【推荐】讲座：马克·本德尔(Mark Bender)

little-hehe

                                             *** 学术讲座 ***


美国俄亥俄州立大学东亚语言文学系副教授、我所口头传统研究中心客座研究员马克·本德尔(Mark Bender)博士，前来我所进行学术讲座，题为：

《中国少数民族口头文学的保护策略之思考》

(Some Thoughts on Strategies of Ethnic Oral Literature Preservation in China )



时间2004年6月17日(周四)下午4点～6点

地点：民族文学研究所会议室(大楼西段1103室)


主讲人简介：

马克•本德尔(Mark Bender)，1995年在俄亥俄州立大学获中国文学博士学位；现任教于俄亥俄州立大学东亚语言文学系，教学与研究方向是中国文学、民俗学、表演研究，兼及中国少数民族文化研究；国际知名的苏州弹词研究专家，近年来开始关注中国少数民族的文学传统。代表作有《李子与竹：中国苏州弹词传统》(Plum and Bamboo: China's Suzhou Chant Fable Tradition, 2003)，发表一系列研究中国少数民族文学和彝族、苗族文学传统的论文，如《怎样看〈梅葛〉：“以传统为取向的”楚雄彝族文学文本》等。

[ 本帖由 little-hehe 于 2004-6-15 16:11 最后编辑 ]

Bamo

Mark Bender

Associate Professor
Department of East Asian Languages and Literatures,
The Ohio State University.

Education: PhD, East Asian Languages and Literatures, The Ohio State University (1995); MA, The Ohio State University (1989); BA, The Ohio State University (1980)  

Languages: Chinese (5); Japanese (4)

Grants: Humanities Fellow (1); Presidential Fellowship (1); Media Applications Development Grant (1)

Dissertations/Theses/Programs Supervised in Past Five Years: PhD (0); MA (3)
Field Research: China   

Publications: Articles (2), including:

"Suzhou Tanci: Contexts of Performance" Oral Tradition (forthcoming)

"Shifting and Performance in Suzhou Chantefable," in The Eternal Storyteller: Oral Literature in Modern China (1999)

"Oral Performance and Orally-Related Literature in China" in Teaching Oral Traditions (1998)

"Keys to Performance in Kunming Pingshu," Chinoperl Papers (1996)

"Cleansing the Corpse: A Funeral Chant of the Yi Nationality," Religions of China in Practice (Princeton University Press, 1996)

Chinese Literature, Folkloristics and Performance Studies, Ethnic Minority Studies

Epics in China: A Working Bibliography  

Bibliography of Yi Nationality Oral and Oral-connected Literature

Bibliography of Dongzu (Gaem) Nationality Folk Culture
Selected Publications:

2001 “Ethnic Minority Literature. ” In Victor Mair, ed. The Columbia History of Chinese Literature. New York: Columbia University Press pp. 1032-1054

2001 " In the (Oral) Territory Of the Mangie." Estudos De Literatura Oral, 7-8 (2001-2), pp. 279-292

2001 Regional Literatures.” In Victor Mair, ed. The Columbia History of Chinese Literature. New York: Columbia University Press.

2001 “A Description of Telling Scriptures Performances.” Asian Folklore Studies. 60:101-33

1999 “Shifting and Performance in Suzhou Chantefable.” In Vibeke Bordahl, ed. The Eternal Storyteller: Oral Literature in Modern China. Curzon Nordic Institute of Asian Studies, 181-209.

1999 "Antiphonal Epics of the Miao (Hmong) of Guizhou, China" Chapter in Traditional Storytelling Today: An International Sourcebook. Chicago: Fitzroy Dearborn Publishers (pp. n.a.).

1999 "The Chantefable Tradition of Suzhou, China." Chapter in Traditional Storytelling Today: An International Sourcebook. Chicago: Fitzroy Dearborn Publishers (pp. n.a.).

1998 “Oral Performance and Orally-Related Literature in China.” Chapter in  John Miles Foley, ed. Teaching Oral Traditions. Modern Language Association, 250-265.  

1998 "Suzhou Tanci: Contexts of Performance." Oral Tradition 13(2):330-376

1996 “Keys to Performance in Kunming Pingshu.” Chinoperl Papers. 19:21-37.

1996 “Cleansing the Corpse: A Funeral Chant of the Yi Nationality.” In D. Lopez, ed. Religions of China in Practice.  Princeton: Princeton University Press, 337-343.

1994 “Looking Good:  On the Road with the Suzhou Storytellers.” Kyoto Journal 26:49-53.

1993 “Approaching the Literatures of China’s Minority Nationalities.” China Exchange News 3:13-16.

