Gao Xingjian and Transmedia Aesthetics

Gao Xingjian and Transmedia Aesthetics

by Mabel Lee, Jianmei Liu


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Product Details

ISBN-13: 9781604979466
Publisher: Cambria Press
Publication date: 03/15/2018
Series: Cambria Sinophone World Series
Pages: 362
Sales rank: 827,969
Product dimensions: 6.00(w) x 9.00(h) x 0.94(d)

About the Author

Mabel Lee, PhD, FAHA, is currently an adjunct professor of Chinese Studies at the University of Sydney where she taught twentieth-century Chinese history and literature, 1966-2000. In the period 1995-2000 her courses included the study of the writer Gao Xingjian who won the Nobel Prize for Literature in 2000. She has published numerous essays about Gao Xingjian, as well as translating English editions of his works: two novels Soul Mountain (2000) and One Man's Bible (2002), a short-story collection Buying a Fishing Rod for My Grandfather (2004), and two collections of criticism The Case for Literature (2006/2007) and Gao Xingjian's own eponymous book Gao Xingjian: Aesthetics and Creation (2012). An honorary professor for a number of years at the Open University of Hong Kong, Dr. Lee was recently appointed a distinguished professor in their major research project titled "Chinese Culture in the Global Context."

Liu Jianmei is Professor of Chinese Literature at Hong Kong University of Science and Technology. She holds a PhD from Columbia University, an MA from University of Colorado at Boulder, and a BA from Beijing University. She is the author of a number of Chinese-language academic and literary publications, and her English academic books include the following: Zhuangzi and Modern Chinese Literature (2016), Revolution Plus Love: Literary History, Women's Bodies, and Thematic Repetition in Twentieth-Century Chinese Fiction (2003), and coeditor (with Ann Huss) of The Jin Yong Phenomenon: Chinese Martial Arts Fiction and Modern Chinese Literary History (2007).

Table of Contents

Chapter 1. Introduction (Mabel Lee and Liu Jianmei)

Part I. Philosophical Inquiry

Chapter 2. Gao Xingjian and Philosophy (Jean-Pierre Zarader)

Chapter 3. Gao Xingjian: Exemplifying a Renaissance in Today’s World (Liu Zaifu)

Chapter 4. An Insignificant Individual’s Defiance: Gao Xingjian’s The Man Who Questions Death (Ming Jian)

Chapter 5. The Art of Gao Xingjian: Metamorphosis and the Grotesque in Soul Mountain (Stephen Conlon)

Chapter 6. Women and the Dao in Gao Xingjian’s Works (Liu Jianmei)

Part II. Transdiscipline, Transgenre, Transmedia, and Transculture

Chapter 7. Nonattachment and Gao Xingjian’s Neutral Actor (Gilbert Fong and Shelby Chan)

Chapter 8. Gao Xingjian’s Search for a Scenic Dramaturgy and Cinematic Language in Song of the Night (Mary Mazzilli)

Chapter 9. Two Gao Xingjian Exhibitions Launched Simultaneously in Brussels during 2015 (Liu Zaifu)

Chapter 10. The Mind’s Eye: Subjectivity in Gao Xingjian’s Paintings (Kwok-kan Tam)

Chapter 11. Chan Buddhist Scenography and Gao Xingjian’s Opera Snow in August (Jiang Hanyang)

Part III. Cine-Poems with Paintings, Dance, and Music

Chapter 12. Floods and Forests: Gao Xingjian’s Transcultural Aesthetic of Catastrophe (Megan Evans)

Chapter 13. Bodies and Paintings: Gao Xingjian’s After the Flood (Fiona Sze-Lorrain)

Chapter 14. From Theater to Cine-Poetry: Gao Xingjian’s Performance Theories Wah Guan Lim

Chapter 15. Inlaying Images and Seeing Poetry: Gao Xingjian’s Cine-Poem Requiem for Beauty (Yue Huanyu)

Part IV. Identifying and Defining the Self

Chapter 16. Gao Xingjian: Autobiography, Auto-Fiction, and Poetry (Noël Dutrait)

Chapter 17. Working Through Trauma in Gao Xingjian’s One Man’s Bible (Janet Shum)

Chapter 18. Identity and Creation: A Conversation with Gao Xingjian (Michael Berry)

Chapter 19. The Authorial Self in Gide’s The Fruits of the Earth, Pessoa’s The Book of Disquiet, and Gao Xingjian’s Soul Mountain (Pan Shuyang)

Epilogue. A Panoramic View of Gao Xingjian’s World (Liu Zaifu)

About the Authors



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