Li Guo – författare

From ancient gameboards to Honor of Kings, games as cultural agentsGames as global and connected phenomena have been examined in the rising scholarly field of game studies, but relatively little has been published on the history of games and gaming in China. Weiqi (a.k.a. Go), one of the world’s oldest board games, originated in China; a variety of Chinese card, dice, board, sport, and performance games have been developed over the millennia; and China is quickly becoming a major player in the contemporary digital game industry. In exploring games and practices of play across social and historical contexts, this volume examines representations of gender, class, materiality, and imaginations of the nation in Chinese and Sinophone contexts, while addressing ways in which games inhabit, represent, disrupt, or transform cultural and social practices. Both analog and computer games are represented in analyses that draw connections between the traditional and the modern and between local or regional and higher-order economic, cultural, and political structures. Among the topics explored are rock carvings of board games, weiqi cultures, scholars’ and courtesans’ games, gambling, games based on literature, video-game politics, and appropriation of Chinese culture in video games.The open access publication of this book was made possible by a grant from the James P. Geiss and Margaret Y. Hsu Foundation.

From ancient gameboards to Honor of Kings, games as cultural agentsGames as global and connected phenomena have been examined in the rising scholarly field of game studies, but relatively little has been published on the history of games and gaming in China. Weiqi (a.k.a. Go), one of the world’s oldest board games, originated in China; a variety of Chinese card, dice, board, sport, and performance games have been developed over the millennia; and China is quickly becoming a major player in the contemporary digital game industry. In exploring games and practices of play across social and historical contexts, this volume examines representations of gender, class, materiality, and imaginations of the nation in Chinese and Sinophone contexts, while addressing ways in which games inhabit, represent, disrupt, or transform cultural and social practices. Both analog and computer games are represented in analyses that draw connections between the traditional and the modern and between local or regional and higher-order economic, cultural, and political structures. Among the topics explored are rock carvings of board games, weiqi cultures, scholars’ and courtesans’ games, gambling, games based on literature, video-game politics, and appropriation of Chinese culture in video games.The open access publication of this book was made possible by a grant from the James P. Geiss and Margaret Y. Hsu Foundation.

Reportage in the Chinese-Speaking World examines reportage as an important aesthetic form of cultural production in the Sinophone world. Originating as a proletarian nonfiction form in interwar Europe, reportage spread around the world, coming into its own in the Sinophone world from the 1930s to today. Going beyond fact-based journalism, reportage is pursued through a variety of artistic forms and media, from nonfiction writing to photography to documentary film. Reportage’s plurimedial representations facilitate and amplify intersectional struggles against multiple forms of social and political oppression. Engaging its audiences in affective ethico-political exchanges with (human or nonhuman) subjects, reportage promotes audiences’ empathetic responses to the democratic appeals of marginalized groups whose status, identity, or situation manifest emergent ethical challenges in the society of their time.This work offers new understandings of reportage’s dialectical relationship with its readership by evoking sympathetic identifications with personal contemplations of place, hearth, and senses of belonging. Covering a breadth of media across mainland China, Taiwan, and the Sinophone diaspora in the United States and Japan, this book examines how intermediality cultivates distinctive expressions in reportage, cross-cultural empathy, and ethico-political relationships between the reporter, photographer, filmmaker, and their surroundings.

Reportage in the Chinese-Speaking World examines reportage as an important aesthetic form of cultural production in the Sinophone world. Originating as a proletarian nonfiction form in interwar Europe, reportage spread around the world, coming into its own in the Sinophone world from the 1930s to today. Going beyond fact-based journalism, reportage is pursued through a variety of artistic forms and media, from nonfiction writing to photography to documentary film. Reportage’s plurimedial representations facilitate and amplify intersectional struggles against multiple forms of social and political oppression. Engaging its audiences in affective ethico-political exchanges with (human or nonhuman) subjects, reportage promotes audiences’ empathetic responses to the democratic appeals of marginalized groups whose status, identity, or situation manifest emergent ethical challenges in the society of their time.This work offers new understandings of reportage’s dialectical relationship with its readership by evoking sympathetic identifications with personal contemplations of place, hearth, and senses of belonging. Covering a breadth of media across mainland China, Taiwan, and the Sinophone diaspora in the United States and Japan, this book examines how intermediality cultivates distinctive expressions in reportage, cross-cultural empathy, and ethico-political relationships between the reporter, photographer, filmmaker, and their surroundings.

