DOCSLIB.ORG

The Matrix of Lyric Transformation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Matrix of Lyric Transformation The Matrix of Lyric Transformation The Matrix of Lyric Transformation Poetic Modes and Self-Presentation in Early Chinese Pentasyllabic Poetry Zong-qi Cai CENTER FOR CHINESE STUDIES THE UNIVERSITY OF MICHIGAN ANN ARBOR Open access edition funded by the National Endowment for the Humanities/ Andrew W. Mellon Foundation Humanities Open Book Program. MICHIGAN MONOGRAPHS IN CHINESE STUDIES ISSN 1081-9053 SERIES ESTABLISHED 1968 VOLUME 75 Published by Center for Chinese Studies The University of Michigan Ann Arbor, Michigan 48109-1290 First Edition 1996 © 1996 Center for Chinese Studies The University of Michigan Printed and made in the United States of America © The paper used in this publication conforms to the American National Standard for Information Sciences— Permanence of Paper for Publications and Documents in Libraries and Archives ANSI/NISO/Z39.48— 1992. Library of Congress Cataloging-in-Publication Data Cai, Zong-qi, date. The matrix of lyric transformation : poetic modes and self-presentation in early Chinese pentasyllabic poetry / Zong-qi Cai. p. cm. — (Michigan monographs in Chinese studies ; 75) ISBN 0-89264-111-8 (alk. paper) 1. Chinese poetry— Ch'in and Han dynasties— History and criticism. 2. Yueh fu (Chinese poetry)— History and criticism. 3. Ts'ao, Chih, 192-232— Criticism and interpretation. 4. Juan, Chi, 210-263— Criticism and interpretation. 5. Poetic. I. Title. II. Series PL2314.C35 1996 895.1'2209—dc20 96-9730 CIP ISBN 978-0-89264-111-6 (hardcover) ISBN 978-0-472-03805-3 (paper) ISBN 978-0-472-12749-8 (ebook) ISBN 978-0-472-90144-9 (open access) The text of this book is licensed under a Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International License: https://creativecommons.org/licenses/by-nc-nd/4.0/ For my mother WeiRenqiufStJf^ and in memory of my father Cai Wenxian H>C II Contents ix Acknowledgments xii List of Abbreviations 1 Introduction 7 Chapter 1 An Overview: Pentasyllabic Poetry from the First to the Third Century 22 Chapter 2 Han Yiieh-fu: Dramatic and Narrative Modes 62 Chapter 3 Han Ku-shih: The Emergence of the Lyrical Mode 95 Chapter 4 Ts'ao Chih: The Development of the Lyrical Mode vn U7 Chapter 5 Juan Chi: The Formation of the Symbolic Mode 189 Chapter 6 Synthesis: Poetic Modes and Changing Forms of Self-Presentation 197 Notes 227 Glossary 233 Bibliography 253 Index vm Acknowledgments Along with the growth of this study from a dissertation to its present form, my contacts with the academic world have widened, and my debts of gratitude to other scholars have accrued accordingly. It gives me great pleasure to express my heartfelt thanks to all those who have helped me along the way. I must first thank Professors Yu-kung Kao, Willard J. Peterson, and Andrew H. Plaks, who supervised my dissertation at Princeton and have ever since remained a source of scholarly guidance and encouragement in the preparation of this book. My greatest debt of gratitude is owed to Professor Kao, under whom I studied classical Chinese poetry. I have constantly drawn from his tremendous scope of knowledge and benefited from his advice and criticism through conversations and correspondence. I am immensely grateful to Professor Shuen-fu Lin, who guided my postdoctoral work at Michigan, to Professor Dore J. Levy, who offered constructive comments on the substance and style of my manuscript, and to Professor David L. Rolston, the Director of Publications of the Michigan Center for Chinese Studies, who oversaw the review process in a thoroughly professional manner and yet never ceased to be thoughtful and supportive. Other scholars, friends, and colleagues have also read my manuscript, either in part or in its entirety, at different stages of its preparation. Professors Eugene C. Eoyang, Donald Holzman, Victor H. Mair, and Donald Munro read different parts of the manuscript and offered many valuable suggestions and criticisms. Professor Jonathan Chaves and my colleagues William L. MacDonald and Chuan-kang Shih recommended various useful works on Chinese oral traditions. My colleague Patricia Ebrey first read the introductory and concluding chapters and suggested ways to improve their form and content. Later she read through the entire manuscript and offered many valuable suggestions. My friend Xiaobing Ji gave generously of his time to read the entire manuscript and suggested stylistic improvements. I am deeply IX indebted to all of them for saving me from many errors of content and style. Despite the guidance and help I received from all quarters, there must still be inaccuracies and mistakes of varying gravity, for which I assume full responsibility. I would like to acknowledge financial support from various institutions. A postdoctoral fellowship from the University of Michigan Center for Chinese Studies in 1991-92 gave me