William Hung was instrumental in opening China's rich documentary past to modern scrutiny, and he helped shape one of 20th-century China's remarkable Yenching University. In 1978, he began recalling his life to the author in weekly taping sessions. His reminiscences encompass the issues and dilemmas faced by Chinese intellectuals of his period.
A Pragmatist and His Free Spirit portrays the unconventional love of Hu Shi, a Chinese social reformer and civil rights pioneer, and Edith Clifford Williams, an American avant-garde artist of the early twentieth century. Hu studied at Cornell University, where he first met Williams, and Columbia University, where he worked with the famous pragmatist John Dewey. At the time of his death in 1962, he and Williams had exchanged more than 300 letters that, along with poems and excerpts from Hu's diaries and documents (some of which have never before been translated into English) form the center of this book. In Williams, Hu found his intellectual match, a woman and fellow scholar who helped the reformer reconcile his independent scholarship with cultural tradition. Williams counciled Hu on the acceptance of an arranged marriage, and she influenced his pursuit of experimental vernacular poetry through an exposure to avant-garde art. In 1933, the two became lovers, although their romance would eventually dwindle. Nevertheless, Williams maintained a devoted and honest correspondence with Hu throughout his tumultuous life. Hu's work touched on virtually every crucial aspect of twentieth-century Chinese society, particularly Chinese liberalism and the use of vernacular Chinese. A Pragmatist and His Free Spirit explores the lesser-known side of this major philosopher while reconstructing his romance with Williams. Not only does the volume place Hu within the larger social, economic, and political context of his time, but it also provides readers with a multifaceted portrait of China's dramatic modern history. Hu Shi: Father of the Modern Chinese Renaissance*1891: Born in a suburb of Shanghai; 1962: Died in Taipei.* Married with three children.* Possibly the most documented life in modern China.* Earned a B.A. and M.A. at Cornell University; Earned a Ph.D. at Columbia University, where he studied with the famous pragmatist John Dewey.* Became a leading figure of the Chinese Literary Revolution of 1919, advocating the use of vernacular Chinese and the importance of intellectual individualism.* Become a civil rights advocate who promoted the empowerment of women.* Served as the Republic of China's Ambassador to the United States from 1938 to 1942.* Installed as president of Peking University from 1946 to 1948.* Worked as curator of Princeton University's Gest Library from 1950 to 1952.* Became the target in absentia of a massive political denunciation campaign launched by the Chinese government between 1954 and 1955.* Served as president of Academica Sinica, Taipei, from 1958 to 1962.* Quoted as saying: "Be bold in your hypothesis; be meticulous in your verification." Edith Clifford Williams: A Woman Ahead of Her Time* 1885: Born in Ithaca, New York; 1971: Died in Barbados.* Claims to have followed her father's advice: "Don't marry unless you can't help it."* Studied at Yale University School of Art and the Académie Julian in Paris.* Became a pioneer of abstract art and a member of Alfred Stieglitz's inner circle.* Worked as the first full-time librarian of Cornell University's Veterinary Library from 1923 to 1946.* Completed two modernist works of monumental importance: Two Rhythms (1916), a painting now housed at the Philadelphia Museum of Art; and Plâtre à toucher chez de Zayas (1916), a sculpture made for touching that was featured in Marcel Duchamp's 1917 journal, Rongwrong, and used as the subject of a lecture by Guillaume Apollinaire in Paris.
As a scholar, William Hung was instrumental in opening China’s rich documentary past to modern scrutiny. As an educator, he helped shape one of twentieth-century China’s most remarkable institutions, Yenching University. A member of the buoyant, Western-educated generation that expected to transform China into a modern, liberal nation, he saw his hopes darken as political turmoil, war with Japan, and the Communist takeover led to a different future. yet his influence was widespread; for his students became leaders on both sides of the Taiwan Strait, and he continued to teach in the United States through the 1970s. In 1978, he began recalling his colorful life to Susan Chan Egan in weekly taping sessions. Egan draws on these tapes to let a skillful raconteur tell for himself anecdotes from his life as a religious and academic activist with a flair for the flamboyant. His reminiscences encompass the issues and dilemmas faced by Chinese intellectuals of his period. Among the notables who figured in his life and memories were Hu Shih, H. H. Kung, Henry Winter Luce, John Leighton Stuart, Timothy Lew, and Lu Chihwei. While retaining the flavor of Hung’s reminiscences, Egan explains the evolution and importance of his scholarly work; captures his blend of Confucianism, mystical Christianity, and iconoclastic thought; and describes his effect on those around him. For it was finally his unyielding integrity and personal kindness as much as his accomplishments that caused him to be revered by colleagues and generations of students.
