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Relevant bibliographies by topics / Zhang, Yan, Chinese language

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Academic literature on the topic 'Zhang, Yan, Chinese language'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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Journal articles on the topic "Zhang, Yan, Chinese language"

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Yin, Yuxia. "Review of Zhang (2018): Second Language Acquisition of Mandarin Chinese Tones: Beyond First Language Transfer." International Journal of Chinese Linguistics 8, no. 1 (June 1, 2021): 169–76. http://dx.doi.org/10.1075/ijchl.00013.yin.

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Li, Qian, Yiya Chen, and Ziyu Xiong. "Tianjin Mandarin." Journal of the International Phonetic Association 49, no. 1 (July 12, 2017): 109–28. http://dx.doi.org/10.1017/s0025100317000287.

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Tianjin Mandarin is a member of the northern Mandarin Chinese family (ISO 693-3: [cmn]). It is spoken in the urban areas of the Tianjin Municipality (CN-12) in the People's Republic of China, which is about 120 kilometers to the southeast of Beijing. Existing studies on Tianjin Mandarin have focused mainly on its tonal aspects, especially its intriguing tone sandhi system, with few studies examining the segmental aspects (on tone, see e.g. Li & Liu 1985, Shi 1986, Liu 1993, Lu 1997, Wang & Jiang 1997, Chen 2000, Liu & Gao 2003, Ma 2005, Ma & Jia 2006, Zhang & Liu 2011, Li & Chen 2016; on segmental aspects, see e.g. Han 1993a, b; Wee, Yan & Chen 2005). As also noted in Wee et al. (2005), this is probably due to the similarity in segmental structures between Tianjin Mandarin and Standard Chinese, especially among speakers of the younger generation, and what differentiates the two Mandarin varieties is most notably their tonal systems. The aim of the present description is therefore to provide a systematic phonetic description of both segmental and tonal aspects of Tianjin Mandarin, with main focus on the tonal aspects.

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CHEN, Zhiwei. "儒家觀念與現代同性婚姻的可能性——兼及我們對待傳統的態度." International Journal of Chinese & Comparative Philosophy of Medicine 16, no. 2 (January 1, 2018): 93–97. http://dx.doi.org/10.24112/ijccpm.161654.

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LANGUAGE NOTE | Document text in Chinese; abstract in English only.Professor Zhang Xianglong responded to the issue of legalization of same-sex marriage from the perspective of Confucianism, and expounded the possible attitude of Confucianism towards this issue. His ideas are new and important, but he may have neglected the applicability of Confucianism in modern society. If Chinese traditional culture, especially some specific Confucian concepts, such as Yin and Yang, male and female, patriarchal law, etc., does not undergo the transformation of modernity and is weighed against Western concepts, its power to explain the problems in the process of modernization will be greatly reduced.DOWNLOAD HISTORY | This article has been downloaded 166 times in Digital Commons before migrating into this platform.

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Zhang, Wei. "The Development of Marxist Shakespearean Criticism in China." Multicultural Shakespeare: Translation, Appropriation and Performance 20, no. 35 (December 30, 2019): 99–113. http://dx.doi.org/10.18778/2083-8530.20.08.

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Chinese Shakespearean criticism from Marxist perspectives is highly original in Chinese Shakespeare studies. Scholars such as Mao Dun, Yang Hui, Zhao Li, Fang Ping, Yang Zhouhan, Bian Zhilin, Meng Xianqiang, Sun Jiaxiu, Zhang Siyang and Wang Yuanhua adopt the basic principles and methods of Marxism to elaborate on Shakespeare’s works and have made great achievements. With ideas changed in different political climates, they have engaged in Shakespeare studies for over eight decades since the 1930s. At the beginning of the revolutionary age, they advocated revolutionary literature, followed Russian Shakespearean criticism from the Marxist perspective, and established the mode of class analysis and highlighted realism. Before and after the Cultural Revolution, they were concerned about class, reality and people. They also showed the “left-wing” inclination, taking literature as a tool to serve politics. Since the 1980s, they have been free from politics and entered the pure academic realm, analysing Shakespearean dramas with Marxist aesthetic theories and transforming from sociological criticism to literary criticism.

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Parveen, Khalida, and Huma Akram. "Insight of Chinese culture by viewing historical picture of Qin Dynasty." Journal of Social Sciences Advancement 2, no. 1 (March 20, 2021): 17–24. http://dx.doi.org/10.52223/jssa21-020103-08.

