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Fragmentation and framing of the tex...

Ma, Meng-ching.

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Fragmentation and framing of the text: Visuality and narrativity in the Late-Ming illustrations to "The Story of the Western Wing" (China).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Fragmentation and framing of the text: Visuality and narrativity in the Late-Ming illustrations to "The Story of the Western Wing" (China)./
作者:	Ma, Meng-ching.
面頁冊數:	388 p.
附註:	Source: Dissertation Abstracts International, Volume: 67-02, Section: A, page: 0372.
Contained By:	Dissertation Abstracts International67-02A.
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3209049
ISBN:	9780542571282

Fragmentation and framing of the text: Visuality and narrativity in the Late-Ming illustrations to "The Story of the Western Wing" (China).
Ma, Meng-ching.

Fragmentation and framing of the text: Visuality and narrativity in the Late-Ming illustrations to "The Story of the Western Wing" (China). - 388 p.

Source: Dissertation Abstracts International, Volume: 67-02, Section: A, page: 0372.

Thesis (Ph.D.)--Stanford University, 2006.

This dissertation explores two specific modes of visualization of text in the most popular dramatic publication in the late Ming, The Story of the Western Wing, which was probably the most published and illustrated literary text during this period. Due to heated competition, the illustrators were encouraged to create new approaches of visual interpretation in order to distinguish their editions from other publishers'. The Western Wing thus became a field of experimentation. A study on the multiple modes of representation in the illustrated editions of The Western Wing might clarify the general development and features of Ming prints. Since illustrations might be considered a visual form of commentary, the relation between image and text may reveal the reader's mentality and habits toward this text.

ISBN: 9780542571282Subjects--Topical Terms:

635474
Art History.

Fragmentation and framing of the text: Visuality and narrativity in the Late-Ming illustrations to "The Story of the Western Wing" (China).
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500 $a Source: Dissertation Abstracts International, Volume: 67-02, Section: A, page: 0372.
500 $a Adviser: Richard Vinograd.
502 $a Thesis (Ph.D.)--Stanford University, 2006.
520 $a This dissertation explores two specific modes of visualization of text in the most popular dramatic publication in the late Ming, The Story of the Western Wing, which was probably the most published and illustrated literary text during this period. Due to heated competition, the illustrators were encouraged to create new approaches of visual interpretation in order to distinguish their editions from other publishers'. The Western Wing thus became a field of experimentation. A study on the multiple modes of representation in the illustrated editions of The Western Wing might clarify the general development and features of Ming prints. Since illustrations might be considered a visual form of commentary, the relation between image and text may reveal the reader's mentality and habits toward this text.
520 $a The dissertation begins with an overview of the illustrated editions of The Western Wing in the Ming, including the features of the textual attachments and the decorative schemes. Two specific illustration modes---fragmentation of the text and framing the text---are then identified as an alternative to a long-standing narrative paradigm. In certain editions, the images are not linked to narrative episodes but to the poetic inscriptions drawn from the text. In terms of image-making, the illustrators emulated the visual effects of brush painting from techniques to format. This mode demonstrated the contemporary practice of fragmenting the text, as well as the intention to imitate the format of poetic pictures from the elite culture. Aside from painting, illustrators also learned from decorative arts. They added various framing devices to the narrative scenes. These frames decreased the narrative quality but were sometimes used to generate more complicated reading of the text. The designs of looking through a frame were also prevalent in other areas of visual culture. Though derived from different origins, these two illustration modes showed the common tendency to favor visuality over narrativity in the late Ming.
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