identifier
stringlengths 1
43
| dataset
stringclasses 3
values | question
stringclasses 4
values | rank
int64 0
99
| url
stringlengths 14
1.88k
| read_more_link
stringclasses 1
value | language
stringclasses 1
value | title
stringlengths 0
200
| top_image
stringlengths 0
125k
| meta_img
stringlengths 0
125k
| images
listlengths 0
18.2k
| movies
listlengths 0
484
| keywords
listlengths 0
0
| meta_keywords
listlengths 1
48.5k
| tags
null | authors
listlengths 0
10
| publish_date
stringlengths 19
32
⌀ | summary
stringclasses 1
value | meta_description
stringlengths 0
258k
| meta_lang
stringclasses 68
values | meta_favicon
stringlengths 0
20.2k
| meta_site_name
stringlengths 0
641
| canonical_link
stringlengths 9
1.88k
⌀ | text
stringlengths 0
100k
|
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
9048
|
dbpedia
|
2
| 78
|
https://londonjazznews.com/2024/05/20/mondays-with-morgan-david-murray-new-album-francesca/
|
en
|
Mondays With Morgan: David Murray – new album ‘Francesca’
|
[
"https://i0.wp.com/londonjazznews.com/wp-content/uploads/2024/04/cropped-cropped-UKJL_sqr_grnUKJN_-1.png?resize=360%2C360&ssl=1",
"https://londonjazznews.com/wp-content/uploads/2024/04/cropped-cropped-UKJL_2ln_blkUKJN_.png",
"https://secure.gravatar.com/avatar/1a2bbba74128df5cab37ad896da6df5e?s=32&d=mm&r=g",
"https://secure.gravatar.com/avatar/29c364057f04ed883cc2cb841778b5d1?s=32&d=mm&r=g",
"https://i0.wp.com/londonjazznews.com/wp-content/uploads/2024/05/David-Murray-Band_FULL_LG.jpg?resize=639%2C450&ssl=1",
"https://londonjazznews.com/wp-content/uploads/2024/08/Ross-Lorraine-2.gif",
"https://londonjazznews.com/wp-content/uploads/2024/08/Jazz-Conversations-banner-640x640-1.png",
"https://londonjazznews.com/wp-content/uploads/2024/07/Nicole-McCabe-Album-Out-Now-01.jpg",
"https://londonjazznews.com/wp-content/uploads/2024/06/Herne-Bay-JazzFest-ad-GIF-TO-USE.gif",
"https://londonjazznews.com/wp-content/uploads/2024/07/Rye-International-Jazz-Festival-24.gif",
"https://londonjazznews.com/wp-content/uploads/2024/07/Raestar-July-ad.gif",
"https://londonjazznews.com/wp-content/uploads/2024/06/GoFundMe-campaign-httpsgofund.mec61fabf9-640-x-640-px.jpeg"
] |
[
"https://www.youtube.com/embed/egq0S5H0bPw?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent"
] |
[] |
[
""
] | null |
[] |
2024-05-20T00:00:00
|
The following is an interview between jazz journalist Morgan Enos and tenor saxophonist/bass clarinettist David Murray. His new album, Francesca, was released 17 May via Intakt Records, and features pianist Marta Sanchez, bassist Luke Stewart, and drummer Russell Carter. Links to purchase the album, and to Murray’s website, can be found at the bottom of…
|
en
|
London Jazz News
|
https://londonjazznews.com/2024/05/20/mondays-with-morgan-david-murray-new-album-francesca/
|
The following is an interview between jazz journalist Morgan Enos and tenor saxophonist/bass clarinettist David Murray. His new album, Francesca, was released 17 May via Intakt Records, and features pianist Marta Sanchez, bassist Luke Stewart, and drummer Russell Carter. Links to purchase the album, and to Murray’s website, can be found at the bottom of this article.
“Talk.”
That’s how the veteran saxophonist David Murray kicks off an interview, which could come off as a touch brusque, if that wasn’t how he is as a musician. His playing is as elastic and voluble as human speech, and whoever accompanies him has the floor to make their voice heard.
That certainly applies to pianist Marta Sanchez, bassist Luke Stewart, and drummer Russell Carter, who accompany Murray on his new album, Francesca.
Seven out of eight songs on the quartet album, like “Ninno,” “Am Gone Get Some,” and “Cycles and Seasons,” are Murray originals; the lone outside composition is “Richard’s Tune,” Don Pullen’s tip of the hat to A.A.C.M. founder Muhal Richard Abrams.
Not yet a subscriber of our Wednesday Breakfast Headlines?
Join the mailing list for a weekly roundup of Jazz News.
Named for his wife, designer Dr. Francesca Cinelli-Murray, and recorded in Switzerland in the wake of a European tour, Francesca is a triumph from a preeminent talent, more than a half century into his career. Read on for an interview with Murray about how it came to be.
UK Jazz News: Can you start off by talking about the title track, “Francesca”?
David Murray: It was written because of my admiration for her. I was trying to figure out the different facets of how she is. This helped me in my life, and I was trying to pay a tribute to her.
Along the way, it took me a couple of years to learn how to bring that song to the forefront. Sometimes, you have to play a song for a couple of years to find the strength; at first, the inspiration for the song was stronger than the song.
You listen to some of the greats at certain periods of their lives. In a nine-month period, maybe a couple of tours, they’re playing that song differently than they played it when it was written.
I hadn’t gotten my technical ability up to the emotion. And finally, after two years, the technical ability could match the emotion. It finally equaled the vastness of the song itself.
UKJN: I love the way you manipulate or alter the sound of the sax on Francesca. It’s super evocative.
DM: I’m just trying to express myself in a way that the music feels. I take my cues from great writers like Albert Murray, Ishmael Reed, and Stanley Crouch.
[Albert Murray] and I went out on the road one time. I had an octet, and I would have him speak inside my music, and give an oration of what he thought my music was about. I did a suite one time called “Train Whistle Guitar,” which is one of his novels. Right now, I’m reading [2005’s] The Magic Keys.
UKJN: How is it?
DM: It’s beautiful. It’s a book that he wrote later, after [1970’s] The Omni-Americans and all that. It goes back to his beginnings in Mobile [Alabama].
He’s one of my master teachers. He taught a lot of people, like Stanley Crouch. He was his mentor, and he was mine, and he was Wynton Marsalis’ teacher. It’s a whole process.
UKJN: What do you appreciate about each member of the Francesca band, starting with Marta Sanchez on piano?
DM: She’s amazing. Her dexterity [is impressive]. For the age that she is, I think she’s accomplished a lot, especially being a person who has to navigate in another language, [given] she’s from Madrid. Her left hand is very keen.
She’s always thinking; sometimes I let her go. Everybody in the band has a solo that they play out in front of the song. I don’t want to have my musicians tight; I encourage them to be as free as possible. If they want to extend the section, they can.
That’s what makes music alive. The paper of the music becomes almost unimportant after you’ve spent hours and hours on the bandstand. The best music is off the page.
When I explain those things to her, she really understands that she has freedom. Some people are scared to take it, but she’s not. She’s willing to take the challenge, and have the rug pulled out from under her. She doesn’t mind. That’s the kind of people I want in my band, and I think she exemplifies that, absolutely.
UKJN: And how about Luke Stewart on bass?
DM: Luke is a solid bass player. He can sustain the band. He’s really into the idea of a real team, and to have a good team, you’ve got to have a good bass player.
UKJN: Finally, we have Russell Carter on drums.
DM: You’ve got to have a good timekeeper. He’s a person who has perfect time, and can go in and out of time, and has studied all the styles and great musicians.
I know he likes Max Roach, but he doesn’t have to mimic Max Roach in order for me to know that he likes Max. He knows the approach that [Roach] came from, but he’s not playing his licks.
Copying somebody is easy to do. But to get the feeling, and combine it with what you’re building up yourself, and make something new and creative out of it – that’s the idea of the jazz I’m trying to play with my band. I think Russell’s learned that.
UKJN: How was the vibe of the session?
DM: Even though we sweated it out over the hours on the bandstand, when you get into the studio, it’s like everybody comes under a microscope, and everything is scientific.
So, what you have to do is mix that whole science of the music into the energy you brought in the live performance, and crystallise it inside of the studio.
Everything can be fixed technically, so I don’t worry about [mistakes] as much as having the feeling and cohesiveness of the band on the record.
I have a two-track mind: one is about feeling, and one is about technique. After 50 years of blowing the horn on stage, I’ll take the feeling over the technical part every time.
UKJN: That’s what’s always attracted me to your playing.
DM: To me, it makes a record that will stand the test of time. I know a lot of records that are technically sound, but there’s no feeling on it. It sounds like a homework assignment. The whole thing in the universities is for everything to be just right and perfect.
LINKS:
Purchase Francesca
|
|||||
9048
|
dbpedia
|
1
| 95
|
https://pipingpress.com/lt-col-djs-murray-a-major-figure-in-solo-piping/
|
en
|
Famous Pipers: Lt Col DJS Murray, A Major Figure in Solo Piping – Piping Press
|
[
"https://pipingpress.com/wp-content/uploads/2018/07/cropped-Piping-Press-Logo-for-new-web-site-1-1.gif",
"https://pipingpress.com/wp-content/uploads/slider/cache/bff4ea42c64968d4f054f3e04d40b225/RGH-Heritage-pipingpress-800x300.jpg",
"https://pipingpress.com/wp-content/uploads/slider/cache/8d34d08c7f89db12d76ef331d5b51056/MacRaeBannerPipingPress.jpg",
"https://pipingpress.com/wp-content/uploads/2018/07/wallace-smart-slider.gif",
"https://pipingpress.com/wp-content/uploads/2018/07/naill-banner-source.gif",
"https://pipingpress.com/wp-content/uploads/slider/cache/db51ff13ab633286c6ba1a7b899ddc91/Ayrshire-Bagpipes-Nov-2020.jpg",
"https://pipingpress.com/wp-content/uploads/2022/01/Kintail-Template.gif",
"https://pipingpress.com/wp-content/uploads/2022/01/G1-2022-banner.gif",
"https://pipingpress.com/wp-content/uploads/slider/cache/52aa9ead9f20d1e81c9e41740bb475a5/shepherd-banner-22-scaled.jpg",
"https://pipingpress.com/wp-content/uploads/slider/cache/3ff3ed5ffcf2dac044fc2c5c6639b85a/ensemble-friendly-ad-update-TM.jpg",
"https://pipingpress.com/wp-content/uploads/slider/cache/ebddd1cc77e9a84fb688d157f3cfd0aa/2024_BalmoralClassic_Ad_PipingPres_Flat.jpg",
"https://pipingpress.com/wp-content/uploads/2019/01/MacRaeBanner-19.jpg",
"https://pipingpress.com/wp-content/uploads/2016/07/david-1.gif",
"https://pipingpress.com/wp-content/uploads/2016/07/david-4.gif",
"https://pipingpress.com/wp-content/uploads/2016/07/david-2.gif",
"https://i2.wp.com/pipingpress.com/wp-content/uploads/2016/07/david-book.jpg?resize=295%2C443",
"https://www.paypal.com/en_GB/i/scr/pixel.gif",
"https://pipingpress.com/wp-content/uploads/2022/01/G1-Square-ani-gif.gif",
"https://pipingpress.com/wp-content/uploads/2022/08/Shepherd-Worlds-22.gif",
"https://pipingpress.com/wp-content/uploads/2022/08/Shepherd-Worlds-22-3.gif",
"https://pipingpress.com/wp-content/uploads/2022/08/fmm-2022-1.gif",
"https://pipingpress.com/wp-content/uploads/2018/07/9780993392702-300x212.jpeg",
"https://pipingpress.com/wp-content/uploads/2018/07/tutor-coverk-2-300x212.gif",
"https://pipingpress.com/wp-content/uploads/2018/07/tutor-coverk-3-300x212.gif",
"https://pipingpress.com/wp-content/uploads/2021/01/BH-cover-300x212.jpg",
"https://pipingpress.com/wp-content/uploads/2018/07/PP-twitter-logo-300x285.gif",
"https://pipingpress.com/wp-content/uploads/2020/03/PP-SHOP-logo-300x285.jpg",
"https://pipingpress.com/wp-content/uploads/2018/07/PP-advertising-logo-1-300x300.gif"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
https://pipingpress.com/lt-col-djs-murray-a-major-figure-in-solo-piping/
|
Senior adjudicator, accomplished writer and author, amateur champion piper, President of the Piobaireachd Society, Director of the Edinburgh Tattoo, Piping Convenor of the Northern Meeting, radio presenter, historian, the list of David Murray’s achievements in piping is unlikely to be surpassed, writes the Editor.
More than anything David was a real character, always entertaining company, forthright, never afraid to give his opinion or to put it down on paper; he served piping like no other.
When I began editing the Piping Times magazine in 1999 I asked him to write a monthly column for me. This he did for 10 years, his copy immaculate, never needing amending, the content always interesting and so very well written.
David has been immortalised in the popular reel ‘Lt. Col. DJS Murray’, originally a 4/4 march by Major John Allan. On the suggestion of P/M Angus MacDonald, Scots Guards, the tune was turned into a reel and was an instant favourite.
David entered piping folklore in many ways. One was his description of the legend known as the Phantom Piper of the Corrieyairick. It was David who led Iain MacFadyen and his corps over this bleak pass in the Scottish Highlands, following ptarmigan through the mist and being encouraged by the distant sound of the bagpipe – only to discover on reaching camp on the other side that there was no piper – yet all in the platoon swore they had heard its reviving strains. The mystery is recalled in Captain John MacLellan’s fine piobaireachd of the same name.
Another famous occasion, often recounted in the solo piping world, was when David ordered P/M Alasdair Gillies from the Gold Medal stage at the Northern Meeting for excessive tuning. ‘Corporal Gillies! Leave the platform,’ commanded David, sending shivers down the spine of piper and audience alike.
Lt. Col. Murray was born in the Murree Hills in what is now Pakistan in 1921 where his father was attached to the Queen’s Own Camerons. Returning to the UK he lived for the next five years at Cameron Barracks in Inverness. On joining the HM Prison Service, his father was appointed Deputy Governor of the infamous Barlinnie Prison in Glasgow. David always felt his father’s career had been maliciously held back and he himself harboured a lifelong hatred of power misused to thwart ambition.
Later the family moved to Edinburgh and David began piping at George Watson’s High School where the tutor was James Gordon, the same man who started John D. Burgess. Moving back to Glasgow he attended Glasgow High School and began lessons with Robert Reid and a lifelong love of ceol mor was kindled. Back in Edinburgh, David, at Reid’s suggestion, had tuition from P/M Willie Ross at the Castle.
He was 17 when WW2 broke out and immediately enlisted in the Royal Scots, later transferring to the Black Watch, finally being commissioned into the Queen’s Own Camerons. With them, his family regiment, he served in India, with distinction at Kohima, and later as part of the occupying force in Japan.
He was always a great champion of piping in the regiment and the Pipes & Drums knew that with him in charge they had an understanding officer who would go out of his way to make things easy for them – provided the job was done correctly and everyone was on his best behaviour.
David’s encyclopoedic knowledge of Army piping came to the fore with the publication of his seminal work ‘Music of the Scottish Regiments’ which ran to several editions. Judging, writing, administering all became central to his interest post Army, and he brought an efficiency, sense of humour and lack of cant to everything he became involved in. Our world was the richer for David Murray’s presence, of that there can be no doubt. In his long life he made an unprecedented contribution to our music.
|
|||||||
9048
|
dbpedia
|
3
| 0
|
https://en.wikipedia.org/wiki/List_of_saxophonists
|
en
|
List of saxophonists
|
https://en.wikipedia.org/static/favicon/wikipedia.ico
|
https://en.wikipedia.org/static/favicon/wikipedia.ico
|
[
"https://en.wikipedia.org/static/images/icons/wikipedia.png",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg",
"https://upload.wikimedia.org/wikipedia/en/thumb/9/99/Question_book-new.svg/50px-Question_book-new.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/GClef.svg/10px-GClef.svg.png",
"https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1",
"https://en.wikipedia.org/static/images/footer/wikimedia-button.svg",
"https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg"
] |
[] |
[] |
[
""
] | null |
[
"Contributors to Wikimedia projects"
] |
2005-07-27T13:33:37+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/List_of_saxophonists
| |||||
9048
|
dbpedia
|
0
| 20
|
https://www.wbgo.org/podcast/the-checkout/2019-08-14/tenor-sax-hero-david-murray-opens-up-about-his-journey-and-his-legacy-on-the-checkout
|
en
|
Tenor Sax Hero David Murray Opens Up About His Journey and His Legacy, on The Checkout
|
https://npr.brightspotcdn.com/dims4/default/f6d1da7/2147483647/strip/true/crop/790x415+0+123/resize/1200x630!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Flegacy%2Fsites%2Fwbgo%2Ffiles%2F201908%2Fdavid_murray_crop.png
|
https://npr.brightspotcdn.com/dims4/default/f6d1da7/2147483647/strip/true/crop/790x415+0+123/resize/1200x630!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Flegacy%2Fsites%2Fwbgo%2Ffiles%2F201908%2Fdavid_murray_crop.png
|
[
"https://npr.brightspotcdn.com/dims4/default/62c4acf/2147483647/strip/true/crop/171x60+0+0/resize/342x120!/quality/90/?url=https%3A%2F%2Fnpr.brightspotcdn.com%2Fdims4%2Fdefault%2Fba87a97%2F2147483647%2Fresize%2Fx60%2Fquality%2F90%2F%3Furl%3Dhttp%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Faf%2Fe6%2F5d2d1058408292f7c0a6f6be767c%2Flogo-170x60px-reverse.png 2x",
"https://npr.brightspotcdn.com/dims4/default/8a1e8aa/2147483647/strip/true/crop/2000x146+0+227/resize/2880x210!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Ff7%2F01%2Fcf576f3f4f7a84693f9123994bdb%2Fblack-and-red-gradient-professional-linkedin-banner.png 2x",
"https://npr.brightspotcdn.com/dims4/default/62c4acf/2147483647/strip/true/crop/171x60+0+0/resize/342x120!/quality/90/?url=https%3A%2F%2Fnpr.brightspotcdn.com%2Fdims4%2Fdefault%2Fba87a97%2F2147483647%2Fresize%2Fx60%2Fquality%2F90%2F%3Furl%3Dhttp%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Faf%2Fe6%2F5d2d1058408292f7c0a6f6be767c%2Flogo-170x60px-reverse.png 2x",
"https://npr.brightspotcdn.com/dims4/default/0541618/2147483647/strip/true/crop/1400x1400+0+0/resize/170x170!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Flegacy%2Fsites%2Fwbgo%2Ffiles%2F201701%2Fthecheckout3_1400.jpg 2x",
"https://npr.brightspotcdn.com/resource/00000177-1bc0-debb-a57f-dfcf4a950000/styleguide/assets/icons/apple-podcasts.67f638cac10c7e30691db18e1a394824.svg",
"https://npr.brightspotcdn.com/resource/00000177-1bc0-debb-a57f-dfcf4a950000/styleguide/assets/icons/spotify.c249ae596ecd996370d637315fb301fc.svg",
"https://npr.brightspotcdn.com/resource/00000177-1bc0-debb-a57f-dfcf4a950000/styleguide/assets/icons/google-podcasts.aea9f46d815e25bfa37244b9708cbd02.svg",
"https://npr.brightspotcdn.com/resource/00000177-1bc0-debb-a57f-dfcf4a950000/styleguide/assets/icons/stitcher.6e6f412f8bbd1c31a482ae2a3663ffe0.png",
"https://npr.brightspotcdn.com/resource/00000177-1bc0-debb-a57f-dfcf4a950000/styleguide/assets/icons/pocket-casts.7c4327541c0bc22cb830a25530b7c773.svg",
"https://npr.brightspotcdn.com/dims4/default/61a9155/2147483647/strip/true/crop/790x660+0+0/resize/1760x1470!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Flegacy%2Fsites%2Fwbgo%2Ffiles%2F201908%2Fdavid_murray_crop.png 2x",
"https://npr.brightspotcdn.com/dims4/default/f6552d7/2147483647/strip/true/crop/867x1280+0+0/resize/1760x2598!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Flegacy%2Fsites%2Fwbgo%2Ffiles%2F201908%2F20100814_jazzmiddelheim21.jpg 2x",
"https://npr.brightspotcdn.com/dims4/default/20484cf/2147483647/strip/true/crop/318x424+41+0/resize/150x200!/quality/90/?url=http%3A%2F%2Fmediad.publicbroadcasting.net%2Fp%2Fwbgo%2Ffiles%2F201701%2Fsimon.jpg",
"https://npr.brightspotcdn.com/dims4/default/e727d1f/2147483647/strip/true/crop/2048x1355+0+5/resize/260x172!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F8f%2F46%2F88a80f7841c9859396c95958b4b8%2Fflying-lotus-syd-enmore-theatre-jordan-munns-jordankmunns-10.jpg 2x",
"https://npr.brightspotcdn.com/dims4/default/a64605e/2147483647/strip/true/crop/800x529+0+27/resize/260x172!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Flegacy%2Fsites%2Fwbgo%2Ffiles%2F202102%2Flezlie_and_dorthaan.jpg 2x",
"https://npr.brightspotcdn.com/dims4/default/ecf52b3/2147483647/strip/true/crop/1200x794+0+2/resize/260x172!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Flegacy%2Fsites%2Fwbgo%2Ffiles%2F202102%2Fchick_corea_0.jpg 2x",
"https://npr.brightspotcdn.com/dims4/default/327b33e/2147483647/strip/true/crop/1000x662+0+2/resize/260x172!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Flegacy%2Fsites%2Fwbgo%2Ffiles%2F202102%2FFeldheim_GayaAA021.jpg 2x",
"https://npr.brightspotcdn.com/dims4/default/150b4ae/2147483647/strip/true/crop/1020x675+90+0/resize/260x172!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Flegacy%2Fsites%2Fwbgo%2Ffiles%2F202101%2Fberklee_institute_of_jazz_and_gender_justice_0.png 2x",
"https://npr.brightspotcdn.com/dims4/default/9f8e26b/2147483647/strip/true/crop/1167x772+158+0/resize/260x172!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Flegacy%2Fsites%2Fwbgo%2Ffiles%2F202007%2FSamoraPinderHughesLPR.jpg 2x",
"https://npr.brightspotcdn.com/dims4/default/f3fe8d7/2147483647/strip/true/crop/1905x1260+168+0/resize/260x172!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Flegacy%2Fsites%2Fwbgo%2Ffiles%2F202007%2Fthe_checkout_special_2.png 2x",
"https://npr.brightspotcdn.com/dims4/default/84bbb13/2147483647/strip/true/crop/6240x4128+0+16/resize/260x172!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Flegacy%2Fsites%2Fwbgo%2Ffiles%2F202002%2FJD_DOMI-1.jpg 2x",
"https://npr.brightspotcdn.com/dims4/default/0211c74/2147483647/strip/true/crop/3000x1985+0+9/resize/260x172!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Flegacy%2Fsites%2Fwbgo%2Ffiles%2F202002%2Fdomi___jd_beck_-_press_photo_1_-__limaphoto.jpg 2x",
"https://npr.brightspotcdn.com/dims4/default/69d742c/2147483647/strip/true/crop/706x467+47+0/resize/260x172!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Flegacy%2Fsites%2Fwbgo%2Ffiles%2F201911%2Ftom-newport-005_credit_josh_wool.jpg 2x",
"https://npr.brightspotcdn.com/dims4/default/7927a30/2147483647/strip/true/crop/711x250+0+0/resize/534x188!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F96%2Fe2%2Fec28aa29435d9297fe9e059e0d97%2Flogo-170x60px.png 2x",
"https://npr.brightspotcdn.com/dims4/default/6e37f45/2147483647/strip/true/crop/271x250+0+0/resize/108x100!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Fa6%2Ffb%2Fac2dd39642818bf7965c2d44f28e%2Fnpr-logo.png 2x",
"https://npr.brightspotcdn.com/dims4/default/17802df/2147483647/strip/true/crop/3300x2550+0+0/resize/130x100!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F78%2Ffd%2Fd5449f5c4ab6b08d51b3d1e61412%2Fwbgo-45-logo-color-3d-m-rgb-ot-1-300dpi.png 2x",
"https://npr.brightspotcdn.com/dims4/default/b74c32e/2147483647/strip/true/crop/2500x1152+0+0/resize/218x100!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F94%2Fbb%2F70a04ae3448283ad3b7938c5838d%2Fprx-logo-horizontal-color.png 2x",
"https://npr.brightspotcdn.com/dims4/default/299c818/2147483647/strip/true/crop/747x284+0+0/resize/264x100!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F2e%2F51%2F192ef4a743de9184a849f8e46132%2Fcpb-logo-horizontal.png 2x"
] |
[] |
[] |
[
""
] | null |
[
"Simon Rentner"
] |
2019-08-14T00:00:00
|
There’s nothing fake about David Murray.His authentic voice on tenor saxophone is only bolstered by his fiery sincerity as an improviser. And he’s just as…
|
en
|
WBGO
|
https://www.wbgo.org/podcast/the-checkout/2019-08-14/tenor-sax-hero-david-murray-opens-up-about-his-journey-and-his-legacy-on-the-checkout
|
There’s nothing fake about David Murray.
His authentic voice on tenor saxophone is only bolstered by his fiery sincerity as an improviser. And he’s just as direct in conversation, speaking straight from the heart, and getting right to the point.
Murray, 64, recently released an album titled Blues For Memo (Motéma), in collaboration with the spoken-word poet Saul Williams. Recorded in Istanbul at the urging of Turkish producer Ahmet Uluğ, it features heavy backing by the likes of Orrin Evans on piano and Craig Harris on trombone. Murray and Williams will present the Blues For Memo project on Thursday, in Antwerp, Belgium, as part of the 50th edition of Jazz Middelheim.
On this installment of The Checkout, we’ll hear a taste of this album interspersed with an interview conducted four years ago, in a loft in Lower Manhattan. In this conversation, a small portion of which was originally aired on Jazz Night In America, Murray comes out guns a-blazing, reminiscing about his history and making a claim about his place in the history books.
We raced through a range of subjects: His early musical training in the Church of God in Christ; his humble upbringing in Berkley, Calif.; the enduring influence of his father, a sanitation worker who bought his Murray his first saxophones. Murray also touched on his many influences, from Sonny Rollins to Ornette Coleman, as well as his hookup with Williams.
At this year’s Jazz Middelheim, I’m conducting a series of Jazz Talks, including one with Murray and Williams. The other Talks, which will be recorded for future Checkout podcasts, include artists Gerald Clayton, Sam Harris, Eric Harland, Genevieve Artadi, Anneleen Boehme, Kenny Werner and more.
|
|||
9048
|
dbpedia
|
2
| 81
|
https://www.jazzweekly.com/interviews/dmurray.htm
|
en
|
[] |
[] |
[] |
[
""
] | null |
[] | null | null | ||||||||||
9048
|
dbpedia
|
1
| 17
|
https://universityofglasgowlibrary.wordpress.com/2019/05/15/the-world-of-david-murray-1842-1928/
|
en
|
The World Of David Murray (1842—1928)
|
[
"https://universityofglasgowlibrary.wordpress.com/wp-content/uploads/2017/04/collage-2017-03-13-2.jpg?w=1024&h=807",
"https://universityofglasgowlibrary.wordpress.com/wp-content/uploads/2009/10/dmurray.jpg?w=1032",
"https://universityofglasgowlibrary.wordpress.com/wp-content/uploads/2024/08/img_20240524_110028.jpg?w=105&h=85&crop=1",
"https://universityofglasgowlibrary.wordpress.com/wp-content/uploads/2024/06/ms-kelvin-add-1-edited.jpg?w=105&h=85&crop=1",
"https://universityofglasgowlibrary.wordpress.com/wp-content/uploads/2024/06/asc011-a-156_05.jpg?w=105&h=85&crop=1",
"https://universityofglasgowlibrary.wordpress.com/wp-content/uploads/2024/06/asc011-a-95b.jpg?w=105&h=85&crop=1",
"https://s2.wp.com/i/logo/wpcom-gray-white.png",
"https://s2.wp.com/i/logo/wpcom-gray-white.png",
"https://pixel.wp.com/b.gif?v=noscript"
] |
[] |
[] |
[
""
] | null |
[
"Robert MacLean"
] |
2019-05-15T00:00:00
|
David Murray (1842—1928) was a well-known figure in Victorian Glasgow. He was a prominent Glasgow solicitor closely involved in various aspects of the city's civic life and institutions, including the University of Glasgow, where he served on the University court. When not active in his day job he was a keen antiquarian and a published…
|
en
|
https://s1.wp.com/i/favicon.ico
|
University of Glasgow Library Blog
|
https://universityofglasgowlibrary.wordpress.com/2019/05/15/the-world-of-david-murray-1842-1928/
|
David Murray (1842—1928) was a well-known figure in Victorian Glasgow. He was a prominent Glasgow solicitor closely involved in various aspects of the city’s civic life and institutions, including the University of Glasgow, where he served on the University court. When not active in his day job he was a keen antiquarian and a published historian. He is now perhaps best remembered for the important 15,000 volume personal library (largely works on the history of Glasgow and legal history) bequeathed to the University of Glasgow.
To celebrate Murray’s life and his book collecting, James Hamilton, Research Principal of the WS Society (i.e. The Society of Writers to HM Signet) will be delivering a West End Festival talk entitled ‘Legal Bibliophilia in the Dear Green Place: Dr David Murray’s lost law archive and his Glasgow 1860-1928’. The free talk will take place at 5.15pm on 5th June 2019 in the University of Glasgow Library, and will include a wine reception generously sponsored by Denton’s, successor to Murray’s own law firm, and a display of rare and interesting books from his library now held by the University of Glasgow Library Archives & Special Collections (including unique hand-coloured manuscripts illustrating different aspects of Glasgow’s history, incunabula (15th-century printed books) and other highlights of his antiquarian book-collecting).
All are welcome. Tickets should be booked in advance from the West End Festival site.
Categories: Archives and Special Collections
|
||||
9048
|
dbpedia
|
3
| 18
|
https://www.facebook.com/BBCnewsafrica/videos/the-10-year-old-superstar-saxophonist/635629476871206/
|
en
|
His name is Demilade. He's 10-years-old. And he's probably going to become your new favourite saxophonist. Everyone has a favourite saxophonist, right? 😁🎷🎶
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
His name is Demilade. He's 10-years-old. And he's probably going to become your new favourite saxophonist. Everyone has a favourite saxophonist, right? 😁🎷🎶
|
de
|
https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
|
https://www.facebook.com/BBCnewsafrica/videos/the-10-year-old-superstar-saxophonist/635629476871206/
| ||||||
9048
|
dbpedia
|
1
| 2
|
https://www.allaboutjazz.com/musicians/david-murray/
|
en
|
David Murray Musician
|
[
"https://www.allaboutjazz.com/images/navbar/hamburger.svg",
"https://www.allaboutjazz.com/images/navbar/search.png",
"https://www.allaboutjazz.com/images/navbar/calendar.svg",
"https://www.allaboutjazz.com/images/logo/aajyellow.png",
"https://www.allaboutjazz.com/images/navbar/aajpro.png",
"https://www.allaboutjazz.com/images/navbar/profile.svg",
"https://www.allaboutjazz.com/images/navbar/heart-icon.svg",
"https://www.allaboutjazz.com/images/nXy69d2A.png",
"https://s3.amazonaws.com/allaboutjazz/coverart/large/3fa45c1ce58639d0afcc2b6abde0c9a1.jpg",
"https://s3.amazonaws.com/allaboutjazz/coverart/large/3fa45c1ce58639d0afcc2b6abde0c9a1.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/musician/79f06f34334b0f130ae7c7d623e13206.jpg",
"https://s3.amazonaws.com/allaboutjazz/coverart/large/ff9bc677b545f54d35df9e135f9aa322.jpg",
"https://s3.amazonaws.com/allaboutjazz/coverart/large/0dcd165a396837caefccac7bd22f8fd0.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/musician/79f06f34334b0f130ae7c7d623e13206.jpg",
"https://s3.amazonaws.com/allaboutjazz/coverart/large/0dcd165a396837caefccac7bd22f8fd0.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/musician/79f06f34334b0f130ae7c7d623e13206.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/musician/79f06f34334b0f130ae7c7d623e13206.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/musician/79f06f34334b0f130ae7c7d623e13206.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/musician/79f06f34334b0f130ae7c7d623e13206.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/musician/79f06f34334b0f130ae7c7d623e13206.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/musician/79f06f34334b0f130ae7c7d623e13206.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/musician/79f06f34334b0f130ae7c7d623e13206.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/musician/79f06f34334b0f130ae7c7d623e13206.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/musician/79f06f34334b0f130ae7c7d623e13206.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/musician/79f06f34334b0f130ae7c7d623e13206.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/musician/6e72999be15db5c2db3c3a9ce7e48466.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/musician/eb8051ca66c5a0247cf3d4c2eb629d6c.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/musician/1649eeb96694d19d6b25c1c5821efed6.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/musician/e89b9217bb1f440485e3dbb7b8b93856.jpg",
"https://s3.amazonaws.com/allaboutjazz/coverart/large/ff9bc677b545f54d35df9e135f9aa322.jpg",
"https://s3.amazonaws.com/allaboutjazz/coverart/large/3fa45c1ce58639d0afcc2b6abde0c9a1.jpg",
"https://s3.amazonaws.com/allaboutjazz/coverart/large/b1110f18b7825ac05d8892a5a25b22c7.jpg",
"https://s3.amazonaws.com/allaboutjazz/coverart/large/88fc5d1fc3dc4ba85b7c6647a8196f32.jpg",
"https://s3.amazonaws.com/allaboutjazz/coverart/large/0dcd165a396837caefccac7bd22f8fd0.jpg",
"https://s3.amazonaws.com/allaboutjazz/coverart/large/ab26b6c4181543d89d1d397e870ebc30.jpg",
"https://s3.amazonaws.com/allaboutjazz/coverart/large/D._Murray.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/musician/8c1a46999ef5eb52990e2e0abae33ef1.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/musician/bb69a889d9c21c8e916c62523adfb3c0.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/musician/c3d67b48d49cfe8063470a8ad7ea10b0.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/musician/3f82bc306a4af1040462657b64648c89.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/musician/3b82a8152e454736bd82d15239cedebb.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/musician/a36231f216aa1fded27d06ea05cc5730.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/musician/ac9681ce499cd9b08cd37dda180fa589.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/musician/04e5e6d127567d1ab7945367a5954990.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/musician/9f6d994ee8801a28dd416a7eda221416.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/musician/ead1f745ac2e33eb50beb9b4a3cb793f.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/musician/d76b8009a32583e286076a9c86ee7f10.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/musician/15606c889f7299828697cf48419b56e3.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/musician/2b43d41fc7188d2da7a72b69b98f14d4.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/musician/a724015eb6a58d7d3ab0f2b6f0d8e0b1.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/musician/fd47189fef9d2dca4bb8cf5ce1281f65.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/musician/72f297e69e15acc348bf5e45494805b4.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/thumb_img_lg/79f06f34334b0f130ae7c7d623e13206.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/edzucker100.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/c89d2340504e802475e4c67fc5370620.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/Alexander_(Left)_with_Skip_Mcdonald_(Right)_23_n.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/a57a66129a3f316b531f879061a8911d.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/590e7de461e8abf9a658510d7763b526.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/386095_233755220022997_308033612_n.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/1c5c0e638710e856dff16758a029aa5a.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/1069160_10151458285675194_2111329498_n.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/profile/0b6da763e6e06749a31e4ca23927e6b0.jpg",
"https://s3.amazonaws.com/allaboutjazz/images/ads/showcase/orderitem-12879-1158651757.jpg",
"https://s3.amazonaws.com/allaboutjazz/coverart/large/ff7245c8094331e3531ae9857f503952.jpg",
"https://s3.amazonaws.com/allaboutjazz/coverart/large/20f9efef7a542d33ea5bdaff5319cea9.jpg",
"https://s3.amazonaws.com/allaboutjazz/coverart/large/1cbcec5efad78d5c9033f37a16552cc3.jpg",
"https://s3.amazonaws.com/allaboutjazz/coverart/large/8273bcaae57353ec4101c85913b7f936.jpg",
"https://s3.amazonaws.com/allaboutjazz/coverart/large/4ca7848750d3cda52b180c61b5a90454.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/2010/54fea723532450e028b77f0301843128.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/2010/4f7ac776c5f2ba41d169307a2efc4f59.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/2010/598646e153085a14b57f368868677468.jpg",
"https://s3.amazonaws.com/allaboutjazz/photos/news/megaphoneman2015b.jpg",
"https://www.allaboutjazz.com/images/logo/AAJyellow.png",
"https://www.allaboutjazz.com/images/logo/JNYyellow.png"
] |
[] |
[] |
[
"David Murray",
"Saxophone",
"tenor",
"David Murray bio",
"David Murray tour",
"David Murray videos",
"David Murray jazz"
] | null |
[
"Allaboutjazz.com",
"John Sharpe",
"Troy Dostert",
"Mike Jurkovic",
"Jeff Schwartz",
"Bob Osborne",
"Mark Corroto",
"All About Jazz"
] |
2024-07-14T07:01:04
|
Jazz musician David Murray's bio, concert & touring information, albums, reviews, videos, photos and more.
|
en
|
https://www.allaboutjazz.com/icon/favicon.ico
|
All About Jazz Musicians
|
//www.allaboutjazz.com/musicians/david-murray/
|
Few musicians in jazz history have proven more vigorously productive and resourceful than David Murray. During the past 35 years, from the moment he first visited New York as a 20 year-old student, playing in a walkup loft, in 1975, David has careened forward in a cool, collected, rocket-fueled streak. He has released over 150 albums under his own name. Yet more impressive than the numbers is the constancy of two abiding achievements: as a tenor saxophonist, he has perfected an instantly recognizable approach to improvisation that even in its freest flights acknowledges the gravity of a tradition he honors more than most; and he has altered the context for his improvisations as an infinite mosaic of musical challenges and explorations. David Murray goes down as a worthy successor for some of the biggest names in jazz, and he is now contributing to the rise of young talents such as Lafayette Gilchrist, a young pianist who has already been widely acclaimed by the critics.
Be Bop and shut up! An impossible task for the young David, at the time of the free jazz and civil rights movements, the last adventure of the end of century jazzman. Impossible, too, for the son of Baptist parents, discovering the Negro spiritual style in the time of Coltrane and during Ayler’s best period, not to be political right down to his tenor-playing fingertips. David Murray, now in his fifties, has 130 albums to his name and contributions to around a hundred other recordings as a guest artist behind him.
At the end of the 1990’s, David Murray was referred to in terms of fusion, of world music, and even of Pan-Africanism, ever since he took on a backwards tour through the Caribbean and the ‘little’ Americas, via South Africa and Senegal. Before setting off on this journey, David Murray jumped the gun somewhat for a jazz musician. Born in Oakland, he grew up in Berkeley and studied with Catherine Murray (his mother, an organist), Bobby Bradford, Arthur Blythe, Stanley Crouch and many others until the 2nd March 1975 when he left Ponoma College in Los Angeles for New York, which he made his base. In New York, he met many new musicians and musical styles: Anthony Braxton, Don Cherry, Julius Hemphill … Within Ted Daniels’ Energy Band, he worked with Hamiett Bluiett, Lester Bowie and Frank Lowe. In 1976, after a first European tour, David Murray set up one of his mythical groups, the World Saxophone Quartet with Oliver Lake, Hamiett Bluiett and Julius Hemphill. From Jerry Garcia to Max Roach, via Randy Weston and Elvin Jones, David Murray continued working with ever more artists and making ever more recordings.
Read more
From 1978 onwards, he entered into a period of intense creativity, one flexible grouping of musicians following on from another. At the same time, he was writing film music (‘W Dubois’, 1989, ‘Dernier Stade’, 1996 and ‘Karmen Gaye’ in 2000), working with the 'Urban Bust Women’ dance company ('Crossing Into Our Promise Land’ in 1998) and regularly working with Joseph Papp of the New York Public Theatre ('Photograph’, 1978 and 'Spell Number’ in 1979) and with Bob Thiele, founder of Impulse and Red Baron, who became his producer in 1988 and signed him with Columbia. Thiele produced more than ten of his albums on Red Baron up until his death in 1997.
David Murray also likes rearranging the works of great composers, as in his project 'The Obscure Work of Duke Ellington’ in 1997 (arranged for a big band and a 25-piece string orchestra) or his re-transcription of a Paul Gonsalves solo 'Tribute to Paul Gonsalves’ in 1990 (with the Boston Philharmonic Orchestra). More recently, using a decet and 12 strings, he updated the classics of Nat King Cole’s Hispanic songbook with 'Cole in Spanish’ in 2009. In addition to this, he has written two operas: 'The Blackamoor of Peter the Great’ in 2004 for strings and voices, based on a selection of twenty poems by Pushkin, and 'The Sysiphus Revue’, his 2008 bop opera sung by a gospel choir on an Amiri Baraka libretto.
In 2006, his Black Saint Quartet was reborn with 'Sacred Ground’, on which Cassandra Wilson can notably be heard. The compositions on this album pay tribute to one of his most auspicious periods with the mythical Italian label Black Saint, and to the republishing of this entire catalogue in digital format on the major digital download sites. This work was moreover followed by the rediscovery of 26 rare tracks recorded on the DIW label, which are now available exclusively for downloading on Emusic, and are a good way for fans to get the measure of the scale of a career which already is dizzying.
In 2010 he is on tour with the Gwo Ka Masters. After giving 200 concerts all around the world during their last tour (2005), the group set off again to promote their fourth album, 'The Devil Tried to Kill Me’, recorded in 2007 at the mythical Deb’s Studio in Pointe-à-Pitre with the great Taj Mahal. In 2011: ‘David Murray Play Nat King Cole En Espanol’ (Motema).
With this new album, we hear the fruit of one of David Murray’s most improbable and effective projects: an interpretation of two albums that Nat King Cole recorded in Spanish in 1958 and 1962, performing melodies from Cuba, Mexico, Puerto Rico, Rio de Janeiro, and Buenos Aires. The result is one of Murray’s most purely pleasurable albums. It demonstrates a tremendous leap in his approach to a world of music that has long fascinated him. The arrangements are imaginative, compelling, and wily, especially in the integration between winds and stings. The band is as tight as a fist. And there is a stunning feature for David Murray the improviser, a sensational tour de force and high spot in his massive discography.
At 56 years of age, David Murray has a rosy future ahead of him, and a successful past behind him and, since a glimpse of this exceptional career with a very promising future was felt to be essential, several directors have brought his musical career to the screen, in 'Speaking in Tongues’, a saga which follows him for ten years from 1978 to 1988 or in 'Jazzman’, in 1997. In 2007, Arte produced 'Saxophone Man’, in a reference to the title of the Stanley Croutch play written at the time of Pomona College: a year’s filming from New York to Pointe-à-Pitre, via Oakland and Paris, a year of images which reflect the David Murray of today, a citizen of the world. The next step sees David Murray’s collaboration with Macy Gray. Following their work within the musical project Questlove Afro-Picks (including Tony Allen, Questlove from The Roots, Amp Fiddler…) in collaboration with Red Bull Music Academy, Macy Gray asked David Murray for her forthcoming new album (‘Covered’ ) release date March 26th) to rearrange a cover song ('Love Lockdown’) from Kanye West.
Later, David Murray invites Macy Gray, the soul music star (more than 14 million albums sold), to sing in his Big Band (David Murray Big Band Featuring Macy Gray). For her, he writes a new repertory that includes famous soul hits from Macy gray, and offers to them new sharp and bright arrangements. He also offers to Macy some brand new original compositions completed with insightful lyrics by Ishmael Reed. The perfect combination of a unique voice and sophisticated jazz arrangements make this project one of the most exciting sound of this New Year 2013. Surprising and wonderful, the project has already conquered audiences from famous festival such as: Jazz A La Villette (Paris), London Jazz Festival (London), North Sea Jazz Festival (Netherlands), and more…
2012 is also the year of David Murray’s Honorary Doctorate Of Music Degree from Pomona College, Claremont, California.
A new album ‘Be My Monster Love’ will be released June 11th 2013, on Motéma. David Murray here offers to his quartet a new repertory and a new name: Infinity Quartet. It takes root deep into the Jazz tradition, and gathers around David Murray the finest line-up of contemporary jazz musicians: Nasheet Waits recalls Ed Blackwell on the drums; Marc Cary reminds us the very essential pianist John Hicks; and Jaribu Shahid the constancy of Ray Drummond. The album also features the soul singer Macy Gray and the jazz vocal singer Gregory Porter! Indisputably the most creative project of David Murray, where emotions and virtuosity will not let anyone indifferent.
From 2013 onwards, David Murray strikes back with a new project: David Murray Infinity Quartet intended to feature some of the most unique and incandescent singers of today. The first album ‘Be My Monster Love’, released in June 2013 (on Motéma), features the soul singer Macy Gray and the jazz vocal singer Gregory Porter along with a quartet rooted into the Jazz tradition.
The second album of the Infinity Quartet, to be released in the spring of 2016, features a leading voice on the spoken-word scene: Saul Williams. This band, composed of drummer Nasheet Waits, pianists Jason Moran and Orrin Evans, bassist Jaribu Shahid delivers an Impassioned vibration, enlighten by the abrasive words of Saul Williams.
This year marks a new milestone in David Murray’s discography, with the release of ‘Perfection’, which gathers around David Murray two of the most sensitive contemporary jazz musicians: pianist Geri Allen and drummer Terri Lyne Carrington.
Awards
Grammy Award, Guggenheim Fellowship, Bird Award, Danish Jazz Bar Prize, musician of the 80’s by the Village Voice
Show less
|
||||
9048
|
dbpedia
|
2
| 9
|
https://loudswell.com/artist/david-murray/
|
en
|
David Murray
|
[
"https://loudswell.com/wp-content/uploads/2020/11/cropped-Logo-FullColorReverse-RGB.png",
"https://loudswell.com/wp-content/uploads/2020/08/David-Murray-Vilnius-300x200.jpg",
"https://loudswell.com/wp-content/themes/creatorstream-theme/assets/social/facebook.svg",
"https://loudswell.com/wp-content/themes/creatorstream-theme/assets/social/instagram.svg",
"https://loudswell.com/wp-content/uploads/2021/01/080920-David-Murray-300x157.jpg",
"https://loudswell.com/wp-content/uploads/2020/11/cropped-Logo-FullColorReverse-RGB-150x150.png",
"https://loudswell.com/wp-content/uploads/2020/11/cropped-Logo-FullColorReverse-RGB-150x150.png"
] |
[] |
[] |
[
""
] | null |
[] |
2020-08-04T23:52:25+00:00
|
David Murray is an American jazz musician. He plays mainly tenor saxophone and bass clarinet. He has recorded prolifically for many record labels since the mid-1970s. Among the most recorded jazz musicians in history and arguably one of the genre’s greatest tenor saxophonists, Dave Murray dominated jazz in the 1980s as thoroughly as Charlie Parker […]
|
en
|
LoudSwell
|
https://loudswell.com/artist/david-murray/
|
Biography
David Murray is an American jazz musician. He plays mainly tenor saxophone and bass clarinet. He has recorded prolifically for many record labels since the mid-1970s.
Among the most recorded jazz musicians in history and arguably one of the genre’s greatest tenor saxophonists, Dave Murray dominated jazz in the 1980s as thoroughly as Charlie Parker dominated the genre in the 1940s. Murray, considered a giant of the avant-garde style, nonetheless played all forms of jazz, from straight-ahead to free improvisational to post-bop. He was devoted to saxophonists as conservative as Paul Gonsalves and as radical as Albert Ayler. His name, however, has not become as legendary as Parker’s during his earlier years, primarily because few people paid close attention to the progressive, free-jazz movement of the 1980s, an era distracted by other forms such as commercial fusion and hard-bop nostalgia. Meanwhile, Murray refused to let the times discourage his ambitions, and from behind the scenes, he developed a distinct and powerful personal voice on both the tenor saxophone and clarinet. By the 1990s, many regarded Murray as the most proficient synthesizer since Charles Mingus (another of Murray’s influences). Regardless of his well-deserved recognition, Murray never broke from the downtown scene and refused to let the jazz culture assign him to a single category. Composing enchanting melodies that flowed with ease into far-reaching abstraction before returning back to the music’s roots in blues and gospel, Murray is also known for his trademark playing technique of sudden leaps into the upper register of his instrument, and his ability to draw a rich, expansive sound from his horn on both ballads and upbeat numbers.
Follow
|
|||||
9048
|
dbpedia
|
2
| 8
|
https://schoolofmusic.ucla.edu/event/david-murray-in-concert/
|
en
|
David Murray in Concert
|
[
"https://schoolofmusic.ucla.edu/app/uploads/2019/01/Bxd_Blk_HerbAlpert_D_SEC1.svg",
"https://schoolofmusic.ucla.edu/app/themes/ucla/dist/images/calendar_3906a188.svg",
"https://schoolofmusic.ucla.edu/app/themes/ucla/dist/images/search_0101f089.svg",
"https://schoolofmusic.ucla.edu/app/themes/ucla/dist/images/search_0101f089.svg",
"https://schoolofmusic.ucla.edu/app/plugins/the-events-calendar/src/resources/images/tribe-loading.gif",
"https://schoolofmusic.ucla.edu/app/uploads/2024/01/thumbnail_DSC02664©.Emiliano-Cocco-landscape.png",
"https://schoolofmusic.ucla.edu/app/uploads/2019/01/Bxd_Blk_HerbAlpert_D_SEC1.svg",
"https://schoolofmusic.ucla.edu/app/themes/ucla/dist/images/link_8e162459.svg"
] |
[] |
[] |
[
""
] | null |
[] |
2024-01-08T23:58:11+00:00
|
Jazz saxophone great David Murray will be featured in a solo concert.
|
en
|
/app/uploads/2018/08/cropped-site-icon-150x150.png
|
The UCLA Herb Alpert School of Music
|
https://schoolofmusic.ucla.edu/event/david-murray-in-concert/
|
Jazz saxophone great David Murray will be featured in a solo concert. He will also hold an audience Q&A at 3 p.m.
Since he arrived in NY in 1975, David Murray established himself as one of the prominent saxophone players and leaders of jazz. He has released over 200 albums under his own name, working with the likes of Max Roach, Randy Weston, Pharoah Sanders, McCoy Tyner, Taj Mahal, Mal Waldron, Amiri Baraka, Jerry Garcia, Doudou N’daye Rose, Cassandra Wilson, Jason Moran, Macy Gray, Omara Portuando, Saul Williams, Vijay Iyer, Quest Love, Black Thought, and Gregory Porter to name a few. He is also a founding member of the groundbreaking World Saxophone Quartet which toured and recorded for 40 years.
As well as being a well-known bandleader, he is a noteworthy composer and arranger providing memorable melodies and harmonies. His approach to improvisation is instantly recognizable. Even in its freest flights, he acknowledges the gravity of a tradition he honors more than most, combining all the influences he grew out of: gospel, jazz, free/avant-garde jazz, rhythm’n blues, R&B and, in his associations with writers, poetry. The great Cecil Taylor compared him to his greatest predecessors who had signature sounds: “You stick your ear in the door, you know it’s David!”
David Murray goes down as a worthy successor for some of the biggest names in jazz, and he is now contributing to the rise of many young talents acclaimed by the critics. His new quartet album will be released in May 2024: Luke Stewart on bass, Marta Sanchez on the piano, and Russell Carter on drums!
“David Murray, the master saxophonist who has reconciled the whole history of jazz tenor, from swing to free, during a wildly prolific career.” NYTimes
“Several of his recordings are among the benchmark achievements in the postmodern era and others attest to a consistency that is rare in any era […] No musician personifies better than David Murray the dilemma of reconciling jazz’s family values and the claims of autonomy.” Gary Giddins
|
||||
9048
|
dbpedia
|
1
| 3
|
https://en.wikipedia.org/wiki/David_Isaac_Murray
|
en
|
David Isaac Murray
|
[
"https://en.wikipedia.org/static/images/icons/wikipedia.png",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/d/db/David_Isaac_Murray.jpg/220px-David_Isaac_Murray.jpg",
"https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1",
"https://en.wikipedia.org/static/images/footer/wikimedia-button.svg",
"https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg"
] |
[] |
[] |
[
""
] | null |
[
"Contributors to Wikimedia projects"
] |
2016-11-07T00:22:46+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/David_Isaac_Murray
|
Entrepreneur, computer scientist, and product designer
David Isaac Murray (born 27 August 1983) is an entrepreneur, computer scientist, and product designer best known for his appearance as one of the main cast members on Start-Ups: Silicon Valley.[1] Originally a product manager at Google from 2006–2008, he received the Google Founders Award and EMG Award for his work on Gmail.[2] After Google, David held several senior positions at start up companies in Silicon Valley, California. He started his company, GoalSponsors, in 2012[3] and eventually sold it to Doctor.com in 2014. He served as Chief Technology Officer of Doctor.com until 2019.[4] David is currently Cofounder and President of Confirm, an HR technology company focused on performance reviews and organizational network analysis.[5]
Early life
[edit]
Murray grew up in Albuquerque, New Mexico. He attended the Albuquerque Academy from grades 6-12.[6] He attended Carnegie Mellon University as a triple major in Computer Science, Human-Computer Interaction, and Voice Performance, where he graduated in 2006, Phi Beta Kappa, as recipient of the CMU Alumni Award for Research Excellence in Computer Science.[7]
Business history
[edit]
Murray was Associate Product Manager for Gmail at Google from 2006–2008.[8] He later served as Senior VP, Product Management at Inform Technologies in 2008, User Experience Lead at Cryptic Studios 2008–2010, and Director of Product for Raptr 2010-2012 before founding GoalSponsors which later became known as ReferBright, a marketing automation platform for healthcare practitioners, and was sold to Doctor.com in 2014.[9] He served as Chief Technology Officer at Doctor.com (acquired by Press Ganey in 2020[10]). Murray is currently Cofounder and CEO of Confirm, an HR technology company focused on performance reviews and organizational network analysis.[11]
Television, film, and media
[edit]
In 2012, Murray appeared as one of the main cast on Bravo's TV Show Start-Ups: Silicon Valley[12] working on an accountability buddies mobile app called GoalSponsors.[13] He has authored articles in publications including FastCompany[14] and has been a contributing author to Forbes through his membership with the Forbes Technology Council. His writing focuses on the intersection of business, technology, and the human experience.[15]
Awards
[edit]
2013 Named "One to Watch" by BRINK Magazine[16]
2008 Google Founders Award, EMG Award[17]
2006 Carnegie Mellon SCS Alumni Award for Research Excellence in Computer Science[18]
2006 Andrew Carnegie Society Scholar, Mortar Board Senior Honor Society[19]
2005 Phi Beta Kappa[20]
2001 Cum Laude National Honor Society[21]
Board and Council Memberships
[edit]
Member, Forbes Technology Council (2018–present)[22]
Board member, Carnegie Mellon University Alumni Association Board (2017–present)[23]
Board member, Carnegie Mellon University School of Computer Science Alumni Advisory Board (2005–present)[24]
President, Rainbow Recreation (2015–present)[25]
Board member, South Bay Volleyball Club (2013–present)[26]
References
[edit]
|
||||||
9048
|
dbpedia
|
3
| 19
|
https://hellomusictheory.com/learn/famous-saxophone-players/
|
en
|
34 Of The Greatest And Most Famous Saxophonists
|
[
"https://hellomusictheory.com/wp-content/uploads/2022/04/cropped-cropped-HMT-Logo-long-Color.png",
"https://hellomusictheory.com/wp-content/uploads/2021/02/Adolphe-Sax.jpg",
"https://hellomusictheory.com/wp-content/uploads/2021/08/John-Coltrane.jpg 800w, https://hellomusictheory.com/wp-content/uploads/2021/08/John-Coltrane-300x298.jpg 300w, https://hellomusictheory.com/wp-content/uploads/2021/08/John-Coltrane-150x150.jpg 150w, https://hellomusictheory.com/wp-content/uploads/2021/08/John-Coltrane-768x762.jpg 768w",
"https://hellomusictheory.com/wp-content/uploads/2021/08/John-Coltrane.jpg",
"https://hellomusictheory.com/wp-content/uploads/2021/08/Charlie-Parker.jpeg 800w, https://hellomusictheory.com/wp-content/uploads/2021/08/Charlie-Parker-300x296.jpeg 300w, https://hellomusictheory.com/wp-content/uploads/2021/08/Charlie-Parker-768x758.jpeg 768w",
"https://hellomusictheory.com/wp-content/uploads/2021/08/Charlie-Parker.jpeg",
"https://hellomusictheory.com/wp-content/uploads/2021/08/Candy-Dulfer-645x1024.jpeg 645w, https://hellomusictheory.com/wp-content/uploads/2021/08/Candy-Dulfer-189x300.jpeg 189w, https://hellomusictheory.com/wp-content/uploads/2021/08/Candy-Dulfer-768x1220.jpeg 768w, https://hellomusictheory.com/wp-content/uploads/2021/08/Candy-Dulfer.jpeg 800w",
"https://hellomusictheory.com/wp-content/uploads/2021/08/Candy-Dulfer-645x1024.jpeg",
"https://hellomusictheory.com/wp-content/uploads/2021/08/Sonny-Rollins.jpeg 800w, https://hellomusictheory.com/wp-content/uploads/2021/08/Sonny-Rollins-238x300.jpeg 238w, https://hellomusictheory.com/wp-content/uploads/2021/08/Sonny-Rollins-768x967.jpeg 768w",
"https://hellomusictheory.com/wp-content/uploads/2021/08/Sonny-Rollins.jpeg",
"https://hellomusictheory.com/wp-content/uploads/2021/08/Stan-Getz-798x1024.jpg 798w, https://hellomusictheory.com/wp-content/uploads/2021/08/Stan-Getz-234x300.jpg 234w, https://hellomusictheory.com/wp-content/uploads/2021/08/Stan-Getz-768x985.jpg 768w, https://hellomusictheory.com/wp-content/uploads/2021/08/Stan-Getz.jpg 800w",
"https://hellomusictheory.com/wp-content/uploads/2021/08/Stan-Getz-798x1024.jpg",
"https://hellomusictheory.com/wp-content/uploads/2021/08/Lester-Young.jpeg 800w, https://hellomusictheory.com/wp-content/uploads/2021/08/Lester-Young-254x300.jpeg 254w, https://hellomusictheory.com/wp-content/uploads/2021/08/Lester-Young-768x908.jpeg 768w",
"https://hellomusictheory.com/wp-content/uploads/2021/08/Lester-Young.jpeg",
"https://hellomusictheory.com/wp-content/uploads/2021/08/Coleman-Hawkins.jpeg 800w, https://hellomusictheory.com/wp-content/uploads/2021/08/Coleman-Hawkins-262x300.jpeg 262w, https://hellomusictheory.com/wp-content/uploads/2021/08/Coleman-Hawkins-768x879.jpeg 768w",
"https://hellomusictheory.com/wp-content/uploads/2021/08/Coleman-Hawkins.jpeg",
"https://hellomusictheory.com/wp-content/uploads/2021/08/Sidney-Bechet.jpeg 800w, https://hellomusictheory.com/wp-content/uploads/2021/08/Sidney-Bechet-292x300.jpeg 292w, https://hellomusictheory.com/wp-content/uploads/2021/08/Sidney-Bechet-768x788.jpeg 768w",
"https://hellomusictheory.com/wp-content/uploads/2021/08/Sidney-Bechet.jpeg",
"https://hellomusictheory.com/wp-content/uploads/2021/01/laura--160x160.jpg 2x",
"https://hellomusictheory.com/wp-content/uploads/2021/01/laura--80x80.jpg",
"https://hellomusictheory.com/wp-content/uploads/2020/03/dan-farrant-headshot-300x300.jpg",
"https://hellomusictheory.com/wp-content/uploads/2021/03/Best-Music-Theory-Courses.png",
"https://hellomusictheory.com/wp-content/uploads/2021/03/Best-Music-Theory-Courses.png",
"https://hellomusictheory.com/wp-content/uploads/2019/09/Best-Music-Theory-Books-.png 800w, https://hellomusictheory.com/wp-content/uploads/2019/09/Best-Music-Theory-Books--300x200.png 300w, https://hellomusictheory.com/wp-content/uploads/2019/09/Best-Music-Theory-Books--768x512.png 768w",
"https://hellomusictheory.com/wp-content/uploads/2019/09/Best-Music-Theory-Books-.png"
] |
[
"https://www.youtube.com/embed/Cpf99MZQhIM?feature=oembed",
"https://www.youtube.com/embed/QLVlpk46dP8?feature=oembed",
"https://www.youtube.com/embed/BwC0jHD46vo?feature=oembed",
"https://www.youtube.com/embed/bi0OMG4xAko?feature=oembed",
"https://www.youtube.com/embed/E8WODSAznRQ?feature=oembed",
"https://www.youtube.com/embed/lzNRCj-mpdU?feature=oembed",
"https://www.youtube.com/embed/T_YoDGz2dZo?feature=oembed",
"https://www.youtube.com/embed/G3ipWLgg0nc?feature=oembed",
"https://www.youtube.com/embed/aAmv5jJKNdM?start=52&feature=oembed",
"https://www.youtube.com/embed/ZdUWPA_AX6o?feature=oembed",
"https://www.youtube.com/embed/16OoypHXcps?feature=oembed",
"https://www.youtube.com/embed/TpyuonX2Mtg?start=106&feature=oembed",
"https://www.youtube.com/embed/wINfnnUlrwY?feature=oembed",
"https://www.youtube.com/embed/neVIycqDdL4?feature=oembed",
"https://www.youtube.com/embed/PgaTwCNizRc?feature=oembed",
"https://www.youtube.com/embed/NnSIEhvYIzY?feature=oembed",
"https://www.youtube.com/embed/ww7nvCgUocU?feature=oembed",
"https://www.youtube.com/embed/3yxWONmkc14?feature=oembed",
"https://www.youtube.com/embed/19W99GfOtgY?feature=oembed",
"https://www.youtube.com/embed/PgFSYioCcm8?feature=oembed",
"https://www.youtube.com/embed/OOqI2LMux_g?feature=oembed",
"https://www.youtube.com/embed/eeq958fjS5c?start=53&feature=oembed",
"https://www.youtube.com/embed/7ap1HJ8Cd4M?feature=oembed",
"https://www.youtube.com/embed/n_C9fvuGpkw?feature=oembed",
"https://www.youtube.com/embed/hZLBATSiaes?feature=oembed"
] |
[] |
[
""
] | null |
[
"Laura Macmillan"
] |
2021-12-12T08:00:00-08:00
|
Thus in this article, let's talk about the lives and works of 34 of the greatest and most famous saxophone players of all time, from pioneers to contemporary
|
en
|
Hello Music Theory | Learn To Read Music
|
https://hellomusictheory.com/learn/famous-saxophone-players/
|
The saxophone, an instrument combining elements of both brass and woodwind, has been a cornerstone in the world of music since its invention in 1846 by Adolphe Sax.
With its unique capabilities to mimic the human voice and its wide range of expressions, it has found a home in various genres. The true magic of the saxophone, however, lies not just in the instrument itself but in the hands of those who have mastered its art.
Thus in this article, let’s talk about the lives and works of 34 of the greatest and most famous saxophone players of all time, from pioneers to contemporary artists. Read on to learn more!
1. Adolphe Sax
The first-ever saxophone player was the man who invented it — Adolphe Sax, a Belgian musical instrument maker in the 1800s.
The son of both mother and father instrument makers, Sax started making instruments as a young boy, making his own flute and clarinet by the age of 15 and then performing on them at the Royal Conservatory of Brussels.
Sax dreamt of an instrument that married the best qualities of the woodwind family of instruments with those of brass instruments.
After four years of hard work and detailed crafting, his dream became a patented reality in 1846, and this is why saxophones are made of brass but played like a woodwind instrument with a reed.
2. John Coltrane
Up next is the legendary composer and jazz saxophonist John Coltrane. He was influenced by the blues music of the small town he grew up in and the gospel music of his church.
Coltrane was self-taught and loved bebop. He worked his way up the ranks, switching from alto to tenor sax, and ended up with Miles Davis, but by 1959, he went his own way playing with his own bands.
As a sideman, he played on the Miles Davis album Kind of Blue, among lots of others. As a bandleader, some of his famous albums include Blue Trane, Giant Steps, My Favorite Things, and A Love Supreme.
Coltrane spearheaded avant-garde jazz and was at the height of his career when he developed liver cancer and died in 1977 at the young age of 40, leaving behind a huge legacy.
3. Charlie Parker
Known as “Bird” or “Yardbird,” Charlie Parker was a trailblazer in the world of jazz, credited with the invention of bebop. He was born in 1920 in Kansas and took music lessons at public schools.
At the tender age of 11, he picked up the saxophone, and by the time he was 20, he was leading a revolution in modern jazz music. His nickname inspired some of his works, including “Yardbird Suite,” “Ornithology,” and “Bird of Paradise.”
Throughout his career, Parker was known for his amazing speed and dexterity on the saxophone, playing with other jazz greats like Dizzy Gillespie and Miles Davis.
4. Candy Dulfer
Jumping forward a few decades, we have up next the famous female saxophonist Candy Dulfer, daughter of well-known Dutch jazz tenor saxophonist Hans Duffer, who is a modern pop saxophonist from the Netherlands.
Candy began playing the soprano saxophone at age six but switched to alto at age seven. By the time she was 11 years old, she played her first solo with her father’s band at the time, De Perikels (The Perils). She went on to start her own band called Funky Stuff when she was only 14 years old.
In 1990, Candy received a Grammy nomination for her very first album called Saxuality. Since then, she has played with some big names such as Madonna, Pink Floyd, and Prince.
5. Sonny Rollins
At just seven or eight years old, Sonny Rollins was given an alto saxophone. He started as a pianist, played the alto sax for a while, and then switched to tenor, playing in a high school band with Art Taylor, Kenny Drew, and Jackie McLean.
In 1948, Rollins began playing professionally and made a name for himself in bebop. He recorded with Miles Davis, Charlie Parker, and Thelonius Monk and made his famous album Saxophone Colossus in 1956.
Rollins was just not known for his playing; he was also known for his compositions, penning such classic jazz standards as “Oleo,” “St. Thomas,” and “Doxy.”
