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    Please use this identifier to cite or link to this item: http://nthur.lib.nthu.edu.tw/dspace/handle/987654321/75622


    Title: 東方學的音響轉折
    Other Titles: The Acoustic Turn inOrientalism
    Authors: 廖炳惠;Ping-huei Liao
    Date: 2003/12
    Publisher: 國立清華大學出版社
    Relation: 清華學報,國立清華大學,2003,new,33,n.2,p341.
    Keywords: 東方學
    Abstract: Drawing on Edward W. Said's comments over the span of twenty-five years on his seminal work Orientalism (1978), the essay highlights the acoustic turn in sinology as manifested by such operatic works as Giocomo Puccini's Turandot and Judith Weir's A Night in the Chinese Opera. It argues that while these operas make use of Chinese melodies and motifs, largely following the tradition of exoticism, they also reveal pseudo-scientific attempts on the part of the composers to appropriate western sinology, in order to produce new operatic sound effect as well as to introduce new technological imaginations in response to crises or limits at home. The paper is in three parts. First, it sums up challenges and critiques posed by scholars from various fields on Said's work. Second, it shows how Said's recent remarks may be utilized not only to complement his early observations of area studies but to examine a number of operatic works which deal with China or Asia. The last section discusses in detail operas by Puccini and Weir, to call attention to the acoustic (and, for that matter, visual cultural) turn in sinology.
    Key words: Orientalism, exoticism, opera, representation, Puccini, Weir, sinology
    URI: http://thjcs.hss.nthu.edu.tw/catalogue_detail.php?id=69
    http://thup.et.nthu.edu.tw/
    http://nthur.lib.nthu.edu.tw/dspace/handle/987654321/75622
    Appears in Collections:[01 清華學報] 新33卷第2期

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