The fu genre (or “rhapsody” in English) is one of the major genres of Chinese poetry throughout imperial history. This volume presents close readings of representative works in the genre, spanning over a millennium of its history. Each chapter contains a complete translation of major fu poems, accompanied by an essay presenting the work or works in historical context and also examining their significance in contemporary culture. Ranging in style and topic from the exuberant accumulation of detail in Yang Xiong’s “Shu Capital,” translated by David R. Knechtges, to the luscious lyricism of Wang Bo’s “Spring Longings,” translated by Timothy W. K. Chan, the poems present a panorama of how the genre has been used for both personal and social expression. While the individual essays examine their respective subjects in depth and detail, collectively the essays also offer a sweeping survey of the fu genre from the Han (206 B.C.E.–220 C.E.) through the Song (960–1279 C.E.) dynasty.

Tao Yuanming (365?–427), although dismissed as a poet following his death, is now considered one of China’s greatest writers. Over the centuries, portrayals of his life—some focusing on his eccentricity, others on his exemplary virtue—have elevated him to iconic status. This study of the posthumous reputation of a central figure in Chinese literary history, the mechanisms at work in the reception of his works, and the canonization of Tao himself and of particular readings of his works sheds light on the transformation of literature and culture in premodern China. It focuses on readers’ interpretive negotiations with Tao’s works and on changes in hermeneutical practices, critical vocabulary, and cultural demands, as well as the intervention of interested and influential readers, in order to trace the construction of Tao Yuanming. Driven by a dialogue on categories at the very heart of literati culture—reclusion, personality, and poetry—this cumulative process spanning fifteen centuries, the author argues, helps explain the very different pictures of Tao Yuanming and the divergent ways of reading his works across time and illuminates central issues animating premodern Chinese culture.

The creative reuse of materials, texts, and ideas was a common phenomenon in the medieval world. The seven chapters offer here a synchronic and diachronic consideration of the receptions and meanings of events and artifacts, analyzing the processes that allowed medieval works to remain relevant in sociocultural contexts far removed from those in which they originated. In the process, they elucidate the global valences of recycling, revision, and relocation throughout the interconnected Middle Ages, and their continued relevance for the shaping of modernity. The essays examine cases in the Arab and Muslim world, China and Mongolia, and the Prussian-Lithuanian frontier of eastern Europe.

Regional Literature and the Transmission of Culture provides a richly textured picture of cultural transmission in the Qing and early Republican eras. Drum ballad texts (guci) evoke one of the most popular performance traditions of their day, a practice that flourished in North China. Study of these narratives opens up surprising new perspectives on vital topics in Chinese literature and history: the creation of regional cultural identities and their relation to a central “Chinese culture”; the relationship between oral and written cultures; the transmission of legal knowledge and popular ideals of justice; and the impact of the changing technology of the late nineteenth and early twentieth centuries on the reproduction and dissemination of popular texts.

Margaret B. Wan maps the dissemination over time and space of two legends of wise judges; their journey through oral, written, and visual media reveals a fascinating but overlooked world of “popular” literature. While drum ballads form a distinctively regional literature, lithography in early twentieth-century Shanghai drew them into national markets. The new paradigm this book offers will interest scholars of cultural history, literature, book culture, legal history, and popular culture.

During China’s transition from dynastic empire to nation-state, the crowd emerged as a salient trope. Intellectuals across the ideological spectrum have used the crowd trope to ruminate on questions of selfhood and nationhood, and to advance competing models of enlightenment and revolution.

Revolutionary Waves analyzes the centrality of the crowd in the Chinese cultural and political imagination and its global resonances by delving into a wide range of fiction, philosophy, poetry, and psychological studies. Bringing together literary studies, intellectual history, critical theory, and the history of human sciences, this interdisciplinary work highlights unexplored interactions among emerging social-scientific forms of knowledge, new aesthetic modes of representation, and changing political imperatives. The work brings into relief the complexities of the modern Chinese crowd discourse, which generated subjectivities and oriented actions, enabled as well as constrained the expression of togetherness, and thus both expanded and limited the horizon of political possibilities in the emerging age of mass politics.

The first in-depth examination of the aesthetics and politics of the crowd in modern Chinese literature and thought, Revolutionary Waves raises questions about the promise and peril of community as communion and reimagines collective life in China’s post-socialist present.

Rise of a Japanese Chinatown is the first English-language monograph on the history of a Chinese immigrant community in Japan. It focuses on the transformations of that population in the Japanese port city of Yokohama from the Sino-Japanese War of 1894–1895 to the normalization of Sino-Japanese ties in 1972 and beyond. Eric C. Han narrates the paradoxical story of how, during periods of war and peace, Chinese immigrants found an enduring place within a monoethnic state.

This study makes a significant contribution to scholarship on the construction of Chinese and Japanese identities and on Chinese migration and settlement. Using local newspapers, Chinese and Japanese government records, memoirs, and conversations with Yokohama residents, it retells the familiar story of Chinese nation building in the context of Sino-Japanese relations. But it builds on existing works by directing attention as well to non-elite Yokohama Chinese, those who sheltered revolutionary activists and served as an audience for their nationalist messages. Han also highlights contradictions between national and local identifications of these Chinese, who self-identified as Yokohama-ites (hamakko) without claiming Japaneseness or denying their Chineseness. Their historical role in Yokohama’s richly diverse cosmopolitan past can offer insight into a future, more inclusive Japan.