DOCSLIB.ORG

Daqu 大曲 (“Big-Suite”) and Medieval Chinese Performance

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Daqu 大曲 (“Big-Suite”) and Medieval Chinese Performance The Sound of Silence: Daqu 大曲 (“big-suite”) and Medieval Chinese Performance By Xiaojing Sun A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Chinese language in the Graduate Division Of the University of California, Berkeley Committee in charge: Professor Robert Ashmore, Co-Chair Professor Stephen H. West, Co-Chair Professor Bonnie Wade Fall 2012 Abstract The Sound of Silence: Daqu 大曲 (“big-suite”) and Medieval Chinese Performance By Xiaojing Sun Doctor of Philosophy in East Asian Languages and Cultures University of California, Berkeley Professor Robert Ashmore, Co-Chair Professor Stephen H. West, Co-Chair My dissertation investigates Chinese medieval daqu(“big suite”), a performance consisting of a succession of musical sections that combines song lyrics with instrumental accompaniment, and includes solo or ensemble dance movements. As one of the major components of court music, the lyrics of daqu provide a valuable window into the often submerged link between text and performance. My dissertation focuses on how the performance texts be taken as a linguistic matrix in which the fossilized remains of performance are preserved and revealed to memory. The first chapter examines the relationship between dance, dance lyrics and performance context. The second chapter provides a general introduction on daqu, from that of the Wei and Jin to the Tang and Song. The third chapter takes daqu compositions by Shi Hao (1106–1194) of the Southern Song as central texts, discussing several issues such as “musical words (yueyu),” medieval court performance, intertextualization and performance context, “roaming transcendents (youxian)” tradition and court performance. In the appendix is an annotated translation on Shi Hao’s seven daqu pieces. 1 Table of Contents Introduction……………………………………………………………………………….1 Chapter One: Dance, dance lyrics, and performance context…………………………….9 I. Dance and music……………………………………………………………...9 II. Dance music …………………………………………………………………13 III. Dance lyrics …………………………………………………………………17 IV. The symbolic dance …………………………………………………………19 V. From the “Grand Martial” (dawu 大武) to “Dance of Seven Virtues” (qidewu 七德舞) ………………………………………………………………..22 VI. Dance lyrics and performance context ……………………………………...31 Chapter Two: An Introduction to Daqu (“big suite/piece”) …………………………….38 I. Daqu of the Wei and Jin …………………………………………………….38 II. Daqu in the Tang ……………………………………………………………59 III. Daqu of the Song ……………………………………………………………88 Chapter Three: Shi Hao’s 史浩 daqu suites ……………………………………………102 I. “Musical words” (yueyu) …………………………………………………..102 II. Shi Hao and his daqu composition ………………………………………...114 III. “Lotus Plucking Dance” and court performance……………………….......116 IV. “Sword Dance:” intertextualization and performance context …………….129 V. The “Roaming Transcendents” (youxian) tradition and court performance………………………………………………………………….…139 Conclusion……………………………………………………………………………...157 Bibliography …………………………………………………………………………...158 Appendix: Shi Hao’s Maofeng Zhenyin daqu translation ……………………………..167 i Introduction One way of looking at the performance texts, the literary traces of lost performance traditions, is to see them as attempts to preserve in language the fleeting world of performance. In this sense, literary texts are a linguistic matrix in which the fossilized remains of performance are preserved and revealed to memory. But this raises a range of questions. Are performance texts a distinctive genre? What are the dangers in reconstructing performance context based on written remnants such as these? In trying to address these questions, we must naturally shift our focus from the text per se to the communicative context or situation in which the lyrics originally appeared, and this shift, I believe, will create a productive, multi-dimensional space for the reading of these texts. I would like to start my discussion with the debate on a famous piece, Shangyun yue 上雲樂 (“Tune on Ascending Clouds”) composed by Zhou She 周舍 (469–524) of the Liang (502–57): 1 西方老胡，The Old Hu from the west, 厥名文康。