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Sexually explicit letters about HK activists

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Source: The Guardian (12/10/25)
Sexually explicit letters about exiled Hong Kong activists sent to UK and Australian addresses
Exclusive: Letters with deepfake images of Carmen Lau in UK and targeting of Ted Hui in Australia part of growing harassment
By ,  and 

Carmen Lau, pictured in London in February, has said she was ‘terrified’ when she learned of the letters containing deepfake images of her. Photograph: Eleventh Hour/Alamy

Sexually explicit letters and “lonely housewife” posters about high-profile pro-democracy Hong Kong exiles have been sent to people in the UK and Australia, marking a ratcheting up in the transnational harassment faced by critics of the Chinese Communist party’s rule in the former British colony.

Letters purporting to be from Carmen Lau, an exiled pro-democracy activist and former district councillor, showing digitally faked images of her as a sex worker were sent to her former neighbours in Maidenhead in the UK in recent weeks.

It is the first time that people on the Hong Kong police’s bounty list, wanted for national security offences, have been directly targeted with this kind of explicitly sexualised harassment, highlighting the heightened risks faced by female activists and their associates.

At least half a dozen of Lau’s former neighbours in Maidenhead received letters showing fake, sexualised images of her. They were posted from Macau, a semi-autonomous Chinese territory near Hong Kong. The letters have five deepfaked images of Lau, with her face superimposed on women’s bodies either naked or in underwear. One image shows the fake Lau performing a sex act, which has been pixelated.

The text on the letter states Lau’s name and supposed body measurements. It includes her former home address in full and states: “Welcome to visit me! You have the right to choose me, and I also have the right not to accept you. Just want the process to be gentle. We can become close friends in the future!”

In Australia, Ted Hui, a former Hong Kong legislator, and his wife have been targeted with a fake poster advertising his wife’s services as a sex worker. The poster shows an old photograph of Hui and his wife under the headline “Hong Kong lonely housewife”. Continue reading Sexually explicit letters about HK activists →

Stanford postdoc

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Stanford University – Center for East Asian Studies – 2026-27 Chinese Studies Postdoctoral Fellowship

The Center for East Asian Studies at Stanford University is pleased to offer one postdoctoral fellowship in Chinese Studies, open to scholars in the humanities and social sciences studying any historical period.

The fellowship provides a 12-month stipend beginning September 1 of each year and ending August 31 of the following year. The expected base pay range for this position is $78,000. The pay offered to the selected candidate will be determined based on factors including (but not limited to) the qualifications of the selected candidate, budget availability, and internal equity.

Fellows are required to be in residence in the Stanford area during the appointment period, to teach one course during the academic year, and to participate in all regular Center activities. Stanford University Press will have first right of refusal for manuscripts produced during the postdoctoral appointment.

Qualifications 

Applicants must have been awarded their Ph.D. no later than August 31 the year in which the fellowship begins, and may not be more than four years beyond receipt of the doctoral degree at the start of their fellowship. In addition to non-affiliated PhD’s, this fellowship may be awarded to those who hold continuing, assistant professor-level teaching positions, if they meet other application qualifications. U.S. citizenship is not required.

Those who have received their Ph.D. from Stanford University will not normally be considered.

How to apply 

The application deadline is January 15, 2026. Applications will only be accepted via our Slideoom online application portal. No email or paper submissions will be accepted.

Posted by: Ekaterina Mozhaeva mozhaeva@stanford.edu

Backstaging Modern Chinese Theatre review

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MCLC Resource Center is pleased to announce publication of Barbara Jiawei Li’s review of Backstaging Modern Chinese Theatre: Intellectuals, Amateurs, and Cultural Entrepreneurs, 1910s-1940s, by Man He. The review appears below and at its online home: https://u.osu.edu/mclc/book-reviews/jiawei-li/. My thanks to Shaoling Ma, our media studies book review editor, for ushering the review to publication.

