Pub Date : 2019-07-03DOI: 10.1080/01937774.2019.1692790
Guojun Wang
The Spatiality of Emotion in Early Modern China: From Dreamscapes to Theatricality is a bold reconceptualization of fundamental questions in ontology, epistemology, and ethics. Ling Hon Lam proffer...
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Pub Date : 2019-01-02DOI: 10.1080/01937774.2019.1647951
M. Wan, Vibeke Børdahl, C. Swatek, Jing Shen
{"title":"Letter from the Editors","authors":"M. Wan, Vibeke Børdahl, C. Swatek, Jing Shen","doi":"10.1080/01937774.2019.1647951","DOIUrl":"https://doi.org/10.1080/01937774.2019.1647951","url":null,"abstract":"","PeriodicalId":37726,"journal":{"name":"CHINOPERL: Journal of Chinese Oral and Performing Literature","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90274232","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-02DOI: 10.1080/01937774.2019.1633161
K. Reichl
Along the Silk Road(s) from north-western China (Xinjiang) to western Anatolia we find a number of shared oral epic traditions. For many oral epics a continuous line from the Uyghurs of Xinjiang to the Turks of Turkey can be established. The main creators and bearers of this oral tradition are both Turkic-speaking and Iranian-speaking ethnic groups. When studying the oral epics that have flourished along the Silk Road, a number of theoretical questions arise: the interaction of oral and literate traditions; the crossing of language borders and the concomitant transformations; and the contrast and mutual enrichment of nomadic and urban civilizations. In this article the focus is on the Turkic-speaking peoples of Xinjiang and their rich oral epic heritage. Despite the considerable negative effects of the period of the Cultural Revolution, the performance of oral epics has continued into the twenty-first century among the Kyrgyz, Kazakhs, and Uyghurs of Xinjiang. While in many areas of post-Soviet Central Asia the oral epic has become an “endangered species,” the Turkic ethnic groups of Xinjiang have tenaciously preserved their oral traditions. These traditions therefore play an important role in the study of the epic as a living form of oral verbal art.
{"title":"Oral Epics Along the Silk Road: The Turkic Traditions of Xinjiang","authors":"K. Reichl","doi":"10.1080/01937774.2019.1633161","DOIUrl":"https://doi.org/10.1080/01937774.2019.1633161","url":null,"abstract":"Along the Silk Road(s) from north-western China (Xinjiang) to western Anatolia we find a number of shared oral epic traditions. For many oral epics a continuous line from the Uyghurs of Xinjiang to the Turks of Turkey can be established. The main creators and bearers of this oral tradition are both Turkic-speaking and Iranian-speaking ethnic groups. When studying the oral epics that have flourished along the Silk Road, a number of theoretical questions arise: the interaction of oral and literate traditions; the crossing of language borders and the concomitant transformations; and the contrast and mutual enrichment of nomadic and urban civilizations. In this article the focus is on the Turkic-speaking peoples of Xinjiang and their rich oral epic heritage. Despite the considerable negative effects of the period of the Cultural Revolution, the performance of oral epics has continued into the twenty-first century among the Kyrgyz, Kazakhs, and Uyghurs of Xinjiang. While in many areas of post-Soviet Central Asia the oral epic has become an “endangered species,” the Turkic ethnic groups of Xinjiang have tenaciously preserved their oral traditions. These traditions therefore play an important role in the study of the epic as a living form of oral verbal art.","PeriodicalId":37726,"journal":{"name":"CHINOPERL: Journal of Chinese Oral and Performing Literature","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79815614","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-02DOI: 10.1080/01937774.2019.1631138
A. McLaren
The publication of vernacular texts in regional languages is a vibrant but relatively little-known niche in the history of Chinese print culture. This study will draw from extant opera texts (tanhuang) produced in Shanghai for Wu-speaking audiences and readers in the Republican era. In the nineteenth and early twentieth-centuries, tanhuang performances were regularly proscribed by local authorities because of their erotic and scandalous content. By the early twentieth century publishers attempted to adapt traditional tanhuang material to keep up with radical changes in society and to avoid prohibition. The term “reformed” (gailiang) appeared in story titles to signify new notions of modernity. Considered ephemeral reading in their day, very few tanhuang booklets remain in mainland China. This study will take advantage of the rich corpus preserved in the Fu Ssu-nien Library in Taibei’s Academia Sinica to investigate tanhuang texts published in 1920s Shanghai. The intention is to examine the strategies of authors and publishers in the adaptation of this conventional folk genre. A particular focus will be the clash between the traditional corpus and new notions of gender equality.
