Contributors

Abstract

WENBO CHANG received her PhD in East Asian languages and civilizations with a concentration in Chinese literature from Arizona State University in May 2019. Her primary area of research is premodern Chinese drama both as staged performance and in textual form, as well as its social, ritual, political, and intellectual implications. Her dissertation, “Playing Roles: Literati, Playwrights, and Female Performers in Yuan Theater” (2019), investigates how Yuan zaju drama reshaped Chinese culture by bridging the gap between inherently oral popular tradition of performance and the written tradition of elite literati, when traditional Chinese political, social, cultural structures underwent remarkable transformations under alien rule in the Yuan dynasty. In addition, her research interests include urban space and culture, narrative of the strange and the supernatural, Chinese religions, and ritual studies. Currently, Wenbo is a postdoctoral fellow in the Global Languages, Cultures, and Technologies Postdoctoral Program at the Georgia Institute of Technology.MARIO DE GRANDIS is a PhD candidate in the Department of East Asian Languages and Literatures at The Ohio State University and is currently a fellow of the Global Arts and Humanities Discovery Theme program. His research focuses on ethnic minority literature (shaoshu minzu wenxue 少數民族文學) and its filmic adaptations, which he has shared at the Association for Asian Studies, the Modern Language Association, and at the American Folklore Society. Mario also subtitled documentaries and translated fiction from Chinese into Italian. Among his translations figure documentaries by Ai Weiwei and works by Alat Asem, Chen Xiwo, and Lu Min.JINGYING GAO is journal editor for the Shaanxi Youth Literacy Education Research Association in China. She earned an East Asian studies interdisciplinary master's degree from The Ohio State University and a bachelor's degree in sociology from Shandong University in China. Her research interests are in Chinese literature and modern art, especially how they are related to urban culture of China.WILT L. IDEMA obtained his doctorate from Leiden University, where he also taught from 1970 to 1999. From 2000 to 2013 he was professor of Chinese literature at Harvard University. His research has mostly focused on the vernacular and popular traditions since the end of the Tang dynasty and on women's literature of the Ming and Qing dynasties. His most recent publications include The Orphan of Zhao and Other Yuan Plays: The Earliest Known Versions (with Stephen H. West, 2015), Two Centuries of Manchu Women Poets: An Anthology (2017), Mouse vs. Cat in Chinese Literature: Tales and Commentary (2019), and Insects in Chinese Literature: A Study and Anthology (2019).JAEHYUK LEE is a PhD student in the Department of East Asian Languages and Literatures at Ohio State University. His research interests focus on poetry and literary thought in premodern China. He received his bachelor's degree and master's degree in classical Chinese literature from Seoul National University.IAN MCNALLY graduated from The Ohio State University in 2019 with a master's degree in East Asian studies. His research focused on martial arts history and identity in Qing period China. This interest was born from a lifetime of martial arts study. He has been a practitioner of Magui Baguazhang for nine years. With a love of academics and martial practice, Ian is always looking for ways to expand his own understanding of origins and future of martial arts. He currently works as an ESL teacher, editor, and martial arts instructor in Columbus, Ohio.KARIN MYHRE is associate professor of Chinese in the Department of Comparative Literature and Intercultural Studies at the University of Georgia. Her research interests include drama and performance of the Song through Ming periods. She has published on Chinese wit and humor, representations of ghosts and monsters, and images of demons and deities.JENN MARIE NUNES is the author of two books of poetry: Those People (2020), winner of the National Poetry Review Press Book Prize, and AND/OR (2015), winner of the Switchback Books Queer Voices Award. She holds an MFA from Louisiana State University and is currently pursuing a PhD in Chinese literature, with an emphasis on poetry and film, and a minor in women, gender, and sexuality studies at The Ohio State University.PATRICIA SIEBER is associate professor of Chinese literature and director of the Translation and Interpreting Program at The Ohio State University. She is the author of Theaters of Desire: Authors, Readers, and the Reproduction of Early Chinese Song-Drama, 1300–2000 (2003), the editor of Red Is Not the Only Color (2001), the lead editor of How to Read Chinese Drama: A Guided Anthology (with Regina Llamas, forthcoming), and a coeditor of How to Read Chinese Drama in Chinese: The Language Text (with Guo Yingde, Wenbo Chang, and Xiaohui Zhang, forthcoming). Her research on Chinese literature, print culture, and translation history has appeared in such journals as Representations, Modern Chinese Literature and Culture, Journal of Chinese Literature and Culture, Monumenta Serica, and East Asian Publishing and Society.TIAN YUAN TAN is Shaw Professor of Chinese at the University of Oxford. His main areas of research include Chinese literary history and historiography, text and performance, and cross-cultural literary interactions. He is the author of Songs of Contentment and Transgression: Discharged Officials and Literati Communities in Sixteenth-Century North China (2010) and A Critical Edition of the Sanqu Songs by Kang Hai (1475–1541) with Notes and Two Essays 康海散曲集校箋 (2011), coauthor of Passion, Romance, and Qing: The World of Emotions and States of Mind in Peony Pavilion (2014), and coeditor of Text, Performance, and Gender in Chinese Literature and Music: Essays in Honor of Wilt Idema (2009), An Anthology of Critical Studies on Tang Xianzu in Western Scholarship 英語世界的湯顯祖研究論著選譯 (2013), and 1616: Shakespeare and Tang Xianzu's China (2016).ERXIN WANG is a PhD student in the Department of East Asian Languages and Literatures at The Ohio State University. Her primary academic interests center on early modern Chinese theater and literature, transgender performance, and intellectual history. Her other research interests include print culture and the intersection of traditional and modern Chinese literature and theater in various media.KE WANG is a first-year PhD student in Chinese language pedagogy and graduate teaching associate in the Department of East Asian Languages and Literatures at The Ohio State University. He is also a songwriter, composer, guitarist, and music producer. His current research interests include the application of music to enhance Chinese language pedagogy. He holds a master's degree in science and technology from the University of New South Wales and a master of arts degree in teaching Chinese as a foreign language from Middlebury College.XU YICHUN received her MA in 2015 and is currently a doctoral candidate in modern Chinese literature at The Ohio State University. She is writing a dissertation titled “Wu Topolect Literature in Late Qing and Republican China.” She has presented on her dissertation chapters at various conferences and is a cotranslator of “Which Classic 何典 (ch. 1),” the first chapter in a ten-chapter comic novella written with Wu topolect by the late Qing writer Zhang Nanzhuang 張南庄 (fl. 1810s) (published on Modern Chinese Literature and Culture, 2019, https://u.osu.edu/mclc/2019/07/23/which-classic/).HUI YAO is a PhD candidate in the Department of East Asian Languages and Literatures at The Ohio State University. She is trained in modern Chinese literature, as well as Chinese cinema and theater. She is currently working on her dissertation on the director Fei Mu 費穆 (1906–1951) and analyzing his oeuvre through the lens of translation studies. She is also a language instructor, a calligraphy hobbyist, and a traveler.YE YE is professor of Chinese literature at Zhejiang University. He received his PhD from Fudan University in 2009. His research spans topics ranging from ci (song lyrics) of the Song dynasty to the various genres of late imperial literature. He is interested in ci (song lyrics) and sanqu (songs); scholar-official literature; literary transition during the Song, Yuan, and Ming periods; and local writings as Chinese literary tradition. He is currently coediting a translation anthology that gathers papers on Ming-Qing poetry and prose contributed by Western scholars.