Kirk Denton, MCLC

Backstaging Modern Chinese Theatre: Intellectuals,
Amateurs, and Cultural Entrepreneurs, 1910s–1940s

By Man He

Reviewed by Barbara Jiawei Li

MCLC Resource Center Publication (Copyright December, 2025)

Man He, Backstaging Modern Chinese Theatre: Intellectuals, Amateurs, and Cultural Entrepreneurs, 1910s-1940s Ann Arbor: University of Michigan Press, 2025. 360 pp. 9780472057559 (Paperback), 9780472077557 (Hardcover), 9780472905119 (Open Access).

Theatre is inherently a three-dimensional art form. Its essence lies not merely in texts, but in the dynamic interplay of acting, scenography, spatial design, and audience reception, which constitutes the Gesamtkunstwerk (total work of art). Because of this, scholars of theatre history are usually wary of two tendencies—namely, an overemphasis on scripts and a lopsided concentration on theatrical production. The former risks producing an incomplete, sometimes even distorted, historical narrative; the latter may be equally insufficient in reconstructing historical reality. All this is to emphasize that the evanescence of theatrical performance poses great challenges to historiography: performances end and documentation remains fragmented.

Seen in this light, Man He’s Backstaging Modern Chinese Theatre: Intellectuals, Amateurs, and Cultural Entrepreneurs, 1910s–1940s delivers on both counts: through extensive archival research, the book analyses playtexts while grounding them in their performance contexts. Man He calls this approach “backstage.” Backstage is “more than just a physical location”; it is “the nebulous realm through which an idea manifests, makes its first steps toward actualization, gains institutional support, and ultimately secures hegemonic power” (2). This approach requires attention both to texts and to the behind‑the‑scenes work that enables them, such as rehearsals, training, stage design, backstage rules, and the institutions and people who support the productions. It encourages scholars to tease out the archival traces of theatrical labor and thus reconstruct theatre history with greater details.

Through the lens of the backstage, Man He looks at the growing domination of modern Chinese theatre (huaju 話劇) between the two World Wars. The author focuses on huaju because she sees it as a central cultural arena where the idea of modern China was actively shaped (4). Rather than treating huaju as simply a Western‑influenced spoken drama that replaced traditional theatre, He shows that its real significance lies in the backstage worlds where scripts were revised, actors trained, costumes designed, institutions built, and political visions negotiated. These backstage processes brought together overseas students, cosmopolitan intellectuals, rural amateurs, government officials, and wartime refugees, all of whom used huaju to articulate China’s place in a global modernity. Continue reading Backstaging Modern Chinese Theatre review →

Christine Choy dies at 73

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Source: Cinema Daily (12/9/25)
Documentary Filmmaker Christine Choy Dies at 73

Documentary Filmmaker Christine Choy Dies at 73

©Courtesy of the Museum of Chinese in America.

Shanghai-born documentary filmmaker Christine Choy, whose 1987 Oscar-nominated film Who Killed Vincent Chin? galvanized the Asian-American community, died on December 7 in Manhattan. She was 73.

In a career spanning fifty years, the outspoken Choy made more than eighty films and received dozens of awards, including a lifetime achievement award presented to her in 2023 by the Hot Docs film festival. In the previous year, she had been the subject of The Exiles, a documentary  directed by two of her students that won the Grand Jury prize at Sundance. That film depicted Choy’s meeting  with a group of Chinese dissidents  who had participated in the Tiananmen Square protest in 1989.

For more than thirty-five years, Choy had been on the faculty of New York University’s Tisch School of the Arts, where she chaired the graduate film/TV program from 1994 to 1997 and 2002 to 2005.

Christine Choy was born as Chai Ming Huie to a Chinese mother and a Korean father who was a political exile living in Shanghai. During the Cultural Revolution in China, Choy and her mother fled to South Korea where the family was reunited. In the mid-1960s Choy arrived in New York City, where she quickly became involved in political activism with the Black Panthers and other radical groups.

