Journal articles: 'Teahouses'

1

Shao, Qin. "Tempest over Teapots: The Vilification of Teahouse Culture in Early Republican China." Journal of Asian Studies 57, no. 4 (November 1998): 1009–41. http://dx.doi.org/10.2307/2659302.

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The Chinese Teahouse was one of a few traditional institutions of sociability whose wider social and cultural appeal overshadowed its primary business. Historically, it was closely woven into the fabric of Chinese life. In many communities the teahouse served as a center of information, a locus of leisure and social gatherings, an occasional office and marketplace for many practitioners, and an arena where various social forces competed for status and influence. Urbanization in the late Qing dynasty further contributed to the growth of teahouses, especially in the Yangzi River region (Suzuki 1982; Yan 1997, 17). However, while teahouses continued to flourish in the early Republic, teahouse culture became a target—a constant target in some areas— of social critics. Why this tempest over teapots?

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Wang, Di. "Struggling for Livelihood: Social Conflict through the Teahouse in Republican Chengdu." European Journal of East Asian Studies 5, no. 2 (2006): 247–73. http://dx.doi.org/10.1163/157006106778869315.

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AbstractThis article reveals that teahouses were the scene of a variety of conflicts, from verbal disputes and petty thefts to violence and murder. The author argues that the teahouse, although mainly a place for leisure, business and public life, also became an arena for struggle for livelihood. The teahouse was a microcosm of Chengdu, and anything undertaken there reflected the larger society. Conflicts in the teahouse to a large extent reflected current social issues. Fights broke out when people found it difficult to solve their problems, to make a living and to survive, or when they were anxious or unhappy in the face of injustice, the deteriorating economy, hunger, insecurity and war. On the other hand, conflicts also arose from the abuse of power and privilege and the tyrannical response to social turmoil by thugs, soldiers and outlaws. We can see such unfortunate periods during the first half of the twentieth century. The author also tries to point out that the teahouse functioned as a stage where all kinds of people performed roles that were both good and evil, but all became part of teahouse culture and teahouse life.

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Luca, Gabriela. "The Metamorphosis of Tea. Teahouses and Tea shops in Bucharest." International Review of Social Research 1, no. 2 (June 1, 2011): 99–108. http://dx.doi.org/10.1515/irsr-2011-0013.

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Abstract This paper examines the increase of public, non-domestic tea consumption in Bucharest. In order to offer a full picture, I approached the consumer engines in terms of both teahouses’ owners and consumers. I found that most entrepreneurs have established their business in an effort to have a place of their own, quiet, where to practice their passions with people who share the same values and interests. Consumers, in turn, are attracted primarily by the interior space of the teahouses. Their reasons are the most diverse: for relaxation and dreaming, to escape from the city’s violent stimuli, for introspection, for new bodily experiences, to strengthen or build friendship, romantic or business relationships, as well as for the ‘dream’ characteristics of the teahouses’ environment. Both the teahouses’ owners and their consumers may be regarded as varieties of prosumers.

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Iselin, Lilian. "Teahouses and Telephones." Inner Asia 18, no. 1 (May 5, 2016): 37–57. http://dx.doi.org/10.1163/22105018-12340052.

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Telecommunication infrastructure that enables mobile communication has penetrated all regions of China with unprecedented speed. Tibetan pastoral regions in the north of Sichuan are no exception. Along with road and urban construction, the enlarged telecommunication system has become part of the landscape. Tibetan pastoralists’ mobility patterns and forms of communication have been affected by these developments, and spatial practices have undergone significant transformation. One aspect in which spatial transformations become manifest is in the increased tendency of pastoralists to visit towns. This has contributed to a growth in the number of teahouses and similar gathering places where pastoralists converge. This paper examines how pastoralists embed mobile communication into fixed-place sociability located in towns. It argues that, although mobile communication implies mobility, helping people living in remote areas maintain contact over distance, it is in fact used as a tool of contact and interaction in the centralised location of towns and teahouses.

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Johnston, James D., John D. Beard, M. Lelinneth B. Novilla, Frank X. Weber, and Ryan T. Chartier. "PM2.5 Pollution Levels and Chemical Components at Teahouses along the Poon Hill Trek in Nepal." Atmosphere 13, no. 7 (June 24, 2022): 1018. http://dx.doi.org/10.3390/atmos13071018.

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Unhealthy levels of fine particulate matter (PM2.5) from the local burning of solid fuels, and from regional transport of pollutants, remain a major public health problem in the Himalayan foothill villages in Nepal. Teahouses (i.e., mountain lodges) along popular hiking trails in the lower Himalayas commonly use wood as the primary energy source for heating; however, little is known about teahouse air quality. The purpose of this study was to characterize the levels and chemical constituents of indoor and ambient PM2.5 at three villages along the Poon Hill circuit trek in the Annapurna Conservation Area in Nepal. A convenience sample of five PM2.5 measurements was collected with portable MicroPEM V.3.2A exposure monitors. Filters were analyzed for black and brown carbon using integrating sphere optical transmittance and 33 elemental constituents using energy-dispersive X-ray fluorescence. Median indoor PM2.5 over the sampling period was 41.3 µg/m3, whereas median ambient PM2.5 over the sampling period was 34.7 µg/m3. Chemical species associated with wood smoke, such as potassium (GM = 0.88 µg/m3), predominated. High indoor and ambient PM2.5 levels may pose a significant occupational health risk to teahouse workers, who may experience chronic exposures during trekking seasons. Our findings warrant additional research to characterize teahouse air pollution exposures more fully and to evaluate intervention measures.

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Fisher, Gareth. "From Temples to Teahouses." Review of Religion and Chinese Society 7, no. 1 (May 20, 2020): 34–61. http://dx.doi.org/10.1163/22143955-00701003.

