Andrews, Julia F. "Literature in Line: Picture Stories in the People's Republic of China." Inks: Comic and Comic Art Studies 4, 3 (Nov. 1997): 17-32.

Barme, Geremie. "Culture at Large: Consuming T-Shirts in Beijing." China Information 8, 1/2 (1993): 1-44.

-----. "CCPTM & ADCULT PRC." The China Journal 41 (Jan. 1999): 1-24. [essay on advertising and popular culture in the PRC; also included in In the Red]

-----. In the Red: On Contemporary Chinese Culture. NY: Columbia UP, 1999. [includes the above two essays and much more]

Barthlein, Thomas. "'Mirors of Transition': Conflicting Images of Society in Change from Popular Chinese Social Novels, 1908 to 1930." Modern China 25, 2 (April 1999): 204-28.

Benson, Carlton. From Teahouse to Radio: Storytelling and the Commercialization of Culture in 1930s Shanghai. Ph.d. diss. Berkeley: University of California, 1996.

Bordahl, Vibeke. The Eternal Storyteller: Oral Literature in Modern China. Honolulu: University of Hawai'i Press, 1998.

-----. "Three Bowls and You Cannot Cross the Ridge: Orality and Literacy in Yangzhou Storytelling." In Soren Clausen, Roy Starrs, and Anne Wedell-Wedellsborg, eds., Cultural Encounters: China, Japan, and the West: Essays Commemorating 25 Years of East Asian studies at the University of Aarhus. Aarhus: Aarhus University Press, 1995, 125-57.

-----. Chinese Storytelling. Text: Vibeke Børdahl; Photos: Jette Ross (1936-2001); Webdesign: Jens-Christian Sørensen

Cheng, Fong-ching. "The Popular Cultural Movement of the 1980s." In Gloria Davies, ed. Voicing Concerns: Contemporary Chinese Critical Inquiry. Lanham, MD: Rowman and Littlefied, 2001, 71-86.

Chen, Fong-ching and Jin Guantao. From Youthful Manuscripts to River Elegy: The Chinese Popular Cultural Movement and Political Transformation, 1979-1989. HK: Chinese University of HK Press, 1997.

Chen, Guanzhong. et al. Boximiya Zhongguo (Bohemian China). HK: Oxford University Press, 2004.

Chen, Nancy, Constance Clark, Suzanne Gottschang, and Lyn Jeffry, eds. China Urban: Ethnographies of Contemporary Culture. Durham: Duke UP, 2001.

Chen Pingyuan. Qiangu wenren xaike meng: Wuxia xiaoshuo leixing yanjiu (The scholar's ancient dream of the knight-errant: genre studies of martial arts fiction). Beijing: Renmin wenxue, 1992.

-----. "From Popular Science to Science Fiction: An Investigation of 'Flying Machines.'" In David Pollard, ed., Translation and Creation: Readings of Western Literature in Early Modern China. Amsterdan, Philadelphia: J. Benjamins, 1998, 209-40.

-----. "Literature High and Low: 'Popular Fiction' in Twentieth-Century China." In Michel Hockx, ed., The Literary Field of Twentieth Century China. Honolulu: University of Hawaii Press, 1999, 113-33.

Chen, Tina Mai. "Thinking Through Embeddedness: Globalization, Culture, and the Popular." Cultural Critique 58 (Fall 2004): 1-29.

-----, guest editor. Globalization and Popular Culture: Production, Consumption, Identity, special issue of Cultural Critique 58 (Fall 2004).)

"Chinese Popular Culture and the State." Special issue of positions: east asia culture critiques 9, 1 (2001).

[Contributors: Tani E. Barlow, Dai Jinhua, Judith Farquhar, David S. G. Goodman, James L. Hevia, Li Hsiaoti, Ralph Litzinger, Eric Kit-Wa Ma, Jonathan Scott Noble, Jing Wang; Summary: The State Question in Chinese Popular Culture presents a series of groundbreaking essays that challenge the paradigm dividing Chinese culture into "official" and "unofficial" categories. This binary, which mirrors the "high/low" dichotomy familiar to all practitioners of cultural studies, finds its roots in Cold-War Western romanticization of a Chinese popular culture that stood in defiant opposition to the Communist state. This special issue disputes such simplistic representations and offers new critical trajectories crucial to the study of contemporary Chinese popular culture]

Ching, Leo. "Globalizing the Regional, Regionalizing the Global: Mass Culture and Asianism in the Age of Late Capital." In Arjun Appadurai, ed., Globalization. Durham: Duke UP, 2001, 279-306.

Chow, Rey. "Rereading Mandarin Ducks and Butterflies: A Response to the 'Postmodern' Condition." Cultural Critique 5 (Winter 1986/87): 69-95.

-----. Woman and Chinese Modernity: The Politics of Reading Between West and East. Minneapolis: U of Minnesota Press, 1991. (see chap. 2)

Cochran, Sherman. Inventing Nanjing Road: Commerical Culture in Shanghai, 1990-1945. Ithaca: Cornell UP, 1998.

Dai, Jinhua. "Invisible Writing: The Politics of Chinese Mass Culture in the 1990s." Modern Chinese Literature and Culture 11,2 (Spring 1999): 31-60.

-----. "Behind Global Spectacle and National Image Making." positions 9, 1 (Spring 2001): 161-186.

Davis, Deborah, ed. The Consumer Revolution in Urban China. Berkeley: UCP, 2000.

de Kloet, Jeroen. China with a Cut: Globalisation, Urban Youth and Popular Music. Amsterdam: IIAS Publications, Amsterdam University Press, 2010.

[Abstract: In the wake of intense globalisation and commercialisation in the 1990s, China saw the emergence of a vibrant popular culture. Drawing on sixteen years of research, Jeroen de Kloet explores the popular music industry in Beijing, Hong Kong and Shanghai, providing a fascinating history of its emergence and extensive audience analysis, while also exploring the effect of censorship on the music scene in China. China with a Cut pays particular attention to the dakou culture: so named after a cut nicked into the edge to render them unsaleable, these illegally imported Western CDs still play most of the tracks. They also played a crucial role in the emergence of the new music and youth culture. De Kloet’s impressive study demonstrates how the young Chinese cope with the rapid economic and social changes in a period of intense globalisation, and offers a unique insight into the socio-cultural and political transformations of a rising global power.]

Desser, David. “Consuming Asia: Chinese and Japanese Popular Culture and the American Imaginary.” In Jenny Kwok Wah Lau, ed., Multiple Modernities: Cinemas and Popular Media in Transcultural East Asia. Philadelphia: Temple UP, 2003.

Doar, Bruce. "Speculation in a Distorting Mirror: Scientific and Political Phantasy in Contemporary Chinese Writing." The Australian Journal of Chnese Affairs 8 (1982): 51-64.

Dong, Paul. China's Major Mysteries: Paranormal Phenomena and the Unexplained in the People's Republic. San Francisco: China Books and Periodicals, 2000.

Du, Daisy Yan. "Diffusion of Absence: The Official Appropriation of Yuan Zhen in Modern Tongzhou." Modern Chinese Literature and Culture 22, 2 (Fall 2010): 130-160.

Dutton, Michael. "The Badge as Biography." In Streetlife China. Cambridge: Cambridge UP, 1998, 242-71.

Edwards, Louise and Elaine Jeffreys, eds. Celebrity in China. HK: University of Hong Kong Press, 2010.

[Abstract: Celebrity is a pervasive aspect of everyday life and a growing field of academic inquiry. While there is now a substantial body of literature on celebrity culture in Australia, Europe and the Americas, this is the first book-length exploration of celebrity in China. It examines how international norms of celebrity production interact with those operating in China. The book comprises case studies from popular culture (film, music, dance, literature, internet), official culture (military, political, and moral exemplars) and business celebrities. This breadth provides readers with insights into the ways capitalism and communism converge in the elevation of particular individuals to fame in contemporary China. The book also points to areas where Chinese conceptions of fame and celebrity are unique.]

Fan Boqun. Libai liu de hudie meng (The butterfly dream of the Saturday group). Beijing: Renmin wenxue, 1989.

Farquhar, Judith. "For Your Reading Pleasure: Self-Health [Ziwo Baojian] Information in 1990s Beijing." positions 9, 1 (Spring 2001): 105-31.

Farrer, James. Opening Up: Youth Sex Culture and Market Reform in Shanghai. Chicago: University of Chicago Press, 2002.

Farrer, James and Andrew Field, guest editors. Special issue on "Play and Power in Chinese Nightlife Spaces." China: An International Journal 6, 1 (March 2008). [essays by Field, Anouska Komlosy, Tiantian Zheng, adn Tamara Perkins]

Feng, Jin. "'Addicted to Beauty': Consuming and Producing Web-based Chinese Danmei Fiction at Jinjiang." Modern Chinese Literature and Culture 21, 2 (Fall 2009): 1-41.

-----. "Cong Jinjian danmei wen kan Zhongguo nuxing xingbie shenfen de goucheng" (Constructing female gender identities through Danmei at Jinjiang). Zhongguo xing yanjiu 30, 3 (2009): 132-153.

Field, Andrew. Shanghai's Dancing World: Cabaret Culture and Urban Politics, 1919-1954. HK: Chinese University Press, 2010.

[Abstract: Drawing upon a unique and untapped reservoir of newspapers, magazines, novels, government documents, photographs and illustrations, this book traces the origin, pinnacle, and ultimate demise of a commercial dance industry in Shanghai between the end of the First World War and the early years of the People's Republic of China. Delving deep into the world of cabarets, nightclubs, and elite ballrooms that arose in the city in the 1920s and peaked in the 1930s, the book assesses how and why Chinese society incorporated and transformed this westernized world of leisure and entertainment to suit their own tastes and interests. Focusing on the jazz-age nightlife of the city in its "golden age," the book examines issues of colonialism and modernity, jazz and African-American culture, urban space, sociability and sexuality, and latter-day Chinese national identity formation in a tumultuous era of war and revolution.]

Gimpel, Denise. "More Than Butterflies: Short Fiction in the Early Years of the Literary Journal Xiaoshuo yuebao." In Findeison and Gassmann, eds., Autumn Floods: Essay in Honour of Marian Galik. Bern: Peter Lang, 1997, 243-60.

-----. "Beyond Butterflies: Some Observations on the Early Years of the Journal Xiaoshuo yuebao." In Michel Hockx, ed., The Literary Field of Twentieth Century China. Honolulu: University of Hawaii Press, 1999, 40-60.

Goodman, David S. G. "Contending the Popular: Party-State and Culture." positions 9, 1 (Spring 2001): 245-52.

Farquhar, Mary Ann. "Sanmao: Classic Cartoons and Chinese Popular Culture." In John Lent, ed., Asian Popular Culture. Boulder: Westview, 1995, 139-58.

Gerth, Karl. China Made: Consumer Culture and the Creation of the Nation. Cambridge : Harvard University Asia Center, 2003.

Gold, Thomas. "Go With Your Feelings: Hong Kong and Taiwan Popular Culture in Greater China." In David Shambaugh ed., Greater China: The New Superpower? NY: Oxford UP, 1995, 255-73.

Guide to Chinese Popular Culture (informative website)

Hamm, John Christopher. "The Marshes of Mount Liang Beyond the Sea: Jin Yong's Early Martial Arts Fiction and Post-War Hong Kong." Modern Chinese Literature and Culture 11, 1 (Spring 1999): 93-124.

-----. "Local Heroes: Guangdong School wuxia Fiction and Hong Kong's Imagining of China." Twentieth-Century China 27, 1 (Nov. 2001): 71-96.

-----. "Reading the Swordsman's Tale: Shisanmei and Ernu yingxiong zhuan." T'oung Pao 84 (1998): 328-55.

-----. Paper Swordsmen: Jin Yong and the Modern Chinese Martial Arts Novel. Honolulu: University of Hawa'ii Press, 2005. [MCLC Resource Center review by Paul B. Foster]

Hartley, John and Michael Keene, eds. "Creative Industries and Innovation in China," a special issue of International Journal of Cultural Studies 9, 3 (2006).

He, Qiliang. "Between Business and Bureaucrats: Pingtan Storytelling in Maoist and Post-Maoist China." Modern China 36, 3(2010): 243-268.

[Abstract: This article examines the complex relationship of the state, market, and artists in pingtan storytelling in post-1949 China. By focusing on Su Yuyin, a pingtan storyteller, and his performing career, this article explores the persistence of cultural markets after the Communist victory in 1949 and argues that the market continued to play a significant role in shaping China’s popular culture, which the government was keen on patronizing and politicizing. By comparing the regime’s management of pingtan storytelling before and after the Cultural Revolution (1966—1976), this article further argues that the regime’s censorship of popular culture in the 1950s and 1960s was handicapped by its lack of financial resources and the continued existence of cultural markets. The result was that censorship was not as strictly and efficiently enforced as has been assumed.]

Ho, Virgil K. Y. Understanding Canton: Rethinking Popular Culture in the Republican Period. Oxford: Oxford UP, 2005

Hockx, Michel and Julia Straus, eds. Special Issue: Culture of the Contemporary PRC. The China Quarterly 183 (Sept. 2005).

Huang, Huilin, ed. Dangdai Zhongguo dazhong wenhua yanjiu (Studies in contemporary Chinese mass culture). Beijing: Beijing shifan daxue, 1999.

Hung, Chang-tai. War and Popular Culture: Resistance in Modern China, 1937-1945. Berkeley: University of California Press, 1994.

Hung, Eva. "Giving Texts a Context: Chinese Translations of Classical English Detective Stories, 1896-1916." In David Pollard, ed., Translation and Creation: Readings of Western Literature in Early Modern China. Amsterdan, Philadelphia: J. Benjamins, 1998, 151-76.

Huntington, Rania. “The Weird in the Newspaper.” In Judith T. Zeitlin and Lydia Liu, with Ellen Widmer, eds., Writing and Materiality in China: Essays in Honor of Patrick Hanan. Cambridge, MA: Harvard University Asia Center, 2003, 341-97. [deals mostly with the Dianshizhai huabao]

Huss, Ann and Jianmei Liu, eds. The Jin Yong Phenomenon: Chinese Martial Arts Fiction and Modern Chinese Literary History. Amherst, NY: Cambria Press, 2007.

[Abstract: This pioneering book is the first English-language collection of academic articles on Jin Yong's works. It introduces an important dissenting voice in Chinese literature to the English-speaking audience. Jin Yong is hailed as the most influential martial arts novelist in twentieth-century Chinese literary history. His novels are regarded by readers and critics as “the common language of Chinese around the world” because of their international circulation and various adaptations (film, television serials, comic books, video games). Not only has the public affirmed the popularity and literary value of his novels, but the academic world has finally begun to notice his achievement as well. The significance of this book lies in its interpretation of Jin Yong’s novels through the larger lens of twentieth-century Chinese literature. It considers the important theoretical issues arising from such terms as modernity, gender, nationalism, East / West conflict, and high literature versus low culture.]

Huss, Mikael. "Hesitant Journey to the West: Science Fiction's Changing Fortunes in Mainland China." Science Fiction Studies 27, 1 (2000): 92-104.

Jiang, Jin. Women Playing Men: Yue Opera and Social Change in Twentieth-Century Shanghai. Seattle: University of Washington Press, 2009.

[Abstract: This ground-breaking volume documents women's influence on popular culture in twentieth-century China by examining Yue opera. A subgenre of Chinese opera, it migrated from the countryside to urban Shanghai and morphed from its traditional all-male form into an all-female one, with women cross-dressing as male characters for a largely female audience. Yue opera originated in the Zhejiang countryside as a form of story-singing, which rural immigrants brought with them to the metropolis of Shanghai. There, in the 1930s, its content and style transformed from rural to urban, and its cast changed gender. By evolving in response to sociopolitical and commercial conditions and actress-initiated reforms, Yue opera emerged as Shanghai's most popular opera from the 1930s through the 1980s and illustrates the historical rise of women in Chinese public culture. Jiang examines the origins of the genre in the context of the local operas that preceded it and situates its development amid the political, cultural, and social movements that swept both Shanghai and China in the twentieth century. She details the contributions of opera stars and related professionals and examines the relationships among actresses, patrons, and fans. As Yue opera actresses initiated reforms to purge their theater of bawdy eroticism in favor of the modern love drama, they elevated their social image, captured the public imagination, and sought independence from the patriarchal opera system by establishing their own companies. Throughout the story of Yue opera, Jiang looks at Chinese women's struggle to control their lives, careers, and public images and to claim ownership of their history and artistic representations.]

