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.
Have you ever thought that perhaps our world is not as bright as you see it, that there is an abyss in a corner where the law cannot be seen? Everything you do will be recorded in the book. When the time comes, the judgement will naturally come.PS: A story related to a small story. A story related to a strange wind. Unbeatable and unstoppable. Not terrifying. (TL: A story related to a small story related to a small story)
Obtaining the bloodline of the strong and the mysterious book on weight helped Yan Qiuyu sweep away her useless talent, defeating everyone in the clan, participating in the selection of the three families, and then entering into the five great sects.
Wolf Warrior Diplomacy and China’s Ministry of Foreign Affairs: From Policy to Podium traces the evolution of Chinese foreign policy from Mao Zedong to Xi Jinping, examining the domestic and international role that aggression plays in the diplomacy of the Chinese Communist Party. Yaoyao Dai and Lu Wei Rose Luqiu demonstrate that China’s diplomacy has constantly evolved with the changing domestic environment and global power balance and that, at the behest of Xi Jinping, “Wolf Warrior” diplomats in China’s Ministry of Foreign Affairs have embraced a more confident and proactive role in foreign policy. Combining advanced computational methods with analysis of press conferences, public speeches, and government statements, this book offers a comprehensive evaluation of continuity and change in the diplomatic language of the Chinese Communist Party and media reactions to Chinese diplomacy in the Global South. This book will be of particular interest to scholars of communication, rhetoric, political science, and international relations.
Behind every live broadcast, there was a hidden secret. The female host Xia Mu entered the 404 live broadcast room. As the live broadcast was about to end, the image of her roommate Su Lin falling from a high vantage point appeared on the screen. The next day, Xia Mu received news of Su Lin's death. This was just the beginning, the terrifying scenes of death kept appearing, the ghosts of movie theaters, the shadows of women's toilets, the men hanging on the hooks, the women with paper faces ... Who can unravel the secret behind the death broadcast room? The mysterious and unfathomable Sealing Village, the frightening and terrifying decapitation techniques, the mysterious disappearance of the Night Ghost Clan, and the unimaginable strange things that happened around Xia Mu. The demonic symbols that were everywhere, the iron boxes that were dug out from the cave, the secrets that were hidden in the boxes, all these seemingly unbelievable things were finally linked together. Xia Mu was surprised to discover that her status as a friend and relative had changed, and what she saw was not the truth at all. From the very beginning, an invisible hand had begun to control everything.
Men were oxen while women were earthlings. If they wanted to open up the land well, not only did they have good stamina, they also had to be able to do it.Li Fa, who was born into a poor mountain valley, saw her lover crawl into another's bed. She had no money to get a wife, so she was determined to leave behind a heaven and earth. Bao Huang Mountain, planting jujube trees, breeding, development, the widow took the initiative to help carry water, the village flowers came in the middle of the night to deliver food, a large amount of money was returned, the rich American introduced, this land Li package. A female college student, a sexy nurse, a cold police flower, and the CEO's little lover. F * ck, a foreign chick is also here! Li Fa giggled. I can do whatever I want!
In this book, David Der-wei Wang uses the lyrical to rethink the dynamics of Chinese modernity. Although the form may seem unusual for representing China's social and political crises in the mid-twentieth century, Wang contends that national cataclysm and mass movements intensified Chinese lyricism in extraordinary ways. Wang calls attention to the form's vigor and variety at an unlikely juncture in Chinese history and the precarious consequences it brought about: betrayal, self-abjuration, suicide, and silence. Despite their divergent backgrounds and commitments, the writers, artists, and intellectuals discussed in this book all took lyricism as a way to explore selfhood in relation to solidarity, the role of the artist in history, and the potential for poetry to illuminate crisis. They experimented with poetry, fiction, film, intellectual treatise, political manifesto, painting, calligraphy, and music. Western critics, Wang shows, also used lyricism to critique their perilous, epic time. He reads Martin Heidegger, Theodor Adorno, Cleanth Brooks, and Paul de Man, among others, to complete his portrait. The Chinese case only further intensifies the permeable nature of lyrical discourse, forcing us to reengage with the dominant role of revolution and enlightenment in shaping Chinese—and global—modernity. Wang's remarkable survey reestablishes Chinese lyricism's deep roots in its own native traditions, along with Western influences, and realizes the relevance of such a lyrical calling of the past century to our time.