In 1972, Choy co-founded Third World Newsreel with Susan Robeson, the granddaughter of African American actor Paul Robeson. One of their first releases was a documentary about the 1971 Attica Prison uprising. Choy also directed many other films about the struggles of racial minorities, including From Spikes to Spindles, Mississippi Triangle, Sa-I-Gu, and A Litany for Survival: The Life and Work of Audre Lorde. Continue reading Christine Choy dies at 73 →

Chen Jiaping and Xu Zhiyong

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Source: China Unofficial Archives (12/10/25)
Chen Jiaping and Xu Zhiyong: When a Poet and an Activist Converge in a Relentless Era
By Isabelle Mo

[中国民间档案馆 China Unofficial Archives is a reader-supported publication. To receive new posts and support our work, please consider becoming a free or paid subscriber.]

A Poster for Politician.

Before he ever lifted a camera, Chen Jiaping found his first language in poetry. After moving from Chongqing to Beijing, he searched for a form of expression capable of speaking to the pressures of the time. Poetry, for him, had to remain rooted in life. In 2014, he helped establish the Beijing Youth Poetry Society, a vibrant circle of students, writers, and young thinkers who often gathered at 706 Youth Space—near the university district—to read poems and debate ideas.

During those years, Chen—born Chen Yong—was already being drawn toward film. Inspired by Pier Paolo Pasolini’s direct gaze at social life, he picked up a camera in 2003 and began filming the migrant neighborhoods of Beijing. The camera, he later said in a private letter I had access to, felt like “another kind of pen,” a tool that allowed him to record realities that rarely entered the public record. With no formal filmmaking training and living in Beijing as a migrant himself, he followed families living in cramped rooms, working unstable jobs, and struggling to keep their children in school without local hukou. His early works—The Migrant Population (2004), Happy Shivers (2012), and The Daxing Fire (2018)—captured the uneven growth of a city sustained by migrant labor yet withholding basic services from the very workers who kept it running.

This path eventually led him to Xu Zhiyong, a legal scholar, civil rights advocate, and co-founder of China’s Open Constitution Initiative. Xu served as a delegate to the Haidian District People’s Congress beginning in 2003 and was re-elected in 2006. At the time, he was helping migrant families navigate hukou rules and access to education. Chen met him around 2010 and began filming his daily work: advising parents, drafting petitions, meeting community groups, and, at times, revisiting the sites of his own past detentions—speaking about the conditions he endured and his determination to keep fighting for a fairer society and for civic awareness among ordinary citizens. The footage offered a rare look at an activist’s routine: gatherings, meetings, the planning of protests, grassroots organizing at its most pragmatic. Not speeches, but casework, long conversations, and quiet meetings in modest homes. Continue reading Chen Jiaping and Xu Zhiyong →

Long March Project 1999-

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Long March Project 1999—, comprising two volumes with a total of 1,690 pages of archival materials, was edited and launched alongside the exhibition “The Long March Papers 1999—” in September 2025. This still incomplete project has traversed twenty-five years. In 1999, Lu Jie formally proposed the Long March Project during his period of study in London. After nearly four years of preparation, the project set out in 2002, retracing the route of the Chinese revolutionary Long March. However, the Long March Project did not ultimately reach Yan’an as planned; within a span of just over two months, twelve of the twenty planned sites were realized, and upon arriving at Luding Bridge, the team returned to Beijing. In the spring of 2003, the Long March Project arrived in Beijing and established its thirteenth site, Long March Space. The Long March Project—an epic, durational and indefinite journey—continues.

Long March Project 1999—, Book cover. Courtesy Long March Project. Photo: Yang Hao.

Long March Project 1999—, Book cover and Chronology. Courtesy Long March Project. Photo: Yang Hao.

Over the years, the project has accumulated an immense archive documenting countless events, ideas, and embodied experiences. We originally planned to complete this archial publication in 2019, for the twentieth anniversary, but the perpetual momentum of the project made this impossible. When you are continually “on the road,” your present questions continually fold back into your understanding of your own history, making that history inherently unstable.

