Y
Ya Shi 哑石
Admussen, Nick. “The Prose Poems of Ya Shi.” Chinese Literature Today 5, 2 (2016): 71-72.
Ya Xian (Ya Hsien) 痖弦
Coleman, Tara. “Ya Xian’s Lyrical Montage: Modernist Poetry in Taiwan through the Lens of Translation.” In van Crevel, Maghiel and Lucas Klein, eds. Chinese Poetry and Translation: Rights and Wrongs. Amsterdam: Amsterdam University Press, 2019, 265-86.
Lin, Julia. “Ya Hsien: Singer of the Abyss.” In Lin, Essays on Contemporary Chinese Poetry. Athens: Ohio University Press, 1985, 27-51.
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, Ya’s poem “The Colonel”]
—–. “The View from the Buckwheat Field: Capturing War in the Poetry of Ya Xian.” In Christopher Lupke ed., New Perspectives on Contemporary Chinese Poetry. New York: Palgrave Macmillan, 2007, 47-64.
—–. “Ya Xian (1932-).” In Christopher Lupke and Thomas E. Moran, eds., Dictionary of Literary Biography, Volume 387: Chinese Poets Since 1949. Farmington Hills, MI: Gale, 2021, 218-25.
Yan Ailin 顏艾琳 (Yen Ai-lin)
Tso, Sarah Yihsuan. “‘My Body, My Poetry’: Ai-lin Yen’s and Taiwanese Women Poets’ Poetics of the Body.” The Wenshan Review of Literature and Culture 9, 1 (Dec. 2015): 29-59.
[Abstract: With the tenet of “my body, my poetry,” this paper argues that poetry written by women claims the right to articulate the female body and champions the validity of their poems about the female body. Rather than being denominated in literary history as an alternative school of carnality, women’s poetry about the body should be judged by its aesthetic value. A pioneer among Taiwanese women poets on the subject of the body, Ai-lin Yen in Bone, Skin, and Flesh (1997) advances a personal feminism which is frank and honest about female desire as well as the female body, and about the exploitation of the female body. Yen’s poems expand on the motility and stases of the drives and abjection, and sketch what Elaine Showalter calls a “double-voiced discourse” in dialectical relationships with both male and female traditions.]
Yan Fu 嚴復
He, Xianbin. “Tanslation as Manipulation: A Case Study of Yan Fu’s Rendition of On Liberty.” Translatum 5 (2005).
Huang, Ko-wu. “The Reception of Yan Fu in Twentieth-Century China.” In Cindy Yik-yi Chu, Ricardo K. S. Mak, eds., China Reconstructs. Lanham, Md.: University Press of America, 2003, 25-44.
—–. The Meaning of Freedom: Yan Fu and the Origins of Chinese Liberalism. HK: Chinese University Press, 2007.
—–. “Translating Liberalism into China in the Early Twentieth Century: The Case of Yan Fu.” In Peng Hsiao-yen and Isabelle Rabut, eds., Modern China and the West. Leiden: Brill, 2014, 182-200.
Lackner, Michael. “Circumnavigating the Unfamiliar: Dao’an (314-385) and Yan Fu (1852-1921) on Western Grammar.” In Lackner et al. eds., New Terms for New Ideas: Western Knowledge and Lexical China in Late Imperial China. Boston, Koln: Leiden, 2001, 357-69.
Li, Sha. “Yan Fu, John Seeley, and the Idea of Liberty.” Modern China 48, 4 (2022): 814-45.
[Abstract: This article advances a more precise appreciation of Yan Fu’s idea of liberty based on a close and contextualized reading of his Lectures on Politics (1906), which he adapted from John Seeley’s Introduction to Political Science (1896). Yan’s creative interpretation of Seeley’s account of liberty exposes his own persistent views and tendencies. Specifically, Yan’s text adopts Seeley’s literal, neutral concept of liberty while extending its use as security against political tyranny. Yan shows consistent recognition of liberty in the latter sense, while his statist discourses expose potential tolerance of oppression for the sake of the collective good. Yan’s lectures also reveal his more limited libertarian spirit that underpinned his statism, brought out and conceptually strengthened by Seeley. This statism was, nevertheless, mitigated by the liberal dimensions he maintained. Overall, Yan’s idea of liberty is a highly complex one, meaning that a one-sided assessment as either liberal or nationalistic is untenable.]
Mak, Ricardo K. S. “Dao, Science and Yan Fu.” In Cindy Yik-yi Chu, Ricardo K. S. Mak, eds., China Reconstructs. Lanham, Md.: University Press of America, 2003, 11-24.
Schwartz, Benjamin I. In Search of Wealth and Power: Yen Fu and the West. Cambridge, Belknap Press of Harvard University Press, 1964.
Shen, Tsing-song. “Evolutionism through Chinese Eyes: Yan Fu, Ma Junwu and Their Translations of Darwinian Evolutionism.” ASIANetwork Exchange 22, 1 (2015): 49-60.
Yan Ge 颜歌
Jakubow-Roslan, Zofia. “Di An and Yan Ge: Chinese 80 Hou Women Authors on the Family.” Roczniki Humanistyczne 71, 9 (2023): 5-16.
Yan Geling 严歌苓
Luo, Liang. “Writing Green Snake, Dancing White Snake, and the Cultural Revolution as Memory and Imagination–centered on Yan Geling’s Baishe.” Frontiers of Literary Studies in China 11, 1 (2017): 7-37.
[Abstract: Following Kenneth King’s pioneering transmedial synthetic writings on post‐modern dance practices and Kimerer L. LaMothe’s call for dance to be treated seriously in religious and philosophical discourses, I examine Yan Geling’s novella Baishe (White Snake, 1998), in relation to Lilian Lee’s novel Qingshe (Green Snake, 1986–93), with a focus on how dancing and writing function literally, metaphorically, dialectically, and reciprocally, in these narratives. In my textual and contextual analyses of Yan’s White Snake text, I borrow Daria Halprin’s therapeutic model for accessing life experiences through the body in motion. I argue that, through a creative use of writing and dancing as key metaphors for identity formation and transformation, Yan’s text, in the context of contemporary China, offers innovative counter‐narratives of gender, writing, and the body. Yan’s White Snake is considered in the following three contexts in this paper: firstly, the expressiveness of the female body in the White Snake story; secondly, the tradition and significance of writing women in Chinese literary history; and thirdly, the development of dance as a profession in the PRC, with a real‐life snake dancer at the center. These three different frameworks weave an intricate tapestry that reveals the dialectics of writing and dancing, and language and the body, throughout the latter half of twentieth‐century China. Furthermore, Yan’s text foregrounds the Cultural Revolution as an important chronotope for experimentation with a range of complex gender identities in relation to the expressive and symbolic powers of dancing and writing.]
Rong, Guo. “Literature, History, and Narrative: A New Historicist Reading of Yan Geling’s ‘Celestial Bath.'” Canadian Review of Comparative Literature 44, 3 (Sept. 2017): 594-606.
Shu, Yunzhong. “Quiet Currents beneath the Torrents of Revolution: Everyday Life in Two Novels by Yan Geling.” Frontiers of Literary Studies in China 8, 4 (2014): 617-630.
[Abstract: As a revolutionary leader, Mao Zedong had a new vision of China as a reformed revolutionary society. Challenging this radical social vision in The Ninth Widow (Di jiu ge guafu, 2006) and One Woman’s Epic (Yige nüren de shishi, 2007), the contemporary Chinese writer Yan Geling describes how the characters retain their personal mentalities and habits in everyday life as they ignore, outmaneuver or even defy the political demands of revolutionary China. Focused on Yan’s depiction of everyday life, the present paper offers a close reading and analysis of the two novels in relation to the theories of Pierre Bourdieu, Alf Lüdtke and Michel de Certeau. It pays special attention to Yan’s depiction of everyday life as a site where the characters in the novels bring their human agency into play as they satisfy their human needs and maintain their individual characteristics. Ultimately, it shows how Yan’s depiction of everyday life questions the reach and efficacy of dominant ideology in revolutionary China.]
Tsai, Hsiu-chih. “Female Sexuality: Its Allurement and Repression in Geling Yan’s ‘White Snake.'” The American Journal of Semiotics 23, 1-4 (2007): 123-146.
Yan Jun 颜峻
Cornell, Christen. “Lost in the Supermarket: Interview with Yan Jun.” Artspace China (Aug. 27, 2011).
Jiemo riji v.7 [Yan Jun’s blog].
Turner, Matt. “To Save My Own Life with Experimentation: A Conversation with Yan Jun.” Asymptote (April 26, 2023)
van Crevel, Maghiel. “The Poetry of Yan Jun.” MCLC Resource Center Publication, 2003. Expanded and revised as “More Than Writing, As We Speak,” in van Crevel, Chinese Poetry in Times of Mind, Mayhem and Money. Leiden: Brill, 2008, 459-474.
—–. (introduction and translation), “Yan Jun.” Digital Archive for Chinese Studies DACHS, Leiden Division.
Yan Jun.org [Yan Jun’s official website]
Yan Li 严力
Manfredi, Paul. “Yan Li in the Global City.” In Christopher Lupke ed., New Perspectives on Contemporary Chinese Poetry. New York: Palgrave Macmillan, 2007, 145-163.
—–. “Phanopoetics: Yan Li and Poetic Re-Vision, 1979.” In Manfredi, Modern Poetry in China: A Verbal-Visual Dynamic. Amherst, NY: Cambria Press, 2014, 125-177.
—–. “Yan Li (1954-).” In Christopher Lupke and Thomas E. Moran, eds., Dictionary of Literary Biography, Volume 387: Chinese Poets Since 1949. Farmington Hills, MI: Gale, 2021, 226-32.
Standaert, Michael. “Interview with Yan Li.” MCLC Resource Center Publication, 2004.
Yan Lianke 阎连科
Ambrogio, Selusi. “Yan Lianke and Italo Calvino on the Absurdity of Urban Life.” In Riccardo Moratto and Howard Yuen Fung Choy, eds. The Routledge Companion to Yan Lianke. London: Routledge, 2022, 104-121.
Ardizzoni, Sabrina. “Reconstructing the Self through Herstory: On Yan Lianke’s Tamen (Shes).” In Riccardo Moratto and Howard Yuen Fung Choy, eds. The Routledge Companion to Yan Lianke. London: Routledge, 2022, 266-78.
Cao, Xuenan. “Mythorealism and Enchanted Time: Yan Lianke’s Explosion Chronicles.” Frontiers of Literary Studies in China 10, 1 (2016): 103-112.
[Abstract: In The Explosion Chronicles (炸裂志), Yan Lianke combines ancient and contemporary practices of constructing and destructing, building and burning, in a literary style he calls mythorealism. The fictional chronicles relay a history of development written in the modern language of growth, documenting the development of a community called Explosion, which subsumes a discussion of economic growth within a theme of twisted temporality. This article uses The Explosion Chronicles to interrogate the temporal assumptions inherent in contemporary discourses of economic development in China. At the heart of my analysis of these tropes is a critique of the ideological function of linear time. Time can be arrested in economic growth, becoming an interface that activates intersubjective gazes before narratives mature.]
—–. “Village Worlds: Yan Lianke’s Villages and Matters of Life.” Journal of Language, Literature and Culture 63, no. 2-3 (2016): 179-90.
[Abstract: Yan Lianke (b. 1958) is one of China’s foremost contemporary writers of fiction and short stories, winning the Lu Xun Literary Prize in 2000 and the Franz Kafka Prize in 2014. This paper will examine the villages in Yan’s three novels, Ri Guang Liu Nian (Time That Flows, 1998), Lenin’s Kisses (2013) and The Explosion Chronicles (2016), and will discuss how life and death are at times synonymous in these villages and how these sites are unbounded by a rural—urban distinction. In his original style off mythorealism (神实主义),Yan exposes the flesh and blood of peasants against the historical backdrop of traumatic urbanisation in China through a rhetorical excess of both monstrous bodies and inanimate mannequins, showcasing a paradoxically professed non-existence of biological limits, such as illness and death. Yan’s works challenge the framework of biopolitics and its theoretical implication on the topic of neo-liberal governmentality in post-1949 China. Biopolitics works on the basis of keeping life and death in binary opposite categories. Yet in Yan’s novels, the sharp distinction between life and death is destabilised.The villagers’ bodies are neither secure nor precarious. These liminal existences drive economic growth in the space between the rural and the urban.]
Chan, Shelley W. “Narrating Cancer, Disabilities, and AIDS: Yan Lianke’s Trilogy of Disease.” In Howard Y. F. Choy, ed., Discourses of Disease: Writing Illness, the Mind and Body in Modern China. Leiden: Brill, 2016, 177-200.
—–. “The Dream, the Disease, and the Disaster: On Yan Lianke’s Dream of Ding Village.” In Riccardo Moratto and Howard Yuen Fung Choy, eds. The Routledge Companion to Yan Lianke. London: Routledge, 2022, 171-83.
Chao, Di-kai and Riccardo Moratto. “The Redemption of the Peach Blossom Spring: An Examination of the Human Condition in Yan Lianke’s Zhongyuan.” In Riccardo Moratto and Howard Yuen Fung Choy, eds. The Routledge Companion to Yan Lianke. London: Routledge, 2022, 199-216.
Chen, Lingchei Letty. “History’s Doppelganger: Allegorized Memory and Is Moral Imperative.” In Chen, The Great Leap Backward: Forgetting and Representing the Mao Years. Amherst, NY: Cambria, 2020, 155-92. [focuses on The Four Books]
Chen, Thomas. “Ridiculing the Golden Age: Subversive Undertones in Yan Lianke’s Happy.” Chinese Literature Today (Winter/Spring 2011): 66-72.
Do, Van Hieu and Riccardo Moratto. “The Translation and Reception of Yan Lianke’s Fiction in Vietnam.” In Riccardo Moratto and Howard Yuen Fung Choy, eds. The Routledge Companion to Yan Lianke. London: Routledge, 2022, 452-66.
Fan, Jiayang. “Yan Lianke’s Forbidden Satires of China.” The New Yorker (Oct. 15, 2018).
Fisac, Taciana. “The Challenge of Translating Yan Lianke’s Literary Creation.” In Riccardo Moratto and Howard Yuen Fung Choy, eds. The Routledge Companion to Yan Lianke. London: Routledge, 2022, 357-78.
Fumian, Marco. “Mythorealism or Pararealism? Yan Lianke’s Short Fiction as a Key to Enter the Author’s Representational World.” In Riccardo Moratto and Howard Yuen Fung Choy, eds. The Routledge Companion to Yan Lianke. London: Routledge, 2022, 49-69.
Gan, Lu. “The Translation and Reception of Yan Lianke in France.” In Riccardo Moratto and Howard Yuen Fung Choy, eds. The Routledge Companion to Yan Lianke. London: Routledge, 2022, 291-407.
Guo, Yijiao. “Female Labor, the Third Sex, and Excrescence in Yan Lianke’s Nonfiction Tamen.” In Riccardo Moratto and Howard Yuen Fung Choy, eds. The Routledge Companion to Yan Lianke. London: Routledge, 2022, 279-97.
Guptak, Suman. “Li Rui, Mo Yan, Yan Lianke, and Lin Bai: Four Contemporary Chinese Writers Interviewed.” Wasafiri 23, 3 (2008): 28-36.
Hoyan, Carole Hang-fung and Yijiao Guo. “The Reception of Yan Lianke in Hong Kong.” In Riccardo Moratto and Howard Yuen Fung Choy, eds. The Routledge Companion to Yan Lianke. London: Routledge, 2022, 489-504.
Knight, Sabina. “Review of Dream of Ding Village.” Chinese Literature: Essays, Articles, Reviews 35 (2013): 271-75.
Lee, Kwan Yin. “Corrective Catachresis: Capitalist Mystification Derailed in The Explosion Chronicles and ‘The Story of Fertile Town.'” In Riccardo Moratto and Howard Yuen Fung Choy, eds. The Routledge Companion to Yan Lianke. London: Routledge, 2022, 250-65.
Leng, Rachel. “The Subaltern Voice in Dream of Ding Village: Speaking to the Myth of Consanguinity through China’s Blood Crisis.” Duke East Asia Nexus (DEAN): Journal of East Asian Affairs (Fall 2013), 35-44. [PDF]
Leung, Laifong. “Yan Lianke: A Writer’s Moral Duty.” Chinese Literature Today (Winter/Spring 2011): 73-79.
Li, Tuo and Yan Lianke. “Enjoyment: A New Experiment on Surrealist Writing: A Dialogue between Li Tuo and Yan Lianke.” In Xueping Zhong and Ban Wang, eds. Debating the Socialist Legacy and Capitalist Globalization in China. NY: Palgrave MacMillan, 2014, 151-63.
Li, Zuzanna. “The Treacherous ‘News That Stays News’: The Four Books in Czech Translation.” In Riccardo Moratto and Howard Yuen Fung Choy, eds. The Routledge Companion to Yan Lianke. London: Routledge, 2022, 408-16.
Liu, Ashley. “Mythorealism, the Absurd, and Existential Despair in Yan Lianke’s Memoir and Fiction: Confronting the Fate of Sisyphus in Modern China’s Historical Traumas.” In Riccardo Moratto and Howard Yuen Fung Choy, eds. The Routledge Companion to Yan Lianke. London: Routledge, 2022, 28-36.
Liu, Jianmei. “Joining the Commune or Withdrawing from the Commune? A Reading of Yan Lianke’s Shouhuo.” Modern Chinese Literature and Culture 19, 2 (Fall 2007): 1-33.
—–. “Yan Lianke’s Vacillation: To Be or Not to Be Zhuangzi?” In Liu, Zhuangzi and Modern Chinese Literature. NY: Oxford University Press, 2016, 186-210.
Lu, Dongli and Riccardo Moratto. “The Translation and Reception of Yan Lianke in Japan.” In Riccardo Moratto and Howard Yuen Fung Choy, eds. The Routledge Companion to Yan Lianke. London: Routledge, 2022, 437-51.
Ma, Xiaolu. “Building Chinese Reality with Language and Metaphor: From Socialist Realism to Mythorealism.” In Riccardo Moratto and Howard Yuen Fung Choy, eds. The Routledge Companion to Yan Lianke. London: Routledge, 2022, 16-27.
Marin-Lacarta, Maialen. “Yan Lianke in Basque: Notes on Translating Sensory Images.” In Riccardo Moratto and Howard Yuen Fung Choy, eds. The Routledge Companion to Yan Lianke. London: Routledge, 2022, 379-90.
Moratto, Riccardo and Di-kai Chao. “The Reception and Significance of Yan Lianke’s Works in Taiwan.” In Riccardo Moratto and Howard Yuen Fung Choy, eds. The Routledge Companion to Yan Lianke. London: Routledge, 2022, 467-88.
Moratto, Riccardo and Howard Yuen Fung Choy, eds. The Routledge Companion to Yan Lianke. London: Routledge, 2022. [MCLC Resource Center review by Martina Codeluppi]
[Abstract: Yan Lianke is one of the most important, prolific, and controversial writers in contemporary China. At the forefront of the “mythorealist” Chinese avant-garde and using absurdist humor and grotesque satire, Yan’s works have caught much critical attention not only in the Chinese mainland, Hong Kong, and Taiwan but also around the world. His critiques of modern China under both Mao-era socialism and contemporary capitalism draw on a deep knowledge of history, folklore, and spirituality. This companion presents a collection of critical essays by leading scholars of Yan Lianke from around the world, organized into some of the key themes of his work: Mythorealism; Absurdity and Spirituality; and History and Gender, as well as the challenges of translating his work into English and other languages. With an essay written by Yan Lianke himself, this is a vital and authoritative resource for students and scholars looking to understand Yan’s works from both his own perspective and those of leading critics.]
Pesaro, Nicoletta. “Elements of Modernism and the Grotesque in Yan Lianke’s Early Fiction.” In Riccardo Moratto and Howard Yuen Fung Choy, eds. The Routledge Companion to Yan Lianke. London: Routledge, 2022, 140-53.
Pezza, Alessandra. “Representing the Intellectuals in Yan Lianke’s Recent Writing: An Exile of the Soul.” In Riccardo Moratto and Howard Yuen Fung Choy, eds. The Routledge Companion to Yan Lianke. London: Routledge, 2022, 154-70.
Pirazzoli, Melinda. “‘Inverse Theology’ in Yan Lianke’s The Four Books and Franz Kafka’s The Trial.” In Riccardo Moratto and Howard Yuen Fung Choy, eds. The Routledge Companion to Yan Lianke. London: Routledge, 2022, 122-39.
Riemenschnitter, Andrea. “Yan Lianke’s Novel Heart Sutra: The Kiss of the Rock and the Egg.” In Riccardo Moratto and Howard Yuen Fung Choy, eds. The Routledge Companion to Yan Lianke. London: Routledge, 2022, 184-98.
Rojas, Carlos. “Speaking from the Margins: Yan Lianke.” In Kirk A. Denton, ed., Columbia Companion to Modern Chinese Literature. NY: Columbia University Press, 2016, 431-35.
—–. “Time Out of Joint: Commemoration and Commodification of Socialism in Yan Lianke’s Lenin’s Kisses.” In Jie Li and Enhua Zhang, eds., Red Legacies in China: Cultural Afterlives of the Communist Revolution. Cambridge: Harvard University Asia Center, 2016.
—–. “Yan Lianke’s Heterotopic Imaginaries.” In Yingjin Zhang, ed., A World History of Chinese Literature. New York: Routledge, 2023, 264-74.
Shen, Chunli. “Ideological Patterns in the Critical Reception of Yan Lianke: A Comparative Approach.” In Riccardo Moratto and Howard Yuen Fung Choy, eds. The Routledge Companion to Yan Lianke. London: Routledge, 2022, 341-56.
Song, Weijie. “Yan Lianke’s Mythorealist Representation of the Country and the City.” MFS: Modern Fiction Studies 62, 4 (Winter, 2016): 644-658. Rpt. in Riccardo Moratto and Howard Yuen Fung Choy, eds. The Routledge Companion to Yan Lianke. London: Routledge, 2022, 3-15.
Thi, Minh Thuong Nguyen and Riccardo Moratto. “An Ecocritical Approach to Yan Lianke’s Literary Works.” In Riccardo Moratto and Howard Yuen Fung Choy, eds. The Routledge Companion to Yan Lianke. London: Routledge, 2022, 16-27.
Torrance, Ronald. “Paratextual Encounters in Yan Lianke’s Fictional Worlds: Reading between the Lines.” In Riccardo Moratto and Howard Yuen Fung Choy, eds. The Routledge Companion to Yan Lianke. London: Routledge, 2022, 311-20.
Tsai, Chien-hsin. “The Museum of Innocence: The Great Leap Forward and Famine, Yan Lianke, and Four Books.” MCLC Resource Center Publication (May 2011).
—–. “In Sickness or in Health: Yan Lianke and the Writing of Autoimmunity.” Modern Chinese Literature and Culture 23, 1 (Spring 2011): 77-104.
Veg, Sebastian. “Yan Lianke, Le Reve du Village des Ding.” China Perspectives 1 (2009). [English language review of a French translation of Yan’s novel Dream of Ding Village]
—–. “Creating a Literary Space to Debate the Mao Era: The Fictionalization of the Great Leap Forward in Yan Lianke’s Four Books.” Chinese Perspectives 4 (2014): 7-15. Rpt. in Riccardo Moratto and Howard Yuen Fung Choy, eds. The Routledge Companion to Yan Lianke. London: Routledge, 2022, 219-37.
Wang, Baorong. “Translating the Chinese Cultural Other: Yan Lianke’s Shouhuo in English Translation.” In Riccardo Moratto and Howard Yuen Fung Choy, eds. The Routledge Companion to Yan Lianke. London: Routledge, 2022, 417-36.
Wang, Chen. “A Geocritical Study of Yan Lianke’s Balou Mountain Stories: The Utopian Cognitive Mapping in post-1949 China.” In Riccardo Moratto and Howard Yuen Fung Choy, eds. The Routledge Companion to Yan Lianke. London: Routledge, 2022, 298-310.
Wang, Jinghui. “Religious Elements in Mo Yan’s and Yan Lianke’s Works.” In Angelic Duran and Yuhan Huang, eds., Mo Yan in Context: Nobel Laureate and Global Storyeller. West Lafayette: Purdue University Press, 2014, 139-52.
Wang, Yu. “Ghost Marriage in Twentieth-Century Chinese Literature: Between the Past and the Future.” Frontiers of Literary Studies in China 10, 1 (2016): 86-102.
[Abstract: This article examines the adoption of ghost marriage (冥婚) as a literary theme in twentieth-century Chinese literature, arguing that this theme reflects a set of changes in perceptions of temporality from the premodern to the modern period. As a traditional ritual of holding marriage for the dead, ghost marriage embodies premodern views of time and space wherein the living and the dead are perceived as coexisting in parallel spaces, and the boundary of life and death is seen as transcendable through the extension of kinship. In this way, the dead are kept within the family, maintaining the warmth of familial relationships that transcend being and non-being. Modern authors, promoting a linear view of time, have taken up ghost marriage as an anchoring point of nostalgia for an unrecoverable ethics-based society. For instance, Yan Lianke’s 阎连科 1994 novella Searching for the Land (寻找土地) announces the utter corruption—and therefore the death—of ethics-based society, suggesting that the only alternative is to confront the future as a road to hope rather than indulge in an illusion of the past. Through an analysis of Yan’s novella, this essay discusses how the theme of ghost marriage fits into the broader literary context of the early 1990s while also anticipating some of the distinctive elements of Yan Lianke’s subsequent novels.]
Wang, Zihan. “Disability, Revolution, and Historiography: Grandma Mao Zhi in Lenin’s Kisses.” In Riccardo Moratto and Howard Yuen Fung Choy, eds. The Routledge Companion to Yan Lianke. London: Routledge, 2022, 238-49.
Weger, Raffael. “Magical Realism, Mythorealism, and the Representation of History in the Works of Yan Lianke.” In Riccardo Moratto and Howard Yuen Fung Choy, eds. The Routledge Companion to Yan Lianke. London: Routledge, 2022, 37-48.
Xie, Haiyan. “An Age without Classics and the Writer’s Anxiety: An Interview with Yan Lianke.” MCLC Resource Center (May 2020).
—–. “The Absurd as Method: The Chinese Absurdist Hero, Enchanted Power, and the Alienated Poor in Yan Lianke’s Military Literature.” In Riccardo Moratto and Howard Yuen Fung Choy, eds. The Routledge Companion to Yan Lianke. London: Routledge, 2022, 93-103.
—–. “Interpreting Mythorealism: Disenchanted Shijing and Spiritual Crisis in Yan Lianke’s Ballad, Hymn, Ode.” Modern Chinese Literature and Culture 34, 1 (Summer 2022): 32-65.
—–. Ideology and Form in Yan Lianke’s Fiction: Mythorealism as Method. London: Routledge, 2023.
[Abstract: Xie analyzes three novels by the international award-winning Chinese writer Yan Lianke and investigates how his signature “mythorealist” form produces textual meanings that subvert the totalizing reality prescribed by literary realism. The term mythorealism, which Yan coined to describe his own writing style, refers to a set of literary devices that incorporate both Chinese and Western literary elements while remaining primarily grounded in Chinese folk culture and literary tradition. In his use of mythorealism, carrying a burden of social critique that cannot allow itself to become “political,” Yan transcends the temporality and provinciality of immediate social events and transforms his potential socio-political commentaries into more diversified concerns for humanity, existential issues, and spiritual crisis. Xie identifies three modes of mythorealist narrative exemplified in Yan’s three novels: the minjian (folk) mode in Dream of Ding Village, the allusive mode in Ballad, Hymn, Ode, and the enigmatic mode in The Four Books. By positioning itself against an ambiguous articulation of social determinants of historical events that would perhaps be more straightforward in a purely realist text, each mode of mythorealism moves its narrative from the overt politicality of the subject matter to the existential riddle of negotiating an alternative reality.]
Yeung, Jessica. “Censure and Censorship: Prohibition and Presence of Yan Lianke’s Writings in China.” In Riccardo Moratto and Howard Yuen Fung Choy, eds. The Routledge Companion to Yan Lianke. London: Routledge, 2022, 70-90.
Yang Chichang (Yang Ch’ih-ch’ang) 楊熾昌
Chen, Fangdai. “‘World Literature’ between Transcultural Poetics and Colonial Politics: Yang Chichang, Le Moulin, and Surrealism in Taiwan.” Modern Chinese Literature and Culture 34, 2 (Winter 2022): 313-44.
Ch’en, Ming-t’ai. “Modernist Poetry in Prewar Taiwan: Yang Ch’ih-ch’ang, the Feng-ch’e (Le Moulin) Poetry Society, and Japanese Poetic Trends.” Tr. Robert Backus. Taiwan Literature English Translation Series 2 (1997): 81-92.
Yang Jian 杨键
Parrish, Gillian. “The Poetry of Yang Jian.” With translations by Ye Chun, Paul B. Roth, and Gillian Parrish. Earthlines 3 (2012): 34-38.
Yang Jiang 杨绛
Armory, Judith and Shihua Yao. “Yang Jiang and Baptism.” In Yang, Baptism. HK: Hong Kong UP, 2007, vi-xii.
—–. “Self-Deception and Self-Knowledge in Yang Jiang’s Fiction.” In Christopher Rea, ed., China’s Literary Cosmopolitans: Qian Zhongshu, Yang Jiang, and the World of Letters. Leiden: Brill, 2015, 65-86.
Dooling, Amy. “In Search of Laughter: Yang Jiang’s Feminist Comedy.” Modern Chinese Literature 8, 1/2 (1994): 41-68.
—–. “Outwitting Patriarchy: Comic Narrative Strategies in the Works of Yang Jiang, Su Qing, and Zhang Ailing.” In Dooling, Women’s Literary Feminism in Twentieth-Century China. NY: Palgrave MacMillan, 2005, 137-70.
—–. “Yang Jiang’s Wartime Comedies; Or, The Serious Business of Marriage.” In Christopher Rea, ed., China’s Literary Cosmopolitans: Qian Zhongshu, Yang Jiang, and the World of Letters. Leiden: Brill, 2015, 14-40.
Field, Jesse. “Taking Intimate Publics to China: Yang Jiang and the Unfinished Business of Sentiment.” Biography 34, 1 (Winter 2011): 83-95.
[Abstract: Readings of two autobiographical essays by Yang Jiang (1911–) suggest that Confucian conventions of intimacy exert a major force on personal memories of the Chinese twentieth century. To resolve the anxieties of a life that extends over the entire Chinese era of revolution, Yang Jiang reinvents the values of the Confucian intellectual and the Confucian family. This work certainly draws on the business of sentimentality in Chinese popular literature, which begs the question: is Yang Jiang part of a Chinese intimate public?]
—–. “‘All Alone, I Think Back on We Three’: Yang Jiang’s New Intimate Public.” In Christopher Rea, ed., China’s Literary Cosmopolitans: Qian Zhongshu, Yang Jiang, and the World of Letters. Leiden: Brill, 2015, 179-209.
Gewurtz, Margo. “The Afterlife of Memory in China: Yang Jiang’s Cultural Revolution Memoir.” ARIEL, Life Writing in International Contexts Issue 39, 1-2 (2008): 29-45.
Goldblatt, Howard. “The Cultural Revolution and Beyond: Yang Jiang’s Six Chapters From My Life ‘Down Under’.” Modern Chinese Literature Newsletter 6, 2 (1980): 1-11.
Larson, Wendy. “The Pleasures of Lying Low: Yang Jiang and Chinese Revolutionary Culture.” In Christopher Rea, ed., China’s Literary Cosmopolitans: Qian Zhongshu, Yang Jiang, and the World of Letters. Leiden: Brill, 2015, 133-56.
Liu, Meizhu. ” Yang Jiang et ses traductions.” 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, 33-44.
Rea, Christopher. “Yang Jiang’s Conspicuous Inconspicuousness: A Centenary Writer in China’s ‘Prosperous Age.'” China Heritage Quarterly 26 (June 2011).
