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This is an ideal dictionary for students of the Chinese language "This small dictionary contains a wealth of information essential to beginning students of Chinese. It meets the growing need for a high–quality, user–friendly dictionary for use by foreigners wishing to learn Chinese. The many example sentences given will also be very helpful to Chinese students of Enlisgh."—Professor Tian Sanji, Dean of the College of Culture, Beijing Language and Culture University The Beginner's Chinese Dictionary is specifically designed for learners of Chinese. It covers over 1,800 vocabulary items, including all 1,000+ vocabulary items prescribed for Level A of the standard test of proficiency in Chinese, the Hanyu Shuiping Kaoshi (HSK). Entries are arranged alphabetically according to the pinyin transliteration. For each character, the radical and stroke count are given. An analysis of word formation is also provided to aid understanding of how words of two or more syllables are formed. Sample sentences are presented in Chinese characters with pinyin and English equivalents, to show how each headword should be used. A radical and character index allows quick access to any headword. English–Chinese and Chinese–English sections. Entries arranged alphabetically by pinyin transliteration. Includes all words for standard HSK level A proficiency test. Sample sentences demonstrate how to use words correctly. Characters and pinyin for all headwords and examples. Introduces and explains radicals, stroke counts, and components. Key character components are given for easy recognition. Useful notes on culture, grammar and usage provided.
Motion pictures were introduced to China in 1896, and today China is a major player in the global film industry. However, the story of how Chinese cinema became what it is today is exceptionally turbulent, encompassing incursions by foreign powers, warfare among contending rulers, the collapse of the Chinese empire, and the massive setback of the Cultural Revolution. This book coversthe cinematic history of mainland China spanning across over one hundred and twenty years since its inception. Historical Dictionary of Chinese Cinema, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 200 cross-referenced entries on the major filmmakers, actors, and historical figures, representative cinematic productions, genre evolution, significant events and institutions, and market changes. This book is an excellent resource for students, researchers, and anyone wanting to know more about Chinese Cinema.
The book is a collection of five significant articles that highlight Professor Baokui QU's research on the evolution of the eduational discipline in China, the classfication of educational sciences, and the metatheory of education. One of the features of his research on these topics is that he integrated the perspectives from scholars in many countries, and reflected critically on the past and future of education as a discipline.
This biographical dictionary is an indispensable research tool for information about the prominent persons of the past seven decades in China. The book documents nearly 600 Chinese individuals who contributed, for better or worse, to the development of Chinese life and culture since the founding of the People's Republic of China in 1949. Though the book is weighted toward political figures, it includes persons in business, the military, academia, medicine, social movements, the arts, entertainment and athletics. In addition to an objective description of the person's life, an analysis is provided that identifies the individual's contributions and importance.
Translated into English for the first time, this Chinese encyclopedia of medical mater and natural history provides a rare window into the people and culture of China during the 16th century.00The Ben cao gang mu is a sixteenth-century Chinese encyclopedia of medical matter and natural history by Li Shizhen (1518?1593). The culmination of a sixteen-hundred-year history of Chinese medical and pharmaceutical literature, it is considered the most important and comprehensive book ever written in the history of Chinese medicine and remains an invaluable resource for researchers and practitioners. This nine-volume series reveals an almost two-millennia-long panorama of wide-ranging observations and sophisticated interpretations, ingenious manipulations, and practical applications of natural substances for the benefit of human health. Paul U. Unschuld's annotated translation of the Ben cao gang mu, presented here with the original Chinese text, opens a rare window into viewing the people and culture of China's past.00Volume I is divided into two parts. Part A of volume 1 in the Ben cao gang mu series offers a translation of chapters 1 and 2 and portions of chapter 3. Chapters 1 and 2 are devoted to introducing the history of materia medica. Chapter 3 is devoted to pharmaceutical drugs for diseases. Chapter 3 is continued, along with chapter 4, in part B of volume I.00.
