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The transmission of popular song in ...
~
Lowry, Kathryn Anne.
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The transmission of popular song in the late Ming.
紀錄類型:
書目-電子資源 : Monograph/item
正題名/作者:
The transmission of popular song in the late Ming./
作者:
Lowry, Kathryn Anne.
面頁冊數:
305 p.
附註:
Source: Dissertation Abstracts International, Volume: 57-10, Section: A, page: 4374.
Contained By:
Dissertation Abstracts International57-10A.
標題:
Asian literature. -
電子資源:
http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9710500
ISBN:
9780591181197
The transmission of popular song in the late Ming.
Lowry, Kathryn Anne.
The transmission of popular song in the late Ming.
- 305 p.
Source: Dissertation Abstracts International, Volume: 57-10, Section: A, page: 4374.
Thesis (Ph.D.)--Harvard University, 1996.
This work examines the transmission of so-called popular songs (shidiao xiaoqu) from the Wanli reign period (1573-1617) to the end of the Ming dynasty in 1645. It was a time when printing and a vibrant economy which afforded leisure activity made such works accessible to many social levels. The literatus Feng Menglong (1574-1646) played a critical role in articulating the literary value of popular song. The way he advanced that claim demonstrates concerns with "genuineness" (zhen) and the unselfconscious operation of sentiment that are peculiar to the late Ming.
ISBN: 9780591181197Subjects--Topical Terms:
2122707
Asian literature.
The transmission of popular song in the late Ming.
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Source: Dissertation Abstracts International, Volume: 57-10, Section: A, page: 4374.
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Advisers: Patrick D. Hanan; Victor S. Thomas.
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This work examines the transmission of so-called popular songs (shidiao xiaoqu) from the Wanli reign period (1573-1617) to the end of the Ming dynasty in 1645. It was a time when printing and a vibrant economy which afforded leisure activity made such works accessible to many social levels. The literatus Feng Menglong (1574-1646) played a critical role in articulating the literary value of popular song. The way he advanced that claim demonstrates concerns with "genuineness" (zhen) and the unselfconscious operation of sentiment that are peculiar to the late Ming.
520
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This study joins literary analysis to intellectual history in order to address the debate over the role of the elite in popular culture. Basing myself on song texts in miscellanies printed roughly fifty years before the popular song anthologies edited by Feng Menglong and on analysis of the arrangement and circumstances of production of these books, I contend that highly literate (non-elite) editors and printers collaborated on commercial publications of song that appeal to a cross-section of readers. Comparison of such sources with elite treatments of song texts demonstrates how materials were reproduced for different readerships and uses.
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The organization of this study, in five chapters, is as follows: the introductory chapter discusses primary sources of popular song, differentiating the level and types of publications and their possible use as songbooks from which to choose works for performance. The second chapter establishes the philosophical and social context for elite treatments of so-called popular forms by examining Feng Menglong's "Preface to Shan'ge" and other writings on song. Each of the following chapters focuses on a particular song or songs and some aspect of transmission. Chapter Three examines Ming music scholarship and considers how tune names were known and used by looking at the case of two, 'Pipo yu' and 'Guazhi'er,' which are said to be distinct tunes and yet are applied to the same song texts in different books. The final two chapters show how Feng Menglong's revisions and comments on popular song texts in Guazhi'er and Shan'ge reflect late-Ming interests in "genuineness" and the fascination with authentic language and moral sentiment, as exemplified in the 'Shan'ge' texts in Wu dialect.
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http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9710500
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