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Partition Partitioning is the act of dividing a unit into its components.

The parts do not have necessarily had anything in common beyond the fact that they belong to the same unit. A hammer may be partitioned into head and handle. Hammers may be logically divided according to physical characteristics of their heads as claw, ball peen, and so forth. Classification, or logical division, always deals with several (at least two) units. Partition deals with the parts of only one unit. A hammer is a single unit. A hammer head without a handle is not a hammer. The head and the handle are parts of a single unit. You have probably become familiar with a variety of partitioning in a chemistry course when you determine the components of a chemical compound. A Note on Partition Earlier we defined the term "partition"; now we will comment briefly on the use of partition in exposition. Classification, as we have seen, is a method of analysis ( and exposition) that deals with plural subjects. You can classify houses, for instance, by considering them from the point of view of architectural style, principal material of construction, number of rooms, and so on. But you cannot classify a house except in the sense of putting it into its proper place in a classification that deals with houses. You can analyze a particular house, however, by naming and discussing its parts: foundation, floors, walls, and so on. This analytical treatment of a single thing (idea, mechanism, situation, substance, function) is called "partition," or simply "analysis." As you know, it is a familiar and useful way of dealing with a subject. The seven classification rules that were discussed also apply to partitioning. You don't need to be urged to break down a subject for purposes of discussion. You would do it anyway, since it is a natural, almost inevitable, method of procedure. After all, a writer is forced into subdividing subject matter for discussion because of the impossibility of discussing a number of things simultaneously. Partitioning Partitioning refers to describing an object. If a document must be written about a bicycle, a writer may divide the description into the smaller parts of the bicycle. A writer may first describe the braking system, then the gear system, then the frame, seat, and tires. By dividing the document into smaller parts, information becomes easier to locate and the document becomes more useful to the reader. [edit]Guidelines for Describing an Object 1. 2. 3. 4. 5. Choose a principle of classification suited to your readers and purpose. Use only one basis for partitioning at a time. Arrange the parts of your description in a way your readers will find useful. When describing each part, provide details that your readers will find useful. Include graphics if they will help your readers understand and use your information about the object. Partition- the analysis that divides a singular item into aspects, parts or steps. Only singular subjects (a concrete subject like a tree) and an abstract subject(like inflation) can be partitioned. examplefreudian theory and "product personality"

