Podcasts about Chinese literature

Wenn ihr schon mal eines über chinesische Philosophie gehört habt, dann vielleicht das: Ein Mann träumt, dass er ein Schmetterling ist. Kann er nach dem Aufwachen sicher sein, dass er jetzt gerade nicht wirklich dieser Schmetterling ist, der nur träumt, ein Mann zu sein? Der Schmetterlings-Traum ist die bekannteste Episode aus dem Hauptwerk von Zhuangzi. Und das "Zhuangzi" ist nicht nur philosophisch, sondern auch literarisch ein absoluter Meilenstein der chinesischen Kulturgeschichte. In unserer vorletzten Folge zu antiker chinesischer Philosophie spricht Christian mit dem Sinologen und Philosophen Fabian Heubel über Zhuangzi, der neben Laozi als zweiter großer Daoist gilt, den Heubel aber eher als kritischen Konfuzianer bezeichnen würde. Fabian Heubel forscht als Research Fellow am Institute of Chinese Literature and Philosophy der Academia Sinica in Taipei und lehrt am Institut für Philosophie der Goethe-Universität in Frankfurt am Main.

In This Podcast: Greg interviews Michael Olson, a returning guest and influential figure in the food system. Michael shares his background as a Montana farm boy, Vietnam veteran, and author of Metro Farm. Then they jump into Michael's 'Three Laws of the Food Chain,' which include: 1) Agriculture is the foundation upon which we build all our sandcastles, 2) The farther we go from the source of our food, the less control we have over what's in our food, and 3) Cheap food isn't cheap. They discuss the evolution of local food movements, the impact of farmer's markets, and the importance of understanding where our food comes from. Michael emphasizes the value of local, nutrient-rich foods and the historical precedent for sustainable, small-scale farming seen in Asian cultures. The episode concludes with a call to action for consumers to seek out food with its farmer's face on it, underscoring the profound impact of food on human well-being.Our Guest: Michael Olson is a Montana farm boy and Vietnam veteran with a University of California degree in English & Chinese Literature. Earlier in life he participated in the commercial production of a wide variety of crops in California, Montana and Oregon. He has consulted on farm projects throughout the world, from the island of Cyprus, to the jungles of the Amazon, and the streets of Watts. As a journalist he authored three non-fiction books, including MetroFarm a Book of the Year award-winner, has produced documentaries for NBC Magazine with David Brinkley, and hosted over 1,380 episodes of his syndicated Food Chain Radio show. Visit UrbanFarm.org/FoodChain for the show notes and links on this episode! Need a little bit of advice or just a feedback on your design for your yard or garden?The Urban Farm Team is offering consults over the phone or zoom. Get the benefits of a personalized garden and yard space analysis without the cost of trip charges. You can chat with Greg, Janis or Ray to get permaculture based feedback.Click HERE to learn more!Become an Urban Farm Patron and listen to more than 900 episodes of the Urban Farm Podcast without ads. Click HERE to learn more.*Disclosure: Some of the links in our podcast show notes and blog posts are affiliate links and if you go through them to make a purchase, we will earn a nominal commission at no cost to you. We offer links to items recommended by our podcast guests and guest writers as a service to our audience and these items are not selected because of the commission we receive from your purchases. We know the decision is yours, and whether you decide to buy something is completely up to you.

One of our favorite sections of the text — Grannie Liu takes Baoyu's bed for a spin, dreaming her own dream of red chambers! A full sensory experience, we compare it to Bayou's dream from Qin Keqing's bed.Support the show

What is the practical case for combining CMPs and DSAR automation under a single technical solution or software provider? What do DPOs and CPOs struggle the most with when implementing effective privacy programs? Which Privacy Tech features are overvalued or undervalued? Max Anderson is a seasoned product executive with a proven track record of bringing successful technology products to market in the consumer privacy, data management, and marketing space. Prior to Ketch, Max was the Director of Product Management at Krux. After joining Salesforce as part of the Krux acquisition, he ran data privacy and consumer identity products at Salesforce, including the rollout of their industry-leading GDPR solution set. Prior to Krux, Max was a Product Manager at IPG Mediabrands, where he was responsible for multiple successful advertising measurement products. Max holds a BS in Chinese Literature from the University of Colorado. References: Maxwell Anderson on LinkedIn Max Anderson, The liability in your privacy program: incomplete opt-out compliance (Ketch) GPC: Global Privacy Control Max Anderson, Dirty Data, Broken AI—The hidden threat derailing your competitive edge (Ketch) Andy Dale: DPO vs. CPO, present and future value of Privacy Tech, and the new US administration's impact on the regulatory landscape (Masters of Privacy) Monica Meiterman-Rodriguez: automation, data minimization and comparative law in DSRs (Masters of Privacy) Sergio Maldonado, Some takeaways from PEPR'24 (USENIX Conference on Privacy Engineering Practice and Respect 2024)  

Chinese culture is steeped in history, going back thousands of years. The written form of the language even originated from pictograms. ShaoLan and Transition drummer Josh discuss the word for “Chinese literature.” ✨ BIG NEWS ✨ Our brand new Talk Chineasy App, is now live on the App Store! Free to download and perfect for building your speaking confidence from Day 1. portaly.cc/chineasy Visit our website for more info about the app.

Granny Liu's choice of cups (wood is good!) figures prominently in this installment. A wide-ranging discussion of social class and constructed value, as the real and unreal reveal themselves to be deeply interwoven.Support the show

This part of chapter 40 of Dream of the Red Chamber (Story of the Stone, Hongloumeng) is a lot of poetic fun, but is it purely fun and games? What kind of symbolism and foreshadowing lie within, and will illicit references catch the censor's gaze? How will Baochai escape the dialectical logic of “takes one to know one”? Is gaming a kind of waking dream? What kind of displacements might be occurring? All these questions, and more, are addressed in this installment* of Rereading the Stone.Support the show

Bright on Buddhism - Asian Religions Series - Daoism Part 2 Hello and welcome to the Asian religions series. In this series, we will be discussing religious traditions in Asia other than Buddhism. Buddhism never existed in a vacuum, and as it has spread all across East Asia, it has developed, localized, and syncretized with local traditions in fascinating and significant ways. As such, we cannot provide a complete picture of East Asian without discussing those local traditions such as they were and are. Disclaimer: this series is very basic and introductory, and does not and cannot paint a complete picture of these religious traditions as they are in the present or throughout history. Today, we will be discussing Daoism, a very historically and culturally significant religious tradition in China. We hope you enjoy Resources: Demerath, Nicholas J. (2003). Crossing the Gods: World Religions and Worldly Politics. Rutgers University Press. ISBN 0-8135-3207-8.; Idema, Wilt; Haft, Lloyd (1997). A Guide to Chinese Literature. Ann Arbor: Center for Chinese Studies, University of Michigan. ISBN 978-0-89264-123-9.; Komjathy, Louis (2013). The Daoist Tradition: An Introduction. Bloomsbury.; Mair, Victor H. (2001). The Columbia History of Chinese Literature. Columbia University Press. ISBN 0-231-10984-9.; Pregadio, Fabrizio, ed. (2008). The Encyclopedia of Taoism. 2 volume set. London: Routledge. ISBN 978-0-7007-1200-7.; Robinet, Isabelle (1997) [1992]. Taoism: Growth of a Religion. Stanford: Stanford University Press. ISBN 0-8047-2839-9.; Daodejing (in Literary Chinese and English), translated by Legge, James (Wang Bi ed.) – via Chinese Text Project; Tao Te Ching: A New English Version, translated by Mitchell, Stephen, New York: Harper Collins, 1988, ISBN 978-0-06-180739-8.; Henricks, Robert G. (1989), Lao-tzu: Te-tao ching. A New Translation Based on the Recently Discovered Ma-wang-tui Texts, New York: Ballantine Books, ISBN 0-345-34790-0; Tao Te Ching, translated by Lau, D. C., Hong Kong: Chinese University Press, 1989, ISBN 9789622014671; Tao Te Ching: The Classic Book of Integrity and the Way, translated by Mair, Victor H., New York: Bantam, 1990, ISBN 978-0-307-43463-0.; Tao-Te-Ching, translated by Bryce, Derek; et al., York Beach: Samuel Weiser, 1991, ISBN 978-1-60925-441-4; Addiss, Stephen and Lombardo, Stanley (1991) Tao Te Ching, Indianapolis/Cambridge: Hackett Publishing Company. Do you have a question about Buddhism that you'd like us to discuss? Let us know by tweeting to us @BrightBuddhism, emailing us at Bright.On.Buddhism@gmail.com, or joining us on our discord server, Hidden Sangha ⁠⁠⁠⁠https://discord.gg/tEwcVpu⁠⁠⁠⁠! Credits: Nick Bright: Script, Cover Art, Music, Voice of Hearer, Co-Host Proven Paradox: Editing, mixing and mastering, social media, Voice of Hermit, Co-Host

