2018-12-26

CONTENTS OF NO. 202 (December 2018)


Journal of Chinese Ritual, Theatre and Folklore (Min-su ch’ü-i 民俗曲藝)
No. 202, December 2018
金堂家鄉、玄關自性與歸鄉之道:齋教金堂派的教名、教旨及修持方法考探 (Golden Hometown, Xuanguan Essence and the Way of Returning to the Original Source: An Exploration of the Name, Teachings and Practice Methods of the Jintang Sect of Zhaijiao)
庶民美學的傳遞、轉化與創造:新加坡職業歌仔戲講戲人陳美英的「臺數」編劇 (The Transmission, Transformation and Innovation of Commoners’ Aesthetics: On the Scripts of a Professional Play Narrator in Singapore, Chen Meiying)
「南麒北馬」商業競爭之表演藝術策略:以京劇鼎盛期(1917-1938)為例 (Southern Qi and Northern Ma, a Case Study of Commercial Competition as a Strategy of Theatrical Performance in the Golden Period of Peking Opera, 1917-1938)
海外覓鄉音:檳城福建歌謠調查及其在地記憶 (In Search of Hometown Accent Abroad: Investigation of Hokkien Ballads and Their Local Memory in Penang)

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Research Papers 

蕭進銘。〈金堂家鄉、玄關自性與歸鄉之道:齋教金堂派的教名、教旨及修持方法考探〉。《民俗曲藝》202 (2018.12): 1-58
Hsiao Chin-ming. "Golden Hometown, Xuanguan Essence and the Way of Returning to the Original Source: An Exploration of the Name, Teachings and Practice Methods of the Jintang Sect of Zhaijiao." Journal of Chinese Ritual, Theatre and Folklore 202 (2018.12): 1-58.

林鶴宜。〈庶民美學的傳遞、轉化與創造:新加坡職業歌仔戲講戲人陳美英的「臺數」編劇〉。《民俗曲藝》202 (2018.12): 59-131
Lin Ho-yi. "The Transmission, Transformation and Innovation of Commoners’ Aesthetics: On the Scripts of a Professional Play Narrator in Singapore, Chen Meiying." Journal of Chinese Ritual, Theatre and Folklore 202 (2018.12): 59-131.

李湉茵。〈「南麒北馬」商業競爭之表演藝術策略:以京劇鼎盛期(1917-1938)為例〉。《民俗曲藝》202 (2018.12): 133-79
Lee Tien-yin. "Southern Qi and Northern Ma, a Case Study of Commercial Competition as a Strategy of Theatrical Performance in the Golden Period of Peking Opera, 1917-1938." Journal of Chinese Ritual, Theatre and Folklore 202 (2018.12): 133-79.

Field Report

黃文車。〈海外覓鄉音:檳城福建歌謠調查及其在地記憶〉。《民俗曲藝》202 (2018.12): 181-219
Huang Wen-chu. "In Search of Hometown Accent Abroad: Investigation of Hokkien Ballads and Their Local Memory in Penang." Journal of Chinese Ritual, Theatre and Folklore 202 (2018.12): 181-219.