Cognition Driven: Non-Linguistic Category Transformation in Wang Rongpei’s Translation of Peony Pavilion

2020 ◽  
Vol 08 (05) ◽  
pp. 773-781
Author(s):  
啟骏 宋
Keyword(s):  
Peony Pavilion

scholarly journals Blossoms Perfuming the Garden: From Peony Pavilion to Don Quixote

2016 ◽  
Vol 2 (1) ◽  
pp. 1
Author(s):  
Zhu Xuchen
Keyword(s):  
Don Quixote ◽  
Western Literature ◽  
Writing Skill ◽  
Tang Xianzu ◽  
Peony Pavilion ◽  
Similar Experience

<p>Based on the framework of language</p><p>construction and psychoanalysis, this study</p><p>analyzes love and worldly ideal, which are</p><p>presented by Tang Xianzu and Cervantes in</p><em></em><p><em>Peony Pavilion </em>and <em>Don Quixote</em>. Due to the</p><p>similar experience and life sentiment, the two</p><p>authors showed amazing consistency on creative</p><p>thinking, writing skill, creative psychology and</p><p>even marriage notion, which verified the</p><p>communicative idiomatum between eastern</p><p>and western literature in the same era</p>

scholarly journals Peony Pavilion Onstage

2002 ◽  
Author(s):  
Catherine Swatek
Keyword(s):  
Peony Pavilion

Tradition and Innovation in Chen Shi-Zheng's Peony Pavilion

2002 ◽  
Vol 19 (1) ◽  
pp. 134-146 ◽  
Author(s):  
David L. Rolston
Keyword(s):  
Peony Pavilion

The Peony Pavilion

1982 ◽  
Vol 35 (2) ◽  
pp. 314
Author(s):  
Dore J. Levy ◽  
Tang Xianzu ◽  
Cyril Birch
Keyword(s):  
Peony Pavilion

Kunqu Cross-dressing as Artistic and/or Queer Performance

2019 ◽  
Author(s):  
Joseph S. C. Lam
Keyword(s):  
Social Performance ◽  
Chinese Opera ◽  
Secular World ◽  
Performance Of Gender ◽  
Cross Dressing ◽  
Queer Performance ◽  
Peony Pavilion

Cross-dressing in kunqu, a classical genre of Chinese opera, as artistic and/or queer performance, may be understood through the Chinese aesthetic dyad of se (erotic charm) and yi (performance skill); these concepts complement or challenge international queer theories. The chapter surveys current debates about kunqu cross-dressing, illustrating with analysis of representative works/performances such as Jade Hairpin (Yuzanji), Peony Pavilion (Mudanting), and Yearning for the Secular World (Sifan) by leading impersonators like Banto Tamasaburo, Mei Lanfang, and Yue Meiti. Kunqu cross-dressing simultaneously confirms and challenges hegemonic Chinese notions of gender and sex, underscoring the need to investigate music as personal and/or social performance of gender and sex.

Boundary Crossings: Peter Sellars' Production of Peony Pavilion

2002 ◽  
Vol 19 (1) ◽  
pp. 147-158 ◽  
Author(s):  
Catherine Crutchfield Swatek
Keyword(s):  
Boundary Crossings ◽  
Peony Pavilion
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