Elizabeth Redden’s commentary on the Wilson Center report is also interesting:
Gauging China’s ‘Influence and Interference’ in U.S. Higher Ed: Report catalogs alleged complaints and interventions by embassy officials or individual students on American campuses. But can a compendium of concerning incidents encourage stereotyping? By Elizabeth Redden. Inside Higher Ed (September 12, 2018). https://www.insidehighered.com/news/2018/09/12/wilson-center-releases-study-chinas-influence-and-interference-us-higher-ed
Magnus Fiskesjö, email@example.com
The 2018 Lucien Stryk Asian Translation Prize shortlist has been announced, with Diana Shi and George O’Connell’s Darkening Mirror, translations of Wang Jiaxin 王家新 (Tebot Bach) on the list. Congratulations to Shi and O’Connell!
But a look at the rest of the list: There’s Sonic Peace, by Kiriu Minashita, translated by Eric E. Hyett and Spencer Thurlow (Phoneme Media), which is poetry. But Junichirō Tanizaki’s Devils in Daylight, translated by J. Keith Vincent, and The Maids, translated by Michael P. Cronin (both New Directions), and Notes of a Crocodile by Qiu Miaojin 邱妙津, as translated by Bonnie Huie (New York Review Books)? Those are works of fiction.
The Stryk Prize is–or was–a poetry translation prize. The prize’s Wikipedia page still makes that clear:
Eligible works include book-length translations into English of Asian poetry or source texts from Zen Buddhism, book-length translations from Hindi, Sanskrit, Tamil, Thai, Vietnamese, Chinese, Japanese, and Korean into English.
But this year, for the first time, works of prose fiction are on the shortlist.
I think this is a problem. Continue reading
List members might interested in the Wilson Center’s recently published report,”A Preliminary Study of PRC Political Influence and Interference Activities in American Higher Education,” by ANASTASYA LLOYD-DAMNJ. It is available as a pdf download, here. — Kirk
Source: Washington Post (9/12/18))
German theater company’s Ibsen play canceled in China
By Associated Press
BERLIN — A German theater company is ending a tour of China early after a theater canceled two showings of Henrik Ibsen’s “An Enemy of the People.” German authorities say they regret the cancellation.
Tobias Veit, the director of Berlin’s Schaubuehne theater, told German news agency dpa Wednesday two planned performances in the eastern city of Nanjing won’t go ahead. The official reason given by the Chinese theater was “technical problems.”
The Schaubuehne has been touring with the Ibsen play since 2012. It usually ends with a discussion with the audience, but that was allowed only at the first of three Beijing performances.
German Foreign Ministry spokeswoman Maria Adebahr said Berlin has “taken note with regret” of the cancellation. She said the German embassy informed China’s culture ministry of that stance Wednesday.
The Department of Modern Languages & Literatures at William & Mary seeks applications for a tenure track position at the Assistant Professor level in premodern Chinese literature and culture. This scholar would work primarily on Chinese literature and culture before the Qing period (1644–1911). The applicant is expected to establish and maintain an active research program.
Teaching expectation is two courses per semester. The successful candidate will possess the skills to teach current course offerings, such as Survey of Traditional Chinese Literature in English and Art of Chinese Poetry. He or she can develop new courses in the area of premodern Chinese literature and culture under the existing course titles, such as Freshman Seminar; Introduction to Chinese Cultural Studies; Topics (or Advanced Topics) in Chinese Language, Civilization, or Literature; and Advanced Seminar. Candidates should also be able to teach courses in Mandarin Chinese at all levels as needed. Opportunities exist to contribute to our dynamic new general education curriculum (https://www.wm.edu/as/undergraduate/coll/index.php) and interdisciplinary programs such as Asian and Middle Eastern Studies and Gender, Sexuality, and Women’s Studies. Continue reading
My running bibliography on the Xinjiang concentration camps has been updated, at:
Also, three important things to report from yesterday:
1. In Geneva, in her FIRST speech, the new UN chair of the human rights commission, Michelle Bachelet (former Chilean president who was once herself a political prisoner), expressed grave concerns about the Xinjiang camps, and demanded full access to all of China, including Xinjiang, for her high office:
The Graduate Program in Translation and Interpretation (GPTI) at National Taiwan University (NTU) announces two full-time faculty positions. Initial appointment will begin on August 1, 2019. For more information, please refer to the attachment or the following website: http://gpti.ntu.edu.tw/main.php.