1993 The Bride’s Boat: Marriage Customs of China’s Fifty-five Ethnic Minorities, compiled by Ye Dabing. Trans. with Shi Kun. Beijing: New World Press. (201 pages.)

1993 "Cutting the New Year’s Firewood -- A Yi Folksong." Chicago Review 39:256-257. (annotated.)

1993 "Yi Songs." Kyoto Journal: Perspectives on Asia 22:58-63. (annotated.)

1992 "Suzhou Pingtan Troupe’s Yuan Xiaoliang". Association for Chinese Music Research: Newsletter 5:14-15.

1990 “‘Felling the Ancient Sweetgum’: Antiphonal Epics of the Miao of Southeast Guizhou.” Chinoperl Papers 15:27-44.

1989 “Observations on the Material Culture of the Yi of Panmao Township,    Chuxiong Prefecture, Yunnan Province, China.” Anthropology: Unity in    Diversity.  Occasional Papers in Anthropology 4:77-90.

1989 “The Storyteller’s Aesthetics and ‘Song Sigong’.” Journal of the Chinese Teacher’s Association.  XXIII:55-67. (Tr. “Shuoshu ren de shengmei guan   he ‘Song Sigong’.”  In Goutong, Sung Jingyao, ed., Zhu Jing and Li    Jieyuan, trans. Guilin: Guangxi renmin chubanshe, 286-295.

1988 “Hxak Hmub: An Antiphonal Epic of the Miao of Southeast Guizhou,    China.” Contributions to Southeast Asian Ethnology 7:95-128.

1988 "The Rock: Doormat of the Dead." Shaman’s Drum 12:43-49.

1988 "Calling Back a Child’s Spirit: Folksong of the Yi People." Trans. with Fu Wei. Shaman’s Drum 13:34 (annotated.)

1987 "The Yi in Chuxiong Prefecture, Yunnan, China." The Explorers Journal 1:26-33. (translated into Chinese.)

1987 "Closing the Coffin: An Excerpt from a Bimo Funeral Chant." Trans. with Fu Wei. Shaman’s Drum 10:49. (annotated.)

1987 Mergendi, "Ominaa: The Grandest of Daur Shamanic Rites." Trans. with Shi Kun. Shaman’s Drum 9:48.

1985 Daur Folktales. Trans. with Su Huana. Beijing: New World Press. (includes an introduction by translators.) (191 pages.)

1984 “Tan-ci, wen-ci, chang-ci.”  Chinese Literature, Essays, Articles, Reviews. 6:121-124.

1984 Elephant Trunk Hill. Trans. with Shi Kun. Foreign Languages Press, Beijing. (103 pages.)

1982 Seventh Sister and the Serpent: A Narrative Poem of the Yi People. Beijing: New World Press (includes a scholarly introduction by translator.) (65 pages.)
Reviews:

1997 The Oral Tradition of Yangzhou Storytelling by Vibeke Bordahl. In Asian Folklore Studies LVI-1: 177-178.

1997 Pingtan cidian [Dictionary of Pingtan Storytelling], edited by Wu Zongxi. In Asian Folklore Studies LVI-1: 189-190.

Video Productions:

"Guizhou Market: Guiyang, People’s Republic of China, 1992" (released in limited circulation, 1996).

"Spring Festival in Tongren, Guizhou, People’s Republic of China, 1992" (released in limited circulation, 1996).
Current Activities:

Co-founder and co-editor of Cowrie: A Chinese Journal of Comparative Literature, 1983-1988 (presently on editorial board).

Bamo

Plum and Bamboo:
China's Suzhou Chantefable Tradition

Mark Bender

In the cities of the Yangzi River delta region of China, audiences sip tea in story houses while storytellers speak and sing stories accompanied by stringed instruments. The stories unfold week after week, usually revolving around a love intrigue. Plum and Bamboo is a thorough introduction to this enchanting oral narrative tradition that still flourishes in Shanghai and in Suzhou, an ancient city known as the "city of gardens."

Storytelling in China was once a major art form that rivaled opera and other performance genres. The Suzhou chantefable of today is a rich, local tradition and one of the most viable storytelling traditions in the world, with hundreds of active storytellers in the Yangzi delta region. Drawing on extensive fieldwork and an appreciation of the Chinese art, Mark Bender utilizes a folkloristic approach to provide an overview of the tradition, focusing on the contextualized performance of narrative. In addition to supplying historical and contextual background, the book examines how oral territory is opened and explored in performance.

Plum and Bamboo also features an in-depth exploration of a performance transcript of the Meng Lijun story and interlinear commentary by the storytellers; four appendixes including outlines of traditional stories, some of which are synopsized here for the first time in English; and a romanized transcript of a portion of a performance in Suzhou dialect.

