On the Knowledge Paradigm of the History Writing of Ancient Chinese Drama

Zhang Han

doi:doi:10.11648/j.ijla.20221002.20

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On the Knowledge Paradigm of the History Writing of Ancient Chinese Drama

Zhang Han

Published in International Journal of Literature and Arts (Volume 10, Issue 2)

Received: 18 April 2022 Accepted: Published: 22 April 2022

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Abstract

Compared with the discussion of "Rewriting the history of literature", the discussion of "Rewriting the history of drama" has not caused such an upsurge and response. On the one hand, it may be because the subject of drama history has been incorporated into the discussion framework of literary history since Wang Guowei founded it. The construction of the subject of drama history in China also has a literary tendency, and the concept that drama history writing is independent and different from literary history writing has not been fully established. On the other hand, this may also reflect the difficulties and difficulties in the field of drama research and drama history research. The so-called "repeat" is not repetition, but rethinking and new creation, which is a new understanding and interpretation of the history. And development of drama on the basis of the development of theater, a new structure, which of course includes specific results and contents, but first of all, it is carried out under a clear academic concept and guiding ideology. Since the 1980s is indeed an era of ideological pluralism, throughout the development of contemporary literature and art we have experienced several stages of political discourse, artistic discourse, cultural discourse, the latter is the reflection, subversion and development of the former. The road is getting wider and wider, the vision is getting wider and wider, from the negation, beyond the non-academic return to art to the pursuit of a cultural understanding and causes, not only to make the discipline move towards the "broadband" era, but also to make the research understanding of the subject close to nature, close to the essence.

Published in	International Journal of Literature and Arts (Volume 10, Issue 2)
DOI	10.11648/j.ijla.20221002.20
Page(s)	141-146
Creative Commons	This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.
Copyright	Copyright © The Author(s), 2024. Published by Science Publishing Group

Keywords

Rewriting the History of Drama, Uniqueness of Chinese Drama, Evolution of Writing Style and Writing Idea

References

[1]	ZHOU Yibai: Outline of the History of Chinese Drama, Shanghai Ancient Books Publishing House, 1979, p. 63.
[2]	Christian Joachim: Religious Spirit in China, China Overseas Chinese Publishing Company, 1991, p. 32.
[3]	LIU Zhen: Criticism of Chinese drama in the 20th century, National Art, 1997, issue 1, pp. 52-55.
[4]	LAN Fan: Draft of Comparative Theory of Chinese and Western Drama, Xuelin publishing house, 1992, pp. 53-54.
[5]	Roger Chartier: Cultural History: Between Pratices and Representations, Cambridge: Polity Press, 1988, p. 163.
[6]	Sophie Volpp: Worldly Stage: Theatricality in Seventeenth-Century China, Harvard: Harvard University Asia Center, 2011, p. 266-268.
[7]	D. G. Larson &. R. L. Chastain: “Self-concealment: Conceptualization, measurement, and health implications”, Journal of Social and Clinical Psychology, 1990 (9), pp. 439-455.
[8]	ZHANG Geng, GUO Hancheng: General Theory of Chinese Opera, China Drama Publishing House, 2010, p. 121.
[9]	WANG Ankui, LIU Zhen: Essays on Oriental Drama, Bashu Publishing House, 1999, p. 165.
[10]	LIANG Xiaoping: Research on the Category of Chinese Classical Drama Criticism, Beijing Normal University Press, 2018, pp. 97-99.
[11]	WANG Susheng: The Evolution of The Concept of Ancient Tradition Chinese Opera, China Social Sciences Press, 2019, p. 201.
[12]	YU Qiuyu: History of Chinese Drama Culture, Hunan People Publishing House, 1985, p. 22.
[13]	ZHAO Xingqin: A Generating History of Chinese Early Opera. Peking University Press, 2015, p. 177.
[14]	TANG Mingsheng: A Study on the Critical Style of Ancient Chinese Opera, Wuhan University Press, 2021, p. 3-7.
[15]	TANG Xueying: A Study on the Chinese Opera in Shanghai During the Early Period of Republic of China, Peking University Press, 2012, p. 95.