The Story of the Stone (also known as Dream of the Red Chamber) is widely held to be the greatest work of Chinese literature, beloved by readers ever since it was first published in 1791. The story revolves around the young scion of a mighty clan who, instead of studying for the civil service examinations, frolics with his maidservants and girl cousins. The narrative is cast within a mythic framework in which the protagonist’s rebellion against Confucian strictures is guided by a Buddhist monk and a Taoist priest. Embedded in the novel is a biting critique of imperial China’s political and social system. This book is a straightforward guide to a complex classic that was written at a time when readers had plenty of leisure to sort through the hundreds of characters and half a dozen subplots that weave in and out of the book’s 120 chapters. Each chapter of the companion summarizes and comments on each chapter of the novel. The companion provides English-speaking readers—whether they are simply dipping into this novel or intent on a deep analysis of this masterpiece—with the cultural context to enjoy the story and understand its world. The book is keyed to David Hawkes and John Minford’s English translation of The Story of the Stone and includes an index that gives the original Chinese names and terms.
This book explores the issues of nation and modernity in China by focusing on the work of Zhou Zuoren (1885-1967), one of the most controversial of modern Chinese intellectuals and brother of the writer Lu Xun. Zhou was radically at odds with many of his contemporaries and opposed their nation-building and modernization projects. Through his literary and aesthetic practice as an essayist, Zhou espoused a way of constructing the individual and affirming the individual’s importance in opposition to the normative national subject of most May Fourth reformers. Zhou’s work presents an alternative vision of the nation and questions the monolithic claims of modernity by promoting traditional aesthetic categories, the locality rather than the nation, and a literary history that values openness and individualism.
Picturing the True Form investigates the long-neglected visual culture of Daoism, China’s primary indigenous religion, from the tenth through thirteenth centuries with references to both earlier and later times. In this richly illustrated book, Shih-shan Susan Huang provides a comprehensive mapping of Daoist images in various media, including Dunhuang manuscripts, funerary artifacts, and paintings, as well as other charts, illustrations, and talismans preserved in the fifteenth-century Daoist Canon. True form (zhenxing), the key concept behind Daoist visuality, is not static, but entails an active journey of seeing underlying and secret phenomena.This book’s structure mirrors the two-part Daoist journey from inner to outer. Part I focuses on inner images associated with meditation and visualization practices for self-cultivation and longevity. Part II investigates the visual and material dimensions of Daoist ritual. Interwoven through these discussions is the idea that the inner and outer mirror each other and the boundary demarcating the two is fluid. Huang also reveals three central modes of Daoist symbolism—aniconic, immaterial, and ephemeral—and shows how Daoist image-making goes beyond the traditional dichotomy of text and image to incorporate writings in image design. It is these particular features that distinguish Daoist visual culture from its Buddhist counterpart.
A Pragmatist and His Free Spirit portrays the unconventional love of Hu Shi, a Chinese social reformer and civil rights pioneer, and Edith Clifford Williams, an American avant-garde artist of the early twentieth century. Hu studied at Cornell University, where he first met Williams, and Columbia University, where he worked with the famous pragmatist John Dewey. At the time of his death in 1962, he and Williams had exchanged more than 300 letters that, along with poems and excerpts from Hu's diaries and documents (some of which have never before been translated into English) form the center of this book. In Williams, Hu found his intellectual match, a woman and fellow scholar who helped the reformer reconcile his independent scholarship with cultural tradition. Williams counciled Hu on the acceptance of an arranged marriage, and she influenced his pursuit of experimental vernacular poetry through an exposure to avant-garde art. In 1933, the two became lovers, although their romance would eventually dwindle. Nevertheless, Williams maintained a devoted and honest correspondence with Hu throughout his tumultuous life. Hu's work touched on virtually every crucial aspect of twentieth-century Chinese society, particularly Chinese liberalism and the use of vernacular Chinese. A Pragmatist and His Free Spirit explores the lesser-known side of this major philosopher while reconstructing his romance with Williams. Not only does the volume place Hu within the larger social, economic, and political context of his time, but it also provides readers with a multifaceted portrait of China's dramatic modern history. Hu Shi: Father of the Modern Chinese Renaissance*1891: Born in a suburb of Shanghai; 1962: Died in Taipei.* Married with three children.* Possibly the most documented life in modern China.* Earned a B.A. and M.A. at Cornell University; Earned a Ph.D. at Columbia University, where he studied with the famous pragmatist John Dewey.* Became a leading figure of the Chinese Literary Revolution of 1919, advocating the use of vernacular Chinese and the importance of intellectual individualism.* Become a civil rights advocate who promoted the empowerment of women.* Served as the Republic of China's Ambassador to the United States from 1938 to 1942.* Installed as president of Peking University from 1946 to 1948.* Worked as curator of Princeton University's Gest Library from 1950 to 1952.* Became the target in absentia of a massive political denunciation campaign launched by the Chinese government between 1954 and 1955.* Served as president of Academica Sinica, Taipei, from 1958 to 1962.* Quoted as saying: "Be bold in your hypothesis; be meticulous in your verification." Edith Clifford Williams: A Woman Ahead of Her Time* 1885: Born in Ithaca, New York; 1971: Died in Barbados.* Claims to have followed her father's advice: "Don't marry unless you can't help it."* Studied at Yale University School of Art and the Académie Julian in Paris.* Became a pioneer of abstract art and a member of Alfred Stieglitz's inner circle.* Worked as the first full-time librarian of Cornell University's Veterinary Library from 1923 to 1946.* Completed two modernist works of monumental importance: Two Rhythms (1916), a painting now housed at the Philadelphia Museum of Art; and Plâtre à toucher chez de Zayas (1916), a sculpture made for touching that was featured in Marcel Duchamp's 1917 journal, Rongwrong, and used as the subject of a lecture by Guillaume Apollinaire in Paris.