We would greatly appreciate it if you could share the news with your members.
Graduate Program in Translation and Interpretation
National Taiwan University
No. 1, Sec. 4, Roosevelt Road, Taipei 106, Taiwan
Source: NYT (9/6/18)
‘Crazy Rich Asians’ Has Soared, but It May Not Fly in China
阅读简体中文版 | 閱讀繁體中文版
By Amy Qin
“Crazy Rich Asians” does not yet have a release date in China. Under China’s strict quota system, a limited number of foreign films are approved for import every year and some experts are skeptical about the movie’s chances there.CreditCreditSanja Bucko/Warner Bros. Entertainment, via Associated Press
HONG KONG — “Crazy Rich Asians,” the first major Hollywood studio release in 25 years with an all-Asian cast, has been hailed as a breakthrough in the United States, one that has topped the North American box office three weekends running. It has been dominating in other markets with large ethnic Chinese populations as well, including Taiwan and Singapore, where the film is set.
With its cast of mostly ethnic Chinese characters, a soundtrack featuring a number of Chinese artists and story notes that emphasize Chinese culture, it would also seem assured of success in China, the world’s second-largest film market, which is playing a growing role in Hollywood’s calculations. The movie even opens with a quote from Napoleon: “China is a sleeping giant. Let her sleep, for when she wakes she will move the world.” Continue reading
Source: NYT (9/8/18)
China Is Detaining Muslims in Vast Numbers. The Goal: ‘Transformation.’
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By Chris Buckley
“That was a place that will breed vengeful feelings,” Abdusalam Muhemet said of the internment camp in Xinjiang, in western China, where he and other Muslims were held for months.CreditCreditErin Trieb for The New York Times
HOTAN, China — On the edge of a desert in far western China, an imposing building sits behind a fence topped with barbed wire. Large red characters on the facade urge people to learn Chinese, study law and acquire job skills. Guards make clear that visitors are not welcome.
Inside, hundreds of ethnic Uighur Muslims spend their days in a high-pressure indoctrination program, where they are forced to listen to lectures, sing hymns praising the Chinese Communist Party and write “self-criticism” essays, according to detainees who have been released. Continue reading
Source: China.org.cn (9/9/18)
Beauty of Zhang Yimou’s ‘Shadow’ stuns audience in Venice
By Zhang Rui
Director Zhang Yimou receives and holds the Jaeger-LeCoultre Glory to the Filmmaker prize awarded to him ahead of the world premiere of “Shadow” during 75th Venice International Film Festival in Venice, Italy, Sept. 6, 2018. [Photo courtesy of Le Chuang Entertainment]
The world premiere of renowned Chinese director Zhang Yimou’s new period historical epic “Shadow” was held on Thursday at the 75th Venice International Film Festival and the oriental aesthetics that are a great feature of the film wowed the audience.
