4th Movement Research Articles

A Typical Case of "Cross Time" Revision

Wang Jingzhi's The Winds of Cymbidium is the first true collection of love poems since the May 4th Movement, and it has had a tremendous impact on the new poetry scene. The poetry collection has changed in the 1922 version, the 1957 version, and the 1992 version. Among them, the texts from the 1922 version and the 1957 version have strong changes. Through reading the complicated variant texts in the original text and the auxiliary text of these two editions, this paper deeply analyzes the important influence of new literary contexts such as social ideology and literary policies and norms on the "cross-time" revision of poetry collections, and analyzes the poets' aesthetic mentality trajectories in different periods, the ways of coping with The Times, and their gains and losses.

The effects of cognitive-emotional music listening in ear training on acquired knowledge and liking of the lessons

Previous research has shown that a cognitive-emotional approach (CEA) to music listening can improve music teaching in general education schools. This study tested it in music school ear training lessons. The aim was to compare the standard teaching approach (STA), which focuses more on cognitive and analytical tasks, and CEA, which also incorporates emotional, multimodal and interdisciplinary elements, on children’s knowledge acquisition and their liking of the lessons. Both approaches involved Dvořák’s music (an excerpt from the 4th movement of Symphony No. 9 in E minor, op. 95 ‘From the New World’) and had the same learning outcomes in two lessons, one related to the E natural minor scale and the other to rhythmic elements and duration. The sample consisted of 423 pupils, who were on average 10.5 years old and attended third grade in 16 Croatian music schools. Half of them participated in lessons prepared in STA, while the other half received lessons in CEA. Findings reveal that implementing CEA in ear training results in increased liking of the lessons, while the knowledge acquired in the lessons remains similar or better than that gained in STA. The implications of including music listening in ear training lessons were further discussed.

Eusebius and Florestan, Pierrot and Harlequin

This video and article are inspired by Robert Schumann’s use of characterization in his music and writings, and the affinities of these sometimes kaleidoscopic and multiple musical and critical perspectives with theatre, fragmentary scenographies, and costume. Drawing on the traits of Schumann’s own characters Florestan, Euesbius, Master Raro, as well as other personas such as Harlequin and Pierrot, I have aimed, in my audiovisual collage and performance of a hypothetical 4th movement to Schumann’s 1851 Sonata for Violin and Piano No. 1 in A minor (Op. 105), to create a mediation between disparate aspects of the music, envisioned as personality fragments scattered in the landscape of the piece. The video itself is a meditation on, and an outcome of the realities of the pandemic, and the isolation that intruded in such a sustained manner on my personal and professional life. The video is an impromptu assemblage of pre-pandemic footage and photography combined to create a collective virtual chamber music experience representing an internal world haunted by dissonant multiple characters. In some ways, I echo in performance certain suggestive strains of Schumann’s own creative imagination and his personifications, both musically and in his critical writings, of the characters Florestan and Eusebius whom he sought to amalgamate in the figure of Master Raro.

Художественный концепт «семья-дом» в раннем творчестве Чжан Айлин (张爱玲, 1920–1995)

This article presents a study designed to analyse the concept “home-family” in the early work of сhinese writer Zhang Ailing. The research shows the transformation of the concept and the way how new writers confronted the tradition in the first half of the 20th century. The idea of a patrilineal, hierarchical, patriarchal system, and the family as the basis of the world order were reassessed at the beginning of the 20th century. Participants of the May 4th movement severely criticized the old family system. In the works of “new women” writers Bing Xin and Ding Ling, the new semantic content of the concept “home-family” appears: the image of an ideal home in Bing Xin works transforms into Ding Ling’s fictional home of the childhood memories. The Zhang Ailing’s “home-family” concept presents a structure that is skewed to the one side. There is only one binary opposition (“warm” — “cold”) represented in the texts. All other meanings of the concept are marked negatively. Even if there is a pair of words that have opposite meanings, they complement each other rather than oppose each other. Combined together, the meanings of the “home-family” concept construct a hopeless, terrifying family image, which consists of obsession, illusory, fixation, instability, disappointment, indifference, moral injury, sacrifice, burden, fatigue, crampedness, emptiness, senseless.

