Kunqu,literally means kun melody,is one of the most ancient forms of Chinese opera.Originally her melody derives from Kunshan zone of Jiangsu province therefore it has been named Kunshan melody before,now Kunqu also k...Kunqu,literally means kun melody,is one of the most ancient forms of Chinese opera.Originally her melody derives from Kunshan zone of Jiangsu province therefore it has been named Kunshan melody before,now Kunqu also known as Kunju,which means Kunqu opera.This paper mainly focuses on the development of Kunqu in the past 100 years and the influence of historical social and humanistic changes behind the special era on Kunqu,and compares the attitudes of scholars of different schools of thought in different eras to Kunqu and the social public to compare and analyze the degree of love of Kunqu.展开更多
The history of KWKW opem dates bac卜bthelate Yuan Dynasty(1206－1368)．As one of the68Fly fOFrp Of AZ/j7qUI SOUth6FD Op6FS SpFG8d to卜Unshan a**alb旧nd*d WKh DOCaD aC口ent sndpU5lCI SRd WSS pFSCtlC6d SPd lffipFOV8d by
As a Cultural and Spiritual Homeland,Pai Hsien-yung and His Kunqu Peony Pavilion:The Young Lovers’Version,the new version of The Jade Hairpin,how to be the most aesthetic version,cross-border version and young versio...As a Cultural and Spiritual Homeland,Pai Hsien-yung and His Kunqu Peony Pavilion:The Young Lovers’Version,the new version of The Jade Hairpin,how to be the most aesthetic version,cross-border version and young version,as a sustainable development model.展开更多
In recent decades, a new type of cultural upsurge surrounding kunqu1 has arisen in Chinese language sphere, though respectively due to different reasons in China's Mainland, Hong Kong, Taiwan and other Chinese dia...In recent decades, a new type of cultural upsurge surrounding kunqu1 has arisen in Chinese language sphere, though respectively due to different reasons in China's Mainland, Hong Kong, Taiwan and other Chinese diaspora. Against the global trend of culture heritage nationalization context, via the new media platform, the performative staging of individual emotions and reverie in the market society2, the longings to redeem various alienation in a vertical modernity3, as well as the yearnings for emotional balance in a burgeoning feministic modernity, all integrate with each other and together generate a restless transforming memory for kunqu. Just like a misty veil, this complex, contentious, contradictory and long-lasting collective memory-making process blurs kunqu＇s appearance, expands its layers, and ultimately generates a cultural myth. With detailed case studies this paper aims to reflect upon the deep reasons for the kunqu myth and to probe the transformative powers of a performative space in enabling remembrance and/or forgetting.展开更多
文摘Kunqu,literally means kun melody,is one of the most ancient forms of Chinese opera.Originally her melody derives from Kunshan zone of Jiangsu province therefore it has been named Kunshan melody before,now Kunqu also known as Kunju,which means Kunqu opera.This paper mainly focuses on the development of Kunqu in the past 100 years and the influence of historical social and humanistic changes behind the special era on Kunqu,and compares the attitudes of scholars of different schools of thought in different eras to Kunqu and the social public to compare and analyze the degree of love of Kunqu.
文摘The history of KWKW opem dates bac卜bthelate Yuan Dynasty(1206－1368)．As one of the68Fly fOFrp Of AZ/j7qUI SOUth6FD Op6FS SpFG8d to卜Unshan a**alb旧nd*d WKh DOCaD aC口ent sndpU5lCI SRd WSS pFSCtlC6d SPd lffipFOV8d by
文摘As a Cultural and Spiritual Homeland,Pai Hsien-yung and His Kunqu Peony Pavilion:The Young Lovers’Version,the new version of The Jade Hairpin,how to be the most aesthetic version,cross-border version and young version,as a sustainable development model.
文摘In recent decades, a new type of cultural upsurge surrounding kunqu1 has arisen in Chinese language sphere, though respectively due to different reasons in China's Mainland, Hong Kong, Taiwan and other Chinese diaspora. Against the global trend of culture heritage nationalization context, via the new media platform, the performative staging of individual emotions and reverie in the market society2, the longings to redeem various alienation in a vertical modernity3, as well as the yearnings for emotional balance in a burgeoning feministic modernity, all integrate with each other and together generate a restless transforming memory for kunqu. Just like a misty veil, this complex, contentious, contradictory and long-lasting collective memory-making process blurs kunqu＇s appearance, expands its layers, and ultimately generates a cultural myth. With detailed case studies this paper aims to reflect upon the deep reasons for the kunqu myth and to probe the transformative powers of a performative space in enabling remembrance and/or forgetting.
