Добірка наукової літератури з теми "Authors, Chinese ǂx Biography"

This review essay evaluates a lengthy new biography of the Chinese leader Mao Zedong and his impact on Sino-Soviet relations. The lead author of the book, Aleksandr Pantsov, is one of the foremost Russian experts on China and Soviet policy toward East Asia, and his coauthor, Steven I. Levine, is a distinguished scholar of the history of Communist China. The authors have amassed a wealth of primary evidence, especially from the former Soviet archives, and have produced a first-rate book.

The article is devoted to the visualization of the image of a Chinese in the periodical press of the Urals in the 1950s. Using the methodology of critical discourse analysis, the authors identify several target groups that form the image, describe their characteristic features and highlight the general and the special characteristics. The source base was made up of materials from the Ural periodical press. During “Great friendship” the Chinese who took part in labor training at enterprises and universities in the USSR became an object of attention of the Ural periodical press from the moment of their appearance in the region in 1954 and up to the almost complete return to their homeland. Periodical publications formed and broadcast to readers a positive image of the Chinese, using some lasting methods of description: putting in an industrial environment, displaying a certain hierarchy in the relationship “diligent” student – “wise” mentor, ‘humanizing’ the character, describing a “typical” and “correct” biography showing positive changes in China after its transition to the socialist path of development.

The paper discusses the early days of translation in China which began with the translation of Buddhist texts from Sanskrit into Chinese. The article addresses one of the most difficult and dramatic periods in the history of translation activities, the era of Three Kingdoms (220-280). First efforts of the Buddhist missionaries in translating the Buddhist texts from Sanskrit into Chinese are poorly studied in the Russian science. The article aims to fill the gap. This goal sets the following tasks: (1) to analyze the translation activities in the kingdoms of Wei (220–265) and Wu (222–280) during Three Kingdoms period; (2) to show the place and role of the translators of these kingdoms in the development of the translation tradition in China; (3) to consider the quality of the Buddhist texts translations and their contribution to the development of Buddhism in China. The study shows that Buddhist missionaries who came to China from India and the countries of Central Asia during the Three Kingdoms period played an important role in the spreading of Buddhism. Their search for methods and tools to give the sense of Sanskrit texts in Chinese, which experience had had no experience of assimilation before Buddhism, prepared a fertile ground for the emergence in China of such translations of Buddhist literature that were able to convey the exact meaning of Buddhist teachings. The activities of the Three Kingdoms Buddhist texts translators reflected the rise of Indian Mahayana Buddhism and its texts formation. The article draws on bibliographic works of medieval authors: Hui Jiao’s “Gao Sen Zhuan” (“Biography of worthy monks”), Sen Yu’s “Chu San Zang Ji Ji” (“Collection of Translation Information about Tripitaka”), Fei Changfang’s “Li Dai San Bao Ji” (“Information about the three treasuries [during] historical epochs”), which figure prominently in Buddhist historiography. Also the authors draw on the latest Chinese research summarized in the monograph: Lai Yonghai (ed.). “Zhongguo fojiao tongshi” [General History of Chinese Buddhism]. Nanjing, 2006.

The object of the research is the political caricatures of the famous Chinese artist Badiucao (巴丢草). The authors used content analysis of a wide range of visual sources, primarily the artist's personal website, the first publications of caricatures on the Twitter, as well as comparative analysis to reveal the artistic features of the works. The main attention was paid to the biography of the artist as it defines his style and the way he depicts political events or politicians. The caricatures were analyzed in accordance to their main characteristics, formal stylistic qualities, iconographic features and thus their symbolic meaning were identified. It is important that there are a large number of publications abroad devoted to the artist and his works, while in China his art is subjected to strict censorship. There are almost no mentions of him on the chinese Internet. In Russia, the name of the cartoonist is practically unknown, which is the novelty of this study for both cultural studies and russian Sinology. The obvious conclusion of the research is that Badiucao is challenging the censorship and dictatorship of the PRC with his art. His caricatures are his main and strongest weapon in this confrontation. Using a wide range of artistic techniques and color palette, he talks about current events, not allowing to forget the sins of the past, demanding not only an apology for political mistakes, but a change in the attitude of the government towards the people of the two coasts – China and Taiwan.

