DOCSLIB.ORG

A Rhetorical Analysis of Crouching Tiger, Hidden Dragon

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Rhetorical Analysis of Crouching Tiger, Hidden Dragon A RHETORICAL ANALYSIS OF CROUCHING TIGER, HIDDEN DRAGON A Thesis Presented to the faculty of the Department of Communication Studies California State University, Sacramento Submitted in partial satisfaction of the requirements for the degree of MASTER OF ARTS in Communication Studies by Nai-Jen Chi FALL 2012 © 2012 Nai-Jen Chi ALL RIGHTS RESERVED ii A RHETORICAL ANALYSIS OF CROUCHING TIGER, HIDDEN DRAGON A Thesis by Nai-Jen Chi Approved by: __________________________________, Committee Chair Mark A. E. Williams, Ph.D. __________________________________, Second Reader Michele Foss-Snowden, Ph.D. __________________________________, Third Reader Raymond P. Koegel, Ph.D. ____________________________ Date iii Student: Nai-Jen Chi I certify that this student has met the requirements for format contained in the University format manual, and that this thesis is suitable for shelving in the Library and credit is to be awarded for the thesis. __________________________, Graduate Coordinator ___________________ Michele Foss-Snowden, Ph.D. Date Department of Communication Studies iv Abstract of A RHETORICAL ANALYSIS OF CROUCHING TIGER, HIDDEN DRAGON by Nai-Jen Chi This thesis employs Kenneth Burke’s cluster analysis to examine Ang Lee’s martial arts film Crouching Tiger, Hidden Dragon (USA, 2000). This Mandarin film achieved extraordinary success in the United States, where it was the first foreign-language film to be nominated in ten categories and the first Asian film to be nominated for best picture at the Academy Awards. The goal of this study is to find out how the values can be communicated, through one visual artifact and two different narratives – the Mandarin dialogue and the English subtitles. The analysis finds that the disconnection of Taoism between the Mandarin dialogue and the English subtitles results in the interpretation of the movie from a philosophical to a romantic perspective. The study also uncovers that there are similarities in the idea of moderation in the Mandarin dialogue and the English subtitles, which shows that the persuasiveness of narratives, regardless of the language differences and the structures employed, is subject to values. _______________________, Committee Chair Mark A. E. Williams, Ph.D. _______________________ Date v ACKNOWLEDGEMENTS I would like to thank my committee for all of their support and mentorship. I am deeply grateful to my advisor and committee chair, Dr. Mark A. E. Williams, for guiding me through this process. I was privileged to be inspired by his brilliance and wisdom. His sage advice, insightful criticisms, and patient encouragement aided the writing of this thesis in innumerable ways. In addition, I thank Dr. Michele Foss-Snowden for her useful comments, support, and interest in the thesis. I am very grateful for her steadfast belief in me and my work. My gratitude also goes to Dr. Raymond P. Koegel for being so kind and patient with me. His suggestions have been immensely helpful. It has been a joy to work with such wonderful and talented scholars. Special thanks to my dear friend Heather Teoh for all her inspiration and friendship during my struggles. Last, thanks to my family for their unconditional love and support throughout my educational journey. vi TABLE OF CONTENTS Page Acknowledgements ..................................................................................................... vi List of Tables .............................................................................................................. ix Chapter 1. INTRODUCTION ................................................................................................. 1 Purpose of Study ............................................................................................... 2 The Artifact: Crouching Tiger, Hidden Dragon ............................................... 5 Background of Crouching Tiger, Hidden Dragon ................................ 5 Plots of Crouching Tiger, Hidden Dragon ........................................... 8 Cultural History of Wuxia Genre ........................................................ 11 Review of Relevant Literature ........................................................................ 15 Previous Studies in Rhetoric ............................................................... 15 Visual Rhetoric ................................................................................... 17 Media and Film ................................................................................... 21 2. METHODOLOGY .............................................................................................. 29 Cluster Criticism ............................................................................................. 29 Cluster-agon Analysis ..................................................................................... 