Pekingi opera (Hungarian Wikipedia)

Analysis of information sources in references of the Wikipedia article "Pekingi opera" in Hungarian language version.

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22doi.org

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1wtrgreenkunqu.org

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Hsu, Dolores Menstell (1964). „Musical Elements of Chinese Opera”. The Musical Quarterly 50 (4), 439–451. o. DOI:10.1093/mq/L.4.439.
Guy, Nancy (1999). „Governing the Arts, Governing the State: Peking Opera and Political Authority in Taiwan”. Ethnomusicology 43 (3), 508–526. o, 508. o, Kiadó: Ethnomusicology, Vol. 43, No. 3. DOI:10.2307/852559.
Fei, Chunfang Faye, William Huizhu Sun (2006). „Othello and Beijing Opera: Appropriation As a Two-Way Street”. The Drama Review 50 (1), 120–133. o. DOI:10.1162/dram.2006.50.1.120.
Zha Peide, Tian Jia (1988). „Shakespeare in Traditional Chinese Operas (in Shakespeare in China)”. Shakespeare Quarterly 39 (2), 204–211. o, Kiadó: Shakespeare Quarterly, Vol. 39, No. 2. DOI:10.2307/2870631.
Brockbank, J. Philip (1988). „Shakespeare Renaissance in China (in Shakespeare in China)”. Shakespeare Quarterly 39 (2), 195–204. o, Kiadó: Shakespeare Quarterly, Vol. 39, No. 2. DOI:10.2307/2870630.
Kwok Wah Lau, Jenny (1995. ősz). „"Farewell My Concubine": History, Melodrama, and Ideology in Contemporary Pan-Chinese Cinema”. Film Quarterly 49 (1), 22–23. o.

books.google.com

Chengbei, Xu. Afternoon Tea at the Beijing Opera. Long River Press, 163. o. (2006). ISBN 978-1-59265-057-6

doi.org

dx.doi.org

Guy, Nancy A. (1995). „Peking Opera as "National Opera" in Taiwan: What's in a Name?”. Asian Theatre Journal 12 (1), 85–103. o, 85. o, Kiadó: Asian Theatre Journal, Vol. 12, No. 1. DOI:10.2307/1124469.
Huang, Jinpei (1989). „Xipi and Erhuang of Beijing and Guangdong styles”. Asian Music 20 (2), 152–195. o, Kiadó: Asian Music, Vol. 20, No. 2. DOI:10.2307/834024.
Hsu, Dolores Menstell (1964). „Musical Elements of Chinese Opera”. The Musical Quarterly 50 (4), 439–451. o. DOI:10.1093/mq/L.4.439.
Daniel S. Yang P. (1971). „Censorship: 8 Model Works”. The Drama Review 15 (2), 258–261. o, Kiadó: The Drama Review: TDR, Vol. 15, No. 2. DOI:10.2307/1144648.
Daniel S. Yang P. (1971). „Censorship: 8 Model Works”. The Drama Review 15 (2), 258. o, Kiadó: The Drama Review: TDR, Vol. 15, No. 2. DOI:10.2307/1144648.
Daniel S. Yang P. (1971). „Censorship: 8 Model Works”. The Drama Review 15 (2), 261. o, Kiadó: The Drama Review: TDR, Vol. 15, No. 2. DOI:10.2307/1144648.
Colin Mackerras: Drama and Politics in the China of the Twelfth Party Congress. Asian Theatre Journal, I. évf. 2. sz. (1984) 147. o. doi
Guy, Nancy (1999). „Governing the Arts, Governing the State: Peking Opera and Political Authority in Taiwan”. Ethnomusicology 43 (3), 508–526. o, 508. o, Kiadó: Ethnomusicology, Vol. 43, No. 3. DOI:10.2307/852559.
Perng, Ching-Hsi (1989). „At the Crossroads: Peking Opera in Taiwan Today”. Asian Theatre Journal 6 (2), 124–144. o, 124. o, Kiadó: Asian Theatre Journal, Vol. 6, No. 2. DOI:10.2307/1124455.
Chang, Huei-Yuan Belinda (1997). „A Theatre of Taiwaneseness: Politics, Ideologies, and Gezaixi”. TDR 41 (2), 111–129. o, Kiadó: TDR (1988–), Vol. 41, No. 2. DOI:10.2307/1146628.
Diamond, Catherine (1994). „Kingdom of Desire: The Three Faces of Macbeth (in Report)”. Asian Theatre Journal 11 (1), 114–133. o, 114. o, Kiadó: Asian Theatre Journal, Vol. 11, No. 1. DOI:10.2307/1124387.
Wichmann-Walczak, Elizabeth (2000). „"Reform" at the Shanghai Beijing Opera Company and Its Impact on Creative Authority and Repertory”. TDR 44 (4), 96–119. o. DOI:10.1162/10542040051058500.
Banu, Georges, Ella L. Wiswell, June V. Gibson (1986). „e=3”. Asian Theatre Journal 3 (2), 153–178. o, 153. o, Kiadó: Asian Theatre Journal, Vol. 3, No. 2. DOI:10.2307/1124399.
Chang, Donald, John D. Mitchell, Roger Yeu (1974). „How the Chinese Actor Trains: Interviews with Two Peking Opera Performers (in Asian Theatre Traditions)”. Educational Theatre Journal 26 (2), 183–191. o, 183. o, Kiadó: Educational Theatre Journal, Vol. 26, No. 2. DOI:10.2307/3206634.
F. S. Yang, Richard (1984). „The Performing Arts in Contemporary China (in Book Reviews)”. Asian Theatre Journal 1 (2), 230–234. o, 230. o, Kiadó: Asian Theatre Journal, Vol. 1, No. 2. DOI:10.2307/1124569.
Goldstein, Joshua (1999). „Mei Lanfang and the Nationalization of Peking Opera, 1912–1930”. East Asian Cultures Critique 7 (2), 377–420. o. DOI:10.1215/10679847-7-2-377.
Der-wei Wang, David (2003). „Impersonating China (in Essays and Articles)”. Chinese Literature: Essays, Articles, Reviews (CLEAR) 25, 133–163. o, Kiadó: Chinese Literature: Essays, Articles, Reviews (CLEAR), Vol. 25. DOI:10.2307/3594285.
Chen, Jingsong (1997). „To Make People Happy, Drama Imitates Joy: The Chinese Theatrical Concept of Mo”. Asian Theatre Journal 14 (1), 38–55. o, 38. o, Kiadó: Asian Theatre Journal, Vol. 14, No. 1. DOI:10.2307/1124084.
Fei, Chunfang Faye, William Huizhu Sun (2006). „Othello and Beijing Opera: Appropriation As a Two-Way Street”. The Drama Review 50 (1), 120–133. o. DOI:10.1162/dram.2006.50.1.120.
Zha Peide, Tian Jia (1988). „Shakespeare in Traditional Chinese Operas (in Shakespeare in China)”. Shakespeare Quarterly 39 (2), 204–211. o, Kiadó: Shakespeare Quarterly, Vol. 39, No. 2. DOI:10.2307/2870631.
Brockbank, J. Philip (1988). „Shakespeare Renaissance in China (in Shakespeare in China)”. Shakespeare Quarterly 39 (2), 195–204. o, Kiadó: Shakespeare Quarterly, Vol. 39, No. 2. DOI:10.2307/2870630.
Rodríguez, Héctor (1998. November). „Questions of Chinese Aesthetics: Film Form and Narrative Space in the Cinema of King Hu”. Cinema Journal 38 (1), 73–97. o, Kiadó: Cinema Journal, Vol. 38, No. 1. DOI:10.2307/1225736.

