The military elite had now become a gangster, and a special mission had allowed him to roam the underworld. Was it corruption or the Soaring Dragon Nine Heavens? The same story of the underworld, the same feeling of the underworld ... Faced with such a conspiracy, he wanted to see how the main character would slowly grow into a terrifying existence. On the shore of the Hornless Sea, on the peak of the mountain, there was no one. 2009 Classic underworld show for you! Reasonable YY. Take a look around when you are bored. If you like it, please collect it. If you don't like it, please give me some valuable advice!
Chinese grammar is characterized by its simple structure, lack of inflections, and wide use of monosyllabic morphemes. With the increasing popularity of learning Chinese as a second language, there is a demand for a guide to Chinese grammar that's targeted at second language learners. This four-volume set is one of the earliest and most influential works on Chinese grammar, with a special focus on teaching and learning Chinese as a second language. Utilizing their rich teaching experience, the authors analyze a myriad of authentic examples to describe the Chinese grammatical phenomenon and rules. This volume introduces the functional words in modern Chinese grammar, which include prepositions, conjunctions, auxiliary verbs, onomatopoeia, and interjections. Since the first edition came out in 1983, this set has been revised twice and remained one of the best sellers in this topic. Practitioners and scholars of teaching Chinese as a second language, as well as students with a basic knowledge of Chinese, will find it a handy reference.
Three thousand years of glory, dust and earth, eight thousand miles of journey; Yun and Yue! Soldiers in the battlefield, Magi feared by the world. Carrying the honor and prosperity of the Gong Yang family, would Li Mu choose to avenge his family or to stay loyal to the dying empire? The dead are gone, where is the living?! Shaman spirits were gradually awakening along with the growth of this young man, and when the Shaman who was above the power level had once again stepped onto the stage of history, he asked the whole world, who could compete against him?! My name is Li Mu, and I'm from Witch Prefecture. I'm a low-level martial practitioner of the True Martial University.
Chinese Syntax in a Cross-linguistic Perspective is a collection of sixteen original papers by leading experts in Chinese syntax. The papers focus on a broad range of topics, demonstrating how the analysis of Chinese can inform our understanding of syntactic phenomena in other languages, and how insights gained in the study of other languages can in turn shed interesting new light on patterns in Chinese. Each chapter compares a specific major phenomenon in Chinese syntax with related patterns in at least one other language from Asia, Europe, North America or Africa, resulting in a series of fresh perspectives on Chinese and what the study of Chinese can offer linguists working on other, genetically unrelated languages. The volume is divided into three thematic sections, on the nominal domain, the predicate domain, and the C-domain. In addition to chapters on synchronic, adult syntax, the book includes chapters on Chinese diachronic syntax in a comparative perspective and the acquisition of syntax in Chinese, in comparison with that of other languages. The collection is a tribute to Professor C.-T. James Huang's lifelong work on the syntax of Chinese and his attempts to demonstrate how the comparative analysis of Chinese reveals important properties of Universal Grammar. With its broad, cross-linguistic focus and its detailed, new studies of Chinese, this book is essential reading for researchers of all language backgrounds in modern generative syntax.
In ancient China a monster called Taowu was known for both its vicious nature and its power to see the past and the future. Over the centuries Taowu underwent many incarnations until it became identifiable with history itself. Since the seventeenth century, fictive accounts of history have accommodated themselves to the monstrous nature of Taowu. Moving effortlessly across the entire twentieth-century literary landscape, David Der-wei Wang delineates the many meanings of Chinese violence and its literary manifestations. Taking into account the campaigns of violence and brutality that have rocked generations of Chinese—often in the name of enlightenment, rationality, and utopian plenitude—this book places its arguments along two related axes: history and representation, modernity and monstrosity. Wang considers modern Chinese history as a complex of geopolitical, ethnic, gendered, and personal articulations of bygone and ongoing events. His discussion ranges from the politics of decapitation to the poetics of suicide, and from the typology of hunger and starvation to the technology of crime and punishment.