35 Film as an Artifact .......................................................................................... 37 Methodological Justification ........................................................................... 41 Procedure ........................................................................................................ 41 3. CLUSTER ANALYSIS ....................................................................................... 43 Introduction ..................................................................................................... 43 Identification Key Terms ................................................................................ 44 Li Mu Bai ............................................................................................ 44 Green ................................................................................................... 48 Yu Jiao Long/Yu Jen .......................................................................... 51 Interpretation of the Clusters .......................................................................... 55 Li Mu Bai ............................................................................................ 55 vii Green ................................................................................................... 64 Yu Jiao Long/Yu Jen .......................................................................... 71 Discussion ....................................................................................................... 83 4. CONCLUSION.................................................................................................... 89 Appendix A. Texts of the Narratives ......................................................................... 96 The Mandarin Dialogue of Crouching Tiger, Hidden Dragon ........ 96 The English Subtitles of Crouching Tiger, Hidden Dragon .......... 148 Scene Selection Menu of Crouching Tiger, Hidden Dragon ........ 200 Appendix B. Distribution of Key Terms.................................................................. 202 The Mandarin Key Terms of Crouching Tiger, Hidden Dragon ... 202 The English Key Terms of Crouching Tiger, Hidden Dragon ...... 205 The Visual Key Terms of Crouching Tiger, Hidden Dragon ........ 208 Appendix C. Distribution of Associational Clusters................................................ 211 The Mandarin Clusters of Crouching Tiger, Hidden Dragon ....... 211 The English Clusters of Crouching Tiger, Hidden Dragon ........... 215 References ................................................................................................................. 218 viii LIST OF TABLES Tables Page 1. Table 1.1 Terms that Cluster around Li Mu Bai (32%) ....................................... 47 2. Table 1.2 Terms that Cluster around the Green Term (65%) .............................. 50 3. Table 1.3 Terms that Cluster around Yu Jiao Long/Yu Jen (52%) ..................... 54 4. Table 2.1 Selected Narratives of “Scene 20 Young Master Long” ..................... 78 5. Table 2.2 Selected Narratives of “Scene 20 Young Master Long” ..................... 85 ix 1 Chapter 1 INTRODUCTION “What if we stopped asking whether cinema can be some sort of magic door opening onto absolute time, and instead asked about cinema’s role in the construction of different temporalities in different societies, politics, cultures, classes and so forth?” (Berry, 2009, p. 113) Understanding cultural differences is an essential issue in Communication Studies. Many scholars are now aware that intercultural communication is inevitable and necessary due to technological development, economic globalization, widespread population migration, and the development of multiculturalism (Chen & Starosta, 2005; Komolsevin, Knutson, Datthuyawat, & Tanchaisak, 2011). As more individuals or groups from different cultures interact with one another, confronting cultural barriers have become commonplace. One of the keys to effective intercultural communication involves the realization that the different values, behaviors, and attitudes exist across cultures. Cinema is an extremely important cultural vehicle for exploring social reality. Studying the symbolic universe that is created in film helps one understand the worldview of others. The relationship between cinema and culture is synergistic. Cinema is a product and also a former of culture. Film, as a cultural mirror, projects collective images of a culture’s contemporary attitudes, philosophies, values, and lifestyles while influencing them (Benson, 1974; Rushing & Frentz, 1978). While much research has focused on 2 issues concerning the adaptation of literature into film, few have examined the
Load more

Recommended publications
  • UNIVERSITY of CALIFORNIA, SAN DIEGO Queerness and Chinese Modernity: the Politics of Reading Between East and East a Dissertati
