{"product_id":"wisdom-as-a-way-of-life-theravada-buddhism-reimagined-theravda-buddhism-reimagined-9780231186483","title":"Wisdom as a Way of Life  Theravada Buddhism","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eThis book is a comprehensive and inviting introduction to the literary forms and cultural significance of Chinese drama as both text and performance. Each chapter offers an accessible overview and critical analysis of one or more playscanonical as well as less frequently studied worksand their historical contexts.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eAnother gem in Columbia’s How to Read Chinese Literature series. From comic obscenities to heartbreaking lyricism, the expressive language of Chinese drama runs the gamut, making it the hardest but most rewarding of all genres. Now we have the perfect guide for novices and experts alike. -- Judith Zeitlin, coeditor of \u003ci\u003eThe Voice as Something More: Essays Toward Materiality\u003c\/i\u003e\u003cbr\u003eA stunning achievement in the study of Chinese drama. This well-structured and concisely composed anthology provides students, scholars, and general readers a timely scholarly book which is at once accessible and comprehensive. Highly recommended for theater studies, traditional and modern cultural and literary studies, comparative drama, and global performance studies! -- Xiaomei Chen, author of \u003ci\u003eStaging Chinese Revolution: Theater, Film, and the Afterlives of Propaganda\u003c\/i\u003e\u003cbr\u003eTraditional Chinese theater is a different kind of theater that synthesizes a great variety of performance modes, making it both difficult and very rewarding to learn and to teach. Bringing together a wide variety of approaches and focuses, \u003ci\u003eHow to Read Chinese Drama\u003c\/i\u003e is an outstanding achievement. -- David L. Rolston, author of \u003ci\u003eInscribing\u003c\/i\u003e Jingju\u003ci\u003e\/Peking Opera: Textualization and Performance, Authorship and Censorship of the “National Drama” of China from the Late Qing to the Present\u003c\/i\u003e\u003cbr\u003ePerhaps the most helpful element in this excellent guide for students and scholars is its Thematic Contents list. By guiding the reader to related topics across its many descriptive and interpretive essays, it both demonstrates and provides access for understanding the richness and complexity of the Chinese theatrical tradition. -- Robert E. Hegel, cotranslator of \u003ci\u003eA Couple of Soles\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eContents\u003cbr\u003eThematic Contents\u003cbr\u003ePreface to the How to Read Chinese Literature Series\u003cbr\u003eA Note on How to Use This Anthology\u003cbr\u003eChronology of Historical Events\u003cbr\u003eSymbols, Abbreviations, and Typographical Usage\u003cbr\u003eIntroduction: The Cultural Significance of Chinese Drama\u003cbr\u003e\u003ci\u003ePatricia Sieber and Regina Llamas\u003c\/i\u003e\u003cbr\u003e\u003cb\u003ePart I: Yuan and Ming Dynasties: \u003ci\u003eZaju\u003c\/i\u003e Plays\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e1.