It is that time of year again, the time when the Chinese Literature Podcast takes stock of the year and what has happened. In this podcast, Lee talks about his book and also about teaching Chinese Literature at the University of Oregon. 

Riccardo Moratto"Isolati"Xiao BaiOrientalia Editricewww.orientalia-editrice.comTraduzione dal cinese di Riccardo MorattoIn un edificio del Distretto ovest di Shanghai, il signor Ding, noto collaborazionista delle forze di occupazione giapponesi, rimane ucciso in un attentato dinamitardo. Sembrerebbe un caso irrisolvibile, ma a condurre le indagini c'è il Maggiore Hayashi, un ufficiale della Kempeitai determinato a trovare l'assassino, anche a costo di isolare l'intero edificio e di sottoporre i sospettati a privazioni e interrogatori sempre più duri. Sullo sfondo della Shanghai degli anni Trenta, Xiao Bai costruisce un noir ricco di colpi di scena in cui tutto è in divenire e nulla è come sembra, e racconta i giorni dell'isolamento facendo muovere i personaggi in uno spazio chiuso che assume la forma di un palcoscenico."Isolati (Orientalia, 2024, 184 pagine), il nuovo romanzo breve di Xiao Bai 小白, tradotto da Riccardo Moratto con la sua solita precisione e attenzione ai dettagli, è un susseguirsi di sorprese. Il testo, il cui titolo originale è Fengsuo 封锁 (prima edizione 2017), arriva in Italia forte di una reputazione di tutto rispetto in madrepatria: già nel 2018 ha infatti conseguito il prestigioso premio letterario Lu Xun (Lu Xun Wenxue Jiang 鲁迅文学奖)."Antonio Leggieriwww.china-files.comRiccardo Moratto, interprete di conferenza e traduttore letterario, dopo aver ricoperto diversi incarichi accademici in Cina e in Italia, è attualmente professore ordinario presso il Graduate Institute of Interpretation and Translation (GIIT), Shanghai International Studies University (SISU). Fellow del Chartered Institute of Linguists, è membro di rilevanti Associazioni tra cui AIIC (Associazione Internazionale Interpreti di Conferenza) e Assointerpreti. Linguista accreditato, è caporedattore della serie Interpreting Studies per la Shanghai Foreign Language Education Press e caporedattore di Routledge Studies in East Asian Interpreting e Routledge Interdisciplinary and Transcultural Approaches to Chinese Literature.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

More excellent Granny Liu content, as we travel deeper into the garden, soon by means of pleasure craft, with Xifeng at the helm. When withered lotus petals are observed on the surface of the water, Daiyu famously discusses the poetry of Tang poet Li Shangyin.Support the show

The British literary quarterly Granta has published a new issue dedicated to Chinese writers, featuring familiar mainstays of contemporary literature and some fresh new voices. This week on Sinica, I chatted with Thomas Meaney, editor of Granta, about what's happening in the literary scene in China today and how this fantastically interesting issue came together. Tom is wonderfully thoughtful and articulate, and we really get into some of the individual stories and the larger trends they may or may not represent.3:17 – Tom's familiarity with Chinese literature and China4:40 – Why Granta dedicated this issue to Chinese literature, how the issue came together, and how Granta found its translators 10:54 – Balancing political considerations with artistic merits in curating this issue 17:20 – The Chinese literary obsession with losers and the role of losers in Xiao Hai's “Adrift in the South”25:11 – The so-called Dongbei Renaissance, and Wu Qi's interview and why he pushes back on the idea of the Dongbei Renaissance genre 33:02 – Granta staff favorites 35:18 – The phenomenon of gratuitous name-dropping and borrowing stylistically from other writers 38:05 – The issue's three photo essays by Feng Li, Li Jie and Zhan Jungang, and Haohui Liu 44:36 – Yu Hua's “Tomorrow I'll Get Past It”50:09 – Mo Yan's “The Leftie Sickle” 53:10 – Yan Lianke's “Black Pig Hair, White Pig Hair” 57:56 – The "filmability" of some of the short stories and the connection between the film world and literary writers in China 1:00:08 – Where you can get Granta and pick up this issueRecommendations:Tom: The Egalitarian Moment: Asia and Africa, 1950-1980 by Anthony Low, a comparative history of land reform Kaiser: The ever-expanding library of guitarless backing tracks on YouTube to play along toSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

茶歇中文播客会在今年的九月正式回来！在这一集节目里，Nathan给大家介绍茶歇中文未来的三个小目标。 播客换新音乐了。你想联系我们的音乐家吗？乃耕的电子邮箱 : naigengliu@gmail.com TeaTime Chinese podcast will be back officially this September! In this episode, Nathan talks about 3 little objectives moving forward. Our podcast changed its music! Do you want to contact our musician? Naigeng's email address: naigengliu@gmail.com ◉ Read transcripts for free ◉ Support us on Patreon ◉ Find us on YouTube ◉ We are on LinkedIn ◉ We are on Facebook ◉ One-time Donate

