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Drawn from International Poetry Nights in Hong Kong 2013, Ouroboros is a chapbook of poetry by Aase Berg presented in Swedish, English, and Chinese. Ouroboros is also available, along with the chapbooks of other internationally renowned poets, in Islands or Continents (Eighteen-volume Set). Selected poems from this volume are featured in the anthology Islands or Continents: International Poetry Nights in Hong Kong 2013.

Started in 2009, IPNHK is one of the most influential international poetry events in Asia. In its ten-year anniversary in November 2019, 30 famous poets from various countries will be in Hong Kong and ten cities in China afterwards to read their works based on the theme “Speech and Silence.” Tamim Al-Barghouti (Palestine) is a poet widely read throughout the Arab world through new and old media. His poetry readings are attended by thousands in stadiums and amphitheaters.

Shen Congwen (1902?-1988) is one of modern China's great writers. He is also one of the finest Chinese prose stylists of all time. Literary critics and historians have offered several reasons for why Shen Congwen is a great writer. The foremost explanation is his power as a stylist. He could make the Chinese language beautiful. Some critics have praised Shen Congwen for creating characters with beautiful souls. Readers credit him with having described beautiful and fulfilling styles of life, even in materially primitive surroundings, that conjure up the ""health and dignity"" prized by the Crescent Moon writers. Other critics value Shen Congwen as a realist writer. He has written many works exposing the abuses of the military in the countryside, and the vanity of the urban bourgeoisie. Most of the short stories in this collection, typeset in bilingual format, reveal the plight and the strength of the common people. Also they were chosen from the period when Shen had already honed a fine writing style, and they were written about rural folks in his native region, and about people he knew from his daily life. There are contradictions between the ""new"" and the ""old,"" and also between human values with enough integrity to nurture life, versus corruption that leads to the decline and death of a culture.

Started in 2009, IPNHK is one of the most influential international poetry events in Asia. In its ten-year anniversary in November 2019, 30 famous poets from various countries will be in Hong Kong and ten cities in China afterwards to read their works based on the theme “Speech and Silence.” Zheng Xiaoqiong (PRC) was born in Nanchong, Sichuan. She went south to Guangdong for work in the year 2001. To date, she has published twelve books, including Notes of a Woman Worker, Rose Manor, Huang Maling, Poetry Collection by Zheng Xiaoqiong, Pure-Species Plant, and Footbridge.

The Canons and other later writings of the school of Mo-tzu, dating from about 300 B.C., contain nearly all that survives of the logic of ancient China, and its optics and mechanics, the only organized set of geometrical definitions, and the only fully rationalized system of ethics. They represent the high point of abstract rationality in traditional Chinese civilization, and are crucial documents for any inquiry into its achievements and limitations in logic and science. Unfortunately their formidable textual difficulties have hitherto made it impossible to use them with any confidence, and English translations of Mo-tzu, have omitted them. Western sinologists have generally ignored this rich material with the result that they have been forced to draw their conclusions about Chinese logic from the almost negligible remains of the Sophists. The present work begins with a general account of the school of Mo-tzu, its social basis as a movement of craftsmen, its isolated place in the Chinese tradition, and the nature of its later contributions to logic, ethics and science. The relation of Mohist thinking to the structure of the Chinese language is also discussed. The textual problems of the later writings, the grammar and style, the technical terminology, the significance of stock examples, and the overall organization of the documents, are then explored in detail. With the investigation of these preliminary questions, the possibilities of interpretation are confined within controllable limits. The edited and annotated Chinese text follows, with an English translation and commentary, a glossary, and a photographic reproduction of the unemended text from the Taoist Patrology.

This fully annotated translation is a valuable addition to the study of T'an S'su-t'ung (Tan Sitong) as well as to our understanding of late Qing political thought.

?This volume comprises eight articles that fall into three groups: surveys of Chinese art and archaeology and their interrelationships, the exhibition of Chinese archaeological finds, and an account of Dunhuang studies in China up to 1947; animal styles, floral patterns and yinyang wuxing in Chinese art; and Chinese epigraphy.

