The focus of Chinese literary studies has long been on the written word even though Chinese fiction and drama have strong oral roots and have been shaped by an interplay between oral and written traditions. The culmination of decades working on this issue - and using as its lens the story about how the legendary hero Wu Song killed a tiger with his bare hands - this volume explores Chinese oral professional storytelling and its relations with literary culture in the past and present.

The focus of Chinese literary studies has long been on the written word even though Chinese fiction and drama have strong oral roots and have been shaped by an interplay between oral and written traditions. The culmination of decades working on this issue - and using as its lens the story about how the legendary hero Wu Song killed a tiger with his bare hands - this volume explores Chinese oral professional storytelling and its relations with literary culture in the past and present.

Although the interrelationship between oral (or performing) and written traditions in Chinese popular literature is an issue that concerns practically everybody who reads or teaches Chinese literature, surprisingly it has never been properly treated in a scholarly forum before. For that reason alone, this volume is especially important and deserves serious consideration from scholars and students in the field. Through subjects ranging from Ming vernacular fiction to popular prints and contemporary storytelling and folk ballads, this volume examines the interplay of oral and written traditions in China from interdisciplinary perspectives. Literary criticism, linguistic analysis, fieldwork, folklore studies, and visual sources all bring out vital perspectives on central questions, offering enquiries into new material and giving astonishing responses to old controversies.

Although the interrelationship between oral (or performing) and written traditions in Chinese popular literature is an issue that concerns practically everybody who reads or teaches Chinese literature, surprisingly it has never been properly treated in a scholarly forum before. For that reason alone, this volume is especially important and deserves serious consideration from scholars and students in the field. Through subjects ranging from Ming vernacular fiction to popular prints and contemporary storytelling and folk ballads, this volume examines the interplay of oral and written traditions in China from interdisciplinary perspectives. Literary criticism, linguistic analysis, fieldwork, folklore studies, and visual sources all bring out vital perspectives on central questions, offering enquiries into new material and giving astonishing responses to old controversies.

Offering access to and bringing alive unique materials on the Chinese storytelling traditions, this volume has its origins in a project which recorded on film 360 hours of performances by the four masters of Yangzhou storytelling Dai Buzhang, Fei Zhengliang, Gao Zaihua and Ren Jitang. Sets of these films have been deposited (in Washington D.C., Taipei, Beijing and Copenhagen) to give future scholars access to the unique material. The purpose of Four Masters is twofold: first, as a guide to the collections; second, with its introductory chapters, teller autobiographies, performances, catalogue entries and film material, it stands as an independent and valuable contribution to research in Asian oral traditions. With all text appearing in both English and Chinese and with its subject matter brought alive by a wealth of photographs plus a 60-minute film on VCD, this volume promises to be a classic work in its field. Useful for students of Chinese culture by serving as a bilingual guide to the great masterworks of the Chinese novel (Three Kingdoms, Water Margin, and Journey to the West).

The death of China's first emperor in 210 BCE initiated a brutal power struggle between Xiang Yu, Hegemon-King of Western Chu, and Liu Bang, later founder of the Han dynasty; the lowly Han Xin also strove for advancement. For over 2,000 years, the resulting story has been celebrated in China. Even today its main protagonists are household names. This is an epic tale of courage and cowardice, honour and treachery, acted out by lords, officials and soldiers, mothers, wives and concubines, and has inspired great works of literature, performance and the arts. Yet only recently has this narrative been translated into English - in Western Han: A Yangzhou Storyteller's Script by the same authors (see p. 50). To a large extent, Han Xin's Challenge is a shortened version of Western Han, largely comprising its English translation plus explanatory text. It is more than that, however. The story has been made more accessible to the general reader without compromising the accuracy of the translation. Its text is also illuminated with artwork that brings the narrative to life and shows how embedded the tale is in Chinese culture, even today. The result is a text ideal for the teaching of Chinese history, culture and literature. But also it is a sweeping drama, a page-turner, a story that anyone can enjoy.