Bright on Buddhism - Asian Religions Series - Daoism Part 1 Hello and welcome to the Asian religions series. In this series, we will be discussing religious traditions in Asia other than Buddhism. Buddhism never existed in a vacuum, and as it has spread all across East Asia, it has developed, localized, and syncretized with local traditions in fascinating and significant ways. As such, we cannot provide a complete picture of East Asian without discussing those local traditions such as they were and are. Disclaimer: this series is very basic and introductory, and does not and cannot paint a complete picture of these religious traditions as they are in the present or throughout history. Today, we will be discussing Daoism, a very historically and culturally significant religious tradition in China. We hope you enjoy Resources: Demerath, Nicholas J. (2003). Crossing the Gods: World Religions and Worldly Politics. Rutgers University Press. ISBN 0-8135-3207-8.; Idema, Wilt; Haft, Lloyd (1997). A Guide to Chinese Literature. Ann Arbor: Center for Chinese Studies, University of Michigan. ISBN 978-0-89264-123-9.; Komjathy, Louis (2013). The Daoist Tradition: An Introduction. Bloomsbury.; Mair, Victor H. (2001). The Columbia History of Chinese Literature. Columbia University Press. ISBN 0-231-10984-9.; Pregadio, Fabrizio, ed. (2008). The Encyclopedia of Taoism. 2 volume set. London: Routledge. ISBN 978-0-7007-1200-7.; Robinet, Isabelle (1997) [1992]. Taoism: Growth of a Religion. Stanford: Stanford University Press. ISBN 0-8047-2839-9.; Daodejing (in Literary Chinese and English), translated by Legge, James (Wang Bi ed.) – via Chinese Text Project; Tao Te Ching: A New English Version, translated by Mitchell, Stephen, New York: Harper Collins, 1988, ISBN 978-0-06-180739-8.; Henricks, Robert G. (1989), Lao-tzu: Te-tao ching. A New Translation Based on the Recently Discovered Ma-wang-tui Texts, New York: Ballantine Books, ISBN 0-345-34790-0; Tao Te Ching, translated by Lau, D. C., Hong Kong: Chinese University Press, 1989, ISBN 9789622014671; Tao Te Ching: The Classic Book of Integrity and the Way, translated by Mair, Victor H., New York: Bantam, 1990, ISBN 978-0-307-43463-0.; Tao-Te-Ching, translated by Bryce, Derek; et al., York Beach: Samuel Weiser, 1991, ISBN 978-1-60925-441-4; Addiss, Stephen and Lombardo, Stanley (1991) Tao Te Ching, Indianapolis/Cambridge: Hackett Publishing Company. Do you have a question about Buddhism that you'd like us to discuss? Let us know by tweeting to us @BrightBuddhism, emailing us at Bright.On.Buddhism@gmail.com, or joining us on our discord server, Hidden Sangha ⁠⁠⁠https://discord.gg/tEwcVpu⁠⁠⁠! Credits: Nick Bright: Script, Cover Art, Music, Voice of Hearer, Co-Host Proven Paradox: Editing, mixing and mastering, social media, Voice of Hermit, Co-Host

The Collapse of Heaven: The Taiping Civil War and Chinese Literature and Culture, 1850-1880 (Harvard UP, 2024) investigates a long-neglected century in Chinese literature through the lens of the Taiping War (1851–1864), one of the most devastating civil wars in human history. With the war as the pivot, Huan Jin examines the manifold literary and cultural transformations that occurred from the 1850s to the 1880s. The book analyzes a wide range of writings—proselytizing pamphlets, diaries, poetry, a full-length novel, drama, and short stories—with a particular emphasis on the materiality of these texts as well as their production and dissemination.  Tracing allusions to political turbulences across many genres, Jin discusses how late imperial Chinese literary and cultural paradigms began to unravel under conditions of extreme violence and tracks the unexpected reinventions of literary conventions that marked the beginning of Chinese literary modernity. In addition to making a significant contribution to Chinese studies, this book offers an important comparative perspective on the global nineteenth century and engages with broad scholarly discussions on religion, violence, narrative, history, gender, theater, and media studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Collapse of Heaven: The Taiping Civil War and Chinese Literature and Culture, 1850-1880 (Harvard UP, 2024) investigates a long-neglected century in Chinese literature through the lens of the Taiping War (1851–1864), one of the most devastating civil wars in human history. With the war as the pivot, Huan Jin examines the manifold literary and cultural transformations that occurred from the 1850s to the 1880s. The book analyzes a wide range of writings—proselytizing pamphlets, diaries, poetry, a full-length novel, drama, and short stories—with a particular emphasis on the materiality of these texts as well as their production and dissemination.  Tracing allusions to political turbulences across many genres, Jin discusses how late imperial Chinese literary and cultural paradigms began to unravel under conditions of extreme violence and tracks the unexpected reinventions of literary conventions that marked the beginning of Chinese literary modernity. In addition to making a significant contribution to Chinese studies, this book offers an important comparative perspective on the global nineteenth century and engages with broad scholarly discussions on religion, violence, narrative, history, gender, theater, and media studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The Collapse of Heaven: The Taiping Civil War and Chinese Literature and Culture, 1850-1880 (Harvard UP, 2024) investigates a long-neglected century in Chinese literature through the lens of the Taiping War (1851–1864), one of the most devastating civil wars in human history. With the war as the pivot, Huan Jin examines the manifold literary and cultural transformations that occurred from the 1850s to the 1880s. The book analyzes a wide range of writings—proselytizing pamphlets, diaries, poetry, a full-length novel, drama, and short stories—with a particular emphasis on the materiality of these texts as well as their production and dissemination.  Tracing allusions to political turbulences across many genres, Jin discusses how late imperial Chinese literary and cultural paradigms began to unravel under conditions of extreme violence and tracks the unexpected reinventions of literary conventions that marked the beginning of Chinese literary modernity. In addition to making a significant contribution to Chinese studies, this book offers an important comparative perspective on the global nineteenth century and engages with broad scholarly discussions on religion, violence, narrative, history, gender, theater, and media studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

The Collapse of Heaven: The Taiping Civil War and Chinese Literature and Culture, 1850-1880 (Harvard UP, 2024) investigates a long-neglected century in Chinese literature through the lens of the Taiping War (1851–1864), one of the most devastating civil wars in human history. With the war as the pivot, Huan Jin examines the manifold literary and cultural transformations that occurred from the 1850s to the 1880s. The book analyzes a wide range of writings—proselytizing pamphlets, diaries, poetry, a full-length novel, drama, and short stories—with a particular emphasis on the materiality of these texts as well as their production and dissemination.  Tracing allusions to political turbulences across many genres, Jin discusses how late imperial Chinese literary and cultural paradigms began to unravel under conditions of extreme violence and tracks the unexpected reinventions of literary conventions that marked the beginning of Chinese literary modernity. In addition to making a significant contribution to Chinese studies, this book offers an important comparative perspective on the global nineteenth century and engages with broad scholarly discussions on religion, violence, narrative, history, gender, theater, and media studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/military-history

The Collapse of Heaven: The Taiping Civil War and Chinese Literature and Culture, 1850-1880 (Harvard UP, 2024) investigates a long-neglected century in Chinese literature through the lens of the Taiping War (1851–1864), one of the most devastating civil wars in human history. With the war as the pivot, Huan Jin examines the manifold literary and cultural transformations that occurred from the 1850s to the 1880s. The book analyzes a wide range of writings—proselytizing pamphlets, diaries, poetry, a full-length novel, drama, and short stories—with a particular emphasis on the materiality of these texts as well as their production and dissemination.  Tracing allusions to political turbulences across many genres, Jin discusses how late imperial Chinese literary and cultural paradigms began to unravel under conditions of extreme violence and tracks the unexpected reinventions of literary conventions that marked the beginning of Chinese literary modernity. In addition to making a significant contribution to Chinese studies, this book offers an important comparative perspective on the global nineteenth century and engages with broad scholarly discussions on religion, violence, narrative, history, gender, theater, and media studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

The Collapse of Heaven: The Taiping Civil War and Chinese Literature and Culture, 1850-1880 (Harvard UP, 2024) investigates a long-neglected century in Chinese literature through the lens of the Taiping War (1851–1864), one of the most devastating civil wars in human history. With the war as the pivot, Huan Jin examines the manifold literary and cultural transformations that occurred from the 1850s to the 1880s. The book analyzes a wide range of writings—proselytizing pamphlets, diaries, poetry, a full-length novel, drama, and short stories—with a particular emphasis on the materiality of these texts as well as their production and dissemination.  Tracing allusions to political turbulences across many genres, Jin discusses how late imperial Chinese literary and cultural paradigms began to unravel under conditions of extreme violence and tracks the unexpected reinventions of literary conventions that marked the beginning of Chinese literary modernity. In addition to making a significant contribution to Chinese studies, this book offers an important comparative perspective on the global nineteenth century and engages with broad scholarly discussions on religion, violence, narrative, history, gender, theater, and media studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

