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This book is in the Cambria Sinophone World Series, headed by Victor Mair (University of Pennsylvania).*Includes color images.Although studies of collectors and collections are on the rise, the collector in China with not only the largest number of high-quality antique paintings but also the most comprehensive and scholarly record of his collection has largely been left unexamined. Pang Yuanji (1864-1949) is that collector, and this book addresses the situation. Analysis of Pang's collection reveals not only his personal taste but also how his taste was an expression of the Qing dynasty canon. As such, Pang's taste is shown to be standard for the time, and then the standard upheld in new collections abroad. When Pang's renowned collection became a source for object acquisition by U.S. collectors and museums new to Chinese art (especially Charles Lang Freer and the Freer Gallery), this taste was inevitably absorbed and disseminated through museum exhibitions and scholarly research and teaching. The inadvertent effect of this was that the new field of Chinese art history developed around the Qing canon, a canon that survived well into the latter half of the twentieth century. Knowing about Pang Yuanji and his collection thus helps readers better understand some of the forces at work in shaping Chinese art history today.This is the first study that takes the innovative and unique approach to collection analysis by quantifying Pang's collection and comparing it to a selection of contemporaneous private collectors. In doing so, it shows how their tastes and interests were all shaped by the same Qing canon. More broadly, it explains that Pang did not merely absorb this canon, but then also purposefully and systematically used it and his collection to protect China's traditions into an uncertain future.Moving from collection analysis to an examination of Pang's life, the book replaces Pang's commonplace yet reductionist identity as merchant-collector with a more nuanced understanding of his identity as social transformer. Pang's role as a modernist with a nationalist agenda becomes evident in the technological advancements and new forms of banking that he brought to his businesses, and the science-based medicine and techniques that he instituted in his hospitals. Through these, his philanthropy and civic leadership, and his renowned collection, he became a respected social and cultural figure in and outside of China. This book thus assesses his impact in his time and on the field of art history. Shaping Chinese Art History: Pang Yuanji and His Painting Collection is an important book for readers of Asian studies, art history, and museum and collections studies, and historiography.

This book probes many crucial controversies: What are Taiwan's meaningful cultural and historical connections to Japan? How do Taiwanese filmmakers and audiences feel about mainland China? How does Taiwan cinema deal with environmental issues, animal rights, human trafficking, sexuality, and the challenges facing ethnic minorities?

This study looks at a nearly invisible Chinese literary form in a comparative perspective by bringing one type of artifactuality (academic inquiry in English) to bear on a very different sort (Chinese lyricism), thereby illuminating the dynamics of the latter in the cross-light of the former.

This book is part of the Cambria Sinophone World Series, headed by Professor Victor H. Mair (University of Pennsylvania).For hundreds of years, into the twentieth century, the culture groups in the areas we now know as China, Japan, Korea, and Vietnam shared a great many political and social values, religious beliefs, and artistic and literary traditions. These common cultural features were recorded and transmitted in the same basic written language-classical or literary Chinese (known as guwen/wenyan in China, Kanbun in Japan, Hanmun in Korea, and Hánvan in Vietnam). The umbrella term for this shared language is "literary Sinitic"-a term designed to recognize the fact that although guwen/wenyan originally developed in China, it had a vibrant life of its own in other areas of East Asia (i.e., what this study terms the Sinosphere). This huge but understudied body of written documents offers extraordinarily rich resources for examining issues of cultural continuity and change in this important region of the world. Unfortunately, in the aftermath of the political and social turmoil in East Asia during the late nineteenth and early twentieth centuries, all four cultures abandoned their use of literary Sinitic. As a result, a great many documents written in this important script have been ignored, leaving a substantial gap in our understanding of the relationship between the histories and cultures of premodern East Asia. Like its companion volume, Rethinking the Sinosphere: Poetics, Aesthetics and Identity Formation, this book seeks to fill this gap.One of the primary goals of this study is to break down the intellectual and cultural barriers that have made the Sinosphere difficult to see for itself. These barriers are of two sorts. One is the academic tendency toward intense specialization; most scholars of East Asia focus on a single country, a well-defined period, and an equally well-defined discipline (linguistics, philosophy, history, literature, art, etc.). Another is the tendency of scholars to privilege the country and period they study, and to adhere closely to their disciplinary training and outlook. To break down these barriers, a group of highly accomplished scholars committed to cross-cultural comparisons and interdisciplinary perspectives have been selected for this volume, and the result is a careful and critical examination of the complex cultural interactions that took place in premodern East Asia. Among the many contributions of this study are its examination of different literary genres (including "classics," poetic primers, works for and about women, detective stories, and folksongs), its broad chronological scope (from the eleventh to the twentieth centuries), its equally extensive spatial range (including China, the Xi Xia Kingdom, Japan, Vietnam, and Korea), and its attention to "minority" cultures. Another distinctive feature of this volume is its exploration of epistemological and culture change in late-nineteenth- and early twentieth-century East Asia. Reexamining the Sinosphere: Transmissions and Transformations in East Asia will appeal not only to academic specialists in the histories, philosophies, literary and artistic traditions of East Asia, but also to instructors of college-level courses in East Asian history and culture.

