@article {716271,
	title = {The Penumbra of the Great Tang: Poetry from the Margins of the Empire at the Turn of the Eighth Century},
	journal = {T{\textquoteright}oung Pao},
	volume = {109},
	number = {5-},
	year = {2023},
	pages = {478-526},
	abstract = {
	The turn of the eighth century witnessed, for the first time in Chinese history, a concentration of poems written by exiled courtiers. In an era when mobility was limited by curfews, passes, and vehicular technologies, banishment to faraway places, accomplishedby a decreed use of exclusionary post-station horses, ironically became a sanctioned and expedited means of traversing new territories. Through the poetic texts circulated via the highly developed post-station system, the empire{\textquoteright}s center in the north became more connected to its distant margins than ever before. This article argues that these poems, characterized by centripetalism and constituting a petitionary genre,contributed to a new way of envisioning the empire as a whole and in its totality, and if we define {\textquotedblleft}court{\textquotedblright} as a field of dynamic power relations, then these poems are court poetry, whose definition must be expanded to reflect the catholic nature of the term {\textquotedblleft}court{\textquotedblright} itself.



	公元七、八世紀之交，我們看到中國歷史上首次集中出現的一批由流貶朝臣創作的詩歌。在一個行動受到宵禁、關卡、以及車輛技術限制的時代，借由特別批准使用的驛站馬匹而完成的流貶非常具有諷刺意味地成了見識帝國邊遠之地的至為快捷而且獲得官方首肯的方式。通過高度發達的驛站系統而流佈的詩歌文本，位於北方的帝國中心與其遙遠邊疆之間的聯結也變得前所未有的緊密。本文提出，這種詩歌以向心主義為特征，而且構成了一種請願文體，提供了一種新的想象帝國的方式，也就是說，將帝國視爲一個整體，對之作出全方位的構想。本文還提出，如果我們將「宮廷」定義為一個充滿動態的權力關係場域，那麼這些寫於貶謫期間的詩歌就確乎也是「宮廷詩」，事實上「宮廷詩」的定義必須加以擴展，以反映「宮廷」一詞本身的寬泛性。

},
	author = {Xiaofei Tian}
}
@article {716266,
	title = {從白門到紫陌：地在文化史中的隱顯與浮沉},
	journal = {Journal of Peking University},
	volume = {60},
	number = {3},
	year = {2023},
	pages = {138-148},
	abstract = {
	从南朝到唐代，建康/金陵和{\textquotedblleft}江南{\textquotedblright}在话语层次上经历了一个漫长的建构过程。南朝诗歌通过对{\textquotedblleft}金陵帝王州{\textquotedblright}的想象和对{\textquotedblleft}江南佳丽地{\textquotedblright}的再现，逐渐把建康从偏安王朝的行政总部改变为帝国名都，经过唐代诗人的继承和发展，从而把建康写入文化版图，而{\textquotedblleft}江南{\textquotedblright}的文化意义也逐渐和它的地理意义出现张力，甚至颠覆了它的地理意义。最后，通过对{\textquotedblleft}紫陌{\textquotedblright}作出的词语考古，展示一个在南北朝时期曾真实存在的地点如何从文化版图上消失，从反面说明一个地方的文化历史和地理历史、社会历史的不同，以及它对文本特别是某些文本和某些体裁的依赖。



	This article discusses the discursive construction of Jiankang/Jinling and the Southland (Jiangnan) during the Southern Dynasties (420{\textendash}589) and Tang (618{\textendash}907). The representation of a potent, charismatic southern empire in the Southern Dynasties poetry gradually transformed the city of Jiankang from the political headquarters of a refugee dynasty into a famed metropolis of a potent empire, which, through Tang poets{\textquoteright} further efforts, was inscribed in the cultural map of China. Finally, by performing a linguistic excavation of the term Zimo, this article traces the disappearance of a real place from the cultural map, and demonstrates how the cultural history of a place is essentially different from its geographical and social history, and how certain texts in a certain genre play an important role in the cultural configuration of a place.



