Yang Guifei Research Articles

"All Women of Nagoya are Beautiful": Travel Records of a Korean Diplomat in 1764.

The aim of this study is to ascertain how women of that era looked to a Korean diplomat who visited Japan in the 18th century. During 1763-1764, the "Documents on Joseon Tongsinsa (diplomatic mission)" contain 10 records of Korea and 2 records of Japan. Among them, "The Song of a Grand Trip to Japan" (), a Joseon gasa, was reviewed. In the diary entries dated February 2 and 3, 1764, when he was in Nagoya, the author (Kim Ingyeom) described the physical appearance of Japanese women in the city. The peoples of here are bright and beautiful/ All the women are peerless beauties. With eyes like stars and cinnabar-red lips / A clear complexion like white jade, eyebrows like butterflies,/ Hands like budding sprouts, forehead like a cicada. They look like carved ice and as if lumped together with snow. How are they so beautiful despite having the flesh and blood of a human being? Though Zhao Feiyan and Yang Guifei (queens of China) are called the eternal beauties,/ They would look less beautiful compared to women here. If they dressed in Korean costumes and were decorated with jewels,/ We would forget ourselves and mistaken them as goddesses. He highlighted features such as prominent foreheads, eyebrows shaped like butterflies, star-like eyes, red lips, slender hands, and pale skin. He portrayed Japanese women as having a superior appearance compared to Chinese or Korean women. This record suggests that a diplomat admired the appearance of Japanese women during the Meiwa Era (1764-1772).

The System of Dominant Themes in the Operas of Jin Xiang

The article’s author considers the system of dominant themes in the operas of the Chinese composer of the 20th century Jin Xiang, close to the principle of the end-to-end development of thematism in European and Russian classical opera. The author reveals the specifi cs of working with thematism in the operas “Savage Land”, “Yang Guifei” and “Eight Women Jump Into the River”. The research methods were a holistic and comparative analysis of the thematism of operas in terms of expressiveness, imaginative-semantic content, dramatic function, and symphonic development. The analysis of the “dominant thematism” and its development in Jin Xiang’s operas made it possible to prove that leitmotifs embody the national ideological content in the works of the Chinese composer, express senses, states and actions of the heroes, describe events, and reveal plot confl icts of the drama. In his opera work, Jin Xiang develops his own system of leitmotifs, connecting each opera together in imaginative, semantic, dramatic and organisational aspects. At the same time, the dominant thematism gives Jin Xiang’s works a national character, allowing Chinese opera to maintain its identity against the background of the stylistic globalisation in music.

МЕЙ ФЕЙ – НАЛОЖНИЦАТА СЛИВОВ СВЯТ

Mei Fei was one of the favourite concubines of Emperor Xuan Zong (685–762) of the Tang Dynasty, whose stay in the palace coincided with that of another favourite of the emperor, Yang Guifei. But while much has been written about Yang Guifei, almost nothing is known about Mei Fei. The little that is known about her is mostly due to a copy (dating from the end of the 11th – the beginning of the 12th century) of a scroll taken by the bookseller Zhu Zundu, known by the nickname Zhu Wanjuan (“Zhu – the ten thousand scrolls”).

Potato Puppet Theater/Beating the Beauties: A Seventeenth-century Japanese Picture Book for Children

