Volume I is divided into two parts. Part A of volume 1 in the Ben cao gang mu series offers a translation of chapters 1 and 2 and portions of chapter 3. Chapters 1 and 2 are devoted to introducing the history of materia medica. Chapter 3 is devoted to pharmaceutical drugs for diseases. Chapter 3 is continued, along with chapter 4, in part B of volume I. The Ben cao gang mu is a sixteenth-century Chinese encyclopedia of medical matter and natural history by Li Shizhen (1518–1593). The culmination of a sixteen-hundred-year history of Chinese medical and pharmaceutical literature, it is considered the most important and comprehensive book ever written in the history of Chinese medicine and remains an invaluable resource for researchers and practitioners. This nine-volume series reveals an almost two-millennia-long panorama of wide-ranging observations and sophisticated interpretations, ingenious manipulations, and practical applications of natural substances for the benefit of human health. Paul U. Unschuld's annotated translation of the Ben cao gang mu, presented here with the original Chinese text, opens a rare window into viewing the people and culture of China's past.

Everyone who has studied the upheavals of modern China knows that one of them has taken place in Chinese writing. Anyone who has read Chinese texts has also eventually pondered the possible significance of this upheaval for understanding the text, and vice versa. By analyzing formal features and speculating about their relevance to the construction of a modern Chinese culture, this book intends to show why the Chinese have come to write the way they do in this century. Drawing on linguistic and rhetorical descriptions of language in writing as features of style, the author reviews the innovations that have been introduced into modern Chinese prose from both Chinese and foreign sources. The social history of these features, the attempts by various writers to assert cultural, political, and aesthetic principles through them and the resulting tensions and conventions that arise all form the critical framework for a study of Chinese prose literature and its most innovative authors in this century. The study is introduced and informed throughout by a succinct review o scholarly research from a wide range of disciplines relevant to the question of style as an object of study in contemporary criticism. The book begins its approach to style with an Introduction that draws on Gestalt theory, information theory, and linguistics to develop a nuanced concept of what "style" is, one that gives adequate weight to the complex interplay of psychological, formal, and historical features at work. Two chapters then examine various aspects of convention, necessarily a historical phenomenon. The fourth chapter, by contrast, discusses the aesthetic prescriptions by which modern Chinese writers sought consciously to introduce innovation and points out the limitations of a prescriptive approach. The final two chapters study the strategies of specific writers. Almost half the book is an Appendix that consists of a rich catalog of rhetorical and stylistic examples, drawn from a wide range of twentieth-century Chinese literary writing. These hundreds of examples, identified by the nomenclature of grammar, rhetoric, and sentence cohesion, constitute a veritable handbook of modern Chinese prose. The book also contains a Glossary of terms draw from rhetoric and linguistics.

Compiled by two skilled librarians and a Taiwanese film and culture specialist, this volume is the first multilingual and most comprehensive bibliography of Taiwanese film scholarship, designed to satisfy the broad interests of the modern researcher. The second book in a remarkable three-volume research project, An Annotated Bibliography for Taiwan Film Studies catalogues the published and unpublished monographs, theses, manuscripts, and conference proceedings of Taiwanese film scholars from the 1950s to 2013. Paired with An Annotated Bibliography for Chinese Film Studies (2004), which accounts for texts dating back to the 1920s, this series brings together like no other reference the disparate voices of Chinese film scholarship, charting its unique intellectual arc. Organized intuitively, the volume begins with reference materials (bibliographies, cinematographies, directories, indexes, dictionaries, and handbooks) and then moves through film history (the colonial period, Taiwan dialect film, new Taiwan cinema, the 2/28 incident); film genres (animated, anticommunist, documentary, ethnographic, martial arts, teen); film reviews; film theory and technique; interdisciplinary studies (Taiwan and mainland China, Taiwan and Japan, film and aboriginal peoples, film and literature, film and nationality); biographical materials; film stories, screenplays, and scripts; film technology; and miscellaneous aspects of Taiwanese film scholarship (artifacts, acts of censorship, copyright law, distribution channels, film festivals, and industry practice). Works written in multiple languages include transliteration/romanized and original script entries, which follow universal AACR-2 and American cataloguing standards, and professional notations by the editors to aid in the use of sources.

Music is a widely enjoyed human experience. It is, therefore, natural that we have wanted to describe, document, analyse and, somehow, grasp it in language. This book surveys a representative selection of musical concepts in Chinese language, i.e. words that describe, or refer to, aspects of Chinese music. Important as these musical concepts are in the language, they have been in wide circulation since ancient times without being subjected to any serious semantic analysis. The current study is the first known attempt at analysing these Chinese musical concepts linguistically, adopting the Natural Semantic Metalanguage (NSM) approach to formulate semantically and cognitively rigorous explications. Readers will be able to better understand not only these musical concepts but also significant aspects of the Chinese culture which many of these musical concepts represent. This volume contributes to the fields of cognitive linguistics, semantics, music, musicology and Chinese studies, offering readers a fresh account of Chinese ways of thinking, not least Chinese ways of viewing or appreciating music. Ultimately, this study represents trailblazing research on the relationship between language, culture and cognition.

This book provides a refreshing look at kindergarten teachers’ practical knowledge and their context-specific reasoning of the usefulness of constructivism from a culturally emic perspective. Examining the similarities and differences between constructivism and Confucianism from both instructional and moral perspectives, it provides a unique contribution to teaching and teacher education. An understanding of the compatibility between constructivism and Confucianism is valuable in cross-cultural exchange and learning, and as such the book is a great source for educational researchers in a time of globalization.

This book compares and contrasts leadership in Japan, South Korea and China, examining the impact of globalization on leadership styles and trends. Presenting some of the most recent findings in leadership studies in these three countries, the collection explores the power relationship between political and business leaders; employer-employee relationships and pro-social behaviour; the measurement of effective leadership; the relationship between leadership and corporate success; the survival of private firms in a tightly controlled or socialist market; and the evolution of leadership styles in the transition from state-owned to semi-private. Although many studies have offered explanations of East Asian economic and corporate success, this book presents empirical evidence to explain the leadership styles in Japan, South Korea and China, and provides a fresh outlook for those studying business and leadership in the region. This book was originally published as a special issue of the Asia Pacific Business Review.

The Treatment of Diabetes Mellitus with Chinese Medicine is a textbook and a clinical manual on the Chinese medical treatment of diabetes mellitus (DM) and its many complications. Each facet of this complex condition is discussed in terms of its Western medical definition, epidemiology, etiology, pathophysiology, diagnosis, current standards of care, complications, and treatment plans. This text outlines goals of therapeutic care, general considerations, diet & exercise, patient education, blood glucose monitoring and much more. This text discusses: * Gestational Diabetes * Diabetic Ketoacidosis * Diabetic Hypertension * Diabetic Hyperlipoproteinemia * Diabetic Retinopathy * Diabetic Neuropathy * Common opportunistic infections in patients with diabetes * Patient adherence and practitioner monitoring * Appendix of Chinese medicinals, and Western pharmaceuticals.