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Journal articles on the topic 'Dramatists, Chinese'
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1
Howard, Roger. "‘The Dramatic Sense of Life’: Theatre and Historical Simulation." New Theatre Quarterly 1, no. 3 (August 1985): 262–70. http://dx.doi.org/10.1017/s0266464x00001640.
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Many dramatists have written of the world as a stage: less attention has been paid to the consequent effects upon the ‘leading players’ – the politicians who readily enough cast themselves as heroes, and consign others to the roles of villains or at best supernumeraries. Roger Howard argues that on the contemporary ‘world stage’ events all too often take the form of simulations, in which ordinary people must take their allotted parts – or face the coercion or punishment of the state. He looks also at theatre practitioners from the Japanese actor Zeami to Schiller to Heiner Müller who have, for better or worse, examined the nature of the ‘dramatic sense of life’. Roger Howard, who presently teaches in the Department of Literature at the University of Essex, is himself a widely performed playwright, currently working with Theatre Underground, and has written extensively on Chinese theatre and political playwriting, most recently as a contributor toContradictory Theatres, for imminent publication from Theatre Action Press.
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李玉童, 李玉童. "由夢生情──從明代戲曲版畫中的女性凝視論男性慾望之投射." 明代研究 39, no. 39 (December 2022): 101–52. http://dx.doi.org/10.53106/160759942022120039004.
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<p>本文以明代印行的戲本為主要研究對象，探討晚明的戲曲家與發行商如何運用及闡釋男性夢境（dreamscape），以創造兩性的情感空間。夢境作為諸多中國古代戲劇文學的重要情節之一，以各種形式多次被呈現於舞台上與話本中。筆者以《梧桐雨》、《西廂記》、《漢宮秋》、《揚州夢》等戲劇作為研究文本，探討明代刊物中以男性為主體的夢境插圖。本文首先闡述元明戲劇中塑造男性夢境最常見的兩種模式：其中一種夢境時光回溯到離別發生前更早的節點，第二種夢境則塑造一個替代腳本（alternative scenario），合理地消解現實的悲劇。其次，本文以圖像為中心，重點討論其中「女性凝視」（female gaze）的母題如何使男性夢境中的女方由慾望的客體轉為視覺上的主體。通過描繪女性穿越夢境與現實的視線，這些明代戲劇插圖成為一種對同時代男性文人被欲求之渴望的顯像。</p> <p> </p><p>This article focuses on how late Ming dramatists and publishers employed and interpreted dreamscapes to create affective realms. The literary trope of dreams features prominently on the theatrical stage and in the pages of illustrated publications of playscripts. This article examines the illustrations of male dreamscapes in such Ming dynasty theatrical texts as Autumn Nights for the Tang Emperor: Rain on the Parasol Trees, Romance of the Western Chamber, Sorrow in the Han Palace, and Dream of Yangzhou. This article first discusses the two most common modes of male dreamscape in Yuan and Ming operas. The first mode introduces a dream scenario as a means to recall a happier moment from earlier in the play, and the second mode imagines a new alternative reality that functions to supplant the more tragic circumstances depicted in the main storyline. Centered upon images, this study then elaborates on how the motif of the female gaze is used by male playwrights to visually transform female characters from an object of desire to a desiring subject. Through the depiction of the female gaze which traverses the boundary between dream and reality, these Ming illustrations became sites for men within and outside of the play to project their desire of being desired.</p> <p> </p>
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Li, Shuangyi. "Novel, Film and the Art of Translational Storytelling: Dai Sijie's Balzac et la petite tailleuse chinoise." Forum for Modern Language Studies 55, no. 4 (July 13, 2019): 359–79. http://dx.doi.org/10.1093/fmls/cqz019.