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This article presents an overview of the nature of lay Buddhist revival in post-Mao China. After defining the category of lay practitioner, it outlines key events in the revival of lay Buddhism following the end of the Cultural Revolution. Following this, it describes three main aspects of the revival: the grassroots-organized formation of communities of lay Buddhists that gather at temples either to share and discuss the moral teachings of Buddhist-themed media or to engage in devotional activities; devotional and pedagogical activities organized for lay practitioners by monastic and lay leaders at temples and lay practitioners’ groves; and, more recently, the emergence of private spaces for specific practices such as meditation, the appreciation of Buddhist art and culture, and the discussion of teachings from specific Buddhist masters. The article concludes that while government-authorized temples continue to be active spaces for lay practitioners interested in Dharma instruction from monastics, regular devotional activities, and opportunities to earn merit and gain self-fulfillment through volunteerism, greater state restrictions on spontaneous lay-organized practices in temple space are increasingly leading lay practitioners to organize activities in private or semi-private spaces. The introduction of social media has facilitated the growth of Buddhist-related practices for laypersons in nontemple spaces.

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Phillips, Carolyn. "Modern Chinese History as Reflected in a Teahouse Mirror." Gastronomica 17, no. 1 (2017): 56–65. http://dx.doi.org/10.1525/gfc.2017.17.1.56.

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Food and culture are inextricably intertwined in China, and perhaps nowhere more so than in Cantonese teahouses and their dim sum. Books, journals, photographs, and chronicles can tell us much about what life was like between 1880 and 1949 as Guangdong Province began to modernize. But perhaps even more fascinating is the way in which those massive changes were echoed in the teahouses and snacks of its capital city, Guangzhou. For, in addition to being delectable tidbits, dim sum can provide intriguing clues to the country's migration patterns, regional cuisines, various ethnicities, and foreign influences. Echoes of China's past have somehow managed to be ensconced within these dainty morsels, making a dim sum brunch an excellent opportunity not only to dine exceedingly well, but also to understand a city's fascinating modern history during seventy tumultuous years.

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Latypov, Alisher. "Choikhonai Surkh: The Replacement of “Opium Dens” with Red Teahouses and the Limits of the Soviet Enlightenment Project in Tajikistan." Central Asian Affairs 7, no. 3 (September 22, 2020): 236–66. http://dx.doi.org/10.30965/22142290-bja10003.

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Abstract In this paper I trace sanitation, education, and cultural enlightenment practices in early Soviet Tajikistan, and reassess the role of red teahouses in addressing drug use and other health issues in the country. I examine the assertions of Soviet historians and physicians by drawing on extensive archival records from Russia and Tajikistan and local newspapers published in Tajikistan in the 1930s, and in doing so accentuate an alternative account that illustrates the limits of Soviet undertakings and the appalling gaps between the aspirations of Soviet leaders and reality. Red teahouses failed both to focus on health challenges and to tackle the use of narcotic intoxicants in early Soviet Tajikistan. The majority of these new Soviet facilities functioned as commercial socio-gastronomic entities until the late 1930s and beyond, rather than spreading health propaganda and engaging in the cultural construction and enlightenment of the Tajik people.

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Zengqi, Wang. "Steeping Ourselves in the Teahouses: A Chapter from Reminiscences of Kunming." Chinese Education 21, no. 2 (July 1988): 41–52. http://dx.doi.org/10.2753/ced1061-1932210241.

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Wilson, Jennifer. "Queer Harlem, Queer Tashkent: Langston Hughes's “Boy Dancers of Uzbekistan”." Slavic Review 76, no. 3 (2017): 637–46. http://dx.doi.org/10.1017/slr.2017.171.

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In Langston Hughes's 1934 essay “Boy Dancers of Uzbekistan,” (published inTravelmagazine), the author writes mournfully about the Soviet reforms that put an end to the practice of effeminized male dancers,bachi, performing in the teahouses of Central Asia for exclusively male audiences; in doing so, Hughes expresses an enthusiasm for the queer contours of thebachitradition. This article connects that enthusiasm with Hughes's earlier involvement in cultural efforts aimed at increasing queer visibility within the black community during the Harlem Renaissance. By situating “Boy Dancers” in this context, the underexplored role of the Russian Revolution in fostering queer solidarity among global communities of color is highlighted.

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楚, 宁玲. "Research on the Activation Path of Ba Culture Elements in the Design of Teahouse in Eastern Sichuan—Taking Teahouses in Ciqikou Ancient Town as Examples." Design 08, no. 04 (2023): 2744–56. http://dx.doi.org/10.12677/design.2023.84336.

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OKUYA, Megumi, and Yo KITAKAWA. "TRANSITION AND CONSTRUCTION METHOD OF TEAHOUSES ON THE YOSHIDA TRAIL ON MT. FUJI." Journal of Architecture and Planning (Transactions of AIJ) 86, no. 781 (2021): 1073–81. http://dx.doi.org/10.3130/aija.86.1073.

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Chen, Zhaoyu. "A pilot study of the co-creation experience in traditional Cantonese teahouses in Hong Kong." Journal of Heritage Tourism 13, no. 6 (March 2018): 506–27. http://dx.doi.org/10.1080/1743873x.2018.1444045.

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Qian, Jingyi. "Retrofitting Existing Urban Voids." BCP Education & Psychology 7 (November 7, 2022): 327–34. http://dx.doi.org/10.54691/bcpep.v7i.2684.

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As an abandoned mining area, Huanglong Mountain Purple Sand Mining Area in Dingshu Town, Yixing City, Jiangsu Province has entered a state of suspension of production. This study draws on successful cases and retrofits the abandoned mining area in Huanglong Mountain into a “source of purple sand” community park. With purple sand (the represent of the urban) as the core, museums are built to realize the restoration of the ruins and at the same time display the culture as well as history of the development of purple sand mining and pottery industry through photos and historical documents. This community park also provides ordinary pottery artists with opportunities to display their works and participate in cultural inheritance through workshop, narrating their learning experience to encourage youngsters. Some basic facilities like teahouses, restaurants, hotels and bazaars associated with local elements are created in the park to help tourists to experience the local pottery art life and boost economy prosperity of the city.

