Drama Kings pdf epub mobi txt 电子书 下载 2025
Joshua Goldstein is Assistant Professor of Chinese History at the University of Southern California.
- 京剧
- 文化史
- 海外中国研究
- Joshua_Goldstein
- 近代史
- 城市史
- 戏曲
- 海外中国学
In this colorful and detailed history, Joshua Goldstein describes the formation of the Peking opera in late Qing and its subsequent rise and re-creation as the epitome of the Chinese national culture in Republican era China. Providing a fascinating look into the lives of some of the opera’s key actors, he explores their methods for earning a living; their status in an ever-changing society; the methods by which theaters functioned; the nature and content of performances; audience make-up; and the larger relationship between Peking opera and Chinese nationalism.
Propelled by a synergy of the commercial and the political patronage from the Qing court in Beijing to modern theaters in Shanghai and Tianjin, Peking opera rose to national prominence. The genre’s star actors, particularly male cross-dressing performers led by the exquisite Mei Lanfang and the “Four Great Female Impersonators” became media celebrities, models of modern fashion and world travel. Ironically, as it became increasingly entrenched in modern commercial networks, Peking opera was increasingly framed in post-May fourth discourses as profoundly traditional. Drama Kings demonstrates that the process of reforming and marketing Peking opera as a national genre was integrally involved with process of colonial modernity, shifting gender roles, the rise of capitalist visual culture, and new technologies of public discipline that became increasingly prevalent in urban China in the Republican era.
具体描述
读后感
A Brief history of Beijing Opera starts from Qianlong’s southern tour in 1751, which brought four Anhui troupes to Beijing. The Rise of Beijing Opera published in 1971 addresses this early period. Goldstein’s book, instead, focuses on the period of 1870-1...
评分A Brief history of Beijing Opera starts from Qianlong’s southern tour in 1751, which brought four Anhui troupes to Beijing. The Rise of Beijing Opera published in 1971 addresses this early period. Goldstein’s book, instead, focuses on the period of 1870-1...
评分A Brief history of Beijing Opera starts from Qianlong’s southern tour in 1751, which brought four Anhui troupes to Beijing. The Rise of Beijing Opera published in 1971 addresses this early period. Goldstein’s book, instead, focuses on the period of 1870-1...
评分A Brief history of Beijing Opera starts from Qianlong’s southern tour in 1751, which brought four Anhui troupes to Beijing. The Rise of Beijing Opera published in 1971 addresses this early period. Goldstein’s book, instead, focuses on the period of 1870-1...
评分A Brief history of Beijing Opera starts from Qianlong’s southern tour in 1751, which brought four Anhui troupes to Beijing. The Rise of Beijing Opera published in 1971 addresses this early period. Goldstein’s book, instead, focuses on the period of 1870-1...
用户评价
挺好的、很值得一读。写作、模式、理论、方法论略“油滑”——几乎可以看到一个从案例写历史的学术类量产式框架。"fetishization of the Shanghai modern"等观点比较有趣，但没有更加有条理地深挖。
评分將文明戲的反諷的遽然消亡，歸結到關於戲劇和劇場、關於京劇應該是什麼樣的內在的認知變化，這一點有意思。底下仍是老問題：民族的如何成為現代的。
评分Invented tradition.
评分挺好的、很值得一读。写作、模式、理论、方法论略“油滑”——几乎可以看到一个从案例写历史的学术类量产式框架。"fetishization of the Shanghai modern"等观点比较有趣，但没有更加有条理地深挖。
评分详尽清楚
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