much-needed time to transform my dissertation into a book. A William and Flora Hewlett Summer International Research Grant from the University of Illinois, and a research grant from the East Asian Studies Department of Princeton University enabled me to concentrate on the final revision of my manuscript in the summer of 1994. An Arnold O. Beckman Award from the Research Board of the University of Illinois provided me with the resources to enlist the help of Ms. Yao Ping, a graduate assistant, in typing the Chinese and Japanese characters in the aftermatter of this book. I am grateful for the courtesies shown by the staffs of the Gest Library of Princeton University, the Asian Library of the University of Michigan, and the Asian Library of University of Illinois. A special note of thanks is due to Ms. S. W. Kim at Princeton and Ms. Mamiko Nakamura and Ms. Kazuko Sakaguchi at the University of Illinois, who helped romanize the titles of Japanese books and articles, to Ms. Margaret Mirabelli who copy-edited the manuscript meticulously, and to Norman Mangouni, publications editor at the University of Michigan7 s Center for Chinese Studies. Finally, my thanks go to my wife, Jing Liao, whose love, caring, and encouragement ensured the steady progress of this study toward this final moment of completion. The Matrix of Lyric Transformation List of Abbreviations CKLT Kuo Shao-yii $[$#gi{, ed. Chung-kuo li-tai wen-lun hsiian 4* gf {X ~$C M S- Rev. Ed. 4 vols. Shanghai: Ku-chi ch' u-pan-she, 1979-80. HCHW Lu Ch' in-li %&&, ed. Hsien-Ch' in Han Wei-Chin Nan-Pei- Ch! ao shih 5fe*tllSI#lt^tl9^- Peking: Chung-hua shu-chii, 1983. JCCC Juan Chi |5c£|. Juan Chi chi chiao-chu RlttS- Ed. Ch' en Po-chiin |5^fg g. Peking: Chung-hua shu-chii, 1987. KSSC Ku-shih shih-chiu shou chi-shih •£ f# -f- ^ "i* * M- Ed. Sui Shu- sen pf #^. Peking: Chung-hua shu-chii, 1955. SPPY Ssu-pu pei-yao SPTK Ssu-pu ts'ung-k'an H g|5 ^ f ij. STTL San Ts' ao tzu-liao hui-pien Zff^ti. Ed. Department of Chinese, Hupei Normal Institute. Peking: Chung-hua shu- chii, 1980. TCCC Ts' ao Chih ^ ti- Ts' ao Chih chi chiao-chu # ft * f£ S- Ed. Chao Yu-wen J|4&>t. Peking: Jen-min wen-hsiieh ch' u-pan- she, 1984. Introduction he aim of this book is to undertake a systematic study of the Tevolution of pentasyllabic poetry through Han yiieh-fu (Music Bureau poems), Han ku-shih (ancient-style poems), Ts' ao Chih (192-232), and Juan Chi (210-263). It has two main thrusts. The first is to set forth thematic, formal, and generic transformations in these four groups of works and to examine these transformations in the larger framework of the development of four distinct poetic modes in early pentasyllabic poetry. The second is to understand the inner dynamics of this poetic evolution in terms of the poets' continual endeavors to broaden and deepen their self-presentations by adapting and transforming existent poetic modes, and to consider to what extent these endeavors for self- presentation are impacted by the poets' changing relationships with their sociopolitical worlds, their audiences, and their poetic traditions. Critical studies of pentasyllabic poetry date back to the earliest systematic works of Chinese literary criticism by Liu Hsieh (ca. 465 to ca. 532) and Chung Hung (468 to ca. 518), two of the greatest Chinese critics. When Liu Hsieh discusses poetic evolution after the Han in Literary Mind and the Carving of Dragons (Wen hsin tiao lung), he almost completely ignores tetrasyllabic poetry and makes pentasyllabic poetry his sole subject of study.1 In elevating the status of pentasyllabic poetry, Chung Hung went one step further than Liu Hsieh. In Grading of Poets (Shih- p' in), he declares that he "limits himself to a discussion of pentasyllabic poetry" and excludes all other poetic types.2 Throughout the subsequent dynasties, traditional Chinese critics continued to examine pentasyllabic poetry as a leading poetic type in their writings, and to compile various comprehensive anthologies of it. In Anthology of Literature (Wen hsiian), Hsiao T' ung (501-531) collects a preponderance of pentasyllabic poems, more than all other poetic types in his twelve chapters on shih poetry.3 Hsu Ling (507-583) makes his anthology, New Songs from a Jade Terrace (Yu-f ai hsin yung), almost exclusively a collection of pentasyllabic poetry.4 Later, Shen Te-ch' ien (1673-1769) devoted more than half of his anthology Source Book of Ancient-Style Poems (Ku-shih yuan) to it. Wang Shih-chen (1634-1711), another leading Ch' ing critic, gives it 2 / Introduction equally extensive coverage in his anthology Commentaries on Ancient-Style Poems (Ku-shih chien). When traditional Chinese critics discuss pentasyllabic poetry, they usually give allegorical interpretations of individual works, make general observations about social backgrounds and the lives of poets, or offer impressionistic comments on the aesthetic qualities of the works of given poets.
