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The Construction of the Feminine Voice in Early Medieval Chinese Literature
This book studies the formation of the male-constructed conventional voice of women in Chinese literature from the 3rd to 6th century.
It highlights specific moments during which the feminine voice became recognized, accepted, and stabilized, including the shift of focus from the performative to the textual in female representations; the formation of a male literary community; the popularity of romanticized historical narratives; and the emerging sense of literary history.
This study emphasizes the historicity of the feminine voice and strives to question and challenge established notions about textual stability, authorship, the literary canon, and literary history.
It highlights specific moments during which the feminine voice became recognized, accepted, and stabilized, including the shift of focus from the performative to the textual in female representations; the formation of a male literary community; the popularity of romanticized historical narratives; and the emerging sense of literary history.
This study emphasizes the historicity of the feminine voice and strives to question and challenge established notions about textual stability, authorship, the literary canon, and literary history.
The Construction of the Feminine Voice in Early Medieval Chinese Literature
This book studies the formation of the male-constructed conventional voice of women in Chinese literature from the 3rd to 6th century.
It highlights specific moments during which the feminine voice became recognized, accepted, and stabilized, including the shift of focus from the performative to the textual in female representations; the formation of a male literary community; the popularity of romanticized historical narratives; and the emerging sense of literary history.
This study emphasizes the historicity of the feminine voice and strives to question and challenge established notions about textual stability, authorship, the literary canon, and literary history.
It highlights specific moments during which the feminine voice became recognized, accepted, and stabilized, including the shift of focus from the performative to the textual in female representations; the formation of a male literary community; the popularity of romanticized historical narratives; and the emerging sense of literary history.
This study emphasizes the historicity of the feminine voice and strives to question and challenge established notions about textual stability, authorship, the literary canon, and literary history.
The Song Dynasty Making of China’s Greatest Poet
Irreducible to conventional labels usually applied to him, the Tang poet Du Fu (712–770) both defined and was defined by the literary, intellectual, and socio-political cultures of the Song dynasty (960–1279).
Jue Chen not only argues in his work that Du Fu was constructed according to particular literary and intellectual agendas of Song literati but also that conventional labels applied to Du Fu do not accurately represent this construction campaign. He also discusses how Du Fu’s image as the greatest poet sheds unique light on issues that can deepen our understanding of the subtleties in the poetic culture of Song China.
Jue Chen not only argues in his work that Du Fu was constructed according to particular literary and intellectual agendas of Song literati but also that conventional labels applied to Du Fu do not accurately represent this construction campaign. He also discusses how Du Fu’s image as the greatest poet sheds unique light on issues that can deepen our understanding of the subtleties in the poetic culture of Song China.
The Song Dynasty Making of China’s Greatest Poet
Irreducible to conventional labels usually applied to him, the Tang poet Du Fu (712–770) both defined and was defined by the literary, intellectual, and socio-political cultures of the Song dynasty (960–1279).
Jue Chen not only argues in his work that Du Fu was constructed according to particular literary and intellectual agendas of Song literati but also that conventional labels applied to Du Fu do not accurately represent this construction campaign. He also discusses how Du Fu’s image as the greatest poet sheds unique light on issues that can deepen our understanding of the subtleties in the poetic culture of Song China.
Jue Chen not only argues in his work that Du Fu was constructed according to particular literary and intellectual agendas of Song literati but also that conventional labels applied to Du Fu do not accurately represent this construction campaign. He also discusses how Du Fu’s image as the greatest poet sheds unique light on issues that can deepen our understanding of the subtleties in the poetic culture of Song China.
Science and Society in the Sanskrit World contains seventeen essays that cover a kaleidoscopic array of classical Sanskrit scientific disciplines, such as the astral sciences, grammar, jurisprudence, theology, and hermeneutics. The volume foregrounds a unifying theme to Christopher Z. Minkowski’s intellectual oeuvre: that scholars’ scientific endeavors are inseparable from the social worlds that shaped those scholars’ lives.
Contributors are: Anne Blackburn, Johannes Bronkhorst, Jonathan Duquette, Robert Goldman, Setsuro Ikeyama, Stephanie Jamison, Takanori Kusuba, John Lowe, Clemency Montelle, Valters Negribs, Rosalind O'Hanlon, Patrick Olivelle, Deven Patel, Kim Plofker, Frederick Smith, Barbora Sojkova, Thomas Trautmann, Elizabeth Tucker, Anand Venkatkrishnan, and Dominik Wujastyk.
Contributors are: Anne Blackburn, Johannes Bronkhorst, Jonathan Duquette, Robert Goldman, Setsuro Ikeyama, Stephanie Jamison, Takanori Kusuba, John Lowe, Clemency Montelle, Valters Negribs, Rosalind O'Hanlon, Patrick Olivelle, Deven Patel, Kim Plofker, Frederick Smith, Barbora Sojkova, Thomas Trautmann, Elizabeth Tucker, Anand Venkatkrishnan, and Dominik Wujastyk.
Science and Society in the Sanskrit World contains seventeen essays that cover a kaleidoscopic array of classical Sanskrit scientific disciplines, such as the astral sciences, grammar, jurisprudence, theology, and hermeneutics. The volume foregrounds a unifying theme to Christopher Z. Minkowski’s intellectual oeuvre: that scholars’ scientific endeavors are inseparable from the social worlds that shaped those scholars’ lives.