The Collapse of Heaven: The Taiping Civil War and Chinese Literature and Culture, 1850-1880 (Harvard UP, 2024) investigates a long-neglected century in Chinese literature through the lens of the Taiping War (1851–1864), one of the most devastating civil wars in human history. With the war as the pivot, Huan Jin examines the manifold literary and cultural transformations that occurred from the 1850s to the 1880s. The book analyzes a wide range of writings—proselytizing pamphlets, diaries, poetry, a full-length novel, drama, and short stories—with a particular emphasis on the materiality of these texts as well as their production and dissemination.  Tracing allusions to political turbulences across many genres, Jin discusses how late imperial Chinese literary and cultural paradigms began to unravel under conditions of extreme violence and tracks the unexpected reinventions of literary conventions that marked the beginning of Chinese literary modernity. In addition to making a significant contribution to Chinese studies, this book offers an important comparative perspective on the global nineteenth century and engages with broad scholarly discussions on religion, violence, narrative, history, gender, theater, and media studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

How can you read Chinese faster? Which children's books are best for second-language learners? And what's the ideal entry point into Chinese literature? #learnchinese #reading #q&a #speed #genre Link to article: Student Q&A, July 2024: Reading speed, children's books and Chinese literature: https://www.hackingchinese.com/student-qa-july-2024-reading-speed-childrens-books-and-chinese-literature/ Links to things mentioned in the introduction Chinese reading challenge, July 2024: https://www.hackingchinese.com/chinese-reading-challenge/ Links for question #1 How important is reading speed on tests like HSK and TOCFL? https://www.hackingchinese.com/how-important-is-reading-speed-on-tests-like-hsk-and-tocfl/ Chinese reading speed revisited: https://www.hackingchinese.com/chinese-reading-speed-revisited/ Seeing through the illusion of advanced Chinese learning: https://www.hackingchinese.com/the-illusion-of-advanced-learning-and-what-to-do-about-it/ An introduction to extensive reading for Chinese learners: https://www.hackingchinese.com/introduction-extensive-reading-chinese-learners/ Beyond tīng bu dǒng, part 3: Using what you already know to aid listening comprehension in Chinese: https://www.hackingchinese.com/beyond-ting-bu-dong-part-3-using-what-you-already-know-to-aid-listening-comprehension-in-chinese/ Links for question #2 6 things in Chinese that are harder to learn than they seem: https://www.hackingchinese.com/6-things-in-chinese-that-are-harder-to-learn-than-they-seem/ Review: Mandarin Companion: Easy to read novels in Chinese: https://www.hackingchinese.com/review-mandarin-companion-easy-to-read-novels-in-chinese/ Links for question #3 Wuxia, a key to Chinese language and culture: https://www.hackingchinese.com/wuxia-a-key-to-chinese-language-and-culture/ A language learner's guide to wuxia novels: https://www.hackingchinese.com/a-language-learners-guide-to-wuxia-novels/ Easing yourself into reading novels in Chinese: https://www.hackingchinese.com/easing-yourself-into-reading-novels-in-chinese/ 25 books I've read in Chinese, with reviews and difficulty ratings: https://www.hackingchinese.com/25-books-i-read-in-chinese-last-year/ More information and inspiration about learning and teaching Chinese can be found at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.hackingchinese.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Music: "Traxis 1 ~ F. Benjamin" by Traxis, 2020 - Licensed under Creative Commons Attribution (3.0)

It's Chapter 40 of Dream of the Red Chamber (Story of the Stone, Hongloumeng), and we're accompanying Grannie Liu on her tour of Prospect Garden. In what ways is the garden reflective of, and in dialogue with, Grannie's Liu's dreams and desires? What does Grannie Liu accurately perceive on her tour, and where does she project? And what about the “country bumpkin” role that Grannie Liu is compelled to occupy? Is there any method to the maddening interplay of truth and fiction in the garden?Support the Show.

Centuries of Chinese tradition have brought about tales of strange creatures and glimpses into the afterlife.

Mattias Daly is Taoist practitioner and a professional translator with a degree in acupuncture and a master's in Chinese Literature. He was inducted into the Longmen lineage of Complete Reality Daoism by Abbess Liu of the Three Purities Monastery in Jilin province, China in 2013. He primarily translates for the National Palace Museum in Taipei and the Chinese Taipei PEN quarterly. His new translation of Taoist Inner Alchemy: Master Huang Yuanji's Guide to the Way of Meditation by Ge Guolong and Huang Yuanji is out now on Shambala Publications. Topics: 04:42 — Core Principle of Taoism 10:59 — Path of Taoist Inner Alchemy 15:11 — Metaphor of Alchemy 22:44 — Energies of Inner Alchemy 27:09 — Chan Buddhism 35:36 — Physical Components of Inner Alchemy 43:45 — Importance of Heart Practice 45:15 — Navigating the Polycrisis Support the mission of SAND the production of this podcast by becoming a SAND Member.

Chinese culture is steeped in history, going back thousands of years. The written form of the language even originated from pictograms. ShaoLan and Transition drummer Josh discuss the word for “Chinese literature.”

Today, we're unfurling the scrolls of one of the most provocative, scandalous, and riveting novels to ever emerge from China's Ming dynasty: "Jin Ping Mei," or as it's tantalizingly translated, "The Plum in the Golden Vase." This novel is not just a story; it's a journey into the opulent, and often morally ambiguous, world of 16th-century China. We have the esteemed Dr. Junjie Luo, associate professor in East Asian Studies at Gettysburg College, joining us in the studio. Dr. Luo, with his vast knowledge of Chinese literature and culture, will help us unravel the complex narrative threads and uncover the hidden pearls within this golden vase of a novel.Reading Recommendations:Lanlingxiaoxiaosheng, The Plum in the Golden Vase, trans. David RoyJunjie Luo (2014) Translating Jin.Ping.Mei: a preliminary comparison of The Golden Lotus and The Plum in the Golden Vase, Perspectives, 22:1, 56-74.This podcast is sponsored by Riverside, the most efficient platform for video recording and editing for podcasters.Buzzsprout - Let's get your podcast launched! Start for FREEDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show

In this episode, we puzzle over Grannie Liu's arithmetic while questioning how age and social class more broadly inform her interactions with Grandmother Jia. A continuation of our discussion of chapter 39 of Dream of the Red Chamber (Story of the Stone), a classic work of historical Chinese literature.Support the show! https://www.buzzsprout.com/1269965/supporters/newSupport the show

冷战期间，美国和苏联两个大国比赛，谁有更好的火箭，谁能把人送上太空？刚刚成立的新中国虽然面临很多社会问题，但是也开始了自己的航天计划。从第一个火箭到第一个卫星，再到第一个去太空的中国人... … 中国人实现了 “飞天” 的梦想，把神话变成了现实。 During the Cold War, the United States and the Soviet Union competed to see who would have the better rocket and who could send people into space. The newly founded People's Republic of China, despite being faced with many social problems, also started its own space program. From the first rocket to the first satellite, to the first Chinese man in space... Chinese people realized their dream of "flying to the sky" and turned the myth into reality. ◉ Read transcripts for free ◉ Become a Patron ◉ Visit merch store ◉ Find us on YouTube ◉ We are on LinkedIn ◉ We are on Facebook ◉ Find a Chinese teacher on italki and receive $10 ◉ One-time Donate

