‘Writing a Letter’ by Ling Shuhua

Source: The Shanghai Literary Review (July 30, 2024)
“Writing a Letter”
By Ling Shuhua, introduced and translated by Nicky Harman

Introduction and translation by Nicky Harman

Ling Shuhua (1900-1990) was a talented Chinese woman modernist writer, much admired by Chinese luminaries such as the poet Xu Zhimo and the writer and activist Lu Xun. She was also a well-regarded painter. Most of her writing was produced during the 1920s and 1930s, with almost nothing being published thereafter, with the exception of her (English-language) autobiography Ancient Melodies (Hogarth Press, 1953). After the war, she left China and lived in Singapore and the UK and, possibly for that reason, her reputation faded in her home country. Recently, however, her work has been republished there.

Ling Shuhua’s Importance as a Writer

Ling Shuhua grew up in two very different worlds: she was the daughter of the third concubine of a high-ranking Qing (Manchu) official and was taught by one of the imperial court painters; in many ways, the kind of life she lived as a child had not changed for centuries. But Ling had a modern as well as a classical education, studying in Japan and in Yenching University in Beijing. As a writer in the 1920s and 1930s, she was active in contemporary literary and artistic circles. As was the case with others of her contemporaries, she had a cosmopolitan outlook and was influenced by Western writers, in her case Katherine Mansfield and Anton Chekhov. She understood and wrote about the old society, while at the same time she had modern sensibilities. Among Chinese women writers of her time, she was unique in having close connections with the Bloomsbury Group; she was a friend of Virginia Woolf, Vanessa Bell and Vita Sackville-West. Continue reading ‘Writing a Letter’ by Ling Shuhua

“The Second Mother”

MCLC Resource Center is pleased to announce publication of Brian Yuhan Wang’s translation of “The Second Mother,” by Ba Jin. A teaser appears below. For the full translation, go to: https://u.osu.edu/mclc/online-series/the-second-mother/.

Kirk Denton, MCLC

The Second Mother 第二的母親
(La dua patrino)

By Ba Jin 巴金 [1]

Translated by Brian Yuhan Wang


MCLC Resource Center Publication (Copyright August 2024)


Ba Jin (1904-2005).

Everyone called me an orphan.

My parents died young; I don’t even remember clearly what they looked like. I was brought up by my uncle. He had no children of his own, so he treated me like a son.

My aunt had passed away, and I led a lonely life. My uncle was often away from home, leaving only a houseboy and an old nanny to look after me. There was also a middle-aged servant, who often accompanied my uncle on his errands. My home was spacious, and there was a small garden where I could play, but I didn’t have any playmates. The world of the houseboy and nanny was quite different from mine. Though only a child, I often felt lonely.

Back then, I had started studying. My uncle hired an old, stern-looking tutor to keep me disciplined. I had to spend four to five hours in the study every day. While the tutor silently pored over his books, I read out the strange words and verses in books like the Thousand Character Classic over and over in a weary voice, with my mind wandering off into unattainable fantasies. The moment the tutor abruptly announced, “All right, class is over!” in his serious tone, I couldn’t resist laughing as I rushed out of that prison-like study.

I often had dreams at night, and they always featured the tutor’s face, which would transform wildly into various guises. I occasionally had more pleasant dreams, but they were always ruined by thoughts of studying—I even found myself studying in my dreams sometimes. Anyway, the only person I feared was that tutor, who always looked so serious; the only thing I dreaded was studying. [click here for the full translation]

Vol, 36, no. 1 of MCLC

We are pleased to announce that the latest issue of Modern Chinese Literature and Culture, vol. 36, no. 1 (Summer 2024), has now been published and will be sent out in the coming days. Please find the table of contents below. Abstracts and full-text articles can be accessed from the journal’s online repository:

https://www.euppublishing.com/toc/mclc/36/1

Natascha Gentz and Christopher Rosenmeier, editors

Table of Contents

Note from the Editors

Trauma, Lu Xun, and the Specter of the Taiping Civil War
Andrew Emerson

Anticipatory Self-Martyrdom: The Image of Christ’s Crucifixion in Ai Qing’s Poetry
Andrew Kauffman

