Zhao Yishan, Ph.D. (2004), Sichuan University, is an emeritus professor of Chinese literature at Sichuan Normal University. He has published monographs and articles on traditional Chinese qu studies and song-poetry (sanqu) of late imperial China, including A General Survey of Song-Poetry of Yuan China (Bashu, 1993; rev. Shanghai guji, 2004/2023), A History of Song-Poetry of Ming-Qing China (Renmin, 2007).Zhou Rui, Ph.D. (2007), Sichuan University, is an associate professor of Chinese literature and a Sinological translator at Southwest University, China. He has published monographs and many articles on pre-modern Chinese literature and Sinological studies, his translated works including Tian Yuan Tan’s Songs of Contentment and Transgression (2021), Grace S. Fong's Herself an Author (2024), Song Geng's The Fragile Scholar (2024), and Yugen Wang's Writing Poetry, Surviving War (2024).

• Sanqu Studies in Cross-Cultural Perspectives: a ForewordTranslator’s AcknowledgementIntroduction1 The Formation of Northern Qu-Genre1.1 The Notion of Formation of Northern Qu during Late Imperial China1.2 The Formation of Song-Music of Northern Qu1.3 The Formation of Literary Style of Northern Qu1.4 The Critical Turn of Ci-Lyrics to Qu and Customisation of Northern Qu System2 The Tune Patterns and Musical Modes of Northern Qu2.1 The Musical Modes2.2 The Tune Patterns3 The Generic Forms of Yuan Song-Poetry (Sanqu)3.1 The Historical Evolution of the Title Names of Yuan Sanqu3.2 The Single-Stanza Songs (Xiaoling)3.3 The Binary Form Songs (Daiguoqu)3.4 The Song Suite Songs (Taoshu)3.5 The Song Suites in Northern and Southern Joint Style4 The Stylistic Features of Yuan Sanqu4.1 The “Padding Words” of Yuan Sanqu4.2 The Language of Yuan Sanqu4.3 The Rhymes of Yuan Sanqu4.4 The Antithesis and Reiteration of Yuan Sanqu4.5 “Bravo” (Wutou)5 Yuan Sanqu and Yuan Zaju5.1 The Chronological Sequence of Sanqu and Juqu5.2 The Influence of Sanqu on Northern Zaju5.3 The Influence of Zaju on Sanqu6 The Details on Yuan Sanqu Writers and Their Communal Features6.1 The Officials6.2 The Non-officialdom Talented Scholars6.3 The Non-Han Ethnic-Minority Writers6.4 The Singsong Girls7 The Evolving Stage of Yuan Sanqu7.1 The Status of Qu Communities and Compositional Characteristics of Sanqu7.2 The Composition of Representative Qu Writers in the Evolving Stage8 The Flourishing Stage of Yuan Sanqu8.1 The Overview of Sanqu Composition in the Flourishing Stage8.2 Three Masters8.3 The Other Representative Qu-Writers9 The Peaking Stage of Yuan Sanqu9.1 The Overview of Composition of Sanqu and Styles of Schools9.2 The Representative Qu-Writers of the Heroic Haofang School9.3 The Other Qu-Writers of the Heroic Haofang School9.4 The Representative Qu-Writers of the Elegant Qingli School9.5 The Other Qu-Writers of the Elegant Qingli School10 The Declining Stage of Yuan Sanqu10.1 The Outline of Composition of Sanqu10.2 The Representative Qu-Writers11 Qu Criticism in Yuan China11.1 On Aria-Singing11.2 On Song-Composing11.3 On Origins11.4 On Styles12 Bibliography of Studies on Yuan Sanqu12.1 The Corpus of Song-Poetry12.2 The Criticism of Song-Poetry12.3 Formularies of QuReference MatterIndex

Zhao Yishan, Ph.D. (2004), Sichuan University, is an emeritus professor of Chinese literature at Sichuan Normal University. He has published monographs and articles on traditional Chinese qu studies and song-poetry (sanqu) of late imperial China, including A General Survey of Song-Poetry of Yuan China (Bashu, 1993; rev. Shanghai guji, 2004/2023), A History of Song-Poetry of Ming-Qing China (Renmin, 2007).Zhou Rui, Ph.D. (2007), Sichuan University, is an associate professor of Chinese literature and a Sinological translator at Southwest University, China. He has published monographs and many articles on pre-modern Chinese literature and Sinological studies, his translated works including Tian Yuan Tan’s Songs of Contentment and Transgression (2021), Grace S. Fong's Herself an Author (2024), Song Geng's The Fragile Scholar (2024), and Yugen Wang's Writing Poetry, Surviving War (2024).