Potato Puppet Theater/Beating the Beauties:A Seventeenth-century Japanese Picture Book for Children Pia Jolliffe (bio) and Keller Kimbrough (bio) In a fabulous trove of Japanese children's books that was sealed inside a statue of the bodhisattva Jizō in the ninth month of 1678, there is a particularly charming volume with the double title Imo jōruri (Potato Puppet Theater) and Bijin tataki (Beating the Beauties, a title that likely alludes to the act of tapping out a rhythm rather than beating anyone). [Figure 1] The book was published by Tsuruya Gohei, probably of Kyoto, sometime between 1661 and 1678, and it belonged to a child named Chōkurō, the son of a seventeenth-century merchant known as Obiya (obi-maker/seller) Jirōkichi. Chōkurō died young, and although his age at the time is unknown, upon his demise his father had Potato Puppet Theater/Beating the Beauties and nine of Chōkurō's other books and various personal possessions, including a thick sheaf of used calligraphy practice paper, a copybook of warrior pictures, and a kawaraban broadsheet—a kind of proto-news publication, in this case detailing a sensational double-suicide—placed inside a fourteenth-century image of Jizō as a memorial offering for his son. Jizō has long been associated with the Buddhist salvation of children, and Jirōkichi's decision to encase Chōkurō's personal things inside a wooden statue of the bodhisattva would have ensured the boy's connection to Jizō in the afterworld.1 Today the image stands at Izawaji Temple in Matsusaka City, Mie Prefecture, a hundred kilometers or so from the former capital of Kyoto, but when it came to be enshrined there is unknown.2 The seventeenth century is generally regarded as the beginning of Japan's early-modern period—a roughly 350-year span of relative peace, prosperity, and national unity during which the urban merchant class came to hold unprecedented economic power—and for the study of children and childhood in this period, Chōkurō's Potato Puppet Theater/Beating the Beauties is an object of great significance. As we shall show in this article, it is a precious source that addresses [End Page 197] all four of Peter Stearns's challenges in the study of childhood: the scarcity of historical data produced by children themselves; the lack of data on pre-teenage children of different genders and social statuses; the need for the history of childhood to go beyond "the West"; and the challenge of judging historical childhoods through a lens that is not distorted by modern values and ideas.3 Click for larger view View full resolution Figure 1. Cover, Imo jōruri, Bijin tataki (Potato Puppet Theater/Beating the Beauties), c. 1661–1678. Courtesy of the Izawa Town Council. [End Page 198] In its first part, Potato Puppet Theater, the book is a parodic warrior tale of the harvesting, washing, cooking, and consumption of a patch of planted potatoes. In its second part, Beating the Beauties, it is a sing-song list of the most famously beautiful women of the past and present, both historical and imagined: Yang Guifei of China; the goddess Kichijōten; the Somedono Empress; poets Ono no Komachi, Izumi Shikibu, and Koshikibu no Naishi; poet and author Murasaki Shikibu, who is best known for writing the great early eleventh-century novel/ romance The Tale of Genji; several fictional female characters from The Tale of Genji; celebrities of the seventeenth-century Shimabara licensed quarters (a Kyoto entertainment district of legalized prostitution, established in 1640); and many others. Click for larger view View full resolution Figure 2. Inside cover with drawings and a cursive signature ("Obiya Chōkurō"). Imo jōruri, Bijin tataki (Potato Puppet Theater/Beating the Beauties), c. 1661–1678. Courtesy of the Izawa Town Council. On its inside cover, the book contains the simplified cursive signature "Obiya Chōkurō" beside a crude drawing of what appears to be a man with long, curved arms, and an unidentifiable object that looks to us somewhat like a spaceship, or, perhaps, a striped potato or the face of a bug. [Figure 2] The signature suggests [End Page 199] the identity of...

ЯН ГУЕЙФЕЙ – ФАТАЛНАТА СТРАСТ НА ИМПЕРАТОР СЮЕН ДЗУН

Yang Guifei (719 – 756) was the beloved concubine of Emperor XuanZong (685 – 762) of the Tang Dynasty, the ex-wife of one of his sons and one of the four most beautiful women in Chinese history. The emperor’s ardent and fateful love for her marked the beginning of the crisis and decline of the Tang Dynasty. Emperor Xuen Zong’s passion for the beautiful Yang Guifei led him to ruin and abdication, and the entire Tang Empire to inevitable disintegration. The concubine Guifei was as charming as she was cunning and extravagant, but later centuries have forgotten her vices and left us with only a classic story of pure love. The love story between Emperor Xuen Zong and his beloved concubine remains in Chinese history as one of the most exciting dramas, marked by political intrigue and fateful coups.