A brief stay in France was, for many Chinese workers and Chinese Communist Party leaders, a vital stepping stone for their careers during the cultural and political push to modernize China after World War I. For the Chinese students who went abroad specifically to study Western art and literature, these trips meant something else entirely. Set against the backdrop of interwar Paris, Paris and the Art of Transposition: Early Twentieth Century Sino-French Encounters (U Michigan Press, 2023) uncovers previously marginalized archives to reveal the artistic strategies employed by Chinese artists and writers in the early twentieth-century transnational imaginary and to explain why Paris played such a central role in the global reception of modern Chinese literature and art. While previous studies of Chinese modernism have focused on how Western modernist aesthetics were adapted or translated to the Chinese context, Angie Chau does the opposite by turning to Paris in the Chinese imaginary and discussing the literary and visual artwork of five artists who moved between France and China: the painter Chang Yu, the poet Li Jinfa, the art critic Fu Lei, the painter Pan Yuliang, and the writer Xu Xu. Chau draws the idea of transposition from music theory where it refers to shifting music from one key or clef to another, or to adapting a song originally composed for one instrument to be played by another. Transposing transposition to the study of art and literature, Chau uses the term to describe a fluid and strategic art practice that depends on the tension between foreign and familiar, new and old, celebrating both novelty and recognition—a process that occurs when a text gets placed into a fresh context. Angie Chau is Assistant Professor of Chinese Literature and Film at the University of Victoria. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

A brief stay in France was, for many Chinese workers and Chinese Communist Party leaders, a vital stepping stone for their careers during the cultural and political push to modernize China after World War I. For the Chinese students who went abroad specifically to study Western art and literature, these trips meant something else entirely. Set against the backdrop of interwar Paris, Paris and the Art of Transposition: Early Twentieth Century Sino-French Encounters (U Michigan Press, 2023) uncovers previously marginalized archives to reveal the artistic strategies employed by Chinese artists and writers in the early twentieth-century transnational imaginary and to explain why Paris played such a central role in the global reception of modern Chinese literature and art. While previous studies of Chinese modernism have focused on how Western modernist aesthetics were adapted or translated to the Chinese context, Angie Chau does the opposite by turning to Paris in the Chinese imaginary and discussing the literary and visual artwork of five artists who moved between France and China: the painter Chang Yu, the poet Li Jinfa, the art critic Fu Lei, the painter Pan Yuliang, and the writer Xu Xu. Chau draws the idea of transposition from music theory where it refers to shifting music from one key or clef to another, or to adapting a song originally composed for one instrument to be played by another. Transposing transposition to the study of art and literature, Chau uses the term to describe a fluid and strategic art practice that depends on the tension between foreign and familiar, new and old, celebrating both novelty and recognition—a process that occurs when a text gets placed into a fresh context. Angie Chau is Assistant Professor of Chinese Literature and Film at the University of Victoria. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

A brief stay in France was, for many Chinese workers and Chinese Communist Party leaders, a vital stepping stone for their careers during the cultural and political push to modernize China after World War I. For the Chinese students who went abroad specifically to study Western art and literature, these trips meant something else entirely. Set against the backdrop of interwar Paris, Paris and the Art of Transposition: Early Twentieth Century Sino-French Encounters (U Michigan Press, 2023) uncovers previously marginalized archives to reveal the artistic strategies employed by Chinese artists and writers in the early twentieth-century transnational imaginary and to explain why Paris played such a central role in the global reception of modern Chinese literature and art. While previous studies of Chinese modernism have focused on how Western modernist aesthetics were adapted or translated to the Chinese context, Angie Chau does the opposite by turning to Paris in the Chinese imaginary and discussing the literary and visual artwork of five artists who moved between France and China: the painter Chang Yu, the poet Li Jinfa, the art critic Fu Lei, the painter Pan Yuliang, and the writer Xu Xu. Chau draws the idea of transposition from music theory where it refers to shifting music from one key or clef to another, or to adapting a song originally composed for one instrument to be played by another. Transposing transposition to the study of art and literature, Chau uses the term to describe a fluid and strategic art practice that depends on the tension between foreign and familiar, new and old, celebrating both novelty and recognition—a process that occurs when a text gets placed into a fresh context. Angie Chau is Assistant Professor of Chinese Literature and Film at the University of Victoria. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

A brief stay in France was, for many Chinese workers and Chinese Communist Party leaders, a vital stepping stone for their careers during the cultural and political push to modernize China after World War I. For the Chinese students who went abroad specifically to study Western art and literature, these trips meant something else entirely. Set against the backdrop of interwar Paris, Paris and the Art of Transposition: Early Twentieth Century Sino-French Encounters (U Michigan Press, 2023) uncovers previously marginalized archives to reveal the artistic strategies employed by Chinese artists and writers in the early twentieth-century transnational imaginary and to explain why Paris played such a central role in the global reception of modern Chinese literature and art. While previous studies of Chinese modernism have focused on how Western modernist aesthetics were adapted or translated to the Chinese context, Angie Chau does the opposite by turning to Paris in the Chinese imaginary and discussing the literary and visual artwork of five artists who moved between France and China: the painter Chang Yu, the poet Li Jinfa, the art critic Fu Lei, the painter Pan Yuliang, and the writer Xu Xu. Chau draws the idea of transposition from music theory where it refers to shifting music from one key or clef to another, or to adapting a song originally composed for one instrument to be played by another. Transposing transposition to the study of art and literature, Chau uses the term to describe a fluid and strategic art practice that depends on the tension between foreign and familiar, new and old, celebrating both novelty and recognition—a process that occurs when a text gets placed into a fresh context. Angie Chau is Assistant Professor of Chinese Literature and Film at the University of Victoria. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

A brief stay in France was, for many Chinese workers and Chinese Communist Party leaders, a vital stepping stone for their careers during the cultural and political push to modernize China after World War I. For the Chinese students who went abroad specifically to study Western art and literature, these trips meant something else entirely. Set against the backdrop of interwar Paris, Paris and the Art of Transposition: Early Twentieth Century Sino-French Encounters (U Michigan Press, 2023) uncovers previously marginalized archives to reveal the artistic strategies employed by Chinese artists and writers in the early twentieth-century transnational imaginary and to explain why Paris played such a central role in the global reception of modern Chinese literature and art. While previous studies of Chinese modernism have focused on how Western modernist aesthetics were adapted or translated to the Chinese context, Angie Chau does the opposite by turning to Paris in the Chinese imaginary and discussing the literary and visual artwork of five artists who moved between France and China: the painter Chang Yu, the poet Li Jinfa, the art critic Fu Lei, the painter Pan Yuliang, and the writer Xu Xu. Chau draws the idea of transposition from music theory where it refers to shifting music from one key or clef to another, or to adapting a song originally composed for one instrument to be played by another. Transposing transposition to the study of art and literature, Chau uses the term to describe a fluid and strategic art practice that depends on the tension between foreign and familiar, new and old, celebrating both novelty and recognition—a process that occurs when a text gets placed into a fresh context. Angie Chau is Assistant Professor of Chinese Literature and Film at the University of Victoria. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