Contributors are: Anne Blackburn, Johannes Bronkhorst, Jonathan Duquette, Robert Goldman, Setsuro Ikeyama, Stephanie Jamison, Takanori Kusuba, John Lowe, Clemency Montelle, Valters Negribs, Rosalind O'Hanlon, Patrick Olivelle, Deven Patel, Kim Plofker, Frederick Smith, Barbora Sojkova, Thomas Trautmann, Elizabeth Tucker, Anand Venkatkrishnan, and Dominik Wujastyk.
Contributors are: Anne Blackburn, Johannes Bronkhorst, Jonathan Duquette, Robert Goldman, Setsuro Ikeyama, Stephanie Jamison, Takanori Kusuba, John Lowe, Clemency Montelle, Valters Negribs, Rosalind O'Hanlon, Patrick Olivelle, Deven Patel, Kim Plofker, Frederick Smith, Barbora Sojkova, Thomas Trautmann, Elizabeth Tucker, Anand Venkatkrishnan, and Dominik Wujastyk.
How has modern Chinese literature emerged from the collision of domestic social upheaval, foreign inspiration and sparks of creative genius during the past century? Sihe Chen explores this question from a global perspective, analysing how Chinese authors assimilated Western literary movements to create new forms of expression adapted to a society in rapid transformation. The author then examines these global influences in the works of selected contemporary Chinese novelists and poets. He shows that the problems these writers confront are common to all peoples and that Chinese literature expresses not only the story of China, but also that of humanity.
How has modern Chinese literature emerged from the collision of domestic social upheaval, foreign inspiration and sparks of creative genius during the past century? Sihe Chen explores this question from a global perspective, analysing how Chinese authors assimilated Western literary movements to create new forms of expression adapted to a society in rapid transformation. The author then examines these global influences in the works of selected contemporary Chinese novelists and poets. He shows that the problems these writers confront are common to all peoples and that Chinese literature expresses not only the story of China, but also that of humanity.
Editor / Translator:
Contributor:
Javanese, a major language of Southeast Asia, possesses a little-known literature, occurring in various phases, Old, Middle and Modern. This publication presents a remarkable example, from the poetical literature of Middle Javanese, in an edited text with English translation and an extensive commentary. The aim is to acquaint a wider audience with this literature, in the hope of drawing attention to its fascinating qualities. Set principally in the Singhasari area of East Java, the narrative follows the journey of the lovers, Pañji Margasmara and Ken Candrasari, offering a glimpse of the beauty of the Javanese landscape in the 15th century. The cultural, historical and archaeological details preserved in the text help to shed light on the closing years of Majapahit, a largely unexplored period in Javanese history, before the age of Islam.
A Middle Javanese Romance
Javanese, a major language of Southeast Asia, possesses a little-known literature, occurring in various phases, Old, Middle and Modern. This publication presents a remarkable example, from the poetical literature of Middle Javanese, in an edited text with English translation and an extensive commentary. The aim is to acquaint a wider audience with this literature, in the hope of drawing attention to its fascinating qualities. Set principally in the Singhasari area of East Java, the narrative follows the journey of the lovers, Pañji Margasmara and Ken Candrasari, offering a glimpse of the beauty of the Javanese landscape in the 15th century. The cultural, historical and archaeological details preserved in the text help to shed light on the closing years of Majapahit, a largely unexplored period in Javanese history, before the age of Islam.
Premodern Chinese Texts in Western Translation
This collected volume focuses on the history of Western translation of premodern Chinese texts from the seventeenth to the twentieth century. Divided into three parts, nine chapters feature close readings of translated texts, micro-studies of how three translations came into being, and broad-based surveys that inquire into the causes of historical change. Among the specific questions addressed are: What stylistic, generic, and discursive permutations were undergone by Chinese texts as they crossed linguistic borders? Who were the main agents in this centuries-long effort to transmit Chinese culture to the West? How did readership considerations affect the form that particular translations take? More generally, the contributors are concerned with the relevance of current research paradigms, like those of World Literature, transcultural reception, and the rewriting of translation history.
Premodern Chinese Texts in Western Translation
This collected volume focuses on the history of Western translation of premodern Chinese texts from the seventeenth to the twentieth century. Divided into three parts, nine chapters feature close readings of translated texts, micro-studies of how three translations came into being, and broad-based surveys that inquire into the causes of historical change. Among the specific questions addressed are: What stylistic, generic, and discursive permutations were undergone by Chinese texts as they crossed linguistic borders? Who were the main agents in this centuries-long effort to transmit Chinese culture to the West? How did readership considerations affect the form that particular translations take? More generally, the contributors are concerned with the relevance of current research paradigms, like those of World Literature, transcultural reception, and the rewriting of translation history.
Abstract
This article investigates European collecting of Malay manuscripts during the colonial era to address two inter-related questions: was this collecting instrumental in destroying the Malay manuscript tradition, and are colonial collections accurate representations of Malay manuscript culture? It makes the case that while European intervention was certainly destructive, in fact the majority of Malay-language literary texts survive only in colonial-era collections. It also considers whether colonial collections, precisely because they are high in Malay literary texts and low in Arabic religious texts (known as kitab), are unrepresentative of Malay manuscript culture in the nineteenth century and earlier. Taking Marsden’s seminal collection of Malay manuscripts as its case study, the article provides a fuller account of how this collection was assembled, and traces the individuals known to have acquired manuscripts for Marsden. Newly documented manuscript collections that remain in situ in Indonesia and in Malaysian institutions are discussed as a counterpoint.
Abstract
Following the Opium Wars, traditional notions of China as encompassing “all under heaven” (tianxia
Abstract
The concepts “Great Unification” (Dayitong