His works earned him several Grammys, including a Grammy Lifetime Achievement award in 2004. Due to respiratory issues, Rollins retired in 2012.
6. Stan Getz
Born in Philadelphia, Stan Getz learned to play several musical instruments at a young age. His father gave him a saxophone at age 13, and Getz began practicing eight hours a day.
At 16, he joined trombonist Jack Teagarden’s band, playing with Nat King Cole and Lionel Hampton. In 1961, he recorded the album Focus, described as one of the great masterpieces of 20th-century jazz.
In 1972, he recorded a jazz fusion album, Captain Marvel, and later won several Grammys, one for “The Girl from Ipanema” in 1964.
Getz taught at the Stanford Jazz Workshop in the mid-1980s. He died in 1991 of cancer.
7. Lester Young
Though he also dabbled in the clarinet, Lester Willis “Pres” Young was best known as a tenor jazz saxophonist. He was born in Mississippi into a very musical family — his father was a teacher and bandleader, and his brother Leonidas Raymond became a well-known drummer.
They moved to New Orleans, and by the time Lester was 10 years old, he had also picked up the trumpet, violin, and drums and joined the Young Family Band.
Lester permanently left the band at 18 years old and began playing with Art Bronson’s Bostonians. Between 1933 and 1940, he eventually found his way into Count Basie’s band.
After leaving the Basie Band, Lester led many small groups, partnering with greats such as Billie Holiday and Nat King Cole. Interestingly, he was notorious for using a plastic saxophone reed from time to time in an attempt to create a unique sound.
8. Ornette Coleman
Next, we have composer and saxophonist Ornette Coleman, who was one of the founders of free jazz. Some of his first performances were playing in a high school band from which he was dismissed for improvising.
Coleman eventually abandoned bebop in favor of avant-garde jazz and switched to alto saxophone in 1949.
In 1959, his seminal album The Shape of Jazz to Come was released to critical acclaim. A year later, he released Free Jazz: A Collective Improvisation, which was met with much controversy.
Coleman continued to play well into the 2000s, winning a Pulitzer Prize for his album Sound Grammar. He died of cardiac arrest in 2015 at the age of 85.
9. Wayne Shorter
Born in 1933, Wayne Shorter started on clarinet but switched to tenor sax before studying at New York University in 1952.
He played saxophone in Miles Davis’s Second Great Quintet after playing with Art Blakey’s Jazz Messengers for four years. He stayed with Davis until 1970 and became a prolific composer.
In 1968, Shorter started playing the soprano sax and formed the well-known jazz fusion band Weather Report in 1970, only leaving in 1985. In 2016, he toured with Carlos Santana and Herbie Hancock in a supergroup called Mega Nova.
Shorter stopped playing in 2021 after winning multiple Grammys throughout his long career. To this day, he is a much-revered jazz artist.
10. Grover Washington Jr.
Born and raised in Buffalo, New York, Grover Washington Jr. is thought of as one of the creators of the smooth and soul-jazz genre, along with George Benson and Wes Montgomery.
The height of Grover’s career was in the 1970s and 1980s when he wrote a lot of his own music, which became some of America’s most memorable smooth jazz pieces. His hits include “Mister Magic” and “Inner City Blues.”
Grover also participated in some notable duets, such as “Just the Two of Us” with Bill Withers and “The Best Is Yet to Come” with Patti LaBelle.
He is also well known for his 1996 hit “Soulful Strut,” just three years before his death of a massive heart attack at 56 years old. He collapsed just before performing on The Saturday Early Show.
11. Cannonball Adderley
From Tampa, Florida, our next saxophonist is Julian Edwin “Cannonball” Adderley. He began playing saxophone at a very young age along with his trumpet-playing brother Nat.
His nickname, “Cannonball,” originated from “Cannibal,” which his friends called him when he was a teenager because of his massive appetite.
In 1955, he moved to New York City to try his hand at playing saxophone professionally. He formed the Cannonball Adderley Quintet, which later became the much more successful Cannonball Adderley Sextet.
In the 1960s, he began releasing albums in the emerging electric jazz genre. His quintet played at the Monterey Jazz Festival in California, a scene from which appears in Clint Eastwood’s 1971 thriller Play Misty for Me.
Sadly, in 1975, Cannonball passed away after a stroke caused by a cerebral hemorrhage. He was only 46 years old.
12. Coleman Hawkins
Known as the Father of the Tenor Saxophone, Coleman Hawkins was born in Saint Joseph, Missouri, in 1904. His musical journey began at the age of five when he started piano lessons, followed by cello, and finally saxophone.
He landed a gig with Mamie Smith’s Jazz Hounds in 1921 and later joined Fletcher Henderson’s Orchestra in 1924, where he became famous for his solos and unique sound.
In 1937, he performed with Django Reinhardt and Benny Carter in Paris, and in 1939, he recorded the jazz standard “Body and Soul.” In 1944, he led the first-ever bebop recording session with Dizzy Gillespie, Max Roach, Don Byas, Clyde Hart, and Oscar Pettiford.
His last recording was in 1966, called Sirius. Sadly, Hawkins died of liver disease in 1969, and Sirius was later released in 1975.
13. Sidney Bechet
Born in 1897 in New Orleans, Louisiana, Sidney Joseph Bechet was one of the earliest American jazz saxophonists. He played his first gigs in the early 1910s.
For the most part, Bechet taught himself to play instruments, as there were several lying around the house. He initially favored the clarinet, and at just six years old, he started playing with his older brother at a family birthday party.
It was in 1919, during a London stop of a tour, when he picked up the soprano saxophone and developed a unique style that began to set him apart in the music world. He played saxophone like he did everything else — unpredictably.
Though people described him as hard to work with, nevertheless, Sydney accomplished many milestones throughout his career. Most notably, he is agreed upon as the first significant jazz soloist in America, making his first recording months before famous trumpet player Louis Armstrong.
14. Paul Desmond
Famed for his distinctive alto saxophone sound, Paul Desmond was a key figure in the cool jazz movement. His style of playing was fluid and airy, with very little vibrato, creating a smooth sound that became his signature.
He was also famous for writing Dave Brubeck Quartet’s hit song “Take Five.” Desmond made his mark with his years of playing in the Brubeck Quartet until 1967.
He then joined Brubeck for a tour, playing 25 shows in 25 nights around the US. Throughout his career, Desmond created a lengthy discography and served as band leader at various times.
Sadly, he passed away of lung cancer in 1977, after playing his final concert with Brubeck just three months prior.
15. Gerry Mulligan
Renowned for his baritone saxophone playing, Gerry Mulligan was an integral figure in the development of cool jazz during the 1950s. His sound was characterized by its mellowness and warmth, a stark contrast to the more aggressive styles prevalent in the era.
Not only was Mulligan famous for being a leading jazz baritone saxophonist but was also a pianist, clarinetist, composer, and arranger. His songs “Five Brothers” and “Walkin’ Shoes” have become jazz standards.
Mulligan studied clarinet with Sammy Correnti and played the sax in local dance bands as a teenager. In 1951, he recorded Mulligan Plays Mulligan, the first album recorded under his own name. A year later, he played at sold-out performances with Chet Baker at the Haig.
Mulligan also appeared with Dave Brubeck in 1973 and worked with him on and off until he passed away in 1996 due to complications following knee surgery.
16. Melissa Aldana
Currently only in her early 30s, Melissa Aldana is a modern tenor saxophone player from Santiago, Chile. She is the daughter of professional saxophonist Marcos Aldana, who began teaching Melissa to play the saxophone at the age of six.
She began with the alto saxophonist and was inspired by Charlie Parker, Cannonball Adderley, and Michael Brecher. But it was hearing the work of Sonny Rollins that inspired her to begin playing the tenor saxophone.
Aldana currently resides in Manhattan, but she maintains her strong Chilean roots. She formed the Melissa Aldana & Cash Trio in 2012, the Melissa Aldana Quartet in 2017, and finds frequent opportunities to solo.
She was awarded the Altazor National Arts Award in Chile and the Lincoln Center’s Martin E. Segal Award, and Aldana often performs at famous jazz festivals around the world.
17. Ben Webster
Born in Kansas City, Missouri, Benjamin Francis Webster was a famous American jazz tenor saxophone player.
He learned saxophone from Budd Johnson, played with Lester Young in his Young Family Band, partnered with famous jazz singer and bandleader Blanche Calloway, and joined the Bennie Moten Orchestra with Count Basie. He accomplished all this by his early 30s.
In his later career, he continued recording with jazz greats and became a soloist in the Duke Ellington Orchestra before leaving in 1943.
After recording many hits with other jazz artists, Webster moved to Europe and played in London, Scandinavia, Amsterdam, and Copenhagen. During this period, a street was named after him in Copenhagen.
Interestingly, he only played one saxophone from 1938 on. It is currently on display at the Jazz Institute at Rutgers University, and there is an order straight from Ben that it shall never be played again.
18. Michael Brecker
A towering figure in the world of jazz, tenor saxophonist Michael Brecker was born in 1949. Initially learning the clarinet and alto saxophone, he eventually found his true voice in the tenor saxophone.
After playing in a few jazz groups, Brecker moved to New York in 1969, where he made a name as a jazz soloist and played with Dreams, a jazz-rock band.
He played on almost 900 albums, collaborating with artists such as Dire Straits, Aerosmith, Steely Dana and Parliament, Jaco Pastorius, George Benson, Bruce Springsteen, and Eric Clapton.
As a jazz composer and saxophonist, Brecker won multiple Grammy awards, as well as an Honorary Doctorate in Music from Berklee in 2004. That same year, he was diagnosed with a rare blood disorder and, in 2006, died from leukemia in Manhattan.
19. Amy Dickson
At just the age of six, our next musician, Amy Dickson, started learning the saxophone. An Australian classical saxophone player, she made her concert debut at 16, playing the Concerto pour Saxophone Alto by Pierre Dubois.
She moved to London with a scholarship to study at the Royal College of Music and became the first saxophonist to win a gold medal at the Royal Overseas League Competition.
Dickson has arranged works by Philip Glass and John Tavener for saxophone and commissioned new works from Ross Edwards, Huw Watkins, and Steve Martland. Between 2008 and 2019, she released eight albums and now lives in London.
20. Art Pepper
Up next is Art Pepper. This talented musician began playing the alto sax at the age of 13. He also played the clarinet and tenor saxophone in West Coast jazz.
By the time he was 17, Pepper was playing professionally, and he joined the Stan Kenton Orchestra, becoming recognized as one of the leading jazz saxophonists in the 1950s.
Pepper is known for the beauty of his melodic playing style and sensitive, gentle notes. He was recognized as second only to Charlie Parker as an alto jazz saxophonist in a 1952 poll.
Sadly, he passed away from a stroke in 1982, but his wife continued to put out his previously unheard material after his death.
21. Arno Bornkamp
A virtuoso in the classical saxophone world, Arno Bornkamp hails from Amsterdam and was born in 1959. Known for his unique presence in both the saxophone realm and the broader classical music sphere, he has carved out a distinctive career over several decades.
He made his solo debut in Rome, performing Concertina da Camera by Jacques Ibert, and has played in hundreds of concerts worldwide.
He is also a member of a Saxophone Quartet based in Amsterdam, which specializes in music from Argentine culture, including Tango, Piazzolla, folk music, and more.
In addition to his performing career, Bornkamp is an esteemed educator. He serves as a professor at the Conservatory of Amsterdam and has given several master classes worldwide.
22. Johnny Hodges
Known for his soulful, expressive playing, alto saxophonist Johnny Hodges was a key figure in the world of jazz. Born in 1907, he was best known for his solo work with Duke Ellington’s big band.
He honed his saxophone skills locally before making the move to New York in 1927 to work with the Chick Webb Orchestra. The following year, he joined Duke Ellington, marking the beginning of a long and fruitful collaboration.
Hodges wrote tunes for orchestra members such as “Jeep’s Blues” and “Sultry Sunset,” and his smooth style of playing can be heard on “Magenta Haze,” “Flirtibird,” and “Blood Count.”
After spending 23 years with Duke Ellington’s Orchestra, he took the bold step of starting his own band in March 1951. This venture lasted until September 1955.
23. Phil Woods
Jazz saxophonist Phil Woods was revered for his technique and clean, bright sound. He studied music at the Manhattan School of Music and Julliard. At first, he studied clarinet at Julliard because there was no major course on the sax back then.
In the 1950s, he played with his own bands before accompanying Dizzy Gillespie on a world tour. In 1968, he moved to France and led the jazz group European Rhythm Machine but returned to the US in 1979.
Over his career, Woods also played for artists such as Billy Joel, Paul Simon, and Steely Dan and won two Grammy awards. He passed away from emphysema in 2015.
24. Sonny Stitt
Renowned for his virtuosic technique and impressive improvisational skills, jazz saxophonist Sonny Stitt was a defining figure in the bebop movement. Born in 1924, he is best known for his work on both the alto and tenor saxophone.
Stitt’s love for music began at a young age when he learned to play the piano. However, it wasn’t until he picked up the saxophone that he truly found his calling.
Moving to New York in 1943, he joined the Tiny Bradshaw band but quickly made a name for himself by joining Billy Eckstine’s big band, where he played alongside other jazz legends like Dizzy Gillespie and Charlie Parker.
Throughout his career, he recorded more than 100 albums and wrote many compositions, leaving behind an extensive body of work. He remained dedicated to his craft, performing right up until his death in 1982.
25. Lee Konitz
Up next is Lee Konitz, an alto saxophonist and composer who performed in a wide variety of jazz styles. He was known for his improvised melodies and odd note accents and influenced Art Pepper and Paul Desmond.
He started playing clarinet at age 11 and received training in classical music from Lou Honig. However, he soon switched to tenor sax and later moved on to alto.’
Konitz played with the likes of Claude Thornhill, Gerry Mulligan, Dave Brubeck, Charles Mingus, and Miles Davis and eventually became a bandleader.
In 1967, he recorded the Lee Konitz Duets and, in 1981, performed at the Woodstock Jazz Festival. He continued to play up until two years before his death of pneumonia due to COVID-19 in 2020.
26. Benny Carter
Along with Johnny Hodges, Benny Carter pioneered the alto saxophone and was an arranger, composer, trumpeter, and clarinetist. In his 20s, he was an arranger for Fletcher Henderson and was first recorded in 1927 as a member of the Paradise Ten.
Carter was considered a leading alto saxophonist in the 1930s and also a leading trumpet soloist. He traveled to England, France, and Scandinavia, where he recorded music with local players before returning to the US in 1938.
Music playing aside, Carter also taught music at Princeton University, which in 1974 awarded him an honorary doctorate. He had an extraordinarily long career and died at the age of 95.
27. Illinois Jacquet
Another legendary sax player, Illinois Jacquet played the alto saxophone as a child in his father’s band. At age 15, he started playing with a Houston dance band, the Milton Larkin Orchestra, and became a skilled melodic jazz improviser on the tenor sax.
His sax solo on “Flying Home” is recognized as the first in R&B, and the song became a major hit. In 1943, he joined Cab Calloway’s orchestra, and in 1944, he appeared in the short film Jammin the Blues.
In 1993, he played “C-Jam Blues” during Bill Clinton’s inaugural ball. Jacquet died of a heart attack in 2004.
28. Marcel Mule
Classical saxophonist Marcel Mule was born in France, where his father introduced him to the sax when he was eight. He later became a teacher before being called up for military service, and he played in a military band in 1921.
After his military service, in 1923, his career took off when he became a saxophone soloist in the Garde Republicaines band. He played classical music but also became a composer and taught saxophone to more than 300 students.
Mule toured the US in 1958 with the Boston Symphony Orchestra and was hailed as “the Rubenstein of the saxophone.” He is recognized today as a modern master of classical saxophone and a virtuoso.
He retired in 1967. Living a very long and successful life, Mule passed away in 2001 in his sleep. He was 100 years old.
29. Jess Gillam
In the world of classical music, British saxophonist Jess Gillam has been making waves with her virtuosic performances and infectious energy.
Gillam’s journey began as a child in Cumbria, England, where she fell in love with the saxophone at the tender age of seven. It led her to become the first saxophonist to reach the final of the BBC Young Musician competition in 2016.
Two years later, she signed up with Decca Records in 2018 and released two albums. She also became a presenter on the Radio 3 program This Classical Life.
Despite her young age, Gillam has already achieved a great deal. Her debut album, RISE, released in 2019, reached #1 in the UK Classical Charts.
30. John Harle
Our next saxophonist, John Harle, is also from England. He studied at the Royal College of Music in London before going to Paris to study with Daniel Deffayet. He was a member of Michael Nyman’s band and an orchestrator for Stanley Myers, the film composer, early in his career.
He began a career as a composer and saxophonist in the 1990s and composed the theme tune and music for the BBC’s television series Silent Witness. His work earned him a Best Television Soundtrack Ivor Novello Award.
Over his career, Harle has collaborated with Herbie Hancock, Elvis Costello, and Elmer Bernstein. In 2017, he published his own book, The Saxophone: The Art and Science of Playing and Performing.
31. Eugene Rousseau
From the classrooms of Indiana University, where he taught from 1964 to 2000, Eugene Rousseau has shaped countless young musicians, inspiring them with his knowledge and love for the saxophone.
His impact as an educator extended beyond the university, influencing the global saxophone community. He co-founded the World Saxophone Congress in 1969, providing a platform for saxophonists worldwide to share their music and learn from each other.
His influence reached the industry when he served as a chief consultant to Yamaha Corporation for the research and development of saxophones. His insights and expertise played a crucial role in refining the design and sound quality of the instruments, making him an integral part of the evolution of the modern saxophone.
32. Jackie McLean
Up next is the jazz alto saxophonist, bandleader, and composer Jackie McLean. In his childhood, he was tutored informally by Thelonius Monk, Charlie Parker, and Bud Powell, who were neighbors.
When he was 20, he played on Miles Davis’ Dig album and also recorded with Gene Ammons, George Wallington, and Charles Mingus. He was known for his piercing bitter-sweet sax tone that had a strong blues foundation.
Later in his career, he established the African American Music Department at the University of Hartford and its Bachelor of Music in Jazz Studies.
After recording on many albums, McLean passed away in 2006 after a long illness. That same year, he was elected to the DownBeat Hall of Fame.
33. Vi Redd
Still alive today at age 92, Vi Redd is one of the earliest well-known female saxophone players. Her primary genre is the blues, and she has played with greats such as Count Basie and Dizzy Gillespie.
She was born in Los Angeles, California, and learned the art of music from her father and her great aunt, the vocalist, musician, and teacher Alma Hightower.
Redd toured with Earl Hines in 1964 and then co-led a jazz group in San Francisco with her husband, drummer Richie Goldber’s group in San Francisco. After touring with Max Roach in Japan, London, Sweden, Spain, and Paris, she landed back in Los Angeles.
Redd has earned the Lifetime Achievement Award from the Los Angeles Jazz Society and the Mary Lou Wiliams Women in Jazz Award from the Kennedy Center.
34. Jane Ira Bloom
A trailblazer in the world of jazz, Jane Ira Bloom is a gifted soprano saxophonist and composer hailing from America. Her journey into music began in Boston, Massachusetts, where she initially explored the realms of piano and drums.
However, it was the allure of the alto saxophone at the tender age of nine that truly captured her musical soul. Eventually, she transitioned to the soprano saxophone and has since then, become a master of this instrument.
Bloom holds the distinction of being the first musician ever to be commissioned by the NASA Art Program. This partnership resulted in three original pieces and an unusual honor — an asteroid named 6083 Janeirabloom in recognition of her contributions.
She has been graced with many awards, including the Guggenheim Fellowship in music composition, the Chamber Music New Jazz Works award, and a Grammy Award for Best Surround Sound for her 2017 album Early Americans.
Summing up the Greatest Saxophone Players
It is hard to say if Adolphe Sax envisioned his creation becoming such a major influence in the music of the world when he invented it back in the 1800s.
From the dawn of jazz through modern soul and the Latin influence of artists like Melissa Aldana, these famous saxophonists have carried on the legacy of Adolphe Sax, created legacies of their own, and sustained the saxophone as a key member of the world’s musical family.
|
|||||
9048
|
dbpedia
|
2
| 43
|
https://dwmsound.art/biography/
|
en
|
Biography
|
[
"https://musictosee.art.blog/wp-content/uploads/2021/12/with-lt-at-supernac.jpg?w=548",
"https://musictosee.art.blog/wp-content/uploads/2021/12/fields-only-near-the-arcadian.jpg?w=1024",
"https://musictosee.art.blog/wp-content/uploads/2021/12/hillside.jpg?w=750",
"https://musictosee.art.blog/wp-content/uploads/2023/01/cropped-dsc_0126-e1639276811191.jpg?w=50",
"https://musictosee.art.blog/wp-content/uploads/2023/01/cropped-dsc_0126-e1639276811191.jpg?w=50",
"https://pixel.wp.com/b.gif?v=noscript"
] |
[] |
[] |
[
""
] | null |
[] |
2021-12-12T02:44:21+00:00
|
with Lily Tait at the premiere of "sun study ii" [March, 2020] Profile, Background, & Vision I am a Melbourne based composer and sound-artist working through fully notated works for traditional acoustic instruments and electroacoustic projects. Occasionally I have blended the two streams and continue to explore the possibilities of overlap. While I consider myself…
|
en
|
david william murray - composer
|
https://musictosee.art.blog/biography/
|
Profile, Background, & Vision
I am a Melbourne based composer and sound-artist working through fully notated works for traditional acoustic instruments and electroacoustic projects. Occasionally I have blended the two streams and continue to explore the possibilities of overlap.
While I consider myself self-taught, I have found engagements with some of Australia’s foremost composers to be instrumental in assisting me to develop my compositional voice and expand my creative practice. These include Chris Dench, Liza Lim, and Pedro Alvarez. My music has been performed in pubs, galleries, sculptures, and traditional venues across the country and I have had the privilege of collaborating with eminent performing artist contemporaries.
I have worked in a DIY fashion largely outside conventional pathways to produce my own music. I have had an ongoing and close collaboration with Nathaniel Currie as an audio engineer and producer in multiple successfully executed studio-recording projects.
Recently, while continuing to view my compositional practice as an inherently ‘exegetical’ process in which arcane or oblique ideas are unfolded throughout the course of a piece, I have been interested in pursuing proceedures that are best described as ‘archeological’ and ‘experimental’. Processes that I regard as the former involve the spontaneous generation of material and then ongoing a sifting or fining, both with and without the writing of music; the latter would be to take a data set of any kind allied with my vision for a given piece and subjecting to proceedures that test (and whither) it or explode (and expand) it, and place selections side-by-side or simultaneously into the piece. The result of these proceedures is that I will better extend the piece both ‘backwards’/’deeper’ into its own materiality, or propell it ‘forwards’ into by extending the limits of if its own possibility.
Selected Recent Highlights (2022-23)
New Work: infold for solo flute
Commissioned by Ensemble MANIA
The development of this work was generously funded by a City of Melbourne Quick Response Arts Grant
Performer: Damien MacDonald
Venue and Concert: Line Tracing 3 at the Salamanca Arts Centre, 25/02/2023
(performed alongside MONA FOMA 2023)
New Work: outlined against afterglow for violin and stereo electroacoustic tape
Commissioned by the Music Box Project for Jane Aubourg
Performer: Jane Aubourg
Venue and Concert: stir, flutter at the Glebe Hotel, 18/06/2022
(performed alongside sun study ii)
The Past
While I consider myself self-taught, I have found several engagements with some of Australia’s foremost composers to be instrumental in assisting me to develop my compositional voice and expand my creative practice. These include Chris Dench, Liza Lim, and Pedro Alvarez. Closer to my age, I have found close relationships with not only performers, but with practitioners such as Jakob Bragg, Liam Flenady, Jaslyn Robertson, and Elizabeth Jigalin to be especially enriching to my practice. Further afield, I find the experimental and challenging attitude of the legacy of modernism to be a source of inspiration and composers such as Richard Barrett, Iannis Xenakis, Isabel Mundry, and Betsy Jolas are of particularly importance to me and my practice.
I was born in Collingwood, Melbourne 1990 and, growing up largely outside Australia and not finding myself anywhere stable both at school (finishing 2008) and university (finishing 2013), moved down to Hobart, Tasmania (2016-17) where I began to seriously pursue composition. After returning to Melbourne in late-2017 and finding the prospect of further study unappealing, I applied for and was resident at Neon Parlour studios from early 2018 until early 2021. While here, I set about tackling the various problems of materiality thrown-up by questions of late Modernity and the lack of tools available to realise the music I wanted to bring into being.
It was about this time I received several formative commissions from the musicians around me in Melbourne. Notably I worked closely with Sophie Marcheff on fluttuare sospeso which was premiered at the Abbotsford Convent alongside Australian Classics by Helen Gifford and seminal international works by Henze and Saariaho. I developed several projects with Lily Tait, culminating in sun study ii which premiered right before lockdown in Melbourne at the orgiastic weekend of creative works called Supernaculum at the closing Fitzroy Arts Hotel. When I began exploring electroacoustic and electronic music in late-2019 I realised I could not only explore music and sound in a different dimensionality, but reach out to new audiences through the diffusion of works in a gallery/sound-art context, and across soundcloud where I have engaged internationally with the noise-art and sonic-distortion communities of practice.
From 2018 to the present, despite lacking the institutional access to ensembles and opportunities as many of my colleagues, I have made my own connections and forged ahead with an outsider’s perspective to anchor my practice within the Australian contemporary Art Music and Sound-Art scene and to extend the experimental legacy of Modernism with the musicians immediately around me in projects audiences to date have found challenging and engaging. I have sought out musicians myself and realised projects, both with performers and by myself. I believe the next stage in my creative practice is to expand into larger scale works, especially those for more than one musician, and workshop these closely with the performers. I look forward to doing this, especially assisted by a grant to sustain my creative practice, in estuarial and further into the future in Turbulence I and potential “collaborative” works I have been in discussion to prepare.
The Present & Future Plans
The lockdowns which have dominated life in Melbourne have been both slowing and detrimental to my creative practice, but the last two years have also seen me realise a number of projects and recordings outside of institutions and the “pause” in daily life has been beneficial to these adventures. Though the premiere of sun study ii was a success, the exigencies of the context did not leave me with a satisfactory recording despite the brilliant documentation of the event. In November 2021 Lily Tait and I, with Nathaniel Currie as Recording Engineer got together at Neon Parlour Studios to rehearse, sound-check, and run a recording to a professional standard. Buoyed by this experience, and having a close relationship with Nathaniel, we got together again with Edward Wang to record “le bois pourrit en craquant” at Neon Parlour in early 2021 and were pleased to deliver a recording of this work, to a professional standard, online on my souncloud where it, together with the studio recording of sun study ii and the concert recording of fluttuare sospeso (as edited and mixed by Andrew Barnard) have reached a wider audience than I originally anticipated, both within and without Australia.
Nathaniel Currie and I have planned two major recording projects of my works in 2022: recording my large scale work for ‘cello and tape crown shyness, and travelling up to Sydney to make recordings of my guitar music to date with Dennis van Rooyen. We also plan to record estuarial. Working with Nathaniel has meant I can deliver professional quality recordings of my works even when they have not been premiered, which over the last two years of lockdowns and cancelled performances has been a real pleasure and of great importance to allowing my practice to reach wider audiences.
Recently, I have been contacted by performers such as Niamh Dell and Oscar Ridout in the UK after hearing works of mine on my soundcloud and finding the scores of such pieces on my website. I have an open dialogue with them about the performance of existing works and in commissioning new works in late-2022.
Outside of recording existing or recently finished works, the lockdowns of the last two years have impeded my delivery of works for live performance, as well as repeat performances of existing works at a moment crucial to my “emergence” as a young composer and sound artist. I am hoping, especially with the assistance of a grant in Sustaining my creative practice, that with several new works currently in development to be presented together with finished projects awaiting live-premiere in 2022 I will continue to make my mark on the Australian composition scene.
|
|||||
9048
|
dbpedia
|
1
| 16
|
https://www.arsnovaworkshop.org/programs/david-murray-trio/
|
en
|
David Murray Trio
|
[
"https://www.facebook.com/tr?id=785026741938925&ev=PageView&noscript=1",
"https://www.arsnovaworkshop.org/wp-content/uploads/2023/03/17jpmurray-jumbo.jpg-960x960@2x.webp 2x"
] |
[] |
[] |
[
""
] | null |
[] |
2023-03-18T04:00:00+00:00
|
Ars Nova Workshop is pleased to present the return of saxophone giant David Murray, one of the most prolific and celebrated jazz musicians of the last half-century.
|
en
|
Ars Nova Workshop
|
https://www.arsnovaworkshop.org/programs/david-murray-trio/
|
Ars Nova Workshop is pleased to present the return of saxophone giant David Murray, one of the most prolific and celebrated jazz musicians of the last half-century. He’ll play Solar Myth for two nights with his trio featuring bassist Luke Stewart and drummer Russell Carter.
Known for his torrential sound and unflagging adventurousness, David Murray emerged from the 70s loft jazz scene to achieve elder status. He has released over 200 albums under his own name, working with the likes of Max Roach, Pharoah Sanders, McCoy Tyner, Taj Mahal, Amiri Baraka, Jerry Garcia, Doudou N’daye Rose, Cassandra Wilson, Omara Portuando, and The Roots, to name a few. He is also a founding member of the groundbreaking World Saxophone Quartet, which toured and recorded for 40 years. Even in his freest improvisatory flights, Murray’s era-spanning style acknowledges the gravity of a tradition he honors more than most, combining all the influences he grew out of: gospel, free jazz, rhythm’n blues, R&B and poetry. The great Cecil Taylor compared him to his greatest predecessors and their signature sounds: “You stick your ear in the door, you know it’s David!’’
|
|||||
9048
|
dbpedia
|
0
| 76
|
https://stephenjones.blog/2023/11/23/david-murray/
|
en
|
Another sax legend
|
[
"https://stephenjones.blog/wp-content/uploads/2016/12/cropped-painting-detail-cropped.jpg",
"https://stephenjones.blog/wp-content/uploads/2023/11/murray-2.jpg?w=630",
"https://stephenjones.blog/wp-content/uploads/2023/11/murray-1.jpg?w=526&h=419",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/08/billie.jpg?resize=200%2C200&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2021/11/kocek-6.jpg?resize=200%2C200&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2021/09/emma-leylah.jpg?resize=200%2C200&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/10/mahler-1907.jpg?resize=200%2C200&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2021/03/lb-grave.jpg?resize=200%2C200&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2022/07/sceptical-cover.jpg?resize=200%2C200&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/01/ma-yuan.png?resize=200%2C200&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/02/deviation1.jpg?resize=200%2C200&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2021/02/lockwood.jpg?resize=200%2C200&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/05/amina.jpg?resize=200%2C200&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/11/stephans-invitation-edited.jpg?resize=200%2C200&ssl=1",
"https://limanshanblog.files.wordpress.com/2016/12/paul-1976.jpg?w=800&resize=200%2C200",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/05/paul-2.jpg?resize=200%2C200&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/01/bhutan.jpg?resize=200%2C200&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2016/04/54-lms-writing-2003.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2016/04/cover-18-front.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2016/04/19-li-qing-writing-1991-version-2.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2016/04/11-detail-of-painting.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/12/lps-14.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/04/lhj-456-kings-detail1.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/04/rear-central-room-east-mural.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/06/lq-widow-sh-lb1.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2016/08/img_3257.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/04/courtyard-in-snow.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2016/04/img_2232-version-2.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2016/04/pardon-in-colour-version-2.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2016/08/img_1609.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/08/venice-2012.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/05/notre-dame.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/09/li-yuan-procession.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/05/wang-band.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/08/yinyang-lowres.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/09/ning-statuette.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/06/shanxi-sect.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/03/hunyuan-ritual.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/10/hunyuan-yankou-1.png?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/07/xian-miaohui-lowres.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/02/yyl-on-xiao.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/02/zhs-1954.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/04/3-baldies.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2019/05/jifu-guan.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2016/11/pl-5-n-xinzhuang-1959.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/02/sflg-1950s.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/03/gl-beiwen.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/11/niu-jinhua.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/02/dengpeng.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/11/sgl-old-pantheon-detail.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/11/htj-image1.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/02/1993-fdz003.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2016/04/screen-shot-2016-11-02-at-09-55-59.png?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2019/07/sft.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/02/sgl-oldies.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/11/wentan-and-me.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/03/liujing-pantheon-1995.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/11/n-qiaotou-painting.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/03/houshan.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/12/renqiu-nun.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/12/tianjin-fyt-1993.6.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/02/s-hancun-1993-heying.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/01/qmz-1958.png?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/01/zhaobeikou-lake.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/12/hanzhuang-xu-1.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/01/jpm-daoist-painting1.png?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/12/xinan-guanzi-19891.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/12/n-xinzhuang-funeral-11.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/12/ggz-fan-huilai-931.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/12/n-shakou-kid.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/02/candlelit-altar.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/03/painting-detail.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/08/shabi-dingxing-1995.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/09/daoist-football.png?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/10/tp2.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/10/cunk.png?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/10/xyb-despairs.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2019/11/am-poster.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/10/komuso.png?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/05/hermit.png?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/10/chet.png?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/09/zha-fuxi.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/09/dutch-mandarin.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/12/nina1.png?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/04/bell-with-dou-wun.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2019/04/mazu-procession.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/10/me-mot.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/09/gansu-daoists-2.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/08/nx-daoist.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/08/sb-rain-dvd-2.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/02/lwl.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/06/lhq-qingshen.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/05/gyh-chat-with-last-headscarfed-man.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/03/yjg-band1.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/03/13-me-and-band.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/12/fu-cong-fu-lei.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2016/12/li-jin-2013.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/09/zhuanlou-1992-caifang1.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/03/soas-shawms.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/10/trombone.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2019/03/liuyang-1.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2019/03/zuo-getang-1.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/06/wmm1.png?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/05/ju-xi-1.png?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/10/hang-on-the-box.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/11/hee-sing.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/11/bethge.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/03/country.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2021/01/hardy.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/09/performance-1.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/11/mr.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/11/aa.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/11/perf1.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/10/conformist-1.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/06/pastora.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/06/palmas.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/07/bernard-irgoli-1995.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/01/lnf.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2019/07/ahouach.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/10/herat1.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2019/01/klynn.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2019/11/hg-ravel-2.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2019/01/bh.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/09/gepopo-3.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/01/abbey-road.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2016/12/paul-2.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/07/rotunda.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2019/04/burke.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/03/neuman-cover-1.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/10/udayji-3-1.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/03/bhutan.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2021/03/fiddlers.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/06/woeser-cover.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/07/labrang-jc-1.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2019/02/book-cover.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/07/lhasa-1956.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/10/ngagpa.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/05/squaw-dance.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/06/ghost-dance-image.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/05/grassy-narrows-cover.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2019/08/dawut.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/05/lisbon-1939.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/10/pinkillu.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2019/04/lucania.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/11/lada-images.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/12/shalamov-1937-1.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/01/people.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2019/05/kulaks-exiled-1930s-89.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/02/flight.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/05/ditch.png?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2019/03/lsq-2.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/12/map.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/08/papadaki.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/10/lirnyki-1939.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/03/ajo-namgyal-1.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/11/black-madonna.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/11/poland-fieldwork-1950s-1.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2019/01/with-qi-baishi.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/02/bruce-and-diane.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2019/03/denis-1.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2019/04/picken.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2016/12/paul-1976.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2021/02/china-dolls.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/05/ew-street.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2021/02/red-love-cover.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/05/punk-straight.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/04/appell.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/05/boulanger-with-piazzolla-1955.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/08/nin-c1920.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2021/02/words-and-women-cover.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2021/02/lockwood.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/07/fabius.png?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/06/normal-people-2.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/07/noor-1.png?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/11/anna-mahler.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2019/04/female-dancers.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/02/pilsen.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/07/pendants.png?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/04/smp-2.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2021/03/tennstedt.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/05/simon.png?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/12/klimt.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2021/01/chagall.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/03/celi-with-monk.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/02/h-with-bach-painting.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/03/bach-allemande.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2018/02/train-refugess-1945.png?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/11/bach-party1.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/12/bach-letter.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2016/12/cliche.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2019/03/munch.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/03/windsors.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2019/01/im-always.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/12/bb-jesus.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/06/aoc.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/11/liuxuesheng.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/06/natasha-smile.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2020/01/me-juggling.jpg?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/01/screen-shot-2016-12-30-at-12-20-31.png?w=206&h=206&crop=1&ssl=1",
"https://i0.wp.com/stephenjones.blog/wp-content/uploads/2017/01/granddad.jpg?w=206&h=206&crop=1&ssl=1",
"https://stephenjones.blog/wp-content/uploads/2018/08/cropped-cropped-painting-detail-cropped.jpg?w=50",
"https://stephenjones.blog/wp-content/uploads/2018/08/cropped-cropped-painting-detail-cropped.jpg?w=50",
"https://pixel.wp.com/b.gif?v=noscript"
] |
[
"https://www.youtube.com/embed/DzM1KQ79Tec?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent",
"https://www.youtube.com/embed/oiUNP9CeW8U?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent",
"https://www.youtube.com/embed/w7djYFuJr5Q?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent",
"https://www.youtube.com/embed/rZo9LK1eziQ?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en&autohide=2&wmode=transparent"
] |
[] |
[
""
] | null |
[
"StephenJones.blog"
] |
2023-11-23T00:00:00
|
David Murray Part of my "strangely extensive" jazz series! The London Jazz Festival crams so many fabulous events into just over a week that one inevitably misses a lot. I didn’t even manage to hear Ron Carter, Aynur, or Hiromi, but I delighted in young musicians’ tribute to Tomasz Stańko. After Ronnie Scott’s (NB my…
|
en
|
Stephen Jones: a blog
|
https://stephenjones.blog/2023/11/23/david-murray/
|
David Murray
Part of my “strangely extensive” jazz series!
The London Jazz Festival crams so many fabulous events into just over a week that one inevitably misses a lot. I didn’t even manage to hear Ron Carter, Aynur, or Hiromi, but I delighted in young musicians’ tribute to Tomasz Stańko.
After Ronnie Scott’s (NB my post on Ray Man, covering a lot of ground!), another site for Soho jazz history is the conducive ambience of Pizza Express in Dean street. Besides the endless subtleties of the rhythm section, I’ve always delighted in trumpet playing (see e.g. Fats Navarro, Clifford Brown, Lee Morgan, and several posts on Miles, to be found under A jazz medley), but it’s good to refocus on the sax, in the hands of the great David Murray (b.1955). Raised in Cali, in 1975 he moved to New York, taking part in the loft scene; soon he founded the World Saxophone Quartet. Like Rahsaan Roland Kirk, he benefits from circular breathing. Since 1998 he’s spent periods living in Paris (working on projects such as Banlieu Blues), and collaborating with Afro-Cuban musicians. No longer an enfant terrible, and not yet quite a veteran, he’s constantly exploring.
I relish this, live at the Village Vanguard in 1986, with Ed Blackwell (drum), Fred Hopkins (bass), and John Hicks (piano):
In 2018 Murray formed Class Struggle (see e.g. here) with his son Mingus (guitar), Rashaan Carter (bass), Russell Carter (drums), Craig Harris (trombone), and Lafayette Gilchrist (piano).
Source.
In this interview he reflects:
As tenor players get older, we tend to play fewer notes, but with more authority. We play the truer tones. Even in the kind of music I play, I feel my notes are getting more selective. I don’t have to fool around with unnecessary notes. Some of my predecessors—Archie Shepp, Paul Gonsalves, Lester Young, Coleman Hawkins—got a chance to mature in their sound. Part of the maturation process on the tenor is to become more frugal with your note selection. Some notes ring on the tenor saxophone more so than on other instruments. There are certain notes inside of a chord—if you hit the right tones in the measure, you don’t need to spell out every note inside of a chord. It takes experience to do that. You have to tell a story on the tenor saxophone. A young musician won’t tell the same stories as an older musician—a musician who has been through divorces, who has been through the travails and tribulations of life. Some of the truest stories in jazz have been told on the tenor saxophone. When you hear a story being told, you take note.
Fred Jung called him “the Madonna of jazz, reinventing himself in a contemporary union with the times”. Murray laments the lack of individuality in the factory approach and the Lincoln Center treadmill. He speaks highly of Jerry Garcia and the Grateful Dead.
Blues for Memo (2018; playlist), with rapper Saul Williams, was recorded in Istanbul (see here). It’s a tribute to Turkish jazz promoter, Mehmet “Memo” Uluğ. “We try to remember him with this album. He was a bass player and he and his brother, Ahmet, owned the Babylon jazz club and Positive Productions. They’ve done great things in Istanbul” (cf. Nardis, and Jazz in Turkey). Here’s an introduction, opening with the sounds of kanun zither:
Here’s a “teaser” for the documentary I’m a jazzman (Jacques Goldstein, 2008):
* * *
For how jazz musicians learn and develop their voice and style, it’s always going back to Paul Berliner, Thinking in jazz. Jazz genealogies are notoriously hard to trace (dig the trumpet family tree here)—for the sax, see e.g. this basic outline. Murray may sound “avant-garde”, but he recognises his influence from players of previous generations such as Paul Gonsalves, Lester Young, Coleman Hawkins, and Dexter Gordon. From the next generation, he’s inspired more by Albert Ayler and Ornette Coleman than by Coltrane. The sax lineage moves on through the likes of Pharaoh Sanders, Wayne Shorter, Art Pepper, Sonny Rollins, and Archie Shepp, then extending to Britain with musicians like Courtney Pine and Nubya Garcia.
At the LJF gig Murray appeared with Luke Stewart (bass), Russell Carter (drums), and Marta Sanchez (piano). His gutsy honking in the bass contrasted with some amazing squealing way up the top of the register, just like a high trumpet. He ended with vocals reminding us of his advocacy for the African-American cause. Here’s his 2004 album Gwotet with the Gwo-Ka Masters and Pharaoh Sanders:
The creativity of jazz never ceases to astound me. David Murray exudes an air of authority, at once dynamic and benign—it was a delight to hear him.
|
|||||
9048
|
dbpedia
|
3
| 23
|
https://dictionary.cambridge.org/us/dictionary/english/saxophonist
|
en
|
saxophonist
|
[
"https://dictionary.cambridge.org/us/external/images/logo-lrg-small.png?version=6.0.31",
"https://dictionary.cambridge.org/us/external/images/quiz/hook/{{randomImageQuizHook.filename}}?version=6.0.31",
"https://dictionary.cambridge.org/us/external/images/games/{{randomImageQuizHook.filename}}?version=6.0.31",
"https://dictionary.cambridge.org/us/rss/images/GettyImages-520295685.jpg",
"https://dictionary.cambridge.org/us/rss/images/flextirement.jpg",
"https://www.facebook.com/tr?id=3409493515968429&ev=PageView&noscript=1",
"https://dictionary.cambridge.org/us/external/images/logo-lrg-small.png?version=6.0.31",
"https://dictionary.cambridge.org/us/external/images/logo-pos.png?version=6.0.31"
] |
[] |
[] |
[
"saxophonist definition",
"dictionary",
"english",
"british",
"american",
"business",
"british english",
"thesaurus",
"define saxophonist",
"saxophonist meaning",
"what is saxophonist",
"spelling",
"conjugation",
"audio pronunciation",
"free",
"online",
"english."
] | null |
[] |
2024-08-14T00:00:00
|
SAXOPHONIST meaning: 1. someone who plays the saxophone 2. someone who plays the saxophone. Learn more.
|
en
|
https://dictionary.cambridge.org/us/external/images/favicon.ico?version=6.0.31
|
https://dictionary.cambridge.org/us/dictionary/english/saxophonist
|
noun [ C ]
us
Your browser doesn't support HTML5 audio
/sækˈsɑː.fən.ɪst/ uk
Your browser doesn't support HTML5 audio
/sækˈsɒf.ən.ɪst/ (informal sax player)
(Definition of saxophonist from the Cambridge Advanced Learner's Dictionary & Thesaurus © Cambridge University Press)
Examples of saxophonist
saxophonist
At the age of eight, he began playing a saxophone gifted to him by his saxophonist father.
The saxophonist is often cited as a messenger of black empowerment in music.
The two saxophonists already share a fondness for splintered multiphonics, lyrical wailing and knotty improvisation drawn from sing-songy melodies.
It truly is a hybrid of a jazz saxophonist doing his thing in a classical context.
At one point, the lead saxophonist brought up a jazz singer who happened to be in the audience.
During the past five years the saxophonist has participated in some 300 jazz services across the country.
The saxophonist's band is a melody machine, even when it's pushing into the unknown.
The revered saxophonist and composer's first new album in 8 years, made up of concert recordings, puts the focus on his near-telepathic interplay with his longtime rhythm section.
He was also an accomplished saxophonist.
It was also useful to be a semiprofessional jazz saxophonist.
These examples are from corpora and from sources on the web. Any opinions in the examples do not represent the opinion of the Cambridge Dictionary editors or of Cambridge University Press or its licensors.
Translations of saxophonist
in Chinese (Traditional)
薩克斯風吹奏者…
in Chinese (Simplified)
萨克斯管吹奏者…
in Spanish
saxofonista…
in Portuguese
saxofonista…
in more languages
in Japanese
in French
in Turkish
in Catalan
in Dutch
in Arabic
in Czech
in Danish
in Indonesian
in Thai
in Vietnamese
in Polish
in Swedish
in Malay
in German
in Norwegian
in Korean
in Ukrainian
in Italian
サクソフォーン奏者…
saxophoniste…
saksafoncu…
saxofonista…
saxofonist…
عازِف الساكسفون…
saxofonista, -tka…
saxofonist…
peniup saksofon…
นักแซกโซโฟน…
người chơi xắc-xô…
saksofonista…
saxofonist…
peniup saksofon…
der Saxofonist / die Saxofonistin…
saksofonist…
색소폰 연주자…
саксофоніст…
sassofonista…
Need a translator?
Get a quick, free translation!
{{#randomImageQuizHook.filename}} {{#randomImageQuizHook.isQuiz}}
Test your vocabulary with our fun image quizzes
Try a quiz now
{{/randomImageQuizHook.isQuiz}} {{^randomImageQuizHook.isQuiz}} {{/randomImageQuizHook.isQuiz}} {{/randomImageQuizHook.filename}}
Word of the Day
humanitarian
UK
Your browser doesn't support HTML5 audio
/hjuːˌmæn.ɪˈteə.ri.ən/
US
Your browser doesn't support HTML5 audio
/hjuːˌmæn.ɪˈter.i.ən/
(a person who is) involved in or connected with improving people's lives and reducing suffering
About this
Blog
Simply the best! (Ways to describe the best)
August 14, 2024
New Words
flextirement
August 19, 2024
More new words
|
|||||
9048
|
dbpedia
|
3
| 74
|
https://glidemagazine.com/301004/saxophonist-john-helliwell-formerly-of-supertramp-on-a-life-of-jazz-after-prog-pop-hey-you/
|
en
|
Saxophonist John Helliwell (Formerly Of Supertramp) On A Life Of Jazz After Prog
|
[
"https://cdn.glidemagazine.com/wp-content/uploads/2017/08/03163852/glide_logo_300-150x150.png",
"https://cdn.glidemagazine.com/wp-content/uploads/2024/08/18232104/nailbomb23-578x355.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2024/08/16004813/americanstandard4-578x324.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2024/08/15160837/tokyo-press-photo-AWH-578x383.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2024/08/19003730/davealvin-578x462.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2024/08/15231633/PRESS-SHOT-caseyneill_solo-578x344.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2024/08/06231445/5.-Smoker-Dad_Credit_-%40ron.harrell1-578x424.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2024/08/06010803/mikefrazier3-578x411.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2024/06/04214545/devonallman2-578x317.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2024/08/17203202/foo-fighters-portland-578x434.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2024/02/23012040/leefields22-578x326.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2022/05/26005548/thepolice2-578x347.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2024/05/14191502/RebelGirlbookcover-photo-by-Leeta-Harding_cover-by-Ecco-578x416.jpeg",
"https://cdn.glidemagazine.com/wp-content/uploads/2021/12/24010700/licorice-pizza-578x386.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2021/06/23140206/loki-lamentis-scaled-e1624471382890-578x338.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2020/02/02033813/fast-and-furious-9-578x325.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2021/11/12002023/ghostbusters_afterlife-578x302.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2023/03/22015241/beatles333-578x576.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2024/08/19010705/casualmale-578x385.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2024/08/15222100/Yo-La-Tengo-Pioneer-Courthouse-Square-2024.8.14-13-578x385.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2024/08/19003730/davealvin-578x462.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2024/08/13234137/ray_lamontagne-pc-credit-Brian-Stowell-578x391.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2024/07/16004157/Mary-Ocher-photo-578x385.jpeg",
"https://cdn.glidemagazine.com/wp-content/uploads/2024/06/16134412/camel2-578x385.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2024/05/06091913/johnhelliwell-578x385.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2024/08/12011335/louie22-578x434.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2023/08/02174805/replacements33-578x376.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2023/02/14003022/falknernevans23-578x296.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2024/08/19010705/casualmale-578x385.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2024/08/15020452/VeronicaLewis_BlueRoomHorizontal_MichaelBeach-578x325.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2024/08/13233531/KM1.RoseFlowerCreative-578x398.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2024/08/13232659/tywalker-2024-1-Jason_O_Neil-578x385.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2021/08/15230306/placeholder.png",
"https://cdn.glidemagazine.com/wp-content/uploads/2024/08/19010705/casualmale-578x385.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2024/08/19003730/davealvin-578x462.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2024/08/18232104/nailbomb23-578x355.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2024/08/19003730/davealvin-578x462.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2024/08/17203202/foo-fighters-portland-578x434.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2024/08/13234137/ray_lamontagne-pc-credit-Brian-Stowell-578x391.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2024/08/15231633/PRESS-SHOT-caseyneill_solo-578x344.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2024/08/15222100/Yo-La-Tengo-Pioneer-Courthouse-Square-2024.8.14-13-578x385.jpg",
"https://cdn.glidemagazine.com/wp-content/uploads/2024/06/04214545/devonallman2-578x317.jpg",
"https://glidemagazine.com/wp-includes/images/spinner.gif"
] |
[
"https://www.youtube.com/embed/wpS85E5Vmfs?feature=oembed",
"https://www.youtube.com/embed/75Yh7OL8qpg?feature=oembed",
"https://www.youtube.com/embed/a4ys6YSfJDA?start=37&feature=oembed"
] |
[] |
[
""
] | null |
[
"Ryan Dillon"
] |
2024-05-08T05:32:14+00:00
|
The world of music is an all-encompassing entity, an entire realm of art to get lost in. Most musicians look to contribute to this pantheon by releasing
|
en
|
Glide Magazine
|
https://glidemagazine.com/301004/saxophonist-john-helliwell-formerly-of-supertramp-on-a-life-of-jazz-after-prog-pop-hey-you/
|
The world of music is an all-encompassing entity, an entire realm of art to get lost in. Most musicians look to contribute to this pantheon by releasing timeless work that inches itself into our daily lives. Once an artist archives the coveted immortal melody, it is easy to shy away from the ever-growing realm of music and consider their job done. Rather than bow out, John Helliwell never left.
After cementing his legacy with his time in Supertramp, where his potent sax contributions made a lasting reed note on “The Logical Song, It’s Raining Again, Hide in Your Shell, Breakfast in America,” “Take The Long Way Home,” “Crime of the Century,” “Bloody Well Right,” and “Cannonball,” the veteran jazzman took his talents around the world, performing with big jazz bands and rock bands alike. Helliwell is in a constant creative revolution, one that stretches across the globe and back to the artist for a timeless loop of artistic evolution.
Glide had the pleasure of speaking with John Helliwell about his upcoming live gigs, modern jazz, and his approach to collaboration. Check out the full interview below.
You’re heading out on the Rock Meets Classic tour this year. What are you looking forward to the most about these shows?
The Rock Meets Classic Tour is a fun thing to do. I did it a few years ago with Jesse Siebenberg singing and playing guitar and piano. The performers all play a few of their hits and also get together for some songs. We all have a good time!
What sort of freedoms does playing live come with compared to composing or recording?
There’s an added responsibility to playing live – you have to get it right the first time – no second chances as in a recording situation. The risk itself of playing live is quite a buzz!
You also play live with the Super Big Tramp Band. What is it like to revisit old songs and reimagine them in this different format?
The tunes are so good, it’s a pleasure to play them, and the arrangements are a challenge to play. The audiences seem to have enjoyed hearing their favourite tunes played in a slightly different manner. I’m the MC of course, and I try to strike a friendly rapport with them.
Supertramp has always been considered a keyboard band, but your contributions gave the band another edge in its sound. What songs from the catalog do you feel you most had a voice in contributing memorable parts to?
The alto saxophone solos in “The Logical Song,” The tenor saxophone solo at the end of “Crime of the Century” and the clarinet solos in “Breakfast in America.”
When did jazz first enter your life, and what drew you to the saxophone in the first place? Do you remember the first song you learned to play?
I heard some jazz clarinet playing when I was 11. I started. playing at age 13, and then I heard Cannonball Adderley, John Coltrane, and Sonny Rollins. I got a saxophone when I was 15. The first tune I remember being influenced by was “Petite Fleur” by Sidney Bechet played on the clarinet by Monty Sunshine in 1956!
Are there any modern jazz artists you find exciting? How do you feel the genre has evolved the most, and do you have any predictions for where it is going?
I really like Chris Potter on the saxophone—he’s an amazing technician but very musical and pushes boundaries. I love Mike Stern’s guitar playing. He’s a complete fusion artist.I listen every day to the Keith Jarrett Standards trio—they represent a very high point in trio playing to me.
You recently released your collaborative album Don’t Ever Leave Me. What was it like putting this one together, and how do your current studio sessions compare to the first ones you remember?
I had great help organizing the sessions from Jasper Somsen, the bass player. We mapped it all out, and the sessions—two or three days of rehearsal and three days of recording—were relaxed. A deep understanding between the musicians contributed to an overall feeling of peace and unity.
The first sessions with Supertramp were much, much longer affairs! They involved weeks of experimentation, playing, listening, trying new sounds, mixing, etc., etc., but they were no less enjoyable—just different.
What is your overall approach to collaboration? Does it change the way you approach your instrument, and how has your idea of collaboration evolved over the years?
I view my collaborations the same all the time – I never try to dominate the situation but to integrate for the benefit of the whole sound.
What inspired you to pursue a more jazzy career after Supertramp? Did exploring the genre give you any freedoms you didn’t have working in rock?
Jazz has always been my initial inspiration, so it seems to have naturally come more to the front when I could choose my own projects. In rock music, my contributions have usually been solos in some songs – with my own music recently I can spread the love around easier!
What were the early days of Supertramp like? How do you feel you’ve evolved the most as an artist since then?
When I joined Supertramp, it was a big adventure both in music and in life. I have learned to accept criticism and to treat playing an instrument as a blessing – if I have evolved as an artist, it is a better ability to empathize with my musical partners.
You have led your own bands and sat in on sessions with the likes of Pink Floyd. Does your time as a frontman influence the way you approach sessions? What are some of your biggest takeaways after being in both roles?
Doing sessions is enjoyable and with little responsibility except to play well. Fronting my own group brings with it a lot more behind-the-scenes responsibility, which can be a burden if not endured with humor and strength!
With the upcoming live shows right around the corner, what else do you have planned for 2024? Is there anything exciting coming up that you can share with us?
I will be playing with the Westland saxophone orchestra in the Netherlands in June, and then I have some shows with Leslie Mandoki’s Soulmates in Germany and Hungary in August. I hope to do some shows with my “Super Big Tramp Band” because we will release a CD this year. 2025 is my 80th birthday, so maybe a few celebratory gigs would be in order!
|
|||||
9048
|
dbpedia
|
3
| 1
|
https://www.udiscovermusic.com/stories/50-best-jazz-saxophonists/
|
en
|
The 50 Best Jazz Saxophonists Of All Time
|
[
"https://www.udiscovermusic.com/wp-content/uploads/2021/04/uDiscover-top-site-230-site-logo.png",
"https://www.udiscovermusic.com/wp-content/uploads/2021/04/uDiscover-top-site-230-site-logo.png",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/uDiscover-Music-logo-450x54.webp 450w, https://media.udiscovermusic.com/img/uDiscover-Music-logo-900x108.webp 900w",
"https://media.udiscovermusic.com/img/uDiscover-top-site-230-site-logo.png 230w, https://media.udiscovermusic.com/img/uDiscover-top-site-460-site-logo.png 460w",
"https://media.udiscovermusic.com/img/trans28x22.gif 28w, https://media.udiscovermusic.com/img/trans56x44.gif 56w",
"https://media.udiscovermusic.com/img/trans28x22.gif 28w, https://media.udiscovermusic.com/img/trans56x44.gif 56w",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://www.udiscovermusic.com/wp-content/uploads/2018/10/Portrait-of-Charlie-Parker-Carnegie-Hall-New-York-N.Y.-ca.-1947-Library-Of-Congress-1000-1000x600.jpg",
"https://www.udiscovermusic.com/wp-content/plugins/wp-youtube-lyte/lyteCache.php?origThumbUrl=https%3A%2F%2Fi.ytimg.com%2Fvi%2Fk5jQMY4dbU4%2F0.jpg",
"https://www.udiscovermusic.com/wp-content/plugins/wp-youtube-lyte/lyteCache.php?origThumbUrl=https%3A%2F%2Fi.ytimg.com%2Fvi%2F-6ryVryFnEY%2F0.jpg",
"https://www.udiscovermusic.com/wp-content/plugins/wp-youtube-lyte/lyteCache.php?origThumbUrl=https%3A%2F%2Fi.ytimg.com%2Fvi%2FuEDkIFdC6es%2F0.jpg",
"https://www.udiscovermusic.com/wp-content/plugins/wp-youtube-lyte/lyteCache.php?origThumbUrl=https%3A%2F%2Fi.ytimg.com%2Fvi%2F8nOhQAHNBQ8%2F0.jpg",
"https://www.udiscovermusic.com/wp-content/plugins/wp-youtube-lyte/lyteCache.php?origThumbUrl=https%3A%2F%2Fi.ytimg.com%2Fvi%2FLiy9tw03p1I%2F0.jpg",
"https://www.udiscovermusic.com/wp-content/plugins/wp-youtube-lyte/lyteCache.php?origThumbUrl=https%3A%2F%2Fi.ytimg.com%2Fvi%2FgzBpK1GcwdQ%2F0.jpg",
"https://www.udiscovermusic.com/wp-content/plugins/wp-youtube-lyte/lyteCache.php?origThumbUrl=https%3A%2F%2Fi.ytimg.com%2Fvi%2FKnZDHaVDMRM%2F0.jpg",
"https://www.udiscovermusic.com/wp-content/plugins/wp-youtube-lyte/lyteCache.php?origThumbUrl=https%3A%2F%2Fi.ytimg.com%2Fvi%2FYMasmoE-_vY%2F0.jpg",
"https://www.udiscovermusic.com/wp-content/plugins/wp-youtube-lyte/lyteCache.php?origThumbUrl=https%3A%2F%2Fi.ytimg.com%2Fvi%2F76vtIhSIlI0%2F0.jpg",
"https://www.udiscovermusic.com/wp-content/plugins/wp-youtube-lyte/lyteCache.php?origThumbUrl=https%3A%2F%2Fi.ytimg.com%2Fvi%2FO3EyR5VKEy0%2F0.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/Rihanna-Unapologetic.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/Rihanna-Unapologetic.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/Rihanna-Rated-R.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/Rihanna-Rated-R.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/Rihanna-Good-Girl-Gone-Bad.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/Rihanna-Good-Girl-Gone-Bad.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/frank-sinatra-christmas-1-354x354.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/frank-sinatra-christmas-1-354x354.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/frank-sinatra-christmas-1-354x354.jpg 354w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/frank-sinatra-christmas-1-300x300.jpg 300w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/frank-sinatra-christmas-1-1024x1024.jpg 1024w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/frank-sinatra-christmas-1-150x150.jpg 150w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/frank-sinatra-christmas-1-768x768.jpg 768w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/frank-sinatra-christmas-1-285x285.jpg 285w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/frank-sinatra-christmas-1-438x438.jpg 438w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/frank-sinatra-christmas-1-820x820.jpg 820w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/frank-sinatra-christmas-1-80x80.jpg 80w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/frank-sinatra-christmas-1-45x45.jpg 45w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/frank-sinatra-christmas-1.jpg 1280w",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/frank-sinatra-christmas-1-354x354.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/Miles-54-354x354.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/Miles-54-354x354.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/Miles-54-354x354.jpg 354w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/Miles-54-300x300.jpg 300w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/Miles-54-1024x1024.jpg 1024w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/Miles-54-150x150.jpg 150w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/Miles-54-768x768.jpg 768w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/Miles-54-285x285.jpg 285w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/Miles-54-438x438.jpg 438w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/Miles-54-820x820.jpg 820w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/Miles-54-80x80.jpg 80w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/Miles-54-45x45.jpg 45w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/Miles-54.jpg 1280w",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/Miles-54-354x354.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/opa-goldenwings-354x354.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/opa-goldenwings-354x354.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/opa-goldenwings-354x354.jpg 354w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/opa-goldenwings-300x300.jpg 300w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/opa-goldenwings-1024x1024.jpg 1024w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/opa-goldenwings-150x150.jpg 150w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/opa-goldenwings-768x768.jpg 768w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/opa-goldenwings-285x285.jpg 285w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/opa-goldenwings-438x438.jpg 438w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/opa-goldenwings-820x820.jpg 820w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/opa-goldenwings-80x80.jpg 80w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/opa-goldenwings-45x45.jpg 45w, https://www.udiscovermusic.com/wp-content/uploads/2024/08/opa-goldenwings.jpg 1280w",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/opa-goldenwings-354x354.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2017/02/Feels-Like-Home-354x354.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2017/02/Feels-Like-Home-354x354.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2017/02/Feels-Like-Home-354x354.jpg 354w, https://www.udiscovermusic.com/wp-content/uploads/2017/02/Feels-Like-Home-300x300.jpg 300w, https://www.udiscovermusic.com/wp-content/uploads/2017/02/Feels-Like-Home-1024x1024.jpg 1024w, https://www.udiscovermusic.com/wp-content/uploads/2017/02/Feels-Like-Home-150x150.jpg 150w, https://www.udiscovermusic.com/wp-content/uploads/2017/02/Feels-Like-Home-768x768.jpg 768w, https://www.udiscovermusic.com/wp-content/uploads/2017/02/Feels-Like-Home-1536x1536.jpg 1536w, https://www.udiscovermusic.com/wp-content/uploads/2017/02/Feels-Like-Home-2048x2048.jpg 2048w, https://www.udiscovermusic.com/wp-content/uploads/2017/02/Feels-Like-Home-285x285.jpg 285w, https://www.udiscovermusic.com/wp-content/uploads/2017/02/Feels-Like-Home-438x438.jpg 438w, https://www.udiscovermusic.com/wp-content/uploads/2017/02/Feels-Like-Home.jpg 820w, https://www.udiscovermusic.com/wp-content/uploads/2017/02/Feels-Like-Home-80x80.jpg 80w, https://www.udiscovermusic.com/wp-content/uploads/2017/02/Feels-Like-Home-45x45.jpg 45w",
"https://www.udiscovermusic.com/wp-content/uploads/2017/02/Feels-Like-Home-354x354.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2020/10/Dizzy-Gillespie-GettyImages-91139874-590x354.jpg 590w, https://www.udiscovermusic.com/wp-content/uploads/2020/10/Dizzy-Gillespie-GettyImages-91139874-300x180.jpg 300w, https://www.udiscovermusic.com/wp-content/uploads/2020/10/Dizzy-Gillespie-GettyImages-91139874-1024x614.jpg 1024w, https://www.udiscovermusic.com/wp-content/uploads/2020/10/Dizzy-Gillespie-GettyImages-91139874-768x461.jpg 768w, https://www.udiscovermusic.com/wp-content/uploads/2020/10/Dizzy-Gillespie-GettyImages-91139874-1000x600.jpg 1000w, https://www.udiscovermusic.com/wp-content/uploads/2020/10/Dizzy-Gillespie-GettyImages-91139874-400x240.jpg 400w, https://www.udiscovermusic.com/wp-content/uploads/2020/10/Dizzy-Gillespie-GettyImages-91139874.jpg 1440w",
"https://www.udiscovermusic.com/wp-content/uploads/2020/10/Dizzy-Gillespie-GettyImages-91139874-590x354.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2022/03/Frank-Sinatra-GettyImages-517729640-590x354.jpg 590w, https://www.udiscovermusic.com/wp-content/uploads/2022/03/Frank-Sinatra-GettyImages-517729640-300x180.jpg 300w, https://www.udiscovermusic.com/wp-content/uploads/2022/03/Frank-Sinatra-GettyImages-517729640-1024x614.jpg 1024w, https://www.udiscovermusic.com/wp-content/uploads/2022/03/Frank-Sinatra-GettyImages-517729640-768x461.jpg 768w, https://www.udiscovermusic.com/wp-content/uploads/2022/03/Frank-Sinatra-GettyImages-517729640-1000x600.jpg 1000w, https://www.udiscovermusic.com/wp-content/uploads/2022/03/Frank-Sinatra-GettyImages-517729640-400x240.jpg 400w, https://www.udiscovermusic.com/wp-content/uploads/2022/03/Frank-Sinatra-GettyImages-517729640.jpg 1440w",
"https://www.udiscovermusic.com/wp-content/uploads/2022/03/Frank-Sinatra-GettyImages-517729640-590x354.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2020/07/Musical-Friendships-GettyImages-74277475-590x354.jpg 590w, https://www.udiscovermusic.com/wp-content/uploads/2020/07/Musical-Friendships-GettyImages-74277475-768x460.jpg 768w, https://www.udiscovermusic.com/wp-content/uploads/2020/07/Musical-Friendships-GettyImages-74277475.jpg 1000w, https://www.udiscovermusic.com/wp-content/uploads/2020/07/Musical-Friendships-GettyImages-74277475-400x240.jpg 400w",
"https://www.udiscovermusic.com/wp-content/uploads/2020/07/Musical-Friendships-GettyImages-74277475-590x354.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2019/12/60s-GettyImages-638561608-590x354.jpg 590w, https://www.udiscovermusic.com/wp-content/uploads/2019/12/60s-GettyImages-638561608-768x460.jpg 768w, https://www.udiscovermusic.com/wp-content/uploads/2019/12/60s-GettyImages-638561608.jpg 1000w, https://www.udiscovermusic.com/wp-content/uploads/2019/12/60s-GettyImages-638561608-400x240.jpg 400w",
"https://www.udiscovermusic.com/wp-content/uploads/2019/12/60s-GettyImages-638561608-590x354.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2022/04/header-NWA-3000DPI300RGB1000173325-590x354.jpg 590w, https://www.udiscovermusic.com/wp-content/uploads/2022/04/header-NWA-3000DPI300RGB1000173325-300x180.jpg 300w, https://www.udiscovermusic.com/wp-content/uploads/2022/04/header-NWA-3000DPI300RGB1000173325-1024x614.jpg 1024w, https://www.udiscovermusic.com/wp-content/uploads/2022/04/header-NWA-3000DPI300RGB1000173325-768x461.jpg 768w, https://www.udiscovermusic.com/wp-content/uploads/2022/04/header-NWA-3000DPI300RGB1000173325-1000x600.jpg 1000w, https://www.udiscovermusic.com/wp-content/uploads/2022/04/header-NWA-3000DPI300RGB1000173325-400x240.jpg 400w, https://www.udiscovermusic.com/wp-content/uploads/2022/04/header-NWA-3000DPI300RGB1000173325.jpg 1440w",
"https://www.udiscovermusic.com/wp-content/uploads/2022/04/header-NWA-3000DPI300RGB1000173325-590x354.jpg",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/Rihanna-Loud.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/Rihanna-Loud.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/Rihanna-Talk-That-Talk.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/Rihanna-Talk-That-Talk.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/Rihanna-A-Girl-Like-Me.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2024/08/Rihanna-A-Girl-Like-Me.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2018/01/uDiscover-footer-site-logo-400.png",
"https://www.udiscovermusic.com/wp-content/uploads/2018/01/uDiscover-footer-site-logo-400.png",
"https://www.udiscovermusic.com/wp-content/uploads/2018/01/uDiscover-footer-site-logo-400.png",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://www.udiscovermusic.com/wp-content/uploads/2018/01/uDiscover-footer-site-logo-400.png",
"https://www.udiscovermusic.com/wp-content/uploads/2018/01/uDiscover-footer-site-logo-400.png",
"https://www.udiscovermusic.com/wp-content/uploads/2018/01/uDiscover-footer-site-logo-400.png",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/campaign-brands/footer-menu/rock-legends-logo.jpg",
"https://media.udiscovermusic.com/img/campaign-brands/footer-menu/rock-legends-logo.jpg",
"https://media.udiscovermusic.com/img/campaign-brands/footer-menu/urban-legends-logo.jpg",
"https://media.udiscovermusic.com/img/campaign-brands/footer-menu/urban-legends-logo.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2022/04/disney-logo-footer.jpg",
"https://www.udiscovermusic.com/wp-content/uploads/2022/04/disney-logo-footer.jpg",
"https://media.udiscovermusic.com/img/campaign-brands/footer-menu/udiscover-classical-logo.jpg",
"https://media.udiscovermusic.com/img/campaign-brands/footer-menu/udiscover-classical-logo.jpg",
"https://media.udiscovermusic.com/img/campaign-brands/footer-menu/this-day-in-music-logo.jpg",
"https://media.udiscovermusic.com/img/campaign-brands/footer-menu/this-day-in-music-logo.jpg",
"https://media.udiscovermusic.com/img/trans22x11.gif",
"https://media.udiscovermusic.com/img/trans22x11.gif",
"https://media.udiscovermusic.com/img/trans22x11.gif",
"https://media.udiscovermusic.com/img/trans22x11.gif",
"https://media.udiscovermusic.com/img/trans22x11.gif",
"https://media.udiscovermusic.com/img/trans22x11.gif",
"https://media.udiscovermusic.com/img/trans22x11.gif",
"https://media.udiscovermusic.com/img/trans22x11.gif",
"https://media.udiscovermusic.com/img/trans22x11.gif",
"https://media.udiscovermusic.com/img/trans22x11.gif",
"https://media.udiscovermusic.com/img/trans22x11.gif",
"https://media.udiscovermusic.com/img/trans22x11.gif",
"https://media.udiscovermusic.com/img/trans22x11.gif",
"https://media.udiscovermusic.com/img/trans22x11.gif",
"https://media.udiscovermusic.com/img/trans22x11.gif",
"https://media.udiscovermusic.com/img/trans22x11.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif",
"https://media.udiscovermusic.com/img/trans28x22.gif"
] |
[] |
[] |
[
""
] | null |
[
"Charles Waring"
] |
2024-02-02T05:15:41+00:00
|
Famous saxophone players? They're mostly jazz saxophonists, of course. This list runs down some of the best to ever do it.
|
en
|
uDiscover Music
|
https://www.udiscovermusic.com/stories/50-best-jazz-saxophonists/
|
There’s no doubt that, if he were alive today, 19th-century Belgian instrument maker Adolphe Sax would be extremely surprised – and pleased, too, no doubt – at how the saxophone, which he invented and then patented back in 1846, has become universally popular, and was crucial in defining the sound of a 20th-century-born musical style called jazz. Its status as one of the genre’s most important instruments is undisputed; even the most cursory glance at the list of musicians hailed as the best jazz saxophonists of all time is essentially a list of the most famous saxophone players ever. It also reveals a number of one-off talents who have helped take the music in new directions.
