A
A Cheng 阿城
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.
Dutrait, Noel. “Analyse d’un succes: Ah Cheng et son oeuvre, biographie et thematique.” Etudes Chinoises 11, 2 (Autumn 1992): 32-75.
Huters, Theodore. “Speaking of Many Things: Food, Kings, and the National Tradition in Ah Cheng’s ‘The Chess King.'” Modern China 14, 4 (1988): 388-418.
Knapp, Bettina. “A Cheng’s ‘The King of the Trees’: Exile and the Chinese Re-education Process.” In David Bevan, ed., Literature and Exile. Amsterdam: Rodopi, 1990, 91-106.
Lonergan, Ross. “Tradition and Modernity in Ah Cheng’s ‘The Chess King.'” B.C. Asian Review 2 (1988).
Louie, Kam. “The Short Stories of Ah Cheng: Daoism, Confucianism and Life.” Australian Journal of Chinese Affairs 18 (1987): 1-14. Rpt. In Louie, Between Fact and Fiction: Essays on Post-Mao Chinese Literature and Society. Sydney: Wild Peony, 1989, 76-90.
Mair, Denis C. “Ah Cheng and His King of Chess.” In Yang Bian, ed., The Time is Not Ripe: Contemporary China’s Best Writers and Their Stories. Beijing: Foreign Languages Press, 1991, 1-14.
Wang, Ban. “Citation of Discourse and Ironic Debunking in Ah Cheng’s Work.” In Wang, Narrative Perspective and Irony in Selected Chinese and American Fiction. Lewiston, NY: Edwin Mellen, 2002.
Wang, David. “Tai Hou-ying, Feng Chi-Ts’ai and Ah Cheng: Three Approaches to the Historical Novel.” Asian Culture Quarterly 16, 2 (1988): 70-88.
Wang, Yanjie. “Remapping Emotion and Desire: Same-Sex Romance in Ah Cheng’s The King of Chess.” American Journal of Chinese Studies 21, 1 (2013): 45-60.
Wong, Kin-yuen. “Between Aesthetics and Hermeneutics: A New Type of Bildungsroman in Ah Cheng’s ‘The Chess Champion.'” Modern Chinese Literature 5, 1 (1989): 43-54.
Yue, Gang. “Surviving in ‘The Chess King’: Toward a Post-Revolutionary Nation-Narration.” positions 3, 2 (Fall 1995): 565-94.
—–. “The Strange Landscape of the Ancients: Environmental Consciousness in ‘The King of Trees.'” American Journal of Chinese Studies 5, 1 (1998): 68-88.
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.
Zhong, Chengxiang. “The Zhongs: Father and Son–Ah Cheng and His Father.” Trans. by Stephen Fleming. Chinese Literature (1989): 76-96.
A Long 阿垅
Berry, Michael. “The Lost Novel of the Nanjing Massacre.” In David Der-Wei Wang, ed., A New Literary History of Modern China. Cambridge, MA: Belknap Press, 2017, 456-62.
Li, Yongdong. “The Nanjing Massacre in Fiction and the Expression of the Idea of the Nation-state.” Social Sciences in China 37, 4 (2016): 40-55.
Sekine, Ken. “A Verbose Silence in 1939 Chongqing: Why Ah Long’s Nanjing Could Not Be Published.” MCLC Resource Center Publication, 2004.
A Mang (Amang) 阿芒
Yang, Xiabin, Chen Yuhong, and Amang. “Identity, Expression, and Female Consciousness—Taiwanese Poets Chen Yuhong and Amang.” Tr. Yiping Wang and Thomas Moran. Cerise Press 4, 10 (Summer 2012).
Ai Bei 艾蓓
Decker, Margaret. “Femininity as Imprisonment: Subjectivity, Agency, and Criminality in Ai Bei’s Fiction.” In Lu Tonglin, ed. Gender and Sexuality in Twentieth-Century Chinese Literature and Society. Albany: SUNY Press, 1993, 135-56.
Ai Qing 艾青
Crespi, John. “A Chinese Poet’s Wartime Dream.” In David Der-wei Wang, ed., A New Literary History of Modern China. Cambridge, MA: Harvard University Press, 2017, 443-49.
Eoyang, Eugene. “Editor’s Introduction.” In Ai Qing, Selected Poems of Ai Qing. Bloomington: Indiana UP, 1982, i-x.
Feng, Chih. “On the Poetry of Ai Ch’ing.” In Hualing Nieh, ed., Literature of the Hundred Flowers, Volume II: Poetry and Fiction. NY: Columbia UP, 1981, 76-98.
Huang, Guiyou. “A Newer Realm of Poetry: Whitman and Ai Qing.” Walt Whitman Quarterly Review 15, 4 (1998): 172-79.
Hung, Eva Wai-Yee. The Life and Works of Ai Qing. PhD diss. London: University of London, 1986.
Kauffman, Andrew. “Anticipatory Self-Martyrdom: The Image of Christ’s Crucifixion in Ai Qing’s Poetry.” Modern Chinese Literature and Culture 36, 1 (2024): 26-51.
[Abstract: Many of modern China’s most famous writers invoked the figure of Jesus Christ and the New Testament story of his death in their creative works. Among those captivated by the archetypal martyr story of Western culture was the renowned leftist poet Ai Qing (1910–1996), though this aspect of his work has gone largely unacknowledged and unrecognized. What value did the figure of Jesus Christ and the story of his death have for writers like Ai Qing, who were by and large not religious believers and looked unfavorably on institutional Christianity? Through a case study analysis of Ai Qing’s employment of crucifixion symbolism and imagery in his early poetry and theoretical writing, this article argues that Ai Qing used the figure of Jesus and the story of his martyrdom to ruminate on the state of the Chinese nation and to express his own aspirations and anxieties about his role as an intellectual in a time of national tumult. In this way, the article uncovers religious and transcultural influences on modern Chinese martyr discourses and the important role they played in shaping modern Chinese writers’ perception of their world and themselves.]
Ting, Mang. “A Rebuttal of Ai Ch’ing (poem).” In Hualing Nieh, ed., Literature of the Hundred Flowers, Volume II: Poetry and Fiction. NY: Columbia UP, 1981, 99.
Palandri, Angela Jung. “The Poetic Theory and Practice of Ai Qing.” In Mason Y.H. Wang, ed., Perspectives in Contemporary Chinese Lterature. Michigan: Green River Press, 1983, 61-76.
Sha, Ou. “Various Masks: Ai Ch’ing (poem).” In Hualing Nieh, ed., Literature of the Hundred Flowers, Volume II: Poetry and Fiction. NY: Columbia University Press, 1981, 1000.
Ts’ang, Ke-chia. “What Has Been Expressed in Ai Ch’ing’s Recent Work?” In Hualing Nieh, ed. and co-trans., Literature of the Hundred Flowers Volume II: Poetry and Fiction. NY: Columbia University Press, 1981, 278-82.
Ai Wei 艾伟
Wang, Kan. “Ai Wei the Writers.” Tr. Tera Mills. Chinese Literature Today 7, 2 (2018): 54-59.
Zhang, Qinghua. “Introduction” (to special section on Ai Wei). Tr. Ping Zhu. Chinese Literature Today 7, 2 (2018): 42-43.
—–. “Revolution and Its Inverted Image: A Dialogue with Ai Wei.” Trs. Jia Yan and James Fashimpaur. Chinese Literature Today 7, 2 (2018): 60-66.
Ai Wu 艾芜
Anderson, Marston. “Beyond Realism: The Eruption of the Crowd.” In Anderson, The Limits of Realism: Chinese Fiction in the Revolutionary Period. Berkeley: UCP, 1990, 180-202.
Ge, Mai. “A Profile of Ai Wu.” Trans. by Lei Ming. Chinese Literature (Summer, 1992): 40-43.
Guo, Jie. “Reportage, Ethnicity, and Feminine Subjectivities: Ai Wu’s Journey to the South and Its ‘Sequels.'” Modern Chinese Literature and Culture 31, no. 2 (Fall 2019): 1-40.
Ng, Maria Noelle. Three Exotic Views of Southeast Asia: The Travel Narratives of Isabella Bird, Max Dauthendey, and Ai Wu, 1850-1930. Norwalk, CT: Eastbridge.
Wagner, Alexandra. “Ai Wu.” In Dictionary of Literary Biography–Chinese Fiction Writers, 1900-1949. Ed. Thomas Moran. NY: Thomson Gale, 2007, 3-9.
Ai Xiaoming
Choy, Howard Y. F. “Logs in the Time of Coronavirus: Online Diaries by Five Chinese Women Writers from Wuhan, New York, and Xi’an.” Chinese Literature and Thought Today 3-4 (2023).
[Abstract: This paper researches the role of journal keeping in the time of coronavirus from China to America, focusing on mainland and overseas Chinese women’s writings of this pandemic in the form of diary. Amid the COVID-19 pandemic and geopolitical tensions between the People’s Republic of China (PRC) and United States of America (USA), this daily-based documentary genre appeared on the Internet and provided nuanced individual perspectives in contrast to the grand official narrative and stimulated heated debates. From Ai Xiaoming’s “Wuhan Diary” to Zhang Lan’s “New Yorkers in the Epidemic,” Dou Wanru’s “Notes on New York’s Epidemic” and Wang Ruochong’s “New York Epidemic Diary,” then to Jiang Xue’s “Chang’an Decameron,” I explore how these literary logs have recorded everyday activities and emotional changes during the outbreak, what personal stories of the disadvantaged and marginalized told us about the human cost and social impacts of the disaster beyond the governments’ grand narratives, and why they have become so popular and controversial. Relating the genre to gender, I select five women writers’ diaries that provide their readers with feminine perspectives of the plight. The phenomenon is worth studying as it demonstrates diary-writing as therapy against the trauma of the plague. The multifaceted mode of these writings is made possible by a prosaic style that not only contains a variety of contents but also embraces the voices from all walks of life in different tones, including those of the women writers themselves that negotiate their gender as well as ethnic identity in the difficult time of COVID-19.]
Aku Wuwu 阿库乌雾 (Luo Qingchun 罗庆春)
Bender, Mark. “Poet of the Late Summer Corn: Aku Wuwu and Contemporary Yi Poetry.” In Carlos Rojas and Andrea Bachner, eds., The Oxford Handbook of Modern Chinese Literatures. Oxford: Oxford University Press, 2016, 498-520.
—–. “Aku Wuwu (1964-).” In Christopher Lupke and Thomas E. Moran, eds., Dictionary of Literary Biography, Volume 387: Chinese Poets Since 1949. Farmington Hills, MI: Gale, 2021, 3-13.
Alai 阿来
Baranovich, Nimrod. “Literary Liberation of the Tibetan Past: The Alternative Voice in Alai’s Red Poppies.” Modern China 36, 2 (2010): 170-209.
[Abstract: In 2000, the novel Red Poppies, by the Chinese-Tibetan writer Alai, won the Mao Dun Prize, China’s most prestigious literary award. Yet, to date, few have paid serious attention to the sociopolitical implications of the book, and those who have are unanimously critical, suggesting that it repeats the standard Han Chinese narrative about “Old Tibet.” This article offers a new reading of Alai’s novel, arguing that notwithstanding its many obvious overlaps with the Han Chinese narrative, the novel also contains a subtext with an alternative narrative. Identifying several references to Tibet and its history that challenge the hegemonic Han Chinese narrative, the author proposes that the main agenda in Red Poppies is to undo the hellish stigma that the Chinese government and the Han majority have attached to “Old Tibet” and the concomitant narrative about the “liberation” of Tibet by the Chinese People’s Liberation Army. The author also analyzes the reasons for the multiplicity of narratives in the novel and the implications of its publication in China.]
—–. “Animal Representation in Alai’s Empty Mountains and the Role of Animals in the Remaking of Tibetan Identity and History in Contemporary Tibet.” Modern China 49, 4 (July 2023): 709-43.
[Abstract: In his 2009 novel, Empty Mountains, the famous Sino-Tibetan writer Alai engages with new themes that were almost totally absent from his award-winning 1998 novel, The Dust Settles (titled Red Poppies in English). In addition to the new focus on post-“liberation” Tibet, other major new themes include wild animals, the natural environment in general, and the relationship that the novel’s Tibetan protagonists have with both. This article explores the representation of animals and the human–animal relationship in Empty Mountains and argues that it is instrumental in creating and asserting a new Tibetan identity and history. I then suggest that this representation reflects a major trend in contemporary Tibet to promote concern for animal welfare and more compassionate treatment of animals as part of an ethno-religious effort to reconstruct Tibetan identity in the context of the Chinese domination in Tibet and the growing impact of Chinese modernity in the region. The article hopes to contribute to the growing body of literature on the place of animals and the human–animal relationship in Tibetan culture by demonstrating that the symbolic use of animals in this culture is not confined only to religious rituals. It also provides a powerful case study that illustrates how human perceptions, practices, and narratives that relate to animals both reflect and are used to construct ethnic identities.]
Choy, Howard. “Historiographic Alternatives for China: Tibet in Contemporary Fiction by Tashi Dawa, Alai, and Ge Fei.” American Journal of Chinese Studies. 12, 1 (2005): 65-84.
—–. “In Quest(ion) of an ‘I’: Identity and Idiocy in Alai’s Red Poppies.” In Lauran Hartley and Patricia Schiaffini-Vedani, eds., Modern Tibetan Literature and Social Change. Durham, NC: Duke UP, 2008, 225-235.
—–. “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.
Dragheim, Alexandra. “A Complex Identity: Red Color-coding in Alai’s Red Poppies.” Asian Highlands Perspectives 35 (2014): 75–101.
Gong, Haomin. “A Re-deliberation of Minzu Literature and World Literature: The Literary World in Alai’s Writing.” Journal of World Literature 9, 2 (May 2024): 297-315.
[Abstract: This essay examines the tension between minzu (roughly an equivalent of “ethnic” and “national”) and world literature by investigating Tibetan-Chinese writer Alai’s Gesar and his other writings. For Alai, the tension between minzu and world literature is a moot question. He challenges many assumptions of both minzu and world literature through his metafictional rewriting of Gesar and alerts us to the power of differentiation. Alai’s unique views urge us to reflect on the politics of a non-Western ethnic writer writing in, to, and for the world.]
Li, Dian. “Between History and Phantasmagoria: Critical Nostalgic Lyricism in Alai’s Poetry and Short Fiction.” positions: asia critique 32, 2 (2024): 601–621.
[Abstract: In his poetry and fiction, Alai creates a historiography of Eastern Tibet replete with the grandeur and magnificence of the past occasionally interposed with some oppressive cultural practices. It is a historiography motivated and energized by nostalgic lyricism, which helps locate and construct a symbolic Tibetan ethnicity. This article proposes that Alai’s nostalgic lyricism critically reflects on the inversion of loss and the compensation of lack, thus articulating alternatives against the discontent of the present. In so doing, Alai formulates a minority position against the forces of deterministic historicism and discourse of linear modernity that have constantly placed the minority subject in modern China under threat of erasure.]
Shernuk, Kyle. “Minority Heritage in the Age of Multiculturalism: Zhang Chengzhi Republishes History of the Soul and Alai’s Zhandui Receives No Points.” In David Wang, ed., A New Literary History of Modern China. Cambridge: Harvard University Press, 2017, 934-940.
Rojas, Carlos. “Alai and the Linguistic Politics of Internal Diaspora.” In Jing Tsu and David Der-wei Wang, eds., Global Chinese Literature: Critical Essays. Leiden: Brill, 2010, 115-32.
—–. “Danger in the Voice: Alai and the Sinophone,” in Shu-mei Shih, Chien-hsin Tsai, and Brian Bernards, eds., Reader of Sinophone Literature. New York: Columbia University Press, 2013, 296-303.
Wang, Yiyan. “The Politics of Representing Tibet: Alai’s Tibetan Native-Place Stories.” Modern Chinese Literature and Culture 25, 1 (Spring 2013): 96-130.
Yue, Gang. “As the Dust Settles in Shangri-La: Alai’s Tibet in the Era of Sino-globalization.” Journal of Contemporary China 56 (Aug. 2008): 543-63.
[Abstract: With the English translation of his novel Red Poppies published in 2000, the ethnic Tibetan author Alai has established a prominent presence outside the People’s Republic, apart from the Shangri-La myth that has dominated the Western imagination of Tibet. This essay attempts to unpack the multitudes of meaning of the novel, situate it against a material history of opium in Eastern Tibet, and highlight the dilemma of a leading Tibetan author. Through further discussion of his essays unavailable in English, this essay aims at developing a cultural geography of Alai’s intellectual travel, energized by a Tibetan warrior tradition in his homeland and yet detailed about contemporary social, cultural, and environmental changes. It paints a picture about a Tibet that is neither a paradise nor a human hell, alive in the moment to survive the creative destruction of Sino-globalization that began long before the People’s Liberation Army marched into Lhasa.]
Anni Baobei 安妮宝贝
Yang, Xin. “Cyber Writing as Urban Fashion: The Case of Anni Baobei.” Southeast Review of Asian Studies 28 (2006): 121-129.
—–. “Configuring Female Sickness and Recovery: Chen Ran and Anni Baobei.” Modern Chinese Literature and Culture 23, 1 (Spring 2011): 169-96.
B
Ba Jin 巴金
Ba Jin. (Anarchy Archives, Pitzer College).
“Ba Jin [Ba Kin] anarchiste.” Special issue on Ba Jin of A Contretemps: Bulletin de Critique Bibliographique 45 (March 2013).
Briere, O., S. J. (1942). “Un romancier chinois contemporain Pa Kin.” Bulletin de l’Universite de l’Aurore. Ser. 3, 3. 3 (1942): 577-598.
Chen Tan-chen. “Pa Chin the Novelist: An Interview.” Chinese Literature. 6 (1963): 84-92.
Chen, Danchen. “Ba Jin’s Literary Career.” Beijing Review 25, 16 (1989): 22.
Duke, Michael S. “Ba Jin (1904- ): From Personal Liberation to Party ‘Liberation.'” In Mason Y.H. Wang, ed., Perspectives in Contemporary Chinese Lterature. Michigan: Green River Press, 1983, 49-60.
Feng, Jin. “En/gendering the Bildungsroman of the Radical Male: Ba Jin’s Girl Students and Women Revolutionaries.” In Feng, The New Woman in Early Twentieth-Century Chinese Fiction. West Lafayette, IN: Purdue University Press, 2004, 83-100.
Fiss, Geraldine. “Feminine and Masculine Dimensions of Feminist Thought and Transcultural Modernism in Republican China.” Frontiers of Literary Studies in China 8, 1 (March 2014): 101-24.
[Abstract: This study examines critical essays and imaginative fiction by three key writers of the Republican period: Mao Dun, Ba Jin and Lu Yin. I argue that, while Mao Dun and Ba Jin fuse elements of classical Chinese and modern Western sources so as to create strong heroines and a critique of “new men” for the purpose of revolutionary cultural and national reform, Lu Yin foregrounds an inward examination of the self, multiple narrative points of view and a dialogical perspective which fuses her protagonists’ interior consciousness with external reality as well as other characters’ streams of feeling and thought. My reading of Lu Yin’s texts reveals that she not only succeeds in bringing communion and solace to her readers but also creates “moments of being,” markedly similar to Virginia Woolf’s modernist aesthetics and Walter Benjamin’s mosaic-like “moments of recognition,” which allow her characters to perceive “wholeness” from fragmentary flashes of understanding. These intense moments of awareness enhance Lu Yin’s dialogic imagination and enable her to create discursive feminine narratives that convey the full complexity of women’s consciousness while simultaneously resisting the male realist literary discourse and strengthening her feminist-activist agenda in the national public sphere.]
Galik, Marian. “Pa Chin’s Cold Night: the Interliterary Relations with Zola and Wilde.” In Galik, ed., Milestones in Sino-Western Literary Confrontation (1898-1979). Weisbaden: Otto Harrassowitz, 1986, 201-24.
Granat, Diana. Three Stories of France: Pa Chin and His Early Short Stories. M.A. thesis, University of Pennsylvania, 1972.
Guo, Jie. “From Patriarchal Polygamy to Conjugal Monogamy: Imagining Male Same-Sex Relationship in Modern China.” Modern Chinese Literature and Culture 25, 1 (Spring 2013): 165-205. [deals in part with Family and “Second Wife”]
Hsia, C.T. “Pa Chin.” In C.T. Hsia, A History of Modern Chinese Fiction. 2nd ed. New Haven: Yale University Press, 1971, 237-56, 375-88.
Huang, Yiju. “Coda: Ba Jin: Toward an Ethical Relations to History.” In Huang, Tapestry of Light: Aesthetic Afterlives of the Cultural Revolution. Leiden: Brill, 2014, 129-36.
Kaldis, Nicholas. “Ba Jin’s Family: Fiction, Representation, and Relevance.” In Joshua Mostow, ed, and Kirk A. Denton, China section, ed., Columbia Companion to Modern East Asian Literatures. NY: Columbia UP, 2003, 411-17. Rpt in Kirk A. Denton, ed., Columbia Companion to Modern Chinese Literature. NY: Columbia University Press, 2016, 169-75.
—–. “Ba Jin.” In David Levinson, ed., Encyclopedia of Modern Asia. ed. David Levinson. New York: Scribner’s 2003, vol. 1: 209a-209b; Ref.: vol. 5: 244a-244b.
—–. “Ba Jin.” In Dictionary of Literary Biography–Chinese Fiction Writers, 1900-1949. Ed. Thomas Moran. NY: Thomson Gale, 2007, 310-25.
Kral, Oldrich. “Pa Chin’s Novel The Family.” In Jaroslav Prusek, ed. Studies in Modern Chinese Literature. Berlin: Akademie-Verlag, 1964, 98-112.
Kubler, Cornelius. “Europeanized Grammer in Ba Jin’s Novel Jia.” Journal of the Chinese Language Teachers Association 20, 1 (Feb. 1985): 39-66.
Lang, Olga. Pa Chin and his Writings: Chinese Youth Between the Two Revolutions. Cambridge: Harvard UP, 1967.
Lechowska, Teresa. “In Search of a New Ideal: The Metamorphoses of Pa Chin’s Model Heroes.” Archiv Orientalni 42 (1974): 310-22.
Mao, Nathan. Pa Chin. Boston: Twayne, 1978.
—–. “Pa Chin’s Journey in Sentiment: From Hope to Despair.” Journal of the Chinese Language Teachers Association 11 (1976): 131-37.
Ng, Mau Sang. “Ba Jin and Russian Literature.” Chinese Literature: Essays, Articles, Reviews 3, 1 (Jan 1981): pp. 67-92. [available on PROJECT MUSE]
Pino, Angel. “Ba Jin traduteur.” 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, 45-110. Tr. as “Ba Jin the Translator.” In Peng Hsiao-yen and Isabelle Rabut, eds., Modern China and the West. Leiden: Brill, 2014, 28-105.
Shaw, Craig. “Changes in The Family: Reflections on Ba Jin’s Revisions of Jia.” Journal of the Chinese Language Teachers Association 34, 2 (1999): 21-36.
Song, Mingwei. “The Flowering of Life: Ba Jin’s Anarchist Ideals and Fictional Representation.” In Song, Young China: National Rejuvenation and the Bildungsroman, 1900-1959. Cambridge, MA: Harvard University Asia Center, 2015, 187-236.
—–. “Ba Jin Begins to Write Anarchist Novels.” In David Der-wei Wang, ed., A New Literary History of Modern China. Cambridge, MA: Harvard University Press, 2017, 331-36.
Stapleton, Kristin. Fact in Fiction: 1920s China and Ba Jin’s Family. Stanford: Stanford University Press, 2016. [MCLC Resource Center review by Johanna S. Ransmeier]
[Abstract: Historical novels can be windows into other cultures and eras, but it’s not always clear what’s fact and what’s fiction. Thousands have read Ba Jin’s influential novel Family, but few realize how much he shaped his depiction of 1920s China to suit his story and his politics. In Fact in Fiction, Kristin Stapleton puts Ba Jin’s bestseller into full historical context, both to illustrate how it successfully portrays human experiences during the 1920s and to reveal its historical distortions. Stapleton’s attention to historical evidence and clear prose that directly addresses themes and characters from Family create a book that scholars, students, and general readers will enjoy. She focuses on Chengdu, China, Ba Jin’s birthplace and the setting for Family, which was also a cultural and political center of western China. The city’s richly preserved archives allow Stapleton to create an intimate portrait of a city that seemed far from the center of national politics of the day but clearly felt the forces of—and contributed to—the turbulent stream of Chinese history.]
Tang, Xiaobing. “The Last Tubercular in Modern Chinese Literature: On Ba Jin’s Cold Nights.” In Chinese Modernism: The Heroic and the Quotidian. Durham: Duke UP, 2000, 131-60.
Bai Fengxi 白峰溪
Chen, Xiaomei. “A Stage of Their Own: The Problematics of Women’s Theater in Post-Mao China.” Journal of Asian Studies 56, 1 (1997): 3-25.
Tung, Constantine. “Tensions of Reconciliation: Individualistic Rebels and Social Harmony in Bai Fengxi’s Plays.” In Tung, ed., Drama in the People’s Republic of China. Albany: SUNY Press, 1987, 233-53.
Bai Hua 白桦
Dolezalova, Anna. “Two Waves of Criticism of the Film Script Bitter Love and the Writer Bai Hua in 1981.” Asian and Africn Studies 19 (1983): 27-54.
Duke, Michael S. “A Drop of Spring Rain: The Sense of Humanity in Pai Hua’s Bitter Love (K’u-lien).” CLEAR 5 (1983): 67-89.
Kraus, Richard. “Bai Hua: The Political Authority of a Writer.” In Carol Lee Hamrin and Timothy Cheek, eds., China’s Establishment Intellectuals. Armonk, NY: M.E. Sharpe, 1986, 185-211.
