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114 China Review International: Vol. 4, No. 1, Spring 1997 Sophia Delza. The T'ai-Chi Ch'uan Experience: Reflections and Perceptions on Body-Mind Harmony. Foreword by Robert C. Neville. Albany: State University ofNew York Press, 1996. xxiv, 330 pp. Hardcover, isbn 0-79142897 -4. Paperback, isbn 0-7914-2898-2. There are by now many books in English on taijiquan j^ML^ß, \"Supreme Ultimate boxing,\" and countiess devout practitioners ofit in the Western world. Sophia Delza can take much of the credit for its early spread in the United States, through her teaching and through the various editions ofher earlier book, T'aiChi Ch'uan: Body and Mind in Harmony (1961; reprint, 1973; and greatly revised and expanded in a 1985 edition from the State University ofNew York Press). The present book, from the same press, is a collection ofmiscellaneous pieces by her, in verse as well as in prose. Many of these were published previously, in widely scattered sources, including her previous book; and they are here arranged informally under loose general headings. Admirers ofSophia Delza will be glad to have this new book, but in many ways it is a disappointment. It is unscholarly; it is carelessly edited and repetitive; and, being more focused on ideas than the earlier work (which was basically a manual ofpractice), it is open to philosophical and other objections. As a whole, it has a curiously old-fashioned air about it. Delza studied the Wu ^l style in Shanghai from 1948 to the latter 1950s (she is not very specific about dates), with the respected teacher Ma Yueliang HtSÍIc Her knowledge ofother styles seems to be much less, though she makes a few comparisons with the related Yang IH style. She repeatedly characterizes taijiquan as an \"exercise-art\" (and its practitioners as \"players\") and insists that it should not be thought ofas \"moving meditation\" (p. 235). However, her concept of meditation seems unduly narrow: she says that \"Meditation is no movement and no-mind, the suspension ofmind\" (ibid.). But elsewhere she emphasizes the importance for taijiquan of \"concentration\" and \"profound awareness,\" both of which qualities are common ingredients ofmeditation practice. The argument is therefore partly about words. In other chapters, while allowing that taijiquan may have self-defense applications , Delza quite sharply criticizes the characterization of taijiquan as a martial art. \"The concept and use of the word 'martial' with T'ai-Chi Ch'uan is relatively recent. Especially emphasized in the West, 'martial' is added, indiscriminately, to any Eastern exercise activity which demands physical prowess. ... I know that the y mversity wor(j 'martial' (art) is in use in China at present, but I believe it is being done so in imitation ofthe American (and English) way, which lumps all Eastern exercise forms under the martial arts\" (pp. 227-228). This is quite incorrect. Although taijiquan in its present form is indeed an \"exercise-art\" rather than a \"martial art\" ofHawai'i Press Reviews 115 (perhaps especially in the Wu school), and although the modern concept of wu shu HM, \"martial arts,\" is no doubt influenced by Western (and Japanese) notions , taijiquan either originated as an \"art ofcombat\" (this term is more precise than \"martial art\") or was directly inspired by one, while the term wu shu and the similar term wuyi ISM can both be traced back to at least the fifth century. In 1973, a chart showing a sequence ofcalisthenic exercises from the second century b.c. was found at Changsha (the Mawangdui ISzEiEi tomb no. 3). Delza does not mention this, but it is easy to imagine that it was preceded and followed historically by comparable sets of exercises (even ifone does not need to take literally the legend quoted by her concerning Emperor Yu H in the third millennium b.c.). Probably some ofthese exercises had the character ofmartial drills, even ifthey were not in themselves arts of combat, just as from quite early times there may well have been combat systems for which physical or spiritual benefits were claimed. Delza repeats (many times) the story that taijiquan was the creation ofone Zhang Sanfeng 5SHlI^, whom she generally (but not invariably) dates to the...