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Di, Wang. "Teahouses, theaters, and popular education: entertainment and leisure politics in late Qing and early republican Chengdu." Journal of Modern Chinese History 2, no. 1 (June 2008): 1–20. http://dx.doi.org/10.1080/17535650802048041.

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Fekete, Albert, and Peter Gyori. "Chinese pavilions in the early landscape gardens of Europe." Landscape architecture and art 18 (October 7, 2021): 78–87. http://dx.doi.org/10.22616/j.landarchart.2021.18.08.

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The image of China perceived by the Europeans in the 17th to 18th century was based on the travelogues of the travellers and missionaries. Despite the fact that the first descriptions did not include any pictures of the world, people and landscapes described, the far exotic country with its history and tangible heritage became very popular. This article deals with Chinese pavilions (pagodas, teahouses) built in the early European landscape gardens before 1750 without any architectural plans, using only sketches based on descriptions and travelogues, since in the first half of the 18th century, no relevant technical guidance was available yet. The structures reviewed started to be used frequently in European gardens and public parks from 1750’s, having an inevitable influence on the garden pavilions built from the second half of the 18th century, and indirectly to the image and character of some influential gardens in European context. Moreover, through their craggy appearance, the Chinese pavilions – as eye catchers – played an accentuated compositional and spatial role too in the European garden history.

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Zhao, Xingchen. "Exploring the Impact of Urban Industrial Innovation on Sustainable Rural Development Based on the Rise of New Teahouses in China." Modern Economics & Management Forum 3, no. 5 (November 1, 2022): 318. http://dx.doi.org/10.32629/memf.v3i5.1042.

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The new teahouse is a new retail consumption mode of pure tea, aimed at young consumers that cater to the aesthetic taste of the modern market using "culture + design + innovative marketing + industrial integration" under the background of China's consumption upgrading market. It is the result of urban niche market innovation. Through the innovation of urban industries, urban industries can participate in the agricultural industry chain, and urban leading enterprises can drive the demand of small and medium-sized enterprises for agricultural products, trigger the synergy of urban and rural industries, and promote the sustainable development of urban and rural industries and rural areas.

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Daneshyar, Ehsan. "On Paths in the Cultural Landscape of Masulih, Gilan, Iran." Open House International 42, no. 4 (December 1, 2017): 90–97. http://dx.doi.org/10.1108/ohi-04-2017-b0011.

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This article illustrates the significance of pathways in cultural landscapes. It does so via an in-depth analysis at the paths in the historic community of Masulih, located in the Iranian province of Gilān. The town of Masulih, including its surrounding landscape, has an inter-connected systems of pathways that serve to tie the area together as coherent whole, making it an excellent site to explore the significance of path systems. On a functional level the neighbourhoods and homes, bazaar, teahouses, mosques, and Imāmzādih, in addition to the grazing lands and paths connect shrines outside the community. However, the paths of Masulih are significant beyond their mere utilitarian function as travel routes. This paper finds that various attributes of the paths are interrelated: the relation of path to topography; the cyclical and seasonal usage of paths; the path's function as connector of the bazaar and tea houses where individuals meet and socialize; paths serve as an stage during the lunar rituals that allows for further socializing; lands near and far are connected by the network of paths. Finally, this paper documents the dynamic connections between paths, landscape, built environment, and individuals in Masulih.

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Veg, Sebastian. "Creating Public Opinion, Advancing Knowledge, Engaging in Politics: The Local Public Sphere in Chengdu, 1898–1921." China Quarterly 246 (April 26, 2021): 331–53. http://dx.doi.org/10.1017/s0305741021000217.

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AbstractSituated far from coastal cities and foreign concessions, Chengdu yields insights into the role of the local press and its specific publics in the political evolution of the late Qing and early Republic. Despite its remote location, Chengdu developed its own modern press in the late Qing, relying on print entrepreneurs and modern journalists recruited from the ranks of the local literati and traditional sociability, in particular teahouses. They all played a role in forming a modern reading public which came to understand itself as a distinct local political community in dynamic interaction with national politics and transnational networks. The local press evinced three successive but intertwined ideals of publicness: as a link between the state and the people and a vector of enlightenment, as a professional forum for public opinion and as a tool for political mobilization. In solidifying public opinion around the local community, the press served as a forum and catalyst for political activism in the 1911 Railroad Protection movement and the 1919 May Fourth movement, events which were shaped as much by local dynamics as they were by national developments.

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Polschikova, N. V., and N. V. Kovbasyuk. "PHILOSOPHY AND ARCHITECTURE OF TEA HOUSES IN JAPAN." Problems of theory and history of architecture of Ukraine, no. 20 (May 12, 2020): 166–78. http://dx.doi.org/10.31650/2519-4208-2020-20-166-178.

