Through an innovative interdisciplinary reading and field research, Igor Chabrowski analyses the history of the development of opera in Sichuan, arguing that opera serves as a microcosm of the profound transformation of modern Chinese culture between the 18th century and 1950s. He investigates the complex path of opera over this course of history: exiting the temple festivals, becoming a public obsession on commercial stages, and finally being harnessed to partisan propaganda work. The book reads into the process of cross-regional integration of Chinese culture and the emergence of the national opera genre. Moreover, opera is shown as an example of the culture wars that raged inside China's popular culture"--
Singing on the River by Igor Chabrowski, based on Sichuan boatmen’s work songs (haozi), explores the little known world of mentality and self-representation of Chinese workers from the late 19th century until the outbreak of the Second Sino-Japanese War (1937). Chabrowski demonstrates how river workers constructed and interpreted their world, work, and gender in context of the dissolving social, cultural, and political orders. Boatmen asserted their own values, bemoaned exploitation, and imagined their sexuality largely in order to cope with their low social status. Through studying the Sichuan boatmen we gain an insight into the ways in which twentieth-century nonindustrial Chinese workers imagined their place in the society and appropriated, without challenging them, the traditional values.
Igor Chabrowski analyses the history of the development of opera in Sichuan, arguing that opera serves as a microcosm of the profoundtransformation of modern Chinese culture between the 18th century and 1950s.
Singing on the River by Igor Chabrowski, based on Sichuan boatmen’s work songs (haozi), explores the little known world of mentality and self-representation of Chinese workers from the late 19th century until the outbreak of the Second Sino-Japanese War (1937). Chabrowski demonstrates how river workers constructed and interpreted their world, work, and gender in context of the dissolving social, cultural, and political orders. Boatmen asserted their own values, bemoaned exploitation, and imagined their sexuality largely in order to cope with their low social status. Through studying the Sichuan boatmen we gain an insight into the ways in which twentieth-century nonindustrial Chinese workers imagined their place in the society and appropriated, without challenging them, the traditional values.
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