scholarly journals On the Formal Equivalence of Translating Classical Chinese Drama <br/>—Centered on the English translations of the Northern Drama <i>Han gong qiu</i> of the Yuan Dynasty

2021 ◽  
Vol 09 (02) ◽  
pp. 61-72
Author(s):  
Tan Jing
Keyword(s):  
Yuan Dynasty ◽  
Formal Equivalence ◽  
Classical Chinese ◽  
English Translations ◽  
The Yuan Dynasty

A Comparative Study of the Ghost Literary Motif in Snow in Midsummer by Guan Hanqing and Hamlet by Shakespeare

2021 ◽  
Vol 5 (1) ◽  
pp. 125-134
Author(s):  
Cristina-Mădălina Dinu
Keyword(s):  
Comparative Study ◽  
Chinese Literature ◽  
Moral Values ◽  
Yuan Dynasty ◽  
Contrastive Analysis ◽  
Didactic Literature ◽  
The World ◽  
Classical Chinese ◽  
Cultural Spaces ◽  
The Yuan Dynasty

In classical Chinese literature, employing the literary motif of the ghost represents both the writers’ desire to escape the pattern of didactic literature promoted by Confucianism and their attempt to revolt against the rigidity of the Confucian dogma that is far too entrenched in reality and inhibits their creativity. Written during the Yuan Dynasty (1279– 1368) by Guan Hanqing (1225–1302), Snow in Midsummer presents the injustice of Dou’E who dies for a crime she did not commit, with the girl returning to the world of the living in the form of a ghost to obtain her justice. The motif of the vengeful ghost also appears in Shakespeare’s (1564–1616) play, Hamlet . In this essay, I will investigate comparatively the dramatic aesthetics through which the spirits are outlined in the two plays, the comedy used by Guan Hanqing and Shakespeare, respectively, in the scenes of the appearance of spirits, and last but not least, the religious substratum contained in the symbolism of these ghosts. After a contrastive analysis of the dramaturgical and aesthetic construction of the two spirits in these plays, I argue that, despite their belonging to two different cultural spaces, both authors question through the supernatural the moral values of the societies in which they lived.

scholarly journals Identification of kinship and occupant status in Mongolian noble burials of the Yuan Dynasty through a multidisciplinary approach

2015 ◽  
Vol 370 (1660) ◽  
pp. 20130378 ◽  
Author(s):  
Yinqiu Cui ◽  
Li Song ◽  
Dong Wei ◽  
Yuhong Pang ◽  
Ning Wang ◽  
...  
Keyword(s):  
Multidisciplinary Approach ◽  
Molecular Genetic ◽  
Yuan Dynasty ◽  
Minority Ethnic Group ◽  
Chinese History ◽  
Chromosomal Dna ◽  
Molecular Genetic Data ◽  
First Dynasty ◽  
Historical Sites ◽  
The Yuan Dynasty

The Yuan Dynasty (AD 1271–1368) was the first dynasty in Chinese history where a minority ethnic group (Mongols) ruled. Few cemeteries containing Mongolian nobles have been found owing to their tradition of keeping burial grounds secret and their lack of historical records. Archaeological excavations at the Shuzhuanglou site in the Hebei province of China led to the discovery of 13 skeletons in six separate tombs. The style of the artefacts and burials indicate the cemetery occupants were Mongol nobles. However, the origin, relationships and status of the chief occupant (M1m) are unclear. To shed light on the identity of the principal occupant and resolve the kin relationships between individuals, a multidisciplinary approach was adopted, combining archaeological information, stable isotope data and molecular genetic data. Analysis of autosomal, mitochondrial and Y-chromosomal DNA show that some of the occupants were related. The available evidence strongly suggests that the principal occupant may have been the Mongol noble Korguz. Our study demonstrates the power of a multidisciplinary approach in elucidating information about the inhabitants of ancient historical sites.

