The World's a Stage for Veteran Actor
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Originally, the Descendants of Hua Xia Were Not the Descendants of Yan Huang
E-Leader Brno 2019 Originally, the Descendants of Hua Xia were not the Descendants of Yan Huang Soleilmavis Liu, Activist Peacepink, Yantai, Shandong, China Many Chinese people claimed that they are descendants of Yan Huang, while claiming that they are descendants of Hua Xia. (Yan refers to Yan Di, Huang refers to Huang Di and Xia refers to the Xia Dynasty). Are these true or false? We will find out from Shanhaijing ’s records and modern archaeological discoveries. Abstract Shanhaijing (Classic of Mountains and Seas ) records many ancient groups of people in Neolithic China. The five biggest were: Yan Di, Huang Di, Zhuan Xu, Di Jun and Shao Hao. These were not only the names of groups, but also the names of individuals, who were regarded by many groups as common male ancestors. These groups first lived in the Pamirs Plateau, soon gathered in the north of the Tibetan Plateau and west of the Qinghai Lake and learned from each other advanced sciences and technologies, later spread out to other places of China and built their unique ancient cultures during the Neolithic Age. The Yan Di’s offspring spread out to the west of the Taklamakan Desert;The Huang Di’s offspring spread out to the north of the Chishui River, Tianshan Mountains and further northern and northeastern areas;The Di Jun’s and Shao Hao’s offspring spread out to the middle and lower reaches of the Yellow River, where the Di Jun’s offspring lived in the west of the Shao Hao’s territories, which were near the sea or in the Shandong Peninsula.Modern archaeological discoveries have revealed the authenticity of Shanhaijing ’s records. -
Images of Women in Chinese Literature. Volume 1. REPORT NO ISBN-1-880938-008 PUB DATE 94 NOTE 240P
DOCUMENT RESUME ED 385 489 SO 025 360 AUTHOR Yu-ning, Li, Ed. TITLE Images of Women in Chinese Literature. Volume 1. REPORT NO ISBN-1-880938-008 PUB DATE 94 NOTE 240p. AVAILABLE FROM Johnson & Associates, 257 East South St., Franklin, IN 46131-2422 (paperback: $25; clothbound: ISBN-1-880938-008, $39; shipping: $3 first copy, $0.50 each additional copy). PUB TYPE Books (010) Reports Descriptive (141) EDRS PRICE MF01/PC10 Plus Postage. DESCRIPTORS *Chinese Culture; *Cultural Images; Females; Folk Culture; Foreign Countries; Legends; Mythology; Role Perception; Sexism in Language; Sex Role; *Sex Stereotypes; Sexual Identity; *Womens Studies; World History; *World Literature IDENTIFIERS *Asian Culture; China; '`Chinese Literature ABSTRACT This book examines the ways in which Chinese literature offers a vast array of prospects, new interpretations, new fields of study, and new themes for the study of women. As a result of the global movement toward greater recognition of gender equality and human dignity, the study of women as portrayed in Chinese literature has a long and rich history. A single volume cannot cover the enormous field but offers volume is a starting point for further research. Several renowned Chinese writers and researchers contributed to the book. The volume includes the following: (1) Introduction (Li Yu- Wing);(2) Concepts of Redemption and Fall through Woman as Reflected in Chinese Literature (Tsung Su);(3) The Poems of Li Qingzhao (1084-1141) (Kai-yu Hsu); (4) Images of Women in Yuan Drama (Fan Pen Chen);(5) The Vanguards--The Truncated Stage (The Women of Lu Yin, Bing Xin, and Ding Ling) (Liu Nienling); (6) New Woman vs. -
Veteran Awarded Top Honor for His Devotion to Village
