Добірка наукової літератури з теми "Early chinese song"
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся зі списками актуальних статей, книг, дисертацій, тез та інших наукових джерел на тему "Early chinese song".
Біля кожної праці в переліку літератури доступна кнопка «Додати до бібліографії». Скористайтеся нею – і ми автоматично оформимо бібліографічне посилання на обрану працю в потрібному вам стилі цитування: APA, MLA, «Гарвард», «Чикаго», «Ванкувер» тощо.
Також ви можете завантажити повний текст наукової публікації у форматі «.pdf» та прочитати онлайн анотацію до роботи, якщо відповідні параметри наявні в метаданих.
Статті в журналах з теми "Early chinese song"
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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, № 1 (20 липня 2022): 3–37. http://dx.doi.org/10.1163/2589465x-04010002.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаДисертації з теми "Early chinese song"
1
Costantini, Iside. "La presse anglophone en Chine : Canton, Hong Kong et Shangai (1827-1911). Son influence sur l'émergence de la presse chinoise." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030157.
Повний текст джерелаАнотація:
Cette thèse a pour objet de mettre en évidence l’influence de la presse anglophone en Chine sur l’émergence de la presse chinoise moderne au 19e siècle. La presse anglophone prit pied aux pourtours d’une Chine dont le seul organe d’information se limitait à la Gazette impériale depuis deux millénaires. Les journaux anglophones virent le jour pour apporter aux Britanniques et aux Chinois qui partageaient la même sphère les informations nécessaires à leur activité commerciale. La presse anglophone s’est développée seule pendant une trentaine d’années puis elle accompagna la naissance de la presse chinoise moderne et lui servit de modèle et de soutien. Les journaux commerciaux anglophones hébergèrent la presse chinoise au sein de leurs propres pages avant la parution de titres exclusivement chinois dans les années 1870. La presse anglophone et la jeune presse chinoise moderne s’ouvrirent aux problématiques politiques et furent animées par de nouvelles personnalités, parmi lesquelles des étudiants chinois occidentalisés, des hommes d’affaires chinois fortunés et des lettrés ayant fait un pas vers la modernité. L’indépendance éditoriale de la presse chinoise vis-à-vis de la presse anglophone fut alors acquise, mais l’influence et la coopération ne cessèrent pas pour autant. Les échanges matériels et professionnels se muèrent en connivences et protections, la presse anglophone aidant les titres chinois à surmonter la censure et la répression dont ils étaient les victimes. La présence de la presse anglophone sur les pourtours de la Chine a permis au savoir-faire technique et à l’expérience humaine d’être réunis au moment historique où la Chine, confrontée au défi de la modernité, a vu surgir à la fin du 19e siècle des débats sur sa transformation, alors qu’aucun vecteur médiatique n’était à l’époque disponible. L’émergence d’une presse chinoise moderne étant devenue inéluctable, elle s’est accomplie en symbiose avec la presse anglophone qui s’était enracinée depuis quelques décennies sur les pourtours de la ChineThis dissertation examines the influence of the English-language press in China [in Hong Kong and the International concession of Shanghai] on the birth of a modern Chinese press from 1827 to 1911. The English-language press developed on the edge of a country where the only channel of information for 2000 years had been the Imperial gazette. The English language newspapers allowed British and Chinese residents to gather information which was both useful in their daily lives and to run their businesses. The English language papers first developed single-handedly for about thirty years before encouraging the birth of Chinese ones and serving as a support and model. The English-language press first incorporated Chinese pages before publishing entirely Chinese newspapers in the 1870s. Both the English-language press and the new Chinese press opened up to recent political issues and new personalities, such as westernized Chinese students, wealthy businessmen and scholar-gentry who had come to accept modernity for China. The Chinese-language press soon achieved editorial independence but cooperation between the two was maintained. Material and professional exchanges transformed themselves into mutual help and understanding, the British helping at times to overcome the bouts of censorship and repression from which the Chinese papers regularly suffered. The presence of English-language press enabled both technical and personnel transfers to take place at a time in history when China was confronted with the threat of modernity and had begun to experience debates about its future but had no local media to report on them. A modern Chinese press had thus become an absolute necessity for citizens who took pride in their past and were concerned with the weakened state of their country. It was achieved with the help of the English-language press which had taken roots a few decades earlier on the outskirts of China
2
Pattinson, David John. "The chidu in late Ming and early Qing China." Phd thesis, 1997. http://hdl.handle.net/1885/12473.
