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Table of Contents

  1. Conservative Confucian Values and the Promotion of Oral Performance Literature in Late Qing Jiangnan: Yu Zhi’s Influence on Two Appropriations of Liu Xiang Baojuan
  2. Katherine Alexander
  3. pp. 89-115
  4. DOI: https://doi.org/10.1353/cop.2017.0008
  5. restricted access
  1. Promoting Beijing Opera in America: The Confucius Institute of Chinese Opera at Binghamton University
  2. Zu-yan Chen
  3. pp. 116-119
  4. DOI: https://doi.org/10.1353/cop.2017.0009
  5. restricted access
  1. Report on the First “In Art We Trust” Chinese Opera in New York Forum, New York City, USA, 2016
  2. Dong Sun
  3. pp. 120-122
  4. DOI: https://doi.org/10.1353/cop.2017.0010
  5. restricted access
  1. The Immortal Maiden Equal to Heaven and Other Precious Scrolls from Western Gansu by Wilt L. Idema (review)
  2. David Johnson
  3. pp. 123-128
  4. restricted access
  1. Passion, Poverty, and Travel: Traditional Hakka Songs and Ballads by Wilt L. Idema (review)
  2. Mark Bender
  3. pp. 129-131
  4. restricted access
  1. The Resurrected Skeleton: From Zhuangzi to Lu Xun by Wilt L. Idema (review)
  2. Paize Keulemans
  3. pp. 131-134
  4. restricted access
  1. The Metamorphosis of Tianxian pei: Local Opera under the Revolution (1949–1956) by Wilt L. Idema (review)
  2. Paola Iovene
  3. pp. 134-139
  4. restricted access
  1. Ershi shiji xiqu gaige de sanda fanshi 20 世紀戲曲改革的三大範式 by Li Wei 李偉 (review)
  2. Liang Luo 羅靚
  3. pp. 139-144
  4. restricted access
  1. Zai ni wenhou de xiaorong zhong dangyang: Jinian Hafo daxue shouwei Huayi nü jiaoshou Zhao Rulan 在你溫厚的笑容中蕩漾: 紀念哈佛大學首位華裔女教授趙如 蘭 / Remembering Rulan Chao Pian: Harvard’s First Female Professor of Chinese Heritage ed. by Bell Yung 榮鴻曾 and Samuel Wu 吳淼鑫 (review)
  2. Chuen-Fung Wong
  3. pp. 144-146
  4. restricted access
  1. Shuihu (Water Margin) and Honglou (Dream of the Red Chamber) Adaptations on the Modern Stage
  2. Jing Shen
  3. pp. 147-158
  4. DOI: https://doi.org/10.1353/cop.2017.0017
  5. restricted access
  1. From First-Person to Third-person Narrative, and then to Hakka Ballad: From “Tang Xuan shouji” (Tang Xuan’s Manuscript Notes) To “Tang Xuan” To “Tang Xian ji” (The Story of Tang Xian)
  2. Wilt L. Idema
  3. pp. 159-163
  4. DOI: https://doi.org/10.1353/cop.2017.0018
  5. restricted access
  1. The 2015 Contest of Baojuan Performers and Academic Conference in Zhoupu and Modernized “Scroll Recitation” in Pudong
  2. Rostislav Berezkin
  3. pp. 164-172
  4. DOI: https://doi.org/10.1353/cop.2017.0019
  5. restricted access
  1. Mei Lanfang quanji 梅 蘭芳全集 (The complete works of Mei Lanfang). Edited by Fu Jin 傅謹. 8 vols. Beijing: Beijing chubanshe and Zhongguo xiju chuban she, 2016
  2. David L. Rolston
  3. pp. 173-174
  4. DOI: https://doi.org/10.1353/cop.2017.0020
  5. restricted access
  1. In Memory of André Lévy: Extraordinary Scholar and Translator 1925–2017
  2. Margaret Wan, Vibeke Børdahl
  3. pp. 175-178
  4. DOI: https://doi.org/10.1353/cop.2017.0021
  5. restricted access
  1. In Memory of Catherine “Kate” Stevens 1927–2016
  2. Margaret B. Wan
  3. pp. 179-180
  4. DOI: https://doi.org/10.1353/cop.2017.0022
  5. restricted access