#MARSHA YUAN

[skiddo-xy]

Unique English Hong Konger Names

As a result of British colonization, most Hong Kongers have English names along side their Chinese names. However, since Hong Kong is not exactly an English speaking society, some of the names that parents choose for their children (or they choose themselves) may have unconventional spelling, sound like they're not "real names", or generally appear unusual to native English speakers. Which I find interesting because they follow "English name structures" without actually being English names.

Here are some examples I found as I was scrolling through the list of Miss Hong Kong Pageant winners, given in the format of [English name] - [traditional] / [simplified] ([jyutping] / [pinyin]) - jyutping is one of the most common ways of romanizing Cantonese (the language of Hong Kong) and pinyin is the standardized form of romanizing Mandarin. More under the cut!

Conny Kwan - 關淑芬 / 关淑芬 (gwaan1 suk6 fan1 / Guān Shūfēn)

Loletta Chu - 朱玲玲 (zyu1 ling4 ling4 / Zhū Línglíng)

Freda Leung - 梁仲芬 (loeng4 zung6 fan1 / Liáng Zhòngfēn)

Cher Yeung - 楊雪儀 / 杨雪仪 (joeng4 syut3 ji4 / Yáng Xuěyí)

Shallin Tse - 謝寧 / 谢宁 (ze6 ning4 / Xiè Níng)

Aleen Lo - 羅錦如 / 罗锦如 (lo4 gam2 jyu4 / Luó Jǐnrú)

Middy Yu - 余少寶 / 余少宝 (jyu4 siu2 bou2 / Yú Shǎobǎo)

Kenix Kwok - 郭可盈 (gwok3 ho2 jing4 / Guō Kěyíng)

Halina Tam - 譚小環 / 谭小环 (taam4 siu2 waan4 / Tán Xiǎohuán)

Chillie Poon - 潘芝莉 (pun1 zi1 lei6 / Pān Zhīlì)

Sonija Kwok - 郭羨妮 / 郭羡妮 (pun1 zi1 lei6 / Guō Xiànnī)

Marsha Yuan - 原子鏸 (jyun4 zi2 wai6 / Yuán Zǐjiē)

Myolie Wu - 胡杏兒 / 胡杏儿 (wu4 hang6 ji4 / Hú Xìngér)

Rabee'a Yeung - 楊洛婷 / 杨洛婷 (joeng4 lok6 ting4 / Yáng Luòtíng)

Queenie Chu - 朱慧敏 (zyu1 wai6 man5 / Zhū Huìmǐn)

Shermon Tang - 鄧上文 / 邓上文 (dang6 soeng5 man4 / Dèng Shàngwén)

Natalle Khor - 許佩琪 / 许佩琪 (heoi2 pui3 kei4 / Xǔ Pèiqí)

Koni Lui - 呂慧儀 / 吕慧仪 (leoi5 wai6 ji4 / Lǚ Huìyí)

Edelweiss Cheung - 張舒雅 / 张舒雅 (zoeng1 syu1 ngaa5 / Zhāng Shūyǎ)

Sire Ma - 馬賽 / 马赛 (maa5 coi3 / Mǎ Sài)

Mizuni Hung - 熊穎詩 / 熊颖诗 (hung4 wing6 si1 / Xióng Yǐngshī)

Toby Chan - 陳庭欣 / 陈庭欣 (can4 ting4 jan1 / Chén Tíngxīn)

Sammi Cheung - 張秀文 / 张秀文 (zoeng1 sau3 man4 / Zhāng Xiùwén)

Hyman Chu - 朱希敏 (zyu1 hei1 man5 / Zhū Xīmǐn)

Carat Cheung - 張名雅 / 张名雅 (zoeng1 ming4 ngaa5 / Zhāng Míngyǎ)

Sisley Choi - 蔡思貝 / 蔡思贝 (coi3 si1 bui3 / Cài Sībèi)

Moon Lau - 劉佩玥 / 刘佩玥 (lau4 pui3 jyut6 / Liú Pèiyuè)

Karmen Kwok - 郭嘉文 (gwok3 gaa1 man4 / Guō Jiāwén)

