Lam Ling Hon's 林凌瀚 exploration of Chinese discourses on emotion (qing) in the context of the historical development of the theater is pathbreaking. The work of more than a decade, it combines wide-ranging readings of vernacular plays and novels, canonical texts and their commentaries, classical tales, letters, notebook jottings, poetry, and classical prose with explorations of theoretical and philosophical works in several languages. Each of its main chapters draws on several disciplines to explore “genealogies” of emotion-realms, morals, playgrounds, knowledge, and time-space, respectively. Chapters 1–3 are largely concerned with historical developments within China, especially but not exclusively from the medieval (Song–Yuan) to early modern periods (sixteenth and seventeenth centuries); the last two chapters also take up developments outside of China, especially in Europe. Lam's project is to reconceive the historical ontology of emotion-realms (qingjing) in Chinese culture, “explicitly and primarily as the genealogy of the spatiality...
The Spatiality of Emotion in Early Modern China: From Dreamscapes to Theatricality
CATHERINE SWATEK (University of British Columbia) is author of Peony Pavilion Onstage: Four Hundred Years in the Career of a Chinese Drama (2002). Her research has since focused on the Suzhou playwright Li Yu 李玉 (1602?–after 1676), whose plays circulated largely as manuscripts, and on what the manuscripts reveal about how Li's plays were performed. A recent article explores a tradition of Kunqu performed in and around Suzhou by illiterate artists (tangming 堂名), which survived well into the twentieth century but is now extinct.
Catherine Swatek; The Spatiality of Emotion in Early Modern China: From Dreamscapes to Theatricality. Prism 1 March 2021; 18 (1): 304–309. doi: https://doi.org/10.1215/25783491-8922321
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