*This book is part of the Cambria Sinophone World Series, headed by Professor Victor H. Mair (University of Pennsylvania).For hundreds of years, into the twentieth century, the culture groups in the areas we now know as China, Japan, Korea, and Vietnam shared a great many political and social values, religious beliefs, and artistic and literary traditions. These common cultural features were recorded and transmitted in the same basic written language-classical or literary Chinese (known as guwen/wenyan in China, Kanbun in Japan, Hanmun in Korea, and Hánvan in Vietnam). The umbrella term for this shared language is "literary Sinitic"-a term designed to recognize the fact that although guwen/wenyan originally developed in China, it had a vibrant life of its own in other areas of East Asia (i.e., what this study terms the Sinosphere). This huge but understudied body of written documents offers extraordinarily rich resources for examining issues of cultural continuity and change in this important region of the world. Unfortunately, in the aftermath of the political and social turmoil in East Asia during the late nineteenth and early twentieth centuries, all four cultures abandoned their use of literary Sinitic. As a result, a great many documents written in this important script have been ignored, leaving a substantial gap in our understanding of the relationship between the histories and cultures of premodern East Asia. Like its companion volume, Reexamining the Sinosphere: Transmissions and Transformations in East Asia, this book seeks to fill this gap.One of the primary goals of this study is to break down the intellectual and cultural barriers that have made the Sinosphere difficult to see for itself. These barriers are of two sorts. One is the academic tendency toward intense specialization; most scholars of East Asia focus on a single country, a well-defined period, and an equally well-defined discipline (linguistics, philosophy, history, literature, art, etc.). Another is the tendency of scholars to privilege the country and period they study, and to adhere closely to their disciplinary training and outlook. To break down these barriers, a group of highly accomplished scholars committed to cross-cultural comparisons and interdisciplinary perspectives have been selected for this volume, and the result is a careful and critical examination of the complex cultural interactions that took place in premodern East Asia. Among the many contributions of this study are its examination of different literary genres (including "classics," poetic primers, works for and about women, detective stories, and folksongs), its broad chronological scope (from the eleventh to the twentieth centuries), its equally extensive spatial range (including China, the Xi Xia Kingdom, Japan, Vietnam, and Korea), and its attention to "minority" cultures. Another distinctive feature of this volume is its exploration of epistemological and culture change in late-nineteenth- and early twentieth-century East Asia. Rethinking the Sinosphere: Poetics, Aesthetics, and Identity Formation will appeal not only to academic specialists in the histories, philosophies, literary and artistic traditions of East Asia, but also to instructors of college-level courses in East Asian history and culture.

