A Study Of Group Compositions In Early Tang China 618 713

The exceptionally powerful Chinese women leaders of the late seventh and early eighth centuries—including Wu Zhao, the Taiping and Anle princesses, Empress Wei, and Shangguan Wan’er—though quite prominent in the Chinese cultural tradition, remain elusive and often misunderstood or essentialized throughout history. Transgressive Typologies utilizes a new, multidisciplinary approach to understand how these figures’ historical identities are constructed in the mainstream secular literary-historical tradition and to analyze the points of view that inform these constructions. Using close readings and rereadings of primary texts written in medieval China through later imperial times, this study elucidates narrative typologies and motifs associated with these women to explore how their power is rhetorically framed, gendered, and ultimately deemed transgressive. Rebecca Doran offers a new understanding of major female figures of the Tang era within their literary-historical contexts, and delves into critical questions about the relationship between Chinese historiography, reception-history, and the process of image-making and cultural construction.

One of the most important and celebrated works of premodern Korean prose fiction, Kŭmo sinhwa (New Tales of the Golden Turtle) is a collection of five tales of the strange artfully written in literary Chinese by Kim Sisŭp (1435–1493). Kim was a major intellectual and poet of the early Chosŏn dynasty (1392–1897), and this book is widely recognized as marking the beginning of classical fiction in Korea. The present volume features an extensive study of Kim and the Kŭmo sinhwa, followed by a copiously annotated, complete English translation of the tales from the oldest extant edition. The translation captures the vivaciousness of the original, while the annotations reveal the work’s complexity, unraveling the deep and diverse intertextual connections between the Kŭmo sinhwa and preceding works of Chinese and Korean literature and philosophy. The Kŭmo sinhwa can thus be read and appreciated as a hybrid work that is both distinctly Korean and Sino-centric East Asian. A translator’s introduction discusses this hybridity in detail, as well as the unusual life and tumultuous times of Kim Sisŭp; the Kŭmo sinhwa’s creation and its translation and transformation in early modern Japan and twentieth-century (especially North) Korea and beyond; and its characteristics as a work of dissent. Tales of the Strange by a Korean Confucian Monk will be welcomed by Korean and East Asian studies scholars and students, yet the body of the work—stories of strange affairs, fantastic realms, seductive ghosts, and majestic but eerie beings from the netherworld—will be enjoyed by academics and non-specialist readers alike.

"Everybody who has ever read a book will benefit from the way Keith Houston explores the most powerful object of our time. And everybody who has read it will agree that reports of the book’s death have been greatly exaggerated."— Erik Spiekermann, typographer We may love books, but do we know what lies behind them? In The Book, Keith Houston reveals that the paper, ink, thread, glue, and board from which a book is made tell as rich a story as the words on its pages—of civilizations, empires, human ingenuity, and madness. In an invitingly tactile history of this 2,000-year-old medium, Houston follows the development of writing, printing, the art of illustrations, and binding to show how we have moved from cuneiform tablets and papyrus scrolls to the hardcovers and paperbacks of today. Sure to delight book lovers of all stripes with its lush, full-color illustrations, The Book gives us the momentous and surprising history behind humanity’s most important—and universal—information technology.

This book is the most detailed study to date on the entertainment system in the Tang Dynasty (618-907AD) of China. It discusses entertainment institutions not only of the local and central governments, but also of city commoners. There are many kinds of performers mentioned in the stories and historical materials of the Tang, which has led to some confusion with institutions left over from the Song Dynasty (960-1279AD). This book clarifies such issues, in addition to resolving the question of the origin of Ci in ancient Chinese art and literature.

The Tang dynasty is often called China’s “golden age,” a period of commercial, religious, and cultural connections from Korea and Japan to the Persian Gulf, and a time of unsurpassed literary creativity. Mark Lewis captures a dynamic era in which the empire reached its greatest geographical extent under Chinese rule, painting and ceramic arts flourished, women played a major role both as rulers and in the economy, and China produced its finest lyric poets in Wang Wei, Li Bo, and Du Fu. The Chinese engaged in extensive trade on sea and land. Merchants from Inner Asia settled in the capital, while Chinese entrepreneurs set off for the wider world, the beginning of a global diaspora. The emergence of an economically and culturally dominant south that was controlled from a northern capital set a pattern for the rest of Chinese imperial history. Poems celebrated the glories of the capital, meditated on individual loneliness in its midst, and described heroic young men and beautiful women who filled city streets and bars. Despite the romantic aura attached to the Tang, it was not a time of unending peace. In 756, General An Lushan led a revolt that shook the country to its core, weakening the government to such a degree that by the early tenth century, regional warlordism gripped many areas, heralding the decline of the Great Tang.

A comprehensive account of the phonological history of Chinese, exploring the development of its standard phonological systems over the past 2500 years. It will be a key reference work for historical linguists and phonologists in general, as well as being of particular interest to students and scholars of Chinese/Asian languages and their history.

The Hawai‘i Reader in Traditional Chinese Culture is a collection of more than ninety primary sources—all but a few of which were translated specifically for this volume—of cultural significance from the Bronze Age to the turn of the twentieth century. They take into account virtually every aspect of traditional culture, including sources from the non-Sinitic ethnic minorities.