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Appendix 1: Glossary for Chinese and Japanese Names and Terms

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A p p e n d i x 1 : G l o s s a r y f o r C h i n e s e and Japanese Names and Terms C H I N E S E A J i a 棎䟁 gewuju 㷛咭⓶ A i S i q i 唍㊬⯖ G u o J i a n y i n g 捼ㆉ喀 banxiang 㓽䦇 guodu xi 扖䂰㒞 C a o J u r e n 㦈勩⅐ G u o j u X u e h u i ⦌⓶ⷵ↩ Chen Dabei 棗⮶㍁ G u o j u Y u n d o n g ⦌⓶扟┷ Chen Duxiu 棗䕻䱏 guzhuang xinxi ♳孔㠿㒞 C h e n J i a n g 棗䠕 H a n S h i h e n g 橸∜㫐 C h e n Y a n h e n g 棗ㇵ嫰 H o u F e n g ∾㨺 Cheng Changgeng 䲚栎ㄩ H u J i n x u 印⅙壩 C h e n g Y a n q i u 䲚䪩䱚 H u S h i 印抑 chengshihua 䲚㆞▥ huadan 啀㡵 chuan shen ↯䯭 H u a n g F a n c h u o 煓㡨兿 dan 㡵 H u a n g S h a n g 煓宂 daomadan ⒏泻㡵 H u a n g Z h i g a n g 煓唬⼦ D a t o n g Y u e h u i ⮶⚛⃟↩ (or Huang Su 煓侯) D i y i W u t a i 䶻₏咭♿ H u a n g Z o n g j i a n g 煓⸦㻮 D u H e n g 㧫嫰 H u a n g Z u o l i n 煓⇟⃃ fayunei, xingyuwai ♠ℝ␔, ㇱℝ⮥ huashan 啀嫺 F a n g Z h i z h o n g 㡈⃚₼ Ji Yun 儹㢏 F e n g G e n g g u a n g ␾勎⏘ jiadingxing ⋖⸩㊶ F e n g X i a o y i n ␾⺞椟 J i a n g M i a o x i a n g ⱫⰨ氨 F u S i n i a n ⌔㠾㄃ jianlixiaoguo 梃䱊㟗㨫 F u Y u n z i ⌔啇⷟ J i a o X i c h e n 䎵導房 G a i J i a o t i a n 䥥♺⮸ J i a o X u n 䎵㈹ gailiangxinxi 㟈哾㠿㒞 jiaxianghuiyi ⋖廰↩㎞ Gao Langting 浧㦦ℼ jingju ℻⓶ G e G o n g z h e n 㒗⏻㖾 jingxi ℻㒞 224 Mei Lanfang and the International Stage kunqu 㢕㦁 S h i s a n d a n ◐ₘ㡵 kunju 㢕⓶ (or Hou Junshan ∾≙⼀) laosheng 劐䞮 shizhuang xinxi 㢅孔㠿㒞 L i F e i s h u 㧝㠟♣ S u n H u i z h u ⷨ㍯㪀 L i J i n s h e n 㧝㾴愺 T a n X i n p e i 庼曺⪈ L i K a i x i a n 㧝㆏⏗ T a n g X i a n z u 㻳㣍䯥 Li Shizeng 㧝䪂㦍 tangma 怮泻 L i T a o h e n 㧝䀪䡤 T i a n H a n 䞿㻘 L i a n g Q i c h a o 㬐⚾怔 Wang Guangqi 䘚⏘䯗 liangxiang ℽ䦇 W a n g J i d e 䘚洴㉆ Lin Baishui 㨦䤌㻃 W a n g J i n g w e i 㻹位◺ Lin Chuanding 㨦↯熝 Wang Xiaoyin 䘚⺞楀 L i n M o 㨦照 Wang Yaoqing 䘚䜅☎ L i n Y u t a n g 㨦幼⪑ W a n g Y o u y o u 㻹↧䃇 L i u B a n n o n g ⒧◙␫ (or Wang Zhongxian 㻹ↁ徳) (or Liu Fu ⒧⮜) W a n g Z h o n g s h e n g 䘚朮⭿ Liu Chunhua ⒧㢴◝ Wang Zijia 䘚侺䳋 Liu Haisu ⒧䀆伮 W e i C h a n g s h e n g 淞栎䞮 L i u T i a n h u