# | Year | Text |
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1 | 1999-2003 |
William A. Joseph ist Faculty Director des Elisabeth Luce Moore '24 Wellesley-Yenching Program.
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2 | 1999 |
John W. Witek ist Visiting Professor of History der Xavier University, Cincinnati.
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3 | 1999-2001 |
Stephen H. West ist Mitglied des Executive Committee des Institute for Asian Studies der University of California, Berkeley.
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4 | 1999- |
Zhang Longxi ist Mitglied des Editorial Board von Modern Chinese literature and culture.
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5 | 1999 |
Enrica Collotti Pischel reist in China.
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6 | 1999 |
Enrica Collotti Pischel ist Mitglied des Asia Committee of the European Science Foundation.
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7 | 1999 |
Aufführung von A Rock 'n' Roll Midsummer night's dream of the East in der Adapation nach William Shakespeare unter der Regie von Liang Zhimin in Taibei.
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8 | 1999 |
Aufführung von Xun han ji : Zhong wen wen ben = The taming of the shrew von William Shakespeare durch die Huang jia Shashibiya ju tuan in Hong Kong.
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9 | 1999 |
Wu, Xiuming. Wen xue zhuan xing zhong de san ge 'zhu yi' ji qi ji ben liu bian. In : Journal of Hainan Teacher's College ; no 2 (1999). [Three '-isms' and their fundamental development and changes in the literary transformation].
Er schreibt : "[Young writers] succeeded in borrowing ideological content from modernism, rather than peeling off its techniques alone and applying these to their writings. It indicates that a group of young Chinese writers have risen and become mature in the circle of elite literature. They learned from Sartre, Nietzsche, Bergson, Freud, and Camus to nurture their spirits, and they werde concerned about one set of question : "Who am I ?" "Where do I come from, and where shall I go ?" "What should I do and what can I do in this world ?" It was the issue that Western modernism was bitterly obsessed with." |
10 | 1999 |
Michel Butor reist mit Marie-Jo Butor nach Shanghai, Xiamen, Guangzhou und Hong Kong.
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11 | 1999 |
Ge, Guilu. William Wordsworth and his romanticism in China after the establishment of New China. In : Journal of Ningxia University (Jan. 1999).
Abstract : The founding of the People's Republic of China marked the beginning of a new historical period in our country, but no new opportunities are presented for Wordsworth. New China's study of foreign literature is influenced and limited by the Soviet Union (1917-1990), which puts undue emphasis on politics, such as political attitude of author, political, social and historic significance of works, so Wordsworth and his works repeatedly came under attack. In 1980's, China's study of Wordsworth entered a new stage, especially in 1990's, Wordsworth and his works are gradually understood and embraced by more and more China's readers. |
12 | 1999 |
Gregory Blue : David Hume believed that the Chinese had the greatest uniformity of character imaginable, and he accounted for this in terms of their common language and their country’s geography. In his view, the natural divisions of Europe, and originally of Greece, had resulted at one lvel in a variety of political regimes and at another in achievement in the sciences and arts, whereas the lack of geographical dividions in China had led to stagnation in the sciences.
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13 | 1999 |
Guang ming ri bao ; 24 Sept. (1999).
Jane Eyre by Charlotte Brontë was voted one of the top 50 books that have moved the People's Republic. |
14 | 1999 |
Liang, Shiqiu. Ya she yi wen. Yu Guangzhong, Chen Zishan deng bian. (Beijing : Zhongguo you yi chu ban gong si, 1999). 雅舍轶文 [Original-Datum nicht gefunden].
[Enthält] : Liang, Shiqiu. Letter to Mrs. Fang Rennian. "Professor [Iving] Babbitt and Professor [Paul Elmer] More have had the greatest influence upon me, and I have read all of their works. |
15 | 1999 |
Ezra Pound's daughter Mary de Rachewiltz and his granddaughter Patrizia de Rachewiltz fulfill his unfulfilled dream by going on pilgrimage to Confucius's birthplace Qufu and climbing Taishan.
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16 | 1999 |
Tian, Junwu. Shu yu ren de zui jia she ji chang chang luo kong : guan yu yue han si tan bei ke Ren shu zhi jian de ji zhong zhu ti [ID D30669].
