Gwennaël Gaffric, La Littérature à l’ère de l’Anthropocène. Une étude écocritique autour des œuvres de l’écrivain taïwanais Wu Ming-yi [Literature at the Age of Anthropocene: An Ecocritical Reading of Wu Ming-yi’s Works]
Foreword by Stéphane Corcuff
Asiathèque, Collection « Études formosanes »
Taking an ecocritical approach, Gwennaël Gaffric discusses in this book the literary treatment of ecological issues in Taiwan and beyond. He focuses his study on the works by Wu Ming-yi, a major figure in Taiwanese literary, artistic and militant scenes, but he seeks to expand his presentation by putting in perspective and dialogue texts from other contemporary Taiwanese authors, as well as reflections proposed by thinkers from several disciplines and all geographical horizons. He achieves an impressive synthesis, where ecology becomes an ontology of the relationship between humans and non-humans and an epistemological path to think the Anthropocene. Continue reading
This is not the first case of censorship at Frontiers of Literary Studies in China. I know of multiple instances of authors who have had their essays censored or who have pulled their essays because of censorship. Yes, one might expect censorship from a China-based publication, though that doesn’t make it any less disappointing or wrong, and I am sympathetic to the good people working at the journal who do the best they can do produce quality scholarship. But when you load the editorial board and the editorship with scholars working in universities outside of China and when the journal is distributed through Brill, the expectation is that the journal will conform to certain standards of academic freedom. I’m glad that Jasmin Lange at Brill “will not hesitate to take any necessary action to uphold our publishing ethics.” I hope that we as an academic community can also uphold our ethics and speak out against this censorship.
Kirk Denton <email@example.com>
Yes, there is censorship in FLSC. Is anything published in the PRC not somehow impinged upon by those above? However, I would like to add to this conversation that when I published an article with FLSC the editor and the editorial board members went up to bat for me against those censors when I wrote about Taiwanese literature as opposed to “Taiwan literature.” In my humble opinion, tiny, incremental change is better than hand wringing refusal to engage.
Bert Scruggs <firstname.lastname@example.org>
Inside Higher Ed has now written on FLSC‘s censorship.–Kirk
Source: Inside Higher Ed (4/19/19)
Censorship in a China Studies Journal
Scholars say they thought a journal was run on Western standards of free expression, but they found Chinese government control instead.
By Elizabeth Redden
Yet another account of censorship involving a China studies journal has come to light. And the scholars involved say this case involves an insidious “blurring of boundaries” where they were misled into thinking Western publishing standards would apply when in fact the journal in question was subject to Chinese government censorship.
Lorraine Wong and Jacob Edmond, both professors at the University of Otago, in New Zealand, have written an account of the censorship they encountered when they edited a planned special issue of the journal Frontiers of Literary Studies in China. The journal is published by the Netherlands-based publishing company Brill in association with the China-based Higher Education Press, an entity that describes itself on its website (in Chinese) as affiliated with China’s Ministry of Education. The journal’s editorial board lists scholars from major American and international universities — including Cornell University, Duke University, Harvard University, the University of California, Davis, and the University of Washington — and its editor in chief is based at New York University. The journal’s editorial office is located in Beijing. Continue reading
Since 2012 Brill has had an agreement with Higher Education Press (HEP) in China to distribute the journal Frontiers of Literary Studies in China. HEP is responsible for the editorial process and production of the journal. Brill distributes the journal in print and online to customers outside China. We are very concerned about the developments that were described in the recent blog post by Lorraine Wong and Jacob Edmond. Brill, founded in 1683, has a long-standing tradition of being an international and independent publisher of scholarly works of high quality. We are committed to the furthering of knowledge and the concepts of independent scholarship and freedom of press. The cooperation with HEP is currently under review and Brill will not hesitate to take any necessary action to uphold our publishing ethics.
Chief Publishing Officer
This is an addendum to yesterday’s posting of the table of contents of volume 40 of CLEAR.–Kirk Denton
Three new essays on the Chinese script and a new twist to the old problem of censorship in Chinese studies
By Jacob Edmond
I’m delighted to announce that volume 40 of Chinese Literature: Essays, Articles, Reviews (CLEAR) has just been released and that it includes a cluster of essays that Lorraine Wong and I have co-edited. In our brief preface to the cluster, we not only introduce three ground-breaking essays by exciting young scholars; we also explain how they came to be published in CLEAR. We hope both the essays and our cautionary tale about censorship will generate new conversations in Chinese studies and, more broadly, about the increasing pervasiveness of government censorship around the world. To this end, I reproduce our preface and the abstracts of the three essays below.
