Contemporary Chinese Short-Short Stories review

MCLC and MCLC Resource Center are pleased to announce publication of Yan Liang’s review of Contemporary Chinese Short-Short Stories: A Parallel Text (Columbia UP, 2017), translated and edited by Aili Mu, with Mike Smith. The review appears below, but is best viewed online at: http://u.osu.edu/mclc/book-reviews/yanliang/. My thanks to Michael Berry, MCLC book review editor for translations, for ushering the review to publication.

Enjoy, Kirk Denton, editor

Contemporary Chinese Short-Short Stories:
A Parallel Text

Translated and edited by Aili Mu with Mike Smith


Reviewed by Yan Liang
MCLC Resource Center Publication (Copyright June, 2018)


Contemporary Chinese Short-Short Stories: A Parallel Text. Translated and edited by Aili Mu with Mike Smith. New York: Columbia University Press, 2017. pp. 528. ISBN: 9780231181532 (paper); ISBN: 9780231181525 (hard cover); ISBN: 9780231543637 (e-book).

Contemporary Chinese Short-Short Stories (2018) is a parallel-text (Chinese-English) collection of Chinese short-short stories translated and edited by Aili Mu in collaboration with poet and essayist Mike Smith. It is a delightful read for anyone curious about contemporary Chinese society. The English translations of the stories are smooth and graceful, despite Mu’s conscious choice—for the pedagogical sake of Chinese language learners—of translating the text more literally than literarily. With the addition of the parallel Chinese text and the thoughtfully designed teaching materials, including introductory essays, glossaries, reading questions, and author biographies, the book makes an easy-to-use and much-needed textbook for teachers and advanced students of Chinese language and culture. Continue reading

Socialist Cosmopolitanism review

MCLC and MCLC Resource Center are pleased to announce publication of  Tie Xiao’s review of Socialist Cosmopolitanism: The Chinese Literary Universe, 1945-1965 (Columbia UP, 2017), by Nicolai Volland. The review appears below, but is best read online at: http://u.osu.edu/mclc/book-reviews/tie-xiao/. My thanks to Nicholas Kaldis, MCLC literary studies book review editor, for ushering the review to publication.

Enjoy, Kirk Denton, editor

Socialist Cosmopolitanism: The Chinese Literary Universe, 1945-1965

By Nicolai Volland


Reviewed by Tie Xiao
MCLC Resource Center Publication (Copyright May, 2018)


Nicolai Volland. Socialist Cosmopolitanism: The Chinese Literary Universe, 1945–1965 New York: Columbia University Press, 2017. x-xii + 281 pp. ISBN: 9780231183109. (Hardcover: $60.00 / £47.00).

This learned study examines the “world-orientedness” of Chinese literature of the 1950s. Socialist literature of the young PRC, as Nicolai Volland has convincingly demonstrated, was “a literature in the world, a literature of the world, a literature for the world” (3). It was shaped by and shaped the multiple and multidirectional flows of texts across national and linguistic borders, which constituted and characterized the emerging socialist literary universe. Reading the transnational and transcultural literary imaginaries as “configurations of world-ing” (4), Volland examines the roles that the literary world played in the making of the socialist world in the mid-twentieth century, tracing the transnational traffic in literary imagination. ​More important, reading world literature as a world-making activity reaffirms the importance of understanding, to borrow Pheng Cheah’s apt words, “the world as an ongoing, dynamic process of becoming, something continually made and remade . . . a dynamic process with a practical-actional dimension instead of a spatio-geographical category.”[1] Socialist Cosmopolitanism invites the reader to rethink the relationship between the force of literature and the openness of the world. Continue reading

Supernatural Sinophone Taiwan review

MCLC and MCLC Resource Center are pleased to announce publication of Alvin K. Wong’s review of Supernatural Sinophone Taiwan and Beyond (Cambria 2016), by Chia-rong Wu. The review appears below, but is best read online at: http://u.osu.edu/mclc/book-reviews/alvin-wong/. My thanks to Nicholas Kaldis, MCLC literary studies book review editor, for ushering the review to publication.

