Narrative Devices in the Shiji: Retelling the Past offers the first systematic analysis of narratives in early Chinese historical writings from 400 BCE to 100 CE, with a focus on the Shiji (Records of the Historian), a vast collection of historical accounts completed by Sima Qian (145–86 BCE). For centuries, the dominant approach to the Shiji has been to infer Sima's intentions from his biographical experiences and subsequently project them back into the text. This has caused the import of the work to be overshadowed by Sima's tragedy of castration, and has minimized the question of how narrative as a form affects the text's interpretation. Lei Yang fills the gap by exploring how Sima manipulated the Shiji's narrative structure to represent the past. Drawing on Gérard Genette's narratological theories, the book examines how sequences of events build causality, what is slowed down and sped up to manage information control, and how the text provides multiple perspectives on the same events. Redefining the Shiji's place as a turning point in Chinese textual history, Narrative Devices in the Shiji sheds light on the evolution of early Chinese historiography. As an interdisciplinary dialogue between Chinese texts and the Western theories, it opens the Shiji to new interpretations and provides a novel framework for Chinese historical writings.

This book presents the foundations of classical Chinese aesthetic discourse - roughly from the Bronze Age to the early Middle Ages - with the following animating questions: What is art? Why do we produce it? How do we judge it? The arts that garnered the most theoretical attention during this time period were music, poetry, calligraphy, and painting, and this book considers the reasons why these four were privileged. Whereas modern artists most likely consider themselves musicians or poets or calligraphers or painters or sculptors or architects, the pre-modern authors who produced the literature that established Chinese aesthetics prided themselves on being wenren, “cultured people,” conversant with all forms of art and learning. Other comparisons with Western theories and works of art are presented at due junctures. Key Features Addresses Chinese aesthetic discourse on its own terms Provides comparisons of key concepts and theories with examples from Western sources Includes more coverage of primary sources than any other English-language book on the subject Each chapter opens with a helpful summary, highlighting the chapter’s key themes

Pushing the Boundaries of Historia collects together 20 chapters, whose coverage extends from the prehistory of Greece through early Christianity in the Roman Empire to the reception of classical texts by contemporary playwrights and poets. The essays range beyond Greece and Rome to the ancient realms of Persia and China and explore a vast array of ancient authors – Homer, Herodotus, Thucydides, Euripides, Vergil, Ovid, Livy, and Tacitus. Written by philologists, historians, epigraphers, palaeographers, archaeologists, and art historians, it brings together the best of old and new traditions of classical study, from senior emeritus faculty with established records of scholarly productivity, to the newest generation of classics and archaeology professors. What draws together the disparate strands of academic inquiry found in these pages is a passion for understanding how the lessons of the world of the ancient Greeks, Romans, and their still lamentably understudied neighbors, can offer commentary on the contemporary world.

Topics include: Government Intervention and Economic Growth in East Asia, Agricultural Nationalism in the Age of Globalization, Japan's Dominance and Multi- Racial Coalitions in Malaysia.

A Tale of Two Kingdoms offers a highly readable translation of the earliest surviving novel written in the Chinese language, Wu Yue chunqiu (The Spring and Autumn Annals of the Kingdoms of Wu and Yue). Composed nearly two millennia ago and featuring some of the most famous characters in Chinese literature, this powerful saga of humiliation, violence, and revenge recounts the battles between the states of Wu and Yue during the Spring and Autumn period (770–481 BCE). In her detailed introduction and annotations, translator Olivia Milburn places the work in its historical and cultural context and explains its ongoing significance in the history of fiction writing in East Asia, making the case that this was, in fact, China's first novel. This approachable translation by one of the leading scholars in the field makes this key text available to specialist and nonspecialist readers alike.

A comparative study of the ancient Mediterranean and Han China, seen through the lens of political culture.

“Information” has become a core concept across the disciplines, yet it is still often seen as a unique feature of the Western world that became central only in the digital age. In this book, leading experts turn to China’s textual tradition to show the significance of information for reconceptualizing the work of literary history, from its beginnings to the present moment. Contributors trace the organization of literary information across China’s three millennia of history, examining the forms and practices of information management that have evolved alongside the increasing scale and complexity of textual production. They reimagine literary history as information processing, detailing the many kinds of storage, encoding, sorting, and transmission that constitute and feed back into China’s long and ever-growing cultural tradition. The volume features state-of-the-field essays on all major forms of literary information management, from graphs to internet literature, and from commentaries to literary museums and archives. By shifting focus from individual works and their authors to the informatic schemata of literature, it identifies three scales of information management—the word, the document, and the collection—and surveys the forms that operate at each level, such as the dictionary, the anthology, and the library. Literary Information in China is a groundbreaking work that provides a systematic and innovative reassessment of literary history with implications that extend beyond the particular Chinese context, revealing how informatic practices shape literary tradition.

Lore and Verse is the first English-language book dedicated entirely to studying poems on history (yongshi shi) in premodern China. Focusing on works by poets from the entire range of early medieval China (220–589), Yue Zhang explores how history was disseminated and interpreted through poetry, as well as how and why certain historical figures were commemorated in poetry. In writing poems on history, poets retrospectively crafted their own identities through their celebration of historical figures, and they prospectively fortified a continuous lineage for transmitting their values and reputation to future generations. This continuous tradition of cultural memory informs a poet's reception of historical figures, which in turn shapes that tradition through further intertextual connections. Lore and Verse questions the sweeping generalization of early medieval Chinese poetry as consisting mainly of exuberant images and an ornamental style—an inaccurate characterization repeated by later historians and literary critics—and it provides translations, close readings, and analyses of selected poems on history that will be useful for students, instructors, and general readers interested in premodern Chinese literature and culture.

In this innovative work, Ming Dong Gu examines Chinese literature and traditional Chinese criticism to construct a distinctly Chinese theory of fiction and places it within the context of international fiction theory. He argues that because Chinese fiction, or xiaoshuo, was produced in a tradition very different from that of the West, it has formed a system of fiction theory that cannot be adequately accounted for by Western fiction theory grounded in mimesis and realism. Through an inquiry into the macrocosm of Chinese fiction, the art of formative works, and theoretical data in fiction commentaries and intellectual thought, Gu explores the conceptual and historical conditions of Chinese fiction in relation to European and world fiction. In the process, Gu critiques and challenges some accepted views of Chinese fiction and provides a theoretical basis for fresh approaches to fiction study in general and Chinese fiction in particular. Such masterpieces as the Jin Ping Mei (The Plum in the Golden Vase) and the Hongloumeng (The Story of the Stone) are discussed at length to advance his notion of fiction and fiction theory.