a ⒧⮸◝ Wu Nanru ⛃◦Ⱁ L i u Y i z h o u ⒧唉咮 W u Y i n g ⛃扝 L i u Y u n q i u ⒧檄䱚 wusheng 㷵䞮 L u X u n 漐扔 Xia Zhengnong ⮞㈐␫ M a E r 氻ℛ xian shen shuo fa 䘿愺広㽤 (or Feng Shuluan ␾♣烍) xianggu ⍞Ⱡ M e i D a n g 㬔⏩ xiangzhengzhuyi 廰㈐⃊⃘ M e i L a n f a n g 㬔⏿啂 xiaosheng ⺞䞮 M e i Q i a o l i n g 㬔ぶ䙁 xieyi ␨㎞ “ M e i x u e ” 㬔ⷵ xieyizhuyi ␨㎞⃊⃘ M e i Y u t i a n 㬔楷䞿 xingge hua M e i Z h u f e n 㬔䶈唻 biaoyan ㊶㫋▥嫷䆣 moshenghuaxiaoguo 棛䞮▥㟗㨫 xingsi ㇱ⇋ nandan 䟆㡵 xinju 㠿⓶ Nie Gannu 勑兏ㆸ (or Erye 勂勅; Xiong Foxi 䐙⇪導 Zang Qiren 呶␅ⅉ) “ x i o n g f u r e n ” 楓Ⱆⅉ O u y a n g Y u q i a n 㶶棂℗⊸ xiqu 㒞㦁 qi 㺣 Xu Beihong ㈟㍁烎 Q i R u s h a n 營Ⱁ⼀ Xu Chengbei ㈟⩝▦ Q i n S u 䱵侯 X u D a c h u n ㈟⮶㯎 qingyi 槡嫲 Xu Muyun ㈟㏤℠ S h a n g X i a o l i n g ⟕⺞䙁 Xu Zhuodai ㈟◢⛕ Shanghai Xin Wutai ₙ䀆㠿咭♿ (or Xu Banmei ㈟◙㬔) she shen chu di 幍愺⮓⦿ X u n H u i s h e n g 嗏㏶䞮 shensi 䯭⇋ Y a n H u i q i n g S h i Z h e c u n 㡌奿ⷧ (or W. W. Yen) 欫㍯ㄕ Appendix 1 225 Y a n R o n g 欫⹈ Z h a n g M i n g q i ㆯ炲䚵 Yang Longshou 㧷椕⺎ Zhang Pengchun Y a o H s i n - n u n g Ⱪ嘧␫ (or P. C. Chang) ㆯㇼ㢴 Y a o Y u f u Ⱪ䘘唨 Z h a o T a i m u 怄⮹䓮 Y e G o n g c h u o ⚅㋼兿 Z h a o Z u n y u e 怨⺙が yijing ㎞⬒ Zhengyue Yuhua Yu Cai ℝ摖 H u i 㷲⃟十▥↩ Y u S h a n g y u a n ⇨ₙ㼔 Z h e n g B o q i 捠↾⯖ Y u Z h e n f e i ≭㖾歭 Zheng Yiqiu 捠ℵ䱚 yuan ⦕ Zheng Zhenduo 捠㖾杝 Yuan Muzhi 嬐䓶⃚ (or Xi Yuan 導䄟) Y u a n zaju ⏒㧑⓶ Zhonghua Xiqu Yinyue yuanchang ⦕⧉ Y u a n ₼◝㒞㦁檂⃟棱 yunshou ℠㓚 Z h o u Y a n ⛷ㇵ Z a n g M a o x u n 呶㑚㈹ Z h o u Z u o r e n ⛷⇫ⅉ Zhai Guanliang 剮␂ℽ Zhuang Jingke ㄓ㣾䙑 Z h a n g H o u z a i ㆯ☩戌 Z o u T a o f e n 捈橻⯚ (or Liaozi 廑⷟) zouyuanchang 忿⦕⧉ J A P A N E S E A k i t a T s u y u k o 䱚䞿槁⷟ iroko 唁⷟ Akita Ujaku 䱚䞿楷楏 I t ō Nobuhiko ↙塳偌ㇵ A k u t a g a w a R y ū n o s u k e 唴ぬ爜 jigei ⦿塬 ⃚⅚ “joyū mondai” Ⰲ⎹⟞櫛 A o k i M a s a r u 槡㦷㷲⏡ J ū g a t s u S h ō ◐㦗䞮 B a n dō Tamasaburō V ⧑㨀䘘 kabuki 㷛咭↝ ₘ捝 K a n d a K i i c h i r ō 䯭䞿⠫₏捝 F u k u c h i N o b u y o 䰞⦿≰₥ (or Kanda Chōan 䯭䞿涾䥵) G o t ō Asatarō ㈛塳㦬⮹捝 Kan ō Naoki 䕸摝䦃⠫ H a j i S e i j i ⦮ズ䂔ℛ K a w a i T a k e o 㽂⚗㷵楓 H a m a d a K ōsaku 䊀䞿劤⇫ K a w a k a m i O t o j i r ō ぬₙ檂ℛ捝 (or Seiryō Sei 槠椄䞮) K a