"Yijing/ I Ching/ Book of Changes" (9## BC) "Shijing/ Shih Ching/ Book of Odes/Songs" (China, 9## BC) [p] "Shujing/ Shu Ching/ Book of History" (China, 9## BC) Sun Tzu (China, 5## BC): "The Art of War" (5##) [h] Confucius (China, 5##): "Lun Yu/ Analects, first classic of Confucianism" (4##) [h] Laozi/ Lao Tzu (China, 5## BC): "Dao-te Ching/ The Virtue of the Way, first classic of Daoism" (4##) [h] Sima Qian/ Ssu-ma Ch'ien (China, 4##): "Shih Chi/ Records of the Grand Historian" (4## BC) [h] Mengzi/Mencius (China, 371 BC): "Mengzi/ Mencius, fourth classic of Confucianism" (3##) [h] Qu/Chu Yuan (China, 340 BC): "Chu Ci/ Songs of Chu" (3## BC) [p] Qu/Chu Yuan (China, 340 BC): "Li Sao" (3## BC) [p] + Qu/Chu Yuan (China, 340 BC): "Elegies of Chiu Tzu I: Encountering Sorrow" (3## BC) [p] Song Yu (China, 3## BC): "Chu Ci/ Songs of Chu" (3## BC) [p] Zhuangzi/ Chuang Tzu "Zuangzi/ Chuang Tzu", second classic of Daoism (China, 33# BC) [h] "Zuo Zhuan/ Tso Chuan/ History of Tso" (China, 2##) [h] "Kung-yang Chuan/ History of Kung-yang" (China, 2##) [h] Sung Yu (China, 2## BC): "Elegies of Chiu Tzu: Nine Arguments" (2## BC) [p] "Daxue/ Great Learning", second classic of Confucianism (China, 2## BC) [h] "Zhongyong/ Doctrine of the Mean", third classic of Confucianism (China, 2## BC) [h] Ssu-ma Hsiang-ju (China, 179 BC): "Poems from the Han Shu" (1## BC) [p] Mei Ch'eng (China, 1## BC): "Poems from the Han Shu" (1## BC) [p] "Elegies of Chiu Tzu" (China, 1## BC) [p] Jiao Yanshou/ Jiao Shi (China, ## BC): "Yi Lin/ Forest of Changes" (25 BC) [p] "Zhan Guo Ce/ Chan-kuo Tse" (China, 8# AD) [h] "Liezi/ Lieh-tzu, third classic of Daoism" (30# AD) [h] Tsao Tsao (China, 155): "Poems" (220) [p] Gan Bao/ Kan Pao (China, 2##): "Sou-shen Chi/ The Girl-Eating Serpent" (31#) Tao Chien/Tao Qian/ Tao Yuan-ming (China, 365): "Taohua Yuan Ji / Peach Blossom Spring" (4##) Tao Chien/Tao Qian/ Tao Yuan-ming (China, 365): "Poems" (427) [p] Chang Wen-cheng/Zhang Zhuo (China, 65#): "You Xianku/ The Dwelling of Playful Goddesses" (67#) Wang Wei (China, 699): "Landscape Poems" (7##) [p] + Li Bai/Li Tai Pe/ Li Po (China, 701): "Poems" (7##) [p] + Du Fu/ Tu Fu (China, 712): "Poems" (7##) [p] + Han Yu (China, 768): "Poems" (824) [p] Po Chu-i/ Bai Juyi (China, 772): "Poems" (8##) [p] Liu Zongyuan/ Liu Tsung-yuan (China, 773): "Poems" (819) [p] Li Shang-yin (China, 813): "Poems" (8##) [p] Li Fu-yen (China, 83#): "Tales" (8##) Wei Chuang (China, 836): "Poems" (910) [p] Yu Xuanji/ Yu Hsuan-chi (China, 844): "Poems" (8##) [p] Li Yu/ Hou Chu (China, 937): "Poems" (978) [p] Ou Yangsu/ Ouyang Hsiu (China, 1007): "Zuiweng Tingji/ Regarding the Pavilion of The Old Drunkard" (10##) [h] Ssu-ma Kuang (China, 1019): "Tzu-chih T'ung-chien/ Comprehensive Mirror for Aid in Government" (10##) [h] Wang Anshih (China, 1021): "Shi Poems" (1086) [p] Su Shih/ Tung-po/ Su Dongpo (China, 1036): "Tzu Poems" (1101) [p] Li ChingChao (China, 1081): "Poems" (1149) [p] + Zeng Gong (China, 1019): "Poems" (1083) [p] Cheng Chiao (China, 1104): "Shih-tung" (11##) [h] Zhu Xi/ Chu Hsi (China, 1130): "Essays" (11##) [h] Wang Shih-Fu (China, 1206): "Hsi-hsiang Chi/ The Romance of the West Chamber" (12##) [t] + Ma Chih-yuan (China, 127#): "Huangliang Meng/ The Yellow-millet Dream" (13##) [t] Ma Chih-yuan (China, 127#): "Han Kung Chiu/ Autumn in the Palace of the Han" (129#) [t] + Shih-Naian (China, 129#): "Shuihu Zhuan/ Shui-hu chuan/ Water Margin/ All Men Are Brothers/ Rebels of the Marsh" (13##) + Kao Ming (China, 13##): P'i-p'a chi" (13##) [t] Song Lian (China, 1310): "Guwen Prose" (1381) [h] Lo Kuan-chung/ Luo Guanzhong (China, 1330): "San-kuo chih yen-i/ Sanguo Yamyi/ Romance of the Three Kingdoms" (137#) + Gao Qi (China, 1336): "Poems" (1374) [p] +