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Abstract This article examines the novel and film Balzac et la Petite Tailleuse chinoise, by the Franco-Chinese writer and filmmaker Dai Sijie, the story of which takes place against the background of the Cultural Revolution. The first part of my analysis will make clear how the film illuminates and dramatizes the special texture, aesthetic and structure of the novel, highlighting the cinematic sensibility of Dai’s literary aesthetic. I then move on to investigate the linguistic aspects of the various translations between the novel and the film in French, Mandarin Chinese and Sichuanese. The aesthetic effects of dubbing, in particular, will allow me to investigate new possibilities of reading exophone literature. Finally, this paper highlights the central role of oral storytelling in the Chinese tradition in/through various forms of translation: interlingual as well as intermedial. In so doing, this article aims to add nuance to and enrich current debates on issues such as intercultural misreading and exoticism in Dai’s works.
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Berg, Daria. "Reformer, Saint, and Savior: Visions of the Great Mother in the Novel Xingshi Yinyuan Zhuan and Its Seventeenth-Century Chinese Context." NAN NÜ 1, no. 2 (1999): 237–67. http://dx.doi.org/10.1163/156852699x00027.
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AbstractThe theme of the Great Mother emerges as a leitmotif in the seventeenth-century vernacular Chinese novel Xingshi yinyuan zhuan. This paper analyzes the portrayal of the protagonist Mme. Chao as a mother-figure, her transformation from a virtuous widow to a local leader, and her posthumous apotheosis, while placing her representation within the literary and historical context of the novel. The characterization of Mme. Chao as a reformer, saint, and savior in times of disaster dramatizes a millenarian ambience that appears to have prevailed during the last years of the Ming dynasty, reflecting the apprehension of the apocalypse and the search for a new kind of moral leadership.
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Yang, Shu. "I Am Nora, Hear Me Roar: The Rehabilitation of the Shrew in Modern Chinese Theater." Nan Nü 18, no. 2 (February 20, 2016): 291–325. http://dx.doi.org/10.1163/15685268-00182p04.
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This article analyzes how the “new woman plays” written by the modern dramatist Ouyang Yuqian (1889-1962) in the 1920s weave together the old trope of the shrew with his constructions of the Chinese Nora promoted by May Fourth ideology. Of particular interest is how Ouyang reworked the traditional Pan Jinlian story in his eponymous play to rehabilitate the most notorious shrew from late imperial literature into a modern Nora. The article goes on to examine the performances of Nora by Lan Ping, later known as Jiang Qing (1914-91), in the 1930s. It analyzes the public reception of Lan Ping’s deployment of old and new female types when she played a forceful Nora on and off the stage. This study claims that cultural interest in the traditional shrew did not die with the collapse of imperial China. Rather, modern cultural figures redeemed formerly denounced shrew attributes and revived the shrew as a positive model for female empowerment in their constructions of the “new woman.”
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Wang, Aiqing. "Cultural Allusions and Humorous Effects of Occult Depictions in Night Ferry." Anaphora: Journal of Language, Literary and Cultural Studies 4, no. 2 (January 27, 2022): 139–61. http://dx.doi.org/10.30996/anaphora.v4i2.5805.
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??? Yehang Chuan ‘Night Ferry’ is an encyclopaedic masterpiece and the chef-d’oeuvre of ?? Zhang Dai (circa 1597-1689), an illustrious historian, poet, dramatist, essayist, aesthete, musician and gastronomist in late Ming and early Qing China. Night Ferry cumulates more than four thousand entries and encompasses a veritable cornucopia of topics in an elephantine range. In this research, I investigate Chapter Twenty ?? Fang Shu ‘Alchemy and Sorcery’ of Night Ferry, which comprises Section ?? Fu Zhou ‘Amulets and Incantations’ and Section ?? Fang Fa ‘Prescriptions and Practices’. Both sections abound with depictions pertaining to occult acts and paranormal forces, the vast majority of which embody cultural allusions concerning religion, divination and patriarchy. Furthermore, Chapter ‘Alchemy and Sorcery’ is featured by humorousness, though Night Ferry is not a dedicated jestbook. The humorous effect in Night Ferry is not attained via sarcasm or homo-/hetero-erotism, as manifested by derisive and prurient jokes compiled in a renowned pre-modern jestbook entitled ????Xiao Lin Guang Ji ‘A Collection of Classic Chinese Jokes’.
