First published in 1935, this book was intended to provide westerners with a more definite and comprehensive understanding of Chinese Art and its achievements.
Author: Leigh Ashton
First published in 1935, this book was intended to provide westerners with a more definite and comprehensive understanding of Chinese Art and its achievements. Newly available opportunities to study authentic examples, such as the Royal Academy exhibition that provided the impetus for this volume, allowed for greater opportunities to conduct in-depth examination than had previously been possible. Following an introduction giving an overview of Chinese art and its history in the west, six chapters cover painting and calligraphy, sculpture and lacquer, 'the potter's art', bronzes and cloisonné enamel, jades, and textiles -- supplemented by a chronology of Chinese epochs, a selected bibliography and 25 images.
History of Early Chinese Art. 4 vols, 1929. KÜMMEL. Chinesische Kunst. 1929. GROUSSET. Civilizations of the East, III, China. 1934. ASHTON AND GRAY. Chinese Art. 1935. Periodicals Burlingtons Magazine; Revue des Arts Asiatiques; ...
Author: Leigh Ashton
First published in 1935, this book was intended to provide westerners with a more definite and comprehensive understanding of Chinese Art and its achievements. Newly available opportunities to study authentic examples, such as the Royal Academy exhibition that provided the impetus for this volume, allowed for greater opportunities to conduct in-depth examination than had previously been possible. Following an introduction giving an overview of Chinese art and its history in the west, six chapters cover painting and calligraphy, sculpture and lacquer, ‘the potter’s art’, bronzes and cloisonné enamel, jades, and textiles — supplemented by a chronology of Chinese epochs, a selected bibliography and 25 images.
Further regards the poems as interesting deviations from Chinese propensity to keep its art in a jade tower apart from life. ... “SONS, SHUI-HU CHUAN, and SAN-KUO-CHIH YEN-I.” THE CHINA CRITIC 11 (October 31, 1935): 107–109. See C52.
Author: Margaret Berry
Category: Literary Criticism
First published in 1988, this reissue is an important work in the field of national literary exchange. Declared by American Library Association in its Choice publication one of the ten best reference works of 1988, the volume has survived global change - politically, socially, economically, religiously, aesthetically - to promote cultural dialogue between China and the West. Besides the scores of annotated sources, the introductory essays remain as authentic and moving as the day of their appearance.
fascinating glimpses of late Ch«ing China. Trevor-Roper has been criticized for his ... of Chinese Prostitution]. Shanghai: Shenghuo shu-tien, 1935. ... For male homoerotic art and homosexuality among palace eunuchs, see pp. 89, 157-58.
Author: Wayne R. Dynes
Category: Social Science
First published in 1987, this book encompasses a broad range interdisciplinary research into homosexuality — displaying a full spectrum of points of view — and, given that the major traditions of modern homosexual research began in Europe, is not restricted to works in English.. In general topics that are densely covered in the literature are presented in this guide selectively, with some less studied topics, such as Economics and Music, fleshed out with signposts to more comprehensive research. It seeks to not only mirror existing publications, but also to stimulate new work by pinpointing neglected themes and methods. This book will be of interest to students of sociology.
( The Complete Works and Letters of Charles Lamk , New York , Random House , 1935 , p.217 ) . Dickens regularly associates China with the grotesque see e.g. the letter about a visit to a Chinese junk , " so narrow , so long ...
Author: Michael Hollington
Category: Literary Criticism
First published in 1984, this title examines the development of a special rhetoric in Dickens’ work, which, by using grotesque effects, challenged the complacency of his middle-class Victorian readers. The study begins by exploring definitions of the grotesque and moves on to look at three key aspects that particularly impacted on Dickens’ imagination: popular theatre (especially pantomime), caricature, and the tradition of the Gothic novel. Michael Hollington traces the development of Dickens’ application of the grotesque from his early work to his late novels, showing how its use becomes more subtle. Hollington’s title greatly enhances our appreciation of Dickens’ technique, showing the skill with which he used the grotesque to undermine stereotyped responses and encourage his readership to challenge their context.
Under the influence of European scientific explorers, Chinese officials developed an interest in the curiosities of antiquity and began to visit the ruins to see on the spot the product of ancient art. According to Chinese etiquette, ...
Author: Pavel Stepanovich Nazaroff
Pavel Nazaroff travels from Kashgar, through the Kuen Lun and Karakoram mountains and on to Srinagar, Kashmir in the early 1930s, and describes the people and places he visited.
The sage returns: Confucian revival in contemporary China. ... The making of a national icon: Commemorating Nie Er 1935–1949. Twentieth-Century China, 37(1), 5–29. Hunan Literature and Art Publishing House. (2011). Gechang (Singing).
