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| misspao china: Hung Lou Meng; Or, the Dream of the Red Chamber, A Chinese Novel, In Two Books Xueqin Cao, 2024-04-11 Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision. |
| misspao china: Harvard Alumni Directory , 1948 |
| misspao china: The Haunted Monastery and The Chinese Maze Murders Robert Hans van Gulik, 1977-01-01 In 'The Haunted Monastery', Judge Dee and his wives seek refuge from a violent mountain storm and are plunged into a bizarre series of interrelated crimes. Three women have been murdered in the monastery; Dee has seen something impossible, perhaps supernatural, and inexplicable events flash forth in the dark tangle of corridors and the Taoist Hell - a hall filled with statuary showing realistically the torments of Hell. |
| misspao china: The Missionary Herald , 1928 Vols. for 1828-1934 contain the Proceedings at large of the American Board of Commissioners for Foreign Missions. |
| misspao china: The Missionary Herald at Home and Abroad , 1928 |
| misspao china: The German Demonstratives Lin Lin, 2019-12-06 This book explores, analyzes, and compares the use of German and Chinese demonstratives. Discourse and textual uses of the forms are considered, as well as their locative and temporal uses. The author observes that in both languages the demonstratives can be used to refer to referents. However, she departs from the common assumption that proximal demonstratives refer to entities or places close to the speaker, while non-proximal demonstratives refer to entities or places far from the speaker. Having analyzed a representative sampling consisting of a German text and a Chinese text, the author argues that both German and Chinese proximal demonstratives can signal the meaning of HIGH DEIXIS in a system of DEIXIS in the Columbia School of linguistics framework, whereas their non-proximal demonstratives can signal the meaning of LOW DEIXIS. In addition, Chinese demonstratives can be used under more circumstances than German demonstratives due to the lack of articles in Chinese. The author also argues that Cognitive Linguistic analysis is more helpful for new language learners, whereas the Columbia School of linguistics may be better suited to advanced learners who wish to know more about the intrinsic differences between words with similar meanings and uses. This book aims to help German learners better understand the German reference system. Readers with a Chinese language background will definitely benefit more from the book, as well as Chinese learners with a German language background. For pure linguistic enthusiasts and multi-linguals, the book offers an extensive introduction to the Columbia School of linguistics, and can open a new horizon for learning a new language comparatively. |
| misspao china: A Systemic Functional Grammar of Chinese Eden Sum-hung Li, 2007-02-20 This book presents an analysis of Chinese grammar from a systemic functional perspective. Its main focus is the clausal grammar of Chinese, and Dr Li provides a thorough analysis of Chinese clauses according to their constituent parts. However, uniquely, the second half of the book extends this examination into an analysis of Chinese discourse and text analysis. Professor Halliday's foreword praises Eden Li's thorough analysis, and shows its relevance to the field of systemic functional linguistics in general. Systemic Functional Grammar of Chinese provides the reader with a general theoretical framework of grammar and discourse analysis from a systemic functional perspective. |
| misspao china: Christian China , 1920 |
| misspao china: Fortress Besieged Zhongshu Qian, 2004 A classic of Chinese literature, this magnificent litany of mishaps begins on the eve of the Sino-Japanese War, when Fang Hung-chien, with no particular goal in life and a bogus degree from a fake university in hand, returns home to Shanghai, meeting two Chinese beauties, Miss Su and Miss Pao, on the way. Fang eventually obtains a teaching post at a newly established university in the interior, where he encounters effete pseudo-intellectuals. Soon he falls into a marriage of Nabokovian proportions of distress and absurdity. |
| misspao china: Now & Then , 1927 |
| misspao china: Selected Works on China Various Authors, Let me state at the outset that I know no Chinese. My duty in Mrs. Ayscough's and my joint collaboration has been to turn her literal translations into poems as near to the spirit of the originals as it was in my power to do. It has been a long and arduous task, but one which has amply repaid every hour spent upon it. To be suddenly introduced to a new and magnificent literature, not through the medium of the usual more or less accurate translation, but directly, as one might burrow it out for one's self with the aid of a dictionary, is an exciting and inspiring thing. The method we adopted made this possible, as I shall attempt to show. The study of Chinese is so difficult that it is a life-work in itself, so is the study of poetry. A sinologue has no time to learn how to write poetry; a poet has no time to learn how to read Chinese. Since neither of us pretended to any knowledge of the other's craft, our association has been a continually augmenting pleasure. I was lucky indeed to approach Chinese poetry through such a medium. The translations I had previously read had given me nothing. Mrs. Ayscough has been to me the pathway to a new world. No one could be a more sympathetic go-between for a poet and his translator, and Mrs. Ayscough was well-fitted for her