Kunqu Opera Stands the Test of Time
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Globalization and Theater Spectacles in Asia
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 15 (2013) Issue 2 Article 22 Globalization and Theater Spectacles in Asia I-Chun Wang National Sun Yat-sen University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the American Studies Commons, Comparative Literature Commons, Education Commons, European Languages and Societies Commons, Feminist, Gender, and Sexuality Studies Commons, Other Arts and Humanities Commons, Other Film and Media Studies Commons, Reading and Language Commons, Rhetoric and Composition Commons, Social and Behavioral Sciences Commons, Television Commons, and the Theatre and Performance Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Wang, I-Chun. -
SILK ROAD: the Silk Road
SILK ROAD: The Silk Road (or Silk Routes) is an extensive interconnected network of trade routes across the Asian continent connecting East, South, and Western Asia with the Mediterranean world, as well as North and Northeast Africa and Europe. FIDDLE/VIOLIN: Turkic and Mongolian horsemen from Inner Asia were probably the world’s earliest fiddlers (see below). Their two-stringed upright fiddles called morin khuur were strung with horsehair strings, played with horsehair bows, and often feature a carved horse’s head at the end of the neck. The morin khuur produces a sound that is poetically described as “expansive and unrestrained”, like a wild horse neighing, or like a breeze in the grasslands. It is believed that these instruments eventually spread to China, India, the Byzantine Empire and the Middle East, where they developed into instruments such as the Erhu, the Chinese violin or 2-stringed fiddle, was introduced to China over a thousand years ago and probably came to China from Asia to the west along the silk road. The sound box of the Ehru is covered with python skin. The erhu is almost always tuned to the interval of a fifth. The inside string (nearest to player) is generally tuned to D4 and the outside string to A4. This is the same as the two middle strings of the violin. The violin in its present form emerged in early 16th-Century Northern Italy, where the port towns of Venice and Genoa maintained extensive ties to central Asia through the trade routes of the silk road. The violin family developed during the Renaissance period in Europe (16th century) when all arts flourished. -
Recent Publications in Music 2010
Fontes Artis Musicae, Vol. 57/4 (2010) RECENT PUBLICATIONS IN MUSIC R1 RECENT PUBLICATIONS IN MUSIC 2010 Compiled and edited by Geraldine E. Ostrove On behalf of the Pour le compte de Im Auftrag der International l'Association Internationale Internationalen Vereinigung Association of Music des Bibliothèques, Archives der Musikbibliotheken, Libraries Archives and et Centres de Musikarchive und Documentation Centres Documentation Musicaux Musikdokumentationszentren This list contains citations to literature about music in print and other media, emphasizing reference materials and works of research interest that appeared in 2009. It includes titles of new journals, but no journal articles or excerpts from compilations. Reporters who contribute regularly provide citations mainly or only from the year preceding the year this list is published in Fontes Artis Musicae. However, reporters may also submit retrospective lists cumulating publications from up to the previous five years. In the hope that geographic coverage of this list can be expanded, the compiler welcomes inquiries from bibliographers in countries not presently represented. CONTRIBUTORS Austria: Thomas Leibnitz New Zealand: Marilyn Portman Belgium: Johan Eeckeloo Nigeria: Santie De Jongh China, Hong Kong, Taiwan: Katie Lai Russia: Lyudmila Dedyukina Estonia: Katre Rissalu Senegal: Santie De Jongh Finland: Tuomas Tyyri South Africa: Santie De Jongh Germany: Susanne Hein Spain: José Ignacio Cano, Maria José Greece: Alexandros Charkiolakis González Ribot Hungary: Szepesi Zsuzsanna Tanzania: Santie De Jongh Iceland: Bryndis Vilbergsdóttir Turkey: Paul Alister Whitehead, Senem Ireland: Roy Stanley Acar Italy: Federica Biancheri United Kingdom: Rupert Ridgewell Japan: Sekine Toshiko United States: Karen Little, Liza Vick. The Netherlands: Joost van Gemert With thanks for assistance with translations and transcriptions to Kersti Blumenthal, Irina Kirchik, Everett Larsen and Thompson A. -
From Story to Script: Towards a Morphology of the Peony Pavilion–– a Dream/ Ghost Drama from Ming China