\u003c\/b\u003e \u003ci\u003eThe Story of the Western Wing\u003c\/i\u003e: Tale, Ballad, and Play\u003cbr\u003e\u003ci\u003eWilt L\u003c\/i\u003e. \u003ci\u003eIdema\u003c\/i\u003e\u003cbr\u003e1.1 Yuan Zhen’s (779–831) “The Tale of Oriole”\u003cbr\u003e1.2 \u003ci\u003eStory of the Western Wing in All Keys and Modes\u003c\/i\u003e: “The Tale of Oriole” in Narrative Ballads\u003cbr\u003e1.3 *\u003ci\u003eThe Story of the Western Wing\u003c\/i\u003e: Student Zhang and Oriole on Stage\u003cbr\u003e1.4 Controversies in the Ming and Qing Dynasties\u003cbr\u003e\u003cb\u003e2.\u003c\/b\u003e \u003ci\u003ePurple Clouds\u003c\/i\u003e, \u003ci\u003eWrong Career\u003c\/i\u003e, and \u003ci\u003eTiger Head Plaque\u003c\/i\u003e: Jurchen Foreigners in Early Drama\u003cbr\u003e\u003ci\u003eStephen H. West\u003c\/i\u003e\u003cbr\u003e2.1 Approaches to the Foreign\u003cbr\u003e2.2 \u003ci\u003eWrong Career\u003c\/i\u003e and \u003ci\u003ePurple Cloud\u003c\/i\u003e: Jurchen Performers in the World of Entertainment\u003cbr\u003e2.3 \u003ci\u003eThe Tiger Head Plaque\u003c\/i\u003e: Jurchen Performers in Their Native Lands\u003cbr\u003e\u003cb\u003e3.\u003c\/b\u003e \u003ci\u003eThe Pavilion for Praying to the Moon\u003c\/i\u003e and \u003ci\u003eThe Injustice to Dou E\u003c\/i\u003e: The Innovation of the Female Lead\u003cbr\u003e\u003ci\u003ePatricia Sieber\u003c\/i\u003e\u003cbr\u003e3.1 Guan Hanqing (ca. 1220–after 1279), Zhulian xiu (fl. 1270–1300), and the Acting Culture of Yuan \u003ci\u003eZaju\u003c\/i\u003e Theater\u003cbr\u003e3.2 \u003ci\u003eThe Pavilion for Praying to the \u003c\/i\u003e\u003ci\u003eMoon\u003c\/i\u003e\u003ci\u003e:\u003c\/i\u003e The Moral Suasion of Situational Ethics\u003cbr\u003e3.3 \u003ci\u003eThe Injustice\u003c\/i\u003e\u003ci\u003e to Dou E\u003c\/i\u003e: The Disruptive Power of Filial Remonstration\u003cbr\u003e\u003cb\u003e4.\u003c\/b\u003e \u003ci\u003eThe Story of the Western Wing\u003c\/i\u003e: Theater and the Printed Image\u003cbr\u003e\u003ci\u003ePatricia Sieber and Gillian Yanzhuang Zhang\u003c\/i\u003e\u003cbr\u003e4.1 Image-Making Between Self-Expression and Commerce\u003cbr\u003e4.2 *\u003ci\u003eThe Story of the Western Wing\u003c\/i\u003e: \u003ci\u003eThe Deluxe Edition\u003c\/i\u003e (1499)—an App for Singing\u003cbr\u003e4.3 \u003ci\u003eThe Story of the Western Wing\u003c\/i\u003e: \u003ci\u003eThe Glossed Edition\u003c\/i\u003e (c. 1609)—an App for Role-Playing\u003cbr\u003e4.4 \u003ci\u003eThe Story of the Western Wing\u003c\/i\u003e: \u003ci\u003eThe Exclusive Edition\u003c\/i\u003e (1639–1640)—an App for Virtual Reality\u003cbr\u003e\u003cb\u003e5.