—–. “‘To Thine Own Self Be True’: One Hundred Years of Yang Jiang.” Renditions 76 (Autumn 2011): 7-14.
—–, ed. China’s Literary Cosmopolitans: Qian Zhongshu, Yang Jiang, and the World of Letters. Leiden: Brill, 2015. [MCLC Resource Center review by Inhye Han]
[Abstract: China’s Literary Cosmopolitans offers a comprehensive introduction to the literary oeuvres of Qian Zhongshu (1910-98) and Yang Jiang (b. 1911). It assesses their novels, essays, stories, poetry, plays, translations, and criticism, and discusses their reception as two of the most important Chinese scholar-writers of the twentieth century. In addition to re-evaluating this married couple’s intertwined literary careers, the book also explains why they have come to represent such influential models of Chinese literary cosmopolitanism. Uncommonly well-versed in Western languages and literatures, Qian and Yang chose to live in China and write in Chinese. China’s Literary Cosmopolitans argues for their artistic importance while analyzing their works against the modern cultural imperative that Chinese literature be worldly.]
—–. “The Institutional Mindset: Qian Zhongshu and Yang Jiang on Marriage and the Academy.” In Christopher Rea, ed., China’s Literary Cosmopolitans: Qian Zhongshu, Yang Jiang, and the World of Letters. Leiden: Brill, 2015, 157-78.
—–. “Qian Zhongshu and Yang Jiang: A Literary Marriage.” In Kirk A. Denton, ed., Columbia Companion to Modern Chinese Literature. NY: Columbia University Press, 2016, 231-36.
Rojas, Carlos. “How to Do Things with Words: Yang Jiang and the Politics of Translation.” In Christopher Rea, ed., China’s Literary Cosmopolitans: Qian Zhongshu, Yang Jiang, and the World of Letters. Leiden: Brill, 2015, 87-108.
Swislocki, Mark. “Chiang Yang.” In Steven R. Serafin, ed., Encyclopedia of World Literature in the 20th Century. St. James Press, 1998, vol. 4: 544-545.
—–. “Yang Jiang.” In Lily Xiaohong Lee, ed., Biographical Dictionary of Chinese Women: The Twentieth Century. Armonk: M. E. Sharpe, 2002, 618-622.
Yang Kui (Yang K’uei) 楊逵
Lin, Pei-yin. “A Humanistic Socialist–Yang Kui and his Works.” In Christina Neder and Ines Susanne Schilling, eds., Transformation! Innovation? Perspectives on Taiwan Culture. Wiesbaden: Harrassowitz Verlag, 2003, 125-145.
—–. “From Nationalism to Socialism: Yang Kui.” In Lin, Colonial Taiwan: Negotiating Identities and Modernity through Literature. Leiden: Brill, 2017, 73-97.
Peng, Hsiao-yen. “Colonialism and the Predicament of Identity: Liu Na’ou and Yang Kui as Men of the World.” In Ping-hui Liao and David Der-wei Wang, eds., Taiwan Under Japanese Colonial Rule, 1885-1945: History, Culture, Memory. New York: Columbia University Press, 2006, 210-47.
Scruggs, Bert. “Narratives of Discomfort and Ideology: Yang Kui’s Short Fiction and Postcolonial Taiwan Orthodox Boundaries.” positions: east asia cultures critique 14, 2 (Fall 2006): 427-47. [Project Muse link]
Yee, Angelina. “Writing the Colonial Self: Yang Kui’s Texts of Resistance and National Identity.” Chinese Literature: Essays, Articles, and Reviews 17 (1995): 111-32. [available on Project MUSE]. Rpt. in Marlene J. Mayo, J. Thomas Rimer, and H. Eleanor Kerkham, eds., War, Occupation, and Creativity: Japan and East Asia, 1920-1960. Honolulu: University of Hawaii Press, 2001, 67-91.
—–. “Yang Kui.” In Dictionary of Literary Biography–Chinese Fiction Writers, 1900-1949. Ed. Thomas Moran. NY: Thomson Gale, 2007, 264-71
Yang Lian 楊煉
Bruno, Cosima. Between the Lines: Yang Lian’s Poetry through Translation. Leiden and Boston: Brill. 2012.
[Abstract: In Between the Lines Cosima Bruno illustrates how the study of translation can enhance our experience of reading poetry. By inquiring into the mutual dependence of the source text and its translation, the study offers both theoretical insights and methodological tools that bring in-depth stylistic analysis to bear on the translations as against the originals. Through such a process of discovery, Cosima Bruno elaborates a textual exegesis of the work by Yang Lian, one of the most translated, and critically acclaimed contemporary Chinese poets. This book thus reconciles the theory-practice divide in translation studies, as well as helps to dismantle the lingering Eurocentrism still present in the discipline.]
—–. “Yang Lian (1955-).” In Christopher Lupke and Thomas E. Moran, eds., Dictionary of Literary Biography, Volume 387: Chinese Poets Since 1949. Farmington Hills, MI: Gale, 2021, 233-42.
Cayley, John. “John Cayley with Yang Lian: Hallucination and Coherence.” positions: east asia cultures critique 10, 3 (Winter 2002): 773-84.
Edmond, Jacob. “Locating Global Resistance: The Landscape Poetics of Arkadii Dragomoshchenko, Lyn Hejinian and Yang Lian.” AUMLA: Journal of the Australasian Universities Language & Literature Association 101 (2004): 71-98.
—–. “Beyond Binaries: Rereading Yang Lian’s ‘Norlang’ and ‘Banpo.'” Journal of Modern Literature in Chinese 6, 1 (2005): 152-69.
—–. “Dissidence and Accommodation: The Publishing History of Yang Lian from Today to Today.” The China Quarterly 185 (2006): 111-127.
—–. “Modernist Waves: Yang Lian, John Cayley, and the Location of Global Modernisms in the Digital Age.” In Paul Manfredi and Christopher Lupke, eds., Chinese Poetic Modernisms. Leiden: Brill, 2019, 282-303.
Edmond, Jacob and Hilary Chung. “Yang Lian, Auckland and the Poetics of Exile.” In Yang Lian, Unreal City: A Chinese Poet in Auckland. Auckland: Auckland UP, 2006, 1-23.
Golden, Sean and John Minford. “Yang Lian and the Chinese Tradition.” In Goldblatt, ed. Worlds Apart: Recent Chinese Writing and its Audiences. Armonk: M.E. Sharpe, 119-37.
Holton, Brian. “Translating Yang Lian.” In Yang Lian, Where the Sea Stands Still: New Poems.” Bloodaxe Books, 1999, 173-191.
Lee, Mabel. “Before Tradition: The Book of Changes and Yang Lian’s [*] and the Affirmation of the Self Through Poetry.” In Mabel Lee and A.D. Syrokomla-Stefanowska, eds., Modernization of the Chinese Past. Sydney: Wild Peony, 1993, 94-106.
—–. “The Philosophy of the Self and Yang Lian.” In Yang Lian, Masks and Crocodile. Sydney: Wild Peony, 1990.
Li, Xia. “Swings and Roundabouts: Strategies for Translating Colour Terms in Poetry.” Perspectives: Studies in Translatology (Copenhagen). 5, 2, (1997): 257-66. [An essay dealing with the problem of translating modern Chinese poetry by Yang Lian into English].
—–. “Poetry, Reality and Existence in Yang Lian’s ‘Illusion City.'” Asian and African Studies (Brastislava) 4, 2 (1995): 149-165.
Liao, Qing. “Yang Lian’s Exilic Poetry: World Poetry, Ghost Poetics, and Self-dramatization.” Sino-Platonic Papers 288 (June 2019).
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. “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.
Xiang, Chuan. “Differing Views on Yang Lian’s Recent Work.” Tr. Zhu Zhiyu. Renditions 23 (1985): 164-165.
Yanglian.net [website set up by Yang Liang and Yo Yo]
Yip, Wai-lim. “Crisis Poetry: An Introduction to Yang Lian, Jiang He and Misty Poetry.” Renditions 23 (1985): 120-30.
Yang Lingye 羊令野
Haft, Lloyd. “‘The Sound of the Sun’s Footsteps’: Yang Lingye’s ‘Sutra Leaves.'” In Findeison and Gassmann, eds., Autumn Floods: Essays in Honour of Marian Galik. Bern: Peter Lang, 1997.
—–. “Timeless in Time: Perspective-Building Devices in Yang Ling-yeh’s Poetry.” In Huang Chun-chieh and Erik Zurcher, eds., Time and Space in Chinese Culture. Leiden: E.J. Brill, 1995, 287-301.
Yang Mo 杨沫
Button, Peter. “Aesthetics, Dialects, and Desire in Yang Mo’s Song of Youth.” positions: east asia cultures critique 14, 1 (Spring 2006): 193-217. [Project Muse link]
—–. “Aesthetics and Desire in Yang Mo’s Song of Youth.” In Button, Configurations of the Real in Chinese Literary and Aesthetic Modernity. Leiden: Brill, 2009. [MCLC Resource Center Publications review by Thomas Moran]
Hang, Krista Van Fliet. “Sisterhood at the Nexus of Love and Revolution: Coming-of-Age Narratives on Both Sides of the Cold War.” Frontiers of Literary Studies in China 6, 1 (2012): 56-77.
[Abstract: This article examines the similarities between Song of Youth and The Best of Everything, coming-of-age novels published in China and the United States in 1958. The author finds that comparable narrative structures reveal parallels in two societies that are often viewed in stark contrast. In both novels, a feminist ideal of sisterhood is woven into the coming-of-age stories of young women moving into society, and in each novel, the social background of the times determines the degree to which mainstream values are conducive to imagining a public sphere that is welcoming to women.]
Hsu, Kai-yu. “Yang Mo (1915- ).” In Kai-yu Hsu. The Chinese Literary Scene. NY: Vintage Vooks, 1975, 139-55.
Knight, Sabina. “Moral Decision in Mao-Era Fiction.” In The Heart of Time: Moral Agency in Twentieth-Century Chinese Fiction. Cambridge: Harvard University Asia Center, 2006, 133-161. [deals with Yang Mo’s Song of Youth (141-151)]
Licandro, Daniela. “Beyond Overcoming: A Woman Writer’s Articulation of Pain in Socialist China.” Nan Nü 23 (2021): 301-336.
Shu, Yunzhong. “On The Song of Youth and Literary Bowlderization.” In David Der-Wei Wang, ed., A New Literary History of Modern China. Cambridge, MA: Belknap Press, 2017, 630-34.
Song, Mingwei. “The Taming of the Youth: Discourse, Politics, and Fictional Representation in the Early PRC.” Journal of Modern Literature in Chinese 9, 2 (July 2009): 108-38. [deals in part with Song of Youth]
Wang, Ban. “Revolutionary Realism and Revolutionary Romanticism: The Song of Youth.” In Joshua Mostow, ed. Columbia Companion to Modern East Asian Literature. NY: Columbia UP, 2003: 470-75. Rpt in Kirk A. Denton, ed., Columbia Companion to Modern Chinese Literature. NY: Columbia University Press, 2016, 237-44.
—–. The Sublime Figure of History: Aesthetics and Politics in Twentieth-Century China. Stanford: Stanford UP, 1997.
Wu, Yang. “Yang Mo and Her Novel The Song of Youth.” Chinese Literature 9 (1962): 111-116.
Zhang, Hong. “Eros and Politics in Revolutionary Literature.” In Tao Dongfeng, Yang Xiaobin, Rosemary Roberts, and Yang Ling, eds. Chinese Revolution and Chinese Literature. Cambridge: University of Cambridge Press, 2009, 3-26.
Yang Mu 楊牧
Allen, Joseph R. “As Always, Yang Mu: A Relationship of Letters.” Chinese Literature: Essays, Articles, Reviews 43 (2021).
Cheng, Yu-yu. “A Ceaseless Generative Structure: Yang Mu’s Views on Early Chinese Classical Literature.” Chinese Literature: Essays, Articles, Reviews 43 (2021).
Lingenfelter, Andrea. “‘Imagine a Symbol in a Dream’: Translating Yang Mu.” Chinese Literature Today 4, 1 (2014): 56-63.
Liu, Cheng-chung. “Absorbed in Thought, Seeking all Around: Yang Mu’s Prose and Chinese and Western Literary Traditions.” Chinese Literature: Essays, Articles, Reviews 43 (2021).
Lupke, Christopher. “The Development of a Taiwanese Poet in the Diaspora: Yang Mu’s Prose Peregrinations Abroad.” Taiwan wenxue yanjiu xuebao 16 (2013): 251-81.
Marijnissen, Silvia. “‘Made Things’: Serial Form in Modern Poetry from Taiwan.” Modern Chinese Literature and Culture 13, 2 (Fall 2001): 172-206.
Saussy, Haun. “Yang Mu’s Poetic Returns.” Chinese Literature: Essays, Articles, Reviews 43 (2021).
Wong, Lisa Lai-ming. “Writing Allegory: Diasporic Consciousness as a Mode of Intervention in Yang Mu’s Poetry of the 1970s.” Journal of Modern Literature in Chinese 5, 1 (2001): 1-28.
—–. “(Un)tying a Firm Knot of Ideas: Reading Yang Mu’s The Skeptic.” Connotations: A Journal for Critical Debate 12, 2-3 (2002/2003): 292-306.
—–. “Heyuan zhi you? Yang Mu shi zhong de bentu yu shijie 何遠之游：楊牧詩中的本土與世界 (How is it far? the local and the global in Yang Mu’s poetry.” Zhongwai wenxue (Chung Wai Literary Monthly) 8, 31 (Jan. 2003): 133-60.
—–. “A Thing of Beauty is a Joy Forever: Yang Mu’s ‘Letters to Keats’.” The Keats-Shelley Review (UK) 18 (Sept. 2004): 188-205.
—–. “Epiphany in Echoland: Cross-cultural Intertextuality in Yang Mu’s Poetry and Poetics.” Canadian Review of Comparative Literature 31, 1 (March 2004): 27-38.
—–. “Taiwan, China, and Yang Mu’s Alternative to National Narratives.” CLCWeb: Comparative Literature and Culture 8, 1 (March 2006). Collected and reprinted in Chin-Chuan Cheng, I-Chun Wang, and Steven Totosy de Zepetnek, eds. Cultural Discourse in Taiwan. Kaohsiung: Center for the Humanities and Social Sciences, National Sun Yat-sen University, 2009, 87-107.
—–. “The Making of a Poem: Rainer Maria Rilke, Stephen Spender, and Yang Mu.” The Comparatist 31 (2007): 130-147.
—–. Rays of the Searching Sun: The Transcultural Poetics of Yang Mu (No. 23 in New Comparative Poetics Series). Brussels: Peter Lang, 2009.
The Yang Mu Archive (Chung-hsing University, Humanities and Social Sciences Research Center)
Yeh, Michelle. “Introduction.” In Yang Mu, No Trace of the Gardener: Poems of Yang Mu. Trs. Lawarence Smith and Michelle Yeh. New Haven: Yale University Press, 1998, xii-xxxii.
—–. “1974, June: Yang Mu Negotiates between Classicism and Modernism.” In David Der-Wei Wang, ed., A New Literary History of Modern China. Cambridge, MA: Harvard University Press, 2017, 712-17.
—–. “Names Deeply Chiseled: Greco-Roman Motifs in Yang Mu’s Poetry.” Prism: Theory and Modern Chinese Literature 16, 1 (March 2019): 157-73.
[Abstract: This article provides the first comprehensive study of the use of ancient Greek and Roman allusions and motifs in the poetry of Yang Mu. By focusing on representative works from Yang’s oeuvre, the study sheds light on how the poet’s appropriations of Greco-Roman materials are a powerful and creative expression of his poetics as a whole. Going beyond the traditional model of influence study, the article proposes a theoretical framework of cross-cultural intertextuality, creative rewriting, and cultural translation.]
—–. “Yang Mu (1940-2020).” In Christopher Lupke and Thomas E. Moran, eds., Dictionary of Literary Biography, Volume 387: Chinese Poets Since 1949. Farmington Hills, MI: Gale, 2021, 243-53.
—–. “Yang Mu: A Tribute.” Chinese Literature: Essays, Articles, Reviews 43 (2021).
Zhai, Yueqin. “‘Language Is Our Religion’: An Interview with Yang Mu.” Tr. Michelle Yeh. Chinese Literature Today 4, 1 (2014): 64-68.
—–. “The Tragic Spirit of the East: The ‘Drama of Sounds’ in Yang Mu’s Poems.” Chinese Literature: Essays, Articles, Reviews 43 (2021).
Yang Qian 杨阡
O’Donnell, Mary Ann. “Yang Qian, Shenzhen Playwright.” TheatreForum 27 (Summer/Fall 2005).
Yang Qianhe 楊千鶴
“Mother of the Nation: A Short Translation History of Yang Qianhe’s ‘Flower Blooming Season.'” International Journal of Taiwan Studies 6, 1 (Feb. 2023): 82-108.
[Abstract: First published in 1942, Yang Qianhe’s Japanese-language short story ‘Flower Blooming Season’ depicts a schoolgirl named Huiying who seeks out female role models to help her navigate the realities of womanhood beyond the school gates. This article uses close readings of the 1979, 1992, and 2001 Mandarin Chinese translations of the text to argue that the translation process politicised the text’s depiction of girlhood through omitting or foregrounding the protagonist’s interest in cultural and social markers of Japanese womanhood. In examining the translators’ differing approaches, the article explores how literary translation reflects and reinforces narratives concerning the period of Japanese rule in Taiwan, as well as questioning the tendency to view imperial subjectivity from a male perspective exclusively.]
Yang Qingchu 杨青矗
Gold, Thomas. “The Modernization of Taiwan as Reflected in the Stories of Yang Qingchu.” In Gold, ed., Selected Stories of Yang Qingchu. Gaoxiong: Tur-li Publishing, 1978, 1-22.
Yang Shaoping 楊少坪
Liu, Yuqing. “Polyphonic Poetics: Reading Yang Shaoping’s Pidgin Bamboo Branch Lyrics.” Modern Chinese Literature and Culture 35, 1 (Summer 2023): 1-27.
Yang Shu’an
Ye, Mang. “Yang Shu’an: Discoursing Equally with Sages.” Chinese Literature (Autumn 1998).
Yang Shuo 杨朔
Laughlin, Charles. “Incongruous Lyricism: Liu Baiyu, Yang Shuo and sanwen in Chinese Socialist Culture.” In Martin Woesler, ed., The Modern Chinese Literary Essay: Defining the Chinese Self in the 20th Century. Bochum: Bochum UP, 2000, 115-29.
Li, Haixia. “One Way to Produce Beauty and Poetry: My Experiences in Teaching Yang Shuo’s Prose.” Inter-Asia Cultural Studies 20, 3 (2019): 500-506.
Yang Xu
Smith, Norman. “‘I Am an Ordinary Woman’: Yang Xu and the Articulation of Chinese Ideals of Womanhood in Japanese Occupied Manchuria.” Asian Journal of Women’s Studies 8, 3 (2002): 35-54.
[Abstract: Yang Xu’s (1918- ) second volume of collected works, My Diary (Wo de riji; 1944), articulates the key themes that prevailed in Chinese women’s literature in the Japanese colonial state of Manzhouguo. In Manzhouguo, literature was a vital domain for the negotiation of Chinese cultural identities in a Japanese colonial context. This paper seeks to reveal how Yang Xu, like other contemporary Chinese women writers in Manzhouguo, was driven by the May Fourth ideals of women’s emancipation that dominated social discourse in the Republic of China during the 1920s to defy the conservative cultural aspirations of the Japanese colonial regime.]
—–. “Regulating Chinese Women’s Sexuality During the Japanese Occupation of Manchuria: Between the Lines of Wu Ying’s “Yu” (Lust) and Yang Xu’s Wo de Riji (My Diary).” Journal of the History of Sexuality 13, 1 (Jan. 2004): 49-70.
Yang Yiyan 楊益言 (see Luo Guangbin)
Yang Zhao 楊照
Yang, Xiaobin. “Telling (Hi)story: Illusory Truth or True Illusion.” Tamkang Review 21, 2 (1990): 127-47.
Yang Zhensheng 杨振声
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.]
Yao Wenyuan 姚文元
Ragvald, Lars. Yao Wenyuan as a Literary Critic and Theorist: The Emergence of Chinese Zhadanovism. Stockholm, 1978.
—–. “Yao Wenyuan on Literary Theory.” In Wolfgang Kubin and Rudolf Wagner, eds., Essays in Modern Chinese Literature and Literary Criticism. Bochum: Brokmeyer, 1982, 309-33.
Yao Xueyin 姚雪垠
Allito, Guy. “Yao Xueyin and His Li Zicheng.” Modern Chinese Literature 2, 2 (1986): 211-16.
Lyell, William. “The Early Fiction of Yao Xueyin.” In Wolfgang Kubin and Rudolf Wagner, eds., Essays in Modern Chinese Literature and Literary Criticism. Bochum: Brockmeyer, 1982, 39-58.
Ye Lijun 叶丽隽
Sze-Lorrain, Fiona. “Living and Writing in Lishui: An Interview with Contemporary Chinese Poet Ye Lijun.” Kenyon Review (Dec. 3, 2019).
Ye Lingfeng 叶灵凤
Lee, Leo Ou-fan. “Decadent and Dandy: Shao Xunmei and Ye Lingfeng.” In Lee, Shanghai Modern: The Flowering of a New Urban Culture in China, 1930-1945. Cambridge: Harvard UP, 1999, 232-66.
Liu, Jianmei. “Shanghai Variations on ‘Revolution Plus Love.'” Modern Chinese Literature and Culture 14, 1 (Spring 2002): 51-92. [deals with texts by Shi Zhecun, Liu Na’ou, Mu Shiying, Zhang Ziping, and Ye Lingfeng]
Yang, Qian. Women, Men, Love and Sexual Discourse in Ye Lingfeng’s Fiction. MA Thesis. Boulder: University of Colorado, 2008.
Ye Mimi 葉覓覓
Bradbury, Steve. “Ye Mimi (1980-).” In Christopher Lupke and Thomas E. Moran, eds., Dictionary of Literary Biography, Volume 387: Chinese Poets Since 1949. Farmington Hills, MI: Gale, 2021, 254-60.
Ye Shengtao (Ye Shaojun) 叶圣陶
Anderson, Marsten. “The Specular Self: Subjective and Mimetic Elements in the Fiction of Ye Shaojun.” Modern China 15, 1 (Jan. 1989): 72-101.
—–. “Lu Xun, Ye Shaojun, and the Moral Impediments to Realism.” In Anderson, The Limits of Realism: Chinese Fiction in the Revolutionary Period. Berkeley: UCP, 1990, 76-118.
Chen Liao 陈辽. Ye Shengtao pingzhuan 叶圣陶评传 (Critical biography of Ye Shengtao). Tianjin: Baihua wenyi, 1981.
Hsia, C.T. “Yeh Shao-chun.” In C.T. Hsia. A History of Modern Chinese Fiction. 2nd ed. New Haven: Yale University Press, 1971, 57-71.
Kelly, Frank B. “The Writings of Yeh Sheng-t’ao.” Ph.D. Dissertation. Chicago: University of Chicago, 1979.
Prusek, Jaroslav. “Yeh Cheng-t’ao and Anton Chekhov.” AO 38, 4 (1970): 437-52.
Hockx, Michel. “Art for Whose Sake? The Poetry of Xu Yunuo and the Esthetic Principles of Ye Shengtao.” 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, 5-25.
Jin Mei 金梅. Lun Ye Shengtao de wenxue chuangzuo 叶圣陶的文学创作 (On the literary creation of Ye Shengtao). Shanghai: Shanghai wenyi, 1985.
Kubin, Wolfgang. “Der Schreckensmann: Germany Melancholy and Chinese Restlessness: Ye Shengtao’s Novel Ni Huanzhi.” In Measuring Historical Heat: Event, Performance, and Impact in China and the West: Symposium in Honour of Rudolf G. Wagner on his 60th Birthday. Heidelberg, 2001, 183-90.
—–. “The Bogeyman: German Melancholy and Chinese Restlessness: Ye Shengtao’s Novel Ni Huanzhi.” In Arthur K. Wardega, ed., Belief, History and the Individual in Modern Chinese Literary Culture. Newcastle: Cambridge Scholars Publishing, 2009, 78-87.
Liu, Xinmin. “Ye Shaojun (Ye Shengtao).” In Dictionary of Literary Biography–Chinese Fiction Writers, 1900-1949. Ed. Thomas Moran. NY: Thomson Gale, 2007, 272-81.
Liu Zengren 刘增人 et al., eds. Ye Shengtao yanjiu ziliao 叶圣陶研究资料 (Research materials on Ye Shengtao). Beijing: Shiyue wenyi, 1988.
Prusek, Jaroslav. “Yeh Shao-chun and Anton Chekhov.” In The Lyrical and the Epic: Studies in Modern Chinese Literature. Bloomington: IUP, 1980, 178-94.
Selis, David Joel. “Yeh Shao-chun: A Critical Study of His Fiction, 1919-1944.” Ph.D. Diss. Bloomington: Indiana University, 1975.
Wang, Qin. “Toward the Fragility of Sovereignty: A Reading of Ye Shengtao’s ‘The Emperor’s New Clothes.'” Frontiers of Literary Studies in China 9, 2 (2015): 259-80.
[Abstract: For a long period Ye Shengtao’s “The Emperor’s New Clothes” has been read as a simple fairytale along with his other fairytale writings. Its politico-philosophical implications thus is blurred by students’ focus on the “historical context” of the 1930s of China, when Ye Shengtao’s fairytales were composed. This essay argues that Ye Shengtao’s “The Emperor’s New Clothes” could be dealt with as a politico-philosophical text, despite or because of the historical context of China at that time which does not provide a political reality corresponding to what is called “sovereignty” in its classical sense in the field of political science. By interpreting Ye Shengtao’s “The Emperor’s New Clothes” from a perspective of conceptual analysis by reading it together with other two stories about the same topic written by Hans Andersen and Juan Manuel, this essay also attempts to read the story against the grain of the history of modern Chinese literature, taking it as an allegory of sovereignty and its fragility, staging it theoretically with philosophical thoughts on sovereignty in the works of, for example, Hobbes, Spinoza, Jacques Derrida, and Giorgio Agamben. While Manuel’s story first puts forth the problematic of sovereignty, Andersen’s version pushes to the extreme the logic of self-legitimation carried out by the narrative of sovereignty. Ye Shengtao’s rewriting, in this textual context, deconstructs this logic and points out a possibility of the politics of democracy.]
Ye Shitao (Yeh Shih-t’ao) 葉石濤
Cheng, Pang-chen. “The Journey of an Oneiric Beast, the Memory of an Apostle.” Taiwan Literature: English Translation Series 25 (July 2009): 3-8.
Dluhošová, Táňa. “How Don Juan Came to Taiwan: Fictional Worlds in Ye Shitao’s Early Postwar Short Stories.” Modern Chinese Literature and Culture 31, 1 (Spring 2019): 79-120.
Hsu, Chun-ya. “An Inquiry into the Course and Development of the Literary Theory of Yeh Shi-t’ao.” Taiwan Literature: English Translation Series 25 (July 2009): 121-40.
Lin, Jenn-Shann and Lois Stanford. “Introduction: The Return to a Humanistic Spirit–Yeh Shih-t’ao and His Literature.” Taiwan Literature: English Translation Series 25 (July 2009): xxxvii-lvii.
Peng, Jui-chin. “The Literary Journey of a Creature that Feeds on Dreams: The Creation of Yeh Shi-t’ao’s Fiction.” Tr. Terence Russell. Taiwan Literature: English Translation Series 25 (July 2009): 9-14.
Tu, Kuo-ch’ing. “Foreword to the Special Issue on Yeh Shih-t’ao.” Taiwan Literature: English Translation Series 25 (July 2009): xiii-xviii.
—–. “From ‘Regionalism’ to ‘Nativism’: An Introduction to the English Translation of Yeh Shih-t’ao’s Taiwan Wenxue Shigang (An Outline History of Taiwan Literature).” Taiwan Literature: English Translation Series 48 (2021): 3-16.
Ye Si 也斯, see Liang Bingjun
Ye Weilian 叶维廉
Li, Chunlin. “A Creative New Start: Wai-lim Yip in China.” Chinese Literature Today 3, 1/2 (2013): 122-33.
Lin, Julia. “Yip Wai-lim: A Poet of Exile.” In Lin, Essays on Contemporary Chinese Poetry. Athens, OH: Ohio University Press, 1985, 110-33.
Stalling, Jonathan. “Rethinking the Roots: The Unfinished Work of Wai-lim Yip’s Daoist Modernism: A Conversation with Wai-lim Yip.” Chinese Literature Today 3, 1/2 (2013): 134-45.
Ye Yonglie 叶永烈
Henningsen, Lena. “Little Smarty Travels to the Future: Introduction to the Text and Notes on the Translation.” MCLC Resource Center Publication (Sept. 2020).
Iovene, Paola. “How I Divorced My Robot Wife: Visionary Futures between Science and Literature.” In Iovene, Tales of Future Past: Anticipation and the Ends of Literature in Contemporary China. Stanford: Stanford University Press, 2014, 19-50.
Zhou, Dihao. “Textual Corrosion and Corrosive Text: Bacteria, Intellectuals, and Science Fiction in the Reform Era.” Chinese Literature and Thought Today 53, 3-4 (2022): 60-69.
[Abstract: Dedicated to scientist Peng Jiamu, who mysteriously disappeared in 1980, Ye Yonglie’s “Corrosion” weaves together a thriller of battling extraterrestrial microbes, Ye’s roundabout apologia for Peng’s questioned adherence to socialism, and an uncanny prefiguration of science fiction’s fate in 1980s China. This essay examines the story’s textual dynamics and contextual environment that revolve around the metaphor of invisible, corrosive bacteria. “Corrosion” represents the socialist subject-making of intellectuals as a trial of overpowering biological and ideological threats in a microbial form. However, this logic of political hygiene also underlies the later victimization of Ye and science fiction. This article argues that the prevalence of microbial threat in cultural and political discourses attests to a shared sense of uncertainty toward China’s reforms and allows us to detect the changing structure of feeling of the time.]
Ye Zhaoyan 叶兆言
Berry, Michael. “A Tale of Two Cities: Romance, Revenge, and Nostalgia in Two Fin-de-Siecle Novels by Ye Zhaoyan and Zhang Beihai.” In Carlos Rojas and Eileen Cheng-yin Chow, eds., Rethinking Chinese Popular Culture: Cannibalizations of the Canon. NY: Routledge, 2009, 115-31.
—–. “Romancing Atrocity: Ye Zhaoyan’s Nanjing 1937: A Love Story.” Chinese Literature Today 9, 1 (2020): 89-97.
Cao, Kou. “The Pleasures That Writing Brings Me: An Interview with Ye Zhaoyan.” Chinese Arts and Letters 2, 1 (April 2015): 52-69.
Xu, Gary G. “The Writer as a Historical Figure in Modern China: Ye Zhaoyan’s Passionate Memory and Fictional History.” Neohelicon 37, 2 (Dec. 2010): 405-18.
Yan, Jingming. “Bear the Loneliness of a Narrator: On Reading Ye Zhaoyan’s Fiction.” Tr. Jesse Field. Chinese Arts and Letters 2, 1 (April 2015): 44-51.
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.
Yi Geyan 伊格言
Scruggs, Bert. “The Crises of Representation in Taiwan in Ruins and Ground Zero.” Taiwan wenxue yanjiu jikan 24 (Aug. 2020): 83-112.
[Abstract: If realistic fiction inevitably obliterates the truth it seeks to represent, can it undermine the object of its critique? I consider this question by reading closely Taiwan in Ruins by Song Zelai and Ground Zero by Yi Geyan. I begin by introducing radiation and nuclear fiction with semiotics and reading paradigms with the postmodern crisis of representation. Thereafter I consider the temporal narrative structure of each novel with the conventions of diary fiction, the scales of nuclear physics, and post-traumatic stress disorder. Finally, I discuss representations of mass media and atomic discourse and link them to the opening notes on semiotics and reading postmodern fiction. In each stage of the study I situate the novels into a constellation of literary criticism, historical anthropology, reportage, and protest literature. To conclude, I suggest that despite the postmodern crisis of representation, realistic fiction seems capable of undermining the object of its critique, which in these novels are the dangers of corruption, media manipulation, and nuclear energy development.]
