White Horse Research Articles

UKRAINIAN PRIVATE GYMNASIUM AS A CENTER OF LITERATURE AND ART LIFE OF KREMENETS

Literary and artistic life of the Ukrainian Private Gymnasium named after Ivan Steshenko was an integral part of the dynamic political, cultural and educational life of community in the town of Kremenets in the 20’s of the XX century. The author of the article, based on the relevance of the topic, based on objective analysis, using both archival sources and multi-lingual literature, analyzed literary and artistic facts that had a great influence on the formation of the Ukrainian elite of Volyn. It was the Ukrainian Gymnasium that contributed to Ukrainian literature the names of Ulas Samchuk, Cyril Kotsyuk-Kochinsky, Oksana Lyaturinskaya, Maria Kavun-Kreminyarivska, Yuriy Mulik-Lutzyk and others. The analysis of the cases of the Ternopil regional state archive allowed the author to analyze the documentary materials that make up several hundred issues of the fund number 351. Some diary of the work of teachers, on the basis of records you can learn about the versatile orientation of learning and education. The facts of the visit to Kremenets Gymnasium Bohdan Lepky in 1935, which in the conversation with the students reminded us that Vyacheslav Lipinsky is also the son of Volyn land. A special page of the activity of the gymnasium was written by the work of the Gymnasium circle «Postup», the content of which was the reading of literature - from Drahomanov to Vynnychenko, from Mikhnovsky to Dontsov, from nationalist publications to the «Public Voice». The author analyzes the process of teaching the Ukrainian language and literature in the gymnasium and emphasizes the literary work of the teachers of the Ukrainian language and literature - Sofia Orlovskaya in the gymnasium and Filimon Kulchinsky in the seminary. Only during the lectures, at evening rallies, in the preparation of academies, they threw grain in the young souls. They did not teach us politics, they simply taught us to think and understand us ... ". Both of them were fond of Lesya Ukrainka, Kotsiubynsky, not mentioning already about Shevchenko, whose image, as Orlovsky said, should be kept under holy images. The Ukrainian gymnasium brought out the great literature of Ulas Samchuk, Kirill Kutsyuk-Kochinsky, Oksana Lyaturinskaya, Maria Kavun-Kreminyarivska, Yuriy Mulik-Lutsk, and others. writer Ulas Samchuk wrote a autobiographical novel "Youth of Vasily Sheremety" about the gymnasium period of life, and in memoirs "On a white horse" and "On horse-raven" a lot of space was devoted to the Kremenets of that time, the Ukrainian gymnasium. It is "Youth of Vasily Sheremety" that gives a convex picture of the literary and artistic preference of the students who arranged disputes on the works of G. Chuprynky, M. Voronoi, O. Olesya, P. Tychyna, V. Vynnychenko's collective readings on the literary-creative association «Youth». It is concluded that a private gymnasium in Kremenets played a big role in the life of the region, and a whole bunch of Ukrainian writers whose names were immortalized in the memorial tables.

False Hope and Flawed Sainthood in Don Ouixote: Khiḍr, al-Mahdī, and the Knight of the Green Coat

This article draws connections between the Muslim saint Khiḍr "The Green," and a minor character in Don Quixote Part II, an hidalgo named don Diego de Miranda, or the Knight of the Green Coat. The article traces literary representations of Khiḍr in medieval Iberia, as well as his significance for Moriscos, Iberian crypto-Muslims forced to convert to Christianity after Granada's surrender to the Catholic Kings. Marya Green-Mercado has already shown how Moriscos identified Khiḍr with the messianic figure al-Mahdī, who in Islamic belief will appear close to the Day of Judgment to end injustice on Earth. Morisco prophecies depicting this redeemer as a green knight on a white horse were well known among Spanish intellectuals contemporaneous with Cervantes. Don Diego, when read in the light of Moriscos' hopes of salvation, renders a literary representation of the prophecies' failure to save Moriscos, as the character is gradually revealed to be a hollow saint who manages to fool Sancho Panza with his magnificent appearance, but not don Quixote.