The first book on the “marginalia culture” of late Imperial China, this study introduces the features of marginalia, examines scholars’ reading practices and scholarly style centred on marginalia and explores how this “marginalia culture” shaped Chinese texts and scholars’ thought.
This book explores the life and work of Ruan Yuan (1764–1849), a scholar-official of renown in mid-Qing China prior to the Opium War, before traditional institutions and values became altered by incursions from the West. His distinction as an official, scholar, and patron of learning has been recognized by both his contemporaries and modern scholars. He was also exulted as an honest official and an exemplary man of the 'Confucian persuasion'. His name is mentioned in almost all the works on Qing history or Chinese classics because of the wide range of his research and publications. A number of these publications are still being reprinted today. This is the first full-length biography of Ruan Yuan in English, and the only one focusing on all aspects of the man's life and work in the context of his time. It follows Ruan Yuan from his childhood in Yangzhou, expansion of his intellectual horizons and political network in Beijing, his long service in the provinces handling some of the most thorny issues of the day in security and control, to the glory as a senior statesman in the capital, and retirement in Yangzhou.
The Along the River During the Qingming Festival was painted by Chang Ze-Duan of North Song Dynasty on silk. Painted in light colors, it is 528cm wide and 24.8cm tall. Qingming implies Qingming Festival or Tomb Sweeping Festival. “Shang He” (above the river) was a norm at that time. After worshipping the ancestors and sweeping their tombs, people would get on the bridge to enjoy the view of Bianjing and River Bian. Or they may wander along the bridge and buy snacks from the vendors there and visit the riverside towns. This is what “Qingming Shang He” means. In the painting, we can see many of the norms of Qingming Festival, such as the pasted paper building miniatures in front of the “Wang’s Paper Horse Shop,” the tomb sweeping team with sedan chairs decorated with willow branches and flowers outside the city, the vendors selling mud figurines at the entrances of the bridge, the people gathering and drinking after tomb sweeping, and more. These scenes are similar to the descriptions of The Eastern Capital: A Dream of Splendor. In short, it is a masterpiece of social norms painting completed in the Song Dynasty. Cosmos Classics hopes to delineate and demonstrate the connotations and beauty of Along the River During the Qingming Festival in a candid attitude to allow readers to feel the beauty of this portrayal of the Bianjing in North Song Dynasty nine hundred years ago through textual guides of this book and the appreciation of this painting. In addition, it is hoped that readers can feel the Chang Ze-Duan’s dedication in the layout and thinking of this painting. We write in a comprehensive manner to provide readers guides to the entire painting in detail with this book to render the interpretations of the North Song Dynasty as faithfully as possible to its original look and feel. We would like to apologize for any imperfection in researches and proofreading of this book. Regarding the arrangements of the contents in this book, it begins with three chapters “The Historic Values of Along the River During the Qingming Festival,” “Imperial Painting Academy (Hanlin Tuhua Yuan) during the North Song Society and the Painter Chang Ze-Duan,” and “Bianjing and Transportations on the River Bian at the North Song Dynasty” to present an overall view of the contents, painter, and historical background of this painting. In the “Conclusion” at the end of this book, the painting techniques and contents of this work are analyzed in detail to allow readers to understand the intentions of Chang Ze-Duan better. The reference section is attached to communicate the careful attitude of and the references cited by Cosmos Classics to show our respect for the writers and researchers. The major task of this book is to introduce this lengthy scroll. From right to left, it is divided into three parts in accordance with their themes “Leisure Atmosphere in the Suburb Greens,” “The Busy Water Transportation on River Bian,” and “The Prosperous Bianjing City.” According to