영화 음악으로서의 기존 음악(pre-existing music) 연구

In Park Chan-wook's <Decision to Leave>, pre-existing music is used in an important way. This study examines how the 4th movement of Mahler's <Symphony No. 5>, used in this film, was applied to the film as pre-existing music. To this end, we will look into what functional characteristics pre-existing music has when used in a movie, explain the meaning of 'three codes' as pre-existing music, and how these three codes are applied to <Decision to Leave> and interact with each other. found out what to do Among the three codes of pre-existing music, the 'cultural musical codes' is not subordinated to films and has its own independence and historical background. Understanding the historical background of pre-existing music will help to understand the meaning of the film and give depth of interpretation from various angles. Research has shown that it can. In planning film music and applying it to film images, it is necessary to consider and distinguish the unique characteristics of 'cultural musical codes' of composition and pre-existing music. Therefore, this study is expected to be a meaningful study in various experiments and developments in the field of film music.

Analysis of Lin Huiyin's Classical Singing in Little Theatre Opera Farewell to Cambridge

Small theatre opera originated from the west, is a new style of opera with the characteristics of The Times, this novel form of artistic expression was introduced into China, in the art world in the end of 2001, playwright Chen Wei created and adapted the "Farewell to Cambridge", is the first small theatre opera to be performed in China. The work takes the May 4th New Culture Movement as the background, showing the struggle of Lin Huiyin, Xu Zhimo and other talents and beauties in ideal and reality, reason and emotion. This paper takes "A Peach Blossom" and "Flying Up by Day" in "Farewell to Cambridge" as the research object, and conducts in-depth research and analysis on the background of the creation of the work, Lin Huiyin's character image building and singing skills of the verse. I hope to improve my understanding and performance ability of this character through theoretical research and singing practice, and apply it in the study and research of future works.

"May 4th Movement" of 1919 in speeches of Chinese Communist Party's leaders

Object of the study is the image of the May 4th Movement of 1919 in the official interpretation of history of Chinese Communist Party (CCP) in PRC. The goal is to trace changes in the interpretation of the Movement in speeches of Chinese Communist Party's leaders on the occasion of its anniversary. To do this, author conducts qualitative and quantitative content analysis of the relevant speeches of 1979, 1989, 1999, 2009 and 2019. There are five main conceptual blocks present in every speech: attitude towards tradition, assessment of past mistakes of CCP and role of Mao Zedong, "spirit of May 4th Movement", development goals and youth policy. In the course of analysis, changes in content of these blocks are traced. Thus, ideological transformation of PRC is viewed in the context of changes in official interpretation of a significant historical event. Memory of this event in China is filled with various meanings, including themes of democracy and youth rebellion, inconvenient for the ruling Communist Party. Author comes to the conclusion that at least since late 1990s CCP has begun to rely on nationalism as a new source of legitimization of its power. In the analyzed speeches it can be seen how, with a greater emphasis on the patriotic component of the "Movement", other meanings associated with it, primarily democracy and science, have fallen by the wayside. At the same time, there has been a transition from rejection of traditional culture to its acceptance.

Research on Hu Shi's Academic Thoughts

Hu Shi's position as a poet in the history of China literature, Chang Shi Ji's pivotal role in the history of modern literature in China and Hu Shi's powerful political meaning in the new culture movement all have unique and important positions in their respective fields. Hu Shi, an academic celebrity and educator, was influenced by his family and school education, and gradually formed a set of his own academic thoughts since childhood. He believes that the spirit of doubt, criticism, freedom, self-denial and science must be cultivated and persisted in the process of academic research, and at the same time, scientific academic research methods should be applied. First, we should correctly choose the starting point of study, and choose disciplines and majors according to our learning interests and personal endowments. It is very beneficial to the research of modern literature to correctly apply the Marxist viewpoint, analyze and evaluate it historically and concretely, and affirm the progressive role played by Chang Shi Ji in the May 4th New Literature Movement. Taking Chang Shi Ji as an example, this paper discusses the research of Hu Shi's academic thought.

