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Zeitschriftenartikel zum Thema "Ghosts stories, Chinese"
Ye, Hanwen. „An Analysis of the Female Ghost Images in Ancient Chinese Novels on the Theme of Romantic Relationship Between Man and Ghost“. Communications in Humanities Research 28, Nr. 1 (19.04.2024): 1–7. http://dx.doi.org/10.54254/2753-7064/28/20230005.
Der volle Inhalt der QuelleLuan, Nguyen Van, und Dinh Tran Ngoc Huy. „Witches Character in Chinese Classic Novels in Medieval Vietnam Legends“. International Journal of Language, Literature and Culture 3, Nr. 2 (2023): 01–05. http://dx.doi.org/10.22161/ijllc.3.2.1.
Der volle Inhalt der QuelleDelaplace, Gregory. „Chinese Ghosts in Mongolia“. Inner Asia 12, Nr. 1 (2010): 127–41. http://dx.doi.org/10.1163/146481710792710282.
Der volle Inhalt der QuelleDinu, Cristina. „The Narrative Motif of the Ghost in Classical Chinese Literature“. International Journal of Linguistics, Literature and Culture 9, Nr. 1 (31.03.2022): 1–9. http://dx.doi.org/10.19044/llc.v9no1a1.
Der volle Inhalt der QuelleChongjie, Chen, Yoan Yoan und Kelly Kelly. „Analysis of Society Conditions/Reality During Chinese Feudal Era in the Novel Liaozhai Zhiyi“. Lingua Cultura 4, Nr. 2 (30.11.2010): 173. http://dx.doi.org/10.21512/lc.v4i2.365.
Der volle Inhalt der QuelleChu, Patricia. „“The Invisible World the Emigrants Built”: Cultural Self-Inscription and the Antiromantic Plots of The Woman Warrior“. Diaspora: A Journal of Transnational Studies 2, Nr. 1 (März 1992): 95–115. http://dx.doi.org/10.3138/diaspora.2.1.95.
Der volle Inhalt der QuelleLi, Wei. „From the Imagination to the Reality: Historical Aspects of Rewriting Six Dynasties Buddhist Avadāna Stories“. Religions 14, Nr. 4 (18.04.2023): 545. http://dx.doi.org/10.3390/rel14040545.
Der volle Inhalt der QuelleM.M., Raihanah, und Mohd Muzhafar Idrus. „Growing Up with Ghosts: Dynamics of Rememory and Trauma in a Malaysian Filial Memoir“. Kajian Malaysia 40, Nr. 1 (27.04.2022): 1–18. http://dx.doi.org/10.21315/km2022.40.1.1.
Der volle Inhalt der QuelleBorges Costa, Marilia. „Intercultural dialogue“. Cultural China in Discursive Transformation 21, Nr. 2 (05.07.2011): 330–50. http://dx.doi.org/10.1075/japc.21.2.10bor.
Der volle Inhalt der Quellekim, do-hyoung. „Reconsideration on the Work’s Internal and External Context Regarding the 『Seolgongchanjeon』 Shock: Focusing on cross-examination over 『Yongjaechonghwa』 and 『Yongcheondamjeokgi』“. Korean Language and Literature 121 (30.07.2022): 81–111. http://dx.doi.org/10.21793/koreall.2022.121.81.
Der volle Inhalt der QuelleDissertationen zum Thema "Ghosts stories, Chinese"
HUANG, CHENG-WEI, und 黃正葳. „The Study of the Variations of Ghosts in Strange Stories from a Chinese Studio“. Thesis, 2016. http://ndltd.ncl.edu.tw/handle/dt53r9.
Der volle Inhalt der Quelle國立屏東大學
中國語文學系碩士班
104
This study is carried out based on the ghost tales in Strange Stories from a Chinese Studio. It focuses on the variations between good and evil sides of ghosts, and makes a comparison between reasons of changes for this work and previous ones. Also, it explores the relationship between the description of the ghosts and the life experience and thoughts of the author, Pu Songling. By connecting the variation of ghosts to the meta-meanings of the work Strange Stories from a Chinese Studio, we may understand how Pu expressed himself in the form of ghosts, used ghosts to be sarcastic and critical about the society of that time in romantic creations, and depended on his Utopian thoughts. This dissertation is composed of six chapters and the following is the synopsis: Chapter One: Overview. In this chapter, research motives and goals are explained. 111 ghost stories out of the 491 works in Strange Stories from a Chinese Studio are selected. Besides, the work frame of the dissertation, literature reviews, and references will be involved. Chapter Two: Pu Songling and Strange Stories from a Chinese Studio. I explore the causes of how Pu’s life experience and background fostered the feelings of solitude and fury, and how background characteristic of times influenced the scholars of that time. Next, I illuminate the creation process of Strange Stories from a Chinese Studio and analyze the relationship between the philosophy of Pu and the moral lessons behind the book. Chapter Three: The similarities and dissimilarities between ghosts in Strange Stories from a Chinese Studio and those in other supernatural stories in Northern and Southern Dynasty. I use the diachronic method to analyze the discrepancies among the authors’ intents, the images of ghosts, and the relationship between humans and ghosts so as to be a thesis for further discussion of the variations of ghosts. Chapter Four: The variations of ghosts in Strange Stories from a Chinese Studio. I use textual analysis to categorize five types of evil ghosts and six types of good ghosts, explore how Pu made analogies of evil ghosts to its good ones in his tales and compared the inner meanings between good ghosts and evil men, and then explain the dual metaphors of the variations of ghosts in Strange Stories from a Chinese Studio. Chapter Five: The use of trauma narration in literature in the variations of ghosts. In terms of trauma narration in literature, we understand Pu’s experiences and changes of his mental status on national affairs, personal career, and marriages based on his biography. Then, we analyze how Pu presented his traumatic experiences in the form of scholars in Strange Stories from a Chinese Studio and reconstructed the ideal life by shaping the images of ghosts. Chapter Six: Conclusion. In this chapter, an inductive result of the variations of ghosts and the implications is involved.