Seeing Others: Ethics of Ghost Narrative in Sinophone Hong Kong Literature
Di-kai Chao and Riccardo Moratto

Ethnicity in Print Media: Alternative Framings of the Short Story “The Gray Robe”
Mario De Grandis

Lü Ban’s Comedies, Transnational Film Auteurism, and Comedic Modernism in Early Socialist China
Chuanhui Meng

The Cult of Craftsmanship in China: The Industrial Hand and the Artisanal Hand in the Age of High Technology
Yu Zhang

Contributors

Liao Bingxiong’s ‘Slippery Poem-Pictures’

Source: Associaton for Chinese Animation Studies (7/13/24)
A Parting Shot: Liao Bingxiong’s “Slippery Poem-Pictures” and the 1957 Rectification Movement
By John A. Crespi

The Hundred Flowers Movement, launched in May 1956 and culminating in Mao Zedong’s call to critique the Chinese Communist Party during the Rectification Movement of May and June 1957, was a bonanza for China’s manhua. During that span of about a year, China’s cartoonists were granted free rein to take aim at the favorite target of satirists everywhere: their own ruling regime.

Or so it seemed. Today, of course, we know that the Rectification Movement ended abruptly with the Anti-rightist Movement, when Mao cut off the flood of criticism he had himself summoned by persecuting untold thousands of intellectuals. How far did China’s manhua artists push the boundaries of critique when responding to the call to “rectify” the party? It is hazardous to generalize; an extensive study of manhua through this period is waiting to be undertaken. Here I offer a brief look at just one prominent example of a manhua caught in the ideological crossfire: Cantonese artist Liao Bingxiong’s 廖冰兄 (1915-2006) “Slippery Poem-Pictures” (dayou cihua 打油词话), published on page 5 of China’s leading satirical art magazine, Manhua Semi-monthly (Manhua banyue kan 漫画半月刊), on July 8, 1957.[1]

Continue reading Liao Bingxiong’s ‘Slippery Poem-Pictures’

Thoughts from the Ice-Drinker’s Studio review

MCLC Resource Center is pleased to announce publication of Leigh Jenco’s review of Thoughts from the Ice-Drinker’s Studio: Essays on China and the World, by Liang Qichao, edited and translated by Peter Zarrow. The review appears below and at its online home: https://u.osu.edu/mclc/book-reviews/jenco/. My thanks to Michael Gibbs Hill, our translations/translation studies book review editor, for ushering the review to publication.

Kirk Denton, MCLC

Thoughts from the Ice-Drinker’s Studio:
Essays on China and the World

By Liang Qichao
Edited and Translated by Peter Zarrow


Reviewed by Leigh Jenco
MCLC Resource Center Publication (Copyright July, 2024)


Liang Qichao. Thoughts From the Ice-Drinker’s Studio: Essays on China and the World Edited and translated by Peter Zarrow. Penguin Classics, 2023. 272 pp. ISBN: 9780241568781 (paperback); 9781802060140 (ebook).

As a political theorist who works on Chinese thought within the notoriously Eurocentric fields of political science and philosophy, I have been waiting a very long time for a volume like this one. Peter Zarrow has finally undertaken the considerable scholarly effort to translate, masterfully and lucidly, key essays from Liang Qichao 梁啟超, arguably the most influential figure of twentieth-century Chinese thought barring only Mao Zedong. We can now easily include in our introductory courses several weeks of key readings from the greatest mover-and-shaker to come out of the late Qing period—the figure who “invented political journalism, promoted democratic reforms, and introduced Western political theory to Chinese readers,” and “led China’s break from tradition” (ix). This volume is a real milestone.

