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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. -
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. -
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. -
Written & Directed by and Starring Stephen Chow
CJ7 Written & Directed by and Starring Stephen Chow East Coast Publicity West Coast Publicity Distributor IHOP Public Relations Block Korenbrot PR Sony Pictures Classics Jeff Hill Melody Korenbrot Carmelo Pirrone Jessica Uzzan Judy Chang Leila Guenancia 853 7th Ave, 3C 110 S. Fairfax Ave, #310 550 Madison Ave New York, NY 10019 Los Angeles, CA 90036 New York, NY 10022 212-265-4373 tel 323-634-7001 tel 212-833-8833 tel 212-247-2948 fax 323-634-7030 fax 212-833-8844 fax 1 Short Synopsis: From Stephen Chow, the director and star of Kung Fu Hustle, comes CJ7, a new comedy featuring Chow’s trademark slapstick antics. Ti (Stephen Chow) is a poor father who works all day, everyday at a construction site to make sure his son Dicky Chow (Xu Jian) can attend an elite private school. Despite his father’s good intentions to give his son the opportunities he never had, Dicky, with his dirty and tattered clothes and none of the “cool” toys stands out from his schoolmates like a sore thumb. Ti can’t afford to buy Dicky any expensive toys and goes to the best place he knows to get new stuff for Dicky – the junk yard! While out “shopping” for a new toy for his son, Ti finds a mysterious orb and brings it home for Dicky to play with. To his surprise and disbelief, the orb reveals itself to Dicky as a bizarre “pet” with extraordinary powers. Armed with his “CJ7” Dicky seizes this chance to overcome his poor background and shabby clothes and impress his fellow schoolmates for the first time in his life. -
Yeah. 'But It's Also Very Personal and Subconscious and I Guess If You
EXHIBIT 135 WIT.900.020.0144 Yeah. 'But it's also very personal and subconscious and I guess if you were my psychologist or something I would feel a little more uncomfortable with you seeing it, but I don't know if you can see all the stiif.f. I mean because it's very personal. 3rd interview) Some found the experience very exciting: It was really cool because I guess when you first gave it to me I was so excited I'm like "Oh my God, what am I going to take photos op" I was just like trying to like run around and find all these ideas. But then I'm like "No, wait. Get over the excitement and start like figuring out what to do". So, yeah, it was Jim. ; 2nd interview) found it therapeutic and a most useful tool to express emotion and feel in control: It was actually quite good, because I could express a lot ofthings that I couldn't express verbally. Such emotions that I have no control over and kind of taking photos of them, that's kind of like taking control of them, which is good - feeling in control. And it calms me down in a sense. ; 2nd interview) For two of the adolescents, their photos revealed how useful visual material can be in sharing their stories: It's just basically like I can't find the right words to talk about my problems. And as you can see there's spaces in there, and that... Yeah. And I just - it's like for when I'm talking to someone I feel like I can't find the right words to express my feelings. -
Manifestations of Interactivity in Music and Their Commercial Potential in the Music Industry’S Contemporary Political Economy
Manifestations of interactivity in music and their commercial potential in the music industry’s contemporary political economy by George Morahan A research paper submitted to the University of Dublin, in partial fulfillment of the requirements for the degree of Master of Science Interactive Digital Media 2015 Declaration I declare that the work in this research paper is, except where otherwise stated, entirely my own work and has not been submitted as an exercise for a degree at this or any other university. signed: ________________________________ George Morahan date: 15th May 2015 1 Permission to lend and/or copy I agree that Trinity College Dublin may lend or copy this research paper upon request. signed: ________________________________ George Morahan 2 Acknowledgements I would like to thank my supervisor, Marguerite Barry, for her encouragement and firm guidance. I would also like to thanks the rest of the IDM 2014-15 class for the mania we have shared as well as my family for their understanding and support in the face of utter neglect these past eight months. For Lorraine and Stevie. 3 Table of contents 1. Introduction 6 1.1. Definitions of interactivity 6 1.2. Concept definition of interactive music video 7 1.3. Interactive music software within the purview of this research paper 8 1.4. Research objectives 9 2. The literature on the political economy of the music industry 10 2.1. Record industry as music industry 10 2.2. Music networks and diversification into auxiliary industries 13 2.3. Imagining the future music industry 16 2.4. Artist vs. Industry attitudes 17 2.5. -
