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Relevant bibliographies by topics / Li, Yu, Chinese drama

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Academic literature on the topic 'Li, Yu, Chinese drama'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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Journal articles on the topic "Li, Yu, Chinese drama"

1

Sun, William H. "The Paradox of Acting in the Traditional Chinese Theatre." New Theatre Quarterly 15, no. 1 (1999): 17–25. http://dx.doi.org/10.1017/s0266464x00012616.

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Traditional Chinese theatre seems to appeal to audiences across the world more for its exquisite acting than for its literary qualities. Yet Mei Lanfang, Tang Xianzu and Li Yu all assert that good acting must be firmly rooted in its literary base. What compelled these masters to go out of their way to emphasize the importance of the written text, argues William H. Sun, was precisely the failure of many traditional actors to take it seriously, preferring to rely on superficial virtuosities. From this constant struggle in traditional Chinese theatre between a theoretical respect for textual quality and practical emphasis on performance has emerged the peculiar paradox of acting here explored. The author, William H. Sun, is a Shanghai-born playwright, author, and associate professor of drama at Macalester College. A contributing editor of TDR, he has taught at Tufts University, California State University, Northridge, and the Shanghai Theatre

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2

Chen, Fei. "Li Yu, Chinese city and regional planning systems." Environment and Planning B: Planning and Design 43, no. 2 (2015): 436–37. http://dx.doi.org/10.1177/0265813515604983.

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이근석. "Chinese Woman Director Li Yu and Her Film World." Journal of Chinese Language and Literature ll, no. 90 (2018): 349–80. http://dx.doi.org/10.26586/chls.2018..90.014.

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4

Park sung hun. "The Design Stage Performing Arts on Drama Creation Theory of LI Yu." Journal of Chinese Cultural Studies ll, no. 39 (2018): 75–104. http://dx.doi.org/10.18212/cccs.2018..39.004.

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Lew-Williams, Beth. "Ric Burns and Li-Shin Yu, directors. The Chinese Exclusion Act." American Historical Review 124, no. 1 (2019): 178–80. http://dx.doi.org/10.1093/ahr/rhy477.

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Mao, Han, Jingru Liu, and Zihan Qu. "Chinese Traditional Aesthetics in Qing Palace Drama*-Take “Story of Yanxi Palace” as an example." E3S Web of Conferences 236 (2021): 05082. http://dx.doi.org/10.1051/e3sconf/202123605082.

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Among the TV series that emerged in the summer of 2018, Yu Zheng’s “Story of Yanxi Palace” was the most popular, and it continued to surpass “Ruyi’s Royal Love in the Palace” (a court drama of the same type), with a wide range of influence and a high degree of discussion. This article attempts to explore the spiritual beauty of the plot, the exquisite beauty of costumes and the quaint beauty of the pictures through analyzing the plot, costumes, props, shots and other visual content of the drama from an aesthetic perspective.

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Fu, Hongchu. "An Anomaly in Classical Chinese Drama: ‘Loyal and Righteous Yu Rang Swallows Charcoal’." Journal of Song-Yuan Studies 39, no. 1 (2009): 85–98. http://dx.doi.org/10.1353/sys.0.0013.

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Wang, Yiman. "Jet Li: Chinese masculinity and transnational film stardom, by Sabrina Qiong Yu." Celebrity Studies 5, no. 1-2 (2014): 219–21. http://dx.doi.org/10.1080/19392397.2014.887539.

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Luo, Zhitian. "National Humiliation and National Assertion: The Chines Response to the Twenty-one Demands." Modern Asian Studies 27, no. 2 (1993): 297–319. http://dx.doi.org/10.1017/s0026749x00011501.

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The Japanese Twenty-one Demands toward the Chinese government headed by Yuan Shih-k'ai in 1915 marked a milestone in Sino-Japanese relations as well as in the Chinese response to imperialism. Yet studies on the event, particularly on its consequence and influence in China, are still insufficient. Studies by Chinese scholars have not gone far beyond Wang Yun-sheng's publication of collected materials more than fifty years ago. The only book-length study on the event is the first volume of Li Yu-shu's study, published in Taiwan. This last does not even cover the whole period of Sino-Japanese negotiations. His second volume has not yet appeared. Li's contribution is that he has made use of more Japanese documents than Wang. In mainland China, the most current study on the event is a chapter on the Demands in the first volume of the work by Li Hsin and Li Tsung-i. This chapter is based primarily on the works of Wang and Li Yu-shu. Compared with Japanese studies on other landmarks of Sino-Japanese relations, the coverage of this episode is rather thin. There is only one book-length study, published in 1958. As for works in English, Madeleine Chi's book has a chapter dealing with the Sino-Japanese negotiations. Two general works examine the event from a broader perspective.

