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Kūnqǔ in Practice: a Case Study
KŪNQǓ IN PRACTICE: A CASE STUDY A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THEATRE OCTOBER 2019 By Ju-Hua Wei Dissertation Committee: Elizabeth A. Wichmann-Walczak, Chairperson Lurana Donnels O’Malley Kirstin A. Pauka Cathryn H. Clayton Shana J. Brown Keywords: kunqu, kunju, opera, performance, text, music, creation, practice, Wei Liangfu © 2019, Ju-Hua Wei ii ACKNOWLEDGEMENTS I wish to express my gratitude to the individuals who helped me in completion of my dissertation and on my journey of exploring the world of theatre and music: Shén Fúqìng 沈福庆 (1933-2013), for being a thoughtful teacher and a father figure. He taught me the spirit of jīngjù and demonstrated the ultimate fine art of jīngjù music and singing. He was an inspiration to all of us who learned from him. And to his spouse, Zhāng Qìnglán 张庆兰, for her motherly love during my jīngjù research in Nánjīng 南京. Sūn Jiàn’ān 孙建安, for being a great mentor to me, bringing me along on all occasions, introducing me to the production team which initiated the project for my dissertation, attending the kūnqǔ performances in which he was involved, meeting his kūnqǔ expert friends, listening to his music lessons, and more; anything which he thought might benefit my understanding of all aspects of kūnqǔ. I am grateful for all his support and his profound knowledge of kūnqǔ music composition. Wichmann-Walczak, Elizabeth, for her years of endeavor producing jīngjù productions in the US. -
Research on Design Innovation for Reshaping Local Cultural Characteristics of the Tourist Souvenirs
E3S Web of Conferences 179, 02087 (2020) https://doi.org/10.1051/e3sconf/202017902087 EWRE 2020 Research on Design Innovation for Reshaping Local Cultural Characteristics of the Tourist Souvenirs Qiao Yang1 1Design Art and Media School, Nanjing University of Science and Technology, 21009, Nanjing, China Abstract. This article traces the essence of the tourist souvenir design, explaining the core of its value, the essence of local culture, and emphasizing the law of souvenir market value that maintains the uniqueness of local culture to attract purchases. By analysing the current situation of design homogeneity and lack of innovation in Chinese market, it proposes an innovative idea, “Back to Design Origins”. Then taking Nanjing souvenir design as an example, it introduces two innovative approaches, "Discovery and Application of New Cultural Elements" and " Cute Stylization of Traditional Symbols". In the end, it summarizes several feasible rules on element selection, symbolic method application, and carrier selection, mainly based on the thought of “Back to Design Origins”. 1 The essence of the tourist souvenir 2 The situation of Chinese souvenir design market Local traditional culture is an overall representation of Nowadays, although the tourist souvenir markets in the evolution and integration of a local civilization that various places have greatly increased in scale with the reflects the characteristics of the region and incorporates development of society, the quality and innovation of various ideological cultures and ideologies of local souvenirs have not improved simultaneously. Take history [1]. Tourist souvenirs can best reflect the most Beijing as an example. In 2009, 187 scenic spots in fundamental cultural characteristics of a resort or a city, Beijing received more than 150 million tourists, a year- showing particularity and irreplaceability. -
The Chinese Dragon Boat Festival Occurs on the 5Th Day of the 5Th Month of the Chinese Lunisolar Calendar and Lasts for Three Days