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Moss-Wellington, Wyatt, Ming-Yeh T. Rawnsley, and Yat Ming Loo. "Screening the Port City: Poetics and Promotions." Genre 55, no. 2 (July 1, 2022): 85–115. http://dx.doi.org/10.1215/00166928-10001336.
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Abstract This article contrasts a range of films from around the world that take place within port cities. It presents the port city film as a case of transnational “geographic imaginary” that dramatizes spaces of contact across lifeworlds. The authors find that there are two primary narrative modes in the port city film: a dominant mode in which gender, ethnic, class, and other identities bestowed by the geographic imaginary become inescapable, and a resistant or transformative mode in which characters are offered the opportunity to locate a new identity within a world of ephemeral relationships. Themes of criminality, poverty, and urban constituents struggling for personal agency, however, run counter to many city-branding narratives. The article concludes by comparing these fictional representations to a number of promotional and nonfictive examples of Chinese and British port city representations offering a very different vision of transnational contact—one that emphasizes a nation-building and growth “cleaned” of the human struggles for hybrid identity so vividly dramatized across port city fictions.
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Ying, Lei. "Between Passion and Compassion: The Story of the Stone and Its Modern Reincarnations." Religions 12, no. 1 (January 17, 2021): 62. http://dx.doi.org/10.3390/rel12010062.
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This study reconsiders The Story of the Stone as a literary exemplum of the “Buddhist conquest of China.” The kind of Buddhism that Stone embodies in its fictional form and makes indelible on the Chinese cultural imagination simultaneously indulges in and wavers from the Mahāyāna teachings of the nonduality of saṃsāra and nirvāṇa. The dialectics of truth and falsehood, love and emptiness, passion and compassion, which Stone dramatizes and problematizes, continues to stir the creative impulses of artists in revolutionary and post-revolutionary China. This study features three of Stone’s modern reincarnations. Tale of the Crimson Silk, a story by the amorous poet-monk Su Manshu (1884–1918), recasts at once the idea of Buddhist monkhood and that of “free love” in early Republican China. In Lust, Caution, a spy story by the celebrated writer Eileen Chang (1920–1995), a revolutionary heroine is compelled to weigh the emptiness/truth of carnal desire against the truth/emptiness of patriotic commitment. Decades later, love and illusion dwell again at the epicenter of a fallen empire in the director Chen Kaige’s (b. 1952) 2017 film, The Legend of the Demon Cat, in which an illustrious poet sings testimony to the (un)witting (com)passion of a femme fatale.
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Fox, Ariel. "Exit, Pursued by a Bear: Dushu sheng and the Limits of Community in the Early Qing." Journal of Chinese Literature and Culture 7, no. 1 (April 1, 2020): 149–66. http://dx.doi.org/10.1215/23290048-8313559.
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Abstract This article explores the late imperial imagination of the nonhuman other by way of a curious creature that appears in the southern drama Dushu sheng. Midway through the play, set in the early years of the Yuan dynasty, the young literatus protagonist is abandoned on a remote island, where he is rescued by a renxiong, a fierce yet empathetic bear-like creature that takes him as its mate. Though short-lived, their union is one of several in the play in which marginal characters are brought into the (narrative and imperial) center through marriage: by the end of the play, the protagonist is wed to both the daughter of a boatman and the daughter of a Mongol official. But while this double marriage offers the possibility of a productive overcoming of the distinctions between scholar and merchant and between Chinese and barbarian, the tragic fate of the renxiong forecloses any possibility of overcoming that which divides man and beast. Rather, as the human community is expanded to include merchant and Mongol, the renxiong serves as the necessary limit, allowing the play to rescue these social and ethnic others from baseness and barbarity. At the same time, the exclusion of the renxiong from this new community is not untroubled; in resisting the genre's compulsive imposition of wholeness, Dushu sheng dramatizes the fractures and exclusions that made possible the restoration of order in the early Qing.
