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China in the World: A History since 1644 by The Curriculum Specialists at Primary Source, Inc., editors (review)

China in the World: A History since 1644 by The Curriculum Specialists at Primary Source, Inc.,... 502 China Review International: Vol. 18, No. 4, 2011 2. Th e stereotypical nature of this type of earlier performance illustration and its possible origin in Buddhist sutra illustration is discussed in this author’s Chinese Popular Culture and Ming Chantefables (Leiden: Brill Academic Publishers, 1998), pp. 53–67. 3. Hsiao argues that there may well have been such backdrops but does not provide any evidence for their prevalence during the Ming wanli period. According to James I. Crump, theatrical props did not oer e ff laborate backgrounds but comprised screens, drapes, and items of furniture (Chinese Theater in the Days of Kubilai Khan [Tucson, AZ: University of Arizona Press, 1981], pp. 57, 63–66). 4. Hegel notes such conventional scenes as “supplication and submission” in both fictional and dramatic texts (Reading Illustrated Fiction, p. 225). An important study not cited by Hsiao that analyzes the conventionality of narrative illustration in the Ming period is Anne Farrer’s “e S Th hui-hu Chuan: A Study in the Development of Late Ming Woodblock Illustrations” (PhD diss., University of London, SOAS, 1984). 5. Hegel, Reading Illustrated Fiction, p. 229. 6. Ibid., p. 197. 7. See illustration provided in Hegel, Reading Illustrated Fiction, p. 199. 8. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png China Review International University of Hawai'I Press

China in the World: A History since 1644 by The Curriculum Specialists at Primary Source, Inc., editors (review)

China Review International , Volume 18 (4) – Jan 30, 2014

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Publisher
University of Hawai'I Press
Copyright
Copyright © University of Hawai'i Press.
ISSN
1527-9367

Abstract

502 China Review International: Vol. 18, No. 4, 2011 2. Th e stereotypical nature of this type of earlier performance illustration and its possible origin in Buddhist sutra illustration is discussed in this author’s Chinese Popular Culture and Ming Chantefables (Leiden: Brill Academic Publishers, 1998), pp. 53–67. 3. Hsiao argues that there may well have been such backdrops but does not provide any evidence for their prevalence during the Ming wanli period. According to James I. Crump, theatrical props did not oer e ff laborate backgrounds but comprised screens, drapes, and items of furniture (Chinese Theater in the Days of Kubilai Khan [Tucson, AZ: University of Arizona Press, 1981], pp. 57, 63–66). 4. Hegel notes such conventional scenes as “supplication and submission” in both fictional and dramatic texts (Reading Illustrated Fiction, p. 225). An important study not cited by Hsiao that analyzes the conventionality of narrative illustration in the Ming period is Anne Farrer’s “e S Th hui-hu Chuan: A Study in the Development of Late Ming Woodblock Illustrations” (PhD diss., University of London, SOAS, 1984). 5. Hegel, Reading Illustrated Fiction, p. 229. 6. Ibid., p. 197. 7. See illustration provided in Hegel, Reading Illustrated Fiction, p. 199. 8.

Journal

China Review InternationalUniversity of Hawai'I Press

Published: Jan 30, 2014

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