중국 국가건설 100년의 역정과 역사학(Ⅰ) - 천하 패러다임의 해체와 근대 역사학 -

Chinese Modern historiography began with the formation and establishment of the national state paradigm at the end of the 19th century. The New Historiography advocated by Liang Qi Chao and the Quintessence group(Liu Shi Pei; Zhang Bing Lin) was the beginning of modern Chinese historiography. Chinese traditional historiography aims to defend morality and ethics. However, the purpose of the New Historiography was to make historiography contribute to the national construction and create ideas for the establishment of national identity. Liang Qi Chao and the New Historiography of the National School emphasized China’s national identity, which would be the premise of national history. The New Historiography took creating national history as its mission, and it was natural to create and emphasize the essence of national identity. The national state model was established in the second stage of national construction. The decisive moment was the May 4th Movement. From then on, the value of the West was widely recognized, and the thinking and the practice were based on concepts and terms produced in the West. System, methodology and view of the modern science have become the model that needs to be pursued, and historical research is no exception. Gu Jie Gang or Fu Si Nian highly promoted history as a science. In this context, Liu Yi Zheng, considered as champion of cultural conservatism, emphasized scientific and empirical nature of the historical research.

안중근 의사를 제재로 한 중국 시가 연구Ⅱ ― 특별한 타자 및 제삼자적 인식과 감정의 표현을 중심으로

Chinese poems written on the theme of Ahn Jung-geun were generally created with three central eras as root: the period of evidence and sacrifice, the period of the May 4th Movement, and the period of the Sino-Japanese War. If you look at the entire catalog, it can be largely divided into two, of which one is the mourning and praising of Ahn Jung-geun. Ahn Jung-geun, who took revenge for the country, was praised as a symbol of ideal national character for patriotism, independence, martial spirit, and spirit of sacrifice in the first period. This was a distinction from the

“Mr. Science”, May Fourth, and the Global History of Science

This paper argues that Mr. Science and the May 4th Movement was a significant chapter in the global history of science. To contextualize the story better, I will adopt three broad interpretive frames. First, I shall place Mr. Science and May Fourth in a longer view than the particular events in the 1910s–1920s. This will allow us to trace the historical changes and the evolving institutions, discourses, and practitioners of science over a few generations. Second, I shall highlight the most relevant global conditions. Western imperialism was of course a crucial setting, but there were more specific historical moments that also deserve attention. Finally, comparisons and connections; it is necessary to examine the transmutations of ideas, knowledge, and institutions across political and cultural borders. In other words, we should study Mr. Science and May Fourth in the mode of global intellectual history. Other than China, my main comparative cases are India and Japan, though I will also refer to Ottoman Turkey. Taken together, these examples provide a range of comparisons central to our inquiry into Mr. Science and the global history of science.

The Philosophical Influences of Mao Zedong: Notations, Reflections and Insights by Robert Elliott Allinson

Reviewed by: The Philosophical Influences of Mao Zedong: Notations, Reflections and Insights by Robert Elliott Allinson Robert Cummings Neville (bio) The Philosophical Influences of Mao Zedong: Notations, Reflections and Insights. By Robert Elliott Allinson. London: Bloomsbury Academic, 2019. Pp. xxiv + 256. Paperback $30.95, ISBN 978-1-350-05986-3. This is a most unusual book. Mao Zedong was one of the most powerful people in the twentieth century. With Chiang Kai-shek he drove out the Japanese from China and then defeated Chiang in turn and carried out a major revolution over which he presided for many years. Everyone knows he was a poet and, like every Marxist leader, he was a philosopher of sorts. His Marxist philosophy evolved from his youth to old age, and he developed differences from the Soviet model of Marxism that were quite significant. He "converted" to Marxism in his twenties and identified himself with that movement until he died in his eighties. But what was his education in philosophy like before he encountered Marxism? Whereas Marx, Lenin, and Stalin had educations in Western philosophy before and as undergirding their Marxism, did Mao have an education in Chinese philosophy, or Western philosophy, before and undergirding his Marxism? This book sets out to answer these questions. Robert Elliott Allinson is a professional philosopher who went to teach at the Chinese University of Hong Kong in 1977, just after Mao's death. (I lectured in that university that year and met Allinson with whom I had several congenial talks, and a walk around the top of a Hong Kong mountain). Allinson served on many committees and held visiting professorships in a number of Chinese universities before moving, in the present century, to Soka University in California where he now teaches. He is ideally placed to answer these questions, especially to an English-reading audience. Mao himself did not have a splendid early education. In 1909, at the age of fifteen, he attended the Dongshan Higher Primary School, a middle school that taught the Western as well as Chinese classics. He was devoted enough to Confucius that in 1919 he visited Confucius's birthplace in Shandong Province. Mao's college was the First Teachers Training School in Changsha where his major professor was a philosopher, Yang Changji. Professor Yang's daughter became Mao's first wife. Yang first introduced Mao to the German idealist philosopher, Friedrich Paulsen, whose large book on the history of Western philosophy Mao annotated copiously in 1917 and 1918. Mao followed Yang to Beijing and sat in [End Page 1] on his classes at Peking University. He was much involved in the revolutionary events around the time of the May 4th movement in 1919 and worked on making arrangements for the lectures of Bertrand Russell and John Dewey. So it was very clear, before Mao converted to Marxism, that he was reasonably well read, at least according to the standards of his time, in both the Chinese and Western classical ideas. Except for brief mentions of other philosophers, Chinese and Western, Allinson found Mao's complex annotation of Paulsen's text to be the best source of his early philosophy. Sometimes the annotations were just agreements or disagreements. But most of the time they developed Mao's own philosophy that was a combination of Eastern and Western sources. First of all, the young Mao was an egoist, meaning that he thought philosophy takes its start from an individual's conception of the self. Whereas Confucius had thought that the ego by itself was just a path toward selfishness, Mao's conception was more materialistic. Mao thought that the self can be expanded to include others, not on their own terms necessarily, but on terms that expanded the individual's own sense of self. Mao never became clear about how this purification of the self so as to include others took place. He rejected altruism as the alternative to his egoism. Second, Mao took Paulsen to demonstrate the history of ideas, Western ideas to be sure, but still ideas in a history. Paulsen's history led up through German idealism. Mao took over Marx's conception of material history, upsetting the Paulsen ideal...