Yi Lu 伊路
Sze-Lorrain, Fiona. “Behind the Isle: Translating Yi Lu’s Poetry.” Asian Review of Books (March 27, 2016).
Yi Sha 伊沙
Liang, Yujing. The Making of Minjian: Yi Sha’s Poetics and Poetry Activities. PhD diss. Victoria University of Wellington, 2020.
van Crevel, Maghiel. “Rejective Poetry? Sound and Sense in Yi Sha.” 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, 389-412.
Yi Shu 亦舒
Li, Jessica Tsuiyan. “Ambiguous Agency: Commercial Surrogacy in Yi Shu’s A Complicated Story and Its Film Adaptation.” Canadian Review of Comparative Literature 45, 2 (June 2018): 290-99.
Yin Fu 殷夫
Lyell, William. “Down the Road that Mei Took: Women in Yin Fu’s Work.” In Findeison and Gassmann, eds., Autumn Floods: Essays in Honour of Marian Galik. Bern: Peter Lang, 1997.
Yin Lichuan 尹丽川
Bradbury, Steve. “Have Net, Will Travel: Is this the new face of Chinese poetry? PRC poet and head-turner Yin Lichuan talks about her image, her verse, and publishing on the web.” POTS (21 October 2005): 17-18.
Krenz, Joanna. “Yin Lichuan (1973-).” In Christopher Lupke and Thomas E. Moran, eds., Dictionary of Literary Biography, Volume 387: Chinese Poets Since 1949. Farmington Hills, MI: Gale, 2021, 261-66.
Wang, Hongjian. “Yin Lichuan.” In Wang, Decadence in Modern Chinese Literature and Culture: A Comparative and Literary-Historical Reevaluation. Amherst, NY: Cambria Press, 2020, 181-206. [MCLC Resource Center review by Nan Hu]
Van Crevel, Maghiel. “Lower Body Poetry and Its Lineage: Disavowal, Bad Behavior and Social Concern,” in Jie Lu ed., China’s Literary and Cultural Scenes at the Turn of the 21st Century. Oxford: Routledge, 2008, 179-205. Revised as “The Lower Body: Yin Lichuan and Shen Haobo.” In van Crevel, Chinese Poetry in Times of Mind, Mayhem and Money, Leiden: Brill, 2008, 305-343.
Yo Yo
Yanglian.net [website set up by Yang Lian and Yo Yo]
Yongzi (Yungtzu)
Lin, Julia C. “Yungtzu: A Woman’s Voice.” In Lin, Essays on Contemporary Chinese Poetry. Athens, OH: Ohio University Press, 1985, 76-95.
You Fengwei 尤凤伟
Sun, Wanning. “‘Northern Girls’: Cultural Politics of Agency and South China’s Migrant Literature.” Asian Studies Review 38, 2 (2014): 168–85.
You Jing (Yau Ching)
Feeley, Jennifer. “Heartburn on a Map Called Home: Yau Ching and the (Im)possibility of Hong Kong Poetry as Chinese Poetry.” Journal of Modern Literature in Chinese 10, 1 (Summer 2010).
Yu Dafu 郁达夫
Cai, Keru. “The Spatiality of Poverty in Modern Chinese Realism.” Comparative Literature 75, 3 (2023): 327-47.
[Abstract: Early twentieth-century Chinese realist depictions of indoor space, such as the crowded tenement house and the penniless writer’s abode, enabled the portrayal of the physical and psychological exigencies of poverty. This set of narrative concerns arose in a period when Chinese writers were preoccupied with the alleged material and cultural poverty of China in comparison to the West. To remedy this purported backwardness, Chinese writers appropriated from foreign literatures, especially Russian realism, narrative themes and techniques such as the use of metonymy in the depiction of spatiality, the figure of the impoverished flâneur-like urban perambulator, and the very topic of poverty itself. This gave rise to innovative forms of modern Chinese narrative, tracing the spatial, material, and bodily experience of poverty in painstaking detail. In particular, I examine how Yu Dafu elaborates on literary elements from Russia in his 1924 story “Nights of Spring Fever,” which deploys the metonymic confines of impoverished, narrow spaces in order to explore wider topics of social class and transcultural encounter.]
Chan, Wing-ming. “The Self-Mocking of a Chinese Intellectual: A Study of Yu Dafu’s An Intoxicating Spring Night.” In Marian Galik, ed., Interliterary and Intraliterary Aspects of the May Fourth Movement 1919 in China. Bratislava: Veda, 1990, 111-118.
Chang, Randall Oliver. “Yu Ta-fu (1896-1945): The Alienated Artist in Modern Chinese Literature.” Ph.D. Dissertation. Pomona: Claremont Graduate School and University Center, 1974.
Chen, Eva Yin-i. “Shame and Narcissistic Self in Yu Da-fu’s Sinking.” Canadian Review of Comparative Literature (Sept.-Dec. 2003): 565-85.
Chen, Luying. “Translation and Feminization in Yu Dafu’s ‘Moving South.'” The Rocky Mountain Review of Language and Literature 66, 1 (2012): 45-63.
Chen Zishan 陈子善 and Wang Zili 王自立, eds. Yu Dafu yanjiu ziliao 郁达夫研究资料 (Research materials on Yu Dafu). HK: Sanlian, 1986.
Denton, Kirk. “The Distant Shore: The Nationalist Theme in Yu Dafu’s Sinking.” Chinese Literature Essays, Articles and Reviews 14 (1992): 107-23.
—–. “Romantic Sentiment and the Problem of the Subject.” In Joshua Mostow, ed, and Kirk A. Denton, China section, ed., Columbia Companion to Modern East Asian Literatures. NY: Columbia UP, 2003, 478-84. Rpt in Kirk A. Denton, ed., Columbia Companion to Modern Chinese Literature. NY: Columbia University Press, 2016, 145-51.
Dolezalova, Anna. Yu Ta-fu: Specific Traits of his Literary Creation. Bratislava: Publishing House of the Slovak Academy of Sciences, 1970.
—–. “Remarks on the Life and Work of Yu Ta-fu up to 1930.” Asian and African Studies (Bratislava) 1 (1965): 53-80.
—–. “Two Novels of Yu Ta-fu: Two Approaches to Literary Creation.” Asian and African Studies (Bratislava) 4 (1968): 17-29.
Dunsing, Charlotte. “Yu Dafu: Autobiographie.” In Christina Neder et al. eds., China in Seinen Biographischen Dimension: Gedenkscrift fur Helmut Martin. Weisbaden: Harrossowitz Verlag, 2001, 129-40.
Egan, Michael. “Yu Dafu and the Transition to Modern Chinese Literature.” In Merle Goldman, ed., Modern Chinese Literature in the May Fourth Era. Cambridge: Harvard University Press, 1977, 309-24.
—–. “The Short Stories of Yu Dafu–Life Becomes Literature. Ph.D. Dissertation. Toronto: University of Toronto, 1980.
Feng, Jin. “From Girl Student to Proletarian Woman: Yu Dafu’s Victimized Hero and His Female Other.” In Feng, The New Woman in Early Twentieth-Century Chinese Fiction. West Lafayette, IN: Purdue University Press, 2004, 60-82.
Feuerwerker, Yi-tsi Mei. “Text, Intertext, and the Representation of the Writing Self in Lu Xun, Yu Dafu, and Wang Meng.” In Ellen Widmer and David Wang, eds., From May Fourth to June Fourth: Fiction and Film in Twentiety-Century China. Cambridge: Harvard UP, 1993, 167-93.
Galik, Marian. “Yu Dafu and His Panaesthetic Criticism.” In Galik, The Genesis of Modern Chinese Liteary Criticism (1917-1930). London: Curzon Press, 1980, 104-28.
He Yubo, ed. Yu Dafu lun (On Yu Dafu). Shanghai: 1932.
Huss, Ann. “Yu Dafu.” In Thomas Moran, ed., Dictionary of Literary Biography–Chinese Fiction Writers, 1900-1949. NY: Thomson Gale, 2007, 282-89.
Iwasaki, Clara. “Yu Dafu is Dead, Long Live Yu Dafu: Chinese, Malaysian, and Japanese Corpus Fetishism and the Limits of Retrieval.” In Iwasaki, Rethinking the Modern Chinese Canon: Refractions across the Transpacific. Amherst, NY: Cambria, 2020, 67-110. [MCLC Resource Center review by Kyle Shernuk]
Kao, Shu-hsi. “Structure et signification dans les nouvelles de Yu Dafu.” In La litterature chinoise au temps de la guerre de resistance contre le Japon (de 1937 a 1945). Paris: Editions de la Fondation Singer-Poligna, 1982, 169-74.
Keaveney, Christopher T. “Satô Haruo’s ‘Ajia noko’ and Yu Dafu’s Response: Literature, Friendship, and Nationalism.” Sino-Japanese Studies 13, 2 (March 2001): 21-31.
—–. The Subversive Self in Modern Chinese Literature: The Creation Society’s Reinvention of the Japanese Shishosetsu. NY: Palgrave Mcmillan, 2004. [though by no means exclusively about Yu Dafu, the book contains much material on this Creation Society writer]
Lan, Feng. “From the De-Based Literati to the Debased Intellectual: A Chinese Hypochondriac in Japan.” Modern Chinese Literature and Culture 23, 1 (Spring 2011): 105-32.
Lee, Leo Ou-fan. “Yu Ta-fu.” In The Romantic Generation of Modern Chinese Writers. Cambridge: Harvard University Press, 1973, 81-123.
Levan, Valerie. Forbidden Enlightenment: Self-Articulation and Self-Accusation in the Works of Yu Dafu (1896-1945). Ph. D. diss. Chicago: University of Chicago, 2010.
—–. “The Meaning of Foreign Text in Yu Dafu’s Sinking Collection.” Modern Chinese Literature and Culture 24, 1 (Spring 2012): 48-87.
—–. “The Confessant as Analysand in Yu Dafu’s Confessional Narratives.” Chinese Literature, Essays, Articles, Reviews 34 (Dec, 2012).
Lin, Sylvia Li-chun. “Unwelcome Heroines: Mao Dun and Yu Dafu’s Creations of a New Chinese Woman.” Journal of Modern Literature in Chinese 1, 2 (Jan. 1998): 71-94.
Liu, Jane Qian. “Finding the Right Medium for Emotional Expression: Intertextualizing Western Literary Texts in Yu Dafu’s Early Short Stories.” In Liu, Transcultural Lyricism: Translation, Intertextuality, and the Rise of Emotion in Modern Chinese Love Fiction, 1899-1925. Leiden: Brill, 2017, 165-200.
Kumagaya, Hideo. “Quest for Truth: An Introductory Study of Yu Dafu’s Fiction.” Journal of the Oriental Society of Australia 24 (1992): 49-63.
Magagnin, Paolo. “Some Implications of the Practice of the Remainder for the Translation of Modern Chinese Literature.” In Nicoletta Pesaro, ed., The Ways of Translation. Constraints and Liberties of Translating Chinese. Venezia: Libreria Editrice Cafoscarina, 2013, 27-41. [deals with Yu Dafu]
—–. “Domestication, Exoticization, and Rewriting. Jing Yinyu Translator of Yu Dafu.” In Nicoletta Pesaro, ed., The Ways of Translation. Constraints and Liberties of Translating Chinese. Venezia: Libreria Editrice Cafoscarina, 2013, 131-147.
Melyan, Gary. “The Enigma of Yu Ta-fu’s Death.” Monumenta Serica 24 (1970-71): 557-88.
Ng, Mau-sang.The Russian Hero in Modern Chinese Fiction. HK: Chinese University Press; NY: State University of New York Press, 1988. (contains a chapter on Yu)
Prusek, Jaroslav. “Mao Tun and Yu Ta-fu.” Three Sketches of Chinese Literature. Prague: Oriental Institute in Academia, 1969; rpt. in The Lyrical and the Epic: Studies in Modern Chinese Literature. Bloomington: Indiana UP, 1980, 121-77.
Radtke, Kurt W. “Chaos and Coherence? Sato Haruo’s Novel Den’en no Yu’utsu and Yu Dafu’s trilogy Chenlun.” In Adriana Boscaro, Franco Gatti, and Massimo Raveri, eds. Rethinking Japan. NY: St. Martin’s Press, 1985, 86-101.
Rusch, Beate. Kunst- und Literaturtheorie bei Yu Dafu, 1896–1945. Dortmund, 1994
Saechtig, Alexander. Schreiben als Therapie: Die Selbstheilungsversuch des Yu Dafu nach dem Vorbild japanischer shishosetsu-Autoren. Weisbaden: Harrassowitz Verlag, 2005.
Shih, Shu-mei. “The Libidinal and the National: The Morality of Decadence in Yu Dafu, Teng Gu, and Others.” In Shi, The Lure of the Modern: Writing Modernism in Semicolonial China, 1917-1937. Berkeley: UC Press, 2001, 110-27.
Susuki, Masao. Yu Dafu. Tokyo: Kenbun Shuppan, 1994.
—–. Yu Dafu in Sumatra. Tokyo: Toho Shoten, 1995.
Tan, E. K. “The Enigma of Yu Dafu and Nanyang Literature.” In David Der-Wei Wang, ed., A New Literary History of Modern China. Cambridge, MA: Belknap Press, 2017, 517-21.
Tang, Chenxi. “Reading Europe, Writing China: European Literary Tradition and Chinese Authorship in Yu Dafu’s ‘Sinking.'” Arcadia 40, 1 (2005): 153-76.
Tsu, Jing. “Perversions of Masculinity: The Masochistic Male Subject in Yu Dafu, Guo Moruo, and Freud.” Positions 8, 2 (Fall 2000): 269-316.
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]
Wang, Hongjian. “Yu Dafu.” In Wang, Decadence in Modern Chinese Literature and Culture: A Comparative and Literary-Historical Reevaluation. Amherst, NY: Cambria Press, 2020, 41-62. [MCLC Resource Center review by Nan Hu]
Wang Zili and Chen Zishan, eds. Yu Dafu yanjiu ziliao (Research materials on Yu Dafu). 2 vols. Tianjin: Tianjian renmin, 1982. Rpt. HK: Sanlian, 1986.
Wong Yoon Wah. “Yu Dafu in Exile: His Last Days in Sumatra.” Renditions 23 (1985): 71-83.
Yang, Haosheng. “Infatuation with Skeletons: Yu Dafu’s Accidental Loyalism and Classical-Style Poetry.” Frontiers of Literary Studies in China 8, 1 (March 2014): 154-80.
[Abstract: Modern Chinese writer Yu Dafu continued composing classicalstyle poems for his whole life, claiming himself to be “a man infatuated with skeletons.” This article interprets Yu’s lyricism as a stylistic manifestation of his personal and national anxieties that were stimulated by the transition of Chinese culture into modernity during the first half of the twentieth century. By examining Yu’s status as a displaced loyalist both in his verses as well as in real life, I argue that Yu’s loyalist rhetoric represents the identity crisis of a Chinese writer in confronting the menacing power struggles of the modern world.]
Zhang, Felicia. “Li Xiaoyin: Yu Dafu’s Lover or Muse?” MCLC Resource Center Publication (March 2014).
Yu Guangzhong 余光中
Chen, Fangming. “Yu Guangzhong’s Modernist Spirit: From In Time of Cold War to Tug of War with Eternity.” In Paul Manfredi and Christopher Lupke, eds., Chinese Poetic Modernisms. Leiden: Brill, 2019, 132-52.
Hsia, C. T. “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, Weiliang. “Poetry, Politics, and the Reception of Yu Guangzhong’s ‘Nostalgia.'” In Chin-Chuan Cheng, I-Chun Wang, and Steven Totosy de Zepetnek, eds. Cultural Discourse in Taiwan. Kaohsiung: Center for the Humanities and Social Sciences, National Sun Yat-sen University, 2009, 78-86.
Leung, K. C. “An Interview with Yu Kwang-chung.” World Literature Today 65, 3 (1991): 441-46.
Lin, Julia C. “Yu Kuang-chung: From Dream to Reality.” In Lin, Essays on Contemporary Chinese Poetry. Athens, OH: Ohio University Press, 1985, 150-87.
Lin, Pei-yin. “Masterpieces of Taiwan Poetry: Ji Xian and Yu Guangzhong.” In Mingdong Gu, ed., The Routledge Handbook of Modern Chinese Literature. London and New York: Routledge, 2018, 643-55.
Moran, Thomas. “Yu Guangzhong (1928-2017).” In Christopher Lupke and Thomas E. Moran, eds., Dictionary of Literary Biography, Volume 387: Chinese Poets Since 1949. Farmington Hills, MI: Gale, 2021, 267-76.
Parry, Amie Elizabeth. Interventions into Modernist Cultures: Poetry from Beyond the Empty Screen. Durham, NC: Duke UP, 2007. [MCLC Resource Center review by Paul Manfredi]
[Abstract: A comparative analysis of the cultural politics of modernist writing in the United States and Taiwan. Parry argues that the two sites of modernism are linked by their representation or suppression of histories of U.S. imperialist expansion, Cold War neocolonial military presence, and economic influence in Asia. Focusing on poetry, a genre often overlooked in postcolonial theory, she contends that the radically fragmented form of modernist poetic texts is particularly well suited to representing U.S. imperialism and neocolonial modernities.]
Yu Hua 余华
Berry, Michael. “Yu Hua, the Art of Fiction No. 261” [interview with Yu Hua]. The Paris Review 246 (Winter 2023).
Braester, Yomi. “The Aesthetics and Anesthetics of Memory: PRC Avant-Garde Fiction.” In Braester, Witness Against History: Literature, Film, and Public Discourse in Twentieth-Century China. Stanford: Stanford UP, 2003, 177-91.
Cai, Rong. “The Lonely Traveler Revisited in Yu Hua’s Fiction.” Modern Chinese Literature 10, 1/2 (1998): 173-190.
Chen, Jianguo. “Violence: The Politics and the Aesthetic–Toward a Reading of Yu Hua.” American Journal of Chinese Studies 5, 1 (1998): 8-48.
—–. “The Logic of the Phantasm: Haunting and Spectrality in Contemporary Chinese Literary Imagination.” Modern Chinese Literature and Culture 14, 1 (Spring 2002): 231-65. Rpt. in Chen, The Aesthetics of the ‘Beyond’: Phantasm, Nostaligia, and the Literary Practice in Contemporary China. Newark: University of Delaware Press, 2009, 62-90. [deals with texts by Mo Yan, Chen Cun, and Yu Hua].
—–. “The World of the Sensory: Yu Hua’s Obsession with the ‘Real’.” In Chen, The Aesthetics of the ‘Beyond’: Phantasm, Nostaligia, and the Literary Practice in Contemporary China. Newark: University of Deleware Press, 2009, 91-125.
Choy, Howard Y. F. “The (Non)performance of Violence: Yu Hua’s Cruel Historiography.” In Choy, Remapping the Past: Fictions of History in Deng’s China, 1979-1997. Leiden: Brill, 2008, 201-14.
Finken, Helen. “Interview with Yu Hua, Author of To Live (Huozhe).” Education About Asia 8, 3 (Winter 2003): 20-22.
Jennings, Grant. “The Destruction of the Idyll in the Mao Era.” Neohelicon 36, 2 (Dec. 2009): 365-79.
[Abstract: The portrayal of rural family life in To Live (Huozhe) accords with Bahktin’s analysis of the idyllic chronotope. The cyclical rhythm of human life is connected, literally and figuratively, to the natural environment through agricultural labour. However, the cyclical fabric essential to this chronotope is challenged throughout the narration by the Chinese desire for industrialization and modernization. Even though the idyllic chronotope decomposes throughout, the novel remains a sympathetic depiction of Chinese agricultural life from the pre-civil war period until the Cultural Revolution. It is rich with Confucian, Buddhist and Taoist voices that give this incarnation of the Chinese idyll a uniquely Chinese character. In the novel, the human cycles determining the chronotope of the idyll are broken—families are driven from the homes of their ancestors and parents bury their children. The novel demonstrates how this disruption is the result of a desire to sweep away the traditional psychology of the idyll in the name of modernization and industrialization. Presented in frame-narrative at a distance of 10 years, the disintegrating idyllic chronotope is located in a past moment accessible to the imagination and yet divorced from the present. This narrative crisis is symptomatic of the ecological crisis that faces China and the world; it is also of key importance to the inter-chronotopic dialogue of a modern reader and the text, for it places this idyllic world at a distance, allowing a modern reader to access the text despite the gulf that separates the reader’s chronotope from the idyll’s. China, a land rich in ancient and modern voices that celebrate the unity of man and nature, is a fertile field for the ecocritic’s own labour, and these voices must be tilled and harvested in order to assist China and the world through the ecological crisis we face.]
Jones, Andrew F. “The Violence of the Text: Reading Yu Hua and Shi Zhicun.” positions 2, 3 (1994): 570-602.
Knight, Deirdre Sabina. “Capitalist and Enlightenment Values in 1990s Chinese Fiction: The Case of Yu Hua’s Blood Seller.” Textual Practice 16, 3 (Nov. 2002): 1-22. Rpt. as “Capitalist and Enlightenment Values in Chinese Fiction of the 1990s: The Case of Yu Hua’s Blood Merchant.” In Charles Laughlin, ed., Contested Modernity in Chinese Literature. NY: Palgrave Macmillan, 2005, 217-37.
—–. “Self-Ownership and Capitalist Values in 1990s Chinese Fiction.” In The Heart of Time: Moral Agency in Twentieth-Century Chinese Fiction. Cambridge: Harvard University Asia Center, 2006, 222-58. [deals in part with Yu Hua’s Xu Sanguan the Bloodseller]
—–. “Review of Contemporary Chinese Fiction by Su Tong and Yu Hua: Coming of Age in Troubled Times, by Hua Li (Brill, 2011). Journal of Asian Studies 71, 2 (2012): 528-29.
Larson, Wendy. “Literary Modernism and Nationalism in Post-Mao China.” In Wendy Larson and Wedell-Wedellsborg, eds. Inside Out: Modernism and Postmodernism in Chinese Literary Culture. Aarhus: Aarhus University Press, 1993, 172-96.
Li, Hua. “Review of Yu Hua’s Cries in the Drizzle.” Pacific Affairs 81, 4 (Feb. 2009): 625.
—–. Contemporary Chinese Fiction by Su Tong and Yu Hua: Coming of Age in Troubled Times. Leiden, Boston: Brill, 2011.
[Abstract: The book explores the coming-of-age fiction of two of the most critically acclaimed and frequently translated contemporary Chinese authors, Yu Hua and Su Tong; it is the first in-depth book-length treatise in English about the contemporary Chinese Bildungsroman. Although various individual contemporary Chinese novelists and individual works of Chinese fiction have previously been discussed under the rubric of the Bildungsroman, none of these efforts has approached the level of comprehensive and comparative analysis that this book brings to the genre and its social contexts in contemporary China. This book will pique the interests not only of scholars and students of Chinese and comparative literature, but also of historians and social scientists with an interest in the region.]
—–. “Doing Things Right with Communist Party Language: An Analysis of Yu Hua’s Exploitation of Mao-era Rhetoric.” China Information 26 (March 2012): 87-104.
—–. “Entrapment and Enclosure: The Poetics of Space and Time in Yu Hua’s Two Short Stories.” Rocky Mountain Review 67, 2 (Fall 2013): 106-123.
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.
Liu, Kang. “The Short-Lived Avant-Garde: The Transformation of Yu Hua.” Modern Language Quarterly 63, 1 (2003) : 89-118. Rpt. as “The Short-Lived Avant-Garde Literary Movement and Its Transformation: The Case of Yu Hua.” In Liu, Globalization and Cultural Trends in China. Honolulu: University of Hawai’i Press, 2004, 102-126.
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.
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, Yu Hua’s novella “The Death of a Landlord”]
Michael Standaert. “Interview with Yu Hua.” (interviewed on August 30, 2003, at the University of Iowa International Writing Program). MCLC Resource Center Publication, 2004.
Shen, Liyan. “Folkloric Elements in Avant-garde Fiction: Yu Hua’s ‘One Kind of Reality’ and ‘World like Mist.'” Canadian Review of Comparative Literature 35, 1-2 (March-June 2008): 73-86.
Tang, Xiaobing. “Residual Modernism: Narratives of Self in Contemporary Chinese Fiction.” Modern Chinese Literature 7, 1 (Spring 1993):7-31.
Wagner, Marsha. “The Subversive Fiction of Yu Hua.” Chinoperl Papers 20-22 (1997-99): 219-44.
Wang, Hongjian. “Yu Hua.” In Wang, Decadence in Modern Chinese Literature and Culture: A Comparative and Literary-Historical Reevaluation. Amherst, NY: Cambria Press, 2020, 87-110. [MCLC Resource Center review by Nan Hu]
Wang, Hui. “Borderless Writing.” Tr. By Mi-Jung Kim. Transnational China Project (Baker Institute, Rice University)
Wedell-Wedellsborg, Anne. “One Kind of Chinese Reality: Reading Yu Hua.” Chinese Literature: Essays, Articles, Reviews 18 (1996): 129-145.
—–. “Haunted Fiction: Modern Chinese Literature and the Supernatural.” International Fiction Review 32 (2005) [deals with Yu Hua´s “Shi shi ru yan”]
—–. “Multiple Temporalities in the Literary Identity Space of Post-Socialist China: A Discussion of Yu Hua´s Novel Brothers and its Reception.” In Postmodern China. Chinese History and Society. Berliner China-Hefte 34 (2008).
—–. “Yu Hua.” In Thomas Moran and Ye (Dianna) Xu, eds., Chinese Fiction Writers, 1950-2000. Dictionary of Literature Biography, vol. 370. Detroit: Thomson Gale, 2013, 264-77.
Wu, Yenna. “China Through Yu Hua’s Prism.” American Journal of Chinese Studies 19, 1 (April 2012): 55-62.
Yang, Xiaobin. “Yu Hua: The Past Remembered or the Present Dismembered.” In Yang, The Chinese Postmodern: Trauma and Irony in Chinese Avant-garde Fiction. Ann Arbor: University of Michigan Press, 2002, 56-73.
—–, “Yu Hua: Perplexed Narration and the Subject.” In Yang, The Chinese Postmodern: Trauma and Irony in Chinese Avant-garde Fiction. Ann Arbor: University of Michigan Press, 2002, 188-206.
Yu Hua’s Blog (Sina.com)
Yu Hua Research Center (余华研究中心).
Yu, Zhansui. “Death as Triple Allegory: Existential Truth, Cultural Reflection, and Historical Authenticity in Yu Hua’s Fiction.” Modern Chinese Literature and Culture 22, 2 (Fall 2010): 231-61.
Zeng Zhennan 曾镇南. “Xianshi yizhong ji qita: luelun Yu Hua de xiaoshuo” 现实一种及其他：略论余华的小说 (On ‘One Kind of Reality’ and others). Beijing wenxue 2 (1988).
Zhang, Qinghua. “On Brothers and Chaotic Aesthetics: An Interview with Yu Hua.” Tr. Yao Benbiao. Chinese Literature Today (Winter/Spring 2011): 80-85.
Zhang Yiwu 张颐武. “‘Ren’ de weiji: du Yu Hua de xiaoshuo” 人的危机: 读余华的小说 (The crisis of the human subject: reading Yu Hua’s fiction). Dushu no. 2 (1988): 41-48.
Zhang, Zhen. “Commercialization of Literature in the Post-Mao Era: Yu Hua, Beauty Writers, and Youth Writers.” In Kirk A. Denton, ed., Columbia Companion to Modern Chinese Literature. NY: Columbia University Press, 2016, 386-93.
Zhao, Yiheng. “Yu Hua: Fiction as Subversion.” World Literature Today (Summer 1991).
—–. “The Rise of Metafiction in China.” Bulletin of Oriental and African Studies LV, 1 (1992).
Yu Jian 于坚
Admussen, Nick. “Reading as Surveillance Work: Yu Jian’s File Zero.” CEAS Chicago YouTube channel (June 1, 2021).
Crespi, John. “Poetic Memory: Recalling the Cultural Revolution in the Poems of Yu Jian and Sun Wenbo.” In Christopher Lupke ed., New Perspectives on Contemporary Chinese Poetry. New York: Palgrave Macmillan, 2007, 165-183.
Huot, Claire. “Here, There, Anywhere: Networking by Young Chinese Writers Today.” In Michel Hockx, ed., The Literary Field of Twentieth Century China. Honolulu: University of Hawaii Press, 1999, 198-215.
Patton, Simon. “They Tattoo Their Bodies for the World: An Interview with the Poet Yu Jian.” Full Tilt 3 (Summer 2008).
—–. “Yu Jian (1954-).” In Christopher Lupke and Thomas E. Moran, eds., Dictionary of Literary Biography, Volume 387: Chinese Poets Since 1949. Farmington Hills, MI: Gale, 2021, 277-85.
Riemenschnitter, Andrea. “Probing the Limits of Languaging: Material Ecology and Thing Agency in Yu Jian’s Poetry.” International Communication of Chinese Culture 6, 1 (2019): 39–61.
van Crevel, Maghiel. “Fringe Poetry, But Not Prose: Works by Xi Chuan and Yu Jian.” Journal of Modern Literature in Chinese 3, 2 (Jan. 2000). Revised as “Fringe Poetry, But Not Prose: Xi Chuan and Yu Jian.” In van Crevel, Chinese Poetry in Times of Mind, Mayhem and Money. Leiden: Brill, 2008, 223-246.
—–.”Desecrations? The Poetics of Han Dong and Yu Jian (part One).” Studies on Asia Series II, 2, 1 (2005): 28-48 [pdf download]. Revised as “Desecrations? Han Dong’s and Yu Jian’s Explicit Poetics.” In van Crevel, Chinese Poetry in Times of Mind, Mayhem and Money. Leiden: Brill, 2008, 365-397.
—-. “Desecrations? The Poetics of Han Dong and Yu Jian (part Two).” Studies on Asia Series II, 2, 2 (2005): 81-97 [pdf download]. Revised as “Desecrations? Han Dong’s and Yu Jian’s Explicit Poetics.” In van Crevel, Chinese Poetry in Times of Mind, Mayhem and Money. Leiden: Brill, 2008, 365-397.
—–. “Objectification and the Long-Short Line: Yu Jian.” In van Crevel, Chinese Poetry in Times of Mind, Mayhem and Money. Leiden: Brill, 2008, 247-280.
Yu Lihua 於梨華
Kao, Hsin-sheng C. “Yu Lihua’s Blueprint for the Development of a New Poetics: Chinese Literature Overseas.” In Kao, ed., Nativism Overseas: Comtemporary Chinese Women Writers. Albany: SUNY Press, 1993, 81-107.
Yu Luojin 遇罗锦
Chen, John (Zhong) Ming. “Women’s Autobiography as Counter-discourse: The Cases of Dorothy Livesay and Yu Luojin.” In Peng-hisang Chen and Whitney Crothers Dilley, eds., Feminism/Femininity in Chinese Literature. Amsterdam,: Rodopi, 2002, 33-44.
Chou, Yu-sun. “Yu Lo-chin’s Winter and Spring.” Issues and Studies 22, 6 (June 1986): 57-67.
Honig, Emily. “Private Issues, Public Discourses: The Life and Times of Yu Luojin.” Public Affairs 57, 2 (Summer 1984): 252-65.
Merlich, Jorg Michael. “In Search of the Ideal Man: Yu Luojin’s Novel A Winter’s Tale. In Anna Gerstlacher et al, eds., Women and Literature in China. Bochum: Studienverlag Brockmeyer, 1985, 454-72.
Wang, Lingzhen. “Retheorizing the Personal: Identity, Writing, and Gender in Yu Luojin’s Autobiographical Act.” Positions 6, 2 (1998).