1 "Chinese in Content and Socialist in Form: Chinese Ballet and The
Emily E. Wilcox Talk – Nov 1 UC Berkeley Symposium: “The Butterfly Lovers, the Cultural Revolution and the Arts in China” "Chinese in Content and Socialist in Form: Chinese Ballet and the Cultural Revolution's Reversal of a National Culture Movement" In Professor Chen’s talk, we learned of China’s century-long love affair with ballet. Like many European classical art forms that entered the Chinese cultural sphere in the early 20th century, ballet found admirers in China during the nineteen-teens and twenties, especially among the urban elites and foreign-educated artists and intellectuals. Also, through the work of Dai Ailian, ballet was used in the 1950 dance drama Doves of Peace. It was under the Cultural Revolution launched in 1966 that ballet first gained mass popularization in China, the impact of which can be seen in the form’s lasting appeal in the post-Mao era. In the restaging of red classics and the emergence of new ballet works like The Butterfly Lovers, ballet persists as a central component of dance creation and performance in China, through regional ballet companies such as the Shanghai Ballet, Central Ballet of China, Liaoning Ballet Company, and Guangzhou Ballet. Although domesticated through adaptation to Chinese stories, sets, costumes, and music, ballet remains viewed largely as a foreign art in China. The recognized arbiter of ballet technique remains located in the West, as demonstrated by frequent invitations of European and American teachers and choreographers to China’s top dance schools and ballet companies. Indeed, the patina of Western sophistication and eliteness remains a significant appeal, for audiences as well as for amateur dancers and hobbyists. -
Quadrophonic News Issue 7
Major Album Releases In The Fourth Quarter, 2013: Reflektor -Arcade Fire October 29th, 2013 Artpop -Lady Gaga November 11th, 2013 Live on the BBC Vol. 2 -The Beatles November 11th, 2013 •New -Paul McCartney •Beyoncé -Beyoncé •Matangl -M.I.A. •Because The Internet QUADROPHONIC NEWS •Shangri La -Jake Bugg -Childish Gambino Quadrophonic News December 2013 Issue 7 Female Artists: A Reflection In This Month’s Issue: There's a lot to be said for any vocalist with a truly amazing • Album Reviews: Reflektor, Yeezus, Centipede Hz, voice, but there's undeniably something special about a woman with a MMLP2, Live Through This, Bleach, Night Time, powerful voice and monumental skill in writing. So in this article I hope My Time to pay tribute to some of the best female vocalists/song writers out there. It's a big category so, unfortunately I won't be able to get to every one • Insight On Famous Female Artists I’d like to, but I hope to cover three of my favorites. • December/January Music Event Calendar First up is Patty Griffin. Patty is a powerful song writer from Old Town, Maine. her musical style is hard to pin down but it lands somewhere between folk and rock. Her voice is one of incredible range, Arcade Fire’s Reflektor Review her voice can convey every emotion you can imagine, softly or loudly, Achtung Baby. OK Computer. Sound of Silver. sweetly or harshly, and this amazing voice is accompanied by her Elephant. All of these albums are special. You remember indomitable talent for song writing. -
Him Mark Lai Container List.Docx
Finding Aid to the Him Mark Lai research files, additions, 1834-2009 (bulk 1970-2008) Collection number: AAS ARC 2010/1 Ethnic Studies Library University of California, Berkeley Berkeley, California Funding for processing this collection was provided by Mrs. Laura Lai. Date Completed: June 2014 Finding Aid Written By: Dongyi (Helen) Qi, Haochen (Daniel) Shan, Shuyu (Clarissa) Lu, and Janice Otani. © 2014 The Regents of the University of California. All rights reserved. COLLECTION SUMMARY Collection Title: Him Mark Lai research files, additions, 1834-2009 (bulk 1970-2008) Collection Number: AAS ARC 2010/1 Creator: Lai, H. Mark Extent: 95 Cartons, 33 Boxes, 7 Oversize Folders; (131.22 linear feet) Repository: Ethnic Studies Library University of California, Berkeley Berkeley, California, 94720-2360 Phone: (510) 643-1234 Fax: (510) 643-8433 Email: [email protected] Abstract: The research files are a continuation of (AAS ARC 2000/80) Him Mark Lai’s collected sources, along with his own writings and professional activity materials that relate to the history, communities, and organizations of Chinese Americans and Chinese overseas. The collection is divided into four series: Research Files, including general subjects, people, and organizations; Writings, including books, articles and indexes; Professional activities, primarily including teaching lectures, Chinese Community Hour program tapes, In Search of Roots program materials, consultation projects, interviews with Chinese Americans, conference and community events; Personal, including memorial tributes; correspondence, photographs, and slides of family and friends. The collection consists of manuscripts, papers, drafts, indexes, correspondence, organization records, reports, legal documents, yearbooks, announcements, articles, newspaper samples, newspaper clippings, publications, photographs, slides, maps, and audio tapes. -