	\&nbsp;

},
	author = {田曉菲}
}
@article {716261,
	title = {Poetry and Access to Power in the Court of Empress Wu Zetian (624{\textendash}705)},
	journal = {Nanyang Journal of Chinese Literature and Culture},
	number = {4},
	year = {2023},
	pages = {7-33},
	abstract = {
	This article considers the reign of Empress Wu Zetian (r. 690{\textendash}705) in its special\&nbsp;relation to poetry. It suggests that Empress Wu{\textquoteright}s importance in Chinese literary history can be observed in\&nbsp;two ways: on the one hand, her reign was responsible for a remarkable flowering of court culture, as she\&nbsp;directly and powerfully intervened in the contemporary literary scene, which in more than one way led to\&nbsp;the golden age of Chinese poetry in the eighth century; on the other hand, her rule paradoxically marked\&nbsp;the beginning of the end of court literature as a force to be reckoned with in the larger cultural sphere.\&nbsp;This article argues that the rule of Empress Wu is characterized by access: her access to informationthroughout the empire and the access to her person and to power. When the hope for access was kindled\&nbsp;and then frustrated, it led to the creation of a poetry of discontent and a new cultural community with new\&nbsp;values, with judgment not made by a single figure of authority but by consensus of that community. This\&nbsp;community changed court culture and court literature, and Empress Wu{\textquoteright}s reign played a central role in thisprocess.



	本文探討武則天時代與詩歌的特殊關係，提出武則天在中國文學史上的重要性可以從兩個方面進行觀察：她的統治導致了宮廷文化令人矚目的繁榮，而她直接和主動地參涉並影響當時的文學景貌，以種種不同方式帶來了八世紀也即盛唐時期中國詩歌的黃金時代；但與此同時，武則天時代也標志了宮廷文學衰落的開始，自此之後，宮廷文化，特別是宮廷詩歌，在帝國更廣大的文化場域中不再占據主導地位。本文認爲武后的統治以進接(access)\&nbsp;為其主要特徵：這既包括武后本人對整個帝國各種信息的進接，也包括帝國臣民對權力的進接及其與武后本人的直面接觸。進接希望的點燃和破滅導致了一種新型怨憤詩歌的誕生和一個新文化社區的興起。這個新社區不服從一個單一的權威，卻服膺于社區的共識，從而改變了宮廷文化和宮廷文學。武則天的統治在這一過程中扮演了重要的角色。

},
	author = {Xiaofei Tian}
}
@journal {714646,
	title = {Editor{\textquoteright}s Note: Special Issue of Early Medieval China 2023},
	number = {29},
	year = {2023},
	pages = {1-2},
	url = {https://www.tandfonline.com/doi/epdf/10.1080/15299104.2023.2240125?needAccess=true},
	author = {Xiaofei Tian}
}
@article {695803,
	title = {Restoring {\textquotedblleft}History{\textquotedblright} to Historical Study},
	journal = {Journal of the American Oriental Society},
	volume = {142},
	number = {2},
	year = {2022},
	pages = {705-713},
	abstract = {Reviewing a recent book about early medieval Chinese geographical writings, this\&nbsp;essay asks what sort of historical contextualization is needed for historical study,\&nbsp;and suggests looking at multiple factors, including the material conditions of textual\&nbsp;production, that may be responsible for the proliferation of texts. It cautions\&nbsp;against embracing a single story to account for a long historical period, especially\&nbsp;if that story fits our modern concerns too neatly; even more importantly, we have\&nbsp;to allow the primary sources to take the lead, rather than looking for and presentingonly evidence that serves a particular agenda.},
	author = {Xiaofei Tian}
}
@webarticle {692945,
	title = {The Layered Worlds of a Bilingual Anthology},
	journal = {North American Review },
	number = {May 20, 2022},
	year = {2022},
	abstract = {
	This is a review of\&nbsp;Trees Grow Lively on Snowy Fields: Poems from Contemporary China, a collection of contemporary Chinese poetry, translated by Stephen Haven, Jin Zhong, Li Yongyi, and Wang Shouyi. Dual-Language Edition (Sherman, Illinois: Twelve Winters Press, 2021).\&nbsp;



	\&nbsp;



	\&nbsp;