Yu Rongjun (aka Nick Rongjun Yu) 喻荣军
Conceison, Claire. “Behind the Play: The World and Works of Nick Rongun Yu.” Theatre Journal 63 (2011): 311-21.
Yu Qiuyu 余秋雨
Gong, Haomin. “Popularization of Traditional Culture in Postsocialist China: A Study of the Yu Qiuyu Phenomenon.” Journal of Contemporary China 20 (69) (March 2011): 343-58.
[Abstract: This essay investigates the ‘Yu Qiuyu’ Phenomenon that attracted literary and critical attention in the 1990s. By examining the historical conditions under which it arose and the prose as a literary genre, I argue that Yu Qiuyu’s ‘cultural prose’ writing exemplifies a paradoxical cultural logic deeply symptomatic of postsocialist China: traditional culture, with all its cultural elitism, strategically responds to the sweeping commercialization and re-identifies itself in the social transformation.]
Yu Qiuyu’s Blog, (Sina.com)
Zheng, Yi. “Cultural Tours and the Spiritual Home: On Yu Qiuyu and Contemporary Chinese Cultural Essays.” Portal: Journal of Multidisciplanary International Studies 4, 1 (Jan. 2007). [In Chinese]
[Abstract: The essay explores the public social dimension of the “great cultural essays” as a popular post-socialist genre. It looks into the genre’s emergence and popularity as part of the making of a middleclass taste in contemporary China and its claim to a re-imagined cultural national inheritance. In particular, the discussion focuses on the example of essayist Yu Qiuyu and examines the implications of his successful transformation of an obsolete historical “Culture” into a desirable commodity that offers spiritual home to the aspiring and successful of a “Greater China”.]
Zhou, Zhengbao. “Yu Qiuyu–Scholar and Prose Writer.” Tr. Zhang Siying. Chinese Literature (Autumn 1998).
Yu Xiuhua 余秀华
Berry, Michael. “Ethics and Experience in the Making of Still Tomorrow. In Conversation with Travis Fan.” Chinese Literature Today 7, 2 (2018): 18-23.
Huerta, Elise and Hangping Xu. “Introduction” (to special section on Yu Xiuhua). Chinese Literature Today 7, 2 (2018): 4-5.
Li, Dian. “Yu Xiuhua: Traveling through the Mud of Life by Poetry.” Asia Dialogue (Dec. 6, 2017).
—–. “Yu Xiuhua: A Life Lived in Poetry.” World Literature Today 92, 4 (2018): 26–29.
Nunes, Jennifer. “Afternoon, a Fall”: Relationality, Accountability, and Failure as a Queer-Feminist Approach to Translating the Poetry of Yu Xiuhua. MA thesis. Columbus, OH: Ohio State University, 2017.
—–. “Sitting with Discomfort: A Queer-Feminist Approach to Translating Yu Xiuhua.” In van Crevel, Maghiel and Lucas Klein, eds. Chinese Poetry and Translation: Rights and Wrongs. Amsterstam: Amsterdam University Press, 2019, 23-44.
Riep, Steven L. “Body, Disability, and Creativity in the Poetry of Yu Xiuhua.” Chinese Literature Today 7, 2 (2018): 32-40.
Sang, Tze-lan and Rui Shen. “The Body as a Room of Her Own: A Dialogue on Yu Xiuhua.” Chinese Literature Today 7, 2 (2018): 24-31.
Xu, Hangping. “Yu Xiuhua (1976-).” In Christopher Lupke and Thomas E. Moran, eds., Dictionary of Literary Biography, Volume 387: Chinese Poets Since 1949. Farmington Hills, MI: Gale, 2021, 286-90.
—–. “Crossing the World to Sleep with You: Yu Xiuhua’s Poetry as Performance and Its Cross-Cultural Translatability.” Prism 20, 1 (2023): 225-47.
[Abstract: This article advances a critical account of Chinese internet poetry as performative speech acts by focusing on the rise of Yu Xiuhua as a “crip” figure. Then, discussing Yu’s poetry as world literature via translation, it posits a performative framework of translation as a response to the changing notion of textuality and hermeneutic of Chinese poetry in our transmedial ecology. Treating translation as performance requires a move toward an understanding of poetry as not merely textual scripts but also as dynamic cultural performances of a poetic voice that is aided by its tonal, affective, and narrative repertoire. The article cross-examines various English translations of Yu’s sensationally received poem “Crossing China to Sleep with You” in order to demonstrate a comparative reading practice that strives for an intertexual dialogue among various translations of a given poem. Such a multiplication of translated textuality puts into motion a poem’s rhetoricity and the cultural work that it performs. This article thus envisions a critical pedagogy of teaching translated literature, namely, cataloging multiple translations of the same text and cross-analyzing the formal and performative tension that they present enables a reading experience and practice that is more cross-culturally vital and ethical.]
Zhou, Yu. “The Poetry of Suffering.” Global Times (Feb. 6, 2015).
Yuan Changying 袁昌英
Eide, Elizabeth. “The Ballad ‘Kongque dongnan fei’ as Freudian Feminist Drama During the May Fourth Period.” Republican China 15, 1 (Nov. 1989): 65-71.
He, Man. The Peacock on Stage and in Print: A Study of the 1920s New Drama Adaptations of Southeast Flies the Peacock. MA thesis. Columbus, OH: The Ohio State University, 2009.
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.
Yuan Kejia 袁可嘉
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 that are discussed in the dissertation include: Shen Congwen, Feng Zhi, Nine Leaves Poets (primarily Yuan Kejia and Mu Dan)].
Yuan Kewen 袁克文
Wu, Shengqing. “Nostalgic Fragments in the Thick of Things: Yuan Kewen (1890-1931) and the Act of Remembering.” Journal of Chinese Literature and Culture 6, 1 (April 2019).
Yuan Qiongqiong 袁瓊瓊
Chang, Sung-sheng Yvonne. “Yuan Qiongqiong and the Rage for Eileen Chang among Taiwan’s Feminine Writers.” Modern Chinese Literature 4, 1/2 (1988): 201-24.
Yongzi
Lin, Julia. “A Woman’s Voice: The Poetry of Yungtzu.” In A. Palandri, ed. Women Writers of 20-Century China. Eugene: Asian Studies Publications, University of Oregon, 1982, 137-62.
Z
Zang Di 藏棣
Goodman, Eleanor. “Poetry, Translation, and Labor.” In Maghiel van Crevel and Lucas Klein, eds., Chinese Poetry and Translation: Rights and Wrongs. Amsterdam: Amsterdam University Press, 2019, 45-68. (With case studies of Wang Xiaoni 王小妮, Zang Di 藏棣, Zheng Xiaoqiong 郑小琼.)
Xu, Shuang. “The Writing of Inner/Outer World and Ecopoetics in Contemporary Chinese Poetry: An Analysis of Zang Di’s Poetic Creation.” In Riccardo Moratto, Nicoletta Pesaro, and Di-kai Chao, eds., Ecocriticism and Chinese Literature: Imagined Landscapes and Real Lived Spaces. London: Routledge, 2022, 70-83.
Yao, Sijia. “Zang Di (1964-).” In Christopher Lupke and Thomas E. Moran, eds., Dictionary of Literary Biography, Volume 387: Chinese Poets Since 1949. Farmington Hills, MI: Gale, 2021, 291-97.
Zeng Jinke 曾今可
Hockx, Michel. “Personality in Style: Abusive Criticismm and Zeng Jinke.” In Hockx, Questions of Style: Literary Societies and Literary Journals in Modern China, 1911-1937. Leiden: Brill, 2003, 187-221.
Zeng Pu 曾樸
Hu, Ying. “Flower in a Sea of Retribution: A Tale of Border-Crossing.” In Hu, Tales of Translation: Composing the New Woman in China, 1899-1918. Stanford: Stanford UP, 2000, 21-66.
—–. “Zeng Pu.” In Dictionary of Literary Biography–Chinese Fiction Writers, 1900-1949. Ed. Thomas Moran. NY: Thomson Gale, 2007, 290-95.
Huters, Theodore. “Impossible Representations: Visions of China and the West in Flower in a Sea of Retribution.” In Huters, Bringing the World Home: Appropriating the West in Late Qing and Early Republican China. Honolulu: University of Hawaii Press, 2005, 173-200.
Li, Peter. Tseng P’u. Boston: Twayne, 1980.
—–. “The Dramatic Structure of Niehai hua.” in Milena Dolezelova-Velingerova, ed., The Chinese Novel at the Turn of the Century. Toronto: University of Toronto Press, 1980, 150-64.
McAleavy, H. “Tseng P’u and the Nieh-hai hua.” St. Antony Papers 7 (1960): 88-137.
Tseng, H.P. (Zeng Xubai). “My Father’s Literary Journey.” Tr. Colin Modini. Renditions 17/18 (Spring/Aut. 1982): 193-98.
Yeh, Catherine Vance. Zeng Pu’s Niehai Hua as a Political Novel–A World Genre in a Chinese Form. Ph.d. diss. Cambridge: Harvard University, 1990.
—–. “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]
Zeng Xin 曾心
Ehrenwirth, Rebecca. “Playing with the Canon: The Uncanny Pleasure of Intertextuality in the Works of Sinophone Thai writers Sima Gong and Zeng Xin.” Modern Chinese Literature and Culture 32, 2 (Fall 2020): 136-178.
Zeng Yi 曾懿
Feng, Jin. “The Female Chef and the Nation: Zeng Yi’s Zhongkui lu (records from the kitchen).” Modern Chinese Literature and Culture 28, 1 (Spring 2016), 1-37.
Yang, Binbin. “Guardians of Family Health in Qing China: From the Exemplary Wife to the Reformer.” Modern China 4, 5 (2015): 506-38 [see pp 518-32].
—–. Heroines of the Qing: Exemplary Women Tell Their Stories. Seattle: University of Washingtong Press, 2016. [see ch. 4]
Zhaxi Dawa 扎西达娃
Choy, Howard Y. F. “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.
Danxhu, Angben. “Tashi Dawa and His Works.” Tr. Chen Haiyan. Chinese Literature (Aut. 1991): 58-62.
Grünfelder, Alice. Tashi Dawa und die neuere tibetische Literatur ( Tashi Dawa and modern Tibetan literature). Bochum: Edition Cathay, 1999. [Table of Content: 1. Einleitung (Introduction); 2. Minderheitenliteratur (literature by minorities); 3. Tibetische Literatur (Tibetan literature); 4. Tashi Dawas Erzählungen (The stories of Tashi Dawa); 5. Perspektiven eines neuen Regionalismus (Perspectives of a New Tibetan Regionalism)]
Schiaffini-Vedani, Patricia. Tashi Dawa: Magical Realism and Contested Identity in Modern Tibet. Ph. D. diss. University of Pennsylvania, 2002.
—–. “The Condor Flies Over Tibet: Tashi Dawa and the Significance of Tibetan Magical Realism.” In Lauran Hartley and Patricia Schiaffini edc. Modern Tibetan Literature and Social Change. Durham, NC: Duke University Press, 2008, 202-24.
Shi, Anbin. “Unmasking Latent Han-centrism and Innovating Boundary Writing: Reconstructing Ethnic Identity in Contemporary China.” In Shi, A Comparative Approach to Redefining Chinese-ness in the Era of Globalization. Lewiston, NY: Mellen Press, 2003, 207-60. [much of this chapters deals with Zhaxi Dawa’s novel Turbulent Shambhala (Saodong de Xiangbala)].
Zhai Yongming 翟永明
Da, Nan Z. “On the Decipherment of Modern China and Spurned Lovers: Zhai Yongming’s Most Tactful Phrases.” Signs: Journal of Women in Culture and Society 40-3 (2015): 667-693.
Fiss, Géraldine. “Black Night Consciousness and Ecofeminist Poetics in the Works of Zhai Yongming.” Rocky Mountain Review (Spring 2022): 62-82
Jaguścik, Justyna. Literary Body Discourses: Body, Gender and Class in Contemporary Chinese Female-Authored Literature. PhD diss. University of Zürich, 2014.
———. “‘The Woman Attempting to Disrupt the Ritual’: Representations of Femininity and the Poetics of the Subaltern Body in Contemporary Chinese Female-Authored Poetry.” Harvard Asia Quarterly XVI, 3 (2014): 60–71. [With case studies of Lü Yue 吕约, Zhai Yongming 翟永明, and Zheng Xiaoqiong 郑小琼.]
———. “Feminist Responses to the Anthropocene: Voices from China.” International Communication of Chinese Culture 5 (2018): 83–100. (With case studies of Zhai Yongming 翟永明 and Zheng Xiaoqiong 郑小琼.)
—–. “The Time Travels of a Handscroll: Past and Present in Zhai Yongming’s Landscape Poem ‘Roaming the Fuchun Mountains with Huang Gongwang’.” International Communication of Chinese Culture 6-1 (2019): 71–84.
Krenz, Joanna. “Regrowing Divine Trees: Zhai Yongming’s ‘The Eighth Day’ as a Reflection on the Intellectual and Ethical Ecosystem of Posthuman Eden.” Rocky Mountain Review (Spring 2022): 18-40.
Li, Wenzhu. “Femininity in Zhai Yongming’s ‘Lightly Injured People, Gravely Wounded City’.” Rocky Mountain Review (Spring 2022): 83-98.
Lingenfelter, Andrea. “Opposition and Adaptation in the Poetry of Zhai Yongming and Xia Yu.” In Christopher Lupke ed., New Perspectives on Contemporary Chinese Poetry. New York: Palgrave Macmillan, 2007, 105-120.
—–. “China’s Foremost Feminist Poet Zhai Yongming Converses on Her Art, Her Bar and Chinese Women’s Writing, Past and Present.” Full Tilt 3 (Summer 2008).
Lupke, Christopher. “Posthumanism, Temporality, Ecofeminism, Feminity, and Visuality in the Poetry of Zhai Yongming: An Introduction.” Rocky Mountain Review (Spring 2022): 11-17.
Tao, Naikan. “Building a White Tower at Night: Zhai Yongming’s Poetry.” World Literature Today 73, 3 (1999): 409-416.
Van Crevel, Maghiel: “Zhai Yongming.” In Lily Lee, ed, Biographical Dictionary of Chinese Women: The Twentieth Century, 1912-2000. Armonk, NY: ME Sharpe, 2003, 672-678.
Velazquez-Velazquez, Laura L. “When a Woman Looks at a Woman: Poetics of the Look in Zhai Yongming’s Ekphrastic Writings.” Rocky Mountain Review (Spring 2022): 99-116.
Zhang, Jeanne Hong. “Zhai Yongming’s ‘Woman’ —With Special Attention to Its Intertextual Relations with the Poetry of Sylvia Plath.” Journal of Modern Literature in Chinese 5, 2 (2002): 109-30.
Zhang, Xiaohong. “An Ecofeminist Perspective on Sylvia Plath and Zhai Yongming.” Comparative Literature Studies 55-4 (2018): 799-811.
Zhu, Yanhong. “Zhai Yongming (1955-).” In Christopher Lupke and Thomas E. Moran, eds., Dictionary of Literary Biography, Volume 387: Chinese Poets Since 1949. Farmington Hills, MI: Gale, 2021, 298-307.
—–. “Performing a Poetic Temporal Weave: Gender and Femininity in Zhai Yongming’s Poetry.” Rocky Mountain Review (Spring 2022): 41-61.
Zhan Kai 詹垲
Widmer, Ellen. “Zhan Kai and Five Novels of Women’s Liberation of the Late Qing.” Frontiers of Literary Studies in China 5, 4 (2011): 537-565.
Zhang Ailing (Eileen Chang) 张爱玲
Ailing Zhang (Eileen Chang) Papers (1914-1994). University of Southern California Digital Library.
Bohlmeyer, Jeanine. “Eileen Chang’s Bridges to China.” Tamkang Review 5, 1 (1974): 111-28.
Brown, Carolyn. Eileen Chang’s ‘Red Rose and White Rose’: A Translation and Afterward. Ph.D. diss. The American University, 1978.
Cai, Keru. “The Proximity Effect: Agency and Isolation in Eileen Chang’s ‘Love in a Fallen City.'” Concentric: Literary and Cultural Studies 48, 1 (2022): 59-84.
[Abstract: This paper offers a new way of understanding how Eileen Chang represents the experience of gender by means of material objects and details in her fiction. Chang deploys the logic of metonymy to direct narrative attention at concrete details which are spatially adjacent to her characters. With Georg Lukács’s Theory of the Novel as a theoretical touchstone, I show that Chang does this in order to demonstrate that only by means of oblique descriptions can the author or the characters themselves communicate the subtleties of subjective experience, in particular the modern predicaments of alienated isolation and limited agency. I call this descriptive technique the proximity effect, for Chang uses that which is physically proximate to illustrate interiority, and these objects become like proxies for the characters themselves. In Chang’s fiction, when a woman is unable to wrestle with world-historical forces, she attempts to regain some control by acting upon small, graspable objects in her immediate surroundings; and when subjective experience cannot be directly conveyed from one mind to another, the individual relies upon proximate objects to mediate interpersonal connection. This difficulty and obliqueness in communicating interiority apply both to her characters and to Chang herself as a Benjaminian storyteller figure.]
Cao, Shou and Min Cong. “A Study of Translation Strategy in Eileen Chang’s The Golden Cangue from the Perspective of Feminist Translation Theory.” Cross-Cultural Communication 13, 8 (2017): 32-39.
Chan, Roy Bing. “Homeless in the World: War, Narrative, and Historical Consciousness in Eileen Chang, György Lukács, and Lev Tolstoy.” Journal of Modern Literature in Chinese 14, 1 (Summer 2017): 5-29.
[Abstract: This essay takes up the ways in which modern literature about war examines two questions: first, in the face of violence and destruction, how might literature figure a world of safety and wholeness away from historic trauma? Second, how might literature promise a form of critical engagement with the world as it is in the hope of finding the conceptual and political clarity necessary to reclaim a future world closer to the ideal? These two questions, when juxtaposed side by side, invite both conceptual conjunction and disjunction. One may argue that literature should be able to fulfill aesthetic and political ideals all at once, or conversely, that aesthetic and political concerns stand at odds against each other. This essay proposes a triangulated reading of the work of Eileen Chang 張愛玲 (1920-1995), György Lukács (1885-1971), and Lev Tolstoy (1828-1910) as a way of exploring these simultaneous conjunctions and disjunctions. The linking of these authors is motivated by Lukács and Chang’s discussions of Tolstoy’s War and Peace (serialized 1865-1867, published as book in 1869) during the global crisis of the 1930s that would usher in the Second World War. War and Peace depicts the Napoleonic Wars that heralded a new ordering of the world under triumphant British imperialism. As such, all three writers engage with the seemingly ceaseless chain of global conflicts and crises that are inseparable from the turbulent trajectory of imperialism, and which only found a partial, uneasy respite in the Cold War.]
Chang, Eileen, Wang Hui Ling, and James Schamus. Lust, Caution: The Story, the Screenplay, and the Making of the Film. NY: Pantheon Books, 2007.
Chang, Sung-sheng Yvonne. “Yuan Qiongqiong and the Rage for Eileen Zhang.” Modern Chinese Literature 4, 1/2 (1988): 201-23.
Chen, Bi-ling. “Imagery and Interiority of the ‘Real’ Chinese: A Feminist Postcolonial Reading of Eileen Chang’s ‘Love in a Fallen City.’” East-West Connections: Review of Asian Studies (2011): 97-116.
Chen, Xiang-Yin Sasha. “Eros Impossible and Eros of the Impossible in Lust/Caution: The Shanghai Lady/Baby in the Late 1930s and Early 1940s.” In Hsiao-yen Peng and Whitney Crothers Dilley, eds., From Eileen Chang to Ang Lee: Lust/Caution. NY: Routledge, 2014, 81-100.
Chen, Ya-Shu. Love Demythologized: The Significance and Impact of Zhang Ailing’s (1921-1995) Works. Ph.D diss. Madison: University of Wisconsin, 1998.
Cheng, Stephen. “Themes and Techniques in Eileen Chang’s Stories.” Tamkang Review 8, 2 (1977): 169-200.
Cheung, Esther M. K. “The Ordinary Fashion Show: Eileen Chang’s Profane Illumination and Mnemonic Art.” In Kam Louie, ed., Eileen Chang: Romancing Languages, Cultures, and Genres. HK: Hong Kong UP, 2012, 73-90.
Chow, Rey. “Modernity and Narration–in Feminine Detail.” In Chow, Woman and Chinese Modernity: The Politics of Reading Between West and East. Minneapolis: University of Minnesota Press, 1991, 84-120.
—–. “Seminal Dispersal, Fecal Retention, and Related Narrative Matters: Eileen Chang’s Tale of Roses in the Problematic of Modern Writing.” differences: A Journal of Feminist Cultural Studies 11, 2 (1999): 153-76.
Chown, Lim Chin. “Reading ‘The Golden Cangue’: Iron Boudoirs and Symbols of Oppressed Confucian Women.” Tr. Louise Edwards and Kam Louie. Renditions 45 (Spring 1996): 141-49.
—–. “Castration Parody and Male ‘Castration’: Eileen Chang’s Female Writing and Her Anti-patriarchal Strategy.” In Peng-hisang Chen and Whitney Crothers Dilley, eds., Feminism/Femininity in Chinese Literature. Amsterdam,: Rodopi, 2002, 127-44.
Daruvala, Susan. “Self as Performance, Lust as Betrayal in the Theatre of War.” In Hsiao-yen Peng and Whitney Crothers Dilley, eds., From Eileen Chang to Ang Lee: Lust/Caution. NY: Routledge, 2014, 101-120.
Davis, Darrell William. “Cannibal, Class, Betrayal: Eileen Chang and Ang Lee.” In Hsiao-yen Peng and Whitney Crothers Dilley, eds., From Eileen Chang to Ang Lee: Lust/Caution. NY: Routledge, 2014, 54-78.
Deng, Jin. “Eileen Chang’s Translation of ‘The Golden Cangue.’” Translation Journal 11, 4 (Oct. 2007).
Deppman, Hsiu-Chuang. “Rewriting Colonial Encounters: Eileen Chang and Somerset Maugham.” Unpublished mss.
—–. “Seduction of a Filmic Romance: Eileen Chang and Ang Lee.” In Kam Louie, ed., Eileen Chang: Romancing Languages, Cultures, and Genres. HK: Hong Kong UP, 2012, 155-76.
—–. “Eileen Chang and Stanley Kwan: Politics and Love in Red Rose (and) White Rose.” In Deppman, Adapted for the Screen: The Cultural Politics of Modern Chinese Fiction and Film. Honolulu: University of Hawaii Press, 2010, 61-97.
—–. “Many Looks of Love in Eileen Chang’s Little Reunion.” In Chin Chown Lim, ed., Rediscovering Eileen Chang. Taipei: Lianjing. 2018. 415-429.
Dilley, Whitney Crothers. “The ‘Real’ Wang Jiazhi: Taboo, Transgression, and Truth in Lust/Caution.” In Hsiao-yen Peng and Whitney Crothers Dilley, eds., From Eileen Chang to Ang Lee: Lust/Caution. NY: Routledge, 2014, 121-32.
Dooling, Amy. “Outwitting Patriarchy: Comic Narrative Strategies in the Works of Yang Jiang, Su Qing, and Zhang Ailing.” In Dooling, Women’s Literary Feminism in Twentieth-Century China. NY: Palgrave MacMillan, 2005, 137-70.
Fu, Poshek. “Eileen Chang, Women’s Film, and Domestic Culture of Modern Shanghai.” Tamkang Review 29, 4 (Summer 1999): 9-28.
Gottardo, Maria. “Colorful Words with a Clanging Sound: Descriptive Adjectives in Zhang Ailing’s Short Stories.” In Nicoletta Pesaro, ed.. The Ways of Translation: Constraints and Liberties of Translating Chinese. Venezia: Libreria Editrice Cafoscarina, 2013, 87-106.
Gunn, Edward. Unwelcome Muse: Chinese Literature in Shanghai and Peking (1937-1945). NY: Columbia UP, 1980, 200-31.
Hong, Jeesoon. Gendered Modernism of Republican China: Lu Yin, Ling Shuhua, and Zhang Ailing, 1920-1949. Ph. D. diss. Cambridge: University of Cambridge, 2003.
Hoyan Hang Fung, Carole. The Life and Works of Zhang Ailing: A Critical Study. Ph. D. diss. Vancouver: University of British Columbia, 1996.
—–. “On the Translation of Eileen Chang’s Fiction.” Translation Quarterly (Hong Kong). 18/19 (March, 2000): 99-136.
Hsia, C.T. “Eileen Chang.” In C.T. Hsia. A History of Modern Chinese Fiction. 2nd ed. New Haven: Yale University Press, 1971, 389-431.
—–. Aiqing, shehui, xiaoshuo (Love, society, fiction). Taipei: Chunwenxue, 1970.
Hu, Lancheng. This Life, These Times (excerpts). Tr. D.E. Pollard. Renditions 45 (Spring 1996): 129-35. [excerpts of Zhang’s husband’s memoirs]
Huang, Nicole. “Eileen Chang and the Modern Essay.” In Martin Woesler, ed., The Modern Chinese Literary Essay: Defining the Chinese Self in the 20th Century. Bochum: Bochum UP, 2000, 67-96.
—–. “Eileen Chang and Alternative Wartime Narrative.” In Joshua Mostow, ed, and Kirk A. Denton, China section, ed., Columbia Companion to Modern East Asian Literatures. NY: Columbia UP, 2003, 458-62.
—–. “Introduction.” In Eileen Chang, Written on Water. Tr. Andrew F. Jones. NY: Columbia UP, 2005.
—–. Women, War, Domesticity: Shanghai Literature and Popular Culture of the 1940s. Leiden: Brill, 2005.
[Abstract: In December 1941, the fifth year in an all-scale cataclysmic Sino-Japanese war that devoured much of Eastern China, the city of Shanghai entered into an era of full occupation. This was the moment when a group of young women authors began writing and soon took over the cultural scene of the besieged metropolis.Women, War, Domesticity reconstructs cultures of reading, writing, and publishing in the city of Shanghai during the three years and eight months of Japanese occupation. It specifically depicts the formation of a new cultural arena initiated by a group of women who not only wrote, edited, and published, but also took part in defining and transforming the structure of modern knowledge, discussing it in various public forums surrounding the print media, and, consequently, promoting themselves as authoritative cultural commentators of the era.]
—–. “Eileen Chang and Things Japanese.” In Kam Louie, ed., Eileen Chang: Romancing Languages, Cultures, and Genres. HK: Hong Kong UP, 2012, 49-72.
—–. “Eileen Chang and Narratives of Cities and Worlds.” In Kirk A. Denton, ed., Columbia Companion to Modern Chinese Literature. NY: Columbia University Press, 2016, 217-23.
—– (curator). “Eileen Chang at the University of Hong Kong: An Online Presentation of Images and Documents from the Archives 百年愛玲, 人文港大: 張愛玲百年誕辰紀念文獻展.” University Museum and Art Gallery, The University of Hong Kong (Sept. 2020).
Huang, Hsin-ya. The Poetics of Hysteria: Feminine Madness in Victorian English and Modern Chinese Women’s Literature. Ph. D. diss. Urbana: University of Illinois, 1994.
Iwasaki, Clara. “‘In My End is My Beginning’: Zhang Ailing’s Parasitic Autobiographical Novels.” In Iwasaki, Rethinking the Modern Chinese Canon: Refractions across the Transpacific. Amherst, NY: Cambria, 2020, 149-88. [MCLC Resource Center review by Kyle Shernuk]
Jiang, Xiaohu. “Sex and Desire in Eileen Chang’s ‘Red Rose, White Rose.'” Archiv Orientalni 88, 2 (2020): 249-67.
[Abstract: Eileen Chang’s novella “Red Rose, White Rose” presents a love triangle between one man and two women, who struggle in the turbulent 1940s, a radically transitional period in China. The traditional lifestyle and morality upheld by the Chinese public for several generations were challenged by the importation of foreign civilization, a process accompanied by military and ideological tensions. Drawing upon the theory of Deleuze and Guattari, this article argues that the three main characters in the novella have difficulty in gratifying their multiple desires, which results from the crumbling of the old order represented by China’s traditional mindset defended by seniors, and from the absence of a reliable new order to be largely formulated in line with Western models. In this transitional age which confuses and suffocates the young Chinese generation, education fails to fulfill its role as a bridge connecting Chinese tradition and Western modernity, and it fails to emancipate young people – and females in particular – from an outdated mentality and lifestyle.]
Kao, Hsin-sheng C. “The Shaping of a Life: Structure and Narrative Process in Eileen Chang’s The Rouge of the North.” In A. Palandri, ed. Women Writers of 20-Century China. Eugene: Asian Studies Publications, University of Oregon, 1982, 111-37.
Kingsbury, Karen Sawyer. Reading Eileen Chang’s Early Fiction: Art and a Female Sense of Self. Ph. D. diss. Madison: University of Wisconsin, 1995.
Kong, Belinda. “Shanghai Biopolitans: Wartime Colonial Cosmopolis in Eileen Chang’s Love in a Fallen City and J. G. Ballard’s Empire of the Sun.” Journal of Narrative Theory 39, 3 (2009): 280–304.
Lee, Christopher. “Translation in Distraction: On Eileen Chang’s ‘Chinese Translation’, a Vehicle of Cultural Influence.” Journal of Modern Literature in Chinese 14, 1 (Summer 2017): 65-87.
[Abstract: This essay focuses on a previously obscure and only recently republished English text held at USC that offers an unparalleled window into Chang’s engagement with translation. The untitled manuscript, typed with handwritten additions and corrections, is contained in a folder marked “Untitled article or speech” and appears to be the script of an oral presentation in which Chang surveys the development of translation in China from the late-Qing period, through the 1911 revolution, the May Fourth period, the war with Japan, the 1949 revolution and the Cultural Revolution. Her speech emphasizes how translation functioned as an index to China’s fraught relationship with the outside world, particularly the West (including Japan and Russia); to that end, the text engages with historical movements such as imperialism, modernization, and the ideological polarization of the Cold War, resulting in an account that belies her reputation as an apolitical figure. While the rediscovery of a text by Eileen Chang is certainly a matter of anecdotal interest, the purpose of this essay is not only to reconstruct its history but also to consider how it illuminates her lifelong relationship to translation through which, I will argue, she tried to unsettle the geopolitical categories that Chih-ming Wang 王智明 (2012) has identified as foundational to modern Chinese literary culture. In what follows, I start by providing an overview of the text based on archival and other sources and provide a summary of its contents. Turning to Shuang Shen’s 沈雙 (2012) discussion of translation as impersonation, I consider how the oral address, a rare textual form in the oeuvre of a notoriously reclusive writer, involves navigating the roles of reader, author, and translator. Through this genre, Chang hints at the possibility of distancing herself from the geopolitics of translation even as the ultimate failure to do so reveals the constraints of her diasporic condition.]
Lee, Haiyan. “Eileen Chang’s Poetics of the Social: Review of Love in a Fallen City.” MCLC Resource Center (May 2007).
—–. “Enemy under My Skin: Eileen Chang’s ‘Lust, Caution’ and the Politics of Transcendence.” PMLA 125, 3 (May, 2010).
Lee, Leo Ou-fan. “Eileen Chang: Romances of a Fallen City.” In Lee, Shanghai Modern: The Flowering of a New Urban Culture in China, 1930-1945. Cambridge: Harvard UP, 1999, 267-303.
—–. “Eileen Chang and Cinema.” Journal of Modern Literature in Chinese 2, 2 (Jan. 1999): 37-60.
—–. “Eileen Chang in Hong Kong.” In David Der-wei Wang, ed., A New Literary History of Modern China. Cambridge, MA: Harvard University Press, 2017, 478-83.
Leng, Rachel. “Eileen Chang’s Feminine Chinese Modernity: Dysfunctional Marriages, Hysterical Women, and the Primordial Eugenic Threat.” Quarterly Journal of Chinese Studies 2, 3 (March 2014), 13-34.