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Over the centuries, China still respectfully treasures rich Asian cultures, traditions, and customs. China is now famous all over the world for its mysterious wonders and cultural & natural heritages such as the Great Wall, the Forbidden City, the Terracotta Army, etc. The Chinese history is full with the exposition of outstanding features of Chinese culture such as great thoughts of Confucius, religious beliefs, traditional festivals and customs e.g., Chinese new year, language and calligraphy e.g., Shu Fa, four great inventions of ancient China e.g., papermaking, printing, gunpowder and the compass, traditional architecture and sculpture, traditional art forms, etc. The era of history of China before the time in power of Qin dynasty is known by name as the period of Warring States. This period started from 475 BC and ends at 221 BC. Seven Warring States were included in it i.e. Qin, Wei, Han, Yan, Chu, Zhao, and Qi. Zheng was the King of Qin, who started his journey to triumph over 6 states in the period of 230 BC. Qin was the 1st emperor of this unified state of China. Thus he was known by the name of “First Emperor of Qin” or “Qin Shi Huang”. This study provides a deep insight of Chinese history and it is illustrated that major achievements in Chinese culture and history are contributed in the era of Qin dynasty.

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Hu Xiaoqiong, Betsy. "Keep off the grass? No way!" English Today 32, no. 1 (December 18, 2015): 21–27. http://dx.doi.org/10.1017/s0266078415000498.

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China's rapid economic development has helped to raise the international status of Mandarin. One prediction is that ‘in ten years, Mandarin will be as important worldwide as English’ (Trudgill, 2014: 387). Another even greater change resulting from China's economic growth is the increasing popularity that English enjoys in China (Hu, 2004, 2005; Hu, 2009; Zhang, 2012; Werner, 2014). English is now used in a wide range of fields and contexts throughout the country. This is not surprising given the dominance of the English language on a global scale. English, now increasingly employed together with Chinese to combine global with local appeal, functions ‘as an index of modernity, progress, internationalism and globalization, a symbol of success, sophistication and projection into the future’ (Vettorel, 2013: 262). One indicator illustrating this phenomenon is the widespread use of public signs in both Chinese and English. Some authors argue that this use of bilingual signs has resulted in the creation of ‘an attractive linguistic landscape’ in China (Yang & Liu, 2008:79). Accordingly, research on bilingual public signs has, in recent years, become ‘a hot area in the translation field’ (Zou et al, 2011:27), attracting the attention of a growing number of scholars (e.g. Dai & Lü, 2005; Song, 2013; Chen, 2014).

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Zhou, Yi. "Presentation of the Motherland image in the creativity of modern Chinese vocalists." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 285–97. http://dx.doi.org/10.34064/khnum2-19.16.