The papers in this volume, prepared by social scientists with different specializations, address selected aspects of Hong Kong's post-War development.

The revolutionary writer and literary critic Lu Xun (Zhou Shuren, 1881–1936) is celebrated at home and abroad as one of the most groundbreaking and influential writers of modern China. A first-hand witness to China's social and political upheaval in the first half of the 20th century, he is remembered not only for his astute polemical essays and political articles but also for the short stories which explore the effects of contemporary social and cultural issues on the Chinese psyche.The stories in this collection are based on the 1955 compilation Lu Xun Xiao Shuo Ji, originally published in two collections, Call to Arms (1923) and At the Crossroads (1926). The ten stories included are: "Kuang ren riji" (A Madman's Diary), "Kong Yi Ji" (Kong Yiji), "Yao" (Medicine), "Mingtian" (Tomorrow), "Yi jian xiao shi" (An Incident), "Toufa de gushi" (A Story of Hair), "Fengbo" (Storm in a Teacup), "Guxiang" (My Old Home), "Zhufu" (New Year Sacrifice), and "Zai jiulou shang" (In the Restaurant).Targeted specifically for students of Chinese, the book is conveniently organized with the original Chinese text on the left-hand page and supplementary English explanations and Romanized spelling (pinyin) of difficult vocabulary, idiomatic expressions, and other phrases on the right (with more than 2,500 total). While literary and cultural treasures in themselves, Lu Xun's works have been largely inaccessible to students of Chinese, who often find themselves forced to constantly consult a dictionary while frequently missing important nuances in the text. This edition aims to eliminate such tedious and inefficient approaches to Lu Xun, while allowing students to appreciate these wonderful stories in the original Chinese.

This volume is intended for professional philosophers and laymen with an interest in East-West studies and comparative philosophy and religion. The central focus is the concept of comparing perspectives from both the Eastern and the Western philosophical traditions on harmony and strife. The unique and happy result is an East-West anthology which is directed at analyzing a single philosophical problem which is of importance to both traditions. Unlike many anthologies which tend to be collections of isolated and unrelated essays, the Editors' focus on a single theme has resulted in a unified volume which maintains a high continuity of interest throughout. The Editors have carefully culled and organized essays from a select group of philosophers from the United States, West Germany, Japan, Australia, Beijing, Taipei and Hong Kong. Harmony and strife are analyzed as systematic concepts in Western philosophy, as parts of classical Chinese thought, as central concepts in Buddhism, as metaphysical concepts, as dialectical concepts and even as null concepts. The Editors have taken great care so that a continuity and a coherence of presentation is achieved despite the striking variety of perspectives from which harmony and strife are analyzed. It is both unusual and important to have such a systematic and thorough investigation of a topic of paramount social and philosophical significance by some of the leading minds of the day. Besides, the essays included are eminently readable. The volume is likely to become a standard work in this area for some years to come.

An internationally recognized authority on Chinese history and a leading innovator in its telling, Cho-yun Hsu constructs an original portrait of Chinese culture. Unlike most historians, Hsu resists centering his narrative on China's political evolution, focusing instead on the country's cultural sphere and its encounters with successive waves of globalization. Beginning long before China's written history and extending through the twentieth century, Hsu follows the content and expansion of Chinese culture, describing the daily lives of commoners, their spiritual beliefs and practices, the changing character of their social and popular thought, and their advances in material culture and technology. In addition to listing the achievements of emperors, generals, ministers, and sages, Hsu builds detailed accounts of these events and their everyday implications. Dynastic change, the rise and fall of national ambitions, and the growth and decline of institutional systems take on new significance through Hsu's careful research, which captures the multiple strands that gave rise to China's pluralistic society. Paying particular attention to influential relationships occurring outside of Chinese cultural boundaries, he demonstrates the impact of foreign influences on Chinese culture and identity and identifies similarities between China's cultural developments and those of other nations.