His name is Wenkang. 遨遊六合，He wandered through the Six Enclosures1, 傲誕三皇。Arrogant and unbridled to the Three August Ones. 5 西觀濛汜，To the west he observed Mengsi, 東戲扶桑。And to the east he played at Fusang. 2 南泛大蒙之海，To the south he floated on the sea of grand haziness, 北至無通之鄉。And to the north he reached the Land of Nopassage.3 昔與若士為友，Once he was friend of Ruoshi, 4 10 共弄彭祖扶床。And they together laughed at Pengzu “supported by the bed”.5 往年暫到昆侖，In the past he went temporarily to the Mt. Kunlun, 複值瑤池舉觴。A second time for wine drinking at the Jade Pond.6 1 Meaning six directions of East, West, North, South, above and below, it refer to the whole universe. 2 Mengsi is the legendary place to where the sun sets, while Fushang is from where the sun rises in the far east. 3 The Land of Nopassage, a legendary vast marsh land out of the Nine States (jiuzhou). 4 Literally means “like-the-person,” a character from Huainan zi, who wanders in the celestial realm. Therefore, later it becomes a name for the Immortal. 5 An immortal who is particularly known for his longevity. “Supported by a bed” because he was learning to walk. That is, they were there when the immortal known for his longevity was just beginning to learn to walk. 6 The legendary Western heavenly paradise of Xi Wangmu, the Queen Mother of the West on the Kunlun Mountain. With the appearance of the King of Zhou and the Queen Mother in the next two lines, the allusion on the wine drinking at the Jade Pond here is most likely from the account in Mu tianzi zhuan 穆天 子傳 (“Tale of King Mu”), a biography on the King Mu of Zhou with plenty of fantasy stories. It said that King Mu dreamed of being an immortal god. So he visited the Jade Pond and the Queen Mother threw a drinking banquet for him, where there were wine, gifts, and decorous exchange of poems. Many other anecdotes are also related to the feast of the Queen Mother, such as she serves her guests with peaches of 1 周帝迎以上席，The King of Zhou received him at the seat of honor, 王母贈以玉漿。The Queen Mother bestowed him jade ambrosia. 15 故乃 For this reason 壽如南山，His alloted lifespan was as enduring as the South Mountain, 志若金剛。And his ambition adamantine as a diamond. 青眼眢眢，His blue eyes lost their luster, 白髮長長。His white hair grew long. 蛾眉臨髭，Moth shaped eyebrows reached to his moustache, 20 高鼻垂口。His high nose drooped over his mouth. 非直能俳，Not only was he humourous, 又善飲酒。He was also good at drinking. 簫管鳴前，Xiao-pipes sounded out in the front, 門徒從後。Disciples follow behind. 25 濟濟翼翼，Numerous and reverential, 各有分部。Each had a different section. 鳳皇是老胡家雞，Phoenixes were the Old Hu’s chickens, 師子是老胡家狗。Lions, the Old Hu’s domestic dogs. 陛下 Your Majesty 撥亂反正，Dispelled chaos and restored peace, 30 再朗三光。Making the Three Lusters7 bright again. 澤與雨施，Your beneficent grace was granted with the rain, 化與風翔。Your transforming power soared along with the wind. 覘雲候呂，Inspecting the clouds and evaluating bamboo pitch-pipes, 志游大樑。He set his mind to wander at the Great Liang.8 35 重駟修路，Doubled the team of four horses along the distant road, 始屆帝鄉。Only then did he come to place of the Emperor. 伏拜金闕，Prostrate himself to bow at the golden palace, 仰瞻玉堂。And looked up with reverence at the jade hall. immorality, which ripen once every three thousand years. 7 The Three Lusters refer to the sun, the moon and stars. 8 The omission of the subject here brings the ambiguity of the context, as we will discuss soon. This part starting from “Your Mejesty” could be simply a description of the performance, as Ren Bantang argues. Yet it also could be a direct speech, issued by someone costumed as old Hu, or a third party (background chorus or music section) describing a mimed performance. In the latter case, this would be translated in the 1st person: “I set my mind to wander at the Great Liang” and so on. 2 從者小子，Those following him were little fellows, 40 羅列成行。