THE DYNAMICS OF CHORAL CULTURE DEVELOPMENT IN CHINA IN THE 1930S ON THE EXAMPLE OF HUANG TZI’S ORATORIO ETERNAL REGRET

Choral music in China is a dynamically developing form of contemporary musical art. Scientific works devoted to the Chinese choral culture consider the 1930s of the 20th century as the most productive period in the development of this branch of musical creativity. The article examines the phase of the active entry of Chinese choral music into the sphere of the oratorio genre, which is directly related to the name of the great Chinese composer — Huang Tzi. It also highlights the issues of the country’s political life in the 1930s, which actively influenced the creation of nationwide singing movements and new choral works in the country. The oratorio genre, the genesis of which refers us to the European religious musical tradition of the 17th century, spread in China owing to the massive flow of Chinese intelligentsia to the territory of Western states throughout the entire beginning of the 20th century. In the article, the actualisation of the oratorio and its interpretation in a new light is presented as the merit of Huang Tzi, whose civic position was directly related to the desire to preserve ethnic origins in Chinese music and to complement them with Western composing techniques organically. Having proved himself not only as a composer but also as a theorist and teacher, Huang Tzi devoted most of his life to educating a large number of music professors, initiating a progressive approach to music education. His desire to raise the level of the composing school in China made it possible to enrich the repertoire of vocal and instrumental music with characteristics of the folk style. The oratorio Eternal Regret presented in the article is a unique creation that organically combines ethnic music and Western composition techniques. In the story of Emperor Xuanzong and Yang Guifei (to the poems of Tang poet Bai Juyi), taken by the composer as the theme for the libretto, there is certain symbolism that has the conceptual plan of addressing the power to demonstrate the alleged results of Kuomintang’s unclear policy. Thus, directly related to political cataclysms and their final embodiment in the form of the Sino-Japanese war (1937-1945), the oratorio Eternal Regret is presented in the article as a consolidating core that inspired the civilian masses to fight the Japanese invaders. The analysis of Bai Juyi’s original poem “Eternal Regret” and a fragmentary historical-stylistic and vocal-choral analysis of the oratorio have been carried out. The artistic features of individual parts of the oratorio, seven of which were completed by the composer, are revealed. Based on literary sources and theoretical research presented in the article, the author asserts the special role of the oratorio Eternal Regret in history and its far-reaching influence on the prospects for the development of the Chinese choir.

Increasing duration and intensity of nighttime supplemental lighting promotes growth and photosynthesis in young Cymbidium plants

This study was conducted to determine how nighttime supplemental lighting (NSL) duration and light intensity influence the growth and photosynthesis of young Cymbidium plants. Seven-month-old Cymbidium ‘Yang Guifei’ and ‘Wine Shower’ plants were grown under five NSL durations (2, 4, 6, 8, and 16 h) and three NSL light intensities (10, 100, and 200 µmol·m−2·s−1) for 4 months, which provided 16 NSL light integrals ranging from 0 to 11.52 mol·m−2·d−1 including 0 h NSL treatment. The NSL treatments were provided by 100% red LEDs, and CO2 was supplied during the nighttime (16 h) at 800 µmol·mol−1. Pseudobulb diameter, the number of leaves, and biomass accumulation significantly increased with increasing NSL duration and light intensity in both cultivars. These growth characteristics showed increasing trends with increasing NSL light integrals. In particular, pseudobulb diameter increased by 33 and 43% in ‘Yang Guifei’ and ‘Wine Shower,’ respectively, as the NSL light integral increased from 0 to 11.52 mol·m−2·d−1. Relative chlorophyll contents decreased with increasing NSL light intensity in ‘Yang Guifei’. Photosynthetic assimilation rate (An) during NSL was promoted in response to increases of NSL duration and light intensity in both cultivars, implying that the An increased with increasing NSL light integrals. However, in this study, continuous lighting (16 h NSL) limited daytime photosynthesis. Daily An showed a positive correlation with pseudobulb diameter. These results indicated that NSL could accelerate the growth of young Cymbidium plants by inducing nighttime photosynthesis. In this study, considering that continuous NSL could inhibit the daytime photosynthesis, the 8 h NSL with 200 µmol·m−2·s−1 treatment was the most effective for promoting the growth. This finding can be used to maximize the growth rate and shorten the cultivation time in Cymbidium production.

Growth and Photosynthesis of Young <i>Cymbidium</i> as Influenced by Supplemental Lighting Timing

The effects of supplemental lighting (SL) timing on vegetative growth and the photosynthetic assimilation rate of young Cymbidium hybrids were examined. Nine month old C. ‘Yang Guifei’ and ‘Wine Shower’ were treated with four different SL timings: 22:00 – 02:00 (middle of the night, MN); 17:00 – 21:00 (end of day extension, DE); 07:00 – 09:00 plus 17:00 – 19:00 (both beginning and end of the night as split day extension, SDE), and non SL (8/16 h, short day, SD) for 4 months. All SL were provided by two types of 100% red LEDs (640 and 660 nm), with 150 μmol･m-2 ･s-1 and 800 μmol･mol-1 of CO2 supplied during the night (16 h). Pseudobulb diameters were significantly higher under SL treatments compared with the SD of both cultivars, irrespective of SL timing. Net photosynthetic assimilation rates were enhanced with increased SL, due to the additional photosynthesis and reduction of dark respiration. Thus, daily net photosynthetic amounts of SL treatments effectively increased photosynthesis compared to the SD. These results indicate that SL helps promote vegetative growth by enhancing photosynthesis. Since there were no significant differences among the SL timings when CO2 was provided uniformly during the night, we concluded that growth and photosynthesis of young Cymbidium do not depend on the timing of SL application, but are related to the daily light integrals, which is the amount of photosynthetically active photons delivered over 24 hours.