Bowie Cheung - 張寶兒 / 张宝儿 (zoeng1 bou2 ji4 / Zhāng Bǎoér)

Boanne Cheungcaijiewen (zoeng1 bou2 jan1 / Zhāng Bǎoxīn)

Carmaney Wong - 黃嘉雯 / 黄嘉雯 (wong4 gaa1 man4 / Huáng Jiāwén)

Blossom Chan - 陳熙蕊 / 陈熙蕊 (can4 hei1 jeoi5 / Chén Xīruǐ)

Denice Lam - 林钰洧 (lam4 juk6 fui2 / Lín Yùwěi)

Cecca Xu - 許子萱 / 许子萱 (heoi2 zi2 hyun1 / Xǔ Zǐxuān)

Lovelle Wong - 王敏慈 (wong4 man5 ci4 / Wáng Mǐncí)

I thought this was really fun. It's sort of lke this new trend of Americans stuffing in extra letters to common names, like turning "Jessica" into "Jessieighkah." They almost sound AI generated. List of pageants is from here and I couldn't find a single solid source about Hong Kong names so here's 1, 2 and 3!

[page58-blog1]

Save the Patient, Nothing Else in Sundance Film Festival Selection Short Intense Action-Drama 'Do No Harm' (Trailer)

Save the Patient, Nothing Else in Sundance Film Festival Selection Short Intense Action-Drama ‘Do No Harm’ (Trailer)

    “Lucky we’re not here for you.” 3am. 1980’s Hongjing. Save the Patient, Nothing Else. The action in the short action ‘Do No Harm’ takes place in an aging private hospital where a resolute female surgeon is forced to break her physician’s oath when violent gangsters storm in to stop a crucial operation.

 “Can he fu*cking hear me? Hello mate you thought you could get away didn’t you? I got a…

[primorcoin]

New Post has been published on https://primorcoin.com/china-hits-out-at-senators-who-asked-for-an-olympic-block-on-digital-yuan/

China Hits out at Senators Who Asked for an Olympic Block on Digital Yuan

Source: Adobe/nyiragongo

Beijing has lashed out at three Republican senators who have asked the United States Olympic & Paralympic Committee to block American athletes from using the digital yuan, the central bank digital currency (CBDC) that China is hoping to dazzle the world with at the 2022 Beijing Winter Olympics, to be held in the capital from February.

The group, which comprises Marsha Blackburn, Roger Wicker, and the “bitcoin (BTC) senator” Cynthia Lummis had expressed spying and data security worries.

In their letter, they wrote that the “digital yuan may be used to surveil Chinese citizens and those visiting China on an unprecedented scale, with the hopes that they will maintain digital yuan wallets on their smartphones and continue to use it upon return.”

But, per an official notice from the Chinese Foreign Ministry’s website, spokesperson Zhao Lijian hit out angrily at the senators when questioned on the subject by a Reuters reporter at a press conference. Zhao claimed that the letter “only reflected the politicians’ ignorance.”

He added a recommendation that the senators take the time to “learn what a digital currency actually is.”

Zhao stated that when it came to “espionage and digital security threats,” the United States “sets the global standard.” He explained:

“The United States not only monitors its competitors, but also even its allies through various means such as data theft and telephone tapping. Everyone knows these facts to be true.”

“Digital currencies are an inevitable product of the development of digital technology and conform to the current trends of global digital economic development. Chinese law also makes clear provisions to ensure the principles of data security,” the spokesperson continued.

And Zhao concluded that “American politicians should respect the spirit of the Olympic Charter, stop politicizing sport and refrain from talking about China’s forthcoming digital currency.”____Learn more: – China Releases e-CNY Whitepaper, Says Cryptos Have No Value & Pose Risks- ECB Starts Digital Euro Project With Two-Year Investigation & Bitcoin Bashing

– Former Japanese Regulatory Chief: Digital Yuan Progress ‘Hard to Ignore’- Does Digital Yuan Threaten Global Stability?

