Spring and Autumn Annals of Wu and Yue

Author(s):  
Jianjun He

This book is the first complete English translation of Wu Yue Chunqiu, a chronicle of two neighboring states during China's Spring and Autumn period. This collection of political history, philosophy, and fictional accounts depicts the rise and fall of Wu and Yue and the rivalry between them, the inspiration for centuries of poetry, vernacular fiction, and drama. Wu Yue Chunqiu makes use of rich sources from the past, carefully adapting and developing them into complex stories. Historical figures are transformed into distinctive characters; simple records of events are fleshed out and made tangible. The result is a nuanced record that is both a compelling narrative and a valuable historical text. As one of the earliest examples of a regional history, Wu Yue Chunqiu is also an important source for the history of what is now Zhejiang and Jiangsu. This engaging translation and the extensive annotations make this significant historical and literary work accessible to an English-speaking audience for the first time.

2013 ◽  
Vol 40 (2) ◽  
pp. 244-256 ◽  
Author(s):  
Holger Funk

In the history of botany, Adam Zalužanský (d. 1613), a Bohemian physician, apothecary, botanist and professor at the University of Prague, is a little-known personality. Linnaeus's first biographers, for example, only knew Zalužanský from hearsay and suspected he was a native of Poland. This ignorance still pervades botanical history. Zalužanský is mentioned only peripherally or not at all. As late as the nineteenth century, a researcher would be unaware that Zalužanský’s main work Methodi herbariae libri tres actually existed in two editions from two different publishers (1592, Prague; 1604, Frankfurt). This paper introduces the life and work of Zalužanský. Special attention is paid to the chapter “De sexu plantarum” of Zalužanský’s Methodus, in which, more than one hundred years before the well-known De sexu plantarum epistola of R. J. Camerarius, the sexuality of plants is suggested. Additionally, for the first time, an English translation of Zalužanský’s chapter on plant sexuality is provided.


2020 ◽  
Vol 11 (2) ◽  
pp. 113
Author(s):  
Novarina Novarina ◽  
Mamlahatun Buduroh

This paper is the result of a study of the Nusantara manuscripts using the historical text sources of Madura. The object of this research is the transliteration of a manuscript from the collection of the Central Library of Indonesia entitled Sajarah Proza Begin Brawijaya (SPBB) code SJ.230 Novarina edition (2020). In examining the manuscript, the philological method and literary theory framework were used. From the field of literature, Jan van Luxemburg's structural theory, Julia Kristeva's intertextuality, and Teeuw's concept of literary representation are used. From the structural study, it can be seen that the SPBB text framework is composed of literary structures and content structures (history), which as a whole serve to legitimize the power of the 17-18 century Madurese king. Meanwhile, the results of the intertextual analysis showed that the elements built into the content structure (history) of the SPBB text were connected with M.C. Ricklefs and H.J. De Graaf in representing Cakraningrat as the main figure in the history of Java, Madura, and VOC based on the author's life view to raise one of the values of the Javanese philosophy of life in this text. This linkage results in the conclusion that as a traditional Javanese historical literary work, the SPBB text is representative of its creator's culture, one of which is as a representation of the philosophy of mikul dhuwur mendhem jero in the Javanese view of life.


2020 ◽  
pp. 165-173
Author(s):  
Kostyantyn Chechenya

The article studies the development of guitar art in Ukraine at the beginning of the XXIst century. This topic is virtually not researched in domestic musicology. All the research is primarily devoted to pan-European trends or regional school. For the first time, this study analyzes various aspects of the activity of the Guitarists Association of the NUMU (National All-Ukrainian Music Union) presenting historical material on the formation of guitar art in Ukraine, and information on outstanding musicians of the past. Factual material on the history of the National All-Ukrainian Music Union and the Association of Guitarists as its creative center has been gathered. The article traces the development of the guitar movement in Ukraine at the beginning of the new century from the First All-Ukrainian Festival-Competition of Guitar Art of Valery Petrenko to the presentday events. It emphasizes ways of development of competitive activity, the case of Oleg Stefaniuk Open Competition of Music Masters (2019), online competitions of performers "Guitar Play" and competition "Compoguitar". The only specialized magazine Guitar in Ukraine, published regularly since 2008, facilitates the promotion of the guitar art. Hence, the active and diverse activities of Guitarists Association of the NUMU have significantly contributed to the development of Ukrainian guitar art in the performing and academic-pedagogical aspect.


