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Relevant bibliographies by topics / Chinese drama (Tragedy)

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Academic literature on the topic 'Chinese drama (Tragedy)'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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Journal articles on the topic "Chinese drama (Tragedy)"

1

Hu, Jialian. "A Comparative Study of Female Images Between Traditional Drama and Modern DramaTaking Two for the Road and Dou E Yuan as Examples." Communications in Humanities Research 23, no. 1 (2023): 59–65. http://dx.doi.org/10.54254/2753-7064/23/20230602.

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As a mature work of ancient Chinese tragedy, Dou E Yuan not only accuses the cruel reality of disregard for human life, but also has a great influence on later literature and drama. Up to now, it has also appeared as a classic in stage performances, teaching books, etc. Many dramas are deeply inspired by its artistry, theme and realism. The "red literary works" with the same goal as "two for the road" also need a strong political propaganda means to publicize revolutionary thoughts by means of this art form. From the perspective of female images in Dou E Yuan and Two for the Road, this paper c

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2

FINKELBERG, MARGALIT. "ARISTOTLE AND EPISODIC TRAGEDY." Greece and Rome 53, no. 1 (2006): 60–72. http://dx.doi.org/10.1017/s0017383506000039.

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It is no exaggeration to say that Aristotle's Poetics is one of the most influential documents in the history of Western tradition. Not only, after its re-discovery in the early sixteenth century, did it dominate literary theory and practice for no less than three hundred years. Even after it had lost its privileged status – first to the alternative theories of literature brought forth by the Romantic movement and then to the literary theory and practice of twentieth-century modernism – the Poetics still retained its role of the normative text in opposition to which those new theories were bei

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3

Isnaini, Heri. "MISTIK-ROMANTIK PADA NOVEL DRAMA DARI KRAKATAU KARYA KWEE TEK HOAY: REPRESENTASI SASTRA BENCANA." DIALEKTIKA: JURNAL BAHASA, SASTRA DAN BUDAYA 9, no. 1 (2022): 21–32. http://dx.doi.org/10.33541/dia.v9i1.3970.

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Artikel ini membahas konsep mistik-romantik pada tragedi bencana meletusnya gunung Krakatau pada novel Drama dari Krakatau karya Kwee Tek Hoay. Novel ini terinspirasi oleh novel Baron Edward Bulwer-Lytton yang berjudul The Last Day of Pompeii yang diterbitkan tahun 1834. Drama dari Krakatau karya Kwee Tek Hoay disajikan dengan konsep realis yakni dengan menampilkan deskripsi meletusnya gunung Krakatau pada tahun 1883. Artikel ini bertujuan menunjukkan konsep tersebut dengan menganalisisnya berdasarkan tataran tanda dalam konvensi novel. Mistik-romantik dalam novel ini dimaknai sebagai peristiw

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4

Wang, Zimeng. "A Comparative Study on the Compromise and Struggle Between the False Overlord and the Real Concubine in Farewell My Concubine Based on Hegels Tragedy Aesthetics." Communications in Humanities Research 16, no. 1 (2023): 40–45. http://dx.doi.org/10.54254/2753-7064/16/20230079.

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In the study of the text Farewell to My Concubine, most of the studies are on the interpretation of different characters and the direction of drama film art and Chinese literature. The author believes that the tragedy of Different characters in the Farewell to My Concubine tragic theory can be used as a novel and necessary research direction. Hegels Aesthetics Tragic Theory is based on his philosophical theory. He uses conflict and reconciliation, regarding the generation and solving of tragedy as an aliasing uniform dialectical process, having special historical value and research significanc

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5

Jin, Chenyuan. "The symbolism of the mask in the theatrical art of the West and East." Культура и искусство, no. 8 (August 2023): 16–28. http://dx.doi.org/10.7256/2454-0625.2023.8.43584.

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The article examines the ancient and unique culture of the mask, analyzes the features of its perception, understanding and interpretation in different theatrical traditions of the West and East (ancient Greek tragedy, comedy dell'arte, Chinese no-si theater, Peking opera, etc.). Particular attention is paid to how the mask is interpreted and used, based on tradition, to create and enhance stage effects and deepen meaningful symbolism in modern performances. The relevance of this work lies in the typology and classification of common and distinctive characteristics of similar, but at the same

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6

吳承澤, 吳承澤. "台灣冷戰時代的戲劇理論──論姚一葦《美的範疇論》中的政治無意識". 藝術評論 46, № 46 (2024): 001–38. http://dx.doi.org/10.53106/101562402024010046001.