6 | Thursday, July 22, 2021 HONG KONG EDITION | CHINA DAILY CHINA Artist paints the stories contained in Yellow River’s stones By YE ZIZHEN in Beijing and YUAN HUI in Hohhot So far, my themes Walk into the yard at Lu Ting’s studio, and you’ll find dozens of have been about stones, washed and placed neatly maternity and on the ground. They range in size from less than women, but I feel the 1 square meter, to as large as an stones are telling a adult human. As an artist, Lu has a special way story on a bigger of expressing her deep love of her scale, about hometown — by creating colorful paintings on her beloved stones. relationships and “I was born and raised near the the meaning of life.” Yellow River and used to visit it a lot as a child. I feel connected Lu Ting, artist in Wuhai, Inner with the river,” the 46-year-old Mongolia autonomous region said. At age 2, Lu moved from Bayan- Guangdong province, two years nuur to Wuhai city in the Inner later in 2018. That same year, Lu Sun Jingkun talks with the head of his nursing home in Dandong, Liaoning province, on July 10. XINHUA Mongolia autonomous region and opened her studio in Wuhai, which has been living there since. residents can visit for free. “Wuhai is located in the delta “Slowly, people have begun to between the Yinshan Mountain come here and look at the paint- and the Yellow River. When I visit- ings, they also get to know more ed the mountain as a child, I saw about our homeland, and to love it many symbols and lines carved more deeply.” Veteran awarded top honor into the rocks, which left a deep Residents help Lu to collect impression on me,” Lu said. -
Fashioning Appearances: Feminine Beauty in Chinese Communist Revolutionary Culture Author(S): Hung-Yok Ip Source: Modern China, Vol
Fashioning Appearances: Feminine Beauty in Chinese Communist Revolutionary Culture Author(s): Hung-Yok Ip Source: Modern China, Vol. 29, No. 3 (Jul., 2003), pp. 329-361 Published by: Sage Publications, Inc. Stable URL: http://www.jstor.org/stable/3181296 . Accessed: 25/10/2011 12:47 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Sage Publications, Inc. is collaborating with JSTOR to digitize, preserve and extend access to Modern China. http://www.jstor.org FashioningAppearances FeminineBeauty in Chinese CommunistRevolutionary Culture HUNG-YOKIP OregonState University Studying the Communist revolution, scholars of China have generally assumed that the revolutionary era andpre-Cultural Revolution stage of the Communist regime were dominated by asceticism, androgynous clothing, or both. This article seeks to demonstrate that an interest in female beauty was always pres- ent in the revolutionary process. The author analyzes how revolutionaries sus- tained that interest by employing self-beautification practices and women's beauty politically and how social interactions reinforced the perception that female beauty was rewarding, underscoring that Communists accepted the practice of self-adornment. After examining the revolutionary aesthetics of femininity developed by women activists, the article briefly explores the legacy offemale beauty in the Communist regime. -
Nora's Performance in China
Nora’s Performance in China (1914-2010): Inspiration, Communities and Political Theatre By Xiaofei Chen Master thesis Center for Ibsen Studies UNIVERSITETET I OSLO Spring semester, 2010 Acknowledgements I came to Oslo University by serendipity. When I was searching the resources for my thesis Nora’s rewriting in China(1914-1948), by accident the website of Ibsen Center jumped out. Then I came to Norway and studied at Ibsen Center. Whether in Norway or in China, many people asked me why I had chosen Ibsen studies and had come to Norway. I always said because I liked Ibsen’s plays and Norway has an Ibsen Center. It turned out that I had chosen correctly. At the Ibsen Center, professors and students from all over the world gave me lots of chances to access different ideas and insights into Ibsen studies, especially from theatre and performance aspects. I could access the original Ibsen’s texts and understand Norwegian society in Ibsen’s times, and I could watch Ibsen’s performances from different countries either in the National Theatre or through DVDs in class. Thanks to Ibsen Center for giving me the opportunity to study here, and I also want to show my appreciation for all the professors at the Ibsen Center: especially Frode Helland, Astrid Sæther, Jon Nygaard, Atle Kittang, Erika Fischer-Lichte and Nilu Kamaluddin, Julie Holledge, Knut Brynhildsvoll, who gave me the latest information about Ibsen studies through lectures and seminars. My special thanks for my professor, Jon Nygaard, who gave me the inspiration to write this topic with fresh insight. -