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Tea ceremonies have evolved a great deal since they first got their start, and as the ceremonies have grown and shifted in purpose, so have the tea houses that hold them. Japanese tea house, Chashitsu in Japanese, is where chado, the tea ceremony takes place, which expresses Japanese sentimentality and aesthetics through the act of drinking tea. Chashitsu is truly the product of all of the traditional Japanese crafts combined and sophisticated.As tea began to grow in popularity, tea ceremonies became a source of entertainment for members of the upper class who could afford to gamble, read poetry and attend tea parties in extravagant pavilions. The design of free-standing tea houses is heavily influenced by Zen philosophy. In an attempt to escape from the material strains of daily life, Shukō removed tea parties from the formal setting and instead held the ceremonies in simple grass-thatched huts, like the Tai-an Teahouse. His goal in doing this was to transcend the complex distractions of the world and find enlightenment in everyday life. Another important procedure initiated by Shukou, was that he himself would serve the tea to his guests. He preferred the intimate and personal atmosphere of a small room which could fit five to six people. The four-and-a-half-mat room that he had devised to create a more tranquil atmosphere during the tea ceremony had its origins in the Zen philosophy. In front of the traditional teahouse is a garden referred to as the roji. Guests traverse it on a path of stepping stones, admiring the plants and trees, before washing their hands at a stone basin in preparation for entering the teahouse building. One of the chief characteristics of the thatched hut teahouse begun by Rikyū is the guest entrance, or nijiriguchi. The square door is so low and small that guests can’t move through it without stooping and curling up as they crawl through. When guests enter the tea house, they first proceed to the alcove, tokonoma, to admire the decoration. There is no furniture, except for that which is required for the preparation of tea. Usually, there will be a charcoal pit in the center of the room by cutting a piece of the tatami is used to boil water. Object used in the tea ceremony included special porcelain or ceramic bowls, a cast-iron kettle with bronze lid, freshwater water jars, ceramic of lacquer container for powdered tea, and tea caddies. There are four main principals defining the way people and tea objects interact: wa (harmony); kei (respect); sei (purity) and jyaku (tranquility). Having got everything right in terms of setting and paraphernalia, one then has to do what all this has been leading up to: make tea. The exact movements of the host are vital but depend on which school of tea ceremony one favours. The important thing is to only make the minimum of movements which should be precise, graceful, and restrained. Further, one should be silent when actually preparing the tea. All thenecessary equipment should have already been laid out before the guests, and only the kettle is hidden from their view. The tea caddy and bamboo scoop are first cleaned with a cloth. When ready, the hot water is poured into the tea bowls but only enough to warm them. Powdered tea is then added to the bowls, which are then topped up with hot water, and the mixture is whisked to make a frothy drink. The tea should be drunk in small sips. When everyone has finished, the implements and bowls are cleaned and removed from sight leaving only the kettle before the hopefully now well-satisfied guests. Finally, some of the finer implements may be returned in order for the guests to discuss their appreciation of them.The simplicity of modern teahouses is meant to emphasize the importance of breaking down boundaries that exist among people, objects and ideas. Taking the idea of tea houses designed to mesh with their natural environment to a whole new level, Terunobu Fujimori created the Takasugi-an, which translates to“a tea house too high.” He built the compact teahouse to appear as though it was resting between two chestnut trees, and although the only way to reach the tea house is via ladder, the view from the top gives visitors a perfect view of Chino, Japan. Instead of displaying the picture scrolls of traditional tea houses that indicated the time of year, Fujimori used the building’s windows to achieve the same effect while also allowing visitors to observe the profound changes that were happening in the world around them. Simple materials such asplaster and bamboo were used to construct the interior of the tea house.Modern tea houses still have strong roots in the traditional purposes of tea ceremonies.Today, many practice tea ceremony and enjoy its benefit innumerous types of tea rooms from traditional ones to innovative ones. Both the ceremony and the Japanese tea houses have evolved since the earliest days, and they continue evolving so that they can adapt to the rapidchangesinmodern society.

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Goldstein, Joshua. "From Teahouse to Playhouse: Theaters As Social Texts in Early-Twentieth-Century China." Journal of Asian Studies 62, no. 3 (August 2003): 753–79. http://dx.doi.org/10.2307/3591859.

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The qing court had a love-hate relationship with popular drama. From the Qianlong emperor (r. 1736–95) to the Empress Dowager Cixi (1835–1908), several Qing rulers were renowned for their doting patronage of popular opera, yet the state was far from sanguine about drama's social effects, viewing public theaters with great suspicion. Theaters, in the eyes of the authorities, were notorious hangouts for ruffians, slackers, gamblers, and insurgents, providing these roustabouts with the ideal environment in which to scheme and swindle. In addition to waging campaigns to censor and weed out “seditious passages” from popular dramas (Guy 1987, 92), emperors throughout the Qing dynasty issued dozens of edicts regulating the construction, location, and clientele of commercial theaters. In rural areas, especially in times of unrest, local authorities often canceled scheduled performances for fear that such occasions offered gangs and secret societies prime opportunities for stirring up trouble (Mackerras 1972, 37). Urban theaters were no safer. According to popular lore, even the Kangxi emperor was cheated by hoodlums when he ventured into a public theater during one of his legendary outings disguised as a commoner (Liao 1997, 80). Yet in spite of their reputation for breeding disorder and moral vice, commercial theaters—commonly known as teahouses (chayuan)—increasingly thrived, and in this new social space, the genre of Peking opera came into full flower during the last century of the Qing dynasty.

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Im, WooKyung, and Natalie Grant. "Resurrection of the Japanese military “comfort stations” in East Asia: focusing on the Taiwanese military brothels, special assignation teahouses (teyuechashi)." Inter-Asia Cultural Studies 21, no. 1 (January 2, 2020): 164–81. http://dx.doi.org/10.1080/14649373.2020.1720384.

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IM, WooKyung. "The Female Convicts gone to the ‘Special Assignation Teahouses’－On a Filling Way of Women in the Taiwanese Military Brothels－." Journal of Chinese Studies 90 (November 30, 2019): 319–46. http://dx.doi.org/10.36493/jcs.90.11.

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Borisova, O. O., and N. A. Merenkova. "Library Outreach Activities of Trusteeship of People’s Sobriety in the Orel Province in late XIX - early XX century." Bibliotekovedenie [Russian Journal of Library Science], no. 2 (April 28, 2015): 94–102. http://dx.doi.org/10.25281/0869-608x-2015-0-2-94-102.

