scholarly journals The Hopping Dead. Zombies in the Chinese Culture

Corpus Mundi ◽  
2021 ◽  
Vol 2 (4) ◽  
pp. 60-111
Author(s):  
Asya A. Sarakaeva ◽  
Elina A. Sarakaeva
Keyword(s):  
Chinese Culture ◽  
Modern China ◽  
Wide Scope ◽  
Government Officials ◽  
Religious Worldview ◽  
Urban Legends ◽  
Evil Spirits ◽  
The Ancient Chinese ◽  
Pictorial Image ◽  
Written Sources

The article examines the image of zombies in Chinese culture, the traditional perception of their appearance and internal characteristics. A wide scope of written sources served as the basis of the study: inscriptions on oracle bones, ancient fortune-telling calendars, historical treatises, chronicles and commentaries on chronicles, essays on geography and medicine, fiction of old and modern China, as well as entries and comments from the Chinese blogosphere. The authors examine how the idea of evil spirits (with a body or bodiless ones) first appeared in the religious worldview of the ancient Chinese, and trace its origin to the doctrine of existence of multiple souls in one person. The article also details the formation of the pictorial image of Chinese zombies: animated corpses covered with hair or dressed as government officials, with their arms extended forward, hopping on straight legs unable to bend their knees. As for the functional characteristics of zombies, the authors discuss not only their well-known features (e.g., cannibalism), but also their deep inner connection with water and drought. In conclusion, the authors explore the evolution of zombies in modern urban legends and demonstrate the continuity of traditional demonology that develops into modern narrative. Apart from that, the article contains a number of analogies and comparisons of the Chinese image of zombies with other nations’ mythological tradition.

scholarly journals Blending Myth and Modernity in the Global Chinese Cinema: The Hong Kong Action Hero in Zhang Yimou-Directed Hero

2018 ◽  
Vol 32 (2) ◽  
pp. 37-56
Author(s):  
Dhruba Karki
Keyword(s):  
Hong Kong ◽  
Martial Arts ◽  
Chinese Culture ◽  
Body Art ◽  
Modern China ◽  
Chinese History ◽  
Technological Advancement ◽  
Chinese Cinema ◽  
Chinese Empire ◽  
Action Hero

 Zhang Yimou’s Hero presents an action hero, yet in a slightly different cinematic mode than that of Stephen Chow-directed Shaolin Soccer to blend myth and modernity. In Yimou’s martial arts cinema, Jet Li-starred Nameless hero uses martial arts to combat the king’s adversaries, including Donnie Yen-starred Long Sky, Maggie Cheung-starred Flying Snow and Tony Leung Chiu-Wai-starred Broken Sword in the service to the Qin Dynasty (221 BC – 207 BC). The warrior hero’s indigenous body art helps the Qin Dynasty transform the smaller warring kingdoms into a powerful Chinese Empire, a strong foundation of modern China with economic and military superpower. Like their western counterparts, including T1000 and Neo, the Hong Kong action heroes, such as the warrior hero and the Qin King have been refashioned in the Hollywood controlled twentieth-century popular culture. Different from their Hollywood counterparts in actions, the Hong Kong action heroes in Hero primarily use their trained bodies and martial skills to promote the Chinese civilization, an adaptation of the Hollywood tradition of technologized machine body. Reworking of myth and archetype in Nameless’s service to the Qin Dynasty and the emperor’s mission to incept the Chinese Empire, the Hong Kong action heroes appear on screen, a blend of tradition and modernity. The film industry’s projection of the Chinese history with the legendary action heroes, including Nameless soldier and the Qin King globalizes the indigenous Chinese culture by using modern electronic digital technology, a resonance of the western technological advancement.

Why are Chinese ethics declining?

2016 ◽  
Vol 28 (1) ◽  
pp. 438-453
Author(s):  
Di Shang ◽  
Guanchu Liu ◽  
Shixiong Cao
Keyword(s):  
Chinese Culture ◽  
Legal Framework ◽  
Social Stability ◽  
Economic Costs ◽  
Government Officials ◽  
Communist Society ◽  
Monitoring And Enforcement ◽  
Chinese Ethics ◽  
Individual Ethics ◽  
Spontaneous Evolution

Disorder seems inevitable when a social system changes. The Soviet Union’s collapse provided a recent example, and China is now providing a new example. During China’s transformation from a communist society with a centrally planned economy to a market-based socialist society, “ethical decline” has become an increasingly serious issue, and one that has high social and economic costs. Historical experience from many cultures shows that this ethical decline is not inherent to Chinese culture. Chinese ethics are being compromised by partnerships between government officials and businessmen who benefit at the expense of society because of a lack of monitoring of such relationships during China’s radical institutional change. This growing problem poses serious risks to China’s social stability and economic development. To solve the problem, it will be necessary to establish a sound legal framework and more effective monitoring and enforcement, rather than hoping for spontaneous evolution of stronger individual ethics.

