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Open-access edition: DOI 10.6069/9780295745701 The Nuosu people,
who were once overlords of vast tracts of farmland and forest in
the uplands of southern Sichuan and neighboring provinces, are the
largest division of the Yi ethnic group in southwest China. Their
creation epic plots the origins of the cosmos, the sky and earth,
and the living beings of land and water. This translation is a rare
example in English of Indigenous ethnic literature from China.
Transmitted in oral and written forms for centuries among the
Nuosu, The Book of Origins is performed by bimo priests and other
tradition-bearers. Poetic in form, the narrative provides insights
into how a clan- and caste-based society organizes itself, dictates
ethics, relates to other ethnic groups, and adapts to a harsh
environment. A comprehensive introduction to the translation
describes the land and people, summarizes the work's themes, and
discusses the significance of The Book of Origins for the
understanding of folk epics, ethnoecology, and ethnic relations.
Butterfly Mother is a collection of epic songs from the rich oral
tradition of the Miao (Hmong) people of southwest China. These
poetic narratives, traditionally performed by two groups of
singers, relate the creation of a world in which everything is
alive, and listeners find that besides mountains, rivers, trees,
and creatures, inanimate objects are also 'born' and have spirits.
In his engaging introduction, Mark Bender places these mythic
narratives in their social and historical context, describing the
workings and traditions of Miao society. Brimming with cultural
lore, Butterfly Mother is a virtual encyclopedia of time-honored
myths, legends, and folk customs of the Miao people.
In "The Columbia Anthology of Chinese Folk and Popular
Literature," two of the world's leading sinologists, Victor H. Mair
and Mark Bender, capture the breadth of China's oral-based literary
heritage. This collection presents works drawn from the large body
of oral literature of many of China's recognized ethnic
groups--including the Han, Yi, Miao, Tu, Daur, Tibetan, Uyghur, and
Kazak--and the selections include a variety of genres. Chapters
cover folk stories, songs, rituals, and drama, as well as epic
traditions and professional storytelling, and feature both familiar
and little-known texts, from the story of the woman warrior Hua
Mulan to the love stories of urban storytellers in the Yangtze
delta, the shaman rituals of the Manchu, and a trickster tale of
the Daur people from the forests of the northeast. The Cannibal
Grandmother of the Yi and other strange creatures and characters
unsettle accepted notions of Chinese fable and literary form.
Readers are introduced to antiphonal songs of the Zhuang and the
Dong, who live among the fantastic limestone hills of the Guangxi
Zhuang Autonomous Region; work and matchmaking songs of the
mountain-dwelling She of Fujian province; and saltwater songs of
the Cantonese-speaking boat people of Hong Kong. The editors
feature the Mongolian epic poems of Geser Khan and Jangar; the sad
tale of the Qeo family girl, from the Tu people of Gansu and
Qinghai provinces; and local plays known as "rice sprouts" from
Hebei province. These fascinating juxtapositions invite comparisons
among cultures, styles, and genres, and expert translations
preserve the individual character of each thrillingly imaginative
work.
Butterfly Mother is a collection of epic songs from the rich oral
tradition of the Miao (Hmong) people of southwest China. These
poetic narratives, traditionally performed by two groups of
singers, relate the creation of a world in which everything is
alive, and listeners find that besides mountains, rivers, trees,
and creatures, inanimate objects are also 'born' and have spirits.
In his engaging introduction, Mark Bender places these mythic
narratives in their social and historical context, describing the
workings and traditions of Miao society. Brimming with cultural
lore, Butterfly Mother is a virtual encyclopedia of time-honored
myths, legends, and folk customs of the Miao people.
In "The Columbia Anthology of Chinese Folk and Popular
Literature," two of the world's leading sinologists, Victor H. Mair
and Mark Bender, capture the breadth of China's oral-based literary
heritage. This collection presents works drawn from the large body
of oral literature of many of China's recognized ethnic
groups--including the Han, Yi, Miao, Tu, Daur, Tibetan, Uyghur, and
Kazak--and the selections include a variety of genres. Chapters
cover folk stories, songs, rituals, and drama, as well as epic
traditions and professional storytelling, and feature both familiar
and little-known texts, from the story of the woman warrior Hua
Mulan to the love stories of urban storytellers in the Yangtze
delta, the shaman rituals of the Manchu, and a trickster tale of
the Daur people from the forests of the northeast. The Cannibal
Grandmother of the Yi and other strange creatures and characters
unsettle accepted notions of Chinese fable and literary form.
Readers are introduced to antiphonal songs of the Zhuang and the
Dong, who live among the fantastic limestone hills of the Guangxi
Zhuang Autonomous Region; work and matchmaking songs of the
mountain-dwelling She of Fujian province; and saltwater songs of
the Cantonese-speaking boat people of Hong Kong. The editors
feature the Mongolian epic poems of Geser Khan and Jangar; the sad
tale of the Qeo family girl, from the Tu people of Gansu and
Qinghai provinces; and local plays known as "rice sprouts" from
Hebei province. These fascinating juxtapositions invite comparisons
among cultures, styles, and genres, and expert translations
preserve the individual character of each thrillingly imaginative
work.
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