This is the first comprehensive study and translation into English of Chinese literary works dealing with insects.

This book interrogates moments in the long history of East Asian writing at which turning points in the lives of texts become perceptible and assesses the transforming effect of stories, customs, and "outside" ideas on Chinese civilization over a nearly 2000-year period.

This volume assembles the research of distinguished scholars from various fields and regions, and looks at how Buddhism passed from India to Central Asia and China and Korea, and from China and Korea to Japan. But crossing is not merely geographical, hence cultural and doctrinal transformations and adaptations are also examined closely.

This unprecedented volume presents important cultural works from the borders, margins, buffer zones, transitional areas, and frontiers from within and around the mega-states of China and India, subsumed within the larger geo-political constructs of East Asia, Southeast Asia, and South Asia.

This is the first study to analyze the gendered ideologies of Chinese print media and political culture in a single work. It employs media analysis to examine the way paratexts create and reproduce gendered norms, especially through persistent material and discursive mechanisms that framed women authors and their textual production.

This book is in the Cambria Sinophone World Series (general editor: Victor H. Mair). Yecao (Wild Grass, a.k.a. Weeds), is a 1927 collection of twenty-three prose poems written by Lu Xun (1881-1936), who is China's foremost writer of the twentieth-century. The poems, written between 1924 and 1926, were first published serially in the journal Threads of Talk from 1924 to 1927. This prose poem collection -a literary masterpiece in the eyes of many- features some of Lu Xun's most complex and psychologically dense creative works; Lu Xun himself is purported to have said his "entire philosophy is contained in his Yecao." Despite the significance attributed to this collection within Lu Xun's literary corpus, until now there has not been a single comprehensive English-language study of Yecao. Part of the reason for this considerable gap in the scholarship can be attributed to the fact that fiction has been given primacy in most literary studies of Lu Xun, and prose poetry (sanwen shi) as a genre has generally not been well represented -if at all- in surveys, anthologies, and other collections of twentieth-century Chinese literature. A related cause is Yecao's generic uniqueness, which frustrates efforts to locate it within the canon of modern Chinese literature. Yecao also poses interpretive problems for its readers, because of its unprecedented experimental style (i.e., a lack of commensurability with familiar Chinese literary genres, traditional or modern) and the intricacy and variety of the prose poems, which are notable for their emotional intensity, complex paradoxical structures, symbolic density, sometimes-transparent references to contemporary historical events, and overall generic ambiguity. The combination of the above factors has led to this unique and exceptionally creative collection being frequently ignored or, at best, dealt with in a cursory and selective fashion in much of the English-language Lu Xun scholarship. This study remedies the absence of a comprehensive English-language study of Lu Xun's Yecao and is the perfect companion to the reading and study of Yecao. It is not only a useful reference work and bibliographical source but also an informative contribution to and dialogue with the extant scholarship. Most importantly, this study engages with the Yecao prose poems in a rigorous scholarly fashion while simultaneously allowing each prose poem to influence its reader and determine directions and conclusions made during the interaction of interpretation. This book deftly addresses in detail key aspects of context and content integral to interpreting Yecao. As the first English-language companion to Yecao (providing bibliographical resources, historical context, background on the prose poem genre, an elaboration of Lu Xun's mature aesthetic praxis and philosophical outlook), the book's interpretations of Lu Xun's prose poems will further aspire to bring Yecao and a psychoanalytically informed practice of close reading closer to the fore of Lu Xun studies specifically and Chinese literary studies in general.