},
	url = {https://northamericanreview.org/open-space/trees-grow-lively},
	author = {Xiaofei Tian}
}
@article {692942,
	title = {An Imaginary City State against Its Imaginary Big Bad Other  },
	journal = {The Journal of Chinese Studies 中國文化研究所學報 },
	volume = {74},
	year = {2022},
	pages = {191-211},
	abstract = {This is a review article on\&nbsp;The Jiankang Empire in Chinese and World History\&nbsp;by Andrew Chittick (New York: Oxford University Press, 2020. Pp. xi + 411).},
	url = {https://www.cuhk.edu.hk/ics/journal/articles/v74p191.pdf},
	author = {Xiaofei Tian}
}
@article {692940,
	title = {{\textperiodcentered}        Empire{\textquoteright}s Blue Highways: Li Daoyuan{\textquoteright}s Commentary on the River Classic.},
	journal = {Asia Major},
	volume = {35},
	number = {1},
	year = {2022},
	pages = {75-120},
	abstract = {This article examines the Commentary on the River Classic (Shuijing zhu 水經注) by Li Daoyuan 酈道元 (d. 527), an official of the Northern Wei dynasty (386{\textendash}534), and proposes a reconstruction of the textual ecology of Shuijing zhu from two perspectives that seek to shed light on the meaning and significance of this massive work. The first perspective is to contextualize Li{\textquoteright}s work in the commentarial tradition and draw attention both to the constraints faced by the commentator and to the creative potential of a commentary in its relating to the original text. The second is to put Li{\textquoteright}s work in conversation with contemporary southern writings on landscape and highlight the unique mode of space perception and representation that underlies this work. The article argues that Li Daoyuan constructs an infrastructure of rivers based on an imperial vision. Li{\textquoteright}s riverine system may be seen as a powerful emblem of the medieval Sui and Tang polities with their great canals that supplemented the rivers.},
	url = {https://www1.ihp.sinica.edu.tw/storage/publish5L/05_Asia_v35.1,_Tian,_SheridanPDF.pdf},
	author = {Xiaofei Tian}
}
@article {684083,
	title = {遠想--晉宋之際的回顧詩學及其前後},
	journal = {中國文哲研究通訊},
	volume = {31},
	number = {2},
	year = {2021},
	pages = {7-32},
	abstract = {
	公元五世紀前期的作家，普遍地對文學過去產生一種前所未有的強烈意識，並與詩歌傳統發展出一種特別的敷衍之關係，我稱之為回顧詩學（retrospective poetics）。前人在談到晉宋之際文學發展時，宏觀方面的論斷是 {\textquotedblleft}晉與宋，文盛而質衰{\textquotedblright}，從語言之聲律對仗的後視角度來看，指出 {\textquotedblleft}詩至於宋，古之終而律之始也，體制一變，便覺聲色俱開{\textquotedblright}；微觀方面，也即從作者作品的角度來看，目光不離幾位經典作家以及這些作家在傳統上因之著稱的題材或詩體，言陶必田園，言謝即山水，言鮑稱樂府。然而，如果我們對五世紀前期存留下來的所有詩歌作出全面而又細緻的審視，就會注意到這一時期的作家對文學過去作出了普遍的瞻望和鋪陳。所謂 {\textquotedblleft}歌行至宋益衰，惟明遠颇自振拔{\textquotedblright}的說法（胡應麟語），是帶有審美主觀性的價值判斷，當然可以見仁見智；但如果從文學史書寫的角度來說，則並不符合歷史的實際。如果我們以文學史家的眼光來觀察五世紀前期，就不能說這是一個{\textquotedblleft}古風沉滯{\textquotedblright}或{\textquotedblleft}古意寖微{\textquotedblright}的時代，而必須說這是一個古意復興的時代。這自然引發了一系列問題：為何在五世紀前半，人們對漢魏古詩樂府舊題會突然重新發生興趣，發展出這樣一種回顧詩學？如果說是古意復興，那麼這種風氣應該被視為單純的保守的復古，還是超越了玄言詩風的新變？本文即以謝靈運（385{\textendash}433）、謝惠連（407{\textendash}433）、顏延之（384{\textendash}456）和沈約（441{\textendash}513）的樂府為中心，探討五世紀前期的回顧詩學的樣貌表現及其後果前因。

},
	url = {https://www.litphil.sinica.edu.tw/publications/newsletter/31/2},
	author = {Xiaofei Tian}
}
@book {672943,
	title = {Family Instructions for the Yan Clan and Other Works by Yan Zhitui (531{\textendash}590s)},
	year = {2021},
	pages = {628},
	publisher = {De Gruyter},
	organization = {De Gruyter},
	edition = {1st },
	address = {Berlin},
	abstract = {Yan Zhitui (531{\textendash}590s) was a courtier and cultural luminary who lived a colourful life during one of the most chaotic periods, known as the Northern and Southern Dynasties, in Chinese history. Beginning his career in the southern Liang court, he was taken captive to the north after the Liang capital fell, and served several northern dynasties. Today he remains one of the best-known medieval writers for his book-length {\textquotedblleft}family instructions{\textquotedblright} (jiaxun), the earliest surviving and the most influential of its kind. Completed in his last years, the work resembles a long letter addressed to his sons, in which he discusses a wide range of topics from family relations and remarriage to religious faith, philology, cultural arts, and codes of conduct in public and private life. It is filled with vivid details of contemporary social life, and with the author{\textquoteright}s keen observations of the mores of north and south China. This is a new, complete translation into English, with critical notes and introduction, and based on recent scholarship, of Yan Zhitui{\textquoteright}s Family Instructions, and of all of his extant literary works, including his self-annotated poetic autobiography and a never-before-translated fragmentary rhapsody, as well as of his biographies in dynastic histories.},
	url = {https://www.degruyter.com/document/doi/10.1515/9781501503191/html},
	author = {Xiaofei Tian}
}
@article {672942,
	title = {Introduction to a Forum on Migration in Early Medieval China},
	journal = {Journal of Asian Studies},
	volume = {80},
	number = {1},
	year = {2021},
	pages = {95-97},
	author = {Xiaofei Tian and W.Y. Huang}
}
@article {672941,
	title = {Migration, Identity, and Colonial Fantasies in A Fifth-Century Story Collection},
	journal = {Journal of Asian Studies},
	volume = {80},
	number = {1},
	year = {2021},
	pages = {113-127},
	abstract = {
	The fourth-century migration of northern Chinese was a traumatic event. Fleeing non-Han invaders, the migrants crossed the Yangzi River and settled in the south, where they asserted their sovereignty over local peoples. Using the concept of settler colonialism to redefine the northern {\'e}migr{\'e} elite, this article explores the complex issues of class, ethnicity, and gender in their fraught encounters with the local population. The source is a fifth-century collection of {\textquotedblleft}anomaly accounts,{\textquotedblright} An Account of the Hidden and Visible Realms (You ming lu). Compiled by Liu Yiqing (403{\textendash}444), an imperial prince representing the northern {\'e}migr{\'e} elite, this story collection is a record of incidents that took place on the borders of the knowable world and the indigenous spirit realm, embodying the tensions and conflicts in the violent process of migration and colonization.



