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Inscribing Jingju/Peking Opera
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.
Revolutionary Stagecraft
Revolutionary Stagecraft draws on a rich corpus of literary, historical, and technical materials to reveal a deep entanglement among technological modernization, political agendas, and the performing arts in modern China. This unique approach to Chinese theater history combines a close look at plays themselves, performance practices, technical theater details, and behind-the-scenes debates over “how to” make theater amid the political upheavals of China’s 20th century. The book begins at a pivotal moment in the 1920s—when Chinese theater artists began to import, use, and write about modern stage equipment—and ends in the 1980s when China's scientific and technological boom began. B...
History of Soybeans and Soyfoods in China, in Chinese Cookbooks and Restaurants, and in Chinese Work with Soyfoods Outside China (Including Taiwan, Manchuria, Hong Kong & Tibet) (1949-2022)
The world's most comprehensive, well documented, and well illustrated book on this subject. With extensive subject and geographic index. 231 photographs and illustrations - mostly color. Free of charge in digital PDF format.
Connectivity, Imperialism, and the Han Iron Industry
This book examines the rise of the iron industry during the Warring States and Western Han periods (ca. 400 BCE–9 CE) in ancient China, which is characterized not only by various technological innovations but also as a remarkable phenomenon, leading to the widespread distribution of iron implements and the emergence of massive ironworks that were rarely seen in later periods. With Connectivity, Imperialism, and the Han Iron Industry, Lam Wengcheong combines archaeological and historical analyses to piece together fragmentary evidence and to refocus our gaze onto the economic and political mechanism that gave birth to an iron industry unique in the ancient world. Guiding readers through the...
Historical Dictionary of Chinese Theater
There is a sense of timelessness in the Chinese theater: ever since its maturation, its format has not changed in any significant way. Chinese Theater matured into its final format in the 13th century and flourished during the Yuan, Ming, and Qing Dynasties. It is a unique, exclusive, and self-sufficient system, whose evolution has received little influence from the West and whose influence on Western theaters has been minimal and often misinterpreted. It is essentially a performer's theater; the actors attract the audience with splendid performances perfected through many years of rigorous training. This second edition of Historical Dictionary of Chinese Theater contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 1,500 cross-referenced entries on performers, directors, producers, designers, actors, theaters, dynasties, and emperors. This book is an excellent resource for students, researchers, and anyone wanting to know more about Chinese theater.
Eminent Chinese of the Qing Period
Eminent Chinese of the Qing Period was first developed under the auspices of the US Library of Congress during World War II. This much-loved work, edited by Arthur W. Hummel Sr., was meticulously compiled and unique in its scope, and quickly became the standard biographical reference for the Qing dynasty, which lasted from 1644 to 1911/2. Amongst the contributors are John King Fairbank, Têng Ssû-yü, L. Carrington Goodrich, C. Martin Wilbur, Fêng Chia-shêng, Knight Biggerstaff, and Nancy Lee Swann. The 2018 Berkshire edition contains the original eight hundred biographical sketches as well as the original front and back matter, including the preface by Hu Shih, a scholar who had been Chi...
Prime Minister, Don’t Run Away
She was the princess who had been used by the tribe to marry her, and had fallen to be the mouth of the masses in the gambling workshop.He was the crown prince of the previous dynasty, because the current emperor did not want to live up to the world's infamy and gave him a title of prime minister without real power;She had searched for a sister in her life and actually entered the palace to be the emperor's concubine ...Who was in the right and who was in the wrong, where should she go from here?
Unstately Power
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Ascendant Peace in the Four Seas
"On an autumn morning in 1793, Lord Macartney waited to be ushered into the imperial summer retreat to take part in the celebration of the Qianlong Emperor's 82nd birthday. It was a long day; the celebration drama, Ascendant Peace in the Four Seas, lasted five hours. There were many scenes of fish, turtles and other sea creatures, and Macartney guessed it must have had something to do with the marriage between the ocean and land. He could not have been more wrong…" For the Qing court, entertaining foreign visitors was only one of the numerous ritual and political purposes dramas served. Delving into a rich collection of firsthand materials, the author meticulously excavates and combs histo...