{"title":"Selling Scandal in the Republican Era: Folk Opera in Performance and Print","authors":"A. McLaren","doi":"10.1080/01937774.2019.1631138","DOIUrl":"https://doi.org/10.1080/01937774.2019.1631138","url":null,"abstract":"The publication of vernacular texts in regional languages is a vibrant but relatively little-known niche in the history of Chinese print culture. This study will draw from extant opera texts (tanhuang) produced in Shanghai for Wu-speaking audiences and readers in the Republican era. In the nineteenth and early twentieth-centuries, tanhuang performances were regularly proscribed by local authorities because of their erotic and scandalous content. By the early twentieth century publishers attempted to adapt traditional tanhuang material to keep up with radical changes in society and to avoid prohibition. The term “reformed” (gailiang) appeared in story titles to signify new notions of modernity. Considered ephemeral reading in their day, very few tanhuang booklets remain in mainland China. This study will take advantage of the rich corpus preserved in the Fu Ssu-nien Library in Taibei’s Academia Sinica to investigate tanhuang texts published in 1920s Shanghai. The intention is to examine the strategies of authors and publishers in the adaptation of this conventional folk genre. A particular focus will be the clash between the traditional corpus and new notions of gender equality.","PeriodicalId":37726,"journal":{"name":"CHINOPERL: Journal of Chinese Oral and Performing Literature","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88030007","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-02DOI: 10.1080/01937774.2019.1631046
B. Yung
I attended my first CHINOPERL meeting on March 24 and 25 1972, its fourth, held in Risley Hall on the Cornell University Campus. As it was during spring break, we were housed in an emptied-out student dormitory. The campus was almost completely deserted, which gave our gathering a magical feeling. In this enchanted environment of quiet, chilly, and exquisite landscape of hills, lakes, gorges, and bridges, parts of which were still covered with snow, I heard two days of reports and discussions on Chinese oral and performing literature. There were four reports, taking up the four slots of the mornings and afternoons of the two-day conference. First, Rulan Chao Pian (Harvard University) reported on “Word Treatment in Chinese Popular Entertainment,” citing as examples xiangsheng 相聲 (cross-talk), Shandong kuaishu 山東快書 (Shandong fast tales), Xihe dagu 西 河大鼓 (Xihe drumsinging), Jingyun dagu京韻大鼓 (Peking drumsinging), Fengdiao dagu 奉調大鼓 (Fengdiao drumsinging), Yueju 越劇 (Zhejiang ballad opera), and CHINOPERL: Journal of Chinese Oral and Performing Literature 38. 1 (July 2019): 3–9
{"title":"CHINOPERL’s Metamorphoses—Some Memories at her 50th Birthday","authors":"B. Yung","doi":"10.1080/01937774.2019.1631046","DOIUrl":"https://doi.org/10.1080/01937774.2019.1631046","url":null,"abstract":"I attended my first CHINOPERL meeting on March 24 and 25 1972, its fourth, held in Risley Hall on the Cornell University Campus. As it was during spring break, we were housed in an emptied-out student dormitory. The campus was almost completely deserted, which gave our gathering a magical feeling. In this enchanted environment of quiet, chilly, and exquisite landscape of hills, lakes, gorges, and bridges, parts of which were still covered with snow, I heard two days of reports and discussions on Chinese oral and performing literature. There were four reports, taking up the four slots of the mornings and afternoons of the two-day conference. First, Rulan Chao Pian (Harvard University) reported on “Word Treatment in Chinese Popular Entertainment,” citing as examples xiangsheng 相聲 (cross-talk), Shandong kuaishu 山東快書 (Shandong fast tales), Xihe dagu 西 河大鼓 (Xihe drumsinging), Jingyun dagu京韻大鼓 (Peking drumsinging), Fengdiao dagu 奉調大鼓 (Fengdiao drumsinging), Yueju 越劇 (Zhejiang ballad opera), and CHINOPERL: Journal of Chinese Oral and Performing Literature 38. 1 (July 2019): 3–9","PeriodicalId":37726,"journal":{"name":"CHINOPERL: Journal of Chinese Oral and Performing Literature","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73546011","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-02DOI: 10.1080/01937774.2019.1631071
David Johnson
Reflections of a historian on doing fieldwork in Chinese villages.
