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The Cartographic Steppe: Mapping Environment and Ethnicity in Japan's Imperial Borderlands
The Cartographic Steppe: Mapping Environment and Ethnicity in Japan's Imperial Borderlands The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Christmas, Sakura. 2016. The Cartographic Steppe: Mapping Environment and Ethnicity in Japan's Imperial Borderlands. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33840708 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 The Cartographic Steppe: Mapping Environment and Ethnicity in Japan’s Imperial Borderlands A dissertation presented by Sakura Marcelle Christmas to The Department of History in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of History Harvard University Cambridge, Massachusetts August 2016 © 2016 Sakura Marcelle Christmas All rights reserved. Dissertation Advisor: Ian Jared Miller Sakura Marcelle Christmas The Cartographic Steppe: Mapping Environment and Ethnicity in Japan’s Imperial Borderlands ABSTRACT This dissertation traces one of the origins of the autonomous region system in the People’s Republic of China to the Japanese imperial project by focusing on Inner Mongolia in the 1930s. Here, Japanese technocrats demarcated the borderlands through categories of ethnicity and livelihood. At the center of this endeavor was the perceived problem of nomadic decline: the loss of the region’s deep history of transhumance to Chinese agricultural expansion and capitalist extraction. -
Yuan Muzhi Y La Comedia Modernista De Shanghai
Yuan Muzhi y la comedia modernista de Shanghai Ricard Planas Penadés ------------------------------------------------------------------ TESIS DOCTORAL UPF / Año 2019 Director de tesis Dr. Manel Ollé Rodríguez Departamento de Humanidades Als meus pares, en Francesc i la Fina. A la meva companya, Zhang Yajing. Per la seva ajuda i comprensió. AGRADECIMIENTOS Quisiera dar mis agradecimientos al Dr. Manel Ollé. Su apoyo en todo momento ha sido crucial para llevar a cabo esta tesis doctoral. Del mismo modo, a mis padres, Francesc y Fina y a mi esposa, Zhang Yajing, por su comprensión y logística. Ellos han hecho que los días tuvieran más de veinticuatro horas. Igualmente, a mi hermano Roger, que ha solventado más de una duda técnica en clave informática. Y como no, a mi hijo, Eric, que ha sido un gran obstáculo a la hora de redactar este trabajo, pero también la mayor motivación. Un especial reconocimiento a Zheng Liuyi, mi contacto en Beijing. Fue mi ángel de la guarda cuando viví en aquella ciudad y siempre que charlamos me ofrece una versión interesante sobre la actualidad académica china. Por otro lado, agradecer al grupo de los “Aspasians” aquellos descansos entra página y página, aquellos menús que hicieron más llevadero el trabajo solitario de investigación y redacción: Xavier Ortells, Roberto Figliulo, Manuel Pavón, Rafa Caro y Sergio Sánchez. v RESUMEN En esta tesis se analizará la obra de Yuan Muzhi, especialmente los filmes que dirigió, su debut, Scenes of City Life (都市風光,1935) y su segunda y última obra Street Angel ( 马路天使, 1937). Para ello se propone el concepto comedia modernista de Shanghai, como una perspectiva alternativa a las que se han mantenido tanto en la academia china como en la anglosajona. -
Xinjiang. El Dragón Frente a Su Peor Pesadilla: Terroris- Mo, Separatismo
Capítulo decimotercero Xinjiang. El dragón frente a su peor pesadilla: terroris- mo, separatismo y extremismo Ignacio José García Sánchez «De hecho, la cuestión que China debe afrontar en estos momentos es si el grupo étnico dominante de los han, que constituye más del 90 % de la población china, y que vive en su mayor parte en la zona fértil y originaria de este país, es capaz de mantener bajo control a los tibeta- nos, uigures túrquicos y mongoles del interior, que habitan la periferia, y todo ello con un nivel mínimo de conflictos. El destino final del Estado chino dependerá de este factor, sobre todo, a media que China tenga que afrontar dificultades económicas y sociales»1. Resumen En la tercera edición del Panorama Geopolítico de los Conflictos 