Hsieh Tiao 464 499 Wang Jung 467 493

At last here is the long-awaited, first Western-language reference guide focusing exclusively on Chinese literature from ca. 700 B.C.E. to the early seventh century C.E. Alphabetically organized, it contains no less than 1095 entries on major and minor writers, literary forms and "schools," and important Chinese literary terms. In addition to providing authoritative information about each subject, the compilers have taken meticulous care to include detailed, up-to-date bibliographies and source information. The reader will find it a treasure-trove of historical accounts, especially when browsing through the biographies of authors. Indispensable for scholars and students of pre-modern Chinese literature, history, and thought. Part Two contains S to Xi.

BIOGRAPHY OF CHINESE POET P' I JIH-HSIU (834-883).

One of the most important and popular genres in the Chinese literary tradition is the jueju or quatrain. The scale of the form would seem to limit its depth and significance. But in China, the poets of the great age of poetry - the Tang (618-907) - all excelled at it. To understand the extraordinary richness and depth this form was capable of, we must examine its early history. This study traces the development of the jueju from its earliest beginnings, which may go as far back as the Book of Songs (eleventh- to seventh-centuries B.C.), through the early Tang dynasty. It aims, above all, to be a detailed, historical account in which any and every element that had a role in the evolution of the jueju is examined.

The Six Dynasties Period (220-589 CE) is one of the most complex in Chinese history. Written by leading scholars from across the globe, the essays in this volume cover nearly every aspect of the period, including politics, foreign relations, warfare, agriculture, gender, art, philosophy, material culture, local society, and music. While acknowledging the era's political chaos, these essays indicate that this was a transformative period when Chinese culture was significantly changed and enriched by foreign peoples and ideas. It was also a time when history and literature became recognized as independent subjects and religion was transformed by the domestication of Buddhism and the formation of organized Daoism. Many of the trends that shaped the rest of imperial China's history have their origins in this era, such as the commercial vibrancy of southern China, the separation of history and literature from classical studies, and the growing importance of women in politics and religion.

A compendium of traditional Chinese literature offers a broad variety of genres including poetry, letters, stories, excerpts from novels and drama, philosophical writings, jokes, and other prose forms.

The past decade and a half has witnessed a great deal of renewed interest in the study of Chinese linguistics, not only in the traditional areas of philological studies and in theoretically oriented areas of syn chronic grammar and language change but also in the cultivation of new frontiers in related areas of the cognitive sciences. There is a significant increase in the number of students studying one area or another of the linguistic structure of Chinese in various linguistic programs in the United States, Europe, Australia and in China, Hong Kong, Singapore, Taiwan, and other parts of Asia. Several new academic departments devoted to the study of linguistics have been established in Taiwan and Hong Kong in the past few years. The increasing research and study activities have also resulted in a number of national and international conferences, including the North American Conference on Chinese Linguistics (NACCL), which has been held annually in the United States; the International Symposium on Chinese Languages and Linguistics (IsCLL), which has had its fourth meeting since it was launched by Academia Sinica in Taiwan in 1990; the International Association of Chinese Linguistics (lACL), created in Singapore in 1992 and now incorporated in Irvine, California, which has held its annual meetings at major institutions in Asia, Europe, and the US.

This user-friendly book is aimed at helping students of Mandarin Chinese learn and remember Chinese characters. At last--there is a truly effective and enjoyable way to learn Chinese characters! This book helps students to learn and remember both the meanings and the pronunciations of over 800 characters. This otherwise daunting task is made easier by the use of techniques based on the psychology of learning and memory. key principles include the use of visual imagery, the visualization of short "stories," and the systematic building up of more complicated characters from basic building blocks. Although Learning Chinese Characters is primarily a book for serious learners of Mandarin Chinese, it can be used by anyone with interest in Chinese characters, without any prior knowledge of Chinese. It can be used alongside (or after, or even before) a course in the Chinese language. All characters are simplified (as in mainland China), but traditional characters are also given, when available. Key features: Specially designed pictures and stories are used in a structured way to make the learning process more enjoyable and effective, reducing the need for rote learning to the absolute minimum. The emphasis throughout is on learning and remembering the meanings and pronunciations of the characters. Tips are also included on learning techniques and how to avoid common problems. Characters are introduced in a logical sequence, which also gives priority to learning the most common characters first. Modern, simplified characters are used, with pronunciations given in pinyin. Key information is given for each character, including radical, stroke-count, traditional form, compounds, and guidance on writing the character. This is a practical guide with a clear, concise and appealing layout, and it is well-indexed with easy lookup methods. The 800 Chinese characters and 1,033 compounds specified for the original HSK Level A proficiency test are covered.

This book is a study of the formation and the practice of Buddhist canons and an attempt to present as fully as possible the panorama of Chinese Buddhist faith. The book uses textual and archaeological sources, including Dunhuang texts, and adopts multiple perspectives such as textual evidence, historical circumstances, social life, as well as the intellectual background at the time.

What was the most influential mass medium in China before the internet reaching both literate and illiterate audiences? The answer may surprise you...it’s Jingju (Peking opera). This book traces the tradition’s increasing textualization and the changes in authorship, copyright, performance rights, and textual fixation that accompanied those changes.