Flipping the script: An introduction to three essays and to the problem of censorship in Chinese studies
The essays by Guangchen Chen, Nicholas Wong, and Jin Liu gathered together in this issue of CLEAR are linked by a shared set of scholarly concerns and, less happily, by a history of thwarted publication and censorship. These three essays illustrate the powerful and contested role played by the Chinese script in imagining and questioning notions of Chineseness and of the Chinese state from the early twentieth century to the present day: from Lu Xun’s transcriptions of ancient steles through Ng Kim Chew’s repurposing of oracle bone script to Li Xiaoguai’s online publication of his playful and satirical invented characters. As the three essays demonstrate, these writers deploy the qualities of the Chinese script to question the norms of language, simplistic notions of Chineseness, and monolithic conceptions of China. Their publication in this issue of CLEAR brings up important areas of concern for those writing about Chinese literature and culture today. Continue reading
Zhu Guangqian and Benedetto Croce on Aesthetic Thought, with a translation of Wenyi xinlixue 文藝心理學 (The Psychology of Art and Literature). Leiden. Brill, 2019.
Author: Mario Sabattini
Editor: Elisa Levi Sabattini
In Zhu Guangqian and Benedetto Croce on Aesthetic Thought, Mario Sabattini analyses Croce’s influence on the aesthetic thought of Zhu Guangqian. Zhu Guangqian is one of the most representative figures of contemporary Chinese aesthetics. Since the ’30s, he had an active role in China both on the literary and philosophical scenes, and, through his writings, he exerted an important influence in the moulding of numerous generations of intellectuals. Some of his works have been widely read, and they still provoke considerable interest in China, on the mainland as well as in Taiwan and Hong Kong. The volume also presents a revised translation of Zhu Guangqian’s Wenyi xinlixue (Psychology of Art and Literature).
Publication Date: 29 May 2019
Chinese Literature: Essays, Articles, Reviews, vol. 40
Eugene EOYANG, “CLEAR: A 40-Year Perspective” 1
ESSAYS AND ARTICLES
Thomas MAZANEC, “Righting, Riting, and Rewriting the Book of Odes (Shijing): On ‘Filling out the Missing Odes’ by Shu Xi” 5
YUAN Ye, “Faithful Women in Jin Ping Mei: Literary Borrowing, Adaptation, and Reinterpretation” 33
Maria Franca SIBAU, “Filiality, Cannibalism, Sanctity: Fleshing Out Gegu in a Late Ming Tale of a Filial Girl” 51
CHEN Lei, “Authorship and Transmission in Kong Shangren’s Self-Commentary of the Peach Blossom Fan” 73
Lorenzo ANDOLFATTO, “Futures Enmired in History: Chun Fan’s Weilai shijie (1907), Biheguan Zhuren’s Xin jiyuan (1908) and the Limits of Looking Backward” 107
Nicholas Morrow WILLIAMS, “Chinese Poetry and Its Contexts” 125 Continue reading
The Romance of a Literatus and his Concubine in Seventeenth-century China
Translator(s) Jun Fang and Lifang He
Price US$40 (Paperback)
Publication Date: April 2019
Publisher: Proverse Hong Kong
The Romance of a Literatus and his Concubine in Seventeenth-century China is an annotated translation of Reminiscences of the Plum-shaded Convent (Yingmeian Yiyu 影梅庵憶語), written by China’s prominent essayist and poet Mao Xiang冒襄 (1611-1693) in memory of his concubine Dong Xiaowan 董小宛 (1624-1651). Critically acclaimed by generations of Chinese commentators, this memoir presents a vivid image of a young woman who determinedly pursued the goal of escaping from her former life as a courtesan and calmly dealt with all the difficulties she encountered in the last decade of her short life. It also reveals the political and social vicissitudes of Chinese society and the life of its élite during the tumultuous Ming-Qing dynastic transition. (The “Plum-shaded Convent” refers to the place where Dong was buried.) Continue reading
ANNOUNCING the “Fashioning Asian Identities” Issue of Asia Pacific Perspectives, Vol.16, No. 1 (2019)
The USF Center for Asia Pacific Studies announces the publication of the latest issue of its journal, Asia Pacific Perspectives. The 2019 “Fashioning Asian Identities” issue highlights dynamics and tensions around the intersections of personal expression, identity, and culture in the Asia Pacific region and beyond. John M. Skutlin explores the history of tattooing in Japan, its stigma, and how tattooees today manage their stigma. Johanna von Pezold addresses China’s rising influence in Africa through the lens of fashion exchange in Mozambique. Anne Peirson-Smith explores the increasingly popular phenomena of cosplay (costume-play), and Barbara Molony introduces us to Kyunghee Pyun and Aida Yuen Wong’s edited volume, Fashion, Identity, and Power in Modern Asia (Palgrave Macmillan, 2018). The articles are viewable now free of charge via open access at the journal’s website or by clicking on the following link: https://www.usfca.edu/center-asia-pacific/perspectives/v16n1. Continue reading
I am happy to announce the release of the Made in China Yearbook 2018: Dog Days, published open access by ANU Press.
