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"Nan Jun" Jiang Haonan and "Commander of the North" Hong Beifei were the most dazzling constellations in the martial arts world. They shone brightly like the sun and moon in the sky. Duo Xiong's confrontation between the North and the South became the main theme of this flourishing Jianghu. As a daughter of the Wangchuan City, the Overlord Flower, Qin Yue-er, had fled her marriage and fled to Zhenjiang in order to become a victim of the war between the Venerable families. The men of the four noble families poured into Zhenjiang, stirring up the martial arts world. Close]
The Complete Poetry of Du Fu presents a complete scholarly translation of Chinese literature alongside the original text in a critical edition. The English translation is more scholarly than vernacular Chinese translations, and it is compelled to address problems that even the best traditional commentaries overlook. The main body of the text is a facing page translation and critical edition of the earliest Song editions and other sources. For convenience the translations are arranged following the sequence in Qiu Zhao’an’s Du shi xiangzhu (although Qiu’s text is not followed). Basic footnotes are included when the translation needs clarification or supplement. Endnotes provide sources, textual notes, and a limited discussion of problem passages. A supplement references commonly used allusions, their sources, and where they can be found in the translation. Scholars know that there is scarcely a Du Fu poem whose interpretation is uncontested. The scholar may use this as a baseline to agree or disagree. Other readers can feel confident that this is a credible reading of the text within the tradition. A reader with a basic understanding of the language of Chinese poetry can use this to facilitate reading Du Fu, which can present problems for even the most learned reader.
"Taiping Guangji" （太平广记） is the first collection of ancient classical Chinese documentary novels. The book has 500 volumes with 10 catalogues . It is a kind of book based on the documentary stories of the Han Dynasty and the Song Dynasty. 14 people including Li Fang, Hu Mongolian ﹑ Li Mu , Xu Xuan , Wangke Zhen , Song white , Lv Wenzhong worked under Song Taizong Emperor’s command for the compilation. It began in the second year of Taiping Xingguo (977 A.D) and was completed in the following year (978 Ad.). This book is basically a collection of ancient stories compiled by category. The book is divided into 92 categories according to the theme, and is divided into more than 150 details. The story of the gods and spirits in the book accounts for the largest proportion, such as the fifty-five volumes of the gods, the fifteen volumes of the female fairy, the twenty-five volumes of the gods, the forty volumes of the ghosts, plus the Taoism, the alchemist, the aliens, the dissidents, the interpretation and Spirit vegetation of birds and so on, basically belong to the weird story of nature, represents the mainstream of Chinese classical story. The book includes the volume of Immortals and Fairies (Vol. 1 - 70) from Tai Ping Guang Ji.
This book documents the relationship and wisdom of Asian cartographers in the Islamic and Chinese worlds before the Europeans arrived.
Seven, diverse papers, written by ancient and medieval historians, are collected in this volume. These papers were presented at the academic conference "Politics and Religion in Ancient and Medieval Europe and Asia," organized by the Department of History and New Asia College of The Chinese University of Hong Kong in March 1996. Although the papers vary widely in the region and time-span, they are joined by their concern about the relationship between politics and different religions Christianity, Buddhism, Taoism and others in ancient and medieval Europe and Asia.
Largely unstudied by scholars of religion, folk Daoist ritual in north China has been a constant theme of Chinese music scholars. Stephen Jones places lay Daoists within the wider context of folk religious practices - including those of lay Buddhists, sectarians, and spirit mediums. Jones describes ritual sequences within funerals and temple fairs, offering details on occupational hereditary lay Daoists, temple-dwelling priests, and even amateur ritual groups. Stressing performance, Jones observes the changing ritual scene in this poor countryside, both since the 1980s and through all the tribulations of 20th-century warfare and political campaigns.
What was the most influential mass medium in China before the internet reaching both literate and illiterate audiences? The answer may surprise you...it’s Jingju (Peking opera). This book traces the tradition’s increasing textualization and the changes in authorship, copyright, performance rights, and textual fixation that accompanied those changes.
A betrayal and a sneak attack. Thirteen years in a deep slumber. A golden killer who was carrying a desire for revenge had reappeared in the human world. Withdrawal of the marriage? He wouldn't lose anything. A duel? He definitely wouldn't be at a disadvantage. A conspiracy? He could deal with it freely. Wearing red makeup to fight the Son of Heaven, fresh clothes and anger horse play the dukes, proud bone leading change. However, there seemed to be some changes as well... "Whoever marries you, their ancestors will knock on their coffins, and smoke will rise from their graves." "Then why are you so thick-skinned as to come and propose every day?" "Who asked me to be kind and merciful? Let me bear the hardships of marrying you for the rest of the world. " ... .... Come, who's going to drag this shameless Hei Zhi away?!
Female model crossed into a blockhead? Accept your destiny? Hum! Look down on her!
The book repositions He-Yin Zhen as central to the development of feminism in China, juxtaposing her writing with fresh translations of works by two of her better-known male interlocutors. The editors begin with a detailed portrait of He-Yin Zhen's life and an analysis of her thought in comparative terms. They then present annotated translations of six of her major essays, as well as two foundational tracts by her male contemporaries, Jin Tianhe (1873-1947) and Liang Qichao (1873-1929), to which He-Yin's work responds and with which it engages. Jin Tianhe, a poet and educator, and Liang Qichao, a philosopher and journalist, understood feminism as a paternalistic cause that "enlightened" male intellectuals like themselves should defend. Zhen counters with an alternative conception of feminism that draws upon anarchism and other radical trends in thought.