Johnson, David et al, eds. Popular Culture in Late Imperial China. Berkeley: University of California Press, 1985.

Jordan, David K., Andrew D. Morris, and Marc L. Moskowitz, eds. The Minor Arts of Daily Life: Popular Culture in Taiwan. Honolulu: University of Hawai'i Press, 2004.

Kaikonen, Marja. "From Knights to Nudes: Chinese Popular Literature Since Mao." Stockholm Journal of East Asian Studies 5 (1995): 85-110.

-----. Laughable Propaganda: Modern Xiangsheng as Didactic Entertainment. Stockholm: Stockholm East Asian Monographs, Institute of Oriental Languages, 1990.

-----. "Stories and Legends: China's Largest Contemporary Popular Literature Journals." In Michel Hockx, ed., The Literary Field of Twentieth Century China. Honolulu: University of Hawaii Press, 1999, 134-60.

Kato, M. T. From Kung Fu to Hip Hop: Globalization, Revolution and Popular Culture. Albany: State University of New York Press, 2007. [publisher's blurb]

Keane, Michael. Created in China: The Great New Leap Forward. Routledge 2007.

Kinkley, Jeffrey. "Chinese Crime Fiction." Society 30, 4 (May/June 1993): 51-62.

-----. "The Politics of Detective Fiction in Post-Mao China: Rebirth or Re-extinction?" The Armchair Detective 18, 4 (Fall 1985): 372-78.

-----. "The Post-Colonial Detective in People's China." In Ed Christian, ed., The Post-Colonial Detective. NY: St. Martin's, 2000.

-----. Chinese Justice, the Fiction: Law and Literature in Modern China. Stanford: SUP, 2000.

Ko, Yu-fen. "Hello Kitty and Identity Politics in Taiwan." Conference paper, Remapping Taiwan (UCLA, Oct. 13-15, 2000).

Kong, Shuyu. Consuming Literature: Best Sellers and the Commercialization of Literary Production in Contemporary China. Stanford: Stanford UP, 2004.

Kozar, Seana. "Paperback Haohan and Other 'Genred Genders': Negotiated Masculinities Among Chinese Popular Fiction Readers." Canadian Folklore Canadien 19, 1 (1997).

Latham, Kevin and Stuart Thompson. Consuming China Approaches to Cultural Change in Contemporary China. Richmond: Curzon Press, 2001.

Lawson, Francesca R. Sborgi. The Narrative Arts of Tianjin: Between Music and Language. Surrey, UK: Ashgate, 2010.

[Abstract: explores one of the richest forms of Chinese cultural expression: performed narratives. . . . Lawson examines the relationships between language and music in the performance of four narrative genres in the city of Tianjin, China, based upon original field research conducted in the People’s Republic of China in the mid-1980s and in 1991.]

Laughlin, Charles. "Literature and Popular Culture." In Robert E. Gamer, ed., Understanding Contemporary China. Boulder: Lynne Rienner, 1999.

Lee, Haiyan. "All the Feelings That Are Fit to Print: The Community of Sentiment and the Literary Public Sphere in China, 1900-1918." Modern China 27, no. 3 (July 2001): 291-327.

Lent, John. "The Renaissance of Taiwan Cartoons." Asian Culture Quarterly 21, 1 (1993): 1-17.

Levy, Richard. "Corruption in Popular Culture." In Perry Link, Richard P. Madsen, and Paul G. Pickowicz, eds., Popular China: Unofficial Culture in a Globalizing Society. Lanham, MD: Rowman and Littlefield, 2002, 39-56.

Lewins, Frank. "Everyday Culture in China: The Experience of Intellectuals." China Information 7, 2 ( 1992): 56-69.

Li, Danke. "Popular Culture in the Making of Anti-Imperialist and Nationalist Sentiments in Sichuan." Modern China 30, 4 (Oct. 2004): 470-505.

Abstract: Existing Western scholarship on the rights recovery movement in Sichuan mainly focuses on the role played by elites. This article argues that popular culture, in the form of folk stories, songs, and children's primers, also contributed to that movement by shaping and expressing popular anti-imperialist attitudes. Its analysis of primers available in late Qing Sichuan and popular stories about the activities of foreigners prevalent in the early 1900s serves to reveal a rich local cultural milieu of time-nurtured anti-imperialist sentiment among common people, which broadly influenced local political action. The protests over the Jiangbei mining concession encompassed both elite and ordinary people, although each group understood the issue differently.

Li, Hsiao-t'i. Opera, Society, and Politics: Chinese Intellectuals and Popular Culture, 1901-1937. Ph. D. diss. Cambridge: Harvard University, 1996.

-----. "Making a Name and a Culture for the Masses in China." positions 9, 1 (Spring 2001): 29-68.

Lin Fangmei. Social Change and Romantic Ideology: The Impact of the Public Industry, Family Organization and Gender Roles on the Reception and Interpretation of Romance Fiction in Taiwan. Ph. D. diss. University of Pennsylvania, 1992.

Link, Perry. "Traditional Style Popular Urban Fiction in the Teens and Twenties." In Merle Goldman, ed., Modern Chinese Literature in the May Fourth Era. Cambridge: Harvard UP, 1977, 327-50.

-----. Mandarin Ducks and Butterflies: Popular Fiction in Early Twentieth-Century Chinese Cities. Berkeley: UCP, 1981.

-----. "The Genie and the Lamp: Revolutionary Xiangsheng." In Bonnie McDougall, ed., Popular Literature and the Performing Arts in the People's Republic of China, 1949-1979. Berkeley: University of California Press, 1984, 83-111.

-----. "Hand Copied Entertainment Fiction from the Cultural Revolution." In Link, Richard Madsen, and Paul G. Pickowicz, eds., Unofficial China: Popular Culture and Thought in the People's Republic. Boulder: Westview, 1989, 17-36.

Link, Perry and Kate Zhou. "Shunkouliu: Popular Satirical Sayings and Popular Thought." In Perry Link, Richard P. Madsen, and Paul G. Pickowicz, eds., Popular China: Unofficial Culture in a Globalizing Society. Lanham, MD: Rowman and Littlefield, 2002, 89-110.

Link, Perry, Richard P. Madsen, and Paul G. Pickowiczet, eds. Unofficial China: Popular Culture and Thought in the People's Republic. Boulder: Westview, 1989.

-----. Popular China: Unofficial Culture in a Globalizing Society. Lanham, MD: Rowman and Littlefield, 2002.

Litzinger, Ralph A. "Government from Below: The State, the Popular, and the Illusion of Autonomy." positions 9, 1 (Spring 2001): 253-66.

Liu Ching Chih, ed. The Question of Reception: Marial Arts Fiction in English Translation. HK: Centre for Literature and Translation, Lingnan College, 1997.

Liu, Kang. "Popular Culture and the Culture of the Masses in Contemporary China." Boundary 2 24, 3 (1997): 99-122. Rpt. in Xudong Zhang and Arif Dirlik, eds., Postmodernism and China. Durham: Duke UP, 2000, 123-44.

-----. Liu, Kang. "The Rise of Commercial Popular Culture and the Legacy of the Revolutionary Culture of the Masses." In Liu, Globalization and Cultural Trends in China. Honolulu: University of Hawai'I Press, 2004, 78-101.

-----.Globalization and Cultural Trends in China. Honolulu: University of Hawai'i Press, 2004.

Liu, Lydia. “A Folksong Immortal and Official Popular Culture in Twentieth-Century China.” In Judith T. Zeitlin and Lydia Liu, with Ellen Widmer, eds., Writing and Materiality in China: Essays in Honor of Patrick Hanan. Cambridge, MA: Harvard University Asia Center, 2003, 553-609.

-----. "What's Happened to Ideology? Transnationalism, Postsocialism, and the Study of Global Media Culture." Working Papers in Asian/Pacific Studies. Durham: Duke University, 1998. [focuses on "Beijingers in New York"]

Liu, Ts'un-yan. Chinese Middlebrow Fiction From the Ch'ing and Early Republican Era. HK: Chinese UP, 1984.

Lo, Kwai-cheung. "Giant Panda and Mickey Mouse: Transnational Objects of Fantasy in Post-1997 Hong Kong." Comparative and Interdisciplinary Research on Asia, UCLC. [draft essay, not for citing]

-----. Chinese Face/Off: The Transnational Culture of Hong Kong. Champaign: University of Illinois Press, 2005. [examines film, newspaper culture, theme parks, and kung-fu comics, as well as the interaction of the HK film industry with Hollywood, Lo uncovers HK's "transnational" identity defined in terms of complex relationships with mainland Chna, other diasporic communities (like Taiwan), and the West]

London, Miriam and Mu Yang-jen. "What Are They Reading in China?" Saturday Review 30 (Sept. 1978): 42-43.

Lu, Chao. "Popular Novels Leave Serious Stuff Standing." China Daily (Sept. 2, 1986).

Lu, Sheldon H. "Popular Culture: Toward and Historical and Dialectical Method." In Lu, ed., China, Trannational Visuality, Global Postmodernity. Stanford: Stanford UP, 2002. 195-212.

Luo Liqun. Zhongguo wuxia xiaoshuo shi (History of Chinese martial arts fiction). Shenyang: Liaoning renmin, 1990.

Mair, Victor H. and Mark Bender, eds. The Columbia Anthology of Chinese Fold and Popular Literature. NY: Columbia UP, 2011.

[Abstract: two of the world's leading sinologists, Victor H. Mair and Mark Bender, capture the breadth of China's oral-based literary heritage. This collection presents works drawn from the large body of oral literature of many of China's recognized ethnic groups--including the Han, Yi, Miao, Tu, Daur, Tibetan, Uyghur, and Kazak--and the selections include a variety of genres. Chapters cover folk stories, songs, rituals, and drama, as well as epic traditions and professional storytelling, and feature both familiar and little-known texts, from the story of the woman warrior Hua Mulan to the love stories of urban storytellers in the Yangtze delta, the shaman rituals of the Manchu, and a trickster tale of the Daur people from the forests of the northeast. The Cannibal Grandmother of the Yi and other strange creatures and characters unsettle accepted notions of Chinese fable and literary form. Readers are introduced to antiphonal songs of the Zhuang and the Dong, who live among the fantastic limestone hills of the Guangxi Zhuang Autonomous Region; work and matchmaking songs of the mountain-dwelling She of Fujian province; and saltwater songs of the Cantonese-speaking boat people of Hong Kong. The editors feature the Mongolian epic poems of Geser Khan and Jangar; the sad tale of the Qeo family girl, from the Tu people of Gansu and Qinghai provinces; and local plays known as "rice sprouts" from Hebei province. These fascinating juxtapositions invite comparisons among cultures, styles, and genres, and expert translations preserve the individual character of each thrillingly imaginative work.]

McDougall, Bonnie, ed. Popular Chinese Literature and Performing Arts in the People's Republic of China. Berkeley: UCP, 1984.

Ming, Feng-ying. "Baoyu in Wonderland: Technological Utopia in th Early Modern Chinese Science Fiction Novel." In Ying-jin Zhang, ed., China in a Polycentric World: Essays in Chinese Comparative Literature. Stanford: Stanford UP, 1999, 152-72.

Moskowitz, Marc L. Popular Culture in Taiwan: Charismatic Modernity. NY: Routledge, 2010.

[Abstract: The growing field of popular culture studies in Taiwan can be divided into two distinct academic trends; a different analytical framework is used to examine either locally oriented popular culture or transnational pop culture. This volume combine these two academic trends, firstly by revealing that localized popular culture in Taiwan is in many ways a merging of Chinese, Japanese, American, and indigenous cultures and therefore is a form of hybridity that arose long before the term became popular. Secondly, the chapters show that the transnational character of Taiwan’s pop culture is one of the more important ways that it distinguishes itself from mainland China. In other words, it is precisely Taiwan’s transnational hybrid character that helps to define it as a distinctive local space. The contributors explore how traditional Chinese influences modern localized lives in Taiwan, localized identity, culture, and politics as a contested domain with Chinese and traditional Taiwanese identities and Taiwan’s localization process as contesting Taiwan’s gravitation towards globalized Western culture.]

Mosher, David. "Stifled Laughter: How the Communist Party Killed Chinese Humor." Danwei.org (Nov. 16, 2004).

Movius, L. Popular Culture, Social Change and Political Reaction in Post-Reform China (posted at the Guide to Chinese Popular Culture site)

Mu, Aili. "Two of Zhao Benshan's Comic Skits: Their Critical Implications in Contemporary China." Concentric: Literary and Cultural Studies 30, 2 (July 2004): 3-34.

Ng, Mau-sang. "Women, Work and Identity: A Study of Two 1930s Novels on the Opera Singer." In Liu and David Faure, eds., Unity and Diversity: Local Cultures and Identities in China. HK: HKUP, 1996, 125-38.

-----. "A Common People's Literature: Popular Fiction and Social Change in Republican China." East Asian History 9 (June 1995): 1-22.

-----. "The Crystal and May Fourth Taste Culture." In M. Galik, ed., Interliterary and Intraliterary Aspects of the May Fourth Movement 1919 in China. Bratislava: Slovak Academy of Sciences, 1990. [Pp. 167-78 -about the tabloid journal Jingbao]

Notar, Beth. Displacing Desire: Travel and Popular Culture in China. Honolulu: University of Hawai'i Press, 2006.

Pang, Laikwan. "Magic and Modernity in China." positions: east asia cultures critiques 12, 2 (Fall 2004): 299-328.

Pickowicz, Paul. "The Theme of Spiritual Pollution in Chinese Films of the 1930s." Modern China 17, 1 (January 1991): 38-75.

Pollard, David. "Jules Verne, Science Fiction and Related Matters." In David Pollard, ed., Translation and Creation: Readings of Western Literature in Early Modern China. Amsterdan, Philadelphia: J. Benjamins, 1998, 177-208.

Sang, Tze-lan D. "Women's Work and Boundary Transgression in Wang Dulu's Popular Novels." In Bryna Goodman and Wendy Larson, eds., Gender in Motion: Divisions of Labor and Cultural Change in Late Imperial and Modern China. Lanham, Md.: Rowman and Littlefield, 2005, 287-308.

Sang Ye. "Beam Me Up." Tr. Geremie Barme. Humanities Research 2 (1999).

Shapiro, Hugh. "The Puzzle of Spermatorrhea in Republican China." positions 6, 3 (Winter 1998): 551-596.

Shen, Kuiyi. "Comics, Picture Books, and Cartoonists in Republican China." Inks: Comic and Comic Art Studies 4, 3 (Nov. 1997): 2-16.

Stanley, Nick and Siu King Chung. "Representing the Past as the Future: The Shenzhen Chinese Folk Culture Villages and the Making of Chinese Identity." Journal of Museum Ethnography 7 (1995): 25-40.

Tang, Xiaobing. "New Urban Culture and the Anxiety of Everyday Life in Contemporary China." In Xiaobing Tang and Stephen Snyder, eds., In Pursuit of Contemporary East Asian Culture. Boulder: Westview Press, 1996, 107-22.

Taylor, Jeremy. From "Hello Kitty" to Hot-Springs: Nostalgia and the Japanese Past in Taiwan. Bochum: Cathay Skripten, Taiwan Studies Series, 2001.

[Abstract: In the summers of 1998 and 1999, something of a storm was brewing in Taiwan over the issue of a cartoon character. Hello Kitty, or Kaidi Mao, as she was known in the official Mandarin Chinese language of the island, was at the centre of a debate about issues that seemed way beyond her depth. As Taiwanese students sought to adorn themselves with all kinds of Hello Kitty paraphernalia, intellectual circles were busy either deriding the trend or discussing, in all seriousness, how it reflected Japanese "cultural imperialism" and a dangerous threat to the well-being of Taiwan as a whole. The paper explores other manifestations of a Japanese presence in Taiwan that have instead been looked upon with favour and nostalgia. How is it that a cartoon character has been accused of lying behind a new form of "cultural colonialism", when at the same time, the physical relics that Japanese colonialism left in Taiwan in the early decades of the twentieth century have today become such popular sites of nostalgic tourism? The answers to these questions lie at least in part in Taiwan's experience with modernity, particularly as it existed under Japanese colonial rule, and indeed, the way in which so much of the Japanese colonial experience eventually became internalised in Taiwan.]

