Cover
Title Page
Copyright
Contetns
Acknowledgments
Introduction: Worlding Literary China
1635; 1932, 1934. The Multiple Beginnings of Modern Chinese “Literature”
1650, July 22. Dutch Plays, Chinese Novels, and Images of an Open World
1755. The Revival of Letters in Nineteenth-Century China
1792. Legacies in Clash. Anticipatory Modernity versus Imaginary Nostalgia
1807, September 6. Robert Morrison’s Chinese Literature and Translated Modernity
1810. Gongyang Imaginary and Looking to the Confucian Past for Reform
1820. Flowers in the Mirror and Chinese Women: “At Home in the World”
1820, Beijing. Utter Disillusion and Acts of Repentance in Late Classical Poetry
1843, The Second Half of June. In Search of a Chinese Utopia: The Taiping Rebellion as a Literary Event
1847, January 4. My Life in China and America and Transpacific Translations
1852, 1885. Two Chinese Poets Are Homeless at Home
1853. Foreign Devils, Chinese Sorcerers, and the Politics of Literary Anachronism
1861. Women Writers in Early Modern China
1862, October 11. Wang Tao Lands in Hong Kong
1872, October 14. Media, Literature, and Early Chinese Modernity
1873, June 29. The Politics of Translation and the Romanization of Chinese into a World Language
1884, May 8. In Lithographic Journals, Text and Image Flourish on the Same Page
1890, Fall. Lives of Shanghai Flowers, Dialect Fiction, and the Genesis of Vernacular Modernity
1895, May 25. The “New Novel” before the Rise of the New Novel
1896, April 17. Qiu Fengjia and the Poetics of Tears
1897. Language Reform and Its Discontents
1899. Oracle Bones, That Dangerous Supplement ...
1900, February 10. Liang Qichao’s Suspended Translation and the Future of Chinese New Fiction
1900, Summer and Fall. Fallen Leaves, Grieving Cicadas, and Poetic Mourning after the Boxer Rebellion
1901. Eliza Crosses the Ice—and an Ocean—and Uncle Tom’s Cabin Arrives in China
1903, September. Sherlock Holmes Comes to China
1904, August 19. Imagining Modern Utopia by Rethinking Ancient Historiography
1905, January 6. Wen and the “First History(-ies) of Chinese Literature”
1905. Münchhausen Travels to China
1906, July 15. Zhang Taiyan and the Revolutionary Politics of Literary Restoration
1907, June 1. Global Theatrical Spectacle in Tokyo and Shanghai
1907, July 15. The Death of China’s First Feminist
1908, February; 1908, November. From Mara to Nobel
1909, November 13. A Classical Poetry Society through Revolutionary Times
1911, April 24; 1911. Revolution and Love
1913; 2011, May. The Book of Datong as a Novel of Utopia
1916, August 23, New York City. Hu Shi and His Experiments
1916, September 1. Inventing Youth in Modern China
1918, April 2. Zhou Yucai Writes “A Madman’s Diary” under the Pen Name Lu Xun
1918, Summer. Modern Monkhood
1919, May 4. The Big Misnomer: “May Fourth Literature”
1921, November 30. Clinical Diagnosis for Taiwan
1922, March. Turning Babbitt into Bai Bide
1922, Spring. Xiang Kairan’s Monkey
1922, December 2. New Culture and the Pedagogy of Writing
1924, April 12. Xu Zhimo and Chinese Romanticism
1924, May 30. Enchantment with the Voice
1925, June 17. Lu Xun and Tombstones
1925, November 9. Mei Lanfang, the Denishawn Dancers, and World Theater
1927, June 2; 1969, October 7. “This Spirit of Independence and Freedom of Thought ... Will Last for Eternity with Heaven and Earth”
1927, June 4. The Legend of a Modern Woman Writer of Classical Verse
1927, August 23. Ba Jin Begins to Write Anarchist Novels
1928, January 16. Revolution and Rhine Wine
1928. Genealogies of Romantic Disease
1929, September. Gender, Commercialism, and the Literary Market
1929. The Author as Celebrity
1930, October. Practical Criticism in China
1930, October 27. Invitation to a Beheading
1931, February 7. The Chinese League of Left-Wing Writers, 1930–1936
1932. Hei Ying’s “Pagan Love Song”
1934, January 1; 1986, March 20. Roots of Peace and War, Beauty and Decay, Are Sought in China’s Good Earth
1934, October–1936, October. Recollections of Women Soldiers on the Long March
1935, March 8. On Language, Literature, and the Silent Screen
1935, June 18. The Execution of Qu Qiubai
1935, July 28 and August 1. The Child and the Future of China in the Legend of Sanmao
1935, December 21. Crossing the River and Ding County Experimental Theater
1936, May 21. One Day in China
1936, October. Resonances of a Visual Image in the Early Twentieth Century
1936, October 19. Lu Xun and the Afterlife of Texts
1937, February 2. Cao Yu and His Drama
1937, Spring. A Chinese Poet’s Wartime Dream
1937, November 18; 1938, February 28. William Empson, W. H. Auden, and Modernist Poetry in Wartime China
1939, October 15. The Lost Novel of the Nanjing Massacre
1940, September 3. The Poetics and Politics of Neo-Sensationism
1940, December 19. Between Chineseness and Modernity: The Film Art of Fei Mu
1940–1942. Chinese Revolution and Western Literature
1941, December 25. Eileen Chang in Hong Kong
1942, January 22; 2014, Fall. In War She Writes
1942, March 16. Taiwan’s Genius Lü Heruo
1942, May 2–May 23. The Cultural and Political Significance of Mao Zedong’s: Talks at the Yan’an Forum on Literature and Art