A brief stay in France was, for many Chinese workers and Chinese Communist Party leaders, a vital stepping stone for their careers during the cultural and political push to modernize China after World War I. For the Chinese students who went abroad specifically to study Western art and literature, these trips meant something else entirely. Set against the backdrop of interwar Paris, Paris and the Art of Transposition: Early Twentieth Century Sino-French Encounters (U Michigan Press, 2023) uncovers previously marginalized archives to reveal the artistic strategies employed by Chinese artists and writers in the early twentieth-century transnational imaginary and to explain why Paris played such a central role in the global reception of modern Chinese literature and art. While previous studies of Chinese modernism have focused on how Western modernist aesthetics were adapted or translated to the Chinese context, Angie Chau does the opposite by turning to Paris in the Chinese imaginary and discussing the literary and visual artwork of five artists who moved between France and China: the painter Chang Yu, the poet Li Jinfa, the art critic Fu Lei, the painter Pan Yuliang, and the writer Xu Xu. Chau draws the idea of transposition from music theory where it refers to shifting music from one key or clef to another, or to adapting a song originally composed for one instrument to be played by another. Transposing transposition to the study of art and literature, Chau uses the term to describe a fluid and strategic art practice that depends on the tension between foreign and familiar, new and old, celebrating both novelty and recognition—a process that occurs when a text gets placed into a fresh context. Angie Chau is Assistant Professor of Chinese Literature and Film at the University of Victoria. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

A brief stay in France was, for many Chinese workers and Chinese Communist Party leaders, a vital stepping stone for their careers during the cultural and political push to modernize China after World War I. For the Chinese students who went abroad specifically to study Western art and literature, these trips meant something else entirely. Set against the backdrop of interwar Paris, Paris and the Art of Transposition: Early Twentieth Century Sino-French Encounters (U Michigan Press, 2023) uncovers previously marginalized archives to reveal the artistic strategies employed by Chinese artists and writers in the early twentieth-century transnational imaginary and to explain why Paris played such a central role in the global reception of modern Chinese literature and art. While previous studies of Chinese modernism have focused on how Western modernist aesthetics were adapted or translated to the Chinese context, Angie Chau does the opposite by turning to Paris in the Chinese imaginary and discussing the literary and visual artwork of five artists who moved between France and China: the painter Chang Yu, the poet Li Jinfa, the art critic Fu Lei, the painter Pan Yuliang, and the writer Xu Xu. Chau draws the idea of transposition from music theory where it refers to shifting music from one key or clef to another, or to adapting a song originally composed for one instrument to be played by another. Transposing transposition to the study of art and literature, Chau uses the term to describe a fluid and strategic art practice that depends on the tension between foreign and familiar, new and old, celebrating both novelty and recognition—a process that occurs when a text gets placed into a fresh context. Angie Chau is Assistant Professor of Chinese Literature and Film at the University of Victoria. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

A brief stay in France was, for many Chinese workers and Chinese Communist Party leaders, a vital stepping stone for their careers during the cultural and political push to modernize China after World War I. For the Chinese students who went abroad specifically to study Western art and literature, these trips meant something else entirely. Set against the backdrop of interwar Paris, Paris and the Art of Transposition: Early Twentieth Century Sino-French Encounters (U Michigan Press, 2023) uncovers previously marginalized archives to reveal the artistic strategies employed by Chinese artists and writers in the early twentieth-century transnational imaginary and to explain why Paris played such a central role in the global reception of modern Chinese literature and art. While previous studies of Chinese modernism have focused on how Western modernist aesthetics were adapted or translated to the Chinese context, Angie Chau does the opposite by turning to Paris in the Chinese imaginary and discussing the literary and visual artwork of five artists who moved between France and China: the painter Chang Yu, the poet Li Jinfa, the art critic Fu Lei, the painter Pan Yuliang, and the writer Xu Xu. Chau draws the idea of transposition from music theory where it refers to shifting music from one key or clef to another, or to adapting a song originally composed for one instrument to be played by another. Transposing transposition to the study of art and literature, Chau uses the term to describe a fluid and strategic art practice that depends on the tension between foreign and familiar, new and old, celebrating both novelty and recognition—a process that occurs when a text gets placed into a fresh context. Angie Chau is Assistant Professor of Chinese Literature and Film at the University of Victoria. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/french-studies

Malaysian Chinese (Mahua) literature is marginalized on several fronts. In the international literary space, which privileges the West, Malaysia is considered remote. The institutions of modern Chinese literature favor mainland China, Taiwan, and Hong Kong. Within Malaysia, only texts in Malay, the national language, are considered national literature by the state. However, Mahua authors have produced creative and thought-provoking works that have won growing critical recognition, showing Malaysia to be a laboratory for imaginative Chinese writing. Highlighting Mahua literature's distinctive mode of evolution, Cheow Thia Chan demonstrates that authors' grasp of their marginality in the world-Chinese literary space has been the impetus for—rather than a barrier to—aesthetic inventiveness. He foregrounds the historical links between Malaysia and other Chinese-speaking regions, tracing how Mahua writers engage in the “worlding” of modern Chinese literature by navigating interconnected literary spaces. Focusing on writers including Lin Cantian, Han Suyin, Wang Anyi, and Li Yongping, whose works craft signature literary languages, Chan examines narrative representations of multilingual social realities and authorial reflections on colonial Malaya or independent Malaysia as valid literary terrain. Delineating the inter-Asian “crossings” of Mahua literary production—physical journeys, interactions among social groups, and mindset shifts—from the 1930s to the 2000s, he contends that new perspectives from the periphery are essential to understanding the globalization of modern Chinese literature. By emphasizing the inner diversities and connected histories in the margins, Malaysian Crossings: Place and Language in the Worlding of Modern Chinese Literature (Columbia UP, 2022) offers a powerful argument for remapping global Chinese literature and world literature. Cheow Thia Chan is assistant professor of Chinese studies at the National University of Singapore. His research interests include modern Chinese literature, Singapore and Malaysian Chinese Literature, Southeast Asian Chinese Studies, Diaspora Studies, and Urban Studies. Li-Ping Chen is a teaching fellow in the Department of East Asian Languages and Cultures at the University of Southern California. Her research interests include literary translingualism, diaspora, and nativism in Sinophone, inter-Asian, and transpacific contexts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Malaysian Chinese (Mahua) literature is marginalized on several fronts. In the international literary space, which privileges the West, Malaysia is considered remote. The institutions of modern Chinese literature favor mainland China, Taiwan, and Hong Kong. Within Malaysia, only texts in Malay, the national language, are considered national literature by the state. However, Mahua authors have produced creative and thought-provoking works that have won growing critical recognition, showing Malaysia to be a laboratory for imaginative Chinese writing. Highlighting Mahua literature's distinctive mode of evolution, Cheow Thia Chan demonstrates that authors' grasp of their marginality in the world-Chinese literary space has been the impetus for—rather than a barrier to—aesthetic inventiveness. He foregrounds the historical links between Malaysia and other Chinese-speaking regions, tracing how Mahua writers engage in the “worlding” of modern Chinese literature by navigating interconnected literary spaces. Focusing on writers including Lin Cantian, Han Suyin, Wang Anyi, and Li Yongping, whose works craft signature literary languages, Chan examines narrative representations of multilingual social realities and authorial reflections on colonial Malaya or independent Malaysia as valid literary terrain. Delineating the inter-Asian “crossings” of Mahua literary production—physical journeys, interactions among social groups, and mindset shifts—from the 1930s to the 2000s, he contends that new perspectives from the periphery are essential to understanding the globalization of modern Chinese literature. By emphasizing the inner diversities and connected histories in the margins, Malaysian Crossings: Place and Language in the Worlding of Modern Chinese Literature (Columbia UP, 2022) offers a powerful argument for remapping global Chinese literature and world literature. Cheow Thia Chan is assistant professor of Chinese studies at the National University of Singapore. His research interests include modern Chinese literature, Singapore and Malaysian Chinese Literature, Southeast Asian Chinese Studies, Diaspora Studies, and Urban Studies. Li-Ping Chen is a teaching fellow in the Department of East Asian Languages and Cultures at the University of Southern California. Her research interests include literary translingualism, diaspora, and nativism in Sinophone, inter-Asian, and transpacific contexts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

