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Is Shuma the Chinese Analog of Soma/Haoma? a Study of Early Contacts Between Indo-Iranians and Chinese
SINO-PLATONIC PAPERS Number 216 October, 2011 Is Shuma the Chinese Analog of Soma/Haoma? A Study of Early Contacts between Indo-Iranians and Chinese by ZHANG He Victor H. Mair, Editor Sino-Platonic Papers Department of East Asian Languages and Civilizations University of Pennsylvania Philadelphia, PA 19104-6305 USA [email protected] www.sino-platonic.org SINO-PLATONIC PAPERS FOUNDED 1986 Editor-in-Chief VICTOR H. MAIR Associate Editors PAULA ROBERTS MARK SWOFFORD ISSN 2157-9679 (print) 2157-9687 (online) SINO-PLATONIC PAPERS is an occasional series dedicated to making available to specialists and the interested public the results of research that, because of its unconventional or controversial nature, might otherwise go unpublished. The editor-in-chief actively encourages younger, not yet well established, scholars and independent authors to submit manuscripts for consideration. Contributions in any of the major scholarly languages of the world, including romanized modern standard Mandarin (MSM) and Japanese, are acceptable. In special circumstances, papers written in one of the Sinitic topolects (fangyan) may be considered for publication. Although the chief focus of Sino-Platonic Papers is on the intercultural relations of China with other peoples, challenging and creative studies on a wide variety of philological subjects will be entertained. This series is not the place for safe, sober, and stodgy presentations. Sino- Platonic Papers prefers lively work that, while taking reasonable risks to advance the field, capitalizes on brilliant new insights into the development of civilization. Submissions are regularly sent out to be refereed, and extensive editorial suggestions for revision may be offered. Sino-Platonic Papers emphasizes substance over form. -
Houqua and His China Trade Partners in the Nineteenth Century
Global Positioning: Houqua and His China Trade Partners in the Nineteenth Century The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Wong, John. 2012. Global Positioning: Houqua and His China Trade Partners in the Nineteenth Century. Doctoral dissertation, Harvard University. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:9282867 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA © 2012 – John D. Wong All rights reserved. Professor Michael Szonyi John D. Wong Global Positioning: Houqua and his China Trade Partners in the Nineteenth Century Abstract This study unearths the lost world of early-nineteenth-century Canton. Known today as Guangzhou, this Chinese city witnessed the economic dynamism of global commerce until the demise of the Canton System in 1842. Records of its commercial vitality and global interactions faded only because we have allowed our image of old Canton to be clouded by China’s weakness beginning in the mid-1800s. By reviving this story of economic vibrancy, I restore the historical contingency at the juncture at which global commercial equilibrium unraveled with the collapse of the Canton system, and reshape our understanding of China’s subsequent economic experience. I explore this story of the China trade that helped shape the modern world through the lens of a single prominent merchant house and its leading figure, Wu Bingjian, known to the West by his trading name of Houqua. -
GUO WU 伍国 362 Benson Ave Meadville, PA 16335 Phone :(814) 547-3621 Email: [email protected]
Curriculum Vitae GUO WU 伍国 362 Benson Ave Meadville, PA 16335 Phone :(814) 547-3621 Email: [email protected] EDUCATION: Ph.D. State University of New York at Albany, History Department, August 2006 M.A. Georgia State University, History Department, May 2002 B.A. Beijing Language and Culture University, English Department, June 1995 ACADEMIC APPOINTMENTS: 2018 Visiting Scholar at the Institute of History and Philology, Academia Sinica, Taiwan 2017-present Affiliate Faculty Member in the Women’s, Gender, and Sexuality Studies (WGSS) Program, Allegheny College 2014 Visiting Scholar at the College of History and Culture of Southwest University, Chongqing, China 2013 Visiting Research Fellow at the Center for Advanced Humanistic Studies, Fudan University, Shanghai, China 2007-present Coordinator of Asian Studies Program at Allegheny College 2013-present Associate Professor of History at Allegheny College 2006-2013 Assistant Professor of History at Allegheny College 2002-2006 Instructor and Teaching Assistant, History Department, SUNY Albany PUBLICATIONS: Books: Narrating Southern Chinese Minority Nationalities: Politics, Disciplines, and Public History (Singapore: Palgrave McMillan, 2019) Zheng Guanying, Merchant Reformer in Late Qing China and His Influence on Economics, Politics, and Society (New York: Cambria Press, 2010) Book Chapters “Context and Text: Historicizing Xuanzang and the Da Tang Xiyu Ji,” in Shi Ciguang et al eds., From Chang’an to Nālandā: The Life and Legacy of the Chinese Buddhist Monk Xuanzang (602?– 664) (Singapore: World Scholastic, 2020), 311-328. Its Chinese translation by another scholar appears in the Chinese version of the book published by the same press in Singapore. “Big Family of Fifty-Six Nationalities: The Chinese Communist Conceptualization of minzu (1921- 1951),” in Words of Power, the Power of Words: The Twentieth-Century Communist Discourse in an International Perspective (Trieste University Press, Italy, 2019), 359-380. -
UNIT 1 味道怎么样? [Wèi-Dào Zěn-Me Yàng?] How Is the Taste?