Medal Laureate Touts His Family's Spirit of Service
CHINA DAILY | HONG KONG EDITION Monday, July 26, 2021 | 7 CHINA Medal laureate touts his family’s spirit of service Li Hongta followed in the footsteps of his well-known relatives By HOU LIQIANG also a prominent figure. Li Baohua, the Anhui Academy of Social Scien- PATH TO GLORY [email protected] whose given name is a homophone Path to glory ces who went on a business trip to of “protect China” in Mandarin, PROFILE Beijing with Li Hongta after Li Bao- Gu Huijing uses a laptop to check a car’s condition at her school As head of the Civil Affairs headed Anhui’s CPC provincial com- hua was transferred to the capital. in Shenzhen, Guangdong province. PROVIDED TO CHINA DAILY Department of Anhui Province, Li mittee before he was promoted to The official thought his father Hongta rode his bicycle to work governor of the People’s Bank of Chi- would dispatch a car to receive the most of the time, although he had na in 1978. son. He was wrong. He and Li took a the option of using a government-is- Despite his father’s success, Li bus to their destination in Beijing. Teenage girl wins car sued vehicle due to his ranking. Hongta didn’t lead a privileged life. “It is impossible for us to use his car,” His name may sound strange to Just 19 days after Li Hongta was Li Hongta told the official. some Chinese people. His grandfa- born, he was sent to a nursery. He After working with the Hefei com- competition, crashes ther, however, is a widely known fig- only went back to his parents after mittee of the Chinese Communist ure not only in China, but also he was 6 years old. -
Blanka Nyirádi the Birth of Chinese Tragedy: the Tragic Clash Of
Blanka Nyirádi The Birth of Chinese Tragedy: the Tragic Clash of Gender Roles in Cao Yu’s Thunderstorm Doctoral Dissertation THESES Eötvös Loránd University of Sciences Faculty of Humanities Doctoral School of Linguistics Budapest, 2019 1 I. Theme and objective of research The main scope of research of the present dissertation is the 20th-century development of modern Chinese drama, the huaju 话剧 and one of its representative dramatic pieces. In this historic period, China was subject to revolutionary changes (mostly enforced in the beginning), resulting in the substantial transformation of its society and culture. The wild enthusiasm that affected and saw these changes through created a nation-wide positive initiative, and thus promoted a substantive discourse on a series of important social and cultural issues. Changes by definition carry contradiction. Next to progress, there is always the difficulty of breaking away from the old and familiar, and the controversial state of mind that inevitably accompanies this process. The diverse manifestations of this duality that surface in the literary works of the era enrich them with a special complexity. An outstanding achievement of this period is the ’promotion’ of theatre. The art of traditional Chinese theatre is a unique, complex and invaluable cultural heritage, which, in spite of the temporary dominance of this 20th-century new form, thrives on. The modern dramatic art and play is a special direction of development in the history of Chinese drama that was the result of the impact Western dramatic traditions made on Chinese ones. This reform of theatre and drama was purely the demand of the time. -
The Pan Hannian Affair and Power Struggles at the Top of the CCP (1953-1955)