The lyric oeuvre of Afanasy Fet and Chinese idyllic poems

2021 ◽  
pp. 222-232
Author(s):  
Zh. Lu
Keyword(s):  
Chinese Culture ◽  
Human Life ◽  
Lyric Poetry ◽  
Chinese Poetry ◽  
Classical Chinese ◽  
Classical Chinese Poetry ◽  
Man And Nature ◽  
Chinese Texts ◽  
The Ancient Chinese ◽  
Light And Shadow

There are compelling similarities between Afanasy Fet’s lyric poetry and classical Chinese lyric poetry. This connection is traced in the article with specific examples. Fet, carried away by the ideas of Schopenhauer, argued that thepoetic feeling lives in every person and can be called the sixth and highest feeling. In classical Chinese poetry, the Confucian concept of ‘the sense of things,’ the Taoist formula ‘words and forms’ and the idea of the unity of man and nature played an important role. With characteristic fixation of subtle changes of light and shadow, with the transmission of flushed feelings, Fet’s oeuvre reminds the readers of the ancient Chinese lyric poetry. Like classic Chinese texts, Fet’s poems are textbooks where the idea of the unity of man and nature is developed. In both Chinese poetry and Fet’s works, human life goes into natural life, gaining eternity in the nature. As a result, although Fet was not familiar with Chinese culture, the intuitions that fed his work surprisingly coincided with pictorial techniques as a way of conveying emotion in classical Chinese poetry, separated from him by many centuries.

The Needham Puzzle Reconsidered: Organizations, Organizing, and Innovation in China

2016 ◽  
Vol 12 (01) ◽  
pp. 5-24 ◽  
Author(s):  
Mie Augier ◽  
Jerry Guo ◽  
Harry Rowen
Keyword(s):  
Chinese Culture ◽  
Industrial Revolution ◽  
Technological Development ◽  
Innovation System ◽  
The United States ◽  
National Innovation System ◽  
Modern China ◽  
Starting Point ◽  
The Future ◽  
Needham Puzzle

ABSTRACT This paper discusses some aspects of innovation in China. As China seeks to transition to a knowledge-based economy, it may become more important for China to develop innovative technologies to sustain economic growth. How do China's history, culture, institutions, and organizations aid or hinder innovation? How does China's national innovation system compare to the innovation culture in the US, as well as other developed and emerging economies? What are the prospects for the future of the Chinese national innovation system? Our starting point is the Needham Puzzle – the paradox that while China was once a world leader in technological development, it fell behind; the Industrial Revolution happened in Europe rather than in China. Potential explanations for the Needham Puzzle may shed light on the challenges facing innovation in modern China. We identify three factors that might help explain the Needham Puzzle; assess how the Needham Puzzle and Chinese culture and history have affected the modern innovation system; discuss comparative aspects of innovation ecosystems in the United States and elsewhere; and suggest that Chinese innovation emphasizes exploitation and refinement of existing knowledge to the exploration and development of new knowledge. We also discuss implications for the future of innovation in China.

scholarly journals Calligraphic Traditions in Culture and eEucation of Modern China

2019 ◽  
pp. 143-157
Author(s):  
E. M. Kulanina
Keyword(s):  
Chinese Culture ◽  
Modern Society ◽  
School Curriculum ◽  
Government Support ◽  
Public Access ◽  
University Education ◽  
Modern China ◽  
Negative Consequences ◽  
General Direction ◽  
The Government

