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This fairytale is a pining variation of T’ao Yüan-ming's mysterious poem 'Peach Blossom Stream'.
Utopian Studies
Visions of Happiness: Daoist Utopias and Grotto Paradises in Early and Medieval Chinese Tales2009 •
This study traces the respective evolutions of two separate motifs—Daoist utopia and grotto heavens (dongtian)—in early and medieval Chinese literature, and discusses the significance of their convergence in the influential literary classic “Peach Blossom Spring” ("Taohua yuan ji") by Tao Qian (aka Tao Yuanming, 365—427). The purposes of this article are twofold: first, to enhance our understanding of the ideological and textual connections between “Peach Blossom Spring” and Confucianism and Daoism; second, to offer new insights into the unique characteristics of Chinese utopianism, where political vision and mythical imagination frequently were inter-twined.
The Magic Love: Fairy Tales from Twenty-First Century China
The Magic Love: Fairy Tales from Twenty-First Century China2021 •
This book presents a unique collection of fairy tales from contemporary China, translated into English for the first time. Demonstrating the unique continuity of oral tradition through Chinese history, the thirty tales are selected according to the theme of magic love. Many readers will be familiar with European tales of love and family. These Chinese tales have a very different emphasis. The structural differences are also striking: there are more tales with tragic endings, instead of the familiar happily ever after, and many types of tale. They are fascinating to read and challenging in terms of both morphology and cultural symbolism. Unlike many collections of fairy tales, this book provides contextual information on the tellers, collectors, and time and location of collection, along with an introduction to the Chinese social and cultural background, and folkloristic approaches to fairy tale studies.
Shan’ge 山歌, the ‘Mountain Songs’. Love Songs in Ming China, Leiden: Brill, 2011
Shan'ge, the 'Mountain Songs' Love Songs in Ming China Pages 254-3292011 •
Mountain Songs is a collection of folk songs edited by the famous writer Feng Menglong (1574-1646). By this innovative work - mainly written in the Suzhou dialect - he aimed to revitalize poetry through the power of popular songs. This collection is very significant to understand the characters of the mobile society of Jiangnan and the vitality of its intellectual world. The songs deal with the lives of common people: women, often prostitutes, boatmen, peasants, hunters, fishers and paddlers. Their spirit is far from the orthodox moral intents that Zhu Xi advocated for interpreting the Shijing, and their language is often vulgar and full of crude expressions or salacious double meanings, and allusions to sexual and erotic behaviour.
Taking an interdisciplinary perspective from cultural memory studies, this essay examines how the garden of the northern refugee Xiang Ziyin 向子諲 (1085-1152), Aromal Arbor 薌林, became a site of memory for two generations of Southern Song literati following the collapse of the Northern Song dynasty in 1126-1127. Investigating the dialogue of major figures like Li Gang (1083-1140), Hu Hong (1105-1161), Zhou Bida (1126-1204), Fan Chengda (1126-1193), Lou Yue (1137-1213), and Zhu Xi (1130-1200) writing in a range of genres (shi poetry, song lyrics, personal letters, travel diaries, and the preface and postface to Xiang’s collected works) on Aromal Arbor, the essay concludes that the reason the space of his garden became a site of memory was due to the way it captured the tension between setting-down-roots and a nostalgic desire for return which defined the literati ethos of 12th century China during the “migration south.” Keywords Culture Memory, Chinese Gardens, Song Lyrics, Chinese Historiography, Migration, Song Dynasty
The Wiley-Blackwell Companion to World Literature
“Southeast Fly the Peacocks”: An Elegy for Love from Early Medieval China2020 •
The Fairy Tale World, edited by Andrew Teverson, Routledge, 2019
Fairy Tales in China.pdf2019 •
The ‘fairy tale’ (tonghua 童话: children’s story) in China, like a genie let out of a bottle, has been undergoing a metamorphosis for the past 100 years and is still changing. It offers a further illustration of scholars’ perception that all attempts to define fairy tale as a genre have been “irrelevant” (Ben-Amos 1971: 4) and have “failed” (Zipes 2011: 222). By examining the emergence of tonghua in China, this chapter will argue that: 1) tonghua (as a term and as a new type of literature) are manufactured as a means to achieve certain ends, namely a discourse with the West and the revitalization of China’s own tradition; 2) this process reflects the syncretic and self-healing mechanism that is essential to the continuity of Chinese traditions, despite the impact of colonialism and imperialism (Zhang 2017: 200); and 3) a tale’s vitality lies in its reflection of core beliefs and cultural values.
The tale of the wedding of Zhougong and the Peach blossom girl may be characterized as a popular myth of late imperial China. First appearing in a Yuan dynasty zaju play, it was retold in many vernacular novels, popular operas and folktales. This paper, after recalling the way diviners and divination are depicted in late imperial Chinese literature, focuses on a vernacular Qing Dynasty novel that recounts how Zhougong, leaving his post as a minister within the corrupt Shang dynasty, establishes himself as a professional diviner. All of his readings of fate prove accurate until the Peach blossom girl begins to help those whom he has doomed to die to escape their fate. Enraged by this unexpected opposition, Zhougong tries to turn his divinatory skills into a mortal device. He asks his young opponent to wed his own son, while carefully selecting the most baleful days and hours for the moment of the wedding in order to have her perish. Thanks to her own divinatory and magical skills, Peach Blossom girl survives the ordeal and ridicules Zhougong. This rather brilliant comedy, poking fun at the prestigious name of the Duke of Zhou, sheds interesting light on the Chinese conception of divination and fate seen from the point of view of popular culture. Zhougong is portrayed as a skilled, well-wishing diviner. Peach Blossom Girl is a diviner too, but she is also a mistress of the white magic arts that permit people who are doomed to die to escape their fate and thus disprove the very decrees of Heaven. She uses some specifically feminine magic to disturb the yin-yang 陰陽 order of fate, and is thus able to “break the trigrams” (pogua 破卦) of her opponent. This narrative is a late imperial comic illustration of a very old Chinese conception: that, though we all have a ming命, an allocated lifespan, this “fate” can be manipulated in various ways, and that it may always be possible to “extend longevity”, yanshou 延壽,
Journal of Women's History
Female Heroes and Moonish Lovers: Women's Paradoxical Identities in Modern Chinese Songs1997 •
Tesi di laurea in Giurisprudenza
Moral creators. Una ricerca sul processo di criminalizzazione del fenomeno del revenge porn2020 •
2024 •
DOAJ (DOAJ: Directory of Open Access Journals)
Literaturas latinoamericanas: historia y crítica2014 •
ENDLESS : International Journal of Future Studies
Strategy for the Development of Small Industry Smoking Roa Fish (Hemiramphus sp.) in Boalemo District, Gorontalo ProvinceCurrent Diabetes Reviews
Type 2 Diabetes Mellitus with Early Dry Skin Disorder: A Comparison Study Between Primary and Tertiary Care in Indonesia2022 •
2013 •
International Journal of Plant & Soil Science
Maize Growth and Yield Response to Incremental Rates of Nitrogen in N-Depleted Lixisols in Northern Ghana2020 •
Open-file report /
Analytical results and sample locality maps of mineralized and unmineralized rock samples from the Baird Mountains Quadrangle, Alaska1988 •
Journal of Clinical Medicine
Efficacy of Oxybrasion in the Treatment of Acne Vulgaris: A Preliminary Report