1 UNIT 1 味道怎么样? [wèi-dào zěn-me yàng?] How is the taste? The following is a conversation between the waitress at 好好茶餐廳 and a customer whom just arrived at the restaurant. : 你好,请问⼏位?(nǐ*-hǎo, qǐng-wèn jǐ wèi?) 你好,请问⼏位?(nei5-hou2, cing2-man6 gei2-wai2?) Hi, How many people please? : 两位,谢谢。(liǎng-wèi, xiè-xie) 两位,唔该。 (loeng5-wai2, m4-goi1) Two people, please. 我们已经订位了。(wǒ-men yǐ-jīng dìng-wèi le) 我哋已经订咗位。(ngo5-dei6 ji5-ging1 deng6 zo2 wai2) We already made a reservation. : 好的。请问你叫什么名字?(hǎo-de. qǐng-wèn nǐ jiào shén-me míng-zì?) 好。请问你叫咩名呀?(hou2. cing2-man6 nei5 giu3 me1 meng2 aa3?) Okay. What is your name, please? : 我姓叶。(wǒ xìng yè) 我姓叶。(ngo5 sing3 jip6) My last name is Yip. : 我找到了,两位请跟我来。(wǒ* zhǎo dào le, liǎng wèi qǐng gēn wǒ lái) 我搵到喇。两位请跟我嚟。(ngo5 wan2 dou2 laa3. loeng5-wai2 cing2 gan1 ngo5 lei4) Original material under copyright, 2020 Jade Jia Ying Wu 2 I found it, please come follow me. : 请问两位想喝什么? (qǐng-wèn liǎng-wèi xiǎng hē shén-me?) 请问两位想饮咩呀?(cing2-man6 loeng5-wai2 soeng2 jam2 me1 aa3?) What would you two like to drink? : 我想要⼀杯港式奶茶。(wǒ* xiǎng yào yì-bēi gǎng shì nǎi-chá) 我想要⼀杯港式奶茶。(ngo5 soeng2 jiu3 jat1-bui1 gong2-sik1 naai5-caa4) I would like a Hong Kong-style milk tea. : 我要⽔就⾏了。(wǒ yào shuǐ jiù xíng le) 我要⽔就得喇。(ngo5 jiu3 seoi2 zau6 dak1 laa3) Water is fine for me. : 你们想吃什么?(nǐ-men xiǎng chī shén-me?) 你哋想⾷咩呀?(nei5-dei6 soeng2 sik6 me1 aa3?) What would you like to eat? : 我想要⼀个鲜虾馄饨⾯。(wǒ xiǎng* yào yí-gè xiān xiā hún-tūn miàn) 我想要⼀個鲜虾馄饨⾯。(ngo5 soeng2 jiu3 jat1-go3 sin1 haa1 wan4-tan1 min6) I would like a shrimp wonton noodle soup. -
Anhong Guo's Curriculum Vitae
Anhong Guo Curriculum Vitæ Bob and Betty Beyster Building 3741 https://guoanhong.com 2260 Hayward Street +1 (678) 899-3981 Ann Arbor, MI 48109 USA [email protected] Academic Positions 01/2021 – University of Michigan, Ann Arbor Assistant Professor, Computer Science and Engineering (EECS); School of Information (by courtesy) 09/2020 – Carnegie Mellon University 12/2020 Postdoctoral Fellow, Human-Computer Interaction Institute, School of Computer Science Education 08/2014 – Carnegie Mellon University 08/2020 Ph.D. in Human-Computer Interaction M.S. in Human-Computer Interaction Human-Computer Interaction Institute, School of Computer Science Thesis: Human-AI Systems for Visual Information Access Advisor: Jeffrey P. Bigham; Committee: Chris Harrison, Jodi Forlizzi, and Meredith Ringel Morris 08/2012 – Georgia Institute of Technology 05/2014 M.S. in Human-Computer Interaction School of Interactive Computing Thesis: BeyondTouch: Extending the Input Language with Built-in Sensors on Commodity Smartphones Advisor: Gregory Abowd 09/2008 – Beijing University of Posts and Telecommunications (BUPT) 06/2012 B.Eng. in Electronic Information Engineering School of Information and Communication Engineering Awards and Honors 2021 CHI 2021 Best Paper Honorable Mention [C.23] 2021 Forbes’ Top 30 Scientists Under 30 (‘30 Under 30’) 2020 ASSETS 2020 Best Paper Nominee [C.21] 2019 ASSETS 2019 Best Artifact Award [C.17] 2018 CMU Swartz Innovation Fellowship 2018 McGinnis Venture Capital Award 2017 Snap Inc. Research Fellowship 2017 W4A 2017 Paciello Group Accessibility Challenge Delegates Award [A.5] 2016 Qualcomm Innovation Fellowship Finalist 2016 MobileHCI 2016 Best Paper Honorable Mention [C.8] 2014 ISWC 2014 Best Paper Honorable Mention [C.1] Peer-Reviewed Conference and Journal Papers Anhong Guo — curriculum vitæ, page 1 [C.24] Solon Barocas, Anhong Guo, Ece Kamar, Jacquelyn Krones, Meredith Ringel Morris, Jennifer Wortman Vaughan, Duncan Wadsworth, Hanna Wallach. -