All arranged in ranks. 悉知廉節，They all know honor and integrity, 皆識義方。All understand the way of righteousness. 歌管愔愔，Their singing and pipe-playing was tranquil and peaceful) 鏗鼓鏘鏘。Their rythmic drums clangorous. 45 響震鈞天，Their clear sound shakes Balanced Heaven, 聲若鵷凰。Their voices like those of the yuan and huang. 前卻中規矩，Stepping forward and back, they conform to the propriety, 進退得宮商。Advancing and retreating, they get the modes of gong and shang. 舉技無不佳，Every performing skills was perfect, 50 胡舞最所長。But in the barbarian dance they are most accomplished . 老胡寄篋中，In the Old Hu’s storage box, 復有奇樂章。Are even more fantastic music scores. 齎持數萬里，He carried them as tribute for myriads of li, 原以奉聖皇。Desiring to present them to the saged king. 55 乃欲次第說，He would like to explain them all one by one, 老耄多所忘。But old and senile he has forgotten most. 但願明陛下，He only desire that the Enlightened One, 壽千萬歲， Have an allotted life span of thousand and myriads of year, 59 歡樂未渠央。and happy forever!9 This song enjoyed a long period of popularity in medieval China, and formed part of court ritual performances until the eighth century. In addition to Zhou She, Emperor Wu of the Liang (464–549) composed seven lyrics to the same title, all of which display a strong influence from Taoist youxian (“roaming transcendents”) motifs and traditions. In the Tang (618–907), the famous poet Li Bai 李白 (701–762) also wrote a similar lyric.10 Ren Bantang 任半塘 (1897–1991), the renowned scholar of early performance literature, argued strongly against earlier interpretations of this poem, focusing mainly on two issues, namely, the identities of the characters, and the function of the poem. In his view, Hu Wenkang from the West, a figure with half-human and half-immortal features, was by no means a real character (or actor) with an unusual appearance from the Western region.
Load more

Recommended publications
  • Neural Mechanisms of Navigation Involving Interactions of Cortical and Subcortical Structures
    J Neurophysiol 119: 2007–2029, 2018. First published February 14, 2018; doi:10.1152/jn.00498.2017. REVIEW Where Are You Going? The Neurobiology of Navigation Neural mechanisms of navigation involving interactions of cortical and subcortical structures James R. Hinman, Holger Dannenberg, Andrew S. Alexander, and Michael E. Hasselmo Center for Systems Neuroscience, Boston University, Boston, Massachusetts Submitted 5 July 2017; accepted in final form 1 February 2018 Hinman JR, Dannenberg H, Alexander AS, Hasselmo ME. Neural mecha- nisms of navigation involving interactions of cortical and subcortical structures. J Neurophysiol 119: 2007–2029, 2018. First published February 14, 2018; doi: 10.1152/jn.00498.2017.—Animals must perform spatial navigation for a range of different behaviors, including selection of trajectories toward goal locations and foraging for food sources. To serve this function, a number of different brain regions play a role in coding different dimensions of sensory input important for spatial behavior, including the entorhinal cortex, the retrosplenial cortex, the hippocampus, and the medial septum. This article will review data concerning the coding of the spatial aspects of animal behavior, including location of the animal within an environment, the speed of movement, the trajectory of movement, the direction of the head in the environment, and the position of barriers and objects both relative to the animal’s head direction (egocentric) and relative to the layout of the environment (allocentric). The mechanisms for coding these important spatial representations are not yet fully understood but could involve mechanisms including integration of self-motion information or coding of location based on the angle of sensory features in the environment.
