Ritual Opera And Mercantile Lineage

Focusing on the Confucian transformation of Mulian opera, and especially on the interplay between the "civilizing" effect of ritual performance and the rise of gentrified mercantile lineages in sixteenth-century Huizhou prefecture, this book develops a radically novel interpretation of both Chinese popular culture and the Confucian tradition in late imperial China.

A free open access ebook is available upon publication. Learn more at www.luminosoa.org. Huizhou studies the construction of local identity through kinship in the prefecture of Huizhou, the most prominent merchant stronghold of Ming China. Employing an array of untapped genealogies and other sources, Qitao Guo explores how developments in the sociocultural, religious, and gender realms from the fifteenth to sixteenth centuries intertwined to shape Huizhou identity as a land of "prominent lineages." This gentrified self-image both sheltered and guided the development of mercantile lineages, which were further bolstered by the gender regime and the local religious order. As Guo demonstrates, the discrepancy between representation and practice helps explain Huizhou's triumphs. The more active the economy became, the more those central to its commercialization embraced conservative sociocultural norms. Home lineages embraced neo-Confucian orthodoxy even as they provided the financial and logistical support to assure the success of Huizhou merchants. The end result was not "capitalism" but a gentrified mercantile lineage culture with Chinese—or Huizhou—characteristics.

This book is a comprehensive and inviting introduction to the literary forms and cultural significance of Chinese drama as both text and performance. Each chapter offers an accessible overview and critical analysis of one or more plays—canonical as well as less frequently studied works—and their historical contexts. How to Read Chinese Drama highlights how each play sheds light on key aspects of the dramatic tradition, including genre conventions, staging practices, musical performance, audience participation, and political resonances, emphasizing interconnections among chapters. It brings together leading scholars spanning anthropology, art history, ethnomusicology, history, literature, and theater studies. How to Read Chinese Drama is straightforward, clear, and concise, written for undergraduate students and their instructors as well as a wider audience interested in world theater. For students of Chinese literature and language, the book provides questions to explore when reading, watching, and listening to plays, and it features bilingual excerpts. For teachers, an analytical table of contents, a theater-specific chronology of events, and lists of visual resources and translations provide pedagogical resources for exploring Chinese theater within broader cultural and comparative contexts. For theater practitioners, the volume offers deeply researched readings of important plays together with background on historical performance conventions, audience responses, and select modern adaptations.

"In seventeenth-century China, as formerly disparate social spheres grew closer, the theater began to occupy an important ideological niche among traditional cultural elites, and notions of performance and spectatorship came to animate diverse aspects of literati cultural production. In this study of late-imperial Chinese theater, Sophie Volpp offers fresh readings of major texts such as Tang Xianzu’s Peony Pavilion (Mudan ting) and Kong Shangren’s Peach Blossom Fan (Taohua shan), and unveils lesser-known materials such as Wang Jide’s play The Male Queen (Nan wanghou). In doing so, Volpp sheds new light on the capacity of seventeenth-century drama to comment on the cultural politics of the age.Worldly Stage arrives at a conception of theatricality particular to the classical Chinese theater and informed by historical stage practices. The transience of worldly phenomena and the vanity of reputation had long informed the Chinese conception of theatricality. But in the seventeenth century, these notions acquired a new verbalization, as theatrical models of spectatorship were now applied to the contemporary urban social spectacle in which the theater itself was deeply implicated."

This book adopts a refreshing approach by examining Hokkien theatre in a region connected by maritime networks, notably southern Fujian, Taiwan, Kinmen and Singapore. It considers how regional theatre is shaped by broader socio-cultural and political contexts and the motivation to stay relevant in an era of modernisation and secularisation. Political domains are often marked out by land boundaries, but the sea concept denotes fluidity, allowing theatrical forms to spread across these ‘land-bounded’ societies and share a common language and culture. "This is an insightful theatrical study on the web of Chinese cultural networks in southern China and Singapore, and by extension, between China and Southeast Asia in the twentieth century and beyond. Using diverse sources in multiple languages and extensive field ethnography, this is a ground-breaking study which is both didactic and inspiring." - Lee Tong Soon, author of Chinese Street Opera in Singapore (University of Illinois, 2009). "Focusing on Hokkien theatre, this book offers new insights into how Chinese performing art responds to geographical, temporal, and social changes. Historical sources in different languages are widely used to give access to the cultural characteristics of Hokkien theatre, offering valuable ethnographic reports on the contemporary practices of Hokkien theatre in Taiwan, Kinmen, and Singapore. The book comments on the changing ritualistic significance of Hokkien theatre, and help us understand how societies remember the past of a performing tradition, and shape its present." - Luo Ai Mei, Co-Editor of A Preliminary Survey of the Cantonese Eight Song Cycles in South China: History and Sources (2016)

Lineages Embedded in Temple Networks explores the key role played by elite Daoists in social and cultural life in Ming China, notably by mediating between local networks—biological lineages, territorial communities, temples, and festivals—and the state. They did this through their organization in clerical lineages—their own empire-wide networks for channeling knowledge, patronage, and resources—and by controlling central temples that were nodes of local social structures. In this book, the only comprehensive social history of local Daoism during the Ming largely based on literary sources and fieldwork, Richard G. Wang delineates the interface between local organizations (such as lineages and temple networks) and central state institutions. The first part provides the framework for viewing Daoism as a social institution in regard to both its religious lineages and its service to the state in the bureaucratic apparatus to implement state orthodoxy. The second part follows four cases to reveal the connections between clerical lineages and local networks. Wang illustrates how Daoism claimed a universal ideology and civilizing force that mediated between local organizations and central state institutions, which in turn brought meaning and legitimacy to both local society and the state.

In late imperial China, opera transmitted ideas across the social hierarchy about the self, family, society, and politics. Beijing attracted a diverse array of opera genres and audiences and, by extension, served as a hub for the diffusion of cultural values. It is in this context that historian Andrea S. Goldman harnesses opera as a lens through which to examine urban cultural history. Her meticulous yet playful account takes up the multiplicity of opera types that proliferated at the time, exploring them as contested sites through which the Qing court and commercial playhouses negotiated influence and control over the social and moral order. Opera performance blurred lines between public and private life, and offered a stage on which to act out gender and class transgressions. This work illuminates how the state and various urban constituencies manipulated opera to their own ends, and sheds light on empire-wide transformations underway at the time.

This book examines the transformation of values in China since 1850, first in the “secular” realms of economics, science, medicine, aesthetics, media and gender, and then in each of the major religions (Confucianism, Buddhism, Daoism, Christianity) and in Marxist discourse.