Yang Weizhen's Iron Style poems on history.

This thesis is the first in-depth research on Yang Weizhen's Iron Style poems on history. It argues that Yang's poems are a product of his life experience, his imitation of other poets' work and his own creativity. Yang's poems are imbued with the poet's complicated personality, his interest in music and drama, and his unique views and feelings about history. It is divided into six chapters, in addition to an introductory chapter on Yang and the research topic itself. Chapter One concentrates on how Yang's political and social background facilitated the emergence of his Iron Style, and investigates the composition dates. Chapter Two explores Yang's Iron Style poems on history in the context of the overall development of poetry on history. Chapter Three looks at different definitions of 'Tie ti' (Iron Style/Form), also "Tieya ti" (Iron Cliff Style/Form). It tries to clarify these confusing definitions and settle the controversy by arguing that 'Tie ti' is a poetic style, the unique style of Yang. Chapter Four explores the main constituents of Yang's Iron Style poetry on history. It shows that in a single poem there is more than one writing style. Chapter Five investigates the presentation techniques used in Yang's Iron Style poetry on history, which again reflect his personality and interests. Chapter Six probes the core and essence of Yang's Iron Style poems on history and reveals how the poet thought. His poetry on history is a reflection of his historical opinions and his philosophy on life

Commercializing Ideologies : Intellectuals and Cultural Production at the Mingxing (Star) Motion Picture Company, 1922 - 1938

This dissertation presents an in-depth look at a pioneering Chinese film company, the Mingxing (Star) Motion Picture Company, and reveals the ways in which intellectual ideas were transformed into part of commercial films as well as the implications of this production in a time of drastic social change in China. This study based on a wide range of primary source materials revises the conventional history of early Chinese cinema in many respects. I challenge the conventional categorization of screenwriters and directors along political or ideological lines and argue that cultural production at the commercial film company facilitated the dissemination of intellectual ideas through a combination of commercial drives and joint efforts of many allegedly radically different groups of filmmakers. With the aim to look into the dynamic process of cultural production at Mingxing, this study is divided into three parts. Part One (Chapter 1) reconstructs the institutional and economic history of Mingxing. Part Two (Chapters 2-4) presents a revisionist analysis of film producers at Mingxing. By unfolding a network of interactions and entanglements between Mingxing?s film directors and screenwriters, I argue that these persons acted as an intermediary that bridged the intellectual world and the film industry. In Part Three (Chapters 5-7), I analyze the narrative and thematic motifs of Mingxing films and show that issues expressed in films generally resonated with the contemporary intellectual discourse on modernity and national salvation. In doing so, I demonstrate that cinema played a largely unrecognized role in China's modern transformation in its specific ways

Annual Report of the Board of Regents of the Smithsonian Institution, showing the operations, expenditures, and condition of the Institution for the year ending June 30, 1888.

Annual Report of the Smithsonian Institution. 1 July. HMD 142 (pts. 1 and 2) , 50-2, v14-15, 177 8p. [2668-2669] Research related to the North American Indian

Massachusetts Domestic and Foreign Corporations Subject to an Excise: For the Use of Assessors (2004)

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