The thirteen essays in this book are up-to-date scholarly reflections on issues related to the mutual understanding and influence between China and Europe during the sixteenth to eighteenth centuries. The essays touch on the various religious, intellectual, scientific and artistic aspects of the encounter and show that there had been significant interactions of different degrees of success. On religious and intellectual aspects, it is shown that the European understanding of Chinese thought in general and Confucianism in particular was superficial and self-serving. The transfer of science and technology had been more successful, though not without its problems, and the question of how "influence" should be understood is raised. In the realm of art, however, it appears that significant mutual influences occurred. All told, the essays suggest a general conclusion that the higher the position a branch of knowledge occupies in the value hierarchy of a culture, the more difficult it is for the knowledge to become admitted and integrated into the other culture's value system.The papers are results of intense studies by respected scholars from Europe, the United States of America, Korea and China and provide a comprehensive summary of modern interpretations of early Sino-European cultural interactions.

Fifty lessons examining both structural patterns and morphological features characteristic of Mandarin Chinese. The book describes cultural idiosyncrasies in language use as well as gives discoursal strategies for forming sustained conversations.

When Marshal Hong breaks the seals which generations of Taoist Masters have placed on the temple doors to hold back 108 incarcerated Demon Princes, powerful forces of disorder are released. One after another, brave men fall out with officialdom and are obliged to join the brotherhood of the rivers and lakes-the mixed company of heroes and vagabonds who live by their wits and their fighting skills. The story of The Broken Seals branches this way and that, following first one hero, then another, as their paths converge and part, until finally 108 brave-but not entirely admirable-men are united at the outlaws' stronghold in the Marshes of Mount Liang.The story takes us through the vast landscape of imperial China. We hear of epic duels, gargantuan feasts, and cunning ambushes, and we witness injustice, betrayal, murder and revenge. We are told also of the beauty of the moon during Mid-Autumn Festival or of the snow, crisp underfoot on a stormy night in the country.This volume consists of the first twenty-two chapters of the full 120-chapter version of the classic Chinese novel by Shi Nai'an and Luo Guanzhong. It is the first English translation based on this version and including much of the verse. It offers the English reader something of the liveliness and humour of a work which has delighted generations of Chinese readers.

This monograph is the first study of the reception of China in English literature, and the first comprehensive study on the image of China in Western literature written by prominent Chinese scholars such as Qian Zhongshu, Fan Cunzhong and Chen Shouyi. It complements such studies on the literary reception of China as Pierre Martino's L'Orient dans la litterature francaise au XVIIe et au XVIIIe siecle (1906), Ursula Aurich's China im Spiegel der deutschen Literatur des 18. Jahrhunderts (1935), and E. Horst Tscharner's China in der deutschen Dichtung bis zur Klassik (1939).

This is a collection of over 560 important and frequently-used Chinese political terms and phrases that appeared between 1949 and 1990. Each entry contains an explanation of the term and its origin, a description of how and under what circumstances the term was used, and a discussion of the changes of meaning over the years, as well as the political and social significance of the words.

This book examines the complex relationship between art and politics in the People's Republic of China from 1949 to 1984. It focuses in particular on three important aspects of this relationship - the organizational structure of China's art establishment, the ideological scheme that set the guidelines for all art work, and the use of political movements or campaigns to ensure that artists complied with the official policy.

As China's largest city best known for its pre-eminent achievements in the early part of the twentieth century, Shanghai grew modestly in comparison with southern China after the adoption of China's open policy in 1978. With the 1990 announcement of Pudong as an area for special development, Shanghai has raced ahead, seemingly on its way to an economic and cultural resurgence that is likely to accelerate development and modernization in the Yangzi Delta and China at large. This volume focuses on the physical and socioeconomic transformation of Shanghai across a wide range of topics. Drawing on the experience and expertise of researchers primarily in Hong Kong, this study is a major contribution to the subject of economic development and social change in China. It seeks to understand, analyze and interpret how Shanghai has transformed itself in recent years.