Повний текст джерелаАнотація:
This thesis discusses the development and functions of an epistolary form called chidu, focussing on the period during which the chidu enjoyedthe greatest popularity, namely the late Ming and early Qing dynasties. Partly because there has been very little work done on the genre at all, and more particularly to provide background to the discussion of late Ming and early Qing chidu, I begin by examining early uses of the term chidu and by looking at those texts which later writers referred to in their writings on the
genre. I will show that in fact the early development of chidu is not at all clear, and that the texts to which later writers on chidu referred were not about chidu at all, but were about the more formal form of letter-writing called shu, which achieved canonical status from quite early times. I then proceed to look at the more distinct emergence during the Song dynasty of the kind of chidu which were practised in late Ming and Qing times. In the main part of the thesis, I examine a range of chidu anthologies from the late Ming and early Qing period and a number of texts about chidu which accompanied some of the anthologies, showing how there was a considerable discrepancy between the pedigree and ideals of the genre which
they put forward on the one hand, and the actual practice of chidu-writing on the other. I will argue that the real motives of the compilers of chidu collections in presenting these arguments was to try to give their work the legitimacy it lacked precisely because of its lack of a classical pedigree and the
general perception that it was a minor genre. In the case study for this thesis, Chidu xinchao compiled by Zhou Lianggong in 1662, I then try to establish what some of the real attractions of the genre for late Ming and Qing scholars might have been, its value as
genteel entertainment aside. I will argue that the lack of classical antecedents and canonical status in fact gave writers considerable freedom, both stylistically and in terms of content. Although writers were still constrained by literary and social tradition as a whole, they did use the genre
to experiment and made attempts to express themselves more directly. I will also show that the minor status of the genre made it an ideal vehicle for the expression of ideas which, because of their sensitive nature, could not be easily expressed in the canonical genres where they would have much more weight. And in the case of Chidu xinchao at least, it is possible to show how a compiler of an anthology of chidu could use such an anthology to present certain arguments through the letters in the anthology; not only was it a minor genre which was being anthologised, but the compiler was a step further removed from the contents because it was not through his own letters that the content was being presented.
3
"《古文四聲韻》硏究". 1998. http://library.cuhk.edu.hk/record=b5896294.
Повний текст джерелаАнотація:
洪若震.論文(哲學碩士) -- 香港中文大學硏究院中國語言及文學學部, 1998.
參考文獻: leaves 261-271.
中英文摘要.
Hong Ruozhen.
Chapter 第一章 --- 引言 --- p.1
Chapter 第二章 --- 《古文四聲韻》的作者與成書背景
Chapter 第一節 --- 《古文四聲韻》的作者 --- p.4
Chapter 第二節 --- 《古文四聲韻》的成書背景 --- p.9
附錄：夏竦年表 --- p.19
Chapter 第三章 --- 《古文四聲韻》的流傳和版本研究
Chapter 第一節 --- 《古文四聲韻》的流傳 --- p.21
Chapter 第二節 --- 《古文四聲韻》的版本 --- p.29
Chapter 第三節 --- 版本比較所見問題 --- p.39
附錄一：《古文四聲韻》清本、宋本、僧本比較表 --- p.46
附錄二：上聲韻目比較表 --- p.93
附錄三：《古文四聲韻》僧本、宋/清本韻字字序比較表 --- p.95
附錄四：汪本《古文四聲韻》、《說略》引書比較表 --- p.101
附錄五：《古文四聲韻》宋刻配抄本配抄部分與汪本、《四庫》 本比較表 --- p.102
Chapter 第四章 --- 《古文四聲韻》與《汗簡》
Chapter 第一節 --- 《古文四聲韻》與《汗簡》的關係 --- p.103
Chapter 第二節 --- 《汗簡》、《古文四聲韻》互證 --- p.112
附圖一 --- p.118
附圖二 --- p.119
附圖三 --- p.120
附錄一：《古文四聲韻》、《汗簡》引書比較表 --- p.121
附錄二：《古文四聲韻》、《汗簡》比較表 --- p.125
Chapter 第五章 --- 《古文四聲韻»與《廣韻》、《集韻》
Chapter 第一節 --- 《古文四聲韻》與《廣韻》 --- p.165
Chapter 第二節 --- 《古文四聲韻》與《集韻》 --- p.184
附圖一 --- p.191
附圖二 --- p.192
附圖三 --- p.193
附圖四 --- p.194
附圖五 --- p.195
附錄一：唐時韻書部次先後表 --- p.196
附錄二：〈古文四聲韻〉、《集韻》所收字字形比較表 --- p.199
Chapter 第六章 --- 《古文四聲韻》的評價和影響
Chapter 第一節 --- 《古文四聲韻》的評價問題 --- p.239
Chapter 第二節 --- 《古文四聲韻》的影響 --- p.249
附圖一 --- p.256
附圓二 --- p.257
Chapter 第七章 --- 結論 --- p.258
參考書目 --- p.261
4
Lee, Jia-Ying, and 李佳穎. "Japanese Displaying of Ancient Chinese Paintings in Early Twentieth Century : Focusing on the Exhibition of Masterpiece Paintings of the Tang, Song, Yuan and Ming Dynasties in 1928." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/80238216523319194568.