Martin, Helmut. “The Drama Tragic Song of Our Time (Shidai de beige): Functions of Literature in the Eighties and Their Socio-political Limitations.” In Constantine Tung and Colin Mackerras ed., Drama in the People’s Republic of China. Albany: SUNY Press, 1987, 254-81.
Spence, Jonathan. “Film and Politics: Bai Hua’s Bitter Love.” In Spence, Chinese Roundabout: Essays in History and Culture. NY: W.W. Norton, 1992, 277-92.
Bai Wei 白薇
Dooling, Amy D. “Desire and Disease: Bai Wei and the Literary Left of the 1930s.” In Charles Laughlin, ed., Contested Modernities in Chinese Literature. NY: Palgrave Macmillan, 2005, 51-60.
Findeisen, Raoul David. “Autobiographie als Collage–‘Tragischer Lebenslauf’ von Bai Wei.” In Christina Neder et al. eds., China in Seinen Biographischen Dimension: Gedenkscrift fur Helmut Martin. Weisbaden: Harrossowitz Verlag, 2001, 113-28.
Liu, Jianmei. “Feminizing Politics: Reading Bai Wei and Lu Yin.” Journal of Modern Literature in Chinese 5, 2 (2002): 55-80.
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.
Bai Xianyong (Pai Hsien-yung) 白先勇
Chow, Rey. “‘Love Me, Master, Love Me, Son’: A Cultural Other Pornographically Constructed in Time.” In John Hay, ed., Boundaries in China. London: Reaktion Books, 1994, 243-56.
Eom, Ik-sang. “The Death of Three Men: Characters in Pai Hsien-yung’s Love Stories.” Chinese Culture 32, 1 (1991): 83-98.
Guo, Jie. “Where Past Meets Present: The Emergence of Gay Identity in Pai Hsien-yung’s Niezi.” MLN 126, no. 5 (Dec. 2011): 1049–82.
Hillenbrand, Margaret. “Voices of Empire in Dubliners and Taibeiren: Titles, Taiwan, and Comparability.” In Shu-mei Shih and Ping-hui Liao, eds., Comparatizing Taiwan. London: Routledge, 2015, 190-216.
Hsia, C. T. “The Continuing Obsession with China.” Review of National Literatures 6, 1 (1975). Rpt. in “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, Hans Tao-Ming. “From Glass Clique to Tongzhi Nation: Crystal Boys, Identity Formation, and the Politics of Sexual Shame.” positions: east asia cultures critique 18, 2 (Fall 2010): 373-98.
Lau, Joseph S.M. “Celestials and Commoners: Exiles in Pai Hsien-yung’s Stories.” Monumenta Serica 36 (1984-85): 409-23.
—–. “Crowded Hours’ Revisited: The Evocation of the Past in Taipei Jen.” Journal of Asian Studies 35, 1 (1975): 31-47.
Lee, Mabel. “In Lu Hsun’s Footsteps…Pai Hsien-yung, A Modern Chinese Writer.” Journal of the Oriental Society of Australia 9 (1972/3): 74-83.
Lin, Pei-yin. 2018, ”Masterpieces of Taiwan Fiction: Chen Yingzhen and Bai Xianyong.” In Mingdong Gu, ed., The Routledge Handbook of Modern Chinese Literature. London and New York: Routledge, 2018, 631-42.
Liou, Liang-Ya. “At the Intersection of the Global and the Local: Representations of Male Homosexuality in Fictions by Pai Hsien-yung, Li Ang, Chu Tien-wen and Chi Ta-wei.” Postcolonial Studies 6, 2 (2003): 191-206.
Lupke, Christopher. “(En)gendering the Nation in Pai Hsien-yung’s Wandering in the Garden Waking from a Dream.” Modern Chinese Literature 6, 1 /2 (1992): 157-178.
Martin, Fran. “Nationalism, Reproduction, Homosexuality: Political Critiques of Crystal Boys.” In Martin, Situating Sexualities: Queer Representations in Taiwanese Fiction, Film and Public Culture. Hong Kong: University of Hong Kong Press, 2003, 47-72.
McFadden, Susan. “Tradition and Talent: Western Influence in the Works of Pai Hsien-yung.” Tamkang Review 9, 3 (1979): 315-44.
Ou-yang, Tzu. “The Fictional World of Pai Hsien-yung.” In Jeannette L. Faurot, ed., Chinese Fiction from Taiwan: Critical Perspectives. Bloomington: Indiana UP, 1980, 166-78.
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, Bai’s story “New Year’s Eve”]
—–. “Bai Xianyong.” In Thomas Moran and Ye (Dianna) Xu, eds., Chinese Fiction Writers, 1950-2000. Dictionary of Literature Biography, vol. 370. Detroit: Thomson Gale, 2013, 3-17.
Shi, Donglai Flair. “Coming out of History and Coming Home: Homesexual Identification in Pai Hsien-yung’s Crystal Boys.” Chinese Literature: Essays, Articles, Reviews 39 (2017): 135-52.
[Abstract: Crystal Boys, as the first Chinese novel that depicts the life struggles in the homosexual community, grew out of the particular socio-historical environment of Taiwan in the 1970s, an environment of institutionalized patriarchy and homophobia. It is a story of survival and of the claiming of new forms of identity and relationality: its characters not only subvert oppressive discourses through appropriation and imagination, but also reaffirm their filial piety through remembrance and reconstruction, thus defying the essentializing force imposed by mainstream society. For these reasons, the novel has attracted abundant commentary, which is here discussed in light of the transformations of Taiwanese society.]
Stuckey, Andrew. “Tradition in Exile: Allusion and Quotation in Bai Xianyong’s Taipei People.” In Stuckey, Old Stories Retold: Narrative and Vanishing Pasts in Modern China. Lanham, MD: Lexington Books, 2010, 99-112.
Weinstein, John B. “1997, May 3: ‘The First Modern Asian Gay Novel.'” In David Der-wei Wang, ed., A New Literary History of Modern China. Cambridge, MA: Harvard University Press, 2017, 850-55.
Yang, Winston L.Y. “Pai Hsien-yung and Other Emigre Writers.” In Winston L.Y. Yang and Nathan K. Mao, eds., Modern Chinese Fiction: A Guide to Its Study and Appreciation Essays and Bibliographies. Boston: G.K. Hall and Co., 1981, 67-78.
Zhu, Yun. “Recollecting Ruins: Republican Nanjing and Layered Nostalgia in Bai Xianyong’s Taipei People and Ye Zhaoyan’s Nanjing 1937: A Love Story.” Frontiers of Literary Studies in China 11, 2 (2017): 375-397.
Ban Yu 班宇
Qi, Wang, “Frozen Waters and Deathly Wells: Ban Yu’s Fiction of Northeast China.” MCLC Resource Center Publication (September 2019).
Bao Mi 保密 (see also Wang Lixiong)
FlorCruz, Jaime A. “Secrets of a Hot Novel.” Time (March 30, 1992). [On Bao Mi’s Yellow Peril (黄祸)]
Bao Tianxiao 包天笑
Chen, Hung-shu. “Chinese Whispers: A Story Translated from Italian to English to Japanese and, finally, to Chinese.” Dongya guannian shi jikan 東亞觀念史集刊 8 (2015): 267-307.
Link, Perry. “An Interview with Pao T’ien-hsiao.” Renditions 17 /18: 241-253.
Ming, Feng-ying. “Bao Tianxiao.” In Dictionary of Literary Biography–Chinese Fiction Writers, 1900-1949. Ed. Thomas Moran. NY: Thomson Gale, 2007, 26-32.
Sibau, Maria Franca. “Portrait of the Artist as a Schoolboy: Bao Tianxiao’s Creative Interventions in Little Xin’s School Journal.” Modern Chinese Literature and Culture 28, 2 (Fall 2016): 1-42.
Baobei, Anni 安妮宝贝 (see Anni Baobei)
Baozhen 保真 (Pao-chen)
“Between Two Generations” [兩代之間]. Tr. Chu-yun Chen. Tr. Yuan-lin Huang. In Ching-Hsi Perng and Chiu-kuei Wang, eds., Death in a Cornfield and Other Stories from Taiwan. Hong Kong: Oxford University Press, 1994, 163-80.
Bei Dao (Zhao Zhenkai 赵振开) 北岛
Ashcroft, Bill. “Including China: Bei Dao, Resistance and the Imperial state.” Textual Practice 27, 3 (2013): 357—377
Bei Dao. Website prepared in conjunction with the Stanford Presidential Lectures and Symposia in the Humanities and the Arts.
Bei Dao Biography (Pegasos Website, Findland)
Edmond, Jacob. “Translating Theory: Bei Dao, Pasternak, and Russian Formalism.” In van Crevel, Maghiel and Lucas Klein, eds. Chinese Poetry and Translation: Rights and Wrongs. Amsterstam: Amsterdam University Press, 2019, 135-58.
—–. “Literature as Translation: Bei Dao beyond World Poetry.” Prism 20, 1 (2023): 139-62.
[Abstract: The term world literature is often used to name the small subset of literary texts that are translated into many languages and circulate globally. One might see the work of the widely translated, globe-trotting poet Bei Dao 北島 (pen name of Zhao Zhenkai 趙振開) as epitomizing this narrow and still predominant conception of world literature as literature that travels beyond the borders of its nation and language of origin. A literary work need not, however, be translated to participate in a literary context shaped by translation. From its outset in the early 1970s, many years before it was translated, Bei Dao’s work developed through translation, through both his reading of translated texts and his connecting of translation to literary creation. Bei Dao’s career illustrates how translation is not secondary to the creation and reception of a literary work in its home language, place, and time but is a fundamental aspect of contemporary literature. It exemplifies the falsity of the opposition between the local and global, between national literatures and literature that circulates in translation, between Chinese poetry and the world. Fully recognizing the role of translation in literature means moving beyond notions that limit world literature or world poetry to those texts that travel beyond a nation or language and instead recognizing translation as a fundamental part of contemporary literature’s continuous negotiation of multiple relations to and in the world.]
Huang, Yibing. “‘Green, How I Love You Green’: Lorca, Bei Dao’s Waves, and Sleepwalking in History.” World Literature Today 82, 6 (Nov.-Dec. 2008): 32-35.
“An Interview with Visting Artist Bei Dao: Poet in Exile.” The Journal of the International Institute 2, 1 (Fall, 1994).
Janssen, Ronald R. “What History Cannot Write: Bei Dao and Recent Chinese Poetry.” Critical Asian Studies 34, 2 (2002): 259-77.
Li, Dian. “Ideology and Conflicts in Bei Dao’s Poetry.” Modern Chinese Literature 9, 2 (1996): 369-86.
—–. “Translating Bei Dao: Translatability as Reading and Critique.” Babel, the Official Journal of the International Federation of Translators 44, 4 (1999): 289-303.
—–. The Chinese Poetry of Bei Dao, 1978-2000: Resistance and Exile. Albany: Edwin Mellen Press, 2006. [MCLC Resource Center review by Paul Manfredi]
—–. “Unreal Images: Bei Dao’s Dialogue with the Real.” Concentric: Literary and Cultural Studies 32, 1 (Jan. 2006): 197-218.
—–. “Paradox and Meaning in Bei Dao’s Poetry.” positions: east asia cultures critique 15, 1 (Spring 2007): 113-36.
—–. “Bei Dao (1949-).” In Christopher Lupke and Thomas E. Moran, eds., Dictionary of Literary Biography, Volume 387: Chinese Poets Since 1949. Farmington Hills, MI: Gale, 2021, 14-21.
Lin, Min. “The Search fro the ‘Unknowable’ and the Quest for Modernity in Contemporary Chinese Intellectual Discourse: A Philosophical Interpretation of Bei Dao’s Short Story ’13 Happiness Street’.” Journal of the Oriental Society of Australia 22-23 (1990-91): 57-70.
Lin, Min and Maria Galikowski. “Bei Dao’s ’13 Happiness Street’ and the Young Generation’s Quest for the ‘Unknowable.'” 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, 89-102.
Lin, Nikky. “The Poetics of Exile: The Cases of Shang Qin and Bei Dao.” In Paul Manfredi and Christopher Lupke, eds., Chinese Poetic Modernisms. Leiden: Brill, 2019, 181-208.
McDougall, Bonnie S. “Bei Dao’s Poetry: Revelation and Communication.” Modern Chinese Literature 1, 2 (1985): 225-52.
—–. Zhao Zhenkai’s Fiction: A Study in Cultural Alienation.” Modern Chinese Literature 1, 1 (1984): 103-30.
—–. “Quest and Confrontation: The Poetic and Fictional Voices of Bei Dao/Zhao Zhenkai.” In Bert Edström et al. eds., Vägar till Kina: Göran Malmqvist 60 år, Orientaliska studier, 1984: 49-50.
—– and Suzette Cooke. “Two Stories by Zhao Zhenkai: The Poetry and Fiction of Bei Dao/Zhao Zhenkai.” Renditions 19/20 (1983): 122-124.
Owen, Stephen. “What Is World Poetry?” The New Republic (Nov. 19, 1990): 28-32.
Patton, Simon. “Review Article on Bei Dao.” Modern Chinese Literature 9, 1 (1995): 139-145.
Pozzana, Claudia. “Distances of Poetry: An Introduction to Bei Dao.” positions: east asia cultures critique 15, 1 (Spring 2007): 91-111. [Project Muse link]
Saussy, Han. “Bei Dao and His Audiences.” Stanford Presidential Lectures and Symposia in the Humanities and the Arts.
Suzuki, Masahisa. “Literary Activities among the ‘Educated Youth’: Background on Bei Dao’s Waves.” Frontiers of Literary Study in China 11, 3 (2017): 462-87.
[Abstract: This paper discusses how the literature was created based on the experiences of the “Educated Youth” in the reform and opening-up era. Firstly, the author summarizes the network and literary activities of the Educated Youth. Second, he analyzes the poetry of literary magazines that they expressed their own experiences in the reform era, and thirdly, he discusses the trial by the magazine’s editorial staff to describe their experiences in fiction and its difficulties. Furthermore, this paper examines the origin of Chinese literature on 1980s, especially the origin of modernism literature in China.]
Tan, Chee-Lay. Constructing a System of Irregularities: The Poetry of Bei Dao, Duoduo and Yang Lian. Ph. D. diss. Cambridge: Cambridge University, 2007.
Tang, Xiaobing. “The Ocular Turn, Misty Poetry, and a Postrevolutionary Imagination: Rereading ‘The Answer’ by Bei Dao.” Prism: Theory and Modern Chinese Literature 16, 1 (March 2019): 62-84.
[Abstract: “The Answer,” a poem by Bei Dao first published in 1978, marks the emergence of a defiant voice in contemporary Chinese poetry and asserts skepticism as the political stance of a young generation in post– Cultural Revolution China. It also heralds a historic transition from an era of sonic agitation to an aesthetics based on visual perception and contemplation. This rereading of Bei Dao’s canonical poem and other related texts goes back to the late 1970s, when the political implications of the human senses were firmly grasped and heatedly debated. The author shows that an ocular turn occurs in “The Answer” and drives the aesthetic as well as political pursuits of a new generation of poets. He further argues that, in a moment still enthralled with a revolutionary sonic culture, Misty poetry disavowed aural excitement and was part of the reconditioning of the human senses in preparation for a postrevolutionary order and sensibility.]
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.
Wedell-Wedellsborg, Anne: “Secrecy and Truth — an interview with Bei Dao.” In S. Clausen, R. Starrs and A. Wedell-Wedellsborg eds., Cultural Encounters: China, Japan and the West. Aarhus, Aarhus University Press, 1995, 227-240.
Williams, Philip. “A New Beginning for the Modernist Chinese Novel: Zhao Zhenkai’s Bodong.” Modern Chinese Literature 5, 1 (1989): 73-90.
—–. “Dystopian Warning: Zhao Zhenkai’s ‘No. 13 Happiness St.'” Journal of the Chinese Language Teachers Association 25, 1 (1990): 57-66.
Bei Tong 北同 (Beijing Tongzhi 北京同志)
Bao, Hongwei. “Haunted Chinese Gay Identity: Sexuality, Masculinity, and Class in Beijing Story.” In Derek Hird and Geng Song, eds., The Cosmopolitan Dream: Transnational Chinese Masculinities in a Global Age. Hong Kong: Hong Kong University Press, 2018, 73-86.
Bi Feiyu 毕飞宇
Li Jingze. “Bi Feiyu’s Voice.” Tr. Su Jing. Chinese Literature Today (Summer 2010): 13-15.
Bi Shumin 毕淑敏
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 Disease: Writing Illness, the Mind and Body in Modern China. Leiden: Brill, 2016, 151-76.
Gong, Haoming. “Unmasking of Nationalism: Drug Addiction and Its Literary Imagination in Bi Shumin’s Novel.” In Howard Y. F. Choy, ed., Discourses of Disease: Writing Illness, the Mind and Body in Modern China. Leiden: Brill, 2016, 123-50.
He, Zhenbang. “Bi Shumin’s Stories: Submersed in Reality.” Chinese Literature (Spring 1997).
Knight, Sabina. “Cancer’s Revelations: Malignancies and Therapies in a Recent Chinese Novel.” Literature and Medicine 28, 2 (Fall 2009): 351-370.
[Abstract: In Bi Shumin’s un-translated novel, Save the Breast (2003), marketed as China’s first psychotherapy novel, multiple storylines suggest diverse paths to healing. To explore the complex phenomenology of breast cancer, this paper analyzes the novel’s treatment of the characters’ distinct predicaments, the large-scale social ills they reveal, and ways therapy cultures may alleviate or exacerbate local forms of suffering. Though the novel celebrates group therapy and communicative exercises, it challenges the individualistic psychology of many therapeutic paradigms. Following modern Chinese fiction’s long tradition of using illness for allegory, breast cancer is here also a metaphor for sickness at the heart of a nation racked by rapid social and economic change. Analyzing the novel’s scrutiny of biomedical and other forms of power, the paper addresses deep distress surrounding not only breast cancer but also Cultural Revolution trauma, seismic market transitions, domestic violence, prostitution, and gender stereotyping.]
Yu, Xiaomei. “Why You Should Read Bi Shumin’s Novel Coronavirus.” MCLC Resource Center Publication (March 2020)
Bian Zhilin 卞之琳
Chen Bingying 陈丙莹. Bian Zhilin pingzhuan 卞之琳评传 (Critical biography of Bian Zhilin). Chongqing: Chongqing, 1998.
Fung, Mary M. Y. “Editor’s Introduction.” In Bian Zhilin, The Carving of Insects. HK: Renditions Books, 2006, 11-34.
Haft, Lloyd. Pien Chih-lin: A Study in Modern Chinese Poetry. Dordrecht: Foris Publications, 1983.
Hsu, Sang-fu. “The Less Mystery the Better.” In Hualing Nieh, ed., Literature of the Hundred Flowers, Volume II: Poetry and Fiction. NY: Columbia UP, 1981, 195-98.
Jung, Woo-Kwang. A Study of ‘The Han Garden Collection: New Approaches to Modern Chinese Poetry. Ph.D. diss. Seattle: University of Washington, 1997.
Kong, Xueying. “Change and Un-change: Bian Zhilin’s Struggles in the War Time, 1937-1958.” MA thesis. Columbus: The Ohio State University, 2016.
Liao, Christine M. Bian Zhilin and Ai Qing: A Comparative Study of Selected Poems, with Reference to Focus and Classical Cohesion. Ph. D. diss. University of Melbourne, 1982.
Liu, Lang. “We Don’t Like This Poetic Style.” In Hualing Nieh, ed., Literature of the Hundred Flowers, Volume II: Poetry and Fiction. NY: Columbia University Press, 1981, 192-94.
Xia, Xiaoyu. “The Necessity of Rhyme: Wen Yiduo, Bian Zhilin, and Modern Chinese Prosody.” Chinese Literature: Essays, Article, Reviews 45 (2023): 139-58.
Bing Xin 冰心
Admussen, Nick. “Genre Occludes the Creation of Genre: Bing Xin, Tagore, and Prose Poetry.” In Carlos Rojas and Andrea Bachner, eds., The Oxford Handbook of Modern Chinese Literatures. Oxford: Oxford University Press, 2016, 578-94.
Anderson, Colena M. “A Study of Two Modern Chinese Women: Ping Hsin and Ting Ling.” Ph.D. Diss. Pomona: Claremont Graduate School and University Center, 1954.
Bien, Gloria. “Images of Women In Ping Hsin’s Fcition.” In A. Palandri, ed. Women Writers of 20-Century China. Eugene: Asian Studies Publications, University of Oregon, 1982, 19-40.
Bouskova, Marcela. “The Stories of Ping Hsin.” In Jaroslav Prusek, Studies in Modern Chinese Literature. Berlin: Akademie-Verlag, 1964, 114-129.
—–. “On the Origin of Modern Chinese Prosody: An Analysis of the Prosodic Components in the Works of Ping Hsin.” Archiv Orientalni 32, 5 (1946): 619-43.
Chen, Mao. “In and Out of Home: Bing Xin Recontextualized.” In Williams, Philip F., ed., Asian Literary Voices: From Marginal to Mainstream. Amsterdam University Press, 2010, 63-70.
Canuti, Sylivia. “Western Values in the Early 20th Century China.” Asian and African Studies XVI, 2 (2012): 47–64.
[Abstract: Among Chinese writers of the 20th century, Xie Wanying 谢婉莹 (1900–1999), known with her pen name Bing Xin 冰心, has been considered by literary critics as “the writer of love” and “the philosopher of love”. Nevertheless, this label seems to have ignored an element that could let us identify important conflicts within her works, that can be attributed to her contacts and relations with people and institutions linked to the Christian faith. Therefore, in the first period of Bing Xin’s literary production (1920–1930), this peculiar aspect of Western culture, the Christian belief, seems to be for her the expression of a definitely alternative and unconventional way to achieve truth in the early 20th century China.]
Galik, Marian. “Studies in Modern Chinese Intellectual History: VI. Young Bing Xin (1919-1923).” Asian and African Studies [Brataslava] 2, 1 (1993): 41-60.
Giuffré, Salvatore. “The ‘Little Girl’ and the Power of Recollection as Poetic Style in the Writings of Bing Xin.” Asian Journal of Literature, Culture and Society 9, no. 2 (2020): 36-53.
Larson, Wendy. “Female Subjectivity and Gender Relations: The Early Stories of Lu Yin and Bing Xin.” 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.
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.
Pao, King-li. “Ping Hsin, A Modern Chinese Poetess.” Literature East and West 8 (1964): 58-72.
Stuckey, Andrew. “Female Relations: Voiceless Women in ‘Liuyi jie’ and ‘Zhufu.’ Frontiers of Literary Study in China 11, 3 (2017): 88 – 509.
[Abstract: Although the notion of the new woman in modern China has received much scholarly consideration, her usually illiterate rural sister has not received nearly as much critical attention. With the exception of Lu Xun’s iconic Xianglin sao—from his 1924 story “Zhufu” (The New Year’s Sacrifice)—almost no depictions of traditional women have been critically appraised in current scholarship. This seems unfortunate when such women can be considered to be both the opposite of and the raw material from which the new woman would spring. This article seeks to begin to address this question by juxtaposing Xianglin sao with another more unfamiliar May Fourth depiction of a rural woman: Liuyi jie (from Bing Xin’s story of the same name). By situating Liuyi jie and Xianglin sao firmly within the family structure, the resulting comparison of both stories reveals the structural obstacles that inhibited traditional women from becoming fully active subjects in the new China. The comparison also shows how the May Fourth project established a new woman, one capable of ushering in a newly modern China, whose very existence relies on the discursive silencing of old-style women unable to make this modern transition.]
Wang, Bo. “Writing to Connect Minds: Bing Xin as a Feminist Rhetorician.” College Composition and Communication 60, 4 (June 2009): W66-76.
Wang, Lingzhen. “Bing Xin.” In Dictionary of Literary Biography–Chinese Fiction Writers, 1900-1949. Ed. Thomas Moran. NY: Thomson Gale, 2007, 33-42.
Yan, Haiping. “The Stars of Night: Bing Xing and the Literary Constellation of the 1920s.” In Yan, Chinese Women Writers and the Feminist Imagination, 1905-1948. London: Routledge, 2006, 69-99.
Bo Yang 柏杨 (Deng Kebao 鄧克保)
Lancashire, Edel. “Popeye and the Case of Guo Yidong, alias Bo Yang.” The China Quarterly 92 (1982): 663-86.
Lin Pei-yin. “Alternative Chineseness: “War Experience and National Longing in Pan Lei’s Red River Trilogy (1952) and Deng Kebao’s Alien Lands (1961).” In Jeremy Taylor and Lanjun Xu, eds., Chineseness and the Cold War: Contested Cultures and Disapora in Southeast Asia and Hong Kong. London: Routledge, 2022, 170-87.
Lin, Tzu-yao, ed. One Author is Rankling Two Chinas. Taipei: Sing Kung Book Co., 1989.
C
Cai Qijiao 蔡其矫
Hsiao, Hsiang. “Which Thoughts, Which Feelings?” In Hualing Nieh, ed., Literature of the Hundred Flowers, Volume II: Poetry and Fiction. NY: Columbia UP, 1981, 206-10.
Cai Yi 蔡仪
Button, Peter. Aesthetic Formation and the Image of Modern China: The Philosophical Aesthetics of Cai Yi. Ph.d. diss. Ithaca: Cornell Univerity, 2000.
—–. “Global/Modern Figurations of the Type in Cai Yi, Heidegger, and Whitman.” In Peter Button, Configurations of the Real in Chinese Literary and Aesthetic Modernity. Leiden: Brill, 2009. [MCLC Resource Center Publications review by Thomas Moran]
Cai Yuanpei 蔡元培
Duiker, William J. Ts’ai Yuan-p’ei, Educator of Modern China. University Park, PA: The Pennsylvania University Press, 1977.
Li, Guangyi. “New Year’s Dream: A Chinese Anarcho-Cosmopolitan Utopia.” Utopian Studies 24, 1 (2013): 89-104.