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Dreyzis, Yulia A. "Performative Strategies in Contemporary Chinese Avant-garde Poetry." Oriental Studies 19, no. 10 (2020): 100–116. http://dx.doi.org/10.25205/1818-7919-2020-19-10-100-116.

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The paper presents an attempt to explore the problem of mediality in Chinese poetry of the last thirty years. New Chinese poetry is particularly susceptible to the influence of the latest concepts of modern art and now more than ever needs a clear contextualization in relation to other forms of culture and avant-garde practice. This can be achieved through applying an analysis paradigm for performative word art developed by Dr. Tomáš Glanc in the context of Czech and Russian neo-avant-garde. It perceives experimental poetry as a form that fulfills a shift of the word thus making it labile. Examples of this phenomena can be found in Chinese poetry in the works of Ouyang Jianghe, Yang Xiaobin, Ouyang Yu, Xia Yu, Chen Li, Xu Bing, Wuqing and many more experimental artists. Their creative use of word shift principles shows how performative strategies are adapted in contemporary Chinese poetry keeping in mind the specific hanzi (character) medium that it is based upon. It seems both a continuation of a long-existing tradition and a radical exploration of the ‘iconic turn’ in the field of language.

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Dissertations / Theses on the topic "Li, Yu, Chinese drama"

1

Wu, Tsz Wing. "Li Yu gai bian ju yan jiu : jian lun wen ren chuan qi yu shi min wen xue zhi rong he /." View abstract or full-text, 2006. http://library.ust.hk/cgi/db/thesis.pl?HUMA%202006%20WU.

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Tse, Yiu-kay. "A study of Li Jinxi's system of Chinese grammer Li Jinxi Han yu yu fa ti xi yan jiu /." Click to view the E-thesis via HKUTO, 1995. http://sunzi.lib.hku.hk/hkuto/record/B43896005.

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Jang, Ren-Hui. "Traditional Chinese theatre for modernized society a study of one "new" Chinese opera script in Taiwan /." online access from Digital Dissertation Consortium access full-text, 1989. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?8913981.

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Mok, Oi Lam. "Gu xiang xiang xiang : Mo Yan yu Li Rui xiao shuo yan jiu /." View abstract or full-text, 2007. http://library.ust.hk/cgi/db/thesis.pl?HUMA%202007%20MOK.

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Chang, Lui. "The separable words in modern Chinese language Xian dai Han yu li he ci yan jiu /." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B37737922.

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Shi, Yan. "Dialectic of corporeality and poetical imagination olfactory descriptions and reverie in Yu Guangzhong's poems = Shen ti gan yu xiang xiang li de bian zheng : lun Yu Guangzhong shi ge de xiu jue shu xie yu meng xiang yi shi /." Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B43785013.

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Lau, Wai-hung. "The establishment of an electronic portfolio for Chinese language favours the development of students' language ability Wei Zhongguo yu wen ke jian dian zi hua xue xi li cheng dang an you zhu xue sheng yu wen neng li fa zhan /." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B40039973.

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So, Kit-yuk. "A case study on the writing development of a Cantonese-speaking child in Hong Kong Yue yu er tong xie zuo neng li fa zhan de ge an yan jiu /." Click to view the E-thesis via HKUTO, 1995. http://sunzi.lib.hku.hk/hkuto/record/B31958266.

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He, Man. "Chinese Play-Making: Cosmopolitan Intellectuals, Transnational Stages, and Modern Drama, 1910s-1940s." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429737192.

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Li, Kangdi, and 李康迪. "An investigative analysis on Hong Kong international school students' willingness to communicate in Chinese : in a Hong Kong ESF international school = Xianggang guo ji xue xiao xue sheng Han yu jiao ji yi yuan diao cha yu fen xi : yi Xianggang mou Ying ji guo ji xue xiao wei li." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2014. http://hdl.handle.net/10722/209644.

