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1

譚達先 and Tat-sin Tam. "Folk literature and the Zaju (Northern drama) of the YuanDynasty, 1279-1368." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1989. http://hub.hku.hk/bib/B31232395.

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Zajul, Martina Maria [Verfasser]. "Biotechnologische Produktion von Basidiomyceten-Proteinen auf industriellen Nebenströmen zur Herstellung von Nahrungsmitteln / Martina Maria Zajul." Gießen : Universitätsbibliothek, 2018. http://d-nb.info/1150123761/34.

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Zajul, Martina [Verfasser]. "Biotechnologische Produktion von Basidiomyceten-Proteinen auf industriellen Nebenströmen zur Herstellung von Nahrungsmitteln / Martina Maria Zajul." Gießen : Universitätsbibliothek, 2018. http://d-nb.info/1150123761/34.

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4

Chen, Wen-Ting, and 陳文婷. "Mother Images in Yuan Zaju." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/05636182597908311320.

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碩士<br>國立中央大學<br>中國文學系<br>103<br>The study is “The Mother Images of Yuan Zaju”, which is based on ”Full Yuan Drama” edited by Jia-Luo Yang. The method used in this paper is known as “text reading”, include many different angles such as Chinese classical thoughts , perspective of sociology, family history and woman’s history. Research purpose is to rich the studies of Yuan Woman Image, and to shape the mother images concretely, knowing it’s uniqueness and innovations. By my research result, I found Yuan Zaju is the key watershed which made mother images from vague to concrete. We already knew that Yuan Zaju is inclusive of everything, full of human nature; and the key to have this feature because the imperial examination system was abolished, many talent people devoted to the drama creation, projected their self-solicitude into it, moreover, created more and more vivid portraits.Observe from the society factor, Mongol Yuan culture had a lot of impact on society, in particular to show as the following: class differences, social norms and laws, discipline and ritual. And these aspects indeed restricted female from the outside to inside, affected the destiny and situation of the mother figure in Yuan Zaju. Since the mother dan plays (which means Zhengdan is a mother) can show much more mother images, this research use 13 mother dan plays as the main object, including Wang mother of "The Butterfly Dream" , Chen mother of "Chen Mother Church child", Wang sister and madam Liu of "Five Marquis feast", Li daughter of “Over the Wall”, Yang mother of "Rescue the Dutiful son", Zhang Haitang of " The Record of the Chalk Circles", Tao mother of " Haircut to Entertain Guests", Li Qian-Jiao of " Dispute of Gratitude ", She Taijun and elder royal aunt of "Xie Jinwu" , Liu mother and Zhang Sangu of "Sellers Dan", Meng mother of "Meng Mother moved Three Times", Zheng mother of "Female Bachelor", Li mother of "Check the Golden Circle", for whom as representatives of the positive mother image groups. This paper analyzes the theme and keynote of the plays, classified as family drama, social legal case drama and other subjects, and described the significance of mother images from these themes. First of all, review and analysis mother images by the lyric and narrative literature, in order to construct the positive mother images in Yuan Zaju. These images can be divided into wise mother with bringing up her children properly, stepmother with personal loyalty to raise her children, loving mother with treating her children gentle, and other mothers with one merit. Next, we will discuss negative mother images, the opposite for the positive mother images, which is also including four types: Strict mother with preventing children’s marriage, bawd with forcing harlots to work, stepmother with child abuse, mother without chastity and personal loyalty. These negative mother images usually appears as supporting roles, and the most typical representatives include old madam of "The Story of the Western Wing ", Li mother of "Bend of the River", Hsiao E of " Frigid Kiosk" and "The Man Return to Prison", Ma wife of " The Record of the Chalk Circles", etc. They ignored their own children’s wish, interfered children marriage; even didn’t care the motherhood. They pushed and also hurt their children, and therefore not deserving of respect status as a mother. However, more importantly is the Yuan scholars intended to represent the society problem by the dramas, no matter its from positive or negative mother images. And these issues are also what we would like to be discussed, such as taking care of children by widowed mother, the dichotomy dilemma of taking both considerations of loyalty and filial obedience for mother, fighting over the estate, and marriage for the interests. The social unrest phenomenon was due to the central plains broken families, there were many widows and orphans, and even the phenomenon of selling child, family relationships under attack; the other is the socio-economic development, people increasingly pay attention to private property, resulting in fighting over the estate and the interests of the separation of marriage and so on. In conclusion, Yuan Zaju, as a representative of the Yuan Dynasty literature, values and contributes their mother images from the following four aspects: First, social values: positive image of the mother is not only able to change the habits increased more human relations and also the human beauty. It is a major force behind female education. Second, historical references: the official history of the women's records is very scarce, mainly described the chaste wives and paragons. Yuan Zaju left vivid images footnote to contemporary mothers, they are also mind's history of Yuan Scholars; it Third, the artistic image: from Liu Xiang’s "The Biographies of Women" began, mostly to emphasize female virtue, such as determined and obedient, capable and intelligent, mother images in Yuan Zaju is showing diverse personalities, including capable and intelligent, principled and righteous, tender, and even show a strong determination. At the same time, the playwright also created a lot of negative images for the contrast, to alert the world to achieve enlightenment purposes; Fourth, handed down contribution: mother dan plays of Yuan Zaju not only have a profound impact on future generations, mother Image also affected the evolution and differentiation of Dan row, so the mother roles formally appeared in the opera stage at the first time, also made a place in Chinese opera history.. In summary, the mother images of Yuan Zaju is the Yuan scholars reflection, the reflection of whole society, represents the tears from that history, just like the congealed amber, which is deserved our continued appreciation and exploration.
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Hsiang-Chun, Ko, and 柯香君. "A Research of Religious Zaju of Ming." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/29102781737216472028.