This ground-breaking volume on early modern inter-Asian translation examines how translation from plain Chinese was situated at the nexus between, on the one hand, the traditional standard of biliteracy characteristic of literary practices in the Sinographic sphere, and on the other, practices of translational multilingualism (competence in multiple spoken languages to produce a fully localized target text). Translations from plain Chinese are shown to carve out new ecologies of translations that not only enrich our understanding of early modern translation practices across the Sinographic sphere, but also demonstrate that the transregional uses of a non-alphabetic graphic technology call for different models of translation theory.

In Women's Tanci Fiction in Late Imperial and Early Modern China, Li Guo presents the first book-length study in English of women's tanci fiction, the distinctive Chinese form of narrative written in rhymed lines during the late imperial to early modern period (related to, but different from, the orally performed version also called tanci). She explores the tradition through a comparative analysis of five seminal texts. Guo argues that Chinese women writers of the period position the personal within the diegesis in order to reconfigure their moral commitments and personal desires. By fashioning a “feminine” representation of subjectivity, tanci writers found a habitable space of self-expression in the male-dominated literary tradition.Through her discussion of the emergence, evolution, and impact of women's tanci, Guo shows how historical forces acting on the formation of the genre serve as the background for an investigation of cross-dressing, self-portraiture, and authorial self-representation. Further, Guo approaches anew the concept of “woman-oriented perspective” and argues that this perspective conceptualizes a narrative framework in which the heroine(s) are endowed with mobility to exercise their talent and power as social beings as men's equals. Such a woman-oriented perspective redefines normalized gender roles with an eye to exposing women's potentialities to transform historical and social customs in order to engender a world with better prospects for women.

Women's tanci, or ""plucking rhymes,"" are chantefable narratives written by upper-class educated women from seventeenth-century to early twentieth-century China. Writing Gender in Early Modern Chinese Women's Tanci Fiction offers a timely study on early modern Chinese women's representations of gender, nation, and political activism in their tanci works before and after the Taiping Rebellion (1850 to 1864), as well as their depictions of warfare and social unrest. Women tanci authors' redefinition of female exemplarity within the Confucian orthodox discourses of virtue, talent, chastity, and political integrity could be bourgeoning expressions of female exceptionalism and could have foreshadowed protofeminist ideals of heroism. They establish a realistic tenor in affirming feminine domestic authority, and open up spaces for discussions of ""womanly becoming,"" female exceptionalism, and shifting family power structures. The vernacular mode underlying these texts yields productive possibilities of gendered self-representations, bodily valences, and dynamic performances of sexual roles. The result is a vernacular discursive frame that enables women's appropriation and refashioning of orthodox moral values as means of self-affirmation and self-realization. Validations of women's political activism and loyalism to the nation attest to tanci as a premium vehicle for disseminating progressive social incentives to popular audiences. Women's tanci marks early modern writers' endeavors to carve out a space of feminine becoming, a discursive arena of feminine appropriation, reinvention, and boundary-crossings. In this light, women's tanci portrays gendered mobility through depictions of a heroine's voyages or social ascent, and entails a forward-moving historical progression toward a more autonomous and vested model of feminine subjectivity.

Women's tanci, or ""plucking rhymes,"" are chantefable narratives written by upper-class educated women from seventeenth-century to early twentieth-century China. Writing Gender in Early Modern Chinese Women's Tanci Fiction offers a timely study on early modern Chinese women's representations of gender, nation, and political activism in their tanci works before and after the Taiping Rebellion (1850 to 1864), as well as their depictions of warfare and social unrest. Women tanci authors' redefinition of female exemplarity within the Confucian orthodox discourses of virtue, talent, chastity, and political integrity could be bourgeoning expressions of female exceptionalism and could have foreshadowed protofeminist ideals of heroism. They establish a realistic tenor in affirming feminine domestic authority, and open up spaces for discussions of ""womanly becoming,"" female exceptionalism, and shifting family power structures. The vernacular mode underlying these texts yields productive possibilities of gendered self-representations, bodily valences, and dynamic performances of sexual roles. The result is a vernacular discursive frame that enables women's appropriation and refashioning of orthodox moral values as means of self-affirmation and self-realization. Validations of women's political activism and loyalism to the nation attest to tanci as a premium vehicle for disseminating progressive social incentives to popular audiences. Women's tanci marks early modern writers' endeavors to carve out a space of feminine becoming, a discursive arena of feminine appropriation, reinvention, and boundary-crossings. In this light, women's tanci portrays gendered mobility through depictions of a heroine's voyages or social ascent, and entails a forward-moving historical progression toward a more autonomous and vested model of feminine subjectivity.