The article reveals previously unknown facts about the sinologist Sergei Alexandrovich Polevoy (1886—1971), who became famous due to his scientific, pedagogical and social activities in China. Being a native of dynasty that gave the world talented literary critics, writers and journalists, Polevoy from his youth was passionate about literature and collecting books alongside learning about China. His first academic work, prepared as a graduation paper at the Oriental Institute (Vladivostok), was devoted to periodicals in China; and his unique library composed of literature in many languages originated from the books on Oriental studies and linguistics. Living in China since 1917, Polevoy was a professor at Nankai University in Tianjin (since 1918) and then Peking University (since 1921), where he taught Chinese students the Russian language and literature. Using the introduction to Russian culture and literature as a new method of teaching, he brought up some famous Chinese writers and translators. His bookstore, opened in Beijing and having contacts with the International Book Company in Moscow, became a cultural bridge between Russia and China. Using the bookstore, Polevoy supplied Chinese students with textbooks and Russian classical literature, replenished the department of Slavic literature at the Beijing National Library, distributed Marxist literature and helped Chinese communist leaders establish contacts with the USSR. The authors also report the facts on the biography of Polevoyʼs son, Leonid, thanks to whom the Oriental Institute of the Far Eastern Federal University (Vladivostok) received the manuscript of S. Polevoy’s English-Chinese dictionary and his other materials on oriental studies. Leonid also presented his father’s book collection to Irkutsk, and these books served as the basis of the Humanitarian Centre — Library named after the Polevoys’ family. The article is based on materials from the Polevoys’ family archives and other private collections abroad.

The creative path of B. L. Pasternak has been a popular subject of research in China for many years. All works on the topic can be roughly divided into three stages: 1) the first stage (1980s) — the formation of mass interest among literary scholars in the works of B. L. Pasternak; 2) the second stage (1990s) — the expansion and deepening of research; 3) the third stage (after the 2000s) – the systematization of research and the emergence of new directions in the study of B. L. Pasternak’s works. This article provides an overview of the main trends in Pasternak studies in China. It is noted that research on the legacy of B. L. Pasternak conducted in China covers key areas such as biography, poetry, prose (with special attention from Chinese scholars focused on the novel “Doctor Zhivago”). The research conducted by Chinese scholars also explores topics such as the fate of the intelligentsia, ideological aspirations, cultural, religious, and spiritual components, the art of language, literary techniques, and devices. It is reported that in November 2020, Zhejiang University held an international scientific conference “Celebrating the 130th Anniversary of B. L. Pasternak’s Birth.” The authors of the article conclude that research on the legacy of B. L. Pasternak in China is systematic and diverse, and Pasternak studies as a discipline have broad prospects for development.

The Ōbaku School that represents the third major sect of Zen Buddhism along with Rinzai and Sōtō, emerged in Japan during the Edo period due to the arrival of Buddhist monks from China. The article examines the biography of the prominent Japanese Ōbaku monks – Sen no Rikyū and Tetsugyu Doki, which gives a better perspective on the peculiarities of establishment of this school. In light of the Chinese origin and novelty, the Ōbaku teaching initially gained significant popularity in Japan, that adhered to the policy of self-isolation; however, its success is largely the merit of the Japanese followers of the teaching, since the Chinese monks hand neither a command of the language nor permit to travel the country, and this incapable of fully interacting with the local authorities and population. The scientific novelty is substantiated by the absence of special research within the Russian Japanese Studies dedicated to Ōbaku School; therefore, particular attention is given to the works of foreign authors. The conclusion is made that the role of personality greatly contributes to the success of the Ōbaku teaching, since the effective interaction with the government, their financial support, and the growing number of new converts largely depended on reputation and charisma of the prominent Japanese Ōbaku monks Sen no Rikyū and Tetsugyu Doki. They saw a chance to cognize the true Buddhism traditions, which at that time were neglected in Japan. The versatile activity of the monks contributed to surge in the popularity of Ōbaku in Japan, as well as harmonious interaction of the Chinese and Japanese traditions and cultures that left a mark on the unique multifaceted image of the Edo period.