jhu.edu

muse.jhu.edu

Goldstein, Joshua (1999). „Mei Lanfang and the Nationalization of Peking Opera, 1912–1930”. East Asian Cultures Critique 7 (2), 377–420. o. DOI:10.1215/10679847-7-2-377.

jstor.org

Elizabeth Wichmann: Tradition and Innovation in Contemporary Beijing Opera Performance. TDR, XXXIV. évf. 1. sz. (1990) 146–178. o.
Nancy A. Guy: The Appreciation of Chinese Opera: A Reply to Ching-Hsi Perng. Asian Theatre Journal, VII. évf. 2. sz. (1990) 254–259. o.
Guy, Nancy A. (1995). „Peking Opera as "National Opera" in Taiwan: What's in a Name?”. Asian Theatre Journal 12 (1), 85–103. o, 85. o, Kiadó: Asian Theatre Journal, Vol. 12, No. 1. DOI:10.2307/1124469.
Huang, Jinpei (1989). „Xipi and Erhuang of Beijing and Guangdong styles”. Asian Music 20 (2), 152–195. o, Kiadó: Asian Music, Vol. 20, No. 2. DOI:10.2307/834024.
Daniel S. Yang P. (1971). „Censorship: 8 Model Works”. The Drama Review 15 (2), 258–261. o, Kiadó: The Drama Review: TDR, Vol. 15, No. 2. DOI:10.2307/1144648.
Daniel S. Yang P. (1971). „Censorship: 8 Model Works”. The Drama Review 15 (2), 259 doi=10.2307/1144648. o, Kiadó: The Drama Review: TDR, Vol. 15, No. 2.
Daniel S. Yang P. (1971). „Censorship: 8 Model Works”. The Drama Review 15 (2), 258. o, Kiadó: The Drama Review: TDR, Vol. 15, No. 2. DOI:10.2307/1144648.
Daniel S. Yang P. (1971). „Censorship: 8 Model Works”. The Drama Review 15 (2), 261. o, Kiadó: The Drama Review: TDR, Vol. 15, No. 2. DOI:10.2307/1144648.

tyfo.com

china.tyfo.com

Unknown Author: Peking Opera. It's China Network - TYFO.COM, 2000. [2007. június 7-i dátummal az eredetiből archiválva].

waybackmachine.org

replay.waybackmachine.org

Unknown Author: Peking Opera. It's China Network - TYFO.COM, 2000. [2007. június 7-i dátummal az eredetiből archiválva].

web.archive.org

Wilson, Charles, Hans Frankel: What is Kunqu Theatre?. Wintergreen Kunqu Society, 2006. [2011. június 15-i dátummal az eredetiből archiválva]. (Hozzáférés: 2011. június 26.)

wtrgreenkunqu.org

Wilson, Charles, Hans Frankel: What is Kunqu Theatre?. Wintergreen Kunqu Society, 2006. [2011. június 15-i dátummal az eredetiből archiválva]. (Hozzáférés: 2011. június 26.)