task. She was born in Shanghai. Her father, who was engaged in business there, was a Canadian and her mother an American. She lived in China until she was eleven, when her parents returned to America in order that their children might finish their education in this country. It was then that I met her, so that our friendship is no new thing, but has persisted, in spite of distance, for more than thirty years, to ripen in the end into a partnership which is its culmination. Returning to China in her early twenties, she became engaged to an Englishman connected with a large British importing house in Shanghai, and on her marriage, which took place almost immediately, went back to China, where she has lived ever since. A diligent student of Chinese life and manners, she soon took up the difficult study of literary Chinese, and also accepted the position of honorary librarian of the library of the North China Branch of the Royal Asiatic Society. Of late years, she has delivered a number of lectures on Chinese subjects in China, Japan, America, and Canada, and has also found time to write various pamphlets on Chinese literature and customs. In the Autumn of 1917, Mrs. Ayscough arrived in America on one of her periodic visits to this country. She brought with her a large collection of Chinese paintings for exhibition, and among these paintings were a number of examples of the Written Pictures. Of these, she had made some rough translations which she intended to use to illustrate her lectures. She brought them to me with a request that I put them into poetic shape. I was fascinated by the poems, and, as we talked them over, we realized that here was a field in which we should like to work. When she returned to China, it was agreed that we should make a volume of translations from the classic Chinese writers. Such translations were in the line of her usual work, and I was anxious to read the Chinese poets as nearly in the original as it was possible for me to do. At first, we hardly considered publication. Mrs. Ayscough lives in Shanghai and I in Boston, and the war-time mails were anything but expeditious, but an enthusiastic publisher kept constantly before us our ultimate, if remote, goal. Four years have passed, and after many unavoidable delays the book is finished. We have not done it all by correspondence. Mrs. Ayscough has come back to America several times during its preparation; but, whether together or apart, the plan on which we have worked has always been the same. Very early in our studies, we realized that the component parts of the Chinese written character counted for more in the composition of poetry than has generally been recognized; that the poet chose one character rather than another which meant practically the same thing, because of the descriptive allusion in the make-up of that particular character; that the poem was enriched precisely through this undercurrent of meaning in the structure of its characters. But not always—and here was the difficulty. Usually the character must be taken merely as the word it had been created to mean. It was a nice distinction, when to allow one's self the use of these character undercurrents, and when to leave them out of count entirely. But I would not have my readers suppose that I have changed or exaggerated the Chinese text. Such has not been the case. The analysis of characters has been employed very rarely, and only when the text seemed to lean on the allusion for an added vividness or zest. In only one case in the book have I permitted myself to use an adjective not inherent in the character with which I was dealing—and, in that case, the connotation was in the word itself, being descriptive of an architectural structure for which we have no equivalent—except in the Written Pictures, where, as Mrs. Ayscough has stated in her Introduction, we allowed ourselves a somewhat freer treatment. It has been necessary, of course, to acquire some knowledge of the laws of Chinese versification. But, equally of course, these rules could only serve to bring me into closer relations with the poems and the technical limits of the various forms. It was totally impossible to follow either the rhythms or the rhyme-schemes of the originals. All that could be done was to let the English words fall into their natural rhythm and not attempt to handicap the exact word by introducing rhyme at all. This is the method I followed in my translations of French poems in my book, Six French Poets. I hold that it is more important to reproduce the perfume of a poem than its metrical form, and no translation can possibly reproduce both. |
| misspao china: Women of China , 2006 |
| misspao china: Chinese Student's Christian Journal , 1921 |
| misspao china: Industrial Hygiene Newsletter , 1946 |
| misspao china: Arms--and the Men Cyril Arthur Player, 1922 |
| misspao china: Chinese Mettle Emily Georgiana Kemp, 1921 |
