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Relevant bibliographies by topics / Kublai Khan

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Academic literature on the topic 'Kublai Khan'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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Journal articles on the topic "Kublai Khan"

1

Li, Zimu. "“The Battle of Diaoyu City” And Its Impact on The Mongol Empire, The Southern Song Dynasty, And the European Landscape." Journal of Education, Humanities and Social Sciences 28 (April 1, 2024): 275–81. http://dx.doi.org/10.54097/pjrz9g21.

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The Mongol Empire in the 13th century was unprecedentedly powerful, establishing a vast empire on the grasslands and setting its sights on the Eastern Song Dynasty. Led by Genghis Khan, the Mongol army launched a three-pronged invasion of the Song Dynasty. However, unexpectedly, Genghis Khan died under the walls of Diaoyu City, leading to a series of significant changes within the Mongol Empire. First, Kublai Khan was forced to withdraw his troops from Xiangyang, giving the Song Dynasty a breathing space. Then, the internal war between Ariq Böke and Kublai Khan resulted in Kublai Khan's victory but also caused the fragmentation of the Mongol Empire. Lastly, the commander of the Western Expeditionary Army, Hulagu, participated in the struggle for the Khanate, leading to the ultimate abandonment of the last Mongol Western Expedition and sparing Africa from the ravages of war.

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Chang, Na. "Kublai Khan in the Eyes of Marco Polo." European Review 25, no. 3 (May 23, 2017): 502–17. http://dx.doi.org/10.1017/s1062798717000096.

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This article will shed new light on the already crowded area of Marco Polo research, by examining the perspective of Polo, his direct observation of Kublai Khan and Yuan China, as revealed inThe Travels of Marco Polo.The paper analyses the sources of Polo’s perspective on the people he encountered on his travels in foreign lands. It argues that Polo’s ideas were shaped by his cultural background, personal experience and his own interests. Then it examines how the work presents Kublai Khan himself, as well as the Yuan empire’s monetary system, its waterway trade and its ethnic policy. The result of this investigation shows that Polo was an acute observer; he pointed out occasions of misrule despite his adoration of Kublai Khan.

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Cole, Juan R. I. "Invisible Occidentalism: Eighteenth-Century Indo-Persian Constructions of the West." Iranian Studies 25, no. 3-4 (1992): 3–16. http://dx.doi.org/10.1017/s0021086200015681.

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Kublai Khan does not necessarily believe everything Marco Polo says when he describes the cities visited on his expeditions, but the emperor of the Tartars does continue listening to the young Venetian with greater attention and curiosity than he shows any other messenger or explorer of his. In the lives of emperors there is a moment which follows pride in the boundless extension of the territories we have conquered, and the melancholy and relief of knowing we shall soon give up any thought of knowing and understanding them.—Italo Calvino, Invisible CitiesMarco Polo's encounter with Kublai Khan, which Italo Calvino made the framework for his exploration of the fantastic in urban life, stands as a useful parable for the nature of the interaction of West and East in the period between 1200 and 1700, when myriads of Europeans produced journals and accounts of their journeys into the rest of the world.

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Seaton, Jerome P., and J. I. Crump. "Chinese Theater in the Days of Kublai Khan." Chinese Literature: Essays, Articles, Reviews (CLEAR) 13 (December 1991): 195. http://dx.doi.org/10.2307/495083.

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Antonov, Igor' Vladimirovich. "Eastern policy of Mengu-Timur (1266-1282)." Genesis: исторические исследования, no. 11 (November 2020): 66–75. http://dx.doi.org/10.25136/2409-868x.2020.11.34476.