    [Show full text]
  • Paper Title (Use Style: Paper Title)
    2nd International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2015) Analysis on the Social Culture in the Art Theme of China Gongyi Grotto Temple Xiaohui Zhang Huanghe Science and Technology College Zhengzhou, China 450046 Abstract—As the three-dimensional image carrier of Buddhist art in the Northern Wei Dynasty, the stone carvings II. THE EXPRESSION OF DIFFERENT THEMES FOR in Gongyi Grotto Temple has a all-inclusive content and form, GROTTO TEMPLE ART with its performance theme including the magnificent Buddha, Art comes from life, and as the three-dimensional Buddha Figure of Buddha and the royal family jointly sharing image carrier of Buddhist art in the Northern Wei Dynasty, pleasure, secularized civilian inscriptions, as well as men and the stone carvings in Gongyi Grotto Temple has an all- women and the Buddhist monks with belief of Buddha in the late. Its transformation of theme and content from magnificent inclusive content and form, with its expressive content complex to simple common customs and from the grim majesty including both the god and the human, both the noble and the to intimate civilians, shows the change of the society and the labourers. With the artistic technique of circle carvings and change of dominant ideology, from which we can look into a line engraving and the copper, stone or clay statues, it is variety of vicissitude from the early Northern Wei Dynasty to small and exquisite, wonderful and unique, compared with the Tang Dynasty. grand and magnificent grotto art in the Tang Dynasty. As the beginning of grotto expression for carving art, it has unique Keywords—Gongyi Grotto Temple; expressive theme; artistic value.
    [Show full text]
  • Landscape Analysis of Overcomplete Tensor and Neural Collapse
    Landscape Analysis of Overcomplete Tensor and Neural Collapse Qing Qu Dept. of EECS, University of Michigan May 17, 2021 Outline of this Talk • Introduction • Overcomplete Tensor Decomposition (Representation Learning) • Neural Collapse in Deep Network Training Outline of this Talk • Introduction • Overcomplete Tensor Decomposition (Representation Learning) • Neural Collapse in Deep Network Training Nonconvex Problems in Representation Learning 5/18/21 4 General Nonconvex Problems 5/18/21 5 General Nonconvex Problems 5/18/21 6 General Nonconvex Problems 5/18/21 7 Optimizing Nonconvex Problems Globally 5/18/21 8 Nonconvex Problems with Benign Landscape • Generalized Phase Retrieval [Sun’18] • Low-rank Matrix Recovery [Ma’16, Jin’17, Chi’19] • (Convolutional) Sparse Dictionary Learning [Sun’16, Qu’20] • (Orthogonal) Tensor Decomposition [Ge’15] • Sparse Blind Deconvolution [Zhang’17, Li’18, Kuo’19] • Deep Linear Network [Kawaguchi’16] • ... 5/18/21 9 Outline of this Talk • Introduction • Overcomplete Tensor Decomposition (Representation Learning) • Neural Collapse in Deep Network Training Landscape Analysis of Overcomplete Learning Q. Qu, Y. Zhai, X. Li, Y. Zhang, Z. Zhu, Analysis of optimization landscapes for overcomplete learning, ICLR’20, (oral, top 1.9%) • Provide the global landscape for overcomplete representation learning problems. • Explains why they can be efficiently optimized to global optimality Overcomplete Tensor Decomposition We consider decomposing a 4-th order tensor of rank m in the following form Core problem for several unsupervised representation learning problems (ICA and mixture of Gaussian [Anandkumar’12], dictionary learning [Barak’14,Qu’20]), and even training neural networks [Ge’17]. Overcomplete Tensor Decomposition A natural (nonconvex) objective to find one component Overcomplete Tensor Decomposition Overcomplete Tensor Decomposition • For overcomplete case, most of existing landscape analysis results [Ge’17] are local, or are based on Sum-of-Squares relaxations [Barak’15, Ma’16] which is computationally expensive.