	\&nbsp;



	\&nbsp;

},
	author = {Xiaofei Tian}
}
@article {684084,
	title = {从经国大业到吃时下饭：文选，文话，文运},
	journal = {清華大學學報},
	volume = {35},
	number = {6},
	year = {2020},
	abstract = {
	本文检视中古时期文学选本编纂历史中的三个重要时刻，分别以南朝时期特别是公元6世纪的《文选》和《玉台新咏》、唐代特别是公元8世纪的唐人选唐诗、以及12至13世纪的文章选本和一部兼{\textquotedblleft}文话{\textquotedblright}与{\textquotedblleft}选本{\textquotedblright}为一身的著作为代表。通过这样跨越不同历史阶段的长镜头观察，从选本角度出发，对比南朝与南宋对{\textquotedblleft}文{\textquotedblright}的认识，本文提出{\textquotedblleft}文的扩散化{\textquotedblright}，也就是说，在{\textquotedblleft}文{\textquotedblright}的领域，发生了一种范式的改变。在中古时期，对＂文＂或者说＂文学＂的认识和四部分类中的＂集＂部基本重合，但是南宋以降，{\textquotedblleft}文{\textquotedblright}的疆域扩展到了被萧统排除在《文选》之外的经、子、史部，而且对儒家经典作出纯属修辞学方面的技术性考量。从表面上看来也许可以说{\textquotedblright}道{\textquotedblleft}凌驾于{\textquotedblright}文{\textquotedblleft}，但在实际上看来，在{\textquotedblright}四部{\textquotedblleft}边界日益模糊的情况下，{\textquotedblright}文{\textquotedblleft}呈现出扩散的趋势，这一现象一直持续到现代，促使我们对{\textquotedblleft}文学{\textquotedblright}概念的生成、变化、发展进行自觉的思考。

},
	author = {Xiaofei Tian}
}
@book {655646,
	title = {影子與水文: 秋水堂自選集},
	year = {2020},
	publisher = {Nanjing University Press},
	organization = {Nanjing University Press},
	address = {Nanjing},
	abstract = {This is a collection of eleven articles, translated into Chinese, on classical Chinese literature from the early medieval period through the nineteenth century.},
	author = {Xiaofei Tian}
}
@book {655588,
	title = {Reading Du Fu: Nine Views},
	year = {2020},
	publisher = {Hong Kong University Press},
	organization = {Hong Kong University Press},
	address = {Hong Kong},
	abstract = {
	This is the first collection of essays in English, contributed by well-known experts of Chinese literature as well as scholars of a younger generation, dedicated to the poetry of Du Fu, commonly regarded as the greatest Chinese poet. These essays are engaged in historically nuanced close reading of Du Fu{\textquoteright}s poems, both canonical and less known, from new angles and in various contexts, and discuss a series of critical issues, including the local and the imperial; the body politic and the individual body; poetry and geography; perspectives on the complicated relation of religion and literature; materiality and contemporary reception of Du Fu; poetry and visual art; and tradition and modernity.



