Roman fra 1999 av den kinesiske nobelprisvinneren. Oversatt til engelsk 2002.

The present English-Chinese bilingual edition is the complete first book of poems written by Nobel Prize winner Gao Xingjian. His poems offer an array of snapshots over various themes where politics, dreams, and metaphysical concerns are mixed. With original art works by Gao, this collection advances his innovative experiments in poetry across cultural boundaries.

This book argues that Gao Xingjian's Idea of Theatre can only be explained by his broad knowledge and use of various Chinese and Western theatrical, literary, artistic and philosophical traditions.

Expressionism and Its Deformation in Contemporary Chinese Theatre provides both rigorous readings of dramatic works as well as a historical overview of Chinese theatre from the 1980s to the present. Expressionism becomes a discursive locus to be incorporated and even transformed during a critical phase in the modernization of Chinese drama during the post-Maoist era. Six leading Chinese dramatists (Gao Xingjian, Lin Zhaohua, Huang Zuolin, Xu Xiaozhong, Meng Jinghui, and Stan Lai) are clear representatives of opening up a new world of modern Chinese drama. They embody each of the major phases

In the first book to consider the study of world religion and world literature in concert, Zhange Ni proposes a new reading strategy that she calls ""pagan criticism,"" which she applies not only to late twentieth- and early twenty-first-century literary texts that engage the global resurgence of religion but also to the very concepts of religion and the secular. Focusing on two North American writers (the Jewish American Cynthia Ozick and the Canadian Margaret Atwood) and two East Asian writers (the Japanese End? Sh?saku and the Chinese Gao Xingjian), Ni reads their fiction, drama, and prose to envision a ""pagan (re)turn"" in the study of world religion and world literature. In doing so, she highlights the historical complexities and contingencies in literary texts and challenges both Christian and secularist assumptions regarding aesthetics and hermeneutics.In assessing the collision of religion and literature, Ni argues that the clash has been not so much between monotheistic orthodoxies and the sanctification of literature as between the modern Western model of religion and the secular and its non-Western others. When East and West converge under the rubric of paganism, she argues, the study of religion and literature develops into that of world religion and world literature.

This is a powerful account of how the ruin and resurrection of Zhuangzi in modern China's literary history correspond to the rise and fall of modern Chinese individuality. Liu Jianmei highlights two central philosophical themes of Zhuangzi: the absolute spiritual freedom as presented in the chapter of "Free and Easy Wandering" and the rejection of absolute and fixed views on right and wrong as seen in the chapter of "On the Equality of Things." She argues thetwentieth century reinterpretation and appropriation of these two important philosophical themes best testify to the dilemma and inner-struggle of modern Chinese intellectuals. In the cultural environment in which Chinese writers and scholars were working, the pursuit of individual freedom as well as themore tolerant and multifaceted cultural mentality has constantly been downplayed, suppressed, or criticized.By addressing a large number of modern Chinese writers, including Guo Moruo, Hu Shi, Lu Xun, Zhou Zuoren, Lin Yutang, Fei Ming, Liu Xiaofeng, Wang Zengqi, Han Shaogong, Ah Cheng, Yan Lianke, and Gao Xingjian, the author provides an insightful and engaging study of how they have embraced, rejected, and returned to ancient thought and how the spirit of Zhuangzi has illuminated their writing and thinking through the turbulent eras of modern China. This book not only explores modern Chinesewriters' complicated relationship with "tradition," but also sheds light on if the freedom of independence, non-participation, and roaming and the more encompassing cultural space inspired by Zhuangzi's spirit were allowed to exist in the modern Chinese literary context. Involving the interplay betweenphilosophy, literature, and history, Liu delineates a neglected literary tradition influenced by Zhuangzi and Daoism and traces its struggles to survive in modern and contemporary Chinese culture.

This book is a study of the relation between theatre art and ideology in the Chinese experimentations with new selfhood as a result of Ibsen's impact. It also explores Ibsenian notions of self, women and gender in China and provides an illuminating study of Chinese theatre as a public sphere in the dissemination of radical ideas. Ibsen is the major source of modern Chinese selfhood which carries notions of personal and social liberation and has exerted great impacts on Chinese revolutions since the beginning of the twentieth century. Ibsen's idea of the self as an individual has led to various experimentations in theatre, film and fiction to project new notions of selfhood, in particular women's selfhood, throughout the history of modern China. Even today, China is experimenting with Ibsen's notions of gender, power, individualism and self.Kwok-kan Tam is Chair Professor of English and Dean of Humanities and Social Science at the Hang Seng University of Hong Kong. He was Head (2012-18) and is currently a member of the International Ibsen Committee, University of Oslo. He is a Foundation Fellow of the Hong Kong Academy of the Humanities. He has held teaching, research and administrative positions in various institutions, including the East-West Center, the Chinese University of Hong Kong and the Open University of Hong Kong. He has published numerous books and articles on Ibsen, Gao Xingjian, modern drama, Chinese film, postcolonial literature, and world Englishes. His recent books include Ibsen, Power and the Self: Postsocialist Experimentations in Stage Performance and Film (2019), The Englishized Subject: Postcolonial Writings in Hong Kong, Singapore and Malaysia (2019), and a co-edited volume Fate and Prognostication in the Chinese Literary Imagination (2019).

