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1
Chen, Xi. "When the classic speaks for children." APTIF 9 - Reality vs. Illusion 66, no. 4-5 (October 5, 2020): 780–95. http://dx.doi.org/10.1075/babel.00175.che.
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Abstract Bob Dylan has significantly influenced American song tradition and popular music for more than five decades. As his songs are famous for the creative poetic expressions, they are not merely song lyrics, but also can be regarded as lyric poems. This paper aims to investigate the retranslation of Bob Dylan’s songs in bilingual picture books to explore how his classic musical works are repackaged both verbally and visually for contemporary children. The data for analysis are selected from two bilingual picture books on Dylan’s songs published in China in 2018. Firstly, it conducts a detailed textual analysis of the English and Chinese song lyrics to analyze the appropriate translation strategies and methods for song translation. Secondly, based on visual narratives (Painter, Martin and Unsworth 2013), it analyzes the intersemiotic relations between texts and images in picture books to discuss how the emotions and narratives in Dylan’s songs are visually represented.
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Snow, Don, Zhou Xiayun, and Shen Senyao. "A short history of written Wu, Part I." Global Chinese 4, no. 1 (March 26, 2018): 143–66. http://dx.doi.org/10.1515/glochi-2018-0007.
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AbstractIn two articles published in the 1920s, Hu Shi argued that China’s vernacular literature movement should encompass not only literature written in Mandarin but also other regional languages in China, and suggested that Wu, particularly Suzhounese, was the regional language most likely to achieve what he described as “independence” (独立) as a literary language. Beginning in the late Ming dynasty with Feng Menglong’s Mountain Songs collection, this study traces the literary journey of Suzhounese as used in various types of written texts such as Kun opera scripts,tancinovels, fiction, and Wu song texts into the early 20th century. This study argues that while written Suzhounese never achieved full independence as a literary language, and could now be said to have gone into decline, its more than 300-year history deserves more attention than it normally receives in histories of the Chinese literary tradition. This is not only because of the scale of its use and its degree of social influence, but also because the memory of this substantial literary tradition lives on and gives greater legitimacy to use of written Wu – particularly Shanghainese – in contemporary print culture in China.
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Liu, Chen, and Rong Yang. "Consuming popular songs online: Phoenix Legend’s audiences and Douban Music." cultural geographies 24, no. 2 (January 3, 2017): 295–310. http://dx.doi.org/10.1177/1474474016684125.
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This article explores the creative consumption of popular music and explains how audiences involve their place-based emotions within their representations of popular music in an everyday setting, drawing on a qualitative study on people’s interpretations of Phoenix Legend (a popular music duo in mainland China) and its music. We collected the texts created by Phoenix Legend’s audiences from Douban Music ( http://music.douban.com/ ), a Chinese online music forum. Our analysis focuses on how fans, non-fans and anti-fans interpret and re-write the meanings of Phoenix Legend and its songs emotionally and how these interpretations shape and are shaped by these audiences’ senses of self and place. The key finding of this article argues that through the consumer-to-consumer network provided by social media (Douban Music), the rural–urban division, ethnic cultures and the role of Chinese nationalism in the global marketplace are generated by audiences’ creative writings and their interactions with other consumers. Moreover, we suggest that anti-fans’ and non-fans’ emotional engagement within music consumption and their interactions should be paid more attentions to.
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Xiao-bing, Zhao, and Zhao Wenqing. "About the Chinese Book “The Book of Poetry”." Humanitarian Vector 16, no. 1 (February 2021): 25–34. http://dx.doi.org/10.21209/1996-7853-2021-16-1-25-34.
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“The Shi Jing’’(‘‘The Book of Poetry”） is one of the first poems in the world, including Chinese poems, from the 11th century BC to the 6th century BC. During this period, about 3 000 verses appeared, of which 305 poems were selected by Confucius. Poetic texts in “The Shi Jing’are divided into three categories: regional songs, odes, hymns. The composition of the poems uses such techniques as Fu, Bi and Xing. These poems constitute the creative source (source) of Chinese poetry. “Fu”，“Bi” and “Xing” are important artistic features of “The Shi Jing”. “Fu”” - direct narration, parallelism. “Bi” is a metaphor, comparison. “Sin” means “stimulation”， it first speaks about others, then about what the poet wants to express. Fu and Bi are the most basic techniques of expression, and Xing is a relatively unique technique in “The Shi Jing”， even in Chinese poetry in general. “The Shi Jing” is an excellent starting point for Chinese literature, which has already reached a very high artistic level from the very beginning. "The Shi Jing” affects almost all aspects of the early social life of ancient China, such as sacrifice, banquet, labor, war, love, marriage, corvee, animals, plants, oppression and resistance, manners and customs, even astronomical phenomena, etc. It became historical value for the study of that society. The overwhelming majority of the poems in “The Shi Jing”reflect the reality, everyday life and everyday experience. There is almost no illusory and supernatural mythical world in it. As the first collection of poetry in China, “The Shi Jing” laid the foundation for the lyrical and realistic tradition of Chinese literature. “The Shi Jing” also has a huge impact on the genre structure and linguistic art of Chinese literature, etc., which is a role model for writers of later generations. “The Shi Jing”has already been translated into the languages of the countries of the world. “The Shi Jing”has been influencing Chinese poetics; it has become the source of the classical realistic tradition and literature in China. Lively description is essential for historical, anthropological and sociological research. We expect that as the cultural ties between China and Russia deepen, as well as the popularization and spread of Chinese-Russian translations, more and more Russian people will read “The Shi Jing”， study “The Shi Jing”， the Russian translation of “The Shi Jing” will improve and play its role as the original classic of Chinese literature. “The Shi Jing”is a book that cannot be read or translated forever. Keywords: “The Shi Jing” （“The Book of Poetry” )， regional songs, odes, hymns, artistic features, Chinese unique cultural value
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Yuda, Yang, and Nanny Kim. "Texts and Technologies in Chinese Silver Metallurgy, Twelfth to Nineteenth Centuries." East Asian Science, Technology, and Medicine 49, no. 1 (June 25, 2019): 9–82. http://dx.doi.org/10.1163/26669323-04901003.
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The silver metallurgy of late imperial China has rarely been the subject of specific studies because silver exploitation has long been considered of minor importance and traditional sources are scarce. This article is an attempt at filling the research gap of the period from the Song to the late Qing. With a focus on the silver mines of the Southwest and the adjoining borderlands and employing an approach that combines textual analysis with the study of remains and oral histories, it presents a systematic discussion of process steps and traces technological transformations.
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Wang, Xingrong, and Lei Zhang. "A comparative study of interpersonal meanings of traditional hymns and contemporary Christian songs in China." Text & Talk 39, no. 6 (November 26, 2019): 775–96. http://dx.doi.org/10.1515/text-2019-0240.
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Abstract Contemporary Christian songs (CCSs) are gaining more favor in Chinese churches than traditional hymns (THs) nowadays; however, many scholars have criticized the intimate relationship established with God in CCSs from the perspective of theology. This study aims to explore whether the God-human relationship built in THs and CCSs has experienced a change by carrying out a comparative analysis of their respective constructed interpersonal meanings. Combining Halliday’s framework with judgment in Martin and White’s Appraisal system, this study compares 100 CCSs and THs from the aspects of modality, judgment, mood and projected roles with the help of UAM Corpus Tool 3.0., with some changes of the original categories of judgment system due to the specific nature of the judged subject in the data. The semantic analyses show that the God-human relationship constructed in hymns has changed, with the encompassing view of God narrowed to one focused on love, the sinful nature of humans replaced by their incapability, and the assurance in and reverence to God outweighed by closeness and intimacy with Him. Some cultural realities and the situation of the church are referred to as a way of explaining this change.
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Yang, Fuyin. "“Passatempi musicali” by GuillaumeLouis Cottrau as the way Neapolitan song actualization in 19th century music." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 268–84. http://dx.doi.org/10.34064/khnum2-19.15.
