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Sinoglossia places the terms of embodiment, mediality, and translation at the center of analytical inquiry into Chinese and Sinophone cultures. Converging in the rubric of Sinoglossia, the chapters in this volume introduce a theory defined by cultural formations not overdetermined by Sinitic linguistic ties. The concept of Sinoglossia combines a heteroglossic and a heterotopian approach to the critical study of mediated discourses of China and Chineseness. From the history of physical examinations and queer subalternity to the cinematic inscription of Chineseness-as-landscape, and from Sinopop to the translational writings of Eileen Chang and Syaman Rapongan, this book argues for a flexible conceptualization of cultural objects, conditions, and contexts that draws attention to an array of polyphonic, multi-discursive, and multilingual articulations. In this new horizon of understanding, place or topos necessarily constitutes the possibility of friction and source of innovation.

2000年代、地方自治法改正による指定管理者制度の導入を受け、公立文化施設において急速に進められたNew Public Management型改革。昨今、公立文化施設は地域社会において社会的便益を見据えた活用が求められており、運営する自治体はステークホルダーと持続的な関係を構築しながら公共的価値をいかに形成していくかが問われている。本書では、地方議会議事録をもとにアカウンタビリティの実態を分析し、自治体の文化政策の進むべき方向性を考察する。

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 is in the Cambria Sinophone World Series headed by Victor H. Mair (University of Pennsylvania). Studies of Chinese culture and literature often neglect the importance of the various vocabulary terms for the self and identity that are used somewhat differently from their equivalents in Western languages. In particular, from the Warring States period up to today, Chinese poems often rely on the concept of a soul that can be separated from the body and needs to be summoned back by invocations. This study examines the role of the soul (hun) and the soul-summoning ritual in Chinese literature from ancient times up to the twentieth century. With five case studies from different dynasties, spanning ancient Chu and the Han, Tang, Song, and Ming-Qing transition periods, Chinese Poetry as Soul Summoning shows Chinese poets were inspired by the belief in a soul that could be transported away from the body. On one hand, this provided a model for literature, as a therapeutic means of summoning back wayward souls; on the other, it inspired the imaginative range and formal structures of literary works, which followed the soul's journey from the individual person throughout the world and into the heavens. In each period, highlighting the role of soul summoning illuminates new dimensions of literary history that have often been neglected. In the Warring States period, the poem “Summons of the Soul” is the definitive statement of the theme and has much to tell us about early Chinese conceptions of self, world, and communication. In the Han dynasty, the scholar-poets who established many of the norms and canons of Chinese civilization thereafter were themselves highly susceptible to visions of the soul in flight. Major compositions in the Tang and Song dynasty are structured around soul-summoning in a way that is often ignored. Even as late as the seventeenth century, ancient conceptions of the wandering soul, and the use of poetry to lure it back to wholeness, remained fundamental for literary composition in all genres. Ultimately, the book suggests that the religious dimensions of Chinese poetry have not been sufficiently examined. The conception of the separable soul is a distinctive and perennial theme that has considerable explanatory reach in understanding traditional Chinese culture. Chinese Poetry as Soul Summoning will be a valuable addition to students and scholars of Chinese culture, comparative literature, and religious studies.

This book explores the dissemination of ideas and information on the early silk roads between Europe and China, through the first detailed study of the Sinicization of foreign objects in Chinese poetic writing of the third century CE. Third-century literary developments and the prevailing literary works from that era leave us with an impressive amount of information concerning exotic objects, such as plants, animals, and crafts, and record the cultural exchange between distant peoples whose goods, ideas, and technologies entered China. These hitherto-forgotten rhapsodies express the profound interest and excitement of learned men for foreign objects. They bear witness to the cultural exchanges between China and other civilizations and provide a more nuanced insight of early medieval China as an integrated society rather than an isolated one.

'The turn of the third century CE—known as the Jian'an era or Three Kingdoms period—holds double significance for the Chinese cultural tradition. Its writings laid the foundation of classical poetry and literary criticism. Its historical personages and events have also inspired works of poetry, fiction, drama, film, and art throughout Chinese history, including Internet fantasy literature today. There is a vast body of secondary literature on these two subjects individually, but very little on their interface. The image of the Jian'an era, with its feasting, drinking, heroism, and literary panache, as well as intense male friendship, was to return time and again in the romanticized narrative of the Three Kingdoms. How did Jian'an bifurcate into two distinct nostalgias, one of which was the first paradigmatic embodiment of wen (literary graces, cultural patterning), and the other of wu (heroic martial virtue)? How did these largely segregated nostalgias negotiate with one another? And how is the predominantly male world of the Three Kingdoms appropriated by young women in contemporary China? The Halberd at Red Cliff investigates how these associations were closely related in their complex origins and then came to be divergent in their later metamorphoses.'

In The City of Ye in the Chinese Literary Landscape, Joanne Tsao demonstrates how the city of Ye changed from an iconic space that represented Cao Cao's heroic enterprise to a symbol of the fruitlessness of human endeavour, and then finally to a literary landmark, a synecdoche for the vicissitudes of human life caught in the predictable cycles of dynastic rise and decline. Through a close reading of literary works on Ye, she illustrates how the city transformed from a lived to imaginative space to become a symbol in the poetic lexicon. Making use of literary and historical texts on Ye and its material remains through the Song and beyond she shows the potency of place as a generative force in literary production and in historical discourse.

將紅樓夢中「心學」與「理學」的對抗現象，還原為遺民情懷與清代籠絡政策的抗衡，展開關於本書題旨的鉤沉。 這個重詮的過程主要以後設小說、國族寓言及精神分析理論貫穿。從紅樓夢以兩種神話二度開展的現象，勾勒出其後設小說架構，並以「不看正面，應看反面」的寓言閱讀，窺看其對明清易代之巨變下國族命運的省思，再由精神分析理論剖析遺民之「另我」（寶玉）如何在以《大義覺迷錄》為高潮的清廷籠絡政策壓力下，經由重履崇禎殉國至南明覆滅的歷史，以堅其不仕二主之志。最後，《紅樓夢的補天之恨》更經由此一易代的悲劇，探索紅樓夢如何轉化興起於明清之際的本土現代性因滿人入關所遭致的挫敗。 文學研究中的寓言式閱讀在中西文學傳統中都源遠流長，而當代的「國族寓言」式的閱讀，更可謂結合了傳統寓言式閱讀、當代後結構主義理論及後殖民理論，對文學作品中被忽略的國族宰制關係給予了全新的關注。《紅樓夢的補天之恨》的寫作即是從這樣一個視角出發，對遺民情懷應成為一種「具正當性」的紅學研究議題，提供一點淺見。

Honorable Mention for the 2016 Kayden Book Award This first book-length study in Chinese or any Western language of personal letters and letter-writing in premodern China focuses on the earliest period (ca. 3rd-6th cent. CE) with a sizeable body of surviving correspondence. Along with the translation and analysis of many representative letters, Antje Richter explores the material culture of letter writing (writing supports and utensils, envelopes and seals, the transportation of finished letters) and letter-writing conventions (vocabulary, textual patterns, topicality, creativity). She considers the status of letters as a literary genre, ideal qualities of letters, and guides to letter-writing, providing a wealth of examples to illustrate each component of the standard personal letter. References to letter-writing in other cultures enliven the narrative throughout.Letters and Epistolary Culture in Early Medieval China makes the social practice and the existing textual specimens of personal Chinese letter-writing fully visible for the first time, both for the various branches of Chinese studies and for epistolary research in other ancient and modern cultures, and encourages a more confident and consistent use of letters as historical and literary sources.