    [Show full text]
  • Contemporary China: a Book List
    PRINCETON UNIVERSITY: Woodrow Wilson School, Politics Department, East Asian Studies Program CONTEMPORARY CHINA: A BOOK LIST by Lubna Malik and Lynn White Winter 2007-2008 Edition This list is available on the web at: http://www.princeton.edu/~lynn/chinabib.pdf which can be viewed and printed with an Adobe Acrobat Reader. Variation of font sizes may cause pagination to differ slightly in the web and paper editions. No list of books can be totally up-to-date. Please surf to find further items. Also consult http://www.princeton.edu/~lynn/chinawebs.doc for clicable URLs. This list of items in English has several purposes: --to help advise students' course essays, junior papers, policy workshops, and senior theses about contemporary China; --to supplement the required reading lists of courses on "Chinese Development" and "Chinese Politics," for which students may find books to review in this list; --to provide graduate students with a list that may suggest books for paper topics and may slightly help their study for exams in Chinese politics; a few of the compiler's favorite books are starred on the list, but not much should be made of this because such books may be old or the subjects may not meet present interests; --to supplement a bibliography of all Asian serials in the Princeton Libraries that was compiled long ago by Frances Chen and Maureen Donovan; many of these are now available on the web,e.g., from “J-Stor”; --to suggest to book selectors in the Princeton libraries items that are suitable for acquisition; to provide a computerized list on which researchers can search for keywords of interests; and to provide a resource that many teachers at various other universities have also used.
    [Show full text]
  • Hong Kong SAR
    China Data Supplement November 2006 J People’s Republic of China J Hong Kong SAR J Macau SAR J Taiwan ISSN 0943-7533 China aktuell Data Supplement – PRC, Hong Kong SAR, Macau SAR, Taiwan 1 Contents The Main National Leadership of the PRC 2 LIU Jen-Kai The Main Provincial Leadership of the PRC 30 LIU Jen-Kai Data on Changes in PRC Main Leadership 37 LIU Jen-Kai PRC Agreements with Foreign Countries 47 LIU Jen-Kai PRC Laws and Regulations 50 LIU Jen-Kai Hong Kong SAR 54 Political, Social and Economic Data LIU Jen-Kai Macau SAR 61 Political, Social and Economic Data LIU Jen-Kai Taiwan 65 Political, Social and Economic Data LIU Jen-Kai ISSN 0943-7533 All information given here is derived from generally accessible sources. Publisher/Distributor: GIGA Institute of Asian Affairs Rothenbaumchaussee 32 20148 Hamburg Germany Phone: +49 (0 40) 42 88 74-0 Fax: +49 (040) 4107945 2 November 2006 The Main National Leadership of the PRC LIU Jen-Kai Abbreviations and Explanatory Notes CCP CC Chinese Communist Party Central Committee CCa Central Committee, alternate member CCm Central Committee, member CCSm Central Committee Secretariat, member PBa Politburo, alternate member PBm Politburo, member Cdr. Commander Chp. Chairperson CPPCC Chinese People’s Political Consultative Conference CYL Communist Youth League Dep. P.C. Deputy Political Commissar Dir. Director exec. executive f female Gen.Man. General Manager Gen.Sec. General Secretary Hon.Chp. Honorary Chairperson H.V.-Chp. Honorary Vice-Chairperson MPC Municipal People’s Congress NPC National People’s Congress PCC Political Consultative Conference PLA People’s Liberation Army Pol.Com.