	Many of the poems discussed in this book were written in the backwater town of Kuizhou, far from Du Fu{\textquoteright}s earlier residence in the capital city Chang{\textquoteright}an, at a time when the Tang dynasty was going through devastating social and political disturbances. The authors contend that Du Fu{\textquoteright}s isolation from the elite literary establishments allowed him to become a pioneer who introduced a new order to the Chinese poetic discourse. However, his attention to details in everyday reality, his preoccupation with domestic life and the larger issues embroiled in it, his humor, and his ability to surprise tend to be obscured by the clich{\'e}d image of the {\textquotedblleft}poet sage{\textquotedblright} and {\textquotedblleft}poet historian{\textquotedblright}{\textemdash}an image this collection of essays successfully complicates.



	\&nbsp;

},
	editor = {Xiaofei Tian}
}
@article {655585,
	title = {The Cultural Politics of Old Things in Mid-Tang China},
	journal = {Journal of American Oriental Studies},
	volume = {140},
	number = {2},
	year = {2020},
	pages = {317-343}
}
@inbook {655645,
	title = {Tao Yuanming{\textquoteright}s Poetics of Awkwardness},
	booktitle = {A Companion to World Literature},
	year = {2019},
	publisher = {John Wiley \& Sons, Ltd},
	organization = {John Wiley \& Sons, Ltd}
}
@inbook {655587,
	title = {Chinese Travel Writing},
	booktitle = {The Cambridge History of Travel Writing},
	year = {2019},
	pages = {175-190},
	publisher = {Cambridge University Press},
	organization = {Cambridge University Press}
}
@article {655647,
	title = {覺悟敘事: 杜甫紀行詩的佛教解讀},
	journal = {上海師範大學學報},
	volume = {47},
	number = {1},
	year = {2018},
	pages = {106-113}
}
@article {655589,
	title = {Each Has Its Own Moment: Nie Gannu and Modern Chinese Poetry},
	journal = {Frontiers  of Literary Studies in China},
	volume = {12},
	number = {3},
	year = {2018},
	pages = {485{\textendash}525}
}
@book {583856,
	title = {The Halberd at Red Cliff: Jian{\textquoteright}an and the Three Kingdoms},
	year = {2018},
	publisher = {Harvard Asia Center Publications},
	organization = {Harvard Asia Center Publications},
	address = {Cambridge, MA},
	abstract = {
	The turn of the third century CE{\textemdash}known as the Jian{\textquoteright}an era or Three Kingdoms period{\textemdash}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{\textquoteright}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{\textquoteright}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.

},
	author = {Xiaofei Tian}
}
@inbook {655596,
	title = {Collections (Ji)},
	booktitle = {The Oxford Handbook of Classical Chinese Literature (1000 BCE-900 CE)},
	year = {2017},
	pages = {219{\textendash}234},
	publisher = {Oxford University Press},
	organization = {Oxford University Press}
}
@inbook {655595,
	title = {Literary Learning: Encyclopedias and Epitomes},
	booktitle = {The Oxford Handbook of Classical Chinese Literature (1000 BCE-900 CE)},
	year = {2017},
	pages = {132{\textendash}146},
	publisher = {Oxford University Press},
	organization = {Oxford University Press}
}
@inbook {655591,
	title = {Castrating Pigs for the People: The Politics of Revision and the Structure of Violence in Hao Ran{\textquoteright}s Short Stories},
	booktitle = {The Making and Remaking of China{\textquoteright}s Red Classics: Politics, Aesthetics and Mass Culture},
	year = {2017},
	pages = {93{\textendash}111},
	publisher = {Hong Kong University Press},
	organization = {Hong Kong University Press},
	address = {Hong Kong}
}
@article {583871,
	title = {The Wound that Speaks: Traumatic Memory in the Late Qing Manuscript The World of a Tiny Insect 會說話的傷口: 晚清抄本\&lt;微蟲世界\&gt;中的創傷記憶},
	journal = {中華文史論叢},
	volume = {125},
	number = {2017.1},
	year = {2017},
	pages = {371-396}
}
@article {583861,
	title = {庾信的記憶宮殿: 中古宮廷詩歌中的創傷與暴力},
	journal = {上海大學學報},
	volume = {34},
	number = {4},
	year = {2017},
	pages = {52-64},
	abstract = {
	\&nbsp;



	\&nbsp;

