During the Cultural Revolution, Mao exhorted the Chinese people to “smash the four olds”: old customs, old culture, old habits, and old ideas. Yet when the Red Guards in Tiananmen Square chanted “We want to see Chairman Mao,” they unknowingly used a classical rhythm that dates back to the Han period and is the very embodiment of the four olds. An Anatomy of Chinese reveals how rhythms, conceptual metaphors, and political language convey time-honored meanings of which Chinese speakers themselves may not be consciously aware, and contributes to the ongoing debate over whether language shapes thought, or vice versa. Perry Link’s inquiry into the workings of Chinese reveals convergences and divergences with English, most strikingly in the area of conceptual metaphor. Different spatial metaphors for consciousness, for instance, mean that English speakers wake up while speakers of Chinese wake across. Other underlying metaphors in the two languages are similar, lending support to theories that locate the origins of language in the brain. The distinction between daily-life language and official language has been unusually significant in contemporary China, and Link explores how ordinary citizens learn to play language games, artfully wielding officialese to advance their interests or defend themselves from others. Particularly provocative is Link’s consideration of how Indo-European languages, with their preference for abstract nouns, generate philosophical puzzles that Chinese, with its preference for verbs, avoids. The mind-body problem that has plagued Western culture may be fundamentally less problematic for speakers of Chinese.

Rhythms, conceptual metaphors, and political language convey meanings of which Chinese speakers themselves may not be aware. Link’s Anatomy of Chinese contributes to the debate over whether language shapes thought or vice versa, and its comparison of English with Chinese lends support to theories that locate the origins of language in the brain.

As the world watched the crumbling away of communist regimes in Eastern Europe, the pro-democracy movement in China was dealt a severe blow in June of 1989. Also referred to as the June 4th Incident, the Tiananmen Square protest included students, intellectuals, and workers demanding democratic reforms and social change. To break up the escalating protest armed soldiers stormed the square killing close to two hundred demonstrators and injuring thousands more. Culture and Politics in China explores the events, trends, and tendencies that led to the student demonstrations. This volume objectively presents a wide range of information permitting readers a comprehensive understanding of the circumstances that culminated on the events of June 4, 1989. Documents include eyewitness accounts by student leaders Chai Ling and Wu'er Kaixi, the speeches of Deng Xiaoping and Yang Shangkun justifying the use of force, analysis of the events by the Marxist theorist Su Shaozhi, the writings of young intellectuals Yan Jiaqi, Liu Xiaobo, and others. Selections include essays on the May Fourth Movement of 1919 and the television documentary, the "Yellow River Elegy" which question the Chinese cultural tradition. Leading political scientists contribute to this volume. Lee presents an analysis of the role of Deng Xiaoping in the events at Tiananmen Square, and his views on the Chinese Communist party-state and the pro-democracy movement King Tsao, who was at the square, views the demonstrations as a form of civil disobedience and dissent against the party-state. He gives an eyewitness account and a contextual analysis of some of the events and underlying themes. Steven Mark, a journalist, presents an analysis of the various roles of both the Chinese and Western press, beginning with their role in shaping public opinion before the demonstrations and continuing as the media scrambled to cover China's biggest news story since the communist takeover in 1949. Those who are interested in present and future developments in the world's most populous nation will find this volume indispensable.

An illuminating account of how early medicine in Greece and China perceived the human body Winner of the William H. Welch Medal, American Association for the History of Medicine The true structure and workings of the human body are, we casually assume, everywhere the same, a universal reality. But when we look into the past, our sense of reality wavers: accounts of the body in diverse medical traditions often seem to describe mutually alien, almost unrelated worlds. How can perceptions of something as basic and intimate as the body differ so? In this book, Shigehisa Kuriyama explores this fundamental question, elucidating the fascinating contrasts between the human body described in classical Greek medicine and the body as envisaged by physicians in ancient China. Revealing how perceptions of the body and conceptions of personhood are intimately linked, his comparative inquiry invites us, indeed compels us, to reassess our own habits of feeling and perceiving.

The Fundamentals of Drawing Anatomy is a book by artists for artists, and presents a dynamic visual record of the essential characteristics and creative possibilities of the human form. For hundreds of years artists have developed their skills by drawing the human body. Bones and muscles, although largely hidden from view, reveal a great deal about us and are key components of expression. All artists need to understand how these internal structures affect movement and posture, attributies entirely personal. No unneccessary medical jargon is included, only visually stunning yet accurate artworks, showing artists wht they need to know in order to bring the human form to life. With over 200 illustrations. In this book, both budding and experienced artists will find clear, comprehensive instructions to help them improve their craft. The author describes in detail the type of materials to acquire before starting, and ideas to consider in composition, choice of medium, and more. The exercises range from basic to advanced, helping artists to progress from fundamental skills to emulating the work of masters.

This book offers a precise and rigorous analysis of the meanings of offensive words in Chinese. Adopting a semantic and cultural approach, the authors demonstrate how offensive words can and should be systematically researched, documented and accounted for as a valid aspect of any language. The book will be of interest to academics, practitioners and students of sociolinguistics, language and culture, linguistic taboo, Chinese studies and Chinese linguistics.

An illustrated guide to antique china and silver pieces, arranged by period, that analyzes the unique details.