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This book provides an introduction to the reading of Classical Chinese. The passages are selected from pre-Ch'in works such as Mencius, Han Fei Tzu, Chuang Tzu, and Lunyu, and are chosen to illustrate grammatical usage, important issues discussed by the various schools of philosophy, and at times to introduce anecdotes.

The loss of direction and the ensuing search for orientation have been an integral part of China's modernisation process, the most serious attempt to find a direction following the Marxist approach that was carried to extremes under the Cultural Revolution (1966-1976). The essays of this book show the tenacity of old traditions and how by the 1990s there was a clear and vigorous resurgence of old practices and references to the past, and that these in fact were manifestations of a rejection of the Cultural Revolution. The essays include: Star Wars and the Confucian Ethic; Confucianism and Deng's China; The Invention of the Modern Chinese Self; Continuity in the Relationship Between Law and Administration; Changes in the Discourse on Political Morality in the 1980s and 1990s; Secular Karma: The Communist Revolution Understood in Traditional Terms; Before Tradition: the Book of Changes, Yang Lian's Yi and the Affirmation of the Self Through Poetry; Traditional Chinese Music in 1989: The Art Cup; Towards Self-Reliance?: A Selective View of Contemporary Chinese Art; Images of 'Feudal' Marriage in Recent Chinese Films; Irrational Belief Among the Chinese Elite; and Qigong, Daoism and Science: Some Contexts for the Qigong Boom.

In this selection of papers presented at the International Conference on Cultural Dialogue and Misreading held at Peking University, leading academics from all parts of the world explore the significance of relativism in a postcolonial world.

The T'aengniji, written by Yi Chung-hwan (1690-1756), is a Korean work for choosing sites for settlement. It continues to be widely studied. and is a masterpiece in the human geography of the late Choson dynasty and a work for understanding the political and economic history of the time.

This volume focuses on literary intercrossings between East Asia and the west. The 22 essays in the text examine the dimensions of such intercrossings while providing insights on various aspects of specific intercrossings.

This work contains forty papers selected from nearly one hundred and thirty presented at the Third Pacific and Asia Conference on Korean Studies held at the University of Sydney in July 1996.

This textbook is aimed at students who have a basic reading knowledge of the Chinese language and wish to develop it further. The selections - drama, poetry, fiction, prose and essays - are from 20th-century Chinese writers who have distinguished themselves in literature and politics.

This is the autobiography of Liu Wei-ping, who was born in 1915, just a decade after the abolition of the Confucian-based civil service examination. As a young man, he was recruited into the Foreign Office and sent to Australia in early 1945.

Guan Wei is an artist of our times. He was born in Beijing, migrated to Australia, and now lives and works in Sydney and Beijing. "Other Histories" was a major installation by Guan at the Powerhouse Museum, Sydney, in 2006-2007. The exhibition, inspired by the voyages of Ming dynasty admiral Zheng He (1371-1432) and the artist's own journey of migration to Australia, combined large-scale mural paintings and museum objects, transforming the gallery into a floating poetic corridor in which history and memory, fact and fiction, are blurred.This beautifully designed and illustrated book documenting the exhibition includes a statement and working drawings by Guan and essays by curator Claire Roberts; Geremie R. Barme, a leading historian and Sinologist specializing in China's cultural and intellectual history; and award-winning novelist Alexis Wright, a member of the Waanyi nation of the southern highlands of the Gulf of Carpentaria.

This book contains forty-one color reproductions, mostly of Hu Ming's recent work, including her acclaimed 14-meter-long ""Relic of the New 87 Immortals"", completed in 2007. It also features a lengthy introduction to Hu Ming's art by well-known Australian art historian and critic John MacDonald.Born in Beijing in 1955, Hu Ming joined the People's Liberation Army (PLA) as a young teenager. She was granted leave to study at the Tianjin Art Academy, and on graduating was assigned work as artistic designer in the PLA's film production unit. Retiring after twenty years' service in 1985 with the rank of major, she traveled to New Zealand in 1990. There she turned from painting with Chinese inks and has since effectively transposed and developed the traditional Gongbi style to works executed with oils on canvas. Hu has taken the depiction of the seminude female body to new dimensions with work that exudes a unique sensuality and a dynamic realism. Her paintings, often showing women who are partially clad in PLA uniforms, are mischevious and provocative. In 1999, she relocated to Australia, where she has established herself as an important Sydney-based artist.