[Abstract: This article is an in-depth analysis of “New Year’s Dream” (1904), a utopian story by Cai Yuanpei, one of the most prominent Chinese intellectuals in the twentieth century. In combination with the story’s late Qing milieu, it explores how Cai Yuanpei maps his contemporary world and designs a better one. Based on detailed discussions of the linear progressive future history in the story, this article values “New Year’s Dream” for its landmark importance in the transition of Chinese utopian thought and critically analyzes its theme of dual revolution—a national revolution leading to a world revolution, which is significant for our understanding of world utopianism and anarchism.]
Lubot, Eugene. “Ts’ai Yuan-p’ei and the May Fourth Incident: One Liberal’s Attitude Toward Student Activism.” Chinese Culture: A Quarterly Review 13, 2 (1972): 73-82.
Wang, Ban. “Aesthetics, Morality, and the Modern Community: Wang Guowei, Cai Yuanpei, and Lu Xun.” Critical Inquiry 46, 3 (2020): 496-514.
[Abstract: In Mao’s era, China’s policy makers and intellectuals viewed aesthetic experience and thought as handmaidens in the service of the political order. As China opened up and engaged more intensely with modern traditions of the West, aesthetic thinkers such as Li Zehou critiqued the subordinated role of aesthetics and reasserted notions of aesthetic autonomy and liberal humanism, calling for the separation of arts and literature from political, social, and moral concerns. This truncated aesthetic view stems from a modernist version of Western aesthetics that favors sense and sensibility as the sole sources of aesthetic value—a view that considerably diminishes the horizon of concerns inherent in traditional and modern Chinese aesthetic thoughts. This article seeks to recapture a repoliticized aesthetics by considering the ways early twentieth-century Chinese thinkers linked aesthetic thoughts to moral and political considerations in the reconstruction of China as a modern nation-state. Instead of transcendent, pure aesthetics over and above political processes and social experience, prominent aesthetic thinkers like Wang Guowei, Cai Yuanpei, and Lu Xun invoked traditional Chinese aesthetic legacies and reconsidered intimate and necessary ties between aesthetic categories and broader concerns about cultural crises, moral reform, and nation building.]
Zarrow, Peter. “Cai Yuanpei’s Politico-Philosophical Languages.” In Ori Sela, Zvi Ben-Dor Benite, and Joshua A. Fogel, eds., Time and Language: New Sinology and Chinese History. Honolulu: University of Hawaii Press, 2023.
Can Xue 残雪
Almeida, Alexis. “Can Xue: This New Literature Has an Old Soul.” Words without Borders.
Bachner, Andrea. “New Spaces for Literature: Can Xue and Helene Cixous on Writing.” Comparative Literature Studies 42, 3 (2005): 155–182.
Bosha, Francis. “Ariyoshi Sawako, Mukoda Kuniko, and Can Xue: Three Modern Women Writers of Japan and China.” The Journal of Kawamura Gakuen Woman’s University 8, 1 (1997): 19–27.
Cai, Rong. “In the Madding Crowd: Self and Other in Can Xue’s Fiction.” China Information 11, 4 (Spring 1997): 41-57.
Can Xue’s Blog (Sina.com)
Can Xue. Contemporary Chinese Writers Project. Cambridge: MIT.
Chen, Jianguo. “The Aesthetics of Transposition of Reality, Dream, and Mirror: A Comparative Perspective on Can Xue.” Comparative Literature Studies 34, 4 (1997): 348–375.
—–. “Literary Imagination and the Politics of Memory: China.” Review of National Literatures and World Report (1999): 58–73.
—–. “Against Silence: The Cultural Revolution and Literary Memory.” MLA International Bibliography (2000): 163–181.
Dai Jinhua 带锦华. “Can Xue: Mengmo xurao de xiaowu” 残雪:梦魇萦绕的小屋 (Can Xue: a little hut surround by nightmares). Nanfang wentan 5 (2000): 9-17.
Ducornet, Rikki. The Monstrous and the Marvelous. San Francisco, CA: City Lights Books, 1999. [Can Xue is discussed in the title chapter of this book of essays.]
Edwards, Louise. “Broadening Horizons: Representations of Women in Asia.” Bulletin of Concerned Asian Scholars 24 (1992). [Article includes commentary on Can Xue’s Dialogues in Paradise]
Evans, Megan. “Translating Instability: Adapting and Staging Madam X and Mister Q (based on Can Xue’s Five Spice Street).” MCLC Resource Center Publication (March 2015).
Foley, Todd. “Can Xue.” In Thomas Moran and Ye (Dianna) Xu, eds., Chinese Fiction Writers, 1950-2000. Dictionary of Literature Biography, vol. 370. Detroit: Thomson Gale, 2013, 18-22.
—–. “A Breakthrough Performance: Being Human on Can Xue’s Five Spice Street.” Frontiers of Literary Studies in China 10, 4 (2016): 598-622.
Griffith, Jonathan. “Can Xue Interview.” Chinese Literature Today (Summer 2010): 80-85.
Haddon, Rosemary. “Writing Spirituality in the Works of Can Xue: Transforming the Self.” New Zealand Journal of Asian Studies 13, 2 (Dec. 2011): 68-81.
Halfmann, Roman. “Literature of the Soul: Die Kafka-Rezeption der chinesischen Autorin Can Xue.” Lili – Zeitschrift für Literaturwissenschaft und Linguistik 39, 154 (2009): 159–172.
Ho, Shuwei. “Madness in Modern Chinese Literature: Yu Hua and Can Xue.” Sun Yat-sen Journal of Humanities 11 (2000): 97–117.
Innes, Charlotte. “Foreword.” In Old Floating Cloud: Two Novellas by Can Xue. Trs. Ronald R. Janssen and Zian Zhang. Evanston: Northwestern Press University, 1991.
Janssen, Ronald R. “Afterword: Can Xue’s ‘Attacks of Madness.'” In Dialogues in Paradise. Tr. by Ronald R. Janssen and Jian Zhang. Evanston: Northwestern University Press, 1989, 163–173.
Li, Tianming. “Writing Fiction for Vengeance: The Symbolic Meaning of Can Xue’s ‘Hut on a Hill.'” B.C. Asian Review 7 (1993).
—–. “A Tormented Soul in a Locked Hut: Can Xue’s Stories.” MA Thesis. Vancouver: University of British Columbia, 1994.
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.
Lu, Tonglin. “Can Xue: What is so Paranoid in Her Writing.” In Lu, Gender and Sexuality in Twentieth Century Chinese Literature and Society. Albany: SUNY Press, 1993, 175-204. Rpt. in Misogyny, Cultural Nihilism and Oppositional Politics: Contemporary Chinese Experimental Fiction. Stanford: Stanford University Press, 1995, 75-103.
McCandlish, Laura. “Stubbornly Illuminating ‘the Dirty Snow that Refuses to Melt’: A Conversation with Can Xue.” MCLC Resource Center Publication, 2002.
Møller-Olsen, Astrid. “Sounding the Dream: Crosscultural Reverberations between Can Xue and Jorge Luis Borges.” Canadian Review of Comparative Literature 47, 4 (Dec. 2020): 463-79.
Pesaro, Nicoletta. “(Un)natural Landscapes and Can Xue’s Reinterpretation of ‘Tianrenheyi’.” In Riccardo Moratto, Nicoletta Pesaro, and Di-kai Chao, eds., Ecocriticism and Chinese Literature: Imagined Landscapes and Real Lived Spaces. London: Routledge, 2022, 129-41.
Posborg, Susanne. “Can Xue: Tracing Madness.” In Wendy Larson and Anne Wedell-Wedellsborg, eds., Inside Out: Modernism and Postmodernism in Chinese Literary Culture. Aarhus, Denmark: Aarhus University Press, 1993, 91-98.
Qualls, Melissa Ann. “A Sojourn through Madness in ‘The Embroidered Shoes’ of Can Xue.” MA Thesis. Kirksville, MO: Truman State University, 1999.
Solomon, Jon. “Taking Tiger Mountain: Can Xue’s Resistance and Cultural Critique.” Modern Chinese Literature 4, 1/2 (1988): 235-62.
Suher, Dylan and Joan Hua. “Interview with Can Xue.” Asymptote (July 2013).
Wang, Ban. The Sublime Figure of History. Stanford: SUP, 1997. [final chapter has readings of Can Xue’s fiction as examples of the anti-sublime]
Wedell-Wedellsborg, Anne. “Ambiguous Subjectivity: Reading Can Xue.” Modern Chinese Literature 8, 1/2 (1994): 7-20.
—–. “Haunted Fiction: Modern Chinese Literature and the Supernatural.” International Fiction Review 32 (2005).
Yang, Xiaobin. “Can Xue: Discursive Dystopias.” In Yang, The Chinese Postmodern: Trauma and Irony in Chinese Avante-Garde Fiction. Ann Arbor: University of Michigan Press, 2002, 129-49.
—–. “Can Xue: Ever-Haunting Nightmares.” In Yang, The Chinese Postmodern: Trauma and Irony in Chinese Avante-Garde Fiction. Ann Arbor: University of Michigan Press, 2002, 74-92.
Zha, Peide. “Modernism Eastward: Franz Kafka and Can Xue.” B.C. Asian Review 5 (1991).
Zhang, Jian. A Cross-Cultural Study of Story Transactions among Twelve College-Level Readers in the United States and the People’s Republic of China. Ph. D. diss. Hofstra University, 1991.
—–. ” Reading Transaction in Translation.” Babel 43, 3 (1997).
Zhong, Xueping. Masculinty Besieged? Issues of Modernity and Male Subjectivity in Chinese Literature of the Late Twentieth Century. Durham, NC and London: Duke University Press, 2000. [See especially pp.146–148 and pp. 150–151.
Cao Guilin(Glen Cao) 曹桂林
Zhong, Xueping. “Multiple Readings and Personal Reconfigurations Against the ‘Nationalist Grain.'” In Sharon K. Hom, ed., Chinese Women Traversing Diaspora. Garland Publishing, 1999, 103-25.
Cao Shuying 曹疏影
Klein, Lucas. “One Part in Concert, and One Part Repellence: Liu Waitong, Cao Shuying, and the Question of Hong Kong and Mainland Chinese Sinophones.” Modern Chinese Literature and Culture 30, 2 (Fall 2018): 141-172
O’Connell, George and Diana Shi. “Half-Heard Voices of the Primal Zone: Sleep and Waking in a Poem by Cao Shuying.” Journal of Modern Literature in Chinese 14,2/15,1 (Winter 2017/Summer 2018): 129-45.
[Abstract: Initially touching artifacts and sculpture from ancient Greece, and the risk of misreading thought or emotion cross-culturally, this essay draws briefly on Wordsworth’s testimony that poetic process arises first in a primally sensual and pre-verbal zone. The essay then proposes that similar practice, carried by craft and poetic experience in the target language, may be equally advantageous in poetry translation, while helping bridge individual and cross-cultural differences. In light of this, the essay’s second half addresses translational details in rendering Cao Shuying’s poem “I Often Read, Early Mornings.”]
Cao Yu 曹禺
Chou, Eva Shan. “Cao Yu’s Play Thunderstorm Becomes a Ballet.” European Journal of Chinese Studies 1 (2018): 30-40.
Galik, Marian. “Ts’ao Yu’s Thunderstorm: Creative Confrontation with Euripides, Racine, Ibsen and Galsworthy.” In Galik, ed., Milestones in Sino-Western Literary Confrontation (1898-1979). Weisbaden: Otto Harrassowitz, 1986, 101-22.
Gunn, Edward. “Cao Yu’s Peking Man and Literary Evocations of the Family in Republican China.” Republican China 16, 1 (1990): 73-88.
Hu John Y.H. Ts’ao Yu. New York: Twayne, 1972.
Lau, Joseph S.M. Ts’ao Yu: The Reluctant Disciple of Chekhov and O’Neill: A Study in Literary Influence. HK: HKUP, 1970.
Li, Ruru and David Jiang. “Cao Yu and His Drama.” In David Der-wei Wang, ed., A New Literary History of Modern China. Cambridge, MA: Harvard University Press, 2017, 437-42.
Noble, Jonathan. “Cao Yu and Thunderstorm.” In Joshua Mostow, ed, and Kirk A. Denton, China section, ed., Columbia Companion to Modern East Asian Literatures. NY: Columbia UP, 2003, 446-51. Rpt in Kirk A. Denton, ed., Columbia Companion to Modern Chinese Literature. NY: Columbia University Press, 2016, 205-10.
Robinson, Lewis S. “On the Sources and Motives Behind Ts’ao Yu’s Thunderstorm: A Qualitative Analysis.” Tamkang Review 16 (1983): 177-92.
Wan Fang. “Linghun de shitou: jinian wode baba Cao Yu” (Stones of the soul: in memory of my father Cao Yu). Shouhuo 3 (1997).
Wang, Aixue. A Comparison of the Dramatic Work of Cao Yu and J. M. Synge. Lewiston, NY: Mellen Press, 1999.
Cao Zhenglu 曹征路
Lu, Jie. “Constructing Agency: Challenges and Possibilities in Chinese New Left Literature.” In Ban Wang and Jie Lu, eds., China and New Left Visions: Political and Cultural Interventions. Lanham, MD: Lexington Books, 2012, 121-38.
Yan, Hairong. “Rethinking Is Not Demonizing: A Conversation with Cao Zhenglu About His Novel Lessons in Democracy.” Monthly Review 65, 5 (2013).
Zhong, Xueping. “Internationale as Specter: Na’er, ‘Subaltern Literature,’ and Contemporary China’s ‘Left Bank.'” In Ban Wang and Jie Lu, eds., China and New Left Visions: Political and Cultural Interventions. Lanham, MD: Lexington Books, 2012, 101-20.
—–. “Class Characteristics of China’s Women’s Liberation and 21st-Century Feminism.” In Ping Zhu and Hui Faye Xiao, eds., Feminisms with Chinese Characteristics, edited by Ping Zhu and Hui Faye Xiao. Syracuse: Syracuse University Press, forthcoming 2021. [On Cao Zhenglu 曹征路 and Fan Yusu 范雨素]
Che Qianzi 车前子
Mott, Glen. “Poetics as Reincarnation: A Conversation with Che Qianzi.” Chinese Literature Today 2, 1 (2011): 60-67.
Chen Baichen 陈白尘
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 Chen’s film script]
Weinstein, John B. “Ding Xilin and Chen Baichen: Building a Modern Theater through Comedy.” Modern Chinese Literature and Culture 20, 2 (Fall 2008): 92-130.
Chen Cun 陈村
Chen, Jianguo. “The Logic of the Phantasm: Haunting and Spectrality in Contemporary Chinese Literary Imagination.” Modern Chinese Literature and Culture 14, 1 (Spring 2002): 231-65. [deals with texts by Mo Yan, Chen Cun, and Yu Hua]
Hockx, Michel. “Master of the Web: Chen Cun and the Continuous Avant-Garde.” 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, 413-430.
Leung, Laifong. “Chen Cun: Half a Muslim.” In Leung, ed., Morning Sun: Interviews with Chinese Writers of the Lost Generation. Armonk, NY: M. E. Sharpe, 1994, 3-13.
Liu Xiaobo 刘小波. “Yi zhong xin de shenmei sichao: cong Xu Xing, Chen Cun, Liu Suola de san bu zuopin tanqi” 一种新的审美思潮: 从徐星, 陈村, 刘索拉的三部作品谈起 (A New Wave in Aesthetic Thinking: Starting from Three Works by Xu Xing, Chen Cun, and Liu Suola). Wenxue pinglun no. 3 (1986): 35–43.
Chen Danyan 陈丹燕
Schaffer, Kay and Xianlin Song. “Zhang Yihe’s Historical Memoirs and Chen Danyan’s Shanghai Trilogy.” In Schaffer and Song, Women Writers in Postsocialist China. London: Routledge, 2014, 102-18.
Chen Diexian 陈蝶仙
Hanan, Patrick. “The Autobiographical Romance of Chen Diexian.” In Hanan, Chinese Fiction of the Nineteenth and Early Twentieth Centuries. NY: Columbia UP, 2004.
Lean, Eugenia. “The Butterfly Mark: Chen Diexian, His Brand, and Cultural Entrepreneurship in Republican China.” In Christopher Rea and Nicolai Volland, eds., The Business of Culture: Cultural Entrepreneurs in China and Southeast Asia, 1900-65. Vancouver: University of British Columbia Press, 2015, 62-91.
—–. Vernacular Industrialism in China: Local Innovation and Translated Technologies in the Making of a Cosmetics Empire, 1900-1940. NY: Columbia University Press, 2020.
[Abstract: In early twentieth-century China, Chen Diexian (1879–1940) was a maverick entrepreneur—at once a prolific man of letters and captain of industry, a magazine editor and cosmetics magnate. He tinkered with chemistry in his private studio, used local cuttlefish to source magnesium carbonate, and published manufacturing tips in how-to columns. In a rapidly changing society, Chen copied foreign technologies and translated manufacturing processes from abroad to produce adaptations of global commodities that bested foreign brands. Engaging in the worlds of journalism, industry, and commerce, he drew on literati practices associated with late-imperial elites but deployed them in novel ways within a culture of educated tinkering that generated industrial innovation. Through the lens of Chen’s career, Lean explores how unlikely individuals devised unconventional, homegrown approaches to industry and science in early twentieth-century China. She contends that Chen’s activities exemplify “vernacular industrialism,” the pursuit of industry and science outside of conventional venues, often involving ad hoc forms of knowledge and material work. Lean shows how vernacular industrialists accessed worldwide circuits of law and science and experimented with local and global processes of manufacturing to navigate, innovate, and compete in global capitalism. In doing so, they presaged the approach that has helped fuel China’s economic ascent in the twenty-first century. Rather than conventional narratives that depict China as belatedly borrowing from Western technology, Vernacular Industrialism in China offers a new understanding of industrialization, going beyond material factors to show the central role of culture and knowledge production in technological and industrial change.]
Lee, Haiyan. “All the Feelings That Are Fit to Print: The Community of Sentiment and the Literary Public Sphere in China, 1900-1918.” Modern China 27, no. 3 (July 2001): 291-327. [deals in part with The Money Demons]
Chen Duxiu 陈独秀
Chen Duxiu.net [website devoted to the study of Chen Duxiu; in Chinese]
Feigon, Lee. Chen Duxiu, Founder of the Chinese Communist Party. Princeton: Princeton UP, 1983.
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.
Kuo, Thomas. Chen Duxiu (1879-1942) and the Chinese Communist Movement. South Orange, NJ: Seton Hall University Press, 1975.
—–. “Ch’en Tu-hsiu (1879-1942) and Hu Shih (1891-1962).” Chinese Studies of History 31, 1 (Fall 1997): 23-54.
Schwartz, Benjamin. “Chen Tu-hsiu and the Acceptance of the Modern West.” Journal of the History of Ideas 12, 1 (Jan. 1965): 61-74.
Chen Fang 陈放
Kinkley, Jeffrey C. “The Banned Blockbuster: Chen Fang’s Heaven’s Wrath.” In Kinkley, Corruption and Realism in Late Socialist China. Palo Alto: Stanford UP, 2007, 47-77.
Chen Guanzhong, aka Chan Koonchung (陈冠中)
Chiu-Duke, Josephine. “The May Fourth Liberal Legacy in Chan Koonchung’s Jianfeng ernian.” In Carlos Yu-Kai Lin and Victor H. Mair, eds., Remembering May Fourth: The Movement and Its Legacy. Leiden: Brill, 2020, 53-74.
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.]
Chen Guidi and Wu Chuntao 陈桂棣 / 吴春桃
Dunstan, Helen. “Inconvenient Confucianism and the Construction of Heroes in Recent Chinese Reportage: A Banned Investigation into China’s Peasantry.” Modern Chinese Literature and Culture vol. 22, no. 1 (Spring 2010): 1-58
Chen Hengzhe (Chen Nan-hua) 陳衡哲
Cheng, Tieniu. “The Construction of ‘New Woman’ in Chen Hengzhe’s Autobiography.” Journal of Literature and Art Studies 3, 12 (Dec. 2013): 739-756.
Denise Gimpel. Chen Hengzhe: A Life Between Orthodoxies. Lanham, MD: Lexington Books, 2015. [MCLC Resource Center review by Megan M. Ferry]
[Abstract: This book takes as its starting point the life, activities, and writings of Chen Hengzhe (1890-1976) in order to investigate the effects of transnational experience and in particular the manner in which different, foreign and Chinese, narratives of life were interwoven into activities and attitudes as well as literary and scholarly output at a time “between orthodoxies” (Jerome Grieder) and of eclectic borrowings in search of change in most areas of national life in China. Chen Hengzhe has been celebrated as China’s first female professor, first professor of Western history, and first person to publish a history of the West that was not a translation into Chinese. She is moreover celebrated as one of the first to write fiction and poetry in the vernacular and to have been the first to write children’s literature. In 1914 she was among the first group of women to gain a Boxer Indemnity grant to study in America. The reiteration of these many “firsts” has led to a rather stereotypical portrait of Chen Hengzhe in Chinese sources and, as a result, in most Western references to her. To date we have no critical study of her work or activities in Chinese or any other language. Chen Hengzhe’s life and textual production, however, deserve and reward closer scholarly attention. They are not only pertinent to analysis of developments in early twentieth-century China; they speak to important questions in China today. This study, then, is not a biography of a person; it is an attempt to understand the way in which foreign influences (narratives of being, organizing, thinking, writing) seep into a person’s life and work and meld with the “home” influences (narratives of being, organizing, thinking, writing) to produce a mix that cannot be predicted by any overarching “isms” or theories.]
Hockx, Michel. “Mad Women and Mad Men: Intraliterary Contact in Early Republican Literature.” In Findeison and Gassmann, eds., Autumn Floods: Essays in Honour of Marian Galik. Bern: Peter Lang, 1997.
“Chen Hengzhe.” In H.L. Boorman and R.D. Howard, eds. Biographical Dictionary of Republican China. 4 vols. NY: Columbia UP, 1967, 1: 183-87.
Ng, Janet. “Chen Hengzhe’s Fiction of Aurality: The New Feminine Strategy.” Journal of Modern Literature in Chinese 4, 2 (2000): 63-86.
—–. “A New Strategy for Autobiographical Narratives: Chen Hengzhe’s Writing of Aurality.” In Ng, The Experience of Modernity: Chinese Autobiography of the Early Twentieth Century. Ann Arbor: University of Michigan Press, 2002, 21-40.
Yi, Zhuxian. “The Eternal Friendship Between Hu Shi and Chen Hengzhe.” Chinese Studies in History 37, 3 (Spring 2004): 66-86.
Chen Huoquan 陳火泉
Lin, Pei-yin. “How to Become Japanese? Chen Huoquan, Wang Changxiong, and Zhou Libo.” In Lin, Colonial Taiwan: Negotiating Identities and Modernity through Literature. Leiden: Brill, 2017, 232-72.
Chen Jingrong 陈敬容
Almberg, Shui-Pang. The Poetry of Chen Jingrong: A Modern Chinese Woman Poet. Stockholm: Foringen for Orientaliska Studier, 1988.
Meng, Liansu. “A Window to the Busy Street: Noise Pollution and Chen Jingrong’s Eco-Poetry of the 1980s.” Chinese Literature Today 5, 1 (Jan. 2015): 26-33.
—–. “Ecofeminism avant la lettre: Chen Jingrong and Baudelaire.” In van Crevel, Maghiel and Lucas Klein, eds. Chinese Poetry and Translation: Rights and Wrongs. Amsterstam: Amsterdam University Press, 2019, 225-48.
Tamburello, Guisi. “Charming Connections: Chen Jingrong’s Translations as a Factor of Poetic Influence.” Chinese Literature Today 5, 1 (Jan. 2015): 18-25.
Chen Jitong 陈季同
Ren, Ke. Fin-de-Siècle Diplomat: Chen Jitong (1852-1907) and Cosmopolitan Possibilities in the Late Qing World. Ph. D. diss. Baltimore: John Hopkins University, 2014. [Dissertation Reviews review by Wen Yu]
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]
Chen Kexiong and Ma Ming 陈可雄 / 马鸣
Xiao, Hui Faye. “Science and Poetry: Narrativizing Marital Crisis in Reform-Era Rural China.” Modern Chinese Literature and Culture 23, 2 (Fall 2011): 146-74.
—–. “Divorcing the Rural: Miss Science and Marital Crisis in the Reform Era.” In Xiao, Family Revolution: Marital Strife in Contemporary Chinese Literature and Visual Culture. Seattle and London: University of Washington Press, 2014, 27-51.
Chen Li 陈黎
Bachner, Andrea. “The Secrets of Language: Chen Li’s Sinographic Anagrams.” In Carlos Rojas and Andrea Bachner, eds., The Oxford Handbook of Modern Chinese Literatures. Oxford: Oxford University Press, 2016, 112-30.
Lee, Tong King. “Toward a Material Poetics in Chinese: Text, Translation, and Technology in the Works of Chen Li.” Modern Chinese Literature and Culture 26, 1 (Spring 2014): 71-104.
—–. 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.]
Chen Nianxi 陈年喜
Sang, Qiu. “A Miner’s Verse: Through Peril and Pain, Just Words Remain.” Sixth Tone (Nov. 3, 2021).
Wang, Vivian. “Deep Underground, a Miner Discovered Poetry in the Toil.” New York Times (November 13, 2021).
Chen Qiufan 陈楸帆 (aka Stanley Chan)
Codeluppi, Martina, “Smog and the Psyche: Chen Qiufan’s Reading of the Urban Anthropocene.” Writing Chinese: A Journal of Contemporary Sinophone Literature 1, 1 (2022): 60–81.
