The Global White Snake

Luo, Liang

doi:doi:10.3998/mpub.11901257

The Global White Snake

Liang Luo

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Overview
Contents

The Global White Snake examines the Chinese White Snake legends and their extensive, multidirectional travels within Asia and across the globe. Such travels across linguistic and cultural boundaries have generated distinctive traditions as the White Snake has been reinvented in the Chinese, Japanese, Korean, and English-speaking worlds, among others. Moreover, the inter-Asian voyages and global circulations of the White Snake legends have enabled them to become repositories of diverse and complex meanings for a great number of people, serving as reservoirs for polyphonic expressions ranging from the attempts to consolidate authoritarian power to the celebrations of minority rights and activism.

The Global White Snake uncovers how the White Snake legend often acts as an unsettling narrative of radical tolerance for hybrid sexualities, loving across traditional boundaries, subverting authority, and valuing the strange and the uncanny. A timely mediation and reflection on our contemporary moment of continued struggle for minority rights and social justice, _The Global White Snake _revives the radical anti-authoritarian spirit slithering under the tales of monsters and demons, love and lust, and reminds us of the power of the fantastic and the fabulous in inspiring and empowering personal and social transformations.

"This splendid book is the most thorough and enthusiastic study of the White Snake legend in its diverse forms across a global media landscape: from Chinese operas, Japanese anime, Asian films, to stage adaptations in the U.S. The more widely the legend about this seductive deity travels and is transformed in different cultural transformations, the more subversive and transgressive its message becomes. Reading this well researched account is as spellbinding."

—Leo Ou-fan Lee, author of Shanghai Modern: The Flowering of a New Urban Culture in China, 1930–1945

"In the Chinese legend of the White Snake, woman is not seduced by the snake but is herself the snake. Originating as a very local legend on the deadly dangers of seduction and infatuation, the story grew into one of China's most popular love stories that allowed its adapters past and present to explore all possibilities of the relations between the sexes. The story also spread widely throughout East Asia and beyond. In this richly illustrated monograph Liang Luo studies the continuous developments of the legend in print, on stage, in cinema, and in digital media in China, Taiwan, Hong Kong, Korea, and Japan as well as Southeast Asia and Northern America from the late nineteenth century to the 2010s, offering an engrossing and highly original window onto the imagination of the Other in East and West."

—Wilt L. Idema, author of The White Snake and Her Son: A Translation of the Precious Scroll of Thunder Peak with Related Texts

"This rigorous and exciting study presents a folk narrative and its transmutations that will provoke new theoretical directions for examining the relations between traditional and tradition-inspired narrative. The Global White Snake brings together the relevant sources, versions, and theory that will show readers a clear idea of the White Snake narrative tradition and its meanings in various literary, performative, and social contexts. The compelling, stimulating, fascinating scholarship will deepen and expand readers' understanding of the Chinese vernacular literary/live-performance traditions, as well as the emerging means of transmission and creativity in virtual, online, digital formats."

—Mark Bender, author of The Nuosu Book of Origins: A Creation Epic from Southwest China

"In Liang Luo, the beloved White Snake has found her bard for her numerous retellings and variants across the centuries from folk legend to the Shanghai screen, television, internet animation, feminist novel, and riotous musicals an

Citable Link

Published: 2021

Publisher: University of Michigan Press

ISBN(s)

978-0-472-03860-2 (paper)
978-0-472-13261-4 (hardcover)
978-0-472-12915-7 (ebook)

Series

China Understandings Today

Subject

Resources

Liang Luo's Chinese seal

From Title page

A medium close-up view of an animation character in ink painting animation style. She has long black hair and is wearing a traditional Chinese robe. She is facing the audience with her left hand stretched out into midair.

Little White in White Snake: The Legend Begins

From Chapter 1

Figure 1: White Snake struggles to reach for Ah Xuan in an ink painting animation style. In White Snake: The Legend Begins (Baishe: yuanqi), directed by Amp Wong and Zhao Ji. Light Chaser Animation Studios and Warner Bros., 2019, 2:08. Screenshot by author. Courtesy of Light Chaser Animation.

Left: A woodblock print showing a figure riding on a cloud and bidding farewell to two other figures in a mountainous setting. One sits in front, and the other stands behind. Right: A woodblock print showing a court scene, with a judge sitting behind a desk and the plaintiff kneeling in front and pleading, with a figure standing on each side of the plaintiff.

(left) Traces of the Immortal in The Righteous Snake; (right) Sent to Exile in The Righteous Snake

From Chapter 2

Figure 2: (left) “Traces of the Immortal” (Xianzong); (right) “Sent into Exile” (Fanpei). Both in The Complete Illustrated Righteous Snake (Xiuxiang Yiyao quanzhuan), based on a manuscript by Chen Yuqian, edited by Chen Shiqi and Yu Xiushan, 1809, 1–2. Full-text available at Waseda University Library: http://archive.wul.waseda.ac.jp/kosho/he19/he19_03304/.

A black-and-white photo of a bird’s-eye view of a city, with a bridge spanning the right side of the photo.

