Ling Hon Lam is assistant professor in the Department of East Asian Languages and Cultures at the University of California, Berkeley.
Emotion takes place. Rather than an interior state of mind in response to the outside world, emotion per se is spatial, at turns embedding us from without, transporting us somewhere else, or putting us ahead of ourselves. In this book, Ling Hon Lam gives a deeply original account of the history of emotions in Chinese literature and culture centered on the idea of emotion as space, which the Chinese call “emotion-realm” (qingjing).
Lam traces how the emotion-realm underwent significant transformations from the dreamscape to theatricality in sixteenth- to eighteenth-century China. Whereas medieval dreamscapes delivered the subject into one illusory mood after another, early modern theatricality turned the dreamer into a spectator who is no longer falling through endless oneiric layers but pausing in front of the dream. Through the lens of this genealogy of emotion-realms, Lam remaps the Chinese histories of morals, theater, and knowledge production, which converge at the emergence of sympathy, redefined as the dissonance among the dimensions of the emotion-realm pertaining to theatricality.The book challenges the conventional reading of Chinese literature as premised on interior subjectivity, examines historical changes in the spatial logic of performance through media and theater archaeologies, and ultimately uncovers the different trajectories that brought China and the West to the convergence point of theatricality marked by self-deception and mutual misreading. A major rethinking of key terms in Chinese culture from a comparative perspective, The Spatiality of Emotion in Early Modern China develops a new critical vocabulary to conceptualize history and existence.
發表於2025-01-14
The Spatiality of Emotion in Early Modern China 2025 pdf epub mobi 電子書 下載
圖書標籤: 海外中國研究 情感理論 空間曆史 林淩瀚 文學 戲劇 英文原版 漢學
非常靈巧的書
評分"walking the fine line between phenomenology and affect theory"; but really the engagement (/self-defend) with emotion and historicity takes it too redundant from a possibly more delicate and effectively stronger work that speaks impactfully to neospinozian philosophy
評分情感本身就是空間結構化的(此外在性絕非自內嚮外的投射),從中文的情境一詞便可見一斑。theatricality不是戲劇藝術的本質,而是跨媒介和中介作用的結果,一種對應主體移/失位、抽離地觀看而興起的觀眾學(魂夢前)。在此之前的情-境,則有無孔不入的風(沉浸式、病理化),以及幻覺與現實永無止境地置換下去的夢境(玄覽、度脫)。真假美猴王故事揭示一心及其復象、觀眾與此競鬥的二心之間,無法彌閤的距離;王夫之關於情和景妙閤無垠的修辭,泄露齣對觀看內蘊距離的焦慮。十七世紀前的中國戲劇錶演,可視作演員穿越鬼門道後,持續且暫時的轉變(非他非我);而theatricality(建立在戲中戲而非元戲劇之上)與劇場建築革新(二層看樓)密不可分,隨之興起的還有設身處地的移情概念,指嚮作者/筆下角色/觀眾之間的認同。
評分情感本身就是空間結構化的(此外在性絕非自內嚮外的投射),從中文的情境一詞便可見一斑。theatricality不是戲劇藝術的本質,而是跨媒介和中介作用的結果,一種對應主體移/失位、抽離地觀看而興起的觀眾學(魂夢前)。在此之前的情-境,則有無孔不入的風(沉浸式、病理化),以及幻覺與現實永無止境地置換下去的夢境(玄覽、度脫)。真假美猴王故事揭示一心及其復象、觀眾與此競鬥的二心之間,無法彌閤的距離;王夫之關於情和景妙閤無垠的修辭,泄露齣對觀看內蘊距離的焦慮。十七世紀前的中國戲劇錶演,可視作演員穿越鬼門道後,持續且暫時的轉變(非他非我);而theatricality(建立在戲中戲而非元戲劇之上)與劇場建築革新(二層看樓)密不可分,隨之興起的還有設身處地的移情概念,指嚮作者/筆下角色/觀眾之間的認同。
評分好!
The Spatiality of Emotion in Early Modern China 2025 pdf epub mobi 電子書 下載