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The object of this research is the political history of the Ulus of Jochi as a part of the Great Mongol Empire. The subject of this is the Eastern policy of Mengu-Timur – the 6th ruler of the Ulus of Jochi (1266-1282). The author examines such aspects of the topic as the relationship of Mengu-Timur with the rulers of the uluses of Hulagu – Abaga, Chagatay – Borak, Ugedei – Kaidu, decisions made by the representatives of the uluses of Jochi, Chagatay and Ugedei in Talas Kurultai. Special attention is given to the analysis of relationship between Mengu-Timur and the ruler of the Central Ulus of Kublai, who founded the Yuan Empire. Comparative analysis is conducted on the written sources and scientific works on the topic. The sequence of events is reconstructed in chronological order. The author agrees with his predecessors that Mengu-Timur became the first sovereign ruler of the Ulus of Jochi. The scientific novelty consists in the conclusion that entitlement of Mengu-Timur as independent monarch was not a decision of Talas Kurultai. In Talas Kurultai in 1269 Kaidu was recognized as the leader of the right wing of the Mongol Empire, which included the Ulus of Jochi, Chagatay and Ugedei. The relations with the Great Khan in Kurultai were not settled, and the independence of uluses was not proclaimed. In the early 1370s, Mengu-Timur was named qayan, i.e. the supreme ruler above the khan. In 1277, Kublai's sons Numugan and Kukju were caught by the rebels, who sent them to Mengu-Timur. He did not support the rebels, but kept the son of Kublai. Since that moment, Mengu-Timur did was not subordinate to Kublai or Haidu, did not interfere into the conflict between them, restraining both of them from military clashes. Although Mengu-Timur maintained peaceful relations with other uluses, he was qayan title was not recognized.

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Lambert, Shaena. "Kublai Khan and the Sun Bird: A Fairy Tale." Marvels & Tales 15, no. 2 (2001): 224–28. http://dx.doi.org/10.1353/mat.2001.0025.

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Kimura, Jun, Mark Staniforth, Lê Thi Lien, and Randall Sasaki. "Naval Battlefield Archaeology of the Lost Kublai Khan Fleets." International Journal of Nautical Archaeology 43, no. 1 (September 10, 2013): 76–86. http://dx.doi.org/10.1111/1095-9270.12033.

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Conway, Paul. "Birmingham, CBSO Centre: ‘Invisible Cities’." Tempo 59, no. 233 (June 21, 2005): 57. http://dx.doi.org/10.1017/s0040298205270237.

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The Birmingham Contemporary Music Group opened their 2004–05 season on 19 September 2004 in typically adventurous, innovatory style with an evening of music — including no less than four world premieres — all centred on Italo Calvino's 1972 book Invisible Cities, in which traveller Marco Polo describes, in imaginary dialogues with Kublai Khan, fifty amazing cities, all of which turn out to be Venice.

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B, Ariunbaigal. "About official document’s traditions and the translation of some fixed words and expressions of the Mongol Empire (On an example of a letter sent by Kublai Khan to the king of Goryeo)." Translation Studies 11, no. 1 (2023): 56–65. http://dx.doi.org/10.22353/ts20230106.

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Korean historical sources contain a lot of information related to Mongolia and Mongolian-Korean relations written in ancient Korean original text, which is in Chinese. In this research, we aim to narrate the tradition of official letters of the Mongol Empire, as well as how certain fixed words and expressions were translated in diplomatic correspondence and how they were reflected through "A letter sent by Kublai Khan to the king of Goryeo".

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Waterhouse, David, and Lulu Huang Chang. "From Confucius to Kublai Khan: Music and Poetics Through the Centuries." Notes 51, no. 1 (September 1994): 102. http://dx.doi.org/10.2307/899186.

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Dissertations / Theses on the topic "Kublai Khan"

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Sasaki, Randall James. "The origin of the lost fleet of the mongol empire." [College Station, Tex. : Texas A&M University, 2008. http://hdl.handle.net/1969.1/ETD-TAMU-3100.

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Kellett, Lucy. ""Enough! or too much" : forms of textual excess in Blake, Wordsworth, Coleridge and De Quincey." Thesis, University of Oxford, 2016. http://ora.ox.ac.uk/objects/uuid:641b0fe2-3b07-46cf-94b6-7d27a2878686.

