Journal articles on the topic 'Early chinese song'
To see the other types of publications on this topic, follow the link: Early chinese song.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Early chinese song.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Ye, Ye, and Erxin Wang. "Yuan-Ming Sanqu Songs as Communal Texts: Discovering Their Literary Vitality from a New Research Perspective." Journal of Chinese Literature and Culture 8, no. 1 (April 1, 2021): 113–38. http://dx.doi.org/10.1215/23290048-8898648.
Full textAbstract:
Abstract When examining songs in Chinese literature, we can distinguish among literary, musical, and communal aspects of their circulation. Sanqu songs became popular in the form of musical texts in the Yuan and Ming dynasties, but the ci song lyrics, by the Southern Song dynasty (1127–1279) if not earlier, had already become a form of communal text in a broad sense. While relying on musical and literary aspects in the early stages of circulation, such ci song lyrics also became increasingly meaningful as social artifacts characterized by diverse forms of usage and participation, and they have been widely appreciated as a “literary-cultural phenomenon” unrelated to music per se. Standard histories of Chinese literature typically interpret the interaction between Song dynasty ci song lyrics and Yuan dynasty sanqu songs and song-drama as a natural evolution of literary forms. To be sure, these histories address the vitality of the musicality and popular nature of such songs while also paying attention to the artistic styles, inherent characters, and originality of sanqu song composition (tige xingfen 體格性分). From such an analysis, however, we know very little about the textual forms and mechanisms of transmission of Yuan-Ming sanqu songs beyond the realm of music and songwriters. In this regard, this article explores whether it was possible for the ci song lyrics, as a literary genre of greater maturity and higher status, albeit divorced from music, to transfer its literary experience to sanqu songs. Such a line of inquiry is also relevant to the study of the survival of various forms of Chinese musical literature beyond their original environments. It also helps us think about the complex relationships between the musical and communal functions of ci song lyrics and sanqu songs.
2
Zhu, Fengdaijiao. "The formation of the chamber-vocal style of Zhu Jian’er: early works." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 173–87. http://dx.doi.org/10.34064/khnum1-52.12.
Full textAbstract:
Background. The little-known pages of the work of an outstanding Chinese composer are presented. The genesis of chamber-vocal style is explored on the example of early chamber and vocal creativity of the 1940s. This is the stage in the formation of the musical language of the composer, which coincides with the “experimental” period of the formation of Chinese chamber vocal music of the twentieth century. Zhu Jiangier became one of the pioneers in the attempts of creative synthesis of national and European musical experience. Specificity of musical content and features of the intonational language, form, texture of the piano accompaniment of the cycle or. 1 (1940–1944) and two songs created in 1944 are considered. The characterization of the composer’s early song creativity, features inherent in his style, is generalized. It is proved that the earliest period of creativity, in particular, the sphere of chamber vocal music, which formed the personality of Zhu Jiangera style. Objectives. The purpose of this article is to consider and study the early period of the chamber-vocal creativity of Zhu Jian’er, the formation of his talent in his young years. The section of the creative biography of the composer, connected with the 1940s, has been least studied by researchers. At the same time, it was he who laid and formed the foundations of Zhu Jianar’s compositional personality in the field of vocal music. Methods. The methods of research are based on the scientific approaches necessary for the disclosure of the topic. The methodology is based on an integrated approach that combines the principle of musical-theoretical, musical-historical and executive analysis. Results. The specifics of the musical content, peculiarities of the intonational language, the composition form and texture of the piano accompaniment of the vocal cycle op. 1 (1940–1944) and two songs created in 1944 are considered. The subject content of the cycle songs covered a wide range of musical images. The central place in the songs is devoted to philosophical reflections on the meaning of life, the theme of love for the homeland, everyday sketches, and landscape and love lyrics, separation. The general composition of the first opus is of considerable interest – the first play is divided into four parts, which allows one to speak of such a structural phenomenon as a cycle in a cycle. There is clearly felt the influence of Western European compositional technology. At the same time, the song has features of traditional Chinese music, which is due, above all, to the elements of pentatonic in the melody of the vocal part of the work. The first song of op. 1 No. 1 “Memory” is a mini-cycle consisting of four parts. Poetic text determines the detailed nature of the musical composition with a pronounced ballad color and complex drama, the structure of the song is based on the principle of end-to-end development, the change of emotional mood occurs in one breath. Already on this composition it is clear that at the very beginning of his work Zhu Jian’er had the skill of a versatile depiction of inner experiences and difficulties encountered in the life of the hero. The second number or. 1 No. 2 “Waves washing sand” – imbued with a lyrical and philosophical mood. In the musical-figurative sphere, the landscape poetry occupies a central place with philosophical overtones, symbolically revealing the images of waves on the sand, characterizing the lyrical experiences of the hero and his sadness. op. 1 No. 3 “Lullaby” – the lyrical center of the cycle, a song of meditation with a predominant shade of sadness and philosophical overtones – the theme of enlightenment, the general meaningful canvas corresponds to the genre of lullabies, the appeal to the child, full of tender feelings. The fourth song Or. 1 No. 4 “I want to return to my homeland”, serves as a kind of finale. The basis of the song is the topic of separation, which is very popular in the songwriting of Chinese composers. The content of the song is symbolic: it is not only dreams of a distant friend, family and friends, but also a reflection of emotional feelings of separation from the motherland. Songs “Spring, when you return” and “Dream” were created by the composer in 1944, are devoted to events from the life of the composer. Zhu Jian’er saturates the musical fabric of the song with unstable harmonies, offers a more complex texture solution to the piano part (alternating polyphonic and homophonic-harmonious presentation) and gives it greater independence as an independent layer of musical tissue. The vocal melody also acquires a new look. An arioso-declamatory by nature, it embodies all the nuances of a poetic text that is pronounced with a special sentimental feeling (“Spring, when you return”) or a joyful hope (“Dream”). The analysis completes the generalized characterization of the composer’s early song-writing, in which the inherent features are distinguished. The skill and artistic significance of his songs testify to the fact that Zhu Jian’er succeeded in original compositions with vivid national characteristics. In the early chamber-vocal works of Zhu Jian’er, musical embodiment was achieved both in luminous, lyrical, and sad, even grim character themes related to the reflection of deep emotional, indeed – philosophical aspects of being revealed through a change of experiences. The theme of many songs is associated with the embodiment of the thoughts and feelings of a person, with the chanting of a beautiful nature. Conclusions. The least studied early period of creativity, in particular, the sphere of chamber-vocal music formed the individuality of the compositional style of Zhu Jian’er. Zhu Jian’er’s songs are characterized by vivid musical images and colorful writing, vividly representing the individuality of the composer’s musical language. These works alone allow us to say that in his early years the composer Zhu Jian’er was a high-level musician.
3
Ilari, Beatriz, and Megha Sundara. "Music Listening Preferences in Early Life." Journal of Research in Music Education 56, no. 4 (January 2009): 357–69. http://dx.doi.org/10.1177/0022429408329107.
Full textAbstract:
This study investigated infant listening preferences for two versions of an unfamiliar Chinese children's song: unaccompanied (i.e., voice only) and accompanied (i.e., voice and instrumental accompaniment). Three groups of 5-, 8- and 11-month-old infants were tested using the Headturn Preference Procedure. A general linear model analysis of variance was carried out with gender and age as the between-subjects variables and listening time to the two renditions (unaccompanied, accompanied) as the within-subjects variable. Results indicated a clear preference for the unaccompanied version of the song in all age groups.
4
Teng, Yue. "Chinese urban emotional Slm — a Taste of life in lyrics." Moscow State University Bulletin. Series 18. Sociology and Political Science 27, no. 3 (October 4, 2021): 253–60. http://dx.doi.org/10.24290/1029-3736-2021-27-3-253-260.
Full textAbstract:
The Chinese film industry began in the early twentieth century. Chinese urban emotional film has become more and more popular with the Chinese people in recent years, so urban working youth emotional film also appears more and more often on the screen. An urban emotional film takes the city as a theme, takes urban life as a backdrop, takes urban family, friendship and love as the main clue for plot development, and takes the artistic expression of emotions as the main point of note. The combination of cinema and music is an independent cultural product generated by the film industry. Music plays a leading role in the film, especially in order to emphasize the theme and convey the inner connection of the characters. Je combination of cinematography and music is an essential element in the development of cinema. Chinese people love Chinese urban emotional movies, and most of them depend on processing good songs from movies. Therefore, a good movie and a good episode of the movie, in the audience’s understanding and expectation, are equally important things. Successful Chinese urban emotional films often have more than one popular song that can be passed on to the general public as their cinematic song, and the song’s value orientation is determined by the connotation of the text. Therefore, the creation of song lyrics can be described as the pursuit of excellence, which should not be underestimated.
