With joy and grace to accompany the readers to have the translocal tour to visit about thirty-seven works, this monograph applies the academic critical theories of Performance Studies, Film Studies, Psychoanalysis, Postmodernism, and Visual Culture, to interpreting the special selection works. The focus and common theme are on race, body, and class. With the background of COVID-19 since 2019 up to the present, the book offers the readers with the remarkable insight of human beings’ accumulated wisdom and experiences in surviving with the dreadful diseases like the plagues in Shakespeare’s time. After the supreme reading, may the global readers in the world acquire the knowledge and power to live in sustainability with education and entertainment of films, performances, and online streaming Netflix TV dramas.

This sourcebook contains more than 160 documents and writings that reflect the development of Taiwanese literature from the early modern period to the twenty-first century. Selections include seminal essays in literary debates, polemics, and other landmark events; interviews, diaries, and letters by major authors; critical and retrospective essays by influential writers, editors, and scholars; transcripts of historical speeches and conferences; literary-society manifestos and inaugural journal prefaces; and governmental policy pronouncements that have significantly influenced Taiwanese literature. These texts illuminate AsiaÕs experience with modernization, colonialism, and postcolonialism; the character of TaiwanÕs Cold War and postÐCold War cultural production; gender and environmental issues; indigenous movements; and the changes and challenges of the digital revolution. TaiwanÕs complex history with Dutch, Spanish, and Japanese colonization; strategic geopolitical position vis-ˆ-vis China, Japan, and the United States; and status as a hub for the East-bound circulation of technological and popular-culture trends make the nation an excellent case study for a richer understanding of East Asian and modern global relations.

This volume focuses on the theatre history of Asian countries, and discusses the specific context of theatre modernization in Asia. While Asian theatre is one of the primary interests within theatre scholarship in the world today, knowledge of Asian theatre history is very limited and often surprisingly incorrect. Therefore, this volume addresses a major gap in contemporary theatre studies. The volume discusses the conflict between tradition and modernity in theatre, suggesting that the problems of modernity are closely related to the idea of tradition. Although Asian countries preserved the traditional form and values of their respective theatres, they had to also confront the newly introduced values or mechanisms of European modernity. Several papers in this volume therefore provide critical surveys of the history of theatre modernization in Asian countries or regions—Japan, Korea, Taiwan, Hong Kong, India Malaysia, Singapore, and Uyghur. Other papers focus on specific case studies of the history of modernization, discussing contemporary Taiwanese performances, translations of modern French comedy into Chinese, the modernization of Chinese Xiqu, modern Okinawan plays, Malaysian traditional performances, Korean national theatre, and Japanese plays during World War II. Renowned academics and theatre critics have contributed to this volume, making it a valuable resource for researchers and students of theatre studies, literature, and cultural studies.

Chinese Translation Studies in the 21st Century, which presents a selection of some of the best articles published in the journal Perspectives in a five-year period (2012-2017), highlights the vitality of Translation Studies as a profession and as a field of enquiry in China. As the country has gradually opened up to the West, translation academic programmes have burgeoned to cater for the needs of Chinese corporations and political institutions. The book is divided into four sections, in which authors explore theoretical and conceptual issues (such as the connection between translation and adaptation, multimodality, and the nature of norms), audiovisual translation (including studies on news translation and the translation of children’s movies), bibliographies and bibliometrics (to assess, for example, the international visibility of Chinese scholars), and interpreting (analyzing pauses in simultaneous interpreting and sign language among other aspects). The book brings together well-established authors and younger scholars from universities in mainland China, Hong Kong, Macao and Taiwan. The chapters in this book were originally published in various issues of Perspectives: Studies in Translatology.

This is the first systematic study of networks of performance collaboration in the contemporary Chinese-speaking world and of their interactions with the artistic communities of the wider East Asian region. It investigates the aesthetics and politics of collaboration to propose a new transnational model for the analysis of Sinophone theatre cultures and to foreground the mobility and relationality of intercultural performance in East Asia. The research draws on extensive fieldwork, interviews with practitioners, and direct observation of performances, rehearsals, and festivals in Asia and Europe. It offers provocative close readings and discourse analysis of an extensive corpus of hitherto untapped sources, including unreleased video materials and unpublished scripts, production notes, and archival documentation.

The Columbia Companion to Modern Chinese Literature features more than fifty short essays on specific writers and literary trends from the Qing period (1895–1911) to the present. The volume opens with thematic essays on the politics and ethics of writing literary history, the formation of the canon, the relationship between language and form, the role of literary institutions and communities, the effects of censorship, the representation of the Chinese diaspora, the rise and meaning of Sinophone literature, and the role of different media in the development of literature. Subsequent essays focus on authors, their works, and the schools with which they were aligned, featuring key names, titles, and terms in English and in Chinese characters. Woven throughout are pieces on late Qing fiction, popular entertainment fiction, martial arts fiction, experimental theater, post-Mao avant-garde poetry, post–martial law fiction from Taiwan, contemporary genre fiction from China, and recent Internet literature. The volume includes essays on such authors as Liang Qichao, Lu Xun, Shen Congwen, Eileen Chang, Jin Yong, Mo Yan, Wang Anyi, Gao Xingjian, and Yan Lianke. Both a teaching tool and a go-to research companion, this volume is a one-of-a-kind resource for mastering modern literature in the Chinese-speaking world.

Literatures, Cultures, Translation presents a new line of books that engage central issues in translation studies such as history, politics, and gender in and of literary translation. This is a culturally situated study of the interface between three forms of transtextual rewriting: translation, adaptation and imitation. Two questions are raised: first, how a broader rubric can be formulated for the inclusion of the latter two forms within Translation Studies research, and second, how this enlarged definition of translation enables us to understand the incompatibilities between contemporary Western theories of translation and East Asian realities, past and present. Recent decades have seen a surge of scholarly interest in adaptations and imitations, due to the flourishing of cinema and fandom studies, and to the impact of a poststructuralist turn that sheds new light on derivative literature. Against this backdrop, a plethora of examples from the East Asian cultural sphere are analyzed to show how rewriters have freely appropriated, transcreated and recontextualized their source texts. In particular, Sino-Japanese case studies are contrasted with Sino-English ones, with both groups read against evolving traditions of thinking about free forms of translation, East and West.