Wang Guowei and the Establishment of Chinese Drama in the Modern Canon of Classical Literature

T oung Pao ◽  
2010 ◽  
Vol 96 (1) ◽  
pp. 165-201
Author(s):  
Regina Llamas
Keyword(s):  
Yuan Dynasty ◽  
Literary Genre ◽  
Classical Literature ◽  
Literary Value ◽  
Literary Genres ◽  
Critical History ◽  
History Of ◽  
The Right ◽  
The Yuan Dynasty ◽  
Universal Standard

AbstractThis essay examines the process by which Wang Guowei placed Chinese dramatic history into the modern Chinese literary canon. It explores how Wang formed his ideas on literature, drawing on Western aesthetics to explain, through the notions of leisure and play, the impetus for art creation, and on the Chinese notions of the genesis of literature to explain the psychology of literary creation. In order to establish the literary value of Chinese drama, Wang applied these ideas to the first playwrights of the Yuan dynasty, arguing that theirs was a literature created under the right aesthetic and creative circumstances, and that it embodied the value of "naturalness" which he considered a universal standard for good literature. By producing a scholarly critical history of the origins and nature of Chinese drama, Wang placed drama on a par with other literary genres of past dynasties, thus giving it a renewed status and creating at the same time a new discipline of research. Drama had now become an established literary genre.

scholarly journals The Development of Ocean Transport and Zhe-Yang ship during the YUAN Dynasty

2008 ◽  
Vol null (58) ◽  
pp. 149-169
Author(s):  
최운봉 ◽  
김성준
Keyword(s):  
Yuan Dynasty ◽  
The Yuan Dynasty

scholarly journals The quasi-genderless heresy: The Dhūtaists and Master Jizhao

2004 ◽  
Vol 67 (3) ◽  
pp. 349-368 ◽  
Author(s):  
VALENTINA BORETTI
Keyword(s):  
Gender Roles ◽  
Fourteenth Century ◽  
Yuan Dynasty ◽  
Chan Buddhism ◽  
Jin Dynasty ◽  
The Yuan Dynasty

This paper looks at the professional alternatives that Buddhism offered to women by analysing the important role played by a female master in the as yet little studied Dhūta movement, a form of ‘heretical’ Chan Buddhism that flourished during the final years of the Jin dynasty and afterwards in the Yuan dynasty. By examining the descriptions of female master Jizhao and male master Puguang, as seen in epitaphs composed by officers-literati and preserved in a Bejing gazetteer dating back to the mid-fourteenth century, this paper aims to highlight some features of the Dhūtaists' discourse of femininity and also to point out the differences vis-à-vis orthodox Chan constructs, in order finally to evaluate whether such a discourse could have an influence on the general definitions and content of gender roles.

‘There is No Music in Chinese Music History’: Five Court Tunes from the Yuan Dynasty (AD 1271–1368)

1994 ◽  
Vol 119 (2) ◽  
pp. 165-188
Author(s):  
Joseph S. C. Lam
Keyword(s):  
Hong Kong ◽  
Music History ◽  
Yuan Dynasty ◽  
The Past ◽  
Chinese Music ◽  
Musical Works ◽  
Hard Evidence ◽  
The Yuan Dynasty ◽  
Chinese Music History

‘There is no music in Chinese music history.’ This paradox is often expressed by music scholars in Hong Kong, a modern metropolis in which Chinese and Western musics and music scholarship mingle and thrive. Highlighting the contrasts between traditional Chinese and contemporary Western views of music and music historiography, the paradox refers to the scholars' observation that Chinese music histories include few descriptions of actual music, and that performances of early Chinese music are often inauthentic. Published accounts of China's musical past include little hard evidence about the structure and sounds of specific musical works. Thus, the scholars argue, the accounts are more theoretical than factual, and their musical descriptions disputable. Public performances and recorded examples of early Chinese music reveal obvious use of Western tonal harmony and counterpoint, and thus cannot be authentic music from China of the past. The scholars' arguments, however, cannot refute that in Hong Kong many Chinese music masters and audiences find the so-called early Chinese music authentic and its histories credible.

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