Author(s):  
D.V. Budianskyi

The characteristic features of I. Kavaleridze’s drama is considered in the article. It is noted that there are signs of the artist’s individuality, attraction to expressionist forms, artistic techniques characteristic for the art of sculpture: symbolism, monumentality, hyperbole. I. Kavaleridze was well versed in the drama laws, understood the specifics of the stage events construction, had a large arsenal of literary means, thanks to which the characters’ monologues and dialogues were extremely expressive and colorful. In his work, he implemented original solutions that were ahead of time. Therefore, many of the artist’s ideas and achievements received due recognition only after his death. I. Kavaleridze’s creative heritage covers a wide range of both purely artistic and general philosophical problems. Among them the formation of the era of modernism and its features in the Ukrainian art of the early XX century, the impact of revolutionary ideas on the work of the 1920s, the role of spiritual leaders of the Ukrainian people T. Shevchenko and G. Skovoroda in the formation of national consciousness, political and ideological pressure on figurative art language and the formation of a socialist-realist canon, etc. The analysis of the productions of I. Kavalerizde’s plays “The First Furrow” and “Gregory and Paraskeva” on the stage of the Mykhailo Shchepkin Sumy Theater of Drama and Musical Comedy in 1970-1972. The article notes that these plays were staged in Sumy for the first time in the history of Ukrainian theater. The premiere of “The First Furrow” (the play was called “Old Men”) took place on March 19, 1970. The figure of the national genius Hryhoriy Skov oroda was als o embodied for the first time on t he stage in Sumy in th e play “Hryhoriy and Paraskeva”. It premiered on October 21, 1972. I. Rybchynsky, Honored Artist of the USSR, performed the production. Creating generalized historical outlines of people’s life, features of life at that time, depicting psychological portraits of people in various, sometimes-dramatic collisions, in the productions of I. Kavaleridze’s plays on the Sumy stage the emphasis was on universal values such as virtue, love. The main character was the Ukrainian people, who nurtured such large-scale historical figures, gave them strength and wisdom for great achievements. Based on publications in periodicals of that time, memoirs of Ukrainian directors, the peculiarities of the director’s interpretation, stenographic and musical design of these plays on the Sumy stage are considered. Considerable attention is paid to the analysis of acting works in I. Kavaleridze’s plays. In particular, the peculiarities of the actor’s embodiment of the image of the national genius Hryhoriy Skovoroda on the stage are presented. It is noted that I. Kavaleridze’s plays, created in a difficult political, social and ideological context, are rightly considered to be highly artistic works of Ukrainian drama. Their staging was carried out on various theatrical stages, including Mykhailo Shchepkin Sumy Theater of Drama and Musical Comedy is an important page of national theatrical art.


Author(s):  
K.L. Dhammajoti

Abhidharma had its origin in certain systematizing, analytical, and exegetical features found in the Sūtra, particularly, mātṛikā (summary list), abhidharma-kathā (discussion about the doctrine), vibhaṅga (“analytical exposition”), and upadeśa (exegetical elaboration). Buddhist philosophies may have been primarily initiated and vigorously elevated in the Abhidharma tradition. However, while the Abhidharma treatises undoubtedly exhibit highly developed scholastic and hermeneutical components, Abhidharma is essentially a soteriology. The Sarvāstivāda Ābhidhārmikas consistently claim that Abhidharma is truly “Buddha-word,” being the sine quo non for ascertaining the true intents of the sutras—it constitutes the ultimate authority for discerning the definite and explicit discourses (nītārtha-sūtra) of the Buddha. Sarvāstivāda, the “All-exist School,” was undoubtedly one of the most important Buddhist schools in the period of Abhidharma Buddhism. Since its establishment around the 2nd century bce, it exerted tremendous impact, directly or indirectly, on the subsequent development of Indian Buddhism. This school possesses a complete set of seven canonical Abhidharma texts, nearly all of which are now preserved in Chinese translation, and one, the Prajñapti-śāstra, is preserved in a complete Tibetan translation. A huge compendia, The Great Abhidharma Commentary (Abhidharma-mahāvibhāṣā), whose gradual compilation must have spanned over more than half a century and was fully completed around 150 ce, is now extant only in Chinese. This compendia, encyclopedic in scope, defines the doctrinal positions of the orthodox Sarvāstivādins based in Kaśmīra, who subsequently came to be known as the Vaibhāṣikas. The central thesis of the school is sarvāstivāda or sarvāstitā (/sarvāstitva), which claims that all “dharmas”—fundamental realities or real entities of existence—sustain their unique intrinsic natures throughout the three periods of time. That is, whether future, past, or present, a dharma’s intrinsic nature remains the same, even though its mode of existence (bhāva) varies. This thesis was vehemently challenged by the Vibhajyavādins (Distinctionists) who denied the reality of the past and future dharmas. The reverberation of this “Sarvāstivāda-versus-Vibhajyavāda” controversy can be observed to have generated decisively significant doctrinal implications throughout the history of Buddhist thoughts. The Savāstivāda school was also known as Hetuvāda, a “school which expounds on causality.” Kātyāyanīputra (c. 150 bce), often regarded as the effective “founder” of the Sarvāstivāda school, was credited with the innovation of a theory of sixfold causes, of which the coexistent or simultaneous causality was the most important legacy. For the first time in human history, he systematically articulated a form of causality in which the cause and its effect coexist simultaneously. This theory contributed importantly to Buddhist doctrinal development, particularly its epistemology. Mahāyāna Yogācāra had embraced it from their very inception, finding it indispensable for the establishment of many of their fundamental doctrines, including “store consciousness” (ālaya-vijñāna) and “cognition-only” (vijñaptimātratā).


