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Relevant bibliographies by topics / Shuhua

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Academic literature on the topic 'Shuhua'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

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Journal articles on the topic "Shuhua"

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Ng, Janet. "Writing in her father's world: The feminine autobiographical strategies of Ling Shuhua." Prose Studies 16, no. 3 (December 1993): 235–50. http://dx.doi.org/10.1080/01440359308586507.

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Cheng, Eileen. "Virtue in Silence: Voice and Femininity in Ling Shuhua's Boudoir Fiction." NAN NÜ 9, no. 2 (2007): 330–70. http://dx.doi.org/10.1163/138768007x244370.

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AbstractNew Culture intellectuals avidly promoted new narratives and models of femininity as the cornerstone of a new culture; the gender discourse they advocated, however, continued to be refracted through traditional notions of femininity and writing. This paper examines the means by which one woman writer, Ling Shuhua, attempted to navigate the contradictions of this discourse, to forge her identity as a modern woman writer. The shifting nature of Ling Shuhua's literary negotiations is particularly salient when her portrayals of traditional femininity and use of voice in Temple of Flowers (1928) are contextualized against her lesser-known works—her early stories published in 1924 in Chenbao and her later fictionalized autobiography in English, Ancient Melodies (1953). Unlike her lesser-known works, which are deeply sympathetic to the plight of boudoir women and critical of New Culture discourse, the stories in Temple of Flowers are often framed with a sense of ambiguity in relation to both feminist and New Culture agendas. While these disparities may reflect a resourcefulness on Ling Shuhua's part in her bid to carve out public writing spaces, they also suggest the kinds of negotiations and self-effacing gestures that her literary endeavors may have entailed.

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Hong, Jeesoon. "Lily Briscoe's Chinese Eyes: Bloomsbury, Modernism and China. By Patricia Laurence. [Columbia, SC: University of South Carolina Press, 2003. 488 pp. £45.95. ISBN 1-57003-505-9.]." China Quarterly 178 (June 2004): 534–35. http://dx.doi.org/10.1017/s030574100438029x.

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This book project began in 1991 when Patricia Laurence, a scholar of Virginia Woolf, encountered a collection of unpublished letters and papers belonging to some members of the Bloomsbury Group and to Ling Shuhua, a renowned modern Chinese woman writer. Although some scholars have read and responded to the materials Laurence used in this book, her expansive coverage, freely traversing the boundaries of time, nation and artistic genres, is exceptional.The work deals mainly with the intercultural communications between Chinese and British intellectuals in the first half of the 20th century, particularly those between the modernist literary ‘communities’ of the Crescent Moon Group and Bloomsbury. The work is the outcome of the author's dedicated research on the subject over ten years, ever since her discovery of the letters, which motivated her to learn the Chinese language and to attend lectures and seminars in modern Chinese literature.

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Jiang, Wen Li, Yi Min Zhang, Guang Quan Liang, and Xi Wen Xia. "Development and Application of Complex Flashing-Field Magnetic Cleaner." Advanced Materials Research 1073-1076 (December 2014): 2177–88. http://dx.doi.org/10.4028/www.scientific.net/amr.1073-1076.2177.

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In order to enhance the quality of iron concentrate from magnetic separation, reverse-flotation technology is often applied in iron ore dressing plant. However, this technology has disadvantages in operating cost, energy consumption and environmental protection (Zhao Chunfu, Wu Jianghua &Wang Hui ,2005). Developing innovative equipment to process magnetite ore more-effectively is a way to get rid of these disadvantages of reverse flotation and improve the quality of iron concentrate. This paper describes the development of Complex Flashing-Field Magnetic Cleaner, a new kind of equipment based on the principle of combination of separation in magnetic field and separation in gravity field (Hao Shuhua & Jiang Wenli,2002). This innovative equipment possesses a tailor-made magnetic system and has the characteristics of a magnetic field which can strengthen the formation of magnetic agglomerations and the dispersion of gangue minerals to improve the quality of separation. The automatic control system developed specifically for this equipment can further increase the accuracy of separation and stabilize the process. Test results showed that this equipment is reliable in operation, economically beneficial and it has large potential of application.

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McDougall, Bonnie S. "Disappearing women and disappearing men in may fourth narrative: a post‐feminist survey of short stories by Mao Dun, Bing Xin, Ling Shuhua and Shen Congwen." Asian Studies Review 22, no. 4 (December 1998): 427–58. http://dx.doi.org/10.1080/10357829808713209.

