The novel Green Snake published in 1980 s is a representative work of Li Bihua, a famous female writer in Hong Kong and also a creation and adaptation from Legend of the White Snake, a classic folk tale in China's...The novel Green Snake published in 1980 s is a representative work of Li Bihua, a famous female writer in Hong Kong and also a creation and adaptation from Legend of the White Snake, a classic folk tale in China's Mainland, in which the writer combines inherited classical elements and modern adaptation. The novel was made into the film Green Snake by the famous director Tsui Hark in 1993, which was highly praised by the audience. This paper focuses on the novel version of Green Snake, illustrating from the perspective of two forms of media communication—novel and film to reveal its unique charm of propagating,and getting a clear picture of acceptance of classic stories by audience to simply position the audience of novel and film, while presenting the scene that the recipient will also react to literature and promote the flourishing and development of literature.展开更多
Following Kenneth King＇s pioneering transmedial synthetic writings on post-modern dance practices and Kimerer L. LaMothe＇s call for dance to be treated seriously in religious and philosophical discourses, I examine ...Following Kenneth King＇s pioneering transmedial synthetic writings on post-modern dance practices and Kimerer L. LaMothe＇s call for dance to be treated seriously in religious and philosophical discourses, I examine Yan Geling＇s novella Baishe （White Snake, 1998）, in relation to Lilian Lee＇s novel qingshe （Green Snake, 1986-93）, with a focus on how dancing and writing function literally, metaphorically, dialectically, and reciprocally, in these narratives. In my textual and contextual analyses of Yan＇s White Snake text, I borrow Daria Halprin＇s therapeutic model for accessing life experiences through the body in motion. I argue that, through a creative use of writing and dancing as key metaphors for identity formation and transformation, Yan＇s text, in the context of contemporary China, offers innovative counter-narratives of gender, writing, and the body. Yan＇s White Snake is considered in the following three contexts in this paper： firstly, the expressiveness of the female body in the White Snake story; secondly, the tradition and significance of writing women in Chinese literary history; and thirdly, the development of dance as a profession in the PRC, with a real-life snake dancer at the center. These three different frameworks weave an intricate tapestry that reveals the dialectics of writing and dancing, and language and the body, throughout the latter half of twentieth-century China. Furthermore, Yan＇s text foregrounds the Cultural Revolution as an important chronotope for experimentation with a range of complex gender identities in relation to the expressive and symbolic powers of dancing and writing.展开更多
文摘The novel Green Snake published in 1980 s is a representative work of Li Bihua, a famous female writer in Hong Kong and also a creation and adaptation from Legend of the White Snake, a classic folk tale in China's Mainland, in which the writer combines inherited classical elements and modern adaptation. The novel was made into the film Green Snake by the famous director Tsui Hark in 1993, which was highly praised by the audience. This paper focuses on the novel version of Green Snake, illustrating from the perspective of two forms of media communication—novel and film to reveal its unique charm of propagating,and getting a clear picture of acceptance of classic stories by audience to simply position the audience of novel and film, while presenting the scene that the recipient will also react to literature and promote the flourishing and development of literature.
文摘Following Kenneth King＇s pioneering transmedial synthetic writings on post-modern dance practices and Kimerer L. LaMothe＇s call for dance to be treated seriously in religious and philosophical discourses, I examine Yan Geling＇s novella Baishe （White Snake, 1998）, in relation to Lilian Lee＇s novel qingshe （Green Snake, 1986-93）, with a focus on how dancing and writing function literally, metaphorically, dialectically, and reciprocally, in these narratives. In my textual and contextual analyses of Yan＇s White Snake text, I borrow Daria Halprin＇s therapeutic model for accessing life experiences through the body in motion. I argue that, through a creative use of writing and dancing as key metaphors for identity formation and transformation, Yan＇s text, in the context of contemporary China, offers innovative counter-narratives of gender, writing, and the body. Yan＇s White Snake is considered in the following three contexts in this paper： firstly, the expressiveness of the female body in the White Snake story; secondly, the tradition and significance of writing women in Chinese literary history; and thirdly, the development of dance as a profession in the PRC, with a real-life snake dancer at the center. These three different frameworks weave an intricate tapestry that reveals the dialectics of writing and dancing, and language and the body, throughout the latter half of twentieth-century China. Furthermore, Yan＇s text foregrounds the Cultural Revolution as an important chronotope for experimentation with a range of complex gender identities in relation to the expressive and symbolic powers of dancing and writing.
