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Classical Chinese is the most comprehensive and authoritative textbook on the language, literature, philosophy, history, and religion of premodern China. Rigorously and extensively field-tested and fine-tuned for years in classroom settings, it sets a new standard for the field. Originally published in three volumes, Classical Chinese appears here in one convenient and easy-to-use volume. Classical Chinese contains forty selections from texts written between the fifth century BC and the first century AD, during which the classical Chinese language was fully developed and standardized. These passages, which express key themes in Chinese humor, wit, wisdom, moral conviction, and political ideals, are arranged in the order of complexity of the grammatical patterns they exemplify. Uniquely, each text is translated into both modern Chinese and English. A detailed glossary defines unfamiliar terms and names found in the first part of the textbook, and the last section features in-depth grammatical analyses, in which every sentence in the main selections is fully diagrammed to show the grammatical relations between their various parts. Corresponding exercises review and reinforce the materials. Four supplementary volumes—an introduction to grammar, readings in poetry and prose, selected historical texts, and selected philosophical texts—are separately available for use in conjunction with this basic reader. Classical Chinese provides a definitive resource for students and instructors of classical Chinese language and culture.
In China, a nation where the worlds of politics and art are closely linked, Western classical music was considered during the cultural revolution to be an imperialist intrusion, in direct conflict with the native aesthetic. In this revealing chronicle of the relationship between music and politics in twentieth-century China, Richard Kraus examines the evolution of China's ever-changing disposition towards European music and demonstrates the steady westernization of Chinese music. Placing China's cultural conflicts in global perspective, he traces the lives of four Chinese musicians and reflects on how their experiences are indicative of China's place at the furthest edge of an expanding Western international order.
The book covers the choice of subject matter, authorship and readership of Cultural Revolution fiction. It analyses the characterization of heroes promoted in the literary and artistic field during this period. By comparing Cultural Revolution fiction with the fiction of the preceding period, with Soviet fiction, and with some traditional Chinese and Western fiction, this analysis emphasizes the ideological and cultural significance of the characteristics shown in the heroes personal background and their physical, temperamental and behavioural qualities, etc. This book will be of significant benefit to both students and scholars of Chinese literature, language and society.
Explores the interplay of politics and the art of writing in China today to explain the complex relationship between tradition and modernity in Chinese culture.
At publication date, a free ebook version of this title will be available through Luminos, University of California Press’s Open Access publishing program. Visit www.luminosoa.org to learn more. Revolutionary Bodies is the first English-language primary source–based history of concert dance in the People’s Republic of China. Combining over a decade of ethnographic and archival research, Emily Wilcox analyzes major dance works by Chinese choreographers staged over an eighty-year period from 1935 to 2015. Using previously unexamined film footage, photographic documentation, performance programs, and other historical and contemporary sources, Wilcox challenges the commonly accepted view that Soviet-inspired revolutionary ballets are the primary legacy of the socialist era in China’s dance field. The digital edition of this title includes nineteen embedded videos of selected dance works discussed by the author.
Continues: A history of modern Tibet. Volume 2, The calm before the storm, 1951-1955.
The Golden Triangle region that joins Burma, Thailand, and Laos is one of the global centers of opiate and methamphetamine production. Opportunistic Chinese businessmen and leaders of various armed groups are largely responsible for the manufacture of these drugs. The region is defined by the apparently conflicting parallel strands of criminality and efforts at state building, a tension embodied by a group of individuals who are simultaneously local political leaders, drug entrepreneurs, and members of heavily armed militias.Ko-lin Chin, a Chinese American criminologist who was born and raised in Burma, conducted five hundred face-to-face interviews with poppy growers, drug dealers, drug users, armed group leaders, law-enforcement authorities, and other key informants in Burma, Thailand, and China. The Golden Triangle provides a lively portrait of a region in constant transition, a place where political development is intimately linked to the vagaries of the global market in illicit drugs.Chin explains the nature of opium growing, heroin and methamphetamine production, drug sales, and drug use. He also shows how government officials who live in these areas view themselves not as drug kingpins, but as people who are carrying the responsibility for local economic development on their shoulders.
DIVThe distribution of the gramophone and the birth of popular music, including jazz, as a part of nation-building and modernity in China./div
Where Theory and Practice Meet is a collection of nineteen papers in translation studies. Unlike many similar books published in recent decades, which are mostly non-translation-oriented, veering to issues with little or no relevance to translation, this book focuses on the translation process, on theory formulation with reference to actual translation, on getting to grips with translation problems, and on explaining translation in language which can be understood by the general reader. Perceptive and wide-ranging, the book covers language pairs that include Chinese, English, French, German, Italian, Spanish, Latin, and Classical Greek, and discusses, among other things, translations of Dante’s La Divina Commedia; translations of Shakespeare’s Hamlet; Goethe’s “Prometheus” as a case of untranslatability; the challenge of translating Garcilaso de la Vega’s “Primera Égloga” into Chinese; John Minford’s translation of martial arts fiction; and Lin Shu’s translation of Alexandre Dumas’s La Dame aux camélias.
This edited book reflects the state of the art in learner corpus and related approaches to Chinese as a second language (CSL). CSL as a field has flourished in the past few decades due to the increasingly important role of the Chinese language at the world stage, yet studies of Chinese as a second language based on learner corpora have been less well developed due to the limited availability of data and lack of theoretical insights. This book represents the latest research in this area by 1) assembling a large group of active researchers from multiple international research communities (USA, China, Hong Kong, Macau, Japan, Taiwan, and France); 2) discussing the latest resources and technologies in Chinese and other Asian languages learner corpora and corpus building; 3) basing Chinese as a second language studies on data from learners of Chinese with a wide range of first language backgrounds (English, Japanese, Korean, French, among others); and 4) integrating corpus methods with a wide range of related methods in allied fields—language acquisition, usage-based linguistics, psycholinguistics, and neurolinguistics. This comprehensive collection is indispensable for anyone who is interested in corpus approaches to CSL and Chinese applied language studies in general.