Source link

#BlockchainNews #CryptoNews #TraedndingCrypto #TrendingCryptoNews

[hydrewcoin]

Bitcoin is Internets magnum opus The international financial system will have to readjust by koqoo

Marsha Blackburn, Roger Wicker, and Cynthia Lummis have urged the U.S. Olympic Committee to forbid any usage of China’s central bank digital currency (CBDC) at next year’s event in Beijing. The lawmakers expressed concern over spying and espionage in a letter to Susanne Lyons, board chair of the U.S. Olympic Committee, on Monday, according to Bloomberg. “Olympic athletes should be aware that the digital yuan may be used to surveil Chinese citizens and those visiting China on an unprecedented scale, with the hopes that they will maintain digital yuan wallets on their smartphones and continue to use it upon return,” The senators, who are all members of the Committee on Commerce, Science, and Transportation, have requested a briefing on their appeal within 30 days. more on https://cryptopotato.com/u-s-senators-warn-over-chinas-digital-yuan-use-at-beijing-olympics/

[hyipstation]

Us Senate Wants To Ban Athletes From Using Digital Yuan At Olympic

Us Senate Wants To Ban Athletes From Using Digital Yuan At Olympic

American Athletes Should Be Banned From “receiving Or Using Digital Yuan At The Beijing Olympics,” Republican Senators Marsha Blackburn, Cynthia Lummis And Roger Vicker Said In A Letter To The Us Olympic Committee On Monday. “We cannot allow American athletes to be used as a Trojan horse to increase the Chinese Communist Party’s ability to keep an eye on the United States,” they write. The…

[investkal]

Republicans Want Digital Yuan Restricted at Beijing Olympics

Republicans Want Digital Yuan Restricted at Beijing Olympics

(Bloomberg) — Republican Senators Marsha Blackburn, Roger Wicker, and Cynthia Lummis urged the U.S. Olympic Committee to forbid American athletes from using China’s new digital currency at the 2022 Beijing Winter Olympics, citing espionage and data-security concerns. Click here to read full article Source link

[joseandrestabarnia]

Título: Guanyin, bodhisattva de compasión, 1279-1368

Artistas: Artista desconocido

Acerca de

El Bodhisattva en bronce dorado está sentado en la posición de comodidad real, con el colgante de la pierna izquierda y el pie descansando sobre un loto puntiagudo de dos pétalos; mientras que su pie derecho se coloca sobre una estera texturizada. El brazo derecho de la figura descansa sobre la rodilla derecha, y los delgados dedos de la mano izquierda se colocan ligeramente sobre la bufanda posterior; cada muñeca está enriquecida por una pulsera. La cara ovalada regordeta del Bodhisattva es dulcemente expresiva con la boca pequeña en una leve sonrisa. Las cejas arqueadas, que conducen al estrecho puente de la nariz aguileña, enmarcan los ojos bajos y pesados. El cabello bien peinado está asegurado sobre la frente con una diadema y las partes de la espalda en dos mechones, cada uno de los cuales cae en tres mechones rizados por el hombro. El Bodhisattva usa un elaborado collar que desciende en dos lazos dobles por el torso desnudo mientras que las borlas en forma de brote emergen de una roseta central. La falda interior está finamente incisa con un borde de pergaminos florales y cae en pliegues en la parte inferior de la pierna. Una sobrefalda hasta la rodilla, bordeada con una estrecha banda de cabezas de flores, se levanta en la parte baja de la espalda y se abre por delante; y otra prenda corta se dobla sobre el cinturón tachonado que cae en pliegues entre las piernas. Los hombros están cubiertos con un chal ancho, que se enrosca a través de los brazos y las curvas hasta los pies, donde termina en puntos en forma de llama. El dorado tiene un atractivo tono dorado rojizo con extensas trazas de pigmento rojo. La falda interior está finamente incisa con un borde de pergaminos florales y cae en pliegues en la parte inferior de la pierna. Una sobrefalda hasta la rodilla, bordeada con una estrecha banda de cabezas de flores, se levanta en la parte baja de la espalda y se abre por delante; y otra prenda corta se dobla sobre el cinturón tachonado que cae en pliegues entre las piernas. Los hombros están cubiertos con un chal ancho, que se enrosca a través de los brazos y las curvas hasta los pies, donde termina en puntos en forma de llama. El dorado tiene un atractivo tono dorado rojizo con extensas trazas de pigmento rojo. La falda interior está finamente incisa con un borde de pergaminos florales y cae en pliegues en la parte inferior de la pierna. Una sobrefalda hasta la rodilla, bordeada con una estrecha banda de cabezas de flores, se levanta en la parte baja de la espalda y se abre por delante; y otra prenda corta se dobla sobre el cinturón tachonado que cae en pliegues entre las piernas. Los hombros están cubiertos con un chal ancho, que se enrosca a través de los brazos y las curvas hasta los pies, donde termina en puntos en forma de llama. El dorado tiene un atractivo tono dorado rojizo con extensas trazas de pigmento rojo. Los hombros están cubiertos con un chal ancho, que se enrosca a través de los brazos y las curvas hasta los pies, donde termina en puntos en forma de llama. El dorado tiene un atractivo tono dorado rojizo con extensas trazas de pigmento rojo. Los hombros están cubiertos con un chal ancho, que se enrosca a través de los brazos y las curvas hasta los pies, donde termina en puntos en forma de llama. El dorado tiene un atractivo tono dorado rojizo con extensas trazas de pigmento rojo.

