This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1974.
In The Grand Scribe’s Records: Volume X, readers can follow Ssu-ma Qian’s depiction of the later years of the reign of Emperor Wu of the Han (r. 140–87 BC). The volume begins with four chapters describing the Han’s attempts to subdue states north, east, south and west of the empire. The subsequent long biography of Ssu-ma Hsiang-ju (179–117) presents one of the era’s major literary figures who came to oppose the Emperor’s expensive military campaigns against these states. It is followed by an equally extended portrayal of Liu An (d. 122), King of Huai-nan, who was seen as an internal threat and forced to commit suicide. The final chapters recount narratives of the ideal officials (all predating the Han) and the Confucians the Emperor championed.
This book explores how steam engine technology was transferred into nineteenth-century China in the second half of the nineteenth century by focusing on the transmission of knowledge and skills. It takes on the long-term problem in historiography that puts too much emphasis on politics but ignores the techno-scientific and institutional requirements for launching such an endeavor. It examines how translations broke linguistic and conceptual barriers and brought new a understanding of heat to the Chinese readership. It also explores how the Fuzhou Navy Yard’s shipbuilding and training program trained China’s first generation of shipbuilding workers and engineers. It argues that conservatism against technology was not to blame for China’s slow development in steamship building. Rather, it was government officials’ failure to realize the scale of institutional and techno-scientific changes required in importing and disperse new knowledge and skills.
Two contemporary poets from Taiwan, Yang Mu (pen name for Wang Ching-hsien, b. 1940) and Lo Ch’ing (pen name for Lo Ch’ing-che, b. 1948), are represented in this bilingual edition of Chinese poetry ranging from the romantic to the postmodern. Both poets were involved in the selection of poems for this volume, the first edition in any language of their selected work. Their backgrounds, literary styles, and professional lifes are profiled and compared by translator Joseph R. Allen in critical essays that show how Yang and Lo represent basic directions in modern Chinese poetics and how they have contributed to the definition of modernism and postmodernism in China. The book’s organization reflects each poet’s method of composition. Yang’s poems are chronologically arrangd, as his poetry tends to describe a narrative line that closely parallels his own biography. Lo’s poems, which explore a world of concept and metaphor, are grouped by theme. Although each poet has a range of poetic voices, Yang’s work can be considered the peak of high modernism in Chinese poetry, while Lo’s more problematic work suggests the direction of new explorations in the art. In this way the two poets are mutually illuminating. Each group of poems is prefaced by an “illustration” that draws from another side of the poet’s intellectual life. For Yang, who is a professor of comparative literature at the University of Washington, these are excerpts from his academic work (written under the name C.H. Wang) in English. The poems by Lo, a well-known painter living in Taiwan, are illustrated by five of his own ink paintings.
Wang Chen, a ninth-century military commander, was sickened by the carnage that had plagued the glorious T'ang dynasty for decades. "All within the seas were poisoned," he wrote, "and pain and disaster was rife throughout the land." Wang Chen wondered, how can we end conflicts before they begin? How can we explain and understand the dynamics of conflict? For the answer he turned to a remarkable source-the Tao Te Ching. Here is Wang Chen's own rendering of and commentary on the ancient text, insightfully expanded and amplified by translator Ralph D. Sawyer, a leading scholar of Chinese military history.Although the Tao long influenced Chinese military doctrine, Wang Chen's interpretations produced the first reading of it as a martial text-a "tao of war." Like Sun-tzu's Art of War, certainly the most famous study of strategy ever written, the Tao provides lessons for the struggles of contemporary life. In the way that the ancient Art of War provides inspiration and advice on how to succeed in competitive situations of all kinds, even in today's world, Wang Chen's The Tao of War uncovers action plans for managing conflict and promoting peace. A book to put on the shelf next to Art of War, Wang Chen's The Tao of War is a reference of equally compelling and practical advice.
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