La Chine compte quatre textes classiques : le Classique des Documents, le Classique des vers, les Annales des Printemps et Automnes et enfin le Classique des mutations,

Les artistes chinois se copient abondamment entre eux, depuis des siècles. À cela, au moins cinq raisons dont toutes sont honorables, sauf une. 1. La copie d’apprentissage En

Dans l’empire du Milieu, de plus en plus d’hôtels haut de gamme installent des stands dans la rue, proposant des repas à emporter à un prix cassé. Ce phénomène ...

L’opéra chinois (戏曲, xìqǔ) est un art du spectacle séculaire mêlant musique, chant, théâtre, danse, arts martiaux et acrobatie en une forme originale et codifiée. Né au cours du XIIIe siècle (sous …

Abstract When the Jesuits returned to China in the nineteenth century, the mission and surrounding community at Xujiahui (Zikawei), near Shanghai, was an important intellectual and administrative center. Among the foreign Jesuits present at Xujiahui, a fixture for many years, was the Italian Angelo Zottoli, an educator, administrator, and translator for the mission. From his arrival in Shanghai in 1848 until he died in 1902, Zottoli was an essential figure in the cross-cultural dialogue between Chinese Catholics and foreign missionaries. Though far from a firebrand, Zottoli greatly admired Chinese culture and generally took an “accommodationist” approach, which clashed with the attitudes of other Jesuits in Shanghai. At the same time, he supported papal pronouncements on Chinese Rites, which provided strict limits to accommodation. Overall, then, he represents the difficulties Jesuits faced in reconciling the history of the church in China and their own attitudes (such as Eurocentricity) with Chinese culture. This article is part of the special issue of the Journal of Jesuit Studies, “Jesuits in Modern Far East,” guest edited by Steven Pieragastini.

Hong Kong was the first place Canadians fought a land battle in the Second World War. From 8 to 25 December 1941, almost 2,000 troops from Winnipeg and Quebec C...