This book constitutes the refereed proceedings of the workshops held at the 16th Asia-Pacific Web Conference, APWeb 2014, in Changsha, China, in September 2014. The 34 full papers were carefully reviewed and selected from 59 submissions. This volume presents the papers that have been accepted for the following workshops: First International Workshop on Social Network Analysis, SNA 2014; First International Workshop on Network and Information Security, NIS 2014; First International Workshop on Internet of Things Search, IoTS 2014. The papers cover various issues in social network analysis, security and information retrieval against the heterogeneous big data.

This book constitutes the refereed proceedings of the International Conference on Applications and Techniques in Information Security, ATIS 2015, held in Beijing, China, in November 2015. The 25 revised full papers and 10 short papers presented were carefully reviewed and selected from 103 submissions. The papers are organized in topical sections on invited speeches; cryptograph; evaluation, standards and protocols; trust computing and privacy protection; cloud security and applications; tools and methodologies; system design and implementations.

This is a study of the life and work of Ibn Dāniyāl (d. 1310), a Cairo-based eye doctor, poet, playwright, court jester, and arguably one of the most controversial cultural figures of his time. Drawing on medieval Arabic sources, many still in manuscript and some used for the first time, the author further contextualizes Ibn Dāniyāl’s work with respect to poetry production and popular culture in the Islamic Near East in the post-Mongol period. The book also presents the first full English translation of “The Phantom,” one of Ibn Dāniyāl’s three shadow plays, the only surviving pre-Ottoman Arabic theatrical texts.

This handbook aims mainly at an analytical documentation of all the known textual remnants and the preserved artifacts of Arabic shadow theatre, a long-lived, and still living, tradition — from the earliest sightings in the tenth century to the turn of the twentieth century. The book consists of three main parts and a cluster of appendixes. Part One presents a history of Arab shadow theatre through a survey of medieval and premodern accounts and modern scholarship on the subject. Part Two takes stock of primary sources (manuscripts), published studies, and the current knowledge of various aspects of Arabic shadow theatre: language, style, terminology, and performance. Part Three offers an inventory of all known Arabic shadow plays. The documentation is based on manuscripts (largely unpublished), printed texts (scripts, excerpts), academic studies (in Arabic and Western languages), journalist reportage, and shadow play artifacts from collections worldwide.

This handbook aims mainly at an analytical documentation of all the known textual remnants and the preserved artifacts of Arabic shadow theatre, a long-lived, and still living, tradition — from the earliest sightings in the tenth century to the turn of the twentieth century. The book consists of three main parts and a cluster of appendixes. Part One presents a history of Arab shadow theatre through a survey of medieval and premodern accounts and modern scholarship on the subject. Part Two takes stock of primary sources (manuscripts), published studies, and the current knowledge of various aspects of Arabic shadow theatre: language, style, terminology, and performance. Part Three offers an inventory of all known Arabic shadow plays. The documentation is based on manuscripts (largely unpublished), printed texts (scripts, excerpts), academic studies (in Arabic and Western languages), journalist reportage, and shadow play artifacts from collections worldwide.

This volume on early modern inter-Asian translation examines how translation from plain Chinese was situated at the nexus between, on the one hand, the traditional standard of biliteracy characteristic of literary practices in the Sinographic sphere, and on the other hand, practices of translational multilingualism.

This book aims at illustrating the OBOR Initiative (also known as "Belt and Road Initiative" or BRI), its many facets, including its background, and how the Chinese government intends to develop this ambitious project. It describes in detail the role and involvement of Institutions (lenders, in particular) in the OBOR Initiative. It offers guidance on how interested parties can participate in the different projects connected to the Initiative. The views of the authors, on the main aspects of this Initiative, serve as suggestions to parties interested in taking part in this Initiative.The book provides an exceptional amount of information about how projects connected to the BRI Initiative are financed and developed. The involvement of UBS clearly shows that financial institutions are interested in financing the Initiative.There is a special focus on the relationship between China and the EU, because the scope of this Initiative is not only to boost trade relationships between the two regions but also create new opportunities for all the countries along the Silk Road.

The book aims to exemplify the recent developments in operad theory, in universal algebra and related topics in algebraic topology and theoretical physics. The conference has established a better connection between mathematicians working on operads (mainly the French team) and mathematicians working in universal algebra (primarily the Chinese team), and to exchange problems, methods and techniques from these two subject areas.