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Zhao, Xiaohuan. "From Story to Script: towards a Morphology of The Peony Pavilion––a Dream/ Ghost Drama from Ming China." Acta Orientalia Vilnensia 7, no. 1-2 (January 1, 2006): 189–208. http://dx.doi.org/10.15388/aov.2006.3762.
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University of Otago, Donghua University
This article is an attempt to analyze the dramatic structure of the Mudan ting 牡丹 亭 (Peony Pavilion) as a piece of fantasy which Tang Xianzu 湯顯祖 (1550–1616) created through the utilisation of structural devices and techniques of magic tales. The particular model adopted for the textual analysis is that formulated by Vladimir Propp in Morphology of Russian Folktale.This paper starts with a comparison of Russian magic tales Propp investigated for his morphological study and Chinese zhiguai 志怪 tales which provide the prototype for the Mudan ting with a view of justifying the application of the Proppian model. The second part of this paper is devoted to a critical review of the Proppian model and method in terms of function versus non-function, tale versus move, and character versus tale / theatrical role. Further information is also given in this part as a response to challenges and criticisms this article may incur as regards the applicability of the Proppian model in inter-cultural and inter-generic studies.Part Three is a morphological analysis of the dramatic text with a focus on the main storyline revolving around the hero and heroine. In the course of textual analysis, the particular form and sequence of functions is identified, the functional scheme of each move presented, and the distribution of dramatis personae in accordance with the sphere(s) of action of characters delineated. Finally this paper concludes with a presentation of the overall dramatic structure and strategy of this play.
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Lee, Hayoung Heidi. "An Opera about the ‘Progress of Music’: Charles Burney, Domenico Corri's The Travellers (1806) and the Macartney Embassy to China 1792–1794." Cambridge Opera Journal, May 23, 2022, 1–20. http://dx.doi.org/10.1017/s0954586722000040.
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Abstract Premiered in London twelve years after the unsuccessful return of the first British embassy to China, led by Lord George Macartney, Domenico Corri's five-act ‘dramatic opera’, The Travellers, or Music's Fascination (1806), is a unique work exhibiting concrete connections to the embassy in its dramatic concept, musical and visual sources. This article explores how the subject of the opera – tracing the ‘progress of music’ from China to Britain – reflected the contemporary discussion about Chinese music, articulated most clearly by Charles Burney, who held a significant interest in the embassy's musical exchange. By incorporating a Chinese melody and ‘realistic’ visual representation connected to the embassy, the opera reconstructs certain ceremonies and musical experience witnessed by the members of the embassy. Interestingly, the opera balances first-hand knowledge of Chinese music and culture with an emerging imperialist view, and dramatises the aim of the embassy to show British advancement in the arts and sciences.
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Davey, Gareth. "A War of Words." British Journal of Chinese Studies 10 (July 7, 2020). http://dx.doi.org/10.51661/bjocs.v10i0.105.
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This position paper stakes out a potential contribution from Chinese Studies for making sense of political claims about accountability for Covid-19, conspiracy theories, cover-ups, misinformation, public health responses, and vulnerabilities in societies. The broader picture is much more complex than implied in media coverage and official state sources which typically simplify and dramatise the claims with disregard for evidence or comparison of competing perspectives. By drawing on the discipline’s strengths in analysing contemporary China and its internal and external dynamics, Chinese studies can assist in critically examining the claims and their interpretive complexities, as well as the processes through which they have been conceptualised and have come to public attention, an explanatory model with considerable leverage for encouraging more meaningful dialogue.
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Nyirádi, Blanka. "A „Nóra-jelenség” és az ibsenizmus szerepe a 20. századi kínai dráma fejlődésében." Távol-keleti Tanulmányok 9, no. 2017/2 (October 1, 2018). http://dx.doi.org/10.38144/tkt.2017.2.4.