5
Kurz, Johannes L. "Sanfoqi 三佛齊 as a Designation for “Srivijaya”." China and Asia 4, no. 1 (July 20, 2022): 3–37. http://dx.doi.org/10.1163/2589465x-04010002.
Full textAbstract:
Abstract Textual evidence for the existence of Srivijaya (variously addressed as a state, kingdom, or empire in southeastern Sumatra) is very limited and rests on inscriptions as well as a manageable number of pre-modern Chinese texts. According to prevailing scholarly conventions, the term Shilifoshi 室利佛逝 (and variants) in early Tang dynasty texts was replaced in the Song dynasty by the term Sanfoqi 三佛齊. This connection allowed for an extension of Srivijayan history from the early Tang in the seventh century to the mid-Song period in the twelfth century. This essay argues that preconceived interpretations of the original Chinese texts identified Sanfoqi with Srivijaya. A survey of the existing Western scholarship allows the conclusion that assumptions made by early scholars of Srivijayan history have transformed into assured knowledge only in the absence of a stricter philological engagement with the relevant texts from the Song dynasty.
6
Ping, YI. "Swan Song, or a Phoenix Rising." Journal of the History of International Law 18, no. 2-3 (April 13, 2016): 147–80. http://dx.doi.org/10.1163/15718050-12340055.
Full textAbstract:
It is well-known that the basic ideas and principles of modern international law originated in Europe. In a period during the early twentieth century, however, a number of Chinese intellectuals examined and demonstrated that international law had already existed during the Spring and Autumn and the Warring States Periods in China. They committed themselves to exploring and carrying forward ancient Chinese international law as a way to maintain China’s rich cultural tradition in a global order governed by the West. This may be a swan song of the Chinese intellectuals who rose up against the oppression of imperialist powers and sought a more balanced order in the then-contemporary world. Were their efforts to be revived in another way, however, the swan song could be akin to a phoenix rising, initiating a time of renewal, bringing such ideas back into consideration.
7
Zhang, Zhenjun. "Two Modes of Goddess Depictions in Early Medieval Chinese Literature." Journal of Chinese Humanities 3, no. 1 (February 8, 2017): 117–34. http://dx.doi.org/10.1163/23521341-12340046.
Full textAbstract:
Early medieval Chinese literature depicts two modes of goddesses, derived from the two masterpieces attributed to Song Yu, “Rhapsody on the Goddess” and “Rhapsody on Gaotang.” Since Cao Zhi’s “Rhapsody on the Goddess” overshadowed other works among rhapsodies and poems, it appeared as if the influence of “Rhapsody on Gaotang” had stopped. This study reveals the two lineages of goddess depictions in medieval Chinese literature, showing that the “Goddess of Love” has never disappeared.
8
Zhi’an, Li. "Northern and Southern Dynasties and the Course of History Since Middle Antiquity." Journal of Chinese Humanities 1, no. 1 (April 24, 2014): 88–119. http://dx.doi.org/10.1163/23521341-01010006.
Full textAbstract:
Abstract Two periods in Chinese history can be characterized as constituting a North/South polarization: the period commonly known as the Northern and Southern Dynasties (420ad-589ad), and the Southern Song, Jin, and Yuan Dynasties (1115ad-1368ad). Both of these periods exhibited sharp contrasts between the North and South that can be seen in their respective political and economic institutions. The North/South parity in both of these periods had a great impact on the course of Chinese history. Both before and after the much studied Tang-Song transformation, Chinese history evolved as a conjoining of previously separate North/South institutions. Once the country achieved unification under the Sui Dynasty and early part of the Tang, the trend was to carry on the Northern institutions in the form of political and economic administration. Later in the Tang Dynasty the Northern institutions and practices gave way to the increasing implementation of the Southern institutions across the country. During the Song Dynasty, the Song court initially inherited this “Southernization” trend while the minority kingdoms of Liao, Xia, Jin, and Yuan primarily inherited the Northern practices. After coexisting for a time, the Yuan Dynasty and early Ming saw the eventual dominance of the Southern institutions, while in middle to late Ming the Northern practices reasserted themselves and became the norm. An analysis of these two periods of North/South disparity will demonstrate how these differences came about and how this constant divergence-convergence influenced Chinese history.
9
Mou (牟發松), Fasong, and William Green. "A Discussion of Several Issues Concerning the “Tang-Song Transition”." Journal of Chinese Humanities 6, no. 2-3 (May 11, 2021): 192–212. http://dx.doi.org/10.1163/23521341-12340097.
Full textAbstract:
Abstract Naitō Konan’s hypothesis on the “Tang-Song transition” was first expressed in lecture notes from his 1909 class on modern Chinese history at Kyoto University and, then, expounded in subsequent works such as “A General View of the Tang and Song Dynasties” and “Modern Chinese History.” The theory systematically outlines that an evolutionary medieval to modern transition occurred in Chinese society during the period between the Tang and the Song dynasties, focusing in particular on the areas of politics/government, the economy, and culture. Political change is regarded as the core metric, demonstrated in concentrated form by the government’s transformation from an aristocratic to a monarchical autocratic system alongside a rise in the status and position of the common people. The “Tang-Song transition theory,” underpinned theoretically by a cultural-historical perspective, advocates for a periodization of Chinese history based on the stages and characteristics of China’s cultural development, which is also attributed to cultural shifts, downward to the commoner class from a culture monopolized by the aristocracy during the period between the Tang and Song, with concomitant changes in society. For over a century since it was first proposed, the “Tang-Song transition theory” has had far-reaching influence in Chinese, Japanese, and Western academic circles, continuing to be lively and vigorous even now. We might be able to find the cause in its originality and liberality, which leave significant room for later thinkers’ continued adherence and development or criticism and falsification and continue to inspire new questions. Naitō’s proposal was also intimately connected to his observations of China’s circumstances in the late Qing dynasty and early Republican period, which also provided a “sample of the era” regarding realistic approaches to historical studies.
10
Lamas, Regina. "Theaters of Desire: Authors, Readers, and the Reproduction of Early Chinese Song-Drama." Ming Studies 2004, no. 1 (January 2004): 119–22. http://dx.doi.org/10.1179/014703704788762853.
Full text
11
Zhang, Ling. "The genre of folk song arrangement at the present stage: cultural and historical aspect." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 298–312. http://dx.doi.org/10.34064/khnum2-19.17.
