By Brian Griffith

ForeWord Reviews Mother’s Day employees choose: “Books mother Will Love”

“A useful old reference guide.” —Publishers Weekly

“This is a truly bold and well timed publication, a ebook that many historians, literary theorists and tale tellers who care approximately China and its “Other 1/2 the Sky” are looking to write, yet Brian Griffith did it first, with such scope, ease and fun.” —WANG PING, writer of The final Communist Virgin and Aching for good looks: Footbinding in China

“This e-book is a most attractive and unique learn, and the intensity of its scholarship is amazing. Griffith vividly describes the counterculture of chinese language goddesses, exhibits that their attention-grabbing tales are alive and lively at the present time, and issues us towards a extra inclusive and being concerned partnership future.” —RIANE EISLER, writer of The genuine Wealth of countries: making a being concerned Economics and The Chalice and the Blade: Our historical past, Our Future

Touching usually tale of China—from Neolithic villages to a globalized Shanghai—this publication ties mythology, archaeology, historical past, faith, folklore, literature, and journalism right into a millennia-spanning tale approximately how chinese language women—and their goddess traditions—fostered a counterculture that thrives and grows better each day.

As Brian Griffith charts the tales of China’s founding moms, shamanesses, goddesses, and traditional heroines, he additionally explores the principally untold tale of women’s contributions to cultural existence within the world’s greatest society and offers notion for all international citizens.

Brian Griffith grew up in Texas, studied historical past on the collage of Alberta, and now lives simply outdoors of Toronto, Ontario. he's an self sufficient historian who examines how cultural historical past affects our lives, and the way collective event deals insights for our future.

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Extra resources for A Galaxy of Immortal Women: The Yin Side of Chinese Civilization

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Other early photographers include Choi Su-Bok, lthough there is no shortage of original A nineteenth-century photographs of many Chang Pyo˘ng-Jin, Oh Pyo˘ng-Do, Yi Song-Yun, Far Eastern countries, Korea is a notable excep- Park P’il-Ho, Park Sam-Sik, Cho˘ng Un-Sang and tion. It is no exaggeration to say, for example, that Yi Hyo˘ng-Nok. for every one Korean print dating from the 1880s, From about 1933, photographic societies began I would expect to see 500 Japanese prints. The to be organized. Amongst these were the All- ratio for the 1870s would be worse, and 1860s Korea Photographic League and the Amateur Korean prints may be non-existent.

Felice Beato. 241 x 285mm, albumen print. 35 36 K o r e a 21. Korean prisoners on board an American ship, June 1871. Felice Beato. 192 x 240mm, albumen print. Right 22. The captured Korean standard taken from the main fort, June 1871. Felice Beato. 228 x 276mm, albumen print. Contact and Conflict 37 38 K o r e a 23. The British Garrison at Port Hamilton on Ko˘mundo island, c. 1885–7. Photographer unknown. 115 x 178mm, albumen print. The occupation of this Korean island was thought necessary to neutralize Russian activity in the area.

Red Cross hospital at Pusan, 1894. Georges Bigot. 135 x 105mm, albumen print. 47 48 K o r e a 34. Chinese and Tonghak prisoners at P’yo˘ngyang, 1894. Georges Bigot. 105 x 135mm, albumen print. The Tonghak movement evolved in 1860 as an anti-foreign organization. But it was not until 1894 that a nationalist uprising broke out. This provoked both Chinese and Japanese involvement in Korea and was the effective cause of the Sino-Japanese War.

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