From the mid-sixteenth through the end of the seventeenth century, Chinese intellectuals attended more to dreams and dreaming—and in a wider array of genres—than in any other period of Chinese history. Taking the approach of cultural history, this ambitious yet accessible work aims both to describe the most salient aspects of this “dream arc” and to explain its trajectory in time through the writings, arts, and practices of well-known thinkers, religionists, litterateurs, memoirists, painters, doctors, and political figures of late Ming and early Qing times. The volume’s encompassing thesis asserts that certain associations of dreaming, grounded in the neurophysiology of the human brain at sleep—such as subjectivity, irrationality, the unbidden, lack of control, emotionality, spontaneity, the imaginal, and memory—when especially heightened by historical and cultural developments, are likely to pique interest in dreaming and generate florescences of dream-expression among intellectuals. The work thus makes a contribution to the history of how people have understood human consciousness in various times and cultures. The Dreaming Mind and the End of the Ming World is the most substantial work in any language on the historicity of Chinese dream culture. Within Chinese studies, it will appeal to those with backgrounds in literature, religion, philosophy, political history, and the visual arts. It will also be welcomed by readers interested in comparative dream cultures, the history of consciousness, and neurohistory.

The Ming World draws together scholars from all over the world to bring China’s Ming Dynasty (1368-1662) to life, exploring recent scholarly trends and academic debates that highlight the dynamism of the Ming and its key place in the early modern world. The book is designed to replicate the structure of popular Ming-era unofficial histories that gathered information and gossip from a wide variety of fields and disciplines. Engaging with a broad array of primary and secondary sources, the authors build upon earlier scholarship while extending the field to embrace new theories, methodologies, and interpretive frameworks. It is divided into five thematically linked sections: Institutions, Ideas, Identities, Individuals, and Interactions. Unique in its breadth and scope, The Ming World is essential reading for scholars and postgraduates of early modern China, the history of East Asia and anyone interested in gaining a broader picture of the colorful Ming world and its inhabitants.

Why would an inkstone have a poem inscribed on it? Early modern Chinese writers did not limit themselves to working with brushes and ink, and their texts were not confined to woodblock-printed books or the boundaries of the paper page. Poets carved lines of verse onto cups, ladles, animal horns, seashells, walking sticks, boxes, fans, daggers, teapots, and musical instruments. Calligraphers left messages on the implements ordinarily used for writing on paper. These inscriptions—terse compositions in verse or epigrammatic prose—relate in complex ways to the objects on which they are written. Thomas Kelly develops a new account of the relationship between Chinese literature and material culture by examining inscribed objects from the late Ming and early to mid-Qing dynasties. He considers how the literary qualities of inscriptions interact with the visual and physical properties of the things that bear them. Kelly argues that inscribing an object became a means for authors to grapple with the materiality and technologies of writing. Facing profound social upheavals, from volatility in the marketplace to the violence of dynastic transition, writers turned to inscriptions to reflect on their investments in and dependence on the permanence of the written word. Shedding new light on cultures of writing in early modern China, The Inscription of Things broadens understandings of the links between the literary and the material.

This book addresses the distinct representations of emotions in non-fictional texts from the seventeenth to the mid-nineteenth century (1600-1850). Focusing on memoirs, autobiographies, correspondences and conduct manuals, it argues that in those writings, passions and emotions are differently expressed than in fiction. It also offers a comparative study of texts from cultures as diverse as English, French, Korean and Chinese, and of emotions in relation to genre, identity, and morality during significant cultural transformation of the early modern period. This book is distinctive in its choice of non-fictional genres, its period, and its cross-cultural approach. It can benefit scholars interested in exploring emotion as a historical and cultural product, and in enriching their knowledge of an emerging scholarly direction: studies in self-narratives (autobiography, memoirs, dream narratives, letters, etc.) often insufficiently explored in earlier historical periods.

This book considers the contemporary political formula of the “Chinese Dream” in the light of the treatment of dreams in Chinese literary history since antiquity. Sinic literary and philosophical texts document an extensive spectrum of dream possibilities: starting with Zhuangzi’s eminent butterfly dream, an early example of the inversion of the dreamer’s reality, through to confusing visions of the spiritual realm. In classical dramas, novels, and ghost stories, dreams see the earthly realm enter into conflict with higher realms of existence. They indulge the dreamer’s quest for sensual pleasures, but then spiritual beings relentlessly harvest the dreamers’ life energy. Dreams promise spiritual enlightenment – only to abandon the dreamer in a state of utter confusion. In the early twentieth century, traditional dream knowledge is abandoned in favour or Freudian episodes of sexual repression. In this context, the collective national dream emerges as an unexpected vehicle of the pained individual’s hope for national rejuvenation.

What is a detail? How is it different from xijie, its Chinese counterpart? Is "reading for the details" fundamentally different from "reading for the plot"? Did xijie xiaoshuo, the Chinese novel of details, give the world its earliest form of modern fiction? Inspired by studies of vision and modernity as well as cinema, this book gazes out on the larger world through the small aperture of the detail, highlighting how concrete literary minutiae become "telling" as they reveal the dynamics of seeing and hearing, the vibrations of the mind, the complexity of the everyday, and the imperative to recognize the minute, the humble, and the hidden. In a strain of masterpieces of xijie xiaoshuo, such details play a key role in pivoting the novel from didacticism towards a capacious modern form. Examining the Chinese detail as both a common idiom and a unique concept, and extrapolating it from individual works to the culture at large, reveals under-explored areas of the Chinese novel: its psychological depths, its connections with other genres and forms, its partaking in Chinese material life and capitalist modernity, as well as repressions and difficulties surrounding its reception in national and international contexts. With carefully chosen case studies, Xiao’s book not only exemplifies the value of deep reading in approaching complex works of Chinese fiction as world literature, it also throws light on the aesthetics and politics of "the unseen," which has become central to a humanist tradition that flows across literature, cinema, and other art forms.

Dreaming is a near-universal human experience, but there is no consensus on why we dream or what dreams should be taken to mean. In this book, Robert Ford Campany investigates what people in late classical and early medieval China thought of dreams. He maps a common dreamscape—an array of ideas about what dreams are and what responses they should provoke—that underlies texts of diverse persuasions and genres over several centuries. These writings include manuals of dream interpretation, scriptural instructions, essays, treatises, poems, recovered manuscripts, histories, and anecdotes of successful dream-based predictions. In these many sources, we find culturally distinctive answers to questions peoples the world over have asked for millennia: What happens when we dream? Do dreams foretell future events? If so, how might their imagistic code be unlocked to yield predictions? Could dreams enable direct communication between the living and the dead, or between humans and nonhuman animals? The Chinese Dreamscape, 300 BCE – 800 CE sheds light on how people in a distant age negotiated these mysteries and brings Chinese notions of dreaming into conversation with studies of dreams in other cultures, ancient and contemporary. Taking stock of how Chinese people wrestled with—and celebrated—the strangeness of dreams, Campany asks us to reflect on how we might reconsider our own notions of dreaming.