• Sanqu Studies in Cross-Cultural Perspectives: a ForewordTranslator’s AcknowledgementIntroduction1 The Formation of Northern Qu-Genre1.1 The Notion of Formation of Northern Qu during Late Imperial China1.2 The Formation of Song-Music of Northern Qu1.3 The Formation of Literary Style of Northern Qu1.4 The Critical Turn of Ci-Lyrics to Qu and Customisation of Northern Qu System2 The Tune Patterns and Musical Modes of Northern Qu2.1 The Musical Modes2.2 The Tune Patterns3 The Generic Forms of Yuan Song-Poetry (Sanqu)3.1 The Historical Evolution of the Title Names of Yuan Sanqu3.2 The Single-Stanza Songs (Xiaoling)3.3 The Binary Form Songs (Daiguoqu)3.4 The Song Suite Songs (Taoshu)3.5 The Song Suites in Northern and Southern Joint Style4 The Stylistic Features of Yuan Sanqu4.1 The “Padding Words” of Yuan Sanqu4.2 The Language of Yuan Sanqu4.3 The Rhymes of Yuan Sanqu4.4 The Antithesis and Reiteration of Yuan Sanqu4.5 “Bravo” (Wutou)5 Yuan Sanqu and Yuan Zaju5.1 The Chronological Sequence of Sanqu and Juqu5.2 The Influence of Sanqu on Northern Zaju5.3 The Influence of Zaju on Sanqu6 The Details on Yuan Sanqu Writers and Their Communal Features6.1 The Officials6.2 The Non-officialdom Talented Scholars6.3 The Non-Han Ethnic-Minority Writers6.4 The Singsong Girls7 The Evolving Stage of Yuan Sanqu7.1 The Status of Qu Communities and Compositional Characteristics of Sanqu7.2 The Composition of Representative Qu Writers in the Evolving Stage8 The Flourishing Stage of Yuan Sanqu8.1 The Overview of Sanqu Composition in the Flourishing Stage8.2 Three Masters8.3 The Other Representative Qu-Writers9 The Peaking Stage of Yuan Sanqu9.1 The Overview of Composition of Sanqu and Styles of Schools9.2 The Representative Qu-Writers of the Heroic Haofang School9.3 The Other Qu-Writers of the Heroic Haofang School9.4 The Representative Qu-Writers of the Elegant Qingli School9.5 The Other Qu-Writers of the Elegant Qingli School10 The Declining Stage of Yuan Sanqu10.1 The Outline of Composition of Sanqu10.2 The Representative Qu-Writers11 Qu Criticism in Yuan China11.1 On Aria-Singing11.2 On Song-Composing11.3 On Origins11.4 On Styles12 Bibliography of Studies on Yuan Sanqu12.1 The Corpus of Song-Poetry12.2 The Criticism of Song-Poetry12.3 Formularies of QuReference MatterIndex

Zhao Yishan, Ph.D. (2004), Sichuan University, is an emeritus professor of Chinese literature at Sichuan Normal University. He has published monographs and articles on traditional Chinese qu studies and song-poetry (sanqu) of late imperial China, including A General Survey of Song-Poetry of Yuan China (Bashu, 1993; rev. Shanghai guji, 2004/2023), A History of Song-Poetry of Ming-Qing China (Renmin, 2007).Zhou Rui, Ph.D. (2007), Sichuan University, is an associate professor of Chinese literature and a Sinological translator at Southwest University, China. He has published monographs and many articles on pre-modern Chinese literature and Sinological studies, his translated works including Tian Yuan Tan’s Songs of Contentment and Transgression (2021), Grace S. Fong's Herself an Author (2024), Song Geng's The Fragile Scholar (2024), and Yugen Wang's Writing Poetry, Surviving War (2024).

• Sanqu Studies in Cross-Cultural Perspectives: a ForewordTranslator’s AcknowledgementIntroduction1 The Formation of Northern Qu-Genre1.1 The Notion of Formation of Northern Qu during Late Imperial China1.2 The Formation of Song-Music of Northern Qu1.3 The Formation of Literary Style of Northern Qu1.4 The Critical Turn of Ci-Lyrics to Qu and Customisation of Northern Qu System2 The Tune Patterns and Musical Modes of Northern Qu2.1 The Musical Modes2.2 The Tune Patterns3 The Generic Forms of Yuan Song-Poetry (Sanqu)3.1 The Historical Evolution of the Title Names of Yuan Sanqu3.2 The Single-Stanza Songs (Xiaoling)3.3 The Binary Form Songs (Daiguoqu)3.4 The Song Suite Songs (Taoshu)3.5 The Song Suites in Northern and Southern Joint Style4 The Stylistic Features of Yuan Sanqu4.1 The “Padding Words” of Yuan Sanqu4.2 The Language of Yuan Sanqu4.3 The Rhymes of Yuan Sanqu4.4 The Antithesis and Reiteration of Yuan Sanqu4.5 “Bravo” (Wutou)5 Yuan Sanqu and Yuan Zaju5.1 The Chronological Sequence of Sanqu and Juqu5.2 The Influence of Sanqu on Northern Zaju5.3 The Influence of Zaju on Sanqu6 The Details on Yuan Sanqu Writers and Their Communal Features6.1 The Officials6.2 The Non-officialdom Talented Scholars6.3 The Non-Han Ethnic-Minority Writers6.4 The Singsong Girls7 The Evolving Stage of Yuan Sanqu7.1 The Status of Qu Communities and Compositional Characteristics of Sanqu7.2 The Composition of Representative Qu Writers in the Evolving Stage8 The Flourishing Stage of Yuan Sanqu8.1 The Overview of Sanqu Composition in the Flourishing Stage8.2 Three Masters8.3 The Other Representative Qu-Writers9 The Peaking Stage of Yuan Sanqu9.1 The Overview of Composition of Sanqu and Styles of Schools9.2 The Representative Qu-Writers of the Heroic Haofang School9.3 The Other Qu-Writers of the Heroic Haofang School9.4 The Representative Qu-Writers of the Elegant Qingli School9.5 The Other Qu-Writers of the Elegant Qingli School10 The Declining Stage of Yuan Sanqu10.1 The Outline of Composition of Sanqu10.2 The Representative Qu-Writers11 Qu Criticism in Yuan China11.1 On Aria-Singing11.2 On Song-Composing11.3 On Origins11.4 On Styles12 Bibliography of Studies on Yuan Sanqu12.1 The Corpus of Song-Poetry12.2 The Criticism of Song-Poetry12.3 Formularies of QuReference MatterIndex