    UNIVERSITY OF CALIFORNIA, SAN DIEGO Queerness and Chinese Modernity: The Politics of Reading Between East and East A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Literature by Alvin Ka Hin Wong Committee in Charge: Professor Yingjin Zhang, Co-Chair Professor Lisa Lowe, Co-Chair Professor Patrick Anderson Professor Rosemary Marangoly George Professor Larissa N. Heinrich 2012 Copyright Alvin Ka Hin Wong, 2012 All rights reserved. The dissertation of Alvin Ka Hin Wong is approved, and it is acceptable in quality and form for publication on microfilm and electronically: ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ Co-Chair ________________________________________________________________________ Co-Chair University of California, San Diego 2012 iii TABLE OF CONTENTS Signature Page …………………………………………………….……………….….…iii Table of Contents ………………………………………………………………..…….…iv List of Illustrations ……………………………………………………………….…........v Acknowledgments …………………………………………………………………….....vi Vita …………………………………………………….…………………………….…...x Abstract of the Dissertation ………………………………………………….……….….xi INTRODUCTION.……………………………………………………………….……....1 CHAPTER ONE. Queering Chineseness and Kinship: Strategies of Rewriting by Chen Ran, Chen Xue and Huang Biyun………………………….………...33
    [Show full text]
  • Xerox University Microfilms
    INFORMATION TO USERS This malarial was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again - beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
    [Show full text]
  • Hong Kong 20 Ans / 20 Films Rétrospective 20 Septembre - 11 Octobre
    HONG KONG 20 ANS / 20 FILMS RÉTROSPECTIVE 20 SEPTEMBRE - 11 OCTOBRE À L’OCCASION DU 20e ANNIVERSAIRE DE LA RÉTROCESSION DE HONG KONG À LA CHINE CO-PRÉSENTÉ AVEC CREATE HONG KONG 36Infernal affairs CREATIVE VISIONS : HONG KONG CINEMA, 1997 – 2017 20 ANS DE CINÉMA À HONG KONG Avec la Cinémathèque, nous avons conçu une programmation destinée à célé- brer deux décennies de cinéma hongkongais. La période a connu un rétablis- sement économique et la consécration de plusieurs cinéastes dont la carrière est née durant les années 1990, sans compter la naissance d’une nouvelle génération d’auteurs. PERSISTANCE DE LA NOUVELLE VAGUE Notre sélection rend hommage à la créativité persistante des cinéastes de Hong Kong et au mariage improbable de deux tendances complémentaires : l’ambitieuse Nouvelle Vague artistique et le film d’action des années 1980. Bien qu’elle soit exclue de notre sélection, il est utile d’insister sur le fait que la production chinoise 20 ANS / FILMS KONG, HONG de cinéastes et de vedettes originaires de Hong Kong, tels que Jackie Chan, Donnie Yen, Stephen Chow et Tsui Hark, continue à caracoler en tête du box-office chinois. Les deux films Journey to the West avec Stephen Chow (le deuxième réalisé par Tsui Hark) et La Sirène (avec Stephen Chow également) ont connu un immense succès en République Populaire. Ils n’auraient pas été possibles sans l’œuvre antérieure de leurs auteurs, sans la souplesse formelle qui caractérise le cinéma de Hong Kong. L’histoire et l’avenir de l’industrie hongkongaise se lit clairement dans la carrière d’un pionnier de la Nouvelle Vague, Tsui Hark, qui a rodé son savoir-faire en matière d’effets spéciaux d’arts martiaux dans ses premières productions télévisuelles et cinématographiques à Hong Kong durant les années 70 et 80.
    [Show full text]
  • Download Article
    International Conference on Arts, Design and Contemporary Education (ICADCE 2016) Ancient Emaki "Genesis" Exploration and Practice of Emaki Art Expression Tong Zhang Digital Media and Design Arts College Beijing University of Posts and Telecommunications Beijing, China 100876 Abstract—The ancient myths and legends with distinctive generation creators such as A Gen, sheep and others, and a Chinese characteristics, refers to myths and legends from dedicated serial picture book magazine "Paint Heart", Chinese Xia Dynasty until ancient times, it carries the origin of "STORY" appears, the delicate picture and vivid story make Chinese culture and it is the foundation of the Chinese nation, it Chinese picture book also developing rapidly and has formed a influence the formation and its characteristics of the national national reading faction craze for outstanding picture books. spirit to a large extent. The study explore and practice the art expression which combines ancient culture with full visual 1) Picture book traced back to ancient Chinese Emaki: impact Emaki form, learn traditional Chinese painting China has experienced a few stages include ancient Emaki, techniques and design elements, and strive to make a perfect illustrated book in Republican period and modern picture performance for the magnificent majestic ancient myth with a books. "Picture book", although the term originated in Japan, long Emaki. It provides a fresh visual experience to the readers and promotes the Chinese traditional culture, with a certain but early traceable picture books is in China. In Heian research value. Kamakura Period Japanese brought Buddhist scriptures (Variable graph), Emaki (Lotus Sutra) and other religious Keywords—ancient myths; Emaki form; Chinese element Scriptures as picture books back to Japan, until the end of Middle Ages Emaki had developed into Nara picture books.
