LEADER 01925nam 22004933a 450 001 9910433237803321 005 20250513224747.0 010 $a9783666564857 010 $a3666564852 024 8 $ahttps://doi.org/10.13109/9783666564857 035 $a(CKB)5410000000003980 035 $a(ScCtBLL)1d4e7365-cfbb-47b6-9e60-06233492883a 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/26194 035 $a(Perlego)2328924 035 $a(EXLCZ)995410000000003980 100 $a20211214i20202020 uu 101 0 $ager 135 $auru|||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 00$aMit Gott, für Vaterland und Menschheit? $eEine europäische Geschichte des freimaurerischen Internationalismus (1845-1935) /$fJoachim Berger 210 $cVandenhoeck & Ruprecht$d2020 210 1$a[s.l.] :$cVandenhoeck & Ruprecht,$d2020. 215 $a1 online resource (1 p.) 225 1 $aVero?ffentlichungen des Instituts fu?r Europa?ische Geschichte Mainz 311 08$a9783525564851 311 08$a3525564856 330 $aWith God, for Fatherland and Humanity is the first comprehensive study of the internationalism of freemasons. It examines, with a focus on Germany, England, France and Italy, how European masonic umbrella associations worked for or against a worldwide organisation of their "brotherhood". 410 $aVero?ffentlichungen des Instituts fu?r Europa?ische Geschichte Mainz 606 $aReligion / History$2bisacsh 606 $aReligion 607 $aEurope$2fast 608 $aHistory.$2fast 615 7$aReligion / History 615 0$aReligion. 676 $a366.109409034 700 $aBerger$b Joachim$01071032 801 0$bScCtBLL 801 1$bScCtBLL 906 $aBOOK 912 $a9910433237803321 996 $aMit Gott, fu?r Vaterland und Menschheit?$92565713 997 $aUNINA LEADER 03969nam 22006615 450 001 9910770250903321 005 20250807132224.0 010 $a9783031458743$b(electronic bk.) 010 $z9783031458736 024 7 $a10.1007/978-3-031-45874-3 035 $a(MiAaPQ)EBC31018122 035 $a(Au-PeEL)EBL31018122 035 $a(DE-He213)978-3-031-45874-3 035 $a(CKB)29374456400041 035 $a(Perlego)4533343 035 $a(EXLCZ)9929374456400041 100 $a20231213d2024 u| 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aUnderstanding CCI through Chinese Theatre /$fby Haili Ma 205 $a1st ed. 2024. 210 1$aCham :$cSpringer International Publishing :$cImprint: Palgrave Pivot,$d2024. 215 $a1 online resource (163 pages) 311 08$aPrint version: Ma, Haili Understanding CCI Through Chinese Theatre Cham : Springer International Publishing AG,c2024 9783031458736 320 $aIncludes bibliographical references and index. 327 $a1. Introduction -- 2. Zhejiang all-female Yueju, from textile factory to creative cluster -- 3. Xi?an Qinqiang, ?creative destruction? for new urban branding -- 4. Suzhou Kunqu, conspicuous consumption for the new scholar middle class -- 5. Dongbei Errenzhuan, the rise and fall of a Chinese entertainment industry -- 6. Fujian Gaojiaxi, global illegal migrants? opera consumption -- 7. Shanghai Huju, Opera Village verses Disneyland, the power of the tradition -- 8. Conclusion. 330 $aThis book examines the development of Cultural and Creative Industries (CCI) in China through the angle of Chinese Theatre, xiqu. It focuses on the political and socio-economic transition period at the turn of the 21st century, as China evolves from ?Made in China? to ?Created in China?, highlighting associated class reconstruction and cultural production and consumption. There are many forms of Chinese Theatre, the most popular one throughout Chinese history to date is the sing-song drama, collectively refers to as xiqu, which currently has over 300 regional styles across China. In 2014, President Xi Jinping?s Beijing Talk on Arts and Literature, which serves as China?s latest Chinese Communist Party (CCP) ideological direction and cultural policy, stressed that ?the future of Chinese cultural and creative industries is to be anchored on traditional art forms, such as xiqu?. Such Chinese cultural and creative industry distinction will be addressed in this book. Haili Ma is Associate Professor in the School of Performance and Cultural Industries at the University of Leeds, UK. Haili?s research focuses on Chinese theatre and the cultural and creative industries in global contexts. Before coming to the UK in 1997, Haili was a member of the Shanghai Luwan All-Female Yue Opera Company, specializing in Xiaosheng (male role). Haili is the author of Urban Politics and Cultural Capital: The Case of Chinese Opera (2015). 606 $aEthnology$zAsia 606 $aCulture 606 $aPerforming arts 606 $aTheater 606 $aCultural policy 606 $aCultural property 606 $aAsian Culture 606 $aTheatre and Performance Arts 606 $aCultural Policy and Politics 606 $aCultural Heritage 615 0$aEthnology 615 0$aCulture. 615 0$aPerforming arts. 615 0$aTheater. 615 0$aCultural policy. 615 0$aCultural property. 615 14$aAsian Culture. 615 24$aTheatre and Performance Arts. 615 24$aCultural Policy and Politics. 615 24$aCultural Heritage. 676 $a338.47700951 700 $aMa$b Haili$01460359 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 912 $a9910770250903321 996 $aUnderstanding CCI Through Chinese Theatre$93660249 997 $aUNINA