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Sartorial Spectacle: Clothing, Ident...

Wang, Guojun.

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Sartorial Spectacle: Clothing, Identity, and the State in Early Qing Drama.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Sartorial Spectacle: Clothing, Identity, and the State in Early Qing Drama./
作者:	Wang, Guojun.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2015,
面頁冊數:	263 p.
附註:	Source: Dissertation Abstracts International, Volume: 77-06(E), Section: A.
Contained By:	Dissertation Abstracts International77-06A(E).
標題:	Asian literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10011178
ISBN:	9781339470641

Sartorial Spectacle: Clothing, Identity, and the State in Early Qing Drama.
Wang, Guojun.

Sartorial Spectacle: Clothing, Identity, and the State in Early Qing Drama. - Ann Arbor : ProQuest Dissertations & Theses, 2015 - 263 p.

Source: Dissertation Abstracts International, Volume: 77-06(E), Section: A.

Thesis (Ph.D.)--Yale University, 2015.

This item is not available from ProQuest Dissertations & Theses.

Scholars have identified the Ming-Qing transition (the mid-seventeenth century) as a moment of unprecedented rupture in the history of Chinese clothing, since the Manchu rulers forced all male Han Chinese to change into Manchu clothing as a symbol of submission. In drama and theater, however, costumes in the Han style remained permissible, whereas Manchu clothing was made a taboo. Clothing and drama in early Qing China thus simultaneously became sites of control and contention between the state and its subjects.

ISBN: 9781339470641Subjects--Topical Terms:

2122707
Asian literature.

Sartorial Spectacle: Clothing, Identity, and the State in Early Qing Drama.
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500 $a Source: Dissertation Abstracts International, Volume: 77-06(E), Section: A.
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520 $a Scholars have identified the Ming-Qing transition (the mid-seventeenth century) as a moment of unprecedented rupture in the history of Chinese clothing, since the Manchu rulers forced all male Han Chinese to change into Manchu clothing as a symbol of submission. In drama and theater, however, costumes in the Han style remained permissible, whereas Manchu clothing was made a taboo. Clothing and drama in early Qing China thus simultaneously became sites of control and contention between the state and its subjects.
520 $a Given the political sensitivity of clothing and the cultural denigration of drama, how did the texts and performances of early Qing drama respond to the contemporaneous sartorial transition? To answer this question, I examine dramas produced in the first century of the Qing dynasty against early Qing history and existing theatrical traditions. As an overarching theme and analytical framework, I suggest the concept of "sartorial spectacle," by which I mean, first, representations of clothing in drama texts and performances, and second, the social landscape that contrasts clothing in drama texts, performances, and clothing in society. I argue that the Ming-Qing transition gave rise to nuanced sartorial spectacle(s) in early Qing drama, in which clothing serves as a theatrical language for the negotiation between individuals and the Manchu state.
520 $a The dissertation focuses on a group of shishi ju---dramas based on contemporary events. Each chapter focuses on one drama to explore one of the many dimensions of early Qing sartorial spectacle, from politics and ethnicity to family and gender. The introduction unpacks the concept of "sartorial spectacle" in early Qing drama, and lays out the methods and structure of the dissertation. The first two chapters explore the ethno-political dimension of clothing. Chapter 1 provides a panorama of the sartorial changes as represented in Taohua shan (Peach Blossom Fan) by discussing how the drama represents Ming state attire being reduced to the status of stage props and relegated to the historical past. Chapter 2 contemplates the "absence" of costume instruction in Wanli yuan (A Ten-thousand Li Reunion) to reveal how clothing and the body became sites of negotiation between family and the state during the dynastic change.
520 $a The following two chapters explore the gender dimensions of clothing. Chapter 3, on Dao yuanyang (Lovebirds Switcheroo), examines how the drama depicts female clothing as a temporary sanctuary for a man, and how dressing across ethnicities in the context of dynastic change problematizes the traditional tale of cross-dressing in Chinese dramas. Chapter 4 analyzes Hai Liefu chuanqi (Chaste Lady Hai), which depicts a chaste lady stitching together her entire outfit to prevent sexual assault before committing suicide. I argue that the rhetoric of cloth and clothes in this drama signifies a new definition of female identity in early Qing China---as a result of the dynastic transition, and pressed into service of Manchu state-making. The epilogue provides an overview of the changing relations between clothing, individual identity, and the state after the dynastic change by outlining the increasing dramatization of Manchu clothing through the mid-to-late Qing periods.
520 $a The dissertation furthers our understanding of the Ming-Qing transition as a reconfiguration of sartorial systems, a policing of theatricality, and a transformation of individual identities. It introduces an interdisciplinary method to read highly unstable performative texts, and thus contributes methodologically to the studies of early Qing literature, history, material culture, as well as performance studies in general.
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