Home and the world : editing the “Glorious Ming” in woodblock-printed books of the sixteenth and seventeenth centuries / Yuming He.
Includes bibliographical references (pages 311-330) and index.

The Boxiao zhuji 博笑珠璣 (Pearls to evoke laughter) and the broader late Ming textual universe -- Page and stage : drama miscellanies and their milieu -- The poetics of error : repetition and novelty in late-Ming woodblock (re)production -- The book and the barbarian : a history of the Luochong lu 蠃蟲錄 (Records of naked creatures). --Conclusion: Home and the World: Editing Ming China. Appendixes: Other known titles by makers of drama miscellanies -- The "Classic of Whoring": demimonde fantasy and the formation of the Ming vernacular.

Local access dig. pdf. [He-Home and the World.pdf]

The eternal present of the past : illustration, theatre, and reading in the Wanli period, 1573-1619 / Li-ling Hsiao.

Includes bibliographical references (pages 313-334) and index.

Acknowledgments; List of Illustrations; Introduction: Theater, Illustration, and Time; Chapter One: Toward the Contextualization of Woodblock Illustration: A Critique of Art Historical Method; Chapter Two: The Stage or the Page: Competing Conceptions of the Play in the Wanli Period; Chapter Three: Performance Illustration; Chapter Four: Performance as an Interaction with the Past; Chapter Five: Image as an Interaction with the Past; Chapter Six: Reading as an Interaction with the Past; Conclusion: The Role of the Publisher; Appendix; Glossary; Bibliography; Index.

Drawing together illustration, theater, and literature, this study examines a late Ming conception of the stage as a mystical space for temporal conflation that allowed the past to be reborn in the present and to uphold the continuity of the cultural tradition.--OCLC record

This study draws together various elements in late Ming culture – illustration, theater, literature – and examines their interrelation in the context of the publication of drama. It examines a late Ming conception of the stage as a mystical space in which the past was literally reborn within the present. This temporal conflation allowed the past to serve as a vigorous and immediate moral example and was considered a hugely important mechanism by which the continuity of the Confucian tradition could be upheld.
By using theatrical conventions of stage arrangement, acting gesture, and frontal address, drama illustration recreated the mystical character of the stage within the pages of the book, and thus set the conflation of past and present on a broader footing.--Brill webpage.

Local access dig.pdf. [Hsiao-Eternal present of the past.pdf]