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A UNESCO collection of 17th century Chinese short stories.
This collection of Chinese stories begins with the great legends of how Earth and Heaven came into being. There are folk-tales too, about ghosts, rain-makers, students and magicians, and a man who is nearly made into fishpaste.
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.
Although Chinese narrative, and especially the genres of colloquial fiction, have been subjected to intensive scholarly scrutiny, no comprehensive volume has provided a framework that would permit an overall view of the tradition. The distinguished contributors to this volume have taken an important first step in making possible the consideration of Chinese narrative at the level of comparative and general literary scholarship. Originally published in 1977. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
A compendium of traditional Chinese literature offers a broad variety of genres including poetry, letters, stories, excerpts from novels and drama, philosophical writings, jokes, and other prose forms.
Enth.: Papers presented at the first International conference on the translation of Chinese literature held in Taipei, Nov. 19-21, 1990.
A collection of eighteen legends and folktales, bringing to life the magic and mystery of China.
What do Chinese literature and film inspired by the Cultural Revolution (1966–1976) have in common with media of the May Fourth movement (1918–1930)? This book demonstrates several shared aims: to liberate narrative arts from aesthetic orthodoxies, to draw on foreign sources for inspiration, and to free individuals from social conformity.