The Death of Euphues: Euphuism and Decadence in Late-Victorian Literature Lene 0stermark-Johansen University of Copenhagen THE NINETEENTH-CENTURY afterlife of John Lyly's two romances Euphues: The Anatomy of Wit (1578) and Euphues and his England (1580) is complex: a textual and stylistic revival on the one hand, and a keen critical attempt to declare the death of Euphuism on the other. Lyly's narrative of the Athenian student Euphues recounts the young man's adventures in Naples where his pursuit of wit leads him astray, in and out of friendships and into the company of a false woman. Wit gradually changes into wisdom as he perceives his mistakes, repents and returns to Athens. In the second part Euphues and his Italian friend travel to England where more love affairs and endless comments on the women and courtly life of Elizabethan England take up the major part of the book. Lyly's romances earned themselves immediate popularity , despite their weak plots; the ornate style, full of alliterations, similes and antitheses, became high fashion in courtly circles, and as E. Blount commented in 1632, \"All our Ladies were then his Schollers; And that Beautie in Court, which could not parley Euphueisme, was as little regarded, as shee which now there speakes not French.\"1 By 1630 the craze for Lyly's Euphuism had resulted in twenty-six editions of the separate works and three editions of a double volume;2 then, for well over two hundred years, Euphues remained out of print until the late nineteenth century took a renewed interest in Lyly's literary style and reprinted his dramas and romances in new editions.3 Reviews and critical essays on Euphuism and on prose style in general pervaded the pages of Victorian periodicals for the last four decades of the century,4 and the very term \"Euphuism\" soon implied much more than merely a reference to the literary style of Lyly's two romances. But why did Victorian critics, writers and philologists suddenly take such a great interest in an Elizabethan courtesy book, and how did 0STERMARK-JOHANSEN PATER Lyly's Euphues enter into the critical and scholarly debate in the late nineteenth century Indeed, what did the word \"Euphuism\" mean by the end of the Victorian age There may not be clear and simple answers to these questions, but I should like to demonstrate how Euphuism became part of the late nineteenth-century debates about philology and decadence . Charges of foreignness, effeminacy, and of a false focus on manner rather than matter were frequently raised against such writers as Swinburne , Rossetti and Pater, and the term \"Euphuism\" was invoked to illustrate the ridiculous extremes to which such concern with verbal ornament could be taken. Lyly's Euphuism was a style which bridged the gap between prose and poetry. Adopting alliteration and antithesis as some of his chief stylistic effects, LyIy imported essential features of poetic diction into his prose. Alliteration had its own strong tradition reaching back to Old and Middle English verse, and the Petrarchan ice and fire which had first found their way into English poetry through Wyatt's and Surrey's translations from the Canzoniere reappeared in Euphues's long soliloquies on love which are a glorious display of the rhetoric of the divided mind.5 A modern critic concluded that \"Euphues, to anyone well-acquainted with Italian literature, reads like a translation or compilation from Boccaccio executed by a Petrarchist.\"6 I want to argue that this quality of Lyly's style made Euphuism an important point of reference for the new poetical prose which emerged in the 1860s in the critical writings of Swinburne and Pater. In the swarm of generally hostile Victorian reactions to Lyly's style, Pater was one of the few writers who publicly defended such ornate writing, most prominently in the chapter on \"Euphuism\" in Marius the Epicurean (1885).7 Pater here gave expression to his view of repeated periods of literary mannerism in which the styles of Apuleius, LyIy, Baudelaire and Pater himself met and merged in the borderland between poetry and prose. Thus Euphuism existed even before LyIy, and Pater recounted its cyclical life in western...

Mr Mumba had ten minutes left at the end of a lesson. He had just finished the topic on particle theory and wanted his students to make a teaching resource suitable for younger children for their homework. He gathered them round the front and explained what he wanted them to do. He suggested that they might make a poster, a leaflet or a small booklet. He asked them how they might judge such a resource. Able, a student, suggested that it should have pictures and diagrams. Lena thought it would be helpful if it had lots of real life examples and Sonia thought it was important to explain all the scientific words very clearly. Mr Mumba made a list of their suggestions on the board. Some children find it difficult to find time to do their homework because they have to do a lot of jobs around the house. So Mr Mumba arranged that anyone who wanted to could stay in the classroom after school to do the homework. Some students went and sat under a tree in the grounds and worked together on their posters. Mr Mumba did not mind; he realised that talking to each other about the ideas would help them to learn. Hari and Vincent made a poster in which Hari drew the diagrams and Vincent did the writing.

You should explain to your students that one of the purposes of revision is to reinforce their learning. Simply reading through notes is not always as effective as they might think. A good thing to do is to draw a concept map, a mind map or a poster, or to make a summary of the key ideas on small cards or pieces of paper that can easily be carried around in a bag