Showing posts with label teaching. Show all posts
Showing posts with label teaching. Show all posts

Tuesday, September 7, 2010

Back to the Blog, Back to School

Yep, that's how I feel; thanks artist Tom Richmond



It's the first day of school at the University of Minnesota. I'm always so nervous!

Huichung, Emily Chua. “The Good Book and the Good Life: Bestselling Biographies in China’s Economic Reform.” The China Quarterly, 198 (2009): 364-380.

Here's a source that AW recommended; it will surely come up in my next chapter, on the phenomenon of progressive humanism as a mass intimate public in contemporary Chinese culture. Huichung doesn't identify this intimate public, but she describes the larger field of Chinese publishing that surrounds bestselling biographies as one in which old stories take on new market orientations. She calls it a mutually generative relationship between revolutionary ambitions and commercial enterprise, but I'm not convinced this describes Yang Jiang's work effectively. Unlike Yao Ming's biography, for example, Yang Jiang never seems to think wealth or industry are important, and unlike Wang Meng, she only rarely uses the discourse of the nation, particularly in its intimate form which Huichung spots in the term "aiguo xin" (the patriotic heart).
Read more...

Friday, July 16, 2010

My Teaching Philosophy, Second Draft

In Ancient Greece, aspiring teachers had to do these elaborate courtship dances, just as we do today in America (I'm kidding. Sort of.)



Teaching Philosophy: Language and Literature

In everything I do, I believe in asking questions, I believe in pursuing what is right and true, and I believe that life is best seen as a never-ending process of making new connections. I am completely committed to passing these beliefs down to future generations, and the way I do this is by teaching language and literature. Language is the basic tool of communication without which there can be no commerce and no progress. Literature is language as art, and belongs in conversation with the other arts such as dance, theater, visual arts, and music. As a language and literature teacher, I work together with the other teachers of the arts and humanities to expand the imaginative power of people, but my special ability is helping students gain the power to listen and speak for themselves.

Giving Students the Power to Speak I: Language. The whole world over, the traditional first step to connect students to other times and other places is to teach them a foreign language. I love teaching Chinese, and first-year Chinese in particular, because when students grapple with the four tones of Mandarin, or take up the brush to draw Chinese characters, they face a big gap between what they have known before and what is to come. I get to see them crossing that gap multiple times every day. I also love to teach English, my native language and the language of all the people, places and things that are most familiar to me. Teaching English offers up the story and the spirit of the English-speaking people, and I am proud to be a part of that story and that spirit. In both cases, students and teachers work together in a progressive, graduated course of improvement that leaves everyone with a more sophisticated and more adaptive vision of what language and culture and society really are. Once students have this vision, they take it with them in whatever they do next, because they have begun to understand the value of making connections.

Giving Students the Power to Speak II: Literature. Literature is the art of listening and telling. Literature in the classroom involves two reciprocal activities: reading and writing. When I teach literature, I make my students listen, and I make my students read. Then I make them tell, and I make them write. And then we start again. My literature classroom is an interactive workshop experience that aims to give students the power to speak for themselves. On the one hand, we ask questions about what we read and hear, we analyze the parts of what we read, and we learn the history of what we read. At the same time that we do this, we produce papers with beginnings, middles and ends. We write in complete sentences. And we learn to write with style.

The Great Multiplicity of World Cultures. Whether I’m teaching courses in Chinese literature and Asian studies or in Freshman composition and basic research techniques, I teach that literature’s great power is to tell the story of how we live and how we die, what we value and what we ignore, what we love and what we fear. As an American scholar of Chinese literature and culture, I make sure that the underlying lesson in all my courses is that there is great value in crossing borders, listening to others, and making connections. My greatest hope is that my students leave my classroom with a sensitivity to the delicate balance of human life, the perils we face in the world today, and the need to call on all our talents and traditions to form and preserve healthy, sustainable communities all over the earth.

