比較文學博士 奚密 寫於 2010年5月22日 13:18
Michelle Yeh
Professor, Chinese
Undergraduate Faculty Advisor
Ph.D., Comparative Literature, University of Southern California
Phone: (530) 752-4597
Office: 312A Sproul Hall
從世界詩壇看台灣現代詩的藝術成就 ─ 奚 密
隨著一九九二年諾貝爾文學獎得主德瑞克‧沃克特(Derek Walcott)來訪東華，奚密教授除了擔任與德瑞克‧沃克特先生圓桌對談的現場翻譯之外，也在活動之前舉辦了一場演講─從世界詩壇看台灣現代詩的藝術成就。
演講中，奚密教授強調「詩是一份手藝。」的確，詩，是用最精簡的文字，傳達作者的感受，同時也蘊含著許多意涵。總覺得詩是一種很難懂的文類。高中每當上到詩時，大家都不知該如何解讀，因為詩通常都有除了字面意義之外的深沉涵義。有人這麼說道：「詩，就像是金字塔的最頂端，能夠真正了解的人只是少數，讀的人是精英，寫的人也是精英。詩，是一種小眾文學。」和其他的文類相比，詩的確是屬於小眾文學，但它卻是文字美的表現，雖然難懂，仍吸引人。
「應該怎樣讀詩？怎麼樣算是會讀詩呢？」奚密教授給了我們一個簡單的答案，「當你讀到一首讓你感動、甚至落淚的詩時，就表示你會欣賞詩了！」不過，截至目前為止，我還沒讀過一首真正讓我感動的詩，或許是我還未開竅吧。我所讀過的詩並不多，多數是從課本中讀到的，曾經嘗試要將一本詩集讀完，但是翻了幾首即作罷，不是因為內容枯燥乏味，而是詩真的難懂，總覺得很難能夠真正了解作者所要表達的意境，期待有一天，我能夠真正學會欣賞詩、能夠為了一首詩而感動、能夠真正的體會詩的意義。奚密教授在演講中也強調「接觸詩、文學，是不受地域的限制的。」這就如同雖然不在美國，我們也同樣能夠欣賞美國散文或小說。在世界各地，只要願意，我們都可以浸濡於文學之中。
奚密教授在美國編了多本的台灣詩集選，頗受好評。但在選詩時，卻遇到了一個問題，台灣女詩人很少，在詩選中大多都是男詩人的作品。不過，現在在台灣有個由女詩人所組成的詩社─「女鯨詩社」，相信一定能夠為台灣詩壇注入更多生命力。演講中，奚密教授也提到「現在在美國，大家已經不會把台灣現代詩和中國大陸的現代詩混為一談了。」在「二十世紀台灣現代詩選」一書的序也曾如此寫道：「台灣現代詩和一九四九年以後中國大陸的現代詩已不盡相同，其中主要的差別在文學和政治之間關係。大陸詩淪為政治口號，台灣相對地有比較開放的社會和文化。」
台灣文學已經走向國際，台灣詩也不會再被當作是中國詩的延伸。雖然說台灣文學已經邁向國際，但是在國內的教育界，受到的重視仍是不多。國高中的教科書，依舊是以文言文、唐詩、宋詞、元曲、明清小說為主。以現代詩來說，受到的重視，遠遠不及唐詩。就我個人的經驗，通常老師上到唐詩時，都會教很久，甚至做許多的課外補充，但上到現代詩時，都會匆匆教過，敷衍了事，有時甚至連教都不教，直接跳過，請學生回家自己看。但我真的認為這不是一種很好的做法。
之前曾經參加一個營隊，其中的一場演講也是關於台灣詩，演講者是李魁賢，集詩人、文藝評論家、翻譯家於一身。或許有很多人不知道他是誰，但是他卻多次代表台灣到國外參加詩人節或一些詩壇交流活動，也獲獎無數，他的作品除了在台灣、中國、香港等華語地區發表之外，也有各種語文譯本，英文、西班牙文、日文、韓文等。在2001年獲得印度國際詩人學會千禧年詩人獎，同時也被國際詩人學會推薦角逐2002年的諾貝爾文學獎，為台灣詩壇第一人。
從以上許多方面來看，台灣詩真的已經走向國際，不再被當作是中國詩的延伸、不再處於邊陲地帶。只是，台灣詩，真正需要的是大家的支持，在台灣這塊土地上人民的肯定。我想這對每位詩人來說，都比得獎更為快樂吧。
Research Interests
Traditional and modern Chinese poetry, comparative poetics, international modernism, translation
Current Projects
Completing a book manuscript on the tension between modernity and cultural identity in China; coediting a new anthology of modern poems on Taiwan; completing a collection of essays on aromatics in Asian and Western traditions
Major Publications
Modern Chinese Poetry: Theory and Practice since 1917
Anthology of Modern Chinese Poetry (edited and translated)
No Trace of the Gardener: Poems of Yang Mu (co-translated)
Frontier Taiwan: An Anthology of Modern Chinese Poetry (co-edited and co-translated)
Essays on Modern Chinese Poetry
Poetic Life
Sailing to Formosa: A Poetic Companion to Taiwan (co-edited)
Poetics of Aromatics
Honors and Awards
Various grants from NEH
Luce Foundation
Chiang Ching-kuo Foundation for International Scholarly Exchange
Council for Cultural Affairs (Taiwan)
University of California Fellowships in the Humanities, etc.