[Abstract: The growing concern for environmental issues has fuelled the rise of climate fiction [cli-fi], a subgenre of science fiction dealing with climate change that has become increasingly popular in the last few decades. In China, significant examples can be found, among others, in Chen Qiufan’s works, which address these problems from different points of view. In his short story “Mai” 霾 [The Smog Society], the author explores the relationship between human beings and nature from an unconventional perspective, overturning the traditional conception of the relationship between the environment and the human mind. This article aims to analyse Chen Qiufan’s short story as an attempt to subvert the causal relationship between pollution and happiness, outlining his interpretation of the urban Anthropocene. The analysis will set out from what Glenn Albrecht has defined as “psychoterratic emotional concepts”, namely earth-related mental health conditions, to explore the author’s view of man-made climate change. In particular, it will explore the depiction of the climatic emergency in the Chinese urban context and its consequences on the protagonist’s psychology and emotions, as well as on urban social life.]
Healey, Cara. “Estranging Realism in Chinese Science Fiction: Hybridity and Environmentalism in Chen Qiufan’s The Waste Tide.” Modern Chinese Literature and Culture 29, 2 (Fall 2017): 1-33.
Liu, Ken. “Staying Sensitive in the Crowd: A Conversation with Chen Qiufan.” Clarkesworld Magazine 102 (March 2015).
Sun, Mengtian. “China and Chinese SF: Interview with Chen Qiufan.” MCLC Resource Center Publication (April 2017).
Wang, Ban. “Ecological Critique as World Literature: Alienation of Nature and Humans in Chen Qiufan’s Waste Tide.” In Yingjin Zhang, ed., A World History of Chinese Literature. New York: Routledge, 2023, 207-18.
Chen Qubing 陈去病
Chen, Xiaohua. “A Study of Chen Qubing and the South Society.” Chinese Studies in History 48, 1 (2014): 7-19.
Wang, Q. Edward. “Chen Qubing, the South Society, and the 1911 Revolution.” Chinese Studies in History 48, 1 (2014): 3-6.
Yang, Tianshi. “Chen Qubing in the Era of the 1911 Revolution.” Chinese Studies in History 48, 1 (2014): 20-55.
Chen Ran 陈染
Chen Ran’s Blog (Sina.com)
Heinrich, Larissa N. “Good-bye Mr. Nixon”: A Review of A Private Life.” MCLC Resource Center (January 2005).
Huot, Claire. “Chen Ran’s Western Footnotes.” In Huot, China’s New Cultural Scen: A Handbook of Changes. Durham: Duke UP, 2000, 36-41.
Isaacson, Nathaniel. “Chen Ran.” In Thomas Moran and Ye (Dianna) Xu, eds., Chinese Fiction Writers, 1950-2000. Dictionary of Literature Biography, vol. 370. Detroit: Thomson Gale, 2013, 29-35.
Larson, Wendy. “Women and the Discourse of Desire in Postrevolutionary China: The Awkward Postmodernism of Chen Ran.” Boundary 2 24, 3 (1997). In Xudong Zhang and Arif Dirlik, eds., Postmodernism and China. Durham: Duke UP, 2000, 337-57.
Lin, Songyu. “Interview with Chen Ran by Lin Songyu.” Tr. Chen Minglu and Damien Spry. The IIS Interview Series (Beijing—Guangzhou; December 2006).
Pozzi, Silvia. “Leaving Taboos behind: Notes on Two Novels by Chen Ran and Lin Bai.” Annali dell’Università degli Studi di Napoli L’Orientale 64 (2004): 237-45.
Schaffer, Kay and Xianlin Song. “Narrative, Trauma and Memory: Chen Ran’s A Private Life, Tiananmen Square and Female Embodiment.” Asian Studies Review 30, 2 (June 2006): 161-173. Rpt. in Kay Schaffer and Xianlin Song, Women Writers in Postsocialist China. London: Routledge, 2014, 37-52.
—–. “Writing Beyond the Wall: Translation, Cross-cultural Exchange, and Chen Ran’s A Private Life.” Portal 3, 2 (2006).
Sieber, Patricia. “Chen Ran.” 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, 183-85.
Visser, Robin. “Privacy and its Ill Effects in Post-Mao Urban Fiction.” In Bonnie S. McDougall and Anders Hansson, eds. Chinese Concepts of Privacy. Leiden: Brill, 2002,171-194. [deals with texts by Chen Ran and Liu Heng, with bits on Sun Ganlu, Qiu Huadong, and Zhu Wen]
Wang, Lingzhen. “Reproducing the Self: Consumption, Imaginary, and Identity in Chinese Women’s Autobiographical Practice in the 1990s.” In Charles Laughlin, ed., Contested Modernity in Chinese Literature. NY: Palgrave Macmillan, 2005, 173-92. [deals primarily with Chen Ran’s Private Life and Lin Bai’s Self at War]
Wong, Alvin Ka Hin. “Queer Sinophone Studies as Anti-Capitalist Critique: Mapping Queer Kinship in the Work of Chen Ran and Wong Bik-wan.” In Howard Chiang and Ari Larissa Heinrich, eds., Queer Sinophone Cultures. NY: Routledge, 2014, 109-29.
Yang, Xin. “Configuring Female Sickness and Recovery: Chen Ran and Anni Baobei.” Modern Chinese Literature and Culture 23, 1 (Spring 2011): 169-96.
Chen Ruoxi (Ch’en Jo-hsi) 陈若曦
Duke, Michael S. “Personae: Individual and Society in Three Novels by Chen Ruoxi.” In Michael S. Duke, ed., Modern Dhinese Women Writers: Critical Appraisals. NY: M.E. Sharpe Inc., 1989, 53-77.
Hsu, Kai-yu. “A Sense of History: Reading Chen Jo-hsi’s Stories.” In Jeannette L. Faurot, ed., Chinese Fiction from Taiwan: Critical Perspectives. Bloomington: IUP, 1980, 206-33.
Kao, George, ed. Two Writers and the Cultural Revolution: Lao She and Chen Jo-hsi. HK: Chinese University Press, 1980.
Lau, Joseph S. M. “The Stories of Ch’en Juo-hsi.” In Wai-lim Yip, ed., Chinese Arts and Literature: A Survey of Recent Trends. Occasional Papers/Reprint Series in Contemporary Asian Studies. Baltimore, 1977, 5-16.
Lee, Leo Ou-fan. “Dissent Literature from the Cultural Revolution.” Chinese Literature: Essays, Articles, Reviews 1, 1 (1979): 59-79.
Leys, Simon. “Who is Chen Jo-hsi?” In Chen Jo-hsi, The Execution of Mayor Yin and Other Stories from the Great Proletarian Cultural Revolution. Bloomington: IUP, 1978, xxii-xxviii.
McCarthy, Richard M. “Chen Jo-hsi: Memoirs and Notes.” Renditions 10 (Autumn 1978): 90-92.
Chen Sanli
Lin, Tsung-Cheng. “The Poetic Transition and Modernity in Chen Sanli’s (1852-1937) Ancient-Style Verse.” Frontiers of Literary Studies in China 12, 2 (2018): 281-98.
[Abstract: Chen Sanli broke the conventional stereotypes, regulations and structural limitations of past poetry to create innovations in poetic form, as well as adopting a variety of writing devices such as the transformed metaphors and the abstruse diction. Within these invented poetic forms, converted metaphors and recondite diction, Chen Sanli experiments with new subject matters which were unprecedented in poetry before his time, and convey his psychological reactions such as oppression, anxiety, helplessness, fear, despair, and confusion toward the change and upheaval. All the poetic forms, metaphors, linguistic devices and emotions in Chen’s verse have a great impact on modern Chinese literature. This paper aims to examine how Chen’s verse promoted classical Chinese poetic tradition but also contributed to the transition from traditional to modern literature.]
Chen Tianhua 陳天華
Andolfatto, Lorenzo. “Making Sense of Incompleteness: Approximations of Utopia in Liang Qichao’s Xin Zhongguo Weilai Ji and Chen Tianhua’s Shizi Hou.” Ming Qing Studies (2015): 15-44.
Chen Xue 陳雪
Lee, Tong Kong. “Forbidden Imaginations: Three Chinese Narratives on Mother-Son Incest.” Chinese Literature: Essays, Articles, Reviews 36 (2014): 1-24.
[Abstract:This paper explores the representation of incest in contemporary Chinese fiction. Specifically, it looks at three short stories by Chinese woman writers, focusing its discussion on their relation to psychoanalytic models, the significance of trauma and causality and the arising discourses on incestuous desire. It asks the following questions: To what extent do incest narratives challenge or reinforce extant norms on sexual relations? What are the ethical implications of these stories for (de)situating incest within the popular erotic imagination? The analysis indicates that in articulating the occurrence of incest, different narrative trajectories project divergent discourses on consanguineous sex. The various guises in which the Oedipal narrative is replayed also reveal the tensions and anxieties involved in representing the culturally tabooed.]
Martin, Fran. “Chen Xue’s Queer Tactics.” positions: east Asia cultures critique 7, 1 (Spring 1999): 165-91.
—–. “Hybrid Citations: Chen Xue’s Queer Tactics.” In Martin, Situating Sexualities: Queer Representations in Taiwanese Fiction, Film and Public Culture. Hong Kong: University of Hong Kong Press, 2003, 119-40.
Sieber, Patricia. “Chen Xue.” 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, 185-86.
Tan, E. K. “From Exile to Queer Homecoming: Chen Xue’s A Wife’s Diary.” In Carlos Rojas and Andrea Bachner, eds., The Oxford Handbook of Modern Chinese Literatures. Oxford: Oxford University Press, 2016, 770-96.
Chen Xuezhao 陈学昭
Zhang Yu. “Journeys to the Revolutionary Site of Yan’an: The Construct of Red China, Time Consciousness, and Patience, 1936–45.” In Zhang, Going to the Countryside: The Rural in the Modern Chinese Cultural Imagination, 1915-1965, Ann Arbor: The University of Michigan Press, 2020, 79-109.
Chen Yinke 陳寅恪
Li, Wai-yee. “1927, June 2; 1969, October 7: ‘This Spirit of Independence and Freedom of Thought . . . Will Last for Eternity with Heaven and Earth.” In David Der-wei Wang, ed., A New Literary History of Modern China. Cambridge, MA: Harvard University Press, 2017, 319-24.
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.
Chen Yingsong 陈应松
Chen, Lily Hong Chen. “Between Animalizing Nature and Dehumanizing Culture: Reading Yingsong Chen’s Shennongjia Stories.” In Simon C. Estok and Won-Chung Kim, eds.,East Asian Ecocriticisms: A Critical Reader. NY: Palgrave MacMillan, 2013.
Chen Yingzhen (Ch’en Ying-chen) 陈映真
Anon. “A Selected Chronology of Chen Yingzhen.” Inter-Asia Cultural Studies 15, 3 (2014): 391-95.
Chang, Tzu-wu, “A Return to the Human World: Chen Yingzhen’s Utopia and Four Ren Jian Journalists.” Tr. Po-hsi Chen. Taiwan Gazette (Feb 23, 2022).
Chao, Kang. “Reading Chen Yingzhen: Why and How?” Inter-Asia Cultural Studies 15, 3 (2014): 377-90.
Chen, Kuan-hsing. “Editorial Introduction: Chen Yingzhen and His Time.” Inter-Asia Cultural Studies 15, 3 (2014): 337-41.
“Chen Yingzhen’s Third World: A Chapter on Madmen, Lunatics, and the Mentally Ill.” Situations 10, 2 (2017): 91-144.
[Abstract: To overcome the present crisis of conditions of knowledge, an effort to re-conceptualize, position, and identify the shared experiences of the Third World is perhaps an intellectual project worth undertaking. In the past half-century, Chen Yingzhen’s thought and literature, having accumulated a body of work surrounding Third World subjectivity, have become extremely rich resources for study. This essay first traces Chen’s discourse on the Third World, and then proceeds to analyze his three novels on lunatics, madman, and the mental patient, with the motive to begin to enter the mental (or spiritual) conditions in the post-War Third World, beyond the existing political-economic analysis.]
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]
Kinkley, Jeffrey. “From Oppression to Dependency: Two Stages in the Fiction of Chen Yingzhen.” Modern China 16 (1990): 243-68.
Lau, Joseph S.M. “Death in the Void: Three Tales of Spiritual Atrophy in Ch’en Ying-chen’s Post-Incarceration Fiction.” Modern Chinese Literature 2 (1986): 21-28.
—–. “How Much Truth Can a Blade of Grass Carry?: Ch’en Ying-chen and the Emergence of Native Taiwan Writers.” Journal of Asian Studies 32, 4 (Aug. 1973): 623-38.
—–. “Ch’en Ying-chen and Other Native Writers.” In Winston L.Y. Yang and Nathan K. Mao, eds., Modern Chinese Fiction: A Guide to Its Study and Appreciation Essays and Bibliographies. Boston: G.K. Hall, 1981, 79-94.
Liao, Ping-hui. “Chen Yingzhen and the White Terror in Taiwan.” In David Der-wei Wang, ed., A New Literary History of Modern China. Cambridge, MA: Harvard University Press, 2017, 737-41.
Lin, Pei-yin. 2018, ”Masterpieces of Taiwan Fiction: Chen Yingzhen and Bai Xianyong.” In Mingdong Gu, ed., The Routledge Handbook of Modern Chinese Literature. London and New York: Routledge, 2018, 631-42.
Lupke, Christopher. “Chen Yingzhen.” In Thomas Moran and Ye (Dianna) Xu, eds., Chinese Fiction Writers, 1950-2000. Dictionary of Literature Biography, vol. 370. Detroit: Thomson Gale, 2013, 36-46.
Miller, Lucien. “A Break in the Chain: The Short Stories of Ch’en Ying-chen.” In Jeannette L. Faurot, ed., Chinese Fiction from Taiwan: Critical Perspectives. Bloomington: IUP, 1980, 86-109.
—-. “Introduction.” In Exiles at Home: Short Stories By Ch’en Ying-chen. Trans. and ed. by Lucien Miller. Ann Arbor : Michigan Center for Chinese Studies, University of Michigan, 1986, 1-26.
—–. “Occidentalism and Alterity: Native Self and Foreign Other in Chen Yingzhen and Shusaku Endo.” Chinoperl Papers 20-22 (1997-99): 197-218.
Pieper, Anke. Der taiwanesische Autor Chen Yingzhen–mit einer Ubersetzung der Erzahlung ‘Wolken’. Bochum: Brockmeyer, 1987.
Riep, Steven. “Piecing Together the Past: The Notion of Recovery in Fiction and Film from Taiwan.” Modern China 38, 2 (March 2012): 199-232.
[Abstract: Writers and filmmakers in Taiwan have sought to use the narrative techniques of classic detective fiction to recover events of the Nationalist government-imposed White Terror of the early 1950s to bring the once-concealed past to light. Fiction writer Chen Yingzhen (Ch’en Ying-chen) pioneered this technique in short fiction written in 1983 to bring before the public the events of the White Terror and to consider how guilt for the atrocities should be affixed. Wan Jen’s (Wan Ren) 1995 feature film Super Citizen Ko explores possibilities for memorialization and the notion of victimhood in its recovery of the Nationalist repression of progressive political movements and its impact on a former political prisoner and his family. Finally, Tseng Wen-Chen (Zeng Wenzhen) in her documentary Spring: The Story of Xu Jinyu offers a portrait of a woman White Terror survivor turned political activist living in an era when the White Terror has been commemorated but remains poorly understood by the younger generation.]
Robinson, Lewis S. “The Treatment of Christianity in the Fiction of Chen Yingchen.” Ching Feng: Quarterly Notes on Christianity and Chinese Religion and Culture 32, 1 (Mar. 1989): 41-81.
Shieh, Wen-shan. “Ideology, Sublimation, Violence: The Transformation of Heroines in Chen Ying-chen’s Suicidal Narratives.” Tamkang Review 32, 2 (Winter 2001): 153-74.
Wang, David Der-wei. “Three Hungry Women.” Boundary 2. Special Issue ed. Rey Chow. 25, 2 (Fall 1998): 47-76. [deals in part with Chen’s “Mountain Path”]
Xu, Nancun. “Back Alleys: The Creative Journey of Chen Yingzhen.” Inter-Asia Cultural Studies 15, 3 (2014): 342-48.
Yang, Xiaobin. “Telling (Hi)story: Illusory Truth or True Illusion.” Tamkang Review 21, 2 (1990): 127-47.
Zheng, Hong-sheng. “Chen Yingzhen and Taiwan’s “Sixties”: Self-realization of the Postwar Generation in Taiwan.” Inter-Asia Cultural Studies 15, 3 (2014): 455-76.
[Abstract: Chen Yingzhen has been regarded as Taiwan’s utmost representative leftist intellectual. This article tries to reconstruct Chen’s historical significance in Taiwan’s “sixties” in a broader perspective. The 1960s in Taiwan was a peculiar period. While there was a global youth rebellion, Taiwan’s postwar baby boom generation, who had just been re-educated as Chinese, were going through a cultural “renaissance”. They started to put into practice what they had learned and to realize their creativities in all aspects—taken as a whole, these efforts could be understood as this generation’s attempt to achieve self-realization. Chen Yingzhen and his works served as a significant initiating and guiding force during this time. The fact that there were no dominating ideologies during this period allowed room for this wave of creativity to flourish.
Chen Yuhong 陳育虹
Yang, Xiabin, Chen Yuhong, and Amang. “Identity, Expression, and Female Consciousness—Taiwanese Poets Chen Yuhong and Amang.” Tr. Yiping Wang and Thomas Moran. Cerise Press 4, 10 (Summer 2012).
Chen Yun 陈耘
Tang, Xiaobing. “The Lyrical Age and Its Discontents: On the Staging of Socialist New China in The Young Generation.” In Tang, Chinese Modernism: The Heroic and the Quotidian. Durham: Duke UP, 2000, 163-95.
Chen Zhongshi 陈忠实
Huang, Yiju. “Plain, Time, and Catastrophe: An Interview with Chen Zhongshi.” MCLC Resource Center Publications (August, 2013).
Cheng Fangwu 成仿吾
Galik, Marian. “Ch’eng Fangwu and his Development from Soci-aesthetic to ‘Total Criticism.'” In Galik, The Genesis of Modern Chinese Literary Criticism, 1917-1930. London: Curzon Press, 1980, 63-103.
Cheng Naishan 程乃珊
Bi, Bingbin. “Shanghai’s Magic: A Day-and-Night Stream.” In Cheng Naishan, The Blue House. Beijing: Chinese Literature, 1989, 7-14.
Cheng Xiaoqing (Ch’eng Hsiao-ch’ing) 程小青
Tam, King-fai. “The Detective Fiction of Ch’eng Hsiao-ch’ing.” Asia Major 1 (1992): 113-32.
Weisl, Annabella. Cheng Xiaogqing (1893-1976) and His Detective Stories in Modern Shanghai. Norderstedt: Grin, 1998.
Wong, Timothy C. “Cheng Xiaoqing.” In Dictionary of Literary Biography–Chinese Fiction Writers, 1900-1949. Ed. Thomas Moran. NY: Thomson Gale, 2007, 43-52.
Chi Li 池莉
Gong, Haoming. “Constructing a Neo-Realist Reality: Petty Urbanites, Mundaneness, and Chi Li’s Fiction.” Modern Chinese Literature and Culture 22, 1 (Spring 2010): 59-95
Kunze, Rui. “Chi Li.” In Thomas Moran and Ye (Dianna) Xu, eds., Chinese Fiction Writers, 1950-2000. Dictionary of Literature Biography, vol. 370. Detroit: Thomson Gale, 2013, 47-53.
Lee, Lily Xiao-hong. “Localization and Globalization: Dichotomy and Convergence in Chi Li’s Fiction.” Canadian Review of Comparative Literature (Dec. 1997): 913-26.
Lu, Hongwei. “TV Romance and Popular Cultural Mood: The Chi Li Phenomenon.” The China Review 6, no. 1 (Spring 2006): 125-152.
Lu, Jie. “Cultural Invention and Cultural Intervention: Reading Chinese Urban Fiction of the Nineties.” Modern Chinese Literature and Culture 13, 1 (Spring 2001): 107-39.
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].
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.
Chi Lingyun 池凌雲
Wu, Shengqing and Eleanor Goodman. “Dangerous Light: Chi Lingyun and her Poetry.” Chinese Literature Today 4, 2 (2014): 56-61.
Chi Zijian 迟子建
Li, Cheng. “The Dim Religious Reverence: Spiritualizing Nature and Ethnic Resilience in Chi Zijian’s The Last Quarter of the Moon.” ISLE: Interdisciplinary Studies in Literature and Environment 32, 2 (2024): 374-94.
Chun Shu 春树
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 Chun Shu’s fiction]
Shao Yanjun. “A Study of the Phenomenon of ‘Pretty Women’s Writing’: Weihui, Mianmian, Chunshu.” Wasafiri 55 (2008): 13-18.
Cong Weixi 从维熙
Liu, Shaotang. “A Profile of Cong Weixi.” Chinese Literature 4 (April 1980): 57-60.
Cui Zi’en 崔子恩
Wang, Qi. “The Ruin Is Already a New Outcome: An Interview with Cui Zi’en.” positions: east asia cultures critique 12, 1 (Spring 2004): 181-94.
D
Daguguguji 大咕咕咕鸡
Wang, Yiwen. “Parasite, Para-Text: Daguguguji’s Performance of Digital Identity.” Chinese Literature and Thought Today 55, 1-2 (2024): 19-32.
[Abstract: This article explores the digital identity of Daguguguji, one of the most famous microbloggers and microfiction writers on Sina Microblog. Despite having 3.9 million followers on Sina Weibo, his personal background remains veiled from the public. Daguguguji often refers to himself using nonsensical terms, animals, or neologisms irrelevant to his personal life, such as “a dog,” “Zhang Dachui,” “follow me,” or “Zhang Wei.” His profile pictures are not selfies, but images appropriated from other famous singers and writers, modified in a Dadaist style. Daguguguji’s identity performance is substantially different from that of celebrities who use paratexts such as selfies and verbal descriptions to reveal their offline identities and inner selves. Instead, his writing can be conceptualized as parasitic use of the paratext, as the information displayed in his profile image, bio, posts, and reposts shows a parasitical mimesis of “who I am not,” rather than an authentic self-display of “who I am.” I propose that Daguguguji’s identity performance is representative of the culture of anonymity in the Chinese mediascape, where netizens no longer seek to exhibit the “authentic self” but rather play with the “inauthentic persona,” a persona parasitic on appropriated visual-verbal texts that are irrelevant to either their inner self or offline identity.]
Dai Houying 戴厚英
Knight, Sabina. “Historical Trauma and Humanism in Post-Mao Realism.” In The Heart of Time: Moral Agency in Twentieth-Century Chinese Fiction. Cambridge: Harvard University Asia Center, 2006, 162-190. [deals with Dai’s Humanity, O Humanity (171-85) and Soft is the Chain (185-90)]
Pruyn, Carolyn S. Humanism in Modern Chinese Literature: The Case of Dai Houying. Bochum: Brockmeyer (Chinathenmen), 1988.
Wang, David D.W. “Tai Hou-ying, Feng Chi-ts’ai, and Ah Ch’eng: Three Approaches to the Historical Novel.” Asian Culture Quarterly 15, 2 (1988): 71-88.
Dai Qing 戴晴
Barme, Geremie. “Using the Past to Serve the Present: Dai Qing’s Historiographic Dissent.” East Asian History 1 (June 1991): 141-81.
Barme, Geremie and Linda Jaivin. New Ghosts, Old Dreams: Chinese Rebel Voices. NY: Times Books, 1992, 358-62.
Wandel, Elke. “Dai Qing: A Portrait.” In China for Women: Travel and Culture. NY: The Feminist Press, 1995, 201-04
Dai Wangshu 戴望舒
Lee, Gregory. Dai Wangshu: The Life and Poetry of a Chinese Modernist. HK: The Chinese University Press,1989. [a study with extensive translations]
Lee, Gregory. “Western Influences in the Poetry of Dai Wangshu.” Modern Chinese Literature 3, 1/2 (1987): 7-32.
Mi, Jiayan. Self-Fashioning and Reflexive Modernity in Modern Chinese Poetry. Lewiston, NY: Edwin Mellen, 2004.
[Abstract: This study explores diverse modes of self-fashioning in the discursive formation of Chinese modernity between 1919 and 1949 in modern Chinese poetry. By focusing on four representative poets of modern Chinese poetry before 1949—Guo Moruo, Li Jinfa, Dai Wangshu, and Mu Dan, the study offers fresh, insightful analysis of the dynamic trajectory of the historical complexity of fashioning a new modern self-subjectivity with relation to the nation-state. Theoretically informed by the varied perspectives of modernity, the self, the body, and memory, the author for the first time reveals how the corporeal body emerges as a site of agency, trauma, and libidinal investment for engaging with the configuration of a multi-layered self, gender, and nationhood in modern China. This work will make several significant contributions to enhancing readers’ understanding of the cultural and psychological complexity of modern China. This work will be of interest to teachers, students and scholars of modern Chinese literature and culture as well as comparative literature.]
Dan Di 但娣
Smith, Norman. “The Difficulties of Despair: Dan Di and Chinese Literary Production in Manchukuo.” Journal of Women’s Studies 18, 1 (2006): 77-100.
Deng Tuo 邓拓
Cheek, Timothy. Propaganda and Culture in Mao’s China: Deng Tuo and the Intelligentsia. Oxford: Clarendon Press; New York: Oxford University Press, 1997.
Chuang, H. C. Evening Chats at Yenshan, or the Case of Teng T’o. Studies in Chinese Communist Terminology, no. 14. Berkeley: Center for Chinese Studies, University of California, 1970.
Deng Xiaomang 邓晓芒
Karlsson, Jens. “The Eclectic Art of Self-Reflection: Enlightenment Themes in Deng Xiaomang’s Cultural Critique.” Chinese Literature and Thought Today 53, 3-4 (2022): 134-44.