This book is the first book on the history of Chinese traveling culture. It reviewed the history of Chinese traveling culture, and revealed the cultural significance of China's traveling phenomena and the underlying principles of its changing traveling culture.It has the following features: First, it divided the history of Chinese traveling culture into six periods to create a system to explain the phenomena and changes of traveling culture. Second, it emphasized the significance of travelers in traveling culture, and revealed the influence of zeitgeist on traveling culture. Third, it explained phenomena through investigations of the artifacts, institutions, behaviors and attitudes of traveling culture, and the dynamic interactions between the subjects, objects and media in traveling. Fourth, it expanded the theory of traveling by building upon extant ideas.Published by SCPG Publishing Corporation and distributed by World Scientific for all markets except China
Rulin waishi (The Unofficial History of the Scholars) is more than a landmark in the history of the Chinese novel. This eighteenth-century work, which was deeply embedded in the intellectual and literary discourses of its time, challenges the reader to come to grips with the mid-Qing debates over ritual and ritualism, and the construction of history, narrative, and lyricism. Wu Jingzi’s (1701–54) ironic portrait of literati life was unprecedented in its comprehensive treatment of the degeneration of mores, the predicaments of official institutions, and the Confucian elite’s futile struggle to reassert moral and cultural authority. Like many of his fellow literati, Wu found the vernacular novel an expressive and malleable medium for discussing elite concerns. Through a close reading of Rulin waishi, Shang Wei seeks to answer such questions as What accounts for the literati’s enthusiasm for writing and reading novels? Does this enthusiasm bespeak a conscious effort to develop a community of critical discourse outside the official world? Why did literati authors eschew publication? What are the bases for their social and cultural criticisms? How far do their criticisms go, given the authors’ alleged Confucianism? And if literati authors were interested solely in recovering moral and cultural hegemony for their class, how can we explain the irony found in their works?
The youth who carried out the blood feud was sent to the barracks and grew up to be a special Soldier King. When he returned to the land he grew up on, he exposed the dark curtain from eighteen years ago under the sunlight. However, what surprised him was that this matter did not only involve the truth about the past, the various powers behind the truth had also surfaced ...
Lin Feng, who sold small pancakes, got a miraculous stone and menu by accident. Afterwards, the already famous pancake stand in the University City became filled with more customers. Relying on the magical power of the stone and the menu, Lin Feng first subdued the bullies that often bullied people around the Higher Education Mega Centre, then completed his own little dream and set up a small restaurant with his dependent sister, Lin Xin. Afterwards, he obtained a mystical system that continuously completed all the quests given by the system, ranging from catching chickens to making pancakes to winning the Master Chef Competition. In between, Lin Feng got to know many good partners. Finally, with the help of the system and with enough effort from Lin Feng himself, Lin Feng overcame many threats and difficulties, harvesting smiles and tears, friendship and love, his career and family, he reached the pinnacle of his life!
What do the Chinese literature and film inspired by the Cultural Revolution (1966-1976) have in common with the Chinese literature and film of the May Fourth movement (1918-1930)? This new book demonstrates that these two periods of the highest literary and cinematic creativity in twentieth-century China share several aims: to liberate these narrative arts from previous aesthetic orthodoxies, to draw on foreign sources for inspiration, and to free individuals from social conformity. Although these consistencies seem readily apparent, with a sharper focus the distinguished contributors to this volume reveal that in many ways discontinuity, not continuity, prevails. Their analysis illuminates the powerful meeting place of language, imagery, and narrative with politics, history, and ideology in twentieth-century China. Drawing on a wide range of methodologies, from formal analysis to feminist criticism, from deconstruction to cultural critique, the authors demonstrate that the scholarship of modern Chinese literature and film has become integral to contemporary critical discourse. They respond to Eurocentric theories, but their ultimate concern is literature and film in China's unique historical context. The volume illustrates three general issues preoccupying this century's scholars: the conflict of the rural search for roots and the native soil movement versus the new strains of urban exoticism; the diacritics of voice, narrative mode, and intertextuality; and the reintroduction of issues surrounding gender and subjectivity. Table of Contents: Preface Acknowledgments Introduction David Der-wei Wang part:1 Country and City 1. Visitation of the Past in Han Shaogong's Post-1985 Fiction Joseph S. M. Lau 2. Past, Present, and Future in Mo Yan's Fiction of the 1980s Michael S. Duke 3. Shen Congwen's Legacy in Chinese Literature of the 1980s Jeffrey C. Kinkley 4. Imaginary Nostalgia: Shen Congwen, Song Zelai, Mo Yan, and Li Yongping David Der-wei Wang 5. Urban Exoticism in Modern and Contemporary Chinese Literature Heinrich Fruehauf part: 2 Subjectivity and Gender 6. Text, Intertext, and the Representation of the Writing Self in Lu Yun, Dafu,and Wang Meng Yi-tsi Mei Feuerwerker 7. Invention and Intervention: The Making of a Female Tradition in Modern Chinese Literature Lydia H. Liu 8. Living in Sin: From May Fourth via the Antirightist Movement to the Present Margaret H. Decker part: 3 Narrative Voice and Cinematic Vision 9. Lu Xun's Facetious Muse: The Creative Imperative in Modern Chinese Fiction Marston Anderson 10. Lives in Profile: On the Authorial Voice in Modern and Contemporary Chinese Literature Theodore Huters 11. Melodramatic Representation and the "May Fourth" Tradition of Chinese Cinema Paul G. Pickowicz 12. Male Narcissism and National Culture: Subjectivity in Chen Kaige's King of the Children Rey Chow Afterword: Reflections on Change and Continuity in Modern Chinese Fiction Leo Ou-fan Lee Notes Contributors From May Fourth to June Fourth will he warmly welcomed. It should be of great interest to all concerned with literary developments in the contemporary world on the one hand, and on the other with the enigmas surrounding China's alternating attempts to develop and to destroy herself as a civilization. --Cyril Birch, University of California, Berkeley
Banking Regulation in China provides an in-depth analysis of the country's contemporary banking regulatory system, focusing on regulation in practice. By drawing on public and private interest theories relating to bank regulation, He argues that controlled development of the banking sector transformed China's banks into more market-oriented institutions and increased public sector growth. This work proves that bank regulation is the primary means through which the Chinese government achieves its political and economic objectives rather than using it as a vehicle for maintaining efficient financial markets.