История о Сюань-цзуне и Ян-гуйфэй в японском памятнике XII в. «Китайские истории» («Кара моногатари»)

Сборник «Китайские истории» («Кара моногатари») представляет собой собрание из 27 историй разного объема. Действие всех историй происходит в Китае. Сюжеты находят соответствие в целом ряде китайских источников, среди которых исторические сочинения, танские и сунские новеллы, стихи и поэмы Бо Цзюй-и. Датировка «Кара моногатари»долгое время была предметом дискуссии, окончательно вопрос не решен и сейчас. По версии, считающейся на сегодняшний день наиболее убедительной, написание про­изведения относится ко второй половине XII в., к концу периода Хэйан, а автором является Фудзивара-но Сигэнори. Текст «Кара моногатари» на­писан на литературном японском языке и содержит аллюзии не только на китайские источники, но и на японские поэтические и прозаические тек­сты. История о трагической любви императора Сюань-цзуна и Ян-гуйфэй занимает почти четверть всего текста памятника. Трактовка событий осно­вана на поэме Бо Цзюй-и «Вечная печаль». В данный отрывок текста вклю­чены восемь японских стихотворений-вака, которые служат средством для адаптации сюжета к канонам японской литературы. Несмотря на то, что «Кара моногатари» в целом сочинение светское, концовка данной истории является буддийской и не встречается в китайских источниках, что можно объяснить большим влиянием буддизма в Японии, чем в Китае.

Study on Patterns of Femme Fatales in Ancient China

팜므파탈은 ‘태생적으로 남성을 파멸에 이르게 하는 삶을 살 수밖에 없었던 운명을 가진 여성’이다. 이러한 팜므파탈이 때로는 악녀의 이미지와 동일시되기도 하는데, 사실상 팜므파탈과 악녀가 등가는 아니다. 그러나 질투와 욕망에 대한 극한의 감정, 이를 토대로 한 잔혹한 행동양상, 파멸성과 치명성 등은 두 개념 사이의 공통적인 특징이다. 특히 중국역대의 팜므파탈들은 그 위협성과 파괴력이 강렬하여 후대에 그 어떤 이유로도 변명이나 용서가 불가한 것으로 평가된다. 중국 역시 장구한 역사 속에 적지 않은 여성들이 역사의 전환점과 개혁기에서 팜므파탈로서 결정적이고 중추적인 역할을 하였다. 이에 일정 역사 속에 적극적으로 개입하여 변화의 핵심에 위치했던 팜므파탈을 살펴보는 것은 중국역사의 전후 연관성을 파악하는데 있어서, 유용한 방법이 될 수 있다. 따라서 본고에서는 중국의 흥망과 변천 속에서 그 영향력이 막강했던 여성들을 선정하여, 이들을 중국사의 맥락을 이해하는 과정에 흥미로운 매개로 제공하려고 하였다. 본고는 고대중국에서 팜므파탈로 인식되는 주요 인물들을 그 특성에 따라 분류하고 있을 뿐, 여성에 대한 일정의 주의(主義)나 이즘(ism)을 언급하지는 않았다. 앞서 언급한 것과 같이 단지 고대중국의 팜므파탈을 중심으로 중국사를 살펴보려는 의도에서 출발하였고, 이에 이들을 통해 중국역사를 유익하게 이해하는 데 일개의 방법을 제공하려는 것이 본고의 목적이다. 이를 위해 본고에서는 그 언급대상으로 말희(妺喜)ㆍ달기(妲己)ㆍ포사(褒姒) 하희ㆍ(夏姬)ㆍ서시(西施)ㆍ여후(呂后)ㆍ왕소군(王昭君)ㆍ조비연(趙飛燕)ㆍ초선(貂蟬)ㆍ측천무후(則天武后)ㆍ양귀비(楊貴妃)ㆍ서태후(西太后)를 선정하였다. 특히 이들 12인은 ‘마성으로 나라를 망국의 나락으로 몰아간 요부의 형태’ ‘군주를 포로로 만들어 파멸에 이르게 한 관능의 형태’ ‘온화한 미소 뒤에 칼을 품고 접근했던 간첩의 형태’ ‘중국천하를 좌지우지한 태후의 형태’로 구분할 수 있다. 여기에는 중국의 4대 미녀(서시ㆍ왕소군ㆍ초선ㆍ양귀비)와 3대 악녀(여후ㆍ측천무후ㆍ서태후)가 포함되며, 미녀이든 악녀이든 이들은 모두 고대중국의 역사 속에서 자신들의 작정여부나 희망여부를 떠나 필연적인 삶의 굴레로부터 벗어날 수 없었던 운명적인 여성들이다. 본고에서는 위에서 언급한 고대 중국 12인의 팜므파탈을 요부형ㆍ관능형ㆍ간첩형ㆍ태후형으로 구분하여 서술하였다.A femme fatale refers to a woman who inherently ruins man. This is her fate. Sometimes, femme fatale is considered evil. However, femme fatales and evil are not synonymous. Jealousy and desire, cruelty, and catastrophic destruction―these are the characteristics that the femme fatale and evil have in common. Throughout ancient Chinese history, many people considered to be femme fatales played pivotal roles at distinct turning points. Examining ancient Chinese femme fatales is a good way to understand ancient Chinese history. In this study, 12 ancient Chinese femme fatale tapes were selected: Mo Xi(妺喜), Da Ji(妲己), Bao Si(褒姒), Xia Ji(夏姬), Xi Shi(西施), Lü Hou (呂后), Wang Shao-jun(王昭君), Zhao Fei-yan(趙飛燕), Diao Chan(貂蟬), Zetianwu Hou(則天武后), Yang Gui-fei(楊貴妃), and Xitai Hou(西太后). They can be divided as follows: Mo Xi, Da Ji, and Bao Si reflect the pattern of coquette. Xia Ji, Zhao Fei-yan, and Yang Gui-fei reflect the pattern of sensuality. Xi Shi, Diao Chan, and Wang Shao-jun reflect the pattern of the spy. Lü Hou, Zetianwu Hou, and Xitai Hou reflect the pattern of the Queen Mother. Through gender madness, abnormal mentalities, and horrible killings, they all governed the affairs of the state. Aside from Wang Shao-jun, ancient Chinese femme fatales compromised the safety of the country. Because of them, the new dynasties were established several times. Examining ancient Chinese femme fatales is equivalent to examining history and leads to a deeper and more interesting understanding of Chinese history.

