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"At a time when each Society had its own medium of propogation of its researches ... in the form of Transactions, Proceedings, Journals, etc., a need was strongly felt for bringing out a journal devoted exclusively to the study and advancement of Indian culture in all its aspects. [This] encouraged Jas Burgess to launch the 'Indian antiquary' in 1872. The scope ... was in his own words 'as wide as possible' incorporating manners and customs, arts, mythology, feasts, festivals and rites, antiquities and the history of India ... Another laudable aim was to present the readers abstracts of the most recent researches of scholars in India and the West ... 'Indian antiquary' also dealt with local legends, folklore, proverbs, etc. In short 'Indian antiquary' was ...entirely devoted to the study of MAN - the Indian - in all spheres ... " -- introduction to facsimile volumes, published 1985.
Mencius’ many assertions from virtue “Being what I inherently possess” to “this [virtue] is what Heaven or Nature gives to me” clearly show the basic self-consciousness of virtue in pre-Qin Confucianism and the confirmation that virtue originates from Heaven or Nature. Then, what was the reason for the Chinese “Axis Age” thinkers to unanimously trace the origin of human virtue back to Heaven or Nature and the mandate of Heaven? Of course, for them, the source of human virtue is Heaven or Nature, which means that they realized that human being was the limit of cognition. Since in their view, the problem is itself a question that transcends human cognition or that human understanding can possibly clarify both virtue itself and the source of human virtue being beyond the bounds of human knowledge. Namely, tracing back virtue to its source is a quest that transcends the capacity of human understanding. However, those who have been influenced by modern cognitive theory and who constantly explore how Confucian thought emerged as well as how it took shape, cannot give a satisfying answer. Therefore, to trace the emergence and development of Confucianism through the perspective of the survival of agency and the foundation of the survival of agency is not only my own personal interest, but also one necessary for clarifying the development of Confucianism and the legitimacy of its existence.
The book is about the revival of China in the 20th century and the first decade of the 21st century. It has eight parts: (1) The civil revolution in China, (2) The countryside bases, (3) The Long Match of the Red Army, (4) The Anti Japanese War, (5) Decisive civil battles before the establishment of the People’s Republic of China, (6) The Mao Era before the Great Cultural Revolution, (7) The Great Cultural Revolution, and (8) The Reform and opening up. This version of the book is with pictures.
Compiled by two skilled librarians and a Taiwanese film and culture specialist, this volume is the first multilingual and most comprehensive bibliography of Taiwanese film scholarship, designed to satisfy the broad interests of the modern researcher. The second book in a remarkable three-volume research project, An Annotated Bibliography for Taiwan Film Studies catalogues the published and unpublished monographs, theses, manuscripts, and conference proceedings of Taiwanese film scholars from the 1950s to 2013. Paired with An Annotated Bibliography for Chinese Film Studies (2004), which accounts for texts dating back to the 1920s, this series brings together like no other reference the disparate voices of Chinese film scholarship, charting its unique intellectual arc. Organized intuitively, the volume begins with reference materials (bibliographies, cinematographies, directories, indexes, dictionaries, and handbooks) and then moves through film history (the colonial period, Taiwan dialect film, new Taiwan cinema, the 2/28 incident); film genres (animated, anticommunist, documentary, ethnographic, martial arts, teen); film reviews; film theory and technique; interdisciplinary studies (Taiwan and mainland China, Taiwan and Japan, film and aboriginal peoples, film and literature, film and nationality); biographical materials; film stories, screenplays, and scripts; film technology; and miscellaneous aspects of Taiwanese film scholarship (artifacts, acts of censorship, copyright law, distribution channels, film festivals, and industry practice). Works written in multiple languages include transliteration/romanized and original script entries, which follow universal AACR-2 and American cataloguing standards, and professional notations by the editors to aid in the use of sources.
Covers all aspects of traditional China.