Thus, over the past five years of compiling and editing, we adhered to a present-progressive editorial approach. We deliberately avoided retrospective interpretation or re-framing. Instead, we selected representative documents from different phases and divergent routes, assembling a multi-linear structure that reflects the complexity of this journey. Continue reading Long March Project 1999- →

Prof. Aili Mu (1958-2025)

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Professor Aili Mu
(March 21, 1958–December 7, 2025)

Aili Mu, 67, Professor Emerita of World Languages and Cultures at Iowa State University, passed away on December 7, 2025. Aili was born in Beijing and grew up in Shandong Province, China—the homeland of Confucius. Her life and career bridged China and the USA. After completing her B.A. (1982) and M.A. (1985) in English at Shandong University, she taught at China Foreign Affairs University (1985–1989). She later moved to the United States to pursue her Ph.D. in Comparative Literature at SUNY Stony Brook, which she completed in 1996. Aili joined the faculty at Iowa State University in 2001 after teaching at Vassar College. Over the next twenty-five years, she made Ames her home.

Aili singlehandedly established the Chinese Studies Program at ISU. In addition to developing the Chinese curriculum, she devoted herself wholeheartedly to teaching. She taught Chinese language courses at all levels, as well as classes on Chinese film, literature, cultural traditions, translation, and contemporary China. She also organized numerous extracurricular cultural activities, lectures, and events to enrich student learning. Seeking to bring together the best values of Chinese and American culture, she infused passion and love into her work. Her genuine care for the intellectual and personal growth of her students earned their lasting admiration; many remained in close contact with her long after graduation.

Aili was also a dedicated scholar, developing her research in close dialogue with her teaching. She published extensively in both English and Chinese on Chinese aesthetics, literature and culture, translation studies, calligraphy, instructional technology, and pedagogy. In addition to numerous journal articles, she authored two refereed books with Columbia University Press: Loud Sparrows: Contemporary Chinese Short-Shorts (2006) and Contemporary Chinese Short-Short Stories: A Parallel Text (2017). The latter earned her the 2018 Franklin R. Buchanan Prize from the Association for Asian Studies. Aili received both a National Endowment for the Humanities Fellowship (2004) and a Fulbright Scholar Research Grant (2007).

Aili was the youngest of three siblings. She is survived by her husband, her elder sister, elder brother and her nephews and nieces. Beyond her family, Aili’s profound knowledge, sincerity, and humility earned her lasting friendships near and far. A loving person, she delighted in exchanging thoughts and ideas, taking long walks in nature, sharing life stories, cooking and dining, gardening, and the arts. Her legacy will continue to inspire all who knew her.

Tonglu Li <tongluli@iastate.edu>

A Chinese Artist’s Love Letters from Jail

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Source: NYT (12/8/25)
A Chinese Artist’s Love Letters From Jail
As Gao Zhen awaits trial in China, his wife is in limbo, sustained by the portraits he fashions from paper.
By Lily Kuo, Photographs and videos by Andrea Verdelli

The pictures were carefully torn by hand from sheets of letter paper, crafted by her jailed husband at night when he couldn’t sleep.

Some are scenes from their life in New York City — like the time they saw Henri Matisse’s “The Dance” at the MoMA — before they made the mistake of coming back to China, where he was arrested.

Others are abstract family portraits, the outline of his head and within it, her silhouette and that of their 7-year-old son, Jia.

Continue reading A Chinese Artist’s Love Letters from Jail →

Archival Hong Kong: Places, Practices and Public Culture

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Archival Hong Kong: Places, Practices and Public Culture
An online symposium on 11th and 12th Dec 2025

Details here: https://www.facebook.com/events/821833860853744
Program: https://chajournal.com/wp-content/uploads/2025/12/archivalhk2025.pdf

Organised by Hong Kong Studies, this two-day symposium presents papers from across the humanities and social sciences that examine the idea and function of the archive—understood in the broadest terms—in relation to Hong Kong’s cultural, historical, and spatial imaginaries. From official state repositories and institutional holdings to ephemeral, vernacular, or community-based practices of collecting and remembering, the archive has long figured as a site where power, identity, and cultural memory are negotiated.

