Baudelaire's work entered China in the twentieth century amidst political and social upheavals accompanied by a "literary revolution" that called for classical models and modes of expression to be replaced by vernacular language and contemporary content. Chinese writers welcomed their meeting with the West and openly embraced Western literature as providing models in developing their "new" literature. Baudelaire's reception in China provides a representative study of this "meeting of East and west." His work, which has been declared to stand between tradition and modernity, also lies at the intersection between classical and modern literature in China. Many of the best known and most highly regarded writers in twentieth-century China were drawn to Baudelaire's work, and some addressed it directly in their own writings. Bien draws upon H.R. Jauss's theory of the shifting and expanding horizons of expectation in the reading and interpretation of a literary work, and upon James J.Y. Lin's notion of "worlds" received and created by both author and reader, to show how poetic lines, images, and ideas, as well as Chinese critics' comments, eventually weave into a rich picture of Baudelaire's reception in China.

In the midst of China's wild rush to modernize, a surprising note of reality arises: Shanghai, it seems, was once modern indeed, a pulsing center of commerce and art in the heart of the twentieth century. This book immerses us in the golden age of Shanghai urban culture, a modernity at once intrinsically Chinese and profoundly anomalous, blending new and indigenous ideas with those flooding into this "treaty port" from the Western world. A preeminent specialist in Chinese studies, Leo Ou-fan Lee gives us a rare wide-angle view of Shanghai culture in the making. He shows us the architecture and urban spaces in which the new commercial culture flourished, then guides us through the publishing and filmmaking industries that nurtured a whole generation of artists and established a bold new style in urban life known as modeng. In the work of six writers of the time, particularly Shi Zhecun, Mu Shiying, and Eileen Chang, Lee discloses the reflection of Shanghai's urban landscape--foreign and familiar, oppressive and seductive, traditional and innovative. This work acquires a broader historical and cosmopolitan context with a look at the cultural links between Shanghai and Hong Kong, a virtual genealogy of Chinese modernity from the 1930s to the present day.

This book introduces the theory of Medio-translatology. Proposed by Professor Tianzhen Xie, Medio-translatology combines comparative literature with translation studies. It has been influential in Chinese Translation Studies since its emergence in the 1990s and has since generated a myriad of heated discussions and productive applications of the theory in the analysis of translation both as an activity and a product. With ten chapters authored by leading scholars in this area, this book explicates the development and the main theoretical tenets of Medio-translatology in the first part and demonstrates the application of the theory with a number of case analysis of translations by different translators in the second part. As the first and only edited book on Medio-translatology written in English, this volume will also provide a useful window on contemporary translation studies in China.

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.

International scholars and sinologists discuss culture, economic growth, social change, political processes, and foreign influences in China since the earliest pre-dynastic period.

This book is the only comprehensive book on modern China's intellectual history.

Why is our world still understood through binary oppositions—East and West, local and global, common and strange—that ought to have crumbled with the Berlin Wall? What might literary responses to the events that ushered in our era of globalization tell us about the rhetorical and historical underpinnings of these dichotomies? In A Common Strangeness, Jacob Edmond exemplifies a new, multilingual and multilateral approach to literary and cultural studies. He begins with the entrance of China into multinational capitalism and the appearance of the Parisian flâneur in the writings of a Chinese poet exiled in Auckland, New Zealand. Moving among poetic examples in Russian, Chinese, and English, he then traces a series of encounters shaped by economic and geopolitical events from the Cultural Revolution, perestroika, and the June 4 massacre to the collapse of the Soviet Union, September 11, and the invasion of Iraq. In these encounters, Edmond tracks a shared concern with strangeness through which poets contested old binary oppositions as they reemerged in new, post-Cold War forms.