Full textAbstract:
Logical reason for research. Folk song arrangement used to occupy and still occupies a prominent place in musical practice, both in the composing one and the performing one. It combines the best, time-tested features of the folk music tradition and professional musical art. Being a genre, which is synthetic in nature, the arrangement of a folk song carries a complex set of characteristics of different types of musical creativity, which, activating different genre indicators in different historical and cultural conditions, allows this genre to occupy a special place in musical culture. The focus on a wide audience, realized at different levels of the genre, determines its external intonation-figurative, as well as performing simplicity and accessibility. At the same time, in the field of musical theory, the genre of folk song arrangement has not been given sufficient special attention either in the aspect of the peculiarities of this genre as such, or in terms of the peculiarities of its development in certain temporary socio-cultural conditions. According to the author of the present article, it is precisely the combination of these perspectives of research that is a fruitful approach to identify the specifics of the genre of folk song arrangement, in particular, in the historical and cultural aspect. Innovation. The present article is devoted to the genre of folk song arrangement in the aspect of historical development on the example of the musical culture of Ukraine and China. The genre of folk song arrangement as a result of the interaction of traditional and professional musical art has its own intonation-musical, figurativemeaningful and performing specificity. It manifests itself in stable genre indicators, providing the genre of folk song arrangement with vitality and recognition in various historical, temporal and cultural conditions. For the first time, we propose a comparative characteristic of the history of the development of the genre of folk song arrangement in Ukraine and China, on the basis of which it can be argued that differences in the ways of the development of this genre do not affect the genre nature, which has theoretical and practical (namely, the performing one) dimensions. Objectives. The purpose of the presented research is to reveal the specifics of the historical development of the folk song arrangement genre on the basis of comparing the conditions of interaction between the traditional and professional musical culture of Ukraine and China. In this regard, the following scientific tasks arise: a review of scientific sources devoted to the Ukrainian and Chinese folk song in the aspect of the study of the genre of arrangement; the identification of the ratio of the traditional and professional approach in the genre of folk song arrangement; a comparative characteristic of the main directions of the development of the genre of folk song arrangement in Ukraine and China from the early recorded data of the modern musical practice. Methods. The main methods of our research are the genre one and the historical one. The genre method is necessary to identify the main genre constants of folk song arrangement, which preserve the specificity of the present genre in various historical, temporal and cultural conditions. The historical method is associated with regulating information about the evolution of the folk song arrangement genre in the time perspective from the beginning of the interaction of traditional and professional music to the modern existence of the genre. Results of Discussion. A rather voluminous baggage of facts related to the arrangement of folk songs in the existing musicological sources often remains just a sum of facts. Quite a lot of research has been devoted to folk music and folk song as one of its main representatives, both in a historical and theoretical way. These are scientific works of different genres – from articles to dissertations. As a separate genre, the arrangement of folk songs has not received comprehensive coverage in individual scientific works, although the study of specific samples of arrangements of folk songs in the conditions of the composing or performing creativity is represented quite widely. As a rule, in studies devoted to the genre of folk song arrangement, the object is the arrangement of a folk song in the creative work of a particular composer or in the field of performance – for example, in relation to Ukrainian musical culture, one can talk about bandura performance, the activities of certain musical groups of varying degrees and directions of professionalism – from amateur to academic. As for Chinese musical culture, the representative of which the author of the present article is, Chinese musicologists pay more attention to the history of Chinese folk song, its collection, recording and influence on the professional creative work of Chinese composers – from chamber-vocal to instrumental creativity. Thus, the lack of a systematic study of folk song arrangement as a genre makes such a study very perspective. Considering that modern musicology involves genre, stylistic, figurative, national-cultural parameters in the field of scientific research, the study of the genre of folk song arrangement seems to be quite rich both in terms of problems and in terms of predicted results. The cultural and historical aspect of the study, associated with understanding the patterns of the development of any musical genre at different stages of history in different cultural and civilizational conditions, is one of the basic ones in science. In the present article, it is based on a comparative characteristic of the development of the genre of folk song arrangement in Ukrainian and Chinese musical culture. Conclusions. The result of the study is the conclusion that the genre of folk song arrangement, owing to its synthetic nature, has special genre qualities, which in various historical and cultural conditions allowed it to retain its specificity for several centuries up to the present day. The comparative characteristic of the history of the development of the folk song arrangement genre in Ukraine and China allows concluding that the differences in the ways of the development of this genre (the history of the development of professional musical art, the differences in the ways of interaction between traditional and professional musical culture and, accordingly, the peculiarities of the compositional arrangement of folklore primary sources) do not change its specificity, which has both theoretical and practical (in particular, the performing one) dimensions. The prospects for further research in this direction are associated with: the characteristic of the synthetic genre nature of folk song arrangement; with the peculiarities of the historical development of the folk song arrangement genre in different time and national-cultural conditions; with the identification of the role of the genre of folk song arrangement in musical practice (both the composing one and the performing one) at different historical stages of the development of musical art in different countries of the world.
12
Dashchenko, Hanna. "The Genesis of Yi’an Style (易安體) in Medieval Chinese Poetry." Respectus Philologicus, no. 41(46) (April 15, 2022): 120–31. http://dx.doi.org/10.15388/respectus.2022.41.46.113.
Full textAbstract:
This article deals with the genesis of Yi’an style (易安體), the poetic style of the outstanding Chinese female poet of the Song dynasty Li Qingzhao (李清照, 1084–1155?). The empirical material for this research is her extant early 22 ci (1098–1108). The first part of the article briefly discusses the specific features of ci genre, which reached its heyday during the Song dynasty (宋朝, 960–1279). The second part examines the peculiar features of Li Qingzhao’s early ci, which indicate her pushing the limits of writing traditional Chinese poetry. These features are 1) modification of the classical themes and images; 2) introduction of love and erotic ci from a female perspective; 3) experiments with the composition of ci and their rhythmic and melodic structure. She introduced the lyric element into conventional ci, composing the poems with strong personal engagement. Her genre innovations lie in overcoming the limits and conventions of the genre, legitimating the Self of a poet in her distinctive personal style – Yi’an style.
13
Tan, Soon Cheng. "Activists on the Fringe: Chinese Intelligentsia in Penang in the Early 20th Century." Journal of Chinese Overseas 3, no. 1 (2007): 34–96. http://dx.doi.org/10.1163/179325407788639560.
Full textAbstract:
AbstractFrom the early days when the Chinese immigrants started to arrive in Penang, until as recently as the first part of the 20th century, the Chinese had participated actively in the economic, social and political development of Penang. Among these pioneer immigrants, there was a group which was small and little noticed, compared to the commercially active traders, planters and laborers. Although not much written about, this group of individuals who contributed significantly to the educational and cultural development of the Chinese community in Penang was remarkably well captured in the book, Nanyang yingshu haixia zhimindi zhilüe (Gazetteer of the Nanyang British Straits Settlements), compiled by Song Yunpu, a Minguo (Republican period) merchant, and published around 1930. This article aims to study this particular group of Chinese in Penang by examining their aspirations and actions, to bring about an awareness of their influence and contribution.
14
Visconti, Chiara. "The Influence of Song and Qing Antiquarianism on Modern Chinese Archaeology." MING QING YANJIU 19, no. 01 (February 14, 2015): 59–86. http://dx.doi.org/10.1163/24684791-01901004.
Full textAbstract:
Archaeology has been introduced to China in the early twentieth century thanks to the crucial theoretical and methodological contribution of the Western world. Though the emergence of archaeology as a field of study reflected a growing interest among Chinese scholars in empirically based science it is also true that the interest for ancient artefacts and the material traces of the past has been a salient characteristic of Chinese historical accounts since antiquity. Indeed, what scholars termed antiquarianism can be traced to two key works of the Northern Song period, the Kaogu tu by Lü Dalin and the Bogu tu by Wang Fu. The influence of both works is still very visible in the classification of ritual bronze vessels. The other key moment in collecting culture and antiquarian studies was the very long reign of Qianlong, whose art collections exceeded any previous one. Though the investigation methods of Song and Qing literati were certainly different from modern ones it is also true that their cultural tradition remains in many ways a characteristic trait of Chinese archaeology.
15
Kao, Ya-ning. "De/re-construction of Zhuang shamanic songs in cultural festivals." Asian Education and Development Studies 9, no. 1 (September 3, 2019): 46–55. http://dx.doi.org/10.1108/aeds-01-2018-0017.
Full textAbstract:
Purpose The purpose of this paper is to examine the performance of Zhuang shamanic narrative songs at three festivals to explore how and why a narrative song genre that originated with Zhuang shamans is separated from shamanic ritual contexts and re-contextualized at festivals under the cultural policies instigated by the People’s Republic of China in the post-socialist era. Design/methodology/approach The research is based on a review of publications on Zhuang performance art and fieldwork data collected in southwestern Guangxi, China. Findings The de-construction of Zhuang shamanic narrative song melodies dates back to the late nineteenth century, when southwestern Guangxi literati used the melodies to compose popular songs. By the 1950s, the religious elements of these narrative songs had already been obfuscated, leading Chinese scholars to select them as representative of Zhuang performance arts. Since the enactment of China’s Intangible Culture Heritage (ICH) Law in the early twenty-first century, local Zhuang elites have re-constructed and re-introduced shamanic elements to narrative songs as they are performed at festivals as a means to further highlight the ethnic characteristics of the Zhuang people. Originality/value The paper provides detailed documentation of three cases of the restoration of shamanic elements to narrative songs sung by the Zhuang people. However, the research is limited to one community, inviting comparison with other cases, both inside and outside China, of how ICH policies impact grass-roots cultural practices.
16
Chang, Eileen. "Chinese Translation: A Vehicle of Cultural Influence." PMLA/Publications of the Modern Language Association of America 130, no. 2 (March 2015): 488–99. http://dx.doi.org/10.1632/pmla.2015.130.2.488.
Full textAbstract:
Translation played a central role in the life of Eileen Chang (Zhang Ailing, 1920-95). One of the most iconic figures in twentieth-century Chinese literature, Chang also wrote extensively in English throughout her career, which began in the early 1940s in Japanese-occupied Shanghai. She achieved fame quickly but fell into obscurity after the war ended in 1945. Chang stayed in Shanghai through the 1949 Communist revolution and in 1952 moved to Hong Kong, where she worked as a freelance translator and writer for the United States Information Service and wrote two anti-Communist novels in English and Chinese, The Rice-Sprout Song (1955) and Naked Earth (1956).