Xue Susu (1573-Ca.1650) Was a Courtesan Who Lived in the Final Years of the Ming Dynasty
ESTEEMED LINK: AN ARGUMENT FOR XUE SUSU AS LITERATI A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI’I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ART HISTORY MAY 2011 By Cordes McMahan Hoffman Thesis Committee: Kate Lingley, Chairperson John Szostak Paul Lavy Xue Susu (1573-ca.1650) was a courtesan who lived in the final years of the Ming dynasty (1368-1644). She was a multi-faceted artist, known for her painting, poetry and heroic personal- ity. An active participant in literati culture for most of her life, Xue’s body of work contains sev- eral outstanding paintings which demonstrate her grasp of the artistic concerns of literati painting practice at that time. Modern scholarship of Chinese women artists is a growing field, and it is now unthinkable to exclude women in the broad category of Chinese painting. However, examinations of individual artists, have been limited. For example, Xue Susu has been the subject of articles by Tseng Yu- ho (Betty Ecke); she was featured in an encyclopedic exhibition of Chinese women painters titled Views from Jade Terrace: Chinese Women Artists 1300-1912, and she is listed in several survey texts of Chinese art history.1 These considerations of Xue Susu demonstrate that modern scholarship acknowledges her as a talented painter. However, Xue is usually only considered in aggregate with other women painters with the grouping, gender being the primary identifier for artistic identity. The problem at hand then becomes that the majority of Xue Susu’s surviving work is dissimilar in stylistic choice to the general group of female painters of her era. -
The Guo Boxiong Edition James Mulvenon
So Crooked They Have to Screw Their Pants On Part 3: The Guo Boxiong Edition James Mulvenon On 30 July, the Central Committee announced that General Guo Boxiong, who served as vice-chairman of the Central Military Commission between 2002 and 2012, was expelled from the Chinese Communist Party and handed over to prosecutors for accepting bribes “on his own and through his family . for aiding in the promotion [of officers].” Guo’s expulsion comes one year after similar charges against his fellow CMC vice-chair Xu Caihou, who died of bladder cancer in March 2015. This article examines the charges against Guo, places them in the context of the larger anti-corruption campaign within the PLA, and assesses their implications for Xi Jinping’s relationship with the military and for party-army relations. The Rise and Fall of Guo Boxiong On 30 July, the Central Committee announced that General Guo Boxiong, who served as vice-chairman of the Central Military Commission between 2002 and 2012, was expelled from the Chinese Communist Party and handed over to prosecutors for accepting bribes “on his own and through his family . for aiding in the promotion [of officers].”1 Guo’s explusion comes one year after similar charges against his fellow CMC vice-chair Xu Caihou, who was expelled from the party in June 2014 and died of bladder cancer in March 2015.2 This article examines the charges against Guo, places them in the context of the larger anti-corruption campaign within the PLA, and assesses their implications for Xi Jinping’s relationship with the military and for party-army relations. -
Ideophones in Middle Chinese