China Perspectives 2010/4 | 2010 Rural Migrants: On the Fringe of the City, a Bridge to the Countryside The Pan Hannian Affair and Power Struggles at the Top of the CCP (1953-1955) Xiaohong Xiao-Planes Édition électronique URL : http://journals.openedition.org/chinaperspectives/5348 DOI : 10.4000/chinaperspectives.5348 ISSN : 1996-4617 Éditeur Centre d'étude français sur la Chine contemporaine Édition imprimée Date de publication : 15 décembre 2010 ISSN : 2070-3449 Référence électronique Xiaohong Xiao-Planes, « The Pan Hannian Affair and Power Struggles at the Top of the CCP (1953-1955) », China Perspectives [En ligne], 2010/4 | 2010, mis en ligne le 01 décembre 2013, consulté le 28 octobre 2019. URL : http://journals.openedition.org/chinaperspectives/5348 ; DOI : 10.4000/ chinaperspectives.5348 © All rights reserved Articles s e v The Pan Hannian Affair and i a t c n i e Power Struggles at the Top h p s c r of the CCP (1953-1955) e p XIAOHONG XIAO-PLANES ABSTRACT : Pan Hannian (1906-1977), Communist activist from 1925, former senior head of the CCP secret service and deputy mayor of Shanghai after the PRC’s founding, was arrested in 1955 for treachery and counter-revolutionary crimes. He was condemned, with his wife Dong Hui, to imprisonment and to laogai camps for the rest of his life. His posthumous rehabilitation in 1982 transformed him into a legendary national hero. Illustrative of the political struggles in 1953-1955, the Pan Hannian affair seems to reveal the methods Mao Zedong used from time to time in managing the Party internally so as to maintain his dominant position in the leadership. -
Alternate Paeans of Desire: the Chinese Film JU DOU and the American Play DESIRE UNDER the ELMS
Intercultural Communication Studies XIII: 3 2004 Zeng Alternate Paeans of Desire: the Chinese Film JU DOU and the American Play DESIRE UNDER THE ELMS Li Zeng University of Louisville Abstract The internationally acclaimed Chinese film Ju Dou (1990), directed by Zhang Yimou, is about a love triangle among a dye-house master with impotence, his young wife, and his nephew apprentice. Although the film is adapted from Liu Heng’s novella Fuxi fuxi (1988) whose title draws our attention to the Chinese myth about Fuxi and Nuwa–two siblings becoming spouses who created humankind, the incestuous relationship in the film reminds us of that in Eugene O’Neill’s play, Desire Under the Elms (1924). The situation of Ju Dou, as this paper sees, is the Ephraim-Abbie-Eben plot of the Desire Under the Elms which is modeled upon the Hippolytos-Phaidra-Theseus relationship in Greek mythology. Apart from the similarity of plot scenario, there is technical similarity between the two works. In comparing Ju Dou with Desire Under the Elms, the paper suggests that these two artists emotionally revealed different aspects of their view of life through similar dramatic plots and characters and that O’Neill not only influenced modern Chinese playwrights in the early decades of the twentieth-century but might still be in rapport with Chinese culture in the post-Mao era. INTRODUCTION Ju Dou is one of the famous Chinese films by Zhang Yimou, an internationally renowned film director in contemporary China. Financed in part by foreign capital, Ju Dou came out in 1990.1 Although the Chinese government banned the film domestically for two years and attempted to withdraw it from international competitions, Ju Dou was widely shown abroad, received the Luis Bunuel Award at the 1990 Cannes Film Festival, and became the first Chinese movie to be nominated for an Oscar in 1991.2 An internationally acclaimed work, Ju Dou has fascinated a large number of audiences, film critics, and scholars of Chinese culture over the past decade. -
The Making of China's Peace with Japan
SELECTED BIBLIOGRAPHY SOURCES IN CHINESE Books Jin, Chongji. ed. (principal editor). Zhou Enlai zhuan 1898–1949 (Biography of Zhou Enlai 1898–1949). Edited by Zhonggong-zhongyang wenxian-yanjiushi. Beijing: Renmin-chubanshe and Zhongyang wenxian-chubanshe, 1989. Jin, Chongji. ed. (principal editor). Zhou Enlai zhuan (Biography of Zhou Enlai). 