Dragon Boat Festival The Chinese Dragon Boat Festival occurs on the 5th day of the 5th month of the Chinese lunisolar calendar and lasts for three days. This festival is also known as the Tuen Ng Festival, the Duanwu Festival, the Zhongxiao Festival, and the Double Fifth Festival. This holiday has been observed nationally for over 2,000 years. There are three different stories of whom this festival commemorates: Qu Yuan, Wu Zixu, and Cao E. The most well known story is about Qu Yuan, an ancient Chinese patriotic poet who was alive from 340-278 BCE. Qu Yuan was a minister in the state of Chu who wrote many poems to show his love and devotion for his country. He drowned himself in the river after he was exiled by the king because he didn’t want to see his country be invaded and conquered by the state of Qin. It is said that local people raced out in their boats to retrieve his body. When they couldn’t find his body, they dropped balls of sticky rice (zongzi) into the river so the fish would eat them and not Qu Yuan’s body. This was said to be the creation of zongzi, sticky rice dumplings or “Chinese tamales”. He died on the 5th day of the 5th month, thus the people created this festival to honor his death. The southeast region of Jiangsu (former territory of the state of Wu) commemorates Wu Zixu who was a Premier, a politician. Zixu warned his king, King Fuchai, of a dangerous plot regarding a beautiful woman, Xishi, who was sent by king Goujian of the state of Yue. -
The Butterfly Lovers' Violin Concerto by Zhanhao He and Gang Chen By
The Butterfly Lovers’ Violin Concerto by Zhanhao He and Gang Chen By Copyright 2014 Shan-Ken Chien Submitted to the graduate degree program in School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________ Chairperson: Prof. Véronique Mathieu ________________________________ Dr. Bryan Kip Haaheim ________________________________ Prof. Peter Chun ________________________________ Prof. Edward Laut ________________________________ Prof. Jerel Hilding Date Defended: April 1, 2014 ii The Dissertation Committee for Shan-Ken Chien certifies that this is the approved version of the following dissertation: The Butterfly Lovers’ Violin Concerto by Zhanhao He and Gang Chen ________________________________ Chairperson: Prof. Véronique Mathieu Date approved: April 17, 2014 iii Abstract The topic of this DMA document is the Butterfly Lovers’ Violin Concerto. This violin concerto was written by two Chinese composers, Gang Chen and Zhahao He in 1959. It is an orchestral adaptation of an ancient legend, the Butterfly Lovers. This concerto was written for the western style orchestra as well as for solo violin. The orchestra part of this concerto has a deep complexity of music dynamics, reflecting the multiple layers of the story and echoing the soloist’s interpretation of the main character. Musically the concerto is a synthesis of Eastern and Western traditions, although the melodies and overall style are adapted from the Yue Opera. The structure of the concerto is a one-movement programmatic work or a symphonic poem. The form of the concerto is a sonata form including three sections. The sonata form fits with the three phases of the story: Falling in Love, Refusing to Marry, and Metamorphosis. -
The Towers of Yue Olivia Rovsing Milburn Abstract This Paper
Acta Orientalia 2010: 71, 159–186. Copyright © 2010 Printed in Norway – all rights reserved ACTA ORIENTALIA ISSN 0001-6438 The Towers of Yue Olivia Rovsing Milburn Seoul National University Abstract This paper concerns the architectural history of eastern and southern China, in particular the towers constructed within the borders of the ancient non-Chinese Bai Yue kingdoms found in present-day southern Jiangsu, Zhejiang, Fujian and Guangdong provinces. The skills required to build such structures were first developed by Huaxia people, and hence the presence of these imposing buildings might be seen as a sign of assimilation. In fact however these towers seem to have acquired distinct meanings for the ancient Bai Yue peoples, particularly in marking a strong division between those groups whose ruling houses claimed descent from King Goujian of Yue and those that did not. These towers thus formed an important marker of identity in many ancient independent southern kingdoms. Keywords: Bai Yue, towers, architectural history, identity, King