This is a presentation for a bibliographical guide for the undergraduate course CLA232H Introduction to Greek and Culture offered at the University of Toronto’s Department of Classics for the school year 2007 — 2008. It is from the bibliography (with minor modifications) of the bibliographic instruction assignment compiled by Aiyesvarie Vairavanathan, Edwin Kamakil, and John Chionglo; and submitted for the course FIS1310 Information Resources and Services in the fall of2007. Again, this version was derived from the actual assignment submitted to the course instructor. We chose the topic from the list of topics provided by the instructor.
This is a presentation for a bibliographical guide for the undergraduate course CLA232H Introduction to Greek and Culture offered at the University of Toronto’s Department of Classics for the school year 2007 — 2008. It is from the bibliography (with minor modifications) of the bibliographic instruction assignment compiled by Aiyesvarie Vairavanathan, Edwin Kamakil, and John Chionglo; and submitted for the course FIS1310 Information Resources and Services in the fall of2007. Again, this version was derived from the actual assignment submitted to the course instructor. We chose the topic from the list of topics provided by the instructor.
A B S T R A C T
The Chinese have lived in single-extended-family courtyard houses in many parts of China for thousands of years. The earliest courtyard house found in China was during the Middle Neolithic period (5000-3000 BCE). The courtyard form signifies Chinese quest for harmony with nature and in social relationships. However, the 20th century was a significant turning point in the evolution of Chinese courtyard houses; this paper provides an overview of this transition. It starts by briefly introducing traditional Chinese courtyard houses and their decline since 1949, it then examines the emergence of new courtyard housing in Beijing and Suzhou since the 1990s, and then it evaluates the new development of Chinese-style courtyard garden villas in/around these two cities since the 2000s, such as Beijing Guantang and Suzhou Fuyuan villa estates. They are explorations of a new way to honor Chinese architectural history and philosophy, meanwhile, incorporating Western interior design principles to meet modern living requirements. This architectural acculturation represents Chinese sustained quest for harmony in their art of living. The paper finally proposes four designs of new courtyard garden houses for future practice.
Transnational Chinese Cinemas·lu.book Page i Wednesday.docxjuliennehar
Transnational Chinese Cinemas
·
lu.book Page i Wednesday, October 24, 2001 11:37 AM
Ju Dou (Gong Li) and Tianqing (Li Baotian) in Ju Dou, directed by Zhang Yimou, 1990.
British Film Institute.
lu.book Page ii Wednesday, October 24, 2001 11:37 AM
Transnational Chinese Cinemas
·
Identity, Nationhood, Gender
Edited by Sheldon Hsiao-peng Lu
University of Hawai‘i Press
Honolulu
lu.book Page iii Wednesday, October 24, 2001 11:37 AM
1997 University of Hawai‘i Press
All rights reserved
Printed in the United States of America
02 01 00 99 98 97 5 4 3 2 1
Library of Congress Cataloging-in-Publication Data
Transnational Chinese cinemas : identity, nationhood, gender / edited
by Sheldon Hsiao-peng Lu.
p. cm.
Includes bibliographical references and index.
ISBN 0–8248–1845–8 (pbk. : alk. paper)
1. Motion pictures—China. 2. Motion pictures—Taiwan. 3. Motion
pictures—Hong Kong. I. Lu, Hsiao-peng.