My Father's Birthday Before I Was Born

My Father's Birthday Before I Was Born Robert Bedick (bio) It was so simpleBefore I was born.My parents were farmers:White farmhouse, white curtains,White chickens on the range."Have you ever seen a chicken wearing sunglasses?"My mother would reminisce. Before I was bornMy mother was beautiful,A young girl in a country dress,She baked pies and grew pumpkins,Huge orange pumpkinsThat I would never see. My father was slim and strong,Before I was born.The pictures show him smilingWith a dog by his side,An old baseball capTilted sideways on his headWith a loose lock of black hairFalling down into his eyes. Before I was bornThere was an old wooden stairwayThat led to a bedroom,A sunny room of window glass [End Page 158] With a small double bed,A four-poster bed with a soft mattress,Feather pillows and a quilt. It was my father's birthdayBefore I was born, April fourteenth, 1946.My parents woke early,Warm in their bed,Surprised to see snowIn the middle of April,And a white horse standing silentBy the side of the house. [End Page 159] Robert Bedick Robert Bedick is the author of the novels Tomas and The Zimmerman File as well as An Argument in Favor of Television and Other Stories. Copyright © 2019 University of Nebraska Press

Петроглиф «Белая Лошадь» в Минусинской котловине (атрибуция, эксперимент, дискуссия)

Purpose. According to the data about its analogues, the petroglyph White Horse in the Minusinsk basin has been dated as the late Paleolithic. Such dating of the petroglyph provides ground for research and drawing stylistic links with a series of similar Paleolithic images of Western Europe. Results. We used microscopical analysis of the surface with the pattern to carry out a number of special experiments. The aim of our research was to verify whether the image could have been created using the supposed “applicative” technology. The results of our studies and the dating of calcite stains on the rocky planes obtained by means of accelerator mass spectrometry lead us to revise the time estimates of the image. Experimental-technological and special traceological studies together with photogrammetry of the petroglyph provide the basis for determining three stages of the pattern formation. Some of the fragments of the image are likely to have been performed by different people at different times. A stylistic analysis of similar and geographically close objects allows us to date the picture no earlier than the Late Holocene. The image safety is under a serious threat due to the rapid destruction of the rock surface. Conclusion. Based on the data obtained as a result of our experiments, the petroglyph cannot be defined as “an image of the Upper Paleolithic era”. After a series of analyses including chemical analysis of calcite and experimental traceological analysis, we conclude that relative dating of the image refers to a period not earlier than the Bronze Age. A stylistic analysis suggests that the petroglyph White Horse in the Minusinsk basin, to a certain extent, naturally fits into the general visual tradition of the region. The 3-D model of the image allows us to keep a clear visual image of the object. However, the image can be damaged as a result of natural processes as the rock surface is in a state of decay.

