Picking up a Barbie, she happily carried it back to her dorm, as if it was her daughter's ... But, who can tell me what's going on with the arrogant ghost sitting across from me! You gave my daughter back to me, ah ah ah ah!
Picking up a Barbie, she happily carried it back to her dorm, as if it was her daughter's ... But, who can tell me what's going on with the arrogant ghost sitting across from me! You gave my daughter back to me, ah ah ah ah!
Picking up a Barbie, she happily carried it back to her dorm, as if it was her daughter's ... But, who can tell me what's going on with the arrogant ghost sitting across from me! You gave my daughter back to me, ah ah ah ah!
Picking up a Barbie, she happily carried it back to her dorm, as if it was her daughter's ... But, who can tell me what's going on with the arrogant ghost sitting across from me! You gave my daughter back to me, ah ah ah ah!
Picking up a Barbie, she happily carried it back to her dorm, as if it was her daughter's ... But, who can tell me what's going on with the arrogant ghost sitting across from me! You gave my daughter back to me, ah ah ah ah!
Picking up a Barbie, she happily carried it back to her dorm, as if it was her daughter's ... But, who can tell me what's going on with the arrogant ghost sitting across from me! You gave my daughter back to me, ah ah ah ah!
An endless expanse of blue, sea, withered wood, immortal mountains, ten thousand miles in total without any sign of human habitation. Endless rays of blue, boundless sea, dead wood, immortal mountains, ten thousand miles devoid of human habitation.
He was the king of the legends of the underground mercenaries. Because he had stolen the most precious jade of the world's top organization, the Rose Pavilion, and was seriously injured by the Rose Pavilion Master, he was forced to hide in the Flower City, disguised as a rogue hawker to sell cucumbers in front of different companies ...
An endless expanse of blue, sea, withered wood, immortal mountains, ten thousand miles in total without any sign of human habitation. Endless rays of blue, boundless sea, dead wood, immortal mountains, ten thousand miles devoid of human habitation.
An endless expanse of blue, sea, withered wood, immortal mountains, ten thousand miles in total without any sign of human habitation. Endless rays of blue, boundless sea, dead wood, immortal mountains, ten thousand miles devoid of human habitation.
He was the king of the legends of the underground mercenaries. Because he had stolen the most precious jade of the world's top organization, the Rose Pavilion, and was seriously injured by the Rose Pavilion Master, he was forced to hide in the Flower City, disguised as a rogue hawker to sell cucumbers in front of different companies ...
A discharged official in mid-Ming China faced significant changes in his life. This book explores three such officials in the sixteenth century—Wang Jiusi, Kang Hai, and Li Kaixian—who turned to literary endeavors when forced to retire. Instead of the formal writing expected of scholar-officials, however, they chose to engage in the stigmatized genre ofqu (songs), a collective term for drama and sanqu. As their efforts reveal, a disappointing end to an official career and a physical move away from the center led to their embrace of qu and the pursuit of a marginalized literary genre. This book also attempts to sketch the largely unknown literary landscape of mid-Ming north China. After their retirements, these three writers became cultural leaders in their native regions. Wang, Kang, and Li are studied here not as solitary writers but as central figures in the “qu communities” that formed around them. Using such communities as the basic unit in the study of qu allows us to see how sanqu and drama were produced, transmitted, and “used” among these writers, things less evident when we focus on the individual.
Was it the rebirth of a Martial Soul? Or was it relying on the Martial Skills? Because he had offended the three great families, Yi Zhou, a youngster with nine large veins who had been trapped in the Seal, finally emerged from the three great academies of the Azure Sun Dynasty due to his fortuitous encounter in the Misty Forest, obtaining an unknown Martial Soul and the Four Arts of the Sky Demons. However, in the end, the Azure Sun Empire was only a small country that was subordinate to a large country. What Yi Zhou had to face were not only the various countries, but also that mysterious sect and that mysterious world. Under so many dangers, would Yi Zhou be able to succeed?
This work examines how mainland Chinese refugees (MCRs) under diaspora conditions, indentify themselves and adapt to their new environment in Canada. It probes how MCRs draw upon and reflect transnational social fields or imagined communities.