Повний текст джерелаАнотація:
碩士國立中央大學
藝術學研究所
101
The Exhibition of Masterpiece Paintings of the Tang, Song, Yuan and Ming Dynasties, sponsored by the Japanese government from 24th November to 20th December 1928（3rd year of Shōwa）, was organized by an exhibition committee constituted expressly for this purpose, including Ministry of Imperial Household（宮內省）and the Ministry of Foreign Affairs（外務省）. This thesis aims at exploring via this exhibition the following issues: how an exhibition of ancient Chinese paintings implying a certain kind of historical consciousness could take place at this moment, and in Japan instead of in China? Secondly, what is the role played by this exhibition in the Sino-Japanese art exchanges of 1920s? Thirdly, what were the conceived and perceived relation between traditional and modern paintings for both Chinese and Japanese? And lastly, what is the importance of art exhibitions in cultural relationship between China and Japan? Based on the above considerations, this article will mainly survey through three aspects. In the beginning, I will try to trace back to the origin of the exhibition, to investigate the process of Japanese sponsors collecting the masterpiece paintings when they went to China. I will also analyze Japan’s display space and exhibition critiques. On the other hand, the 1928 exhibition catalog was regarded as a peak of the emergence of Chinese art visual data. The 1928 exhibition being one of a series of Sino-Japanese joint exhibitions between 1921 and 1931, I will trace back to the cultural exchanges between Chinese and Japanese traditional painters. Further, by means of examining the exhibition critiques from newspaper, I will discuss the status and conflicts between Chinese paintings, Japanese paintings and yoga in public sphere. The ideal vision which China and Japan attempted to weave for the Orient, the adoption of the mode of displaying simultaneously ancient and modern paintings, both contributed to the realization of the 1928 exhibition and the 1931 exhibition. The last part of this thesis is devoted to study of the promotion and funding organizations of this exhibition. The Chinese contribution to the 1928 exhibition came mainly from private collections. While the institutional organ was the Association of Oriental Painting（東方繪畫協會）funded by Japanese government, it seems that Chinese government never provided full support to the 1928 exhibition. In contrast, Japanese official interferences in exhibition affaires did not cease to amplify all along the organizing process. In the end, China concluded with the term "cultural invasion" as a response to the above policy, which led to the rupture of the Sino-Japanese cooperation. On 18th September 1931, Japan invaded Manchuria, and this made the Sino-Japanese exhibitions come to an end. Nevertheless, by reviewing Sino-Japanese cultural exchange of 1920’s, we realize that the establishment of art displaying institution and the study of art history in China benefited in some way largely from the 1928 exhibition. This is the very historic significance this thesis aims to explore.
5
Lin, Tse-Hsiung, and 林則雄. "The Early Development of the Modern Chinese Buddhist Songs in the First Half of the Twentieth Century." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/00414655355394918615.
Повний текст джерелаАнотація:
碩士佛光大學
佛教學系
102
This thesis investigates the development of Buddhist songs, a significant part of the project to reform Chinese Buddhism in the early twentieth century. The study of Chinese Buddhist music did not come to the attention of the academic world until recent decades, and the early development of Buddhist songs in particular was rarely taken seriously as an academic topic before this investigation. Influenced by reform ideals, Buddhist songs were reconceived in the Western form and represented the new and progressive image of the newly reformed Buddhism. This thesis presents a historical investigation and a sociopolitical interpretation of the musical form of these songs. With the former, I describe the early development of the Buddhist genre in question, discussing its musical and lyrical styles and their Western and Japanese influences. With the latter, I engage in a reading of the sociopolitical meanings of the Buddhist musical form developed during a time of dramatic change in China. Topics of the individual chapters include (1) the general development of Chinese Buddhist songs in Shanghai in the beginning of the twentieth century; (2) the Buddhist-themed school songs of Li Shutong (李叔同) as the forerunners of the Buddhist genre; (3) Western and Japanese influences on Buddhist songs; and (4) Buddhist songs and the contemporary sociopolitical movements of the 1930s and 40s.
