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1
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From Shi-yi Constructions to Conditionals
This paper discusses the grammatical transformation of
Chinese Shi-yi verbs into both conditional conjunctions
and concessive conditional conjunctions, which are
respectively exemplified by the historical developments
of the requesting verbs shi (使) and ling (令) and the
letting verbs rao (饒) and ren (任).
The first part of this paper focuses on the processes,
conditions and mechanisms for the two paths of
grammatical transformation. It argues that the mechanism
for the first grammatical transformation is metonymy,
whereas the second is metaphor. By comparison with other
conditionals and concessive conditionals, this paper
also demonstrates that the conditionals derived from
Shi-yi constructions have the characteristic of being
“counterfactual,” whereas the concessive conditionals
derived from Shi-yi constructions have the
characteristic of being “contrastive.”
The second part of this paper focuses on
cross-linguistic comparison. The parallel development of
the Greek as is introduced to show that the
grammaticalization discussed in this paper is not unique
to Chinese. The conditions and mechanisms of the
grammaticalization of as proposed by Nikiforidou (1996)
can also be used to support the analysis in this paper.
Finally, this paper points out that the two paths of
grammaticalization are from parataxis to hypotaxis,
similar to the cline of clause-combining constructions
proposed by Hopper and Traugott (2003 [1993]).
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Chang, Li-li
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2
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A Study on the Yiyang Opera and Its Later
Divisions
The Yiyang opera became popular at least by the early
part of the Ming dynasty (early 15th century). The scope
of its circulation included such areas as Jiangxi,
Anhui, the Northern and Southern capitals, Hunan,
Fujian, Guangdong, Yunnan, and Guizhou. The magnitude of
its influence made it the top operatic style in the
Jiajing period (1522-1566). The earliest recording of
Yiyang style operas can be found in Zhu Yunming’s Weitan
(Indecent Talk), which was written during the Zhengde
period (1506-1521). At that time, Yiyang opera was on
the same par with the Yuyao, Haiyan, and Kunshan styles.
Its wide circulation is most likely a result of the
special nature of its tunes and the fact that many of
the early operas written in this style were well
preserved. These early recorded pieces incorporated
ballads from “the lanes and alleys” and villages tunes,
and used gongs and drums to keep rhythm. They also drew
from northern arias, creating “rolling dialog” (gunbai)
and “rolling songs” (gunchang), which paved the way for
even further creative development in the later Qingyang
tunes.
After the Wanli period (1573-1620), Yiyang opera started
being recorded much more extensively. During the
Qianlong period (1736-1796) of the Qing dynasty, the
name Yiyang was changed to Gao. Written records of Gao
opera can be found up to the Daoguang period
(1821-1851). Many other styles were offshoots from
Yiyang opera, including Huizhou, Siping, Qingyang,
Huichi Elegant tune, as well as Peking opera. Even
today, many of its characteristics can be found in
Jiangxi Guju opera, Zhejiang Wuju opera, Fujian drama,
and Standard Cantonese drama. A look at its composition
and circulation will reveal that Yiyang opera enjoyed
the widest circulation out of the five main operas of
the Ming dynasty, enchanted people with its use of
common speech and “noisy” tunes, and was loved by the
widest segment of the population. Because of this, it
had long been the envy of the Kunshan Shuimo tune, which
was advocated by Ming literati but could never seem to
overtake Yiyang opera in popularity.