w a t a k e S h i g e t o s h i 㽂䶈僐≙ hanagata 啀ㇱ Kinoshita Junji 㦷ₚ檕ℛ H a n a k o 啀⷟ K i n o s h i t a M o k u t a r ō 㦷ₚ㧱⮹捝 H a n a y a g i S h ōtarō啀㪂䵯⮹捝 K ō y ō a n 㾹则䥵 Hatsuse Namiko ⒬䊻㿹⷟ K u b o T e n z u i ⃔≬⮸椷 I b a r a k i N o r i k o 喷㦷ቑቭ⷟ Kume Masao ⃔伂㷲楓 I c h i k a w a S a d a n j i I I ゑぬふ⦧㶰 K y ū r y ū b a n 䘥䚘䥳 I c h i m u r a U z a e m o n X V ゑ㧠剌 M a s a m u n e H a k u c h ō 㷲⸦䤌潴 ふ嫪栏 M a s u d a T a r ōkaja 䥙䞿⮹捝␯劔 I h a r a S e i s e i e n ↙☮槡ᇰ⦡ Matsumoto K ōshirō VII 㨍㦻ㄇ I k e d a D a i g o 㻯䞿⮶↜ ⥪捝 226 Mei Lanfang and the International Stage michiyuki 拢嫛 O s a n a i K a o r u ⺞⼀⏶堿 mie 尚㈦ R a k u y ō a n 囌囘ㅄ M i y a k e S h ūtarō ₘ⸔⛷⮹捝 S a d a Y a c c o ( o r S a d a y a k k o ) 弭Ⰳ M i y a m o t o Y u r i k o ⸽㦻䤍⚗⷟ S a w a m u r a S ō j ūrō VII 䈳㧠⸦ Mizuki Tatsunosuke I 㻃㦷房⃚┸ ◐捝 Mori Ritsuko 㭽㈚⷟ S e n d a K o r e y a ◒䞿㢾⃮ M o r i t a K a n ’ y a X I I I ⸗䞿╧㇛ “ S h i n a s h u m i ” 㞾挲怲✂ M o r i t a K a n ’ y a X I V ⸗䞿╧㇛ shingeki 㠿┖ M u r a t a K a k u k o 㧠䞿⢘⃔⷟ shinpa 㠿㿍 M u r a t a U k ō 㧠䞿䍞㻮 S h i r ō Uno ⸖摝⥪捝 (or Ukō Sanjin 䍞㻮㟲ⅉ) S u z u k i T o r a o 擃㦷壝楓 Naba Toshisada 挲㽱Ⓒ弭 (or Hyōken Chinjin 弈慡椂ⅉ) Nagai Kaf ū 㻇ℤ嘆欷 Takarazuka Shōjo Kagekidan ⸬ “ n a i m e n k a ” ␔槱▥ ⫩⺠Ⰲ㷛┖⥲ N a i t ō Konan ␔塳䃥◦ Takarazuka (or NaitōTorajirō␔塳壝㶰捝; Daigekij ō ⸬⫩⮶┖⫃ Fuchi Fukei Sei ₜ䣰ₜ㏶䞮) T a n a k a K e i t a r ō 䞿₼㐅⮹捝 N a i t ō Meisetsu ␔塳澃楹 (or Tenjaku ⮸烙) Nakagi Teiichi ↁ㦷弭₏ T a n i z a k i J u n ’ i c h i r o 廆⾝䇳₏捝 (or Nakagi Seiↁ㦷䞮) T e i k o k u g e k i j o ガ⦌┖⫃ N a k a m u r a F u k u s u k e I V ₼㧠䰞┸ (or Teigeki ガ┖) Nakamura Fukusuke V ₼㧠䰞┸ T e i k o k u J o y ū Yōseijo ガ⦌ N a k a m u r a Ⰲ⎹殙㒟㓏 K a n ’ e m o n I I I ₼㧠剺⚂嫪栏 T o k u d a S h ū s e i ㉆䞿䱚匁 N a k a m u r a T s u b o u c h i S h ō y ō ⧹␔抜拨 Utaemon V ₼㧠㷛⚂嫪栏 T s u j i C h ō k a 扊匃啀 N a k a u c h i C h ō j i ₼␔娅ℛ (or Chōka Sanjin 匃啀㟲ⅉ; N a n b u S h ū t a r ō ◦捷≽⮹捝 Tsuji Takeo 扊㷵楓) nanori ⚜⃦ T s u t s u i T o k u j i r ō ䷡ℤ㉂ℛ捝 Nishihara Daisuke 導☮⮶憣 Uemura Kichiya I ₙ㧠⚘㇛ “ N i s s h i s h i n z e n ” 㡴㞾尹⠓ wakaonnagata 啴Ⰲㇱ N o g a m i Y a e k o 摝ₙ㇛䞮⷟ wakashu kabuki 啴嫕㷛咭↝ noh 厌 Y