Author Studies R – Z

| R | S | T | W | X | Y | Z |

 


R

Rou Shi 柔石

Bordahl, Vibeke. “Some Woman Characters in the Works of Rou Shi.” In Anna Gerstlacher, et al, eds., Women and Literature in China. Bochum: Brockmeyer, 1985.

Ru Zhijuan 茹志鹃

Hegel, Robert E. “Political Integration in Ru Zhijuan’s ‘Lilies’.” In Theodore Huters, ed., Reading the Modern Chinese Short Story. Armonk, NY: M.E. Sharpe, 1990, 92-104.

“An Interview with Ru Zhijian.” Chinese Literature 3 (March 1980): 92-99.


S

San Mao 三毛

Lang, Miriam. “San Mao Goes Shopping: Travel and Consumption in a Post-Colonial World.” East Asian History 10 (Dec. 1995): 127-64.

—–. “San Mao Makes History.” East Asian History 19 (June 2000): 145-80.

—–. San Mao and the Known World. PhD thesis. Canberra: Australian Naitonal University, 1999.

—–. “Taiwanese Romance: San Mao and Qiong Yao.” In Joshua Mostow, ed, and Kirk A. Denton, China section, ed., Columbia Companion to Modern East Asian Literatures. NY: Columbia UP, 2003, 515-19. Rpt in Kirk A. Denton, ed., Columbia Companion to Modern Chinese Literature. NY: Columbia University Press, 2016, 280-85.

—–. “San Mao and Qiong Yao: A ‘Popular’ Pair.” Modern Chinese Literature and Culture 15, 2 (Fall 2003): 76-120.

Lin Fangmei. Social Change and Romantic Ideology: The Impact of the Public Industry, Family Organization and Gender Roles on the Reception and Interpretation of Romance Fiction in Taiwan. Ph. D. diss. University of Pennsylvania, 1992.

Sha Ting 沙汀

Anderson, Marston. The Limits of Realism: Chinese Fiction in the Revolutionary Period. Berkeley: University of California Press, 1990. [final chapter]

Pin, Chih. “Sha Ting [She T’ing] the Novelist.” Chinese Literature 10 (1964): 97-104.

Wong, Kam-ming. “Animals in a Teahouse: The Art of Sha Ting’s Fiction.” In La litterature au temps de la geurre contre le Japon (1937 a 1945). Paris: Editions de la Fondation Singer-Polignac, 1982.

Sha Yexin 沙叶新

Barme, Geremie. “A Word for the Imposter–Introducing the Drama of Sha Yexin.” Renditions 19/20 (1983): 319-32.

Fong, Gilbert. “The Darkened Vision: If I Were For Real and the Movie.” In Constantine Tung and Colin Mackerras, eds., Drama in the People’s Republic of China. Albany: SUNY Press, 1987, 233-53.

Galik, Marián. “A Heavenly Assembly on the Chinese Stage: Jesus, Confucius and John Lennon.” Asian and African Studies [Bratislava] 21, 2 (2012): 152-73.

Vittinghoff, Natascha. Gesischichte der Partei entwunden: Eine semiotische Analyse des Dramas Jiang Qing und ihre Ehemanner (1991) von Sha Yexin. Dortmund: Projekt Verlag, 1995. [study of Jiang Qing and her Husbands, plus translation of the play]

—–. “History and Heroes Privatim: Transformations of the Theatrical Norm in Sha Yexin’s Historical Drama.” China Information 11, 4 (Spring, 1997): 105-16.

—–. “China’s Generation X: Rusticated Red Guards in Controversial Contemporary Plays.” In Woei Lian Chong, ed., China’s Great Proletarian Cultural Revolution: Master Narratives and Post-Mao Counternarratives. Lanham: Rowman and Littlefield, 2002, 285-318. [discusses Sha Yexin’s New Sprouts from the Borderlands, Wang Peigong’s We, and Xun Pinli’s Yesterday’s Longan Trees]

Shang Qin 商禽

Yeh, Michelle. “‘Variant Keys’ and ‘Omni-Vision’: A Study of Shang Qin.” Modern Chinese Literature 9, 2 (1996): 327-68.

Yip, Wai-lim. “At Once Beyond and Within Reality and History: Shang Qin’s Subversive Strategies.” Renditions 74 (Autumn 2010): 67-79.

Shao Xunmei 邵洵美

Bevan, Paul. A Modern Miscellany: Shanghai Cartoon Artists, Shao Xunmei’s Circle and the Travels of Jack Chen, 1926-1938. Leiden: Brill, 2016. [MCLC Resource Center review by John A. Crespi]

[Abstract: Paul Bevan explores how the cartoon (manhua) emerged from its place in the Chinese modern art world to become a propaganda tool in the hands of left-wing artists. The artists involved in what was largely a transcultural phenomenon were an eclectic group working in the areas of fashion and commercial art and design. The book demonstrates that during the build up to all-out war the cartoon was not only important in the sphere of Shanghai popular culture in the eyes of the publishers and readers of pictorial magazines but that it occupied a central place in the primary discourse of Chinese modern art history.]

Grescoe, Taras. Shanghai Grand: Forbidden Love and International Intrigue in a Doomed World. NY: St. Martins Press, 2016. 

[Abstract: On the eve of WWII, the foreign-controlled port of Shanghai was the rendezvous for the twentieth century’s most outlandish adventurers, all under the watchful eye of the fabulously wealthy Sir Victor Sassoon. Emily “Mickey” Hahn was a legendary New Yorker journalist whose vivid writing played a crucial role in opening Western eyes to the realities of life in China. At the height of the Depression, Hahn arrived in Shanghai after a disappointing affair with an alcoholic Hollywood screenwriter, convinced she will never love again. After checking in to Sassoon’s glamorous Cathay Hotel, Hahn is absorbed into the social swirl of the expats drawn to pre-war China, among them Ernest Hemingway, Martha Gellhorn, Harold Acton, and a colourful gangster named Morris “Two-Gun” Cohen. But when she meets Zau Sinmay, a Chinese poet from an illustrious family, she discovers the real Shanghai through his eyes: the city of rich colonials, triple agents, opium-smokers, displaced Chinese peasants, and increasingly desperate White Russian and Jewish refugees―a place her innate curiosity will lead her to explore first hand. Danger lurks on the horizon, though, as the brutal Japanese occupation destroys the seductive world of pre-war Shanghai, paving the way for Mao Tse-tung’s Communists rise to power.]

Hahn, Emily. Mr. Pan. London: Robert Hale, 1942. [semi-fictional accounts of Shao (Mr. Pan) that first appeared serially in The New Yorker magazine]

Hutt, Jonathan. “La Maison d’Or: The Sumptuous World of Shao Xunmei.” East Asian History 21 (June 2001): 111-42.

—–. “Monstre Sacré: The Decadent World of Sinmay Zao 邵洵美.” China Heritage Quarterly 22 (June 2010).

Imbach, Jessica. “Ghost Talk in 1936: ‘Living Ghosts’ and ‘Real Ghosts’ in Republican-Era Literary Discourse and the Two Analects Fortnightly Ghost-Story Special Issues.” Journal of Modern Literature in China 10, 1 (2014): 14-45.

Lee, Leo Ou-fan. “Decadent and Dandy: Shao Xunmei and Ye Lingfeng.” In Lee, Shanghai Modern: The Flowering of a New Urban Culture in China, 1930-1945. Cambridge: Harvard UP, 1999, 232-66.

Shao Yanxiang 邵燕祥

Hung, Yung-ku. “Shao Yen-hsiang’s Writing: The Divergent Way.” In Hualing Nieh, ed., Literature of the Hundred Flowers, Volume II: Poetry and Fiction. NY: Columbia UP, 1981, 157-62.

Shen Congwen 沈从文

Hsia, C.T. “Shen Ts’ung-wen (1902- ).” In C.T. Hsia. A History of Modern Chinese Fiction 2nd ed. New Haven: Yale University Press, 1971, 189-211, 359-66.

Huangfu, Jenny. “Roads to Salvation: Shen Congwen, Xiao Qian, and the Problem of Non-Communist Celebrity Writers, 1948-1957.” Modern Chinese Literature and Culture 22, 2 (Fall 2010): 39-87.

Kinkley, Jeffrey. “Shen Congwen’s Legacy in Chinese Literature of the 1980s.” In Ellen Widmer and David Wang, eds., From May Fourth to June Fourth: Fiction and Film in Twentiety-Century China. Cambridge: Harvard UP, 1993, 71-106.

—–. “Echoes of Maxim Gorky in the Works of Ding Ling and Shen Congwen.” In Marian Galik, ed., Interliterary and Intraliterary Aspects of the May Fourth Movement 1919 in China. Bratislava: Veda, 1990, 179-88.

—–. The Odyssey of Shen Congwen. Stanford: Stanford UP, 1987.

—–. “Shen Congwen and the Uses of Regionalism in Modern Chinese Literature.” Modern Chinese Literature 1, 2 (1985): 157-184.

—–. “Shen Ts’ung-wen’s Vision of Republican China.” Ph.D. Dissertation. Cambridge: Harvard University, 1978.

—–. “Shen Congwen and Imagined Native Communities.” Riep, Steven L. “Chinese Modernism: The New Sensationists.” In Joshua Mostow, ed, and Kirk A. Denton, China section, ed., Columbia Companion to Modern East Asian Literatures. NY: Columbia UP, 2003, 425-30. Rpt in Kirk A. Denton, ed., Columbia Companion to Modern Chinese Literature. NY: Columbia University Press, 2016, 183-88.

—–. “Shen Congwen among the Chinese Modernists.” Monumenta Serica 54 (2006): 311-41.

—–. “Shen Congwen.” In Dictionary of Literary Biography–Chinese Fiction Writers, 1900-1949. Ed. Thomas Moran. NY: Thomson Gale, 2007, 192-205.

Lee, Haiyan. “The Other Chinese: Romancing the Folk in May Fourth Native Soil Fiction.” Concentric: Literary and Cultural Studies ( special issue: “Ethics and Ethnicity”) 33, 2 (Sept. 2007): 9-34. [Deals with the works of Yang Zhensheng, Fei Ming, and Shen Congwen.]

Li, Rui. “Shen Congwen: A Different Commemoration.” Chinese Cross Currents 1, 2 (2004): 8-22. [in English and Chinese]

Lo, Man Wa. “Female Selfhood and Initiation in Shen Congwen’s The Border Town and Ding Ling’s The Girl Ah Mao.” Chinese/International Comparative Literature Bulletin 1 (1996): 20-33.

Lu, Jie. “Critiquing the City, Envisioning the Country: Shen Congwen’s Urban Fiction.” Neohelicon 37, 2 (Dec. 2010): 359-72.

MacDonald, William L. Characters and Themes in Shen Ts’ung Wen’s Fiction. Ph.D. Diss. Seattle: University of Washington, 1970.

McDougall, Bonnie. “Disappearing Women and Disappearing Men in May Fourth Narrative: A Post-Feminist Survey of Short Stories by Mao Dun, Bing Xin, Ling Shuhua and Shen Congwen.” In McDougall, Fictional Authors, Imaginary Audiences: Modern Chinese Literature in the Twentieth Century. HK: Chinese University Press, 2003, 133-70.

Nieh, Hua-ling. Shen Ts’ung-wen. Boston: Twayne, 1972.

Ng, Janet. “A Moral Landscape: Reading Shen Congwen’s Autobiography and Travelogues.” Chinese Literature: Essays, Articles, and Reviews 23 (2002): 81-102. Rpt. in Ng, The Experience of Modernity: Chinese Autobiography in the Early Twentieth Century. Ann Arbor: University of Michigan Press, 2003, 119-44.

Oakes, Timothy S. “Shen Congwen’s Literary Regionalism and the Gendered Landscape of Chinese Modernity.” Geografiska Annaler, Series B, Human Geography 77:2. 1995: 93-107.

Peng, Hsiao-yen. Antithesis Overcome: Shen Congwen’s Avant-Gardism and Primitivism. Taipei: Institute of Chinese Literature and Philosophy, Academica Sinica, 1994.

Prince, Anthony J. The Life and Works of Shen Ts’ung-wen. Ph.D. Diss. Sydney: University of Sydney, 1968.

Rabut, Isabelle. La creation litteraire chez Shen Congwen, du proces de l’histoire a l’apologie de la fiction. Ph. D. diss. Paris, 1992.

Stafutti, Stefania. “Wonderful China?–On Shen Congwen’s ‘Travelogue of Alice in China.'” In Findeisen and Gassmann, eds., Autumn Floods: Essays in Honour of Marian Galik. Bern: Peter Lang, 1997.

Stuckey, Andrew. “The Lyrical and the Local: Shen Congwen, Roots, and Temporality in the Lyrical Tradition.” In Stuckey, Old Stories Retold: Narrative and Vanishing Pasts in Modern China. Lanham, MD: Lexington Books, 2010, 83-98.

Wang, David. Fictional Realism in Twentieth-Century China: Mao Dun, Lao She, Shen Congwen. NY: Columbia UP, 1992.

—–. “Imaginary Nostalgia: Shen Congwen, Song Zelai, Mo Yan, and Li Yongping.” In Ellen Widmer and David Wang, eds., From May Fourth to June Fourth: Fiction and Film in Twentiety-Century China. Cambridge: Harvard UP, 1993, 107-132.

—–. “Lu Xun, Shen Congwen, and Decapitation.” In X. Tang and L. Kang, eds. Politics, Ideology, and Literary Discourse in Modern China: Theoretical Interventions and Cultural Critique. Durham: Duke UP, 1993, 278-99.

—–. “The Three Epiphanies of Shen Congwen.” In Wang, The Lyrical in Epic Time: Modern Chinese Intellectuals and Artists through the 1949 Crisis. NY: Columbia University Press, 2015, 79-112.

Wang, Xiaojue. “From Asylum to Museum: The Discourse of Insanity and Schizophrenia in Shen Congwen’s 1949 Transition.” Modern Chinese Literature and Culture 23, 1 (Spring 2011): 133-68.

—–. “Fragments of Modernity: Shen Congwen’s Journey from Asylum to Museum.” In Wang, Modernity with a Cold War Face: Reimagining the Nation in Chinese Literature Across the 1949 Divide. Cambridge, MA: Harvard University Asia Center, 2013, 54-107. [MCLC Resource Center review by Jeffrey C. Kinkley]

Wong, Yoon Wah. “Structure, Symbolism and Contrast in Shen Congwen’s The Border Town.” In Wong, Essays on Chinese Literature. Singapore: Singapore University Press, 1988, 67-81.

—–. “‘Fin de siecle’ in Rural China: A Study of Shen Congwen’s Decadent Story ‘The Inn.'” Asian and African Studies [Brataslava] 16, 1 (2007): 102-12.

Xiao, Jiwei. “Something Rich and Strange: Lyricism, Violence, and Woman in Shen Congwen’s Fiction.” Concentric: Literary and Cultural Studies 35, 1 (March 2008).

[Abstract: Shen’s lyricism has long been regarded as a pastoralist’s expression of nostalgia for the “lost paradise” of his hometown and of a pre-industrialized China. However, critics have discerned a darker side in Shen’s lyricism, namely, his fascination with the motifs of violence and death. This paper is an attempt to continue the discussion on the complexity of Shen’s lyricism, but from a different perspective. I observe that this lyricism is not a mere therapeutic response to destruction and cruelty. It is precisely grounded in and shaped by the sea change that took place in the early 20th century China and in the writer’s own life. One discovers an intense lyrical tension in his writings that’s derived from a paradoxical impulse to both keep the details of past brutality alive and be rid of its haunting of the present. This tension gives rise to a lyricism of violence, with which the writer is able to withstand the pull of ideology and the congealment of nostalgia into sentimentalism. In the second part of the paper, I point out that the complexity of Shen’s lyricism is also reflected in his aesthetic transfiguration of the deadly into the erotic. More frequently than those anonymous decapitated corpses that haunted the writer’s memory, dead but still desirable female figures are placed at the center of many of Shen’s fiction. While she represents the life-affirming force of Eros for the male subject, the woman herself in these stories is turned into an uncanny being: neither alive nor dead, fantastic yet frozen under the objectifying male gaze. The ideological implication of the writer’s lyricism of violence therefore gets ambiguous here.]

Yue, Gang. “Shen Congwen’s ‘Modest Proposal.'” In The Mouth that Begs: Hunger, Cannibalism, and the Politics of Eating in Modern China. Durham: Duke University Press, 1999, 101-44.

Zhu, Yanhong. Reconfiguring Chinese Modernism: The Poetics of Temporality in 1940s Fiction and Poetry. Ph. D. diss. Los Angeles: University of Southern California, 2009.

[Authors that are discussed in the dissertation include: Shen Congwen, Feng Zhi, Nine Leaves Poets (primarily Yuan Kejia and Mu Dan)].

Shen Haobo 沈浩波

Van Crevel, Maghiel. “Lower Body Poetry and Its Lineage: Disavowal, Bad Behavior and Social Concern,” in Jie Lu ed., China’s Literary and Cultural Scenes at the Turn of the 21st Century. Oxford: Routledge, 2008, 179-205. Revised as “The Lower Body: Yin Lichuan and Shen Haobo.” In van Crevel, Chinese Poetry in Times of Mind, Mayhem and Money, Leiden: Brill, 2008, 305-343.

Shen Rong 谌容

Larson, Wendy. “Women, Writers, Social Reform: Three Issues in Shen Rong’s Fiction.” In Michael S. Duke, ed., Modern Chinese Women Writers: Critical Appraisals. NY: M.E. Sharpe, Inc., 1989, 174-95.

Yang, Gladys. “Shen Rong and her Fiction.” In Yang Bian, ed., The Time is Not Ripe: Contemporary China’s Best Writers and Their Stories. Beijing: FLP, 1991, 185-92.

Shi Shuqing 施叔青

Jin, Yanyu. “Three Chinese Women Writers and the City in the 1990s.” In Kwok-kan Tam and Terry Siu-han Yip, eds., Gender, Discourse and the Self in Literature: Issues in Mainland China, Taiwan and Hong Kong. HK: The Chinese University Press, 2010, 147-57. [deals with Wang Anyi, Shi Shuqing, and Zhu Tianxin]

The Shih Shu-ching Archive (Chung-hsing University, Humanities and Social Sciences Research Center)

Shi Tiesheng 史铁生

Chen, Luying. “The Solitary Writer in She Tiesheng’s Fragments Written at the Hiatus of Illness.” Chinese Literature Today 6, 1 (2017): 68-77.

Dauncey, Sarah. “Shi Tiesheng: Writing Disability into Modern Chinese Fiction.” Chinese Literature Today 6, 1 (2017): 48-55.

Scruggs, Bert M. “Shi Tiesheng.” In Thomas Moran and Ye (Dianna) Xu, eds., Chinese Fiction Writers, 1950-2000. Dictionary of Literature Biography, vol. 370. Detroit: Thomson Gale, 2013, 201-06.

Wang, Wensheng. “In and Out of Distress: A Survival Philosophy of Shi Tie-Sheng.” In Louis Hoffman, Mark Yang, Francis J. Kaklauskas, and Albert Chan, eds. Existential Psychology East-West. Colorado Springs: University of the Rockies Press, 2009, 245-74.

Xiao, Hui Faye. “Gendered Spirituality and Acoustic Imagination: ‘Life on a String’ from Fiction to Screen.” Chinese Literature Today 6, 1 (2017): 56-67.

Shi Tuo 师陀

Dušan Andrš. “Shi Tuo’s Narrator as Central Consciousness: Short-Story Cycle Records from Orchard Town.” In Kirk A. Denton, ed., Crossing between Tradition and Modernity: Essays in Commemoration of Milena Doleželová-Velingerová (1932-2012). Prague: Karolinum, 2016, 185-200.

Day, Steven P. “Shi Tuo (Lu Fen).” In Dictionary of Literary Biography–Chinese Fiction Writers, 1900-1949. Ed. Thomas Moran. NY: Thomson Gale, 2007, 206-11.

Gunn, Edward.” Shih T’o.” In Gunn, Unwelcome Muse: Chinese Literature in Shanghai and Peking, 1937-1945. NY: Columbia UP, 1980, 77-102.

Hsia, C. T. “Shih T’o.” In Hsia, History of Modern Chinese Fiction, New Haven: Yale University Press, 1971, 461-68.

Huters, Theodore. “The Telling of Shi Tuo’s ‘The Kiss.'” In Huters, ed. Reading the Modern Chinese Short Story. Armonk: M.E. Sharpe, 1990, 74-91.

Slupski, Zbigniew. “The World of Shih T’o.” Asian and African Studies, 9 (1973): 11-28.

Zhang, Yingjin. The City in Modern Chinese Literature and Film: Configurations of Space, Time, and Gender. Stanford: SUP, 1996, 39-58. [treats Guoyuan cheng ji (the orchard town; 1946)]

Shi Zhecun 施蛰存

Chang, Kang-I Sun. “Poetry as Memoir: Shi Zhecun’s Miscellaneous Poems of a Floating Life.” Journal of Chinese Literature and Culture 3, 2 (Nov. 2016): 289-311.

[Abstract: At the age of eighty-five, writer Shi Zhecun 施蟄存 (1905–2003) recollected his long and difficult life journey in a poetic memoir, Fusheng zayong 浮生雜詠 (Miscellaneous Poems of a Floating Life). Comprising of eighty poems, this memoir focuses on the 1930s, when Shi experienced the first big storm of his life, a literary battle with the legendary writer Lu Xun 魯迅 (1881–1936). As a result, Shi lost his “space for survival” in the Shanghai literary world, but fortunately his background in both modern and traditional education provided him with resilience. Indeed, one of the appeals of Shi’s poetic memoir lies in the author’s deliberate fusing of subtle/classical sentiments with public/modern concerns. As this article demonstrates, while Shi’s poems embody an implicit metaphorical quality, his self-commentaries are often down-to-earth and self-referential, creating a tension between the two that allows the reader to have as much space for imagination as desired.

Ge, Mai. “The Modern Writer Shi Zhecun.” Tr. Chen Haiyan. Chinese Literature 4 (Win 1991): 156-161.

Hidveghyova, Elena. “The Decadent Obsession: Eros versus Celibacy in the Work of Shi Zhecun and Anatole France.” Asian and African Studies (Bratislava) 4, 1 (1995): 47-70.

Jones, Andrew F. “The Violence of the Text: Reading Yu Hua and Shi Zhicun.” positions: east asia cultures critique 2, 3 (1994): 570-602.

Lang-tan, Goat Kuei. “The European Literature of The Décadence and the so-called Modernist Chinese Short Stories from the Twenties and Thirties: Interliterary and Intraliterary Studies of Arthur Schnitzler (1862-1931), Shi Zhecun (1905- ) and Ling Shuhua (1900-1990).” In Gálik, Marián, ed., Interliterary and Intraliterary Aspects of The May Fourth Movement 1919 in China. Proceeding of the International Sinological Symposium, Smolenice Castle, March 13-17. Bratislava: Veda Publishing House of the Slovak Academy of Science, 1989,139-154.

Lee, Leo Ou-fan. “The Erotic, The Fantastic, and the Uncanny: Shi Zhecun’s Experimental Stories.” In Lee, Shanghai Modern: The Flowering of a New Urban Culture in China, 1930-1945. Cambridge: Harvard UP, 1999, 153-89.

Liu, Jianmei. “Shanghai Variations on ‘Revolution Plus Love.'” Modern Chinese Literature and Culture 14, 1 (Spring 2002): 51-92. [deals with texts by Shi Zhecun, Liu Na’ou, Mu Shiying, Zhang Ziping, and Ye Lingfeng]

McGrath, Jason, “Patching the Void: Subjectivity and Anamorphic Bewitchment in Shi Zhecun’s Fiction.” Journal of Modern Literature in Chinese 4, 2 (2001): 1-30.

Rosenmeier, Christopher John. Shanghai Avant-garde: The Fiction of Shi Zhecun, Mu Shiying, Xu Xu, and Wumingshi. Ph. D. diss. London: University of London, 2006.

—–. “Women Stereotypes in Shi Zhecun’s Short Stories.” Modern China 37 (2011): 44-68.

[Abstract: This article analyses the representation of women in two 1933 short story collections by Shi Zhecun: An Evening of Spring Rain and Exemplary Conduct of Virtuous Women. It discusses how the New Woman image was a site of contestation in Republican China, and argues that Shi Zhecun’s short stories contain four basic stereotypes: the enigmatic woman, the estranged wife, the prostitute, and the inhibited woman. Using these narratives of women and how they were perceived by men, Shi Zhecun deconstructed the New Woman image by subverting the various ways modernity was projected onto women.]

Schaefer, William. “Kumarajiva’s Foreign Tongue: Shi Zhecun’s Modernist Historical Fiction.” Modern Chinese Literature 10, 1/2 (1998): 25-70.

—–. “Projected Pasts.” In Schaefer, Shadow Modernism: Photography, Writing, and Space in Shanghai, 1925-1937. Durham: Duke University Press, 2017, 113-44.

—–. “Shanghai Savage.” In Schaefer, Shadow Modernism: Photography, Writing, and Space in Shanghai, 1925-1937. Durham: Duke University Press, 2017, 180-220.

Shih, Shu-mei. “Capitalism and Interiority: Shi Zhecun’s Tales of the Erotic-Grotesque.” In Shi, The Lure of the Modern: Writing Modernism in Semicolonial China, 1917-1937. Berkeley: University of California Press, 2001, 339-370.

Wang, Yiyan. “Venturing into Shanghai: The Flâneur in Two of Shi Zhecun’s Short Stories.” Modern Chinese Literature and Culture 19, 2 (Fall 2007): 34-70.

Xiao, Ying. “Criticism of the Contemporary Irrational Novel.” Tr. Qi Naizheng. rev. by Feng Shize and Bruce Doar [works by Mu Shiying, Shi Zhecun, Liu Na’ou, Li Jinming, Xu Xiacun and Hei Ying]. Social Sciences in China 3, 4 (Dec 1992): 63-74.

Zhang, Hongbing. “Writing ‘the Strange’ of the Chinese Modern: Sutured Body, Naturalized Beauty, and Shi Zhecun’s ‘Yaksha.'” Journal of Modern Literature in Chinese 5, 2 (2002): 29-54.

Shi Zhi 食指

Li, Hua. “Review of Winter Sun.” World Literature Today 87, no. 2 (March-April, 2013): 152-153.

Shi, Zhi. “To My American Readers.” Tr. Jonathan Stalling. Chinese Literature Today (Winter/Spring 2011): 6-12.

Zhang, Qinghua. “The Return of the Pioneer: On Shi Zhi and His Poetry.” Tr. Jonathan Stalling. Chinese Literature Today (Winter/Spring 2011): 6-12.

Shu Ting 舒婷

Chen, Zhongyi. “Afterword: Some Thoughts on Shu Ting’s Poetry.” In Shu Ting, Selected Poems. Hong Kong: Renditions Paperbacks, 1994, 131-134.

Kubin, Wolfgang. “Writing with your Body: Literature as a Wound – Remarks on the Poetry of Shu Ting.” MCL 4, 1/2 (1988): 149-62.

Swihart, De-an Wu. “Introduction.” In The Mist of My Heart: Selected Poems of Shu Ting. Tr. Gordon T. Osing and De-an Wu Swihart. Ed. William O’Donnell. Beijing: Panda Books, 1995, 5-17.

Zhang-Czirakova, Daniela. “Images of Nature and Its Symbolism in Shu Tings Poetry as a Rendering of Her Mind and Heart.” Asian and African Studies [Bratislava] 21, 2 (2012): 174-198.

Shui Jing 水晶

Cheng, Stephen. “The Jamesian Techniques in ‘Delirious Mutterings at Midnight.'” Tamkang Review 11, 1 (Fall 1980): 43-64.

Shuijing Zhulian 水晶珠琏

Shuijing Zhulian.” Poetry International.

Sima Zhongyuan 司马中原

Elvin, Mark. “The Punishment of Heaven: Sima Zhongyuan, The Bastard.” In Elvin, Changing Stories in the Chinese World. Stanford: SUP, 1997, 178-206.

—–. “Secular Karma: The Communist Revolution Understood in Traditional Terms.” In Mabel Lee, and A. D. Syrokomola-Stefanowska, eds., Modernization of the Chinese Past. Sydney: Wild Peony, 1993, 75-93.

Song Zelai 宋泽莱

Hillenbrand, Margaret. “Trauma and the Politics of Identity: Form and Function in the Fictional Narratives of the February 28th Incident.” Modern Chinese Literature and Culture 17, 2 (Fall 2005): 49-89. [deals in part with Song’s The City of Damao in Revolt]

Liao, Chaoyang. “Catastrophe and Hope: The Politics of “The Ancient Capital” and The City Where the Blood-Red Bat Descended.” Journal of Modern Literature in Chinese 4, 1 (2000): 5-34.

Catastrophe and Hope: The Politics of The Ancient Capital and The City Where the Blood-Red Bat Descended.” On-line works of Liao Chaoyang.

Martin, Helmut. “The Future of China, Taiwan and Hongkong: Perspectives Explored by Contemporary Chinese Writers.” In King-yuh Chang, ed., Ideology and Politics in Twentieth Century China. Taipei: Institute of International Relations, National Chengchi University, 1988, 174-95.

Wang, David. “Imaginary Nostalgia: Shen Congwen, Song Zelai, Mo Yan, and Li Yongping.” In Ellen Widmer and David Wang, eds., From May Fourth to June Fourth: Fiction and Film in Twentiety-Century China. Cambridge: Harvard UP, 1993, 107-132.

Su Manshu 苏曼殊

Fong, Gilbert Chee Fun. Subjectivism in Xu Zhenya (1889-193?) and Su Manshu (1884- 1918): Chinese Fiction in Transition. Ph.D. Dissertation. Toronto: University of Toronto, 1982.

Hsu, C.Y. “Su Man-shu, Poet-Monk of Genius.” Asian Culture 18, 4 (1989): 29-66.

Hu, Ying. Tales of Translation: Composing the New Woman in China, 1899-1918. Stanford: Stanford UP, 2000, 98-103.

Ip, Hung-yok. “Buddhism, Literature, and Chinese Modernity: Su Manshu’s Imaginings of Love (1911-1916).” In Kai-wing Chow, Tze-ki Hon, Hung-yok Ip, and Don Price, eds., Beyond the May Fourth Paradigm: In Search of Chinese Modernity. Lanham, MD: Lexington Books, 2008.

Lee, Leo Ou-fan. The Romantic Generation of Modern Chinese Writers. Cambridge: Harvard University Press, 1973. [contains a chapter on Su]

Liu, Jane Qian. “The Making of Transcultural Lyricism in Su Manshu’s Fiction Writing.” Modern Chinese Literature and Culture 28, 2  (Fall 2016): 43-89.

Liu Wu-chi. Su Man-shu. Boston: Twayne, 1972.

McAleavy, Henry. Su Manshu, a Sino-Japanese Genius. London: China Society, 1960.

Mori, Makiko. “Unfinished Revolution: A Paradox of Mourning Subjectivity in Su Manshu’s The Lone Swan.” Frontiers of Literary Study in China 9, 1 (2015): 104-30.

[Abstract: Su Manshu’s 苏曼殊 (1884–1918) The Lone Swan (断鸿零雁记, 1911, 1912) is best known for a sustained use of subjective voice and a thematic emphasis on tragic love. Critics have often credited the novella’s intensely tragic narrative for spearheading a new kind of literary subjectivity that became a cornerstone of modern Chinese literature as heralded by the May Fourth critics in the late 1910s and the 1920s. However, very few have examined this new subjectivity as an effect of Su’s critical engagement with a late Qing nationalist narrative. Su’s novella was an appropriation of the anti-Manchu revolutionary narrative of a nation, which hinged on a paradoxical mode of envisaging a new China through a temporal return to the past and by means of a tragic sacrifice of the individual. Following a brief analysis of Su’s early piece published in The People’s Journal (民报), this article demonstrates how The Lone Swan elaborated on an excess of individual sacrifice, while developing the new, mourning subjectivity as a witness to the unfinished revolutionary enterprise of forging a powerful nation. Su’s narrative of cultural devastation resonates with Lu Xun’s (1881–1936) late Qing work, but, in the May Fourth period that immediately followed, this sense of despair would become an unequivocal object for overcoming.]

Su Qing 苏青

Dooling, Amy. “Outwitting Patriarchy: Comic Narrative Strategies in the Works of Yang Jiang, Su Qing, and Zhang Ailing.” In Dooling, Women’s Literary Feminism in Twentieth-Century China. NY: Palgrave MacMillan, 2005, 137-70.

Su Tong 苏童

Choy, Howard Y. F. “Gastrotext: Food and the Body in the Fictions of Mo Yan, Su Tong, and Liu Heng.” In Choy, Remapping the Past: Fictions of History in Deng’s China, 1979-1997. Leiden: Brill, 2008, 188-201.

—–. “Typography and Topography: The Textual Body in the Works of Su Tong and Ge Fei.” In Choy, Remapping the Past: Fictions of History in Deng’s China, 1979-1997. Leiden: Brill, 2008, 214-27.

—–. “Maple Village and Fagrant Cedar Street: Su Tong’s Southern Decadence.” In Choy, Remapping the Past: Fictions of History in Deng’s China, 1979-1997. Leiden: Brill, 2008, 136-58.

Deppman, Hsiu-Chuang. “Body, Space, and Power: Reading the Cultural Images of Concubines in the Works of Su Tong and Zhang Yimou.” Modern Chinese Literature and Culture 15, 2 (Fall 2003): 121-53.

Knight, Deirdre Sabina. “Decadence, Revolution and Self-Determination in Su Tong’s Fiction.” Modern Chinese Literature 10, 1/2 (1998): 91-112.

—–. “Absolute Career Change.” Review of My Life as Emperor by Su Tong. Tr. Howard Goldblatt. (NY: Hyperion East, 2005). PRI’s The World (June 4, 2008).

—–. “Review of Contemporary Chinese Fiction by Su Tong and Yu Hua: Coming of Age in Troubled Times, by Hua Li” (Brill, 2011).  Journal of Asian Studies 71, 2 (2012): 528-29. 

Lafirenza, Fiorenzo. “Il personaggio “Io” in La casa dei papaveri da oppio di Su Tong: un caso di serendipit.” Asiatic Venetiana 2 (1997): 81-92.

Leenhouts, Mark. “The Contented Smile of the Writer: An Interview with Su Tong.” China Information 11, 4 (Spring 1997): 70-80.

Li, Hua. Contemporary Chinese Fiction by Su Tong and Yu Hua: Coming of Age in Troubled Times. Leiden, Boston: Brill, 2011.

[Abstract: The book explores the coming-of-age fiction of two of the most critically acclaimed and frequently translated contemporary Chinese authors, Yu Hua and Su Tong; it is the first in-depth book-length treatise in English about the contemporary Chinese Bildungsroman. Although various individual contemporary Chinese novelists and individual works of Chinese fiction have previously been discussed under the rubric of the Bildungsroman, none of these efforts has approached the level of comprehensive and comparative analysis that this book brings to the genre and its social contexts in contemporary China. This book will pique the interests not only of scholars and students of Chinese and comparative literature, but also of historians and social scientists with an interest in the region.]

—–. “A Conversation with Su Tong.” Tr. Hua Li. Chinese Literature Today 3, 1/2 (2013): 58-61.

—–. “Introduction to Su Tong.” Chinese Literature Today 3, 1/2 (2013): 51.

Lu, Tonglin. “Femininity and Masculinity in Su Tong’s Trilogy.” In Lu, Misogyny, Cultural Nihilism and Oppositional Politics: Contemporary Chinese Experimental Fiction. Stanford: Stanford University Press, 1995, 129-54.

Meng Yue. “Su Tong de ‘jiashi’ yu ‘lishi’ xiezuo” (On Su Tong’s writing of ‘family genealogy’ and ‘history’). Jintian 2 (1990): 84-93.

Tang, Xiaobing. “The Mirror as History and History as Spectacle: Reflections on Hsiao Yeh and Su T’ung.” Modern Chinese Literature 6, 1/2 (1992): 203-20. Rpt. in Chinese Modernism: The Heroic and the Quotidian. Durham: Duke UP, 2000, 225-44.

Visser, Robin. “Displacement of the Urban-Rural Confrontation in Su Tong’s Fiction.” Modern Chinese Literature 9, 1 (1995): 113-38.

Xiao, Hui Faye. “Midlife Crisis and Misogynist Rhetoric in Male Intellectuals’ Divorce Narratives.” In Xiao, Family Revolution: Marital Strife in Contemporary Chinese Literature and Visual Culture. Seattle and London: University of Washington Press, 2014, 52-84.

Xu, Jian. “Blush from Novella to Film: The Possibility of Critical Art in Commodity Culture.” Modern Chinese Literature and Culture 12, 1 (Spring 2000): 115-63.

Zhang, Xuexin. “Su Tong’s Aesthetics.” Tr. Hua Li. Chinese Literature Today 3, 1/2 (2013): 62-64.

Su Weizhen 苏伟贞

Xu, Gang Gary. “Doubled Configuration: Reading Su Weizhen’s Theatricality.” In David Der-wei Wang and Carlos Rojas eds., Writing Taiwan: A New Literary History. Durham, NC: Duke UP, 2006, 233-52.

Su Wen (Du Heng) 苏汶

Macdonald, Sean. ” ‘Modernism’ in Modern Chinese Literature: the ‘Third Type of Person’ as a Figure of Autonomy.” The Canadian Review of Comparative Literature 29, 2/3 (June/Sept. 2002): 289-315.

[Abstract: This paper is a discussion of the New Sensation School (Xin ganjuepai), a group of authors that included Liu Na’ou, Mu Shiying, Shi Zhecun, Ye Lingfeng, and Du Heng, and who were active in Shanghai in the 1920s and 30s. In 1933, Du Heng, writing as Su Wen, edited an anthology of essays based on the Debate on Literary and Artistic Freedom that took place within the Left League. This debate, especially arguments surrounding the so called “third type of person” (disanzhong ren), is read within the context of the historical theory of aesthetic autonomy and the recent reappearance of the term “modernism” in modern Chinese literature. The “third type of person” debate is rarely discussed in detail, if it is discussed at all, despite its historical and cultural significance. Indeed, it is suggested that this debate represented an important discussion of ideas that were in the air in 1930s Shanghai, and a very significant theoretical parallel to the emergence of New Sensationist and early modernist fiction in China.]

Su Xuelin 苏雪林

Hoster, Barbara. Konversion zum Christentum in der modernen chinesischen Literatur: Su Xuelins Roman Jixin (Dornenherz, 1929). Deutsche Ostasienstudien 27. Gossenberg: Ostasien Verlag, 2017.

[Abstract:  Su Xuelin 蘇雪林 (1897–1999) belongs to the first generation of modern Chinese women writers. Her novel Jixin 棘心 (Heart of Thorns, 1929) is based on the author‘s experiences during her studies in Lyon, France, in the 1920s. The protagonist of this work, a young woman named Xingqiu, is torn between Chinese and French culture as well as traditional gender roles and the desire to lead a self-determined life. In the course of a personal crisis she adopts the Catholic faith. The present book analyses the multifaceted process of the conversion as depicted in the novel. It also introduces the life and work of Su Xuelin, who has been rather neglected in Western sinology.]

von Kowallis, Jon Eugene. “The Enigma of Su Xuelin and Lu Xun.” Literature and Philosophy (Wen yu zhe) 16 (June 2010): 493-527.

Ni, Zhange. “The Thorny Paths of Su Xuelin.” Harvard Divinity Bulletin 39, 3/4 (Spring/Summer 2011).

Sun Jingxuan 孙静轩

Yu, Yin. “A Critique of Sun Ching-hsuan’s Poetry.” In Hualing Nieh, ed., Literature of the Hundred Flowers, Volume II: Poetry and Fiction. NY: Columbia UP, 1981, 1213-20.

Sun Wenbo 孙文波

Crespi, John. “Poetic Memory: Recalling the Cultural Revolution in the Poems of Yu Jian and Sun Wenbo.” In Christopher Lupke ed., New Perspectives on Contemporary Chinese Poetry. New York: Palgrave Macmillan, 2007, 165-183.

van Crevel, Maghiel. “Rhythm, Sound and Sense: Narrativity in Sun Wenbo’s Poetry: ” Journal of Modern Literature in Chinese 6, 1 (2005): 119-151. Revised as “Narrative Rhythm, Sound and Sense: Sun Wenbo.” In van Crevel, Chinese Poetry in Times of Mind, Mayhem and Money. Leiden: Brill, 2008, 280-304.