Wu Chengen (China, 1506): "Xiyou Ji/ Hsi-yu chi/ Journey to the West" (15##) + "Luo Maodeng (CHina, 15##): "Xiyangji/ Adventures in the Western Ocean" (159#) "Ruyijun Zhuan/ Lord of Perfect Satisfaction" (152#) Liang Chenyu (China, 1519): "Huanshaji/ Washing the Silken Gauze" (15##) [t] Wang Shih-chen (China, 1526): "Poems" (1590) [p] Xu Zhonglin (China, 15##): "Fengshen Yanyi/ The Creation of the Gods" (155#) + Tu Long (China, 1542): "Tan Hua Ji/ The Story of Udumbara" (15##) [t] Tang Hsien Tzu/ Xianzu (China, 1550): "Ma-tan ting/ Peony Pavilion" (1588) [t] + Lanling Xiaoxiaosheng or Tang Hsein-tsu (China, 1550): "Chin Ping Mei/ Jin Ping Mei/ Golden Lotus/ The Plum in the Golden Vase" (159#) + Yuan Hongdao/ Yuan Hung-tao (China, 1568): "Poems" (1610) [p] Feng Meng-lung (China, 1574): "San Yan" (16##) Wen Zhenheng (China, 1585): "Zhang Wu Zhi/ Treatise on Superfluous Things" (1627) [h] Zhang Dai/Chang Tai (China, 1597):"Tao An Meng Yi/ Taoan Mengi/ Reminiscences in Dreams of Tao An" (166#) [h] Li Yu/ Li Liweng (China, 1610): "Rou Putuan/ The Carnal Prayer Mat" (1657) Mao Hsiang/Xiang (China, 1611): "Yingmeian Iyu/ Reminiscences" (16##) [h] Yu Huai (China, 1616): "Banqiao Zaji/ Miscellaneous Records of Banqiao" (16##) [h] Pu Songling/ Sung-ling (China, 1640): "Liao-chai Chih-i/ Strange Stories from an Eccentric's Studio" (171#) Hung Sheng (China, 1645): "Ch'ang-sheng Tien/ The Palace of Eternal Youth" (16##) [t] Fang Pao (China, 1668): "Essays" (1749) [h] Xi Zhou Sheng (China, 16##): "Xing Shi Yin Yuan Zhuan/ The Story of a Marital Fate to Awaken the World" (17##) Kong Shangren/ Kung Shan-jen/ Kung Shang-Ren (China, 1648): "Tao-hua Shan/ Peach Blossom Fan" (17##) [t] + Wu Jingzi/ Wu Ching-tzu (China, 1701): "Ju-lin Wai-shi/ The Scholars" (174#) Cao Xueqin/ Tsao Chan (China, 171#): "Hong-lou Meng/ The Dream of the Red Chamber/ Story of the Stone/ Chronicles of the Stone" (China, 17##) ++ Yuang Mei (China, 1716): "Poems" (1797) [p] Shen Fu (China, 1763): "Fu-sheng Liu-chi/ Six Records of a Floating Life" (18##) Li Juchen (China, 1763): "Ching-hua Yuan/ Jinghuayuan/ Flowers in the Mirror" (1828) Han Bangqing (China, 1856): "The Sing-song Girls of Shanghai" (1892) Liu E/O (China, 1857): "Lao Tsan Yu-chi/ The Travels of Lao Tsan" (1906) Wu Wo-yao (China, 1867): "Chiu-ming Chi-yuan/Jiuming qiyuan/ A Strange Case of Nine Murders" (190#) Wu Wo-yao (China, 1867): "Ershinian Mudu Zhi Guai Xianzhuang/ Bizarre Happenings Eyewitnessed In Two Decades" (190#) Lu Hsun/Xun (China, 1881): "Kuangjen Jih-chi/ Diary of a Madman" (1918) Lu Hsun/Xun (China, 1881): "Yao/ Medicine" (1919) Lu Hsun/Xun (China, 1881): "A Q Zhengzhuan/ The True Story of Ah Q" (1921) + Lu Hsun/Xun (China, 1881): "Ku-hsiang/ Native Village" (1923) Lu Hsun/Xun (China, 1881): "Panghuang/ Wandering" (1926) Lu Hsun/Xun (China, 1881): "Gushi Xinbian/ Old Tales Retold" (1935) Su Manshu (China, 1884): "Duan Hong Ling Yan Ji/ The Lone Swan" (1924) Hu Shih (China, 1891): "Chung-shen Ta-shih" (1919) [t] Guo Moruo/ Kuo Mo Jo (China, 1892): "The Goddesses" (1921) [p] Ye Shengtao (China, 1894): "Ni Huanzhi/ The Name of the Character" (1928) Mao Dun/Tun (China, 1896): "Shi/ Eclipse" (1928) Mao Dun/Tun (China, 1896): "Hong/ Rainbow" (1929) Mao Dun/Tun (China, 1896): "Ziye/ Midnight" (1933) + Xu Zhimo/ Hsu Chih-mo (China, 1896): "Poems" (1931) [p] Yu Dafu/ Yu Ta-fu (China, 1896): "Chen-lun/ Sinking" (1921) Wen Yiduo/ Wen I-tuo (China, 1898): "Ssu Shui/ Dead Water" (1928) [p] Zhu Ziqing (China, 1898): "Huimie/ Destruction" (19##) [p] Lao She (China, 1899): "Luotuo Xiangzi/ Camel Xiangzi/ Rickshaw Boy" (1937) + Lao She (China, 1899): "Cat Country" (1932) Lao She (China, 1899): "Teahouse" (1957) [t] Bing Xin/ Ping-hsin (China, 1900): "Chunshui/ Spring Water" (1923) [p] Bing Xin/ Ping-hsin (China, 1900): "Liu-i Chieh" (1924) Shen Congwen (China, 1902): "Ch'ang Ho/ The Long River" (194#) Youstol Dispage (1903): "Piero Scaruffi" (1939) [p] Ba Jin/ Li Yaotang/ Pa Chin (China, 1904): "Jia/ Family" (1931) + Ba Jin/ Li Yaotang/ Pa Chin (China, 1904): "Qiu/ Autumn" (1940)

Ba Jin/ Li Yaotang/ Pa Chin (China, 1904): "Bitter Cold Nights" (1947) Ting/Ding Ling (China, 1904): "Sha-fei Nu-shih Ti Jih-chi/ The Diary of Miss Sophie" (1927) Ting/Ding Ling (China, 1904): "T'ai Yang Chao Tsai Shanggan Ho Shang/ The Sun Shines on the Shanggan River" (1948) + Zhao Shuli/ Chao Shu-li (China, 1905): "San-li Wan" (1955) Cao Yu/ Tsao Yu (China, 1910): "Leiyu/ Thunderstorm" (1933) [t] + Cao Yu/ Tsao Yu (China, 1910): "Richu/ Sunrise" (1936) [t] Cao Yu/ Tsao Yu (China, 1910): "Beijing Ren/ Peking Man" (1940) [t] + Qian Zhongshu (China, 1910): "Wei Cheng/ Fortress Besieged" (1947) He Qifang (China, 1912): "Poems" (1977) [p] Liu Baiyu/ Liu Pai-yu (China, 1915): "Di er ge tai yang" (1987) Lin Haiyin (China, 1918): "Chengnan Jiushi/ My Memories of Old Beijing" (1960) Eileen Chang (China, 1920): "Qing Cheng Zhi Lian" (1984) Po Yang (China, 1920): "Ch'ou Lou Ti Chung-kuo Jen/ The Ugly Chinaman" (1992) [h] Li Chi (China, 1921): "Wang Kuei Yu Li Hsiang-hsiang" (1944) Louis Cha/ Zha Liangyong/ Jinyong (China, 1924): "The Legend of the Condor Heroes" (1957) Hualing Nieh (China, 1925): "Sang Ch'ing Yu T'ao Hung/ Mulberry and Peach" (1981) Wang Meng (China, 1934): "Tsu Chih Pu Hsin Lai Ti Nien Ch'ing Jen/ A Young Man Arrives at the Organization Department" (1956) Zhang Xianliang/ Chang Hsien-liang (China, 1936): "Nanren de Yiban Shi Nuren/ Half of Man is Woman" (1985) Bai Xianyong/ Pai Hsien-yung (China, 1937): "Jin Daban de zuihou yi ye/ The Last Night of Jin Daban" (198#) Bai Xianyong/ Pai Hsien-yung (China, 1937): "Taipei Jen/ Taibei Ren" (1971) Gao Xingjian/Xingjian (China, 1940): "Signal Alarm" (1982) [t] + Gao Xingjian/Xingjian (China, 1940): "Bus Stop" (1983) [t] + Gao Xingjian/Xingjian (China, 1940): "Wild Man" (1985) [t] Gao Xingjian/Xingjian (China, 1940): "A Pigeon Called Red Beak" (1985) Gao Xingjian/Xingjian (China, 1940): "The Other Shore" (1986) [t] Gao Xingjian/Xingjian (China, 1940): "Soul Mountain" (1989) ++ Gao Xingjian/Xingjian (China, 1940): "Fugitives" (1990) [t] Feng Jicai (China, 1942): "Three Inch Golden Lotus" (1985) Liu Hsin Wu (China, 1942): "The Main Professor" (1977) Bei Dao (China, 1949): "Notes From the City of the Sun" (1983) Bei Dao (China, 1949): "Waves" (1987) Bei Dao (China, 1949): "The August Sleepwalker" (1988) Bei Dao (China, 1949): "Forms of Distance" (1994) Jia Pingwa (China, 1953): "The Turbulence" (1991) Jia Pingwa (China, 1953): "Fei Du/ The Ruined Capital" (1993) Mo Yan (China, 1955): "Honggaoliang Jiazu/ Red Sorghum" (1986) + Mo Yan (China, 1955): "Big Breasts and Wide Hips" (1996) + Mo Yan (China, 1955): "Life and Death Are Wearing Me Out" (2008) Tie Ning (China, 1957): "The Red Shirt Without Buttons" (1984) Wang Shuo (China, 1958): "Playing for Thrills" (1989) Yu Hua (China, 1960): "To Live" (1992) Yu Hua (China, 1960): "Chronicle of a Blood Merchant" (1995) Su Tong (China, 1963): "Rice" (1995) Su Tong (China, 1963): "Wives and Concubines" (1990) +

