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Revised as “Desecrations? Han Dong’s and Yu Jian’s Explicit Poetics.” In van Crevel, Chinese Poetry in Times of Mind, Mayhem and Money.As well as iconic names from some of the biggest bands in the world, we’ve made way for some of the most in-demand session drummers of all time, among them Steve Gadd and the late legends Jeff Porcaro and Hal Blaine.

Nottingham su musicality series#

“ Desecrations? The Poetics of Han Dong and Yu Jian (part Two).” Studies on Asia Series III, 2, 2 (2005): 81-97. Revised as “Desecrations? Han Dong’s and Yu Jian’s Explicit Poetics.” In van Crevel, Chinese Poetry in Times of Mind, Mayhem and Money. “ Desecrations? The Poetics of Han Dong and Yu Jian (part One).” Studies on Asia Series III, 2, 1 (2005): 28-48. Moran, eds., Dictionary of Literary Biography, Volume 387: Chinese Poets Since 1949.

“Han Dong (1961-).” In Christopher Lupke and Thomas E. “Silent Strangers and Strange Silence: The Edge and the Center of The Sing-song Girls of Shanghai.” In Xiao, Telling Details: Chinese Fiction, World Literature. “ Han’s (韓邦慶) Novel 海上花列傳 (The Sing-Song Girls of Shanghai) and Urbanity in Late Qing Shanghai.” CLCWeb: Comparative Literature and Culture 17, 1 (2015). NY: Columbia University Press, 2005, ix-xv. Eileen Chang, revised and edited by Eva Hung. “Foreword.” In Han Bangqing, The Sing-song Girls of Shanghai. Stanford: Stanford University Press, 1997, 89-101. Fin de Siecle Splendor: Repressed Modernities of Late Qing Fiction, 1849-1911. “Breaking the Circle : Modern Narratives in Haishanghua liezhuan (The Sing-Song Girls of Shanghai).” Prism: Theory and Modern Chinese Literature 18, 1 (2021): 89-113. “Ephemeral Households, Marvelous Things: Business, Gender, and Material Culture in Flowers of Shanghai.” Modern China 33 (2007): 377-418. “ The Sing-Song Girls of Shanghai: The Pioneering World of Modern Popular Fiction.” Frontiers of Literary Studies in China 2, 3 (Sept. Cambridge, MA: Harvard University Press, 2017, 133-39.įan, Boqun. “1890, Fall: Lives of Shanghai Flowers, Dialect Fiction and the Genesis of Vernacular Modernity.” In David Der-wei Wang, ed., A New Literary History of Modern China. Honolulu: University of Hawaii Press, 2007. Mediasphere Shanghai: The Aesthetics of Cultural Production. Street Talk and Alley Stories: Tangled Narratives of Shanghai from Lives of Shanghai Flowers (1892) to Midnight (1933). Cambridge: Harvard University, 1979.ĭes Forges, Alexander. Flowers of Shanghai and the Late Qing Courtesan Novel.

A Dialogue between Haizi’s Poetry and the Gospel of Luke: Chinese Homecoming and the Relationship with Jesus Christ. Cambridge, MA: Harvard University Press, 2017, 803-9. “1989, March 26: Anything Chinese about This Suicide?” In David Der-wei Wang, ed., A New Literary History of Modern China. Revised as “Thanatography and the Poetic Voice: Haizi.” In van Crevel, Chinese Poetry in Times of Mind, Mayhem and Money. “Thanatography and the Poetic Voice: Ways of Reading Haizi.” minima sinica 18, 1 (2006): 90-146. Lewiston, NY: The Edwin Mellen Press, 2016. The Poetic Development of the Chinese Poet Haizi (1964-1989): A Case Study of Changing Aesthetic Sensibility in Modern China. “Reconstructing Mysticism as Epistemological Endeavor in Haizi’s Poems.” Frontiers of Literary Studies in China 9, 3 (2015): 395-416. Struggle and Symbiosis: The Canonization of the Poet Haizi and Cultural Discourses in Contemporary China. “Haizi (1964-89).” In Christopher Lupke and Thomas E.