Borderland Legend, Carnival Fetes and Cinematic Opera


The chuanqi signature. as remembered religious eventuation honored or recalled in saihui)

Though the descriptive “chuanqi s generically attached to metamorphic narratives, such as here concern us, the association is at best misleading, since the CQ narrative was at source of high-literary provenanance (in print) and in origin detached from any living folkloric tradition(s) it was (Tang-Song) a genre of high literary composition for print: furthermore it connotes something like “exception(ally)”, as in the description of beauty, costume, even weaponry, and implies little or nothing about the folkloric (non-scripted/orally transmitted, usually dismissed or distrusted) world where numinous forces or “immortals” (in Ch folkore, a Daoist derived term for the pantheon (Fengshen) of interventioning genies, often playful spirits who are also the conduits of supernatural human communication) lurk. Rather it (that is, orally transmitted legend) denotes the process of revenging wrongful female death by inflicting on (male/servant-class) evildoers frightful punishments or permanent unease triggered (maintained) by never-exorcised angry victims, conceived as unsettled ghosts. (Such as Concubine 4 masterminds in “Raise High”). While also focusing on stories of resurrection-in transform of long-dead “souls” (ling, linghun)

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