Los Bodhisattvas de bronce dorado en esta posición de"comodidad real" (presumiblemente originalmente descansando sobre una base de roca en bronce dorado, o en otro material) generalmente se conocen como Guanyin "Agua y luna", o Guanyin "Mar del Sur", sentado como en la costa rocosa del monte Potalaka. Parece que la imagen del Agua y la Luna Guanyin se menciona en los registros de pintura que datan de los siglos VIII y IX, y es posible que tales pinturas, que ya no sobreviven, sirvieron como prototipos para los escultores. Los primeros ejemplos de pintura existentes parecen ser pancartas del siglo X de Dunhuang. Según algunos estudiosos, el uso de la metáfora de la "luna en el agua" para la naturaleza transitoria e insustancial del mundo era común en las escrituras budistas, pero no hay una base bíblica para vincular Guanyin con estas metáforas ('Últimos días de la ley: imágenes de Chinese Buddhism '850-1850, ed., Por Marsha Weidner, Kansas, 1994, p. 156-60). Estas transformaciones parecen haber sido el resultado de la innovación artística o, más probablemente, basadas en fuentes externas al budismo, ya sea dentro o fuera de la tradición china (cf. Derek Gillman, 'Una nueva imagen en la escultura budista china del 10 al 13'). siglo ', transacciones de la Oriental Ceramic Society, Londres, 1982-83, p. 33-44).

Departamento de Arte Asiático, AGNSW, abril de 2002

Detalles:

Otro título: Bodhisattva sentado

Lugar donde se realizó el trabajo: China

Período: Dinastía Yuan 1279-1368 → China

Fecha: 1279-1368

Categoría de medios: Escultura

Materiales usados: bronce, pan de oro

Dimensiones: 28,0 x 17,5 x 11,0 cm; Objeto de 32,3 x 17,8 x 12,5 cm con soporte

Fecha de firma: No firmado. Sin fecha

Crédito: Edward y Goldie Sternberg Fondo de compra de arte chino 2002, Art Gallery NSW

[johnleegraphy]

Wedding of Marsha Yuen & Mehdi

Wedding of Marsha Yuen & Mehdi

Today I have been a Morocco’s photographer with Henri, taken a wedding shoot for Marsha Yuan and her Moroccan-born fiancé Mehdi Elajimi. Full of the super star around me to fill up my date. Happy to see Cheng Pui Pui again☺️ award actor of crouching tiger, hidden dragon 今天做了一日摩洛哥攝影師！ 期待了好多日的拍攝，今日終於完成了，好感恩天氣很好，一切順利。 滿天星陪了我過一天，原子惠，鄭佩佩，朱茵，陳法蓉，蔡少芬，張晉，曾江… … Photographer: John Lee & Henri Videographer: Sharon…

[afishtrap]

