Download Free Tsao Yu The Reluctant Disciple Of Chekhov And Oneil Book in PDF and EPUB Free Download. You can read online Tsao Yu The Reluctant Disciple Of Chekhov And Oneil and write the review.

This timely book traces the development of banking and paper money in republican Tianjin in order to explore the creation of social trust in financial institutions. Framing the study around Bian Baimei, a conscientious branch manager of the Bank of China, Brett Sheehan analyzes the actions of bankers, officials, and local elites as they tried to overcome political and financial crises and instill trust in the banking system. After early failures in promoting trust, government authority as a regulator of the financial system gradually increased, peaking in 1935, when the state unified the money supply for the first time in several hundred years. Concurrently, when local elites proved unable to develop successful strategies to make people trust the system, their influence declined. The need for trust in increasingly complex financial arrangements redefined state-society relations, simultaneously enhancing state power and creating new constraints on the actions of both elites and governments. Trust in Troubled Times is a valuable new perspective on the economic, social, and political history of modern China.
The aim of the Selective Guide is to facilitate the first stage of research for those interested in Chinese literature between 1900 and 1949. It provides the reader with basic information on more than 300 words by Chinese writers. The contributions are based on independent research of sinologists from numerous countries. The guide consists of four volumes, which deal with the novel, the short story, the poem, and the drama (the current volume) respectively. Each volume contains an introduction which surveys the development of the particular genre and its characteristics in the period covered. All entries contain bibliographical information, summary of content and appraisal of the work as well as references to secondary sources and translations.
The aim of the Selective Guide is to facilitate the first stage of research for those interested in Chinese literature between 1900 and 1949. It provides the reader with basic information on more than 300 words by Chinese writers. The contributions are based on independent research of sinologists from numerous countries. The guide consists of four volumes, which deal with the novel, the short story, the poem, and the drama (the current volume) respectively. Each volume contains an introduction which surveys the development of the particular genre and its characteristics in the period covered. All entries contain bibliographical information, summary of content and appraisal of the work as well as references to secondary sources and translations.
Thirteen selected papers from an international conference on contemporary Chinese literature held near Gunzburg, Bavaria, in June-July 1986 constitute both a record of literary writings from the PRC, Hong Kong, and Taiwan, as well as an overview of the broader international role of Chinese writing i
The A to Z of Modern Chinese Literature presents a broad perspective on the development and history of literature in modern China. It offers a chronology, introduction, bibliography, and over 300 cross-referenced dictionary entries on authors, literary and historical developments, trends, genres, and concepts that played a central role in the evolution of modern Chinese literature.
Revolutionary Stagecraft draws on a rich corpus of literary, historical, and technical materials to reveal a deep entanglement among technological modernization, political agendas, and the performing arts in modern China. This unique approach to Chinese theater history combines a close look at plays themselves, performance practices, technical theater details, and behind-the-scenes debates over “how to” make theater amid the political upheavals of China’s 20th century. The book begins at a pivotal moment in the 1920s—when Chinese theater artists began to import, use, and write about modern stage equipment—and ends in the 1980s when China's scientific and technological boom began. By examining iconic plays and performances from the perspective of the stage technologies involved, Tarryn Li-Min Chun provides a fresh perspective on their composition and staging. The chapters include stories on the challenges of creating imitation neon, rigging up a makeshift revolving stage, and representing a nuclear bomb detonating onstage. In thinking about theater through technicity, the author mines well-studied materials such as dramatic texts and performance reviews for hidden technical details and brings to light a number of previously untapped sources such as technical journals and manuals; set design renderings, lighting plots, and prop schematics; and stage technology how-to guides for amateur thespians. This approach focuses on material stage technologies, situating these objects equally in relation to their technical potential, their human use, and the social, political, economic, and cultural forces that influence them. In each of its case studies, Revolutionary Stagecraft reveals the complex and at times surprising ways in which Chinese theater artists and technicians of the 20th century envisioned and enacted their own revolutions through the materiality of the theater apparatus.
This extraordinary one-volume guide to the modern literatures of China, Japan, and Korea is the definitive reference work on the subject in the English language. With more than one hundred articles that show how a host of authors and literary movements have contributed to the general literary development of their respective countries, this companion is an essential starting point for the study of East Asian literatures. Comprehensive thematic essays introduce each geographical section with historical overviews and surveys of persistent themes in the literature examined, including nationalism, gender, family relations, and sexuality. Following the thematic essays are the individual entries: over forty for China, over fifty for Japan, and almost thirty for Korea, featuring everything from detailed analyses of the works of Tanizaki Jun'ichiro and Murakami Haruki, to far-ranging explorations of avant-garde fiction in China and postwar novels in Korea. Arrayed chronologically, each entry is self-contained, though extensive cross-referencing affords readers the opportunity to gain a more synoptic view of the work, author, or movement. The unrivaled opportunities for comparative analysis alone make this unique companion an indispensable reference for anyone interested in the burgeoning field of Asian literature. Although the literatures of China, Japan, and Korea are each allotted separate sections, the editors constantly kept an eye open to those writers, works, and movements that transcend national boundaries. This includes, for example, Chinese authors who lived and wrote in Japan; Japanese authors who wrote in classical Chinese; and Korean authors who write in Japanese, whether under the colonial occupation or because they are resident in Japan. The waves of modernization can be seen as reaching each of these countries in a staggered fashion, with eddies and back-flows between them then complicating the picture further. This volume provides a vivid sense of this dynamic interplay.
A historical survey of 20th-century Chinese literature, this book chronicles the writers who - continuing in the Chinese tradition of using literature to exert moral, social, and political leadership - debated the nature, development and future of Chinese society.
The Columbia Companion to Modern Chinese Literature features more than fifty short essays on specific writers and literary trends from the Qing period (1895–1911) to the present. The volume opens with thematic essays on the politics and ethics of writing literary history, the formation of the canon, the relationship between language and form, the role of literary institutions and communities, the effects of censorship, the representation of the Chinese diaspora, the rise and meaning of Sinophone literature, and the role of different media in the development of literature. Subsequent essays focus on authors, their works, and the schools with which they were aligned, featuring key names, titles, and terms in English and in Chinese characters. Woven throughout are pieces on late Qing fiction, popular entertainment fiction, martial arts fiction, experimental theater, post-Mao avant-garde poetry, post–martial law fiction from Taiwan, contemporary genre fiction from China, and recent Internet literature. The volume includes essays on such authors as Liang Qichao, Lu Xun, Shen Congwen, Eileen Chang, Jin Yong, Mo Yan, Wang Anyi, Gao Xingjian, and Yan Lianke. Both a teaching tool and a go-to research companion, this volume is a one-of-a-kind resource for mastering modern literature in the Chinese-speaking world.