20132 se abordaban los desafíos interiores que el gigante geopolítico chino debería afrontar en la persecución del «sueño chino, de un desarrollo pacífico»: – La supervivencia del sistema, con una legitimidad basada en el crédito revolucionario, la superioridad moral de partido y los resultados econó- micos, se ve contestada por una realidad de, todavía, 170 millones de pobres, la corrupción, el nepotismo y las desigualdades sociales. – Las nacionalidades históricas tibetana y uigur, con un fuerte sentimiento religioso y una considerable marginalidad geográfica, se debaten entre la singularidad cultural o la homogeneización colonizadora de la mayoría Han. 1 KAPLAN, Robert D., «La venganza de la geografía. Cómo los mapas condicionan el destino de las naciones», Barcelona, RBA libros, Barcelona, 2015, traducción de Laura Martín de Dios, p. 250. 2 http://www.ieee.es/Galerias/fichero/panoramas/panorama_geopolitico_2013.pdf 309 Ignacio José García Sánchez – La reunificación de Taiwán, el objetivo inalienable marcado por su constitu- ción, que le enfrenta directamente con la primera potencia geopolítica mun- dial, EE.UU. -
The Social and Cultural Characteristics of Shanxi Ancient Drama Costumes
Asian Social Science; Vol. 16, No. 3; 2020 ISSN 1911-2017 E-ISSN 1911-2025 Published by Canadian Center of Science and Education The Social and Cultural Characteristics of Shanxi Ancient Drama Costumes XiaoMing Yang1 & XiangMin Hu1 1 College of humanities, Donghua University, Shanghai, China Correspondence: XiaoMing Yang. E-mail: [email protected] Received: January 1, 2020 Accepted: January 13, 2020 Online Published: February 27, 2020 doi:10.5539/ass.v16n3p43 URL: https://doi.org/10.5539/ass.v16n3p43 Abstract The main research subject of this paper is the costume of Shanxi ancient drama, which is used to decorate the role in the form of drama performing art that spread in Ancient Shanxi. Drama costume is a kind of special performance costume which combines decoration, acting and symbolism. It is quite different from the traditional costume in aesthetic and functional aspects. The social and cultural factors that influence the costume of Shanxi ancient drama mainly include the system and rules of Chinese ancient costume, the subtle influence of Buddhist culture and Taoist culture, as well as the profound influence of loyalty culture. Keywords: social and cultural characteristics, dramatic-costums, ancient, Shanxi Shanxi is located to the west of taihang mountain and the east to the Yellow River. Shanxi is the birthplace of human beings, the cradle of Chinese civilization, and one of the cradles of Chinese dramatic art, known as the cradle of drama. According to statistics, there used to be more than 60 kinds of drama art forms in the ancient history of Shanxi, accounting for more than one sixth of the total drama forms in China. -
Prohibition of Jiatou Zaju in the Ming Dynasty and the Portrayal
PROHIBITION OF JIATOU ZAJU IN THE MING DYNASTY AND THE PORTRAYAL OF THE EMPEROR ON STAGE Tian Yuan Tan (Chen Tianyuan) INTRODUCTION: THE TERMS JIATOU AND JIATOU ZAJU Portraying the emperor on stage was not at all uncommon in the Yuan dynasty (1260-1368). This can be gathered from the fact that the emperor role, designated by the term jiatou, is one of the cus- tomary role types in Yuan drama.' According to the Qinglouji (The Green Bower Collection), a valuable collection of short biograph- ical notes on performers in the Yuan dynasty compiled around 1364, jiatou is one of the waijiao (extra roles) in zaju besides the fe- male and male lead roles, clan (female) and mo (male): [These extra role types] include the jiatou, the beauty pining in her boudoir, the bawd, the coquettish young girl, the high official, the poor, the brigand, the government servant, and those categories concerning immortals and Taoist deliver- ance, and family matters.'- The term "jiatou" originally referred to the throne of the emperor which an old eunuch would carry in front of the emperor's carriage on an imperial tour of inspection.' Since jiatou was an important insignia of an imperial tour, the modern Chinese scholar Sun Kaidi suggests that the term "jiatou zaju" must therefore involve at least a certain scene of the emperor going out in a carriage, as found in Act Three of both Hangong qiu (Autumn in the Palace of Han) and Tian Yuan Tan, "Prohibition of Jiatou Zaju in the Ming Dynasty and the Portrayal of the Emperor on Stage," MING STUDIES, 49, pp. -
