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Venerating the martyrs of the 1402 usurpation: History and memory in the mid and late Ming dynasty
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The cluster of technical terms that the Jesuit Matteo Ricci and his Chinese partners Xu Guangqi and Li Zhizao cotranslated and introduced into Chinese in the late Ming dynasty was of significance for Chinas cultural transformation.
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The historical changes of the "Maowusu Desert" can be divided into three phases: the late Tang dynasty phase, the Song-Yuan-Ming dynasty phase, and the late Ming dynasty to the present phase.
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One is from 610 to 850 AD (from the late Sui Dynasty to the late Tang Dynasty) and the other is from 1580 to 2000 AD (after the late Ming Dynasty).
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The cluster of technical terms that the Jesuit Matteo Ricci and his Chinese partners Xu Guangqi and Li Zhizao cotranslated and introduced into Chinese in the late Ming dynasty was of significance for Chinas cultural transformation.
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The historical changes of the "Maowusu Desert" can be divided into three phases: the late Tang dynasty phase, the Song-Yuan-Ming dynasty phase, and the late Ming dynasty to the present phase.
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One is from 610 to 850 AD (from the late Sui Dynasty to the late Tang Dynasty) and the other is from 1580 to 2000 AD (after the late Ming Dynasty).
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Gender, Loyalty, and the Reproduction of the Wang Zhaojun Legend: Some Social Ramifications of Drama in the Late Ming
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Further, this reconfiguration was conditioned by, and in turn conditioned, late Ming social constructions of woman as both cultural and commercial commodity.
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Exemplary Sodomites: Chivalry and Love in Late Ming Culture
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This essay explores the ideological allegiances between the chivalric (xia) and the romantic (qing) in late Ming fiction and culture.
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Precious Mirror of Boy Actresses is the most serious piece of fiction about male love since the late Ming and the lengthiest of all in Chinese literary history.
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Gender, Loyalty, and the Reproduction of the Wang Zhaojun Legend: Some Social Ramifications of Drama in the Late Ming
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Precious Mirror of Boy Actresses is the most serious piece of fiction about male love since the late Ming and the lengthiest of all in Chinese literary history.
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It is remarkable in its extension of the egalitarian implications of the qing aesthetic that it inherits from the late Ming and from earlier Qing literature such as Dream of the Red Chamber.
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This article examines images of the practice of gift exchange among women in the late Ming.
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This paper investigates the legitimation of women's literary culture in the late Ming by examining the rhetoric in male-authored prefaces to women's poetry collections produced from the Song to the Ming.
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