}
}
@book {565211,
	title = {The Poetry of Ruan Ji translated by Stephen Owen},
	year = {2017},
	publisher = {De Gruyter},
	organization = {De Gruyter},
	abstract = {The poetry of Ruan Ji has been previously translated several times, with one fully scholarly translation of both the poetry and the fu (poetic expositions). The present translation by Stephen Owen\&nbsp;not only provides a facing page critical Chinese text, it addresses two problems that have been ignored or not adequately treated in earlier works. First, it traces the history of the current text. The rather serious problems with this text will be, if not soluble, at least visible. Second, translations have been shaped by the anachronistic assumption that Ruan Ji was loyal to the declining Wei dynasty, when actual power had been taken by the Suma family, who founded the Jin dynasty after Ruan Ji{\textquoteright}s death. The introduction shows how and when that assumption took full shape five centuries after Ruan Ji lived and why it is not tenable. This leads to a different kind of translation, closer to what a contemporary reader might have understood and far less certain than referring it to some political event.\&nbsp;},
	url = {https://www.degruyter.com/view/product/467830},
	editor = {Xiaofei Tian}
}
@magazinearticle {563676,
	title = {The Emperor{\textquoteright}s New Music},
	journal = {Lapham{\textquoteright}s Quarterly},
	volume = {X},
	number = {4},
	year = {2017},
	pages = {203-207}
}
@inbook {655644,
	title = {Hao Ran and the Cultural Revolution},
	booktitle = {The Oxford Handbook of Modern Chinese Literature},
	year = {2016},
	publisher = {Oxford University Press},
	organization = {Oxford University Press},
	abstract = {This chapter offers a close reading of several works by Liang Jinguang, better known as\&nbsp;Hao Ran (1932-2008), contextualizing his work within a tradition of Maoist {\textquotedblleft}cultural revolution{\textquotedblright} that\&nbsp;led up to the Great Proletarian Cultural Revolution that began in 1966. Although Hao\&nbsp;Ran{\textquoteright}s works might appear to be replete with socialist ideology, this chapter argues that\&nbsp;the socialist content in his works is actually complicated by the literary tropes and images\&nbsp;he uses. On a surface level, revolution sublimates and normalizes every wayward impulse;\&nbsp;on an underlying level, however, every wayward impulse continues to seek gratification\&nbsp;without ever bothering to justify itself, because it is always already disguised under the\&nbsp;normalizing discourse of the revolution.}
}
@article {507796,
	title = {Representing Kingship and Imagining Empire in Southern Dynasties Court Poetry},
	journal = {T{\textquoteright}oung Pao},
	volume = {102.1},
	number = {3},
	year = {2016},
	pages = {18-73},
	abstract = {
	\&nbsp;



	Before the fifth century, the imperial identity of a ruler seems to have disabled him as a writer rather than encouraged him to be more prolific. Literary production gradually became centered in the court by the mid-fifth century, and a distinct feature of Southern Dynasties literature is the phenomenon that emperors and princes joined with their courtiers in the act of writing poetry on social occasions.\&nbsp; This paper focuses on a number of poems by Emperor Wen of the Song (r. 424-453), Yan Yanzhi (384-456), Xie Tiao (464-499), Shen Yue (441-513), and Liu Xiaochuo (481-539) that represent kingship and empire and thereby become a means of disseminating and implementing imperial power. In particular, it examines the physical and discursive construction of the capital Jiankang. We see thereby that Southern Dynasties court poetry was instrumental in the performance of sovereignty and the envisioning of the new, southern empire.



	\&nbsp;

}
}
@article {507791,
	title = {Remaking History: The Shu and Wu Perspectives in the Three Kingdoms Period},
	journal = {Journal of the American Oriental Society},
	volume = {136},
	number = {4},
	year = {2016},
	pages = {705-731},
	abstract = {\&nbsp;Of the three powers{\textemdash}Wei, Shu, and Wu{\textemdash}that divided China for the better part of the third century, Wei has received the most attention in the standard literary historical accounts. In a typical book of Chinese literary history in any language, little, if anything, is said about Wu and Shu. This article argues that the consideration of the literary production of Shu and Wu is crucial to a fuller picture of the cultural dynamics of the Three Kingdoms period. The three states competed with one another for the claim to political legitimacy and cultural supremacy, and Wu in particular was in a position to contend with Wei in its cultural undertakings, notably in the areas of history writing and ritual music. This article begins with an overview of Shu and Wu literary production, and moves on to a more detailed discussion of Wu{\textquoteright}s cultural projects, both of which were intended to assert Wu{\textquoteright}s legitimacy and cultural power vis-a-vis Wei and Shu{\textquoteright}s claims to cultural and political orthodoxy. Ultimately, this article implicitly asks the question of how to write literary history when there is scant material from the period under question, andsuggests that we perform textual excavations and make use of what we have to reconstruct, as best as we can, what once was. A good literary history of the Chinese medieval period, the age of manuscript culture and that of heavy textual losses and transfigurations, should be written with the awareness of the incomplete and imperfect nature of the data we do have, and incorporate the phenomenon of textual losses and transfigurations as well as some reflections on the underlying reasons into its narrative and critical inquiry.\&nbsp;}
}
@article {371851,
	title = {New Songs of the Jade Terrace and the Historicist Interpretation of Medieval Chinese Literature},
	journal = {Huadong shifan daxue xuebao},
	number = {2},
	year = {2016}
}
@inbook {366011,
	title = {Fan Writing: Lu Ji, Lu Yun and the Cultural Transactions between North and South},
	booktitle = {Southern Identity and Southern Estrangement in Medieval Chinese Poetry},
	year = {2015},
	pages = {43-78},
	publisher = {Hong Kong University Press},
	organization = {Hong Kong University Press},
	address = {Hong Kong}
}
@inbook {366016,
	title = {Material and Symbolic Economies: Letters and Gifts in Early Medieval China},
	booktitle = {A History of Chinese Letters and Epistolary Culture},
	year = {2015},
	pages = {135-186},
	publisher = {Brill},
	organization = {Brill},
	address = {Leiden}
}
@article {366006,
	title = {Slashing Three Kingdoms: A Case Study in Fan Production on the Chinese Web},
	journal = {Modern Chinese Literature and Culture},
	volume = {27},
	number = {1},
	year = {2015},
	pages = {224-277}
}
@book {77586,
	title = {The World of a Tiny Insect: A Memoir of the Taiping Rebellion and Its Aftermath},
	year = {2014},
	publisher = {University of Washington Press},
	organization = {University of Washington Press},
	address = {Seattle},
	abstract = {
	"From the cry of a tiny insect, one can hear the sound of a vast world. . . ."



