This volume in the Chen Kung Series is a landmark translation and explanation of Taijiquan's most profound text—the Yang family's secret training journal on Intrinsic Energies (Jin). The commentary brilliantly explicates a work that will be an essential reference for any Taijiquan practitioner. Intrinsic Energies are the profound and marvelous skills of an accomplished Taijiquan master. They are the very foundation of self-defense skills in Taijiquan and are what sets Taijiquan apart and beyond all other styles of martial art. Anyone interested in developing their Taijiquan skills to the highest levels needs to read and study this work. “I predict that this will be one of the most important works on T'ai Chi yet to be published in English. While the text itself is enlightening, the real pearls of knowledge contained in this book are to be found in Olson's commentary. Concepts and ideas typically mystified by practitioners are masterfully presented in a clear, direct manner.”—Dan Miller, editor Pa Kua Chang Journal The information in Stuart Alve Olson's six-volume Chen Kung Series, available to the Chinese reader since 1936, covers the entire Yang family system of Taijiquan practice and philosophy. Chen Kung's original Chinese book is a distinct and invaluable resource that is now accessible to English readers through the brilliant translation work and insightful commentary of Stuart Alve Olson. No matter what style of Taijiquan (Tai Chi Chuan) you practice or what level of skill you have achieved, the Chen Kung Series will greatly broaden your knowledge and skills, as it is truly a “Master's Program” on the art of Taijiquan.
Along with Chinese art, medicine, and philosophy, taijiquan has left the confines of its original culture, and offers health, relaxation, and a method of self-defense to people around the globe. Using the early texts now known as The Taijiquan Classics which have served as a touchstone for t’ai chi practitioners for 150 years, this book explores the fundamental ideas and what they mean to practitioners, students, and scholars. It also incorporates newly discovered sources that address the history of taijiquan and newly translated commentaries by Chen Weiming.
In order to master Taijiquan you must begin with the most fundamental steps, and systematically work up to the advanced levels, slowly building up your knowledge and technique as you go. This book explains the five levels of Taijiquan from complete beginner to highest level practitioner. Presenting a word for word translation, with commentary, of Grandmaster Chen Xiaowang's original Chinese text, Master Jan Silberstorff provides detailed guidance through each of the five levels. Readers will learn how to assess their current Taiijiquan ability and identify exactly what is needed to reach the next level and ultimately the highest goal - the perfection of Taiji, or reaching a complete state of being. This is an accessible and motivational book for all Taijiquan students and practitioners, as well as anyone wishing to gain a deeper understanding of the ancient art of Taijiquan.
The first-ever English translation of the most important masterworks of Chen Style Taiji, as originally published by the renowned grandmaster Chen Zhaopi Chen Zhaopi (1893-1972) is universally recognized as a preeminant grandmaster of Chen Style taijiquan, an ancient martial art that is the foundation of all taijiquan schools. During his lifetime, Chen was lineage successor and teacher to Chen Village's current generation of senior masters, including Chen Xiaowang, Wang Xi'an, Chen Zhenglei, Zhu Tiancai, and the late Chen Qingzhou. This book is the first-ever English translation of key selections from his seminal 1935 publication, Chen Style Taijiquan Collected Masterworks. Gathered together are taijiquan's most important texts dating back to its earliest period of development. These include the writings of its putative creator, Chen Wangting, and its reorganizer, Chen Changxing, and the biographies of eminent family members such as Chen Zhongshen. Author and translator Mark Chen's commentary provides readers with the most complete picture of taijiquan's origins, evolution, and theory to date. Also included is a step-by-step, pictorial exposition of Chen taijiquan's "old frame" first form, demonstrated by Chen Zhaopi himself.
Women and Gender in Chinese Martial Arts Films of the New Millennium, by Ya-chen Chen, examines underexposed gender issues in more recent films, focusing on the contradictory feminism in the film narratives. Through the lens of Chinese martial arts films, Chen delves into "Chinese cinematic martial arts feminism," highlighting the glass ceiling which marks the maximal exercise of feminism which the patriarchal order is willing to accept.
Taijiquan is Internal Alchemy in motion, and the Taiji Qigong Form and supplemental exercises in Tai Ji Qi (Volume One of the Chen Kung Series) represent the very foundation for the Internal Alchemy aspects in the practice of Taijiquan.The information in Stuart Alve Olson's six-volume Chen Kung Series, available to the Chinese reader for nearly eighty years, covers the entire Yang family system of Taijiquan practice and philosophy. Chen Kung's original Chinese book, published in 1936, is a distinct and invaluable resource that is now accessible to English readers through the brilliant translation work and insightful commentary of Stuart Alve Olson.No matter what style of Taijiquan (Tai Chi Chuan) you practice or what level of skill you have achieved, the Chen Kung Series will greatly broaden your knowledge and skills, as it is truly a “Master's Program” on the art of Taijiquan.