Truth and Beauty. I do not value all literature equally. I discriminate towards the stories that have the power to move the reader, the depth to challenge the listener, and the tension, conflict and crisis that call out to us always to examine, understand, and question our values. My students meet an opinionated person of taste with an eye for quality and craftsmanship in his art, and I have found that they love to share in the great conversation on what is good, what is not, and where to find more good stuff. I teach great books from the Chinese and Western traditions, but I also teach film and television shows, letters, diaries and blogs, graphic novels -- powerful stories in any form, and especially stories of great beauty that resonate with the students and inspire them to seek truth in their own, unique ways.

Investment in the Institution. I want an active, transparent position in whatever institution I serve, so that I can make sure that I am fully engaged in my institution’s strategic plan for growth and development. I need leadership that understands the role of the humanities and the value of asking big questions about life, communities, and what we owe to each other as human beings. And as a teacher, I pledge to invest in my institution on a holistic level with a view to helping student learning – this may mean taking extra time to teach basic skills, or developing curriculum in collaboration with other faculty members, or adjusting my teaching to better fit within the larger university community. Good teachers need good schools.


Read more...

Sunday, May 9, 2010

Grading thoughts

One Model Writing Teacher

As I push along with the grades, I find more and more notes to put into my next edition of the syllabus -- notes on a full lectures series that takes students through writing research papers step by step, in greater detail than I've ever taught before. I'm doing something like a cross between The Craft of Research and How to Read a Book, I think, with a healthy dose of McKee's "Story Seminar" in it as well.
Read more...

Thursday, April 8, 2010

Review: Save the World on Your Own Time by Stanley Fish



Cover of the Book



Fish, Stanley. Save the World on Your Own Time. Oxford, New York: Oxford University Press, 2008.



This is an elegant and extremely enjoyable read that has the effect of really making me want to teach. The key chapters are "Do Your Job" and "Don't Try to Do Someone Else's Job," which confront the problem of liberal ideals in higher education.

In a surprising attack not just on multiculturalism but even the notion that the liberal arts should help produce good citizens, Fish avers, "No, no, no, and no. ....respecting the voices of others is not even a good idea. You shouldn't respect the voices of others simply because they are others...you should respect the voices of those others whose arguments and recommendations you find coherent and persuasive."

He spends a lot of time delineating what is distinctive about the liberal arts, and returns time and again that its all quite analogous to poems. Like poems, the liberal arts are only efforts at getting us to stretch our imaginations and ask pointed questions, and then to try to answer those questions. Nothing more. What a beautiful thought for the literature teacher to encounter!
Read more...

Friday, February 19, 2010

Inspirational: Teaching in China and Japan


Counterspinning Revisionist History 1

Chronicle illustration; Timothy Cook for The Chronicle Review

I stumbled on this article by David McNeill as I ritualistically cleaned my inbox this morning. More and more lately, I've come to dislike reading the The Chronicle of Higher Education, but this was the kind of refreshing exception that always has me turning back to it.

Right now I feel I can hold up this piece whenever anyone asks why I'd want to teach abroad, or indeed, why I or anyone should do humanities:

February 14, 2010

Reading History in Japan



The query sounded harmless enough, though in hindsight it was laced with political arsenic. What did I think of Yoshinori Kobayashi? It came after the first class I taught this semester on media and politics in Tokyo's private Sophia University, and the questioner was a standout student: sharp, motivated, and with unusually well-formed opinions for a Japanese undergraduate. He wants to be a lawmaker with the conservative Liberal Democratic Party, whose views I find toxic.

Continued...

Kobayashi is one of Japan's best known and more controversial cultural figures, a neoconservative manga author who trades in historical revisionism. For example, he calls the 1937 Nanjing massacre, in which historians say Japanese imperial troops slaughtered hundreds of thousands of Chinese civilians, a "communist lie." He says the thousands of "comfort women" recruited from across Asia and forced by the Japanese military to perform sexual services for the troops during World War II were "prostitutes." He claims that Japan rescued Asia from the evils of white European colonialism.