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碩士<br>淡江大學<br>中國文學系<br>90<br>Abstract: A binding relationship often exists between religion and drama. This is particularly true to traditional Chinese plays and dramas due to the complex socio-cultural environment of the Chinese society and to the fact that religion is indispensable to the Chinese people. This thesis is to provide an in-depth analysis on Za-ju, through an investigation of the socio-cultural environment and the playwrights’ personal experiences which manifested the work. The goal is not only to affirm the influential position of religious Za-ju of the Ming dynasty in the Chinese culture but also to confirm its contribution and positive impact on the Chinese society as a whole. An outline and a short summary of each chapter in this thesis are presented below. The first chapter, “Overview of Religion in the Ming Dynasty,” is an introduction to the religious, political, and social background of the Ming Dynasty. The second chapter, “The Origin of the Ming Religious Drama,” is concerned with the fact that Ming’s religious plays were not an imitation of those presented in its predecessor, Yun Za-ju. In fact, playwrights often injected tremendous amount of their unique emotions, sentiments, and religious insights. creating a harmonious consistency among the play, the playwright, and the socio-cultural environment from which the play was originated. Chapter three, “The Motivation and Purpose behind Ming Drama Creation,” reports that playwrights often expressed their bitterness toward life in plays. Some revealed without constraints their displeasure with the contemporary social and religious disturbance, while others took the opportunity to preach and to share their religious insights with readers. Finally, the fundamental purpose of Za-Ju was entertainment, since religious plays were often performed as an important part of the ceremony at the local temple honoring gods or goddesses. Chapter four and five, “Themes of Ming Za-Ju,” reports an analysis on the content of original Za-Ju scripts. The wide variety of themes can be put into six themes, including (1) releasing from earthly boundaries (2) encouraging ethical living (3) the supernatural (4) celebrations (5) sarcasm and analogies, and (6) miscellaneous themes. The result from this analysis indicates not only that Za-Ju has a rich variety of themes but also that there are real values for its existence. Chapter six is “Ming Za-Jus Contribution to the Chinese Literature and Fine Arts.” From the perspective of Chinese folklore, this chapter investigates the design of characters, songs, dialogues, and scripts in religious plays. Of the focus here is Za-Jus’ contributions to Chinese literature and fine arts. Chapter seven, “Conclusions,” ends the discussion by pointing out the functions that Ming Za-Ju played in the society at the time. In short, Za-Jus were often used for the following purposes: (1) fantasying leaving the earthly living and being promoted to a godly position, (2) playing a part in religious celebrations and ceremonies, (3) repelling evils and misfortunes in the real life. These functions clearly reflect the disturbance and unsettledness in the minds of the general Chinese people under the extreme feudal system at the time. Thus, the popularity of Ming Za-Jus indirectly confirms the importance of religion in stabilizing the mind of the general public and the socio-political situation in the society as a whole.
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Liao, Shu-Jiun, and 廖紓均. "The Zaju writing and its Collective Memory of Jiangnan Literati in Ming-Qing transition: The Study of Zaju sanji." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/ta88rr.