Chinese Painting and Its Audiences by Craig Clunas

Reviewed by: Chinese Painting and Its Audiences by Craig Clunas Robert E. Harrist Jr. Chinese Painting and Its Audiences by Craig Clunas. Princeton, NJ: Princeton University Press, 2017. Pp. x + 288. $60.00 cloth. What is Chinese painting? Is there any definition sufficiently capacious and coherent that can apply to the sparsely brushed ink landscapes, ancestor portraits colored with bright mineral pigments, and, from more recent times, meticulously fashioned oil paintings produced in China? In Chinese Painting and Its Audiences, Craig Clunas argues that the term "Chinese painting" does not designate a corpus of artifacts made in China or elsewhere, by artists of Chinese or foreign birth; nor does the term connote choice of medium, pictorial style, or range of subject matter. According to Clunas, the concept of Chinese painting has been and continues to be produced not by artists or by works of art but by audiences and by what they think and say about the paintings they view. Chinese painting is, in short, a historically determined epistemological notion, not an art-historical or curatorial category. Based on the A. W. Mellon Lectures from 2012, Chinese Painting and Its Audiences brims with arresting arguments and flashes of insight familiar to readers of Clunas's earlier publications. For over a quarter of a century, beginning with his Superfluous Things: Material Culture and Social Status in Early Modern China, Clunas has produced a stream of books and articles that have done as much as the work of any scholar to reshape the field of Chinese art studies.1 So rich is the Clunian canon, if I may so term it, that a graduate seminar might profitably be devoted to it. That parts of this canon, including this most recent addition, spark argument and thoughtful challenges is precisely why Clunas's work is so rewarding. Painting, defined simply as making pictures with a brush, was practiced in China as early as the Neolithic period (roughly 8,000–2,000 bce). Over the centuries, paintings accumulated in staggering numbers and were viewed by a great variety of audiences in China. As he explains in the introductory first chapter, Clunas chooses to begin his account of Chinese painting and its audiences in the Ming dynasty [End Page 298] (1368–1644). The first works he cites—paired images of two grooms and a large white horse, likely painted in the fifteenth century—were identified as "Chinese painting" by Dust Muhammad (ca. 1510–1564), an artist at the Safavid court, who included them in an album of paintings he assembled, now in the Topkapi Palace Museum in Istanbul. In a note in Persian, Dust Muhammad comments that "these paintings are from the collection of good works by the Chinese masters" (p. 11). This observation, according to Clunas, marks the first time that paintings were specifically labeled "Chinese." Although collectors in Korea and Japan had long been familiar with paintings from China and had terms for these objects, such as Kara-e 唐絵, or "Tang painting," used in Japan, Clunas argues that for these East Asian countries, paintings from neighboring China were products of "a common high culture that might have specific local and continental inflections, but was at root a shared one" (p. 18). In China, of course, painted images were simply called hua 畫 or tu 圖—paintings or pictures—without need of a national or geographic modifier. Clunas justifies his mid-sixteenth-century starting point also by noting that, at this time in China itself, images intended for foreign viewers were being made in large numbers for export, while the rapid multiplication of printed images expanded the number and types of pictures people saw. For the first time, woodblock-printed histories of Chinese painting, most notably Master Gu's Painting Album (Gushi huapu 顧氏畫譜) of 1603, illustrate the history of painting in China. This album is, Clunas notes, the world's first pictorial history of painting (p. 29). Though not designated "Album of Chinese Painting"—such terminology would not come until much later—Mr. Gu's publication aims to provide an encyclopedic anthology of masters ancient and modern linked in an unbroken tradition. The chapters that follow are organized in chronological order, from the Ming period through the...

A Pro-Realist Account of Gongsun Long's "White Horse Dialogue"

A Pro-Realist Account of Gongsun Long's "White Horse Dialogue"

The ups & downs of Iron Age animal management on the Oxfordshire Ridgeway, south-central England: A multi-isotope approach

The hillforts of the Oxfordshire Ridgeway in south-central England have been interpreted as central places in the Early/Middle Iron Age, ca. 600–100 BCE, serving, among other functions, to integrate the management of animals, particularly sheep, between the upland Chalk downs and the adjacent low-lying Vale of the White Horse. Since these landforms differ geologically and pedologically, they lead to distinct isotopic ratios in the biosphere and so present the potential to investigate animal management practices in some detail. Here, we report the results of a multi-isotope study on domestic fauna (cattle, sheep and pig) within a very constrained study area, with the aim of testing the hypothesis that the Ridgeway's hillforts were placed to control and coordinate the movement of sheep between the Chalk and the Vale. However, the results suggest a different scenario. Bone collagen δ15N results indicate that cattle and sheep were both kept locally. Strontium isotopes, conversely, indicate that, while sheep and pigs were raised locally, cattle appear to have been mainly kept in the Vale during at least the first year of their lives. The apparent discrepancy between the two isotopes can be reconciled by the different periods of life represented by enamel and bone collagen measurements, with the movement of cattle onto the Ridgeway in their second or third year of life. Sequential measurements of δ13C and δ15N in dentine, and of δ13Cc and δ18Oc in enamel, provide further detail on the management of cattle, and offer some support for the above scenario. Early/Middle Iron Age stock-keeping in south-central England was complex, being integrated in some respects but distinct in others. The study demonstrates the level of detail it is possible to achieve with a multi-isotope approach to animal management practices in prehistory. The focus on a micro-region contrasts with, or rather complements, studies addressing larger-scale movement of animals in the past.