| misspao china: The Diamond Age Neal Stephenson, 2003-08-26 Vividly imagined, stunningly prophetic, and epic in scope, The Diamond Age is a major novel from one of the most visionary writers of our time Decades into our future, a stone’s throw from the ancient city of Shanghai, a brilliant nanotechnologist named John Percival Hackworth has just broken the rigorous moral code of his tribe, the powerful neo-Victorians. He's made an illicit copy of a state-of-the-art interactive device called A Young Ladys Illustrated Primer Commissioned by an eccentric duke for his grandchild, stolen for Hackworth's own daughter, the Primer’s purpose is to educate and raise a girl capable of thinking for herself. It performs its function superbly. Unfortunately for Hackworth, his smuggled copy has fallen into the wrong hands. Young Nell and her brother Harv are thetes—members of the poor, tribeless class. Neglected by their mother, Harv looks after Nell. When he and his gang waylay a certain neo-Victorian—John Percival Hackworth—in the seamy streets of their neighborhood, Harv brings Nell something special: the Primer. Following the discovery of his crime, Hackworth begins an odyssey of his own. Expelled from the neo-Victorian paradise, squeezed by agents of Protocol Enforcement on one side and a Mandarin underworld crime lord on the other, he searches for an elusive figure known as the Alchemist. His quest and Nell’s will ultimately lead them to another seeker whose fate is bound up with the Primer—a woman who holds the key to a vast, subversive information network that is destined to decode and reprogram the future of humanity. |
| misspao china: Free China Review , 1976 |
| misspao china: Hung Lou Meng: The Dream of the Red Chamber, A Chinese Novel (Complete) Xueqin Cao, This is the opening section; this the first chapter. Subsequent to the visions of a dream which he had, on some previous occasion, experienced, the writer personally relates, he designedly concealed the true circumstances, and borrowed the attributes of perception and spirituality to relate this story of the Record of the Stone. With this purpose, he made use of such designations as Chen Shih-yin (truth under the garb of fiction) and the like. What are, however, the events recorded in this work? Who are the dramatis personae? Wearied with the drudgery experienced of late in the world, the author speaking for himself, goes on to explain, with the lack of success which attended every single concern, I suddenly bethought myself of the womankind of past ages. Passing one by one under a minute scrutiny, I felt that in action and in lore, one and all were far above me; that in spite of the majesty of my manliness, I could not, in point of fact, compare with these characters of the gentle sex. And my shame forsooth then knew no bounds; while regret, on the other hand, was of no avail, as there was not even a remote possibility of a day of remedy. On this very day it was that I became desirous to compile, in a connected form, for publication throughout the world, with a view to (universal) information, how that I bear inexorable and manifold retribution; inasmuch as what time, by the sustenance of the benevolence of Heaven, and the virtue of my ancestors, my apparel was rich and fine, and as what days my fare was savory and sumptuous, I disregarded the bounty of education and nurture of father and mother, and paid no heed to the virtue of precept and injunction of teachers and friends, with the result that I incurred the punishment, of failure recently in the least trifle, and the reckless waste of half my lifetime. There have been meanwhile, generation after generation, those in the inner chambers, the whole mass of whom could not, on any account, be, through my influence, allowed to fall into extinction, in order that I, unfilial as I have been, may have the means to screen my own shortcomings. Hence it is that the thatched shed, with bamboo mat windows, the bed of tow and the stove of brick, which are at present my share, are not sufficient to deter me from carrying out the fixed purpose of my mind. And could I, furthermore, confront the morning breeze, the evening moon, the willows by the steps and the flowers in the courtyard, methinks these would moisten to a greater degree my mortal pen with ink; but though I lack culture and erudition, what harm is there, however, in employing fiction and unrecondite language to give utterance to the merits of these characters? And were I also able to induce the inmates of the inner chamber to understand and diffuse them, could I besides break the weariness of even so much as a single moment, or could I open the eyes of my contemporaries, will it not forsooth prove a boon? This consideration has led to the usage of such names as Chia Yü-ts'un and other similar appellations. More than any in these pages have been employed such words as dreams and visions; but these dreams constitute the main argument of this work, and combine, furthermore, the design of giving a word of warning to my readers. Reader, can you suggest whence the story begins? The narration may border on the limits of incoherency and triviality, but it possesses considerable zest. But to begin. The Empress Nü Wo, (the goddess of works,) in fashioning blocks of stones, for the repair of the heavens, prepared, at the Ta Huang Hills and Wu Ch'i cave, 36,501 blocks of rough stone, each twelve chang in height, and twenty-four chang square. Of these stones, the Empress Wo only used 36,500; so that one single block remained over and above, without being turned to any account. This was cast down the Ch'ing Keng peak. This stone, strange to say, after having undergone a process of refinement, attained a nature of efficiency, and could, by its innate powers, set itself into motion and was able to expand and to contract. When it became aware that the whole number of blocks had been made use of to repair the heavens, that it alone had been destitute of the necessary properties and had been unfit to attain selection, it forthwith felt within itself vexation and shame, and day and night, it gave way to anguish and sorrow. One day, while it lamented its lot, it suddenly caught sight, at a great distance, of a Buddhist bonze and of a Taoist priest coming towards that direction. Their appearance was uncommon, their easy manner remarkable. When they drew near this Ch'ing Keng peak, they sat on the ground to rest, and began to converse. But on noticing the block newly-polished and brilliantly clear, which had moreover contracted in dimensions, and become no larger than the pendant of a fan, they were greatly filled with admiration. The Buddhist priest picked it up, and laid it in the palm of his hand. |