Zarrow begins the volume with a brisk and accessible introduction that sketches the historical context without becoming bogged down in irrelevant detail. His translator’s note explains how he chose the essays to translate: he focuses on those that mainly deal with questions we would consider closer to political theory than to historiography or journalism (the other contributions for which Liang is known), and that are representative of Liang’s thinking at distinct junctures in his life. These junctures also organize the volume’s four parts: Early Reformist Thought (1896-1898), Radicalism (1899-1903), Cultural Reform (1904-1911), and Syncretism and Progress (1912-1929).  Long known as a bit of a plagiarist, Liang’s Chinese translations of Japanese-language material published under his own name are also not included in this volume, nor are his writings on literature or history, which have been published elsewhere (and Zarrow helpfully provides a bibliographic list). Continue reading Thoughts from the Ice-Drinker’s Studio review

JCLC 11.1

I am pleased to share “Hearing Things: Voices of the Nonhuman in Chinese Literary and Visual Culture,” the newest issue of the Journal of Chinese Literature and Culture (11:1), edited by Paula Varsano. The issue is now available in print and online. Browse the table of contents and read the introduction, made freely available, here:

https://read.dukeupress.edu/jclc/issue/11/1

Journal of Chinese Literature and Culture 
Volume 11 Issue 1    April 2024
Special Issue “Hearing Things: Voices of the Nonhuman in Chinese Literary and Visual Culture”

Paula Varsano, Special Issue Editor

Table of Contents

Just Listening: An Introduction
By Paula Varsano

Voices from the Other Side: Exploring Non-human Agents and Their Narrative Function in the Zhuangzi
By Romain Graziani

Simian Episteme, ca. 1200
By Jeehee Hong

Cauldron, Copper, Cash: Medieval Bronze in Motion and Flux
By Jeffrey Moser

The Crying Statue in Early Qing Drama
By Thomas Kelly

Dehumanized Voices and Traumatic Articulations in Late Nineteenth-Century Chinese Classical Tales
By Li Wei

Manuscript and the Human in Modern China
By Chloe Estep

What Noise Does a Psychotic Door Listen To? Information, Intermediality, and Guo Baochang’s Peking Opera Film Dream of the Bridal Chamber
By Ling Hon Lam

Posted by: Yuefan Wang <yuefanw2@illinois.edu>

Dong Xi in the UK

For all UK-based colleagues, if you’re free on the following dates we’d love to have you!

Dong Xi 东西 (Pen name of Tian Dailin 田代琳) award-winning author (Mao Dun Prize, Lu Xun Prize) will be touring the UK for the upcoming launch of his newest book in translation Fate Rewritten (篡改的命) (Trans: John Balcom).

London – 26th July – Living A Stolen Life – Dong Xi in Conversation with Susan Trapp
Fri 26 Jul 6:00 PM – 7:30 PM at Charing Cross Library
https://buytickets.at/sinoistbooks/1287210

Edinburgh- 31st July – The Price of Tomorrow – Dong Xi in Conversation with Jenny Niven
Wed 31 Jul 4:00 PM – 6:00 PM at Abden House, University of Edinburgh
https://buytickets.at/sinoistbooks/1294053

ABOUT THE BOOK

Translated from Chinese and due to be published in English on 25th October 2024. It’s a Dickensian novel giving voice to China’s 300 million-strong migrant workforce, Telling a harrowing story about the conditions they live in, what drives them, and how it can go horribly wrong. Continue reading Dong Xi in the UK

Look Back in Anger

MCLC Resource Center is pleased to announce publication of Thomas Chen’s “Look Back in Anger: The Long Season (2023),” an essay on the TV series The Long Season. The essay appears below and at its online home: https://u.osu.edu/mclc/online-series/the-long-season/. My thanks to Prof. Chen for sharing his work with the MCLC community.

Kirk A. Denton, MCLC

Look Back in Anger:
The Long Season (2023)

By Thomas Chen


MCLC Resource Center Publication (Copyright July 2024)


Figure 1: Marketing poster for The Long Season.