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My thesis explores the potential and the peril of Romantic literature's increasingly complex forms through a close comparative study of the works of William Blake, William Wordsworth, Samuel Taylor Coleridge and Thomas De Quincey. These writers exemplify the Romantic predicament of how to make vision manifest – how to communicate one's imaginative and intellectual expansiveness without diminishing it. They sought different strategies for increasing the capacity of literary form, ostensibly in the hope of communicating more: clarifying meaning, increasing accessibility and intensifying original experience. But textual expansion – materially, stylistically and intellectually – often threatens more opportunities for confused and partial meanings to proliferate, overwhelming the reader by dividing texts and undermining attempts at coherent thought. Expansion thus becomes excess, with all its worrying associations of superfluity. To further complicate matters, Burke's influential tenet of the Sublime makes a virtue out of excess and obscurity, raising the problematic spectre of deliberately confused/confusing texts that embody an aesthetic of incomprehension. I explore these paradoxes through four types of 'textual excess' demonstrated by the writers under discussion: firstly, the tension between poetry and prose adjuncts, such as prefaces and notes, in Wordsworth and Coleridge; secondly, De Quincey's indulgent verbosity and struggle to control the freeing shapelessness of prose; thirdly, Wordsworth's and De Quincey's parallel experiences of revision as both uncontrollably diffusive and statically concentrated; and lastly, Blake's more deliberate, systematic attempt to enact a literary Sublime in which the reader is forced out of passivity by the competing demands of verbal and visual media. All are motivated and thwarted in varying degrees by their anxious preoccupation with saying "Enough", and the difficulty of determining when this becomes “Too much”. These authorial dilemmas also incorporate larger concerns with man's (over)ambition at a time of rapid and unprecedented economic, social and intellectual acceleration from the Enlightenment to industrialism. The fear that the concept and process of 'progress', or 'improvement', marks deficiency rather than fulfilment haunts Romantic writers.

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WARNEMANT, JULIE E. ""KUBLA KHAN" BY S. T. COLERIDGE: A POEM IN THE MEDIEVAL DREAM VISION TRADITION." Thesis, 1986. http://hdl.handle.net/1911/13209.

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Wu, May-hong, and 吳美虹. "Nature in the Romantic Quest in Samuel Taylor Coleridge's "Christabel," "The Rime of the Ancient Mariner" and "Kubla Khan"." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/20744150838706980304.

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碩士
國立中正大學
外國語文研究所
89
The romantic imagination in nature for the Romantic poets zeroes in on a special topic in English Romanticism during the 19th century. In a word, the romantic imagination for Samuel Taylor Coleridge actually stands for the esemplastic power, which goes into the central parts of his poems. Samuel Taylor Coleridge, one of the top and eminent poets, fathered the Modern Poetry and the Romantic Revolution in English Literature, since the Romantic Revolution was giving the spirit of new birth to Modern Literature that spreads the emotional experience and the spiritual ecstasy. For instance, M. H. Abrams has commented, "Colerigde's poetic talent and insight are the seminal and excellent contributions to literature, and also regards him as the intellectual center of the English Romanticism movement." This thesis is divided into 5 parts, including the introduction, three chapters as the main body and the conclusion. First, this thesis aims to analyze the poetic mind and nature, as G. Wilson Knight has acclaimed, the quester has come to the world of "Hell, Purgatory and Paradise" in "Christabel," "The Rime of the Ancient Mariner" and "Kubla Khan." Second, this thesis focuses on how the poet-speaker explicates the poetic mind and nature in the romantic quest, and how the romantic imagination forms the poem as an organic whole. By its inward-looking journey, the poet-speaker, readers and the characters at the end have adopted the enlightenment of the moral indoctrination when they are on their road to seek after the grand central truth. After experiencing the spiritual odyssey, the poet-speaker, readers and the characters become "sadder and wiser" men. In addition, understanding the essence of good, evil, love, and moral, they reconstruct the spirit of internalization of the romantic quest, and are inspired by the enlightenment of the moral indoctrination. In Chapter One, firstly, what is Romanticism? Generally speaking, Romanticism is a "rebellion in a number of senses" that contains a wide freedom and the personal imagination, as which acts a perfect element in the poetic writings. Next, what is Coleridge's imagination? The poet-speaker in the "Conversation Poems" has explicated the poetic mind and nature, in which readers have touched with the variant forms of breathing of the romantic imagination, as "Nature's self is the breath of God." Chapter Two focuses on how the poet-speaker deals with nature in the romantic quest. The demonic group is close to the idea of Christian myth, which bases on the central spirit of the "apocalypse of imagination," just as Harold Bloom has mentioned, "the Romantics tended to take Milton's Satan as the archetype of the heroically defeated Promethean quester." So readers, the dreamer and the characters have experienced the metamorphic allusion of good, evil, moral, innate sin, misunderstanding, and understanding. They must go into the happiness and terror of "Hell, Purgatory and Paradise," respectively, which already reflect to the world of nature and the world of super-nature. Chapter Three copes with one thematic level of love and seeking after the grand central truth. As Harold Bloom has mentioned, "The higher Imagination shapes truth; the lower merely takes it, through nature, from the Shaping Spirit of God, and the Mariner's quest came to duplicate of his creation." The spirit of internalization of quest-romance is regarded as the central spirit of romantic quest, and also manifests it as the poet's higher imagination. Therefore, in my conclusion, the poet-speaker is an expert who deals with the dark world of nature, in which the poet-speaker has performed man's anxiety and guilt. However, at the end, human beings can discover love, truth and light, and also experience that the romantic imagination reshapes the poem as an organic whole.

