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This book examines the unique poetics of Shao Xunmei 邵洵美 (1906-1968), a Chinese poet who has long been marginalized by contemporary criticism. Shao aspires to reach the condition of music in poetry, which bears a resemblance to three Anglophone writers whom he applauds: Algernon Charles Swinburne, Edith Sitwell, and George Augustus Moore. The Condition of Music and Anglophone Influences in the Poetry of Shao Xunmei investigates how these three writers influenced Shao, and how this inspiration helped shape his idea of the condition of music in poetry. In the scope of world literature, this book aims to fill a small but important puzzle piece in the global network of literary influence. In a world where cultural exchanges have become increasingly frequent and convenient, and at a time when counter-globalization seems to burgeon into a hazardous trend, it is beneficial to look back to the 1920s-1930s, a time that is as equally tumultuous as today, to examine the global influence network that has taken us where we are, and to understand that in the dynamic of literary influence, no single piece of literature can have its significance alone. This groundbreaking book will benefit the scholarship of Shao and contribute to the relevant research in Chinese studies and word and music studies. Therefore, it will be of great use and interest to researchers of comparative literature, Chinese literature, and world literature, as well as scholars of word and music studies.
This book examines the unique poetics of Shao Xunmei 邵洵美 (1906-1968), a Chinese poet who has long been marginalized by contemporary criticism. Shao aspires to reach the condition of music in poetry, which bears a resemblance to three Anglophone writers whom he applauds: Algernon Charles Swinburne, Edith Sitwell, and George Augustus Moore. The Condition of Music and Anglophone Influences in the Poetry of Shao Xunmei investigates how these three writers influenced Shao, and how this inspiration helped shape his idea of the condition of music in poetry. In the scope of world literature, this book aims to fill a small but important puzzle piece in the global network of literary influence. In a world where cultural exchanges have become increasingly frequent and convenient, and at a time when counter-globalization seems to burgeon into a hazardous trend, it is beneficial to look back to the 1920s-1930s, a time that is as equally tumultuous as today, to examine the global influence network that has taken us where we are, and to understand that in the dynamic of literary influence, no single piece of literature can have its significance alone. This groundbreaking book will benefit the scholarship of Shao and contribute to the relevant research in Chinese studies and word and music studies. Therefore, it will be of great use and interest to researchers of comparative literature, Chinese literature, and world literature, as well as scholars of word and music studies.
Shao Xunmei, poet, essayist, publisher, and printer, played a significant role in the publication and dissemination of journals and pictorial magazines in Shanghai during the 1920s and 1930s. His poetry has been translated by several prominent scholars through the years, but remarkably few of his essays have received the same attention, and this is the first collection of his prose writings to be published in English. Shao has been described by a phalanx of scholars as the most seriously underestimated modern cultural Chinese figure. This collection of his writings joins several recent publications that aim to raise Shao’s literary and historical profile. It will appeal to a broad swathe of readers interested in the transnational and transcultural dimensions of twentieth-century experience that have become so important for contemporary scholarship. The essays in this book, some of which were selected by the writer’s daughter, Shao Xiaohong, include long essays such as “One Man Talking” and “A Year in Shanghai” as well as several shorter essays on subjects as diverse as the caricatures of Miguel Covarrubias, woodblock printing, and pictorial magazines — all of which were published in Shao’s own magazines. Although his essays may be less well known than those of other writers of the same period, without his unique and valuable contribution, the literary, artistic, and poetic worlds of twentieth-century Shanghai would have been very different indeed.
Offering the first systematic overview of modern and contemporary Chinese literature from a translation studies perspective, this handbook provides students, researchers and teachers with a context in which to read and appreciate the effects of linguistic and cultural transfer in Chinese literary works. Translation matters. It always has, of course, but more so when we want to reap the benefits of intercultural communication. In many universities Chinese literature in English translation is taught as if it had been written in English. As a result, students submit what they read to their own cultural expectations; they do not read in translation and do not attend to the protocols of knowing, engagements and contestations that bind literature and society to each other. The Bloomsbury Handbook of Modern Chinese Literature in Translation squarely addresses this pedagogical lack. Organised in a tripartite structure around considerations of textual, social, and large-scale spatial and historical circumstances, its thirty plus essays each deal with a theme of translation studies, as emerged from the translation of one or more Chinese literary works. In doing so, it offers new tools for reading and appreciating modern and contemporary Chinese literature in the global context of its translation, offering in-depth studies about eminent Chinese authors and their literary masterpieces in translation. The first of its kind, this book is essential reading for anyone studying or researching Chinese literature in translation.
A detailed up-to-date survey of the most important woman writer from Greco-Roman antiquity. Examines the nature and context of her poetic achievement, the transmission, loss and rediscovery of her poetry, and the reception of that poetry in cultures far removed from ancient Greece, including Latin America, India, China, and Japan.
New essays by prestigious thinkers such as Edward Said, Bruce Robbins, Jacqueline Rose, and Stefan Collini on the public role of writers and intellectuals.
Historians have long regarded fashion as something peculiarly Western. In this surprising, sumptuously illustrated book, Antonia Finnane challenges this view, which she argues is based on nineteenth- and twentieth-century representations of Chinese dress as traditional and unchanging. Fashions, she shows, were part of Chinese life in the late imperial era, even if a fashion industry was not then apparent. In the early twentieth century the key features of modern fashion became evident, particularly in Shanghai, and rapidly changing dress styles showed the effects. The volatility of Chinese dress throughout the twentieth century matched vicissitudes in national politics. Finnane describes in detail how the close-fitting jacket and high collar of the 1911 Revolutionary period, the skirt and jacket-blouse of the May Fourth era, and the military style popular in the Cultural Revolution gave way finally to the variegated, globalized wardrobe of today. She brilliantly connects China’s modernization and global visibility with changes in dress, offering a vivid portrait of the complex, subtle, and sometimes contradictory ways the people of China have worn their nation on their backs.
This volume speaks to the use of poetry in critical qualitative research and practice focused on social justice. In this collection, poetry is a response, a call to action, agitation, and a frame for future social justice work. The authors engage with poetry’s potential for connectivity, political power, and evocation through methodological, theoretical, performative, and empirical work. The poet-researchers consider questions of how poetry and Poetic Inquiry can be a response to political and social events, be used as a pedagogical tool to critique inequitable social structures, and how Poetic Inquiry speaks to our local identities and politics. The authors answer the question: “What spaces can poetry create for dialogue about critical awareness, social justice, and re-visioning of social, cultural, and political worlds?” This volume adds to the growing body of Poetic Inquiry through the demonstration of poetry as political action, response, and reflective practice. We hope this collection inspires you to write and engage with political poetry to realize the power of poetry as political action, response, and reflective practice.
Combining anatomies of textual examples with broader contextual considerations related with the social, political and economic developments of post-Mao China, Xiaoping Wang intends to explore newly emerging social and cultural trends in contemporary China, and find the truth content of Chinese society and culture in the age of global capitalism. Through in-depth textual analyses covering a variety of media, ranging from fiction, poetry, film to theoretical works as well as cultural phenomena which mirror social and cultural occurrences and reflect the present ideological proclivities of the Chinese society, this study offers timely interpretations of China in the age of globalization, its political inclinations, social fashions and cultural tendencies, and provides thought-provoking messages of China’s socio-economic and political reality.