Syman Rapongan (Xiaman Lanbo’an 夏曼-藍波安)

Tung, Shu-ming. “The Romantic Homecoming of Syman Rapongan.” Tr. Yingtsih Huang. Taiwan Literature: English Language Series 17 (July 2005): 135-64.


T

Tai Jingnong 台静农

Liu, Wenyue. “Through Upheaval and Bloodshed: A Short Biography of Professor Tai Jingnong.” Tr. Michelle Yeh. CLEAR 28 (2006): 213-25.

Wang, David Der-Wei. “And History Took a Calligraphic Turn: Tai Jingnong and the Art of Writing.” In Wang, The Lyrical in Epic Time: Modern Chinese Intellectuals and Artists through the 1949 Crisis. NY: Columbia University Press, 2015, 311-52.

Tashi Dawa, see Zhaxi dawa

Tan Sitong 谭嗣同

Chan, Sin-wai. T’an Ssu-t’ung, an annotated bibliography. Hong Kong: Chinese University Press, 1980.

Chang, Hao. Chinese intellectuals in crisis: search for order and meaning (1890-1911). Berkeley: UCP, 1987.

Kwong, Luke S. K., Tan Ssu-tung, 1865-1898: Life and Thought of a Reformer. Leiden: New York: E.J. Brill, 1996.

Murthy, Viren. “Ontological Optimism, Cosmological Confusion, and Unstable Evolution: Tan Sitong’s Renxue and Zhang Taiyan’s Response.” In Viren Murthy and Axel Schneider, eds., The Challenge of Linear Time: Nationhood and the Politics of History in East Asia. Leiden: Brill, 2014, 49-82.

Oka, Takashi. “The Philosophy of T’an Ssu-t’ung.” Papers in China 9 (Aug. 1955): 1-47.

Schafer, Ingo. “Natural Philosophy, Physics and Metaphysics in the Discourse of Tan Sitong: The Concepts of Qi and Yitai.” In Lackner et al. eds., New Terms for New Ideas: Western Knowledge and Lexical China in Late Imperial China. Boston, Koln: Leiden, 2001, 257-69.

—–. “The People, People’s Rights, and Rebellion: The Development of Tan Sitong’s Political Thought.” In Joshua Fogel and Peter G. Zarrow, eds., Imagining the People: Chinese Intellectuals and the Concept of Citizenship, 1890-1920. Armonk, NY: M.E. Sharpe, 1997, 82-112.

Shek, Richard H. “Some Western Influences on T’an Ssu-t’ung’s Thought.” In Paul A. Cohen and John E. Schrecker, eds., Reform in Nineteenth-Century China. Cambridge, MA: East Asian Research Center, Harvard University, 1976, 194-203.

Talbott, Nathan. “T’an Ssu-t’ung and the Ether.” In Robert K. Sakai, ed., Studies on Asia. Lincoln, NE: University of Nebraska, 1960, 20-30.

Tan Yunshan 谭云山

Tan, Chung, ed. In the Footsteps of Xuanzang: Tan Yun-shan and India. Indira Gandhi National Centre for the Arts, 1999.

Tao Jingsun 陶晶孙

Shih, Shu-mei. “Evolutionism and Experimentalism: Lu Xun and Tao Jingsun.” In Shi, The Lure of the Modern: Writing Modernism in Semicolonial China, 1917-1937. Berkeley: UC Press, 2001, 73-95.

Tian Han 田汉

Abjimanmudova, B. “Tian Han, the Honest Son of China.” Far Eastern Affairs 4 (1988): 86-97.

Bernard, Elizabeth. “T’ian Han’s ‘Reactionary Works’: 1956-1962.” In G. de la Lama, ed., 30th International Congress of Human Sciences in Asian and North Africa, China 1. Mexico City: Colegio de Mexico, 1982.

Chen, Xiaomei. “Reflections on theLegacy of Tian Han: ‘Proletarian Modernism’ and Its Traditional Roots.” Modern Chinese Literature and Culture 18, 1 (Spring 2006): 155-215.

—–. “Tian Han and the Southern Society Phenomenon: Networking the Personal, Communal, and Cultural.” In Kirk A. Denton and Michel Hockx, eds., Literary Societies in Republican China. Lanham, MD: Lexington Books, 2008, 241-79.

Fu, Hu. “Tian Han and His Immense Contribution to Modern Chinese Drama.” Chinese Literature 10 (1979).

Guan, Tao. “The Difficulty of Balancing Art and Life: Examining the Influence of Salome on Tian Han’s Early Dramatic Works.” Frontiers of Literary Studies in China 7, 4 (2013): 672-90.

Haringova, Jarmila. “The Development of Tian Han’s Dramatic Writing during the Years 1920-1937.” In Jaroslav Prusek, ed. Studies in Modern Chinese Literature. Berlin: Akademie-Verlag, 1964.

Kaplan, Randy. The Pre-leftist One-act Dramas of Tian Han (1898-1968). Ph. D. diss. The Ohio State University, 1986.

—–. “Images of Subjugation and Defiance: Female Characters in the Early Dramas of Tian Han.” Modern Chinese Literature 4, 1/2 (1988): 87-98.

—–. “Planting the Seeds of Theatrical Realism in China: Tian Han’s Contributions to Modern Chinese Drama.” World Literature Today 62, 1 (Winter 1988).

Kasarello, Lidia. “Uber die Modernitat der fruhen Stucke von Tian Han.” In: Findeisen, Raoul D.; Gassmann, Robert H., eds. Autumn Floods: Essays in Honour of Marian Galik. Bern; Berlin: Peter Lang, 1998, 323-333.

Kuoshu, Harry H. “Visualizing Ah Q: An Allegory’s Resistance to Representation.” In Harry Kuoshu, Lightness of Being in China: Adaptation and Discursive Figuration in Cinema and Theater. NY: Peter Lang, 1999, 17-49. [deals in part with Tian’s play The True Story of Ah Q]

Lee, Lily Hsiao Hung. “Local Colour in Two of T’ien Han’s Early Works.” The Journal of the Oriental Society of Australia 15/16 (1983/84): 102-16.

Luo, Liang. “From Lovers to Volunteers: Tian Han and the National Anthem.” The China Beat (online), July 16, 2008. Reprinted as “From Lovers to Volunteers: China’s National Anthem.” In Jeffrey Wasserstrom, Ken Pomeranz, and Kate Merkel-Hess, eds., China in 2008: A Year of Great Significance. Lanham, MD: Rowman & Littlefield, 2009, 186-187 (excerpts).

—–. “International Avant-garde and the Chinese National Anthem: Tian Han, Joris Ivens, and Paul Robeson.” The Ivens Magazine 16 (October 2010): 6-13.

—–. The Avant-garde and the Popular in Modern China: Tian Han and the Intersection of Performance and Politics. Ann Arbor: University of Michigan Press, 2014. [MCLC Resource Center review by Rossella Ferrari]

[Abstract: explores how an important group of Chinese performing artists invested in politics and the pursuit of the avant-garde came to terms with different ways of being “popular” in modern times. In particular, playwright and activist Tian Han (1898-1968) exemplified the instability of conventional delineations between the avant-garde, popular culture, and political propaganda. Liang Luo traces Tian’s trajectory through key moments in the evolution of twentieth-century Chinese national culture, from the Christian socialist cosmopolitanism of post–WWI Tokyo to the urban modernism of Shanghai in 1920s and 30s, then into the Chinese hinterland during the late 1930s and 40s, and finally to the Communist Beijing of the 1950s, revealing the dynamic interplay of art and politics throughout this period. Understanding Tian in his time sheds light upon a new generation of contemporary Chinese avant-gardists (Ai Wei Wei being the best known), who, half a century later, are similarly engaging national politics and popular culture.]

McDougall, Bonnie S. “The Search for Synthesis: T’ien Han and Mao Tun in 1920.” In A.R. Davis, ed., Search for Identity: Modern Literature and the Creative Arts in Asia. Sydney: Angus and Robertson, 1974, 225-54.

Tian Benxiang 田本相  et al., eds. Tian Han pingzhuan 田汉评传 (An critical biography of Tian Han). Chongqing: Chongqing, 1998.

Tung, Constantine. “T’ien Han and Romantic Ibsen.” Modern Drama 9, 4 (1967): 389-95.

—–. “Lonely Search into the Unknown: T’ien Han’s Early Plays, 1920-1930.” Comparative Drama 2 (Spring 1968): 44-54.

Wagner, Rudolf. “A Guide for the Perplexed and a Call to the Wavering: Tian Han’s Guan Hanqing (1958) and the New Historical Drama.” In Wagner, The Contemporary Chinese Historical Drama. Berkeley: UCP, 1990, 1-79.

—–. “Tian Han’s Peking Opera Xie Yaohuan (1961).” In Wagner, The Contemporary Chinese Historical Drama. Berkeley: University of California Press, 1990, 80-138.

Xin, Wentong. “One of Tian Han’s Anti-revolutionary Strategies–an examination of Tian Han’s crime in using a new historical play, Guan Han-qing, to rebel against the Party.” Tr. Kai-yu Hsu. In Hsu, ed. The Chinese Literary Scene: A Writers’ Visit to the People’s Republic. NY: Vintage Books, 1975, 43-50.

Tian Yage 田雅各

Liou, Liang-ya. “Autoethnographic Expression and Cultural Translation in Tian Yage’s Short Stories.” The China Quarterly 211 (Sept. 2012). 806-26.

[Abstract: This article explores how three short stories set in 1980s Taiwan by the Taiwanese aboriginal writer Tian Yage (Tuobasi Tamapima) can be read as autoethnographic fiction as well as modern fiction, portraying contemporary Taiwanese aboriginal society caught between indigenous folkways and colonial modernity, and how the narrators of the stories tackle cultural translation. I begin with a discussion of Sun Ta-chuan’s caution in 1991 as the Taiwan Aboriginal Movement was evolving into the Taiwan Aboriginal Cultural Revivalist Movement. After analysing anthropology’s relationship with aborigines and imperialism, I apply Mary Louise Pratt’s concept of autoethnography to the aboriginal activists’ ethnographic studies and personal narratives. I argue that, prior to the Taiwan Aboriginal Cultural Revivalist Movement, Tian sought to construct an aboriginal cultural identity vis-à-vis the metropolis and to envision a cultural revival within the indigenous community, while he also explored the dilemmas and difficulties that arose from these. In the last section, I apply Homi K. Bhabha’s theory of the untranslatable in cultural translation to further examine the language, the narrative voice and the form of both autoethnographic fiction and modern fiction in Tian’s stories. I argue that writing Chinese-language modern fiction is a tacit recognition on Tian’s part of the legacy of colonial modernity, but the purpose is to manoeuvre for a rethinking of the Taiwanese modern subject. As the narrative voice of his stories is one of an aboriginal speaking as a subject rather than an object, speaking with the backdrop of the aboriginal village as the locus of indigenous traditions vis-à-vis the dominant society, Tian is implicitly demanding aboriginal rights and a reconsideration of the Taiwanese modern subject as well as a shift in the paradigm of historiography on Taiwan.]

Tie Ning 铁凝

Chen Xiaoming. “The Extrication of Memory in Tie Ning’s Woman Showering: Privacy and the Trap of History.” In Bonnie S. McDougall and Anders Hansson, eds., Chinese Concepts of Privacy. Leiden: Brill, 2002, 195-208.

Yip, Terry Siu-han. “Place, Gender and Identity: The Global-Local Interplay in Three Stories from China, Taiwan and Hong Kong.” In Kwok-kan Tam et al., eds., Sights of Contestation: Localism, Globalism and Cultural Production in Asia and the Pacific. HK: The Chinese University Press, 2002, 17-34. [deals with stories by Tie Ning, Zhang Xiguo (Chang Shi-kuo), and Ye Si]

Tong Enzheng 童恩正

Isaacson, Nathaniel. “Blurred Visions of Nation and State in Tong Enzheng’s Death Ray on a Coral Island.” In Simultaneous Worlds: Global Science Fiction Cinema. Minneapolis: University of Minnesota Press, forthcoming.


W

Wan Zhi

Noether, Roger. “Aspects of the Rural Relocation Program Through Underground Short Stories: A Look at Wan Zhi’s ‘City Lights’.” Modern Chinese Literature Newsletter 6, 1 (1980): 1-8.

Wang Anyi 王安忆

Bai, Di. “Wang Anyi.” In Thomas Moran and Ye (Dianna) Xu, eds., Chinese Fiction Writers, 1950-2000. Dictionary of Literature Biography, vol. 370. Detroit: Thomson Gale, 2013, 207-18.

Chen, Helen H. “Gender, Subjectivity, Sexuality: Defining a Subversive Discourse in Wang Anyi’s Four Tales of Sexual Transgression.” In Yingjin Zhang, ed. China in a Polycentric World: Essays in Chinese Comparative Literature. Stanford: Stanford UP, 1999, 90-109.

Chong, W.L. “Love and Sexuality: Themes from a Lecture by Woman Writer Wang Anyi.” China Information 3, 3 (Win 1988-1989): 64-65.

Choy, Howard Y. F. “Bourgeois Shanghai: Wang Anyi’s Novel of Nostalgia.” China Beat (July 14, 2008).

—–. “From Pacific Ocean to Gobi Desert: Wang Anyi’s Migratory Mythology.” In Choy, Remapping the Past: Fictions of History in Deng’s China, 1979-1997. Leiden: Brill, 2008, 67-79.

—–. “Shanghai Longtang Cityscape: Wang Anyi’s Descriptive Historiography.” In Choy, Remapping the Past: Fictions of History in Deng’s China, 1979-1997. Leiden: Brill, 2008, 169-84.

—–. “Centering and Decentering Methodologies: Wang Anyi’s Migratory Mythology and Descriptive Historiography.” Journal of Modern Literature in Chinese 10, 1 (Summer 2010).

Editors, Frontiers of Literary Studies in China. “Narrative and Representation in the Age of iPhone—A Dialogue Between Wang Anyi and Fredric Jameson on Shanghai, Urban Experience, and Technological Conditions of Possibility for Literature.” Frontiers of Literary Studies in China 7, 3 (2013): 494-510.

Fong, Ian. “(Re)-Reading Shanghai’s Futures in Ruins: Through the Legend of an (Extra-)Ordinary Woman in The Song of Everlasting Sorrow: A Novel of Shanghai.” Cultural Unbound: Journal of Current Cultural Research 4 (2012): 229-48.

Jin, Yanyu. “Three Chinese Women Writers and the City in the 1990s.” In Kwok-kan Tam and Terry Siu-han Yip, eds., Gender, Discourse and the Self in Literature: Issues in Mainland China, Taiwan and Hong Kong. HK: The Chinese University Press, 2010, 147-57. [deals with Wang Anyi, Shi Shuqing, and Zhu Tianxin]

Feuerwerker, Yi-tsi Mei. “The Post-Modern ‘Search for Roots’ in Han Shaogong, Mo Yan, and Wang Anyi.” In Feuerwerker, Ideology, Power, Text: Self-Representation and the Peasant “Other” in Modern Chinese Literature. Stanford: SUP, 1998, 188-238.

Fong, Ian Ho-yin. “(Re‐)Reading Shanghai’s Futures in Ruins: Through the Legend of an (Extra‐)Ordinary Woman in The Song of Everlasting Sorrow: A Novel of Shanghai.” Culture Unbound 4, 3 (2012): 229–248.

McDougall, Bonnie. “Self-Narrative as Group Discourse: Female Subjectivity in Wang Anyi’s Fiction.” Asian Studies Review 19, 2 (November 1995): 1-24. Rpt in McDougall, Fictional Authors, Imaginary Audiences: Modern Chinese Literature in the Twentieth Century. HK: Chinese University Press, 2003, 95-114.

Movius, Lisa. “Rewriting Old Shanghai Tragic Tales of Beautiful Young Girls Titillate Again.” Asian Wall Street Journal (May 16-18, 2003). [on Wang Anyi’s Song of Everlasting Sorrow and its dramatic adaptation]

Sieber, Patricia. “Wang Anyi.” In Sieber, ed. Red Is Not the Only Color: Contemporary Chinese Fiction on Love and Sex between Women, Collected Stories. Lanham, MD: Rowman and Littlefield, 2001, 191-93.

Solmecke, Ulrike. Zwischen äußerer und innerer Welt. Erzählprosa der chinesischen Autorin Wang Anyi von 1980–1990. Dortmund 1995.

Stuckey, Andrew. “Back to the Future: Temporality and Cliche in Wang Anyi’s Song of Everlasting Sorrow.” In Stuckey, Old Stories Retold: Narrative and Vanishing Pasts in Modern China. Lanham, MD: Lexington Books, 2010, 113-32.

Tang, Xiaobing. “Melancholy against the Grain: Approaching Postmodernity in Wang Anyi’s Tales of Sorrow.” Boundary 2 24, 3 (1997). Rpt. in Xudong Zhang and Arif Dirlik, eds., Postmodernism and China. Durham: Duke UP, 2000, 358-78. Rpt in Chinese Modernism: The Heroic and the Quotidian. Durham: Duke UP, 2000, 316-41.

Wang Anyi.” Kirjasto.sci.fi

Wang, Ban. “Love at Last Sight: Nostalgia, Commodity, and Temporailty in Wang Anyi’s Song of Unending Sorrow.” positions: east asia cultures critiques 10, 3 (Winter 2002): 669-94.

—–. “History in a Mythical Key: Temporality, Memory, and Tradition in Wang Anyi’s Fiction.” In Jie Lu, ed., China’s Literary and Cultural Scene at the Turn of the 21st Century. NY: Routledge, 2008, 11-26.

—–. “Photographical History, Everyday Life, and Memory: Wang Anyi as A Storyteller.” Journal of Historical Sociology 25, 2 (June, 2012): 183-98.

Wang, Lingzhen. “Wang Anyi.” In Joshua Mostow, ed, and Kirk A. Denton, China section, ed., Columbia Companion to Modern East Asian Literatures. NY: Columbia UP, 2003, 592-97. Rpt in Kirk A. Denton, ed., Columbia Companion to Modern Chinese Literature. NY: Columbia University Press, 2016, 371-78.

Xiao, Jiwei. “Can She Say No to Zhang Ailing? Detail, Idealism, and Woman in Wang Anyi’s Fiction.” Journal of Contemporary China 56 (August 2008): 513-28.

[Abstract: This article is a study of aesthetic idealism that characterizes the fictional works written by the contemporary Chinese writer Wang Anyi during the 1990s. I start with a comparison of Wang Anyi with Zhang Ailing, arguing that Wang’s ambivalence towards Zhang’s aesthetics of details is translated into a dilemma the former faces in her own writing. On the one hand, Wang Anyi appreciates Zhang’s passion for life’s details. Wang’s own works show a high penchant for details. On the other hand, Wang is critical of Zhang’s aesthetic leap from the sensuous (detail) to the nihilistic (meaning). Wang’s anxiety over the ultimate value of detail can be attributed to her ideological allegiance to a May Fourth leftist tradition as well as to her awareness of the derogatory association of detail with women’s writing in China. So in what way can Wang Anyi say no to Zhang Ailing? How does she try to steer clear of the danger of ‘materialistic’ trivialization that she sees lurking in details? I observe that in Wang’s fiction there is neither a full embrace of idealism nor a total rejection of detailed realism a la Zhang Ailing. Instead, Wang Anyi treasures the use of details as a signifying practice to embrace her idealism. In her 1990s’ fictional works, Wang Anyi’s effort to circumvent the dichotomy between detail and idea is complicated by her attempt to use details to reconstruct pictures of the past. There are several aspects to this issue. First, although nostalgic details in Wang Anyi’s ‘memory stories’ help to give expression to idealistic longings of the author, they also tend to conspire with the official ban on the discourse of the traumatic socialist past. Second, while details are regarded as important in sum total, they are actually relegated by the writer to a secondary place as mere constructing materials to serve the function of bringing out the larger idea. In terms of actual narration, the highly ‘authoritative’ voice often suppresses the depth of individual subjects in her fiction. Third, Wang’s ambiguity with regards to details and ‘feminine materials’ affects her characterization of women. A reading of Wang’s two fictional works, The Song of Everlasting Sorrow (Changhen ge) and Fu Ping, demonstrates that the writer’s instrumental approach tends to render female characters stranded between allegorical figures and individual subjects.]

Ying, Hong. “Wang Anyi and her Fiction.” In Yang Bian, ed., The Time is Not Ripe: Contemporary China’s Best Writers and Their Stories. Beijing: FLP, 1991, 217-24.

Yue, Gang. “Embodied Spaces of Home: Xiao Hong, Wang Anyi, and Li Ang.” In The Mouth that Begs: Hunger, Cannibalism, and the Politics of Eating in Modern China. Durham: Duke University Press, 1999, 293-330.

Zhang, Xudong. “Shanghai Nostalgia: Postrevolutionary Allegories in Wang Anyi’s Literary Production in the 1990s.” positions: east asian cultures critique 8, 2 (2000) 349-387. Rpt. in Zhang, Postsocialism and Cultural Politics: China in the Last Decade of the Twentieth Century. Durham: Duke UP, 2008, 181-211.

—–. “In Light of Concreteness: Wang Anyi and the Bildungsroman of the Cultural Revolutionary Generation.” Frontiers of Literary Studies in China 6, 1 (2012): 112-37.

[Abstract: Based on detailed textual analysis, the article argues that Wang Anyi brings the abstract idealism of the second-generation of PRC into a productive collision with its concrete Other–from its parents’ generation to the resilient national bourgeoisie to quotidian sensuousness embodied by the world of its female counterpart. In so doing, as the author seeks to show, the novel presents a compelling narrative of the self-education, growth, and formation of the generation of the Cultural Revolution without reducing it to ideological stereotypes rampant in China after 1976. While delving into the structure and style of fiction, the article takes as its focus the confrontation between abstraction and concreteness; Self and Other; superstructure and infrastructure, or social consciousness and social existence, at a philosophical level in order to construct a phenomenology of the experience of post-revolutionary Subjectivity.]

Zhong, Xueping. “Sisterhood? Representations of Women’s Relationships in Two Contemporary Chinese Texts.” In Tonglin Lu, ed., Gender and Sexuality in Twentieth Century Chinese Literature and Society. Albany: SUNY Press, 1993, 157-73.

Wang Changxiong 王昶雄

Scruggs, Bert. “Identity and Free Will in Colonial Taiwan Fiction: Wu Zhuoliu’s ‘The Doctor’s Mother’ and Wang Changxiong’s ‘Torrent.'” Modern Chinese Literature and Culture 16, 2 (Fall 2004): 160-83..

Wang Dulu 王度庐

Sang, Tze-lan D. “Women’s Work and Boundary Transgression in Wang Dulu’s Popular Novels.” In Bryna Goodman and Wendy Larson, eds., Gender in Motion: Divisions of Labor and Cultural Change in Late Imperial and Modern China. Lanham, Md.: Rowman and Littlefield, 2005, 287-308.

—–. “The Transgender Body in Wang Dulu’s Crouching Tiger, Hidden Dragon.” In Martin and Larissa Heinrich, eds., Embodied Modernities: Corporeality, Representation, and Chinese Cultures. Honolulu: University of Hawaii Press, 2006, 98-112.

Wang Duqing 王独清

Galik, Marian. “Ten Venetian Poems by Wang Duqing: Chinese Entry into Literary Decadence.” Asiatica Venetiana 1 (1996).

Wang Gui 王贵

Conceison, Claire. “A Cruel World: Boundary-Crossing and Exile in the Great Going Abroad.” In Charles Laughlin, ed., Contested Modernity in Chinese Literature. NY: Palgrave Macmillan, 2005, 121-40.

Wang Guilin 王桂林

Liu, Yan. “Inquiries and Confession before the Cross: An Interpretation of Wang Guilin’s My Jerusalem.” Frontiers of Literary Studies in China 9, 2 (2015): 318-36.

[Abstract: This essay employs the approach of New Criticism close reading to interpret My Jerusalem by a contemporary Chinese poet, Wang Guilin, from the dialogic perspective of “I and Thou.” From a dimension of faith beyond daily life, the poet narrates his astonishment, historical reflection and spiritual transformation during a visit to Jerusalem. For him, the journey to Jerusalem was also a pilgrimage to a spiritual homeland, self-achievement, and peace and love.]

Wang Guowei 王国维

Bonner, Joey. Wang Kuo-wei: An Intellectual Biography. Cambridge: HUP, 1986.

Galik, Marian. “Liang Ch’i-ch’ao and Wang Kuo-wei: the First Impact of Modern Foreign Ideas on Chinese Literary World.” In Galik, ed., Milestones in Sino-Western Literary Confrontation (1898-1979). Weisbaden: Otto Harrassowitz, 1986, 7-18.

He, Jinli. “Wang Guowei’s Application of Kant.” ASIANetwork Exchange 22, 1 (2015): 61-73. .

He, Yuming. “Wang Guowei and the Beginnings of Modern Chinese Drama Studies.” Late Imperial China 28, 2 (March 2008): 129-56.

Hu, Qiuhua. “Wang Guowei und Immanuel Kant: Zu den Anfangen der Interkulturalitat im China der spaten Qing Dynastie.” Monumenta Serica 53 (2005): 337-60.

Liu, Qingzhang. “Wang Guowei and Kant: A Dialogue on Chinese and Western Poetics.” In Mabel Lee and A. D. Syrokomla-Stefanowska, eds., Literary Intercrossings: East Asia and the West. Sydney: Wild Peony, 1998, 70-79.

Sun, Cecile Chu-chin. “Wang Guowei as Translator of Values.” In David Pollard, ed., Translation and Creation: Readings of Western Literature in Early Modern China. Amsterdan, Philadelphia: J. Benjamins, 1998, 253-82.

Tu, Ching-i. “A Group of Wang Kuo-wei’s Tz’u Poems: With an Introduction.” In David C. Buxbaum and Frederick W. Mote, eds., Transition and Permanence: Chinese History and Culture. HK: Cathay Press, 1972, 379-93.

Wang, Ban. The Sublime Figure of History. Stanford: SUP, 1997. [one chapter deals with Wang’s aesthetics]

Yeh, Florence Chia-Ying. “Wang Kuo-wei’s Song Lyrics in Light of His Own Theories.” In James R. Hightower and Florence Chia-ying Yeh, Studies in Chinese Poetry. Cambridge: Harvard University Asia Center,1998, 465-96.

—–. “Practice and Principle in Wang Kuo-wei’s Criticism.” In James R. Hightower and Florence Chia-ying Yeh, Studies in Chinese Poetry. Cambridge: Harvard University Asia Center,1998, 497-505.

—–. “Wang Kuo-wei’s Character.” In James R. Hightower and Florence Chia-ying Yeh, Studies in Chinese Poetry. Cambridge: Harvard University Asia Center,1998, 506-18.

—–. “An Interpretation of a Poem by Wang Kuo-wei.” In James R. Hightower and Florence Chia-ying Yeh, Studies in Chinese Poetry. Cambridge: Harvard University Asia Center,1998, 519-22.

Wang Jiaxin 王家新

Crespi, John. “Traveling Poetry and the Presence of Soul: An Interview with Wang Jiaxin.” Chinese Literature Today 2, 1 (2011): 78-82.

Van Crevel, Maghiel. “Exile: Yang Lian, Wang Jiaxin and Bei Dao.” In van Crevel, Chinese Poetry in Times of Mind, Mayhem and Money, Leiden: Brill, 2008, 137-186.

Wang Jiaxiang (Wang Chia-hsiang) 王家祥

Tsai, Shu-fen. “Taiwan Is a Whale: The Emergining Oneness of Dark Blue and Human Identity in Wang Chia-hsiang’s Historical Fiction.” In Chia-ju Chang and Scott Slovic, eds., Ecocriticism in Taiwan: Identity, Environment, and the Arts. Lanham, MD: Lexington Books, 2016, 41-54.

Wang Jinkang 王晉康

Song, Mingwei. “Variations on Utopia in Contemporary Chinese Science Fiction.” Science Fiction Studies 40 (2013): 86-102.

[Abstract: This essay focuses on the variations of utopian narrative in contemporary Chinese sf, with a view toward appreciating the genre’s historical development since the late Qing. Through analyzing the writings of three writers, Han Song, Wang Jinkang, and Liu Cixin, this essay examines three themes that characterize China’s current new wave of science fiction: China’s rise, the myth of development, and posthumanity. Deeply entangled with the politics of a changing China, science fiction today both strengthens and complicates the utopian vision of a new and powerful China: it mingles nationalism with utopianism/dystopianism, sharpens social criticism with an acute awareness of China’s potential for further reform, and wraps political consciousness in scientific discourse about the powers of technology and the technologies of power.]

Wang Jingzhi 王敬之

Hockx, Michel. “Born Poet and Born Lover: Wang Jingzhi’s Love Poetry within the May Fourth Context.” Modern Chinese Literature 9, 2 (1996): 261-96.

Findiesen, Raoul. “Wang Jingzhi’s “Yesu de fenfu” (The Instructions by Jesus): A Christian Novel?” In Irene Eber, Sze-kar Wang, and Knut Walf, eds., Bible in Modern China. Nettetal: Steyler Verlag, 1999, 279-300.

Wang Lan 王藍

Ching, Eugene. “Wang Lan: Chinese Writers in Taiwan and Their Works.” Journal of the Chinese Language Teachers Association 15, 3 (1980): 81-86.

Wang Lixiong 王力雄

Kinkley, Jeffrey C. “Modernity and Apocalypse in Chinese Novels from the End of the Twentieth Century.” In Charles Laughlin, ed., Contested Modernities in Chinese Literature. NY: Palgrave Macmillan, 2005, 101-20. [deals with Wang Lixiong’s Yellow Peril, Lu Tianming’s Heaven Above, Zhang Ping’s Choice, and Mo Yan’s Liquorland].

Veg, Sebastien. “Chinese Intellectuals and the Problem of Xinjiang.” China Perspectives 3 (2008): 143-50. [deals largely with Wang Lixiong and his book Wo de xiyu, ni de dong tu]

Wang, Chaohua. “Dreamers and Nightmares: Political Novels by Wang Lixiong and Chan Koonchung.” China Perspectives 1 (2015): 23-32.

[Abstract: Wang Lixiong’s Yellow Peril (1991) represents the return of political fiction of the future not seen in China for decades. Chan Koonchung’s The Fat Years (2009) brings the imagination to a full dystopian vision. Reading the two novels side by side, this paper argues that Chinese fiction of the future in the early 1990s responded to the country’s struggle for direction when the bloody crackdown of the Tiananmen protest wiped out collective idealism in society. In the twenty-first century, such fiction is written in response to China’s rapid rise as one of the world’s superpowers, bringing to domestic society a seemingly stabilised order that has deprived it of intellectual vision.]

Wang Luyan 王鲁彦

Haddon, Rosemary. “Chinese Nativist Literature of the 1920s: The Sojourner-Narrator.” Modern Chinese Literature 8 (1994): 97-124. [deals partly with Wang’s fiction]

Wang Meng 王蒙

Arkush, R. David. “One of the Hundred Flowers: Wang Meng’s ‘Young Newcomer.'” Papers on China 18 (1964): 155-86.

Barme, Geremie. “A Storm in a Rice Bowl: Wang Meng and Fictional Chinese Politics.” China Information 7, 2 (Autumn 1992): 12-19.

Ch’a, Ling. “Wang Meng’s Rustication and Advancement.” Issues and Studies 22.9 (1986): 50-61.

Chang, Tze-chang. “Isolation and Self-Estrangement: Wang Meng’s Alienated World.” Issues and Studies 24, 1 (Jan. 1988): 140-54.

Ch’in, Chao-yang. “Hits and Misses.” In Hualing Nieh, ed., Literature of the Hundred Flowers, Volume II: Poetry and Fiction. NY: Columbia UP, 1981, 518-22.

Feuerwerker, Yi-tsi Mei. “Text, Intertext, and the Representation of the Writing Self in Lu Xun, Yu Dafu, and Wang Meng.” In Ellen Widmer and David Wang, eds., From May Fourth to June Fourth: Fiction and Film in Twentiety-Century China. Cambridge: Harvard UP, 1993, 167-93.

Iovene, Paula. “Why Is There a Poem in this Story? Li Shangyin’s Poetry, Contemporary Chinese Literature, and the Futures of the Past.” Modern Chinese Literature and Culture 19, 2 (Fall 2007): 71-116.

—–. “Futures en Abyme: Poetry in Strange Loops.” In Iovene, Tales of Future Past: Anticipation and the Ends of Literature in Contemporary China. Stanford: Stanford UP, 2014, 107-34.

K’ang, Cho. “A Contradictory Story.” In Hualing Nieh, ed., Literature of the Hundred Flowers, Volume II: Poetry and Fiction. NY: Columbia UP, 1981, 545-63.

Keyser, Anne Sytske. “Wang Meng’s Story ‘Hard Thin Gruel’: A Socio-Political Satire.” China Information 7, 2 (Autumn 1992): 1-11.

King, Richard. “The Hundred Flowers: Qin Zhaoyang, Wang Meng, and Liu Binyan.” In Kirk A. Denton, ed., Columbia Companion to Modern Chinese Literature. NY: Columbia University Press, 2016, 245-49.

Larson, Wendy. “Wang Meng’s Buli (Bolshevik salute): Chinese Modernism and Negative Intellectual Identity.” In Bolshevik Salute: A Modernist Chinese Novel. Seattle: University of Washington Press, 1989, 133-54.

Lin, Min and Maria Galikowski. “Wang Meng’s ‘Hard Porridge’ and the Paradox of Reform in China.” In Min Lin and Maria Galikowski, The Search for Modernity: Chinese Intellectuals and Cultural Discourse in the Post-Mao Era. NY: St. Martin’s Press, 1999, 71-88.

Liu, Shao-t’ang and Ts’ung Wei-hsi. “Writing the Truth: The Essence of Socialist Realism.” In Hualing Nieh, ed., Literature of the Hundred Flowers, Volume II: Poetry and Fiction. NY: Columbia UP, 1981, 523-26.

Martin, Helmut. “Painful Encounter: Wang Meng’s Novel Hsiang chien shih nan and the ‘Foreign Theme’ in Contemporary Chinese Literature.” In Yu-ming Shaw, ed., China and Europe in the Twentieth Century. Taipei: Institute of International Relations, National Chengchi University 1986, 32-42.

Rahav, Shakhar. “Having One’s Porridge and Eating It Too: Wang Meng as Intellectual and Bureaucrat in Late 20th-Century China.” The China Quarterly 212 (Dec. 2012).

[Abstract: This article examines the “porridge incident,” in which the renowned Chinese author, critic and former minister of culture Wang Meng sued a Communist Party literary journal for attacking him and his story “Hard Porridge” (“Jianying de xizhou”). The incident straddled the transitional period between 1989 and 1992 and illuminates the ramifications of structural changes in China’s literary sphere. I frame the affair within two contexts: Wang Meng’s tortuous career, which challenges dichotomies of bureaucrat vs. dissident, and the transition from a centralized literary sphere to a market-driven one. I argue that Wang’s responses to the attack on him stemmed from a political and cultural standing that was the product of a Party-controlled cultural sphere, along with the opportunities offered by expanding reforms. The Deng-era reforms produced a divide between culture, markets and bureaucracy that would preclude cultural figures like Wang from holding such high bureaucratic positions anymore.]

Shao, Yen-hsiang. “Curing Sickness with Bitter Medicine.” In Hualing Nieh, ed., Literature of the Hundred Flowers, Volume II: Poetry and Fiction. NY: Columbia UP, 1981, 527-32.

Song, Mingwei. “The Taming of the Youth: Discourse, Politics, and Fictional Representation in the Early PRC.” Journal of Modern Literature in Chinese 9, 2 (July 2009): 108-38. [deals in part with Long Live Youth]

Tay, William. “Wang Meng, Stream-of-consciousness, and the Controversy over Modernism.” Modern Chinese Literature 1, 1 (1984): 7-24.

—–. “Modernism and Socialist Realism: The Case of Wang Meng.” World Literature Today 65, 3 (1991): 411-13.

Tung, Timothy. “Porridge and the Law: Wang Meng Sues.” Human Rights Tribune 3, 1 (Spring 1992).

Wanger, Rudolf. Inside the Service Trade: Studies in Contemporary Chinese Prose. Cambridge: Council on East Asian Studies, Harvard University, 1992, 193-212, 481-531. [deals with “A Young Man Who Only Recently Joined the Organization Dept.” and “The Loyal Heart”]

Williams, Philip. “Stylistic Variety in a PRC Writer: Wang Meng’s Fiction of the 1979-1980 Cultural Thaw.” Australian Journal of Chinese Affairs 11 (1984): 59-80.

Yang, Gladys. “Wang Meng and his Fiction.” In Yang Bian, ed., The Time is Not Ripe: Contemporary China’s Best Writers and Their Stories. Beijing: FLP, 1991, 238-45.

Zha, Peide. “Stream of Consciousness Narration in Contemporary Chinese Fiction: A Case Study of Wang Meng.” B.C. Asian Review 3/4 (1990).

Zhang Dening and Jing Yi. “Open Our Hearts to the Panoramic World: An Interview with Wang Meng.” Chinese Literature (Spring 1999): 5-24.

Zhang, Zhen. “Reimagining the Soviet Union in Contemporary Chinese Literature: Soviet Ji in Wang Meng’s In Remembrance of the Soviet Union and Feng Jicai’s Listening to Russia.” Frontiers of Literary Studies in China 8, 4 (2014): 598-616.

[Abstract: An examination of Soviet nostalgia—nostalgia for the times when the People’s Republic of China (PRC) had a close relationship with the Soviet Union, as it appears in contemporary discourses that reimagine the Soviet Union, is essential to understand the quotidian aspect and cultural history of the PRC in the 1950s, as well as cultural attitudes in contemporary China. Wang Meng’s In Remembrance of the Soviet Union (2007) and Feng Jicai’s Listening to Russia (2005) are characterized by nostalgia for the lost Soviet Union, which exerted a strong influence on the PRC during the 1950s. In contemporary China, where the market economy is the dominant mode of production, Wang and Feng’s Soviet nostalgia is a gesture of yearning for a type of historical temporality that has seemingly been lost. Their works express the desire to reclaim the historical past of the 1950s, which they portray as having been completely erased by the developmental logic of late-capitalism—the authentic cultural experiences in the 1950s, especially the everyday life along with the revolutionary ideals are rendered unreal within the post-revolutionary logic. The concept of Soviet “ji” (祭, “remembrance”) provides a theoretical framework through which to understand the way in which the phenomenon of Chinese nostalgia has the potential to shift contemporary social reality.]

Wang Peigong 王培公

Conceison, Claire. “A Cruel World: Boundary-Crossing and Exile in the Great Going Abroad.” In Charles Laughlin, ed., Contested Modernity in Chinese Literature. NY: Palgrave Macmillan, 2005, 121-40.

Moran, Thomas. “Down from the Mountains, Back from the Villages; Wang Peigong’s WM.” MA Thesis. Cornell University, 1988.

Vittinghoff, Natascha. “China’s Generation X: Rusticated Red Guards in Controversial Contemporary Plays.” In Woei Lian Chong, ed., China’s Great Proletarian Cultural Revolution: Master Narratives and Post-Mao Counternarratives. Lanham: Rowman and Littlefield, 2002, 285-318. [discusses Sha Yexin’s New Sprouts from the Borderlands, Wang Peigong’s We, and Xun Pinli’s Yesterday’s Longan Trees]

Wang Qimei

Liu, Joyce C. “Re-staging Cultural Memories in Contemporary Theatre in Taiwan: Wang Qimei, Stanley Lai, and Lin Huaimin.” In Steven Totosy de Zepetnek and Jennifer W. Jay, eds., East Asian Cultural and Historical Perspectives: Histories and Society, Culture and Literatures. Edmonton: Research Institute for Comparative Literature and Cross-Cultural Studies, University of Alberta, 1997, 267-78.

Wang Ruoshui 王若水

Transcript of the Symposium in Honor of Wang Ruoshui (Fairbank Center, Harvard University, May 16, 2002)

Wang Ruoshui [website devoted to the late writer; includes a resume, obituary, writings in English and Chinese, photographs, etc.]

Wang Ruowang 王若望

Chou Yu-sun. “Liu Pin-yen and Wang Jo-wang.” Issues and Studies 23, 5 (May 1987): 48-62.

I, Ch’uen. “Wang Jo-wang’s Tactics in Attacking the Party and Socialism.” In Hualing Nieh, ed. and co-trans., Literature of the Hundred Flowers Volume II: Poetry and Fiction. NY: Columbia University Press, 1981, 380-88.