Wagner, Rudolf. "Lobby Literature: The Archaelology and Present Functions of Science Fiction in China." In Jeffrey Kinkley, ed., After Mao: Chinese Literature and Society, 1978-1981. Cambridge, MA: Council on East Asian Studies, Harvard University, 1985, 17-62.

Wan, Margaret. Green Peony and the Rise of the Chinese Martial Arts Novel. Albany: State University of New York Press, 2009.

Wang, Dun. "The Late Qing's Other Utopias: China's Science-Fictional Imagination, 1900-1910.” Concentric: Literary and Cultural Studies 34, 2 (Special Issue “Asia and the Other”) (November 2008): 37-62.

Wang, Jing. "The State Question in Chinese Popular Cultural Studies." Inter-Asia Cultural Studies 2, 1 (2001): 35-52.

-----. "Culture as Leisure and Culture as Capital." positions 9, 1 (Spring 2001): 69-104.

-----. "Bourgeois Bohemians in China? Neo-Tribes and the Urban Imaginary." The China Quarterly 183 (Sept. 2005): 532-548.

-----. "The Global Reach of a New Discourse: How Far Can ‘Creative Industries’ Travel?" International Journal of Cultural Studies 7, 1 (2004): 9-19.

-----. Wang, Jing. Brand New China: Advertising, Media, and Commercial Culture. Cambridge: Harvard UP.

[Abstract: One part riveting account of fieldwork and one part rigorous academic study, Brand New China offers a unique perspective on the advertising and marketing culture of China. Jing Wang's experiences in the disparate worlds of Beijing advertising agencies and the U.S. academy allow her to share a unique perspective on China during its accelerated reintegration into the global market system. Brand New China offers a detailed, penetrating, and up-to-date portrayal of branding and advertising in contemporary China...]

Wei Shaochang ed. Yuanyang hudie pai yanjiu ziliao. 2 vols. Shanghai: Wenyi, 1982.

Williams, John. "'Attacking Queshan': Popular Culture and the Creation of a Revolutionary Folklore in Southern Henan." Modern China 36 (2010): 644-75.

[Abstract: This article examines rural mobilization and propaganda by the Chinese Communist Party (CCP) in Henan via the case of an uprising during the Northern Expedition, as well as official and popular representation of that event before and after 1949. It confirms recent scholarship regarding the role of local interpersonal networks in early rural mobilization, which in this context required infiltration of local, religio-magical popular militias called Red Spear societies. It then examines popular and party-constructed representations of the revolt, illustrating both the function of early CCP propaganda within rural popular culture and its implications for official historiography, which practiced specific forms of erasure in representing popular collective memory. It uses party documents, memoirs, and local histories to show that the historical significance of the Queshan uprising resides less in the failed revolt itself than in the ways its legacy was appropriated by cadres and historians during the twentieth century.]

Wong, Timothy C. “What’s in the Name?” In Wong, ed./tr., Stories for Saturday: Twentieth Century Chinese Popular Fiction. Honolulu: University of Hawaii Press, 2003, 229-44.

Wu, Dingbo and Patrick Murphy, eds. Handbook of Chinese Popular Culture. Westport, Ct.: Greenwood Press, 1994.

-----. "Chinese Science Fiction." In Dingbo Wu and Patrick Murphy, eds., Handbook of Chinese Popular Culture. Westport: Greenwood Press, 1984, 257-77.

Wu Yu, Liang Licheng, and Wang Daozhi. Minguo hei shehui (Underworld society in Republican China). Nanjing: Jiangsu guji, 1988.

Ye, Xiaoqing. Popular Culture in Shanghai, 1884-1898. Ph.D. diss. Canberra: Australian National University, 1991.

-----. The Dianshizhai Pictorial: Shanghai Urban Life, 1884-1898. Ann Arbor: Michigan Monographs in Chinese Studies, 2003.

Yeh, Catherine Vance. “Creating the Urban Beauty: The Shanghai Courtesan in Late Qing Illustrations.” In Judith T. Zeitlin and Lydia Liu, with Ellen Widmer, eds., Writing and Materiality in China: Essays in Honor of Patrick Hanan. Cambridge, MA: Harvard University Asia Center, 2003, 397-447.

Yuanyang hudie-- "Libai liu" pai zuopin xuan (Selected works of the Mandarin Ducks and Butterfly and Saturday school). Ed. Fan Boqun. Beijing: Renmin wenxue, 1991.

Yuanyang hudie pai yanqing xiaoshuo jicui (Collection of love stories of the Mandarin Ducks and Butterfly school). 3 vols. Beijing: Zhongyang minzu xueyuan, 1993.

Zha, Jianying. China Pop: How Soap Operas, Tabloids, and Bestsellers Are Transforming a Culture. New York: The New Press, 1995.

Zhang, Zhen. "Mediating Time: The 'Rice Bowl of Youth' in Fin-de-siecle Urban China." In Arjun Appadurai, ed., Globalization. Durham: Duke UP, 2001, 131-54.

Zhao, Bin and Graham Murdock. "Young Pioneers: Children and the Making of Chinese Consumerism." Cultural Studies 10, 2 (1996): 201-17.

Zhao, Yuezhi. "The Rich, the Laid Off, nd the Criminal in Tabloid Tales: Read All about It." In Perry Link, Richard P. Madsen, and Paul G. Pickowicz, eds., Popular China: Unofficial Culture in a Globalizing Society. Lanham, MD: Rowman and Littlefield, 2002, 111-36.

Bichler, Lorenz. "Coming to Terms with a Term: Notes on the History of the Use of Socialist Realism in China." In Chung, ed. In the Party Spirit: Socialist Realism and Literary Practice in the Soviet Union, East Germany and China. Critical Studies no. 6. Amsterdam: Rodopi, 1996, 30-43.

Button, Peter. Configurations of the Real in Chinese Literary and Aesthetic Modernity. Leiden: Brill, 2009. [MCLC Resource Center Publications review by Thomas Moran]

[Abstract: The emergence of the Chinese socialist realist novel can best be understoodin light of the half-century long formation of the modern concept ofliterature in China. Globalized in the wake of modern capitalism, literary modernity configures the literary text in a relationship to both modern philosophy and literary theory. This book traces China's unique, complex, and creative articulation of literary modernity beginning with Lu Xun's “The True Story of Ah Q.” Cai Yi's aesthetic theory of the type (dianxing) and the image (xingxiang) is then explored in relation to global currents in literary thought and philosophy, making possible a fundamental rethinking of Chinese socialist realist novels like Yang Mo's Song of Youth and Luo Guangbin and Yan Yiyan's Red Crag.]

Chan, Stephen. "Realism as Cultural and Historical Transformation in Post-May Fourth China: Some Preliminary Analyses." Tamkang Review 16, 4 (1986): 363-80.

Chan, Sylvia. "Realism or Socialist Realism? The 'Proletarian' Episode in Modern Chinese Literature." Australian Journal of Chinese Affairs 9 (1983): 55-74.

-----. "Revolutionary Realism: Old Wine in New Bottles or New Wine in Old Bottles?" In Michael Yahuda, ed., New Directions in the Social Sciences and Humanities in China. Houndsmill: McMillan, 1987.

Chang, Shi-kuo. "Realism in Taiwan Fiction: Two Directions." In Faurot, Jeannette L., ed. Chinese Fiction from Taiwan: Critical Perspectives. Bloomington: Indiana UP, 1980, 31-42.

Chen, Xiaoming. "The Disappearance of Truth: From Realism to Modernism in China." In Chung, ed. In the Party Spirit: Socialist Realism and Literary Practice in the Soviet Union, East Germany and China. Critical Studies no. 6. Amsterdam: Rodopi, 1996, 158-65.

Chung, Hilary, ed. In the Party Spirit: Socialist Realism and Literary Practice in the Soviet Union, East Germany, and China. Amsterdam: Rodopi, 1996.

Duke, Michael S. "Chinese Literature in the Post-Mao Era: The Return of ‘Critical Realism.’" The Bulletin of Concerned Asian Scholars 16, 3 (1984): 2-5.

Huters, Theodore. "Ideologies of Realism in Modern China: The Hard Imperatives of Imported Theory." In X. Tang and K. Liu, eds. Politics, Ideology, and Literary Discourse in Modern China: Theoretical Interventions and Cultural Critique. Durham: Duke UP, 1993, 147-52.

Kinkley, Jeffrey C. "New Realism in Contemporary Chinese Literature" (review article). Journal Chinese Language Teachers Association 17, 1 (1982): 77-100.

-----. Corruption and Realism in Late Socialist China. Palo Alto: Stanford UP, 2007. [Publisher's blurb]

Larson, Wendy. "Realism, Modernism, and the Anti-'Spiritual Pollution' Campaign in Modern China." Modern China 15, 1 (Jan. 1989): 37-71.

-----. "Notes on the Chinese Modernism-Realism Debates." Chinoperl Papers 20-22 (1997-99): 245-68.

Li, Qingquan. From Critical Realism to Socialist Realism: A Historical Survey of Realism in Modern Chinese Literature. New York: P. Lang, 1996.

Wang, Ban. "In Search of Real-Life Images in China: Realism in the Age of Spectacle." Journal of Contemporary China 17 (56) (2008): 497-512.

Wang, David. Fictional Realism in Twentieth Century China: Mao Dun, Lao She, Shen Congwen. NY: Columbia UP, 1992.

Yang, Lan. "'Socialist Realism' versus 'Revolutionary Realism plus Revolutionary Romanticism.'" In Chung, ed. In the Party Spirit: Socialist Realism and Literary Practice in the Soviet Union, East Germany and China. Critical Studies no. 6. Amsterdam: Rodopi, 1996, 88-105.

Chang, Parrish H. "Children's Literature and Political Socialization." In Godwin Chu and Francis Hsu, eds., Moving a Mountain. Honolulu: University of Hawaii Press, 1979, 237-56.

Farquhar, Mary Ann. "Revolutionary Children's Literature." Australian Journal of Chinese Studies 4 (1980): 61-84.

-----. "Through the Looking Glass: Children's Stories and Social Change in China, 1918-1976." In Gungwu Wang, ed., Society and the Writer: Essays on Literature in Modern Asia. Canberra: Research School of Pacific Studies, The Australian National University, 1981, 173-198.

-----. Children's Literature in China: From Lu Xun to Mao Zedong. Armonk: M.E. Sharpe, 1998.

Kinney, Anne Behnke, ed. Chinese Views of Childhood. Honolulu: University of Hawaii Press, 1995.

Berry, Michael. "The Translator's Studio: A Dialogue with Howard Goldblatt." Persimmon 3, 2 (Summer 2002): 18-25.

Carver, Ann. "Can One Read Cross-Culturally." In Ann Carver and Sung-sheng Yvonne Chang, eds., Bamboo Shoots After the Rain: Contemporary Stories by Women Writers in Taiwan. NY: The Feminist Press, 1990, 210-16.

Chen, Kuan-hsing. "The Imperialist Eye: The Cultural Imaginary of a Subempire and a Nation-State." Positions 8, 1 (Spring 2000): 9-76.

Chen, Li-fen. "The Cultural Turn in the Study of Modern Chinese Literature: Rey Chow and Diasporic Self-Writing." Modern Chinese Literature and Culture 12, 1 (Spring 2000): 43-80.

Chen, Pingyuan. "Destiny and Options of Contemporary Chinese Scholars of the Humanities." Contemporary Chinese Thought 29, 2 (Winter 1997/98): 5-28.

-----. "Scholarship, Ideas, Politics." In Chaohua Wang, ed., One China, Many Paths. London: Verso, 2003, 108-27.

Chen, Xiaoming. "Antiradicalism and the Historical Situation of Contemporary Chinese Intellectuals." Contemporary Chinese Thought 29, 2 (Winter 1997/98): 29-44.

-----. "The Chinese Perspective and the Assessment of Contemporary Chinese Literature." Tr. Nancy Tsai. Chinese Literature Today (Winter/Spring 2011): 23-27.

Chen, Ya-chen. "French Feminist Theories in Wenyi lilun of the 1990s." Feminismo/s 3 (2004): 235-260. [Abstract]

Chiu, Kuei-fen. "Empire of the Chinese Sign: The Question of Chinese Diasporic Imagination in Transnational Literary Production." Journal of Asian Studies 67, 2 (May 2008): 593-620.

[Abstract: This paper begins with an examination of the burgeoning interest in literatures in Chinese. It argues that studies in literatures in Chinese map out a terrain where complex negotiations and interventions for different purposes are carried out. As studies in literatures in Chinese often imply a shift from the nation-state paradigm to the transnational paradigm, which implicitly celebrates diasporic imagination as a counterforce to the power of the nation-state, this paper proposes to examine the intersection of Chinese Malaysian literature and Taiwan literature at two specific moments of transnational literary production—the late 1970s to the mid-1980s and the late 1990s to the present—so as to demonstrate the unstable meanings of the diaspora sign. It highlights the importance of historicization in investigating phenomena of transnational cultural production and the need to reincorporate the notion of “place” into our agenda in conducting cultural critiques. The paper ends with a critique of the global city as a methodological concept and argues for a place paradigm without privileging the global city as a metaphor for transnational space.]

Chow, Rey. "The Politics and Pedagogy of Asian Literatures in American Universities." In Chow, Writing Diaspora: Tactics of Intervention in Contemporary Cultural Studies. Bloomington: IUP, 1993, 120-43.

-----. "Introduction: On Chineseness as a Theoretical Problem." boundary 2 25, 3 (1998): 1-24. Rpt. in Modern Chinese Literary and Cultural Studies in the Age of Theory: Reimagining a Field. Durham, NC: Duke University Press, 2000.

-----. ed. Modern Chinese Literary and Cultural Studies in the Age of Theory: Reimagining a Field. Durham, NC: Duke University Press, 2000. Originally published as special issue of boundary 2 25, 3 (1998).

Davies, Gloria. "Chinese Literary Studies and Post-Structuralist Positions: What Next?" The Australian Journal of Chinese Studies 28 (July 1991): 67-86.

-----. "Theory, Professionalism, and Chinese Studies." Modern Chinese Literature and Culture 12, 1 (Spring 2000): 1-42.

-----. Worrying About China: The Language of Chinese Critical Inquiry. Cambridge: Harvard UP, 2007. [HUP blurb]

Denton, Kirk. "Teaching Modern Chinese Literature in the Post-Modern Era." Journal of Chinese Language Teachers Association. 26, 2 (1991): 1-24.

Dirlik, Arif. "Looking Backward in the Age of Global Capital: Thoughts on History in Third World Cultural Criticism." In Xiaobing Tang and Stephen Snyder, eds., In Pursuit of Contemporary East Asian Culture. Boulder: Westview Press, 1996, 183-216.

Dissanayake, Wimal. "Cultural Studies: The Challenges Ahead For Asian Scholars." Chinese/International Comparative Literature Bulletin 1 (1996): 2-19.

Duke, Michael. "The Problematic Nature of Modern and Contemporary Chinese Fiction in English Translation." In Goldblatt, ed., Worlds Apart: Recent Chinese Writing and Its Audiences. Armonk: M.E. Sharpe, 1990, 198-227.

-----. "Thoughts on Politics and Critical Paradigms in Modern Chinese Literature Studies." Modern China 19, 1 (1993): 41-70.

-----. "Everyday Resistance to Postmodern Theory." Tamkang Review 30, 3 (Spring 2000): 7-50.

Eoyang, Eugene. "Greater China and the Twenty-First Century." Journal of Modern Literature in Chinese 1, 1 (1997): 1-12.

-----. "Tianya, the Ends of the World or the Edge of Heaven: Comparative Literature at the Fin de Siecle." In Yingjin Zhang, ed., China in a Polycentric World: Essays in Chinese Comparative Literature. Stanford: Stanford UP, 1999, 218-32.

Fitzgerald, John. "In the Scales of History: Politics and Culture in Twentieth-Century China." Twentieth-Century China 24, 2 (April 1999): 1-28. [with responses and comments by Prasenjit Duara, Tani Barlow, Richard Krauss, William C. Kirby, Jeffrey Wasserstrom, Richard Madsen, and John Fitzgerald]

Galik, Marian. Interliterary and Intraliterary Aspects of the Study of Post-1918 Chinese Literature." In Goldblatt, ed., Worlds Apart: Recent Chinese Writing and Its Audiences. Armonk: M.E. Sharpe, 1990, 231-45.