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There is considered the experience of trusteeship of people’s sobriety in organizing free public libraries and reading rooms, in conducting educational activities in Orel province in late XIX - early XX century. Since late nineteenth century the Russian State and the Russian Orthodox Church, realizing that the main cause of alcoholism is the low level of spiritual and moral life of the nation, have joined their forces to address this problem. Together they built an integrated system of education and upbringing of people in the spirit of sobriety and piety by creating trusteeships of national sobriety. Analysis of data on the number of libraries organized by the trusteeships of people’s sobriety on the territory of the Russian Empire in 1902-1910, allows to conclude that the greatest number of the trusteeship libraries functioned in the years 1905-1906. In 1906-1909, their number decreased. Among 3915 trusteeship libraries in 1910, 70% were affiliated at different institutions, 11% were placed in specially hired premises and 19% at guardianship institutions, mainly in teahouses. In total, there are identified 128 libraries, opened by trusteeships in the Orel province. Library and educational activity of trusteeships of people’s sobriety in the Russian Empire in late XIX - early XX century gives the possibility of using the historical experience for interaction of the local governments, social movements, and libraries for the purpose of maintenance of temperance in modern conditions.

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Grela-Chen, Magdalena. "Geisha Fever: Changes in the Traditional Entertainment Districts in Kyoto in Response to Excessive Attention from Western Tourists." Intercultural Relations 3, no. 2(6) (February 16, 2020): 125–37. http://dx.doi.org/10.12797/rm.02.2019.06.07.

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In the popular discourse, geiko districts are described as places where traditional culture is preserved in a living form. Although this statement may be considered as true, the geiko community is a part of Japanese society as a whole and does not exist in complete isolation. Being able to survive as guardians of the Japanese tradition, in the 21st century geiko are discovering new opportunities, such as using new media to promote themselves in order to protect their lifestyle. However, outside world has forced them to change the way they manage their business in the districts. By using their own Internet sites, Facebook, Twitter and Instagram accounts to reach new customers, they display their daily routine, one in which traditional culture meets modern ideas. This paper shows the reception of usage of the Internet in traditional entertainment districts of Kyoto and the response of Western tourists to the geisha phenomenon. It appears that overwhelming attention on the part of tourist industry, as well as commercialisation, are becoming a threat to the values which have cemented relationships between customers, geiko and teahouses owners. For instance, while during the so-called “geisha hunting”, tourists often try to take photographs of them at all costs. Considering the aspects of geiko life and processes mentioned above it is worth analysing how the image of the geiko is perceived by Westerners.

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Lorway, R., J. Zhang, X. Ma, Q. Li, Y. Xie, S. Khan, J. F. Blanchard, and B. Yu. "P4.038 An Environmental and Political Economic Perspective on Sexual Risk: Teahouses, Female Sex Work and Peer Ethnography in Zigong, South West China." Sexually Transmitted Infections 89, Suppl 1 (July 2013): A300.1—A300. http://dx.doi.org/10.1136/sextrans-2013-051184.0936.

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Peng, Zhi. "A Literature Review on the Study of Teahouse from 2003 to 2023." Communications in Humanities Research 16, no. 1 (November 28, 2023): 169–72. http://dx.doi.org/10.54254/2753-7064/16/20230606.

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Using the method of literature investigation and statistical analysis, this paper analyzes and summarizes the literature on Lao Shes Teahouse. It is found that in recent years, the academic research on the text of Teahouse mainly focuses on three aspects: character image, language features and ideological connotation, which are still very common research fields. However, there are few literatures to study Teahouse from the perspective of innovation, and there are also few literatures to deeply study the details of the text. In fact, the Teahouse contains many different cultural connotations, such as space culture, tea culture, Beijing culture and so on. Researchers can use a new cultural perspective to study the multiple cultural connotations contained in the Teahouse. The purpose of this paper is to present the hot spots and general trends of the academic research on Teahouse, point out the shortcomings and limitations of the research, and provide a new direction for future research.

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Parkhomchuk, Mykhaiolo. "HISTORICAL DEVELOPMENT AND BASIC PRINCIPLES OF TEA ARCHITECTURE IN JAPAN." Current problems of architecture and urban planning, no. 62 (January 31, 2022): 90–103. http://dx.doi.org/10.32347/2077-3455.2022.62.90-103.

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This paper reviews several examples of Japanese tea architecture in order to identify its specific features in the context of its historical development. Based on this, the main principles of the formation of tea architecture in Japan are defined. The analysis is conducted in relation to three main factors that influenced the formation of tea architecture: vernacular architecture, noble architecture and the philosophical ideas of Zen Buddhism. As an example, three tea houses of the master Sen no Rikyu (1522-1591) were used, namely: Kasa-tei, Shigure-tei (Todaiji Monastery, Kyoto) and Tai-an (Myoki-an Monastery, Kyoto), and the palace of Villa Katsura (1620-1658), commissioned by Prince Toshihito. The Kasa-tei and Shigure-tei houses are characterised by active inheriting of the structural elements and forms of vernacular housing. The Tai-an is a vivid reflection of aristocratic and Zen traditions. In the architecture of villa Katsura there is an influence of several directions of aristocratic and vernacular architectural styles. In each example, the influence of these three factors was detected at several levels: in the formation of the environment of the tea house (tea garden), in the structure and composition of the buildings, in the internal space of the buildings and at the level of semantics of the complexes. Among the variety of teahouses, at each determined level the preference may be given to one or another stylistic direction. For example, the traditions of vernacular architecture in the Kasa-tei and Shigure-tei houses are increasingly expressed in the exterior of the buildings and in the overall character of the complex. The aristocratic and ascetic spirit of the Tai-an house is mainly expressed in the interior of the building. In the architecture of Villa Katsura – similar to the examples mentioned above – the tradition of vernacular architecture is mainly present in the exterior and surroundings of the building, while the interior stays within the aristocratic tradition. The basic principles of tea architecture identified in the paper are arranged according to their origin and localization of application in the final table.

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Michaels, Judy. "Teahouse Zen." Women's Review of Books 18, no. 5 (February 2001): 21. http://dx.doi.org/10.2307/4023608.

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Lunochkin, Andrei. "Commercial Trade in the System of Public Catering of the Stalingrad Region in 1944–1947." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 2 (May 2024): 91–101. http://dx.doi.org/10.15688/jvolsu4.2024.2.8.