This is a delightful book. It opens up a cultural arena much neglected in scholarship on China. Nine engagingly narrated chapters take us through the history of Sino-foreign musical contact since the late 19th century, with one digression, which goes back to encounters since the 16th century (chapter two). The book follows the life story of three important institutions (the Shanghai Municipal Orchestra, the Shanghai Conservatory and the Central Conservatory) and three important men: violinist Tan Shuzhen, who was the first Chinese to join the orchestra in colonial Shanghai; conductor Li Delun, who was trained in Moscow and managed to serve the government before, during and after the Cultural Revolution; and composer He Luting, one of the most outspoken protagonists in China's music world and long-time principal at the Shanghai Conservatory. The authors' approach of choosing “white elephants” to present the history of classical music in China, although unfashionable since Jauss, brings much cohesion and structural elegance to the volume.The book is at its best when using material from interviews conducted by the authors. Based on this evidence, the book comes to one important conclusion: contact between Chinese and foreign musicians in China was generally not antagonistic, either before or after 1949. Foreign musicians did not behave in a condescending manner, as “imperialists” and Chinese musicians hardly ever perceived them to do so. For obvious reasons, few Chinese (and, surprisingly, few foreign studies) on China's classical music scene have acknowledged this fact.The authors have done a beautiful job in telling their story. They must be lauded for having gone through a great variety of sources including contemporary newspaper articles, propaganda magazines, Party documents, as well as films, recordings and some of the very recent, and mostly biographical, secondary literature on the subject published in China. Since the book is conceived as a collective biography, it lacks detailed musical and historical analysis and it would have benefited from a few closer readings. For example, what precisely is the meaning of “national style” for people as different as Tcherepnin, Mao Zedong or Guo Wenjing? Musical analysis would have provided an answer. Why do the authors not make more of the fact that Jiang Qing advised the musicians writing a model symphony to watch – and, more importantly, listen – to music in Hollywood films in order to improve their compositional skills? A more explicit engagement with the technical and musical styles of the model works (the term model opera should really be reserved for the operas in the set and not all of the pieces which also comprised ballets and symphonic compositions) would have been illuminating here, for it would have shown how indebted they were to the same principles of music-making as Hollywood film music on the one hand and the Butterfly Violin Concerto on the other – both officially condemned during the Cultural Revolution. It is sad, too, that the balanced account of the Cultural Revolution years – which describes both the pain it caused to many an intellectual and the benefits it brought for Chinese musical life generally – focuses almost entirely on the first set of eight model works and leaves out the second, equally important set of ten produced later (chapter seven). There are a number of non sequiturs in this book that are inevitable in any pioneering work of this size.

Introduction. The article examines the Chinese written source Xiyu wenjian lu 西域闻见录 (‘Record of Things Seen and Heard in the Western Regions’) by the Manchu official Qishiyi (Chunyuan) and its data on the history and ethnography of Central Asian peoples in the mid-to-late 18th century. Goals. The work seeks to introduce new data on the history of Central Asia contained in Xiyu wenjian lu, analyze various copies and versions of the written source, and provide new information about the author of the composition. Materials and methods. The study explores the Japanese woodblock print edition of 1801 and one modern Chinese edition of 2016, translates some extracts. The work considers various works by Russian and foreign authors regarding the written source, employs the generalizing and comparative research methods, while historical/chronological analysis proves instrumental in investigating certain interesting facts from Xiyu wenjian lu. Results. The paper introduces into scientific circulation new translations of extracts from Qishiyi’s work that significantly supplement and expand data presented in the famous work of N. Ya. Bichurin (Hyacinth) titled ‘Description of Dzungaria and East Turkestan in Ancient and Present Times’. The article contains the most famous copies and versions of Xiyu wenjian lu. The biography of the author is supplemented with new facts of his life that have remained little-known to Russian-speaking researchers. Conclusions. The revealed factual materials from Xiyu wenjian lu show that the work of Manchu official Qishiyi contains original data on historical geography, socioeconomic life of Central Asian peoples, and political situation in the region. Despite its fame, Xiyu wenjian lu is to be thoroughly explored since lots of historical accounts from this source remain unexplored.