PN1993.5.C4T65 1997
791.43’0951—dc21 97–11153
791.43’0951—dc21 97–1CIP3
University of Hawai‘i Press books are printed
on acid-free paper and meet the guidelines for
permanence and durability of the Council
on Library Resources
Designed by Barbara Pope
lu.book Page iv Wednesday, October 24, 2001 11:37 AM
For my brother, Lu Xiaolong,
and my sister, Lu Xiaoyan
·
lu.book Page v Wednesday, October 24, 2001 11:37 AM
lu.book Page vi Wednesday, October 24, 2001 11:37 AM
vii
Contents
List of Illustrations ix
Preface xi
Historical Introduction Chinese Cinemas (1896–1996) and
Transnational Film Studies 1
Sheldon Hsiao-peng Lu
Part I Nation-Building, National Cinema, Transnational Cinema
Part 1 Anti-Imperialism and Film Censorship During the Nanjing
Decade, 1927–1937 35
Zhiwei Xiao
Part 2 Two Stage Sisters: The Blossoming of a Revolutionary
Aesthetic 59
Gina Marchetti
Part 3 From “Minority Film” to “Minority Discourse”: Questions
of Nationhood and Ethnicity in Chinese Cinema 81
Yingjin Zhang
Part 4 National Cinema, Cultural Critique, Transnational Capital:
The Films of Zhang Yimou 105
Sheldon Hsiao-peng Lu
Part II The Politics of Cultural and National Identity in the Cinemas of Taiwan
and Hong Kong
Part 5 Constructing a Nation: Taiwanese History and
the Films of Hou Hsiao-hsien 139
June Yip
Part 6 The Diaspora in Postmodern Taiwan and Hong Kong Film:
Framing Stan Lai’s The Peach Blossom Land with Allen Fong’s
Ah Ying 169
Jon Kowallis
lu.book Page vii Wednesday, October 24, 2001 11:37 AM
viii Contents
Part 7 Breaking the Soy Sauce Jar: Diaspora and Displacement in
the Films of Ang Lee 187
Wei Ming Dariotis and Eileen Fung
Part 8 Transnational Action: John Woo, Hong Kong, Hollywood 221
Anne T. Ciecko
Part 9 Jackie Chan and the Cultural Dynamics of Global
Entertainment 239
Steve Fore
Part III Engendering History and Nationhood: Cross-Cultural and
Gendered Perspectives
Part 10 Reading Formations and Chen Kaige’s Farewell My Concubine 265
E. Ann Kaplan
P ...
A B S T R A C T
The Chinese have lived in single-extended-family courtyard houses in many parts of China for thousands of years. The earliest courtyard house found in China was during the Middle Neolithic period (5000-3000 BCE). The courtyard form signifies Chinese quest for harmony with nature and in social relationships. However, the 20th century was a significant turning point in the evolution of Chinese courtyard houses; this paper provides an overview of this transition. It starts by briefly introducing traditional Chinese courtyard houses and their decline since 1949, it then examines the emergence of new courtyard housing in Beijing and Suzhou since the 1990s, and then it evaluates the new development of Chinese-style courtyard garden villas in/around these two cities since the 2000s, such as Beijing Guantang and Suzhou Fuyuan villa estates. They are explorations of a new way to honor Chinese architectural history and philosophy, meanwhile, incorporating Western interior design principles to meet modern living requirements. This architectural acculturation represents Chinese sustained quest for harmony in their art of living. The paper finally proposes four designs of new courtyard garden houses for future practice.
Transnational Chinese Cinemas·lu.book Page i Wednesday.docxjuliennehar
Transnational Chinese Cinemas
·
lu.book Page i Wednesday, October 24, 2001 11:37 AM
Ju Dou (Gong Li) and Tianqing (Li Baotian) in Ju Dou, directed by Zhang Yimou, 1990.
British Film Institute.
lu.book Page ii Wednesday, October 24, 2001 11:37 AM
Transnational Chinese Cinemas
·
Identity, Nationhood, Gender
Edited by Sheldon Hsiao-peng Lu
University of Hawai‘i Press
Honolulu
lu.book Page iii Wednesday, October 24, 2001 11:37 AM
1997 University of Hawai‘i Press
All rights reserved
Printed in the United States of America
02 01 00 99 98 97 5 4 3 2 1
Library of Congress Cataloging-in-Publication Data
Transnational Chinese cinemas : identity, nationhood, gender / edited
by Sheldon Hsiao-peng Lu.
p. cm.
Includes bibliographical references and index.