1943, April. The Genesis of Peasant Revolutionary Literature
1944, November 14. The North Has Mei Niang
1945, August 1. Ideologies of Sound in Chinese Modernist Poetry
1945, August 29. The Enigma of Yu Dafu and Nanyang Literature
1946, July 15. On Literature and Collaboration
1947, February 28. On Memory and Trauma: From the 228 Incident to the White Terror
1947. The Socratic Tradition in Modern China
1948, October; 2014, February. The Life of a Chinese Literature Textbook
1949, March 28. Shen Congwen’s Journey: From Asylum to Museum
1949, 1958. A New Time Consciousness: The Great Leap Forward
1951, September; 1952, September. The Genesis of Literary History in New China
1952, March 18. Transnational Socialist Literature in China
1952, July. A Provocation to Literary History
1952, October 14. Salvaging Chinese Script and Designing the Mingkwai Typewriter
Late 1953. Lao She and America
1954, September 25–November 2. The Emergence of Regional Opera on the National Stage
1955, May. Lu Ling, Hu Feng, and Literary Persecution
1955. Hong Kong Modernism and I
1956. Zhou Shoujuan’s Romance à la Mandarin Ducks and Butterflies
1956; 1983, September 20. Orphans of Asia
1957, June 7. Sino-Muslims and China’s Latin New Script: A Reunion between Diaspora and Nationalism
1958, June 20. A Monumental Model for Future Perfect Theater
1958. Mao Zedong Publishes Nineteen Poems and Launches the New Folk Song Movement
1959, February 28. On The Song of Youth and Literary Bowdlerization
1960, October. Hunger and the Chinese Malaysian Leftist Narrative
1962, June. Three Ironic Moments in My Mother Ru Zhijuan’s Literary Career
1962–1963. The Legacies of Jaroslav Průšek and C. T. Hsia
1963, March 17. Fu Lei and Fou Ts’ong: Cultural Cosmopolitanism and Its Price
1964. The “Red Pageant” and China’s First Atomic Bomb
1965, July 14. Red Prison Files
1966, October 10. Modernism versus Nativism in 1960s Taiwan
1967, April 1. The Spector of Liu Shaoqi
1967, May 29. The Red Lantern: Model Plays and Model Revolutionaries
1967. Jin Yong Publishes The Smiling, Proud Wanderer in Ming Pao
1970. The Angel Island Poems: Chinese Verse in the Modern Diaspora
1972, 1947. In Search of Qian Zhongshu
1972–1973, 2000. A Subtle Encounter: Tête-bêche and In the Mood for Love
1973, July 20. The Mysterious Death of Bruce Lee, Chinese Nationalism, and Cinematic Legacy
1974, June. Yang Mu Negotiates between Classicism and Modernism
1976, April 4.
Poems from Underground
1976. A Modern Taiwanese Innocents Abroad
1978, September 18. Confessions of a State Writer: The Novelist Hao Ran Offers a Self-Criticism
1978, October 3. Chen Yingzhen on the White Terror in Taiwan
1979, November 9. Liu Binyan and the Price of Relevance
1980, June 7; 1996, April, on an Unspecified Day. A Tale of Two Cities
1981, October 13. Food, Diaspora, and Nostalgia
1983, January 17. Discursive Heat: Humanism in 1980s China
1983, Spring. The Advent of Modern Tibetan Free-Verse Poetry in the Tibetan Language
1984, July 21–30. Literary Representation of the White Terror and Rupture in Mid-Twentieth-Century Taiwan
1985, April. Searching for Roots in Literature and Film
1986. The Writer and the Mad(wo)man
1987, September. The Birth of China’s Literary Avant-Garde
1987, December 24. Gao Xingjian’s Pursuit of Freedom in the Spirit of Zhuangzi
1988, July 1. “Rewriting Literary History” in the New Era of Liberated Thought
1989, March 26. Anything Chinese about This Suicide?
1989, May 19. The Song That Rocked Tiananmen Square
1989, September 8. Trauma and Cinematic Lyricism
1990, 1991. From the Margins to the Mainstream: A Tale of Two Wangs
1994, July 30. Meng Jinghui and Avant-Garde Chinese Theater
1995, May 8. The Death of Teresa Teng
1995, June 25. Formal Experiments in Qiu Miaojin’s “Lesbian I Ching”
1997, May 1. Modern China as Seen from an Island Perspective
1997, May 3. “The First Modern Asian Gay Novel”
1997. Hong Kong’s Literary Retrocession in Three Fantastical Novels
1997. Representing the Sinophone, Truly: On Tsai Ming-liang’s I Don’t Want to Sleep Alone
1998, March 22. The Silversmith of Fiction
1999, February. The Poet in the Machine: Hsia Yü’s Analog Poetry Enters the Digital Age
1999, March 28. Sixteen-Year-Old Han Han Roughs Up the Literary Scene
2002, October 25. Resurrecting a Postlapsarian Pagoda in a Postrevolutionary World
2004, April. Wolf Totem and Nature Writing
2006, September 30. Chinese Verse Going Viral: “Removing the Shackles of Poetry”
2007. Suddenly Coming into My Own
2008. Writer-Wanderer Li Yongping and Chinese Malaysian Literature
2008–2009. Chinese Media Fans Express Patriotism through Parody of Japanese Web Comic
2010, January 10. Ang Lee’s Adaptation, Pretense, Transmutation
2011, June 26. Encountering Shakespeare’s Plays in the Sinophone World
2012. Defending the Dignity of the Novel
2012, 2014. Minority Heritage in the Age of Multiculturalism
2013, January
5. Ye Si and Lyricism
2013, May 12, 7:30 P.M. Lightning Strikes Twice: “Mother Tongue” Minority Poetry
2066. Chinese Science Fiction Presents the Posthuman Future
Contributors
Illustration Credits
Index