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碩士<br>國立臺灣大學<br>中國文學研究所<br>106<br>This study explores Zaju Sanji (雜劇三集) and the background of its compilation, including how it was edited, how the selected compositions were written, and how the collection presented the authors and editors’ reflection on their era. By investigating the time and regional background of Zaju Sanji, the collective memories behind the collection were observed. How the memories of the author were embodied in the composition, how readers are able to relate to the authors’ personal experience by reading the pieces, and how these memories expand externally into the connection between the authors and editors were discussed in the observation. This study consists of three chapters. Chapter one investigates the compilation of Zaju Sanji and the influence of the authors and editors’ social interaction. Building on the foundation of preceding literature, this chapter outlines more comprehensively the authors and editors’ social network by exploring the previously unnoticed influence of Donglin Party (東林) and Fu Society (復社). The editors’ intention were also explored by inspecting suspicious aspects of the compilation. Chapter two and three are text analysis, which investigates of the evolution and development of Zaju from late Ming Dynasty to early Qing Dynasty by dividing the pieces into three chronological groups according to the time of their composition: late Ming, Ming-Qing transition, and early Qing. The objective of this study is to contribute to the academic archive of Zaju Sanji and suggest future avenues for research on Ming and Ming-Qing Zaju history.
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Yang, Yu-Feng, and 楊玉鳳. "The religion in Yuan Zaju─secularization of religion." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/dtq857.

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碩士<br>國立中央大學<br>中國文學研究所<br>94<br>Abstract In the Chinese history, Yuan Dynasty was a dynasty in which different religions thrived for its liberal attitude towards people’s spiritual beliefs. For the sake of political domination as well as social control, the ruler of Yuan Dynasty literally welcomed all kinds of religions, especially Buddhism and Taoism. This makes the dynasty become the golden age for many religions and their believers. Other than the support from the authority, the harsh social reality offered a perfect breeding ground for a variety of religious sects. Although the Mongol initiated a new age for the people, the follow-up chaos brought much pain for them. Civilians were suffered for the tense political situation, the powerful’s bullies, the over-loaded levies, not to mention the ever-arising disturbances out of natural or man-made causes. For the people who lived in such straitened circumstances, it’s only natural for them to seek emotional support. The religions thus came to their rescue. People turn to them and ask for a moment of relief. People chose to escape from the painful daily life, and found their shelter under the sacred life. The general population regains their peace by worshipping the deities and performing rites and ceremonies. Yet, the compatriots, especially those who lived in poverty, emphasized the utility and practical side of religious consciousness. In stead of learning the real essence of the religious context, they put more emphasis on the realistic sides. Rather than devoting themselves to the long-term asceticism, they sought for quick extrication. This is the reason why religious beliefs in that period of times, which should stay untainted and neutral, tended to be secularized in order to pamper the general public. Besides, in order to survive the competition and to attract believers, the religious communions had to compromise and make adjustments according to the crowd’s needs. Zaju, a unique literary form which combines drama with poetry and music, represents the literature of Yuan Dynasty. Not only was it popular in the upper classes but also widely prevalent among the lower class. The authors of Zaju are mostly unsuccessful writers and most of them belong to lower social status. They were forced to live in the base of the social hierarchy and wrote Zaju to make a living. Owing to their humble background, they could grasp people’s common lives better than their forefathers in the literary history. Their works reflected the lives of lower strata of society and Yuan’s social reality more precisely. From reading Zaju, we can not merely understand the development of literature in Yuan Dynasty, but also perceive the social reality, the contemporary custom, and the religious beliefs in those days. Furthermore, we can analyze how and why secularization of religion was formed in Yuan Dynasty.
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Chung, Wen-Ling, and 鐘文伶. "The Research of Love Zaju in Ming Dynasty." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/47224620251495080177.

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CHANG, HSIU-SHAN, and 張秀姍. "A Study of Tragic Characters in Yuan Zaju." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/z346a6.