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Background. In 19th century European music has been enriched by national phenomena, such as Polish mazurka, Austrian waltz, Hungarian czardas, which went into the academic genres system, expanded the boundaries of its intonational fund and audience perceptions. The Neapolitan song participated in this process. It was a real discovery for music lovers in different countries. Canzone Napoletana conquered the music salons area in France, from where it spread in all the Europe, and was reflected in the work of many composers. This genre phenomenon is not fully unraveled, probably due to the distortion of the ingrained ideas about it. This theme is mainly reflected in the publications of Italian experts in the second half of the 20 century D. Carpitella, E. De Martino, R. De Simone, and in the 21 century R. Di Mauro (2013). Interest in this genre intensified in the musical science of China also. This is due to the extraordinary melody of Neapolitan songs, which is consonant with Chinese samples. Chinese singers increasingly include the popular canzone Napoletana in their repertoire. In the musical science of China, this topic has been developed since the last decades of the 20th century in the studies of Song Jing (1985), Wu Shikai (1997), Pei Yisi (2011), Liu Shanshan (2007), Fang Yahong (2011), Chang Jinge (2018). However, many scientific works are of the same type, which is caused by the lack of direct access to the study of musical, poetic, bibliographic material. In the same time, the 19th century deserves attention as a period of the rapid spread of Neapolitan folk songs in the musical art of Europe. The outstanding role in these processes belongs to the representatives of the creative dynasty – Teodoro Cottrau (1827–1879), the author of the famous “Santa Lucia”, and his father Guillaume-Louis Cottrau (1797–1847). Given the current lack of knowledge on this topic, as the research goal of this article, we consider it necessary to get acquainted with the creative figure of G.-L. Cottrau, which contributed to the spread of Neapolitan folk songs in the European music of the 19th century. For the first time in the musical science of Ukraine and China, the collection of Neapolitan songs “Passatempi musicali” / “Musical entertainments” is used as an object of research compiled by G.-L. Cottrau, as well as selected fragments of operatic works by G. Paisiello and D. Cimarosa. In this work, the historicalcomparative and biographical research methods are used, as well as generally accepted models of musicological and performing analysis of music. Results. When studying the Canzone Napoletana, the research problem lies in the difficulties of reconstructing song samples of the 16th–19th centuries. It is necessary to restore their exact chronology, authorship, conduct a comparative analysis of numerous editions, and comprehend the processes of historical evolution. This situation is known to most ethnological scholars, who are actually engaged in musical archeology and bring back almost lost samples of the past from oblivion. Thanks to the processes of national self-determination that swept Italy in the second half of the 20th century, a decisive breakthrough was made in ethnomusicology in the study of the musical and poetic heritage of the Neapolitan region. This is a strong help for any researcher dealing with this topic. The composer and music publisher Guillaume-Louis Cottrau belonged to a famous surname in France. Hisfather served Joachim-Napoléon Murat, Napoleon Bonaparte’s son-in-law. As a child, he ended up in Italy, in Naples, forever falling in love with this land and its culture. Subsequently, Guillaume-Louis adopted Neapolitan citizenship. Being engaged in the affairs of the music publishing house and composing, Guillaume-Louis made up and published in 1824 a collection of Neapolitan songs “Passatempi musicali” / “Musical entertainments”. This includes 104 Canzone Napoletana. Afterwards, the number of songs in different issues was increasing slightly (up to 113), the authorship of some fragments was clarifying, but the main block of tunes remained unchanged. This collection gained immense popularity in the music salons of France. It has been reprinted several times. According to R. di Mauro (2013), about sixty of the 104 songs in the first edition were written by G.-L. Cottrau, the rest are the result of processing of folk originals or songs by other authors. The essence of the undertaken arrangement consisted not only in recording musical and poetic texts (often in several versions), not only in creating a piano accompaniment part in the style of salon music-making. The composer personally collected these cantos and lyrics to them, communicating with servants, peasants, merchants, artisans, direct bearers of the oral musical tradition from different parts of the Neapolitan region. It includes old peasant songs, epic ballads, fragments from operas by G. Paisiello, D. Cimarosa, and other composers of the 18th century, which became truly people’s. This article compares the composer and folk versions of the Serenade of Pulcinella by Paisiello and Cimarosa, which were included in the first edition of the collection under the folk guise. Conclusions. The publication of the Neapolitan songs collection “Passatempi musicali” by G.-L. Cottrau played the role of actualizing this song genre in the musical space of the Romantic era. Its popularization outside Italy, repeated reprints made it possible to “legalize” the song South Italian folklore in the European musical space.
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Vaseková, Veronika. "Analýza orientalizmu v Bowieho skladbe „China Girl“ / Analysis of Orientalism in David Bowie’s Song “China Girl”." Kulturní studia 2020, no. 2 (November 1, 2020): 47–59. http://dx.doi.org/10.7160/ks.2020.150203.
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Among other areas, Orientalism is widespread in pop music. The aim of this essay is to analyze Chinese Orientalism in the song and video “China Girl” by British singer David Bowie. Bowie is known for his interest in Asian cultures, signified most notably by the influence of Japanese style on Bowie’s musical performances, among other examples. The song “China Girl” initiated a passionate discussion about racist motives in the video clip; although Bowie is known for his opposition to racism, and the intended purpose of the video was to criticize racism, it is clear from the public and professional discussion that this intention may have failed. Displaying racist motives without a proper commentary is always problematic. Although Bowie’s song “China Girl” is often mentioned in academic texts as an example of Orientalism, its detailed analysis has not yet been processed. In my analysis, I will focus on the ornamental and content Orientalism of the video clip. I will also consider the extent to which Orientalism can be dangerous if individual stereotypes are described without a proper context.
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Huang, Philip C. C. "The Monograph Tradition and Chinese Scholarship: Beginning with the “Best Young Scholar’s Monograph Prize in the Social Sciences of Practice”." Rural China 16, no. 2 (October 7, 2019): 334–44. http://dx.doi.org/10.1163/22136746-01602007.
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This article first explains why our “Best Young Scholar’s Monograph Prize in the Social Sciences of Practice” selection committee has chosen the three books International Law and Late Qing China: Texts, Events, and Politics, Rural Development in Contemporary China: Micro Case Examples and Macro Changes, and Urbanizing Children: Identity Production and Political Socialization of Peasant-Worker Sons and Daughters for the award, and then goes on to discuss how monograph production is faced with deeply contradictory forces in the scholarly environment of China today when compared with the American scholarly environment, to explain the purpose of the prize.
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Arsenio Nicolas, Zhang Jian,. "Zhuang Opera --- A study of Chinese Minority Arts in Guangxi Province, China." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 6 (April 5, 2021): 2900–2912. http://dx.doi.org/10.17762/turcomat.v12i6.5799.
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This article is a study of Zhuang Opera in the Guangxi Province in China. There are three general genres of Zhuang Opera, the analysis of selected musical pieces of these four types focuses on the music structure of Pingban melody, and the rhyme of the song texts --- Yaojiaoyun. This study is a pioneering work on the Zhuang Opera's musical form as there is currently no published work on the music of the opera and its association with related music categories. Except for very few research collections on national opera, most studies mainly focus on the history, literature, and folklore of traditional Zhuang Opera. In general, this study utilized new research methodologies producing different results from previous research, while at the same time, confirming earlier studies on the music and performance styles of the opera.
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Kirkpatrick, Andy. "Medieval Chinese rules of writing and their relevance today." Australian Review of Applied Linguistics 27, no. 1 (January 1, 2004): 1–14. http://dx.doi.org/10.1075/aral.27.1.01kir.
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Abstract Chen Kui was a scholar-official of the Southern Song dynasty. He published the Wen Ze (here translated as The Rules of Writing) in 1170. This book is commonly described by Chinese scholars as China’s first systematic account of Chinese rhetoric. The book comprises ten chapters, covering aspects of rhetoric and composition, including the use of rhetorical devices, the functions and methods of citation, and the importance of using everyday language. Despite its acknowledged importance by Chinese scholars, The Rules of Writing’ remains comparatively unknown, even within China. This article will focus on three topics discussed by Chen Kui that I hope will be of interest to applied linguists and to teachers of academic writing, especially those involved in the teaching of academic discourse to international students of Chinese background. The three topics are: the appropriate use of language; the sequencing of argument when writing discursive texts; and the methods and uses of citation. It will be argued that writing styles are a product of the age in which they develop, and that these styles change significantly over time, no matter in which culture they may be set. Principles of Chinese rhetoric as discussed here have their counterparts in other rhetorics. They are not uniquely Chinese.