First released in China in April 2023 and now available to stream on Amazon Prime Video, The Long Season (漫长的季节) is the most popular and critically praised Chinese miniseries in recent memory. On Douban, China’s near-equivalent of IMDb, it has over 900,000 ratings, with an average score of 9.4 out of 10. What accounts for this stupendous acclaim?

The Long Season has an arresting storyline: complex, tightly written, and unpredictable. It is a double-plotted crime drama set in the fictional steel town of Hualin in northeastern China, deftly interweaving a mysterious hit-and-run incident in 2016—the present in which the series opens—with a case of murder by dismemberment in 1998.

Generically a whodunit, The Long Season is also a riot. The Northeast constitutes the wellspring of comedy in the Chinese cultural imagination. Some of the country’s most famous comedians hail from the region, and their skits and sketches on China Central Television’s annual New Year’s Gala have entertained generations of viewers. Directed by Xin Shuang 辛爽, a Northeasterner, the dialogue crackles with repartees, delivered impeccably in the distinctive local idiom by well-known actors Fan Wei 范伟 and Qin Hao 秦昊, both of whom themselves are from the Northeast. They play, respectively, Wang Xiang 王响, a former locomotive engineer for Hualin Steel who is now a taxi driver, and Gong Biao 龚彪, a fellow taxi driver who used to be an entry-level manager in the same factory. The third male lead is Ma Desheng 马德胜, a police captain turned amateur Latin ballroom dancer. All three give bravura performances in dual roles spanning almost two decades that anchor the temporal shifts in the narrative. Continue reading Look Back in Anger

Chinese Theories of Literary Creation

Dear colleagues and friends,

I am pleased to report that my first monograph on Chinese literary theory has come out at Duke UP. If you are interested in the book, you may place an order at the DUP or Amazon sites for the same price of $16. As Amazon needs to forward the order to DUP, it makes good sense to order directly from DUP unless you have free shipping from Amazon. Below are the DUP and Amazon links.
Thanks, Zong-qi Cai

https://www.dukeupress.edu/chinese-theories-of-literary-creation

https://www.amazon.com/Chinese-Theories-Literary-Creation-Introduction/dp/1478026995/

Description

In this monograph, Zong-qi Cai surveys the long trajectory of Chinese thinking about literary creation, from remote antiquity to the early 20th century. By uncovering the complex connections linking key critical terms, concepts, and assertions, it debunks the common perception of Chinese literary theory as vague and elusive. Instead, Cai approaches Chinese critical pronouncements as engaged in a productive dialogue with each other. Through detailed scrutiny of 184 passages, he shows how critics from different dynasties exploited the polysemy of key terms—drawn from Confucian, Daoist, and Buddhist sources as well as criticism of calligraphy and painting—to arrive at ground-breaking new perspectives on literary creation. The book concludes with a brief comparative look at Chinese and Western literary theory aimed at being mutually illuminating for both traditions. Intended for general readers as well as specialists, this monograph will be followed in the next few years by three similar studies on theories of literature, aesthetics, and interpretation.

Posted by: Prism Editorial Office <prism@ln.edu.hk>

Prism 20.2

Publication News | Prism 20:2
Edited by Prof Zhiyi Yang and Prof David Der-wei Wang

We are pleased to announce the publication of “Classicism in Digital Times: Cultural Remembrance as Reimagination in the Sinophone Cyberspace,” a special issue of Prism (20:2), edited by David Der-wei Wang and Zhiyi Yang.

Contributors to this special issue explore “Chineseness” in the digital age, presenting the many facets of the multicentered, multidimensional, and multifunctional phenomenon of “Sinophone classicism.” The authors posit that digital technology leads to intense disruption and fragmentation of geopolitical and ethno-cultural communities by building kinetic connections among atomized individuals who act as agents of cultural remembrance and imagination. The ramifications of this virtual cultural-linguistic nationalism remain to be observed in long-term academic studies, the authors argue, beginning with this special issue.