The late 16th-century novel Jin Ping Mei has been described as a landmark in the development of the narrative art form, there being no earlier work of prose fiction of equal sophistication in world literature. However, it is also seen as something of a wild horse, its graphically explicit depiction of sexuality earning it great notoriety. Although Jin Ping Mei was banned soon after its appearance, today the novel is considered one of the six classics of Chinese literature. It is thus no surprise that Jin Ping Mei has caught the attention of scholars working in many different fields, places and periods. Unfortunately, the interdisciplinary and transnational exchange has been limited here, in part because of distance and language barriers. The present volume aims to bridge this gap, bringing together the best quality research on Jin Ping Mei by both established and emerging scholars. Not only will it showcase research on Jin Ping Mei but also it will function as a reader, helping future generations to understand and appreciate this important work.

This mammoth study is a major contribution to the study of Chinese literature, making available to scholars a genuine storyteller's script from China's Yangzhou oral tradition, dated to the late Qing period (1880-1910). This rare script is published in its complete form (all 367 pages), both in facsimile and transcription, with an English translation also made. Its publication is of high importance not only to preserve knowledge about one of the famous oral traditions of China, but also as a unique documentation of the interplay between orality and literacy in Chinese storytelling. The book is also the first translation into a European language of the popular 'Western Han' narrative, one of a corpus of Chinese semi-historical romances brought to life in recent decades after the discovery in 1974 of the terracotta army commemorating the life and achievements of the first Chinese emperor. Moreover, this storyteller's version is unique and entertaining. The work is an ideal classroom book for students studying Chinese history, literature, oral literature, storytelling, etc.

The late 16th-century novel Jin Ping Mei has been described as a landmark in the development of the narrative art form, there being no earlier work of prose fiction of equal sophistication in world literature. However, it is also seen as something of a wild horse, its graphically explicit depiction of sexuality earning it great notoriety. Although Jin Ping Mei was banned soon after its appearance, today the novel is considered one of the six classics of Chinese literature. It is thus no surprise that Jin Ping Mei has caught the attention of scholars working in many different fields, places and periods. Unfortunately, the interdisciplinary and transnational exchange has been limited here, in part because of distance and language barriers. The present volume aims to bridge this gap, bringing together the best quality research on Jin Ping Mei by both established and emerging scholars. Not only will it showcase research on Jin Ping Mei but also it will function as a reader, helping future generations to understand and appreciate this important work.

Yangzhou, once the central place of literati and urban culture, is still one of the most important centers of traditional culture in China today. Over the years particular regional forms of art and entertainment have arisen here, some surviving into the present time. This richly illustrated volume celebrates Yangzhou's rich cultural tradition through a well-balanced spectrum of topics spanning the period from the late 17th century to modern times. These are grouped into four thematic parts: Yangzhou's cultural heritage during historic downfalls and revivals; regional literature and book production; local theatre and storytelling; and various artists of the 18th-century Yangzhou School of Painting. Within each thematic part, descriptions and evaluations of cultural phenomena are supplemented with reflections on lifestyle and customs, weaving a virtual dialogue that binds the topical richness of the collection tightly together.

The death in 210 BCE of China's first emperor, who had ended centuries of warfare among different states across the land and unified the country for the first time, initiated a brutal power struggle between Xiang Yu, Hegemon-King of Western Chu, and Liu Bang, later founder of the Han dynasty; the lowly Han Xin also strove for advancement. For over 2,000 years, the resulting story has been celebrated in China. Even today its main protagonists are household names. This is an epic tale of courage and cowardice, honour and treachery, acted out by lords, officials and soldiers, mothers, wives and concubines, and has inspired great works of literature, performance and the arts. It is surprising, then, that only recently was a full version of this narrative translated into English--in Western Han: A Yangzhou Storyteller's Script by the same authors. A massive work, Western Han reproduces, transcribes, translates and annotates a professional storyteller's script dating from the late Qing period and originating from Yangzhou, a Chinese city known for its cultural exquisiteness. This was the first time such a script had been reproduced in its entirety, let alone translated into a Western language. Western Han thus has been hailed as 'unprecedented in the scholarly literature on traditional storytelling and fiction' and 'a true labor of love that the scholarly community will benefit from for generations'. To a large extent, Han Xin's Challenge is a shortened version of Western Han, largely comprising its English translation plus explanatory text. It is more than that, however. The story has been made more accessible to the general reader without compromising the accuracy of the translation. Its text is also illuminated with artwork that brings the narrative to life and shows how embedded the tale is in Chinese culture, even today. The result is a text ideal for the teaching of Chinese history, culture and literature. But also it is a sweeping drama, a page-turner, a story that anyone can enjoy.