From the daring imagination of one of China’s greatest living novelists comes a work of startling power and originality–the story of a young man “displaced” to a small village in rural China during the 1960s. Told in the format of a dictionary, with a series of vignettes disguised as entries, A Dictionary of Maqiao is a novel of bold invention–and a fascinating, comic, deeply moving journey through the dark heart of the Cultural Revolution. Entries trace the wisdom and absurdities of Maqiao: the petty squabbles, family grudges, poverty, infidelities, fantasies, lunatics, bullies, superstitions, and especially the odd logic in their use of language–where the word for “beginning” is the same as the word for “end”; “little big brother” means older sister; to be “scientific” means to be lazy; and “streetsickness” is a disease afflicting villagers visiting urban areas. Filled with colorful characters–from a weeping ox to a man so poisonous that snakes die when they bite him–A Dictionary of Maqiao is both an important work of Chinese literature and a probing inquiry into the extraordinary power of language.
This volume explores the different aspects of the management of death, dying and mortality by migrants in Southern Europe, through deconstructing persistent idiosyncratic beliefs, myths, narratives, silences, and constraints. It focuses on migrants from diverse geographical and cultural backgrounds in Portugal, Spain and Italy. It also includes reflections on Madagascar, Guinea-Bissau, East-Timor and Cuba. The thirteen chapters provide insights into epistemological issues, the trans-national circulation of bodies, spirits and rituals, migration, the placing of the dead and diverse funerary practices and perspectives. Privileging a multi-sited approach to death and migrations, this book draws on oral, archival and published sources to give visibility to populations that often live in liminal structural positions and transient worlds. By exploring the multifaceted dimensions of death and suffering among immigrant populations, it refocuses the debate on migration in Europe and beyond by highlighting under-researched issues such as end-of-life care, mental health, death, burial, cremation, funerary ceremonies and symbols, repatriation and martyrdom.
The book is a collection of the dialogues between Xu Jun, a well-known expert in French literary translation and eminent “Changjiang” scholar in translation studies in China, and some celebrated literary translators in contemporary China, some of whom are also literary scholars, linguists, poets, prose writers, and editors. It is a fundamental achievement of research on the literary translation in the 20th century in China, involving multiple literary types, such as novels, poetry, dramas, prose, and fairy tales; and multiple languages, such as English, French, German, Russian, Italian, Spanish, Japanese, and Sanskrit. The dialogues are centered on fundamental issues in the theory and practice of literary translation, such as re-creation in literary translation, the relationship between form and content in literary translation, the subjectivity of literary translators, literary translation standards and principles, the gains and losses in literary translation, the principles and methods of literary criticism, and so on. Those translation experts’ experience and multiple strategies not only play an active role in guiding literary translators in practice but also benefit theoretical development in literary translation. Thus, the book will contribute to worldwide translation studies and get well recognized by translation studies students, teachers, and scholars in the world.
Only recently has the enormous literary output of women writers of the Ming and Qing periods (1368-1911) been rediscovered. Through these valuable texts, we apprehend in ways not possible earlier the complexity of women’s experiences in the inner quarters and their varied responses to challenges facing state and society. Writing in many genres, women engaged with topics as varied as war, travel, illness, love, friendship, female heroism, and religion. Drawing on a library of newly digitized resources, this volume's eleven chapters describe, analyze, and theorize these materials. They question previous assumptions about women’s lives and abilities, open up new critical space in Chinese literary history and offer new perspectives on China’s culture and society. “This volume rewrites the history of Chinese women’s literature by taking a truly inter-disciplinary (instead of merely multi-disciplinary) approach. In so doing, it ends up illuminating the centrality of writing women to the social, political, and intellectual lives of the Chinese empire from the seventeenth to the nineteenth centuries.” Prof. Dorothy Ko, Barnard College, Columbia University, author of Cinderella's Sisters: A Revisionist History of Footbinding (California, 2005).
Collecting China is a unique collection of essays that brings together theories of materiality and what collecting has meant to various peoples over time. Collecting China grew out of a simple question: how does a thing become Chinese? Fifteen essays explore this question from different angles, ranging from close examination of world-renowned private collections to critical reinterpretations of historical writings.