2 vols. Edited by Zhonggong-zhongyang wenxian-yanjiushi. Beijing: Zhongyang wenxian-chubanshe, 1998. Jinian Zhou Enlai chuban-faxing weiyuanhui. ed. Ribenren xinmuzhong de Zhou Enlai (Zhou Enlai in the Hearts of the Japanese). Trans by Liu Shouxu. Beijing: Zhonggong-zhongyang dangxiao-chubanshe, 1991. Li, Enmin. Zhongri minjian jingji waijiao (Sino-Japanese Private Economic Diplomacy). Beijing: Renmin-chubanshe, 1997. Li, Rongde. Liao Chengzhi. Singapore: Yongsheng-shuju, 1992. Liao Chengzhi ziliaoji (Documents on Liao Chengzhi). Hong Kong: Taozhai- shuwu, 1973. Liu, Wusheng. Zhou Enlai de wannian suiyue (Late Years of Zhou Enlai). Hong Kong: Sanlian-shudian, 2006. Sun, Pinghua. Wode lulishu (My Autobiography). Beijing: Shijie-zhishi chu- banshe, 1998. Wang, Junyan. Da-waijiaojia Zhou Enlai (Zhou Enlai: A Great Diplomat). Beijing: Jingji-ribao chubanshe, 1998. Wang, Xuanren. Nibuzhidao de Zhou Enlai (Zhou Enlai That You Do Not Know). Taipei: Wanyuan-tushu, 2005. © The Author(s) 2017 271 M. Itoh, The Making of China’s Peace with Japan, DOI 10.1007/978-981-10-4008-5 272 SELECTED BIBLIOGRAPHY Wang, Yongxiang and Takahashi, Tsuyoshi. eds. Riben liuxue-shiqi de Zhou Enlai (Zhou Enlai During his Study Period in Japan). Beijing: Zhongyang wenxian- chubanshe, 2001. Wu, Xuewen. Fengyu yinqing: Wosuo jingli de Zhongri guanxi (Wind, Rain, Cloud, Sun: My Autobiography and Sino-Japanese Relations). Beijing: Shijie-zhishi chubanshe, 2002. -
Stones from Other Hills: the Impact of Death of a Salesman on the Revival of Chinese Theatre in the 1980S
Stones From Other Hills: The Impact of Death of a Salesman on the Revival of Chinese Theatre in the 1980s The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:37736770 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 Stones from Other Hills: The Impact of Death of a Salesman on the Revival of Chinese Theatre in the 1980s. Qiuyu Wang A Thesis in the Field of Dramatic Arts for the Degree of Master of Liberal Arts in Extension Studies Harvard University November 2017 © 2017 Qiuyu Wang Abstract This study examines Arthur Miller’s involvement with a 1983 production of Death of a Salesman in Beijing. Through an analysis of primary and secondary sources, I evaluate this production in a broader historical context to give a more nuanced and complex account of how the production came to be. I piece together previous scholarship to provide a richer historical context for the play’s production. I identify the main reasons why Miller was asked to come to China, arguing that the ambiguous nature of the play served as a testing ground for Chinese artists to explore what artistic freedoms were extended to them in the years following the Cultural Revolution. The historical context of the years following the Cultural Revolution also influenced the play’s reception as audiences saw, beyond Miller’s theme of “one humanity,” an aspiration towards economic success and individualism. -
Images of Women in Four Modern Chinese Historical Plays
Fall 1993 61 Male Ideology and Female Identity: Images of Women in Four Modern Chinese Historical Plays Haiping Yan Modern Chinese historical drama emerged with the modern spoken drama in the May 4th New Culture Movement in the early 20th century. The modern spoken drama, a Chinese imitation and appropriation of the form of Western modern drama which putatively began with Ibsen, was a radical negation of the Chinese traditional theatre represented by forms such as classical Peking Opera. Starting in 1917, New Youth, which was launched by a group of young intellectuals and became one of the most influential journals of the New Culture Movement, vigorously criticized the traditional theatre in which "no man speaks human language" and advocated a new drama about "real people's real life."1 In their radical challenge to the traditional theatre, some of the young intellectuals argued that the genre of historical drama could not do anything useful but "repeat the old habits and stories."2 Guo Mo-ruo, a radical activist and one of the founders of modern Chinese literature, had a different view on this issue. In his opinion, the long history of China contains "the soul of the nation and indicates its future fate." What he wanted to do, as he announced in 1923, was to project a living energy into the dead skin of history and to generate a new form of historical drama which combines the past and the present into an image of the future.3 The trilogy named Three Rebellious Women was his first dramatization of this theoretical claim and, in a literal sense, the beginning of modern Chinese historical drama.