Modern processes among Chinese citizens in the field of studying history of their culture convincingly demonstrate an increasing consistent interest in such an important part of it as writing and calligraphy traditions. After detailed analysis of the fundamental documents that control returning calligraphy to the basic school curriculum, it is possible to point out a strong tendency in sustained government support for calligraphy-based courses both as compulsory or additional education. University education also includes calligraphy. Currently, the Government of China is carrying out an educational reform focusing on teaching calligraphy in primary and secondary education; well-qualified teachers are being trained for carrying out this reform. Also there is another arousing interest in teaching calligraphy skills for the aged, which accords with the general direction of social work with a “culture of age” represented by Chinese traditions. The population interest in calligraphy is supported by the cultural-educational activities of numerous calligraphic associations.The recent discussions on calligraphy training demonstrate that this type of activity is not inferior to the pressure of digital technologies, but on the contrary, demonstrate that it still remains as a mean of communication between people, is used by government as another mean for increasing cultural level of the population, for preserving and increasing national cultural heritage.The methodology of studying mentioned questions is based on a content analysis of Chinese media publications, as well as the fundamental documents that are provided for public access on official websites of the Ministry of Education of the People’s Republic of China and on the university websites which implement and develop the latest strategy in calligraphy teacher training program. The main result of the study could be considered as clarifying the role of calligraphy in modern Chinese culture, where an intentional return to this method of mastering traditions is associated with the desire to incorporate the best of the previous achievements, and combine it with the desire to withstand the negative consequences of the changed living rhythm of modern society.

scholarly journals Principle of Number Six in Ancient Indian and Chinese Philosophy

2020 ◽  
pp. 64-67
Author(s):  
Vladimir Yurievich Yurinov ◽  
Artur Ravilevich Karimov
Keyword(s):  
Chinese Culture ◽  
Indian Philosophy ◽  
Chinese Philosophy ◽  
The Body ◽  
Ancient China ◽  
Special Significance ◽  
Ancient India ◽  
The Status ◽  
The Ancient Chinese

The paper discusses the role of the principle of the number six in the Vedic corps of ancient Indian phi-losophy and in the philosophy of ancient China. It is shown that number, counting, numerology in the culture of Ancient India and Ancient China played an important, metaphysical role. It justifies why in an-cient Indian philosophy there could be exactly six darshanas, since they exhausted the body of Vedic philosophy (astics). The rest of the schools of an-cient Indian philosophy, therefore, could not claim the status of darshan. The special significance of the number six for Chinese philosophy is also asso-ciated with the presence of six schools and with the Yin symbolism. Since the link «yin» – «yang» is im-portant for the ancient Chinese culture, the number «nine» (the symbol «yang») also acquires special significance for the ancient Chinese culture. It is assumed that together the numbers «nine» and «six» in Chinese culture mean «the number of the Sage».

scholarly journals Specific Features of Festive Culture in Modern China

ICONI ◽  
2019 ◽  
pp. 184-197
Author(s):  
Tamara A. Artashkina ◽  
◽  
Shang Bofei ◽  
Keyword(s):  
Chinese Culture ◽  
Modern China ◽  
Chinese Government ◽  
Cultural Meaning ◽  
Basic Category ◽  
Festive Culture ◽  
National Minorities ◽  
History Of ◽  
Political Conditions ◽  
Cultural Functions

The history of XX-century China can be divided into several periods that greatly altered the path of China’s historical development: Xinhai Revolution, Anti-Japanese war, civil war, establishment of PRC, Cultural Revolution, policy of reforms and openness. Uneven development of contemporary China has had its infl uence on Chinese holidays. The authors consider the concept of “national holidays of China” a basic category. In the Chinese language, a “holiday” is an unusual day or days connected with something. All national Chinese holidays fall into two categories: government and popular. Chinese government holidays include offi cial holidays established by law; they are days-off for all Chinese citizens. Currently there are 7 government holidays in China and many popular holidays. Popular holidays include traditional holidays, occupational or social holidays, holidays of national minorities or others. Not all Chinese citizens have days-off during these popular holidays. There are two aspects of cultural problems in modern China: a big gap between urban culture and rural cultures; there is a problem of active borrowing and introduction of Western culture into the national culture of China. In particular, many western holidays have intervened into the tissue of Chinese culture. However, western holidays do not alter the cultural meaning of Chinese traditional holidays; they have acquired Chinese features and enriched the life of young Chinese people. Chinese festive culture is transformed within the following areas: traditional holidays are replaced with innovative ones; modern holidays are formed under the infl uence of new social and political conditions and cultural globalization; transformation of traditional holidays changes either their quantity or their content and cultural meaning. However, the authors have come to the conclusion that despite the transformational processes the cultural meaning and main cultural functions of traditional holidays are preserved: reunion of families and, hence, the reunion of the whole nation.

