Thinking of her, Jiang Chu Mo. As a genius pharmacist of the twenty-first century, her career was smooth sailing and she was in high spirits. She had never thought that she would be transported to another world. It was fine if he had transcended, but when he opened his eyes, he found that he was in a critical situation. Oh, buy! Something's not right. Let's start over! "This is bad..." The gloomy voice called out, "Want to run?
The Fairy Chang'e's dance hurt her waist. Xiao Bao, give me a massage. The Seven Fairies' stomachs are hurting. Xiao Bao, I want you to massage it for me. The intern Niu Xiaobao suffered a car accident and died with grievances. His soul was brought to the Heavenly Court and was rewarded by the Jade Emperor.
With a pair of magical eyes and tenacity, he is committed to being the best doctor. He is born with a pair of eyes that can clearly see through the human body in the dark. This special ability has made his dream of being a famous doctor. A pair of magical eyes can always find lesions that other doctors cannot see. But because he accidentally discovered the secret of his boss, his life was severely hit. The boss assigned him to work in a very remote place, where there were no family members and friends, and even his girlfriend broke up with him because of that. He was not defeated by setbacks, but strengthened his dream of becoming a famous doctor. His superb medical skills have been noticed by more and more people, and he has since been awarded the title of "the most powerful doctor". ☆About the Author☆ Yu Yang, an outstanding online novelist. His rich life experience has provided inexhaustible motivation for his novel creation, and his novel plot is as good as writing.
Grounded in a desire to bring back to life rare items from the University of Hong Kong’s Fung Ping Shan Library that are entwined within the world of music and to place them in a context of books and images in American, British, and other Asian collections, Chinese Music in Print views the library as a repository not of information but of artifact, and then uses these artifacts as a means for generating scholarly narrative. It begins by assessing seminal texts in the Confucian canon set against the delicacy of the concubine and amanuensis Shen Cai’s calligraphy and poetry. Confucianism was itself a crucial aspect of courtly life, and an exploration of its ritual is the book’s second theme. Vernacular genres of opera and song are represented in the third chapter, while the Great Sage returns in the fourth for an exploration of the repertoire and richness of his favourite instrument, the qin. The final chapter ends the journey with discussion of the legacy of generations of Europeans who have visited China and their contribution to the understanding of a more vernacular instrument, the erhu. “Like the 2021 exhibition called ‘Music in Print’ that preceded it, this exploration of Chinese music history introduces many rare books from the University of Hong Kong Libraries. The essays combine professional expertise in musicology with an excellent grasp of traditional bibliography, which allows the one to illuminate the other. Bravo!” —J. S. Edgren, Princeton University “I am most impressed by the critical reading of the author who excels in classical studies, whose expertise in calligraphy, seals, editions, and other related disciplines in Sinology is admirable. His meticulous investigation into the complicated situation regarding the book printing business of dynastic China is professional and convincing.” —Yu Siu-wah, chief editor of Anthology of Chinese Folk and Ethnic Instrumental Music: The Hong Kong Volume “Such a wide-ranging but meticulously researched book that now contextualizes the dissemination and transmission of music into the discussion of manuscript and printed culture in China will clearly be an important addition to the holdings of libraries supporting Chinese studies and book studies broadly taken, as well as those supporting the study of music. Obviously, it will be of direct importance for specialists in East Asian book studies and for musicologists of East Asian traditions.” —Elizabeth Markham, University of Arkansas “This beautifully illustrated and carefully edited book is the first English-language monograph dedicated exclusively to the history of Chinese music as captured through the medium of print. It introduces a host of new sources and methodologies to the English-speaking public, fruitfully complicates established narratives of music history and of print cultures in both East and West, and offers a vital building-block for the creation of a truly global music history.” —Karl Kügle, University of Oxford
He had once obtained a high levelled medical knowledge, martial arts and a Special Ability which allowed him to see through the other party's thoughts. With this, the Young Master Han was able to roam the society, shopping malls, medicine courts, and government officials.
A roadmap for easily navigating through the complexities of Chinese herbal medicine, Chinese Herbal Medicine: Modern Applications of Traditional Formulas presents information about herbal formulas in a practical and easy-to-access format. Bridging the gap between classroom study and the clinical setting, the book supplies information on disease sym
Based on a case study of the evolution of “finish” morphemes in Yue and Zhuang Tai-Kadai, this book examines how an internal factor (grammaticalization) and an external factor (language contact) interacted to produce the polyfunctionality of the specific “finish” morphemes in the languages of Guangxi Zhuang Autonomous Region, Southern China. Arguing that the Central Southern Guangxi Region is a micro-linguistic area, Huang also introduces five unique areal features shared by many of its languages.
