The Sung Neo-Confucian synthesis is one of the two great formative periods in the history of Confucianism. Shao Yung (1011-77) was a key contributor to this synthesis, and this study attempts to make understandable the complex and highly theoretical thought of a philosopher who has been, for the most part, misunderstood for a thousand years. It is the first full-length study in any language of Shao Yung's philosophy. Using an explicit metaphilosophical approach, the author examines the implicit and assumed aspects of Shao Yung's thought and shows how it makes sense to view his philosophy as an explanatory theory. Shao Yung explained all kinds of change and activity in the universe with six fundamental concepts that he applied to three realms of reality: subsensorial "matter," the phenomenal world of human experience, and the theoretical realm of symbols. The author also analyzes the place of the sage in Shao's philosophy. Not only would the sage restore political and moral unity in society, but through his special kind of knowing he also would restore cosmological unity. Shao's recognition that the perceiver had a critical role in making and shaping reality led to his ideal of the sage as the perfect knower. Utilizing Shao's own device of a moving observational viewpoint, the study concludes with an examination of the divergent interpretations of Shao's philosophy from the eleventh to the twentieth century. Because Shao took very seriously numerological aspects of Chinese thought that are often greatly misunderstood in the West (e.g., the I Ching), the study is also a very good introduction to the epistemological implications of an important strand of all traditional Chinese philosophical thought.
We think of blue and white porcelain as the ultimate global commodity: throughout East and Southeast Asia, the Indian Ocean including the African coasts, the Americas and Europe, consumers desired Chinese porcelains. Many of these were made in the kilns in and surrounding Jingdezhen. Found in almost every part of the world, Jingdezhen's porcelains had a far-reaching impact on global consumption, which in turn shaped the local manufacturing processes. The imperial kilns of Jingdezhen produced ceramics for the court, while nearby private kilns manufactured for the global market. In this beautifully illustrated study, Anne Gerritsen asks how this kiln complex could manufacture such quality, quantity and variety. She explores how objects tell the story of the past, connecting texts with objects, objects with natural resources, and skilled hands with the shapes and designs they produced. Through the manufacture and consumption of Jingdezhen's porcelains, she argues, China participated in the early modern world.
Explores the life and achievements of fashion designer Vera Wang; covering her privleged childhood in New York and Paris, education, work at "Vogue" and with Ralph Lauren, personal life, bridal business, family, and expansion into other industries. Includes chronology, glossary, and a list of additional resources.
In Chinese Mythology, Anne Birrell provides English translations of some 300 representative myth narratives selected from over 100 classical texts, many of which have never before been translated into any Western language. Organizing the narratives according to themes and motifs common to world mythology, Birrell addresses issues of source, dating, attribution, textural variants, multiforms, and context. Drawing on exhaustive work in comparative mythology, she surveys the development of Chinese myth studies, summarizes the contribution of Chinese and Japanese scholars to the study of Chinese myth since the 1920s, and examines special aspects of traditional approaches to Chinese myth. The result is an unprecedented guide to the study of Chinese myth for specialists and nonspecialists alike.
Mrs Butterworth and Mrs McGuire, a teacher and office manager were working within a quiet little primary school in the Seaside Town of Dimples on Sea when, suddenly, their earring alarms buzzed to warn them that a crime was being committed and had to be solved. Thereby, these two ladies become Big Mac and Butters, school detectives who try to infiltrate a gang of cat burglars run by the villain Cat Ching and the equally villainous head teacher Mr Cycle, read on……..
This is an excellent, clear and comprehensive book for Year 1 architecture students, which will continue to be useful throughout their course and into practice. - Laura Evans, Kingston University, UK This one-stop handbook for architecture students provides step-by-step techniques for perfecting the vital skills of drawing, model making and surveying. It is a primer on the conventions of architectural representation and the use of materials. It also explains the primary elements of construction and structure from first principles, using clear diagrams and drawings. Recommended in the first year at numerous architecture schools, this second edition has been updated to include a new section on sustainability, more on types of drawing and when to use them, and more on structural principles and materials.