Zhang appeared at the red-carpet event with cast members Zheng Kai, Wang Qianyuan, Hu Jun, Wang Jingchun and Guan Xiaotong. Continue reading
Call for contributions China Perspectives / Perspectives chinoises
Sinophone Musical Worlds and their Publics
Guest editor: Dr Nathanel Amar, postdoctoral Fellow in the Humanities at the University of Hong Kong
Download PDF File here: Call for abstracts CP China musical worlds
Recent success of Chinese reality television singing competitions broadcasted on national television or streamed directly on the internet, has shown the extent of musical genres represented in the Chinese world, from pop to folk via hip-hop or rock ’n’ roll. The popularity of new musical styles up to then considered as deviant as well as the recent attempts of the State to intervene directly on musical contents, tend to blur the distinctions between “mainstream” (流行) music, “popular” (民间) music as non-official, “underground” (地下) music or even “alternative” (另类) music. This call for papers aims at promoting a better understanding of the transformations of Chinese “musical worlds”, in the sense that Becker gave to “art worlds”, which stresses the role of cooperation and interactions between the different actors of the artistic sphere. As Becker wrote, “all artistic work, like all human activity, involves the joint activity of a number, often a large number, of people. Through their cooperation, the artwork we eventually see or hear comes to be and continues to be. The work always shows signs of that cooperation” (Becker, 2008: 1). We thus welcome contributions which take into consideration the necessary cooperation between individuals, allowing the constitution of musical worlds. Continue reading
CFP: Pirates in World Literature (ACLA 2019)
The image of the pirate resonates universally across cultures and periods. Taking the pirate’s broad cultural relevance as its starting point, this seminar explores piracy’s representation in the early modern world. Works such as Claire Jowitt’s The Culture of Piracy(2010) and Lauren Benton’s A Search for Sovereignty (2010) argue for the importance of piracy to the study of early modern European transatlantic empires, highlighting piracy’s role in the consolidation of British national and imperial identity and the formation of early modern notions of sovereignty. East Asian historian Peter Shapinsky in Lords of the Sea (2005) considers pirates as cultural intermediaries, emphasizing pirates’ desire to remain autonomous by positioning themselves between land-based powers. In addition to exploring piracy’s relationship to early modern global politics, recent studies have reframed piracy’s relationship to literary history. Key interventions by Margaret Cohen in The Novel and the Sea (2010) and Gretchen Woertendyke in Hemispheric Regionalism (2016) have offered revisionist histories of the novel and romance forms by shifting the analytical focus from the land to the sea. These interventions demonstrate the dynamics of recent oceanic, trans-oceanic, and hemispheric turns in literary and cultural studies. Continue reading
CFP: “Queer Pop in Post-2000 China” in a Special Issue of Feminist Media Studies
Since the 2000s, China’s media industrialization and cultural globalization have encouraged a burgeoning “queer pop”——that is, a soaring proliferation of non-normatively gendered and/or sexualized narratives and performances, cultural productions and inventions, artistic expressions and gestures, and social relations and kinship systems in China’s media, cultural, and creative industries and spaces. In the meantime, digital production and cyber distribution technologies, social networking sites (both online and offline), and cellular phone applications available to self-identified LGBTQ groups have become increasingly accessible and diversified. In the parallel off-screen public space, China has also witnessed several waves of LGBTQ and feminist sociopolitical movements, following the decriminalization and depathologization of homosexuality in 1997 and 2001 respectively. Some queer and feminist movements were significantly shaped by transnational queer and feminist currents, such as the most recent #MeToo anti-sexual harassment movement at China-based universities. Continue reading
ACLA CFP: Poetic Materiality Today
The American Comparative Literature Association’s 2019 Annual Meeting will take place at Georgetown University in Washington, DC, March 7th-10th, 2019. We’ve proposed the following seminar:
In 2014, a poem titled “Crossing Over Half of China to Sleep with You” by Yu Xiuhua went viral online in China. Written by a rural woman with cerebral palsy and initially published on her blog, the poem represents a recent generation of poetic work that has developed around transformations in what a poem is physically and how readers encounter it. These poems are not always demonstrably globalized or translingual, but similar changes seem to be happening in poetry scenes, both popular and avant-garde, in many different places. Continue reading
The “rerun” of Massive Open Online Course (MOOC) on Hong Kong cinema will begin on 11 September 2018 (Tuesday). This is a great opportunity for you to understand Hong Kong cinema’s uniqueness and its continuing impact in transforming other national cinemas.
This pioneering online experience is under the direction of internationally-recognized film studies scholars Professor Gina Marchetti and Dr. Aaron Han Joon Magnan-Park from the HKU Department of Comparative Literature and Dr. Stacilee Ford from the HKU Department of History and American Studies Program with the creative assistance of HKU Technology-Enriched Learning Initiative (TELI).
The course explores globalization through Hong Kong cinema featuring crisp analyses of the actors and filmmakers whose lives and films connect the local Hong Kong scene to global histories, events, and trends. Throughout the six-week course, students will encounter stars including Bruce Lee, Jackie Chan, and Maggie Cheung as well as award-winning directors such as John Woo, Mabel Cheung, Andrew Lau, and Wong Kar Wai. Each week a new film showcases talents, themes, and local-global connections. Continue reading