	So begins Zhang Daye{\textquoteright}s preface to The World of a Tiny Insect, his haunting memoir of war and its aftermath. In 1861, when China{\textquoteright}s devastating Taiping rebellion began, Zhang was seven years old. The Taiping rebel army occupied Shaoxing, his hometown, and for the next two years, he hid from Taiping soldiers, local bandits, and imperial troops and witnessed gruesome scenes of violence and death. He lost friends and family and nearly died himself from starvation, illness, and encounters with soldiers on a rampage.



	Written thirty years later, The World of a Tiny Insect gives voice to this history. A rare premodern Chinese literary work depicting a child{\textquoteright}s perspective, Zhang{\textquoteright}s sophisticated text captures the macabre images, paranoia, and emotional excess that defined his wartime experience and echoed through his adult life. The structure, content, and imagery of The World of a Tiny Insect offer a carefully constructed, fragmented narrative that skips in time and probes the relationships between trauma and memory, revealing both history and its psychic impact. Xiaofei Tian{\textquoteright}s annotated translation includes an introduction that situates The World of a Tiny Insect in Chinese history and literature and explores the relevance of the book to the workings of traumatic memory.\&nbsp;\&nbsp;\&nbsp;\&nbsp;

},
	url = {https://www.washington.edu/uwpress/search/books/TIAWOR.html},
	author = {Xiaofei Tian}
}
@inbook {366051,
	title = {影子與水文: 關於前後赤壁賦與兩幅赤壁圖},
	booktitle = {翰墨薈萃: 細讀美國藏中國五代宋元書畫珍品},
	year = {2012},
	pages = {296-311},
	publisher = {Beijing University Press},
	organization = {Beijing University Press},
	address = {Beijing}
}
@inbook {366046,
	title = {The Making of a Hero: Lei Feng and Some Issues of Historiography},
	booktitle = {The People{\textquoteright}s Republic of China at 60: An International Assessment},
	year = {2011},
	pages = {283-95},
	publisher = {Harvard Asia Center},
	organization = {Harvard Asia Center},
	address = {Cambridge, MA},
	url = {http://www.hup.harvard.edu/catalog.php?isbn=9780674060647}
}
@book {77576,
	title = {Visionary Journeys: Travel Writings from Early Medieval and Nineteenth-Century China},
	year = {2011},
	publisher = {Harvard Asia Center},
	organization = {Harvard Asia Center},
	address = {Cambridge, MA},
	url = {http://www.hup.harvard.edu/catalog.php?isbn=9780674062528},
	author = {Xiaofei Tian}
}
@article {366036,
	title = {Food and Memory: Rethinking Jian{\textquoteright}an 宴飲與回憶: 重新思考建安},
	journal = {中國文學學報},
	volume = {1},
	number = {1},
	year = {2010},
	pages = {21-34}
}
@article {366061,
	title = {新詩與現代詩},
	journal = {新詩評論},
	volume = {2},
	year = {2010},
	pages = {75-80}
}
@article {366261,
	title = {Muffled Dialect Spoken by Green Fruits: An Alternative History of Modern Chinese Poetry},
	journal = {Modern Chinese Literature and Culture},
	volume = {21},
	number = {1},
	year = {2009},
	pages = {1-44}
}
@inbook {366091,
	title = {The Representation of Sovereignty in Chinese Vernacular Fiction},
	booktitle = {Text, Performance, and Gender in Chinese Literature and Music: Essays in Honor of Wilt Idema},
	year = {2009},
	pages = {211-231},
	publisher = {Brill},
	organization = {Brill},
	address = {Leiden}
}
@article {366041,
	title = {Woman in the Tower: "Nineteen Old Poems" and the Poetics of Un/concealment},
	journal = {Early Medieval China},
	volume = {15},
	year = {2009},
	pages = {3-21}
}
@article {366031,
	title = {Misplaced: Three Qing Manuscripts of a Medieval Poet},
	journal = {Asia Major},
	volume = {20},
	number = {2},
	year = {2007},
	pages = {1-23}
}
@book {77571,
	title = {Beacon Fire and Shooting Star: The Literary Culture of the Liang (502-557)},
	year = {2007},
	publisher = {Harvard Asia Center},
	organization = {Harvard Asia Center},
	url = {http://www.hup.harvard.edu/catalog.php?isbn=9780674026025},
	author = {Xiaofei Tian}
}
@article {366026,
