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楊州古城與楊州評話
Chinese Storytellers takes us to the teahouses and hidden corners of Yangzhou to explore the ancient art of Chinese storytelling (shuoshu).
揚州評話四家藝人
This volume has its origins in the project "Large-scale Registration of Chinese Storytelling," which involved the recording on film of 360 hours of performances by the four master of Yangzhou storytelling, Dai Buzhang, Fei Zhengliang, Gao Zaihua, and Ren Jitang. Four sets of these films have been deposited (in Washington D.C., Taipei, Beijing, and Copenhagen) so that future generations of scholars will have access to this unique material. With all text appearing in both English and Chinese and with its subject matter brought alive by a wealth of photographs plus a 60-minute film on VCD, this volume promises to be a classic work in its field.
The Eternal Storyteller
Chinese storytelling has survived through more than a millennium into our own time, while similar oral arts have fallen into oblivion in the West. Under the main heading of 'The Eternal Storyteller', in August 1996 the Nordic Institute of Asian Studies hosted an International Workshop on Oral Literature in Modern China. To this meeting, the first of its kind in Europe, five special guests were invited - master tellers from Yangzhou: Wang Xizotang, Li Xintang, Fei Zhengliang, Dai Buzhang and Hui Zhaolong. The volume derived from this meeting includes an introductory article written by John Miles Foley entitled 'A Comparative View on Oral Traditions'. Thereafter, a wide range of topics relating to Chinese oral literature is covered under the headings: 'Historical Lines', 'A Spectrium of Genres', 'Studies of Yangzhou and Suzhou Story- telling' and 'Performances of Yangzhou Storytelling'. However, the present volume does more than include papers derived from the meeting. It is also lavishly illustrated in word and picture from performances by the guest-storytellers. In so doing, the world of Chinese story telling is not just described and analysed - it is also brought to life.
The Columbia Anthology of Chinese Folk and Popular Literature
In The Columbia Anthology of Chinese Folk and Popular Literature, two of the world's leading sinologists, Victor H. Mair and Mark Bender, capture the breadth of China's oral-based literary heritage. This collection presents works drawn from the large body of oral literature of many of China's recognized ethnic groups--including the Han, Yi, Miao, Tu, Daur, Tibetan, Uyghur, and Kazak--and the selections include a variety of genres. Chapters cover folk stories, songs, rituals, and drama, as well as epic traditions and professional storytelling, and feature both familiar and little-known texts, from the story of the woman warrior Hua Mulan to the love stories of urban storytellers in the Yangtz...
Lifestyle and Entertainment in Yangzhou
The Chinese city of Yangzhou has been of great cultural significance for many centuries, despite its destruction by invaders in the 17th and 19th centuries. It was a site of virtual pilgrimage for aspiring members of the Chinese educated class during the Ming and Qing periods. Moreover, because it was one of the foremost commercial centres during the late imperial period, it was the place where the merchant and scholarly classes merged to set new standards of taste and to create a cultural milieu quite unlike that of other cities, even other major centres in the region. The luxurious elegance of its gardens and the eminence of its artistic traditions meant that Yangzhou set aesthetic standards for the entire realm for much of the late imperial age. Over the years, particular regional forms of art and entertainment arose here, too, some surviving into the present time.
Travel, Translation and Transmedia Aesthetics
This book examines the works of four contemporary first-generation Chinese migrant writer-artists in France: François CHENG, GAO Xingjian, DAI Sijie, and SHAN Sa. They were all born in China, moved to France in their adulthood to pursue their literary and artistic ambitions, and have enjoyed the highest French and Western institutional recognitions, from the Grand Prix de la Francophonie to the Nobel Prize in Literature. They have established themselves not only as writers, but also as translators, calligraphers, painters, playwrights, and filmmakers mainly in their host country. French has become their dominant—but not only—language of literary creation (except for Gao); yet, linguisti...
Sound Rising from the Paper
Chinese martial arts novels from the late nineteenth century are filled with a host of suggestive sounds. Characters cuss and curse in colorful dialect accents, vendor calls ring out from bustling marketplaces, and martial arts action scenes come to life with the loud clash of swords and the sounds of bodies colliding. What is the purpose of these sounds, and what is their history? In Sound Rising from the Paper, Paize Keulemans answers these questions by critically reexamining the relationship between martial arts novels published in the final decades of the nineteenth century and earlier storyteller manuscripts. He finds that by incorporating, imitating, and sometimes inventing storyteller...
Yangzhou, A Place in Literature
One of the famous canal cities of the world and a former center of culture, trade, transportation, and fashion, the old town of Yangzhou evokes romantic bridges, beautiful courtesans, fine gardens, and eccentric painters. It is also remembered as a war-torn ruin after the Qing conquest and the Taiping Rebellion, and as a city in decline as trade shifted to seaports and railways. Yangzhou, A Place in Literature, the first anthology to center on a Chinese city and its local region, offers a wealth of literary, semi-literary, and oral texts representing social life over three hundred years of dramatic change between the seventeenth and twentieth centuries. The selections in this volume represen...
The Cambridge History of Chinese Literature: From 1375
Stephen Owen is James Bryant Conant Professor of Chinese at Harvard University. --Book Jacket.
From Stage to Screen
Chinese martial arts cinema is held to be a synthesis drawing on artistic conventions of traditional Chinese theatre. Film sound and music perform as the legitimate heirs of some of the aesthetic ideas and norms of traditional Chinese theatre. This book critically examines the history of this under-explored field of inquiry from a theoretically comparative perspective, demonstrating that the musical codes drawn from traditional theatre are a constantly changing component integral to Chinese martial arts cinema. It explores the interaction between traditional Chinese theatre and Chinese martial arts cinema in how the musical codes of the former have shaped the aesthetics of the latter uniquel...