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Chen, Yu-Miao, and 陳禹妙. "A Study of Yuan Yin and His Writing of Zaju." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/fm624u.

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碩士<br>東吳大學<br>中國文學系<br>102<br>Yuan Yin (1869-1930), also known as Yuan Zu Guang, he was born in Taihu County, Anhui Province. In 1894, Yuan Yin attained the degree of juren. In 1903, He attained the degree of jinshi. Yuan Yin was a Chinese writer, poet, playwright of the Qing Dynasty. When the First Opium War broke out, the Qing court was confronted by the aggression from abroad. The Qing court attempted to modernize its military and fend off threats to its sovereignty, but when the First Sino-Japanese War broke out, the Qing court lost the war. It demonstrated the modernizationthe of Chinese was not successful. The Hundred Days' Reform tried to change the monarchy to the constitutional monarchy, but it was turned back by conservative opponents led by Empress Dowager Cixi. Empress Dowager Cixi detested the Great Powers, so she acquiesced in the violently anti-foreign Yihetuan("Boxers"). This action caused The Boxer War, foreign powers invaded China. Yuan Yin had been living in that instable time. Yuan had written 10 kind of Zaju, named of "Qu Yaun Zaju" and "the sequel of Qu Yaun Zaju". In those Zajus, Yuan Yin expressed the feeling when he faced to the dilemma of the late Qing. In that time, People believed that China needed to be accompanied by institutional and ideological change. Yuan Yin could not accept this opinion; he wanted to keep the traditional of China. Therefore, the thinking of Yuan Yin's Zajus is conservative.
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KWON, KYUNG HEE, and 權敬姬. "THE STUDY OF MA BAI ZHENG THREE SCHOOL''S ZAJU." Thesis, 1997. http://ndltd.ncl.edu.tw/handle/62671673894256995681.

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CHANG, MIN-HUI, and 張敏慧. "British Sinologist David Hawkes’ Research and Translation of Yuan Zaju." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/qwf9y4.

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博士<br>世新大學<br>中國文學研究所<br>107<br>This thesis examines British sinologist David Hawkes’ research and translation of Yuan Zaju. After reviewing his research of Yuan Zaju, this thesis categorized them into three aspects: 1. the argumentation between Chinese and Western theater culture in Hawkes’ analysis; 2. the formation of Quanzhen Masters’ images and the research of Quanzhen plays; 3.the translation and adaption of Yuan Zaju plays. Each category will be discussed in the following chapters, by doing so, this thesis attempts to provide different viewpoints for the research of Chinese drama (xiqu). Hawkes raised the question of how they hang up a person on Yuan Zaju’s stage. It shows that he constantly referred to European drama and theaters in his discussion, including actors and roles, stage resources, and theater scales. As a result of that, he hardly offered an answer to his question. This thesis would argue that his discussion reflects differences of the nature of arts between Yuan Zaju and European drama, and the fact that Hawkes asked such question on behalf of Western audience. For the images of Quanzhen Masters and the research of Quanzhen plays, Hawkes discovered the historical Quanzhen Masters through the description of them in Zaju plays. Also, the significance of his research of Quanzhen plays could be revealed through his discussion. Therefore, this thesis will discuss the reason why he was involved in the research of Quanzhen plays. Next, this thesis will explore the images of Ma Dangyang and Wang Zhe in the descriptions of Quanzhen plays. Then, this thesis will discuss the significance of Hawkes’ research of Quanzhen plays. For Liu Yi and the Dragon Princess, first, this thesis will examine how it achieves the standards of Yuan Zaju in terms of the form and regular pattern. Next, this thesis will discuss Hawkes’ different translation strategies for song parts and for spoken parts. He translated song parts freely, which is able to deliver their meanings clearly. However, the English lyrics have lost the form structure of original songs (qupai) instead. As for spoken parts, Hawkes had decided to rewrite English dialogue in order for him to avoid actors introducing themselves every time when they make their appearances on stage. He would be able to explain knowledge of Chinese culture existed in Zaju plays to Western audience as well. Next to it, Hawkes adapted Liu Yi and the Dragon Princess by using translation strategies. He replaced certain parts of original plot of Yuan Zaju with the story of Liu Yi Zhuan. As a result, Liu Yi and the Dragon Princess has transformed in terms of the change of characters’ images, the symbolized stage turned into a realistic one, and the use of the Narrator.
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Kai-ChiHaung and 黃愷琪. "Study On Sheng- Jie Zhang’s " YU TIAN CHUN SHUI XUAN Zaju"." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/3m5f54.