[Abstract: This introduction to the intellectual universe of Chinese philosopher, translator, and public intellectual Deng Xiaomang is based on four of Deng’s texts in the field of cultural critique. In this context, Deng emphasizes Immanuel Kant’s important position as the founder of critical philosophy, while also drawing much inspiration from Hegelian philosophy, not least for analysis relating to historical development. In his program New Criticism (Xin pipan zhuyi), Deng argues for a return to the cultural debate surrounding the May Fourth Movement, for a reflection on its merits and limitations. Deng wants to a re-awaken and continue the legacy of May Fourth as a halted enlightenment process which came to life again briefly in the 1980s and hopes to help usher in a third phase of enlightenment in China. A significant part of Deng’s New Criticism is devoted to argumentation against ideas and conceptions within Chinese neoconservative circles concerning the shaping and the role of Chinese culture in the modern world. The self-reflexive element of cultural criticism, inspired by Kant and Lu Xun, is particularly accentuated in Deng’s dealings with (New) Confucianism. The introduction also shows how Deng’s translations and explications of German philosophical classics can be understood as a modern instance of the millennia-old tradition of Chinese commentarial practice.
Deng Youmei 邓友梅
Rees, Robert A. “A Conversation with Deng Youmei, Secretary of the Chinese Writer’s Association.” Weber Studies 10, 3 (Fall 1993).
Yang, Gladys. “Deng Youmei and His Fiction.” In Yang Bian, ed., The Time is Not Ripe: Contemporary China’s Best Writers and Their Stories. Beijing: Foreign Languages Press, 1991, 41-47.
Deng Yuehua 邓跃华
Pedone, Valentina. “Representations of Labour Mobility from China to Italy by Worker Writer Deng Yuehua.” In Valentina Pedone and Miriam Castorina, eds., Words and Visions around/about Chinese Transnational Mobilities 流动. Florence: Firenze University Press, 2023, 31-44.
Di An 笛安
Jakubow-Roslan, Zofia. “Di An and Yan Ge: Chinese 80 Hou Women Authors on the Family.” Roczniki Humanistyczne 71, 9 (2023): 5-16.
Ding Ling 丁玲
Alber, Charles J. “Ting Ling and the Front Service Corps.” In La litterature au temps de la Geurre de Resistance contre le Japon de 1937 a 1945. Paris: Editions de la Fondation Singer-Polignac, 1982, 117-30.
—–. Enduring the Revolution: Ding Ling and the Politics of Literature in Guomindang China. Westport, CT: Praeger, 2002.
—–. Embracing the Life: Ding Ling and the Politics of Literature in the PRC. Westport, CT: Praeger, 2004.
Anderson, Colena M. “A Study of Two Modern Chinese Women: Ping Hsin and Ting Ling.” Ph.D. Dissertation. Pomona: Claremont Graduate School and University Center, 1954.
Barlow, Tani. “‘Thoughts on March 8’ and the Literary Expression of Ding Ling’s Feminism.” In La litterature au temps de la Geurre de Resistance contre le Japon de 1937 a 1945. Paris: Editions de la Fondation Singer-Polignac, 1982, 131-44.
—–. “Gender and Identity in Ding Ling’s ‘Mother.'” Modern Chinese Literature 2, 2 (1986): 123-42.
—–. “Feminism and Literary Technique in Ting Ling’s Early Short Stories.” In A. Palandri, ed. Women Writers of 20-Century China. Eugene: Asian Studies Publications, University of Oregon, 1982, 63-110.
Barr, Alan. “From ‘Thoughts on March 8’ to ‘Gap’ and ‘The Sufferings of Liping’: Mate Choice and Marriage in the Work of Three Yan’an Authors.” Nan Nü: Men, Women and Gender in China 25, 1 (2023): 103-151.
[Abstract: During China’s war with Japan from 1937 to 1945, the Communist-controlled border regions in north China saw an influx of progressive, patriotic youth from other parts of the country, bringing these new arrivals into contact with officials and army officers in the Communist power structure. Marriage was one potential outcome of such interactions, but while offering certain advantages it was often seen as problematic, with questions raised about the motives and methods of the parties involved. Given its sensitive nature, the subject of mate choice could only briefly be explored in literary works before an ideological clampdown was imposed in the late spring and summer of 1942. This article examines the key works that addressed the issue at the time and details the criticisms that followed their publication. It begins with a close reading of the relevant passage in “Sanbajie you gan” (Thoughts on March 8), the famous essay by Ding Ling 丁玲 (1904-86), and goes on to consider two stories by younger Yan’an authors, Ma Jia 马加 (1910-2004) and Mo Ye 莫耶 (1918-86), who broached the topics of mate choice and marriage shortly before and after Ding Ling wrote her essay. Together these works, published during the relatively liberal period leading up to the Yan’an Forum on Literature and Art, reveal some critical fault lines within the revolutionary coalition. To this article is appended a full translation of Mo Ye’s story “Liping de fannao” (The sufferings of Liping), which vividly depicts a young woman’s struggle to reconcile her choice of marriage partner with her self-image as a progressive woman.]
Bjorge, Gary J. “‘Sophia’s Diary’: An Introduction.” Tamkang Review 5, 1 (1974): 97-110.
—–. “Ting Ling’s Early Years: Her Life and Literature through 1942.” Ph.D. Dissertation. Madison: University of Wisconsin, 1977.
Cai, Keru. “Looking, Reading, and Intertextuality in Ding Ling’s ‘Miss Sophia’s Diary.'” Prism 17, 2 (2020).
Chang, Jun-mei. Ting Ling, Her Life and Her Work. Taipei: Institute of International Relations, 1978.
Chien, Ying-ying. “Women Crossing the Wild Zone: Sexual/Textual Politics in the Fiction of Ding Ling and Li Ang.” Fu Jen Studies 28 (1995): 1-17.
Dien, Dora Shu-fang. “Ding Ling and ‘Miss Sophie’s Diary’: A Psychobiographical Study of Adolescent Identity Formation.” In Ruthellen Josselson and Amia Lieblich, eds., Making Meaning of Narratives: The Narrative Study of Lives. Sage, 1999, 221-237.
—–. Ding Ling and Her Mother: A Cultural Psychological Study. Hauppauge, NY: Nova Science, 2001.
Edwards, Louise. “Women Sexspies: Chastity, National Dignity, Legitimate Government and Ding Ling’s ‘When I Was in Xia Village.'” The China Quarterly 212 (Dec. 2012): 1059-78.
Feng, Jin. “The ‘Bold Modern Girl’: Ding Ling’s Early Fiction.” In Feng, The New Woman in Early Twentieth-Century Chinese Fiction. West Lafayette, IN: Purdue University Press, 2001, 149-70.
—–. “The Revolutionary Age: Ding Ling’s Fiction of the Early 1930s.” In Feng, The New Woman in Early Twentieth-Century Chinese Fiction. West Lafayette, IN: Purdue University Press, 2001, 171-88.
—–. “Ding Ling in Yan’an: A New Woman within the Part Structure?” In Feng, The New Woman in Early Twentieth-Century Chinese Fiction. West Lafayette, IN: Purdue University Press, 2001, 189-96,
Feng, Xiaxiong. “Ding Ling’s Reappearance on the Literary Stage.” Chinese Literature 1 (1980): 3-16.
Feng, Hsueh-feng. “On The Sun Shines over the Sangkan River.” In Hualing Nieh, ed., Literature of the Hundred Flowers, Volume II: Poetry and Fiction. NY: Columbia UP, 1981, 257-65.
Feuerwerker, Yi-tsi Mei. Ding Ling’s Fiction: Ideology and Narrative in Modern Chinese Literature. Cambridge: Harvard UP, 1982.
—–. “The Changing Relationship between Literature and Life: Aspects of the Writer’s Role in Ding Ling [Ting Ling].” In Merle Goldman, ed. Modern Chinese Literature in the May Fourth Era. Cambridge: Harvard University Press, 1977, 281-307.
—–. “Ting Ling’s ‘When I was in Sha Chuan (Cloud Village)’.” Signs, Journal of Women in Culture and Society 2, 1 (1976): 255-79.
—–. “The Uses of Literature: Ding Ling in Yan’an.” In W. Kubin and R. Wagner, eds., Essays in Contemporary Chinese Literature and Literary Criticism. Bochum: Brockmeyer, 1981.
He, Jixian and Lu Taiguang. “One Village and One Novel: Revisiting Wenquantun Village.” In Xueping Zhong and Ban Wang, eds. Debating the Socialist Legacy and Capitalist Globalization in China. NY: Palgrave MacMillan, 2014, 57-72. [deals with The Sun Shines on the Sanggan River]
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.
Huang, Xincun. “Politics, Gender and Literary Writings: A Study of Ding Ling in the Early 1940s.” Journal of Asian Culture 14 (1990): 33-54.
Kinkley, Jeffrey. “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.
Kubin, Wolfgang. “Sexuality and Literature in the People’s Republic of China, Problems of the Chinese woman before and after 1949 as seen in Ding Ling’s ‘Diary of Sophia’ (1928) and Xi Rong’s story ‘An Unexceptional Post’ (1962).” In Wolfgang Kubin and Rudolf G. Wagner, eds., Essays in Modern Chinese Literature and Literary Criticism. Bochum: Brockmeyer, 1982, 168-91.
—–. “Ding Ling’s Yan’an Short Story ‘The Night’ (1940).” In La litterature chinoise au temps de la guerre de resistance contre le Japon. Paris: Editions de la Fondation Singer- Polignac, 1982, 147-53.
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.
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.
Mao, Tun et al. “Excerpts from Criticism of Ding Ling.” In Hualing Nieh, ed., Literature of the Hundred Flowers, Volume II: Poetry and Fiction. NY: Columbia UP, 1981, 266-72.
Moran, Thomas. “Ding Ling.” In Dictionary of Literary Biography–Chinese Fiction Writers, 1900-1949. Ed. Thomas Moran. NY: Thomson Gale, 2007, 53-65.
Shen Congwen 沈从文. Ji Ding Ling 记丁玲 (Remembering Ding Ling). Shanghai: Liangyou, 1934.
Schonebaum, Andrew. “Vectors of Contagion and Tuberculosis in Modern Chinese Literature.” Modern Chinese Literature and Culture 23, 1 (Spring 2011): 17-46.
—–. “1928: Genealogies of Romantic Disease.” In David Der-wei Wang, ed., A New Literary History of Modern China. Cambridge, MA: Harvard University Press, 2017, 343-48.
Tang, Xiaobing. “Shanghai Spring 1930: Engendering the Revolutionary Body.” In Chinese Modernism: The Heroic and the Quotidian. Durham: Duke UP, 2000, 97-130.
Wang, Ban. “Passion and Politics in Revolution: A Psychoanalytic Reading of Ding Ling.” In Carlos Rojas and Andrea Bachner, eds., The Oxford Handbook of Modern Chinese Literatures. Oxford: Oxford University Press, 2016, 746-65.
Wang, Shunzhu. “The Double-Voiced Feminine Discouses in Ding Ling’s ‘Miss Sophie’s Diary’ and Zora Neale Hurston’s Their Eyes Were Watching God.” Tamkang Review 27, 1 (1997): 133-158.
Wang, Xiaojue. “Over Her Dead Body: Ding Ling’s Politicization after the Socialist Revolution.” 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, 108-54. [MCLC Resource Center review by Jeffrey C. Kinkley]
Wang, Xiaoping. “From Feminist to Party Intellectual? Identity Politics and Ding Ling’s Stories.” Harvard Asia Quarterly 17, 2 (2012): 35-43.
Yan, Haiping. “Rhythm of the Unreal [I]: Early Ding Ling and a Feminist Passage.” In Yan, Chinese Women Writers and the Feminist Imagination, 1905-1948. London: Routledge, 2006, 168-99.
—–. “Rhythms of the Unreal [II]: The Ding Ling Story and the Chinese Revolution.” In Yan, Chinese Women Writers and the Feminist Imagination, 1905-1948. London: Routledge, 2006, 200-40.
Yuan Liangjun. “On the Fiction of Ding Ling.” Tr. Song Xianchun. Social Sciences in China 7, 3 (1986): 131-50.
Zhang, Jingyuan. “Feminism and Revolution: The Work and Life of Ding Ling.” In Joshua Mostow, ed, and Kirk A. Denton, China section, ed., Columbia Companion to Modern East Asian Literatures. NY: Columbia UP, 2003, 395-400. Rpt in Kirk A. Denton, ed., Columbia Companion to Modern Chinese Literature. NY: Columbia University Press, 2016, 152-58.
Zhang Yu. “Journeys to the Revolutionary Site of Yan’an: The Construct of Red China, Time Consciousness, and Patience, 1936–45.” In Zhang, Going to the Countryside: The Rural in the Modern Chinese Cultural Imagination, 1915-1965, Ann Arbor: The University of Michigan Press, 2020, 79-109.
Zhou Liangpei 周良沛. Ding Ling zhuan 丁玲传 (Biography of Ding Ling). Beijing: Beijing shiyue wenyi, 1993.
Zou, Yejun. “‘Swimming against the Current’: The Mediation of Cultural Memory in the Writings by Christa Wolf and Ding Ling.” In Katherine Swancutt, ed., Crafting Chinese Memories: The Art and Materiality of Storytelling. New York: Berghahn, 2021, 79-101.
Ding Mang
Wang, Shu and I Sha. “Vulgar Feelings and Gloomy Heart.” In Hualing Nieh, ed., Literature of the Hundred Flowers, Volume II: Poetry and Fiction. NY: Columbia UP, 1981, 181-86.
Ding Wenjiang 丁文江
Fiskesjö, Magnus and Chen Xingcan. China Before China: Johan Gunnar Andersson, Ding Wenjiang and the Discovery of China’s Prehistory. Bilingual ed. Stockholm: Museum of Far Eastern Antiquities, 2004.
Furth, Charlotte. Ting Wen-chiang: Science and China’s New Culture. Cambridge, MA: Harvard University Press, 1970.
Ding Xilin 丁西林
Herd, Ruth and Zhang Jian. “Wildean Echoes in the Plays of Ding Xilin.” Modern Chinese Literature and Culture 22, 1 (Spring 2010): 162-96.
Lau, Joseph S.M. “Oppression as a Situational Comedy: A Note on the Stagecraft of Ting Hsi-lin.” In William Nienhauser, Jr., ed., Critical Essays on Chinese Literature. HK: Chinese UP, 1976, 113-34.
Rea, Christopher. “Three Dollars in National Currency: A One-Act Comedy by Ding Xilin.” Asian Theater Journal 25, 2 (Fall 2008): 173-92.
Weinstein, John B. “Dong Xilin and Chen Baichen: Building a Modern Theater through Comedy.” Modern Chinese Literature and Culture 20, 2 (Fall 2008): 92-130.
Weinstein, John B. and Carsey Yee. “Introduction to the Translation of ‘Flushed with Wine’: Reclaiming Amateur Drama.” MCLC Resource Center Publication (March 2004).
Dong Hong 东虹
Dong, Hong. “My Stories.” Chinese Literature (Spring 1997).
Dong Qizhang (Dung Kai-cheung) 董启章
Li, Fang-yu. “The Role of the Writer and the Making of Hong Kong in Dung Kai-cheung’s The History of the Adventures of Vivi and Vera.” Rocky Mountain Review (Spring 2022): 117-133.
McDougall, Bonnie S. “Recollecting a Moment in Time: Reflections on Dung Kai-cheung’s The Catalog.” Cha: An Asian Literary Journal (May 13, 2020).
Rojas, Carlos. “‘Symptom of an Era’: Dung Kai-Cheung’s Histories of Time.” Frontiers of Literary Studies of China 10, 1 (2016): 133-49.
[Abstract: This essay uses the notion of a symptom to examine the ways in which temporality is deployed in Hong Kong author Dung Kai-Cheung’s 2007 novel, Histories of Time. In particular, the essay follows Dung’s own lead, in Histories of Time, and considers the peculiar temporality implicit in the concept of figuration in Biblical hermeneutics, wherein the “figure” mediates between the two distinct—yet structurally related—temporalities of the Old and the New Testaments: the “prefiguration” of the Old Testament and the “fulfillment of figuration” of the New Testament. I propose that a literary “figure,” in Dung’s work, similarly mediates between the different temporal planes within his novel, while at the same time mediating between the fictional space of the novel and the historical era within which the work is positioned. Just as a symptom is simultaneously a function of—but also structurally external to—the underlying condition that it signifies, this sort of literary figure may similarly be seen as a function of—but simultaneously external to—the historical era to which it corresponds. This sort of literary figure, accordingly, marks a point of rupture within the temporality of the novel and its corresponding era, while at the same time providing the ground on which that temporal continuum is established in the first place.]
—–. “On Time: Anticipatory Nostalgia in Dung Kai-Cheung’s Fiction.” In Carlos Rojas and Andrea Bachner, eds., The Oxford Handbook of Modern Chinese Literatures. Oxford: Oxford University Press, 2016, 847-65.
Tam, Kwok-kan. “Desire, Fear and Gender in Dong Qizhang’s Novel Dual Body.” 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, 217-24.
Wang, David Der-wei. “A Hong Kong Miracle of a Different Kind.” Tr. Caroline Mason. China Perspectives 1 (2011): 80-85.
Wu, Meng. “Fanning Out Possibilities: Dung Kai-cheung and the Multiplicities of Time.” Modern Chinese Literature and Culture 34, 2 (Winter 2022): 420-44.
Dong Xi 东西
King, Dylan Levi. “Dong Xi.” Chinese Literature Today 6, 2 (2017): 62-63.
Dong Xi and Fu Er. “Reckless Writing Is the Best Writing: An Interview with Dong Xi.” Tr. Dylan Levi King. Chinese Literature Today 6, 2 (2017): 64-75.
Liang, Hao. “The Stylistic Genes and Spiritual Pedigree of Dong Xi’s Fiction.” Tr. Dylan Levi King. Chinese Literature Today 6, 2 (2017): 91-94.
Dou Dou 豆豆
Zhou, Zuyan. “Dao and Reconstruction of Cultural Identity in Contemporary Chinese Literary and Mass Media Products.” Modern Chinese Literature and Culture 28, 2 (Fall 2016): 223-284.
Du Pengcheng 杜鹏程
n.a. “Crush Peng Te-huai’s ‘Rebellious Dispositions’–thoroughly criticize and repudiate the anti-party novel Defense of Yenan.” Selections from Mainland Magazines 606 (Dec. 18, 1967): 11-16.
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]
Duanmu Hongliang 端木蕻良
Hsia, C.T. “The Novels of Tuan-mu Hung-liang.” In Joseph S.M. Lau and Leo Ou-fan Lee, eds., Critical Persuasions, forthcoming.
—–. “The Korchin Banner Plains: A Biographical and Critical Study.” in La Litterature Chinoise au Temps de la Guerre de Resistance contre Japon (de 1937 a 1945). Paris, Editions de la Fondation Singer-Polignac, 1982, 31-56.
Kong, Haili. “The Spirit of ‘Native-Soil’ in the Fictional World of Duanmu Hongliang and Mo Yan.” China Information 11, 4 (Spring 1997): 58-67.
—–. “In Memorianm: Duanmu Hongliang (1912-1996).” China Information 11, 4 (Spring 1997): 58-67.
—–. “What Did Literary Patronage Mean to an Individualistic Writer in the 1930s: The Case of Duamu Honglian.” Journal of Modern Literature in Chinese 2, 1 (July 1998): 31-52.
Duo Duo 多多
Huang, Yibing. “Duo Duo: An Impossible Farewell, or, Exile between Revolution and Modernism.” Amerasia Journal 27, 2 (2001): 64-85.
—–. “Duo Duo: An Impossible Farewell, or, Exile between Revolution and Modernism.” In Huang, Contemporary Chinese Literature: From the Cultural Revolution to the Future. NY: Palgrave Macmillan, 2007.
Mai, Mang (Yibing Huang). “Duo Duo: Master of Wishful Thinking.” World Literature Today (March/April 2011): 48-50.
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. “Man and Nature, Man and Man: Aspects of Duoduo’s Poetry.” 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, 100-15.
—–. Language Shattered: Contemporary Chinese Poetry and Duoduo. Leiden: CNWS Research School, 1996.
Yeh, Michelle. “‘Monologue of a Stormy Soul’: The Poetry and Poetics of Duo Duo, 1972-1988.” World Literature Today (March/April 2011): 51-57.
E
Er Yuehe 二月河
Zhou, Baiyi. “Er Yuehe and Contemporary Historical Novels.” Tr. Zhang Siying.Chinese Literature (Autumn 1998).
F
Fan Wen 范稳
Humes, Bruce. “Interview with Chinese Novelsit Fan Wen: A Century of Cultural Collisions in Shangri-la.” Ethnic ChinaLit: Writing by/about non-Han Peoples of China.
Fan Yusu 范雨素
Guo Ting. “How Fan Yusu Wrote Dignity Back into Migrants’ Lives.” Los Angeles Review of Books blog (June 7, 2017).
Koetse, Manya. “Behind the Rise and Fade of China’s Literary Sensation Fan Yusu.” What’s on Weibo (May 31, 2017).
Ma, Junyan. 2021. “Fan Yusu after the Big Sensation.” Shorthand. n.d. [Includes a spoken autobiographical essay with English subtitles.]
Perini, Gaia. “Operai in Cina. Un film di Song Yi” (Workers in China: A Movie by Song Yi), Gli asini 41. Republished on Communia Network, October 11, 2017. (On independent cinema, Fan Yusu 范雨素 and the Picun Migrant Workers Home.)
Phillips, Tom and Wang Zhen. “‘I Am Fan Yusu’: China Gripped by Dickensian Tale of a Migrant Worker’s Struggle.” The Guardian (May 3, 2017).
Picerni, Frederico. “A Proletarian Nora: Discussing Fan Yusu.” Made in China 5(1) (2020): 125–29 and 221–22.
Xiao, Hui Faye. ———. “‘I Am Fan Yusu’: Baomu Writing and Grassroots Feminism against the Post-Socialist Patriarchy.” In Ping Zhu and Hui Faye Xiao, eds., Feminisms with Chinese Characteristics. Syracuse: Syracuse University Press, forthcoming 2021.
Zhong, Xueping. “Class Characteristics of China’s Women’s Liberation and 21st-Century Feminism.” In Ping Zhu and Hui Faye Xiao, eds., Feminisms with Chinese Characteristics. Syracuse: Syracuse University Press, forthcoming 2021. (On Cao Zhenglu 曹征路 and Fan Yusu 范雨素.)
Fang Fang 方方
Adlaka, Hemant. “Fang Fang: The Conscience of Wuhan Amid Coronavirus Quarantine.” The Diplomat (March 23, 2020).
Bao, Hongwei. “Three Woman and Their Wuhan Diaries: Women’s Writing in a Quarantined Chinese City.” Cha Journal (Oct. 17, 2020).
Berry, Michael. Translation, Disinformation, and Wuhan Diary: Anatomy of a Transpacific Cyber Campaign. Palgrave Macmillan, 2022.
[Abstract: During the early days of the COVID-19 health crisis, Fang Fang’s Wuhan Diary provided an important portal for people around the world to understand the outbreak, local response, and how the novel coronavirus was impacting everyday people. But when news of the international publication of Wuhan Diary appeared online in early April of 2020, Fang Fang’s writings became the target of a series of online attacks by “Chinese ultra-nationalists.” Over time, these attacks morphed into one of the most sophisticated and protracted hate Campaigns against a Chinese writer in decades. Meanwhile, as controversy around Wuhan Diary swelled in China, the author was transformed into a global icon, honored by the BBC as one of the most influential women of 2020 and featured in stories by dozens of international news outlets. This book, by the translator of Wuhan Diary into English, alternates between a first-hand account of the translation process and more critical observations on how a diary became a lightning rod for fierce political debate and the target of a sweeping online campaign that many described as a “cyber Cultural Revolution.” Eventually, even Berry would be pulled into the attacks and targeted by thousands of online trolls. This book answers the questions: why would an online lockdown diary elicit such a strong reaction among Chinese netizens? How did the controversy unfold and evolve? Who was behind it? And what can we learn from the “Fang Fang Incident” about contemporary Chinese politics and society? The book will be of interest to students and scholars of translation, as well as anyone with special interest in translation, US-Chinese relations, or internet culture more broadly.]
Fedtke, Jana, Mohammed Ibahrine, and Yuting Wang. “Corona Crisis Chronicle: Fang Fang’s Wuhan Diary (2020) as an Act of Sousveillance” Online Information Review 45, 4 (Feb. 23, 2021).
Lu, Pinyue. “Fang Fang’s Diary: An Indefensible Mistake, International Critical Thought.” International Political Thought 10, 3 (2020): 483–493.
Marco Fumian, “To Serve the People or the Party: Fang Fang’s Wuhan Diary and Chinese Writers at the Time of Coronavirus.” MCLC Resource Center Publication (April 2020).
Guo, Li. “The Aesthetics of Hysteria in Fang Fang’s Water under Time (2008).” Frontiers of Literary Studies in China 11, 1 (2017): 73-105.
[Abstract: Water under Time, the novel by the reputed Chinese fiction writer Fang Fang, appropriates and reconstructs the conventions of the hysteric narrative as an affective form of feminine history telling and writing. The novel, which accounts Hankou city’s past through the heroine’s life story, illustrates how feminine hysteria provides a gendered lens of reconstructed historical authenticity via the panorama of China’s early Republican period, the anti‐Japanese War, and the present new millennium. Transcending the official historical accounts, Fang Fang’s narrative features women’s innovative reconfiguration of contesting historical discourses about the city, the community, and the nation. This study of Water under Time suggests that women’s explorations of hysteria actually surpass the psychoanalytical reading of hysteria as paradigms of feminine bodily, sexual, and social abjection, and instead envisions it as a validating narrative aesthetic which carries the potential to rewrite the boundaries of gender, nation, and history.]
—–. “Feminine Neorealist Fiction in the New Millennium: Voice, Trauma, and Focalization in Fang Fang’s Fiction.” In Yingjin Zhang, ed., A World History of Chinese Literature. NY: Routledge, 2023, 330-40.
Robins, Kevin. “The Great City is Fragile: Fang Fang’s Wuhan Diary.” Cultural Politics 17, 1 (2021): 69-79.