Such formerly fringe perspectives have become more mainstream in Japan in recent years. Former Prime Ministers Shinzo Abe and Taro Aso were known supporters of revisionist views, and a combined force of newspaper editors, academics, and ruling lawmakers has tried several times over the last decade to force a textbook expounding similar views onto the curriculum of the nation's high schools. But it is Kobayashi who may have done the most to popularize them among the young with his manga comics.


I chatted with the student for a while, telling him my standard line on revisionists: that they invariably ignore the mountain of documentation for Japanese war crimes by focusing on the molehill of tainted evidence that refutes them. He looked unconvinced. Kobayashi resonates with many young men who grow up in a country still trying to digest the disaster of 1933-1945, which ended with the American firebombing of 67 Japanese cities and the nuclear incineration of Hiroshima and Nagasaki.


I find Japan's drift toward historical myopia especially disturbing because before arriving in Tokyo I spent a year teaching at a Chinese university, where I saw Japan through a reverse mirror. Most students I taught at the Guangdong University of Technology knew chapter and verse of Japanese war crimes, especially those of Unit 731, a Nazi-style biowarfare unit some believe responsible for a million deaths. Few Japanese students have heard of it. For years, the Nanjing atrocity topped the list of university polls on the single event that Chinese students most associate with Japan.


Both sides have their reasons for playing up, or down, these crimes. Japanese nationalists bemoan the "masochistic" teaching of history at the nation's high schools, which they say has taught generations of citizens to hate their own country. China, like many postcolonial nations, defines itself against its old enemy and spends valuable study time rehashing Japan's wartime atrocities while ignoring its own blind spots. Try criticizing Chairman Mao Zedong, defending Taiwan or Tibet, or telling Chinese students that Japan has been at peace for 64 years.


I see my challenge with my students as avoiding a drift into postmodernism—the notion that the quest for "truth" is quixotic and that historical issues must be viewed through the prism of nationalism. Both progressive and conservative scholars from Japan and China are devising a joint historical curriculum and textbook. But a joint panel of Japanese and Chinese experts—the Japan-China Joint History Research Committee—after four years of research has failed to narrow differ­ences on Nanjing and other war crimes. So for now, students increasingly get their knowledge of history from pop culture, not academe.


To sidestep the political issues, I've been trying to encourage a multiplicity of viewpoints: I give students information they're missing and tell them to make up their own minds. In Japan, for example, I assign research into Unit 731, one of the darker chapters from Japanese—and U.S.—history. Some students are astonished to learn that Japan's top scientists carried out grotesque experiments, including vivisections on live prisoners of war and mass poisonings of Chinese villages, farms, and wells, before being allowed to escape justice after the war by the United States, which offered a quid-pro-quo deal for the experiments' results. Many of the unit's scientists went on to sterling careers in postwar Japan. "Why have we never heard about this?" is a typical student response, the prelude, I hope, to a much more profound question: If I didn't know this, what else don't I know?


In China, these exercises were trickier. My teaching contract explicitly prohibited discussion of politics, religion, and sex. Each class in Guangdong had a "monitor" reporting to the dean, who could have me fired. Challenging orthodoxy on Japan, for example, or hacking away at the stale hagiography of Chairman Mao by discussing his responsibility for the death of millions or alleged fondness for sleeping with young girls was asking for trouble.


I decided to dive right in, steering clear of the school's approved textbooks and distributing photocopies from biographies of Mao I had bought in Hong Kong, which are banned in mainland China. We read articles from American magazines written by Chinese dissidents who had fled the country in the aftermath of Tiananmen Square. We discussed Japan's pacifist postwar constitution and whether the anti-Japanese rhetoric of China's state education was out of date.


The reaction wasn't always pleasant. One red-faced student angrily denounced the Chinese writer of a Time magazine article as a "traitor" and demanded to know why I had made him read it in class. I said that the best way to understand any issue is to read as many sources as possible, and to distrust the ones spoon-fed to you by officialdom. How can I trust you? he asked. You can't, I replied: Make up your own mind.