Yet when he died in poverty, in 1894, Sax, who invented several other wind instruments besides the saxophone – all of which bore his name – would have seen that the saxophone had been adopted mostly by military marching bands, though his hope that it would feature prominently in classical music orchestras was not to be fully realized.
Though marching band music was part of jazz’s foundation, it was the trumpet, rather than the saxophone, that first took the spotlight. The saxophone (the tenor and alto varieties) only began to play an important role in the big-band swing era, when Johnny Hodges and Coleman Hawkins emerged as one of the best jazz saxophonists of their era.
ADVERTISEMENT
But it was altoist Charlie Parker who made the biggest impact with a technically challenging and harmonically progressive new form of jazz called bebop, in the mid-40s. Parker’s influence was pervasive and his explorations helped to change the course of jazz, transforming it from dance music to art. In Parker’s wake came a raft of virtuoso jazz saxophonists during the 50s, including tenor heavyweights Stan Getz, Sonny Rollins, and John Coltrane, all of whom took saxophone playing to new, higher, levels of artistry while pushing jazz ever forwards.
Though this tenor trio’s influence (along with Parker’s) is powerful and continues to shape the saxophone’s narrative in jazz today, almost 60 years later, there has nevertheless been a raft of talented horn blowers – and there are many more still emerging – all armed with a unique sound, style, and approach to their instrument.
The saxophone, like the trumpet, remains an iconic instrument in jazz, and one that, through its indelible musical associations, has become totally synonymous with the genre.
If you’d like to add to your jazz collection, head over to the Jazz Center Stage store today for the latest vinyl, CD and jazz merch.
Here, then, is our blow-by-blow countdown of the 50 best jazz saxophonists of all time.
50: Gato Barbieri (1932-2016)
With his raw, wailing tenor sax sound, Argentina-born Leandro “Gato” Barbieri plowed a Coltrane-esque avant-garde furrow in the late 60s before making a more accessible form of music that embraced his Latin American roots. From the 70s onwards, Barbieri leaned towards smooth jazz settings for his music, though his brooding tenor saxophone never lost its visceral intensity.
49: Pepper Adams (1930-1986)
Baritone specialist Park “Pepper” Adams came from Michigan and was a stalwart of the Detroit scene, where he played with Donald Byrd in the late 50s and early 60s. An in-demand sideman due to the deep sonorities and dark textures he created on his baritone sax, Adams was an integral member of the Thad Jones/Mel Lewis Orchestra between 1966 and 1977.
48: Rahsaan Roland Kirk (1935-1977)
Regarded as an eccentric blind maverick by some for functioning as a one-man band on stage (he could play three horns at once and had a variety of exotic instruments dangling from his neck and shoulders), Kirk’s multi-tasking skills meant that his prowess on the saxophone has been overlooked. He was, though, a superb tenor saxophonist who was at home with both hard bop, modal jazz, and R&B, and easily earns his place among the world’s best jazz saxophonists.
47: Pharoah Sanders (born 1940)
An acolyte of John Coltrane (with whom he played between 1965 and ’67), tenor/soprano saxophonist and flutist Sanders helped to bring both a cosmic and deep spiritual vibe to jazz in the late 60s and early 70s. A prolific purple patch at the Impulse! label between 1969 and 1974 (which yielded ten LPs) cemented his place in the pantheon of best jazz saxophonists. Sanders’ music also tapped into the music of other cultures.
46: Gerry Mulligan (1927-1996)
Mulligan’s resonant baritone sax appeared on countless recording sessions during his long and fertile career, including those by Miles Davis, Billie Holiday, and Dave Brubeck. Mulligan was an astute arranger and skilled innovator too, conceiving a piano-less quartet with Chet Baker, in 1950. He was integral to the more relaxed West Coast cool style.
45: Michael Brecker (1949-2007)
Hailing from Pennsylvania, Brecker was a tenor saxophonist who was raised on a diet of jazz and rock so that, consequently, he never acknowledged musical boundaries. He played on a raft of pop and rock sessions in the 70s (for everyone from Steely Dan to Art Garfunkel), as well as co-leading the funky Brecker Brothers Band with his younger sibling, Randy. Towards the end of his life, he made records with more a straight-ahead jazz feel.
44: Jan Garbarek (born 1947)
This eminent Norwegian composer and saxophonist (who’s a master of both the tenor and soprano varieties of sax) has enjoyed a long and fecund association with the ECM label, where he’s been since 1970. It was largely through his alliance with Keith Jarrett in the 70s (he played as part of the pianist’s European Quartet) that gained him an international audience. His sound is both lyrical and haunting.
43: Joe Lovano (born 1952)
The youngest-born entry among the world’s best jazz saxophonists, Ohio-born Lovano can play a clutch of different instruments, though his name is synonymous with the tenor saxophone. The sound he projects is substantial but also athletic and imbued with a heart-tugging soulfulness. Lovano is a supremely versatile musician who has played in a welter of different musical contexts and whose influences range from bop to African music.
42: Arthur Blythe (1940-2017)
Brought up on a strict diet of rhythm’n’blues, this Los Angeles altoist played in the bands of Gil Evans and Chico Hamilton before making his mark as a proponent of avant-garde jazz in the late 70s. Even so, while his music always looked forward, Blythe never lost sight of the traditions of the best jazz saxophonists before him. As well as having a distinctive and emotionally intense reed sound, Blythe was also a fine composer.
41: Jimmy Heath (born 1926)
One of three noted jazz musician siblings (his brothers are drummer Percy and bassist Albert Heath), this Philly saxophonist started his career in the 40s and switched from alto to tenor sax to try and avoid comparisons with fellow bebopper Charlie Parker (Heath was dubbed Little Bird for a time). Heath has played with all the jazz greats (from Miles Davis and Milt Jackson to Freddie Hubbard), and continues to perform to this day.
40: Charles Lloyd (born 1938)
From Memphis, Tennessee, Lloyd got his first saxophone at the age of nine and, by the 50s, was playing in the touring bands of blues mavens Howlin’ Wolf and B.B. King. A move to LA, in 1956, signaled a change of direction for the saxophonist, who, four years later, ended up replacing Eric Dolphy in Chico Hamilton’s group. Lloyd began his solo career at the same time, and his absorption of rock elements helped his music go down well with a wider audience. Still actively performing today, Lloyd’s music is edgier and more exploratory than it was in the 60s.
39: Yusef Lateef (1920-2013)
Arriving in the world as William Huddleston, Lateef pioneered the incorporation of musical elements from other cultures into his music. He was particularly fond of Eastern music and, as well as playing tenor saxophone, which he played in a hard bop style, he was a fluent flautist and oboist.
38: Harold Land (1928-2001)
A member of the trailblazing Clifford Brown/Max Roach Quintet, this Texas tenor titan was at the birth of hard bop in the early 50s and later based himself in Los Angeles, where he offered a more vigorous alternative to the West Coast’s omnipresent cool sound. He later teamed up with vibraphonist Bobby Hutcherson for an acclaimed series of collaborations. Like many of the best jazz saxophonists, Land’s brooding tenor sound, with its intense level of expression, was indebted to Coltrane.
37: Lee Konitz (born 1927)
Unique among the best jazz saxophonists to come up in the late 40s and early 50s, Konitz was one of the few altoists who wasn’t infected by Charlie Parker’s bebop sound. Instead, he elected to plow his own distinctive furrow. An ingenious improviser who weaved long, flowing skeins of melody while inserting subtle accent changes, Konitz was initially viewed as a cool school adherent, but in later years explored the avant-garde.
36: Illinois Jacquet (1919-2004)
Famed for his staccato honking sound and catchy riffs, Jean-Baptiste “Illinois” Jacquet was an alto player from Louisiana who was raised in Texas and then moved to LA. It was there, in 1939, where he was recruited by bandleader Lionel Hampton (who persuaded Jacquet to swap his alto for a tenor sax). Jacquet’s rambunctious wild solo on Hampton’s “Flying Home” is widely perceived as representing the first manifestation on record of what would develop into rhythm’n’blues.
35: Eddie “Lockjaw” Davis (1922-1986)
From Culver City, California, Davis – given the name Lockjaw because his saxophone seemed almost glued to his mouth during his ultra-long solos – could play in a range of styles, though his calling card was a driving, blues-drenched hard bop. In the early 60s, he made a slew of combative but affable duet albums with his musical sparring partner, Johnny Griffin.
34: Al Cohn (1925-1988)
Alvin Cohn enjoyed a long and fruitful collaboration with fellow tenor Zoot Sims – and, together, the pair were considered by Jack Kerouac to be among the best jazz saxophonists of the 50s, and were asked to play on his 1959 poetry album Blues And Haikus. Cohn gained notoriety playing alongside Sims and Stan Getz in Woody Herman’s Second Herd during the late 40s, and, despite being born and raised in Brooklyn, he came to be associated with the West Coast cool sound. Cohn’s signature was a bright but full-bodied saxophone tone out of which he poured rivulets of mellifluous melody.
33: Benny Carter (1907-2003)
Harlem-born Carter’s main instrument was the alto sax, but he was also adept on the trumpet and clarinet. He made his recording debut in 1928 as a sideman, but, by the 30s, was leading his own swing band for which he was writing sophisticated charts that resulted in him doing arranging for the likes of Duke Ellington and Count Basie. A master of the swinging saxophone.
32: Gary Bartz (born 1940)
From Baltimore, Maryland, Bartz plays both alto and soprano saxophones. Making his recording debut with Art Blakey’s Jazz Messengers in 1965, he was already recording as a leader for Milestone when Miles Davis recruited him in 1970. Though in the early 70s Bartz’s style gravitated to a more exploratory kind of jazz, his records became smoother and funkier as the decade progressed. He will be remembered among the best jazz saxophonists for being a soulful player who combines flawless technique with emotional depth.
31: Sam Rivers (1923-2011)
Unique among the world’s best jazz saxophonists, Rivers was a multi-talented instrumentalist who played bass clarinet, flute, and piano besides excelling on tenor and soprano saxophones. He appeared on many jazz fans’ radar when he played with Miles Davis in 1964. After that he recorded for Blue Note, moving from an advanced hard-bop style that later edged towards the avant-garde.
30: Ike Quebec (1918-1963)
With his breathy, intimate tone, New Jersey native Quebec is mainly remembered as a seductive ballad player whose career started in the 40s. He spent a long time playing with Cab Calloway and also cut sides with Ella Fitzgerald and Coleman Hawkins before joining Blue Note in 1959, where he recorded some fine albums before his premature death from lung cancer, aged 44.
29: Lou Donaldson (born 1926)
This North Carolinian, Charlie Parker-influenced tenorist started to make his mark in the 50s, where his bluesy, soulful, and increasingly funkified hard bop style resulted in a slew of notable LPs for the Blue Note label. Donaldson also sat in as a sideman on notable sessions by Thelonious Monk, Clifford Brown, Art Blakey, and Jimmy Smith.
28: Stanley Turrentine (1934-2000)
Though he was dubbed The Sugar Man, there was nothing sickly sweet about this Pittsburgh-born tenor man’s robust and earthy style, whose DNA revealed blues cries, gospel cadences, and the influence of R&B saxophonist Illinois Jacquet. Turrentine played a mixture of hard bop and soul-jazz in the 60s at Blue Note; later, in the 70s, at CTI Records, he fused bop with Latin and pop music. Even among the best jazz saxophonists, few could play as soulfully as Stanley Turrentine.
27: Paul Desmond (1924-1977)
A key member of the Dave Brubeck Quartet between 1951 and 1957 (he wrote the group’s most famous tune, the big crossover hit “Take Five”), this San Francisco-born alto saxophonist’s light delivery helped to define the West Coast cool sound. Amusingly, Desmond once likened his saxophone sound to a dry martini.
26: Earl Bostic (1913-1965)
From Tulsa, Oklahoma, alto saxophonist Eugene Earl Bostic got his big break in vibraphonist Lionel Hampton’s band just before World War II. His fat, earthy tone and fluid, blues-infused style had a huge impact on a young John Coltrane, who cut his teeth in Bostic’s band in the early 50s. Bostic was extremely popular in the field of post-war R&B, racking up several US hits.
25: Sidney Bechet (1897-1959)
Born in New Orleans, the birthplace of jazz, Bechet started out on the clarinet and impressed at an early age before switching to the then-unfashionable and rarely heard soprano saxophone after discovering one on tour in a London junk shop in 1920. Soon after, he made his first recordings and caught the ear with his reedy soprano blowing, which had a tremulous vibrato and emotional intensity. The only entry in this list of the best jazz saxophonists to have been born in the 1800s, Bechet has the distinction of being the first significant saxophonist in jazz.
24: Eric Dolphy (1928-1964)
Though Dolphy died at a relatively young age (he was 36 when he tragically succumbed to a fatal diabetic coma), the reverberations from his pathfinding music can still be felt today. He was a virtuoso of the flute and bass clarinet but was also a fabulous alto sax player with a unique approach, and first came to the attention of the wider public when he began playing with Coltrane in the early 60s. Dolphy’s Blue Note LP, Out To Lunch, remains a touchstone of avant-garde jazz and his influence has extended beyond the genre.
23: Albert Ayler (1936-1970)
This Ohio free jazz and avant-garde saxophonist (who played the tenor, alto, and soprano varieties) didn’t live to see his 35th birthday, but today, almost 50 years after his death, his music and influence still casts a huge shadow in jazz. Drawing on gospel, blues cries, and marching-band music, Ayler patented a singular saxophone style that was raw, raucous, eerie, and driven by a primal energy.
22: Zoot Sims (1925-1985)
Californian tenor maestro John “Zoot” Sims took Lester Young’s sleek and mellow approach to jazz improv and fused it with the language of hard bop while filtering it through a cool West Coast sensibility. He played in many big bands (including those of Artie Shaw, Stan Kenton, and Buddy Rich) and was always conducive to working on collaborative projects with other saxophonists.
21: Gene Ammons (1925-1974)
Dubbed The Boss, Windy City native Gene “Jug” Ammons might have been the scion of boogie-woogie piano meister Albert Ammons, but he was drawn to the tenor saxophone and began his career in the 40s. An adherent of hard bop but with a style packed with blues feeling, Ammons was a prolific recording artist who embraced funkified soul-jazz in the 70s.
20: Benny Golson (born 1929)
At 88, Benny Golson is still going strong and blowing hard. The Philly-born tenorist made his mark with Art Blakey’s Jazz Messengers in the late 50s, and, as well as being noted for his sublime, hard bop-inflected playing, he was a fine composer, responsible for the classic tunes “I Remember Clifford,” “Killer Joe” and “Along Came Betty.”
19: Cannonball Adderley (1928-1975)
Florida-born altoist Adderley caused a sensation when he visited New York in 1955, and was soon snapped up to record the first of many albums during the next two decades. Like a number of the best jazz saxophonists of his era, he was a disciple of Charlie Parker, but nevertheless forged his own style, a soulful amalgam of bop, gospel and blues influences. He played on Miles Davis’ iconic modal jazz manifesto Kind Of Blue in 1959, but thereafter became a purveyor of soul jazz. In the late 60s and early 70s, Adderley’s music became more exploratory.
18: Hank Crawford (1934-2009)
A Memphis-born musician, Benny “Hank” Crawford, was one of the premier soul-jazz alto saxophonists of the 60s and 70s. His big break came when he joined Ray Charles’ band in 1958 (where he originally played baritone sax), which helped to launch his solo career at Atlantic Records. Crawford’s expressive, blues-inflected sound exerted a profound influence on a contemporary alto great, David Sanborn.
17: Sonny Stitt (1924-1982)
Dubbed the Lone Wolf, Boston-born Stitt started out as an alto saxophonist and began his recording career at the dawn of bebop during the close of the 40s. His florid, mellifluous style has often been compared with Charlie Parker’s (many accused Stitt of copying Parker), but he began to develop his own voice after switching to the tenor sax. A fearless improviser.
16: Ben Webster (1909-1973)
Though he was affectionately called The Brute, Ben Webster’s forceful style of playing was tempered with a high degree of tenderness, especially on ballads. With its breathy timbre, virile tone, and broad vibrato, Webster’s bluesy tenor saxophone sound is one of the most readily identifiable in jazz. He spent several years as a featured soloist in Duke Ellington’s Orchestra, an important group that also nurtured great saxophonists like Kenny Garrett.
15: Wayne Shorter (born 1933)
This Newark, New Jersey, composer and saxophonist (who alternates between soprano and tenor) enjoyed mainstream fame as part of fusion giants Weather Report between 1971 and 1986. Schooled in Art Blakey’s “hard bop academy,” Shorter then played a significant role as a composer/player in Miles Davis’ Second Great Quintet between 1962 and 1968. His sound is powerful yet elegant.
14: Ornette Coleman (1930-2015)
Texas-born Coleman caused ructions in the jazz world when he arrived in New York in 1959, armed with a plastic alto saxophone with which he unleashed the revolutionary concept of free jazz. Though he liberated jazz both melodically and harmonically, Coleman’s crying alto sound was always steeped in the sound of the blues.
13: Jackie McLean (1931-2006)
With its lissom Charlie Parker-influenced inflections, McLean’s sinuous alto saxophone style caught the ear of Miles Davis in 1951, and the trumpet legend included the then-16-year-old saxophonist on his Dig! LP. From 1955, McLean started recording under his own name, impressing as a young exponent of hard bop. As the 50s led into the 60s, McLean began to expand his expressive palette and musical horizons by venturing into more exploratory, avant-garde territory. His legacy remains one of the most important among the world’s best jazz saxophonists.
12: Johnny Hodges (1907-1970)
Johnny Hodges made his name in Duke Ellington’s band, which he joined in 1928. His smooth, soulful alto saxophone sound, with its wide, emotive vibrato – which Ellington once claimed “was so beautiful that it brought tears to the eyes” – was featured on a raft of the Duke’s recordings, including “A Prelude To A Kiss.” Both Charlie Parker and John Coltrane were fans.
11: Joe Henderson (1937-2001)
Henderson’s tenor sound was unmistakable: loud, robust, and virile. Originally from Ohio, Henderson first made his mark as an exponent of hard bop at Blue Note in the early 60s, and also recorded with Horace Silver (it’s Henderson’s solo you can hear on Silver’s “Song For My Father”). Henderson also added Latin elements to his music and, in the 70s, embarked on a freer, more exploratory mode of jazz.
10: Johnny Griffin (1928-2008)
Though diminutive in terms of his physical stature, the Chicago-born Griffin’s prowess on the tenor saxophone earned him the nickname Little Giant. A major exponent of hard bop, Griffin began his solo career in the 50s and eventually moved to Europe, where he stayed until his death. He was a fearless improviser with an imposing but mobile sound.
9: Hank Mobley (1930-1986)
Born in Georgia and raised in New Jersey, Mobley came on the radar of jazz fans in the early 50s as a charter member of The Jazz Messengers, before embarking on a solo career that produced 25 albums for Blue Note. Less belligerent in his attack than Coltrane and Sonny Rollins, though not as smooth or silky as Stan Getz, Mobley’s sonorous, well-rounded tone earned him the title The Middleweight Champion Of The Tenor Saxophone.
8: Art Pepper (1925-1982)
A leading light of the post-war West Coast US jazz scene, Pepper’s rise to stardom began with stints in the bands of Stan Kenton. Like so many jazz musicians that worked in the 50s – including many of the best jazz saxophonists of the era – Pepper’s career was blighted with drug addiction. But even several spells in prison couldn’t taint the lyrical beauty of his distinctive alto saxophone sound, whose roots were in bebop.
7: Coleman Hawkins (1904-1969)
Nicknamed Bean or Hawk, this influential Missouri-born tenor saxophonist was crucial to the development of the saxophone as a viable solo instrument. His 1939 recording of “Body And Soul,” with an extended solo that improvised on, around and beyond the song’s main melody, was a game-changer that opened the door for musicians such as Charlie Parker. Though he was associated with big-band swing, Hawkins played in more of a bop style from the mid-40s onwards. His sound was big, breathy and beefy.
6: Lester Young (1909-1959)
From Woodville, Mississippi, Young – a hipster who spoke in his own “jazz speak” argot – rose to prominence during the swing era of the 30s, playing with Count Basie and Fletcher Henderson. His smooth, mellow tone and airy, lightly flowing style was hugely influential, inspiring tenor players that followed, including Stan Getz, Zoot Sims and Al Cohn. Young is regarded as the Poet Laureate of the tenor sax.
5: Dexter Gordon (1923-1990)
Standing at a towering six feet six inches, it was no wonder that this Californian doctor’s son was dubbed Long Tall Dexter. Gordon was the first significant bebop tenor saxophonist and began his recording career in the 40s. Though he could swing with aplomb, Gordon’s forte was ballads, which allowed his rich, emotive tone to convey a poignant lyricism.
4: Stan Getz (1927-1991)
Though originating in Philadelphia, Getz became the pre-eminent tenor saxophonist of the US West Coast cool school scene of the 50s. His alluring, beautifully lyrical tone, combined with his velvet-smooth, effortless style – à la Lester Young – earned him the nickname The Sound. A supremely versatile musician, Getz could play bop, bossa nova (which he helped to take into the US mainstream, not least on the album Getz/Gilberto with its iconic hit “The Girl from Ipanema”) and fusion, and also guested on pop records.
3: Sonny Rollins (born 1930)
A form of lung disease has silenced Rollins’ tenor saxophone since 2012, but he remains the last great saxophonist of jazz’s golden age. Born Walter Theodore Rollins in New York, his career took off in the 50s and his big, robust sound, combined with his gift for melodic improvisation, gained him the nickname Saxophone Colossus.
2: John Coltrane (1926-1967)
Coltrane rewrote the book on tenor saxophone playing and also helped to popularize the soprano version of the instrument. Starting out as a bar-walking blues player, he emerged as the most significant jazz saxophonist after Charlie Parker. Coltrane rose to fame with Miles Davis’ group during the mid-to-late 50s, while enjoying a parallel solo career that eventually produced A Love Supreme, one of the most iconic jazz albums of all time. His florid, effusive style was often likened to “sheets of sound.” Coltrane’s music was always evolving and progressed from hard bop through to modal, spiritual jazz, and the avant-garde.
1: Charlie Parker (1920-1955)
Topping the list of the best jazz saxophonists ever is the man fans referred to simply as Bird. If he had lived beyond 34 years of age, who knows what he could have accomplished. This Kansas City altoist was one of the principal architects of the post-war jazz revolution known as bebop, which emerged in New York in the mid-40s and would shape the trajectory of the genre for years to come. Parker’s ornate style and prodigious technique, which combined melodic fluency with chromatic and harmonic ingenuity, proved profoundly influential. Though he’s been dead for over six decades, no saxophonist yet has eclipsed him in terms of importance.
Looking for more? Discover the best jazz trumpeters and best jazz drummers of all time.
|
|||||
9048
|
dbpedia
|
2
| 96
|
https://www.npr.org/2015/02/12/385639744/the-many-sides-of-david-murray
|
en
|
The Many Sides Of David Murray
|
[
"https://media.npr.org/chrome_svg/npr-logo.svg",
"https://media.npr.org/chrome/programs/logos/morning-edition.jpg",
"https://media.npr.org/assets/img/2019/02/26/we_otherentitiestemplatesat_sq-cbde87a2fa31b01047441e6f34d2769b0287bcd4-s100-c85.png",
"https://media.npr.org/assets/img/2019/02/26/we_otherentitiestemplatesun_sq-4a03b35e7e5adfa446aec374523a578d54dc9bf5-s100-c85.png",
"https://media.npr.org/chrome/programs/logos/all-things-considered.png",
"https://media.npr.org/chrome/programs/logos/fresh-air.png",
"https://media.npr.org/chrome/programs/logos/up-first.jpg?version=2",
"https://media.npr.org/assets/img/2024/01/11/podcast-politics_2023_update1_sq-be7ef464dd058fe663d9e4cfe836fb9309ad0a4d-s100-c100.jpg",
"https://media.npr.org/assets/img/2024/05/15/throughline_tile-art_sq-b72bcfb6d8705d7761d4f421f0be3047631b709c-s100-c100.jpg",
"https://media.npr.org/assets/img/2023/11/10/trumps-trial_tile-art_small_sq-71cfb7f3a96f3029db4ca7230c5704c61a351b81-s100-c100.jpg",
"https://media.npr.org/assets/img/2024/04/19/tile-wild-card-with-rachel-martin_sq-c9e842a167bab21c50f45fbde9d7d33776e87eda-s100-c100.jpg",
"https://media.npr.org/chrome_svg/music-logo-dark.svg",
"https://media.npr.org/chrome_svg/music-logo-light.svg",
"https://media.npr.org/branding/series/347174538/jazz-night-radio/branding_main-815862d2af19f7a932c6377c6a381a7091339d6a-s1000-c100.png",
"https://media.npr.org/assets/img/2015/02/12/day-1-final-edits-_10_wide-8a9b1a41464b4761f8507018f5ae3ac7923267a5.jpg?s=1100&c=85&f=jpeg",
"https://media.npr.org/branding/series/347174538/jazz-night-radio/branding_main-815862d2af19f7a932c6377c6a381a7091339d6a-s1000-c100.png"
] |
[] |
[] |
[
""
] | null |
[
"WBGO and Jazz at Lincoln Center"
] |
2015-02-12T00:00:00
|
A hugely talented performer who also collaborates and composes at an astonishing rate, the saxophonist returned to New York recently for three different sets with three of his many different bands.
|
en
|
NPR
|
https://www.npr.org/2015/02/12/385639744/the-many-sides-of-david-murray
|
For decades, saxophonist David Murray was a presence in New York City both imposing and prodigious, a hugely talented performer who also collaborated and composed at an astonishing rate. He's now based in Europe, but in early 2015, the Winter Jazzfest — a concert happening which celebrates the depth and breadth of the jazz community — booked him in a way that seemed appropriate to this history: three different sets with three different bands.
Jazz Night In America speaks to Murray and gathers the story behind these three projects — three of many. We hear a revival of the four-man "clarinet summit" bands he first played in decades ago, featuring Don Byron, David Krakauer and Hamiet Bluiett; a new collaborative trio with heavy hitters Terri Lyne Carrington (drums) and Geri Allen (piano); and a quartet performance spotlighting the performance poet Saul Williams.
|
|||||
9048
|
dbpedia
|
2
| 59
|
https://www.edwards-instruments.com/artists/david-murray/
|
en
|
David Murray
|
[
"http://img.youtube.com/vi/2ACbSfIIm5o/hqdefault.jpg",
"https://www.edwards-instruments.com/wp-content/uploads/2022/07/john-williams-sunday-today-600x345.jpg",
"https://www.edwards-instruments.com/wp-content/uploads/2015/04/kennedy-center-600x345.jpg"
] |
[] |
[] |
[
""
] | null |
[
"David Murray"
] | null |
David Murray was appointed second trombone of the National Symphony Orchestra by Christoph Eschenbach in 2014. He has also performed with The Philadelphia Orchestra, the Baltimore, Cincinnati, Jacksonville, San Antonio, and San Diego symphonies, the Louisiana Philharmonic, and the Washington National Opera Orchestra, among others. Internationally, Murray has performed as guest principal trombone with the […]
|
en
|
Edwards Instrument Co.
|
https://www.edwards-instruments.com/artists/david-murray/
|
David Murray was appointed second trombone of the National Symphony Orchestra by Christoph Eschenbach in 2014. He has also performed with The Philadelphia Orchestra, the Baltimore, Cincinnati, Jacksonville, San Antonio, and San Diego symphonies, the Louisiana Philharmonic, and the Washington National Opera Orchestra, among others. Internationally, Murray has performed as guest principal trombone with the WDR Symphony Orchestra in Cologne, Germany, and the Malaysian Philharmonic Orchestra in Kuala Lumpur, Malaysia. Since 2015 he has been a member of the Festival Orchestra at the Cabrillo Festival of Contemporary Music in Santa Cruz, California. He has also participated in the Schleswig-Holstein, Spoleto USA, and Chautauqua Festivals.
As an educator, Murray is on the faculty of the Peabody Institute of Johns Hopkins University. He has given additional masterclasses, teaching, and coaching at the Eastman School of Music, Northwestern University, Michigan State University, George Mason University, Merit School of Music Chicago, Atlanta Symphony Talent Development Program, NSO Summer Music Institute, and the Curtis Institute Summerfest.
Murray began his early musical studies on the piano at age five, adding trombone at age nine. He later continued training at the Peabody Preparatory on both instruments. Murray holds a Bachelor of Music (High Distinction and Performer Certificate) from the Eastman School of Music and a Diploma from the Curtis Institute of Music. His primary teachers were Blair Bollinger, John Marcellus, Ralph Sauer, and Christopher Dudley.
|
|||||
9048
|
dbpedia
|
0
| 6
|
https://loudswell.com/artist/david-murray/
|
en
|
David Murray
|
[
"https://loudswell.com/wp-content/uploads/2020/11/cropped-Logo-FullColorReverse-RGB.png",
"https://loudswell.com/wp-content/uploads/2020/08/David-Murray-Vilnius-300x200.jpg",
"https://loudswell.com/wp-content/themes/creatorstream-theme/assets/social/facebook.svg",
"https://loudswell.com/wp-content/themes/creatorstream-theme/assets/social/instagram.svg",
"https://loudswell.com/wp-content/uploads/2021/01/080920-David-Murray-300x157.jpg",
"https://loudswell.com/wp-content/uploads/2020/11/cropped-Logo-FullColorReverse-RGB-150x150.png",
"https://loudswell.com/wp-content/uploads/2020/11/cropped-Logo-FullColorReverse-RGB-150x150.png"
] |
[] |
[] |
[
""
] | null |
[] |
2020-08-04T23:52:25+00:00
|
David Murray is an American jazz musician. He plays mainly tenor saxophone and bass clarinet. He has recorded prolifically for many record labels since the mid-1970s. Among the most recorded jazz musicians in history and arguably one of the genre’s greatest tenor saxophonists, Dave Murray dominated jazz in the 1980s as thoroughly as Charlie Parker […]
|
en
|
LoudSwell
|
https://loudswell.com/artist/david-murray/
|
Biography
David Murray is an American jazz musician. He plays mainly tenor saxophone and bass clarinet. He has recorded prolifically for many record labels since the mid-1970s.
Among the most recorded jazz musicians in history and arguably one of the genre’s greatest tenor saxophonists, Dave Murray dominated jazz in the 1980s as thoroughly as Charlie Parker dominated the genre in the 1940s. Murray, considered a giant of the avant-garde style, nonetheless played all forms of jazz, from straight-ahead to free improvisational to post-bop. He was devoted to saxophonists as conservative as Paul Gonsalves and as radical as Albert Ayler. His name, however, has not become as legendary as Parker’s during his earlier years, primarily because few people paid close attention to the progressive, free-jazz movement of the 1980s, an era distracted by other forms such as commercial fusion and hard-bop nostalgia. Meanwhile, Murray refused to let the times discourage his ambitions, and from behind the scenes, he developed a distinct and powerful personal voice on both the tenor saxophone and clarinet. By the 1990s, many regarded Murray as the most proficient synthesizer since Charles Mingus (another of Murray’s influences). Regardless of his well-deserved recognition, Murray never broke from the downtown scene and refused to let the jazz culture assign him to a single category. Composing enchanting melodies that flowed with ease into far-reaching abstraction before returning back to the music’s roots in blues and gospel, Murray is also known for his trademark playing technique of sudden leaps into the upper register of his instrument, and his ability to draw a rich, expansive sound from his horn on both ballads and upbeat numbers.
Follow
|
|||||
9048
|
dbpedia
|
3
| 78
|
https://whyy.org/articles/old-city-saxophonist-market-street/
|
en
|
Meet the stylish saxophonist in Philly’s Old City
|
[
"https://whyy.org/wp-content/uploads/91FM/schedulelogos/bbc_newshour.jpg",
"https://whyy.org/wp-content/uploads/91FM/schedulelogos/1a.jpg",
"https://whyy.org/wp-content/uploads/2022/06/2022-06-22-kpaynter-david-puryear-4th-and-market-1-of-1-768x512.jpg",
"https://whyy.org/wp-content/themes/whyy/images/loaders/placeholder.gif",
"https://whyy.org/wp-content/uploads/2022/06/2022-06-22-kpaynter-david-puryear-4th-and-market-1-of-1-2-1024x683.jpg",
"https://whyy.org/wp-content/uploads/2022/06/riley-teasers_0011-360x280.jpg",
"https://whyy.org/wp-content/themes/whyy/images/loaders/placeholder.gif",
"https://whyy.org/wp-content/uploads/2022/06/2022-06-22-kpaynter-david-puryear-4th-and-market-1-of-1-4-1024x683.jpg",
"https://whyy.org/wp-content/uploads/2022/06/2022-06-02-k-paynter-FGF-PAWS-7-of-7-360x280.jpg",
"https://whyy.org/wp-content/themes/whyy/images/loaders/placeholder.gif",
"https://whyy.org/wp-content/uploads/2022/06/2022-06-22-kpaynter-david-puryear-4th-and-market-1-of-1-3-1024x683.jpg",
"https://whyy.org/wp-content/uploads/2022/06/2022-06-22-kpaynter-david-puryear-4th-and-market-1-of-1-5-1024x683.jpg",
"https://whyy.org/wp-content/uploads/2019/08/planphilly_sq.png",
"https://whyy.org/wp-content/uploads/2024/08/07-31-2024-k-paynter-gerald-veasley-bassist-9-360x280.jpg",
"https://whyy.org/wp-content/themes/whyy/images/loaders/placeholder.gif",
"https://whyy.org/wp-content/uploads/2024/03/Matinee-Jams-new-barbers-hall-2024-02-29-2-360x280.jpg",
"https://whyy.org/wp-content/themes/whyy/images/loaders/placeholder.gif",
"https://whyy.org/wp-content/uploads/2023/11/clef-club-2-360x280.jpg",
"https://whyy.org/wp-content/themes/whyy/images/loaders/placeholder.gif",
"https://whyy.org/wp-content/uploads/2019/08/elizabethestrada-whyyheadshot-150x150.jpg",
"https://whyy.org/wp-content/themes/whyy/images/loaders/placeholder.gif",
"https://whyy.org/wp-content/uploads/2019/11/NPR-small_neutral-gray_96x31.png",
"https://whyy.org/wp-content/themes/whyy/images/loaders/placeholder.gif",
"https://whyy.org/wp-content/uploads/2019/11/PBS-small_neutral-gray_110x46.png",
"https://whyy.org/wp-content/themes/whyy/images/loaders/placeholder.gif"
] |
[] |
[] |
[
""
] | null |
[
"Elizabeth Estrada"
] |
2022-06-24T14:00:35+00:00
|
David Puryear is the iconic saxophonist who plays on the corner of 4th and Market in Old City, Philadelphia. He brings music and joy to the community.
|
en
|
https://whyy.org/wp-content/themes/whyy/images/icons/favicon-rebrand.ico
|
WHYY
|
https://whyy.org/articles/old-city-saxophonist-market-street/
|
Got a question about Philly’s neighborhoods or the systems that shape them? PlanPhilly reporters want to hear from you! Ask us a question or send us a story idea you think we should cover.
If you’ve ever walked around Old City, chances are you have encountered David Puryear livening up the corner of 4th and Market streets with his saxophone and snazzy outfits.
Often dressed up in a full suit, Puryear has been performing on that corner for about eight years.
“I found my home here at 4th and Market,” said the musician, after playing in several other areas across Philadelphia. “I just want to bring love to the city.”
The retired 73-year-old has been playing the saxophone since his high school days, growing up in New Jersey. Music has always called to Puryear, that’s why now, in retirement, he spends his days doing what he loves — playing his saxophone — Miss Nasty.
“I call this Miss Nasty because I be trying to make her sound real nasty, you know?” he said laughing.
For Puryear, who performs as Etta’s Baby Boy — a name that honors his mother — how he presents himself is important.
“You got people coming from all over the country and all over the world,” says Puryear. “As a Black person, a Black man, you got to look good and got to sound good.”
He does.
Puryear is stylish and always mixing up his outfits — one day he’ll wear a more classic plaid suit, the other, he’ll don a bright yellow vest with a matching cap and blue suede shoes — an homage to the Elvis song.
But Puryear wasn’t always spending his days playing.
He served in the Air Force during the Vietnam war as a radar operator, and after being honorably discharged, became really interested in the blossoming jazz scene at the time — Wes Montgomery, John Coltrane, Dizzy Gillespie.
He attended Montclair State University and studied business administration, but he was more interested in music than the classroom. In his spare time, he would go to shows in Newark and at the Apollo in Harlem. When he graduated, he got married and started a family, becoming a dad to two sons.
After years of working in insurance and then as a bricklayer, among other jobs in New Jersey, he ended up in Philadelphia. He’s been in the city now for over 15 years.
Puryear currently lives in Francisville, but has bonded with the corner of 4th and Market — the people who live and work nearby, the tourists.
“It’s been a love fest out here for the last five years,” said Puryear, who took a brief hiatus during the height of the pandemic. Coming back to the corner and connecting with the passersby he hasn’t seen in a long time has been particularly special.
The Old City community will walk by and check in on him and he’s always glad to see them. Over the years, people have been incredibly supportive in all sorts of ways: offering a warm thank you, bringing him a bottle of water on a hot day, hiring him to play at weddings, and even getting his 7-year-old son, Abdul, into summer camp.
As a single dad, these actions mean a lot to Puryear.
“The people of Old City have taken care of me and Abdul … they’ve been a lifeline,” he says. “I bring joy to the corner and then they give it back.”
That’s what inspires him most are the people and the hustle and bustle of the neighborhood. He plays whatever comes to him at the moment, as he works to garner the attention of people who are passing by for just a few seconds.
“It’s about creativity for me,” he said. “I’m trying to bring you something that you haven’t heard.” This means everything is original — no special requests or versions of popular songs.
Music is what Puryear does every day, but it’s also what he turns to when he’s trying to figure out what’s happening in the world, like when George Floyd was murdered. He and his son went to the protests at the Art Museum back in 2020.
“If I see something on the news or something that affects me, then I come out here … with that frustration,” he said, and instead of talking, he plays to process. Puryear recalls Coltrane’s song, Alabama, about the bombing in a Birmingham church that killed four young girls. He takes to music in a similar way.
These past few years have been a “trying time,” says Puryear. That’s why he’s so committed to sharing “good vibrations” with everyone and anyone who walks by, offering fist bumps, peace signs, and a friendly smile.
“It’s all about love, we have enough evil and a lot of hate going on,” said the iconic Old City saxophonist. “The only thing that can conquer that and change that is love.”
Etta’s Baby Boy performs on 4th and Market streets most afternoons.
|
||||
9048
|
dbpedia
|
3
| 81
|
https://www.theatlantic.com/entertainment/archive/2015/12/baker-street-gerry-rafferty-saxophone/421008/
|
en
|
The Mystery Behind Gerry Rafferty's 'Baker Street'
|
[
"https://cdn.theatlantic.com/_next/static/images/nav-archive-promo-5541b02ae92f1a9276249e1c6c2534ee.png",
"https://www.theatlantic.com/magazine/images/current-issue.large.jpg",
"https://cdn.theatlantic.com/media/img/specialreports/lead/2020/10/14/Thumbnail.jpg",
"https://cdn.theatlantic.com/assets/media/files/nav-crossword.png",
"https://cdn.theatlantic.com/media/files/archive-thumbnail.png",
"https://cdn.theatlantic.com/media/files/YourSubscription_300x300.jpg",
"https://cdn.theatlantic.com/thumbor/uCUjG0DooIDw0nC73YMceLh1eLU=/0x99:995x659/750x422/media/img/mt/2015/12/baker/original.jpg 750w, https://cdn.theatlantic.com/thumbor/bvYMWfyor8SUiA_uYcAOgY0ELZA=/0x99:995x659/828x466/media/img/mt/2015/12/baker/original.jpg 828w, https://cdn.theatlantic.com/thumbor/q6cRS4GTlJIvPo3hOCQH2ahgw7M=/0x99:995x659/960x540/media/img/mt/2015/12/baker/original.jpg 960w, https://cdn.theatlantic.com/thumbor/_gjN4yYBUbBd3_1wDiAFej4_N7k=/0x99:995x659/976x549/media/img/mt/2015/12/baker/original.jpg 976w",
"https://cdn.theatlantic.com/thumbor/2TG89qkvpNLzRBwahPFUveBvPTk=/499x0:2501x2002/120x120/media/None/Chandler/original.jpg"
] |
[] |
[] |
[
"Baker Street",
"Gerry Rafferty",
"song",
"Baker Street.",
"Burns",
"Gerry Rafferty album",
"Rafferty’s song",
"sax riff",
"guitarist Hugh Burns",
"hypnotic saxophone line",
"music",
"famous riff line",
"old blues riff",
"glam-rock version song",
"‘Did Gerry hand",
"tenor sax player",
"sax solo",
"Steve Marcus",
"small music forums",
"British saxophone player",
"George Michael",
"blistering guitar solo",
"Jack Bruce",
"great good fortune",
"Marcus’s song",
"jazz great Buddy",
"dynamite saxophone solos",
"middling acid trip",
"buttoned-up British gameshow",
"massive opening solo",
"jazz-rock fusion album",
"particular instrumental opening",
"conspiracy-theory clearing house",
"American Billboard charts",
"Gerry’s music",
"wildly diverse set",
"London Symphony Orchestra",
"extremely unconventional allure",
"‘Baker Street",
"American auto worker",
"heard Marcus",
"sax line.",
"Raphael Ravenscroft",
"great music",
"way",
"Burton",
"opening riff",
"music careers"
] | null |
[
"Adam Chandler"
] |
2015-12-17T17:33:00+00:00
|
The disputed history behind Gerry Rafferty’s 1978 hit
|
en
|
https://cdn.theatlantic.com/_next/static/images/favicon-3888b0e329526a975703e3059a02b92d.ico
|
The Atlantic
|
https://www.theatlantic.com/entertainment/archive/2015/12/baker-street-gerry-rafferty-saxophone/421008/
|
In the summer of 1978, Gerry Rafferty's song “Baker Street” became a top-five hit in the United States, Canada, Australia, and the United Kingdom.
And for good reason. If there were an official anthem for playing darts alone in an empty roadside bar during a rainstorm, it would be “Baker Street.” And while there’s no data to back it up, “Baker Street” is undoubtedly the top song to idle to in a driveway before cutting the engine to your Dodge Aspen. (Both of these were popular hobbies in the year 1978.)
The video for “Baker Street” has been viewed over 5 million times. Its most popular comment is this: “This song makes me think of the Summer of 1978. Just graduated high school and was getting ready to head off to college. Nice memories. ” (Thanks, Jack.)
Many listeners come to “Baker Street” (and stay) for its hypnotic saxophone line. It’s a haunting sound that drops bread crumbs from a listener’s pocket for their melancholy to follow. But few people know the origin story of rock’s most iconic sax riff, which is complicated, to say the least.
The man behind the saxophone was Raphael Ravenscroft, who in addition to having the best-ever name for a session saxophonist, claims to have authored the riff. According to his account, “Baker Street” had several gaps in it when he was hired to play, and he filled them.
“In fact, most of what I played was an old blues riff,” he once explained. “If you’re asking me: ‘Did Gerry hand me a piece of music to play?’ then no, he didn’t.”
The testimony of Ravenscoft, who died last year, seems to be refuted by the existence of an early demo of the song, where the guitar replaces the sax. That’s not to diminish Ravenscroft because, denuded of the sax, “Baker Street” sounds like another middling acid trip of a song in a decade full of them.
Given the song’s ubiquity and influence, it’s understandable that Ravenscroft might later fib about his role. Also, according to legend, he was only paid £27 for his contribution, while Rafferty was said to have made £80,000 in annual royalties until his death in 2011. But the song did benefit Ravenscoft’s career, and he went on to work with Pink Floyd, Marvin Gaye, and Daft Punk.
* * *
The guitarist Hugh Burns has scored movies like Die Another Day and The Hobbit, and played with the likes of Paul McCartney, Michael Jackson, Jack Bruce, and George Michael throughout his storied career. Burns is responsible for the blistering guitar solo on “Baker Street ” and considers working with Gerry Rafferty one of his life’s great honors.
“Quite frankly, I loved his songs. I regard it as a great good fortune that I was able to meet and contribute something to Gerry’s music,” he told me over the phone from England. “I did six albums with him. I probably did more music with him than any other musician.” He was also friends with Ravenscroft and toured with him.
Burns was performing on the road with Jack Bruce in 1978 when he made arrangements to visit the London studio where Rafferty’s album City to City was being recorded. “I went to the studio after I played the gig and I think one of the first songs we played was ‘Baker Street.’ And I said, ‘This is fantastic. This is a great song.’”
Burns told me that there’s no question that Rafferty came up with the music that became the famous riff line on “Baker Street.” After Burns laid down the solo, Rafferty asked him to “have a go at what obviously became very famous, which was the sax line.” Burns tried it on guitar, but the two men agreed that it would be better on the saxophone. “That’s the way I always saw it,” he remembers Rafferty telling him at the time.
“It’s important to say that in the case of that particular instrumental opening to ‘Baker Street,’ it was entirely Gerry’s line,” said Burns. He also referenced the demo, explaining that it was Rafferty himself playing the line on guitar.
Then, in the most offhand, glory-belying way, Burns dropped in this aside:
* * *
So, it seems clear enough. Rafferty came up with the hook. But depending on whom you ask, the intrigue doesn’t quite end there. For decades in England, for instance, there was a widely believed urban myth that Bob Holness, the buttoned-up British gameshow host, had actually performed the saxophone solo in “Baker Street.”
And there’s still another wrinkle on the other side of the pond. Back in 1968, 10 years before “Baker Street” was recorded, Steve Marcus, a tenor sax player who toured with the jazz great Buddy Rich, released Tomorrow Never Knows, the first and only record under his own name.
The jazz-rock fusion album was almost exclusively of cover songs such as The Beatles’ title track. It also included a few original compositions, including a song called “Half a Heart.” The first nine seconds may give you chills.
The Internet is a conspiracy-theory clearing house, and yet the connection between “Baker Street” and the opening riff of “Half a Heart” lives in semi-ubiquity. Marcus passed away in 2005 and none of the tributes to him seem to make mention of it. It’s a topic that’s since been remaindered to the small music forums at the dusty edges of the Internet.
Curiously though, the composition of “Half a Heart” is credited to Gary Burton, a vibraphonist and composer, who went to Berklee College of Music with Marcus in the early 1960s and lived down the block from him when the two moved from Boston to New York to start their music careers.
When I reached out to Burton earlier this week to ask him if he or Marcus had ever made the connection to “Baker Street,” he was caught a little off-guard.
He told me that he and Marcus had been best friends at a time and wanted to know what the connection to Steve Marcus was, since Ravenscroft is listed as the saxophonist on “Baker Street.” When I replied that Rafferty’s song sounded suspiciously familiar to Marcus’s song “Half a Heart,” he didn’t buy it on principle.
“Truthfully, I sort of doubt that a British saxophonist would have even of heard Marcus’s record, since it was little publicized and truly under the radar, even in the U.S.,” he wrote, later explaining that he thought the record had sold maybe 1,000 copies. “It disappeared.”
But when we spoke on the phone later, he’d changed his mind. “After listening to the two songs side-by-side, I have to say they are close enough that it seems almost certain that the British saxophone player [Ravenscoft] must have heard Steve’s record.” He added that since “Half a Heart” came out 10 years before “Baker Street,” someone must have heard the record. “It’s almost identical, only a little bit different and that wouldn’t happen by chance seeing as it was so close.”
Despite being credited with the song, at least across the Internet, Burton himself hadn’t been familiar with “Half a Heart.” Moreover, he was baffled when I told him that he had been listed as the song’s composer.
Burton surmised that if the credit weren’t a mistake, it constituted some kind of shoutout from Marcus. Though they had drifted apart by 1968, Burton visited in the studio while he was recording Tomorrow Never Knows. “It was a big deal for Steve to make a record on his own,” he said. “All his friends were kind of wishing him well.”
Hugh Burns hadn’t heard “Half a Heart,” but he was dismissive of the idea that it had been lifted from something else, at least intentionally.
“With due respect, there’s only 13 chromatic notes,” he said. “There are lots and lots of instances where things are very similar.” He added that in 30 years of playing, he never encountered anyone who asked for or wanted to specifically copy another piece of music.
In conversations with both Burns and Burton, a controversy and lawsuit involving George Harrison came up. In the “My Sweet Lord” case, Harrison admitted he simply hadn’t realized that the song so closely resembled “He’s So Fine,” made most famous by The Chiffons. Or as Burton put it, “You hear something, your brain forgets.”
“Musically, all the decisions on a Gerry Rafferty album, all the decisions on ‘yes, that stays,’ or ‘no, that goes’ were fundamentally his,” said Burns. “It’s important to understand that. He was an artist through and though.”
* * *
Seemingly alone in its era, “Baker Street” managed to stand out at the height of punk and new wave and also shined through the summer of Grease and the twilight of disco’s last saccharine gleaming. (The song spent six weeks stuck at No. 2 on the American Billboard charts behind Andy Gibb’s “Shadow Dancing.”)
No matter the true genesis of its sax riff, the song still endures. In 2010, “Baker Street” was honored by BMI for achieving 5 million radio plays worldwide. Its fellow honorees that year—“Come Together,” “Candle in the Wind,” and “Build Me Up Buttercup”—deliver some sense of the song’s real reach.
“Baker Street” has been covered by a wildly diverse set of outfits, most virtuously by Waylon Jennings and the London Symphony Orchestra, most sentimentally by Lisa Simpson, and most blandly by the Foo Fighters and Rick Springfield. It’s Springfield’s failure to make a glam-rock version song compelling in particular that helps in deciphering the extremely unconventional allure of “Baker Street,” a song ultimately about depression, transition, and weary aspiration.
I asked Burns why he thought “Baker Street” is still a staple nearly 40 years after its release.
Burns also nodded to the song’s unusual structure, which he compared in its unorthodox nature, to Queen’s “Bohemian Rhapsody.”
“It’s not just opening, verse, chorus,” he said. “It doesn’t do that. It goes through a little kind of journey, it takes you through a journey and so, in some sense, it’s a very complete composition, which is unusual for popular music at that time. People weren’t quite used to that.”
Of course, there’s also something about the saxophone. In a 2011 episode of the NBC show 30 Rock, which aired the same year that Rafferty died, Tina Fey’s character paces the streets faced with the prospects of losing her job as a television writer. She encounters an unmerry troupe of subway-dwelling people “whose professions are no longer a thing.” Falling into that category are a travel agent, an American auto worker, the CEO of Friendster and, for the biggest punchline, a guy who “played dynamite saxophone solos in rock-and-roll songs.”
According to Burns, “a lot of the songs that seem to have some longevity tend to feature, for the most part, real instruments.” For a while, the saxophone was a key feature of that dynamic. Burns isn’t ruling out its return.
“Baker Street” and “Half a Heart” are songs that were made that way. We may never know if one influenced the other or it was just the alchemy of two different studios coming up with something unmistakably great. There’s enough evidence to be suspicious and more than enough time to enjoy them both.
|
||||
9048
|
dbpedia
|
1
| 77
|
https://www.jazzweekly.com/interviews/dmurray.htm
|
en
|
[] |
[] |
[] |
[
""
] | null |
[] | null | null | ||||||||||
21594
|
yago
|
2
| 7
|
https://en.wikipedia.org/wiki/Yang_Jiang
|
en
|
Yang Jiang
|
[
"https://en.wikipedia.org/static/images/icons/wikipedia.png",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Yang_Jiang_1941.jpg/220px-Yang_Jiang_1941.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/5/52/Qian_Zhongshu_and_Yang_Jiang_in_1936.jpg/220px-Qian_Zhongshu_and_Yang_Jiang_in_1936.jpg",
"https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/12px-Commons-logo.svg.png",
"https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1",
"https://en.wikipedia.org/static/images/footer/wikimedia-button.svg",
"https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg"
] |
[] |
[] |
[
""
] | null |
[
"Contributors to Wikimedia projects"
] |
2005-09-09T05:40:52+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Yang_Jiang
|
Chinese writer (1911–2016)
For the city in Guangdong, see Yangjiang. For other uses, see Yangjiang (disambiguation).
Yang JiangTraditional Chinese楊絳Simplified Chinese杨绛
TranscriptionsStandard MandarinHanyu PinyinYáng JiàngWade–GilesYang Chiang
Yang JikangTraditional Chinese楊季康Simplified Chinese杨季康
TranscriptionsStandard MandarinHanyu PinyinYáng Jìkāng
Yang Jiang (Chinese: 杨绛; Wade–Giles: Yang Chiang; 17 July 1911 – 25 May 2016) was a Chinese playwright, author, and translator. She wrote several successful comedies, and was the first Chinese person to produce a complete Chinese version of Miguel de Cervantes' novel Don Quixote.[1]
Biography
[edit]
She was born in Beijing as Yang Jikang,[2] and grew up in the Jiangnan region. After graduating from Soochow University in 1932, Yang Jiang enrolled in the graduate school of Tsinghua University. There she met Qian Zhongshu. They married in 1935. During 1935–1938, they went abroad to England for further study at Oxford University. In England, Yang gave birth to their daughter Qian Yuan (錢瑗) in 1937. They later studied at Pantheon-Sorbonne University in Paris, France.[2] They often spoke French and English to each other throughout their lives in China.[3]
They returned to China in 1938.[2] Living in Shanghai, she wrote four stage plays: two comedies of manners, Heart's Desire (1943) and Forging the Truth (1944), one farce, Sporting with the World (1947), and the tragedy Windswept Blossoms (1947). After 1949, she taught at the Tsinghua University and made a scholarly study of western literature at Peking University and the Academy of Science. She published this work in 1979 in a compendium: Spring Mud. As authors, literary researchers, and translators, Yang and Qian both made important contributions to the development of Chinese literary culture.[4]
Yang also translated into Chinese three major European works of picaresque fiction: Lazarillo de Tormes (1951), Gil Blas (1956) and Don Quixote (1978).[5] Her Chinese translation of Don Quixote is, as of 2016, still considered the definitive version.[3] After deeming several English and French translations unsuitable, she taught herself Spanish. “If I wanted to be faithful to the original, I had to translate directly from the original,” she wrote in 2002. Ms. Yang had completed almost seven out of eight volumes of the translation when Red Guard student militants confiscated the manuscript from her home in Beijing. “I worked with every ounce of energy I could muster, gouging at the earth with a spade, but the only result was a solitary scratch on the surface,” Ms. Yang wrote. “The youngsters around me had quite a laugh over that.” As the Cultural Revolution subsided, Ms. Yang returned to Beijing to work on “Don Quixote.” The nearly completed draft that had been confiscated by Red Guards is said to have been discovered in a pile of scrap paper and returned to Ms. Yang. Published in 1978, it remains widely regarded as the definitive translation of “Don Quixote” in China.[6]
She was also awarded the Civil Order of Alfonso X, the Wise for this by King Juan Carlos in October 1986.[7] Her sister Yang Bi (楊必) (1922–1968) was also a translator.
Her experience doing "reform through labor" in a "cadre school" in Henan from 1969 to 1972, where she was "sent down" with her husband during the Cultural Revolution, inspired her to write Six Chapters from My Life 'Downunder' (1981).[8] This is the book that made her name as a writer in the post-Mao period.[9][10] In connection with this memoir, she also wrote Soon to Have Tea (將飲茶) (aka Toward Oblivion), which was published in 1983.[11]
In 1988, she published her only novel Baptism (洗澡), which was always connected with Fortress Besieged (圍城), a masterpiece of her husband.[12] Her 2003 memoir We Three (我們仨), recalled memories of her husband and her daughter Qian Yuan, who died of cancer one year before her father's death in 1998. At the age of 96, she published Reaching the Brink of Life (走到人生邊上), a philosophic work whose title in Chinese clearly alludes to her late husband's collection of essays Marginalia to Life (寫在人生邊上).[2]
She turned 100 in July 2011.[13] The novella After the Baptism (洗澡之後), a coda to Baptism, appeared in 2014. On 25 May 2016, Yang died at the age of 104 at Peking Union Medical College Hospital in Beijing.[3]
Contradicting a Chinese saying that it is impossible for a woman to be both a chaste wife and gifted scholar or talented artist, Qian once described Yang as “the most chaste wife and talented girl” in China.
Works
[edit]
Plays
[edit]
Heart's Desire (稱心如意) (1943).
Forging the Truth (弄真成假) (1944).
Sporting with the World (游戏人间) (1945).
Windswept Blossoms (风絮) (1947).
Novels
[edit]
Baptism (洗澡)(1988)
After the Bath (洗澡之後)(2014)
Essays
[edit]
Six Chapters from My Life 'Downunder' (幹校六記) (1981)
About to Drink Tea (將飲茶) (1987)
We Three (我們仨) (2003)
Her 2003 essay collection “We Three,” about her family life with her late husband and their daughter, was a national bestseller. Yang Jiang's daughter Qian Yuan gave the name of this book We Three. She has written the outline for it, but unfortunately died after five days in 1997. Yang withheld the news of their daughter's death from her husband Qian Zhongshu until his passing in 1998. After her husband's death, Yang compiled and edited his unpublished works, the most celebrated being We Three.[14] The opening line for We three is:
“This is a long dream of ten thousand miles. The scene was so real that it felt like a dream after waking up. But a dream being a dream, is nothing but a dream.”
“There is no absolute happiness in human life. Happiness always comes with worry and anxiety,”
Reaching the Brink of Life (走到人生邊上) (2007)
At the age of 96, Yang surprised the world with Reaching the Brink of Life, a philosophic work whose title alludes to her husband's collection of essays Marginalia to Life.[14] Reaching the Brink of Life is a self-reckoning that may well be Yang's most personal book. The first half of the book is structured as a self-dialogue about life, death, and the afterlife; the second part contains an assortment of family anecdotes and reading notes—the fragments of a life. What emerges from its pages is not merely the predictable inward turn toward self-consolation of a learned person facing death; in Yang's declaration of faith and her insistence that the afterlife be 'fair' is an affirmation of personal metaphysics in a nation that has long promoted collectivism while discouraging religion and ‘superstition'.[5]
"Body and soul is a twisted. Together with good evil."
Translation work
[edit]
Gil Blas
Don Quixote
Lazarillo de Tormes
Phaedo
See also
[edit]
List of centenarians (authors, poets and journalists)
References
[edit]
Further reading
[edit]
Literary works by Yang Jiang in English translation
Yang Jiang, tran. Howard Goldblatt (1988). Six Chapters from My Life "Downunder". University of Washington Press. ISBN 9780295966441.
Yang Jiang, tran. Geremie Barme (1989). Lost in the Crowd: A Cultural Revolution Memoir. McPhee Gribble. ISBN 9780869140970.
Yang Jiang, tran. Judith M. Amory and Yaohua Shi (2007). Baptism. Hong Kong University Press. ISBN 9789622098312.
Yang Jiang, ed. Christopher Rea (2011). "Renditions Magazine: Special issue on Yang Jiang". Renditions: A Chinese-English Translation Magazine = Yizong. Hong Kong University Press. ISSN 0377-3515.
Studies of Yang Jiang's life and works
Swislocki, Mark (2016) [First published 2003]. "Yang Jiang". In Lily Xiao Hong Lee; A. D. Stefanowska (eds.). Biographical Dictionary of Chinese Women. Vol. 2: The Twentieth Century (1912-2000). Routledge. pp. 618–622. ISBN 978-1-315-49924-6.
Jesse Field (2012). Writing Lives in China: The Case of Yang Jiang. University of Minnesota Ph.D. dissertation. hdl:11299/133367.
Christopher Rea, ed. (2015). China's Literary Cosmopolitans: Qian Zhongshu, Yang Jiang and the World of Letters. Brill. ISBN 9789004299962.
Media related to Yang Jiang at Wikimedia Commons
|
||||||
21594
|
yago
|
1
| 58
|
http://www.csstoday.com/Item/8485.aspx
|
en
|
Yang Jiang: staying positive in hardship
|
[
"http://www.csstoday.com/Template/Csstoday/Skin/images/logo.png ",
"http://www.csstoday.com/UploadFiles/Multimedia/2020/11/202011251045322449.jpg"
] |
[] |
[] |
[
""
] | null |
[
"LUO YINSHENG"
] |
2020-11-25T00:00:00
| null |
Yang Jiang and her husband Qian Zhongshu Photo: FILE
During the War of Resistance Against Japanese Aggression, Shanghai was occupied by the Japanese invaders from 1937 to 1945. In this occupied city, Yang Jiang, already a well-known writer, began to write plays. These plays met huge success. After their stage debut, her plays were widely praised by critics and ordinary audiences alike.