a m a m o t o K y ūzaburō ⼀㦻⃔ₘ捝 O b a t a Y ū k i c h i ⺞ヰ揘⚘ Y o s a n o A k i k o ₝嶬摝㤅⷟ O k a k u r a K a k u z ō ⼰⊘屉ₘ Yoshida Toshiko ⚘䞿䤊㉦⷟ (or Okakura Tenshin ⼰⊘⮸㉒) Y o s h i k a w a K ō j i r ō ⚘ぬㄇ㶰捝 Ōkura Kihachir ō ⮶⊘⠫⏺捝 Yoshikawa Misao ⚘ぬ㝜 onnagata Ⰲㇱ Y o s h i n o S a k u z ō ⚘摝⇫抯 O n o e B a i k ō V I ⻍ₙ㬔ㄇ Yoshizawa Ayame I 啂䈳ሥቧቤ O s a k a C h ū ō Kōkaidō (⮶梹₼⮽ (or ⚘㼱噥坁) ⏻↩⪑) Z e a m i ₥棎ㆴ A p p e n d i x 2 : Chinese and Japanese Historical Newspapers and Magazines C H I N E S E Banyue pinglun ◙㦗幓幉 Shehui xinwen 䯍↩㠿梊 Beijing huabao ▦℻䟊㔴 Shen bao 䟂㔴 Beiyang huabao ▦㾚䟊㔴 Shenghuo 䞮㿊 Beiping chen bao ▦㄂㣷㔴 Shi bao 㢅㔴 Chen bao 㣷㔴 Shidai gonglun 㢅ⅲ⏻幉 Chen bao fukan 㣷㔴⓾⒙ Shijie ribao ₥䟛㡴㔴 Chun liu 㢴㪂 Shishi xinbao 㢅ℚ㠿㔴 Da wanbao ⮶㣩㔴 Shuntian shibao 欉⮸㢅㔴 Dagong bao ⮶⏻㔴 Sin Chew Jit Poh 㢮㿁㡴㔴 Dongfang zazhi ₫㡈㧑㉦ Tai bai ⮹䤌 Gu geng 洷漯 Weinasi 冃兂€ Guowen zhoubao ⦌梊⛷㔴 Wenxue shidai 㠖ⷵ㢅ⅲ Jinbu ribao 扪㷴㡴㔴 Wenxue zhoubao 㠖ⷵ⛷㔴 Jing bao ( T h e P e k i n g Wenyi huabao 㠖唉䟊㔴 Press) ℻㔴 Wuhan ribao 㷵㻘㡴㔴 Jing bao ( T h e C r y s t a l ) 㤅㔴 Xi shijie 㒞₥䟛 Juxue yuekan ⓶ⷵ㦗⒙ Xian dai 䘿ⅲ Liang you 哾♚ Xianshi 䘿⸭ Liyuan gongbao 㬷⥼⏻㔴 Xiao jing bao ⺞℻㔴 Lun yu 幉幼 Xiju congkan 㒞⓶₪⒙ Lüxing zazhi 㡔嫛㧑㉦ Xiju yuekan 㒞⓶㦗⒙ Mang zhong 唡䱜 Xin qingnian 㠿槡㄃ Minjian zhoubao 㺠梃⛷㔴 Xin sheng 㠿䞮 Minguo ribao 㺠⦌㡴㔴 Xinmin bao 㠿㺠㔴 Minzhong jiaoyu banzhoukan 㺠↦ Xinwen bao 㠿梊㔴 㟨十◙⛷⒙ Yong bao ㅇ㔴 Qinghua fukan 䂔◝⓾⒙ Yu si 幼€ Rensheng xunkan ⅉ䞮㡻⒙ Zhonghua ribao ₼◝㡴㔴 Shehui ribao 䯍↩㡴㔴 Zhongyang ribao ₼⮽㡴㔴 Shehui yuebao 䯍↩㦗㔴 Zhongwai pinglun ₼⮥幓幉 228 Mei Lanfang and the International Stage J A P A N E S E Chuo koron ₼⮽⏻嵥 Osaka asahi shinbun ⮶梹㦬㡴㠿勭 Engei gahō 䆣塬䟺⫀ Shin engei 㠿䆣塬 Engeki shinchō 䆣┖㠿䇽 Shin kōron 㠿⏻嵥 Hototogisu ኸእእኋኖ Shūkan asahi 拀⒙㦬㡴 Jiji shinpo 㣑ℚ㠿⫀ Tokyo asahi shinbun 㨀℻㦬㡴㠿勭 Josei Ⰲ㊶ Tokyo nichinichi shinbun 㨀℻㡴 Kageki 㷛┖ 㡴㠿勭 Kokumin shinbun ⦌㺠㠿勭 Yomiuri shinbun 帏彲㠿勭 Miyako shinbun 掌㠿勭 Yorozu chōhō 嚻㦬⫀ N o t e s INTRODUCTION 1.
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  • The Soul of Beijing Opera: Theatrical Creativity and Continuity in the Changing World, by Li Ruru