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Kaziev, Eduard V. "Materials of the Chinese official chronicles of the imperial dynasties Song and Yuan on the time of the massacre of the Alan warriors during the Mongol conquest of Southern China." Vestnik of North-Ossetian State University, no. 4(2020) (December 25, 2020): 31–38. http://dx.doi.org/10.29025/1994-7720-2020-4-31-38.
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Based on the information presented in the official chronicles of the Chinese imperial dynasties Song and Yuan, the author discusses the issue of the time of the massacre of the Alan warriors in Mongol service, that occurred during their occupation of the southern Chinese city of Zhenchao. The study of this issue seems relevant, since the information of the mentioned Chinese official chronicles, in the same way conveying the general plot of this event, diverges in the designation of its time, attributing it to different reign years of the first emperor of the Yuan dynasty Kublai (Shi-zu) and to one of the years of the sixteenth emperor of the Song Dynasty Zhao Xian (Gong of Song). The materials for the study were the original texts of the official “History of Song [Dynasty]” and the “History of Yuan [Dynasty]” as well as some other Chinese written sources. The study introduces new information from sources about this event, which have not previously been translated into Russian. A brief historiographic review of this issue is given. The purpose of the study is to definite the time of the massacre of Alan warriors in Southern China. In the course of the study the inductive method, the method of comparative historical analysis, systemic chronological and retrospective analytical methods were applied. It was found that the information about the time of the event in question contained in various sections of the “History of the Yuan [Dynasty]” is erroneous, while the similar information about the time of the event in question contained in the “History of Song [Dynasty]” is correct, as it was indicated by P. Pelliot. The translation of the latter information into the modern chronology system allows to determine the time of this historical episode on April 28, 1275.
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Kaziev, Eduard V. "Materials of the Chinese official chronicles of the imperial dynasties Song and Yuan on the time of the massacre of the Alan warriors during the Mongol conquest of Southern China." Vestnik of North-Ossetian State University, no. 4(2020) (December 25, 2020): 31–38. http://dx.doi.org/10.29025/1994-7720-2020-4-31-38.
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Based on the information presented in the official chronicles of the Chinese imperial dynasties Song and Yuan, the author discusses the issue of the time of the massacre of the Alan warriors in Mongol service, that occurred during their occupation of the southern Chinese city of Zhenchao. The study of this issue seems relevant, since the information of the mentioned Chinese official chronicles, in the same way conveying the general plot of this event, diverges in the designation of its time, attributing it to different reign years of the first emperor of the Yuan dynasty Kublai (Shi-zu) and to one of the years of the sixteenth emperor of the Song Dynasty Zhao Xian (Gong of Song). The materials for the study were the original texts of the official “History of Song [Dynasty]” and the “History of Yuan [Dynasty]” as well as some other Chinese written sources. The study introduces new information from sources about this event, which have not previously been translated into Russian. A brief historiographic review of this issue is given. The purpose of the study is to definite the time of the massacre of Alan warriors in Southern China. In the course of the study the inductive method, the method of comparative historical analysis, systemic chronological and retrospective analytical methods were applied. It was found that the information about the time of the event in question contained in various sections of the “History of the Yuan [Dynasty]” is erroneous, while the similar information about the time of the event in question contained in the “History of Song [Dynasty]” is correct, as it was indicated by P. Pelliot. The translation of the latter information into the modern chronology system allows to determine the time of this historical episode on April 28, 1275.
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Zou, Yejun. "Female Solidarity as Hope: A Re-Examination of Socialist Feminism in the Literary Works of Ding Ling and Christa Wolf." British Journal of Chinese Studies 9, no. 1 (April 4, 2019): 85–116. http://dx.doi.org/10.51661/bjocs.v9i1.27.
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Recent scholarship has questioned the validity of Western feminism as a model for feminist movements in contemporary China and highlights a gap in the scholarly understanding of the tradition and trajectory of socialist feminism in China (Song, 2012; Wang, 2017). In this article, I will examine the practicality of socialist feminism as an alternative model for contemporary Chinese feminism by comparing the depiction of women in the literary works of the Chinese writer Ding Ling and the East German author Christa Wolf. In Ding Ling’s novel In the Hospital, she strives for gender equality via collaborative work between men and women, while incorporating this feminist task into the agenda of socialist revolution. Christa Wolf’s novel The Quest for Christa T., in contrast, explores female friendship as a means of overcoming stagnation and cynicism in the GDR. I ask how both authors articulate their concerns and criticism of inadequate gender practices in socialist states through the lens of women’s perspectives. This article thereby offers an insight into the way their writings negotiate women’s concern with the official narrative of life in socialist states and the extent to which these texts illuminate alternative Chinese feminist approaches in a contemporary context.
At time of publication, the journal operated under the old name. When quoting please refer to the citation on the left using British Journal of Chinese Studies. The pdf of the article still reflects the old journal name; issue number and page range are consistent.
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Chemla, Karine. "Numerical Tables in Chinese Writings Devoted to Mathematics: From Early Imperial Manuscripts to Printed Song-Yuan Books." East Asian Science, Technology, and Medicine 44, no. 1 (June 25, 2016): 69–122. http://dx.doi.org/10.1163/26669323-04401005.
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This article establishes that the discursive parts of the earliest known mathematical manuscripts in Chinese were composed of (at least) two types of elements, marked by two types of texts. The manuscripts alternate continuous text, and text for numerical tables (what I call table-relations). I show that in these manuscripts, the latter were written down as ‘textual tables,’ and that two basic types of style were used for these textual tables. By contrast, tabular layouts have been used for a Qin period object and a Dunhuang manuscript carrying numerical tables. I suggest that these artifacts should be interpreted as computing tools. I further argue that, at least from the eleventh century onwards, diagrammatic tables were introduced into mathematical writings. They were used to write down new types of numerical tables. Diagrammatic features of such texts, like horizontal, vertical and oblique lines, played a key part in the reading, interpretation and use of these table-relations. In this sense, they can be compared with the Qin computing tool. I conclude that the fact that in Song-Yuan times these diagrammatic tables are referred to as ‘diagram tu 圖’ curiously echoes with the history of visual tools attested to in relation to mathematical activity in China.
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Wang (王頌), Song. "The Prevalence of Huayan-Chan 華嚴禪 Buddhism in the Regions of Northern China during the 11th Century." Journal of Chan Buddhism 1, no. 1-2 (December 22, 2020): 146–77. http://dx.doi.org/10.1163/25897179-12340005.
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Abstract In the 11th century, the dissemination of Buddhism in the territories of Northern Song 北宋 dynasty (960–1127) China, Khitan 契丹 Liao 遼 (907/916–1125), and Xixia 西夏 (Tangut 党項, 1038–1227) kingdoms each reached a peak. What united the learned peoples of these three kingdoms in terms of religious and intellectual development was the comparatively widespread study and adoption of the teachings of Huayan Buddhism, or studies of and commentaries to the translations of the Avataṃsaka-sūtra into Chinese in 60-, 80-, and 40-rolls (Huayan jing 華嚴經, esp. T nos. 278, 279, 293). In this article I address some of my earlier research concerning two treatises composed by Bensong 本嵩 (active ca. 1083–1085), the Huayan guan tongxuan ji 華嚴觀通玄記 (Record of the Profundities of Total Meditative Insight [or Contemplation] of the Gaṇḍavyūha chapter of the Avataṃsaka-sūtra Flower Garland Sūtra) and Fajie guan sanshimen song 法界觀三十門頌 (Verses Praising the Thirty Contemplative Approaches or Gates presented in the Gaṇḍavyūha Chapter on Entry into the Realm of Reality), among other examples from the period, to illustrate how these Huayan teachings were actually the product of Huayan and Chan Buddhist ideological frameworks, which fruitfully can be called Huayan-Chan. In order to demonstrate why the rubric ‘Huayan-Chan’ can be productive, I examine a range of commentarial Buddhist texts in Chinese to show who the patriarchs of Huayan-Chan were considered to be during the 11th century across the ethnically and linguistically diverse region of Northern China, and bring to the fore what some of these key teachings were. My main goal is to present the specific circumstances within which Huayan-Chan developed within the three kingdoms of Northern Song China, the Khitan Liao, and the Tangut Xixia.
