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Ming drama represents the classical Chinese theatre at its most mature. Between 1368 and 1644, more than 400 playwrights produced over 1500 plays, ranging from one-act skits to works with 50 scenes or more. As a performing art, Ming theatre includes polished singing, enchanting music, fantastic plotting, and intricate choreography.
Edinburgh Companion to T. S. Eliot and the Arts by Frances Dickey Pdf
From his early "e;Curtain Raiser"e; to the late Four Quartets, T. S. Eliot took an interest in all the arts, drawing on them for poetic inspiration and for analysis in his prose. T. S. Eliot and the Arts provides extensive, high quality research about his many-sided engagement with painting, sculpture, museum artefacts, architecture, music, drama, music hall, opera and dance, as well as the emerging media of recorded sound, film and radio. Building on the newly published editions of Eliot's prose and poetry, this contemporary research collection opens avenues for understanding Eliot both in his own right as a poet and critic and as a foremost exemplar of interarts modernism.
Playwrights and Literary Games in Seventeenth-Century China by Jing Shen Pdf
Playwrights and Literary Games in Seventeenth-Century China: Plays by Tang Xianzu, Mei Dingzuo, Wu Bing, Li Yu, and Kong Shangren is a full-length study of chuanqi (romance) drama, a sophisticated form with substantial literary and meta-theatrical value that reigned in Chinese theater from the sixteenth to eighteenth centuries and nourished later theatrical traditions including jingju (Beijing Opera). Highly educated dramatists used chuanqi to present in artistic form personal, social, and political concerns of their time. There were six outstanding examples of these trends, considered masterpieces in their time and ever since. This study presents them in their social and cultural context during the long seventeenth century (1580D1700), the period of great experimentation and political transition. The romantic spirit and independent thinking of the late Ming elite stimulated the efflorescence of the chuanqi, and that legacy was inherited and investigated during the second half of the seventeenth-century in early Qing. Jing Shen examinees the texts to demonstrate that the playwrights appropriate, convert, or misinterpret other genres or literary works of enduring influence into their plays to convey subtle and subversive expressions in the fine margins between tradition and innovation, history and theatrical re-presentation. By exploring the components of romance in texts from late Ming to early Qing, Shen reveals creative readings of earlier themes, stories, plays and the changing idea of romanticism for chuanqi drama. This study also shows the engagement of literati playwrights in closed literary circles in which chuanqi plays became a tool by which literati playwrights negotiated their agency and social stature. The five playwrights whose works are analyzed in this book had different experiences pursuing government service as scholar-officials; some failed to achieve high office. But their common concerns and self-conscious literary choices reveal important insights into the culture of the seventeenth century, and into the sociopolitical implications of the chuanqi genre. In addition to classical Chinese commentaries on chuanqi drama, this book uses modern critical theories and terminology on Western drama to enhance the analysis of chuanqi plays.
Inscribing Jingju/Peking Opera by David Rolston Pdf
What was the most influential mass medium in China before the internet reaching both literate and illiterate audiences? The answer may surprise you...it’s Jingju (Peking opera). This book traces the tradition’s increasing textualization and the changes in authorship, copyright, performance rights, and textual fixation that accompanied those changes.
How did an ordinary, if intelligent, boy who wrote unremarkable poems become—with no help, and in record time—the author of one of the most significant and beloved poems of the twentieth century? T. S. Eliot's juvenilia show little inclination to question the social, cultural, religious, or domestic values he had inherited. How did a young man who wrote uninspired doggerel about wilting flowers transform himself—in a mere twenty months—into the author of "The Love Song of J. Alfred Prufrock"? In Becoming T. S. Eliot, Jayme Stayer—praised by Christopher Ricks as a scholar who is "scrupulous in acknowledging the contingencies that will always preclude perfection"—explains this staggering accomplishment by tracing Eliot's artistic and intellectual development. Relying on archival research and original analysis, this is the first book dedicated entirely to Inventions of the March Hare, Eliot's youthful notebook, which was once thought lost but was rediscovered after Eliot's death. Stayer places Eliot's verses in the chronological order of their composition, teasing out the narratives of their making. Focusing on the period from 1909 to 1915, this incisive portrait of Eliot as a budding writer is as much a study of Eliot himself as it is a study of how a writer hones his voice.
