This book explores the use of literary fantasy in the construction of identity and ‘home’ in contemporary diasporic Chinese women’s literature. It argues that the use of fantasy acts as a way of undermining the power of patriarchy and unsettling fixed notions of home. The idea of home explored in this book relates to complicated struggles to gain a sense of belonging, as experienced by marginalized subjects in constructing their diasporic identities — which can best be understood as unstable, shifting, and shaped by historical conditions and power relations. Fantasy is seen to operate in the corpus of this book as a literary mode, as defined by Rosemary Jackson. Literary fantasy offers a way to rework ancient myths, fairy tales, ghost stories and legends; it also subverts conventional narratives and challenges the power of patriarchy and other dominant ideologies. Through a critical reading of four diasporic Chinese women authors, namely, Maxine Hong Kingston, Adeline Yen Mah, Ying Chen and Larissa Lai, this book aims to offer critical insights into how their works re-imagine a ‘home’ through literary fantasy which leads beyond nationalist and Orientalist stereotypes; and how essentialist conceptions of diasporic culture are challenged by global geopolitics and cultural interactions.

Trauma and Motherhood in Contemporary Literature and Culture repositions motherhood studies through the lens of trauma theory by exploring new challenges surrounding conception, pregnancy, and postpartum experiences. Chapters investigate nine case studies of motherhood trauma and recovery in literature and culture from the last twenty years by exploring their emotional consequences through the lens of trauma, resilience, and “working through” theories. Contributions engage with a transnational corpus drawn from the five continents and span topics as rarely discussed as pregnancy denial, surrogacy, voluntary or involuntary childlessness, racism and motherhood, carceral mothering practices, surrogacy, IVF, artificial wombs, and mothering through war, genocide, and migration. Accompanied by an online creative supplement, this volume deals with silenced aspects of embodied motherhood while enhancing a better understanding of the cathartic effects of storytelling.

This handbook offers a collection of scholarly essays that analyze questions of reproductive justice throughout its cultural representation in global literature and film. It offers analysis of specific texts carefully situated in their evolving historical, economic, and cultural contexts. Reproductive justice is taken beyond the American setting in which the theory and movement began; chapters apply concepts to international realities and literatures from different countries and cultures by covering diverse genres of cultural production, including film, television, YouTube documentaries, drama, short story, novel, memoir, and self-help literature. Each chapter analyzes texts from within the framework of reproductive justice in an interdisciplinary way, including English, Japanese, Italian, Spanish, and German language, literature and culture, comparative literature, film, South Asian fiction, Canadian theatre, writing, gender studies, Deaf studies, disability studies, global health and medical humanities, and sociology. Academics, graduate students and advanced undergraduate students in Literature, Gender, Sexuality and Women’s Studies, Cultural Studies, Motherhood Studies, Comparative Literature, History, Sociology, the Medical Humanities, Reproductive Justice, and Human Rights are the main audience of the volume.

This book investigates sisterhood as a converging thread that wove female subjectivities and intersubjectivities into a larger narrative of Chinese modernity embedded in a newly conceived global context. It focuses on the period between the late Qing reform era around the turn of the twentieth century and the outbreak of the Second Sino-Japanese War in 1937, which saw the emergence of new ways of depicting Chinese womanhood in various kinds of media. In a critical hermeneutic approach, Zhu combines an examination of an outside perspective (how narratives and images about sisterhood were mobilized to shape new identities and imaginations) with that of an inside perspective (how subjects saw themselves as embedded in or affected by the discourse and how they negotiated such experiences within texts or through writing). With its working definition of sisterhood covering biological as well as all kinds of symbolic and metaphysical connotations, this book exams the literary and cultural representations of this elastic notion with attention to, on the one hand, a supposedly collective identity shared by all modern Chinese female subjects and, on the other hand, the contesting modes of womanhood that were introduced through the juxtaposition of divergent “sisters.” Through an interdisciplinary approach that brings together historical materials, literary and cultural analysis, and theoretical questions, Zhu conducts a careful examination of how new identities, subjectivities and sentiments were negotiated and mediated through the hermeneutic circuits around “sisterhood.”