While Hong Kong has often been described through the lenses of displacement and erasure, it also remains a city of remarkable reinvention and creative resilience. In light of recent transformations—spatial, political, and epistemological—the archive emerges as a record of what has been lost and a generative site for imagining what may yet come. We ask: what roles do archives play in preserving or reframing Hong Kong’s pasts and futures? How do artists, writers, educators, curators, activists, and others engage with the archive as form, method, or provocation? And how might we understand “archiving” not solely as an institutional practice but also as an everyday, affective, and often hopeful negotiation with the present?

Posted by: Eddie Tay <eddietay@cuhk.edu.hk>

TIAS Society of Fellows

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TIAS Society of Fellows (a special Shuimu Tsinghua Scholar Program)

Tsinghua Institute for Advanced Study in Humanities and Social Sciences (TIAS) hosts the TIAS Society of Fellows, a postdoctoral program at Tsinghua University, Beijing, China. Incorporated with the high-profile “Shuimu Tsinghua Scholar Program,” this program aims to attract exceptional and creative early-career scholars in the humanities and social sciences. Fellows are appointed to conduct full-time research at TIAS for three years.

The TIAS fellows are joined by TIAS resident and visiting scholars who take part in the Society as faculty fellows.  Seminars, reading groups, workshops, and lectures are organized regularly for formal and informal discussions. TIAS supports interdisciplinary research in the humanities and social sciences. Fellows in the Society engage in innovative and productive research and contribute to intellectual exchange within the university community and beyond.

TIAS recruits its postdoctoral fellows globally and especially encourages applications from developing countries or underrepresented groups. Every year, about ten fellows are recruited. Those recruited are expected to join TIAS in the fall semester of 2026 (usually no later than October 1). All selections are based on both external and internal reviews.

Eligibility and Requirements: 

To apply for a TIAS postdoctoral fellowship in fall 2026, an applicant must have received their PhD degree after 09/01/2023 and before 09/01/2026.

Fellows work full-time and are required to remain in residence at Tsinghua University. They are expected to attend TIAS activities. Fellows may apply for an extension of the fellowship beyond three years if solid research progress can be demonstrated. If they wish, fellows may also participate in teaching activities.

Benefits

TIAS fellows are provided with a package of benefits that includes (but is not limited to):

  • An annual salary of 300,000 RMB (before tax) during the fellowship period.
  • On-campus housing opportunities, or housing subsidies of 42,000 RMB per year.
  • Funds and allowances for attending international conferences upon application.
  • The same medical plan privileges as Tsinghua faculty.
  • Fellows’ children are offered positions at Tsinghua University’s kindergarten and primary school.
  • Opportunities to teach and attend career management workshops offered to Tsinghua faculty.

Application:

In either English or Chinese, applicants should submit an application package (download here), which requests: 1) a cover letter; 2）an application form (which includes a curriculum vita and a statement of current and future research plans); 3) a writing sample; and 4) names and email addresses of three references. Please email all materials in PDF or Word to tiastalent@tsinghua.edu.cn.

Deadline: Completed applications must be submitted by February 15, 2026. Reference letters must be submitted by March 1, 2026.

Inquiries may be sent by email to tiastalent@tsinghua.edu.cn

Posted by: Matteo Cavelier <matteo.cavelier@gmail.com>

Only the Lonely

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Source: NYT (12/4/25)
How to Find a Date in a Country With Over 30 Million Extra Men
OpDocs: Only the Lonely
A decade after the end of the one-child policy, China has over 30 million so-called surplus men. Can this dating boot camp help them find love?
By Violet Du Feng (Ms. Feng is a documentary filmmaker from Shanghai.)

