As medieval Chinese manuscripts were copied and recopied through the centuries, both mistakes and deliberate editorial changes were introduced. Xiaofei Tian shows how readers not only experience authors but "produce" them by shaping texts to their interpretation, focusing on the evolution over the centuries of the reclusive poet Tao Yuanming into a figure of epic stature.

As medieval Chinese manuscripts were copied and recopied through the centuries, both mistakes and deliberate editorial changes were introduced. Xiaofei Tian shows how readers not only experience authors but "produce" them by shaping texts to their interpretation, focusing on the evolution over the centuries of the reclusive poet Tao Yuanming into a figure of epic stature.

“Dunhuang Manuscript Culture” explores the world of Chinese manuscripts from ninth-tenth century Dunhuang, an oasis city along the network of pre-modern routes known today collectively as the Silk Roads. The manuscripts have been discovered in 1900 in a sealed-off side-chamber of a Buddhist cave temple, where they had lain undisturbed for for almost nine hundred years. The discovery comprised tens of thousands of texts, written in over twenty different languages and scripts, including Chinese, Tibetan, Old Uighur, Khotanese, Sogdian and Sanskrit. This study centres around four groups of manuscripts from the mid-ninth to the late tenth centuries, a period when the region was an independent kingdom ruled by local families. The central argument is that the manuscripts attest to the unique cultural diversity of the region during this period, exhibiting—alongside obvious Chinese elements—the heavy influence of Central Asian cultures. As a result, it was much less ‘Chinese’ than commonly portrayed in modern scholarship. The book makes a contribution to the study of cultural and linguistic interaction along the Silk Roads.

This innovative sourcebook builds a dynamic understanding of China's early medieval period (220–589) through an original selection and arrangement of literary, historical, religious, and critical texts. A tumultuous and formative era, these centuries saw the longest stretch of political fragmentation in China's imperial history, resulting in new ethnic configurations, the rise of powerful clans, and a pervasive divide between north and south. Deploying thematic categories, the editors sketch the period in a novel way for students and, by featuring many texts translated into English for the first time, recast the era for specialists. Thematic topics include regional definitions and tensions, governing mechanisms and social reality, ideas of self and other, relations with the unseen world, everyday life, and cultural concepts. Within each section, the editors and translators introduce the selected texts and provide critical commentary on their historical significance, along with suggestions for further reading and research.

Why would an inkstone have a poem inscribed on it? Early modern Chinese writers did not limit themselves to working with brushes and ink, and their texts were not confined to woodblock-printed books or the boundaries of the paper page. Poets carved lines of verse onto cups, ladles, animal horns, seashells, walking sticks, boxes, fans, daggers, teapots, and musical instruments. Calligraphers left messages on the implements ordinarily used for writing on paper. These inscriptions—terse compositions in verse or epigrammatic prose—relate in complex ways to the objects on which they are written. Thomas Kelly develops a new account of the relationship between Chinese literature and material culture by examining inscribed objects from the late Ming and early to mid-Qing dynasties. He considers how the literary qualities of inscriptions interact with the visual and physical properties of the things that bear them. Kelly argues that inscribing an object became a means for authors to grapple with the materiality and technologies of writing. Facing profound social upheavals, from volatility in the marketplace to the violence of dynastic transition, writers turned to inscriptions to reflect on their investments in and dependence on the permanence of the written word. Shedding new light on cultures of writing in early modern China, The Inscription of Things broadens understandings of the links between the literary and the material.

"In a formative period of Chinese culture, early medieval writers made extensive use of a diverse set of resources, in which such major philosophical classics as Laozi, Zhuangzi, and Classic of Changes featured prominently. Reading Philosophy, Writing Poetry examines how these writers understood and manipulated a shared intellectual lexicon to produce meaning. Focusing on works by some of the most important and innovative poets of the period, this book explores intertextuality—the transference, adaptation, or rewriting of signs—as a mode of reading and a condition of writing. It illuminates how a text can be seen in its full range of signifying potential within the early medieval constellation of textual connections and cultural signs.If culture is that which connects its members past, present, and future, then the past becomes an inherited and continually replenished repository of cultural patterns and signs with which the literati maintains an organic and constantly negotiated relationship of give and take. Wendy Swartz explores how early medieval writers in China developed a distinctive mosaic of ways to participate in their cultural heritage by weaving textual strands from a shared and expanding store of literary resources into new patterns and configurations."

Preliminary Material -- Introduction -- Reclusion -- "Personality" -- Literary Reception, Part I: -- Literary Reception, Part II -- Conclusion -- Selected Bibliography -- Index -- Harvard East Asian Monographs.

This volume first explores the transformation of Chinese Daoism in late imperial period through the writings of prominent intellectuals of the times. In such a cultural context, it then launches an indepth investigation into the Daoist dimensions of the Chinese narrative masterpiece, The Story of the Stone—the inscriptions of Quanzhen Daoism in the infrastructure of its religious framework, the ideological ramifications of the Daoist concepts of chaos, purity, and the natural, as well as the Daoist images of the gourd, fish, and bird. Zhou presents the central position of Daoist philosophy both in the ideological structure of the Stone, and the literati culture that engenders it.

At last here is the long-awaited, first Western-language reference guide focusing exclusively on Chinese literature from ca. 700 B.C.E. to the early seventh century C.E. Alphabetically organized, it contains no less than 1095 entries on major and minor writers, literary forms and "schools," and important Chinese literary terms. In addition to providing authoritative information about each subject, the compilers have taken meticulous care to include detailed, up-to-date bibliographies and source information. The reader will find it a treasure-trove of historical accounts, especially when browsing through the biographies of authors. Indispensable for scholars and students of pre-modern Chinese literature, history, and thought. Part Two contains S to Xi.

This book takes up one of the most important themes in Chinese thought: the relation of pleasurable activities to bodily health and to the health of the body politic. Unlike Western theories of pleasure, early Chinese writings contrast pleasure not with pain but with insecurity, assuming that it is right and proper to seek and take pleasure, as well as experience short-term delight. Equally important is the belief that certain long-term relational pleasures are more easily sustained, as well as potentially more satisfying and less damaging. The pleasures that become deeper and more ingrained as the person invests time and effort to their cultivation include friendship and music, sharing with others, developing integrity and greater clarity, reading and classical learning, and going home. Each of these activities is explored through the early sources (mainly fourth century BC to the eleventh century AD), with new translations of both well-known and seldom-cited texts.