References in periodicals archive ?
When the narrative switches back to the present with Pi-Yueh Chiang finishing her singing of "Wandering in the Garden" and handing the performance over to Madame Ch'ien to sing "Waking from a Dream," Madame Ch'ien rejects the request and upon Chiang's persistence blushes to reveal that her voice has become too hoarse to sing.
While on rare occasions her immigrant characters speak a fractured English dialect, she seems to recognize that such written speech only has the effect of further marginalizing and stereotyping her characters--would give them, perhaps, the "Ching a ring a ring chaw" that Harte associates with the ordinary American reader's "idea of a Chinaman" in "Wan Lee, the Pagan" or that Ch'ien calls "Changlish.
For example, ch'ien (Heaven) is heaven, k'un (Earth) is earth, chen (activity) is thunder, sun (bending) is wind, k'an (pit) is water, li (brightness) is fire, ken (to stop) is mountain, and tui (pleasure) is a collection of water.
Ch'ien LT, Medeiros MO, Belluomini JJ, Lemmi H, Whitaker JN.
The influence of this remarkable story on T'ao Ch'ien [Tao Qian]'s "Peach Flower Font" ["Peach Flower Spring"] is clear.
In her book, Weird English, Evelyn Nien-Ming Ch'ien defines "weird English" as "the kind of language creation happening now--vernacular transcription that has a built-in self-consciousness of its political, social, and metaphorical implications, as well as aesthetic value" (2004, 18).
1962, An Embassy to China: being the Journal kept by Lord Macartney during his Embassy to the Emperor Ch'ien Lung, 1793-1794, Longmans, London.
Chang, 'Ts'ai Ch'ien, the pirate king who dominates the seas: A study of coastal piracy in China, 1795-1810' (Ph.
Highlights from her collections will include a Han dynasty wine jar with its original lid, a pair of unusual Ch'ien Lung soft paste porcelain bowls dating from around 1780 and a rare Nanking Cargo milk pourer salvaged in 1986 by Captain Hatcher from the Geldermalsen which sank in the South China Seas in around 1750.
The Northwest is ruled by the Trigram Ch'ien ('the Creative'), which represents the immaterial world of Heaven.
Thus, Christian motifs were introduced in the late-17th century in the Ch'ien Lung factories showing perhaps the Virgin ascending to Heaven in a dragon chariot (the Chinese artists had only a vague idea of the stories they were painting onto the china and so, in a delightfully naive way Christian and pagan motifs were jumbled up together.