+This richly illustrated volume documents the art and fully examines the career of the sixteenth-century Chinese master T'ang Yin. One of the four great painters of the middle Ming period, the ambitious T'ang Yin rose above the merchant class into which he was born to become a member of the elite scholarly circle in the city of Suchou. Deprived by accident of his academic degrees and so forced to paint for a living, T'ang Yin became a social anomaly whose style of life cut across the conventions of his time. His experiences throw into sharp relief the realities faced by a Chinese painter who was both elite Confucian scholar and professional painter. Anne De Coursey Clapp's work also explores larger issues of Ming painting raised by the artist's turbulent career. She describes the social and intellectual values exalted in Ming Suchou, its system of patronage, the contrast between the professional and amateur artist, and the formative influence of twelfth-century Sung dynasty styles on Suchou painters. Clapp shows how T'ang Yin's artistic inventions were made in the course of leading the revival of Sung dynasty styles in Suchou: tracing T'ang Yin's early studies of ancient and contemporary masters, she describes how he reworked an antique style, converting it into a vehicle of expression that reached fruition in a long series of fresh and powerful paintings of landscapes and birds-and-flowers. In the process, she revises the distorted version of middle Ming painting written by later Chinese art theorists to justify their own social and artistic values, noting especially the role of art patrons and their effect on artistic production. Clapp analyzes the increasing currency of painting as a means of social exchange in ancient China. In particular, she identifies commemorative painting as a major genre of the later dynasties and explores the role it played in the oeuvres of professional masters with its humanistic implications for the Chinese view of the ideal scholarly man. Her broad view of T'ang Yin's career shows him divided between the professional and amateur camps of his time: in landscape and figural subjects he was aligned with the professionals; in flower subjects with the amateurs. Clap argues that the uneven distribution of styles and genres between this master who was subject to the market, and those who were independent of it, suggests that T'ang deliberately tried to expand the range of his paintings in order to appeal to buyers in the lower educational and social strata. Illustrated by some of T'ang Yin's most celebrated paintings and by some which are published for the first time, her work is of tremendous importance to art, literary, and cultural historians of Ming China. "In this important work, Anne de Coursey Clapp has drawn a clear picture of T'ang Yin's life, patronage relationships, and contribution to the history of Chinese painting. In the person of T'ang Yin, she has chosen an ideal focus around which to examine some of the misleading stereotypes which have distorted our understanding of Chinese painting since the seventeenth century. Marked by analytical clarity and scrupulous scholarship, her work is a welcome addition to the few works in English on individual Chinese artists."—Louise Yuhas, Occidental College
divA loving and admiring companion for half a century to literary titan Ezra Pound, concert violinist Olga Rudge was the muse who inspired the poet to complete his epic poem, The Cantos, and the mother of his only daughter, Mary. Strong-minded and defiant of conventions, Rudge knew the best and worst of times with Pound. With him, she coped with the wrenching dislocations brought about by two catastrophic world wars and experienced modernism’s radical transformation of the arts. In this enlightening biography, Anne Conover offers a full portrait of Olga Rudge (1895–1996), drawing for the first time on Rudge’s extensive unpublished personal notebooks and correspondence. Conover explores Rudge’s relationship with Pound, her influence on his life and career, and her perspective on many details of his controversial life, as well as her own musical career as a violinist and musicologist and a key figure in the revival of Vivaldi’s music in the 1930s. In addition to mining documentary sources, the author interviewed Rudge and family members and friends. The result is a vivid account of a highly intelligent and talented woman and the controversial poet whose flame she tended to the end of her long life. The book quotes extensively from the Rudge–Pound letters--an almost daily correspondence that began in the 1920s and continued until Pound’s death in 1972. These letters shed light on many aspects of Pound’s disturbing personality; the complicated and delicate balance he maintained between the two most significant women in his life, Olga and his wife Dorothy, for fifty years; the birth of Olga and Ezra’s daughter Mary de Rachewiltz; Pound’s alleged anti-Semitism and Fascist sympathies; his wartime broadcasts over Rome radio and indictment for treason; and his twelve-year incarceration in St. Elizabeth’s Hospital for the mentally ill. /DIV
In English, I’n-Lon-Schka means "playground of the eldest son." The dance, in which women are allowed only a peripheral role, celebrates traditional masculine values while helping to break down factionalism and feuding within the tribe. The participants, who now number in the hundreds, assemble each June in three Oklahoma communities-Pawhuska, Hominy, and Grayhorse-where the Dance Chairmen, the Drumkeeper (an eldest son of the tribe), and the dance organization have been preparing for the dance throughout the year. The I’n-Lon-Schka is religious in content and continues to establish conduct and ways of living for tribal members.
This is the untold story of Tibet—a compelling account of conspiracy, covert organizations and international intrigue—told through the eyes of Gyalo Thondup, the Dalai Lama’s elder brother. After Tibet was overrun by the Chinese in 1951, Thondup served for decades as His Holiness’ special envoy to many countries, gaining an unparalleled perspective of the ongoing tussle of the divergent interests of China, India, Russia and the United States. Together with Anne F. Thurston, Gyalo Thondup shares his experiences, classified information and rare photos for the first time and his vision for Tibet in the twenty-first century.