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Liu, Xiaowei. "The China crisis." Proceedings of the International Astronomical Union 13, S349 (December 2018): 222–27. http://dx.doi.org/10.1017/s1743921319000346.

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AbstractThe so-called China crisis, well documented in History of the IAU by Adriaan Blaauw and in Under the Same Starry Sky: History of the IAU by Chengqi Fu and Shuhua Ye, refers to the withdrawal in 1960 of the People’s Republic of China (PRC) from the Union. The crisis stemmed from the admission by the IAU, amidst strong protest from PRC and some other member countries, of the Republic of China (ROC) to the Union, creating the so-called “Two Chinas” – or “One China, one Taiwan” problem. The crisis directly led to the absence of mainland Chinese astronomers from the stage of international collaborations and exchanges, and was only solved two decades later. The solution, accepted by all the parties involved, is that China is to have two adhering organizations, with mainland China astronomers represented by the Chinese Astronomical Society located in Nanjing (China Nanjing) and China Taiwan astronomers represented by the Academia Sinica located in Taipei (China Taipei). The denominations “China Nanjing” and “China Taipei” represent the IAU official resolution and should be used in all IAU events.The China crisis, probably the most serious one in IAU history, was a painful lesson in the 100-year development of the Union. Yet, with its eventual solution, the Union has emerged stronger, upholding its spirit of promoting astronomical development through international collaboration of astronomers from all regions and countries, regardless of the political systems, religion, ethnicity, gender or level of astronomical development.

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Cervone, Einor K. "Art | Adrift." Archives of Asian Art 69, no. 2 (October 1, 2019): 155–79. http://dx.doi.org/10.1215/00666637-7719404.

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Abstract A floating gallery, a drifting studio where sprawling waterscapes set off artwork on display and inspire original creation—the painting-and-calligraphy boat (shuhua chuan) may sound like a postmodern experimental installation. For its Ming patrons, however, it was nothing of the sort. Traceable to Mi Fu's floating gallery-cum-studio, the “art boat” was perceived as a beacon of cultural orthodoxy by generations of aesthetes like Mi Wanzhong, Dong Qichang, and Li Rihua. A nod to antiquity, it situated them in the continuum of long-standing tradition. The practice reached its acme in the mid- and late Ming, against currents of growing social mobility and dynamic imbalance that gave rise to a culture of connoisseurship as part of a fierce competition for social distinction. This paper examines the lure of waterborne art connoisseurship as cultural capital. Unique to the art boat is the act of collecting pieces for display and appraisal—an act akin to modern curatorial discernment. The selection of works that accompanied the patron onboard became an expressive medium. The painting-and-calligraphy boat also privileged a sense of fortuity. Chance encounters and spontaneous inspiration complemented the boats' movement along their free-form routes. Yet, the most prominent feature distinguishing the art boat was its visibility. Open panoramas of outstretched waterscape conjured a new creative avenue, a self-aestheticizing of both participant and vessel. This paper extricates the painting-and-calligraphy boat from its perception as a passing curiosity and shows it to be an enduring phenomenon that permeated premodern Jiangnan—the choice of the waterscape as a space of creation and recreation.

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Lawton, Thomas, and Yang Renkai. "Guobao chenfou lu: Gugong sanyi shuhua jianwen kaolue ("Record of the Vicissitudes of National Treasures: Investigation of the Dispersed and Lost Calligraphies and Paintings from the Former Palace That I Have Seen and Heard About")." Artibus Asiae 54, no. 3/4 (1994): 378. http://dx.doi.org/10.2307/3250064.

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Grachikov, Evgeny Nikolaevich. "Book Review: Zhang Shuhua. (2018). Eluosi zhi lu 30 nian: guojia gaige yu zhidu xuanze [The Logic of Big Powers’ Institutional Transition: 30 Years from Soviet Union to New Russia]. Beijing: Zhongguo shehui kexue chubanshe [Chinese Social Sciences Press], 370 p." Vestnik RUDN. International Relations 19, no. 1 (December 15, 2019): 160–61. http://dx.doi.org/10.22363/2313-0660-2019-19-1-160-161.

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Palta, N. S. "Shujja-Ud-Din." BMJ 335, no. 7623 (October 11, 2007): 779.2–779. http://dx.doi.org/10.1136/bmj.39357.595799.be.

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Dissertations / Theses on the topic "Shuhua"

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Hong, Jeesoon. "Gendered modernism of Republican China : Lu Yin, Ling Shuhua and Zhang Ailing." Thesis, University of Cambridge, 2004. https://www.repository.cam.ac.uk/handle/1810/284028.

