Reportage and Its Contemporary Variations–special MCLC issue cfp
Reportage and Its Contemporary Variations: A Special Issue of Modern Chinese Literature and Culture
Guest edited by Charles Laughlin and Li Guo
This special issue welcomes essays on reportage narratives in contemporary China, Taiwan and Hong Kong, as well as explorations of nonfiction, documentary, and the art of the real in film, media, theater or visual arts. From late imperial Chinese exploration narratives about Southwest borderlands to modern author Ai Wu’s travel accounts of Yunnan and Burma, from the Leftwing League’s promotion of reportage as a pathway to proletarian realism in the 1930s to the use of cinéma vérité and direct cinema in contemporary documentary filmmaking, Chinese reportage has found expressions in a nexus of genres, reflecting evolving and polyphonic aesthetic modes and cultural discourses. Xiaomei Chen (1985) observes that the assimilation of Chinese reportage as a genre into the canonical literary system attests to the demands of political and literary history and also highlights the reportage reader’s ethical obligations or what Chen called “lectorial competence.” Yingjin Zhang (1993) argues that reportage illustrates “the ideological workings of narrative” and “consciously interpellates individuals (writers, characters and readers) as subjects in their own rights.” Charles Laughlin (2002) proposes that the “association of the crowd and its collective subjectivity with a theatrical narrative space is the basis of the ‘chronotope’ underlying the modern Chinese reportage narratives.” Yin-Hwa Chou (1985), Zuyan Chen (1993), Thomas Moran (1994), Rudolf Wagner (1992), Shenshen Cai (2016) and others contributed rich studies on the hybrid modes and canons of modern and contemporary Chinese reportage, ranging from early twentieth century travel memoirs to chronicles in the new millennium.
Continuing the above discussions, the special issue will delve into the study of contemporary Chinese reportage, engaging current and less explored reportage authors, works, trends, and theoretical inquiries beyond generic, geographical, and national boundaries. We welcome studies that address the representations, discourses, and analytical demarcations of the reportage concept and that pursue an understanding of the aesthetics of global reportage in a contemporary context. Key themes include but are not limited to:
- Actuality (zhenshixing) in contemporary literary, visual, and artistic reportage experimentation
- Chronotopes of the self or gendered interpretations in reportage narratives and arts
- Reportage, social satire, and the communication of political affect
- Ideologies, language, and reportage narratives in literary and journalistic works
- Documentary as reportage, the politics of representation, and its ethical considerations
- Poetry as societal reportage and emotional resonance as a vehicle of enlivening truth
- Migration, diaspora, and reportage as an aesthetic mode of recollection and restoration
- Environmental reportage and activist discourses in China, Hong Kong, and Taiwan
- Reportage photography, drawings, paintings, archives, comics, and visual realism
- Online, digital, and “real-time” reportage, and the reconfiguration of authenticity through dialogic interaction.
Please send abstracts of 500 words by August 31, 2017 to both guest editors, Charles Laughlin (cal5m@virginia.edu) and Li Guo (li.guo@usu.edu), and the general editor, Kirk A. Denton (denton.2@osu.edu). Selected abstracts will be invited to submit full manuscripts (30-50 pages, double-space) by May 15, 2018 for consideration of inclusion in the special issue for Modern Chinese Literature and Culture in Fall 2019.
Chinese Literature as World Literature–cfp
Call for Papers: a special issue of MCLC
Chinese Literature as World Literature
Guest Editors Kuei-fen Chiu and Yingjin Zhang
World literature has been reconfigured as an open field of literary studies that emphasizes the process of circulation and reception over conventional categories such as authorship and canonization, but beyond apparent gains from (or against) translation in major languages, the geopolitics of center versus periphery and an elitist stratification of power and value have persisted. Modern Chinese Literature and Culture invites scholars to submit new research for this special issue that explores what Chinese literature has to offer to recent debates on world literature and what such debates may bring to Chinese literary studies.
We are interested in articles dealing with topics related but not limited to the following:
- Chinese Literature and (De)Canonization of World Literature
- Networking World Literature, Rewriting Chinese Literary History
- Genre and Gender Troubles in Chinese Literature as World Literature
- Chinese Literature and the Making of Literate (Re)Publics of World Literature
- Chinese Literature and the “Worldly Project” of World Literature
- New Mediality and Mediation of Chinese literature as World Literature
- Chinese Literature in the Global Post-Literary Digital Age
We envision “Chinese literature” as a broad umbrella term to include literature written in Chinese as well as any other language authored by ethnic Chinese writers in all parts of the world regardless of nationality. This means that diaspora literature, Hong Kong and Taiwanese literature, Chinese-Malaysian literature, Sinophone literature (regardless of the language used), and indigenous or ethnic literature inside and outside mainland China are all legitimate.
Please send (1) your abstract of 300 words along with (2) your biographic note of 50 words to both guest editors—Kuei-fen Chiu (chiukf.taiwan@gmail.com) and Yingjin Zhang (yinzhang@ucsd.edu)—and MCLC editor Kirk A. Denton(denton.2@osu.edu) by December 1, 2016. We anticipate each article to be under 8,000 words and would welcome inquires before submitting your abstract. Selected abstracts will be invited to submit full manuscripts by July 1, 2017 for consideration of inclusion in the special issue, to be published in the spring 2018 issue.