La Sociedad China a Través De Su Cine
E.G~oooo OCIOO 1'11 ~ ,qq~ ~ QC4 (j) 1q~t Instituto Tecnológico y de Estudios Superiores de Monterrey Campus Eugenio Garza Sada La sociedad china a través de su cine Tesis presentada como requisito parcial para optar al título de Maestro en Educación con especialidad en Humanidades Autor: Ernesto Diez-Martínez Guzmán Asesor: Dr. Víctor López Villafañe Monterrey, N.L. abril de 1997 INTITUTO TECNOLOGICO Y DE ESTUDIOS SUPERIORES DE MONTERREY CAMPUS EUGENIO GARZA SADA La sociedad china a través de su cine Tesis presentada como requisito parcial para optar al título de Maestro en Educación con especialidad en Humanidades Autor: Ernesto Diez-Martínez Guzmán Asesor: Dr. Victor López Villafañe Monterrey, N.L. abril de 1997. A Martha, Alberto y Viridiana, por el tiempo robado. i Reconocimientos Al Dr. Victor López Villafañe, por el interés en este trabajo y por las palabras de aliento. Al ITESM Campus Sinaloa, por el apoyo nunca regateado. i i Resumen Tesis: "El cine chino a través de su cine". Autor: Ernesto Diez-Martínez Guzmán. Asesor: Dr. Víctor López Villafañe. La presente investigación. llamada "La sociedad china a través de su cine", pretende arribar al conocimiento de los mecanismos sociales, culturales y de poder de la sociedad china en el siglo XX, todo ello a través del estudio de la cinematografía del país más poblado del mundo. Desde los albores de la industria hasta la inminente fusión de Hong Kong con la China continental, el cine ha sido un importantísimo medio cultural, de entretenimiento y de propaganda, que ha sido testigo y actor fundamental de las grandes transformaciones de este país. -
Economic and Social Council
UNITED NATIONS E Economic and Social Distr. Council GENERAL E/CN.4/2004/56/Add.1 23 March 2004 ENGLISH/FRENCH/SPANISH ONLY COMMISSION ON HUMAN RIGHTS Sixtieth session Item 11 (a) of the provisional agenda CIVIL AND POLITICAL RIGHTS, INCLUDING THE QUESTIONS OF: TORTURE AND DETENTION Torture and other cruel, inhuman or degrading treatment or punishment Report of the Special Rapporteur, Theo van Boven Addendum Summary of information, including individual cases, transmitted to Governments and replies received* * The present document is being circulated in the languages of submission only as it greatly exceeds the page limitations currently imposed by the relevant General Assembly resolutions. GE.04-12267 E/CN.4/2004/56/Add.1 page 2 Contents Paragraphs Page Introduction………….…………………………………………… 1-4 5 General remarks………….……………………………………… 5-8 5 Summary of cases transmitted and replies received………….……………………. 9-1976 6 Albania………………………………………………................... 9-19 6 Algeria…………………………………………………………… 20-32 8 Angola……………………………………………………….…… 33-59 11 Argentina………………………………………………………… 60-71 14 Australia......................................................................................... 72 17 Austria…………………………………………………………… 73 18 Azerbaijan...................................................................................... 74-119 18 Bahrain………………………………………………………… 120-122 25 Bangladesh………………………………………………………. 123-139 25 Belarus…………………………………………………………… 140 29 Belgium………………………………………………………….. 141-155 29 Belize…………………………………………………………….. 156 32 Bolivia…………………………………………………………… -
Trabajo Fin De Máster