    [Show full text]
  • Is Shuma the Chinese Analog of Soma/Haoma? a Study of Early Contacts Between Indo-Iranians and Chinese
    SINO-PLATONIC PAPERS Number 216 October, 2011 Is Shuma the Chinese Analog of Soma/Haoma? A Study of Early Contacts between Indo-Iranians and Chinese by ZHANG He Victor H. Mair, Editor Sino-Platonic Papers Department of East Asian Languages and Civilizations University of Pennsylvania Philadelphia, PA 19104-6305 USA [email protected] www.sino-platonic.org SINO-PLATONIC PAPERS FOUNDED 1986 Editor-in-Chief VICTOR H. MAIR Associate Editors PAULA ROBERTS MARK SWOFFORD ISSN 2157-9679 (print) 2157-9687 (online) SINO-PLATONIC PAPERS is an occasional series dedicated to making available to specialists and the interested public the results of research that, because of its unconventional or controversial nature, might otherwise go unpublished. The editor-in-chief actively encourages younger, not yet well established, scholars and independent authors to submit manuscripts for consideration. Contributions in any of the major scholarly languages of the world, including romanized modern standard Mandarin (MSM) and Japanese, are acceptable. In special circumstances, papers written in one of the Sinitic topolects (fangyan) may be considered for publication. Although the chief focus of Sino-Platonic Papers is on the intercultural relations of China with other peoples, challenging and creative studies on a wide variety of philological subjects will be entertained. This series is not the place for safe, sober, and stodgy presentations. Sino- Platonic Papers prefers lively work that, while taking reasonable risks to advance the field, capitalizes on brilliant new insights into the development of civilization. Submissions are regularly sent out to be refereed, and extensive editorial suggestions for revision may be offered. Sino-Platonic Papers emphasizes substance over form.
    [Show full text]
  • A Review of the Origin and Evolution of Uygur Musical Instruments
    2019 International Conference on Humanities, Cultures, Arts and Design (ICHCAD 2019) A Review of the Origin and Evolution of Uygur Musical Instruments Xiaoling Wang, Xiaoling Wu Changji University Changji, Xinjiang, China Keywords: Uygur Musical Instruments, Origin, Evolution, Research Status Abstract: There Are Three Opinions about the Origin of Uygur Musical Instruments, and Four Opinions Should Be Exact. Due to Transliteration, the Same Musical Instrument Has Multiple Names, Which Makes It More Difficult to Study. So Far, the Origin of Some Musical Instruments is Difficult to Form a Conclusion, Which Needs to Be Further Explored by People with Lofty Ideals. 1. Introduction Uyghur Musical Instruments Have Various Origins and Clear Evolution Stages, But the Process is More Complex. I Think There Are Four Sources of Uygur Musical Instruments. One is the National Instrument, Two Are the Central Plains Instruments, Three Are Western Instruments, Four Are Indigenous Instruments. There Are Three Changes in the Development of Uygur Musical Instruments. Before the 10th Century, the Main Musical Instruments Were Reed Flute, Flute, Flute, Suona, Bronze Horn, Shell, Pottery Flute, Harp, Phoenix Head Harp, Kojixiang Pipa, Wuxian, Ruan Xian, Ruan Pipa, Cymbals, Bangling Bells, Pan, Hand Drum, Iron Drum, Waist Drum, Jiegu, Jilou Drum. At the Beginning of the 10th Century, on the Basis of the Original Instruments, Sattar, Tanbu, Rehwap, Aisi, Etc New Instruments Such as Thar, Zheng and Kalong. after the Middle of the 20th Century, There Were More Than 20 Kinds of Commonly Used Musical Instruments, Including Sattar, Trable, Jewap, Asitar, Kalong, Czech Republic, Utar, Nyi, Sunai, Kanai, Sapai, Balaman, Dapu, Narre, Sabai and Kashtahi (Dui Shi, or Chahchak), Which Can Be Divided into Four Categories: Choral, Membranous, Qiming and Ti Ming.