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碩士<br>國立成功大學<br>中國文學系<br>102<br>Qing Zaju followed Ming Zaju was a writings which the writer creates Personal aspirations and beautiful diction. Drama like poetry as reflecting the author wishes. So watch the Qing Zaju can understand contemporary literary interpretation of the times. This was the artistic value of the works of this period. Sheng-Jie Zhang was a playwright between the reign of Emperor Jiaqing and Emperior Daoguang in Ch’ing Dynasty of China. Sheng-Jie Zhang always sound scholar less, so paper explores Sheng-Jie Zhang 's life and his writings. The maximum lifetime literary of Sheng-Jie Zhang’s achievement works is YU TIAN CHUN SHUI XUAN Zaju . YU TIAN CHUN SHUI XUAN Zaju has nine chapters works of drama.This writings are derived from the historical story, only been adapted from an article from poetry. This literature can understand the author's ideas. The best technique of this literature is to describe the characters of story. Other important artistic drama to literary, musical and word-based text mining techniques. Sheng-Jie Zhang also carefully arranged sound. All the tricks of the structural arrangement, particularly visible in the turning point of intentions. In time and space arrangements, rap arrangements fate foot color arrangements are sufficient to support the development of the plot. Despite flaws with the rhyme, but also to express emotion. Words taken to use Code (Allusion), the wide variety of sources, quite changeable, or intended for the lyric sheet, or the United States increased sentence. As can be seen from the allusions sound Sheng-Jie Zhang, multi possesses unique creativity. Text alone is concerned, literature, music and words of mining techniques are sound enough to see Sheng-Jie Zhang intentions in the creation Play And YU TIAN CHUN SHUI XUAN Zaju connotations in desired expression covers the era of the big worries of injustice and personal encounters. Its external environment, it is more special choice of subject matter. Although a personal fortune literati suffered a widespread, but the sound on Sheng-Jie Zhang was quite creative writing, drama different from other writers. YU TIAN CHUN SHUI XUAN Zaju both its ideological connotations, but also has considerable artistic place, so Sheng-Jie Zhang and their works should sound in the proper position to restore the Qing Dynasty in.
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SHIH, TZU-YING, and 石紫瀅. "The Study on the Buffoonery in Four Great Yuan Dramatists' Zaju." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/56494030006029227848.

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碩士<br>國立屏東大學<br>中國語文學系碩士班<br>103<br>Guan Hanqing, Bai Pu, Ma Zhiyuan,and Zheng Guangzu were representative of dramatists in Yuan Dynasty. Though many scholars engage in relevant researches, the aritcles in comparison of buffoonery among the four are limited. Therefore, this dissertation will focus on the buffoonery of Four great Yuan dramatists. The chapters are arranged as follows: Chapter Two discusses about the functions and characteristics during the drama performance of buffoonery. Chapter Three studies the buffoonery in drama which was written by Guan Hanqing, as well as analyzes the different ways of writing and characteristics. Chapter four first displays the buffoonery in Bai Pu, Ma Zhiyuan, and Zheng Guangzu’s dramas, and then, analyzes their own writing characteristics and methods. Finally, the researcher compares the similarites and differences of writing methods and styles among the four while arranging buffoonery. The conclusion will be drawn from the researches on the characteristics and functions of arranging buffoonery.
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Lu, Fang-Long, and 陸方龍. "Research On The Zaju Plays Of ZhuYou-dun And Relevant Issues." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/89128339974063237412.