Edited by REN GUANHONG
|
||||||||
21594
|
yago
|
1
| 35
|
https://www.alamy.com/stock-image-qian-zhongshu-and-yang-jiang-in-1935-166287023.html
|
en
|
Qian Zhongshu and Yang Jiang in 1935 Stock Photo
|
[
"https://s.alamy.com/logos/1.68.0/alamy.svg",
"https://s.alamy.com/logos/1.68.0/alamy.svg",
"https://s.alamy.com/assets/latest/footer/mastercard.svg",
"https://s.alamy.com/assets/latest/footer/visa.svg",
"https://s.alamy.com/assets/latest/footer/amex.svg",
"https://s.alamy.com/assets/latest/footer/paypal.svg",
"https://s.alamy.com/assets/latest/footer/apple-pay.svg",
"https://s.alamy.com/assets/latest/footer/google-pay.svg"
] |
[] |
[] |
[
"ancient",
"book",
"copy space",
"cover",
"editorial",
"editorial photography",
"historic",
"history",
"illustration",
"news"
] | null |
[
"Alamy Limited"
] | null |
Download this stock image: Qian Zhongshu and Yang Jiang in 1935 - KJF0P7 from Alamy's library of millions of high resolution stock photos, illustrations and vectors.
|
en
|
https://www.alamy.com/stock-image-qian-zhongshu-and-yang-jiang-in-1935-166287023.html
|
This image is a public domain image, which means either that copyright has expired in the image or the copyright holder has waived their copyright. Alamy charges you a fee for access to the high resolution copy of the image.
This image could have imperfections as it’s either historical or reportage.
|
||||||
21594
|
yago
|
2
| 60
|
https://u.osu.edu/mclc/book-reviews/humans-beasts-ghosts/
|
en
|
Humans, Beasts, and Ghosts: Stories and Essays
|
[
"https://u.osu.edu/mclc/files/2014/08/book-review-humans-beasts-ghosts-1htedeb.jpg"
] |
[] |
[] |
[
""
] | null |
[] |
2014-08-06T17:57:39+00:00
|
By Qian Zhongshu Edited by Christopher Rea Reviewed by Shuang Shen MCLC Resource Center Publication (Copyright March 2013) Humans, Beasts, and Ghosts consists of the writings by Qian Zhongshu origi…
|
en
|
https://u.osu.edu/mclc/wp-content/themes/osu/assets/osu_navbar/images/favicon.ico
|
MCLC Resource Center
|
https://u.osu.edu/mclc/book-reviews/humans-beasts-ghosts/
|
By Qian Zhongshu
Edited by Christopher Rea
Reviewed by Shuang Shen
MCLC Resource Center Publication (Copyright March 2013)
Humans, Beasts, and Ghosts consists of the writings by Qian Zhongshu originally published in two separate books, a volume of essays entitled Written in the Margins of Life (写在人生边上, 1941) and one of short stories entitled Human, Beast, and Ghost (人兽鬼, 1946). Both books are rather small, the first consisting of ten essays; the second only four stories. The current English translations were based on the 1983 edition of the two books, which were published together as a single volume and must have originated from the same intention as that of Christopher Rea about this English edition: “to offer readers a more comprehensive picture of Qian’s early works” (vii). But browsing through this “comprehensive” picture makes one realize that “comprehensive” is, ironically, about the least adequate description for these essays and stories. On the contrary, it is the acceptance of one’s limitation, to echo the title of Qian’s book of literary criticism Limited Views (管椎编), that would be closer to the author’s own perception of these works.
Indeed, Qian’s self-knowledge of being “limited” defines the aesthetic stance toward life and art propounded in the essays in Written in the Margins of Life. As Qian explains in his preface to the 1941 edition, these essays are but “piecemeal, spontaneous impressions [that] do not constitute their verdict on the entire book [of life]” (32). They “may contradict one another or go overboard” (32). The author himself is limited. He is not a professional “book critic, who shoulders the weighty tasks of guiding the reader and chiding the author,” but a “spare-time diversion seeker” who “brows[es] at [his] own leisurely pace”(32). These phrases should be taken not as a conventional self-disclaimer, but as candid self-revelation that gives hints about the intellectual frame of mind that finds its expression in the ensuing pages.
Upon closer examination, Qian’s essays illustrate a dialectical engagement between the self-knowledge of being “limited” and the yearning for a more “comprehensive” or rounded understanding of life and art. On the one hand, Qian endorses prejudice, for prejudice implies nothing but a focused or “stimulated” perception on things (“Prejudice”): “What we commonly refer to as prejudice is best likened to using one eye to take aim at a target” (62). Depicting human understanding with a series of aural metaphors, Qian suggests that prejudice operates like a super-sensitive amplifier that tunes out the chatter of the world, “the so-called ‘piping’ of Man” (人籁), and broadcasts with loudness and clarity the “piping of Heaven” (天籁). The sound of nature is instrumental for the human mind to operate, for it allows it to attain the optimal state of enlightenment described in terms of “transparency” (空明) and “quietude” (寂静) (64). Prejudice is thus not antithetical to enlightenment, but constitutive of it. Using a language that conjoins Daoist epistemology with a poststructuralist penchant, Qian hereby issues a powerful defense of prejudice that melds together Eastern and Western philosophical traditions.
On the other hand, Qian’s defense of prejudice does not translate into a defense of solipsism or tunnel vision. Rather, his essays are nothing short of an objective lesson of a “comprehensive” mind reflected in both content and style. The rich and myriad allusions in his essays serve to connect various “limited views,” different conceptual and aesthetic categories both Eastern and Western, often in a surprising yet brilliant manner. Qian’s knack for allusions, as Rea argues in his introduction, is more than simply showing off his erudition. It connotes, rather, a form of “intellectual egalitarianism” and exemplifies the working of a cosmopolitan mind. Still, even as Qian’s cosmopolitanism is premised upon a conceptual equality among world cultures, this worldliness can also be daunting simply because the knowledge-scape it commands is too vast for any scholar with “limited views” to grasp. To be honest, I have always found the Chinese essays to be dense (in some cases, such as “On Writers,” “Explaining Literary Blindness” and “On Moral Instruction,” more than the others) due not just to the compactness of allusion, but to the quick switching between vernacular and classical syntax. In one “On Laughter,” Qian makes a dig at Lin Yutang and the vogue of “humor literature,” arguing that “humor cannot be promoted” because the “moment it is promoted, the natural turns into affect, the mercurial turns into rigidity” (48). But one wonders if Qian’s overpowering prose style, peppered with many foreign names and classical titles, would also run the risk of artificiality and “rigidity.” Partly because Qian has borne a reputation as “the leading man of letters” since the late 1970s, we tend to think of his prose as a model of the contemporary essay in vernacular Chinese. In fact, his style manifests a kind of experimental anachronism that is itself a cultural gesture not uncommon among essayists of the 1930s and 1940s, such as Lin Yutang. Both Qian’s “limited views” and “comprehensiveness” call for an appropriate understanding within a specific historical context.
Granted that Qian’s essays often carry more depth or intellectual rigor than those of Lin Yutang, but this advantage may not fully compensate for the labor that goes into reading them. In more than one way, Rea and the other translators have done a great service by making Qian’s prose more accessible and his thought process more clearly punctuated at every twist and turn. I sometimes wish that there had been either more or less intellectualism in these essays. In “Prejudice,” for instance, I detect the problem of short-circuiting an intellectual argument by smoothing it over with rhetorical flare. Toward the end of the essay, Qian endorses Schopenhauer’s adage that “a thinker should be deaf,” but it remains unclear to me how by tuning out the “cacophony of human voices,” one can still approach one’s own “voice” and perception with relativism. How can the deaf thinker be aware that he is “too . . . a noise-making animal, that . . . [has] stomped on the heads of people living downstairs”? (65). Self-reflection, or the awareness of the philosopher’s own embeddedness in the world of noise and voices, is an argument insufficiently attended to by this essay. On a larger scale, this flaw can perhaps be taken as a manifestation of the “prejudice” of Qian’s cosmopolitan mind or the particular brand of comparative practice championed by this mind. Yes, Qian’s juxtaposition of the East and the West, the modern and the traditional, may “open up an arena of contesting ideas without presupposing the superiority of one over another on account of their origins” (Rea, 5). But might it be possible that the distinctions not so much among individual ideas but between paradigms of thought are not sufficiently noted in Qian’s use of allusions and comparative practice as a whole? It would be impossible to reach a definitive answer to this question without a thorough revisiting of Limited Views. For the present, I am more inclined to think that the flaw may be partially caused by the quickness of the eloquent ending that is appropriate for a Chinese “familiar essay” or 小品文, but less so for a scholarly treatise.
Allowing the reader to read the essays along the side with the short stories is perhaps the most helpful measure the editor has provided toward a better and fuller appreciation of Qian Zhongshu. There is a certain kind of intertextuality between the essays and the short stories, which is fascinating to observe. The stories carve out an imaginative space where the intellectual mind of the essays shows its more humane and humanistic sides. For instance, in “Explaining Literary Blindness,” Qian writes that “the difference between civilized humans and savage beasts is that humans possess a transsubjective point of view” (69). He further defines this “transsubjective point of view” as an analytical frame of mind that allows humans to “divorce questions of right and wrong . . . from . . . personal gains and loss,” or “separate questions of good and evil . . . from . . . individual likes and dislikes” (69). The short story “Souvenir” can be considered as an exercise in “transsubjectivism” understood not as an intellectual ability to abstract, generalize, or moralize, but as an empathic capability that resorts to feeling, not reason, to relate to other human beings. “Souvenir” depicts the loss of Manqian both in her marriage with Caishu and in her extra-marital affair with Tianjian, a cousin of her husband. “Transsubjectivism” here manifests itself as a long-distance view of all three characters that allows the author to lose sight of neither the “questions of right and wrong” nor “individual likes and dislikes”–in other words, matters big or small. The characters are slaves of the heart and puppets of reason. Yet, in approaching their blindness from afar, the narratorial voice conveys nothing but empathy toward their transgression and weakness and demonstrates an affective understanding that endows the characters with life even as they themselves have emotionally died, as conveyed by this description of Manqian: “It was as if Manqian’s body had been contaminated by death, as if a part of her body had been snatched away by Tianjian and had died also” (202). Trans-bodily transsubjectivism leads to a subject position that is not the same as the sharp-tongued critical voice of Qian’s essays, but it is not totally unrelated to this voice, either. The difference in tone and perspective between the essays and the short stories, I would surmise, comes from a different management of vulnerability of the author himself and the characters. The fictional world created by Qian is populated by characters whose intellectual penchant only leaves them displaced and helpless (here I am thinking about Fortress Beseiged 围城). Yet in his essays, Qian would never consent to a rhetorical position of vulnerability, for doing so would risk compromising the strength of his argument. In this respect, while I agree with Rea that we should not “critique Qian by the standards of present-day morality” (16), we can, however, take note of the intertextual connections and contradictions between the essays and the stories, so as to get a better view of the different gears in which this empathetic yet occasionally mischievous mind operates.
A final question that remains to be answered if we want to “reappraise” Qian Zhongshu, as Rea advocates in the introduction, is the institutional structures (readership, media, and comparative literature as a historically evolving institution) that shape both the tone of his essays and the intellectual practice in his critical works. Intellectuals in Qian Zhongshu’s times did not need to be as aware of their straddling over different worlds of literary criticism, literary practice, journalism, or public culture as we do today. The world of belles lettres back then was simply not as divided or professionalized as now. Considering this difference, is it possible or worth the effort for contemporary writers and scholars to emulate Qian’s “comprehensiveness”? Or is it useful more as a footnote to intellectual history? These questions ultimately will determine how much weight the essays and short stories carry in Qian’s oeuvre and in what ways these texts will enter into our curriculum.
|
||||
21594
|
yago
|
0
| 79
|
https://www.cambridge.org/core/books/cultural-revolution-on-trial/vanity/AEDD53AC518C6AA7818EAE21882C9EEF
|
en
|
The Cultural Revolution on Trial
|
[
"https://www.cambridge.org/core/cambridge-core/public/images/icn_circle__btn_close_white.svg",
"https://www.cambridge.org/core/cambridge-core/public/images/logo_core.png",
"https://www.cambridge.org/core/cambridge-core/public/images/logo_core.svg",
"https://www.cambridge.org/core/cambridge-core/public/images/logo_core.svg",
"https://www.cambridge.org/core/cambridge-core/public/images/logo_core.svg",
"https://assets.cambridge.org/97805217/61116/cover/9780521761116.jpg",
"https://www.cambridge.org/core/page-component/img/share-icon.cbcfad8.svg",
"https://www.cambridge.org/core/page-component/img/close-icon.194b28a.svg",
"https://www.cambridge.org/core/page-component/img/cite-icon.44eaaa4.svg",
"https://static.cambridge.org/content/id/urn%3Acambridge.org%3Aid%3Abook%3A9780511980411/resource/name/firstPage-9780511980411c6_p201-226_CBO.jpg",
"https://www.cambridge.org/core/cambridge-core/public/images/cambridge_logo.png"
] |
[] |
[] |
[
""
] | null |
[
"Alexander C. Cook",
"Stanford University"
] | null |
The Cultural Revolution on Trial - November 2016
|
en
|
/core/cambridge-core/public/images/favicon.ico
|
Cambridge Core
|
https://www.cambridge.org/core/books/cultural-revolution-on-trial/vanity/AEDD53AC518C6AA7818EAE21882C9EEF
|
To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.
Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.
|
||||
21594
|
yago
|
2
| 37
|
https://books.google.com/books/about/Fortress_Besieged.html%3Fid%3Dxzhpf1RW25MC
|
en
|
Google Books
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
https://books.google.com/
|
Search the world's most comprehensive index of full-text books.
My library
|
||||||||
21594
|
yago
|
1
| 74
|
https://webofproceedings.org/proceedings_series/article/artId/2031.html
|
en
|
Study of Female Narration in Yang Jiang's Literary Works
|
[
"https://webofproceedings.org/assets/default/img/logo.jpg",
"https://webofproceedings.org/assets/default/img/banner.jpg",
"https://webofproceedings.org/assets/default/img/pdf.png",
"https://webofproceedings.org/assets/default/img/social/googleplus.png",
"https://webofproceedings.org/assets/default/img/social/facebook.png",
"https://webofproceedings.org/assets/default/img/social/twitter.png",
"https://webofproceedings.org/assets/default/img/social/youtube.png",
"https://webofproceedings.org/assets/default/img/logo-footer.jpg"
] |
[] |
[] |
[
""
] | null |
[
"Legend IT Inc",
"Website Building",
"Website Management",
"Website Hosting",
"Search Engine Optimization",
"Social Media Marketing",
"Wechat APPs",
"Android APPs",
"Menu Design",
"Flyer Design"
] | null |
en
| null |
Download as PDF
DOI: 10.25236/ssah.2018.067
Author(s)
Xue Han
Corresponding Author
Xue Han
Abstract
As a woman, Yang Jiang has done her job in the trinity role of creation, translation, and literary theory research. She has performed brilliantly in her role as a daughter, wife, and mother and has become the most virtuous wife in the eyes of Qian Zhongshu. How did Yang Jiang succeed in the dilemma of the common cause and family as a modern intellectual woman? After her husband and daughter had left her, what power did support her in the year when she had entered Mi Kui? Texts such as “Our Benevolence” and “Being on the edge of life”, which have both emotional and intellectual qualities, mainly from the feminist perspective interpret the awakening of feminine consciousness embodied in her life practices and creative activities by Yang Jiang and women. The reconstruction of female identity seeks to resolve this doubt.
|
|||||||
21594
|
yago
|
2
| 76
|
http://en.chinaculture.org/2016-05/25/content_796253.htm
|
en
|
Celebrated Chinese writer Yang Jiang dies at 105
|
[
"http://en.chinaculture.org//image_e/2014WenTong/bg-2.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ico-1.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ico-2.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/twitter01.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/youtube01.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ins01.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ic-1.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ic-2.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ic-3.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ic-4.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ic-5.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160525/b083fe955ec018af91bc3a.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160620/f8bc126e491618d16ea702.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160617/d8cb8a14fd9a18cdf7690c.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160614/d4bed9d6cb4018c9b5330d.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160627/f8bc126e491618dadf4c13.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160624/f8bc126e491618d724784a.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160530/f8bc126e491618b5e7c524.jpg",
"http://en.chinaculture.org/7812.files/ico-6.png",
"http://en.chinaculture.org/attachement/jpg/site1/20160530/f8bc126e491618b5e64f22.jpg",
"http://en.chinaculture.org/7812.files/ico-6.png",
"http://en.chinaculture.org/attachement/jpg/site1/20160627/f8bc126e491618dadf4c13.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160624/f8bc126e491618d724784a.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160624/d8cb8a51564a18d6e96c50.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160624/f8bc126e491618d72b3153.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160624/f8bc126e491618d72a9452.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160623/b083fe96faac18d5b87610.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/p-1020180514.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/p-11.jpg",
"http://cn.chinadaily.com.cn/image/2017/gwab.png"
] |
[] |
[] |
[
""
] | null |
[
"æè¹ç¿"
] |
2016-05-25T00:00:00
| null |
Well-known Chinese writer, literary translator and foreign literature researcher Yang Jiang died at the age of 105 in Beijing on Wednesday morning.
Yang, the wife of late Chinese novelist Qian Zhongshu, enjoyed decades of fame across the country for her literature works such as Six Chapters from My Life 'Downunder' (1981), Baptism (1988), and We Three (2004), which recalls her husband and her daughter Qian Yuan (1937â1997), who died of cancer one year before her father's death. Her translation of the Spanish novel Don Quixote de la Mancha is widely considered the best Chinese version.
Yang Jiang, whose original name was Yang Jikang, married Qian Zhongshu, one of the top Chinese litterateurs, in 1935.
|
||||||||
21594
|
yago
|
0
| 18
|
https://www.nytimes.com/2016/05/27/books/yang-jiang-chinese-author-and-translator-dies-at-104.html
|
en
|
Yang Jiang Dies at 104; Revered Writer Witnessed China’s Cultural Revolution
|
[
"https://static01.nyt.com/images/2016/05/27/arts/27yang-obit/27yang-obit-articleLarge.jpg?quality=75&auto=webp&disable=upscale"
] |
[] |
[] |
[
""
] | null |
[
"Amy Qin"
] |
2016-05-27T00:00:00
|
Ms. Yang’s popular memoir told of the forced rural labor she and her novelist husband endured. Her translation of “Don Quixote” is regarded as the definitive one in Chinese.
|
en
|
/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico
|
https://www.nytimes.com/2016/05/27/books/yang-jiang-chinese-author-and-translator-dies-at-104.html
|
BEIJING — Yang Jiang, a Chinese author, playwright and translator whose stoically restrained memoir of the Cultural Revolution remains one of the most revered works about that period, died on Wednesday in Beijing. She was 104.
Her death was announced by state-run news media, including People’s Daily, the official newspaper of the Communist Party, a sign of the esteem with which Ms. Yang was held.
She and her husband, Qian Zhongshu, the author of the novel “Fortress Besieged,” were already acclaimed writers when Mao Zedong inaugurated the Cultural Revolution to root out ideological foes in 1966. At the time, Ms. Yang was working on a translation of “Don Quixote,” a formidable undertaking.
After deeming several English and French translations unsuitable, she taught herself Spanish.
“If I wanted to be faithful to the original, I had to translate directly from the original,” she wrote in 2002.
Ms. Yang had completed almost seven out of eight volumes of the translation when Red Guard student militants confiscated the manuscript from her home in Beijing. Like other foreign-trained academics and artists, Ms. Yang and Mr. Qian, both nearly 60 years old at the time, were consigned to “reform through labor” and sent to the countryside in Henan Province, in central China, where they remained for several years.
“I worked with every ounce of energy I could muster, gouging at the earth with a spade, but the only result was a solitary scratch on the surface,” Ms. Yang wrote. “The youngsters around me had quite a laugh over that.”
Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.
Thank you for your patience while we verify access.
Already a subscriber? Log in.
Want all of The Times? Subscribe.
|
|||||
21594
|
yago
|
2
| 56
|
https://www.scribd.com/document/443253855/Fortress-Besieged-New-Directio-Qian-Zhongshu
|
en
|
Fortress Besieged (New Directio - Qian Zhongshu
|
https://imgv2-1-f.scribdassets.com/img/document/443253855/original/e05cbe5a91/1723735844?v=1
|
https://imgv2-1-f.scribdassets.com/img/document/443253855/original/e05cbe5a91/1723735844?v=1
|
[
"https://s-f.scribdassets.com/webpack/assets/images/shared/gr_table_reading.9f6101a1.png"
] |
[] |
[] |
[
""
] | null |
[
"Milton Wu"
] | null |
Fortress Besieged (New Directio - Qian Zhongshu - Free ebook download as PDF File (.pdf), Text File (.txt) or read book online for free. This document provides context about the novel Fortress Besieged by Qian Zhongshu. It discusses how the novel was written during a difficult time in Chinese history when Japan invaded China in 1937. While the war is not depicted directly, its effects are shown through the experiences of the protagonist Fang Hung-chien as he travels around China. The novel operates on multiple levels, providing social commentary while also satirizing Chinese intellectuals and relationships between men and women. It reflects both the author Qian Zhongshu's own experiences living in China during the war and his critique of Western literary theories being excessively adapted by Chinese writers.
|
en
|
https://s-f.scribdassets.com/scribd.ico?38fe7dbaa?v=5
|
Scribd
|
https://www.scribd.com/document/443253855/Fortress-Besieged-New-Directio-Qian-Zhongshu
| |||
21594
|
yago
|
0
| 59
|
https://books.google.com/books/about/China_s_Literary_Cosmopolitans.html%3Fid%3D8SJACgAAQBAJ
|
en
|
Google Books
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
https://books.google.com/
|
Search the world's most comprehensive index of full-text books.
My library
|
||||||||
21594
|
yago
|
2
| 17
|
https://lareviewofbooks.org/article/a-monument-to-what-might-have-been-qian-zhongshus-fortress-besieged
|
en
|
A Monument to What Might Have Been: Qian Zhongshu's "Fortress Besieged"
|
https://lareviewofbooks-media.azureedge.net/unsafe/1200x0/filters:format(jpeg):quality(75)/null
|
https://lareviewofbooks-media.azureedge.net/unsafe/1200x0/filters:format(jpeg):quality(75)/null
|
[
"https://lareviewofbooks-media.azureedge.net/unsafe/640x0/filters:format(jpeg):quality(75)/https%3A%2F%2Fassets.lareviewofbooks.org%2Fuploads%2Fbest-of-larb-inbox.jpg 640w, https://lareviewofbooks-media.azureedge.net/unsafe/750x0/filters:format(jpeg):quality(75)/https%3A%2F%2Fassets.lareviewofbooks.org%2Fuploads%2Fbest-of-larb-inbox.jpg 750w, https://lareviewofbooks-media.azureedge.net/unsafe/828x0/filters:format(jpeg):quality(75)/https%3A%2F%2Fassets.lareviewofbooks.org%2Fuploads%2Fbest-of-larb-inbox.jpg 828w, https://lareviewofbooks-media.azureedge.net/unsafe/1080x0/filters:format(jpeg):quality(75)/https%3A%2F%2Fassets.lareviewofbooks.org%2Fuploads%2Fbest-of-larb-inbox.jpg 1080w, https://lareviewofbooks-media.azureedge.net/unsafe/1200x0/filters:format(jpeg):quality(75)/https%3A%2F%2Fassets.lareviewofbooks.org%2Fuploads%2Fbest-of-larb-inbox.jpg 1200w, https://lareviewofbooks-media.azureedge.net/unsafe/1920x0/filters:format(jpeg):quality(75)/https%3A%2F%2Fassets.lareviewofbooks.org%2Fuploads%2Fbest-of-larb-inbox.jpg 1920w, https://lareviewofbooks-media.azureedge.net/unsafe/2048x0/filters:format(jpeg):quality(75)/https%3A%2F%2Fassets.lareviewofbooks.org%2Fuploads%2Fbest-of-larb-inbox.jpg 2048w, https://lareviewofbooks-media.azureedge.net/unsafe/3840x0/filters:format(jpeg):quality(75)/https%3A%2F%2Fassets.lareviewofbooks.org%2Fuploads%2Fbest-of-larb-inbox.jpg 3840w",
"https://lareviewofbooks-media.azureedge.net/unsafe/640x0/filters:format(jpeg):quality(75)/https%3A%2F%2Fassets.lareviewofbooks.org%2Fuploads%2FLARB42_D2_Cover%20(1).jpg 640w, https://lareviewofbooks-media.azureedge.net/unsafe/750x0/filters:format(jpeg):quality(75)/https%3A%2F%2Fassets.lareviewofbooks.org%2Fuploads%2FLARB42_D2_Cover%20(1).jpg 750w, https://lareviewofbooks-media.azureedge.net/unsafe/828x0/filters:format(jpeg):quality(75)/https%3A%2F%2Fassets.lareviewofbooks.org%2Fuploads%2FLARB42_D2_Cover%20(1).jpg 828w, https://lareviewofbooks-media.azureedge.net/unsafe/1080x0/filters:format(jpeg):quality(75)/https%3A%2F%2Fassets.lareviewofbooks.org%2Fuploads%2FLARB42_D2_Cover%20(1).jpg 1080w, https://lareviewofbooks-media.azureedge.net/unsafe/1200x0/filters:format(jpeg):quality(75)/https%3A%2F%2Fassets.lareviewofbooks.org%2Fuploads%2FLARB42_D2_Cover%20(1).jpg 1200w, https://lareviewofbooks-media.azureedge.net/unsafe/1920x0/filters:format(jpeg):quality(75)/https%3A%2F%2Fassets.lareviewofbooks.org%2Fuploads%2FLARB42_D2_Cover%20(1).jpg 1920w, https://lareviewofbooks-media.azureedge.net/unsafe/2048x0/filters:format(jpeg):quality(75)/https%3A%2F%2Fassets.lareviewofbooks.org%2Fuploads%2FLARB42_D2_Cover%20(1).jpg 2048w, https://lareviewofbooks-media.azureedge.net/unsafe/3840x0/filters:format(jpeg):quality(75)/https%3A%2F%2Fassets.lareviewofbooks.org%2Fuploads%2FLARB42_D2_Cover%20(1).jpg 3840w"
] |
[] |
[] |
[
""
] | null |
[] |
2013-10-13T07:00:30+00:00
|
Qian Zhongshu is a tough sell for the Nobel Prize, but he deserves it for Fortress Besieged alone.
|
/icons/favicon/favicon.ico
|
Los Angeles Review of Books
|
https://lareviewofbooks.org/article/a-monument-to-what-might-have-been-qian-zhongshus-fortress-besieged
|
QIAN ZHONGSHU is a tougher Nobel pitch than some of the other authors profiled in this series. He’s dead, for starters — traditionally an obstacle to many things, including winning Nobel prizes — and his total creative output consists solely of a few essays, several short stories, and a single novel. On the other hand, that novel, Fortress Besieged, seems to me to be the high-water mark of something significant, if hard to explain, so I’m going to make my best case for it being enough to secure Qian’s place in history. The book takes its title from a French proverb, sets its action in the China of the 1930s, and tracks the misfortunes of Fang Hongjian, a feckless, cowardly student returning from Europe with a mail-order doctorate in Chinese from an American university that exists only in the imagination of a crooked Irishman. It may be one of the most cosmopolitan books ever written; certainly it is, as literary critic C. T. Hsia said, one of the greatest Chinese novels of the 20th century.
We meet the protagonist, Fang Hongjian, in the summer of 1937 as he and his fellow Chinese students return to China aboard a French steamer. He livens up the journey by flirting unsuccessfully with two of the female passengers. In Shanghai, which has just fallen under Japanese occupation, Fang renews his acquaintance with one of the young women, a PhD named Miss Su — and promptly falls for her cousin. He clammily courts both women for a time before working up the nerve to break things off with Miss Su, who has been expecting Fang to propose to her. In retaliation, she destroys any chance he might have with her cousin.
Shanghai proving a downer, Fang takes a teaching job at Sanlü University, a newly established school in China’s interior, but en route there he and his traveling companions continually encounter hassles and hardships. Once at Sanlü, Fang quickly finds that the other teachers are pompous frauds, backstabbers, and brownnosers. (One of them has a doctorate from the same fake university as Fang and is desperate not to be found out.) Circumstances push Fang into the arms of Sun Roujia, a young English teacher. After Fang's contract is not renewed for a second year, he marries Sun and they return to Shanghai. There, their relationship (never very strong to begin with) collapses under the weight of their unhappiness.
There's a lot missing from this summary, of course — in particular, the erudition and humor that make Fortress Besieged so unlike any other Chinese novel of the past century. Raised by Confucians and educated by missionaries, Qian studied at Oxford and the Sorbonne, and drew upon the literary traditions of a half-dozen languages in cracking wise and devising epigrams that have made him legendary to Chinese readers. (Many of these, unfortunately, are blunted in the novel's sole English translation, a 1970s relic.) He had a keen eye and a sharp pen, and many of his characters still resonate. There's "Jimmy Zhang," a Shanghainese comprador who peppers his speech with malaprop English words and insists on being addressed by his English name. There's Fang Hongjian's father, a country gentleman who expatiates with classical allusions and hoary clichés. There's a Cambridge-educated modernist poet who has entitled his unreadable, heavily footnoted magnum opus "Adulterous Smorgasbord," and a philosopher who claims a personal friendship with Bertrand Russell ("Bertie") on the strength of a form reply to his fan mail, and tells people that Russell came to him with questions only he could answer. ("This was no idle boast, Heaven knows. Russell had personally asked him when he would be visiting England, and whether or not he had any plans for his visit, and how many lumps of sugar he took in his tea.") And there's Fang himself, a gormless fraud and moral coward who at one point tells a lecture audience that the only two Western inventions to have caught on in China are opium and syphilis.
"I talked to Bertie about his marriages and divorces once," Shenming said. "He said that there's a saying in English that marriage is like a gilded birdcage. The birds outside want to get in, and the birds inside want to get out, he said, so divorce leads to marriage and marriage leads to divorce and there's never any end to it."
"There's a saying like that in France, too," Miss Su said. "Only there it's about a forteresse assiégée — a fortress under siege. The people outside want to storm in, and the people inside are desperate to get out."
The metaphor (from the French "Le mariage est comme une forteresse assiégée; ceux qui sont dehors veulent y entrer, et ceux qui sont dedans veulent en sortir") functions on many levels. In Qian's satire, Fang finds disillusionment and disappointment in wartime Shanghai (full of frauds, phonies, and toadies), the relatively safe interior (where an innkeeper attempts to convince him and his traveling companions that maggots on their dinner are merely "meat sprouts"), the security of an academic career (Sanlü University proves to be a hotbed of petty intrigues), and the prestige of an international education. The image of a fortress under siege also applies to China itself: Fang and his compatriots return to Shanghai just in time to catch the Japanese invasion, and although Qian was much too subtle a writer to foreground the war and occupation — Fang leaves Shanghai to escape a broken heart, not the Japanese — they are a constant presence throughout the novel.
In Qian's short story "Inspiration,” the spirit of a recently deceased author is confronted in the afterlife by the shades of characters from his novels who charge him with murder and theft for having robbed them of life in his works. It would be hard to make either charge stick in Qian's case — but as memorable as the characters that populate the first sections of the book are, there's a definite change of tone about two-thirds of the way through Fortress Besieged, when the focus shifts to Fang Hongjian and Sun Roujia's unhappy marriage. Here wit gives way to greatness, as the wisecracks and epigrams take a backseat to a heartbreakingly sensitive depiction of a failing relationship.
Qian never completed another novel. The manuscript of a second book, Baihe Xin (literally Lily Heart, inspired by the French expression cœur d'artichaut), was lost when he and his family moved to Beijing in the summer of 1949, and Fortress Besieged remained out of print on both the mainland and Taiwan until the early 1980s. Qian turned his energies to classical scholarship instead, culminating in the monumental Limited Views, a critical overview in Literary Chinese of China's classical literary tradition viewed through the lens of Qian's polyglot bibliophilia. (You haven't lived until you've seen someone name-check Susan Sontag in the language of Confucius.) Qian professed to have left his career as a novelist behind him, but a 1985 essay written by his wife, the playwright and translator Yang Jiang, suggests otherwise:
After Fortress Besieged was reprinted, I asked if he wouldn't be interested in writing another novel.
"The interest is there," he replied, "but my powers have waned over the years. To want to write, when there is no chance of writing, is a lingering regret — but to write something that isn't any good, once one does have the chance, can only end in remorse. The former at least leaves some room for self-deception; the latter is what the Spanish call 'el momento de la verdad,' and it leaves no room for self-deception, escape, or mercy. Better regret than remorse."
They don't give Nobel prizes to dead people; they don't give Nobel prizes to people who only wrote one novel; and they don't give Nobel prizes for counterfactuals. Fortress Besieged will have to stand on its own merits, a monument to what might have been.
¤
|
|||
21594
|
yago
|
0
| 75
|
https://www.business-standard.com/article/pti-stories/renowned-chinese-writer-yang-jiang-dies-at-age-104-116052500678_1.html
|
en
|
Renowned Chinese writer Yang Jiang dies at age 104
|
[
"https://sb.scorecardresearch.com/p?c1=2&c2=8021726&cv=4.4.0&cj=1",
"https://bsmedia.business-standard.com/include/_mod/site/html5/images/business-standard-logo.png",
"https://www.business-standard.com/assets/web-assets/images/logo-bs.webp",
"https://www.business-standard.com/assets/web-assets/images/Business_Standard_685x385.jpg",
"https://www.business-standard.com/assets/web-assets/images/Business_Standard_328x185.jpg",
"https://www.business-standard.com/assets/web-assets/images/Business_Standard_328x185.jpg",
"https://www.business-standard.com/assets/web-assets/images/Business_Standard_328x185.jpg",
"https://www.business-standard.com/assets/web-assets/images/Business_Standard_328x185.jpg",
"https://www.business-standard.com/assets/web-assets/images/Business_Standard_328x185.jpg",
"https://www.business-standard.com/assets/web-assets/images/Business_Standard_328x185.jpg",
"https://www.business-standard.com/assets/web-assets/images/Business_Standard_328x185.jpg",
"https://www.business-standard.com/assets/web-assets/images/Business_Standard_328x185.jpg",
"https://www.business-standard.com/assets/web-assets/images/Business_Standard_328x185.jpg",
"https://www.business-standard.com/assets/web-assets/icons/LinkedIN.png"
] |
[] |
[] |
[
"National News",
"International News",
"Hong Kong",
"Beijing",
"China"
] | null |
[
"Business Standard"
] |
2016-05-25T15:28:45+05:30
|
Renowned Chinese writer Yang Jiang, known for her prolific output and marriage to an equally famous author, died today at the age of 104 years, state media said.
Yang died at Peking Union Medical College Hospital in Beijing, according to The Paper, a state-owned news website. It said her death had been confirmed by her publisher, the People's Literature Publishing House.
Citing different sources, Hong Kong station Phoenix TV also confirmed Yang's death, the cause of which was not given.
Born in 1911, Yang became a household name in China for her novels, plays, essays and translated works. She was the first to translate "Don Quixote" into Chinese, and her version is still considered the definitive one by many.
Her death was the top search term on the Chinese microblogging site Weibo today, a testimony to her fame and the public adoration she enjoyed.
In a 1981 collection of essays, Yang wrote with a sense of poignancy on the daily lives of Chinese intellectuals during the chaos of ...
|
en
|
https://www.business-standard.com/favicon.ico
|
https://www.business-standard.com/article/pti-stories/renowned-chinese-writer-yang-jiang-dies-at-age-104-116052500678_1.html
| ||||||
21594
|
yago
|
2
| 83
|
https://www.penguin.co.uk/books/57471/fortress-besieged-by-qian-zhongshu-intro-jonathan-spence/9780141187860
|
en
|
Fortress Besieged
|
[
"https://cdn.penguin.co.uk/dam-assets/books/9780141187860/9780141187860-jacket-large.jpg",
"https://www.penguin.co.uk/images/placeholder-book.png",
"https://www.penguin.co.uk/images/placeholder-book.png",
"https://www.penguin.co.uk/images/placeholder-book.png",
"https://cdn.penguin.co.uk/dam-assets/books/9780241711491/9780241711491-jacket-medium.jpg",
"https://cdn.penguin.co.uk/dam-assets/books/9780241729663/9780241729663-jacket-medium.jpg",
"https://cdn.penguin.co.uk/dam-assets/books/9780241723609/9780241723609-jacket-medium.jpg",
"https://cdn.penguin.co.uk/dam-assets/books/9780241711194/9780241711194-jacket-medium.jpg",
"https://cdn.penguin.co.uk/dam-assets/books/9780241637364/9780241637364-jacket-medium.jpg",
"https://cdn.penguin.co.uk/dam-assets/books/9780241715277/9780241715277-jacket-medium.jpg",
"https://cdn.penguin.co.uk/dam-assets/books/9780241406014/9780241406014-jacket-medium.jpg",
"https://cdn.penguin.co.uk/dam-assets/books/9780241406045/9780241406045-jacket-medium.jpg",
"https://www.penguin.co.uk/images/placeholder-book.png",
"https://cdn.penguin.co.uk/dam-assets/books/9780241405895/9780241405895-jacket-medium.jpg",
"https://cdn.penguin.co.uk/dam-assets/books/9780241706992/9780241706992-jacket-medium.jpg",
"https://cdn.penguin.co.uk/dam-assets/books/9780241542293/9780241542293-jacket-medium.jpg",
"https://cdn.penguin.co.uk/dam-assets/books/9780241705391/9780241705391-jacket-medium.jpg",
"https://cdn.penguin.co.uk/dam-assets/books/9780241625187/9780241625187-jacket-medium.jpg",
"https://cdn.penguin.co.uk/dam-assets/books/9780241696453/9780241696453-jacket-medium.jpg",
"https://cdn.penguin.co.uk/dam-assets/books/9780241689646/9780241689646-jacket-medium.jpg",
"https://cdn.penguin.co.uk/dam-assets/books/9780241703731/9780241703731-jacket-medium.jpg"
] |
[] |
[] |
[
""
] | null |
[
"Qian Zhongshu"
] |
2006-04-27T00:00:00
|
Set on the eve of the Sino-Japanese war, Fortress Besieged recounts the exuberant misadventures of the hapless hero Fang Hung-chien, who after aimlessly studying in Europe at his family's expense returns to Shanghai armed with a bogus degree from a fake university. On the liner back, Fang's life becomes deeply entangled with those of two Chinese beauties - while when he does finally make it home, he obtains a teaching post at a newly established university, encounters effete pseudo-intellectuals, and falls into a marriage of disastrous proportions. A glorious tale of love, marriage, war, calamity, disillusionment and hope, this is one of the greatest Chinese novels: combining Eastern philosophy, Western traditions, adventure, tragicomedy and satire to create a unique feast of delights.
|
en
|
/apple-touch-icon.png
|
https://www.penguin.co.uk/books/57471/fortress-besieged-by-qian-zhongshu-intro-jonathan-spence/9780141187860
|
Set on the eve of the Sino-Japanese war, Fortress Besieged recounts the exuberant misadventures of the hapless hero Fang Hung-chien, who after aimlessly studying in Europe at his family's expense returns to Shanghai armed with a bogus degree from a fake university. On the liner back, Fang's life becomes deeply entangled with those of two Chinese beauties - while when he does finally make it home, he obtains a teaching post at a newly established university, encounters effete pseudo-intellectuals, and falls into a marriage of disastrous proportions. A glorious tale of love, marriage, war, calamity, disillusionment and hope, this is one of the greatest Chinese novels: combining Eastern philosophy, Western traditions, adventure, tragicomedy and satire to create a unique feast of delights.
|
|||||
21594
|
yago
|
3
| 77
|
https://three-body-problem.fandom.com/wiki/Qian_Zhongshu
|
en
|
Qian Zhongshu
|
https://static.wikia.nocookie.net/three-body-problem/images/3/39/Site-community-image/revision/latest?cb=20240227061650
|
https://static.wikia.nocookie.net/three-body-problem/images/3/39/Site-community-image/revision/latest?cb=20240227061650
|
[
"https://static.wikia.nocookie.net/three-body-problem/images/e/e6/Site-logo.png/revision/latest?cb=20240227061650",
"https://static.wikia.nocookie.net/ff185fe4-8356-4b6b-ad48-621b95a82a1d",
"https://static.wikia.nocookie.net/f3fc9271-3d5e-4c73-9afc-e6a9f6154ff1",
"https://static.wikia.nocookie.net/464fc70a-5090-490b-b47e-0759e89c263f",
"https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668"
] |
[] |
[] |
[
""
] | null |
[
"Contributors to Three Body Problem Wiki"
] | null |
Qian Zhongshu (钱锺书), born in the Qing dynasty, was a legendary writer of 20th century China. He studied at Qinghua university and Oxford. He translated Mao Zedong's writings. He married Yang Jiang. Most of Qian's life is known through Yang's writings. In Three Body Problem, Wang Miao quips that...
|
en
|
https://static.wikia.nocookie.net/three-body-problem/images/4/4a/Site-favicon.ico/revision/latest?cb=20230604215432
|
Three Body Problem Wiki
|
https://three-body-problem.fandom.com/wiki/Qian_Zhongshu
|
Qian Zhongshu (钱锺书), born in the Qing dynasty, was a legendary writer of 20th century China.
He studied at Qinghua university and Oxford. He translated Mao Zedong's writings.
|
||
21594
|
yago
|
1
| 81
|
https://www.amazon.com.au/You-Are-Best-World-Zhongshu/dp/7559631517
|
en
|
You Are the Best in the World: Yang Jiang And Qian Zhongshu - Lin Zhouchangwan
|
[
"https://fls-fe.amazon.com.au/1/batch/1/OP/A39IBJ37TRP1C6:358-5678224-2355053:BE5YX6PB6G3NH66DQQXB$uedata=s:%2Frd%2Fuedata%3Fstaticb%26id%3DBE5YX6PB6G3NH66DQQXB:0",
"https://m.media-amazon.com/images/G/35/gno/sprites/nav-sprite-global-1x-reorg-privacy._CB602752811_.png",
"https://m.media-amazon.com/images/G/35/digital/video/merch/2018/Magellan/AVD10797_SWMRush/Amazon_GW_DesktopSWM_AVD10797_MagellanRush_400x39_EN2._CB485921639_.jpg",
"https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/transparent-pixel._V192234675_.gif",
"https://m.media-amazon.com/images/G/35/kindle/app/kindle-app-logo._CB666539771_.png",
"https://m.media-amazon.com/images/G/35/kindle/app/QR-store-link-kindle-app._CB626291030_.png",
"https://m.media-amazon.com/images/I/41xWnOwwxwL._SX342_SY445_.jpg",
"https://m.media-amazon.com/images/I/41xWnOwwxwL._SX38_SY50_CR,0,0,38,50_.jpg",
"https://m.media-amazon.com/images/I/41xsqrp8LZL._SX38_SY50_CR,0,0,38,50_.jpg",
"https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/transparent-pixel._V192234675_.gif",
"https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/transparent-pixel._V192234675_.gif",
"https://images-na.ssl-images-amazon.com/images/G/01/x-locale/common/grey-pixel.gif",
"https://m.media-amazon.com/images/G/35/personalization/ybh/loading-4x-gray._CB485916908_.gif",
"https://fls-fe.amazon.com.au/1/batch/1/OP/A39IBJ37TRP1C6:358-5678224-2355053:BE5YX6PB6G3NH66DQQXB$uedata=s:%2Frd%2Fuedata%3Fnoscript%26id%3DBE5YX6PB6G3NH66DQQXB:0"
] |
[] |
[] |
[
""
] | null |
[] | null |
You Are the Best in the World: Yang Jiang And Qian Zhongshu [Lin Zhouchangwan] on Amazon.com.au. *FREE* shipping on eligible orders. You Are the Best in the World: Yang Jiang And Qian Zhongshu
|
en
|
https://www.amazon.com.au/You-Are-Best-World-Zhongshu/dp/7559631517
|
Download the free Kindle app and start reading Kindle books instantly on your smartphone, tablet or computer—no Kindle device required.
Read instantly on your browser with Kindle for Web.
|
||||||
21594
|
yago
|
1
| 97
|
https://www.foreignaffairs.com/reviews/capsule-review/1984-12-01/cadre-school-life-six-chapters
|
en
|
A Cadre School Life: Six Chapters
|
[
"https://cdn-live.foreignaffairs.com/sites/default/files/styles/_webp_issue_small_1x/public/images/2024/07/31/FA_SO_2024_Cover.jpg.webp?itok=QPxDEiV6",
"https://cdn-live.foreignaffairs.com/sites/default/files/styles/_webp_720_max_width/public/images/2023/12/22/BooksReviews_Overlay.jpg.webp?itok=UT3vDT6E",
"https://www.foreignaffairs.com/themes/fa/assets/images/default_image.png",
"https://www.foreignaffairs.com/themes/fa/assets/images/default_image.png",
"https://www.foreignaffairs.com/themes/fa/assets/images/subscription-cover.webp",
"https://www.foreignaffairs.com/themes/fa/assets/images/council-on-FA-lockup.png",
"https://www.foreignaffairs.com/themes/fa/assets/images/FA-loading-32.gif",
"https://www.foreignaffairs.com/themes/fa/assets/images/FA-loading-64.gif"
] |
[] |
[] |
[
""
] | null |
[
"Donald S. Zagoria",
"Yang Jiang",
"Marc Goedemans",
"Clara Fong",
"Chris Baylor"
] |
1984-12-01T00:00:00
|
Between 1966 and 1978, some 20 million Chinese were exiled to the countryside-many of them because of Mao Zedong's view that China's intellectuals needed "re-education"-i.e., humbling. Among the exiles were the elderly writer and translator Yang Jiang and her husband Qian Zhongshu, one of China's most prestigious writers. Her memoir of life in the cadre schools was published with official approval, but not for wide dissemination, in 1981, and is now available in English.
|
en
|
/themes/fa/favicon.ico
|
Foreign Affairs
|
https://www.foreignaffairs.com/reviews/capsule-review/1984-12-01/cadre-school-life-six-chapters
|
Between 1966 and 1978, some 20 million Chinese were exiled to the countryside-many of them because of Mao Zedong's view that China's intellectuals needed "re-education"-i.e., humbling. Among the exiles were the elderly writer and translator Yang Jiang and her husband Qian Zhongshu, one of China's most prestigious writers. Her memoir of life in the cadre schools was published with official approval, but not for wide dissemination, in 1981, and is now available in English. The book is yet another testimony to Mao's dogmatism in his later years and to the human and social catastrophe that this dogmatism inflicted on China.
|
||||
21594
|
yago
|
1
| 78
|
https://www.sandiegouniontribune.com/2016/05/25/renowned-chinese-writer-yang-jiang-dies-at-age-104-2/
|
en
|
Renowned Chinese writer Yang Jiang dies at age 104
|
[
"https://www.sandiegouniontribune.com/wp-content/uploads/2024/06/SDUT_logo_black_horizontal.png",
"https://secure.gravatar.com/avatar/8675bb66f8f10bd8e9437d912afe7010?s=85&d=mm&r=g",
"https://www.sandiegouniontribune.com/wp-content/uploads/2024/08/SUT-L-sdge-wildfiresafety-0822-01.jpg?w=524",
"https://www.sandiegouniontribune.com/wp-content/uploads/2024/08/SUT-L-ICON-CRIME-TAPE-2.jpg?w=611",
"https://www.sandiegouniontribune.com/wp-content/uploads/2024/08/SUT-L-SD-Federal-courthouses.jpg?w=467",
"https://www.sandiegouniontribune.com/wp-content/uploads/2024/08/sut-l-kingsville-ship-01.jpg?w=586",
"https://www.sandiegouniontribune.com/wp-content/uploads/2024/06/SDUT_logo_black_horizontal.png",
"https://www.sandiegouniontribune.com/wp-content/themes/wp-mason/static/images/site-logo/socal-logo-sm.png",
"https://www.sandiegouniontribune.com/wp-content/themes/wp-mason/static/images/site-logo/dfm-logo-sm.png"
] |
[] |
[] |
[
""
] | null |
[
"San Diego Union-Tribune",
"Migration Temp"
] |
2016-05-25T00:00:00
|
BEIJING (AP) — Renowned Chinese writer Yang Jiang, known for her prolific output and marriage to an equally famous author, died Wednesday at age 104, state media said.Yang died at Peking Union Medical College Hospital in Beijing, according to The Paper, a state-owned news website. It said her death had been confirmed by her publisher, […]
|
en
|
San Diego Union-Tribune
|
https://www.sandiegouniontribune.com/2016/05/25/renowned-chinese-writer-yang-jiang-dies-at-age-104-2/
|
BEIJING (AP) — Renowned Chinese writer Yang Jiang, known for her prolific output and marriage to an equally famous author, died Wednesday at age 104, state media said.
Yang died at Peking Union Medical College Hospital in Beijing, according to The Paper, a state-owned news website. It said her death had been confirmed by her publisher, the People’s Literature Publishing House.
Citing different sources, Hong Kong station Phoenix TV also confirmed Yang’s death, the cause of which was not given.
Born in 1911, Yang became a household name in China for her novels, plays, essays and translated works. She was the first to translate “Don Quixote” into Chinese, and her version is still considered the definitive one by many.
Her death was the top search term on the Chinese microblogging site Weibo on Wednesday, a testimony to her fame and the public adoration she enjoyed.
In a 1981 collection of essays, Yang wrote with a sense of poignancy on the daily lives of Chinese intellectuals during the chaos of the Cultural Revolution, when scholars and intellectuals were forced to perform hard labor.
Her 2003 essay collection “We Three,” about her family life with her late husband and their daughter, was a best-seller.
Yang was married to Qian Zhongshu, best known for his novel “Fortress Besieged,” and theirs was widely seen as a model union set against the background of China’s turbulent 20th century.
After Qian’s death in 1998, Yang embarked on the task of compiling and editing her husband’s unpublished works and remained prolific herself.
In addition to “We Three,” she published a sequel to her novel “Baptism” at age 103.
|
|||||
21594
|
yago
|
0
| 63
|
https://medium.com/%40DaphneLaffer/the-best-way-for-couples-to-get-along-301383eec972
|
en
|
The Best Way for Couples to Get Along
|
https://miro.medium.com/v2/da:true/resize:fit:1200/0*gdBZDEWiwOCdSQoV
|
https://miro.medium.com/v2/da:true/resize:fit:1200/0*gdBZDEWiwOCdSQoV
|
[
"https://miro.medium.com/v2/resize:fill:64:64/1*dmbNkD5D-u45r44go_cf0g.png",
"https://miro.medium.com/v2/resize:fill:88:88/1*eig4IcAzV934msnYBt6OFw.jpeg",
"https://miro.medium.com/v2/resize:fill:144:144/1*eig4IcAzV934msnYBt6OFw.jpeg"
] |
[] |
[] |
[
""
] | null |
[
"Daphne Laffer",
"medium.com"
] |
2024-05-01T14:11:44.196000+00:00
|
Many people believe that the best scenario for a marriage is mutual love and compatibility, allowing the couple to proceed smoothly together. However, in reality, love doesn’t care about who you are…
|
en
|
https://miro.medium.com/v2/5d8de952517e8160e40ef9841c781cdc14a5db313057fa3c3de41c6f5b494b19
|
Medium
|
https://medium.com/@DaphneLaffer/the-best-way-for-couples-to-get-along-301383eec972
|
Many people believe that the best scenario for a marriage is mutual love and compatibility, allowing the couple to proceed smoothly together.
However, in reality, love doesn’t care about who you are or where you come from. When love strikes, it strikes.
Young girls often dream of finding their prince charming, but in reality, happiness can still be found without a prince. After all, life is not a fairy tale.
Yang Jiang believes that the most important aspect of a marriage is the emotional connection and understanding between the couple. Mutual understanding allows for appreciation, attraction, support, and encouragement, fostering a harmonious relationship. Social status and background are not crucial.
She emphasizes the importance of cultivating a friendship between spouses, enabling them to support each other consciously and journey through life happily.
Why is it essential for a couple to become friends to achieve happiness?
Because being together is about being attracted to each other’s shining points. Friends don’t demand too much from each other, and even if they do, it’s within reasonable limits, maintaining a specific distance.
Many couples find that the sweetness in their relationship fades over time because they fail…
|
||
21594
|
yago
|
3
| 60
|
https://www.independent.co.uk/arts-entertainment/books/reviews/fortress-besieged-by-qian-zhongshu-trans-jeanne-kelly-nathan-k-mao-752317.html
|
en
|
Fortress Besieged, by Qian Zhongshu trans. Jeanne Kelly & Nathan K Mao
|
[
"https://static.independent.co.uk/static-assets/images/newsletter/breaking-news/breaking-news-thumb.png",
"https://www.independent.co.uk/img/icons/google.svg"
] |
[] |
[] |
[
"Internal"
] | null |
[
"Aamer Hussein"
] |
2005-05-19T23:00:00+00:00
|
China's cracked classic
|
en
|
/img/shortcut-icons/favicon.ico
|
The Independent
|
https://www.independent.co.uk/arts-entertainment/books/reviews/fortress-besieged-by-qian-zhongshu-trans-jeanne-kelly-nathan-k-mao-752317.html
|
Long before the Cultural Revolution, Qian Zhongshu had earned a reputation as one of China's most promising writers of fiction. He is immortalised as Mo-cun, the wry and phlegmatic hero of his wife Yang Jiang's Six Chapters from a Cadre's Life (1980). His Fortress Besieged (1947), a leisurely picaresque novel, occupies a watershed position in 20th-century Chinese fiction. Drawing on traditional Chinese techniques of social satire and storytelling, the novel also displays the influences of Western modernism.
It focuses on the experiences of one protagonist, the hapless and unheroic Fang Hung-chien, who returns to China from Europe with a bogus doctorate in search of a life and a wife (and doesn't do too well on either count). Though he courts many women, Fang's final choice proves to be erratic; we leave him on the brink of a break-up and a breakdown.
Yang's elliptical memoir of how she survived her Cultural Revolution experiences of "re-education" in the countryside is illuminated by a compelling portrayal of her long and trusting marriage to Qian. It's ironic, then, that the work for which her husband is celebrated cites a French proverb: "Marriage is like a fortress besieged; those who are outside want to get in, and these who are inside want to get out.'"
Qian doesn't see relationships between the men and women with any grace or graciousness: there are constant reminders of Sartre's belief that hell was other people. Two women appear in the hilarious opening section, which deals with Fang's journey back to China; others follow. None of them, including the one Fang eventually marries, is portrayed with any sympathy. But neither are the men.
Qian delights in tricks, subterfuges and double exposures. Here, he is equally concerned with the postures of Westernised pseudo-intellectuals towards art, life and history, and the changing attitudes of men and women to each other. History, too, casts a spotlight on the book. It is set during the early stages of the Sino-Japanese war, and though Qian makes no explicit comment the desperation of the protagonists can be seen as frantic displacement.
Qian transforms, and subverts, his own experiences with panache. A scholar who after an Oxford education returned to pre-liberation China and stayed on during the Mao years, he was, at the time he wrote the novel, already a happily married man. Jiang was with him in Oxford while he wrote his dissertation.
Like his marital adventure, Fang's academic career, too, reverses his creator's. Qian did very well at Oxford, writing about European literary images of China. Fang - in one of the novel's wickedest set pieces - sends off for a fake degree and cheats the fraud who tries to cheat him.
Fortress Besieged retained a cult reputation during the Mao years. After the fall of the Gang of Four, it enjoyed a full-scale revival, influencing a new generation. Ye Zhaoyan, whose Nanjing 1937: a love story (Faber) echoes and in some ways deepens Qian's work, actually wrote his thesis on this novel.
Qian's ability to see his life and times through the lens of very dark humour, along with his talent for incidental cultural and social observation and his cold and cruel wit, mark out this novel as one of its time's most original works. Fortress Besieged is also entirely devoid of the kind of ideological zeal that mars even some of the finest fictions by Qian's more politically motivated contemporaries. Its long-delayed reappearance of in English - perhaps as a cultural curiosity, definitely as a period piece of distinction - reminds us of those other hidden classics from pre-liberation China that await international recognition: among them, Ba Jin's Family and Xiao Hong's Tales of Hulan River.
Aamer Hussein's 'This Other Salt' has been reissued by Saqi
|
||||
21594
|
yago
|
3
| 3
|
https://u.osu.edu/mclc/2016/06/03/yang-jiang-dies-at-104-7/
|
en
|
Yang Jiang dies at 104 (7)
|
http://europe.chinadaily.com.cn/culture/images/attachement/jpg/site1/20160601/d8cb8a51564a18b8652a01.jpg
|
http://europe.chinadaily.com.cn/culture/images/attachement/jpg/site1/20160601/d8cb8a51564a18b8652a01.jpg
|
[
"http://europe.chinadaily.com.cn/culture/images/attachement/jpg/site1/20160601/d8cb8a51564a18b8652a01.jpg",
"http://europe.chinadaily.com.cn/culture/images/attachement/jpg/site1/20160601/d8cb8a51564a18b8654802.jpg",
"http://europe.chinadaily.com.cn/culture/images/attachement/jpg/site1/20160601/d8cb8a51564a18b8655303.jpg",
"http://europe.chinadaily.com.cn/culture/images/attachement/jpg/site1/20160601/d8cb8a51564a18b8655c04.jpg",
"http://u.osu.edu/mclc/files/2014/07/mclc-watermark2-2hb9wk9.png",
"http://u.osu.edu/mclc/files/2014/08/blog_icon-1owmevr.png"
] |
[] |
[] |
[
""
] | null |
[] |
2016-06-03T00:00:00
|
And more on remembering Yang Jiang from China Daily here: Source: China Daily (6/1/16) She followed her heart By Yang Yang (China Daily) Yang Jiang will long be remembered for her witty writing an…
|
en
|
https://u.osu.edu/mclc/wp-content/themes/osu/assets/osu_navbar/images/favicon.ico
|
MCLC Resource Center
|
https://u.osu.edu/mclc/2016/06/03/yang-jiang-dies-at-104-7/
|
And more on remembering Yang Jiang from China Daily here: http://europe.chinadaily.com.cn/culture/2016-05/26/content_25478972.htm–Kirk
Source: China Daily (6/1/16)
She followed her heart
By Yang Yang (China Daily)
Yang Jiang will long be remembered for her witty writing and popular translations, but her independent outlook may be her greatest legacy, Yang Yang reports.
Among all the apartments in the 19 three-story buildings near Yuyuantan Park in Beijing, only one has maintained its original look, with neither interior decoration nor the balcony being enclosed with glass.
The apartment in Nanshagou Community, where the famed Chinese writer and translator Yang Jiang lived until her death on May 25 at the age of 104, is typical of her modesty. The space is almost unadorned-whitewalls, cement flooring, an old-fashioned sofa and desks worn by years of use.
Yang and her equally famous husband, Qian Zhongshu, moved into the unit in 1977, just after the “cultural revolution” (1966-76). But Yang lived there alone for nearly two decades after the deaths of Qian and their only daughter, Qian Yuan. While the couple had become household names in the 1980s, they were always indifferent to fame or wealth, and few reporters or readers managed to visit them.
Well-known for her subtle and witty writing style, Yang wrote her first play in 1941. A prolific writer, she became famous for her novels, essays, plays and translated works. Her most popular novel, Baptism, was translated into English, French and Italian. It depicts a group of intellectuals from the old society adjusting to a new one in the early 1950s.
Yang never stopped writing. At 94, she started writing a book Walking onto the Brink of Life to reflect on her life, which won China’s top book award in 2007. At 100, she was still writing articles for newspapers.
Qian Zhongshu, meanwhile, was a renowned scholar and author of the best-selling novel Fortress Besieged.
Obviously, Yang did not live a simple life because she was poor. In 2001, on behalf of her family she set up a scholarship fund at Tsinghua University, where the couple had studied and worked, to encourage students, especially those from poor families, to read. They donated all their royalties, which totaled more than 24 million yuan ($3.7 million) over the years.
Chen Pingyuan, a professor at Peking University, remembers a woman whose achievements had come despite the turmoils of the collapse of the Qing Dynasty (1644-1911), China’s civil war and the “cultural revolution”.
In an article mourning Yang’s death, he writes that “the older generations had experienced much fiercer waves, but many of them stood up. They read books out of interest, were led by their hearts, and never followed the stream. Although they had to compromise to some extent, they kept their honesty,which is not really easy”.
Born Yang Jikang in 1911, the year China’s feudal empire collapsed, she faced tough years before and after the founding of New China.Whether living in poverty or affluence, however, Yang always followed her heart, living a simple and honest life.
Yang was raised in a family of open-minded intellectuals. Her father, Yang Yinhang, a renowned wit and intellect from Wuxi, Jiangsu province, graduated from the University of Pennsylvania with a master’s degree in law. The fourth daughter in the family, she and her sisters were all sent by her father to good schools to receive a Western-style education. Later she would adopt the pen name Yang Jiang.
Like her father, Yang Jiang turned out to be a person of spirit, good at both Chinese and English. She had long known what she wanted – to study arts at Tsinghua University.
“Initially I chose arts because I was determined to read good novels from home and abroad to understand the art of fiction writing, so that I could write good fiction,” she wrote in the preface to The Complete Collection of Yang Jiang.
Her happy marriage with Qian Zhongshu was another example of her free thinking and independence- the two bookworms met in 1932 at Tsinghua by coincidence and quickly fell in love. Their love never weakened. After getting married, in 1935 the couple went to Britain and studied at Oxford University, returning to China three years later.
By 1952, the couple was working in the Institute of Foreign Literature under China Academy of Social Sciences.
At that time, women in China started to wear Lenin-style clothes－gray double-breasted shirts and long trousers,with a leather belt fastened around the waist, a symbol of the equality of the working class. Yang, however, still wore a slim qipao, took a rickshaw and held a parasol over her head.
During the “cultural revolution” (1966-76), many intellectuals were forced to “disclose” each other’s “guilt”. Yang, already denounced as a “devil”, was put on stage to face her husband’s accusers. “It’s not the truth! It’s not the truth!” she repeated, stamping her foot, recalled Ye Tingfang, researcher at the Institute of Foreign Literature at China Academy of Social Sciences, where the couple worked.
In the late 1960s, intellectuals at the institute were sent to the countryside to work, and Qian and Yang, almost 60, were among them.
Yang later compiled her stories of that time into a book, Six Chapters of My Life “Downunder”.
Lu Jiande, deputy director of the institute, says that unlike other memoirs of the time, Yang’s contains no complaint or anger. It was a difficult time for intellectuals, but he admires Yang for her positive attitude.
Yang spent her leisure time writing, and when Qian passed by, she would give him the work to read. Then, the couple would often sit, chatting and laughing, though there were plenty of serious moments, too.
During this time, their son-in-law committed suicide. In Six Chapters, Yang captures the event in a single sentence, but the sadness fills the page.
After Yang’s translation of Le Sage’s Gil Blas into Chinese was well-received in 1956, she was picked to translate Don Quixote from Spanish. She began to learn the language in 1959, at the age of 48.
“They neither lowered their heads when things went against them, nor appeared arrogant when they rose to fame,” remembers Peking University’s Chen.
“Such people deserve our younger generations’ respect.”
Contact the writer at yangyangs@chinadaily.com.
|
||
21594
|
yago
|
3
| 76
|
https://www.rwxy.tsinghua.edu.cn/shssen/About/History.htm
|
en
|
School of Humanities and Social Sciences, Tsinghua University
|
[
"https://www.rwxy.tsinghua.edu.cn/shssen/img/renwenxueyuan1.png",
"https://www.rwxy.tsinghua.edu.cn/shssen/images/banner2.jpg",
"https://www.rwxy.tsinghua.edu.cn/__local/7/75/43/0FC339E56B75E543F068A8086E9_AAC0B2A2_89F.jpg",
"https://www.rwxy.tsinghua.edu.cn/__local/7/75/43/0FC339E56B75E543F068A8086E9_AAC0B2A2_89F.jpg",
"https://www.rwxy.tsinghua.edu.cn/__local/7/75/43/0FC339E56B75E543F068A8086E9_AAC0B2A2_89F.jpg",
"https://www.rwxy.tsinghua.edu.cn/__local/7/75/43/0FC339E56B75E543F068A8086E9_AAC0B2A2_89F.jpg",
"https://www.rwxy.tsinghua.edu.cn/__local/7/75/43/0FC339E56B75E543F068A8086E9_AAC0B2A2_89F.jpg",
"https://www.rwxy.tsinghua.edu.cn/__local/B/32/AB/A5F264BC47CB26A039E6E3EECCE_76F4A37D_D88.png",
"https://www.rwxy.tsinghua.edu.cn/shssen/images/thu_humanityweixinerweima.jpg"
] |
[] |
[] |
[
"School of Humanities and Social Sciences",
"Tsinghua University",
"ç¾å¹´æ ¡åº"
] | null |
[] | null |
../images/favicon.ico
| null |
Founded in 1911 with part of the Gengzi indemnity returned by the U.S.A., Tsinghua University was initially a prep school whose students were to study in the U.S.A. after graduation. The University was founded in 1923, and the Institute of Chinese Studies in 1925, whose faculty included the Four Tutors, Wang Guowei, Liang Qichao, Chen Yinke, and Zhao Yuanren, and a couple of lecturers such as Li Ji and so on. Wu Mi was Director of the Institute, who had made clear the aims of the Institute in its cradle, "What I mean by Chinese studies refers to the entire Chinese scholarship and culture, and the way of research puts emphasis on the right and precise method, which is what people of today call scientific method. It also draws materials from European and American scholarship in Oriental languages and Chinese culture, which is where our Institute differs from other scholars in Chinese studies at home.' Wang Guowei's course "Ancient History and New Evidence," Liang Qichaoâs "Method of Historiography," Chen Yinkeâs "Bibliography of Western Sinology," Zhao Yuanren's "Modern Linguistics" and "Dialectology," and the like are all characterized by applying modern scientific methods of the West to the interpretation of traditional Chinese culture. At that time, Wang Li, Wu Qichang, Liu Pansui, Jiang Liangfu, and so on were students at the Institute. The Institute was closed in 1928, but in spite of that, it had educated a group of outstanding scholars who excelled at using new thinking in Chinese studies, and are in the front positions in the history of Chinese scholarship and education.
The University at Tsinghua began to enroll students in 1925, and in 1926, the Departments of Chinese Language and Literature, Foreign Languages, History, Philosophy (changed to Philosophy and Psychology in the time of the National Southwest Associated University), and Sociology were set up, and the School of Literary Studies was founded in 1928.