The Columbia Companion to Modern Chinese Literature features more than fifty short essays on specific writers and literary trends from the Qing period (1895-1911) to the present. The volume opens with thematic essays on the politics and ethics of writing literary history, the formation of the canon, the relationship between language and form, the role of literary institutions and communities, the effects of censorship, the representation of the Chinese diaspora, the rise and meaning of Sinophone literature, and the role of different media in the development of literature. Subsequent essays focus on authors, their works, and the schools with which they were aligned, featuring key names, titles, and terms in English and in Chinese characters. Woven throughout are pieces on late Qing fiction, popular entertainment fiction, martial arts fiction, experimental theater, post-Mao avant-garde poetry, post-martial law fiction from Taiwan, contemporary genre fiction from China, and recent Internet literature. The volume includes essays on such authors as Liang Qichao, Lu Xun, Shen Congwen, Eileen Chang, Jin Yong, Mo Yan, Wang Anyi, Gao Xingjian, and Yan Lianke.Both a teaching tool and a go-to research companion, this volume is a one-of-a-kind resource for mastering modern literature in the Chinese-speaking world.

Hovedpersonen reiser i et landskap med mange spor etter primitive kulturer, urgamle sjamanistiske tradisjoner og daoistiske forestillinger. Blant mye annet behandler forfatteren det eksistensielle dilemmaet om menneskets behov for den absolutte friheten som ensomhet gir, stilt opp mot behovet for varmen og fellesskapet med Den andre.

A young couple on honeymoon visit a beautiful temple up in the mountains, and spend the day intoxicated by the tranquillity of the setting; a swimmer is paralysed by a sudden cramp and finds himself stranded far out to sea on a cold autumn day; a man reminisces about his beloved grandfather, who used to make his own fishing rods from lengths of crooked bamboo straightened over a fire.

En eksilkinesisk forfatter ser motvillig tilbake på sitt liv i Kina under kulturrevolusjonen. Under utbruddet spilte han flere roller. Først var han leder for en gjeng rødegardister, senere offer for utrenskningene og til slutt passiv iakttaker. Her blandes minner fra barndom, ungdom, kjærlighet, erotikk og brutal politisk virkelighet.

First in Cassandra Clare's internationally bestselling Mortal Instruments series about the Shadowhunters.Love. Blood. Betrayal. Demons. First of 6 brand-new collectable editions of the New York Times No. 1 bestselling Shadowhunter series that has swept the globe. City of Bones is now a major movie. Irresistibly drawn towards a group of demon hunters, Clary encounters the dark side of New York City - and the dangers of forbidden love. Gorgeous cover illustration by Mila Furstova, the artist who created the album art for Coldplay's Ghost Stories. Read all the sensational books in The Shadowhunter Chronicles: The Mortal Instruments, The Infernal Devices, Tales from the Shadowhunter Academy, The Bane Chronicles and The Shadowhunter's Codex.

Beskrivelse mangler. Se gjerne forlagets (TAYLORFRANCIS) hjemmeside, der det kan finnes mer informasjon.

Beskrivelse mangler. Se gjerne forlagets (Starfish Bay Childrens Books) hjemmeside, der det kan finnes mer informasjon.

As an anthropologist and native of Gao Village, the author combines ethnographic analysis, personal vignettes, and a number of fascinating stories to present a convincing yet complex picture of how Gao villagers interact with the outside world twenty years after the publication of his original ethnography of Gao Village. With his sympathetic and insider's approach, the author argues that rural Chinese display great entrepreneurship and inner strength of self-improvement; they are active contributors to China's economic boom.

In Chinese Activism of a Different Kind, Jia Gao examines the social behavior and pattern of actions of 45,000 or so Chinese students in their effort to stay permanently in Australia after the June 4 incident of 1989.

Meme, daughter of the DemonWorld's Summoners Clan leader, isn't the only strange inhabitant of KuroyuriApartments: there's the former soldier's lazy but cute-obsessed maid; the virgindetermined to marry Kuroyuri's rich proprietor, Sentarou; the spy intent onSentarou's demise; and now a manga author, who's super behind on a deadline!?With outrageous characters like these to live with, it's impossible to be shorton material!

Meet Meme, thegood-for-nothing daughter of the Demon World's mighty summoner clan. Her dad'skicked her out into the human world to learn some responsibility, and she needsto find a home! Enter Sentarou Narigane, wealthy landlord of KuroyuriApartments. Suffering from the worst case of malaise, Sentarou offers Meme afree apartment on one condition: she needs to make him havefun!