송대 제화시 속의 당 현종과 양귀비의 형상 연구

The Song poets were most politically sensitive because they were senior officials of the court. Through their history, they tried to understand real politics and society. For them, Tang Xuanzong and Yang Guifei were not only historical figures, but also persons in a textbook that had been processed into various shapes for a long time. They were valuable as illustrations for understanding and criticizing the problems of the real society, in which poets were lived, and to providing alternatives to poets. So it was no longer important whether the things related to Tang Xuanzong and Yang Guifei described in the poem were true or fiction. The intricate intentions and meanings were applied according to various demands of the era, and the story of Tang Xuanzong and Yang Guifei which was interpreted in various ways, became the motive of criticizing the political authority through Poems on Paintings. A good king turns into a bad king overnight, a good world can easily become a bad world like a in the turn of a hand. So the king must always beware of himself and be careful. The Song poems were a criticisms to the king, a public official and a poet himself.

熱田の楊貴妃伝説 : 曽我物語巻二「玄宗皇帝の事」を端緒として

熱田の楊貴妃伝説 : 曽我物語巻二「玄宗皇帝の事」を端緒として

Muñecos históricos sobre la escena literaria. Las tempranas creaciones poéticas sobre la “Historia de Li y Yang”

The article discusses the early poetic creations on the Story of Li and Yang, the romance between Emperor Xuanzong of the Tang Dynasty and his concubine Yang Guifei. It analyzes the different perspectives on this issue in some works of the three great poets of Tang: Li Bai, Du Fu and Bai Juyi. The transformations of the Story… remind the different facets of the within the system of culture as the semiotician Yuri Lotman defines the cultural object. The puppet serves as a toy, a model and finally as a work of art. Bai Juyi’s creation on the Story ... is crucial because he takes it up and engages it in a literary game, in order to save it from oblivion and give it a new life. Through numerous poems, he manages to recreate the romance in a multifaceted way and trace a path to immortality for its two protagonists.