    The Soul of Beijing Opera: Theatrical Creativity and Continuity in the Changing World, by Li Ruru

    The Soul of Beijing Opera: Theatrical Creativity and Continuity in the Changing World, by Li Ruru Author Mackerras, Colin Published 2010 Version Version of Record (VoR) Copyright Statement © 2010 CHINOPERL. The attached file is reproduced here in accordance with the copyright policy of the publisher. Please refer to the journal's website for access to the definitive, published version. Downloaded from http://hdl.handle.net/10072/71170 Link to published version https://chinoperl.osu.edu/journal/back-volumes-2001-2010 Griffith Research Online https://research-repository.griffith.edu.au CHINOPERL Papers No. 29 The Soul of Beijing Opera: Theatrical Creativity and Continuity in the Changing World. By Li Ruru, with a foreword by Eugenio Barba. Hong Kong: Hong Kong University Press, 2010, xvi + 335 pp. 22 illus. Paper $25.00; Cloth $50.00. Among the huge advances made in studies of Chinese theatre in European languages over recent decades, those on the genre now normally called jingju 京劇 in Chinese and referred to in English as Peking opera or Beijing opera occupy a significant place. Theatre is by its nature multidisciplinary in the sense that it covers history, politics, performance, literature, society and other fields. Among other book-length studies published in the last few years, this art has yielded those with a historical perspective such as Joshua Goldstein‘s Drama Kings: Players and Publics in the Re-creation of Peking Opera, 1870–1937 (University of California Press, 2007) and those focusing more on stage aesthetics such as Alexandra B. Bonds‘ Beijing Opera Costumes: The Visual Communication of Character and Culture (University of Hawai‘i Press, 2008).
  • Mulan (1998), Mulan Joins the Army (1939), and a Millennium-Long Intertextual Metamorphosis

