When I come to the city, I shall be the supreme being! Ancient martial arts descendant? Asura weapon king? A monstrous farmer? Cultivation genius? A peerless genius doctor? Master Miao Jiang... He had to lie down obediently in front of me!
The classical prose essay (ku-wen) of the T'ang and Sung dynasties is one of the major Chinese literary genres, of far greater significance in the Chinese literary tradition than the comparable essay form is in Western literature. This first comprehensive study of Ku-wen in English focuses on its four most important writers: Han Yu and Liu Tsung-yuan of the T'ang, and Ouyang Hsiu and Su Shih of the Sung. With this work, the author hopes to restore a balance to Western study of the literature of the T'ang and Sung, which tend to be regarded as ages of poetry. The four masters, all of them major poets as well, took their prose writings in ku-wen very seriously, leaving a heritage of masterpieces as models to be emulated by all subsequent Chinese writers. In treating the individual writers, the author emphasizes the relationship between a writer's ideas, his literary temperament, and his stylistic practices, in the process showing how each writer attempted to create a ku-wen that would serve as a multi-faceted medium of literary discourse.
Shanghai in the early twentieth century was alive with art and culture. With the proliferation of popular genres such as the martial arts film, the contest among various modernist filmmakers, and the advent of sound, Chinese cinema was transforming urban life. But with the Japanese invasion in 1937, all of this came to a screeching halt. Until recently, the political establishment has discouraged comprehensive studies of the cultural phenomenon of early Chinese film, and this momentous chapter in China's history has remained largely unexamined. The first sustained historical study of the emergence of cinema in China, An Amorous History of the Silver Screen is a fascinating narrative that illustrates the immense cultural significance of film and its power as a vehicle for social change. Named after a major feature film on the making of Chinese cinema, only part of which survives, An Amorous History of the Silver Screen reveals the intricacies of this cultural movement and explores its connections to other art forms such as photography, architecture, drama, and literature. In light of original archival research, Zhang Zhen examines previously unstudied films and expands the important discussion of how they modeled modern social structures and gender roles in early twentieth-century China. The first volume in the new and groundbreaking series Cinema and Modernity, An Amorous History of the Silver Screen is an innovative—and well illustrated—look at the cultural history of Chinese modernity through the lens of this seminal moment in Shanghai cinema.
This work illustrates China’s values and how they are practiced. After introducing readers to the theories, systematical structure, historical status, and influence of traditional Chinese values, it points out major developmental trends in connection with modernization. Further, it explores the significance of the contemporary reconstruction of Chinese values and argues that these values can be divided into three layers: values-based goals of national development, Chinese values concepts, and norms of values in a civil society. On this basis, it subsequently interprets the core socialist values “Prosperity, Democracy, Civility and Harmony,” the value concepts “Freedom, Equality, Justice and Rule of Law” and values-based norms “Patriotism, Dedication, Integrity and Friendship.”
The first part of these proceedings contains the invited lectures which aim to unify and summarize briefly the systematic knowledge and latest developments in the entire spectrum of high Tc superconductivity, including the phenomenological and microscopic theory on HTS, crystal structures and defects, the fabrication of high Tc superconductors, physical properties of HTSC, tunneling junctions and electronics of HTSC, etc. The second part consists of the abstracts of all reports given at the seminar sessions."--Publisher's website.
The classical prose essay (ku-wen) of the T'ang and Sung dynasties is one of the major Chinese literary genres, of far greater significance in the Chinese literary tradition than the comparable essay form is in Western literature. This first comprehensive study of Ku-wen in English focuses on its four most important writers: Han Yu and Liu Tsung-yuan of the T'ang, and Ouyang Hsiu and Su Shih of the Sung. With this work, the author hopes to restore a balance to Western study of the literature of the T'ang and Sung, which tend to be regarded as ages of poetry. The four masters, all of them major poets as well, took their prose writings in ku-wen very seriously, leaving a heritage of masterpieces as models to be emulated by all subsequent Chinese writers. In treating the individual writers, the author emphasizes the relationship between a writer's ideas, his literary temperament, and his stylistic practices, in the process showing how each writer attempted to create a ku-wen that would serve as a multi-faceted medium of literary discourse.
Since the early 1990s, while mainland China’s state-owned movie studios have struggled with financial and ideological constraints, an exciting alternative cinema has developed. Dubbed the “Urban Generation,” this new cinema is driven by young filmmakers who emerged in the shadow of the events at Tiananmen Square in 1989. What unites diverse directors under the “Urban Generation” rubric is their creative engagement with the wrenching economic and social transformations underway in China. Urban Generation filmmakers are vanguard interpreters of the confusion and anxiety triggered by the massive urbanization of contemporary China. This collection brings together some of the most recent original research on this emerging cinema and its relationship to Chinese society. The contributors analyze the historical and social conditions that gave rise to the Urban Generation, its aesthetic innovation, and its ambivalent relationship to China’s mainstream film industry and the international film market. Focusing attention on the Urban Generation’s sense of social urgency, its documentary impulses, and its representations of gender and sexuality, the contributors highlight the characters who populate this new urban cinema—ordinary and marginalized city dwellers including aimless bohemians, petty thieves, prostitutes, postal workers, taxi drivers, migrant workers—and the fact that these “floating urban subjects” are often portrayed by non-professional actors. Some essays concentrate on specific films (such as Shower and Suzhou River) or filmmakers (including Jia Zhangke and Zhang Yuan), while others survey broader concerns. Together the thirteen essays in this collection give a multifaceted account of a significant, ongoing cinematic and cultural phenomenon. Contributors. Chris Berry, Yomi Braester, Shuqin Cui, Linda Chiu-han Lai, Charles Leary, Sheldon H. Lu, Jason McGrath, Augusta Palmer, Bérénice Reynaud, Yaohua Shi, Yingjin Zhang, Zhang Zhen, Xueping Zhong
When I come to the city, I shall be the supreme being! Ancient martial arts descendant? Asura weapon king? A monstrous farmer? Cultivation genius? A peerless genius doctor? Master Miao Jiang... He had to lie down obediently in front of me!
Shanghai in the early twentieth century was alive with art and culture. With the proliferation of popular genres such as the martial arts film, the contest among various modernist filmmakers, and the advent of sound, Chinese cinema was transforming urban life. But with the Japanese invasion in 1937, all of this came to a screeching halt. Until recently, the political establishment has discouraged comprehensive studies of the cultural phenomenon of early Chinese film, and this momentous chapter in China's history has remained largely unexamined. The first sustained historical study of the emergence of cinema in China, An Amorous History of the Silver Screen is a fascinating narrative that illustrates the immense cultural significance of film and its power as a vehicle for social change. Named after a major feature film on the making of Chinese cinema, only part of which survives, An Amorous History of the Silver Screen reveals the intricacies of this cultural movement and explores its connections to other art forms such as photography, architecture, drama, and literature. In light of original archival research, Zhang Zhen examines previously unstudied films and expands the important discussion of how they modeled modern social structures and gender roles in early twentieth-century China. The first volume in the new and groundbreaking series Cinema and Modernity, An Amorous History of the Silver Screen is an innovative—and well illustrated—look at the cultural history of Chinese modernity through the lens of this seminal moment in Shanghai cinema.
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