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Music and Gender in English Renaissance Drama
This book offers a survey of how female and male characters in English Renaissance theatre participated and interacted in musical activities, both inside and outside the contemporary societal decorum. Wong’s analysis broadens our understanding of the general theatrical representation of music, or musical dramaturgy, and complicates the current discussion of musical portrayal and construction of gender during this period. Wong discusses dramaturgical meanings of music and its association with gender, love, and erotomania in Renaissance plays. The negotiation between the dichotomous qualities of the heavenly and the demonic finds extensive application in recent studies of music in early mode...
Eastern and Western Synergies and Imaginations
Eastern and Western Synergies and Imaginations traces and investigates multi-cultural interpretations of fictional and non-fictional narratives that feature people and events in East-West hubs. The Three Ladies of Macao, premièred in December 2016, is now published as appendix in this volume.
Gender and Song in Early Modern England
Song offers a vital case study for examining the rich interplay of music, gender, and representation in the early modern period. This collection engages with the question of how gender informed song within particular textual, social, and spatial contexts in sixteenth- and seventeenth-century England. Bringing together ongoing work in musicology, literary studies, and film studies, it elaborates an interdisciplinary consideration of the embodied and gendered facets of song, and of song’s capacity to function as a powerful-and flexible-gendered signifier. The essays in this collection draw vivid attention to song as a situated textual and musical practice, and to the gendered processes and spaces of song's circulation and reception. In so doing, they interrogate the literary and cultural significance of song for early modern readers, performers, and audiences.
Macao - Cultural Interaction and Literary Representations
Macao, the former Portuguese colony in southeast China from the 1550s until its return to China in 1999, has a long and very interesting history of cultural interaction between China and the West. As an entity with independent political power and a unique social setting and cultural development, the identity of Macao’s people is not only indicative of the legacy and influence of the region’s socio-historical factors and forces, but it has also been altered, transformed and maintained because of the input, action, interaction and stimulation of creative arts and literatures. Held together by racial accommodation and tolerance and active cultural interactions, Macao’s phenomenon can be characterized as hybridization. This book is a presentation of the ongoing hybridization of Macao and is in itself a hybrid, covering a wide range of issues. Putting forward substantial new research findings, the book explores the nature of cultural interaction in Macao, and how the city has been constructed and perceived through literature and other art forms. It is a companion volume to Macao – The Formation of a Global City .
Gender, Discourse and the Self in Literature
Critiquing the fictive nature of socially accepted values about gender, the authors unravel the strategies adopted by writers and filmmakers in (de)constructing the gendered self in mainland China, Taiwan and Hong Kong.
American Negotiating Behavior
Informed by discussions and interviews with more than fifty seasoned foreign and American negotiators, this landmark study offers a rich and detailed portrait of the negotiating practices of American officials. Including contributions by eleven international experts, i assesses the multiple influences--cultural, institutional, historical, and political--that shape how American policymakers and diplomats approach negotiations with foreign counterparts and highlights behavioral patterns that transcend the actions of individual negotiators and administrations.
Robert Armin and Shakespeare's Performed Songs
After Robert Armin joined the Chamberlain's Men, singing in Shakespeare's dramas catapulted from 1.25 songs and 9.95 lines of singing per play to 3.44 songs and 29.75 lines of singing, a virtually unnoticed phenomenon. In addition, many of the songs became seemingly improvisatory—similar to Armin's personal style as an author and solo comedian. In order to study Armin's collaborative impact, this interdisciplinary book investigates the songs that have Renaissance music that could have been heard on Shakespeare's stage. They occur in some of Shakespeare's most famous plays, including Much Ado About Nothing, Twelfth Night, Hamlet, and The Tempest. In fact, Shakespeare's plays, as we have the...