| misspao china: The China Weekly Review , 1946 |
| misspao china: The Chinese Students' Monthly , 1918 |
| misspao china: Who's who in America John William Leonard, Albert Nelson Marquis, 1919 Vols. 28-30 accompanied by separately published parts with title: Indices and necrology. |
| misspao china: Yearbook of the United Nations United Nations, 1957 Issue for 1946/47 includes a summary of the organization's activities from its inception to July 1, 1947. |
| misspao china: Hung Lou Meng: The Dream of the Red Chamber, A Chinese Novel (Complete) Xueqin Cao, This is the opening section; this the first chapter. Subsequent to the visions of a dream which he had, on some previous occasion, experienced, the writer personally relates, he designedly concealed the true circumstances, and borrowed the attributes of perception and spirituality to relate this story of the Record of the Stone. With this purpose, he made use of such designations as Chen Shih-yin (truth under the garb of fiction) and the like. What are, however, the events recorded in this work? Who are the dramatis personae? Wearied with the drudgery experienced of late in the world, the author speaking for himself, goes on to explain, with the lack of success which attended every single concern, I suddenly bethought myself of the womankind of past ages. Passing one by one under a minute scrutiny, I felt that in action and in lore, one and all were far above me; that in spite of the majesty of my manliness, I could not, in point of fact, compare with these characters of the gentle sex. And my shame forsooth then knew no bounds; while regret, on the other hand, was of no avail, as there was not even a remote possibility of a day of remedy. On this very day it was that I became desirous to compile, in a connected form, for publication throughout the world, with a view to (universal) information, how that I bear inexorable and manifold retribution; inasmuch as what time, by the sustenance of the benevolence of Heaven, and the virtue of my ancestors, my apparel was rich and fine, and as what days my fare was savory and sumptuous, I disregarded the bounty of education and nurture of father and mother, and paid no heed to the virtue of precept and injunction of teachers and friends, with the result that I incurred the punishment, of failure recently in the least trifle, and the reckless waste of half my lifetime. There have been meanwhile, generation after generation, those in the inner chambers, the whole mass of whom could not, on any account, be, through my influence, allowed to fall into extinction, in order that I, unfilial as I have been, may have the means to screen my own shortcomings. Hence it is that the thatched shed, with bamboo mat windows, the bed of tow and the stove of brick, which are at present my share, are not sufficient to deter me from carrying out the fixed purpose of my mind. And could I, furthermore, confront the morning breeze, the evening moon, the willows by the steps and the flowers in the courtyard, methinks these would moisten to a greater degree my mortal pen with ink; but though I lack culture and erudition, what harm is there, however, in employing fiction and unrecondite language to give utterance to the merits of these characters? And were I also able to induce the inmates of the inner chamber to understand and diffuse them, could I besides break the weariness of even so much as a single moment, or could I open the eyes of my contemporaries, will it not forsooth prove a boon? This consideration has led to the usage of such names as Chia Yü-ts'un and other similar appellations. More than any in these pages have been employed such words as dreams and visions; but these dreams constitute the main argument of this work, and combine, furthermore, the design of giving a word of warning to my readers. Reader, can you suggest whence the story begins? The narration may border on the limits of incoherency and triviality, but it possesses considerable zest. But to begin. The Empress Nü Wo, (the goddess of works,) in fashioning blocks of stones, for the repair of the heavens, prepared, at the Ta Huang Hills and Wu Ch'i cave, 36,501 blocks of rough stone, each twelve chang in height, and twenty-four chang square. Of these stones, the Empress Wo only used 36,500; so that one single block remained over and above, without being turned to any account. This was cast down the Ch'ing Keng peak. This stone, strange to say, after having undergone a process of refinement, attained a nature of efficiency, and could, by its innate powers, set itself into motion and was able to expand and to contract. When it became aware that the whole number of blocks had been made use of to repair the heavens, that it alone had been destitute of the necessary properties and had been unfit to attain selection, it forthwith felt within itself vexation and shame, and day and night, it gave way to anguish and sorrow. One day, while it lamented its lot, it suddenly caught sight, at a great distance, of a Buddhist bonze and of a Taoist priest coming towards that direction. Their appearance was uncommon, their easy manner remarkable. When they drew near this Ch'ing Keng peak, they sat on the ground to rest, and began to converse. But on noticing the block newly-polished and brilliantly clear, which had moreover contracted in dimensions, and become no larger than the pendant of a fan, they were greatly filled with admiration. The Buddhist priest picked it up, and laid it in the palm of his hand. |