Mahoney, Alysoun. “The Story of Wang Ruowang.” Human Rights Tribune 2, 6 (Feb. 1991): 16-17.

Rubin, Kyna. “An Interview with Wang Ruowang.” The China Quarterly 87 (Spet. 1981): 25-40.

—–. “Keeper of the Flame: Wang Ruowang as Moral Critic of the State.” In Merle Goldman, Timothy Cheek, Carol Lee Hamrin, eds., China’s Intellectuals and The State: In Search of a New Relationship. Cambridge, Mass.: Harvard UP, 1987, 233-52.

Schnell, Orville. Discos and Democracy. NY: Pantheon, 1988, 162-76.

Wang Shiwei 王实味

Cheek, Timothy. “The Fading of Wild Lilies: Wang Shiwei and Mao Zedong’s Yan’an Talks in the First CCP Rectification Movement.” Australian Journal of Chinese Affairs 11 (1984): 25-58.

Dai, Qing. Wang Shiwei and ‘Wild Lilies’: Rectification and Purges in the Chinese Communist Party, 1942-1944. Armonk, NY: M.E. Sharpe, 1994.

Wang Shuo 王朔

Barme, Geremie. “Wang Shuo and Liumang (‘Hooligan’) Culture.” The Australian Journal of Chinese Affairs 28 (1992): 23-66.

—–. “The Apotheosis of the Liumang.” In Barme, In the Red: On Contemporary Chinese Culture. NY: Columbia UP, 1999, 62-98.

Braester, Yomi. “Memory at a Standstill: From Maohistory to Hooligan History.” In Braester, Witness Against History: Literature, Film, and Public Discourse in Twentieth-Century China. Stanford: Stanford UP, 2003, 192-205.

Chen, Helen H. “From Sentimental Trilogy to Gangster Trilogy: Moral Dilemmas in a Cultural Crisis.” American Journal of Chinese Studies 8, 1 (April 2001): 57-90.

Choy, Howard Y. F. “Beijing Military Compound: Wang Shuo’s Rootless Homesickness.” In Choy, Remapping the Past: Fictions of History in Deng’s China, 1979-1997. Leiden: Brill, 2008, 159-69.

Gee, Alison Dakota and Anne Naham. “Wang Shuo: The Outsider.” Asiaweek (Aug. 8, 1996).

Huang, Yibing. “‘Vicious Animals’: Wang Shuo and Negotiated Nostalgia for History.” Journal of Modern Literature in Chinese 5, 2 (2002): 81-102.

—–. “Wang Shuo: Playing for Thrills in the Era of Reform, or, A Genealogy of the Present.” In Huang, Contemporary Chinese Literature: From the Cultural Revolution to the Future. NY: Palgrave Macmillan, 2007.

Huot, Claire. “Away from Literature I: Words Turned On.” In Huot, China’s New Cultural Scene: A Handbook of Changes. Durham: Duke University Press, 2000, 49-71.

James, Jamie. “Bad Boy: Why China’s Most Popular Novelist Won’t Go Away.” New Yorker (Apr. 21, 1997): 50-53.

Kuoshu, Harry H. “Filming Marginal Youth: The ‘Beyond’ Syndrome in the Postsocialist City.” In Harry Kuoshu, Lightness of Being in China: Adaptation and Discursive Figuration in Cinema and Theater. NY: Peter Lang, 1999, 123-52. [deals in part with film adaptations of Wang’s novels]

Lombardi, Rosa. “Wang Shuo.” In Thomas Moran and Ye (Dianna) Xu, eds., Chinese Fiction Writers, 1950-2000. Dictionary of Literature Biography, vol. 370. Detroit: Thomson Gale, 2013, 228-34.

McClellan, Tommy. “Urban Alienation and Urban Culture in the Fiction of Wang Shuo and Chi Li.” In Papers from the XIII EACS Conference: The Spirit of the Metropolis, Universitá degli Studi di Torino, 2000. Turin, 2002 [CD-ROM, ISBN 88-900888-0-X].

Noble, Jonathan. “Wang Shuo and the Commercialization of Literature.” In Joshua Mostow, ed, and Kirk A. Denton, China section, ed., Columbia Companion to Modern East Asian Literatures. NY: Columbia UP, 2003, 598-603. Rpt as “Wang Shuo.” In Kirk A. Denton, ed., Columbia Companion to Modern Chinese Literature. NY: Columbia University Press, 2016, 379-85.

Rojas, Carlos. “Wang Shuo and the Chinese Image/inary: Visual Simulacra and the Writing of History.” Journal of Modern Literature in Chinese 3, 1 (July 1999): 23-57.

—–. “Wang Shuo and Historical Portraiture.” In Rojas, The Naked Gaze: Reflections on Chinese Modernity. Cambridge, MA: Harvard University Asia Center, 2008, 244-73.

—–. “Authorial Afterlives and Apocrypha in 1990s Chinese Fiction.” In Carlos Rojas and Eileen Cheng-yin Chow, eds., Rethinking Chinese Popular Culture: Cannibalizations of the Canon. NY: Routledge, 2009, 262-82.

Shu, Yunzhong. “Different Strategies of Self-Confirmation: Wang Shuo’s Appeal to His Readers.” Tamkang Review 29, 3 (Spring 1999): 111-26.

Wang, Jing. “Wang Shuo: Pop Goes the Culture.” In Wang, High Culture Fever: Politics, Aesthetics, and Ideology in Deng’s China. Berkeley: University of California Press, 1997, 261-86.

Wu, Jin. The Voices of Revolt: Zhang Chengzhi, Wang Shuo and Wang Xiaobo. Ph.D. diss. Eugene: University of Oregon, 2005.

Yao, Yusheng. “The Elite Class Background of Wang Shuo and His Hooligan Characters.” Modern China 30, 4 (Oct. 2004): 431-469.

[Abstract: The Cultural Revolution provided a unique environment for children of the political elite to develop a new kind of hooliganism and a youth counterculture that contradicted Mao’s aim to empower them for making revolution. The author challenges a view commonly held by Western commentators and scholars that Wang Shuo is a writer of common man fiction by highlighting the aristocratic background of his Cultural Revolution-era hooligan characters. In the post-Mao era, these former aristocratic youth hooligans tried to adapt to the new environment of growing commercialism and materialism. Some successfully joined the new elite through legal or illegal means, while those who failed to do so became marginalized and even impoverished. The author argues that it was the latter who felt the need to develop to perfection the skill of fast talk and an irreverent, knowing, and playful attitude, which helped them to maintain a sense of superiority. Glorified byWang Shuo in his stories and commentary, the hooligan characters captured the imagination of many Chinese, especially the younger generations who feel marginalized and alienated, by legitimizing their desires and frustrations and by subverting the dominant ideology and culture.]

Wang Tao 王韜

Cohen, Paul A. Between Tradition and Modernity: Wang T’ao and Reform in Late Qing China. Cambridge: Harvard UP, 1974.

Lu, Hsiao-peng. “Waking to Modernity: The Classical Tale in Late-Qing China.” New Literary History 34, 4 (Autumn 2003): 745-760.

Yeh, Catherine Vance. “The Life-Style of Four Wenren in Late Qing Shanghai.” Harvard Journal of Asiatic Studies 57, 1 (1997): 419-70. [deals with Wang Tao, Chen Jitong, Zeng Pu, and Jin Songcen]

Wang Tongzhao 王统照

Fu, Po-shek. “Wang Tongzhao and the Idea of Resistance Enlightenment: Symbolic Resistance in Occupied China, 1937-1945.” Modern Chinese Literature 5, 2 (1989): 219-46.

—–. “Passivity: Wang Tongzhao and the Ideal of Resistance Enlightenment.” In Fu, Passivity, Resistance, and Collaboration: Intellectual Choices in Occupied Shanghai, 1937-1945. Stanford: SUP, 1993, 21-67.

Wang Wenxing 王文兴

“Bibliography of Wang Wen-hsing’s Works.” In Shu-ning Sciban and Fred Edwards, eds., Endless War: Fiction and Essays by Wang Wen-hsing. Ithaca, NY: Cornell East Asian Program, Cornell University, 2011.

Chang, Han-liang. “Graphemics and Novel Interpretation: The Case of Wang Wen-hsing.” Modern Chinese Literature 6, 1/2 (1992): 133-56.

Chang, Yvonne Sung-Sheng. “Language, Narrative and Stream of Consciousness: The two novels of Wang Wen-hsing.” Modern Chinese Literature 1, 1 (1984): 43-56.

—–. “Wang Wenxing’s Backed Against the Sea, Parts I and II: The Meaning of Modernism in Taiwang’s Contemporary Literature.” In David Wang and Carlos Rojas eds., Writing Taiwan: A New Literary History. Durham, NC: Duke UP, 2006, 156-79.

Chen, Li-fen. Fictionality and Reality in Narrative Discourse: A Reading of Four Contemporary Taiwanese Writers. Ph. D. diss. Seattle: University of Washington, 2000.[chapters on Ch’en Ying-chen, Ch’i-Teng Sheng, Wang Chen-ho, and Wang Wen-hsing; available through Dissertation.com]

Cheung, Sally J.S. Kao. “Chia-Pien: A ‘Revolutionary’ Chinese Novel of Today.” Fu Jen Studies 11 (1978): 1-12.

“Chronology of Wang Wen-hsing’s Life.” In Shu-ning Sciban and Fred Edwards, eds., Endless War: Fiction and Essays by Wang Wen-hsing. Ithaca, NY: Cornell East Asian Program, Cornell University, 2011.

Findieson, Raoul. “An Enquiry into Interventions on Two Manuscript Stages of Jiabian (1966-72) by Wang Wenxing.” Studia Orientalia Slovaca 11, 1 (2012).

Gunn, Edward. “The Process of Wang Wen-hsing’s Art.” Modern Chinese Literature 1, 1 (1984): 29-42.

Lupke, Christopher. “Wang Wenxing and the ‘Loss’ of China.” Boundary 2. Special Issue ed. Rey Chow. 25, 2 (Fall 1998): 97-128.

Prado-Fonts, Carles. “Wang Wenxing.” In Thomas Moran and Ye (Dianna) Xu, eds., Chinese Fiction Writers, 1950-2000. Dictionary of Literature Biography, vol. 370. Detroit: Thomson Gale, 2013, 235-44.

Sciban, Shu-ning. Wang Wenxing’s Poetic Language. Ph.d. diss. University of Toronto, 1995.

—–. “Introduction: Wang Wen-hsing’s Life and Works.” In Shu-ning Sciban and Fred Edwards, eds., Endless War: Fiction and Essays by Wang Wen-hsing. Ithaca, NY: Cornell East Asian Program, Cornell University, 2011.

—–. “How to Do Thngs with Neolgisms: A Study of Wang Wenxing’s Language.” In Kirk A. Denton, ed., Crossing between Tradition and Modernity: Essays in Commemoration of Milena Doleželová-Velingerová (1932-2012). Prague: Karolinum, 2016, 47-60.

Shan, Te-hsing. “Wang Wen-hsing on Wang Wen-hsing.” Modern Chinese Literature 1, 1 (1984): 57-66.

—–. “The Stream of Consciousness Technique in Wang Wen-hsing’s Fiction.” Tamkang Review 15, 1-4 (1984-85): 523-45.

Shu, James C.T. “Iconoclasm in Wang Wen-hsing’s Chia-pien.” In Jeannette L. Faurot, ed., Chinese Fiction from Taiwan: Critical Perspectives. Bloomington: IUP, 1980, 179-93.

—–. “Iconoclasm in Taiwan Literature: ‘A Change in the Family.'” Chinese Literature Essays Articles and Reviews 2, 1 (1980): 73-85.

The Wang Wen-hsing Archive (Chung-hsing University, Humanities and Social Sciences Research Center)

Wang Xiaobo 王小波

Chen, Wenye. “Blending Past and Present: Wang Xiaobo’s The Bronze Age.” In Arthur K. Wardega, ed., Belief, History and the Individual in Modern Chinese Literary Culture. Newcastle: Cambridge Scholars Publishing, 2009, 42-58.

Huang, Yibing. “Wang Xiaobo: From “Golden Age” to “Silver Age,” or, Writing Against the Gravity of History.” In Huang, Contemporary Chinese Literature: From the Cultural Revolution to the Future. NY: Palgrave Macmillan, 2007.

Larson, Wendy. “Okay, Whatever: Intellectuals, Sex, and Time in Wang Xiaobo’s The Golden Years,” The China Review: An Interdisciplinary Journal on Greater China 3, 1 (Spring 2003), 29-56. Also published as “L’indifférance, les intellectuals, le sexe et le temps dans L’Âge d’or de Wang Xiaobo,” Écrit au présent: Débats littéraires franco-chinois, ed. Annie Curien, Éditions de la Maison des sciences de l’homme, Paris, 2004.

[Abstract: Wang Xiaobo’s fiction has amazed and impressed critics, who find in it a powerful if sometimes bizarre model of the intellectual under state power. This kind of intellectual is high-lighted in Wang’s award-winning novel The Golden Years, where the ubiquitous Wang Er is living as an educated youth who like many others has been sent down to the countryside. Central to his character is an unemotional emphasis on sexual pleasure that through sensitive appreciation, slight melancholy, and a sense of fatefulness differentiates itself from the more cynical and alienated hedonism common in fiction that overtly criticizes capitalist consumerism. Also part of this stance is a rejection of ordinary ways of understanding history, and a focus on time as experienced subjectively and through reflective memory. Wang Er emerges neither as an example of collective socialist identity, nor as a contemporary capitalist subject formed through a psychologized, angst-laden personality. Overall, Wang Xiaobo’s writing avoids revolutionary passion while disregarding market enthusiasm, in the process gently mocking revolutionary strategies of self-identity such as confession and personal accounting and putting in their place a covertly philosophical and aesthetic approach to life.]

—–. “The Spirit of the Countryside: Mang Ke’s Wild Things and Wang Xiaobo’s The Golden Years.” In Larson, From Ah Q to Lei Feng: Freud and Revolutionary Spirit in 20th Century China. Stanford: Stanford UP, 2009, 115-54.

—–. “Review of Wang in Love and Bondage: Three Novellas by Wang Xiaobo.” Trs. Hongling Zhang and Jason Sommer. (Albany: SUNY Press, 2007). MCLC Resource Center (Dec. 2007).

Lin, Qingxin. “History, Fiction, and Metafiction.” In Brushing History Against the Grain: Reading the Chinese New Historical. Fiction (1986-1999). HK: Hong Kong UP, 2005, 175-205.

Ma, Yue. “Wang Xiaobo: The Double Temptation of Revolution and Sexual Allurement.” Concentric: Literary and Cultural Studies 31, 2 (July 2005): 201-25.

Qin, Liyan. “The Sublime and the Profane: A Comparative Analysis of Two Fictional Narratives about Sent-down Youth.” In Joseph Esherick, Paul Pickowicz, Andrew Walder, eds., The Chinese Cultural Revolution as History. Stanford: Stanford University Press, 2006, 240-66. [compares Liang Xiaosheng’s Snowstorm Tonight and Wang Xiaobo’s The Golden Age]

Shi, Anbin. “Body Writing and Corporeal Feminism: Reconstructing Gender Identity in Contemporary China.” In Shi, A Comparative Approach to Redefining Chinese-ness in the Era of Globalization. Lewiston, NY: Mellen Press, 2003, 129-206. [part of this chapter deals with Wang’s story “East Palace, West Palace,” which was the basis for Zhang Yuan’s film of the same name]

Veg, Sebastian. “Utopian Fiction and Critical Examination: The Cultural Revolution in Wang Xiaobo’s The Golden Age.” China Perpectives 4 (2007): 75-87. Rpt. in Arthur K. Wardega, ed., Belief, History and the Individual in Modern Chinese Literary Culture. Newcastle: Cambridge Scholars Publishing, 2009, 19-41.

Wang Xiaobo.com [website devoted to the writer Wang Xiaobo, with texts, etc.]

Wu, Jin. The Voices of Revolt: Zhang Chengzhi, Wang Shuo and Wang Xiaobo. Ph.D. diss. Eugene: University of Oregon, 2005.

Wang Xiezhu 王颉竹

Wagner, Rudolf. The Contemporary Chinese Historical Drama. Berkeley: UCP, 1990, 314-17. [deals with “Tang Wang na jian” (Tang Emperor Accepts Remonstrance)]

Wang Xindi 王辛笛

Xia, Zhongyi and Brian Skerratt. “Against the Grain of History: In Search of Humanity in the Mao Era: The Contemporary Classical Poetry of Chen Yinke, Nie Gannu, and Wang Xindi.” Journal of Chinese Literature and Culture 3, 2 (Nov. 2016): 429-47.

[Abstract: This article argues that the classical verse of three twentieth-century writers, Chen Yinke 陳寅恪 (1890–1969), Nie Gannu 聶紺弩 (1903–86), and Wang Xindi 王辛笛 (1912–2004), is significant to the canon of contemporary Chinese literature. The literary historical merit of their poetry is due not only to its aesthetic accomplishments but even more to the poets’ specific responses to the challenges posed to human dignity during the thought reform campaigns of the 1950s and the Cultural Revolution. Whereas Chen Yinke’s last twenty years demonstrate the faith and hauteur of a scholar who wore the mantle of the entire classical tradition, Nie Gannu expresses the deepest despair through deceptively humorous rustic topics, and Wang Xindi’s grief over separation and loss recall Du Fu’s poetry of the An Lushan Rebellion. Although the thirty years between the establishment of the People’s Republic of China through the end of the Cultural Revolution may have been a time when intellectuals were intimidated into conformity or silence, these three poets show that such hardship created an opportunity to exalt the spirit of individual dignity, if only through poetry.

Wang Yuewen 王跃文

Kinkley, Jeffrey C. “Anticorruption by Indirection: Wang Yuewen’s National Portrait.” In In Kinkley, Corruption and Realism in Late Socialist China. Palo Alto: Stanford UP, 2007, 104-24. [Publisher’s blurb]

Wang Zengqi 汪曾祺

Curien, Annie. “Traditions d’actualité dan l’oeuvre de Wang Zengqi.” In La Littèrature chinoise contemporaine, tradition et modernité: colloque d’Aix-en-Provence, le 8 juin 1988. Aix-en-Provence: Publications de l’Université de Provence, 1989, 19-22.

Day, Steven. “Wang Zengqi.” In Thomas Moran and Ye (Dianna) Xu, eds., Chinese Fiction Writers, 1950-2000. Dictionary of Literature Biography, vol. 370. Detroit: Thomson Gale, 2013, 245-54.

FitzGerald, Carolyn. “Imaginary Sites of Memory: Wang Zengqi and Post-Mao Reconstructions of the Native Land.” Modern Chinese Literature and Culture 20, 1 (Spring 2008): 72-128

Wang Zhenhe 王祯和

Chen, Li-fen. Fictionality and Reality in Narrative Discourse: A Reading of Four Contemporary Taiwanese Writers. Ph. D. diss. Seattle: University of Washington, 2000.[chapters on Ch’en Ying-chen, Ch’i-Teng Sheng, Wang Chen-ho, and Wang Wen-hsing; available through Dissertation.com]

Chen, Ya-chen. “Taiwan Rose, I Love You: A Dialogue with Japan and Vietnam.” In Christina Neder and Ines Susanne Schilling, eds., Transformation! Innovation? Perspectives on Taiwan Culture.Wiesbaden, Germany: Harrassowitz, 2003, 196-202.

Huang, I-min. “A Postmodern Reading of Rose, Rose I Love You.Tamkang Review 17, 1 (1986): 27-45.

Kinkley, Jeffrey C. “Mandarin Kitsch and Taiwanese Kitsch in the Fiction of Wang Chen-ho.” Modern Chinese Literature 6, 1/2 (1992): 85-114.

Yang, Robert Yi. “Form and Tone in Wang Chen-ho’s Satires.” In Jeannette L. Faurot, ed., Chinese Fiction from Taiwan. Bloomington: Indiana UP, 1980, 134-47.

Wei An 苇岸

Wei Qingqi and Kyhl Lyndgaard. “Wei An (1960-1999): A Storyteller of Mother Earth.” Interdisciplinary Studies in Literature and Environment 15, 1 (Winter 2008): 189-94.

Zhou, Yulin. “All That Happens on Earth: On Wei An’s Deep Ecological View.” MA thesis. Victoria: University of Victoria, 2008.

Wei Hui 卫慧

Cowley, Jason. “Bridget Jones with Blow Jobs.” (interview with Chinese novelist Zhou Wei Hui). New Statesman (July 23, 2001).

Hillenbrand, Margaret. “Murakami Haruki in Greater China: Creative Responses and the Quest for Cosmopolitanism.” Journal of Asian Studies 68, 3 (2009): 715-747. [deals in part with Wei Hui’s fiction]

Knight, Sabina. “Self-Ownership and Capitalist Values in 1990s Chinese Fiction.” In Knight, The Heart of Time: Moral Agency in Twentieth-Century Chinese Fiction. Cambridge: Harvard University Asia Center, 2006, 222-58. [deals in part with Shanghai Baby]

—–. “Shanghai Cosmopolitan: Class, Gender and Cultural Citizenship in Weihui’s Shanghai Babe.” Journal of Contemporary China 12.37 (2003): 639-653. Rpt. in Jie Lu, ed., China’s Literary and Cultural Scene at the Turn of the 21st Century. NY: Routledge, 2008, 43-58.

—–. “Residual Romanticism in a Contemporary Shanghai Novel.” Frontiers of Literary Studies in China 11, 1 (2017): 106-32.

[Abstract: Through a close reading of Wei Hui’s bestseller Shanghai Baby (1999), this article highlights five elements to delimit a post‐romantic neoliberal literary sensibility and its ruptures: (1) a “melotraumatic” quest for exuberance, (2) denial of dependency, (3) a celebration of individual choice and market rationalities, (4) disillusionment and disappointment, and (5) a quest for intelligibility through narrative. Along the way I probe the narrator’s residual romanticism as a little‐addressed foundation of the novel’s testimony to a generational sensibility. By examining the relationship between Coco the narrator and Coco the protagonist, I contend that the narrator’s sustained self‐remembering evokes her growing unease with neoliberal values. The tension between post‐romantic cynicism and residual romanticism suggests the extent to which a supposedly dissident novel may entice precisely for the ways its deep structure reinforces dominant discourses. Whereas Coco the protagonist follows a logic of consumerism, Coco the narrator gestures to non‐commercial values—loyalty, care, empathy, trust, and solidarity. Appreciating the novel’s residual romanticism alongside its post‐romantic cynicism sheds new light on the story, its context, ambiguous feminism, and reception.]

Kuoshu, Harry. “Shanghai Baby, Chinese Xiaozi, and ‘Pirated’ Lifestyels in the Age of Globalization.” Concentric: Literary and Cultural Studies 31, 2 (July 2005): 85-100.

Lu, Hongwei. “Body-Writing: Shanghai Baby‘s Love Affair with Transnational Capitalism.” Chinese Literature Today (Summer 2010): 39-44.

Lyne, Sandra. “Consuming Madame Chrysanthème: Loti’s ‘dolls’ to Shanghai Baby.Intersections 8 (Oct. 2002).

Shang Baby website [with interviews and short essays)

Shao Yanjun. “A Study of the Phenomenon of ‘Pretty Women’s Writing’: Weihui, Mianmian, Chunshu.” Wasafiri 55 (2008): 13-18.

Shen, Yuanfang. “Sexuality in East-West Encounters: Shanghai Baby and Mistaken Love.” HECATE, an interdisciplinary journal of women’s liberation 27, 2 (2001): 97-105.

Shi, Anbin. “Body Writing and Corporeal Feminism: Reconstructing Gender Identity in Contemporary China.” In Shi, A Comparative Approach to Redefining Chinese-ness in the Era of Globalization. Lewiston, NY: Mellen Press, 2003, 129-206. [much of this chapter deals with Shanghai Baby (aka Shanghai Jewel)]

Weber, Ian. “Shanghai Baby: Negotiating Youth Self-Identity in Urban China.” Social Identities 8, 2 (2002): 347-368.

Zhong, Xueping. “Who Is a Feminist? Understanding the Ambivalence towards Shanghai Baby, ‘Body Writing’ and Feminism in Post-Women’s Liberation China.” Gender & History 18, 3 (Nov. 2006): 635-660.

Wei Minglun 魏明伦

Braester, Yomi. “Rewriting Tradition, Misreading History: Twentieth-Century (Sub)versions of Pan Jinlian’s Story.” In Braester, Witness Against History: Literature, Film, and Public Discourse in Twentieth-Century China. Stanford: Stanford UP, 2003, 56-80. [deals with Wei Minglun’s Pan Jinlian, as well as Ouyang Yuqian’s play of the same title]

Wen Yiduo 闻一多

Hoffmann, Peter, ed. Poet, Scholar, Patriot: In Honour of Wen Yiduo’s 100th Anniversary. Bochum / Freiburg: Projektverlag, 2004.

Hsu, Kai-yu. “The Life and Poetry of Wen I-to.” Harvard Journal of Asiatic Studies 21. (Dec., 1958): 134-79.

—–. Wen I-to. Boston: Twayne, 1980.

McClellan, T. M. “Wen Yiduo’s ‘Sishui’ Metre: Themes, Variations and a Classic Variation.” Chinese Literature: Essays, Articles, Reviews 21 (1999): 151-67 . [available on Project MUSE]

Meng, Liansu. “From Tsinghua to Chicago: Wen Yiduo’s Transnational Conception of an Eco-poetics.” Korea Journal of Chinese Language and Literature 58 (2014): 53-104.

Olney, Charles V. “The Chinese Poet Wen I-to.” Journal of Oriental Literature, 7 (1966); 8-17.

Uberoi, Patricia. “Rhythmic Techniques in the Poetry of Wen I-to.” United College Journal 6 (1967-68): 1-25.

van Crevel, Maghiel. “Who Needs Form? Wen Yiduo’s Poetics and Post-Mao Poetry.” In Peter Hoffmann, ed, Poet, Scholar, Patriot: In Honour of Wen Yiduo’s 100th Anniversary. Bochum / Freiburg: Projektverlag, 2004, 81-110.

Wong, Wang-chi. “‘I am a Prisoner in Exile’: Wen Yiduo in the United States.” In Gregory Lee, ed., Chinese Writing and Exile. Chicago: Center for East Asian Studies, The University of Chicago, 1993, 19-34.

Wong Bikwan

(See Huang Biyun)

Wu Han 吴晗

Ansley, Clive.The Heresy of Wu Han: His Play ‘Hai Rui’s Dismissal and its Role in China’s Cultural Revolution. Toronto: UT Press, 1971.

Fisher, Tom. “‘The Play’s the Thing’: Wu Han and Hai Rui Revisited.” In J. Unger, ed., Using the Past to Serve the Present: Historiography and Politics in Contemporary China. Armonk: M.E. Sharpe, 1993, 9-45. Originally published: Australian Journal of Chinese Affairs 7 (1982).

—–. “Wu Han, the Cultural Revolution, and the Biography of Zhu Yuanzhang: An Introduction.” Ming Studies 11 (1980): 33-43.

Mazur, Mary Gale. “Studying Wu Han: The Political Academic.” Republican China 15, 2 (1990): 17-39.

—–. Wu Han, Historian: Son of China’s Times. Lanham: Lexington Books, 2009.

[Abstract: This biography spotlights the life of a key Chinese intellectual, Wu Han, well known in China as a major twentieth-century historian and democratic political figure. World attention was drawn to Wu in the mid-1960s as the first of Mao Zedong’s targets in the Cultural Revolution. The biography locates Wu in the rapid changes in the social and political environment of his times, from the early years of the twentieth century until his death in prison in 1969. With Wu Han’s life as the focus, the narrative deals with the momentous changes in Chinese society and government during the last century. Mazur bases the biographical account on extensive interviewing in China, and penetrates a great deal deeper than the conventional conception of the shift from Nationalist to Communist regimes in the PRC. ]

Pusey, James Reeve. Wu Han: Attacking the Present Through the Past. Cambridge: East Asian Research Center, Harvard University, 1969.

Wagner, Rudolf. The Contemporary Chinese Historical Drama. Berkeley: UCP, 1990, 289-302. [deals with “Hai Rui baguan”]

Wu Jiwen 吳繼文

Rojas, Carlos. “The Ruins of Representation in the Fiction of Wu Jiwen.” Journal of Modern Literature in Chinese 5, 1 (2001): 29-64.

Wu Jinfa 吳錦發

Berg, Daria. “Wu Jinfa and the Melancholy Mountain Forests of China’s Border Cultures: New Voices in Taiwanese Literature.” In David Faure, ed., Search of the Hunters and their Tribes. Taipei: Shung Ye Museum, 2001, 202-240.

Wu Mi 吴宓

Ong, Chang Woei. “On Wu Mi’s Conservativism.” Humanitas 12, 1 (1999). 9).

Wang, Songlin. “I.A. Richards and Wu Mi: Basic English, Vernacular Chinese, and Chung Yung.” The Cambridge Quarterly 41, 1 (March 2012): 66-81.

Wu Mingshi (Pu Ning 卜寧) 无名氏

Bu Shaofu, ed. Wumingshi yanjiu (Research on Wumingshi). HK: Xinwen tiandi, 1981.

Rojas, Carlos. “Wu Mingshi (Bu Baonan).” In Dictionary of Literary Biography–Chinese Fiction Writers, 1900-1949. Ed. Thomas Moran. NY: Thomson Gale, 2007, 228-34.

—–. “Wumingshi and Pictorial Fetishism.” In Rojas, The Naked Gaze: Reflections on Chinese Modernity. Cambridge, MA: Harvard University Asia Center, 2008, 111-35.

Rosenmeier, Christopher John. Shanghai Avant-garde: The Fiction of Shi Zhecun, Mu Shiying, Xu Xu, and Wumingshi. Ph. D. diss. London: University of London, 2006.

—–. On the Margins of Modernism: Xu Xu, Wumingshi and Popular Chinese Literature in the 1940s. Edinburgh: Edinburgh University Press, 2017.

[Abstract: Xu Xu and Wumingshi were among the most widely read authors in China during and after the Second Sino-Japanese War (1937-1945), but although they were an integral part of the Chinese literary scene their bestselling fiction has been given scant attention in histories of Chinese writing. This groundbreaking book, the first book-length study of Xu Xu and Wumingshi in English or any other western language, re-establishes their importance within the popular Chinese literature of the 1940s. With in-depth analyses of their innovative short stories and novels, Christopher Rosenmeier demonstrates how these important writers incorporated and adapted narrative techniques from Shanghai modernist writers like Shi Zhecun and Mu Shiying, contesting the view that modernism had little lasting impact in China and firmly positioning these two figures within the literature of their times.]

Wang, Xiaoping. “An Alienated Mind Dreaming for Integration: Constrained Cosmopolitanism in Wumingshi’s ‘Modern Literati Novel.'” Journal of Australian Popular Culture 2, 3 (Sept. 2012).

[Abstract: Mainstream scholarship on Wumingshi – a marginal figure in modern Chinese literary history, but a very popular writer in the 1940s – interprets his writings as ‘neo-romanticism’, ‘late romanticism’ or ‘popular modernism’. This study, through the practice of political hermeneutics, contends that his works are in fact an example of ‘modern literati fiction’ or ‘fiction of ideas’ – a sort of middlebrow fiction for the popular culture market of modern China.]

Wu Mingshi. “Prologue: The Secret of the Cave.” In Pu Ning, Red in Tooth and Claw: Twenty-Six Years in Communist Chinese Prisons. Tr. Tung Chung-hsuan. NY: Grove, 1994, xxv-xxvii.

Wu Mingyi 吳明益

Byrnes, Corey. “Review of The Man with the Compound Eyes.” MCLC Resource Center (Oct. 2014.

Chang, Yalan Kathryn. 2016. “If Nature Had a Voice: A Material-Oriented Environmental Reading of Fuyanren (The man with the compound eyes).” In Chia-ju Chang and Scott Slovic, eds., Ecocriticism in Taiwan: Identity, Environment, and the Arts. Lanham, MD: Lexington Books, 95–110.

Chou, Shiuhhuah Serena. “Sense of Wilderness, Sense of Time: Mingyi Wu’s Nature Writing and the Aesthetics of Change.” In Simon C. Estok and Won-Chung Kim, eds., East Asian Ecocriticisms: A Critical Reader. NY: Palgrave MacMillan, 2013.

—–. “The Man with the Compound Eyes and the Worlding of Environmental Literature.” In Simon C. Estok and Murali Sivaramakrishnan, eds., CLCWeb: Comparative Literature and Culture 16, no. 4 (2014).

Gaffric, Gwennaël. Taïwan, écriture et écologie: explorations écocritiques autour des oeuvres de Wu Ming-Yi (Taiwan, writing, and ecology: ecocritical explorations around the works of Wu Ming-Yi). Ph.D. diss. Lyon: Université Lyon III – Jean Moulin, 2014.

Juan, Rose Hsiu-li. 2016. “Imagining the Pacific Trash Vortex and the Spectacle of Environmental Disaster: Environmental Entanglement and Literary Entanglement in Wu Ming-Yi’s Fuyanren (The man with the compound eyes).” In Chia-ju Chang and Scott Slovic, eds., Ecocriticism in Taiwan: Identity, Environment, and the Arts. Lanham, MD: Lexington Books, 79–94.

Sterk, Darryl. “The Apotheosis of Montage: The Videomosaic Gaze of The Man with the Compound Eyes as Postmodern Ecological Sublime.”  Modern Chinese Literature and Culture 28, 2  (Fall 2016): 183-222.

Wu Qiang 吳強

Li, Peter. “War and Modernity in Chinese Military Fiction.” Society 34, 5 (July 1997): 77-89. [deals in part with Du Pengcheng’s Defend Yan’an and Wu Qiang’s Red Sun]

Wu Ruozeng 吴若增

Xiao, Hui Faye. “Midlife Crisis and Misogynist Rhetoric in Male Intellectuals’ Divorce Narratives.” In Xiao, Family Revolution: Marital Strife in Contemporary Chinese Literature and Visual Culture. Seattle and London: University of Washington Press, 2014, 52-84.

Wu Sheng 吳晟

Lin, Julia. “Wu Sheng: A Poet of the Soul.” In Lin, Essays on Contemporary Chinese Poetry. Athens, OH: Ohio University Press, 1985, 134-49.

Wu Shutian 吴曙天

Findeisen, Raoul. “Un couple de ‘litteratuers’: Wu Shutian et Zhang Yiping.” In Jean-Louis Boully, ed., Ouvrages en langue chinoise de l’Institut franco-chinois de Lyon, 1921-1946. Lyon: Bibliotheque municipale de Lyon, nd., xxlii-lx.

Wu Wenguang 吴文光

Salter, Denis. “China’s Theatre of Dissent: A Conversation with Mou Sen and Wu Wenguang.” Asian Theatre Journal 13, 2 (1996): 218-22.

Wu Woyao (or Wu Jianren) 吴沃尧

Egan, Michael. “Characterization in Sea of Woe.” In Milena Dolezelova-Velingerova, ed., The Chinese Novel at the Turn of the Century. Toronto: University of Toronto Press, 1980, 165-76.

Hanan, Patrick. “Introduction.” In The Sea of Regret: Two Turn of the Century Chinese Romantic Novels. Trs. Patrick Hanan. Honolulu: University of Hawii Press, 1995, 1-17.

—–. “Wu Jianren and the Narrator.” In Hanan, Chinese Fiction of the Nineteenth and Early Twentieth Centuries. NY: Columbia UP, 2004.

—–. “Specific Literary Relations of Sea of Regret.” In Hanan, Chinese Fiction of the Nineteenth and Early Twentieth Centuries. NY: Columbia UP, 2004.

Huters, Theodore. “The Shattered Mirror: Wu Jianren and the Reflection of Strange Events.” In Huters, et. al., eds., Culture and State in Chinese History: Conventions, Accomodations, and Critiques. Stanford: Stanford UP, 277-99.

—–. “Wu Jianren: Engaging the World.” In Huters, Bringing the World Home: Appropriating the West in Late Qing and Early Republican China. Honolulu: University of Hawaii Press, 2005, 123-50.

—–. “Melding East and West: Wu Jianren’s New Story of the Stone.” In Huters, Bringing the World Home: Appropriating the West in Late Qing and Early Republican China. Honolulu: University of Hawaii Press, 2005, 151-73.

—–. “Creating Subjectivity in Wu Jianren’s The Sea of Regret.” I n David Wang and Shang Wei, eds., Dynastic Crisis and Cultural Innovation: From the Late Ming to the Late Qing and Beyond. Cambridge: Harvard Asia Center, 2005, 451-477.

—–. “Wu Jianren (Wo Foshanren).” In Dictionary of Literary Biography–Chinese Fiction Writers, 1900-1949. Ed. Thomas Moran. NY: Thomson Gale, 2007, 212-19.

Isaacson, Nathaniel. “Wu Jianren and Late Qing SF.” In Isaacson, Celestial Empire: The Emergence of Chinese Science Fiction. Middleton, CT: Wesleyan University Press, 2017, 60-92.

Tang, Xiaobing. “Trauma and Passion in The Sea of Regret: The Ambiguous Beginnings of Modern Chinese Literature.” In Tang, Chinese Modern: The Heroic and the Quotidian. Durham: Duke UP, 2000, 11-48.

Wei Shaochang, ed. Wu Jianren yanjiu ziliao (Research materials on Wu Jianren). Shanghai: Shanghai guji, 1980.

Wu Xinghua 吴兴华

Hockx, Michel. “Wu Xinghua, the Poetics of new Poetry, and the Taiwanese Poetry Scene of the 1950s.” In Christina Neder et al. eds., China in Seinen Biographischen Dimension: Gedenkscrift fur Helmut Martin. Weisbaden: Harrossowitz Verlag, 2001, 313-30.

Wu Ying 吴瑛

Smith, Norman. “Regulating Chinese Women’s Sexuality During the Japanese Occupation of Manchuria: Between the Lines of Wu Ying’s “Yu” (Lust) and Yang Xu’s Wo de Riji (My Diary).” Journal of the History of Sexuality 13, 1 (Jan. 2004): 49-70.

Wu Yu 吴虞

Stapelton, Kristin. “Generational and Cultural Fissures in the May Fourth Movement: Wu Yu (1872-1949) and the Politics of Family Reform.” In Kai-wing Chow, Tze-ki Hon, Hung-yok Ip, and Don Price, eds., Beyond the May Fourth Paradigm: In Search of Chinese Modernity. Lanham, MD: Lexington Books, 2008.

Wu Zhuoliu (Wu Cho-liu) 吳濁流

Chien, I-ming. “The Eyes of an Orphan: Gazing at the Self and Imagining the Other in the Travel Diaries of Wu Choliu.” Taiwan Literature, English Translation Series 15 (2004): 199-239.

Chu Yuzhi 禇昱志. 2010. Wu Zhuoliu ji qi xiaoshuo zhi yanjiu 吳濁流及其小說之研究 (A study on Wu Zhuoliu and his fictions). Taipei: Xiuwei zixun keji.

Gescher, Christa. ‘Taiwanbewusstsein’ versus ‘Chinabewusstsein’: Der Taiwanische Schrifsteller Wu Choliu (1900-1976) in Speiger der Literaturkritik. Dortmund: Projekt Verlag, 1997.

Liao, Ping-hui. “Travel in Early-Twentieth-Century Asia: On Wu Zhuoliu’s “Nanking Journals” and His Notion of Taiwan’s Alternative Modernity.” In David Der-wei Wang and Carlos Rojas eds., Writing Taiwan: A New Literary History. Durham, NC: Duke UP, 2006, 285-300.

Mori, Makiko. “Performativity in Colonial Taiwan Literature: From Ria to Madman in Wu Zhuoliu’s Ko Shimei.Modern Chinese Literature and Culture 26, 2 (Fall 2014): 142-76.

Scruggs, Bert. “Identity and Free Will in Colonial Taiwan Fiction: Wu Zhuoliu’s ‘The Doctor’s Mother’ and Wang Changxiong’s ‘Torrent.'” Modern Chinese Literature and Culture 16, 2 (Fall 2004): 160-83.

Shi Yining 石一寧. 2006. Wu Zhuoliu: miandui xin yujing 吳濁流:面對新語境 (Wu Zhuoliu: in the face of the new context). Beijing: Zuojia.

Tsai, Chien-hsin. 2013. “At the Crossroads: Orphan of Asia, Postloyalism, and Sinophone Studies.” Sun Yat-sen Journal of Humanities 35 (July): 27–46.

Tu, K. C.. “Foreword: Lai Ho, Wu Cho-liu, and Taiwan Literature.” Taiwan Literature English Translation Series 15 (2004): xix-xxx.