Dawson City: Frozen Time by Bill Morrison (review)

Reviewed by: Dawson City: Frozen Time by Bill Morrison Curtis Russell Dawson City: Frozen Time (2017) Directed by Bill Morrison Distributed by Kino Lorber www.kinolorber.com. 120 minutes Bill Morrison’s films revel in decrepitude, pairing damaged old strips of nitrate film stock with moody, minimalist scores to create a vision of the distant past at once plaintive and terrifying. Beyond Zero: 1914–1918 (2014) literalizes the destruction of war by incorporating actual decayed battle footage from World War I, while The Great Flood (2012) and The Highwater Trilogy (2006) render natural disasters stark and implacable with minimal contextualization. 2002’s Decasia may be the purest example of the Morrison aesthetic. Traces of damage from water, fire, decomposition, and decades of neglect infect the frame like a hyperactive disease, generating optical illusions that other productions spend thousands of hours and millions of dollars to create. The effect’s beauty is its randomness; a crystalline Lichtenburg figure is as likely to morph into an amoebic sludge as it is a haunting distortion of an actor’s face. Yet while his films are at once an elegy for celluloid and a reminder of its frail volatility, Morrison is an archival artist, not an archivist. His work has often been rooted in the archive without bearing much trace of it; it’s historiography as exhumation, not celebration. Dawson City: Frozen Time (2017) marks a turn for Morrison. Converting the decaying strips of plasticized guncotton that have been his primary building block into the star attraction, Morrison uses the story of a cache of silent film reels buried in an old swimming pool in the Yukon as a lens to explore the [End Page 14] boom and bust chronicle of Dawson City, where the histories of First Nations, prospecting, politics, banking, mining, economics, sport, Hollywood, photography, literature, theater, and exploration all intersected. In 1978, a construction crew building a recreation center next to Diamond Tooth Gertie’s Gambling Hall in Dawson unearthed a trove of film reels mixed in with chicken wire, broken curling rocks, and bottles under what was once the Dawson Amateur Athletic Association, built in 1902 to be a hub of social activity. Its swimming pool became a curling and skating rink every winter. Morrison employs many of the discovered films themselves, along with period stills (such as Eric Hegg’s majestic plate glass negatives of prospectors crossing Chilkoot Pass) and other films (like Chaplin’s Gold Rush, natch) to tell his story. Over composer Alex Somers’ somber chamber score, onscreen titles patiently and methodically narrate the Klondike Gold Rush, a three-year frenzy that saw hundreds of thousands (today, billions) of dollars’ worth of gold extracted from what had previously been the hunting grounds for the Trondëk Hwëch’in people. The population ballooned to 40,000 in and around Dawson City’s 1,600 acres before settling to 3,000 in 1910, by which point Daniel and Solomon Guggenheim had purchased most of the surrounding mines, consolidating their claims to form the Yukon Gold Company. They extracted what gold remained with huge floating dredges, and the men that remained to work them sent for their families to build a life. All those hardworking people in the middle of nowhere needed to be entertained; the first movie theater in Dawson opened in 1910. The town, about 400 miles northeast of (and 15 years older than) Anchorage, was at the end of a film supply chain. It was prohibitively expensive to send the reels back to the studios, and there was little thought of posterity, so the reels simply remained in Dawson. In the meantime, the town served as a way-stop for several people who would go on to make notable contributions elsewhere, each of whom merits a mention in Dawson City: Frozen Time: Hegg, Jack London, Fred Trump (whose brothel, in nearby White Horse, was the origin of the Trump family fortune), Wilson Mizner (also featured in Stephen Sondheim and John Weidman’s 2008 musical Road Show), boxing promoter Tex Rickard, founder of the New York Rangers and builder of the penultimate Madison Square Garden, future movie theater impresarios Sid Grauman and Alex Pantages, actors Fatty Arbuckle...

On a White Horse: A memoir of love, loss and the healing power of art

On a White Horse: A memoir of love, loss and the healing power of art

When a White Horse is a Horse: Embracing the (Obvious?) Overlap Between Acupuncture and Neuromodulation.

When a White Horse is a Horse: Embracing the (Obvious?) Overlap Between Acupuncture and Neuromodulation.

The Eclipse of Urbanism and the Greening of Public Space: Image Making and the Search for a Commons in the United States, 1682–1865. By Mark Luccarelli. Cambridgeshire: The White Horse Press, 2016. 245 pp. Illustrations, bibliography, and index. Hardcover $95.00.

<i>The Eclipse of Urbanism and the Greening of Public Space: Image Making and the Search for a Commons in the United States, 1682–1865</i>. By Mark Luccarelli. Cambridgeshire: The White Horse Press, 2016. 245 pp. Illustrations, bibliography, and index. Hardcover $95.00.

