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"Poetry puts intent into words; singing lengthens words"--this is one of the earliest Chinese comments on artistic expression. Poetic language extends the reach of a sentiment beyond the individual, and musicality extends the reach of poetic language, not only across a room, but across geography and generations. The "extended mind thesis" (EMT) views minds as extending beyond individual nervous systems to include material and social environments. Music, Mind, and Language in Chinese Poetry and Performance: The Voice Extended offers a comprehensive overview of the interwoven histories of traditional Chinese poetry and performing arts. It employs cognitive and quantitative methods such as EMT, and a database of over six thousand traditional melodies, to describe cyclical, continuous interactions between social minds and material artifacts. From the ancient Canon of Poetry to the song-lyrics (ci) of the late medieval period and the dramatic arias of Kun and Beijing operas, Casey Schoenberger introduces the rhythms, melodies, pronunciation, and grammatical stylistics of the major Chinese verse and performance traditions. In doing so, he gleans insights from cognitive neuroscience, digital humanities, musicology, and linguistics to explain not only the trajectory of Chinese arts, but also bigger phenomena, like vernacularisation and improvisation.
Playwriting in many forms flourished during the late Ming and early Qing dynasties. Shorter theatrical genres in particular offered playwrights opportunities for experimentation with both dramatic form and social critique. Despite their originality and wit, these short plays have been overshadowed by the lengthy masterpieces of the southern drama tradition. A Topsy-Turvy World presents English translations of shorter sixteenth-to-eighteenth-century plays, spotlighting a lesser-known side of Chinese drama. Satirical and often earthy, these mostly one-act plays depict deceit, dissembling, reversed gender roles, and sudden upending of fortunes. With zest and humor, they portray henpecked husbands, supercilious and lustful monks, all-too-human sage kings, disgruntled officials, and overreaching young scholars. These plays provide a glimpse of Chinese daily life and mores even as they question or subvert the boundaries of social, moral, and political order. Each translation is preceded by a short introduction that describes the play’s author, context, formal qualities, and textual history. A Topsy-Turvy World offers a new view of a significant period in the development of the Chinese theatrical tradition and provides insight into the role of drama as cultural critique.
Many are familiar with European modernists' interest in Chinese art and poetry, however less well known is that Russian literature and art at the turn of 20th century also flourished in a sustained dialogue with China. In Fin-de-siècle Russia and Chinese Aesthetics, Jinyi Chu reconsiders the place of Russia in the genealogy of global modernism by exploring the enduring impact of China on pre-revolutionary Russian culture. This book argues that fin-de-siècle Russian ideas about increasing global cultural and socioeconomic interconnectedness emerged from their unsettling encounters with China. Drawing on literary texts, paintings, advertisements, official documents, and archival work in Russia, China, France, and the United States, Chu reconstructs surprising stories about cultural interactions. From Innokenty Annensky's encounter with a Tibetan monk in Paris, Aleksei Remizov's adaptations of Chinese ghost stories, and Lev Tolstoy's translations of the Daoist canon, to Ilya Mashkov's fauvist painting of a Chinese fairy, this book presents a new cultural history of fin-de-siècle Russia in relation to the East. Fin-de-siècle Russia and Chinese Aesthetics casts new light on the intricate relationships between geopolitics and transnational aesthetics. It moves beyond the idea that Russian literary and artistic representations of China were simply manifestations of Russia's imperial ideology and Eurasian cultural identity. Instead, Chu shows that literature and art actively renegotiate and destabilize the preconceived world order at a time of intensifying geopolitical and cultural transformation when China shifted from Russia's rival in Inner Asia to a target in the competition of global imperialist powers.
Wilt Idema is one of the world's leading scholars and translators of Chinese literature, with research interests ranging from classical poetry to premodern fiction, performance literature and women's writing. His oeuvre is exceptional in its inclusiveness and its ability to let different historical periods, genres and issues speak to one another, and to make the riches of Chinese literature accessible to a wide range of readers. In honor of his work, this collection brings together new research by twenty-two prominent scholars in a field of tremendous scope and diversity, on topics including genre characteristics, literary representations of social and political history, gender and cultural identity, music, autobiography, women's writing, internet literature and more.