From Story to Script: towards a Morphology of The Peony Pavilion–– a Dream/ Ghost Drama from Ming China Xiaohuan Zhao University of Otago, Donghua University This article is an attempt to analyze the dramatic structure of the Mudan ting 牡丹 亭 (Peony Pavilion) as a piece of fantasy which Tang Xianzu 湯顯祖 (1550–1616) created through the utilisation of structural devices and techniques of magic tales. The particular model adopted for the textual analysis is that formulated by Vladimir Propp in Morphology of Russian Folktale. This paper starts with a comparison of Russian magic tales Propp investigated for his morphological study and Chinese zhiguai 志怪 tales which provide the prototype for the Mudan ting with a view of justifying the application of the Proppian model. The second part of this paper is devoted to a critical review of the Proppian model and method in terms of function versus non-function, tale versus move, and character versus tale / theatrical role. Further information is also given in this part as a response to challenges and criticisms this article may incur as regards the applicability of the Proppian model in inter-cultural and inter-generic studies. Part Three is a morphological analysis of the dramatic text with a focus on the main storyline revolving around the hero and heroine. In the course of textual analysis, the particular form and sequence of functions is identified, the functional scheme of each move presented, and the distribution of dramatis personae in accordance with the sphere(s) of action of characters delineated. Finally this paper concludes with a presentation of the overall dramatic structure and strategy of this play. -
TV Show Knows What's in Your Fridge Is Food for Thought
16 | Wednesday, June 17, 2020 HONG KONG EDITION | CHINA DAILY YOUTH ometimes you have to travel didn’t enjoy traditional Chinese to appreciate your own. music that much until he pursued his Sometimes, waking up in a music studies in the United States. foreign land gives you a pre- When leaving China, he took with Scious insight into your own country. him the hulusi, a kind of Chinese Fang Songping is a musician and wind instrument made from a has traveled but when he was at gourd, and played it recreationally home with his pipa-player father, in the college. The exotic sound of Fang Jinlong, he preferred Western the instrument won him lots of fans rock. and requests to perform on stage. It was hulusi, the gourd-like Then he started researching about instrument, that really changed his traditional Chinese music and com- life. He happened to bring it to Los bining elements of it into his own Angeles, while studying music there. compositions. In 2015, he returned His classmates were fascinated to China and started his career as an when he played music with it, and a indie musician. new horizon opened up before him. Now, Fang Songping works as the According to a recent report on music director of a popular reality traditional Chinese music, young show, Gems of Chinese Poetry, Chinese people are turning their which centers on traditional Chi- attention to traditional arts. More nese arts, such as poetry, music, and more are listening to traditional dance and paintings. He composed Chinese music. eight original instrumental pieces, The report was released on June inspired by traditional Chinese cul- 2, under the guidance of the China ture, like music, chess, calligraphy Association of Performing Arts, by and paintings. -
Music at Application of Makeup That Transforms the Actress Into Qiao Xiao-Qin
time and becoming the main character in the ancient Friday, May 23, 2014 story – Du Li-Niang. The performance features 8:00 p.m., Concert Hall Carleton College superstar Kunqu Opera actress Shen Yi-Li from Carleton Choir Concert Shanghai, accompanied by top professional performers Something Like A Star of Chinese traditional instruments. The first half of Lawrence Burnett, conductor the evening includes live music accompanying the Julian Pozniak, student conductor Music at application of makeup that transforms the actress into Qiao Xiao-Qin. This provides the audience a rare Lawrence Burnett conducts a program of choral opportunity to view live on stage this amazing makeup favorites on the theme of earth and sky. Senior process that is such an important part of Chinese music major Julian Pozniak conducts Vivaldi’s traditional opera. Gloria to culminate his years of musical leadership Carleton in the choral ensembles. Co - Sponsored by the Department of Asian Studies, the Office of the Director of Arts, and the Department Spring 2014 of Music Wednesday, May 28, 2014 7:00 p.m., Concert Hall Sunday, April 27, 2014 Saturday, April 5, 2014 7:30 p.m., Concert Hall Piano Studios Recital 2:20 – 3:00 p.m., Mall of America - Nicola Melville, coordinator Sears Rotunda Guest Artist Concert Mass Appeal 7th Annual A Passage to China: Thursday, May 29, 2014 Music of East Asia I Cantanti Chamber Choirs, Wayne Kivell, conductor 12:10 p.m., Concert Hall Chinese Music Ensemble, Student Chamber Music Recital I Gao Hong, director The concert features settings of the modern Mass, all Nicola Melville, coordinator Carleton Singers, composed in the last 50 years. -
National Endowment for the Arts Annual Report 1993