Impulse dispersion of aerosols during playing wind instruments.

Musical activities, especially singing and playing wind instruments, have been singled out as potentially high-risk activities for the transmission of SARS CoV-2, due to a higher rate of aerosol production and emission. Playing wind instruments can produce condensation, droplets of saliva, and aerosol particles, which hover and spread in the environmental air’s convectional flows and which can be potentially infectious. The aim of this study is to investigate the primary impulse dispersion of aerosols that takes place during the playing of different wind instruments as compared to breathing and to speaking. Nine professional musicians (3 trumpeters, 3 flautists and 3 clarinetists) from the Bavarian Symphony Orchestra performed the main theme from the 4th movement of Ludwig van Beethoven‘s 9th symphony in different pitches and loudness. The inhaled air volume was marked with small aerosol particles produced using a commercial e-cigarette. The expelled aerosol cloud was recorded by cameras from different perspectives. Afterwards, the dimensions and dynamics of the aerosol cloud were measured by segmenting the video footage at every time point. Overall, the flutes produced the largest dispersion at the end of the task, reaching maximum forward distances of 1.88 m. An expulsion of aerosol was observed in different directions: upwards and downwards at the mouthpiece, at the end of the instrument, and along the flute at the key plane. In comparison, the maximum impulse dispersions generated by the trumpets and clarinets were lower in frontal and lateral direction (1.2 m and 1.0 m towards the front, respectively). Also, the expulsion to the sides was lower.

Концерт Максима Березовского «Не отвержи мене» в зеркале учения о фуге Иоганна Йозефа Фукса

The fugues in the 1st and 4th movements of Maxim Berezovsky's sacred concerto Do Not Reject Me in My Old Age , created no later than 1768, are probably among the first ones composed by him. Fugues differ in their texture. Written for four voices, the fugue of the first movement is, in fact, two- voice. Here, solo and ensemble statements alternate with choral interludes. The form of the 4th movement is a four-part fugue without solo episodes. At the same time, fugues have the same compositional structure: four sections delimited by cadences on the principal scale degrees V, III, and I. The uniformity and, at the same time, uniqueness of the structure of both fugues suggests that they follow a certain pattern or reproduce a scholarly model. An attempt to track this model in the 17th-18th century treatises byG. Karissimi, J. A. Reincken, G. Bononcini, J. Mattheson, J. J. Fux,J.A. Scheibe, M. Spiess, and F. W. Marpurg leads to Gradus ad Parnassum (1725) by Johann Joseph Fux-the most sought-after treatise on composition back in the 18th century. Two-part examples from the first part of Gradus ad Parnassum may have served as a hypothetical model of fugues from Do Not Reject Me in My Old Age . They also consist of sections completed by cadenceson the V, III and I degrees. At the same time, cadences in the fugue Let Them be Ashamed (the 4th movement of the Concerto) are consistent with Fux’ remarks about the use of cadences in the conditions of polyphony. However, Berezovsky’s approaches are not always consistent with the ideas of Gradus ad Parnassum . This is partly due to the difference in the modal systems used by Fux and Berezovsky, and, partly, due to the difference in their ultimate goals: educational and artistic, respectively.