| misspao china: China's Millions , 1888 |
| misspao china: Rewriting Chinese Edward Gunn, 1991-07-01 Everyone who has studied the upheavals of modern China knows that one of them has taken place in Chinese writing. Anyone who has read Chinese texts has also eventually pondered the possible significance of this upheaval for understanding the text, and vice versa. By analyzing formal features and speculating about their relevance to the construction of a modern Chinese culture, this book intends to show why the Chinese have come to write the way they do in this century. Drawing on linguistic and rhetorical descriptions of language in writing as features of style, the author reviews the innovations that have been introduced into modern Chinese prose from both Chinese and foreign sources. The social history of these features, the attempts by various writers to assert cultural, political, and aesthetic principles through them and the resulting tensions and conventions that arise all form the critical framework for a study of Chinese prose literature and its most innovative authors in this century. The study is introduced and informed throughout by a succinct review o scholarly research from a wide range of disciplines relevant to the question of style as an object of study in contemporary criticism. The book begins its approach to style with an Introduction that draws on Gestalt theory, information theory, and linguistics to develop a nuanced concept of what style is, one that gives adequate weight to the complex interplay of psychological, formal, and historical features at work. Two chapters then examine various aspects of convention, necessarily a historical phenomenon. The fourth chapter, by contrast, discusses the aesthetic prescriptions by which modern Chinese writers sought consciously to introduce innovation and points out the limitations of a prescriptive approach. The final two chapters study the strategies of specific writers. Almost half the book is an Appendix that consists of a rich catalog of rhetorical and stylistic examples, drawn from a wide range of twentieth-century Chinese literary writing. These hundreds of examples, identified by the nomenclature of grammar, rhetoric, and sentence cohesion, constitute a veritable handbook of modern Chinese prose. The book also contains a Glossary of terms draw from rhetoric and linguistics. |
| misspao china: China Today , 1968 |
| misspao china: The Week in China , 1931 |
| misspao china: The Quarterly Journal for Chinese Nurses ... , 1929 |
| misspao china: Hung Lou Meng Xueqin Cao, 1893 |
| misspao china: A History of Modern Chinese Fiction, Third Edition C. T. Hsia, 1999-11-22 First published in 1961, and reissued in new editions several times, this is the pioneering, classic study of 20th-century Chinese fiction. The book covers some 60 years, from the Literary Revolution of 1917 through the Cultural Revolution of 1966-76. C. T. Hsia, Prof. Emeritus of Chinese at Columbia Univ., examines the major writers from Lu Hsun to Eileen Chang and representative works since 1949 from both mainland China and Taiwan. The first serious study of modern Chinese fiction in English, this book is also the best study of its subject available. Not only the specialist, but every reader who is interested in China or in literature will find it of interest. Hsia's astute insights and graceful writing make the book enjoyable as well as deeply edifying. |
| misspao china: Renditions , 1974 |
| misspao china: A History of Christian Missions in China Kenneth Scott Latourette, 1929 |
| misspao china: Chinese Literature , 1964 |
| misspao china: The Chinese Students' Christian Journal , 1920 |
| misspao china: United Nations Bulletin , 1954 |
| misspao china: The Record and Responsibilities of the Economic and Social Council Syed Amjad Ali, 1952 |
| misspao china: Official Records United Nations. Economic and Social Council, 1953 Includes special sessions. |
| misspao china: The Dream of the Red Chamber Cao Xueqin, 2023-11-19 Cao Xueqin's 'The Dream of the Red Chamber' is a masterpiece of Chinese literature, recognized for its intricate portrayal of the Jia family and their decline. Written in the mid-18th century during the Qing dynasty, the novel blends elements of romance, tragedy, and social commentary. The story follows the tragic love affair between Baoyu and his cousin Daiyu, set against the backdrop of an opulent aristocratic household. Cao Xueqin's writing is rich in symbolism and psychological depth, making it a timeless classic in Chinese literature. The book delves into themes of love, mortality, and the complexities of human relationships, offering a poignant reflection on life's impermanence. Cao Xueqin's lyrical prose and vivid characterizations elevate 'The Dream of the Red Chamber' to one of the greatest works of Chinese literature, influencing generations of writers and scholars. Readers interested in delving into the complexities of family dynamics, love, and societal change will find this novel a captivating and illuminating read. |
| misspao china: New Outlook , 1918 |
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