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All your three kingdoms are in the world, while the world of the flat pea is in a mountain. Your three kingdoms all go out to collect your brothers and sisters to fish for beautiful girls and boast, but the world of flat peas, is only the morning dew against the sunset, the grass against the winter, the sky above the earth, against the spring and autumn and the earth above the mountains.
The Hawai‘i Reader in Traditional Chinese Culture is a collection of more than ninety primary sources—all but a few of which were translated specifically for this volume—of cultural significance from the Bronze Age to the turn of the twentieth century. They take into account virtually every aspect of traditional culture, including sources from the non-Sinitic ethnic minorities.
"The Three Kingdoms gives us The Iliad of China. First of the five great works of traditional prose fiction, this master narrative transforms history into epic and has thereby educated and entertained readers of five centuries with unforgettable exemplars of martial and civic virtue, of personal fidelity and political treachery. Moss Roberts's translation, the first complete rendering in English, is one of surpassing excellence and impeccable scholarship. It should delight and captivate Western readers for many more years to come."—Anthony C. Yu, University of Chicago
Lu Xun spent the last decade of his life in the turbulent world of Shanghai. Soon after arriving in 1927, he befriended Uchiyama Kanzō, owner of a bookstore specializing in Japanese writings. Their friendship and the mutual kindnesses (occasionally involving near-death experiences) form the core of this short volume. In part a meditation of what two people with such different backgrounds--one the most famous intellectual of his time, the other a merchant with a sixth-grade education from a country on the verge of launching total war against China--may speak to our own fractious times. Drawing on his extensive knowledge of Sino-Japanese exchange, Joshua Fogel paints a captivating portrait of two men of very different temperament, background, and political outlook. We see their friendship in ordinary moments over a cup of Karigane tea, a specially-reserved rattan chair, and the efforts at mounting exhibits of woodblock prints but also in extraordinary moments when Uchiyama protected Lu Xun from GMD spies and Japanese military police in the tumultuous years before total war. Theirs was a remarkable friendship indeed.
Jin Yong’s Martial Arts Fiction and the Kungfu Industrial Complex is an analysis of the role of Jin Yong’s stories and characters in the construction of the “kungfu industrial complex”—a complicated, multi-dimensional cultural/business matrix related to the production and consumption of martial arts fiction, film, and legacy. The author first explicates the “kungfu cultural literacy” that makes Jin Yong’s characters and stories intelligible and compelling to a wide audience and then argues that academic resistance to integrating his pop fiction into the canon of Chinese literature is overcome via the national character discourse. The author subsequently explores the role of actors, directors, and crews as they repeatedly adapted the novels for film and television and provided afterlives for Jin Yong’s characters, stories, and tropes, both kicking off actors’ careers and driving the globalization of kungfu action. Archetypical characters, multidimensional production and consumption of cultural capital and star power meet in a final analysis of the “Kung Fu Hustle Hustle,” which balances critical reality and a hopeful vision for China’s future.
This book focuses on the representation of human mortality in medieval Chinese literature. This theme is observed and reconstructed through analysis of the work of eminent writers of the period, texts that have never been examined from an eschatological perspective.
As the first volume of a two-volume set on Chinese narratology, this title introduces the cultural fundamentals that nurture Chinese literary works and investigates the structure and time of Chinese narrative. In the introductory chapter, the author examines the intrinsic association between Chinese writers’ narrative techniques and China’s cultural background by putting forward a Principle of Duixing to facilitate the study of those techniques and three steps to revisit Chinese narrative. Based on Western narrative theories and a close reading of outstanding Chinese literary classics, the volume focuses on structure and time in Chinese narrative. The first part on structure (jiegou) identifies five essential themes to analyze the dual dynamic structure of Chinese narrative. In terms of aspects of time, the author demonstrates how the holistic view of time and space in the Chinese tradition influences the chronological framework of narratives and shapes the outset of a story. The book is a must-read for scholars and students interested in narrative theory, Chinese culture and literature, and the dialogue between Chinese and Western narratological studies.
The heart of Urbanization in Early and Medieval China consists of translations of three gazetteers written during the Han (206 BCE–220 CE), Tang (618–907), and Northern Song (960–1126) dynasties describing the city of Suzhou. The texts allow the reader to trace the dramatic changes that occurred as the city experienced enormous political and social upheavals over nine centuries. Each translation is accompanied by extensive annotation and a detailed discussion of the historical background of the text, authorship, and publication history. The book also traces the development of the gazetteer genre, the history of urban planning in China, and what we know about the early development of Suzhou from other texts and archaeological research. Urbanization in Early and Medieval China will be useful not only to scholars of Chinese history, but to scholars studying architecture and urban planning as well.
This book argues that a general understanding of traditional Chinese philosophy can be achieved by a concise elaboration of its truth, goodness and beauty; that goodness and beauty in Chinese philosophy, combined with the integration of man and heaven, knowledge and practice, scenery and feeling, reflect a pursuit of an ideal goal in traditional Chinese philosophy characterized by the thought mode uniting man and nature.This book also discusses the anti-traditionalism of the May Fourth Movement, explaining that the true value of “sagacity theory” in traditional Chinese philosophy, especially in Neo-Confucianism in the Song and Ming dynasties, lies in its insights into universal life. In addition, existing ideas, issues, terminologies, concepts, and logic of Chinese philosophical thought were actually shaped by Western philosophy. It is necessary to be alienated from traditional status for the creation of a viable “Chinese philosophy.” “Modern Chinese philosophy” in the 1930s and 1940s was comprised of scholarly work that characteristically continued rather than followed the traditional discourse of Chinese philosophy. That is to say, in the process of studying and adapting Western philosophy, Chinese philosophers transformed Chinese philosophy from traditional to modern.In the end of the book, the author puts forward the idea of a “New Axial Age.” He emphasizes that the rejuvenation of Chinese culture we endeavor to pursue has to be deeply rooted in our mainstream culture with universal values incorporating cultures of other nations, especially the cultural essence of the West.