KU LEUVEN FACULTY OF ARTS BLIJDE INKOMSTSTRAAT 21 BOX 3301 3000 LEUVEN, BELGIË ! Ideophones in Middle Chinese: A Typological Study of a Tang Dynasty Poetic Corpus Thomas'Van'Hoey' ' Presented(in(fulfilment(of(the(requirements(for(the(degree(of(( Master(of(Arts(in(Linguistics( ( Supervisor:(prof.(dr.(Jean=Christophe(Verstraete((promotor)( ( ( Academic(year(2014=2015 149(431(characters Abstract (English) Ideophones in Middle Chinese: A Typological Study of a Tang Dynasty Poetic Corpus Thomas Van Hoey This M.A. thesis investigates ideophones in Tang dynasty (618-907 AD) Middle Chinese (Sinitic, Sino- Tibetan) from a typological perspective. Ideophones are defined as a set of words that are phonologically and morphologically marked and depict some form of sensory image (Dingemanse 2011b). Middle Chinese has a large body of ideophones, whose domains range from the depiction of sound, movement, visual and other external senses to the depiction of internal senses (cf. Dingemanse 2012a). There is some work on modern variants of Sinitic languages (cf. Mok 2001; Bodomo 2006; de Sousa 2008; de Sousa 2011; Meng 2012; Wu 2014), but so far, there is no encompassing study of ideophones of a stage in the historical development of Sinitic languages. The purpose of this study is to develop a descriptive model for ideophones in Middle Chinese, which is compatible with what we know about them cross-linguistically. The main research question of this study is “what are the phonological, morphological, semantic and syntactic features of ideophones in Middle Chinese?” This question is studied in terms of three parameters, viz. the parameters of form, of meaning and of use. -
Outlines of Chinese Art
OU T L IN ES O F C H IN E S E A RT H J O N C . F E RG U S O N TH E SCAMMON LECTUR ES FOR 1 9 1 8 PUBLISHED FOR TH E A RT INSTIT UTE O F CHI CA GO BY T H E U NIVERSITY OF C C C C N HI AGO PRESS , HI AGO , ILLI OIS COPYRIGH T 1 9 1 9 B Y TH E U NIV ERSITY OF CH ICA GO A ll Rights Reserved ublished m P Nove ber I 9 1 9 Comp osed a nd Pri nted By Th e U mversxty of Ch i ca g o Press Ch ica o ll i nois U . S . A . g . I . CONTENTS PAGE LIST OF I LLU S T RATI ONS TH E CHI NE SE DYNA S TI E S L ECTU RE I . I NTRODUCTI ON A ND LECTU RE II . B RONZES JADES L T A ND RA ECTU RE I II . S ONES CE MICS L A ND PA ECTU RE IV . CA LLIGRA PH Y INTING L T P T EC U RE V . AI N I NG . L T P EC U RE VI . AINTING I L L U ST R A T I O N S LECTU R E I E G NTRANCE TO OVERNMENT MUSEUM , PEKING E To G CENTRAL NTRANCE OVERNMENT PALACE , PEKING ’ H o T U : M Y THICAL O RIGIN OF DRAWING LO SHU : MYTHICAL O RIGIN OF W RITING L IDEOGRAPH UNG , MEANING DRAGON L IDEOGRAPH U , MEANING DEER ’ O T A o BRONZE VESSEL DECORATED WITH FACE OF GRE , T ’ IEH BRONZE VESSEL WITH DECORATION OF PHOENI ! ’ T ’ T IEH A , IRON PAGODA ’ S FANG T A , QUARE PAGODA TEMPLE AT GRAVE OF KUAN TI LECTU R E II BRONZE TABLE WITH WINE VESSELS (COLLECTION OF TUAN FANG) BRONZE DAGGERS , CHOW DYNASTY Y S OKE BELLS , HANG DYNASTY BRONZE VASE , HAN DYNASTY A BRONZE VESSEL , HAN DYN STY (COLLECTION OF PAUL HO) W BRONZE INE VESSEL , CHOW DYNASTY ’ Two BRONZE VESSELS OF THE CH I HOU SET ’ Two BRONZE VESSELS OF THE CH I HOU SET S ACRIFICIAL VESSELS ON ALTAR OF CONFUCIAN TEMPLE U BRONZE FIGURE OF NICORN , HAN -
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. -
Representing Talented Women in Eighteenth-Century Chinese Painting: Thirteen Female Disciples Seeking Instruction at the Lake Pavilion