Malaysian Chinese (Mahua) literature is marginalized on several fronts. In the international literary space, which privileges the West, Malaysia is considered remote. The institutions of modern Chinese literature favor mainland China, Taiwan, and Hong Kong. Within Malaysia, only texts in Malay, the national language, are considered national literature by the state. However, Mahua authors have produced creative and thought-provoking works that have won growing critical recognition, showing Malaysia to be a laboratory for imaginative Chinese writing. Highlighting Mahua literature's distinctive mode of evolution, Cheow Thia Chan demonstrates that authors' grasp of their marginality in the world-Chinese literary space has been the impetus for—rather than a barrier to—aesthetic inventiveness. He foregrounds the historical links between Malaysia and other Chinese-speaking regions, tracing how Mahua writers engage in the “worlding” of modern Chinese literature by navigating interconnected literary spaces. Focusing on writers including Lin Cantian, Han Suyin, Wang Anyi, and Li Yongping, whose works craft signature literary languages, Chan examines narrative representations of multilingual social realities and authorial reflections on colonial Malaya or independent Malaysia as valid literary terrain. Delineating the inter-Asian “crossings” of Mahua literary production—physical journeys, interactions among social groups, and mindset shifts—from the 1930s to the 2000s, he contends that new perspectives from the periphery are essential to understanding the globalization of modern Chinese literature. By emphasizing the inner diversities and connected histories in the margins, Malaysian Crossings: Place and Language in the Worlding of Modern Chinese Literature (Columbia UP, 2022) offers a powerful argument for remapping global Chinese literature and world literature. Cheow Thia Chan is assistant professor of Chinese studies at the National University of Singapore. His research interests include modern Chinese literature, Singapore and Malaysian Chinese Literature, Southeast Asian Chinese Studies, Diaspora Studies, and Urban Studies. Li-Ping Chen is a teaching fellow in the Department of East Asian Languages and Cultures at the University of Southern California. Her research interests include literary translingualism, diaspora, and nativism in Sinophone, inter-Asian, and transpacific contexts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Malaysian Chinese (Mahua) literature is marginalized on several fronts. In the international literary space, which privileges the West, Malaysia is considered remote. The institutions of modern Chinese literature favor mainland China, Taiwan, and Hong Kong. Within Malaysia, only texts in Malay, the national language, are considered national literature by the state. However, Mahua authors have produced creative and thought-provoking works that have won growing critical recognition, showing Malaysia to be a laboratory for imaginative Chinese writing. Highlighting Mahua literature's distinctive mode of evolution, Cheow Thia Chan demonstrates that authors' grasp of their marginality in the world-Chinese literary space has been the impetus for—rather than a barrier to—aesthetic inventiveness. He foregrounds the historical links between Malaysia and other Chinese-speaking regions, tracing how Mahua writers engage in the “worlding” of modern Chinese literature by navigating interconnected literary spaces. Focusing on writers including Lin Cantian, Han Suyin, Wang Anyi, and Li Yongping, whose works craft signature literary languages, Chan examines narrative representations of multilingual social realities and authorial reflections on colonial Malaya or independent Malaysia as valid literary terrain. Delineating the inter-Asian “crossings” of Mahua literary production—physical journeys, interactions among social groups, and mindset shifts—from the 1930s to the 2000s, he contends that new perspectives from the periphery are essential to understanding the globalization of modern Chinese literature. By emphasizing the inner diversities and connected histories in the margins, Malaysian Crossings: Place and Language in the Worlding of Modern Chinese Literature (Columbia UP, 2022) offers a powerful argument for remapping global Chinese literature and world literature. Cheow Thia Chan is assistant professor of Chinese studies at the National University of Singapore. His research interests include modern Chinese literature, Singapore and Malaysian Chinese Literature, Southeast Asian Chinese Studies, Diaspora Studies, and Urban Studies. Li-Ping Chen is a teaching fellow in the Department of East Asian Languages and Cultures at the University of Southern California. Her research interests include literary translingualism, diaspora, and nativism in Sinophone, inter-Asian, and transpacific contexts. Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/southeast-asian-studies

Malaysian Chinese (Mahua) literature is marginalized on several fronts. In the international literary space, which privileges the West, Malaysia is considered remote. The institutions of modern Chinese literature favor mainland China, Taiwan, and Hong Kong. Within Malaysia, only texts in Malay, the national language, are considered national literature by the state. However, Mahua authors have produced creative and thought-provoking works that have won growing critical recognition, showing Malaysia to be a laboratory for imaginative Chinese writing. Highlighting Mahua literature's distinctive mode of evolution, Cheow Thia Chan demonstrates that authors' grasp of their marginality in the world-Chinese literary space has been the impetus for—rather than a barrier to—aesthetic inventiveness. He foregrounds the historical links between Malaysia and other Chinese-speaking regions, tracing how Mahua writers engage in the “worlding” of modern Chinese literature by navigating interconnected literary spaces. Focusing on writers including Lin Cantian, Han Suyin, Wang Anyi, and Li Yongping, whose works craft signature literary languages, Chan examines narrative representations of multilingual social realities and authorial reflections on colonial Malaya or independent Malaysia as valid literary terrain. Delineating the inter-Asian “crossings” of Mahua literary production—physical journeys, interactions among social groups, and mindset shifts—from the 1930s to the 2000s, he contends that new perspectives from the periphery are essential to understanding the globalization of modern Chinese literature. By emphasizing the inner diversities and connected histories in the margins, Malaysian Crossings: Place and Language in the Worlding of Modern Chinese Literature (Columbia UP, 2022) offers a powerful argument for remapping global Chinese literature and world literature. Cheow Thia Chan is assistant professor of Chinese studies at the National University of Singapore. His research interests include modern Chinese literature, Singapore and Malaysian Chinese Literature, Southeast Asian Chinese Studies, Diaspora Studies, and Urban Studies. Li-Ping Chen is a teaching fellow in the Department of East Asian Languages and Cultures at the University of Southern California. Her research interests include literary translingualism, diaspora, and nativism in Sinophone, inter-Asian, and transpacific contexts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

Judith Zeitlin is a Professor in the Department of East Asian Languages and Civilizations at the University of Chicago. Professor Zeitlin's research focuses on Ming-Qing literature, cultural history, and the arts, specializing in Chinese opera and the classical tale. Her work combines literary history with other disciplines, such as performance, music, visual and material culture, medicine, gender studies, and film. She is also a faculty member on the Committee on Theater and Performance Studies. In this episode, she shares how a little luck is needed when building her career, along with lots of passion and hard work. 

We treat the first part of Chapter 39 of Dream of the Red Chamber (Story of the Stone, Hongloumeng), as Li Wan and friends wax philosophical on the importance of having good servants to dissipate loneliness... our discussion turns toward issues of social value, and the paradoxes of hierarchy and intimacy.