In America, romance and sex — or the lack thereof — have become preoccupations for millions of people struggling with intimacy. “Are young people having enough sex?” The New Yorker asked this year. In China, the situation is even more pressing. Its one-child policy left it with over 30 million more men than women. These men confront a smaller dating pool, and it’s even harder for working-class and rural men to find a partner.

In my feature-length documentary “The Dating Game” I follow a group of young single men as they complete a weeklong dating camp. In “Only the Lonely,” the short film adaptation above, I captured something else: the stakes of lonely young men struggling to find love across the world. “I’ve been alone since I was little,” Wu, a young delivery driver, told me. “The feeling of loneliness,” he added, “it’s been the same my whole life. The only difference is I’ve learned to feel numb to it.” But at night, he continued, “the feeling comes back strong. It never disappears.”

Watch Film

Wasteland Elegy

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Source: China Unofficial Archives (12/4/25)
Wasteland Elegy: Official Records and Private Memories of China’s Northwestern Labor Camps
By Hai Xing

An Dianxiang the author of A Bitter Journey to the End of the World in Qinghai.

[中国民间档案馆 China Unofficial Archives is a reader-supported publication. To receive new posts and support our work, please consider becoming a free or paid subscriber. ]

In the historical landscape of mid-20th century China, the Northwest represented more than just a geographic concept; it was a metaphor for destiny. This seemingly desolate expanse, marked by wind, sand, salt flats, and extreme cold, was also a unique testing ground where the state exercised its will through large-scale, enclosed social experiments.

Reflecting on that sealed history today often results in a fractured perspective: one is the macroscopic, official narrative constructed from data and documents; the other is the microscopic narrative crystallized from blood, tears, and personal memory. The Qinghai Province Laogai Gazetteer (hereinafter, the Gazetteer), compiled by the Laogai (Reform Through Labor) Work Administration of the Qinghai Provincial Department of Justice, provides the rigid framework of the former, while An Dianxiang’s A Bitter Journey to the End of the World in Qinghai (hereinafter, Bitter Journey) and Yang Xianhui’s Chronicles of Jiabiangou provide the latter’s most searing, human detail.

By juxtaposing the private memories captured by An Dianxiang and Yang Xianhui with the vast historical backdrop established by the Gazetteer, we can observe not only the individual’s struggle under the state machine’s relentless pressure, but also, through the mutual corroboration of official and civilian accounts, gain insight into the institutional roots of the era’s absurdity and tragedy. This is a confrontation between the merciless logic of violence and the enduring dignity of the human spirit. Continue reading Wasteland Elegy →

Cold Window Newsletter no. 10

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CWN#10: Webfiction as subversion // Literary news bulletins
Feminism, queerness, and nationalism on the Chinese internet
By Andrew Rule

Welcome back to the Cold Window Newsletter. In this issue, we approach the end of my 13 Ways of Looking at Chinese Internet Literature series with a close look at online fiction and systems of power in today’s China. Then, a few flash bulletins on this season’s literary awards and releases.

Thirteen ways of looking at Chinese internet literature: Fiction, identity, and the state (#9-11)

A lot of what I know about Chinese internet literature comes from conversations with friends who have been reading this stuff much longer than I have, and one common refrain I’ve heard has puzzled me since the very beginning. Friends often warn me that the approach to gender and identity in web fiction is regressive, lowest-common-denominator, unliterary. Before I’d read a word of online fiction, I’d heard classmates dismiss all female-oriented novels as 霸总文 (stories about “domineering CEOs,” an archetype for cold, dominant male love interests) and 后宫文 (“harem” stories, a typically male-oriented genre in which the protagonist collects or seduces an endless parade of women). If you flip through Megan Walsh’s chapter on internet fiction in The Subplot, or even just scroll down the front page of Webnovel, you’ll also come away with the impression that Chinese web novels are sexist to the core.

And yet feminist discourse is surging in ever other corner of Chinese popular culture that I interact with: books, movies, social media. Clearly, between an increasingly gender-aware youth culture on the one hand and the latent sexism of many internet genres on the other, all under a strictly heteronormative censorship regime, there are some rich contradictions to explore here. Let’s get into it.

