Acknowledgments

Chapters in this book

1. Frontmatter i
2. Contents v
3. Illustrations vii
4. Acknowledgments ix
5. Introduction 1
6. Part One. (Re)Framing the Genre, 1870–1919
7. 1. Late Qing Institutions of Peking Opera 17
8. 2. From Teahouse to Playhouse 55
9. 3. The Experimental Stage, 1895–1920 89
10. 4. May Fourth Realism and Qi Rushan’s Theory of National Drama 134
11. Part Two. Peking Opera to National Drama, 1920–1937
12. 5. Landscape and Figure, Nation and Character 175
13. 6. The Limits of Reform 209
14. 7. The Gendering of National Culture, Or, The Only Good Woman is a Man 237
15. 8. Nationalization through Iconification 264
16. Epilogue 291
17. Notes 297
18. Bibliography 335
19. Index 355