-----. "Marginalia to the Contemporary Situation in Chinese Comparative Literature Studies." Chinese/International Comparative Literature Bulletin 4/5 (1992): 2-5.

Ge, Haowen. "A Mi Manera: Howard Goldblatt at Home: A Self-Interview." Chinese Literature Today 2, 1 (2011): 97-104.

Goldblatt, Howard. "Kai-yu Hsu and Modern Chinese Literature." Journal of the Chinese Language Teachers Association 20, 1 (1985): 1-8.

-----. "Memory, Speak." Chinese Literature Today 2, 1 (2011): 93-96.

Gotz, Michael. "The Development of Modern Chinese Literature Studies in the West: A Critical View." Modern China 2, 2 (April 1976): 397-416.

Gunn, Edward. "Recent Trends in Chinese Literary Studies." China Exchange News 21, 3/4 (1993): 2-8.

Hockx, Michel. "Constructing the Innocent Reader: Western Doubts About Modern Chinese Literature." IIAS Yearbook, 1995. Ed. Paul van der Velde. Leiden, 1996.

-----. “Theory as Practice: Modern Chinese Literature and Bourdieu.” In Michel Hockx and Ivo Smits, eds., Reading East Asian Writing: The Limits of Literary Theory. New York and London: RoutledgeCurzon, 2003, 220-39.

Hockx, Michel and Ivo Smits, eds., Reading East Asian Writing: The Limits of Literary Theory. New York and London: RoutledgeCurzon, 2003.

Hsia, C.T. "On the 'Scientific' Study of Modern Chinese Literature--A Reply to Professor Prusek." In Prusek, The Lyrical and the Epic: Studies in Modern Chinese Literature. Bloomington: Indiana UP, 1980, 231-66.

Jenner, W.J.F. "Insuperable Barriers? Some Thoughts on the Reception of Chinese Writing in English Translation." In Goldblatt, ed., Worlds Apart: Recent Chinese Writing and Its Audiences. Armonk: M.E. Sharpe, 1990, 177-97.

Kao, Karl. "Comparative Literature and the Ideology of Metaphor, East and West." Comparative Literature and Culture: A WWWeb Journal. 2, 4 (2000).

Lan, H.R. "Working Toward a New Canon." Journal of Chinese Language Teachers Association. 26, 2 (1991): 33-50.

Lin, Shuming and He Songyu. "Feminist Literary Criticism in China since the Mid-1990s." In Kwok-kan Tam and Terry Siu-han Yip, eds., Gender, Discourse and the Self in Literature: Issues in Mainland China, Taiwan and Hong Kong. HK: The Chinese University Press, 2010, 35-52.

Link, Perry. "Ideology and Theory in the Study of Modern Chinese Literature: An Introduction." Modern China 19, 1 (1993): 4-12.

Liu, Kang. "Politics, Critical Paradigms: Reflections on Modern Chinese Literature Studies." Modern China 19, 1 (1993): 13-40.

-----. "Politics of Interpretation: Changing Paradigms in Modern Chinese Literature Studies." China Report 6 (1991): 1-19.

Liu Zaifu. "Eileen Chang's Fiction and C. T. Hsia's A History of Modern Chinese Fiction." MCLC Resource Center Publication (July 2009).

Lupke, Christopher. “Xia Ji’an’s (T.A. Hsia) Critical Bridge to Modernism in Taiwan.” Journal of Modern Literature in Chinese 4, 1 (2000): 35-64.

-----. "Hankering after Sovereign Images: Modern Chinese Fiction and the Voices of Howard Goldblatt." Chinese Literature Today 2, 1 (2011): 86-92.

McDougall, Bonnie. "Problems and Possibilities in Translating Modern Chinese Literature." Australian Journal of Chinese Affairs 25 (Jan. 1991): 37-67.

-----. “Modern Chinese Literature and Its Critics.” In McDougall, Fictional Authors, Imaginary Audiences: Modern Chinese Literature in the Twentieth Century. HK: Chinese University Press, 2003, 17-43. [deals the perennial question of why Western readers tend not to like modern Chinese literature]

Miller, J. Hillis. "Reading (about) Modern Chinese Literature in a Time of Globalization." Modern Language Quarterly 29, 1 (2008): 187-94.

Oakes, Tim. "CAPITALIZING ASIAN STUDIES: Critical Scholarship and the Production of Knowledge in a Globalizing World." Portal: Journal of Multidisciplinary International Studies 1, 1 (2004).

Palumbo-Liu, David. "The Utopias of Discourse: On the Impossibility of Chinese Comparative Literature." In Yingjin Zhang, ed., China in a Polycentric World: Essays in Chinese Comparative Literature. Stanford: Stanford UP, 1999, 36-49.

Prusek, Jaroslav. "Basic Problems of the History of Modern Chinese Literature and C. T. Hsia, A History of Modern Chinese Fiction." In Prusek, The Lyrical and the Epic: Studies in Modern Chinese Literature. Bloomington: IUP, 1980, 195-230.

Tian, Xiaofei. "Muffled Dialect Spoken by Green Fruit: An Alternative History of Modern Chinese Poetry." Modern Chinese Literature and Culture 21, 1 (Spring 2009).

Tu, Kuo-ch'ing. "The Study of Taiwan Literature: An International Perspective." Taiwan Literature English Translation Series 2 (Dec. 1997): xiii-.

van Crevel, Maghiel. "Taking Sides with Poetry: An Homage to Michelle Yeh. " Chinese Literature Today (Winter/Spring 2011): 86-89.

Wang, Ban. "Forward--Literature as Public Forum: A Critique of Cultural Studies." Concentric: Literary and Cultural Studies 31, 2 (July 2005):

Wang, David Der-wei. "A Report on Modern Chinese Literary Studies in the English Speaking World." Harvard Asia Quarterly 9, 1/2 (Winter/Spring 2005).

Wang, Hui. "The New Criticism." In Chaohua Wang, ed., One China, Many Paths. London: Verso, 2003, 55-86.

-----. "Reclaiming Asia from the West: Rethinking Global History." Japanfocus.org (2005).

Wang, Jing. "The State Question in Chinese Popular Cultural Studies." Inter-Asia Cultural Studies 2, 1 (2001): 35-52.

Wang, Ning. "Toward a New Framework of Comparative Literature." Canadian Review of Comparative Literature 23, 1 (1996): 91-100.

-----. "Decolonizing Chinese Culture in a Postcolonial Era?" Canadian Review of Comparative Literature 24, 4 (1997): 999-1006.

-----. "Chinese Studies in the Age of Globalization: Culture and Literature." The Asianists' Asia 1 (2000).

-----. "Feminist Theory and Contemporary Chinese Female Literature." In Peng-hisang Chen and Whitney Crothers Dilley, eds., Feminism/Femininity in Chinese Literature. Amsterdam,: Rodopi, 2002, 199-210.

-----. "Cultural Studies in China: Towards Closing the Gap between Elite Culture and Popular Culture." European Review 11, 2 (May 2003): 183-91.

-----. "Globalizing Chinese Literature: Toward a Rewriting of Contemporary Chinese Literary Culture." Journal of Contemporary China 13, 38 (Feb. 2004): 53-68. Rpt. in Jie Lu, ed., China's Literary and Cultural Scenes at the Turn of the 21st Century. NY: Routledge, 2008, 103-118.

Abstract: In the age of globalization, intellectuals, writers, critics and literary and cultural studies scholars cannot but take pains to conceive or picture the future orientation of elite literature since elite literature is being challenged by popular literature and culture, and literary studies by Cultural Studies. The present essay tries to describe a new orientation of Chinese literature studies, or more specifically, to observe modern Chinese literature in a broad context of world literature and reach a rewriting of contemporary Chinese literary culture from an international and comparative point of view. In reperiodizing modern Chinese literature, the author points out that in the global age, the new framework of world culture in the twenty-first century is characterized by different cultures coming to dialogue and merging to some degree rather than 'cultural conflict'. With this broad background, twentieth century Chinese literature should be re-examined from an international and comparative perspective. The paper also points out that rewriting literary history must be associated with issues of canon formation and reformation, that is, to offer new interpretations from theoretical perspectives of canonical literary works. The author discusses several considerations involved in canon selection: reception and market success, recognition of critical circles, and inclusion in university curriculum.

-----. "Canon Formation; or, Literary Revisionism: The Formation of Modern Chinese Literary Canon.” Neohelicon 31 (2004): 161-74.

-----. "Rethinking Modern Chinese Literature in a Global Context." Modern Language Quarterly 69, 1 (2008): 1-11.

-----. "Rethinking Modern Chinese Fiction in a Global Context." Neohelicon 37, 2 (Dec. 2010): 319-27.

[Abstract: Modern Chinese literature is most open in the history of Chinese literature, with various Western literary currents and cultural trends flooding into China. As the most important and popular genre in Chinese literature, modern Chinese novel has been developing under the Western influence, and it has played a vital role in flourishing modern Chinese literature and enlightening modern Chinese intellectuals and the broad reading public. To the author, toward the end of the nineteenth century, Chinese literature was almost “marginalized”. In order to resume its lost grandeur it moved from periphery to centre by identifying itself with Western cultural modernity or modern Western literature. To realize this grand and ambitious aim, translating novel became an important task. In dealing with the Western influence, the author also reperiodizes twentieth-century Chinese literature: modern literature started with the May 4th Movement in 1919 and ended in 1976; since 1976, Chinese literature has been in the contemporary era, which is characterized by more postmodern than modern. In this global context, Chinese fiction writing has become part of world literature and been developing in a pluralistic direction.]

Wang Xiaoming. "A Manifesto for Cultural Studies." Tr. Robin Visser. In Chaohua Wang, ed., One China, Many Paths. London: Verso, 2003, 274-291.

Wardega, Artur. "Research into Modern Chinese Literature in the Twentieth Century." Chinese Cross Currents 1, 2 (2004): 96-108. [free adaptation of the ideas of Yan Jiayan]

Williams, Philip. Review of Politics, Ideology, and Literaary Discourse in Modern China: Theoretical Interventions and Cultural Critique. Eds. Liu Kang and Xiaobin Tang. In Chinese Literature: Essays, Articles and Rewiews 17 (1995): 173-82.

-----. "The Problem of Bowdlerization in the Translation of 20th-century Chinese Literature." Tamkang Review 27, 4 (Summer 1998): 103-115.

-----, ed. "Outside the Gurus' Sandboxes: Reconsidering Common Assumptions in the Contemporary Study of Modern Chinese Literature." Special issue of Tamkang Review 30, 3 (Spring 2000).

-----. "Can We Paradigm? Re-examining the Mimetic Heresy and Some Other Imbroglios in Recent Western-language Academic Studies of Modern Chinese Literature." Tamkang Review 30, 3 (Spring 2000): 109-146.

-----. "Janus-faced Popularization in 20th-century Chinese Fiction: A Critical Quandary." Tamkang Review 31, 3 (Spring 2001): 41-64.

Wu, Yenna. "Pitfalls of the Postcolonialist Rubric in the Study of Modern Chinese Fiction Featuring Cannibalism: From Lu Xun's 'Diary of a Madman' to Mo Yan's Boozeland." Tamkang Review 30, 3 (Spring 2000): 51-88.

Xu, Gang Gary. "Where Has the Aura Gone? Reflections on Cultural Studies, Neoliberalism, and Literature as the Auratic Event." Concentric: Literary and Cultural Studies 31, 2 (July 2005): 15-39.

[Abstract: This paper provides a cross-cultural discussion of the dynamics and problems of cultural studies. I examine Simon During’s genealogy of cultural studies in the context of the current crisis of the American higher education. I explain why there is no longer “aura”—in the Benjaminian sense—oncollege campuses, and how this lack of aura is related to the global dominance of neoliberalism both as a set of economic policies serving the free markets and as a political rationality governing education and the everyday life. I present several preliminary countermeasure sagainst neoliberalism. One of them is to incorporate cultural studies in literary studies—not the other way around—so as to use the aura as a critical tool against neoliberalism, to re-establish the core values of literature in teaching moral and political responsibilities as well as public goodness. The paper ends with a brief reading of WongKar-wai’s latest film 2046 as an allegory of the auratic event.]

Yeh, Michelle. "International Theory and the Transnational Critic: China in the Age of Multiculturalism." Boundary 2. Special Issue ed. Rey Chow. 25, 2 (Fall 1998): 193-222.

-----. "Chinese Postmodernism and the Cultural Politics of Modern Chinese Poetry." Wen-hsin Yeh, ed., Cross-Cultural Readings of Chineseness: Narratives, Images, and Interpretations of the 1990s. Berkeley: Center for Chinese Studies, 2000, 100-27.

-----. "Game-Changers: A Prolegomenon to a Theory of Modern Chinese Poetry." Chinese Literature Today (Winter/Spring 2011): 90-94.

Yip, Wai-lim. "Reflections on Historical Totality and the Study of Modern Chinese Literature." In Diffusion of Distances: Dialogues between Chinese and Western Poetics. Berkeley: UCP, 1993, 165-83.

Yu, Pauline. "Disorientations: Chinese Literature in the American University." Surfaces 5 (1995).

Yue Daiyun, "Standing at a Theoretical Crossroads: Western Literary Theories in China." China Exchange News 21, 3/4 (1993): 8-12.

-----. "Cultural Discourse and Cultural Intercourse." In Masayuki Akiyama and Yiu-nam Leung, eds., Crosscurrents in the literatures of Asia and the West: Essays in Honor of A. Owen Aldridge. Newark: University of Delaware Press; London; Cranbury, NJ: Associated University Presses, 1997, 33-39.

Zhang, Longxi. "Western Theory and Chinese Reality." Critical Inquiry 19, 1 (Autumn 1992).

-----. "Out of the Cultural Ghetto: Theory, Politics, and the Study of Chinese Literature." Modern China 19, 1 (1993): 71-101.

-----. Might Opposites: From Dichotomies to Differences in the Comparative Study of China. Stanford: SUP, 1999.

-----. "The Challenge of East-West Comparative Literature." In Yingjin Zhang, ed., China in a Polycentric World: Essays in Chinese Comparative Literature. Stanford: Stanford UP, 1999, 21-35.

Zhang, Ning. "Garge or Gold: Two Extreme Assessments of Contemporary Chinese Literature." Tr. Denis Mair. Chinese Literature Today (Winter/Spring 2011): 28-30.

Zhang, Yingjin. "Re-envisioning the Institution of Modern Chinese Literature Studies: Strategies of Positionality and Self-Reflexivity." Positions 1, 3 (1993): 816-32.

-----. "The Institutionalization of Modern Chinese Literary History, 1922-1980." Modern China 20, 3 (1994): 347-77.

Zhou, Xiaoyi and Q. S. Tong. "Comparative Literature in China." Comparative Literature and Culture: A WWWeb Journal. 2, 4 (2000).

Au, Chung-to. Modernist Aesthetics in Taiwanese Poetry since the 1950s. Leiden: Brill, 2008.

[Abstract: Much of the previous scholarship on Taiwanese modernist poetry easily falls into ideological arguments. This book participates in the development of an alternative approach to understanding Taiwanese modernist poetry. Dr. Au’s approach emphasizes the diversity and intensity of experiences of place and placelessness in the work of five poets: Lomen, Luo Fu, Rong Zi, Yu Guangzhong and Zheng Chouyu. The phenomenon of placelessness is a problem in all modernity and so modern aesthetics is an outgrowth of modern society’s sense of placelessness. This book not only shows how place becomes placelessness but also analyses Taiwanese modernist poets’ responses to the phenomenon of placelessness. Four kinds of places are examined, namely, the house, the city, homeland and an imagined literary community, in this work. The result is both refreshing and original.]

Bai, Ling. "The Era after Social Diversification: Developments in Taiwanese Poetry 1985-1990." Trs. Duncan Hewitt and Chu Chiyu. Renditions 35/36 (1991): 294-98.

Bradbury, Steven. "On the Taipei Avant-garde: Is this the End of Poetry Now?" Jacket 35 (April 2008).

-----. "'More than Writing, As We Speak': An Interview with Maghiel van Crevel on the Chinese Poetic Avant-Garde." Full Tilt 4 (Summer 2009).

Chen, Xiaomei. "Misunderstanding Western Modernism: The Menglong Movement in Post-Mao China." Representations 35 (Summer 1991): 143-63. Rpt. in Chen, Occidentalism: A Theory of Counter-Discourse in Post-Mao China. NY: Oxford UP, 1995, 69-98.