Enjoy, Kirk Denton, editor

Supernatural Sinophone Taiwan and Beyond
By Chia-rong Wu


Reviewed by Alvin K. Wong
MCLC Resource Center Publication (Copyright May, 2018)


Chia-rong Wu. Supernatural Sinophone Taiwan and Beyond Amherst, NY: Cambria, 2016. vii-viii + 230 pp. ISBN: 9781604979213. (Hardcover: $ 109.99).

Chia-rong Wu’s Supernatural Sinophone Taiwan and Beyond is a most welcome addition to the burgeoning field of Sinophone studies. Sinophone, in its inaugural definition by Shu-mei Shih, refers to “a network of places of cultural production outside China and on the margins of China and Chineseness, where a historical process of heterogenizing and localizing of continental Chinese culture has been taking place for several centuries.”[1] Wu’s book makes three important contributions to the field of Sinophone studies. First, in connecting the zhiguai (志怪) tradition from the large canvas of premodern Chinese literature to contemporary Sinophone literature in Taiwan, Wu argues that “the ancient Chinese tradition of strange writing is still undead and further transforms in the literary production of Sinophone Taiwan” (8). Second, while it highlights manifestations of traditional strange writing in terms of issues of ethnicity, race, gender, and localism in the context of modern Taiwan history, the book also contributes to trans-spatial and trans-historical studies of both Chinese and Sinophone literature. This becomes apparent when Wu traces how figurations of the strange, the supernatural, and the spectral are linked to often traumatic narratives of border-crossing from the rich and painful history of Taiwan’s colonial past and postcolonial present. Finally, the “Introduction” demonstrates how strange narratives exemplify “an act of writing back” to dominant discourses of Chineseness, patriarchy, utilitarianism, and various forms of Sinocentrism (15). Continue reading

The Making and Remaking of China’s “Red Classics” review

MCLC and MCLC Resource Center are pleased to announce publication of Yizhong Gu’s review of The Making and Remaking of China’s “Red Classics”: Politics, Aesthetics and Mass Culture (Hong Kong University Press, 2018), edited by Rosemary Roberts and Li Li. The review appears below, but is best read online at: http://u.osu.edu/mclc/book-reviews/yizhonggu/. My thanks to Nicholas Kaldis, MCLC  book review editor for literary studies, for ushering the review to publication.

Enjoy, Kirk Denton, editor

The Making and Remaking of China’s “Red Classics”: 
Politics, Aesthetics and Mass Culture

Edited by Rosemary Roberts and Li Li


Reviewed by Yizhong Gu
MCLC Resource Center Publication (Copyright May, 2018)


Rosemary Roberts and Li Li, eds. The Making and Remaking of China’s “Red Classics”: Politics, Aesthetics and Mass Culture. Hong Kong: Hong Kong University Press, 2018. v-xix + 199 pp. ISBN: 9789888390892. (Hardcover: $60.00 / £47.00).

The Making and Remaking of China’s “Red Classics” not only reveals the mechanisms and operations of Maoist ideology within a variety of cultural products, it also teases out how aspects of the Maoist legacy have been inherited, twisted, and channeled to serve sociopolitical purposes in the reform era (chapters are broadly divided into those addressing issues from the “Maoist Era” and those from the “Reform Era”). In the process, this volume both instantiates a rigorous methodology for the scholarly analysis of “Red Classics” and demonstrates how socialist works of art and aesthetics continue to inform PRC cultural production in the present.

Since the origin of the term “red classics” is unclear, the volume wisely circumvents the question that could lead to a deadlock: which literary and art works can be counted as “red classics”?[1] Instead, it adopts “the broadest understanding of the scope of the ‘red classics’” (ix), investigating not just literature but “films, TV series, picture books, cartoons, and traditional-style paintings” (xi). The editors address this array of media according to three key characteristics: “their sociopolitical and ideological import, their aesthetic significance, and their function as a mass cultural phenomenon” (xi). The volume engages in dialogue between English- and Chinese-language scholarship (two essays are translated from Chinese), a quite welcomed effort since Chinese scholarship on socialist literature is relatively limited for English readers. Although essays vary greatly in subject matter and discipline, the volume still reads like an organic whole (the volume emerged from a 2015 University of Queensland symposium). The authors cross-reference one another’s essays and trace some key theoretical features shared among “red classics” that will be of interest and inspiration both to China studies scholars and general readers who are interested in modern Chinese literature, politics, and culture. Continue reading