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本研究探究了香港某所國際學校中漢語作為第二語言學習者的中文交際意願。研究對象主要是香港某英基國際學校的170名漢語學習者；主要採用定量的研究方法，通過研究者的課堂觀課和學生的“自我報告”（Self-report）來搜集數據，通過五個量表（背景變量量表、心理變量量表和課堂內外漢語交際意願量表）來實現研究；研究的內容包括學生們課堂內、外漢語交際意願的總體水平以及可能存在的差異，並總結前人研究發現，在新的研究背景下對一些可能存在影響關係的背景變量（年齡、性別、漢語水平、學習漢語的社會支持、母語、性格、對待學習漢語的態度）和心理變量（學習漢語時的焦慮、動機、自我覺察的交際能力）進行數據分析并驗證假設，通過SPSS19.0來付諸實現；最終就如何提高學生的課堂內、外漢語交際意願提出教學建議。本次研究的主要研究發現有：（1）該國際學校漢語學習者的總體漢語交際意願水平偏低，介於“較低交際意願”和“中度交際意願”之間，而且課內漢語交際意願略高於課外漢語交際意願。（2）總體來看，男生和女生之間不存在漢語交際意願上的顯著差異，但在課內，女生比男生更容易不懂就問、更關注語言知識的細節；男生比女生更願意作為發言代表來公開表達自己觀點；在課外，男生比女生更願意在校園裡與陌生人說漢語，更願意和朋友們或者陌生人上網用漢語交流。（3）預科項目（DP）和中學項目（MYP）的學生群體間不存在漢語交際意願的顯著差異。但在課堂上，DP學生比MYP的學生更願意進行公開性的漢語表達，更願意深入探討相關問題，更願意進行一些總結概括能力較強的發言。（4）DP年級學生的漢語水平和交際意願呈顯著正相關，即漢語水平高越高，課內、課外和總體的漢語交際意願越高,漢語水平越低，課內、課外和總體的漢語交際意願越低。（5）在用漢語進行“主動性發言”上的意願，漢語水平高的群體明顯高於漢語水平低的群體，說明高水平漢語學習者更願意掌握交際的主動權。（6）學習漢語社會支持較多的群體表現出明顯更高的漢語交際意願，呈顯著正相關。（7）以廣東話作為母語的學生比以英語作為母語的學生具有更高的漢語交際意願，這種差異性在課堂外比課堂內體現得更為明顯。（8）性格較外向的學生比性格較內向的學生具有更高的課內漢語交際意願。（9）喜歡學漢語的學生比不喜歡學漢語的學生具有更高的課內、課外和總體漢語交際意願。（10）總體來看，學生學習漢語的動機和自我覺察的漢語交際能力都偏高，且兩者與課內、課外和總體漢語交際意願均呈十分顯著正相關，其中動機與課外方面相關性略大，而自我覺察的交際能力與課內方面相關性略大。學生的總體焦慮水平偏低，與課內、課外和總體交際意願均呈十分顯著負相關，與課內方面相關性略大課外方面。無論是課內還是課外漢語交際意願，“自我覺察的交際能力”對漢語交際意願來說是預測性最強的心理變量。 This research investigated Chinese as second language (CSL) learner’s willingness to communicate (WTC) both inside and outside classroom in one of international schools, Hong Kong. The research objects are 170 Chinese Language B learners from an English School Foundation (ESF) international school. The main methodology adopted here was quantitative method. Classroom observations by researcher and self-reports by students were firstly done to collect background data, and then five scales were employed to do the main investigation, including a WTC Inside–the-classroom Scales (WTCIS), a WTC Outside-the-classroom Scale (WTCOS), a Language Anxiety Scale (LAS), a Motivation Scale (MS) and a Self-perceived Communicative Competence Scale (SCCS). The research objectives were to explore the general situation of CSL learners’ WTC, and the specific characteristics as well as possible differences of their WTC inside and outside the classroom; then to further examine the possible affecting variables from both background and psychological perspectives including gender, age, Chinese language proficiency, mother tongue, social support, personality and attitudes towards learning Chinese, which were regarded as background variables, and language anxiety, motivation and self-perceived communicative competence, which were regarded as psychological variables. After that, data was processed and analyzed by SPSS 19.0 for hypothesis verification. Finally, pedagogical implications on how to improve CSL learners’ WTC both inside and outside classroom were generalized from the study. 　　The major findings showed that: (1) the general WTC of CSL learners from this school were slightly on the low side, between the Lower and Middle level, and the WTC inside the classroom was comparatively higher than outside of classroom. (2) On overall WTC, there was no significant difference between male and female students. But inside the classroom, girls were more likely to ask questions and pay more attention on language details than boys, while boy were more active to be the presenters and voice out in public. Outside the classroom, boys were more willing to communicate with strangers or chat online with friends in Chinese. (3) No significant WTC difference was found between Diploma Program (DP) and Middle Years Program (MYP), but DP CSL learners showed more willingness to make public speech, to be more of an inquirer in problems, and to do more generalization in speaking. (4) Among DP group, significant positive correlation was found between language proficiency and WTC, suggesting that the more proficient CSL learners showed higher WTC, and vice versa. (5) The more proficient group were more willing to speak Chinese voluntarily than the less proficient ones, implying that the more competent language learners are more likely to the take the initiative in communication. (6) CSL learners with more social supports to learn Chinese showed higher WTC, and a significant positive correlation was found here. (7) Students with Cantonese as mother tongue had higher WTC than their English as mothertougue counterparts, and this difference was more obviously outside of classroom. (8) Extroverted students showed significantly higher WTC inside of the classroom than the introverted. (9) Students who liked learning Chinese demonstrated higher WTC than those who didn’t. (10) Students’ motivation to learn Chinese and their SPCC were both on the high side, and both correlated positively on WTC, with motivation correlated more closely on outside WTC while SPCC more on inside WTC. Students showed slight lower anxiety level in speaking Chinese. Anxiety had significant negative correlation with WTC, and it mattered more inside than outside of classroom. No matter for WTC inside or outside, SPCC was the most predictive variable among the three.<br>published_or_final_version<br>Education<br>Master<br>Master of Education

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Books on the topic "Li, Yu, Chinese drama"

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Guyu, Chen, Ma Shenggui, and Chen Duo 1929-, eds. Li Yu xi qu ji. Shanghai gu ji chu ban she, 2004.