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碩士<br>臺灣大學<br>中國文學研究所<br>96<br>Zhu You-dun (1379-1439), the exemplary prince of Zhou, was a significant playwright in the early Ming Dynasty. Not only did the prince identity made him unique in the Chinese-opera history, he was also, more importantly, the one whose total 31 Zaju plays have been passed down till modern times, the most complete collection among all the playwrights of Yuan Dynasty and Ming Dynasty. Furthermore, among all the printed zaju-play we can see now, with prefaces stating his writing motivations, the original woodblock edition of his plays is the oldest Zaju edition only second to The Thirty Zaju-Plays Printed in Yuan Dynasty. With his life, writings, and writing motivations able to be tracked, he was the first “comprehensive case” of the ancient Chinese-opera writers. This thesis therefore focuses on him and the complete collection of his plays. The Introduction is a literature review, discussing the evaluation transitions from dynasty to dynasty, deriving from this the targeted concern of this study. Chapter 1 first surveys generally the life experience and Zaju plays of Zhu You-dun, by which Zhu’s writing motivations are illustrated. Then, from the perspective of bibliology study and the characteristics of the preserved zaju-play editions, the preservation facetsof Zhu’s Zaju plays is discussed. Chapter 2 covers the connections between Zhu You-dun and the Chinese-opera history in the early Ming Dynasty, reflecting both from exteriorly the official policies on Chinese operas and interiorly the ethics and literature, including an overview on the playwrights of the late Yuan Dynasty and early Ming Dynasty includ. Chapter 3 and 4 discusses Zhu’s 31 plays respectively, categorizing these plays by its contents, elaborating plots, Zhu’s writing motivations, and his modificatory fruitage, and, through the prefaces of each play, inspecting the correspondence between his writing achievements and motivations. Plays covered in Chapter 3 belong to the categories which, in Yuan Dynasty, had prospered and developed fixed narrating styles, inclusive of plays of Liang-shan Marsh Outlaws, loyalty plays, prostitution plays, and deliverance plays. Zhu’s plays of the latter two categories were especially different from their Yuan precedents. The women and prostitutes in Zhu’s plays were often with extreme moral courage, willing to die to prove their own virtue. On the other hand, the personage in Zhu’s deliverance plays often keenly expected to become the immortal. Once the delivering missionary appeared, they would obey enthusiastically, followed by a great band of gods joyfully welcome them to join them in heaven, which was quite contrary to the humane commitment shown in Zaju plays of Yuan Dynasty. The ritual plays, celebrations plays, and flower-watching plays were actually new norms set by Zhu You-dun. While celebration plays showed obvious connection to the plays written by court entertainment bureau of the Ming Monarchy, the flower-watching plays were somewhat like hilarious musicals containing abundant singing, dancing, and humor. Chapter 5 discusses the performance art presented in Zhu You-dun’s Zaju plays. By going through the development of dances, such as Seventeen Variations Dance, Dance of Mara’s Sixteen Daughters, and The Band of Happy Villagers Singing a Song of Contentment, we can find that dancing scenes in Zhu’s plays infused the choreography of the early Ming Dynasty as well as inherited that of the Yuan Dynasty. And the buffoonery in the plays well spiced his works. Chapter 5 also tries to record the costumes and properties in his plays so that we can have a glimpse at the artistic criteria at that time. The following chapter is about the writing conventions and breakthrough of Zhu’s plays. The role-types Zhu exerted were basically similar to Yuan Zaju plays; however, he broke the convention of a sole leading singer from Yuan Dynasty so that he could arrange role-types at his will to go with the plots. Compared with the incomplete prose dialogues in zaju-play scripts of Yuan Dynasty, Zhu’s full device of prose dialogues made the Jing actors acquire more performing space. Then there follows the problems originated from the term “quan-bin (full prose dialogues).” This thesis holds the point of view that the Zaju plays printed in Yuan Dynasty were scripts more like “scenario drama,” a kind of scripts for the leading male and female only. Therefore, the commonly noted term “quan-bin” in Zhu’s plays makes it clear that his play scripts were more like “quan-guan-chuan” or “zong-jiang-ben,” scripts fully contains the lines of all roles. From this, it can be inferred that the play-writing process in Yuan Dynasty might begin with verses, with the prose dialogues added gradually by others. Generally speaking, Zhu You-dun was both a follower and pioneer in the development of Zaju plays. Although he instilled too much morals into his plays, which lessened his humanity concern and literature achievement, those plays infused with dancing, singing, and humor still made him an artist of his time.
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I-ting, Chen, and 陳伊婷. "Analysis on the Remains of Zaju Drama in SONG and JIN Dynasty." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/17393350711585052690.