DISCUSSING New England Patriots moves, kids playing football, Shohei Ohtani and how his Tommy John surgery will not affect his offense. www.chrisleemd.comwww.stetsonleeortho.comDr. Christopher S. Lee is a board certified orthopedic surgeon specializing in sports medicine, arthroscopy, joint and cartilage preservation as well as shoulder and knee replacements. He is the team physician for the USA National Indoor Volleyball Team and will be traveling with the team to Tokyo for the 2020 Summer Olympics.Born and raised in Boston, Massachusetts, Dr. Lee attended Tufts University where he received awards for both academic and artistic achievements. While in college, he had the unique opportunity of studying abroad in China where he studied Mandarin Chinese and Chinese Literature at Peking University.​After graduating Tufts, Dr. Lee subsequently attended the Tufts University School of Medicine where he participated in the MD/MBA program. After completing the Tufts Combined Residency in Orthopaedic Surgery, he then received his fellowship training at the San Diego Arthroscopy and Sports Medicine Fellowship where he trained with international pioneers in sports medicine, arthroscopy and shoulder replacement surgery. As a fellow, he served as an assistant team physician for the San Diego State University Aztecs and the San Diego Padres Major League Baseball team. He is presently team physician for the USA National Indoor Volleyball Team, Rock N' Roll Sports Medicine, and Crescenta Valley High School. Dr. Lee has a longtime commitment to running. A track athlete in high school, he transitioned to distance running over the years and completed the Philadelphia Marathon in 2007, the Boston Marathon in 2008 and 2010 and the Chicago Marathon in 2013. As a healthcare provider, he has served as a member of the Rock 'n' Roll Marathon Series Medical Team since 2012. He presently has a passion for running, golf, volleyball, basketball and football.  A violinist since the age of 4, Dr. Lee has traveled internationally to Europe and South America to give both solo and ensemble performances. He attended the Tanglewood Music Institute on scholarship during the summer of 1996 and continued his musical studies while at Tufts, winning the University Concerto Competition in 1998 and 2001. He has been the fortunate recipient of the Jacob Swartz Young Artist Award for solo performance and the Eugene Lehner Chamber Music Award as a member of the Rackwick Quartet.Dr. Lee has several research interests and has published in major orthopaedic journals and presented at national meetings. He currently has active projects in ACL reconstruction, shoulder replacement surgery, shoulder arthroscopy, overhead athletes, post-operative pain management, MRI, meniscus repair and biceps pathology.

The end (or is it beginning?) of our Chapter 38 review! (This was originally intended to be the first episode we'd release, but it was the last to be recorded, and we forgot to rearrange them.) The final part of our foray into this dense and rich chapter of Dream of the Red Chamber (Story of the Stone).

一个普普通通的学生，四次参加考试，四次失败。失望之际，他接触到基督教。基督教里描绘的人人平等的社会让他心驰神往。多年之后，他建立自己的宗教。追随他的人数不断扩增，他打算建立国家，自己成为国王。他的名字叫洪秀全。他建立的国家叫太平天国。他想要推翻清朝，让所有中国人活在一个 “天下大同” 的世界里。这样的目标可能达到吗? An ordinary student. He tried to pass an exam four times, and four times he failed. In despair, he was acquainted by the faith of Christianity. He was fascinated by what is depicted in the religion, a society where all men are equal. Years later, he founded his own religion, and when believers increased he decided to establish his own kingdom, where he was king. His name was Hong Xiuquan, and the kingdom was the Taiping Heavenly Kingdom. The aim was to overthrow the Qing Dynasty, so that every Chinese would live equally under heaven. Is such a dream achievable? A Documentary on Taiping Heavenly Kingdom ◉ Read transcripts for free ◉ Become a Patron ◉ Visit merch store ◉ Find us on YouTube ◉ We are on LinkedIn ◉ We are on Facebook ◉ Find a Chinese teacher on italki and receive $10 ◉ One-time Donate

TOPICS INCUDE...AARON RODGERS INJURY AND POSSIBLE RETURN...CLAYTON KERSHAW SURGERY AND POSSIBLE RETURN TO LA IN 2024...and more. www.chrisleemd.comwww.stetsonleeortho.comDr. Christopher S. Lee is a board certified orthopedic surgeon specializing in sports medicine, arthroscopy, joint and cartilage preservation as well as shoulder and knee replacements. He is the team physician for the USA National Indoor Volleyball Team and will be traveling with the team to Tokyo for the 2020 Summer Olympics.Born and raised in Boston, Massachusetts, Dr. Lee attended Tufts University where he received awards for both academic and artistic achievements. While in college, he had the unique opportunity of studying abroad in China where he studied Mandarin Chinese and Chinese Literature at Peking University.​After graduating Tufts, Dr. Lee subsequently attended the Tufts University School of Medicine where he participated in the MD/MBA program. After completing the Tufts Combined Residency in Orthopaedic Surgery, he then received his fellowship training at the San Diego Arthroscopy and Sports Medicine Fellowship where he trained with international pioneers in sports medicine, arthroscopy and shoulder replacement surgery. As a fellow, he served as an assistant team physician for the San Diego State University Aztecs and the San Diego Padres Major League Baseball team. He is presently team physician for the USA National Indoor Volleyball Team, Rock N' Roll Sports Medicine, and Crescenta Valley High School. Dr. Lee has a longtime commitment to running. A track athlete in high school, he transitioned to distance running over the years and completed the Philadelphia Marathon in 2007, the Boston Marathon in 2008 and 2010 and the Chicago Marathon in 2013. As a healthcare provider, he has served as a member of the Rock 'n' Roll Marathon Series Medical Team since 2012. He presently has a passion for running, golf, volleyball, basketball and football.  A violinist since the age of 4, Dr. Lee has traveled internationally to Europe and South America to give both solo and ensemble performances. He attended the Tanglewood Music Institute on scholarship during the summer of 1996 and continued his musical studies while at Tufts, winning the University Concerto Competition in 1998 and 2001. He has been the fortunate recipient of the Jacob Swartz Young Artist Award for solo performance and the Eugene Lehner Chamber Music Award as a member of the Rackwick Quartet.Dr. Lee has several research interests and has published in major orthopaedic journals and presented at national meetings. He currently has active projects in ACL reconstruction, shoulder replacement surgery, shoulder arthroscopy, overhead athletes, post-operative pain management, MRI, meniscus repair and biceps pathology.

孙悟空，一只有着72种能力的猴子，是中国文化里最重要的神话人物之一。他的 “大闹天宫” 的故事更是无人不知。他原本在花果山过着安静的生活。天上的玉皇大帝想要用工作来控制他，但是孙悟空只想要自由。他反抗玉皇大帝，大闹天宫。 Sun Wukong (a.k.a. the Monkey King), a monkey with 72 powers, is one of the most important mythological figures. His "Havoc in Heaven" story is known to all. Living peacefully in his earthly paradise, his life is disturbed by the Jade Emperor from Heaven, who attempts to control him by making him work. The Monkey King wants nothing but freedom. He fights against the Jade Emperor, and causes Havoc in Heaven. Watch Havoc in Heaven (Part 1) Watch Havoc in Heaven (Part 2) ◉ Read transcripts for free ◉ Become a Patron ◉ Visit merch store ◉ Find us on YouTube ◉ We are on LinkedIn ◉ We are on Facebook ◉ Find a Chinese teacher on italki and receive $10 ◉ One-time Donate