2010 ◽  
Vol 28 (1) ◽  
pp. 241-248
Author(s):  
Ajay K. Mehrotra

One of the challenges in writing about the history of American law and political economy is determining the proper amount of historical context necessary to make sense of past institutional and organizational change. Where to begin and end a historical narrative and how much to include about the broader social, cultural, political, and economic conditions of a particular place and time are, of course, questions that accompany any attempt to reconstruct the past. How one addresses these issues invariably shapes the motives and intentions that can be ascribed to historical figures. In their eloquent and thoughtful comments, Christopher Capozzola and Michael Bernstein have urged me to think more carefully about these issues, about where my story begins and ends, about the broader social, political, and material circumstances that animated World War I state-building, and about the seemingly apolitical ideas and actions of the Treasury lawyers who are the center of “Lawyers, Guns, and Public Moneys.”


Early China ◽  
2016 ◽  
Vol 39 ◽  
pp. 53-109 ◽  
Author(s):  
Olivia Milburn

AbstractThe Xinian or Annalistic History is one of an important collection of ancient bamboo texts donated anonymously to Qinghua University in 2008. The Xinian covers events from the history of the Western Zhou dynasty (1045–771 b.c.e.), through the Spring and Autumn Period (771–475 b.c.e.) and into the Warring States era (475–221 b.c.e.). Since the first publication of this manuscript in 2011, it has been the subject of much research, though this has usually been focused on the sections which have important parallels within the transmitted tradition. This article proposes a new way of understanding the Xinian, as a compilation produced from at least five source texts, and provides a complete translation of the entire text. Furthermore, although the contents of the Xinian are frequently at variance with the transmitted tradition, in particular the account of events given in the Zuozhuan, in some instances it may prove the more reliable source. The Xinian also provides some information concerning the history of the early Warring States era that helps to explain events in this generally badly documented era.


1992 ◽  
Vol 51 (3) ◽  
pp. 565-586
Author(s):  
Chieko Ariga

In surveying the history of Japanese literature since the Meiji period (1868–1912), readers immediately recognize that Japanese literature has been approached most predominantly from the perspective of the question of the “modern.” Although specific subjects of focus have varied, the primary underlying question has been whether a literary work is “modern,” “premodern,” or “antimodern.” This approach has been so firmly embedded in the Japanese literary tradition that it has established itself as the most legitimate way to examine literature written after the Meiji period.The issue of the “modern” is related to the question of Japanese modernization; it is unquestionably important and deserves full critical attention in view of the geopolitical position of Japan in Asia, affected by Western hegemonic power over the past few centuries. However, because of this exclusive focus, other significant questions, including questions related to gender, have escaped critical attention.


2008 ◽  
Vol 37 ◽  
pp. 31-78 ◽  
Author(s):  
Peter A. Stokes

AbstractS 786 is one of the so-called Orthodoxorum charters, a group of documents which provide important evidence about the Anglo-Saxon chancery, the development of charters in the tenth century, and the history of Pershore Abbey and the tenth-century Benedictine reforms. The document has therefore received a great deal of attention over the past century or so, but this attention has been focussed on the surviving tenth-century single sheet, and so a second, significantly different version of the text has lain unnoticed. This second version is preserved in a copy made by John Joscelyn, Latin Secretary to Archbishop Matthew Parker. Among the material uniquely preserved in this copy are Old English charter bounds for Wyegate (GL), Cumbtune (Compton, GL?) and part of the bounds probably for Lydney (GL), as well as a reference to a grant by Bishop Werferth of Worcester. In this article both versions of the document are discussed and are published together for the first time, and a translation of the single sheet is provided. The history of the two versions is discussed in some detail, and the text of a twelfth-century letter which refers to the charter is also edited and translated.


Author(s):  
Varvara Vital'evna Ponomareva

The subject of this research is the foundation of women’s education system in the Russian Empire, namely of the Office of the Institutions of Empress Maria, which totaled up to three dozen by the early XX century. Actualization of the knowledge about the best examples of the Russian school in the past is determined by the fundamental importance of education in the context of ongoing modernization of the country. The topic of Women's institutes of Imperial Russia, which existed for over 150 years, is poorly studied. Despite the extensive source base, in the historical literature one can often come across improper names of the institutes, determination of their departmental affiliation, class composition of the students, as well as incorrect dating and topography. Using the historical-systemic and typological analysis, the author determines and clarifies the conceptual framework of the problematic as a necessary research toolset. The author's contribution to selected topic consists in discovery of a wide variety of sources, including those introduced into the scientific discourse for the first time, accurate names of the institutes and variations in the official documents and everyday practice., their renaming and the causes. The article also traces the dynamics of changes in the class and confessional composition of students since the establishment of the institutes until the beginning of the XX century. Subordination and departmental affiliation at different stages of the history of these institutes is clarified.


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