Mann, Mariko Kaga, and Qiguang Zhao for bringing relevant materials to my attention.Ī good many institutions helped keep this endeavor afloat. I am also indebted to Zhu Jiefan, Pao-liang Chu, Shuen-shuen Hung, Perry Yu, Yuan Yimu, Robert E. I owe a special debt of gratitude to the late Haldore Hanson, who provided valuable information about wartime Yan'an and other Communist border regions. Weiner, generously shared with me their extensive knowledge of the resistance movements in Europe during the Second World War. My colleagues in the History Department at Carleton College, especially Robert E. They read the manuscript in whole or in part, and their trenchant comments provided the basis for some rewriting. Other constructive criticisms and good cheer came from Lyman P. Paul Clark of the University of Auckland, New Zealand, also gave generously of his time and read the original draft with critical shrewdness. The text has benefited greatly from his constant probing and his remarkable sense of style. Greene of the Minnesota Historical Society had the patience to review countless pages and to offer counsel and assistance when they were most needed. Their advice has saved me from many errors and helped to make this a better book. And Arif Dirlik challenged me to reexamine the theoretical underpinnings of this study. David Arkush encouraged me to refine and refocus my arguments. Esherick read the original manuscript with great care and offered numerous invaluable suggestions for improvement. My profound gratitude goes first to three historians. In writing this book I have benefited from the support, advice, and encouragement of many individuals. Quanguo manhua zuojia kangzhan jiezuo xuanji Kangzhan wenyi yanjiu (Studies on resistance literature and art). Kangzhan wenyi (Resistance literature and art). Kang-Ri zhanzheng shiqi Yan'an ji ge kang-Ri minzhu genjudi wenxue yundong zhiliao (Materials on the literary movement in Yan'an and other anti-Japanese democratic base areas during the War of Resistance). Hankou, Chongqing, January 1938–November 1939. Jiuwang ribao (National salvation daily). Jiuwang manhua (National salvation cartoons). Tianjin, Hankou, Chongqing, Hong Kong, 1931–1945.
It is only very rarely that Xikao mentions the name of anyone responsible for writing a play text it includes instead the collection is most concerned with making the reader believe that some of its play texts originated from the private manuscript collections of the star actors who had created the most popular and influential versions of the main characters in them.Dagong bao (Impartial daily original title L'Impartial). As will be shown in this chapter and expanded upon in the following chapter, Xikao became both the model for many later collections of Jingju playscripts and the object of criticism by their compilers, who claimed to have surpassed it, if not in bulk, then at least in how the play texts were collected, edited, and arranged on the page. At the time of its publication, it was the biggest such collection ever published, something that remained true, oddly enough, for a very long time. Chapter 3 traces the rather tortured but very interesting and telling history of the publication of a pathbreaking collection of over 500 Jingju playscripts, Xikao 戲考 (Research into plays), in forty installments, from 1912–1925, in Shanghai.
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