17
Hoon, Jun Yong. "Mathematics in Context: A Case in Early Nineteenth-Century Korea." Science in Context 19, no. 4 (December 2006): 475–512. http://dx.doi.org/10.1017/s0269889706001049.
Full textAbstract:
ArgumentThis paper aims to show how a nineteenth-century Korean scholar's mathematical study reflects the Korean intellectual environment of his time by focusing on the rule of false double position and the method of root extraction. There were two major trends in Korean mathematics of the early nineteenth century: the first was “Tongsan,” literally “Eastern Mathematics,” which largely depended on Chinese mathematics of the Song and Yuan period adopting counting rod calculation; the second trend was Western mathematics, which was transmitted by the Jesuits and their Chinese collaborators from the late sixteenth century. There was also an intellectual transition in late eighteenth-century Korea when mathematics, which had been of only minor interest for Confucian scholars, became an important part of Confucian pursuits. We can gain an insight into the history of mathematics in Korea by examining and understanding Hong Kil-chu's (1786–1841) mathematical studies and the context of the academic world of his time.
18
Han, Siuebin. "Early piano work of Sang Tong: becoming a style." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 160–72. http://dx.doi.org/10.34064/khnum1-52.11.
Full textAbstract:
Background. The article explores the development of the piano style of the outstanding composer Sang Tong, one of the founders of the national pianistic art. He was one of the first Chinese composers to apply modern techniques of composer writing on the basis of national musical elements. The early period of the creativity of this musician (1950–60’s) was the basis for the formation of his composer personality. The basis of the creative experiments of Sang Tong was his early piano work. In such works as “In a distant place” (1947), “Seven Ballads on the Themes of Songs of Inner Mongolia” (1953), “Three Preludes” (1955), “Two Piano Pieces” (1956), “The Little Children’s Suite” ( 1958), “Miao National Songs” (1959), “Imagination” (1959), the composer’s innovative style crystallized. Objectives. The purpose of the article is consideration and study the early period of Sang Tong’s piano work, the development of his compositional style in the 1950–60’s. Methods of research are based on a set of scientific approaches necessary for the disclosure of its theme. The complex approach, combining the principle of musical-theoretical, musical-historical and performing analysis, is taken as the basis of the methodology. Results. The influence of European teachers V. Frankel (student A.Schoenberg), J. Schloss (student A. Webern), and Chinese musician Xu Luosi on the formation of the artistic worldview of Sang Tong is investigated. If V. Frankel and J. Schloss instilled in the young musician an interest in modern techniques of composer writing, then Xu Luoxi pointed out to San Tong the importance of preserving the national principle in musical compositions. The influence of other musical genres, in particular, vocal and instrumental, on the formation of the composer’s piano style in the 1950s is also considered. Composer’s works have high artistic value due to his composer personality and high artistic merits of his works, which reflect the national style of music. His music is modern, it is often performed on stage, it sounds on radio and television, it adorns a lot of art and documentary films. The early works of San Tong, according to the peculiarities of harmonic language and musical content, can be divided into three groups. To the first group based on traditional harmony, it is possible to carry its vocal works. Although Sang Tong tried to adhere to traditional harmony, he does not associate himself with rigid canons. The composer boldly uses modern harmonic complexes consisting of nine, eleven, thirteen sounds, variable chords performing the function of complication, uses complex polyphonic combinations, which leads to a strong and dramatic sound. The second type of works differs in that their musical language is based on modal harmony and the structure of pentatonic. Mostly it concerns such works as “Spring wild mountain song”, “Jiannan thousand aromas of rice”, “Piano song about Miao song”, etc. The composer creates his own rich, gravitating to the national style, poetically depicting bright and memorable pastoral paintings. Functional limitations of pentatonic allow the author to diversify the style and demonstrate the inherent elegance of writing. The third group of the composer’s early works is based on a modern style. The main works, where the author used modern innovations, are his “Three Preludes”, “Night” and “In that remote place”. Boldly relying on some principles of modern harmony and combining them with a pentatonic fret, Sang Tong made some useful discoveries. In the “Three Preludes” retaining the color of pentatonic, the author used the serial technique of the composition for the development of the material. When composing chords, he relies on the Chinese principle of Yin Yang, which in this context embodies harmony and disharmony and expands the scope of the chord. Breaking the traditional harmonic concept and transforming it into a complex function that depends on factors such as multi-level chords, using a number of modern notions of harmony, the composer invades the sphere of traditional pentatonic sounding, modernizing it, which allows us to rethink the possibilities of the pentatonic fret. Conclusions. Thus, the early period of music creation laid the foundation for the study of the modern theory of harmony in the work of Sang Tong, and also contributed to the further development of innovation in the use of modern techniques of composer writing in synthesis with pentatonic.
19
Gibbs, Levi S. "Going Beyond the Western Pass: Chinese Folk Models of Danger and Abandonment in Songs of Separation." Modern China 47, no. 2 (February 1, 2021): 178–207. http://dx.doi.org/10.1177/0097700419860417.
Full textAbstract:
From the early Qing dynasty (1644–1911) to the beginning of the People’s Republic, men in northern China from drought-prone regions of northwestern Shanxi province and northeastern Shaanxi province would travel beyond the Great Wall to find work in western Inner Mongolia, in a migration known as “going beyond the Western Pass” 走西口. This article analyzes anthologized song lyrics and ethnographic interviews about this migration to explore how songs of separation performed at temple fairs approached danger and abandonment using traditional metaphors and “folk models” similar to those of parents protecting children from life’s hazards and widows and widowers lamenting the loss of loved ones. I argue that these duets between singers embodying the roles of migrant laborers and the women they left behind provided a public language for audiences to reflect upon and contextualize private emotions in a broader social context, offering rhetorical resolutions to ambivalent anxieties.
20
Gibbs, Levi S. "Going Beyond the Western Pass: Chinese Folk Models of Danger and Abandonment in Songs of Separation." Modern China 46, no. 5 (September 8, 2019): 490–520. http://dx.doi.org/10.1177/0097700419874888.
Full textAbstract:
From the early Qing dynasty (1644–1911) to the beginning of the People’s Republic, men in northern China from drought-prone regions of northwestern Shanxi province and northeastern Shaanxi province would travel beyond the Great Wall to find work in western Inner Mongolia, in a migration known as “going beyond the Western Pass” 走西口. This article analyzes anthologized song lyrics and ethnographic interviews about this migration to explore how songs of separation performed at temple fairs approached danger and abandonment using traditional metaphors and “folk models” similar to those of parents protecting children from life’s hazards and widows and widowers lamenting the loss of loved ones. I argue that these duets between singers embodying the roles of migrant laborers and the women they left behind provided a public language for audiences to reflect upon and contextualize private emotions in a broader social context, offering rhetorical resolutions to ambivalent anxieties.
21
McDermott, Joseph P. "WOMEN OF PROPERTY IN CHINA, 960–1368: A SURVEY OF THE SCHOLARSHIP." International Journal of Asian Studies 1, no. 2 (June 2004): 201–22. http://dx.doi.org/10.1017/s147959140400021x.
Full textAbstract:
The issue of women's property rights during the Song dynasty has been heatedly debated for over half a century. First in Japan, and then in China, Taiwan and the West, scholars have developed strikingly divergent views of the legal and social dimensions of Song women's claims to property and control over their remarriage as widows. This article discusses and assesses the different views, particularly those of Bettine Birge in her recent book-length analysis of the topic. In siding largely with earlier studies that stressed Song women's legally backed rights to property as daughters, wives and widows, Birge's work provides the most comprehensive and persuasive treatment of this debate in any language. In addition, she discusses the fate of Chinese widows, accustomed to remarrying under favourable terms in the Song, and then suffering during the Yuan serious restrictions on their options for remarriage as well as on their property rights. The turning point, according to this book, was the merger of Mongol government and neo-Confucian court interests in the late thirteenth and early fourteenth century, thereby depriving women of many powers they had acquired in the Song.
22
Shiqiao, Li. "Reconstituting Chinese Building Tradition: The Yingzao fashi in the Early Twentieth Century." Journal of the Society of Architectural Historians 62, no. 4 (December 1, 2003): 470–89. http://dx.doi.org/10.2307/3592498.