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博士<br>臺北市立大學<br>中國語文學系博士班<br>102<br>The Chinese variety plays in SONG and JIN dynasty (hereinafter referred to as ‘Zaju’) is a genre of dramas across the North and the South, a cultural integration that is diversified in contents and rich in formats. Zaju also has a great influence on the Chinese drama afterwards: both the poetic dramas in YUAN dynasty and the legends in MING and CH’ING dynasty reveal characteristics that can be traced back to Zaju. There are two inevitable challenges one has to face, however, when conducting research on Zaju. Firstly, the related information is so limited that it is very hard to collect. And secondly, it is almost impossible to find any hard evidence for logical analysis. The reason for this is quite simple: The 279 Zaju recorded officially in ‘Wulin News’ and the 708 Zaju mentioned in ‘Chuogenglu’ are registered only with titles while their contents are not available. In spite of the fact, Tao Zongyi’s “Titles of JIN Yuan-Ben” collected in ‘Nancun Chuogenglu’ has provided an index to Zaju’s performance types. Tao classifies Zaju into 11 categories. The former five are entitled as the ‘Yuan-Ben (screenplay)’ and are classified by themes. The rest are more complicated since they are more like ‘interludes’ in mature dramas. This study attempts to elaborate, correct, and give some complements to former studies by analyzing the received legacy shown in the dramas of later generations. This dissertation is arranged as follows: i) In the first chapter of this dissertation, we review the Zaju that are classified with performing situation, goals of performance, and ways of performing. ii) The second chapter examines the Zaju that are classified with the plots or the stories. iii) The third chapter looks into those “interludes” that can be flexibly used in scriptwriting. With the reviewing efforts in the three chapters, plus with a conclusion chapter, this dissertation aims to provide an insight into how Zaju influences the development of Chinese drama in later generations.
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Hsiao, Ya-Yun, and 蕭雅云. "The research of zaju about Official and hermit writing in Qing dynasty." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/45205290997030598807.

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18

Zhao, Ying. "The influence of Yuan Sanqu on the formation and spread of Yuan Zaju." 2007. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=788689&T=F.

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Wang, Chi-Chen, and 王啟真. "The Study of Song Dynasty Zaju on the Theatrical Costumes in Southern Play “Zhang-Xie Zhuangyuan”." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/75914708232138528865.

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碩士<br>輔仁大學<br>織品服裝學系<br>94<br>Chinese theatrical costumes are synthetic art: a character modeling in Chinese dramas, and a statement in fashion design. Based on rich research results of the histories of Chinese drama and Chinese costumes, this thesis explored some of the origins of theatrical costumes, and their mechanism applied to Chinese dramas looking at Southern play(Nanxi) “Zhang-Xie Zhuangyuan” in Song dynasty. Chinese theatrical costumes derive from multiple sources, though mainly from dramas. These dramas influence current theatrical costumes the most; also they have derived from dance and acrobatics(zaji). Throughout most dramas, costumes known as ‘daily suits’ are worn in Zaju of Song dynasty based on character types, incidences, plot and performing episodes of humorous stories. One such example is the actors in the Entertainment Bureau who dress in uniforms at the Emperor’s birthday party. Depending on their roles, actors wear costumes according their genre, position and setting. Another example is in the Southern play “Zhang-Xie Zhuangyuan”, where sheng(a young man)and dan(a young women)change sets of costumes many times as the plots develop while the other characters in this play wear a single costume according to that plot’s genre based on their sex and identity, presenting a complete love story on Zhang-Xie and the poor lady. From the origins of theatrical costumes to Zaju and the Southern play “Zhang-Xie Zhuangyuan” in Song dynasty, costumes use materials widely used by people in every day life. As interest in dramas grew, so the plots catered to ever increasingly interested audiences: plots intensified and performing skills improved and costumes’ designs became ever more creative and flamboyant. Examples of rich theatrical costumes can be formed during the Song dynasty period. Under the influence of the Yuan and Ming dynasties, costumes increasingly elaborate and such costumes can still be seen in Peking Opera, Kunju and Taiwanese Operas.
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"The Frustrations of Heaven's Fragrance: An Analysis and Translation of Guan Hanqing's Qian Dayin zhichong Xie Tianxiang." Master's thesis, 2011. http://hdl.handle.net/2286/R.I.9109.

