Although the preface says that the tales in this collection of supernatural stories should not be taken seriously and just aim to dispel boredom, Zibuyu is a work with different reading levels, which allows to uncover several deep trends, taboos and fantasies of late imperial intellectual circles. Disgust, surprise and laughter are constantly evoked, by continually attracting and repulsing the reader. Yuan Mei’s approach guides the reader to an adventure in the dangerous recesses of the self. It is a sort of allegoric fantastic reflection on the relative and polyphonic essence of human beings, the multiplicity of selves from psychological perception, and a challenge to the traditional biographical and historical perspective for the unreliability of destiny. Dreams, madness, delusions and other extreme cognitive and affective conditions, abnormal events, gods and spirits, and the dark world of death lead to a reversal of perspective and destroy the Apollonian vision of the social-centered Confucian orthodoxy. With introduction, translation and comments.

Recipes from the Garden of Contentment: Yuan Mei’s Manual of Gastronomy is the first English edition of the Suiyuan Shidan 随園食单, one of the world’s most famous books about food. It is both a culinary treatise and a cookbook, written in the late eighteenth century by the poet Yuan Mei 袁枚. This translation by Sean J. S. Chen conveys the charm, humor, and erudition of one of China’s greatest writers. The book includes recipes for well-known yet exotic dishes such as bird’s nest and shark’s fin, and offers modern readers a unique perspective on Chinese history and culinary culture.

The Handbook consists of four major sections. Each section is introduced by a main article: Theories of Emotion – General Aspects Perspectives in Communication Theory, Semiotics, and Linguistics Perspectives on Language and Emotion in Cultural Studies Interdisciplinary and Applied Perspectives The first section presents interdisciplinary emotion theories relevant for the field of language and communication research, including the history of emotion research. The second section focuses on the full range of emotion-related aspects in linguistics, semiotics, and communication theories. The next section focuses on cultural studies and language and emotion; emotions in arts and literature, as well as research on emotion in literary studies; and media and emotion. The final section covers different domains, social practices, and applications, such as society, policy, diplomacy, economics and business communication, religion and emotional language, the domain of affective computing in human-machine interaction, and language and emotion research for language education. Overall, this Handbook represents a comprehensive overview in a rich, diverse compendium never before published in this particular domain.

One of the most important and celebrated works of premodern Korean prose fiction, Kŭmo sinhwa (New Tales of the Golden Turtle) is a collection of five tales of the strange artfully written in literary Chinese by Kim Sisŭp (1435–1493). Kim was a major intellectual and poet of the early Chosŏn dynasty (1392–1897), and this book is widely recognized as marking the beginning of classical fiction in Korea. The present volume features an extensive study of Kim and the Kŭmo sinhwa, followed by a copiously annotated, complete English translation of the tales from the oldest extant edition. The translation captures the vivaciousness of the original, while the annotations reveal the work’s complexity, unraveling the deep and diverse intertextual connections between the Kŭmo sinhwa and preceding works of Chinese and Korean literature and philosophy. The Kŭmo sinhwa can thus be read and appreciated as a hybrid work that is both distinctly Korean and Sino-centric East Asian. A translator’s introduction discusses this hybridity in detail, as well as the unusual life and tumultuous times of Kim Sisŭp; the Kŭmo sinhwa’s creation and its translation and transformation in early modern Japan and twentieth-century (especially North) Korea and beyond; and its characteristics as a work of dissent. Tales of the Strange by a Korean Confucian Monk will be welcomed by Korean and East Asian studies scholars and students, yet the body of the work—stories of strange affairs, fantastic realms, seductive ghosts, and majestic but eerie beings from the netherworld—will be enjoyed by academics and non-specialist readers alike.