Visser, Robin. “Children of the Bitter River: Homeless in the Modern World.” In Fang Fang, Children of the Bitter River. Tr. Herbert J. Batt. Norwalk, CT: EastBridge, 2007, v-xvi.
Wu, Lijuan. “Fang Fang, Reflecting Her Times.” Tr. Li Ziliang. Chinese Literature (Summer 1997).
Xiao, Hui Faye. “Against the Proletarian Modernity: Retrotopic Journey and Precariat Subject in Alternative Youth Literature.” In Xiao, Youth Economy, Crisis, and Reinvention in Twenty-First Century China: Morning Sun in the Tiny Times. London: Routledge, 2020, 57–92. [With case studies of Lu Nei 陆内, Fang Fang 方方, Tang Yihong 唐亦洪, Guo Jinniu 郭金牛, and Xu Lizhi 许立志]
Xia, Meng. “Transcultural Memory in Visions and Realities: Fang Fang’s Wuhan Diary and Its Publication.” Chinese Literature and Thought Today 53, 3-4 (2022): 88-96.
[Abstract: This article examines Fang Fang’s book Wuhan Diary: Dispatches from a Quarantined City from the lens of transcultural memory, by analyzing her account of pandemic experience as a memory text translatable to the globe. First, after an overview of Fang Fang’s diary and its reception and publication, I examine how this memory text originates from her affective testimony with a historical consciousness. Specifically, I emphasize its ethical approach to processing individual trauma by transposing it into collective memory which matters to all around the globe traumatized by the pandemic, particularly in countering purposeful forgetting and politicization of testimonial writing. Next, I explicate the conception of transcultural memory in order to reveal how Fang Fang’s diary constitutes a text of transculturally shared memory. On this basis, I uncover the ethical relations that ground this memory text of transcultural memory meaningful for its overseas readers, in terms of the accommodability of complex emotions, generation of discursive spaces, and creation of co-occurrence between Wuhan’s past and the world’s ongoing pandemic. Finally, I propose to imagine the community of memory which is enabled by transcultural memories. By defining “the community of memory,” I argue that it demonstrates a new perspective to perceive memory practices that transcend national and cultural bonding and transgress existing tensions with “the other.”]
Yang, Guobin. “In China, Pandemic Diaries Unite, and Divide, a Nation.” Items: Insights from the Social Sciences (Sept. 24, 2021).
Fang Ji 方纪
Decker, Margeret. “Living in Sin: From May Fourth via the Antirightist Movement to the Present.” In Ellen Widmer and David Wang, eds., From May Fourth to June Fourth: Fiction and Film in Twentiety-Century China. Cambridge: Harvard UP, 1993, 221-46.
Fang Lingru 方令孺
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]
Fang Yimeng 房忆梦
Sun, Wanning. “‘Northern Girls’: Cultural Politics of Agency and South China’s Migrant Literature.” Asian Studies Review 38, 2 (2014): 168–85.
Fei Dao 飞刀
Ash, Alec. “Science Fiction in China: A Conversation with Fei Dao.” LA Review of Books (May 1, 2013).
Fei Ming 废名
see Feng Wenbing
Feng Jicai 冯骥才
Altenburger, Roland. “Feng Jicai.” In Thomas Moran and Ye (Dianna) Xu, eds., Chinese Fiction Writers, 1950-2000. Dictionary of Literature Biography, vol. 370. Detroit: Thomson Gale, 2013, 54-64.
Braester, Yomi and Zhang Enhua. “The Future of China’s Memories: An Interview with Feng Jicai.” Journal of Modern Literature in Chinese 5, 2 (2002): 131-48.
Feng Jicai’s Blog (Sina.com)
Gaenssbauer, Monika. “The Cultural Revolution in Feng Jicai’s Fiction.” In Woei Lian Chong, ed., China’s Great Proletarian Cultural Revolution: Master Narratives and Post-Mao Counternarratives. Lanham: Rowman and Littlefield, 2002, 319-44.
Li, Jun. “Feng Jicai: A Giant of a Writer in More Ways Than One.” In Yang Bian, ed., The Time is Not Ripe: Contemporary China’s Best Writers and Their Stories. Beijing: FLP, 1991, 78-84.
Martin, Helmut. “What If History Has Merely Played a Trick on Us? Feng Chi-ts’ai’s Writing, 1979-1984.” In Reform and Revolution in Twentieth Century China. Taipei: Institute of International Relations, 1987, 277-90. Rpt as a book: Taipei: Institute of International Relations, National Cheng-chi University, 1987.
Wang, David. “Tai Hou-ying, Feng Chi-Ts’ai and Ah Cheng: Three Approaches to the Historical Novel.” Asian Culture Quarterly 16, 2 (1988): 70-88.
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.]
Feng Naichao 冯乃超
Galik, Marian. “The Red Gauze Lantern of Feng Naich’ao.” Asian and African Studies, 10 (1974): 69-95.
—–. “Feng Naich’ao’s The Red Gauze Lantern and French Symbolism.” In Galik, ed., Milestones in Sino-Western Literary Confrontation (1898-1979). Weisbaden: Otto Harrassowitz, 1986, 135-52.
—–. “Feng Nai-ch’ao, Li Ch’u-li and their Leftis Theory of Art and Literature.” In Galik, The Genesis of Modern Chinese Liteary Criticism (1917-1930). London: Curzon Press, 1980, 308-20.
Feng Tang 冯唐
Hunt, Pamela. 2018. “Global and Local Phallic Creativity: Intertextuality in Feng Tang’s Construction of Masculinity.” in Song Geng and Derek Hird, eds, The Cosmopolitan Dream: Transnational Chinese Masculinities in a Global Age. Hong Kong: Hong Kong University Press, 2018, 102-26.
Feng Wenbing 冯文炳
Dang, Shengyuan and Gao Jie. “About Fei Ming.” Tr. Li Guoqing. Chinese Literature (Spring 1990): 123-27.
Fitzgerald, Carolyn. “After Mr. Neverwas Rides a Plane: Wartime Autobiography as History.” In Fitzgerald, Fragmenting Modernisms: Chinese Wartime Literature, Art, and Film, 1937-49. Leiden: Brill, 2013, 217-64.
Gunn, Edward. Rewriting Chinese: Style and Innovation in Twentieth-Century Chinese Prose. Stanford: Stanford UP, 1991, 125-29, 284-86.
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, Ningyi. “Fei Ming’s Short Stories: A Poetry of Folk Elements.” Studies on Asia Series II, 2, 2 (Fall 2005): 112-25.
Liu, Haoming. “Fei Ming’s Poetics of Representation: Dream, Fantasy, Illusion, and Alayavijnana.” Modern Chinese Literature and Culture 13, 2 (Fall 2001): 30- 71.
—–. Transformation of Childhood Experience: Rainer Maria Rilke and Fei Ming. Ph.d. diss. New Haven: Yale University, 2001.
Liu, Jianmei. “Fei Ming: From Artistic Transcendence to Political Kitsch.” In Liu, Zhuangzi and Modern Chinese Literature. Oxford: Oxford University Press, 2016, 126-40.
Ogawa, Toshiyasu. “The Methodology of Fei Ming’s Bridge–With Reference to the Influence from Kuriyagawa Hakuson.” Journal of Modern Literature in Chinese 12, 2 (Summer 2015): 12-26.
Pesaro, Nicoletta. “The Rhythm of Thought: Some Problems of Translating Syntax in Modern Chinese Literature.” In Pesaro, ed., The Ways of Translation: Constraints and Liberties of Translating Chinese. Venice: Libreria Editrice Cafoscarina, 60-73.
Pirazzoli, Melinda. “Bridging Qing 情 (Emotions) and Jing 境 (Natural Realm): Fei Ming’s Eco-Poetics in Bridge.” In Riccardo Moratto, Nicoletta Pesaro, and Di-kai Chao, eds., Ecocriticism in Chinese Literature: Imagined Landscapes and Real Lived Spaces. London: Routledge, 2022, 115-28.
Shih, Shu-mei. “Writing English with a Chinese Brush: The Work of Fei Ming.” In Shi, The Lure of the Modern: Writing Modernism in Semicolonial China, 1917-1937. Berkeley: UC Press, 2001, 190-203.
Zhou, Gang. “Modern Consciousness and Symbolist Poetry: Fei Ming, Li Jinfa, and Others.” In Ming Dong Gu, ed., Routledge Handbook of Modern Chinese Literature. London: Routledge,
[Abstract: When Auerbach was analyzing Virginia Woolf’s 1927 novel To the Lighthouse in his admired Mimesis, he certainly had no idea that there was a writer in China whose 1932 novel Bridge was being compared to Woolf’s. The person who made this connection was Zhu Guangqian, a well-known literary critic in 1930s and 1940s China, and the writer was Fei Ming. Like Fei Ming, the poet Li Jinfa also has a strong affinity with Western modernism and especially with French Symbolism. In 1925, Fei Ming’s first collection of stories, Tales of the Bamboo Grove, was published, followed by two more: Peach Orchard in 1928 and Date in 1931. The publication of Li Jinfa’s first collection of poetry Light Rain in 1925 caused a great stir on China’s literary scene. Besides Li Jinfa, other Chinese poets who also have strong affinity with French Symbolism include Wang Duqing, Mu Mutian and Liang Zongdai.]
Feng Xuefeng 冯雪峰
n.a. “Criticism of the Writer Feng Xuefeng.” Survey of the China Mainland Press 1607 (Sept. 11, 1957): 6-12.
Ho, Ch’i-fang. “The Anti-Party, Anti-Marxist Literary and Social Thought of Feng Hsueh-feng.” In Hualing Nieh, ed. and co-trans., Literature of the Hundred Flowers Volume II: Poetry and Fiction. NY: Columbia University Press, 1981, 310.
Feng Yuanjun 冯沅君
Feng, Jin. “Sentimental Autobiographies: Feng Yuanjun, Lu Yin and the New Woman.” In Feng, The New Woman in Early Twentieth-Century Chinese Fiction. West Lafayette, IN: Purdue University Press, 2004, 126-148.
Feng Zhi 冯至
Cheung, Dominic. Feng Chih. Boston: Twayne, 1979.
Fiss, Geraldine. “From Du Fu to Rilke and Back: Feng Zhi’s Modernist Aesthetics and Poetic Practice.” In Paul Manfredi and Christopher Lupke, eds., Chinese Poetic Modernisms. Leiden: Brill, 2019, 38-56.
Galik, Marian. “Feng Chih’s Sonnets: the Interliterary Relations with German Romanticism, Rilke and van Gogh.” In Galik, ed., Milestones in Sino-Western Literary Confrontation (1898-1979). Weisbaden: Otto Harrassowitz, 1986, 177-200.
—–. “Feng Zhi and His Goethean Sonnet.” In Masayuki Akiyama and Yiu-nam Leung, eds., Crosscurrents in the literatures of Asia and the West: Essays in Honor of A. Owen Aldridge. Newark: University of Delaware Press; London; Cranbury, NJ: Associated University Presses, 1997, 123-34.
Giuffré, Salvatore. “Il sonetto veneziano.” Quaderni Asiatici 118 (2017): 61-76.
—–. “The State of Loneliness as a Source of Poetic Creativity in Feng Zhi’s Early Writings.” New Zealand Journal of Asian Studies 19, 1 (2017): 23-36.
—–. “A Brief Transcultural Reading of the Greek Myth of Orpheus and His Quest in the Modern Sonnets of Feng Zhi.” Journal of Comparative Literature and Aesthetics 42, no. 2 (2019): 91-102.
—–. “A Comparative Approach to the Eternising Poetry of Feng Zhi and Ugo Foscolo.” Asian Studies International Journal 1, no. 1 (2019): 43-49.
—–. Every Man is an Island: A Transtextual Study on the Chinese Sonnets of Feng Zhi. Malta: Malta University Press, 2020.
[Abstract: Every Man is an Island offers a translation and a transtextual study on the poem collection The Sonnets of Chinese lyricist Feng Zhi (1905-1993) as well as notes on the life and poetic style and ideology of the same author. Feng Zhi was a distinguished translator and professor of German literature with a deep knowledge of the poetry of Goethe, Novalis and Rilke. Regarded as one of the most refined lyricists and sonnet writers in early modern Chinese literature, Feng Zhi’s mystical poetry manifest a gradual shift from Romanticism to Modernism and addresses some of the most relevant themes that interested Chinese intellectuals at the turn of the twentieth century: individualism, love, poetic transcendence, loneliness and interpersonal relationships. The twenty-seven sonnets analysed in this work encapsulate the mature thought and poetry of Feng Zhi and portray a poetic journey of the individual in modern China. The monograph also contains unpublished photos of the Chinese poet.]
Haft, Lloyd. “Some Rhythmic Structures in Feng Zhi’s Sonnets.” Modern Chinese Literature 9, 2 (1996): 297-326.
Vuilleumier, Victor J. Ulysse. “Transcultural Landscape and Modernity in a Feng Zhi Sonnet: Sound, Silence, and the Lesson of Metamorphosis.” In Riccardo Moratto, Nicoletta Pesaro, and Di-kai Chao, eds., Ecocriticism and Chinese Literature: Imagined Landscapes and Real Lived Spaces. London: Routledge, 2022, 16-37.
Wang, David Der-wei. “Of Dream and Snake: He Qifang, Feng Zhi, and Born-Again Lyricism.” In Wang, The Lyrical in Epic Time: Modern Chinese Intellectuals and Artists through the 1949 Crisis. NY: Columbia University Press, 2015, 113-54.
Wang, Xiaojue. “Fashioning Socialist Affinity: Feng Zhi and the Legacy of European Humanism in Modern Chinese Poetry.” 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, 202-54. [MCLC Resource Center review by Jeffrey C. Kinkley]
Yu, Eric. “Ideas, Emotions, and Poetic Devices: Philosophical Lyricism in Feng Zhi’s Sonnets.” Quarterly Journal of Chinese Studies, 3, 3 (2015): 1-16.
Zhang, Hui. “Feng Zhi’s Spiritual Transformation in the Mirror of Du Fu: A Dialogue between the Modern and the Traditional.” Frontiers of Literary Studies in China 9, 4 (Dec. 2015): 616-34.
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 discussed in the dissertation include: Shen Congwen, Feng Zhi, Nine Leaves Poets (primarily Yuan Kejia and Mu Dan)].
Feng Zikai 丰子恺
Barmé, Geremie. An Artist Exile: A Life of Feng Zikai (1898-1978). Berkeley: University of California Press, 2002.
Harbsmeier, Christoph. The Cartoonist Feng Zikai: Social Realism with a Buddhist Face. Oslo: Universitetforlaget, 1984.
Hung, Chang-tai. “War and Peace in Feng Zikai’s Wartime Cartoons.” Modern China 16 (Jan. 1990): 39-83.
Zhuang, Sue. “A Critical View of the Yangzhou Dream: Feng Zikai’s Essay ‘The Yangzhou Dream.'” In Roland Altenburger, Margaret B. Wang, and Vibeke Bhordahl, eds., Yangzhou, a Place in Literature: The Local in Chinese Cultural History. Honolulu: University of Hawaii Press, 2015, 343-56.
Fu Lei 傅雷
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, Guangchen. “Fu Lei and Fou Ts’ong: Cultural Cosmopolitanism and Its Price.” In David Der-wei Wang, ed., A New Literary History of Modern China. Cambridge, MA: Harvard University Press, 2017, 650-55.
Hu, Mingyuan. Fou Lei: An Insistence on Truth. Leiden: Brill, 2017.
[Abstract: In Fou Lei: An Insistence on Truth, Mingyuan Hu thinks through the life and work of one of modern China’s most significant public intellectuals, investigating his Shanghai-Paris trajectory and his resistance against cultural barbarism. Using hitherto undiscovered archival documents, Hu presents the first study of Fou Lei’s youth, particularly his formative years in Europe (1928–1931), and analyses the critic-translator’s identity vis-à-vis intercultural friendships and political predicaments. Bringing together previously untranslated material in French and Chinese, Fou Lei paints a man in dark times searching for illumination through words, and invites the reader to reconsider questions, unresolved and unspoken, about his tragic end.]
Volland, Nicolai. “A Linguistic Enclave: Translation and Language Policies in the Early People’s Republic of China.” Modern China 35, 5 (2009): 467-494.
[Abstract: After 1949, the Chinese Communist Party (CCP) made great efforts to control the Chinese language–the way people write, speak, and think. Especially during the Mao years, linguistic conformity was one of the chief means through which the CCP tried to make the articulation of dissent all but impossible. As this article shows, however, the party’s actual control of language was not total; niches of greater linguistic diversity remained accessible to readers and writers who made the effort to mediate between the party-state’s prescriptions and their individual styles. Comparing three translations of Balzac’s (1949) Père Goriot by the Chinese translator Fu Lei from 1946, 1951, and 1963, and reading them against the official “blueprint” of Mao style, the author argues that Fu Lei was able to resist the pressure for conformity and in his translations continued to apply his own, idiosyncratic style. The analysis shows how segments of public writing that were less susceptible to direct intervention, such as translation of foreign literature, enjoyed more autonomy from the party-state’s pervasive linguistic controls. Due to its high popularity, translated literature thus provided readers with an important alternative to the omnipresent Mao style and served as a source of inspiration for later generations.]
Fu Lin 符霖
Hanan, Patrick. “Introduction.” In The Sea of Regret: Two Turn of the Century Chinese Romantic Novels. Trs. Patrick Hanan. Honolulu: University of Hawaii Press, 1995, 1-17.
Fu Sinian 傅斯年
Wang, Fan-sen. Fu Ssu-nien: A Life in Chinese History and Politics. NY: Cambridge UP, 2000.
G
Gan Yaoming 甘耀明
Huang, Dingru. “The Future of Mourning: Queer Indigeneity, Climate Precarity, and Ecological Futurity through minBunun.” ISLE: Interdisciplinary Studies in Literature and Environoment 31, 3 (2024): 1-22.
Wu, Chia-rong. “Magical Nativism in Sinophone Taiwan.” In Wu, Supernatural Sinophone Taiwan and Beyond. Amherst, NY: Cambria Press, 2016.
Gao Xiaosheng 高晓声
Decker, Margeret. The Vicissitudes of Satire in Contemporary Chinese Fiction: Gao Xiaosheng. Ph.d. diss. Stanford University, 1987.
—–. “Living in Sin: From May Fourth via the Antirightist Movement to the Present.” In Ellen Widmer and David Wang, eds., From May Fourth to June Fourth: Fiction and Film in Twentiety-Century China. Cambridge: Harvard UP, 1993, 221-46.
Faurot, Jeanette L. “Shoes That Fit– The Stories of Gao Xiaosheng.” In Mason Y.H. Wang, ed., Perspectives in Contemporary Chinese Literature. Michigan: Green River Press, 1983, 77-88.
Feuerwerker, Yi-tsi Mei. “An Interview with Gao Xiaosheng.” Modern Chinese Literature 3, 1/2 (Spring/Fall 1987): 113-35.
—–. “Reassesing the Past in the ‘New Era’: Gao Xiaosheng.” In Feuerwerker, Ideology, Power, Text: Self-Representation and the Peasant “Other” in Modern Chinese Literature. Stanford: SUP, 1998, 146-87.
Kuiper, P.N. “A Critical Writer Feasted by his ‘Characters’: Gao Xiaosheng’s Novelette Hutu (Foolishness).” In Helmut Martin, ed., Cologne-Workshop 1984 on Contemporary Chinese Literature: Chinesische Gegenwartsliteratur. Koln: Deutsche Welle, 1986.
Li, Guoqing. “Roots in the Same Land: On Hwang Ch’un-ming and Kao Hsiao-sheng’s Stories.” Chinese Culture 38, 3 (1997): 117-35.
Wagner, Rudolf. Inside the Service Trade: Studies in Contemporary Chinese Prose. Cambridge: Council on East Asian Studies, Harvard University, 1992, 431-80. [deals with “Li Shundao Builds a House”]
Gao Xingjian 高行健
Anon. “News Brief: A Traditionalist.” Asian Art News 8, 4 (Jul/Aug 1998): 15.
Barme, Geremie. “A Touch of the Absurd–Introducing Gao Xingjian and His Play The Bus Stop.” Renditions. 19/20 (1983): 373-77.
Baum, Julian. “Peking’s Wildman Jolts Theater Goers.” The Christian Science Monitor (June 24, 1985): 9-10.
Burckhardt, Olivier. “The Voice of One in the Wilderness.” Quadrant (April 2000).
CND Special Supplement of HuaXia wenzhai on Gao Xingjian [in Chinese].
Chan, Wai-sim. “Postscript: On Seeing the Play Bus Stop: He Wen’s Critique in the Literary Gazette.” Renditions 19/20 (1983): 387-92.
Chen, Jianguo. “In Search of ‘Origin’: Gao Xingjian’s Nostalgic Journey to ‘Being’.” In Chen, The Aesthetics of the ‘Beyond’: Phantasm, Nostaligia, and the Literary Practice in Contemporary China. Newark: University of Deleware Press, 2009, 126-61.
Chen, Xiaomei. “A Wildman Between Two Cultures: Some Paradigmatic Remarks on ‘Influence Studies.” Comparative Literature Studies 29:4 (1992):397-417. Rpt. in Tam, Kwok-kan, ed. Soul of Chaos: Critical Perspectives on Gao Xingjian. HK: Chinese University Press, 2001, 89-110.
—–. “A Wildman Between the Orient and the Occident: Retro-Influence in Comparative Lierary Studies.” In Chen, Occidentalism: A Theory of Counter-Discourse in Post-Mao China. NY: Oxford UP, 1995, 99-118. [on Gao’s play Yeren]
Cheuk, Michael Ka-chi. “Gao Xingjian’s Escape from Orientalism.” Archiv orientální 89, 2 (2021): 365-87.
—–. “The Language of Trauma in Selected Short Stories by Gao Xingjian.” In Rahul K. Gairola and Sharanya Jaywickrama, eds., Memory, Trauma, Asia: Recall, Affect, and Orientalism in Contemporary Narratives. Routledge, 2021, 31-47.
Chishti, Farida. “Exile’s Home as a Place of Power in Gao Xingjian’s Soul Mountain.” Chinese Literature and Thought Today 53, 3-4 (2022): 124-33.
[Abstract: With the key objective to contest the grand narrative of Chinese home as a seat of Confucian order and harmony, this paper intends to explore home as a tyrannical site in the novel Soul Mountain by Gao Xingjian, the Chinese self-exile writer in France. That Gao’s fiction deals with political oppression in the country under Mao’s rule is a truism. However, the fact that home at personal level plays an equally oppressive role has so far been overlooked in critical debates. Aiming to fill this gap in literature, this study highlights the tyranny that home exerts over individuals to “subjectify” and “territorialize” them to its set norms. Drawing on Michel Foucault’s theory of power and subjectivity, and Gilles Deleuze and Félix Guattari’s notion of “de-territorialization” of the subject, I argue that where home as a “regime of power” is oppressive, there it is also counter-productive; particularly so for an artist in whom it triggers an urge to dislocate or “de-territorialize.” Deploying critical and Foucauldian discourse analyses as tools to analyze data mainly from Gao’s first novel Soul Mountain, this study is directed toward attaining a power-resistant subjective autonomy, an area generally neglected in Asian cultures.]
Conceison, Claire. “Fleshing out the Dramaturgy of Gao Xingjian.” MCLC Resource Center Publication (Dec. 2002).
—–. “The French Gao Xingjian, Bilingualism, and Ballade Nocturne.” Hong Kong Drama Review (Xianggang xiju xuekan) 8 (2009).
Conlon, Stephen. “The Individual Writer’s Voice: Gao Xingjian’s Aesthetic and Creation.” Asian Journal of Literature, Culture and Society 7, 1 (2013).
Coulter, Todd J. Transcultural Aesthetic in the Plays of Gao Xingjian. NY: Palgrave, 2014.
[Abstract: Gao Xingjian has been lauded for his inventive use of Chinese culture in his paintings, plays, and cinema, however he denies that his current work participates in any notion of Chinese. This book traces the development of these forms and how they relate and interact in the French language plays of the Nobel Laureate.]
Dollar, J. Gerard. “In Wildness Is the Preservation of China: Henry Thoreau, Gao Xingjian, and Jiang Rong.” Neohelicon 36, 2 (Dec. 2009): 411-419.
[Abstract: Two widely read Chinese novels of the past 20 years—Gao Xingjian’s Soul Mountain (1990) and Jiang Rong’s Wolf Totem (2004)—echo Henry David Thoreau’s proclamation (in his essay “Walking”) that “in Wildness is the preservation of the world.” These texts, which reveal their origins in journals, present highly personal quests for what remains of the wild in China; turning their backs on Beijing, the authors search for validation of a belief, expressed by Thoreau and other environmental writers within a Romantic tradition, that a people in close contact with the wild maintain a strength, earthiness and vitality not found in urban cultures; and that close contact with the wild, especially with wild animals, has a spiritual dimension. These compelling Chinese quests yield different results, inevitably depart from Thoreau’s 19th-century optimism, and make complementary statements on what modern China risks losing as it progressively, and in the name of “progress,” eliminates the wild.]
Dutrait, Noel. “Richly Rewarding: The Work of Gao Xingjian, Bibliography of a Nobel Prize Winner.” China Perspectives 34 (March – April 2001): 66.
—–. “‘Without Ism’: An Ism for One Man.” China Perspectives 2 (2010): 6-11.
Engdahl, Horace. “Interview with the 2000 Nobel Laureate for Literature” (Dec. 13, 2000). [downloadable video interview with Gao Xingjian]
Findeisen, Raoul. “Exil als Existenzform – Einführung in Leben und Werk.” In Gao Xingjian, Der Berg der Seele (2001).
Fong, Gilbert C. F. “Introduction.” The Other Shore: Plays by Gao Xingjian. HK: The Chinese University Press, 1999, ix-xlii.