This scholarly compendium offers a comprehensive analysis of King Hu’s transformative impact on Chinese martial arts cinema. It begins with a foundational examination of King Hu’s directorial influence, setting the stage for an in-depth exploration of his filmography, including critical works like Dragon Inn and A Touch of Zen. The volume employs advanced theoretical frameworks, such as David Bordwell’s film poetics, to dissect King Hu’s pervasive influence across generations of filmmakers, and the analysis of cultural translation and subtitling practices further illuminates the global dissemination and reception of Hu’s films. A critical focus is placed on King Hu’s oeuvre, analyzing its adaptability and intertextual resonance within broader artistic milieus. The book also critiques Hu’s representation of women in martial arts cinema, interrogating both progressive and problematic elements. Concluding sections emphasize Hu’s mastery in marrying classical Chinese narrative techniques with visual storytelling, highlighting his enduring legacy in the martial arts genre and global cinematic landscape. This volume asserts King Hu as a pivotal cultural auteur, whose work continues to shape cinematic expression and discourse, making it an essential resource for scholars in film studies and aficionados of wuxia cinema.
The charismatic form of healing called qigong, which at its core involves meditative breathing exercises, achieved enormous popularity in China during the last two decades. Anthropologist Nancy N. Chen examines the cultural context of medicine and healing practices in the PRC, Taiwan, and the United States, and the pages of her book come alive with the narratives of the numerous practitioners, healers, psychiatric patients, doctors, and bureaucrats she interviewed.
As a member of the House Foreign Affairs Subcommittee on Asian and Pacific Affairs, I am necessarily concerned about the future role of Communist China in world affairs. A true understanding of Peking's foreign policy motives and objectives is possible only if one has a grasp of the ideological foundations and conflicts of the contemporary leaders of the Chinese Communist Party. Therein lies the value of Professor Yung Ping Chen's revised edition Chinese Political Thought: Mao Tse-tung and Liu Shao-chi. Within a compact number of pages, Professor Chen's book provides the rt~ader with a clear and ready grasp of the fundamentals of Com munist Chinese ideology. Although its scholarship is evident, the work's interpretation do not overwhelm the reader with lengthy quotations or confuse him with excessive speculations-difficulties sometimes associa ted with books about China. Instead, Professor Chen appears to have the ability to reduce complicated ideas to manageable proportions. In his revised edition, the author makes use of source material which recently has become available outside China to clarify issues involved in the "Great Proletarian Cultural Revolution." That phenomenon, which has caused so much wonder and speculation in the West, is analyzed by Professor Chen. He describes for the reader the underlying ideological factors which have emerged from the great turmoil in China, placing them within a framework of verified historical events while avoiding the pitfall of endless theorizing about situations and events inside China about which too little is yet known.
The Chinese have, since ancient times, professed a non-litigious outlook. Similarly, their preference for mediation has fascinated the West for centuries. Mediation has been popularized by the Chinese who subscribe to the Confucian notions of harmony and compromise. It has been perpetuated in the People's Republic of China and by the overseas Chinese communities elsewhere, such as in Malaysia and Taiwan. Seen as the chief contributing factor in their litigation-averse nature, as well as the reason behind the significant role given to traditional mediation, this compelling book traces the cultural tradition of the Chinese. It uses rural Chinese Malaysians as illustrative examples and offers new insights into the nature of mediation East and West. It is an important reference and essential resource for anyone keen to learn about traditional Chinese concepts of law, justice and dispute settlement. Equally, it makes a unique contribution to the existing ADR literature by undertaking a socio-legal study on traditional Chinese mediation.
This book aims to provide readers with adequate knowledge for clinical application of Chinese medicine, which is in line with the fundamental principle of correspondence of Chinese medicinals and patterns. It contains a brief introduction to relative theories, divides these medicinals by actions into categories such as exterior-releasing, heat-clearing, purgative, dampness-dispelling, fluid retention-disinhibiting, interior-warming, qi-regulating, blood-invigorating, blood-stanching, food accumulation-relieving, phlegm, cough- and wheezing-arresting, mind-tranquilizing, liver-calming, orifices-opening, tonifying, astringing, and worm-dispelling, and elaborates each herb in terms of its actions, quality, indications, usage, and dosage. Furthermore, mnemonics and simple and effective formulas are included to help readers effectively grasp the concepts behind practical applications, and precautions and daily practices are specifically designed to support readers in easily understanding and retaining the information.