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The 19th-century Norwegian playwright, Henrik Ibsen had an unparalleled,posthumous impact on the development of modern Chinese drama. How isit possible that he could influence the literature of a country so remote inspace and so different in its literary traditions? History is a key factor in thisstory. Early 20th century China was at the threshold of taking radical measures in reforming its society, and she was badly in need of a supporting ideology. Ibsen was a thinker and dramatist who, by means of presenting acutesocial problems in his plays, deeply influenced the society of his age. Hedid so in a realistic way and with the help of a clear language, both of whichfactors extremely appealed to modern Chinese intellectuals. It can be stated that it was to a great extent through Ibsen’s plays, mostimportantly through Nora, that modern Chinese intellectuals discovered thelong-range possibilities lying in the adoption of Western dramatic form,namely, transforming minds. Nora stirred the pond water of Chinese society,and came to symbolize the rebellion of the ‘Free Individual’: something that had no precedent whatsoever in China but what has long been in theair. Modern Chinese playwrights began to imitate Ibsen with great fervour,resulting in the flourishing of the social problem play, featuring brave andmodern ‘Chinese Noras’. Although advanced thinkers soon had to realize thatthe ideas of Ibsen cannot simply be adopted but must first be modified to beable to credibly represent contemporary Chinese social, cultural and moralreality, the ‘Nora-phenomenon’ and Ibsenism played a vital role in setting offthe literary and cultural reform in early 20th-century China.
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Schnell, James A. "Connecting the Dots in a Cross-Cultural Comparison of the Rhetoric of the Chinese “Belt and Road Initiative” and U.S. Westward Expansion." China and the World 04, no. 04 (December 2021). http://dx.doi.org/10.1142/s259172932150019x.
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This paper contrasts the current Chinese “Belt and Road Initiative” (BRI) against the opening of the U.S. west in the 19th century using the principles of Western rhetoric as basis for interpretation. Most specifically, Kenneth Burke’s Dramatistic Pentad is used for initial clarification along with explanation of how further understanding can be realized via Fantasy Theme Analysis to better appreciate the expression of rhetorical vision. Recognition of how BRI can be understood differently, depending on the cultural context, is stressed. This is couched in the contextual framing of mass media influences as explained by Marshall McLuhan.
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Tettamanzy, Ana Lúcia Liberato. "O MITO DO ORIENTE NO IMAGINÁRIO BRASILEIRO." Organon 15, no. 30-31 (June 13, 2012). http://dx.doi.org/10.22456/2238-8915.29737.
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Throughout the years, the Orient has been a mythical place to Portugaland Brazil, on which they reflect, albeit imaginatively, the dilemma of their ownidentities. In O Mandarim, Eça de Queiroz dramatizes the mediocrity of Portugueselife through Teodoro, who, while embarking on a voyage in search of a misteriousmandarin, ends up discovering his true self. In the short story Academia do Sião,Machado de Assis creates a bizarre plot, dealing with soul exchanges and corruptionin a grandiose Chinese Kingdom. Thus, from a luso-brazilian perspective, the Orientseems to stand for both the obscurity and the wonder of human condition.
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Allatson, Paul. "Editor's welcome, PORTAL, Vol. 4, No. 1, January 2007." PORTAL Journal of Multidisciplinary International Studies 4, no. 1 (January 24, 2007). http://dx.doi.org/10.5130/portal.v4i1.432.