My reward was some of the most engaged—and argumentative—essays I've ever read. And I kept my job. (I assume I was reported, but two things may have worked in my favor: The school was desperately short of foreign-language teachers and couldn't afford to lose one in mid-term; and I was otherwise reasonably popular.)





Obviously this is not an issue confined to China and Japan. As an Irishman who once taught at a British university, I was often amazed at how little students knew about the key signposts of Irish history, including the 1840s famine and Bloody Sunday (January 30, 1972), the British Army's killing of 14 civilians that changed the course of modern history between the two nations. Textbooks in France whitewash that country's colonial rule over Algeria. High-school history in the United States has been accused of being shockingly selective in its reporting of the Vietnam War.


I'm a sociologist, not a historian, and am way outside my area of expertise when confronted by budding revisionists like my Japanese student this semester. But I find it hard to sit back and watch the vertiginous slide into historical relativism. So I read up on the cartoonist Kobayashi and studied his arguments. They were easy to rebuff after a quick trawl through alternative sources, which I took back to my class.


Try reading some of these and let me know what you think, I told my conservative student. If you like, we can devise an essay assignment so you can explore these issues. He glanced at the list without much enthusiasm. I recognized the look he gave me: Here was a smart, confident youngster who had been challenged and didn't particularly like it. But he didn't say no either.


David McNeill teaches at Sophia University's Faculty of Liberal Arts in Tokyo and covers Japan and Korea for The Chronicle.



Read more...

Tuesday, January 19, 2010

First Day of Skool





...Is still going on.



Read more...

Sunday, January 10, 2010

Undertaking Research: The Class



The Craft of Research -- my first impression is that its somewhat useful to a teacher, but hardly worth throwing it at the students.


I translated over 6,000 words in the last couple of days, which leaves me feeling a bit proud. This is dampened, though, when I think how I wanted the work done during the week last week, and various errands, goofing off, and other stuff prevented it. No matter, now it's done. More on my translation work soon.

For now, it's on to finishing the syllabus for ALL 4900W, the major project seminar.


I'm trying to write this syllabus very, very carefully, using as my main guide the syllabus to the corresponding course taught in the GSD department. I'm also assigning the students the text How to Read a Book by Mortimer Jerome Adler, and I'll be giving The Craft of Research a thorough reading myself, though I will not assign this book.


My students will build their theses up in stages using assignments I will post to our Moodle site. I will be sure to record my progress in using moodle this term, as it will be the heaviest usage I've given so far.

Adler, Mortimer, and Van Doren, Charles. How to Read a Book. Revised and Updated Edition. New York: Touchstone, 1972.



Booth, Wayne C.; Colomb, Gregory G.; and Williams, Joseph M. The Craft of Research. Chicago: University of Chicago Press, 1995.



Read more...

Friday, December 11, 2009

Thursday, December 10



Tang Yin -- portrait of a lady


Again, I fail at productivity

Thursday was just a terrible blot, because I was tired and cranky and lazy all morning, and never really approached work seriously. I went out to do an errand for S, scanning this work, and I thought about the nature of debate in the case of climate change, which is a hot topic right now.

When I came home, I was forced to begin cooking to prepare for a dinner party later in the evening. That was a nice time, with good conversation, and far too much drinking. Advice for dinner-party days: do your best, your very best, to get something done in the morning, because nothing focused will happen once you begin the cooking.

One accomplishment of note: I got completely caught up on all my grading of students' response papers. Some included very nice comments, and I thought to paste a few of the better examples into my reading notes so that I can remember next time I teach the material what sort of response I might expect. This is actually a nice demonstration of the power of Google docs for taking and organizing notes: all we need do is paste from the Moodle response into the Google doc. No other apps needed, all work done in a web browser, with a laptop sitting on the radiator in the kitchen, at what I sincerely hope is a safe distance from boiling beans and a searing chicken. My notes on The Red Brush are a great example -- it's basically like having a note card to go with the book that is infinitely large, so I can continue putting all my thoughts I ever have on the book in there. Here's a snippet:

Lady Jin: Braver than her husband. eww, gory. A poem, as well. their heroic spirits. graphic imagery: battlefield. Pverty sucks, and so does Han Yu. Leisure, trip, feelings. Preface to Xuan Huazi's colleciton. talent. Shijing: women authors. many genres. palindromes. quatrans. Concubine Ban.

