Local access dig.pdf. [Standaert-Ritual Dances.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]

Abstract: “Intersemiotic translation” is categorized by Roman Jakobson as one of three types of translation. Translation of illustrations in the late Qing novels, either directly from verbal signs or visual signs, can also be regarded as a typical kind of “intersemiotic translation.” The present article studies illustrations in Chinese Christian literature in the late Qing period, especially those in the Chinese translations of John Bunyan’s works, The Pilgrim’s Progress and The Holy War. Questions to ponder are how inter-semiotic translation occurs between these illustrations—in either transferring or transplanting the meanings from one sign system to another—and how it establishes its legitimacy through religious negotiation, ideological conflict, and cultural integration. The illustrations in the Chinese translation versions of The Pilgrim’s Progress manifest the translators’ and illustrators’ manipulation of repertoires of Chinese religious signs, thereby indigenizing a foreign religion. These illustrations, nevertheless, are not only associated with Christianity, but also with the long-lasting visual signs of Chinese culture. Hence these translated illustrations could be considered as a type of “Translated Christianity.”

Local access dig.pdf. [Yao-Translated Illustration.pdf]

This ed. not in OCLC. Contents apart from introduction is similar to original Daoguang edition.
陰隲文圖證 ed. online at Hathi Trust.
See also Chinese Text Project.