According to the Chinese zodiac, 2018 was the year of the ‘earthly dog’. In the middle of the long, hot, and feverish dog days of the summer of 2018, some workers at Shenzhen Jasic Technology took their chances and attempted to form an independent union. While this action was met by the harshest repression, it also led to extraordinary demonstrations of solidarity from small groups of radical students from all over the country, which in turn were immediately and severely suppressed. China’s year of the dog was also imbued with the spirit of another canine, Cerberus—the three-headed hound of Hades—with the ravenous advance of the surveillance state and the increasing securitisation of Chinese society, starting from the northwestern region of Xinjiang. This Yearbook traces these latest developments in Chinese society through a collection of 50 original essays on labour, civil society, and human rights in China and beyond, penned by leading scholars and practitioners from around the world.
To download the electronic version of the book FOR FREE, please click on this link. More exciting news related to our Made in China project will follow soon!
Ivan Franceschini (email@example.com)
AUTHOR INTERVIEW WITH PROFESSOR WILT IDEMA
Insects in Chinese Literature: A Study and Anthology by Wilt L. Idema was just published and launched at the 2019 AAS conference in Denver two weeks ago. There was much interest in this unusual book, and so we have conducted the following interview with Professor Idema.
Cambria Press: In the introduction to your book, you mention that that insects, especially “anthropomorphized insects that talk to each other,” are quite rare in animal tales. What sparked your interest in this rare subset of animal tales?
Wilt Idema: I have always been interested in animal tales, animal fables, and beast epics, likely because Van den vos Reynaerde (Reynard the fox) is one of the most famous and enjoyable works of Dutch medieval literature. Perhaps because I was frustrated by the near-absence of texts involving talking animals in Chinese literature, I have been keeping track of those tales I did encounter. Once I thought I might have enough for a book on the topic, I only intensified my search. When looking for insect tales, I was quite surprised to find a considerable number of tales about the weddings of insects, the funerals of insects, their battles and wars, their disputes and court cases in Chinese popular literature, and once I had found those materials I wanted to compare the depiction of insects in popular tales to those in classical poetry and in vernacular prose. The result in my Insects in Chinese Literature. Continue reading
Dear list members,
Just in time for April Fool’s Day: a new translation of comic fiction and drama from modern Shanghai. Happy spring,
Christopher Rea <firstname.lastname@example.org>
China’s Chaplin: Comic Stories and Farces by Xu Zhuodai
Translated and with an introduction by Christopher Rea
Ithaca, NY: Cornell East Asia Series, 2019
Hoaxes! Jokes! Farces and fun! China’s Chaplin introduces the imagination of Xu Zhuodai (1880–1958), a comic dynamo who made Shanghai laugh through the tumultuous decades of the pre-Mao era. Xu was a popular and prolific literary humorist who styled himself variously as Master of the Broken Chamberpot Studio, Dr. Split-Crotch Pants, Dr. Hairy Li, and Old Man Soy Sauce. He was also an entrepreneur who founded gymnastics academies, theater troupes, film companies, magazines, and a home condiments business. Continue reading
Dear List Members,
This is a rather belated announcement of the publication of The Reincarnated Giant: An Anthology of Twenty-First Century Chinese Science Fiction (co-edited by Mingwei Song and Theodore Huters, Columbia University Press, 2018). As editors, we hope the anthology will be useful to literary scholars for classroom teaching and academic research.
The TOC of the anthology can be found on this webpage:
The anthology features some of the most important science fiction stories from the contemporary authors, including Liu Cixin, Han Song, Chen Qiufan, Bao Shu, Xia Jia, as well as excerpts from the experimental novels based on variations of the theme, style, rhetoric, language of science fiction, by authors such as Taiwan’s Lo Yichun and Hong Kong’s Dung Kai-cheung. Continue reading
I’m happy to announce the publication of my book on Confucius Institutes: China in the World: An Anthropology of Confucius Institutes, Soft Power, and Globalization with University of Hawaii Press.
Jennifer Hubbert <email@example.com>
Confucius Institutes, the language and culture programs funded by the Chinese government, have been established in more than 1,500 schools worldwide since their debut in 2004. A centerpiece of China’s soft power policy, they represent an effort to smooth China’s path to superpower status by enhancing its global appeal. Yet Confucius Institutes have given rise to voluble and contentious public debate in host countries, where they have been both welcomed as a source of educational funding and feared as spy outposts, neocolonial incursions, and obstructions to academic freedom. China in the Worldturns an anthropological lens on this most visible, ubiquitous, and controversial globalization project in an effort to provide fresh insight into China’s shifting place in the world. Continue reading