Tugh Temuiir's appearance in the newly fashioned imperial costume took place at the Kuizhangge, a new government organ that functioned somewhat like a private library. Several scholarly studies of the Kuizhangge provide us with a rich picture of its history and organization; research by Chiang I-han, Fu Shen, Marsha Weidner [Haufler], and Kanda Kiichiro has resulted in the partial reconstruction of the art collection stored there.6 These researchers' inventories consist of both surviving artworks bearing Tugh Temiir's seals and/or inscriptions by Kuizhangge personnel, as well as paintings associated with the Kuizhangge only in textual sources. Poetic inscriptions for particular paintings in his collection appear in Yuan collectanea (wenji) under titles that explicitly state that they were written at Tugh Temiir's command (yingzhi). These surviving poems contain rich iconographic readings of the paintings and point to the essential functions of collecting and "enjoying" art at Tugh Temiur's court; however, no extended analysis of the paintings or inscriptions has been published. This article aims to fill that gap.

Ankeney Weitz, Art and Politics at the Mongol Court of China: Tugh Temür's Collection of Chinese Paintings, Artibus Asiae, Vol. 64, No. 2 (2004), pp. 243-280.

Art historians have generally taken a somewhat narrow view of the Kuizhangge, seeing it simply as a center for the promotion of Chinese art and culture at the Mongol court. In recent literature, the Kuizhangge has been depicted as a latter-day equivalent of Song Emperor Huizong's (I082-II35) famous art studio and library, the Xuanhedian.7 Indeed, allusions to Emperor Huizong and his art pepper the documentary history of the Kuizhangge, and the fourteenth-century scholars intentionally invoked Huizong as an imperial model in order to position the viewing of paintings as a leisure activity, a diversion from the more serious business of collating thejingshi dadian, an 880-volume tome documenting the administrative acts of the previous Yuan emperors.8

Nonetheless, these same scholars functioned in an environment of political instability. Mid-Yuan court politics were plagued with factional tensions between groups of bureaucrats (of all ethnicities - Chinese, Mongolian, and various Central Asian groups), "usually in alliance with groups of imperial [Mongol] princes. "9 During Tugh Temiir's reign, two senior officials, the Qipchaq El Temtir (d. I333) and his ally Bayan of the Merkid tribe (d. 1340), deftly manipulated the frictions between the various groups, thereby weakening the factions' power and increasing their own dominance. By arrogating most of the power in their own hands, the two turned Tugh Temiir into a figurehead, an imperial symbol whose integrity needed to be manifest to keep the empire intact.10 The loyal officials of the Kuizhangge were called upon to create an image of imperial legitimacy, a service they performed through cultural endeavors, including the appreciation of paintings.

[...]

The coup d'etat and civil war that brought Tugh Temtir to the throne in 1328 had a direct bearing on the construction and development of his imperialp ersona.1T2 he seeds of the conflict originated in the 1307 succession struggle between Khubilai Khan's (Shizu, r. I260-1I294) two great-grandsons, Khaishan (Wuzong, r. I307-I31I, Tugh Temiir's father) and Ayurbarwada (Renzong, r. 1311-1320, his uncle). The ultimate selection of Khaishan, "a military hero from the steppes ... [who] behaved like a nomadic chieftain,"13ca me with the proviso that his younger brother,A yurbarwada,b e designated heir apparent. Thus, upon the death of Khaishani n 1311A, yurbarwadap eaceablya scendedt he throne. The agreement of I307, however, had not clearly specified the line of succession after Ayurbarwada, and soon several contenders and their supporters began maneuvering for position.

For the next twelve years Ayurbarwada and his descendents ruled the country, and they successfully removed Khaishan's sons - Khoshila (Mingzong, r. I329) and his younger brother Tugh Temtir - from the political scene by banishing them to distant corners of the empire. In 1316, Khoshila was exiled to the southwestern hinterlands in Yunnan Province; however, he managed to escape to the northern steppe where he lived as a political refugee at the court of the Chaghatai Khanate. Five years later, the reigning emperor sent Tugh Temiir to Hainan, a subtropical island off the southern coast of China. From these remote outposts, they witnessed the murder of Ayurbarwada's son (Shidebala, Yingzong, r. 132I-I323) by a disgruntled group of Central Asian aristocrats and Mongol princes. His successor, Yesun Temiir (r. 1323-1328) attempted to appease his imperial relatives by bestowing gifts and land. He also recalled Tugh Temtir from Hainan.

[...]