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Background. The mindset of people who inhabit one or the other country determines the process of formation and fixation of intonational vocabulary, which reflects and in the music culture, including songs. In such a case, phonetic and syntax particular qualities of verbal language intersect with national musical language. The proof of that is a vocal art, whose essential parameters (from intonational scale to the aspects of voice staging) present originality of national worldview. However, in recent decades, the preservation of the uniqueness of the artistic expression of peoples and ethnic groups is under threat. Culture integration increasingly unifies musical thinking of representatives of different countries. The striking instance of this is an art of modern China. Here, vocalists work either based on national traditions of singing, or developing the achievements of leading European schools. Moreover, choice, made once, determines a singer’s creative fate – his technique and repertoire. As a result, there is a gradual transformation of the entire system of musical culture in China, a rethinking of the basic intonation complexes, including those that embody the national image of the world. These facts define the purpose of given research – uncovering specificity of Motherland image presentation in modern China vocalists’ interpretation. The methodology of the research is determined by its objective, it is integrative and based on a combination of general scientific approaches and musicological methods. The leading research methods are historical, genre-stylistic and interpretative analyzes. Results. Themes related to Motherland image are an integral part of China musical art. In folk art, these are songs that sing about China, about people living in this country, about love for the Motherland. Authors often recourse to allegories using synonymic emblematic row: dragon, red color, Yin and Yan signs, Beijing opera. These kinds of songs are gradually beginning to be accepted as the symbol of the country, where they were created. Exactly this way happened with one of the most famous in the world Chinese folksong «Jasmine Flower», which words for the first time were written down in the time of Ming dynasty. The version of «Jasmine Flower», which nowadays is the most times performed, is credited with composer He Fang. He Fang made some changes both in lyrics and in verbal text of the folksong. One of the greatest interpreters of «Jasmine Flower» is Song Zuying singing in the folk manner. It is revealing that song «Jasmine Flower» at her concert sounds exactly like a symbol of China, what characterize a lot of performing interpretation aspects. The song is construed by the singer not as a lyrical utterance, but as an “aria di sortita”. One more variant of Song Zuying’s «Jasmine Flower» interpretation was performed to the public together with Celine Dion at the «Spring Festival» in China (2013). According to the director design, the singers performing one song together appear as the embodiment of the images of their peoples that is reflected in the visual row. On deeper layers of understanding, this performance shows musical thinking specificity of representatives of different cultures. Consequently, ancient Chinese song «Jasmine Flower» appears in modern art as open text, which transformation process, obviously, will continue. One more composition, which became the symbol of China, is the song «Me and my Motherland» composed in 1985 by Qin Youngcheng (on Zhang Li lyrics). In our thinking, the song «Me and my Motherland» is illustrative of intonational transformation of music characterizing the Motherland image in the China art. Written in the last third of the twentieth century, the song is a vivid example of the refraction of European musical traditions, there is continuity with ideologically biased, but artistically distinctive and highly professional the Soviet pop. In this song, a person appears as a part of more important wholeness: nature, nation, a family. It is felt also in Liao Changyong’s performing version. His interpretation is characterized by happy combination of Chinese and West European traditions; bel canto singing and musical texture of song smooth out those Chinese language phonetic properties that usually demonstrate national arts specificity. Conclusions. Songs, presenting the image of China, are an integral part in Chinese vocalists’ work. These compositions inspired by love for their native land withstood the test of time, spread in sing repertoire and reflect that huge way that Chinese vocal school has passed over the past hundred years. Today, both the national tradition and the stylistics borrowed from a number of European countries organically coexist there. The demand for such compositions in concert world space testifies to the action of a centripetal force aimed at preserving national identity in conditions of cultural globalization.

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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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9

Long, Haiping, and Pengfei Kuang. "Modern Chinese confirmative shi." Functions of Language 24, no. 3 (December 31, 2017): 294–318. http://dx.doi.org/10.1075/fol.15018.lon.

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Abstract Modern Chinese confirmative shi (as in mei cuo, wo shi yao dusi ni (沒錯，我是要毒死你) ‘that’s right. I really wanted to poison you to death’) is not an auxiliary but an adverb. It derives from the adjective shi ‘true, real’ in Old Chinese (Yan zhi yan shi ye (偃之言是也) ‘what Yan said was true’). The grammaticalization pathway of the Modern Chinese confirmative shi is different from that of the copula shi (Laozhang shi huoche siji (老張是貨車司機) ‘Laozhang is a truck driver’) or the auxiliary shi (Laozhang shi kai huoche, wo shi kai keche (老張是開貨車，我是開客車) ‘Laozhang drives a truck and I drive a coach car’). Modern Chinese confirmative shi, copula shi, and auxiliary shi have the same morphological form because they all appear to derive from the adjective shi or demonstrative ( shi ke ren, shu bu ke ren ( 是可忍，孰不可忍) ‘if this could be endured, is there anything else that could not be endured’) in Old Chinese. Such a pattern of morphological sameness seems to be cross-linguistically rare, if not unique.

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10

Zhan, Hongwei. "Zhang, N. (2015). Cognitive Chinese grammar." Review of Cognitive Linguistics 15, no. 1 (August 18, 2017): 297–303. http://dx.doi.org/10.1075/rcl.15.1.12zha.

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Dissertations / Theses on the topic "Zhang, Yan, Chinese language"

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Zhu, Xinhua. "A study on the development of superstructure of narrative text written by primary school pupils in four cities of China = Zhong guo si ge cheng shi xiao xue sheng ji xu wen pian zhang de shang ceng jie gou de fa zhan yan jiu /." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B23295922.

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Li, Xiujuan. "Cong zhong gu ru sheng zi zai Henan fang yan zhong de du yin kan "Zhong yuan yin yun" de yu yin ji chu /." View abstract or full-text, 2006. http://library.ust.hk/cgi/db/thesis.pl?HUMA%202006%20LI.

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Tang, Wing-sze Cecilia. "A study of paragraphing in Chinese writing primary 1 to primary 6 students in H.K. = Zhong wen xie zuo : duan luo yan jiu : Xianggang xiao yi zhi xiao liu duan luo mo shi de fa zhan jie duan /." Click to view the E-thesis via HKUTO, 2002. http://sunzi.lib.hku.hk/hkuto/record/B31963213.

