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Bannermen Tales is the first book in English to offer a comprehensive study of zidishu (bannermen tales)―a popular storytelling genre created by the Manchus in early eighteenth-century Beijing. Contextualizing zidishu in Qing dynasty Beijing, this book examines both bilingual (Manchu-Chinese) and pure Chinese texts, recalls performance venues and features, and discusses their circulation and reception into the early twentieth century.

To go beyond readily available texts, author Elena Chiu engaged in intensive fieldwork and archival research, examining approximately four hundred hand-copied and printed zidishu texts housed in libraries in Mainland China, Taiwan, Germany, and Japan. Guided by theories of minority literature, cultural studies, and intertextuality, Chiu explores both the Han and Manchu cultures in the Qing dynasty through bannermen tales, and argues that they exemplified elements of Manchu cultural hybridization in the eighteenth and nineteenth centuries while simultaneously attempting to validate and perpetuate the superiority of Manchu identity.

With its original translations, musical score, and numerous illustrations of hand-copied and printed zidishu texts, this study opens a new window into Qing literature and provides a broader basis for evaluating the process of cultural hybridization.

Elena Suet-Ying Chiu is Associate Professor of History at the University of Massachusetts, Amherst.

List of Illustrations*
Acknowledgments
Abbreviations
Note on Romanization and Transcription
Introduction
1. Zidishu in Eighteenth- and Nineteenth-Century Beijing
2. The Performance of Zidishu
3. The Manchu-Han Bilingual Zidishu
4. Zidishu Written in Han Chinese
5. The Dissemination of Zidishu Texts
Epilogue: Performance, Text, and Ethnicity
Appendix: Zidishu Texts Consulted
Bibliography
Index
* Illustrations
Tables
4.1. Zidishu adapted from Liaozhai zhiyi.
5.1. Zidishu printed by the Essence of Literature Publishing House.
5.2. Zidishu prices.
5.3. Zidishu printed by the Studio of Assembled Literati.
Figures
1.1. The cover page of the Manchu-Han bilingual text “Xunfu qu.”
2.1. The stage of the Grand Opera House in Prince Gong’s Mansion.
2.2. A three-string plucked lute.
2.3. A handwritten “Qinglou yihen” score.
2.4. The “Qinglou yihen” zidishu score in numbered musical notation.
3.1. The first page of “Xunfu qu.”
3.2. The first page of “Na pangxie.”
3.3. A partial game board for shengguan tu.
4.1. The chapter titles of Wang Jinwen’s “Yu Boya shuaiqin xie zhiyin.”
4.2. Wang Jinwen’s marginal comments on “Yu Boya shuaiqin xie zhiyin.”
4.3. Wang Jinwen’s preface to “Yu Boya shuaiqin xie zhiyin.”
5.1. The cover page and last page of “Zhuangshi jiangxiang.”
5.2. The cover page and last page of “Luo Cheng tuomeng.”
5.3. The cover page of “Hongye tishi.”
5.4. The first page of “Hongye tishi.”
5.5. The title page of “Liu gaoshou.”
5.6. The first page of “Liu gaoshou.”
5.7. “Hundred-Books” Zhang’s seal on the title page of the zidishu “Lulei yuan.”
5.8. Zidishu mulu by the Not-Unsophisticated Publishing House.
5.9. The cover page of “Ci Hu” by Accumulated Chapters Publishing House.
5.10. The cover page of “Yanhua lou” by the Studio of Assembled Literati.
5.11. The first page of Zidishu mulu.
5.12. The second page of Zidishu mulu.
5.13-4.14. The cover page and first page of Zidishu yuexuan riji.
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