This book is in the Cambria Sinophone World Series (General Editor: Victor H. Mair). Although numerous book-length studies of language and modernity in China and Japan can be found even in English, little has been written in any language on the question of linguistic modernity in Korea. Infected Korean Language, Purity Versus Hybridity by noted journalist and writer Koh Jongsok is a collection of critical essays about Korean language and writing situated at the nexus of modern Korean history, politics, linguistics, and literature. In addition to his journalistic and writing experience, Koh also happens to have a keen interest in language and linguistics, and he has received postgraduate training at the highest level in these subjects at the Sorbonne. This book bears witness to the trials and tribulations-historical, technical and epistemological-by which the Korean language achieved "linguistic modernity" under trying colonial and neo-colonial circumstances. In particular, Koh tackles questions of language ideology and language policy, modern terminology formation, and inscriptional practices (especially the highly politicized questions of vernacular script versus Chinese characters, and of orthography) in an informed and sensitive way. The value of Koh's essays lies in the fact that so little has been written in a critical and politically progressive vein-whether scholarly or otherwise-about the processes whereby traditional Korean inscriptional and linguistic practices became "modern". Indeed, the one group of academics from whom one would expect assistance in this regard, the "national language studies" scholars in Korea, have been so blinkered by their nationalist proclivities as to produce little of interest in this regard. Koh, by contrast, is one of precious few concerned and engaged public intellectuals and creative writers writing on this topic in an easily understandable way. Little or nothing is available in English about modern Korean language ideologies and linguistic politics. This book analyzes the linguistic legacies of the traditional Sinographic Cosmopolis and modern Japanese colonialism and shows how these have been further complicated by the continued and ever-more hegemonic presence of English in post-Liberation Korean linguistic life. It exposes and critiques the ways in which the Korean situation is rendered even more complex by the fact that all these issues have been debated in Korea in an intellectual environment dominated by deeply conservative and racialized notions of "purity", minjok (ethno-nation) and kugo or "national language" (itself an ideological formation owing in large part to Korea's experience with Japan). Koh sheds light on topics like: linguistic modernity and the problem of dictionaries and terminology; Korean language purism and the quest for "pure Korean" on the part of Korean linguistic nationalists; the beginnings of literary Korean in translation and the question of "translationese" in Korean literature; the question of the boundaries of "Korean literature" (if an eighteenth-century Korean intellectual writes a work of fiction in Classical Chinese, is it "Korean literature"?); the vexed issue of the "genetic affiliation" of Korean and the problems with searches for linguistic "bloodlines"; the frequent conflation of language and writing (i.e., of Korean and han'gul) in Korea; the English-as-Official-Language debate in South Korea; the relationship between han'gul and Chinese characters; etc. This book will be of value to those with an interest in language and history in East Asian in general, as well twentieth-century Korean language, literature, politics and history, in particular. The book will be an unprecedented and invaluable resource for students of modern Korean language and literature.

"Rethinking Chineseness: Translational Sinophone Identities in the Nanyang Literary World is the first book devoted to Sinophone Southeast Asian literature in the English-speaking world. Conceptually innovative and flawlessly written, this book makes an important contribution not only to the emergent and growing field of Sinophone studies, but also to Southeast Asian studies, Chinese studies, comparative literary studies, diaspora studies, and minority and multicultural studies. Anyone interested in questions of identity calibrated through such vectors as language, culture, history, geography, and nationality will find this book to be extremely valuable. This is an impressive accomplishment." - Professor Shu-mei Shih, University of California at Los Angeles "E. K. Tan has done magnificent work in rethinking literary and cultural politics in the context of Sinophone articulations. In Rethinking Chineseness he looks into sources drawn from the Sinophone communities in Southeast Asia, identifies indigenous and diasporic contestations, and teases out the radical elements in the contemporary debate about Chinese identities. Both historically engaged and theoretically provocative, Tan's book is a most important source for anyone interested in Chinese and Sinophone literary and cultural studies." - Professor David Der-wei Wang, Harvard University "With his illuminating historical and theoretical mapping of the concepts, from Overseas Chinese to Chinese Diaspora, Chineseness to Sinophone, E.K. Tan has done a brilliant job in this highly challenging, interdisciplinary project by weaving together discourses in various academic fields and providing an integrated cross-referential discussion. His selection of works by Singaporean and Malaysian writers fills in glaring gaps and further contributes to the richness and complexities of the notion of Sinophone literature and culture. It is a definitive basic reference in this field." - Professor Quah Sy Ren, Nanyang Technological University, Singapore