Author: Gareth Dylan Smith
Publisher: Taylor & Francis
Popular music is a growing presence in education, formal and otherwise, from primary school to postgraduate study. Programmes, courses and modules in popular music studies, popular music performance, songwriting and areas of music technology are becoming commonplace across higher education. Additionally, specialist pop/rock/jazz graded exam syllabi, such as RockSchool and Trinity Rock and Pop, have emerged in recent years, meaning that it is now possible for school leavers in some countries to meet university entry requirements having studied only popular music. In the context of teacher education, classroom teachers and music-specialists alike are becoming increasingly empowered to introduce popular music into their classrooms. At present, research in Popular Music Education lies at the fringes of the fields of music education, ethnomusicology, community music, cultural studies and popular music studies. The Ashgate Research Companion to Popular Music Education is the first book-length publication that brings together a diverse range of scholarship in this emerging field. Perspectives include the historical, sociological, pedagogical, musicological, axiological, reflexive, critical, philosophical and ideological.
On p.295: "Persian art depicts Christ and Mary and favourite scenes from the Gospel." On pp.335-7, Zwemer presents ... Zwemer, Samuel Marinus, "A Chinese-Arabic amulet" MUSLIM WORLD 25(1935), pp.217-22. In the course of the discussion ...
Author: Don Wismer
First published in 1977, this book is intended as a record of sources in Islamic prophetology which focus on the prophet Isa — Jesus in Christian theology. The Islamic Isa differs markedly from the Christian Jesus, most obviously in that, although considered an important prophet, he is overshadowed by Muhammad. The doctrine of tawhid — the indivisible oneness of God — also necessarily means the rejection of Christ’s incarnation or dual nature. The primary of role of Jesus in Islam, as with all Islamic prophets, is to reaffirm the primeval religion of man, best expressed by the Shadada and Islam. This book collects, as comprehensively as possible, bibliographic sources in English and French from the time of the earliest available texts (circa 1650) providing annotated commentary and source information — making it an invaluable research tool for anyone who wishes to study the Islamic Jesus in more detail.
On li and fa, see Mary Lynne Calkins, 'Censorship in Chinese Cinema', Hastings Communication and Entertainment Law ... See 'Xianggang daying shenguai pian' ('Hong Kong's Great Revival of Shenguai Pictures'), Dianying nianjian 1935 ...
Author: Stephen Teo
Publisher: Edinburgh University Press
Category: Performing Arts
This is the first comprehensive, fully-researched account of the historical and contemporary development of the traditional martial arts genre in the Chinese cinema known as wuxia (literal translation: martial chivalry) - a genre which audiences around the world became familiar with through the phenomenal 'crossover' hit Crouching Tiger, Hidden Dragon (2000). The book unveils rich layers of the wuxia tradition as it developed in the early Shanghai cinema in the late 1920s, and from the 1950s onwards, in the Hong Kong and Taiwan film industries. Key attractions of the book are analyses of:*The history of the tradition as it began in the Shanghai cinema, its rise and popularity as a serialized form in the silent cinema of the late 1920s, and its eventual prohibition by the government in 1931.*The fantastic characteristics of the genre, their relationship with folklore, myth and religion, and their similarities and differences with the kung fu sub-genre of martial arts cinema.*The protagonists and heroes of the genre, in particular the figure of the female knight-errant.*The chief personalities and masterpieces of the genre - directors such as King Hu, Chu Yuan, Zhang Che, Ang Lee, Zhang Yimou, and films such as Come Drink With Me (1966), The One-Armed Swordsman (1967), A Touch of Zen (1970-71), Hero (2002), House of Flying Daggers (2004), and Curse of the Golden Flower (2006).
This is great art: nothing here seems inevitable ¦ I am laughing about those who weep on the stage, weeping about those ... vocabulary in 1936 with the first publication, in English, of the essay aVerfremdungseffekte in Chinese acting«.
Author: Peter Brooker
Category: Literary Criticism
First published in 1988, this books argues with received accounts to reclaim Brecht’s emphasis on his self-described ‘dialectical theatre’, re-examining firstly the concepts of Gestus and Verfremdung and their realisation in Brecht’s poetry in terms of his attempt to consciously apply the methods of dialectical materialism to art and cultural practice. The author also takes issue with the customary view of Brecht’s career and politics which sees him as compromising either with Communist party dogma or bourgeois aesthetics, to find developing parallels between Brecht’s political and artistic though and the critical dialectics of Marx, Lenin and Mao. This development is examined in later chapters in relation to the early and late plays, The Measures Taken and Days of the Commune as well as in relation to Brecht’s changed circumstances in the years of war-time exile and in post-war East Germany.