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Introduction. The article deals with the creation and development of a commercial trade system in public catering in the city of Stalingrad and the Stalingrad region at the end of the Great Patriotic War and in the first post-war years. Methods. In this study, historical-descriptive (idiographic), historical-genetic, and historical comparative methods, as well as quantitative methods, were used in the examination of newspaper sources. Analysis and results. In order to replenish the budget and meet the demand of the population, already in the spring of 1944, free trade in alcoholic beverages began in the canteens of Stalingrad. In the spring and summer of 1945, the first restaurants and commercial halls at canteens opened in the city. The opening of commercial tea houses in the system of state and cooperative trade became widespread in early 1946 after the decrees of the USSR government were issued. This process took place in the face of an acute shortage of inventory, kitchen equipment, and utensils. A feature of Stalingrad was the complete lack of premises for new catering establishments. As a rule, commercial tea houses were opened at or instead of existing canteens. Since a significant part of the products for commercial tea houses were purchased from collective farms and the population at market prices, the cost of even the simplest dishes was 8–10 times higher than in ration canteens. Procurement of products occurred with difficulty due to the priority of mandatory supplies of agricultural products to the state. After the drought in 1946, even commercial tea houses and restaurants limited the sale of bread. At the same time, there was a second wave of the establishment of commercial restaurants and cafes. In 1947, commercial canteens with a small selection of dishes appeared, occupying a middle position between restaurants and tea houses. Having completed the task of attracting funds from the population, commercial catering enterprises, at the same time, did not become centers for cultural leisure. Most of the teahouses were located in adapted premises that needed repair and were poorly maintained. The assortment of dishes was not maintained, and violations of technology and theft by workers flourished. Most of the profits came from the sale of purchased goods, primarily alcoholic beverages.

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Prado-Fonts, Carles. "I’m a Bannerman, But Bannermen Are Chinese Too." Archiv orientální 83, no. 2 (September 15, 2015): 317–41. http://dx.doi.org/10.47979/aror.j.83.2.317-341.

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Lao She’s Teahouse (Chaguan, 1957) is one of the most important plays in modern Chinese literature. Generally contextualised within the Hundred Flowers Movement, scholarship has viewed it as an explicit representation of the historical struggles of modern China, as well as an implicit critique of the political context of the mid-1950s. Such a predominant view on Teahouse is embedded in a discourse of the collective that unites issues of class and nation that was promoted by socialist literature. Adding complexity to this discursive construction through the significance of ethnic identity, this article argues that Teahouse also represents the problematic integration of Manchu identity within the parameters of class and nation in the late-Qing and Republican periods.

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Sarantakes, Nicholas Evan. "The Teahouse Tempest." Journal of American-East Asian Relations 21, no. 2 (June 14, 2014): 156–83. http://dx.doi.org/10.1163/18765610-02102005.

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The United States occupied the Japanese island of Okinawa as a colony in everything but name for twenty-seven years after World War II ended in August 1945. This action ran counter to the avowed U.S. foreign policy principle of self-determination. Novelist Vern Sneider, a former U.S. Army civil affairs officer who had been stationed on the island during the postwar years, was a critic of the occupation. For that reason he chose to use his first novel The Teahouse of the August Moon, published in 1951, to offer a critique of policies that he believed were ethnocentric and counterproductive to U.S. national interests. Although Teahouse grew in popularity in the United States as it became a play and then a theatrical film, it failed to have any influence on U.S. foreign policy. This was because playwright John Patrick removed the critique as he adapted the story for these different media formats. The Teahouse story does show, however, how world affairs can provide issues that engage large sections of the American public at many different levels.

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Sheng, Bao. "Lao She's Beijing-style Language Reflects the Changes of the Times and the Feelings of the Family and Country." Transactions on Social Science, Education and Humanities Research 6 (March 22, 2024): 257–62. http://dx.doi.org/10.62051/kf0bd986.

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Lao She is a famous novelist in modern China and has the reputation of "People's Artist". His play "Teahouse" is considered by Cao Yu to be "a treasure in the history of Chinese drama". In "Teahouse", Lao She portrays a series of citizens represented by Wang Lifa, who grew up in Beijing and have a rich "Beijing flavor" in their language. Lao She is also using these original "Beijing flavor" language, through the mouth of these citizen images, to show the changes of modern China and Lao She's strong feelings for his family and country.

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Chen, Ji, Jinsheng Wang, Tomas Baležentis, Fausta Zagurskaitė, Dalia Streimikiene, and Daiva Makutėnienė. "Multicriteria Approach towards the Sustainable Selection of a Teahouse Location with Sensitivity Analysis." Sustainability 10, no. 8 (August 17, 2018): 2926. http://dx.doi.org/10.3390/su10082926.

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The teahouse market has seen an expansion across various countries. In order to identify the most reasonable paths for development, the choice of location for the outlets needs to account for a number of conflicting criteria. Therefore, the multicriteria approach is required to effectively handle the location selection problem. In this paper, we develop a multicriteria framework for teahouse selection and apply it in the context of Lithuania. The indicator system is set up in order to capture the different aspects of the candidate locations. We also apply two multicriteria decision-making techniques (the evaluation based on distance from average solution (EDAS) method and the weighted aggregated sum product assessment with normalization (WASPAS-N) method) in order to ensure the robustness of the results. The weights of criteria were determined based on the expert survey. In addition, a Monte Carlo simulation was applied to check the sensitivity in changes of the criterion weights. The empirical application demonstrated validity of the proposed approach in choosing the optimal location of a teahouse.

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LEONESI, Barbara. "Teahouse or Not? Meng Jinghui’s Avant-garde Version of Lao She’s Classic Play." Modern Chinese Literature and Culture 35, no. 1 (June 2023): 131–61. http://dx.doi.org/10.3366/mclc.2023.0029.