Zhang Yimou: Globalization and the Subject of Culture review

MCLC and MCLC Resource Center are pleased to announce publication of Chris Berry’s review of Zhang Yimou: Globalization and the Subject of Culture (Cambria 2017), by Wendy Larson. The review appears below, but is best read at its online home here: http://u.osu.edu/mclc/book-reviews/chris-berry/. My thanks to MCLC media studies book review editor, Jason McGrath, for ushering the review to publication.

Kirk A. Denton, editor

Zhang Yimou: 
Globalization and the Subject of Culture

By Wendy Larson


Reviewed by Chris Berry
MCLC Resource Center Publication (Copyright March, 2018)


Wendy Larson. Zhang Yimou: Globalization and the Subject of Culture Amherst, NY: Cambria Press, 2017. xv, 420pp. ISBN: 9781604979756 (Hardback).

In Zhang Yimou: Globalization and the Subject of Culture, Wendy Larson asks us to take Zhang Yimou 张艺谋 seriously again. This is a very welcome intervention. Few Chinese film directors seem to have been more widely—and diversely—reviled than Zhang. As Larson nimbly lays out in her introductory chapter, he was first attacked for alleged self-orientalism in pursuit of foreign film festival awards in the early 1990s. Then, his martial arts megahit Hero (英雄, 2002) was condemned for promoting “fascist” submission to authoritarianism. Worst of all, his more recent films, such as the Matt Damon vehicle The Great Wall (长城, 2016), have been ridiculed and dismissed. Nevertheless, Zhang remains China’s only director with a global reputation beyond the festival scene, and the only one with enough clout to put together a project like The Great Wall. Even though many of us might be more comfortable with festival favorites like Jia Zhangke 贾樟柯, we should not ignore directors with wider impact like Zhang Yimou, Feng Xiaogang 冯小刚, and the host of younger genre filmmakers that have emerged as the industry has boomed in the People’s Republic. Continue reading

The Age of Irreverence review

MCLC and MCLC Resource Center are pleased to announce publication of David Moser’s review of The Age of Irreverence: A New History of Laughter in China (University of California Press, 2015), by Christopher Rea. The review appears below, but is best read online at: http://u.osu.edu/mclc/book-reviews/moser/. My thanks to Nicholas Kaldis, MCLC book review editor for literary studies, for ushering the review to publication.

Kirk A. Denton, editor

The Age of Irreverence:
A New History of Laughter in China

By Christopher Rea


Reviewed by David Moser
MCLC Resource Center Publication (Copyright March, 2018)


Christopher Rea, The Age of Irreverence: A New History of Laughter Berkeley: University of California Press, 2015. ix-xvi + 335 pp. ISBN: 9780520283848 (Hardcover: $70.00)

Chinese Humor and its Discontents

A generation ago, China scholars were to be forgiven for having the impression that Chinese culture suffered from a puzzling humor deficit. Much was made of the fact that the Chinese word for “humor” youmo 幽默 is borrowed from English (in the same way the loan word luoji 逻辑 “logic” was used as evidence that Chinese philosophy lacked this feature as well). Anthologies of Chinese folk humor were usually just joke collections framed as anthropological data (usually badly translated) rather than case studies of laughter. Early popularizing books on Chinese humor tended to merely highlight nuggets of subtle irony mined from Zhuangzi or Dream of the Red Chamber, or to cherry pick passages from the works of a Lao She or Lu Xun. This paucity of examples left the impression that Chinese culture may have produced a few gems of gentle mockery, but the full, variegated range of what we call “humor”—particularly humor that is irreverent, challenging, and even cathartic—was simply not in the Chinese cultural DNA. Continue reading

Arif Dirlik’s Life and Work–cfp

“Memorial: Arif Dirlik’s Life and Work”
CFP: China Book Review

China Book Review (ISSN1002-235X), one of the most famous journals of book review, will publish a special issue of “Memorial: Arif Dirlik’s Life and Work.” Everybody is welcome to contribute, including academic papers and reminiscence essays related to Professor Arif Dirlik, either in Chinese or English is fine, but the final versions will be published in Chinese (English papers will be translated into Chinese by professional translators), all contributions will be submitted to the editorial board for review.