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Kim, Aeyoung. "A study of character forms and uses in Chanmen niansong ji 禅门拈颂集." Journal of Chinese Writing Systems 3, no. 2 (March 23, 2019): 87–100. http://dx.doi.org/10.1177/2513850219828193.
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This study aims to examine the features of the characters in Chanmen niansong ji 禅门拈颂集, a central text, while paying special attention to the variant Chinese characters (different characters with a similar pronunciation or meaning) it contains. Since Chanmen niansong ji 禅门拈颂集 includes a variety of such characters, it is possible to trace a diversity of changes in character forms from Lishu 隶书 to Kaishu 楷书. For this purpose, this study will classify variant Chinese characters in Chanmen niansong ji 禅门拈颂集 using two different classification standards, namely the structure of these characters and the method of generating them. Both versions of Chanmen niansong ji 禅门拈颂集, the variant Chinese character version and the conventional version include wuzi 误字 (wrong character), yanzi 衍字 (meaninglessly added characters), and tongjiazi 通假字 (loan character). It was found that there were some differences in the form and structure of characters in the two versions of the text. It is expected that the results of this investigation will contribute to the hermeneutic reconstruction of Chanmen niansong ji 禅门拈颂集. It seems clear that Chanmen niansong ji 禅门拈颂集 was published during the Song 宋 Dynasty in China, that is, the early Gaoli 高丽 Dynasty, a period when Tripitaka Koreana was also engraved in Gaoli 高丽. Through a basic analysis, several differences between Chanmen niansong ji 禅门拈颂集, the conventional version, and the variant Chinese character version were found, in terms of the form of their variant Chinese characters. Future research will compare the forms of the variant characters in these two texts, focusing on the pattern of character forms in the Song 宋 Dynasty in China, which is the counterpart of the Gaoli 高丽 Dynasty in Korea. This will help produce more abundant data related to character form.
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Almonte, Victoria. "Identifying the Country of Meilugudun and the Significant Value of Zhou Qufei’s Lingwai daida." Ming Qing Yanjiu 21, no. 1 (February 13, 2017): 1–43. http://dx.doi.org/10.1163/24684791-12340012.
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Abstract During the last century, considerable interest arose regarding Chinese knowledge of western territories, with a long list of works being published on the topic. Joseph Needham’s Science and Civilisation in China (1959) states that Arab thinking had clearly influenced the Chinese conception of geography over the centuries. Zhang Xinglang analyses the relationship between the Chinese empire and countries overseas, focusing on Islamic countries and particularly those in the north of Africa. Feng Chengjun’s western territories toponyms and Gudai nanhai diming huishi have provided two powerful and even fundamental tools for the research presented here. The first gathers together a large collection of toponyms from various literary works; these are written in western language with their relative transcription or translation in Chinese. The second, the Gudai nanhai diming huishi, is divided in two volumes analysing many Chinese toponyms and their use in several geographical works. Li Qingxin’s Haishang Sichou zhilu, focuses on the development of the Maritime Silk Road and its economic-political consequences for China’s empire. Gabriele Foccardi’s research focuses instead on the motives for Chinese travellers and their expeditions, highlighting the historical and social differences between the different dynasties. Friedrich Hirth and William Rockhill provide a crucial literary resource with their translation of Zhao Rukuo’s work, Zhufanzhi (1966), as does J.V.G. Mills with his annotated translation of Ma Huan’s Yingya shenglan, a journey work of the fifteenth century. Yang Wuquan’s research into Zhou Qufei’s work, published in 1999, identifies several toponyms used by Zhou and compares several foreign geographical works. Zhou Qufei and Zhao Rukuo were both imperial officials during the Southern Song dynasty. They spent many years in the border territories of China: Zhou Qufei in Qinzhou, Guangxi province, and Zhao Rukuo in Quanzhou, Fujian province. Their works mention several toponyms never used before in Chinese texts: ‘Meilugudun’, or ‘Meilugu’ (as written by Zhao Rukuo), is one of these. The identification of this toponym has not been determined until now. Therefore, the aim of this paper is to determine which kingdom was identified with the ‘Meilugudun’ toponym during the Song Dynasty. Two different questions are here discussed and resolved. First, can the land of Meilugudun be identified with the city of Merv in Turkmenistan? Second, do Zhou’s ‘Meilugudun’ and Zhao’s ‘Meilugu’ both stand for the same place? This paper can be divided into four sections. The first section focuses on Zhou Qufei, the second on Zhao Rukuo. The third analyses and compares previous scholars’ studies. The fourth proposes the new identification of the Meilugudun kingdom.
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Despeux, Catherine, and Penelope Barrett. "Visual Representations of the Body in Chinese Medical and Daoist Texts From the Song to the Qing Period (Tenth to Nineteenth Century)." Asian Medicine 1, no. 1 (January 16, 2005): 10–52. http://dx.doi.org/10.1163/157342105777996827.
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This article is a preliminary survey of representations of the body produced in China from the Song to the Qjng period in the context of medicine, forensic medicine and Daoism. Despite much common theoretical background, bodily representation in each of these fields differs in function and intent. Each field came to be associated with a particular aspect of the body. For medicine, this was the description of the viscera and the channels and tracts through which qi and humours flowed; for forensic medicine, it was the description of the skeleton; for Daoism, it was the symbolic description of the body as the spatio-temporal locus of a system of mutations and correspondences with the outside world and the spirit world.These representations fall into three categories, reflecting three different approaches to the body: images of the whole body approached from without, including gymnastic postures, locations on the body, somatic measurements, channels and tracts; images of the inside of the body, i.e. the internal organs and the skeleton (which raises issues regarding dissection); and images of the symbolic body, i.e. alchemical processes within the body and the true form of the allegorical body. The images, which are always accompanied by text, require to be read according to specific cultural codes, and reveal particular mental constructions of the body. They perform multiple functions, serving as proof of knowledge, teaching material, medium of transmission, memory aid, or graphic presentation of a text; and for the Daoists, manifesting the form of the true body.
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Tsang, Gabriel F. Y. "Masculine Performance in Hong Kong Crime Films from Post-Bruce to the 2000s." Asian Journal of Humanity, Art and Literature 4, no. 2 (December 31, 2017): 73–82. http://dx.doi.org/10.18034/ajhal.v4i2.319.
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Masculinity, in Lacan’s sense, is an imagination. To specifically theorise Chinese masculinity, Kam Louie examined the elements of wen (cultural attainment) and wu (martial valour) rendered through historical or artistic images, and Song Geng and Derek Hird guide the discussions about Chinese manhood represented in everyday life. With a Marxist perspective, Lo Kwai Cheung illustrated the dissolvability of Chinese masculinity under international capitalism. With reference to Aristotle, it is supposed that Chinese masculinity, similar to ‘tragicity’ in nature, can be represented through imitating actions and hence be perceived. Based on Aristotle’s understanding, we can regard actions as ‘iterable’ media (like Derrida’s understanding of written texts) which engender performances according to the genealogy of quantitative mimesis.
Integrating theoretical discussions with a chronological approach, my full paper will go through following points in order to summarise the changes in Hong Kong crime films from the post-Bruce Lee era to the 2000s: (1) Hong Kong crime film inherited the martial side of masculinity from action films and became a popular genre since A Better Tomorrow was well received in the mid-1980s. (2) Many directors diversified the interpretation of crime in the late 1980s and the 1990s, but remained a focus on the strength, nimbleness and boldness of men. (3) After the decline of Hong Kong film industry for several years, Infernal Affairs’s success renewed the representation of manhood. (4) From the 2000s to now, male characters in crime films are preferably intelligent and wisely-romantic, like the fragile scholar in ancient China. (5) While globalisation seems to be eliminating the Chineseness of Chinese masculinity, I argue that geographical specificity and different speed of cultural development lead to the impossibility of synchronic masculine similarity. (6) Through a brief discussion concerning Hollywood’s adaptation of Hong Kong films, I argue that local masculinity is not transformable.
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de Pee, Christian. "Circulation and flow: Immanent metaphors in the financial debates of Northern Song China (960–1127 CE)." History of Science 56, no. 2 (June 2018): 168–95. http://dx.doi.org/10.1177/0073275317724706.