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Cao Yu: Xi li xi wai. Dong fang chu ban zhong xin, 2012.

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Yuren, He, ed. Kun qu: Chuang zuo yu li lun. Chun feng wen yi chu ban she, 2005.

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"Liao zhai li qu" yu fa yan jiu. Henan da xue chu ban she, 2003.

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Song Ming li xue yu xi qu. Zhongguo xi ju chu ban she, 2003.

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Li dai jiao fang yu yan ju: Lidaijiaofangyuyanju. Qi Lu shu she, 2007.

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Li dai jiao fang yu yan ju: Lidaijiaofangyuyanju. Qi Lu shu she, 2007.

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Zhongguo xi qu xue yuan., ed. Jing ju de li shi, xian zhuang yu wei lai. Zhongguo xi ju chu ban she, 2006.

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Changde "gu shu" de li shi chuan tong yu xian shi ji yang. Wen hua yi shu chu ban she, 2014.

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Lun xi qu de li shi yu yi shu. Xue lin chu ban she, 2008.

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Book chapters on the topic "Li, Yu, Chinese drama"

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"LI XIAOYU / LI HSIAO-YU (1951- )." In Twentieth-century Chinese Women's Poetry: An Anthology. Routledge, 2014. http://dx.doi.org/10.4324/9781315698557-11.

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LU, TINA. "Li Yu, “A Handful of Snow”." In Hawaii Reader in Traditional Chinese Culture. University of Hawaii Press, 2005. http://dx.doi.org/10.2307/j.ctvvn6qz.90.

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"78. Li Yu, “A Handful of Snow”." In Hawaii Reader in Traditional Chinese Culture. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824852351-085.

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Xingjian, Gao. "12. The Bus Stop (1983), translated by Shiao-Ling Yu." In The Columbia Anthology of Modern Chinese Drama, Abridged, edited by Xiaomei Chen. Columbia University Press, 2014. http://dx.doi.org/10.7312/chen16502-013.

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Stuckey, G. Andrew. "Beyond Allegory." In Metacinema in Contemporary Chinese Film. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888390816.003.0006.

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Li Yu, one of the few female Chinese film directors, has focused on female characters and issues women face. Lost in Beijing (2007) tells the story of Liu Pingguo, a migrant worker in Beijing who is raped by her boss. When she becomes pregnant, her husband and boss bargain over possession of her and the child she is carrying. She is reduced to a commodity function exchanged for its value in conceiving and bearing a child. Nevertheless, over the course of the film, a Mercedes-Benz serves not only as the basic status symbol for her boss but also a much more ambivalent role as the space of negotiation between the characters in the film. The final images of the film show this car breaking down on a major Beijing street. Simultaneously, Pingguo has left her situation, in an audacious recapitulation of Nora’s departure at the end of Ibsen’s A Doll’s House. It is in this symbolic deployment of the car in combination with her escape that the film subtly but provocatively dismantles the patriarchy’s power over Pingguo.

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Lin, Jenny. "Shanghai’s art in fashion." In Above Sea. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526132604.003.0003.

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Chapter Two considers how Shanghai Tang, a Hong Kong-founded fashion brand, exploits Shanghai’s imagined cosmopolitan legacy towards the building of a multinational luxury brand. The author considers the rising political tensions between Hong Kong and Shanghai, as Hong Kong was handed over from British to mainland Chinese rule in 1997. The chapter discusses a 1997 Shanghai Tang advertisement featuring Chinese actress Gong Li, addressing how the image signals the return of class-based society, while sanitizing mainland China’s immediate socialist past. This chapter also examines the powerful influence of Shanghai Tang’s founder, art collector Sir David Tang, on the international dissemination of contemporary Chinese art, exploring key Shanghainese painters promoted by Tang, including Yu Youhan, Wang Ziwei and Ding Yi. Referencing these artists’ connections to Shanghai Tang, and also the French fashion brand, Christian Dior, the chapter theorizes the rise of a contemporary Chinese art/fashion system. The final section focuses on Shanghai-based sculptor Liu Jianhua, who has been supported by both Tang and Christian Dior, and the artist’s subversion of mainland China’s presumed role as “the factory of the world” through his ceramic-based practice.

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