It followed a different education principle from other universities, and many departments stressed the importance of "studying both the Chinese and the Western," in the hope of bringing out graduates with a superior mastery of Chinese and foreign culture and history. For instance, the Chinese Department "gave emphasis to studying both the old and new literature, and Chinese and foreign literature," and the Department of Foreign Languages aimed to cultivate "gentlemen of erudition and distinction" "with a thorough knowledge of the Western mind," and the History Department "highlighted a balanced study in both Chinese and foreign history," and the Department of Philosophy underscored an interpretative relationship of mutual illumination between Eastern and Western philosophy, and the Department of Sociology insisted that its students have a broad knowledge. All the departments put foreign languages and culture at the center of their curriculum. For instance, one fifth of the required courses of the Chinese Department were courses in foreign languages and culture. The aim of studying foreign languages and culture lay in studying the "Western methodâ and using it on the redaction of ancient Chinese books, or starting a new school. In accordance with this education principle, the faculty's research reflected the characteristics of this modern hermeneutics in the interpretation of the ancient. For instance, Professor Zhu Ziqing, whose main work is On "Poetry Speaks One's Intention", insisted on learning the best of the Beijing school and the Shanghai school alike to seek a broad perspective as well as the exactitude of textual criticism. Wen Yiduo was bold in raising questions, but conscientious in answering them, and his study of the mythology in archaic times, the Book of Poetry and Chuci is a blend of rich historical consciousness and the sense of urgencies in his day. The same is true of Yang Shuda's study of the Chinese language, Yu Pingbo's study of The Dream of the Red Chamber, Xu Weiyuâs study of Guanzi and Book of Documents, as well as Pu Jiangqingâs and Yu Guanying's works. The major achievement of the Department of Foreign Languages is to have started the teaching and research in comparative literature in China. The courses offered in the Department, such as Wu Mi's A Comparison of Chinese and Western Poetry, I. Richards's Literary Criticism and Comparative Literature, have become famous landmarks in the field of comparative literature in China, and particularly, Wu Mi's Literature and Human Conditions has made breakthrough contributions to the method of mutual illumination between Chinese and Western cultures. Graduates from the Department, such as Wu Dayuan, Zhao Luorui, Ji Xianlin, Li Funing, and so on have become the main force in the field of comparative literature, and a special mention should be made of Qian Zhongshu, who has elevated the modern Chinese hermeneutics to a new height with his On the Arts and Guan Zhui bian. The Department of Philosophy gave priority to a synchronical approach to philosophical issues, and foregrounded proof, logic, and conceptual analysis, which are where the Chinese tradition is weak. The most influential works are Jin Yuelinâs Logic and On the Way, and Feng Youlan's Six Books of the Zhenyuan Period and History of Chinese Philosophy. Pleading for New Historiography, the History Department inherited the legacy of the Institute of Chinese Studies and has brought out such important studies as Chen Yinque's A Political History of the Tang Dynasty and A Brief Study of the Origins of the Political Systems in the Sui and Tang Dynasties, Zhang Yinlin's studies of the history of archaic times, Lei Zonghai's study of the general history of China, Wu Han's study of the history of the Ming dynasty. Different as they were in their perspectives and conclusions, they did not fail to probe into the historical phenomenon to find out causes that were deeply rooted in its time and society. To sum up, Tsinghua School of Literary Studies has creatively inherited the splendid scholarship formed in the time of the Institute of Chinese Studies and, in its application of modern scientific thinking and methodology to the interpretation of traditional Chinese culture, it has never shied away from seeking a broad and solid perspective. It has shown prudence in establishing the thesis, but never allowing itself to be bogged down by pointless details, and it strove to provide an interpretation of Chinese history and cultural phenomena that faithfully reflected the reality and at one and the same time spoke for their time. Famous scholars who have taught in the School of Literary Studies include Wen Yiduo, Chen Yinke, Zhu Ziqing, Liu Wendian, Yu Pingbo, Pu Jiangqing, Wang Li, Yang Shuda, Chen Mengjia, Wang Yao(Department of Chinese Language and Literature); Wu Mi, Wang Wenxian, Ye Gongchao, Zhai Mengsheng, Winter, Ivor Armstrong Richards, William Empson, Qian Zhongshu (Department of Foreign Languages); Chen Yinke, Lei Haizong, Jiang Tingfu, Liu Chonghong, Zhang Yinlin, Wu Han, Zhou Yiliang(Department of History); Jin Yuelin, Feng Youlan, Shen Youding, He Lin, Zhang Dainian(Department of Philosophy); Chen Da, Pan Guangdan, Fei Xiaotong(Department of Sociology), Famous scholars, writers, and artists who attended the School of Literary Studies include Qian Zhongshu, Yang Jiang, Ji Xianlin, Zhao Luorui, Wang Yao, Lin Geng, Ji Zhenhuan, Fei Xiaotong, Cao Yu, He Zhaowu, Li Xueqin, Fu Xuanzong, He Bingdi, Duanmu Hongliang, Wu Dayuan, Wu Zuxiang.
The faculty and students in the humanities and social sciences at Tsinghua inherit a superior revolutionary tradition of patriotism and progress. As early as the May Fourth Movement, Wen Yiduo posted a ci poem "The River Is Red" by Yue Fei to call upon the students at Tsinghua to fight against the hegemonic power from abroad and expunge traitors at home. Wei Jiesan, a student in the Chinese Department, died a heroic death in the March 18 protest against the Japanese invaders who had fired cannons at Dagukou in 1926; Jiang Nanxiang and Yao Yilin, two students in the School of Literary Studies, were among the leaders in the December 9 Protest that had shaken the entire nation. Actively participating in the students movements during the period of the National Southwest Associated University and the Liberation War, the faculty and students in the humanities and social sciences at Tsinghua have played a pioneering role in the fight for the independence, peace, and democracy of our nation. Some of them sacrificed their precious lives. Wen Yiduo rose to his feet in anger, staring down the enemy who was holding a pistol at him, and would rather die than give in. Zhu Ziqing, seriously ill, chose to starve to death rather than take the American relief food. They all showed the unbending fighting spirit and noble patriotism of Chinese intellectuals. They have set good examples for contemporary Chinese intellectuals, and are the pride and honor of the faculty and students of our university.
From 1952 to 1978, Tsinghua University was a polytechnic institution as a result of the 1952 restructuring for higher education in China and its humanities departments being sent off to other universities and research institutions.
Although the humanities programs were suspended for this period of time, the humanistic tradition and superior scholarship have persevered and remain as strong as before. Since 1978, Tsinghua University has either restored or founded the Departments of Foreign Languages and Literatures, Sociology, Chinese Language and Literature, the Institute of the Humanities, the Institute of Education, the Institute of Science, Technology and Society, and the Art Center. In December 1993, the School of Humanities and Social Sciences was formed, covering the entire range of disciplines in the humanities and social sciences, including literature, history, philosophy, law, economics, management, and so forth. The attainment has transformed the School into an important institution to demonstrate what the university has achieved in the humanities and social sciences, and particularly, in the humanities.
The School was closed in July 2012, however, and in the meantime the School of Humanities and the School of Social Sciences were founded.
|
|||||||
21594
|
yago
|
3
| 21
|
https://www.chinadaily.com.cn/culture/2016-05/26/content_25473860.htm
|
en
|
A family besieged now beloved[1]
|
[
"http://www.chinadaily.com.cn/image_e/2013/e_logo2.png",
"http://www.chinadaily.com.cn/image_e/2013/zhongwen.gif",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160526/b083fe9562de18b09e6701.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160526/b083fe9562de18b09e8902.jpg",
"https://www.chinadaily.com.cn/image_e/2016/appdownload_pc.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160525/b083fe96fb6218af624d09.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160524/eca86bd9d54318ae28a336.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160524/b083fe9562de18ae5aca25.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160524/b083fe96fb6218adf5d81e.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160523/a41f726a853818acf09907.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160523/b083fe9562de18acdf3c45.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160517/d8cb8a51564a18a4a58519.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160513/d8cb8a14fd9a189fada605.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160525/b083fe9562de18af50aa15.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160523/b083fe9562de18acb2701a.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160525/b083fe9562de18af4d9413.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160519/b083fe9562de18a7bc433f.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160519/b083fe9562de18a7b8ad3c.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160517/b083fe9562de18a4bbba0c.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160426/b083fe96fb621888f43105.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160314/b083fe9562de18505c6017.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160519/b083fe96fb6218a7addb5d.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160513/d8cb8a51564a189fc03e0d.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160526/b083fe9562de18b0d22460.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160525/b083fe9562de18af674e27.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160525/f8bc126e491618afb86d24.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160525/b083fe9562de18af674e27.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160518/d8cb8a51564a18a6568a01.jpg",
"http://www.chinadaily.com.cn/culture/tplimages/77354.files/leftArr.gif",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20131016/eca86bd77ab713c8414d01.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20131108/0023ae69624d13e681560f.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20131016/eca86bd77ab713c8440702.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20131019/001ec979096313cc632901.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20131204/eca86bd77ab7140909a82f.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20131019/eca86bd77ab713cc67ae01.jpg",
"http://www.chinadaily.com.cn/culture/tplimages/77354.files/rgtArr.gif",
"http://www.chinadaily.com.cn/image_e/2013/forum_logo.gif",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160522/d4bed9d6cb4018abb4b240.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160522/d4bed9d6cb4018ab81071e.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160521/b083fe955ec018aa4c690e.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160520/d8cb8a51564a18a8c90a4e.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160520/b083fe9562de18a8c4663e.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160526/b083fe9562de18b0d1e048.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160520/d8cb8a51564a18a90a4904.jpg",
"http://www.chinadaily.com.cn/15361.files/biaoshi.gif"
] |
[] |
[] |
[
"Yang Jiang",
"Qian Zhongshu"
] | null |
[
"顾馨"
] |
2016-05-26T00:00:00
|
Two individuals, each with a strong spirit but vulnerable heart, encountered each other, married and gave birth to a daughter. In their 60 years together the small family of three members went through war, political turmoil and illness in their repeated returns, but all the while they were always there for each other.
| null |
This article was originally published on China Daily on Nov 17, 2003.
Two individuals, each with a strong spirit but vulnerable heart, encountered each other, married and gave birth to a daughter. In their 60 years together the small family of three members went through war, political turmoil and illness in their repeated returns, but all the while they were always there for each other.
But eventually death called away two of them, leaving one lonely survivor in the winter of her life.
Today, the lives of the three individuals, captured by the pen of the family's only surviving member in an autobiography titled "The Three of Us (Wo Men Sa)," has been on the best-seller list ever since it was published on June 25 by Sanlian Publishing House. Its first printing of 30,000 copies sold out in 12 days. Since then, it has been re-printed nine times.
The readers are curious because the writer is Yang Jiang, 92, who is already a renowned author in her own right, and a scholar and translator of foreign literature as well.
Yang Jiang [File photo]
Her husband, Qian Zhongshu (1910-98), was one of the 20th century's greatest Chinese scholars and an authority in Chinese classical history, philosophy and literature, as well as in comparative culture and literature. He had a consummate mastery of the entire range of classical Chinese texts as well as an extensive knowledge of the Greek, Latin, English, German, French, Spanish and Italian classics.
Qian's only novel "Fortress Besieged (Weicheng)," first published in 1947, has enthralled generations of young readers with its humour, profound wisdom and unique insights into human nature.
Readers find it hard to put down this new memoir by Yang Jiang, with its intimate and heartfelt narration, something quite different from her previous works, as it takes them into this modest household that has yielded so much admirable scholarship.
Their daughter, Qian Yuan (1937-97), was a professor of English with Beijing Normal University, and was in charge of evaluating the teaching of English in all teachers' colleges in China for the then State Education Commission.
But life was not always smooth sailing for the family. Aside from their love for their work and one another, the world around them confronted them with confusion and chaos.
The readers join the young couple in their daily shopping for fresh groceries from a small store on the street corner near their temporary home close to Oxford University in England.
They share not only their joy at having a new member in their family, their daughter Ah Yuan (Qian Yuan's childhood name, which meant 'round,' as her face was plump), but also their uneasiness through the years of war, political movements, separations and reunions.
As the three protagonists cope with life's twists and turns, the readers get to know the details behind their much respected scholarly achievements.
|
|||||||
21594
|
yago
|
0
| 74
|
https://english.cnipa.gov.cn/transfer/news/iprspecial/919886.htm
|
en
|
Literary Couple's Letters Off Auction Amid Protest
|
[
"https://english.cnipa.gov.cn/transfer/images/big.gif",
"https://english.cnipa.gov.cn/transfer/images/an4.gif"
] |
[] |
[] |
[
""
] | null |
[] | null | null |
The auction of Qian Zhongshu's personal letters took a new turn on June 6. The Beijing-based auction company Sungari announced a decision to stop public auction of Qian's personal letters on its website. According to the decision, out of respect for Yang Jiang, Sungari decide to stop the auction which would be held on June 21, 2013.
The controversial auction was announced by Sungari on its website and involved 66 of Qian's personal letters to Li Kwok-Keung, former editor-in-chief of Hong Kong's magazine Wide Angle in the 1980s, manuscripts in pen of Qian's collected works Ye Shi Ji, the original copy of Six Stories in the Cadre School and their late daughter Qian Yuan's letters. A collection of letters and manuscripts that reveal extensive life details and literary views of renowned writer Qian Zhongshu will go under the hammer in June, despite Qian's 102-year-old widow, Yang Jiang, saying it is "very inappropriate" to publicize the family's private communications. Then Yang triggered vehement protest by denouncing the auctions as an infringement of privacy and copyright to the court. The court voiced support for Yang to halt the upcoming auction involving private missives written by her and her late husband, Qian Zhongshu, a renowned Chinese literary scholar.
How many types of right involved in letter auction?
Letters and manuscripts, as the channel for people to communicate thoughts and emotions, have been replaced by typing on computer and cell phone. However, manuscripts and letters of prominent literary scholars and writers have recently become sought-after in the art market. How many types of rights of these rare and valuable handwriting and manuscripts actually involved in this auction?
"Auctioning Qian's private letters may lead to infringement of the rights of property, authorship, privacy and reputation. Those composing the missives are their copyright owners, and auction groups should not make any copyright-related use of such missives without the consent of copyright owners," said Yu Cike, a senior official with the National Copyright Administration, adding that publicizing the letters' contents may result in publicizing right infringement.
"While Yang does not own the letters - they belong to Li Kwok-keung, a long-time friend of the author in Hong Kong - she has the publishing rights for Qian's collected works. The violators who sold works without the consent of their copyright owners would infringe the rights of publicizing, exhibition，privacy and reputation," You Yunting explained, a partner at Shanghai Dabang Law Firm.
Meanwhile, Yu Guofu, a lawyer specializing in copyrights at the Shengfeng Law Firm had different opinion. Under China's laws, letters could be classified as personal property, and while Yang does not own the letters - they belong to the recipient Li Kwok-keung. The copyright should belong to the writer and the recipient enjoyed the real right of movables. The copyright owner could protect his rights of publicizing, copy, publishing and communication through information network in accordance with the copyright law. In parallel, selling letter materials belonged to the transfer of the movable property," he pointed out.
Whether auctioning letters and manuscript infringing publicizing right or not
Auctioning private letters may lead to infringement of many types of rights. What about the publicizing right? Tao Xinliang, Director of IP School of Shanghai University, took a view that auctioning letters and manuscript showed an intersection of real rights and authorship. Its ownership of property and exhibition would be transferred through auction. However, the right of other authorship, personal and property were still belonging to the copyright owners. Given the circumstances, the violators who publicized works in the auction without the consent of their copyright owners would infringe the publicizing right.
"Under China's laws, the copyright of letter's content should belong to the writer and recipient merely enjoyed the real right of movables. It is generally understood that real right was an absolute right and the owner could freely exercise their right. However, in the handwritten letters, most in calligraphy, included two aspects –the letter was both an object and the work carrier," said Dong Meigen, from East China University of Political Science and Law.
However, in Lu Zhiyong's opinion, the president of the International Auction Company of China, it should be considered that the writer had authorized the recipient to deal with the letter since the writer sent it without indicating the strictly forbid to the public. The recipient could deal with the letters without writer's permission.
How to avoid legal risk in auction
"Both client and auction agency ought to verify the copyright status of auction items and keep an eye on the auction of such handwritten letters especially whether it led to infringement of the rights of authorship, privacy and reputation or not," Tao stressed.
Auction house should not copy, publish and distribute people's private materials ahead of the sale which might cause the infringement of the copyright. However, it was not a violation of privacy that the letter holder displayed the letter in the pre-exhibition of the auction," Yu added.
(China IP News)
2013-08-19
|
||||||||
21594
|
yago
|
0
| 8
|
https://www.chinadaily.com.cn/culture/2016-05/26/content_25473860.htm
|
en
|
A family besieged now beloved[1]
|
[
"http://www.chinadaily.com.cn/image_e/2013/e_logo2.png",
"http://www.chinadaily.com.cn/image_e/2013/zhongwen.gif",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160526/b083fe9562de18b09e6701.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160526/b083fe9562de18b09e8902.jpg",
"https://www.chinadaily.com.cn/image_e/2016/appdownload_pc.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160525/b083fe96fb6218af624d09.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160524/eca86bd9d54318ae28a336.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160524/b083fe9562de18ae5aca25.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160524/b083fe96fb6218adf5d81e.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160523/a41f726a853818acf09907.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160523/b083fe9562de18acdf3c45.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160517/d8cb8a51564a18a4a58519.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160513/d8cb8a14fd9a189fada605.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160525/b083fe9562de18af50aa15.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160523/b083fe9562de18acb2701a.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160525/b083fe9562de18af4d9413.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160519/b083fe9562de18a7bc433f.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160519/b083fe9562de18a7b8ad3c.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160517/b083fe9562de18a4bbba0c.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160426/b083fe96fb621888f43105.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160314/b083fe9562de18505c6017.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160519/b083fe96fb6218a7addb5d.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160513/d8cb8a51564a189fc03e0d.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160526/b083fe9562de18b0d22460.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160525/b083fe9562de18af674e27.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160525/f8bc126e491618afb86d24.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160525/b083fe9562de18af674e27.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160518/d8cb8a51564a18a6568a01.jpg",
"http://www.chinadaily.com.cn/culture/tplimages/77354.files/leftArr.gif",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20131016/eca86bd77ab713c8414d01.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20131108/0023ae69624d13e681560f.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20131016/eca86bd77ab713c8440702.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20131019/001ec979096313cc632901.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20131204/eca86bd77ab7140909a82f.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20131019/eca86bd77ab713cc67ae01.jpg",
"http://www.chinadaily.com.cn/culture/tplimages/77354.files/rgtArr.gif",
"http://www.chinadaily.com.cn/image_e/2013/forum_logo.gif",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160522/d4bed9d6cb4018abb4b240.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160522/d4bed9d6cb4018ab81071e.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160521/b083fe955ec018aa4c690e.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160520/d8cb8a51564a18a8c90a4e.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160520/b083fe9562de18a8c4663e.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160526/b083fe9562de18b0d1e048.jpg",
"https://www.chinadaily.com.cn/culture/attachement/jpg/site1/20160520/d8cb8a51564a18a90a4904.jpg",
"http://www.chinadaily.com.cn/15361.files/biaoshi.gif"
] |
[] |
[] |
[
"Yang Jiang",
"Qian Zhongshu"
] | null |
[
"顾馨"
] |
2016-05-26T00:00:00
|
Two individuals, each with a strong spirit but vulnerable heart, encountered each other, married and gave birth to a daughter. In their 60 years together the small family of three members went through war, political turmoil and illness in their repeated returns, but all the while they were always there for each other.
| null |
This article was originally published on China Daily on Nov 17, 2003.
Two individuals, each with a strong spirit but vulnerable heart, encountered each other, married and gave birth to a daughter. In their 60 years together the small family of three members went through war, political turmoil and illness in their repeated returns, but all the while they were always there for each other.
But eventually death called away two of them, leaving one lonely survivor in the winter of her life.
Today, the lives of the three individuals, captured by the pen of the family's only surviving member in an autobiography titled "The Three of Us (Wo Men Sa)," has been on the best-seller list ever since it was published on June 25 by Sanlian Publishing House. Its first printing of 30,000 copies sold out in 12 days. Since then, it has been re-printed nine times.
The readers are curious because the writer is Yang Jiang, 92, who is already a renowned author in her own right, and a scholar and translator of foreign literature as well.
Yang Jiang [File photo]
Her husband, Qian Zhongshu (1910-98), was one of the 20th century's greatest Chinese scholars and an authority in Chinese classical history, philosophy and literature, as well as in comparative culture and literature. He had a consummate mastery of the entire range of classical Chinese texts as well as an extensive knowledge of the Greek, Latin, English, German, French, Spanish and Italian classics.
Qian's only novel "Fortress Besieged (Weicheng)," first published in 1947, has enthralled generations of young readers with its humour, profound wisdom and unique insights into human nature.
Readers find it hard to put down this new memoir by Yang Jiang, with its intimate and heartfelt narration, something quite different from her previous works, as it takes them into this modest household that has yielded so much admirable scholarship.
Their daughter, Qian Yuan (1937-97), was a professor of English with Beijing Normal University, and was in charge of evaluating the teaching of English in all teachers' colleges in China for the then State Education Commission.
But life was not always smooth sailing for the family. Aside from their love for their work and one another, the world around them confronted them with confusion and chaos.
The readers join the young couple in their daily shopping for fresh groceries from a small store on the street corner near their temporary home close to Oxford University in England.
They share not only their joy at having a new member in their family, their daughter Ah Yuan (Qian Yuan's childhood name, which meant 'round,' as her face was plump), but also their uneasiness through the years of war, political movements, separations and reunions.
As the three protagonists cope with life's twists and turns, the readers get to know the details behind their much respected scholarly achievements.
|
|||||||
21594
|
yago
|
1
| 43
|
https://www.facebook.com/ChinaGlobalTVNetwork/videos/video-shows-late-author-yang-jiang-launching-scholarship-program/1220859897954828/
|
en
|
Renowned Chinese playwright, author, and translator Yang Jiang passed away in Beijing on Wednesday morning, at the age of 105. A video shot in 2001 shows...
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
Renowned Chinese playwright, author, and translator Yang Jiang passed away in Beijing on Wednesday morning, at the age of 105. A video shot in 2001 shows...
|
de
|
https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
|
https://www.facebook.com/ChinaGlobalTVNetwork/videos/video-shows-late-author-yang-jiang-launching-scholarship-program/1220859897954828/
| ||||||
21594
|
yago
|
2
| 16
|
https://kids.kiddle.co/Qian_Zhongshu
|
en
|
Qian Zhongshu facts for kids
|
[
"https://kids.kiddle.co/images/wk/kids-robot.svg",
"https://kids.kiddle.co/images/wk/kids-search-engine.svg",
"https://kids.kiddle.co/images/thumb/7/79/Qian_Zhongshu_1940s.jpg/300px-Qian_Zhongshu_1940s.jpg",
"https://kids.kiddle.co/images/thumb/f/f2/Thu_gate.JPG/300px-Thu_gate.JPG",
"https://kids.kiddle.co/images/thumb/5/5f/Kids_robot.svg/60px-Kids_robot.svg.png",
"https://kids.kiddle.co/images/wk/kids-search-engine.svg"
] |
[] |
[] |
[
""
] | null |
[] | null |
Learn Qian Zhongshu facts for kids
|
en
|
/images/wk/favicon-16x16.png
|
https://kids.kiddle.co/Qian_Zhongshu
|
In this Chinese name, the family name is Qian.
Qian Zhongshu (November 21, 1910 – December 19, 1998), also transliterated as Ch'ien Chung-shu or Dzien Tsoong-su, was a renowned 20th century Chinese literary scholar and writer, known for his wit and erudition.
He is best known for his satirical novel Fortress Besieged. His works of nonfiction are characterized by large amount of quotations in both Chinese and Western languages such as English, German, French, Italian, Spanish, and Latin. He also played an important role in digitizing Chinese classics late in his life.
Qian created a profound theoretical meaning for the three features of motivational nature, empathetic nature, and rational nature of aesthetic emotion for literature by deeply studying questions such as the source of emotion motivation, the ways to express emotion, and the optimal comfort in emotion in writing. He believed that the source of emotion motivation is poems because poems can convey human's emotion. When people transfer their emotion to inanimate objects, they give these objects life, which is the ways to express emotion. Also, Qian insisted that humans cannot express their emotion as they want; instead, they should rationally control their emotion to a certain degree so that they can achieve an optimal appreciation status.
Names Traditional Chinese: 錢鍾書 Simplified Chinese: 钱锺书 Pinyin: Qián Zhōngshū Wade-Giles: Ch'ien Chung-shu Zi: Zheliang (哲良) Mocun (默存) Hao: Huaiju (槐聚)
Life
Most of what is known about Qian's early life relies on an essay written by his wife Yang Jiang. Born in Wuxi, Qian Zhongshu was the son of Qian Jibo (T: 錢基博, S: 钱基博), a conservative Confucian scholar, landed gentry, and Chinese language professor at Tsinghua, St. John's University, and National Central University (Nanking), respectively. By family tradition, Qian Zhongshu grew up under the care of his eldest uncle, who did not have a son. Qian was initially named Yangxian (仰先 ; "respect the ancients"), with the courtesy name Zheliang (哲良; "sagacious and upright"). However, when he was one year old, in accordance with a tradition of zhuazhou, practiced in many parts of China, he was given a few objects laid out in front of him for his "grabbing"; he grabbed a book. His uncle thusly renamed him Zhongshu, literally "fond of books," while Yangxian became his intimate name. Qian was a rather talkative child. His father later changed his courtesy name to Mocun (默存), literally "to keep silent," in the hope that he would talk less.
Both Qian's name and courtesy name forecasted his future life. While he remained talkative when talking about literature with friends, he kept silent most of the time on politics and social activities. Qian was indeed very fond of books. When he was young, his uncle often brought him along to teahouses during the day. There, Qian was left alone to read storybooks on folklore and historical events, which he would repeat to his cousins upon returning home.
At the age of 6, Qian went to Qinshi primary school and stayed home for less than half a year due to illness. At the age of 7, Qian studied in a private school of a relative's family. Due to inconvenience, he quit school a year later and was taught by his uncle. When Qian was 11, he entered the first grade at Donglin Elementary School, and his uncle died this year. He continued living with his widowed aunt, even though their living conditions drastically worsened as her family's fortunes dwindled. Under the strict tutelage of his father, Qian mastered classical Chinese. At the age of 14, Qian left home to attend Taowu middle school,an English-language missionary school in Suzhou, after being scolded by his father, he studied hard and improved his writing level. In 1927, Qian was admitted to Furen Middle School, an English-language Missionary School in Wuxi, where he manifested his talent in language. At the age of 20, Qian's aunt died.
Despite comparatively lower score in mathematics, Qian excelled in both Chinese and English languages. Thus, he was accepted into the Department of Foreign Languages of Tsinghua University in 1929, ranking 57 out of 174 male students. One of his few friends was the budding Sinologist and comparatist Achilles Fang. Qian also frequently cut classes, though he more than made up for this in Tsinghua's large library, which he boasted of having "read through." It was probably in his college days that Qian began his lifelong habit of collecting quotations and taking reading notes. At Tsinghua, Qian studied with professors, such as Wu Mi 吳宓, George T. Yeh (Yeh Kungchao 葉公超), and Wen Yuan-ning 溫源寧, Wen Yuan-ning, and others. In 1932, he met Yang Jiang, who became a successful playwright and translator. In 1933, Qian became engaged to Yang, and they married in 1935. For the biographical facts of Qian's following years, the two memoirs by his wife can be consulted. Yang Jiang wrote, "Zhongshu's 'foolishness' could not be contained in books, but just had to gush forth'". Two years after Qian graduated from Tsinghua University in 1933, Qian taught at Kwanghua University in Shanghai and contributed to English-language publications such as The China Critic.
In 1935, Qian received a Boxer Indemnity Scholarship to further his studies abroad. Together with his wife, Qian headed for the University of Oxford in Britain. After spending two years at Exeter College, Oxford, he received a Baccalaureus Litterarum (Bachelor of Literature). Shortly after his daughter Qian Yuan (T: 錢瑗, S: 钱瑗) was born in England in 1937, he studied for one more year in the University of Paris in France. In 1938, he returned to China and was appointed as a full professor at Tsinghua University, which, due to the war, had relocated to Kunming, in Yunnan province and become part of Southwestern United University. In 1939, after Qian returned to Shanghai to visit his relatives, he directly went to Hunan to take care of his sick father and temporarily left Southwestern United University. In 1941, During the Pearl Harbor incident, Qian was temporarily trapped in Shanghai.
Owing to the unstable situation during the Second Sino-Japanese War and the Chinese Civil War, Qian did not hold any long-term jobs. However, it was during the late 1930s and 1940s that he wrote most of his Chinese-language fiction, including Fortress Besieged and the story collection Human, Beast, Ghost, as well as the essay collection Written in the Margins of Life. After Japan's defeat, in the late 1940s, he worked in the National Central Library in Nanjing, editing its English-language publication, Philobiblon.
In 1949, Qian was ranked on the list of National First-class Professors (T: 國家一級教授, S: 国家一级教授) and commenced his academic work in his alma mater. Four years later, an administrative adjustment saw Tsinghua changed into a science and technology-based institution, with its Arts departments merged into Peking University (PKU). Qian was relieved of teaching duties and worked entirely in the Institute of Literary Studies (T: 文學硏究所, S: 文学研究所) under PKU. Qian is a senior researcher at the institute, and his wife Yang Jiang is also a researcher. He also worked as part of a small team in charge of the translation of Mao Zedong's Selected Works and poetry.
During the Cultural Revolution, like many other prominent intellectuals of the time, Qian suffered persecution. Appointed to be a janitor, he was robbed of his favorite pastime, reading. Having no access to books, he had to read his reading notes. He began to form the plan to write Guan Zhui Bian (T: 管錐編, S: 管锥编) (which Qian himself gave the English title of Limited Views) during this period. Qian, his wife, along with their daughter survived the hardships of Cultural Revolution.
After the Cultural Revolution, Qian returned to research. From 1978 to 1980, he visited several universities in Italy, the United States and Japan, impressing his audience with his wit and erudition. In 1982, he was instated as the deputy director of the Chinese Academy of Social Sciences. He then began working on Guan Zhui Bian, which occupied the next decade of his life.
While Guan Zhui Bian established his fame in the academic field, his novel Fortress Besieged introduced him to the public. Fortress Besieged was reprinted in 1980, and became a best-seller. Many illegal reproductions and "continuations" followed. Qian's fame rose to its height when the novel was adapted into a TV serial in 1990 which was acted by some famous Chinese actors, such as Daoming Chen and Da Ying.
Qian returned to research, but escaped from social activities. Most of his late life was confined to his reading room. He consciously kept a distance from the mass media and political figures. Readers kept visiting the secluded scholar, and an anecdote goes that Qian when approached by a British admirer, remarked: "Is it necessary for one to know the hen if one loves the eggs it lays?"
Qian entered a hospital in 1994, his daughter also became ill in 1995. On March 4, 1997, Qian's daughter died of cancer. On December 19, 1998, Qian died in Beijing.
Former Residence
Qian's former residence, covering 1,600 square meters, is located at Xinjiexiang #30 and #32 in Wuxi, Nanjing. It was built in 1923 by his grandfather Qian Fujiong. In 1926 his uncle Qian Sunqin built five buildings and several auxiliary rooms on the west side of the back of the house, covering an area of 667.6 square meters. The whole group of buildings are typical Jiangnan courtyard houses. Inside the residence, there are some unique separate buildings, such as Haixu Shulou and Meihua Shuwu. In 2018, it applied for China's significant cultural relics protection units. The former residence has related exhibitions and is open to the public without fees.
Pictures of Qian's former residence
Works
Qian lived in Shanghai from 1941 to 1945, which was then under Japanese occupation. Many of his works were written or published during this chaotic period of time. A collection of short essays, Written in the Margins of Life (Traditional: 寫在人生邊上, Simplified: 写在人生边上) was published in 1941. Human, Beast, Ghost (T: 人‧獸‧鬼, S: 人‧兽‧鬼), a collection of short stories, mostly satiric, was published in 1946. His most celebrated work Fortress Besieged (T: 圍城, S: 围城) appeared in 1947, but not until 1980s that it receives more attention. On the Art of Poetry (T: 談藝錄, S: 谈艺录), written in classical Chinese, was published in 1948.
Besides rendering Mao Zedong's selected works into English, Qian was appointed to produce an anthology of poetry of the Song dynasty when he was working in the Institute of Literary Studies. The Selected and Annotated Song Dynasty Poetry (T: 宋詩選注, S: 宋诗选注) was published in 1958. Despite Qian's quoting the chairman, and his selecting a considerable number of poems that reflect class struggle, the work was criticized for not being Marxist enough. The work was praised highly by the overseas critics, though, especially for its introduction and footnotes. In a new preface for the anthology written in 1988, Qian said that the work was an embarrassing compromise between his personal taste and the prevailing academic atmosphere.
Seven Pieces Patched Together (T: 七綴集, S: 七缀集), a collection of seven pieces of literary criticism written (and revised) over years in vernacular Chinese, was published in 1984, and has been translated by Duncan Campbell as Patchwork: Seven Essays on Art and Literature. This collection includes the famous essay "Lin Shu's Translation" (T: 林紓的翻譯, S: 林纾的翻译).
Qian's magnum opus is the five-volume Guan Zhui Bian (T: 管錐編, S: 管锥编), literally the Pipe-Awl Collection, translated into English as Limited Views. Begun in the 1980s and published in its current form in the mid-1990s, it is an extensive collection of notes and short essays on poetics, semiotics, literary history and related topics written in classical Chinese.
Qian's command of the cultural traditions of classical and modern Chinese, ancient Greek (in translations), Latin, English, German, French, Italian, and Spanish allowed him to construct a towering structure of polyglot and cross-cultural allusions. He took a range of Chinese classical texts as the basis of this work, including the I-Ching, Classic of Poetry, Verses of Chu, The Commentary of Tso, Records of the Grand Historian, Tao Te Ching, Lieh-tzu, Jiaoshi Yilin, Extensive Records of the T'ai-p'ing Era and the Complete Prose of the Pre-Tang Dynasties (T: 全上古三代秦漢三國六朝文, S: 全上古三代秦汉三国六朝文).
Broadly familiar with the Western history of ideas, Qian shed new lights on the Chinese classical texts by comparing them with Western works, showing their likeness, or more often their apparent likeness and essential differences.
Qian Zhongshu is one of the best-known Chinese authors in the Western world. Fortress Besieged has been translated into English, French, German, Russian, Japanese and Spanish. It represents an alternative strand of modernism, which has long remained hidden and unexamined in the history of modern Chinese literature. "Humans, Beasts, and Ghosts" has been translated into English, French, and Italian.
Besides being one of the great masters of written vernacular Chinese in the 20th century, Qian was also one of the last authors to produce substantial works in classical Chinese. Some regard his choice of writing Guan Zhui Bian (Limited Views) in classical Chinese as a challenge to the assertion that classical Chinese is incompatible with modern and Western ideas, an assertion often heard during the May Fourth Movement. Ronald Egan argues that the work contains an implicit negative commentary on the Cultural Revolution.
Posthumous publications
A 13-volume edition of Works of Qian Zhongshu (Traditional: 錢鍾書集, Simplified: 钱锺书集/钱钟书集) was published in 2001 by the Joint Publishing, a hard-covered deluxe edition, in contrast to all of Qian's works published during his lifetime which are cheap paperbacks. The publisher claimed that the edition had been proofread by many experts. One of the most valuable parts of the edition which demonstrating Qian's writing ability while blending humor and irony, titled Marginalias on the Marginalias of Life (T: 寫在人生邊上的邊上, S: 写在人生边上的边上), is a collection of Qian's writings previously scattered in periodicals, magazines and other books. The writings collected there are, however, arranged without any visible order.
Other posthumous publications of Qian's works have drawn harsh criticism. The official writing of Supplements to and Revisions of Songshi Jishi began in 1982. In the following ten years, Qian invested a lot of energy to make extensive and in-depth Supplements to and Revisions of Songshi Jishi. The 10-volume Supplements to and Revisions of Songshi Jishi (T: 宋詩紀事補正, S:宋诗纪事补正), published in 2003, was criticized as a shoddy publication. Liaoning People's Publishing House published Qian Zhongshu's ''Supplements to and Revisions of Songshi Jishi in 2003. A facsimile of Qian's holograph (known as 宋詩紀事補訂(手稿影印本) in Chinese) has been published in 2005, by another publisher. The facsimiles of parts of Qian's notebooks appeared in 2004, and have similarly drawn criticism on account of blatant inadvertency. In 2005, a collection of Qian's English works was published. Again, it was lashed for its editorial incompetence.
The Commercial Press (Shangwu yinshuguan) has, per an agreement with Yang Jiang, begun publishing photoreproductions of Qian Zhongshu's reading notes, totaling several score volumes in both Chinese and foreign languages.
See also
In Spanish: Qian Zhongshu para niños
List of Chinese authors
Yang Jiang
Portrait
|
|||||
21594
|
yago
|
1
| 14
|
http://www.csstoday.com/Item/3487.aspx
|
en
|
Why Yang Jiang is revered today
|
[
"http://www.csstoday.com/Template/Csstoday/Skin/images/logo.png ",
"http://www.csstoday.com/UploadFiles/Multimedia/2016/6/201606021909180523.jpg",
"http://www.csstoday.com/UploadFiles/Multimedia/2016/6/201606021909539236.jpg",
"http://www.csstoday.com/UploadFiles/Multimedia/2016/6/201606021910416510.JPG"
] |
[] |
[] |
[
""
] | null |
[
"Huang Wei",
"Chen Yuan",
"Tang Ping",
"Li Yan"
] |
2016-06-07T00:00:00
| null |
Yang Jiang in her youth
(Top) Yang Jiang and her husband Qian Zhongshu; (bottom) Yang, Qian and their daughter Qian Yuan
(Left) Portrait of Yang Jiang’s daughter and husband; (right) Yang’s desk
Yang Jiang, born Yang Jikang in 1911 in Beijing, was a Chinese playwright, writer and translator. She grew up in Jiangsu Province, East China. After graduating from Soochow University in 1932, Yang Jiang enrolled in the graduate school of Tsinghua University where she met her husband Qian Zhongshu. From 1935 to 1938, they studied abroad in England and France. At that time, she gave birth to their daughter Qian Yuan. After 1949, she taught at Tsinghua University while conducting research on Western literature at Peking University and the Chinese Academy of Sciences. Later, she became a research fellow of the Institute of Foreign Literature at the Chinese Academy of Social Sciences. Her most famous plays include As You Wish and Taking True for False. Her novel Baptism has won wide acclaim. In her 90s, she published her memoir We Three and the collection of essays Reaching the Brink of Life. She also translated the Spanish novel Don Quixote.
Since the centenarian playwright and scholar Yang Jiang passed away, people from all walks of life have expressed their condolences and paid tribute to her personal charisma as well as the legacy she left to the world.
Many scholars from the publishing sector declined to be interviewed for this piece. Unwilling to talk about his social contact with Yang, one said, “She hopes to leave the world in simplicity, in peace, without disturbing others.”
What is the most respectable and admirable aspect of Yang’s life and works?
“I strove with none for none was worth my strife”—this verse from the poem Life and Death by the British poet Walter Landor, which Yang translated, accurately captures her character. In an era fraught with hustle and bustle, Yang’s indifference to fame and her serene detachment touched us.
These days, people pursue celebrity and yearn to see their faces on headlines. Vanity permeates modern society, but Yang lived a reclusive life in her twilight years. She kept her door locked and declined requests for interviews. She chose to spend every birthday without celebration. On her 90th birthday, she moved to the hotel on Tsinghua University campus and lived there for a few days to escape from external disturbances. On her 100th birthday, she said to some of her intimate friends, “It is too hot today and just do not come for my birthday celebration which otherwise will trouble you.”
Translated works are among Yang’s most remarkable achievements. “She never used time in exchange for production,” wrote Ye Tingfang, a Chinese translator, in his article, “Most of the translators like us translate as many as 2,000 words or so a day, while Yang Jiang said she is only able to translate 500 words a day.” Yang once told Ye that she actually translated in a slow way, “To translate a paragraph in the passage, I would first figure out the meaning of the whole paragraph, and then unravel each sentence, and at last restructure the sentences in line with the characteristics of Chinese language.”
In addition to translation, Yang is also renowned for her achievements in drama and prose, which have always been important subjects for academic research. The novel Baptism published in 1988 is considered the acme of her literary achievement. The Chinese writer and translator Shi Zhecun once said that Baptism is like a combination of A Dream of Red Mansions and The Scholars, two of China’s most important classics. To this, Yang responded with characteristic modesty, saying that, “Baptism was just an experiment to test myself and see if I am capable of writing novels.” She called all her efforts as attempts. However, each of her attempts was a success. This is closely related with her conscientiousness in literary creation.
In the memory of Bai Ye, a notable Chinese writer and literary critic, Yang was especially conscientious about her works. In the 1990s, Bai was the commissioning editor for the Collection of Yang Jiang’s Works. Bai recalls how impressed he was with Yang’s diligence. From the first day they started working together to the date the book was printed, Yang remained earnest and serious in her own works, carefully revising them over and over, Bai said.
Later on, in the article “When I Edited Collection of Yang Jiang’s Works,” Bai wrote with emotion and affection: “From the publication of the book on, I became a frequent visitor to Yang Jiang’s home. Each time I went for a visit, Qian Zhongshu and Yang Jiang welcomed me with ardor and warmth. From each contact and interaction with them, I could feel many things that I could not feel somewhere else. That cozy and comfortable sitting room feels like my school and also my home.”
One memory left quite an impression on Bai. Sometime in 1990s when Bai visited Yang in her home, she sat on the chair across from him.
“While she was talking to me, she moved her chair nearer toward me inch by inch until she almost sat knee to knee with me. That was the way she chatted with you—she is really kind and affable,” Bai said. “To some extent, she is quite simple. She would directly speak out whom she likes and dislikes.”
|
||||||||
21594
|
yago
|
0
| 58
|
en
|
File:Qian Zhongshu und seine Frau Yang Jiang.jpg
|
[
"https://upload.wikimedia.org/wikipedia/commons/8/8d/Qian_Zhongshu_und_seine_Frau_Yang_Jiang.jpg?20160525061539",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/PD-icon.svg/64px-PD-icon.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/6e/Dialog-warning.svg/25px-Dialog-warning.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Flag_of_the_People%27s_Republic_of_China.svg/64px-Flag_of_the_People%27s_Republic_of_China.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/7/72/Flag_of_the_Republic_of_China.svg/64px-Flag_of_the_Republic_of_China.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/PD-icon.svg/64px-PD-icon.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/6e/Dialog-warning.svg/25px-Dialog-warning.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Flag_of_the_People%27s_Republic_of_China.svg/64px-Flag_of_the_People%27s_Republic_of_China.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/7/72/Flag_of_the_Republic_of_China.svg/64px-Flag_of_the_Republic_of_China.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8d/Qian_Zhongshu_und_seine_Frau_Yang_Jiang.jpg/83px-Qian_Zhongshu_und_seine_Frau_Yang_Jiang.jpg?20160525061539",
"https://upload.wikimedia.org/wikipedia/commons/thumb/archive/8/8d/20160525061538%21Qian_Zhongshu_und_seine_Frau_Yang_Jiang.jpg/84px-Qian_Zhongshu_und_seine_Frau_Yang_Jiang.jpg",
"https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1",
"https://commons.wikimedia.org/static/images/footer/wikimedia-button.svg",
"https://commons.wikimedia.org/static/images/footer/poweredby_mediawiki.svg"
] |
[] |
[] |
[
""
] | null |
[] |
1962-08-22T00:00:00
|
en
|
/static/apple-touch/commons.png
|
This image is now in the public domain in China because its term of copyright has expired.
According to copyright laws of the People's Republic of China (with legal jurisdiction in the mainland only, excluding Hong Kong and Macao), amended November 11, 2020, Works of legal persons or organizations without legal personality, or service works, or audiovisual works, enter the public domain 50 years after they were first published, or if unpublished 50 years from creation. For photography works of natural persons whose copyright protection period expires before June 1, 2021 belong to the public domain. All other works of natural persons enter the public domain 50 years after the death of the creator.
According to copyright laws of Republic of China (currently with jurisdiction in Taiwan, Penghu, Kinmen, Matsu, etc.), all photographs and cinematographic works, and all works whose copyright holder is a juristic person, enter the public domain 50 years after they were first published, or if unpublished 50 years from creation, and all other applicable works enter the public domain 50 years after the death of the creator.
Important note: Works of foreign (non-U.S.) origin must be out of copyright or freely licensed in both their home country and the United States in order to be accepted on Commons. Works of Chinese origin that have entered the public domain in the U.S. due to certain circumstances (such as publication in noncompliance with U.S. copyright formalities) may have had their U.S. copyright restored under the Uruguay Round Agreements Act (URAA) if the work was under copyright in its country of origin on the date that the URAA took effect in that country. (For the People's Republic of China, the URAA took effect on January 1, 1996. For the Republic of China (ROC), the URAA took effect on January 1, 2002.[1])
To uploader: Please provide where the image was first published and who created it or held its copyright.
You must also include a United States public domain tag to indicate why this work is in the public domain in the United States.
Note that this work might not be in the public domain in countries that do not apply the rule of the shorter term and have copyright terms longer than life of the author plus 50 years. In particular, Mexico is 100 years, Jamaica is 95 years, Colombia is 80 years, Guatemala and Samoa are 75 years, Switzerland and the United States are 70 years, and Venezuela is 60 years.
|
||||||||
21594
|
yago
|
1
| 22
|
https://www.alamy.com/file-chinese-author-and-translator-yang-jiang-the-wife-of-qian-zhongshu-late-chinese-literary-scholar-and-writer-is-pictured-at-an-interview-at-image263328046.html
|
en
|
Chinese author and translator Yang Jiang, the wife of Qian Zhongshu, late Chinese literary scholar and writer, is pictured at an interview at Stock Photo
|
[
"https://s.alamy.com/logos/1.68.0/alamy.svg",
"https://s.alamy.com/logos/1.68.0/alamy.svg",
"https://s.alamy.com/assets/latest/footer/mastercard.svg",
"https://s.alamy.com/assets/latest/footer/visa.svg",
"https://s.alamy.com/assets/latest/footer/amex.svg",
"https://s.alamy.com/assets/latest/footer/paypal.svg",
"https://s.alamy.com/assets/latest/footer/apple-pay.svg",
"https://s.alamy.com/assets/latest/footer/google-pay.svg"
] |
[] |
[] |
[
"china",
"chinese",
"qian zhongshu",
"writer",
"yang jiang",
"yang jikang"
] | null |
[
"Alamy Limited"
] | null |
Download this stock image: --FILE--Chinese author and translator Yang Jiang, the wife of Qian Zhongshu, late Chinese literary scholar and writer, is pictured at an interview at - W8BHH2 from Alamy's library of millions of high resolution stock photos, illustrations and vectors.
|
en
|
https://www.alamy.com/file-chinese-author-and-translator-yang-jiang-the-wife-of-qian-zhongshu-late-chinese-literary-scholar-and-writer-is-pictured-at-an-interview-at-image263328046.html
|
--FILE--Chinese author and translator Yang Jiang, the wife of Qian Zhongshu, late Chinese literary scholar and writer, is pictured at an interview at her home in Beijing, China, 18 January 2012. State media say renowned Chinese writer Yang Jiang has died at age 104. The Paper, a state-owned news website, says Yang died Wednesday (25 May 2016) morning at Peking Union Medical College Hospital in Beijing. It says her death was confirmed by her publisher, the People's Literature Publishing House. Hong Kong station Phoenix TV also confirmed Yang's death, the cause of which was not given. Born in 1911, Yang became a household name in China for her novels, plays, essays and translated works. In a 1981 collection of essays, she reflected on the daily lives of Chinese intellectuals during the chaos of the Cultural Revolution, when scholars and intellectuals were forced to perform hard labor. Yang's translation of "Don Quixote" is considered the definitive Chinese version by many.
|
||||||
21594
|
yago
|
2
| 20
|
https://www.chinadaily.com.cn/en/doc/2003-11/17/content_281981.htm
|
en
|
A family besieged now beloved
|
[
"https://www.chinadaily.com.cn/pics/news/dot.gif",
"https://www.chinadaily.com.cn/ad/2003jigou.gif",
"https://www.chinadaily.com.cn/pics/news/dot.gif",
"https://www.chinadaily.com.cn/pics/news/dot.gif",
"https://www.chinadaily.com.cn/pics/news/logo_cd.gif",
"https://www.chinadaily.com.cn/pics/news/dot.gif",
"https://www.chinadaily.com.cn/pics/news/dot.gif",
"http://app1.chinadaily.com.cn/banner/cdgad.gif",
"https://www.chinadaily.com.cn/en/doc/2003-11/17/news content.files/dot.gif",
"https://www.chinadaily.com.cn/en/doc/2003-11/17/news content.files/dot.gif",
"https://www.chinadaily.com.cn/en/doc/2003-11/17/news content.files/dot.gif",
"https://www.chinadaily.com.cn/en/doc/2003-11/17/news content.files/dot.gif",
"https://www.chinadaily.com.cn/en/doc/2003-11/17/news content.files/dot.gif",
"https://www.chinadaily.com.cn/en/doc/2003-11/17/news content.files/dot.gif",
"https://www.chinadaily.com.cn/en/doc/2003-11/17/news content.files/dot.gif",
"https://www.chinadaily.com.cn/en/doc/2003-11/17/news content.files/dot.gif",
"https://www.chinadaily.com.cn/en/doc/2003-11/17/news content.files/dot.gif",
"https://www.chinadaily.com.cn/en/doc/2003-11/17/news content.files/dot.gif",
"https://www.chinadaily.com.cn/en/doc/2003-11/17/xin_cf14fca19fbc4cae8592555e8df7c4ce_1.jpg",
"https://www.chinadaily.com.cn/en/doc/2003-11/17/xin_5ef27bb3013b4835a79a75aa4d98b9db_2.jpg",
"https://www.chinadaily.com.cn/en/doc/2003-11/17/xin_66a75784e4c740ea8bca109eda8bd0c8_3.jpg",
"https://www.chinadaily.com.cn/en/doc/2003-11/17/xin_59ebe2173ab747529f45bd3507f50f9c_4.jpg",
"https://www.chinadaily.com.cn/pics/news/close.gif",
"https://www.chinadaily.com.cn/pics/news/dot.gif",
"https://www.chinadaily.com.cn/pics/news/dot.gif",
"https://www.chinadaily.com.cn/pics/news/dot.gif",
"https://www.chinadaily.com.cn/pics/news/dot.gif",
"https://www.chinadaily.com.cn/pics/news/dot.gif",
"https://www.chinadaily.com.cn/pics/news/dot.gif",
"https://www.chinadaily.com.cn/pics/news/dot.gif",
"https://www.chinadaily.com.cn/pics/news/dot.gif",
"https://www.chinadaily.com.cn/pics/news/2003chart.gif",
"https://www.chinadaily.com.cn/en/doc/2003-11/17/news content.files/dot.gif",
"https://www.chinadaily.com.cn/en/doc/2003-11/17/news content.files/dot.gif",
"https://www.chinadaily.com.cn/en/doc/2003-11/17/news content.files/dot.gif",
"https://www.chinadaily.com.cn/en/doc/2003-11/17/news content.files/dot.gif",
"https://www.chinadaily.com.cn/en/doc/2003-11/17/news content.files/dot.gif",
"https://www.chinadaily.com.cn/en/doc/2003-11/17/news content.files/dot.gif",
"https://www.chinadaily.com.cn/en/doc/2003-11/17/news content.files/dot.gif",
"https://www.chinadaily.com.cn/en/doc/2003-11/17/news content.files/dot.gif"
] |
[] |
[] |
[
""
] | null |
[] |
2003-11-17T00:00:00
| null |
( 2003-11-17 08:28) (China Daily)
Two individuals, each with a strong spirit but vulnerable heart, encountered each other, married and gave birth to a daughter. In their 60 years together the small family of three members went through war, political turmoil and illness in their repeated returns, but all the while they were always there for each other.
The family of three. [File photo]
But eventually death called away two of them, leaving one lonely survivor in the winter of her life.
Today, the lives of the three individuals, captured by the pen of the family's only surviving member in an autobiography titled "The Three of Us (Wo Men Sa)," has been on the best-seller list ever since it was published on June 25 by Sanlian Publishing House. Its first printing of 30,000 copies sold out in 12 days. Since then, it has been re-printed nine times.
The readers are curious because the writer is Yang Jiang, 92, who is already a renowned author in her own right, and a scholar and translator of foreign literature as well.
Her husband, Qian Zhongshu (1910-98), was one of the 20th century's greatest Chinese scholars and an authority in Chinese classical history, philosophy and literature, as well as in comparative culture and literature. He had a consummate mastery of the entire range of classical Chinese texts as well as an extensive knowledge of the Greek, Latin, English, German, French, Spanish and Italian classics.
Qian's only novel "Fortress Besieged (Weicheng)," first published in 1947, has enthralled generations of young readers with its humour, profound wisdom and unique insights into human nature.
Yang Jiang [File photo]
Readers find it hard to put down this new memoir by Yang Jiang, with its intimate and heartfelt narration, something quite different from her previous works, as it takes them into this modest household that has yielded so much admirable scholarship.
Their daughter, Qian Yuan (1937-97), was a professor of English with Beijing Normal University, and was in charge of evaluating the teaching of English in all teachers' colleges in China for the then State Education Commission.
But life was not always smooth sailing for the family. Aside from their love for their work and one another, the world around them confronted them with confusion and chaos.
The readers join the young couple in their daily shopping for fresh groceries from a small store on the street corner near their temporary home close to Oxford University in England.
They share not only their joy at having a new member in their family, their daughter Ah Yuan (Qian Yuan's childhood name, which meant 'round,' as her face was plump), but also their uneasiness through the years of war, political movements, separations and reunions.
As the three protagonists cope with life's twists and turns, the readers get to know the details behind their much respected scholarly achievements.
Tiny sprout
Qian Yuan's story forms the most touching part of the family memoir. In fact, the daughter was the first to suggest writing a book about their family. She wrote five chapters but left the work unfinished.
Six years after the passing away of her daughter, and five years after the demise of her husband, Yang Jiang set out to finish what her daughter had started.
Though Yang is extremely reserved in talking about the literary and scholarly accomplishments of her husband and herself, she does not hold back her high regard for her daughter.
Ah Yuan's first English sentence in her life was, "Baby yes eat," in response to her father's repeated "Baby no eat!"
In vivid language, Yang portrays her daughter sharing the same quirks and the same ingenuity as Qian Zhongshu.
Yang proudly claims, "Ah Yuan was the masterpiece of my life!" Her father deemed her "material suitable for high training," and her grandfather thought she was "a seed born for intellectual undertakings."
In poor health, she was forced to carry manure buckets in high school, to study under peasants and workers while in college, and sent to do political work at a factory after graduation.
Still in poor health, Ah Yuan continued to work hard and excel in her career as a highly-respected university professor of English.
Yang only regrets that Ah Yuan had no chance to finish many of the things she had set out to do in her life.
"Tried and tempered innumerable times, she was all along nothing but a seed, putting forth only tiny sprouts. As her parents, our hearts cannot be soothed," laments Yang.
Two sides of a coin
Despite his academic achievements, Qian Zhongshu didn't move into the public spotlight until 1990, when his only novel was adapted into a hit television drama serial broadcast nationwide.
His wit, his enjoyment of the ironies of life, and his prodigious erudition impress almost every reader and viewer of his "Fortress Besieged."
But through the loving eyes of his wife, readers get a glimpse of some other interesting aspects of his personality.
He is revealed to be extraordinarily awkward, for one thing, in dealing with practical daily problems. When Yang married him in 1935, she found that he could not distinguish his right from his left shoe, and grasped his chopsticks with his fist, like a baby.
Yang also adds in some little known facts about their professional careers.
According to Yang, most part of Qian's masterpiece, the "Pipe-Awl Collection (Guanzhui Pian )," was written in the middle 1970s, in the midst of the chaotic "cultural revolution" (1966-76). The English version of the book, translated by Qian himself, is "Limited Views: Essays on Ideas and Letters." The book was published by Harvard University Press in 1998.
In the mid-70s when the book was written they were "exiled" from their former residence, and, for more than three years, lived first in Ah Yuan's dorm in the university where she worked, then in an office which belonged to the institute to which they were attached.
During this period, Qian developed serious asthma and for some time was unable to walk or use a pen to write.
According to Yang, the "Pipe-Awl Collection" was written in abstruse ancient Chinese in order to escape possible political repercussions during the "cultural revolution."
At that time, fanatics could break into the house of renowned scholars like Qian and Yang at any time, and would cart away anything they thought "harmful" to the "political cause."
Also during this period, Yang finished her eight-volume translation of "Don Quixote" by Miguel de Cervantes.
"We never stopped reading and working no matter how difficult the situation was. For our work was our only enjoyment," she writes.
Real or surreal
Yang begins the first two chapters of "The Three of Us" with a recurring dream she used to have in which she was left alone by her husband in a hostile wilderness.
The boundary between reality and illusion is blurred - as Qian was, in fact, hospitalized for almost four years before his death.
In the dream, Qian, weak and emaciated, is hospitalized in a boat, attended by strangers. The house she and Qian lived in is no longer her home but an inn where she temporarily sojourns. Around her the environment is filled with incomprehensible devices and rules.
The only comfort for her is her resourceful and immensely considerate daughter Ah Yuan, who spends most of her young life fulfilling duties required of her by others.
One day, like a candle, Ah Yuan's life is snuffed out.
During the days when she keeps commuting between the boat, the inn, and the suburb hospital where Ah Yuan is kept, Yang has the illusion that she is trudging along a desolate, ancient post road all alone. The road is tiresomely long, but she hopes it will never end.
The dream leaves many readers in tears.
Close
|
||||||||
21594
|
yago
|
3
| 83
|
http://en.chinaculture.org/2016-05/25/content_796253.htm
|
en
|
Celebrated Chinese writer Yang Jiang dies at 105
|
[
"http://en.chinaculture.org//image_e/2014WenTong/bg-2.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ico-1.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ico-2.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/twitter01.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/youtube01.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ins01.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ic-1.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ic-2.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ic-3.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ic-4.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ic-5.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160525/b083fe955ec018af91bc3a.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160620/f8bc126e491618d16ea702.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160617/d8cb8a14fd9a18cdf7690c.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160614/d4bed9d6cb4018c9b5330d.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160627/f8bc126e491618dadf4c13.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160624/f8bc126e491618d724784a.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160530/f8bc126e491618b5e7c524.jpg",
"http://en.chinaculture.org/7812.files/ico-6.png",
"http://en.chinaculture.org/attachement/jpg/site1/20160530/f8bc126e491618b5e64f22.jpg",
"http://en.chinaculture.org/7812.files/ico-6.png",
"http://en.chinaculture.org/attachement/jpg/site1/20160627/f8bc126e491618dadf4c13.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160624/f8bc126e491618d724784a.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160624/d8cb8a51564a18d6e96c50.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160624/f8bc126e491618d72b3153.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160624/f8bc126e491618d72a9452.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160623/b083fe96faac18d5b87610.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/p-1020180514.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/p-11.jpg",
"http://cn.chinadaily.com.cn/image/2017/gwab.png"
] |
[] |
[] |
[
""
] | null |
[
"æè¹ç¿"
] |
2016-05-25T00:00:00
| null |
Well-known Chinese writer, literary translator and foreign literature researcher Yang Jiang died at the age of 105 in Beijing on Wednesday morning.
Yang, the wife of late Chinese novelist Qian Zhongshu, enjoyed decades of fame across the country for her literature works such as Six Chapters from My Life 'Downunder' (1981), Baptism (1988), and We Three (2004), which recalls her husband and her daughter Qian Yuan (1937â1997), who died of cancer one year before her father's death. Her translation of the Spanish novel Don Quixote de la Mancha is widely considered the best Chinese version.
Yang Jiang, whose original name was Yang Jikang, married Qian Zhongshu, one of the top Chinese litterateurs, in 1935.
|
||||||||
21594
|
yago
|
2
| 61
|
https://glose.com/author/qian-zhongshu
|
en
|
[] |
[] |
[] |
[
""
] | null |
[] | null | null | ||||||||||
21594
|
yago
|
0
| 97
|
https://www.imdb.com/name/nm2047999/
|
en
|
Shu Qian
|
[
"https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:146-4390050-6418219:91H3AQENQKZ93SZEVSJM$uedata=s:%2Fuedata%2Fuedata%3Fstaticb%26id%3D91H3AQENQKZ93SZEVSJM:0",
"https://m.media-amazon.com/images/M/MV5BMGJmM2Q1N2YtZWU5MS00ZWUzLTkyYTEtZjY4NjdhZWZhOTZlXkEyXkFqcGdeQXVyNDg5Mzk5Mg@@._V1_QL75_UY133_CR2,0,90,133_.jpg",
"https://m.media-amazon.com/images/M/MV5BMGJmM2Q1N2YtZWU5MS00ZWUzLTkyYTEtZjY4NjdhZWZhOTZlXkEyXkFqcGdeQXVyNDg5Mzk5Mg@@._V1_QL75_UY133_CR2,0,90,133_.jpg",
"https://m.media-amazon.com/images/G/01/IMDb/Mobile/DesktopQRCode-png.png",
"https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:146-4390050-6418219:91H3AQENQKZ93SZEVSJM$uedata=s:%2Fuedata%2Fuedata%3Fnoscript%26id%3D91H3AQENQKZ93SZEVSJM:0"
] |
[] |
[] |
[
"Zhong-Shu Qian"
] | null |
[
"IMDb"
] | null |
Zhong-Shu Qian. Writer: Wei cheng. Zhong-Shu Qian was born on 21 November 1910 in Wuxi, Jiangsu Province, China. He was a writer, known for Wei cheng (1990). He was married to Yang Jiang. He died on 19 December 1998 in Beijing, China.
|
en
|
IMDb
|
https://www.imdb.com/name/nm2047999/
|
Zhong-Shu Qian was born on 21 November 1910 in Wuxi, Jiangsu Province, China. He was a writer, known for Wei cheng (1990). He was married to Yang Jiang. He died on 19 December 1998 in Beijing, China.
|
|||||
21594
|
yago
|
3
| 17
|
https://www.instagram.com/tsinghua_uni/p/CxdSuz3vxzo/
|
en
|
Instagram
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
en
| null | ||||||||
21594
|
yago
|
0
| 15
|
https://three-body-problem.fandom.com/wiki/Qian_Zhongshu
|
en
|
Qian Zhongshu
|
https://static.wikia.nocookie.net/three-body-problem/images/3/39/Site-community-image/revision/latest?cb=20240227061650
|
https://static.wikia.nocookie.net/three-body-problem/images/3/39/Site-community-image/revision/latest?cb=20240227061650
|
[
"https://static.wikia.nocookie.net/three-body-problem/images/e/e6/Site-logo.png/revision/latest?cb=20240227061650",
"https://static.wikia.nocookie.net/ff185fe4-8356-4b6b-ad48-621b95a82a1d",
"https://static.wikia.nocookie.net/f3fc9271-3d5e-4c73-9afc-e6a9f6154ff1",
"https://static.wikia.nocookie.net/464fc70a-5090-490b-b47e-0759e89c263f",
"https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668"
] |
[] |
[] |
[
""
] | null |
[
"Contributors to Three Body Problem Wiki"
] | null |
Qian Zhongshu (钱锺书), born in the Qing dynasty, was a legendary writer of 20th century China. He studied at Qinghua university and Oxford. He translated Mao Zedong's writings. He married Yang Jiang. Most of Qian's life is known through Yang's writings. In Three Body Problem, Wang Miao quips that...
|
en
|
https://static.wikia.nocookie.net/three-body-problem/images/4/4a/Site-favicon.ico/revision/latest?cb=20230604215432
|
Three Body Problem Wiki
|
https://three-body-problem.fandom.com/wiki/Qian_Zhongshu
|
Qian Zhongshu (钱锺书), born in the Qing dynasty, was a legendary writer of 20th century China.
He studied at Qinghua university and Oxford. He translated Mao Zedong's writings.
|
||
21594
|
yago
|
2
| 6
|
https://www.scmp.com/news/china/policies-politics/article/1954515/yang-jiang-bestselling-author-who-wrote-pain-living
|
en
|
Yang Jiang, bestselling author who wrote on the pain of living through persecution during Cultural Revolution, dies at 104
|
[
"https://cdn.i-scmp.com/sites/default/files/styles/768x768/public/images/methode/2016/05/26/75fc3fc2-2312-11e6-80b1-a87df553e801_1280x720.JPG?itok=TLzs8ZMt",
"https://img.i-scmp.com/cdn-cgi/image/fit=contain,width=60,format=auto/sites/default/files/styles/300x300/public/cary-huang.png?itok=Q0g1eKhq",
"https://img.i-scmp.com/cdn-cgi/image/fit=contain,width=60,format=auto/sites/default/files/styles/300x300/public/oliver-chou.png?itok=isr6MBNJ",
"https://www.scmp.com/sites/default/files/styles/486w/public/images/methode/2016/05/26/9a868122-2312-11e6-80b1-a87df553e801_486x.JPG?itok=d4ZTnOoG",
"https://assets-v2.i-scmp.com/production/_next/static/media/wheel-on-gray.af4a55f9.gif"
] |
[] |
[] |
[
"qian zhongshu",
"yang jiang",
"author",
"writer",
"china",
"cultural revolution",
"literary super couple",
"the most chaste wife and talented girl in china",
"red guards",
"literature",
"chinese"
] | null |
[
"Cary Huang"
] |
2016-05-25T20:57:18+08:00
|
Yang’s works – including her Chinese translation of Spanish classic ‘Don Quixote’ – made her a household name alongside her late husband Qian Zhongshu
|
en
|
https://assets-v2.i-scmp.com/production/favicon.ico
|
South China Morning Post
|
https://www.scmp.com/news/china/policies-politics/article/1954515/yang-jiang-bestselling-author-who-wrote-pain-living
|
Her husband Qian was an acclaimed writer, editor, and poet, whose novel Fortress Besieged is considered a masterpiece of 20th-century literature.
Yang was born in Beijing to a wealthy and educated family from Wuxi, Jiangsu province, in 1911.
After graduating from Soochow University in 1932, Yang enrolled in the graduate school of Tsinghua University, where she met and married her husband in 1935.
The pair then studied at Oxford University, where their only daughter, Qian Yuan, was born in 1937. They continued their studies at Panthéon-Sorbonne University in Paris until 1938, when the family of three set sail for war-torn China.