Wei Shi’s well-crafted study weaves together historical context, ideological complexities, and insightful case studies on Confucian metaphysics, ethics, and politics. Engagingly written, it seamlessly bridges the gap between universal and nationalist (particular) perspectives, offering a rich tapestry of ideas and satisfying unity. Shi describes the profound impact of Confucian revival on China's cultural identity. She argues that Confucian ideas continue to shape China's trajectory in an ever-changing world. Specialists, graduate students, and enthusiasts will find this work an invaluable resource in understanding the multifaceted landscape of China’s Confucian revival in the twenty-first century.
During the Republican period (1912–1949) and after, many Chinese Buddhists sought inspiration from non-Chinese Buddhist traditions, showing a particular interest in esoteric teachings. What made these Buddhists dissatisfied with Chinese Buddhism, and what did they think other Buddhist traditions could offer? Which elements did they choose to follow, and which ones did they disregard? And how do their experiences recast the wider story of twentieth-century pan-Asian Buddhist reform movements? Based on a wide range of previously unexplored Chinese sources, this book explores how esoteric Buddhist traditions have shaped the Chinese religious landscape. Wei Wu examines cross-cultural religious transmission of ideas from Japanese and Tibetan traditions, considering the various esoteric currents within Chinese Buddhist communities and how Chinese individuals and groups engaged with newly translated ideas and practices. She argues that Chinese Buddhists’ assimilation of doctrinal, ritual, and institutional elements of Tibetan and Japanese esoteric Buddhism was not a simple replication but an active process of creating new meanings. Their visions of Buddhism in the modern world, as well as early twentieth-century discourses of nation building and religious reform, shaped the reception of esoteric traditions. By analyzing the Chinese interpretation and strategic adaptations of esoteric Buddhism, this book sheds new light on the intellectual development, ritual performances, and institutional formations of Chinese Buddhism in the twentieth century.
Beijing University, 1986. The Communists were in power, but the Harvard of China was a hotbed of intellectual and cultural activity, with political debates and "English Corners" where students eagerly practiced the language among themselves. Nineteen-year-old Wei had known the oppressive days of the Cultural Revolution, having grown up with her parents in a work camp in a remote region of China. Now, as a student, she was allowed to immerse herself in study and spend her free hours writing poetry -- that bastion of bourgeois intellectualism -- beside the Lake with No Name at the center of campus. It was there that Wei met Dong Yi. Although Wei's love was first subsumed by the deep friendship that developed between them, it smoldered into a passionate longing. Ties to other lovers from their pasts stood always between them as the years passed and Wei moved through her studies, from undergraduate to graduate. Yet her relationship with Dong Yi continued to deepen as each season gave way to the next. Amid the would-be lovers' private drama, the winds in China were changing, and the specter of government repression loomed once again. By the spring of 1989, everything had changed: student demands for freedom and transparency met with ominous official warnings of the repercussions they would face. The tide of student action for democracy -- led by young men and women around the university, including Dong Yi -- inexorably pushed the rigid wall of opposition, culminating in the international trauma at Tiananmen Square. On June 4, 1989, tanks rolled into the square and blood flowed on the ancient city streets. It was a day that would see the end of lives, dreams -- and a tortuous romance between two idealistic spirits. Lake with No Name is Diane Wei Liang's remembrance of this time, of her own role in the democratic movement and of the friends and lovers who stood beside her and made history on that terrible day.
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