Chen, Yongguo. "Becoming-Obscure: A Constant in the Development of Modern Chinese Poetry." Modern Language Quarterly 69, 1 (2008): 81-96.

[Abstract: Both historically and theoretically, this essay traces the development of modern Chinese poetry, including the Chinese symbolists of the 1920s, the modernists of the 1930s, the Nine Leaves of the 1940s, the obscurists of the 1970s, and the post-obscurists of the Third Generation of the 1980s, to the Western source from which the Chinese New Poets learned the techniques of modern Western poetry and introduced them into China by way of adaptation and imitation. At that point a new leaf was turned in the history of Chinese poetry: the mingling of the foreign elements, especially the obscurant that was constant in Western poetry, with vernacular Chinese expression gave birth to the New Poetry.]

Chen, Youkang. "The Legitimacy and Modernity of Chinese Traditional Poetry and Lyrics in the 20th Century." Frontiers of Literary Studies in China 3, 1 (2009): 1-23.

Cheung, Dominic. "New Directions in Contemporary Chinese Poetry." In Wai-lim Yip, ed., Chinese Arts and Literature: A Survey of Recent Trends. Occasional Papers/Reprint Series in Contemporary Asian Studies. Baltimore, 1977, 59-68.

-----. "The Continuity of Modern Chinese Poetry in Taiwan." World Literature Today 65, 3 (1991): 399-404.

China--Poetry International Web (edited by Simon Patton) [this is the China section of the Poetry International website]

Chong, Woei Lien. "Some Problems of Modern Chinese Poetry: A Conversation Between Lloyd Haft and Leo Ou-fan Lee." China Information 7, 1 (1992): 40-46.

Crespi, John A.. A Vocal Minority: New Poetry and Poetry Declamation in China, 1915-1975. Ph.d. diss. Chicago: University of Chicago, 2000.

-----. "Calculated Passions: The Lyric and the Theatric in Mao-era Poetry Recitation." Modern Chinese Literature and Culture 13, 2 (Fall 2001): 72-110.

-----. "Form and Reform: New Poetry and the Crescent Moon Society." In Joshua Mostow, ed, and Kirk A. Denton, China section, ed., Columbia Companion to Modern East Asian Literatures. NY: Columbia UP, 2003, 364-70.

-----. "The Poetry of Slogans and Native Sons: Observations on the First China Poetry Festival." MCLC Resource Center Publication (Nov. 2005). [essay on the First China Poetry Festival, a state-sponsored event held in Ma'anshan, Anhui in October, 2005]

-----. Voices in Revolution: Poetry and the Auditory Imagination in Modern China. Honolulu: University of Hawai'i Press, 2009.

[Abstract: China’s century of revolutionary change has been heard as much as seen, and nowhere is this more evident than in an auditory history of the modern Chinese poem. From Lu Xun’s seminal writings on literature to a recitation renaissance in urban centers today, poetics meets politics in the sounding voice of poetry. Supported throughout by vivid narration and accessible analysis, Voices offers a literary history of modern China that makes the case for the importance of the auditory dimension of poetry in national, revolutionary, and postsocialist culture. Crespi brings the past to life by first examining the ideological changes to poetic voice during China’s early twentieth-century transition from empire to nation. He then traces the emergence of the spoken poem from the May Fourth period to the present, including its mobilization during the Anti-Japanese War, its incorporation into the student protest repertoire during China’s civil war, its role as a conflicted voice of Mao-era revolutionary passion, and finally its current adaptation to the cultural life of China’s party-guided market economy. Voices alters the way we read by moving poems off the page and into the real time and space of literary activity. To all readers it offers an accessible yet conceptually fresh and often dramatic narration of China’s modern literary experience. Specialists will appreciate the book’s inclusion of noncanonical texts as well as its innovative interdisciplinary approach.]

-----. "The Treasure-Seekers: The Poetry of Social Function in a Beijing Recitation Club." Modern Chinese Literature and Culture 22, 2 (Fall 2010): 1-38.

Day, Michael. "Poetry." Digital Archive for Chinese Studies (DACHS), Leiden Division. [study of contemporary Chinese poetry websites]

-----. "The Born-Again Forest: A Preliminary Chapter in the Post-Misty Development of Avant-Garde Poetry in China." Journal of Modern Literature in Chinese 6, 1 (2005): 52-89.

-----. China's Second World of Poetry: The Sichuan Avant-garde, 1982-1992. Leiden: Digital Archive for Chinese Studies (DACHS). Leiden University, 2005. [MCLC Resource Center review by Heather Inwood]

-----. "The Modern Poetry of China: Introduction." Special Chinese poetry issue, The Drunken Boat. Ed. Inara Cedrins. (Spring/Summer 2006).

-----. "Online Avant-Garde Poetry in China Today." In Christopher Lupke ed., New Perspectives on Contemporary Chinese Poetry. NY: Palgrave Macmillan, 2007, 201-17.

Emerson, Andrew G. "The Guizhou Undercurrent." Modern Chinese Literature and Culture 13, 2 (Fall 2001): 111-33.

Haft, Lloyd, ed. A Selective Guide to Chinese Literature, 1900-1949: The Poem. Leiden: Brill, 1989.

-----. "Terms for the Turning: Some Remarks on the Prose-Verse Dichotomy." Journal of Modern Literature in Chinese 3, 2 (January 2000): 1-5.

-----. The Chinese Sonnet. Meanings of a Form. Leiden, CNWS Publications No. 69, 2000. [Discussing more than 50 poems spanning the period from the 1920s to the present, Haft develops analytic strategies which bring out the expressive dimensions of the Chinese sonnet as well as its legitimate claim to 'Chineseness.'All poems are discussed in English translation as well as in the original Chinese; they include works by Zhu Xiang, Feng Zhi, Bian Zhilin, Zhang Cuo and Zheng Min]

Hockx, Michel. Snowy Morning: Eight Chinese Poets on the Road to Modernity. Leiden, 1994.

-----. "To tong or Not to tong: The Problem of Communication in Modern Chinese Poetics." Monumenta Serica 53 (2005): 261-72.

-----. "Perverse Poems and Suspicious Salons: The Friday School in Modern Chinese Literature." In Carlos Rojas and Eileen Cheng-yin Chow, eds., Rethinking Chinese Popular Culture: Cannibalizations of the Canon. NY: Routledge, 2009, 15-39.

Hsu, Kai-yu. "The Moon and the Beautiful Woman in Modern Chinese Poetry." East-West Review 2, 3 (1966): 261-68.

-----. "Contemporary Chinese Poetry and Its Search for an Ideal Form." In Bonnie McDougall, ed. Popular Chinese Literature and Performing Arts in the PRC, 1949-1979. Berkeley: UCP, 1984, 224-65.

Huang, Yunte. “Translation as Ethnography: Problems in American Translations of Contemporary Chinese Poetry.” In Huang, Transpacific Displacement: Ethnography, Translation, and Intertextual Travel in Twentieth Century American Literature. Berkeley: University of California Press, 2002, 164-182.

-----. “The Translator’s Invisible Hand: The Problems in the Introduction of Contemporary Chinese Poetry.” River City: A Journal of Contemporary Culture 16, 1 (1996): 68-81.

Inwood, Heather. On the Scene of Contemporary Chinese Poetry. Ph. D. dissertation. London: SOAS, 2008. [poetry from mainland China from 2000-2008]

-----. "Between Licence and Responsiblity: Reexamining the Role of the Poety in Twenty-First-Centur Chinese Society." Chinese Literature Today (Winter/Spring 2011): 49-55.

Jin, Siyan. La metamorphose des image poetiques des symbolistes franscais aux symbolistes chinois, 1915-1937. Dortmund: Projekt Verlag, 1996.

Kaplan, Harry. The Symbolist Movement in Modern Chinese Poetry. Ph.D. diss., Harvard University, 1983.

Korenaga, Shun. “The Growing Acceptance of Contemporary Chinese Poetry in Japan.” Acta Asiatica 72 (1997): 106-16.

Kowallis, Jon. "Melancholy in Late Qing and Early Republican Verse." In Wolfgang Kubin, ed., Symbols of Anguish: In Search of Melancholy in China. Bern: Peter Lang, 2001, 289-314.

-----. The Subtle Revolution: Poets of the "Old Schoos" during Late Qing and Early Republican China. Berkeley: Center for Chinese Studies, University of California, 2006.

Ku, Tim-hung. "Modernism in Modern Poetry of Taiwan, ROC: A Comparative Perspective." Tamkang Review 18 (1987/88): 125-39.

Kubin, Wolfgang. "The End of the Prophet: Chinese Poetry Between Modernity and Postmodernity." In Larson et al eds., Inside Out: Modernism and Postmodernism in Chinese Literary Culture. Aarhus: Aarhus UP, 1993, 19-37.

-----. "Creator! Destroyer!--On the Self-Image of the Chinese Poet." Modern Chinese Literature 9, 2 (1996): 247-60.

-----. "The Language of Poetry, the Language of the World: World Poetry and World Language." Chinese Literature Today (Winter/Spring 2011): 31-35.

Kwan-Terry, John. "Modernism and Tradition in Some Recent Chinese Verse." Tamkang Review 3, 2 (1972): 189-202.

Lam, Agnes. "Poetry in Hong Kong: The 1990s." World Literature Today 73, 1 (1999): 53-62.

Larson, Wendy. "Contemporary Chinese Poetry: Erotics, Modernity, and Cultural Essence." In Sung-sheng Yvonne Chang and Michelle Yeh, eds., Contemporary Chinese Literature: Crossing the Boundaries. Special issue of Literature East and West. Austin, TX: Department of Middle Eastern Languages and Cultures, 1995, 89-105.

-----. "Dangdai Zhongguo shige zhong de meigan yu seqing" (Aesthetics and erotics in contemporary Chinese poetry). Tr. Zhang Zao Jintian (Today) 3 (1992): 199-205.

Laureillard, Marie. "La poésie visuelle taiwanaise: un retour réflexif sur l’écriture." Transtext(e)s Transculture: Journal of Global Cultural Studies 2 (Jan. 2007).

Lee, Gregory. "Contemporary Chinese Poetry and the Nobel Prize, 1990." [a transcript of a tape-recording of a conversation between Göran Malmqvist and Gregory Lee which took place on 14th May 1990 in Stockholm]

-----. "Contemporary Chinese Poetry, Exile and the Potential for Modernism." In Gregory Lee, ed., Chinese Writing and Exile. Chicago: Center for East Asian Studies, The University of Chicago, 1993, 55-78.

-----. La Chine et le spectre de l'Occident: Contestation poétique, modernité et métissage. Paris: Editions Syllepse, 2002.

Leroux, Alain. "Les mouvements poétiques à Taïwan des années 1950 à la fin des années 1970." China Perspectives 68 (2007): 56-65.

Leung, Ping-kwan. Aesthetics of Opposition: A Study of the Modernist Generation of Chinese Poets, 1936-1949. Ph.d. diss. San Diego: University of California, SD, 1984.

-----. "Modern Hong Kong Poetry: Negotiations of Cultures and the Search for Identity. Modern Chinees Literature 9, 2 (1996): 221-46.

Li, Dian. "Naming and Antinaming: Poetic Debate in Contemporary China." In Christopher Lupke ed., New Perspectives on Contemporary Chinese Poetry. NY: Palgrave Macmillan, 2007, 185-200.

Li Fukan and Eva Hung. "Post-Misty Poetry." Renditions 37 (1992): 93-98.

Li, Xia. "Confucius, Playboys and Rusticated Glasperlenspieler: from Classical Chinese Poetry to Postmodernism." Interlitterraria (Tartu, Estonia) 4 (1999): 41-60. (primarily on "misty" and "postmodern" poetry]

Lin, Julia C. Modern Chinese Poetry: An Introduction. Seattle: University of Washington Press, 1972.

-----. Essays on Contemporary Chinese Poetry. Athens: Ohio UP, 1985.

Liu, David Jason. "Chinese Symbolist Verse in the 1920s: Li Chin-fa and Mu Mu-t'ien." Tamkang Review 12, 1 (1981): 27-53.

Liu, Joyce Chi-hui. "Palace Museum vs. the Surrealist Collage: Two Modes of Construction in Modern Taiwanese Ekphrasis Poetry." Canadian Review of Comparative Literature 24, 4 (1997): 933-46.

Lo, Kwai-cheung. "Writing the Otherness of Nature: Chinese Misty Poetry and the Alternative Modernist Practice." Tamkang Review 29, 2 (1998): 87-117.

Loi, Michelle. Poetes chinois d'ecoles francaises. Paris: Librairie d'Amerique et d'Orient Adrien Maisonneuve, 1980.

Lovell, Julia. "Misty in Roots: Chinese Poetry after Mao." Poetry Review 26, 3 (Aut. 2002).

Lupke, Christopher, ed. New Perspectives on Contemporary Chinese Poetry. NY: Palgrave Macmillan, 2007. [MCLC Resource Center review by Maghiel van Crevel]

Malmqvist, Goran. "On the Emergence of Modernistic Poetry in China." Bulletin of the Museum of Far Eastern Antiquities 55 (1983): 57-71.

-----. "On the Develpment of Modern Taiwanese Poetry." Archiv Orientalni 67, 3 (1999): 311-22.

Manfredi, Paul. "Great Expectations: Self, Form, and the First Modern Chinese Poem." Modern Chinese Literature and Culture 13, 2 (Fall 2001): 1-29.

-----. “Writing the Influenced Text: Modern Chinese Symbolist Poetry.” Journal of Modern Literature in Chinese 5, 2 (2002): 1-28.

Marijnissen, Silvia. "'Made Things': Serial Form in Modern Poetry from Taiwan." Modern Chinese Literature and Culture 13, 2 (Fall 2001): 172-206.

McDougall, Bonnie. "Poems, Poets, and Poetry 1976: An Exercise in the Typology of Modern Chinese Literature." Contemporary China 2, 4 (Winter 1978).

Mi, Jiayan. Self-Fashioning and Reflexive Modernity in Modern Chinese Poetry. Lewiston, NY: Edwin Mellen, 2004. [MCLC Resource Center review by Paul Manfredi]

[Abstract: This study explores diverse modes of self-fashioning in the discursive formation of Chinese modernity between 1919 and 1949 in modern Chinese poetry. By focusing on four representative poets of modern Chinese poetry before 1949—Guo Moruo, Li Jinfa, Dai Wangshu, and Mu Dan, the study offers fresh, insightful analysis of the dynamic trajectory of the historical complexity of fashioning a new modern self-subjectivity with relation to the nation-state. Theoretically informed by the varied perspectives of modernity, the self, the body, and memory, the author for the first time reveals how the corporeal body emerges as a site of agency, trauma, and libidinal investment for engaging with the configuration of a multi-layered self, gender, and nationhood in modern China. This work will make several significant contributions to enhancing readers’ understanding of the cultural and psychological complexity of modern China. This work will be of interest to teachers, students and scholars of modern Chinese literature and culture as well as comparative literature.]

Owen, Stephen. "The Anxiety of Influence: What is Modern Poetry?" New Republic (Nov. 1990): 28-32.

Palandri, Angela Jung. "The Polemics of Post-Mao Poetry: Controversy over Meng-lung shih." Journal of the Chinese Language Teachers Association 19, 3 (1984): 67-86.

Parry, Amie Elizabeth. Interventions into Modernist Cultures: Poetry from Beyond the Empty Screen. Durham, NC: Duke UP, 2007. [MCLC Resource Center review by Paul Manfredi]

[Abstract: A comparative analysis of the cultural politics of modernist writing in the United States and Taiwan. Parry argues that the two sites of modernism are linked by their representation or suppression of histories of U.S. imperialist expansion, Cold War neocolonial military presence, and economic influence in Asia. Focusing on poetry, a genre often overlooked in postcolonial theory, she contends that the radically fragmented form of modernist poetic texts is particularly well suited to representing U.S. imperialism and neocolonial modernities.]

Peschel, Sabine. "Chinese Hermetic Lyric Poetry." In Noth, Jochen, et.al., eds. China Avant-garde: Counter-currents in Art and Culture. HK, New York: Oxford University Press, 1994, 69-71.

Schwartz, Leonard. "Contemporary Chinese Poetry and the Experience of the Sacred: Three Chinese Poets." Journal of Chinese Religions 23 (1996): 95-104.