L T 1 TO THE CONGRESS OF THE UNITED STATES: It is my special pleasure to transmit herewith the Annual Report of the National Endowment for the Arts for the fiscal year 1993. The National Endowment for the Arts has awarded over 100,000 grants since 1965 for arts projects that touch every community in the Nation. Through its grants to individual artists, the agency has helped to launch and sustain the voice and grace of a generation--such as the brilliance of Rita Dove, now the U.S. Poet Laureate, or the daring of dancer Arthur Mitchell. Through its grants to art organizations, it has helped invigorate community arts centers and museums, preserve our folk heritage, and advance the perform ing, literary, and visual arts. Since its inception, the Arts Endowment has believed that all children should have an education in the arts. Over the past few years, the agency has worked hard to include the arts in our national education reform movement. Today, the arts are helping to lead the way in renewing American schools. I have seen first-hand the success story of this small agency. In my home State of Arkansas, the National Endowment for the Arts worked in partnership with the State arts agency and the private sector to bring artists into our schools, to help cities revive downtown centers, and to support opera and jazz, literature and music. All across the United States, the Endowment invests in our cultural institutions and artists. People in communities small and large in every State have greater opportunities to participate and enjoy the arts. -
SHAKESPEARE STUDIES in CHINA by Hui Meng Submitted to the Graduate Degree Program in English and the Graduate Faculty of the Un
SHAKESPEARE STUDIES IN CHINA By Copyright 2012 Hui Meng Submitted to the graduate degree program in English and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ________________________________ Chairperson Geraldo U. de Sousa ________________________________ Misty Schieberle ________________________________ Jonathan Lamb Date Defended: April 3, 2012 ii The Thesis Committee for Hui Meng certifies that this is the approved version of the following thesis: SHAKESPEARE STUDIES IN CHINA ________________________________ Chairperson Geraldo U. de Sousa Date approved: April 3, 2012 iii Abstract: Different from Germany, Japan and India, China has its own unique relation with Shakespeare. Since Shakespeare’s works were first introduced into China in 1904, Shakespeare in China has witnessed several phases of developments. In each phase, the characteristic of Shakespeare studies in China is closely associated with the political and cultural situation of the time. This thesis chronicles and analyzes noteworthy scholarship of Shakespeare studies in China, especially since the 1990s, in terms of translation, literary criticism, and performances, and forecasts new territory for future studies of Shakespeare in China. iv Table of Contents Introduction ………………………………………………………………………………1 Section 1 Oriental and Localized Shakespeare: Translation of Shakespeare’s Plays in China …………………………………………………………………... 3 Section 2 Interpretation and Decoding: Contemporary Chinese Shakespeare Criticism………………………………………………………………. -
Kunqu Opera in the Last Hundred Years in China
Review of Educational Theory | Volume 02 | Issue 04 | October 2019 Review of Educational Theory https://ojs.bilpublishing.com/index.php/ret REVIEW Kunqu Opera in the Last Hundred Years in China Yue Wang* The University of Milan, Milan, 20122, Italy ARTICLE INFO ABSTRACT Article history Kunqu, literally means kun melody, is one of the most ancient forms of Received: 26 September 2019 Chinese opera. Originally her melody derives from Kunshan zone of Jiangsu province therefore it has been named Kunshan melody before, Revised: 15 October 2019 now Kunqu also known as Kunju, which means Kunqu opera. This paper Accepted: 21 October 2019 mainly focuses on the development of Kunqu in the past 100 years and the Published Online: 31 October 2019 influence of historical social and humanistic changes behind the special era on Kunqu, and compares the attitudes of scholars of different schools Keywords: of thought in different eras to Kunqu and the social public to compare and analyze the degree of love of Kunqu. Kunqu Last hundred years Development Inuence 1. Introduction opera have been developed on the basis of Kunqu. It is the most complete type of drama in the history of Chinese The original name of Kunqu is “tune of KunShan”, is opera, the biggest feature is the lyrical and delicate move- the ancient Chinese opera intonation type of drama, now ments, the combination of singing and dancing is inge- known as the “Kun drama”. Originated from the Yuan nious and harmonious ,in the costumes and make-up, the Dynasty (the middle of the 14th century), it’s a traditional generals have various kinds of costumes, the civil servants Chinese culture and art of the Han ethnic group. -
News Release