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abstract: This thesis examines the play Qian Dayin zhichong Xie Tianxiang, written by the Yuan dynasty (1271-1368) playwright Guan Hanqing (c.1225-1302). The first chapter of this paper provides brief background information about northern style Yuan drama (zaju) as well as a plot summary and notes about the analysis and translation. Through a close reading of the play, I hope to illustrate how the play's complicated ending and lack of complete resolution reveals why it has received relatively little attention from scholars who have previously discussed other strong, intelligent female characters in Guan Hanqing's plays. The second chapter of this thesis includes translation of the play that is comprised of a wedge preceding the four acts. Before each act of the play is a critical introduction and analysis of the act to follow. Although many of Guan Hanqing's plays have been translated into English, this play has never been translated.<br>Dissertation/Thesis<br>M.A. Asian Languages and Civilizations 2011
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Hsin, Tsai Hsin, and 蔡欣欣. "A Study of the Development of Acrobatics and Chinese Drama from Pre-Chin Jiaodi to Yuan Zaju." Thesis, 1995. http://ndltd.ncl.edu.tw/handle/53382010834048749421.

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Hsieh, Juite, and 謝睿德. "The Use of the “Triadic Repetitive Conduct” and the “Triadic Discrete Things” in Yuan Drama (Yuan zaju)." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/52748109521366496090.

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Wang, Shih-Pe, and 汪詩珮. "A Rediscovery of the Study of the Yuan Northern Drama through Thirty Zaju Printed in the Yuan Dynasty." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/74462749112608955086.

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博士<br>國立清華大學<br>中國文學系<br>94<br>The aim of this dissertation is to provide a rediscovery of the study of the Yuan Northern Drama through the subtle analysis of the Yuankan zaju sanshizhong (Thirty zaju printed in the Yuan Dynasty). The Introduction proposes three submerged problems from the study of Yuan zaju, of which most important is to correct the flaw of treating Yuanqu xuan editions of late-Ming period as the research texts of the Northern Drama. For a comparably historical truth, our study should rely mostly on the Yuan editions. Chapter One focuses on the study of editions and printing culture, beginning with categorizing thirty plays by their editorial features, solving the puzzle of the printing location, and ending with deducing the probable readers and publishing purpose. Chapter Two reexamines the format of Yuan zaju by using these thirty Yuan editions as examples, including its textual structure, the characters the actors had played, and the End Titles. I found the format of Yuan zaju full of diversity and flexibility, not as the general idea of the simplified and standardized style which actually was “unified” by the late-Ming literati. Chapter Three is not just a discussion of the theater art of Yuan zaju. Through the observation on actors’ performance, playwrights and their possible writing motives, theatrical occasions and the audience, I try to present the dynamic and continuous relations and influences of the above factors, which also show the way of dissemination and reception of the Yuan drama, learning more or less how the theater as a social context. The final brief conclusion also provides a short case study of Yuan xiwen, revealing the impact of Yuan zaju on the contemporary xiwen, which can develop as a potential research perspective and as a complementary point of this dissertation.
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"Playing Roles: Literati, Playwrights, and Female Performers in Yuan Theater." Doctoral diss., 2019. http://hdl.handle.net/2286/R.I.53777.

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abstract: This dissertation investigates how Yuan zaju drama reshaped Chinese culture by bridging the gap between an inherently oral tradition of popular performance and the written tradition of literati, when traditional Chinese political, social, cultural structures underwent remarkable transformation under alien rule in the Yuan. It focuses on texts dated from the thirteenth to the fifteenth century by literati writers about playwrights and performers that have been treated by most scholars merely as sources of bio-bibliographical information. I interpret them, however, as cultural artifacts that reveal how Yuan drama caused a shift in the mentality of the elite. My study demonstrates that Yuan drama stimulated literati thought, redefined literati self-identity, and introduced a new significance to the act of writing and the function of text. Moreover, the emergence of a great number of successful female performers challenged the gendered roles of women that had been standardized by the traditional Confucian patriarchal system. This careful uncovering of overlooked materials contributes to a better understanding of the social and cultural world of early modern China.<br>Dissertation/Thesis<br>Doctoral Dissertation East Asian Languages and Civilizations 2019
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