6
Cvrčková, Lenka. "Role školských písní v modernizaci čínské hudby." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-370100.
Повний текст джерелаАнотація:
Thesis abstract The aim of this thesis is to describe the role of school songs in the modernization of Chinese music. Since the establishment of modern Chinese education school songs have become an important part of Japanese-based teaching materials as well as a tool for introducing and transferring political ideology. The tunes of the early school songs were adapted from Western romantic songs and Japanese school songs, and as I argue, this have shaped the Chinese musical taste towards a greater popularity of music including western compositional elements and thus westernization of music in general. In addition to describing the musical specifics of Chinese school songs, the work focuses on more general questions about the modernization and westernization of Chinese music. Compositions written by Shen Xingong (1869-1947), Li Shutong (1880-1942) and Zeng Zhimin (1879-1929), prefaces to various editions of collected school songs, and articles on the relationship of these songs to the education system in China is the primary focus of the current study. Key words: modernization; Chinese music; school songs; early 20 century
Книги з теми "Early chinese song"
1
Song ci san bai shou. 2nd ed. Nanjing Shi: Dong nan da xue chu ban she, 2013.
Знайти повний текст джерела
2
Zhu, Zumou, Qitong Deng, and Rong Xiong. Song ci san bai shou. 8th ed. Nanjing Shi: Dong nan da xue chu ban she, 2010.
Знайти повний текст джерела
3
Sheyuan suo jian Song ban shu ying. Beijing Shi: Beijing tu shu guan chu ban she, 2003.
Знайти повний текст джерела
4
Sheyuan suo jian Song ban shu ying. Yangzhou Shi: Jiangsu Guangling gu ji ke yin she, 1998.
Знайти повний текст джерела
5
She yuan suo jian Song ban shu ying. Yangzhou Shi: Jiangsu guang ling gu ji ke yin she, 1998.
Знайти повний текст джерела
6
J.J. Lally & Co. Early dynastic China: Works of art from Shang to Song : March 26-April 26, 1996. New York: J.J. Lally & Co., 1996.
Знайти повний текст джерела
7
Song Yuan jiu ben shu jing yan lu. Nanjing Shi: Jiangsu gu ji chu ban she, 2000.
Знайти повний текст джерела
8
Mo, Youzhi. Song Yuan jiu ben shu jing yan lu. [Yangzhou?]: Jiangsu Guangling gu ji ke yin she, 1987.
Знайти повний текст джерела
9
Gu wen er bai pian: Ming jia pei hua song du ben. Shanghai Shi: Shanghai ci shu chu ban she, 2000.
Знайти повний текст джерела
10
Wang, Qingming, and Haiyuan Wang. Gu wen er bai pian: Ming jia pei hua song du ben. 8th ed. Xianggang: Shang wu yin shu guan (Xianggang) you xian gong si, 2002.
Знайти повний текст джерелаЧастини книг з теми "Early chinese song"
1
Longxi, Zhang. "Literature from the Late Northern to the Early Southern Song Dynasty." In A History of Chinese Literature, 229–50. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003164173-12.
Повний текст джерела
2
Chaffee, John W. "Han Chinese Representations of South Sea Merchants in Song China." In Early Global Interconnectivity across the Indian Ocean World, Volume I, 295–315. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-97667-9_12.
Повний текст джерела
3
Wicks, James. "Gender Negotiation in Song Cunshou's Story of Mother and Taiwan Cinema of the Early 1970s." In A Companion to Chinese Cinema, 118–32. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444355994.ch7.
Повний текст джерела
4
Sieber, Patricia. "Introduction Rewriting Early Chinese Zaju Song-Drama for Transnational, National, and Local Contexts." In Theaters of Desire, 1–44. New York: Palgrave Macmillan US, 2003. http://dx.doi.org/10.1057/9781403982490_1.