Wang, Xiaojue. “Wu Zhuoliu, Orphanization, and Colonial Modernity in Taiwan.” In Wang, Modernity with a Cold War Face: Reimagining the Nation in Chinese Literature Across the 1949 Divide. Cambridge, MA: Harvard University Asia Center, 2013, 155-201. [MCLC Resource Center review by Jeffrey C. Kinkley]

Wu, Chien-heng. “‘Tiger’s Leap into the Past’: Comparative Temporality and the Politics of Redemption in The Orphan of Asia.” In Shu-mei Shih and Ping-hui Liao, eds., Comparatizing Taiwan. London: Routledge, 2015, 33-58.

The Wu Zhuoliu Archive (Chung-hsing University, Humanities and Social Sciences Research Center)

Wu Zuguang 吴祖光

Wu Zuguang: A Disaffected Gentleman.” China Heritage Quarterly 25 (March 2011).

Wu Zuxiang 吴组缃

Campbell, Catherine. “Political Transformation in Wu Zuxiang’s Wartime Novel Shanhong.” Modern Chinese Literature 5, 2 (1989): 293-324.

Hsia, C.T. “Wu Tsu-hsiang.” In C.T. Hsia. A History of Modern Chinese Fiction. 2nd ed. New Haven: Yale University Press, 1971, 281-87.

Tang Yuan 唐沅. Wu Zuxiang zuopin xinshang 吴组缃作品欣赏 (An appreciation of the works of Wu Zuxiang). Nanning: Guangxi renmin, 1986.

Williams, Philip. Village Echoes: The Fiction of Wu Zuxiang. Boulder: Westview, 1993.

Williams, Philip F. “20th-Century Iconoclasm in a Classical Tragedy: Wu Zuxiang’s ‘Fan Hamlet.'” Republican China 18, 1 (1993): 1-22.

—–. “Wu Zuxiang.” In Dictionary of Literary Biography–Chinese Fiction Writers, 1900-1949. Ed. Thomas Moran. NY: Thomson Gale, 2007, 220-27.

Wuhe 舞鹤

Bachner, Andrea. “Graphic Germs: Mediality, Virulence, Chinese Writing.” Modern Chinese Literature and Culture 23, 1 (Spring 2011): 197-225.

Payne, Christopher Neil. “Opening Doors: Countermemory in Wuhe’s Early Short Stories.” Modern Chinese Literature and Culture 20, 1 (Spring 2008): 173-217.

—–. “Queer Otherwise: Anti-Sociality in Wuhe’s Gui’er and Ayao.” Archiv orientální 81, 3 (2013): 539-554.

—–. “Wushe, Literature, and Melodic Black Metal: The ‘Nonpolitics’ of Wuhe and the ‘Political’ ChthoniC.” positions: asia critique 22, 2 (spring 2014): 403-28.

Veg, Sebastian. “Surviving Civilization: Rereading the History of Taiwan and Modernity” [review of Wu He, Les Survivants (The Survivors), trans. Esther Lin-Rosolato and Emmanuelle Péchenart (Arles, Actes Sud, 2011).] China Perspectives 1 (2012): 69-72. 


X

Xi Chuan西川

van Crevel, Maghiel. “Xi Chuan’s ‘Salute’: Avante-Garde Poetry in a Changing China.” Modern Chinese Literature and Culture 11, 2 (Fall 1999): 107-49. Expanded and revised as “Mind over Matter, Matter over Mind: Xi Chuan.” In van Crevel, Chinese Poetry in Times of Mind, Mayhem and Money. Leiden: Brill, 2008, 187-221.

—–. “Fringe Poetry, But Not Prose: Works by Xi Chuan and Yu Jian.” Journal of Modern Literature in Chinese 3, 2 (Jan. 2000): 7-42. Revised as “Fringe Poetry, But Not Prose: Xi Chuan and Yu Jian.” In van Crevel, Chinese Poetry in Times of Mind, Mayhem and Money. Leiden: Brill, 2008, 223-246.

—–. “Mind Over Matter: On Xi Chuan’s Poetry.” The Drunken Boat (Spring/Summer 2006).

—–. ” Not at Face Value: Xi Chuan’s Explicit Poetics.”Iin Olga Lomova ed., Recarving the Dragon: Understanding Chinese Poetics. Prague: Karolinum Press, Charles University, 327-346. Revised as “Not at Face Value: Xi Chuan’s Explicit Poetics.” In van Crevel, Chinese Poetry in Times of Mind, Mayhem and Money, Leiden: Brill, 2008, 345-363.

Hass, Robert. “Two Poets: A Generation after the ‘Misty School,’ Chinese Poetry Has Come Alive Again.” Believer (June 2010).

Klein, Lucas. “Poetry of the Anti-Lyric.” Cerise Press 3, 7 (Summer 2011).

—–. Notes on the Mosquito: A Blog on Xi Chuan and Chinese Poetry in English Translation.

—–. “On Xi Chuan and Translating ‘Written at Thirty.'” Poetry Society of America.

—–. “Same Difference: Xi Chuan’s Notes on the Mosquito and the Translation of Poetry, Prose Poetry, and Prose.” Translation Review 93, 1 (2015): 41-50.

Xi Xi 西西

Chan, Stephen C. K. “The Cultural Imaginary of a City: Reading Hong Kong Through Xi Xi.” In Pang-yuan Chi and David Wang, eds., Chinese Literature in the Second Half of the Twentieth Century: A Critical Survey. Bloomington: Indiana UP, 2000, 180-92.

Chen, Li-fen. “The Discourse of Naivete: Xi Xi’s ‘Mourning Breasts’ and Women’s Writings.” In Zhang Meichu and Zhu Yiaowei, eds., Hong Kong Literature as/and Cultural Studies. Hong Kong: Oxford University Press, 517-530

Choy,  Howard Y. F. “Narrative as Therapy: Stories of Breast Cancer by Bi Shumin and Xi Xi.” In Howard Y. F. Choy, ed., Discourses of DiseaseWriting Illness, the Mind and Body in Modern China. Leiden: Brill, 2016, 151-76.

Ng, Daisy S. Y. “Xi Xi and Tales of Hong Kong.” In Joshua Mostow, ed, and Kirk A. Denton, China section, ed., Columbia Companion to Modern East Asian Literatures. NY: Columbia UP, 2003, 578-83. Rpt in Kirk A. Denton, ed., Columbia Companion to Modern Chinese Literature. NY: Columbia University Press, 2016, 355-62.

Soong, Stephen C. “Made in Hong Kong: A Writer Like Hsi Hsi.” Tr. Kwok-kan Tam. Asian Culture Quarterly 14, 4 (Winter 1986): 43-60.

Szeto, Mirana May. “Intra-Local and Inter-Local Sinophone: Rhizomatic Politics of Hong Kong Writers Saisai and Wong Bik-wan.” In Shu-mei Shih and Chien-hsin Tsai eds. Sinophone Studies: A Critical Reader. NY: Columbia University Press, 2013, 191-206.

Wong, Kai-chee. “Xi Xi’s Serialized Writings: Reminiscences and Rereadings.” The Ba-Fang Journal for Literary Arts 12 (1990): 68-80.

Xia Yan 夏衍

—–. “Dramatizing Xianglin Sao: Light Cast on an Opage Figure.” In Harry Kuoshu, Lightness of Being in China: Adaptation and Discursive Figuration in Cinema and Theater. NY: Peter Lang, 1999, 51-70. [in part about Xia Yan’s film adaptation of “Zhufu”]

Xia Yu [Hsia Yu] 夏宇

Galik, Marian. “Three Modern Taiwanese Poetesses (Ronzi, Xia Yu, and Siren) on Three Wisdom Books of the Bible.” Asian and African Studies [Brataslava] 5, 2 (1996): 113-31.

Lee, Tong King. “Translational (de)construction in Contemporary Chinese Poetics: A Case Study of Hsia Yü’s Pink Noise.” The Translator: Studies in Intercultural Communication 17, 1 (2011): 1-24.

—–. Experimental Chinese Literature: Translation, Technology, Poetics. Leiden: Brill, 2015.

[Abstract: the first theoretical account of material poetics from the dual perspectives of translation and technology. Focusing on a range of works by contemporary Chinese authors including Hsia Yü, Chen Li, and Xu Bing, Tong King Lee explores how experimental writers engage their readers in multimodal reading experiences by turning translation into a method and by exploiting various technologies. The key innovation of this book rests with its conceptualisation of translation and technology as spectrums that interact in different ways to create sensuous, embodied texts. Drawing on a broad range of fields such as literary criticism, multimodal studies, and translation, Tong King Lee advances the notion of the translational text, which features transculturality and intersemioticity in its production and reception.]

—–. “Cybertext: A Typology of Reading.” Modern Chinese Literature and Culture 29, 1  (Spring 2017): 172-203.

Lingenfelter, Andrea. “Opposition and Adaptation in the Poetry of Zhai Yongming and Xia Yu.” In Christopher Lupke ed., New Perspectives on Contemporary Chinese Poetry. New York: Palgrave Macmillan, 2007, 105-120.

Marijnissen, Silvia. “‘Made Things’: Serial Form in Modern Poetry from Taiwan.” Modern Chinese Literature and Culture 13, 2 (Fall 2001): 172-206.

Parry, Amie Elizabeth. Interventions into Modernist Cultures: Poetry from Beyond the Empty Screen. Durham, NC: Duke UP, 2007. [MCLC Resource Center review by Paul Manfredi]

[Abstract: A comparative analysis of the cultural politics of modernist writing in the United States and Taiwan. Parry argues that the two sites of modernism are linked by their representation or suppression of histories of U.S. imperialist expansion, Cold War neocolonial military presence, and economic influence in Asia. Focusing on poetry, a genre often overlooked in postcolonial theory, she contends that the radically fragmented form of modernist poetic texts is particularly well suited to representing U.S. imperialism and neocolonial modernities.]

Yeh, Michelle. “The Feminist Poetic of Xia Yu.” Modern Chinese Literature 7, 1 (Spring 1993): 33-60.

Xiang Kairan 向恺然

Altenburger, Roland. “Xiang Kairan (Pingjiang Buxiaosheng; Buxiaosheng).” In Dictionary of Literary Biography–Chinese Fiction Writers, 1900-1949. Ed. Thomas Moran. NY: Thomson Gale, 2007, 235-40.

Hamm, Chris. “Genre in Modern Chinese Fiction: Righteous Heroes of Modern Times.” In Carlos Rojas and Andrea Bachner, eds., The Oxford Handbook of Modern Chinese Literatures. Oxford: Oxford University Press, 2016, 531-45.

Xiao Hong 萧红

Dooling, Amy D. “Xiao Hong’s Field of Life and Death.” In Joshua Mostow, ed, and Kirk A. Denton, China section, ed., Columbia Companion to Modern East Asian Literatures. NY: Columbia UP, 2003, 431-36. Rpt in Kirk A. Denton, ed., Columbia Companion to Modern Chinese Literature. NY: Columbia University Press, 2016, 189-194.

Goldblatt, Howard. Hsiao Hung. Boston: Twayne, 1976.

—–. “Life as Art: Xiao Hong and Autobiography.” In Anna Gerstlacher ed., Woman and Literature in China. Bochum: Brockmeyer, 1985, 345-63.

Ho, Felicia Jiawen. Full Spectrum of Selves in Modern Chinese Literature: From Lu Xun to Xiao Hong. Ph.d. diss. Los Angeles: University of California Lo Angeles, 2012.

Huang, Nicole. “Xiao Hong.” In Dictionary of Literary Biography–Chinese Fiction Writers, 1900-1949. Ed. Thomas Moran. NY: Thomson Gale, 2007, 241-49.

Jiang, Jing. “From Foot Fetish to Hand Fetish: Hygiene, Class, and the New Woman.” positions: asia critique 22, 1 (winter 2014): 131-59.

Kalinauskas, Lynn. “The Conflation of Missing Remembrances in Xiao Hong’s Fiction.” In Steven Totosy de Zepetnek and Jennifer W. Jay, eds., East Asian Cultural and Historical Perspectives: Histories and Society, Culture and Literatures. Edmonton: Research Institute for Comparative Literature and Cross-Cultural Studies, University of Alberta, 1997, 221-39.

Liu, Lydia. “The Female Body and Nationalist Discourse: Manchuria in Xiao Hong’s Field of Life and Death.” In Angela Zito and T. Barlow, eds. Body, Subject and Power in China. Chicago: UCP, 1994, 157-77.

Luo Binji. Xiao Hong xiao zhuan (Short biography of Xiao Hong). Shanghai: Jianwen shudian, 1947.

Xiao Hong Biography (Pegasos Website, Findland)

Xiao Hong yanjiu (Research on Xiao Hong). Haerbin: Beifang luncong, 1983.

Xiao, Si. “Loneliness among the Mountain Flowers–Xiao Hong in Hong Kong.” Tr. Janice Wickeri. Renditions 29/30 (Spring/Aut. 1988): 177-81.

Xu, Jian. “Retrieving the Working Body in Modern Chinese Fiction: The Question of the Ethical in Representation.” Modern Chinese Literature and Culture 16, 1 (Spring 2004): 115-52. [deals with stories by Lu Xun, Mao Dun, Lao She, and Xiao Hong]

Yue, Gang. “Embodied Spaces of Home: Xiao Hong, Wang Anyi, and Li Ang.” In The Mouth that Begs: Hunger, Cannibalism, and the Politics of Eating in Modern China. Durham: Duke University Press, 1999, 293-330.

Xiao Jun 萧军

Anderson, Marsten. “The Barred View: On the Enigmatic Narrator in Xiao Jun’s ‘Goats.'” In Theodore Huters, ed., Reading the Modern Chnese Short Story. Armonk: M.E. Sharpe, 1990, 37-50.

Hsia, C.T. “Communist Fiction, I.” In C.T. Hsia, A History of Modern Chinese Fiction. 2nd ed. New Haven: Yale University Press, 1971, 257-80.

Lee, Leo Ou-fan. “Hsiao Chun.” In Leo Ou-fan Lee. The Romantic Generation of Modern Chinese Writers. Cambridge: Harvard University Press, 1973, 222-24.

Liu, Chih-ming. “A Criticism of the Errors of Hsiao Chun and the Cultural Gazette.” In Hualing Nieh, ed., Literature of the Hundred Flowers, Volume II: Poetry and Fiction. NY: Columbia UP, 1981, 294-306.

Wagner, Rudolf G. “Xiao Jun’s Novel Countryside in August and the Tradition of ‘Proletarian Literature’.” In La litterature chinoise au temps de la guerre de resistance contre le Japon (de 1937 a 1945). Paris: Editions de la Fondation Singer- Polignac, 1982, 57-66.

Xiao Qian 蕭乾

Huangfu, Jenny. “Roads to Salvation: Shen Congwen, Xiao Qian, and the Problem of Non-Communist Celebrity Writers, 1948-1957.” Modern Chinese Literature and Culture 22, 2 (Fall 2010): 39-87.

Kinkley, Jeffrey C. “Xiao Qian: Autobiography as Therapy.” In Christina Neder et al. eds., China in Seinen Biographischen Dimension: Gedenkscrift fur Helmut Martin. Weisbaden: Harrossowitz Verlag, 2001, 157-66.

Laurence, Patricia. “In Memorian: Xiao Qian and Dadie Rylands.” Virginia Woolf Miscellany (Spring 1999): 2.

Xiao Sa 蕭颯

Wu, Fatima. “From a Dead End to a New Road of Life: Xiao Sa’s Abandoned Women.” World Literature Today 65, 3 (1991): 427-31.

Xiao Ye (Hsiao Yeh) 小野

Tang, Xiaobing. “The Mirror as History and History as Spectacle: Reflections on Hsiao Yeh and Su T’ung.” Modern Chinese Literature 6, 1/2 (1992): 203-20. Rpt. in Chinese Modernism: The Heroic and the Quotidian. Durham: Duke UP, 2000, 225-44.

Xie Bingying (Hsieh Ping-ying) 谢冰莹

Fruhauf, Manfred W. “Betrachtunge zu Xie Bingying und ihrer ‘Autobiographie einer Soldatin.'” In Christina Neder et al. eds., China in Seinen Biographischen Dimension: Gedenkscrift fur Helmut Martin. Weisbaden: Harrossowitz Verlag, 2001, 141-56.

Xiong Foxi 熊佛西

Liu, Siyuan. “‘A Mixed-Blooded Child, Neither Western Nor Eastern’-Sinicization of Western-Style Theatre in Rural China in the 1930s.” Asian Theatre Journal 25, no. 2 (2008): 272-97.

Zhang, Yu. “Visual and Theatrical Constructs of a Modern Life in the Countryside: James Yen, Xiong Foxi, and the Rural Reconstruction Movement in Ding County (1920s-1930s).” Modern Chinese Literature and Culture 25, 1 (Spring 2013): 47-95.

Xu Dishan 许地山

Galik, Marian. “Xu Dishan’s Chuntao (Spring Peach) and Lao She’s Ye Shi Sanjiao (Also a Triangle): ‘Fraternal Polyandry’ in the Chinese Fashion?” Asian and African Studies [Brataslava] 18, 2 (2009): 95-113.

Hsia, C. T. “Lo Hua-sheng (1893-1941).” In Hsia, History of Modern Chinese Fiction. Third edition. Bloomington: Indiana UP, 1999, 84-92.

McComber, Douglas Adran. Hsu Ti-shan and the Search for Identity: Individuals and Families in the Short Stories of Luo Hua-sheng (1894-1941). Ph. D. diss. Berkeley: University of California, 1980.

Riep, Steven. “Religion Reconsidered: Redemption and Women’s Emancipation in Xu Dishan’s ‘The Merchant’s Wife’ and ‘Yuguan.'” Literature and Belief 24, 1-2 (2004): 101-15.

—–. “Xu Dishan (Luo Huasheng).” In Dictionary of Literary Biography–Chinese Fiction Writers, 1900-1949. Ed. Thomas Moran. NY: Thomson Gale, 2007, 250-56.

Robinson, Lewis. “The Stories of Hsi-Ti-shan: Literature and Life.” MA thesis. Berkeley: University of California, 1977.

—–. “Yu-kuan: The Spiritual Testament of Hsu Ti-shan.” Tamkang Review 8, 2 (1977): 147-68.

Xu Huaizhong 徐怀中

Li, Peter. “War and Modernity in Chinese Military Fiction.” Society 34, 5 (July 1997): 77-89. [deals in part with Li Cunbao’s Wreath at the Foot of the Mountain and Xu Huaizhong’s Anecdotes on the Western Front]

Xu Jinglei 徐静蕾

Xu Jinglei’s Blog (Sina.com)

Xu Maoyong 徐懋庸

Chang, Ch’ing. “Criticism of Hsu Mou-yong’s Tsa-wen.” In Hualing Nieh, ed. Literature of the Hundred Flowers, Volume II: Poetry and Prose. NY: Columbia UP, 1981, 332-36.

Xu Xi 許 素 細

Li, Melody Yunzi. “At Home in the World”: Hong Kong as a Cosmopolitan City in Xu Xi’s The Unwalled City.” Telos  180 (Fall 2017): 66-87.

Xu Xiao

Berry, Michael. “A Conversation with Xu Xiao: Author of ‘A May That Will Last Forever.” Persimmon 2, 3 (Winter 2002): 56-59.

Xu Xiaohe 徐晓鹤

Yang, Xiaobin. “Xu Xiaohe: Laughter from Despair.” In Yang, The Chinese Postmodern: Trauma and Irony in Chinese Avant-garde Fiction. Ann Arbor: University of Michigan Press, 2002, 111-28.

Xu Xing 徐星

Lin, Min and Maria Galikowski. “Absurdity, Senselessness, and Alienation: Xu Xing’s Literary Reflections on the Conemporary Human Condition.” In Min Lin and Maria Galikowski, The Search for Modernity: Chinese Intellectuals and Cultural Discourse in the Post-Mao Era. NY: St. Martin’s Press, 1999, 103-22.

Zha, Peide. “Chinese Modernity in Xu Xing’s Prose Fiction.” B.C. Asian Review 6 (1992).

Xu Xingzhi 许幸之

Kuoshu, Harry H. “Visualizing Ah Q: An Allegory’s Resistance to Representation.” In Harry Kuoshu, Lightness of Being in China: Adaptation and Discursive Figuration in Cinema and Theater. NY: Peter Lang, 1999, 17-49. [deals in part with Xu’s play The True Story of Ah Q]

Xu Xu 徐訏

Chau, Angie. “Defining the Modern Wenren and the Role of the White Female Body in Modern Chinese Literature and Art.” Modern Chinese Literature and Culture 29, 1  (Spring 2017): 1-54.

Chen Xuanbo. Shi yu guang: 20 shiji Zhongguo wenxue shi gejuzhong de Xu Xu (Time and brightness–Xu Xu and twentieth century literary history). Nanchang: Baihuazhou wenyi, 2004.

Green, Frederik H. A Chinese Romantic’s Journey through Time and Space: Cosmopolitanism, Nationalism, and Nostalgia in the Work of Xu Xu (1908-1980). Ph. D. diss. New Haven: Yale University, 2009.

[Abstract: This dissertation explores in four topical chapters Xu Xu’s pre-war and wartime essays, fiction and drama, as well as his post-war fiction and literary criticism from Hong Kong. Through my reading of Xu Xu’s oeuvre, I demonstrate how our understanding of certain aspects central to Chinese modernity is greatly expanded if read within the conceptual framework of literary Romanticism.]

—–. “The Making of a Chinese Romantic: Cosmopolitan Nationalism and Lyrical Exoticism in Xu Xu’s Early Travel Writings.” Modern Chinese Literature and Culture 23, 2 (Fall 2011): 64-99.

—–. “Rescuing Love from the Nation: Love, Nation, and Self in Xu Xu’s Alternative Wartime Fiction and Drama.” Frontiers of Literary Studies in China 8, 1 (March 2014): 126-53.

[Abstract: This essay explores the wartime fiction and drama of Xu Xu (徐訏, 1908–80), one of China’s most widely read authors of the Republican-period (1912–49). By placing Xu Xu’s popular spy fiction into the context of literary production during the war years, the essay illustrates that Xu Xu’s oeuvre protested against an ideology of moral collectivism in which the individual had to submit self to a higher political authority that professed to represent the will of the nation. Through a literary aesthetic that largely defied the demands for a literature of resistance that subjugated the individual self to the national collective, Xu’s ostensibly autobiographical I-novels brought comfort to urban readers whose personal salvation was rarely addressed in official wartime narratives depicting the nation in peril and calling for collective sacrifice. At the same time, Xu’s confident cosmopolitan heroes satisfied urban readers’ desire for political agency in the raging international conflict. Furthermore, this paper explores Xu Xu’s wartime drama through which Xu attempted to piece together a quasi-existentialist vision of the individual and human experience that was revealed only under the extreme condition of war.]

Rosenmeier, Christopher John. Shanghai Avant-garde: The Fiction of Shi Zhecun, Mu Shiying, Xu Xu, and Wumingshi. Ph. D. diss. London: University of London, 2006.

—–. On the Margins of Modernism: Xu Xu, Wumingshi and Popular Chinese Literature in the 1940s. Edinburgh: Edinburgh University Press, 2017.

[Abstract: Xu Xu and Wumingshi were among the most widely read authors in China during and after the Second Sino-Japanese War (1937-1945), but although they were an integral part of the Chinese literary scene their bestselling fiction has been given scant attention in histories of Chinese writing. This groundbreaking book, the first book-length study of Xu Xu and Wumingshi in English or any other western language, re-establishes their importance within the popular Chinese literature of the 1940s. With in-depth analyses of their innovative short stories and novels, Christopher Rosenmeier demonstrates how these important writers incorporated and adapted narrative techniques from Shanghai modernist writers like Shi Zhecun and Mu Shiying, contesting the view that modernism had little lasting impact in China and firmly positioning these two figures within the literature of their times.]

Wang Pu. Yige gudu de jiang gushi ren–Xu Xu xiaoshuo yanjiu (A lonely storyteller: a study of Xu Xu’s fiction). Hong Kong: Libo, 2003.

Wang Xiaoping. “Cosmopolitanism in Ordeal: Cultural Reveries and Political Anxieties in Xu Xu’s ‘Modern Tales of the Strange.'” Telos 180 (Fall 2017): 147-165.

Xu Yunuo 徐玉诺

Hockx, Michel. “Art for whose sake? The poetry of Xu Yunuo and the esthetic principles of Ye Shengtao.” In Lloyd Haft, ed., Words from the West: western texts in Chinese literary context: essays to honor Erik Zurcher on his sixty-fifth birthday. Leiden: CNWS Publications, 1993, 5-25.

Xu Zechen 徐则臣

Hunt, Pamela. “Drifting through the Capital: ‘Floating’ Migrants and Masculinity in Xu Zechen’s Fiction.” Journal of the British Association for Chinese Studies 6 (Dec. 2016).

Xu Zhenya 徐枕亚

Chen, Jianhua. “Xu Zhenya.” In Dictionary of Literary Biography–Chinese Fiction Writers, 1900-1949. Ed. Thomas Moran. NY: Thomson Gale, 2007, 257-63.

Hsia, C. T. “Hsu Chen-ya’s Yu-li hun: An Essay in Literary History and Criticism.” In Ts’un-yan Liu and John Minford eds., Middlebrow Fiction from the Ch’ing and Early Republican Era. HK: Chinese UP, 1984, 199-240.

Xu Zhimo 徐志摩

Birch, Cyril. “English and Chinese Meters in Hsu Chih-mo.” Asia Major 8 (1960): 258-93.

—–. “Hsu Chih-mo’s Debt to Thomas Hardy.” Tamkang Review 8, 1 (1977): 1-24.

Chang, Pang-Mei Natasha. Bound Feet and Western Dress. NY: Doubleday, 1996. [the story of Chang Ruyi, Xu Zhimo’s first wife, as told by her great niece]

Cheung, King-Kok. “Self-Critique Prompted by Immersion in (An)Other Culture: Goldsworthy, Lowes Dickinson, Xu Zhimo, and Pearl S. Buck.” Canadian Review of Comparative Literature 44, 3 (Sept. 2017): 607-619.

Findeisen, Raoul David. “Xu Zhimo Dreaming in Sawston (England) – on the Sources of a Venice Poem.” Asiatica Venetiana 1 (1996).

—–. “Two Aviators: Gabriele d’Annunzio and Xu Zhimo.” In Mabel Lee and Meng Hua, eds., Cultural Dialogue and Misreadings. Sydney: Wild Peony 1997, 75-85.

Lee, Leo Ou-fan. The Romantic Generation of Modern Chinese Writers. Cambridge: Harvard UP, 1973.

Päusch, Ricarda. Fliegen und Fliehen: Literarische Motive im Werk Hsü Chih-mos. Dortmund 1995,

Schirach, Richard von. Hsu Chih-mo und die Hsin-Yueh Gesellschaft: ein Beitrag zur neuen Literatur Chinas. Munich: Thesis, 1971.

Xu Zhuodai 徐卓呆

Rea, Christopher G. “Comedy and Cultural Entrepreneurship in Xu Zhuodai’s Huaji Shanghai.” Modern Chinese Literature and Culture 20, 2 (Fall 2008): 40-91.

Xue Mo 雪漠

Duzan, Brigitte. “Chen Kaihong 陈开红 (nom de plume Xue Mo 雪漠) Présentation 介绍.” La nouvelle dans la littérature chinoise contemporaine (2010).

Xue Shaohui 薛绍徽

Qian, Nanxiu. “Borrowing Foreign Mirrors and Candles to Illuminate Chinese Civilization’: Xue Shaohui’s Moral Vision in the Biographies of Foreign Women.” Nan Nu: Men, Women and Gender in China 6, 1 (2004).

—–. Politics, Poetics, and Gender in Late Qing China: Xue Shaohui and the Era of Reform. Stanford: Stanford University Press, 2015.

[Abstract: In 1898, Qing dynasty emperor Guangxu ordered a series of reforms to correct the political, economic, cultural, and educational weaknesses exposed by China’s defeat by Japan in the First Sino-Japanese War. The “Hundred Day’s Reform” has received a great deal of attention from historians who have focused on the well-known male historical actors, but until now the Qing women reformers have received almost no consideration. In this book, historian Nanxiu Qian reveals the contributions of the active, optimistic, and self-sufficient women reformers of the late Qing Dynasty. Qian examines the late Qing reforms from the perspective of Xue Shaohui, a leading woman writer who openly argued against male reformers’ approach that subordinated women’s issues to larger national concerns, instead prioritizing women’s self-improvement over national empowerment. Drawing upon intellectual and spiritual resources from the freewheeling, xianyuan(worthy ladies) model of the Wei-Jin period of Chinese history (220–420) and the culture of women writers of late imperial China, and open to Western ideas and knowledge, Xue and the reform-minded members of her social and intellectual networks went beyond the inherited Confucian pattern in their quest for an ideal womanhood and an ideal social order. Demanding equal political and educational rights with men, women reformers challenged leading male reformers’ purpose of achieving national “wealth and power,” intending instead to unite women of all nations in an effort to create a just and harmonious new world.]

Xun Pinli

Vittinghoff, Natascha. “China’s Generation X: Rusticated Red Guards in Controversial Contemporary Plays.” In Woei Lian Chong, ed., China’s Great Proletarian Cultural Revolution: Master Narratives and Post-Mao Counternarratives. Lanham: Rowman and Littlefield, 2002, 285-318. [discusses Sha Yexin’s New Sprouts from the Borderlands, Wang Peigong’s We, and Xun Pinli’s Yesterday’s Longan Trees]


Y

Ya Shi 哑石

Admussen, Nick. “The Prose Poems of Ya Shi.” Chinese Literature Today 5, 2 (2016): 71-72.

Ya Xian (Ya Hsien) 痖弦

Lin, Julia. “Ya Hsien: Singer of the Abyss.” In Lin, Essays on Contemporary Chinese Poetry. Athens: Ohio University Press, 1985, 27-51.

Riep, Steven. “A War of Wounds: Disability, Disfigurement, and Antiheroic Portrayals of the War of Resistance Against Japan.” Modern Chinese Literature and Culture 20, 1 (Spring 2008): 129-72. [treats, in part, Ya’s poem “The Colonel”]

—–. “The View from the Buckwheat Field: Capturing War in the Poetry of Ya Xian.” In Christopher Lupke ed., New Perspectives on Contemporary Chinese Poetry. New York: Palgrave Macmillan, 2007, 47-64.

Yan Fu 严复

He, Xianbin. “Tanslation as Manipulation: A Case Study of Yan Fu’s Rendition of On Liberty.” Translatum 5 (2005).

Huang, Ko-wu. “The Reception of Yan Fu in Twentieth-Century China.” In Cindy Yik-yi Chu, Ricardo K. S. Mak, eds., China Reconstructs. Lanham, Md.: University Press of America, 2003, 25-44.

—–. The Meaning of Freedom: Yan Fu and the Origins of Chinese Liberalism. HK: Chinese University Press, 2007.

—–. “Translating Liberalism into China in the Early Twentieth Century: The Case of Yan Fu.” In Peng Hsiao-yen and Isabelle Rabut, eds., Modern China and the West. Leiden: Brill, 2014, 182-200.

Lackner, Michael. “Circumnavigating the Unfamiliar: Dao’an (314-385) and Yan Fu (1852-1921) on Western Grammar.” In Lackner et al. eds., New Terms for New Ideas: Western Knowledge and Lexical China in Late Imperial China. Boston, Koln: Leiden, 2001, 357-69.

Mak, Ricardo K. S. “Dao, Science and Yan Fu.” In Cindy Yik-yi Chu, Ricardo K. S. Mak, eds., China Reconstructs. Lanham, Md.: University Press of America, 2003, 11-24.

Schwartz, Benjamin I. In Search of Wealth and Power: Yen Fu and the West. Cambridge, Belknap Press of Harvard University Press, 1964.

Shen, Tsing-song. “Evolutionism through Chinese Eyes: Yan Fu, Ma Junwu and Their Translations of Darwinian Evolutionism.” ASIANetwork Exchange 22, 1 (2015): 49-60.

Yan Geling 严歌苓

Luo, Liang. “Writing Green Snake, Dancing White Snake, and the Cultural Revolution as Memory and Imagination–centered on Yan Geling’s Baishe.” Frontiers of Literary Studies in China 11, 1 (2017): 7-37.

[Abstract: Following Kenneth King’s pioneering transmedial synthetic writings on post‐modern dance practices and Kimerer L. LaMothe’s call for dance to be treated seriously in religious and philosophical discourses, I examine Yan Geling’s novella Baishe (White Snake, 1998), in relation to Lilian Lee’s novel Qingshe (Green Snake, 1986–93), with a focus on how dancing and writing function literally, metaphorically, dialectically, and reciprocally, in these narratives. In my textual and contextual analyses of Yan’s White Snake text, I borrow Daria Halprin’s therapeutic model for accessing life experiences through the body in motion. I argue that, through a creative use of writing and dancing as key metaphors for identity formation and transformation, Yan’s text, in the context of contemporary China, offers innovative counter‐narratives of gender, writing, and the body. Yan’s White Snake is considered in the following three contexts in this paper: firstly, the expressiveness of the female body in the White Snake story; secondly, the tradition and significance of writing women in Chinese literary history; and thirdly, the development of dance as a profession in the PRC, with a real‐life snake dancer at the center. These three different frameworks weave an intricate tapestry that reveals the dialectics of writing and dancing, and language and the body, throughout the latter half of twentieth‐century China. Furthermore, Yan’s text foregrounds the Cultural Revolution as an important chronotope for experimentation with a range of complex gender identities in relation to the expressive and symbolic powers of dancing and writing.]

Rong, Guo. “Literature, History, and Narrative: A New Historicist Reading of Yan Geling’s ‘Celestial Bath.'” Canadian Review of Comparative Literature 44, 3 (Sept. 2017): 594-606.

Shu, Yunzhong. “Quiet Currents beneath the Torrents of Revolution: Everyday Life in Two Novels by Yan Geling.” Frontiers of Literary Studies in China 8, 4 (2014): 617-630.

[Abstract: As a revolutionary leader, Mao Zedong had a new vision of China as a reformed revolutionary society. Challenging this radical social vision in The Ninth Widow (Di jiu ge guafu, 2006) and One Woman’s Epic (Yige nüren de shishi, 2007), the contemporary Chinese writer Yan Geling describes how the characters retain their personal mentalities and habits in everyday life as they ignore, outmaneuver or even defy the political demands of revolutionary China. Focused on Yan’s depiction of everyday life, the present paper offers a close reading and analysis of the two novels in relation to the theories of Pierre Bourdieu, Alf Lüdtke and Michel de Certeau. It pays special attention to Yan’s depiction of everyday life as a site where the characters in the novels bring their human agency into play as they satisfy their human needs and maintain their individual characteristics. Ultimately, it shows how Yan’s depiction of everyday life questions the reach and efficacy of dominant ideology in revolutionary China.]

Tsai, Hsiu-chih. “Female Sexuality: Its Allurement and Repression in Geling Yan’s ‘White Snake.'” The American Journal of Semiotics 23, 1-4 (2007): 123-146.

Yan Jun 颜峻

Cornell, Christen. “Lost in the Supermarket: Interview with Yan Jun.” Artspace China (Aug. 27, 2011).

Jiemo riji v.7 [Yan Jun’s blog].

van Crevel, Maghiel. “The Poetry of Yan Jun.” MCLC Resource Center Publication, 2003. Expanded and revised as “More Than Writing, As We Speak.” In van Crevel, Chinese Poetry in Times of Mind, Mayhem and Money. Leiden: Brill, 2008, 459-474.

—–. (introduction and translation), “Yan Jun.” Digital Archive for Chinese Studies DACHS, Leiden Division.

Yan Jun.org [Yan Jun’s official website]

Yan Li 严力

Manfredi, Paul. “Yan Li in the Global City.” In Christopher Lupke ed., New Perspectives on Contemporary Chinese Poetry. New York: Palgrave Macmillan, 2007, 145-163.

Standaert, Michael. “Interview with Yan Li.” MCLC Resource Center Publication, 2004.

Yan Lianke 阎连科

Cao, Xuenan. “Mythorealism and Enchanted Time: Yan Lianke’s Explosion Chronicles.” Frontiers of Literary Studies in China 10, 1 (2016): 103-112.

[Abstract: In The Explosion Chronicles (Zhalie zhi 炸裂志), Yan Lianke combines ancient and contemporary practices of constructing and destructing, building and burning, in a literary style he calls mythorealism. The fictional chronicles relay a history of development written in the modern language of growth, documenting the development of a community called Explosion, which subsumes a discussion of economic growth within a theme of twisted temporality. This article uses The Explosion Chronicles to interrogate the temporal assumptions inherent in contemporary discourses of economic development in China. At the heart of my analysis of these tropes is a critique of the ideological function of linear time. Time can be arrested in economic growth, becoming an interface that activates intersubjective gazes before narratives mature.]

Chan, Shelley W. “Narrating Cancer, Disabilities, and AIDS: Yan Lianke’s Trilogy of Disease.” In Howard Y. F. Choy, ed., Discourses of DiseaseWriting Illness, the Mind and Body in Modern China. Leiden: Brill, 2016, 177-200.

Chen, Thomas. “Ridiculing the Golden Age: Subversive Undertones in Yan Lianke’s Happy.” Chinese Literature Today (Winter/Spring 2011): 66-72.

Guptak, Suman. “Li Rui, Mo Yan, Yan Lianke, and Lin Bai: Four Contemporary Chinese Writers Interviewed.” Wasafiri 23, 3 (2008): 28-36.

Leung, Laifong. “Yan Lianke: A Writer’s Moral Duty.” Chinese Literature Today (Winter/Spring 2011): 73-79.

Li, Tuo and Yan Lianke. “Enjoyment: A New Experiment on Surrealist Writing: A Dialogue between Li Tuo and Yan Lianke.” In Xueping Zhong and Ban Wang, eds. Debating the Socialist Legacy and Capitalist Globalization in China. NY: Palgrave MacMillan, 2014, 151-63.

Liu, Jianmei. “Joining the Commune or Withdrawing from the Commune? A Reading of Yan Lianke’s Shouhuo.” Modern Chinese Literature and Culture 19, 2 (Fall 2007): 1-33.

—–. “Yan Lianke’s Vacillation: To Be or Not to Be Zhuangzi?” In Liu, Zhuangzi and Modern Chinese Literature. NY: Oxford University Press, 2016, 186-210.

Knight, Sabina. “Review of Dream of Ding Village.” Chinese Literature: Essays, Articles, Reviews 35 (2013): 271-75.

Rojas, Carlos. “Speaking from the Margins: Yan Lianke.” In Kirk A. Denton, ed., Columbia Companion to Modern Chinese Literature. NY: Columbia University Press, 2016, 431-35.

—–. “Time Out of Joint: Commemoration and Commodification of Socialism in Yan Lianke’s Lenin’s Kisses.” In Jie Li and Enhua Zhang, eds., Red Legacies in China: Cultural Afterlives of the Communist Revolution. Cambridge: Harvard University Asia Center, 2016.

Tsai, Chien-hsin. “The Museum of Innocence: The Great Leap Forward and Famine, Yan Lianke, and Four Books.” MCLC Resource Center Publication (May 2011).

—–. “In Sickness or in Health: Yan Lianke and the Writing of Autoimmunity.” Modern Chinese Literature and Culture 23, 1 (Spring 2011): 77-104.

Veg, Sebastian. “Yan Lianke, Le Reve du Village des Ding.” China Perspectives 1 (2009). [English language review of a French translation of Yan’s novel Dream of Ding Village]

Wang, Jinghui. “Religious Elements in Mo Yan’s and Yan Lianke’s Works.” In Angelic Duran and Yuhan Huang, eds., Mo Yan in Context: Nobel Laureate and Global Storyeller. West Lafayette: Purdue University Press, 2014, 139-52.

Wang, Yu. “Ghost Marriage in Twentieth-Century Chinese Literature: Between the Past and the Future.” Frontiers of Literary Studies in China 10, 1 (2016): 86-102.