Load more

Recommended publications
  • Reading Stephen King: Issues of Censorship, Student Choice, and Popular Literature
    DOCUMENT RESUME ED 414 606 CS 216 137 AUTHOR Power, Brenda Miller, Ed.; Wilhelm, Jeffrey D., Ed.; Chandler, Kelly, Ed. TITLE Reading Stephen King: Issues of Censorship, Student Choice, and Popular Literature. INSTITUTION National Council of Teachers of English, Urbana, IL. ISBN ISBN-0-8141-3905-1 PUB DATE 1997-00-00 NOTE 246p. AVAILABLE FROM National Council of Teachers of English, 1111 W. Kenyon Road, Urbana, IL 61801-1096 (Stock No. 39051-0015: $14.95 members, $19.95 nonmembers). PUB TYPE Collected Works - General (020) Opinion Papers (120) EDRS PRICE MF01/PC10 Plus Postage. DESCRIPTORS *Censorship; Critical Thinking; *Fiction; Literature Appreciation; *Popular Culture; Public Schools; Reader Response; *Reading Material Selection; Reading Programs; Recreational Reading; Secondary Education; *Student Participation IDENTIFIERS *Contemporary Literature; Horror Fiction; *King (Stephen); Literary Canon; Response to Literature; Trade Books ABSTRACT This collection of essays grew out of the "Reading Stephen King Conference" held at the University of Mainin 1996. Stephen King's books have become a lightning rod for the tensions around issues of including "mass market" popular literature in middle and 1.i.gh school English classes and of who chooses what students read. King's fi'tion is among the most popular of "pop" literature, and among the most controversial. These essays spotlight the ways in which King's work intersects with the themes of the literary canon and its construction and maintenance, censorship in public schools, and the need for adolescent readers to be able to choose books in school reading programs. The essays and their authors are: (1) "Reading Stephen King: An Ethnography of an Event" (Brenda Miller Power); (2) "I Want to Be Typhoid Stevie" (Stephen King); (3) "King and Controversy in Classrooms: A Conversation between Teachers and Students" (Kelly Chandler and others); (4) "Of Cornflakes, Hot Dogs, Cabbages, and King" (Jeffrey D.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscrq>t has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in Qpewriter face, while others may be from aiQf type of computer printer. The qnaliQr of this reproduction is dependent upon the qnali^ of the copy snbmltted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard tnargins, and in^xroper alignment can adverse^ afiect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photogrzq)hs included in the original manuscript have been reproduced xerographically in this copy. Higher qualiQr 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directfy to order. UMJ A Bell & Howell Informaiion Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 POLITICS AND THE NOVEL; A STUDY OF LIANG CH'I-CITAO'S THE FUTURE OF NEW CHINA AND HIS VIEWS ON FICTION DISSERTATION Presented In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Chun-chi Chen, B.A., M.A.