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APA Style

Zhang Han. (2022). On the Knowledge Paradigm of the History Writing of Ancient Chinese Drama. International Journal of Literature and Arts, 10(2), 141-146. https://doi.org/10.11648/j.ijla.20221002.20

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ACS Style

Zhang Han. On the Knowledge Paradigm of the History Writing of Ancient Chinese Drama. Int. J. Lit. Arts 2022, 10(2), 141-146. doi: 10.11648/j.ijla.20221002.20

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AMA Style

Zhang Han. On the Knowledge Paradigm of the History Writing of Ancient Chinese Drama. Int J Lit Arts. 2022;10(2):141-146. doi: 10.11648/j.ijla.20221002.20

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@article{10.11648/j.ijla.20221002.20,
  author = {Zhang Han},
  title = {On the Knowledge Paradigm of the History Writing of Ancient Chinese Drama},
  journal = {International Journal of Literature and Arts},
  volume = {10},
  number = {2},
  pages = {141-146},
  doi = {10.11648/j.ijla.20221002.20},
  url = {https://doi.org/10.11648/j.ijla.20221002.20},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijla.20221002.20},
  abstract = {Compared with the discussion of "Rewriting the history of literature", the discussion of "Rewriting the history of drama" has not caused such an upsurge and response. On the one hand, it may be because the subject of drama history has been incorporated into the discussion framework of literary history since Wang Guowei founded it. The construction of the subject of drama history in China also has a literary tendency, and the concept that drama history writing is independent and different from literary history writing has not been fully established. On the other hand, this may also reflect the difficulties and difficulties in the field of drama research and drama history research. The so-called "repeat" is not repetition, but rethinking and new creation, which is a new understanding and interpretation of the history. And development of drama on the basis of the development of theater, a new structure, which of course includes specific results and contents, but first of all, it is carried out under a clear academic concept and guiding ideology. Since the 1980s is indeed an era of ideological pluralism, throughout the development of contemporary literature and art we have experienced several stages of political discourse, artistic discourse, cultural discourse, the latter is the reflection, subversion and development of the former. The road is getting wider and wider, the vision is getting wider and wider, from the negation, beyond the non-academic return to art to the pursuit of a cultural understanding and causes, not only to make the discipline move towards the "broadband" era, but also to make the research understanding of the subject close to nature, close to the essence.},
 year = {2022}
}

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TY  - JOUR
T1  - On the Knowledge Paradigm of the History Writing of Ancient Chinese Drama
AU  - Zhang Han
Y1  - 2022/04/22
PY  - 2022
N1  - https://doi.org/10.11648/j.ijla.20221002.20
DO  - 10.11648/j.ijla.20221002.20
T2  - International Journal of Literature and Arts
JF  - International Journal of Literature and Arts
JO  - International Journal of Literature and Arts
SP  - 141
EP  - 146
PB  - Science Publishing Group
SN  - 2331-057X
UR  - https://doi.org/10.11648/j.ijla.20221002.20
AB  - Compared with the discussion of "Rewriting the history of literature", the discussion of "Rewriting the history of drama" has not caused such an upsurge and response. On the one hand, it may be because the subject of drama history has been incorporated into the discussion framework of literary history since Wang Guowei founded it. The construction of the subject of drama history in China also has a literary tendency, and the concept that drama history writing is independent and different from literary history writing has not been fully established. On the other hand, this may also reflect the difficulties and difficulties in the field of drama research and drama history research. The so-called "repeat" is not repetition, but rethinking and new creation, which is a new understanding and interpretation of the history. And development of drama on the basis of the development of theater, a new structure, which of course includes specific results and contents, but first of all, it is carried out under a clear academic concept and guiding ideology. Since the 1980s is indeed an era of ideological pluralism, throughout the development of contemporary literature and art we have experienced several stages of political discourse, artistic discourse, cultural discourse, the latter is the reflection, subversion and development of the former. The road is getting wider and wider, the vision is getting wider and wider, from the negation, beyond the non-academic return to art to the pursuit of a cultural understanding and causes, not only to make the discipline move towards the "broadband" era, but also to make the research understanding of the subject close to nature, close to the essence.
VL  - 10
IS  - 2
ER  -