From the Elegant “Tang Dynasty's Legendary” into the Secular Changes “Song Dynasty's Legendary” -- “Chang-Hen-Ge”, “Yang-Tai-Zhen Legend” and “Li-Shan-Ji” as the Research Object

In a different era will produce different qualities of literature. Therefore, “Tang Dynasty's Legendary” and “Song Dynasty's Legendary” have different literature. Include “Writers identity level”, “The story is fictional or historical”, “Purpose of creation”, and “Style is elegant or vulgar language”. “Tang Dynasty's Legendary” pay attention Artistic Conception, Imagination and Urbane. “Song Dynasty's Legendary” pay attention Rationality, Historic and Vulgar. “Song Dynasty's Legendary” is not high evaluation. But in the process of development novels has an important position. This article focuses on the love story of “Tang xuan-zong” and “Yang Gui-Fei”. Subject of the present paper is Chen-Hong's “Chang-Hen-Ge”, Yue-Shih's “Yang-Tai-Zhen Legend”, and Cin-Chun's “Li-Shan-Ji”. On the one hand summed up the purpose and meaning of writing “Song Dynasty's Legendary”. On the other hand re-examine the value and status in the “Song Dynasty's Legendary”.

The Images of Yang Guifei in Tokugawa Texts

The Images of Yang Guifei in Tokugawa Texts

杜甫詩史與《春秋》書法——以宋代詩話筆記之詮釋爲核心

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
 稱美杜甫詩爲“詩史”，始於晚唐孟綮《本事詩》。推崇安史之亂前後杜甫所作敘事詩，以爲富於“推見至隱”之《春秋》書法，識見超拔，可謂杜詩知音。杜甫《祭遠祖當陽君文》，贊揚遠祖杜預：“《春秋》主解，稿隸躬親”，感慨“鳴呼筆跡，流宕何人”？文中杜甫既以“不敢忘本，不敢違仁”自惕自勉，發爲詩歌，遂多“推見至隱”之《春秋》書法。諸如微婉顯晦、據事直書、褒貶勸懲、諱言諱書等，宋代詩學討論之“詩史”論述，杜甫敘事歌行，多有具體而微之體現。本論文考察杜甫詩史，專取《春秋》書法爲視角，援引20餘首杜甫敘事歌行爲例，結合65則宋代詩話筆記，8則明清詩話之論述，借鏡兩宋《公羊》學、《左傳》學之理論，聨結經學、史學，與文學作一學科整合之探討。同時類比白居易、元稹、韓愈、李商隱等有關楊貴妃、馬嵬坡諸詩篇，以見宋人以《春秋》書法論詩之一斑。從此可見《春秋》與詩，皆杜甫“吾家事”，於是詩與《春秋》相表裏，而蔚爲詩史之特筆書寫。
 Meng Qi’s Ben Shi Shi (本事詩) began to praise Du Fu’s poetry as “Shishi” (詩史) in late Tang. Meng praised highly for Du Fu’s narrative poems during An Shi Rebellion (安史之亂), and affirmed it’s “represent the obvious to the concealed” and Chun Qiu Shufa (《春秋》書法). He was indeed a transcendent insight and the expert of Du’s poetry. Du Fu “Ji Yuan Jie Dangyang text” (《祭遠祖當陽君文》) commend his ancestor Du Yu: “Chun Qiu is mainly for explanation, Personally writing draft”, sighed “Wuhu handwriting, who owns it?" In the text, Du Fu encouraged and alerted himself as "Not forgetting his roots, not disobeying illegally” for poetries. Chun Qiu Shufa of “Represent the obvious to the concealed” like the Song Dynasty poetics called “Shishi”, Du Fu's XuShiGexing (敍事歌行) almost showed Specifically such as implicit declare obscurely, traightforwarded recording according to events, praised good belittled evil, Said and written indirectly etc. This paper inspects Du Fu’s ‘‘Shishi”, detailed others neglected, varied different from the same. Chun Qiu Shufa of Du Fu's XuShiGexing inspected 60 of Song Dynasty Shihua (詩話) and Biji (筆記), expositions of 6 of the Ming and Qing Dynasties Shihua. To learn northern and southern Song the theory of Gong Yang study (《公羊》學) and ZuoZhuan study (《左傳》學), linking the morality, historiography and literature, discussed the integration of subjects for a study. To analog Bai Juyi (白居易), Yuan Zhen (元稹), Han Yu (韓愈), Li Shangyin (李商隱) s’ various poems about Yang Guifei (楊貴妃), Ma WeiPo (馬嵬坡), understood Chun Qiu Shufa reflected poems.