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Deng, Yong-shi. "A study of paragraphing in Chinese writing : primary 1 to primary 6 students in H.K. = Zhong wen xie zuo : duan luo yan jiu : Xianggang xiao yi zhi xiao liu duan luo mo shi de fa zhan jie duan /." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25248935.

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Yu, Wing-wa. "Students' command of Mandarin and Cantonese in an English-Mandarin bilingual school in Hong Kong Xianggang Diqu Ying yu ji Putonghua shuang yu xue xiao xue tong dui Putonghua ji Yue fang yan zhi zhang wo /." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B40717896.

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So, Kit-yuk. "A case study on the writing development of a Cantonese-speaking child in Hong Kong Yue yu er tong xie zuo neng li fa zhan de ge an yan jiu /." Click to view the E-thesis via HKUTO, 1995. http://sunzi.lib.hku.hk/hkuto/record/B31958266.

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Luk, Pei-yee, and 陸姵而. "A Study on the Chinese writing difficulty of junior secondary students with dyslexia in Hong Kong = Xianggang chu zhong du xie zhang ai xue sheng de Zhong wen xie zuo kun nan yan jiu." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2015. http://hdl.handle.net/10722/211026.

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According to the statistics of the Education Bureau, 6248 junior secondary students had been identified with special learning difficulties in 2014. The incidence rate of this group of students suffering from dyslexia is about 80%. This dissertation explores and investigates the Chinese writing difficulties of the junior secondary students with dyslexia encountered from the perspectives of teachers and students. The research consists of two studies. Study1 aims atinvestigating the language teachers’ perceptions of the difficulties of dyslexia students in Chinese writing, teachers’ strategies of helping them, and their related professional training. By using a tailor-designed survey, a profound understanding about the teaching measures applied on dyslexic students can be reached. Throughout the study, 106teachers (with 40 Primary 4-6 teachers and 66 junior secondary teachers) were invited to fill in the questionnaires. The study showed that only about 30% of the respondents were trained to teach the students with dyslexia. Other respondents gave advice to students upon their own judgments, which failed to tackle the difficulties comprehensively. The respondents also stated the writing problems of dyslexic students which include inadequate words, misuse of vocabularies, poor grammatical sentences, and problems in orthographical encoding process. Teachers could mainly use brainstorming and mind-mapping to help students solving their writing problems. Case studies were conducted in Study 2 for 3 students (Grade 7, 8, 9) with dyslexia (aged13, 14 and 15respectively), who were diagnosed by educational psychologists. This study used the framework of Process-writing to analyse the processes of dyslexia students in writing their composition. By employing the Chinese Writing Scale, “Think Aloud” protocol and interview, the stages of pre-writing, writing and reviewing of the dyslexia students were disclosed while they were composing their writing and investigated the difficulties they were confronted with. The finding showed that dyslexic students were in lack of planning strategy in their pre-writing stage. Thus, students experienced “Pause” and “Edit” processes mainly due to slow decoding of the Chinese characters. As dyslexic students rarely reviewed their products, they faced the problems of lacking cognitive strategy and serious problems in orthographical encoding process. In addition, with their poor ability to put oral language into written form, dyslexic students often missed and failed to present the ideas in full. The groundbreaking aspect of this study is that this thesis is the first to employ the process-writing model, think-aloud protocol and students interview as the framework for qualitative analysis of the Chinese writing difficulties confronted by dyslexic students in Hong Kong. Through this comprehensive framework, the new processes in the Chinese writing and their difficulties were identified which will shed light on the analysis of the difficulties of dyslexia students in future research in Chinese writing or bilingual writing.
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Cheung, Wing. "A comparative study on Chinese language teaching materials in primary schools of Hong Kong and of mainland China a textual approach = Xianggang he Zhongguo nei di xiao xue Zhongguo yu wen ke jiao cai bi jiao yan jiu : yi ke wen wei zhong xin /." Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B4292652X.

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Lam, Yin-wan. "Senior secondary students use of web-logs in writing Chinese a case study = Xianggang gao zhong xue sheng zhong wen wang shang ri zhi xie zuo ge an yan jiu /." Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B37198361.

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Sim, Seok-hwa. "The use of blogging to enhance the learning of chinese writing in secondary school students in Singapore Zhong wen wang zhi xie zuo dui ti sheng Xinjiapo zhong xue sheng xie zuo neng li yu tai du zhi cheng xiao yan jiu /." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B40888022.