Nobel Laureate Gao Xingjian is amongst the most challenging writers of the present era. He has probed the dynamics of Chinese and European literature and developed unique strategies for the writing of seventeen plays, two novels, a collection of short stories and a collection of poems. He has also written two collections of criticism. The present collection takes the title Aesthetics and Creation from the name of the Chinese collection from which most of these essays are drawn, but it also includes some of Gao's most recent unpublished essays. University of Sydney academic Mabel Lee is the translator, and the book also includes her authoritative introductory essay that contextualizes Gao's significant position as an independent and uncompromising voice in the noisy hype of the globalized world of the present in which creative writers and artists are forced to conform with the demands of political and other group agendas, or with market forces, in order to survive. In incisive and cogently argued essays, he exposes the political dynamics of so-called "modernity" in Western literature and art, and how this has been enthusiastically embraced in China since the 1980s. In other essays he analyses traditional and modern European and Chinese notions of fiction, theatre and art, and elaborates on what aspects of writers and artists from both cultures have informed him in developing his own aesthetics in narration, performance and the visual arts. These essays testify to the extent of the cosmopolitanism of his aesthetics that both informs and are manifested in his literary and art creations. This book has importance and relevance to the general reader with an interest in literature and art as a creative human pursuit that is not demarcated by national or cultural boundaries. This book is both indispensable and inspiring reading for intellectuals and informed readers who regard themselves as citizen of the world. For academics, researchers and students engaged in the disciplines of literature and visual art studies, world literature studies, comparative literature studies, performance studies, theatre studies, cultural studies, narrative fiction studies, and studies in the history of literature and the visual arts in modern times, this book is essential and thought-provoking reading that will have many positive outcomes.This book is in the Cambria Sinophone World Series (General Editor: Victor H. Mair).

Ever since they were written in the fourteenth century, The Romance of the Three Kingdoms and The Water Margin have been considered masterpieces of traditional Chinese fiction. People from different social strata have read them and remembered their stories and characters. Since the early twentieth century, Chinese critics have regarded them as part and parcel of their country's literary heritage, offering largely positive artistic assessments even as they criticize their feudal elements. In contemporary China the popularity of the two novels has made them logical choices for adaptation, resulting, for example, in a large number of films and TV dramas based on episodes in the two novels. Given their importance in traditional Chinese literature, these two classics have garnered a tremendous amount of critical attention from scholars. However, nearly all critics have treated them as literary works, failing to explore, in a concentrated manner, their cultural values even as they acknowledge their widespread social influence. This book is not a work of literary criticism in the conventional sense. Rather, it is a cultural/ideological critique. Liu Zaifu's interest lies not in the artistry of the two novels but in the cultural values they reflect and spread. In summing up the worship of violence as the ideal in The Water Margin and the worship of trickery as the ideal in The Romance of the Three Kingdoms, Liu Zaifu uses the two novels as windows to look into certain unhealthy aspects of Chinese culture, linking the novels' enduring popularity and social impact to the Chinese national character. Liu also contrasts the two novels with other classics, such as The Classic of Mountains and Seas and The Dream of the Red Chamber, to demonstrate the multiplicity of Chinese culture. As he calls the two classics into question, he continues to carry the May Fourth critical spirit in contemporary China and expands the scope of cultural criticism. A Study of Two Classics is the first book that focuses exclusively on the cultural values of the two classics. In addition, Liu Zaifu examines how traditional commentators like Jin Shengtan and Li Zhi promoted the cultural values embedded in the two classics and how these harmful values are received and reinforced in contemporary China. He draws inspiration from May Fourth intellectuals, particularly Lu Xun, and from a wide range of works by Western scholars. For instance, he uses Oswald Spengler's notion of "pseudomorphosis" to explain the degeneration and falsification of certain values in Chinese culture. As he engages in cultural comparison either implicitly or explicitly he also asks questions about modernity and modernization. Liu's style is essayistic, which allows him to bring both erudition and personal observation into play. Originally written for a Chinese audience, this highly anticipated translated work will help English-speaking readers understand the issues a leading contemporary Chinese critic tries to address. This is a critical book for scholars and students in Asian studies and literature. This book is part of the Cambria Sinophone World Series (series editor: Victor H. Mair).