their features, Along the River During the Qingming Festival is divided into forty zones. In the beginning of the essay, a lighted and focused thumbnail is provided to allow readers to understand the location of the discussions. In the essays, magnified graphics of the small zones are attached as illustrations to allow readers to observe every person and every corner carefully in detail. The major reference of this book The Eastern Capital: A Dream of Splendor, which records the events happening between 1102 and 1125, during the time of prosperity of Bianjing from the year of Chongning to the year of Xuanhe of Hui Zhong of North Song Dynasty, during the years of the completion of this painting. In addition, history,journals and poetry written on Song Dynasty are also referenced to explain the characters, events and things portrayed in the painting, hoping to remain faithful to the theme. As to the professional parts, the Treatise on Architectural Methods or State Building Standards is consulted to compare with the structure of the architecture in the painting. The Exploitation of the Works of Nature is consulted to find out the structure of the boats. “On the Carts and Costumes” in Song History is consulted to pinpoint the making of the carts, sedan chairs and costumes of that period. The Eastern Capital: A Dream of Splendor is consulted to examine the social norms and the geographical location of the capital. Of course, reference books and articles on Along the River During the Qingming Festival are read to present a complete interpretation on the painting. The great Jiehua(Margin Painting) painter Chang Ze-Duan left us with the first hand materials of the image of capital city in the North Song Dynasty, including trade and commercial activities, costumes and social norms architectural style, furniture and vessels, transportation, and more. All of them are of high historical value. Moreover, its humanistic connotations and sensations allow us to read and re-read this painting. The closer we read it, the more we can find the painter’s intentions. It always impresses us with its infinite charms that echo in our hearts. Therefore, it is regarded as a classic in Chinese and world history of art. Ranked as one of the top ten Chinese paintings, it is also renowned as the “first and heavenly work in Chinese painting.” Viewing this picture Along the River During the Qingming Festival in the 21st century, it still wins our exclamations. This masterpiece has been passed down from generation to generation, having gone through wars and dynasties, and shifts in times, with unchanging values. Great paintings can always prevail over the limits of time and space to become immortal, demonstrating the beauty of aesthetics and universal human values. Although Along the River During the Qingming Festival is not the only painting that portrays the capital in Chinese history, it is the most complete painting that captures the social norms and characters of Bianjing in art history. From the illustrations, deconstructive interpretations, and plain and simple introduction of this book, readers can have a glimpse of the authentic picture of Bianjing during the North Song Dynasty. Reminiscing the past, Cosmos Classics has edited and released Along the River During the Qingming Festival by Chang Ze-Duan, a North Song Dynasty painter, in electronic book format. It is hoped that Chinese of this generation can converse with tradition to fuse the ancient with the modern. Reading the classics, we may be inspired to lay down milestones for modern arts. In addition, we are enthusiastic to share them globally to allow international people to immerse themselves in the beauty of Chinese arts.
She was the Xia Family's daughter who had been left behind. He was the high and mighty head of the Lu Family. He originally thought that the two of them wouldn't have any interactions, but fate loved to joke around. One day, she was called Mommy by a little shota while dragging her clothes. The man behind her had a complacent smile on his face as he said, "Xia Xun Sheng, let's get married." "Sorry, we're not familiar with each other!" "It doesn't matter. We will have a lifetime to get to know each other." He was taken home without realizing it. After the wedding, she hid in the quilt and bit her finger. "You go out, I don't want to sleep in the same room as you, you beast.