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Books on the topic "Zhang, Yan, Chinese language"

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Yu yan xue wen ji: Kao zheng, yi li, ci zhang. Shanghai: Shanghai ren min chu ban she, 2008.

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Zhang Xie zhuang yuan ci hui yan jiu. Chengdu: Ba Shu shu she, 2008.

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Chun qiu Zhan guo Jin wen zi ti yan bian yan jiu: Zhang Xiaoming zhu. Jinan: Qi Lu shu she, 2006.

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Dekuan, Xu, ed. Han yu pian zhang zhong de shi jian biao xian xing shi yan jiu. Beijing: Yu wen chu ban she, 2007.

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Yu yan yu yan yu zhang ai lun ji: Yuyan yu yanyuzhang'ai lunji. Beijing: Shou du shi fan da xue chu ban she, 1996.

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Zhu ming zhong nian yu yan xue jia zi xuan ji: Zhang Yongquan juan. Shanghai: Shanghai jiao yu chu ban she, 2011.

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Zhang yong Han zi yan bian tu shuo: Chang yong Han zi yan bian tu shuo. Shanghai: Shanghai shu dian chu ban she, 1994.

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Zhang Bin yu fa si xiang yan jiu: Study on Zhang Bin's Thoughts on Chinese Grammar. Beijing Shi: She hui ke xue wen xian chu ban she, 2013.

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Wen zhang xiu yang. 2nd ed. Beijing: Sheng huo, du shu, xin zhi san lian shu dian, 1998.

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Wen zhang xiu yang. Beijing Shi: Sheng huo. du shu. xin zhi san lian shu dian, 2008.

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Book chapters on the topic "Zhang, Yan, Chinese language"

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"The Close-up of Mo Yan and Zhang Yimou:." In Close-ups and Long Shots in Modern Chinese Cinemas, 8–35. University of Hawaii Press, 2020. http://dx.doi.org/10.2307/j.ctvz0h8nv.5.

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"CHAPTER ONE The Close-up of Mo Yan and Zhang Yimou." In Close-ups and Long Shots in Modern Chinese Cinemas, 8–35. University of Hawaii Press, 2020. http://dx.doi.org/10.1515/9780824885670-003.

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"Zhou Yan-Ping: The effect of explicit instruction on the acquisition of English grammatical structures by Chinese learners." In Language Awareness in the Classroom, 270–93. Routledge, 2014. http://dx.doi.org/10.4324/9781315845524-32.

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Chao, Shi-Yan. "Performing Gender, Performing Documentary in Postsocialist China." In Queer Representations in Chinese-language Film and the Cultural Landscape. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462988033_ch06.

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This chapter focuses on Tang Tang (Zhang Hanzi, 2004) and Mei Mei (Gao Tian, 2005), two Chinese documentaries. Although each documentary centers around a female impersonator, they approach their subjects in distinct ways. While Mei Mei portrays its subject with nuance and intense emotional investment, Tang Tang emphasizes formal experimentation. Positioning Tang Tang at the intersection of what I call the film’s “performing documentary” and the subject’s “performance of gender,” I argue that the reflexivity permeating Tang Tang foregrounds the openness of the queer subjectivities it portrays. My investigation further addresses each film’s subjects as human beings materialized in and through a matrix of social, political, and economic conditions marked by spatial and temporal parameters.

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Pesaro, Nicoletta. "Xiao Hong: corpi in fuga." In Diaspore. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-238-3/006.

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Xiao Hong (1911-1942), original name Zhang Naiying, lived through the first half of the twentieth century, leaving behind the image of a socially engaged writer, sensitive to the issues connected to the people of her troubled homeland, in the North East of China. After an initial enthusiastic reception of her most representative novel, The Field of Life and Death (1935) in the literary arena, she was later neglected by Chinese critics, and excluded from the Maoist literary canon, as her fictional creatures and her works did not fit the optimistic spirit and the class consciousness requested to the intellectuals of the time. She was then re-discovered only in the 1980s, when both in China and the West her works have been re-read with a feminist or cultural studies approach. In this paper I explore the personal and literary forms of escape underpinning her figure and literary production. Exile, escape, uncertainty are the key words which can adequately describe Xiao Hong’s life and writing, in which, as Yan Haiping (2006, 136) states, one can find the sense of a ‘mobile violence’, due to her choices both as a woman (who revolted against her traditionally bound clan) and as a writer, who adopted a quite innovative, fragmented style combining personal memories and a crude and yet poetic realism. The literary practice which mainly expresses her constant escape from stereotypes, ignorance and conventional fetters is the representation of a dislocated female body subject to any kind of violence and humiliation: Xiao Hong’s ‘placeless bodies’ (Yan Haiping 2006, 146) are tangible marks of subjugation but also of resilience against a gendered destiny, which let her construct her literary and personal identity on a popular standpoint.