The Classic of Changes (Yi jing) is one of the most ancient texts known to human civilization, always given pride of place in the Chinese classical tradition. And yet the powerful fascination exerted by the Classic of Changes has preserved the archaic text, widely attracting readers with a continuing interest in trying to understand it as a source of reflection and guide to ordinary circumstances of human life. Its monumental influence over Chinese thought makes the text an indispensable element in any informed approach to Chinese culture.Accordingly, the book focuses on the archaic core of the Classic of Changes and proposes a structural anthropological analysis for two main reasons. First, unlike many treatments of the Yi jing, there is a concern to place the text carefully in the context of the ancient culture which created it, allowing a fuller appreciation of its divinatory mission, a unique orientation towards writing and literature. Second, the approach differs from traditional exegesis which did not and ultimately could not address problems of textual understanding in a holistic sense. This book is not a translation of the Classic of Changes; it is a careful interpretation, or rather method of exploration, of the connectivities and topography of the text as a whole. By isolating the social forms of an individual life, against the background of the archaic cosmology, as the structural preconditions for each randomized divination, this analysis succeeds in illuminating dimensions of early Chinese life that would not otherwise be accessed through other historical or archaeological materials. This provides a penetrating anthropological view into the conditions of thought in an archaic society to a degree previously unavailable. This book is thus a bold and powerful attempt at modeling an ancient culture in a way never before conceived sociologically, a profound auto-ethnography teaching us about the philosophical anthropology of its makers and preparing the way for further understanding of later classical texts. It will be of interest to all those engaged in seeking philosophical anthropological understanding of culture and writing, and especially contributes to the study of cultures of antiquity and their modes of thought. Anyone interested in complex, formalized classification systems would want to consider this analysis.

China's recent economic growth has fed a rapid increase in the study of modern Chinese language and literature globally. In this shifting global context, authors who work on the edges of the literary empire raise important questions about the homogeneity of language, identity and culture that is produced by the modern Chinese literary canon. This book examines a key segment of this literature and asks, "What does it mean to be of Chinese descent and Chinese-speaking outside of China?" While there have been several excellent works that deal with individual Chinese authors from Malaysia, there is to date no broadly framed and comprehensive study of the body of Chinese diasporic literature emerging from this multiethnic, polylinguistic country. This neglect is surprising given the vibrant development of Chinese Malaysian literature.This book fills the gap by looking specifically at how diasporic Chinese subjects make sense of their Chinese and Malaysian identities in postcolonial Malaysia. This book will be of value to scholars and students of Chinese-language literature and culture.It will also appeal to scholars and students in the fields of Chinese and Southeast Asia studies as well as those interested in postcolonial, diaspora, migration, Asian American studies, and world literature.

"This is the best study of a single Chinese poet I have seen in decades. And the best study of Du Fu known to me. David Schneider goes beyond previous works in revealing what might be called the source of Du Fu's gravitas. What is especially refreshing is that the author, while making use of well-selected modern authorities to cast light on Du Fu's poetry, is equally careful never to embrace their "theories" fully, with the ancillary danger of anachronism which taints so much contemporary "humanities" scholarship. The combination of empathy and critical thinking here is exemplary. The author writes eloquently and clearly, and is a very fine translator indeed, and gives us some of the very finest translations of Du Fu we now possess." - Jonathan Chaves, George Washington University