scholarly journals Construction of Female Awareness and Discourse Authority : Interpretation of Palace of Desire from the Perspective of Feminist Narratology

2022 ◽  
Vol 5 (1) ◽  
Author(s):  
Manfeng Fang ◽  
Keyword(s):  
Tang Dynasty ◽  
Writing Strategies ◽  
Special Period ◽  
Ancient China ◽  
Narrative Authority ◽  
Feudal Society ◽  
Feminist Narratology ◽  
Narrative Voices

Palace of Desire is an excellent costume TV series directed by Li Shaohong. There are two screenwriters named Zhen Chong and Wang Yao. They used unique writing strategies to narrate the story of Princess Tai Ping and Empress Wu Zetian who are trapped in a delimma of power and emotion during a special period of Tang Dynasty, showing the confusion of women in the feudal society of ancient China. This article will use the theory of feminist stylistics to analyze the script of Palace of Desire. To be more specific, the paper focuses on narrative voices in Palace of Desire. It is hoped that how the screenwriters construct the narrative authority of women and make the work a feminist classic can be interpreted.

scholarly journals Double Readings and Double Rewritings. Alternative Texts in Mary O'Donnell's Remake of Mary Lavin's "The Widow's Son"

ABEI Journal ◽  
2019 ◽  
Vol 20 (2) ◽  
Author(s):  
Giovanna Tallone
Keyword(s):  
Women Writers ◽  
Short Story ◽  
Urban Setting ◽  
Background Information ◽  
Source Text ◽  
Narrative Authority ◽  
Significant Figure ◽  
Irish Women ◽  
Suburban Life ◽  
Narrative Voices

Mary O’Donnell’s short story “The Story of Maria’s Son”, from her collection Storm over Belfast (2008), consciously and openly rewrites Mary Lavin’s story “The Widow’s Son” in the urban setting of contemporary Ireland. O’Donnell follows the steps of a significant figure among Irish women writers and plays with the plot of her source text in a process of expansion, providing background information to weave a realistic pattern of suburban life. However, O’Donnell also engages with the structure, tone and narrative modes of the Lavin original and reproduces the pattern of Lavin’s story in her deliberate use of a double ending, or of alternative endings, thus questioning narrative authority. The purpose of this paper is to analyse Mary O’Donnell’s “The Story of Maria’s Son”, vis-à-vis Lavin’s “The Widow’s Son”, shedding light on the way both texts elaborate conflicting endings and taking into account the variety of narrative voices in both stories. If on the level of plot the tragedy of the loss of the son is generated by a mother-son conflict, on the level of discourse and structure O’Donnell develops the conflicting double endings into a postmodern reflection on the construction of texts.Keywords: rereading; rewriting; alternative ending; Mary O’Donnell; Mary Lavin.

scholarly journals Brass products in the coronet excavated from a M2-numbered Sui-Tang-dynasty tomb situated in Kun Lun Company in Xi'an, Shaanxi

2021 ◽  
Author(s):  
Yanbing Shao ◽  
Fengrui Jiang ◽  
Jingnan Du ◽  
Junchang Yang ◽  
Quanmin Zhang
Keyword(s):  
Tang Dynasty ◽  
Hot Forging ◽  
Metallographic Analysis ◽  
Historical Period ◽  
Central Plains ◽  
Second Stage ◽  
Feudal Society ◽  
Composition Segregation ◽  
Tangible Evidence ◽  
Selection Of

Abstract In this study, the brass wires in the coronet excavated from M2 tomb in Xi'an, Shaanxi, dating back to Sui-Tang-dynasty were probed via portable X-ray fluorescence spectrometry (XRF) and scanning electron microscopy in combination with energy dispersive spectrometry (SEM-EDS) techniques. The wires were found to be composed of 83 wt% of copper, 12 wt% of zinc, and 3 wt% of tin. According to the metallographic analysis, the wires were formed by integral hot forging, and were then installed on the coronet after surface cold shaping, via cutting and hammering during the production of the support parts. It indicated that the composition of brass was evenly distributed without obvious composition segregation, revealing the features of the second stage of brass smelting in ancient China, which may prove brass had appeared and brass smelting technology had been mastered in the Sui-Tang-dynasty in the Central Plains of China. In addition, the use of brass in the coronet was in accorded with the hierarchical symbol given to the material by the feudal society. And the selection of brass was based on the dual combination of the excellent mechanical properties and the golden surface of brass. Thus, brass in the Sui-Tang-dynasty historical period was the tangible evidence of the development level of metallurgical technology, and also reflected the artistic and social attributes given to materials by different stages of social development.