Winner of a 2006 Choice Magazine Outstanding Academic Title Award As medieval Chinese manuscripts were copied and recopied through the centuries, both mistakes and deliberate editorial changes were introduced, thereby affecting readers' impressions of the author's intent. In Tao Yuanming and Manuscript Culture, Xiaofei Tian shows how readers not only experience authors but produce them by shaping texts to their interpretation. Tian examines the mechanics and history of textual transmission in China by focusing on the evolution over the centuries of the reclusive poet Tao Yuanming into a figure of epic stature. Considered emblematic of the national character, Tao Yuanming (also known as Tao Qian, 365?-427 c.e.) is admired for having turned his back on active government service and city life to live a simple rural life of voluntary poverty. The artlessness of his poetic style is held as the highest literary and moral ideal, and literary critics have taken great pains to demonstrate perfect consistency between Tao Yuanming's life and poetry. Earlier work on Tao Yuanming has tended to accept this image, interpreting the poems to confirm the image. Tao Yuanming and Manuscript Culture is a study of how this cultural icon was produced and of the elusive traces of another, historical Tao Yuanming behind the icon. By comparing four early biographies of the poet, Tian shows how these are in large measure constructed out of Tao Yuanming's self-image as projected in his poetry and prose. Drawing on work in European medieval literature, she demonstrates the fluidity of the Chinese medieval textual world and how its materials were historically reconfigured for later purposes. Tian finds in Tao's poetic corpus not one essentialized Tao Yuanming, but multiple texts continuously produced long after the author's physical demise. Her provocative look at the influence of manuscript culture on literary perceptions transcends its immediate subject and has special resonance today, when the transition from print to electronic media is shaking the literary world in a way not unlike the transition from handwritten to print media in medieval China.
The HinduOCoArabic numeral system (1, 2, 3, ...) is one of mankind''sgreatest achievements and one of its most commonly usedinventions. How did it originate? Those who have written about thenumeral system have hypothesized that it originated in India; however, there is little evidence to support this claim. This book provides considerable evidence to show that theHinduOCoArabic numeral system, despite its commonly accepted name, has its origins in the Chinese rod numeral system. This system waswidely used in China from antiquity till the 16th century. It was usedby officials, astronomers, traders and others to perform addition, subtraction, multiplication, division and other arithmetic operations, and also used by mathematicians to develop arithmetic andalgebra. Based on this system, numerous mathematical treatises werewritten.
Spirit Origin, Spirit Master, Spirit Master, Great Master, Spirit King, Spirit Master, Spirit Tyrant, Spirit Sovereign, Spirit Emperor, SemiGod, True God. On the continent, winds were blowing and clouds were surging. A resolute youth was moving between the magical beasts, the barbarians, the humans, the powerful beastmen, and the elves. What I want to describe for you is the growth of a teenager. No matter how far away one's life was, like a white cloud and a blue dog, no matter how strong a human was, they would never be able to surpass the blue sea ...
Yan Zhitui (531–590s) was a courtier and cultural luminary who lived a colourful life during one of the most chaotic periods, known as the Northern and Southern Dynasties, in Chinese history. Beginning his career in the southern Liang court, he was taken captive to the north after the Liang capital fell, and served several northern dynasties. Today he remains one of the best-known medieval writers for his book-length “family instructions” (jiaxun), the earliest surviving and the most influential of its kind. Completed in his last years, the work resembles a long letter addressed to his sons, in which he discusses a wide range of topics from family relations and remarriage to religious faith, philology, cultural arts, and codes of conduct in public and private life. It is filled with vivid details of contemporary social life, and with the author’s keen observations of the mores of north and south China. This is a new, complete translation into English, with critical notes and introduction, and based on recent scholarship, of Yan Zhitui’s Family Instructions, and of all of his extant literary works, including his self-annotated poetic autobiography and a never-before-translated fragmentary rhapsody, as well as of his biographies in dynastic histories.
Was it the rebirth of a Martial Soul? Or was it relying on the Martial Skills? Because he had offended the three great families, Yi Zhou, a youngster with nine large veins who had been trapped in the Seal, finally emerged from the three great academies of the Azure Sun Dynasty due to his fortuitous encounter in the Misty Forest, obtaining an unknown Martial Soul and the Four Arts of the Sky Demons. However, in the end, the Azure Sun Empire was only a small country that was subordinate to a large country. What Yi Zhou had to face were not only the various countries, but also that mysterious sect and that mysterious world. Under so many dangers, would Yi Zhou be able to succeed?
