This version uses the new Stirling SB4424 + SB4428 drivers, and a very hi-grade 'SuperSpec' crossover, all housed in thin-walled 'Reference' matched veneer cabinets. Revised as “Desecrations? Han Dong’s and Yu Jian’s Explicit Poetics.” In van Crevel, Chinese Poetry in Times of Mind, Mayhem and Money.New finishes: English Oak and Wild Oak, available.
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.
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