	title = {The Twilight of the Masters: Masters Literature in Early Medieval China},
	journal = {Journal of the American Oriental Society},
	volume = {126},
	number = {4},
	year = {2006},
	pages = {465-486}
}
@article {655679,
	title = {Seeing with the Mind{\textquoteright}s Eye: The Eastern Jin Discourse of Visualization and Imagination},
	journal = {Asia Major},
	volume = {18},
	number = {2},
	year = {2005},
	pages = {67-102}
}
@article {655678,
	title = {Illusion and Illumination: A New Poetics of Seeing in Liang Dynasty Court Literature},
	journal = {Harvard Journal of Asiatic Studies},
	volume = {65},
	number = {1},
	year = {2005},
	pages = {7-56}
}
@book {77566,
	title = {Tao Yuanming and Manuscript Culture: The Record of A Dusty Table},
	year = {2005},
	publisher = {University of Washington Press},
	organization = {University of Washington Press},
	address = {Seattle},
	abstract = {
	As medieval Chinese manuscripts were copied and recopied through the centuries, both mistakes and deliberate editorial changes were introduced, thereby affecting readers{\textquoteright} impressions of the author{\textquoteright}s intent. In Tao Yuanming and Manuscript Culture, Xiaofei Tian shows how readers not only experience authors but produce them by shaping texts to their interpretation. Tian examines the mechanics and history of textual transmission in China by focusing on the evolution over the centuries of the reclusive poet Tao Yuanming into a figure of epic stature.Considered emblematic of the national character, Tao Yuanming (also known as Tao Qian, 365?-427 c.e.) is admired for having turned his back on active government service and city life to live a simple rural life of voluntary poverty. The artlessness of his poetic style is held as the highest literary and moral ideal, and literary critics have taken great pains to demonstrate perfect consistency between Tao Yuanming{\textquoteright}s life and poetry. Earlier work on Tao Yuanming has tended to accept this image, interpreting the poems to confirm the image.Tao Yuanming and Manuscript Culture is a study of how this cultural icon was produced and of the elusive traces of another, historical Tao Yuanming behind the icon. By comparing four early biographies of the poet, Tian shows how these are in large measure constructed out of Tao Yuanming{\textquoteright}s self-image as projected in his poetry and prose. Drawing on work in European medieval literature, she demonstrates the fluidity of the Chinese medieval textual world and how its materials were historically reconfigured for later purposes.Tian finds in Tao{\textquoteright}s poetic corpus not one essentialized Tao Yuanming, but multiple texts continuously produced long after the author{\textquoteright}s physical demise. Her provocative look at the influence of manuscript culture on literary perceptions transcends its immediate subject and has special resonance today, when the transition from print to electronic media is shaking the literary world in a way not unlike the transition from handwritten to print media in medieval China. As medieval Chinese manuscripts were copied and recopied through the centuries, both mistakes and deliberate editorial changes were introduced, thereby affecting readers{\textquoteright} impressions of the author{\textquoteright}s intent. In Tao Yuanming and Manuscript Culture, Xiaofei Tian shows how readers not only experience authors but produce them by shaping texts to their interpretation. Tian examines the mechanics and history of textual transmission in China by focusing on the evolution over the centuries of the reclusive poet Tao Yuanming into a figure of epic stature.

},
	url = {https://www.washington.edu/uwpress/search/books/TIATAO.html},
	author = {Xiaofei Tian}
}
@article {655676,
	title = {A Preliminary Comparison of the Two Recensions of Jinpingmei},
	journal = {Harvard Journal of Asiatic Studies},
	volume = {62},
	number = {2},
	year = {2002},
	pages = {347-88}
}
