“Hojoki” is the collections of essays written by Chomei in the Kamakura period. This literature is for Buddhist concept of impermanence. “The Tales of Heike” is the story of the Genji war, the fight between Taira and Minamoto clans for control of Japan. Both literatures have pretty similar main points of the topic through the Buddhism and the criticism of the life. However, we can also compare both literature for the societies of Japan in late twelfth century, Kamakura period, because they each have different points of view. In the Hojoki, it provides the change of the capital and the emperors through the nature disasters and personal life. The dates of conflagration, typhoon, famine, and earthquake in Japan are pretty specific in the essay.
Emperor K’ang-hsi was one of the greatest Chinese emperors of all time. Ruling from 1662 to 1722 he was also one of the longest ruling emperors in Chinese history and for that matter the world. K’ang-hsi brought China to long-term stability and relative wealth after years of war and chaos. Jonathan Spence writes from the eyes of K’ang-hsi getting his information from K’ang-hsi’s own writings. Though a little biased towards himself this book still provides important insight into his mind. Emperor of China is divided into six parts; In Motion, Ruling, Thinking, Growing Old, Sons, and Valedictory.
Seamus Heaney’s poems ‘Digging’ and ‘Follower’ focus on family life, tradition and the pride Haney feels towards his family, particularly his father and grandfather. They also talk of generation, role reversal and the passing of the time. The poems describe his father and grandfather working on the farm and the admiration Heaney feels towards them. This essay will analyse the techniques Heaney used to convey his deep pride and admiration for his family. Throughout ‘Follower’ Heaney consistently describes the strong sense of pride he feels towards his father.
Hung Liu's paintings are of photographs. She paints from them because she wants to set free the messages that are locked inside the photograph. In Liu's painting Virgin/Vessel the woman's feet are disfigured because of foot binding. Chinese women did this in attempt to raise their status. They were unable to walk and forced into prostitution. The women became a sexual vessel and there was one in front of the girl in the painting. This shows the isolation and vulnerability. In Liu's Three Fujins, The women are shown with birdcages in front of them with represents the women's spiritual captivity. Their pose is uniform and shows that they have given in to the forces of the rulers in their time period. They did this in order to fit into the roles
In what should have been the prime of his youth, Sungju Lee’s soul and happiness was carved out and replaced with a desperation for survival. Constantly cross between the consuming emptiness of abandonment and the flickering hope that their families are still out there, Lee and his ragtag crew of forgotten boys fight their way until the dying light of each day. As his beliefs crumble around him, Lee climbs his way out from the ashes to open his eyes to the truth,in a bittersweet coming of age story. Lee’s extremely personal and detailed recount of his youth in Every Falling Star make it a truly heart wrenching story full of emotion and depth with descriptive imagery while retaining simplicity and the intimacy of a friend telling a story.
The major periods that shaped Japan’s history and future were the Heian-era of Aristocracy and the Kamakura period of Samurai. The Heian-era and the Kamakura period are interesting because of their differences in social structure, tradition, and culture. In the Heian era, the aristocrat’s social class was sought by many because of their social and cultural status. When the warrior rise in the Kamakura age the social classes change dramatically between aristocrat and warrior. The Heian-era (794-1191) was an age of self development in Japan’s culture and tradition. Before the Heian-era, Japan
The relationship between father and son changes over time, and molds along with the people in encapsulates. As in real life, the father and son who inhabit Li-Young Lee’s poem “A Story” experience sudden changes within their relationship as the time passes on. The son’s cries for a story that slowly change into adult conversations throughout the poem indicate that with maturity and age comes both understanding and hostility.
In the poem, A Story, by Li-Young Lee, a father struggles with the thought of his son growing older. The poem clearly shows fears of how he is afraid of their complex relationship. Lee uses many literary devices to convey this complex relationship of the father and the son through point of view and structure.
In the short story “A Decade”, Ha Jin further enforces the power and control the government had on everything. The story is told in the perspective of girl who left her village then came back years later in which she recalls her time in school there. More specifically her time with a teacher named Wenli, a shy, soft spoken, innocent teacher who seemingly was not fit to teach under a Communist government. First, she is ridiculed for her singing, then she is publicly shunned for her intimate relationship with a fellow teacher, but the incident that brought her all the way down, was her attempt to teach the class what a metaphor was. She did this by referring to the statement Chairman Mao in which he expressed that americans and russians were dirt. As she explained this was not the case for they were humans as everyone is it all went downhill as the narrator stated, “How dare she change Chairman Mao’s meaning! How could we trust such a teacher?” (Jin, Pg. 204) This in turn causes an uproar amongst the school which causes Wenli to be sent to the countryside. She comes back a monster of a woman compared to who she was. When the narrator sees her teacher in her present cruel self she states, “...similar to how I had felt when my first boyfriend left me for another girl.” (Jin, Pg. 207) This statement allows the reader to have the narrator's real feeling for she witnesses a woman far from the woman she had known only to question herself in a “what have did I
Elliott is a notable researcher of Qing 1644-1911 China who has some expertise in the historical backdrop of its Manchu originators, In Emperor Qianlong: Son of Heaven, Man of the World, Elliott has turned his extensive semantic and chronicled abilities to a life story of the enduring Hongli 1711-1799, who from 1735 until the point when 1795 ruled as Emperor Qianlong, managing a time of amazingly quick social, scholarly, statistic what's more, natural change, Qianlong's mind boggling identity and rule are analyzed once again in Elliott's investigation. There are numerous cases of this with tests of these sonnets by Qianlong himself all through the book and pictures of himself, generally in a purposeful publicity style however. The book gives an awesome short clarification of how Qianlong ruled the country and how he lived in his home life. It points of interest his spouses and the amount he loved them and what he did with them on their many voyages together over the Chinese farmland. It really expounds the amount Qianlong was influenced by the passing of his first spouse and how it may have had an effect on how he led from subsequently.