Hong Shen special issue–cfp
MCLC SPECIAL ISSUE on HONG SHEN
CALL FOR PAPERS
Guest Edited by Siyuan Liu and Xiaomei Chen
Deadline: March 1, 2015
Modern Chinese Literature and Culture is pleased to announce a Call for Papers for a special issue on Hong Shen 洪深. Often considered a pioneer in modern Chinese theatre and film, Hong Shen was an important agent in the development of both fields, as a playwright/screenwriter, translator/adaptor, director, educator, and theorist. However, compared to Tian Han 田汉 and Ouyang Yuqian 欧阳予倩, the other so-called huaju (spoken drama) “founding fathers,” Hong Shen has received far less attention in both scholarly studies and the general narrative of modern Chinese theatre, as exemplified in the 2007 huaju (话剧) centennial celebration. The case of Hong Shen reveals much about the complex and fluid nature of the modern Chinese cultural field in which intellectuals moved easily among different media and negotiated positions often thought to be rigidly opposed: progressive/popular; May Fourth/Butterfly; leftist/Nationalist; modernity/tradition; and China/West.
In light of the 2011 publication of an extensively annotated chronicle by his daughter Hong Qian and the 2013 Hong Shen Project at The Ohio State University, which included a production of his play The Wedded Husband, a screening of his film Shanghai Old and New (新旧上海), and the symposium “Hong Shen and the Modern Mediasphere in Republican Era China,” this special issue seeks to reevaluate Hong Shen’s role in modern Chinese cultural production. We invite original articles that provide new perspectives on the following topics:
His theatre studies and production experience in the United States
- His role in establishing the director-centered production system for huaju
- His impact on huaju’s gender performance through his plays and productions
- His role in the literary translation versus localized adaptation debate in huaju translation and production
- His role in early Chinese cinema, especially its transition from silent to sound film
- His dramaturgy and its impact on realistic and modernist drama
- His contribution to theories of playwriting, performance and directing for stage and film
- His complicated relationship with the left and right ideological conflict and its key figures
- His interactions with various Republican era media
- His contribution to theatre education
The submission deadline is March 1, 2015 (for a projected publication date of fall 2015). Please adhere to MCLC STYLE GUIDELINES. Send electronic submissions to *both* guest editors, Siyuan Liu (liu44@mail.ubc.ca) and Xiaomei Chen (xmchen@ucdavis.edu欧阳予倩. Send an electronic copy to the MCLC Editor, Kirk Denton (denton.2@osu.edu), and a paper copy with cover letter to:
Editor, MCLC
Hagerty Hall 398
The Ohio State University
1775 College Rd.
Columbus, Ohio 43210-1340
美國《中國現代文學與文化》洪深專刊徵稿啟示
特約編輯劉思遠、陳小眉
投稿截止日期：2015年3月1日
美國《中國現代文學與文化》擬於2015年秋季出版洪深專刊，現開始徵集論文。洪深被公認為現代中國戲劇電影先驅之一，對話劇和電影創作、翻譯和改譯、導演、教育和理論等眾多領域的發展影響顯著。然而，無論從學術研究還是話劇大眾敘事的角度，洪深的影響都遜于話劇另兩位「奠基人」田漢和歐陽予倩；後一點在話劇百年紀念中得以印證。事實上，洪深作為個案，在很大程度上代表了現代中國文化領域的複雜性和流動性，即知識份子輕鬆地穿梭于不同媒體和貌似不可調和的立場之間：先進/通俗；五四/鴛鴦蝴蝶；左翼/國民黨；現代/傳統；中國/西方。
值得注意的是，洪深研究近年有了新的進展：2011年其女兒洪鈐發表《中國話劇電影先驅洪深: 曆世編年紀》；2013年俄亥俄州立大學舉辦洪深紀念專題，公演其話劇《為之有室》，放映他的電影《新舊上海》，主辦《洪深與民國現代媒體域》學術研討會。本專刊旨在借此機會重新評估洪深在現代中國文化生產中的地位。我們歡迎對以下主題提出新觀點的原創文章：
- 他在美國的戲劇學習及演出經歷
- 他對建立話劇以導演為中心的演出體系的貢獻
- 他通過劇作和導演對話劇性別表演的影響
- 他對話劇翻譯和演出中直譯與轉譯爭論的影響
- 他對早期中國電影，尤其是從無聲到有聲電影過渡的貢獻
- 他的話劇創作及其對現實主義和現代主義戲劇的影響
- 他對話劇和電影創作、表演和導演理論的貢獻
- 他與左、右翼意識形態衝突及其關鍵人物的複雜關係
- 他與民國各種媒體的關係
- 他對戲劇教育的貢獻
本專刊預計于2015年秋季出版，投稿截止日期為2015年3月1日。來稿請用英文，中文原稿務必由專業人士翻譯成英文， 遵循《中國現代文學與文化》論文格式。 電子版同時寄給兩位特約編輯劉思遠 (siyuan.liu@ubc.ca) 和陳小眉 (xmchen@ucdavis.edu)，以及《中國現代文學與文化》主編 Kirk Denton (denton.2@osu.edu)， 同時郵寄一份打印稿至下列位址：
Kirk Denton
Editor, MCLC
Hagerty Hall 398
The Ohio State University
1775 College Rd.
Columbus, Ohio 43210-134
USA