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Focusing on China during the last twenty-five years, the author illuminates the country's traditions, customs, political structure, and economy.
By examining various forms of historical production happening outside the mainstream of academic history in early 20th century China, this book shows how historical writings were central to the Chinese debate on the nation, elite authority, and active citizenry.
Scholars have long accepted China's own view of its traditional foreign relations: that China devised its own world order and maintained it from the second century B.C. to the nineteenth century. China ruled out equality with any nation: foreign rulers and their envoys were treated as subordinates or inferiors, required to send periodic tribute embassies to the Chinese emperor. The Chinese court was otherwise uninterested in foreign lands. Its principal interests were to maintain peace with what it perceived to be barbarian neighbors and to coax or coerce them into admitting China's superiority and accepting the Chinese emperor as the Son of Heaven. But Chinese foreign policy was not monolithic. Court officials in traditional times were much more realistic and pragmatic than is commonly assumed. They did not scorn foreign trade, nor were ignorant of foreign lands. Challenging the accepted view of Chinese foreign relations, the authors of China among Equals contribute to a clearer assessment of Chinese foreign relations and policy. From the tenth to the thirteenth centuries, China did not dogmatically enforce its own world order. Chinese were eager for foreign trade and knowledgeable about their neighbors. The Sung (960-1279), the principal dynasty during that era, was flexible in its dealings with foreigners. Its officials recognized the military and political weakness of the dynasty, and in general they adopted a realistic and pragmatic foreign policy. They were compelled to accept foreign states as equals, and the relations between China and other states were defined by diplomatic parity.
Contemporary scholars of Chinese philosophy often presuppose that early China possessed a naturalistic worldview, devoid of any non-natural concepts, such as transcendence. Challenging this presupposition head-on, Joshua R. Brown and Alexus McLeod argue that non-naturalism and transcendence have a robust and significant place in early Chinese thought. This book reveals that non-naturalist positions can be found in early Chinese texts, in topics including conceptions of the divine, cosmogony, and apophatic philosophy. Moreover, by closely examining a range of early Chinese texts, and providing comparative readings of a number of Western texts and thinkers, the book offers a way of reading early Chinese Philosophy as consistent with the religious philosophy of the East and West, including the Abrahamic and the Brahmanistic religions. Co-written by a philosopher and theologian, this book draws out unique insights into early Chinese thought, highlighting in particular new ways to consider a range of Chinese concepts, including tian, dao, li, and you/wu.
First published in 1998. Including a wide range of information and recommended for academic libraries, this encyclopedia covers historiography and historians from around the world and will be a useful reference to students, researchers, scholars, librarians and the general public who are interested in the writing of history. Volume II covers entries from K to Z.
Proposes a sweeping theory of flood myths, applies it to a particular text, the Mu T'ien-tzu chuan, and opens up the world of Chinese fiction to an entirely new type of analysis based on a psychoanalytic theory of the symbol.
The Art of Resistance surveys the lives of seven painters—Ding Cong (1916–2009), Feng Zikai (1898–1975), Li Keran (1907–89), Li Kuchan (1898–1983), Huang Yongyu (b. 1924), Pan Tianshou (1897–1971), and Shi Lu (1919–82)—during China’s Cultural Revolution (1966–1976), a time when they were considered counterrevolutionary and were forbidden to paint. Drawing on interviews with the artists and their families and on materials collected during her visits to China, Shelley Drake Hawks examines their painting styles, political outlooks, and life experiences. These fiercely independent artists took advantage of moments of low surveillance to secretly “paint by candlelight.” In doing so, they created symbolically charged art that is open to multiple interpretations. The wit, courage, and compassion of these painters will inspire respect for the deep emotional and spiritual resonance of Chinese art. Art History Publication Initiative. For more information, visit http://arthistorypi.org/books/art-of-resistance
"This book explores the issues of nation and modernity in China by focusing on the work of Zhou Zuoren (1885-1967), one of the most controversial of modern Chinese intellectuals and brother of the writer Lu Xun. Zhou was radically at odds with many of his contemporaries and opposed their nation-building and modernization projects. Through his literary and aesthetic practice as an essayist, Zhou espoused a way of constructing the individual and affirming the individual’s importance in opposition to the normative national subject of most May Fourth reformers. Zhou’s work presents an alternative vision of the nation and questions the monolithic claims of modernity by promoting traditional aesthetic categories, the locality rather than the nation, and a literary history that values openness and individualism."
The Problem of a Chinese Aesthetic calls for and applies a new model of comparative literature - one that, instead of taking for granted the commensurability of traditions and texts, gives incompatibility and contradiction their due. Exposing contemporary literary theory to the risks of ancient Chinese literature (and vice versa), this book considers a linked series of case studies. To what degree does the translation between languages and texts that we call comparative literature depend on allegory or translation within a single text or language? The author offers an important, new perspective on the reading of the Shih-ching or Book of Odes and the question of allegory and metaphor in the Chinese poetic tradition.