISTINA (2015) The Y©okaiImagination of Symbolism: The Role of Japanese Ghost Imagery in late 19th & early 20th Century European Art Volumes I-III, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/11477/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 The Yōkai Imagination of Symbolism: The Role of Japanese Ghost Imagery in late 19th & early 20th Century European Art Volumes I-III Samantha Sue Christina Rowe Volume I MA by Thesis School of Education (History of Art) University of Durham 2015 The copyright of this thesis rests with the author. No quotation from it should be published without the author's prior written consent and information derived from it should be acknowledged. -
1998-2000 Oregon Historical Society Archive Records
Oregon Folklife Program records, Bulk, 1998-2009 Overview of the Collection Creator Oregon Folklife Program Title Oregon Folklife Program records Dates Bulk, 1998-2009 (bulk) 19982009 1979-2009 (inclusive) 19792009 Quantity 135 linear feet Collection Number Coll 378 Summary The Oregon Folklife Program provided statewide services supporting folklife, traditional arts and artists, and folk arts in education in Oregon from 1988 to 2009, first at Lewis and Clark College, 1988-1993, and then the Oregon Historical Society, 1993-2009. This collection comprises the Oregon Folklife Program’s records, 1988-2009, including folklore fieldwork documentation in the form of photographs, sound recordings, and video recordings of cultural events and traditional arts and artists in urban and rural Oregon communities; program materials, including exhibitions and table-top exhibits, learning units for grades 3-6, radio and video productions on folklife in Oregon; and administrative files, including artist files, accounting files, research files, and digital files. Oregon Folklife Program programs and projects included apprenticeship programs for traditional arts, exhibits and community events, educational units and instructional materials, regional folk arts surveys, youth community documentation projects, and radio and video productions on folklife in Oregon. The collections include rich visual documentation of traditional arts and artists in cultural, occupational, and religious communities in Oregon, including refugee communities, immigrant communities, rural communities, and Native American communities. Repository University of Oregon Libraries, Special Collections and University Archives. UO Libraries--SPC, 1299 University of Oregon Eugene OR 97403-1299 Telephone: 541-346-3068 Fax: 541-346-3485 [email protected] Access Restrictions Collection is open to the public. -
Breakthrough: Work by Contemporary Chinese Women Artists
BREAK THROUGH CONTEMPORARY /OMEN ARTISTS BOWDOIN COLLEGE MUSEUM OF ART This brochure accompanies an exhibition of the same name at the Bowdoin College Museum of Art, Brunswick, Maine, from September 27 through December 22, 20 13. The exhibition is presented in conjunction with the symposium "Female Embodiment of the Visual World: Women's Art in Contemporary China," held at Bowdoin College on September 28, 2013. Design by Wilcox Design, Cambridge, Massachusetts Copyright © 20 1 3 Bowdoin College Image opposite: Peng Wei, Autumn of Tang Dynasty, 2008 Back cover: Cao Fei, Deep Breathing (from COSPIayers series), 2004 Bowdoin College Museum of Art 9400 College Station Brunswick, Maine 040118494 20772S-3275 bowdoin edu/art-museum Cai Jin (Tsai Chin) HfS Cao Fei (Tsao Fei) If H Chen Qiulin (Chen Ch'iu-lin) $RfX^ Hung Liu iJ4l LinTianmiao (LinT'ien-miao) $^1s Peng Wei (Peng Wei) Xing Danwen (Hsing Tan-wen) fflS-^X Yin Xiuzhen (Yin Hsiu-chen) 3^"^i# The artists' names appear above in Chinese characters and in two forms of romanization of the Chinese language: pinyin, the current international standard, and Wade-Giles (in parentheses) introduced in the late nineteenth century and used through much of the twentieth century. The names are rendered in pinyin elsewhere in the publication. — Introduction The eight artists featured in Breakthrough; Work by Contemporary historical scholarship. Peggy Wang, assistant professor of art Chinese Women Artists—Cai Jin, Cao Fei, Chen Qiulin, Hung history and Asian studies, considers the field of Chinese Lin, LinTianmiao, Peng Wei, Xing Danwen, and Yin women's art since its emergence in the mid-1990s and Xiuzhen—span multiple generations, ranging from those cautions us about the potential pitfalls of defining a group who came of age during the Cultural Revolution of the of artists by geography or gender. -
Framing Tradition in Cultural
TRADITION IN PROCESS: FRAMING TRADITION IN CULTURAL PRESERVATION AND INVENTION IN JIXIAN IN THE COURSE OF THE MODERNIZATION OF CHINA Xiaohong Chen Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Department of Folklore and Ethnomusicology, Indiana University October 2015 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy Doctoral Committee ______________________________ Jason B. Jackson, Ph.D. Chairperson ______________________________ Michael D. Foster, Ph.D. ______________________________ John H. McDowell, Ph.D. ______________________________ Henry H. Glassie, Ph.D. Date of Dissertation Defense: September 10, 2015 ii © 2015 Xiaohong Chen ALL RIGHTS RESERVED iii To the Jixian People in China iv ACKNOWLEDGEMENTS Pursuing a PhD degree is an academic journey, and also a life journey. At I complete my dissertation and end this long journey at Indiana University, I want to express my deepest gratitude to the people who have supported me. I am deeply grateful to my dissertation research committee members Jason Jackson, Michael Foster, John McDowell, and Henry Glassie. They are great scholars and also great people. Their generous support and academic inspiration through various stages of my PhD degree program -from coursework, candidacy examines, to the final stages of dissertation research- made it possible for me to achieve this education goal. I am especially indebted to my mentor and dissertation committee chair, Dr. Jason Jackson, for his patience, understanding, inspiration, and advice. His strategic supervision really motivated and energized me to achieve my best. When I finally finished my writing and let him read the full draft, his comments were a special reward to my several years work with this project.