This book uncovers the Jesuits’ mystic theological interpretation in the translation of the Book of Changes (the Yijing) in their mission in China. The book analyzes how Jesuit Figurists incorporated their intralingual translation of the Yijing, the Classical and vernacular use of Chinese language and the imitation of Chinese literati’s format, and the divinization of Yijing numbers into their typological exegesis. By presenting the different ways in which Jesuit Figurists Christianized the Yijing and crafted a Chinese version of Jesus and Christian stories onto the Chinese classics, this book reveals the value of Jesuit missionary-translators. The Chinese manuscripts the Figurists left behind became treasures which have been excavated and displayed in this book. These treasures reveal the other side of the story, the side not much shown in past scholarship on the Figurists. These handwritten manuscripts on the Christianized Yijing are a legacy which continues to impact European understanding of Chinese history and civilization in later centuries. A first analysis of these manuscripts in Chinese, the book will be of interest to scholars working on the history of Christianity in China, Translation Studies, and East Asian Religion and Philosophy.
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
This book examines the regulatory framework, regulatory objectives, regulatory logics, regulatory instruments, regulatory failures, and regulatory responses in China’s financial market after the global financial crisis. The book provides an in-depth analysis of China’s contemporary financial regulatory system, focusing on risks, regulation, and policies in practice. By drawing on public and private interest theories relating to financial regulation, the book contends that the controlled development of the banking sector, and the financial sector generally, has transformed China’s banks into more market-oriented institutions and increased public sector growth. However, China’s financial market and financial regulation have some inherent weaknesses and deficiencies. This book also offers insights into how this can be improved or adapted to minimize systemic risks in China’s financial sector. This book tries to prove that financial regulation is not just a vehicle for maintaining efficient financial markets but a primary tool through which the Chinese government achieves its political and economic objectives. More fundamentally, according to the law and finance theory, strong market and vibrant judicial systems are needed to further modernize China’s financial markets and market economy. The book will be a useful reference for anyone interested in learning from the Chinese experience.
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.
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?
Focusing on Shenzhen as a representation of the general urban village phenomenon in China, this book considers the impact of China’s economic reform on urbanization and urban villages over the past three decades. Shenzhen’s urban villages are some of the first of their kind in China, unique in their diversity and organizational capacity, but most notably in their ability to protect village culture whilst coexisting with Shenzhen, one of the fastest urbanizing cities on earth. Providing a study of regional contrast of urban villages in China with newly collected fieldwork materials from Guangzhou, Beijing, and Xi’an, this book also considers recent developments within urban villages, including attempts at marketization of the so-called xiao chanquanfang (the quintessential urban village apartment units). It also addresses the corruption scandals that engulfed some urban villages in late 2013. Through cutting edge fieldwork, the author offers a cross-disciplinary study of the history, culture, socio-economic changes, and migration of the villages which arguably embody Chinese social mobility in an urban form.
An Overview of Chinese Translation Studies at the Beginning of the 21st Century presents and analyses over 100,000 bibliographic notes contained within a large academic database focusing on translation within China. Exploring Chinese translation studies two decades before and after the year 2000, the book will introduce aspects of theory, culture, strategy, register, genre, and context to the field of translation in China, and will also take into account the impact of technology, education, and research within this field. Aimed at postgraduate students and researchers of translation studies, the focus of An Overview of Chinese Translation Studies at the Beginning of the 21st Century is the theory and practice of translation studies within a fast-paced and growing academic discipline.
This book views the Dutch sinologist, Robert van Gulik’s Judge Dee mysteries as a hybrid East–West form of detective fiction and uses the concept of transculturation to discuss their hybrid nature with respect to their sources, production, and influence. The Judge Dee mysteries authored by Robert van Gulik (1910–1967) were the first detective stories to be set in ancient China. These hybrid narratives combine Chinese historical figures, traditional Chinese crime literature, and Chinese history and material culture with ratiocinative methods and psychoanalytic themes familiar from Western detective fiction. This new subject and detective image won a global readership, and the book discusses the innovations that van Gulik’s Judge Dee mysteries brought to both Chinese gong’an literature and Western detective fiction. Furthermore, it introduces contemporary writers from different countries who specialize in writing detective fiction or gong’an novels set in ancient China. The book will meet the interest of fans of Judge Dee stories throughout the world and will also appeal to both students and researchers of comparative literature, Chinese literature, and crime novels studies.