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Jortay, Coraline. "Pronominal Politics: (Un)Gendering Narrative and Framing Ambiguity in Chinese Literature, 1917-1937." Doctoral thesis, Universite Libre de Bruxelles, 2020. https://dipot.ulb.ac.be/dspace/bitstream/2013/308433/5/Contrat.pdf.

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The introduction of gendered third person pronouns in written Chinese in the late 1910s has been hailed as one of the seismic linguistic shifts of May Fourth (1919), a period which was rife with debates on the position of women and men in Chinese society. While research on the topic has mainly framed this event as being about linguistic progress and about “her,” little attention has been paid to the specific ways in which the new pronouns were vocally opposed, quietly subverted, or leveraged by writers of the period and how this affected gender representation in literary texts, especially at a time when literature was deemed the foremost tool for the unification of the language and the education of the people.Rather than focusing on “the invention” of a third person feminine as customary of existing scholarship, my dissertation aims to retrieve the diversity of literary uses of linguistic gender that often went hand in hand with political goals. As the introduction of a new feminine pronoun ushered in the formerly gender-inclusive third-person pronoun being rewritten as masculine, I scrutinize the works of four writers representative of both early adopters and outspoken opponents of the new pronouns: Liu Dabai 劉大白 (1880-1932), Ling Shuhua 凌叔華 (1900-1990), Zhao Yuanren 趙元任 (1892-1982), and Xiao Hong 蕭紅 (1911-1942). Together, they exemplify different generations of writers working with a variety of genres (prose, poetry, drama, translation) and a variety of linguistic and social movements. This corpus allows to uncover not only how each of them plays with linguistic and gendered norms prevalent at the time (through homophony, creation of characters, deictic shifts, etc.), but also how genre itself impacted pronominal manipulations. These debates are contextualised against an historicization of “pronouns” as a linguistic category which came to be understood as open-ended and “lacking” gender over the course of the nineteenth century. This dissertation probes how these views paved the way for a wide variety of gendered pronouns being quickly incorporated after 1917 when the stakes moved from a specialty issue of interest to literary translators and linguists to one that involved institutionalizing the language and gender equality in general.Beyond its contribution to the field of Republican Chinese literature, this dissertation shows how relevant Chinese literary “pronominal politics” from 1917-1937 are to contemporary debates on inclusive writing and helps (re)place sinophone literature on the map of contemporary theoretical developments in pronoun studies, historical and comparative linguistics, translation studies, and feminist literary studies, where Anglo-European canonical works tend to remain overwhelmingly the focus of inquiry.
Doctorat en Langues, lettres et traductologie
info:eu-repo/semantics/nonPublished

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Maurya, Devalāla. "Hindī sāhitya kā itihāsa-darśana aura Rāmacandra Śukla /." Ilāhābāda : Eksīlensa pabliśarsa, 1993. http://catalogue.bnf.fr/ark:/12148/cb36190705w.

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Cunha, Lucas Monteiro Regis. "Pequena fenomenologia da sombra : Guignard e Tensho Shubun." reponame:Repositório Institucional da UnB, 2018. http://repositorio.unb.br/handle/10482/33933.

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Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Programa de Pós-Graduação em Artes, 2018.
Esta dissertação visa comparar obras de Alberto da Veiga Guignard e Tensho Shubun a partir da utilização da sombra, fenômeno recorrente em suas pinturas de paisagens, para verificar a existência de semelhanças que permitem estabelecer um diálogo entre os dois recortes. A pesquisa se baseia em um aporte teórico sobre a sombra na história da arte, na contextualização dos períodos em que os artistas viveram, e uma aproximação fenomenológica do objeto que visa enriquecer a análise formal e poética das obras. O encontro de configurações semelhantes das obras no corpus estudado corrobora a crítica sobre a aproximação de Guignard com um estilo específico de pintura japonesa, e por outro lado revela parte da construção, por parte da crítica brasileira, de uma sintaxe para se referir ao oriente, principalmente Japão e China.
This dissertation aims to compare works of art of Alberto da Veiga Guignard and Tensho Shubun from the use of shadows, recurrent phenomenon in their landscape paintings, in order to verify the existence of similarities that allow to establish some dialogue between the two parts. The research is based on a theoretical contribution on the shadows in the history of art, in the contextualization of the periods in which the artists lived, and a phenomenological approach of the object to enrich the formal and poetic analysis of the study. The encounter of similar configurations of the works in the studied corpus corroborates the criticism about the approximation of Guignard with a specific style of Japanese painting, and on the other hand reveals part of the construction, by the Brazilian art criticism, of a syntax to refer to the East, mainly Japan and China.

