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"Though collections of Chinese fiction, poetry, and drama abound, there have been no English-language anthologies of Chinese essays on the market. Now, veteran sinologist David Pollard has selected and translated the best and most representative examples of Chinese prose writing from the third century to the contemporary period. Succinctly tracing the history of the genre in China in his introduction, Pollard then wittily and informatively introduces each writer chosen. The selections themselves include Ye Shengtao's ruminations of making a boat trip to visit his ancestors' graves, Fan Bao on life in prison, Gui Yougang's reminiscence of his mother, Yuan Mei's essay on borrowing books, and more. These writings not only give us marvelous little sketches of everyday life, lifting the curtain to a past world, they reveal still more about the minds of the writers and how they saw the world they lived in. Though the compositions span the past 1,800 years, the bulk of the selections are from the twentieth century and range from early masters of the form, such as Lu Xun and Zhou Zuoren, to the major writers of the middle generation, such as Ye Chengtao, Zhu Ziqing, Feng Zikai, Liang Shiqiu, and Liang Yuchun, and conclude with living writers who publish in both Taiwan and the mainland. Pollard's aim has been to translate examples that are both good in and of themselves and also contribute something to the essay form. The classical selections represent the native tradition that the modern essayists either imitated or reacted against. Taken together, these writings illuminate Chinese attitudes and reactions to the world they inhabit and provide a vast amount of information about the details of everyday life, social intercourse, and man's reaction to his environment"--Publisher description.
PULITZER PRIZE FINALIST A New York Times Notable Book of 2022 What does it take to reinvent a language? After a meteoric rise, China today is one of the world’s most powerful nations. Just a century ago, it was a crumbling empire with literacy reserved for the elite few, as the world underwent a massive technological transformation that threatened to leave them behind. In Kingdom of Characters, Jing Tsu argues that China’s most daunting challenge was a linguistic one: the century-long fight to make the formidable Chinese language accessible to the modern world of global trade and digital technology. Kingdom of Characters follows the bold innovators who reinvented the Chinese language, among them an exiled reformer who risked a death sentence to advocate for Mandarin as a national language, a Chinese-Muslim poet who laid the groundwork for Chairman Mao's phonetic writing system, and a computer engineer who devised input codes for Chinese characters on the lid of a teacup from the floor of a jail cell. Without their advances, China might never have become the dominating force we know today. With larger-than-life characters and an unexpected perspective on the major events of China’s tumultuous twentieth century, Tsu reveals how language is both a technology to be perfected and a subtle, yet potent, power to be exercised and expanded.
Learning Chinese Language and Culture is an intermediate level textbook, which was intended to be used throughout the entire school year and designed mainly for students who have completed introductory courses of Chinese as a foreign language. Written in English, Traditional and Simplified Chinese, this book illustrates Chinese language knowledge and introduces Chinese culture in twentytwo lessons, covering a variety of cultural content, including customs and manners, holidays and festivals, poems and idioms, calligraphy and couplets, myths and legends, feng shui and superstitions, and historical relics and sceneries and many others. In every lesson, the authors have strived to maintain a clear topic and a coherent structure. They have also endeavored to keep the contents lively and achieve a fluent writing style while closely controlling the structure and grammar of every lesson.
"DeFrancis's book is first rate. It entertains. It teaches. It demystifies. It counteracts popular ignorance as well as sophisticated (cocktail party) ignorance. Who could ask for anything more? There is no other book like it. ... It is one of a kind, a first, and I would not only buy it but I would recommend it to friends and colleagues, many of whom are visiting China now and are adding 'two-week-expert' ignorance to the two kinds that existed before. This is a book for everyone." --Joshua A. Fishman, research professor of social sciences, Yeshiva University, New York "Professor De Francis has produced a work of great effectiveness that should appeal to a wide-ranging audience. It is at once instructive and entertaining. While being delighted by the flair of his novel approach, the reader will also be led to ponder on some of the most fundamental problems concerning the relations between written languages and spoken languages. Specifically, he will be served a variety of information on the languages of East Asia, not as dry pedantic facts, but as appealing tidbits that whet the intellectual appetite. The expert will find much to reflect on in this book, for Professor DeFrancis takes nothing for granted." --William S.Y. Wang, professor of linguistics, University of California at Berkeley
From one of China’s most acclaimed writers: a unique, intimate look at the Chinese experience over the last several decades. Framed by ten phrases common in the Chinese vernacular, China in Ten Words uses personal stories and astute analysis to reveal as never before the world’s most populous yet oft-misunderstood nation. In "Disparity," for example, Yu Hua illustrates the expanding gaps that separate citizens of the country. In "Copycat," he depicts the escalating trend of piracy and imitation as a creative new form of revolutionary action. And in "Bamboozle," he describes the increasingly brazen practices of trickery, fraud, and chicanery that are, he suggests, becoming a way of life at every level of society. Witty, insightful, and courageous, this is a refreshingly candid vision of the "Chinese miracle" and all of its consequences.