Studied in class, Fall 2009. One student writes,

Of all the responses to the invading Qing armies Lady Jin's remains the most compelling. In her portrait of Lady Jin and her husband Qinchen, Wang Duanshu writes:

"In the end, Qinchen was condemned to death by slicing, and his wife was to be handed over to the troops as a reward. At this, Lady Jin gave out a scream and said, 'If my husband dies, then how could I even think of remaining alive? I also want to die right away.' The commander said: 'Since you want to die, I will order you to be cut in half at the waist.' But Lady Jin [protested] saying: 'Since my husband had been condemned to slicing, why should I be simply cut in half? I should also be condemned to death by slicing.' So the commander agreed to her request."

Lady Jin's story, in all likelihood, is largely a product of either Wang Duanshu's imagination or folkloric legend. That's not to say she didn't exist or wasn't executed by Qing troops, but the details that make the above passage so compelling were most likely not recorded as they occurred. In addition, it should be remembered that at the end of this portrait Lady Jin returns as a ghost to haunt her executioner.

However, I selected Lady Jin mainly because her persona is so stout and dominant, especially, at least in this prose piece, in contrast to her husband who comes across as weak and submissive. Her tongue-lashings of her husband that occur earlier are even more acerbic than the rebukes aimed at her Qing foes above. This intrepid spirit, in the passage above, transcends into something bordering on masochism. The fantastic aspects of Lady Jin's resistance may not render it more useful or exemplary than other martyrs' methods, but it certainly is more interesting to read about than someone drowning themselves in a river or starving in a Buddhist temple.


Read more...

Tuesday, October 20, 2009

From Yuan to Ming

Armenian Bishop, 1287: check out his dragon-print dress






Jonathan Spence, Our Guide




Ghenghis Khan: The Conquering Bad-ass




Khubilai Khan: A Portrait of Sinicization




Zhu Yuanzhang, aka Ming Taizu, the Hongwu Emperor



Read more...

Tuesday, September 15, 2009

Syllabus for a Writing Class

In which I officially begin to work on the syllabus for Spring 2009's ALL 4900w: Senior Thesis Project

Goals of the course:

To produce a 20-25 page research paper with bibliography with 30 people. No one will be left out. Everyone will produce a decent paper.

Texts: How to Read a Book by Mortimer Jerome Adler

Things to Include:

(Multiple) Individual Meetings with Students
Scaled writing assignments, very very often, on the moodle site
Guide to Using the Library

Rough Stages of the Process:

Topic
Bibliography
Examination of the Bibliography
Major Terms
Major Issues
Main Ideas of the Paper
Draft 1
Final Draft

Read more...

Wednesday, September 2, 2009

Lecture 1: A Preview of the Course

Experiment: Can I post presentations from GoogleDocs to Blogger? You'd think that would be possible...




Read more...

Monday, August 10, 2009

In the Library

Self Portrait by Ellen Carey, 1986


After working in the morning on my Fulbright personal statement, I spent a bit of time polishing up the assignments portion of my syllabus. Still to schedule: a lecture on art and a class day at the Minneapolis Institute of Art.

Later, I spent the afternoon at Wilson doing a bit of inspectional reading.

Fuchs, Miriam, and Craig Howes, editors. Teaching Life Writing Texts. New York: Modern Language Association of America, 2008.

This volume is a dense package of allusions to material I need to catch up on; use it mostly as a bibliographical guide, with occasional insights that require some chewing over. Karpinsky, for example observes students "investing in" the autobiographical pact in the course of the class. This happens when they see Jacques Pepin go from estranged to delighted at his childhood circumstances (p. 288), but just how this happens is far from clear -- before criticizing further I will go back to Lejeune.