    [Show full text]
  • I. Guides to the State of the Field Song Research Tools
    I. Guides to the State of the Field Page 1 of 125 Song Research Tools home | about | faq I. Guides to the State of the Field The late Etienne Balazs began formulating plans for an international, collaborative study of the Sung period as early as 1949 and formally initiated the "Sung Project" in 1954. The Project was responsible for some of the most valuable reference tools in this guide. Its history is related in: Ref (W) DS751.S86 1978x Yves Hervouet, "Introduction," (W) DS751.S86 1978x A Sung Bibliography Loc: Z3102 .S77 Hong Kong: The Chinese University Press, 1978, pp. vii-xiv. I.A. SOCIETIES, NEWSLETTERS, AND JOURNALS Societies Japan: Sōdaishi kenkyūkai 宋代史研究会 (Society for Song Studies): http://home.hiroshima-u.ac.jp/songdai/songdaishi-yanjiuhui.htm This site contains announcements for and reports on the annual meetings of the society, links to related sites, a bibliography of Japanese scholarship on Song studies (1982-2002) and a directory of Japanese scholars working in the field. Sōdaishi danwakai 宋代史談話會 (Society for the Study of Song History in Japan) http://www2u.biglobe.ne.jp/~songsong/songdai/danwakai.html Established in 1997 as a forum and reading group for young scholars of Song history active in Kyoto-Osaka-Kobe region. Includes meeting information, list of readings, and an announcement board. Sōdai shibun kenkyūkai 宋代詩文研究會 (Society for the Study of Song Literature) http://www9.big.or.jp/~co-ume/song/ http://www9.big.or.jp/~co-ume/song/danwakai.htm Includes announcements and a mailing list. Registration is required to get access to the full site.
    [Show full text]
  • UC Berkeley Electronic Theses and Dissertations
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title The Lyric Forms of the Literati Mind: Yosa Buson, Ema Saikō, Masaoka Shiki and Natsume Sōseki Permalink https://escholarship.org/uc/item/97g9d23n Author Mewhinney, Matthew Stanhope Publication Date 2018 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California The Lyric Forms of the Literati Mind: Yosa Buson, Ema Saikō, Masaoka Shiki and Natsume Sōseki By Matthew Stanhope Mewhinney A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Japanese Language in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Alan Tansman, Chair Professor H. Mack Horton Professor Daniel C. O’Neill Professor Anne-Lise François Summer 2018 © 2018 Matthew Stanhope Mewhinney All Rights Reserved Abstract The Lyric Forms of the Literati Mind: Yosa Buson, Ema Saikō, Masaoka Shiki and Natsume Sōseki by Matthew Stanhope Mewhinney Doctor of Philosophy in Japanese Language University of California, Berkeley Professor Alan Tansman, Chair This dissertation examines the transformation of lyric thinking in Japanese literati (bunjin) culture from the eighteenth century to the early twentieth century. I examine four poet- painters associated with the Japanese literati tradition in the Edo (1603-1867) and Meiji (1867- 1912) periods: Yosa Buson (1716-83), Ema Saikō (1787-1861), Masaoka Shiki (1867-1902) and Natsume Sōseki (1867-1916). Each artist fashions a lyric subjectivity constituted by the kinds of blending found in literati painting and poetry. I argue that each artist’s thoughts and feelings emerge in the tensions generated in the process of blending forms, genres, and the ideas (aesthetic, philosophical, social, cultural, and historical) that they carry with them.
    [Show full text]
  • Official Colours of Chinese Regimes: a Panchronic Philological Study with Historical Accounts of China
    TRAMES, 2012, 16(66/61), 3, 237–285 OFFICIAL COLOURS OF CHINESE REGIMES: A PANCHRONIC PHILOLOGICAL STUDY WITH HISTORICAL ACCOUNTS OF CHINA Jingyi Gao Institute of the Estonian Language, University of Tartu, and Tallinn University Abstract. The paper reports a panchronic philological study on the official colours of Chinese regimes. The historical accounts of the Chinese regimes are introduced. The official colours are summarised with philological references of archaic texts. Remarkably, it has been suggested that the official colours of the most ancient regimes should be the three primitive colours: (1) white-yellow, (2) black-grue yellow, and (3) red-yellow, instead of the simple colours. There were inconsistent historical records on the official colours of the most ancient regimes because the composite colour categories had been split. It has solved the historical problem with the linguistic theory of composite colour categories. Besides, it is concluded how the official colours were determined: At first, the official colour might be naturally determined according to the substance of the ruling population. There might be three groups of people in the Far East. (1) The developed hunter gatherers with livestock preferred the white-yellow colour of milk. (2) The farmers preferred the red-yellow colour of sun and fire. (3) The herders preferred the black-grue-yellow colour of water bodies. Later, after the Han-Chinese consolidation, the official colour could be politically determined according to the main property of the five elements in Sino-metaphysics. The red colour has been predominate in China for many reasons. Keywords: colour symbolism, official colours, national colours, five elements, philology, Chinese history, Chinese language, etymology, basic colour terms DOI: 10.3176/tr.2012.3.03 1.
