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(Non)illusion, Allegory, and Play: L...

Zhang, Xueqing.

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(Non)illusion, Allegory, and Play: Literati Playwrights' Genre Consciousness and Its Metatheatrical Representations in Late-Ming and Early-Qing China.

Record Type:	Electronic resources : Monograph/item
Title/Author:	(Non)illusion, Allegory, and Play: Literati Playwrights' Genre Consciousness and Its Metatheatrical Representations in Late-Ming and Early-Qing China./
Author:	Zhang, Xueqing.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
Description:	212 p.
Notes:	Source: Dissertations Abstracts International, Volume: 83-01, Section: A.
Contained By:	Dissertations Abstracts International83-01A.
Subject:	Asian literature. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28663091
ISBN:	9798505585993

(Non)illusion, Allegory, and Play: Literati Playwrights' Genre Consciousness and Its Metatheatrical Representations in Late-Ming and Early-Qing China.
Zhang, Xueqing.

(Non)illusion, Allegory, and Play: Literati Playwrights' Genre Consciousness and Its Metatheatrical Representations in Late-Ming and Early-Qing China. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 212 p.

Source: Dissertations Abstracts International, Volume: 83-01, Section: A.

Thesis (Ph.D.)--Hong Kong University of Science and Technology (Hong Kong), 2020.

This item is not available from ProQuest Dissertations & Theses.

This dissertation mainly studies the "genre consciousness" of literati playwrights in late-Ming and early-Qing China and the "meta-theatrical representations" found in their works. Based on the concepts of (non)illusion, allegory and play, the dissertation consists of four case studies on the most representative and influential playwrights of this period: Tang Xianzu [special characters omitted], Kong Shangren [special characters omitted], Li Yu [special characters omitted], and Li Yu [special characters omitted], and explores the cultural implications of their artistic expressions.Through a close textual analysis of Nanke meng ji [special characters omitted] (The Nanke Dream) and Handan meng ji [special characters omitted] (The Handan Dream), Chapter Two discusses Tang Xianzu's profound reflection on the visual, illusory and allegorical nature of drama as well as its connection with his concern for life and society. Chapter Three investigates the meta-theatrical scenes including the play-within-play frame, rituals, and roleplaying in Kong Shangren's Taohua shan [special characters omitted] (The Peach Blossom Fan). It deals with the metaphorical relationship established by Kong between drama and history, and further searches for implications of liyue [special characters omitted] (rites and music) culture in Kong's recognition of chuanqi [special characters omitted] drama. Chapter Four shifts the emphasis onto the representative figure of the Suzhou School, Li Yu, who wrote plays for a living. This chapter examines performing scenes in Li's plays such as Yipeng xue [special characters omitted] and Qingzhong pu [special characters omitted], exposing the entertaining and allegorical aspects of Li's genre consciousness, which was closely related to the civilian-oriented characteristic of his playwriting and the literati spirit hidden in his perception of theatre and drama. Chapter Five focuses on Li Yu, another famous playwright who attached great importance to the stage. It analyzes Li's plays such as Bimu yu [special characters omitted] (Sole Mates) and Naihe tian [special characters omitted] (You Can't Do Anything about Fate), and illustrates how uniquely he perceived drama as playing game and how such perception deeply connected to his self-identity.To conclude, (non)illusion, allegory and play are major aspects found in common in literati playwrights' perceptions of the dramatic genre from the late Ming to the early Qing dynasty. Meanwhile, their meta-theatrical representations of these concepts differ subtly due to their times, lives, and personalities. These playwrights' attitudes toward life, times, and society greatly influenced how they perceived drama and how they practiced in theatre. This then results in the richness and uniqueness of their artistic expressions.

ISBN: 9798505585993Subjects--Topical Terms:

2122707
Asian literature.
Subjects--Index Terms:

Genre consciousness

(Non)illusion, Allegory, and Play: Literati Playwrights' Genre Consciousness and Its Metatheatrical Representations in Late-Ming and Early-Qing China.
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502 $a Thesis (Ph.D.)--Hong Kong University of Science and Technology (Hong Kong), 2020.
506 $a This item is not available from ProQuest Dissertations & Theses.
520 $a This dissertation mainly studies the "genre consciousness" of literati playwrights in late-Ming and early-Qing China and the "meta-theatrical representations" found in their works. Based on the concepts of (non)illusion, allegory and play, the dissertation consists of four case studies on the most representative and influential playwrights of this period: Tang Xianzu [special characters omitted], Kong Shangren [special characters omitted], Li Yu [special characters omitted], and Li Yu [special characters omitted], and explores the cultural implications of their artistic expressions.Through a close textual analysis of Nanke meng ji [special characters omitted] (The Nanke Dream) and Handan meng ji [special characters omitted] (The Handan Dream), Chapter Two discusses Tang Xianzu's profound reflection on the visual, illusory and allegorical nature of drama as well as its connection with his concern for life and society. Chapter Three investigates the meta-theatrical scenes including the play-within-play frame, rituals, and roleplaying in Kong Shangren's Taohua shan [special characters omitted] (The Peach Blossom Fan). It deals with the metaphorical relationship established by Kong between drama and history, and further searches for implications of liyue [special characters omitted] (rites and music) culture in Kong's recognition of chuanqi [special characters omitted] drama. Chapter Four shifts the emphasis onto the representative figure of the Suzhou School, Li Yu, who wrote plays for a living. This chapter examines performing scenes in Li's plays such as Yipeng xue [special characters omitted] and Qingzhong pu [special characters omitted], exposing the entertaining and allegorical aspects of Li's genre consciousness, which was closely related to the civilian-oriented characteristic of his playwriting and the literati spirit hidden in his perception of theatre and drama. Chapter Five focuses on Li Yu, another famous playwright who attached great importance to the stage. It analyzes Li's plays such as Bimu yu [special characters omitted] (Sole Mates) and Naihe tian [special characters omitted] (You Can't Do Anything about Fate), and illustrates how uniquely he perceived drama as playing game and how such perception deeply connected to his self-identity.To conclude, (non)illusion, allegory and play are major aspects found in common in literati playwrights' perceptions of the dramatic genre from the late Ming to the early Qing dynasty. Meanwhile, their meta-theatrical representations of these concepts differ subtly due to their times, lives, and personalities. These playwrights' attitudes toward life, times, and society greatly influenced how they perceived drama and how they practiced in theatre. This then results in the richness and uniqueness of their artistic expressions.
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