Full textAbstract:
In this paper, I analyze several early-twentieth-century attempts to reprint, edit, and annotate a Northern Song dynasty (960-1127) construction manual, the Yingzao fashi (1103), each one revealing an aspect of the project to define Chinese architecture. As manifested in the research on the Yingzao fashi by a number of Chinese scholars and architects, the project to reconstitute and understand the text was closely connected to broader intellectual issues in early-twentieth-century China: nationalism, philological scholarship, and modern historiography. The Yingzao fashi was rediscovered in 1919 by politician and scholar Zhu Qiqian, who saw it as an important text that provided crucial knowledge of the tradition of Chinese architecture. It also became a central document in the construction of a modern Chinese architectural history by Liang Sicheng, Lin Huiyin, and Liu Dunzhen, which was founded on a historiography strongly influenced by the European Enlightenment tradition. Interest in the Yingzao fashi declined in the latter half of the twentieth century due to a Communist cultural policy germinated at Yan'an in the 1940s. The reappearance of the Yingzao fashi in the early twentieth century played a much broader intellectual role than the book originally had as a manual of construction and administration.
23
Chang, Kang-i. Sun. "Just a Song: Chinese Lyrics from the Eleventh and Early Twelfth Centuries by Stephen Owen." Harvard Journal of Asiatic Studies 80, no. 2 (2020): 556–61. http://dx.doi.org/10.1353/jas.2020.0044.
Full text
24
Kuang, Lanlan. "Just a Song: Chinese Lyrics from the Eleventh and Early Twelfth Centuries by Stephen Owen." China Review International 25, no. 1 (2018): 65–69. http://dx.doi.org/10.1353/cri.2018.0014.
Full text
25
Olberding, Garret P. "Dynamic Divisions." Journal of Chinese Military History 3, no. 2 (November 26, 2014): 91–139. http://dx.doi.org/10.1163/22127453-12341268.
Full textAbstract:
A major and as yet insurmountable obstacle in our comprehension of pre-modern Chinese military culture is the unfortunate dearth of detailed battle scenes or attack plans. The historiographical record simply does not include more than the barest outlines of how battles transpired. This essay offers a possible back-door method for accessing military movements and formations on an abstract level. It contends that the ancient game ofweiqi, commonly known in the West by its Japanese name, Go, may afford insight into some of the military maneuvers likely employed in the Tang and Song dynasties, and perhaps even earlier. Using the earliest game maps available, found in the Song-eraWangyou qingle ji, with additional input from Ming and Qing texts, the essay spatially analyzes the tactical terms from a manuscript attributed to an author from the Five Dynasties and early Song periods, theWeiqi yili, and illustrates their potential employment using two historical passages, one from theJiu Tangshuand another from theHanshu.
26
Whitmore, John K. "The Rise of the Coast: Trade, State and Culture in Early Ða[under dot]i Viê[under dot]t." Journal of Southeast Asian Studies 37, no. 1 (February 2006): 103–22. http://dx.doi.org/10.1017/s0022463405000457.
Full textAbstract:
The surge in Song foreign trade affected Ða[under dot]i Viê[under dot]t greatly, helping to integrate the upper and lower valley of the Red River first economically in the twelfth century, then politically with the rise of the Trâ[grave accent above]n dynasty in the thirteenth, and finally culturally in the fourteenth. Coastal wealth, power and classical Chinese scholarship entered the inland capital of Thăng Long (Hanoi) and strongly influenced it, leading to major changes across the land.
27
LIAN, Zelei. "Tan hu: A New Tiger Lore Anthology in the Qing Dynasty." Asia-Pacific Journal of Humanities and Social Sciences 01, no. 04 (January 31, 2022): 053–62. http://dx.doi.org/10.53789/j.1653-0465.2021.0104.008.
Full textAbstract:
Tigers have long fascinated Chinese minds. People gathered, exchanged, compiled, and took delight in tiger lore from at least the Song Dynasty. This paper draws attention to Tan hu (Talks About Tigers), the last anthology of tiger stories in this long tradition compiled in the early Qing Dynasty. It is based on the long-lasting Chinese literati light literature and sheds new light on the lesser-known author Zhao Biaozhao. It argues that the Tan hu anthology is notably new in four aspects: its inclusion of only new stories; its critical view toward collected stories; its vernacular features; its great sense of humor and satire.
28
Juzefovič, Agnieška. "LANDSCAPE AS COMMUNICATION: REFLECTION ON SURROUNDING ENVIRONMENT IN CHINESE AESTHETICS / PEIZAŽAS KAIP KOMUNIKACIJA: SUPANČIOS APLINKOS REFLEKSIJA KINŲ ESTETIKOJE." CREATIVITY STUDIES 6, no. 1 (June 28, 2013): 32–45. http://dx.doi.org/10.3846/20297475.2013.764936.
Full textAbstract:
Through examining early Chinese texts on aesthetic, contemporary interpretations and traditional Chinese landscape paintings, the author highlights relationship between painters and art theorists and their surrounding environment. The early aesthetic treatises, especially those who were dedicated to the topic of landscape painting, consist of subtle reflection of surrounding environment, its impact on author's life and worldview, discuss how painters understand, interpret and depict natural environment. The author argues that Chinese painters’ main attention focused on the natural environment where traces of human activity are not visible or barely visible, and unimportant, accidental. Monochrome ink landscapes created from Tang and Song dynasties are analyzed as examples because of their subtle reflection of the natural environment, embodied desire to capture and communicate its mood and soul. Portraying the sublime, animated nature Chinese painters intended indirectly via picture to communicate the idea that the whole surrounding world permeates invisible Dao. Such a worldview in traditional Chinese culture caused particular responsiveness and respect for the surrounding environment. Santrauka Nagrinėjant ankstyvuosius kinų estetikos traktatus, šiuolaikines interpretacijas ir dailės kūrinius, straipsnyje išryškinamas dailininkų ir meno teoretikų santykis su supančia aplinka. Parodoma, kad jau ankstyvuosiuose traktatuose, skirtuose dailės, o ypač peizažo, žanro problematikai, subtiliai reflektuojama supančios aplinkos problematika, nagrinėjamas jos poveikis dailininkui, išryškinamas aplinkos vaizdavimo savitumas. Konstatuojama, kad kinų menininkai daugiausia dėmesio skyrė natūraliai gamtinei aplinkai, kurioje žmogaus veiklos pėdsakai yra neregimi arba vos regimi, antraeiliai. Daugiausia nagrinėjami monochrominiai tušo peizažai iš Tangų ir Songų dinastijų laikų, nes jiems būdinga subtilios gamtinės aplinkos refleksijos, siekis pagauti ir perteikti jos nuotaiką ir dvasingumą. Straipsnyje argumentuojama, kad, vaizduodami taurią, sudvasintą gamtą, kinų dailininkai siekė netiesiogiai, vaizdais perteikti mintį, kad visą supantį pasaulį persmelkia neregimas Dao. Tokia pasaulėžiūra tradicinėje kinų kultūroje lėmė dėmesingumą ir pagarbą supančiai aplinkai.
29
Hor, Wendy. "Hearts in the Hometown: Diaspora Consciousness and Literature of the Tang and Song." Journal of Chinese Literature and Culture 7, no. 2 (November 1, 2020): 268–86. http://dx.doi.org/10.1215/23290048-8745619.
Full textAbstract:
Abstract Originating in the experience of geographical dispersion and survival, the concept of diaspora (lisan 離散) can be extended to diaspora consciousness (lisan yishi 離散意識) and its correlate, return consciousness (huigui yishi 回歸意識). The famous group of Tang and Song intellectuals who were forced to leave hometown political/cultural centers and dream, perennially, of return constitutes the early Chinese embodiment of diaspora-return consciousness. For many “hometown” (guxiang 故鄉) came to mean not just their homeland but their ideal destination or spiritual home, as in Su Shi's 蘇軾 (1037–1101) “wherever my heart is at peace is my home.” The layered features of this diaspora-return (lisan-huigui 離散—回歸) consciousness led to a unique literary style and the development of tropes that would shape Chinese writing for a millennium. Political banishment yielded an unintended yet undeniable cultural value.
30
Shi, Zhixuan. "Discussion on the Rudiment, Transformation and Fusion of Opera Music." Journal of Educational Theory and Management 1, no. 1 (October 16, 2017): 113. http://dx.doi.org/10.26549/jetm.v1i1.586.
Full textAbstract:
Music is the core power to promote the development of opera and to thoroughly understand its early form and development track in the domain of opera art. It plays an important role in the comprehensive understanding of the artistic nature of operamusic. Opera music originated from the inheritance of excellent music culture in history, the song and dance drama in Tang Dynasty,Zaju in the Song Dynasty and Jinyuanben (a kind of Chinese ancient traditional opera) had began to form the rudiment of opera music before forming into independent musical system. The reform of the development of the opera music is based on the prototype ofthe opera music, with the development of the music itself and the combination of the opera art produced by external conditions of thedual effects.