Ancient China: Chinese Civilization from Its Origins to the Tang Dynasty

2003 ◽  
Vol 123 (4) ◽  
pp. 851
Author(s):  
Antonino Forte ◽  
Maurizio Scarpari
Keyword(s):  
Tang Dynasty ◽  
Ancient China ◽  
The Tang Dynasty

scholarly journals Interpreters and the Writing of History in China

2009 ◽  
Vol 54 (2) ◽  
pp. 201-217 ◽  
Author(s):  
Rachel Lung
Keyword(s):  
Tang Dynasty ◽  
Primary Sources ◽  
Historical Records ◽  
Ancient China ◽  
Historical Texts ◽  
History Of ◽  
The Tang Dynasty ◽  
Liang Dynasty ◽  
Historical Accounts ◽  
Made In

Abstract This article argues that interpreters are crucial figures in the recording of history. Evidence taken from historical texts in ancient China is used to verify the claim that interpreters’ notes might have been used as a reference in composing historical records. By documenting the Tang dynasty (AD 618-907) policy to have interpreters interview foreign envoys and submit the relevant accounts to the Bureau of Historiography, this article provides background for the link between interpreters’ interview notes and history compilation in China. Evidence is further drawn from the history of the Sui dynasty (AD 581-618), whereby an interpreter’s mediated account of the emperor’s conversation with a Japanese envoy was directly adapted. Most interestingly, pictorial and written documents of foreign peoples made in the mid-6th century during the Liang dynasty (AD 502-557) were found to be very similar to the written accounts about these foreign peoples in Liangshu, the history of the Liang dynasty, completed in the early 7th century. Apparently, there is a solid link between the interview accounts and historical accounts about foreign peoples in China. Thus, there is a strong possibility that interpreters’ notes, in the form of reports, provide important, if not primary, sources for history compilation in China.

scholarly journals Textual Research on Henna Art Introduced into Ancient China Through the Silk Road

2020 ◽  
Vol 16 (9) ◽  
pp. 21
Author(s):  
Xue Yang ◽  
Yu Liu
Keyword(s):  
Tang Dynasty ◽  
Ancient Egypt ◽  
Silk Road ◽  
Ancient China ◽  
Chinese Traditional Culture ◽  
Jin Dynasty ◽  
Mixed Use ◽  
The Tang Dynasty ◽  
Textual Research ◽  
The Silk Road

Since ancient Egypt, henna has been widely used as dyes for women’s henna body art. Through the Silk Road, China assimilated cultures of its Western Regions, India, and Persia, such as the henna art. In Ancient China the "garden balsam" is always called "henna". Nevertheless, they belong to two different kinds of flowers. Folks’ mixed use of these two kinds of flower names reflects the profound impact of the henna art on Chinese traditional culture of decorative nails. This textual research results revealed that in ancient China the customs of dye red nails are affected by foreign henna art and there were three development stages: the introduction period (from the Western Jin Dynasty to the Tang Dynasty), the development period (in the Song-Yuan Dynasty) and the popularity period (in the Ming-Qing Dynasty).

New Thoughts on the Social Forms of Ancient China (from the Zhou to Qing Dynasties)

2014 ◽  
Vol 1 (1) ◽  
pp. 51-66 ◽  
Author(s):  
Zhang Jinguang †
Keyword(s):  
Social History ◽  
Tang Dynasty ◽  
State Power ◽  
State Ownership ◽  
Chinese History ◽  
Ancient China ◽  
Social Forms ◽  
The Social ◽  
Spring And Autumn Period ◽  
Village Societies

Abstract The entire course of ancient Chinese history has centered on state power, which dominated and shaped the basic picture of social history. The key to Chinese state power has been the state ownership of land, and based on this we can divide the social forms of ancient China into four successive periods: the period of yishe 邑社時代 or village societies (Western Zhou Dynasty and the Spring and Autumn Period); the period of official communal system 官社時代 (Warring States Period to Qin Dynasty to the early Han Dynasty); the period of half official communal system 半官社時代 (Han to Tang Dynasty); and the period of state vs. individual peasants 國家個體小農時代 (Song to Qing Dynasty).