Contributors to this issue include Fangdai Chen, Yedong Sh-Chen, Tarryn Li-Min Chun, Rossella Ferrari, Chieh-Ting Hsieh, Liang Luo, Michael O’Krent, Xiaofei Tian, Laura Vermeeren, David Der-Wei Wang, Zhiyi Yang, and Michelle Yeh.

Browse the table of contents at https://read.dukeupress.edu/prism/issue/20/2. Buy this issue at https://dukeupress.edu/classicism-in-digital-times.

Prism Editorial Office <prism@ln.edu.hk>

The Conformed Body book launch

Book Launch: The Conformed Body: Contemporary Art in China

The book launch for Professor Jiang Jiehong’s The Conformed Body: Contemporary Art in China, published by Brill, will include a presentation by Professor Jiang Jiehong (Birmingham City University), remarks by Professor Chris Berry (King’s College London) and Dr Wenny Teo (The Courtauld Institute of Art), and a panel conversation moderated by Dr Panpan Yang (SOAS University of London).

Sample books will also be available.

The event is part of SOAS East Asian Research Seminar (EARS). It is free and open to all. But booking is essential. The event is in-person only.

Time
Monday, July 8, 5 – 6:40pm London Time

Location
The event will take place at Brunei Gallery Lecture Theatre (BGLT) within the SOAS Brunei Gallery.
Thornhaugh Street, Russell Square, London WC1B 5DQ

About the new book
Through the perspective of the ‘conformed body’, this groundbreaking book examines the role in art of everyday conformist practices in the People’s Republic of China, such as mass assemblies and bodily trainings and exercises, as well as their impact on people’s perceptions and collective memories. It identifies related artworks, reassesses artistic interpretations with critical reflections, and explores a key origin of artistic productions in post-Mao China. Featuring 200 colour illustrations, the book discusses works by more than 30 internationally acclaimed Chinese contemporary artists, including Ai Weiwei, Geng Jianyi, Song Dong, Xu Bing, Zhang Peili and Zhang Xiaogang.

Register/More info
https://bit.ly/3QZVxgW

We look forward to seeing you.

Panpan Yang <py6@soas.ac.uk>

The Mighty Hero Gan Fengchi

The Chinese Film Classics Project is delighted to announce the publication of Frank S. Zhou’s translation of the film The Mighty Hero Gan Fengchi 大俠甘鳳池 (Dumas Young 楊小仲, dir., 1928):

https://youtu.be/M5IiaW6dbtQ?si=m_wxqC4ViXR3bpoe

My thanks to Frank for sharing his translation with the Chinese Film Classics Project, and to Liu Yuqing for creating the subtitles.

  • Christopher Rea

ABOUT THE FILM

The Mighty Hero Gan Fengchi 大俠甘鳳池 (1928) is a partially-extant silent film released in China by the Great Wall Film Company during a peak in popularity of the wuxia (martial-chivalry) genre. The surviving 23 minutes of the film are filled with fight scenes, eye-catching sets, and special effects—notably multiple disappearances into thin air and an airborne clash between three “lightsabers” that shoot out of the warriors’ palms. As we pick up the story, Gan Fengchi and his two child disciples are battling against officialdom, represented by the fighters Cloud Ace and Cloud Eternity. What accounts for the children’s defiance of authority? Have they been poisoned and forgotten themselves? Or have the officials they fight betrayed the people? As the two sides spar over the Circuit Intendant’s seal of office and the children right other wrongs, a challenge arrives to settle a decade-old grudge on Crouching Tiger Mountain…

The historical Gan Fengchi is said to have been from Nanjing and lived during the reigns of the Qing emperors Kangxi and Yongzheng. Gan became a figure of literature and folklore, including a Qing-era biography by Wang Youliang 王友亮 (A Brief Biography of Gan Fengchi 甘鳳池小傳), a two-part Republican-era novel entitled The Blood-Soaked Mighty Hero Gan Fengchi 血滴子大俠甘鳳池, and a later novel by Liang Yusheng 梁羽生. A Cantonese-language sound film of the same title directed by Lin Cang 林蒼, featuring a Ming restoration plot, was released in Hong Kong in 1939. Continue reading The Mighty Hero Gan Fengchi

Suipian no. 1

碎篇 // Suipian // Fragments
Tabitha Speelman

Welcome to the 1st edition of Suipian, my new personal newsletter in which I share thoughts and resources that help me make sense of Chinese society and its relationship to the rest of the world.