This book intends to trace the revival of traditional literary works since the 1980s in China as it is revealed on the revitalized College Entrance Examination (CEE). In order to show how these changes reflect China’s altering ideology after the fall of Communism, selections from the CEE’s literary portion will be examined. Taking advantage of the resurrection of the powerful CEE, test creators have composed the literary portion as an education tool to shape public opinion in the post-Communist era. Literature in China have never been an independent art but had shared the responsibility for transmitting China’s intellectual and ethical traditions. The introduction of Communism to China silenced these traditions and made literature the servant of political ideology. This book traces the chronological process of restoring modern vernacular literature from the pre-Communist era and the ways in which traditional literature is being used for modern purposes. For many Chinese intellectuals, the gradual withdrawal of literature for serving political causes and the reinstatement of classical literature and early vernacular works to on the CEE bring to light the recovery of the aesthetic literary tradition and a return to normalcy. When students take the CEE, they not only mentally scrutinize literature that they first read during their secondary education, but also experience an assertive presentation of current Chinese cultural values and outlooks on life. This study argues that in the post-1980s CEE literary selections, students experience a variety of texts that summon up China’s pre-Communist literary tradition in order to serve as an intellectual guiding light for future social development. For those interested in comparative higher education, a particular area of interest may be the book’s singular consideration of the science and technology passages in connection with the restructuring of higher education in China as a remedy of China’s cultural tradition.

As the essence of Chinese traditional culture, classical Chinese poetry in Singapore played a very important role in the social and cultural development of Singapore’s Chinese community. Numerous poems depicted the unique scenery of tropical rainforest and the customs with a Nanyang flavor, recorded the various historical events from the colonial era, the World War II to the independent nation, and reflected the poets’ multiple feelings. This book sketches out the brief history of classical Chinese poetry in Singapore over a hundred years, and focuses on the complex identity of poets from different generations, the function of literary societies in the construction of cultural space and the influence of modern media on the development of classical Chinese poetry based on the text interpretation. In addition, the author attempts to define different types of poetry writing using diaspora literature and Sinophone literature. The discussion of these topics will not only expand the research horizon of Chinese literature, but also provide a meaningful reference to the studies of the worldwide Chinese overseas, especially in Southeast Asia.

Includes a classified, annotated, interdisciplinary bibliography in English of articles, books, chapters, theses, and dissertations concerning all aspects of Chinese drama from its shamanistic origins to 1985, as well as references both to Chinese plays in English translation and to commentary.

This book resolves around the fundamental question, “What is Hong Kong modernism?” To address this issue, C.T. Au identifies three significant characteristics: a renewal of traditions, an obsession with ordinary things, and an expression of concerns about social and political issues, shared among Western modernisms, Chinese modernism in the 1940s, and such Hong Kong modernists as Ma Lang, Liu Yichang, and Leung Ping-kwan (Yasi/Ye Si). This research concentrates on an examination of the major modernist tenets embodied in Leung’s literary works. Leung Ping-kwan is one of the most prominent and widely read Hong Kong modernist writers; however, there exist only a few scholarly works which focus on the direct relationship between Leung’s works and modernisms. The author argues that Leung paid special attention to issues regarding tradition, daily life, and colonial culture in order to understand his past, his identity, and the unique features of Hong Kong modernism, which celebrate multiple perspectives and inclusiveness. This study not only helps differentiate Hong Kong modernism from other modernisms—positioning the former as a variant of the latter—but also provides a response to the problems evoked by Hong Kong’s colonial milieu.

An evocative novel that links the lives of a ninth-century poet/nun and a contemporary Asian-American woman.

The Columbia Companion to Modern Chinese Literature features more than fifty short essays on specific writers and literary trends from the Qing period (1895–1911) to the present. The volume opens with thematic essays on the politics and ethics of writing literary history, the formation of the canon, the relationship between language and form, the role of literary institutions and communities, the effects of censorship, the representation of the Chinese diaspora, the rise and meaning of Sinophone literature, and the role of different media in the development of literature. Subsequent essays focus on authors, their works, and the schools with which they were aligned, featuring key names, titles, and terms in English and in Chinese characters. Woven throughout are pieces on late Qing fiction, popular entertainment fiction, martial arts fiction, experimental theater, post-Mao avant-garde poetry, post–martial law fiction from Taiwan, contemporary genre fiction from China, and recent Internet literature. The volume includes essays on such authors as Liang Qichao, Lu Xun, Shen Congwen, Eileen Chang, Jin Yong, Mo Yan, Wang Anyi, Gao Xingjian, and Yan Lianke. Both a teaching tool and a go-to research companion, this volume is a one-of-a-kind resource for mastering modern literature in the Chinese-speaking world.