The Ideological Emancipation of Chinese Women and Its Idealistic Pursuit in the May 4th Movement

The May 4th Movement of 1919 is a significant period of ideological change in Chinese modern history, and in it is during this time that the ideological enlightenment of modern Chinese women made its debut. Led by modern intellectuals, they, from all angles, criticized the traditional social structure, traditional etiquette and feudal family system hindering the liberation and development of women, and further discussed the emancipation of women in terms of ideological education, economic independence, family status, freedom of marriage, ethics, social communication, as well as other relevant social issues. The intense exchange of ideas influenced public opinion, provoking enormous responses from all sections of society, particularly from women. Based on real educational and economic issues concerning women, combined with theories, real thoughts and practices, and carried out with a series of practical social reform activities, the ideological emancipation of women in the May 4th Movement of 1919 laid a solid foundation for the transition of traditional women to modern women, thus becoming the source of ideological emancipation of modern women in China.

100 Years of the CCP – The “long road” and the triumphant advance of the People’s Republic and its party

This year not only celebrates the founding of the Chinese Communist Party 100 years ago, but it is also the 110th anniversary of the 1911 revolution, which in addition to many developments in this specific phase played a role – such as the May 4th Movement. Another starting point for the development of the CCP were the communist and socialist positions of Karl Marx and Friedrich Engels – the two ultimately formulated the idea – as well as Vladimir Ilyich Lenin and later Josef Stalin, the leaders of the first socialist state. From these approaches, Mao Zedong developed an independent strategy adapted to the Chinese situation. This so-called Maoism spread in particular through the so-called “Red Book”. After the successful revolution that led to the founding of the People's Republic of China in 1949, the Chinese Communist Party under Mao pursued its own communist path from 1956. In 1960, China and the Soviet Union broke completely because of Khrushchev's policy of de-Stalinization. This development culminated in the Chinese Cultural Revolution initiated by Mao from 1966 onwards. It was based on the theory of a permanent revolutionary transformation of society; the communist ideals should be anchored throughout the Chinese people. From 1979, under Deng Xiaoping, an economic change of course took shape (keyword special economic zones), which led to the opening to capitalist economic forms without having to abandon the CCP's claim to leadership at the political level, but enabled rapid economic, technological and scientific advances that up to stop today. At the same time, the CCP is endeavoring to alleviate the poverty of migrant workers in the coming periods, to solve the ecological challenges in the course of economic growth and at the same time to close the world with the aid of the Silk Road, which once connected continents – now under the title "One Road, One Belt". This global cooperation now seems all the more necessary as in times of the COVID-19 pandemic, the party successfully shows and should prove how this crisis can be contained – for the benefit of the economy, society and health.

Philosophical Perspectives on Traditional Chinese Translation Theory

In terms of the history of Chinese translation thoughts, the May 4th Movement is the demarcation point of Chinese translation thoughts, which are divided into traditional translation theories and modern translation theories. In the 1930s and 1940s, when a large number of Western philosophical works flooded into China, Chinese philosophers expressed their opinions on the translation of Western philosophical works from a philosophical perspective, which added a new perspective to the traditional discussion and enhanced the breadth and depth of translation thoughts. This paper will analyze and compare the translation thoughts of Ai Siqi, He Lin, Chen Kang and Jin Yuelin, so as to highlight the theoretical contribution of philosophical perspective to translation studies in China.