\u003c\/b\u003e \u003ci\u003eThe Orphan of Zhao\u003c\/i\u003e: The Meaning of Loyalty and Filiality\u003cbr\u003e\u003ci\u003eShih-pe Wang\u003c\/i\u003e\u003cbr\u003e5.1 Historical Background\u003cbr\u003e5.2 \u003ci\u003eThe Orphan of Zhao:\u003c\/i\u003e How the Yuan \u003ci\u003eZaju\u003c\/i\u003e Play Dramatizes the Story\u003cbr\u003e5.3 *\u003ci\u003eThe Orphan of Zhao\u003c\/i\u003e, Wedge: The Confrontation between Good and Evil\u003cbr\u003e5.4 *\u003ci\u003eThe Orphan of Zhao\u003c\/i\u003e, Act 1: How the Orphan Was Smuggled Out\u003cbr\u003e5.5 \u003ci\u003eThe Orphan of Zhao\u003c\/i\u003e, Act 2: To Die or to Live On\u003cbr\u003e5.6 \u003ci\u003eThe Orphan of Zhao\u003c\/i\u003e, Act 3: A Play Performed for the Eyes of the Villain\u003cbr\u003e5.7 \u003ci\u003eThe Orphan of Zhao\u003c\/i\u003e, Acts 4 (and 5): Truth and Revenge\u003cbr\u003e5.8 \u003ci\u003eThe Orphan of Zhao\u003c\/i\u003e: Twenty-First-Century Adaptations\u003cbr\u003e\u003cb\u003e6.\u003c\/b\u003e \u003ci\u003eThe Female Mulan Joins the Army in Place of Her Father\u003c\/i\u003e: Gender and Performance\u003cbr\u003e\u003ci\u003eShiamin Kwa\u003c\/i\u003e\u003cbr\u003e6.1 Xu Wei (1521–1593) and His Quartet of Ming \u003ci\u003eZaju\u003c\/i\u003e Plays\u003cbr\u003e6.2 \u003ci\u003eMulan\u003c\/i\u003e: The Two-Act Structure\u003cbr\u003e6.3 *\u003ci\u003eMulan\u003c\/i\u003e: Changing Clothes\u003cbr\u003e6.4 \u003ci\u003eMulan:\u003c\/i\u003e Gentle Men\u003cbr\u003e6.5 \u003ci\u003eMulan\u003c\/i\u003e: Happily Ever After\u003cbr\u003e\u003cb\u003ePart II: Ming Dynasty and Early Qing Dynasty: \u003ci\u003eNanxi\u003c\/i\u003e and \u003ci\u003eChuanqi\u003c\/i\u003e Plays\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e7.\u003c\/b\u003e \u003ci\u003eTop Graduate Zhang Xie\u003c\/i\u003e and \u003ci\u003eThe Lute\u003c\/i\u003e: Scholar, Family, and State\u003cbr\u003e\u003ci\u003eRegina Llamas\u003c\/i\u003e\u003cbr\u003e7.1 \u003ci\u003eTop Graduate\u003c\/i\u003e and \u003ci\u003eThe Lute\u003c\/i\u003e: Background\u003cbr\u003e7.2 \u003ci\u003eTop Graduate\u003c\/i\u003e and \u003ci\u003eThe Lute\u003c\/i\u003e: The Prologues\u003cbr\u003e7.3 \u003ci\u003eTop Graduate\u003c\/i\u003e and \u003ci\u003eThe Lute\u003c\/i\u003e: The Ungrateful Scholar\u003cbr\u003e7.4 *\u003ci\u003eThe Lute\u003c\/i\u003e: The Husk Wife\u003cbr\u003e7.5 *\u003ci\u003eTop Graduate\u003c\/i\u003e and \u003ci\u003eThe Lute:\u003c\/i\u003e Language and Comedy\u003cbr\u003e\u003cb\u003e8.\u003c\/b\u003e \u003ci\u003eThe Southern Story of the Western Wing\u003c\/i\u003e: Traditional Kunqu Composition, Interpretation, and Performance\u003cbr\u003e\u003ci\u003eJoseph S. C. Lam\u003c\/i\u003e\u003cbr\u003e8.1 Storied Kunqu and Its Traditional Practitioners\u003cbr\u003e8.2 A Historical Account of Li Rihua’s \u003ci\u003eSouthern Western Wing\u003c\/i\u003e\u003cbr\u003e8.3 “Reading Li Rihua’s “Happy Time” and “Twelve Shades” as Kunqu\u003cbr\u003e8.4 Li Rihua’s Composition of “Happy Time” and the Reactions It Elicited\u003cbr\u003e8.5 Performing “Twelve Shades”\u003cbr\u003e\u003cb\u003e9.