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Your Majesty, Please Get Away
He was the cold-blooded former crown prince. She was the reincarnation of a concubine, and the two of them had met for the first time in their lives to save the hero. At first Su Qianhan thought she was a cunning character, but the latter endured the sin only to redeem her past life. Later... "Your Royal Highness, our marriage contract is only a business deal, it has nothing to do with feelings." "She crossed her arms and looked at the man in front of her." "Right." "Someone turned the book over in his hands." "The person you are destined to be is not me." "Right." "Flip to the next page." "Actually, I don't like you at all!" Su Qianhan frowned and raised his head, "Qingqing, if you are lonely, I can give you a child." "Pfft, whoever uses you, I can do it myself!" He stood up and placed the person on the table. "Then let This King take a look at this!" Ah, ah ~ Surnamed Su, you bastard, this is my new clothes! Don't tear it, don't tear it! "
The New Woman in Early Twentieth-century Chinese Fiction
Jin Feng proposes that representation of the "new woman" in Communist Chinese fiction of the earlier twentieth century was paradoxically one of the ways in which male writers of the era explored, negotiated, and laid claim to their own emerging identity as "modern" intellectuals.
The Monster That Is History
In ancient China a monster called Taowu was known for both its vicious nature and its power to see the past and the future. Over the centuries Taowu underwent many incarnations until it became identifiable with history itself. Since the seventeenth century, fictive accounts of history have accommodated themselves to the monstrous nature of Taowu. Moving effortlessly across the entire twentieth-century literary landscape, David Der-wei Wang delineates the many meanings of Chinese violence and its literary manifestations. Taking into account the campaigns of violence and brutality that have rocked generations of Chinese—often in the name of enlightenment, rationality, and utopian plenitude—this book places its arguments along two related axes: history and representation, modernity and monstrosity. Wang considers modern Chinese history as a complex of geopolitical, ethnic, gendered, and personal articulations of bygone and ongoing events. His discussion ranges from the politics of decapitation to the poetics of suicide, and from the typology of hunger and starvation to the technology of crime and punishment.
The Monster That Is History
In ancient China a monster called Taowu was known for both its vicious nature and its power to see the past and the future. Since the seventeenth century, fictive accounts of history have accommodated themselves to the monstrous nature of Taowu. Moving effortlessly across the entire twentieth-century literary landscape, David Der-wei Wang delineates the many meanings of Chinese violence and its literary manifestations.
The Snow Emperor and The Little Plum
In a world filled with sects cultivating immortality, demons fighting for supremacy, and mortal empires struggling for survival, a little plum meets the snow emperor. Not knowing if this is a curse or a gift from the heaven, Yecao Cao, will have to find a way to survive as the snow emperor suddenly announces him as his male lover while throwing him into danger in hope of baiting his enemies to the surface. This is a Xuanhuan story, inspired by Chinese fantasy and filled with comedy and adventure as we follow Yecao Cao, the little plum, and Di Xúe, the snow emperor, as they struggle to deal with pirates, rogue cultivators, and a demon emperor who seem intent on conquering the Empire of Tian.
Empire of Texts in Motion
During the first half of the 20th century, Japan was the dominant military & political force in East Asia. This study explores the transculturations of Japanese literature amongst the Chinese, Koreans, Taiwanese & Manchurians whose lives had come within the sphere of the Japanese Empire.
The Uses of Literature
Why do people in socialist China read and write literary works? Earlier studies in Western Sinology have approached Chinese texts from the socialist era as portraits of society, as keys to the tug-of-war of dissent, or, more recently, as pursuit of "pure art." The Uses of Literature looks broadly and empirically at these and many other "uses" of literature from the points of view of authors, editors, political authorities, and several kinds of readers. Perry Link, author of Evening Chats in Beijing, considers texts ranging from elite "misty" poetry to underground hand-copied volumes (shouchauben) and shows in concrete detail how people who were involved with literature sought to teach, learn...
Colonial Tactics and Everyday Life
Following the Japanese invasion of northeast China in 1931, the occupying authorities established the Manchuria Film Association to promote film production efficiency and serve Japan’s propaganda needs. Manchuria Film Association had two tasks: to make “national policy films” as part of a cultural mission of educating Chinese in Manchukuo (the puppet state created in 1932) on the special relationship between Japan and the region, and to block the exhibition of Chinese films from Shanghai that contained anti-Japanese messages. The corporation relied on Japanese capital, technology, and film expertise, but it also employed many Chinese filmmakers. After the withdrawal of Japanese forces ...
Liu Zaifu: Selected Critical Essays
Liu Zaifu 劉再復 is a name that has already been ingrained within contemporary Chinese literary history. This landmark volume presents Anglophone readers with Liu’s profound reflections on Chinese literature and culture at different times. These critical essays deal with cultural criticism and literary theory, literary history, and individual modern and contemporary Chinese writers.