Yang became a household name for her novels, plays, essays and translated works that appeared before the founding of the People’s Republic in 1949.
“There’s a way to go if we wanted to,” she wrote of their decision to stay in China in the memoir We Three in 2003.
“We have never been fond of singing or listening to patriotic tunes. But we don’t want to part with the country, humiliated and weak as it is, of our forefathers and families and become second-grade citizens of others.”
As Qian was assigned to translate the works of Mao Zedong, Yang worked as an academic at the Institute of Foreign Literature Study under the Chinese Academy of Social Sciences.
But they were not exempted from political campaigns.
In 1958, they were sent to the outskirts of Beijing to perform labour at steel mills as part of the Great Leap Forward.
As school was halted, Yang, then 47, started learning Spanish from scratch and started translating such classics as Gil Blas and Don Quixote.
During Mao’s “Four Clean-ups Movement” in 1964 – launched to cleanse the party of “reactionary” electments – the entire institute left for the countryside except Yang, who was helping Qian finalise the translation of Mao’s essays and poems.
The project had helped keep the family well-fed during the bitter years in 1959-1961 when tens of millions of people starved to death.
But the family wasn’t safe from political persecution for long.
In August 1966, shortly after the Cultural Revolution began, Yang and her husband were publicly denounced by the “revolutionary multitude”.
Their daughter, then a teacher at Beijing Normal University and a Communist Party member, put up a poster to draw a clear demarcation between her and her parents.
“After that she came home, without saying a word, and leaned towards me and started knitting a nightgown and put it on me … I could feel her tears ... and that pained us,” Yang wrote in We Three.
In 1969, Qian Zhongshu was sent off to Henan province for re-education at the May 7 cadre school.
At the train station seeing him off was Yang, Qian Yuan and her husband Deyi.
A year later, when it was Yang’s turn to be sent away, it was just Qian Yuan seeing her off at the station. Deyi had taken his own life just a month earlier.
“Yuan went out of sight as the train departed. I closed my eyes to let my tears flow,” Yang wrote as she recounted the painful farewell.
Yang and her husband returned to Beijing in 1972 and lived with their daughter at Beijing Normal University.
As the Cultural Revolution came to a close after Mao’s death, Yang completed her Chinese translation of Don Quixote in November 1976.
The epic work, spanning eight volumes, became the state gift to Spanish King Juan Carlos I during his official visit to China hosted by Deng Xiaoping in 1978.
Eight years later, in 1986, the King awarded Yang the Medal of King Alfonso X, a top accolade for “the wise”.
In 1988, Yang published the novel Baptism, which depicts the life of intellectuals under ideological indoctrination and is often compared to Fortress Besieged.
“There is no absolute happiness in human life. Happiness always comes with worry and anxiety,” she wrote in We Three.
The memoir, a national bestseller in 2003, was Qian Yuan’s unfinished project.
Qian Yuan had began writing during her spine cancer treatment and completed only the first five chapters before she died in 1997, two months shy of 60.
Yang withheld the news of their daughter’s death from her husband until his passing in 1998.
After her husband’s death, Yang compiled and edited his unpublished works, the most celebrated being We Three.
“This is a long dream of ten thousand miles. The scene was so real that it felt like a dream after waking up. But a dream being a dream, is nothing but a dream,” its opening line reads.
At the age of 96, Yang surprised the world with Reaching the Brink of Life, a philosophic work whose title alludes to her husband’s collection of essays Marginalia to Life.
|
||||
21594
|
yago
|
3
| 40
|
https://www.infoplease.com/encyclopedia/people/arts/asian-lit/qian-zhongshu
|
en
|
Qian Zhongshu
|
https://www.infoplease.com/themes/ip/favicon.ico
|
https://www.infoplease.com/themes/ip/favicon.ico
|
[
"https://www.infoplease.com/themes/ip/images/logo-white.svg",
"https://www.infoplease.com/themes/ip/images/mag-glass.svg",
"https://www.infoplease.com/themes/ip/images/close.svg",
"https://www.infoplease.com/sites/infoplease.com/files/styles/scale600w/public/2020-04/europe.jpg.webp?itok=ZYMzqB-y",
"https://www.infoplease.com/sites/infoplease.com/files/styles/scale600w/public/2020-04/middleeast.jpg.webp?itok=b3PkAiRE",
"https://www.infoplease.com/sites/infoplease.com/files/styles/scale600w/public/2020-04/Triumph_of_Achilles_in_Corfu_Achilleion.jpg.webp?itok=AJitHl3b",
"https://www.infoplease.com/sites/infoplease.com/files/styles/scale600w/public/2020-04/iStock-1163662016.jpg.webp?itok=5LuI3Ibr",
"https://www.infoplease.com/modules/contrib/custom_voice_search/images/mic.png",
"https://www.infoplease.com/sites/infoplease.com/files/inline-images/infoplease_white_logo_2.png",
"https://www.infoplease.com/sites/default/files/i_infopls_com/images/ip17_social_facebook_icon.png",
"https://www.infoplease.com/sites/default/files/i_infopls_com/images/ip17_social_twitter_icon.png",
"https://www.infoplease.com/sites/default/files/i_infopls_com/images/ip17_social_pinterest_icon.png",
"https://www.playwire.com/hubfs/Powered-by-Playwire-Badges/Ads-Powered-by-playwire-2021-standalone-small-300px.png",
"https://www.infoplease.com/modules/custom/custom_core_common/images/facebook.svg",
"https://www.infoplease.com/modules/custom/custom_core_common/images/twitter.svg",
"https://www.infoplease.com/modules/custom/custom_core_common/images/googlebookmarks.svg",
"https://www.infoplease.com/modules/custom/custom_core_common/images/email.svg",
"https://www.infoplease.com/modules/custom/custom_core_common/images/print.svg",
"https://www.infoplease.com/sites/infoplease.com/files/inline-images/sandbox-learning.png",
"https://www.infoplease.com/sites/default/files/inline-images/factmonster_logo.png",
"https://www.infoplease.com/sites/infoplease.com/files/inline-images/familyeducation_logo_1.png",
"https://www.infoplease.com/sites/default/files/inline-images/teachervision_logo.png",
"https://www.infoplease.com/sites/default/files/inline-images/sandbox_logo.png"
] |
[] |
[] |
[
""
] | null |
[
"Infoplease"
] |
2017-01-24T01:12:35-05:00
|
Qian Zhongshu or Ch'ien Chung-shu, 1910–98, Chinese writer and scholar, grad. Tsinghua Univ., Beijing (1933). After attending Oxford and the Sorbonne, he returned (1939) to China and taught at several institutions of higher education including his
|
en
|
/themes/ip/favicon.ico
|
InfoPlease
|
https://www.infoplease.com/encyclopedia/people/arts/asian-lit/qian-zhongshu
|
Qian Zhongshu or Ch'ien Chung-shu, 1910–98, Chinese writer and scholar, grad. Tsinghua Univ., Beijing (1933). After attending Oxford and the Sorbonne, he returned (1939) to China and taught at several institutions of higher education including his alma mater and also worked in the foreign languages division of the National Library, Nanjing. During the Cultural Revolution he and his wife were sent to the countryside for “reeducation” and he worked as a janitor. Afterward he returned to scholarly pursuits and was vice president (1982–93) of the Chinese Academy of Social Sciences, where he served as an adviser until his death. Qian's most famous and popular work is his sole novel, Weicheng (1947; tr. Fortress Besieged, 2004). Set in the 1930s, it is the tale of a feckless Chinese teacher's life, loves, and dreadful marriage. He also wrote a book of short stories (1946; tr. with essays from 1941 as Humans, Beasts, and Ghosts: Stories and Essays, 2011). Seven additional essays on art and literature were translated as Patchwork (2014). His scholarly work culminated in the notes and short essays on literary history, poetics, and related subjects in Guanzhui bian (4 vol., 1979; selections tr. as Limited Views: Essays on Ideas and Letters, 1998). Among his untranslated works are Tanyilu [reflections on appreciation] (1948, rev. ed. 1983) and Songshi xuanzhu [selected and annotated Sung poetry] (1958).
His wife, Yang Jiang, 1911–2016, b. Yang Jikang, was a writer, translator, and scholar known for her fiction, memoirs, plays, and essays. Her most famous translation is the definitive Chinese version of Cervantes' Don Quixote. Gan xiao liu ji (1981; tr. Six Chapters from My Life “Downunder,” 1984) details her life as an agricultural worker during the Cultural Revolution.
The Columbia Electronic Encyclopedia, 6th ed. Copyright © 2024, Columbia University Press. All rights reserved.
|
||
21594
|
yago
|
0
| 49
|
http://english.cssn.cn/skw_culture/202012/t20201203_5653784.shtml
|
en
|
Yang Jiang: staying positive in hardship
|
[
"http://english.cssn.cn/images/searlg.png",
"http://english.cssn.cn/images/SKWEN.png",
"http://english.cssn.cn/images/en_logo1.png",
"http://english.cssn.cn/skw_culture/202012/W020230619600916894793.jpg"
] |
[] |
[] |
[
""
] | null |
[
"yu-hui"
] |
2020-12-03T00:00:00
|
en
| null |
Yang Jiang and her husband Qian Zhongshu Photo: FILE
During the War of Resistance Against Japanese Aggression, Shanghai was occupied by the Japanese invaders from 1937 to 1945. In this occupied city, Yang Jiang, already a well-known writer, began to write plays. These plays met huge success. After their stage debut, her plays were widely praised by critics and ordinary audiences alike.
Instead of directly depicting the war, Yang's plays focused on human stories, revealing people's bright, indomitable spirits during wartime. Yang Jiang said, "For the Chinese people who lived under Japanese heel, if their unwillingness to compromise and to yield [to the Japanese invaders] was a form of resistance, and if the absence of sadness and depression represented their tenacity, then, the laughter from my two comedies shows that we kept our faith during the long, dark night, and we still stay positive in hardship."
From Yang Jikang to Yang Jiang
During the wartime, people who stayed in the occupied Shanghai suffered on a daily basis. Their experiences were epitomized by Yang's statement in her memoir, Women Sa (The Three of Us): "The flour that the Japanese rationed to citizens was black and all sorts of stuff came out when it was sifted and even then it was still mostly bran, while the rice rations were just rice husks, mixed in with white, yellow, and black grit. The black grit was easy to pick out. But the white and yellow grit had to be removed with tweezersâ¦â¦I taught elementary school and wrote plays, all for fuel and for rice." However, this small family still maintained optimism in those difficult days.
Under friends' encouragement, Yang wrote her first stage play, Chenxin Ruyi (Heart's Desire), which premiered in the spring of 1943. Yang Jiang's original name was Yang Jikang. She adopted Yang Jiang as her pseudonym before the premiere of Heart's Desire. After that, she became commonly known as Yang Jiang, and her original name was seldom mentioned. "Almost overnight, I was turned to Yang Jiang from Yang Jikang," Yang said.
It was not an accident that Yang started a career playwriting. She had a gift for writing plays, which was stimulated by her friends' encouragement. Moreover, Yang had rich experiences watching the urban petty bourgeois and intellectuals live their lives. Shanghai, a metropolis where the old co-existed with the new and the East met the West, was the muse which fueled her playwrights' inspiration.
Heart's Desire begins with a recently orphaned young woman, Li Junyu, whose three aunts call her to return to Shanghai from Peking (present day Beijing) to live with her wealthy maternal relatives. Despite their ostensible charity, Junyu soon realizes that these well-heeled Shanghai aunts and uncles have their own selfish designs, and have clear visions of how she can best serve them. First, each household tasks her with a litany of chores. Then, Junyu is bounced from one household to the next, because her relatives fear that she may cause trouble. With her well-developed comic talent, Yang humorously depicted the various tensions and conflicts of life. She was quite familiar with the mediocrity hidden behind the bourgeois life, in a world steeped in obsessive materialism. Her audience could feel the embarrassment and weakness of elite life in Shanghai at that time. The characters in her play, portrayed with a comic tone, reveal the vicissitudes of life.
Junyu is finally sent to the family of her Great Uncle, Xu Langzhai, an odd, stubborn, and childless man with a sizable fortune. Xu's great wealth has been coveted by these relatives, who scramble to introduce their own children to him as his inheritor. All these greedy calculations, however, are declined by Xu. Junyu is sent to live with her Great Uncle because her three aunts, after taking advantage of her, want to drive her away. They believe that Junyu will not bear Xu's bad temper and she will be forced to leave. Ultimately the play concludes on an upbeat note: Junyu wins the affection of Xu and is named as his heir. An ironic series of mishaps causes stars to align for Junyu.
Forging the Truth
After the success of Heart's Desire, Yang went on to write three plays, the comedies Nongzhen Chengjia (Forging the Truth), Youxi Renjian (Sporting With the World), and a tragedy titled Fengxu (Windswept Blossoms).
Forging the Truth was finished in October, 1943. With her acute observation and artistic creativity, Yang captured a snapshot of 1940s' society in her play. Her abiding interest in ordinary life, which was usually ignored, can be found in her plays.
Zhou Dazhang, the main character of this play, is a charming man. Born in a poor family, Zhou has to live with his mother in a small attic above a grocery, the owner of which is his brother-in-law's family. Zhou works in an insurance company, but he doesn't work hard. Instead, his plan for success is to dump his lover, Zhang Yanhua, and to con his way into the upper class by courting the daughter of a wealthy business tycoon. But the business tycoon doesn't agree to marry his daughter to Zhou. Meanwhile, Zhang Yanhua, the business tycoon's niece who occupies a marginal existence among her wealthy relatives, is an ambitious woman. She sets her sights on this con man, mistaking him for the real deal, and eventually tricks him into marrying her instead. These two fortune-hunters, Zhou and Zhang, finally end up with living in the small attic where Zhou and his mother used to live.
Heart's Desire and Forging the Truth became smash hits in Shanghai after they were staged. Yang wrote her third comedy Sporting With the World. Unfortunately, this script didn't survive.
Windswept Blossoms was the only tragedy that Yang wrote. Fang Jingshan, the main character of this play, is an activist passionate about social reform. He settles in a poor village with his wife, Shen Huilian, to promote rural education. Since most of Fangâs time and energy are invested in his career, Shen feels ignored. Fang is arrested on false charges and is thrown into prison because he offends the local authorities. He is finally released thanks to the tireless efforts of Shen Huilian and Tang Shuyuan, Fangâs dear friend. The play opens with Fang's release from prison.
After one year in prison, Fang is high in spirits and is ready to rebuild his career. Suddenly, he finds that his wife, in her husband's long absence, has grown close to Tang, and Tang has the same feelings for Shen. However, Tang refrains from his affection of Shen out of loyalty to his friend. It is a great blow to Fang. He writes a suicide note and plans to drown himself in a pond. In the mistaken belief that Fang has committed suicide, Tang openly declares his love for Shen and embraces her. However, Shen is miserable because she feels guilty about Fang's death. At that moment, Fang gives up on his plans to kill himself and comes back. On seeing the two lovers together, Fang threatens to kill Shen for her "affair." In the hysteria of the moment, Shen seizes his gun and fatally shoots herself, leaving Fang weeping bitterly and Tang standing transfixed. The curtain slowly descends.
If Heart's Desire and Forging the Truth reflect Yang's cynical view of human affairs and her adept use of humor to confront the absurdities and cruelties of society, then Windswept Blossoms marks a shift from social criticism to a further exploration of life. The name of the play, Windswept Blossoms, indicates that people cannot control all of the events that happen to them.
|
|||||||
21594
|
yago
|
2
| 46
|
https://literariness.org/2022/10/11/analysis-of-qian-zhongshus-fortress-besieged/
|
en
|
Analysis of Qian Zhongshu’s Fortress Besieged
|
[
"https://i0.wp.com/literariness.org/wp-content/uploads/2022/10/qian-zhongshu-3e055997-aff2-4787-be77-e1913da9fb3-resize-750.webp?resize=700%2C507&ssl=1",
"https://i0.wp.com/literariness.org/wp-content/uploads/2024/08/81GGlQVctL._SL1500_.jpg?resize=105%2C85&ssl=1",
"https://i0.wp.com/literariness.org/wp-content/uploads/2023/08/Gao-Xingjian-.jpeg?resize=105%2C85&ssl=1",
"https://i0.wp.com/literariness.org/wp-content/uploads/2022/10/download-2.jpeg?resize=105%2C85&ssl=1",
"https://i0.wp.com/literariness.org/wp-content/uploads/2022/10/Han_Shaogong_20060509.jpeg?resize=105%2C85&ssl=1"
] |
[] |
[] |
[
""
] | null |
[
"NASRULLAH MAMBROL"
] |
2022-10-11T00:00:00
|
Considered by most critics to be either the most important or one of the two most important works of modern Chinese literature, Fortress Besieged, by Qian Zhongshu (1910–98), depicts the complicated and often conflicted lives of a set of Chinese intellectuals on the eve of the Second Sino-Japanese War (1937–45). However, this summary in no…
|
en
|
Literary Theory and Criticism
|
https://literariness.org/2022/10/11/analysis-of-qian-zhongshus-fortress-besieged/
|
Considered by most critics to be either the most important or one of the two most important works of modern Chinese literature, Fortress Besieged, by Qian Zhongshu (1910–98), depicts the complicated and often conflicted lives of a set of Chinese intellectuals on the eve of the Second Sino-Japanese War (1937–45). However, this summary in no way reflects the novel’s complex layers, which unfold in surprising and satisfying ways to form a unique masterpiece of the modernist condition.
Fortress Besieged distinguishes itself from other contemporary Chinese works in a number of ways. For example, where Ding Ling’s The Sun Shines Over the Sanggan River (1948) concentrates on the land reform movement among farming communities, this novel focuses on the pseudo-intellectual community in China at the end of the 1930s. However, Qian’s representations of that community create a novel of seemingly infinite complexity, comparable to works by Western authors such as James Joyce. Throughout the novel, Qian embeds multiple references to and quotes from a wide range of cultural, historical, and political events from the East and West: everything from classic works of Chinese literature like The Analects and The Great Learning (Ta Hsüeh) and satires such as Li Ju-chen’s Ching-hua Yüan and Wu Ching-tzu’s Ju-lin Wai-shih and the confl ict between traditional and contemporary social practices to references to Shakespeare’s A Midsummer Night’s Dream and Sheridan’s The School for Scandal and popsicles.
Qian also explicitly embeds numerous quotes from many different languages in the book: Readers frequently find excerpts from Chinese poetry as well as French and Latin phrases sprinkled throughout the novel, often on the same page as when Qian juxtaposes his descriptions of Kao Sung-nien with a commentary on Mandarin phraseology and a Latin epithet, or when he reveals the conflation between Pao’s mispronunciation of “Su Tung-p’o” and the French term tombeau. Qian’s frequent and extensive allusions and quotations create an extremely cosmopolitan world through which his characters must struggle. Perhaps the most important quotation is the novel’s epigraph, the French proverb from which Qian derives the novel’s title: “Marriage is like a fortress besieged: those who are outside want to get in, and those who are inside want to get out.”
This reference to marriage as a conflicted, relative state informs the novel’s main themes of multiple readings and the tragic consequences of misunderstanding. Through such means, Qian reveals how many of his characters may gain knowledge but lack understanding. Moreover, he reveals how the constant demands by societal norms create a tenuous position for everyone, especially for Qian’s protagonist, Fang Hungchien. By focusing on the travails that Hung-chien, his wife, Sun Jou-chia, and their friends undergo as they fruitlessly pursue happiness and meaning, Qian ultimately crafts a tragedy in which actual and metaphorical marriages assume, as the novel’s title suggests, competing and irreconcilable meanings. Through this tragic series of events, Hung-chien comes to represent the competing tensions that define his time. Moreover, Hung-chien demonstrates a constant lack of insight into events that propel him into a hopeless situation at the novel’s end. For example, he does not perceive until it is too late how others manipulate their relationships with him for their own gratification, whether those relationships are romantic (with Pao and T’ang) or political (with Kao and Han Hsûeh-yû). Qian dramatizes the tragic consequences of misinterpretation at the minute level when he has Hung-chien confusing T’ang with Su on the phone. These events are equally accidental (like his misinterpreting Aunt Li’s conversation with Jou-chia) and intentional (Kao’s deceptive offers for teaching positions). These and other incidents compound Hung-chien’s situation to the point of paralysis. Qian’s formulation of these individuals presents a bleak portrait of modern life.
BIBLIOGRAPHY
Huters, Theodore. Qian Zhongshu. Boston: Twayne Publishers, 1982.
Zhang Wenjiang zhu. Guan zhui bain du jie. Shanghai: Shanghai gu ji chu ban she, 2000.
Categories: Chinese Literature, Literature, Novel Analysis
|
|||||
21594
|
yago
|
1
| 13
|
http://www.china.org.cn/arts/2016-05/25/content_38533749.htm
|
en
|
Famous writer and translator Yang Jiang dies at 105
|
http://images.china.cn/attachement/jpg/site1007/20160525/b8aeedd12cd918af97f601.jpg
|
[
"http://images.china.cn/images1/en/2009home/t_15.gif",
"http://images.china.cn/images1/en/2009home/t_16.gif",
"http://images.china.cn/images1/en/2009home/t_17.gif",
"http://images.china.cn/images1/en/2009home/t_18.gif",
"http://images.china.cn/images1/en/2009home/t_19.gif",
"http://images.china.cn/attachement/jpg/site1007/20160525/b8aeedd12cd918af97f601.jpg",
"http://images.china.cn/images1/en/2009home/t_16.gif",
"http://images.china.cn/images1/en/2009home/t_17.gif",
"http://s7.addthis.com/static/btn/lg-share-en.gif",
"http://images.china.cn/images1/en/2009home/comments.jpg",
"http://encomments.china.org.cn/comments/jcaptcha",
"http://images.china.cn/images1/en/2009home/t_4.gif",
"http://images.china.cn/images1/en/2009home/t_5.gif",
"http://images.china.cn/images1/en/2009home/t_6.gif"
] |
[] |
[] |
[
"yang jiang",
"death",
"beijng",
"playwright",
"writer",
"and translator"
] | null |
[] |
2016-05-25T00:00:00
|
Famous Chinese playwright, writer and translator Yang Jiang, the widow of Chinese literary giant Qian Zhongshu, died Wednesday morning in Beijing. She was 105.
| null |
Famous Chinese playwright, writer and translator Yang Jiang, the widow of Chinese literary giant Qian Zhongshu, died Wednesday morning in Beijing. She was 105.
People's Literature Publishing House has confirmed the news to media but said that Madame Yang requested that her obituary only be issued after her cremation.
Yang Jiang, famous Chinese playwright, writer and translator. [File photo]
Yang Jiang was born Yang Jikang on July 17, 1911 in Beijing. After graduating from Soochow University in 1932, Yang Jiang enrolled in the graduate school of Tsinghua University where she met her husband Qian Zhongshu.
From 1935 to 1938, they went to Oxford University and Panthéon-Sorbonne University for further study and had their daughter Qian Yuan. They returned to China in 1938. Both Yang and Qian went into academics and made important contributions to the development of Chinese culture.
Yang wrote several successful comedies, one of which, "As You Wish It" has been shown on the stage for more than 60 years. She was the first Chinese person to translate a complete Chinese version of "Don Quixote" from the Spanish original, which had sold more than 700,000 copies in China by 2014.
She wrote a memoir called "We Three," which was published in 2003, recalling her husband and her daughter Qian Yuan (1937–1997), who died of cancer one year before her father's death. The book sold more than 1 million copies.
Even as recently as 2014, at the age of 103, Yang published a new novel "After Baptism." All her works were included in a comprehensive collection of 9 volumes and 2.7 million words.
|
||||||
21594
|
yago
|
2
| 11
|
https://www.tsinghua.edu.cn/en/info/1245/4187.htm
|
en
|
Tenth Anniversary of Famous Chinese Scholar and Writer Qian Zhongshuâs Death
|
[
"https://www.tsinghua.edu.cn/_mediafile/tsinghuaen/publish/newsen/images/pic/2008/12/24/w.jpg",
"https://www.tsinghua.edu.cn/_mediafile/tsinghuaen/publish/newsen/images/pic/2008/12/24/q.jpg",
"https://www.tsinghua.edu.cn/en/newEnglish/image/logo208.png"
] |
[] |
[] |
[
"Tsinghua University",
"LATEST NEWS"
] | null |
[] | null |
The year 2008 marks the tenth anniversary of the death of famous Chinese literary scholar and writer Qian Zhongshu, who died on December 19, 1998. An exhibition which focuses on Qianâs life and achievements, a forum, and memorial activities were recently held at Tsinghua University to honor his memory.
| null |
By Li Han
Staff Writer of the Tsinghua News Center
The year 2008 marks the tenth anniversary of the death of famous Chinese literary scholar and writer Qian Zhongshu, who died on December 19, 1998. An exhibition which focuses on Qian’s life and achievements, a forum, and memorial activities were recently held at Tsinghua University to honor his memory.
Born in Wuxi on November 21, 1910, Qian Zhongshu was known for his rapier wit and formidable erudition. To the general public, he is best known for his satiric novel Fortress Besieged.
Though he failed mathematics, Qian was accepted by Tsinghua University’s Department of Foreign Languages in 1929 based on his excellent performance in Chinese and English. At Tsinghua, Qian got a well rounded education. He came to know many prominent scholars who appreciated his talent and encouraged his creative efforts. He spent much time exploring the diverse book collection in Tsianghua’s large library. His explorations informed his writing and erudition throughout his career. He probably began his lifelong habit of collecting quotations and keeping detailed reading notes at this time. He also met his future wife Yang Jiang when they were students. She became a successful playwright and translator. They married in 1935.
Later Qian received government sponsorship to further his studies abroad. Qian studied for two years at Exeter College where he received a B.Litt. Later he studied at the University of Paris for a year before returning to China in 1938. From 1949 to 1953, Qian was a Tsinghua University professor. While Guan Zhui Bian established his academic fame, his novel Fortress Besieged established his public reputation and fame. Fortress Besieged was reprinted in 1980 and once again became a best-seller. The novel was adapted as a TV serial in 1990.
Qian died on December 19, 1998 in Beijing. In accordance with their will, Yang Jiang donated funds from their estate to establish the Philobiblon Scholarship at Tsinghua University in 2001.
(Photo by Guo Haijun)
|
|||||||
21594
|
yago
|
0
| 73
|
https://doi.org/10.5790/hongkong/9789888139231.003.0002
|
en
|
The phantom of the clock: Laughter and the time of life in the writings of Qian Zhongshu and his contemporaries
|
[
"https://oup.silverchair-cdn.com/UI/app/svg/umbrella/oxford-academic-logo.svg",
"https://oup.silverchair-cdn.com/UI/app/svg/i.svg",
"https://oup.silverchair-cdn.com/UI/app/svg/account.svg",
"https://oup.silverchair-cdn.com/UI/app/svg/i.svg",
"https://oup.silverchair-cdn.com/UI/app/svg/account.svg",
"https://oup.silverchair-cdn.com/data/SiteBuilderAssets/Live/Images/hong-kong-scholarship-online/hong-kong-scholarship-online_title1671296395.svg",
"https://oup.silverchair-cdn.com/data/SiteBuilderAssets/Live/Images/hong-kong-scholarship-online/hong-kong-scholarship-online_h1-1157172674.svg",
"https://oup.silverchair-cdn.com/oup/backfile/content_public/books/22007/book/2/m_9789888139231.jpeg?Expires=1726691190&Signature=U6dLyfnZ0Ok3NSC5ZSxHUr0ZCE~xzNArb0eS~xb5-uSbpZ-U1RLGQsFi0H4yqWZc~3tPv5dToEaX18p~x0BWAZxB-WFwoPzYDQ5fKiaUCWsj8sOuMv0B4gKWelOSgOy5shWYKqE7tOYF6iiWiBqm3rYYxjfrz6RfGv9cSGd~emrw4NK4ZFk-8gHbmClCmVBfnuSYmEG4r~zkpTLjEsSnqqxcE~nDuZAiIrmPpThKgKuC485qP7BQ9jQPq5OnzIujeiYjDkCGvqBJmlnipisjAOpo2NMbQawM-JMtqDu5rbxXe3EkM0K0nZZlZ2CuaCCstR~JBRsQ~zcqyjp2m-ZCCQ__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA",
"https://oup.silverchair-cdn.com/oup/backfile/content_public/books/22007/book/2/m_9789888139231.jpeg?Expires=1726691190&Signature=U6dLyfnZ0Ok3NSC5ZSxHUr0ZCE~xzNArb0eS~xb5-uSbpZ-U1RLGQsFi0H4yqWZc~3tPv5dToEaX18p~x0BWAZxB-WFwoPzYDQ5fKiaUCWsj8sOuMv0B4gKWelOSgOy5shWYKqE7tOYF6iiWiBqm3rYYxjfrz6RfGv9cSGd~emrw4NK4ZFk-8gHbmClCmVBfnuSYmEG4r~zkpTLjEsSnqqxcE~nDuZAiIrmPpThKgKuC485qP7BQ9jQPq5OnzIujeiYjDkCGvqBJmlnipisjAOpo2NMbQawM-JMtqDu5rbxXe3EkM0K0nZZlZ2CuaCCstR~JBRsQ~zcqyjp2m-ZCCQ__&Key-Pair-Id=APKAIE5G5CRDK6RD3PGA",
"https://doi.org/UI/app/svg/chevron-right-white.svg",
"https://oup.silverchair-cdn.com/UI/app/svg/i.svg",
"https://oup.silverchair-cdn.com/UI/app/svg/chevron-right-white.svg",
"https://oup.silverchair-cdn.com/UI/app/svg/umbrella/oup-logo.svg",
"https://ouptag.scholarlyiq.com/ntpagetag.gif?js=0"
] |
[] |
[] |
[
""
] | null |
[
"Diran John Sohigian",
"Diran John"
] |
2013-06-01T00:00:00
|
Abstract. This chapter studies the impact of Henri Bergson's writings on the comic and the nature of time on two of China's greatest writers of the early t
|
en
|
//oup.silverchair-cdn.com/UI/app/img/v-638576256025047103/apple-touch-icon.png
|
OUP Academic
|
https://academic.oup.com/hong-kong-scholarship-online/book/22007/chapter/182068993
| |||||
21594
|
yago
|
3
| 26
|
https://www.amazon.com/Fortress-Besieged-Qian-Zhongshu/dp/0811215520
|
en
|
Amazon.com
|
[
"https://images-na.ssl-images-amazon.com/captcha/qmdddjhv/Captcha_ynkzqdeqey.jpg",
"https://fls-na.amazon.com/1/oc-csi/1/OP/requestId=RJT6MG5EW4VJKSS6RGKN&js=0"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
| null |
Enter the characters you see below
Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
|
|||||||
21594
|
yago
|
1
| 87
|
https://www.infoplease.com/encyclopedia/people/arts/asian-lit/qian-zhongshu
|
en
|
Qian Zhongshu
|
https://www.infoplease.com/themes/ip/favicon.ico
|
https://www.infoplease.com/themes/ip/favicon.ico
|
[
"https://www.infoplease.com/themes/ip/images/logo-white.svg",
"https://www.infoplease.com/themes/ip/images/mag-glass.svg",
"https://www.infoplease.com/themes/ip/images/close.svg",
"https://www.infoplease.com/sites/infoplease.com/files/styles/scale600w/public/2020-04/europe.jpg.webp?itok=ZYMzqB-y",
"https://www.infoplease.com/sites/infoplease.com/files/styles/scale600w/public/2020-04/middleeast.jpg.webp?itok=b3PkAiRE",
"https://www.infoplease.com/sites/infoplease.com/files/styles/scale600w/public/2020-04/Triumph_of_Achilles_in_Corfu_Achilleion.jpg.webp?itok=AJitHl3b",
"https://www.infoplease.com/sites/infoplease.com/files/styles/scale600w/public/2020-04/iStock-1163662016.jpg.webp?itok=5LuI3Ibr",
"https://www.infoplease.com/modules/contrib/custom_voice_search/images/mic.png",
"https://www.infoplease.com/sites/infoplease.com/files/inline-images/infoplease_white_logo_2.png",
"https://www.infoplease.com/sites/default/files/i_infopls_com/images/ip17_social_facebook_icon.png",
"https://www.infoplease.com/sites/default/files/i_infopls_com/images/ip17_social_twitter_icon.png",
"https://www.infoplease.com/sites/default/files/i_infopls_com/images/ip17_social_pinterest_icon.png",
"https://www.playwire.com/hubfs/Powered-by-Playwire-Badges/Ads-Powered-by-playwire-2021-standalone-small-300px.png",
"https://www.infoplease.com/modules/custom/custom_core_common/images/facebook.svg",
"https://www.infoplease.com/modules/custom/custom_core_common/images/twitter.svg",
"https://www.infoplease.com/modules/custom/custom_core_common/images/googlebookmarks.svg",
"https://www.infoplease.com/modules/custom/custom_core_common/images/email.svg",
"https://www.infoplease.com/modules/custom/custom_core_common/images/print.svg",
"https://www.infoplease.com/sites/infoplease.com/files/inline-images/sandbox-learning.png",
"https://www.infoplease.com/sites/default/files/inline-images/factmonster_logo.png",
"https://www.infoplease.com/sites/infoplease.com/files/inline-images/familyeducation_logo_1.png",
"https://www.infoplease.com/sites/default/files/inline-images/teachervision_logo.png",
"https://www.infoplease.com/sites/default/files/inline-images/sandbox_logo.png"
] |
[] |
[] |
[
""
] | null |
[
"Infoplease"
] |
2017-01-24T01:12:35-05:00
|
Qian Zhongshu or Ch'ien Chung-shu, 1910–98, Chinese writer and scholar, grad. Tsinghua Univ., Beijing (1933). After attending Oxford and the Sorbonne, he returned (1939) to China and taught at several institutions of higher education including his
|
en
|
/themes/ip/favicon.ico
|
InfoPlease
|
https://www.infoplease.com/encyclopedia/people/arts/asian-lit/qian-zhongshu
|
Qian Zhongshu or Ch'ien Chung-shu, 1910–98, Chinese writer and scholar, grad. Tsinghua Univ., Beijing (1933). After attending Oxford and the Sorbonne, he returned (1939) to China and taught at several institutions of higher education including his alma mater and also worked in the foreign languages division of the National Library, Nanjing. During the Cultural Revolution he and his wife were sent to the countryside for “reeducation” and he worked as a janitor. Afterward he returned to scholarly pursuits and was vice president (1982–93) of the Chinese Academy of Social Sciences, where he served as an adviser until his death. Qian's most famous and popular work is his sole novel, Weicheng (1947; tr. Fortress Besieged, 2004). Set in the 1930s, it is the tale of a feckless Chinese teacher's life, loves, and dreadful marriage. He also wrote a book of short stories (1946; tr. with essays from 1941 as Humans, Beasts, and Ghosts: Stories and Essays, 2011). Seven additional essays on art and literature were translated as Patchwork (2014). His scholarly work culminated in the notes and short essays on literary history, poetics, and related subjects in Guanzhui bian (4 vol., 1979; selections tr. as Limited Views: Essays on Ideas and Letters, 1998). Among his untranslated works are Tanyilu [reflections on appreciation] (1948, rev. ed. 1983) and Songshi xuanzhu [selected and annotated Sung poetry] (1958).
His wife, Yang Jiang, 1911–2016, b. Yang Jikang, was a writer, translator, and scholar known for her fiction, memoirs, plays, and essays. Her most famous translation is the definitive Chinese version of Cervantes' Don Quixote. Gan xiao liu ji (1981; tr. Six Chapters from My Life “Downunder,” 1984) details her life as an agricultural worker during the Cultural Revolution.
The Columbia Electronic Encyclopedia, 6th ed. Copyright © 2024, Columbia University Press. All rights reserved.
|
||
21594
|
yago
|
3
| 71
|
https://medium.com/%40DaphneLaffer/the-best-way-for-couples-to-get-along-301383eec972
|
en
|
The Best Way for Couples to Get Along
|
https://miro.medium.com/v2/da:true/resize:fit:1200/0*gdBZDEWiwOCdSQoV
|
https://miro.medium.com/v2/da:true/resize:fit:1200/0*gdBZDEWiwOCdSQoV
|
[
"https://miro.medium.com/v2/resize:fill:64:64/1*dmbNkD5D-u45r44go_cf0g.png",
"https://miro.medium.com/v2/resize:fill:88:88/1*eig4IcAzV934msnYBt6OFw.jpeg",
"https://miro.medium.com/v2/resize:fill:144:144/1*eig4IcAzV934msnYBt6OFw.jpeg"
] |
[] |
[] |
[
""
] | null |
[
"Daphne Laffer",
"medium.com"
] |
2024-05-01T14:11:44.196000+00:00
|
Many people believe that the best scenario for a marriage is mutual love and compatibility, allowing the couple to proceed smoothly together. However, in reality, love doesn’t care about who you are…
|
en
|
https://miro.medium.com/v2/5d8de952517e8160e40ef9841c781cdc14a5db313057fa3c3de41c6f5b494b19
|
Medium
|
https://medium.com/@DaphneLaffer/the-best-way-for-couples-to-get-along-301383eec972
|
Many people believe that the best scenario for a marriage is mutual love and compatibility, allowing the couple to proceed smoothly together.
However, in reality, love doesn’t care about who you are or where you come from. When love strikes, it strikes.
Young girls often dream of finding their prince charming, but in reality, happiness can still be found without a prince. After all, life is not a fairy tale.
Yang Jiang believes that the most important aspect of a marriage is the emotional connection and understanding between the couple. Mutual understanding allows for appreciation, attraction, support, and encouragement, fostering a harmonious relationship. Social status and background are not crucial.
She emphasizes the importance of cultivating a friendship between spouses, enabling them to support each other consciously and journey through life happily.
Why is it essential for a couple to become friends to achieve happiness?
Because being together is about being attracted to each other’s shining points. Friends don’t demand too much from each other, and even if they do, it’s within reasonable limits, maintaining a specific distance.
Many couples find that the sweetness in their relationship fades over time because they fail…
|
||
21594
|
yago
|
1
| 68
|
https://jdcorporateblog.com/after-153-bidding-rounds-jd-auctions-famous-literary-couples-autographed-copy/
|
en
|
After 153 Bidding Rounds, JD Auctions Famous Literary Couple’s Autographed Copy
|
[
"https://jdcorporateblog.com/wp-content/uploads/2024/01/42741705567864_.png",
"https://jdcorporateblog.com/wp-content/themes/jdcorporate/images/icon-search.png",
"https://jdcorporateblog.com/wp-content/themes/jdcorporate/images/icon-close.jpg",
"https://jdcorporateblog.com/wp-content/themes/jdcorporate/images/ar-menu.png",
"https://jdcorporateblog.com/wp-content/themes/jdcorporate/images/ar-menu.png",
"https://jdcorporateblog.com/wp-content/uploads/2024/01/42741705567864_.png",
"https://jdcorporateblog.com/wp-content/themes/jdcorporate/images/icon-search.png",
"https://jdcorporateblog.com/wp-content/themes/jdcorporate/images/ar-menu.png",
"https://jdcorporateblog.com/wp-content/themes/jdcorporate/images/ar-menu.png",
"https://jdcorporateblog.com/wp-content/themes/jdcorporate/images/icon-search.png",
"https://jdcorporateblog.com/wp-content/uploads/2021/01/pm-300x198.jpg",
"https://jdcorporateblog.com/wp-content/uploads/2021/01/yangjiang-300x167.jpg",
"https://jdcorporateblog.com/wp-content/uploads/2024/08/feihe.jpg",
"https://jdcorporateblog.com/wp-content/uploads/2024/08/black-myth.png",
"https://jdcorporateblog.com/wp-content/uploads/2024/08/001Sg0Wnly1hsrupmjfwbj62yo1uohdu02.jpg",
"https://jdcorporateblog.com/wp-content/themes/jdcorporate/images/ar-left-long.png",
"https://jdcorporateblog.com/wp-content/themes/jdcorporate/images/ar-right-long.png",
"https://jdcorporateblog.com/wp-content/uploads/2024/07/Durian4-433x292.jpg",
"https://jdcorporateblog.com/wp-content/uploads/2024/06/大使馆群像-433x292.png",
"https://jdcorporateblog.com/wp-content/uploads/2024/06/24JD618-433x292.jpg",
"https://jdcorporateblog.com/wp-content/uploads/2024/06/vision-pro-jd-banner-433x292.jpg",
"https://jdcorporateblog.com/wp-content/uploads/2024/01/42741705567864_白.png",
"https://jdcorporateblog.com/wp-content/themes/jdcorporate/images/top.png"
] |
[] |
[] |
[
""
] | null |
[
"Vivian Yang"
] |
2021-01-18T13:58:35+00:00
|
The couple became household names in China not only because of their literary achievements, but also because of their love
|
en
|
JD Corporate Blog
|
https://jdcorporateblog.com/after-153-bidding-rounds-jd-auctions-famous-literary-couples-autographed-copy/
|
By Vivian Yang
A book titled Will Drink Tea （《将饮茶》） by Yang Jiang (1911-2016), a well-known Chinese writer and translator, was auctioned at RMB 66,500 yuan on JD’s auction platform on Jan. 12, after 153 bidding rounds with a starting price of RMB 500 yuan. There are two pages of handwriting dedication between the cover and the title page by Yang and her husband, which makes this book a collectable item. The inscriptions are poems expressing their mutual respect and appreciation.
Yang was the wife of late Chinese literary giant Qian Zhongshu (1910-1998), who is best known for his satirical novel Fortress Besieged （《围城》）, which is considered one of the masterpieces of twentieth century Chinese literature and widely recognized internationally.
Yang Jiang (left) and Qian Zhongshu
The couple became household names in China not only because of their literary achievements, but also because of their love, recounted through written stories about their relationship and family. In the auctioned book, Madame Yang wrote about how she met and fell in love with Qian, and how they supported each other during their studies in the UK and France from 1935 to 1937, and during the decade-long turbulent period in China from 1966 to 1976.
(vivian.yang@jd.com)
JD Super, the supermarket division of JD Retail, alongside Feihe, China’s leading infant formula company, announced significant enhancements to their pioneering 28-day “farm-to-milk bottle” delivery service on August 19th in Beijing. These improvements include a new compensation policy to guarantee freshness for consumers.
This enhanced service ensures that if a customer purchases a Feihe product through JD’s app that is marked with the “28-day fresh delivery” label and discovers the production date exceeds 28 days, they are eligible to receive compensation equal to the amount of their purchase. This new policy underscores the companies’ commitment to superior product quality and transparency.
During the press conference, JD Super and Feihe also announced advancements in their logistics, achieving delivery time as fast as 10 days by optimizing warehousing and distribution processes. This pushes the envelope for the industry in terms of speed and ensures the freshness of infant formula.
The initiative, which began last August with Feihe’s Zhuorui product line, created an expedited supply chain that delivers freshly produced formula to consumers within 28 days. Since its inception, the service has been extended to include all of Feihe’s leading formulas, resulting in an eightfold sales increase year-over-year. Presently, the average duration from farm to bottle is only 22 days, optimizing the nutritional benefits and freshness for infants.
JD.com’s recent quarterly earnings report exhibited strong growth in its supermarket segment. CEO Sandy Xu emphasized that enhancing supply chain efficiency and focusing on customer experience are pivotal to JD’s strategy for sustained, high-quality growth.
The partnership between JD Super and Feihe demonstrates how innovative supply chain solutions can lead to both business growth and improved customer satisfaction in the competitive retail market.
(vivian.yang@jd.com)
On August 20 at 10 AM Beijing time, China’s first AAA video game, Black Myth: Wukong, was officially released. As the official global partner of the game, JD.com, (Jingdong) successfully delivered the much-anticipated physical editions, including both the collector’s and deluxe editions, to nationwide gamers aptly dubbed the “Destined Ones.”
According to JD’s data, over 1.1 million gamers attempted to reserve the limited physical copies of the game. The world’s first collector’s edition of the game was delivered to a Beijing customer by JD.com in the morning of August 18. JD.com also commemorated the game’s release by launching a promotional campaign for branded gaming accessories.
To ensure a prompt delivery of this highly sought-after game, JD Logistics, JD.com’s dedicated logistics arm, utilized its expansive nationwide network and placed inventory in eight regional logistics parks, facilitating a swift distribution. Gamers in major cities such as Beijing, Shanghai, and Guangzhou received their orders as early as the morning of August 18, thanks to JD’s in-house courier service.
As China’s leading online shopping platform, particularly in the area of electronics products, JD.com has been deeply involved in the gaming industry since 2015. The company has evolved into a comprehensive hub for gaming—offering everything from games and gear to content and entertainment. In recent years, JD.com has intensified its efforts to foster a broader gaming ecosystem. This includes launching cutting-edge products, providing top-tier services and entertainment, and supporting the gaming community through initiatives like establishing e-sports teams (JDG and JDE) and hosting e-sports events (JD Cup).
(yuchuan.wang@jd.com)
|
|||||
21594
|
yago
|
3
| 67
|
http://en.chinaculture.org/2016-05/26/content_797311.htm
|
en
|
Yang Jiang: A woman's legacy through words
|
[
"http://en.chinaculture.org//image_e/2014WenTong/bg-2.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ico-1.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ico-2.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/twitter01.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/youtube01.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ins01.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ic-1.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ic-2.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ic-3.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ic-4.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ic-5.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160526/f8bc126e491618b0e39e27.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160526/f8bc126e491618b0e39f28.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160526/f8bc126e491618b0e39f29.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160526/f8bc126e491618b0e39f2a.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160620/f8bc126e491618d16ea702.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160617/d8cb8a14fd9a18cdf7690c.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160614/d4bed9d6cb4018c9b5330d.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160627/f8bc126e491618dadf4c13.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160624/f8bc126e491618d724784a.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160530/f8bc126e491618b5e7c524.jpg",
"http://en.chinaculture.org/7812.files/ico-6.png",
"http://en.chinaculture.org/attachement/jpg/site1/20160530/f8bc126e491618b5e64f22.jpg",
"http://en.chinaculture.org/7812.files/ico-6.png",
"http://en.chinaculture.org/attachement/jpg/site1/20160627/f8bc126e491618dadf4c13.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160624/f8bc126e491618d724784a.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160624/d8cb8a51564a18d6e96c50.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160624/f8bc126e491618d72b3153.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160624/f8bc126e491618d72a9452.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160623/b083fe96faac18d5b87610.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/p-1020180514.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/p-11.jpg",
"http://cn.chinadaily.com.cn/image/2017/gwab.png"
] |
[] |
[] |
[
""
] | null |
[
"æè¹ç¿"
] |
2016-05-26T00:00:00
| null |
Yang Jiang, the acclaimed writer who died at the age of 104 on Wednesday, an age that stands for longevity in Chinese culture, left a legacy with her novels, prose, essays and translations.
Throughout her life, she penned 18 prose works, 9 novels, 3 plays, 3 essay collections and 4 Chinese translations of classic novels.
HerThree of Us(Wo Men Sa) is an affectionate memory of her beloved husband Qian Zhongshu and daughter Qian Yuan from the perspective of a wife and mother. As the only surviving member of the three, Yang started the first two chapters with a dream. Yang finished the book when she was 92. As she said, the book is "her own memory of the three of them".
Baptism. [Photo/amazon.cn]
Baptismis one of Yang Jiang's best -known novels. The book describes the ideological remolding of a group of intellectuals after liberation. Her clean, simple yet lively words lightly pictured a diverse group of intellectuals and their experiences.
Yang Jiang's proseSix Chapters from My Life "Downunder"recorded her difficult time when working in the countryside during the Cultural Revolution. Despite the hard times, Yang presented it in a humorous and lyrical way. Her words are mild as ever, yet they are also striking.
Reaching the Brink of Lifeis not tasteless "chicken soup" that aims to teach readers something through pat morals and made-up stories. It is Yang's philosophy, a deep meditation on life and human nature at the age of 96. After being through so many ups and downs, happiness and sorrows in almost a century, Yang's philosophical musings should not be missed.
Through her soft, gentle style, Yang Jiang recorded the life of her father and aunt during the Cultural Revolution inSoon to Have Tea(Jiang Yin Cha). The book was first published in 1983, connected with the life illustrated inSix Chapters from My Life "Downunder".
|
||||||||
21594
|
yago
|
3
| 88
|
https://www.bilibili.com/read/cv11126824/
|
en
|
全新版大学进阶英语综合教程2unit2
|
[
"https://i0.hdslb.com/bfs/article/3594f02f2b4d9df19667515f5d3fa71968863d4f.png",
"https://i0.hdslb.com/bfs/article/4adb9255ada5b97061e610b682b8636764fe50ed.png"
] |
[] |
[] |
[
"FRANK",
"詹姆士",
"彼得斯",
"房产中介",
"amp",
"IN THE FLESH",
"WOMEN",
"JENNY",
"ENGLAND",
"INA",
"reading",
"SPAIN",
"NEXT TO YOU",
"BECKHAM",
"wonderful",
"Someone",
"Chris",
"Words",
"我们仨",
"MODEL",
"FOR",
"不怎么",
"两个人",
"惊呆了",
"DON",
"YOU"
] | null |
[] | null |
Unit 2 Tales of True LoveKey to ExercisesOpenerSuggested answers for reference1. Qian Zhongshu was a Chinese literary scholar and writer, best known for his wit and great academic knowledge. One of his most famous novels is Fortress Besieged (《围城》).
|
//www.bilibili.com/favicon.ico
|
https://www.bilibili.com/read/cv11126824/
|
Unit 2 Tales of True Love
Key to Exercises
Opener
Suggested answers for reference
1. Qian Zhongshu was a Chinese literary scholar and writer, best known for his wit and great academic knowledge. One of his most famous novels is Fortress Besieged (《围城》). Yang Jiang was a Chinese playwright, author, and translator. Her memoir We Three (《我们仨》) recalls memories of her late husband, Qian Zhongshu, and her daughter, Qian Yuan, who died before her father.
David Beckham is an English former professional footballer, and the first English player to win league titles in four countries: England, Spain, the United States and France. David is married to Victoria Beckham, an English businesswoman, fashion designer, model, and singer. They have four children.
2. Qian and Yang’s romance began when they met at Tsinghua University after Yang Jiang enrolled in the graduate school in 1932. They married in 1935.
David started dating Victoria in 1997, after she attended a charity football match. The couple announced their engagement in 1998 and married in 1999.
3. During the Cultural Revolution, like many other prominent intellectuals of the time, Qian Zhongshu and Yang Jiang were “sent down”, doing “reform through labor” in a “cadre school” in Henan from 1969 to 1972.
The challenge David and Victoria have come across is media attention. They are both famous, so their relationship has attracted a great deal of media attention from its very beginning.
Reading & Interacting
I. Understanding the Text
1. Text Organization
2. Comprehension Check
2.1 Focusing on the main ideas
Frank joined the U.S. Army during World War II, and frequently exchanged letters with Polly, his wife. Frank, away in England, wrote about his longings for home and his feelings towards Polly and Dee, their toddler daughter, while Polly described in detail her life at home and expressed her concern over the war, as well as the loneliness she endured from the long separation. They wrote about their love for each other and comforted each other with the expectation for their reunion in the future. Tragically, however, Frank was killed in the Normandy landing operation on D-Day.
2.2 Digging into detail
1. He was very bitter that he was not going to be by her side while she grew up.
2. He believed it was God’s will whether he would be one of the assault troops and whether he would survive the fighting. What he would do was to trust God.
3. They had not seen each other for 8 months.
4. Polly would take her daughter Dee to see her first movie.
5. Polly imagined she and Frank would listen to their favorite music together on Sunday nights.
6. She felt all the more sentimental but at the same time more confident in the future.
2.3 Understanding difficult sentences
1. B 2. A 3. B 4. B 5. B
II. Focusing on Language in Context
1. Key Words & Expressions
1.1
1. While I was working in a fast-food restaurant, I constantly dreamt of being able to own one someday.
2. It was common for people to keep up correspondence with friends through letters before the age of the Internet.
3. In modern Chinese society, women, to a large extent, are no longer dominated by men either in family life or in the workplace.
4. There is now a growing realization of the importance of recycling among the residents in our neighborhood.
5. The Japanese invasion during World War II met with fierce resistance from the Chinese people.
6. It is wonderful to see flowers bloom in different colours after a long bleak winter.
7. The elderly landlady couldn’t endure the behavior of the young man any more: he tossed trash all over the building.
8. It is true that human beings have had war constantly throughout history; nevertheless human civilization has managed to survive.
9. An increasingly large number of Chinese plan to spend their time travelling to different countries and seeing more of the world when they retire.
10. Last week I submitted my first project proposal and I was very anxious to know how the department manager would react to it.
11. We all sympathize with those who lost loved ones in the disaster.
12. The general decided to launch an assault on the enemy at midnight.
13. At that time, most stores in that region allowed shoppers to exchange goods and services at a mutually agreed price.
14. The kids never received any professional training previously, but their performance was impressive.
15. It’s amazing that the toddler can count up to one hundred and backward.
1.2
1. postponed 2. of late 3. long for 4. continually
5.compensated for 6. on land 7. adored 8. by the day
1.3
1. The sole survivor of the crash declined to be interviewed saying he just could not bring himself to talk about the tragic accident at the moment.
2. I thought the party I was invited to was a quiet and private one, but as it turned out, I was overwhelmed by the crowds and noise.
3. Like many of her generation, the lady suffered/underwent a lot of hardships throughout her life.
4. The local government was forced /had to bow to public pressure and cancelled the nuclear power program.
5. Different teachers play different roles in the growth of a student.
6. The team is carrying out research to find out the impact on children of long separation from their parents.
7. Mary immediately felt uneasy when she found her cousin John was gazing upon her.
8. I can still recall how my heart was filled with joy and pride when I received the diploma from the principal.
2. Usage
1. We all pray for the return of peace and loved ones.
2. The prime minister, when talking about the servicemen in battle, said, “Those brave young people are the ones who are undergoing all/all of the hardships.”
3. All of them were overwhelmed by the glamour of the royal palace.
4. The happiest are not those who own all/all of the best things, but those who can appreciate the beauty of life.
5. All work and no play makes Jack a dull boy.
3. Sentence Patterns
1. Of course you all think big. But I’ll bet many of you have no idea what you are really longing for.
2. The school bus driver shouted, “Don’t get off until the bus stops!”
3. I understand the importance of developing the habit of not putting off what you can do today until tomorrow. But you know, it’s always easier said than done.
4. You may say you enjoy being single, but I bet you will think differently when you finally fall in love.
5. Not until I experienced terrible loneliness did I come to the realization that support and sympathy from family were precious.
4. Comprehensive Practice
4.1 Cloze
In putting into words how much we adore someone, sometimes it is easier to do so in correspondence than face-to-face. One cannot help but sympathize with the lover who, gazing upon the object of his affection face-to-face, becomes overwhelmed and lost for words. Here distance may help. For separation not only makes the heart grow fonder, it also provides the perfect excuse for a(n) exchange of love letters in which the tongue-tied lover can give a more impressive display of his innermost thoughts. Unable to bring himself to speak freely about his feelings, with pen and paper on hand he may nonetheless easily fill pages with fine words. Watered by these, love will hopefully bloom.
4.2 Translation
1. George longs for a chance to meet her, but he can’t bring himself to tell her about it.
2. Many smart and capable people do not achieve a lot in their life because they are afraid of the hardships they may have to endure.
3. I remember that in my childhood I had great enjoyment in living in the countryside where all the flowers were blooming in spring.
4. The government is sure to react to the recent growth in violent crime.
5. Quite a lot of people can undergo feelings of loss after they retire, and we may help them with our care and concern.
6. They would get together exchanging ideas and discussing the problems they were confronted with when they stayed in Silicon Valley in the 90’s.
7. Gazing upon the picture of her grandson who lost his life on D-Day, the elderly lady was filled with sorrow.
8. Some people worry that robots may someday become the dominating force in the world.
Reading & Comprehending
Reading 1
1. Comprehension Check for Reading 1
1. F 2. F 3. F 4. T 5. F 6. T 7. T 8. F 9. F 10. T
2. Translation
1. 每个事故本身都不怎么严重，但叠加起来似乎就触发了一个奇怪的结果。
2. 大脑遭受过这种损伤的人会漫无目的地从他们住的地方走失，完全不记得从前的事。
3. 看到詹姆士·彼得斯房产中介的招牌，吉姆就给自己取名詹姆士·彼得斯。
4. 两个人惊呆了，甚至忘记了拥抱。
Reading 2
Comprehension Check for Reading 2
1. Zhu convinced her father to allow her to attend school disguised as a young man.
2. She received a letter from her father requesting that she return home immediately. Before parting, she invited Liang to visit her house so that she could arrange a marriage between him and her sister.
3. Liang fell critically ill soon after he visited Zhu at her home, and passed away within a month. This was because it was too late for Liang to propose to Zhu. Her parents had arranged the marriage between her daughter and another man. Of course, it would be a fatal blow to Liang.
4. When both Liang and Zhu were dead, two small butterflies were seen emerging from their grave, flying happily together. Ever after, the two have been known as the butterfly lovers.
Integrated Skills Practicing
I. Viewing & Listening
1. 29th Jan., 1945
My dearest one,
I’ve just heard the news that all the Army men who were held POW are to return to their homes. Because of the shipping situation we may not commence to go before the end of February, but could probably count on being in England sometime in March. It may be sooner. It has made me very warm inside. It is terrific, wonderful, shattering.
2. I do not know how long leave I shall get. I could get as little as 14 days and I may get as much as a month. I’m wondering how I shall tell you I’m in England. Probably it’s still quicker to send a telegram than a letter. And I hope to send you one announcing that I am on the same island. I will send another when I’m actually soon to get on the London-bound train and you can ring Lee Green 0509 when you think I have arrived there.
3. It’s a pity that the winter weather will not be kind to us out of doors. But it will be nice sitting next to you in the pictures no matter what may be on the screen. It will be grand to know we have each other’s support and sympathy. Won’t it be wonderful to be together — really together in the flesh, not just to know that a letter is all we can send.
Love you,
Chris
III. Writing
Model letter for your reference
My Dearest Pauline,
I was overwhelmed with sadness to hear about the death of Frank in battle. I long for words to say how much I sympathize with you, but none are adequate in moments like these. I will say, though, that my heart goes out to you. I will always remember the deep enjoyment I had in knowing Frank, such a kind, gentle soul.
He was an extraordinarily impressive man and a very brave soldier. He filled so many of us with admiration by his willingness to give his life for world peace and freedom. His life will endure as a model for us all, all the more so, for Dee, whom he adored. I am so proud of him.
You can depend on my love and support during this sad time.
With my deepest love and sympathy,
Jenny (140 words)
|
||||||
21594
|
yago
|
0
| 65
|
http://en.chinaculture.org/2016-05/25/content_796253.htm
|
en
|
Celebrated Chinese writer Yang Jiang dies at 105
|
[
"http://en.chinaculture.org//image_e/2014WenTong/bg-2.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ico-1.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ico-2.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/twitter01.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/youtube01.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ins01.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ic-1.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ic-2.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ic-3.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ic-4.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ic-5.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160525/b083fe955ec018af91bc3a.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160620/f8bc126e491618d16ea702.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160617/d8cb8a14fd9a18cdf7690c.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160614/d4bed9d6cb4018c9b5330d.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160627/f8bc126e491618dadf4c13.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160624/f8bc126e491618d724784a.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160530/f8bc126e491618b5e7c524.jpg",
"http://en.chinaculture.org/7812.files/ico-6.png",
"http://en.chinaculture.org/attachement/jpg/site1/20160530/f8bc126e491618b5e64f22.jpg",
"http://en.chinaculture.org/7812.files/ico-6.png",
"http://en.chinaculture.org/attachement/jpg/site1/20160627/f8bc126e491618dadf4c13.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160624/f8bc126e491618d724784a.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160624/d8cb8a51564a18d6e96c50.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160624/f8bc126e491618d72b3153.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160624/f8bc126e491618d72a9452.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160623/b083fe96faac18d5b87610.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/p-1020180514.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/p-11.jpg",
"http://cn.chinadaily.com.cn/image/2017/gwab.png"
] |
[] |
[] |
[
""
] | null |
[
"æè¹ç¿"
] |
2016-05-25T00:00:00
| null |
Well-known Chinese writer, literary translator and foreign literature researcher Yang Jiang died at the age of 105 in Beijing on Wednesday morning.
Yang, the wife of late Chinese novelist Qian Zhongshu, enjoyed decades of fame across the country for her literature works such as Six Chapters from My Life 'Downunder' (1981), Baptism (1988), and We Three (2004), which recalls her husband and her daughter Qian Yuan (1937â1997), who died of cancer one year before her father's death. Her translation of the Spanish novel Don Quixote de la Mancha is widely considered the best Chinese version.
Yang Jiang, whose original name was Yang Jikang, married Qian Zhongshu, one of the top Chinese litterateurs, in 1935.
|
||||||||
21594
|
yago
|
2
| 1
|
https://three-body-problem.fandom.com/wiki/Qian_Zhongshu
|
en
|
Qian Zhongshu
|
https://static.wikia.nocookie.net/three-body-problem/images/3/39/Site-community-image/revision/latest?cb=20240227061650
|
https://static.wikia.nocookie.net/three-body-problem/images/3/39/Site-community-image/revision/latest?cb=20240227061650
|
[
"https://static.wikia.nocookie.net/three-body-problem/images/e/e6/Site-logo.png/revision/latest?cb=20240227061650",
"https://static.wikia.nocookie.net/ff185fe4-8356-4b6b-ad48-621b95a82a1d",
"https://static.wikia.nocookie.net/f3fc9271-3d5e-4c73-9afc-e6a9f6154ff1",
"https://static.wikia.nocookie.net/464fc70a-5090-490b-b47e-0759e89c263f",
"https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668"
] |
[] |
[] |
[
""
] | null |
[
"Contributors to Three Body Problem Wiki"
] | null |
Qian Zhongshu (钱锺书), born in the Qing dynasty, was a legendary writer of 20th century China. He studied at Qinghua university and Oxford. He translated Mao Zedong's writings. He married Yang Jiang. Most of Qian's life is known through Yang's writings. In Three Body Problem, Wang Miao quips that...
|
en
|
https://static.wikia.nocookie.net/three-body-problem/images/4/4a/Site-favicon.ico/revision/latest?cb=20230604215432
|
Three Body Problem Wiki
|
https://three-body-problem.fandom.com/wiki/Qian_Zhongshu
|
Qian Zhongshu (钱锺书), born in the Qing dynasty, was a legendary writer of 20th century China.
He studied at Qinghua university and Oxford. He translated Mao Zedong's writings.
|
||
21594
|
yago
|
0
| 12
|
http://www.csstoday.com/Item/3487.aspx
|
en
|
Why Yang Jiang is revered today
|
[
"http://www.csstoday.com/Template/Csstoday/Skin/images/logo.png ",
"http://www.csstoday.com/UploadFiles/Multimedia/2016/6/201606021909180523.jpg",
"http://www.csstoday.com/UploadFiles/Multimedia/2016/6/201606021909539236.jpg",
"http://www.csstoday.com/UploadFiles/Multimedia/2016/6/201606021910416510.JPG"
] |
[] |
[] |
[
""
] | null |
[
"Huang Wei",
"Chen Yuan",
"Tang Ping",
"Li Yan"
] |
2016-06-07T00:00:00
| null |
Yang Jiang in her youth
(Top) Yang Jiang and her husband Qian Zhongshu; (bottom) Yang, Qian and their daughter Qian Yuan
(Left) Portrait of Yang Jiang’s daughter and husband; (right) Yang’s desk
Yang Jiang, born Yang Jikang in 1911 in Beijing, was a Chinese playwright, writer and translator. She grew up in Jiangsu Province, East China. After graduating from Soochow University in 1932, Yang Jiang enrolled in the graduate school of Tsinghua University where she met her husband Qian Zhongshu. From 1935 to 1938, they studied abroad in England and France. At that time, she gave birth to their daughter Qian Yuan. After 1949, she taught at Tsinghua University while conducting research on Western literature at Peking University and the Chinese Academy of Sciences. Later, she became a research fellow of the Institute of Foreign Literature at the Chinese Academy of Social Sciences. Her most famous plays include As You Wish and Taking True for False. Her novel Baptism has won wide acclaim. In her 90s, she published her memoir We Three and the collection of essays Reaching the Brink of Life. She also translated the Spanish novel Don Quixote.
Since the centenarian playwright and scholar Yang Jiang passed away, people from all walks of life have expressed their condolences and paid tribute to her personal charisma as well as the legacy she left to the world.
Many scholars from the publishing sector declined to be interviewed for this piece. Unwilling to talk about his social contact with Yang, one said, “She hopes to leave the world in simplicity, in peace, without disturbing others.”
What is the most respectable and admirable aspect of Yang’s life and works?
“I strove with none for none was worth my strife”—this verse from the poem Life and Death by the British poet Walter Landor, which Yang translated, accurately captures her character. In an era fraught with hustle and bustle, Yang’s indifference to fame and her serene detachment touched us.
These days, people pursue celebrity and yearn to see their faces on headlines. Vanity permeates modern society, but Yang lived a reclusive life in her twilight years. She kept her door locked and declined requests for interviews. She chose to spend every birthday without celebration. On her 90th birthday, she moved to the hotel on Tsinghua University campus and lived there for a few days to escape from external disturbances. On her 100th birthday, she said to some of her intimate friends, “It is too hot today and just do not come for my birthday celebration which otherwise will trouble you.”
Translated works are among Yang’s most remarkable achievements. “She never used time in exchange for production,” wrote Ye Tingfang, a Chinese translator, in his article, “Most of the translators like us translate as many as 2,000 words or so a day, while Yang Jiang said she is only able to translate 500 words a day.” Yang once told Ye that she actually translated in a slow way, “To translate a paragraph in the passage, I would first figure out the meaning of the whole paragraph, and then unravel each sentence, and at last restructure the sentences in line with the characteristics of Chinese language.”
In addition to translation, Yang is also renowned for her achievements in drama and prose, which have always been important subjects for academic research. The novel Baptism published in 1988 is considered the acme of her literary achievement. The Chinese writer and translator Shi Zhecun once said that Baptism is like a combination of A Dream of Red Mansions and The Scholars, two of China’s most important classics. To this, Yang responded with characteristic modesty, saying that, “Baptism was just an experiment to test myself and see if I am capable of writing novels.” She called all her efforts as attempts. However, each of her attempts was a success. This is closely related with her conscientiousness in literary creation.
