Abstract
AbstractOne of the prominent features of Chinese traditional music drama, as scholars of Chinese theatre generally notice, is its “folk preference for the female power in resistance to hypocrisy and villainy.“ Comprising primarily a male authorship with its historically developed repertoire, Chinese traditional music drama contains complex, powerful, and enduring images of women whose names have become an integral part of the Chinese language and whose stories have gained deep resonance in China's cultural consciousness. While close readings of these images lead to rediscoveries of the sociocultural conditions of the past and provide illuminating references for our understanding of contemporary Chinese society, it also throws important light upon some of the most intricate relations that are significant not only in our approach to Chinese drama and society but in our literary and cultural critiques in general – relations between ideology and its critiques as shaped by multiple voices in a given piece of a...
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