Tian Junwu disagrees with viewpoints that this novel about human loneliness, or the conflict between 'good' and 'evil', or class conflict or an allegory of friendship. He argues that Steinbeck had Burns' poem in mind while writing the book and intended to reveal that humans, like mice, are unable to escape from the control of fate. |
17 | 1999 |
Tian, Junwu. Qian lun yue han : Sitanbeike de ju ben xiao shuo [ID D30671].
Tian discusses Of mice and men, The moon is down and The pearl. He uses evidence from the three stories to prove that they all contain dramatic elements : themes about the struggle between good and veil, which is 'the only struggle that creates suspense' ; a staged structure in which there is a high concentration of characters, plot, and scenes ; the dramatic conflict between beautiful dreams and a destructive evil spirit ; and a narrative consisting of language much like stage directions and dramatic dialogue. He concludes that the Broadway success of plays adapted from these novelettes proved that Steinbeck's experiments in dramatic fiction were highly fortuitous. |
18 | 1999 |
Fang, Jie. Sitanbeike Mengtelei xiao shuo zhong di ren sheng zhe xue [ID D30672].
Fang Jie starts with Cup of gold, a book that had never been mentioned in China before, and argues that Merlin is the archetype of Steinbeck's dropouts in Tortillia flat, Cannery row, and Sweet Thursday. In all three novels, Steinbeck wrote with affectionale and compassionate understanding of the world's disinherited, the lovable and exotic 'paisanos' in Monterey. To Fang, Tortilla flat is neither an ordinary picaresque novel nor a mock-epic. Neither is it a modern version of King Arthur and his knights. The dropouts are at a disadvantage from the very beginning and unable to participate competitively in modern society. What is more, Danny's friends are no longer isolated loners but active members of their group. They are offered as a contrast to people obsessed with the pursuit of money, fame, and social position in a materialistic world. The novel is seen as a piece of serious literature severely criticizing mainstream culture in the United States. Fang thinks that Cannery row is Steinbeck's reaction to a world that enters World War II after eleven years of economic depression. It is about a transition from the old to the new, but unfortunately the new world is imperfect. The significance of the novel lies in its philosophy, the logos of Taoism. The grocer Lee is therefore of essential importance to the whole book, although he is never at the center of the story, because he understands the essence of the Tao and the spirit of American commercial society and knows how to find a balance between the two. Doc is another important character whose unworldly style of life is a representation of Taoist philosophy. This use of Taoism indicates that Steinbeck intends to find a new value system to replace that of the capitalist society. Taoist philosophy adheres to the non-teleology he had always advocated and thus becomes the mainspring in the world of Cannery Row. Although Sweet Thursday reflects changes in Steinbeck's thinking. Fang defends the work by saying that Doc's becoming a good husband and a responsible father in Steinbeck's attempt to find a compromise between individualism and social responsibility and is an expression of his belief and hope that human beings have the ability to cultivate and even perfect themselves. Thus, all three Monterey novels are representations of Steinbeck's reflections on man and society, his identification of the true value of man, and his critique of Americans' outlook on social values. While he had great sympathy for social dropouts, he criticized them for their escape from social responsibility. |
19 | 1999- |
Kirk A. Denton ist Editor von Modern Chinese literature and culture ; vol. 11 (1999-)
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20 | 1999 |
Ma, Rui. Cong Wu'erfu dao xi su de nü xing zhu yi pi ping [ID D31610].
Ma argues that Woolf's A room of one's own is recognized as a classic for feminist criticism not simply because of the major thinking Woolf produces, but because of the emphatic breakthrough she makes with patriarchal theoretical discourses. It is reflected in her innovative choice of a narrator with an ambigious identity, her use of metaphor, symbolism, and fictionalization. Ma also argues that Woolf's narrative form demonstrages her continuing protest against patriarchal discursive models. Woolf's description of the narrator's pondering the question of women and fiction on the banks of a river is not only a reflection of 'my thinking process' but also 'a demonstration of the power of thinking'. Ma sees Woolf's essay itself as a metaphorical network, in which various metaphors such as the title, the setting Oxbridge, and so on are not only anchored in their specific significance respectivels, but also associated with one another. Together, they greatly helped to convey Woolf's feminist ideas about women and writing and 'created a different rhetorical discursive model', rather than merely serve as a rhetorical technique. Woolf also introduces fictionalization into literary criticism. |