Drawing on the phenomenon of placelessness, this book offers an alternative approach to reexamine Chinese modernist literature on the whole and Taiwanese modernist poetry in particular.

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.

Modern Chinese literature has been flourishing for over a century, with varying degrees of intensity and energy at different junctures of history and points of locale. An integral part of world literature from the moment it was born, it has been in constant dialogue with its counterparts from the rest of the world. As it has been challenged and enriched by external influences, it has contributed to the wealth of literary culture of the entire world. In terms of themes and styles, modern Chinese literature is rich and varied; from the revolutionary to the pastoral, from romanticism to feminism, from modernism to post-modernism, critical realism, psychological realism, socialist realism, and magical realism. Indeed, it encompasses a full range of ideological and aesthetic concerns. This second edition of Historical Dictionary of Modern Chinese Literature presents a broad perspective on the development and history of literature in modern China. It offers a chronology, introduction, bibliography, and over 400 cross-referenced dictionary entries on authors, literary and historical developments, trends, genres, and concepts that played a central role in the evolution of modern Chinese literature.

This volume of fourteen essays explores Chinese poetic modernism in all its facets, from its origins in the 1920s through 21st century manifestations. Modernisms in the plural reflects the complexity of the ideas and forms which can be associated with this literary-historical term. The volume’s contributors take a variety of focus points, from literary groups such as “9 Leaves” or “Bamboo Hat,” to individuals such as modernist sonneteer Feng Zhi 冯至, or Taiwan experimentalist Xia Yu 夏宇 (Hsia Yü), and Hong Kong modernist Leung Ping-kwan 梁秉钧, to non-biographically oriented chapters concerning modernist language, poetry and visual art, among other issues. Collectively, the volume endeavors to present as complete a picture of modernist practice in Chinese poetry as possible.

Since the nation-state sprang into being in 1965, Singapore literature in English has blossomed energetically, and yet there have been few books focusing on contextualizing and analyzing Singapore literature despite the increasing international attention garnered by Singaporean writers. This volume brings Anglophone Singapore literature to a wider global audience for the first time, embedding it more closely within literary developments worldwide. Drawing upon postcolonial studies, Singapore studies, and critical discussions in transnationalism and globalization, essays unearth and introduce neglected writers, cast new light on established writers, and examine texts in relation to their specific Singaporean local-historical contexts while also engaging with contemporary issues in Singapore society. Singaporean writers are producing work informed by debates and trends in queer studies, feminism, multiculturalism and social justice -- work which urgently calls for scholarly engagement. This groundbreaking collection of essays aims to set new directions for further scholarship in this exciting and various body of writing from a place that, despite being just a small ‘red dot’ on the global map, has much to say to scholars and students worldwide interested in issues of nationalism, diaspora, cosmopolitanism, neoliberalism, immigration, urban space, as well as literary form and content. This book brings Singapore literature and literary criticism into greater global legibility and charts pathways for future developments.

The Routledge Handbook of Modern Chinese Literature presents a comprehensive overview of Chinese literature from the 1910s to the present day. Featuring detailed studies of selected masterpieces, it adopts a thematic-comparative approach. By developing an innovative conceptual framework predicated on a new theory of periodization, it thus situates Chinese literature in the context of world literature, and the forces of globalization. Each section consists of a series of contributions examining the major literary genres, including fiction, poetry, essay drama and film. Offering an exciting account of the century-long process of literary modernization in China, the handbook’s themes include: Modernization of people and writing Realism, rmanticism and mdernist asthetics Chinese literature on the stage and screen Patriotism, war and revolution Feminism, liberalism and socialism Literature of reform, reflection and experimentation Literature of Taiwan, Hong Kong and new media This handbook provides an integration of biographical narrative with textual analysis, maintaining a subtle balance between comprehensive overview and in-depth examination. As such, it is an essential reference guide for all students and scholars of Chinese literature.

As the site of crossings of colonizers, settlers, merchants, and goods, island nations such as Taiwan have seen a rich confluence of cultures, where peoples and languages were either forced to mix or did so voluntarily, due largely to colonial conquest and their crucial role in world economy. Through an examination of socio-cultural phenomena, Comparatizing Taiwan situates Taiwan globally, comparatively, and relationally to bring out the nation’s innate richness. This book examines Taiwan in relation to other islands, cultures, or nations in terms of culture, geography, history, politics, and economy. Comparisons include China, Korea, Canada, Hong Kong, Macau, Ireland, Malaysia, Japan, New Zealand, South Africa, the United States and the Caribbean, and these comparisons present a number of different issues, alongside a range of sometimes divergent implications. By exploring Taiwan’s many relationalities, material as well as symbolic, over a significant historical and geographical span, the contributors move to expand the horizons of Taiwan studies and reveal the valuable insights that can be obtained by viewing nations, societies and cultures in comparison. Through this process, the book offers crucial reflections on how to compare and how to study small nations. This truly interdisciplinary book will be welcomed by students and scholars interested in Taiwan studies, Sinophone studies, comparative cultural studies, postcolonial studies, and literary studies.

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.

Many possibilities for bilateral coordination between Taiwan and Japan exist in the face of China's rapid military development, growing international influence, and increasingly belligerent regional behavior. This volume examines several facets of such potential coordination between Japan and Taiwan, in such areas as Security Policy, Artificial Intelligence, Cybersecurity, Nuclearization, Missile Defense, and others.

This book resolves around the fundamental question, “What is Hong Kong modernism?” To address this issue, C.T. Au identifies three significant characteristics: a renewal of traditions, an obsession with ordinary things, and an expression of concerns about social and political issues, shared among Western modernisms, Chinese modernism in the 1940s, and such Hong Kong modernists as Ma Lang, Liu Yichang, and Leung Ping-kwan (Yasi/Ye Si). This research concentrates on an examination of the major modernist tenets embodied in Leung’s literary works. Leung Ping-kwan is one of the most prominent and widely read Hong Kong modernist writers; however, there exist only a few scholarly works which focus on the direct relationship between Leung’s works and modernisms. The author argues that Leung paid special attention to issues regarding tradition, daily life, and colonial culture in order to understand his past, his identity, and the unique features of Hong Kong modernism, which celebrate multiple perspectives and inclusiveness. This study not only helps differentiate Hong Kong modernism from other modernisms—positioning the former as a variant of the latter—but also provides a response to the problems evoked by Hong Kong’s colonial milieu.