Trabajo Fin de Máster Título del trabajo: Una observación de la vida femenina en los siglos XV y XVI—a través de la sedería española y la de la Dinastía Ming English title: An observation of the feminine life in the 15th and 16th centuries—through the silk industry of Spain and the Dynasty Ming Autor Wu Luyao Director/es Elena Barlés Báguena Germán Navarro Espinach FACULTAD DE FILOSOFÍA Y LETRAS 2018-2019 1 Una observación de la vida femenina en los siglos XV y XVI—a través de la sedería española y la de la Dinastía Ming1 Resumen: Las mujeres fueron consideradas por un largo tiempo la fuerza principal en la industria textil, sin embargo, en la sedería de los siglos XV y XVI de China y España, su papel fue sustituido por los hombres, mientras las mujeres fueron marginadas. Lo que en el trabajo presente se va a introducir, tanto las situaciones de las dichas mujeres, como el contexto social el que causaba estas situaciones. En el caso de China, el foco de estudio se pone en la zona Jiangnan2, que es una de las más grandes y profesionales zonas de producción sedera de Ming; y en España, el foco se pone principalmente en las ciudades prósperas de la industria sedera. Palabras clave: sedería; Dinastía Ming; la zona Jiangnan; España; siglos XV y XVI 1 La dinasía Ming (chino: 大明), gobernaba entre los años 1368 y 1644 2 La zona Jiangnan se refiere al banco sur del curso inferior del Río Yangtsé. 2 1. Introducción: En el trabajo presente planeo investigar las situaciones de las mujeres en la sedería de los siglos XV y XVI en España y en la Dinastía Ming, a través de lo cual, conocer la vida de las mujeres en la época: su papel en la vida familiar, su estatus familiar y social, su situación económica, sus actividades en el espacio público etc. -
Zaju and Kabuki in English
Zaju and Kabuki in English Directing in the Classical Styles Grant Guangren Shen In , at the National University of Singapore, I directed the first English zaju opera, a genre that has had no known stage productions for the past years. During an -month period from to , I directed Sukeroku: Flower of Edo, the first kabuki play to be performed in English in Asia. In both productions, authenticity was the major criterion: the performative elements identifiable with the genres were meticulously preserved; an effort was made to approximate those for which there were no records; and their probable effects on original audiences were attempted. While indigenous classical theatre attracts attention, it poses practical challenges to the director of the modern stage. Actor Training In my experience, the training of actors is often the biggest challenge, and always the most time-consuming process, in producing Asian theatre. There is initial movement and voice training conducted by singing masters from the genre’s native land, who bring to the production their expertise, which is the result of many years of practice. Their technical know-how is unavailable in any book and adds. They add to the nuances that are vital to the success of the show. After these general sessions, singing masters hold intensive training for the leading roles. When rehearsals go badly, special training has to be devised to work through the problems. The conventional stage of Asian theatre does not allow much leeway for acting problems. You either do it right or do it wrong—and the audience can tell. The freedom to improvise does not pro- vide an escape from acting difficulties either, as it is a benefit of, but not an al- ternative to, the mastery of skills; it is often reserved for stars only. -
Historical Romance and Sixteenth-Century Chinese Cultural Fantasies
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2013 Genre and Empire: Historical Romance and Sixteenth-Century Chinese Cultural Fantasies Yuanfei Wang University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the English Language and Literature Commons, and the History Commons Recommended Citation Wang, Yuanfei, "Genre and Empire: Historical Romance and Sixteenth-Century Chinese Cultural Fantasies" (2013). Publicly Accessible Penn Dissertations. 