Xu Xu 徐訏 (1908-1980) was one of the most widely read Chinese authors of the 1930s to 1960s. His popular urban gothic tales, his exotic spy fiction, and his quasi-existentialist love stories full of nostalgia and melancholy offer today’s readers an unusual glimpse into China’s turbulent twentieth century. These translations--spanning a period of some thirty years, from 1937 until 1965--bring to life some of Xu Xu’s most representative short fictions from prewar Shanghai and postwar Hong Kong and Taiwan. The Afterword illustrates that Xu Xu’s idealistic tendencies in defiance of the politicization of art exemplify his affinity with European romanticism and link his work to a global literary modernity.

Offering the first systematic overview of modern and contemporary Chinese literature from a translation studies perspective, this handbook provides students, researchers and teachers with a context in which to read and appreciate the effects of linguistic and cultural transfer in Chinese literary works. Translation matters. It always has, of course, but more so when we want to reap the benefits of intercultural communication. In many universities Chinese literature in English translation is taught as if it had been written in English. As a result, students submit what they read to their own cultural expectations; they do not read in translation and do not attend to the protocols of knowing, engagements and contestations that bind literature and society to each other. The Bloomsbury Handbook of Modern Chinese Literature in Translation squarely addresses this pedagogical lack. Organised in a tripartite structure around considerations of textual, social, and large-scale spatial and historical circumstances, its thirty plus essays each deal with a theme of translation studies, as emerged from the translation of one or more Chinese literary works. In doing so, it offers new tools for reading and appreciating modern and contemporary Chinese literature in the global context of its translation, offering in-depth studies about eminent Chinese authors and their literary masterpieces in translation. The first of its kind, this book is essential reading for anyone studying or researching Chinese literature in translation.

Modern Chinese literature has been flourishing for over a century, with varying degrees of intensity and energy at different junctures of history and points of locale. An integral part of world literature from the moment it was born, it has been in constant dialogue with its counterparts from the rest of the world. As it has been challenged and enriched by external influences, it has contributed to the wealth of literary culture of the entire world. In terms of themes and styles, modern Chinese literature is rich and varied; from the revolutionary to the pastoral, from romanticism to feminism, from modernism to post-modernism, critical realism, psychological realism, socialist realism, and magical realism. Indeed, it encompasses a full range of ideological and aesthetic concerns. This second edition of Historical Dictionary of Modern Chinese Literature presents a broad perspective on the development and history of literature in modern China. It offers a chronology, introduction, bibliography, and over 400 cross-referenced dictionary entries on authors, literary and historical developments, trends, genres, and concepts that played a central role in the evolution of modern Chinese literature.

A brief stay in France was, for many Chinese workers and Chinese Communist Party leaders, a vital stepping stone for their careers during the cultural and political push to modernize China after World War I. For the Chinese students who went abroad specifically to study Western art and literature, these trips meant something else entirely. Set against the backdrop of interwar Paris, Paris and the Art of Transposition uncovers previously marginalized archives to reveal the artistic strategies employed by Chinese artists and writers in the early twentieth-century transnational imaginary and to explain why Paris played such a central role in the global reception of modern Chinese literature and art. While previous studies of Chinese modernism have focused on how Western modernist aesthetics were adapted or translated to the Chinese context, Angie Chau does the opposite by turning to Paris in the Chinese imaginary and discussing the literary and visual artwork of five artists who moved between France and China: the painter Chang Yu, the poet Li Jinfa, the art critic Fu Lei, the painter Pan Yuliang, and the writer Xu Xu. Chau draws the idea of transposition from music theory where it refers to shifting music from one key or clef to another, or to adapting a song originally composed for one instrument to be played by another. Transposing transposition to the study of art and literature, Chau uses the term to describe a fluid and strategic art practice that depends on the tension between foreign and familiar, new and old, celebrating both novelty and recognition—a process that occurs when a text gets placed into a fresh context.

This volume considers the challenges and opportunities of online literature classes and suggests instructional strategies that ensure students are engaged in the virtual classroom. The ideas shared here are grounded in research, practice, critical self-reflection, and collaboration. Reflecting a diverse collection of practical tips and experiences from colleagues teaching at a variety of institutions, the essays offer readers the chance to inhabit others' classrooms. Contributors discuss building an interactive and inclusive classroom and using hypertext, video lectures, and other asynchronous and synchronous tools in classes whose subjects include, among others, Shakespeare, the Chinese novel, early American literature, speculative fiction, and contemporary American poetry.

The violent suppression of the 1989 Tiananmen Square demonstrations is thought to be contemporary China’s most taboo subject. Yet despite sweeping censorship, Chinese culture continues to engage with the history, meaning, and memory of the Tiananmen movement. Made in Censorship examines the surprisingly rich corpus of Tiananmen literature and film produced in mainland China since 1989, both officially sanctioned and unauthorized, contending that censorship does not simply forbid—it also shapes what is created. Thomas Chen explores a wide range of works made despite and through censorship, including state propaganda, underground films, and controversial best-sellers. Moving across media, from print to the internet, TV to DVD, fiction to documentary, he shows the effects of state intervention on artistic production and consumption. Chen considers art at the edge of censorship, reading such disparate works as a queer love story shot without permission that found official release on DVD, an officially sanctioned film that was ultimately not permitted to be released, a novel built on orthographic elisions that was banned and eventually reissued, and an internet narrative set during the SARS epidemic later published with alterations. He also connects Tiananmen with the story of COVID-19 in China and considers the implications for debates about the reach and power of the Chinese state in the public realm, both domestic and abroad. A bold rethinking of contemporary Chinese literature and film, this book upends understandings of censorship, uncovering not just what it suppresses but also what it produces.

In this colorful and touching story that celebrates what makes each of us unique, a little creature that's not quite a bird and not quite a bunny--it's "neither"--searches for a place to fit in. In the Land of This and That, there are only two kinds: blue bunnies and yellow birds. But one day a funny green egg hatches, and a little creature that's not quite a bird and not quite a bunny pops out. It's neither! Neither tries hard to fit in, but its bird legs aren't good for jumping like the other bunnies, and its fluffy tail isn't good for flapping like the other birds. It sets out to find a new home and discovers a very different place, one with endless colors and shapes and creatures of all kinds. But when a blue bunny and a yellow bird with some hidden differences of their own arrive, it's up to Neither to decide if they are welcome in the Land of All. This colorful, simple, and touching story promotes diversity and offers a valuable lesson to the youngest of audiences: it is our differences that unite us.