The text is one in a series of five, intended as supplementary reading to the lessons in "Beginning Chinese reader". It is the retelling of a Chinese folktale.

Previous translations and descriptions of Li Qingzhao are molded by an image of her as lonely wife and bereft widow formed by centuries of manipulation of her work and legacy by scholars and critics (all of them male) to fit their idea of a what a talented woman writer would sound like. The true voice of Li Qingzhao is very different. A new translation and presentation of her is needed to appreciate her genius and to account for the sense that Chinese readers have always had, despite what scholars and critics were saying, about the boldness and originality of her work. The introduction will lay out the problems of critical refashioning and conventionalization of her carried out in the centuries after her death, thus preparing the reader for a new reading. Her songs and poetry will then be presented in a way that breaks free of a narrow autobiographical reading of them, distinguishes between reliable and unreliable attributions, and also shows the great range of her talent by including important prose pieces and seldom read poems. In this way, the standard image of Li Qingzhao, exemplied by a handful of her best known and largely misunderstood works, will be challenged and replaced by a new understanding. The volume will present a literary portrait of Li Qingzhao radically unlike the one in conventional anthologies and literary histories, allowing English readers for the first time to appreciate her distinctiveness as a writer and to properly gauge her achievement as a female alternative, as poet and essayist, to the male literary culture of her day.

In this deeply stirring novel, acclaimed author Cristina García follows one extraordinary family through four generations, from China to Cuba to America. Wonderfully evocative of time and place, rendered in the lyrical prose that is García’s hallmark, Monkey Hunting is an emotionally resonant tale of immigration, assimilation, and the prevailing integrity of self.

This biography spotlights the life of a key Chinese intellectual, Wu Han, well known in China as a major twentieth-century historian and democratic political figure. World attention was drawn to Wu in the mid-1960s as the first of Mao Zedong's targets in the Cultural Revolution. The biography locates Wu in the rapid changes in the social and political environment of his times, from the early years of the twentieth century until his death in prison in 1969. With Wu Han's life as the focus, the narrative deals with the momentous changes in Chinese society and government during the last century. Mazur bases the biographical account on extensive interviewing in China, and penetrates a great deal deeper than the conventional conception of the shift from Nationalist to Communist regimes in the PRC. The complex life of Wu Han is of interest to specialist and non-specialist readers alike, both because of the broad relevance of the historical and political issues he and those around him confronted in the context of the times in China and because of the direct narrative biographical style revealing the conflicts and depth in the human situation. Mazur relates Wu Han's life to the momentous changes and conflicts surging through Chinese society, with special emphasis on the complex role intellectuals have played during the course of change.

Feng Menglong (1574–1646) was recognized as the most knowledgeable connoisseur of popular literature of his time. He is known today for compiling three famous collections of vernacular short stories, each containing forty stories, collectively known as Sanyan. Appropriation and Representation adapts concepts of ventriloquism and dialogism from Bakhtin and Holquist to explore Feng’s methods of selecting source materials. Shuhui Yang develops a model of development in which Feng’s approach to selecting and working with his source materials becomes clear. More broadly, Appropriation and Representation locates Feng Menglong’s Sanyan in the cultural milieu of the late Ming, including the archaist movement in literature, literati marginality and anxieties, the subversive use of folk works, and the meiren xiangcao tradition—appropriating a female identity to express male frustration. Against this background, a rationale emerges for Feng’s choice to elevate and promote the vernacular story while stepping back form an overt authorial role.

A five-volume translation of the classic sixteenth-century Chinese novel on the domestic life of a corrupt merchant

Irene Eber was one of the foremost authorities on Jews in China during the twentieth and twenty-first centuries—a field that, in contrast to the study of the Jewish diaspora in Europe and the Americas, has been critically neglected. This volume gathers fourteen of Eber’s most salient articles and essays on the exchanges between Jewish and Chinese cultures, making available to students, scholars, and general readers a representative sample of the range and depth of her important work in the field of Jews in China. Jews in China delineates the centuries-long, reciprocal dialogue between Jews, Jewish culture, and China, all under the overarching theme of cultural translation. The first section of the book sets forth a sweeping overview of the history of Jews in China, beginning in the twelfth century and concluding with a detailed assessment of the two crucial years leading up to the Second World War. The second section examines the translation of Chinese classics into Hebrew and the translation of the Hebrew Bible into Chinese. The third and final section turns to modern literature, bringing together eight essays that underscore the cultural reciprocity that takes place through acts of translation. The centuries-long relationship between Judaism and China is often overlooked in the light of the extensive discourse surrounding European and American Judaism. With this volume, Eber reminds us that we have much to learn from the intersections between Jewish identity and Chinese culture.

This volume of the Biographical Dictionary of Chinese Women completes the four-volume project and contains more than 400 biographies of women active in the Tang through Ming dynasties (618-1644). Many of the entries are the result of original research and provide the only substantial information on women available in English. Of note is the inclusion of a large number of women who reached positions of authority during this period as well as women artists and writers, especially poets, during this period of increased female literacy and more liberal social attitudes to women's cultural roles. Wherever possible, entries incorporate translations of poems and sometimes prose works so as to let the women speak for themselves. The book also includes a multitude of entertainers and actresses. The volume includes a Guide to Chinese Words Used, a Chronology of Dynasties and Major Rulers, a Finding List by Background or Fields of Endeavor, and a Glossary of Chinese Names. It will prove to be a useful tool for research and teaching.

The poetry of the Ming dynasty has been relatively neglected in scholarship of the past century, and the 'Archaist' poets of the middle Ming especially so. This book attempts to redress this neglect by presenting by far the most detailed treatment available in any language of the life, milieu, and work of Ho Ching-ming (1483-1521). While Ho's participation in the Archaist circle of Li Meng-yang in his youth is confirmed, the later development of his ideas is shown to move toward a stance usually thought more representative of the following century. The book also argues that 'May Fourth' accounts of the pre-modern literary tradition are seriously flawed and require replacement.

"A vertitable feast of concise, useful, reliable, and up-to-dateinformation (all prepared by top scholars in the field), Nienhauser's now two-volumetitle stands alone as THE standard reference work for the study of traditionalChinese literature. Nothing like it has ever been published." --Choice The second volume to The Indiana Companion to TraditionalChinese Literature is both a supplement and an update to the original volume. VolumeII includes over 60 new entries on famous writers, works, and genres of traditionalChinese literature, followed by an extensive bibliographic update (1985-1997) ofeditions, translations, and studies (primarily in English, Chinese, Japanese, French, and German) for the 500+ entries of Volume I.