Dear readers, We are pleased to present to you Issue 4, 2022, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The journal opens with articles by Chinese researchers devoted to the art of Ancient China. In the article "The Heaven-and-Man Oneness Concept and the Style of Funerary Plastic Art During the Han Dynasty", Xiang Wu analyses the idea of heaven-and-man oneness, which was important for the art of this period. It was based on the Confucian view, the rituals of a strict social hierarchy and Taoist metaphysics. Qiu Mubing’s scientific research topic is “Objects of the Funerary Cult in the Han Dynasty. Gold and Silver Items. Aesthetics of Gold and Silver in the Han Dynasty”. Examining archaeological sources, the author concludes the high achievements of Chinese artisans during the Han Dynasty on examples of works of arts and crafts made of precious metals. In the article “Aesthetics of the Song Dynasty. The Origins of the New Style of Furniture Design in China", N.Kazakova and Qiu Qi analyse the vector of development of the furniture industry through the prism of the industrial design evolution. The reasons for the emergence of the New style in furniture design in China are studied. They are analysed in detail against the background of changing economic, political and cultural realities. The issues of the influence of Ancient China aesthetics on the formation and development of a new language in furniture design are touched upon. In the article "Problems of Colour Harmonisation of Composition and Development of Associative and Imaginative Thinking in the Environmental Design", N.Bogatova reveals the potential of colouristic graphic two-dimensional modelling in artistic and imaginative thematic compositions. On the example of the compositional laws of colouristics, the author traces the path of ascent from the concrete to the abstract, pictorial to the expressive, and emotional to the figurative. P.Dobrolyubov presents the text “Sculptor Alexander Matveev’s School and His Students”, which includes many archival documents and photographs. The author describes the process of learning from teacher and sculptor A.Matveev, names the main dates in his creative work, reveals the details of the sculptural craft, talks about the variety of moves in the master’s plasticity, analyses the methods and principles of work in sculpture, shows the attitude of students to their teacher, and highlights the entire course of historical milestones in the sculptor’s creative biography. In the article "The Golden Age of PRC History Painting (1949–1966): Origins, Searches, Achievements”, K.Gavrilin and L.Xiaonan consider the issues of the formation of the modern Chinese art school. Its foundation was laid in the framework of the creative and educational dialogue between China and the Soviet Union at the beginning of the second half of the 20th century. The authors believe that the characteristic features of the golden age of Chinese historical painting were, on the one hand, the popularisation of painting as an art form and, on the other hand, the predominance of the dominant position of realism over the traditional styles of Chinese painting. It is noted that during this period, two main plots became widespread: scenes of socialist construction and historical events of the revolution. S.Zubarev considers theoretical and practical aspects of the activities of military musicians in the article "Academic Music in the Practice of Russian Military Bands of the 19th - early 21st Centuries". In the process of studying military bands, special attention is paid to the study of the features of military band service development in the 19th and 20th centuries. Factors revealing the role of Russian composers in the history of military musical culture are highlighted, and several works of academic music performed by military bands are analysed. In conclusion, the author notes that in the national culture, unique conditions for the development of military musicians’ arranging activity were created. They made it possible to preserve the traditions of the military band service and form the value principles of academic art. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.

Han Yu is famous in Chinese history both for his literature and for his defense of Confucianism at a time when it was being seriously challenged by Buddhism and religious Taoism. Although his influ- ence was limited during his own lifetime, in later times Han Yu came to symbolize the conservative Confucian values that are often identi- fied with the traditional Chinese state. This study examines Han Yu's life and thought in an attempt to determine to what extent his later image as an ideal Confucian was or was not justified. A chapter on the historical background provides the context for Han Yu's biography, which is divided into five chap- ters. This is followed by a chapter discussing the intellectual back- ground of Han Yu's thought. Two further chapters discuss, first, the basis of Han Yu's conservative image, and, second, a number of his writings which illustrate the limits of his conservatism. Han Yu's ideas are related to the political and social circumstan- ces of his times, and it is found that while he is indeed a conservative and a Confucian, the extent of both his conservatism and his Confucian orthodoxy have been exaggerated.

This thesis examines the life and poetry of the woman poet Gu Taiqing (1799-1877) within the context of a community of gentry women in mid-nineteenth century Beijing. This group of women was a "community" in the sense that their contact, sociability, friendship and poetry writing were meaningfully intertwined in their lives. The thesis is divided into three interconnected chapters. Two separate biographical accounts of Gu Taiqing's life---one centered around the relationship with her husband, and the second around her relationship with her female friends---are reconstructed in the first chapter. This biographical chapter underlines the importance of situating Gu in the women's community to understand her life and poetry. The second is comprised of a reconstruction of this women's community, delineating its members and distinctive features. In the third chapter, a close-reading of Gu's poems in relation to the women's community focuses on the themes of xian (leisure), parting, and friendship. This chapter shows how each of these themes are represented by Gu and how her representations are closely related to the experiences of this women's group.