Shigebao.com [website of the Poetry Gazette journal; very informative site for contemporary PRC poetry; Chinese only]

Song, Xianlin. "Post-Mao New Poetry and 'Occidentalism.'" East Asia 18, 1 (Spring 2000): 61-81.

Stalling, Jonathan. "Chinese Poetry from Center to Periphery: A Conversation with Michelle Yeh." Chinese Literature Today (Winter/Spring 2011): 95-100.

Su Wei and Wendy Larson. "The Disintegration of the Poetic 'Berlin Wall.'" In Deborah Davis, et. al, eds. Urban Spaces in Contemporary China: The Potential for Autonomy and Community in Post-Mao China. Cambridge: Cambridge UP, 1995, 279-95.

Tan, Chung. "Tagore's Inspiration in China's New Poetry." In Tan Chung, ed., Across the Himalayan Gap: An Indian Quest for Understanding China. New Delhi: Indira Gandhi National Centre for the Arts, 1998.

Tang, Xiaobing. "Poetic Revolution: Colonialization and Form at the Beginning of Modern Chinese Literature." In Rebecca E. Karl and Peter Zarrow, eds., Rethinking the 1898 Reform Period: Political and Cultural Change om Late Qing China. Cambridge: Havard UP, 2002, 245-65.

Tao, Naikan. "Going Beyond: Post-Menglong Poets." The Journal of the Oriental Society of Australia 27/28 (1995/96): 146-53.

Tian, Xiaofei. "Muffled Dialect Spoken by Green Fruit: An Alternative History of Modern Chinese Poetry." Modern Chinese Literature and Culture 21, 1 (Spring 2009): 1-45.

Tsou, Zona Yi-ping. "An Interview with John Crespi on Performance Poetry in China, with a Sampling of Live Recordings." Fult Tilt 2 (Summer 2007).

Twitchell, Jeffrey and Huang Fan. "Avant-Garde Poetry in China: The Nanjing Scene 1981-1992." World Literature Today 71.1 (1997): 29-35.

van Crevel, Maghiel. "Underground Poetry in the 1960s and 1970s." Modern Chinese Literature 9, 2 (1996):169-220.

-----. Language Shattered: Contemporary Chinese Poetry and Duoduo. Leiden: CNWS Research School, 1996. [the first half of the book is a general overview of the poetry of the PRC]

-----. “The Horror of Being Ignored and the Pleasure of Being Left Alone: Notes on the Chinese Poetry Scene.” MCLC Resource Center Publication (April 2003).

-----. "Who Needs Form? Wen Yiduo's Poetics and Post-Mao Poetry." In Peter Hoffmann, ed, Poet, Scholar, Patriot: In Honour of Wen Yiduo's 100th Anniversary. Bochum / Freiburg: Projektverlag, 2004, 81-110.

-----. "Not Quite Karaoke: Poetry in Contemporary China." The China Quarterly 183 (Sept. 2005): 644-669.

-----. "Unofficial Poetry Journals from the People's Republic of China: A Research Note and an Annotated Bibliography." MCLC Resource Center Publication (February 2007).

-----. "Avant-garde Poetry from the People's Republic of China: A Bibliography of Single-Author and Multiple-Author Collections." MCLC Resource Center Publication (September 2008).

-----. "Avant-Garde Poetry from the People's Republic of China: A Bibliography of Scholarly and Critical Books in Chinese." MCLC Resource Center Publication (September 2008).

-----. Chinese Poetry in Times of Mind, Mayhem and Money. Leiden: Brill, 2008. [MCLC Resource Center review by Christopher Lupke]

[Abstract: a groundbreaking contribution to scholarship, well-suited to classroom use in that it combines rigorous analysis with a lively style. Covering the period from the 1980s to the present, it is organized around the notions of text, context and metatext, meaning poetry, its socio-political and cultural surroundings, and critical discourse in the broadest sense. Authors and issues studied include Han Dong, Haizi, Xi Chuan, Yu Jian, Sun Wenbo, Yang Lian, Wang Jiaxin, Bei Dao, Yin Lichuan, Shen Haobo and Yan Jun, and everything from the subtleties of poetic rhythm to exile-bashing in domestic media. This book has room for all that poetry is: cultural heritage, symbolic capital, intellectual endeavor, social commentary, emotional expression, music and the materiality of language – art, in a word.]

-----. "What Was All the Fuss About? The Popular-Intellectual Polemic." In van Crevel, Chinese Poetry in Times of Mind, Mayhem and Money, Leiden: Brill, 2008: 399-458.

-----. "Lower Body Poetry and Its Lineages: Disbelief, Bad Behavior and Social Concern." In Jie Lu, ed., China's Literary and Cultural Scenes at the Turn of the 21st Century. NY: Routledge, 2008, 179-206.

-----. "Taking Sides with Poetry: An Homage to Michelle Yeh. " Chinese Literature Today (Winter/Spring 2011): 86-89.

Vuilleumier, Victor. "Body, Soul, and Revolution: The Paradoxical Transfiguration of the Body in Modern Chinese Poetry." In Tao Dongfeng, Yang Xiaobin, Rosemary Roberts, and Yang Ling, eds. Chinese Revolution and Chinese Literature. Cambridge: University of Cambridge Press, 2009, 45-70.

Wang, Ping. "Introduction" (excerpts). The New Chinese Avant-Garde Poetry, 1982-1992.

Weinberger, Eliot. "A Few Don't for Chinese Poets." In Works on Paper. NY: New Directions, 1986, 70-76.

Wong, Lisa Lai-ming. "Examples of Contemporary Chinese Women's Poetry." Modern China 32, 3 (2006): 385-408.

[Contemporary critics who study women's literature often focus on the very act of speaking, or the possession of a voice. The speaker in a poem seems to lend the women of her time a voice to express their feelings and in so doing offers a female perspective on social and cultural aspects of life. Adopting ideas from Virginia Woolf's A Room of One's Own as well as Hélène Cixous's notion of "writing the body, " this article explores how women poets find a private space in their own rooms for examining "liberated" selves. A new conception of body and space is presented in these lyric voices. In contrast, in the voices of many critics, we hear a glaring double standard that exposes the persistence of patriarchal inhibition of women's freedom of expression. This dialogic tension between the voices reveals women's predicaments and their strong protests against the status quo in contemporary China.]

-----. "Liberation or Femininity? Women's Poetry in Post-Mao China." In Kwok-kan Tam and Terry Siu-han Yip, eds., Gender, Discourse and the Self in Literature: Issues in Mainland China, Taiwan and Hong Kong: HK: The Chinese University Press, 2009, 91-108.

Wong, Yoon Wah. “The ‘New Tide’ That Came from America.” In Wong, Essays on Chinese Literature. Singapore: Singapore University Press, 1988, 28-39.

-----. “The ‘New Tide’ That Came from America.” In Wong, Essays on Chinese Literature. Singapore: Singapore University Press, 1988, 39-51.

Wu, Shengqing. "Contested Fengya: Classical-Style Poetry Clubs in Early Republican China." In Kirk A. Denton and Michel Hockx, eds., Literary Societies in Republican China. Lanham, MD: Lexington Books, 2008, 15-46.

Xie, Mian. "One Hundred Years of New Chinese Poetry." Frontiers of Literary Studies in China 2, 4 (Dec. 2008): 617-46.

Yan, Li. "Modern Chinese Lyric Poetry." In Noth, Jochen, et.al., eds. China Avant-garde: Counter-currents in Art and Culture. HK, New York: Oxford University Press, 1994, 72-73.

Yang, Vincent. "From French Symbolism to Chinese Symbolism: A Literary Influence." Tamkang Review 17, 3 (1987): 221-44.

Yang, Xiaobin. "Transcultural Translation/Transference in Contemporary Chinese Poetry." Modern Chinese Literature and Culture 21, 2 (Fall 2009): 42-85.

Yeh, Michelle. "Taoism and Modern Chinese Poetry." Journal of Chinese Philosophy 15 (1988): 173-97.

-----. Modern Chinese Poetry: Theory and Practice since 1917. New Haven: Yale UP, 1991.

-----. "Light a Lamp in a Rock: Experimental Poetry in Contemporary China." Modern China 18, 4 (1992): 379-409.

-----. "The 'Cult of Poetry' in Contemporary China." JAS 55, 1 (1996): 51-80. Rpt. in Yingjin Zhang, ed., China in a Polycentric World: Essays in Chinese Comparative Literature. Stanford: Stanford UP, 1999, 188-217.

-----. "Nature's Child and the Frustrated Urbanite: Expressions of the Self in Contemporary Chinese Poetry." World Literature Today (Summer 1991): 405-09.

-----. "Death of the Poet: Poetry and Society in Contemporary China and Taiwan." In Sung-sheng Yvonne Chang and Michelle Yeh, eds., Contemporary Chinese Literature: Crossing the Boundaries. Special issue of Literature East and West. Austin, TX: Department of Middle Eastern Languages and Cultures, 1995, 43-62. Rpt. in Pang-yuan Chi and David Wang, eds., Chinese Literature in the Second Half of the Twentieth Century: A Critical Survey. Bloomington: Indiana UP, 2000, 216-38.

-----. "Chinese Postmodernism and the Cultural Politics of Modern Chinese Poetry." Wen-hsin Yeh, ed., Cross-Cultural Readings of Chineseness: Narratives, Images, and Interpretations of the 1990s. Berkeley: Center for Chinese Studies, 2000, 100-27.

-----. "From Surrealism to Nature Poetics: A Study of Prose Poetry from Taiwan." Journal of Modern Literature in Chinese 3, 2 (Jan. 2000): 117-56.

-----. "Modern Poetry." In Victor H. Mair, ed. The Columbia History of Chinese Literature. NY: Columbia UP, 2001, 453-65.

-----. “A New Orientation to Poetry: the Transition from Traditional to Modern Chinese Poetry in the May Fourth Era.” In Marian Galik, ed., Interliterary and Intraliterary Aspects of the May Fourth Movement 1919 in China. Bratislava: Veda, 1990, 93-100.

-----. "Modern Poetry of Taiwan." In Joshua Mostow, ed, and Kirk A. Denton, China section, ed., Columbia Companion to Modern East Asian Literatures. NY: Columbia UP, 2003, 561-69.

-----. "Misty Poetry." In Joshua Mostow, ed, and Kirk A. Denton, China section, ed., Columbia Companion to Modern East Asian Literatures. NY: Columbia UP, 2003, 520-26.

-----, ed. Journal of Modern Literature in Chinese (special issue on modern poetry) 6, 1 (Jan. 2005).

-----. "'There Are No Camels in the Koran': What Is Modern about Modern Chinese Poetry?" In Christopher Lupke ed., New Perspectives on Contemporary Chinese Poetry. New York: Palgrave Macmillan, 2007: 9-27.

-----. "Game-Changers: A Prolegomenon to a Theory of Modern Chinese Poetry." Chinese Literature Today (Winter/Spring 2011): 90-94.

Yip, Wai-lim. "Crisis Poetry: An Introduction to Yang Lian, Jiang He and Misty Poetry." Renditions 23 (1985): 120-30.

-----. Lyrics from Shelters: Modern Chinese Poetry, 1930-1950. NY: Garland, 1992.

Yu, Guangzhong (Yu Kwang-chung) . "Chinese Poetry in Taiwan." The Chinese Pen (Autumn, 1972): 42-65.

Zhang, Jeanne Hong. The Invention of a Discourse: Women’s Poetry from Contemporary China. Leiden: CNWS Publications, 2004. [MCLC Resource Center review by Paul Manfredi]

-----. "A Night of Their Own: Gender Identity in Women's Poetry after Mao." Journal of Modern Literature in Chinese 6, 1 (2005): 90-118.

Zhang, Zao. "Development and Continuity of Modernism in Chinese Poetry Since 1917." In Larson and Wedell-Wedellsborg, eds. Inside Out: Modernism and Postmodernism in Chinese Literary Culture. Aarhus: Aarhus UP, 1993, 38-59.

Zhang, Ziqing. "The New Zen Poetry in China." Talisman 13 (1994/95): 154-158.

Braester, Yomi. "The Purloined Lantern: Maoist Semiotics and Public Discourse in Early PRC Film and Drama." In Braester, Witness Against History: Literature, Film, and Public Discourse in Twentieth-Century China. Stanford: Stanford UP, 2003, 106-27.

Budde, Antje. "The Theatre in China." In In Jochen Noth et.al., eds., China Avant-garde: Counter-currents in Art and Culture. HK, New York: Oxford University Press, 1994, 74-75.

Chen Baichen and Dong Jian. Zhongguo xiandai xiju shi (The history of modern Chinese drama). Beijing: Zhongguo xiju, 1989.

Chen, Xiaomei. "Fathers and Daughters in Early Modern Chinese Drama--On the Problematics of Feminist Discourse in Cross-Cultural Perspective." Papers in Comparative Studies. Columbus: The Ohio State University, 1992, 205-22. Rpt. in Chen, Occidentalism: A Theory of Counter-Discourse in Post-Mao China. NY: Oxford UP, 1995, 137-67.

-----. "Women as Dramatic Other in the Body Politics of Post-Mao Theater." In D. Kaminski, et.al, eds. China's Perception of Peace, War, and the World. Wien: Ludwig Bolzmann Institut fur China, 1997, 160-67.

-----. "A Stage of Their Own: Feminism, Countervoices, and the Problematics of Women's Theater." Journal of Asian Studies 56, 1 (1997): 3-25.

----. "Feminism, Countevoices, and the Utterance of Women as Dramatic Other in Post-Mao Theater." Canadian Review of Comparative Literature 29, 1 (Winter 1997): 819-28.

-----. "Audience, Applause, and Countertheater: Border Crossing in 'Social Problem' Plays in Post-Mao China." New Literary History 29 (1998): 101-20.

-----. "Modern Stage in Search of a Tradition: The Dynamics of Form and Content in 1990s Chinese Theater." Asian Theater Journal 18, 2 (2001): 200-21.

-----. "Modern Chinese Spoken Drama." The Columbia History of Chinese Literature. Ed. Victor H. Mair. NY: Columbia UP, 2001, 848-77.

-----. "The Making of a Revolutionary Stage: Chinese Model Theater and Western Influences." In Claire Sponsler and Xiaomei Chen, eds., East of West: Cross-cultural Performance and the Staging of Difference. NY: St. Martin's Press, 2001, 125-40.

----- Acting the Right Part: Political Theater and Popular Drama in Contemporary China, 1966-1996. Honolulu: University of Hawaii, 2002. [MCLC Resource Center review by Ruru Li]

----. "Operatic Revolutions: Tradition, Memory, and Women in Model Theater." In Chen, Acting the Right Part: Political Theater and Popular Drama in Contemporary China, 1966-1996. Honolulu: University of Hawaii, 2002, 73-158.

-----. "Family, Village, Nation/State, and the Third World: The Imagined Communities in Model Theater." In Chen, Acting the Right Part: Political Theater and Popular Drama in Contemporary China, 1966-1996. Honolulu: University of Hawaii, 2002, 159-194.

-----. "Audience, Applause, and Actor: Border Crossing in Social Problem Plays." In Chen, Acting the Right Part: Political Theater and Popular Drama in Contemporary China, 1966-1996. Honolulu: University of Hawaii, 2002, 195-234.

-----. "A Stage of Their Own: Feminism, Countervoices, and the Problematic of Women's Theater." In Chen, Acting the Right Part: Political Theater and Popular Drama in Contemporary China, 1966-1996. Honolulu: University of Hawaii, 2002, 235-60.

-----. "From Discontented Mother to Woman Warrior: Body Politics in Post-Maoist Theater." In Chen, Acting the Right Part: Political Theater and Popular Drama in Contemporary China, 1966-1996. Honolulu: University of Hawaii, 2002, 261-90.

-----. "A Stage in Search of a Tradition: The Dynamics of Form and Content in Post-Maoist Theater." Asian Theatre Journal 18, 2 (2001): 200-21. [Project Muse link]. Also in Chen, Acting the Right Part: Political Theater and Popular Drama in Contemporary China, 1966-1996. Honolulu: University of Hawaii, 2002, 291-330.

-----. "Twentieth-Century Spoken Drama." In Victor H. Mair, ed. The Columbia History of Chinese Literature. NY: Columbia UP, 2001, 848-77.

-----. "Performing the Nation: Modern Spoken Drama." In Joshua Mostow, ed, and Kirk A. Denton, China section, ed., Columbia Companion to Modern East Asian Literatures. NY: Columbia UP, 2003, 437-45.

