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Steps of perfection : exorcistic performers and Chinese religion in twentieth-century Taiwan /

"One part of Taiwan's flourishing religious culture is the elaborate, colorful, and noisy procession of local gods accompanied by troupes of musicians and dancers. Among them are groups of performers with wild, outlandish painted faces portraying underworld generals who serve the gods and...

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Detalles Bibliográficos
Clasificación:Libro Electrónico
Autor principal: Sutton, Donald S. (Autor)
Formato: Electrónico eBook
Idioma:Inglés
Publicado: Cambridge, Mass. : Harvard University Asia Center, 2003.
Colección:Harvard East Asian monographs ; 218.
Temas:
Acceso en línea:Texto completo

MARC

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245 1 0 |a Steps of perfection :  |b exorcistic performers and Chinese religion in twentieth-century Taiwan /  |c Donald S. Sutton. 
246 3 0 |a Exorcistic performers and Chinese religion in twentieth-century Taiwan 
264 1 |a Cambridge, Mass. :  |b Harvard University Asia Center,  |c 2003. 
264 2 |b Distributed by Harvard University Press 
300 |a 1 online resource (xiii, 418 pages) :  |b illustrations. 
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504 |a Includes bibliographical references (pages 375-393) and index. 
505 0 |a 1. Spaces: sacred, ritualized, and everyday landscapes -- 2. Places: nine troupes in their local settings -- 3. Meanings: iconography and mythology -- 4. Rituals: the making of divine warriors -- 5. Choreography: cosmic variations -- 6. History I: from the five emperors of Fuzhou to the five school under Japanese rule (1646-1947) -- 7. History II: a new market for dancers and self-mortifiers under the Guomindang (1947-87) -- 8. Conclusions: festival performers and their changing audience. 
520 1 |a "One part of Taiwan's flourishing religious culture is the elaborate, colorful, and noisy procession of local gods accompanied by troupes of musicians and dancers. Among them are groups of performers with wild, outlandish painted faces portraying underworld generals who serve the gods and punish the living. Through their performances, these troupes claim to exorcise harmful forces from the community." "In conducting fieldwork among these troupes, the author confronted the question of making sense of their claims to a long history when all evidence indicated that the troupes had been insignificant until the 1970s and of their assertions of devotion to an accurate transmission of tradition given the diversity of performances. By concentrating on the stylistic variations in performances, he explains the troupes as organizations shaped by the "market forces" of supply and demand in the culture of religious festivals. By focusing on performances as the nexus of market and art, he shows how bodily performance is the site where religious statements are made and the power of the gods made visible."--Jacket 
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