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The Song Empire (960–1279 CE) had a larger population, a higher agricultural output, a more efficient infrastructure, and a more extensive monetary system than any previous empire in Chinese history. As local jurisdictions during the eleventh century became entangled in empire-wide economic relations and trans-regional commercial litigation, imperial officials sought to reduce the bewildering movement of people, goods, and money to an immanent cosmic pattern. They reasoned that because money and commerce brought to imperial subjects the goods they required to survive, money and commerce must be beneficent, and because they were beneficent, they must conform to the immanent pattern of the moral cosmos, as did everything else that was enduringly sustaining of life and wellbeing. And because money and commerce conformed to the moral cosmos, officials attempted to understand their workings by analogy with other phenomena that sustained human life, such as the flow of water and the circulation of vital essences through the human body. During the 1030s and 1040s, officials and scholars believed that knowledge of the cosmic pattern lay within their grasp, and that this knowledge would allow them to align culture with nature, and the present with hallowed antiquity. By the 1080s, however, this intellectual optimism had been defeated by irreconcilable disagreements about financial and economic policy. The failure of the attempt to understand finance by natural analogy draws attention to the underlying ideological insistence on moral learning as the basis for political power, and to the very limited range of economic discourse that has been preserved in eleventh-century texts.
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Wang, Robin R. "From Female Daoist Rationality to Kundao Practice." Review of Religion and Chinese Society 7, no. 2 (December 4, 2020): 179–98. http://dx.doi.org/10.1163/22143955-00702003.
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Abstract By presenting Cao Wenyi (1039–1119), a female Daoist in the Song dynasty, and Kundao Academy 坤道学院, a training center for female Daoists in contemporary China, this essay challenges Max Weber’s description of Daoism. This analysis criticizes two aspects of Weber’s basic position on Daoism, namely, his claims that it is irrational and egoistical. The essay argues that Weber’s account of “magical and irrational” features in Daoism is due to a deep-seated philosophical framework that fails to appreciate Daoism’s relational rationality, which takes one part in relation to many other parts, as shown in Cao’s work. Weber’s inadequate treatment of Daoism leads him not only to ignore or dismiss the roles of female Daoists in Chinese society but also to describe Daoism as egoistical and lacking in social functions. The investigation of Kundao Academy reveals a living reality in which female Daoists have a deep and immediate commitment and goal to serve the community. The study of past and present female Daoist voices invites us to rethink the very notions of man/male/masculinity and woman/female/femininity and offers a path for investigating relationships between the hegemonic power of social structures and female subjective agency through the interface of classical texts and contemporary contexts.
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Ye, Ye, and Erxin Wang. "Yuan-Ming Sanqu Songs as Communal Texts: Discovering Their Literary Vitality from a New Research Perspective." Journal of Chinese Literature and Culture 8, no. 1 (April 1, 2021): 113–38. http://dx.doi.org/10.1215/23290048-8898648.
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Abstract When examining songs in Chinese literature, we can distinguish among literary, musical, and communal aspects of their circulation. Sanqu songs became popular in the form of musical texts in the Yuan and Ming dynasties, but the ci song lyrics, by the Southern Song dynasty (1127–1279) if not earlier, had already become a form of communal text in a broad sense. While relying on musical and literary aspects in the early stages of circulation, such ci song lyrics also became increasingly meaningful as social artifacts characterized by diverse forms of usage and participation, and they have been widely appreciated as a “literary-cultural phenomenon” unrelated to music per se. Standard histories of Chinese literature typically interpret the interaction between Song dynasty ci song lyrics and Yuan dynasty sanqu songs and song-drama as a natural evolution of literary forms. To be sure, these histories address the vitality of the musicality and popular nature of such songs while also paying attention to the artistic styles, inherent characters, and originality of sanqu song composition (tige xingfen 體格性分). From such an analysis, however, we know very little about the textual forms and mechanisms of transmission of Yuan-Ming sanqu songs beyond the realm of music and songwriters. In this regard, this article explores whether it was possible for the ci song lyrics, as a literary genre of greater maturity and higher status, albeit divorced from music, to transfer its literary experience to sanqu songs. Such a line of inquiry is also relevant to the study of the survival of various forms of Chinese musical literature beyond their original environments. It also helps us think about the complex relationships between the musical and communal functions of ci song lyrics and sanqu songs.
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Zhang, Xiqui. "Interpretive properties of recitation in the vocalist’s performing arts." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 247–60. http://dx.doi.org/10.34064/khnum2-21.16.
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Background. One of the main positions of the vocalist’s practice is to understand the recitation as a kind of interpretation of the musical text, which is fixed in the notes. In the process of performing a piece of music, be it the song, the romance, the recitative, the aria in an opera or a musical drama, one specific variant is selected each time from its many potential meanings. This is the performer’s interpretation of the declamatory intonation, because the composer usually does not indicate the tone, timbre and strength of the voice, minimally orienting a singer in the desired intonation, in the duration and location of pauses for breath and in another wide arsenal of methods of declamatory expression. The aim of this research is to study the interpretive properties of recitation in the sphere of vocal music. Discovering the nature of the interpretive properties of declamatory intonation, based on the simultaneous and consistent sound of speech and music, will help to overcome the performance difficulties in the vocalist’s work on mastering the artistic technique of this area of expression. The main results. The specificity of the combination of words and music in the structure of melodic declamation, its origins in various national cultures, both European and Chinese, the peculiarities of being in different genre conditions (musical drama, opera recitative) are considered, certain difficulties and tasks for the singer-reciter are outlined. In European art, the tradition of melodic recitation has its roots in ancient mysteries. The beginning of European secular melodic recitation was marked at the end of the 16th century, but it was developing in the works of musicians known as the “Florentine Camerata” (Vincenzo Galilei, Giulio Cacchini, Jacopo Peri, Ottavio Rinuccini, etc.), becoming one of the origins of opera. A distinctive feature of melody recitation at that time was the desire for solo recitative singing. Later, as an expressive mean, recitation was existing within the opera genre, and from the middle of the 18 century in Europe, this technique was contributing to the formation of an independent concert genre – chamber and vocal works with ballad texts, which found their place in the works of romantic composers (F. Schubert, R. Schumann, etc.). Note, that in the process of historical development, the genre of melodic declamation, on the one hand, modifies in the form of a recitative in European opera, on the other – remains independent within the musical-stage drama, still popular in various national cultures. The Chinese Suzhou musical drama, which is indicative of our study, originated more than 200 years ago, beginning with folk melodies, including xiaochang (“little songs’), tales, dance movements, gestures (khuaguden dances – “with flowers, drums and lanterns’) etc., and gradually spread at the area near the city Suzhou in the lower Yellow River. It later spread to Anhui Province, the Northern parts of Jiangsu Province, and the Southern parts of Shandong Province. The creative achievements of this art, local at the beginning, later assimilated in the national Beijing Opera. But from its origins, this kind of musical and stage action is inextricably linked with the life of the Chinese people, is based on unpretentious plots, so it remains popular to this day, capable of significant emotional impact on the recipient – the audience and listener. Note, that the genre varieties of musical drama developed from the 16–17 centuries both, in China and in the different cultures of the European, American, and Asian continents, where they exist and today. This stability of the genre is not least due to the fact that in the structure of musical drama is an artistic synthesis of several types of art: the word interacts with music, live stage action. The melodic reciter in this context faces certain difficulties. So, one of the basic means of musical expression for the singer is diction, clear pronunciation of a word, which, in close connection with the melody, is subject to the task of transmitting the artistic content of the work – from composer to listener. It is impossible to convey the musical idea of the composition, to create a certain emotional mood, to embody one’s interpretation of the poetic image of the performed music without a clear proclamation of language inversions, which contain the significance of the immanent artistic content. This requirement does not apply to technical musical constructions used for singing, for “warming up” the singer’s vocal apparatus, nor does it apply to vocals performed without words. Every artist, including a vocalist who uses a verbal word, must understand its importance in creating a unique artistic image, consciously use diction as an articulatory technique of revealing the musical text content in the poetic context of chamber, opera, or musical-dramatic genres. Conclusions. So, verbal-musical factors of declamatory intonation have the immanent possibility of various interpretations in the process of vocal performance. Recitation is based on the expressiveness of the word, perceived by the listener or theatrical spectator on several levels: 1) auditory – we hear the intonation richness of shades of musical speech; 2) mental – we understand the logical meaning of texts; 3) psycho-emotional – with the help of imagination, fantasy, we sympathize with the moods, emotions of the heroes of the work of art. At the same time, the basis of interpretation in the art of singing is the voice as a physical phenomenon: it is not only a material carrier of speech sounds, but also the main tool for expressing musical meanings: the variety of voice sound modulations is inexhaustible. Therefore, the role of breathing in the process of clear proclamation of the word, diction in the process of vocal intonation is difficult to overestimate. It is necessary to emphasize the presence of constant transitions in the part of the performer-reciter from linguistic constructions to recitative and pure vocal. Mastering the techniques of correlation of singing and recitation is relevant for any vocalist, which caused an in-details study of this problem.