Between 300 and 600 C.E., Chinese writers compiled thousands of accounts of the strange and the extraordinary. Some described weird spirits, customs, and flora and fauna in distant lands. Some depicted individuals of unusual spiritual or moral achievement. But most told of ordinary people’s encounters with ghosts, demons, or gods; sojourns in the land of the dead; eerily significant dreams; and uncannily accurate premonitions. The selection of such stories presented here provides an alluring introduction to early medieval Chinese storytelling and opens a doorway to the enchanted world of thought, culture, and religious belief of that era. Known as zhiguai, or “accounts of anomalies,” they convey a great deal about how people saw the cosmos and their place in it. The tales were circulated because they were entertaining but also because their compilers meant to document the mysterious workings of spirits, the wonders of exotic places, and the nature of the afterlife. A collection of more than two hundred tales, A Garden of Marvels offers an authoritative yet accessible introduction to zhiguai writings, particularly those never before translated or adequately researched. This volume will likely find its way to bedside tables as well as into classrooms and libraries, just as collections of zhiguai did in early medieval times.

The I Ching has influenced thinkers and artists throughout the history of Chinese philosophy. This new, accessible translation of the entire early text brings to life the hidden meanings and importance of China's oldest classical texts. Complemented throughout by insightful commentaries, the I Ching: A Critical Translation of the Ancient Text simplifies the unique system of hexagrams lying at the centre of the text and introduces the cultural significance of key themes including yin and yang, gender and ethics. As well as depicting all possible ethical situations, this new translation shows how the hexagram figures can represent social relationships and how the order of lines can be seen as a natural metaphor for higher or lower social rank. Introduced by Hon Tze-Ki, an esteemed scholar of the text, this up-to-date translation uncovers and explains both the philosophical and political interpretations of the text. For a better understanding of the philosophical and cosmological underpinning the history of Chinese philosophy, the I Ching is an invaluable starting point.

By comparison of late nineteenth-century ghost stories between China and Britain, this monograph traces the entangled dynamics between ghost story writing, history-making, and the moulding of a gendered self. Associated with times of anxiety, groups under marginalisation, and tensions with orthodox narratives, ghost stories from two distinguished literary traditions are explored through the writings and lives of four innovative writers of this period, namely Xuan Ding (宣鼎) and Wang Tao (王韬) in China and Vernon Lee and E. Nesbit in Britain. Through this cross-cultural investigation, the book illuminates how a gendered self is constructed in each culture and what cultural baggage and assets are brought into this construction. It also ventures to sketch a common poetics underlying a "literature of the anomaly" that can be both destabilising and constructive, subversive, and coercive. This book will be welcomed by the Gothic studies community, as well as scholars working in the fields of women’s writing, nineteenth-century British literature, and Chinese literature.

The Age of Irreverence tells the story of why ChinaÕs entry into the modern age was not just traumatic, but uproarious. As the Qing dynasty slumped toward extinction, prominent writers compiled jokes into collections they called Òhistories of laughter.Ó In the first years of the Republic, novelists, essayists and illustrators alike used humorous allegories to make veiled critiques of the new government. But, again and again, political and cultural discussion erupted into invective, as critics gleefully jeered and derided rivals in public. Farceurs drew followings in the popular press, promoting a culture of practical joking and buffoonery. Eventually, these various expressions of hilarity proved so offensive to high-brow writers that they launched a concerted campaign to transform the tone of public discourse, hoping to displace the old forms of mirth with a new one they called youmo (humor). Christopher Rea argues that this periodÑfrom the 1890s to the 1930sÑtransformed how Chinese people thought and talked about what is funny. Focusing on five cultural expressions of laughterÑjokes, play, mockery, farce, and humorÑhe reveals the textures of comedy that were a part of everyday life during modern ChinaÕs first Òage of irreverence.Ó This new history of laughter not only offers an unprecedented and up-close look at a neglected facet of Chinese cultural modernity, but also reveals its lasting legacy in the Chinese language of the comic today and its implications for our understanding of humor as a part of human culture.

At the intersection of art and religious history, Susan Naquin’s richly illustrated history presents a fresh method for studying Chinese gods and sacred places as it tells the full story of Mount Tai and the premier female deity of North China.