Vibeke Boerdahl – författare

Chinese storytelling has survived through more than a millennium into our own time, while similar oral arts have fallen into oblivion in the West. Under the main heading of 'The Eternal Storyteller', in August 1996 the Nordic Institute of Asian Studies hosted an International Workshop on Oral Literature in Modern China. To this meeting, the first of its kind in Europe, five special guests were invited - master tellers from Yangzhou: Wang Xizotang, Li Xintang, Fei Zhengliang, Dai Buzhang and Hui Zhaolong.The volume derived from this meeting includes an introductory article written by John Miles Foley entitled 'A Comparative View on Oral Traditions'. Thereafter, a wide range of topics relating to Chinese oral literature is covered under the headings: 'Historical Lines', 'A Spectrium of Genres', 'Studies of Yangzhou and Suzhou Story- telling' and 'Performances of Yangzhou Storytelling'.However, the present volume does more than include papers derived from the meeting. It is also lavishly illustrated in word and picture from performances by the guest-storytellers. In so doing, the world of Chinese story telling is not just described and analysed - it is also brought to life.

Chinese storytelling has survived through more than a millennium into our own time, while similar oral arts have fallen into oblivion in the West. Under the main heading of ''The Eternal Storyteller'', in August 1996 the Nordic Institute of Asian Studies hosted an International Workshop on Oral Literature in Modern China. To this meeting, the first of its kind in Europe, five special guests were invited - master tellers from Yangzhou: Wang Xizotang, Li Xintang, Fei Zhengliang, Dai Buzhang and Hui Zhaolong.The volume derived from this meeting includes an introductory article written by John Miles Foley entitled ''A Comparative View on Oral Traditions''. Thereafter, a wide range of topics relating to Chinese oral literature is covered under the headings: ''Historical Lines'', ''A Spectrium of Genres'', ''Studies of Yangzhou and Suzhou Story- telling'' and ''Performances of Yangzhou Storytelling''.However, the present volume does more than include papers derived from the meeting. It is also lavishly illustrated in word and picture from performances by the guest-storytellers. In so doing, the world of Chinese story telling is not just described and analysed - it is also brought to life.

Chinese storytelling has survived through more than a millennium into our own time, while similar oral arts have fallen into oblivion in the West. Under the main heading of ''The Eternal Storyteller'', in August 1996 the Nordic Institute of Asian Studies hosted an International Workshop on Oral Literature in Modern China. To this meeting, the first of its kind in Europe, five special guests were invited - master tellers from Yangzhou: Wang Xizotang, Li Xintang, Fei Zhengliang, Dai Buzhang and Hui Zhaolong.The volume derived from this meeting includes an introductory article written by John Miles Foley entitled ''A Comparative View on Oral Traditions''. Thereafter, a wide range of topics relating to Chinese oral literature is covered under the headings: ''Historical Lines'', ''A Spectrium of Genres'', ''Studies of Yangzhou and Suzhou Story- telling'' and ''Performances of Yangzhou Storytelling''.However, the present volume does more than include papers derived from the meeting. It is also lavishly illustrated in word and picture from performances by the guest-storytellers. In so doing, the world of Chinese story telling is not just described and analysed - it is also brought to life.

Chinese storytelling has survived through more than a millennium into our own time, while similar oral arts have fallen into oblivion in the West. Under the main heading of 'The Eternal Storyteller', in August 1996 the Nordic Institute of Asian Studies hosted an International Workshop on Oral Literature in Modern China. To this meeting, the first of its kind in Europe, five special guests were invited - master tellers from Yangzhou: Wang Xizotang, Li Xintang, Fei Zhengliang, Dai Buzhang and Hui Zhaolong.The volume derived from this meeting includes an introductory article written by John Miles Foley entitled 'A Comparative View on Oral Traditions'. Thereafter, a wide range of topics relating to Chinese oral literature is covered under the headings: 'Historical Lines', 'A Spectrium of Genres', 'Studies of Yangzhou and Suzhou Story- telling' and 'Performances of Yangzhou Storytelling'.However, the present volume does more than include papers derived from the meeting. It is also lavishly illustrated in word and picture from performances by the guest-storytellers. In so doing, the world of Chinese story telling is not just described and analysed - it is also brought to life.

