《The Spatiality of Emotion in Early Modern China》的原文摘录
Historically, the rise of spectatorship did not start with the construction of the balcony, which only expressed what had been in the making for several decades. The architectural overhaul in the 1620s embodied the precipitated effect of the advent of the spectator since the late sixteenth century. (查看原文)
Theatricality is here understood not as the universal essence of any form of theater but a historically specific mode of the spatiality of emotion in late sixteenth-century China modified from the medieval spatial structure of the dreamscape. In spatial terms, theatricality arose when the dreamer was sidelined as an onlooker, taking the position of an"idiot” who could only stay in front of rather than traveling in or through the dream. (查看原文)
Theatricality is here understood not as the universal essence of any form of theater but a historically specific mode of the spatiality of emotion in late sixteenth-century China modified from the medieval spatial structure of the dreamscape. In spatial terms, theatricality arose when the dreamer was sidelined as an onlooker, taking the position of an"idiot” who could only stay in front of rather than traveling in or through the dream. (查看原文)
The interfolding of the play and people seems to confirm the mutual mirroring of the worlds inside and outside an illusion, whether it is a dream or a play. (查看原文)
If theatricality as a mode of the spatiality of emotion emerged in the late sixteenth century, which then gave rise to the discourse of sympathy (putting oneself in the others case) from the early seventeenth century on, then the correlation between theatricality and diachrony in case thinking became manifest in late seventeenth and eighteenth-century novels. (查看原文)
the specificity of theatricality is not exhausted by these dimensional differences across embedment(making present), deliverance(having-been), and faceoff (lying ahead); rather, it is further enriched by the trajectory extended from its antecedents from other historical regimes of the spatiality of emotion. (查看原文)
the specificity of theatricality is not exhausted by these dimensional differences across embedment(making present), deliverance(having-been), and faceoff (lying ahead); rather, it is further enriched by the trajectory extended from its antecedents from other historical regimes of the spatiality of emotion. (查看原文)
作者: Ling Hon Lam 副标题: From Dreamscapes to Theatricality isbn: 0231187947 书名: The Spatiality of Emotion in Early Modern China 页数: 352 定价: USD 60.00 出版社: Columbia University Press 出版年: 2018-5-15 装帧: Hardcover