The City—A Bird’s-Eye View

From Chapter 2

Figure 3: “The City—A Bird’s-Eye View.” In Frederick D. Cloud, Hangchow, the “City of Heaven” (Shanghai: Presbyterian Mission Press, 1906), after p. 10. Full-text available at https://archive.org/details/hangchowcityofhe00clourich/mode/2up.

A Lake Scene

From Chapter 2

Figure 4: “A Lake Scene.” In Frederick D. Cloud, Hangchow: the “City of Heaven” (Shanghai: Presbyterian Mission Press, 1906), after p. 40. Full-text available at https://archive.org/details/hangchowcityofhe00clourich/mode/2up.

A black-and-white photo showing an old pagoda in the background to the right, an dilapidated pavilion in front to the left. A figure holding an umbrella stands to its right.

Thunder Peak Pagoda

From Chapter 2

Figure 5: “Thunder Peak Pagoda.” In Frederick D. Cloud, Hangchow: the “City of Heaven” (Shanghai: Presbyterian Mission Press, 1906), after p. 42. Full-text available at https://archive.org/details/hangchowcityofhe00clourich/mode/2up.

A black-and-white photo showing a single-sail boat on a canal, with a few more single-sail boats in the background. A large American flag hangs on a flagpole from another boat.

On the Grand Canal

From Chapter 2

Figure 6: “On the Grand Canal.” In Frederick D. Cloud, Hangchow: the “City of Heaven” (Shanghai: Presbyterian Mission Press, 1906), after p. 88. Full-text available at https://archive.org/details/hangchowcityofhe00clourich/mode/2up.

A black-and-white photo showing a bridge over a canal, with more than a dozen figures on the bridge. The shadows of the bridge and the people are reflected in the water below the bridge.

A Canal Bridge Near Hangchow

From Chapter 2

Figure 7: “A Canal Bridge near Hangchow.” In Frederick D. Cloud, Hangchow: the “City of Heaven” (Shanghai: Presbyterian Mission Press, 1906), before p. 103. Full-text available at https://archive.org/details/hangchowcityofhe00clourich/mode/2up.

An illustration of a fighting scene on stage. A female figure in a fighting pose waves two long swords in the air. Two figures with weapons in each hand are chasing her from the right. A third figure is standing on a desk observing the fight.

Jiuxian dan performing Xionghuang zhen

From Chapter 2

Figure 8: “Jiuxian dan performing Reaglar Trap” (Jiuxian dan zhi Xionghuang zhen). Illustration by Liu Chun, in “Best Plays of the Theater Circle in the Past Thirty Years” (Sanshi nianlai lingjie zhi nashouxi) series, Illustrated Daily (Tuhua ribao), no. 291 (1910): 8.

An illustration of a stage scene. A young man in an official robe is kneeling and crying in front of an altar, with four figure standing behind, each holding a flag. A female figure with handcuffs is standing behind the altar, with a martial male figure to her right.

Wang Jiuzhi performing Leifengta

From Chapter 2

Figure 9: “Wang Jiuzhi performing Thunder Peak Pagoda” (Wang Jiuzhi zhi Leifengta). In “Best Plays of the Theater Circle in the Past Thirty Years” (Sanshi nianlai lingjie zhi nashouxi) series, Illustrated Daily (Tuhua ribao), no. 333 (1910): 6.

An illustration of a stage scene. In the upper right, a giant snake with a long, forked tongue is sticking out its head from a bed curtain. In the lower left, a man in a traditional robe is leaning heavily backwards and is about to fall on his back.

Xia Yueshan’s complete version of The Legend of the White Snake at New Stage tonight

From Chapter 2

Figure 10: “Xia Yueshan’s complete version of Legend of White Snake at New Stage tonight” (Jinwan Xin Wutai Xia Yueshan quanben Baishe zhuan). Theater Illustrated (Tuhua jubao), May 5, 1913, 2.

A close-up of an article printed in a Chinese newspaper. It is written in Chinese characteres and should be read vertically, from left to right.

On Mei Lanfang’s Legend of White Snake

From Chapter 2

Figure 11: “On Mei Lanfang’s Legend of the White Snake” (Mei Lanfang zhi Baishe zhuan). Review by Shiyan, in Theater Illustrated (Tuhua jubao), November 15, 1913, 3.

An illustration of a Peking opera actress posing in her costume. She is wearing an elaborate headpiece, with her right hand holding a horsewhip in midair, and her left hand stretching out to hold one of the two long scarves connected to her headpiece.

Fen Juhua performing Reaglar Trap

From Chapter 2

Figure 12: “Fen Juhua performing Reaglar Trap” (Fen Juhua zhi Xionghuang zhen). Illustration by Ding Na, in Grand World (Da Shijie), September 2, 1919, 2.

A page full of advertisements from a Chinese newspaper. It features headlines in Chinese and two photos.

