Musical Perceptions

“This highly interdisciplinary work engages Chinese philosophy as a critical intervention to reframe existing scholarship in different gender issues and aesthetics.” —Robin R. Wang, Loyola Marymount University ---------------------------- Bodies in China uses Chinese philosophy to reframe Western scholarship on gender, body, and aesthetics. This book considers theoretical and philosophical discussions, reviews female aesthetical representations, and traces changing perceptions of femininity from imperial to contemporary China.

By the end of the nineteenth century, Chinese culture had fallen into a stasis, and intellectuals began to go abroad for new ideas. What emerged was an exciting musical genre that C. C. Liu terms "new music." With no direct ties to traditional Chinese music, "new music" reflects the compositional techniques and musical idioms of eighteenth- and nineteenth-century European styles. Liu traces the genesis and development of "new music" throughout the twentieth century, deftly examining the social and political forces that shaped "new music" and its uses by political activists and the government.

Books about cities can open pathways to discover new places, and familiar places anew. Hong Kong is a much visited place. Over 50 million people stream through its hotels, restaurants and shopping malls each year. That is a lot of first impressions! This book, written by fourteen reflective scholars about living and learning from Hong Kong, builds on the growing interest of using “place” as text while providing a model of deepening cross-cultural encounters. Each chapter is written in a personal and experiential style, exploring Hong Kong through the lenses of a range of disciplines that shaped individual author's perceptions and encounters. The city is like a text one reads and deciphers, linking one’s sense of other cities with one’s present experiences of this city in this moment of time. In reading the city, readers discover not only what is “out there” in the ever moving surround of Hong Kong’s urban life, but also what is inside oneself as newcomer and as from another city and

The International group of contributors of this volume provides, collectively, a multi-layered analysis of the emerging East Asian media culture, using the Korean TV drama as its analytic vehicle. By closely examining the political economy of TV industry, audiences of the regional media flows in terms of gender subjectivity constructions, perceptions of colonial-postcolonial relationships, and nationalist responses to trans-national media culture exchanges, this volume highlights the multiple connectivities and implications of popular cultural flows and exchanges in East Asia. In spite of the obvious flows and exchanges that constitute pan-East Asian Pop Culture as a relatively coherent unit, the academic research community is far behind the cultural industry producers who have long factored the regional consumer market into their production and marketing. This volume is motivated by the need to find both the conceptual and institutional site(s) for the constitution of an East Asian P

A Contemporary History of the Chinese Zheng traces the twentieth- and twenty-first-century development of an important Chinese musical instrument in greater China.The zheng was transformed over the course of the twentieth century, becoming a solo instrument with virtuosic capacity. In the past, the zheng had appeared in small instrumental ensembles and supplied improvised accompaniments to song. Zheng music became a means of nation-building and was eventually promoted as a marker of Chinese identity in Hong Kong. Ann L. Silverberg uses evidence from the greater China area to show how the narrative history of the zheng created on the mainland did not represent zheng music as it had been in the past. Silverberg ultimately argues that the zheng’s older repertory was poorly represented by efforts to collect and promote zheng music in the twentieth century. This book contends that the restored “traditional Chinese music” created and promulgated from the 1920s forward—and solo zheng music in

音樂劇故事衍生自1937年上海四行倉庫保衛戰，女童軍送國旗給守軍戰士，激勵國人抗日士氣，從而產生浪漫、感動和引人入勝的情節，男女主角亦要在愛情與保衛國家之間作出選擇。 在烽火年代，甚麽是生存的意義？ 本書前半收錄完整的中英文台詞及精美劇照，後半為小說《戰火忘情》中英文本摘錄。 “1937 The Lost World’s Love”, is a grand musical, based on the history of the Battle of Shanghai in 1937. The story begins with a girl-guide, who brings a national flag to the regiment of 800 soldiers defending Sihang Warehouse. The scene is set for a tragic love story that emerges in the midst of a dramatic set of circumstances, where life and death are but a shadow apart. In the era of turbulence, what is the value of staying alive? First half of this book includes script of the whole musical while the second part is the same story presented in novel format, with all written in both Chinese and English. 本書特色 音樂劇影片《1937 戰火忘情》榮獲美國Accolade Global Film Competition 表彰獎 (2016年3月) 中英雙語閱讀