Mark C Elliott’s book Emperor Qianlong Son of Heaven, Man of the World is a short biography about Hongli. Hongli was the fourth son of the Yongzheng Emperor and the favorite of his father and grandfather and was born in 1711. In the beginning it describes how he rose up in rank as a son through his father who introduced him to the current emperor Kangxi, his grandfather. The first chapter gives us the story of what Hongli was like as a child and how he won the favor of the Emperor. The book follows Hongli all the time from his birth from a low ranking palace consort right up to the end of his life even after he technically gave up his title as
“The whole world recognizes the beautiful as the beautiful, yet this is only the ugly; the whole world recognizes the good as the good, yet this is only the bad.” (Norton) Some people in history thought this statement makes perfect sense; however, it is gibberish to me. How are the beautiful actually ugly, and good mean bad? My only thought process goes back to people having different values of life. My best cliché for this is “One man’s trash is another’s treasure.”
Mckissick, Floyd. “CORE Endorses Black Power.” In Let Nobody Turn Us Around: Voices of Resistance, Reform and Renewal: An African American Anthology, edited by Marable, Manning, and Leith Mullings. Rowman & Littlefield, 2003.
One of China’s most popular love comedies, The Story of the Western Wing (Xixiang Ji) by Wang Shifu (1250-1300) dramatizes a scholar-and-beauty romance. Zhang Sheng, a promising student, and Cui Yingying, a beautiful maiden, meet in a temple, fall in love at first sight and after a series of thwarted attempts, they end up happily marrying each other, after the student has passed the civil exam as the top one, of course. Among the five books of The Story of the Western Wing, Book III stands out in the very middle of the whole play with interesting characteristics in terms of both theatrical features and thematic complexity. First of all, while dan and sheng share most of the
In “The Daodejing,” Laozi, similar to many prominent Chinese philosophers before and after his time, discusses his unique perspective of the “Way.” There is much controversy, however, regarding whether Laozi was the actual author of this text or was even a real person, and “his” work is thought to have been a composite. (For the purpose of clarity, throughout this paper, the author(s) of “The Daodejing” will be mentioned as Laozi.) Laozi’s vision of the “Way” is exceptionally challenging to define using words because of its metaphysical nature. Although this term is somewhat difficult to envision, it is what mankind should aspire and take action to be aligned with. According to Laozi, in “readings in Classical Chinese Philosophy,” the “Way” (or dao) is the “source, sustenance, and ideal state of all things in the world” (Laozi 158). It can be best thought of as the underlying guiding force of all events that occur in the universe, and mankind is closer to the “Way” when they realize that all things are interconnected and have an effect on one another. As might be expected, this vague definition isn’t a foolproof depiction of the eighty-one chapters in the “Daodejing,” but one is able to grasp a basic understanding of Laozi’s ineffable doctrine. Although numerous chapters are meaningful and could provide substantial analysis, this paper will focus in on Chapter Twelve. Ultimately, this chapter adequately and efficaciously compresses the teachings of “The Daodejing” into
Family loyalty in China has had a tumultuous past filled with fluctuation between remaining loyal to the state, yet also remaining loyal to blood relatives. In the autobiography that also serves as a biography, Wild Swans, by Jung Chang, this is seen. The book, which outlines the biographies of the author’s grandmother and mother, as well as her own autobiography, gives an interesting look into the lives of the Chinese throughout the 20th century. This book is beyond eye opening, and is truly a raw glimpse into the daily lives of women throughout China, struggling with situations that no human should ever be thrown into. I loved this book and was truly scared about the world that it opened me up to. The book does many things well, but also has its faults. The author consistently and clearly exemplifies the social hierarchy that consumes China, as well as its obsession with cultural stagnancy. The author also gives intense imagery that thrusts the reader into the scene, and creates a new reality showcasing the truths of China. Although both of those things take main stage in the book, there are a few weaknesses in the book. One, asking the question of how she had such clear anecdotes on her grandmother and mother’s life, how did she have such intimate details? The second shortcoming that Jung Chang had a subjective view of China, partly being that she loves China despite the cards it has dealt her. Her life was not short of hardships, but her family was typically