Author : Qiancheng Li Publisher : The Chinese University of Hong Kong Press Page : 316 pages File Size : 50,5 Mb Release : 2020-11-15 Category : Literary Criticism ISBN : 9789882371224
In the West, love occupies center stage in the modern age, whether in art, intellectual life, or the economic life. We may observe a similar development in China, on its own impetus, which has resulted in this characteristic of modernity--this feature of modern life has been securely and unambiguously established, not the least facilitated by the thriving of literature about qing, whether in traditional or modern forms. Qiancheng Li concentrates on the nuances of a similar trend manifested in the Chinese context. The emphasis is on critical readings of the texts that have shaped this trend, including important Ming- and Qing-dynasty works of drama, Buddhist texts and other religious/philosophical works, in all their subtlety and evocative power. "The power of qing or strong emotion is a major theme in late imperial Chinese literature--some writers asserting that it can transcend even life itself. Qiancheng Li surveys a number of seventeenth-century philosophical, religious, and literary texts to elucidate the metaphysical aspects of emotional attachment and of sexual desire in particular. Through his broad and penetrating reading, Li demonstrates incontrovertibly how, to seventeenth-century writers, qing and religion were inextricably linked. To those writers, qing could bring enlightenment, and certainly Li’s study enlightens its readers to new levels of complexity in major literary works of that period. Transmutations of Desire sets a major new milestone in the study of traditional Chinese culture."--Robert E. Hegel, Washington University in St. Louis
Prefiguring the vital modernist voices of the Western literary canon, Akutagawa writes with a trenchant psychological precision that exposes the shifting traditions and ironies of early twentieth-century Japan and reveals his own strained connection to it. These stories are moving glimpses into a cast of characters at odds with the society around them, singular portraits that soar effortlessly toward the universal. "What good is intelligence if you cannot discover a useful melancholy?" Akutagawa once mused. Both piercing intelligence and "useful melancholy" buoy this remarkable collection. Mandarins contains three stories published in English for the first time: "An Evening Conversation," "An Enlightened Husband," and "Winter."
Asian Interventions in Global Shakespeare by Poonam Trivedi,Paromita Chakravarti,Ted Motohashi Pdf
This volume critically analyses and theorises Asian interventions in the expanding phenomenon of Global Shakespeare. It interrogates Shakespeare’s ‘universality’ from Asian perspectives: how this has been modified or even replaced by the ‘global bard’ as a recognisable brand, and how Asian Shakespeares have contributed to or subverted this process by both facilitating the worldwide dissemination of the bard’s plays and challenging and resisting the very templates through which they become globally legible. Critically acclaimed Asian productions have prominently figured at premier Western festivals, and popular Asian appropriations like Bollywood, manga and anime have created new kinds of globally accessible Shakespeare. Essays in this collection engage with the emergent critical issues: the efficacy of definitions of the ‘local’, ‘global’, ‘transnational’ and ‘cosmopolitan’ and of the liminalities and mobilities in between. They further examine the politics of ‘West’ and ‘East’, the evolving markers of the ‘Asian’ and the equation of the ‘glocal’ with the ‘Asian’; they attend to performance and archiving protocols and bring the current debates on translation, appropriation, and world literature to speak to the concerns of global and transnational Shakespeare. These investigations analyse recent innovative Asian theatre productions, popular cinematic and manga appropriations and the increasing presence of Shakespeare in the Asian digital sphere. They provide an Asian standpoint and lens in rereading the processes of cultural globalisation and the mobilisation of Shakespeare.
The first full-length study on T. S. Eliot and the mother, this book responds to a shortfall in understanding the true importance of Eliot’s poet-mother, Charlotte Champe Stearns, to his life and works. In doing so, it radically rethinks Eliot’s ambivalence towards women. In a context of mother–son ambivalence (simultaneous feelings of love and hate), it shows how his search for belief and love converged with a developing maternal poetics. Importantly, the chapters combine standard literary critical methods and extensive archival research with innovative feminist, maternal and psychoanalytic theorisations of mother–child relationships, such as those developed by Julia Kristeva, Luce Irigaray, Jessica Benjamin, Jan Campbell and Rozsika Parker. These maternal thinkers emphasise the vital importance and benefit of recognising the pre-Oedipal mother and maternal subjectivity, contrary to traditional, repressive Oedipal models of masculinity. Through this interdisciplinary approach, the chapters look at Eliot’s changing representations and articulations of the mother/ mother–child relationship from his very earliest writings through to the later plays. Focus is given to decisive mid-career works: Ash-Wednesday (1930), ‘Marina’ (1930), ‘Coriolan’ (1931–32) and The Family Reunion (1939), as well as to canonical works The Waste Land (1922) and Four Quartets (1943). Notably, the study draws heavily on the wide range of Eliot materials now available, including the new editions of the complete poems, the complete prose and the volumes of letters, which are transforming our perception of the poet and challenging critical attitudes. The book also gives unprecedented attention to Charlotte Eliot’s life and writings and brings her individual female experience and subjectivity to the fore. Significantly, it establishes Charlotte’s death in 1929 as a decisive juncture, marking both Eliot’s New Life and the apotheosis of the feminine symbolised in Ash-Wednesday. Central to this proposition is Geary’s new formulation for recognising and examining a maternal poetics, which also compels a new concept of maternal allegory as a modern mode of literary epiphany. T. S. Eliot and the Mother reveals the role of the mother and the dynamics of mother–son ambivalence to be far more complicated, enduring, changeable and essential to Eliot’s personal, religious and poetic development than previously acknowledged.