[Abstract: This article examines the adoption of ghost marriage (冥婚) as a literary theme in twentieth-century Chinese literature, arguing that this theme reflects a set of changes in perceptions of temporality from the premodern to the modern period. As a traditional ritual of holding marriage for the dead, ghost marriage embodies premodern views of time and space wherein the living and the dead are perceived as coexisting in parallel spaces, and the boundary of life and death is seen as transcendable through the extension of kinship. In this way, the dead are kept within the family, maintaining the warmth of familial relationships that transcend being and non-being. Modern authors, promoting a linear view of time, have taken up ghost marriage as an anchoring point of nostalgia for an unrecoverable ethics-based society. For instance, Yan Lianke’s 阎连科 1994 novella Searching for the Land (寻找土地) announces the utter corruption—and therefore the death—of ethics-based society, suggesting that the only alternative is to confront the future as a road to hope rather than indulge in an illusion of the past. Through an analysis of Yan’s novella, this essay discusses how the theme of ghost marriage fits into the broader literary context of the early 1990s while also anticipating some of the distinctive elements of Yan Lianke’s subsequent novels.]

Yang Chichang (Yang Ch’ih-ch’ang) 楊熾昌

Ch’en, Ming-t’ai. “Modernist Poetry in Prewar Taiwan: Yang Ch’ih-ch’ang, the Feng-ch’e (Le Moulin) Poetry Society, and Japanese Poetic Trends.” Tr. Robert Backus. Taiwan Literature English Translation Series 2 (1997): 81-92.

Yang Jiang 杨绛

Armory, Judith and Shihua Yao. “Yang Jiang and Baptism.” In Yang, Baptism. HK: Hong Kong UP, 2007, vi-xii.

—–. “Self-Deception and Self-Knowledge in Yang Jiang’s Fiction.” In Christopher Rea, ed., China’s Literary Cosmopolitans: Qian Zhongshu, Yang Jiang, and the World of Letters. Leiden: Brill, 2015, 65-86.

Dooling, Amy. “In Search of Laughter: Yang Jiang’s Feminist Comedy.” Modern Chinese Literature 8, 1/2 (1994): 41-68.

—–. “Outwitting Patriarchy: Comic Narrative Strategies in the Works of Yang Jiang, Su Qing, and Zhang Ailing.” In Dooling, Women’s Literary Feminism in Twentieth-Century China. NY: Palgrave MacMillan, 2005, 137-70.

—–. “Yang Jiang’s Wartime Comedies; Or, The Serious Business of Marriage.” In Christopher Rea, ed., China’s Literary Cosmopolitans: Qian Zhongshu, Yang Jiang, and the World of Letters. Leiden: Brill, 2015, 14-40.

Field, Jesse. “Taking Intimate Publics to China: Yang Jiang and the Unfinished Business of Sentiment.” Biography 34, 1 (Winter 2011): 83-95.

[Abstract: Readings of two autobiographical essays by Yang Jiang (1911–) suggest that Confucian conventions of intimacy exert a major force on personal memories of the Chinese twentieth century. To resolve the anxieties of a life that extends over the entire Chinese era of revolution, Yang Jiang reinvents the values of the Confucian intellectual and the Confucian family. This work certainly draws on the business of sentimentality in Chinese popular literature, which begs the question: is Yang Jiang part of a Chinese intimate public?]

—–. “‘All Alone, I Think Back on We Three’: Yang Jiang’s New Intimate Public.” In Christopher Rea, ed., China’s Literary Cosmopolitans: Qian Zhongshu, Yang Jiang, and the World of Letters. Leiden: Brill, 2015, 179-209.

Gewurtz, Margo. “The Afterlife of Memory in China: Yang Jiang’s Cultural Revolution Memoir.” ARIEL, Life Writing in International Contexts Issue 39, 1-2 (2008): 29-45.

Goldblatt, Howard. “The Cultural Revolution and Beyond: Yang Jiang’s Six Chapters From My Life ‘Down Under’.” Modern Chinese Literature Newsletter 6, 2 (1980): 1-11.

Larson, Wendy. “The Pleasures of Lying Low: Yang Jiang and Chinese Revolutionary Culture.” In Christopher Rea, ed., China’s Literary Cosmopolitans: Qian Zhongshu, Yang Jiang, and the World of Letters. Leiden: Brill, 2015, 133-56.

Liu, Meizhu. ” Yang Jiang et ses traductions.” In Isabelle Rabut, ed., Les belles infideles dans l’empire du milieu: Problematique et pratiques de la traduction dans le monde Chinois moderne. Paris: You Feng, 2010, 33-44.

Rea, Christopher. “Yang Jiang’s Conspicuous Inconspicuousness: A Centenary Writer in China’s ‘Prosperous Age.'” China Heritage Quarterly 26 (June 2011).

—–. “‘To Thine Own Self Be True’: One Hundred Years of Yang Jiang.” Renditions 76 (Autumn 2011): 7-14.

—–, ed. China’s Literary Cosmopolitans: Qian Zhongshu, Yang Jiang, and the World of Letters. Leiden: Brill, 2015. [MCLC Resource Center review by Inhye Han]

[AbstractChina’s Literary Cosmopolitans offers a comprehensive introduction to the literary oeuvres of Qian Zhongshu (1910-98) and Yang Jiang (b. 1911). It assesses their novels, essays, stories, poetry, plays, translations, and criticism, and discusses their reception as two of the most important Chinese scholar-writers of the twentieth century. In addition to re-evaluating this married couple’s intertwined literary careers, the book also explains why they have come to represent such influential models of Chinese literary cosmopolitanism. Uncommonly well-versed in Western languages and literatures, Qian and Yang chose to live in China and write in Chinese. China’s Literary Cosmopolitans argues for their artistic importance while analyzing their works against the modern cultural imperative that Chinese literature be worldly.]

—–. “The Institutional Mindset: Qian Zhongshu and Yang Jiang on Marriage and the Academy.” In Christopher Rea, ed., China’s Literary Cosmopolitans: Qian Zhongshu, Yang Jiang, and the World of Letters. Leiden: Brill, 2015, 157-78.

—–. “Qian Zhongshu and Yang Jiang: A Literary Marriage.” In Kirk A. Denton, ed., Columbia Companion to Modern Chinese Literature. NY: Columbia University Press, 2016, 231-36.

Rojas, Carlos. “How to Do Things with Words: Yang Jiang and the Politics of Translation.” In Christopher Rea, ed., China’s Literary Cosmopolitans: Qian Zhongshu, Yang Jiang, and the World of Letters. Leiden: Brill, 2015, 87-108.

Swislocki, Mark. “Chiang Yang.” In Steven R. Serafin, ed., Encyclopedia of World Literature in the 20th Century. St. James Press, 1998, vol. 4: 544-545.

—–. “Yang Jiang.” In Lily Xiaohong Lee, ed., Biographical Dictionary of Chinese Women: The Twentieth Century. Armonk: M. E. Sharpe, 2002, 618-622.

Yang Kui (Yang K’uei) 楊逵

Lin, Pei-yin. “A Humanistic Socialist–Yang Kui and his Works.” In Christina Neder and Ines Susanne Schilling, eds., Transformation! Innovation? Perspectives on Taiwan Culture. Wiesbaden: Harrassowitz Verlag, 2003, 125-145.

Peng, Hsiao-yen. “Colonialism and the Predicament of Identity: Liu Na’ou and Yang Kui as Men of the World.” In Ping-hui Liao and David Der-wei Wang, eds., Taiwan Under Japanese Colonial Rule, 1885-1945: History, Culture, Memory. New York: Columbia University Press, 2006, 210-47.

Scruggs, Bert. “Narratives of Discomfort and Ideology: Yang Kui’s Short Fiction and Postcolonial Taiwan Orthodox Boundaries.” positions: east asia cultures critique 14, 2 (Fall 2006): 427-47. [Project Muse link]

Yee, Angelina. “Writing the Colonial Self: Yang Kui’s Texts of Resistance and National Identity.” Chinese Literature: Essays, Articles, and Reviews 17 (1995): 111-32. [available on Project MUSE]. Rpt. in Marlene J. Mayo, J. Thomas Rimer, and H. Eleanor Kerkham, eds., War, Occupation, and Creativity: Japan and East Asia, 1920-1960. Honolulu: University of Hawaii Press, 2001, 67-91.

—–. “Yang Kui.” In Dictionary of Literary Biography–Chinese Fiction Writers, 1900-1949. Ed. Thomas Moran. NY: Thomson Gale, 2007, 264-71

Yang Lian 楊煉

Bruno, Cosima. Between the Lines: Yang Lian’s Poetry through Translation. Leiden and Boston: Brill. 2012.

[Abstract: In Between the Lines Cosima Bruno illustrates how the study of translation can enhance our experience of reading poetry. By inquiring into the mutual dependence of the source text and its translation, the study offers both theoretical insights and methodological tools that bring in-depth stylistic analysis to bear on the translations as against the originals. Through such a process of discovery, Cosima Bruno elaborates a textual exegesis of the work by Yang Lian, one of the most translated, and critically acclaimed contemporary Chinese poets. This book thus reconciles the theory-practice divide in translation studies, as well as helps to dismantle the lingering Eurocentrism still present in the discipline.]

Cayley, John. “John Cayley with Yang Lian: Hallucination and Coherence.” positions: east asia cultures critique 10, 3 (Winter 2002): 773-84.

Edmond, Jacob. “Locating Global Resistance: The Landscape Poetics of Arkadii Dragomoshchenko, Lyn Hejinian and Yang Lian.” AUMLA: Journal of the Australasian Universities Language & Literature Association 101 (2004): 71-98.

—–. “Beyond Binaries: Rereading Yang Lian’s ‘Norlang’ and ‘Banpo.'” Journal of Modern Literature in Chinese 6, 1 (2005): 152-69.

—–. “Dissidence and Accommodation: The Publishing History of Yang Lian from Today to Today.” The China Quar terly 185 (2006): 111-127.

Edmond, Jacob and Hilary Chung. “Yang Lian, Auckland and the Poetics of Exile.” In Yang Lian, Unreal City: A Chinese Poet in Auckland. Auckland: Auckland UP, 2006, 1-23.

Golden, Sean and John Minford. “Yang Lian and the Chinese Tradition.” In Goldblatt, ed. Worlds Apart: Recent Chinese Writing and its Audiences. Armonk: M.E. Sharpe, 119-37.

Holton, Brian. “Translating Yang Lian.” In Yang Lian, Where the Sea Stands Still: New Poems.” Bloodaxe Books, 1999, 173-191.

Lee, Mabel. “Before Tradition: The Book of Changes and Yang Lian’s [*] and the Affirmation of the Self Through Poetry.” In Mabel Lee and A.D. Syrokomla-Stefanowska, eds., Modernization of the Chinese Past. Sydney: Wild Peony, 1993, 94-106.

—–. “The Philosophy of the Self and Yang Lian.” In Yang Lian, Masks and Crocodile. Sydney: Wild Peony, 1990.

Li, Xia. “Swings and Roundabouts: Strategies for Translating Colour Terms in Poetry.” Perspectives: Studies in Translatology (Copenhagen). 5, 2, (1997): 257-66. [An essay dealing with the problem of translating modern Chinese poetry by Yang Lian into English].

—–. “Poetry, Reality and Existence in Yang Lian’s ‘Illusion City.'” Asian and African Studies (Brastislava) 4, 2 (1995): 149-165.

Tan, Chee-Lay. Constructing a System of Irregularities: The Poetry of Bei Dao, Duoduo and Yang Lian. Ph. D. diss. Cambridge: Cambridge University, 2007.

Van Crevel, Maghiel. “Exile: Yang Lian, Wang Jiaxin and Bei Dao.” In van Crevel, Chinese Poetry in Times of Mind, Mayhem and Money, Leiden: Brill, 2008, 137-186.

Xiang, Chuan. “Differing Views on Yang Lian’s Recent Work.” Tr. Zhu Zhiyu. Renditions 23 (1985): 164-165.

Yanglian.net [website set up by Yang Liang and Yo Yo]

Yip, Wai-lim. “Crisis Poetry: An Introduction to Yang Lian, Jiang He and Misty Poetry.” Renditions 23 (1985): 120-30.

Yang Lingye 羊令野

Haft, Lloyd. “‘The Sound of the Sun’s Footsteps’: Yang Lingye’s ‘Sutra Leaves.'” In Findeison and Gassmann, eds., Autumn Floods: Essays in Honour of Marian Galik. Bern: Peter Lang, 1997.

—–. “Timeless in Time: Perspective-Building Devices in Yang Ling-yeh’s Poetry.” In Huang Chun-chieh and Erik Zurcher, eds., Time and Space in Chinese Culture. Leiden: E.J. Brill, 1995, 287-301.

Yang Mo 杨沫

Button, Peter. “Aesthetics, Dialects, and Desire in Yang Mo’s Song of Youth.” positions: east asia cultures critique 14, 1 (Spring 2006): 193-217. [Project Muse link]

—–. “Aesthetics and Desire in Yang Mo’s Song of Youth.” In Button, Configurations of the Real in Chinese Literary and Aesthetic Modernity. Leiden: Brill, 2009. [MCLC Resource Center Publications review by Thomas Moran]

Hang, Krista Van Fliet. “Sisterhood at the Nexus of Love and Revolution: Coming-of-Age Narratives on Both Sides of the Cold War.” Frontiers of Literary Studies in China 6, 1 (2012): 56-77.

[Abstract: This article examines the similarities between Song of Youth and The Best of Everything, coming-of-age novels published in China and the United States in 1958. The author finds that comparable narrative structures reveal parallels in two societies that are often viewed in stark contrast. In both novels, a feminist ideal of sisterhood is woven into the coming-of-age stories of young women moving into society, and in each novel, the social background of the times determines the degree to which mainstream values are conducive to imagining a public sphere that is welcoming to women.]

Hsu, Kai-yu. “Yang Mo (1915- ).” In Kai-yu Hsu. The Chinese Literary Scene. NY: Vintage Vooks, 1975, 139-55.

Knight, Sabina. “Moral Decision in Mao-Era Fiction.” In The Heart of Time: Moral Agency in Twentieth-Century Chinese Fiction. Cambridge: Harvard University Asia Center, 2006, 133-161. [deals with Yang Mo’s Song of Youth (141-151)]

Song, Mingwei. “The Taming of the Youth: Discourse, Politics, and Fictional Representation in the Early PRC.” Journal of Modern Literature in Chinese 9, 2 (July 2009): 108-38. [deals in part with Song of Youth]

Wang, Ban. “Revolutionary Realism and Revolutionary Romanticism: The Song of Youth.” In Joshua Mostow, ed. Columbia Companion to Modern East Asian Literature. NY: Columbia UP, 2003: 470-75. Rpt in Kirk A. Denton, ed., Columbia Companion to Modern Chinese Literature. NY: Columbia University Press, 2016, 237-44.

—–. The Sublime Figure of History: Aesthetics and Politics in Twentieth-Century China. Stanford: Stanford UP, 1997.

Wu, Yang. “Yang Mo and Her Novel The Song of Youth.” Chinese Literature 9 (1962): 111-116.

Zhang, Hong. “Eros and Politics in Revolutionary Literature.” In Tao Dongfeng, Yang Xiaobin, Rosemary Roberts, and Yang Ling, eds. Chinese Revolution and Chinese Literature. Cambridge: University of Cambridge Press, 2009, 3-26.

Yang Mu 楊牧

Lingenfelter, Andrea. “‘Imagine a Symbol in a Dream’: Translating Yang Mu.” Chinese Literature Today 4, 1 (2014): 56-63.

Marijnissen, Silvia. “‘Made Things’: Serial Form in Modern Poetry from Taiwan.” Modern Chinese Literature and Culture 13, 2 (Fall 2001): 172-206.

Wong, Lisa Lai-ming. “Writing Allegory: Diasporic Consciousness as a Mode of Intervention in Yang Mu’s Poetry of the 1970s.” Journal of Modern Literature in Chinese 5, 1 (2001): 1-28.

—–. “(Un)tying a Firm Knot of Ideas: Reading Yang Mu’s The Skeptic.” Connotations: A Journal for Critical Debate 12, 2-3 (2002/2003): 292-306.

—–. “Heyuan zhi you? Yang Mu shi zhong de bentu yu shijie 何遠之游:楊牧詩中的本土與世界 (How is it far? the local and the global in Yang Mu’s poetry.” Zhongwai wenxue (Chung Wai Literary Monthly) 8, 31 (Jan. 2003): 133-60.

—–. “A Thing of Beauty is a Joy Forever: Yang Mu’s ‘Letters to Keats’.” The Keats-Shelley Review (UK) 18 (Sept. 2004): 188-205.

—–. “Epiphany in Echoland: Cross-cultural Intertextuality in Yang Mu’s Poetry and Poetics.” Canadian Review of Comparative Literature 31, 1 (March 2004): 27-38.

—–. “Taiwan, China, and Yang Mu’s Alternative to National Narratives.” CLCWeb: Comparative Literature and Culture 8, 1 (March 2006). Collected and reprinted in Chin-Chuan Cheng, I-Chun Wang, and Steven Totosy de Zepetnek, eds. Cultural Discourse in Taiwan. Kaohsiung: Center for the Humanities and Social Sciences, National Sun Yat-sen University, 2009, 87-107.

—–. “The Making of a Poem: Rainer Maria Rilke, Stephen Spender, and Yang Mu.” The Comparatist 31 (2007): 130-147.

—–. Rays of the Searching Sun: The Transcultural Poetics of Yang Mu (No. 23 in New Comparative Poetics Series). Brussels: Peter Lang, 2009.

The Yang Mu Archive (Chung-hsing University, Humanities and Social Sciences Research Center)

Yeh, Michelle. “Introduction.” In Yang Mu, No Trace of the Gardener: Poems of Yang Mu. Trs. Lawarence Smith and Michelle Yeh. New Haven: Yale University Press, 1998, xii-xxxii.

Zhai, Yueqin. “‘Language Is Our Religion’: An Interview with Yang Mu.” Tr. Michelle Yeh. Chinese Literature Today 4, 1 (2014): 64-68.

Yang Qian 杨阡

O’Donnell, Mary Ann. “Yang Qian, Shenzhen Playwright.” TheatreForum 27 (Summer/Fall 2005).

Yang Qingchu 杨青矗

Gold, Thomas. “The Modernization of Taiwan as Reflected in the Stories of Yang Qingchu.” In Gold, ed., Selected Stories of Yang Qingchu. Gaoxiong: Tur-li Publishing, 1978, 1-22.

Yang Shu’an

Ye, Mang. “Yang Shu’an: Discoursing Equally with Sages.” Chinese Literature (Autumn 1998).

Yang Shuo 杨朔

Laughlin, Charles. “Incongruous Lyricism: Liu Baiyu, Yang Shuo and sanwen in Chinese Socialist Culture.” In Martin Woesler, ed., The Modern Chinese Literary Essay: Defining the Chinese Self in the 20th Century. Bochum: Bochum UP, 2000, 115-29.

Yang Xu

Smith, Norman. “‘I Am an Ordinary Woman’: Yang Xu and the Articulation of Chinese Ideals of Womanhood in Japanese Occupied Manchuria.” Asian Journal of Women’s Studies 8, 3 (2002): 35-54.

[Abstract: Yang Xu’s (1918- ) second volume of collected works, My Diary (Wo de riji; 1944), articulates the key themes that prevailed in Chinese women’s literature in the Japanese colonial state of Manzhouguo. In Manzhouguo, literature was a vital domain for the negotiation of Chinese cultural identities in a Japanese colonial context. This paper seeks to reveal how Yang Xu, like other contemporary Chinese women writers in Manzhouguo, was driven by the May Fourth ideals of women’s emancipation that dominated social discourse in the Republic of China during the 1920s to defy the conservative cultural aspirations of the Japanese colonial regime.]

—–. “Regulating Chinese Women’s Sexuality During the Japanese Occupation of Manchuria: Between the Lines of Wu Ying’s “Yu” (Lust) and Yang Xu’s Wo de Riji (My Diary).” Journal of the History of Sexuality 13, 1 (Jan. 2004): 49-70.

Yang Zhao 楊照

Yang, Xiaobin. “Telling (Hi)story: Illusory Truth or True Illusion.” Tamkang Review 21, 2 (1990): 127-47.

Yang Zhensheng 杨振声

Lee, Haiyan. “The Other Chinese: Romancing the Folk in May Fourth Native Soil Fiction.” Concentric: Literary and Cultural Studies ( special issue: “Ethics and Ethnicity”) 33, 2 (Sept. 2007): 9-34. [Deals with the works of Yang Zhensheng, Fei Ming, and Shen Congwen.]

Yao Wenyuan 姚文元

Ragvald, Lars. Yao Wenyuan as a Literary Critic and Theorist: The Emergence of Chinese Zhadanovism. Stockholm, 1978.

—–. “Yao Wenyuan on Literary Theory.” In Wolfgang Kubin and Rudolf Wagner, eds., Essays in Modern Chinese Literature and Literary Criticism. Bochum: Brokmeyer, 1982, 309-33.

Yao Xueyin 姚雪垠

Allito, Guy. “Yao Xueyin and His Li Zicheng.” Modern Chinese Literature 2, 2 (1986): 211-16.

Lyell, William. “The Early Fiction of Yao Xueyin.” In Wolfgang Kubin and Rudolf Wagner, eds., Essays in Modern Chinese Literature and Literary Criticism. Bochum: Brockmeyer, 1982, 39-58.

Ye Lingfeng 叶灵凤

Lee, Leo Ou-fan. “Decadent and Dandy: Shao Xunmei and Ye Lingfeng.” In Lee, Shanghai Modern: The Flowering of a New Urban Culture in China, 1930-1945. Cambridge: Harvard UP, 1999, 232-66.

Liu, Jianmei. “Shanghai Variations on ‘Revolution Plus Love.'” Modern Chinese Literature and Culture 14, 1 (Spring 2002): 51-92. [deals with texts by Shi Zhecun, Liu Na’ou, Mu Shiying, Zhang Ziping, and Ye Lingfeng]

Yang, Qian. Women, Men, Love and Sexual Discourse in Ye Lingfeng’s Fiction. MA Thesis. Boulder: University of Colorado, 2008.

Ye Shengtao (Ye Shaojun) 叶圣陶

Anderson, Marsten. “The Specular Self: Subjective and Mimetic Elements in the Fiction of Ye Shaojun.” Modern China 15, 1 (Jan. 1989): 72-101.

—–. “Lu Xun, Ye Shaojun, and the Moral Impediments to Realism.” In Anderson, The Limits of Realism: Chinese Fiction in the Revolutionary Period. Berkeley: UCP, 1990, 76-118.

Chen Liao. Ye Shengtao pingzhuan (Critical biography of Ye Shengtao). Tianjin: Baihua wenyi, 1981.

Hsia, C.T. “Yeh Shao-chun.” In C.T. Hsia. A History of Modern Chinese Fiction. 2nd ed. New Haven: Yale University Press, 1971, 57-71.

Kelly, Frank B. “The Writings of Yeh Sheng-t’ao.” Ph.D. Dissertation. Chicago: University of Chicago, 1979.

Prusek, Jaroslav. “Yeh Cheng-t’ao and Anton Chekhov.” AO 38, 4 (1970): 437-52.

Hockx, Michel. “Art for Whose Sake? The Poetry of Xu Yunuo and the Esthetic Principles of Ye Shengtao.” In Lloyd Haft, ed., Words from the West: western texts in Chinese literary context: essays to honor Erik Zurcher on his sixty-fifth birthday. Leiden: CNWS Publications, 1993, 5-25.

Jin Mei. Lun Ye Shengtao de wenxue chuangzuo (On the literary creation of Ye Shengtao). Shanghai: Shanghai wenyi, 1985.

Kubin, Wolfgang. “Der Schreckensmann: Germany Melancholy and Chinese Restlessness: Ye Shengtao’s Novel Ni Huanzhi.” In Measuring Historical Heat: Event, Performance, and Impact in China and the West: Symposium in Honour of Rudolf G. Wagner on his 60th Birthday. Heidelberg, 2001, 183-90.

—–. “The Bogeyman: German Melancholy and Chinese Restlessness: Ye Shengtao’s Novel Ni Huanzhi.” In Arthur K. Wardega, ed., Belief, History and the Individual in Modern Chinese Literary Culture. Newcastle: Cambridge Scholars Publishing, 2009, 78-87.

Liu, Xinmin. “Ye Shaojun (Ye Shengtao).” In Dictionary of Literary Biography–Chinese Fiction Writers, 1900-1949. Ed. Thomas Moran. NY: Thomson Gale, 2007, 272-81.

Liu Zengren and Feng Guanglian, eds. Ye Shengtao yanjiu ziliao (Research materials on Ye Shengtao). Beijing: Shiyue wenyi, 1988.

Prusek, Jaroslav. “Yeh Shao-chun and Anton Chekhov.” In The Lyrical and the Epic: Studies in Modern Chinese Literature. Bloomington: IUP, 1980, 178-94.

Selis, David Joel. “Yeh Shao-chun: A Critical Study of His Fiction, 1919-1944.” Ph.D. Diss. Bloomington: Indiana University, 1975.

Wang, Qin. “Toward the Fragility of Sovereignty: A Reading of Ye Shengtao’s ‘The Emperor’s New Clothes.'” Frontiers of Literary Studies in China 9, 2 (2015): 259-80.

[Abstract: For a long period Ye Shengtao’s “The Emperor’s New Clothes” has been read as a simple fairytale along with his other fairytale writings. Its politico-philosophical implications thus is blurred by students’ focus on the “historical context” of the 1930s of China, when Ye Shengtao’s fairytales were composed. This essay argues that Ye Shengtao’s “The Emperor’s New Clothes” could be dealt with as a politico-philosophical text, despite or because of the historical context of China at that time which does not provide a political reality corresponding to what is called “sovereignty” in its classical sense in the field of political science. By interpreting Ye Shengtao’s “The Emperor’s New Clothes” from a perspective of conceptual analysis by reading it together with other two stories about the same topic written by Hans Andersen and Juan Manuel, this essay also attempts to read the story against the grain of the history of modern Chinese literature, taking it as an allegory of sovereignty and its fragility, staging it theoretically with philosophical thoughts on sovereignty in the works of, for example, Hobbes, Spinoza, Jacques Derrida, and Giorgio Agamben. While Manuel’s story first puts forth the problematic of sovereignty, Andersen’s version pushes to the extreme the logic of self-legitimation carried out by the narrative of sovereignty. Ye Shengtao’s rewriting, in this textual context, deconstructs this logic and points out a possibility of the politics of democracy.]

Ye Shitao (Yeh Shih-t’ao) 叶石涛

Cheng, Pang-chen. “The Journey of an Oneiric Beast, the Memory of an Apostle.” Taiwan Literature: English Translation Series 25 (July 2009): 3-8.

Hsu, Chun-ya. “An Inquiry into the Course and Development of the Literary Theory of Yeh Shi-t’ao.” Taiwan Literature: English Translation Series 25 (July 2009): 121-40.

Lin, Jenn-Shann and Lois Stanford. “Introduction: The Return to a Humanistic Spirit–Yeh Shih-t’ao and His Literature.” Taiwan Literature: English Translation Series 25 (July 2009): xxxvii-lvii.

Peng, Jui-chin. “The Literary Journey of a Creature that Feeds on Dreams: The Creation of Yeh Shi-t’ao’s Fiction.” Tr. Terence Russell. Taiwan Literature: English Translation Series 25 (July 2009): 9-14.

Tu, Kuo-ch’ing. “Foreword to the Special Issue on Yeh Shih-t’ao.” Taiwan Literature: English Translation Series 25 (July 2009): xiii-xviii.

Ye Si 也斯 (aka Liang Bingjun, Leung Ping-kwan)

Riemenschnitter, Andrea. “Beyond Gothic: Ye Si’s Spectral Hong Kong and the Global Culture Crisis.” Journal of Modern Literature in Chinese 12, 1 (2014): 108-56.

Yip, Terry Siu-han. “Place, Gender and Identity: The Global-Local Interplay in Three Stories from China, Taiwan and Hong Kong.” In Kwok-kan Tam et al., eds., Sights of Contestation: Localism, Globalism and Cultural Production in Asia and the Pacific. HK: The Chinese University Press, 2002, 17-34. [deals with stories by Tie Ning, Zhang Xiguo (Chang Shi-kuo), and Ye Si]

Ye Weilian 叶维廉

Li, Chunlin. “A Creative New Start: Wai-lim Yip in China.” Chinese Literature Today 3, 1/2 (2013): 122-33.

Lin, Julia. “Yip Wai-lim: A Poet of Exile.” In Lin, Essays on Contemporary Chinese Poetry. Athens, OH: Ohio University Press, 1985, 110-33.

Stalling, Jonathan. “Rethinking the Roots: The Unfinished Work of Wai-lim Yip’s Daoist Modernism: A Conversation with Wai-lim Yip.” Chinese Literature Today 3, 1/2 (2013): 134-45.

Ye Yonglie 叶永烈

Iovene, Paola. “How I Divorced My Robot Wife: Visionary Futures between Science and Literature.” In Iovene, Tales of Future Past: Anticipation and the Ends of Literature in Contemporary China. Stanford: Stanford UP, 2014, 19-50.

Ye Zhaoyan 叶兆言

Berry, Michael. “A Tale of Two Cities: Romance, Revenge, and Nostalgia in Two Fin-de-Siecle Novels by Ye Zhaoyan and Zhang Beihai.” In Carlos Rojas and Eileen Cheng-yin Chow, eds., Rethinking Chinese Popular Culture: Cannibalizations of the Canon. NY: Routledge, 2009, 115-31.

Cao, Kou. “The Pleasures That Writing Brings Me: An Interview with Ye Zhaoyan.” Chinese Arts and Letters 2, 1 (April 2015): 52-69.

Xu, Gary G. “The Writer as a Historical Figure in Modern China: Ye Zhaoyan’s Passionate Memory and Fictional History.” Neohelicon 37, 2 (Dec. 2010): 405-18.

Yan, Jingming. “Bear the Loneliness of a Narrator: On Reading Ye Zhaoyan’s Fiction.” Tr. Jesse Field. Chinese Arts and Letters 2, 1 (April 2015): 44-51.

Yi Lu 伊路

Sze-Lorrain, Fiona. “Behind the Isle: Translating Yi Lu’s Poetry.” Asian Review of Books (March 27, 2016).

Yi Sha 伊沙

van Crevel, Maghiel. “Rejective Poetry? Sound and Sense in Yi Sha.” In Maghiel van Crevel, Tian Yuan Tan, and Michel Hockx, eds. Text, Performance, and Gender in Chinese Literature and Music: Essay in Honor of Wilt Idema. Leiden and Boston: Brill, 2009, 389-412.

Yin Fu 殷夫

Lyell, William. “Down the Road that Mei Took: Women in Yin Fu’s Work.” In Findeison and Gassmann, eds., Autumn Floods: Essays in Honour of Marian Galik. Bern: Peter Lang, 1997.

Yin Lichuan 尹丽川

Bradbury, Steve. “Have Net, Will Travel: Is this the new face of Chinese poetry? PRC poet and head-turner Yin Lichuan talks about her image, her verse, and publishing on the web.” POTS (21 October 2005): 17-18.

Van Crevel, Maghiel. “Lower Body Poetry and Its Lineage: Disavowal, Bad Behavior and Social Concern,” in Jie Lu ed., China’s Literary and Cultural Scenes at the Turn of the 21st Century. Oxford: Routledge, 2008, 179-205. Revised as “The Lower Body: Yin Lichuan and Shen Haobo.” In van Crevel, Chinese Poetry in Times of Mind, Mayhem and Money, Leiden: Brill, 2008, 305-343.

Yo Yo

Yanglian.net [website set up by Yang Lian and Yo Yo]

Yongzi (Yungtzu)

Lin, Julia C. “Yungtzu: A Woman’s Voice.” In Lin, Essays on Contemporary Chinese Poetry. Athens, OH: Ohio University Press, 1985, 76-95.

You Jing (Yau Ching)

Feeley, Jennifer. “Heartburn on a Map Called Home: Yau Ching and the (Im)possibility of Hong Kong Poetry as Chinese Poetry.” Journal of Modern Literature in Chinese 10, 1 (Summer 2010).

Yu Dafu 郁达夫

Chan, Wing-ming. “The Self-Mocking of a Chinese Intellectual: A Study of Yu Dafu’s An Intoxicating Spring Night.” In Marian Galik, ed., Interliterary and Intraliterary Aspects of the May Fourth Movement 1919 in China. Bratislava: Veda, 1990, 111-118.

Chang, Randall Oliver. “Yu Ta-fu (1896-1945): The Alienated Artist in Modern Chinese Literature.” Ph.D. Dissertation. Pomona: Claremont Graduate School and University Center, 1974.

Chen, Eva Yin-i. “Shame and Narcissistic Self in Yu Da-fu’s Sinking.” Canadian Review of Comparative Literature (Sept.-Dec. 2003): 565-85.

Chen, Luying. “Translation and Feminization in Yu Dafu’s ‘Moving South.'” The Rocky Mountain Review of Language and Literature 66, 1 (2012): 45-63.

Chen Zishan 陈子善 and Wang Zili 王自立, eds. Yu Dafu yanjiu ziliao 郁达夫研究资料 (Research materials on Yu Dafu). HK: Sanlian, 1986.

Denton, Kirk. “The Distant Shore: The Nationalist Theme in Yu Dafu’s Sinking.” Chinese Literature Essays, Articles and Reviews 14 (1992): 107-23.

—–. “Romantic Sentiment and the Problem of the Subject.” In Joshua Mostow, ed, and Kirk A. Denton, China section, ed., Columbia Companion to Modern East Asian Literatures. NY: Columbia UP, 2003, 478-84. Rpt in Kirk A. Denton, ed., Columbia Companion to Modern Chinese Literature. NY: Columbia University Press, 2016, 145-51.

Dolezalova, Anna. Yu Ta-fu: Specific Traits of his Literary Creation. Bratislava: Publishing House of the Slovak Academy of Sciences, 1970.

—–. “Remarks on the Life and Work of Yu Ta-fu up to 1930.” Asian and African Studies (Bratislava) 1 (1965): 53-80.

—–. “Two Novels of Yu Ta-fu: Two Approaches to Literary Creation.” Asian and African Studies (Bratislava) 4 (1968): 17-29.

Dunsing, Charlotte. “Yu Dafu: Autobiographie.” In Christina Neder et al. eds., China in Seinen Biographischen Dimension: Gedenkscrift fur Helmut Martin. Weisbaden: Harrossowitz Verlag, 2001, 129-40.

Egan, Michael. “Yu Dafu and the Transition to Modern Chinese Literature.” In Merle Goldman, ed., Modern Chinese Literature in the May Fourth Era. Cambridge: Harvard University Press, 1977, 309-24.

—–. “The Short Stories of Yu Dafu–Life Becomes Literature. Ph.D. Dissertation. Toronto: University of Toronto, 1980.

Feng, Jin. “From Girl Student to Proletarian Woman: Yu Dafu’s Victimized Hero and His Female Other.” In Feng, The New Woman in Early Twentieth-Century Chinese Fiction. West Lafayette, IN: Purdue University Press, 2004, 60-82.

Feuerwerker, Yi-tsi Mei. “Text, Intertext, and the Representation of the Writing Self in Lu Xun, Yu Dafu, and Wang Meng.” In Ellen Widmer and David Wang, eds., From May Fourth to June Fourth: Fiction and Film in Twentiety-Century China. Cambridge: Harvard UP, 1993, 167-93.

Galik, Marian. “Yu Dafu and His Panaesthetic Criticism.” In Galik, The Genesis of Modern Chinese Liteary Criticism (1917-1930). London: Curzon Press, 1980, 104-28.

He Yubo, ed. Yu Dafu lun (On Yu Dafu). Shanghai: 1932.

Huss, Ann. “Yu Dafu.” In Thomas Moran, ed., Dictionary of Literary Biography–Chinese Fiction Writers, 1900-1949. NY: Thomson Gale, 2007, 282-89.

Kao, Shu-hsi. “Structure et signification dans les nouvelles de Yu Dafu.” In La litterature chinoise au temps de la guerre de resistance contre le Japon (de 1937 a 1945). Paris: Editions de la Fondation Singer-Poligna, 1982, 169-74.

Keaveney, Christopher T. “Satô Haruo’s ‘Ajia noko’ and Yu Dafu’s Response: Literature, Friendship, and Nationalism.” Sino-Japanese Studies 13, 2 (March 2001): 21-31.

—–. The Subversive Self in Modern Chinese Literature: The Creation Society’s Reinvention of the Japanese Shishosetsu. NY: Palgrave Mcmillan, 2004. [though by no means exclusively about Yu Dafu, the book contains much material on this Creation Society writer]

Lan, Feng. “From the De-Based Literati to the Debased Intellectual: A Chinese Hypochondriac in Japan.” Modern Chinese Literature and Culture 23, 1 (Spring 2011): 105-32.

Lee, Leo Ou-fan. “Yu Ta-fu.” In The Romantic Generation of Modern Chinese Writers. Cambridge: Harvard University Press, 1973, 81-123.

Levan, Valerie. Forbidden Enlightenment: Self-Articulation and Self-Accusation in the Works of Yu Dafu (1896-1945). Ph. D. diss. Chicago: University of Chicago, 2010.

—–. “The Meaning of Foreign Text in Yu Dafu’s Sinking Collection.” Modern Chinese Literature and Culture 24, 1 (Spring 2012): 48-87.

—–. “The Confessant as Analysand in Yu Dafu’s Confessional Narratives.” Chinese Literature, Essays, Articles, Reviews 34 (Dec, 2012).

Lin, Sylvia Li-chun. “Unwelcome Heroines: Mao Dun and Yu Dafu’s Creations of a New Chinese Woman.” Journal of Modern Literature in Chinese 1, 2 (Jan. 1998): 71-94.

Kumagaya, Hideo. “Quest for Truth: An Introductory Study of Yu Dafu’s Fiction.” Journal of the Oriental Society of Australia 24 (1992): 49-63.

Magagnin, Paolo. “Some Implications of the Practice of the Remainder for the Translation of Modern Chinese Literature.” In Nicoletta Pesaro, ed., The Ways of Translation. Constraints and Liberties of Translating Chinese. Venezia: Libreria Editrice Cafoscarina, 2013, 27-41. [deals with Yu Dafu]

—–. “Domestication, Exoticization, and Rewriting. Jing Yinyu Translator of Yu Dafu.” In Nicoletta Pesaro, ed., The Ways of Translation. Constraints and Liberties of Translating Chinese. Venezia: Libreria Editrice Cafoscarina, 2013, 131-147.

Melyan, Gary. “The Enigma of Yu Ta-fu’s Death.” Monumenta Serica 24 (1970-71): 557-88.

Ng, Mau-sang.The Russian Hero in Modern Chinese Fiction. HK: Chinese University Press; NY: State University of New York Press, 1988. (contains a chapter on Yu)

Prusek, Jaroslav. “Mao Tun and Yu Ta-fu.” Three Sketches of Chinese Literature. Prague: Oriental Institute in Academia, 1969; rpt. in The Lyrical and the Epic: Studies in Modern Chinese Literature. Bloomington: Indiana UP, 1980, 121-77.

Radtke, Kurt W. “Chaos and Coherence? Sato Haruo’s Novel Den’en no Yu’utsu and Yu Dafu’s trilogy Chenlun.” In Adriana Boscaro, Franco Gatti, and Massimo Raveri, eds. Rethinking Japan. NY: St. Martin’s Press, 1985, 86-101.

Rusch, Beate. Kunst- und Literaturtheorie bei Yu Dafu, 1896–1945. Dortmund, 1994

Saechtig, Alexander. Schreiben als Therapie: Die Selbstheilungsversuch des Yu Dafu nach dem Vorbild japanischer shishosetsu-Autoren. Weisbaden: Harrassowitz Verlag, 2005.

Shih, Shu-mei. “The Libidinal and the National: The Morality of Decadence in Yu Dafu, Teng Gu, and Others.” In Shi, The Lure of the Modern: WriYu ting Modernism in Semicolonial China, 1917-1937. Berkeley: UC Press, 2001, 110-27.

Susuki, Masao. Yu Dafu. Tokyo: Kenbun Shuppan, 1994.

—–. Yu Dafu in Sumatra. Tokyo: Toho Shoten, 1995.

Tang, Chenxi. “Reading Europe, Writing China: European Literary Tradition and Chinese Authorship in Yu Dafu’s ‘Sinking.'” Arcadia 40, 1 (2005): 153-76.

Tsu, Jing. “Perversions of Masculinity: The Masochistic Male Subject in Yu Dafu, Guo Moruo, and Freud.” Positions 8, 2 (Fall 2000): 269-316.