—–. “Gao Xingjian and the Idea of Theatre.” In Tam, Kwok-kan, ed. Soul of Chaos: Critical Perspectives on Gao Xingjian. HK: Chinese University Press, 2001, 147-55.
Fusini, Letizia. Dionysus on the Other Shore: Gao Xingjian’s Theatre of the Tragic. Leiden: Brill, 2020.
[Abstract: In Dionysus on the Other Shore, Letizia Fusini argues that throughout his early exile years (late 1980s-1990s), Gao Xingjian gradually moved away from Absurdist Drama to develop a dramaturgical system with tragic characteristics. Drawing on a range of contemporary theories of tragedy, this book reconfigures some of the key tropes of Gao’s post-1987 theater as varied articulations of the Dionysian sparagmos mechanism. They are the dismemberment of the dramatic self, the usage of constricted spaces, the divisive nature of gender relations, and the agony of verbal language. Through a text-based analysis of seven plays, the author ultimately aims to show that in Gao’s theater, tragedy is an ongoing and mostly subtextual dynamism generated by an interplay of psychic forces concurrently cohesive and divisive.]
Gao Xingjian Collection (website of the Chinese University of Hong Kong special Gao Xingjian collection, opened Dec. 2004)
Gao Xingjian: Reward on the ‘Other Side.’ (extensive website in Chinese devoted to Gao)
Gao Xingjian and Liu Zaifu. “Leaving the Twentieth Century Behind: A Conversation between Gao Xingjian and Liu Zaifu.” Tr. Caroline Mason. China Perspectives 3 (2008): 118-22.
Gentz, Natascha. “How to Get Rid of China: Ethnicity, Memory, and Trauma in Gao Xingjian’s One Man’s Bible.” In Natascah Gentz and Stefan Kramer, eds., Globalization, Cultural Identities, and Media Representations. Albany: SUNY Press, 2006, 119-42.
He, Wen. “On Seeing the Play The Bus Stop.” Tr. Chan Sin-wai. Renditions 19/20 (1983): 387-92.
Huang, Alexander C. Y. “The Theatricality of Religious Rhetoric: Gao Xingjian and the Meaning of Exile.” Theatre Journal 63, 3 (2011): 365-79.
Jian, Ming. “In Search of Creativity: Agony and Ecstasy in Gao Xingjian’s Lingshan.” Asiatische Studien/Etdues Asiatiques 58, 4 (2004): 931-62.
—–. “Life’s Unattainable Goal and Actualized Meaning: Existential Anxiety and Zen Tranquility in Gao Xingjian’s Soul Mountain.” CLEAR 31 (Dec. 2009).
Kinkley, Jeffrey C. “Gao Xingjian in the “Chinese” Perspective of Qu Yuan and Shen Congwen.” Modern Chinese Literature and Culture 14, 2 (Fall 2002): 130-162.
Knight, Deirdre Sabina. Review of The Other Shore: Plays by Gao Xingjian, trans. Gilbert C. F. Fong (The Chinese University Press, 1999). Journal of Asian Studies 61, 1 (2002): 216-18.
Kuoshu, Harry H. “Will Godot Come by Bus or through a Trace? Discussion of a Chinese Absurdist Play.” Modern Drama 41, 3 (Fall 1998): 461-73.
Labedzka, Izabella. Gao Xingjian’s Idea of Theatre: From the Word to the Image. Leiden: Brill, 2008. [MCLC Resource Center review by Mary Mazzilli]
[Abstract: This book argues that Gao Xingjian’s Idea of Theatre can only be explained by his broad knowledge and use of various Chinese and Western theatrical, literary, artistic and philosophical traditions.The author aims to show how Gao’s theories of the theatre of anti-illusion, theatre of conscious convention, of the “poor theatre” and total theatre, of the neutral actor and the actor – jester – storyteller are derived from the Far Eastern tradition, and to what extent they have been inspired by 20th century Euro-American reformers of theatre such as Antonin Artaud, Bertolt Brecht, Vsevolod Meyerhold, Jerzy Grotowski and Tadeusz Kantor. Although Gao’s plays and theatre form the major subject, this volume also pays ample attention to his painting and passion for music as sources of his dramaturgical strategies.]
Lackner, Michael, and Nikola Chardonnens, eds., Polyphony Embodied: Freedom and Fate in Gao Xingjian’s Writings. Berlin: DeGruyter, 2014.
[Abstract: Like artists, important writers defy unequivocal interpretations. Gao Xingjian, winner of the Nobel Prize in literature, is a cosmopolitan writer, deeply rooted in the Chinese past while influenced by paragons of Western Modernity. The present volume is less interested in a general discussion on the multitude of aspects in Gao’s works and even less in controversies concerning their aesthetic value than in obtaining a response to the crucial issues of freedom and fate from a clearly defined angle. The very nature of the answer to the question of freedom and fate within Gao Xingjian’s works can be called a polyphonic one: thereare affirmative as well as skeptical voices. But polyphony, as embodied by Gao, is an even more multifaceted phenomenon. Most important for our contention is the fact that Gao Xingjian’s aesthetic experience embodies prose, theater, painting, and film. Taken together, they form a Gesamtkunstwerk whose diversity of voices characterizes every single one of them.]
Lai, Amy. “Gao Xingjian’s Monologue as Metadrama.” In Tam, Kwok-kan, ed. Soul of Chaos: Critical Perspectives on Gao Xingjian. HK: Chinese University Press, 2001, 133-45.
Larson, Wendy. “Realism, Modernism, and the Anti-‘Spiritual Pollution’ Campaign in Modern China.” Modern China 15, 1 (Jan. 1989): 37-71. [pp. 48-57 are a discussion of the debate on modernism in the well-known essays of Gao Xingjian, Xu Chi, and Xu Jingya.]
—–. “Space, Place, and Distance: Gao Xingjian, Mo Yan, and the Novel in World Literature.” In Kuei-fen Chiu and Yingjin Zhang, eds., The Making of Chinese-Sinophone Literatures as World Literature. Hong Kong: Hong Kong University Press, 2022, 145-63.
Lee, Gregory and Noel Dutrait. “Conversations with Gao Xingjian: The First ‘Chinese’ Winner of the Nobel Prize for Literature.” The China Quarterly 167 (2001): 738-84. [pdf version on The China Quarterly website]
Lee, Mabel. “Without Politics: Gao Xingjian on Literary Creation.” Stockholm Journal of East Asian Studies 6 (1995): 82-101.
—–. “Gao Xingjian’s Dialogue with Two Dead Poets from Shaoxing: Xu Wei and Lu Xun.” In Findeison and Gassmann, eds., Autumn Floods: Essay in Honour of Marian Galik. Bern: Peter Lang, 1997. Rpt. in Tam, Kwok-kan, ed. Soul of Chaos: Critical Perspectives on Gao Xingjian. HK: Chinese University Press, 2001, 277-91.
—–. “Walking Out of Other People’s Prisons: Liu Zaifu and Gao Xingjian on Chinese Literature in the 1990s.” Asian and African Studies 5, 1 (1996): 98-112.
—–. “Personal Freedom in Twentieth Century China: Reclaiming the Self in Yang Lian’s Yi and Gao Xingjian’s Lingshan.” In Mabel Lee and Michael Wilding eds., History, Literature and Society: Essays in Honour of S. N. Mukherjee. Sydney: Sydney Association for Studies in Culture and Society, 1997, 133-55.
—–. “Gao Xingjian’s Lingshan/Soul Mountain: Modernism and the Chinese Writer.” HEAT 4 (1997): 128-143.
—–. “Gao Xingjian on the Issue of Literary Creation for the Modern Writer.” Journal of Asian Pacific Communication 9.1-2 (1999). Rpt. in Tam, Kwok-kan, ed. Soul of Chaos: Critical Perspectives on Gao Xingjian. HK: Chinese University Press, 2001, 21-41.
—–. “Pronouns as Protagonists: Gao Xingjian’s Lingshan as Autobiography.” China Studies 5 (1999). Rpt. in Tam, Kwok-kan, ed. Soul of Chaos: Critical Perspectives on Gao Xingjian. HK: Chinese University Press, 2001, 235-56.
—–. “Nobel Laureate 2000 Gao Xingjian and his Novel Soul Mountain.” Comparative Literature and Culture: A WWWeb Journal 2, 3 (2000).
—–. “Nobel in Literature 2000: Gao Xingjian’s Aesthetics of Fleeing.” CLCWeb: Comparative Literature and Culture 3, 1 (March 2003).
—–. “Gao Xingjian: First Chinese Winner of the Nobel Prize for Literature.” Persimmon 2, 1 (2001): 38-40. [with an excerpt from Soul Mountain]
—–. “Returning to Recluse Literature: Gao Xingjian.” In Joshua Mostow, ed, and Kirk A. Denton, China section, ed., Columbia Companion to Modern East Asian Literatures. NY: Columbia UP, 2003, 610-16.
—–. “Contextualizing Gao Xingjian’s Film Silhouette / Shadow.” MCLC Resource Center Publication (January 2008).
—–. “Aesthetics in Gao’s Soul Mountain.” CLCWeb: Comparative Literature and Culture 14, 4 (Dec. 2012).
[Abstract: Mabel Lee analyses Nobel Laureate 2000 Xingjian Gao’s aesthetics. Transnational conglomerates today control the book industry from publishing house to bookshop and through aggressive market strategies they exert considerable influence on readers. Nonetheless, there are writers who refuse to capitulate to market demands and seek only to actualize their aesthetic ideas in the creation of literary texts. One such writer is Gao, author of the novel Soul Mountain. Lee posits that Gao’s aesthetics is founded on the close interrogation of both Chinese and European models and practices and explores specific aspects of Gao’s aesthetics and how these are embedded in his novel Soul Mountain. In an Appendix the article includes lists of Gao’s works in Chinese and English, as well as a list of studies on his oeuvre.]
—–. “A Note from the Translator of Gao Xingjian’s Aesthetic and Creation.” Asian Journal of Literature, Culture and Society 7, 1 (2013).
—–. “Word and Image: Gao Xingjian.” In Kirk A. Denton, ed., Columbia Companion to Modern Chinese Literature. NY: Columbia University Press, 2016, 400-06.
Lee, Mabel and Jianmei Liu. Gao Xingjian and Transmedia Aesthetics. Amherst, NY: Cambria, 2018. [MCLC Resource Center review by Michael Ka-chi Cheuk]
[Abstract: demonstrates the extensive reach of Gao Xingjian’s transcultural, transdisciplinary and transmedia explorations. Showcased here is the panoramic aesthetics of a polymath who has successfully personified modern-time renaissance by projecting the struggles of the individual’s inner landscape into vivid images on stage, film, black-and-white paintings, and in the multilayered narrative expressions of fiction and poetry, even dance and music, to evoke a sense of sincerity and authenticity that penetrates a viewer/reader’s heart. The volume is divided into four parts: philosophical inquiry; transdiscipline, transgenre, transculture; cine-poems with paintings, dance and music; and identifying and defining the self. The chapters probe different aspects of Gao Xingjian’s work, bearing testimony to their diverse specializations.]
Li, Xia. “Bus Stop. Signal Driver — The Dramaturgy of Waiting: Gao Xingjian, Patrick White and Samuel Beckett.” Neohelicon 29, 2 (2002): 227-246.
—–. “Cross-Cultural Intertextuality in Gao Xingjian’s Novel Lingshan: A Chinese Perspective.” Canadian Review of ComparativeLiterature/Revue Canadienne de Littérature Comparée 31 (2004): 39-57.
Lin, Sylvia Li-chun. “Between the Individual and the Collective: Gao Xingjian’s Fiction.” World Literature Today (Winter 2001): 20-30.
Liu, Jianmei. “Gao Xingjian: The Triumph of Modern Zhuangzi.” In Liu, Zhuangzi and Modern Chinese Literature. Oxford: Oxford University Press, 2016, 211-33. Rpt. in Carlos Rojas and Andrea Bachner, eds., The Oxford Handbook of Modern Chinese Literatures. Oxford: Oxford University Press, 2016, 618-41.
—–. “1987, December 24: Gao Xingjian’s Pursuit of Freedom in the Spirit of Zhuangzi.” In David Der-wei Wang, ed., A New Literary History of Modern China. Cambridge, MA: Harvard University Press, 2017, 791-97.
Liu, Zaifu. “Afterword To One Man’s Bible.” Modern Chinese Literature and Culture 14, 2 (Fall 2002): 237-242.
—–. “Escape of the Mental Prisoner: In Honour of Gao Xingjian.” In Howard Y. F. Choy and Jianmei Liu, eds., Liu Zaifu: Selected Critical Essays. Leiden: Brill, 2021, 328-37.
—–. “A Comparative Study of Gao Xingjian and Mo Yan.” In Howard Y. F. Choy and Jianmei Liu, eds., Liu Zaifu: Selected Critical Essays. Leiden: Brill, 2021, 338-49.
Loden, Torbjorn, “World Literature with Chinese Characteristics: On a Novel by Gao Xingjian.” The Stockholm Journal of East Asian Studies 4 (1993): 17-39. Rpt. in Tam, Kwok-kan, ed. Soul of Chaos: Critical Perspectives on Gao Xingjian. HK: Chinese University Press, 2001, 257-76.
Lovell, Julia. “Gao Xingjian, the Nobel Prize, and Chinese Intellectuals: Notes on the Aftermath of the Nobel Prize 2000.” Modern Chinese Literature and Culture 14, 2 (Fall 2002): 1-50.
Ma, Sen. “The Theater of the Absurd in Mainland China: Kao Hsing-chien’s The Bus Stop. In Bih-jaw Lin, ed., Post-Mao Sociopolitical Changes in Mainland China: The Literary Perspective. Taibei: Institute of International Relations, National Chengchi University, 1991, 139-48. Rpt. in Tam, Kwok-kan, ed. Soul of Chaos: Critical Perspectives on Gao Xingjian. HK: Chinese University Press, 2001, 77-88.
Mazzilli, Mary. “Gender in Gao Xingjian’s Between Life and Death: The Notion of Originary Self and the Use of Tripartition.” Frontiers of Literary Studies in China 9, 3 (2015): 369-94.
[Abstract: The relationship between the sexes and the female condition are underlying motifs in Gao Xingjian’s post-exile plays, yet very few scholarly studies of his work have focused solely on the analysis of gender in his plays. In those studies that have, most have directed their attention toward Gao’s novels, and many scholars have come to regard Gao as a misogynist writer. This paper examines Gao’s attitude toward gender through an analysis of his plays, specifically Between Life and Death(Shengsijie, 1991). The theatrical medium illustrates a more complex elaboration of gender representation than those seen in Gao’s novels—one that complicates conceptions of the writer’s misogyny. Focusing on Between Life and Death, I assert that Gao’s alleged misogyny is a misrepresentation. Regarding my theoretical approach, I make particular reference to feminist theorists such as Julia Kristeva and Judith Butler. The debate is linked to Gao’s concept of an un-gendered/originary self and considers the use of dramatic devices—specifically focusing on the use of tripartition.]
—–. Gao Xingjian’s Post-Exile Plays: Transnationalism and Postdramatic Theatre. New York: Bloomsbury Methuen Drama, 2015. [MCLC Resource Center review by Todd J. Coulter]
[Abstract: Awarded the Nobel Prize for Literature in 2000, Gao Xingjian is the first Chinese writer to be so lauded for his prose and plays. Since relocating to France in 1987, in a voluntary exile from China, he has assembled a body of dramatic work that has best been understood neither as expressly Chinese nor French, but as transnational. In this comprehensive study of his post-exile plays, Mary Mazzilli explores Gao’s plays as examples of postdramatic transnationalism: a transnational artistic and theatrical trend that is fluid, flexible and full of variety of styles and influences. As such this innovative interdisciplinary investigation offers fresh insights on contemporary theatre. Whereas other publications have considered Gao’s work as a cultural and artistic phenomenon, Gao Xingjian’s Post-Exile Plays: Transnationalism and Postdramatic Theatre is the first study to relate his plays to postdramatic theatre and to provide close textual and dramatic analysis that will help readers to better understand his complex work, and also to see it in the context of the work of contemporary playwrights such as Martin Crimp, Peter Handke, and Elfriede Jelinek. Among the plays discussed are: The Other Shore, written just before he left China in 1987; Between Life and Death (1991) – compared in detail to Martin Crimp’s Attempts on her life; Dialogue and Rebuttal (1992), and its relationship to Beckett’s Happy Days; Nocturnal Wanderer (1993), Weekend Quartet (1995), and the latest plays Snow in August (1997), Death Collector (2000) and Ballade Nocturne (2010).]
Millichap, John. “Gao Xingjian at Alisan Fine Arts” (review). Asian Art News 8, 5 (Sept/Oct 1998): 83.
Moran, Thomas. “Lost in the Woods: Nature in Soul Mountain.” Modern Chinese Literature and Culture 14, 2 (Fall 2002): 207-236.
—–. “Gao Xingjian.” In Thomas Moran and Ye (Dianna) Xu, eds., Chinese Fiction Writers, 1950-2000. Dictionary of Literature Biography, vol. 370. Detroit: Thomson Gale, 2013, 65-80.
Nobel Laureate, Swedish Sinologist Speak (Video files of talks given in Mandarin at City University HK, Jan. 31, 2001).
Quah, Sy Ren. Gao Xingjian and China’s Alternative Theatre of the 1980s. M. Phil. Thesis. Cambridge: U of Cambridge, 1997.
—–. The Theatre of Gao Xingjian: Experimentation Within the Chinese Context and Towards New Modes of Representation. Ph.D. thesis. Cambridge University, 1999.
—–. “Searching for Alternative Aesthetics in the Chinese Theatre: The Odyssey of Huang Zuolin and Gao Xingjian.” Asian Culture 24 (June 2000): 44-66.
—–. “Space and Suppositionality in Gao Xingjian’s Theatre.” In Tam, Kwok-kan, ed. Soul of Chaos: Critical Perspectives on Gao Xingjian. HK: Chinese University Press, 2001, 157-99.
—–. “Perfomance in Alienated Voices: Mode of Narrative in Gao Xingjian’s Theater.” Modern Chinese Literature and Culture 14, 2 (Fall 2002): 51-98.
—–. Gao Xingjian and Transultural Chinese Theater. Honolulu: University of Hawaii Press, 2004.
—–. “Historical Reality, Fictional Narrative.” China Perspectives 2 (2010): 13-23.
Riley, Josephine, and Michael Gissenwehrer. “The Myth of Gao Xingjian.” In Riley and Else Unterrieder, eds., Haishi Zou Hao: Chinese Poetry, Drama and Literature of the 1980s. Bonn: Engelhard-Ng Verlag, 1989, 129-51. Rpt. in Tam, Kwok-kan, ed. Soul of Chaos: Critical Perspectives on Gao Xingjian. HK: Chinese University Press, 2001, 111-32.
Rojas, Carlos. “Without [Femin]ism: Femininity as Axis of Alterity and Desire in Gao Xingjian’s One Man’s Bible.” Modern Chinese Literature and Culture 14, 2 (Fall 2002): 163-206.
—–. “Gao Xingjian and Maternal Photographs.” In Rojas, The Naked Gaze: Reflections on Chinese Modernity. Cambridge, MA: Harvard University Asia Center, 2008, 213-43.
Roubicek, Bruno. “Introduction to Wild Man: A Contemporary Chinese Spoken Drama.” Asian Theatre Journal 7, 2 (1990): 184-90.
Shepherd, Eric. “The Reaction in China.” Persimmon 2, 1 (2001): 44-45. [fall 2001 reaction to Gao winning the Nobel prize]
Shih, Chong-wen. “Interview with Gao Xingjian.” Journal of the Chinese Language Teachers Association 36, 3 (2001): 1-10.
Sze-Lorrain, Fiona, ed. Silhouette/Shadow: The Cinematic Art of Gao Xingjian. Paris: Contours, 2007.
[Abstract: contains new and translated essays written by the 2000 Nobel Prize Laureate in Literature, Gao Xingjian and his film collaborators, Alain Melka and Jean-Louis Darmyn, all addressing their film completed in 2005, Silhouette/Shadow (La Silhouette sinon l’ombre). With a preface written by the editor Fiona Sze-Lorrain, this book is the first documentation that focuses exclusively on Gao Xingjian’s artistic expression in the film world.]
—–. “‘Cinema, Too, Is Literature’: Conversing with Gao Xingjian.” MCLC Resource Center (March 2008).
Tam, Kwok-kan, ed. Soul of Chaos: Critical Perspectives on Gao Xingjian. HK: Chinese University Press, 2001.
—–. “Language as Subjectivity in One Man’s Bible.” In Tam, ed., Soul of Chaos: Critical Perspectives on Gao Xingjian. HK: Chinese University Press, 2001, 293-310.
—–. “Introduction: Gao Xingjian, the Nobel Prize and the Politics of Recognition.” In Tam, ed. Soul of Chaos: Critical Perspectives on Gao Xingjian. HK: Chinese University Press, 2001, 1-20.
—–. “Drama of Paradox: Waiting as Form and Motif in The Bus-Stop and Waiting for Godot.” In Tam, Kwok-kan, ed. Soul of Chaos: Critical Perspectives on Gao Xingjian. HK: Chinese University Press, 2001, 43-66. Previously published as “Drama of Dilemma: Waiting as Form and Motif in Waiting for Godot and The Bus-stop.” In Yun-tong Luk, ed. Studies in Chinese-Western Comparative Drama. HK: The Chinese University Press, 1990, 23-45.
—–. “Gao Xingjian and the Asian Experimentation in Postmodernist Performance.” Tam, Kwok-kan, ed. Soul of Chaos: Critical Perspectives on Gao Xingjian. HK: Chinese University Press, 2001, 201-12.
Tay, William. “Avant-garde Theater in Post-Mao China: The Bus-Stop.” In Goldblatt, ed. Worlds Apart: Recent Chinese Writing and its Audiences. Armonk: M.E. Sharpe, 111-19. Rpt. in Tam, Kwok-kan, ed. Soul of Chaos: Critical Perspectives on Gao Xingjian. HK: Chinese University Press, 2001, 67-76.
Veg, Sebastien. “On the Margins of Modernity: A Comparative Study of Gao Xingjian and Oe Kenzaburo.” China Perspectives 2 (2010): 34-46.
Weschler, Bert. “Review of Between Life and Death.” By Gao Xingjian. Asian American Theater Review. NY: Yangtse Repertory Theater of America, Feb. 1997.
Xu, Gang Gary. “My Writing, Your Pain, and Her Trauma: Pronouns and (Gendered) Subjectivity in Gao Xingjian’s Soul Mountain and One Man’s Bible.” Modern Chinese Literature and Culture 14, 2 (Fall 2002): 99-129.
Xu Guroong 许国荣, ed. Gao Xingjian xiju yanjiu 高行键戏剧研究 (Studies on Gao Xingjian’s plays). Beijing: Zhongguo xiju, 1989.
Yan, Haiping. “Gao Xingjian’s Drama.” World Literature Today (Winter 2001).
Yeung, Jessica. Ink Dances in Limbo: Gao Xingjian’s Writing As Cultural Translation. HK: Hong Kong UP, 2008.
[Abstract: In this pioneering study of the entire written works of Gao Xingjian, China’s first winner of the Nobel Prize for Literature, Jessica Yeung analyses each group of his writing and argues for a reading of Gao’s writing as a phenomenon of ‘cultural translation’: his adoption of Modernism in the 1980s is a translation of the European literary paradigm; and his attempt at postmodernist writing in the 1990s and 2000s is the effect of an exilic nihilism expressive of a diasporic subjectivity struggling to translate himself into his host culture. Thus Dr Yeung looks at Gao’s works from a double perspective: in terms of their relevance both to China and to the West. Avoiding the common polarized approaches to Gao’s works, her dual approach means that she neither extolls them as the most brilliant works of contemporary Chinese literature eligible for elevation to the metaphysical level, nor dismisses them as nothing more than elitist and misogynist mediocre writings; rather she sees this important body of work in a more nuanced way.This book is suitable for all readers who are interested in contemporary Chinese culture and literature. It is particularly valuable to students who are keen to engage with the issue of contemporary China-West cultural relationships.]
Yeung, Wai Yee. From China to Nowhere — The Writings of Gao Xingjian in the 1980s and Early 1990s. MPhil thesis. HK: The University of Hong Kong, 1996.
Yip, Terry Siu-Han and Kwok-kan Tam. “Gender and Self in Gao Xingjian’s Three Post-Exile Plays.” In Kwok-kan Tam, ed. Soul of Chaos: Critical Perspectives on Gao Xingjian. HK: Chinese University Press, 2001, 215-33.
Zhang, Yinde. “Gao Xingjian: Fiction and Forbidden Memory.” China Perspectives 2 (2010): 25-33.
Zhang, Yingjin. “Cultural Translation between the World and the Chinese: The Problematics in Positioning Nobel Laureate Gao Xingjian.” Concentric: Literary and Cultural Studies 31, 2 (July 2005): 127-44.
Zhao, Henry Y.H. Towards a Modern Zen Theatre: Gao Xingjian and Chinese Theatre Experimentalism. London: School of Oriental and African Studies, 2000.
Zhao Yiheng (Henry). “Jianli yizhong xiandai chanju” (Establish a modern Zen theater). Jinri xuanfeng 7.
Zou, Jiping. Gao Xingjian and Chinese Experimental Theatre. Ph.D. diss. Urbana: U of Illinois, 1994.
Ge Fei 格非
Choy, Howard Y. F. “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.
—–. “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.
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.
—–. “A Clean Place to Die: Fog, Toxicity, and Shame in End of Spring in Jiangnan.” In Iovene, Tales of Future Past: Anticipation and the Ends of Literature in Contemporary China. Stanford: Stanford UP, 2014, 135-62.
—–. “Ge Fei.” In Thomas Moran and Ye (Dianna) Xu, eds., Chinese Fiction Writers, 1950-2000. Dictionary of Literature Biography, vol. 370. Detroit: Thomson Gale, 2013, 81-87.