Interrogating self and other: Mutuality in the visual art of pre-war Japan

In pre-war Japan, the visual artist often played a complicit role in the circulation of dominant imperialist and militarist discourses. Yokoyama Taikan (1868-1958) and Fujita Tsuguharu (1886-1968), for example, produced images extolling Yamato military might. This ‘might’ is evident both in the metonym of Yokoyama’s soaring Fuji-san images, often with rising sun ascendant, and in the more realist representation of Fujita’s Soviet tanks under assault at Nomonhan by ‘triumphant’ Japanese troops. Some pre-war and war-time visual art, however, resists being viewed as a conventional ‘hagiography of Japan.’ This, paradoxically, is especially the case in images depicting sites occupied by Japanese military and capital interests. These images, in fact, often reveal the highly tenuous nature of the discursively constructed border that divided the naichi Japanese self and the gaichi colonised other. Rather they convey a sense of mutual subjectivity in which the agency of the ‘other-ed’ subject insists on asserting itself. This presentation will provide a detailed examination of three pre-1945 works of visual art and consider how these uncover the mutuality inherent in old notions of self and other in pre-war Japan. The first is a 1937 image entitled ‘K?nan no haru’ (Jiangnan Spring) by Arishima Ikuma (1882-1974), a scene from the rural environs of Shanghai featuring two young women in Chinese dress and an Imperial Army soldier mounted on a white horse. The second is a 1942 image entitled ‘Shimai heizaz?’ (Sisters Sitting Side-by-Side), painted in Beijing by Umehara Ry?zabur? (1888-1986). The third is a 1944 work by Tsuruta Gor? (1890-1969) entitled ‘Shiganhei no wakare o tsugeru Taiwan no hitobito’ (People of Taiwan Farewelling the Volunteer Troops) which depicts indigenous people of Taiwan saluting as their countrymen depart for war. Each image confirms the precarious nature of Japanese discursive practice, revealing instead a mutual interplay that refuses dominance of one subject over the other.

The Rider on the White Horse, the Thigh Inscription, and Apollo: Revelation 19:16

The Rider on the White Horse, the Thigh Inscription, and Apollo: Revelation 19:16

The Rider on the White Horse, the Thigh Inscription, and Apollo: Revelation 19:16

The Rider on the White Horse, the Thigh Inscription, and Apollo: Revelation 19:16

G. K. Chesterton Essaying Myth

Some of G. K. Chesterton’s most potent myths do not extend beyond a sentence or two—a fact that has been overlooked in studies of his mythic imagination. Chesterton showed great interest in the larger metaphysical and theological implications of myth throughout his career in works from The Ballad of the White Horse to The Everlasting Man; however, he also engaged in weaving “lesser myths” that seem to have only a distant connection to the “Christian Mythopoeic Imagination” so often traced in his work. These lesser myths are more playful, whimsical, and even pagan in that they do not seem to rest on a believed metaphysical or theological truth. This article, drawing on Chesterton’s essayistic canon, shapes a picture of Chesterton’s mythic imagination, taking into account these “sentence-level myths.” It shows that Chesterton’s myth making is both smaller and larger than has yet been allowed. It also suggests that criticism of Chesterton’s work will benefit from treating these lesser myths as unique formal moments with their own meaning-making potential before affixing them to some larger Christian truth-myth framework.