    [Show full text]
  • The Departed Talent: Matt Damon, Leonardo Dicaprio, Jack Nicholson
    The Departed Talent: Matt Damon, Leonardo DiCaprio, Jack Nicholson, Mark Wahlberg, Alec Baldwin, Vera Farmiga, Martin Sheen, Ray Winstone. Date of review: Thursday the 12th of October, 2006. Director: Martin Scorsese Classification: MA (15+) Duration: 152 minutes We rate it: Five stars. For any serious cinemagoer or lover of film as an art form, the arrival of a new film by Martin Scorsese is a reason to get very excited indeed. Scorsese has long been regarded as one of the greatest of America’s filmmakers; since the mid-1980s he has been regarded as one of the greatest filmmakers in the world, period. With landmark works like Taxi Driver (1976), Raging Bull (1980), Goodfellas (1990) and Bringing Out the Dead (1999) to his credit, Scorsese is a director for whom any actor will go the distance, and the casts the director manages to assemble for his every project are extraordinarily impressive. As a visualist Scorsese is a force to be reckoned with, and his soundtracks regularly become known as classic creations; his regular collaborators, including editor Thelma Schoonmaker and cinematographer Michael Ballhaus are the best in their respective fields. Paraphrasing all of this, one could justifiably describe Martin Scorsese as one of the most important and interesting directors on the face of the planet. The Departed, Scorsese’s newest film, is on one level a remake of a very successful Hong Kong action thriller from 2002 called Infernal Affairs. That film, written by Felix Chong and directed by Andrew Lau, set the box office on fire in Hong Kong and became a cult hit around the world.
    [Show full text]
  • Anthropoetics V, 1
    Anthropoetics V, 1 Anthropoetics V, no. 1 Spring / Summer 1999 ISSN 1083-7264 Table of Contents 1. Erik Eisel - "In the Beginning was the Word...": The Question of the Origin of Language in Goethe's Faust 2. William Mishler - The Question of the Origin of Language in René Girard, Eric Gans, and Kenneth Burke 3. Herbert Plutschow - An Anthropological Perspective on the Japanese Tea Ceremony 4. Eric Gans - The Little Bang: The Early Origin of Language 5. Benchmarks Eric Gans / [email protected] Last updated 7/23/99 http://steadr/anthropoetics/0501/ [5/10/2000 10:29:48 AM] Eisel Anthropoetics 5, no. 1 (Spring/Summer 1999) "In the Beginning was the Word...": The Question of the Origin of Language in Goethe's Faust Erik M. Eisel Department of Germanic Languages University of California, Los Angeles Los Angeles CA 90095-1539 [email protected] Beginning with the Age of Goethe, the history of the question of the origin of language follows from the general questions, "What is man?" "What is culture?" and "What is language?"(1) The Berlin Academy of Sciences conjectured in its Preisfrage of 1769 whether human beings, "abandoned to their natural faculties," are capable of inventing language. In response, the first sentence of Johann Gottfried Herder's winning "Essay on the Origin of Language" gives the starting point for new anthropological thinking in the eighteenth century, changing the history of this question: "Already as an animal the human being has language."(2) As Helmut Mueller-Sievers, the author of Self-Generation: Biology, Philosophy, and Literature Around 1800, points out, Herder's rhetorical procedure is an attempt to deny both empirical and divine origins of language while unifying his philosophical project within the domain of language: The quest for a satisfactory explanation for the origin and status of language at the end of the eighteenth century is, historically and structurally, related to the debate about the origin of living beings.