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Author Information

Zhang Han

Department of Chinese Language and Literature, Shandong University, Jinan, China

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Plain Text BibTeX RIS

APA Style

Zhang Han. (2022). On the Knowledge Paradigm of the History Writing of Ancient Chinese Drama. International Journal of Literature and Arts, 10(2), 141-146. https://doi.org/10.11648/j.ijla.20221002.20

Copy | Download

ACS Style

Zhang Han. On the Knowledge Paradigm of the History Writing of Ancient Chinese Drama. Int. J. Lit. Arts 2022, 10(2), 141-146. doi: 10.11648/j.ijla.20221002.20

Copy | Download

AMA Style

Zhang Han. On the Knowledge Paradigm of the History Writing of Ancient Chinese Drama. Int J Lit Arts. 2022;10(2):141-146. doi: 10.11648/j.ijla.20221002.20

Copy | Download

@article{10.11648/j.ijla.20221002.20,
  author = {Zhang Han},
  title = {On the Knowledge Paradigm of the History Writing of Ancient Chinese Drama},
  journal = {International Journal of Literature and Arts},
  volume = {10},
  number = {2},
  pages = {141-146},
  doi = {10.11648/j.ijla.20221002.20},
  url = {https://doi.org/10.11648/j.ijla.20221002.20},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijla.20221002.20},
  abstract = {Compared with the discussion of "Rewriting the history of literature", the discussion of "Rewriting the history of drama" has not caused such an upsurge and response. On the one hand, it may be because the subject of drama history has been incorporated into the discussion framework of literary history since Wang Guowei founded it. The construction of the subject of drama history in China also has a literary tendency, and the concept that drama history writing is independent and different from literary history writing has not been fully established. On the other hand, this may also reflect the difficulties and difficulties in the field of drama research and drama history research. The so-called "repeat" is not repetition, but rethinking and new creation, which is a new understanding and interpretation of the history. And development of drama on the basis of the development of theater, a new structure, which of course includes specific results and contents, but first of all, it is carried out under a clear academic concept and guiding ideology. Since the 1980s is indeed an era of ideological pluralism, throughout the development of contemporary literature and art we have experienced several stages of political discourse, artistic discourse, cultural discourse, the latter is the reflection, subversion and development of the former. The road is getting wider and wider, the vision is getting wider and wider, from the negation, beyond the non-academic return to art to the pursuit of a cultural understanding and causes, not only to make the discipline move towards the "broadband" era, but also to make the research understanding of the subject close to nature, close to the essence.},
 year = {2022}
}

Copy | Download

TY  - JOUR
T1  - On the Knowledge Paradigm of the History Writing of Ancient Chinese Drama
AU  - Zhang Han
Y1  - 2022/04/22
PY  - 2022
N1  - https://doi.org/10.11648/j.ijla.20221002.20
DO  - 10.11648/j.ijla.20221002.20
T2  - International Journal of Literature and Arts
JF  - International Journal of Literature and Arts
JO  - International Journal of Literature and Arts
SP  - 141
EP  - 146
PB  - Science Publishing Group
SN  - 2331-057X
UR  - https://doi.org/10.11648/j.ijla.20221002.20
AB  - Compared with the discussion of "Rewriting the history of literature", the discussion of "Rewriting the history of drama" has not caused such an upsurge and response. On the one hand, it may be because the subject of drama history has been incorporated into the discussion framework of literary history since Wang Guowei founded it. The construction of the subject of drama history in China also has a literary tendency, and the concept that drama history writing is independent and different from literary history writing has not been fully established. On the other hand, this may also reflect the difficulties and difficulties in the field of drama research and drama history research. The so-called "repeat" is not repetition, but rethinking and new creation, which is a new understanding and interpretation of the history. And development of drama on the basis of the development of theater, a new structure, which of course includes specific results and contents, but first of all, it is carried out under a clear academic concept and guiding ideology. Since the 1980s is indeed an era of ideological pluralism, throughout the development of contemporary literature and art we have experienced several stages of political discourse, artistic discourse, cultural discourse, the latter is the reflection, subversion and development of the former. The road is getting wider and wider, the vision is getting wider and wider, from the negation, beyond the non-academic return to art to the pursuit of a cultural understanding and causes, not only to make the discipline move towards the "broadband" era, but also to make the research understanding of the subject close to nature, close to the essence.
VL  - 10
IS  - 2
ER  -

Copy | Download