"A truly important work, a major contribution to a field virtually unstudied in the West and poorly studied in China until very recently."
-- Susan Blader, associate professor of Chinese at Dartmouth College


Mark Bender is an assistant professor in the Department of East Asian Languages and Literatures at Ohio State University. His articles have appeared in numerous journals and collections.


      
June 2003
328 pages. 6 x 9 1/4 inches. 7 photographs, 2 line drawings.
Cloth, ISBN 0-252-02821-X. $44.95
Click here to buy this hardcover

-----------------------------------------------------------
E-companion to Plum and Bamboo
by Mark Bender

This section of the site is devoted to an E-companion for Mark Bender's Plum and Bamboo: China's Suzhou Chantefable Tradition, parallel to the E-companion for John Miles Foley's How to Read an Oral Poem (www.oraltradition.org/hrop/). After reading the introductory paragraphs below, you can click on the Quicktime video and become an audience for actual performances within this vibrant oral tradition of Suzhou storytelling. A link to the book's home page at the University of Illinois Press is also included.
Suzhou chantefable is a popular form of oral storytelling in the region of the Yangzi delta in the east part of China. The art combines speaking, singing, and dramatic dialogue to tell lengthy stories of love and intrigue. The stories are told by a pair of storytellers playing stringed instruments. Most stories are set in ancient China (often the Ming dynasty, 1368-1644) and concern love affairs between gifted young scholars and talented young beautiful women of upper-class families. Among these stories are Pair of Pearl Phoenixes and Jade Dragonfly. As a warm-up, lyrical ballads called "opening ballads" are sung before the main story is told. Stories are told daily in special story houses, a whole story taking two weeks to complete. Other venues include special storytelling contests and gatherings. Besides several hundred professional storytellers, many amateurs enjoy performing.

The accompanying video illustrates basic styles of Suzhou chantefable (Suzhou tanci) performance in story house and story gathering venues, as well as images of Suzhou "straight" storytelling (pinghua) featuring only one performer without musical accompaniment. Together, the arts of chantefable (tanci) and straight storytelling (pinghua) are known as pingtan. Also included is footage of a well-known Yangzhou chantefable performer in solo style. The presentation begins with a few lines of an opening ballad, followed by past and present images of performers, a visit to the Suzhou Pingtan Storytelling School, and examples of typical performance styles and contexts showing both professionals and amateurs, as described in Plum and Bamboo.


Publisher's Web site:
www.press.uillinois.edu/s03/bender.html

[ 本帖由 Bamo 于 2004-6-15 18:50 最后编辑 ]

Bamo

Mark  Bender
Associate Professor
Office Information

101 Cunz Hall
1841 Millikin Road
Columbus,  OH  43210
Phone: 614-292-1746
Fax: 614-292-3225
Email: bender.4@osu.edu   

Visit my Web site: http://people.cohums.ohio-state.edu/bender4/  

Ph.D., East Asian Languages and Literatures, 1995, The Ohio State University
M.A., East Asian Languages and Literatures, 1989, The Ohio State University
B.A., East Asian Languages and Literatures, 1980, The Ohio State University

Professor Bender specializes in traditional Chinese performance and performance related literature, as well as in Chinese certain ethnic minority cultures. He teaches Chinese and East Asian culture courses and a course in Traditional Performance in Contemporary East Asia. Bender has published on a wide variety of subjects, including Suzhou professional storytelling (pingtan) and the literature of Chinese minority cultures. He is currently editing (with Victor Mair) a collection of translations of Chinese local and ethnic folklore and oral performance. A book-length manuscript on Suzhou storytelling has been completed.  


Professional Storytelling
By Mark Bender

LOWER YANGZI STORYTELLING

Professional storytelling traditions in the Lower Yangzi Region of China date back hundreds of years. The cities of Yangzhou, Suzhou, and Hangzhou are associated with respective styles of storytelling. This page deals mostly with the Suzhou styles, known collectively as pingtan. This term, dating to the 1950's, refers to two distinct types of performance, both performed in storytelling houses. The older style is known as Suzhou pinghua ("straight narrative") and features a single performer who relates his or her tale in a combinaton of narration and dialogue without musical accompaniment. The stories usually feature tales of military heroes, bands of Robin Hood-like outlaws, and tales from Chinese history. The other style is Suzhou tanci (Suzhou chantefable), related in prosimetric form, often by a pair of performers. The stories tend to concern love affairs between "gifted scholars and beautiful ladies" (caizi jiaren). Stories are told in a mixture of dialogue, narration, and singing. The pipa-lute and the sanxian-banjo are played by the storytellers during the singing roles. Presently, both styles are performed daily in special storyhouses for audiences of middle-aged and elderly patrons, who enjoy sipping tea as they listen. Today, most stories last two weeks, two hours each day. Traditionally some pinghua stories might last a year.  (ie.Ying-ying Plays the Qin)

Publication news: A valuable resource for Suzhou pingtan appreciation and study is the newly published Pingtan wenhua cidian (Dictionary of Pingtan Culture). Edited by Wu Zongxi (who usually writes under the penname Zuo Xian) and a number of other pingtan researchers, the lengthy tome defines terms, supplies biographical information on performers, lists story houses, and provides synopses of many pingtan stories. It is the most comprehensive dictionary on the subject to date. The hefty (583 pp.) work was published in 1996 by the Hanyu da cidian chubanshe, Shanghai.

