Matching Items (4)
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- All Subjects: China
- Creators: Bokenkamp, Stephen
- Resource Type: Text
Description
This thesis examines the play Qian Dayin zhichong Xie Tianxiang, written by the Yuan dynasty (1271-1368) playwright Guan Hanqing (c.1225-1302). The first chapter of this paper provides brief background information about northern style Yuan drama (zaju) as well as a plot summary and notes about the analysis and translation. Through a close reading of the play, I hope to illustrate how the play's complicated ending and lack of complete resolution reveals why it has received relatively little attention from scholars who have previously discussed other strong, intelligent female characters in Guan Hanqing's plays. The second chapter of this thesis includes translation of the play that is comprised of a wedge preceding the four acts. Before each act of the play is a critical introduction and analysis of the act to follow. Although many of Guan Hanqing's plays have been translated into English, this play has never been translated.
ContributorsByrnes, Kelli (Author) / West, Stephen H. (Thesis advisor) / Zou, Yu (Committee member) / Ling, Xiaoqiao (Committee member) / Arizona State University (Publisher)
Created2011
Description
This is a comparative study of two advanced ordination rituals, Daoist chuanshou (conferral of ordination rank) and Buddhist abhiṣeka (guanding) in the mid-late Tang and Five Dynasties (763-979). I analyzed a number of not-well-studied Daoist ritual protocols in the early medieval period, and revealed that rituals recast gender and fostered monastic relations. On the other hand, relying on both canonical materials and a manuscript preserved in Japan that recorded an abhiṣeka performed during the Tang dynasty in 839 C.E., I demonstrated how the canonical prescriptions of Indian origin, with modified actions and reinterpreted meaning, were transformed to respond to the Chinese religious and social environment. Having examined the language of the texts and the step of the rituals, I interpreted how these rituals were made sense in their own religious context, and compared their frame, structure, modality, symbol, and meaning.
Ordination rite concerns the transmission of religious knowledge and authority, and the establishment of religious identity. It is in the relationship between the individual body and the community that Daoists and Buddhists found the form of apprenticeship that led to the embodiment of the community. The mastery of religious knowledge within the community––scriptures, register, mantras, and precepts, etc., was known only through the actual ritual practice. In other words, the ritual body became the locus for coordination of all levels of bodily, social, and cosmological experience via the dialectic of objectification and embodiment in the ordination rites. As the ritualized bodies, those who were ordained coherently comprised the community, which in turn remolded them with dynamically and diversely shaped identities.
Ordination rite concerns the transmission of religious knowledge and authority, and the establishment of religious identity. It is in the relationship between the individual body and the community that Daoists and Buddhists found the form of apprenticeship that led to the embodiment of the community. The mastery of religious knowledge within the community––scriptures, register, mantras, and precepts, etc., was known only through the actual ritual practice. In other words, the ritual body became the locus for coordination of all levels of bodily, social, and cosmological experience via the dialectic of objectification and embodiment in the ordination rites. As the ritualized bodies, those who were ordained coherently comprised the community, which in turn remolded them with dynamically and diversely shaped identities.
ContributorsWu, Yang, Ph.D (Author) / Bokenkamp, Stephen (Thesis advisor) / Tillman, Hoyt (Thesis advisor) / Cutter, Robert Joe (Committee member) / Chen, Huaiyu (Committee member) / Arizona State University (Publisher)
Created2019
Description
This project explores the relationship between modern dance and Chinese individual identity from a personal perspective. Modern dance emerged from the West, carrying Western philosophies of individual identity and importance, where the composition of persons defines the group. The Chinese philosophy of the individual, however, has developed in a different context where the group defines the persons that constitute it. There is an interesting negotiation of meaning in the convergence of these two perceptions within the art of modern dance in China. A review of literature was conducted on modern dance in China, as well as the formation and development of individual identity in Chinese philosophy and culture. Over the summer of 2013, the author then conducted ethnographic research while attending the Beijing Dance Festival in Beijing, China. Reflections on the research and experiences were further explored through the creation of a dance piece and then compiled in this paper. Primary findings include that there are differences in understandings of time, space, and the use of technology that influence the practice of modern dance in China. Also, though the concept of self-expression is closely tied to Chinese ideas of modern dance, what is seen onstage raises the question of whose self is being expressed. The interaction of Eastern and Western understandings creates a dissonance of meaning.
ContributorsNunn, Jasmine Charis (Author) / Fitzgerald, Mary (Thesis director) / Zou, Yu (Committee member) / Barrett, The Honors College (Contributor) / School of Film, Dance and Theatre (Contributor)
Created2013-12
Description
Sacred apocalyptic texts claim to foretell coming events, warning the faithful of some terrible fate that lies beyond the present. Such texts often derive their power from successfully recasting past events in such a way as they appear to be "predicted" by the text and thus take on additional meanings beyond the superficial. This ex eventu status allows apocalyptic texts to increase the credibility of their future predictions and connect emotionally with the reader by playing on present fears. The fifth-century Daoist apocalyptic text, the Scripture on the Cycles of Heaven and Earth (Tiandi yundu jing, 天地運度經), is no exception. This thesis examines the apocalyptic markers in the poetic sections of the text, attempting to develop a strategy for separating the generic imagery (both to Chinese texts and the apocalyptic literary genre as a whole) from the more significant recoverable references to contemporary events such as the fall of the Jin dynasty and the subsequent founding of the Liu-Song dynasty.
ContributorsBussio, Jennifer Jean (Author) / Bokenkamp, Stephen (Thesis advisor) / Chen, Huaiyu (Committee member) / Cutter, Robert J (Committee member) / Arizona State University (Publisher)
Created2011