Four Celtic Poems

Four Celtic Poems Translated by Tony Hoagland (bio) and Martin Shaw (bio) Midhir’s Invitation to the Fair Land Fair woman, will you go with me to the high landwhere sweet music is? One’s hair is like the primrosethere and the folk have bodies white as snow. In the high land, there is neither thine nor mine.The women’s teeth are white; the men’s eyes are black and clear. Every cheek is the pink of fox glove. The meadows of Ireland are fair to see—but they are like a desert when you have seen the high land; Irish ale is fine to drink—but in the high landthe wine they serve will turn your head into a cloud. In the place I tell of, the young do not die before their time;they serve the old ones, who are wiseand shield the young in turn. Sweet streams flow always through the fair landand the minds of the people are clear as skin with no blemish,as a child’s face in the virgin morning. When we walk together there, you will seethese men and ladies, you will see them on all sides, tall and fair and kind.But they will not see us. For the dark of Adam’s trespass is around us like a cloakand it means we cannot be seen, or counted one of them. Irish, ninth century, author unknown [End Page 160] Lament for Reilly As I walked by the strand one fine evening,whom did I see but my fair-haired Reilly? His cheeks were flushed and his brown hair all curlyand I felt that his death was rushing right through me. My God, Reilly, were you not the king’s son-in-law,meant to be dressed in the finest gold cloth? with bright white curtains around where you lay,and a beautiful lady combing your hair? The shipwright who made the boat for your journey,may his two hands crumble like old brown cork. May the faulty plank in the hull of that boatbe burnt alive in a fire. May the cold sea that entered through the hole in the plankbe jailed, found guilty, and hanged. May the priest who prayed on the deck, and failed,go to no heaven. If I had been out that night with my nets all ready,by God, Reilly, I would have saved you. You looked good on your slender white horse that summer before,blowing your horn, with your hounds all around. God made me alone so young; I hear themrepeating that Reilly is dead, my Reilly is dead again. You should have heard their voices that night;excited to know there would be not a wedding, but a wake;and a brand new widow. Irish, traditional folk song [End Page 161] The Girls ofLlanbadorn Since I was young I have been mad for girls.One dozen times a day I fall in love. No Sunday has passed but that I am in the pews at Mass,in my feathered hat, my eyes turned keen across the congregation.But in this parish a curse from God has ruined me. Neither gentle lass, nor lonely wife, nor cankered hagwill sport with me. Among themselves, the women say, “View his face;He has the look of one who knows sin well.” There never was a spell so persistent as this. My neck has grown cricked from looking left and right,and still no mate. I am no more close to winning one of themthan if I was their enemy. And I must give up these fantasiesand become a hermit, or even worse, a saint. Welsh, fourteenth century, Dafydd ap Gwillym [End Page 162] Senility Wooden staff, it is autumn, the bracken is red;the stubble of fields is pale yellow. Wooden staff, it is winter; men are boisterousover their drink. Wooden staff, it is spring; the cuckoos are brown;there is light at the evening meal. Wooden staff, it is summer, the furrow is red; the young corn is...

Предварительные результаты экспериментально-трасологического исследования петроглифа Белая лошадь в Минусинской котловине

Предварительные результаты экспериментально-трасологического исследования петроглифа Белая лошадь в Минусинской котловине

A Study on the Battle of White Horse Hill, 1952 : Analysis on the 9th ROK Division's Improved Capabilities of combat execution

A Study on the Battle of White Horse Hill, 1952 : Analysis on the 9th ROK Division's Improved Capabilities of combat execution

The “white horse is not horse” debate

AbstractThe so‐called “white horse is not horse” (bái mǎ fēi mǎ 白馬非馬) debate, or “white horse” (bái mǎ 白馬) dialogical argument, is beyond doubt the most famous case of argumentation (biàn 辯) in the history of Classical Chinese philosophy. The somewhat disorienting statement at the center of this debate is discussed at length by two anonymous fictive characters, a persuader and their opponent, in the ‘Báimǎ lùn’ 白馬論 (Disquisition on White and Horse). The ‘Báimǎ lùn’ usually appears as the first chapter in the received text Gōngsūn Lóngzǐ 公孫龍子 (Master Gongsun Long). The Gōngsūn Lóngzǐ is a composite collection of heterogeneous materials in six chapters. The collection includes an anecdotal preface, three partially incomplete and/or corrupted dialogues, and two short and extremely intricate treatises. In particular, the dialogues included in the collection are structured in a fairly similar way and focus on what have been defined as paradoxes or sophisms belonging to the repertoire of a rather loose group of thinkers, the so‐called Logicians or Chinese “Sophists” (míngjiā 名家, literally “experts on names”), allegedly active during the Warring States period (475–221 B.C.E.).

The White Horse in the Longtang

Acclaimed Shanghai writer Wang Anyi narrates a sketch about a mysterious white horse (and its equally mysterious master) that periodically visits a particular longtang (network of lanes) in central Shanghai (the old French Concession). Weaving history and memory, Wang describes a particular moment in the life of the city while also relating stories about the city’s past. Wang’s tale suggests that the history of the city, like the relationship between the longtang dwellers and the visiting horse and man (who are clearly originally from somewhere else) is, to no small extent, the history of the relationship between native Shanghai people and non-Chinese “others.” While the true origins and pedigree of man and horse remain an open question, this epistemological exploration allows Wang to ponder Shanghai’s complex history.