31
Chemla, Karine. "Numerical Tables in Chinese Writings Devoted to Mathematics: From Early Imperial Manuscripts to Printed Song-Yuan Books." East Asian Science, Technology, and Medicine 44, no. 1 (June 25, 2016): 69–122. http://dx.doi.org/10.1163/26669323-04401005.
Full textAbstract:
This article establishes that the discursive parts of the earliest known mathematical manuscripts in Chinese were composed of (at least) two types of elements, marked by two types of texts. The manuscripts alternate continuous text, and text for numerical tables (what I call table-relations). I show that in these manuscripts, the latter were written down as ‘textual tables,’ and that two basic types of style were used for these textual tables. By contrast, tabular layouts have been used for a Qin period object and a Dunhuang manuscript carrying numerical tables. I suggest that these artifacts should be interpreted as computing tools. I further argue that, at least from the eleventh century onwards, diagrammatic tables were introduced into mathematical writings. They were used to write down new types of numerical tables. Diagrammatic features of such texts, like horizontal, vertical and oblique lines, played a key part in the reading, interpretation and use of these table-relations. In this sense, they can be compared with the Qin computing tool. I conclude that the fact that in Song-Yuan times these diagrammatic tables are referred to as ‘diagram tu 圖’ curiously echoes with the history of visual tools attested to in relation to mathematical activity in China.
32
Yang, Xiao Dong. "Austro-German Kunstlied Traditions at the Origins of the Chinese Art Song of the Early 20th Century." Университетский научный журнал, no. 70 (2022): 108–14. http://dx.doi.org/10.25807/22225064_2022_70_108.
Full text
33
Han, Xin. "The Boundedness of Adjectival Predication in Chinese: From Diachronic Perspective." International Journal of Education and Humanities 5, no. 2 (October 19, 2022): 41–48. http://dx.doi.org/10.54097/ijeh.v5i2.1988.
Full textAbstract:
By means of diachronic comparative analysis, this paper investigates the boundedness of adjectival predication from a historical perspective. Remarkable differences are observed to exist between modern Mandarin and classic Chinese: firstly, some adjectival-predicates had underwent changes from unmarked to marked form, accompanied by an increase of the number of adjectival-predicate markers; secondly, some adjectival-predicate markers are found in both classic and modern Chinese, however, their different usage in different periods indicates a tendency towards increasing bounded degree; in contrast, there are also some markers that could modify adjectival-predicate independently in early period but lost this function gradually. These diachronic evidences suggest the boundarization of adjectival predication in Chinese. Corpus data and statistic analysis are also used to examine when the boundedness of adjectival predication was established. It is shown that the boundarizing process began in the middle ancient times, then developed rapidly in Song and Yuan Dynasties, and finally completed in Ming and Qing Dynasties.
34
Yasukuni, Ryoichi, and Gaynor Sekimori. "REGIONAL VERSUS STANDARDIZED COINAGE IN EARLY MODERN JAPAN: THE TOKUGAWA KAN'EI TSŪHŌ 寛永通宝." International Journal of Asian Studies 7, no. 2 (June 15, 2010): 131–57. http://dx.doi.org/10.1017/s1479591410000045.
Full textAbstract:
In the currency system of early modern Japan, concurrent with gold coins and silver ingots issued under monopoly by the Tokugawa shogunal government from the beginning of its rule, in 1636 a new standard for copper coins was introduced with the Kan'ei tsūhō 寛永通宝, and subsequently a three-currency system spread throughout the country. Prior to that, no central Japanese authority had issued its own copper currency since the ancient imperial court discontinued minting coins bearing its own era-names in the tenth century. In the late sixteenth and early seventeenth century, imitation Chinese Song copper coins minted domestically, known as kyōsen 京銭, played an indispensable role in interregional payments, while separate regional coinages circulated in many of the feudal domains. Imitation Song coins from Japan were also in such strong demand in Southeast Asia that merchants Japanese as well as foreign made large profits by exporting them. The decision to mint the Kan'ei tsūhō arose in part from a strategy to unify the currency domestically, and also to prevent further production and export of the kyōsen at a time when the Tokugawa government was seeking to limit and control foreign trade. This study explores the context in which the Kan'ei tsūhō was introduced, drawing on both documentary and archaeological evidence, to establish a more comprehensive picture of the new coinage than has previously been available. It will be demonstrated that currency unification within the Japanese archipelago represented a breakaway from the East Asian currency sphere, which was dominated by purer silver ingots and Song coins, both originals and later imitations. As a result of the diffusion of the Kan'ei tsūhō, coins circulating domestically tended to become increasingly homogenized nationwide, though in fact a greater degree of regionality and stratification remained than has previously been thought.
35
McKinnon, E. Edwards. "A Note on Finds of Early Chinese Ceramics Associated with Megalithic Remains in Northwest Lampung." Journal of Southeast Asian Studies 24, no. 2 (September 1993): 227–38. http://dx.doi.org/10.1017/s0022463400002605.
Full textAbstract:
Finds of imported ceramics, especially early Chinese stonewares, are relatively rare in the mountainous interior of Sumatra. In 1977, however, Indonesian archaeologists discovered a series of five megalithic sites in Kecamatan Sumberjaya, Kabupaten Lampung Utara, about 85 kilometres northwest of Kotabumi the district administrative centre and some distance south of the road to Liwa and Krui. These sites were completely unknown in the Dutch colonial period and only came to light when Javanese immigrants moved in to the area in the nineteen fifties. Consequently, the present names by which these locations are known tend to reflect recent Javanese usage rather than indigenous nomenclature. Excavations at the complex known as Telagamukmin in Desa Purwawiwitan, Kecamatan Sumberjaya in 1980 revealed considerable quantities of locally made earthenware sherds and fragments of imported south Chinese stonewares dating from the ninth to tenth centuries, the Five Dynasties and northern Song periods in China. A bronze bracelet, two bronze blades and other metal fragments were also recovered. Quantities of ceramic sherds have also been recovered as surface finds at other locations including Batuberak and Batutameng Desa Purajaya, Ciptaarga, Bungin and Cabangdua.
36
Ewing, Richard Daniel. "Hu Jintao: The Making of a Chinese General Secretary." China Quarterly 173 (March 2003): 17–34. http://dx.doi.org/10.1017/s0009443903000032.
Full textAbstract:
Chinese Vice-President Hu Jintao, Jiang Zemin's heir apparent, has risen to the elite levels of Chinese politics through skill and a diverse network of political patrons. Hu's political career spans four decades, and he has been associated with China's top leaders, including Song Ping, Hu Yaobang, Deng Xiaoping and Jiang Zemin. Though marked early as a liberal by his ties to Hu Yaobang, Hu Jintao's conservative credentials were fashioned during the imposition of martial law in Tibet in 1989. Those actions endeared him to the Beijing leadership following the 4 June Tiananmen Square crackdown, and his career accelerated in the 1990s. Young, cautious and talented, Hu catapulted to the Politburo Standing Committee, the vice-presidency and the Central Military Commission. Despite recent media attention, Hu's positions on economic and foreign policy issues remain poorly defined. As the 16th Party Congress approaches, Hu is likely to be preparing to become General Secretary of the Communist Party and a force in world affairs.
37
Yu, Jingliang. "Translation in Intercultural Communication: Differences and Solutions: A Case Study of the English Translated Text of Song of a Pipa Player." International Journal of Linguistics, Literature and Translation 4, no. 9 (September 30, 2021): 209–13. http://dx.doi.org/10.32996/ijllt.2021.4.9.21.
Full textAbstract:
Intercultural communication has always been an important concept and core hot-spot in the field of intercultural research. In the early 1980s, Chinese scholars introduced the study of intercultural communication. The study of intercultural communication in China has formed a trend of cross-integration with the disciplines including Language Teaching, Translation Studies and Culturology, etc., after about 40 years of development. Thanks to the differences between Chinese and English, there are still many issues in translation on intercultural communication. Therefore, this research focuses on the in-depth analysis of three types of differences in the English translated text of Song of a Pipa Player from the perspective of intercultural communication to put forward corresponding translation strategies for intercultural communication and offer some help to the translation among different cultures.
38
Jinguang †, Zhang. "New Thoughts on the Social Forms of Ancient China (from the Zhou to Qing Dynasties)." Journal of Chinese Humanities 1, no. 1 (April 24, 2014): 51–66. http://dx.doi.org/10.1163/23521341-01010004.
