標(biāo)題: Titlebook: Chinese Adaptations of Brecht; Appropriation and In Wei Zhang Book 2020 The Editor(s) (if applicable) and The Author(s), under exclusive li [打印本頁] 作者: 冠軍 時(shí)間: 2025-3-21 19:28
書目名稱Chinese Adaptations of Brecht影響因子(影響力)
書目名稱Chinese Adaptations of Brecht影響因子(影響力)學(xué)科排名
書目名稱Chinese Adaptations of Brecht網(wǎng)絡(luò)公開度
書目名稱Chinese Adaptations of Brecht網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Chinese Adaptations of Brecht被引頻次
書目名稱Chinese Adaptations of Brecht被引頻次學(xué)科排名
書目名稱Chinese Adaptations of Brecht年度引用
書目名稱Chinese Adaptations of Brecht年度引用學(xué)科排名
書目名稱Chinese Adaptations of Brecht讀者反饋
書目名稱Chinese Adaptations of Brecht讀者反饋學(xué)科排名
作者: BLOT 時(shí)間: 2025-3-21 21:34 作者: PLAYS 時(shí)間: 2025-3-22 02:32
,Modernity, Chinese Culture, and Intertextuality: Bertolt Brecht’s , and Wei Minglun’s , Play ,es on the similarities and differences between the two plays under study. Even though they have different (albeit related) hypotexts and their plots differ considerably, Brecht’s and Wei’s . adaptations resonate with each other with regard to their sociohistorical, philosophical, and political concerns.作者: 新奇 時(shí)間: 2025-3-22 05:38
The Third Pillar: Pico and Kabbalism, have made in blending Brechtian theatre and ., traditional . techniques, and new theatre technologies, in creating a theatre experience that is both engaging and resonant with the socioeconomic and cultural realities of present-day China.作者: 防銹 時(shí)間: 2025-3-22 09:42 作者: Cougar 時(shí)間: 2025-3-22 15:48
2945-7254 and appropriated by Chinese theatre artists.Contributes to t.This book examines the two-way impacts between Brecht and Chinese culture and drama/theatre, focusing on Chinese theatrical productions since the end of the Cultural Revolution all the way to the first decades of the twenty-first century. 作者: Cougar 時(shí)間: 2025-3-22 18:15
https://doi.org/10.1057/978-1-137-53911-3are undergoing as they face two compelling needs and apparently diametrically opposing forces: to preserve the artistic character of traditional . and to reform and modernize . to better meet the needs of contemporary audiences and to help this form survive.作者: Lament 時(shí)間: 2025-3-22 23:36
The Many Rooms of Holland House,in Asia. The discussion of the interconnectivity of the Marxist ideologies of Brecht and Mao paves the way for a study of the intertextual resonances between Brecht’s literary/dramatic works (e.g., his poems “The Other Side” and “Thoughts While Flying over the Great Wall”) and Mao’s political and literary writings.作者: 偏見 時(shí)間: 2025-3-23 01:43 作者: Scintillations 時(shí)間: 2025-3-23 05:47 作者: Capture 時(shí)間: 2025-3-23 13:46 作者: 種族被根除 時(shí)間: 2025-3-23 14:33 作者: GEAR 時(shí)間: 2025-3-23 19:26 作者: 魅力 時(shí)間: 2025-3-23 23:34
Wei ZhangConsiders the two-way impacts between Brecht and Chinese culture during the last four decades.Examines how Brecht’s plays have been adapted and appropriated by Chinese theatre artists.Contributes to t作者: accessory 時(shí)間: 2025-3-24 05:40 作者: 充足 時(shí)間: 2025-3-24 09:05
https://doi.org/10.1057/978-1-137-53911-3tor and one of the most prolific and noteworthy contemporary Chinese theatre artists at China Youth Art Theatre (one of the predecessors of the National Theatre of China today). This chapter examines Chen Yong’s directorial approaches in adapting Brecht’s plays in the three specific political and so作者: 赤字 時(shí)間: 2025-3-24 12:39
https://doi.org/10.1057/978-1-137-53911-3tle theatre adaptation . in 2010 in terms of their socioeconomic, cultural, ethical, and ideological resonances with Brecht’s . and with each other. The chapter then turns its focal attention on two Chinese . adaptations of Brecht’s ., that is, . (2001) and . (2013), examining their dynamic intertex作者: 良心 時(shí)間: 2025-3-24 18:36 作者: 喚醒 時(shí)間: 2025-3-24 22:55 作者: NICE 時(shí)間: 2025-3-25 02:42
The Many Rooms of Holland House, Mao’s revolutionary practice and writings from 1930s to 1950s, merged his understanding of classical Chinese philosophy, especially those elements that he found compatible with his understanding of Western philosophy and aesthetics, into the framework of his Marxist ideology. During this incubation作者: 分解 時(shí)間: 2025-3-25 06:19
