Speaking about Chinese writing entails thinking about how writing speaks through various media. In the guises of the written character and its imprints, traces, or ruins, writing is more than textuality. The goal of this volume is to consider the relationship of writing to materiality in China’s literary history and to ponder the physical aspects of the production and circulation of writing. To speak of the thing-ness of writing is to understand it as a thing in constant motion, transported from one place or time to another, one genre or medium to another, one person or public to another. Thinking about writing as the material product of a culture shifts the emphasis from the author as the creator and ultimate arbiter of a text’s meaning to the editors, publishers, collectors, and readers through whose hands a text is reshaped, disseminated, and given new meanings. By yoking writing and materiality, the contributors to this volume aim to bypass the tendency to oppose form and content, words and things, documents and artifacts, to rethink key issues in the interpretation of Chinese literary and visual culture.

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 dissertation examines ornamental writing on bronze vessels, ceramic eave tiles, and silk textiles dated from the Spring and Autumn period (ca. 771-476 BCE) to the end of the Eastern Han dynasty (25-220 CE). These inscriptions--cast, inscribed, incised, or woven for display--provide an analytically rich site for providing a theory of writing because part of, if not all, of their identity is defined by an artisan's deliberate occlusion of their readability. I use a two-part method to study these scripts. The first approach attends to the recursive and replicatory design process of artisanal practice through epigraphical studies of extant characters and analyses of technological limitations and developments during the period in which these objects were produced. The second path explores how ornamental writing visually elaborates and conveys information. While the initial step addresses design and material technology, this line of inquiry provokes its audience in asking, "What do we see?" and "What do we read?" when confronted with ornamental script at various stages of its production. Research into excavation sites, workshop practices, and artisanal literacy informs my reconstruction of the conditions under which these inscriptions were seen.

New communication and information technologies provide distinct challenges and possibilities for the Chinese script, which, unlike alphabetic or other phonetic scripts, relies on multiple signifying principles. In recent decades, this multiplicity has generated a rich corpus of reflection and experimentation in literature, film, visual and performance art, and design and architecture, within both China and different parts of the West. Approaching this history from a variety of alternative theoretical perspectives, Beyond Sinology reflects on the Chinese script to pinpoint the multiple connections between languages, scripts, and medial expressions and cultural and national identities. Through a complex study of intercultural representations, exchanges, and tensions, the text focuses on the concrete "scripting" of identity and alterity, advancing a new understanding of the links between identity and medium and a critique of articulations that rely on single, monolithic, and univocal definitions of writing. Chinese writing—with its history of divergent readings in Chinese and non-Chinese contexts, with its current reinvention in the age of new media and globalization—can teach us how to read and construct mediality and cultural identity in interculturally responsible ways and also how to scrutinize, critique, and yet appreciate and enjoy the powerful multi-medial creativity embodied in writing.

The production and retention of written records was a common and important facet of pre-modern rulership and administration. Much of our understanding of governmental practices and expressions of authority come from the contents of such documents, which have been well studied. Less studied, however, are the records themselves as artefacts. This volume is an attempt to redress this balance by taking a more holistic, material approach to a range of written records. Through a series of case studies, this volume explores questions regarding the material characteristics of various records and their use. It demonstrates that the material features of the records, including the size and shape, the hands that wrote them and the material substrate, can shed new light on the functioning of government and the declarations of power these records asserted. The ten contributions of this volume focus on records from a variety of rulers, political systems and administrations. With four case studies from early China and six from medieval Europe, this volume offers transcultural perspectives to demonstrate how different cultures expressed rulership and administration materially through the use of text-bearing artefacts.

NEW YORK TIMES BESTSELLER • “Endlessly inventive . . . [a] hybrid of Alice in Wonderland, The Wizard of Oz, and The Phantom Tollbooth.”—Salon What is Un Lun Dun? It is London through the looking glass, an urban Wonderland of strange delights where all the lost and broken things of London end up . . . and some of its lost and broken people, too–including Brokkenbroll, boss of the broken umbrellas; Obaday Fing, a tailor whose head is an enormous pin-cushion, and an empty milk carton called Curdle. Un Lun Dun is a place where words are alive, a jungle lurks behind the door of an ordinary house, carnivorous giraffes stalk the streets, and a dark cloud dreams of burning the world. It is a city awaiting its hero, whose coming was prophesied long ago, set down for all time in the pages of a talking book. When twelve-year-old Zanna and her friend Deeba find a secret entrance leading out of London and into this strange city, it seems that the ancient prophecy is coming true at last. But then things begin to go shockingly wrong. BONUS: This edition contains an excerpt from China Mieville’s Embassytown. Praise for Un Lun Dun “Miéville fills his enthralling fantasy with enough plot twists and wordplay for an entire trilogy, and that is a good thing. A-.”—Entertainment Weekly “For style and inventiveness, turn to Un Lun Dun, by China Miéville, who throws off more imaginative sparks per chapter than most authors can manufacture in a whole book. Mieville sits at the table with Lewis Carroll, and Deeba cavorts with another young explorer of topsy-turvy worlds.”—The Washington Post Book World “Delicious, twisty, ferocious fun . . . so crammed with inventions, delights, and unexpected turns that you will want to start reading it over again as soon as you’ve reached the end.”—Kelly Link, author of Magic for Beginners “[A] wondrous thrill ride . . . Like the best fantasy authors, [Miéville] fully realizes his imaginary city.” —The A.V. Club “Mieville's compelling heroine and her fantastical journey through the labyrinth of a strange London forms that rare book that feels instantly like a classic and yet is thoroughly modern.”—Holly Black, bestselling author of The Spiderwick Chronicles

Now in paperback This outstanding and original book, presented here with a new preface, examines the history of material culture in early modern China. Craig Clunas analyzes “superfluous things”—the paintings, calligraphy, bronzes, ceramics, carved jade, and other objects owned by the elites of Ming China—and describes contemporary attitudes to them. He informs his discussions with reference to both socio-cultural theory and current debates on eighteenth-century England concerning luxury, conspicuous consumption, and the growth of the consumer society.