Here's another great volume of original music by Chinese composer An-Lun Huang. Editor Alton Chan has provided careful fingering with the student in mind, and also brief descriptions about each piece in the preface of the book. Interesting, programmatic titles have inspired beautiful music offering images of the Far East. Beautiful new music for your studio and recital programs.
In these charming volumes, Little Mei asks her grandfather about each of the four different Chinese celebrations represented. He tells her the stories of Nian and the monster Xi (Chinese New Year); Qu Yuan, a patriotic poet who loved his kingdom (Dragon Boat Festival); the Jade Emperor of Heaven who ordered the earth to be destroyed by fire (Lantern Festival); and Hou Yi who shot down the suns (Mid-Autumn Festival). In Celebrating the Mid-Autumn Festival Little Mei wants to know why her family members have all come together this evening. Grandpa tells her the story of Hou Yi who shot down the suns and his wife, Chang'e, who floats to the moon. Includes a quick recipe for moon cakes.
2021 Freeman Book Awards Honorable Mention - Children's Literature The Best Children's Books of the Year 2022, Bank Street College STARRED REVIEW! "Hadley has created a remarkable debut that flows elegantly, interweaving the two tales in a way that is readable and fun...An exquisite choice for all collections."—School Library Journal starred review A multigenerational retelling of a Japanese legend. Tanabata Matsuri, the Star Festival, celebrates a popular folktale: The Emperor of the Heavens separates his daughter, Orihime, from her love, Hikoboshi, all year—but on this day the two stars finally reunite on a bridge across the Milky Way. For Keiko, her mama, and her grandmother, Tanabata is about making tanzaku wishes, taking in the colorful decorations, and eating delicious food like nagashi somen and shaved ice. But when Obasaan gets lost in the crowd, Keiko and Mama must make their own bridge to find her again—and see if their tanzaku comes true.
The anthology series Chinese Festival, edited by Dr. Alton Chan, is a ground-breaking event for the musical community in North America, allowing pianists to study one of the richest and most unexplored musical heritages in the world. The first book in the series is the first-ever album published in the United States that contains Chinese piano music by a Chinese composer using Chinese thematic material and musical idioms. Students all over the world can now be exposed to music using different tonal and modal systems, structural principles, and aesthetic perceptions that underpin Chinese traditional and folk music elements. All performance notes, contents, and titles are given in both English and Chinese.
This book provides the first comprehensive overview of the global landscape of documentary film festivals, looking at its contemporary and future challenges. Contributors from across the globe reflect on how documentary has positioned itself within both internationally renowned and more alternative festivals, including IDFA (Netherlands), Cannes IFF (France), Sheffield Doc/Fest (UK), Dockanema (Mozambique), Ismailia (Egypt) and Zinebi (Basque Country, Spain), among others. With a special focus on industrial and curatorial developments, this second in a two-volume set looks at recent changes occurred in the festival circuit, such as the proliferation of markets and co-production forums, the inclusion of interactive and VR forms within their programs and the irruption of VOD platforms, and analyse how these affect the future of documentary aesthetics and its production/distribution contexts. This volume is organized in two sections: the first reflects on how the documentary festival circuit has become a key industry node for contemporary documentary and identifies new curatorial trends at documentary and major film festivals. The second gives voice to professionals working for festivals and institutions who collaborate with them, who share inside knowledge and concerns, regarding the future challenges to be faced by documentary in the near future.
Thirty years ago, Hu Shih's views of Chinese society and history were representative of Sinology in general: China itself had no native religion, just local customs; its only real religion was an import, Buddhism. These views have now been completely overturned, with massive implications for our understanding not only of China but also of humanity as a whole: it is no longer possible to imagine that at least one major traditional society constructed and construed itself without reference to a non-mundane world that permeated every facet of society, and it therefore becomes indispensable for students of China to take the history of Chinese religion into account and for students of religion to take into account the Chinese experience of and Chinese categories for dealing with religious phenomena. The present volumes contain a selection of twenty-one essays presented in a conference convened jointly by the Ecole francaise d'Extreme-Orient and the Centre for the Study of Religion and Chinese Society of the Chinese University of Hong Kong, on "Religion and Chinese Society: The Transformation of a Field and Its Implications for the Study of Chinese Culture" held on May 29-June 2, 2000. The collection aims at providing as wide a coverage as possible of recent research in the history of Chinese religion and seeks to draw some tentative conclusions about the implications for the study of Chinese religion and society in general.
The 2007 volume of The China Society Yearbook, the second volume in the annual China Society Blue Book series to be translated into English, contains important facts and analysis from Chinese scholars on a wide array of issues in China. Along with analysis, this volume offers recommendations and insight into the daunting issues and opportunities facing China as it moves towards a free-market system.
“Directors today are equipped with a larger toolbox than their forerunners, standing on their shoulders as well as those of pioneers in non-Western theater, experimental visual art, community-based theater, and the ever-evolving commercial theater scene.”— Jason Loewith This second volume presents a cross-section of the most diverse and dynamic stage directors defining today’s American theater, in conversation with director/producer Jason Loewith. A follow-up to the immensely popular first volume, which has sold over eighteen thousand copies, much has changed in the twenty years since The Director’s Voice debuted. “The nonprofit model has been turned on its head,” Loewith notes. “Institution-building is out for these directors; creating a distinctive voice from a multiplicity of influences is in.” Together, these directors sketch a compelling portrait of the art form in the new century. Interviews include: Anne Bogart, Mark Brokaw, Peter Brosius, Ping Chong, David Esbjornson, Oskar Eustis, Frank Galati, Michael Kahn, Moisés Kaufman, James Lapine, Elizabeth LeCompte, Emily Mann, Michael Mayer, Marion McClinton, Bill Rauch, Bartlett Sher, Julie Taymor, Theatre de la Jeune Lune (Barbra Berlovitz, Steven Epps, Vincent Gracieux, Robert Rosen, and Dominique Serrand), George C. Wolfe, and Mary Zimmerman. Jason Loewith is a producer, director, and writer. He has served since 2002 as artistic director of Chicago’s Next Theatre Company, where he conceived, co-wrote, and produced Adding Machine: A Musical, which had an award-winning run off-Broadway.
Two English-Language Translators of Jin Ping Mei examines English translations of the Ming novel Jin Ping Mei by translators from different historical periods within the Anglophone world. Drawing upon theoretical insights from translation studies, literary criticism, and cultural studies, the book explores the treatment of salient features of the novel in translation, including cultural representation, narratological elements, gender-specific motifs, and (homo)sexual themes. Through literary re-imagining and artistic re-creation, Egerton transforms a complex and sprawling narrative into a popular modern middlebrow novel, making it readily accessible within Western genres. Roy’s interlinear and annotated translation transcends the mere retelling of a vivid story for its unwavering emphasis on every single detail of the original, becoming a portal to the Ming past. It stands as a testament to the significance of translation as a medium for understanding the legacy of the late Ming and the socio-cultural dynamics shaping that period in Chinese history. This book will be a useful reference for scholars and research students within the fields of literary translation studies and translated Chinese literature, particularly Ming- Qing fiction. The book will also appeal to students and researchers studying Jin Ping Mei’s translation and reception in the West.