-----. "'Playing in the Dirt': Plays about Geologists and Memories of the Cultural Revolution and the Maoist Era." The China Review 5, 2 (Fall 2005):

-----. "Remembering War and Revolution on the Maoist Stage." In Andrew Hammond, ed., Cold War Literature: Writing the Global Conflict. New York: Routledge, 2006, 131-145.

-----. "Tian Han and the Southern Society Phenomenon: Networking the Personal, Communal, and Cultural." In Kirk A. Denton and Michel Hockx, eds., Literary Societies in Republican China. Lanham, MD: Lexington Books, 2008, 241-79.

Cheng, Yinghong. "Che Guevara: Dramatizing China's Divided Intelligentsia at the Turn of the Century." Modern Chinese Literature and Culture 15, 2 (Fall 2003): 1-44.

Chin, Luke Kai-hsin. The Politics of Drama Reform in China after 1949: Elite Strategies of Resocialization. Ph. D. diss. NY: New York University, 1980.

Chou, Katherine Hui-ling. Staging Revolution: Actresses, Realism, and the New Woman Movement in Chinese Spoken Drama and Film, 1919-1949. Ph.D. diss. New York University, 1997.

Chou, Huiling. "Striking Their Own Poses: The History of Cross-dressing on the Chinese Stage." The Drama Review 41, 2 (Summer 1997): 130-52. [JSTOR link]

Chung, Mingder. The Little Theatre Movement of Taiwan (1980-1989): In Search of Alternative Aesthetics and Politics. Ph.D. diss. NY: New York University, 1992.

Clark, Paul. "Model Theatrical Workss and the Remodeling of the Cultural Revolution." In Richard King, Ralph C. Croizier, Scott Watson, and Sheng Tian Zheng, eds. Art in Turmoil: The Chinese Cultural Revolution, 1966-76. Vancouver: UBC Press, 2010.

Conceison, Claire. "The Main Melody Campaign in Chinese Spoken Drama." Asian Theatre Journal 11, 2 (Fall 1994): 190-212.

-----. "International Casting in Chinese Plays: A Tale of Two Cites." Theater Journal 53, 2 (2001): 277-90. [Project Muse link]

-----. "Hot Tickets: China's New Generation Takes the Stage." Persimmon 3, 1 (Spring 2002): 18-27.

-----. “Fleshing out the Dramaturgy of Gao Xingjian.” MCLC Resource Center Publication (Dec. 2002).

-----. Significant Other: Staging the American in China. Honolulu: University of Hawaii Press, 2004. [MCLC Resource Center Review by Siyuan Liu]

[Abstract: Chinese views of the United States have shifted dramatically since the 1980s, with changes in foreign relations, increased travel of Chinese citizens to the U.S., and wide circulation of American popular culture in China. Significant Other explores representations of Americans that emerged onstage in China between 1987 and 2002 and considers how they function as racial and cultural stereotypes, political strategy, and artistic innovation.]

Dai Jiafang. Yangbanxi de fengfengyunyun: Jiang Qing, yangbanxi ji neimu (The storm around model drama: Jiang Qing, model drama, and behind the scenes). Beijing: Zhonghua gongshang lianhe, 1994

Davis, A.R. "Out of 'Uncle Tom's Cabin,' Tokyo 1907: A Preliminary Look at the Beginnings of the Spoken Drama in China." Journal of the Oriental Society of Australia 6, 1/2 (1968/69): 33-49.

Denton, Kirk A. "Model Drama as Myth: A Semiotic Analysis of Taking Tiger Mountain By Strategy." In C. Tung, ed. Drama in the People's Republic of China. Albany: SUNY Press, 1987, 119-36.

Diamond, Catherine. The Role of Cross-Cultural Adaptation in the Little Theatre Movement in Taiwan. Ph.D. diss. Seattle: University of Washington, 1993.

-----. "The Masking and Unmasking of the Yu Theatre Ensemble." Asian Theatre Journal 10, 1 (1993): 101-14.

-----. "Cracks in the Arch of Illusion: Contemporary Experiments in Taiwan's Peking Opera." Theatre Research International 20, 3 (1995): 237-54.

-----. "Reflected and Refracted: Metatheatrics in Taiwan." Journal of Dramatic Theory and Criticism 9, 2 (1995): 84-96.

DiBiello, Michelle. "Longing for Worldly Pleasures: An Example of the Sacred vs. the Profane in Contemporary Chinese Drama." Chinoperl Papers 18 (1996): 67-78.

Dittmer, Lowell. "Radical Ideology and Chinese Political Culture: An Analysis of the Revolutionary Yangbanxi." In Richard Wilson, Sidney Greenblatt, Amy Wilson, eds., Moral Behaviour in Chinese Society. NY: Praeger, 1981, 126-51.

Ding, Yangzhong. "Brecht's Theatre and Chinese Drama." In A. Tatlow and Tak-Wai Wong, eds., Brecht and East Asian Theatre. HK: HKUP, 1982, 28-45.

Dong, Jian. "Withering of the Spirit of Contemporary Chinese Drama." Frontiers of Literary Studies in China 1, 4 (Oct. 2007): 571-80.

Du, Wenwei. "Xiaopin: Chinese Theatrical Skits as Both Creatures and Critics of Commercialism." China Quarterly 154 (June 1998): 382-99.

Eberstein, Bernd. Das Chinesische Theater im 20. Jahrhundert (Chinese theater in the twentieth century). Weisbaden: Otto Harrassowitz, 1983.

Electronic Theater Intermix in Taiwan

[ETI is a non-profitable on-line database programmed for modern theater in Taiwan. Until November 2004, the first project of ETI has collected more than one hundred media works, historical records and biographies authorized by artists and performing groups since August 2003. The Online Catalogue preserves and distributes a major collection of performances of artists/performing groups for the purpose of education, academic research and cultural conservation.]

Entell, Bettina S. Post-Tian'anmen: A New Era in Chinese Theatre. Experimentation during the 1990s at Beijing's China National Experimental Theatre/CNET. PhD diss. Honolulu: University of Hawai'i, 2002.

Fei, Faye C. "Dramatizing the West in Chinese Spoken Drama." Asian Theatre Journal 15, 1 (Spring 1998): 102-16.

Arguing from Foucault's theory of the "disappearing author," Faye C. Fei claims that Chinese playwrights do not place individualistic signatures on their work, a phenomenon particularly noticeable in plays dealing with China's foreign relations of the 1949-76 period. She investigates the anti-imperialist huaju drama of that era, during which the outside world was perceived according to Maoist doctrine as the enemy and foreigners were considered "devils."

Ferrari, Rossella. Da Madre Courage e i suoi figli a Jiang Qing e i suoi mariti. Percorsi brechtiani in Cina ( From Mother Courage and her Children to Jiang Qing and her Husbands. Brechtian Trajectories in China). Venice: Cafoscarina, 2004.

-----. "Avant-garde Drama and Theater: China” In Cody, Gabrielle and Sprinchorn, Evert, eds., The Columbia Encyclopaedia of Modern Drama. New York: Columbia University Press, 2007.

-----. Pop Goes the Avant-garde: Meng Jinghui and Contemporary Chinese Avant-garde Theatre. PhD diss. London: SOAS, 2007.

Fleming, Brent Leonard. Theatre Management Procedures: An Operations Manual for the Cultural Center Theatres in Taiwan, the Republic of China. Ph.D.diss. Texas Technical University, 1987.

Gentz, Natascha. "Jiang Qing and the Year of Nora 1935: Drama and Politics in the Republican Period." Ibsen in China website.

Goldstein, Joshua. "Mei Lanfang and the Nationalization of Peking Opera, 1912-1930." positions: east asia cultures critique 7, 2 (1999) 377-420.

-----. Drama Kings: Players and Publics in the Re-creation of Peking Opera, 1870-1937. Berkeley: University of California Press, 2007.

[Abstract: In this colorful and detailed history, Joshua Goldstein describes the formation of the Peking opera in late Qing and its subsequent rise and re-creation as the epitome of the Chinese national culture in Republican era China. Providing a fascinating look into the lives of some of the opera's key actors, he explores their methods for earning a living; their status in an ever-changing society; the methods by which theaters functioned; the nature and content of performances; audience make-up; and the larger relationship between Peking opera and Chinese nationalism. Propelled by a synergy of the commercial and the political patronage from the Qing court in Beijing to modern theaters in Shanghai and Tianjin, Peking opera rose to national prominence. The genre's star actors, particularly male cross-dressing performers led by the exquisite Mei Lanfang and the "Four Great Female Impersonators" became media celebrities, models of modern fashion and world travel. Ironically, as it became increasingly entrenched in modern commercial networks, Peking opera was increasingly framed in post-May fourth discourses as profoundly traditional. Drama Kings demonstrates that the process of reforming and marketing Peking opera as a national genre was integrally involved with process of colonial modernity, shifting gender roles, the rise of capitalist visual culture, and new technologies of public discipline that became increasingly prevalent in urban China in the Republican era.]

Gunn, Edward. "Shanghai's 'Orphan Island' and the Development of Modern Drama." In Bonnie McDougall, ed. Popular Chinese Literature and Performing Arts in the PRC, 1949-1979. Berkeley: UCP, 1984, 36-53.

Guy, Nancy. Peking Opera and Politics in Taiwan. Champaign: University of Illinois, 2005. [examines the political and cultural uses of Peking Opera by the GMD on Taiwan]

He, Chengzhou. Henrik Ibsen and Modern Chinese Drama. Oslo: Unipub AS, 2004. [pdf file downlaod from Ibsen in China website]

-----. "Women and the Search for Modernity: Rethinking Modern Chinese Drama." Modern Language Quarterly 69, 1 (2008): 45-60. [download pdf]

[Abstract: Because the theories of Chinese modernity are mainly organized around a masculine norm and pay insufficient attention to the specificity of women's lives and experiences, it is of great significance to carry out research on women's complex and changing relationships to the political, philosophical, and cultural legacies of Chinese modernity. This essay explores the relationship of women to Chinese modernity through a close reading of canonical texts from modern Chinese drama. The transformations of women in Chinese spoken plays during the first half of the twentieth century reflect the complex experiences of Chinese women in their search for modernity. The Nora figures in Chinese problem plays are symbols of individualism and subjectivism. The women in Cao Yu's plays, whose education is informed by feminist ideas, become subjects of their desires for consumption and love. The female fighters in revolutionary drama further deconstruct the patriarchy of gender, and their stories influenced the new development of gender politics in modern China. In general, the discourses of women's liberation were refashioned on the different stages of modern Chinese drama in parallel with the development of modern Chinese society. The essay suggests that women were actually heroines of Chinese modernity.]

He, Man. The Peacock on Stage and in Print: A Study of the 1920s New Drama Adaptations of Southeast Flies the Peacock. MA thesis. Columbus, OH: The Ohio State University, 2009.

He, Yuming. "Wang Guowei and the Beginnings of Modern Chinese Drama Studies." Late Imperial China 28, 2 (March 2008): 129-56.

Howard, Roger. Contemporary Chinese Theatre. London: Heinemann, 1978.

Huang, Alexander. "Introduction: Modern Taiwanese Theatre." In Samuel Leiter, ed., Encyclopedia of Asian Theatre. Westport, CT: Greenwood Press, 2007.

-----. "Western Influence on Taiwan's Theatre." In Samuel Leiter, ed., Encyclopedia of Asian Theatre. Westport, CT: Greenwood Press, 2007.

Huang, Nicole. "Azalea Mountain and Late Mao Culture." The Opera Quarterly 26, 2-3 (Spring-Summer 2010): 402-25.

Hung, Chang-tai. "Female Symbols of Resistance in Chinese Wartime Spoken Drama." Modern China 15 (April 1989): 149-177.

Huot, Clair. "Away from Literature II: Words Acted Out." In Huot, China's New Cultural Scene: A Handbook of Changes. Durham: Duke University Press, 2000, 72-90.

Ibsen in China website.

Iovene, Paola and Judith T. Zeitlin, guest editors. Chinese Opera Film, a special issue of The Opera Quarterly 26, 2-3 (Spring-Summer 2010).

Jiang, David. "Shanghai Revisited: Chinese Theatre and the Forces of the Market." The Drama Review 38, 2 (1994): 72-80.

Jiang, Jin. Women Playing Men: Yue Opera and Social Change in Twentieth-Century Shanghai. Seattle: University of Washington Press, 2009.

[Abstract: This ground-breaking volume documents women's influence on popular culture in twentieth-century China by examining Yue opera. A subgenre of Chinese opera, it migrated from the countryside to urban Shanghai and morphed from its traditional all-male form into an all-female one, with women cross-dressing as male characters for a largely female audience. Yue opera originated in the Zhejiang countryside as a form of story-singing, which rural immigrants brought with them to the metropolis of Shanghai. There, in the 1930s, its content and style transformed from rural to urban, and its cast changed gender. By evolving in response to sociopolitical and commercial conditions and actress-initiated reforms, Yue opera emerged as Shanghai's most popular opera from the 1930s through the 1980s and illustrates the historical rise of women in Chinese public culture. Jiang examines the origins of the genre in the context of the local operas that preceded it and situates its development amid the political, cultural, and social movements that swept both Shanghai and China in the twentieth century. She details the contributions of opera stars and related professionals and examines the relationships among actresses, patrons, and fans. As Yue opera actresses initiated reforms to purge their theater of bawdy eroticism in favor of the modern love drama, they elevated their social image, captured the public imagination, and sought independence from the patriarchal opera system by establishing their own companies. Throughout the story of Yue opera, Jiang looks at Chinese women's struggle to control their lives, careers, and public images and to claim ownership of their history and artistic representations.]

Jiang, Jing. "Chinese Salomes on the Chinese Stage." Modern Chinese Literature and Culture 23, 2 (Fall 2011): 175-209.

Judd, Ellen. "Prescriptive Dramatic Theory of the Cultural Revolution." In C. Tung and C. MacKerras, eds., Drama in the People's Republic of China. Albany: SUNY, 1987, 95-118.

Kuoshu, Harry. Lightness of Being in China: Adaptation and Discursive Figuration in Cinema and Theater. New York: Peter Lang, 1999.

Lai, Stan. "Specifying the Universal." TDR: The Drama Review: A Journal of Performance Studies 38, 2 (1994): 33-37.

Li, Jessica Tsui Yan. "Female Body and Identities: Re-presenting Ibsen’s Nora in China Doll." In K.K. Tam, Terry S. Yip and Frode Helland eds., Ibsen and the Modern Self. Hong Kong: Open University of Hong Kong Press, and Oslo: Centre for Ibsen’s Studies, University of Oslo Publications, 2010, 298-310.

Li, Kay. Bernard Shaw and China: Cross-Cultural Encounters. Gainseville: University Press of Florida, 2007.

Li, Ruru. "The Bard in the Middle Kingdom." Asian Theatre Journal 12, 1 (Spring 1995): 50-84.

-----. "Macbeth Becomes Ma Pei, An Odyssey from Scotland to China." Theatre Research International 20, 1 (Spring 1995): 42-53.

-----. "The 1994 Shanghai International Shakespeare Festival: An Update on the Bard in Cathay." Asian Theatre Journal 14, 1 (Spring 1997): 93-119.

-----. "Shakespeare on the Chinese Stage in the 1990s." Shakespeare Quarterly 50, 3 (Fall 1999): 355-367.

-----. "Sino the Times: Three Spoken Drama Productions on the Beijing Stage." The Drama Review 45, 2 (2001). [deals with three recent drama productions in the PRC: a production of Gogol's The Inspector General; Boundless Love, the play about the Ming literatus Li Yu; and Che Guevara; downloadable pdf file of entire article available here]

-----. "Millenium Shashibiya: Where Does Shakespeare Stand in Today's China." [unpublished paper for the Shakespeare Performance in the New Asias conference, National University of Singapore, June 28-30, 2002]

-----. "Mao's Chair: Revolutionizing Chinese Theatre." Theatre Research International 27, 1 (March 2002): 1-17.

-----. Shashibiya: Staging Shakespeare in China. HK: Hong Kong University Press, 2003.

-----. "A Drum! A Drum! Macbeth doth come! – When Birnam wood moved to China." Shakespeare Survey 57 (Oct. 2004).

-----. The Soul of Beijing Opera: Theatrical Creativity and Continuity in the Changing World. HK: Hong Kong University Press, 2010.