Research Express@NCKU - News Release Research Express@NCKU Volume 9 Issue 2 - June 5, 2009 [ http://research.ncku.edu.tw/re/news/e/20090605/2.html ] Passion for Kunqu among NCKU Faculty, Students, and Southern Taiwan Residents Wang Chi Professor, Department of History National Cheng Kung University Due to NCKU Art Center's endeavor, NCKU was chosen as the only southern Taiwan venue for the Bringing Kunqu (崑曲) into Campus Series Events facilitated by Prof. Kenneth Hsien-yung Pai (白先勇). Prof. Pai, who studied for one year in the Department of Hydraulic Engineering at NCKU, admitted in public occasions without hesitation that he personally favors NCKU. In fact, when the 2005-6 youth version of The Peony Pavilion (牡丹亭) was performed in Taiwan, NCKU was also the venue of their southern Taiwan performance and it was also organized by the NCKU Art Center. At that time, Prof. Pai was highly impressed by the Art Center's efforts leading to the supreme success of that performance, hence contributed to their choosing NCKU as the site for this even larger scale campus promotion event this time. NCKU President Michael Ming-Chiao Lai (right) NCKU SEVP Da Hsuan Feng (middle) and The and Prof. Kenneth Hsien-yung Pai (left) Secretary General Woei-Shyan Lee (left) sent a NCKU landmark Banyan Garden souvenir to Prof. Pai (right) Except for the performance of Romance of the West Chamber (西廂記), Lankeshan (爛柯山) and The Jade Hairpin (玉簪記) on the 28 th, 29th and 30th of May, 2009, respectively, there were another four live demonstration sessions of The Beauty of Kunqu by Mainland's elite professional Kunqu and guqin (古琴) maestros, which were: Liang Guying (梁谷音) on The Beauty of Kunqu and Romance of the West Chamber on May 11th, Cai Zhengren (蔡正仁) and Zhang Jingxian (張靜嫻) on The Palace of Eternal Youth (長生殿) on May 15th, Prof. -
Centre of Chinese Studies
the centre includes over 40 members of staff whose interests span both historical and contemporary Chinese studies Centre of Chinese Studies ANNUAL REVIEW ISSUE 4: September 2012 - September 2013 LETTER FROM THE CHAIR SOAS UNIVERSITY OF LONDON L ooking back on the past year, 2012- 2013 has been an eventful and fruitful academic year for the Centre of Chinese Studies (CCS). The Centre’s regular seminar series covered a wide range of topics from literature and arts in imperial China to family and reform in the contemporary PRC, with eminent speakers coming from within the UK and also international scholars from Europe, Asia, and North America. These seminars filled the lecture room G50 with lively discussions on Chinese studies on many Monday evenings. This year’s CCS Annual Lecture was delivered by Professor Stephen H. West (Foundation Professor of Chinese at Arizona State University and formerly Louis Agassiz Professor of Chinese at UC Berkeley) on the topic of “The Burdens of Happiness: Zhu Changwen’s Garden of Joy”. In addition, the Centre also organised a SOAS Masterclass SOAS, University of London is the only STUDYING AT SOAS for MA and PhD students, several book Higher Education institution in Europe CONTENTS launches, and an exhibition on “The Great specialising in the study of Asia, Africa and The international environment and Wall Photographs”. More information about the Near and Middle East. cosmopolitan character of the School make these and other CCS events and activities student life a challenging, rewarding and 3 Letter from the Chair can be found in the following pages. -
Representing Talented Women in Eighteenth-Century Chinese Painting: Thirteen Female Disciples Seeking Instruction at the Lake Pavilion
REPRESENTING TALENTED WOMEN IN EIGHTEENTH-CENTURY CHINESE PAINTING: THIRTEEN FEMALE DISCIPLES SEEKING INSTRUCTION AT THE LAKE PAVILION By Copyright 2016 Janet C. Chen Submitted to the graduate degree program in Art History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Marsha Haufler ________________________________ Amy McNair ________________________________ Sherry Fowler ________________________________ Jungsil Jenny Lee ________________________________ Keith McMahon Date Defended: May 13, 2016 The Dissertation Committee for Janet C. Chen certifies that this is the approved version of the following dissertation: REPRESENTING TALENTED WOMEN IN EIGHTEENTH-CENTURY CHINESE PAINTING: THIRTEEN FEMALE DISCIPLES SEEKING INSTRUCTION AT THE LAKE PAVILION ________________________________ Chairperson Marsha Haufler Date approved: May 13, 2016 ii Abstract As the first comprehensive art-historical study of the Qing poet Yuan Mei (1716–97) and the female intellectuals in his circle, this dissertation examines the depictions of these women in an eighteenth-century handscroll, Thirteen Female Disciples Seeking Instructions at the Lake Pavilion, related paintings, and the accompanying inscriptions. Created when an increasing number of women turned to the scholarly arts, in particular painting and poetry, these paintings documented the more receptive attitude of literati toward talented women and their support in the social and artistic lives of female intellectuals. These pictures show the women cultivating themselves through literati activities and poetic meditation in nature or gardens, common tropes in portraits of male scholars. The predominantly male patrons, painters, and colophon authors all took part in the formation of the women’s public identities as poets and artists; the first two determined the visual representations, and the third, through writings, confirmed and elaborated on the designated identities.