    [Show full text]
  • Transmission of Han Pictorial Motifs Into the Western Periphery: Fuxi and Nüwa in the Wei-Jin Mural Tombs in the Hexi Corridor*8
    DOI: 10.4312/as.2019.7.2.47-86 47 Transmission of Han Pictorial Motifs into the Western Periphery: Fuxi and Nüwa in the Wei-Jin Mural Tombs in the Hexi Corridor*8 ∗∗ Nataša VAMPELJ SUHADOLNIK 9 Abstract This paper examines the ways in which Fuxi and Nüwa were depicted inside the mu- ral tombs of the Wei-Jin dynasties along the Hexi Corridor as compared to their Han counterparts from the Central Plains. Pursuing typological, stylistic, and iconographic approaches, it investigates how the western periphery inherited the knowledge of the divine pair and further discusses the transition of the iconographic and stylistic design of both deities from the Han (206 BCE–220 CE) to the Wei and Western Jin dynasties (220–316). Furthermore, examining the origins of the migrants on the basis of historical records, it also attempts to discuss the possible regional connections and migration from different parts of the Chinese central territory to the western periphery. On the basis of these approaches, it reveals that the depiction of Fuxi and Nüwa in Gansu area was modelled on the Shandong regional pattern and further evolved into a unique pattern formed by an iconographic conglomeration of all attributes and other physical characteristics. Accordingly, the Shandong region style not only spread to surrounding areas in the central Chinese territory but even to the more remote border regions, where it became the model for funerary art motifs. Key Words: Fuxi, Nüwa, the sun, the moon, a try square, a pair of compasses, Han Dynasty, Wei-Jin period, Shandong, migration Prenos slikovnih motivov na zahodno periferijo: Fuxi in Nüwa v grobnicah s poslikavo iz obdobja Wei Jin na območju prehoda Hexi Izvleček Pričujoči prispevek v primerjalni perspektivi obravnava upodobitev Fuxija in Nüwe v grobnicah s poslikavo iz časa dinastij Wei in Zahodni Jin (220–316) iz province Gansu * The author acknowledges the financial support of the Slovenian Research Agency (ARRS) in the framework of the research core funding Asian languages and Cultures (P6-0243).
    [Show full text]
  • 2015 National Sports and Entertainment History Bee Round 1
    2015 National Sports and Entertainment History Bee Round 1 1. In this film, one character is called “almost a guy you can’t hit” after the protagonist orders cranberry juice at a bar. In this film, a misspelling of the word “citizen” on an envelope causes one character’s identity to be revealed. One character in this remake of Infernal Affairs was loosely based on Whitey Bulger, that man was portrayed by Jack Nicholson. For the point, name this 2006 best picture winner directed by Martin Scorsese and starring Matt Damon and Leonardo DiCaprio. ANSWER: The Departed 2. This man was once part of a lopsided trade included relief pitchers Greg Caderay and Eric Plunk. He played for nine different teams between 1979 and 2003, including four stints with his original team, the Oakland Athletics. He holds Major League records for, unintentional walks, most runs scored, and leadoff home runs. For the point, name this outfielder who is best remembered for breaking Lou Brock’s record for the most career stolen bases, appropriately earning him the nickname "The Man of Steal". ANSWER: Rickey Henderson 3. One sequel to this book is entitled Small Steps, and follows Theodore Johnson. A song in this book goes “If only if only the woodpecker cries, the bark on the trees was as soft as the skies” and at one point, the protagonist takes refuge on “God’s thumb.” The protagonist is sent to Camp Green Lake after he is accused of stealing a pair of shoes, and his first name is his last name spelled backwards.