A Dialogue Between Sichuan and Beijing Opera (review)

A DIALOGUE BETWEEN SICHUAN AND BEIJING OPERA. Produced by David Wong. Sponsored by the Texas Performing Chinese Arts Association. Chinese Opera Cultural Goodwill Tour of Texas, 1-19 April 2007. Goodwill and cultural exchange were the ends; the arts were the means. This production, A Dialogue between Sichuan and Beijing Opera, was a showcase of dances and songs excerpted from various operas. David Wong, founder of the Texas Performing Chinese Arts Association--a 501 (c) (3) nonprofit organization established in 1990 to promote diversity and understanding among ethnic groups through musical performance and cultural arts, especially those of China and the United States--developed the event at the bequest of the Dallas Office of Cultural Affairs. The goal of this production was not only to help bridge the gap between East and West, but also to increase the international perspective of the region. It was performed at several venues in the Dallas area as well as a single showing in Lubbock made possible through the cooperation of the Association of Chinese Students and Scholars in Lubbock, an organization based at Texas Tech University. David Wong is an alumnus of the University of Central Oklahoma and the recipient of the fourteenth annual Golden Eagle Award from Tamkang University in Taiwan. According to his website, the mission of Wong's organization is to unite top young performing artists from across the United States as ambassadors of goodwill, and to foster communication and understanding between nations and cultures through performance. The group features two major youth orchestras, the North America Elite Youth Orchestra (NAEYO) and the Asian-American International Orchestra. The NAEYO has performed at Carnegie Hall in New York City and the National Concert Hall in Taipei, and has completed several tours that traveled to Singapore, Taiwan, and Beijing. The orchestra also has a Taiwan-based sister organization, the International Elite Youth Orchestra. In addition to these orchestral programs, the Texas Performing Chinese Arts Association offers classes in pipa, erhu, and other instruments; Chinese painting and calligraphy; Chinese folk dance and martial arts; and Western piano, violin, and viola. Another aspect of the organization is the contracting of Asian artists to perform in the Dallas area, and occasionally elsewhere in the state, as part of a cultural goodwill program; a Dialogue between Sichuan and Beijing Opera is one such presentation. Production elements consisted of a bare stage and simple lighting, with the performers from Chengdu and Beijing wearing the brightly colored costumes. In keeping with the Intercultural aims of the tour, announcers introduced each portion of the performance in English and Mandarin. A special treat was a brief on-stage interview with the Beijing Opera actress Lu Tong, who teaches jingju at the Beijing Opera School and the College of Chinese Music in Beijing. She mentioned the theoretical and practical interplay of Stanislavski and Brecht with jingju and gave a short history of the form. This provided theatre education for the audience, although the translation was not always clear. The evening commenced with an excerpt from the Sichuan Opera (chuanju) Life Is Beautiful, performed by Chen Li, a 1994 graduate of the College of Sichuan Opera who specializes in the dan role. She began her performance with a cappella singing, followed by a beautiful dance to recorded accompaniment. She used long feathers from her headdress in a graceful and expressive fashion. Lu Tong then returned to perform as Yang Guifei in an excerpt from The Drunken Concubine by Mei Lanfang, whose performances were a key influence in the development of Brecht's theories. In watching Lu's performance, the stylistic elements that Brecht noted in his writings on the alienation effect in Chinese acting were clear. There was the direct connection between the performer and the audience--no fourth wall. …

Chigo in the Medieval Japanese Imagination

This article explores the representation of chigo—adolescent males attached to Buddhist temples or aristocratic households who were educated, fed, and housed in exchange for personal, including sexual, services—in medieval Japan. The author discusses how chigo were depicted in historical records, in contemporary short fictional narratives, and in a “Chinese” legend invented by Japanese Tendai monks; the chigo are also compared to the Tang consort Yang Guifei. Fictional and real chigo tend to fall victim to violence, and it is argued that the chigo functions as a surrogate sacrificial victim, a cultural figure whose role is outlined most prominently in the works of René Girard.