scholarly journals Beyond Simplifications: Making Sense of Paradoxical Chinese Values in Chinese-Western Business Negotiations

2020 ◽  
pp. 232948842090713
Author(s):  
Marleen Spijkman ◽  
Menno D. T. de Jong
Keyword(s):  
Chinese Culture ◽  
Modern China ◽  
Simultaneous Occurrence ◽  
Chinese Values ◽  
Business Partners ◽  
Making Sense ◽  
Chinese Business ◽  
Yin And Yang ◽  
Business Negotiations

Previous research has drawn attention to the coexistence of paradoxical Chinese values in modern China, which might influence Chinese-Western business negotiations. In this study, we empirically investigate this phenomenon from the perspective of Western business negotiators. In two interview rounds, 17 seasoned Dutch negotiators were asked about their experiences when negotiating with Chinese business partners. The results confirm the coexistence of paradoxical Chinese values in business negotiations and identify four patterns in which traditional and modern values may occur: random, contextual, transitional, and simultaneous occurrence. On the basis of our findings, we argue that there is a need for Western negotiators to develop a deeper understanding of Chinese culture and paradoxical values from the Chinese worldview of Yin and Yang.

Islamic Theology in Muslim Chinese Writings: Qingzhen Shiyi of Jin Tianzhu as an Example; Teologi Islam dalam Karya-Karya Cina Islam: Qingzhen Shiyi karya hasil Jin Tianzhu sebagai salah satu contoh

2011 ◽  
Vol 8 (1) ◽  
pp. 201
Author(s):  
Ma Zhan ming
Keyword(s):  
Eighteenth Century ◽  
Chinese Culture ◽  
Chinese Language ◽  
Chinese Government ◽  
Government Officials ◽  
Daily Lives ◽  
Islamic Theology ◽  
Muslim Scholar ◽  
Chinese Muslims ◽  
Charity Work

Abstract Qingzhen Shiyi is an Islamic theology work in Chinese language authored by an eighteenth century Chinese Muslim scholar known as Jin Tianzhu. The main reason for writing this book was twofold: (2) removing suspicion from the then Chinese government officials' minds that Muslms' behavior was against the Chinese culture and practices, and (2) letting Chinese Muslims know the original teachings of Islam concerning their daily lives. This work appears to be theological cum jurisprudential because the author has discussed Islamic practices from these two angles. His arguments are to some extent apologetic because to justify the efficacy of Islamic rites and rituals the author has brought the views of Confucius. He has also been logical to explain why certain Muslim practices were highly appreciable. This paper aims at introducing that Chinese Muslim scholar and his work Qingzhen Shiyi, focusing mainly on Tianzhu's theological views on God, reward and punishment etc. and legal views on lawful and unlawful, celebration of Eid festival, charity work, wearing skullcap, ritual bath etc.

Feng Youlan and Dialectical/Historical Materialism, 1930s–1950s

2015 ◽  
Vol 50 (3) ◽  
pp. 1050-1091 ◽  
Author(s):  
XIAOQING DIANA LIN
Keyword(s):  
Chinese Culture ◽  
Historical Materialism ◽  
Approaches To Learning ◽  
Modern China ◽  
Chinese Philosopher ◽  
Stage Of Development ◽  
Before And After ◽  
Communist China ◽  
Chinese Intellectuals ◽  
Definition Of

AbstractThis article explores the acceptance of Marxism by a non-Marxist Chinese philosopher, Feng Youlan, before and after 1949. Previous studies have largely focused on establishment intellectuals in the study of Marxism and intellectuals in China, and this article seeks to fill the lacuna on the intellectual potential Marxism offered to non-Communist intellectuals in China. This article finds that for Feng Youlan, a non-Marxist Chinese intellectual, Marxism was able to provide meaningful venues for his attempt to modernize Chinese knowledge and transform Chinese culture. A Marxist emphasis on universal rules governing all human societies on the same stage of development, Marxist presentist approaches to history, and most of all, a Marxist emphasis on praxis, aided Chinese intellectuals like Feng in constructing new approaches to learning the Chinese past. The Marxist emphasis on praxis helped deepen the discussion of experience, a concept central to a reconstruction of Confucian learning in modern China, after the Communist takeover of China in 1949. Eventually the state monopoly of the definition of Marxist praxis stifled the spontaneous search for a new understanding of experience in Communist China. Nonetheless, Marxism had a transformative and lasting impact on modern Chinese scholarship, as seen from the example of Feng Youlan.

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