Joshua Goldstein is Assistant Professor of Chinese History at the University of Southern California.

• List of Illustrations Acknowledgments Introduction PART ONE. (RE)FRAMING THE GENRE, 1870-1919 1. Late Qing Institutions of Peking Opera 2. From Teahouse to Playhouse 3. The Experimental Stage, 1895-1920 4. May Fourth Realism and Qi Rushan's Theory of National Drama PART TWO. PEKING OPERA TO NATIONAL DRAMA, 1920-1937 5. Landscape and Figure, Nation and Character 6. The Limits of Reform 7/ The Gendering of National Culture, Or, The Only Good Woman is a Man 8. Nationalization through Iconification Epilogue Notes Bibliography Index

Joshua Goldstein is Assistant Professor of Chinese History at the University of Southern California.

• List of Illustrations Acknowledgments Introduction PART ONE. (RE)FRAMING THE GENRE, 1870-1919 1. Late Qing Institutions of Peking Opera 2. From Teahouse to Playhouse 3. The Experimental Stage, 1895-1920 4. May Fourth Realism and Qi Rushan's Theory of National Drama PART TWO. PEKING OPERA TO NATIONAL DRAMA, 1920-1937 5. Landscape and Figure, Nation and Character 6. The Limits of Reform 7/ The Gendering of National Culture, Or, The Only Good Woman is a Man 8. Nationalization through Iconification Epilogue Notes Bibliography Index

Joshua Goldstein is Assistant Professor of Chinese History at the University of Southern California.

• List of Illustrations Acknowledgments Introduction PART ONE. (RE)FRAMING THE GENRE, 1870-1919 1. Late Qing Institutions of Peking Opera 2. From Teahouse to Playhouse 3. The Experimental Stage, 1895-1920 4. May Fourth Realism and Qi Rushan's Theory of National Drama PART TWO. PEKING OPERA TO NATIONAL DRAMA, 1920-1937 5. Landscape and Figure, Nation and Character 6. The Limits of Reform 7/ The Gendering of National Culture, Or, The Only Good Woman is a Man 8. Nationalization through Iconification Epilogue Notes Bibliography Index