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Boyd, Louise Anne. "Art, sex, and institutions : defining, collecting, and displaying shunga." Thesis, University of Glasgow, 2016. http://theses.gla.ac.uk/7546/.

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In Edo-Japan (c.1603 – 1868) shunga, sexually explicit prints, paintings and illustrated books, were widely produced and disseminated. However, from the 1850s onwards, shunga was suppressed by the government and it has largely been omitted from art history, excluded from exhibitions and censored in publications. Although changes have taken place, cultural institutions continue to be cautious about what they collect and exhibit, with shunga largely remaining a prohibited subject in Japan. Since the 1970s there has been a gradual increase in the acceptance of shunga outside Japan, as evidenced in the growing number of exhibitions and publications. The initial impetus behind this thesis was: Why and how did shunga become increasingly acceptable in Europe and North America in the twentieth century, whilst conversely becoming unacceptable in post-Edo Japan? I discuss how and why attitudes to shunga in the UK and Japan have changed from the Edo period to the present day, and consider how definitions can affect this. My research examines how shunga has been dealt with in relation to private and institutional collecting and exhibitions. In order to gauge modern responses, the 2013 Shunga: Sex and Pleasure in Japanese Art exhibition at the British Museum is used as an in-depth study – utilising mixed methods and an interdisciplinary approach to analyse curatorial and legal decisions, as well as visitor feedback. To-date there are no official or standardised guidelines for the acquisition, cataloguing, or display of sexually explicit artefacts. It is intended that institutions will benefit from my analysis of the changing perceptions of shunga and of previous shunga collections and exhibitions when dealing with shunga or other sexually explicit items in the future.

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Sarlandie, de La Robertie Catherine. "Wang Shuhe et le "classique du pouls"." Paris, INALCO, 1991. http://www.theses.fr/1991INAL0006.

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Pan, Shuyue [Verfasser]. "A control algorithm for adaptive cruise control systems / Shuyue Pan." Aachen : Shaker, 2015. http://d-nb.info/1070151890/34.

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Shukla, Aditi [Verfasser]. "Analysis of overlapping reading frames in viral genomes / Aditi Shukla." Lübeck : Zentrale Hochschulbibliothek Lübeck, 2016. http://d-nb.info/1103156020/34.

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Fan, Shuxia [Verfasser], and Steffen [Akademischer Betreuer] Massberg. "Calcium signaling in platelet migration / Shuxia Fan ; Betreuer: Steffen Massberg." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2018. http://d-nb.info/1230754474/34.

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Shuka, Romeo [Verfasser]. "Parallele adaptive Schwarmsuche für Blackbox-Probleme / Romeo Shuka." Hannover : Gottfried Wilhelm Leibniz Universität Hannover, 2019. http://d-nb.info/1197227539/34.

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Books on the topic "Shuhua"

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Ling Shuhua wen cui. Beijing Shi: Wen hua yi shu chu ban she, 2002.

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Taofen shu hua: Taofen shuhua. Shanghai: Xue lin chu ban she, 2000.

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Liu Shuhua hua zhu ji. Suzhou: Gu wu xuan chu ban she, 1998.

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Ling Shuhua jing dian zuo pin. Beijing Shi: Dang dai shi jie chu ban she, 2004.

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Xiu yun tian cheng Ling Shuhua. Beijing: Zuo jia chu ban she, 2008.

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Xiaozheng, Zhu, ed. Ling Shuhua san wen xuan ji. Tianjin Shi: Bai hua wen yi chu ban she, 1986.

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Song Shuhua ping zhuan: SongShuhua pingzhuan. Beijing Shi: Min zhu chu ban she, 2009.

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Ling Shuhua: Gu yun jing hun. Zhengzhou Shi: Da xiang chu ban she, 2004.

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Ling Shuhua jing dian zuo pin. Beijing Shi: Dang dai shi jie chu ban she, 2004.

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Guangming, Fu, ed. Gu yun: Ling Shuhua de wen yu hua. Jinan: Shandong hua bao chu ban she, 2003.

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Book chapters on the topic "Shuhua"

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Vieira-Souza, Priscila, and Andréia Coutinho Louback. "Shukura." In The Routledge Handbook of Religion and Journalism, 214–31. Abingdon, Oxon; New York: Routledge, 2021. | Series: Routledge handbooks in religion: Routledge, 2020. http://dx.doi.org/10.4324/9780203731420-19.