Ping-Piao-Liu und 劉炳彪. „The world Ghost and Fox-spirits in Strange Stories from a Chinese studio“. Thesis, 2005. http://ndltd.ncl.edu.tw/handle/aszg5q.
Der volle Inhalt der Quelle國立臺東大學
兒童文學研究所
93
Abstract The fox spirit has the universal image of being tricky and the image of ghost is gloomy and terrifying, no matter in eastern or western culture. However, no one has ever encountered with a fox spirit or a ghost for sure. Then how do the writers describe the things they have never experienced? In Aesop’s Fables, which is a common introductory literature for children, there is an impressive character, the fox, the smart, witty, wicked and tricky animal. The image of fox stays in children’s mind firmly. Listening to ghost stories is one of the favorite exciting experience in childhood. Children are curious about the ghost stories and are at the same time afraid of listening to them because of the fear of overwhelming gloomy darkness. The making of images, like tricky fox spirit and the gloomy ghost, is artificial. If this assumption is true, does every maker think of an identical image? Do Chinese writers agree with foreign writers on the ideas of fox spirit and ghost? Human, who called themselves the lord of all creatures, always makes the judge of good and evil. However, can human be detached when he makes the judgment? Considering from another perspective, if a certain convention is subverted, will the roles meet conflicts? These questions are good research topics. Sung-ling Pu, the writer of Strange Stories from a Chinese studio, provided a total different perspective from the convention. He has subverted the images of fox spirit being tricky, and ghost being gloomy. This subversion carries some implied meanings, which the writer intended to express. In this thesis, the research attempt to give an interpretation which is clear and close to the writer’s intentions through analyzing and generalizing the types, characters, images, themes, and traits of fox spirit and ghost stories in Strange Stories from a Chinese studio.
Bücher zum Thema "Ghosts stories, Chinese"
Some Chinese ghosts. Mineola, N.Y: Dover Publications, 2008.
Den vollen Inhalt der Quelle findenHai, Yun. Ming ren jiang gui. Xianggang: Nan hua zao bao chu ban, 2005.
Den vollen Inhalt der Quelle findenPan, Shaocong. Ling jie chu. Xianggang: Bo yi chu ban ji tuan you xian gong si, 2007.
Den vollen Inhalt der Quelle finden1959-, Sui Haoping, Hrsg. Na yi ye, wo men liao A'piao. Xinbei Shi Xindian Qu: Ren lei zhi ku shu wei ke ji gu fen you xian gong si, 2013.
Den vollen Inhalt der Quelle findenShi fang cai. Xianggang: Yu zhou chu ban she, 2011.
Den vollen Inhalt der Quelle findenFan, Yang. Xiao liao zhai: Liao zhai zhi yi gu shi jing bian. Xianggang: Wan li ji gou, Ming hua chu ban gong si, 2003.
Den vollen Inhalt der Quelle findenCompestine, Ying Chang. A banquet for hungry ghosts. New York: Henry Holt and Co., 2009.
Den vollen Inhalt der Quelle findenCompestine, Ying Chang. A Banquet for Hungry Ghosts. New York: Henry Holt and Co., 2009.
Den vollen Inhalt der Quelle findenill, Hata Kōshirō 1963, und Lai Bingwei, Hrsg. Dan xiao de yao guai: Xiao xiong Beilu he xiao chong Dada. Taibei Shi: Xiao lu wen hua shi ye gu fen you xian gong si, 2008.
Den vollen Inhalt der Quelle findenXiuhua, Chen. Taiwan nü gui: Min su xue li de nü gui yi xiang. Taibei Shi: Taiwan dong fan gu fen you xian gong si, 2018.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Ghosts stories, Chinese"
Ng, Kenny K. K. „Censorship at Work: Cold War Paranoia and Purgation of Chinese Ghost Stories“. In The Humanities in Asia, 111–28. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-3668-2_6.
Der volle Inhalt der QuelleKang, Xiaofei. „Conclusion“. In Enchanted Revolution, 194–206. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197654477.003.0009.
Der volle Inhalt der Quelle„Pandemic First Patients“. In SARS Stories, 180–237. Duke University Press, 2024. http://dx.doi.org/10.1215/9781478027812-005.
Der volle Inhalt der QuelleHardin, Garrett. „From Jevons's Coal to Hubbert's Pimple“. In Living within Limits. Oxford University Press, 1993. http://dx.doi.org/10.1093/oso/9780195078114.003.0018.
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