As the second volume of a two-volume set on Chinese narratology, this title investigates the quintessential characteristics of the Chinese narrative style, with a focus on image and perspective. The first chapter introduces two opposing concepts of perspective: “focalization” and “blind spot,” to connect “perspective” with traditional aesthetics, highlighting the mutual relation of the nonexistent and the existent. The author believes that both the narrator and perspective are central to the narrative forms and strategies adopted by Chinese writers and that study of the narrator and perspective is integral to understanding the cultural, aesthetic, and philosophical connotations of the narrative text and the spiritual world of the author. Drawing on perceptual phenomenology, the chapter on image broadens the extant knowledge of “image” and points out that image narration is unique to Chinese narratology and central to Chinese aesthetics. The final chapter illustrating the achievements of influential critics of classical Chinese novels, proving that these critics have contributed to the canonization of the genuine masterpieces of Chinese narrative literature. The book is a must-read for scholars and students interested in narrative theory, Chinese culture and literature, and dialogue between Chinese and Western narratological studies.
The Chinese garden has been explored from a variety of angles. Much has been written about its structural features as well as its cosmological, religious, philosophical, moral, aesthetic, and economic underpinnings. This book deals with the poetic configurations of the private garden in cities from the ninth to the eleventh century in relation to the development of the private sphere in Chinese literati culture. It focuses on the ways in which the new values and rhetoric associated with gardens and the objects found in them helped shape the processes of self-cultivation and self-imaging among the literati, as they searched for alternatives to conventional values at a time when traditional political, moral, and aesthetic norms were increasingly judged inapplicable or inadequate. The garden was also an artifact and a locus for material culture and social competition. Focusing on a series of anecdotes about private transactions involving objects in gardens, the author dissects the intricate nexus between the exchange of poetry and the poetry of exchange. In tracing the development of the private urban garden through the writings of Bai Juyi, Su Shi, Sima Guang, and their contemporaries, the author argues that this private space figured increasingly as a place of disengagement for those out of political power and hence was increasingly invaded by political forces.
A girl friend and a boyfriend together, An Xiaoxiao first secretly sent a video of revenge was the city wanted to escape.However, as a coincidence, she had entered the wolf's den and was imprisoned by Qin Zian who had misunderstood that she had stolen something important from him.When they first met, he said, "Woman, if you don't hand over my things, I'll kill you."She casually threw a broken can onto the bed and said, "I don't want anything. I want a life."He gritted his teeth in anger.When he understood, he said, "I want you to keep your eyes on me alone.
This book explores the experience of China's migrant labourers in Shanghai from anthropological, and gendered analyses, offering extraordinary insights into the life-world of the marginalized people. China has hundreds of millions of internal migrants coming from the countryside to the big cities in search of fame, fortune, or just a living. The author also examines the gender dynamics at work, in intimacy and leisure of this marginalized, yet huge population. With an in-depth and multidisciplinary examination of the experience of restaurant workers in Shanghai, this book sheds humanising new light on the experience of the megacity from the inside and will be of direct value to policymakers, demographers, feminist scholars, anthropologists, sociologists, and responsible citizens.
The study presents a critical account of Confucius’ life and undertakes a thorough analysis of his works and writings. Rather than the more usual examination of Confucius’ teachings, the book examines the character and behaviour of the man himself, placed into contrast with the values he expresses in his works. For students and researchers in Chinese studies, The Ethics of Confucius will offer a fresh perspective on the life and character of a man whose writings have been very influential in China and the wider world, for the last two thousand years.
Feng Menglong (1574–1646) was recognized as the most knowledgeable connoisseur of popular literature of his time. He is known today for compiling three famous collections of vernacular short stories, each containing forty stories, collectively known as Sanyan. Appropriation and Representation adapts concepts of ventriloquism and dialogism from Bakhtin and Holquist to explore Feng’s methods of selecting source materials. Shuhui Yang develops a model of development in which Feng’s approach to selecting and working with his source materials becomes clear. More broadly, Appropriation and Representation locates Feng Menglong’s Sanyan in the cultural milieu of the late Ming, including the archaist movement in literature, literati marginality and anxieties, the subversive use of folk works, and the meiren xiangcao tradition—appropriating a female identity to express male frustration. Against this background, a rationale emerges for Feng’s choice to elevate and promote the vernacular story while stepping back form an overt authorial role.
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