    [Show full text]
  • How the Chinese Government Fabricates Social Media Posts
    American Political Science Review (2017) 111, 3, 484–501 doi:10.1017/S0003055417000144 c American Political Science Association 2017 How the Chinese Government Fabricates Social Media Posts for Strategic Distraction, Not Engaged Argument GARY KING Harvard University JENNIFER PAN Stanford University MARGARET E. ROBERTS University of California, San Diego he Chinese government has long been suspected of hiring as many as 2 million people to surrep- titiously insert huge numbers of pseudonymous and other deceptive writings into the stream of T real social media posts, as if they were the genuine opinions of ordinary people. Many academics, and most journalists and activists, claim that these so-called 50c party posts vociferously argue for the government’s side in political and policy debates. As we show, this is also true of most posts openly accused on social media of being 50c. Yet almost no systematic empirical evidence exists for this claim https://doi.org/10.1017/S0003055417000144 . or, more importantly, for the Chinese regime’s strategic objective in pursuing this activity. In the first large-scale empirical analysis of this operation, we show how to identify the secretive authors of these posts, the posts written by them, and their content. We estimate that the government fabricates and posts about 448 million social media comments a year. In contrast to prior claims, we show that the Chinese regime’s strategy is to avoid arguing with skeptics of the party and the government, and to not even discuss controversial issues. We show that the goal of this massive secretive operation is instead to distract the public and change the subject, as most of these posts involve cheerleading for China, the revolutionary history of the Communist Party, or other symbols of the regime.
    [Show full text]
  • <[email protected]> Wrote
    used to house internees which has been On Monday, June 5, 2017, 10:20 PM, Greg Leck preserved, as well as a few of the main <[email protected]> wrote: buildings. I should warn you that when I published my book with the lists of internees, Hello Tara, the Chinese were surprised to see hundreds of names they had missed on their memorial. I Your grandfather was held in Weihsien had painstakingly identified hundreds of Camp, in what is now Weifang, China, until Weihsien internees who had been repatriated he was repatriated in September, 1943. or transferred to Peking and the Chinese, working from a 1944 list, did not know they had been in Weihsien. As such, your A large group of Weihsien internees made grandfather’s name may not be on the the journey by train to Shanghai, where they memorial. were housed at St. John’s University for a few days until they boarded the Japanese ship Teia Maru which took them to Goa, India, where # they were exchanged for Japanese nationals from the US, Canada, and South America. The Swedish ship MV Gripsholm then took them to New York City. This journey, as well as life before the war, life under the occupation, and life in camp is covered extensively in my book. If you are in Shanghai, I can highly recommend a guide who helped me immensely while there – Henry Hong, who speaks excellent English and is one of the few Chinese who has extensive knowledge of Shanghai of the 1920s, 30s, and 40s. I have spent dozens of hours walking about the city with him.
    [Show full text]
  • Taiwan After the Election
    ANALYSIS CHINA TAIWAN AFTER THE ELECTION Introduction ABOUT by François Godement The Chinese have long been obsessed with strategic culture, power balances and geopolitical shifts. Academic institutions, think tanks, journals Taiwan is important as an unresolved issue. It is also the and web-based debate are growing in number and European Union’s fifth-largest trade partner in Asia and a quality and give China’s foreign policy breadth and source of major investment abroad. For years, Europe has depth. had a very simple two-sided declaratory policy – no use of China Analysis, which is published in both French force and no independence – that has been likened to a “one and English, introduces European audiences to China” policy. Under that mantle, relations have expanded, these debates inside China’s expert and think-tank including a visa-free policy of greeting Taiwanese tourists world and helps the European policy community and businessmen. For these reasons, Europe’s approach understand how China’s leadership thinks appears now stationary. During his first term in the past about domestic and foreign policy issues. While freedom of expression and information remain five years, President Ma Ying-jeou has greatly stabilised restricted in China’s media, these published political cross-strait relations, helped by China’s decision to sources and debates provide an important way of be patient. Taiwan has collected the economic profits and understanding emerging trends within China. also opened itself to visitors from the mainland for the first time since 1949. Each issue of China Analysis focuses on a specific theme and draws mainly on Chinese mainland sources.
    [Show full text]
  • Shadowrun: Hong Kong
    SHADOWRUN HONG KONG MEL ODOM BASED ON A STORY BY HAREBRAINED SCHEMES PROLOGUE RAYMOND BLACK The Redmond Barrens Seattle United Canadian and American States 2044 I’ll never forget the night I met Raymond Black, mostly because I’d believed Duncan was going to die and leave me all alone. Raymond Black changed that. He changed a lot of things. Me and Duncan, we’d been alone for a long time. I was a couple years older than him, so I could remember back farther than he could, but every time I did, all I could recall were the foster homes I got bounced out of regularly. The longest I’d ever stayed in one was with the Croydon family for two years. They taught me how to pick pockets, hotwire a car, fight with a blade, and pick a lock. When I turned thirteen, I used those skills to get away from them and escape into the shadows. A few months after that, I found Duncan Wu living on dumpster food in an alley. He hadn’t run away from his foster home to find something better. He’d run for his life. His foster parents had set up a deal to sell him and the three other kids to a sex slave ring. He was the only one who’d gotten away. Part of me wanted to leave him there, but I couldn’t because I knew from the shape he was in, starving and covered in sores, he wouldn’t make it on his own. So I’d taken him with me, fed him, sheltered him, and gotten him as healthy as we could be under the circumstances.