Please contact Sunny Han at <hanhan41@188.com> if you are interested in sharing your opinion, please send a short bio as well as a 6000-word or 5000-Chinese character paper to Sunny Han by April 26, 2018.

Sunny Han HAN PhD
Associate Professor of Art History at Shenzhen University
Member Fellow, China Writers Association
Managing Editor, Journal of East Asian Humanities

Wolf Warrior II: The Rise of China and Gender/Sexuality Politics

MCLC Resource Center is pleased to announce publication of “Wolf Warrior II: The Rise of China and Gender/Sexual Politics,” a compilation of short essays on the film Wolf Warrior II edited by Petrus Liu and Lisa Rofel. The essays appear below, but are best read online at: http://u.osu.edu/mclc/online-series/liu-rofel/.

Kirk Denton, MCLC editor

Wolf Warrior II:
The Rise of China and Gender/Sexual Politics

Compiled and edited by Petrus Liu and Lisa Rofel

Petrus Liu | Zairong Xiang | Lisa Rofel | María Viteri | Aisha Udochi | Yiping Cai | Paul Amar | Chih-ming Wang


MCLC Resource Center Publication (Copyright February 2018)


Introduction
Petrus Liu and Lisa Rofel

This collection of essays originates from an international workshop called “China in the Global South: The Central Role of Gender and Sexuality,” convened by Lisa Rofel (UC Santa Cruz) and Huang Yingying (Renmin University of China) and held in Beijing from September 15 to 17, 2017. It continued a conversation that began with the first workshop on the same theme, held a year ago in Santa Cruz, that brought together a group of scholars, activists, and NGO workers to reflect on the impact of China’s rise on other countries in the Global South. With the country’s national “going out” policy (中国走出去), China has become the largest South-South cooperation provider, with investment in Latin America, Africa, and Central and Eastern Europe. While China’s interactions with the Global South have been the subject of much attention and study, the issues of gender and sexuality have been largely ignored. The workshop asked experts from China, Africa, Latin America, and the US working on security, migration, environmental, economic, and social issues to collectively think about the role of gender and sexuality in China’s relationships with the Global South Collectively, the workshop brought together experts from China, Africa, Latin America, and the US who work on gender and sexuality, as well as on security, migration, environmental, economic, and social issues, to collectively think about the role of gender and sexuality in China’s relationships with the Global South. Continue reading

Chinese Visions of World Order review

MCLC Resource Center is pleased to announce publication of Salvatore Babones’s review of Chinese Visions of World Order: Tianxia, Culture, and World Politics (Duke, 2017), edited by Ban Wang. The review appears below, but is best online at: http://u.osu.edu/mclc/book-reviews/babones/. My thanks to Nicholas Kaldis, MCLC literary studies book review editor, for ushering the review to publication.

Kirk Denton, editor

Chinese Visions of World Order: 
Tianxia, Culture, and World Politics

Edited by Ban Wang


Reviewed by Salvatore Babones
MCLC Resource Center Publication (Copyright February, 2018)


Ban Wang, ed. Chinese Visions of World Order: Tianxia, Culture, and World Politics. Durham: Duke University Press, 2017. 336 pp. ISBN: 978-0-8223-6946-2 (Paperback: $27.95)

Tianxia 天下! The word itself sounds more like the title of a movie or video game than of a political program. In fact it is a video game (now in its third edition), and the word played a key role in the 2002 film Hero, in which the hero (played by Jet Li) spares the life of the ruthless Emperor Qin for the sake of “tianxia,” controversially subtitled in the original American release as “our land.” The translation was controversial because it gave tianxia, usually rendered as “all under Heaven,” a poetically patriotic connotation. Perhaps critics should not be so critical. The title of the film is, after all, Hero.