This book offers historical, philosophical, and sociocultural perspectives on Chinese language education for speakers of other languages with a special focus on Chinese language education in the United States. It provides a comprehensive, cross-disciplinary look at changes in CFL/CSL education over time in China and the U.S. and the philosophical, political and sociocultural influences that led to these changes. The essays address a wide array of topics related to Chinese language education, including: A historical overview of the field Theories that apply to CFL/CSL learning Policies and initiatives for CFL/CSL by the Chinese and U.S. governments Medium of instruction Curriculum and instruction for CFL/CSL learners at K-12 and college levels Technology for CFL/CSL education Chinese language learning for heritage learners CFL in study abroad contexts CFL teacher education and training This work is essential reading for scholars and students interested in gaining a greater understanding of Chinese language education in the two countries and around the world.
This path-breaking collection of critical essays introduces a diverse range of approaches to open up the field of modern Chinese literature to new cross-regional, local, and global analyses. Each of the ten essays deals with a particular conceptual problem or case study of different locations and modalities of Chinese-language, or Sinophone, production. From language to music, literature to popular culture, minority politics to internal diaspora, theories of sinography to China's quest for the Nobel Prize, this volume brings together leading and new voices in the study of Chinese literature from a variety of comparative and intranational perspectives. Contributors include scholars from Asia, North America, Europe, and Southeast Asia. It is an indispensable reference for anyone interested in contemporary China and the global politics of Sinophone literature. ``This thought-provoking anthology has opened up many fascinating questions. Although its intended readership is scholars from literary studies, anyone who is interested in the interplay between language, ethnicity and identity should not miss it.`` Zhengdao Ye, The Australian National University
First published in 1919 by Ezra Pound, Ernest Fenollosa’s essay on the Chinese written language has become one of the most often quoted statements in the history of American poetics. As edited by Pound, it presents a powerful conception of language that continues to shape our poetic and stylistic preferences: the idea that poems consist primarily of images; the idea that the sentence form with active verb mirrors relations of natural force. But previous editions of the essay represent Pound’s understanding—it is fair to say, his appropriation—of the text. Fenollosa’s manuscripts, in the Beinecke Library of Yale University, allow us to see this essay in a different light, as a document of early, sustained cultural interchange between North America and East Asia. Pound’s editing of the essay obscured two important features, here restored to view: Fenollosa’s encounter with Tendai Buddhism and Buddhist ontology, and his concern with the dimension of sound in Chinese poetry. This book is the definitive critical edition of Fenollosa’s important work. After a substantial Introduction, the text as edited by Pound is presented, together with his notes and plates. At the heart of the edition is the first full publication of the essay as Fenollosa wrote it, accompanied by the many diagrams, characters, and notes Fenollosa (and Pound) scrawled on the verso pages. Pound’s deletions, insertions, and alterations to Fenollosa’s sometimes ornate prose are meticulously captured, enabling readers to follow the quasi-dialogue between Fenollosa and his posthumous editor. Earlier drafts and related talks reveal the developmentof Fenollosa’s ideas about culture, poetry, and translation. Copious multilingual annotation is an important feature of the edition. This masterfully edited book will be an essential resource for scholars and poets and a starting point for a renewed discussion of the multiple sources of American modernist poetry.