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Wu Soul (Chili River)
Squatting in the corner, washing a bowl full of chopsticks, the teenager looked blankly at the emaciated mother being bossed around as a servant.
The Emperor of eternal Life
The land around Shiroishi Castle is barren. Originally, there were few residents here, so it seems impossible to develop into today's scale. However, there is nothing absolute. I don't know how many years ago, some aristocratic families in Fengyang County discovered that Baishishan was rich in stone, and the stone produced was profitable whether it was used for building or processing sculpture. Baishishan is actually Baoshan. So they built a stone carving workshop along the Bailan River to carve stones. After several hundred years' development, a big city was gradually built, which is the predecessor of Shiroishi Castle today.
Mainland China
None
Devouring sword
There is a sea of people on the Qianshan Square of Shuijianzong, and the crowds are surging. Not only the three generations of disciples from the outer court of Jianzong come here to watch the triennial advanced conference, but also the children under the age of ten who have just started their studies in Lian Gang
Journal of the North China Branch of the Royal Asiatic Society
Contains list of members.
Appropriation and Representation
Feng Menglong (1574–1646) was recognized as the most knowledgeable connoisseur of popular literature of his time. He is known today for compiling three famous collections of vernacular short stories, each containing forty stories, collectively known as Sanyan. Appropriation and Representation adapts concepts of ventriloquism and dialogism from Bakhtin and Holquist to explore Feng’s methods of selecting source materials. Shuhui Yang develops a model of development in which Feng’s approach to selecting and working with his source materials becomes clear. More broadly, Appropriation and Representation locates Feng Menglong’s Sanyan in the cultural milieu of the late Ming, including the archaist movement in literature, literati marginality and anxieties, the subversive use of folk works, and the meiren xiangcao tradition—appropriating a female identity to express male frustration. Against this background, a rationale emerges for Feng’s choice to elevate and promote the vernacular story while stepping back form an overt authorial role.
