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Students of Chinese poetry will enjoy this translation of famous Song-Dynasty poems (ici) written in Chinese, English and Pinyin. Facing pages include full-color artwork from the Song Dynasty, accompanied with historical explanations.
For centuries, Japanese culture, including ideals of feminine beauty, was profoundly shaped by China. In this first full comparative history on the subject, Cho Kyo explores changing standards of beauty in China and Japan, ranging from plumpness to bound feet to blackened teeth. Drawing on a rich array of sources gathered over a decade of research, he considers which Chinese representations were rejected or accepted and transformed in Japan. He then traces the introduction of Western aesthetics into Japan starting in the Meiji era, leading to slowly developing but radical changes in the repres.
本书包含八十一章《道德经》的内容,每章都提供了英文翻译,选用了中国古代对位著名书画家绘制的与老子“道”的思想有关的书画作品和历代描述道教神仙信仰的神仙画。
本书收录了毛泽东在不同历史时期创作的五十余首诗词作品,每首诗词都提供了诗词的英文翻译,并附有用诗词的意境创作的诗意画作品。
In Saying All That Can Be Said, Keith McMahon presents the first full analysis of the sexually explicit portrayals in the Ming novel Jin Ping Mei 金瓶梅 (The Plum in the Golden Vase). Countering common views of those portrayals as “just sex” or as “bad sex,” he shows that they are rich in thematic meaning and loaded with social and aesthetic purpose. McMahon places the novel in the historical context of Chinese sexual culture, from which Jin Ping Mei inherits the style of the elegant, metaphorical description of erotic pleasure, but which the anonymous author extends in an exploration of the explicit, the obscene, and the graphic. The novel uses explicit description to evaluate and comment on characters, situations, and sexual and psychic states of being. Echoing the novel’s way of taking sex as a vehicle for reading the world, McMahon celebrates the richness and exuberance of Jin Ping Mei’s language of sex, which refuses imprisonment within the boundaries of orthodox culture’s cleanly authoritative style, and which continues to inspire admiration from readers around the world. Saying All That Can Be Said will change the way we think about sexual culture in premodern China.
Distinguished historian Richard W. Etulain brings together a generous selection of essays from his sixty-year career as a specialist on the US West in this essential volume. Each essay provides an invaluable overview of the rise of western literary history and historiography—including insightful evaluations of individual historians—revealing summaries of regional literature and discussions of western stories yet to be told. Together these writings furnish readers with useful considerations of important subjects about the American West. All those interested in the American West and its interpreters will find these illuminative moments of literary history and historiography especially appealing.
In The romance of the western bower, Zhang Junri, a scholar of the Tang Dynasty, visits the Salvation Monastery where he meets and falls in love with the famed beauty Oriole, daughter of the late Prime Minister Cui. Oriole and her mother are hiding at the monastery from the bandit Sun the Flying Tiger, but soon he surrounds the monestary and demands Oriole's hand in marriage. In Zhao the orphan, Zhao Dun, prime minster of that state of Jin, tries to reign-in the dissolute ways of his sovereign, Duke Ling. His efforts are thwarted by the eveil counselor Tu'an Gu who encourages the Duke's wanton behavior in order to usurp his power. In Snow in summer, Dou E, a dutiful and principled girl is raised by the weak-minded Madam Cai, who takes the destitute girl as a wife for her sickly son.
This book, a collection of ancient Chinese cultural relics, is from the Ming Dynasty, 1368 to 1644. There are 379 relics. At the end of the Yuan Dynasty, a series of crises broke out after years of accumulated unrest, and uprisings against the regime erupted everywhere. The Yuan Dynasty was on the edge of collapse. Many separate regimes emerged all over the country. Eventually the Han and Dazhou regimes were overthrown by an insurrectionary army led by Zhu Yuanzhang, who proclaimed himself Emperor Nanjing in1368 and he gave his new dynasty the name 'Ming'. Over the following close on 300 years, the new dynasty would witness reunification and reconstruction in the early years, followed by economic and cultural prosperity in the Jiajing and Wanli eras, and political corruptions, internal disorder and foreign invasions in the latter period. The Ming Dynasty would represent a zenith of feudal society in Chinese history. The Ming Dynasty gained access to rich jade resources and jade ware became more diversified. The emphasis was on exquisite items of daily use, ornaments, and ornamental furnishings. The period also saw the development of porcelain making., building on the foundation of the Song and Yuan Dynasties. The Jingdezhen Kiln, built in the Five Dynasties, became the domestic centre of porcelain making. Over-glazed colour techniques experienced rapid development, with under-glaze blue and white porcelain became prominent. Calligraphy continued in the style of the Somng and Yuan Dynasties, but many new genres developed: 'Three Songs', 'Two Shens', 'Three Calligraphers of the Wu School', and the 'Four Masters'. Paintings in this period continued to develop with three different stages: 'imperial court decorative painting', and the 'Zhe school' and the 'Four Pillars of the Wu School; and 'Xieyi'. This book, the seventh in a ten-volume collection, brings to the English-speaking world a series of books from China which has been complied by an Expert Committee of the Chinese Society of Cultural Relics. There are 379 descriptions.
After its completion in 1598, The Peony Pavilion (Mudan ting) began a four-hundred-year course of transmission and dissemination in China and around the world. Within China, the play’s wide popularity propelled its appearance in numerous editions, adaptations, and libretti. Performances ranged from “pure singing” at private gatherings to full stagings in commercial theaters. As the crown jewel of Kun opera reportoire, Mudan ting has a richly documented history and lends itself to careful study. In the late twentieth century, however, classical Kun opera is on the verge of extinction in China, and creative talent is gravitating to centers outside China’s mainland. In 1998, the play was reintroduced to audiences in Europe and North America in various versions, adding new chapters to the story of the work. Peony Pavilion Onstage examines Tang Xianzu’s classic play from three distinct viewpoints: public-literati playwrights; professional performers of Kun opera; and quite recently, directors and audiences outside China. Catherine Swatek first examines two adaptations of the play by Tang's contemporaries, which point to the unconventionality of the original work. She goes on to explore how the play has been changed in later adaptations, up to its most recent productions by Peter Sellars and Chen Shi-Zheng in the United States and Europe. Peony Pavilion Onstage is essential reading for scholars and performers of this masterpiece and other great works of Chinese drama.