Повний текст джерела
5
Rist, Peter. "Renewal of Song Dynasty Landscape Painting Aesthetics Combined with a Contemplative Modernism in the Early Work of Chen Kaige." In The Poetics of Chinese Cinema, 51–77. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-55309-6_4.
Повний текст джерела
6
Van Bibber-Orr, Edwin. "Alcoholism and Song Literati." In Behaving Badly in Early and Medieval China. University of Hawai'i Press, 2017. http://dx.doi.org/10.21313/hawaii/9780824867812.003.0008.
Повний текст джерелаАнотація:
Crystallized in the alterity of an ancient Chinese past, alcohol use and abuse have often in the field of sinology become synonymous with romanticized literati affect: Tao Qian’s 陶潛 (365-427)’s “Twenty Poems on Drinking” and Li Bai 李白’s (701-762) “Drinking Alone Under the Moon” come immediately to mind. This glorification has precipitated a blind spot regarding the self-destructive effects of alcoholism in Chinese cultural history. Through an analysis of Song encyclopedia, anecdotes, and medical texts, I uncover a Song discourse on alcoholism: shijiu嗜酒. Reading poems of Mei Yaochen 梅堯臣 (1002-1060) and Yang Wanli 楊萬里 (1127-1206), the chapter reveals personal accounts of these literati’s struggles to stop drinking (zhijiu止酒). To define alcoholism, I employ the diagnostic criteria of the Diagnostic and Statistical Manual of Mental Disorders: DSM-5 (DSM-V), evincing the presence of five distinct diagnostic criteria of “Alcohol Use Disorder” amongst Song literati.
7
Yü, Ying-shih. "Some Preliminary Observations on the Rise of Qing Confucian Intellectualism." In Chinese History and Culture, edited by Josephine Chiu-Duke and Michael S. Duke. Columbia University Press, 2016. http://dx.doi.org/10.7312/columbia/9780231178600.003.0001.
Повний текст джерелаАнотація:
This essay describes the internal development of Neo-Confucianism from the Song (960-1279) to the Qing (1644-1911). It sees the central problem in Qing intellectual history as arising from a renewed tension between “erudition” and “essentialism,” but with a shift from moral grounds to intellectual grounds. It proposes a new scheme of three-stage periodization of Neo-Confucianism, according to which its development from early Song to mid-Qing times may be understood in terms of the inner logic of intellectual history.
8
"Religion and Thought in the Song, Jin, and Yuan (960–1368)." In Paradigm Shifts in Early and Modern Chinese Religion, 119–94. BRILL, 2018. http://dx.doi.org/10.1163/9789004385726_004.
Повний текст джерела
9
"Did the Mongols Matter? Territory, Power, and the Intelligentsia in China from the Northern Song to the Early Ming." In The Song-Yuan-Ming Transition in Chinese History, 111–34. BRILL, 2003. http://dx.doi.org/10.1163/9781684173815_005.
Повний текст джерела
10
Gunn, Geoffrey C. "Geographic Imaginaries from the Chinese Tradition." In Imagined Geographies, 85–112. Hong Kong University Press, 2021. http://dx.doi.org/10.5790/hongkong/9789888528653.003.0005.
Повний текст джерелаАнотація:
In this chapter we focus on Chinese imaginaries of the Nan Yang, or southern seas, not excluding the Indian Ocean area. Allowing for filtering and embellishment, the Chinese geographic-cartographic tradition is seminal in this respect, as is the tradition of recording dynastic annals. Accordingly, this chapter taps into a long tradition of scholarly interpretation of such maps and texts. A first section explains the China-centered tribute trade system. A second section frames a Chinese India imaginary around the journey undertaken in 399 CE by a famed Chinese monk to India and back. Taking cues from the “California school” on economic differentials between Europe and China, a third section offer an appraisal of Song China economic strength. Through an examination of navigational texts, a fourth section offers a Song-era world imaginary. A fifth section contemplates China’s South Seas priority under the Mongol-Yuan dynasty, while the early Ming-era voyages of the Muslim admiral Zheng He are set down in a sixth section. Finally, the chapter offers an evaluation of Ming China maritime prowess and cartographic accomplishments.
Тези доповідей конференцій з теми "Early chinese song"
1
Liu, Yi. "Characteristics of Chinese Composersr Art Songs from the Twentieth Century to the Early Twenty-first Century." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.30.
Повний текст джерела