Living oral tradition has transmitted the saga of the hero Wu Song for more than 700 years, making it a cultural touchstone down to the present day. This collection provides an enjoyable sample of the wide range of genres in which this famous hero’s story circulated across the centuries—novels, plays, ballads, and oral performances of many kinds It is fascinating to note that the vast majority of oral performances and even performance-related texts are not “adaptations” that depend on the novel or earlier plays, but independent creations that retell the legend in the manner of their specific genre. Some portray Wu Song as the embodiment of a peerless hero of strength and virtue; others question those qualities. As a famous heroic tale, the story of Wu Song provides an important point of comparison with Western epics. However, no Indigenous term for “epic” exists in Chinese. Instead, long, heroic, oral performance art existed in Han Chinese culture for centuries in the form of storytelling (shuoshu) and some ballads. Thus, the Wu Song tales contribute to our understanding of the meaning of epic in a global context. This collection gives readers, scholars, and students a first-hand feel for the vibrant variation evident in the Wu Song story and the intricate interplay between the oral and written traditions.

Although the interrelationship between oral (or performing) and written traditions in Chinese popular literature is an issue that concerns practically everybody who reads or teaches Chinese literature, surprisingly it has never been properly treated in a scholarly forum before. For that reason alone, this volume is especially important and deserves serious consideration from scholars and students in the field.Through subjects ranging from Ming vernacular fiction to popular prints and contemporary storytelling and folk ballads, this volume examines the interplay of oral and written traditions in China from interdisciplinary perspectives. Literary criticism, linguistic analysis, fieldwork, folklore studies, and visual sources all bring out vital perspectives on central questions, offering enquiries into new material and giving astonishing responses to old controversies.

The focus of Chinese literary studies has long been on the written word even though Chinese fiction and drama have strong oral roots and have been shaped by an interplay between oral and written traditions.The culmination of decades working on this issue - and using as its lens the story about how the legendary hero Wu Song killed a tiger with his bare hands - this volume explores Chinese oral professional storytelling and its relations with literary culture in the past and present.

The focus of Chinese literary studies has long been on the written word even though Chinese fiction and drama have strong oral roots and have been shaped by an interplay between oral and written traditions.The culmination of decades working on this issue - and using as its lens the story about how the legendary hero Wu Song killed a tiger with his bare hands - this volume explores Chinese oral professional storytelling and its relations with literary culture in the past and present.

The death of China’s first emperor in 210 BCE initiated a brutal power struggle between Xiang Yu, Hegemon-King of Western Chu,and Liu Bang, later founder of the Han dynasty; the lowly Han Xin also strove for advancement. For over 2,000 years, the resulting story has been celebrated in China. Even today its main protagonists are household names. This is an epic tale of courage and cowardice, honour and treachery, acted out by lords, officials and soldiers, mothers, wives and concubines, and has inspired great works of literature, performance and the arts. Yet only recently has this narrative been translated into English – in Western Han: A Yangzhou Storyteller’s Script by the same authors (see p. 50). To a large extent, Han Xin’s Challenge is a shortened version of Western Han, largely comprising its English translation plus explanatory text. It is more than that, however. The story has been made more accessible to the general reader without compromising the accuracy of the translation. Its text is also illuminated with artwork that brings the narrative to life and shows how embedded the tale is in Chinese culture, even today. The result is a text ideal for the teaching of Chinese history, culture and literature. But also it is a sweeping drama, a page-turner,a story that anyone can enjoy.

The late 16th-century novel Jin Ping Mei has been described as a landmark in the development of the narrative art form, there being no earlier work of prose fiction of equal sophistication in world literature. However, it is also seen as something of a wild horse, its graphically explicit depiction of sexuality earning it great notoriety.Although Jin Ping Mei was banned soon after its appearance, today the novel is considered one of the six classics of Chinese literature. It is thus no surprise that Jin Ping Mei has caught the attention of scholars working in many different fields, places and periods. Unfortunately, the interdisciplinary and transnational exchange has been limited here, in part because of distance and language barriers.The present volume aims to bridge this gap, bringing together the best quality research on Jin Ping Mei by both established and emerging scholars. Not only will it showcase research on Jin Ping Mei but also it will function as a reader, helping future generations to understand and appreciate this important work.