scholarly journals A Study of American Cultural Export to China From 1910 ---1949

2021 ◽  
Vol 3 (1) ◽  
Author(s):  
Yijie Lin
Keyword(s):  
United States ◽  
The United States ◽  
Chinese Society ◽  
American Education ◽  
Capitalist Country ◽  
Ancient China ◽  
Major Powers ◽  
Feudal Society ◽  
Opium War ◽  
The World

 Since the Opium War, China has gradually degenerated into a semi colonial and semi feudal society, and the major powers of the world have invaded China one after another to seize various privileges and interests. As an emerging capitalist country, the United States has different ways of aggression. This was related to the national strength and world situation of the United States at that time, but it was more based on the consideration of the national strategic interests of the United States. Based on the historical facts, this paper mainly studies the cultural export of ancient China from the perspective of American education and medical treatment, so as to further explore the purpose of this cultural export and its impact on Chinese society.

scholarly journals Reconstruction designs of an early Chinese astronomical clock with a waterwheel steelyard clepsydra

2021 ◽  
Vol 12 (2) ◽  
pp. 891-911
Author(s):  
Zeng-Hui Hwang ◽  
Tsung-Yi Lin ◽  
Hong-Sen Yan
Keyword(s):  
Tang Dynasty ◽  
Design Methodology ◽  
Historical Records ◽  
Ancient China ◽  
Design Specifications ◽  
Astronomical Clock ◽  
Technological Level ◽  
The Tang Dynasty ◽  
Ancient Times ◽  
Original Device

Abstract. During the 8th century, ancient China began to use a steelyard clepsydra to control the waterwheel, giving it a time-keeping function for use in hydromechanical astronomical clocks. In the Tang Dynasty, the monk I-Hsing (683–723 CE) and Liang Lingzan jointly built a water-powered celestial globe (shuiyun huntian), which, according to historical records, was China's first hydromechanical astronomical clock with a waterwheel steelyard clepsydra. However, the original device has since been lost. The objective of this study is to use the design methodology for the reconstruction of lost ancient machinery to systematically reconstruct this lost clock. The methodology included the study of ancient literature to formulate reconstruction design specifications. Through the process of generalization and specialization, the target device was analyzed to determine its function, and different mechanical configurations that achieved the same function were developed. Thereafter, an atlas of possible mechanical sketches that were consistent with the technological level of ancient times was built. A computer 3D reconstruction of the waterwheel steelyard clepsydra, time-reporting device, and astronomical device was carried out, and 50 possible configurations were developed. One was selected to build a physical model.

Ancient Chinese Bronze Casting Methods: The Dilemma of Choice

MRS Advances ◽  
2017 ◽  
Vol 2 (33-34) ◽  
pp. 1743-1768
Author(s):  
Michael R. Notis ◽  
DongNing Wang
Keyword(s):  
Tang Dynasty ◽  
Warring States Period ◽  
Ancient China ◽  
Warring States ◽  
The Past ◽  
Mold Casting ◽  
Spring And Autumn Period ◽  
History Of ◽  
The Tang Dynasty ◽  
Bronze Casting

AbstractThe history of the manufacture of the magnificent bronze castings produced in ancient China has been reinterpreted a number of times during the past hundred years or so. These bronzes were first believed to be fabricated by lost wax (cire perdue) casting, but this gave way to a belief that piece mold casting was the dominant, if not the sole method of manufacture from the Shang (1700-1100 BCE) until possibly as late as the Tang dynasty (618-907 CE). This has been reinforced by the finding, a number of years ago, of the Houma piece mold foundry, as well a number of more recent similar finds. However, this stance was challenged by the discovery of openwork bronze objects as early as in the 1920s, and more strongly challenged in the late 1970s by finds of intricately cast interwoven openwork bronze objects at the Tomb of the Marquis of Yi, dated to the Warring States Period (475-221 BCE). Since then many other similar bronze objects have been found. Questions exist concerning the very existence of the lost-wax process as early as the Spring and Autumn Period (771 to 476 BCE), and was it independently developed in China, or was it introduced from the outside.

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