盧志虹.
"2010年9月".
"2010 nian 9 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2010.
Includes bibliographical references (leaves 245-253).
Abstract in Chinese and English.
Lu Zhihong.
引言 --- p.1
Chapter 第一章 --- 緒論 --- p.5
Chapter 第一節 --- 才女與歷史研究 --- p.5
Chapter 第二節 --- 前人關於汪端的研究 --- p.13
Chapter 第三節 --- 本文章節安排與材料說明 --- p.22
Chapter 第二章 --- 江南文化精英的生活和汪端的成長 --- p.25
Chapter 第一節 --- 文化實力一振綺堂汪氏的冒起 --- p.25
Chapter 第二節 --- 經濟基礎 --- p.35
Chapter 第三節 --- 汪端的成長和教育 --- p.39
Chapter 第四節 --- 汪端與汪、梁、許氏諸人關係的進一步思考 --- p.54
Chapter 第三章 --- 汪端與陳家:婚姻生活中的空間 --- p.59
Chapter 第一節 --- 陳汪聯姻 --- p.60
Chapter 第二節 --- 力爭上遊的陳氏父子 --- p.65
Chapter 第三節 --- 陳氏父子與汪端 --- p.75
Chapter 第四節 --- 注端與陳家女眷 --- p.88
Chapter 第五節 --- 才女與家庭 --- p.106
Chapter 第四章 --- 汪端的詩歌編選及其意義 --- p.109
Chapter 第一節 --- 編選詩文的傳統 --- p.109
Chapter 第二節 --- 汪端和〈明三十家詩選〉 --- p.111
Chapter 第三節 --- 〈明三十家詩選〉獲得的好評 --- p.119
Chapter 第四節 --- 其他清代女性的詩選活動 --- p.124
Chapter 第五節 --- 汪端和個人詩集的編選與刊行 --- p.132
Chapter 第六節 --- 汪端編選行為的再思考 --- p.140
Chapter 第五章 --- 汪端的歷史關懷 --- p.145
Chapter 第一節 --- 汪端的詩、史愛好 --- p.146
Chapter 第二節 --- 知人論世之途一作詩 --- p.151
Chapter 第三節 --- 〈明三十家詩選〉中的明史 --- p.163
Chapter 第四節 --- 汪端歷史關懷的主要特點和所受的影響 --- p.169
Chapter 第五節 --- 汪端研究對才女歷史關懷的意義 --- p.177
結語 --- p.180
附錄一汪端(1793-1839)年譜 --- p.183
"附錄二梁德繩〈小韞甥女于歸吳門以其愛詩為吟五百八十字送之即書明湖飲餞圖後〉及汪端的和詩〈辛未春日返棹武林賦呈楚生姨母,即用賜題明湖飲餞圖原韻〉" --- p.215
附錄三振綺堂及汪氏出版物清單 --- p.219
附錄四《清代學者像傳》中的汪端與陳裴之畫像 --- p.223
附錄五《自然好學齋集》 (振綺堂本)與《自然好學齋詩鈔》 (十卷本)的對比 --- p.224
附錄六《明十家詩選》的參閱者和校對者 --- p.236
附錄七能否斷定汪端的《元明逸史》為白話小說? --- p.239
參考書目 --- p.245

This thesis examines the writings of six mainland Chinese women writers - Ru Zhijuan, Shen Rong, Zhang Jie, Zhang Kangkang, Zhang Xinxin and Wang Anyi - belonging to three different generations as a reflection of the changing attitudes of Chinese urban intellectual women to literature and society in the period 1978-1989. Underlying the various generational differences that emerge from a thematic analysis of their writing are two related trends: a trend away from collective orientation in the older writers' works towards literature centred on the individual and the self in the younger writers' works; and that of the younger writers away from the Chinese socialist and Confucian traditions that guided socialist literature in mainland China prior to 1978. The trend away from socialist literary traditions is most palpable in the writers' treatment of history and contemporary society. Whereas veteran writer Ru Zhijuan's presentation of pre-1949 history perpetuated state myths of the Party's glorious past, the younger writers challenged both the model of the heroic communist soldier and the use of class stereotypes to depict wider society that had been established in earlier Chinese socialist literature. Whereas social and political issues were central to the older writers' fiction about the period from 1949, the younger women's writing tended to focus on characters and their psychological development. The writers' treatment of love, sex and marriage showed a strong trend away from Confucian moral values in the younger writers' fiction that intensified over the 1978-1989 period. Although all the writers presented a pessimistic view of actual marriages, and promoted marriage based on love as the ideal, the younger writers showed a much greater acceptance of blameless divorce and pre- and extra-marital sexual relationships than their older counterparts.

The chapter explores the ethos of FGS first by contrasting it with another Taiwanese Buddhist movement of much the same age as FGS, Tzu Chi, finding that the focus of their activities and underlying ethos are quite different although both are known as "humanistic buddhsim". The authors go on to narrate the biography of Hsing Yun in an effort to show how aspects of his larger-than-life personality have influenced the character of FGS. They pay attention to his writing, publishing and other media activities which have always been his main method of proselytizing, as well as spiritual tourism/pilgrimage operations which they run on a massive scale.