Fong, Grace S. "Writing Self and Writing Lives: Shen Shanbao's (1808-1862) Gendered Auto/biographical Practices." NAN NÜ: Men, Women and Gender in Early and Imperial China 2.2 (2000): 259-303

Opening of Shen Shanbao's collection Hongxuelou shixuan chuji (1836)



Grace Fong briefly quotes Sidonie Smith and Julia Watson, theorists who feature prominently in Teaching Life Writing Texts, to justify a project that finds a kind of shadow autobiography written in and around poems in the collections of one particularly brilliant Hangzhou lady. I'm afraid Fong's article is too massive and comes with an argument that is a bit too subtle for my undergraduate class, but it does give me an idea of what I will assign in the class. I will do either one or two (probably one) sessions on the various biographies of the Hangzhou ladies, and their male patrons, and some poetry will make it onto the reading list. I'll have to simplify Fong's somewhat subtle point that autobiography and writing oneself into a group of women are key features of Shen Shanbao's poetry collection.

Fong, Grace. "Inscribing a Sense of Self in Mother's Family: Hong Liangji's (1746-1809) Memoir and Poetry of Remembrance." Chinese Literature: Essays, Articles, Reviews (CLEAR), Vol. 27, (Dec., 2005), pp. 33-58.

Hong Liangji 洪亮吉



Fong reports, "To varying degrees, Hong's sense of self is conveyed most strongly through memories of his contacts and interactions with particular individuals in the framework of family and community." It strikes me that Hong resembles both Tao Qian and Shen Fu in this respect, and may serve as a bridge between my lectures on these two figures.
Read more...

Tuesday, August 4, 2009

The organizing principle of my course...

Writing Lives in China: An Outline of 42 Lectures

This does not look like it should have been a lot of work, and I suppose in truth it was not, but I am finding it particularly difficult to generate my lectures. So distressing! At least now I think I finally understand how I want to organize the course: by types of people involved.

Unit I China Before the Ming: Exemplary Lives
Unit II The Ming and the Qing Dynasties: The First High Tide of Life Writing
Unit III The Twentieth Century: New Women, New Men, and a New Nation

















Unit I China Before the Ming: Exemplary Lives

Lectures 1-3: Kings

Lectures 4-7: Confucians

Lectures 8-10: Recluses [Sub-topic to begin: Immortals and Eccentrics]

Lecture 11: The Daoist Confessional

Lectures 12-15: Exemplary Women (3 Good, 1 Depraved)

Unit II The Ming and the Qing Dynasties: The First High Tide of Life Writing

Lectures 16-18: Monks and Nuns

Lectures 18-20: Men of the Ming, I (Wu Yubi, Hu Zhi, Li Zhi, Xu Wei)

Lectures 21-23: Men of the Ming, II (Return to Dragon Mountain)

Lectures 24-25: The Courtesan

Lectures 26: Peasant Women

Lecture 27-29: The Lady


Unit III The Twentieth Century: New Women, New Men, and a New Nation

Lectures 30-31: The Revolutionary (Liang Qichao, Qiu Jin)

Lectures 32-35: The Students (Yu Dafu, Hu Shi, Lu Xun; Shen Congwen, Lao She; Bai Wei, Su Xuelin)

Lectures 36-40: Yang Jiang, A Modern Voice


Read more...

Tuesday, July 14, 2009

Lecture: Inhibition and Indulgence

Lecture 01 (?) Inhibition and indulgence

Review the historical context. The mountain that is the Han!

(reading tips: nested reading)

"As the self was not considered a self-contained entity that defined its own importance, autobiography, a genre that apparently celebrates the achievement of the autonomous individual, was tantamount to unabashed self-exaltation." Jumping through hoops p. 4. This is of course only one half of the story.