The Liang dynasty (502-557) is one of the most brilliant and creative periods in Chinese history and one of the most underestimated and misunderstood. Under the Liang, literary activities, such as writing, editing, anthologizing, and cataloguing, were pursued on an unprecedented scale, yet the works of this era are often dismissed as "decadent" and no more than a shallow prelude to the glories of the Tang. This book is devoted to contextualizing the literary culture of this era--not only the literary works themselves but also the physical process of literary production such as the copying and transmitting of texts; activities such as book collecting, anthologizing, cataloguing, and various forms of literary scholarship; and the intricate interaction of religion, particularly Buddhism, and literature. Its aim is to explore the impact of social and political structure on the literary world.
He was just trying to swindle his way in, but with an open mouth, he directly became the Tang Clan's Eldest Young Miss's fiancé and was even a son-in-law. Li Mingyi expressed that this son-in-law was really ... Don't be too good! In front of him, there was his impeccable fiancée, his fiery hot little chili who kept bickering with him, and even his sister-in-law who shared a room with him ...
This book introduces the complete Xuanyuan auricular Jingluo system and the 50-meridian differentiation pattern. This pattern enables practitioners to differentiate, and then utilize, 50 meridians in their clinical practice, augmenting the 14-meridian pattern that has been used since the Yuan dynasty. Throughout the book, the author has created the images of the Xuanyuan auricular Jingluo system, illustrating the origin of meridians in the ear, the direction of the energy flow of meridians, and the connection between the ear and macro (body) meridians. Included are images of the big Collateral of the Spleen, the Jiaji Mai, the Chong Mai, and the Collaterals of Du Mai, Ying-qi, and Wei-qi, which have never before been delineated. The clinical applications for various illness and disorders, as well as challenging problems facing modern patients, are explained in Chapters 3 and 4, with step-by-step guidelines to master the clinical approach and treatment. In summary, this book represents an innovative development in Traditional Chinese Medicine and in the Jingluo system as outlined in the classic texts of the Nei Jing and Nan Jing.
coincidence, zhou yi seventeen years old, miss the girls, you still want to run? this world, will be able to stop the killing, god to kill god! this world, only willing to live up to the dust not qing, the sky again!
The Hindu-Arabic numeral system (1, 2, 3, ...) is one of mankind's greatest achievements and one of its most commonly used inventions. How did it originate? Those who have written about the numeral system have hypothesized that it originated in India; however, there is little evidence to support this claim. This book provides considerable evidence to show that the Hindu-Arabic numeral system, despite its commonly accepted name, has its origins in the Chinese rod numeral system. This system was widely used in China from antiquity till the 16th century. It was used by officials, astronomers, traders and others to perform addition, subtraction, multiplication, division and other arithmetic operations, and also used by mathematicians to develop arithmetic and algebra. Based on this system, numerous mathematical treatises were written. Sun Zi suanjing (The Mathematical Classic of Sun Zi), written around 400 A.D., is the earliest existing work to have a description of the rod numerals and their operations. With this treatise as a central reference, the first part of the book discusses the development of arithmetic and the beginnings of algebra in ancient China and, on the basis of this knowledge, advances the thesis that the Hindu-Arabic numeral system has its origins in the rod numeral system. Part Two gives a complete translation of Sun Zi suanjing. In this revised edition, Lam Lay Yong has included an edited text of her plenary lecture entitled "Ancient Chinese Mathematics and Its Influence on World Mathematics", which was delivered at the International Congress of Mathematicians, Beijing 2002, after she received the prestigious Kenneth O. May Medal conferred by the International Commission on the History of Mathematics. This should serve as a useful and easy-to-comprehend introduction to the book.
A small white European building is located in the western part of the French Concession. No one knows when or who built this little house, and the old people who live around here say that it was there from the moment they could remember.The owners of the houses changed several times, all moving away for some unknown reason. In the end, they became ownerless houses, and after a while, there were rumors of ghosts. This foreign building slowly became a 'haunted house'.Until five years ago, a girl with a white umbrella was seen lugging heavy luggage inside, but no one had seen her leave the building. At night, it was even darker inside the building. Only the faint sounds of the piano could be heard occasionally during the day ...Since then, no one dared to approach this place.
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