Women and Gender in Chinese Martial Arts Films of the New Millennium, by Ya-chen Chen, is an excavation of underexposed gender issues focusing mainly on contradictory and troubled feminism in the film narratives. In the cinematic world of martial arts films, one can easily find representations of women of Ancient China released from the constraints of patriarchal social order to revel in a dreamlike space of their own. They can develop themselves, protect themselves, and even defeat or conquer men. This world not only frees women from the convention of foot-binding, but it also "unbinds" them in terms of education, critical thinking, talent, ambition, opportunities to socialize with different men, and the freedom or right to both choose their spouse and decide their own fate. Chen calls this phenomenon "Chinese cinematic martial arts feminism." The liberation is never sustaining or complete, however; Chen reveals the presence of a glass ceiling marking the maximal exercise of feminism and women's rights which the patriarchal order is willing to accept. As such, these films are not to be seen as celebrations of feminist liberation, but as enunciations of the patriarchal authority that suffuses "Chinese cinematic martial arts feminism." The film narratives under examination include Crouching Tiger, Hidden Dragon (directed by Ang Lee); Hero (Zhang Yimou); House of the Flying Daggers (Zhang Yimou); Seven Swords (Tsui Hark); The Promise (Chen Kaige); The Banquet (Feng Xiaogang); and Curst of the Golden Flower (Zhang Yimou). Chen also touches upon the plots of two of the earliest award-winning Chinese martial arts films, A Touch of Zen and Legend of the Mountain, both directed by King Hu.
In 1995 Chinese animated filmmaking ceased to be a state-run enterprise and was plunged into the free market. Using key animated films as his case studies, Shaopeng Chen examines new generation Chinese animation in its aesthetic and industrial contexts. He argues that, unlike its predecessors, this new generation does not have a distinctive national identity, but represents an important stage of diversity and exploration in the history of Chinese animation. Chen identifies distinct characteristics of new generation filmmaking, including an orientation towards young audiences and the recurring figure of the immortal monkey-like Sun Wukong. He explores how films such as Lotus Lantern/Baolian Deng (1999) responded to competition from American imports such as The Lion King (1994), retaining Chinese iconography while at the same time adopting Hollywood aesthetics and techniques. Addressing the series Boonie Bears/Xiong Chumo (2014-5), Chen focuses on the films' adaptation from the original TV series, and how the films were promoted across generations and by means of both online and offline channels. Discussing the series Kuiba/Kui Ba (2011, 2013, 2014), Chen examines Vasoon Animation Studio's ambitious attempt to create the first Chinese-style high fantasy fictional universe, and considers why the first film was a critical success but a failure at the box-office. He also explores the relationship between Japanese anime and new generation Chinese animation. Finally, Chen considers how word-of-mouth social media engagement lay behind the success of Monkey King: Hero is Back (2015).
First published in 1987. The teachings of Confucius have sustained the East for over 2,500 years. As set forth in the Four Books, Confucianism stresses morality, love of peace, justice, honesty, virtue, moderation in all things and sincerity as the means of self-fulfilment. Chen arranges into one compact volume the essential principles for human conduct propounded in Confucius's Four Books, and to make them easily accessible to Western readers for the first time.
This volume offers a careful analysis of the contextual Christology of T. C. Chao, one of the most important Chinese theologians and Chinese church leaders in the first half of twentieth century. At the core of Chao’s Christology is the encounter between Christianity and the Chinese people, in particular the Chinese Christians. In response to the rapid social changes in China between 1910-1950, he attempted to develop a relevant theology by focusing on the characteristics of Christianity and, at the same time, aiming to understand Christianity within its Chinese context.
Founded during the Gold Rush years, the Chinese community of San Francisco became the largest and most vibrant Chinatown in America. This is a detailed social and cultural history of the Chinese in San Francisco.
Translating Chinese Culture is an innovative and comprehensive coursebook which addresses the issue of translating concepts of culture. Based on the framework of schema building, the course offers helpful guidance on how to get inside the mind of the Chinese author, how to understand what he or she is telling the Chinese-speaking audience, and how to convey this to an English speaking audience. A wide range of authentic texts relating to different aspects of Chinese culture and aesthetics are presented throughout, followed by close reading discussions of how these practices are executed and how the aesthetics are perceived among Chinese artists, writers and readers. Also taken into consideration are the mode, audience and destination of the texts. Ideas are applied from linguistics and translation studies and each discussion is reinforced with a wide variety of practical and engaging exercises. Thought-provoking yet highly accessible, Translating Chinese Culture will be essential reading for advanced undergraduates and postgraduate students of Translation and Chinese Studies. It will also appeal to a wide range of language studies and tutors through its stimulating discussion of the principles and purposes of translation.
