Global modernisms are marked by tremendous transformations in lifestyle, historical consciousness, cultural values, ethics, wars, and crises. This book emphasizes modernist connections within literature, culture, history, and media beyond the nation state and the bifurcation between East and West. Instead of deconstructing and separating, Composing Modernist Connections in China and Europe composes and forges new combinations, linkages, and translations that place Chinese and European modernisms on an equal footing. This book features contributions on James Joyce, Stefan George, Hugo von Hofmannsthal, Anna Seghers, Qian Zhongshu, Weimar labor modernism, Chinese wartime literature, Chinese movies in divided Germany, and Sinophone modernity among other subjects.

Love, and the different manifestations of it, is a common theme in literature around the world. In Cosmopolitan Love, Sijia Yao examines the writings of D. H. Lawrence, a British writer whose literature focused primarily on interpersonal relationships in domestic settings, and Eileen Chang, a Chinese writer who migrated to the United States and explored Chinese heterosexual love in her writing. While comparing the writings of a Chinese writer and an English one, Yao avoids a direct comparison between East and West that could further enforce binaries. Instead, she uses the comparison to develop an idea of cosmopolitanism that shows how the writers are in conversation with their own culture and with each other. Both D. H. Lawrence and Eileen Chang wrote stories that are influenced by—but sometimes stand in opposition to—their own cultures. They offer alternative understandings of societies dealing with modernism and cultural globalization. Their stories deal with emotional pain caused by the restrictions of local politics and economics and address common themes of incestuous love, sexual love, adulterous love, and utopian love. By analyzing their writing, Yao demonstrates that the concept of love as a social and political force can cross cultural boundaries and traditions to become a basis for human meaning, the key to a cosmopolitan vision.

As a broad category of identity, “transgender” has given life to a vibrant field of academic research since the 1990s. Yet the Western origins of the field have tended to limit its cross-cultural scope. Howard Chiang proposes a new paradigm for doing transgender history in which geopolitics assumes central importance. Defined as the antidote to transphobia, transtopia challenges a minoritarian view of transgender experience and makes room for the variability of transness on a historical continuum. Against the backdrop of the Sinophone Pacific, Chiang argues that the concept of transgender identity must be rethought beyond a purely Western frame. At the same time, he challenges China-centrism in the study of East Asian gender and sexual configurations. Chiang brings Sinophone studies to bear on trans theory to deconstruct the ways in which sexual normativity and Chinese imperialism have been produced through one another. Grounded in an eclectic range of sources—from the archives of sexology to press reports of intersexuality, films about castration, and records of social activism—this book reorients anti-transphobic inquiry at the crossroads of area studies, medical humanities, and queer theory. Timely and provocative, Transtopia in the Sinophone Pacific highlights the urgency of interdisciplinary knowledge in debates over the promise and future of human diversity.

This volume showcases a vibrant wave of scholarship that explores the intersection of queer theory and Sinophone studies, consolidating an interdisciplinary framework for furthering transnational research into non-conforming genders, sexualities and bodies. Engaging with contemporary debates and controversies, Keywords in Queer Sinophone Studies presents a definitive collection of original contributions, which are both theoretically and empirically grounded and cross-disciplinary in nature. Individual chapters offer an in-depth study of new empirical data and case studies, covering keywords such as transpacific, viscerality, fandom, postcoloniality, ethnicity and activism. Imagining new conversations across several fields, including literature, film, communication, ethnic studies, anthropology, history, sociology and politics, this book will appeal to students and scholars of Queer Studies and Asian culture, literature and film, as well as gender and sexuality.

This collection of essays expands the study of that immensely widely read and much-adapted novel, beyond the first book – The Life and Strange Surprising Adventures of Robinson Crusoe (usually known simply as Robinson Crusoe) – to take in the far less well-known Farther Adventures and the almost unread Serious Reflections, beyond Defoe’s texts, to their re-writing and adaptation and beyond the Atlantic and South American context to an Asian and Pacific context. The essays consider both how Asia is represented in the books (in terms of politics, economics, religion), and how the book has been received, adapted, and taught, particularly in Asian contexts.

Authors and the World traces how four core 'modes of authorship' have developed and inflect one another in modern Germany through a series of twenty different case studies, including the work of Thomas Mann, Günter Grass, Anna Seghers, Walter Höllerer, Felicitas Hoppe and Katja Petrowskaja, and original interview material with contemporary writers Ulrike Draesner, Olga Martynova and Ulrike Almut Sandig. 'Modes of authorship' are attitudes taken towards being an author that can be seen both in what an individual author does and in how a particular literary tradition or trend is perceived and mediated by others both within and beyond Pierre Bourdieu's literary field. Consequently, they deliberately straddle questions of literary production and reception. Rebecca Braun sets out how the commemorative, celebratory, utopian and satirical modes interact with one another to produce a number of models of authorship that carry either foundational or otherwise normative force for society. In varying combinations and with deep roots in 19th- and early 20th-century practices, the four modes of authorship create a remarkably (and at times troublingly) stable German literature network that to a large degree still determines the way contemporary German-speaking authors enact their cultural significance in their writing, engage with their local circumstances, and are more broadly received around the world. Authors and the World provides not just a radically new approach to German literary history but a thoroughly new paradigm for thinking about literary authorship.

This book examines Chinese films made and shown abroad roughly between the 1920s and the 2020s, from the beginning of the international exchange of the Chinese national film industry to the emergence of the concept of soft power. The periodisation of Chinese cinema(s) does not necessarily match the political periods: on the one hand, the technical development of the film industry and the organisation of translation in China, and on the other hand, official relations with China and translation policies abroad impose different constraints on the circulation of Chinese films. This volume deals with the distribution and translation of films from mainland China, Taiwan, Hong Kong, and the Chinese diaspora. To this end, the contributors address various issues related to the circulation and distribution of Chinese films, including co- productions, agents of exchange, and modes of translation. The approach is a mixture of socio- cultural and translational methods. The data collected provides, for the first time, a quantitative overview of the circulation of Chinese films in a dozen foreign countries. The book will greatly interest scholars and students of Chinese cinema, translation studies, and China studies.