Full textAbstract:
Abstract The entire course of ancient Chinese history has centered on state power, which dominated and shaped the basic picture of social history. The key to Chinese state power has been the state ownership of land, and based on this we can divide the social forms of ancient China into four successive periods: the period of yishe 邑社時代 or village societies (Western Zhou Dynasty and the Spring and Autumn Period); the period of official communal system 官社時代 (Warring States Period to Qin Dynasty to the early Han Dynasty); the period of half official communal system 半官社時代 (Han to Tang Dynasty); and the period of state vs. individual peasants 國家個體小農時代 (Song to Qing Dynasty).
39
Pang, Kevin D., Kevin K. Yau, and Hung-Hsiang Chou. "Astronomical Dating and Statistical Analysis of Ancient Chinese Eclipse Data." Highlights of Astronomy 11, no. 2 (1998): 724–28. http://dx.doi.org/10.1017/s1539299600018591.
Full textAbstract:
All 13 Shang dynasty oracle bone eclipse records have been uniquely matched to 6 solar and 7 lunar eclipses in the 14-12th centuries B.C. The King Zhong Kang 5th year autumnal (Oct. 16, 1876 B.C.) and King Yu 3rd year “double sunset” (Sept. 24, 1912 B.C.) eclipses confirm the accuracy of the revised Bamboo Annals Xia dynasty chronology (Nivision and Pang, Early China 15, 1990, 87). The eclipse dates are plotted against the number of generations before 841 B.C. (earliest accurate date), the respective kings ruled. The curve of benefit has both the strengths of verified royal genealogy – continuity – and eclipse dating – accuracy. It is 99% accurate, and can be confidently used as a foundation for building a detailed absolute chronology for the Xia, Shang and Zhou dynasties, an important project in China’s new 5-Year Plan (Song, Sci. Tech. Daily, May 17, 1996; Newsweek, July 7, 1997).
40
Ptak, Roderich, and Jiehua Cai. "Reconsidering the Role of Mazu under the Early Hongwu Reign." Ming Qing Yanjiu 20, no. 1 (March 1, 2016): 3–20. http://dx.doi.org/10.1163/24684791-12340001.
Full textAbstract:
The worship of Mazu, the Chinese Goddess of Sailors, began in Fujian, under the early Song. Migrants from that province gradually spread this cult to other coastal regions and among the overseas Chinese in Southeast Asia. The present article investigates one particular episode in the history of the Mazu cult. Its stage is Guangzhou and the period dealt with is the beginning of the Hongwu reign. In 1368, Liao Yongzhong’s troops moved to that city, putting it under control of Zhu Yuanzhang, the first Ming emperor. Local chronicles pertaining to Guangdong and certain other sources briefly refer to this event. They report that Liao promoted the worship of Mazu in that region and they indicate that Mazu received an official title in 1368, by imperial order. TheTianfei xiansheng lu, one of the key texts for the Mazu cult, provides different details: It associates the title granted by the imperial court with the year 1372, and not with the context of Central Guangdong. Furthermore, the attributes which form part of the title vary from one text to the next. The paper discusses these and other points, arguing there could be two different narrative traditions surrounding Mazu’s role in 1368/72: the Guangdong version and the “conventional” view, similar to the one found inTianfei xiansheng lu. Although there is no definite solution for this dilemma, the article tries to expose the general background into which one may embed these observations.
41
Erickson, Susan N. "The Shield-Shaped Jade Pendant." Archives of Asian Art 68, no. 2 (October 1, 2018): 157–90. http://dx.doi.org/10.1215/00666637-7162237.
Full textAbstract:
Abstract Objects carved of jade often were placed in Han-dynasty burials of people of high rank. This article focuses on a small, shield-shaped (or “heart-shaped”) pendant frequently found near the deceased. The development of the type is examined through its appearance in tombs dating to the early Western Han through the end of the Eastern Han and extending into the immediate post-Han period. The typology of the pendant and its surface decoration are analyzed. This type of jade pendant resurfaced in the Song dynasty, but its most significant resurgence is during the Ming and early Qing dynasties, although by then its decorative features, as recorded in illustrations in books, appear to be more important than its use in burials. The article also explores the foundational years of collecting Chinese art in the West by individuals such as the sinologist Berthold Laufer, as well as other scholars of Chinese art, as they began to understand the shield-shaped pendant's origin as a Han-dynasty artifact and to explore its significance.
42
Giménez-Llort, Lydia. "‘You’re Not Alone for China’: The First Song in Times of COVID-19 to Keep the Faith in a World Crying in Silence." Behavioral Sciences 12, no. 4 (March 24, 2022): 88. http://dx.doi.org/10.3390/bs12040088.
Full textAbstract:
Collective mourning is an expression of societal maturity, cohesion, and respect. The world is in grief, but in early January 2020, before nobody could even imagine that SARS-CoV-2 would turn into the COVID-19 pandemic, a music video version of a pop ballad about love and isolation was spread across a Chinese social network. The song ‘You Are Not Alone’ was adapted as a cover by young foreigners living in China to express their support to bereaved families and frontline workers and encourage the people of China, their second home. At that time, the rest of the world looked to distant China but could hardly expect to face the same adversity months later. The authors reported that the music video was a spontaneous artistic expression copying such traumatic events and the mourning process. The present work analyses how the music was blended with lyrics and images describing the outbreak in Wuhan to reach their goal. The original song and this shortened version for China were compared regarding musical and lyric structures and main characteristics. Additionally, an analysis of the two videos was done regarding cinemetric variables and non-verbal communication that emphasized the power of songs to express deep sorrow and sympathy but also to give hope. Psychological first aid, the five stages of the mourning process by Kübler-Ross, the dual-process model by Stroebe and Schut, and Taylor’s tend-to-befriend provided a better understanding of the translation from interpersonal to societal mourning. Finally, other memorable songs that society spontaneously chose to be performed alone or together to cope with sudden and dramatic situations, mitigate physical distancing, and alleviate human suffering are discussed. Music, lyrics, and artistic performance are playing a key role in building social and emotional ties during this pandemic, hampering individual and social pain and sorrow despite cultural barriers.
43
Vankeerberghen, Griet. "Choosing Balance: Weighing (quan) as a Metaphor for Action in Early Chinese Texts." Early China 30 (2005): 47–89. http://dx.doi.org/10.1017/s0362502800002182.
Full textAbstract:
Texts from the Zhou and Han periods regularly use the term quan “to weigh” when describing or prescribing human action. This essay seeks to determine precisely which concrete acts of weighing underlie the metaphoric application of the term to human action. A survey of the available textual and archaeological evidence shows that even before the Eastern Han, when steelyards became the most common weighing device, the act of weighing might have been executed and conceptualized in multiple ways. A similar conclusion is drawn from a survey of pictorial and literary references to metaphoric weighing in non-Chinese traditions. More precisely, I suggest three distinct possibilities: matching the object to be weighed with a known standard, determining which of two objects weighs heaviest, and, lastly, seeking the point at which the balance beam will gain or recover balance.Early Chinese texts provide examples of all three (quan A, B, and C). Quan B became prominent especially during the 3rd century B.C.E., when persuaders discussed how every choice had negative as well as positive consequences. Quan A and C are attested in texts usually dated to the 4th century B.C.E. or before. In this essay I argue that it is quan C that became the dominant metaphor in moral-political discourse, and that it had two competing interpretations: it could refer either to the multiple ways in which a sage adapts his actions to the circumstances, or to a temporary lifting of moral standards during an emergency. Whereas scholars in the Han and Qing dynasties generally accepted that moral rules were not absolute, Song scholars were scandalized by the notion that deviations from the rule were part and parcel of moral action.
44
Papelitzky, Elke. "Sand, Water, and Stars: Chinese Mapping of the Gobi and Taklamakan Deserts." T’oung Pao 107, no. 3-4 (September 8, 2021): 376–416. http://dx.doi.org/10.1163/15685322-10703004.
Full textAbstract:
Abstract Many Chinese maps from the mid-sixteenth century onwards mark the Gobi Desert as a prominent strip visually separating China from what lies beyond. Even before that time, the Gobi, as well as the Taklamakan Desert appeared on maps. Influenced by statements from the early classic “Yugong,” Chinese scholars and Han literati during late imperial China’s history had perceived the deserts as some kind of boundary, while with the integration of these regions into Qing territory, the imperial Manchu view shifted away from the desert being a boundary. The terms for the desert as well as the graphical depiction on maps link the desert to water and to some extent also to celestial phenomena. This article explores the history and cultural significance of the desert from the Song to the mid-Qing period based on maps in relation with relevant texts and draws connections to the origins and changes of these depictions.