Access audio files at:https://soundcloud.com/k-chu-j-petrus/sets/singing-in-mandarin-recorded The success of Chinese artists internationally across many art forms has focused the world's attention on the developing cultural phenomenon in China, an emerging stage for the vocal arts. As one of the most widely spoken languages in the world, Mandarin is poised to become the next addition to lyric languages. Singing in Mandarin: A Guide to Chinese Lyric Diction and Vocal Repertoire is a comprehensive guide to unlocking the mysteries of Chinese contemporary vocal literature. In part one, Chu and Petrus focus on diction and language, providing detailed descriptions and exercises for creating the sounds of the language. They take a uniquely systematic approach, fusing together best practices from international music conservatories for diction study, with those for Chinese language learning. Part two outlines the historical context of Chinese vocal literature, chronicling the development of the language and its repertoire over the last one hundred years. Audio files narrated by native speakers demonstrating the sounds are also included. Singing in Mandarin provides guidance for both novices and those with previous experience singing or speaking Mandarin and is the first book of its kind to help bring the fascinating and previously inaccessible treasure of Chinese vocal music to Western audiences.
Chinese Poetry in Times of Mind, Mayhem and Money is a groundbreaking study covering a range of contemporary authors and issues, from Haizi to Yin Lichuan and from poetic rhythm to exile-bashing. Its rigorous scholarship, literary sensitivity and lively style make it eminently fit for classroom use.
The first volume in English to examine the fu, one of the major genres of Chinese literature, from its origins up to the late imperial era.
In the first comprehensive study of the relationship between music and language from the standpoint of cognitive neuroscience, Aniruddh D. Patel challenges the widespread belief that music and language are processed independently. Since Plato's time, the relationship between music and language has attracted interest and debate from a wide range of thinkers. Recently, scientific research on this topic has been growing rapidly, as scholars from diverse disciplines, including linguistics, cognitive science, music cognition, and neuroscience are drawn to the music-language interface as one way to explore the extent to which different mental abilities are processed by separate brain mechanisms. Accordingly, the relevant data and theories have been spread across a range of disciplines. This volume provides the first synthesis, arguing that music and language share deep and critical connections, and that comparative research provides a powerful way to study the cognitive and neural mechanisms underlying these uniquely human abilities. Winner of the 2008 ASCAP Deems Taylor Award.
The Routledge Companion to Audiences and the Performing Arts represents a truly multi-dimensional exploration of the inter-relationships between audiences and performance. This study considers audiences contextually and historically, through both qualitative and quantitative empirical research, and places them within appropriate philosophical and socio-cultural discourses. Ultimately, the collection marks the point where audiences have become central and essential not just to the act of performance itself but also to theatre, dance, opera, music and performance studies as academic disciplines. This Companion will be of great interest to academics, researchers and postgraduates, as well as to theatre, dance, opera and music practitioners and performing arts organisations and stakeholders involved in educational activities.
In May of 1985, an international symposium was held at The Metropolitan Museum of Art in honor of John M. Crawford, Jr., whose gifts of Chinese calligraphy and painting have constituted a significant addition to the Museum's holdings. Over a three-day period, senior scholars from China, Japan, Taiwan, Europe, and the United States expressed a wide range of perspectives on an issue central to the history of Chinese visual aesthetics: the relationships between poetry, calligraphy, and painting. The practice of integrating the three art forms-known as san-chiieh, or the three perfections-in one work of art emerged during the Sung and Yuan dynasties largely in the context of literati culture, and it has stimulated lively critical discussion ever since. This publication contains twenty-three essays based on the papers presented at the Crawford symposium. Grouped by subject matter in a roughly chronological order, these essays reflect research on topics spanning two millennia of Chinese history. The result is an interdisciplinary exploration of the complex set of relationships between words and images by art historians, literary historians, and scholars of calligraphy. Their findings provide us with a new level of understanding of this rich and complicated subject and suggest further directions for the study of Chinese art history. The essays are accompanied by 255 illustrations, some of which reproduce works rarely published. Chinese characters have been provided throughout the text for artists names, terms, titles of works of art and literature, and important historical figures, as well as for excerpts of selected poetry and prose. A chronology, also containing Chinese characters, and an extensive index contribute to making this book illuminating and invaluable to both the specialist and the layman.