Asked about the tianxia translation, the film’s director Zhang Yimou was quite frank. “We struggled for a long time with the translation because it’s difficult. There’s a Chinese proverb that goes, ‘to suffer yourself when all under Heaven suffer, to enjoy only when all under Heaven enjoy.’ In the Chinese tradition, the idea of ‘tianxia’ has a very profound significance, and a true hero can hold ‘all under Heaven’ in his heart. If you ask me if ‘our land’ is a good translation, I can’t tell you. All translations are handicapped. Every word has different meanings in different cultures.” Continue reading

Walk on the wild side (1)

too big, too perfect altogether, too much like a song, a poem, and one big translation effort to add anything. a colloquial poem. complete with footnotes, index. of course with characters. all about characters. characters and books. writing, performing.

poetry is a very good way to take part. in life in china. elsewhere. not knowing beforehand.

yi sha looms importantly. i have been taking part in his circles every day for five years. so of course i’m happy. every day means looking up today’s poem. yi sha has presented one poem per day since 2011. almost 900 people, 2500 poems. yi sha said in december my latest chinese poem was #2500. but that seems to have been a mistake. anyway, 8 poems of mine in there until now.

so of course i have to add this. at a reading, when yi sha places an order, it’s for the daily npc, new poetry canon, abbreviated from new century poetry canon, 新世纪诗典. books, yes. my stuff is in there, too. there is npc self-censorship. almost every poem from the daily series on Weibo and WeChat gets printed. but not everything that appears online and is a good poem can appear officially in npc. and it’s all subject to one person’s decisions. to yi sha’s mind, mood, memory. Continue reading

Homesickness review

MCLC Resource Center is pleased to announce publication of Lei Qin’s review of Homesickness: Culture, Contagion, and National Transformation in Modern China (Harvard UP, 2015), by Carlos Rojas. The review appears below and can also be read online here: http://u.osu.edu/mclc/book-reviews/leiqin/. My thanks to Nicholas Kaldis for ushering the review to publication.

Kirk Denton, editor

Homesickness: Culture, Contagion, and 
National Transformation in Modern China

By Carlos Rojas 


Reviewed by Lei Qin
MCLC Resource Center Publication (Copyright January, 2018)


Carlos Rojas, Homesickness: Culture, Contagion, and National Transformation in Modern China. Cambridge, MA: Harvard University Press, 2015. 352 pp. ISBN: 9780674743946 Hardcover: US$45.00

Carlos Rojas’s book Homesickness: Culture, Contagion, and National Transformation in Modern China (hereafter, also abbreviated as Homesickness), which came out in 2015 with Harvard University Press, can be seen as a paradigm for a truly interdisciplinary project. In his exploration of a vast range of literary and cinematic texts, as well as historical discourses and ideas from China’s late nineteenth century to contemporary times, Rojas bridges the fields of medicine and science with Chinese literature, cinema, and history.

Homesickness can first be seen as expanding the cross-disciplinary subject of “medical humanities,” which, according to Howard Y. F. Choy, became popular in China following in the launch of the journal Chinese Medical Humanities Review (中国医学人文评论) by Peking University Medical Press in 2007 and the subsequent establishment of the Peking University Institute for Medical Humanities (北京大学医学人文研究院) a year later.[1] While medical humanities may be a nascent field of study rising in prominence, research into the understanding of disease as historically situated, socially meaningful, and culturally manifested has a long history both in Western and Chinese scholarship. A brief survey of this scholarship will help us to better situate Rojas’s contribution. Continue reading

Hollywood Made in China review

MCLC Resource Center is pleased to announce publication of Darrell William Davis’s review of Hollywood Made in China (University of California Press, 2017), by Aynne Kokas. The review appears below, but is best read online at: http://u.osu.edu/mclc/book-reviews/ddavis/. My thanks to Jason McGrath, MCLC media studies book review editor, for ushering the review to publication.