Jing, Wendong.”The Myriad Things Retain Their Mystery for Me.” Tr. Denis Mair. Chinese Literature Today 4, 1 (2014): 29-31.
Kong, Shuyu. “Ge Fei on the Margins.” B.C. Asian Review 10 (1996/97).
Riemenschnitter, Andrea. “Ge Fei and his South of Yangtze Trilogy.” In Ming Dong Gu, ed., Routledge Handbook of Modern Chinese Literature. NY: Routledge, 2019, 592-602.
Yang, Xiaobin. “Ge Fei: Indeterminate History and Memory.” In Yang, The Chinese Postmodern: Trauma and Irony in Chinese Avant-garde Fiction. Ann Arbor: University of Michigan Press, 2002, 168-87.
Wang, Jing. “The Mirage of Chinese ‘Postmodernism’: Ge Fei, Self-Positioning, and the Avant-garde Showcase.” positions: east asia cultures critique 1, 2 (1993): 349-88.
Zhang, Ning. “The Psychic Split in Chinese Contemporary Literature: Ge Fei and Zhang Ning in Diaologue.” Tr. Denis Mair. Chinese Literature Today 4, 1 (2014): 16-23.
Zhang, Xudong. “Fable of Self-Consciousness: Ge Fei and Some Motifs in Meta-Fiction.” In Zhang, Chinese Modernism in the Era of Reforms. Durham: Duke UP, 1997, 163-200.
Zhang, Yinde. “The Utopia of the Human: about Ge Fei’s Jiangnan Trilogy.” Asiatische Studien – Études Asiatiques 70, 3 (Sept. 2016): 797-815.
[Abstract: Researchers have recently shown a growing interest for studies of anti-utopian fictions in Chinese, highlighting their critical value in history, society, and ideology. However the persistence of the utopian spirit beyond these dystopian representations has often been neglected. The present paper aims to explore this underlying utopianism by focusing on Ge Fei’s Jiangnan Trilogy (2004–2011), as it forms a significant paradigm on the issue, through an appeal for displacement, pointing out the importance in our reflections of moving from topography into the human dimension. This paper seeks to examine how human utopia is featured both in a literary and contextualized way, by arguing that utopianism is humanism, inherent to the awareness of social and historical crises, as opposed to the myths of Nation, Progress or Prosperity.]
Gong Liu 公刘
Kung, Mu. “On Kung Liu’s Recent Works.” In Hualing Nieh, ed., Literature of the Hundred Flowers, Volume II: Poetry and Fiction. NY: Columbia UP, 1981, 226-36.
Gu Cheng 顾城
Admussen, Nick. “Virus as Hermeneutic: From Gu Cheng to Xie Ye.” positions: asia critique 27, 4 (Nov. 2019): 687-711.
Allen, Joseph R. “Gu Cheng (1956-93).” In Christopher Lupke and Thomas E. Moran, eds., Dictionary of Literary Biography, Volume 387: Chinese Poets Since 1949. Farmington Hills, MI: Gale, 2021, 22-30.
Brady, Anne-Marie. “Dead in Exile: The Life and Death of Gu Cheng and Xie Ye.” China Information 11, 4 (Spring 1997): 126-48.
Galik, Marian. “Gu Cheng’s Novel Ying’er and the Bible.” Asian and African Studies 5, 1 (1996).
—–. “Gu Cheng and Xie Ye: Contemporary Chinese Poets Who Died Too Early.” Asian and African Studies [Brataslava] 3, 2 (1994): 116-39.
Huang, Yibing. “The Ghost Enters the City: Gu Cheng’s Metamorphosis in the ‘New World.'” In Christopher Lupke ed., New Perspectives on Contemporary Chinese Poetry. New York: Palgrave Macmillan, 2008, 123-143.
Kubin, Wolfgang. “Gu Cheng: Peking, Ich.” In Findeison and Gassmann, eds., Autumn Floods: Essay in Honour of Marian Galik. Bern: Peter Lang, 1997, 415-30.
Li, Xia. “‘Nameless Flowers’: The Role of Nature in Gu Cheng’s Poetry and in His Narrative Prose Ying’er.” In Findeison and Gassmann, eds., Autumn Floods: Essays in Honour of Marian Galik. Bern: Peter Lang, 1997, 431-46.
—–, ed. Essays, Interviews, Recollections and Unpublished Material of Gu Cheng, Twenthieth Century Chinese Poet: The Poetics of Death. Lewiston, NY: Mellen Press, 1999.
—–. “Gu Cheng’s Ying’er: A Journey to the West.” MCL 10, 1 (1998): 135-148.
—–. “Annihilation of the Self in Exile: Gu Cheng’s Ying’er (1993).” Interlitterraria (Tartu, Estonia) 3 (1998): 200-215.
—–. “The Death of Natural Man: Culture Versus Nature in Gu Cheng.” In Graham Squires ed., Language, Literature and Culture: A Selection of Papers Presented at Inter-Cultural Studies ’98. Newcastle: University of Newcastle, 1999: 66-79.
Liu, Shusen. “Gu Cheng and Walt Whitman: In Search of New Poetics.” In Ed Folson ed., Whitman East & West : new contexts for reading Walt Whitman. Iowa City: University of Iowa Press, 2002, 208-20.
Nielsen, Inge. The Changing Phases of Gu Cheng’s Poetry, 1964-1993. Diss. Durham, England: University of Durham, 1997.
Patton, Simon. “Desire and Masculinity at the Margins in Gu Cheng’s Ying’er.” In Kam Louie and Morris Low, eds., Asian Masculinities: The Meaning and Practice of Manhood in China and Japan. NY, London: RoutledgeCurzon, 2003.
—–. “The Forces of Production: Symmetry and the Imagination in the Early Poetry of Gu Cheng.” Modern Chinese Literature and Culture 13, 2 (Fall 2001): 134-71.
—–. “Premonition in Poetry: Elements of Gu Cheng’s Menglong Aesthetic.” Journal of the Oriental Society of Australia 22-23 (1990-91): 133-45.
—–. “The Unbearable Heaviness of Being: Gender, Sexuality and Insanity in Gu Cheng and Xie Ye’s Ying’er.” Modern Chinese Literature 9 (1996): 399-415.
—–. “Notes Toward a Nomad Subjectivity: The Poetics of Gu Cheng (1956-1993).” Social Semiotics 9, 1 (1999): 49-66.
Trappl, Richard. “‘Modernism’ and Foreign Influences on Chinese Poetry: Exemplified by the Early Guo Moruo and Gu Cheng.” In Marian Galik, ed., Interliterary and Intraliterary Aspects of the May Fourth Movement 1919 in China. Bratislava: Veda, 1990, 83-92.
Gu Ding 古丁
Xie, Miya Qing. “Linguistic Hybridity, Transnational Connectivity, and the Cultural Territorialization of Colonial Literature: On the Case of the Manchukuo Chinese Writer Gu Ding.” In Annika A. Culver and Norman Smith, eds., Manchukuo Perspectives: Transnational Approaches to Literary Production. Hong Kong: Hong Kong University Press, 2018.
Gu Hongming 辜鴻銘
Arkush, David. “Ku Hung-ming (1857-1928).” Papers on China 19 (1965): 194-238.
Du, Chunmei. Gu Hongming’s Eccentric Chinese Odyssey. Chunmei Du. Philadelphia: University of Pennsylvania Press, 2019. [MCLC Resource Center review by Kristin Stapleton]
[Abstract: Known for his ultraconservatism and eccentricity, Gu Hongming (1857-1928) remains one of the most controversial figures in modern Chinese intellectual history. A former member of the colonial elite from Penang who was educated in Europe, Gu, in his late twenties, became a Qing loyalist and Confucian spokesman who also defended concubinage, footbinding, and the queue. Seen as a reactionary by his Chinese contemporaries, Gu nevertheless gained fame as an Eastern prophet following the carnage of World War I, often paired with Rabindranath Tagore and Leo Tolstoy by Western and Japanese intellectuals. Rather than resort to the typical conception of Gu as an inscrutable eccentric, Chunmei Du argues that Gu was a trickster-sage figure who fought modern Western civilization in a time dominated by industrial power, utilitarian values, and imperialist expansion. A shape-shifter, Gu was by turns a lampooning jester, defying modern political and economic systems and, at other times, an avenging cultural hero who denounced colonial ideologies with formidable intellect, symbolic performances, and calculated pranks. A cultural amphibian, Gu transformed from an “imitation Western man” to “a Chinaman again,” and reinterpreted, performed, and embodied “authentic Chineseness” in a time when China itself was adopting the new identity of a modern nation-state.]
Hao, Tianhu. “Ku Hung-ming, an Early Chinese Reader of Milton.” Milton Quarterly 39, 2 (May 2005): 93-100.
Lo, Hui-min. “Ku Hung-ming: Schooling” East Asian History 38 (Sept. 88): 45-64.
—–. “Ku Hung-ming: Homecoming.” East Asian History 6 (Dec. 1993): 163-82.
—–. “Ku Hung-ming: Homecoming, part 2.” East Asian History 9 (June 1995): 67-96.
Gu Hua 古华
Van Der Meer, Marc. “‘Hibiscus,’ ‘The Garden of the Literati,’ and Mao Zedong’s Biography: A Brief Introduction to the Life and Work of Writer Gu Hua.” China Information 7, 2 (1998): 20-29.
Gu Jiegang 顾颉刚
Jenco, Leigh K. “Can the Chinese Nation Be One? Gu Jiegang, Chinese Muslims, and the Reworking of Culturalism.” Modern China 45, 6 (Nov. 2019).
[Abstract: This article examines how the classicist and folklorist Gu Jiegang, in conversation with his Hui (Chinese Muslim) colleagues at the Yugong study society and journal (published 1934–1937), theorized the “Chinese nation” (Zhonghua minzu) as an internally plural and open-ended political project, to resist homogenizing claims by both Japanese imperialists and the ruling Chinese Nationalist party under Chiang Kai-shek in the 1930s. Echoing the struggles of his Hui colleagues to articulate their place in the nation as both Muslim and Chinese, Gu reworked traditional “culturalist” assumptions about the non-racial character of identity formation to pose minority experience as constitutive of a constantly expanding and transforming political community. When Gu asserted in his notorious 1939 essay that the “Zhonghua minzu Is One,” he posed a unity built not on cultural assimilation or ethnic identity, but on a shared political commitment to an expansive and culturally hybrid concept of the “Chinese nation.”]
Lee, Haiyan. “Tears That Crumbled the Great Wall: The Archaeology of Feeling in the May Fourth Folklore Movement.” The Journal of Asian Studies 64, 1 (Feb. 2005): 35-65.
[Abstract: Deals chiefly with Gu Jiegang’s study of the Meng Jiangnu legend and briefly with Guo Moruo’s translation of ancient poetry]
Moloughney, Brian. “Arthur W. Hummel and Gu Jiegang: Translation in the Making of Modern China Studies.” Twentieth-Century China 42, 1 (2017): 97-109.
Schneider, Lawrence. Ku Chieh-kang and China’s New History: Nationalism and the Quest for Alternative Traditions. Berkeley: University of California Press, 1971.
Gu Junzheng 顾均正
Yang, Qiong. A Writer’s Dilemma: Gu Junzheng and a Turning Point of Chinese Science Fiction. MA thesis. Columbus: Ohio State University, 2010.
Gu Long 古龍
“The Making of a Taiwanese Martial Arts Fiction: The Case of Gu Long.” In Bi-yu Chang and Pei-yin Lin, eds. Positioning Taiwan in a Global Context: Being and Becoming. New York: Routledge, 2019, 61-76.
Gu Mingdao 顧明道
Ma, Iris. “Imagining Female Heroism: Three Tales of the Female Knight-Errant in Republican China.” Cross-Currents: East Asian History and Culture Review 31: 183–204.
[Abstract: Invented largely for urban audiences and widely circulated across multiple media, the image of the female knight-errant attracted unprecedented attention among writers, readers, publishers, and officials in the first half of the twentieth century. This article focuses on three best-selling martial arts tales published in Republican China (1912–1949), paying particular attention to their martial heroines. It also explores what granted the female knight-errant character such enduring popularity and how the writers—Xiang Kairan, Gu Mingdao, and Wang Dulu—garnered the interest of their readers. As the author points out, martial arts novelists drew on a long and rich genre repertoire formulated before 1911 while taking into consideration contemporary debates regarding gender, thereby maintaining the female knight-errant figure as a relevant and compelling construct. More importantly, the author argues, through portraying their martial heroines in relation to family, courtship, and female subjectivity, martial arts novelists resisted the prevailing discourse on Chinese womanhood of their times while imagining female heroism.]
Guo Jinniu 郭金牛
Strittmatter, Kai. “Eine Welt ohne Stimme” (A World without a Voice). Süddeutsche Zeitung, December 14–15, 2013. [On Guo Jinniu 郭金牛]
Swanborn, Peter. “Bij te veel stress ga je aan zelfmoord denken” (Too Much Stress Will Make You Think about Suicide). De Volkskrant (June 13, 2015). [Interview with Guo Jinniu 郭金牛]
Xiao, Hui Faye. “Against the Proletarian Modernity: Retrotopic Journey and Precariat Subject in Alternative Youth Literature.” In Xiao, Youth Economy, Crisis, and Reinvention in Twenty-First Century China: Morning Sun in the Tiny Times. London: Routledge, 2020, 57–92. [With case studies of Lu Nei 陆内, Fang Fang 方方, Tang Yihong 唐亦洪, Guo Jinniu 郭金牛, and Xu Lizhi 许立志]
Guo Jing 郭晶
Bao, Hongwei. “Diary Writing as Feminist Activism: Guo Jing’s Wuhan Lockdown Diary (2020).” MCLC Resource Center Publication (April 2020).
Guo Lusheng 郭路生, see Shi Zhi
Guo Moruo 郭沫若
Bujatti, Anna. “The Spirit of the May Fourth Movement in The Goddesses of Guo Moruo.” In Marian Galik, ed., Interliterary and Intraliterary Aspects of the May Fourth Movement 1919 in China. Bratislava: Veda, 1990, 101-110.
Chan, Wing-Ming. “Li Po and Tu Fu by Kuo Mo-jo–A Reexamination.” Chinese Literature: Essays, Articles, Reviews 4, 1 (Jan. 1982): 75-90. [available on PROJECT MUSE]
Chen, Xiaoming. From the May Fourth Movement to the Communist Revolution: Guo Moruo and the Chinese Path to Communism. Albany, NY: SUNY Press, 2007.
Doar, Bruce. “Images of Women in the Dramas of Guo Moruo: The Case of Empress Wu.” In C. Tung and C. Mackerras, eds., Drama in the People’s Republic of China. Albany: SUNY Press, 1987, 254-92.
Dolezelova-Velingerova, Milena. “Kuo Mo-jo’s Autobiographical Works.” In Jaroslav Prusek, ed., Studies in Modern Chinese Literature. Berlin: Akademie-Verlag, 1964, 45-75.
Ellström, Lars. “Guo Moruo, Nüshen (The Goddesses), 1921.” In Lloyd Haft, ed., A Selective Guide to Chinese Literature 1900-1949, Volume III: The Poem. Leiden: Brill, 1989, 108-114.
Fang, Achilles. “From Imagism to Whitmanism in Recent Chinese Poetry: A Search for Poetics That Failed.” In Frenz/Anderson, eds., Indiana University Conference on Oriental-Western Literary Relations. Chapel Hill: University of North Carolina Press, 1955.
Galik, Marian. “Kuo Mo-jo’s The Goddesses: Creative Confrontation with Tagore, Whitman and Goethe.” In Galik, ed., Milestones in Sino-Western Literary Confrontation (1898-1979). Weisbaden: Otto Harrassowitz, 1986, 43-72.
—–. “Kuo Mo-jo and his Development from Aesthetico-impressionist to Proletarian Criticism.” In Galik, The Genesis of Modern Chinese Literary Criticism, 1917-1930. London: Curzon Press, 1980, 28-62.
Huang, Guiyou. Whitmanism, Imagism, and Modernism in China and American. Cranbury, NJ: Associated University Presses, 1997.
Lee, Haiyan. “Tears That Crumbled the Great Wall: The Archaeology of Feeling in the May Fourth Folklore Movement.” The Journal of Asian Studies 64, 1 (Feb. 2005): 35-65. [Deals chiefly with Gu Jiegang’s study of the Meng Jiang Nu legend and briefly with Guo Moruo’s translation of ancient poetry] [download from AAS website]
Lee, Leo Ou-fan. “Kuo Mo-jo.” In Lee, The Romantic Generation of Modern Chinese Writers. Cambridge, MA: Harvard University Press, 1973, 177–200
Liu, Jianmei. “Guo Moruo’s Changing Attitude toward Zhuangzi.” The Journal of Study on Language and Culture of Korea and China 19 (2009): 273-296. Rpt. in Zhuangzi and Modern Chinese Literature. Oxford: Oxford University Press, 2016, 21-45.
Liu, Ruoqiang. “Whitman’s Soul in China: Guo Moruo’s Poetry in the New Culture Movement.” In Ed Folson ed., Whitman East & West: New Contexts for Reading Walt Whitman. Iowa City: University of Iowa Press, 2002, 172-86.
Mi, Jiayan. Self-Fashioning and Reflexive Modernity in Modern Chinese Poetry. Lewiston, NY: Edwin Mellen, 2004.
[Abstract: This study explores diverse modes of self-fashioning in the discursive formation of Chinese modernity between 1919 and 1949 in modern Chinese poetry. By focusing on four representative poets of modern Chinese poetry before 1949—Guo Moruo, Li Jinfa, Dai Wangshu, and Mu Dan, the study offers fresh, insightful analysis of the dynamic trajectory of the historical complexity of fashioning a new modern self-subjectivity with relation to the nation-state. Theoretically informed by the varied perspectives of modernity, the self, the body, and memory, the author for the first time reveals how the corporeal body emerges as a site of agency, trauma, and libidinal investment for engaging with the configuration of a multi-layered self, gender, and nationhood in modern China. This work will make several significant contributions to enhancing readers’ understanding of the cultural and psychological complexity of modern China. This work will be of interest to teachers, students and scholars of modern Chinese literature and culture as well as comparative literature.]
Ou, Hong. “Pantheistic Ideas in Guo Moruo’s The Goddesses and Whitman’s Leaves of Grass.” In Ed Folson ed., Whitman East & West : new contexts for reading Walt Whitman. Iowa City: University of Iowa Press, 2002, 187-96.
Prusek, Jaroslav. “Kuo Mo-jo.” In Prusek, Three Sketches of Chinese Literature. Prague: Oriental Institute in Academia, 1969, 99-140.
Roy, David T. Kuo Mojo: The Early Years. Cambridge, MA: Harvard University Press, 1971.
Shih, Shu-mei. “Psychoanalysis and Cosmopolitanism: The Work of Guo Moruo.” In Shi, The Lure of the Modern: Writing Modernism in Semicolonial China, 1917-1937. Berkeley: UC Press, 2001, 96-109.
Trappl, Richard. “‘Modernism’ and Foreign Influences on Chinese Poetry: Exemplified by the Early Guo Moruo and Gu Cheng.” In Marian Galik, ed., Interliterary and Intraliterary Aspects of the May Fourth Movement 1919 in China. Bratislava: Veda, 1990, 83-92.
Tsang, Winnie. “Kuo Mojo’s The Goddesses.” Journal of Oriental Studies 12 (1977): 97-109.
Tsu, Jing. “Perversions of Masculinity: The Masochistic Male Subject in Yu Dafu, Guo Moruo, and Freud.” Positions 8, 2 (Fall 2000): 269-316.
Vesterová, Barbara. “Some Remarks on the Earliest Poetry of Guo Moruo (1904-12).” Frontiers of Literary Studies 6, 4 (2012): 539-52.
[Abstract: This is a study of the earliest poetry by the modern Chinese writer Guo Moruo (1892–1978), composed between 1904 and 1912. He became famous mostly due to his “early poetry” composed in the 1920s, such as Nüshen (The Goddesses), but he was also an author of autobiographies. His autobiography Shaonian shidai (Childhood) and the poems published in the volume Guo Moruo shaonian shigao (Guo Moruo’s childhood poetry), are analysed here in comparison with the traditional Tang poetry.]
Wagner, Rudolf. The Contemporary Chinese Historical Drama. Berkeley: UCP, 1990, 246-50. 282-89. [deals with “Cai Wenji” and “Wu Zetian”]
Wang, Pu. “Enlightenment as a ‘Romantic Science?’ Cultural Politics and Guo Moruo’s Rewritings of Ancient Chinese History.” In Nakajima Takahiro, ed, Rethinking Enlightenment in Global and Historical Contexts. UTCP Booklet 21/ICCT Series 1. Tokyo: University of Tokyo Philosophy Center, 2011, 45-68.
—–. “Ren, Geren and Renmin: The Prehistory of the New Man and Guo Moruo’s Conception of ‘the People.'” Frontiers of Literary Studies in China 6, 1 (2012): 78-94.
[Abstract: This paper aims to contribute to the ongoing debate about the “socialist New Man” in modern Chinese literature. Focusing on the ideas of humanity, individuality and the people, it attempts to show the prehistory of the “New Man,” i.e., the emergence of the concept-figure of “the people” out of the discourse of humanity. The making of a new historical subjectivity of “the people” was part and parcel of the singular historical experience of the Chinese Revolution and the precondition for its social experiments. Yet this issue receives insufficient critical attention. This paper gives an outline of this idea’s genealogy, by concentrating on Guo Moruo’s literary-intellectual trajectory. It will show how the enlightenment project and romantic historical imagination paved the way for the concept of the people, and how the new subjectivity of the people prepared for the ideal of the new man.]
—–. “From ‘Geschäftiger Geist’ to ‘Zeitgeist’: On Guo Moruo’s Translation of Goethe’s Faust.“ In Lawrence Wang-chi Wong, ed., Translation and Modernization in East Asia in the Nineteenth and Early Twentieth Centuries. Hong Kong: Research Centre for Translation, Chinese University of Hong Kong, 2017, 219-52.
—–. “1928, January 16: Revolution and Rhine Wine.” In David Der-wei Wang, ed., A New Literary History of Modern China. Cambridge, MA: Harvard University Press, 2017, 337-42.
—–. The Translatability of Revolution: Guo Moruo and Twentieth-Century Chinese Culture. Cambridge: Harvard University Asia Center, 2018. [MCLC Resource Center review by Yi Zheng]
[Abstract: The first comprehensive study of the lifework of Guo Moruo (1892–1978) in English, this book explores the dynamics of translation, revolution, and historical imagination in twentieth-century Chinese culture. Guo was a romantic writer who eventually became Mao Zedong’s last poetic interlocutor; a Marxist historian who evolved into the inaugural president of China’s Academy of Sciences; and a leftist politician who devoted almost three decades to translating Goethe’s Faust. His career, embedded in China’s revolutionary century, has generated more controversy than admiration. Recent scholarship has scarcely treated his oeuvre as a whole, much less touched upon his role as a translator. Leaping between different genres of Guo’s works, and engaging many other writers’ texts, The Translatability of Revolution confronts two issues of revolutionary cultural politics: translation and historical interpretation. Part 1 focuses on the translingual making of China’s revolutionary culture, especially Guo’s translation of Faust as a “development of Zeitgeist.” Part 2 deals with Guo’s rewritings of antiquity in lyrical, dramatic, and historiographical-paleographical forms, including his vernacular translation of classical Chinese poetry. Interrogating the relationship between translation and historical imagination—within revolutionary cultural practice—this book finds a transcoding of different historical conjunctures into “now-time,” saturated with possibilities and tensions.]
Yip, Terry Siu-Han, and Kwok-Kan Tan. “European Influence on Modern Chinese Drama: Kuo Mo-jo’s Early Historical-Problem Plays.” Journal of Oriental Studies 24, 1 (1986): 54-65.
Zheng, Yi. “The Figuration of the Sublime: Guo Moruo’s Qu Yuan.” Modern Chinese Literature and Culture 16, 1 (Spring 2004): 153-98.
Zikpi, Monica E. M. “Revolution and Continuity in Guo Moruo’s Representations of Qu Yuan.” Chinese Literature: Essays, Articles, Reviews 36 (2014): 175-200.
Guo Shixing 过士行
Conceison, Claire. “The Occidental Other on the Chinese Stage: Cutlural Cross-Examination in Guo Shixing’s Bird Man.” Asian Theatre Journal 15, 1 (Spring 1998): 87-100.
Guo Songfen 郭松棻
Chang, Yvonne Sung-sheng. “1984, July 21-30: Literary Representations of the White Terror and Rupture in Mid-Twentieth-Century Taiwan.” In David Der-wei Wang, ed., A New Literary History of Modern China. Cambridge, MA: Harvard University Press, 2017, 771-77.
Chen, Li-Ping. “But in What Way Is It Ours?”: Guo Songfen and the Question of Homeland.” Modern Chinese Literature and Culture 32, 2 (Fall 2020): 100-135.
Guo Xiaolu 郭小橹
Gilmou, Rachael“Living between languages: The Politics of Translation in Leila Aboulela’s Minaret and Xiaolu Guo’s A Concise Chinese-English Dictionary for Lovers.” The Journal of Commonwealth Literature 47, no. 2 (2012): 207-227.
Hwang, Eunju. “Love and Shame: Transcultural Communication and Its Failure in Xiaolu Guo’s ‘A Concise Chinese-English Dictionary for Lovers.’” Ariel 43, no. 4 (2013): 69-95.
Kong, Belinda. “Xiaolu Guo and the Contemporary Chinese Anglophone Novel.” In Carlos Rojas and Andrea Bachner, eds., The Oxford Handbook of Modern Chinese Literatures. Oxford: Oxford University Press, 2016, 474-97.
Møller-Olsen, Astrid. “Fictional Dictionaries: Power and Philosophy of Language in Contemporary Chinese Fiction.” Modern Chinese Literature and Culture 29, 2 (Fall 2017): 66-108.