    [Show full text]
  • A Required Taste
    Tea Classics A Required Taste Tea Culture Among 16th Century Literary Circles as Seen Through the Paintings of Wen Zhengming 一 個 茶人: Michelle Huang 必 修 Some of the authors we are translating in this issue are very 品 well known to Chinese scholars and laymen alike. And even 味 if these specific authors weren’t known to a Chinese reader, 文 they at least would have studied enough Chinese history to contextualize these works in the Ming Dynasty: its culture, 徵 art and politics. Also, we only got to read parts of Wen’s 明 “Superfluous Things,” those having to do with tea, so this -ar 的 ticle on his life and times by our local Chinese art historian, Michelle, who has contributed to many past issues of Global 畫 Tea Hut, can help us all to construct a bit of Ming China in our imaginations and thereby enrich our reading of the texts. en Zhengming 文徵明 tivity for literary figures since the dawn most other gentlemen to work on his W (1470–1559) was a of civilization, the booming economy art and tea-related research. He wrote a famous artist in the late and the increasing availability of pub- systematic commentary on an existing Ming Dynasty in Suzhou, which was lic transportation since the 15th centu- work, the Record of Tea by Cai Xiang a hot spot for literary figures. He came ry in China made it easier for people (1012–1067),3 which was titled Com- from a family of generations of officials to travel longer distances.
    [Show full text]
  • Interpreting Zheng Chenggong: the Politics of Dramatizing
    , - 'I ., . UN1VERSIlY OF HAWAII UBRARY 3~31 INTERPRETING ZHENG CHENGGONG: THE POLITICS OF DRAMATIZING A HISTORICAL FIGURE IN JAPAN, CHINA, AND TAIWAN (1700-1963) A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAW AI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN THEATRE AUGUST 2007 By Chong Wang Thesis Committee: Julie A. Iezzi, Chairperson Lurana D. O'Malley Elizabeth Wichmann-Walczak · - ii .' --, L-' ~ J HAWN CB5 \ .H3 \ no. YI,\ © Copyright 2007 By Chong Wang We certity that we have read this thesis and that, in our opinion, it is satisfactory in scope and quality as a thesis for the degree of Master of Arts in Theatre. TIIESIS COMMITTEE Chairperson iii ACKNOWLEDGEMENTS I want to give my wannest thanks to my family for their strong support. I also want to give my since're thanks to Dr. Julie Iezzi for her careful guidance and tremendous patience during each stage of the writing process. Finally, I want to thank my proofreaders, Takenouchi Kaori and Vance McCoy, without whom this thesis could not have been completed. - . iv ABSTRACT Zheng Chenggong (1624 - 1662) was sired by Chinese merchant-pirate in Hirado, Nagasaki Prefecture, Japan. A general at the end of the Chinese Ming Dynasty, he was a prominent leader of the movement opposing the Manchu Qing Dynasty, and in recovering Taiwan from Dutch colonial occupation in 1661. Honored as a hero in Japan, China, and Taiwan, he has been dramatized in many plays in various theatre forms in Japan (since about 1700), China (since 1906), and Taiwan (since the 1920s).
    [Show full text]