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3
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Reflections on the Gardens and the Historical
Meanings of Writings on Derelict Gardens in the Qing
Dynasty
The Garden Literature of the Qing dynasty generally
follows the content, style and features of traditional
garden literature, while at the same time adding unique
modes of expression, among which writings on derelict
gardens is the most distinguished. Following the great
prosperity of the Song and Ming dynasties, a large
corpus of poetry and literary works written on derelict
gardens began to appear in the Qing dynasty. This paper
first explains the phenomenon of leisure activities
undertaken in the derelict gardens often seen in the
Qing dynasty, and then analyzes the reasons why derelict
gardens were visited. Based on this background, the
physical outlook in derelict garden writings is
discussed for a reflection on the corresponding
relationships between the key elements of the garden,
nature and humanity. Furthermore, the sentimental themes
in these writings are analyzed, and the philosophic
theories and the structure of the theme of recalling
antiquity are explained. This paper further investigates
and analyzes the strong derelict consciousness often
expressed in the garden literature of the time. Evers
when a garden was at peak, the literati often would
anticipate its future dilapidation. They took great
pains to record the history of the gardens and the
process of dilapidation, revealing the latent feelings
of impermanence and of the derelict consciousness in the
literati of the Qing dynasty. Finally the paper
summarizes the meanings implied by derelict garden
writing, including the conscious reflections on the
essential meaning of the gardens, and the historical
meanings of the development of the gardens.
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Hou, Nai-huei
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4
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The Shift of “Bartering the Body for the Soul”: The
Physique, Spirit, and National Identity of Characters
in Lu Xun’s Novels
This article discusses the strategies of representation
in Lu Xun’s novels, as well as the shifts in cultural
tradition that underlie these modes of writing. It takes
as its starting point the “physique” (tige) and the
“spirit” (jingshen) that pervade so many of Lu Xun’s
narratives, and asks what kind of “body” Lu chose as
representative of the Chinese. The article further
inquires the function of the “spiritual/physical” in the
structure of the narratives, the reasons for them, and
Lu Xun’s creative adaptation and rewriting of the
(national) body theme—a theme that has appeared in the
late Qing. That is: how does the “spirit/body” duality
find expression in his novels, and how does he
appropriate the “physical” and the “spiritual” in these
narratives? Finally, the article assesses the strategies
employed by Lu Xun for the representation of national
identity, as seen from the “physical” and “spiritual”
outlook of the characters in his novels.
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Guan, Kean-fung
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5
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A Comparative Study of “Golden Lock Notes” and A
Grumbling Maid
This paper compares two works of Eileen Chang (Zhang
Ailing): her early novelette “Golden Lock Notes” and its
later version as the novel A Grumbling Maid. Many
differences can be identified between them, with
potentially significant implications. For example, with
respect to characterization, does the hero, Lord Third,
change from a decent and cautious person in “Golden Lock
Notes” to a mean and frivolous guy in A Grumbling Maid?
Or would it be more accurate to say that the portrayal
of the character in the later version is more realistic
and truer to life, just like the heroine herself? Is the
character rounder or more typical as a result of this
change? Also, the character of Jiang Changan, daughter
of Cao Qiqiao, does not appear in A Grumbling Maid. Why,
and what is the influence of her disappearance? From the
viewpoint of structure, if A Grumbling Maid is meant to
be cyclical, does this imply that the tragic ending is
the inescapable fate of traditional and modern women
alike? Finally, in terms of style, with the later
version loving more descriptions of historical
background, a less dramatic plot, and simple and natural
writing, can it be concluded that Chang wrote this novel
in a more modern way?
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Kuo, Yuh-wen
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6
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The Dispute between Mainland Presidents and Native
Intellectuals at NTU in the Early Retrocession Period
(1945-50)
When the Japanese surrendered in 1945, China recovered
its lost land—Taiwan—from Japan. Unfortunately, some
serious conflicts resulted from this between mainlanders
and Taiwan natives. This paper explores the disputes
between mainland presidents and Taiwanese intellectual
figures at NTU.