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Books on the topic "Kublai Khan"

1

Dramer, Kim. Kublai Khan. New York: Chelsea House, 1990.

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2

Smith, Paul Slee. Crown of Kublai Khan. Edinburgh: Pentland P., 1990.

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Nicolle, David. The Mongolwarlords: Genghis Khan, Kublai Khan, Hülegü, Tamerlane. Poole: Firebird, 1990.

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Nicolle, David. The Mongol warlords: Genghis Khan, Kublai Khan, Hülegü, Tamerlane. Poole, Dorset: Firebird Books, 1990.

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5

Man, John. Kublai Khan: The Mongol King Who Remade China. London, UK: Bantam Press, 2006.

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McNeese, Tim. Marco Polo and the realm of Kublai Khan. Edited by Goetzmann William H. Philadelphia: Chelsea House Publishers, 2006.

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7

Robert, Marshall. Storm from the East: From Genghis Khan to Khubilai Khan. London: BCA, 1993.

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Robert, Marshall. Storm from the East: From Ghenghis Khan to Khubilai Khan. Berkeley: University of California Press, 1993.

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Krull, Kathleen. Kubla Khan: Emperor of everything. New York: Viking Children's Books, 2010.

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Krull, Kathleen. Kubla Khan: The emperor of everything. New York: Scholastic, 2010.

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Book chapters on the topic "Kublai Khan"

1

Ward, David. "Kubla Khan." In Coleridge and the Nature of Imagination, 130–50. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137362629_7.

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Leadbetter, Gregory. "“Kubla Khan”." In Coleridge and the Daemonic Imagination, 183–200. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230118522_9.

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Davidson, Graham. "Kubla Khan and Dejection: An Ode." In Coleridge’s Career, 88–114. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20497-7_5.

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Jasper, David. "‘Kubla Khan’, ‘The Rime of the Ancient Mariner’ and ‘Dejection’." In Coleridge as Poet and Religious Thinker, 43–72. London: Palgrave Macmillan UK, 1985. http://dx.doi.org/10.1007/978-1-349-07509-6_4.

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Perry, Seamus. "Samuel Taylor Coleridge, Kubla Khan, The Ancient Mariner and Christabel." In A Companion to Romanticism, 141–53. Oxford, UK: Blackwell Publishing Ltd, 2017. http://dx.doi.org/10.1002/9781405165396.ch12.

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Fulford, Tim. "Brothers in Lore: Fraternity and Priority in Thalaba, “Christabel,” and “Kubla Khan”." In Romantic Poetry and Literary Coteries, 63–78. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137518897_3.

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Hamlin, Cyrus. "The Faults of Vision: Identity and Poetry (A Dialogue of Voices, with an Essay on Kubla Khan)." In Identity of the Literary Text, 119–45. Toronto: University of Toronto Press, 1985. http://dx.doi.org/10.3138/9781487574796-008.

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Prawdin, Michael, and Gérard Chaliand. "Kublai Khan." In The Mongol Empire, 317–40. Routledge, 2017. http://dx.doi.org/10.4324/9781315133201-19.

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Emmons, Shirlee, and Wilbur Watkin Lewis. "X." In Researching the Song, 488. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195152029.003.0024.

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Abstract xanadu: a city named in the poem “Kubla Khan” by Samuel Taylor *Coleridge. “In Xanadu did Kubla Khan a stately pleasure dome decree, where Alph the sacred river ran through caverns measureless to man down to a sunless sea.” So begins the poem, inspired by an opium-induced dream. Kubla Khan, or Kublai Khan, is a historical person. Born about 1215, he died in 1294.The grandson of Jenghiz Khan, he was the founder of the Yuan dynasty of China. He encouraged scholarship, the arts, and foreign trade, and he was visited by Marco Polo.

