357,063 research outputs found
Wang Meng and contemporary Chinese literature: the vicissitudes of a committed writer
No full textThis thesis examines the way Wang Meng has developed as a writer from the 1950s to the 1990s in the context of New China's political and literary background. It looks at the compromises he was forced to make between his political beliefs in the Communist Party and his chosen role as a professional writer. After his disastrous early foray into what was deemed to be unacceptable political criticism with The Young Newcomer in the Organisation Department in the 1950s, when the opportunity came to start publishing again in the late 1970s he was boldly innovative in style, helping to transform New Period literature, but conservative in content, sticking to politically acceptable topics. It was only with Hard Porridge in 1989 that he ventured again, and very successfully, into political comment. There is no outstanding leading writer in contemporary China, but Wang Meng is a leading contender for the title
On Meng Sen's teaching and lecture notes of Ming and Qing history at Peking University during the 1930s
No full textWhile teaching the histories of the Ming and Qing dynasties, Meng Sen (1869-1937), developed three textbooks in the 1930s: Lecture Notes on the Ming History (.... Mingshi jiangyi), Lecture Notes on the Qing History (.... Qingshi jiangyi), and Lecture Notes on the History of the Founding of the Manchu State (....... Manzhou kaiguo shi jiangyi). In these book titles, the term " history" refers specifically to "standard history."In tracing Meng Sen's original intention in producing these textbooks, all three works suggest the author's desire to write history. He wrote Lecture Notes on the Ming History to prepare a future revision of the History of the Ming (.. Mingshi); similarly he wrote Lecture Notes on the Qing History and Lecture Notes on the History of the Founding of the Manchu State with the intention to revise the Draft History of the Qing (... Qingshi gao). Meng Sen summarized Sima Guang's (..., 1019-86) view of history as " imitating the good and avoiding the bad," which he believed represented the "essential meaning of history." Meng followed Sima Guang's model in compiling the Lecture Notes on the Ming History and Lecture Notes on the Qing History, as shown in their style and format. By comparison, his writing of the Lecture Notes on the History of the Founding of the Manchu State attempted to merge the traditional annals-biographic style with narrative history from the West, or to pour old wine into a new bottle. Meng Sen presented his innovative efforts at Peking University, introducing young scholars to standards for history writing, and doing his utmost to guide and encourage his students; some of whom became noted scholars in the study of Ming and Qing histories.A&HCIARTICLE2119-1545
Correction to: Visible lattice points along curves
No full textThe article “Visible lattice points along curves”, written by Kui Liu and Xianchang Meng, was originally published electronically on the publisher’s internet portal on 27 July 2020 without open access. With the author(s)’ decision to opt for Open Choice the copyright of the article changed on 9 July 2021 to © The Author(s) 2020 and the article is forthwith distributed under a Creative Commons Attribution 4.0 International License, which permits use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons licence, and indicate if changes were made. The images or other third party material in this article are included in the article’s Creative Commons licence, unless indicated otherwise in a credit line to the material. If material is not included in the article’s Creative Commons licence and your intended use is not permitted by statutory regulation or exceeds the permitted use, you will need to obtain permission directly from the copyright holder. To view a copy of this licence, visit http://creativecommons.org/licenses/by/4.0
Tan (Mrs), S M Soo Meng, [No Service Number]
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/420355Surname: TAN (MRS). Given Name(s) or Initials: S M SOO MENG. Military Service Number or Last Known Location: [No Registration Number]. Missing, Wounded and Prisoner of War Enquiry Card Index Number: 14869.244940
Item: [2016.0049.52616] "Tan (Mrs), S M Soo Meng, [No Service Number]
AWALAN ME-/MEN-/MENG- + S- ATAU MENG-?
