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Series:

Tianshu Yu

Translator Haiying Liu

analyzed. Hence, I focus on the queen’s starring role and her significance in the play. The Peacock’s Gallbladder is not verbose in creating Queen Hudijin’s image, but portrays a lamentable figure embracing sophisticated emotions and inner struggles briefly and vividly, in the way of Springs and

Postscript

Contemporary Urban Life in Seoul and Taipei

Series:

Jina E. Kim

days ought not to be denied.” 13 The narrator is certainly nostalgic and even resigned as she looks at her old neighborhood from a temporal distance. These emotions, however, are not ones in which she indulges in the colonial past but ones that analytically scrutinize how the present deals with the

Discovering Modernity

Sketching Urban Landscapes of Home and Abroad

Series:

Jina E. Kim

women, are also of such little significance to the narrator that they do not stir extreme emotions of either excitement or disgust but only a certain strange curiosity. Even though the narrator encounters a pair of dogs mating in the middle of the street, he describes the scene as “like boredom itself

Series:

Sari Kawana

them by the mentalities, emotions, and backgrounds of the Japanese who made them. Then, through these many examples, we can tease out the wonderful latent potential hidden within the Japanese people. 53 The expression ‘latent potential’ suggests that the Japanese do not need to produce anything ‘new

Series:

Jinyu Liu

highest good), and de were set in the classic Aristotelian formulation of to meson : ‘to experience these emotions at the right times and on the right occasions and towards the right persons and for the right causes and in the right manner is the mean or the supreme good, which is characteristic of

Arthur Cooper

Edited by Imre Galambos

independent existence; but as an adverb, 欣然 (… 185) ‘xīnrán’, as here, it is quite colloquial with a meaning something like ‘in high spirits’. The 斤 is word associator and 欠 occurs in several characters for expressions of emotion; neutrally as to whether the emotion is good or bad, since the 欠 represents no

Series:

Gala Maria Follaco

his mind and describe with confidence through writing; at some point, however, there is a shift to the present tense, to the still flowing stream of emotions and sensations, that he expresses in an immediate and vivid form, putting the reader in the middle of a scenery whose features are as delicate

Series:

Gala Maria Follaco

modifications of the riverscape, its bridges and ferries and the effects of the wind and light on its surface. These systematically foretell the emotions and moods of the characters, represented in accordance or in contrast with the atmospheres of the place, but they cannot be imagined disconnected from it

Arthur Cooper

Edited by Imre Galambos

intellect rather than just the emotions), 心 is much used in the meaning simply of centre; as in 中心 (72 …) ‘zhōngxīn’, ‘centre’, used in politics, mathematics and physics among other contexts. The character was earlier a picture of a heart: In 空 (80) ‘kōng’, the meaning associator is (80 D ) 穴 vault, cavern

Arthur Cooper

Edited by Imre Galambos

in the body of deep emotion and compassion, as in the First Epistle of St John, iii, 17: bowels of compassion . 熱腸 (265 …) ‘rècháng’, when a noun in itself, can be translated ‘passion’. The character, which is also written 膓, has 月 for 肉 (118 C ) flesh as meaning associator and the same word