一位历史学家在中国农村实地考察的思考。
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Pub Date : 2018-07-03DOI: 10.1080/01937774.2019.1594020
D. Lin
“East and West—the International Conference of Mei Lanfang, Stanislavski and Brecht,” hosted by the Mei Lanfang Memorial Museum (Mei Lanfang Jinianguan 梅蘭芳紀念館), took place on October 22 through 24, 2018, at the Tibet Hotel (Xizang dasha西藏大廈) in Beijing. This conference was held to explore the historic meeting and communication among these three great theater practitioners, and reevaluate the significance of Mei Lanfang’s (1894–1961) performances in a global perspective. Thirty papers were presented at the conference by scholars from mainland China, Denmark, Italy, Japan, Russia, Singapore, South Korea and the US. The whole text of eighteen papers and the abstracts of the rest were printed and distributed in a bound volume at the conference. Papers were written in Chinese, English, and Italian, and presentations and discussions were simultaneously interpreted in the three languages. Three major themes emerged in the conference papers: (1) exploration of the theory of the “system” (tixi 體系) in Mei Lanfang studies and Chinese theater studies in general; (2) new discoveries of historical documents concerning Mei Lanfang in Chinese and other languages; and (3) reflections on Mei Lanfang in cross-cultural dialogue. The first group of papers is mainly concerned with the systemization of Mei’s performances in relation to Chinese opera. This focus is rooted in an attempt to postulate a comprehensive and theoretical framework of Mei Lanfang studies, as proposed in the paper by Mao Zhong 毛忠 (Mei Lanfang Memorial Museum) who stressed Mei’s own innovation based on accumulation of his predecessors’ practices. Some scholars were inclined to evaluate Mei’s artistry within a system of Chinese opera, such as the paper presented by Tseng Yong-yih (Zeng Yongyi 曾永義, Shih Hsin University) on general attributes of Chinese opera as a virtual, symbolic, stylized art that inspired Western drama practitioners and theorists, such as Stanislavski and Brecht. Ma Guojun 麻國鈞 (Central Academy of Drama) offered a similar insight into an examination of Mei as a legendary performer of female roles (dan 旦), and suggested that a more comprehensive study should be made in an expanded scope of Asian classical theaters, many forms of which use a system of role types (hangdang zhi行當制). Chang-Sook Lee (Seoul National University) approached the “system” of Chinese opera with respect to a sense of “stylization” (chengshi程式), as manifested in Mei’s performances, with which actors can CHINOPERL: Journal of Chinese Oral and Performing Literature 37. 2 (December 2018): 157–160
{"title":"A Report on “East and West—International Conference on Mei Lanfang, Stanislavski, and Brecht,” Beijing, China, October 2018","authors":"D. Lin","doi":"10.1080/01937774.2019.1594020","DOIUrl":"https://doi.org/10.1080/01937774.2019.1594020","url":null,"abstract":"“East and West—the International Conference of Mei Lanfang, Stanislavski and Brecht,” hosted by the Mei Lanfang Memorial Museum (Mei Lanfang Jinianguan 梅蘭芳紀念館), took place on October 22 through 24, 2018, at the Tibet Hotel (Xizang dasha西藏大廈) in Beijing. This conference was held to explore the historic meeting and communication among these three great theater practitioners, and reevaluate the significance of Mei Lanfang’s (1894–1961) performances in a global perspective. Thirty papers were presented at the conference by scholars from mainland China, Denmark, Italy, Japan, Russia, Singapore, South Korea and the US. The whole text of eighteen papers and the abstracts of the rest were printed and distributed in a bound volume at the conference. Papers were written in Chinese, English, and Italian, and presentations and discussions were simultaneously interpreted in the three languages. Three major themes emerged in the conference papers: (1) exploration of the theory of the “system” (tixi 體系) in Mei Lanfang studies and Chinese theater studies in general; (2) new discoveries of historical documents concerning Mei Lanfang in Chinese and other languages; and (3) reflections on Mei Lanfang in cross-cultural dialogue. The first group of papers is mainly concerned with the systemization of Mei’s performances in relation to Chinese opera. This focus is rooted in an attempt to postulate a comprehensive and theoretical framework of Mei Lanfang studies, as proposed in the paper by Mao Zhong 毛忠 (Mei Lanfang Memorial Museum) who stressed Mei’s own innovation based on accumulation of his predecessors’ practices. Some