LEADER 03446nam 2200601 a 450 001 9910782555203321 005 20211205010150.0 010 $a1-281-92101-7 010 $a9786611921019 010 $a90-474-1995-2 024 7 $a10.1163/ej.9789004156432.i-349 035 $a(CKB)1000000000557121 035 $a(EBL)468148 035 $a(SSID)ssj0000149748 035 $a(PQKBManifestationID)11159693 035 $a(PQKBTitleCode)TC0000149748 035 $a(PQKBWorkID)10238866 035 $a(PQKB)10568293 035 $a(MiAaPQ)EBC468148 035 $a(OCoLC)607782035 035 $a(nllekb)BRILL9789047419952 035 $a(Au-PeEL)EBL468148 035 $a(CaPaEBR)ebr10270744 035 $a(PPN)170412172 035 $a(EXLCZ)991000000000557121 100 $a20070820d2007 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 14$aThe eternal present of the past$b[electronic resource] $eillustration, theatre, and reading in the Wanli period, 1573-1619 /$fLi-ling Hsiao 210 $aLeiden $cBrill ;$aBiggleswade $cExtenza Turpin [distributor]$d2007 215 $a1 online resource (369 p.) 225 1 $aChina studies,$x1570-1344 ;$v12 300 $aDescription based upon print version of record. 311 $a90-04-15643-7 320 $aIncludes bibliographical references (p. [313]-334) and index. 327 $tPreliminary Materials /$rL. Hsiao --$tIntroduction: Theater, Illustration, And Time /$rL. Hsiao --$tChapter One. Toward The Contextualization Of Woodblock Illustration: A Critique Of Art Historical Method /$rL. Hsiao --$tChapter Two. The Stage Or The Page: Competing Conceptions Of The Play In The Wanli Period /$rL. Hsiao --$tChapter Three. Performance Illustration /$rL. Hsiao --$tChapter Four. Performance As An Interaction With The Past /$rL. Hsiao --$tChapter Five. Image As An Interaction With The Past /$rL. Hsiao --$tChapter Six. Reading As An Interaction With The Past /$rL. Hsiao --$tConclusion: The Role Of The Publisher /$rL. Hsiao --$tAppendix /$rL. Hsiao --$tGlossary /$rL. Hsiao --$tBibliography /$rL. Hsiao --$tIndex /$rL. Hsiao. 330 $aThis study draws together various elements in late Ming culture ? illustration, theater, literature ? and examines their interrelation in the context of the publication of drama. It examines a late Ming conception of the stage as a mystical space in which the past was literally reborn within the present. This temporal conflation allowed the past to serve as a vigorous and immediate moral example and was considered a hugely important mechanism by which the continuity of the Confucian tradition could be upheld. By using theatrical conventions of stage arrangement, acting gesture, and frontal address, drama illustration recreated the mystical character of the stage within the pages of the book, and thus set the conflation of past and present on a broader footing. 410 0$aChina studies (Leiden, Netherlands) ;$vv. 12. 606 $aChinese drama$yMing dynasty, 1368-1644$xHistory and criticism 615 0$aChinese drama$xHistory and criticism. 676 $a895.124609 676 $a951.026 700 $aHsiao$b Li-ling$f1964-$01462450 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910782555203321 996 $aThe eternal present of the past$93671434 997 $aUNINA