In the memory of Bai Ye, a notable Chinese writer and literary critic, Yang was especially conscientious about her works. In the 1990s, Bai was the commissioning editor for the Collection of Yang Jiang’s Works. Bai recalls how impressed he was with Yang’s diligence. From the first day they started working together to the date the book was printed, Yang remained earnest and serious in her own works, carefully revising them over and over, Bai said.
Later on, in the article “When I Edited Collection of Yang Jiang’s Works,” Bai wrote with emotion and affection: “From the publication of the book on, I became a frequent visitor to Yang Jiang’s home. Each time I went for a visit, Qian Zhongshu and Yang Jiang welcomed me with ardor and warmth. From each contact and interaction with them, I could feel many things that I could not feel somewhere else. That cozy and comfortable sitting room feels like my school and also my home.”
One memory left quite an impression on Bai. Sometime in 1990s when Bai visited Yang in her home, she sat on the chair across from him.
“While she was talking to me, she moved her chair nearer toward me inch by inch until she almost sat knee to knee with me. That was the way she chatted with you—she is really kind and affable,” Bai said. “To some extent, she is quite simple. She would directly speak out whom she likes and dislikes.”
|
||||||||
21594
|
yago
|
3
| 10
|
https://lareviewofbooks.org/article/a-monument-to-what-might-have-been-qian-zhongshus-fortress-besieged
|
en
|
A Monument to What Might Have Been: Qian Zhongshu's "Fortress Besieged"
|
https://lareviewofbooks-media.azureedge.net/unsafe/1200x0/filters:format(jpeg):quality(75)/null
|
https://lareviewofbooks-media.azureedge.net/unsafe/1200x0/filters:format(jpeg):quality(75)/null
|
[
"https://lareviewofbooks-media.azureedge.net/unsafe/640x0/filters:format(jpeg):quality(75)/https%3A%2F%2Fassets.lareviewofbooks.org%2Fuploads%2Fbest-of-larb-inbox.jpg 640w, https://lareviewofbooks-media.azureedge.net/unsafe/750x0/filters:format(jpeg):quality(75)/https%3A%2F%2Fassets.lareviewofbooks.org%2Fuploads%2Fbest-of-larb-inbox.jpg 750w, https://lareviewofbooks-media.azureedge.net/unsafe/828x0/filters:format(jpeg):quality(75)/https%3A%2F%2Fassets.lareviewofbooks.org%2Fuploads%2Fbest-of-larb-inbox.jpg 828w, https://lareviewofbooks-media.azureedge.net/unsafe/1080x0/filters:format(jpeg):quality(75)/https%3A%2F%2Fassets.lareviewofbooks.org%2Fuploads%2Fbest-of-larb-inbox.jpg 1080w, https://lareviewofbooks-media.azureedge.net/unsafe/1200x0/filters:format(jpeg):quality(75)/https%3A%2F%2Fassets.lareviewofbooks.org%2Fuploads%2Fbest-of-larb-inbox.jpg 1200w, https://lareviewofbooks-media.azureedge.net/unsafe/1920x0/filters:format(jpeg):quality(75)/https%3A%2F%2Fassets.lareviewofbooks.org%2Fuploads%2Fbest-of-larb-inbox.jpg 1920w, https://lareviewofbooks-media.azureedge.net/unsafe/2048x0/filters:format(jpeg):quality(75)/https%3A%2F%2Fassets.lareviewofbooks.org%2Fuploads%2Fbest-of-larb-inbox.jpg 2048w, https://lareviewofbooks-media.azureedge.net/unsafe/3840x0/filters:format(jpeg):quality(75)/https%3A%2F%2Fassets.lareviewofbooks.org%2Fuploads%2Fbest-of-larb-inbox.jpg 3840w",
"https://lareviewofbooks-media.azureedge.net/unsafe/640x0/filters:format(jpeg):quality(75)/https%3A%2F%2Fassets.lareviewofbooks.org%2Fuploads%2FLARB42_D2_Cover%20(1).jpg 640w, https://lareviewofbooks-media.azureedge.net/unsafe/750x0/filters:format(jpeg):quality(75)/https%3A%2F%2Fassets.lareviewofbooks.org%2Fuploads%2FLARB42_D2_Cover%20(1).jpg 750w, https://lareviewofbooks-media.azureedge.net/unsafe/828x0/filters:format(jpeg):quality(75)/https%3A%2F%2Fassets.lareviewofbooks.org%2Fuploads%2FLARB42_D2_Cover%20(1).jpg 828w, https://lareviewofbooks-media.azureedge.net/unsafe/1080x0/filters:format(jpeg):quality(75)/https%3A%2F%2Fassets.lareviewofbooks.org%2Fuploads%2FLARB42_D2_Cover%20(1).jpg 1080w, https://lareviewofbooks-media.azureedge.net/unsafe/1200x0/filters:format(jpeg):quality(75)/https%3A%2F%2Fassets.lareviewofbooks.org%2Fuploads%2FLARB42_D2_Cover%20(1).jpg 1200w, https://lareviewofbooks-media.azureedge.net/unsafe/1920x0/filters:format(jpeg):quality(75)/https%3A%2F%2Fassets.lareviewofbooks.org%2Fuploads%2FLARB42_D2_Cover%20(1).jpg 1920w, https://lareviewofbooks-media.azureedge.net/unsafe/2048x0/filters:format(jpeg):quality(75)/https%3A%2F%2Fassets.lareviewofbooks.org%2Fuploads%2FLARB42_D2_Cover%20(1).jpg 2048w, https://lareviewofbooks-media.azureedge.net/unsafe/3840x0/filters:format(jpeg):quality(75)/https%3A%2F%2Fassets.lareviewofbooks.org%2Fuploads%2FLARB42_D2_Cover%20(1).jpg 3840w"
] |
[] |
[] |
[
""
] | null |
[] |
2013-10-13T07:00:30+00:00
|
Qian Zhongshu is a tough sell for the Nobel Prize, but he deserves it for Fortress Besieged alone.
|
/icons/favicon/favicon.ico
|
Los Angeles Review of Books
|
https://lareviewofbooks.org/article/a-monument-to-what-might-have-been-qian-zhongshus-fortress-besieged
|
QIAN ZHONGSHU is a tougher Nobel pitch than some of the other authors profiled in this series. He’s dead, for starters — traditionally an obstacle to many things, including winning Nobel prizes — and his total creative output consists solely of a few essays, several short stories, and a single novel. On the other hand, that novel, Fortress Besieged, seems to me to be the high-water mark of something significant, if hard to explain, so I’m going to make my best case for it being enough to secure Qian’s place in history. The book takes its title from a French proverb, sets its action in the China of the 1930s, and tracks the misfortunes of Fang Hongjian, a feckless, cowardly student returning from Europe with a mail-order doctorate in Chinese from an American university that exists only in the imagination of a crooked Irishman. It may be one of the most cosmopolitan books ever written; certainly it is, as literary critic C. T. Hsia said, one of the greatest Chinese novels of the 20th century.
We meet the protagonist, Fang Hongjian, in the summer of 1937 as he and his fellow Chinese students return to China aboard a French steamer. He livens up the journey by flirting unsuccessfully with two of the female passengers. In Shanghai, which has just fallen under Japanese occupation, Fang renews his acquaintance with one of the young women, a PhD named Miss Su — and promptly falls for her cousin. He clammily courts both women for a time before working up the nerve to break things off with Miss Su, who has been expecting Fang to propose to her. In retaliation, she destroys any chance he might have with her cousin.
Shanghai proving a downer, Fang takes a teaching job at Sanlü University, a newly established school in China’s interior, but en route there he and his traveling companions continually encounter hassles and hardships. Once at Sanlü, Fang quickly finds that the other teachers are pompous frauds, backstabbers, and brownnosers. (One of them has a doctorate from the same fake university as Fang and is desperate not to be found out.) Circumstances push Fang into the arms of Sun Roujia, a young English teacher. After Fang's contract is not renewed for a second year, he marries Sun and they return to Shanghai. There, their relationship (never very strong to begin with) collapses under the weight of their unhappiness.
There's a lot missing from this summary, of course — in particular, the erudition and humor that make Fortress Besieged so unlike any other Chinese novel of the past century. Raised by Confucians and educated by missionaries, Qian studied at Oxford and the Sorbonne, and drew upon the literary traditions of a half-dozen languages in cracking wise and devising epigrams that have made him legendary to Chinese readers. (Many of these, unfortunately, are blunted in the novel's sole English translation, a 1970s relic.) He had a keen eye and a sharp pen, and many of his characters still resonate. There's "Jimmy Zhang," a Shanghainese comprador who peppers his speech with malaprop English words and insists on being addressed by his English name. There's Fang Hongjian's father, a country gentleman who expatiates with classical allusions and hoary clichés. There's a Cambridge-educated modernist poet who has entitled his unreadable, heavily footnoted magnum opus "Adulterous Smorgasbord," and a philosopher who claims a personal friendship with Bertrand Russell ("Bertie") on the strength of a form reply to his fan mail, and tells people that Russell came to him with questions only he could answer. ("This was no idle boast, Heaven knows. Russell had personally asked him when he would be visiting England, and whether or not he had any plans for his visit, and how many lumps of sugar he took in his tea.") And there's Fang himself, a gormless fraud and moral coward who at one point tells a lecture audience that the only two Western inventions to have caught on in China are opium and syphilis.
"I talked to Bertie about his marriages and divorces once," Shenming said. "He said that there's a saying in English that marriage is like a gilded birdcage. The birds outside want to get in, and the birds inside want to get out, he said, so divorce leads to marriage and marriage leads to divorce and there's never any end to it."
"There's a saying like that in France, too," Miss Su said. "Only there it's about a forteresse assiégée — a fortress under siege. The people outside want to storm in, and the people inside are desperate to get out."
The metaphor (from the French "Le mariage est comme une forteresse assiégée; ceux qui sont dehors veulent y entrer, et ceux qui sont dedans veulent en sortir") functions on many levels. In Qian's satire, Fang finds disillusionment and disappointment in wartime Shanghai (full of frauds, phonies, and toadies), the relatively safe interior (where an innkeeper attempts to convince him and his traveling companions that maggots on their dinner are merely "meat sprouts"), the security of an academic career (Sanlü University proves to be a hotbed of petty intrigues), and the prestige of an international education. The image of a fortress under siege also applies to China itself: Fang and his compatriots return to Shanghai just in time to catch the Japanese invasion, and although Qian was much too subtle a writer to foreground the war and occupation — Fang leaves Shanghai to escape a broken heart, not the Japanese — they are a constant presence throughout the novel.
In Qian's short story "Inspiration,” the spirit of a recently deceased author is confronted in the afterlife by the shades of characters from his novels who charge him with murder and theft for having robbed them of life in his works. It would be hard to make either charge stick in Qian's case — but as memorable as the characters that populate the first sections of the book are, there's a definite change of tone about two-thirds of the way through Fortress Besieged, when the focus shifts to Fang Hongjian and Sun Roujia's unhappy marriage. Here wit gives way to greatness, as the wisecracks and epigrams take a backseat to a heartbreakingly sensitive depiction of a failing relationship.
Qian never completed another novel. The manuscript of a second book, Baihe Xin (literally Lily Heart, inspired by the French expression cœur d'artichaut), was lost when he and his family moved to Beijing in the summer of 1949, and Fortress Besieged remained out of print on both the mainland and Taiwan until the early 1980s. Qian turned his energies to classical scholarship instead, culminating in the monumental Limited Views, a critical overview in Literary Chinese of China's classical literary tradition viewed through the lens of Qian's polyglot bibliophilia. (You haven't lived until you've seen someone name-check Susan Sontag in the language of Confucius.) Qian professed to have left his career as a novelist behind him, but a 1985 essay written by his wife, the playwright and translator Yang Jiang, suggests otherwise:
After Fortress Besieged was reprinted, I asked if he wouldn't be interested in writing another novel.
"The interest is there," he replied, "but my powers have waned over the years. To want to write, when there is no chance of writing, is a lingering regret — but to write something that isn't any good, once one does have the chance, can only end in remorse. The former at least leaves some room for self-deception; the latter is what the Spanish call 'el momento de la verdad,' and it leaves no room for self-deception, escape, or mercy. Better regret than remorse."
They don't give Nobel prizes to dead people; they don't give Nobel prizes to people who only wrote one novel; and they don't give Nobel prizes for counterfactuals. Fortress Besieged will have to stand on its own merits, a monument to what might have been.
¤
|
|||
21594
|
yago
|
1
| 64
|
http://english.cssn.cn/skw_culture/202012/t20201203_5653784.shtml
|
en
|
Yang Jiang: staying positive in hardship
|
[
"http://english.cssn.cn/images/searlg.png",
"http://english.cssn.cn/images/SKWEN.png",
"http://english.cssn.cn/images/en_logo1.png",
"http://english.cssn.cn/skw_culture/202012/W020230619600916894793.jpg"
] |
[] |
[] |
[
""
] | null |
[
"yu-hui"
] |
2020-12-03T00:00:00
|
en
| null |
Yang Jiang and her husband Qian Zhongshu Photo: FILE
During the War of Resistance Against Japanese Aggression, Shanghai was occupied by the Japanese invaders from 1937 to 1945. In this occupied city, Yang Jiang, already a well-known writer, began to write plays. These plays met huge success. After their stage debut, her plays were widely praised by critics and ordinary audiences alike.
Instead of directly depicting the war, Yang's plays focused on human stories, revealing people's bright, indomitable spirits during wartime. Yang Jiang said, "For the Chinese people who lived under Japanese heel, if their unwillingness to compromise and to yield [to the Japanese invaders] was a form of resistance, and if the absence of sadness and depression represented their tenacity, then, the laughter from my two comedies shows that we kept our faith during the long, dark night, and we still stay positive in hardship."
From Yang Jikang to Yang Jiang
During the wartime, people who stayed in the occupied Shanghai suffered on a daily basis. Their experiences were epitomized by Yang's statement in her memoir, Women Sa (The Three of Us): "The flour that the Japanese rationed to citizens was black and all sorts of stuff came out when it was sifted and even then it was still mostly bran, while the rice rations were just rice husks, mixed in with white, yellow, and black grit. The black grit was easy to pick out. But the white and yellow grit had to be removed with tweezersâ¦â¦I taught elementary school and wrote plays, all for fuel and for rice." However, this small family still maintained optimism in those difficult days.
Under friends' encouragement, Yang wrote her first stage play, Chenxin Ruyi (Heart's Desire), which premiered in the spring of 1943. Yang Jiang's original name was Yang Jikang. She adopted Yang Jiang as her pseudonym before the premiere of Heart's Desire. After that, she became commonly known as Yang Jiang, and her original name was seldom mentioned. "Almost overnight, I was turned to Yang Jiang from Yang Jikang," Yang said.
It was not an accident that Yang started a career playwriting. She had a gift for writing plays, which was stimulated by her friends' encouragement. Moreover, Yang had rich experiences watching the urban petty bourgeois and intellectuals live their lives. Shanghai, a metropolis where the old co-existed with the new and the East met the West, was the muse which fueled her playwrights' inspiration.
Heart's Desire begins with a recently orphaned young woman, Li Junyu, whose three aunts call her to return to Shanghai from Peking (present day Beijing) to live with her wealthy maternal relatives. Despite their ostensible charity, Junyu soon realizes that these well-heeled Shanghai aunts and uncles have their own selfish designs, and have clear visions of how she can best serve them. First, each household tasks her with a litany of chores. Then, Junyu is bounced from one household to the next, because her relatives fear that she may cause trouble. With her well-developed comic talent, Yang humorously depicted the various tensions and conflicts of life. She was quite familiar with the mediocrity hidden behind the bourgeois life, in a world steeped in obsessive materialism. Her audience could feel the embarrassment and weakness of elite life in Shanghai at that time. The characters in her play, portrayed with a comic tone, reveal the vicissitudes of life.
Junyu is finally sent to the family of her Great Uncle, Xu Langzhai, an odd, stubborn, and childless man with a sizable fortune. Xu's great wealth has been coveted by these relatives, who scramble to introduce their own children to him as his inheritor. All these greedy calculations, however, are declined by Xu. Junyu is sent to live with her Great Uncle because her three aunts, after taking advantage of her, want to drive her away. They believe that Junyu will not bear Xu's bad temper and she will be forced to leave. Ultimately the play concludes on an upbeat note: Junyu wins the affection of Xu and is named as his heir. An ironic series of mishaps causes stars to align for Junyu.
Forging the Truth
After the success of Heart's Desire, Yang went on to write three plays, the comedies Nongzhen Chengjia (Forging the Truth), Youxi Renjian (Sporting With the World), and a tragedy titled Fengxu (Windswept Blossoms).
Forging the Truth was finished in October, 1943. With her acute observation and artistic creativity, Yang captured a snapshot of 1940s' society in her play. Her abiding interest in ordinary life, which was usually ignored, can be found in her plays.
Zhou Dazhang, the main character of this play, is a charming man. Born in a poor family, Zhou has to live with his mother in a small attic above a grocery, the owner of which is his brother-in-law's family. Zhou works in an insurance company, but he doesn't work hard. Instead, his plan for success is to dump his lover, Zhang Yanhua, and to con his way into the upper class by courting the daughter of a wealthy business tycoon. But the business tycoon doesn't agree to marry his daughter to Zhou. Meanwhile, Zhang Yanhua, the business tycoon's niece who occupies a marginal existence among her wealthy relatives, is an ambitious woman. She sets her sights on this con man, mistaking him for the real deal, and eventually tricks him into marrying her instead. These two fortune-hunters, Zhou and Zhang, finally end up with living in the small attic where Zhou and his mother used to live.
Heart's Desire and Forging the Truth became smash hits in Shanghai after they were staged. Yang wrote her third comedy Sporting With the World. Unfortunately, this script didn't survive.
Windswept Blossoms was the only tragedy that Yang wrote. Fang Jingshan, the main character of this play, is an activist passionate about social reform. He settles in a poor village with his wife, Shen Huilian, to promote rural education. Since most of Fangâs time and energy are invested in his career, Shen feels ignored. Fang is arrested on false charges and is thrown into prison because he offends the local authorities. He is finally released thanks to the tireless efforts of Shen Huilian and Tang Shuyuan, Fangâs dear friend. The play opens with Fang's release from prison.
After one year in prison, Fang is high in spirits and is ready to rebuild his career. Suddenly, he finds that his wife, in her husband's long absence, has grown close to Tang, and Tang has the same feelings for Shen. However, Tang refrains from his affection of Shen out of loyalty to his friend. It is a great blow to Fang. He writes a suicide note and plans to drown himself in a pond. In the mistaken belief that Fang has committed suicide, Tang openly declares his love for Shen and embraces her. However, Shen is miserable because she feels guilty about Fang's death. At that moment, Fang gives up on his plans to kill himself and comes back. On seeing the two lovers together, Fang threatens to kill Shen for her "affair." In the hysteria of the moment, Shen seizes his gun and fatally shoots herself, leaving Fang weeping bitterly and Tang standing transfixed. The curtain slowly descends.
If Heart's Desire and Forging the Truth reflect Yang's cynical view of human affairs and her adept use of humor to confront the absurdities and cruelties of society, then Windswept Blossoms marks a shift from social criticism to a further exploration of life. The name of the play, Windswept Blossoms, indicates that people cannot control all of the events that happen to them.
|
|||||||
21594
|
yago
|
2
| 31
|
https://www.addall.com/books-in-order/qian-zhongshu/
|
en
|
Qian Zhongshu Books In Order
|
[
"https://www.addall.com/books-in-order/wp-content/uploads/2022/03/logo-addall-2.png",
"https://www.addall.com/books-in-order/wp-content/uploads/2022/03/logo-addall-2.png",
"https://www.addall.com/books-in-order/wp-content/uploads/2022/04/books-in-order.jpg 1280w, https://www.addall.com/books-in-order/wp-content/uploads/2022/04/books-in-order-300x169.jpg 300w, https://www.addall.com/books-in-order/wp-content/uploads/2022/04/books-in-order-1024x576.jpg 1024w, https://www.addall.com/books-in-order/wp-content/uploads/2022/04/books-in-order-768x432.jpg 768w",
"https://www.addall.com/books-in-order/wp-content/uploads/2022/04/books-in-order.jpg",
"https://m.media-amazon.com/images/I/417KIw%2BRT5L._SL250_.jpg",
"https://m.media-amazon.com/images/I/417KIw%2BRT5L._SL250_.jpg",
"https://m.media-amazon.com/images/I/51j8A9YVVzL._SL250_.jpg",
"https://m.media-amazon.com/images/I/51j8A9YVVzL._SL250_.jpg",
"https://m.media-amazon.com/images/I/41NG72CDPTL._SL250_.jpg",
"https://m.media-amazon.com/images/I/41NG72CDPTL._SL250_.jpg"
] |
[] |
[] |
[
""
] | null |
[
"Editorial"
] |
2022-03-24T20:23:12-07:00
|
The greatest Chinese novel of the twentieth century. Fortress Besieged is a classic of world literature, a masterpiece of parodic fiction that plays with
|
en
|
Books In Order
|
https://www.addall.com/books-in-order/qian-zhongshu/
|
Novels
Collections
Non fiction
Novels Book Covers
Collections Book Covers
Non fiction Book Covers
Qian Zhongshu Books Overview
Related Authors
|
|||||
21594
|
yago
|
0
| 28
|
https://www.amazon.com/Qian-Zhongshu-Yang-Jiang-Chinese/dp/7550602433
|
en
|
Amazon.com
|
[
"https://images-na.ssl-images-amazon.com/captcha/tinytuux/Captcha_qspihhvymo.jpg",
"https://fls-na.amazon.com/1/oc-csi/1/OP/requestId=WR0ZG3Y1TZ5X6HMGQCQG&js=0"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
| null |
Enter the characters you see below
Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
|
|||||||
21594
|
yago
|
3
| 84
|
https://www.academia.edu/4196367/Qian_Zhongshu
|
en
|
Haomin Gong 龔浩敏 - Academia.edu
|
http://a.academia-assets.com/images/open-graph-icons/fb-paper.gif
|
http://a.academia-assets.com/images/open-graph-icons/fb-paper.gif
|
[
"https://a.academia-assets.com/images/academia-logo-redesign-2015-A.svg",
"https://a.academia-assets.com/images/academia-logo-redesign-2015.svg",
"https://a.academia-assets.com/images/single_work_splash/adobe.icon.svg",
"https://0.academia-photos.com/attachment_thumbnails/31692135/mini_magick20190426-7251-1xvuj5w.png?1556264044",
"https://0.academia-photos.com/3580499/1243594/7534140/s65_haomin.gong.jpg",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loaders/paper-load.gif",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png"
] |
[] |
[] |
[
""
] | null |
[
"Haomin Gong 龔浩敏",
"ln.academia.edu"
] |
2013-08-08T00:00:00
|
Qian Zhongshu
|
https://www.academia.edu/4196367/Qian_Zhongshu
|
This article explores issues covered in Wuhan Diary, a dayby-day account by the Chinese author Fang Fang of her experiences during the height of the pandemic crisis in the city of Wuhan during the early months of 2020. It seeks to bring out what is distinctive and innovative about the text. Most notably, this concerns the mobilization of social media, such as Weibo and WeChat, as a basis for social communication and the dissemination of information within and beyond the city. The resultant text is not a diary in the conventional sense but, rather, a vast montage of diverse kinds of material that have been electronically cut up and pasted together. A particular focus of the discussion concerns ethical support and solidarity among citizens of Wuhan at this time of acute disruption. In this context, the article suggests a significant, and maybe surprising, affinity between Fang Fang's immediate concerns and issues raised in the ethical philosophies of Paul Ricoeur and Gabriel Marcel.
The International Workshop on Ming-Qing Studies, Academia Sinica, Taipei, Taiwan, July 21-22, 2016. Jin ping mei is known for its sophisticated and eclectic narrative style. It is one of the “four masterworks” of the Ming dynasty that is both indebted to Shuihu zhuan, in that the former’s narrative momentum centers on Wu Song, Ximen Qing and Pan Jinlian, but nonetheless demonstrates a clear departure from the Shuihu tradition. Yet, how should one account for the creative choice to simultaneously maintain continuity with Shuihu zhuan and also attempt a move of “discontinuity:” innovating a new narrative outside the Shuihu tradition? This issue may be better understood through a juxtaposed reading of Shuihu zhuan and Jin ping mei, by which one is positioned to appreciate one of the novelistic agendas of the latter: to redefine the concept of righteous loyalty (yi) and to reconstruct the image of the gallant fellow (haohan). This paper makes a few contentions. In Shuihu zhuan, the author valorizes the concept of righteous loyalty and the gallant fellow ideal, but in Jin ping mei, the author critiques them as lacking relevance and as impossibilities in a world dominated by the wealthy and powerful. In particular, the author of Shuihu zhuan depicts Wu Song as an authentic hero, whom is celebrated for his uninhibited expression of heroism. By contrast, the author of Jin ping mei attempts a reversal of Wu Song by re-presenting him, that is, reconfiguring Wu Song’s gallant attributes as symptomatic as a failed hero. The author draws attention to his anger, cunning, and obsession with vengeance as shortcomings to portray Wu Song as a character who may be important on the battlefield in Shuihu zhuan, but whose significance is challenged in the domestic world in Jin ping mei.
|
|||||
21594
|
yago
|
2
| 27
|
https://smithereens.wordpress.com/2010/10/08/qian-zhongshu-2-stories-from-the-collection-men-beasts-ghosts-1946/
|
en
|
Qian Zhongshu, 2 Stories from the Collection Men, Beasts, Ghosts (1946)
|
[
"https://smithereens.wordpress.com/wp-content/uploads/2010/03/rc200.jpg?w=150&h=150",
"https://secure.gravatar.com/blavatar/82209b3042b68b8e8a20a3b70e143e7c8b6a8e6d7e1a6e2bd81b5d245727512f?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png",
"https://secure.gravatar.com/blavatar/82209b3042b68b8e8a20a3b70e143e7c8b6a8e6d7e1a6e2bd81b5d245727512f?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png",
"https://pixel.wp.com/b.gif?v=noscript"
] |
[] |
[] |
[
""
] | null |
[] |
2010-10-08T00:00:00
|
It’s been far too long since I read a Chinese novel, but I didn’t want to invest myself in something big, so I grabbed this quick and cheap book (2 euros only!) containing 2 short stories from the collection Men, Beasts, Ghosts. The first one, Souvenir, is deceptively simple: a young wife of a rather…
|
en
|
https://secure.gravatar.com/blavatar/82209b3042b68b8e8a20a3b70e143e7c8b6a8e6d7e1a6e2bd81b5d245727512f?s=32
|
Smithereens
|
https://smithereens.wordpress.com/2010/10/08/qian-zhongshu-2-stories-from-the-collection-men-beasts-ghosts-1946/
|
It’s been far too long since I read a Chinese novel, but I didn’t want to invest myself in something big, so I grabbed this quick and cheap book (2 euros only!) containing 2 short stories from the collection Men, Beasts, Ghosts.
The first one, Souvenir, is deceptively simple: a young wife of a rather bland civil servant is tempted into an affair with her husband’s cousin, a dashing air pilot who later dies in action. But one gets the feeling that she is more in love with the idea of having an affair rather than falling for the lover himself. She herself is quite shallow and conceited, but I felt pity for her. She married for love, which was rather modern in 1940s China, but discovered too late that her husband was not the one she thought. She wants to manipulate the cousin in a sort of seductive play, but in the end he just forces her to have sex and she falls pregnant, something she clearly hadn’t imagined. The title in French, “Pensée fidèle” (faithful thought), highlights Qian Zhongshu’s irony and satire against love and marriage. The husband, ignorant of the affair, wants to name the baby with the dead pilot’s name.
The second one, Inspiration, is even more satirical and comical. It’s about a famous Chinese writer who arrives in hell just after his death and awaits the Devil’s judgment for his reincarnation. It’s largely a harsh criticism against vain and stupid writers of the time. Perhaps they recognized themselves, but I wasn’t really touched by this story.
The main interest of these 2 stories for me was to see a pre-communist China devoid of the usual themes of the time, such as the city lust and corruption, the atrocities and inequities of war, the appalling poverty in the countryside, or the iron grip of old traditional families on the younger generation. These themes are to be expected when you read a modern Chinese novel, but not here. In “Souvenir” there are indeed references to the war but never head-on. Qian Zhongshu’s world is surprisingly extemporal and Westernized. It leaves me wondering how the Chinese culture would have evolved without the big Maoist rift.
|
||||
21594
|
yago
|
0
| 69
|
http://www.csstoday.com/Item/8485.aspx
|
en
|
Yang Jiang: staying positive in hardship
|
[
"http://www.csstoday.com/Template/Csstoday/Skin/images/logo.png ",
"http://www.csstoday.com/UploadFiles/Multimedia/2020/11/202011251045322449.jpg"
] |
[] |
[] |
[
""
] | null |
[
"LUO YINSHENG"
] |
2020-11-25T00:00:00
| null |
Yang Jiang and her husband Qian Zhongshu Photo: FILE
During the War of Resistance Against Japanese Aggression, Shanghai was occupied by the Japanese invaders from 1937 to 1945. In this occupied city, Yang Jiang, already a well-known writer, began to write plays. These plays met huge success. After their stage debut, her plays were widely praised by critics and ordinary audiences alike.
Edited by REN GUANHONG
|
||||||||
21594
|
yago
|
0
| 87
|
https://www.globaltimes.cn/content/985149.shtml
|
en
|
Renowned Chinese writer Yang Jiang dies at 104
|
https://www.globaltimes.cn/images/gfavicon.ico
|
https://www.globaltimes.cn/images/gfavicon.ico
|
[
"http://www.globaltimes.cn/Portals/0/attachment/2016/2016-05-25/2fa96992-92ac-4576-8248-311ae618d2ee.jpeg"
] |
[] |
[] |
[
""
] | null |
[
"Global Times"
] | null |
/images/gfavicon.ico
| null |
A photo of Yang Jiang taken in 2009 Photo: CFP
Yang Jiang, a well-known Chinese writer, translator and scholar of foreign literature, passed away at 1:10 am on Wednesday at the Peking Union Medical College Hospital in Beijing, the China Academy of Social Sciences confirmed to the Xinhua News Agency. July 17 would have marked Yang's 105 birthday.
A life well lived
Proficient in English, French and Spanish, Yang made a name for herself in the field of translation. She was the first Chinese to translate Don Quixote into Chinese in full from its original Spanish. She also translated Lazarillo del Tormes from Spanish and Alain-René Lesage's Gil Blas from its original French. Her translation of Don Quixote has been generally accepted as the best version to date and has sold more than 700,000 copies.
As a writer, the collection of her works We Three and her novel Baptism have been translated into numerous languages and sold around the world.
Yang enrolled in Tsinghua University to study foreign literature in 1932 where she met her future husband Qian Zhongshu (1910-98). Later famous for his novel Fortress Besieged (1947), Qian is considered one of China's greatest writers and used to refer to Yang as the "greatest wife and smartest woman" in his articles.
After their marriage in 1935, the couple went overseas to study at the University of Oxford and the University of Paris, during which time they had a daughter Qian Yuan.
After returning to China in 1938, she worked as a Spanish professor at Tsinghua University. In 1953, she was appointed as a research fellow of the Chinese Academy of Social Sciences.
In 1983 she published a memoir Six Chapters from My Life "Downunder" which recorded her family's life working on farms during the Cultural Revolution (1966-76).
After both her husband's and daughter's deaths in the late 1990s, Yang disappeared from public life to concentrate on her writing. In 2004 she published another memoir at age 92, We Three, which recalled her life with her husband and daughter, who had passed away from cancer a year before Qian.
At 96, she published a new work Reaching the Brink of Life (2008).
In addition to her writing, Yang also spent years organizing massive quantities of Qian's manuscripts, which were published in a 20-volume collection in 2011.
She was also heavily involved in charity. In 2001, she donated millions of yuan earned from her and her husband's writings to fund a scholarship at Tsinghua University to help underprivileged students finish their studies.
Controversy
Although Yang is seen as one of China's greatest translators, she has also faced criticism concerning her approach to translation.
Dong Yansheng, a professor of Spanish at the Beijing Foreign Studies University who produced his own translation of Don Quixote 14 years after Yang's translation, slammed Yang's approach.
Dong even used Yang's version of Don Quixote as teaching material in his classes to show students what not to do by pointing out what he felt were incorrect or inappropriate translations.
With his translation weighing in around 839,000 characters versus Yang's roughly 720,000, Dong believed Yang inappropriately deleted too much of the original.
Who will take the baton?
Recent years have been tough on translation as Yang's passing is merely the field's most recent loss.
Cao Ying, who translated a collection of the works of Tolstoy and was the first Chinese to translate Sholokhov's works, passed away in October at the age of 93.
Ji Xianlin, a world famous litterateur, linguist, translator and historian who was proficient in 11 languages, passed away in 2009 at the age of 98.
With the passing of these great masters, the question of finding qualified successors has become important. While translators of modern works are somewhat plentiful, who will carry the baton for older, classical literature?
Yang thoroughly understood life and death... Now she has left the chaos of the world, all we can do is keep reading Yang and Qian's works and be inspired.
Zhang Yiwu, professor at Peking University
Her reserved and frank attitude was based on a confidence that said, "my husband and I are awesome. We don't need to brag about it, but we don't need to be self-deprecating either."
Zhang Jiawei, writer
Newspaper headline: Life in translation
|
|||||
21594
|
yago
|
2
| 26
|
https://www.infoplease.com/encyclopedia/people/arts/asian-lit/qian-zhongshu
|
en
|
Qian Zhongshu
|
https://www.infoplease.com/themes/ip/favicon.ico
|
https://www.infoplease.com/themes/ip/favicon.ico
|
[
"https://www.infoplease.com/themes/ip/images/logo-white.svg",
"https://www.infoplease.com/themes/ip/images/mag-glass.svg",
"https://www.infoplease.com/themes/ip/images/close.svg",
"https://www.infoplease.com/sites/infoplease.com/files/styles/scale600w/public/2020-04/europe.jpg.webp?itok=ZYMzqB-y",
"https://www.infoplease.com/sites/infoplease.com/files/styles/scale600w/public/2020-04/middleeast.jpg.webp?itok=b3PkAiRE",
"https://www.infoplease.com/sites/infoplease.com/files/styles/scale600w/public/2020-04/Triumph_of_Achilles_in_Corfu_Achilleion.jpg.webp?itok=AJitHl3b",
"https://www.infoplease.com/sites/infoplease.com/files/styles/scale600w/public/2020-04/iStock-1163662016.jpg.webp?itok=5LuI3Ibr",
"https://www.infoplease.com/modules/contrib/custom_voice_search/images/mic.png",
"https://www.infoplease.com/sites/infoplease.com/files/inline-images/infoplease_white_logo_2.png",
"https://www.infoplease.com/sites/default/files/i_infopls_com/images/ip17_social_facebook_icon.png",
"https://www.infoplease.com/sites/default/files/i_infopls_com/images/ip17_social_twitter_icon.png",
"https://www.infoplease.com/sites/default/files/i_infopls_com/images/ip17_social_pinterest_icon.png",
"https://www.playwire.com/hubfs/Powered-by-Playwire-Badges/Ads-Powered-by-playwire-2021-standalone-small-300px.png",
"https://www.infoplease.com/modules/custom/custom_core_common/images/facebook.svg",
"https://www.infoplease.com/modules/custom/custom_core_common/images/twitter.svg",
"https://www.infoplease.com/modules/custom/custom_core_common/images/googlebookmarks.svg",
"https://www.infoplease.com/modules/custom/custom_core_common/images/email.svg",
"https://www.infoplease.com/modules/custom/custom_core_common/images/print.svg",
"https://www.infoplease.com/sites/infoplease.com/files/inline-images/sandbox-learning.png",
"https://www.infoplease.com/sites/default/files/inline-images/factmonster_logo.png",
"https://www.infoplease.com/sites/infoplease.com/files/inline-images/familyeducation_logo_1.png",
"https://www.infoplease.com/sites/default/files/inline-images/teachervision_logo.png",
"https://www.infoplease.com/sites/default/files/inline-images/sandbox_logo.png"
] |
[] |
[] |
[
""
] | null |
[
"Infoplease"
] |
2017-01-24T01:12:35-05:00
|
Qian Zhongshu or Ch'ien Chung-shu, 1910–98, Chinese writer and scholar, grad. Tsinghua Univ., Beijing (1933). After attending Oxford and the Sorbonne, he returned (1939) to China and taught at several institutions of higher education including his
|
en
|
/themes/ip/favicon.ico
|
InfoPlease
|
https://www.infoplease.com/encyclopedia/people/arts/asian-lit/qian-zhongshu
|
Qian Zhongshu or Ch'ien Chung-shu, 1910–98, Chinese writer and scholar, grad. Tsinghua Univ., Beijing (1933). After attending Oxford and the Sorbonne, he returned (1939) to China and taught at several institutions of higher education including his alma mater and also worked in the foreign languages division of the National Library, Nanjing. During the Cultural Revolution he and his wife were sent to the countryside for “reeducation” and he worked as a janitor. Afterward he returned to scholarly pursuits and was vice president (1982–93) of the Chinese Academy of Social Sciences, where he served as an adviser until his death. Qian's most famous and popular work is his sole novel, Weicheng (1947; tr. Fortress Besieged, 2004). Set in the 1930s, it is the tale of a feckless Chinese teacher's life, loves, and dreadful marriage. He also wrote a book of short stories (1946; tr. with essays from 1941 as Humans, Beasts, and Ghosts: Stories and Essays, 2011). Seven additional essays on art and literature were translated as Patchwork (2014). His scholarly work culminated in the notes and short essays on literary history, poetics, and related subjects in Guanzhui bian (4 vol., 1979; selections tr. as Limited Views: Essays on Ideas and Letters, 1998). Among his untranslated works are Tanyilu [reflections on appreciation] (1948, rev. ed. 1983) and Songshi xuanzhu [selected and annotated Sung poetry] (1958).
His wife, Yang Jiang, 1911–2016, b. Yang Jikang, was a writer, translator, and scholar known for her fiction, memoirs, plays, and essays. Her most famous translation is the definitive Chinese version of Cervantes' Don Quixote. Gan xiao liu ji (1981; tr. Six Chapters from My Life “Downunder,” 1984) details her life as an agricultural worker during the Cultural Revolution.
The Columbia Electronic Encyclopedia, 6th ed. Copyright © 2024, Columbia University Press. All rights reserved.
|
||
21594
|
yago
|
1
| 73
|
https://kids.kiddle.co/Qian_Zhongshu
|
en
|
Qian Zhongshu facts for kids
|
[
"https://kids.kiddle.co/images/wk/kids-robot.svg",
"https://kids.kiddle.co/images/wk/kids-search-engine.svg",
"https://kids.kiddle.co/images/thumb/7/79/Qian_Zhongshu_1940s.jpg/300px-Qian_Zhongshu_1940s.jpg",
"https://kids.kiddle.co/images/thumb/f/f2/Thu_gate.JPG/300px-Thu_gate.JPG",
"https://kids.kiddle.co/images/thumb/5/5f/Kids_robot.svg/60px-Kids_robot.svg.png",
"https://kids.kiddle.co/images/wk/kids-search-engine.svg"
] |
[] |
[] |
[
""
] | null |
[] | null |
Learn Qian Zhongshu facts for kids
|
en
|
/images/wk/favicon-16x16.png
|
https://kids.kiddle.co/Qian_Zhongshu
|
In this Chinese name, the family name is Qian.
Qian Zhongshu (November 21, 1910 – December 19, 1998), also transliterated as Ch'ien Chung-shu or Dzien Tsoong-su, was a renowned 20th century Chinese literary scholar and writer, known for his wit and erudition.
He is best known for his satirical novel Fortress Besieged. His works of nonfiction are characterized by large amount of quotations in both Chinese and Western languages such as English, German, French, Italian, Spanish, and Latin. He also played an important role in digitizing Chinese classics late in his life.
Qian created a profound theoretical meaning for the three features of motivational nature, empathetic nature, and rational nature of aesthetic emotion for literature by deeply studying questions such as the source of emotion motivation, the ways to express emotion, and the optimal comfort in emotion in writing. He believed that the source of emotion motivation is poems because poems can convey human's emotion. When people transfer their emotion to inanimate objects, they give these objects life, which is the ways to express emotion. Also, Qian insisted that humans cannot express their emotion as they want; instead, they should rationally control their emotion to a certain degree so that they can achieve an optimal appreciation status.
Names Traditional Chinese: 錢鍾書 Simplified Chinese: 钱锺书 Pinyin: Qián Zhōngshū Wade-Giles: Ch'ien Chung-shu Zi: Zheliang (哲良) Mocun (默存) Hao: Huaiju (槐聚)
Life
Most of what is known about Qian's early life relies on an essay written by his wife Yang Jiang. Born in Wuxi, Qian Zhongshu was the son of Qian Jibo (T: 錢基博, S: 钱基博), a conservative Confucian scholar, landed gentry, and Chinese language professor at Tsinghua, St. John's University, and National Central University (Nanking), respectively. By family tradition, Qian Zhongshu grew up under the care of his eldest uncle, who did not have a son. Qian was initially named Yangxian (仰先 ; "respect the ancients"), with the courtesy name Zheliang (哲良; "sagacious and upright"). However, when he was one year old, in accordance with a tradition of zhuazhou, practiced in many parts of China, he was given a few objects laid out in front of him for his "grabbing"; he grabbed a book. His uncle thusly renamed him Zhongshu, literally "fond of books," while Yangxian became his intimate name. Qian was a rather talkative child. His father later changed his courtesy name to Mocun (默存), literally "to keep silent," in the hope that he would talk less.
Both Qian's name and courtesy name forecasted his future life. While he remained talkative when talking about literature with friends, he kept silent most of the time on politics and social activities. Qian was indeed very fond of books. When he was young, his uncle often brought him along to teahouses during the day. There, Qian was left alone to read storybooks on folklore and historical events, which he would repeat to his cousins upon returning home.
At the age of 6, Qian went to Qinshi primary school and stayed home for less than half a year due to illness. At the age of 7, Qian studied in a private school of a relative's family. Due to inconvenience, he quit school a year later and was taught by his uncle. When Qian was 11, he entered the first grade at Donglin Elementary School, and his uncle died this year. He continued living with his widowed aunt, even though their living conditions drastically worsened as her family's fortunes dwindled. Under the strict tutelage of his father, Qian mastered classical Chinese. At the age of 14, Qian left home to attend Taowu middle school,an English-language missionary school in Suzhou, after being scolded by his father, he studied hard and improved his writing level. In 1927, Qian was admitted to Furen Middle School, an English-language Missionary School in Wuxi, where he manifested his talent in language. At the age of 20, Qian's aunt died.
Despite comparatively lower score in mathematics, Qian excelled in both Chinese and English languages. Thus, he was accepted into the Department of Foreign Languages of Tsinghua University in 1929, ranking 57 out of 174 male students. One of his few friends was the budding Sinologist and comparatist Achilles Fang. Qian also frequently cut classes, though he more than made up for this in Tsinghua's large library, which he boasted of having "read through." It was probably in his college days that Qian began his lifelong habit of collecting quotations and taking reading notes. At Tsinghua, Qian studied with professors, such as Wu Mi 吳宓, George T. Yeh (Yeh Kungchao 葉公超), and Wen Yuan-ning 溫源寧, Wen Yuan-ning, and others. In 1932, he met Yang Jiang, who became a successful playwright and translator. In 1933, Qian became engaged to Yang, and they married in 1935. For the biographical facts of Qian's following years, the two memoirs by his wife can be consulted. Yang Jiang wrote, "Zhongshu's 'foolishness' could not be contained in books, but just had to gush forth'". Two years after Qian graduated from Tsinghua University in 1933, Qian taught at Kwanghua University in Shanghai and contributed to English-language publications such as The China Critic.
In 1935, Qian received a Boxer Indemnity Scholarship to further his studies abroad. Together with his wife, Qian headed for the University of Oxford in Britain. After spending two years at Exeter College, Oxford, he received a Baccalaureus Litterarum (Bachelor of Literature). Shortly after his daughter Qian Yuan (T: 錢瑗, S: 钱瑗) was born in England in 1937, he studied for one more year in the University of Paris in France. In 1938, he returned to China and was appointed as a full professor at Tsinghua University, which, due to the war, had relocated to Kunming, in Yunnan province and become part of Southwestern United University. In 1939, after Qian returned to Shanghai to visit his relatives, he directly went to Hunan to take care of his sick father and temporarily left Southwestern United University. In 1941, During the Pearl Harbor incident, Qian was temporarily trapped in Shanghai.
Owing to the unstable situation during the Second Sino-Japanese War and the Chinese Civil War, Qian did not hold any long-term jobs. However, it was during the late 1930s and 1940s that he wrote most of his Chinese-language fiction, including Fortress Besieged and the story collection Human, Beast, Ghost, as well as the essay collection Written in the Margins of Life. After Japan's defeat, in the late 1940s, he worked in the National Central Library in Nanjing, editing its English-language publication, Philobiblon.
In 1949, Qian was ranked on the list of National First-class Professors (T: 國家一級教授, S: 国家一级教授) and commenced his academic work in his alma mater. Four years later, an administrative adjustment saw Tsinghua changed into a science and technology-based institution, with its Arts departments merged into Peking University (PKU). Qian was relieved of teaching duties and worked entirely in the Institute of Literary Studies (T: 文學硏究所, S: 文学研究所) under PKU. Qian is a senior researcher at the institute, and his wife Yang Jiang is also a researcher. He also worked as part of a small team in charge of the translation of Mao Zedong's Selected Works and poetry.
During the Cultural Revolution, like many other prominent intellectuals of the time, Qian suffered persecution. Appointed to be a janitor, he was robbed of his favorite pastime, reading. Having no access to books, he had to read his reading notes. He began to form the plan to write Guan Zhui Bian (T: 管錐編, S: 管锥编) (which Qian himself gave the English title of Limited Views) during this period. Qian, his wife, along with their daughter survived the hardships of Cultural Revolution.
After the Cultural Revolution, Qian returned to research. From 1978 to 1980, he visited several universities in Italy, the United States and Japan, impressing his audience with his wit and erudition. In 1982, he was instated as the deputy director of the Chinese Academy of Social Sciences. He then began working on Guan Zhui Bian, which occupied the next decade of his life.
While Guan Zhui Bian established his fame in the academic field, his novel Fortress Besieged introduced him to the public. Fortress Besieged was reprinted in 1980, and became a best-seller. Many illegal reproductions and "continuations" followed. Qian's fame rose to its height when the novel was adapted into a TV serial in 1990 which was acted by some famous Chinese actors, such as Daoming Chen and Da Ying.
Qian returned to research, but escaped from social activities. Most of his late life was confined to his reading room. He consciously kept a distance from the mass media and political figures. Readers kept visiting the secluded scholar, and an anecdote goes that Qian when approached by a British admirer, remarked: "Is it necessary for one to know the hen if one loves the eggs it lays?"
Qian entered a hospital in 1994, his daughter also became ill in 1995. On March 4, 1997, Qian's daughter died of cancer. On December 19, 1998, Qian died in Beijing.
Former Residence
Qian's former residence, covering 1,600 square meters, is located at Xinjiexiang #30 and #32 in Wuxi, Nanjing. It was built in 1923 by his grandfather Qian Fujiong. In 1926 his uncle Qian Sunqin built five buildings and several auxiliary rooms on the west side of the back of the house, covering an area of 667.6 square meters. The whole group of buildings are typical Jiangnan courtyard houses. Inside the residence, there are some unique separate buildings, such as Haixu Shulou and Meihua Shuwu. In 2018, it applied for China's significant cultural relics protection units. The former residence has related exhibitions and is open to the public without fees.
Pictures of Qian's former residence
Works
Qian lived in Shanghai from 1941 to 1945, which was then under Japanese occupation. Many of his works were written or published during this chaotic period of time. A collection of short essays, Written in the Margins of Life (Traditional: 寫在人生邊上, Simplified: 写在人生边上) was published in 1941. Human, Beast, Ghost (T: 人‧獸‧鬼, S: 人‧兽‧鬼), a collection of short stories, mostly satiric, was published in 1946. His most celebrated work Fortress Besieged (T: 圍城, S: 围城) appeared in 1947, but not until 1980s that it receives more attention. On the Art of Poetry (T: 談藝錄, S: 谈艺录), written in classical Chinese, was published in 1948.
Besides rendering Mao Zedong's selected works into English, Qian was appointed to produce an anthology of poetry of the Song dynasty when he was working in the Institute of Literary Studies. The Selected and Annotated Song Dynasty Poetry (T: 宋詩選注, S: 宋诗选注) was published in 1958. Despite Qian's quoting the chairman, and his selecting a considerable number of poems that reflect class struggle, the work was criticized for not being Marxist enough. The work was praised highly by the overseas critics, though, especially for its introduction and footnotes. In a new preface for the anthology written in 1988, Qian said that the work was an embarrassing compromise between his personal taste and the prevailing academic atmosphere.
Seven Pieces Patched Together (T: 七綴集, S: 七缀集), a collection of seven pieces of literary criticism written (and revised) over years in vernacular Chinese, was published in 1984, and has been translated by Duncan Campbell as Patchwork: Seven Essays on Art and Literature. This collection includes the famous essay "Lin Shu's Translation" (T: 林紓的翻譯, S: 林纾的翻译).
Qian's magnum opus is the five-volume Guan Zhui Bian (T: 管錐編, S: 管锥编), literally the Pipe-Awl Collection, translated into English as Limited Views. Begun in the 1980s and published in its current form in the mid-1990s, it is an extensive collection of notes and short essays on poetics, semiotics, literary history and related topics written in classical Chinese.
Qian's command of the cultural traditions of classical and modern Chinese, ancient Greek (in translations), Latin, English, German, French, Italian, and Spanish allowed him to construct a towering structure of polyglot and cross-cultural allusions. He took a range of Chinese classical texts as the basis of this work, including the I-Ching, Classic of Poetry, Verses of Chu, The Commentary of Tso, Records of the Grand Historian, Tao Te Ching, Lieh-tzu, Jiaoshi Yilin, Extensive Records of the T'ai-p'ing Era and the Complete Prose of the Pre-Tang Dynasties (T: 全上古三代秦漢三國六朝文, S: 全上古三代秦汉三国六朝文).
Broadly familiar with the Western history of ideas, Qian shed new lights on the Chinese classical texts by comparing them with Western works, showing their likeness, or more often their apparent likeness and essential differences.
Qian Zhongshu is one of the best-known Chinese authors in the Western world. Fortress Besieged has been translated into English, French, German, Russian, Japanese and Spanish. It represents an alternative strand of modernism, which has long remained hidden and unexamined in the history of modern Chinese literature. "Humans, Beasts, and Ghosts" has been translated into English, French, and Italian.
Besides being one of the great masters of written vernacular Chinese in the 20th century, Qian was also one of the last authors to produce substantial works in classical Chinese. Some regard his choice of writing Guan Zhui Bian (Limited Views) in classical Chinese as a challenge to the assertion that classical Chinese is incompatible with modern and Western ideas, an assertion often heard during the May Fourth Movement. Ronald Egan argues that the work contains an implicit negative commentary on the Cultural Revolution.
Posthumous publications
A 13-volume edition of Works of Qian Zhongshu (Traditional: 錢鍾書集, Simplified: 钱锺书集/钱钟书集) was published in 2001 by the Joint Publishing, a hard-covered deluxe edition, in contrast to all of Qian's works published during his lifetime which are cheap paperbacks. The publisher claimed that the edition had been proofread by many experts. One of the most valuable parts of the edition which demonstrating Qian's writing ability while blending humor and irony, titled Marginalias on the Marginalias of Life (T: 寫在人生邊上的邊上, S: 写在人生边上的边上), is a collection of Qian's writings previously scattered in periodicals, magazines and other books. The writings collected there are, however, arranged without any visible order.
Other posthumous publications of Qian's works have drawn harsh criticism. The official writing of Supplements to and Revisions of Songshi Jishi began in 1982. In the following ten years, Qian invested a lot of energy to make extensive and in-depth Supplements to and Revisions of Songshi Jishi. The 10-volume Supplements to and Revisions of Songshi Jishi (T: 宋詩紀事補正, S:宋诗纪事补正), published in 2003, was criticized as a shoddy publication. Liaoning People's Publishing House published Qian Zhongshu's ''Supplements to and Revisions of Songshi Jishi in 2003. A facsimile of Qian's holograph (known as 宋詩紀事補訂(手稿影印本) in Chinese) has been published in 2005, by another publisher. The facsimiles of parts of Qian's notebooks appeared in 2004, and have similarly drawn criticism on account of blatant inadvertency. In 2005, a collection of Qian's English works was published. Again, it was lashed for its editorial incompetence.
The Commercial Press (Shangwu yinshuguan) has, per an agreement with Yang Jiang, begun publishing photoreproductions of Qian Zhongshu's reading notes, totaling several score volumes in both Chinese and foreign languages.
See also
In Spanish: Qian Zhongshu para niños
List of Chinese authors
Yang Jiang
Portrait
|
|||||
21594
|
yago
|
3
| 85
|
https://www.globaltimes.cn/content/984450.shtml
|
en
|
Yang Jiang is fine: insiders clarify rumors concerning famous 105
|
https://www.globaltimes.cn/images/gfavicon.ico
|
https://www.globaltimes.cn/images/gfavicon.ico
|
[] |
[] |
[] |
[
""
] | null |
[
"Global Times"
] | null |
/images/gfavicon.ico
| null | ||||||
21594
|
yago
|
2
| 30
|
https://www.independent.co.uk/arts-entertainment/books/reviews/fortress-besieged-by-qian-zhongshu-trans-jeanne-kelly-nathan-k-mao-752317.html
|
en
|
Fortress Besieged, by Qian Zhongshu trans. Jeanne Kelly & Nathan K Mao
|
[
"https://static.independent.co.uk/static-assets/images/newsletter/breaking-news/breaking-news-thumb.png",
"https://www.independent.co.uk/img/icons/google.svg"
] |
[] |
[] |
[
"Internal"
] | null |
[
"Aamer Hussein"
] |
2005-05-19T23:00:00+00:00
|
China's cracked classic
|
en
|
/img/shortcut-icons/favicon.ico
|
The Independent
|
https://www.independent.co.uk/arts-entertainment/books/reviews/fortress-besieged-by-qian-zhongshu-trans-jeanne-kelly-nathan-k-mao-752317.html
|
Long before the Cultural Revolution, Qian Zhongshu had earned a reputation as one of China's most promising writers of fiction. He is immortalised as Mo-cun, the wry and phlegmatic hero of his wife Yang Jiang's Six Chapters from a Cadre's Life (1980). His Fortress Besieged (1947), a leisurely picaresque novel, occupies a watershed position in 20th-century Chinese fiction. Drawing on traditional Chinese techniques of social satire and storytelling, the novel also displays the influences of Western modernism.
It focuses on the experiences of one protagonist, the hapless and unheroic Fang Hung-chien, who returns to China from Europe with a bogus doctorate in search of a life and a wife (and doesn't do too well on either count). Though he courts many women, Fang's final choice proves to be erratic; we leave him on the brink of a break-up and a breakdown.
Yang's elliptical memoir of how she survived her Cultural Revolution experiences of "re-education" in the countryside is illuminated by a compelling portrayal of her long and trusting marriage to Qian. It's ironic, then, that the work for which her husband is celebrated cites a French proverb: "Marriage is like a fortress besieged; those who are outside want to get in, and these who are inside want to get out.'"
Qian doesn't see relationships between the men and women with any grace or graciousness: there are constant reminders of Sartre's belief that hell was other people. Two women appear in the hilarious opening section, which deals with Fang's journey back to China; others follow. None of them, including the one Fang eventually marries, is portrayed with any sympathy. But neither are the men.
Qian delights in tricks, subterfuges and double exposures. Here, he is equally concerned with the postures of Westernised pseudo-intellectuals towards art, life and history, and the changing attitudes of men and women to each other. History, too, casts a spotlight on the book. It is set during the early stages of the Sino-Japanese war, and though Qian makes no explicit comment the desperation of the protagonists can be seen as frantic displacement.
Qian transforms, and subverts, his own experiences with panache. A scholar who after an Oxford education returned to pre-liberation China and stayed on during the Mao years, he was, at the time he wrote the novel, already a happily married man. Jiang was with him in Oxford while he wrote his dissertation.
Like his marital adventure, Fang's academic career, too, reverses his creator's. Qian did very well at Oxford, writing about European literary images of China. Fang - in one of the novel's wickedest set pieces - sends off for a fake degree and cheats the fraud who tries to cheat him.
Fortress Besieged retained a cult reputation during the Mao years. After the fall of the Gang of Four, it enjoyed a full-scale revival, influencing a new generation. Ye Zhaoyan, whose Nanjing 1937: a love story (Faber) echoes and in some ways deepens Qian's work, actually wrote his thesis on this novel.
Qian's ability to see his life and times through the lens of very dark humour, along with his talent for incidental cultural and social observation and his cold and cruel wit, mark out this novel as one of its time's most original works. Fortress Besieged is also entirely devoid of the kind of ideological zeal that mars even some of the finest fictions by Qian's more politically motivated contemporaries. Its long-delayed reappearance of in English - perhaps as a cultural curiosity, definitely as a period piece of distinction - reminds us of those other hidden classics from pre-liberation China that await international recognition: among them, Ba Jin's Family and Xiao Hong's Tales of Hulan River.
Aamer Hussein's 'This Other Salt' has been reissued by Saqi
|
||||
21594
|
yago
|
0
| 91
|
https://journals.openedition.org/chinaperspectives/636
|
en
|
Interviews with Yang Jiang
|
[
"https://journals.openedition.org/chinaperspectives/custom/sitename.png",
"https://journals.openedition.org/chinaperspectives/images/social-icons/rss.png",
"https://journals.openedition.org/chinaperspectives/docannexe/image/7256/CEFC-Logo-small120.jpg",
"https://journals.openedition.org/chinaperspectives/images/logo-oej.png"
] |
[] |
[] |
[
""
] | null |
[] |
2006-06-01T00:00:00+02:00
|
Yang Jiang was born, under her real name of Yang Jikang, in 1911. She is the author of a novel, several plays, and a large number of sanwen. Her first writing dates back to 1933, and her latest work, Women sa (We Three), in which she recalls family memories, appeared in July 2003, and has been highly successful, with 180,000 copies sold within two months. However, for thirty years, from 1949 to 1981, for obvious reasons, Yang Jiang preferred to devote herself entirely to teaching, research—she is also an expert on Chinese and foreign literature—, and translation: she is the translator, most notably, of the Chinese version of Don Quixote. She is now devoting herself to the publication of the work of her husband, the scholar Qian Zhongshu (1910-1998). In France she is best known for her narratives of the Cultural Revolution, published by Christian Bourgois.The two interviews that follow were carried out in 2005. Yang Jiang gave written answers to the questions I had sent her, which explains the slightly abrupt nature of our exchanges, given that it was not possible for me, by the nature of the interviews, to respond spontaneously to her words. If we seem to jump from one subject to another, it is because I had asked her to clarify certain details that I planned to use in my research into her work (« La Figure de l’intellectuel chez Yang Jiang » [“The Intellectual in The Work of Yang Jiang”], which became my doctoral thesis in Chinese Studies, under the direction of Isabelle Rabut, Inalco, Paris, December 2005, 404 pp.). Yet, to me, these words of Yang Jiang are of interest just as they are, since she uses words so sparingly and generally refuses to do interviews. In any case, and I am grateful to her for this, she only allowed these words to be published precisely because she had written them herself.
|
en
|
http://journals.openedition.org/chinaperspectives/636
|
“Adversity makes you strong” (written on January 1st 2005)
1Apart from Recovering Footsteps, The Shadow and The Art of Listening, were your other sanwen [prose texts that are not fictional, and not really essays] published at the time, in the 1930s and 1940s?
2Yang Jiang – All my sanwen were first published individually, and then brought together in collections. The publisher Renmin wenxue has just brought out a Collected Works of Yang Jiang in eight volumes: the first four are devoted to my own works, and the other four to my translations. There is also a preface and some biographical information, which I wrote, and to which you can refer.
3Li Jianwu [(1906-1982), a well-known literary critic, playwright and translator, who made available to Chinese readers the works of Flaubert, Stendhal and Molière], in an article written in 1944, referred to your comedy Truth Becomes Falsehood. Do you know where this article was published?
4If I remember correctly Li Jianwu said that Truth Becomes Falsehood would “be a milestone in the history of comedy”. It was probably in some sort of publicity, but I don't remember in which article it appeared.
5The script of your third comedy, Having Fun In This World, seems to have been lost. Did you ever find it again?
6It was the famous Yao Ke who directed it, but the script was unsatisfactory, so I destroyed it myself. I did not want it to survive.
7What is your favourite among all your works?
8I do not have a favourite.
9Is there anything that you regret in your life?
10Not having been able to study literature at Qinghua University, and having instead studied politics at Dongwu University.
11Do you have any religious beliefs?
12I do not practise any religion, but I am not wholly an atheist. I believe in God and in Man, in his ability to do good.
13I have the impression that in your work you are mainly concerned with Man and human morality, rather than criticising society, politics or the system. Is that so?
14Yes.
15You do not take delight in heroism, or in idealism, but at the same time you believe in the power of Man. And that power does not lie in convincing others, or in changing the world, but rather in adapting oneself to people and to situations (in particular unfavourable situations), in order to live better and to serve society as best one can. Am I right?
16Yes. But the most important thing is not to adapt to the demands of society, but to excel oneself. Difficulties are revelatory [of one's true character]; “adversity” makes one strong.
17In at least two of your essays, one comes across the expression “Western humanism”. What in your opinion most distinguishes “Western humanism” from “Eastern humanism”?
18They are identical.
19It is said that the writers whose style is closest to yours are, among foreign writers, Jane Austen, and among Chinese writers, Ling Shuhua. Do you agree?
20No.
21You have mastered several foreign languages and you have extensive knowledge of foreign literatures and cultures. But despite this, you seem to have remained a pure traditional Chinese scholar, of whom very few are to be found nowadays. Am I right?
22Yes, that's true.
23Your philosophy of life is closer to that of the traditional scholars, like Chen Yinge, Lin Yutang—and of course Qian Zhongshu—, and even to that of the scholars of ancient times: Su Dongpo and Tao Yuanming.
24I love Su Dongpo, he is the most humane of all. I also admire Tao Yuanming for his great strength of spirit. I am not sufficiently familiar with the other scholars you mention.
25We know that it was a private tutor, and then his uncle, who taught classical Chinese to Qian Zhongshu. Where did you study the classic texts, and in what circumstances?
26I studied them by myself, which is why I do not feel very qualified on the subject.
27In We Three, you recall that you were registered at the Sorbonne in the 1930s. Do you remember what was to be the subject of your thesis?
28The French novel.
29If at some point in your life, you had had to choose between your work and your family, would you have sacrificed everything to follow your career?
30Fortunately, I was born into a harmonious household, and later the little family that I formed with my husband and daughter was a happy one. I never had any thought of abandoning it. I have never had to choose between my professional activities and my family life.
31What do you see as the meaning of existence?
32To try to be someone of value, not to waste one's life.
33What kind of people do you like best?
34All people, whatever their age or social position. All people are kind.
35And which do you hate the most?
36Those who hate me. I hate them too.
“My way of living is also a product of Confucianism” (written on July 28th 2005)
37I am wondering at present about the things which have influenced your personality: your innate intelligence, the upbringing your parents gave you, the education you received at school, your knowledge of Chinese and Western cultures (in particular those classical), the influence that your teachers and friends have had on you, as well as Qian Zhongshu, and also the experiences you have lived through. My conclusion is that the most important thing has been your innate intelligence.
38Yang Jiang – I do not think that I was a child prodigy, I was just a little better than average. I was lucky enough to be born into a family that did not consider men to be superior to women. As a child I was educated by my father with great care. What he wanted, even if he never expressed it in these words, was for me to know how to think independently and to show iron determination.
39Several well-known personalities in modern Chinese history, who also have extensive knowledge of Western and Chinese cultures, have said that the time they spent living abroad allowed them better to appreciate classical Chinese culture. Do you share this feeling?
40My studies abroad were only a continuation of the studies I had done in China. In the suitcases we took with us [she and Qian Zhongshu], there were above all the Chinese classics. We read them conscientiously every day, without exception. When I was in secondary school, the school accorded more importance to mathematics, physics or English classes, and our Chinese teacher was often badly treated by the pupils. My grounding in classical Chinese is not very solid, and I have always, right up to this day, sought to improve it. I find that those who have no knowledge of any foreign language are often extremists, either on the far Left or ultra conservative.
41You say that you believe in God. When did you begin to believe, and in what circumstances? Is this in some way related to the Qiming school, which you attended, and which was run by foreign missionaries?
42My primary school was run by Catholics, and my university by Christians. But the schools had no influence on my beliefs, and I am not a believer [in the strict sense of the word]. My faith has not been influenced by anybody, it arose and strengthened itself by experience, through reading and rereading, and by long and mature reflection.
43In the thesis I am writing about you, I describe you as a traditional Chinese intellectual, steeped in humanism. This is because I see that in your individual way of being you behave like a Confucian, and like a Taoist where society is concerned. And you have a marked propensity to advocate humanism. Do you agree?
44I almost agree with you. Except that I think my way of living, as well my individual behaviour is Confucian. The book I most admire is the Analects of Confucius. Confucius, to me, is the greatest of the humanists.
45Translated from the French original by Michael Black
46Works of Yang Jiang translated into English:
|
||||||
21594
|
yago
|
2
| 67
|
https://english.cnipa.gov.cn/transfer/news/iprspecial/919886.htm
|
en
|
Literary Couple's Letters Off Auction Amid Protest
|
[
"https://english.cnipa.gov.cn/transfer/images/big.gif",
"https://english.cnipa.gov.cn/transfer/images/an4.gif"
] |
[] |
[] |
[
""
] | null |
[] | null | null |
The auction of Qian Zhongshu's personal letters took a new turn on June 6. The Beijing-based auction company Sungari announced a decision to stop public auction of Qian's personal letters on its website. According to the decision, out of respect for Yang Jiang, Sungari decide to stop the auction which would be held on June 21, 2013.
