By Moss Roberts
This clean and stylish translation of 1 hundred stories from twenty-five centuries of chinese language literature opens up a paranormal global faraway from our accepted haunts. Illustrated with woodcuts.
With black-and-white drawings throughout
Part of the Pantheon Fairy story and Folklore Library
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Additional resources for Chinese Fairy Tales and Fantasies (The Pantheon Fairy Tale and Folklore Library)
Miethke and K. Schreiner (eds), Sozialer Wandel im Mittelalter: Wahrnehmungsformen, Erklärungsmuster, Regelungsmechanismen (Sigmaringen: Thorbecke). Petro, P. (1989) Joyless Streets: Women and Melodramatic Representation in Weimar Germany (Princeton, NJ: Princeton University Press). Rothwell, K. S. (2002) ‘Hamlet in Silence: Reinventing the Prince on Celluloid’, in L. Starks and C. Lehmann (eds), The Reel Shakespeare: Alternative Cinema and Theory (Cranbury, NJ: Associated University Press). Rubin, G.
Freccero, C. (2006) Queer/Early/Modern (Durham, NC: Duke University Press). Greenblatt, S. (2002) Hamlet in Purgatory (Princeton, NJ: Princeton University Press). Guerin, F. (2005) A Culture of Light: Cinema and Technology in 1920s Germany (Minneapolis: University of Minnesota Press). Guntner, J. L. (1998) ‘Expressionist Shakespeare: The Gade/Nielsen Hamlet (1920) and the History of Shakespeare on Film’, Post Script: Essays in Film and Humanities, 17(2), 90–102. Gurevich, A. (1992) ‘Perceptions of the Individual and the Hereafter in the Middle Ages’, in J.
7 The set also looks very medieval, using the thirteenth-century imperial residence at Goslar (heavily restored in the nineteenth century) as the main location for the outdoor scenes. In this medieval world, modern assumptions about time as linear no longer apply. Boellstorff (2007, p. 232) argues that straight, linear time ‘cannot conceive of co-presence without incorporation’: one object cannot exist in the same place at the same time as another without subsuming it. But in the 1921 Hamlet, modern spectators have to get used to the co-presence of different points in time that are visualized by the different genders.
Chinese Fairy Tales and Fantasies (The Pantheon Fairy Tale and Folklore Library) by Moss Roberts