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Chuang, Yin C. "Divorcing China: The Swing from the Patrilineal Genealogy of China to the Matrilineal Genealogy of Taiwan in Taiwan's National Imagination." Journal of Current Chinese Affairs 40, no. 1 (March 2011): 159–85. http://dx.doi.org/10.1177/186810261104000106.
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This paper explores the popular concept of the relationship between Taiwan and China as a feminine/ masculine dichotomy which has been constructed within Taiwan's national imagination. First, I will focus on how this dichotomy has been created within the process of identity-shifting in Taiwan since the 1990s as manifested in Taiwanese pop songs. Second, I will demonstrate how it has been appropriated within the process of nation-building. Two primary questions will be addressed: How is the national imagination of Taiwan in Taiwanese pop songs constructed through maternal and feminine images? How is the matrilineal genealogy in Taiwanese pop songs appropriated by the opposition camp, namely the Democratic Progressive Party (DPP), to mobilize voters? I will investigate, from a cultural studies perspective, how cultural imagination has come to serve as the vehicle to formulate resistance, mobilize voters, gain power and, most importantly, reconstruct Taiwanese nationalism within Taiwan's political limbo for decades. Furthermore, Margaret Somers' discussion (1993, 1994, 1995a, 1995b, 1995c; Somers and Gibson 1994) of narrative identity is adopted as the framework for this paper in order to look at how identities are constructed within and across multiple realms. My research methods consist of conducting in-depth interviews and analysing texts.
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Raphals, Lisa. "ARGUMENTS BY WOMEN IN EARLY CHINESE TEXTS." NAN NÜ 3, no. 2 (2001): 157–95. http://dx.doi.org/10.1163/156852601100402261.
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AbstractA corpus of ethical and political arguments specifically attributed to women in Warring States and Han texts are philosophically comparable to the arguments of the Masters texts, but are not associated with teaching lineages. These hierarchical persuasions and instructive arguments cannot be attributed to ministers. They suggest new perspectives on contemporary discussions of the nature of philosophical debate, adversariality, and authority in Warring States China.
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Nappi, Carla. "Bolatu's Pharmacy Theriac in Early Modern China." Early Science and Medicine 14, no. 6 (2009): 737–64. http://dx.doi.org/10.1163/138374209x12542104914000.
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AbstractIn early modern China, natural history and medicine were shifting along with the boundaries of the empire. Naturalists struggled to cope with a pharmacy's worth of new and unfamiliar substances, texts, and terms, as plants, animals, and the drugs made from them travelled into China across land and sea. One crucial aspect of this phenomenon was the early modern exchange between Islamic and Chinese medicine. The history of theriac illustrates the importance of the recipe for the naturalization of foreign objects in early modern Chinese medicine. Theriac was a widely sought-after and hotly debated product in early modern European pharmacology, and arrived into the Chinese medical canon via Arabic and Persian texts. The dialogue between language and material objects was critical to the Silk Road drug trade, and transliteration was ultimately a crucial technology used to translate drugs and texts about them in the early modern world.
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Lavagnino, Alessandra C. "A Chinese regard oblique." Asiatische Studien - Études Asiatiques 71, no. 3 (December 20, 2017): 1003–13. http://dx.doi.org/10.1515/asia-2017-0026.
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Abstract The wealth of topics and the vast range of themes dealt during the Zurich Workshop have stimulated me to propose some preliminary remarks coming from a Chinese point of view. The difficulty of dealing with different set of words and different way of classifying things makes it necessary to provide some basic information, sources and insights into how such fundamental issues as the power of writing, the categorisation of knowledge, and the preeminence of the role of the traditional Classic texts in intellectual, political and administrative life were developed in ancient China. The written language was an empowering language. The privilege of mastering the Classical texts and the ability to write elegantly made success in the imperial exams possible, allowing the scholar to become a member of the powerful élite. This explains the close link established in China between the exercice of power and the literary language. The need to provide the necessary tools to acquire this ability became the main incentive for the production of a set of texts such as dictionaries, glossaries, thesaurus, and encyclopaedias or “books according to categories”. In these texts the world of knowledge was ordered according to categories which were functional and useful for the preservation of imperial power in the hands of loyal bureaucrats, carefully selected through the perfect machinery of the examinations, to perpetuate the “mandate of heaven” throughout the centuries.
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Brindley, Erica. "Authoring Non-Action in Early China." Journal of Chinese Philosophy 42, no. 3-4 (March 3, 2015): 267–83. http://dx.doi.org/10.1163/15406253-0420304003.
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This essay explores a call for non-action in certain ancient Chinese texts that, contrary to expectation, implicitly upholds definitions of action that are comparable to Western understandings of the term. The call for non-action in ancient Chinese texts differs significantly, however, from what Western theorists usually define as legitimate, agent-led action through its negation of viewing means-end calculations as the basis of action. Closer analysis of such formulations on non-action reveal that that there is room for a broader definition in action theory of what constitutes a coherent, unified, creative agent.
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Goble, Geoffrey C. "Three Buddhist Texts from Dunhuang." Asian Medicine 12, no. 1-2 (February 21, 2017): 265–78. http://dx.doi.org/10.1163/15734218-12341396.
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Abstract“Three Buddhist Texts from Dunhuang” provides an introduction to and translation of texts that are representative of the larger genre of Chinese Buddhist medical literature. These examples are indigenous Chinese Buddhist scriptures dating to the early ninth century. They were recovered in the early twentieth century at Dunhuang in western China. Although they often draw from Indian Buddhist sources, these texts are local Chinese products and are characterized by etiologies and therapeutics drawn from both Indian Buddhist traditions and Chinese worldviews. In these texts, disease is alternately the result of personal immorality, divine retribution, and collective misconduct. The prescribed therapies are also multiple, but consistently social in nature. These include worshiping buddhas and Buddhist deities, performing repentance rituals, copying Buddhist scriptures, sponsoring meals, and refraining from immoral behavior. As manuscripts essentially discoveredin situ, these texts provide valuable insight into on-the-ground worldviews, concerns, practices, and institutions in far western China. With their composite nature, drawing from established Indian Buddhist scriptures, folk beliefs, and governmental fiats, they are also suggestive of the strategies behind indigenous textual production.
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Xiao-Yuan, Jiang. "Indian Astronomy in Ancient China." Highlights of Astronomy 11, no. 2 (1998): 703–4. http://dx.doi.org/10.1017/s1539299600018517.
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Indian astronomy was introduced into China along with the intrusion of Buddhism. This process lasted about one thousand years in the Mediaeval age. For the study of this process, there are a lot of materials in ancient Chinese historic texts, while the Buddhist scriptures in Chinese translation are very important first-hand materials.
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Yue, Zhang. "RUSSIAN FOLK SONG "OVER THE SILVER RIVER" AND ITS FATE IN CHINA." Arts education and science 1, no. 2 (2021): 160–67. http://dx.doi.org/10.36871/hon.202102020.
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The article deals with the history of the Russian poet F. N. Glinka's poem "Veiled Traces", which was the basis for the famous folk song "Over the Silver River". The article reveals the content of the text and shows different variants of its "plot". This refers to several Russian collections containing the song "Over the Silver River", including "Ural Folk Songs" by L. Christiansen and "Folk Songs of Krasnoyarsk Region" by K. Skobtsov. Folklore collectors considered this song as an example of Russian lyrical song genre. The author analyzes the arrangement of this song included in A. Chernyavsky's piano book and notes the expressive features of the performance of the song by the famous singer I. M. Skobtsov. The original and adapted versions are compared in terms of style and expressive techniques in the context of Chinese traditions, in order to identify specific and common properties within two different cultures. The roles of the folklore collector Wang Lobin, who recorded the song "Over the Silver River" using elements of Chinese music, and the composer Li Yinghar, who arranged Russian melody adopted in Chinese culture, are highlighted. Musical samples are also presented. Russian music in China is a special "cross-border" phenomenon, and the interest in Russian culture and Russian musical folklore in China is very high. Russian folk songs are loved in China and are very popular.