\u003c\/b\u003e \u003ci\u003eThe Peony Pavilion\u003c\/i\u003e: Emotions, Dreams, and Spectatorship\u003cbr\u003e\u003ci\u003eLing Hon Lam\u003c\/i\u003e\u003cbr\u003e9.1 Under the Weather\u003cbr\u003e9.2 *Waking to Dreams\u003cbr\u003e9.3 In the Face of a Page\u003cbr\u003e\u003cb\u003e10.\u003c\/b\u003e \u003ci\u003eGreen Peony\u003c\/i\u003e and \u003ci\u003eThe Swallow’s Letter\u003c\/i\u003e: Drama and Politics\u003cbr\u003e\u003ci\u003eYing Zhang\u003c\/i\u003e\u003cbr\u003e10.1 New Dramas and Old Interpretive Techniques\u003cbr\u003e10.2 A Dramatist’s Dilemma\u003cbr\u003e10.3 Wu Bing, Ruan Dacheng, and the Factional Struggles in a New Political Culture\u003cbr\u003e10.4 Weaponizing Drama\u003cbr\u003e10.5 The Suspect Author\u003cbr\u003e10.6 Evidence of Insinuation\u003cbr\u003e10.7 Spontaneity in Theater\u003cbr\u003e\u003cb\u003e11.\u003c\/b\u003e \u003ci\u003eA Much Desired Match\u003c\/i\u003e: Playwriting, Stagecraft, and Entrepreneurship\u003cbr\u003e\u003ci\u003eS. E. Kile\u003c\/i\u003e\u003cbr\u003e11.1 Li Yu: A Very Theatrical Entrepreneur\u003cbr\u003e11.2 \u003ci\u003eLeisure Notes:\u003c\/i\u003e Toward a Coherent, Up-to-Date, and Accessible Theatrical Experience\u003cbr\u003e11.3 How to Read an Opening Scene\u003cbr\u003e11.4 Love, Art, and Theater in a World Full of Frauds\u003cbr\u003e\u003cb\u003e12.\u003c\/b\u003e \u003ci\u003ePeach Blossom Fan\u003c\/i\u003e and \u003ci\u003ePalace of Everlasting Life\u003c\/i\u003e: History, Romance, and Performance\u003cbr\u003e\u003ci\u003eMengjun Li and Guo Yingde\u003c\/i\u003e\u003cbr\u003e12.1 Kong Shangren and Hong Sheng: \u003ci\u003eChuanqi\u003c\/i\u003e Plays as Alternative History\u003cbr\u003e12.2 \u003ci\u003ePeach Blossom Fan\u003c\/i\u003e: “Talk about Love is Simply Pointless”\u003cbr\u003e12.3 \u003ci\u003ePalace of Everlasting Life\u003c\/i\u003e: “With New Lyrics, (This Play) Is All about Love”\u003cbr\u003e12.4 \u003ci\u003ePeach Blossom Fan\u003c\/i\u003e and \u003ci\u003ePalace of Everlasting Life\u003c\/i\u003e: Music as the Language of Love\u003cbr\u003e12.5 \u003ci\u003ePeach Blossom Fan\u003c\/i\u003eand \u003ci\u003ePalace of Everlasting Life\u003c\/i\u003e: Performance as Political Remonstration\u003cbr\u003e12.6 \u003ci\u003ePeach Blossom Fan\u003c\/i\u003eand \u003ci\u003ePalace of Everlasting Life\u003c\/i\u003e: Performance as Mediated History\u003cbr\u003e\u003cb\u003ePart III: Mid–Qing Dynasty: \u003ci\u003eZaju\u003c\/i\u003e and \u003ci\u003eChuanqi\u003c\/i\u003e Plays\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e13.\u003c\/b\u003e \u003ci\u003eSong of Dragon Well\u003c\/i\u003e and Other Court Plays: Stage Directions, Spectacle, and Panegyrics\u003cbr\u003e\u003ci\u003eTian Yuan Tan\u003c\/i\u003e\u003cbr\u003e13.1 Contextualizing Wang Wenzhi’s Court Drama\u003cbr\u003e13.2 Wang Wenzhi’s Authorship of Court Drama\u003cbr\u003e13.3 Texts and Functions of Wang Wenzhi’s Court Drama\u003cbr\u003e13.4 In Praise of the Occasion and His Majesty: Functionalities of Court Plays\u003cbr\u003e13.5 Pageantry, Formulaic Sequences, and Visual Spectacles\u003cbr\u003e13.6 Engagement through Literary Elements\u003cbr\u003e\u003cb\u003e14.