    [Show full text]
  • Shining” with the Marginalized: Self-Reflection and Empathy in Stanley Kubrick’S the Hinins G Bethany Miller Cedarville University, [email protected]
    Cedarville University DigitalCommons@Cedarville Department of English, Literature, and Modern English Seminar Capstone Research Papers Languages 4-22-2015 “Shining” with the Marginalized: Self-Reflection and Empathy in Stanley Kubrick’s The hininS g Bethany Miller Cedarville University, [email protected] Follow this and additional works at: http://digitalcommons.cedarville.edu/ english_seminar_capstone Part of the Film Production Commons, Literature in English, North America Commons, Literature in English, North America, Ethnic and Cultural Minority Commons, Other Film and Media Studies Commons, and the Screenwriting Commons Recommended Citation Miller, Bethany, "“Shining” with the Marginalized: Self-Reflection and Empathy in Stanley Kubrick’s The hininS g" (2015). English Seminar Capstone Research Papers. 30. http://digitalcommons.cedarville.edu/english_seminar_capstone/30 This Capstone Project is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in English Seminar Capstone Research Papers by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. Miller 1 Bethany Miller Dr. Deardorff Senior Seminar 8 April 2015 “Shining” with the Marginalized: Self-Reflection and Empathy in Stanley Kubrick’s The Shining Stanley Kubrick’s horror masterpiece The Shining has confounded and fascinated viewers for decades. Perhaps its most mystifying element is its final zoom, which gradually falls on a picture of Jack Torrance beaming in front of a crowd with the caption “July 4 th Ball, Overlook Hotel, 1921.” While Bill Blakemore and others examine the film as a critique of violence in American history, no scholar has thoroughly established the connection between July 4 th, 1921, Jack Torrance, and the rest of the film.
    [Show full text]
  • The Social Construction of a Myth: an Interpretation of Guo Jingming's Parable
    ORIENTAL ARCHIVE 78, 2010 • 397 The Social Construction of a Myth: An Interpretation of Guo Jingming’s Parable Marco Fumian Myth and Culture Industry The nexus between mass culture production and the creation of myths is one that has very often been underlined by contemporary critics. Edgar Morin, in his early analysis of the culture industry (namely, the complex of commercial institutions producing mass culture in modern capitalist societies), observed how mass culture contributes to the shaping of the imaginary of the people “according to mental relations of projection and identification polarized on symbols, myths and images of culture as well as on the mythic or real personalities who embody those values.”1 Umberto Eco, treating the Superman comic strip cycle as a myth, analogized the popular American superhero with other heroes of classic and modern mythology. In addition, moving from a comparison between the patterns of production of religious culture in medieval Europe and the mechanisms of cultural production established by the modern American culture industry, he noted that the process of myth creation (“mythicization”) is first and foremost an institutional fact that proceeds from the top down; nevertheless, in order to become actualized, this process must sink its roots into a social body and encounter some mythopoetic tendencies emanating from the bottom that constitute the basis of a common popular sensibility.2 In the same essay, Eco also provided an apt definition of the concept of “mythicization,” which according to him would be: “an unconscious symbolization, an identification of the object with a sum of purposes that cannot be always rationalized, a projection in an image of tendencies, aspirations, fears particularly emerging in an individual, a community, a specific historical age.”3 When Guo Jingming 郭敬明 published his first novel, in 2003, a powerful aggregate of symbolic signification was generated in China, originating both from the messages transmitted by the novel and the qualities embodied by the author.