Leung, Ping-kwan. “Two Discourses on Colonialism: Huang Guliu and Eileen Chang on Hong Kong in the Forties.” Boundary 2. Special Issue ed. Rey Chow. 25, 2 (Fall 1998): 77-96.
Li, Jessica Tsui Yan. “The Politics of Self-Translation: Eileen Chang.” Perspectives: Studies in Translatology 14, 2 (2006): 99-106.
—–. “Female Body Revisited: Eileen Chang’s The Rice-Sprout Song and Yangge.” In Reeta Tremblay, ed., Asia: Local and Global Perspectives. Montreal: Canadian Asian Studies Association, 2008, 272-289.
—–. “Self-Translation/Rewriting: The Female Body in Eileen Chang’s “Jinsuo ji”, the Rouge of the North, Yuannu and ‘The Golden Cangue.'” Neohelicon 37, 2 (Dec. 2010): 391-403.
—–. “From Page to Stage: Cultural ‘In-betweeness’ in (New) Love in a Fallen City.” In Kam Louie, ed., Eileen Chang: Romancing Languages, Cultures, and Genres. HK: Hong Kong University Press, 2012, 33-48.
Liao, Ping-hui. “Eileen Chang at the Intersection of the Sinophone and the Anglophone.” In Andrea Bachner, Howard Chiang, and Yu-lin Lee, eds., Sinoglossia. Hong Kong: Hong Kong University Press, 2023, 147-56.
Liu, Joyce Chi Hui. “Filmic Transposition of the Roses: Stanley Kwan’s Feminine Response to Eileen Chang’s Women.” In Peng-hisang Chen and Whitney Crothers Dilley, eds., Feminism/Femininity in Chinese Literature. Amsterdam,: Rodopi, 2002, 145-58.
Liu, Juan. Beyond the Mountains: Cross-culturalism in the Fiction of Edith Wharton and Eileen Chang. Ph. D. diss. Washington: George Washington University, 1995.
Liu Zaifu. “Eileen Chang’s Fiction and C. T. Hsia’s A History of Modern Chinese Fiction.” MCLC Resource Center Publication (July 2009). Rpt. in Howard Y. F. Choy and Jianmei Liu, eds., Liu Zaifu: Selected Critical Essays. Leiden: Brill, 2021, 294-327.
Louie, Kam, ed. Eileen Chang: Romancing Languages, Cultures, and Genres. HK: Hong Kong UP, 2010. [MCLC Resource Center review by Rui Kunze]
[Abstract: Eileen Chang (1920–1995) is arguably the most perceptive writer in modern Chinese literature. She was one of the most popular writers in 1940s Shanghai, but her insistence on writing about individual human relationships and mundane matters rather than revolutionary and political movements meant that in mainland China, she was neglected until very recently. Outside the mainland, her life and writings never ceased to fascinate Chinese readers. There are hundreds of works about her in the Chinese language but very few in other languages. This is the first work in English to explore her earliest short stories as well as novels that were published posthumously. It discusses the translation of her stories for film and stage presentation, as well as nonliterary aspects of her life that are essential for a more comprehensive understanding of her writings, including her intense concern for privacy and enduring sensitivity to her public image. The thirteen essays examine the fidelity and betrayals that dominate her alter ego’s relationships with parents and lovers, informed by theories and methodologies from a range of disciplines including literary, historical, gender, and film studies. These relationships are frequently dramatized in plays and filmic translations of her work.]
—–. “Introduction: Eileen Chang: A Life of Conflicting Cultures in China and America.” In Louie, Eileen Chang: Romancing Languages, Cultures, and Genres. HK: Hong Kong UP, 2012, 1-14.
—–. “Romancing Returnee Men: Masculinity in ‘Love in a Fallen City’ and ‘Red Rose, White Rose.'” In Louie, Eileen Chang: Romancing Languages, Cultures, and Genres. HK: Hong Kong UP, 2012, 15-32.
Ma, Sheng-mei. “Eileen Chang and Zhang Ailing: A Bilingual Orphan.” In Ma, Diaspora Literature and Visual Culture: Asia in Flight. NY: Routledge, 2011, 126-47.
Macdonald, Sean. “Tragic Alliance as (Post)modernist Reading: ‘Jasmine Tea’ by Zhang Ailing.” Hecate 35 (2009).
Marchetti, Gina. “Eileen Chang and Ang Lee at the Movies: The Cinematic Politics of Lust, Caution.” In Kam Louie, ed., Eileen Chang: Romancing Languages, Cultures, and Genres. HK: Hong Kong UP, 2012, 131-54.
Martin, Helmut. “‘Like a Film Abruptly Torn Off’: Tension and Despair in Zhang Ailing’s Writing Experience.” In Wolfgang Kubin, ed., Symbols of Anguish: In Search of Melancholy in China. Bern: Peter Lang, 2001, 353-83
Miller, Lucien and Hui-chuan Chang. “Fiction and Autobiography: Spatial Form in ‘The Golden Cangue’ and The Woman Warrior.” In Michael S. Duke, ed., Modern Chinese Women Writers: Critical Appraisals. NY: M.E. Sharpe, Inc., 1989, 24-43.
Mou, Sherry. “Between History and Literature: Chang Ai-ling’s Lao Tai-tai Characters.” Jindai Zhongguo funu shi yanjiu (Taiwan) 2 (June 1994): 203-227.
Pang, Laikwan. “Photography and Autobiography: Zhang Ailing’s Looking at Each Other.” Modern Chinese Literature and Culture 13, 1 (Spring 2001): 73-106.
—–. “‘A Person of Weak Affect’: Toward an Ethics of Other in Eileen Chang’s Little Reunion.” In Kam Louie, ed., Eileen Chang: Romancing Languages, Cultures, and Genres. HK: Hong Kong UP, 2012, 177-92.
Paolini, Shirley J. and Yen Chen-shen. “Moon, Madness and Mutilation in Eileen Chang’s English Translation of The Golden Cangue.” Tamkang Review 19, 1-4 (1988-89): 547-57.
Passi, Federica. “Translation, Modernity and the Past: the Case of Zhang Ailing.” In Nicoletta Pesaro, ed., The Ways of Translation. Constraints and Liberties of Translating Chinese. Venezia: Libreria Editrice Cafoscarina, 2013, 74-86.
Pechenart, Emmanuelle. “Eileen Chang traductrice de ses propres oeuvres.” 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, 203-24.
Peng, Hsiao-yen, and Whitney Crothers Dilley, eds. From Eileen Chang to Ang Lee: Lust/Caution. NY: Routledge, 2014.
[Abstract: This book analyses Ang Lee’s art of film adaptation through the lens of modern literary and film theory, as well as featuring detailed readings and analyses of different dialogues and scenes, directorial and authorial decisions and intentions, while at the same time confronting the intense political debates resulting from the film’s subject matter. The theories of Freud, Lacan, Deleuze, Bataille and others are used to identify and clarify issues raised by the film related to gender, sexuality, eroticism, power, manipulation, and betrayal; the themes of lust and caution are dealt with in conjunction with the controversial issues of contemporary political consciousness concerning patriotism, and the Sino-Japanese War complicated by divided historical experiences and cross-Taiwan Strait relationships. The contributors to this volume cover translation and adaptation, loyalty and betrayal, collaboration and manipulation, playing roles and performativity, whilst at the same time intertwining these with issues of national identity, political loyalty, collective memory, and gender. As such, the book will appeal to students and scholars of Chinese and Asian cinema and literature, as well as those interested in modern Chinese history and cultural studies.]
Pickowicz, Paul and Yap Soo Ei. “Single Women and the Men in Their Lives: Zhang Ailing and Postwar Visual Images of the Modern Metropolis,” In Christian Henriot and Wen-hsin yeh, eds., Visualizing China: Moving and Still Images in Historical Narratives. Leiden: Brill Publishers, 2013, 439-60.
Rojas, Carlos. “Eileen Chang and Photographic Nostalgia.” In Rojas, The Naked Gaze: Reflections on Chinese Modernity. Cambridge, MA: Harvard University Asia Center, 2008, 159-81.
Rollins, J. B. and Baochai Chiang. “Eileen Chang and the Chinese Diaspora.” Inter-Disciplinary.Net
Sandberg, Eric. “Eileen Chang’s ‘Sealed Off’ and the Possibility of Modernist Romance.” Ariel: A Review of International English Literature 49, 2 (2018): 233-256.
Sang, Tze-lan. “Romancing Rhetoricity and Historicity: The Representational Politics and Poetics of Little Reunion.” In Kam Louie, ed., Eileen Chang: Romancing Languages, Cultures, and Genres. HK: Hong Kong University Press, 2012, 193-214.
—–. “Eileen Chang and the Genius Art of Failure.” In Carlos Rojas and Andrea Bachner, eds., The Oxford Handbook of Modern Chinese Literatures. Oxford: Oxford University Press, 2016, 765-78.
Shan, Te-hsing. “Eileen Chang as a Chinese Translator of American Literature.” In Peng Hsiao-yen and Isabelle Rabut, eds., Modern China and the West. Leiden: Brill, 2014, 106-25.
[Abstract: This chapter characterizes and evaluates Chang’s role as a Chinese translator of American literature. Chang’s position in modern Chinese literary history has been established ever since C.T. Hsia devoted a whole chapter to her in his ground-breaking and monumental History of Modern Chinese Fiction in 1962. However, in comparison with the strong interest in Chang the creative writer, little attention has been paid to her as a translator. In fact, a glimpse at the breakdown of the works she translated shows that her role as a translator is not only significant, but also rather complicated. Although the main mission of the USIS in Hong Kong was to carry out the diplomatic and cultural policy of the U.S. government in its global strategic deployment to contain Communism, the translation series of World Today Press had an enormous influence which went far beyond the immediate political concerns and historical milieu.]
Shan, Tam Pak. “Chronology and Reflections.” In Eva Hung, ed., Traces of Love and Other Stories. HK: Renditions Paperback, 2000, 13-21.
Shen, Shuang. “Ends of Betrayal: Diaspora and Historical Representation in the Late Works of Zhang Ailing.” Modern Chinese Literature and Culture 24, 1 (Spring 2012): 112-48.
—–, ed. Lingdu kan Zhang 零度看張 (Eileen Chang Degree Zero). Hong Kong: Chinese University Press, 2012.
—–. “1952, July: A Provocation to Literary History.” In David Der-wei Wang, ed., A New Literary History of Modern China. Cambridge, MA: Harvard University Press, 2017, 568-73.
Shui Jing 水晶. Pao zhuan ji 拋磚記 (Casting a brick to attract jade). Taipei: Sanmin shuju, 1986.
—–. Zhang Ailing de xiaoshuo yishu 張愛玲的小說藝術 (The fictional art of Zhang Ailing). Taipei: Dadi, 1973.
So, Richard Jean. “Literary Information Warfare: Eileen Chang, the U.S. State Department, and Cold War Media Aesthetics.” American Literature 85, 4 (Dec. 2013): 719-44.
Stewart, Elizabeth Cheng. “Awareness of the Woman Question in the Novels of George Elliot and Eileen Chang.” Ph.D. Thesis, University of Illinois at Urbana-Champaign, 1988.
Sun, Cecile Chu-Chin. “Two Versions of Sejie: Fiction and Film–Views from a Common Reader.” In Hsiao-yen Peng and Whitney Crothers Dilley, eds., From Eileen Chang to Ang Lee: Lust/Caution. NY: Routledge, 2014, 35-50.
Sun, Emily. “Between the Theater and the Novel: Woman, Modernity, and the Restaging of the Ordinary in Mansfield Park and The Rouge of the North.” In Sun, On the Horizon of World Literature: Forms of Modernity in Romantic England and Republican China. NY: Fordham University Press, 2021, 92-135.
Sun, Yifeng. “Transition and Transformation: With Special Reference to the Translation Practice of Eileen Chang in the 1950s Hong Kong.” Journal of Modern Literature in Chinese 11, 1 (2013): 15-32.
Tam, Pak Shan. “Eileen Chang: A Chronology.” Renditions 45 (Spring 1996): 6-12.
Tang Wenbiao 唐文標. Zhang Ailing ziliao da quanji 張愛玲資料大全集 (A complete collections of materials on Zhang Ailing). Taibei: Shibao wenhua, 1984. (contains drawings, Zhang’s writings, memoirs, a chronology, etc)
—–, ed. Zhang Ailing juan 張愛玲卷. Taibei: Yuanjing.
—–. Zhang Ailing zasui 張愛玲雜碎. Taibei: Yuanjing, 1976.
von Kowallis, Jon Eugene. “Sado-Masochism, Steamy Sex, and Shanghai Glitter: What’s Love Got to Do with It? A ‘Philologist’ Looks at Lust/Caution and the Literary Texts That Inspired It.” In Hsiao-yen Peng and Whitney Crothers Dilley, eds., From Eileen Chang to Ang Lee: Lust/Caution. NY: Routledge, 2014, 51-63.
Wang, David Der-wei. “Foreword.” In The Rouge of the North. Berkeley: UCP, 1998, vii-xxx.
—–. “Three Hungry Women.” Boundary 2. Special Issue ed. Rey Chow. 25, 2 (Fall 1998): 47-76. [deals in part with Chang’s Rice Sprout Song]
—–. “Eileen Chang and The Fall of the Pagoda.” Chinese Literature Today (Summer 2010): 92-98.
—–. “Madame White, The Book of Changes, and Eileen Chang: On a Poetics of Involution and Derivation.” In Kam Louie, ed., Eileen Chang: Romancing Languages, Cultures, and Genres. HK: Hong Kong UP, 2012, 215-42.
Wang Meixiang 王梅香 [Wang Mei-hsiang]. “Bu wei ren zhi de Zhang Ailing: Meiguo xinwenchu yishu jihua xia de Yangge yu Chidi zhi lian” 不為人知的張愛玲：美國新聞處譯書 計畫下的《秧歌》與《赤地之戀》(Eileen Chang—the unknown story: The Rice-Sprout Song and Naked Earth under the USIS book translation program). Oumei yanjiu 45, 1 (2015): 73-137.
[Abstract: This essay mainly deals with the relationship between Eileen Chang’s two novels The Rice-Sprout Song and The Naked Earth and the United States Information Service (USIS) in Hong Kong. I argue that these two novels were commissioned and authorized under the USIS Book Translation Program. Moreover, they are products of anticommunist propaganda promulgated by the U.S. Aid Literary Institution. However, their production processes and properties were not identical under the translation program. The Rice-Sprout Song began as Chang’s independent writing, but was later incorporated into the USIS Book Translation Program. On the other hand, The Naked Earth was originally a writing of Farewell to the Korea Front which applied by the Hong Kong political commentator Hsu Tung-Pin. This story was written in close collaboration with USIS. Chang took over the writing project and she continued to write under the same outline. Then, The Naked Earth was broadcast under the China Reporting Program. Finally, I emphasize that Chang still retained her own distinctive writing style under the U.S. Aid Literary Institution producing, in a sense, free writing under an unfree institution.]
Wang, Xiaojue. “Memory, Photographic Seduction, and Allegorical Correspondence: Eileen Chang’s Mutual Reflections.” In Carlos Rojas and Eileen Cheng-yin Chow, eds., Rethinking Chinese Popular Culture: Cannibalizations of the Canon. NY: Routledge, 2009, 190-205.
—–. “Eileen Chang, Dream of the Red Chamber, and the Cold War.” In Kam Louie, ed., Eileen Chang: Romancing Languages, Cultures, and Genres. HK: Hong Kong UP, 2012, 113-30.
—–. “Eileen Chang, Hong Kong, and the Cold War.” 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, 255-96. [MCLC Resource Center review by Jeffrey C. Kinkley]
—–. “Creation and Transmission: Eileen Chang and Sing-Song Girls of Shanghai.” Chinese Literature: Essays, Articles, Reviews 36 (2014): 125-48.
—–. “Zhang Ailing and the Cold War Cultural Geography.” In Yingjin Zhang, ed., A World History of Chinese Literature. New York: Routledge, 2023, 241-52.
Wang, Xiaoming. “The ‘Good Fortune’ of Eileen Chang.” Tr. Cecile Chu-chin Sun. Renditions 45 (Spring 1996): 136-40.
Wang, Xiaoping. “Eileen Chang’s Cross-Cultural Writing and Rewriting in Love in a Fallen City (《 倾城之恋》).” Comparative Literature Studies 49, 4 (2012): 565-584.
—–. “Matrimonial Complex and Identity Anxiety: A Psycho-Political Reading of Zhang Ailing’s ‘Boudoir Stories’.” Journal of Cambridge Studies 7, 1 (2012): 100-119.
Williams, Philip F. C. “Back from Extremity: Eileen Chang’s Literary Return.” Tamkang Review 29, 3 (Spring 1999): 127-38.
Wu, Chunrong and Fei Tan. “The Translator’s Subjectivity in The Golden Cangue from the Perspective of Feminism.” World Journal of English Language 7, 3 (2017).
Wu Fuhui, ed. Zhang Ailing sanwen quanbian 张爱玲散文全编 (Complete essays of Zhang Ailing). Hangzhou: Zhejiang wenyi, 1995.
Xiao, Jiwei. “Belated Reunion? Eileen Chang, Late Style and World Literature.” New Left Review 111 (May/June 2018): 89-110.
—–. “Fragments of Time, Fiction of Details: Eileen Chang, Late Style, and World Literature.” In Xiao, Telling Details: Chinese Fiction, World Literature. New York: Routledge, 2022, 125-50.
Yang, Bin. “Under and Beyond the Pen of Eileen Chang: Shanghai, Nanyang, Huaqiao, and Greater China.” Frontiers of History in China 11, 3 (2016): 458-484.
Yang, Renren. “Toward a Regime of Emotional Authenticity: Eileen Chang’s Literary Transmediation of Theater and Cinema in Two 1940s Love Stories.” Modern Chinese Literature and Culture 35, 2 (Winter 2023): 354-87.
Yao, Sijia. “The Politics of Literary Fame: Tracing Eileen Chang’s Reception in China and the United States.” Forum for World Literature Studies 8, 2 (2016): 291-307.
—–. Cosmopolitan Love: Utopian Vision in D. H. Lawrence and Eileen Chang. Ann Arbor: University of Michigan Press, 2023.
[Abstract: Love, and the different manifestations of it, is a common theme in literature around the world. In Cosmopolitan Love, Sijia Yao examines the writings of D. H. Lawrence, a British writer whose literature focused primarily on interpersonal relationships in domestic settings, and Eileen Chang, a Chinese writer who migrated to the United States and explored Chinese heterosexual love in her writing. While comparing the writings of a Chinese writer and an English one, Yao avoids a direct comparison between East and West that could further enforce binaries. Instead, she uses the comparison to develop an idea of cosmopolitanism that shows how the writers are in conversation with their own culture and with each other. Both D. H. Lawrence and Eileen Chang wrote stories that are influenced by—but sometimes stand in opposition to—their own cultures. They offer alternative understandings of societies dealing with modernism and cultural globalization. Their stories deal with emotional pain caused by the restrictions of local politics and economics and address common themes of incestuous love, sexual love, adulterous love, and utopian love. By analyzing their writing, Yao demonstrates that the concept of love as a social and political force can cross cultural boundaries and traditions to become a basis for human meaning, the key to a cosmopolitan vision.]
Yeh, Emilie Yueh-yu. “Montage of Attractions: Juxtaposing Lust/Caution.” In Hsiao-yen Peng and Whitney Crothers Dilley, eds., From Eileen Chang to Ang Lee: Lust/Caution. NY: Routledge, 2014, 15-34.
Yin, Xiaoling. “Shadow of The Dream of the Red Chamber: An Intertextual Critique of The Golden Cangue.” Tamkang Review 21, 1 (1990): 1-28.
Zamperini, Paola. “A Family Romance: Specters of Incest in Eileen Chang’s Xinjing.” Prism 17, 1 (March 2020): 1-34.
[Abstract: This article focuses on Eileen Chang’s “Xinjing” to map and understand the ways in which the author depicts different types of emotional, erotic, sexual, and psychological flows and exchanges among parents, children, and their partners and spouses. “Xinjing” is here read in conversation with a wide array of other sources, first and foremost the middle and late Qing literary heritage that so greatly occupied and influenced Chang’s own literary universe and pursuits, as well as the westernized literary milieu in which she lived and operated in 1940s Shanghai.]
Zhang Ailing and Modern Chinese Literature. Conference held at Lingnan University, Hong Kong (Oct. 24-25, 2000). [with audio/visual of entire conference]
Zhang, Jingyuan. “Zhang Ailing (Eileen Chang).” In Dictionary of Literary Biography–Chinese Fiction Writers, 1900-1949. Ed. Thomas Moran. NY: Thomson Gale, 2007, 296-310.
Zhang, Yingjin. “From Counter-Canon to Hypercanon in a Postcanonical Age: Eileen Chang as Text and Myth.” Frontiers of Literary Studies in China 5, 4 (2011): 610-32.
Zou, Lin. “The Commercialization of Emotions in Zhang Ailing’s Fiction.” Journal of Asian Studies 70, 1 (2011): 29-51.
[Abstract: This article examines the principle of commercialization evoked in Zhang Ailing’s writing and explores how it frames the subjective value of emotions—particularly desolation—in her fiction. Human relationship in Zhang’s world is essentially commercial, in the sense that it is dominated by interest calculation and exchange. This relationship is driven by desires that are relentless and cannot find meaning in any goal. Behind this human relationship is a commercial framework of value that turns any form of subjectivity assuming natural value into a commodity for consumption. This is the mechanism through which desolation in Zhang’s fiction is commercialized. By exploring the affective structure of desolation, the author argues desolation assumes natural value by building fatalism into its structure as a natural principle. In doing so, Zhang’s aesthetics of desolation presents itself as a petty bourgeois construction for consumption.]
Zhang, Yingjin. “Gender, Genre, and Performance in Eileen Chang’s Films: Equivocal Contrasts Across the Print-Screen Divide.” In Lingzhen Wang, ed., Chinese Women’s Cinema: Transnational Contexts. NY: Columbia UP, 2011, 255-73.
Zhang Beihai
Berry, Michael. “A Tale of Two Cities: Romance, Revenge, and Nostalgia in Two Fin-de-Siece Novels by Ye Zhaoyan and Zhang Beihai.” In Carlos Rojas and Eileen Cheng-yin Chow, eds., Rethinking Chinese Popular Culture: Cannibalizations of the Canon. NY: Routledge, 2009, 115-31.
Zhang Chengzhi 张承志
Choy, Howard Y. F. “‘To Construct an Unknown China’: Ethnoreligious Historiography in Zhang Chengzhi’s Islamic Fiction.” positions: east asia cultures critique 14, 3 (Winter 2006): 687-715. [Project Muse link]
—–. “Muslim-Inhabited Loess: Zhang Chengzhi’s ‘Unknown China.'” In Choy, Remapping the Past: Fictions of History in Deng’s China, 1979-1997. Leiden: Brill, 2008, 79-102.
Dang, Xiayin. “Discerning Space, Situating Self: Discovery and Representation of the Sublime Landscape in Zhang Chengzhi’s Texts.” Archiv Orientalni 88, 2 (2020): 269-91.
[Abstract: Zhang Chengzhi is a well-known writer with multiple literary and cultural labels attached to his name, including educated youth writer, root-seeking writer, ethnic Hui writer, red guard, Muslim, fundamentalist, and spokesman for Jahriyya. Zhang is, however, famous for depicting three lands which have been considered to be fascinating images and primary backgrounds in his writing. This article proposes that the landscape is not merely background to serve his themes; instead it constructs an independent and symbolic world, while the inner world and outer world fuse together. Zhang discovers/represents the sublime landscape as a productive space to crystallize his idea of the sublime. In this way, landscapes effectively provide a material as well as a symbolic approach, allowing us to discern his sublime writing with a multicultural writing identity. This article aims to elaborate upon the ways in which Zhang transforms factual, natural, and geographical lands – as significant geographies to him – into aesthetic, ethical, ethnic cultural, and religious landscapes, how he imagines and constructs a cross-cultural sublime identity in both the local and global contexts, and in what way the representation of the sublime embodies his tactic of living and writing by transcending geographical, ethical, and cultural boundaries.]
Huang, Yibing. “Zhang Chengzhi: Striving for Alternative National Forms, or, Old Red Guard and New Cultural Heretic.” In Huang, Contemporary Chinese Literature: From the Cultural Revolution to the Future. NY: Palgrave Macmillan, 2007.
Liu, Xinmin. “Self-Making in the Wilderness: Zhang Chengzhi’s Reinvention of Ethnic Identity.” American Journal of Chinese Studies 5, 1 (1998): 89-110.
—–. “Deciphering the Populist Gadfly: Cultural Polemic around Zhang Chengzhi’s ‘Religious Sublime.'” In Martin Woesler, ed., The Modern Chinese Literary Essay: Defining the Chinese Self in the 20th Century. Bochum: Bochum UP, 2000, 227-37.
Lovell, Julia. “From Beijing to Palestine: Zhang Chengzhi’s Journeys from Red Guard Radicalism to Global Islam.” Journal of Asian Studies 75, 4 (Nov. 2016): 891-911.
[Abstract: This article traces the intellectual evolution of Zhang Chengzhi (b. 1948), a contemporary Chinese poet, novelist, essayist, archaeologist, and ethnographer, from Mao-era radicalism to Islamic internationalism. Allegedly the inventor of the term “Red Guard” in the context of the Cultural Revolution, he has remained an unapologetic defender of Mao and of the “Red Guard spirit” since the 1960s. In 1987, meanwhile, Zhang converted to an impoverished and ascetic sect of Chinese Islam, the Jahriyya, and since the 2000s he has become one of China’s most prominent spokesmen for global Islam. This article explores how Zhang has reconciled his zeal for Cultural Revolution Maoism, on the one hand, with Pan-Islamist positions on the other. Although Zhang’s stance suffers from undoubted contradictions and inconsistencies, his career and beliefs illuminate the complexities of the legacy of Mao’s and the Cultural Revolutions, of Chinese intellectual dissidence, and of the contemporary trajectories of Chinese internationalism and global Islam.]
Ouyang, Wen-chin. “The Qur’an and Identity in Contemporary Chinese Fiction.” Journal of Qur’anic Studies 16, 3 (2014): 62-83.
Pezza, Alessandra. “Environmental Nostalgia from Idyll to Disillusionment: Zhang Chengzhi’s Inner Mongolia from Short Stories to Esssays.” In Riccardo Moratto, Nicoletta Pesaro, and Di-kai Chao, eds., Ecocriticism and Chinese Literature: Imagined Landscapes and Real Lived Spaces. London: Routledge, 2022, 167-79.
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.
Wu, Jin. The Voices of Revolt: Zhang Chengzhi, Wang Shuo and Wang Xiaobo. Ph.D. diss. Eugene: University of Oregon, 2005.
Xu, Jian. “Radical Ethnicity and Apocryphal History: Reading the Sublime Object of Humanism in Zhang Chengzhi’s Late Fictions.” positions: east asia cultures critique 10, 3 (Winter 20002): 526-46.
Zhang, Hong. “Subjective Identity, Revolutionary Consciousness, and People’s Literature: Zhang Chengzhi and His Literature in the New Era.” In Xueping Zhong and Ban Wang, eds. Debating the Socialist Legacy and Capitalist Globalization in China. NY: Palgrave MacMillan, 2014, 239-52.
Zhang, Xuelian. “Muslim Identity in the Writing of Zhang Chengzhi.” Journal of the Oriental Society of Australia 32/33 (2000/2001): 97-116.
Zhang Dachun 張大春
Ng, Kim-chu. “Techniques behind Lies and the Artistry of Truth: Writing about the Writings of Zhang Dachun.” In David Der-wei Wang and Carlos Rojas eds., Writing Taiwan: A New Literary History. Durham, NC: Duke UP, 2006, 253-82.
Yang, Xiaobin. “Telling (Hi)story: Illusory Truth or True Illusion.” Tamkang Review 21, 2 (1990): 127-47.
Zhang Dongsun 張東蓀
Jiang, Xinyan. “Zhang Dongsun: Pluralist Epistemology and Chinese Philosophy.” In Chung-Yin Cheng and Nicholas Bunnin, eds., Contemporary Chinese Philosophy. Oxford: Blackwell, 2002.
Liu, Jianmei. “Zhang Dongsun: The Predicament of Third Space.” Prism: Theory and Modern Chinese Literature 19, 1 (2022): 125-56.
[Abstract: This article contributes to the study of the cultural politics of Thirdspace in modern China, which exerted a far-reaching influence on Chinese intellectual history, literature, and culture. Although the term the third space was coined by Homi K. Bhabha, the leading figure in postcolonial theoretical studies, as a new form of discourse to go beyond dualistic categories such as the colonizer/colonized opposition, it has much broader cultural meanings in the modern Chinese context. One of the prominent Chinese intellectuals, Zhang Dongsun, intentionally created a critical interface of Thirdspace through which to ensure a spirit of tolerance, independence of individuals, and freedom of criticism. The article investigates Zhang Dongsun’s philosophical system, his political thought and commentary, and his cultural criticism in the Republic of China, discussing the motivations that compelled him to undertake the third route, as he attempted to transcend binary oppositions, which ultimately led to his downfall in the New China. The case of Zhang Dongsun, who exemplifies a group of liberal Chinese intellectuals, not only indicates the predicament of the discourse of Thirdspace in modern China but also adds new insights to our understanding of the divergent spiritual journeys that Chinese intellectuals have taken in response to the national crisis.]
Rošker, Jana S. “Zhang Dongsun’s 張東蓀 (1886 – 1973) Plural Epistemology (duoyuan renshi lun 多元認識論).” In Rošker, Searching for the Way – Theory of Knowledge in Pre-Modern and Modern China. Hong Kong: Chinese University Press, 2008
—–. “The Abolishment of Substance and Ontology: A New Interpretation of Zhang Dongsun’s Pluralistic Epistemology.” Synthetis philosophica International Education 24, 1 (2009): 153-165.
—–. “Two Models of Structural Epistemology: Russell and Zhang Dongsun.” International Communication of Chinese Culture 2, 2 (2015): 109-121.
Yap, Key-chong. “Culture-Bound Reality: The Interactionistic Epistemology of Chang Tung-sun.” East Asian History 3 (June 1992): 77-120.
—–. “Zhang Dongsun.” In Antonio S. Cua, ed., Encyclopedia of Chinese Philosophy, London: Routledge, 2001.
Zhang Guangtian
Wan, Abbey. “Minstrel, Confucian Scholar, Poet.” City Weekend (Feb. 7, 2002).
Zhang Guixing 張貴興 (Chang Kuei-hsing)
Bachner, Andrea. “Reinventing Chinese Writing: Zhang Guixing’s Sinographi Translations.” In Jing Tsu and David Der-wei Wang, eds., Global Chinese Literature: Critical Essays. Leiden: Brill, 2010, 177-96.
Bernards, Brian. “Plantation and Rainforest: Chang Kuei-hsing and a South Seas Discourse of Coloniality and Nature.” In Brian Bernards, Shu-mei Shih, and Chien-hsin Tsai, eds., Sinophone Studies: A Critical Reader.New York: Columbia University Press, 2011.
Rojas, Carlos. “Becoming Semi-wild: Colonial Legacies and Interspecies Intimacies in Zhang Guixing’s Rainforest Novels.” Prism 19, 2 (2022): 438-53.
[Abstract: This article borrows Juno Salazar Parreñas’s concept of the “semi-wild” as an entry point into an analysis of Malaysian Chinese author Zhang Guixing’s novels Elephant Herd (1998) and Monkey Cup (2000). Set in Sarawak, both works feature a relatively simple plotline interwoven with an intricate web of flashbacks. More specifically, each work’s primary plotline features an ethnically Chinese protagonist searching for a relative who has disappeared into the rainforest, while also becoming romantically interested in a young Indigenous woman whom he meets during his quest. In each case, a fascination with the relationship between humans and Sarawak’s various “semi-wild” flora and fauna is paralleled by an attention to the relationship between the region’s ethnic Chinese and its various Indigenous peoples—and particularly two subgroups of Sarawak’s Dayak ethnicity, the “Sea Dayaks” (also known as the Iban) and the “Land Dayaks” (who are often simply called “Dayaks”). Each work uses a set of quasi-anthropomorphized plants and animals (including silk-cotton trees, Nepenthes pitcher plants, elephants, crocodiles, rhinoceroses, and orangutans) to reflect on humans’ relationship to the local ecosystem, while simultaneously using Indigenous peoples to reflect on the way in which overlapping colonial legacies have shaped the region’s sociopolitical structures.]