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Murray, Chris. "‘Ancestral Voices Prophesying War’." In China from the Ruins of Athens and Rome, 29–62. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198767015.003.0002.

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Edward Gibbon and Samuel Taylor Coleridge were uneasy about the prospect of a British Empire, fearing overreach and collapse. Historical precedents such as the Roman Empire and Kublai Khan’s China made imperial expansion appear unwise. To Coleridge these predecessors served as warnings to Britain, but to Macartney they offered evidence that the Qing Dynasty was doomed. The Macartney Embassy attempted to recreate aspects of Marco Polo’s reception at Kublai Khan’s court: Macartney, like Gibbon and Coleridge, felt that histories could be replicated. In light of Britain’s fruitless embassies to China in 1793 and 1816, Coleridge’s ‘Kubla Khan’ draws on Gibbon’s account of the Khans for prophetic effect. Like Macartney’s journal, Coleridge’s poem articulates a perception that war between Britain and China was likely some decades before the First Opium War occurred.

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Conference papers on the topic "Kublai Khan"

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Vladimír, Liščák. "Marco Polo a jeho znalost asijských jazyků." In Orientalia antiqua nova XXI. Západočeská univerzita v Plzni, 2021. http://dx.doi.org/10.24132/zcu.2021.10392-52-59.

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Marco Polo and his knowledge of Asian languages Marco Polo (1254–1324) claimed (or rather his editors) that he could speak (and read) in other languages in ad dition to his own, at least five. Although he spoke little Chinese or rather not, he spoke a number of languages used in East Asia at the time – most likely Turkic (in the Kuman dialect: (lingua) tartara; tartaresce; tartaresche), which was also spoken among Mongols, Arabized Per sians, Uighurs and perhaps even he knew Mongolian. While communicating with the Great Khan, Marco Polo was almost certainly able to speak and write Mongolian. Marco Polo usually referred to Chinese local names in Persian, so it is very likely that he spoke Persian and was able to read the Arabic script. In addition, Persian was the lingua franca used throughout the region at the time even at Kublai Khan’s court. The paper brings some particular examples from Marco’s Mss.

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Dewi, Nurmila, and Soraya Masthura Hassan. "Semiotika Arsitektur Masjid Baiturrahim Ulee Balang Peureulak Kota." In Temu Ilmiah IPLBI 2021. Ikatan Peneliti Lingkungan Binaan Indonesia, 2021. http://dx.doi.org/10.32315/ti.9.k097.

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Dalam perkembangan arsitektur konsep semiotika sering digunakan di dalam konsep arsitektur, yaitu dimana para arsitek memiliki keinginan untuk mengajak seluruh masyarakat untuk bisa memahami suatu karya arsitektur dengan memberikan tanda atau pesan dalam karya arsitektur berupa elemen- elemen arsitektur bangunannya dan membentuk tanda pada bangunan. Pendekatan untuk mengklasifikasikan semiotika yaitu dengan cara dikotomi semiotika saussurean dan trikotomi semiotika pierccian. Dalam dikotomi saussurean yang di kembangkan oleh Roland Barthes disebutkan ada beberapa unsur dalam semiotika arsitektur yaitu konotasi dan denotasi. Dalam trikotomi semiotika Piercean yaitu tanda yang mengandung arti, indeks, ikon, dan simbol yang di kembangkan oleh Charles Morris menjadi pragmatik, sintaksis, dan semantik. Masjid merupakan sebuah bangunan paling khas yang melambangkan simbol islam dan juga budaya masyarakat indonesia yang heterogen, sehingga masjid yang ada di Indonesia tampak sangat berbeda dengan masjid-masjid serupa yang beraa di wilayah Timur Tengah. Umumnya atap masjid – masjid kuno yang ada di Indonesia tidaklah mengacu kepada atap yang berbentuk kubah tetapi mengamil bentuk atap yang seperti kerucut atau tumpang dan bahkan ada yang bertingkat. Sistem tanda yang terdapat dalam arsitektur meliputi banyak aspek berupa bentuk fisik, ukuran, proporsi serta jarak antar bagian, warna yang digunakan dan hal lainnya. Kata-kunci : Semiotika, arsitektur, tanda, makna

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Reports on the topic "Kublai Khan"

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Widerburg, Allen. "Kubla Khan" and its Critics. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.2381.

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