This essay examines the autobiography of Chen Hengzhe （1890-1976） （see Appendix）, a relatively less studied woman writer, historian, and critic in modem China. Through the study in four aspects, namely, the pursui...This essay examines the autobiography of Chen Hengzhe （1890-1976） （see Appendix）, a relatively less studied woman writer, historian, and critic in modem China. Through the study in four aspects, namely, the pursuit of modem education, simple appearance, great leaders, and the ambassadors of culture, the author＇s research indicates that Chen＇s construction of＂new woman＂ has been influenced by complex historical and cultural forces such as the Chinese traditional culture, Western culture, and the iconoclastic spirit of ＂the New Culture Movement＂. Meanwhile, Chen＇s gender consciousness is also an important element. Moreover, Chen＇s pioneering standing and her own experiences of studying abroad makes her take the lead in conceiving women＇s leadership and their roles in global culture communications. In the late Qing and the early Republic, traditional values and norms of womanhood were severely challenged. Chen＇s construction of＂new woman＂ is her conscious effort to define a new womanhood and is an integral part of the ongoing exploration of Chinese women for modem womanhood. Through the examination of Chen＇s ＂new woman＂, this paper seeks to enrich our understanding of the complexity of modem Chinese women＇s exploration of modem womanhood.展开更多
By using tai-yu （min-nan-hua, Taiwan Residents local language） to stage William Shakespeare＇s Macbeth, Po-shen Lu produced an experimental performance in the southern part of Taiwan in 2003. When producing Antigone...By using tai-yu （min-nan-hua, Taiwan Residents local language） to stage William Shakespeare＇s Macbeth, Po-shen Lu produced an experimental performance in the southern part of Taiwan in 2003. When producing Antigone in 2001, Lu was challenged by his critics in three aspects： （1） the tradition of tai-yu theatre of Tainan Jen Theatre and that of Western plays, （2） audience reception in Taiwan, and （3） the advantages and disadvantages of integrating tai-yu with Western classic texts. In spite of these criticisms on his theatrical productions, Lu has continued helping Tainan Jen Theatre transform into a professional theatrical troupe since he became an artistic director in 2002. By analyzing how and why Lu staged his The Witch Sonata--Psalm of Macbeth in the socio-historical context of intercultural adaptation, I propose to re-revaluate Lu＇s artistic contribution to the theatrical development in the southern part of Taiwan. I would argue that Lu is not only challenging Taiwan Residents reading of Shakespeare but also exploring the possibilities of tai-yu＇s theatricality, in a view to bringing new life to Taiwan＇s intercultural theatre.展开更多
文摘This essay examines the autobiography of Chen Hengzhe （1890-1976） （see Appendix）, a relatively less studied woman writer, historian, and critic in modem China. Through the study in four aspects, namely, the pursuit of modem education, simple appearance, great leaders, and the ambassadors of culture, the author＇s research indicates that Chen＇s construction of＂new woman＂ has been influenced by complex historical and cultural forces such as the Chinese traditional culture, Western culture, and the iconoclastic spirit of ＂the New Culture Movement＂. Meanwhile, Chen＇s gender consciousness is also an important element. Moreover, Chen＇s pioneering standing and her own experiences of studying abroad makes her take the lead in conceiving women＇s leadership and their roles in global culture communications. In the late Qing and the early Republic, traditional values and norms of womanhood were severely challenged. Chen＇s construction of＂new woman＂ is her conscious effort to define a new womanhood and is an integral part of the ongoing exploration of Chinese women for modem womanhood. Through the examination of Chen＇s ＂new woman＂, this paper seeks to enrich our understanding of the complexity of modem Chinese women＇s exploration of modem womanhood.
文摘By using tai-yu （min-nan-hua, Taiwan Residents local language） to stage William Shakespeare＇s Macbeth, Po-shen Lu produced an experimental performance in the southern part of Taiwan in 2003. When producing Antigone in 2001, Lu was challenged by his critics in three aspects： （1） the tradition of tai-yu theatre of Tainan Jen Theatre and that of Western plays, （2） audience reception in Taiwan, and （3） the advantages and disadvantages of integrating tai-yu with Western classic texts. In spite of these criticisms on his theatrical productions, Lu has continued helping Tainan Jen Theatre transform into a professional theatrical troupe since he became an artistic director in 2002. By analyzing how and why Lu staged his The Witch Sonata--Psalm of Macbeth in the socio-historical context of intercultural adaptation, I propose to re-revaluate Lu＇s artistic contribution to the theatrical development in the southern part of Taiwan. I would argue that Lu is not only challenging Taiwan Residents reading of Shakespeare but also exploring the possibilities of tai-yu＇s theatricality, in a view to bringing new life to Taiwan＇s intercultural theatre.