This book challenges the existing misconception that there was no rhetoric in ancient China. Instead, this book provides ample evidence from public speeches in the Xia dynasty and oracle bone inscriptions in the Shang dynasty to public debates about government policies in the Han dynasty to show that persuasive discourse and rudimentary rhetorical techniques already existed in ancient China. Using literary analysis and discourse analysis methods, this book explains how the Mandate of Heaven was inscribed at the core of Chinese rhetoric and has guided Chinese thoughts and expressions for centuries. This book also demonstrates Chinese rhetorical wisdom by extracting many concepts and terms related to language expression, persuasive speech, morality and virtue, life and philosophy, and so on from great Chinese literary works. Well-known names, such as Confucius, Laozi, Sima Qian, Liu Xie, Mozi, Hanfeizi, Guibuzi and so on, are all touched upon with their famous theory and sayings related to and explicated from the rhetorical perspective. Many surprising facts are found by the author and revealed in the book. For example, a thousand years ago, the Chinese author Liu Xie already found that all words have preferred lexical neighbors and structural environment. This is later on ‘discovered’ by corpus linguistics and illustrated, for example, by the concepts of collocation and pattern grammar. This book targets postgraduate students, teachers, researchers and scholars interested in advanced Chinese language and Chinese literature, history, and culture.
This two-volume book contains the refereed proceedings of The Second International Conference on Globalization: Challenges for Translators and Interpreters organized by the School of Translation Studies, Jinan University (China) on its Zhuhai campus, October 27-29, 2016. The interrelation between translation and globalization is essential reading for not only scholars and educators, but also anyone with an interest in translation and interpreting studies, or a concern for the future of our world’s languages and cultures. The past decade or so, in particular, has witnessed remarkable progress concerning research on issues related to this topic. Given this dynamic, The Second International Conference on Globalization: Challenges for Translators and Interpreters organized by the School of Translation Studies, Jinan University (China) organized by the School of Translation Studies, Jinan University (China), was held at the Zhuhai campus of Jinan University on October 27-29, 2016. This conference attracts a large number of translators, interpreters and researchers, providing a rare opportunity for academic exchange in this field. The 135 full papers accepted for the proceedings of The Second International Conference on Globalization: Challenges for Translators and Interpreters organized by the School of Translation Studies, Jinan University (China) were selected from 350 submissions. For each paper, the authors were shepherded by an experienced researcher. Generally, all of the submitted papers went through a rigorous peer-review process.
Chinese grammar is characterized by its simple structure, lack of inflections, and wide use of monosyllabic morphemes. With the increased 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 of Chinese grammar, with a special focus on teaching and learning Chinese as a second language. Drawing on rich teaching experience, the authors analyze a myriad of real-world examples to describe Chinese grammatical phenomena and rules while introducing the general grammar system of Chinese. This volume introduces several simple sentence and compound sentence structures of modern Chinese grammar. In addition, the authors examine discourse and other larger units of sentences in use. Since the first edition came out in 1983, this set has been revised twice and remained one of the best sellers in the field. Practitioners and scholars of teaching Chinese as a second language, as well as students with a basic knowledge of Chinese, will find it to be a handy reference.
Written between 500 BCE and 700 CE, these seven texts have inspired generals for millennia, both in China and the wider world. Featuring Sun Tzu's The Art of War, this new translation brings to light the military masterpieces of ancient China. These seven texts display an understanding of strategy and warfare still relevant more than 2,000 years after they were originally written. Together, they present a uniquely eastern tradition of warfare that emphasizes speed, stealth, and cunning. This collection includes: • The Art of War • Wuzi • Wei Liaozi • Taigong's Six Secret Teachings • The Methods of the Sima • Questions and Replies Between Emperor Taizong of Tang and General Li Jing.