근대 중국의 우생학적 가족 개혁의 구상 -潘光旦의 『中國之家庭問題』를 중심으로-

Pan Guangdan defined family as the basic unit of society and biology. However, he paid more attention to the biological function and value of family, and regarded family as the origin and biological community of blood. Therefore, Pan Guangdan asked young men and women before marriage to choose an excellent spouse, carefully organize a family and produce excellent children, so as to seek the evolution and development of race. He believes that family is the medium to regulate the individual and society, and also the unit to constitute the nation, so he improved the family lineage through eugenics and pursued the improvement of national quality. Pan Guangdan took Western eugenics as his theoretical weapon and pursued eclectic family reform. In order to achieve a compromise family system, he put forward the following reform direction. First, cohabitation by lineal blood of more than three gene rations composed of parents, couples and unmarried children is not allowed. Second, we should encourage families with excellent heredity and intelligence to match each other or to engage in similar marriages. Third, we should attach importance to women''s role as good wives and good mothers. The responsibility of family management and children''s maintenance should be shifted to mothers. Only women with weak motherhood are allowed to operate economic independence and social undertakings outside. Fourth, early marriage has a good effect on ethnic health. Women should get married around the age of 20, while men should get married around the age of 25. In this way, early marriage will lead to fertility prosperity. Fifth, the purpose of marriage and the standard of marriage choice should not pursue love and romantic life. Pan Guangdan warned that in a society that attaches importance to romantic life, the combination of men and women''s promiscuous love is flourishing day by day, and the marriage is easy to dissolve as a result of the fear of family and childbirth. Sixth, China does not need to implement birth control, but if we want to implement it, we need to set standards for birth selection. The standard is family heredity and intelligence test. In this way, under the impact of western culture, Pan Guangdan, in order to maintain Chinese Confucian culture and the tradition of big family system, used eugenics, a Western knowledge, to pursue a compromise between the old and the new, between the West and China, and his value orientation has always been the protection of tradition or Chinese culture. Therefore, Pan Guangdan, through a compromise family system, was eager to maintain the lineage of the aristocracy and breed their "excellent" lineage and inheritance. He warned that the reproduction of "incompetent" or "genetically" defective elements would lead to the degradation of the nation, and tried to ban their marriage and reproduction. As a result, biological differences become social classes. That is to say, he believes that with the development of biological genetics, social status will change, so he opposes the marriage and childbirth of bad genetic elements. From this point of view, he supports social classicism. He also believes that the race is a biological lineage community, so it is necessary to sacrifice individual happiness and desire for the improvement of national lineage. He thoroughly refuted the individualism and liberalism advocated by the intellectuals of the May 4th Movement and returned the individual to the embrace of the family and the nation. In short, in order to create a "good" race, he carried out a compromise family reform, reorganized the family as a national unit, and completely wiped out the individual. Therefore, we should clearly understand the boundaries of Pan Guangdan''s compromise family reform: Classicism, anti-individualism and anti-feminism, and re-examine the fictionality of his pursuit of national improvement.

An Analysis of the 4th Movement of György Ligeti’s Musica Ricercata based on Information Theory and Number Partitioning

In this paper we present a mathematically oriented analysis of the 4th Movement of György Ligeti’s Musica Ricercata (MR). The pitch analysis is based on Theory of Information and rhythm is analyzed through the Theory of Partitions of integer numbers. After a brief historical review of Musica Ricercata and its structure we make an analysis of the pitch distribution along the whole MR4 score, as well the Left and Right hand separately, through Theory of Information. We calculate two Information measures, namely, the Shannon’s Entropy and the Kullback-Leibler Divergence for the three cases. In the second part, about rhythm, we introduce a simple notation for coding rhythm patterns in terms of partitions of an integer number. We show that, with few exceptions, Ligeti used the partitions of number 6 to get rhythm variations on the Right hand against the ostinato on the Left one. In addition, we show the usefulness of the so called Hasse Diagram as a pre-compositional device to generate rhythm patterns.

Draw the Wisdom and Strength of Higher Education from the Spirit of the May 4th Movement

As a great social revolutionary movement, the May 4th Movement, as the patriotic tradition of the Chinese nation, has the eternal value of enlightening national wisdom and safeguarding national independence and dignity. In the struggle of the whole people against the epidemic, studying the important speech delivered by General Secretary Jinping Xi at the meeting commemorating the 100th anniversary of the May 4th Movement has important enlightenment and value of the times for higher education to firmly and correctly political direction, to keep in mind the mission of "building up people by virtue", to explore the regularity of youth growth and to cultivate the key abilities and core qualities of youth.