Way #9: Internet literature as a vehicle for feminist identity formation

Internet literature may only have come of age at the beginning of this century, but that’s plenty long for it to have already gone through several generations of development in its portrayal of gender. The Chinese internet evolves fast, and that’s especially true when it comes to gender discourse. As a new fan entering in the 2020s, internet literature looks to me like a bewildering palimpsest of novels from different eras overlaid on one another, each bearing traces of the trends, gender norms, and censorship environment of when it was written.

The Chinese translation of Misogyny 《厌女》, by Chizuko Ueno 上野千鹤子. Over 100,000 reviews on Douban!

Continue reading Cold Window Newsletter no. 10 →

Creative Belonging

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New Publication: Creative Belonging: The Qiang and Multiethnic Imagination in Modern China by Yanshuo Zhang is forthcoming with the University of Michigan Press on January 12, 2026. Pre-order of the book is available and UM Press is offering significant holiday sales:  https://press.umich.edu/Books/C/Creative-Belonging3 . The book is also available on Amazon and Barnes and Noble.

This book has about thirty full-color images and is printed on high-quality matte-glossy paper similar to an art catalogue or art book at a very affordable price. It offers a luxurious and intimate view of contemporary ethnic minority life in China. It would make for an excellent holiday read. The book’s wide-ranging sources, evidence, and visual aids make it an excellent textbook and can be easily adopted for any courses on modern and contemporary Chinese literature, culture, film, history, or other types of China- and Asia-related courses.

The author of the book, Yanshuo Zhang, is Assistant Professor of Asian Languages and Literatures at Pomona College. She is the Principal Investigator of the national winner of the Inaugural Luce/ACLS (American Council of Learned Societies) Collaborative Grant in China Studies in 2024. Titled “Resituating Humanistic Pedagogy in China Studies: Incorporating Ethnic Minority Literary and Cultural Productions into North American College Classrooms,” the winning project is an interdisciplinary, cross-institutional project that aims to build understanding of ethnic diversity and minority voices within China by developing a multicultural China studies curriculum that is integrated with global studies on race, ethnicity, indigeneity, and identity. Prof. Yanshuo Zhang is leading a group of scholars, translators, artists, and ethnic minority and indigenous collaborators in mainland China and Taiwan on developing a collective database that would offer innovative and original materials on teaching multiethnic China for the English-speaking and multilingual audience internationally. Continue reading Creative Belonging →

Intl Symposium onf Chinese Language and Discourse–cfp

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Dear colleagues,

The International Symposium on Chinese Language and Discourse (ISCLD) is a biennial international symposium that advances the exchange of scholarship and emphasizes an empirical orientation in functional discourse studies of the Chinese language, with participation from local and international scholars, not only from linguistics, but also related fields of communication, sociology, anthropology, education etc. with regards to the use of Chinese languages. The 8th ISCLD comes to Spain with the theme “Topic-Comment in Chinese Language and Discourse Research: Insights and Applications”.

Organizer: Centre for East Asian Studies (CEAO), Autonomous University of Madrid (UAM)
Date: June 15-16, 2026
Location: Autonomous University of Madrid, Spain

Call for Papers (open until January 2th, 2026).

https://eventos.uam.es/135780/detail/the-8th-international-symposium-on-chinese-language-and-discourse-8th-iscld.html

Abstracts or panel proposals may be accepted. Abstracts in English should be 300-500 words, including positions, affiliations, email addresses and mailing addresses for all authors. Panel proposals reflecting the conference theme may be submitted. All panel proposals should provide a 300-500 word rationale and a 200–250-word abstract of each panellist’s paper; include affiliation and email addresses for each panel list.

The conference continues to focus on Chinese language and discourse but would also like to encourage researchers working on other areas previously not discussed in the past conferences, including minority languages related to Chinese, AI application, bi/multi-lingual and multicultural settings. Continue reading Intl Symposium onf Chinese Language and Discourse–cfp →