Profiles pirates throughout history, especially women pirates of Europe, America, and Asia, such as Princess Alvilda, Ingean Ruadh, Grany Imallye, Elizabeth Killegrew, Anne Bonny, and Lai Cho San.
This wide-ranging exploration of the apocalypse in Western culture seeks to understand how we have come to be so preoccupied with spectacular visions of our own annihilation—offering abundant examples of the changing nature of our imagined destruction, and predisposing readers to discover many more all around them. The Apocalypse Is Everywhere: A Popular History of America's Favorite Nightmare explores why apocalyptic thinking exists, how it has been manifested in Western culture through the ages, and how it has woven itself so thoroughly into our popular culture today. Beginning with contemporary apocalyptic expressions, the book demonstrates how surprisingly widespread they are. It then discusses how we inherited them and where they arose. Author Annie Rehill surveys the ancient belief systems from which Christianity evolved, including ancient Judaism and other faiths. She explores the vision outlined in the Book of Revelation and traces the apocalyptic thread through the Middle Ages, across the Reformation and Enlightenment, and to the Americas. Finally, to prove that the Apocalypse is indeed everywhere, Rehill returns to the present to consider the idea of apocalypse as it occurs in movies, books, comics and graphic novels, games, music, and art, as well asin televangelism and even presidential speeches. Her fascinating scholarship will surely have readers looking about them with new eyes.
Gaia's Gift, the second of Anne Primavesi's explorations of human relationships with the earth, asks that we complete the ideological revolution set in motion by Copernicus and Darwin concerning human importancene. They challenged the notion of our God-given centrality within the universe and within earth's evolutionary history. Yet as our continuing exploitation of earth's resources and species demonstrates, we remain wedded to the theological assumption that these are there for our sole use and benefit. Now James Lovelock's scientific understanding of the existential reality of Gaia's gift of life again raises the question of our proper place within the universe. It turns us decisively towards an understanding of ourselves as dependent on, rather than in control of, the whole earth community.
Eternal feminine wisdom synchronizes the human heartbeat with the heartbeat of the universe. The Dalai Lama famously proclaimed that Western Women can save the world. But many modern women (and men) are painfully dissociated from Sophia, their inner spring of feminine wisdom and the primal source of their power and nurturance. Western women from around the globe have deep archetypal roots that have lain dormant after millennia of patriarchal control. Sophia awaits collective rebirth and her portal for rebirth is through the heart. Sophia, who the ancient Greeks regarded as the goddess of wisdom, represents a threshold through which we can access the deep reserves of archetypal wisdom veiled within our hearts. “The eternal feminine hithers us on” Johann Wolfgang von Goethe, Faust II To reveal this wisdom, we must open ourselves to methods beyond logos, the masculine principle of logic and structure that underlies the scientific approaches characteristic of our “enlightened” age. Paradoxically, as we begin to lift Sophia’s veil, we encounter scientific profundity, proving that masculine and feminine are not fundamentally at odds. Sophia does not replace logos but instead offers a balancing perspective, a wisdom beyond sense perceptions. Through Sophia, the wisdom of the heart accelerates the evolution of humanity from one-sided logos to incorporate new forms of awareness —and through our collective evolution we also heal the soul of the world, anima mundi.
Eternal feminine wisdom synchronizes the human heartbeat with the heartbeat of the universe. The Dalai Lama famously proclaimed that Western Women can save the world. But many modern women (and men) are painfully dissociated from Sophia, their inner spring of feminine wisdom and the primal source of their power and nurturance. Western women from around the globe have deep archetypal roots that have lain dormant after millennia of patriarchal control. Sophia awaits collective rebirth and her portal for rebirth is through the heart. Sophia, who the ancient Greeks regarded as the goddess of wisdom, represents a threshold through which we can access the deep reserves of archetypal wisdom veiled within our hearts. “The eternal feminine hithers us on” Johann Wolfgang von Goethe, Faust II To reveal this wisdom, we must open ourselves to methods beyond logos, the masculine principle of logic and structure that underlies the scientific approaches characteristic of our “enlightened” age. Paradoxically, as we begin to lift Sophia’s veil, we encounter scientific profundity, proving that masculine and feminine are not fundamentally at odds. Sophia does not replace logos but instead offers a balancing perspective, a wisdom beyond sense perceptions. Through Sophia, the wisdom of the heart accelerates the evolution of humanity from one-sided logos to incorporate new forms of awareness —and through our collective evolution we also heal the soul of the world, anima mundi.
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