Obsessions with the Sino-Japanese Polarity in Japanese Literature (review)

Reviewed by: Obsessions with the Sino-Japanese Polarity in Japanese Literature Wiebke Denecke (bio) Atsuko Sakaki . Obsessions with the Sino-Japanese Polarity in Japanese Literature. Honolulu: University of Hawai'i Press, 2006. ix, 269 pp. Hardcover $59.00, ISBN 0–8248–2918–2. This book is for lovers of perennial problématiques and for treasure hunters in search of texts and people that have fallen to the wayside in diversely enticing ways: A Japanese official—traveling to China in search of his late father who has just been reborn as a Chinese prince—ends up having a child with his father's mother, a Yang Guifei–esque consort, who is herself about to be reborn as the child of her Japanese stepsister. There is a female poet of kanshi, Sino-Japanese poetry, whose image became tarnished by rumors about her romantic liaison with her patron. A Spanish woman and an Irish woman, well versed in Xiao Tong's Literary Selections, Qu Yuan's Encountering Sorrow, and the Classic of Poetry, compose kanshi in Philadelphia to entertain their Chinese and Japanese male friends. Who is the Japanese official? The protagonist in The Tale of Middle Councilor Hamamatsu (1060), an imaginary travelogue written in the vernacular (wabun) that spins out complex fantasies of the cultural impact of the Japanese in China. Who is the slandered kanshi poet? Ema Saikā (1787–1861), whom Sakaki puts on par with Murasaki Shikibu, but whose kanshi oeuvre was underrated because she wrote in a predominantly male genre, as a protégé of the sinologist and kanshi poet Rai San'yō (1780–1832), which gained her equal amounts of admiration and contempt. Who are the Spanish and Irish women? Protagonists in Shiba Shirō's (1852–1922) political novel Unexpected Encounters with Beauties (Kajin no kigû), which was wildly popular in its own day but looks now like a swan song of literary production in Sino-Japanese (kanbun), which has rapidly faded during the twentieth century as a medium of social distinction and communication with other East Asian countries. These are only three out of a wealth of thought-provoking snapshots and plots of Japanese literary engagement with China between the tenth and the twentieth centuries, through which Atsuko Sakaki's new book guides us with a sweep of force. Her book transcends ordinary boundaries: those between fiction and fact; real places and imaginary spaces; protagonists, beasts, and historical figures; wishful and virtual history. More important, it wants us actively to undo the boundaries and binaries that Japanese created in representing themselves and what represented China for them. Sakaki identifies four binary metaphors that have dominated Japan's vision of China and Chineseness: China as the foreign and exotic (versus Japan as domestic and indigenous); China as intellectual, conceptual, abstract (versus Japan as sentimental, spontaneous, material); China as masculine (versus Japan as feminine); China as traditional and rigid (versus Japan as modern and variable). Most of these binaries go back at least to the Heian period, as Sakaki's book vividly [End Page 360] shows. But their systematic and unrelenting enforcement and ostracizing power in deciding who belonged and did not belong into an indigenous, purified literary canon that represented the modern Japanese nation is of modern origin and intent. Although nativism and modern nationalism amputated Sino-Japanese literature (kanbun) from the national canon of Japanese literature and reinforced what Sakaki calls the "Sino-Japanese polarity," the ensuing death of kanbun, the productive literary language of Japan for not quite one and a half millennia, has neutralized this polarity. This might be in part what Sakaki means when she says in her introduction that the conclusion to her book "was written with the anticipation of liberation from the stake of the 'Sino-Japanese polarity'" (p. vii). In preparation for that step, which goes beyond the boundaries of the book, she shows how contingent, malleable, and imaginary the configurations of the Sino-Japanese polarity have been. Sakaki does not mechanically cover a millennium of Sino-Japanese literary engagements, but uncovers a string of thought-provoking showcases. The Sino-Japanese polarity is to her more than just the contrastive dialectics between "Japanese" (wa) and "Chinese-style" (kan) elements in the...

Kinės Yang Guife istorija japonų romane sakmė apie princą Gendži ir No teatre

Japonija daugelį amžių buvo priklausoma nuo Kinijos tiek politikai, tiek kultūriškai. Perimdami iš kaimyninės šalies raštą, kalendorių, valdymo struktūrą, skaitydami kinų literatūros klasiką, japonai susipažino su žemyno realijomis ir siužetais, kuriems neretai suteikdavo savas interpretacijas. Vienas didžiausią pripažinimą Japonijoje pelniusių Tang dinastijos kūrėjų buvo poetas Bai Juyi, vienas mėgstamiausių jo kūrinių - “Aminosios širdgėlos giesmė”, viena populiariausių herojų - pagrindinė poemos veikėja Yang Guifei, kurios literatūrinė istorija rado atgarsi monumentaliojo senovės japonų romano Sakmė apie princą Gendžį charakteriuose ir kompozicijoje, buvo inscenizuota pagal No teatro kanonus ir perpasakota pagal japonų budistinės poetikos dėsnius.