Goujian of Yue Introduction This paper concerns the architectural history of eastern and southern China, in particular the relics of the ancient non-Chinese kingdoms found in present-day southern Jiangsu, Zhejiang, Fujian and 160 OLIVIA ROVSING MILBURN Guangdong provinces. In the late Spring and Autumn period, Warring States era, and early Han dynasty these lands formed the kingdoms of Wu 吳, Yue 越, Minyue 閩越, Donghai 東海 and Nanyue 南越, in addition to the much less well recorded Ximin 西閩, Xiyue 西越 and Ouluo 甌駱.1 The peoples of these different kingdoms were all non- Chinese, though in the case of Nanyue (and possibly also Wu) the royal house was of Chinese origin.2 This paper focuses on one single aspect of the architecture of these kingdoms: the construction of towers. -
Junk Food Nation Charting China’S Changing Appetites
P earl R iver D elta JUNK FOOD NATION CHARTING CHINA’S CHANGING APPETITES Follow Us on WeChat Now Advertising Hotline 400 820 8428 城市漫步珠三角 英文版 8 月份 PLUS 国内统一刊号: CN 11-5234/GO GRAFFITI ARTISTS PAINT THE TOWN China Intercontinental Press K-POP TSUNAMI CRASHES ONTO CHINA'S SHORES 08 TURNING THE WRITTEN WORD INTO THRILLING THEATER HOW CHINA'S LOVE-HATE RELTIONSHIP WITH GOLF TEED OFF AUGUST 2014 《城市漫步》珠江三角洲 英文月刊 主管单位 : 中华人民共和国国务院新闻办公室 Supervised by the State Council Information Office of the People's Republic of China 主办单位 : 五洲传播出版社 地址 : 北京市海淀区北三环中路 31 号生产力大楼 B 座 7 层 邮编 100088 B-721 Shengchanli Building, No. 31 Beisanhuan Zhonglu, Haidian District, Beijing 100088, PRC http://www.cicc.org.cn 社长 President: 李红杰 Li Hongjie 期刊部负责人 Supervisor of Magazine Department: 邓锦辉 Deng Jinhui Chief Editor Tom Lee Deputy Editor Jane Kent Shenzhen Editor Gary Maidment Events and Web Editor Will Wu Intern May Hong Contributors Galen Burke, Emeri Burks, Marianna Cerini, Andrew Chin, Aelred Doyle, Lena Gidwani, Christine Gilbert, Monica Liau, Trevor Marshallsea, Lee Moore, Sasha Selkirk, Zoey Zha Urbanatomy Media Shanghai (Head office) 上海和舟广告有限公司 上海市澳门路 872 弄 10 号 邮政编码 : 200050 No.10, Lane 872, Aomen Lu, Shanghai 200050 电话 : 021-2213 9018 传真 : 021-2213 9010 Guangzhou 上海和舟广告有限公司广州分公司 广州市麓苑路 42 号大院 2 号楼 610 室 邮政编码 : 510095 Rm. 610, No. 2 Building, Area 42, Lu Yuan Lu, Guangzhou 510095 电话 : 020-8358 6125 传真 : 020-8357 3859 - 816 Shenzhen 深圳业务 电话 : 0755-8623 3220 传真 : 0755-6406 8538 Beijing 北京联络处 北京市东城区东直门外大街 48 号东方银座 C 座 G9 室 邮政编码 : 100027 9G, Block C, Ginza Mall, -
Warriors As the Feminised Other
Warriors as the Feminised Other The study of male heroes in Chinese action cinema from 2000 to 2009 A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Chinese Studies at the University of Canterbury by Yunxiang Chen University of Canterbury 2011 i Abstract ―Flowery boys‖ (花样少年) – when this phrase is applied to attractive young men it is now often considered as a compliment. This research sets out to study the feminisation phenomena in the representation of warriors in Chinese language films from Hong Kong, Taiwan and Mainland China made in the first decade of the new millennium (2000-2009), as these three regions are now often packaged together as a pan-unity of the Chinese cultural realm. The foci of this study are on the investigations of the warriors as the feminised Other from two aspects: their bodies as spectacles and the manifestation of feminine characteristics in the male warriors. This study aims to detect what lies underneath the beautiful masquerade of the warriors as the Other through comprehensive analyses of the representations of feminised warriors and comparison with their female counterparts. It aims to test the hypothesis that gender identities are inventory categories transformed by and with changing historical context. Simultaneously, it is a project to study how Chinese traditional values and postmodern metrosexual culture interacted to formulate Chinese contemporary masculinity. It is also a project to search for a cultural nationalism presented in these films with the examination of gender politics hidden in these feminisation phenomena. With Laura Mulvey‘s theory of the gaze as a starting point, this research reconsiders the power relationship between the viewing subject and the spectacle to study the possibility of multiple gaze as well as the power of spectacle. -