—–. “Untamed: Wilderness and Domestication in Zhang Guixing’s Elephant Herd.” Chinese Literature and Thought Today 54, 1-2 (2023): 27-37.
[Abstract: This essay uses a dialectics of wildness and domestication as a prism through which to examine the first work in Zhang Guixing’s informal rainforest trilogy, his 1998 novel Elephant Herd (Qunxiang). Focusing on Zhang’s engagement with issues of nature, colonialism, language, and family, the essay argues that the novel pivots on a pair of intertwined impulses to domesticate wilderness, on the one hand, and to disrupt and figuratively “re-wild” these domesticated spaces, on the other hand. Even as wildness, in all its forms, is perceived as an existential threat that needs to be tamed, the resulting domestication process frequently involves patterns of violence that require new efforts of domestication in their own right.]
Shih, Shu-mei. “Chang Kuei-hsing as Sinophone Sarawakian Writer.” Chinese Literature and Thought Today 54, 1-2 (2023): 11-17.
[Abstract: This paper seeks to establish Chang Kuei-hsing as a Sarawakian writer, or better still, a Sarawakian Taiwanese writer, rather than a Malaysian writer. Chang was born and raised in Sarawak before it was incorporated into Malaysia in 1963, and he left to become a Taiwanese citizen in the 1980s. All of his major novels are set in Sarawak, and several of them express a distinctively self-critical perspective that implicates Chinese settlers and their descendants in their exploitation of the Borneo Rainforest and the dispossession of indigenous Dayak peoples. A Sinophone ethic emerges from these moments of self-critique that does not shy away from confronting history in its place-based specificity and, within this specificity, the historical actors’ complicity within it.]
Tan, E. K. “Toward a Sinophone Global South Paradigm: Chang Kuei-hsing’s Monkey Cup as Example.” Chinese Literature and Thought Today 54, 1-2 (2023): 18-26.
[Abstract: This article explores the potential of a Sinophone Global South paradigm by examining how marginal literature or literature from the periphery negotiates its status within a system of recognition in the production and circulation of knowledge. Using Sinophone Malaysian writer Chang Kuei-hsing’s novel, Monkey Cup, the article considers two thematic focuses under the larger paradigm of the Global South as methodology: 1) the critique of global capitalism in the form of colonial practices; and 2) the response of indigenous, marginal, and under-represented communities to the failure of globalization and its promise to support and elevate them beyond the confines of the nation states. It contends that a Global South approach to Sinophone Malaysian literature, in the case of Chang’s writing, allows us to engage in a process of unlearning/unworlding and relearning/reworlding to unearth a decolonial meaning making process of minor literatures and marginal cultures.]
Wu, Chia-rong. “Magical Translocalism in Sinophone Malaysian Literature.” In Wu, Supernatural Sinophone Taiwan and Beyond. Amherst, NY: Cambria Press, 2016.
Zhang Henshui 张恨水
Altenburger, Roland. “Willing to Please: Zhang Henshui’s Novel ‘Fate in Tears and Laughter’ and Mao Dun’s Critique.” In Findeison and Gassmann, eds., Autumn Floods: Essays in Honour of Marian Galik. Bern: Peter Lang, 1997.
Chow, Eileen Cheng-Yin. “1929: The Author as Celebrity.” In David Der-wei Wang, ed., A New Literary History of Modern China. Cambridge, MA: Harvard University Press, 2017, 354-59.
Huang, Fangyuan. “Not Just Tears and Laughter: Rethinking the Spatiality of Emotions in Zhang Henshui’s Fate in Tears and Laughter.” Literature and Modern China 2, 1 (2022): 7-28.
[Abstract: This article rethinks the spatiality of emotions through the lens of Zhang Henshui’s Fate in Tears and Laughter, one of the most popular novels in the Republican era (1911-1949). Drawing on Ling Hon Lam’s work on the spatiality of emotion in premodern Chinese theater, this study reformulates emotion as a space that transposes an affective body into a spectatorial position in front of the emotion-realm mediated by theatricality. This article sets out to delineate the melodramatic polarization of emotions (tears and laughter), the spatial topography of emotion embedded in geographical loci, and the emotional spectatorship in which a private self is enmeshed in a public domain through bodily engagement in laughing, crying, and sympathizing with fictional characters. It con-tributes to a new understanding of the affective assembly of emotions evoked by reading experienc-es that is not so much an innate faculty but rather the coded registers of an imagined community.]
Lyell, William A. “Translator’s Afterword.” In Shanghai Express. Honolulu: University of Hawaii Press, 1997, 239-56.
McClellan, T. M. Zhang Henshui’s Fiction: Attempts to Reform the Traditional Chinese Novel. Ph.D. diss. Edinburgh: University of Edinburgh, 1991.
—–. “Change and Continuity in the Fiction of Zhang Henshui (1895-1967): From Oneiric Romanticism to Nightmare Realism.” Modern Chinese Literature 10, 1/2 (1998): 113-134.
—–. Zhang Henshui and Popular Chinese Fiction, 1919-1949. Lewiston: Edwin Mellen Press, 2005.
[Abstract: This book is a “life and works” study of the most successful Chinese novelist of the first half of the twentieth century. In the 1920s-1940s, the popularity of Zhang’s work among readers was immense, but it was denigrated as commercial, ideologically backward writing during an age when literature in China was dominated by the leftist politics and Europeanising aesthetics of the May Fourth Movement. The author demonstrates, by detailed philological analysis, how Zhang Henshui chose to retain the form and language of the old-style Chinese novel, but to assimilate techniques and content from May Fourth writing as a means of “improving” traditional fiction while “catching up with the times.” In this by far most comprehensive survey of Zhang’s fictional work in any Western language, the author identifies, with impressive literary sensitivity, a number of phases of development and retrogression, as Zhang Henshui moved away gradually from writing fiction for entertainment and comfort to writing more disturbing and engaging work. Rare among studies of modern Chinese literature, the book’s generous excerpts and appendices from the most outstanding novels in exquisite English translation offer a lively impression of the experience of reading Zhang Henshui novels. The bibliography includes a most valuable detailed chronological list of Zhang’s works. This book will also be of interest to scholars of Republican-era Chinese culture and history in general, as well as to scholars of comparative literature and general literary theory.]
—–. “Zhang Henshui.” In Dictionary of Literary Biography–Chinese Fiction Writers, 1900-1949. Ed. Thomas Moran. NY: Thomson Gale, 2007, 311-19.
Rupprecht, Hsiao-wei Wang. Departure and Return: Chang Hen-shui and the Chinese Narrative Tradition. HK: Joint Publishing, 1987.
Song, Weijie. “Urban Snapshots and Manners: Zhang Henshui and the Beijing Dream.” In Song, Mapping Modern Beijing: Space, Emotion, Literary Topography. Oxford: Oxford University Press, 2018, 88-118.
Zhang Jie 张洁
Bailey, Alison. “Travelling Together: Narrative Technique in Zhang Jie’s ‘The Ark’.” In Michael S. Duke, ed., Modern Chinese Women Writers: Critical Appraisals. NY: M.E. Sharpe, Inc., 1989, 96-111.
Chan, Sylvia. “Chang Chieh’s Fiction: In Search of Female Identity.” Issues and Studies 25.9 (1989): 85-104; also in Bih-jaw Lin, ed. Post-Mao Sociopolitical Changes in Mainland China: The Literary Perspective. Taibei: Institute of International Relations, National Chengchi University, 1991, 89-108.
Chen, Yu-shih. “Harmony and Equality: Notes on ‘Mimosa’ and ‘Ark.'” Modern Chinese Literature 4, 1/2 (1988): 163-70.
Chen, Xiaomei. “Reading Mother’s Tale: Reconstructing Women’s Space in Amy Tan and Zhang Jie.” Chinese Literature: Essays, Articles, Reviews 16 (1994): 111-32.
Chong, Woei Lien. “The Position of Women in China: A Lecture by Woman Writer Zhang Jie.” China Information 10, 1 (Summer 1995): 51-58.
Chou, Eva Shan. “Zhang Jie.” In Thomas Moran and Ye (Dianna) Xu, eds., Chinese Fiction Writers, 1950-2000. Dictionary of Literature Biography, vol. 370. Detroit: Thomson Gale, 2013, 286-93.
Hagenaar, Elly. “Some Recent Literary Works by Zhang Jie: A Stronger Emphasis on Personal Perspective.” China Information 10, 1 (Summer 1995): 59-71.
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.
Lee, Lily Xiao Hong. “Love and Marriage in Zhang Jie’s Fangzhou and Zumulu: Views from Outside.” Chinese Literature and European Context: Proceedings of the 2nd International Sinological Symposium. Bratislava: Institute of Asian and African Studies of the Slovak Academy of Sciences, 1994, 233-40.
Muller, Eva. “Die Schrifstellerin Zhang Jie: Vom Grosen politischen Roman zum weiblichen Psychogramm.” In Christina Neder et al. eds., China in Seinen Biographischen Dimension: Gedenkscrift fur Helmut Martin. Weisbaden: Harrossowitz Verlag, 2001.
Prazniak, Roxann. “Feminist Humanism: Socialism and Neofeminism in the Writings of Zhang Jie.” In Arif Dirlik and Maurice Meisner eds., Marxism and the Chinese Experience. Armonk, NY: M. E. Sharpe, 1989, 269-93.
Roberts, Rosemary A. “Images of Women in the Fiction of Zhang Jie and Zhang Xinxin.” China Quarterly 120 (1989): 800-13.
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.
Yang, Gladys. “Zhang Jie, a Controversial, Mainstream Writer.” In Yang Bian, ed., The Time is Not Ripe: Contemporary China’s Best Writers and Their Stories. Beijing: FLP, 1991, 253-60.
Zhang Jingsheng 张竞生
Hee, Wai Siam. “On Zhang Jingsheng’s Sexual Discourse: Women’s Liberation and Translated on Sexual Differences in 1920s China.” Frontiers of Literary Studies in China 7, 2 (2013): 235-70.
[Abstract: This article explores and re-evaluates Zhang Jingsheng’s views on sex education and aesthetic education, as revealed in his book Sexual Histories and in articles that he published in the journal New Culture. His endorsement of sex education and aesthetic education constructed a sexual discourse, advocating the redefinition of Chinese men and women’s gender and sexuality through knowledge/power. Zhang Jingsheng highly valued eugenics and “aesthetic sexual intercourse,” and he attempted to use sex education to improve Chinese people’s innate physical weakness and their “androgynous” sexual characteristics. By prescribing an aesthetic education that covered all fundamental aspects of life, he also attempted to remedy what he saw as the inadequate or inverted models of masculinity and femininity available to Chinese men and women. Furthermore, by collecting and analyzing articles solicited for Sexual Histories and letters addressed to New Culture, he discussed how to cure the sexual perversions that were associated with Chinese men and women’s sexualities. Finally, this article compares the contents of New Culture with the discourses (in Chinese and other languages) on sexual difference published in other Chinese journals in the 1920s, including how the discourses on sexual difference by Havelock Ellis and Edward Carpenter were translated into the modern Chinese context. The article concludes that the contributors to New Culture held unified opinions on the issues of homosexuality and women’s liberation. Thus, in comparison with journals such as The Chinese Educational Review, The Ladies’ Journal, and New Women, New Culture was less tolerant of divergent opinions. Although Zhang supported sexual liberation, he nonetheless sought to eliminate homosexuality from the aesthetic society that he envisioned. His idea of sexual liberation tended to signify women’s liberation and excluded a homosexual agenda because he was homophobic. For most of the May Fourth Generation, including Zhang Jingsheng, sexual and women’s liberation were not equivalent to self-liberation. Instead, the concepts of sexual liberation and women’s liberation were invoked to re-code the bodies of Chinese men and women, with the aim of creating a “Strong Breed to Rescue the Nation.”]
Leary, Charles. “Intellectual Orthodoxy, the Economy of Knowledge, and the Debate over Zhang Jingsheng’s Sex Histories.” Republican China 18, 2 (1994): 99-137.
Lee, Haiyan. “Governmentality and the Aesthetic State: A Chinese Fantasia.” positions: eastasia cultures critique 14, no.1 (2006): 99-130 (deals with Zhang Jingsheng’s Mei de rensheng guan [The Philosophy of a Beautiful Life], Meide shehui zuzhi fa [How to Organize a Beautiful Society], and, to a lesser extent, Xingshi [Sex histories]).
Peng, Hsiao-yen. “Sex Histories: Zhang Jingsheng’s Sexual Revolution.” In Peng-hisang Chen and Whitney Crothers Dilley, eds., Feminism/Femininity in Chinese Literature. Amsterdam,: Rodopi, 2002, 159-78.
Rocha, Leon Antonio. Sex, Eugenics, Aesthetics, Utopia in the Life and Work of Zhang Jingsheng (1888-1970). Ph. D. diss. Cambridge: University of Cambridge, 2010.
Zhang Junmai (Carsun Chang) 张君劢
Chen, Dandan. “The State in the Shadow of War: Reexamining Zhang Junmai’s Thoughts on Democratic Politics and State Building.” Journal of Modern Chinese History 9, 2 (2015): 175-98.
[Abstract: In the shadow of the Sino–Japanese War, Zhang Junmai presented his solutions to China’s problems in a time of emergency. Using nation instead of class as his frame of reference, Zhang called for the rise of national self-consciousness and integrated his opinions on science, life, and epistemology in his blueprint for a new China. After examining the limits of democratic politics in wartime, Zhang articulated his version of democracy designed for a time of emergency, namely Revised Democratic Politics, which emphasized prompt governmental decision making, centralization of power, mass mobilization, and the cultivation of citizens as political, moral, and economic subjects. Placing Zhang’s political thought against the backdrop of the democracy versus dictatorship debate, this article will illustrate the inner complexity of Zhang’s “scientific” planning of democratic politics. This article argues that, echoing Carl Schmitt’s theory of the state of emergency and his concept of true politics as solving difficult problems, the formula of Revised Democratic Politics equates the issue of sovereignty with administrative efficiency within the bounds of legislative regulation. In addition, this article explores Zhang Junmai’s construction of the Way of State Building and state philosophy in addition to his theoretical configuration of China as a Gemeinschaft (ethical community) in a time of emergency.]
Jeans, Roger B. Democracy and Socialism in Prewar China: The Politics of Zhang Junmai, 1906-1941. Lanham, MD: Rowan and Littlefield, 1997.
Tsui, Brian. “The Mutations of Pan-Asianism: Zhang Junmai’s Cold War.” Twentieth-Century China 42, 2 (2017): 176-97.
Zhang Kangkang 张抗抗
Bryant, Daniel. “Making It Happen: Aspects of Narrative Method in Zhang Kangkang’s ‘Northern Lights’.” In Michael S. Duke, ed., Modern Chinese Women Writers: Critical Appraisals. NY: M.E. Sharpe, Inc., 1989, 112-34.
King, Richard. “Introducing the Chinese TV Series The Invisible Companion.” MCLC Resource Center (Dec. 2022) [includes access to digitized version of the original series from the 1990s]
Liu, Xi. “The Representation of Rural Migrant Women and the Discourse of Modernity in Contemporary China–A Study of Zhang Kangkang’s Novel Zhima.” Frontiers of Literary Studies in China 6, 4 (2012): 511-25.
[Abstract: Contemporary Chinese female writer Zhang Kangkang’s novel Zhima uses the lives of rural migrant women to symbolize the experience of the individual in Chinese urban modernity. The novel exposes the gender and class discrimination suffered by the rural migrant woman Zhima, but it does not fully unmask or probe the deeply institutionalized imbrications between gender, class and power in both rural and urban society. The challenge posed to the hierarchical distinction between rural/urban in this text’s narrative ultimately gives way to the discourses on suzhi (quality) and “population control” that actually reinforce the rural/urban differences. The author’s self-proclaimed feminist standpoint is also overshadowed by the text’s complicity with developmentalist modern urban values. This literary text thus affirms, rather than calling into question, the post-socialist discourses of modernity, which are distinguished by their promotion and celebration of urbanization and free market.]
—–. “The Representation of Chinese Rural Migrant Women and the Post-Mao Modernity Discourses: A Study of Zhang Kangkang’s Novel Zhi Ma.” In Jana S. Rošker and Nataša Vampelj Suhadolnik, eds., Modernisation of Chinese Culture: Continuity and Change. Tyne: Cambridge Scholars, 2013, 215-32.
Wu, Taichang. “Zhang Kangkang and Her Fiction.” In Yang Bian, ed., The Time is Not Ripe: Contemporary China’s Best Writers and Their Stories. Beijing: Foreign Languages Press, 1991, 281-86.
Yang, Suying. “Gender Construction in the Novels of Zhang Kangkang and Liang Xiaosheng.” 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, 109-24.
Zhang Mei
Sieber, Patricia. “Zhang Mei.” 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, 195-96.
Zhang Mingyuan 张明媛
Williams, Philip F. C. “Migrant Laborer Subcultures in Recent Chinese Literature: a Communicative Perspective.” Intercultural Communication Studies 8, 2 (1998-99): 153-161. [discusses the literary portrayal of contemporary rural mangliu, esp. in Zhang Mingyuan’s 1989 play, Duo yu de xiatian多雨的夏天].
Zhang Ping 张平
Kinkley, Jeffrey C. “Modernity and Apocalypse in Chinese Novels from the End of the Twentieth Century.” In Charles Laughlin, ed., Contested Modernities in Chinese Literature. NY: Palgrave Macmillan, 2005, 101-20. [deals with Wang Lixiong’s Yellow Peril, Lu Tianming’s Heaven Above, Zhang Ping’s Choice, and Mo Yan’s Liquorland].
—–. “Climax: The Alarum and Standard-Bearer–Zhang Ping’s Choice.” In Kinkley, Corruption and Realism in Late Socialist China. Palo Alto: Stanford UP, 2007, 78-103.
Zhang Ruogu 张若谷
Dooling, Amy. “1929, September: Gender, Commercialism, and the Literary Market.” In David Der-wei Wang, ed., A New Literary History of Modern China. Cambridge, MA: Harvard University Press, 2017, 348-54.
Hutt, Jonathan. “Enfant de Siecle: The Urban Symphonies of Zhang Ruogu.” China Heritage Quarterly 23 (2010).
Zhang Shenqie 張深切
Tsai, Chien-hsin. “Lai He, Zhang Shenqie, and Topolectal Writing.” In Tsai, A Passage to China: Literature, Loyalism, and Colonial Taiwan. Cambridge: Harvard University Asia Center, 2017, 160-205.
Zhang Shizhao 章士釗
Bai, Ji’an. “Hu Shi and Zhang Shizhao.” Chinese Studies in History 39, 3 (Spring 2006): 3-32.
Zhang Taiyan 章太炎
Chang, Hao. Chinese Intellectuals in Crisis: Search for Order and Meaning (1890-1911). Berkeley: University of California Press, 1987.
Ishii, Tsuyoshi. “1906, July 15: Zhang Taiyan and the Revolutionary Politics of Literary Restoration.” In David Der-wei Wang, ed., A New Literary History of Modern China. Cambridge, MA: Harvard University Press, 2017, 202-207.
Lee, Mabel. “Chang Ping-lin’s Concept of Self and Society: Questions of Constancy and Continuity After the 1911 Revolution.” Zhonghua minguo chuqi lishi yantaohui lunwenju 1912-1917. Taibei: Institute of Modern History of the Academica Sinica, 1984, 593-630.
Lee, Jer-shiarn. Chang Ping-lin, 1869-1936: A Political Radical and Cultural Conservative. Taibei: Liberal Arts Press, 1993.
Furth, Charlotte. “The Sage as Rebel: The Inner World of Chang Ping-lin.” In Furth ed., The Limits of Change: Essays on Conservative Alternatives in Republican China. Cambridge, MA: Harvard UP, 1976, 113-50.
Kowallis, Jon. “Rethinking China, Confucianism and the World from the Late Qing: A Special Issue on Zhang Taiyan and Lu Xun.” Frontiers of Literary Studies in China 7, 3 (2013): 325-32.
Lee, Mabel. “Zhang Taiyan: Daoist Individualism and Political Reality.” Frontiers of Literary Studies in China 7, 3 (2013: 346-66.
Makeham, John. “Research and Reflections on Zhang Taiyan.” Frontiers of Literary Studies in China 7, 3 (2103): 339-45.
[Abstract: Historians generally describe Zhang Taiyan 章太炎 (Binglin 炳麟, 1869–1936) as an anti-Manchu revolutionary and treat his Buddhism as subordinate to this larger political project. Far less commonly understood is Zhang’s role in preparing the groundwork for the establishment of Chinese philosophy as an academic discipline. Against the backdrop of an intellectual climate in Japan and China during the decades either side of 1900, in which a premium had come to be placed on logic as a precondition for the development of philosophy, Zhang was one of the first Chinese intellectuals to follow the lead of Japanese scholars in maintaining that classical Chinese philosophers had developed indigenous forms of logic. Significantly, he further argued that Chinese versions of Yogācāra texts on Buddhist logic and epistemology (yinming 因明; Skt. hetu-vidyā) made it possible once again to gain a proper understanding of China’s earliest writings on logic. In this paper I argue that Zhang sought to establish that early Chinese texts “bear witness” to insights into realities that transcend individual cultures but are most fully and systematically articulated in Yogācāra systems of learning; and that classical Chinese philosopher-sages had attained an awareness of the highest truths, evidence of which can be found in their writings. In short, I will show that Zhang used Yogācāra to affirm the value of “Chinese philosophy” and, in doing so, helped shape its early definition.]
Murthy, Viren. “Equalization as Difference: Zhang Taiyan’s Buddhist-Daoist Response to Modern Politics” IIAS Newsletter (June 2007).
—–. The Political Philosophy of Zhang Taiyan: The Resistance of Consciousness. Leiden: Brill, 2011. [MCLC Resource Center review by Hung-yok Ip]
[Abstract: Zhang Taiyan (1868-1936) is famous for being one of the first thinkers in China to promote revolution in the early twentieth century. Scholars have addressed Zhang’s revolutionary and nationalist thought, but until this work there has not been any sustained engagement with Zhang’s Buddhist writings which aimed to understand and criticize the world from the perspective of consciousness. These philosophical works are significant because they exemplify how, as Chinese intellectuals entered the global capitalist world, they constantly tried to find resources to create an alternative. As the author argues in the conclusion, this desire to create an alternative to capitalism remained throughout twentieth century China and continues today in the works of critical intellectuals such as Wang Hui. Thus this work is important not only to understand our past, but to hope for a better future.]
—– “Transfiguring Modern Temporality: Zhang Taiyan’s Yogacara Critique of Evolutionary History.” Modern China 38 (2012): 483-522.
—–. “Ontological Optimism, Cosmological Confusion, and Unstable Evolution: Tan Sitong’s Renxue and Zhang Taiyan’s Response.” In Viren Murthy and Axel Schneider, eds., The Challenge of Linear Time: Nationhood and the Politics of History in East Asia. Leiden: Brill, 2014, 49-82.
Shimada, Kenji. Pioneer of the Chinese Revolution: Zhang Binglin and Confucianism. Tr Joshua A. Fogel. Stanford: Stanford University Press, 1990.
Wang, Hui. “Zhang Taiyan’s Concept of the Individual and Modern Chinese Identity.” In Wen-hsin Yeh, ed., Becoming Chinese: Passages to Modernity and Beyond. Berkeley: University of California Press, 2000, 231-59.
Wong, Young-tsu. Search for Modern Nationalism: Zhang Binglin and Revolutionary China, 1869-1936. Hong Kong: Oxford UP, 1989.
—–. “Zhang Bingling’s Critique of Western Modernity: A Chinese View of Cultural Pluralism.” In Peter Zarrow, ed., Creating Chinese Modernity: Knowledge and Everyday Life, 1900-1940. NY: Peter Lang, 2007, 23-50.
—–. Beyond Confucian China: The Rival Discourses of Kang Youwei and Zhang Binglin. NY: Routledge, 2010.
[Abstract: Young-tsu Wong throws new light on Kang Youwei and Zhang Binglin, both through research on the sources, nature and import of their ideas and through juxtaposing them. The result is a provocative and stimulating analysis of late Qing-early Republican thought. Never before these two rival thinkers have been studied in any western language, and Wong sees these two men, though distinctly different in personality and thought, as the genuine pioneers of modern Chinese thought. The author highlights the mix of traditional Chinese thought, especially Confucianism and western ideas as well as the personal experiences of the two key thinkers in Modern Chinese History, enabling him to reassess the transition of China’s cultural tradition and its modern fate in a world-wide perspective. This work provides a stimulating and provocative reassessment of two major thinkers in modern Chinese history. As such, it will be welcomed by scholars in the field of modern Chinese history and intellectual thought.]
Zhang Tianyi 张天翼
Anderson, Marsten. “Realism’s Last Stand: Character and Ideology in Zhang Tianyi’s Three Sketches.” MCL 5, 2 (1989): 179-96.
—–. “Mao Dun, Zhang Tianyi, and the Social Impediments to Realism.” In Anderson, The Limits of Realism: Chinese Fiction in the Revolutionary Period. Berkeley: UCP, 1990, 119-79.
Gotz, Michael. Realistic Fiction as a Medium for Social Criticism: Short Stories of Chang T’ien-yi. M.A. thesis. Berkeley: University of California, 1973.
Hsia, C.T. “Chang T’ien-i (1907- ).” In C.T. Hsia, A History of Modern Chinese Fiction. 2nd ed. New Haven: Yale University Press, 1971, 212-36.
Moran, Thomas. “Zhang Tianyi.” In Dictionary of Literary Biography–Chinese Fiction Writers, 1900-1949. Ed. Thomas Moran. NY: Thomson Gale, 2007, 320-32.
Sun, Yifeng. Fragmentation and Dramatic Moments: Zhang Tianyi and the Narrative Discourse of Upheaval in Modern China. New York: Peter Lang, 2002.
—–. “Humour, Satire, and Parody in Zhang Tianyi’s Writings.” Chinese Culture XL, 2 (June 1999): 1-44.
—–. “The Function of Repetition in Zhang Tianyi’s Art.” Tamkang Review 31, 3 (Spring 2001): 137-.
Tsau, Shu-ying. “Zhang Tianyi’s Fiction: The Beginning of Proletarian Literature in Chian.” Ph.D. Diss. Toronto: University of Toronto, 1976.
—-. “Zhang Tianyi’s Satirical Wartime Stories.” La litterature chinoise au temps de la guerre de resistance contre le Japon (de 1937 a 1945). Paris: Editions de la Fondation Singer-Polignac, 1982, 175-88.
Yuan, Ying. “Chang Tien-yi and His Young Readers.” Chinese Literature 6 (1959): 137-139.
Zhang Wei 张炜
Lu, Jie. “Nostalgia without Memory: Reading Zhang Wei’s Essays in the Context of Fable of September.” In Martin Woesler, ed., The Modern Chinese Literary Essay: Defining the Chinese Self in the 20th Century. Bochum: Bochum UP, 2000, 211-25.
Mi, Jiayan. “Entropic Anxiety and the Allegory of Disappearance: Hydro-Utopianism in Zheng Yi’s Old Well and Zhang Wei’s Old Boat.” China Information 21 (2007): 109-140.
Russell, Terrence. “Zhang Wei and the Soul of Rural China.” Tamkang Review 35, 2 (Winter 2004): 41-56.
Xu, Jian. “Body, Earth, and Migration: The Poetics of Suffering in Zhang Wei’s September Fable.” Modern Language Quarterly: A Journal of Literary History 67, 2 (June 2006).
Zhang Wentian 张闻天
Galik, Marian. “Young Zhang Wentian and His ‘Goethe’s Faust.'” Asian and African Studies [Brataslava] 8, 1 (1999): 3-16.
Zhang Xiguo (Chang Hsi-kuo) 張系國
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.
Lau, Joseph S.M. “Obsession with Taiwan: The Fiction of Chang Hsi-kuo.” In Jeannette L. Faurot, ed., Chinese Fiction from Taiwan: Critical Perspectives. Bloomington: IUP, 1980, 148-65.
Wong, Kin-yuen. “Rhetoric, History and Interpretation in Chang Hsi-kuo’s The Star-Cloud State.” Modern Chinese Literature 6, 1/2 (1992): 115-132.
Yip, Terry Siu-han. “Place, Gender and Identity: The Global-Local Interplay in Three Stories from China, Taiwan and Hong Kong.” In Kwok-kan Tam et al., eds., Sights of Contestation: Localism, Globalism and Cultural Production in Asia and the Pacific. HK: The Chinese University Press, 2002, 17-34. [deals with stories by Tie Ning, Zhang Xiguo (Chang Shi-kuo), and Ye Si]
Zhang Xianliang 张贤亮
An, Ch’i. “What ‘Wind’ Is Blowing?” In Hualing Nieh, ed., Literature of the Hundred Flowers, Volume II: Poetry and Fiction. NY: Columbia UP, 1981, 145-50/ .
Chen, Yu-shih. “Harmony and Equality: Notes on ‘Mimosa’ and ‘Ark.'” Modern Chinese Literature 4, 1/2 (1988): 163-70.
Fang, Jincai. The Crisis of Emasculation and the Restoration of Patriarchy in the Fiction of Chinese Contemporary Male Writers Zhang Xianliang, Mo Yan, and Jia Pingwa. Ph.D. Diss. Vancouver: University of British Columbia, 2004.
Fokkema, Douwe. “Modern Chinese literature as a result of acculturation: The intriguing case of Zhang Xianliang.” 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, 26-34.
Kinkley, Jeffrey C. “A Bettelheimian Interpretation of Chang Hsien-liang’s Labor-Camp Fiction.” Asia Major TS 4, 2 (1991): 83-114.
Li, Jun. “Zhang Xianliang and his Fiction.” In Yang Bian, ed., The Time is Not Ripe: Contemporary China’s Best Writers and Their Stories. Beijing: FLP, 1991, 327-32.
Link, Perry. “A Brief Introduction to Chang Hsien-liang.” Asia Major TS 4, 2 (1991): 79-82.
Sybesma, Rint. “Literature, Business and the ‘Cultural Revolution’: an Update on Zhang Xianliang.” China Information 8, 4 (Spring 1994): 52.
Tam, Kwok-kan. “Sexuality and Power in Zhang Xianliang’s Novel Half of Man is Woman.” MCL 5, 1 (1989): 55-72.
Williams, Philip F. “‘Remolding’ and the Chinese Labor Camp Novel.” Asia Major TS 4, 2 (1991): 133-49.
—–. “Zhang Xianliang.” In Thomas Moran and Ye (Dianna) Xu, eds., Chinese Fiction Writers, 1950-2000. Dictionary of Literature Biography, vol. 370. Detroit: Thomson Gale, 2013, 294-303.
Wu, Daming. Zhang Xianliang: The Stories of Revelation. Durham: Durham East Asia Papers, University of Durham, 1995.
Wu, Yenna. “Women as a Source of Redemption in Chang Hsien-liang’s Concentration-Camp Novels. ” Asia Major TS 4, 2 (1991): 115-32.
—–. “The Interweaving of Sex and Politics in Zhang Xianliang’s Half a Man is Woman.” Journal of Chinese Language Teachers Association 27, 1/2 (1992): 1-28.
Yeh-ho Editorial Board. “Pros and Cons of ‘The Great Wind.'” In Hualing Nieh, ed., Literature of the Hundred Flowers, Volume II: Poetry and Fiction. NY: Columbia UP, 1981, 141-44.
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.
Zhang Xianliang Biography (Pegasos Website, Findland)
Zhong, Xueping. “Male Sufering and Male Desire: The Politics of Reading Half of Man is Woman.” In Gilmartin et al, eds. Engendering China: Women, Culture,and the State. Cambridge: Harvard UP, , 1994, 175-91.