    [Show full text]
  • Faraway Wanderers 天涯客 | Tiān Yá Kè
    priest / TYK / 1 Faraway Wanderers 天涯客 | Tiān Yá Kè by priest priest / TYK / 2 Translators: Ch 1 - 30 | Vee / sparklingwater | https://sparklingwatertrans.wordpress.com/projects/faraway-wanderers/ Ch 31 - 67 | @wenbuxing | https://drive.google.com/drive/folders/1- MtoURYXKHMq1LAsq1S0Z5CkRdjgImyH Ch 68 - end | Chichi | https://chichilations.home.blog/category/faraway-wanderers/ JJWXC novel page: http://www.jjwxc.net/onebook.php?novelid=912073 priest / TYK / 3 Farewell to the Imperial Court Volume One. Freely Travelling the World with Wine in Abundance Volume Two. After One Stepped Down, Another Would Step Up Volume Three. She has sewn gold thread on wedding robes for other girls Final Volume. Gratitude, Resentment, Affection, Hatred Extras priest / TYK / 4 Farewell to the Imperial Court Chapter 1 - Tian Chuang Plum blossoms flourished in the courtyard, falling everywhere on the ground, on the snow that was yet to melt, blending together at first glance. The petals were blown around the yard leisurely by the wind. Dusk fell like a curtain, and on the eaves the moon was as cold as water. At the far back of the small courtyard, half hidden by the plum blossom tree was a corner gate, looking like it had been there for a long time. Guarded by two well-built men steeled in armors and weapons, inside the door was a distinctly large space. The veranda was narrow and cramped, towering over a stone-paved path which led into a pitch-black prison. The atmosphere was somber and heavy with the stench of death. The faint smell of the blossoms was seemingly cut off by the door, unable to reach this place at all.
    [Show full text]
  • Chinese Herbal Medicine for Chronic Urticaria and Psoriasis Vulgaris: Clinical Evidence and Patient Experience
    Chinese Herbal Medicine for Chronic Urticaria and Psoriasis Vulgaris: Clinical Evidence and Patient Experience A thesis submitted in fulfilment of the requirement for the degree of Doctor of Philosophy Jingjie Yu BMed, MMed School of Health & Biomedical Sciences College of Science, Engineering and Health RMIT University August 2017 Declaration I certify that except where due acknowledgement has been made, the work is that of the author alone; the work has not been submitted previously, in whole or in part, to qualify for any other academic award; the content of the thesis is the result of work which has been carried out since the official commencement date of the approved research program; and, any editorial work, paid or unpaid, carried out by a third party is acknowledged. Jingjie Yu __________________ Date 21 August 2017 i Acknowledgements First, I would like to express my deepest gratitude to my parents, Mr Mingzhong Yu and Mrs Fengqiong Lv, for your endless love, encouragement and support throughout these years. I would also like to express my sincere appreciation to my supervisors, Professor Charlie Changli Xue, Professor Chuanjian Lu, Associate Professor Anthony Lin Zhang and Dr Meaghan Coyle. To my joint senior supervisor, Professor Charlie Changli Xue, thank you for providing me the opportunity to undertake a PhD at RMIT University. To my joint senior supervisor, Professor Chuanjian Lu, thank you for teaching me the truth in life and for the guidance you have given me since I stepped into your consultation room in our hospital seven years ago. To my joint associate supervisor Associate Professor Anthony Lin Zhang, I thank you for your continuous guidance and support during my study at RMIT University.
    [Show full text]
  • South Pacific
    THE MUSICO-DRAMATIC EVOLUTION OF RODGERS AND HAMMERSTEIN’S SOUTH PACIFIC DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By James A. Lovensheimer, M.A. ***** The Ohio State University 2003 Dissertation Committee: Approved by Professor Arved Ashby, Adviser Professor Charles M. Atkinson ________________________ Adviser Professor Lois Rosow School of Music Graduate Program ABSTRACT Since its opening in 1949, Rodgers and Hammerstein’s Pulitzer Prize- winning musical South Pacific has been regarded as a masterpiece of the genre. Frequently revived, filmed for commercial release in 1958, and filmed again for television in 2000, it has reached audiences in the millions. It is based on selected stories from James A. Michener’s book, Tales of the South Pacific, also a Pulitzer Prize winner; the plots of these stories, and the musical, explore ethnic and cutural prejudice, a theme whose treatment underwent changes during the musical’s evolution. This study concerns the musico-dramatic evolution of South Pacific, a previously unexplored process revealing the collaborative interaction of two masters at the peak of their creative powers. It also demonstrates the authors’ gradual softening of the show’s social commentary. The structural changes, observable through sketches found in the papers of Rodgers and Hammerstein, show how the team developed their characterizations through musical styles, making changes that often indicate changes in characters’ psychological states; they also reveal changing approaches to the musicalization of the novel. Studying these changes provides intimate and, occasionally, unexpected insights into Rodgers and Hammerstein’s creative methods.
    [Show full text]
  • University Modfilms International
    INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again-beginning below the first row and continuing on until complete.
    [Show full text]