    Mulan (1998), Mulan Joins the Army (1939), and a Millennium-Long Intertextual Metamorphosis

    arts Article Cultural “Authenticity” as a Conflict-Ridden Hypotext: Mulan (1998), Mulan Joins the Army (1939), and a Millennium-Long Intertextual Metamorphosis Zhuoyi Wang Department of East Asian Languages and Literatures, Hamilton College, Clinton, NY 13323, USA; [email protected] Received: 6 June 2020; Accepted: 7 July 2020; Published: 10 July 2020 Abstract: Disney’s Mulan (1998) has generated much scholarly interest in comparing the film with its hypotext: the Chinese legend of Mulan. While this comparison has produced meaningful criticism of the Orientalism inherent in Disney’s cultural appropriation, it often ironically perpetuates the Orientalist paradigm by reducing the legend into a unified, static entity of the “authentic” Chinese “original”. This paper argues that the Chinese hypotext is an accumulation of dramatically conflicting representations of Mulan with no clear point of origin. It analyzes the Republican-era film adaptation Mulan Joins the Army (1939) as a cultural palimpsest revealing attributes associated with different stages of the legendary figure’s millennium-long intertextual metamorphosis, including a possibly nomadic woman warrior outside China proper, a Confucian role model of loyalty and filial piety, a Sinitic deity in the Sino-Barbarian dichotomy, a focus of male sexual fantasy, a Neo-Confucian exemplar of chastity, and modern models for women established for antagonistic political agendas. Similar to the previous layers of adaptation constituting the hypotext, Disney’s Mulan is simply another hypertext continuing Mulan’s metamorphosis, and it by no means contains the most dramatic intertextual change. Productive criticism of Orientalist cultural appropriations, therefore, should move beyond the dichotomy of the static East versus the change-making West, taking full account of the immense hybridity and fluidity pulsing beneath the fallacy of a monolithic cultural “authenticity”.
  • 新成立/ 註冊及已更改名稱的公司名單list of Newly Incorporated

    新成立/ 註冊及已更改名稱的公司名單list of Newly Incorporated

    This is the text version of a report with Reference Number "RNC063" and entitled "List of Newly Incorporated /Registered Companies and Companies which have changed Names". The report was created on 24-03-2014 and covers a total of 7532 related records from 17-03-2014 to 23-03-2014. 這是報告編號為「RNC063」，名稱為「新成立 / 註冊及已更改名稱的公司名單」的純文字版報告。這份報告在 2014 年 3 月 24 日建立，包含從 2014 年 3 月 17 日到 2014 年 3 月 23 日到共 7532 個相關紀錄。 Each record in this report is presented in a single row with 6 data fields. Each data field is separated by a "Tab". The order of the 6 data fields are "Sequence Number", "Current Company Name in English", "Current Company Name in Chinese", "C.R. Number", "Date of Incorporation / Registration (D-M-Y)" and "Date of Change of Name (D-M-Y)". 每個紀錄會在報告內被設置成一行，每行細分為 6 個資料。 每個資料會被一個「Tab 符號」分開，6 個資料的次序為「順序編號」、「現用英文公司名稱」、「現用中文公司名稱」、「公司註冊編號」、「成立／註 冊日期(日-月-年)」、「更改名稱日期(日-月-年)」。 Below are the details of records in this report. 以下是這份報告的紀錄詳情。 1. (CHINA) SHOUCHUANG INTERNATIONAL SOFTWARE HOLDING LIMITED (中國)首創國際軟件控股有限公司 1860734 20-03-2014 2. (HK) MagicShadow Media Limited (香港)光影影視文化傳媒集團有限公司 2058937 20-03-2014 3. (HONG KONG) EAST BOOKCOM LIMITED 東方博康(香港)貿易有限公司 2056873 18-03-2014 4. (Hong Kong)Qidian Maternal & Child Products Limited 香港奇點母嬰用品有限公司 2058879 20-03-2014 5. (WORLD THE CHOUS) MAGAZINE CO., LIMITED (周遍天下)雜誌社有限公司 2060987 21-03-2014 6. 0XA7 LIMITED 2059155 20-03-2014 7. 100BUYBACK CO., LIMITED 佰百客貿易有限公司 2058101 19-03-2014 8. 16 OZ DESIGN GROUP LIMITED 安士 16 設計有限公司 2057586 19-03-2014 9.
  • De Draagbare Wikipedia Van Het Schrijven – Verhaal

