Zhan zhao i am born again for you in the northern song dynasty you are a man with a lot of fate i just want to be a small star beside you guarding you i want you to be happy this is i owe you this is a northern song full of demons this is an unknown northern song see how i subvert the tradition to let the heroine in this northern song full of demons to capture the exhibition zhao that lonely heart
Long Fei was a jobless youth who had coincidentally entered a game from the future. Long Fei raised his sword and roared towards the sky: "Good, I will not only rewrite history, but also live a wonderful life. "Let me tell you, I'm not playing the game, I'm playing the game!"
Zhan zhao i am born again for you in the northern song dynasty you are a man with a lot of fate i just want to be a small star beside you guarding you i want you to be happy this is i owe you this is a northern song full of demons this is an unknown northern song see how i subvert the tradition to let the heroine in this northern song full of demons to capture the exhibition zhao that lonely heart
The Historical Dictionary of Chinese Theater is the first English language dictionary dedicated entirely to Chinese theater. The history of Chinese theater is told through a chronology, an introductory essay, and over 1,000 cross-referenced dictionary entries on performers, directors, producers, designers, actors, theaters, dynasties, and emperors. There are also entries on the many different theatrical traditions, the acting and staging techniques, and specifics on roles and costumes as well as a brief synopsis of major plays. This book is essential for anyone interested in Chinese Theater.
Previous translations and descriptions of Li Qingzhao are molded by an image of her as lonely wife and bereft widow formed by centuries of manipulation of her work and legacy by scholars and critics (all of them male) to fit their idea of a what a talented woman writer would sound like. The true voice of Li Qingzhao is very different. A new translation and presentation of her is needed to appreciate her genius and to account for the sense that Chinese readers have always had, despite what scholars and critics were saying, about the boldness and originality of her work. The introduction will lay out the problems of critical refashioning and conventionalization of her carried out in the centuries after her death, thus preparing the reader for a new reading. Her songs and poetry will then be presented in a way that breaks free of a narrow autobiographical reading of them, distinguishes between reliable and unreliable attributions, and also shows the great range of her talent by including important prose pieces and seldom read poems. In this way, the standard image of Li Qingzhao, exemplied by a handful of her best known and largely misunderstood works, will be challenged and replaced by a new understanding. The volume will present a literary portrait of Li Qingzhao radically unlike the one in conventional anthologies and literary histories, allowing English readers for the first time to appreciate her distinctiveness as a writer and to properly gauge her achievement as a female alternative, as poet and essayist, to the male literary culture of her day.
This book reviews the presentation of conjugal relationships in Chinese culture and their perception in the West. It explores the ways in which the act of marriage is represented/misrepresented in different literary genres, as well as in cultural adaptations. It looks at the gendered characteristics at play that affect conjugal relationships in Chinese societal practices more widely. It also distinguishes between the essential features that give rise to nuptial arrangements from the Chinese perspective, looking at what in which Sino and/or Western mentalities differ in terms of notions of autonomy in marriage. It excavates the extent to which marriage is constituted in forms of transaction between female and male bodies and asks under what circumstances wedding ceremonies constitute archetypal or counter-archetypal notions in pre-modern and modern society. Authors cover a range of fascinating cultural topics, such as posthumous marriage (necrogamy) as an ancient and popular folk culture from the perspective of Confucian ideology, as well as looking at marriage from ancient to present times, duty and rights in conjugal relations, inter-racial and inter-cultural marriage, widowhood in Confucian ideology, issues of legitimacy in marriage and concubinage, the taboos surrounding divorce and re-marriage, and conjugal violence. The book serves to revisit the cultural connections between marriage and various art forms, including literature, film, theatre, and other adaptations. It is a rich intellectual resource for scholars and students researching the historical roots, cultural interpretations, and evolving aspects of marriage as shown in literature, art, and culture.
This volume completes Keith McMahon’s acclaimed history of imperial wives and royal polygamy in China. Avoiding the stereotype of the emperor’s plural wives as mere victims or playthings, the book considers empresses and concubines as full-fledged participants in palace life, whether as mothers, wives, or go-betweens in the emperor’s relations with others in the palace. Although restrictions on women’s participation in politics increased dramatically after Empress Wu in the Tang, the author follows the strong and active women, of both high and low rank, who continued to appear. They counseled emperors, ghostwrote for them, oversaw succession when they died, and dominated them when they were weak. They influenced the emperor’s relationships with other women and enhanced their aura and that of the royal house with their acts of artistic and religious patronage. Dynastic history ended in China when the prohibition that women should not rule was defied for the final time by Dowager Cixi, the last great monarch before China’s transformation into a republic.
Shawn Thacker is a trained assassin from the future who seeks revenge on the only other man with his affliction—each life they take forces them both to travel between vastly different past and future eras. Spanning from 22nd century Tokyo to 1950s New Orleans to the Cretaceous Era and beyond, the two mortal rivals are locked in a battle of wills that spans millions of years, all to alter the course of history.
A History of Chinese Letters and Epistolary Culture is the first publication, in any language, that is dedicated to the study of Chinese epistolary literature and culture in its entirety, from the early empire to the twentieth century. The volume includes twenty-five essays dedicated to a broad spectrum of topics from postal transmission to letter calligraphy, epistolary networks to genre questions. It introduces dozens of letters, often the first translations into English, and thus makes epistolary history palpable in all its vitality and diversity: letters written by men and women from all walks of life to friends and lovers, princes and kings, scholars and monks, seniors and juniors, family members and neighbors, potential patrons, newspaper editors, and many more. With contributions by: Pablo Ariel Blitstein, R. Joe Cutter, Alexei Ditter, Ronald Egan, Imre Galambos, Natascha Gentz, Enno Giele, Natasha Heller, David R. Knechtges, Paul W. Kroll, Jie Li, Y. Edmund Lien, Bonnie S. McDougall, Amy McNair, David Pattinson, Zeb Raft, Antje Richter, Anna M. Shields, Suyoung Son, Janet Theiss, Xiaofei Tian, Lik Hang Tsui, Matthew Wells, Ellen Widmer, and Suzanne E. Wright.