Encountering sorrow. "distasteful narcissim"? Red Brush, p. 6: "ci poems and feminine mode."

Wang Chong, "the first untrammeled autobiographical expression in China" (Wu 45-6)

Cao Pi's Tianlun Self-reference as "I"

Elements to point out: "I" (explain); temporal/spatial (comix? Larson!)
Read more...

Lecture Outline: Wartime Autobiography

Lecture __

First, explain the larger context: China's entry into WWII. (I think probably I'll take a page from Jonathan Spence)

Explain what "Jumping through hoops means" with close association to the more general picture above.

List out what you want students to look for in the coming readings.

Sources Used for this Lecture:

Wang Jing, Jumping Through Hoops

Wang Jing, When "I" Was Born

Review essays.
Read more...

Class Schedule for ALL 3900-002: Writing Lives in China

Ugh. Drawing this up makes me really nervous!

Wednesday, September 9: Preview of the Course
poem 1 of the shijing
master five willows

Friday, September 11: concubine ban. portraying the portrait

Monday, September 14: Week 2
Sima Qian Bios: Liu Bang, Xiang Yu. Empress Lü, Lady Qi

Wednesday, September 16:
Wang Zhaojun and Cai Yan: Impersonation.

Friday, September 18:
End of the Party: The Hermit

Monday, September 21: Week 3

Wednesday, September 23:

Friday, September 25:

Monday, September 28: Week 4

Wednesday, September 30: "Why Curse of the Golden Flower Sucks"
Tang dynasty biographies: Shangguan, Empress Wang, Empress Wu, Empress Wei.

Friday, October 2:
Tang dynasty biographies: Yang Guifei (Concubine Plum, Phantom)
Monday, October 5: Week 5

Wednesday, October 7:

Friday, October 9:

Monday, October 12: Week 6


Wednesday, October 14:
Li Qingzhao (autobiography, [letter], poetry)


Friday, October 16:
Wen Tianxiang, soldier patriot.Hero.

Monday, October 19: Week 7

Wednesday, October 21:
Nuns, Guanyin Red Brush 314, Empress Xu
Friday, October 23:
Daoist Lady Lives.
Monday, October 26: Week 8
Return to Dragon Mountain: Memories of a Late Ming Man
Wednesday, October 28:

Friday, October 30:

Monday, November 2: Week 9

Wednesday, November 4:

Friday, November 6:

Monday, November 9: Week 10

Wednesday, November 11:

Friday, November 13:

Monday, November 16: Week 11

Wednesday, November 18:

Friday, November 20:

Monday, November 23: Week 12

Wednesday, November 25:

THANKSGIVING BREAK

Monday, November 30: Week 13

Wednesday, December 2:

Friday, December 4:

Monday, December 7: Week 14 (Wartime Lecture)
Jumping Through Hoops: Imprints of Life by Chu Wenjuan; A Journey of Twenty-Seven Years by Lin Beili (75-139)

Wednesday, December 9:
Lost in The Crowd: A Cultural Revolution Memoir
1. Literary Couples.

Friday, December 11:

Monday, December 14: Week 15

Wednesday, December 16:
Read more...

Wednesday, May 13, 2009

Shilian Dashan's Self Portraits (?/33)


Making Offerings to Mother 供母


First attempt at the text: 南嶺挂_北堂供母。肇_聚彀登獨此孝行不棄禪心猶化是知。出世菩提正謂入世忠孝子以後__焉

番禺法弟屈大均題 Fang Qin points out that Qu Dajun (1630-1696) is a famous cultural leader and known Ming loyalist.

Xiangyu mentioned he knew the word 輦彀
Read more...

Shilian Dashan's Self Portraits (21/33)



Feeding A Horse 秣马图 [mo4]
Read more...

Shilian Dashan's Self Portraits (25/33)


Sick in Bed 臥病圖
Read more...

Shilian Dashan's Self Portraits (34?/33)



Whistling Loudly
长啸图
Read more...

Terms and topics

About Me

My photo
We are all wanderers along the way.