    [Show full text]
  • Otomo Yoshihide, Bill Laswell, Yoshigaki Yasuhiro - Soup Live Bill Laswell - Kauai : the Arch of Heaven Shin Terai - Unison
    Otomo Yoshihide Soup mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Jazz / Rock Album: Soup Country: Russia Style: Free Improvisation MP3 version RAR size: 1580 mb FLAC version RAR size: 1435 mb WMA version RAR size: 1427 mb Rating: 4.6 Votes: 974 Other Formats: RA WAV AC3 APE AUD XM MOD Tracklist 1 Duck 11:07 2 Mushroom 9:56 3 Crab 14:13 4 Seaweeds 12:29 Companies, etc. Recorded At – Gok Sound Mixed At – Orange Music Mastered At – Turtle Tone Studios Record Company – G. & P. Essential Music Credits Bass, Effects, Sampler, Mixed By – Bill Laswell Design – Chikara Iwai Drums, Percussion, Drums [Electric], Trumpet – Yasuhiro Yoshigaki Engineer – Robert Musso Engineer [Assistant] – James Dellatacoma Guitar, Turntables, Edited By – Otomo Yoshihide Mastered By – Michael Fossenkemper Producer – Shin Terai Recorded By – Kondo Yoshiaki* Notes Jewel Case Barcode and Other Identifiers Barcode: 4 995879 058565 Rights Society: JASRAC Matrix / Runout: ZZ-03GP0001754 Other versions Category Artist Title (Format) Label Category Country Year Otomo Yoshihide, Otomo Yoshihide, Bill Bill Laswell, P-Vine PCD-5856 Laswell, Yoshigaki Yasuhiro* PCD-5856 Japan 2003 Yoshigaki Records - Soup (CD, Album) Yasuhiro* Ion 2022 Soup Soup (CD, Album, RE) ION Ion 2022 US 2007 Soup (4xFile, ALAC, Album, none Soup ION none US 2015 RE) Related Music albums to Soup by Otomo Yoshihide Toshinori Kondo, Eraldo Bernocchi, Bill Laswell - Charged Bill Laswell & Toshinori Kondo Featuring His Holiness The Dalai Lama - Life, Space, Death Otomo Yoshihide & Saga Yuki - See You In A Dream Various - The Meta Collection Bill Laswell - Outer Dark Otomo Yoshihide's New Jazz Quintet - Pulser Roots Tonic Meets Bill Laswell - Roots Tonic Meets Bill Laswell Otomo Yoshihide, Bill Laswell, Yoshigaki Yasuhiro - Soup Live Bill Laswell - Kauai : The Arch Of Heaven Shin Terai - Unison.
    [Show full text]
  • TOTE Criticism: Speech Communication: Unions
    DOCUMENT RESUME ED 199 609 CS 205 688 TITLE Rhetoric and Public Address: Abstracts of Doctoral Dissertations Pliblished in "Dissertation Abstracts International," January through June 1980 (Vol. (10 Nos. 7 through 12). INSTITUTION ERIC Clearinghouse.on Reading and Communication Skills, Urbana, Ill. 0_ PUB DATE 80 TOTE 13p.: Pages may be marginally legible. EDRS PRICE MF01/PC01 Plus Postage). DESCRIPTORS Annotated Bibliographies,: Churches; *Communication Research: Connected Discourse; Content Analysis; *Discourse Analysis: *Doctoral Dissertations: Organizational Communication: *Persuasive Discourse: Political Science; Politics; *Public Speaking: Religibus Organizations: *Rhetoric; *Rhetorical Criticism: Speech Communication: Unions; Womens Studies ABSTRACT This collection of abstracts is-part of a continuing . 'series'providing information on recent doctorgl dissertations.The'20 titles deal with-A variety oftopics, including the following: (1) the campaign communication during the Carter-Pordtelevision debates: (2) apprehensiveness and performance inpublic speaking; (3)a history and criticism 9f-the Vietnam antivar;movement:((4). a case study of institutional rhetoric and radical :Change (thecontemporary Roman Catholic Church in America):(5) synthesizing methodologies' used,:in the study of political communication during the 1976United States presidential election campaign:(6) the audience effects of (7) rhetorical vision and black social reality: 4 apoliogetic discourse: (8),a case study of organizational apologia. (theAmerican Federation of Labor, 1945-1956): and rhetorical analysesof the speeches/discourses of (9) Dorothy bay for the Catholic Worker movement, (10) British Conservative Party leader MargaretThatcher., (11) Charles Betts Galloway,(12) Carl Schurz,(13) Cleveland mayoral Candidate Arnold Pinkney,(14) Richard Nixon on Vietnam, (15) United States Senator Wayne Morse on Vietnam, (16) Supreme Court Justice Wilgam 0. Douglas on the First Amendment, (17)'U.