Zhou, Zuyan. “Animal Symbolism and Political Dissidence in Half of Man is Woman.” Modern Chinese Literature 8 (1994): 69-95.
Zhang Xiaofeng 张晓风
Galik, Marian. “Psalm 137 According to Zhang Xiaofeng: The Wailing Wall in Post-1949 Taiwan Literary History.” Frontiers of Literary Study in China 7, 1 (2013): 23-36.
[Abstract: The aim of this essay is to analyze the first story by Zhang Xiaofeng, Taiwan writer, playwright, known in the mainland of China mainly as an excellent essayist. The Wailing Wall (Kuqiang) was written in 1968 in the atmosphere of the Six Days War in Israel, the atrocities during the first years of the Cultural Revolution in the mainland of China, and war in Vietnam. Wailing Wall is a poetic symbol of sadness and suffering mostly of the innocent people. For the author of the story it is reminiscent of the biblical Psalm 137 depicting the moods of the Hebrews in the Babylonian Captivity after 586 B.C. and the situation of her compatriots who were forced to leave their old homes in the Mainland before Oct. 1, 1949. Zhang Xiaofeng is a Christian author regarding love as the cornerstone of inter-human relations. She believes in love of God for all human beings and in the universal love. The short story consisting of one woman and her relations with two brothers between October 1949 and June 1967, against the background what happened in the world around them, and in their vicinity, brought her an unpleasant cognition: The true love is hardly possible where the human beings should live between, or behind the walls, where hate is prevailing.]
Zhang Xin 张欣
Berg, Dari. Portraying China’s New Women Entrepreneurs:A Reading of Zhang Xin’s Fiction. Durham: University of Durham, East Asian Papers, 2000.
Zhang Xinxin 张辛欣
Jiang, Hong. “The Masculine-Feminine Woman: Transcending Gender Identity in Zhang Xinxin’s Fiction.” China Information 15, 1 (2001): 138-65.
Kinkley, Jeffrey C. “Modernism and Journalism in the Works of Chang Hsin-hsin.” Tamkang Review 18, 1-4 (1987-88): 97-123.
—–. “The Cultural Choices of Zhang Xinxin, A Young Writer of the 1980’s.” In Paul A. Cohen and Merle Goldman, ed., Ideas Across Cultures: Essays on Chinese Thought in Honor of Benjamin Schwartz.Cambridge: Council on East Asian Studies, Harvard University, 1990.
Lau, Kam-fung. “Female Identity in Contemporary Chinese and Western Literature: Zhang Xinxin and Virginia Woolf.” In Peng-hisang Chen and Whitney Crothers Dilley, eds., Feminism/Femininity in Chinese Literature. Amsterdam,: Rodopi, 2002, 103-08.
Martin, Helmut. “Social Criticism in Contemporary Chinese Literature: New Forms of Pao-kao-Reportage by Zhang Xinxin.” Proceedings on the Second International Conference on Sinology. Taipei: Academia Sinica, 1989.
Roberts, Rosemary A. “Images of Women in the Fiction of Zhang Jie and Zhang Xinxin.” CQ 120 (1989): 800-13.
Wakeman, Carolyn and Yue Daiyun. “Fiction’s End: Zhang Xinxin’s New Approaches to Creativity.” In Michael S. Duke, ed., Modern Chinese Women Writers: Critical Appraisals. NY: M.E. Sharpe, Inc., 1989, 196-216.
Zhang Xiuya (Chang Hsiu-ya) 張秀亞
Zhang Yihe 章诒和
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.
Zhang Yiping 章衣萍
Findeisen, Raoul. “Un couple de ‘litteratuers’: Wu Shutian et Zhang Yiping.” In Jean-Louis Boully, ed., Ouvrages en langue chinoise de l’Institut franco-chinois de Lyon, 1921-1946. Lyon: Bibliotheque municipale de Lyon, nd., xxlii-lx.
Zhang Yiwei 张怡微
Huang, Phyllis Yu-ting. “From the ‘Taiwanese Dream’ to an Alien Land: The Mainland Writer Zhang Yiwei’s Literary Narratives of Taiwan.” Modern Chinese Literature and Culture 34, 2 (Winter 2022): 376-400.
Zhang Zao 张枣
Bruno, Cosima and Lianjun Yan. “Intersections, Interactions, Integrations: Chronological Entanglement of a Chinese Poem.” Prism 20, 1 (2023): 163-76.
[Abstract: This article explores a contemporary Chinese poem, Zhang Zao’s “Dadi zhi ge,” as an intermedial translation of an intermedial source text—Mahler’s Das Lied von der Erde (musical and verbal). The article’s aim is threefold: to enhance appreciation of the Chinese poem, to understand what intermedial translation means in practice, and to draw from this analytical exploration theoretical propositions that can help us reconceptualize literary belonging and cross-cultural encounters. Zhang Zao’s “Dadi zhi ge” helps us move from a notion of translation as something that deals with the problem of the incommensurability of the material conditions of languages to one of translation as transcending such incommensurability. In fact, the poem is here to be considered as both an original and a translation at the same time. Primary questions include: Where does this poem begin? What does this poem translate? What’s behind the choice of the source text? A metaphor underscoring our exploration is that of the “skein of yarn” (Calvino) or of the spinning of a “thread” (Wittgenstein)—that is, an image reporting on relational theories of literature, history, and translation.]
Zhang Zhihao 张执浩
He, Yuemin. “Musicality and Metaphor in the Poetry of Zhang Zhihao.” Chinese Literature and Thought Today 54, 3-4 (2023): 106-115.
[Abstract: Focusing on a group of poems about the art of poetry writing, this article analyzes how contemporary Chinese poet Zhang Zhihao achieves musicality and metaphorical expressions in the poems. It also discusses ways that Zhang’s felicitous use of words, detail, structure, and form have impacted my English translation of the poems. Operating at the intersection of poetry study and translation practice, this article argues Zhang’s poetry of the everyday, which he articulates as “whatever the eye sees is poetry” is marked by technical virtuosity, melodious language, and vibrant images. This poetry distinguishes itself by inheriting the neatness and musicality of the classical Chinese poetry and echoes modernist American poetry on multiple fronts.]
Zhang Ziping 张资平
Liu, Jianmei. “Shanghai Variations on ‘Revolution Plus Love.'” Modern Chinese Literature and Culture 14, 1 (Spring 2002): 51-92. [deals with texts by Shi Zhecun, Liu Na’ou, Mu Shiying, Zhang Ziping, and Ye Lingfeng]
Zhao Shuli 赵树理
Beyer, John. “Part Novel, Risque Film: Zhao Shuli’s Sanliwan and the Scenario Lovers Happy Ever After.” In Wolfgang Kubin and Rudolf Wagner, eds., Essays in Modern Chinese Literature and Literary Criticism. Bochum: Brokmeyer, 1982, 90-116.
Birch, Cyril. “Chao Shu-li: Creative Writing in a Communist State.” New Mexico Quarterly 25 (1955): 185-95.
Chan, Roy. “The Revolutionary Metapragmatics of Laughter in Zhao Shuli’s Fiction.” In Ping Zhu, Zhuoyi Wang, and Jason McGrath, eds., Maoist Laughter. HK: Hong Kong University Press, 2019, 147-61.
Chung, Hilary and Tommy McClellan, “The Command Enjoyment of Literature in China: Conferences, Controls and Excesses.’ In Hilary Chung ed., In the Party Spirit: Socialist Realism and Literary Practice in the Soviet Union, East Germany and China. Amsterdam and Atlanta: Rodopi, 1996, 1-22.
Feuerwerker, Yi-tsi Mei. “Zhao Shuli: The ‘Making” of a Model Peasant Writer.” In Feuerwerker, Ideology, Power, Text: Self-Representation and the Peasant “Other” in Modern Chinese Literature. Stanford: Stanford University Press, 1998, 100-45.
George, William. Chao Shu-li: Propagandist and Writer. M.A. thesis. Toronto: University of Toronto, 1970.
Laughlin, Charles. “Revolution Plus Love in Village China: Land Reform as Political Romance in Sanliwan Village.” In Ping Zhu, Zhuoyi Wang, and Jason McGrath, eds., Maoist Laughter. HK: Hong Kong University Press, 2019, 37-53.
Li, Tonglu. “Novels of Zhao Shuli and Sun Li: Chronicles of New Peasantry.” In Ming Dong Gu, ed., Routledge Handbook of Modern Chinese Literature. London: Routledge, 2019.
Licandro, Daniela. “Affective Chinese Socialist Realism: A Reading of Zhao Shuli’s Sanliwan Village.” Chinese Literature and Thought Today 55, 1-2 (2024): 67-79.
[Abstract: Socialist realism grew out of the political agenda of educating the masses on the inevitability of class struggle and out of the need of mobilizing them to contribute to the building of a socialist society. The targets of education were not solely the illiterate peasants but also the intellectuals who needed to overcome their petit-bourgeois outlook. Scholarship has elucidated the limits and potentialities of socialist realism as an aesthetic practice at the service of a political project, but the question of how socialist realism sought to educate both peasants and intellectuals begs for reflection. Focusing on Zhao Shuli’s (1906–70) 1955 socialist-realist novel Sanliwan Village, this article asks how the text responded to the task of transforming both the masses and the intellectuals. It argues that Zhao’s text performs the process underlying the subject’s transformation into a new socialist being. The analysis of nicknames, “cinematic storytelling,” speed and rhythm, and of tools as “touching things” sheds light on the textual strategies that produce an affective narrative. As such, Zhao’s novel points to socialist- subject formation not simply as an effect of discursive practices, but as the outcome of a renewed sensorial engagement with the material world.]
Lu, Chien. “Chao Shu-li and His Writing.” Chinese Literature 9 (1964): 21-26.
Matthews, Josephine. Artistry and Authenticity: Zhao Shuli and His Fictional World. PhD diss. Columbus: The Ohio State University, 1991.
McClellan, T. M. “Zhao Shuli.” In Dictionary of Literary Biography–Chinese Fiction Writers, 1900-1949. Ed. Thomas Moran. NY: Thomson Gale, 2007, 333-40.
Montani, Adrienne. “Zhao Shuli and Socialist Realism.” Journal of South Asian Literature 27, 2 (1992): 41-65.
Wang, Xiaoping. “‘Problem Stories’ as part of the ‘National Form:’ Rural Society in Transition and Zhao Shuli’s Peasant Stories.” Frontier of Literary Studies in China 6, 2 (2012): 208-231.
Zhao Wanpeng 赵万鹏
Wagner, Rudolf. The Contemporary Chinese Historical Drama. Berkeley: UCP, 1990, 254-58. [ deals with “Da Qianlong” 打乾隆]
Zheng Chouyu 郑愁予
Kubin, Wolfgang. “The Black Knight on the Iron Horse: Cheng Ch’ou-yu’s Poetical Version of the Passing Lover.” In H. Goldblatt ed., Worlds Apart: Recent Chinese Writing and Its Audiences. Armonk: M.E. Sharpe, 1990, 138-149.
Iovene, Paola. “Zheng Chouyu (1933-).” In Christopher Lupke and Thomas E. Moran, eds., Dictionary of Literary Biography, Volume 387: Chinese Poets Since 1949. Farmington Hills, MI: Gale, 2021, 337-44.
Lin, Julia C. “Cheng Ch’ou-yu: The Keeper of the Old.” In Lin, Essays on Contemporary Chinese Poetry. Athens, OH: Ohio University Press, 1985, 1-11.
Lupke, Christopher. “Zheng Chouyu and the Search for Voice in Contemporary Chinese Lyric Poetry.” In Lupke ed., New Perspectives on Contemporary Chinese Poetry. New York: Palgrave Macmillan, 2007, 29-46.
Zheng Danyi 鄭單衣
Luo, Hui. “Beyond Exile: Zheng Danyi’s Hong Kong Poems (1999–2004).” Translation Review 90, no. 1 (2014): 69–81.
—–. “Zheng Danyi (1963-).” In Christopher Lupke and Thomas E. Moran, eds., Dictionary of Literary Biography, Volume 387: Chinese Poets Since 1949. Farmington Hills, MI: Gale, 2021, 337-44.
Zheng, Egoyan (Zheng Qianci) 鄭千慈
Chu, Hueichu. “‘After’ the Catastrophe: Imagining Nuclear Disaster in Egoyan Zheng’s Ling didian (Ground Zero).” In Chia-ju Chang and Scott Slovic, eds., Ecocriticism in Taiwan: Identity, Environment, and the Arts. Lanham, MD: Lexington Books, 2016, 111-22.
Zheng Min 郑敏
Batt, Herbert. “Zheng Min.” In Herbert Batt and Sheldon Zitner, eds., The Flowering of Modern Chinese Poetry: An Anthology of Verse from the Republican Period. Montreal, Kingston: McGill-Queen’s University Press, 2016, 398–401.
Bruno, Debra. “A Poet From China’s Avant-Garde Looks Back” [brief interview with Zheng Min]. Wall Street Journal (Aug. 9, 2012, sec. Scene Asia).
Chung, Ling. “Her Dexterous Sensibility: On Zheng Min’s Poetry.” Modern Chinese Literature 3, 1/2 (1987): 47-56.
Fiss, Géraldine. “Zheng Min (1920-).” In Christopher Lupke and Thomas E. Moran, eds., Dictionary of Literary Biography, Volume 387: Chinese Poets Since 1949. Farmington Hills, MI: Gale, 2021, 323-29.
Haft, Lloyd. “Zheng Min.” In A Selective Guide to Chinese Literature 1900–1949, Volume III: The Poem. Leiden: Brill, 1989, 267–272.
—–. “Rhymes and Other Echoes: Some Sonnets by the Nine Leaves Group” and “Chinese Sonnets for the 1990s: Zheng Min’s The Poet and Death.” In Haft, The Chinese Sonnet: Meanings of a Form. Leiden: CNWS Publications, no. 69., 2000, 137–148; 149–182.
Julia C. Lin. Modern Chinese Poetry: An Introduction. Seattle: University of Washington Press, 1972.
Knapp, Bettina. “The New Era for Women Writers in China.” World Literature Today 65, no. 3 (1991): 432–439.
Li Ziyun. “Women’s Writing and Women’s Consciousness.” Tr. Zhu Hong. In Christina Gilmartin et al., eds., Engendering China: Women, Culture, and the State. Cambridge: Harvard University Press, 1994, 299–317.
Lin, Julia C. and Nicholas Kaldis. “Introduction.” In Lin, ed., Twentieth-Century Chinese Women’s Poetry: An Anthology. Armonk, New York: M. E. Sharpe, 2009.
Lingenfelter, Andrea. A Marked Category: Nine Women of Modern Chinese Poetry, 1920–1997. Ph.D. diss. Seattle: University of Washington, 1998.
Man, Sujie. “Golden Sheaves Stand Upon the Harvested Fields” [interview with Zheng Min]. China Daily (North American Edition) (Feb. 1993): 9-1.
McDougall, Bonnie, and Kam Louie. “Zheng Min.” In McDougall/Louie, The Literature of China in the Twentieth Century. New York: Columbia University Press, 1997, 279–280.
Saussy, Haun. “Postmodernism in China: A Sketch and Some Queries.” In Saussy, Great Walls of Discourse and Other Adventures in Cultural China. Cambridge, MA: Harvard University Asia Center, 2001, 118–45. [Also in Wen-hsin Yeh, ed., Cross-Cultural Readings of Chineseness: Narratives, Images, and Interpretations of the 1990s. Berkeley CA: Institute of East Asian Studies, University of California, 2000, 128-158]
van Dongen, Els. “Of Post-Isms and May Fourth.” In Realistic Revolution: Contesting Chinese History, Culture, and Politics after 1989. Cambridge: Cambridge University Press, 2019, 164–95.
Wong, Lisa Lai-ming. “Liberation of Femininity? Women’s Poetry in Post-Mao China.” 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. Hong Kong: The Chinese University Press, 2009, 91-108.
Yeh, Michelle 奚密. “Chinese Postmodernism and the Cultural Politics of Modern Chinese Poetry.” In Wen-hsin Yeh, ed., Cross-Cultural Readings of Chineseness: Narratives, Images, and Interpretations of the 1990s. Berkeley: Institute of East Asian Studies, University of California, 2000, 100-27.
Zhang, Jeanne Hong. The Invention of Discourse: Women’s Poetry from Contemporary China. Leiden: CNWS Publications, 2004.
Zhao, Henry Y.H. 赵毅衡. “Post-Isms and Chinese New Conservatism.” New Literary History 28, no. 1 (1997): 31–44.
Zheng Wanlong 郑万隆
Louie, Kam. “Masculinities and Minorities: Alienation in ‘Strange Tales from Strange Lands.” China Quarterly 132 (Dec. 1992): 1119-35.
Zheng Wenguang 郑文光
Li, Hua. “‘Are We, People from the Earth, so Terrible?’: An Atmospheric Crisis in Zheng Wenguang’s Descendent of Mars.” Science Fiction Studies 45, 3 (2018): 545-559.
Zheng Xiaoqiong 郑小琼
Dooling, Amy. “Representing Dagongmei (Female Migrant Workers) in Contemporary China.” Frontiers of Literary Studies in China 11, 1 (2017): 133–56. (With case studies on Wang Lili 王丽丽 and Zheng Xiaoqiong 郑小琼.)
Global Migrant Festival. “Zheng Xiaoqiong and Her Life” (video). Posted on Facebook on November 13, 2018.
Goodman, Eleanor. “Poetry, Translation, and Labor.” In Maghiel van Crevel and Lucas Klein, eds., Chinese Poetry and Translation: Rights and Wrongs. Amsterdam: Amsterdam University Press, 2019, 45-68. (With case studies of Wang Xiaoni 王小妮, Zang Di 藏棣, Zheng Xiaoqiong 郑小琼.)
—–. “‘In the Roar of the Machines’: Zheng Xiaoqiong’s Poetry of Witness and Resistance.” Chinese Literature Today 10, 2 (2021): 77-87.
Gong, Haomin. “Toward a New Leftist Ecocriticism in Postsocialist China: Reading the ‘Poetry of Migrant Workers’ as Ecopoetry.” In Ban Wang and Jie Lu, eds., China and New Left Visions: Political and Cultural Interventions. Lanham, MD: Lexington Books, 2012, 139-57.
[Abstract: The essay discusses the poetry writing of migrant worker poets, including Zheng Xiaoqiong, and addresses some theoretical issues of ecopoetry within the paradigm of Chinese postsocialism.]
—–. “Ecopoetics in the Dagong Poetry in Postsocialist China: Nature, Politics, and Gender in Zheng Xiaoqiong’s Poems.” ISLE: Interdisciplinary Studies in Literature and Environment 25, 2 (Spring 2018): 257-79.
—–. “Gender, Class, and Capital: Female Migrant Workers’ Writing in Postsocialist China and Zheng Xiaoqiong’s Poetry.” Chinese Literature Today 10, 2 (2021): 58-76.
Jaguścik, Justyna. “Cultural Representation and Self-Representation of Dagongmei in Contemporary China.” DEP 17 (2011): 121–38.
—–. “Literary Body Discourses: Body, Gender and Class in Contemporary Chinese Female-Authored Literature.” PhD diss. University of Zürich, 2014.
—–. “‘The Woman Attempting to Disrupt the Ritual’: Representations of Femininity and the Poetics of the Subaltern Body in Contemporary Chinese Female-Authored Poetry.” Harvard Asia Quarterly XVI, 3 (2014): 60–71. [With case studies of Lü Yue 吕约, Zhai Yongming 翟永明, and Zheng Xiaoqiong 郑小琼.]
—–. “Feminist Responses to the Anthropocene: Voices from China.” International Communication of Chinese Culture 5 (2018): 83–100. (With case studies of Zhai Yongming 翟永明 and Zheng Xiaoqiong 郑小琼.)
—–. “Intersections of Class, Gender and Environmental Concern in Contemporary Chinese Poetry: Zheng Xiaoqiong and Her Writing from Below.” In Joanna Frużyńska, ed., Kobieta w oczach kobiet. Kobiece (auto)narracje w perspektywie transkulturowej (Woman in the Eyes of Women: Women’s (Auto)Narratives in a Transcultural Perspective). Warsaw: University of Warsaw Press, 2019, 244–54.
Shieh, Simon. “Zheng Xiaoqiong, the Migrant Poet.” SupChina (April 22, 2019).
Sun, Wanning. “Bearing Witness to History: Dagong Poets from the 1980s to the Present.” In Ivan Franceschini and Christian Sorace (eds), Proletarian China: A Century of Chinese Labour. London / New York: Verso, 2022, 655-63.
Tamburello, Giusi. “Zheng Xiaoqiong’s Poetry and Chinese Factories: A Mirror of Uneven Development.” Asian Culture 41 (2017): 23–35.
—–. Quando la poesia si fa operaia. Lavoratori migranti poeti della Cina contemporanea (When Poetry Makes Itself a Worker’s: China’s Migrant Labor Poets). Rome: Aracne editrice, 2019. (With a case study of Zheng Xiaoqiong.)
van Crevel, Maghiel. “China’s Battler Poetry and the Hypertranslatability of Zheng Xiaoqiong.” Web lecture (February 3, 2022). University of Chicago.
—–. “China’s Battler Poetry, Zheng Xiaoqiong and Hypertranslatability.” Prism 20, 1 (2023): 201-24.
[Abstract: China’s battler poetry (dagong shige 打工詩歌), also known in English as migrant worker poetry, projects images of China as the workshop of the world in the age of global capitalism. The recent product of a world-renowned tradition in which poetry has been a social practice as much as an art since antiquity, it speaks to a wide range of readers, in China and elsewhere. This article first offers some reflection on the interlingual translation of battler poetry. Extending the discussion to cultural translation, it then considers how foreign audiences can come to see a single author as the “face” of an entire genre, in this case Zheng Xiaoqiong. Next, it proposes the notion of hypertranslatability, and it shows how this helps explain the ubiquity of Zheng in foreign work on battler poetry to date. The article mostly dwells on material in English, but the subject matter is such that the argument may hold for material in other languages as well.]
Zhang, Qinghua. “Who Touches the Iron of the Age: On Zheng Xiaoqiong’s Poetry.” Trs. Jonathan Stalling and Yao Benbiao. Chinese Literature Today (Summer 2010): 31-34.
Zhou, Xiaojing. “Scenes from the Global South in China: Zheng Xiaoqiong’s Poetic Agency for Labor and Environmental Justice.” In Scott Slovic, Swarnalatha Rangarajan, and Vidya Sarveswaran, eds., Ecocriticism of the Global South. Lanham: Lexington Books, 2015, 55–76.
—–. “Zheng Xiaoqiong’s Poems on the Global Connection to Urbanization and the Plight of Migrant Workers in China.” Verge: Studies in Global Asias 2, 1 (2016): 84–96.
—–. “‘Slow Violence’ in Migrant Landscapes: ‘Hollow Villages’ and Tourist River Towns in China.” Isle: Interdisciplinary Studies in Literature and Environment 24, 2 (2017): 274–91. (With a case study on Zheng Xiaoqiong.)
——. “Zheng Xiaoqiong.” Chinese Literature Today 6, 1 (2017): 98-101.
—–. Migrant Ecologies: Zheng Xiaoqiong’s Women Migrant Workers. Lanham: Lexington Books, 2020.
[Abstract: Migrant Ecologies investigates the ways in which Zheng Xiaoqiong’s poetry exposes the entanglements of migrant ecologies embedded within local and global networks of capital and labor. The author contends that women migrant workers in particular, as portrayed in Zheng’s poems, are the visible manifestation of the interconnections between the so-called “factories of the world” and slum villages-in-the-city, between urban development and rural decline, and between the local environmental degradation and the global market. By adopting an ecological approach to Zheng’s poems about women migrant workers in China, the author explores what Donna Haraway calls “webbed ecologies” (49). The concept of “ecologies” serves to enhance not only the layered, complex interconnections underlying women migrant workers’ plight and environmental degradation in China, but also the emergence and transformation of migrant spaces, subjects, activism, and networks resulting in part from globalization.]
—–. “Ethical Relations in Migrant Worker Poetry as Testimony.” a/b: Auto/Biography Studies (Winter 2022).
—–. “Zheng Xiaoqiong (1980-).” In Christopher Lupke and Thomas E. Moran, eds., Dictionary of Literary Biography, Volume 387: Chinese Poets Since 1949. Farmington Hills, MI: Gale, 2021, 330-36.
Zheng Yi 郑义
Link, Perry. “Zheng Yi.” In Thomas Moran and Ye (Dianna) Xu, eds., Chinese Fiction Writers, 1950-2000. Dictionary of Literature Biography, vol. 370. Detroit: Thomson Gale, 2013, 304-10.
Mi, Jiayan. “Entropic Anxiety and the Allegory of Disappearance: Hydro-Utopianism in Zheng Yi’s Old Well and Zhang Wei’s Old Boat.” China Information 21 (2007): 109-140.
Yue, Gang. “Monument Revisited: Zheng Yi and Liu Zhenyun.” In The Mouth that Begs: Hunger, Cannibalism, and the Politics of Eating in Modern China. Durham: Duke University Press, 1999, 228-62.
Zhong Lihe 钟理合
Lin, Pei-yin. “The Lure of China: Zhong Lihe and Wu Zhuoliu.” In Lin, Colonial Taiwan: Negotiating Identities and Modernity through Literature. Leiden: Brill, 2017, 232-72.
McClelland, Tommy. “Home and the Land: The ‘Native’ Fiction of Zhong Lihe.” Journal of Modern Literature in Chinese 9, 2 (Dec. 2009): 154-182.
Russell, Terrence. “Zhong Lihe.” In Thomas Moran and Ye (Dianna) Xu, eds., Chinese Fiction Writers, 1950-2000. Dictionary of Literature Biography, vol. 370. Detroit: Thomson Gale, 2013, 311-18.
Tsai, Chien-hsin. “Of Guest and Host: Zhong Lihe, Hakka, and Sinophone Hospitality.” Szeto, Mirana May. “Intra-Local and Inter-Local Sinophone: Rhizomatic Politics of Hong Kong Writers Saisai and Wong Bik-wan.” In Shu-mei Shih and Chien-hsin Tsai eds. Sinophone Studies: A Critical Reader. NY: Columbia University Press, 2013, 270-80.
—–. “Zhong Lihe, Hakka, and Hospitality.” In Tsai, A Passage to China: Literature, Loyalism, and Colonial Taiwan. Cambridge: Harvard University Asia Center, 2017, 206-50.
Ying, Fenghuang. “The Literary Development of Zhong Lihe and Postcolonial Discourse in Taiwan.” In David Wang and Carlos Rojas eds., Writing Taiwan: A New Literary History. Durham, NC: Duke UP, 2006, 140-55.
Zhong Xiaoyang
Cheung, Samuel Hung-nin. “Beyond the Bridal Veil: The Romantic Vision of Zhong Xiaoyang.” In Hsin-sheng C. Kao, ed., Nativism Overseas: Contemporary Chinese Women Writers. Albany: SUNY Press, 1993, 221-244.
Zhou Jinbo 周金波
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.
Zhou Libo 周立波
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.
King, Richard. “Great Changes in Critical Reception: ‘Red Classic’ Authenticity and the ‘Eight Black Theories.'” In Rosemary Roberts and Li Li, eds., The Making and Remaking of China’s “Red Classics”: Politics, Aesthetics and Mass Culture. HK: Hong Kong University Press, 2017, 22-41.
Wang, Ban. “Chinese Revolution and Western Literature.” In David Der-wei Wang, ed., A New Literary History of Modern China. Cambridge, MA: Harvard University Press, 2017, 473-78.
Zhou Mengdie (Chou Meng-tieh) 周梦蝶
Haft, Lloyd. Zhou Mengdie’s Poetry of Consciousness. Weisbaden: Harrassowitz, 2006. [MCLC Resource Center review by Christopher Lupke]
Lin, Julia C. “Chou Meng-tieh: Embracer of Emptiness.” In Lin, Essays on Contemporary Chinese Poetry. Athens, OH: Ohio University Press, 1985, 96-109.
Zhou Shoujuan 周瘦鹃
Chen, Jianhua. “Formation of Modern Subjectivity and Essay: Zhou Shoujuan’s ‘In the Nine-Flower Curtain.'” In Martin Woesler, ed., The Modern Chinese Literary Essay: Defining the Chinese Self in the 20th Century. Bochum: Bochum UP, 2000, 41-66.
—–. “Zhou Shoujuan’s Love Stories and Mandarin Ducks and Butterfly Fiction.” In Joshua Mostow, ed, and Kirk A. Denton, China section, ed., Columbia Companion to Modern East Asian Literatures. NY: Columbia UP, 2003, 354-63. Rpt in Kirk A. Denton, ed., Columbia Companion to Modern Chinese Literature. NY: Columbia University Press, 2016, 111-20.
—–. “An Archaeology of Repressed Popularity: Zhou Shoujuan, Mao Dun, and their 1920s Literary Polemics.” In Carlos Rojas and Eileen Cheng-yin Chow, eds., Rethinking Chinese Popular Culture: Cannibalizations of the Canon. NY: Routledge, 2009, 91-114.
—–. “Zhou Shoujuan’ss Romance a la Mandarin Ducks and Butterflies.” In David Der-Wei Wang, ed., A New Literary History of Modern China. Cambridge, MA: Belknap Press, 2017, 602-05.
Li, Xiaorong. “Globalizing Chinese Sensual-Sentimental Lyricism: Zhou Shoujuan’s Xiangyan conghua (Miscellaneous Talks on the Fragrant and Bedazzling).” Prism 20, 1 (2023): 54-76.
[Abstract: Literally meaning “fragrant and bedazzling,” the Chinese word xiangyan refers to the sensual beauty of women and, by extension, eroticism. During the first two decades of the twentieth century, Shanghai’s book market saw an explosion of publications with xiangyan in their titles. Zhou Shoujuan’s (1895–1968) Xiangyan conghua (Miscellaneous Talks on the Fragrant and Bedazzling, 1914) was well situated in this literary trend. What really sets Zhou’s collection off from other similarly titled publications, however, is its global orientation. It makes a perfect case for illustrating how Chinese writers like Zhou took pains to embrace the world of Romanticism beyond China through traditional Chinese sensual and sentimental lyricism. Through an examination of Zhou’s selection and discussion of the poems and stories, as well as the paratextual materials included in the collection, this article illustrates how classical Chinese xiangyan poetry was evolving in the global context at the turn of the twentieth century. Although Zhou was not a poet engaging in the genre itself, through critical intervention, he connected Chinese xiangyan poetry to the global discourse of love and romance and rendered the notion of xiangyan a universal cross-cultural concept.]
Liu, Jane Qian. “Creating Melodramatic Emotional Effects: Zhou Shoujuan’s Creative Translations of Short Stories on Love.” In Liu, Transcultural Lyricism: Translation, Intertextuality, and the Rise of Emotion in Modern Chinese Love Fiction, 1899-1925. Leiden: Brill, 2017, 78-118.
Zhou Xinfang 周信芳
Wagner, Rudolf. The Contemporary Chinese Historical Drama. Berkeley: UCP, 1990, 262-74. [deals with “Hai Rui shangshu”].
—–. “‘In Guise of a Congratulation: Political Symbolism in Zhou Xinfang’s Play Hai Rui Submits his Memorial.” In Jonathan Unger, ed., Using the Past to Serve the Present: Historiography and Politics in Contemporary China. Armonk: M.E. Sharpe, 1993, 46-103.
Zhou Yang 周扬
Ai, Yen. “The Real Meaning of Chou Yang’s ‘Theory of Broad Subject Matter.'” Chinese Literature 5/6 (May-June 1967): 144-53.
Kindler, Benjamin. “Toward a Partisan Aesthetics: Zhou Yang, Chernyshevsky, and ‘Life.’” Made in China Journal 5, 1 (2020).
Zhou Yingfang 周颖芳
Zhang, Yu. “Writing Her Way through the Legend of Yue Fei: Zhou Yingfang and Jing zhong zhuan.” Frontiers of Literary Studies in China 9, 2 (2015): 281-305.