In 1328, Yesun Temiir died, and El Temiir staged the coup that successfully installed Tugh Temuir on the throne. This audacious move touched off a short, but bitter, civil war that effectively consolidated E1Tl emtir's power.15A s E1Tl emuir'sp uppet, Tugh Temiir "controlled"t he seals of the imperial office; however, his older brother, Khoshila, still held a competing claim to the throne. Seeking to avoid a direct confrontation with Khoshila, Tugh Temiir abdicated in his brother's favor in the second month of I329, an act that later served as an example of Tugh Temiir's Confucian piety.

Six months later, in the eighth month of I329, the two long-estranged brothers met in Inner Mongolia and held a great banquet to celebrate the occasion. Four days later, Khoshila was dead. The official annals cite unnatural events as the cause of his demise, and most historians have presumed that El Temiir poisoned him. For his part, Tugh Temiir wasted no time in ascending the throne once more, and his sponsors (El Temiir and Bayan) never bothered to call the traditional assembly of Mongol princes (khuriltai) to decide the rightful succession.16 El Temiir's military successes had made this fundamental Mongolian institution obsolete.

Tugh Temiir's climb to the throne over his brother's dead body and without princely sanction was untenable in both the Chinese Confucian tradition of statecraft and in the Mongolian military-political order.17 Power struggles plagued his reign; his supporters uncovered eight plots on his life led by rival factions in the imperial family. Langlois contends that Tugh Temiir's urgent need of the "veneer of legitimacy" was answered by El Temiir's creation of an ambitious campaign to endow Tugh Temuir with a new persona: enlightened Confucian sage ruler.18T his choice was almost inevitable, since not only had El Temiir thrown in his lot with a large "Confucian" bureaucratic faction in order to win its support for the coup, but Tugh Temiir's own residence in southern China had instilled in him Chinese cultural habits (later encouraged by his wife and mother-in-law) and Confucian ideals of statecraft. The use of Confucianv alues by the "restoration"f action both elicited the continued support of the bureaucracya nd provided Tugh Temiir's court with useful symbolic tools. For instance, in a series of memorials his officials drew attention to his earlier abdication in Khoshila's favor as proof of his familial loyalty and brotherly humility.19 In studying these texts, Langlois argues that the invocation of Confucian vocabulary and institutions at Tugh Temiir's court was largely propaganda designed to legitimate the emperor's authority.20

[...]

Yu Ji, a major figure in the Kuizhangge, elaborated on the emperor's edict, announcing that the Kuizhangge scholars should:

provide explanations about the learnsa nd the ways of rkeiansgosn, s the for prosperity and failure, for attainment and loss, so that [these things] could serve as admonishments [for the emperor] .27 [Text B ]

The Kuizhangge scholars churned out reams of Confucian materials - edicts written on behalf of the emperor, memorials, translations, records, and poems - designed in large part to convince the bureaucracy of the legitimacy of the imperial succession.28

To disseminate the carefully constructed imperial image, the Kuizhangge hired stone carvers to engrave the most important documents on steles; for instance, officials snatched up ink rubbings of Yu Ji's laudatory "Record of the Kuizhangge, " said to be written out by Tugh Temiir himself.29 The recipients of the officially printed Kuizhangge "propaganda" consisted of members of the court, as well as the greater bureaucracy. In a number of public documents circulating during and after Tugh Temiir's reign, Chinese officials represented the emperor's cultural leanings as a sign of his sage administration. 30U nofficial rumorsa bout the emperor'sa ctivities in the Kuizhangge also spreadt he desired representation of Tugh Temiir as a morally righteous ruler.31

[asianamsmakingmusic]

Marsha Yuan| Hong Kong

Born and raised in Los Angeles, California, Marsha Yuan studied at the American Musical and Dramatic Academy (AMDA) in Manhattan, New York.  While attending AMDA, she trained in singing, acting, and various types of dance including jazz, tap, and ballet.  Marsha has participated in many musicals in Hong Kong including “Sound of Music”, “Annie”, “Hong Kong Nocturne” and “Musical Moments”, and was invited to perform in the “Andrew Lloyd Webber Gala” in Estonia.  She released her own album in 2006 and has been in the live jazz music scene ever since.