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Lao She’s Teahouse is considered a masterpiece of Chinese theatre, a classic crystallized in the Beijing People’s Art Theatre’s production by Jiao Juyin from 1958, which has been regularly staged up to the present day. In 2018 a production by the well-known “pop avant-garde” director Meng Jinghui premiered at the Wuzhen Theatre Festival, giving rise to a heated debate about the concept of “classics.” This so-called “Teahouse incident” was one of the hot topics of the Chinese theatre scene in 2019, and this article explores the production’s polarized reception and debate. Meng Jinghui’s Teahouse is not examined as a one-way influence between Lao She’s source text and the new text/performance but from the perspective of a network relationship that sets the performance in a web that includes several other texts (plays, novellas, poems, etc.) by Chinese and foreign writers. This perspective shows how Meng Jinghui’s hybridization and his selection of intertexts and stage reminders aim to erase time and space coordinates in order to amplify the main themes of the play and, ultimately, reflect on the human condition. Based on this analysis, the polarized reception of the play and the reactions of the general public, critics, and academics are investigated, illuminating the reasons behind the controversy.

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Ting, Li. "On the Tragic Significance of Teahouse." Film，Television and Theatre Review 3, no. 1 (2023): 48–58. http://dx.doi.org/10.35534/fttr.0301008.

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Salehipour, Mehrnoush, and Naeimeh Tabatabaei Lotfi. "From Poem to Painting: An Aspect of Intersemiotic Translation, a Case Study of Rustum and Sohrab Story." Theory and Practice in Language Studies 6, no. 10 (October 1, 2016): 2007. http://dx.doi.org/10.17507/tpls.0610.17.

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The purpose of this study is to identify the similarities and differences of Teahouse painting of Rustum and Sohrab, based on Shahnameh and its poem utilizing intersemiotic approach. The corpus of this investigation is the Rustum and Sohrab painting by Mansour Vafaei and the translated version of it by Mathew Arnold. The triadic model of Peirce and actantial model of Greimas are employed in this research as the major theoretical frameworks, in order to analyze the signs and specify their related representamens, objects and interpretations that would direct the audience to desired signification. This intersemiotic research intends to bridge the gaps of literature and translation, in the process of interference of meaning through media of painting and poetry. The researcher attempts to accomplish a new insight by examining the intricate techniques of Persian traditional Teahouse painting codes and exploring the possible significations of the signs of the Rustum and Sohrab story.

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Schmid, Gerd. "The Modern Teahouse - a contemporary nomadic building." Steel Construction 4, no. 2 (June 2011): 121–26. http://dx.doi.org/10.1002/stco.201110015.

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张, 子健. "A Study of Appellation Terms in Teahouse." Chinese Traditional Culture 11, no. 04 (2023): 383–90. http://dx.doi.org/10.12677/cnc.2023.114060.

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He, Zixin. "A Literature Review on the Structure of Portrait Exhibition Taking Teahouse as an Example." Communications in Humanities Research 15, no. 1 (November 20, 2023): 110–13. http://dx.doi.org/10.54254/2753-7064/15/20230607.

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Lao Shes Teahouse has always been a research hotspot in academic circles, but there are relatively few academic studies on the portrait exhibition drama structure in Teahouse. This paper mainly adopts the method of literature research, and studies the articles on the dramatic structure of the portrait exhibition in Tea House and other articles on the research of the portrait exhibition structure from three aspects: the connotation, advantages and application of the portrait exhibition. Judging from the current research status, in-depth research on the portrait exhibition structure is obviously insufficient. Most of the relevant articles have mentioned it when studying structural art, but have not conducted in-depth research on it. These articles either discuss it as a part of structural art or analyze the role of portrait exhibition style through the creation of scripts, but they have not conducted comprehensive and systematic research and discussion on it. This literature review hopes to sort out the research progress of the predecessors by sorting out the relevant literature, and at the same time clarify the ideas for the future paper writing.

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정유선. "A Study on performance of Laoshe(老舍)’ Teahouse." Journal of the research of chinese novels ll, no. 35 (December 2011): 403–23. http://dx.doi.org/10.17004/jrcn.2011..35.018.

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Yung, Bell. "A Humble Blind Singer's Autobiographical Song: Oral Creation Facing a Hong Kong Teahouse Audience." Ethnomusicology 67, no. 2 (July 1, 2023): 153–90. http://dx.doi.org/10.5406/21567417.67.2.04.

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Abstract In 1975, I arranged for the blind professional singer Dou Wun (1910–1979) to sing a traditional narrative genre called naamyam in an old Hong Kong teahouse, three times weekly for three and a half months, facing the teahouse diners. Of the forty-five hours he sang there, he sang an original song composed by himself on his own life for six hours, which he reluctantly did after I pressed him on the idea. It totaled about 1,800 lines of verse, interspersed with spoken prose. In this essay, I shall first report on my concept, construction, and implementation of the fieldwork. Second, I use selected passages from his song to outline his life story. Born to a poor peasant family and blind at three months of age, Dou Wun wandered alone on the streets of Canton from age nine, received training to sing naamyam from a master singer, and finally arrived in Hong Kong in 1926, where he sang in brothels and opium dens. He lived through the difficult periods of the Japanese occupation, changing tastes in entertainment, and the early days of mass media. When times changed and his songs were no longer in demand, he ended up singing on the street. In the last part of the article, I argue for the significance of this epic autobiographical song in world oral literature and assess Dou Wun's creativity and artistry.

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Esherick, Joseph W. "Street Culture in Chengdu: Public Space, Urban Commoners, and Local Politics, 1870–1930. By Di Wang. [Stanford: Stanford University Press, 2003. 376 pp. £48.50. ISBN 0-8047-4778-4.]." China Quarterly 180 (December 2004): 1112–13. http://dx.doi.org/10.1017/s0305741004330766.