Mirror, Death, and Rhetoric: Reading Later Han Chinese Bronze Artifacts Author(S): Eugene Yuejin Wang Source: the Art Bulletin, Vol
Mirror, Death, and Rhetoric: Reading Later Han Chinese Bronze Artifacts Author(s): Eugene Yuejin Wang Source: The Art Bulletin, Vol. 76, No. 3, (Sep., 1994), pp. 511-534 Published by: College Art Association Stable URL: http://www.jstor.org/stable/3046042 Accessed: 17/04/2008 11:17 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=caa. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We enable the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org Mirror, Death, and Rhetoric: Reading Later Han Chinese Bronze Artifacts Eugene Yuejin Wang a 1 Jian (looking/mirror), stages of development of ancient ideograph (adapted from Zhongwendazzdian [Encyclopedic dictionary of the Chinese language], Taipei, 1982, vi, 9853) History as Mirror: Trope and Artifact people. -
Shanghai, China Overview Introduction
Shanghai, China Overview Introduction The name Shanghai still conjures images of romance, mystery and adventure, but for decades it was an austere backwater. After the success of Mao Zedong's communist revolution in 1949, the authorities clamped down hard on Shanghai, castigating China's second city for its prewar status as a playground of gangsters and colonial adventurers. And so it was. In its heyday, the 1920s and '30s, cosmopolitan Shanghai was a dynamic melting pot for people, ideas and money from all over the planet. Business boomed, fortunes were made, and everything seemed possible. It was a time of breakneck industrial progress, swaggering confidence and smoky jazz venues. Thanks to economic reforms implemented in the 1980s by Deng Xiaoping, Shanghai's commercial potential has reemerged and is flourishing again. Stand today on the historic Bund and look across the Huangpu River. The soaring 1,614-ft/492-m Shanghai World Financial Center tower looms over the ambitious skyline of the Pudong financial district. Alongside it are other key landmarks: the glittering, 88- story Jinmao Building; the rocket-shaped Oriental Pearl TV Tower; and the Shanghai Stock Exchange. The 128-story Shanghai Tower is the tallest building in China (and, after the Burj Khalifa in Dubai, the second-tallest in the world). Glass-and-steel skyscrapers reach for the clouds, Mercedes sedans cruise the neon-lit streets, luxury- brand boutiques stock all the stylish trappings available in New York, and the restaurant, bar and clubbing scene pulsates with an energy all its own. Perhaps more than any other city in Asia, Shanghai has the confidence and sheer determination to forge a glittering future as one of the world's most important commercial centers. -
Behind the Scenes
©Lonely Planet Publications Pty Ltd 282 Behind the Scenes SEND US YOUR FEEDBACK We love to hear from travellers – your comments keep us on our toes and help make our books better. Our well-travelled team reads every word on what you loved or loathed about this book. Although we cannot reply individually to your submissions, we always guarantee that your feedback goes straight to the appropriate authors, in time for the next edition. Each person who sends us information is thanked in the next edition – the most useful submissions are rewarded with a selection of digital PDF chapters. Visit lonelyplanet.com/contact to submit your updates and suggestions or to ask for help. Our award-winning website also features inspirational travel stories, news and discussions. Note: We may edit, reproduce and incorporate your comments in Lonely Planet products such as guidebooks, websites and digital products, so let us know if you don’t want your comments reproduced or your name acknowledged. For a copy of our privacy policy visit lonelyplanet.com/privacy. OUR READERS Dai Min Many thanks to the travellers who used the Massive thanks to Dai Lu, Li Jianjun and Cheng Yuan last edition and wrote to us with helpful hints, for all their help and support while in Shanghai, your useful advice and interesting anecdotes: Thomas assistance was invaluable. Gratitude also to Wang Chabrieres, Diana Cioffi, Matti Laitinen, Stine Schou Ying and Ju Weihong for helping out big time and a Lassen, Cristina Marsico, Rachel Roth, Tom Wagener huge thank you to my husband for everything. -