No full textAbstract: Description of morphological processes involving the verbal prefix me-/meN- in the Indonesian grammars have a long story. Traditionally, me- was described as changing in its form into meng- when followed by a base which begins with vowels, k, g, h, and kh; into mem- when folllowed by t and d; into men(y) when followed by s, sy, c, and j; remaining as me- when followed by m, n, ny, ng, l, r, w, and y. In the process, the initial p, t, l, and s are lost and the fate of the bases is no longer discussed. In this presentation it will be argued that not only prefixes but bases also entitled to more than one allomorph, changing the initial p, t, k, and s of the base into their respective homorganic nasals. This argument is supported by the occurrence of allomorphs like –masang, -nulis, -nguras, dan –nyapu in reduplication. Hypenation in written words like me-masang, me-nulis, me-nguras, and me-nyapu are also proofs of the allomorphic existence. Abstrak: Deskripsi proses morfologi yang bersangkutan dengan awalan verba me-/meN- dalam tata bahasa Indonesia mempunyai sejarah yang cukup panjang. Secara tradisional, me- diperikan sebagai awalan yang berubah bentuknya menjadi meng- ketika diikuti bentuk dasar yang berawal vokal, k, g, h, dan kh; menjadi mem- jika diikuti p, b, dan f; menjadi men- jika diikuti t dan d, menjadi men(y) ketika diikuti s, sy, dan j; tetap sebagai me- ketika diikuti m, n, ny, ng, l, r, w, dan y. Dalam proses itu p, t, k, dan s awal hilang atau luluh dan nasib kata/bentuk dasar tidak dihiraukan lagi. Dalam paparan di bawah ini diajukan argumen bahwa tidak hanya awalan tetapi juga kata/bentuk dasar mempunyai kemungkinan untuk memiliki lebih dari satu kata/bentuk dasar menjadi sengauan homorgan masing-masing. Argumen ini ditopang, misalnya, oleh kahadiran alomorf atau bentuk seperti –masang, -nulis, -nguras, dan nyapu dalam kata ulang. Penggunaan tanda hubung (-) dalam kata tertulis pada akhir baris seperti me-masang, me-nulis, me-nguras, dan me-nyapu juga menjadi bukti adanya alomorf-alomorf tersebut. Permalink/DOI: http://dx.doi.org/10.15408/dialektika.v4i2.7681
Awalan Me-/Men-/Meng- + S- Atau Meng-?
No full texteskripsi proses morfologi yang bersangkutan dengan awalan verba me-/meN- dalam tata bahasa Indonesia mempunyai sejarah yang cukup panjang. Secara tradisional, me- diperikan sebagai awalan yang berubah bentuknya menjadi meng- ketika diikuti bentuk dasar yang berawal vokal, k, g, h, dan kh; menjadi mem- jika diikuti p, b, dan f; menjadi men- jika diikuti t dan d, menjadi men(y) ketika diikuti s, sy, dan j; tetap sebagai me- ketika diikuti m, n, ny, ng, l, r, w, dan y. Dalam proses itu p, t, k, dan s awal hilang atau luluh dan nasib kata/bentuk dasar tidak dihiraukan lagi. Dalam paparan di bawah ini diajukan argumen bahwa tidak hanya awalan tetapi juga kata/bentuk dasar mempunyai kemungkinan untuk memiliki lebih dari satu kata/bentuk dasar menjadi sengauan homorgan masing-masing. Argumen ini ditopang, misalnya, oleh kahadiran alomorf atau bentuk seperti ?masang, -nulis, -nguras, dan nyapu dalam kata ulang. Penggunaan tanda hubung (-) dalam kata tertulis pada akhir baris seperti me-masang, me-nulis, me-nguras, dan me-nyapu juga menjadi bukti adanya alomorf-alomorf tersebut
Controversy over meng-lung shih
No full text11 p.a critique of meng long shi, also known as "misty poetry" or "obscure poetry", a form of poetry popular in the late 1980's in Chin
Interview data from Fansub Group S
No full textthe informed consent forms, original audio clips, Chinese transcription, and English translation of the interview data collected from Chinese fansub community Fansub Group S (anonymized
Talk over HAN and MENG′s connect-sentence poetry
No full text韩愈和孟郊在短短的几个月就创作了一大批联句诗,不能不说是诗歌史上的奇迹。且这些联句诗的风格由个性鲜明逐渐向不分彼此过渡,最终达到了琴瑟相和的境界,这不仅有客观条件的因素,更重要的还是二人主观努力的结果。HAN Yu and MENG Jiao composed numbers of connet-sentence poetry in several months, which was a miracle in the history of poetry. These poetrys transited from vivid personality to without respect each other,and they finally came to united state. This not only need objective condition,but also need HAN Yu and MENG Jiao′s subjective effort. And the latter was more important
Diffusive author(s), cohesive author: Analysis of S/N (1994)
No full textThis study indicates the ways in which various aspects of the author(s) are brought forth in Dumb type’s performance art, the S/N production. Previous research has suggested a non-hierarchical organization of Dumb type and the absence of a “privileged author” in Dumb type’s collaborative work, S/N. However, the results that I have investigated from member’s interviews on the creative process of S/N along with my analysis of the recorded images of S/N, indicate a different aspect of the author(s). First, S/N was created through, so to speak, the collective ideas of the members of Dumb type. Further, S/N has at least nine quotations from previous performances, installations, and printed writings, besides the work-in-progress technique. Explicating one of the “author functions” as given by Michel Foucault, each text has plural subjects of the author. However, it has been revealed from members’ interviews that Teiji Furuhashi had a decision-making role in selecting the members’ ideas within the performance. Since then, S/N has had plural subjects of creation; however, Furuhashi is one of the subjects of creation along with the “privileged author.” S/N has plural authors (diffusive authors) yet at the same time, it has a “privileged author,” Teiji Furuhashi (cohesive author)
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