Chronology Entries
| # | Year | Text |
|---|---|---|
| 1 | 1987 |
David W. Chappell ist Mitbegründer der Society for Buddhist-Christian Studies.
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| 2 | 1987-1991 |
David W. Chappell ist Direktor des Buddhist Studies Program der University of Hawaii.
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| 3 | 1987-1989 |
G. William Skinner ist Barbara K. Browning Professor of Humanities and Sciences der Stanford University.
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| 4 | 1987 |
Pamela Kyle Crossley forscht an der Qing shi yan jiu suo der Ren min da xue in Beijing.
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| 5 | 1987 |
Ting Pang-hsin ist Visiting Scholar am Institute of Chinese Studies der Chinese University of Hong Kong.
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| 6 | 1987-1988 |
Hans van de Ven ist Post-Doctoral Research Fellow der University of California, Berkeley.
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| 7 | 1987 |
Hans van de Ven promoviert in History und East Asian Languages an der Harvard University.
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| 8 | 1987-1990 |
William A. Joseph ist Mitglied des Editorial Board des The journal of Asian studies.
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| 9 | 1987-1989 |
William A. Joseph ist Mitglied des Advisory Board der Foundation for Books to China.
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| 10 | 1987 |
John W. Witek ist Visiting Research Professor des Department of History der Beijing-Universität.
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| 11 | 1987-1990 |
Stephen H. West ist Mitglied des Advisory Board des Institute of East Asian Studies der University of California, Berkeley.
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| 12 | 1987-1989 |
Federico Masini ist Presse-Attaché der italienischen Botschaft in Beijing.
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| 13 | 1987 |
Ding, Jiasheng. Zhuang ji hou se si suo [ID D23973].
Er schreibt : "One of the important characteristics of Shakespeare's plays is that the portrayal of individuality is greatly emphasized, which would provide a vast field for using the actor's talent to play the role. We rarely see stereotyped characters in Shakespeare's plays. Every actor can have a different interpretation of Hamlet, Othello, and Shylock. ... By contrast, the fatal weakness of traditional Chinese drama is to neglect the portrayal of individuality. The actors lack the consciousness to "recreate" the roles they play. All they do on the stage is present the plot, not to represent the personality of the characters. They usually treat the roles with the same method, which inevitably leads to a stereotyped orientation. That is strikingly contrasted with the variety and richness of the portrayal of personality in Shakespeare's plays. So we have drawn a good lesson from the impact of Shakespeare upon traditional Chinese drama." |
| 14 | 1987 |
Aufführung von The merry wives of Windsor von William Shakespeare in der Übersetzung von Hou Suizhu [et al.] durch die Huizhou shi dong jiang xi ju tuan (Huizhou city Dong jiang xi Company) unter der Regie von Hou Suizhu.
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| 15 | 1987 |
Aufführung von The merry wives of Windsor (chao ju) von William Shakespeare durch die Shantou shi chao ju tuan (Shantou City Chao yu Company). [Keine Angabe von Übersetzer und Regisseur].
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| 16 | 1987 |
Aufführung von Qiao duan ren rou an (Hunan xiang ju) = A brilliant judgement on the case of flesh = Adaptation von The merchant of Venice von William Shakespeare durch das Hunan sheng xiang ju yuan (Hunan Provincial Xiang ju Theatre). [Keine Angabe von Übersetzer und Regisseur].
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| 17 | 1987 |
Aufführung von Xie jian (wu ju) = The bloody sword = Adaptation von Macbeth von William Shakespeare durch die Wu ju xiao bai hua dong yang yan chu tuan (Wu ji Small Hundred Flowers, Dongyang Company). [Keine Angabe von Übersetzer und Regisseur].
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| 18 | 1987 |
Aufführung von Romeo and Juliet (yu ju) von William Shakespeare durch die Zhoukou di qu yu ju tuan (Zhoukou District Yu ju Company). [Keine Angabe von Übersetzer und Regisseur].
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| 19 | 1987 |
Aufführungen von Xie shou ji (kun ju) = Blood-stained hands = Macbeth von William Shakespeare in der Adaptation von Zheng Shifeng durch die Shanghai kun ju tuan (Shanghai Kun ju Company) unter der Regie von Li Jiayao, Shen Bin und Zhang Mingrong unter der Leitung von Huang Zuolin in Edinburgh, Manchester, Birmingham, Cardiff und London.
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| 20 | 1987 |
Liu, Jianhua. A Cheng de 'Qi wang' yu Jiamou de 'Ju wei ren' [ID D24746].
Both of these two works are 'serious absurdist philosophic fictions' that were 'viewing the world through panes or re-examining it in a philosophically detached way'. Their heroes were not demonstrating the logics of real life through their actions, but in a casual, wary and even idiotic manner, conveying to us their attitudes towards life – not the concrete living conditions but the short life that universally exists for us ; not the objective world, but the nihilities of time and space. A critic asserted : We cannot hastily conclude that A Cheng was particularly influenced by Camus' art or philosophy or that he was copying or imitating Camus. On the contrary, we are more convinced that contemporary Chinese literature has found its own specific circumstance and ground that are essentially similar to those for contemporary world literature. It was not in its superficial imitation of Camus but in its distinctive root-seeking that A Cheng's fiction unfolded the existential absurdity in Camus's L'étranger. |