Bücher der Reihe Chinese Literature and Culture in the World

This book is the first comprehensive study of the reception of Tennessee Williams in China, from rejection and/or misgivings to cautious curiosity and to full-throated acceptance, in the context of profound changes in China's socioeconomic and cultural life and mores since the end of the Cultural Revolution. It fills a conspicuous gap in scholarship in the reception of one of the greatest American playwrights and joins book-length studies of Chinese reception of Shakespeare, Ibsen, O'Neill, Brecht, and other important Western playwrights whose works have been eagerly embraced and appropriated and have had catalytic impact on modern Chinese cultural life.

The French in Macao in the Nineteenth and Early Twentieth Centuries: Literary, Cultural, and Historical Perspectives investigates the role that Macao played as a meeting place of the East and the West during this period of time and its decline as a Portuguese colony in the eyes of the Europeans. The book provides a comprehensive view of representations of Macao as portrayed by the French. These texts in French have been studied less than Chinese or Portuguese texts on Macao. Overall, the book contributes to the study of colonial history, cultural studies, and China in the late Qing dynasty.

This book examines the two-way impacts between Brecht and Chinese culture and drama/theatre, focusing on Chinese theatrical productions since the end of the Cultural Revolution all the way to the first decades of the twenty-first century.

Craziness and Carnival in Neo-Noir Chinese Cinema offers an in-depth discussion of the "stone phenomenon" in Chinese film production and cinematic discourses triggered by the extraordinary success of the 2006 low-budget film, Crazy Stone.

and lyricism, expressionism, creativity, and aesthetics, Gu demonstrates that though ways of conception and modes of expression may differ, the two traditions have cultivated similar aesthetic feelings and critical ideas capable of fusing critical and aesthetic horizons.

This book investigates handwritten entertainment fiction (shouchaoben wenxue) which circulated clandestinely during the Chinese Cultural Revolution. Lena Henningsen¿s analyses of exemplary stories and their variation across different manuscript copies brings to light the creativity of these readers-turned-copyists. Through copying, readers modified the stories and became secondary authors who reflected on the realities of the Cultural Revolution. Through an enquiry into actual reading practices as mapped in autobiographical accounts and into intertextual references within the stories, the book also positions manuscript fiction within the larger reading cosmos of the long 1970s. Henningsen analyzes the production, circulation and consumption of these texts, considering continuities across the alleged divide of the end of the Mao-era and the beginning of the reform period. The book further reveals how these texts achieved fruitful afterlives as re-published bestsellers or as adaptations into comic books or movies, continuing to shape the minds of their audience and the imaginations of the past.Chapter 5 is available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.

As the first collaborative environmental humanities project of this kind, this book brings together sixteen scholars from a diverse range of disciplines, including literary and cultural studies, philosophy, ecocinema and ecomedia studies, religious studies, minority studies, and animal or multispecies studies.

Ideology and Utopia in China's New Wave Cinema investigates the ways in which New Wave filmmakers represent China in this age of neoliberal reform. Through a close reading of the narrative strategy of key films in New Wave Cinema, Xiaoping Wang studies the movement's impact on film, literature, culture and politics.

Analyzing contemporary Chinese literature, film, and television, Shen shows the significance of nationalism for the mass imagination in post-socialist China. Chapters move from the intellectual idealism of the 1980s, through the post-Tiananmen transition, to the national cinema of the 1990s, and finally to the Internet literature of today.

Feminism, Women's Agency, and Communication in Early Twentieth-Century China focuses on a sensational elopement in the Yangzi Delta in the late 1920s to explore how middle- and lower-class members of society gained access to and appropriated otherwise alien and abstract enlightenment theories and idioms about love, marriage, and family.

As the first collaborative environmental humanities project of this kind, this book brings together sixteen scholars from a diverse range of disciplines, including literary and cultural studies, philosophy, ecocinema and ecomedia studies, religious studies, minority studies, and animal or multispecies studies.

Ideology and Utopia in China's New Wave Cinema investigates the ways in which New Wave filmmakers represent China in this age of neoliberal reform. Through a close reading of the narrative strategy of key films in New Wave Cinema, Xiaoping Wang studies the movement's impact on film, literature, culture and politics.

This detailed, chronological study investigates the rise of the European fascination with the Chinese language up to 1615.

Bringing together the most recent research on the Cultural Revolution in China, musicologists, historians, literary scholars, and others discuss the music and its political implications. Combined, these chapters, paint a vibrant picture of the long-lasting impact that the musical revolution had on ordinary citizens, as well as political leaders.