45
Kim, Aeyoung. "A study of character forms and uses in Chanmen niansong ji 禅门拈颂集." Journal of Chinese Writing Systems 3, no. 2 (March 23, 2019): 87–100. http://dx.doi.org/10.1177/2513850219828193.
Full textAbstract:
This study aims to examine the features of the characters in Chanmen niansong ji 禅门拈颂集, a central text, while paying special attention to the variant Chinese characters (different characters with a similar pronunciation or meaning) it contains. Since Chanmen niansong ji 禅门拈颂集 includes a variety of such characters, it is possible to trace a diversity of changes in character forms from Lishu 隶书 to Kaishu 楷书. For this purpose, this study will classify variant Chinese characters in Chanmen niansong ji 禅门拈颂集 using two different classification standards, namely the structure of these characters and the method of generating them. Both versions of Chanmen niansong ji 禅门拈颂集, the variant Chinese character version and the conventional version include wuzi 误字 (wrong character), yanzi 衍字 (meaninglessly added characters), and tongjiazi 通假字 (loan character). It was found that there were some differences in the form and structure of characters in the two versions of the text. It is expected that the results of this investigation will contribute to the hermeneutic reconstruction of Chanmen niansong ji 禅门拈颂集. It seems clear that Chanmen niansong ji 禅门拈颂集 was published during the Song 宋 Dynasty in China, that is, the early Gaoli 高丽 Dynasty, a period when Tripitaka Koreana was also engraved in Gaoli 高丽. Through a basic analysis, several differences between Chanmen niansong ji 禅门拈颂集, the conventional version, and the variant Chinese character version were found, in terms of the form of their variant Chinese characters. Future research will compare the forms of the variant characters in these two texts, focusing on the pattern of character forms in the Song 宋 Dynasty in China, which is the counterpart of the Gaoli 高丽 Dynasty in Korea. This will help produce more abundant data related to character form.
46
Voytishek, E. E., Yao Song, and P. D. Ryabishev. "«Incense Seals» in Chinese Culture: Origins, Ritual and Practical Functions." Vestnik NSU. Series: History and Philology 21, no. 10 (December 1, 2022): 74–88. http://dx.doi.org/10.25205/1818-7919-2022-21-10-74-88.
Full textAbstract:
The article focuses on the origin of traditional Chinese culture seal-censers (香印 xiangyin, 香篆 xiangzhuan), including an analysis of key functions during their evolutionary course over several centuries. The specificity of early incense seals is revealed through the study of religious, documentary and artistic sources of the Tang (618–907) and Song (960–1279) epochs, Chinese catalogs and reference books dating back to the last years of the Qing dynasty (last quarter of the 19th century) and 7th – 8th centuries Buddhist texts. Key features of the symbolism and functions of aromatic seals in rituals, engineering and scientific fields, as well as in artistic and household fields are also analyzed. Currently, the practice of burning incense seals in China and Taiwan is generally limited to artistic and commercial fields. At the same time, the lengthy religious, artistic and everyday tradition of the East contains great opportunities for using incense seals. Such as, naturally combining them with other types of leisure, including being considered an effective way to maintain physical and mental health.
47
Chan, Peter C. H. "Civil mediation in imperial, republican and modern-day China." Tijdschrift voor rechtsgeschiedenis 85, no. 3-4 (December 14, 2017): 577–602. http://dx.doi.org/10.1163/15718190-08534p07.
Full textAbstract:
This article explores the position of mediation as a means of civil disputes resolution in China’s legal history. While civil adjudication existed in imperial China, the legal tradition of wu song (‘[a society] free from litigation’) played a fundamental role in shaping China’s imperial civil justice system. Under the Confucian ideology, disputes of a civil nature should be settled through conciliatory means so that the amicable relations of the disputants could be maintained. The culture of face-saving and the maintenance of cordial relations remains a distinctive characteristic of the modern Chinese society. This legal historical background provided the ideological foundation for civil procedural systems during the Republican era (1911-1949) and the early days of the People’s Republic (since 1949). The current debate on the contemporary mediation system is placed into the appropriate context when one understands that civil process in China today still operates under the shadow of cultural norms of the traditional Chinese legal order.
48
Snow, Don, Zhou Xiayun, and Shen Senyao. "A short history of written Wu, Part I." Global Chinese 4, no. 1 (March 26, 2018): 143–66. http://dx.doi.org/10.1515/glochi-2018-0007.
Full textAbstract:
AbstractIn two articles published in the 1920s, Hu Shi argued that China’s vernacular literature movement should encompass not only literature written in Mandarin but also other regional languages in China, and suggested that Wu, particularly Suzhounese, was the regional language most likely to achieve what he described as “independence” (独立) as a literary language. Beginning in the late Ming dynasty with Feng Menglong’s Mountain Songs collection, this study traces the literary journey of Suzhounese as used in various types of written texts such as Kun opera scripts,tancinovels, fiction, and Wu song texts into the early 20th century. This study argues that while written Suzhounese never achieved full independence as a literary language, and could now be said to have gone into decline, its more than 300-year history deserves more attention than it normally receives in histories of the Chinese literary tradition. This is not only because of the scale of its use and its degree of social influence, but also because the memory of this substantial literary tradition lives on and gives greater legitimacy to use of written Wu – particularly Shanghainese – in contemporary print culture in China.
49
Hua, Yiwei, Qing Chun, and Xiaohu Jia. "Simplified Calculation Model for Typical Dou-Gong Exposed to Vertical Loads." Buildings 12, no. 5 (May 20, 2022): 689. http://dx.doi.org/10.3390/buildings12050689.
Full textAbstract:
Early Chinese traditional timber buildings preserved until now are mainly ancient buildings built in the time of the Song and Yuan dynasties (960–1368 AD). Dou-gongs of these ancient timber buildings are complex structures. Their complexities, however, are difficult to fully consider in large-scale structural analyses. Therefore, it is necessary to develop a reliable simplified modeling of Dou-gongs, which is applicable for large-scale analyses. In this study, the features of Dou-gongs of early Chinese traditional timber buildings were firstly reviewed, referring to the historical literature and on-site investigation. Then, the mechanical behavior of typical Dou-gongs exposed to vertical loads was examined through refined finite element analyses, where the solid elements were adopted and geometric characteristics were considered. According to the results of the load transferring path, a new beam-truss model representing a simplified Dou-gong was developed, and its accuracy was numerically verified. The results showed that the gravity load of the roof above the column is transferred down through the central axis; the weight of the overhang of the roof is transferred diagonally to the bottom of the Dou-gong, passing through the front of the cantilever components; in the collapse condition, the vertical load is transferred to the two sides through horizontal beams. Compared with the results of the refined model, the new beam-truss model proposed shows an acceptable computational accuracy concerning stress, deformation and stiffness, with 90–97% reduction in the calculation time consumption, which makes it suitable for large-scale structural analyses of early Chinese traditional timber buildings.
50
Wang (王旭), Xu. "An Interpretative View of the Origin of the Early Chinese Revolution from the Perspective of Secret Societies: Retrospect and Reflections from the History of Social Thought, Part II." Rural China 19, no. 2 (September 5, 2022): 210–31. http://dx.doi.org/10.1163/22136746-12341287.
Full textAbstract:
Abstract The development of the Chinese revolutionary movement in the early twentieth century absorbed cultural resources from traditional secret societies and associations. The White Lotus, the Tiandihui, the Gelaohui, the Triad, and the various secret societies that had emerged in the Taiping and the Boxer rebellions were all incorporated into the discourse system of revolutionary history. The secret societies’ slogans of “overthrow the Qing and restore the Ming” and “rob the rich to help the poor” merged with the revolutionaries’ platform of “drive out the Manchus” and “relief for people’s livelihood,” and finally advanced the success of the Xinhai Revolution and was turned into a coherent historical narrative. After the founding of the Republic of China, Sun Yat-sen and Song Jiaoren carefully assessed the function of secret societies and distinguished them from modern political parties. On the other hand, leaders of the Communist Party, such as Mao Zedong, Qu Qiubai, Yun Daiying, and Chen Duxiu, emphasized the ideological transformation of secret societies and the suitable role they could play in the revolution, thus showing a dynamic strategy of allying with these organizations. The history of the relationship between the Chinese revolution and secret societies reflects the changing characteristics and logic of the underclass of Chinese society.