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CHEN, LILY. "Evaluation in media texts: A cross-cultural linguistic investigation." Language in Society 33, no. 5 (November 2004): 673–702. http://dx.doi.org/10.1017/s0047404504045026.
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A quantitative/interpretative approach to the comparative linguistic analysis of media texts is proposed and applied to a contrastive analysis of texts from the English-language China Daily and the UK Times to look for evidence of differences in what Labov calls “evaluation.” These differences are then correlated to differences in the roles played by the media in Britain and China in their respective societies. The aim is to demonstrate that, despite reservations related to the Chinese texts not being written in the journalists' native language, a direct linguistic comparison of British media texts with Chinese media texts written in English can yield valuable insights into the workings of the Chinese media that supplement nonlinguistic studies.
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Yingsheng, Liu, and Ralph Kauz. "Armenia in Chinese Sources." Iran and the Caucasus 12, no. 2 (2008): 175–90. http://dx.doi.org/10.1163/157338408x406001.
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AbstractThis paper discusses several toponyms in Chinese sources, which may possibly be identified with Armenia. First, Aman country, which can be found in the "History of the Later Han" (compiled 3rd–5th centuries) and in the "Account of the Wei Dynasty" (compiled between 239 and 265), is discussed, and it is suggested that there are reasons for an identification, though doubts remain. Armenia was well known by the Mongols and the "Korean Worldmap", which originates in Chinese geographical scholarship during the Mongol period and depicts possibly even Greater and Lesser Armenia. Another source of that period that mentions Armenia is "Muslim Prescriptions" (Huihui yaofang), which names Armenian materia medica known in China. Finally, two other Chinese geographical texts of the 16th and early 18th century that deal with Armenia and the Caucasus region are discussed. This paper shows that Armenia was described in Chinese texts since at least the Mongol period, and that China had a profound knowledge of the geographical situation in Western Asia.
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Li, Shuanglong, and Fei Yan. "Searching for Red Songs: The Politics of Revolutionary Nostalgia in Contemporary China." China Quarterly 242 (September 10, 2019): 508–28. http://dx.doi.org/10.1017/s0305741019001103.
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AbstractApplying a novel approach based on online query volume data, this study provides the first large-scale portrait of revolutionary nostalgia among the Chinese, undertaking an empirical analysis of how the aggregate level of nostalgia is shaped. For each Chinese province, we use the normalized frequency of searches for red songs on Baidu, the most widely used online search engine in China, to quantify the local level of nostalgia. We find that the evolving trends of nostalgia among the provinces are similar but stratified. The results from the dynamic panel data analysis using the Generalized Method of Moments indicate that revolutionary nostalgia is significantly affected by a set of socio-economic determinants, including GDP per capita, income inequality, social development, legal development and the degree of globalization.
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An, Byung-Sam, and Su-Jin Kim. "A Study on the Musical Characteristics of Chinese-Korean School’s Songs in China." Journal of Koreanology 79 (July 31, 2021): 189–238. http://dx.doi.org/10.15299/jk.2021.7.79.189.
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Davis, Sara. "The Hawaiification of Sipsongbanna: Orality, Power, and Cultural Survival in Southwest China." TDR/The Drama Review 45, no. 4 (December 2001): 25–41. http://dx.doi.org/10.1162/105420401772990315.
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Near the Burmese border, ethnic Chinese Tai villagers perform zhangkhap songs based on Buddhist epics and improvised oral poetry. Repressed from the 1950s as through the 'as, zhanghap has revived dramatically in recent years. Tourists are taking notice, but this may not be good news.
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Richter, Matthias L. "Handling a double-edged sword: Controlling rhetoric in early China." Asiatische Studien - Études Asiatiques 68, no. 4 (December 19, 2014): 1021–68. http://dx.doi.org/10.1515/asia-2014-0048.
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Abstract The present essay discusses rhetorics as an instrument of both persuasion and deception. Early Chinese political thought shows a keen awareness of the deceptive potential immanent in rhetorical skills. Multiple texts warn against certain types of rhetorical behaviour that entail a potential threat to the ruler's control over political power. Yet, at the same time rhetorical skills were also a desirable qualification. While most texts from early China discuss rhetorical skills in general terms as an asset or a threat to the ruler's power, some texts reflect rhetorical skills in more detail, describing specific types of rhetorical behaviour. This essay introduces examples of such texts that were probably first composed as pragmatic texts for application in political practice, before they were integrated into larger compilations or literary texts for argumentative purposes. The essay also shows that these pragmatic texts used a set of technical terms, some of which were no longer recognized in the later transmission, which often led to changes in the texts.
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An, Byung-Sam, and Su-Jin Kim. "Analysis of the Musical Characteristics of the Chinese-Korean School’s School Songs in China." Journal of Koreanology 76 (August 31, 2020): 235–88. http://dx.doi.org/10.15299/jk.2020.08.76.235.
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Mcneal, Robin. "Constructing Myth in Modern China." Journal of Asian Studies 71, no. 3 (August 2012): 679–704. http://dx.doi.org/10.1017/s0021911812000630.
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This study presents an overview of attempts by Chinese literati during the twentieth century to articulate a coherent Chinese mythology, primarily based on ancient texts but eventually to some extent drawing from ethnographic materials and folklore as well, and all much beholden to Western examples such as Greek and Norse mythology. This examination of text-based activities sets the stage for an inquiry into a wave of monument building during the Reform Era, much of which has celebrated China's ancient myth, history, and legend. A recent park in Wuhan dedicated to the legendary sage ruler and conqueror of floods, Yu the Great, serves as a case study of how, over the last three decades, old Chinese myths have been inscribed on the new Chinese landscape, and allows exploration of this phenomenon in relation to deeper issues concerning the role of myth in Chinese society, particularly its unexpected marriage with modernity.
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Ho, Wai-chung. "The political meaning of Hong Kong popular music: a review of sociopolitical relations between Hong Kong and the People's Republic of China since the 1980s." Popular Music 19, no. 3 (October 2000): 341–53. http://dx.doi.org/10.1017/s0261143000000209.
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IntroductionThe aim of this paper is to analyse shifting themes in the meanings of Hong Kong popular songs relating to ideological and political changes in Hong Kong since the 1989 Tiananmen Square incident (TSI). In particular, the paper examines the relationship between Hong Kong and the People's Republic of China (PRC) concerning the transmission of Hong Kong popular music, and argues that Chinese, Hong Kong and Taiwanese popular musics articulate fluctuating political meanings. Attention will be focused predominantly on the lyrics, but some aspects of the music are also invoked. After highlighting the political and cultural relations between Hong Kong and the PRC, I discuss the social transformations and the struggles for democracy delineated in Chinese popular music during the 1989 TSI. This is followed by an examination of the intensification of the conflict between the PRC and Hong Kong over the dissemination of popular songs carrying democratic messages in Hong Kong. Finally, the paper considers the rise of patriotism and/or nationalism through lyrics rooted in the notion of educating Hong Kong Chinese people into accepting the cultural and political identity of mainland China, and the promotion of popular songs in the official language of the PRC, Putonghua, since the late transitional period.
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Zhu, Zheng. "Re-constructing “China” in a transnational context." Global Media and China 4, no. 2 (May 31, 2019): 286–303. http://dx.doi.org/10.1177/2059436419852506.
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This study critically examines two Chinese newspapers’ representation of China as a “nation” and “culture.” Prior studies have deeply and broadly explored various ways through which China, Chinese culture, and nationalism were constructed in popular media forums. What has been missing is a continued exploration of these constructions offered by the Chinese media sources that are published outside the dominant Chinese cultural, national, and political contexts. Using World Journal and Sing Tao Daily, two major Chinese immigrant newspapers, as the texts for analysis, this study produces important findings that demonstrate how China is constructed as a contested, multi-layered, powerful, and divided culture and nation. Based on the study’s result, future inquiries can continue to analyze the representation of China across multiple media and linguistic platforms.