A page from Shenbao (Shanghai News)

From Chapter 2

Figure 13: A page of Shanghai News (Shenbao) during the Dragon Boat Festival (Duanwu jie), June 21, 1939, 5. It includes an article titled “Theatre Stages Compete to Perform Legend of White Snake” (“Wutai jingyan Baishe zhuan”) and advertisements for various theater performances of Legend of White Snake and Thunder Peak Pagoda (Leifengta), including at Crystal Theater (Huangjin daxiyuan).

A black-and-white photo featuring a few dozen people climbing a large mound. A small oval-framed image of a pagoda is inserted to the left of the photo, showing a “before” view of the now collapsed pagoda.

The Collapse of the Thunder Peak Pagoda, a Great View by the West Lake

From Chapter 3

Figure 14: “The Collapse of the Thunder Peak Pagoda, a Great View by the West Lake” (Xihu shengji Leifengta zhi bengtui). The Eastern Miscellany (Dongfang zazhi) 21, no. 18 (September 25, 1924): 1.

A long-view drawing of a pagoda by the side of a lake, showing rolling hills. The shadow of the pagoda is seen in the lake water.

Memories of Thunder Peak

From Chapter 3

Figure 15: “Memories of Thunder Peak” (Leifeng huiyi). Drawing by Feng Zikai, in Yu Pingbo, Yanzhi cao (Beijing: Zhongguo wenlian chuban gongsi, [1930] 1998), unpaginated.

A section of an illustrated news weekly featuring the title piece and a collage of eight photos. The top two photos show a close view and a long view of the same pagoda. The lower left photos feature a portrait, a view of the Great Wall of China, and two views of street fights. One photo in the lower right feature a pagoda and the other the pagoda in ruins.

Thunder Peak Pagoda after its Sudden Collapse

From Chapter 3

Figure 16: “Thunder Peak Pagoda after Its Sudden Collapse” (Turan qingdao zhi Leifengta) in context. By Mr. C. Y. T, Pictorial Weekly of the Eastern Times (Shibao tuhua zhoukan), no. 220, October 5, 1924.

A line drawing of a pagoda in the midst of collapse. Pieces of broken bricks are flying in midair as the pagoda falls.

Thunder Peak Pagoda at the West Lake Fell for No Reason

From Chapter 3

Figure 17: “Thunder Peak Pagoda at the West Lake Fell for No Reason” (Xihu Leifengta wuduan tanhui). In Complete Collection of Paintings on Jiang-Zhe and Zhi-Feng Wars (Jiang Zhe Zhi Feng xuezhan huabao daquan) 4 (October 7, 1924): 9.

Left: A black-and-white photo featuring a pagoda in the background, surrounded by trees and grass, with a small group of people gathered in front. Right: A black-and-white photo of a huge brick mound taking up most of the frame, with more than a dozen people standing on top of the mound, and two figures standing in front of it, one facing the camera, the other facing the mound.

Thunder Peak Pagoda Before Collapsing

From Chapter 3

Figure 18: (left) “Thunder Peak Pagoda before Collapsing” (Weidao zhi Leifengta); (right) “Thunder Peak Pagoda after Collapsing” (Yidao zhi Leifengta). Both in Railway Bulletin: Shanghai-Nanjing and Shanghai-Ningbo Route (Tielu gongbao: Hu Ning-Hu Hang Yong xian), no. 150 (October 31, 1924): 4–5.

Left: A black-and-white photo taken from inside a pagoda, showing two figures standing in front of it, with their silhouettes framed by the triangular archway formed by the opening of the pagoda. Right: A black-and-white photo showing a boatman rowing his boat and entering the archway under a bridge.

(left) Under the Crotch of the Thunder Peak Pagoda; (right) Rowing to Return

From Chapter 3

Figure 19: (left) “Under the Crotch of the Thunder Peak Pagoda” (Leifengta zhi kuaxia). Photograph by Ding Huikang, Shanghai Pictorial (Shanghai ribao), no. 6, unpaginated; (right) “Rowing to Return” (Guizhao). Photograph by Ding Huikang, The Pictorial Weekly of the Eastern Times (Tuhua shibao), no. 256 (April 19, 1925): 7.

University of Michigan Press
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The Global White Snake

Overview

Contents

Resources

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Section

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Year

Liang Luo's Chinese seal

Little White in White Snake: The Legend Begins

(left) Traces of the Immortal in The Righteous Snake; (right) Sent to Exile in The Righteous Snake

The City—A Bird’s-Eye View

A Lake Scene

Thunder Peak Pagoda

On the Grand Canal

A Canal Bridge Near Hangchow

Jiuxian dan performing Xionghuang zhen

Wang Jiuzhi performing Leifengta

Xia Yueshan’s complete version of The Legend of the White Snake at New Stage tonight

On Mei Lanfang’s Legend of White Snake

Fen Juhua performing Reaglar Trap

A page from Shenbao (Shanghai News)

The Collapse of the Thunder Peak Pagoda, a Great View by the West Lake

Memories of Thunder Peak

Thunder Peak Pagoda after its Sudden Collapse

Thunder Peak Pagoda at the West Lake Fell for No Reason

Thunder Peak Pagoda Before Collapsing

(left) Under the Crotch of the Thunder Peak Pagoda; (right) Rowing to Return

The Global White Snake

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