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PORTAL Journal of Multidisciplinary International Studies enters its fourth year with the journal’s first special Chinese-language issue. Organised under the rubric of ‘The Revival of Chinese Cultural Nationalism,’ the issue has been guest edited by Dr Yingjie Guo of the Institute for International Studies, University of Technology Sydney, and features the work of scholars based in China and Australia. As Guo says in his introductory essay to the special issue, debates over cultural nationalism in China have been on the rise since the events in Tiananmen Square on June 4, 1989; indeed, the post-Tiananmen era in China may be witnessing what Guo calls an unparalleled cultural-political movement in the country’s history. The various contributors to this special issue explore the ramifications and manifestations of that broad cultural-political movement in film production, television drama, literary texts, cultural essays, regional entrepreneurship, and contemporary debates on nationalism and liberalism. This issue of PORTAL also features four non-special issue essays: a study of feminist ethics in the work of Filipino-Australian writer and dramatist Merlinda Bobis, by Dolores Herrero (Universidad de Zaragoza, Spain); a taut critique of the discourse that regards the twentieth century as the bloodiest and most atrocious in human history, by David B. MacDonald (Otago University, New Zealand); a trenchant analysis, by Ramzi Nasser and Kamal Abouchedid (Notre Dame University, Lebanon), of what the authors call the rise of “academic apartheid” in the university sector throughout the Arab world; and a fascinating exploration of the feminism and environmentalism pioneered by the Australian author, mountaineer, solicitor and Buddhist Marie Byles (1900-1979), by Allison Cadzow (University of Technology Sydney). Finally, it is a huge pleasure to also include in PORTAL’s cultural works section a selection of poems by the Chinese poet Yang Lian, translated by Mabel Lee (responsible for translating Nobel Laureate Gao Xingjian’s novels Soul Mountain [2000] and One Man’s Bible [2002] into English).
Paul Allatson, Chair, PORTAL Editorial Committee
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Wang, Lei, Xiaoting Huang, and Jim Schnell. "Using Burke's Dramatistic Pentad to Interpret Chinese "Gao-Kao" High Stakes Testing and Stressing - Paralelled Testing in the U.S. as Cross-Cultural Context." KOME 1, no. 2 (2013). http://dx.doi.org/10.17646/kome.2013.15.
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華, 瑋. "一點情千場影戲——論《南柯夢》裏的視覺與宗教啓悟的關係." 人文中國學報, September 1, 2008, 95–111. http://dx.doi.org/10.24112/sinohumanitas.142502.
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LANGUAGE NOTE | Document text in Chinese; abstract also in English. 本文旨從視覺與宗教啓悟的角度，探析晚明戲曲家湯顯祖在《南柯夢》裏的獨特藝術構思與思想内涵。《南柯夢》裏的禪師與凡人，悟道與癡迷的界線主要繫於眼光的差異；而戲外觀戲，是人是蟻？是夢是真？觀看的方式如此撲朔迷離，此中的設計又該如何詮解，而與“夢了爲覺，情了爲佛”的意旨相聯繫？“臨川四夢”之中，《南柯夢》向來最不爲人所重，但誠如吳梅所言：“‘四夢’中惟此最爲高貴。蓋臨川有慨於不及情之人，而借至微至細之蟻，爲一切有情物説法；又有慨於溺情之人，而託喻乎落魄沉醉之淳于生，以寄其感喟。”《南柯夢》實乃湯顯祖嘔心瀝血之作，其中對情、對戲劇、對宗教的啓示意義，以及三者間千絲萬縷的聯繫，都藉由視覺而有獨特而深刻的展現。 This article aims to explore the artistic conception and intellectual content of Nanke meng (The Dream of the Southern Bough), the least discussed play from the late Ming dramatist Tang Xianzu. In this play the two most important male characters, the Chan master Qixuan and the knight errant Chunyu Fen represent different pursuits in life at the beginning of the play but are joined in the end when Chunyu too, has reached Buddhist enlightenment upon seeing the illusory nature of all dharma. As argued in the paper, Tang Xianzu ingenuously employs the motif of vision no less than dream as the way to spiritual enlightenment via emotional attachment and delusion. Evidently, this narrative progress from attachment to enlightenment was very significant for Tang in terms of his view on qing (committed affection), his idea of drama and theater as well as his personal relationship with the well-known monk Daguan, his close friend and teacher.