"This book explores the issues of nation and modernity in China by focusing on the work of Zhou Zuoren (1885-1967), one of the most controversial of modern Chinese intellectuals and brother of the writer Lu Xun. Zhou was radically at odds with many of his contemporaries and opposed their nation-building and modernization projects. Through his literary and aesthetic practice as an essayist, Zhou espoused a way of constructing the individual and affirming the individual’s importance in opposition to the normative national subject of most May Fourth reformers. Zhou’s work presents an alternative vision of the nation and questions the monolithic claims of modernity by promoting traditional aesthetic categories, the locality rather than the nation, and a literary history that values openness and individualism."

This is a powerful account of how the ruin and resurrection of Zhuangzi in modern China's literary history correspond to the rise and fall of modern Chinese individuality. Liu Jianmei highlights two central philosophical themes of Zhuangzi: the absolute spiritual freedom as presented in the chapter of "Free and Easy Wandering" and the rejection of absolute and fixed views on right and wrong as seen in the chapter of "On the Equality of Things." She argues the twentieth century reinterpretation and appropriation of these two important philosophical themes best testify to the dilemma and inner-struggle of modern Chinese intellectuals. In the cultural environment in which Chinese writers and scholars were working, the pursuit of individual freedom as well as the more tolerant and multifaceted cultural mentality has constantly been downplayed, suppressed, or criticized. By addressing a large number of modern Chinese writers, including Guo Moruo, Hu Shi, Lu Xun, Zhou Zuoren, Lin Yutang, Fei Ming, Liu Xiaofeng, Wang Zengqi, Han Shaogong, Ah Cheng, Yan Lianke, and Gao Xingjian, the author provides an insightful and engaging study of how they have embraced, rejected, and returned to ancient thought and how the spirit of Zhuangzi has illuminated their writing and thinking through the turbulent eras of modern China. This book not only explores modern Chinese writers' complicated relationship with "tradition," but also sheds light on if the freedom of independence, non-participation, and roaming and the more encompassing cultural space inspired by Zhuangzi's spirit were allowed to exist in the modern Chinese literary context. Involving the interplay between philosophy, literature, and history, Liu delineates a neglected literary tradition influenced by Zhuangzi and Daoism and traces its struggles to survive in modern and contemporary Chinese culture.

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 Charles 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 Literature of Leisure and Chinese Modernity 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.

In A Modernity Set to a Pre-Modern Tune, Haosheng Yang provides an in-depth study of the classical-style poems of the most iconoclastic May Fourth Chinese writers (Lu Xun, Yu Dafu, Zhou Zuoren, Guo Moruo, and Nie Gannu) and highlights the five literary masters’ engagement with traditional lyricism as their critical response to the sociopolitical turbulence of twentieth-century China. This study challenges the bias against classical forms as allegedly outdated modes incapable of representing modern reality in current Chinese literary history. Yang’s fascinating book positions modern Chinese literature’s formalistic nonlinearity, representational experiences, and aspiration for a new voice through an old form as factors that are all crucial to exploring more fully the blurred boundary between the traditional and the modern.

What does it mean to be a conservative in Republican China? Challenging the widely held view that Chinese conservatism set out to preserve traditional culture and was mainly a cultural movement, this book proposes a new framework with which to analyze modern Chinese conservatism. It identifies late Qing culturalist nationalism, which incorporates traditional culture into concrete political reforms inspired by modern Western politics, as the origin of conservatism in the Republican era. During the May Fourth period, New Culture activists belittled any attempts to reintegrate traditional culture with modern politics as conservative. What conservatives in Republican China stood for was essentially this late Qing culturalist nationalism that rejected squarely the museumification of traditional culture. Adopting a typological approach in order to distinguish different types of conservatism by differentiating various political implications of traditional culture, this book divides the Chinese conservatism of the Republican era into four typologies: liberal conservatism, antimodern conservatism, philosophical conservatism, and authoritarian conservatism. As such, this book captures – for the first time – how Chinese conservatism was in constant evolution, while also showing how its emblematic figures reacted differently to historical circumstances.

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.

The profound political, economic, and social changes in China in the second half of the twentieth century have produced a wealth of scholarship; less studied however is how cultural events, and theater reforms in particular, contributed to the dynamic landscape of contemporary Chinese society. Rethinking Chinese Socialist Theaters of Reform fills this gap by investigating the theories and practice of socialist theater and their effects on a diverse range of genres, including Western-style spoken drama, Chinese folk opera, dance drama, Shanghai opera, Beijing opera, and rural theater. Focusing on the 1950s and ’60s, when theater art occupied a prominent political and cultural role in Maoist China, this book examines the efforts to remake theater in a socialist image. It explores the unique dynamics between official discourse, local politics, performance practice, and audience reception that emerged under the pressures of highly politicized cultural reform as well as the off-stage, lived impact of rapid policy change on individuals and troupes obscured by the public record. This multidisciplinary collection by leading scholars covers a wide range of perspectives, geographical locations, specific research methods, genres of performance, and individual knowledge and experience. The richly diverse approach leads readers through a nuanced and complex cultural landscape as it contributes significantly to our understanding of a crucial period in the development of modern Chinese theater and performance.

An examination of whether Chinese writers of the Creation Society, a Chinese literary coterie, successfully appropriated shishosetsu, a quintessentially Japanese form of autobiographical narrative, into a form to be exploited for their own ends, especially political ends.

A value system in constant change; a longing for stability amid uncertainties about the future; a new consciousness about the unlimited challenges and aspirations in modern life: these are themes in modern Chinese literature that attract the attention of overseas readers as well as its domestic audience. They also provide Chinese and foreign literary researchers with complex questions about human life and achievements that search beyond national identities for global interaction and exchange. This volume presents ten outstanding essays by Chinese and European scholars who have undertaken such exchange for the purpose of examining the individual and society in modern Chinese literature.

Beyond the Iron House is a critical study of a crucial period of life and work of the modern Chinese writer Lu Xun. Through thorough research into historical materials and archives, the author demonstrates that Lu Xun was recognized in the literary field much later than has hitherto been argued. Neither the appearance of "Kuangren riji" (Diary of a madman) in 1918 nor the publication of Nahan (Outcry) in 1923 had catapulted the author into nationwide prominence; in comparison with his contemporaries, neither was his literary work as original and unique as many have claimed, nor were his thoughts and ideas as popular and influential as many have believed; like many other agents in the literary field, Lu Xun was actively involved in power struggles over what was at stake in the field; Lu Xun was later built into an iconic figure and the blind worship of him hindered a better and more authentic understanding of many other modern writers and intellectuals such as Gao Changhong and Zhou Zuoren, whose complex relationships with Lu Xun are fully explored and analysed in the book.