You’re receiving this because you have been subscribed to Changpian, my previous newsletter sharing Chinese nonfiction writing. Suipian, too, will share selected writing from and on China that I found worth my time, but recommendations will include more genres, including academic and policy research, and will now be in both Chinese and English (and beyond). 碎篇 is of course derived from 碎片 or ‘fragments’ but another character I kept thinking of was the 随 of 随笔, and there will be some of that too, mainly in the form of reporting notes.

To me, the shift from Changpian to Suipian reflects change in my own life (with chronic illness leading to more fragmented reading) and real shifts in the China media landscape. The small boom in nonfiction writing at Chinese domestic media has passed, and my Wechat timeline is no longer the treasure trove it was in the late 2010s. At the same time, with more Chinese writers and journalists working outside China, the amount of high-quality content on Chinese society produced in other parts of the world and in other languages is growing every day.

Also, geopolitics happened. Where in my early years as a reporter in China, I focused on telling stories that aimed to shed some light on ‘China beyond the headlines,’ that’s more difficult now that ‘China’ seems to be in all the headlines. I still try to highlight individual perspectives and diversity, but the new context of geopolitical and narrative shifts I can hardly keep up with somehow makes it very different. Continue reading Suipian no. 1

‘To Govern the Globe’ review

The famous Southeast Asia historian Alfred McCoy has published an important new book, To Govern the Globe: World Orders and Catastrophic Change on world history, and where it is heading with China as an aspiring new world empire. I’ve written a review of it:

Cycles of History: Review Essay on Alfred McCoy’s To Govern the Globe: World Orders and Catastrophic Change.” By Magnus Fiskesjö. International Institute for Asian Studies newsletter (June 2024).

Sincerely,

Magnus Fiskesjö, magnus.fiskesjo@cornell.edu

On Tsui Hark’s ‘The Taking of Tiger Mountain’

Source: Association for Chinese Animation Studies (5/5/2024)
What Happens to the Index in Animation? The Case of The Taking of Tiger Mountain
By Cassandra Xin Guan

In the opening sequence of The Taking of Tiger Mountain (Zhiqu Weihushan 智取威虎山  2014), an overseas Chinese student, “Jimmy,” walks into a karaoke parlor in Manhattan’s Chinatown trailing a suitcase. He mingles with a noisy group of young Asians, until the incongruous sound of Peking opera and the vision of a fur-clad actor gesturing before a painted snowy landscape interrupts the karaoke program. It is reconnaissance officer Comrade Yang Zirong astride an invisible horse in the 1970 film adaptation of the revolutionary model opera Taking Tiger Mountain by Strategy[1]The room erupts into hilarity at the embarrassment of the singer, taken aback by this prank. Jimmy alone is entranced by the apparition on the flatscreen TV. Someone asks, “It’s your hometown, isn’t it?” Next, we see the young man sitting in a yellow cab en route to the airport. While the driver curses Yuletide traffic, Jimmy begins to watch a YouTube video of the model opera on his phone. The operatic soundtrack swells while the camera zooms intently into his face. Snow is falling in America and in the deciduous forests of Northeast China. Over aerial vistas of the hyperborean landscape, the title of the film appears followed by the name of the director and source material: The Taking of Tiger Mountain, a film by Tsui Hark 徐克, adapted from the 1955 novel Tracks in the Snowy Forest (Linhai xueyuan 林海雪原) by Qu Bo 曲波. Continue reading On Tsui Hark’s ‘The Taking of Tiger Mountain’