938. https://repository.upenn.edu/edissertations/938 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/938 For more information, please contact [email protected]. Genre and Empire: Historical Romance and Sixteenth-Century Chinese Cultural Fantasies Abstract Chinese historical romance blossomed and matured in the sixteenth century when the Ming empire was increasingly vulnerable at its borders and its people increasingly curious about exotic cultures. The project analyzes three types of historical romances, i.e., military romances Romance of Northern Song and Romance of the Yang Family Generals on northern Song's campaigns with the Khitans, magic-travel romance Journey to the West about Tang monk Xuanzang's pilgrimage to India, and a hybrid romance Eunuch Sanbao's Voyages on the Indian Ocean relating to Zheng He's maritime journeys and Japanese piracy. The project focuses on the trope of exogamous desire of foreign princesses and undomestic women to marry Chinese and social elite men, and the trope of cannibalism to discuss how the expansionist and fluid imagined community created by the fiction shared between the narrator and the reader convey sentiments of proto-nationalism, imperialism, and pleasure. -
The Mongol Empire in China and the Mongolian Influence on Chinese Language
The Mongol Empire in China and the Mongolian Influence on Chinese Language Guangshun CAO Institute of Linguistics Chinese Academy of Social Sciences Contact with Non-Han Conquerors in Chinese History Throughout Chinese history, a number of non-Han ethnic groups with languages belonging to various language families have resided in or occupied the northern Chinese territories. Two groups occupied all of China for significant periods of time. The following is a brief account of the major non-Han groups (Fairbank and Reischuer, 1978:153): ▪ Xiongnu (the Huns?): a Turkish-speaking group, founded the first steppe empire in the third century B.C. on the grasslands of northern China and were conquered by the Han in the first century B.C. and first century A.D. ▪ Rouzhi: probably an Indo-European-speaking group, sought by Han China as allies against Xiongnu in the second century B.C. ▪ Xianbei: a Mongolian-speaking group, resided in eastern Mongolia in the third century A.D. and invaded China in the fourth century. ▪ Tobgach (Tuoba): largely Mongolian language speakers, founded the Northern Wei dynasty (386- 534 A.D.) in North China. ▪ Turks (Tujue): a Turkish-speaking group, established an empire in China c. 581 A.D. ▪ Khitan (Qidan): a Mongolian-speaking group, founded the Liao dynasty in North China and adjacent area from 947 to 1125 A.D. ▪ Jurchen (ancestors of Manchus): a Tungusic language group, founded the Jin dynasty in North China from 1122 to 1234 A.D. ▪ Tanguts: a Tibetan-speaking group, founded the Xixia Kingdom in Northwest China from 1038 to 1227 A.D. -
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http://www.purpleculture.net Chinese Theater trained systematically began to flood to society, resulting in the enhancement of overall performance levels and the intensification of market competition. All these factors pointed to a more attractive and ornamental style of performance. Xiwen was an exact product. However, what is surprising was that once it was born, it already possessed all the elements required for a mature theater, like an artistic peak towering out of a flat land. The No.1 Scholar Zhang Xie was not merely a form of combined speech and song but a full-fledged theater. It was a typical prosopopeia in genre and narrative method, providing an essential condition to mature theater. It also possessed a complete music structure with southern tune as its main body, blazing a brilliant road to Chinese theater. It was true that xiwen including The No.1 Scholar Zhang Xie was closely related to the art of singing with speaking in the Tang and Song dynasties. Dozens of theater scripts, whose themes and story framework, as well as their main characters were repeated countless times by artists on the stage and were well known to the audience. After transformation and refinement, they quickly evolved into theaters. Their development track was clearly visible. Xiwen, bianwen and zhu gongdiao bore a clear relationship of inheritance. However, they had differences that lay in their genre. While bianwen and zhu gongdiao were narratives, xiwen was prosopopeia. The genre disparity differentiated theater from the art of singing and speaking. In the latter form, there were one or two narrators conveying the message of others by using the third person, instead of being the characters in the story.