Wagner, Alexandra R. “Tradition as Construct and the Search for a Modern Identity: A Reading of Traditional Gestures in Modern Chinese Essays of Place.” In Martin Woesler, ed., The Modern Chinese Literary Essay: Defining the Chinese Self in the 20th Century. Bochum: Bochum UP, 2000, 133-46. [deals with Yu Dafu, Zhu Ziqing, and Fang Lingru]

Wang Zili and Chen Zishan, eds. Yu Dafu yanjiu ziliao (Research materials on Yu Dafu). 2 vols. Tianjin: Tianjian renmin, 1982. Rpt. HK: Sanlian, 1986.

Wong Yoon Wah. “Yu Dafu in Exile: His Last Days in Sumatra.” Renditions 23 (1985): 71-83.

Yang, Haosheng. “Infatuation with Skeletons: Yu Dafu’s Accidental Loyalism and Classical-Style Poetry.” Frontiers of Literary Studies in China 8, 1 (March 2014): 154-80.

[Abstract: Modern Chinese writer Yu Dafu continued composing classicalstyle poems for his whole life, claiming himself to be “a man infatuated with skeletons.” This article interprets Yu’s lyricism as a stylistic manifestation of his personal and national anxieties that were stimulated by the transition of Chinese culture into modernity during the first half of the twentieth century. By examining Yu’s status as a displaced loyalist both in his verses as well as in real life, I argue that Yu’s loyalist rhetoric represents the identity crisis of a Chinese writer in confronting the menacing power struggles of the modern world.]

Zhang, Felicia. “Li Xiaoyin: Yu Dafu’s Lover or Muse?” MCLC Resource Center Publication (March 2014).

Yu Guangzhong 余光中

Hsia, C. T. “Obsession with China (II): Three Taiwan Writers.” In Hsia, A History of Modern Chinese Fiction. 3rd ed. Bloomington: Indiana UP, 363-86. [deals with Jiang Kui, Yu Guanzhong, and Bai Xianyong]

Huang, Weiliang. “Poetry, Politics, and the Reception of Yu Guangzhong’s ‘Nostalgia.'” In Chin-Chuan Cheng, I-Chun Wang, and Steven Totosy de Zepetnek, eds. Cultural Discourse in Taiwan. Kaohsiung: Center for the Humanities and Social Sciences, National Sun Yat-sen University, 2009, 78-86.

Leung, K. C. “An Interview with Yu Kwang-chung.” World Literature Today 65, 3 (1991): 441-46.

Lin, Julia C. “Yu Kuang-chung: From Dream to Reality.” In Lin, Essays on Contemporary Chinese Poetry. Athens, OH: Ohio University Press, 1985, 150-87.

Parry, Amie Elizabeth. Interventions into Modernist Cultures: Poetry from Beyond the Empty Screen. Durham, NC: Duke UP, 2007. [MCLC Resource Center review by Paul Manfredi]

[Abstract: A comparative analysis of the cultural politics of modernist writing in the United States and Taiwan. Parry argues that the two sites of modernism are linked by their representation or suppression of histories of U.S. imperialist expansion, Cold War neocolonial military presence, and economic influence in Asia. Focusing on poetry, a genre often overlooked in postcolonial theory, she contends that the radically fragmented form of modernist poetic texts is particularly well suited to representing U.S. imperialism and neocolonial modernities.]

Yu Hua 余华

Braester, Yomi. “The Aesthetics and Anesthetics of Memory: PRC Avant-Garde Fiction.” In Braester, Witness Against History: Literature, Film, and Public Discourse in Twentieth-Century China. Stanford: Stanford UP, 2003, 177-91.

Cai, Rong. “The Lonely Traveler Revisited in Yu Hua’s Fiction.” Modern Chinese Literature 10, 1/2 (1998): 173-190.

Chen, Jianguo. “Violence: The Politics and the Aesthetic–Toward a Reading of Yu Hua.” American Journal of Chinese Studies 5, 1 (1998): 8-48.

—–. “The Logic of the Phantasm: Haunting and Spectrality in Contemporary Chinese Literary Imagination.” Modern Chinese Literature and Culture 14, 1 (Spring 2002): 231-65. Rpt. in Chen, The Aesthetics of the ‘Beyond’: Phantasm, Nostaligia, and the Literary Practice in Contemporary China. Newark: University of Delaware Press, 2009, 62-90. [deals with texts by Mo Yan, Chen Cun, and Yu Hua].

—–. “The World of the Sensory: Yu Hua’s Obsession with the ‘Real’.” In Chen, The Aesthetics of the ‘Beyond’: Phantasm, Nostaligia, and the Literary Practice in Contemporary China. Newark: University of Deleware Press, 2009, 91-125.

Choy, Howard Y. F. “The (Non)performance of Violence: Yu Hua’s Cruel Historiography.” In Choy, Remapping the Past: Fictions of History in Deng’s China, 1979-1997. Leiden: Brill, 2008, 201-14.

Finken, Helen. “Interview with Yu Hua, Author of To Live (Huozhe).” Education About Asia 8, 3 (Winter 2003): 20-22.

Jones, Andrew F. “The Violence of the Text: Reading Yu Hua and Shi Zhicun.” positions 2, 3 (1994): 570-602.

Knight, Deirdre Sabina. “Capitalist and Enlightenment Values in 1990s Chinese Fiction: The Case of Yu Hua’s Blood Seller.” Textual Practice 16, 3 (Nov. 2002): 1-22. Rpt. as “Capitalist and Enlightenment Values in Chinese Fiction of the 1990s: The Case of Yu Hua’s Blood Merchant.” In Charles Laughlin, ed., Contested Modernity in Chinese Literature. NY: Palgrave Macmillan, 2005, 217-37.

—–. “Self-Ownership and Capitalist Values in 1990s Chinese Fiction.” In The Heart of Time: Moral Agency in Twentieth-Century Chinese Fiction. Cambridge: Harvard University Asia Center, 2006, 222-58. [deals in part with Yu Hua’s Xu Sanguan the Bloodseller]

—–. “Review of Contemporary Chinese Fiction by Su Tong and Yu Hua: Coming of Age in Troubled Times, by Hua Li (Brill, 2011).  Journal of Asian Studies 71, 2 (2012): 528-29. 

Larson, Wendy. “Literary Modernism and Nationalism in Post-Mao China.” In Wendy Larson and Wedell-Wedellsborg, eds. Inside Out: Modernism and Postmodernism in Chinese Literary Culture. Aarhus: Aarhus University Press, 1993, 172-96.

Li, Hua. “Review of Yu Hua’s Cries in the Drizzle.” Pacific Affairs 81, 4 (Feb. 2009): 625.

—–. Contemporary Chinese Fiction by Su Tong and Yu Hua: Coming of Age in Troubled Times. Leiden, Boston: Brill, 2011.

[Abstract: The book explores the coming-of-age fiction of two of the most critically acclaimed and frequently translated contemporary Chinese authors, Yu Hua and Su Tong; it is the first in-depth book-length treatise in English about the contemporary Chinese Bildungsroman. Although various individual contemporary Chinese novelists and individual works of Chinese fiction have previously been discussed under the rubric of the Bildungsroman, none of these efforts has approached the level of comprehensive and comparative analysis that this book brings to the genre and its social contexts in contemporary China. This book will pique the interests not only of scholars and students of Chinese and comparative literature, but also of historians and social scientists with an interest in the region.]

—–. “Doing Things Right with Communist Party Language: An Analysis of Yu Hua’s Exploitation of Mao-era Rhetoric.” China Information 26 (March 2012): 87-104.

—–. “Entrapment and Enclosure: The Poetics of Space and Time in Yu Hua’s Two Short Stories.” Rocky Mountain Review 67, 2 (Fall 2013): 106-123.

Li, Yinghong. “Nihilist Vision through Literary Subversion in Mainland Chinese Avant-garde Fiction: Two Cases: Nihilism of the Indifferent as Exemplified by Yu Hua and Nihilism of the Absurd as Exemplified by Can Xue.” PhD diss. Madison: University of Wisconsin, 1998.

Liu, Kang. “The Short-Lived Avant-Garde: The Transformation of Yu Hua.” Modern Language Quarterly 63, 1 (2003) : 89-118. Rpt. as “The Short-Lived Avant-Garde Literary Movement and Its Transformation: The Case of Yu Hua.” In Liu, Globalization and Cultural Trends in China. Honolulu: University of Hawai’i Press, 2004, 102-126.

Riep, Steven. “A War of Wounds: Disability, Disfigurement, and Antiheroic Portrayals of the War of Resistance Against Japan.” Modern Chinese Literature and Culture 20, 1 (Spring 2008): 129-72. [treats, in part, Yu Hua’s novella “The Death of a Landlord”]

Michael Standaert. “Interview with Yu Hua.” (interviewed on August 30, 2003, at the University of Iowa International Writing Program). MCLC Resource Center Publication, 2004.

Shen, Liyan. “Folkloric Elements in Avant-garde Fiction: Yu Hua’s ‘One Kind of Reality’ and ‘World like Mist.'” Canadian Review of Comparative Literature 35, 1-2 (March-June 2008): 73-86.

Tang, Xiaobing. “Residual Modernism: Narratives of Self in Contemporary Chinese Fiction.” Modern Chinese Literature 7, 1 (Spring 1993):7-31.

Wagner, Marsha. “The Subversive Fiction of Yu Hua.” Chinoperl Papers 20-22 (1997-99): 219-44.

Wang, Hui. “Borderless Writing.” Tr. By Mi-Jung Kim. Transnational China Project (Baker Institute, Rice University)

Wedell-Wedellsborg, Anne. “One Kind of Chinese Reality: Reading Yu Hua.” Chinese Literature: Essays, Articles, Reviews 18 (1996): 129-145.

—–. “Haunted Fiction: Modern Chinese Literature and the Supernatural.” International Fiction Review 32 (2005) [deals with Yu Hua´s “Shi shi ru yan”]

—–. “Multiple Temporalities in the Literary Identity Space of Post-Socialist China: A Discussion of Yu Hua´s Novel Brothers and its Reception.” In Postmodern China. Chinese History and Society. Berliner China-Hefte 34 (2008).

—–. “Yu Hua.” In Thomas Moran and Ye (Dianna) Xu, eds., Chinese Fiction Writers, 1950-2000. Dictionary of Literature Biography, vol. 370. Detroit: Thomson Gale, 2013, 264-77.

Wu, Yenna. “China Through Yu Hua’s Prism.” American Journal of Chinese Studies 19, 1 (April 2012): 55-62.

Yang, Xiaobin. “Yu Hua: The Past Remembered or the Present Dismembered.” In Yang, The Chinese Postmodern: Trauma and Irony in Chinese Avant-garde Fiction. Ann Arbor: University of Michigan Press, 2002, 56-73.

—–, “Yu Hua: Perplexed Narration and the Subject.” In Yang, The Chinese Postmodern: Trauma and Irony in Chinese Avant-garde Fiction. Ann Arbor: University of Michigan Press, 2002, 188-206.

Yu Hua’s Blog (Sina.com)

Yu, Zhansui. “Death as Triple Allegory: Existential Truth, Cultural Reflection, and Historical Authenticity in Yu Hua’s Fiction.” Modern Chinese Literature and Culture 22, 2 (Fall 2010): 231-61.

Zeng Zhennan 曾镇南. “Xianshi yizhong ji qita: luelun Yu Hua de xiaoshuo” 现实一种及其他:略论余华的小说 (On ‘One Kind of Reality’ and others). Beijing wenxue 2 (1988).

Zhang, Qinghua. “On Brothers and Chaotic Aesthetics: An Interview with Yu Hua.” Tr. Yao Benbiao. Chinese Literature Today (Winter/Spring 2011): 80-85.

Zhang Yiwu 张颐武. “‘Ren’ de weiji: du Yu Hua de xiaoshuo” 人的危机: 读余华的小说  (The crisis of the human subject: reading Yu Hua’s fiction). Dushu no. 2 (1988): 41-48.

Zhang, Zhen. “Commercialization of Literature in the Post-Mao Era: Yu Hua, Beauty Writers, and Youth Writers.” In Kirk A. Denton, ed., Columbia Companion to Modern Chinese Literature. NY: Columbia University Press, 2016, 386-93.

Zhao, Yiheng. “Yu Hua: Fiction as Subversion.” World Literature Today (Summer 1991).

—–. “The Rise of Metafiction in China.” Bulletin of Oriental and African Studies LV, 1 (1992).

Yu Jian 于坚

Crespi, John. “Poetic Memory: Recalling the Cultural Revolution in the Poems of Yu Jian and Sun Wenbo.” In Christopher Lupke ed., New Perspectives on Contemporary Chinese Poetry. New York: Palgrave Macmillan, 2007, 165-183.

Huot, Claire. “Here, There, Anywhere: Networking by Young Chinese Writers Today.” In Michel Hockx, ed., The Literary Field of Twentieth Century China. Honolulu: University of Hawaii Press, 1999, 198-215.

Patton, Simon. “They Tattoo Their Bodies for the World: An Interview with the Poet Yu Jian.” Full Tilt 3 (Summer 2008).

van Crevel, Maghiel. “Fringe Poetry, But Not Prose: Works by Xi Chuan and Yu Jian.” Journal of Modern Literature in Chinese 3, 2 (Jan. 2000). Revised as “Fringe Poetry, But Not Prose: Xi Chuan and Yu Jian.” In van Crevel, Chinese Poetry in Times of Mind, Mayhem and Money. Leiden: Brill, 2008, 223-246.

—–.”Desecrations? The Poetics of Han Dong and Yu Jian (part One).” Studies on Asia Series II, 2, 1 (2005): 28-48 [pdf download]. Revised as “Desecrations? Han Dong’s and Yu Jian’s Explicit Poetics.” In van Crevel, Chinese Poetry in Times of Mind, Mayhem and Money. Leiden: Brill, 2008, 365-397.

—-. “Desecrations? The Poetics of Han Dong and Yu Jian (part Two).” Studies on Asia Series II, 2, 2 (2005): 81-97 [pdf download]. Revised as “Desecrations? Han Dong’s and Yu Jian’s Explicit Poetics.” In van Crevel, Chinese Poetry in Times of Mind, Mayhem and Money. Leiden: Brill, 2008, 365-397.

—–. “Objectification and the Long-Short Line: Yu Jian.” In van Crevel, Chinese Poetry in Times of Mind, Mayhem and Money. Leiden: Brill, 2008, 247-280.

Yu Lihua 於梨華

Kao, Hsin-sheng C. “Yu Lihua’s Blueprint for the Development of a New Poetics: Chinese Literature Overseas.” In Kao, ed., Nativism Overseas: Comtemporary Chinese Women Writers. Albany: SUNY Press, 1993, 81-107.

Yu Luojin 遇罗锦

Chen, John (Zhong) Ming. “Women’s Autobiography as Counter-discourse: The Cases of Dorothy Livesay and Yu Luojin.” In Peng-hisang Chen and Whitney Crothers Dilley, eds., Feminism/Femininity in Chinese Literature. Amsterdam,: Rodopi, 2002, 33-44.

Chou, Yu-sun. “Yu Lo-chin’s Winter and Spring.” Issues and Studies 22, 6 (June 1986): 57-67.

Honig, Emily. “Private Issues, Public Discourses: The Life and Times of Yu Luojin.” Public Affairs 57, 2 (Summer 1984): 252-65.

Merlich, Jorg Michael. “In Search of the Ideal Man: Yu Luojin’s Novel A Winter’s Tale. In Anna Gerstlacher et al, eds., Women and Literature in China. Bochum: Studienverlag Brockmeyer, 1985, 454-72.

Wang, Lingzhen. “Retheorizing the Personal: Identity, Writing, and Gender in Yu Luojin’s Autobiographical Act.” Positions 6, 2 (1998).

Yu Rongjun (aka Nick Rongjun Yu) 喻荣军

Conceison, Claire. “Behind the Play: The World and Works of Nick Rongun Yu.” Theatre Journal 63 (2011): 311-21.

Yu Qiuyu 余秋雨

Gong, Haomin. “Popularization of Traditional Culture in Postsocialist China: A Study of the Yu Qiuyu Phenomenon.” Journal of Contemporary China 20 (69) (March 2011): 343-58.

[Abstract: This essay investigates the ‘Yu Qiuyu’ Phenomenon that attracted literary and critical attention in the 1990s. By examining the historical conditions under which it arose and the prose as a literary genre, I argue that Yu Qiuyu’s ‘cultural prose’ writing exemplifies a paradoxical cultural logic deeply symptomatic of postsocialist China: traditional culture, with all its cultural elitism, strategically responds to the sweeping commercialization and re-identifies itself in the social transformation.]

Yu Qiuyu’s Blog, (Sina.com)

Zheng, Yi. “Cultural Tours and the Spiritual Home: On Yu Qiuyu and Contemporary Chinese Cultural Essays.” Portal: Journal of Multidisciplanary International Studies 4, 1 (Jan. 2007). [In Chinese]

[Abstract: The essay explores the public social dimension of the “great cultural essays” as a popular post-socialist genre. It looks into the genre’s emergence and popularity as part of the making of a middleclass taste in contemporary China and its claim to a re-imagined cultural national inheritance. In particular, the discussion focuses on the example of essayist Yu Qiuyu and examines the implications of his successful transformation of an obsolete historical “Culture” into a desirable commodity that offers spiritual home to the aspiring and successful of a “Greater China”.]

Zhou, Zhengbao. “Yu Qiuyu–Scholar and Prose Writer.” Tr. Zhang Siying. Chinese Literature (Autumn 1998).

Yu Xiuhua 余秀华

Li, Dian. “Yu Xiuhua: Traveling through the Mud of Life by Poetry.” China Policy Institute: Analysis (Dec. 6, 2017).

Nunes, Jennifer. “Afternoon, a Fall”: Relationality, Accountability, and Failure as a Queer-Feminist Approach to Translating the Poetry of Yu Xiuhua. MA thesis. Columbus, OH: Ohio State University, 2017.

Yuan Changying 袁昌英

Eide, Elizabeth. “The Ballad ‘Kongque dongnan fei’ as Freudian Feminist Drama During the May Fourth Period.” Republican China 15, 1 (Nov. 1989): 65-71.

He, Man. The Peacock on Stage and in Print: A Study of the 1920s New Drama Adaptations of Southeast Flies the Peacock. MA thesis. Columbus, OH: The Ohio State University, 2009.

Yan, Haiping, “Other Life: Bai Wei, Yuan Changying, and Social Dramas in the 1930s.” In Yan, Chinese Women Writers and the Feminist Imagination, 1905-1948. London: Routledge, 2006, 100-34.

Yuan Kejia 袁可嘉

Zhu, Yanhong. Reconfiguring Chinese Modernism: The Poetics of Temporality in 1940s Fiction and Poetry. Ph. D. diss. Los Angeles: University of Southern California, 2009.

[Authors that are discussed in the dissertation include: Shen Congwen, Feng Zhi, Nine Leaves Poets (primarily Yuan Kejia and Mu Dan)].

Yuan Qiongqiong 袁瓊瓊

Chang, Sung-sheng Yvonne. “Yuan Qiongqiong and the Rage for Eileen Chang among Taiwan’s Feminine Writers.” Modern Chinese Literature 4, 1/2 (1988): 201-24.

Yongzi

Lin, Julia. “A Woman’s Voice: The Poetry of Yungtzu.” In A. Palandri, ed. Women Writers of 20-Century China. Eugene: Asian Studies Publications, University of Oregon, 1982, 137-62.


Z

Zeng Pu

Hu, Ying. “Flower in a Sea of Retribution: A Tale of Border-Crossing.” In Hu, Tales of Translation: Composing the New Woman in China, 1899-1918. Stanford: Stanford UP, 2000, 21-66.

—–. “Zeng Pu.” In Dictionary of Literary Biography–Chinese Fiction Writers, 1900-1949. Ed. Thomas Moran. NY: Thomson Gale, 2007, 290-95.

Huters, Theodore. “Impossible Representations: Visions of China and the West in Flower in a Sea of Retribution.” In Huters, Bringing the World Home: Appropriating the West in Late Qing and Early Republican China. Honolulu: University of Hawaii Press, 2005, 173-200.

Li, Peter. Tseng P’u. Boston: Twayne, 1980.

—–. “The Dramatic Structure of Niehai hua.” in Milena Dolezelova-Velingerova, ed., The Chinese Novel at the Turn of the Century. Toronto: University of Toronto Press, 1980, 150-64.

McAleavy, H. “Tseng P’u and the Nieh-hai hua.” St. Antony Papers 7 (1960): 88-137.

Tseng, H.P. (Zeng Xubai). “My Father’s Literary Journey.” Tr. Colin Modini. Renditions 17/18 (Spring/Aut. 1982): 193-98.

Yeh, Catherine Vance. Zeng Pu’s Niehai Hua as a Political Novel–A World Genre in a Chinese Form. Ph.d. diss. Cambridge: Harvard University, 1990.

—–. “The Life-Style of Four Wenren in Late Qing Shanghai.” Harvard Journal of Asiatic Studies 57, 1 (1997): 419-70. [deals with Wang Tao, Chen Jitong, Zeng Pu, and Jin Songcen]

Zeng Yi 曾懿

Feng, Jin. “The Female Chef and the Nation: Zeng Yi’s Zhongkui lu (records from the kitchen).” Modern Chinese Literature and Culture 28, 1  (Spring 2016), 1-37.

Zhaxi Dawa 扎西达娃

Choy, Howard Y. F. “Tibetan Plateau: Historical Alternatives by Tashi Dawa, Alai, and Ge Fei.” In Choy, Remapping the Past: Fictions of History in Deng’s China, 1979-1997. Leiden: Brill, 2008, 103-32.

Danxhu, Angben. “Tashi Dawa and His Works.” Tr. Chen Haiyan. Chinese Literature (Aut. 1991): 58-62.

Grünfelder, Alice. Tashi Dawa und die neuere tibetische Literatur ( Tashi Dawa and modern Tibetan literature). Bochum: Edition Cathay, 1999. [Table of Content: 1. Einleitung (Introduction); 2. Minderheitenliteratur (literature by minorities); 3. Tibetische Literatur (Tibetan literature); 4. Tashi Dawas Erzählungen (The stories of Tashi Dawa); 5. Perspektiven eines neuen Regionalismus (Perspectives of a New Tibetan Regionalism)]

Schiaffini-Vedani, Patricia. Tashi Dawa: Magical Realism and Contested Identity in Modern Tibet. Ph. D. diss. University of Pennsylvania, 2002.

—–. “The Condor Flies Over Tibet: Tashi Dawa and the Significance of Tibetan Magical Realism.” In Lauran Hartley and Patricia Schiaffini edc. Modern Tibetan Literature and Social Change. Durham, NC: Duke University Press, 2008, 202-24.

Shi, Anbin. “Unmasking Latent Han-centrism and Innovating Boundary Writing: Reconstructing Ethnic Identity in Contemporary China.” In Shi, A Comparative Approach to Redefining Chinese-ness in the Era of Globalization. Lewiston, NY: Mellen Press, 2003, 207-60. [much of this chapters deals with Zhaxi Dawa’s novel Turbulent Shambhala (Saodong de Xiangbala)].

Zhai Yongming 翟永明

Lingenfelter, Andrea. “Opposition and Adaptation in the Poetry of Zhai Yongming and Xia Yu.” In Christopher Lupke ed., New Perspectives on Contemporary Chinese Poetry. New York: Palgrave Macmillan, 2007, 105-120.

—–. “,China’s Foremost Feminist Poet Zhai Yongming Converses on Her Art, Her Bar and Chinese Women’s Writing, Past and Present.” Full Tilt 3 (Summer 2008).

Tao, Naikan. “Building a White Tower at Night: Zhai Yongming’s Poetry.” World Literature Today 73, 3 (1999): 409-416.

Van Crevel, Maghiel: “Zhai Yongming.” In Lily Lee, ed, Biographical Dictionary of Chinese Women: The Twentieth Century, 1912-2000. Armonk, NY: ME Sharpe, 2003, 672-678.

Zhang, Jeanne Hong. “Zhai Yongming’s ‘Woman’ —With Special Attention to Its Intertextual Relations with the Poetry of Sylvia Plath.” Journal of Modern Literature in Chinese 5, 2 (2002): 109-30.

Zhan Kai 詹垲

Widmer, Ellen. “Zhan Kai and Five Novels of Women’s Liberation of the Late Qing.” Frontiers of Literary Studies in China 5, 4 (2011): 537-565.

Zhang Ailing (or Eileen Chang) 张爱玲

Bohlmeyer, Jeanine. “Eileen Chang’s Bridges to China.” Tamkang Review 5, 1 (1974): 111-28.

Brown, Carolyn. Eileen Chang’s ‘Red Rose and White Rose’: A Translation and Afterward. Ph.D. diss. The American University, 1978.

Chan, Roy Bing. “Homeless in the World: War, Narrative, and Historical Consciousness in Eileen Chang, György Lukács, and Lev Tolstoy.” Journal of Modern Literature in Chinese 14, 1 (Summer 2017): 5-29.

[Abstract: This essay takes up the ways in which modern literature about war examines two questions: first, in the face of violence and destruction, how might literature figure a world of safety and wholeness away from historic trauma? Second, how might literature promise a form of critical engagement with the world as it is in the hope of finding the conceptual and political clarity necessary to reclaim a future world closer to the ideal? These two questions, when juxtaposed side by side, invite both conceptual conjunction and disjunction. One may argue that literature should be able to fulfill aesthetic and political ideals all at once, or conversely, that aesthetic and political concerns stand at odds against each other. This essay proposes a triangulated reading of the work of Eileen Chang 張愛玲 (1920-1995), György Lukács (1885-1971), and Lev Tolstoy (1828-1910) as a way of exploring these simultaneous conjunctions and disjunctions. The linking of these authors is motivated by Lukács and Chang’s discussions of Tolstoy’s War and Peace (serialized 1865-1867, published as book in 1869) during the global crisis of the 1930s that would usher in the Second World War. War and Peace depicts the Napoleonic Wars that heralded a new ordering of the world under triumphant British imperialism. As such, all three writers engage with the seemingly ceaseless chain of global conflicts and crises that are inseparable from the turbulent trajectory of imperialism, and which only found a partial, uneasy respite in the Cold War.]

Chang, Eileen, Wang Hui Ling, and James Schamus. Lust, Caution: The Story, the Screenplay, and the Making of the Film. NY: Pantheon Books, 2007.

Chang, Sung-sheng Yvonne. “Yuan Qiongqiong and the Rage for Eileen Zhang.” Modern Chinese Literature 4, 1/2 (1988): 201-23.

Chen, Xiang-Yin Sasha. “Eros Impossible and Eros of the Impossible in Lust/Caution: The Shanghai Lady/Baby in the Late 1930s and Early 1940s.” In Hsiao-yen Peng and Whitney Crothers Dilley, eds., From Eileen Chang to Ang Lee: Lust/Caution. NY: Routledge, 2014, 81-100.

Chen, Ya-Shu. Love Demythologized: The Significance and Impact of Zhang Ailing’s (1921-1995) Works. Ph.D diss. Madison: University of Wisconsin, 1998.

Cheng, Stephen. “Themes and Techniques in Eileen Chang’s Stories.” Tamkang Review 8, 2 (1977): 169-200.

Cheung, Esther M. K. “The Ordinary Fashion Show: Eileen Chang’s Profane Illumination and Mnemonic Art.” In Kam Louie, ed., Eileen Chang: Romancing Languages, Cultures, and Genres. HK: Hong Kong UP, 2012, 73-90.

Chow, Rey. “Modernity and Narration–in Feminine Detail.” In Chow, Woman and Chinese Modernity: The Politics of Reading Between West and East. Minneapolis: University of Minnesota Press, 1991, 84-120.

—–. “Seminal Dispersal, Fecal Retention, and Related Narrative Matters: Eileen Chang’s Tale of Roses in the Problematic of Modern Writing.” differences: A Journal of Feminist Cultural Studies 11, 2 (1999): 153-76.

Chown, Lim Chin. “Reading ‘The Golden Cangue’: Iron Boudoirs and Symbols of Oppressed Confucian Women.” Tr. Louise Edwards and Kam Louie. Renditions 45 (Spring 1996): 141-49.

—–. “Castration Parody and Male ‘Castration’: Eileen Chang’s Female Writing and Her Anti-patriarchal Strategy.” In Peng-hisang Chen and Whitney Crothers Dilley, eds., Feminism/Femininity in Chinese Literature. Amsterdam,: Rodopi, 2002, 127-44.

Daruvala, Susan. “Self as Performance, Lust as Betrayal in the Theatre of War.” In Hsiao-yen Peng and Whitney Crothers Dilley, eds., From Eileen Chang to Ang Lee: Lust/Caution. NY: Routledge, 2014, 101-120.

Davis, Darrell William. “Cannibal, Class, Betrayal: Eileen Chang and Ang Lee.” In Hsiao-yen Peng and Whitney Crothers Dilley, eds., From Eileen Chang to Ang Lee: Lust/Caution. NY: Routledge, 2014, 54-78.

Deppman, Hsiu-Chuang. “Rewriting Colonial Encounters: Eileen Chang and Somerset Maugham.” Unpublished mss.

—–. “Seduction of a Filmic Romance: Eileen Chang and Ang Lee.” In Kam Louie, ed., Eileen Chang: Romancing Languages, Cultures, and Genres. HK: Hong Kong UP, 2012, 155-76.

—–. “Eileen Chang and Stanley Kwan: Politics and Love in Red Rose (and) White Rose.” In Deppman, Adapted for the Screen: The Cultural Politics of Modern Chinese Fiction and Film. Honolulu: University of Hawaii Press, 2010, 61-97.

Dilley, Whitney Crothers. “The ‘Real’ Wang Jiazhi: Taboo, Transgression, and Truth in Lust/Caution.” In Hsiao-yen Peng and Whitney Crothers Dilley, eds., From Eileen Chang to Ang Lee: Lust/Caution. NY: Routledge, 2014, 121-32.

Dooling, Amy. “Outwitting Patriarchy: Comic Narrative Strategies in the Works of Yang Jiang, Su Qing, and Zhang Ailing.” In Dooling, Women’s Literary Feminism in Twentieth-Century China. NY: Palgrave MacMillan, 2005, 137-70.

Fu, Poshek. “Eileen Chang, Women’s Film, and Domestic Culture of Modern Shanghai.” Tamkang Review 29, 4 (Summer 1999): 9-28.

Gottardo, Maria. “Colorful Words with a Clanging Sound: Descriptive Adjectives in Zhang Ailing’s Short Stories.” In Nicoletta Pesaro, ed.. The Ways of Translation: Constraints and Liberties of Translating Chinese. Venezia: Libreria Editrice Cafoscarina, 2013, 87-106.

Gunn, Edward. Unwelcome Muse: Chinese Literature in Shanghai and Peking (1937-1945). NY: Columbia UP, 1980, 200-31.

Hong, Jeesoon. Gendered Modernism of Republican China: Lu Yin, Ling Shuhua, and Zhang Ailing, 1920-1949. Ph. D. diss. Cambridge: University of Cambridge, 2003.

Hoyan Hang Fung, Carole. The Life and Works of Zhang Ailing: A Critical Study. Ph. D. diss. Vancouver: University of British Columbia, 1996.

—–. “On the Translation of Eileen Chang’s Fiction.” Translation Quarterly (Hong Kong). 18/19 (March, 2000): 99-136.

Hsia, C.T. “Eileen Chang.” In C.T. Hsia. A History of Modern Chinese Fiction. 2nd ed. New Haven: Yale University Press, 1971, 389-431.

—–. Aiqing, shehui, xiaoshuo (Love, society, fiction). Taipei: Chunwenxue, 1970.

Hu, Lancheng. This Life, These Times (excerpts). Tr. D.E. Pollard. Renditions 45 (Spring 1996): 129-35. [excerpts of Zhang’s husband’s memoirs]

Huang, Nicole. “Eileen Chang and the Modern Essay.” In Martin Woesler, ed., The Modern Chinese Literary Essay: Defining the Chinese Self in the 20th Century. Bochum: Bochum UP, 2000, 67-96.

—–. “Eileen Chang and Alternative Wartime Narrative.” In Joshua Mostow, ed, and Kirk A. Denton, China section, ed., Columbia Companion to Modern East Asian Literatures. NY: Columbia UP, 2003, 458-62.

—–. “Introduction.” In Eileen Chang, Written on Water. Tr. Andrew F. Jones. NY: Columbia UP, 2005.

—–. Women, War, Domesticity: Shanghai Literature and Popular Culture of the 1940s. Leiden: Brill, 2005.

[Abstract: In December 1941, the fifth year in an all-scale cataclysmic Sino-Japanese war that devoured much of Eastern China, the city of Shanghai entered into an era of full occupation. This was the moment when a group of young women authors began writing and soon took over the cultural scene of the besieged metropolis.Women, War, Domesticity reconstructs cultures of reading, writing, and publishing in the city of Shanghai during the three years and eight months of Japanese occupation. It specifically depicts the formation of a new cultural arena initiated by a group of women who not only wrote, edited, and published, but also took part in defining and transforming the structure of modern knowledge, discussing it in various public forums surrounding the print media, and, consequently, promoting themselves as authoritative cultural commentators of the era.]

—–. “Eileen Chang and Things Japanese.” In Kam Louie, ed., Eileen Chang: Romancing Languages, Cultures, and Genres. HK: Hong Kong UP, 2012, 49-72.

—–. “Eileen Chang and Narratives of Cities and Worlds.” In Kirk A. Denton, ed., Columbia Companion to Modern Chinese Literature. NY: Columbia University Press, 2016, 217-23.

Huang, Hsin-ya. The Poetics of Hysteria: Feminine Madness in Victorian English and Modern Chinese Women’s Literature. Ph. D. diss. Urbana: University of Illinois, 1994.

Kao, Hsin-sheng C. “The Shaping of a Life: Structure and Narrative Process in Eileen Chang’s The Rouge of the North.” In A. Palandri, ed. Women Writers of 20-Century China. Eugene: Asian Studies Publications, University of Oregon, 1982, 111-37.

Kingsbury, Karen Sawyer. Reading Eileen Chang’s Early Fiction: Art and a Female Sense of Self. Ph. D. diss. Madison: University of Wisconsin, 1995.

Lee, Christopher. “Translation in Distraction: On Eileen Chang’s ‘Chinese Translation’, a Vehicle of Cultural Influence.” Journal of Modern Literature in Chinese 14, 1 (Summer 2017): 65-87.

[Abstract: This essay focuses on a previously obscure and only recently republished English text held at USC that offers an unparalleled window into Chang’s engagement with translation. The untitled manuscript, typed with handwritten additions and corrections, is contained in a folder marked “Untitled article or speech” and appears to be the script of an oral presentation in which Chang surveys the development of translation in China from the late-Qing period, through the 1911 revolution, the May Fourth period, the war with Japan, the 1949 revolution and the Cultural Revolution. Her speech emphasizes how translation functioned as an index to China’s fraught relationship with the outside world, particularly the West (including Japan and Russia); to that end, the text engages with historical movements such as imperialism, modernization, and the ideological polarization of the Cold War, resulting in an account that belies her reputation as an apolitical figure. While the rediscovery of a text by Eileen Chang is certainly a matter of anecdotal interest, the purpose of this essay is not only to reconstruct its history but also to consider how it illuminates her lifelong relationship to translation through which, I will argue, she tried to unsettle the geopolitical categories that Chih-ming Wang 王智明 (2012) has identified as foundational to modern Chinese literary culture. In what follows, I start by providing an overview of the text based on archival and other sources and provide a summary of its contents. Turning to Shuang Shen’s 沈雙 (2012) discussion of translation as impersonation, I consider how the oral address, a rare textual form in the oeuvre of a notoriously reclusive writer, involves navigating the roles of reader, author, and translator. Through this genre, Chang hints at the possibility of distancing herself from the geopolitics of translation even as the ultimate failure to do so reveals the constraints of her diasporic condition.]

Lee, Haiyan. “Eileen Chang’s Poetics of the Social: Review of Love in a Fallen City.” MCLC Resource Center (May 2007).

—–. “Enemy under My Skin: Eileen Chang’s ‘Lust, Caution’ and the Politics of Transcendence.” PMLA 125, 3 (May, 2010).

Lee, Leo Ou-fan. “Eileen Chang: Romances of a Fallen City.” In Lee, Shanghai Modern: The Flowering of a New Urban Culture in China, 1930-1945. Cambridge: Harvard UP, 1999, 267-303.

—–. “Eileen Chang and Cinema.” Journal of Modern Literature in Chinese 2, 2 (Jan. 1999): 37-60.

Leung, Ping-kwan. “Two Discourses on Colonialism: Huang Guliu and Eileen Chang on Hong Kong in the Forties.” Boundary 2. Special Issue ed. Rey Chow. 25, 2 (Fall 1998): 77-96.

Li, Jessica Tsui Yan. “The Politics of Self-Translation: Eileen Chang.” Perspectives: Studies in Translatology 14, 2 (2006): 99-106.

—–. “Female Body Revisited: Eileen Chang’s The Rice-Sprout Song and Yangge.” In Reeta Tremblay, ed., Asia: Local and Global Perspectives. Montreal: Canadian Asian Studies Association, 2008, 272-289.

—–. “Self-Translation/Rewriting: The Female Body in Eileen Chang’s “Jinsuo ji”, the Rouge of the North, Yuannu and ‘The Golden Cangue.'” Neohelicon 37, 2 (Dec. 2010): 391-403.

—–. “From Page to Stage: Cultural ‘In-betweeness’ in (New) Love in a Fallen City.” In Kam Louie, ed., Eileen Chang: Romancing Languages, Cultures, and Genres. HK: Hong Kong UP, 2012, 33-48.

Liu, Joyce Chi Hui. “Filmic Transposition of the Roses: Stanley Kwan’s Feminine Response to Eileen Chang’s Women.” In Peng-hisang Chen and Whitney Crothers Dilley, eds., Feminism/Femininity in Chinese Literature. Amsterdam,: Rodopi, 2002, 145-58.

Liu, Juan. Beyond the Mountains: Cross-culturalism in the Fiction of Edith Wharton and Eileen Chang. Ph. D. diss. Washington: George Washington University, 1995.

Liu Zaifu. “Eileen Chang’s Fiction and C. T. Hsia’s A History of Modern Chinese Fiction.” MCLC Resource Center Publication (July 2009).

Louie, Kam, ed. Eileen Chang: Romancing Languages, Cultures, and Genres. HK: Hong Kong UP, 2010. [MCLC Resource Center review by Rui Kunze]

[Abstract: Eileen Chang (1920–1995) is arguably the most perceptive writer in modern Chinese literature. She was one of the most popular writers in 1940s Shanghai, but her insistence on writing about individual human relationships and mundane matters rather than revolutionary and political movements meant that in mainland China, she was neglected until very recently. Outside the mainland, her life and writings never ceased to fascinate Chinese readers. There are hundreds of works about her in the Chinese language but very few in other languages. This is the first work in English to explore her earliest short stories as well as novels that were published posthumously. It discusses the translation of her stories for film and stage presentation, as well as nonliterary aspects of her life that are essential for a more comprehensive understanding of her writings, including her intense concern for privacy and enduring sensitivity to her public image. The thirteen essays examine the fidelity and betrayals that dominate her alter ego’s relationships with parents and lovers, informed by theories and methodologies from a range of disciplines including literary, historical, gender, and film studies. These relationships are frequently dramatized in plays and filmic translations of her work.]

—–. “Introduction: Eileen Chang: A Life of Conflicting Cultures in China and America.” In Louie, Eileen Chang: Romancing Languages, Cultures, and Genres. HK: Hong Kong UP, 2012, 1-14.

—–. “Romancing Returnee Men: Masculinity in ‘Love in a Fallen City’ and ‘Red Rose, White Rose.'” In Louie, Eileen Chang: Romancing Languages, Cultures, and Genres. HK: Hong Kong UP, 2012, 15-32.

Ma, Sheng-mei. “Eileen Chang and Zhang Ailing: A Bilingual Orphan.” In Ma, Diaspora Literature and Visual Culture: Asia in Flight. NY: Routledge, 2011, 126-47.

Macdonald, Sean. “Tragic Alliance as (Post)modernist Reading: ‘Jasmine Tea’ by Zhang Ailing.” Hecate 35 (2009).

Marchetti, Gina. “Eileen Chang and Ang Lee at the Movies: The Cinematic Politics of Lust, Caution.” In Kam Louie, ed., Eileen Chang: Romancing Languages, Cultures, and Genres. HK: Hong Kong UP, 2012, 131-54.