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Morbiato, Anna. "Chinese Sentence-Initial Indefinites: What Corpora Reveal." In Sinica venetiana. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-406-6/003.

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The sentence-initial position in Chinese* is generally associated with givenness and definiteness (Li and Thompson 1976, 1981 and subsequent literature). However, observations have been raised against this association, e.g., with informationally new sentence-initial referents (Paul, 2015) or even indefinite ones (Bisang, 2016; B. Lu, Zhang, & Bisang, 2015). Furthermore, literature has emerged that offers contradictory findings, including Fan (1985) and subsequent studies on so-called ‘indefinite subject sentences’ (无定主语句). However, little is known of the statistical relevance of the phenomenon of sentence-initial indefinites (SIIs), as well as its interaction with features connected to linear order (e.g., animacy). Crucially, corpus-based studies on the topic remain the minority and are usually conducted on relatively small, genre-specific corpora. This paper adopts corpus methodologies and tools to investigate the phenomenon of SIIs, with a particular focus on determining (i) the statistical relevance of SIIs of the type of ‘一CLF N’ in big-size corpora, and (ii) whether there is an interaction with the semantic feature of animacy. To this end, it proposes the results of quantitative and qualitative analyses conducted on three major big-size, generalised corpora, namely the PKU CCL corpus (Peking University, 470 million characters), the BCC corpus (Beijing Language and Culture University, 15 billion characters), and the ZHTenTen (Stanford Tagger) corpus mounted at Sketch Engine (13,5 billion characters). The analysis highlights that SIIs are not only possible, but also statistically relevant. Furthermore, it shows that the semantic trait of animacy plays an important role, as animate indefinites are significantly more likely to occur sentence-initially. Finally, it singles out and discusses a new pattern featuring a proper noun introduced by ‘一CLF’.

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Jaguścik, Justyna. "In Search of Spaces of Their Own: Woolf, Feminism and Women’s Poetry From China." In The Edinburgh Companion to Virginia Woolf and Contemporary Global Literature, 314–31. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474448475.003.0018.

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This chapter discusses the traveling of Woolf's writing, especially A Room of One's Own, into twentieth-century China. It argues, that since 1928, when this text had first been discussed by Xu Zhimo, A Room has remained an important point of reference in the Chinese-language feminist theory and literature. Particularly in post-Mao China, many female authors have been inspired by Woolf's spatial metaphoric and her reflections on female authorship. This chapter proposes close readings of poems and essays by Chinese contemporary female poets, such as Lu Yimin, Wang Xiaoni, Zhai Yongming and Zhang Zhen. It demonstrates that Woolf’s ideas have reverberated throughout works by the most innovative avant-garde female poets of the post-Mao era.

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Lee, Sangjoon. "Constructing the Anticommunist Producers’ Alliance." In Cinema and the Cultural Cold War, 92–113. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501752315.003.0005.

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This chapter explains the strategic significance of Hong Kong to the Asia Foundation (TAF), which was attributed to its geographical, political, and economic weight among overseas Chinese communities in Southeast Asia. It mentions Robert Blum, who understood the importance of Hong Kong as the primary center in Asia for the production of Chinese media in the Mandarin language. It also talks about the film industry in Hong Kong that had been believed to be heavily dominated by communist producers as it had been subsidized by Chinese communist capital. The chapter identifies film production companies, such as Great Wall Pictures, The Phoenix Studio, and Dragon Horse, that had been markedly successful in local markets since the founding of the People's Republic of China (PRC) in 1949. It discusses how Great Wall Pictures was cofounded by Zhang Shankun, who is known as the king of Chinese cinema in wartime Shanghai.

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Conference papers on the topic "Zhang, Yan, Chinese language"

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Zhang, Jinxia. "Yan Shigu and The Standardization of Chinese Language." In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.90.

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WONG, K. L., and L. Y. LO. "A Study of Emotional Intelligence: Comparison between two groups of Students from Department of Economics and Finance and Department of Chinese Language and Literature in Hong Kong Shue Yan University." In Annual International Conference on Contemporary Cultural Studies. Global Science & Technology Forum (GSTF), 2014. http://dx.doi.org/10.5176/2382-5650_ccs14.19.

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