    De Draagbare Wikipedia Van Het Schrijven – Verhaal

    DE DRAAGBARE WIKIPEDIA VAN HET SCHRIJVEN VERHAAL BRON: WIKIPEDIA SAMENGESTELD DOOR PETER KAPTEIN 1 Gebruik, verspreiding en verantwoording: Dit boek mag zonder kosten of restricties: Naar eigen inzicht en via alle mogelijke middelen gekopieerd en verspreid worden naar iedereen die daar belangstelling in heeft Gebruikt worden als materiaal voor workshops en lessen Uitgeprint worden op papier Dit boek (en het materiaal in dit boek) is gratis door mij (de samensteller) ter beschikking gesteld voor jou (de lezer en gebruiker) en niet bestemd voor verkoop door derden. Licentie: Creative Commons Naamsvermelding / Gelijk Delen. De meeste bronnen van de gebruikte tekst zijn artikelen van Wikipedia, met uitzondering van de inleiding, het hoofdstuk Redigeren en Keuze van vertelstem. Deze informatie kon niet op Wikipedia gevonden worden en is van eigen hand. Engels In een aantal gevallen is de Nederlandse tekst te kort of non-specifiek en heb ik gekozen voor de Engelse variant. Mag dat zomaar met Wikipedia artikelen? Ja. WikiPedia gebruikt de Creative Commons Naamsvermelding / Gelijk Delen. Dit houdt in dat het is toegestaan om: Het werk te delen Het werk te bewerken Onder de volgende voorwaarden: Naamsvermelding (in dit geval: Wikipedia) Gelijk Delen (verspreid onder dezelfde licentie als Wikipedia) Link naar de licentie: http://creativecommons.org/licenses/by-sa/3.0/deed.nl Versie: Mei 2014, Peter Kaptein 2 INHOUDSOPGAVE INLEIDING 12 KRITIEK EN VERHAALANALYSE 16 Literaire stromingen 17 Romantiek 19 Classicisme 21 Realisme 24 Naturalisme 25
  • Xia, Liyang Associate Professor at Centre for Ibsen Studies, University

    Xia, Liyang Associate Professor at Centre for Ibsen Studies, University

    Xia, Liyang Associate Professor at Centre for Ibsen Studies, University of Oslo Address: Henrik Wergelandshus, Niels Henrik Abels vei 36, 0313 OSLO, Norway Postal address: Postboks 1168, Blindern, 0318 Oslo, Norway Title: A Myth that Glorifies: Rethinking Ibsen’s early reception in China Author responsible for correspondence and correction of proofs: Xia, Liyang 1 A Myth that Glorifies: Rethinking Ibsen’s Early Reception in China Introduction There is a consensus among Ibsen scholars and scholars of Chinese spoken drama that the Spring Willow Society staged A Doll’s House in Shanghai in 1914 (e.g. A Ying / Qian 1956; Ge 1982; Eide 1983; Tam 1984, 2001; He 2004, 2009; Chang 2004; Tian and Hu 2008; Tian and Song 2013). In 2014, when the National Theatre in Beijing staged A Doll’s House to commemorate the centenary of this premiere,1 most of the news reports and theatre advertisements cited the Spring Willow Society’s prior performance.2 Scholars and journalists who write about the history of A Doll’s House in China agree in general not only that the performance took place but that it was the first performance of an Ibsen play in China.3 I myself referred to this performance in my doctoral thesis (Xia 2013). In recent years, however, doubts have emerged not only about the claim that the Spring Willow Society performed A Doll’s House, but that the Society performed any plays by Ibsen. The following scholars have asserted that there is no concrete evidence that the performance of A Doll’s House took place: Seto Hiroshi (2002, 2015), Huang Aihua
  • Download Article (PDF)

    Download Article (PDF)