Martin, Helmut. “‘Like a Film Abruptly Torn Off’: Tension and Despair in Zhang Ailing’s Writing Experience.” In Wolfgang Kubin, ed., Symbols of Anguish: In Search of Melancholy in China. Bern: Peter Lang, 2001, 353-83

Miller, Lucien and Hui-chuan Chang. “Fiction and Autobiography: Spatial Form in ‘The Golden Cangue’ and The Woman Warrior.” In Michael S. Duke, ed., Modern Chinese Women Writers: Critical Appraisals. NY: M.E. Sharpe, Inc., 1989, 24-43.

Mou, Sherry. “Between History and Literature: Chang Ai-ling’s Lao Tai-tai Characters.” Jindai Zhongguo funu shi yanjiu (Taiwan) 2 (June 1994): 203-227.

Pang, Laikwan. “Photography and Autobiography: Zhang Ailing’s Looking at Each Other.” Modern Chinese Literature and Culture 13, 1 (Spring 2001): 73-106.

—–. “‘A Person of Weak Affect’: Toward an Ethics of Other in Eileen Chang’s Little Reunion.” In Kam Louie, ed., Eileen Chang: Romancing Languages, Cultures, and Genres. HK: Hong Kong UP, 2012, 177-92.

Paolini, Shirley J. and Yen Chen-shen. “Moon, Madness and Mutilation in Eileen Chang’s English Translation of The Golden Cangue.” Tamkang Review 19, 1-4 (1988-89): 547-57.

Passi, Federica. “Translation, Modernity and the Past: the Case of Zhang Ailing.” In Nicoletta Pesaro, ed., The Ways of Translation. Constraints and Liberties of Translating Chinese. Venezia: Libreria Editrice Cafoscarina, 2013, 74-86.

Pechenart, Emmanuelle. “Eileen Chang traductrice de ses propres oeuvres.” In Isabelle Rabut, ed., Les belles infideles dans l’empire du milieu: Problematique et pratiques de la traduction dans le monde Chinois moderne. Paris: You Feng, 2010, 203-24.

Peng, Hsiao-yen, and Whitney Crothers Dilley, eds. From Eileen Chang to Ang Lee: Lust/Caution. NY: Routledge, 2014.

[Abstract: This book analyses Ang Lee’s art of film adaptation through the lens of modern literary and film theory, as well as featuring detailed readings and analyses of different dialogues and scenes, directorial and authorial decisions and intentions, while at the same time confronting the intense political debates resulting from the film’s subject matter. The theories of Freud, Lacan, Deleuze, Bataille and others are used to identify and clarify issues raised by the film related to gender, sexuality, eroticism, power, manipulation, and betrayal; the themes of lust and caution are dealt with in conjunction with the controversial issues of contemporary political consciousness concerning patriotism, and the Sino-Japanese War complicated by divided historical experiences and cross-Taiwan Strait relationships. The contributors to this volume cover translation and adaptation, loyalty and betrayal, collaboration and manipulation, playing roles and performativity, whilst at the same time intertwining these with issues of national identity, political loyalty, collective memory, and gender. As such, the book will appeal to students and scholars of Chinese and Asian cinema and literature, as well as those interested in modern Chinese history and cultural studies.]

Pickowicz, Paul and Yap Soo Ei. “Single Women and the Men in Their Lives: Zhang Ailing and Postwar Visual Images of the Modern Metropolis,” In Christian Henriot and Wen-hsin yeh, eds., Visualizing China: Moving and Still Images in Historical Narratives. Leiden: Brill Publishers, 2013, 439-60.

Rojas, Carlos. “Eileen Chang and Photographic Nostalgia.” In Rojas, The Naked Gaze: Reflections on Chinese Modernity. Cambridge, MA: Harvard University Asia Center, 2008, 159-81.

Rollins, J. B. and Baochai Chiang. “Eileen Chang and the Chinese Diaspora.” Inter-Disciplinary.Net

Sang, Tze-lan. “Romancing Rhetoricity and Historicity: The Representational Politics and Poetics of Little Reunion.” In Kam Louie, ed., Eileen Chang: Romancing Languages, Cultures, and Genres. HK: Hong Kong UP, 2012, 193-214.

—–. “Eileen Chang and the Genius Art of Failure.” In Carlos Rojas and Andrea Bachner, eds., The Oxford Handbook of Modern Chinese Literatures. Oxford: Oxford University Press, 2016, 765-78.

Shan, Te-hsing. “Eileen Chang as a Chinese Translator of American Literature.” In Peng Hsiao-yen and Isabelle Rabut, eds., Modern China and the West. Leiden: Brill, 2014, 106-25.

Shan, Tam Pak. “Chronology and Reflections.” In Eva Hung, ed., Traces of Love and Other Stories. HK: Renditions Paperback, 2000, 13-21.

Shen, Shuang. “Ends of Betrayal: Diaspora and Historical Representation in the Late Works of Zhang Ailing.” Modern Chinese Literature and Culture 24, 1 (Spring 2012): 112-48.

—–, ed. Lingdu kan Zhang 零度看張 (Eileen Chang Degree Zero). Hong Kong: Chinese University Press, 2012.

Shui Jing 水晶. Pao zhuan ji 拋磚記 (Casting a brick to attract jade). Taipei: Sanmin shuju, 1986.

—–. Zhang Ailing de xiaoshuo yishu 張愛玲的小說藝術 (The fictional art of Zhang Ailing). Taipei: Dadi, 1973.

So, Richard Jean. “Literary Information Warfare: Eileen Chang, the U.S. State Department, and Cold War Media Aesthetics.” American Literature 85, 4 (Dec. 2013): 719-44.

Stewart, Elizabeth Cheng. “Awareness of the Woman Question in the Novels of George Elliot and Eileen Chang.” Ph.D. Thesis, University of Illinois at Urbana-Champaign, 1988.

Sun, Cecile Chu-Chin. “Two Versions of Sejie: Fiction and Film–Views from a Common Reader.” In Hsiao-yen Peng and Whitney Crothers Dilley, eds., From Eileen Chang to Ang Lee: Lust/Caution. NY: Routledge, 2014, 35-50.

Sun, Yifeng. “Transition and Transformation: With Special Reference to the Translation Practice of Eileen Chang in the 1950s Hong Kong.” Journal of Modern Literature in Chinese 11, 1 (2013): 15-32.

Tam, Pak Shan. “Eileen Chang: A Chronology.” Renditions 45 (Spring 1996): 6-12.

Tang Wenbiao 唐文標. Zhang Ailing ziliao da quanji 張愛玲資料大全集  (A complete collections of materials on Zhang Ailing). Taibei: Shibao wenhua, 1984. (contains drawings, Zhang’s writings, memoirs, a chronology, etc)

—–, ed. Zhang Ailing juan 張愛玲卷. Taibei: Yuanjing.

—–. Zhang Ailing zasui 張愛玲雜碎. Taibei: Yuanjing, 1976.

von Kowallis, Jon Eugene. “Sado-Masochism, Steamy Sex, and Shanghai Glitter: What’s Love Got to Do with It? A ‘Philologist’ Looks at Lust/Caution and the Literary Texts That Inspired It.” In Hsiao-yen Peng and Whitney Crothers Dilley, eds., From Eileen Chang to Ang Lee: Lust/Caution. NY: Routledge, 2014, 51-63.

Wang, David Der-wei. “Foreword.” In The Rouge of the North. Berkeley: UCP, 1998, vii-xxx.

—–. “Three Hungry Women.” Boundary 2. Special Issue ed. Rey Chow. 25, 2 (Fall 1998): 47-76. [deals in part with Chang’s Rice Sprout Song]

—–. “Eileen Chang and The Fall of the Pagoda.” Chinese Literature Today (Summer 2010): 92-98.

—–. “Madame White, The Book of Changes, and Eileen Chang: On a Poetics of Involution and Derivation.” In Kam Louie, ed., Eileen Chang: Romancing Languages, Cultures, and Genres. HK: Hong Kong UP, 2012, 215-42.

Wang, Xiaojue. “Memory, Photographic Seduction, and Allegorical Correspondence: Eileen Chang’s Mutual Reflections.” In Carlos Rojas and Eileen Cheng-yin Chow, eds., Rethinking Chinese Popular Culture: Cannibalizations of the Canon. NY: Routledge, 2009, 190-205.

—–. “Eileen Chang, Dream of the Red Chamber, and the Cold War.” In Kam Louie, ed., Eileen Chang: Romancing Languages, Cultures, and Genres. HK: Hong Kong UP, 2012, 113-30.

—–. “Eileen Chang, Hong Kong, and the Cold War.” In Wang, Modernity with a Cold War Face: Reimagining the Nation in Chinese Literature Across the 1949 Divide. Cambridge, MA: Harvard University Asia Center, 2013, 255-96. [MCLC Resource Center review by Jeffrey C. Kinkley]

—–. “Creation and Transmission: Eileen Chang and Sing-Song Girls of Shanghai.” Chinese Literature: Essays, Articles, Reviews 36 (2014): 125-48.

Wang, Xiaoming. “The ‘Good Fortune’ of Eileen Chang.” Tr. Cecile Chu-chin Sun. Renditions 45 (Spring 1996): 136-40.

Williams, Philip F. C. “Back from Extremity: Eileen Chang’s Literary Return.” Tamkang Review 29, 3 (Spring 1999): 127-38.

Wu Fuhui, ed. Zhang Ailing sanwen quanbian (Complete essays of Zhang Ailing). Hangzhou: Zhejiang wenyi, 1995.

Yeh, Emilie Yueh-yu. “Montage of Attractions: Juxtaposing Lust/Caution.” In Hsiao-yen Peng and Whitney Crothers Dilley, eds., From Eileen Chang to Ang Lee: Lust/Caution. NY: Routledge, 2014, 15-34.

Yin, Xiaoling. “Shadow of The Dream of the Red Chamber: An Intertextual Critique of The Golden Cangue.” Tamkang Review 21, 1 (1990): 1-28.

Zhang Ailing and Modern Chinese Literature. Conference held at Lingnan University, Hong Kong (Oct. 24-25, 2000). [with audio/visual of entire conference]

Zhang, Jingyuan. “Zhang Ailing (Eileen Chang).” In Dictionary of Literary Biography–Chinese Fiction Writers, 1900-1949. Ed. Thomas Moran. NY: Thomson Gale, 2007, 296-310.

Zhang, Yingjin. “From Counter-Canon to Hypercanon in a Postcanonical Age: Eileen Chang as Text and Myth.” Frontiers of Literary Studies in China 5, 4 (2011): 610-32.

Zou, Lin. “The Commercialization of Emotions in Zhang Ailing’s Fiction.” Journal of Asian Studies 70, 1 (2011): 29-51.

[Abstract: This article examines the principle of commercialization evoked in Zhang Ailing’s writing and explores how it frames the subjective value of emotions—particularly desolation—in her fiction. Human relationship in Zhang’s world is essentially commercial, in the sense that it is dominated by interest calculation and exchange. This relationship is driven by desires that are relentless and cannot find meaning in any goal. Behind this human relationship is a commercial framework of value that turns any form of subjectivity assuming natural value into a commodity for consumption. This is the mechanism through which desolation in Zhang’s fiction is commercialized. By exploring the affective structure of desolation, the author argues desolation assumes natural value by building fatalism into its structure as a natural principle. In doing so, Zhang’s aesthetics of desolation presents itself as a petty bourgeois construction for consumption.]

Zhang, Yingjin. “Gender, Genre, and Performance in Eileen Chang’s Films: Equivocal Contrasts Across the Print-Screen Divide.” In Lingzhen Wang, ed., Chinese Women’s Cinema: Transnational Contexts. NY: Columbia UP, 2011, 255-73.

Zhang Beihai

Berry, Michael. “A Tale of Two Cities: Romance, Revenge, and Nostalgia in Two Fin-de-Siece Novels by Ye Zhaoyan and Zhang Beihai.” In Carlos Rojas and Eileen Cheng-yin Chow, eds., Rethinking Chinese Popular Culture: Cannibalizations of the Canon. NY: Routledge, 2009, 115-31.

Zhang Chengzhi

Choy, Howard Y. F. “‘To Construct an Unknown China’: Ethnoreligious Historiography in Zhang Chengzhi’s Islamic Fiction.” positions: east asia cultures critique 14, 3 (Winter 2006): 687-715. [Project Muse link]

—–. “Muslim-Inhabited Loess: Zhang Chengzhi’s ‘Unknown China.'” In Choy, Remapping the Past: Fictions of History in Deng’s China, 1979-1997. Leiden: Brill, 2008, 79-102.

Huang, Yibing. “Zhang Chengzhi: Striving for Alternative National Forms, or, Old Red Guard and New Cultural Heretic.” In Huang, Contemporary Chinese Literature: From the Cultural Revolution to the Future. NY: Palgrave Macmillan, 2007.

Liu, Xinmin. “Self-Making in the Wilderness: Zhang Chengzhi’s Reinvention of Ethnic Identity.” American Journal of Chinese Studies 5, 1 (1998): 89-110.

—–. “Deciphering the Populist Gadfly: Cultural Polemic around Zhang Chengzhi’s ‘Religious Sublime.'” In Martin Woesler, ed., The Modern Chinese Literary Essay: Defining the Chinese Self in the 20th Century. Bochum: Bochum UP, 2000, 227-37.

Wu, Jin. The Voices of Revolt: Zhang Chengzhi, Wang Shuo and Wang Xiaobo. Ph.D. diss. Eugene: University of Oregon, 2005.

Xu, Jian. “Radical Ethnicity and Apocryphal History: Reading the Sublime Object of Humanism in Zhang Chengzhi’s Late Fictions.” positions: east asia cultures critique 10, 3 (Winter 20002): 526-46.

Zhang, Hong. “Subjective Identity, Revolutionary Consciousness, and People’s Literature: Zhang Chengzhi and His Literature in the New Era.” In Xueping Zhong and Ban Wang, eds. Debating the Socialist Legacy and Capitalist Globalization in China. NY: Palgrave MacMillan, 2014, 239-52.

Zhang, Xuelian. “Muslim Identity in the Writing of Zhang Chengzhi.” Journal of the Oriental Society of Australia 32/33 (2000/2001): 97-116.

Zhang Dachun

Ng, Kim-chu. “Techniques behind Lies and the Artistry of Truth: Writing about the Writings of Zhang Dachun.” In David Der-wei Wang and Carlos Rojas eds., Writing Taiwan: A New Literary History. Durham, NC: Duke UP, 2006, 253-82.

Yang, Xiaobin. “Telling (Hi)story: Illusory Truth or True Illusion.” Tamkang Review 21, 2 (1990): 127-47.

Zhang Dongsun (Carsun Chang)

Yap, Key-chong. “Culture-Bound Reality: The Interactionistic Epistemology of Chang Tung-sun.” East Asian History 3 (June 1992): 77-120.

Zhang Guangtian

Wan, Abbey. “Minstrel, Confucian Scholar, Poet.” City Weekend (Feb. 7, 2002).

Zhang Guixing (Chang Kuei-hsing)

Bachner, Andrea. “Reinventing Chinese Writing: Zhang Guixing’s Sinographi Translations.” In Jing Tsu and David Der-wei Wang, eds., Global Chinese Literature: Critical Essays. Leiden: Brill, 2010, 177-96.

Bernards, Brian. “Plantation and Rainforest: Chang Kuei-hsing and a South Seas Discourse of Coloniality and Nature.” In Brian Bernards, Shu-mei Shih, and Chien-hsin Tsai, eds., Sinophone Studies: A Critical Reader.New York: Columbia University Press, 2011.

Zhang Henshui

Altenburger, Roland. “Willing to Please: Zhang Henshui’s Novel ‘Fate in Tears and Laughter’ and Mao Dun’s Critique.” In Findeison and Gassmann, eds., Autumn Floods: Essays in Honour of Marian Galik. Bern: Peter Lang, 1997.

Lyell, William A. “Translator’s Afterword.” In Shanghai Express. Honolulu: University of Hawaii Press, 1997, 239-56.

McClellan, T. M. Zhang Henshui’s Fiction: Attempts to Reform the Traditional Chinese Novel. Ph.D. diss. Edinburgh: University of Edinburgh, 1991.

—–. “Change and Continuity in the Fiction of Zhang Henshui (1895-1967): From Oneiric Romanticism to Nightmare Realism.” Modern Chinese Literature 10, 1/2 (1998): 113-134.

—–. Zhang Henshui and Popular Chinese Fiction, 1919-1949. Lewiston: Edwin Mellen Press, 2005.

[Abstract: This book is a “life and works” study of the most successful Chinese novelist of the first half of the twentieth century. In the 1920s-1940s, the popularity of Zhang’s work among readers was immense, but it was denigrated as commercial, ideologically backward writing during an age when literature in China was dominated by the leftist politics and Europeanising aesthetics of the May Fourth Movement. The author demonstrates, by detailed philological analysis, how Zhang Henshui chose to retain the form and language of the old-style Chinese novel, but to assimilate techniques and content from May Fourth writing as a means of “improving” traditional fiction while “catching up with the times.” In this by far most comprehensive survey of Zhang’s fictional work in any Western language, the author identifies, with impressive literary sensitivity, a number of phases of development and retrogression, as Zhang Henshui moved away gradually from writing fiction for entertainment and comfort to writing more disturbing and engaging work. Rare among studies of modern Chinese literature, the book’s generous excerpts and appendices from the most outstanding novels in exquisite English translation offer a lively impression of the experience of reading Zhang Henshui novels. The bibliography includes a most valuable detailed chronological list of Zhang’s works. This book will also be of interest to scholars of Republican-era Chinese culture and history in general, as well as to scholars of comparative literature and general literary theory.]

—–. “Zhang Henshui.” In Dictionary of Literary Biography–Chinese Fiction Writers, 1900-1949. Ed. Thomas Moran. NY: Thomson Gale, 2007, 311-19.

Rupprecht, Hsiao-wei Wang. Departure and Return: Chang Hen-shui and the Chinese Narrative Tradition. HK: Joint Publishing, 1987.

Zhang Jie

Bailey, Alison. “Travelling Together: Narrative Technique in Zhang Jie’s ‘The Ark’.” In Michael S. Duke, ed., Modern Chinese Women Writers: Critical Appraisals. NY: M.E. Sharpe, Inc., 1989, 96-111.

Chan, Sylvia. “Chang Chieh’s Fiction: In Search of Female Identity.” Issues and Studies 25.9 (1989): 85-104; also in Bih-jaw Lin, ed. Post-Mao Sociopolitical Changes in Mainland China: The Literary Perspective. Taibei: Institute of International Relations, National Chengchi University, 1991, 89-108.

Chen, Yu-shih. “Harmony and Equality: Notes on ‘Mimosa’ and ‘Ark.'” Modern Chinese Literature 4, 1/2 (1988): 163-70.

Chen, Xiaomei. “Reading Mother’s Tale: Reconstructing Women’s Space in Amy Tan and Zhang Jie.” Chinese Literature: Essays, Articles, Reviews 16 (1994): 111-32.

Chong, Woei Lien. “The Position of Women in China: A Lecture by Woman Writer Zhang Jie.” China Information 10, 1 (Summer 1995): 51-58.

Chou, Eva Shan. “Zhang Jie.” In Thomas Moran and Ye (Dianna) Xu, eds., Chinese Fiction Writers, 1950-2000. Dictionary of Literature Biography, vol. 370. Detroit: Thomson Gale, 2013, 286-93.

Hagenaar, Elly. “Some Recent Literary Works by Zhang Jie: A Stronger Emphasis on Personal Perspective.” China Information 10, 1 (Summer 1995): 59-71.

Lai, Amy Tak-yee. “Liberation, Confusion, Imprisonment: The Female Self in Ding Ling’s ‘Diary of Miss Sophie’ and Zhang Jie’s ‘Love Must Not Be Forgotten.'” Comparative Literatue and Culture 3 (Sept. 1998): 88-103.

Lee, Lily Xiao Hong. “Love and Marriage in Zhang Jie’s Fangzhou and Zumulu: Views from Outside.” Chinese Literature and European Context: Proceedings of the 2nd International Sinological Symposium. Bratislava: Institute of Asian and African Studies of the Slovak Academy of Sciences, 1994, 233-40.

Muller, Eva. “Die Schrifstellerin Zhang Jie: Vom Grosen politischen Roman zum weiblichen Psychogramm.” In Christina Neder et al. eds., China in Seinen Biographischen Dimension: Gedenkscrift fur Helmut Martin. Weisbaden: Harrossowitz Verlag, 2001.

Prazniak, Roxann. “Feminist Humanism: Socialism and Neofeminism in the Writings of Zhang Jie.” In Arif Dirlik and Maurice Meisner eds., Marxism and the Chinese Experience. Armonk, NY: M. E. Sharpe, 1989, 269-93.

Roberts, Rosemary A. “Images of Women in the Fiction of Zhang Jie and Zhang Xinxin.” China Quarterly 120 (1989): 800-13.

Xiao, Hui Faye. “Utopia or Distopia? The Sisterhood of Divorced Women.” In Xiao, Family Revolution: Marital Strife in Contemporary Chinese Literature and Visual Culture. Seattle and London: University of Washington Press, 2014, 85-115.

Yang, Gladys. “Zhang Jie, a Controversial, Mainstream Writer.” In Yang Bian, ed., The Time is Not Ripe: Contemporary China’s Best Writers and Their Stories. Beijing: FLP, 1991, 253-60.

Zhang Jingsheng 张竞生

Hee, Wai Siam. “On Zhang Jingsheng’s Sexual Discourse: Women’s Liberation and Translated on Sexual Differences in 1920s China.” Frontiers of Literary Studies in China 7, 2 (2013): 235-70.

[Abstract: This article explores and re-evaluates Zhang Jingsheng’s views on sex education and aesthetic education, as revealed in his book Sexual Histories and in articles that he published in the journal New Culture. His endorsement of sex education and aesthetic education constructed a sexual discourse, advocating the redefinition of Chinese men and women’s gender and sexuality through knowledge/power. Zhang Jingsheng highly valued eugenics and “aesthetic sexual intercourse,” and he attempted to use sex education to improve Chinese people’s innate physical weakness and their “androgynous” sexual characteristics. By prescribing an aesthetic education that covered all fundamental aspects of life, he also attempted to remedy what he saw as the inadequate or inverted models of masculinity and femininity available to Chinese men and women. Furthermore, by collecting and analyzing articles solicited for Sexual Histories and letters addressed to New Culture, he discussed how to cure the sexual perversions that were associated with Chinese men and women’s sexualities. Finally, this article compares the contents of New Culture with the discourses (in Chinese and other languages) on sexual difference published in other Chinese journals in the 1920s, including how the discourses on sexual difference by Havelock Ellis and Edward Carpenter were translated into the modern Chinese context. The article concludes that the contributors to New Culture held unified opinions on the issues of homosexuality and women’s liberation. Thus, in comparison with journals such as The Chinese Educational Review, The Ladies’ Journal, and New Women, New Culture was less tolerant of divergent opinions. Although Zhang supported sexual liberation, he nonetheless sought to eliminate homosexuality from the aesthetic society that he envisioned. His idea of sexual liberation tended to signify women’s liberation and excluded a homosexual agenda because he was homophobic. For most of the May Fourth Generation, including Zhang Jingsheng, sexual and women’s liberation were not equivalent to self-liberation. Instead, the concepts of sexual liberation and women’s liberation were invoked to re-code the bodies of Chinese men and women, with the aim of creating a “Strong Breed to Rescue the Nation.”]

Leary, Charles. “Intellectual Orthodoxy, the Economy of Knowledge, and the Debate over Zhang Jingsheng’s Sex Histories.” Republican China 18, 2 (1994): 99-137.

Lee, Haiyan. “Governmentality and the Aesthetic State: A Chinese Fantasia.” positions: eastasia cultures critique 14, no.1 (2006): 99-130 (deals with Zhang Jingsheng’s Mei de rensheng guan [The Philosophy of a Beautiful Life], Meide shehui zuzhi fa [How to Organize a Beautiful Society], and, to a lesser extent, Xingshi [Sex histories]).

Peng, Hsiao-yen. “Sex Histories: Zhang Jingsheng’s Sexual Revolution.” In Peng-hisang Chen and Whitney Crothers Dilley, eds., Feminism/Femininity in Chinese Literature. Amsterdam,: Rodopi, 2002, 159-78.

Rocha, Leon Antonio. Sex, Eugenics, Aesthetics, Utopia in the Life and Work of Zhang Jingsheng (1888-1970). Ph. D. diss. Cambridge: University of Cambridge, 2010.

Zhang Junmai (Carsun Chang) 张君劢

Chen, Dandan. “The State in the Shadow of War: Reexamining Zhang Junmai’s Thoughts on Democratic Politics and State Building.” Journal of Modern Chinese History 9, 2 (2015): 175-98.

[Abstract: In the shadow of the Sino–Japanese War, Zhang Junmai presented his solutions to China’s problems in a time of emergency. Using nation instead of class as his frame of reference, Zhang called for the rise of national self-consciousness and integrated his opinions on science, life, and epistemology in his blueprint for a new China. After examining the limits of democratic politics in wartime, Zhang articulated his version of democracy designed for a time of emergency, namely Revised Democratic Politics, which emphasized prompt governmental decision making, centralization of power, mass mobilization, and the cultivation of citizens as political, moral, and economic subjects. Placing Zhang’s political thought against the backdrop of the democracy versus dictatorship debate, this article will illustrate the inner complexity of Zhang’s “scientific” planning of democratic politics. This article argues that, echoing Carl Schmitt’s theory of the state of emergency and his concept of true politics as solving difficult problems, the formula of Revised Democratic Politics equates the issue of sovereignty with administrative efficiency within the bounds of legislative regulation. In addition, this article explores Zhang Junmai’s construction of the Way of State Building and state philosophy in addition to his theoretical configuration of China as a Gemeinschaft (ethical community) in a time of emergency.]

Jeans, Roger B. Democracy and Socialism in Prewar China: The Politics of Zhang Junmai, 1906-1941. Lanham, MD: Rowan and Littlefield, 1997.

Zhang Kangkang 张抗抗

Bryant, Daniel. “Making It Happen: Aspects of Narrative Method in Zhang Kangkang’s ‘Northern Lights’.” In Michael S. Duke, ed., Modern Chinese Women Writers: Critical Appraisals. NY: M.E. Sharpe, Inc., 1989, 112-34.

Liu, Xi. “The Representation of Rural Migrant Women and the Discourse of Modernity in Contemporary China–A Study of Zhang Kangkang’s Novel Zhima.” Frontiers of Literary Studies in China 6, 4 (2012): 511-25.

[Abstract: Contemporary Chinese female writer Zhang Kangkang’s novel Zhima uses the lives of rural migrant women to symbolize the experience of the individual in Chinese urban modernity. The novel exposes the gender and class discrimination suffered by the rural migrant woman Zhima, but it does not fully unmask or probe the deeply institutionalized imbrications between gender, class and power in both rural and urban society. The challenge posed to the hierarchical distinction between rural/urban in this text’s narrative ultimately gives way to the discourses on suzhi (quality) and “population control” that actually reinforce the rural/urban differences. The author’s self-proclaimed feminist standpoint is also overshadowed by the text’s complicity with developmentalist modern urban values. This literary text thus affirms, rather than calling into question, the post-socialist discourses of modernity, which are distinguished by their promotion and celebration of urbanization and free market.]

Wu, Taichang. “Zhang Kangkang and her Fiction.” In Yang Bian, ed., The Time is Not Ripe: Contemporary China’s Best Writers and Their Stories. Beijing: FLP, 1991, 281-86.

Yang, Suying. “Gender Construction in the Novels of Zhang Kangkang and Liang Xiaosheng.” In Kwok-kan Tam and Terry Siu-han Yip, eds., Gender, Discourse and the Self in Literature: Issues in Mainland China, Taiwan and Hong Kong: HK: The Chinese University Press, 2009, 109-24.

Zhang Mei

Sieber, Patricia. “Zhang Mei.” In Sieber, ed. Red Is Not the Only Color: Contemporary Chinese Fiction on Love and Sex between Women, Collected Stories. Lanham, MD: Rowman and Littlefield, 2001, 195-96.

Zhang Mingyuan

Williams, Philip F. C. “Migrant Laborer Subcultures in Recent Chinese Literature: a Communicative Perspective.” Intercultural Communication Studies 8, 2 (1998-99): 153-161. [discusses the literary portrayal of contemporary rural mangliu, esp. in Zhang Mingyuan’s 1989 play, Duo yu de xiatian].

Zhang Ping 张平

Kinkley, Jeffrey C. “Modernity and Apocalypse in Chinese Novels from the End of the Twentieth Century.” In Charles Laughlin, ed., Contested Modernities in Chinese Literature. NY: Palgrave Macmillan, 2005, 101-20. [deals with Wang Lixiong’s Yellow Peril, Lu Tianming’s Heaven Above, Zhang Ping’s Choice, and Mo Yan’s Liquorland].

—–. “Climax: The Alarum and Standard-Bearer–Zhang Ping’s Choice.” In Kinkley, Corruption and Realism in Late Socialist China. Palo Alto: Stanford UP, 2007, 78-103.

Zhang Shizhao

Bai, Ji’an. “Hu Shi and Zhang Shizhao.” Chinese Studies in History 39, 3 (Spring 2006): 3-32.

Zhang Taiyan 章太炎

Chang, Hao. Chinese Intellectuals in Crisis: Search for Order and Meaning (1890-1911). Berkeley: University of California Press, 1987.

Lee, Mabel. “Chang Ping-lin’s Concept of Self and Society: Questions of Constancy and Continuity After the 1911 Revolution.” Zhonghua minguo chuqi lishi yantaohui lunwenju 1912-1917. Taibei: Institute of Modern History of the Academica Sinica, 1984, 593-630.

Lee, Jer-shiarn. Chang Ping-lin, 1869-1936: A Political Radical and Cultural Conservative. Taibei: Liberal Arts Press, 1993.

Furth, Charlotte. “The Sage as Rebel: The Inner World of Chang Ping-lin.” In Furth ed., The Limits of Change: Essays on Conservative Alternatives in Republican China. Cambridge, MA: Harvard UP, 1976, 113-50.

Kowallis, Jon. “Rethinking China, Confucianism and the World from the Late Qing: A Special Issue on Zhang Taiyan and Lu Xun.” Frontiers of Literary Studies in China 7, 3 (2013): 325-32.

Lee, Mabel. “Zhang Taiyan: Daoist Individualism and Political Reality.” Frontiers of Literary Studies in China 7, 3 (2013: 346-66.

Makeham, John. “Research and Reflections on Zhang Taiyan.” Frontiers of Literary Studies in China 7, 3 (2103): 339-45.

[Abstract: Historians generally describe Zhang Taiyan 章太炎 (Binglin 炳麟, 1869–1936) as an anti-Manchu revolutionary and treat his Buddhism as subordinate to this larger political project. Far less commonly understood is Zhang’s role in preparing the groundwork for the establishment of Chinese philosophy as an academic discipline. Against the backdrop of an intellectual climate in Japan and China during the decades either side of 1900, in which a premium had come to be placed on logic as a precondition for the development of philosophy, Zhang was one of the first Chinese intellectuals to follow the lead of Japanese scholars in maintaining that classical Chinese philosophers had developed indigenous forms of logic. Significantly, he further argued that Chinese versions of Yogācāra texts on Buddhist logic and epistemology (yinming 因明; Skt. hetu-vidyā) made it possible once again to gain a proper understanding of China’s earliest writings on logic. In this paper I argue that Zhang sought to establish that early Chinese texts “bear witness” to insights into realities that transcend individual cultures but are most fully and systematically articulated in Yogācāra systems of learning; and that classical Chinese philosopher-sages had attained an awareness of the highest truths, evidence of which can be found in their writings. In short, I will show that Zhang used Yogācāra to affirm the value of “Chinese philosophy” and, in doing so, helped shape its early definition.]

Murthy, Viren. “Equalization as Difference: Zhang Taiyan’s Buddhist-Daoist Response to Modern Politics” IIAS Newsletter (June 2007).

—–. The Political Philosophy of Zhang Taiyan: The Resistance of Consciousness. Leiden: Brill, 2011. [MCLC Resource Center review by Hung-yok Ip]

[Abstract: Zhang Taiyan (1868-1936) is famous for being one of the first thinkers in China to promote revolution in the early twentieth century. Scholars have addressed Zhang’s revolutionary and nationalist thought, but until this work there has not been any sustained engagement with Zhang’s Buddhist writings which aimed to understand and criticize the world from the perspective of consciousness. These philosophical works are significant because they exemplify how, as Chinese intellectuals entered the global capitalist world, they constantly tried to find resources to create an alternative. As the author argues in the conclusion, this desire to create an alternative to capitalism remained throughout twentieth century China and continues today in the works of critical intellectuals such as Wang Hui. Thus this work is important not only to understand our past, but to hope for a better future.]

—– “Transfiguring Modern Temporality: Zhang Taiyan’s Yogacara Critique of Evolutionary History.” Modern China 38 (2012): 483-522.

—–. “Ontological Optimism, Cosmological Confusion, and Unstable Evolution: Tan Sitong’s Renxue and Zhang Taiyan’s Response.” In Viren Murthy and Axel Schneider, eds., The Challenge of Linear Time: Nationhood and the Politics of History in East Asia. Leiden: Brill, 2014, 49-82.

Shimada, Kenji. Pioneer of the Chinese Revolution: Zhang Binglin and Confucianism. Tr Joshua A. Fogel. Stanford: Stanford UP, 1990.

Wang, Hui. “Zhang Taiyan’s Concept of the Individual and Modern Chinese Identity.” In Wen-hsin Yeh, ed., Becoming Chinese: Passages to Modernity and Beyond. Berkeley: University of California Press, 2000, 231-59.

Wong, Young-tsu. Search for Modern Nationalism: Zhang Binglin and Revolutionary China, 1869-1936. Hong Kong: Oxford UP, 1989.

—–. “Zhang Bingling’s Critique of Western Modernity: A Chinese View of Cultural Pluralism.” In Peter Zarrow, ed., Creating Chinese Modernity: Knowledge and Everyday Life, 1900-1940. NY: Peter Lang, 2007, 23-50.

—–. Beyond Confucian China: The Rival Discourses of Kang Youwei and Zhang Binglin. NY: Routledge, 2010.

[Abstract: Young-tsu Wong throws new light on Kang Youwei and Zhang Binglin, both through research on the sources, nature and import of their ideas and through juxtaposing them. The result is a provocative and stimulating analysis of late Qing-early Republican thought. Never before these two rival thinkers have been studied in any western language, and Wong sees these two men, though distinctly different in personality and thought, as the genuine pioneers of modern Chinese thought. The author highlights the mix of traditional Chinese thought, especially Confucianism and western ideas as well as the personal experiences of the two key thinkers in Modern Chinese History, enabling him to reassess the transition of China’s cultural tradition and its modern fate in a world-wide perspective. This work provides a stimulating and provocative reassessment of two major thinkers in modern Chinese history. As such, it will be welcomed by scholars in the field of modern Chinese history and intellectual thought.]

Zhang Tianyi 张天翼

Anderson, Marsten. “Realism’s Last Stand: Character and Ideology in Zhang Tianyi’s Three Sketches.” MCL 5, 2 (1989): 179-96.

—–. “Mao Dun, Zhang Tianyi, and the Social Impediments to Realism.” In Anderson, The Limits of Realism: Chinese Fiction in the Revolutionary Period. Berkeley: UCP, 1990, 119-79.

Gotz, Michael. Realistic Fiction as a Medium for Social Criticism: Short Stories of Chang T’ien-yi. M.A. thesis. Berkeley: University of California, 1973.

Hsia, C.T. “Chang T’ien-i (1907- ).” In C.T. Hsia, A History of Modern Chinese Fiction. 2nd ed. New Haven: Yale University Press, 1971, 212-36.

Moran, Thomas. “Zhang Tianyi.” In Dictionary of Literary Biography–Chinese Fiction Writers, 1900-1949. Ed. Thomas Moran. NY: Thomson Gale, 2007, 320-32.

Sun, Yifeng. Fragmentation and Dramatic Moments: Zhang Tianyi and the Narrative Discourse of Upheaval in Modern China. New York: Peter Lang, 2002.

—–. “Humour, Satire, and Parody in Zhang Tianyi’s Writings.” Chinese Culture XL, 2 (June 1999): 1-44.

—–. “The Function of Repetition in Zhang Tianyi’s Art.” Tamkang Review 31, 3 (Spring 2001): 137-.

Tsau, Shu-ying. “Zhang Tianyi’s Fiction: The Beginning of Proletarian Literature in Chian.” Ph.D. Diss. Toronto: University of Toronto, 1976.

—-. “Zhang Tianyi’s Satirical Wartime Stories.” La litterature chinoise au temps de la guerre de resistance contre le Japon (de 1937 a 1945). Paris: Editions de la Fondation Singer-Polignac, 1982, 175-88.

Yuan, Ying. “Chang Tien-yi and His Young Readers.” Chinese Literature 6 (1959): 137-139.

Zhang Wei 张炜

Lu, Jie. “Nostalgia without Memory: Reading Zhang Wei’s Essays in the Context of Fable of September.” In Martin Woesler, ed., The Modern Chinese Literary Essay: Defining the Chinese Self in the 20th Century. Bochum: Bochum UP, 2000, 211-25.

Mi, Jiayan. “Entropic Anxiety and the Allegory of Disappearance: Hydro-Utopianism in Zheng Yi’s Old Well and Zhang Wei’s Old Boat.” China Information 21 (2007): 109-140.

Russell, Terrence. “Zhang Wei and the Soul of Rural China.” Tamkang Review 35, 2 (Winter 2004): 41-56.

Xu, Jian. “Body, Earth, and Migration: The Poetics of Suffering in Zhang Wei’s September Fable.” Modern Language Quarterly: A Journal of Literary History 67, 2 (June 2006).

Zhang Wentian 张闻天

Galik, Marian. “Young Zhang Wentian and His ‘Goethe’s Faust.'” Asian and African Studies [Brataslava] 8, 1 (1999): 3-16.

Zhang Xiguo (Chang Hsi-kuo) 張系國

Duke, Michael S. “Two Chess Masters, One Chinese Way: A Comparison of Chang Hsi-kuo’s and Chung Ah-cheng’s “Chi-wang”.” Asian Culture Quarterly (Winter 1987): 41-63.

Lau, Joseph S.M. “Obsession with Taiwan: The Fiction of Chang Hsi-kuo.” In Jeannette L. Faurot, ed., Chinese Fiction from Taiwan: Critical Perspectives. Bloomington: IUP, 1980, 148-65.

Wong, Kin-yuen. “Rhetoric, History and Interpretation in Chang Hsi-kuo’s The Star-Cloud State.” Modern Chinese Literature 6, 1/2 (1992): 115-132.

Yip, Terry Siu-han. “Place, Gender and Identity: The Global-Local Interplay in Three Stories from China, Taiwan and Hong Kong.” In Kwok-kan Tam et al., eds., Sights of Contestation: Localism, Globalism and Cultural Production in Asia and the Pacific. HK: The Chinese University Press, 2002, 17-34. [deals with stories by Tie Ning, Zhang Xiguo (Chang Shi-kuo), and Ye Si]

Zhang Xianliang 张贤亮

An, Ch’i. “What ‘Wind’ Is Blowing?” In Hualing Nieh, ed., Literature of the Hundred Flowers, Volume II: Poetry and Fiction. NY: Columbia UP, 1981, 145-50/ .

Chen, Yu-shih. “Harmony and Equality: Notes on ‘Mimosa’ and ‘Ark.'” Modern Chinese Literature 4, 1/2 (1988): 163-70.

Fang, Jincai. The Crisis of Emasculation and the Restoration of Patriarchy in the Fiction of Chinese Contemporary Male Writers Zhang Xianliang, Mo Yan, and Jia Pingwa. Ph.D. Diss. Vancouver: University of British Columbia, 2004.

Fokkema, Douwe. “Modern Chinese literature as a result of acculturation: The intriguing case of Zhang Xianliang.” In Lloyd Haft, ed., Words from the West: western texts in Chinese literary context: essays to honor Erik Zurcher on his sixty-fifth birthday. Leiden: CNWS Publications, 1993, 26-34.

Kinkley, Jeffrey C. “A Bettelheimian Interpretation of Chang Hsien-liang’s Labor-Camp Fiction.” Asia Major TS 4, 2 (1991): 83-114.

Li, Jun. “Zhang Xianliang and his Fiction.” In Yang Bian, ed., The Time is Not Ripe: Contemporary China’s Best Writers and Their Stories. Beijing: FLP, 1991, 327-32.

Link, Perry. “A Brief Introduction to Chang Hsien-liang.” Asia Major TS 4, 2 (1991): 79-82.

