This is the traditional Chinese, 2 volume edition (Vol. 2 of 2) of Jin Ping Mei, the forbidden classical Chinese fiction which is about Sexmen King (Ximen Qing) and his many concubines, authored by Lan-Ling Xiao-Xiao Sheng and carefully edited by YeShell.
Between 2009 and 2012, the city of Chongqing came into the national, and even international spotlight, as it became the geographical centre of the ‘Singing Red, Smashing Black’ campaign, and later the political storm that swept China. Chongqing’s Red Culture Campaign drew an incredible amount of interest at the time, but speculation and prejudice has since blurred the public understanding of the sensational story that ties the campaign with the rise and fall of a political star, Bo Xilai. This book, therefore, seeks to study the nature of Chongqing’s Red Culture Campaign, and the interaction between the political programme and the practices of its participants. Based on fieldwork conducted in Chongqing, it seeks to question whether the Red Culture Campaign was actually a return to Maoist revolutionary mass campaigning whilst examining the relationship between the CCP's political power and the lives of the ordinary people as reflected in the case of the campaign. Ultimately, it highlights that the campaign was not in fact a real Maoist mass movement. Although it followed the pre-existing model of past mass campaigns in China, containing a series of frequent and highly performative operations, Xiao Mei argues that it essentially demonstrated critical features of ‘simulation’. By contributing to our understanding of the discrepancies between a designed political programme, and what it actually becomes when implemented on the ground, this book will be of use to students and scholars of Chinese Studies, Politics and Sociology.
This is the traditional Chinese, 2 volume edition (Vol. 1 of 2) of Jin Ping Mei, the forbidden classical Chinese fiction which is about Sexmen King (Ximen Qing) and his many concubines, authored by Lan-Ling Xiao-Xiao Sheng and carefully edited by YeShell.
Two English-Language Translators of Jin Ping Mei examines English translations of the Ming novel Jin Ping Mei by translators from different historical periods within the Anglophone world. Drawing upon theoretical insights from translation studies, literary criticism, and cultural studies, the book explores the treatment of salient features of the novel in translation, including cultural representation, narratological elements, gender-specific motifs, and (homo)sexual themes. Through literary re-imagining and artistic re-creation, Egerton transforms a complex and sprawling narrative into a popular modern middlebrow novel, making it readily accessible within Western genres. Roy’s interlinear and annotated translation transcends the mere retelling of a vivid story for its unwavering emphasis on every single detail of the original, becoming a portal to the Ming past. It stands as a testament to the significance of translation as a medium for understanding the legacy of the late Ming and the socio-cultural dynamics shaping that period in Chinese history. This book will be a useful reference for scholars and research students within the fields of literary translation studies and translated Chinese literature, particularly Ming- Qing fiction. The book will also appeal to students and researchers studying Jin Ping Mei’s translation and reception in the West.
Xiao Min is six years old when she starts school. She shares about her school, her teacher, her books, making new friends, and playing games. At the October 1st holiday, the family has a new member - a baby boy." -- Cover.
Ye Li, let's break up."Su Mo looked at the handsome man in front of her and was in a trance.But now, she couldn't love him anymore. When the news of Ye Li and Ding WanRou's marriage spread, Su Mo felt like a fool.
Xiao-mei Pelletier has been a passionate artist since childhood. Largely self-taught, Ms. Pelletier has sought out the wisdom and expertise of fellow artists, both professional and amateur alike. Xiao-mei has won regional, as well as local Juried Art Competitions in New Mexico, Arizona, and Texas. She has been a Featured Artist in Galleries, Shops, Boutiques, and Music Stores, Nation-wide. She has an extensive number of Oil Paintings hanging in Private Collections, as well as in her own home. She ALWAYS accepts commissions, so PLEASE, inquire! Finally, Xiao-mei wants to DEEPLY thank each and every member of her family, friends, and coworkers for ALL their continued support and inspiration! ENJOY LIFE and MUSIC!
What is a detail? How is it different from xijie, its Chinese counterpart? Is "reading for the details" fundamentally different from "reading for the plot"? Did xijie xiaoshuo, the Chinese novel of details, give the world its earliest form of modern fiction? Inspired by studies of vision and modernity as well as cinema, this book gazes out on the larger world through the small aperture of the detail, highlighting how concrete literary minutiae become "telling" as they reveal the dynamics of seeing and hearing, the vibrations of the mind, the complexity of the everyday, and the imperative to recognize the minute, the humble, and the hidden. In a strain of masterpieces of xijie xiaoshuo, such details play a key role in pivoting the novel from didacticism towards a capacious modern form. Examining the Chinese detail as both a common idiom and a unique concept, and extrapolating it from individual works to the culture at large, reveals under-explored areas of the Chinese novel: its psychological depths, its connections with other genres and forms, its partaking in Chinese material life and capitalist modernity, as well as repressions and difficulties surrounding its reception in national and international contexts. With carefully chosen case studies, Xiao’s book not only exemplifies the value of deep reading in approaching complex works of Chinese fiction as world literature, it also throws light on the aesthetics and politics of "the unseen," which has become central to a humanist tradition that flows across literature, cinema, and other art forms.
Now I often have this feeling: Death is sitting in the corridor outside the door, sitting in the dark place, where mortals cannot see, waiting patiently for me night after night. I don’t know when it will stand up and say to me: Hey, let’s go. I think that must be unreasonable. But no matter when it is, I think I will probably still feel a little rushed, but I will not hesitate or delay. "Gently I leave, just as gently I came" - I have said that Xu Zhimo's poem may not necessarily involve life and death, but in my opinion, it is the most appropriate attitude towards life and death. It is really a good epitaph. nor.
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