    [Show full text]
  • The Symbol of the Dragon and Ways to Shape Cultural Identities in Institute Working Vietnam and Japan Paper Series
    2015 - HARVARD-YENCHING THE SYMBOL OF THE DRAGON AND WAYS TO SHAPE CULTURAL IDENTITIES IN INSTITUTE WORKING VIETNAM AND JAPAN PAPER SERIES Nguyen Ngoc Tho | University of Social Sciences and Humanities, Vietnam National University – Ho Chi Minh City THE SYMBOL OF THE DRAGON AND WAYS TO SHAPE 1 CULTURAL IDENTITIES IN VIETNAM AND JAPAN Nguyen Ngoc Tho University of Social Sciences and Humanities Vietnam National University – Ho Chi Minh City Abstract Vietnam, a member of the ASEAN community, and Japan have been sharing Han- Chinese cultural ideology (Confucianism, Mahayana Buddhism etc.) and pre-modern history; therefore, a great number of common values could be found among the diverse differences. As a paddy-rice agricultural state of Southeast Asia, Vietnam has localized Confucianism and absorbed it into Southeast Asian culture. Therefore, Vietnamese Confucianism has been decentralized and horizontalized after being introduced and accepted. Beside the local uniqueness of Shintoism, Japan has shared Confucianism, the Indian-originated Mahayana Buddhism and other East Asian philosophies; therefore, both Confucian and Buddhist philosophies should be wisely laid as a common channel for cultural exchange between Japan and Vietnam. This semiotic research aims to investigate and generalize the symbol of dragons in Vietnam and Japan, looking at their Confucian and Buddhist absorption and separate impacts in each culture, from which the common and different values through the symbolic significances of the dragons are obviously generalized. The comparative study of Vietnamese and Japanese dragons can be enlarged as a study of East Asian dragons and the Southeast Asian legendary naga snake/dragon in a broader sense. The current and future political, economic and cultural exchanges between Japan and Vietnam could be sped up by applying a starting point at these commonalities.
    [Show full text]
  • Download Heroic Grace: the Chinese Martial Arts Film Catalog (PDF)
    UCLA Film and Television Archive Hong Kong Economic and Trade Office in San Francisco HEROIC GRACE: THE CHINESE MARTIAL ARTS FILM February 28 - March 16, 2003 Los Angeles Front and inside cover: Lau Kar-fai (Gordon Liu Jiahui) in THE 36TH CHAMBER OF SHAOLIN (SHAOLIN SANSHILIU FANG ) present HEROIC GRACE: THE CHINESE MARTIAL ARTS FILM February 28 - March 16, 2003 Los Angeles Heroic Grace: The Chinese Martial Arts Film catalog (2003) is a publication of the UCLA Film and Television Archive, Los Angeles, USA. Editors: David Chute (Essay Section) Cheng-Sim Lim (Film Notes & Other Sections) Designer: Anne Coates Printed in Los Angeles by Foundation Press ii CONTENTS From the Presenter Tim Kittleson iv From the Presenting Sponsor Annie Tang v From the Chairman John Woo vi Acknowledgments vii Leaping into the Jiang Hu Cheng-Sim Lim 1 A Note on the Romanization of Chinese 3 ESSAYS Introduction David Chute 5 How to Watch a Martial Arts Movie David Bordwell 9 From Page to Screen: A Brief History of Wuxia Fiction Sam Ho 13 The Book, the Goddess and the Hero: Sexual Bérénice Reynaud 18 Aesthetics in the Chinese Martial Arts Film Crouching Tiger, Hidden Dragon—Passing Fad Stephen Teo 23 or Global Phenomenon? Selected Bibliography 27 FILM NOTES 31-49 PROGRAM INFORMATION Screening Schedule 51 Print & Tape Sources 52 UCLA Staff 53 iii FROM THE PRESENTER Heroic Grace: The Chinese Martial Arts Film ranks among the most ambitious programs mounted by the UCLA Film and Television Archive, taking five years to organize by our dedicated and intrepid Public Programming staff.
    [Show full text]