Poeti e Narratori degli Anni Novanta: A Special Issue of In Forma di Parole, no. Ge Fei, “Primo Amore”, in Un’Altra Cina.Han Shaogong, “Seduzione”, A Oriente! (Spring 2003): 66–77.(with Silvia Pozzi) Cui Zi’en, “Il cinema digitale: le prime immagini libere”, in Ombre Elettriche: Cento Anni di Cinema Cinese 1905-2005, edited by Marco Müller and Elena Pollacchi, 168–175.Fan Xiaoqing, “Breve storia della città e della campagna” Caratteri (2014): 22-35.Ji Wenjun, “La stracciona”, Caratteri: Letteratura Cinese Contemporanea (2015): 53-63.Xu Kun, “Cucina”, Caratteri: Letteratura Cinese Contemporanea (2016): 4-17.Han Shaogong, “Le radici della letteratura”, Caratteri: Letteratura Cinese Contemporanea (2016.2, Bilingual issue).Qiu Huadong, “Cloudbox,” Caratteri: Letteratura Cinese Contemporanea (2017)."Authenticity, Translation, and Postmodernity: Polemics around Han Shaogong's Dictionary of Maqiao," Annali dell'Istituto Orientale di Napoli 62, 2002: 197-218. "Why Is There a Poem in this Story? Contemporary Chinese Literature, Li Shangyin's Poetry, and the Futures of the Past." Modern Chinese Literature and Culture 19, 2 (Fall 2007): 71-116. Ithaca: Cornell University Press, 2010, 267-287. " Phony Phoenixes: Comedy, Protest, and Marginality in Postwar Shanghai," in Sherman Cochran and Paul Pickowicz eds, China on the Margins. "Chinese Operas on Stage and Screen: A Short Introduction," The Opera Quarterly 26, 2-3 (2010): 181-199. A Special Issue of the Opera Quarterly, co-edited with Judith Zeitlin, vol. Detroit: Gale, Cengage Learning, 2013.Ĭhinese Opera Film. Chinese Fiction Writers, 1950–2000, edited by Thomas Moran and Ye Xu, 81-87. “Ge Fei,” in Dictionary of Literary Biography. “A Madwoman in the Art Gallery? Gender, Mediation, and the Relation between Life and Art in Post-1989 Chinese Independent Film,” Journal of Chinese Cinemas 8, 3 (2014): 173-187. ![]() Tales of Futures Past: Literature and Anticipation in Contemporary China. “ Zheng Chouyu (1933-),” in Dictionary of Literary Biography, Volume 387: Chinese Poets Since 1949, ed. Sound Alignments: Popular Music in Asia's Cold Wars, co -edited with Michael Bourdaghs and Kaley Mason. (with Federico Picerni) “ Chinese Workers’ Literature in the 20th and 21st Centuries ,” Oxford Research Encyclopedia, 2022. by Jessica Imbach, Justyna Jagusćik, and Andrea Riemenschnitter, 243-262. “ Utopias of Unalienated Labor,” in Sinophone Utopias: Exploring Futures Beyond the China Dream, ed. by Cosima Bruno, Lucas Klein, and Chris Song, 49-64. “ Translation and Avant-garde Fiction in 1980s China,” in The Bloomsbury Handbook of Modern Chinese Literature in Translation, ed. “ Landscape of Words: Romance on Lushan Mountain (1980) and Sinoglossia as Delimitation,” in Sinoglossia, edited by Andrea Bachner, Howard Chiang, and Yu-lin Lee, 73-90. " Guest Editor's Introduction: Cultures of Labor and the Labor of Culture," positions: asia critique 31, 2 (2023): 257–279. I enjoy translating and am experimenting with different ways to integrate translation in my research and teaching. I am generally drawn to the moments in which literature and cinema engage the line between fact and fiction, and have an abiding interest in documentary literature and film, especially in works that attempt to account for traumatic experiences and contentious situations or events. I am now working on a project on the Shaanxi writer Lu Yao, particularly on the radio broadcasts of his fiction and other media adaptations of his life and work. My current research interests converge around three themes: the intersections between literature, labor, and social inequality the ways in which the dichotomy of realism and modernism shapes contemporary Chinese literary historiography and the use of actual locations in cinema. My first book, Tales of Futures Past: Literature and Anticipation in Contemporary China (Stanford University Press, 2014), explores how normative visions and intimate feelings about the future have shaped literary institutions, editorial practices, and diverse genres and texts (science fiction, children’s literature, translation of foreign literature, experimental fiction, and environmental literature) in socialist and postsocialist China. ![]() How do writers and filmmakers think about the relationship between the exploration of the possibilities of their medium and some form of responsibility-toward other beings, the world, and themselves-is the basic question that drives my work.
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