A big event in the scholarship on Lower Yangzi Delta storytelling was the publication of Vibeke Bordahl's The Oral Tradition of Yangzhou Storytelling (Nordic Institute of Asian Studies Monograph series, No. 73. Surrey: Curzon Press, 1996). The outstanding work features the professional storytelling traditions of Yangzhou concentrating on performers of Yangzhou pinghua. In late August, 1996, Prof. Bordahl and the Nordic Institute of Asian Studies brought five Yangzhou storytellers and several Yangzhou scholars to Copenhagen, Denmark for an exciting and memorable workshop on Chinese traditional performance

Bamo

                                          ***  讲座通知和说明 ***

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                           《中国少数民族口头文学的保护策略之思考》

(Some Thoughts on Strategies of Ethnic Oral Literature Preservation in China )


主讲人：马克•本德尔(Mark Bender) 博士

             美国俄亥俄州立大学东亚语言文学系副教授

             民族文学研究所口头传统研究中心特聘研究员


时  间：2004年6月17日(周四)下午4点～6点

地  点：建国门内大街5号11层西段民族文学研究所会议室(1103室)



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说明：

    这次马克带着12位学生到中国做田野调查，并到西南参加相关学术会议，路经北京，仅停留两天，行程非常紧张，白天他必须陪着学生四处走走，故讲座时间只能安排在17日(周四)下午4点至6点之间。欢迎大家参加! 在时间安排上给大家带来的不便，我们深表歉意。

    讲座形式：1) PPT演示； 2)分发提纲(Handout)； 3) 讨论
    语    言：中、英文交替

    此外，马克出发前专门发来EMAIL，说到方法论的讨论将主要在以下几个层面展开：1)“口头程式理论”，2)“表演理论”，3)“民族志诗学”，4)“芬兰学派的近期发展”，5)“文化研究”，6)叙事学理论，7)综合方法论，以及8) 讲述民族志/交流模型”等。

Professor Bender specializes in traditional Chinese performance and performance related literature, as well as in Chinese certain ethnic minority cultures. He teaches Chinese and East Asian culture courses and a course in Traditional Performance in Contemporary East Asia. Bender has published on a wide variety of subjects, including Suzhou professional storytelling (pingtan) and the literature of Chinese minority cultures. He is currently editing (with Victor Mair) a collection of translations of Chinese local and ethnic folklore and oral performance. A book-length manuscript on Suzhou storytelling has been completed.  

专此，特告。

民族文学研究所
口头传统研究中心
2004年6月15日

iel-ot

leling 于 2004-6-16 09:44 写道：
* 请代向马克•本德尔先生问候，老拙每想起同马克先生和孙景尧教授相处的那些日子，就十分愉快。并请马克先生代向黄宗泰教授致意，黄教授可能无意间提醒老拙建立学科体系的重要性，可惜如今老眼昏花，只能敲边?......

Leling先生好!

本德尔博士今天到京。我们一定转达您的问候，并将先生的“留言”告诉他。

很高兴在论坛读到您的“乐陵小枣”。

希望您能给大家介绍一下“宝卷研究”的新进展。

口传中心
2004年6月16日

1217

读了leling先生谈宝卷的文章，十分感慨。毕竟是数十年的摸索研究，信手拈来，即成文章，就像长期与古董文物打交道的人，凭感觉就能知道真假。我手边就有一本先生编辑的《中国宝卷总目》，据马西沙先生说这是目前国内最好的一部宝卷研究工具书。北师大民俗所曾在燕山出版社买了数十本《中国宝卷总目》供研究生同学使用。在此特别感谢先生泽及后学的辛勤劳动。先生发愿编写《中国说唱文学总录》，真是立大功德，对于研究资料的整理是学术基础工作，也是一般人不能干或不愿干的，先生能有此奉献精神，本人真的十分感佩。如果可能本人也想进入宝卷文献工作，到时也得登门求教先生。热诚希望从事口头传统研究的单位，能有效动用先生的智力资源，为中国学术增添贡献。