The university has had four mainland presidents: Lo
Song-lo (羅宗洛), Lu Chih-houng (陸志鴻), Zuang
Chang-Kong (莊長恭) and Fu Ssu-nien (傅斯年). Lo took
over the university right after the retrocession and
initiated reforms. He retained some local faculty
members from Taihoku Imperial University, of which Tu
Chung-ming (杜聰明) was the most famous (Professor Tu
was appointed dean of the Medical School). Lo also
invited many outstanding local intellectual leaders to
work at the new university, the most notable being
Professor Lin Mou-sheng (林茂生), who was made a member
of the succession team and bore the responsibility of
heading the College of Liberal Arts and Political
Science. From then on, Tu and Lin supported the various
mainland presidents in their efforts to build up the new
university. Gradually, however, disputes arose between
the various mainland university presidents and the
Taiwanese intellectuals. In the February 28th Incident,
Professor Lin was arrested and was soon to be killed and
Professor Tu resigned from his post.
Why was the cooperation between these mainland
presidents and the local intellectuals unable to endure?
This paper will attempt to answer this question through
an examination of historical facts.
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7
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Staging Poetic Justice: Public Spectacle of Private
Grief in the Musical Parade
This paper makes inquiries into the 1998 musical Parade
by playwright Alfred Uhry and composer Jason Robert
Brown, based on the historic case of Leo Frank, a Jewish
industrialist from New York running a pencil factory in
Atlanta and accused of murdering the 13-year-old girl
Mary Phagan in 1913. How can the thorny case be
represented with any fidelity on stage when all the
facts have not come to light? What can a theatre
researcher contribute to or comment on a controversial
production of a reproduction of a historical incident
that has never ceased to produce great furors over the
past 90 years? In the absence of irrefutable legal
evidence that could close the case and in the face of
contending camps that claim justice on each side, the
author will stay above the litigation fray and distance
himself from any attempt to pass judgment on the
innocence or guilt of people involved in the historic
case. Rather, the paper first probes the context
surrounding the case, including war, class, race, and to
a lesser extent, sexuality by examining it from the
perspective of historical legacy, such as the
post-bellum South reeling from the repercussions of the
Civil War defeat, the regional animosity between the
highly industrialized North and New Industrial South,
the class antagonism of management and labor in the
pencil factory, the ethnic strife between blacks,
whites, and Jews, and the conventional bias against the
perceived sexual perversion of Jews and blacks.
Secondly, the paper discusses the embedded theatricality
of both the national institution of trial by jury and
the regional institution of lynching in the US. Then, it
considers the staging of Frank’s trial, conviction,
death penalty, commuted sentence and final lynching,
each phase of the case presented as public spectacle.
Musicals have been conventionally considered a genre
that thrives on light-hearted sentimentality and
fantasy, but its recourse to spectacle and appeal to
emotion paradoxically lends itself to the heightened
emotion of the conflicted victims in private as well as
the specular nature of the trial and lynching in public,
giving utterance to both the public outrage and private
trauma.
The paper concludes that since vigilante justice takes
over and continues the vicious cycle of vengeance where
legal justice fails, poetic justice in the form of
theatrical representation, albeit not without its
problematics, should be rightfully taken into account as
a viable means of redressing public wrong and
representing private grief.
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Wang, Pao-hsiang
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8
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Staging Eugene O’Neill in China in the 1980s
The 1980s, the decade right after the “Cultural
Revolution,” witnessed a sudden surge of spoken-drama
productions of Eugene O’Neill plays in Mainland China.
These performances interacted with the political and
cultural context of the time, producing a significant
phenomenon in Chinese theater history that invites close
examination. Most of the early productions of that
decade showed propaganda and ideological propensities;
they were supposedly realistic in style and faithful to
the original script. Later efforts, however, expressed
more humanist concerns and enlightenment values than
socialist anxieties. Some turned from O’Neill’s
realistic plays to his experimental pieces and others
featured conscious subjectivity in the directors’
interpretation of O’Neill texts. The change also
indicated a divergence in attitudes of different
generations toward O’Neill. The eclectic American
dramatist exerted a far-reaching influence on the
Chinese theater of spoken drama throughout the 1980s and
would continue to have his presence felt in the decades
to come.
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Zhu, Xue-feng, Liu, Hai-ping
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