ISBN 0–8248–1845–8 (pbk. : alk. paper)
1. Motion pictures—China. 2. Motion pictures—Taiwan. 3. Motion
pictures—Hong Kong. I. Lu, Hsiao-peng.
PN1993.5.C4T65 1997
791.43’0951—dc21 97–11153
791.43’0951—dc21 97–1CIP3
University of Hawai‘i Press books are printed
on acid-free paper and meet the guidelines for
permanence and durability of the Council
on Library Resources
Designed by Barbara Pope
lu.book Page iv Wednesday, October 24, 2001 11:37 AM
For my brother, Lu Xiaolong,
and my sister, Lu Xiaoyan
·
lu.book Page v Wednesday, October 24, 2001 11:37 AM
lu.book Page vi Wednesday, October 24, 2001 11:37 AM
vii
Contents
List of Illustrations ix
Preface xi
Historical Introduction Chinese Cinemas (1896–1996) and
Transnational Film Studies 1
Sheldon Hsiao-peng Lu
Part I Nation-Building, National Cinema, Transnational Cinema
Part 1 Anti-Imperialism and Film Censorship During the Nanjing
Decade, 1927–1937 35
Zhiwei Xiao
Part 2 Two Stage Sisters: The Blossoming of a Revolutionary
Aesthetic 59
Gina Marchetti
Part 3 From “Minority Film” to “Minority Discourse”: Questions
of Nationhood and Ethnicity in Chinese Cinema 81
Yingjin Zhang
Part 4 National Cinema, Cultural Critique, Transnational Capital:
The Films of Zhang Yimou 105
Sheldon Hsiao-peng Lu
Part II The Politics of Cultural and National Identity in the Cinemas of Taiwan
and Hong Kong
Part 5 Constructing a Nation: Taiwanese History and
the Films of Hou Hsiao-hsien 139
June Yip
Part 6 The Diaspora in Postmodern Taiwan and Hong Kong Film:
Framing Stan Lai’s The Peach Blossom Land with Allen Fong’s
Ah Ying 169
Jon Kowallis
lu.book Page vii Wednesday, October 24, 2001 11:37 AM
viii Contents
Part 7 Breaking the Soy Sauce Jar: Diaspora and Displacement in
the Films of Ang Lee 187
Wei Ming Dariotis and Eileen Fung
Part 8 Transnational Action: John Woo, Hong Kong, Hollywood 221
Anne T. Ciecko
Part 9 Jackie Chan and the Cultural Dynamics of Global
Entertainment 239
Steve Fore
Part III Engendering History and Nationhood: Cross-Cultural and
Gendered Perspectives
Part 10 Reading Formations and Chen Kaige’s Farewell My Concubine 265
E. Ann Kaplan
P ...
217Published by the Harvard -Yenching Institu te HJAS 72.2 (.docxfelicidaddinwoodie
217Published by the Harvard -Yenching Institu te HJAS 72.2 (2012): 217–257
“My Tomb Will Be Opened in
Eight Hundred Years”:
A New Way of Seeing the Afterlife in Six
Dynasties China
J i e S h i
University of Chicago
In a large undisturbed sixth-century tomb at Jiajiazhuang 賈家莊 in Shouyang 壽陽 county, Shanxi province, archaeologists dis-
covered an epitaph declaring a belief about tombs different from what
Chinese held before that time.1 This brick tomb, among the largest of
its period, had a single burial chamber, which measured 5.44 by 5.42
meters in area and had a crushed vaulted ceiling about 4.60 meters
high (figs. 1 and 2). Three square epitaph stones, each with a stone
cover, lay side by side on the floor of the tomb chamber. According to
the inscriptions engraved on these stones, the central and largest was
for the major tomb occupant, Prince Shedi Huiluo 厙狄迴洛 (505–
562).2 The flanking two referred to his two wives buried with him.3
I would like to thank Wu Hung, Robert Harrist Jr., Zheng Yan, and the anonymous reviewer
for HJAS, for their valuable insights and critiques of different versions of this essay.