[Abstract: General Yue Fei has long been considered a symbol of loyalty and resistance in Chinese history. His legend has been circulating in various forms since the twelfth century. In the context of the emerging women-authored tanci narratives and the political disorder of late 19th century China, this article examines how the gentry woman author Zhou Yingfang 周颖芳 (1829–95) enriches the narratives of Yue Fei by inserting a number of domestic themes into her tanci adaptation. She redefines the virtues of both genders and expects transformed family dynamics. In considering scholarly interpretations of the tanci in the modern period, this article also argues that the May Fourth scholars tended to neglect and/or suppress Zhou Yingfang’s gendered consciousness in her alternative imagination of history.]
Zhou Zan 周瓒
Inwood, Heather. “Zhou Zan (1968-).” In Christopher Lupke and Thomas E. Moran, eds., Dictionary of Literary Biography, Volume 387: Chinese Poets Since 1949. Farmington Hills, MI: Gale, 2021, 337-44.
Zhou Zuoren 周作人
Chow, William C. S. Chou Tso-jen: A Serene Radical in the New Culture Movement. Ph. D. diss. Madison: University of Wisconsin, 1990.
—–. “Chou Tso-jen and the New Village Movement.” Chinese Studies 10, 1 (June 1992): 105-34.
Daruvala, Susan. “Zhou Zuoren: ‘At Home’ in Tokyo.” In Gregory Lee, ed., Chinese Writing and Exile. Chicago: Center for East Asian Studies, The University of Chicago, 1993, 35-54.
—–. Zhou Zuoren (1885-1967) and an Alternative Response to Modernity. Ph.D. diss. Chicago: University of Chicago, 1993.
—–. Zhou Zuoren and an alternative Chinese Response to Modernity. Cambridge, MA: Harvard University Asia Center, 2000.
—–. “1946, July 15: On Literature and Collaboration.” In David Der-wei Wang, ed., A New Literary History of Modern China. Cambridge, MA: Harvard University Press, 2017, 522-27.
Duc, Georges Be. “Zhou Zuoren et la traduction.” 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, 17-32.
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.
Green, Frederik H. “Translating Poetic Modernity: Zhou Zuoren’s Interest in Modern Japanese Poetry.” Journal of Modern Literature in Chinese 11, 1 (2013): 138-61.
—–. “Rooted in Tradition, Embracing Modernity: Zhou Zuoren’s Interest in Modern Japanese Haiku and Tanka and His Promotion of Short Verse in China.” Frontiers of Literary Studies in China 12, 3 (2018): 424-48.
[Abstract: When late Qing and early Republican-period Chinese reformers grappled with the challenges of creating a new poetic language and form in the early decades of the twentieth century, Zhou Zuoren (1885–1967), one of modern China’s most influential intellectuals, believed that much could be learned from the experiments of modern Japanese poets who had overcome similar challenges in the decades following the Meiji restoration. Of all the verse forms Japanese poets were experimenting with, Zhou was particularly interested in modern haiku and tanka. Zhou felt that the modern haiku and tanka’s rootedness in tradition on the one hand and their ability to express modern sensibilities on the other could offer a model for Chinese poets seeking to create a poetic voice that was at once modern, but also anchored in traditional poetics. This article will analyze some of Zhou’s translations of modern haiku and tanka and illustrate how these translations led him to promote a new poetic form in China, typically referred to as “short verse” (xiaoshi). By further reading Zhou’s critical essays on modern Japanese poetry against the writings of a number of Western modernist poets and translators who themselves were inspired by East Asian verse forms—Ezra Pound in particular—I will comment on the degree to which Zhou’s promotion of short verse inspired by modern Japanese haiku and tanka challenges a perceived Western role in legitimizing East Asian forms as conducive to modernism.]
Kwong, Kin Hong. “Zhou Zuoren’s Introduction Works [sic] of and Contribution to Greek Literature in His Early Stage.” In Marian Galik, ed., Interliterary and Intraliterary Aspects of the May Fourth Movement 1919 in China. Bratislava: Veda, 1990, 235-40.
Li, Tonglu. “To Believe or Not to Believe: Zhou Zuoren’s Alternative Approaches to the Chinese Enlightenment.” Modern Chinese Literature and Culture 25, no. 1 (Spring 2013): 206-260.
—-. “The Sacred and the Cannibalistic: Zhou Zuoren’s Critique of Violence in Modern China.” Chinese Literature: Essays, Articles, Reviews 36 (2014): 25-60.
[Abstract: This article explores the ways in which Zhou Zuoren critiqued violence in modern China as a belief-driven phenomenon. Differing from Lu Xun and other mainstream intellectuals, Zhou consistently denied the legitimacy of violence as a force for modernizing China. Relying on extensive readings in anthropology, intellectual history, and religious studies, he investigated the fundamental “nexus” between violence and the religious, political, and ideological beliefs. In the Enlightenment’s effort to achieve modernity, cannibalistic Confucianism was to be cleansed from the corpus of Chinese culture as the “barbaric” cultural Other, but Zhou was convinced that such barbaric cannibalism was inherited by the Enlightenment thinkers, and thus made the Enlightenment impossible. Through critiquing the violence in intellectual persecution and everyday life, and through identifying modern intellectuals and the masses as the major sponsors and agents of violence, Zhou questioned the legitimacy of the mainstream Enlightenment, modern political movements, and national salvation by defining them as inherently irrational and violent.]
Lin, Carlos Yu-kai. “The Universality of the Concept of Modern Literature: Wang Guowei, Zhou Zuoren, and Other May Fourth Writers’ Conception of Wenxue.” Dongya guannian shi jikan 東亞觀念史集刊 8 (June 2015): 343-400.
[Abstract: Wenxue is the modern Chinese term for literature. However, it is an ancient term that originated from the Confucian classics where it did not bear the same meaning as it does now. While some scholars have pointed out that wenxue was reintroduced as the modern Chinese term for “literature” during the late nineteenth and early twentieth centuries, what qualifies this term to serve as the modern referent for “literature” is a question that remains underexplored. In this paper, I analyze the works of Wang Guowei ( 王國維 , 1877-1927), Hu Shi ( 胡適 , 1891-1962), Chen Duxiu ( 陳獨秀 , 1879-1942), Liu Bannong ( 劉半農 , 1891-1934), Luo Jia Lun ( 羅家倫 , 1897-1969), and Zhou Zuoren ( 周作人 , 1885-1967), among others, to show how wenxue articulates of set of cosmopolitan values such as the idea of individual life and the call for a reflection on the humanity as a whole.]
Liu, Haoming. “From Little Savages to hen kai pan: Zhou Zuoren’s (1885-1968) Romanticist Impulses around 1920.” Asia Major 15, 1 (2002): 109-60.
Liu, Jianmei. “Zhou Zuoren: The Unconscious and Troubled Semi-Zhuangzi.” In Liu, Zhuangzi and Modern Chinese Literature. NY: Oxford University Press, 2016, 84-105.
Lu, Yan. “Beyond Politics in Wartime: Zhou Zuoren, 1931-1945.” Sino-Japanese Studies 11, 1 (Oct. 1998): 6-13.
Pollard, D.E. A Chinese Look at Literature: The Literary Values of Chou Tso-jen in Relation to the Tradition. London: C. Hurst and Co., 1973.
—–. “Chou Tso-jen: A Scholar Who Withdrew.” In C. Furth, ed., The Limits of Change: Essays on Conservative Alternatives in Republican China. Cambridge: HUP, 1976, 332-56.
Qian Liqun 钱理群. Zhou Zuoren zhuan 周作人传 (Biography of Zhou Zuoren). Beijing: Beijing shiyue wenyi, 1990.
Shen, Lisa Chu. “Between Localism and Cosmopolitanism: A Look at Zhou Zuoren’s Early Construction of the Individual.” Telos 180 (Fall 2017): 121-146.
Sun, Emily. “Estrangements of the World in the Familiar Essay: Charles Lamb and Zhou Zuoren’s Approaches to the Ordinary.” In Sun, On the Horizon of World Literature: Forms of Modernity in Romantic England and Republican China. NY: Fordham University Press, 2021, 73-91.
Wang, C.H. “Chou Tso-jen’s Hellenism.” In Tak-Wai Wong, ed., East West Comparative Literature: Cross-Cultural Discourse. HK: HKUC Press, 1993.
Wang, Qin. “Literary Evolutionism and Its Discontents: Between Zhou Zuoren and Lu Xun.” In Wang, Configurations of the Individual in Modern Chinese Literature. Palgrave Macmillan, 2019, 57-114.
Wang, Pu. “Law, Morality, and the Nation-State in the Case of Zhou Zuoren: Revisiting the Rhetoric of ‘Culpability’.” Frontiers of Literary Studies in China 7, 4 (2013): 573-89.
Wolff, Ernst. Chou Tso-jen. NY: Twayne, 1971.
Zhang, Xudong. “A Radical Hermeneutics of Chinese Literary Tradition: On Zhou Zuoren’s Zhongguo xinwenxue de yuanliu.” In Ching-i Tu, ed., Classics and Interpretations: The Hermeneutic Traditions in Chinese Culture. New Brunswick, NJ: Transaction Publishers, 2000, 427-55.
Zhu, Ping. “The Masquerade of Male Masochists: Two Tales of Translaiton of the Zhou Brothers (Lu Xun and Zhou Zuoren) in the 1910s.” Frontiers of Literary Studies in China 8, 1 (March 2014): 31-51.
[Abstract: Through reading two creatively translated stories by the Zhou brothers, Lu Xun’s (Zhou Shuren) “The Soul of Sparta” (Sibada zhi hun, 1903) and Zhou Zuoren’s “The Chivalrous Slave Girl” (Xia nünu, 1904), this paper takes a close look at the intellectual trend in the first decade of the twentieth-century China of constructing strong and heroic women as the emblem of national power while rendering men as powerless. By focusing on a foreign heroine with traditional Chinese virtues, both translations creatively Sinicized and feminized the foreign power in the original tales. At the same time, male characters, prospective readers of the stories, and even authors themselves were marginalized, diminished, and ridiculed vis-à-vis the newly constructed feminine authority. Comparing this form of cultural masochism to other literary masochisms in modern China analyzed by Rey Chow and Jing Tsu respectively, this paper endeavors to excavate a hybrid model of nationalist agency grounded in the intertwined relationship of race, gender and nation. In my analysis, Gilles Deleuze’s discussion on masochism is utilized as a heuristic tool to shed light on the revolutionary potential embedded in the “strong women, weak men” complex in the 1910s. I argue that the cultural masochism in late Qing represents one of the earliest attempts of the Chinese intellectuals to creatively use Chinese traditional gender cosmology to absorb the threat of Western imperialism and put forward a hybrid model of nationalist agency.]
Zhu Guangqian 朱光潛
Chen, Jingling. “1947: The Socratic Tradition in Modern China.” In David Der-wei Wang, ed., A New Literary History of Modern China. Cambridge, MA: Harvard University Press, 2017, 533-39.
Cui, Zhiying. “Saving China from Its National Crisis: A Defence of Zhu Guangqian’s Aesthetics.” Journal of the Oriental Society of Australia 32/33 (2000/2001): 28-46.
McDougall, Bonnie. “On the Social Implications of the Aesthetic Theories of Zhu Guangqian.” In Goran Malmqvist, ed., Modern Chinese Literature in Its Social Context. Stockholm: Nobel Symposium, 1975, 77-122.
Moller, Hans-Georg. “Dionysian, Apollinian, Negation of Negation: Zhu Guangqian’s Interpretation of Nietzsche.” In Raoul Findeisen and Robert Gassmann, eds., Autumn Floods: Essays in Honour of Marian Galik. Bern: Peter Lang, 1997, 635-42.
Sabattini, Mario. “Chu Kuang-ch’ien and Croce.” Tamkang Review 23, 1-4 (1992/93): 601-26.
—– (edited by Elisa Levi Sabattini). 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.
[Abstract: 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).]
Zhu Lin 竹林
King, Richard. “In the Translator’s Eye: Richard King on the Significance of Zhu Lin.” Modern Chinese Literature 4, 1/2 (1988): 171-76.
—-. “Images of Sexual Oppression in Zhu Lin’s Snake’s-Pillow Collection.” In Michael S. Duke, ed., Modern Chinese Women Writers: Critical Appraisals. Armonk, NY: M.E. Sharpe, 1989, 152-73.
Zhu Qianzhi 朱谦之
Xiao, Tie. “The Lure of the Irrational: Zhu Qianzhi’s Vision of Qunzhong in the ‘Era of Crowds.'” Modern Chinese Literature and Culture 24, 2 (Fall 2012): 1-51.
Zhu Shaolin (Chu Shao-lin)
Tsai, Hsiu-chih. “The Semiotic Structuration of Home and Identity in A Song of the Sad Coffee Shop.” The American Journal of Semiotics 23, 1-4 (2007): 277-301.
[Abstract: This paper deals with the function of metonymy in A Song of the Sad Coffee Shop (1996), a novel by Taiwan’s woman writer Shao-lin Chu (b. 1966). For my reading of the novel’s narrative, I should like to appropriate a Jakobsonian understanding of metaphoric and metonymic functions. This approach will hopefully help in analyzing the significance of the protagonist’s quest for identification in her trip to Madagascar, in which the juxtaposition of places of similar geographical features works to construct a contiguity between them, and goes on to achieve a rapprochement of mind and body in the practice and process of philosophical cultivation. The protagonists trip, as a quest for home and identity, through the metonymic power of identification and localization, finally calls into question the fixity of the concept of home and homeland, the expedition itself turning into a mysterious journey of self-cultivation and home-coming.]
Zhu Shouju 朱瘦菊
Huters, Theodore. “Swimming Against the Tide: The Shanghai of Zhu Shouju.” In Huters, Bringing Home the World: Appropriating the West in Late Qing and Early Republican China. Honolulu: University of Hawai’i Press, 2005, 229-51.
Zhu Ti 朱媞
Li Zhengzhong (Ke Ju). “Zhu Ti and I.” In Annika A. Culver and Norman Smith, eds., Manchukuo Perspectives: Transnational Approaches to Literary Production. Hong Kong: Hong Kong University Press, 2020, 134-39.
[Abstract: In this chapter, Li Zhengzhong (pen name Ke Ju) (b. 1921) provides a heart-felt remembrance of his wife, writer Zhang Xingjuan (penname Zhu Ti) (1923-2012), her career, and their lives together. Married for over sixty years, they comprise one couple of the “Northeast’s four famous husband-wife writers.” Li is one of the last surviving Manchukuo-based Chinese writers and editors.]
Smith, Norman. “Disguising Resistance in Manchukuo: Feminism as Anti-Colonialism in the Collected Works of Zhu Ti.” The International History Review 28, 3 (Sept. 2006): 515-36.
—–. Writing Manchuria: The Lives and Literature of Zhu Ti and Li Zhenglong. NY: Routledge, 2023.
Zhu Tianwen 朱天文
Berry, Michael. “Words and Images: A Conversation with Hou Hsiao-hsien and Chu T’ien-wen.” positions: east asia cultures critique 11, 3 (Winter 2003): 675-716.
—–. “Three Times: Chu T’ien-wen on Writing, Screenwriting, and New Taiwan Cinema.” Chinese Literature Today 5, 2 (2016): 46-57. [an interview with Chu T’ien-wen]
Chang, Sung-sheng Yvonne. “Chu T’ien-wen and Taiwan’s Recent Cultural and Literary Trends.” Modern Chinese Literature 6, 1/2 (1992): 61-84.
Chen, Ling-chei Letty. “Rising from the Ashes: Identity and Aesthetics of Hybridity in Zhu Tianwen’s Notes of a Desolate Man.” Journal of Modern Literature in Chinese 4, 1 (2000): 101-38.
—–. “Writing Taiwan’s Fin-de-Siecle Splendor: Zhu Tianwen and Zhu Tianxin.” In Joshua Mostow, ed, and Kirk A. Denton, China section, ed., Columbia Companion to Modern East Asian Literatures. NY: Columbia UP, 2003, 584-91. Rpt in Kirk A. Denton, ed., Columbia Companion to Modern Chinese Literature. NY: Columbia University Press, 2016, 363-70.
Chiang, Shu-chen. “Rejection of Postmodern Abandon: Zhu Tianwen’s Fin-de-siecle Splendor.” In Peng-hisang Chen and Whitney Crothers Dilley, eds., Feminism/Femininity in Chinese Literature. Amsterdam,: Rodopi, 2002, 45-66.
Chiu, Kuei-fen. “Identity Politics in Contemporary Women Novels in Taiwan.” In Peng-hisang Chen and Whitney Crothers Dilley, eds., Feminism/Femininity in Chinese Literature. Amsterdam: Rodopi, 2002, 67-86.
Deppman, Hsiu-Chuang, “Recipes for a New Taiwanese Identity? Food, Space, and Sex in the Works of Ang Lee, Ming-liang Tsai, and T’ien-wen Chu.” American Journal of Chinese Studies 8, 2 (Oct. 2001): 145-68.
Dutrait, Noel. “Four Taiwanese Writers on Themselves Chu T’ien-wen, Su Wei Chen, Cheng Chiung-ming and Ye Lingfang respond to our questionnaire.” China Perspectives 17 (May/June 1998).
Hillenbrand, Margaret. “Chu T’ien-wen’s Shijimo de huali: As Nominated for the 2015 Newman Prize for Chinese Literature.” Chinese Literature Today 5, 2 (2016): 40-41.
Kaldis, Nicholas. “Infectious Postmodernism in/as Notes of a Desolate Man.” Taiwan Journal of East Asian Studies 9, 1 (June 2012).
[Abstract: This essay highlights and analyzes postmodern characteristics of Chu T’ien-wen’s seminal 1994 novel Notes of a Desolate Man. It simultaneously undertakes a close reading of the novel and engages in a critical dialogue with other interpretations and contextual analyses surrounding this controversial text. This essay’s main conclusion is that the novel’s representation of gay male culture stigmatized by AIDS, in combination with its cosmopolitan postmodern panoplies, encourages readers to view postmodernity and postmodern literature in Taiwan as twin representatives of a debauched, contagious, and invasive foreign lifestyle and literature.]
—–. “The Foreign at Home: World Literature, Viral Postmodernism, and Notes of a Desolate Man.” In Pei-yin Lin and Wen-chi Li, eds., Taiwanese Literature as World Literature. London: Bloomsbury, 2023, 97-111.
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.
Lovin, C. Laura. “Interconnectivities and Material Agencies: Consumption, Fashion, and Intimacy in Zhu Tianwen’s ‘Fin-de-Siècle Splendor.’” In Emma Casey and Yvette Taylor, eds., Intimacies, Critical Consumption and Diverse Economies. NY: Palgrave Macmillan, 2015, 60-86.
[Abstract: The material girl who craves for world’s splendour is Mia, the main character of ‘Fin-de-Siècle Splendor,’ one of the seven stories published by Zhu Tianwen in her 1990 collection Fin-de-Siècle Splendour. A volume of exquisite lyrical power, Fin-de-Siècle Splendour marked Zhu’s break into mass popularity, particularly among urban readers of the Greater China region. Literary critics praised the volume for its modernist and postmodernist valences, more specifically for its capacity to present ‘the unpresentable’ and to enable its readership ‘to see only by making it impossible to see’ (Lyotard qtd. in Chiang, 2002, p. 53). At the core of Fin-de-siecle Splendor are the residents of 1992’s Taipei — ‘“the new species” (xin renlei) of young men and women zipping about on their red Fiat scooters; the McDonald’s waitresses, homosexual artists, fashion models and soap opera directors’ (Chiang, 2002, p. 50). Among them is Mia, a fashion model and the main character of the title short story. ‘Fin-de-Siècle Splendor’ takes place in the future, two years after its publication, close to the turn of the century, in 1992 Taipei. The title of the story contains the French for ‘end of century,’ a phrase that references a generation of artists and thinkers who decried the cultural and social effects of modernisation as it unfolded across many European countries at the end of the nineteenth century.]
Martin, Fran. “Postmodern Cities and Viral Subjects: Notes of a Desolate Man.” In Martin, Situating Sexualities: Queer Representations in Taiwanese Fiction, Film and Public Culture. Hong Kong: University of Hong Kong Press, 2003, 101-16.
Rojas, Carlos. “Chu T’ien-wen and Cinematic Shadows.” In Rojas, The Naked Gaze: Reflections on Chinese Modernity. Cambridge, MA: Harvard University Asia Center, 2008, 274-302.
Wang, Ban. “Reenchanting the Image in Global Culture: Reification and Nostalgia in Zhu Tianwen’s Fiction.” in David Der-wei Wang and Carlos Rojas eds., Writing Taiwan: A New Literary History. Durham, NC: Duke UP, 2006, 370-90.
—–. “Tribute to Chu T’ien-wen.” Chinese Literature Today 5, 2 (2016): 44-45.
Wang, David Der-Wei. “Fin-de-siecle Splendor: Contemporary Women Writers’ Vision of Taiwan.” Modern Chinese Literature 6, 1-2 (Spring/Fall 1992): 39-60.
Yeung, Jessica Siu-yin. “Intermedial Translation as Circulation: Chu Tien-wen, Taiwan New Cinema, and Taiwan Literature.” Journal of World Literature, special issue “Scale Shifting: New Insights into Global Literary Circulation” 5, 4 (2020): 568-86.
[Abstract: We generally believe that literature first circulates nationally and then scales up through translation and reception at an international level. In contrast, I argue that Taiwan literature first attained international acclaim through intermedial translation during the New Cinema period (1982–90) and was only then subsequently recognized nationally. These intermedial translations included not only adaptations of literature for film, but also collaborations between authors who acted as screenwriters and filmmakers. The films resulting from these collaborations repositioned Taiwan as a multilingual, multicultural and democratic nation. These shifts in media facilitated the circulation of these new narratives. Filmmakers could circumvent censorship at home and reach international audiences at Western film festivals. The international success ensured the wide circulation of these narratives in Taiwan.]
Zhu, Ping. “Chu T’ien-wen: Winner of the 2015 Newman Prize for Chinese Literature.” Chinese Literature Today 5, 2 (2016): 38-39.
Zhu Tianxin 朱天心
Chen, Lingchei Letty. “Writing Taiwan’s Fin-de-Siecle Splendor: Zhu Tianwen and Zhu Tianxin.” In Joshua Mostow, ed, and Kirk A. Denton, China section, ed., Columbia Companion to Modern East Asian Literatures. NY: Columbia UP, 2003, 584-91. Rpt in Kirk A. Denton, ed., Columbia Companion to Modern Chinese Literature. NY: Columbia University Press, 2016, 363-70.
—–. “Mapping Identity in a Postcolonial City: Intertextuality and Cultural Hybridity in Zhu Tianxin’s Ancient Capital.” in David Der-wei Wang and Carlos Rojas eds., Writing Taiwan: A New Literary History.Durham, NC: Duke UP, 2006, 301-23.
—–. “1980, June 7; 1996, April, on an Unspecified Day: A Tale of Two Cities.” In David Der-wei Wang, ed., A New Literary History of Modern China. Cambridge, MA: Harvard University Press, 2017, 747-53.
Haddon, Rosemary. “Being/Not Being at Home in the Writing of Zhu Tianxin.” In John Makeham and A-chin Hsiau, eds. Cultural, Ethnic, and Political Nationalism in Contemporary Taiwan: Bentuhua. New York: Palgrave Macmillan, 2005, 103-24.
Hsu, Jen-yi. “Ghosts In The City: Mourning and Melancholia in Zhu Tianxin’s The Old Capital.” Comparative Literature Studies 41, 4 (2004): 546-564.
—–. “Fetishizing the Loss: The Phantasms of Eros in Zhu Tianxin’s Writings of Melancholia.” Dong Hwa Journal of Humanities 11 (July 2007): 269-302. [abstract]
Jin, Yanyu. “Three Chinese Women Writers and the City in the 1990s.” 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, 2010, 147-57. [deals with Wang Anyi, Shi Shuqing, and Zhu Tianxin]
Liao, Chaoyang. “Catastrophe and Hope: The Politics of “The Ancient Capital” and The City Where the Blood-Red Bat Descended.” Journal of Modern Literature in Chinese 4, 1 (2000): 5-34.
“Catastrophe and Hope: The Politics of The Ancient Capital and The City Where the Blood-Red Bat Descended.” On-line works of Liao Chaoyang.
Liao, Sebastien Hsien-hao. “Jekyll Is and Hyde Isn’t: Negotiating the Nationalization of Identity in The Mystery Garden and ‘Breakfast at Tiffany’s.'” Journal of Modern Literature in Chinese 5, 1 (2001): 65-92.
Lupke, Christopher. “Chu T’ien-wen and the Sotto Voce of Gendered Expression in the Films of Hou Hsiao-hsien.” In Lingzhen Wang, ed., Chinese Women’s Cinema: Transnational Contexts. NY: Columbia UP, 2011, 274-92.
Stuckey, Andrew. “Globalized Traditions: Zhu Tianxin’s The Ancient Capital.” In Stuckey, Old Stories Retold: Narrative and Vanishing Pasts in Modern China. Lanham, MD: Lexington Books, 2010, 133-46.
Tsai, Chien-hsin. “The Heterotopic Agent in Chu T’ien-hsin ‘The Old Capital’.” Concentric: Literary and Cultural Studies 38, 2. (2012): 139-160.
Wang, Yin. “Unraveling the Apparatus of Domestication: Zhu Tianxin’s ‘The Ancient Capital’ and Queer Engagements with the Nation-State in Post-Martial Law Taiwan.” In Howard Chiang and Ari Larissa Heinrich, eds., Queer Sinophone Cultures. NY: Routledge, 2014, 52-64.
Zhu Wen 朱文
Lovell, Julia. “Filthy Fiction: The Writings of Zhu Wen.” The China Beat (Aug. 5, 2009).
Visser, Robin. “Urban Ethics: Modernity and the Morality of Everyday Life.” In Charles Laughlin, ed., Contested Modernities in Chinese Literature.New York: Palgrave, 2005. 193-216. [deals with fiction by Qiu Huadong, He Dun, and Zhu Wen (Shenme shi laji, shenme shi ai])
—–. “In the Back Alleys of the People’s Republic.” Review of I Love Dollars and Other Stories of China by Zhu Wen. Tr. Julia Lovell. (NY: Columbia University Press, 2007). PRI’s The World (December 4, 2007).
Zhu Xiaoyan
Leung, Yiu-nam. “Zhu Xiaoyan, Chinese Canadian Writer” (Interview). Journal of Modern Literature in Chinese 5, 1 (2001): 147-60.
Zhu Xining 朱西甯
Chu, T’ien-hsin. “1998, March 22: The Silversmith of Fiction.” Tr. Kyle Shernuk. In David Der-wei Wang, ed., A New Literary History of Modern China. Cambridge, MA: Harvard University Press, 2017, 867-73.
Birch, Cyril. “The Function of Intertextual Reference in Zhu Xining’s ‘Daybreak’.” In Theodore Huters, ed., Reading the Modern Chinese Short Story. Armonk, NY: M.E. Sharpe, 1990, 105-118.
Feng, Jin. “Narrating Suffering, Constructing Chinese Modernity: The Emergence of the Modern Subject in Chinese Literature.” East Asia 18, 1 (Spring 2000): 82-109. [deals in part with Zhu’s story “Daybreak”]
Zhu Zhu 朱朱
Zhang, Taozhou. “Writing Uncreated for the World: Zhu Zhu and Contemporary Chinese Poetry.” Tr. Denis Mair. Comparative Literature & World Literature 3, 1 (2018): 79-112.
Zhu Ziqing 朱自清
Chan, Leonard Kwok Kou. “From Modernity to Tradition: Zhu Ziqing’s Chinese Literary Criticism.” Journal of Chinese Literature and Culture 3, 2 (Nov. 2016): 233-57.
[Abstract: Is “literary criticism” a foreign concept? What is the impact of the reception of literary criticism on the modern studies of Chinese literature? Zhu Ziqing’s 朱自清 (1898–1948) conception of the function of literary criticism is illustrative of these questions. Zhu developed an interest in Western literary criticism before entering Tsinghua University, where he absorbed more ideas about Western literature. With the support of department head Yang Zhensheng 楊振聲 (1890–1956), he planned a new curriculum in 1928, in an attempt to make literature in his concept a subject as important as classical exegetical studies. From Zhu’s curriculum planning, his research orientation, and how he tried to put his ideas into practice, we can observe the oppositional tension between the modern concept of literary criticism and the traditional philological approach of Chinese study. Through an examination of Zhu’s academic role, this article explores the emergence of the concept of literary criticism in modern China. It will be compared and contrasted with the situation in the West, with an aim of giving a detailed analysis of the way literary criticism has become an essential part of modern Chinese literary study.]
Fried, Daniel A. “Zhu Ziqing, Frantz Fanon, and the Fierce White Children.” In Martin Woesler, ed., The Modern Chinese Literary Essay: Defining the Chinese Self in the 20th Century. Bochum: Bochum UP, 2000, 99-114.
Meng, Hua. “From Jules Aleni to Zhu Ziqing: Travel Accounts and the Construction of ‘Romantic France.'” Frontiers of Literary Studies in China 2, 2 (June. 2008): 304-20.
Sun, Yushi. “The Theoretical Resources of Zhu Ziqing’s system of Hermeneutics of Modern Poetry.” Frontiers of Literary Studies in China 3, 1 (March 2009): 24-63.
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]
Zong Fuxian 宗福先
Anon. “The Modern Play: ‘Where the Silence Is.'” Peking Review 21, 47 (November 24, 1978):11-12;
Cao Yu. “A Thunderclap.” Chinese Literature 4 (1979): 60-63.
Weiss, Ruth. “A Sign of Daring and Maturity: The Drama When All Sounds are Hushed.” Eastern Horizon 18, 4 (1979): 18-23.
Yee, Angelina C. “Yang Kui.”
Zong Pu (Feng Zongpu) 宗璞
Chan, Roy Bing. “Occupied Dreams: Politico-Affective Space and the Collective in Zong Pu’s Fiction.” Modern Chinese Literature and Culture 25, 2 (Fall 2013): 21-50.
—–. “Dream Fugue: Jiang Qing, the End of the Cultural Revolution, and Zong Pu’s Fiction.”In Chan, The Edge of Knowing: Dreams, History, and Realism in Modern Chinese Literature. Seattle: University of Washington Press, 147-75.
Zou Taofen 邹韬奋
Coble, Parks M. “Chiang Kai-shek and the Anti-Japanese Movement in China: Zou Tao-fen and the National Salvation Association, 1931-1937.” Journal of Asian Studies 44, 2 (Feb. 1985):
[Abstract: Japanese imperialism relentlessly besieged the Nationalist government of China during the Nanking decade. Chiang Kai-shek, believing that China was not ready to confront Japanese military power and obsessed with the desire to eliminate the Communists, adopted a policy of consistent appeasement toward the Japanese. This enraged public opinion in urban China, and Zou Tao-fen, a popular journalist, led the cry for resistance to Japan. He and his associates were continually suppressed by the Nanking government; nevertheless, they published several journals in succession, each of which denounced Chiang’s policy toward Japan and all of which achieved enormous circulation. Late in 1935 Zou and his followers helped organize the National Salvation Movement, which demanded that Chiang suspend the civil war against the Communists and fight the Japanese. When Chiang Kai-shek, acting under Japanese pressure, arrested Zou and the leaders of the association in 1936, they became national heroes, the legendary “Seven Gentlemen.” Zou’s martyrdom and that of his associates transformed their movement into a powerful political force, one that opposed Chiang and increasingly favored the Chinese Communists.]
Gerwurtz, Margo Speisman. Between America and Russia: Chinese Student Radicalism and the Travel Books of Tsou T’ao-fen, 1935-1937. Toronto: University of Toronto, 1975.
Mitter, Rana. “The Individual and the International ‘I’: Zou Taofen and Changing Views of China’s Place in the International System.” Global Society 17, 2 (2003): 121-33.