The controversial auction was announced by Sungari on its website and involved 66 of Qian's personal letters to Li Kwok-Keung, former editor-in-chief of Hong Kong's magazine Wide Angle in the 1980s, manuscripts in pen of Qian's collected works Ye Shi Ji, the original copy of Six Stories in the Cadre School and their late daughter Qian Yuan's letters. A collection of letters and manuscripts that reveal extensive life details and literary views of renowned writer Qian Zhongshu will go under the hammer in June, despite Qian's 102-year-old widow, Yang Jiang, saying it is "very inappropriate" to publicize the family's private communications. Then Yang triggered vehement protest by denouncing the auctions as an infringement of privacy and copyright to the court. The court voiced support for Yang to halt the upcoming auction involving private missives written by her and her late husband, Qian Zhongshu, a renowned Chinese literary scholar.
How many types of right involved in letter auction?
Letters and manuscripts, as the channel for people to communicate thoughts and emotions, have been replaced by typing on computer and cell phone. However, manuscripts and letters of prominent literary scholars and writers have recently become sought-after in the art market. How many types of rights of these rare and valuable handwriting and manuscripts actually involved in this auction?
"Auctioning Qian's private letters may lead to infringement of the rights of property, authorship, privacy and reputation. Those composing the missives are their copyright owners, and auction groups should not make any copyright-related use of such missives without the consent of copyright owners," said Yu Cike, a senior official with the National Copyright Administration, adding that publicizing the letters' contents may result in publicizing right infringement.
"While Yang does not own the letters - they belong to Li Kwok-keung, a long-time friend of the author in Hong Kong - she has the publishing rights for Qian's collected works. The violators who sold works without the consent of their copyright owners would infringe the rights of publicizing, exhibition，privacy and reputation," You Yunting explained, a partner at Shanghai Dabang Law Firm.
Meanwhile, Yu Guofu, a lawyer specializing in copyrights at the Shengfeng Law Firm had different opinion. Under China's laws, letters could be classified as personal property, and while Yang does not own the letters - they belong to the recipient Li Kwok-keung. The copyright should belong to the writer and the recipient enjoyed the real right of movables. The copyright owner could protect his rights of publicizing, copy, publishing and communication through information network in accordance with the copyright law. In parallel, selling letter materials belonged to the transfer of the movable property," he pointed out.
Whether auctioning letters and manuscript infringing publicizing right or not
Auctioning private letters may lead to infringement of many types of rights. What about the publicizing right? Tao Xinliang, Director of IP School of Shanghai University, took a view that auctioning letters and manuscript showed an intersection of real rights and authorship. Its ownership of property and exhibition would be transferred through auction. However, the right of other authorship, personal and property were still belonging to the copyright owners. Given the circumstances, the violators who publicized works in the auction without the consent of their copyright owners would infringe the publicizing right.
"Under China's laws, the copyright of letter's content should belong to the writer and recipient merely enjoyed the real right of movables. It is generally understood that real right was an absolute right and the owner could freely exercise their right. However, in the handwritten letters, most in calligraphy, included two aspects –the letter was both an object and the work carrier," said Dong Meigen, from East China University of Political Science and Law.
However, in Lu Zhiyong's opinion, the president of the International Auction Company of China, it should be considered that the writer had authorized the recipient to deal with the letter since the writer sent it without indicating the strictly forbid to the public. The recipient could deal with the letters without writer's permission.
How to avoid legal risk in auction
"Both client and auction agency ought to verify the copyright status of auction items and keep an eye on the auction of such handwritten letters especially whether it led to infringement of the rights of authorship, privacy and reputation or not," Tao stressed.
Auction house should not copy, publish and distribute people's private materials ahead of the sale which might cause the infringement of the copyright. However, it was not a violation of privacy that the letter holder displayed the letter in the pre-exhibition of the auction," Yu added.
(China IP News)
2013-08-19
|
||||||||
21594
|
yago
|
0
| 2
|
https://en.wikipedia.org/wiki/Yang_Jiang
|
en
|
Yang Jiang
|
[
"https://en.wikipedia.org/static/images/icons/wikipedia.png",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Yang_Jiang_1941.jpg/220px-Yang_Jiang_1941.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/5/52/Qian_Zhongshu_and_Yang_Jiang_in_1936.jpg/220px-Qian_Zhongshu_and_Yang_Jiang_in_1936.jpg",
"https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/12px-Commons-logo.svg.png",
"https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1",
"https://en.wikipedia.org/static/images/footer/wikimedia-button.svg",
"https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg"
] |
[] |
[] |
[
""
] | null |
[
"Contributors to Wikimedia projects"
] |
2005-09-09T05:40:52+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Yang_Jiang
|
Chinese writer (1911–2016)
For the city in Guangdong, see Yangjiang. For other uses, see Yangjiang (disambiguation).
Yang JiangTraditional Chinese楊絳Simplified Chinese杨绛
TranscriptionsStandard MandarinHanyu PinyinYáng JiàngWade–GilesYang Chiang
Yang JikangTraditional Chinese楊季康Simplified Chinese杨季康
TranscriptionsStandard MandarinHanyu PinyinYáng Jìkāng
Yang Jiang (Chinese: 杨绛; Wade–Giles: Yang Chiang; 17 July 1911 – 25 May 2016) was a Chinese playwright, author, and translator. She wrote several successful comedies, and was the first Chinese person to produce a complete Chinese version of Miguel de Cervantes' novel Don Quixote.[1]
Biography
[edit]
She was born in Beijing as Yang Jikang,[2] and grew up in the Jiangnan region. After graduating from Soochow University in 1932, Yang Jiang enrolled in the graduate school of Tsinghua University. There she met Qian Zhongshu. They married in 1935. During 1935–1938, they went abroad to England for further study at Oxford University. In England, Yang gave birth to their daughter Qian Yuan (錢瑗) in 1937. They later studied at Pantheon-Sorbonne University in Paris, France.[2] They often spoke French and English to each other throughout their lives in China.[3]
They returned to China in 1938.[2] Living in Shanghai, she wrote four stage plays: two comedies of manners, Heart's Desire (1943) and Forging the Truth (1944), one farce, Sporting with the World (1947), and the tragedy Windswept Blossoms (1947). After 1949, she taught at the Tsinghua University and made a scholarly study of western literature at Peking University and the Academy of Science. She published this work in 1979 in a compendium: Spring Mud. As authors, literary researchers, and translators, Yang and Qian both made important contributions to the development of Chinese literary culture.[4]
Yang also translated into Chinese three major European works of picaresque fiction: Lazarillo de Tormes (1951), Gil Blas (1956) and Don Quixote (1978).[5] Her Chinese translation of Don Quixote is, as of 2016, still considered the definitive version.[3] After deeming several English and French translations unsuitable, she taught herself Spanish. “If I wanted to be faithful to the original, I had to translate directly from the original,” she wrote in 2002. Ms. Yang had completed almost seven out of eight volumes of the translation when Red Guard student militants confiscated the manuscript from her home in Beijing. “I worked with every ounce of energy I could muster, gouging at the earth with a spade, but the only result was a solitary scratch on the surface,” Ms. Yang wrote. “The youngsters around me had quite a laugh over that.” As the Cultural Revolution subsided, Ms. Yang returned to Beijing to work on “Don Quixote.” The nearly completed draft that had been confiscated by Red Guards is said to have been discovered in a pile of scrap paper and returned to Ms. Yang. Published in 1978, it remains widely regarded as the definitive translation of “Don Quixote” in China.[6]
She was also awarded the Civil Order of Alfonso X, the Wise for this by King Juan Carlos in October 1986.[7] Her sister Yang Bi (楊必) (1922–1968) was also a translator.
Her experience doing "reform through labor" in a "cadre school" in Henan from 1969 to 1972, where she was "sent down" with her husband during the Cultural Revolution, inspired her to write Six Chapters from My Life 'Downunder' (1981).[8] This is the book that made her name as a writer in the post-Mao period.[9][10] In connection with this memoir, she also wrote Soon to Have Tea (將飲茶) (aka Toward Oblivion), which was published in 1983.[11]
In 1988, she published her only novel Baptism (洗澡), which was always connected with Fortress Besieged (圍城), a masterpiece of her husband.[12] Her 2003 memoir We Three (我們仨), recalled memories of her husband and her daughter Qian Yuan, who died of cancer one year before her father's death in 1998. At the age of 96, she published Reaching the Brink of Life (走到人生邊上), a philosophic work whose title in Chinese clearly alludes to her late husband's collection of essays Marginalia to Life (寫在人生邊上).[2]
She turned 100 in July 2011.[13] The novella After the Baptism (洗澡之後), a coda to Baptism, appeared in 2014. On 25 May 2016, Yang died at the age of 104 at Peking Union Medical College Hospital in Beijing.[3]
Contradicting a Chinese saying that it is impossible for a woman to be both a chaste wife and gifted scholar or talented artist, Qian once described Yang as “the most chaste wife and talented girl” in China.
Works
[edit]
Plays
[edit]
Heart's Desire (稱心如意) (1943).
Forging the Truth (弄真成假) (1944).
Sporting with the World (游戏人间) (1945).
Windswept Blossoms (风絮) (1947).
Novels
[edit]
Baptism (洗澡)(1988)
After the Bath (洗澡之後)(2014)
Essays
[edit]
Six Chapters from My Life 'Downunder' (幹校六記) (1981)
About to Drink Tea (將飲茶) (1987)
We Three (我們仨) (2003)
Her 2003 essay collection “We Three,” about her family life with her late husband and their daughter, was a national bestseller. Yang Jiang's daughter Qian Yuan gave the name of this book We Three. She has written the outline for it, but unfortunately died after five days in 1997. Yang withheld the news of their daughter's death from her husband Qian Zhongshu until his passing in 1998. After her husband's death, Yang compiled and edited his unpublished works, the most celebrated being We Three.[14] The opening line for We three is:
“This is a long dream of ten thousand miles. The scene was so real that it felt like a dream after waking up. But a dream being a dream, is nothing but a dream.”
“There is no absolute happiness in human life. Happiness always comes with worry and anxiety,”
Reaching the Brink of Life (走到人生邊上) (2007)
At the age of 96, Yang surprised the world with Reaching the Brink of Life, a philosophic work whose title alludes to her husband's collection of essays Marginalia to Life.[14] Reaching the Brink of Life is a self-reckoning that may well be Yang's most personal book. The first half of the book is structured as a self-dialogue about life, death, and the afterlife; the second part contains an assortment of family anecdotes and reading notes—the fragments of a life. What emerges from its pages is not merely the predictable inward turn toward self-consolation of a learned person facing death; in Yang's declaration of faith and her insistence that the afterlife be 'fair' is an affirmation of personal metaphysics in a nation that has long promoted collectivism while discouraging religion and ‘superstition'.[5]
"Body and soul is a twisted. Together with good evil."
Translation work
[edit]
Gil Blas
Don Quixote
Lazarillo de Tormes
Phaedo
See also
[edit]
List of centenarians (authors, poets and journalists)
References
[edit]
Further reading
[edit]
Literary works by Yang Jiang in English translation
Yang Jiang, tran. Howard Goldblatt (1988). Six Chapters from My Life "Downunder". University of Washington Press. ISBN 9780295966441.
Yang Jiang, tran. Geremie Barme (1989). Lost in the Crowd: A Cultural Revolution Memoir. McPhee Gribble. ISBN 9780869140970.
Yang Jiang, tran. Judith M. Amory and Yaohua Shi (2007). Baptism. Hong Kong University Press. ISBN 9789622098312.
Yang Jiang, ed. Christopher Rea (2011). "Renditions Magazine: Special issue on Yang Jiang". Renditions: A Chinese-English Translation Magazine = Yizong. Hong Kong University Press. ISSN 0377-3515.
Studies of Yang Jiang's life and works
Swislocki, Mark (2016) [First published 2003]. "Yang Jiang". In Lily Xiao Hong Lee; A. D. Stefanowska (eds.). Biographical Dictionary of Chinese Women. Vol. 2: The Twentieth Century (1912-2000). Routledge. pp. 618–622. ISBN 978-1-315-49924-6.
Jesse Field (2012). Writing Lives in China: The Case of Yang Jiang. University of Minnesota Ph.D. dissertation. hdl:11299/133367.
Christopher Rea, ed. (2015). China's Literary Cosmopolitans: Qian Zhongshu, Yang Jiang and the World of Letters. Brill. ISBN 9789004299962.
Media related to Yang Jiang at Wikimedia Commons
|
||||||
21594
|
yago
|
1
| 49
|
http://en.chinaculture.org/2016-05/25/content_796253.htm
|
en
|
Celebrated Chinese writer Yang Jiang dies at 105
|
[
"http://en.chinaculture.org//image_e/2014WenTong/bg-2.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ico-1.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ico-2.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/twitter01.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/youtube01.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ins01.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ic-1.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ic-2.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ic-3.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ic-4.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/ic-5.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160525/b083fe955ec018af91bc3a.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160620/f8bc126e491618d16ea702.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160617/d8cb8a14fd9a18cdf7690c.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160614/d4bed9d6cb4018c9b5330d.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160627/f8bc126e491618dadf4c13.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160624/f8bc126e491618d724784a.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160530/f8bc126e491618b5e7c524.jpg",
"http://en.chinaculture.org/7812.files/ico-6.png",
"http://en.chinaculture.org/attachement/jpg/site1/20160530/f8bc126e491618b5e64f22.jpg",
"http://en.chinaculture.org/7812.files/ico-6.png",
"http://en.chinaculture.org/attachement/jpg/site1/20160627/f8bc126e491618dadf4c13.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160624/f8bc126e491618d724784a.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160624/d8cb8a51564a18d6e96c50.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160624/f8bc126e491618d72b3153.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160624/f8bc126e491618d72a9452.jpg",
"http://en.chinaculture.org/attachement/jpg/site1/20160623/b083fe96faac18d5b87610.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/p-1020180514.jpg",
"http://en.chinaculture.org//image_e/2014WenTong/p-11.jpg",
"http://cn.chinadaily.com.cn/image/2017/gwab.png"
] |
[] |
[] |
[
""
] | null |
[
"æè¹ç¿"
] |
2016-05-25T00:00:00
| null |
Well-known Chinese writer, literary translator and foreign literature researcher Yang Jiang died at the age of 105 in Beijing on Wednesday morning.
Yang, the wife of late Chinese novelist Qian Zhongshu, enjoyed decades of fame across the country for her literature works such as Six Chapters from My Life 'Downunder' (1981), Baptism (1988), and We Three (2004), which recalls her husband and her daughter Qian Yuan (1937â1997), who died of cancer one year before her father's death. Her translation of the Spanish novel Don Quixote de la Mancha is widely considered the best Chinese version.
Yang Jiang, whose original name was Yang Jikang, married Qian Zhongshu, one of the top Chinese litterateurs, in 1935.
|
||||||||
21594
|
yago
|
2
| 0
|
https://en.wikipedia.org/wiki/Qian_Zhongshu
|
en
|
Qian Zhongshu
|
[
"https://en.wikipedia.org/static/images/icons/wikipedia.png",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/7/79/Qian_Zhongshu_1940s.jpg/220px-Qian_Zhongshu_1940s.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/f2/Thu_gate.JPG/220px-Thu_gate.JPG",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Flag_of_the_People%27s_Republic_of_China.svg/21px-Flag_of_the_People%27s_Republic_of_China.svg.png",
"https://upload.wikimedia.org/wikipedia/en/thumb/6/69/P_vip.svg/19px-P_vip.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/9/9a/Nuvola_apps_kmessedwords.png/19px-Nuvola_apps_kmessedwords.png",
"https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png",
"https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1",
"https://en.wikipedia.org/static/images/footer/wikimedia-button.svg",
"https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg"
] |
[] |
[] |
[
""
] | null |
[
"Contributors to Wikimedia projects"
] |
2002-07-30T00:36:52+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Qian_Zhongshu
|
Chinese literary scholar and writer (1910–1998)
In this Chinese name, the family name is Qian.
Chinese nameTraditional Chinese錢鍾書Simplified Chinese钱锺书[a]
TranscriptionsStandard MandarinHanyu PinyinQián ZhōngshūWade–GilesCh'ien Chung-shu
Courtesy nameZheliang (哲良)
Mocun (默存)Art nameHuaiju (槐聚)
Qian Zhongshu (November 21, 1910 – December 19, 1998), also transliterated as Ch'ien Chung-shu[1] or Dzien Tsoong-su,[2] was a renowned 20th century Chinese literary scholar and writer, known for his wit and erudition.
He is best known for his satirical novel Fortress Besieged. His works of nonfiction are characterized by large amount of quotations in both Chinese and Western languages such as English, German, French, Italian, Spanish, and Latin.[3] He also played an important role in digitizing Chinese classics late in his life.[4]
Qian created a profound theoretical meaning for the three features of motivational nature, empathetic nature, and rational nature of aesthetic emotion for literature by deeply studying questions such as the source of emotion motivation, the ways to express emotion, and the optimal comfort in emotion in writing. He believed that the source of emotion motivation is poems because poems can convey human's emotion. When people transfer their emotion to inanimate objects, they give these objects life, which is the ways to express emotion. Also, Qian insisted that humans cannot express their emotion as they want; instead, they should rationally control their emotion to a certain degree so that they can achieve an optimal appreciation status.[5]
Life
[edit]
Most of what is known about Qian's early life relies on an essay written by his wife Yang Jiang.[6] Born in Wuxi, Qian Zhongshu was the son of Qian Jibo (錢基博), a conservative Confucian scholar, landed gentry, and Chinese language professor at Tsinghua, St. John's University, and National Central University (Nanking), respectively. By family tradition, Qian Zhongshu grew up under the care of his eldest uncle, who did not have a son. Qian was initially named Yangxian (仰先; lit. "respect the ancients"), with the courtesy name Zheliang (哲良; "sagacious and upright"). However, when he was one year old, in accordance with a tradition of zhuazhou, practiced in many parts of China, he was given a few objects laid out in front of him for his "grabbing"; he grabbed a book. His uncle thusly renamed him Zhongshu,[7] literally "fond of books," while Yangxian became his intimate name. Qian was a rather talkative child. His father later changed his courtesy name to Mocun (默存, lit. "to keep silent"), in the hope that he would talk less.
Both Qian's name and courtesy name forecasted his future life. While he remained talkative when talking about literature with friends, he kept silent most of the time on politics and social activities. Qian was indeed very fond of books. When he was young, his uncle often brought him along to teahouses during the day. There, Qian was left alone to read storybooks on folklore and historical events, which he would repeat to his cousins upon returning home.
At the age of 6, Qian went to Qinshi primary school and stayed home for less than half a year due to illness. At the age of 7, Qian studied in a private school of a relative's family. Due to inconvenience, he quit school a year later and was taught by his uncle. When Qian was 11, he entered the first grade at Donglin Elementary School, and his uncle died this year.[8] He continued living with his widowed aunt, even though their living conditions drastically worsened as her family's fortunes dwindled. Under the strict tutelage of his father, Qian mastered classical Chinese. At the age of 14, Qian left home to attend Taowu middle school, an English-language missionary school in Suzhou, after being scolded by his father, he studied hard and improved his writing level.[8] In 1927, Qian was admitted to Furen Middle School, an English-language Missionary School in Wuxi, where he manifested his talent in language. At the age of 20, Qian's aunt died.[8]
Despite comparatively lower score in mathematics, Qian excelled in both Chinese and English languages. Thus, he was accepted into the Department of Foreign Languages of Tsinghua University in 1929, ranking 57 out of 174 male students.[9] One of his few friends was the budding Sinologist and comparatist Achilles Fang.[10] Qian also frequently cut classes, though he more than made up for this in Tsinghua's large library, which he boasted of having "read through."[10] It was probably in his college days that Qian began his lifelong habit of collecting quotations and taking reading notes. At Tsinghua, Qian studied with professors, such as Wu Mi, George T. Yeh, Wen Yuan-ning, and others.[11] In 1932, he met Yang Jiang, who became a successful playwright and translator.[8] In 1933, Qian became engaged to Yang, and they married in 1935.[8] For the biographical facts of Qian's following years, the two memoirs by his wife can be consulted.[12] Yang Jiang wrote, "Zhongshu's 'foolishness' could not be contained in books, but just had to gush forth'".[13] Two years after Qian graduated from Tsinghua University in 1933, Qian taught at Kwanghua University in Shanghai and contributed to English-language publications such as The China Critic.[14]
In 1935, Qian received a Boxer Indemnity Scholarship to further his studies abroad. Together with his wife, Qian headed for the University of Oxford in Britain. After spending two years at Exeter College, Oxford, he received a Bachelor of Letters.[15] Shortly after his daughter Qian Yuan (錢瑗) was born in England in 1937, he studied for one more year in the University of Paris in France. In 1938, he returned to China and was appointed as a full professor at Tsinghua University, which, due to the war, had relocated to Kunming, in Yunnan province and become part of Southwestern United University. In 1939, after Qian returned to Shanghai to visit his relatives, he directly went to Hunan to take care of his sick father and temporarily left Southwestern United University. In 1941, During the Pearl Harbor incident, Qian was temporarily trapped in Shanghai.[8]
Owing to the unstable situation during the Second Sino-Japanese War and the Chinese Civil War, Qian did not hold any long-term jobs. However, it was during the late 1930s and 1940s that he wrote most of his Chinese-language fiction, including Fortress Besieged and the story collection Human, Beast, Ghost, as well as the essay collection Written in the Margins of Life. After Japan's defeat, in the late 1940s, he worked in the National Central Library in Nanjing, editing its English-language publication, Philobiblon.
In 1949, Qian was ranked on the list of National First-class Professors (國家一級教授) and commenced his academic work in his alma mater. Four years later, an administrative adjustment saw Tsinghua changed into a science and technology-based institution, with its Arts departments merged into Peking University. Qian was relieved of teaching duties and worked entirely in the Institute of Literary Studies (文學硏究所) under PKU. Qian is a senior researcher at the institute, and his wife Yang Jiang is also a researcher.[8] He also worked as part of a small team in charge of the translation of Mao Zedong's Selected Works and poetry.
During the Cultural Revolution, like many other prominent intellectuals of the time, Qian suffered persecution. Appointed to be a janitor, he was robbed of his favorite pastime, reading. Having no access to books, he had to read his reading notes. He began to form the plan to write Limited Views during this period. Qian, his wife, along with their daughter survived the hardships of Cultural Revolution, but their son-in-law, a history teacher, was driven to suicide.
After the Cultural Revolution, Qian returned to research. From 1978 to 1980, he visited several universities in Italy, the United States and Japan, impressing his audience with his wit and erudition. In 1982, he was appointed as the deputy director of the Chinese Academy of Social Sciences. He then began working on Limited Views, which occupied the next decade of his life.
While Limited Views established his fame in the academic field, his novel Fortress Besieged introduced him to the public. Fortress Besieged was reprinted in 1980, and became a best-seller. Many illegal reproductions and "continuations" followed. Qian's fame rose to its height when the novel was adapted into a TV serial in 1990 which was acted by some famous Chinese actors, such as Daoming Chen and Da Ying.[16]
Qian returned to research, but escaped from social activities. Most of his late life was confined to his reading room. He consciously kept a distance from the mass media and political figures. Readers kept visiting the secluded scholar, and an anecdote goes that Qian when approached by a British admirer, remarked: "Is it necessary for one to know the hen if one loves the eggs it lays?"
Qian was hospitalized in 1994, and his daughter also became ill in 1995. On March 4, 1997, Qian's daughter died of cancer. On December 19, 1998, Qian died in Beijing.[17]
Former residence
[edit]
Qian's former residence, covering 1,600 square meters, is located at Xinjiexiang #30 and #32 in Wuxi, Nanjing. It was built in 1923 by his grandfather Qian Fujiong. In 1926 his uncle Qian Sunqin built five buildings and several auxiliary rooms on the west side of the back of the house, covering an area of 667.6 square meters. The whole group of buildings are typical Jiangnan courtyard houses. Inside the residence, there are some unique separate buildings, such as Haixu Shulou and Meihua Shuwu.[18] In 2018, it applied for China's significant cultural relics protection units. The former residence has related exhibitions and is open to the public without fees.
Pictures of Qian's former residence
Works
[edit]
Qian lived in Shanghai from 1941 to 1945, which was then under Japanese occupation. Many of his works were written or published during this chaotic period of time. A collection of short essays, Written in the Margins of Life (寫在人生邊上) was published in 1941. Human, Beast, Ghost (人‧獸‧鬼), a collection of short stories, mostly satiric, was published in 1946. His most celebrated work Fortress Besieged appeared in 1947, but not until 1980s that it receives more attention. On the Art of Poetry [zh], written in classical Chinese, was published in 1948.
Besides rendering Mao Zedong's selected works into English, Qian was appointed to produce an anthology of poetry of the Song dynasty when he was working in the Institute of Literary Studies. The Selected and Annotated Song Dynasty Poetry [zh] was published in 1958. Despite Qian's quoting the chairman, and his selecting a considerable number of poems that reflect class struggle, the work was criticized for not being Marxist enough. The work was praised highly by the overseas critics, though, especially for its introduction and footnotes. In a new preface for the anthology written in 1988, Qian said that the work was an embarrassing compromise between his personal taste and the prevailing academic atmosphere.
Seven Pieces Patched Together (七缀集), a collection of seven pieces of literary criticism written (and revised) over years in vernacular Chinese, was published in 1984, and has been translated by Duncan Campbell as Patchwork: Seven Essays on Art and Literature. This collection includes the famous essay "Lin Shu's Translation" (林纾的翻译).
Qian's magnum opus is the five-volume Limited Views (管锥编, lit. Pipe-Awl Collection). Begun in the 1980s and published in its current form in the mid-1990s, it is an extensive collection of notes and short essays on poetics, semiotics, literary history and related topics written in classical Chinese.
Qian's command of the cultural traditions of classical and modern Chinese, ancient Greek (in translations), Latin, English, German, French, Italian, and Spanish allowed him to construct a towering structure of polyglot and cross-cultural allusions. He took a range of Chinese classical texts as the basis of this work, including the I-Ching, Classic of Poetry, Verses of Chu, The Commentary of Tso, Records of the Grand Historian, Tao Te Ching, Lieh-tzu, Jiaoshi Yilin, Extensive Records of the T'ai-p'ing Era and the Complete Prose of the Pre-Tang Dynasties (全上古三代秦漢三國六朝文).
Broadly familiar with the Western history of ideas, Qian shed new lights on the Chinese classical texts by comparing them with Western works, showing their likeness, or more often their apparent likeness and essential differences.
"It is a monumental work of modern scholarship that evinces the author's great learning and his effort to bring the ancient and the modern, Chinese and Western, into mutual illumination."[19]
Qian Zhongshu is one of the best-known Chinese authors in the Western world. Fortress Besieged has been translated into English, French, German, Russian, Japanese and Spanish. It represents an alternative strand of modernism, which has long remained hidden and unexamined in the history of modern Chinese literature.[20] "Humans, Beasts, and Ghosts" has been translated into English, French,[21] and Italian.[22]
Besides being one of the great masters of written vernacular Chinese in the 20th century,[23] Qian was also one of the last authors to produce substantial works in classical Chinese. Some regard his choice of writing Guan Zhui Bian (Limited Views) in classical Chinese as a challenge to the assertion that classical Chinese is incompatible with modern and Western ideas, an assertion often heard during the May Fourth Movement.[24] Ronald Egan argues that the work contains an implicit negative commentary on the Cultural Revolution.[25]
Posthumous publications
[edit]
A 13-volume edition of Works of Qian Zhongshu (钱锺书集/钱钟书集) was published in 2001 by the Joint Publishing, a hard-covered deluxe edition, in contrast to all of Qian's works published during his lifetime which are cheap paperbacks. The publisher claimed that the edition had been proofread by many experts.[26] One of the most valuable parts of the edition which demonstrating Qian's writing ability while blending humor and irony,[27] titled Marginalias on the Marginalias of Life (写在人生边上的边上), is a collection of Qian's writings previously scattered in periodicals, magazines and other books. The writings collected there are, however, arranged without any visible order.
Other posthumous publications of Qian's works have drawn harsh criticism. The official writing of Supplements to and Revisions of Songshi Jishi began in 1982. In the following ten years, Qian invested a lot of energy to make extensive and in-depth Supplements to and Revisions of Songshi Jishi.[28] The 10-volume Supplements to and Revisions of Songshi Jishi (宋诗纪事补正), published in 2003, was criticized as a shoddy publication. Liaoning People's Publishing House published Qian Zhongshu's ''Supplements to and Revisions of Songshi Jishi in 2003.[29] A facsimile of Qian's holograph has been published in 2005, by another publisher. The facsimiles of parts of Qian's notebooks appeared in 2004, and have similarly drawn criticism on account of blatant inadvertency.[30] In 2005, a collection of Qian's English works was published. Again, it was lashed for its editorial incompetence.[31]
The Commercial Press has, per an agreement with Yang Jiang, begun publishing photoreproductions of Qian Zhongshu's reading notes, totaling several score volumes in both Chinese and foreign languages.[32]
See also
[edit]
List of Chinese authors
Yang Jiang
Notes
[edit]
Further reading
[edit]
Innumerable biographies and memoirs in Chinese have been published since Qian's death.
Two critical studies of Qian's life and works in English:
Theodore Huters. Qian Zhongshu. Boston: Twayne Publishers, 1981.
Christopher Rea, ed. China's Literary Cosmopolitans: Qian Zhongshu, Yang Jiang, and the World of Letters. Leiden: Brill, 2015.
Literary works by Qian in English translation:
Qian Zhongshu. Jeanne Kelly and Nathan K. Mao, trans. Fortress Besieged. (Bloomington: Indiana University Press, 1979; Reprinted with foreword by Jonathan Spence, New York: New Directions, 2004). ISBN 0-8112-1552-0
Qian Zhongshu. Christopher G. Rea, ed. Humans, Beasts, and Ghosts: Stories and Essays. (New York: Columbia University Press, 2011). ISBN 978-0-231-15275-4
Qian Zhongshu. Duncan M. Campbell, trans. Patchwork: Seven Essays on Art and Literature. (Leiden: Brill, 2014). ISBN 978-9-004-27020-6
Qian Zhongshu. A Collection of Qian Zhongshu's English Essays. (Beijing: Foreign Language Teaching and Research Press, 2005).
A selected translation of Qian's most celebrated work of literary criticism, Guan Zhui Bian, with critical introduction:
Qian Zhongshu, tran. Ronald Egan (1998). Limited Views: Essays on Ideas and Letters (Harvard-Yenching Institute Monograph Series). Harvard University Asia Center. ISBN 0-674-53411-5.
An essay about Qian's critical vision and early writings:
Christopher G. Rea, "The Critic Eye 批眼"
Five of Qian's essays on poetry in French translation:
Qian Zhongshu, trad. Nicolas Chapuis (1987). Cinq Essais de Poetique. Christian Bourgois Editeur. ISBN 2-267-00485-2.
|
||||||
21594
|
yago
|
3
| 31
|
https://doi.org/10.5790/hongkong/9789888139231.003.0002
|
en
|
[] |
[] |
[] |
[
""
] | null |
[] | null | null | ||||||||||
21594
|
yago
|
1
| 28
|
https://kids.kiddle.co/Yang_Jiang
|
en
|
Yang Jiang facts for kids
|
[
"https://kids.kiddle.co/images/wk/kids-robot.svg",
"https://kids.kiddle.co/images/wk/kids-search-engine.svg",
"https://kids.kiddle.co/images/6/68/Yang_Jiang_1941.jpg",
"https://kids.kiddle.co/images/thumb/5/52/Qian_Zhongshu_and_Yang_Jiang_in_1936.jpg/300px-Qian_Zhongshu_and_Yang_Jiang_in_1936.jpg",
"https://kids.kiddle.co/images/thumb/5/5f/Kids_robot.svg/60px-Kids_robot.svg.png",
"https://kids.kiddle.co/images/wk/kids-search-engine.svg"
] |
[] |
[] |
[
""
] | null |
[] | null |
Learn Yang Jiang facts for kids
|
en
|
/images/wk/favicon-16x16.png
|
https://kids.kiddle.co/Yang_Jiang
|
In this Chinese name, the family name is Yang.
Yang Jiang Traditional Chinese 楊絳 Simplified Chinese 杨绛
Transcriptions Standard Mandarin Hanyu Pinyin Yáng Jiàng Wade–Giles Yang Chiang
Yang Jikang Traditional Chinese 楊季康 Simplified Chinese 杨季康
Transcriptions Standard Mandarin Hanyu Pinyin Yáng Jìkāng
Yang Jiang (Chinese: 杨绛; Wade–Giles: Yang Chiang; 17 July 1911 – 25 May 2016) was a Chinese playwright, author, and translator. She wrote several successful comedies, and was the first Chinese person to produce a complete Chinese version of Miguel de Cervantes' novel Don Quixote.
Biography
She was born in Beijing as Yang Jikang, and grew up in the Jiangnan region. After graduating from Soochow University in 1932, Yang Jiang enrolled in the graduate school of Tsinghua University. There she met Qian Zhongshu. They married in 1935. During 1935–1938, they went abroad to England for further study at Oxford University. In England, Yang gave birth to their daughter Qian Yuan (錢瑗) in 1937. They later studied at Pantheon-Sorbonne University in Paris, France. They often spoke French and English to each other throughout their lives in China.
They returned to China in 1938. Living in Shanghai, she wrote four stage plays: two comedies of manners, Heart's Desire (1943) and Forging the Truth (1944), one farce, Sporting with the World (1947), and the tragedy Windswept Blossoms (1947). After 1949, she taught at the Tsinghua University and made a scholarly study of western literature at Peking University and the Academy of Science. She published this work in 1979 in a compendium: Spring Mud. As authors, literary researchers, and translators, Yang and Qian both made important contributions to the development of Chinese literary culture.
Yang also translated into Chinese three major European works of picaresque fiction: Lazarillo de Tormes (1951), Gil Blas (1956) and Don Quixote (1978). Her Chinese translation of Don Quixote is, as of 2016, still considered the definitive version. After deeming several English and French translations unsuitable, she taught herself Spanish. “If I wanted to be faithful to the original, I had to translate directly from the original,” she wrote in 2002. Ms. Yang had completed almost seven out of eight volumes of the translation when Red Guard student militants confiscated the manuscript from her home in Beijing. “I worked with every ounce of energy I could muster, gouging at the earth with a spade, but the only result was a solitary scratch on the surface,” Ms. Yang wrote. “The youngsters around me had quite a laugh over that.” As the Cultural Revolution subsided, Ms. Yang returned to Beijing to work on “Don Quixote.” The nearly completed draft that had been confiscated by Red Guards is said to have been discovered in a pile of scrap paper and returned to Ms. Yang. Published in 1978, it remains widely regarded as the definitive translation of “Don Quixote” in China.
She was also awarded the Civil Order of Alfonso X, the Wise for this by King Juan Carlos in October 1986. Her sister Yang Bi (楊必) (1922–1968) was also a translator.
Her experience doing "reform through labor" in a "cadre school" in Henan from 1969 to 1972, where she was "sent down" with her husband during the Cultural Revolution, inspired her to write Six Chapters from My Life 'Downunder' (1981). This is the book that made her name as a writer in the post-Mao period. In connection with this memoir, she also wrote Soon to Have Tea (將飲茶) (aka Toward Oblivion), which was published in 1983.
In 1988, she published her only novel Baptism (洗澡), which was always connected with Fortress Besieged (圍城), a masterpiece of her husband. Her 2003 memoir We Three (我們仨), recalled memories of her husband and her daughter Qian Yuan, who died of cancer one year before her father's death in 1998. At the age of 96, she published Reaching the Brink of Life (走到人生邊上), a philosophic work whose title in Chinese clearly alludes to her late husband's collection of essays Marginalia to Life (寫在人生邊上).
She turned 100 in July 2011. The novella After the Baptism (洗澡之後), a coda to Baptism, appeared in 2014. On 25 May 2016, Yang died at the age of 104 at Peking Union Medical College Hospital in Beijing.
Contradicting a Chinese saying that it is impossible for a woman to be both a chaste wife and gifted scholar or talented artist, Qian once described Yang as “the most chaste wife and talented girl” in China.
Works
Plays
Heart's Desire (稱心如意) (1943).
Forging the Truth (弄真成假) (1944).
Sporting with the World (游戏人间) (1945).
Windswept Blossoms (风絮) (1947).
Novels
Baptism (洗澡)(1988)
After the Bath (洗澡之後)(2014)
Essays
Six Chapters from My Life 'Downunder' (幹校六記) (1981)
About to Drink Tea (將飲茶) (1987)
We Three (我們仨) (2003)
Her 2003 essay collection “We Three,” about her family life with her late husband and their daughter, was a national bestseller. Yang Jiang's daughter Qian Yuan gave the name of this book We Three. She has written the outline for it, but unfortunately died after five days in 1997. Yang withheld the news of their daughter's death from her husband Qian Zhongshu until his passing in 1998. After her husband's death, Yang compiled and edited his unpublished works, the most celebrated being We Three.
Reaching the Brink of Life (走到人生邊上) (2007)
At the age of 96, Yang surprised the world with Reaching the Brink of Life, a philosophic work whose title alludes to her husband's collection of essays Marginalia to Life. Reaching the Brink of Life is a self-reckoning that may well be Yang's most personal book. The first half of the book is structured as a self-dialogue about life, death, and the afterlife; the second part contains an assortment of family anecdotes and reading notes—the fragments of a life. What emerges from its pages is not merely the predictable inward turn toward self-consolation of a learned person facing death; in Yang's declaration of faith and her insistence that the afterlife be 'fair' is an affirmation of personal metaphysics in a nation that has long promoted collectivism while discouraging religion and ‘superstition'.
Translation work
Gil Blas
Don Quixote
Lazarillo de Tormes
Phaedo
See also
In Spanish: Yang Jiang para niños
|
|||||
21594
|
yago
|
0
| 64
|
https://www.thatsmags.com/tianjin/post/32496/still-writing-aged-94-renowned-chinese-author-yang-jiang
|
en
|
Still Writing Aged 94 – Renowned Chinese Author Yang Jiang
|
[
"https://www.thatsmags.com/image/view/202103/63.jpg",
"https://www.thatsmags.com/image/view/202405/website-fix-banner-2000x1801.jpg",
"https://www.thatsmags.com/assets/front/images/logo.png",
"https://www.thatsmags.com/assets/front/images/dowload.png",
"https://www.thatsmags.com/image/view/202103/WechatIMG456.jpeg",
"https://www.thatsmags.com/image/view/202407/Sina-News.jpg",
"https://www.thatsmags.com/image/view/201606/dragon-boat-festival-explained.jpg",
"https://www.thatsmags.com/image/view/202403/ho-chi-minh-city-at-night.jpg",
"https://www.thatsmags.com/assets/front/images/instasmall.png",
"https://www.thatsmags.com/image/view/202408/_20220905103307.jpg?c=1&w=176&h=95",
"https://www.thatsmags.com/image/view/202408/Underwater-Tunnel-1-.jpg?c=1&w=176&h=95",
"https://www.thatsmags.com/image/view/202408/untitled.jpeg?c=1&w=176&h=95",
"https://www.thatsmags.com/image/view/202408/China-Customs---Billy-Jiang.jpg?c=1&w=176&h=95",
"https://www.thatsmags.com/image/view/202408/north-korea-2662076_1280.jpg?c=1&w=176&h=95",
"https://www.thatsmags.com/assets/front/images/pic/thats_code.png",
"https://www.thatsmags.com/assets/front/images/thats-newsletter.png",
"https://www.thatsmags.com/assets/front/images/pic/mags_thumb_1.jpg",
"https://www.thatsmags.com/assets/front/images/logo.png",
"https://www.thatsmags.com/assets/front/images/instagram.png"
] |
[] |
[] |
[
"Who’s Who of the Hutong?",
"History",
"writing",
"Chinese literature",
"Tianjin"
] | null |
[] | null |
We take a look at author and translator Yang Jiang who once lived in Dongluojuan Hutong.
|
en
|
/assets/public/img/favicon.ico
|
That's Online
|
https://www.thatsmags.com/tianjin/post/32496/still-writing-aged-94-renowned-chinese-author-yang-jiang
|
Who’s Who of the Hutong?is a monthly feature that explores the lives of famous historical figures who lived in Beijing’s hutong. In this edition, we look at author and translator Yang Jiang who once lived in Dongluojuan Hutong.
A block of gray apartments in Beijing’s Dongcheng district looks somewhat out-of-place compared to the more quaint hutong nearby. The area contains within it the ancestral home of renowned author Yang Jiang, although there’s nothing of historical interest to see there now.
Born in 1911, one year before the founding of the People’s Republic of China, Yang lived through many turbulent changes in Chinese history. The China of 2016, the year in which she passed away, was probably almost unrecognizable compared with the China into which she was born.
Something which never changed, however, was her passion for writing and translation. Throughout her life, she authored 18 works of prose, nine novels, three plays and three essay collections. She also translated four classic novels.
Much of her work was shaped by events in contemporary Chinese history. Her prose entitled Six Chapters from My Life Downunder (干校六记) describes her difficult time working in the countryside during China’s Cultural Revolution.
Here are a few other things you may or not know about one of China’s most renowned writers.
She was fluent in English, French and Spanish
Her high-level language skills were perhaps not surprising given her time studying abroad at the University of Oxford and the University of Paris.
Yet, it seems her drive to learn foreign languages never stopped. Even at the age of 48 years old, she started learning Spanish.
One of her translated books was given as a gift to the king and queen of Spain
Yang was the first to translate the classic Spanish novel Don Quixote into Chinese. She started the translation in 1962 but didn’t complete it until 1976 due to the disruption of the Cultural Revolution.
In 1978, during a visit to China by the Spanish royals, the Chinese version of the novel was given as a gift by then Chinese president Deng Xiaoping.
She started one of her works when she was 94 years old
It seemed that old age was no barrier to writing for Yang. Her work entitled Three of Us (我们三) was finished aged 92. The book talked about her memories of her husband and daughter.
But Yang didn’t stop there. Aged 94, she began writing Walking onto the Edge of Life (走到人生边上) which won China’s top book award in 2007.
Yang was still writing newspaper articles well into her late ’90s.
She was married to a fellow famous author
Yang’s husband, Qian Zhongshu, was another renowned Chinese author. One of his most famous novels was Fortress Besieged (围城) which was set in 1930s Japanese-occupied China.
Qian’s fame rose when the same novel was adapted into a TV series aired in China in the 1990s.
As mentioned earlier, Yang’s Beijing ancestral home no longer has anything of historical value to see. The building in Dongluojuan Hutong in Dongcheng district, where both Yang and her husband Qian were residents from 1962 until 1969, has been converted into a fairly ordinary-looking block of gray apartments.
Dongluojuan Hutong, where Yang Jiang's Beijing ancestral home is now occupied by an apartment block. Image via Alistair Baker-Brian
Indeed, Yang’s ancestral home in Suzhou, the city where Yang was a student, suffered a similar fate. The building, Miaotangxiang, became a shared rental property back in 2016 after it was decided it “didn’t meet the right standards” to be considered a historical relic.
When it comes to remembering an author as paradigm-shifting as Yang, who needs ancestral homes anyway? Yang’s writings alone have helped her cement her place in Chinese history as one of the nation’s most iconic authors.
|
||||
21594
|
yago
|
3
| 89
|
http://wandermonkey.blogspot.com/2009/05/
|
en
|
WanderMonkey
|
http://wandermonkey.blogspot.com/favicon.ico
|
http://wandermonkey.blogspot.com/favicon.ico
|
[
"http://3.bp.blogspot.com/_4pmQ5dJZI_E/SiIxosYw2LI/AAAAAAAAAhc/whKb6fLdYmI/s400/2226926.jpg",
"http://4.bp.blogspot.com/_4pmQ5dJZI_E/SiIyyn0FntI/AAAAAAAAAhk/Hb7rNIFugCQ/s400/W020090213328678092538.jpg",
"http://3.bp.blogspot.com/_4pmQ5dJZI_E/SiI9bXw1BtI/AAAAAAAAAhs/ZSQFaLDntno/s400/NOKIACC02142712734.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://upload.wikimedia.org/wikipedia/commons/b/ba/Tagore3.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://4.bp.blogspot.com/_4pmQ5dJZI_E/SiGEuYoj81I/AAAAAAAAAhU/EUKU_vZqGzw/s400/Picture+15.png",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://1.bp.blogspot.com/_4pmQ5dJZI_E/Sh8DbH0Xm-I/AAAAAAAAAhE/aZBLYBe0gxU/s400/Picture+11.png",
"http://3.bp.blogspot.com/_4pmQ5dJZI_E/Sh8SJJ2la6I/AAAAAAAAAhM/22QTzoMDZOI/s400/28.1lu_fig01m.gif",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://www.arthurmag.com/magpie/wp-content/uploads/2009/03/mar27th_mannhiem.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://big5.ifeng.com/gate/big5/bookfile.ifeng.com/cover/2009-04-01/123857057153671623151ORcBoxLwL._AA500_.jpg.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://1.bp.blogspot.com/_4pmQ5dJZI_E/Shs4SzQER3I/AAAAAAAAAg0/zlBD1UTNK8M/s400/Picture+7.png",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://1.bp.blogspot.com/_4pmQ5dJZI_E/Shso7J-vM1I/AAAAAAAAAgk/IMQ3RwE8FwM/s400/Picture+3.png",
"http://1.bp.blogspot.com/_4pmQ5dJZI_E/ShspguRFgfI/AAAAAAAAAgs/_Zanx9xDc3M/s400/Picture+4.png",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://1.bp.blogspot.com/_4pmQ5dJZI_E/ShhiX4RDv4I/AAAAAAAAAgc/m_dzi24oknw/s400/Picture+1.png",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://mag.udn.com/magimages/24/PROJ_ARTICLE/158_2418/f_71042_1.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://4.bp.blogspot.com/_4pmQ5dJZI_E/ShhVXiCvLOI/AAAAAAAAAgU/EAWDHTUETOM/s400/Zal2.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://4.bp.blogspot.com/_4pmQ5dJZI_E/ShWKMGtcLzI/AAAAAAAAAaI/agDsUqqWOp8/s400/51IXgv0RxdL._AA500_.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://1.bp.blogspot.com/_4pmQ5dJZI_E/ShV1RwcaHWI/AAAAAAAAAaA/YC_poddTCgo/s400/AK0098-2.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://2.bp.blogspot.com/_4pmQ5dJZI_E/ShVkeLEmEVI/AAAAAAAAAZ4/uAvsjxRZx74/s400/Picture+24.png",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://docs.google.com/File?id=dgsj24wz_1235gfv5cmfr_b",
"http://docs.google.com/File?id=dgsj24wz_1234gkhsd5vd_b",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://2.bp.blogspot.com/_4pmQ5dJZI_E/ShMv4mXCIXI/AAAAAAAAAZQ/foDWIUufL0w/s400/1321651_246817.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://upload.wikimedia.org/wikipedia/en/c/c4/Hiram_Bingham_I.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://upload.wikimedia.org/wikipedia/commons/thumb/f/f9/Lin_Zexu_1.jpg/461px-Lin_Zexu_1.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://1.bp.blogspot.com/_4pmQ5dJZI_E/ShDAAqlQlSI/AAAAAAAAAYo/0xv2OpCVz84/s400/1149065631384.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://1.bp.blogspot.com/_4pmQ5dJZI_E/ShClLMLKPSI/AAAAAAAAAYY/rGEmoerXlbg/s400/xinsrc_1720206270756390187602.jpg",
"http://3.bp.blogspot.com/_4pmQ5dJZI_E/ShCtV2TlLPI/AAAAAAAAAYg/pIcIWJCpOR4/s400/loadImage.php.jpeg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://3.bp.blogspot.com/_4pmQ5dJZI_E/ShCflj0GPBI/AAAAAAAAAYQ/0qQ0NI-XspA/s400/09.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://1.bp.blogspot.com/_4pmQ5dJZI_E/Sg8UBAdTiVI/AAAAAAAAAYI/0uFVZAWoBKk/s400/P1060601.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://1.bp.blogspot.com/_4pmQ5dJZI_E/Sg8OF1jwiDI/AAAAAAAAAYA/JmglGyy7-zY/s400/Good+Housekeeping-1905-4.jpg",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://3.bp.blogspot.com/_4pmQ5dJZI_E/Sg44wDlG4oI/AAAAAAAAAX4/cLR8WeoHKwM/s400/Picture+1.png",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://docs.google.com/File?id=dgsj24wz_1214d72dccgc_b",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://2.bp.blogspot.com/_4pmQ5dJZI_E/Sgua15TZFOI/AAAAAAAAAXg/xZCUJNM0N60/s400/Picture+37.png",
"http://4.bp.blogspot.com/_4pmQ5dJZI_E/SguaxTGV7mI/AAAAAAAAAXY/MCSQDPFg-Ew/s400/Picture+38.png",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://3.bp.blogspot.com/_4pmQ5dJZI_E/SgtAhbssP0I/AAAAAAAAAXA/SsA3u0JUOUs/s400/Picture+34.png",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://2.bp.blogspot.com/_4pmQ5dJZI_E/SgtABxcBmXI/AAAAAAAAAW4/vGO8coYB3xY/s400/Picture+33.png",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://4.bp.blogspot.com/_4pmQ5dJZI_E/Sgs_hU5pZhI/AAAAAAAAAWw/bCKnNaIjJ5A/s400/Picture+32.png",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://1.bp.blogspot.com/_4pmQ5dJZI_E/Sgs-pTliTCI/AAAAAAAAAWo/gut3u90A8Xg/s400/Picture+31.png",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://3.bp.blogspot.com/_4pmQ5dJZI_E/Sgs8oy7KA1I/AAAAAAAAAWY/GLa4qnTLqjY/s400/Picture+29.png",
"http://3.bp.blogspot.com/_4pmQ5dJZI_E/Sgs9DB65REI/AAAAAAAAAWg/lzWYHmwuNvM/s400/Picture+30.png",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://4.bp.blogspot.com/_4pmQ5dJZI_E/SgsvGnwgNCI/AAAAAAAAAWQ/yPq2T5jr8ik/s400/Picture+28.png",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://4.bp.blogspot.com/_4pmQ5dJZI_E/SgstiUS9ibI/AAAAAAAAAWI/TS0EnkT6BE4/s400/Picture+24.png",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://4.bp.blogspot.com/_4pmQ5dJZI_E/SgsruGlyY1I/AAAAAAAAAWA/RvE_QrSOvOQ/s400/Picture+23.png",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://4.bp.blogspot.com/_4pmQ5dJZI_E/SgsqKbY19_I/AAAAAAAAAV4/ishWetO37Ts/s400/Picture+21.png",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://3.bp.blogspot.com/_4pmQ5dJZI_E/Sgso0S2IAiI/AAAAAAAAAVw/LD5EIWl9mNo/s400/Picture+20.png",
"http://1.bp.blogspot.com/_4pmQ5dJZI_E/Sgsowv15tgI/AAAAAAAAAVo/pcLSLCMqZJA/s400/Picture+19.png",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://4.bp.blogspot.com/_4pmQ5dJZI_E/SgsnQBfuPjI/AAAAAAAAAVg/w5omEoPKSRk/s400/Picture+18.png",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://1.bp.blogspot.com/_4pmQ5dJZI_E/SgsmgZvCjDI/AAAAAAAAAVY/30gUBMc_lgQ/s400/Picture+17.png",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://1.bp.blogspot.com/_4pmQ5dJZI_E/SgslzrIVIaI/AAAAAAAAAVQ/Hk0GV2_fXKY/s400/Picture+16.png",
"http://2.bp.blogspot.com/_4pmQ5dJZI_E/SgslfuZe7KI/AAAAAAAAAVI/3OxGWqSW9do/s400/Picture+15.png",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"http://4.bp.blogspot.com/_4pmQ5dJZI_E/SgsksXvxL7I/AAAAAAAAAVA/DbCsu_Cn7sM/s400/Picture+14.png",
"http://4.bp.blogspot.com/_4pmQ5dJZI_E/SgufYM6WZAI/AAAAAAAAAXo/YGa4u4SUICE/s400/Picture+39.png",
"https://resources.blogblog.com/img/icon18_edit_allbkg.gif",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_v7AHL1yssLKAAISSlKfBgRgoPO8nQqbgkfE-a6cBkB9Yk_rHBoRMsHp7GGaHE6ejkNI_x9HXtBbWAjlxEL7L0Yhg=s16-w16-h16",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_sFf7zgT0qh01XjSYNhT5t96-ZIMaRo9Ffaor1tjaQXrus00AyJPYFnV45Gq8x9DydV0BaZUtDZiLzi8SOcoGzePg=s16-w16-h16",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_s0LWJkUffxFGk1_YX52pVA15UdwovO2b7g4Gt8gZsq0PqK_oUXMUBnXIbfyHGMiFGnUgKqdEm9OCP6dcuzCCeaO92u5ipix201Az3bH-hnWlOzvw=s16-w16-h16",
"https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_saUgtFT-pqjo6AIyfVls1pkfi95UNPkELq25GvXZ2SMBawYwMej_Z6Y_1Xew4Sko5ydBAdFS95FNm1bXMDeHR7ih9GJxQmSFzF2WDdE-s=s16-w16-h16",
"http://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtpsu4bS9GUq1UvtF_ipJrU_dOOZVQ8g8zBymZ8Lb53lFBvKF5KTG6X4g9PT4eCl75I8AL70Cvu2pF7-74Cf4GZKlN3pUaZ_VJ9ARjAYRo9282Fk3MiN0tbXsnD3zJgvQ/s220/304664.png"
] |
[] |
[] |
[
""
] | null |
[
"View my complete profile"
] | null |
A Commonplace Book of Readings in Chinese and Other History and Literature
|
http://wandermonkey.blogspot.com/favicon.ico
|
http://wandermonkey.blogspot.com/2009/05/
|
Yay for group work
Wu, Pei-yi. The Confucian's Progress : Autobiographical Writings in Traditional China. Princeton N.J.: Princeton University Press, 1990. Pages 199-203 introduce the late 17th century monk, his memoir of a trip to Vietnam, and the self-portraits he includes in his poetry collection, .
Dashan 大汕, 17th/18th century and Wan Yi 萬毅, Du Aihua 杜靄華 and Qiu Jiang 仇江, eds. Dashan Heshang ji 大汕和尚集. Guangzhou Shi : Zhongshan daxue chubanshe, 2007. This is the edition from which I take the self portraits. It also contains the complete texts of Dashan's poetry collections and the memoir 海外紀實.
Jiang Boqin 姜伯勤. Shilian Dashan yu Aomen Chan shi :Qing chu Lingnan Chan xue shi yan jiu chu bian 石濂大汕与澳门禅史 : 淸初岭南禅学史硏究初编. Shanghai : Xuelin chubanshe, 1999. I haven't examined this volume, but I wonder about Shilian's relationship with trade networks and missionaries -- this book looks like a possible source on that.
Pan Chengyu 潘承玉. Qu Dajun zhi you Shilian: yi wei zhide guanzhu de Qing chu Lingnan Shi seng 屈大均之友石濂：一位值得关注的清初岭南诗僧. Pan Tsung-yi found this on http://zhihai.heshang.net ; the listed origin is 佛学研究网. Another line says 绍兴文理学院，2003年第1期 (Shaoxing Arts and Sciences Institute, Issue 1, 2003). This article reviews the facts of Shilian's downfall: a grand trial in Guangzhou, estrangement from friends like Qu Dajun, his exile and death en route, and having his works banned. Author Pan Chengyu thinks Shilian was probably wrongfully punished by his political enemies.
Volpp, Sophie. "The Literary Circulation of Actors in Seventeenth-Century China." The Journal of Asian Studies, 61.3 (August, 2002): 949-984. Prof. Waltner says this is an example of a study of a portrait album to understand social networks. Although it is about a beautiful young actor, not a Chan master, the common use of media for community-building is fascinating. Haven't examined this yet.
|
||||
21594
|
yago
|
1
| 86
|
https://www.academia.edu/8273669/_100_years_of_Qian_Zhongshu_and_Yang_Jiang_A_Centennial_Perspective_in_Perspectives_on_East_Asia_edited_by_Ikuko_Sagiyama_Valentina_Pedone_FUP_Firenze_University_Press_2014_pp_103_116
|
en
|
“100 years of Qian Zhongshu and Yang Jiang: A Centennial Perspective” in Perspectives on East Asia, edited by Ikuko Sagiyama, Valentina Pedone, FUP Firenze University Press, 2014, pp-103-116.
|
http://a.academia-assets.com/images/open-graph-icons/fb-paper.gif
|
http://a.academia-assets.com/images/open-graph-icons/fb-paper.gif
|
[
"https://a.academia-assets.com/images/academia-logo-redesign-2015-A.svg",
"https://a.academia-assets.com/images/academia-logo-redesign-2015.svg",
"https://a.academia-assets.com/images/single_work_splash/adobe.icon.svg",
"https://0.academia-photos.com/attachment_thumbnails/41300789/mini_magick20190219-25311-1dzfkfi.png?1550612264",
"https://0.academia-photos.com/616177/998107/1248425/s65_tiziana.lioi.jpg",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loaders/paper-load.gif",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png",
"https://a.academia-assets.com/images/loswp/related-pdf-icon.png"
] |
[] |
[] |
[
""
] | null |
[
"Tiziana Lioi",
"unint.academia.edu"
] |
2014-09-10T00:00:00
|
“100 years of Qian Zhongshu and Yang Jiang: A Centennial Perspective” in Perspectives on East Asia, edited by Ikuko Sagiyama, Valentina Pedone, FUP Firenze University Press, 2014, pp-103-116.
|
https://www.academia.edu/8273669/_100_years_of_Qian_Zhongshu_and_Yang_Jiang_A_Centennial_Perspective_in_Perspectives_on_East_Asia_edited_by_Ikuko_Sagiyama_Valentina_Pedone_FUP_Firenze_University_Press_2014_pp_103_116
|
The twentieth century was when China was contracted from being the “world” to merely a “nation.” The drastic change of the geographical and political perception of China led to a revision of traditional ideas that were believed to hold universal value. Against this background, the reevaluation of a supposedly pre-Qin figure became particularly interesting in revealing how the paradigm shift subverted the conventional criteria of value. In this paper, I examine how Liang Qichao 梁啟超 (1873–1929), a leading intellectual in the early twentieth century, made his contribution to the revision of Yang Zhu 楊朱 (approximately 400 BCE), the long-standing “heretic” in Chinese intellectual history. By retracing Liang’s early portrayal of Yang Zhu, I present how Yang Zhu gained his modern image as a valuable ancient Chinese philosopher after thousands of years of being considered mostly negative or irrelevant. I also show how, by introducing Yang Zhu in this way, modern intellectuals negotiated the meanings of imported modern concepts.
The article aims to rethink the pluralistic intellectual currents and social changes of the last centuries in China: how literati reacted to the historical changes, the economic developments, the collapse of the hierarchical order, and the social mobility from the end of the Ming to the middle of the Qing dynasty. Urbanisation, the great silver inflow, the acceleration of trade, and social mobility raised new challenges to the orthodox view of the world and to Neo-Confucian norms. These new attitudes of the Chinese literati – which can be inferred both from literary and philosophical works – uncover new attitudes in the mental structure of the intellectual strata of the time. In the history of ideas we notice a progressive detachment from the orthodox view of the conflictual relationship between principle and desires, especially in the ambit of the Taizhou school. The elaboration of a new anthropological mindset aimed at the rehabilitation of passions and desires culminated with Li Zhi. This trend went on in the Qing period, from Wang Fuzhi to Dai Zhen. Also in literature such trend, the so-called 'cult of qing ', can be found with the moral justification of emotion-desire (establishing emotion as a genuine and active source of virtue), and with the vitalistic identification of emotions as the source of life and reproduction. Another indication of the change of mentality is the challenge of common and accepted truisms through the praise of 'folly' in real life situations and literary works: to be 'crazy' and 'foolish' becomes a sign of distinction among certain intellectual circles, in contrast with the pedant orthodox scholars and officials and the vulgar nouveaux riches. The unconventional character of the anti-hero Baoyu is emblematic, with his aversion for any kind of official ceremony and convention, his abnormal sensibility and impractical and naïve mentality, and his consciousness of being different from others. The crisis of the established ladder of values can be seen in the exaltation of 'amoral' wisdom and in the presentation of various dimensions of love, from the idealistic sentiment of 'the talented student and the beautiful girl' to the metaphysical passion that overcomes death, and to the minimalist concept of ' love is like food ' in a carpe diem perspective. And finally another challenge is exemplified by Yuan Mei's reflections on the concept of Heavenly Mandate, retribution, human responsibility, and historical constructions by resorting to 'abnormal' phenomena to uncover the absurdity of reality and unconscious imagery. His questions testify the polyphonic debates of the late imperial China, besides established conventions and Neo-Confucian orthodoxy. KEY WORDS : Literati, modernisation, desires and principles, Li Zhi, cult of qing, foolishness, Yuan Mei, retribution, human responsibility
|
|||||
21594
|
yago
|
1
| 69
|
en
|
File:Qian Zhongshu und seine Frau Yang Jiang.jpg
|
[
"https://upload.wikimedia.org/wikipedia/commons/8/8d/Qian_Zhongshu_und_seine_Frau_Yang_Jiang.jpg?20160525061539",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/PD-icon.svg/64px-PD-icon.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/6e/Dialog-warning.svg/25px-Dialog-warning.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Flag_of_the_People%27s_Republic_of_China.svg/64px-Flag_of_the_People%27s_Republic_of_China.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/7/72/Flag_of_the_Republic_of_China.svg/64px-Flag_of_the_Republic_of_China.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/PD-icon.svg/64px-PD-icon.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/6e/Dialog-warning.svg/25px-Dialog-warning.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Flag_of_the_People%27s_Republic_of_China.svg/64px-Flag_of_the_People%27s_Republic_of_China.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/7/72/Flag_of_the_Republic_of_China.svg/64px-Flag_of_the_Republic_of_China.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8d/Qian_Zhongshu_und_seine_Frau_Yang_Jiang.jpg/83px-Qian_Zhongshu_und_seine_Frau_Yang_Jiang.jpg?20160525061539",
"https://upload.wikimedia.org/wikipedia/commons/thumb/archive/8/8d/20160525061538%21Qian_Zhongshu_und_seine_Frau_Yang_Jiang.jpg/84px-Qian_Zhongshu_und_seine_Frau_Yang_Jiang.jpg",
"https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1",
"https://commons.wikimedia.org/static/images/footer/wikimedia-button.svg",
"https://commons.wikimedia.org/static/images/footer/poweredby_mediawiki.svg"
] |
[] |
[] |
[
""
] | null |
[] |
1962-08-23T00:00:00
|
en
|
/static/apple-touch/commons.png
|
This image is now in the public domain in China because its term of copyright has expired.
According to copyright laws of the People's Republic of China (with legal jurisdiction in the mainland only, excluding Hong Kong and Macao), amended November 11, 2020, Works of legal persons or organizations without legal personality, or service works, or audiovisual works, enter the public domain 50 years after they were first published, or if unpublished 50 years from creation. For photography works of natural persons whose copyright protection period expires before June 1, 2021 belong to the public domain. All other works of natural persons enter the public domain 50 years after the death of the creator.
According to copyright laws of Republic of China (currently with jurisdiction in Taiwan, Penghu, Kinmen, Matsu, etc.), all photographs and cinematographic works, and all works whose copyright holder is a juristic person, enter the public domain 50 years after they were first published, or if unpublished 50 years from creation, and all other applicable works enter the public domain 50 years after the death of the creator.
Important note: Works of foreign (non-U.S.) origin must be out of copyright or freely licensed in both their home country and the United States in order to be accepted on Commons. Works of Chinese origin that have entered the public domain in the U.S. due to certain circumstances (such as publication in noncompliance with U.S. copyright formalities) may have had their U.S. copyright restored under the Uruguay Round Agreements Act (URAA) if the work was under copyright in its country of origin on the date that the URAA took effect in that country. (For the People's Republic of China, the URAA took effect on January 1, 1996. For the Republic of China (ROC), the URAA took effect on January 1, 2002.[1])
To uploader: Please provide where the image was first published and who created it or held its copyright.
You must also include a United States public domain tag to indicate why this work is in the public domain in the United States.
Note that this work might not be in the public domain in countries that do not apply the rule of the shorter term and have copyright terms longer than life of the author plus 50 years. In particular, Mexico is 100 years, Jamaica is 95 years, Colombia is 80 years, Guatemala and Samoa are 75 years, Switzerland and the United States are 70 years, and Venezuela is 60 years.
|
||||||||
21594
|
yago
|
0
| 25
|
http://english.eastday.com/Culture/u1ai8547496.html
|
en
|
Celebrated Chinese writer Yang Jiang dies at 105
|
[
"http://english.eastday.com/images/20150910eastday/title_english.jpg",
"http://english.eastday.com/images/20150910eastday/t2.gif",
"http://english.eastday.com/images/20150910eastday/t3.gif",
"http://english.eastday.com/images/20150910eastday/t4.gif",
"http://english.eastday.com/images/20150910eastday/t5.gif",
"http://english.eastday.com/images/20150910eastday/t6.gif",
"http://english.eastday.com/images/thumbnailimg/month_1605/201605250437409710.jpg",
"http://english.eastday.com/images/thumbnailimg/month_1605/201605250437403891.jpg",
"http://english.eastday.com/images/thumbnailimg/month_1605/201605250437407805.jpg",
"http://english.eastday.com/images/thumbnailimg/month_1605/201605250437407642.jpg",
"http://english.eastday.com/images/thumbnailimg/month_1605/201605250437408948.jpg",
"http://english.eastday.com/images/thumbnailimg/month_1605/201605250437405801.jpg",
"http://english.eastday.com/images/20150910eastday/t2.gif",
"http://english.eastday.com/images/20150910eastday/t25.gif",
"http://english.eastday.com/images/20150910eastday/t26.gif",
"http://english.eastday.com/images/20150910eastday/t27.gif",
"http://english.eastday.com/images/20150910eastday/ewm.jpg",
"https://d5nxst8fruw4z.cloudfront.net/atrk.gif?account=7O/te1awQa00Gs"
] |
[] |
[] |
[
"Celebrated Chinese writer Yang Jiang dies at 105-"
] | null |
[
"ä¸å®å²"
] |
2016-05-25T00:00:00
|
Celebrated Chinese writer Yang Jiang dies at 105-Well-known Chinese writer, literary translator and foreign literature researcher Yang Jiang died atthe age of 105 in Beijing on Wednesday morning.
| null |