1 Wang Kelin 王克林, “Bei Qi Shedi Huiluo mu” 北齊厙狄回洛墓, Kaogu xuebao 考
古學報 1979.3: 377–99.
2 For Shedi Huiluo’s official biography, see Li Baiyao 李百藥, Bei Qishu 北齊書 (Bei-
jing: Zhonghua shuju, 1972), 19.254; Li Yanshou 李延壽, Beishi 北史 (Beijing: Zhonghua
shuju, 1974), 53.1908. All dates are Common Era unless otherwise noted.
3 Wang Kelin, “Bei Qi Shedi Huiluo mu,” pp. 396–98. For a transcription of their epi-
taphs, see Zhao Chao 趙超, Han Wei Nanbeichao muzhi huibian 漢魏南北朝墓誌彙編
(Tianjin: Tianjin guji chubanshe, 1992) [hereafter HWNM], pp. 407–8, 414.
218 Jie Shi
A contemporaneous reader of the prince’s well-composed epitaph
(see fig. 3, p. 246, and Appendix 1) would come to a statement that
might astonish him or her near the end of the text: “The tomb will col-
lapse and the pond will be filled up, and they will finally be occupied
by foxes and hares. My tomb will be opened in eight hundred years as
heaven orbits.” The first person pronoun “I” (wu 吾) that begins the
last sentence renders unambiguous the tomb occupant’s expectation
that his own tomb is doomed to ruin followed by excavation.
This passage violates the conventional Chinese belief held until
that time: that the tomb was never supposed to be damaged or opened.
According to a second-century dictionary, the basic idea of a tomb was
to “conceal,” and to prevent the exposure of, the deceased’s body.4 The
4 Wu Hung, The Art of the Yellow Springs: Understanding Chinese Tombs (London:
Reaktion Books, 2009), pp. 9–10.
Fig. 1 Shedi Huiluo’s tomb, 562 C.E. Jiajiazhuang, Shouyang, Shanxi province.
Photograph of the excavation from the north, facing entrance at south. Kaogu
xuebao 1979.3, pl. 2.1.
The Afterlife in Six Dyna sties China 219
tomb, the final resting place of one’s ancestor, generated emotions of
empathy and solicitude and uphel ...
Essays should have a clear argument supported by evidence from the.docxSANSKAR20
Essays should have a clear argument supported by evidence from the readings (https://drive.google.com/drive/folders/0B3D5tcB4swW_WmVTeXF4LVdWWVE?usp=sharing ). While it is fine to state your personal opinion on these questions, please be sure that you support your opinion with historical evidence. The best answers will have an argument and will be very detailed. The answer should have a beginning, middle and an end, and will probably be 400 words.
1. What role does the West play in shaping modern East Asia? How does this role change over time (if it does change). In your opinion is the role of the West a net positive or a net negative? Why?
2. What are the merits and demerits of the Champion of the East and the Gentleman of Western Learning’s arguments in Discourse of Three Drunkards on Government. Which view do you support? Why?
3. What is the nature of nationalism in the Japanese and Chinese contexts? What does it stem from? How do nationalistic sentiments change in the first three decades of the twentieth century in East Asia?
4. Describe the changes in Japan-Chinese relations over time beginning in 1895 up through 1937. In what ways do relations change? What factors force them to change?
5. By the 1920s, Japan had already become an important world power, while China remained mired in warlord politics and political factionalism. How do you account for the differences in China and Japan? What factors helped facilitate Japan’s “rise”?
6. Evaluate the arguments made by Japanese leaders regarding Pan Asianism from the early 20th century up through the creation of the Greater East Asia Co-Prosperity Sphere. What was attractive about these sentiments for many people in East Asia? How do you yourself feel about the way the Greater East Asia Co-Prosperity Sphere was portrayed?
7. How did Chiang Kaishek rise to prominence in China in the 1920s? What was the legitimacy of Chiang Kaishek’s Nationalist government based upon? How do the campaigns against the Chinese Communist Party fit into this?