The highly anticipated update of the complete textbook of dermatologic science and practice focusing on the care of patients with moderately to heavily pigmented skin – 21 new chapters with more than 900 photographs! Dermatology for Skin of Color, Second Edition is a comprehensive reference that thoroughly details every aspect of dermatologic science as it applies to skin of color – from the development of the skin to the biology of hair and nails. All commonly encountered dermatologic problems of Africans, Asians, Arabs, Native Americans, and other peoples are covered, as are other diseases with significant skin manifestations. This second edition is significantly expanded with 21 new chapters covering dermatology for geriatric, adolescent, and pregnant patients, as well as depigmenting agents, viral infections, cutaneous manifestation of internal malignancy, neurofibromatosis, tuberous sclerosis, photoaging, photosensivity, laser treatment for skin-tightening, toxins and fillers, cosmetic practices in Mexico, effects of tattooing and piercing, sickle cell disease, drug eruptions, and the biology of oral mucosa. It also features many more clinical pictures and improved organization. Extensively illustrated with more than 900 full-color photos, Dermatology for Skin of Color provides comprehensive coverage of medical, surgical, and cosmetic treatment options, pediatric dermatology, differences between skin of color and Caucasian skin, differences between ethnic groups with skin of color, and important basic science information on the structure and function of skin of color. In addition, folk remedies and over-the-counter treatments specifically targeting this population are covered.
As a scholar, William Hung was instrumental in opening China’s rich documentary past to modern scrutiny. As an educator, he helped shape one of twentieth-century China’s most remarkable institutions, Yenching University. A member of the buoyant, Western-educated generation that expected to transform China into a modern, liberal nation, he saw his hopes darken as political turmoil, war with Japan, and the Communist takeover led to a different future. yet his influence was widespread; for his students became leaders on both sides of the Taiwan Strait, and he continued to teach in the United States through the 1970s. In 1978, he began recalling his colorful life to Susan Chan Egan in weekly taping sessions. Egan draws on these tapes to let a skillful raconteur tell for himself anecdotes from his life as a religious and academic activist with a flair for the flamboyant. His reminiscences encompass the issues and dilemmas faced by Chinese intellectuals of his period. Among the notables who figured in his life and memories were Hu Shih, H. H. Kung, Henry Winter Luce, John Leighton Stuart, Timothy Lew, and Lu Chihwei. While retaining the flavor of Hung’s reminiscences, Egan explains the evolution and importance of his scholarly work; captures his blend of Confucianism, mystical Christianity, and iconoclastic thought; and describes his effect on those around him. For it was finally his unyielding integrity and personal kindness as much as his accomplishments that caused him to be revered by colleagues and generations of students.
A Pragmatist and His Free Spirit portrays the unconventional love between a Chinese social reformer and an American avantgarde artist. Hu Shi was a student at Cornell when he first met Edith Clifford Williams. They exchanged some 300 letters between 1914 and 1962; these, alongside Hu's diaries, poems and other correspondence, provide the substance of this book. In Williams, Hu met his intellectual match. She helped him reconcile his selfimage as an independent thinker with his acquiescence to an arranged marriage. Best known for his contribution to China's Literary Revolution, Hu's experimental vernacular poetry was partly inspired by his exposure to Williams's avantgarde art. In reconstructing their romance, the authors deftly exemplify the dilemmas which confronted a generation of Chinese intellectuals, particularly those educated in the West. Although Hu shared his contemporaries' patriotic hopes for China, he never subscribed to the prevailing ideology. Sustained by Williams's unflinching honesty, he advocated John Dewey's pragmatic approach, one which has recently regained acceptance in China. Although the romantic ardor dwindled, the two retained, in each other's eyes, an image of their idealistic youth.
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