Browse results

You are looking at 1 - 10 of 26,463 items for :

  • Primary Language: English x
  • Search level: Chapters/Articles x
Clear All
Author:

Abstract

Wu Bing’s 吳炳 play Liaodu geng 療妒羹 (The Remedy for Jealousy, ca. 1630) transforms the tragic legend of Xiaoqing into a comedy. This chapter investigates how the transformation is made possible in Wu Bing’s text and how this transformation comments on the ideal of qing and The Peony Pavilion. This chapter pays close attention to the ridiculed figure of the shrew and a crucial metatheatrical moment in the play—a comic adaptation of The Peony Pavilion directed by the female protagonist Madam Yan. My reading of the comic elements in The Remedy for Jealousy reveals that Wu’s adaptation of Xiaoqing’s legend is a literary experiment that explores the possibility of incorporating the self-oriented qing into the orthodox polygamous familial system. This chapter also explains how this literary experiment fails in the end.

In: Love for a Laugh: The Comic in Romantic Chuanqi Plays of the 17th and 18th Centuries
In: Love for a Laugh: The Comic in Romantic Chuanqi Plays of the 17th and 18th Centuries
Author:

Abstract

Wang Yun’s 王荺 Fanhua meng 繁華夢 (A Dream of Glory, 1778), is one of the few extant chuanqi plays written by a female dramatist in late imperial China. Wang Yun’s play utilizes a dream theme to imagine a young woman’s (Miss Wang) adventure after her physical transformation into a man. The incongruity between Miss Wang’s reserved manner and the excessive romantic quests of her dream alter ego creates a comic undertone for the play. This chapter examines how Wang Yun conveys the difficulty and excitement of a woman’s adventure as a desiring subject through humor. This chapter argues that humorous moments in the play that have been overlooked by Wang Yun’s contemporary commentators actually play important roles in Wang’s reflection on gender identity.

In: Love for a Laugh: The Comic in Romantic Chuanqi Plays of the 17th and 18th Centuries
In: Love for a Laugh: The Comic in Romantic Chuanqi Plays of the 17th and 18th Centuries
Author:

Abstract

Li Yu’s 李渔 Ideal Love Matches 意中缘 (ca. 1655) rewrites the life stories of two 17th century female painters. Set in a thriving but corrupt art market that traffics in forgeries, Li Yu’s play pokes fun at the presumption of art as a medium of authentic feelings in the romantic chuanqi tradition. It also comments on one important cultural effect of the qing discourse: the celebration of female talent. Li Yu’s play is embellished with humorous misidentifications resulting from gender biases. Besides Li’s dramatic text, this chapter also examines the female commentator Huang Yuanjie’s responses to Li Yu’s adaptation of two women artists’ stories. This chapter argues that Li Yu’s play, along with its commentary, questions the meaning of the caizi-jiaren romantic model in a changing world where the rise of commerce and female talent challenged the traditional literati identity.

In: Love for a Laugh: The Comic in Romantic Chuanqi Plays of the 17th and 18th Centuries
Author:

Abstract

Ruan Dacheng’s Yanzi jian 燕子箋 (The Swallow’s Letter, 1642), a comedy of errors, occupies an awkward position in the history of chuanqi drama. Ruan’s notorious reputation as a traitor to the Ming regime has overshadowed the artistic merits of The Swallow’s Letter for centuries. This chapter calls attention to the intricacy of Ruan’s drama. Marking the origin of strong emotional attachment as a human error, Ruan’s play demonstrates ironic intertextuality with The Peony Pavilion. This chapter explains how Ruan’s aesthetic preference for mistakes as a comic device can be interpreted as his cynical response to the idealism of qing. The comic in The Swallow’s Letter allows us to understand and reevaluate Ruan Dacheng’s artistic legacy as a writer of romantic chuanqi under the pressure of his own political controversies.

In: Love for a Laugh: The Comic in Romantic Chuanqi Plays of the 17th and 18th Centuries
In: Chinese Thought in Early German Enlightenment from Leibniz to Goethe

Abstract

At the turn of the 17th and 18th centuries, it became indisputable in Western Europe that at the other end of the Eurasian continent lay a millennia-old traditional culture that was in many fundamental ways comparable to its own. In China, a full-fledged cultural alternative opened up before Europe. The contact of Jesuit missions with China, Japan and other countries of the Far East had one goal: evangelization, the mass production of Christians from converted “pagans”, infidels and atheists. But this was followed by economic goals, linked to colonialism. The germs of a discussion about a non-violent unification between Chinese culture and the metaphysical and practical-moral principles of the West died down as quickly as such ideas could be problematized and their propagators (cf. Chr. Wolff) compromised. Leibniz, Wolff, Bilfinger and others learned from the Chinese to understand the possibility of a different reasoning with which one can achieve the same or perhaps in some ways even better results. But they had no success. Hard military-economic aggression took hold, the consequences of which are still being borne in Sino-European relations today.

In: Chinese Thought in Early German Enlightenment from Leibniz to Goethe

Abstract

Leibniz was not the one to discover China, as far as Western culture was concerned. His historical contribution lies in the fact he presented Europe and China as two distinct ways of contemplating the world, as fully comparable and resulting in types of societies at the same high institutional, economic, technological, political and moral level. In this sense he saw China as the “Europe of the Orient” and as such susceptible to investigation by the same tools of natural philosophy which Leibniz knew from the environs of European scholarship. He was the first representative of the classical school of European philosophy to knowingly reject Eurocentrism. Leibniz followed the intentions of learned missionaries in his understanding of the Christian mission as a cultural and civilisational task, a search for mutual agreement and connections, in favour of a reciprocal understanding.