scholars were inclined to evaluate Mei’s artistry within a system of Chinese opera, such as the paper presented by Tseng Yong-yih (Zeng Yongyi 曾永義, Shih Hsin University) on general attributes of Chinese opera as a virtual, symbolic, stylized art that inspired Western drama practitioners and theorists, such as Stanislavski and Brecht. Ma Guojun 麻國鈞 (Central Academy of Drama) offered a similar insight into an examination of Mei as a legendary performer of female roles (dan 旦), and suggested that a more comprehensive study should be made in an expanded scope of Asian classical theaters, many forms of which use a system of role types (hangdang zhi行當制). Chang-Sook Lee (Seoul National University) approached the “system” of Chinese opera with respect to a sense of “stylization” (chengshi程式), as manifested in Mei’s performances, with which actors can CHINOPERL: Journal of Chinese Oral and Performing Literature 37. 2 (December 2018): 157–160","PeriodicalId":37726,"journal":{"name":"CHINOPERL: Journal of Chinese Oral and Performing Literature","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82942119","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-07-03DOI: 10.1080/01937774.2019.1593683
Shuge Wei
“Gezai xi 歌仔戲 is undoubtedly the most representative Taiwanese drama,” states Professor Zeng Yongyi (Tseng Yong-yih) 曽永義 in his book on the history of gezai xi.1 In this review, I will first briefl...
{"title":"Media Review: Modern Faces of Taiwanese Gezai xi Opera: Two Plays by Sunhope Taiwanese Opera Troupe","authors":"Shuge Wei","doi":"10.1080/01937774.2019.1593683","DOIUrl":"https://doi.org/10.1080/01937774.2019.1593683","url":null,"abstract":"“Gezai xi 歌仔戲 is undoubtedly the most representative Taiwanese drama,” states Professor Zeng Yongyi (Tseng Yong-yih) 曽永義 in his book on the history of gezai xi.1 In this review, I will first briefl...","PeriodicalId":37726,"journal":{"name":"CHINOPERL: Journal of Chinese Oral and Performing Literature","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83218615","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-07-03DOI: 10.1080/01937774.2019.1588368
Paize Keulemans
peril anxieties” triggered by Asian American musicians’ success. In perhaps one of the most insightful arguments sustained throughout the book, Wang also situates this reactive anxiety in the context of a shifting Asia-U.S. power dynamics epitomized by China’s rise in global politics and the global economy since the 1990s (p. 39). If one tiny bone can be picked with this brilliant volume, it might be the slipperiness of the concept of belonging. Belonging—or rather, how racial narratives rendered full acceptance and belonging impossible for Asian American musicians—is important, as it lendsWang’s analyses a sense of urgency, and the desire to belong is indeed the affective motor that drives her interviewees’ efforts. But belonging, taken in this book as a teleological endpoint of minority integration, may entail a lot of different things in the realms of immigration status, social and financial capital, cultural fluency in white Americana, or minority community and family dynamics; each inflected by different intersecting identities such as gender. The nuances of belonging could perhaps have been explicated, but Wang does demonstrate its complexities through sketches of many different people striving toward amultitude of Asian American belongings. Ultimately, Soundtracks delivers more than it promises. An elegant elucidation of “the racial soundtracks that powerfully shape narratives about music,” it also beautifully captures “the ineffable yearnings—for beauty, freedom, self-definition, and community—that music simultaneously thwarts, fulfills, and inspires in racialized subjects” (p. 27). In each of the four chapters, Wang offers deeply affecting and convincing accounts of her interviewees as very real people white-knuckling with conflicts between hopes, pains, and disappointments. It is hard not to empathize with them, and through them readers can both understand and feel the stranglehold of race that resounds across Asian America. Grace Wang’s Soundtracks of Asian America will be an important addition to the libraries of scholars interested in the relationship between music and racial imaginations, in Asian America, in diaspora studies, and inWestern classical music as a cultural system. Though theoretically sophisticated, Wang’s prose is rich and engaging, accessible to undergraduate students in upper level courses. This book can and should also be read by the practitioners and pedagogues of Western classical music.