This book exclusively focuses on visible and under-the-table power struggles with regards to aspects of communities, connections, cultures, and communication related to Chinese language teaching in US higher education in the past two decades. As long as there are diverse communities in a society, conflicts between different groups of people become inevitable, and these lead, in turn, to power struggles. Once there are conflicts or power struggles among various communities, problematic subtleties about connections to different communities, as well as comparisons and contrasts of social varieties and cultural legacies, indubitably ensue.
As a member of the House Foreign Affairs Subcommittee on Asian and Pacific Affairs, I am necessarily concerned about the future role of Communist China in world affairs. A true understanding of Peking's foreign policy motives and objectives is possible only if one has a grasp of the ideological foundations and conflicts of the contemporary leaders of the Chinese Communist Party. Therein lies the value of Professor Yung Ping Chen's revised edition Chinese Political Thought: Mao Tse-tung and Liu Shao-chi. Within a compact number of pages, Professor Chen's book provides the rt~ader with a clear and ready grasp of the fundamentals of Com munist Chinese ideology. Although its scholarship is evident, the work's interpretation do not overwhelm the reader with lengthy quotations or confuse him with excessive speculations-difficulties sometimes associa ted with books about China. Instead, Professor Chen appears to have the ability to reduce complicated ideas to manageable proportions. In his revised edition, the author makes use of source material which recently has become available outside China to clarify issues involved in the "Great Proletarian Cultural Revolution." That phenomenon, which has caused so much wonder and speculation in the West, is analyzed by Professor Chen. He describes for the reader the underlying ideological factors which have emerged from the great turmoil in China, placing them within a framework of verified historical events while avoiding the pitfall of endless theorizing about situations and events inside China about which too little is yet known.
Chen (management, Chinese University of Hong Kong and Imperial College of Science, Technology, and Medicine--England) offers Western managers advice on navigating the Chinese business world. He explains the cultural and social principles underlying Chinese business organizations and their dynamics, illustrating his analyses with examples drawn from Asian and North American businesses. Communication patterns, networking, negotiation, competition, and the structure of China's transition economy are all discussed. Annotation copyrighted by Book News Inc., Portland, OR
Foreword by Ezra F. Vogel, Director of the East Asia Research Center. Introduction. Includes sources, studies of modern Chinese literature, studies and translations of individual authors, and unidentified authors. Some titles shown in Chinese characters. Three appendices. Index.
Introduces and analyzes the Chinese people, their ideas, behavior, and cultural roots. It not only provides a sufficient theoretical basis for understanding this population, but also focuses on the various vivid practical experiences of everyday and business life. A Guide to Successful Business Relations With the Chinese alters Western business people’s perception of the Chinese people and improves their ability and skill in creating harmonious relationships with Chinese managers, colleagues, and subordinates on business and personal levels.
This book re-examines the nature of early Chinese work in natural science, on the basis of original records analysis and artifacts discovered in recent decades by archaeological explorations of China's past. It presents a concise account of early scientific ideas and thoughts of nature, and their effect on the development of natural science. It is suggested that the traditional characterization of early Chinese work in natural science requires substantial modification. The absence of early Chinese participation in the development of 'modern' science is not, as commonly assumed, a consequence of lacking early scientific tradition in ancient China. It is argued that the concept of 'inhibitive' factors is dubious without taking their dynamical relationships into account, and that socio-economical and political influence has to be considered when seeking answers to the major setbacks in science and technology in China. The book also shows that there is no basis for the claims saying that acoustics and astronomy in China have their roots in Babylon.
Performed Culture in Chinese Language Education: A Culture-Based Approach for U.S. Collegiate Contexts elaborates on a cultural awareness-oriented, cultural performance-based, and cross-cultural communication-focused foreign language pedagogical paradigm—Performed Culture Approach — in the context of U.S. collegiate Chinese language education. Guangyan Chen draws on the data collected through questionnaires, comparisons between this pedagogy and mainstream pedagogical frameworks, and analyses of curricular development, lesson plans, and classroom discourses. Chen promotes the performed culture approach by delineating the theoretical framework of this pedagogy, reporting studies that empirically support cultural primacy in Chinese language education, and illustrating this pedagogy through analyses of a curricular structure, a lesson plan, and classroom discourses. Chen shows how this pedagogy addresses the gaps between the social need for global citizens and the insufficient integration of culture into foreign language education. The performed culture approach also addresses the overall drop in U.S. collegiate foreign language enrollment as this pedagogy connects foreign language programs to university missions and social needs.
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