Titlebook: Operatic China; Staging Chinese Iden Daphne Pi-Wei Lei Book 20061st edition Palgrave Macmillan, a division of Nature America Inc. 2006 Amer

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Daphne Pi-Wei Leims of evolutionary economies and the experiences of Asian growth miracles, and will be of interest to readers in economics and political science concerned with economic growth and development..978-1-4899-8251-3978-1-4419-8026-7

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Chinese Theatre and the Eternal Frontier in Nineteenth-Century California,d wealth created by the gold seekers. This secondary gold mine encompassed everything related to frontier life, including a booming entertainment industry San Francisco in the nineteenth century was a world theatre that constantly staged international shows for international audiences. By the end of

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Local, National, and International Performance of Barbarians at the Turn of the Twentieth Century,of Chinese national identity took place both on the local level, in traditional regional operas, and on the International level, in Western-styled modern theatre. Both performances can be seen as a response to and commentary on contemporary affairs and an exemplary model for solving crises; they wer

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Epilogue: What Could Be More Chinese Than Chinese Opera?,wer that resists all the temptations of hybridization and assimilation, symbolizing a perfect Chineseness, itself an imagined permanence. The constructed stability of Chinese identity is needed during times of crisis, as during the late Qing, on both sides of the Pacific, when “China” did not really

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Chinese Theatre and the Eternal Frontier in Nineteenth-Century California,s W. Marshall, opened a new episode in California history..“El Dorado” was the new drama that would not only change the local life of Alta California, but also inspire a new performance cast from across the nation and the world. The Gold Rush started the next year, as gold seekers came from the east