Kirk Denton, MCLC Editor

Hollywood Made in China

By Aynne Kokas 


Reviewed by Darrell William Davis
MCLC Resource Center Publication (Copyright January, 2018)


Aynne Kokas, Hollywood Made in China. Berkeley: University of California Press, 2017. 272pp. ISBN: 9780520294011 (Cloth: $85.00) ISBN: 9780520294028 (Paperback: $29.95)

Hollywood Made in China is an elegant account of Hollywood’s evolving engagements in China’s commercial film environment. In six concise chapters, Aynne Kokas details the myriad flows of policy, investment, deployment, and rewards of Sino-US media co-productions. Her aim is mostly large-scale entertainment schemes, including contemporary blockbusters, theme parks, and studio co-ventures. Because China is now becoming the world’s largest film market, Hollywood is courting Chinese executives and regulators, the better to ensure access to viewers and returns for American pictures. The objective is market access, in return for which Hollywood players are willing to cede control, a tradeoff the author calls “transformative” (33). This is a transaction not available to Silicon Valley (e.g., Google, Facebook, Netflix), and despite frustrations of piracy and capricious regulations, Hollywood may well count itself fortunate. In any case, Kokas demonstrates that the Sino-US co-production enterprise is a work in progress, always in a state of renegotiation and revision, as she aptly puts it: “The Hollywood dream factory and the Chinese Dream work together, while mired in a state of perpetual negotiation” (20).  A combination of Hollywood “thirst” for ever-larger markets (old) and China’s “cultural trade deficit” (new) brings potential synergies and symbiosis (2-3). It also brings evolving forms of contention and conflict (13). With every new co-production, new standards and practices appear in the playbook. Aynne Kokas makes a strong case for the “interaction and variability” (8), the unpredictability inherent in this volatile relation. Continue reading

Walk on the Wild Side: Snapshots of the Chinese Poetry Scene

MCLC Resource Center is most pleased to announce publication of “Walk on the Wild Side: Snapshots of the Chinese Poetry Scene,” by Maghiel van Crevel. With its 143 mini-chapters and lavish illustrations, this is the longest and most ambitious piece we’ve published to date in our online publication series. Though written in a non-academic style that makes it accessible to a general readership, it is filled with details of interest to academic specialists in contemporary Chinese poetry. The essay can be read online at:

http://u.osu.edu/mclc/online-series/walk-on-the-wild-side/

It is also available as a pdf download. Go to the link above, and click “DOWNLOAD IN PDF FORMAT” near the top of the page.

I want to thank Professor van Crevel for sharing with us his deep insights into the contemporary Chinese poetry scene.

Happy holidays,

Kirk A. Denton
Editor, MCLC

Vol. 29, no. 2 of MCLC

We are pleased to announce publication of Modern Chinese Literature and Culture, volume 29, number 2 (Fall 2017). Find a table of contents for the issue below, along with links to abstracts. For those of you who are subscribers, you should be receiving your copy in the next couple of weeks. For those of you who would like to subscribe or to purchase single copies of this issue, please contact my (new) assistant Mario De Grandis (mclc@osu.edu). We greatly appreciate the support you show for MCLC through your subscriptions. Back issues of MCLC, with a two-year lag, are available through JSTOR. Seeing as it is the season of giving, if anyone is in a giving mood, please consider donating to MCLC. Enjoy the new issue.

Kirk Denton, editor

Volume 29, Number 2 (Fall 2017)

Articles

Can We Talk about Dialogue?

MCLC Resource Center is pleased to announce publication of “Can We Talk About Dialogue? A Prescript to Art and China after 1989,” David Borgonjon’s take on the current contemporary Chinese art exhibition at the Guggenheim in New York. The essay appears below, but is best read online at: http://u.osu.edu/mclc/online-series/borgonjon/

Enjoy, Kirk

Can We Talk about Dialogue
A Pre-script to Art and China after 1989

By David Borgonjon


MCLC Resource Center Publication (Copyright December 2017)


Xiao Lu, Dialogue, 1989, performance and installation.

The Guggenheim Museum in New York currently has on view an expansive survey of Chinese contemporary art; as many of the reviews on the subject show, it focuses on the long shadow of Tiananmen. Yet, this survey is also an opportunity to rewrite the art-historical period that Theater of the World: Art and China, 1989-2008 covers. Such a rewritten narrative could do worse than to zone in from the scale of the state to the scale of the family; love, the origin story, retells the institution of the family as a voluntary association in the age of the market. If this is a story about 1989, it is different than the one we were told. Continue reading