{"title":"Performing China on the London Stage: Chinese Opera and Global Power, 1759–2008","authors":"Paize Keulemans","doi":"10.1080/01937774.2019.1588368","DOIUrl":"https://doi.org/10.1080/01937774.2019.1588368","url":null,"abstract":"peril anxieties” triggered by Asian American musicians’ success. In perhaps one of the most insightful arguments sustained throughout the book, Wang also situates this reactive anxiety in the context of a shifting Asia-U.S. power dynamics epitomized by China’s rise in global politics and the global economy since the 1990s (p. 39). If one tiny bone can be picked with this brilliant volume, it might be the slipperiness of the concept of belonging. Belonging—or rather, how racial narratives rendered full acceptance and belonging impossible for Asian American musicians—is important, as it lendsWang’s analyses a sense of urgency, and the desire to belong is indeed the affective motor that drives her interviewees’ efforts. But belonging, taken in this book as a teleological endpoint of minority integration, may entail a lot of different things in the realms of immigration status, social and financial capital, cultural fluency in white Americana, or minority community and family dynamics; each inflected by different intersecting identities such as gender. The nuances of belonging could perhaps have been explicated, but Wang does demonstrate its complexities through sketches of many different people striving toward amultitude of Asian American belongings. Ultimately, Soundtracks delivers more than it promises. An elegant elucidation of “the racial soundtracks that powerfully shape narratives about music,” it also beautifully captures “the ineffable yearnings—for beauty, freedom, self-definition, and community—that music simultaneously thwarts, fulfills, and inspires in racialized subjects” (p. 27). In each of the four chapters, Wang offers deeply affecting and convincing accounts of her interviewees as very real people white-knuckling with conflicts between hopes, pains, and disappointments. It is hard not to empathize with them, and through them readers can both understand and feel the stranglehold of race that resounds across Asian America. Grace Wang’s Soundtracks of Asian America will be an important addition to the libraries of scholars interested in the relationship between music and racial imaginations, in Asian America, in diaspora studies, and inWestern classical music as a cultural system. Though theoretically sophisticated, Wang’s prose is rich and engaging, accessible to undergraduate students in upper level courses. This book can and should also be read by the practitioners and pedagogues of Western classical music.","PeriodicalId":37726,"journal":{"name":"CHINOPERL: Journal of Chinese Oral and Performing Literature","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88290620","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-07-03DOI: 10.1080/01937774.2019.1601465
Zhenzhen Lu
Zidishu was a genre of verse narrative which flourished in north China during the eighteenth and nineteenth centuries as both a form of literature and a performing art. With data gathered from the Xinbian zidishu zongmu 新編子弟書總目 (Newly compiled complete catalog of zidishu; 2012) and employing digital tools, this article surveys over three thousand extant items to examine the production of books in this genre in manuscript and print from the Qing to the Republican era. It clearly shows that handwritten production far exceeded woodblock print production of zidishu in the Qing, and draws attention to a niche market for entertainment literature dominated by scribal publishers of Beijing. The small group of dated items reveal woodblock print production of zidishu to have continued through the last two decades of the Qing, while personal manuscripts dated to the end of the Qing and the Republican era signal the continued handwritten transmission of zidishu through changing times. Following a brief discussion on lithographed zidishu from this same period, the article concludes with reflections on broader implications of the findings for the study of book culture in late imperial China.
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