8. How do you view Wang Jingwei? Was he a collaborator as he is commonly portrayed in China or is he a patriot whose reputation has been slandered since the end of the war? To answer this question, you must address the differences between collaborators and resisters in the wartime period. What constitutes these two categories? What problems are there in using these two turns of phrase?
9. Scholars have suggested that the Pacific War between Japan and the United States was inevitable, but there is a considerable amount of disagreement about when it became inevitable. What single point do you consider to be the “point of no return” for the outbreak of the war? Please note in your response at least two other potential points and explain why you did not choose them.
Reading List: (https://drive.google.com/drive/folders/0B3D5tcB4swW_WmVTeXF4LVdWWVE?usp=sharing ).
Week 1
*John Dower, “Structures and Ideologies of Con ...
A B S T R A C T
This paper examines the design philosophy of classical Suzhou gardens in China, with regards to their natural and architectural elements on the moral education of the inhabitants. Through studying the metaphorical connotations of garden elements, the author reflects on their propositions for contemporary environmental ethics, aesthetic appreciation, and moral education. As such, the article is structured around three themes: classical Chinese gardens cultivating environmental ethics, classical Chinese gardens cultivating appreciation of aesthetics, and classical Chinese gardens cultivating moral characters. The essay finally suggests that classical Chinese gardens are landscapes for self-cultivation.
CONTEMPORARY URBAN AFFAIRS (2018) 2(1), 33-44. DOI: 10.25034/ijcua.2018.3654
Similar to Frontiers of history in china 征稿简则论文基本内容应包括：标题 ... (20)
Frontiers of history in china 征稿简则论文基本内容应包括：标题 ...
1. zycnzj.com/ www.zycnzj.com
Frontiers of History in China
Frontiers of History in China
Frontiers of History in China
3
200
3~8
(1) Received April 6, 2006
(2) Translated by Li Hong from Lishi Yanjiu Historical
Research , 2005, (6): 69-75
E-mail
Wang Dayi,
School of History, Nankai University, Tianjin 300071, China.
E-mail: wang001@nankai.com.cn
Zhang Zhiqiang is Professor of History at Tsinghua University. The author is
grateful to the National Social Science Funds for the financial assistance to this study.
word
1 Feng Tianyu, 1984, 41. p.
pp.
2 Waitai miyao, 1077.(
)
zycnzj.com/http://www.zycnzj.com/
2. zycnzj.com/ www.zycnzj.com
3 Ibid., 24. d
4 Ibid. ( )
5 Lin Zhaogeng and Yan Liang, 1995, 224-227.
224 7
6 Dong Gao, Vol. 21, 251.
7 ZhangTingyu, juan 67, zhi 43,Yufu
1.
1 ,
Liang Qichao
2
Sun Yet-sen
3
and
Paul, Alexander, Peter Black, and Ben White.
4 ed. eds.
5 : et al.
Leslie, Donald D., et al., eds. Essays on the Sources for Chinese
History. Canberra: Australia National University Press, 1973.
2.
Burkett, Paul. Marx and Nature: A Red and Green Perspective. New York: St.
Martin’s Press, 1999.
Cronon, William. “The Uses of Environmental History.” Environmental History
Review. 1993, No.3.
Waltner, Ann. “The Moral Status of the Child in Late Imperial China: Childhood
in Ritual and Law,” Social Research. Vol. 53, 1986, No. 4.
———. Getting an Heir: Adoption and the Construction of Kinship in Late
Imperial China. Honolulu: University of Hawaii Press, 1990.
“———“
3.
(1)
Zhou Xibao . Zhongguo gudai fushi shi (Chinese
clothing in ancient times). Beijing: Zhongguo xiju chubanshe, 1984.
(2)
Wu Chengming . “Lun Qingdai qianqi woguo guonei shichang”
(The domestic market in China in the early Qing dynasty).
zycnzj.com/http://www.zycnzj.com/