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The last 15 years have witnessed a small flood of books on the physical, political, social and cultural transformation of the modern Chinese city covering paved streets and sewers, rickshaws and streetcars, public parks and meeting halls, monuments and museums, theatres and markets, police and gangsters, municipal government and public hygiene, bankers and businessmen, factories and publishing houses, newspapers and movies, law suits and protests, workers, students and prostitutes. Most of this literature has focused on the coastal cities (especially Shanghai), and the approach has usually been top–down: how the state and urban elites have constructed a new Chinese version of modernity.Wang's book stands out as a careful historical ethnography of a provincial capital in the Chinese interior, Chengdu, at the turn of the 20th century. In contrast to previous top–down studies of urban elites and the rise of urban governance and police, this provides a bottom–up view from the street, and the richness of street culture pervades the entire book. Superbly researched and aided by a wonderful collection of illustrations, the book shows us peddlers and artisans patrolling the neighbourhoods, beggars and hooligans harassing residents, religious rituals and entertainment, and, above all, the vibrant life of the teahouse. In a similar book on coastal Shanghai, Lu Hanchao (Beyond the Neon Lights) unforgettably describes the housing projects known as Stone Portals (shikumen) as a locus for the daily life of Shanghai urbanites. In this book, the Chengdu teahouse repeatedly appears as a critical venue of social interaction, popular entertainment, dispute mediation, political discussion and police surveillance.

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Kitamura, Hiroshi. "Runaway Orientalism: MGM’s Teahouse and U.S.-Japanese Relations in the 1950s." Diplomatic History 44, no. 2 (December 19, 2019): 265–88. http://dx.doi.org/10.1093/dh/dhz059.

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Wilhelm, Karin. "Potsdamer Universalgeschichte. Sanssouci und das Chinesische Haus Friedrichs II." Zeitschrift für Religions- und Geistesgeschichte 57, no. 3 (2005): 193–208. http://dx.doi.org/10.1163/1570073054396028.

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AbstractIn the building of the Maison de plaisir "Sanssouci" and the surrounding park with its pavilions and mythological-dynastic program of figures, Friedrich II designed an idealized image of his view of the unfolding of world history that arose from his discussions with Voltaire. At various sites in the park, personal experiences have also been impressed like ciphers, as it were. These can be read unambiguously in the Temple of Friendship built for his sister Wilhelmine, and they become visible elsewhere, too, like in the Chinese Teahouse. The grounds in Potsdam are characterised by the young Prussian king's will to represent himself, and they mirror the facets of his secret emotions.

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Abbasova, Galina. "A Symbol behind the Image: Reading the Painting by Alexander Volkov." Культура и искусство, no. 3 (March 2023): 41–49. http://dx.doi.org/10.7256/2454-0625.2023.3.40113.

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Alexander Nikolaevich Volkov (1886–1957) is one of the Soviet Uzbekistan fine art founders. He actively taught in Tashkent and had a significant impact on the younger generation of the artists. He was a member of the association "New East Masters", headed the informal group "Volkov's Brigade" trying to solve the problems of monumental painting. In addition, the artist's work has some traces of symbolism and impressionism, cubism and primitive art. This article is devoted to Volkov's painting "Teahouse with a portrait of V.I. Lenin”, created in 1928 and stored in The Karakalpakstan State Museum of Art. This picture was painted at a time when the master, in his own words, again turned to human. Therefore the masterpiece corresponded the request to design a new Soviet way of life, to invent the heroes among workers and dekhkans (peasants). However, behind the simple interpretation of "Teahouse", there is a deep symbolism, thanks to which the images go beyond the scope of an ideological statement, turning into a kind of myth. The novelty of this research can be found in the formulation of a problem that has not previously been considered in the scientific literature - the symbolic interpretation of the works of A.N. Volkov of the "socialist realist" period. This symbolic layer in the artist's works is the additional evidence of his sincere passion from the ideas of the cultural revolution and socialist movement in Central Asia. In addition, Volkov's paintings of the late 1920s and 1930s are often overshadowed by his earlier creative experiments. The purpose of this article is to consider and analyze one of the most revealing work belonged to the late period of the artist oeuvre, to identify the semantic layers behind the “tangible breath of the flesh”.

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Li, Wenxi, and Zhou Fan. "Modern interpretations of the Japanese teahouse, illustrated with examples from Sutemi Horiguchi." Journal of Architecture 26, no. 4 (May 19, 2021): 475–98. http://dx.doi.org/10.1080/13602365.2021.1934515.

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Khanolkar, Prasad. "Yahaan Phaltu Bethna Sakht Mana Hai1: Idling, Storytelling and Planning." Urbanisation 3, no. 2 (November 2018): 53–68. http://dx.doi.org/10.1177/2455747118816560.

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Taking its cue from the anti- and post-work writings of Georges Bataille and Kathi Weeks, this article explores the relationship among idling, storytelling and planning in a slum settlement in Mumbai, India, with the aim of reimagining cities and planning praxis beyond ‘the logic of work’. It does so in two ways: first, it explores Walter Benjamin’s writings on mimesis and storytelling. Second, it moves through a detailed ethnographic study of storytelling practices in three spaces in the slum settlement—a balwadi, a Human Rights Commission office and a teahouse. The broader aim of the article is to highlight how the paradoxical activities of idling and storytelling can provide clues for reimagining cities and planning praxis beyond the logic of work.

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Wang, Di. "“Masters of Tea:” Teahouse Workers, Workplace Culture, and Gender Conflict in Wartime Chengdu." Twentieth-Century China 29, no. 2 (2003): 89–136. http://dx.doi.org/10.1353/tcc.2003.0004.

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Leyang, Wang, and Fang Xiaoting. "An Analysis of Speech Acts in Teahouse from the Perspective of Politeness Principle." East African Scholars Journal of Education, Humanities and Literature 4, no. 3 (March 24, 2021): 142–47. http://dx.doi.org/10.36349/easjehl.2021.v04i03.006.

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Journal articles on the topic 'Teahouses'

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