Sybesma, Rint. “Literature, Business and the ‘Cultural Revolution’: an Update on Zhang Xianliang.” China Information 8, 4 (Spring 1994): 52.

Tam, Kwok-kan. “Sexuality and Power in Zhang Xianliang’s Novel Half of Man is Woman.” MCL 5, 1 (1989): 55-72.

Williams, Philip F. “‘Remolding’ and the Chinese Labor Camp Novel.” Asia Major TS 4, 2 (1991): 133-49.

—–. “Zhang Xianliang.” In Thomas Moran and Ye (Dianna) Xu, eds., Chinese Fiction Writers, 1950-2000. Dictionary of Literature Biography, vol. 370. Detroit: Thomson Gale, 2013, 294-303.

Wu, Daming. Zhang Xianliang: The Stories of Revelation. Durham: Durham East Asia Papers, University of Durham, 1995.

Wu, Yenna. “Women as a Source of Redemption in Chang Hsien-liang’s Concentration-Camp Novels. ” Asia Major TS 4, 2 (1991): 115-32.

—–. “The Interweaving of Sex and Politics in Zhang Xianliang’s Half a Man is Woman.” Journal of Chinese Language Teachers Association 27, 1/2 (1992): 1-28.

Yeh-ho Editorial Board. “Pros and Cons of ‘The Great Wind.'” In Hualing Nieh, ed., Literature of the Hundred Flowers, Volume II: Poetry and Fiction. NY: Columbia UP, 1981, 141-44.

Yue, Gang. “Postrevolutionary Leftovers: Zhang Xianliang and Ah Cheng.” In The Mouth that Begs: Hunger, Cannibalism, and the Politics of Eating in Modern China. Durham: Duke University Press, 1999, 184-221.

Zhang Xianliang Biography (Pegasos Website, Findland)

Zhong, Xueping. “Male Sufering and Male Desire: The Politics of Reading Half of Man is Woman.” In Gilmartin et al, eds. Engendering China: Women, Culture,and the State. Cambridge: Harvard UP, , 1994, 175-91.

Zhou, Zuyan. “Animal Symbolism and Political Dissidence in Half of Man is Woman.” Modern Chinese Literature 8 (1994): 69-95.

Zhang Xiaofeng 张晓风

Galik, Marian. “Psalm 137 According to Zhang Xiaofeng: The Wailing Wall in Post-1949 Taiwan Literary History.” Frontiers of Literary Study in China 7, 1 (2013): 23-36.

[Abstract: The aim of this essay is to analyze the first story by Zhang Xiaofeng, Taiwan writer, playwright, known in the mainland of China mainly as an excellent essayist. The Wailing Wall (Kuqiang) was written in 1968 in the atmosphere of the Six Days War in Israel, the atrocities during the first years of the Cultural Revolution in the mainland of China, and war in Vietnam. Wailing Wall is a poetic symbol of sadness and suffering mostly of the innocent people. For the author of the story it is reminiscent of the biblical Psalm 137 depicting the moods of the Hebrews in the Babylonian Captivity after 586 B.C. and the situation of her compatriots who were forced to leave their old homes in the Mainland before Oct. 1, 1949. Zhang Xiaofeng is a Christian author regarding love as the cornerstone of inter-human relations. She believes in love of God for all human beings and in the universal love. The short story consisting of one woman and her relations with two brothers between October 1949 and June 1967, against the background what happened in the world around them, and in their vicinity, brought her an unpleasant cognition: The true love is hardly possible where the human beings should live between, or behind the walls, where hate is prevailing.]

Zhang Xin 张欣

Berg, Dari. Portraying China’s New Women Entrepreneurs:A Reading of Zhang Xin’s Fiction. Durham: University of Durham, East Asian Papers, 2000.

Zhang Xinxin 张辛欣

Jiang, Hong. “The Masculine-Feminine Woman: Transcending Gender Identity in Zhang Xinxin’s Fiction.” China Information 15, 1 (2001): 138-65.

Kinkley, Jeffrey C. “Modernism and Journalism in the Works of Chang Hsin-hsin.” Tamkang Review 18, 1-4 (1987-88): 97-123.

—–. “The Cultural Choices of Zhang Xinxin, A Young Writer of the 1980’s.” In Paul A. Cohen and Merle Goldman, ed., Ideas Across Cultures: Essays on Chinese Thought in Honor of Benjamin Schwartz.Cambridge: Council on East Asian Studies, Harvard University, 1990.

Lau, Kam-fung. “Female Identity in Contemporary Chinese and Western Literature: Zhang Xinxin and Virginia Woolf.” In Peng-hisang Chen and Whitney Crothers Dilley, eds., Feminism/Femininity in Chinese Literature. Amsterdam,: Rodopi, 2002, 103-08.

Martin, Helmut. “Social Criticism in Contemporary Chinese Literature: New Forms of Pao-kao-Reportage by Zhang Xinxin.” Proceedings on the Second International Conference on Sinology. Taipei: Academia Sinica, 1989.

Roberts, Rosemary A. “Images of Women in the Fiction of Zhang Jie and Zhang Xinxin.” CQ 120 (1989): 800-13.

Wakeman, Carolyn and Yue Daiyun. “Fiction’s End: Zhang Xinxin’s New Approaches to Creativity.” In Michael S. Duke, ed., Modern Chinese Women Writers: Critical Appraisals. NY: M.E. Sharpe, Inc., 1989, 196-216.

Zhang Yiping 章衣萍

Findeisen, Raoul. “Un couple de ‘litteratuers’: Wu Shutian et Zhang Yiping.” In Jean-Louis Boully, ed., Ouvrages en langue chinoise de l’Institut franco-chinois de Lyon, 1921-1946. Lyon: Bibliotheque municipale de Lyon, nd., xxlii-lx.

Zhang Ziping 张资平

Liu, Jianmei. “Shanghai Variations on ‘Revolution Plus Love.'” Modern Chinese Literature and Culture 14, 1 (Spring 2002): 51-92. [deals with texts by Shi Zhecun, Liu Na’ou, Mu Shiying, Zhang Ziping, and Ye Lingfeng]

Zhao Shuli 赵树理

Beyer, John. “Part Novel, Risque Film: Zhao Shuli’s Sanliwan and the Scenario Lovers Happy Ever After.” In Wolfgang Kubin and Rudolf Wagner, eds., Essays in Modern Chinese Literature and Literary Criticism. Bochum: Brokmeyer, 1982, 90-116.

Birch, Cyril. “Chao Shu-li: Creative Writing in a Communist State.” New Mexico Quarterly 25 (1955): 185-95.

Chung, Hilary and Tommy McClellan, “The Command Enjoyment of Literature in China: Conferences, Controls and Excesses.’ In Hilary Chung ed., In the Party Spirit: Socialist Realism and Literary Practice in the Soviet Union, East Germany and China. Amsterdam and Atlanta: Rodopi, 1996, 1-22.

Feuerwerker, Yi-tsi Mei. “Zhao Shuli: The ‘Making” of a Model Peasant Writer.” In Feuerwerker, Ideology, Power, Text: Self-Representation and the Peasant “Other” in Modern Chinese Literature. Stanford: SUP, 1998, 100-45.

George, William. Chao Shu-li:Propagandist and Writer. M.A. Thesis. Toronto: University of Toronto, 1970.

Lu, Chien. “Chao Shu-li and His Writing.” Chinese Literature 9 (1964): 21-26.

Matthews, Josephine. Artistry and Authenticity: Zhao Shuli and His Fictional World. PhD diss. Columbus: The Ohio State University, 1991.

McClellan, T. M. “Zhao Shuli.” In Dictionary of Literary Biography–Chinese Fiction Writers, 1900-1949. Ed. Thomas Moran. NY: Thomson Gale, 2007, 333-40.

Zhao Wanpeng

Wagner, Rudolf. The Contemporary Chinese Historical Drama. Berkeley: UCP, 1990, 254-58. [ deals with “Da Qianlong”]

Zheng Chouyu 郑愁予

Kubin, Wolfgang. “The Black Knight on the Iron Horse: Cheng Ch’ou-yu’s Poetical Version of the Passing Lover.” In H. Goldblatt ed., Worlds Apart: Recent Chinese Writing and Its Audiences. Armonk: M.E. Sharpe, 1990, 138-149.

Lin, Julia C. “Cheng Ch’ou-yu: The Keeper of the Old.” In Lin, Essays on Contemporary Chinese Poetry. Athens, OH: Ohio University Press, 1985, 1-11.

Lupke, Christopher. “Zheng Chouyu and the Search for Voice in Contemporary Chinese Lyric Poetry.” In Lupke ed., New Perspectives on Contemporary Chinese Poetry. New York: Palgrave Macmillan, 2007, 29-46.

Zheng, Egoyan (Zheng Qianci) 鄭千慈

Chu, Hueichu. “‘After’ the Catastrophe: Imagining Nuclear Disaster in Egoyan Zheng’s Ling didian (Ground Zero).” In Chia-ju Chang and Scott Slovic, eds., Ecocriticism in Taiwan: Identity, Environment, and the Arts. Lanham, MD: Lexington Books, 2016, 111-22.

Zheng Min 郑敏

Chung, Ling. “Her Dexterous Sensibility: On Zheng Min’s Poetry.” Modern Chinese Literature 3, 1/2 (1987): 47-56.

Zheng Qingwen 郑清文

Zheng Wanlong 郑万隆

Louie, Kam. “Masculinities and Minorities: Alienation in ‘Strange Tales from Strange Lands.” China Quarterly 132 (Dec. 1992): 1119-35.

Zheng Xiaoqiong 郑小琼

Gong, Haomin. “Toward a New Leftist Ecocriticism in Postsocialist China: Reading the ‘Poetry of Migrant Workers’ as Ecopoetry.” In Ban Wang and Jie Lu, eds., China and New Left Visions: Political and Cultural Interventions. Lanham, MD: Lexington Books, 2012, 139-57.

[Abstract: This essays discusses the poetry writing of migrant worker poets, including Zheng Xiaoqiong, and addresses some theoretical issues of ecopoetry within the paradigm of Chinese postsocialism.]

Zhang, Qinghua. “Who Touches the Iron of the Age: On Zheng Xiaoqiong’s Poetry.” Chinese Literature Today (Summer 2010): 31-34.

Zhou, Xiaojing. “Zheng Xiaoqiong.” Chinese Literature Today 6, 1 (2017): 98-101.

Zheng Yi 郑义

Link, Perry. “Zheng Yi.” In Thomas Moran and Ye (Dianna) Xu, eds., Chinese Fiction Writers, 1950-2000. Dictionary of Literature Biography, vol. 370. Detroit: Thomson Gale, 2013, 304-10.

Mi, Jiayan. “Entropic Anxiety and the Allegory of Disappearance: Hydro-Utopianism in Zheng Yi’s Old Well and Zhang Wei’s Old Boat.” China Information 21 (2007): 109-140.

Yue, Gang. “Monument Revisited: Zheng Yi and Liu Zhenyun.” In The Mouth that Begs: Hunger, Cannibalism, and the Politics of Eating in Modern China. Durham: Duke University Press, 1999, 228-62.

Zhong Lihe 钟理合

McClelland, Tommy. “Home and the Land: The ‘Native’ Fiction of Zhong Lihe.” Journal of Modern Literature in Chinese 9, 2 (Dec. 2009): 154-182.

Russell, Terrence. “Zhong Lihe.” In Thomas Moran and Ye (Dianna) Xu, eds., Chinese Fiction Writers, 1950-2000. Dictionary of Literature Biography, vol. 370. Detroit: Thomson Gale, 2013, 311-18.

Tsai, Chien-hsin. “Of Guest and Host: Zhong Lihe, Hakka, and Sinophone Hospitality.” Szeto, Mirana May. “Intra-Local and Inter-Local Sinophone: Rhizomatic Politics of Hong Kong Writers Saisai and Wong Bik-wan.” In Shu-mei Shih and Chien-hsin Tsai eds. Sinophone Studies: A Critical Reader. NY: Columbia University Press, 2013, 270-80.

Ying, Fenghuang. “The Literary Development of Zhong Lihe and Postcolonial Discourse in Taiwan.” In David Wang and Carlos Rojas eds., Writing Taiwan: A New Literary History. Durham, NC: Duke UP, 2006, 140-55.

Zhong Xiaoyang

Cheung, Samuel Hung-nin. “Beyond the Bridal Veil: The Romantic Vision of Zhong Xiaoyang.” In Hsin-sheng C. Kao, ed., Nativism Overseas: Contemporary Chinese Women Writers. Albany: SUNY Press, 1993, 221-244.

Zhou Libo 周立波

Hodges, Eric. Messianism in Ding Ling and Zhou Libo’s Novels: A Study of The Sun Shines over the Sanggan River and The Hurricane and Their Literary and Philosophical Milieu. Saarbrücken: LAP Lambert Academic Publishing, 2012.

Zhou Mengdie (Chou Meng-tieh) 周梦蝶

Haft, Lloyd. Zhou Mengdie’s Poetry of Consciousness. Weisbaden: Harrassowitz, 2006. [MCLC Resource Center review by Christopher Lupke]

Lin, Julia C. “Chou Meng-tieh: Embracer of Emptiness.” In Lin, Essays on Contemporary Chinese Poetry. Athens, OH: Ohio University Press, 1985, 96-109.

Zhou Shoujuan 周瘦鹃

Chen, Jianhua. “Formation of Modern Subjectivity and Essay: Zhou Shoujuan’s ‘In the Nine-Flower Curtain.'” In Martin Woesler, ed., The Modern Chinese Literary Essay: Defining the Chinese Self in the 20th Century. Bochum: Bochum UP, 2000, 41-66.

—–. “Zhou Shoujuan’s Love Stories and Mandarin Ducks and Butterfly Fiction.” In Joshua Mostow, ed, and Kirk A. Denton, China section, ed., Columbia Companion to Modern East Asian Literatures. NY: Columbia UP, 2003, 354-63. Rpt in Kirk A. Denton, ed., Columbia Companion to Modern Chinese Literature. NY: Columbia University Press, 2016, 111-20.

—–. “An Archaeology of Repressed Popularity: Zhou Shoujuan, Mao Dun, and their 1920s Literary Polemics.” In Carlos Rojas and Eileen Cheng-yin Chow, eds., Rethinking Chinese Popular Culture: Cannibalizations of the Canon. NY: Routledge, 2009, 91-114.

Zhou Xinfang 周信芳

Wagner, Rudolf. The Contemporary Chinese Historical Drama. Berkeley: UCP, 1990, 262-74. [deals with “Hai Rui shangshu”].

—–. “‘In Guise of a Congratulation: Political Symbolism in Zhou Xinfang’s Play Hai Rui Submits his Memorial.” In Jonathan Unger, ed., Using the Past to Serve the Present: Historiography and Politics in Contemporary China. Armonk: M.E. Sharpe, 1993, 46-103.

Zhou Yang 周扬

Ai, Yen. “The Real Meaning of Chou Yang’s ‘Theory of Broad Subject Matter.'” Chinese Literature 5/6 (May-June 1967): 144-53.

Zhou Yingfang 周颖芳

Zhang, Yu. “Writing Her Way through the Legend of Yue Fei: Zhou Yingfang and Jing zhong zhuan.” Frontiers of Literary Studies in China 9, 2 (2015): 281-305.

[Abstract: General Yue Fei has long been considered a symbol of loyalty and resistance in Chinese history. His legend has been circulating in various forms since the twelfth century. In the context of the emerging women-authored tanci narratives and the political disorder of late 19th century China, this article examines how the gentry woman author Zhou Yingfang 周颖芳 (1829–95) enriches the narratives of Yue Fei by inserting a number of domestic themes into her tanci adaptation. She redefines the virtues of both genders and expects transformed family dynamics. In considering scholarly interpretations of the tanci in the modern period, this article also argues that the May Fourth scholars tended to neglect and/or suppress Zhou Yingfang’s gendered consciousness in her alternative imagination of history.]

Zhou Zuoren 周作人

Chow, William C. S. Chou Tso-jen: A Serene Radical in the New Culture Movement. Ph. D. diss. Madison: University of Wisconsin, 1990.

—–. “Chou Tso-jen and the New Village Movement.” Chinese Studies 10, 1(June 1992): 105-34.

Daruvala, Susan. “Zhou Zuoren: ‘At Home’ in Tokyo.” In Gregory Lee, ed., Chinese Writing and Exile. Chicago: Center for East Asian Studies, The University of Chicago, 1993, 35-54.

—–. Zhou Zuoren (1885-1967) and an Alternative Response to Modernity. Ph.D. diss. Chicago: University of Chicago, 1993.

—–. Zhou Zuoren and an alternative Chinese Response to Modernity. Cambridge, MA: Harvard University Asia Center, 2000.

Duc, Georges Be. “Zhou Zuoren et la traduction.” In Isabelle Rabut, ed., Les belles infideles dans l’empire du milieu: Problematique et pratiques de la traduction dans le monde Chinois moderne. Paris: You Feng, 2010, 17-32.

Galik, Marian. “Hu Shih, Chou Tso-jen, Ch’en Tu-hsiu and the Beginning of Modern Chinese Literary Criticism.” In Galik, The Genesis of Modern Chinese Liteary Criticism (1917-1930). London: Curzon Press, 1980, 9-27.

Green, Frederik H. “Translating Poetic Modernity: Zhou Zuoren’s Interest in Modern Japanese Poetry.” Journal of Modern Literature in Chinese 11, 1 (2013): 138-61.

Kwong, Kin Hong. “Zhou Zuoren’s Introduction Works [sic] of and Contribution to Greek Literature in His Early Stage.” In Marian Galik, ed., Interliterary and Intraliterary Aspects of the May Fourth Movement 1919 in China. Bratislava: Veda, 1990, 235-40.

Li, Tonglu. “To Believe or Not to Believe: Zhou Zuoren’s Alternative Approaches to the Chinese Enlightenment.” Modern Chinese Literature and Culture 25, no. 1 (Spring 2013): 206-260.

—-. “The Sacred and the Cannibalistic: Zhou Zuoren’s Critique of Violence in Modern China.” Chinese Literature: Essays, Articles, Reviews 36 (2014): 25-60.

[Abstract: This article explores the ways in which Zhou Zuoren critiqued violence in modern China as a belief-driven phenomenon. Differing from Lu Xun and other mainstream intellectuals, Zhou consistently denied the legitimacy of violence as a force for modernizing China. Relying on extensive readings in anthropology, intellectual history, and religious studies, he investigated the fundamental “nexus” between violence and the religious, political, and ideological beliefs. In the Enlightenment’s effort to achieve modernity, cannibalistic Confucianism was to be cleansed from the corpus of Chinese culture as the “barbaric” cultural Other, but Zhou was convinced that such barbaric cannibalism was inherited by the Enlightenment thinkers, and thus made the Enlightenment impossible. Through critiquing the violence in intellectual persecution and everyday life, and through identifying modern intellectuals and the masses as the major sponsors and agents of violence, Zhou questioned the legitimacy of the mainstream Enlightenment, modern political movements, and national salvation by defining them as inherently irrational and violent.]

Liu, Haoming. “From Little Savages to hen kai pan: Zhou Zuoren’s (1885-1968) Romanticist Impulses around 1920.” Asia Major 15, 1 (2002): 109-60.

Liu, Jianmei. “Zhou Zuoren: The Unconscious and Troubled Semi-Zhuangzi.” In Liu, Zhuangzi and Modern Chinese Literature. NY: Oxford University Press, 2016, 84-105.

Lu, Yan. “Beyond Politics in Wartime: Zhou Zuoren, 1931-1945.” Sino-Japanese Studies 11, 1 (Oct. 1998): 6-13.

Pollard, D.E. A Chinese Look at Literature: The Literary Values of Chou Tso-jen in Relation to the Tradition. London: C. Hurst and Co., 1973.

—–. “Chou Tso-jen: A Scholar Who Withdrew.” In C. Furth, ed., The Limits of Change: Essays on Conservative Alternatives in Republican China. Cambridge: HUP, 1976, 332-56.

Qian Liqun. Zhou Zuoren zhuan (Biography of Zhou Zuoren). Beijing: Beijing shiyue wenyi, 1990.

Shen, Lisa Chu. “Between Localism and Cosmopolitanism: A Look at Zhou Zuoren’s Early Construction of the Individual.” Telos 180 (Fall 2017): 121-146.

Wang, C.H. “Chou Tso-jen’s Hellenism.” In Tak-Wai Wong, ed., East West Comparative Literature: Cross-Cultural Discourse. HK: HKUC Press, 1993.

Wang, Pu. “Law, Morality, and the Nation-State in the Case of Zhou Zuoren: Revisiting the Rhetoric of ‘Culpability’.” Frontiers of Literary Studies in China 7, 4 (2013): 573-89.

Wolff, Ernst. Chou Tso-jen. NY: Twayne, 1971.

Zhang, Xudong. “A Radical Hermeneutics of Chinese Literary Tradition: On Zhou Zuoren’s Zhongguo xinwenxue de yuanliu.” In Ching-i Tu, ed., Classics and Interpretations: The Hermeneutic Traditions in Chinese Culture. New Brunswick, NJ: Transaction Publishers, 2000, 427-55.

Zhu, Ping. “The Masquerade of Male Masochists: Two Tales of Translaiton of the Zhou Brothers (Lu Xun and Zhou Zuoren) in the 1910s.” Frontiers of Literary Studies in China 8, 1 (March 2014): 31-51.

[Abstract: Through reading two creatively translated stories by the Zhou brothers, Lu Xun’s (Zhou Shuren) “The Soul of Sparta” (Sibada zhi hun, 1903) and Zhou Zuoren’s “The Chivalrous Slave Girl” (Xia nünu, 1904), this paper takes a close look at the intellectual trend in the first decade of the twentieth-century China of constructing strong and heroic women as the emblem of national power while rendering men as powerless. By focusing on a foreign heroine with traditional Chinese virtues, both translations creatively Sinicized and feminized the foreign power in the original tales. At the same time, male characters, prospective readers of the stories, and even authors themselves were marginalized, diminished, and ridiculed vis-à-vis the newly constructed feminine authority. Comparing this form of cultural masochism to other literary masochisms in modern China analyzed by Rey Chow and Jing Tsu respectively, this paper endeavors to excavate a hybrid model of nationalist agency grounded in the intertwined relationship of race, gender and nation. In my analysis, Gilles Deleuze’s discussion on masochism is utilized as a heuristic tool to shed light on the revolutionary potential embedded in the “strong women, weak men” complex in the 1910s. I argue that the cultural masochism in late Qing represents one of the earliest attempts of the Chinese intellectuals to creatively use Chinese traditional gender cosmology to absorb the threat of Western imperialism and put forward a hybrid model of nationalist agency.]

Zhu Guangqian 朱光潛

Cui, Zhiying. “Saving China from Its National Crisis: A Defence of Zhu Guangqian’s Aesthetics.” Journal of the Oriental Society of Australia 32/33 (2000/2001): 28-46.

McDougall, Bonnie. “On the Social Implications of the Aesthetic Theories of Zhu Guangqian.” In Goran Malmqvist, ed., Modern Chinese Literature in Its Social Context. Stockholm: Nobel Symposium, 1975, 77-122.

Moller, Hans-Georg. “Dionysian, Apollinian, Negation of Negation: Zhu Guangqian’s Interpretation of Nietzsche.” In Raoul Findeisen and Robert Gassmann, eds., Autumn Floods: Essays in Honour of Marian Galik. Bern: Peter Lang, 1997, 635-42.

Sabattini, Mario. “Chu Kuang-ch’ien and Croce.” Tamkang Review 23, 1-4 (1992/93): 601-26.

Zhu Lin 竹林

King, Richard. “In the Translator’s Eye: Richard King on the Significance of Zhu Lin.” Modern Chinese Literature 4, 1/2 (1988): 171-76.

—-. “Images of Sexual Oppression in Zhu Lin’s Snake’s-Pillow Collection.” In Michael S. Duke, ed., Modern Chinese Women Writers: Critical Appraisals. Armonk, NY: M.E. Sharpe, 1989, 152-73.

Zhu Qianzhi 朱谦之

Xiao, Tie. “The Lure of the Irrational: Zhu Qianzhi’s Vision of Qunzhong in the ‘Era of Crowds.'” Modern Chinese Literature and Culture 24, 2 (Fall 2012): 1-51.

Zhu Shaolin (Chu Shao-lin)

Tsai, Hsiu-chih. “The Semiotic Structuration of Home and Identity in A Song of the Sad Coffee Shop.” The American Journal of Semiotics 23, 1-4 (2007): 277-301.

[Abstract: This paper deals with the function of metonymy in A Song of the Sad Coffee Shop (1996), a novel by Taiwan’s woman writer Shao-lin Chu (b. 1966). For my reading of the novel’s narrative, I should like to appropriate a Jakobsonian understanding of metaphoric and metonymic functions. This approach will hopefully help in analyzing the significance of the protagonist’s quest for identification in her trip to Madagascar, in which the juxtaposition of places of similar geographical features works to construct a contiguity between them, and goes on to achieve a rapprochement of mind and body in the practice and process of philosophical cultivation. The protagonists trip, as a quest for home and identity, through the metonymic power of identification and localization, finally calls into question the fixity of the concept of home and homeland, the expedition itself turning into a mysterious journey of self-cultivation and home-coming.]

Zhu Shouju 朱瘦菊

Huters, Theodore. “Swimming Against the Tide: The Shanghai of Zhu Shouju.” In Huters, Bringing Home the World: Appropriating the West in Late Qing and Early Republican China. Honolulu: University of Hawai’i Press, 2005, 229-51.

Zhu Tianwen 朱天文

Berry, Michael. “Words and Images: A Conversation with Hou Hsiao-hsien and Chu T’ien-wen.” positions: east asia cultures critique 11, 3 (Winter 2003): 675-716.

—–. “Three Times: Chu T’ien-wen on Writing, Screenwriting, and New Taiwan Cinema.” Chinese Literature Today 5, 2 (2016): 46-57. [an interview with Chu T’ien-wen]

Chang, Sung-sheng Yvonne. “Chu T’ien-wen and Taiwan’s Recent Cultural and Literary Trends.” Modern Chinese Literature 6, 1/2 (1992): 61-84.

Chen, Ling-chei Letty. “Rising from the Ashes: Identity and Aesthetics of Hybridity in Zhu Tianwen’s Notes of a Desolate Man.” Journal of Modern Literature in Chinese 4, 1 (2000): 101-38.

—–. “Writing Taiwan’s Fin-de-Siecle Splendor: Zhu Tianwen and Zhu Tianxin.” In Joshua Mostow, ed, and Kirk A. Denton, China section, ed., Columbia Companion to Modern East Asian Literatures. NY: Columbia UP, 2003, 584-91. Rpt in Kirk A. Denton, ed., Columbia Companion to Modern Chinese Literature. NY: Columbia University Press, 2016, 363-70.

Chiang, Shu-chen. “Rejection of Postmodern Abandon: Zhu Tianwen’s Fin-de-siecle Splendor.” In Peng-hisang Chen and Whitney Crothers Dilley, eds., Feminism/Femininity in Chinese Literature. Amsterdam,: Rodopi, 2002, 45-66.

Chiu, Kuei-fen. “Identity Politics in Contemporary Women Novels in Taiwan.” In Peng-hisang Chen and Whitney Crothers Dilley, eds., Feminism/Femininity in Chinese Literature. Amsterdam,: Rodopi, 2002, 67-86.

Dutrait, Noel. “Four Taiwanese Writers on Themselves Chu T’ien-wen, Su Wei Chen, Cheng Chiung-ming and Ye Lingfang respond to our questionnaire.” China Perspectives 17 (May/June 1998).

Hillenbrand, Margaret. “Chu T’ien-wen’s Shijimo de huali: As Nominated for the 2015 Newman Prize for Chinese Literature.” Chinese Literature Today 5, 2 (2016): 40-41.

Hsiu-Chuang, Deppman. “Recipes for a New Taiwanese Identity? Food, Space, and Sex in the Works of Ang Lee, Ming-liang Tsai, and T’ien-wen Chu.” American Journal of Chinese Studies 8, 2 (Oct. 2001): 145-68.

Kaldis, Nicholas. “Infectious Postmodernism in/as Notes of a Desolate Man.” Taiwan Journal of East Asian Studies 9, 1 (June 2012).

[Abstract: This essay highlights and analyzes postmodern characteristics of Chu T’ien-wen’s seminal 1994 novel Notes of a Desolate Man. It simultaneously undertakes a close reading of the novel and engages in a critical dialogue with other interpretations and contextual analyses surrounding this controversial text. This essay’s main conclusion is that the novel’s representation of gay male culture stigmatized by AIDS, in combination with its cosmopolitan postmodern panoplies, encourages readers to view postmodernity and postmodern literature in Taiwan as twin representatives of a debauched, contagious, and invasive foreign lifestyle and literature.]

Lovin, C. Laura. “Interconnectivities and Material Agencies: Consumption, Fashion, and Intimacy in Zhu Tianwen’s ‘Fin-de-Siècle Splendor.’” In Emma Casey and Yvette Taylor, eds., Intimacies, Critical Consumption and Diverse Economies. NY: Palgrave Macmillan, 2015, 60-86.

[Abstract: The material girl who craves for world’s splendour is Mia, the main character of ‘Fin-de-Siècle Splendor,’ one of the seven stories published by Zhu Tianwen in her 1990 collection Fin-de-Siècle Splendour. A volume of exquisite lyrical power, Fin-de-Siècle Splendour marked Zhu’s break into mass popularity, particularly among urban readers of the Greater China region. Literary critics praised the volume for its modernist and postmodernist valences, more specifically for its capacity to present ‘the unpresentable’ and to enable its readership ‘to see only by making it impossible to see’ (Lyotard qtd. in Chiang, 2002, p. 53). At the core of Fin-de-siecle Splendor are the residents of 1992’s Taipei — ‘“the new species” (xin renlei) of young men and women zipping about on their red Fiat scooters; the McDonald’s waitresses, homosexual artists, fashion models and soap opera directors’ (Chiang, 2002, p. 50). Among them is Mia, a fashion model and the main character of the title short story. ‘Fin-de-Siècle Splendor’ takes place in the future, two years after its publication, close to the turn of the century, in 1992 Taipei. The title of the story contains the French for ‘end of century,’ a phrase that references a generation of artists and thinkers who decried the cultural and social effects of modernisation as it unfolded across many European countries at the end of the nineteenth century.]

Martin, Fran. “Postmodern Cities and Viral Subjects: Notes of a Desolate Man.” In Martin, Situating Sexualities: Queer Representations in Taiwanese Fiction, Film and Public Culture. Hong Kong: University of Hong Kong Press, 2003, 101-16.

Rojas, Carlos. “Chu T’ien-wen and Cinematic Shadows.” In Rojas, The Naked Gaze: Reflections on Chinese Modernity. Cambridge, MA: Harvard University Asia Center, 2008, 274-302.

Wang, Ban. “Reenchanting the Image in Global Culture: Reification and Nostalgia in Zhu Tianwen’s Fiction.” in David Der-wei Wang and Carlos Rojas eds., Writing Taiwan: A New Literary History. Durham, NC: Duke UP, 2006, 370-90.

—–. “Tribute to Chu T’ien-wen.” Chinese Literature Today 5, 2 (2016): 44-45.

Zhu, Ping. “Chu T’ien-wen: Winner of the 2015 Newman Prize for Chinese Literature.” Chinese Literature Today 5, 2 (2016): 38-39.

Zhu Tianxin 朱天心

Chen, Lingchei Letty. “Writing Taiwan’s Fin-de-Siecle Splendor: Zhu Tianwen and Zhu Tianxin.” In Joshua Mostow, ed, and Kirk A. Denton, China section, ed., Columbia Companion to Modern East Asian Literatures. NY: Columbia UP, 2003, 584-91. Rpt in Kirk A. Denton, ed., Columbia Companion to Modern Chinese Literature. NY: Columbia University Press, 2016, 363-70.

—–. “Mapping Identity in a Postcolonial City: Intertextuality and Cultural Hybridity in Zhu Tianxin’s Ancient Capital.” in David Der-wei Wang and Carlos Rojas eds., Writing Taiwan: A New Literary History.Durham, NC: Duke UP, 2006, 301-23.

Haddon, Rosemary. “Being/Not Being at Home in the Writing of Zhu Tianxin.” In John Makeham and A-chin Hsiau, eds. Cultural, Ethnic, and Political Nationalism in Contemporary Taiwan: Bentuhua. New York: Palgrave Macmillan, 2005, 103-24.

Hsu, Jen-yi. “Ghosts In The City: Mourning and Melancholia in Zhu Tianxin’s The Old Capital.” Comparative Literature Studies 41, 4 (2004): 546-564. [Project Muse link]

—–. “Fetishizing the Loss: The Phantasms of Eros in Zhu Tianxin’s Writings of Melancholia.” Dong Hwa Journal of Humanities 11 (July 2007): 269-302. [abstract]

Jin, Yanyu. “Three Chinese Women Writers and the City in the 1990s.” In Kwok-kan Tam and Terry Siu-han Yip, eds., Gender, Discourse and the Self in Literature: Issues in Mainland China, Taiwan and Hong Kong. HK: The Chinese University Press, 2010, 147-57. [deals with Wang Anyi, Shi Shuqing, and Zhu Tianxin]

Liao, Chaoyang. “Catastrophe and Hope: The Politics of “The Ancient Capital” and The City Where the Blood-Red Bat Descended.” Journal of Modern Literature in Chinese 4, 1 (2000): 5-34.

Catastrophe and Hope: The Politics of The Ancient Capital and The City Where the Blood-Red Bat Descended.” On-line works of Liao Chaoyang.

Liao, Sebastion Hsien-hao. “Jekyll Is and Hyde Isn’t: Negotiating the Nationalization of Identity in The Mystery Garden and ‘Breakfast at Tiffany’s.'” Journal of Modern Literature in Chinese 5, 1 (2001): 65-92.

Lupke, Christopher. “Chu T’ien-wen and the Sotto Voce of Gendered Expression in the Films of Hou Hsiao-hsien.” In Lingzhen Wang, ed., Chinese Women’s Cinema: Transnational Contexts. NY: Columbia UP, 2011, 274-92.

Stuckey, Andrew. “Globalized Traditions: Zhu Tianxin’s The Ancient Capital.” In Stuckey, Old Stories Retold: Narrative and Vanishing Pasts in Modern China. Lanham, MD: Lexington Books, 2010, 133-46.

Zhu Wen 朱文

Lovell, Julia. “Filthy Fiction: The Writings of Zhu Wen.” The China Beat (Aug. 5, 2009).

Visser, Robin. “Urban Ethics: Modernity and the Morality of Everyday Life.” In Charles Laughlin, ed., Contested Modernities in Chinese Literature.New York: Palgrave, 2005. 193-216. [deals with fiction by Qiu Huadong, He Dun, and Zhu Wen (Shenme shi laji, shenme shi ai])

—–. “In the Back Alleys of the People’s Republic.” Review of I Love Dollars and Other Stories of China by Zhu Wen. Tr. Julia Lovell. (NY: Columbia University Press, 2007). PRI’s The World (December 4, 2007).

Zhu Xiaoyan

Leung, Yiu-nam. “Zhu Xiaoyan, Chinese Canadian Writer” (Interview). Journal of Modern Literature in Chinese 5, 1 (2001): 147-60.

Zhu Xining 朱西甯

Birch, Cyril. “The Function of Intertextual Reference in Zhu Xining’s ‘Daybreak’.” In Theodore Huters, ed., Reading the Modern Chinese Short Story. Armonk, NY: M.E. Sharpe, 1990, 105-118.

Feng, Jin. “Narrating Suffering, Constructing Chinese Modernity: The Emergence of the Modern Subject in Chinese Literature.” East Asia 18, 1 (Spring 2000): 82-109. [deals in part with Zhu’s story “Daybreak”]

Zhu Ziqing 朱自清

Chan, Leonard Kwok Kou. “From Modernity to Tradition: Zhu Ziqing’s Chinese Literary Criticism.” Journal of Chinese Literature and Culture 3, 2 (Nov. 2016): 233-57.

[Abstract: Is “literary criticism” a foreign concept? What is the impact of the reception of literary criticism on the modern studies of Chinese literature? Zhu Ziqing’s 朱自清 (1898–1948) conception of the function of literary criticism is illustrative of these questions. Zhu developed an interest in Western literary criticism before entering Tsinghua University, where he absorbed more ideas about Western literature. With the support of department head Yang Zhensheng 楊振聲 (1890–1956), he planned a new curriculum in 1928, in an attempt to make literature in his concept a subject as important as classical exegetical studies. From Zhu’s curriculum planning, his research orientation, and how he tried to put his ideas into practice, we can observe the oppositional tension between the modern concept of literary criticism and the traditional philological approach of Chinese study. Through an examination of Zhu’s academic role, this article explores the emergence of the concept of literary criticism in modern China. It will be compared and contrasted with the situation in the West, with an aim of giving a detailed analysis of the way literary criticism has become an essential part of modern Chinese literary study.]

Fried, Daniel A. “Zhu Ziqing, Frantz Fanon, and the Fierce White Children.” In Martin Woesler, ed., The Modern Chinese Literary Essay: Defining the Chinese Self in the 20th Century. Bochum: Bochum UP, 2000, 99-114.

Meng, Hua. “From Jules Aleni to Zhu Ziqing: Travel Accounts and the Construction of ‘Romantic France.'” Frontiers of Literary Studies in China 2, 2 (June. 2008): 304-20.

Sun, Yushi. “The Theoretical Resources of Zhu Ziqing’s system of Hermeneutics of Modern Poetry.” Frontiers of Literary Studies in China 3, 1 (March 2009): 24-63.

Wagner, Alexandra R. “Tradition as Construct and the Search for a Modern Identity: A Reading of Traditional Gestures in Modern Chinese Essays of Place.” In Martin Woesler, ed., The Modern Chinese Literary Essay: Defining the Chinese Self in the 20th Century. Bochum: Bochum UP, 2000, 133-46. [deals with Yu Dafu, Zhu Ziqing, and Fang Lingru]

Zong Fuxian 宗福先

Anon. “The Modern Play: ‘Where the Silence Is.'” Peking Review 21, 47 (November 24, 1978):11-12;

Cao Yu. “A Thunderclap.” Chinese Literature 4 (1979): 60-63.

Weiss, Ruth. “A Sign of Daring and Maturity: The Drama When All Sounds are Hushed.” Eastern Horizon 18, 4 (1979): 18-23.

Yee, Angelina C. “Yang Kui.”

Zong Pu (Feng Zongpu) 宗璞

Chan, Roy Bing. “Occupied Dreams: Politico-Affective Space and the Collective in Zong Pu’s Fiction.” Modern Chinese Literature and Culture 25, 2 (Fall 2013): 21-50.

—–. “Dream Fugue: Jiang Qing, the End of the Cultural Revolution, and Zong Pu’s Fiction.”In Chan, The Edge of Knowing: Dreams, History, and Realism in Modern Chinese Literature. Seattle: University of Washington Press, 147-75.

Zou Taofen 邹韬奋

Coble, Parks M. “Chiang Kai-shek and the Anti-Japanese Movement in China: Zou Tao-fen and the National Salvation Association, 1931-1937.” Journal of Asian Studies 44, 2 (Feb. 1985):

[Abstract: Japanese imperialism relentlessly besieged the Nationalist government of China during the Nanking decade. Chiang Kai-shek, believing that China was not ready to confront Japanese military power and obsessed with the desire to eliminate the Communists, adopted a policy of consistent appeasement toward the Japanese. This enraged public opinion in urban China, and Zou Tao-fen, a popular journalist, led the cry for resistance to Japan. He and his associates were continually suppressed by the Nanking government; nevertheless, they published several journals in succession, each of which denounced Chiang’s policy toward Japan and all of which achieved enormous circulation. Late in 1935 Zou and his followers helped organize the National Salvation Movement, which demanded that Chiang suspend the civil war against the Communists and fight the Japanese. When Chiang Kai-shek, acting under Japanese pressure, arrested Zou and the leaders of the association in 1936, they became national heroes, the legendary “Seven Gentlemen.” Zou’s martyrdom and that of his associates transformed their movement into a powerful political force, one that opposed Chiang and increasingly favored the Chinese Communists.]

Gerwurtz, Margo Speisman. Between America and Russia: Chinese Student Radicalism and the Travel Books of Tsou T’ao-fen, 1935-1937. Toronto: University of Toronto, 1975.

Mitter, Rana. “The Individual and the International ‘I’: Zou Taofen and Changing Views of China’s Place in the International System.” Global Society 17, 2 (2003): 121-33.