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Writing and Materiality in China
Speaking about Chinese writing entails thinking about how writing speaks through various media. In the guises of the written character and its imprints, traces, or ruins, writing is more than textuality. The goal of this volume is to consider the relationship of writing to materiality in China’s literary history and to ponder the physical aspects of the production and circulation of writing. To speak of the thing-ness of writing is to understand it as a thing in constant motion, transported from one place or time to another, one genre or medium to another, one person or public to another. Thinking about writing as the material product of a culture shifts the emphasis from the author as the creator and ultimate arbiter of a text’s meaning to the editors, publishers, collectors, and readers through whose hands a text is reshaped, disseminated, and given new meanings. By yoking writing and materiality, the contributors to this volume aim to bypass the tendency to oppose form and content, words and things, documents and artifacts, to rethink key issues in the interpretation of Chinese literary and visual culture.
Reading for the Moral
Reading for the Moral offers an innovative reassessment of the nature of moral representation and exemplarity in Chinese vernacular fiction. Maria Franca Sibau focuses on two little-studied story collections published at the end of the Ming dynasty, Exemplary Words for the World (Xingshi yan, 1632) and Bell in the Still Night (Qingye zhong, c. 1645). Far from being tediously moralistic tales, these stories of loyal ministers, filial children, chaste widows, and selfless friends provide a deeper understanding of the five cardinal relationships central to Confucian ethics. They explore the inherent tension between what we might call textbook morality, on the one hand, and untidy everyday life,...
The Sword Or the Needle
Focusing on narratives about female knights-errant (xia) along thematic lines in Chinese literacy history, this text provides an overview of the narrative subgenre, the literary representation of gender and the particularities of the Chinese knight-errantry narrative.
Ameliorative Satire and the Seventeenth-century Chinese Novel, Xingshi Yinyuan Zhuan-marriage as Retribution, Awakening the World
Traditionally, scholars of Chinese literature have viewed Wu Jingzi's The Scholars (ca. 1750) as the first satiric novel of Chinese literature. Yenna Wu (Chinese literature, U. of California, Riverside) counters that it was preceded by such works as Xi Zhou Sheng's Marriage as Retribution, Awakening the World (ca.1661). After arguing for the broadening of the parameters of the definition of the satiric novel and the inclusion of a number of novels previously excluded from the category, Wu devotes the bulk of the work to the presentation of Marriage as Retribution as a significant example of the satiric and examines Sheng's strategies and goals in the novel's composition.
Ben Cao Gang Mu, Volume I, Part A
Volume I is divided into two parts. Part A of volume 1 in the Ben cao gang mu series offers a translation of chapters 1 and 2 and portions of chapter 3. Chapters 1 and 2 are devoted to introducing the history of materia medica. Chapter 3 is devoted to pharmaceutical drugs for diseases. Chapter 3 is continued, along with chapter 4, in part B of volume I. The Ben cao gang mu is a sixteenth-century Chinese encyclopedia of medical matter and natural history by Li Shizhen (1518–1593). The culmination of a sixteen-hundred-year history of Chinese medical and pharmaceutical literature, it is considered the most important and comprehensive book ever written in the history of Chinese medicine and remains an invaluable resource for researchers and practitioners. This nine-volume series reveals an almost two-millennia-long panorama of wide-ranging observations and sophisticated interpretations, ingenious manipulations, and practical applications of natural substances for the benefit of human health. Paul U. Unschuld's annotated translation of the Ben cao gang mu, presented here with the original Chinese text, opens a rare window into viewing the people and culture of China's past.
An Annotated Bibliography for Taiwan Film Studies
Compiled by two skilled librarians and a Taiwanese film and culture specialist, this volume is the first multilingual and most comprehensive bibliography of Taiwanese film scholarship, designed to satisfy the broad interests of the modern researcher. The second book in a remarkable three-volume research project, An Annotated Bibliography for Taiwan Film Studies catalogues the published and unpublished monographs, theses, manuscripts, and conference proceedings of Taiwanese film scholars from the 1950s to 2013. Paired with An Annotated Bibliography for Chinese Film Studies (2004), which accounts for texts dating back to the 1920s, this series brings together like no other reference the dispar...
An Annotated Bibliography of Chinese Film Studies
Covers monographs, conference proceedings, and theses that relate to film studies in and about mainland China published between 1920 and 2003. It references basic information, such as film titles, directors, and actors, as well as a variety of topics in film studies, such as film history, genres, and technology.
Appropriation and Representation
Feng Menglong (1574–1646) was recognized as the most knowledgeable connoisseur of popular literature of his time. He is known today for compiling three famous collections of vernacular short stories, each containing forty stories, collectively known as Sanyan. Appropriation and Representation adapts concepts of ventriloquism and dialogism from Bakhtin and Holquist to explore Feng’s methods of selecting source materials. Shuhui Yang develops a model of development in which Feng’s approach to selecting and working with his source materials becomes clear. More broadly, Appropriation and Representation locates Feng Menglong’s Sanyan in the cultural milieu of the late Ming, including the archaist movement in literature, literati marginality and anxieties, the subversive use of folk works, and the meiren xiangcao tradition—appropriating a female identity to express male frustration. Against this background, a rationale emerges for Feng’s choice to elevate and promote the vernacular story while stepping back form an overt authorial role.
