Collection of Shen Quanqi and Song Zhiwen (Chinese classical by 陶敏

By 陶敏

本书是中国古典文学基本丛书中的《沈佺期宋之问集校注》分册。书中收录了这两位后唐诗人的代表作,并配以较为详尽的注释。对于了解这两位名人对唐代及整个中国诗歌的影响及所处的重要地位具有较大的帮助作用。 本书内容全面,条理清晰,具有较高的科学性、系统性及可读性,可供广大学者及中国古典文学爱好者参阅。

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31. For a discussion of this aspect, see Ping-kwan Leung, “Minzu dianying yu Xianggang wenhua shenfen: Cong Bawang bieji, Qiwang, Ruan Lingyu kan wenhua dingwei” [National cinema and the cultural identity of Hong Kong: Looking at cultural orientation in Farewell My Concubine, Chess King, and Ruan Lingyu], Jintian [Today] no. 26 (autumn 1994): 193–204. 32. Gary Dauphin, “Cyber: Ready for My Website, Mr. DeMille,” Village Voice, January 2, 1996, 15. 33. For an informative introduction to the world of Hong Kong action films, see Bey Logan, Hong Kong Action Cinema (London: Titan Books, 1995).

See Lin Lisheng, “Jiushi niandai Zhongguo dianying de jingji biangeng he yishu fenye” [The economic changes and artistic patterns of Chinese cinema in the nineties], Dianying yishu [Film art] (May 1996): 37–41, 83. 21. Cui Lili, “Facing the Challenge From Hollywood,” Beijing Review (February 5– 11, 1996): 13. 22. Rex Weiner, “China Opens Its Doors to Sundance Fest,” Variety, October 9– 15, 1995, 13, 16; Rex Weiner, “Sundance Festival Takes Show on the Silk Road: Chinese Independents,” Variety, October 16–22, 1995, 24.

Anne T. Ciecko’s essay, “Transnational Action: John Woo, Hong Kong, Hollywood,” dissects the operation of global capital and follows the transnational trans/action of Woo’s film productions between Hong Kong and Hollywood. In his contribution, “Jackie Chan and the Cultural Dynamics of Global Entertainment,” Steve Fore analyzes aspects of Hong Kong’s film industry, its international presence, and another Hong Kong superstardirector-producer, Jackie Chan. Both Ciecko and Fore also guide us in navigating the intricate cultural politics of screening Asian masculinity in the present setting of global entertainment.

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