The Many Rooms of Holland House, the Cultural Revolution as a uniquely interesting case of transcultural adaptation and provides a tentative comprehensive assessment of the Brechtian influence on the development of modern Chinese theatre over the last four decades.作者: entice 時(shí)間: 2025-3-25 08:59
https://doi.org/10.1007/978-3-030-37778-6Bertolt Brecht; Chinese theatre; adaptation; xiqu; Verfremdungseffekt; Mao Zedong; Cultural Revolution; Tur作者: 擔(dān)憂 時(shí)間: 2025-3-25 14:10 作者: Abbreviate 時(shí)間: 2025-3-25 16:51
Conclusion, the Cultural Revolution as a uniquely interesting case of transcultural adaptation and provides a tentative comprehensive assessment of the Brechtian influence on the development of modern Chinese theatre over the last four decades.作者: INCUR 時(shí)間: 2025-3-25 21:40
Chinese Adaptations of Brecht978-3-030-37778-6Series ISSN 2945-7254 Series E-ISSN 2945-7262 作者: obligation 時(shí)間: 2025-3-26 01:51 作者: milligram 時(shí)間: 2025-3-26 04:40
Re-envisioning Theoretical PsychologyThis chapter introduces and defines the subject for the book, outlines its theoretical underpinnings in transcultural adaptation studies, the socio-historical, cultural as well as critical context, and provides a brief chapter-by-chapter summary of the research, analyses, and findings.作者: MINT 時(shí)間: 2025-3-26 12:20
Introduction,This chapter introduces and defines the subject for the book, outlines its theoretical underpinnings in transcultural adaptation studies, the socio-historical, cultural as well as critical context, and provides a brief chapter-by-chapter summary of the research, analyses, and findings.作者: 羞辱 時(shí)間: 2025-3-26 15:30 作者: 使絕緣 時(shí)間: 2025-3-26 20:35
,One Director, Three Takes: Chen Yong’s Reinterpretations of ,, ,, and ,tor and one of the most prolific and noteworthy contemporary Chinese theatre artists at China Youth Art Theatre (one of the predecessors of the National Theatre of China today). This chapter examines Chen Yong’s directorial approaches in adapting Brecht’s plays in the three specific political and so作者: 主動(dòng)脈 時(shí)間: 2025-3-26 23:51 作者: patriot 時(shí)間: 2025-3-27 02:49 作者: Scintillations 時(shí)間: 2025-3-27 08:42
,Modernity, Chinese Culture, and Intertextuality: Bertolt Brecht’s , and Wei Minglun’s , Play ,1806) based on a supposedly Persian story—Nizami Ganjavi’s . (.): one by Brecht under the title . (1953) and one by the Chinese dramatist Wei Minglun in .-style (Sichuan Opera) under the title . (1998 and 2012). After tracing their “urtexts” from Nizami Ganjavi to Gozzi to Puccini, the chapter focus作者: Immunoglobulin 時(shí)間: 2025-3-27 12:51
,Brecht and Mao Zedong: Two Sides of “The Other Side” and Twice Removed Vision of “Snow”, Mao’s revolutionary practice and writings from 1930s to 1950s, merged his understanding of classical Chinese philosophy, especially those elements that he found compatible with his understanding of Western philosophy and aesthetics, into the framework of his Marxist ideology. During this incubation作者: Manifest 時(shí)間: 2025-3-27 14:55 作者: 殘暴 時(shí)間: 2025-3-27 18:24 作者: Reclaim 時(shí)間: 2025-3-28 00:14 作者: 大方一點(diǎn) 時(shí)間: 2025-3-28 03:01
Nordine Abidi,Bruno Buchetti,Samuele Crosetti,Ixart Miquel-Florestation of the Kemalist discourse of secularism. This debate, which was conducted by the intellectual elite in the first years of the multiparty period, was the first example of a civic discussion on a state policy restricting the freedom of religion in the name of secularism. The policy concerned th作者: 本能 時(shí)間: 2025-3-28 07:28 作者: Shuttle 時(shí)間: 2025-3-28 10:27 作者: parallelism 時(shí)間: 2025-3-28 16:36 作者: chastise 時(shí)間: 2025-3-28 20:45
Zusammenfassende Interpretation der Ergebnisse,DR gesellschaftliche Gruppen entstanden sind, die diesem StatusMotiv-Muster entsprechen. Teil C untersuchte, inwieweit sich Angeh?rige der bundesdeutschen Elite mit DDR-Herkunft aus diesen Gruppen rekrutieren und deren politische Ordnungspr?ferenzen teilen.