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Libbrecht, Ulrich. "Shushu Jiuzhang." In Encyclopaedia of the History of Science, Technology, and Medicine in Non-Western Cultures, 3989–90. Dordrecht: Springer Netherlands, 2016. http://dx.doi.org/10.1007/978-94-007-7747-7_9452.

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Trauzettel, Rolf, and Thomas Zimmer. "Shuihu zhuan." In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_21923-1.

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Bertschinger, Richard. "Tongren Zhenjiu Shuxue Tujing." In Encyclopaedia of the History of Science, Technology, and Medicine in Non-Western Cultures, 4292–93. Dordrecht: Springer Netherlands, 2016. http://dx.doi.org/10.1007/978-94-007-7747-7_9067.

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Wang, Yunhong. "Introduction." In English Translations of Shuihu Zhuan, 1–13. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-4518-4_1.

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Wang, Yunhong. "Motifs and Themes as Constructed in the Three Translations." In English Translations of Shuihu Zhuan, 165–98. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-4518-4_7.

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Wang, Yunhong. "Theoretical Framework and Research Model." In English Translations of Shuihu Zhuan, 15–33. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-4518-4_2.

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Wang, Yunhong. "Preliminaries." In English Translations of Shuihu Zhuan, 35–50. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-4518-4_3.

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Wang, Yunhong. "Narration and Voice." In English Translations of Shuihu Zhuan, 51–81. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-4518-4_4.

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Wang, Yunhong. "Commentary in Translation." In English Translations of Shuihu Zhuan, 83–124. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-4518-4_5.

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Conference papers on the topic "Shuhua"

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Shukla, Umesh. "Umesh Shukla." In the 29th International Conference. New York, New York, USA: ACM Press, 2002. http://dx.doi.org/10.1145/2931127.2931193.

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Tiles, Mary, and Brian Bruya. "Shuhai Wenyuan interactive internet worktable." In the second ACM/IEEE-CS joint conference. New York, New York, USA: ACM Press, 2002. http://dx.doi.org/10.1145/544220.544358.

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Wang, Zeke, Hongjing Huang, Jie Zhang, and Gustavo Alonso. "Shuhai: Benchmarking High Bandwidth Memory On FPGAS." In 2020 IEEE 28th Annual International Symposium on Field-Programmable Custom Computing Machines (FCCM). IEEE, 2020. http://dx.doi.org/10.1109/fccm48280.2020.00024.

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Wright, B. K., and R. V. Hawkes. "Case Study Production Optimization Shunda Rundle B Pool." In Low Permeability Reservoirs Symposium. Society of Petroleum Engineers, 1989. http://dx.doi.org/10.2118/18965-ms.

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Shao, Yan, and Ping Han. "Appropriate Volume on the SHUMA Roundabout." In Fifth International Conference on Transportation Engineering. Reston, VA: American Society of Civil Engineers, 2015. http://dx.doi.org/10.1061/9780784479384.173.

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"Issledovanie deformatsionnykh kharakteristikh razlomnoy zony s pomoshchyu mikroseysmicheskogo shuma." In Perspektivnye materialy s ierarkhicheskoy strukturoy dlya novykh tekhnologiy i nadezhnykh konstruktsiy, Khimiya nefti i gaza. Tomsk State University, 2018. http://dx.doi.org/10.17223/9785946217408/351.

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Ariff Abd Ghadas, Zuhairah, Hartinie Abd Aziz, and Nazri Ramli. "Promoting Shariah Governance in Corporation: Special Reference to Shura." In International Conference on Ethics in Governance (ICONEG 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/iconeg-16.2017.48.

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Eisenstadt, Marc. "Does Elearning Have To Be So Awful? (Time to Mashup or Shutup)." In Seventh IEEE International Conference on Advanced Learning Technologies (ICALT 2007). IEEE, 2007. http://dx.doi.org/10.1109/icalt.2007.128.

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Wang, Zhenyang, Zhiwei Cheng, Hongcheng Huang, and Jiaxin Zhao. "ShuDA-RFBNet for Real-time Multi-task Traffic Scene Perception." In 2019 Chinese Automation Congress (CAC). IEEE, 2019. http://dx.doi.org/10.1109/cac48633.2019.8997236.

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Bolewski, Christin. "Shan-Shui-Shua (mountain-water painting)." In ACM SIGGRAPH ASIA 2008 artgallery: emerging technologies. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1504229.1504233.

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