    Advances in Social Science, Education and Humanities Research, volume 213 4th International Conference on Humanities and Social Science Research (ICHSSR 2018) Discussion on the Coordinated Development and Innovation of National Music and Contemporary Multicultural Music Education Guo Wei College of Arts, Xiamen university，Xiamen，361000 Keywords: Multicultural music education, national music, innovation, development Abstract. The existence of music culture determines that music education is a certain form of human music culture, while music education, as a certain form of music culture, acts against a certain musical culture, making music education a profound cultural and spiritual connotation,and music Education plays an important role in the inheritance and development of national music culture. Only when we pay more attention to the humanistic connotation of music education, can we put music education research in the background of music culture, and music education will have vitality. The function of multicultural music education is to give full play to the cultural inheritance function of music education, and make music education become a musical culture form with profound national background in the heritage of music culture. This article is based on the background of multicultural music education. In view of the present situation of China's national music inheritance and development, this paper analyzes the problems in the practice of national music teaching under the multicultural background and puts forward the corresponding solutions,at the same time,Let students know more about the basic characteristics of Chinese folk music and the outstanding national culture behind it. 1. INTRODUCTION National music is a characteristic musical art form that can demonstrate national culture, which fully embodies the connotation and national spirit of national culture.
  • Plucked Stringed Instruments

    Plucked Stringed Instruments

    Plucked Stringed Instruments Fig. 2.1: The Pipa 18 Pipa 2 琵琶 Pipa HISTORY The grand dame of plucked stringed instruments, the pipa is one of the most expressive instruments in the Chinese orchestra (Fig. 2.1). Recent moves by some major Chinese orchestras include removing the instrument entirely from the orchestral formation due to its overpowering character and inability to blend. Its techniques, however, are applied to almost every plucked stringed instrument and its concepts have been borrowed for the reformations of various plucked stringed instruments. The term pipa used today refers to the lute-shaped instrument which comprises of four strings and a fretted soundboard of 20 to 25 frets. In the ancient Chinese dynasties of Sui and Han, the term pipa was generic for any instrument that was plucked or had a plucked string aspect to it. The word pipa is made up of two Chinese characters – 琵 pi and 琶 pa1. The words describe how the instrument is played and the sounds it produced. The forward plucking of the string using one’s right hand was termed pi, and the backward plucking of the string with the right hand was termed pa. The first recorded connotation to the word pipa was found in 刘熙 Liu Xi’s <<释名>> Shi Ming, where it was recorded as piba2. Although greatly associated with the Chinese, the pipa is not native to China; the instrument was introduced to China by Asia Minor over 2000 years ago. As the instrument is foreign, its counterparts in the forms of lutes and mandolins can still be found in Central and Western Asia.
  • International Communication Research Journal

    International Communication Research Journal

    International Communication Research Journal NON-PROFIT ORG. https://icrj.pub/ U.S. POSTAGE PAID [email protected] FORT WORTH, TX Department of Journalism PERMIT 2143 Texas Christian University 2805 S. University Drive TCU Box 298060, Fort Worth Texas, 76129 USA Indexed and e-distributed by: EBSCOhost, Communication Source Database GALE - Cengage Learning International Communication Research Journal Vol. 54, No. 2 . Fall 2019 Research Journal Research Communication International ISSN 2153-9707 ISSN Vol. 54, No. 2 54,No. Vol. Association for Education in Journalism and Mass Communication inJournalismandMass Education for Association A publication of the International Communication Divisionofthe Communication of theInternational A publication . Fall 2019 Fall International Communication Research Journal A publication of the International Communication Division, Association for Education in Journalism & Mass Communication (AEJMC) Editor Uche Onyebadi Texas Christian University Associate Editors Editorial Consultant Ngozi Akinro Yong Volz Wayne Wanta Website Design & Maintenance Editorial University of Florida Texas Wesleyan University Missouri School of Journalism Editorial Assistant Book Review Editor Jennifer O’Keefe Zhaoxi (Josie) Liu Texas Christian University Editorial Advisory Board Jatin Srivastava, Lindita Camaj, Mohammed Al-Azdee, Ammina Kothari, Jeannine Relly, Emily Metzgar, Celeste Gonzalez de Bustamante, Yusuf Kalyango Jr., Zeny Sarabia-Panol, Margaretha Geertsema-Sligh, Elanie Steyn Editorial Review Board Adaobi Duru Gulilat Menbere Tekleab Mark Walters University of Louisiana, USA Bahir Dar University, Ethiopia Aoyama Gakuin University, Japan Ammina Kothari Herman Howard Mohamed A. Satti Rochester Institute of Technology, USA Angelo State University, USA American University of Kuwait, Kuwait Amy Schmitz Weiss Ihediwa Samuel Chibundu Nazmul Rony San Diego State University USA Universiti Tunku Abdul Rahman (UTAR), Slippery Rock University, USA Anantha S.