Ba Jin

Ba Jin (Chinese:) was a famous writer in China. Originally named Li Yaotang, also known as Li Fugan, and pennames such as Yu Yi, Wang Wenhui, Ouyang Jingrong, etc., he was born on November 25, 1904 in Chengdu, Sichuan Province, into an official's family from Jiaxing, Zhejiang Province. He received a good education under private tutorship. The May 4th Movement in 1919, however, imbued him with both anarchic and democratic ideas. The following year, he studied English at Chengdu Foreign Languages School ad helped established The Waxing Moon, a magazine, and the Equality Society, both of which served as a forum for anti-feudalistic activities. In 1922, he made his debut as a writer in vernacular Chinese, one of which was entitled "The Wail of the Oppressed." Upon graduation from the languages school in 1923, he moved to Shanghai, but very soon left for Nanjing, where he entered the preparatory school affiliated with the Southeast China University. During the two-year course of study he wrote and translated several articles on anarchism. In 1927, he went to France, where he wrote Destruction, his first short novel that portrays a young anarchist who feels depressed after suffering several setbacks. It appeared in China in 1929 as a serial in The Short Story Monthly and attracted much attention. Late in 1928, Ba Jin returned to Shanghai and devoted most of his time to writing. In 1930, he published the short novel The Dead Sun, a re-creation of the events of the May 30th Incident in 1925. New Life, a companion piece to Destruction, appeared two years later and, around the same time, he wrote The Antimony Miners and The Sprouts, both based on life in the mines. His trilogy of love, Fog, Rain and Lightning, written between 1931 and 1933, describes the development of a group of young intellectuals who devote themselves to the cause of revolution. His masterpiece Family, the first book in the trilogy Torrent, was published in 1931 as a serial in the daily Times. Based on the decline and fall of a feudal clan after the May 4th Movement, the novel predicts the inevitable passing of feudalism. The novel is considered not only Ba Jin's best, but also one of the best modern Chinese literature. In 1934, Ba Jin served on the editorial committee of Literature Quarterly published in Beijing and acted as co-editor with Bian Zhilin of the magazine Mercury. In autumn, he sailed to Japan and returned to Shanghai the following year. he was commissioned to be editorin-chief of the Cultural Life Press in Shanghai, responsible for publishing the Literary Works series and the Cultural Life series, in addition to an abridged version of the former. In 1936, he set up Literature in Season, a monthly, with the help of Jin Yi. Shortly afterwards, he joined with Lu Xun and others in publicizing both the "Manifesto of Writers and Artists of China" and the "Manifesto of the Literary and Artistic Circles for Freedom of Speech and for Union Against Invasion." During the War of Resistance Against Japan, Ba Jin moved from place to place, including Shanghai, Guangzhou, Guilin and Chongqing. While on the move, he continued as a council member of the All-China Resist-theEnemy Federation of Writers and Artists, and was founder and editor-in-chief of Battle Cry (later renamed Beacon Fire), a weekly, as well as editor of the Belles-letters Library. The other two novels of the Torrenttrilogy, Spring and Autumn, were published in 1938 and 1940, respectively. The novel Fire, a trilogy of the War of Resistance Against Japan and his novelettes The Garden of