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<p>姚一葦《美的範疇論》是宏大的跨藝術門類美學理論文本，但在〈論悲壯〉章節中的書寫卻完全著眼於戲劇形式的討論，本文認為這部分是姚一葦留下非常具有創見的戲劇理論。事實上，姚一葦此書深受康德（Immanuel Kant）哲學影響，大體上是以康德《判斷力批判》（Critique of Judgement）的審美理論作為普遍性基礎，進行跨中西文化藝術作品的分析。本文關注點在於：雖然《美的範疇論》表面上是一個無時代性的書寫，但本文挪用詹明信（Fredric Jameson）政治無意識（the political unconscious）理論，發現姚一葦戲劇理論的創見，其實某一部分正是反映出其用戲劇理論家身分，參與1950至1970冷戰年代台灣文化界對中國符碼的建構。當時在中華文化復興運動和美援文化所交融的格局下，將西方文化產物調整為一種中國式特色，蔚為一種知識分子潮流。本文將說明：（1）姚一葦《美的範疇論》的論述結構、（2）挪用政治無意識理論，分析冷戰台灣社會的文化風潮與姚一葦理論形式之關係。</p> <p>&nbsp;</p><p>Yao-Yi-Wei&rsquo;s Categories of Beauty is an influential text on the theory of drama and ae

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7

Siti Muslifah, Rustopo, and Sarwanto. "The Existence and Change of Wayang Potehi in Gudo, Jombang." IICACS : International and Interdisciplinary Conference on Arts Creation and Studies 2 (April 6, 2020): 90–95. http://dx.doi.org/10.33153/iicacs.v2i1.21.

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Wayang Potehi is a traditional puppet show art performance originating from Southern China. Performing arts in the form of Chinese puppets that entered the archipelago along with Chinese ethnic immigration from mainland China. There are estimates that the roots of Wayang Potehi have evolved more than 3000 years. Stronger historical evidence showing the existence of the Wayang Potehi in China has existed since the Jin dynasty (265-420 AD). Wayang Potehi in Indonesia at the time had experienced the glory and helped colour the cultural diversity that existed in Indonesia. The political phenomenon

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8

Kopciński, Jacek. "Praca na materii i duchu, czyli co się stało w Ciemnym Lesie." Załącznik Kulturoznawczy, no. 9 (2022): 665–83. http://dx.doi.org/10.21697/zk.2022.9.34.

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The essay is based on interpretation of the Dark Forest, the most important play by Andrzej Stasiuk. In the world of this grotesque-futuristic drama, the author of the sketch found a representation of a paradoxical mechanism, which consists in taking power over Western societies by the inhabitants of the East – previously employed as cheap labour or forced to slave labour. In this play the revolutionary mechanism is shown on the example of relations between Germans and Poles. The Germans are a nation of wealthy and long-lived people, but unable to do any work and internally sterile, and thus e

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9

Jingting, Zhang, and Jia Chao. "Tragedy does not die: Creativity, emotions, and metaphor of revolution in the context of Chinese Revolutionary Drama." Current Sociology, August 23, 2023. http://dx.doi.org/10.1177/00113921231190723.

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The decline of tragedy is one of the greatest tragedies of modernity. While many scholars exclaim that tragedy has been dead, Raymond Williams points out that it is not an eternal metaphysical event, but is plural and dynamic, a series of experiences, a tradition. Williams’ rethinking of tragedy provides a historical perspective on the cultural meanings. What matters are the traditions, emotions, and experiences of the time in which the tragedy is set, and the superimposed series of accidents and imbalances that create this type of tragic experience. That is, tragedy is not a static narrative

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10

Liu, Fan. "Tragedy and Tender Beauty: Exploring the Tradition of Kuqing in the Chinese Film School." Journal of Chinese Film Studies, April 29, 2024. http://dx.doi.org/10.1515/jcfs-2024-0015.

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Abstract Films such as An Orphan Rescues His Grandpa (Guer Jiuzuji, 1923), New Women (Xin Nüxing, 1935), Hibiscus Town (Furong Zhen, 1987), Nuan (Nuan, 2003), and Sister (Wode Jiejie, 2021) demonstrate that, over a century of development, Chinese cinema has crafted a distinctive and significant lineage of kuqingxi (苦情戏, tragic drama with Chinese characteristics). This lineage not only preserves but consistently maintains the kuqing (苦情, a literary and artistic style that signifies tragedy in China) narrative tradition intrinsic to Chinese storytelling, culminating in a unique national aestheti

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Dissertations / Theses on the topic "Chinese drama (Tragedy)"

1

"Convergence and divergence: a comparative study of myth and tragic in Jiuge and Agamemnon." 1999. http://library.cuhk.edu.hk/record=b5890040.

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Books on the topic "Chinese drama (Tragedy)"

1

Zhang, Xuejing. Jiao hong ji =: Golden boy and jade maiden. New World, 2002.

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2

Yongyi, Zeng, ed. Zhongguo bei ju mei xue shi. Guo jia chu ban she, 2010.

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3

1306-1359, Gao Ming approximately, та Rui'an Shi (China), ред. 古本琵琶記匯編. Zhonghua shu ju, 2007.

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4

Zhong, Yuan. L'eventail aux fleur de pêcher: Recueil des trage̓dies de la Chine antique. Editions en Langues Etrangeres, 2002.

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5

Euripides. Ippolito. C. Signorelli, 2004.

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Euripides. Hippolytos. Clarendon, 1992.

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Euripides. Ippolito. Biblioteca universale Rizzoli, 2000.

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Euripides. Hippolytos. Oxford University Press, 1992.

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9

Shakespeare, William. Amleto: Otello ; Macbeth ; Re Lear. Garzanti, 1988.

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10

Shakespeare, William. Hamlet / Macbeth / King Lear / Othello. Longmeadow Press, 1995.

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