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Rhetoric, romance, and intertextuali...

Sieber, Patricia Angela.

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Rhetoric, romance, and intertextuality: The making and remaking of Guan Hanqing in Yuan and Ming China.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Rhetoric, romance, and intertextuality: The making and remaking of Guan Hanqing in Yuan and Ming China./
作者:	Sieber, Patricia Angela.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 1994,
面頁冊數:	343 p.
附註:	Source: Dissertation Abstracts International, Volume: 56-05, Section: A, page: 1784.
Contained By:	Dissertation Abstracts International56-05A.
標題:	Asian literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9529496

Rhetoric, romance, and intertextuality: The making and remaking of Guan Hanqing in Yuan and Ming China.
Sieber, Patricia Angela.

Rhetoric, romance, and intertextuality: The making and remaking of Guan Hanqing in Yuan and Ming China. - Ann Arbor : ProQuest Dissertations & Theses, 1994 - 343 p.

Source: Dissertation Abstracts International, Volume: 56-05, Section: A, page: 1784.

Thesis (Ph.D.)--University of California, Berkeley, 1994.

This dissertation examines the evolution of the oeuvre attributed to Guan Hanqing in Yuan and Ming China. I argue that in the case of Yuan zaju and sanqu, texts cannot be studied solely from the vantage point of unified authorship. Instead, I show that they are best interpreted as palimpsestic representations of a diachronically collaborative authorship between Yuan authors and Ming imperial, commercial and literati editors.Subjects--Topical Terms:

2122707
Asian literature.

Rhetoric, romance, and intertextuality: The making and remaking of Guan Hanqing in Yuan and Ming China.
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100 1 $a Sieber, Patricia Angela. $3 914233
245 1 0 $a Rhetoric, romance, and intertextuality: The making and remaking of Guan Hanqing in Yuan and Ming China.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 1994
300 $a 343 p.
500 $a Source: Dissertation Abstracts International, Volume: 56-05, Section: A, page: 1784.
500 $a Chair: Stephen H. West.
502 $a Thesis (Ph.D.)--University of California, Berkeley, 1994.
520 $a This dissertation examines the evolution of the oeuvre attributed to Guan Hanqing in Yuan and Ming China. I argue that in the case of Yuan zaju and sanqu, texts cannot be studied solely from the vantage point of unified authorship. Instead, I show that they are best interpreted as palimpsestic representations of a diachronically collaborative authorship between Yuan authors and Ming imperial, commercial and literati editors.
520 $a Chapter 1 analyzes the songs attributed to Guan Hanqing in the earliest Yuan sanqu anthologies, arguing that the aesthetic principles these songs embody are informed by a vernacular model of authorship characterized by the absence of autobiographical markers. Chapter 2 examines how the Ming attribution of a song about romantic excess to Guan Hanqing interacted with miscellaneous other attributions, most notably the Xijiang ji, to transform the overall evaluation of Guan Hanqing's works and status as an author. Chapter 3 compares Yuankan and late Ming zaju attributed to Guan Hanqing, arguing that that these different sets of texts show different concerns. While the Yuankan texts exhibit a concern with sincerity, the late Ming texts show an overlay of Ming imperial concerns with theatricality and ritual. Chapter 4 explores the institutional pressures brought to bear on the formation of Guan Hanqing's zaju corpus. The discussion focuses on Guan Hanqing's most widely-published late Ming romantic comedies, demonstrating that their representation of humor, propriety and textuality mimics the appropriation of these zaju at the hands of imperial and literati editors. The conclusion underscores that every Yuan zaju has to be viewed both in terms of Yuan concerns as well as Ming interests.
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