Repose and Ward No. 4 were all published in the 1940s, as was Cold Nights. It describes the tragedies a young couple suffered under the old regime. After the War of Resistance Against Japan, Ba Jin spent most of his time translating, editing and publishing both classical and modern works, which included The Raining Night-fall, a short story collection by Bi Huanyu, La Grande Revolution and La Conquete du pain, both by P. A. Kropotkin, Fathers and Sons by I. S. Turgenev, and The Happy Prince by O. Wilde. A versatile writer, Ba Jin also wrote a variety of short stories, including "God, Ghost, and Man" (1935), a satire on worldliness, and "The Soul-reviving Grass" (1942), about the crimes of violence committed by the invading Japanese troops, "The General" (1934), "A Fall from Virtue" (1936), and "Thunderbolt" (1937). In addition, Ba Jin began in 1927 and continued throughout his life to write lucid, simple non-fiction. An enumeration of his prose works suggest the annual rings of his literary career. "A Sketch Dashed Off at Sea" (1932) marks the author's grand tour when he was in his prime. The ensuing agonies of life contributed to the creation of works like "Confessions" (1936), "Dream and Drunkenness" (1938), "No Subject" (1941), "Remembrance" (1945), and "Longing for" (1947), until in 1986 his "A Dream of Ten Years" appeared. Ba Jin attended the First National Congress of Chinese Literature and Art Workers in 1949 and was elected a member of the permanent committee of the newly established China Federation of Literary and Art Circles. The following year, he became chairman of the Federation's Shanghai branch. During the Korean War, he twice visited the battlefield, and wrote two books based on his experiences, Living Amongst Heroes (1953) andDefenders of Peace (1954). He was elected vice-chairman of both the China Federation of Literary and Art Circles and the Chinese Writers' Association in 1960. However, he suffered from cruel persecution during the Cultural Revolution. In 1978, a number of his essays were published in serial form under the title Random Thoughts in L'impartiale, Hong Kong. In 1985, he proposed the Modern Chinese Literary Archives be established. A man of world renown, Ba Jin won honor for his literary achievements in various fields and many of his works have been translated into foreign languages. He was awarded France's Legion Honor and the Honorary Doctor of Letters degree from the Chinese University of Hong Kong, and was a Fellow of the American Academy of Arts and Letters. Ba Jin passed away on October 17, 2005. His main works include Destruction (1929), The Dead Sun (1930), Family (1931), Fog (1931), Rain (1932), Autumn in Spring (1932), The Antimony Miners (1932), New Life (1932), "The General" (1934), Spring (1936), "Star" (1937), Autumn (1939), The Garden of Repose (1944), Cold Nights (1946), Living Amongst Heroes (1954), "A Moonlit Night" (1962), "The Heart of a Slave" (1979), "Rain" (1984), "The Electric Chair"(1984), "Piglet and Chickens", "Sinking Low", "Nanny Yang", and "Mona Lisa" (1987).