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Textualization and Performance, Authorship and Censorship of the “National Drama” of China from the Late Qing to the Present
Author: David Rolston
What was the most influential mass medium in China before the internet? Jingju (Peking opera)! Although its actors were commonly thought to have been illiterate, written and other inscripted versions of plays became more and more important and varied.
This book shows how increasing textualization and the resulting fixation of a performance tradition that once privileged improvisation changed the genre. It traces, from Jingju’s birth in the 19th century to the present, how texts were used for the production and consumption of this important performance genre and the changes in the concepts of authorship, copyright, and performance rights that took place during the process. The state’s desire to police what was performed is shown to have been a major factor in these changes.
The scope and coverage of the book is already unprecedented, but it is also supplemented by an additional chapter (on where the plays were performed, who performed them, and who went to see them) available for download online.
This volume is a collection of studies of various religious groups in the changing religious markets of China: registered Christian congregations, unregistered house churches, Daoist masters, and folk-religious temples. The contributing authors are emerging Chinese scholars who apply and respond to Fenggang Yang’s tricolor market theory of religion in China: the red, black, and gray markets for legal, illegal, and ambiguous religious groups, respectively. These ethnographic studies demonstrate a great variety within the gray market, and fluidity across different markets. The volume concludes with Fenggang Yang reviewing the introduction of the religious market theories to China and formally responding to major criticisms of these theories.
The Huihui Yaofang was an encyclopedia of Near Eastern medicine compiled under the Mongol Yuan Dynasty for the benefit of themselves and the then Chinese medical establishments. Some 15% of the work survives, from a Ming Dynasty edition, and is here translated for the first time into English. We extensively introduce the translation with introductions situating it within the history of western and Chinese medicine, and provide critical apparatus for understanding. We provide accounts of the medicines and foods, with comparisons to other works of the time and to modern folk uses of these medicines in the Middle East. We show that the work is solidly western Asian, specifically derived from Persian-speaking Central Asia, and is adapted to Chinese use in several ways but without losing its western character.
Author: Xiaoping Wang
Combining anatomies of textual examples with broader contextual considerations related with the social, political and economic developments of post-Mao China, Xiaoping Wang intends to explore newly emerging social and cultural trends in contemporary China, and find the truth content of Chinese society and culture in the age of global capitalism.
Through in-depth textual analyses covering a variety of media, ranging from fiction, poetry, film to theoretical works as well as cultural phenomena which mirror social and cultural occurrences and reflect the present ideological proclivities of the Chinese society, this study offers timely interpretations of China in the age of globalization, its political inclinations, social fashions and cultural tendencies, and provides thought-provoking messages of China’s socio-economic and political reality.
A Study of 11th to 13th Century Tangut Records
Author: Jinbo Shi
Editor / Translator: Hansong Li
Author: Zaifu Liu
Volume Editors: Howard Y. F. Choy and Jianmei Liu
Liu Zaifu 劉再復 is a name that has already been ingrained within contemporary Chinese literary history. This landmark volume presents Anglophone readers with Liu’s profound reflections on Chinese literature and culture at different times. The essays collected here demonstrate Liu’s historical experience and trajectory as an exiled Chinese intellectual who persistently safeguards the individuality and the autonomy of literature, refusing to succumb to political manipulation.

Liu’s theory of literary subjectivity has opened ways for Chinese writers to thrive and innovate. His panoramic view not only unravels the intricate interplay between literature and politics but also firmly regards the transcendental value of literature as a significant ground to subvert revolutionary dogmatism and criticize Chinese modernity. Rather than drawing upon the existing paradigm, he reinvents his own unique theoretical conceptions in order to exile the borrowed “gods.”