This book is a collection of twenty-five outstanding minority writers and a selection of their masterpieces in contemporary China. Most of them have won the Horse Award for national minority literatures in China. China is a country with 56 ethnic groups — like a quilt made with 56 panels, each different but a part of the fabric. Since the founding of new China in 1949, minority writers have been flourishing. The transformation of society that is the result of China’s growth and the worldwide advancement in technology has brought about tremendous changes in the areas inhabited by ethnic minority groups. Their diverse lives in these areas and their unique ideas and feelings have contributed much to their writings. Rooted in their ethnic cultures, these writers have shaped many artistic images with salient ethnic features while presenting their ethnic mentality, lives, and their cultural traditions. Their writings are models of ethnic cultural continuity. When we place their writings into the cultural contexts, many cultural values are highlighted, which otherwise might have been overlooked by the cultural mainstream. Their writings are characterized by plain ecological awareness and truth, goodness, and the beauty of human beings. The advantage of minority literature lies in the fact that it seeks the universality of human beings amid the uniqueness of the minority people. From this book, readers may gain an overview of contemporary Chinese minority writers and the multihued cultures of China.
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!
In Detecting Chinese Modernities: Rupture and Continuity in Modern Chinese Detective Fiction (1896–1949), Yan Wei historicizes the two stages in the development of Chinese detective fiction and discusses the rupture and continuity in the cultural transactions, mediation, and appropriation that occurred when the genre of detective fiction traveled to China during the first half of the twentieth century. Wei identifies two divergent, or even opposite strategies for appropriating Western detective fiction during the late Qing and the Republican periods. She further argues that these two periods in the domestication of detective fiction were also connected by shared emotions. Both periods expressed ambivalent and sometimes contradictory views regarding Chinese tradition and Western modernity.
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
The Matsu archipelago between China and Taiwan, for long an isolated outpost off southeast China, was suddenly transformed into a military frontline in 1949 by the Cold War and the Communist-Nationalist conflict. The army occupied the islands, commencing more than 40 long years of military rule. With the lifting of martial law in 1992, the people were confronted with the question of how to move forward. This in-depth ethnography and social history of the islands focuses on how individual citizens redefined themselves and reimagined their society. Drawing on long-term fieldwork, Wei-Ping Lin shows how islanders used both traditional and new media to cope with the conflicts and trauma of harsh military rule. She discusses the formation of new social imaginaries through the appearance of 'imagining subjects', interrogating their subjectification processes and varied uses of mediating technologies as they seek to answer existential questions. This title is Open Access.
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.
Chinese President Xi Jinping launched the Silk Road Economic Belt component of the One Belt One Road (OBOR) initiative at Kazakhstan in 2013. OBOR is a development strategy and framework that focuses on connectivity and cooperation among countries primarily in Eurasia. It consists of two main components, the land-based 'Silk Road Economic Belt' (SREB) and ocean-going 'Maritime Silk Road' (MSR). This book studies the equilibrium or balance between overland and maritime trade routes of OBOR.This book has two major sections. The interpretive section examines contemporary media narratives related to the OBOR initiative and how contemporary commentators appropriate narratives about historical events related to the maritime Silk Road to interpret current policy agendas and legitimize diplomatic or economic exchanges. In terms of institutional studies, the chapters related to Asian Infrastructure Investment Bank (AIIB) will look at the issues facing the Bank in its quest in forming a new world platform for multilateral development financing.The other section, the empirical case study of the publication highlights the fact that Euro-China High Speed Rail (HSR) and Central Asia-China HSR are not viable at the moment as passenger volume is not sufficient to justify the HSR line. This section examines the overland route of the OBOR and looks at recent Chinese HSR history and conventional sub-high speed rail technology development, and identifies technical & economic criteria determining the appropriate technology for a certain line. The chapter in this section will use the developed criteria to analyze the various rail linkage projects currently under study in the OBOR framework, highlight the economic, bureaucratic and geo-political challenges that these projects likely face and lay down conditions that will determine the outcome of these projects.
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