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Kuo, Sai-hua. "“Is there only one China?”:." Journal of Asian Pacific Communication 11, no. 2 (December 31, 2001): 287–303. http://dx.doi.org/10.1075/japc.11.2.10kuo.
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By means of the analytic method of critical linguistics, this study illustrates and discusses how Chinese nationalism manifests itself in the language of a newspaper text, what linguistic devices are employed for this purpose, and how the media production process in China shapes news texts. The study also analyzes how ideological positions can be reflected through lexical and grammatical choices.
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Kory, Stephan N. "Presence in Variety: De-Trivializing Female Diviners in Medieval China." Nan Nü 18, no. 1 (November 1, 2016): 3–48. http://dx.doi.org/10.1163/15685268-00181p02.
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This article argues that the relative absence and trivialization of female diviners apparent in medieval Chinese texts does not accurately reflect the presence of these figures in medieval Chinese society. It further contends that this dearth in representation is the direct result of a more comprehensive and sustained annihilation or marginalization of women in third- through ninth-century Chinese texts. Narrative accounts and the institutional perspectives on divination informing them are critically analyzed and compared to help de-trivialize the roles that female diviners played in medieval China. Comparative theories of divination will be considered to help expand the scope of our inquiry beyond activities explicitly identified as such, and the geographical, social, and practical variety one finds in medieval depictions of female diviners will be used as evidence of a much wider and more pervasive social presence than one finds today in received medieval records.
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Yangutov, Leonid E., and Marina V. Orbodoeva. "On Early Translations of Buddhist Sutras in China in the Era the Three Kingdoms: 220–280." Herald of an archivist, no. 2 (2019): 331–43. http://dx.doi.org/10.28995/2073-0101-2019-2-331-343.
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The paper discusses the early days of translation in China which began with the translation of Buddhist texts from Sanskrit into Chinese. The article addresses one of the most difficult and dramatic periods in the history of translation activities, the era of Three Kingdoms (220-280). First efforts of the Buddhist missionaries in translating the Buddhist texts from Sanskrit into Chinese are poorly studied in the Russian science. The article aims to fill the gap. This goal sets the following tasks: (1) to analyze the translation activities in the kingdoms of Wei (220–265) and Wu (222–280) during Three Kingdoms period; (2) to show the place and role of the translators of these kingdoms in the development of the translation tradition in China; (3) to consider the quality of the Buddhist texts translations and their contribution to the development of Buddhism in China. The study shows that Buddhist missionaries who came to China from India and the countries of Central Asia during the Three Kingdoms period played an important role in the spreading of Buddhism. Their search for methods and tools to give the sense of Sanskrit texts in Chinese, which experience had had no experience of assimilation before Buddhism, prepared a fertile ground for the emergence in China of such translations of Buddhist literature that were able to convey the exact meaning of Buddhist teachings. The activities of the Three Kingdoms Buddhist texts translators reflected the rise of Indian Mahayana Buddhism and its texts formation. The article draws on bibliographic works of medieval authors: Hui Jiao’s “Gao Sen Zhuan” (“Biography of worthy monks”), Sen Yu’s “Chu San Zang Ji Ji” (“Collection of Translation Information about Tripitaka”), Fei Changfang’s “Li Dai San Bao Ji” (“Information about the three treasuries [during] historical epochs”), which figure prominently in Buddhist historiography. Also the authors draw on the latest Chinese research summarized in the monograph: Lai Yonghai (ed.). “Zhongguo fojiao tongshi” [General History of Chinese Buddhism]. Nanjing, 2006.
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Snuviškis, Tadas. "Indian Philosophy in China." Dialogue and Universalism 30, no. 3 (2020): 89–106. http://dx.doi.org/10.5840/du202030336.
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Daśapadārthī is a text of Indian philosophy and the Vaiśeṣika school only preserved in the Chinese translation made by Xuánzàng 玄奘 in 648 BC. The translation was included in the catalogs of East Asian Buddhist texts and subsequently in the East Asian Buddhist Canons (Dàzàngjīng 大藏經) despite clearly being not a Buddhist text. Daśapadārthī is almost unquestionably assumed to be written by a Vaiśeṣika 勝者 Huiyue 慧月 in Sanskrit reconstructed as Candramati or Maticandra. But is that the case? The author argues that the original Sanskrit text was compiled by the Buddhists based on previously existing Vaiśeṣika texts for an exclusively Buddhist purpose and was not used by the followers of Vaiśeṣika. That would explain Xuanzang’s choice for the translation as well as the non-circulation of the text among Vaiśeṣikas.
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Bréard, Andrea. "What Diagrams Argue in Late Imperial Chinese Combinatorial Texts." Early Science and Medicine 20, no. 3 (July 20, 2015): 241–64. http://dx.doi.org/10.1163/15733823-00203p02.
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Attitudes towards diagrammatic reasoning and visualization in mathematics were seldom spelled out in texts from pre-modern China, although illustrations figure prominently in mathematical literature since the eleventh century. Taking the sums of finite series and their combinatorial interpretation as a case study, this article investigates the epistemological function of illustrations from the eleventh to the nineteenth century that encode either the mathematical objects themselves or represent their related algorithms. It particularly focuses on the two illustrations given in Wang Lai’s (1768–1813) Mathematical Principles of Sequential Combinations, arguing that they reflect a specific mode of nineteenth-century mathematical argumentative practice and served as a heuristic model for later authors.
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Lewis, Mark Edward. "SARAH ALLAN,BURIED IDEAS: LEGENDS OF ABDICATION AND IDEAL GOVERNMENT IN EARLY CHINESE BAMBOO-SLIP MANUSCRIPTS: A REVIEW ARTICLE." Early China 39 (2016): 265–84. http://dx.doi.org/10.1017/eac.2016.22.
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AbstractBuried Ideasis a major contribution to the study of early China, and of ancient civilizations in general. It analyzes four important, recently discovered texts that in some manner deal with the idea that the position of the ruler should be transferred by voluntary abdication from one sage to another. In addition to analyzing in detail the arguments of these texts and their relations to the received tradition, it also provides a useful introductory survey of the current state of the study of Chu-script bamboo-slip texts, facilitates direct confrontation with these texts for anyone who desires to pursue them, demonstrates—in association with her earlier monographs—how newly discovered texts have transformed our understanding of early China, offers insights into the origins and deep structure of the Chinese modeling of history as a dynastic cycle/sequence, and shows how working across generic boundaries both improves our understanding of ancient China, and allows more insightful comparisons with other early civilizations.
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WANG, ZHIXI. "“What Has Jesus to Do with Socialism”? Protestant Intellectuals, Political Use of the Mandarin Union Version, and the Remaking of a Socialistic Jesus in Republican China." Journal of the Royal Asiatic Society 30, no. 1 (November 19, 2019): 105–17. http://dx.doi.org/10.1017/s1356186319000440.
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AbstractThis article explores the ways Chinese Protestant intellectuals, when facing up to the challenge of socialism, interpreted and appropriated Chinese Gospel texts to refashion the image of Jesus. It argues that Protestant intellectuals’ political use of the Chinese Bible remade a socialistic Jesus with some religious qualifications. Both the reading of the Chinese Bible and the interaction of Chinese biblical texts with the socio-political milieus dramatically influenced the textual practice of Chinese Protestant communities in the Republican era.
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Weil, Dror. "Islamicated China: China’s Participation in the Islamicate Book Culture during the Seventeenth and Eighteenth Centuries." Intellectual History of the Islamicate World 4, no. 1-2 (2016): 36–60. http://dx.doi.org/10.1163/2212943x-00401005.
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By the seventeenth century, Arabo-Persian scholarship in China had adopted elements from Muslim and Chinese book cultures and synthesized them into a new form of scholarship, attested by the hundreds of Arabo-Persian manuscripts extant in repositories in China and around the world and the hundred of copies of printed Chinese works on Islamic themes. This article surveys the history of Chinese participation in Muslim book culture, beginning with a review of the history and general features of texts, in terms of their language and period of composition. The second part of the article provides a more nuanced analysis of texts that circulated in the seventeenth and eighteenth centuries throughout China, on the study of Arabo-Persian languages. These linguistic aids and primers of Arabic and Persian highlight the way in which these texts were read and interpreted, in turn, providing meaningful insight into the foundation of China’s intellectual engagement with the Islamicate world.