REPRESENTING TALENTED WOMEN IN EIGHTEENTH-CENTURY CHINESE PAINTING: THIRTEEN FEMALE DISCIPLES SEEKING INSTRUCTION AT THE LAKE PAVILION By Copyright 2016 Janet C. Chen Submitted to the graduate degree program in Art History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Marsha Haufler ________________________________ Amy McNair ________________________________ Sherry Fowler ________________________________ Jungsil Jenny Lee ________________________________ Keith McMahon Date Defended: May 13, 2016 The Dissertation Committee for Janet C. Chen certifies that this is the approved version of the following dissertation: REPRESENTING TALENTED WOMEN IN EIGHTEENTH-CENTURY CHINESE PAINTING: THIRTEEN FEMALE DISCIPLES SEEKING INSTRUCTION AT THE LAKE PAVILION ________________________________ Chairperson Marsha Haufler Date approved: May 13, 2016 ii Abstract As the first comprehensive art-historical study of the Qing poet Yuan Mei (1716–97) and the female intellectuals in his circle, this dissertation examines the depictions of these women in an eighteenth-century handscroll, Thirteen Female Disciples Seeking Instructions at the Lake Pavilion, related paintings, and the accompanying inscriptions. Created when an increasing number of women turned to the scholarly arts, in particular painting and poetry, these paintings documented the more receptive attitude of literati toward talented women and their support in the social and artistic lives of female intellectuals. These pictures show the women cultivating themselves through literati activities and poetic meditation in nature or gardens, common tropes in portraits of male scholars. The predominantly male patrons, painters, and colophon authors all took part in the formation of the women’s public identities as poets and artists; the first two determined the visual representations, and the third, through writings, confirmed and elaborated on the designated identities. -
Names of Chinese People in Singapore
101 Lodz Papers in Pragmatics 7.1 (2011): 101-133 DOI: 10.2478/v10016-011-0005-6 Lee Cher Leng Department of Chinese Studies, National University of Singapore ETHNOGRAPHY OF SINGAPORE CHINESE NAMES: RACE, RELIGION, AND REPRESENTATION Abstract Singapore Chinese is part of the Chinese Diaspora.This research shows how Singapore Chinese names reflect the Chinese naming tradition of surnames and generation names, as well as Straits Chinese influence. The names also reflect the beliefs and religion of Singapore Chinese. More significantly, a change of identity and representation is reflected in the names of earlier settlers and Singapore Chinese today. This paper aims to show the general naming traditions of Chinese in Singapore as well as a change in ideology and trends due to globalization. Keywords Singapore, Chinese, names, identity, beliefs, globalization. 1. Introduction When parents choose a name for a child, the name necessarily reflects their thoughts and aspirations with regards to the child. These thoughts and aspirations are shaped by the historical, social, cultural or spiritual setting of the time and place they are living in whether or not they are aware of them. Thus, the study of names is an important window through which one could view how these parents prefer their children to be perceived by society at large, according to the identities, roles, values, hierarchies or expectations constructed within a social space. Goodenough explains this culturally driven context of names and naming practices: Department of Chinese Studies, National University of Singapore The Shaw Foundation Building, Block AS7, Level 5 5 Arts Link, Singapore 117570 e-mail: [email protected] 102 Lee Cher Leng Ethnography of Singapore Chinese Names: Race, Religion, and Representation Different naming and address customs necessarily select different things about the self for communication and consequent emphasis.