Shanghai to Beijing Landmark Hotels Tell a Tale of Two Cities
VOL. 11 NO. 1 Scottsdale: The New Wild West Sail Away to Bermuda Nostalgic Nairobi Shanghai to Beijing Landmark hotels tell a tale of two cities Fairmont Unforgettable. Since 1907. SHANGHAI TO BEIJING Two iconic hotels and the strong founding figures behind them tell a story of China past and present. By Natasha Mekhail FAIRMONT MAGAZINE 40 FAIRMONT MAGAZINE 41 EAST MEETS WEST LUCKY NUMBERS The choice of digits counts at Fairmont Peace Hotel. East – 8 The Mandarin word for “eight” is similar to that of “prosper” and is therefore aus- picious. Find it in the octagonal n the 1920s, Shanghai real estate tycoon apartment, unaware of the vicissitudes ahead. In 1937, shape of tables and the stained- Victor Sassoon had a dream to create “the guests watched from the rooftop as Shanghai fell to the glass lobby ceiling. The Sassoon most beautiful hotel in the Far East.” He Japanese. Within a decade, the occupation and ensuing Presidential Suite is #888. succeeded in 1929 when the unrest would push the founder from the city West – 20 Sassoon was a Cathay Hotel opened its he loved. After the Cultural Revolution, the betting man and thought this I doors at 20 the Bund, one of hotel served as offices for the newly formed number lucky. He used his the most commanding addresses on Shang- People’s Republic, and was later renamed influence to ensure the hotel hai’s most important financial corridor. A Peace Hotel. “Every aspect of modern Chi- was numbered 20 on the three model of Art Deco architecture and the tallest nese history took place here,” summarizes streets it faces: the Bund, building in the city at the time, it became an general manager George Wee. -
Ancient Cities & Yangtze River Discovery [17 Days]
Ancient Cities & Yangtze River Discovery [17 Days] This cultural tour takes you to discover many ancient cities throughout China and experience of ancient temples, streets, exquisite classical gardens and magnificent imperial gardens and Palaces, museums, Giant Panda as well as working canals and beautiful fresh water lakes. Your luxury Yangtze River cruise trip is a Perfect option to understand the civilizations of Yangtze while enjoying the scenic view of Three Gorges. Day 01: Australia-Beijing Enjoy your morning flight to Beijing. Welcome to Beijing! On arrival, you will be welcomed by the local tour guide who will check you in for 3 nights at Novotel Peace or similar. Day 02: Beijing (B,L,SD) Breakfast in the hotel. Highlights today includes the tour to the Tiananmen Square, the largest city centre square of its kind in China; the Forbidden City, where thousands of palaces and spellbinding treasures of art works will give you imagination of the royal life of Chinese emperors and concubines. Afternoon, tour to the incomparable Summer Palace. In the evening a feast of Peking duck. Acrobatic show is provided for the evening entertainment. Day 03: Beijing (B,L) Breakfast in the hotel. Day excursion to the Great Wall, one of the world wonders. As you will climb to the top of the Great Wall, we advise you to wear comfortable walking shoes. Afternoon, tour to the famous Ming Tombs. Then, return to Beijing for free time shopping and walking in the famous Wangfujing Street, which is regarded as the First Street in China. Day 04: Beijing-Xi’an (B,L,D) Tour to the Temple of Heaven, the focus of this complex is the famed Hall of Prayer for a Good Harvest, a round edifice constructed of wood only without a single nail.