APPENDIX D the Interview Transcriptions Olivia
The Experience of Coming Out 207 APPENDIX D The Interview Transcriptions Olivia [1] Can you tell me when the possibility first occurred to you that you were sexually attracted to women? I think I was about…23. I was asexual…for a long time. Through undergrad and the first part of grad school. A woman approached me. Many women would approach me. And um…a lot of people assumed I was gay before I even acknowledged or even dealt with it. Once I left my father’s house, I just was not sexual. [2] So you were 23 years old, and then what happened? You were out of the house. I was out of the house. I was in graduate school already. Her name was Sara Lincoln. She befriended me. There were a couple of women but I didn’t really know what the response was. To give you some background on that, my mother left my father when I was ten. Okay? Um, So he…there was four of us, and he raised us. I took her place in the household. Okay, um …[pause] and I was a chubby child. I was bulimic. And as a young adult, I didn’t want the weight. I didn’t like um “you have a fat ass” type of thing. So even now my sister goes through this thing about how I eat. Um…If I gain, you know, too much weight I [shifted around on the couch with a deep breath] get real paranoid-hysterical? Because I don’t like the attraction of the body. -
Golden Swallow, King Hu, and the Cold War = 《大醉俠》 : 金燕子、胡金銓與冷戰時代
Journal of Modern Literature in Chinese 現代中文文學學報 Volume 8 Issue 1 Vol. 8.1 八卷一期 (2007) Article 10 1-1-2007 Come drink with me : If you dare : Golden Swallow, King Hu, and the Cold War = 《大醉俠》 : 金燕子、胡金銓與冷戰時代 Gina MARCHETTI University of Hong Kong Follow this and additional works at: https://commons.ln.edu.hk/jmlc Recommended Citation Marchetti, G. (2007). Come drink with me: If you dare: Golden Swallow, King Hu, and the Cold War = 《大 醉俠》 : 金燕子、胡金銓與冷戰時代. Journal of Modern Literature in Chinese, 8(1), 133-163. This Article is brought to you for free and open access by the Centre for Humanities Research 人文學科研究中心 at Digital Commons @ Lingnan University. It has been accepted for inclusion in Journal of Modern Literature in Chinese 現代中文文學學報 by an authorized editor of Digital Commons @ Lingnan University. Gina MARCHETTI 馬蘭清 Department of Comparative Literature, University of Hong Kong 香港大學比較文學系 COME DRINK WITH M E ------ If You Dare: Golden Swallow, King Hu, and the Cold War 《大醉俠》—— 金燕子、胡金銓與冷戰時代 133 A revolution is not a dinner party, or writing an essay, or painting a picture, or doing embroidery; it cannot be so refined, so leisurely and gentle, so temperate, kind, courteous, restrained and magnanimous. A revolution is an insurrection, an act of violence by which one class overthrows another.1 Mao Tse-tung, 1927 While the Chinese title f〇「Dazu/x/’a (大醉俠 Come D nM Me, 1 966) 「efe「s to its male lead, Drunken Cat (丫ueh Hua 岳華 ）as the “ big drunk hero,” 1 1 "Report on an Investigation of the Peasant Movement in Hunan" (March 1927), Selected Works o f Mao Tsu- tung, Vol. -
Calling out Culture Vultures: Nonwhite Interpretations of Cultural Appropriation in the Era of Colorblindness
Calling Out Culture Vultures: Nonwhite Interpretations of Cultural Appropriation in the Era of Colorblindness A Dissertation Submitted to the Graduate School at the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Ph.D.) in the Department of Sociology of the College of Arts and Sciences by Aaryn L. Green B.A., University of Cincinnati, 2009 M.A. University of Cincinnati, 2012 Dissertation Chair: Erynn Casanova Committee Members: Jennifer Malat Annulla Linders June 2018 Abstract Colorblind theory argues that racism has not subsided but has taken on a new form which appears nonracial and is hard to detect. Music videos are one form of popular culture that utilizes cross-racial or cultural images which appear to be racially inclusive, but when closely analyzed are firmly rooted in traditional stereotypes and take cultural expressions out of their proper sociohistorical contexts. This process is called cultural appropriation. Too often, researchers have determined what modes of appropriation are or are not harmful to various groups without any input from those groups. In this study I provide a space for racial groups whose creations or expressions are habitually appropriated to tell us which modes of appropriation they consider to be harmful. I use a dual qualitative method—music video content analysis and focus group interviews with 61 participants—to investigate representations of nonwhite cultures and how audiences of color interpret the use of their cultures within popular music