The Research Of The Reception Of The Palace Of Eternal Life(1688-1949)

This thesis is entitled "The Research of the Reception of the Palace of Eternal Life(1688-1949)" and examines the acceptance of the Palace of Eternal Life during the Qing and Republican Dynasties.It is a study of the evolution of the phenomenon of the acceptance of The Palace of Eternal Youth and its discourse system.The aim is to investigate the evolution of the Palace of Eternal Life from the time of its introduction in the twenty-seventh year of the Kangxi era of the Qing Dynasty(1688)until the founding of New China in 1949.The acceptance of the Palace of Eternal Life in many aspects,such as the distribution of the whole book,anthologies,reviews,stage observations,script adaptations,etc.And its Evolutionary patterns in the various aspects of the discourse in the process of acceptance.The first chapter is "the whole engraving and the acceptance of the Palace of Eternal Life ".It took more than ten years from the 27 th year of Emperor Kangxi’s reign(1688)to the 43 rd year of Emperor Kangxi’s reign(1704),when the Hall of Eternal Youth was published.Carved into.Zheng Zhenduo’s collection of the Palace of Eternal Life between the Kangxi barnyard stalls have been recognized by the academic community as the original engraving of the Palace of Eternal Life,the old collection of Wu Mei and The National Library has three kinds of engraved copies of the the Palace of Eternal Life signed with "Benya Collection Board",which belong to the original engraving of the Palace of Eternal Life,including the one involving Hong Sheng.The date of writing and inscribing the autographs,who was in charge of the original engraving,and the relationship between Liu Shiheng’s re-engraving of the Palace of Eternal Life and Wu Mei’s old collection.Issue.There are numerous Qing dynasty issues of the Palace of Eternal Life,and with the transition of late Qing engraving from traditional engraving and movable type printing to modern printing techniques,the Palace of Eternal Life In the early years of the Republican era,the lithographs and lead copies of the book appeared one after another,which directlycontributed to the lithographs of the mountain house of Sweeping Leaves and the new style of marking and printing during the Republican era.Ben’s appearance.The second chapter is "The Flow of Selected Works and the Acceptance of the Palace of Eternal Life ".The total number of anthologies of operas in the Qing dynasty was less than that in the Ming dynasty,especially in the middle of the Qing dynasty when Qian De-Cang’s compilation of "Embellished White Fur" was so rich that it was a great success at that time.Most of the operas on the scene have been exhausted,and there are not many new opera texts to be found in later times.Hong Sheng’s the Palace of Eternal Life is not only a composition by Wu Shu’e,but also a musical composition by Xu Lin and a score by Zhao Qiugou.It is a work of beauty in both text and rhythm.Because the Palace of Eternal Life ’s reliance on the cadence,since its inception has been performed often,there must be many transcripts of the Liyuan performance,especially for the The scores that were copied for stage performance,such as Yin Yan-Shen’s "Scores of the Palace of Eternal Life","Collection of Differences and Similarities","One Hundred Books of Handwritten Songs of Kunqu Opera",etc.In addition to the scores for singing in Liyuan,there also existed scores for literati to sing,such as Feng Qifeng’s Scores of Music of the Hall of Fragrance,Ye Tang’s The Nashu Pillar Songbook,etc.The third chapter is entitled "Commentary on Qu and the Acceptance of the Palace of Eternal Life ".During the Kangxi period of the Qing dynasty,scholars and writers mostly used poetry,a form of criticism with more obvious spontaneity and arbitrariness,to criticize the Palace of Eternal Life.However,this type of criticism is not strictly a critical study,and is often To praise mainly;Yongqian to fall,literati scholars are not as Kangxi period as the Palace of Eternal Life always praise,but hold a willingness to be interchangeable attitudes,and stood at various angles to critically study the Palace of Eternal Life;during the Republican period,literary scholars critically studied the Palace of Eternal Life Although preliminary results have been achieved,but this criticism appears to be thin,with the characteristics of superficiality and dispersion.From the Qing dynasty,the Republic of China literati and scholars of the specific circumstances of the Palace of Eternal Life criticism to elucidate,outline the literati and scholars to accept the Contouring,a deeper understanding of the mentality and aesthetic orientation of literati scholars in different historical periods.Chapter Four is entitled "The Stage Play and the Acceptance of the Palace of Eternal Life ".In the Qing Dynasty,the Palace of Eternal Life not only had its unique stage charm,but also covered audiences ranging from the emperor to the prime minister.down to the peddlers.The stage performance of the Palace of Eternal Life during the Qing dynasty is mainly scattered in the notes and poems of scholars,and after entering the Republic of China,there are many reviews of the play Presented inthe press.From the different venues in which the Palace of Eternal Life was performed such as in royal courts,literary halls as well as in opera houses and tea gardens and even folk festivals,the author Different types of performance groups,such as literary and folk theatre groups,are discussed in terms of the impact of different performance venues and types of performance groups on the acceptance of the venue.Forms,differential impact of recipient groups.Chapter Five is titled "Script Adaptation and the Acceptance of the Palace of Eternal Life ".Playwriting must undergo abridgement and rewriting from the desk to the stage,and rewriting itself is a kind of acceptance.This kind of acceptance is different from the reading of the text,which involves grasping,understanding and even re-creating more of the work.In the process of adaptation,the adaptor must consider the receptivity and psychology of different audiences or readers.Due to the different aesthetic tastes of the adaptors,the adaptations show great differences.The author approaches the adaptation of literati and entertainers,kunqu and local opera from the early to late Qing Dynasty,and discusses the different identities of the adapters in the same era.The adapters’ reception of the Palace of Eternal Life and the adaptations between the different eras and plays reflect the reception between individuals at various stages of Consistency and Difference.Chapter Six is about the historical evolution of the reception pattern of the Palace of Eternal Life and its discourse system.The form of reception in the Palace of Eternal Life evolved gradually under the alternating characteristics of the stages of its creation and the continuity of its reception.From the two perspectives of the early Qing society,the disaster of the Palace of Eternal Life drama and the transformation of the Palace of Eternal Life performance form,the author examines the Palace of Eternal Life of the Qing dynasty.The evolution of the accepted form of the Palace of Eternal Life and its context;the transformation of the printing technology of the Palace of Eternal Life in the late modern period;and the mode of inheritance of the Palace of Eternal Life in Kunqu.The new changes of the Palace of Eternal Life in the late Qing Dynasty and its reception under the rise of the Republican newspaper and media are discussed.The transmutation of the forms of acceptance and their contexts,and the analysis of the evolution of the discourse system of the Palace of Eternal Life in the process of acceptance.