[Abstract: looks at the evolution of singing and performance styles, make-up and costume, audience demands, as well as stage and street presentation modes amid tumultuous social and political changes. Li's study follows a number of major artists' careers in mainland China and Taiwan, drawing on extensive primary print sources as well as personal interviews with performers and their cultural peers. One chapter focuses on the illustrious career of Li's own mother and how she adapted to changes in Communist ideology. In addition, she explores how performers as social beings have responded to conflicts between tradition and modernity, and between convention and innovation. Through performers' negotiation and compromises, Beijing opera has undergone constant re-examination of its inner artistic logic and adjusted to the demands of the external world.]

Li, Siu Leung. Cross-Dressing in Chinese Opera. HK: HK University Press, 2003.

Lilley, Rozanna. Staging Hong Kong: Gender and Performance in Transition. Richmond, Surrey: Curzon, 1998.

Lin, Fengxia. The Memoirs of Lin Fengxia. Ed./tr. John Chinnery. Oxford: Oxford UP, 2002. ["Lin Fengxia (1927-1998), one of the most celebrated actresses of the last fifty years, grew up and came of age during some of the most dramatic episodes in Chinese history. Her memoirs provide a balanced, unsentimental view of China's history in this century as well as a record of the important Chinese theatre known as pingju."--from Oxford UP catalogue]

Liu, Joyce C. "Re-staging Cultural Memories in Contemporary Theatre in Taiwan: Wang Qimei, Stanley Lai, and Lin Huaimin." In Steven Totosy de Zepetnek and Jennifer W. Jay, eds., East Asian Cultural and Historical Perspectives: Histories and Society, Culture and Literatures. Edmonton: Research Institute for Comparative Literature and Cross-Cultural Studies, University of Alberta, 1997, 267-78.

Liu, Ping. "The Left-Wing Drama Movement and Its Relationship to Japan." Tr. by Krista van Fleit. positions: east asia cultures critique 14, 2 (2006): 449-66. [Project Muse link]

Liu, Siyuan. "The Impact of Shinpa on Early Chinese Huaju." Asian Theater Journal 23, 2 (2006): 342-55. [Project Muse link]

Luo, Suwen. "Gender on Stage: Actresses in an Actors' World (1895-1930)." In Bryna Goodman and Wendy Larson, eds., Gender in Motion: Divisions of Labor and Cultural Change in Late Imperial and Modern China. Lanham: Rowman and Littlefield, 2005, 75-96.

Mackerras, Colin. The Chinese Theatre in Modern Times: From 1840 to the Present Day. London: Thames and Hudson, 1975.

-----. The Performing Arts in Contemporary China. London: Routledge and Kegan Paul, 1981.

-----. "The Taming of the Shrew: Chinese Theatre and Social Change Since Mao." Australian Journal of Chinese Affairs 1 (1979): 1-18.

-----. "Drama and Politics in Mainland China, 1976-89." In Bih-jaw Lin, ed. Post-Mao Sociopolitical Changes in Mainland China: The Literary Perspective. Taibei: Institute of International Relations, National Chengchi University, 1991, 109-38.

Meng, Jinghui. "Beijing's Experimental Theatre." In Noth, Jochen, et.al., eds. China Avant-garde: Counter-currents in Art and Culture. HK, New York: Oxford University Press, 1994, 76-79.

Modern Chinese Drama [contains plots synopsis of some 20 modern Chinese spoken dramas]

Mowry, Hua-yuan Li. Yang-pan hsi--New Theater in China. Berkeley: Center for Chinese Studies, University of California, 1973.

Pan, Ping. "Triumphant Dancing in Chains: Two Productions of Chinese Huaju Plays in the Late 1980s." Asian Theatre Journal 16, 1 (Spring 1999): 107-20.

Elsewhere in this issue the subject of political repression of classical Chinese theatre is addressed. More likely to be the target of such hard-line censorship is the modern spoken drama (huaju). Two important examples of plays that found themselves the subject of scrutiny are Doggy Man Nirvana and Stories of Mulberry Plot Village, both premiered during the 1980s. Ping Pan here discusses how each work successfully found a way around the suppressive political campaign.

Salter, Denis. "China's Theatre of Dissent: A Conversation with Mou Sen and Wu Wenguang." Asian Theatre Journal 13, 2 (Fall 1996): 218-228.

Mou Sen, thirty-two, is the artistic director of the Beijing-based Xi Ju Che Jian ("Garage Theatre"). His production of File Zero, based on the documentary poem of the same title (Ling Dang An) by the thirty-nine-year-old avant-garde poet Yu Jian, has toured, since its premiere at the Kunsten Festival des Arts in Brussels in May 1994, to fifteen cities throughout Europe and Canada. Plans are under way for an extensive U.S. tour in 1996. Complicated negotiations are taking place to present File Zero in mainland China, as well, where its subtextual critique of dominant ideologies--in combination with its unique stylistic mixture of documentary realism and symbolic stage images--are guaranteed to make it controversial. In this interview, Denis Salter speaks both to Mou Sen and to the actor (and sometime documentary filmmaker) Wu Wenguang, who narrates one of four bureaucratic "files" or personal stories that make up the dramatic structure of File Zero.

Scott, A.C. Actors are Madmen: A Notebook of a Theatergoer in China. Madison: Univesity of Wisconsin Press, 1982.

Sohigian, Diran John. "Confucius and the Lady in Question: Power Politics, Cultural Production and the Performance of Confucius Saw Nanzi in China in 1929." Twentieth-Century China 36, 1 (Jan. 2011): 23-43.

Special issue on Taiwan Theatre. E-Renlei Magazine 84 (2011).

Tam, Kwok-kan. "Ibsen and Modern Chinese Dramatists: Influences and Parallels." Modern Chinese Literature 2 (1986): 45-62.

Tschanz, Dietrich. "The New Drama before the New Drama: Drama Journals and Drama Reform in Shanghai before the May Fourth Movement." Theatre InSight 10, 1 (1999): 49-59.

-----. "Where East and West Meet: Chinese Revolutionaries, French Orientalists, and Intercultural Theater in 1910s Paris." Taiwan Journal of East Asian Studies 4, 1 (June 2007): 98-108.

Tuan, Iris Hsin-chun. Alternative Theater in Taiwan: Feminist and Intercultural Approaches. Amherst, NY: Cambria Press, 2007.

[Abstract: Taiwan's historical and contemporary status as a nexus of Asian and Western cultural influences provides a rich canvas of research for the author who is uniquely trained in both Western critical and Taiwanese theatrical practices. This highly original book furnishes a creative interpretation of alternative, contemporary Taiwanese Theater by applying Feminism, Interculturalism and other western theories to three intercultural performances of four avant-garde female directors from 1993-2004. Although several important playwrights and directors have staged vital gender critiques of national and international practices, almost no critic has remarked upon them. The book's intersection of a gender critique, and, in part, a postcolonial one, with Taiwanese stage practices is, therefore, a unique and significant contribution.]

Tung, Constantine, and Colin MacKerras, ed. Drama in the People's Republic of China. Albany: SUNY Press, 1987.

Vittinghoff, Natascha. "China’s Generation X: Rusticated Red Guards in Controversial Contemporary Plays." In Woei Lian Chong, ed., China’s Great Proletarian Cultural Revolution: Master Narratives and Post-Mao Counternarratives. Lanham: Rowman and Littlefield, 2002, 285-318. [discusses Sha Yexin’s New Sprouts from the Borderlands, Wang Peigong’s We, and Xun Pinli’s Yesterday’s Longan Trees]

-----. "Jiang Qing and Nora: Drama and Politics in the Republican Period." In Mechthild Leutner and Nicola Spakowski, eds., Women in China: The Republican Period in Historical Perspective. Münster: Lit, 2005, 208-41.

Wagner, Rudolf. The Contemporary Chinese Historical Drama: Four Studies. Berkeley: UCP, 1991. [discusses Tian Han's plays Xie Yaohuan and Guan Hanqing, among others]

-----. "Culture and Code. Historical Fiction in a Socialist Environment: The GDR and China." In Hilary Chung, ed., In the Party Spirit. Socialist Realism and Literary Practice in the Soviet Union, East Germany and China. Editions Rodopi: Amsterdam/Atlanta 1996, 129-140. [compares historical drama in PRC and GDR]

Weinstein, John B. "Multilingual Theater in Contemporary Taiwan." Asian Theatre Journal 17, 2 (2000): 269-83. [Project Muse link]

Yan, Haiping. "Male Ideology and Female Identity: Images of Women in Four Modern Chinese Historical Plays." In Helene Keyssar, ed., Feminst Theater and Theory. NY: St. Martin's Press, 1996.

Yang, Daniel S.P. "Theater Activities in Post-Cultural Revolution China." In C. Tung and C. Mackerras, eds., Drama in the People's Republic of China. Albany: SUNY Press, 1987, 164-80.

Yang, Ling. "The Last Three Years." Beijing Review 52, 7 (1979): 26.

Yeh, Catherine Vance. "Playing with the Public: Late Qing Courtesans and Their Opera Singer Lovers." In Bryna Goodman and Wendy Larson, eds., Gender in Motion: Divisions of Labor and Cultural Change in Late Imperial and Modern China. Lanham: Rowman and Littlefield, 2005, 145-68.

Yip, Terry Siu-han. "Goethe's Impact on Modern Chinese Drama." Modern Chinese Literature 2 (1986): 29-43.

Zhongguo zuoyi xijujia lianmeng shiliao ji (Historical materials of the Chinese left-wing dramatists association). Beijing: Zhongguo xiju, 1991.

Croll, Elizabeth. "Gendered Moments and Inscripted Memories: Girlhood in Twentieth-century Chinese Autobiography." In Selma Leydesdorff, Luisa Passerini, and Paul Thompson, eds., Gender and Memory. New York: Oxford University Press, 1996, 117-32.

Howard, Richard. "Modern Chinese Biographical Writing." Journal of Asian Studies 21, 4 (1962): 465-75.

Huichung, Emily Chua. "The Good Book and the Good Life: Bestselling Biographies in China's Economic Reform." The China Quarterly 198 (2009): 364-380.

Larson, Wendy. Literary Authority and the Chinese Writer: Ambivalence and Autobiography. Durham: Duke University Press, 1991.

Laughlin, Charles. "Estrangement from the Art of Fact: The Fate of Reportage in a Changing China." China Exchange News 21, 3/4 (Fall/Winter 1993): 20-22.

-----. Narrating the Nation: The Aesthetics of Historical Experience in Chinese Reportage, 1919-1966. Ph.D. diss. NY: Columbia University, 1996.

-----. "Narrative Subjectivity and the Production of Social Space in Chinese Reportage." Boundary 2. Special Issue ed. Rey Chow. 25, 2 (Fall 1998): 25-46. Rpt. in Rey Chow, ed. Modern Chinese Literary Studies in the Age of Theory: Reimagining a Field. Durham: Duke UP, 2000.

-----. "Incongruous Lyricism: Liu Baiyu, Yang Shuo and sanwen in Chinese Socialist Culture." In Martin Woesler, ed., The Modern Chinese Literary Essay: Defining the Chinese Self in the 20th Century. Bochum: Bochum UP, 2000, 115-29.

-----. Chinese Reportage: The Aesthetics of Historical Experience. Durham: Duke University Press, 2002. [MCLC Resource Center Publication review by Susan Daruvala]

-----. The Literature of Leisure and Chinese Modernity. Honolulu: University of Hawaii Press, 2008.

[Abstract: The Chinese essay is arguably China's most distinctive contribution to modern world literature, and the period of its greatest influence and popularity--the mid-1930s--is the central concern of this book. What Laughlin terms "the literature of leisure" is a modern literary response to the cultural past that manifests itself most conspicuously in the form of short, informal essay writing (xiaopin wen). Laughlin examines the essay both as a widely practiced and influential genre of literary expression and as an important counter-discourse to the revolutionary tradition of New Literature (especially realistic fiction), often viewed as the dominant mode of literature at the time. After articulating the relationship between the premodern traditions of leisure literature and the modern essay, Laughlin treats the various essay styles representing different groups of writers. Each is characterized according to a single defining activity: "wandering" in the case of the Yu si (Threads of Conversation) group surrounding Lu Xun and Zhou Zuoren; "learning" with the White Horse Lake group of Zhejiang schoolteachers like Feng Zikai and Xia Mianzun; "enjoying" in the case of Lin Yutang's Analects group; "dreaming" with the Beijing school. The concluding chapter outlines the impact of leisure literature on Chinese culture up to the present day. The book dramatizes the vast importance and unique nature of creative nonfiction prose writing in modern China. It will be eagerly read by those with an interest in twentieth-century Chinese literature, modern China, and East Asian or world literatures.]

Li, Xia. "Perilous Journeys and Archetypal Encounters: Critical Observations on Chinese Travel Literature." Neohelicon 28, 1 (2001): 247-260.

Moran, Thomas. True Stories: Contemporary Chinese Reportage and Its Ideology and Aesthetic. Ph.D. diss. Ithaca: Cornell University, 1994.

Pollard, David. "Introduction." In Pollard, ed., The Chinese Essay. NY: Columbia UP, 2000, 1-24.

Scoggin, Mary Louise. Ethnography of a Chinese Essay: Zawen in Contemporary China. Ph.D. diss. Chicago: University of Chicago, 1997.

-----. "Mulish Essays: The Genre of Zawen in Contemporary China." In Martin Woesler, ed., The Modern Chinese Literary Essay: Defining the Chinese Self in the 20th Century. Bochum: Bochum UP, 2000, 189-205.

Tam, King-fai. "Discussion of this Chapter: The xiaopin wen between xianshi sanwen and zawen." In Martin Woesler, ed., The Modern Chinese Literary Essay: Defining the Chinese Self in the 20th Century. Bochum: Bochum UP, 2000, 239-41.

Wagner, Rudolf. Inside the Service Trade: Studies in Contemporary Chinese Prose. Cambridge: Council on East Asian Studies, Harvard University, 1992. [focuses primarily on reportage of the 50s and 80s]

Wagner, Alexandra R. Bildnisse des Selbst: die Neumondschule und der moderne chinesische Essay (Images of self: the Crescent Moon Society and the Chinese Essay). Dortmund: Projekt Verlag, 1996.

-----. "Tradition as Construct and the Search for a Modern Identity: A Reading of Traditional Gestures in Modern Chinese Essays of Place." In Martin Woesler, ed., The Modern Chinese Literary Essay: Defining the Chinese Self in the 20th Century. Bochum: Bochum UP, 2000, 133-46. [deals with Yu Dafu, Zhu Ziqing, and Fang Lingru]

Wang, Ban. "From Historical Narrative to the World of Prose: The Essayistic Mode in Contemporary Chinese Literature." In Martin Woesler, ed., The Modern Chinese Literary Essay: Defining the Chinese Self in the 20th Century. Bochum: Bochum UP, 2000, 173-88.

Wang, Jing M. When "I" Was Born: Women's Autobiography in Modern China. Madison: University of Wisconsin Press, 2008.

[Abstract: In the period between the 1920s and 1940s, a genre emerged in Chinese literature that would reveal crucial contradictions in Chinese culture that still exist today. At a time of intense political conflict, Chinese women began to write autobiography, a genre that focused on personal identity and self-exploration rather than the national, collective identity that the country was championing. The author seeks to reclaim the voices of these particular writers, voices that have been misinterpreted and overlooked for decades. Tracing women writers as they move from autobiographical fiction, often self-revelatory and personal, to explicit autobiographies that focused on women’s roles in public life, Jing M. Wang reveals the factors that propelled this literary movement, the roles that liberal translators and their renditions of Western life stories played, and the way in which these women writers redefined writing and gender in the stories they told. But Wang reveals another story as well: the evolving history and identity of women in modern Chinese society. When “I” Was Born adds to a growing body of important work in Chinese history and culture, women’s studies, and autobiography in a global context. Writers discussed include Xie Bingying, Zhang Ailing, Yu Yinzi, Fei Pu, Lu Meiyen, Feng Heyi, Ye Qian, Bai Wei, Shi Wen, Fan Xiulin, Su Xuelin, and LuYin.]

Wang, Jing M. Strategies of Modern Chinese Women Writers' Autobiographies. Ph. D. diss. Columbus: The Ohio State University, 2000.

Wang, Lingzhen. Personal Matters: Women's Autobiographical Practice in Twentieth-Century China. Stanford: Stanford UP, 2004.

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