Passion Poverty And Travel

"Translations from Chinese popular literature of the late-imperial and early republican periods are still very rare, and selections that are devoted to a specific genre or dialect rarer still. These translations of traditional Hakka popular literature are not only a contribution to a broader knowledge of traditional Chinese folk literature, but also contribute to the study of Hakka culture as reflected in these racy songs and exciting narratives. This book is the first extensive selection in English of traditional Hakka mountain songs (shange) and long narrative ballads in various genres. One chapter is devoted to songs and ballads on Hakka migration to Taiwan and Southeast Asia in 18th to 20th centuries. The selection of mountain songs is primarily based on a collection compiled before 1949. The ballads selected focus on texts that were widely popular in late-Qing and early Republican times, but post-Liberation performances and new compositions have been included for contrast. All translations are provided with an introduction and annotations."--

As a child, Dr. Weaver often wondered what it would be like to grow up and become a doctor or teacher. Today, she gives God glory for allowing her to travel from poverty to purpose where dreams can become reality.

Sabrina Ardizzoni’s book is an in-depth analysis of Hakka women in tulou villages in Southeast China. Based on fieldwork, data acquired through local documents, diverse material and symbolic culture elements, this study adopts an original approach that includes historical-textual investigation and socio-anthropological enquiry. Having interviewed local Hakka women and participated in rural village events, public and private, in west Fujian’s Hakka tulou area, the author provides a comprehensive overview of the historical threads and cultural processes that lead to the construction of the ideal Hakka woman, as well as an insightful analysis of the multifaceted Hakka society in which rural women reinvent their social subjectivity and negotiate their position between traditional constructs and modern dynamics.

A CLASSIC FROM THE NEW YORK TIMES BESTSELLING AUTHOR OF UNDER MAGNOLIA A Year in the World is vintage Frances Mayes—a celebration of the allure of travel, of serendipitous pleasures found in unlikely locales, of memory woven into the present, and of a joyous sense of quest. With her beloved Tuscany as a home base, Mayes travels to Spain, Portugal, France, the British Isles, and to the Mediterranean world of Turkey, Greece, the South of Italy, and North Africa. Weaving together personal perceptions and informed commentary on art, architecture, history, landscape, and social and culinary traditions, Mayes brings the immediacy of life in her temporary homes to readers. An illuminating and passionate book that will be savored by all who loved Under the Tuscan Sun, A Year in the World is travel writing at its peak.

This book offers a stimulating introduction to the Hokkien music drama known as liyuanxi ('pear garden theatre'), heir and current expression of one of China's oldest unbroken xiqu ('Chinese opera') traditions. It considers the genre's history prior to the 20th century, its signal successes before and after the Cultural Revolution, and its national prominence today. Beginning with an analysis of the form's aesthetics and techniques, it proceeds to an overview of its rich and distinctive narrative repertoire, including several dramas unique to the genre. Josh Stenberg illustrates liyuanxi's distinctive musical and narrative qualities and presents the performance art's place, not only in Chinese drama and theatre history, but also in the culture of the historic port city of Quanzhou and the broader Hokkien region and diaspora. This study focuses on the work of the only professional theatre troupe in the genre, the Fujian Province Liyuanxi Experimental Theatre (FPLET), and examines the practice of director and leading actor Zeng Jingping, whose performances have focused attention on the genre's expression of women's desires and ambitions, and on her colleague, playwright Wang Renjie. It argues that new scripts engage with the issues of contemporary China while respecting the genre's traditions and conventions, and have led to rewritings of traditional repertoire by younger female authors. Stenberg's book skilfully demonstrates how a traditional theatre can adapt and thrive in a contemporary society, providing an indispensable introduction while whetting the appetite for the genre's exhilarating live performances.

Tenacious patterns of ethnic and economic inequality persist in the rural, largely minority regions of China's north- and southwest. Such inequality is commonly attributed to geography, access to resources, and recent political developments. In Corporate Conquests, C. Patterson Giersch provides a desperately-needed challenge to these conventional understandings by tracing the disempowerment of minority communities to the very beginnings of China's modern development. Focusing on the emergence of private and state corporations in Yunnan Province during the late 1800s and early 1900s, the book reveals how entrepreneurs centralized corporate power even as they expanded their businesses throughout the Southwest and into Tibet, Southeast Asia, and eastern China. Bringing wealth and cosmopolitan lifestyles to their hometowns, the merchant-owners also gained greater access to commodities at the expense of the Southwest's many indigenous minority communities. Meanwhile, new concepts of development shaped the creation of state-run corporations, which further concentrated resources in the hands of outsiders. The book reveals how important new ideas and structures of power, now central to the Communist Party's repertoire of rule and oppression, were forged, not along China's east coast, but along the nation's internal borderlands. It is a must-read for anyone wishing to learn about China's unique state capitalism and its contribution to inequality.

A Contemporary History of the Chinese Zheng traces the twentieth- and twenty-first-century development of an important Chinese musical instrument in greater China.The zheng was transformed over the course of the twentieth century, becoming a solo instrument with virtuosic capacity. In the past, the zheng had appeared in small instrumental ensembles and supplied improvised accompaniments to song. Zheng music became a means of nation-building and was eventually promoted as a marker of Chinese identity in Hong Kong. Ann L. Silverberg uses evidence from the greater China area to show how the narrative history of the zheng created on the mainland did not represent zheng music as it had been in the past. Silverberg ultimately argues that the zheng’s older repertory was poorly represented by efforts to collect and promote zheng music in the twentieth century. This book contends that the restored “traditional Chinese music” created and promulgated from the 1920s forward—and solo zheng music in particular—is a hybrid of “Chinese essence, Western means” that essentially obscures rather than reveals tradition. “Ann Silverberg’s book provides a history of the Chinese zheng zither, with a focus on the rise of solo music since the mid-twentieth century across the three sites of mainland China, Hong Kong, and Taiwan. Existing English-language studies mostly omit consideration of Hong Kong and Taiwan, so this account enriches current perspectives on the multiplicities of Chinese musical history and identity.” —Jonathan Stock, University College Cork, Ireland “Professor Ann Silverberg’s insights and approach are long awaited in the studies of Chinese music. I am particularly impressed by her coverage of the situation in Hong Kong and Taiwan. This book is a wonderful contribution to zheng music. It also inspires and enhances the studies of other Chinese musical instruments and Chinese traditional music.” —Yu Siu Wah, independent scholar

Regional Literature and the Transmission of Culture provides a richly textured picture of cultural transmission in the Qing and early Republican eras. Drum ballad texts (guci) evoke one of the most popular performance traditions of their day, a practice that flourished in North China. Study of these narratives opens up surprising new perspectives on vital topics in Chinese literature and history: the creation of regional cultural identities and their relation to a central “Chinese culture”; the relationship between oral and written cultures; the transmission of legal knowledge and popular ideals of justice; and the impact of the changing technology of the late nineteenth and early twentieth centuries on the reproduction and dissemination of popular texts. Margaret B. Wan maps the dissemination over time and space of two legends of wise judges; their journey through oral, written, and visual media reveals a fascinating but overlooked world of “popular” literature. While drum ballads form a distinctively regional literature, lithography in early twentieth-century Shanghai drew them into national markets. The new paradigm this book offers will interest scholars of cultural history, literature, book culture, legal history, and popular culture.