\u003c\/b\u003e \u003ci\u003eThe Eight-Court Pearl\u003c\/i\u003e: Performance Scripts and Political Culture\u003cbr\u003e\u003ci\u003eAndrea S. Goldman\u003c\/i\u003e\u003cbr\u003e14.1 \u003ci\u003eEight-Court Pearl\u003c\/i\u003e: The Script\u003cbr\u003e14.2 Suzhou School History Plays and Other Textual Antecedents\u003cbr\u003e14.3 Violence as the Solution\u003cbr\u003e14.4 Who Were the Disaffected?\u003cbr\u003e\u003cb\u003ePart IV: Ming, Qing, and Modern Eras: Ritual Plays\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e15.\u003c\/b\u003e \u003ci\u003eMulian Rescues His Mother\u003c\/i\u003e: Play Structure, Ritual, and Soundscapes\u003cbr\u003e\u003ci\u003eSai-shing Yung\u003c\/i\u003e\u003cbr\u003e15.1 The Iconography of Hell\u003cbr\u003e15.2 Zheng Zhizhen’s \u003ci\u003eMulian Rescues His Mother: Exhortation to Goodness\u003c\/i\u003e\u003cbr\u003e15.3 \u003ci\u003eExhortation\u003c\/i\u003e: Structure and Plot\u003cbr\u003e15.4 Mulian Plays and Sonic Force in Performance\u003cbr\u003e15.5 The Soundscape of Exorcism\u003cbr\u003e\u003cb\u003e16.\u003c\/b\u003e \u003ci\u003eThe Story of Hua Guan Suo\u003c\/i\u003e: Chantefable and Ritual Plays\u003cbr\u003e\u003ci\u003eAnne E. McLaren\u003c\/i\u003e\u003cbr\u003e16.1 Genres\u003cbr\u003e16.2 TheChantefable \u003ci\u003eThe Story of Hua Guan Suo\u003c\/i\u003e: Regionality\u003cbr\u003e16.3 \u003ci\u003eThe Story of Hua Guan Suo\u003c\/i\u003e: Central Themes\u003cbr\u003e16.4 Origins and Historical Development\u003cbr\u003e16.5 Authorship\u003cbr\u003e16.6 Performative Aspects\u003cbr\u003e16.7 \u003ci\u003eThe Story of Hua Guan Suo\u003c\/i\u003e: Example of a Prelude\u003cbr\u003e16.8 Chantefables and Plays: The Oath of the Brotherhood\u003cbr\u003e16.9 \u003ci\u003eThe Story of Hua Guan Suo\u003c\/i\u003e: An Example of “Ten Beats to a Line”\u003cbr\u003e16.10 A Play of Exorcism from Guichi (Anhui Province), Twentieth Century\u003cbr\u003e16.11 Guan Suo Plays in Xiaotun Village, Chengjiang (Yunnan Province), Twentieth Century\u003cbr\u003e16.12 Combat Sequences\u003cbr\u003eAcknowledgments\u003cbr\u003eContributors\u003cbr\u003eVisual Resources\u003cbr\u003eGlossary-Index\u003cbr\u003e* Excerpts from those plays are also featured, accompanied by modern Chinese translation and extensive annotation, in Guo Yingde, Wenbo Chang, Patricia Sieber, and Xiaohui Zhang, eds., \u003ci\u003eHow to Read Chinese Drama in Chinese: A Language Companion.\u003c\/i\u003e New York: Columbia University Press (under advance agreement).","brand":"Columbia University Press","offers":[{"title":"Default Title","offer_id":49400328028503,"sku":"9780231186483","price":107.2,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780231186483.jpg?v=1730470401","url":"https:\/\/bookcurl.com\/products\/wisdom-as-a-way-of-life-theravada-buddhism-reimagined-theravda-buddhism-reimagined-9780231186483","provider":"Book Curl","version":"1.0","type":"link"}