Courses Taught
CHN 106 Traditional Chinese Poetry (in Translation)
CHN 131 Traditional Chinese Poetry (in Chinese)
CHN 132 Modern Chinese Poetry (in Chinese)
CHN 109 Modern Literature of Taiwan
CHN 110 Great Writers: Texts and Contexts
CHN 120 Advanced Chinese
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from HKliteraturefestival.org.hk
Chinese version
Michelle Yeh (pronounced Hsi Mi)
- Born in Taipei, Michelle Yeh received her BA in English from the National Taiwan University and her Ph.D. in Comparative Literature from the University of Southern California, Los Angeles. Currently she is Professor of Chinese in the Department of East Asian Languages and Cultures, University of California, Davis, as well as Chair of the UC Pacific Rim Research Program. Her major publications include: Modern Chinese Poetry: Theory and Practice since 1917, Anthology of Modern Chinese Poetry (edited and translated into English), No Trace of the Gardener: Poems of Yang Mu (translation into English), Essays on Modern Chinese Poetry (in Chinese), From the Margin: An Alternative Tradition of Modern Chinese Poetry (in Chinese), Frontier Taiwan: An Anthology of Modern Chinese Poetry (edited; English and Chinese editions), Iconography of the Sea: Poems of Derek Walcott (translation into Chinese).
Frontier Taiwan: An Anthology of Modern Chinese Poetry
Michelle Yeh and N. G. D. Malmqvist
Columbia University Press, 2001
"The first English-language anthology to provide a truly comprehensive view of poetry in Taiwan."
– Los Angeles Times Book Review (Best Books of 2001)
"Sensitive fidelity to denotative and connotative meanings of the original Chinese and smooth, often inspired English. The 50-page introduction by Yeh is superb-- a comprehensive, nuanced scholarly overview of the historical social, political, cultural, and linguistic forces that combine to make Taiwan a unique example of what Chinese poetry may become when visions of past, present, and future mingle with issues of local identity, national politics, and international influences. . . . Strongly recommended."
– Choice
Taiwan has evolved dramatically from a little-known island to an internationally acclaimed economic miracle and thriving democracy. The history of modern Taiwanese poetry parallels and tells the story of this transformation from periphery to frontier. Containing translations of nearly 400 poems from 50 poets spanning the entire twentieth century, this anthology reveals Taiwan in a broad spectrum of themes, forms, and styles: from lyrical meditation to political satire, haiku to concrete poetry, surrealism to postmodernism. The in-depth introduction outlines the development of modern poetry in the unique historical and cultural context of Taiwan. Comprehensive in both depth and scope, Frontier Taiwan beautifully captures the achievements of the nation´s modern poetic traditions.
ISBN: 0-231-11846-5
March, 2001
Columbia University Press
cloth
608 pages
$51.50
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ISBN: 0-231-11847-3
March, 2001
Columbia University Press
paper
608 pages
$25.50
Sung-sheng Yvonne Chang and Michelle Yeh, eds., Contemporary Chinese Literature: Crossing the Boundaries. Special issue of Literature East and West. Austin, TX: Department of Middle Eastern Languages and Cultures, 1995,
Yeh, Michelle. "Chinese Postmodernism and the Cultural Politics of Modern Chinese Poetry." Wen-hsin Yeh, ed., Cross-Cultural Readings of Chineseness: Narratives, Images, and Interpretations of the 1990s. Berkeley: Center for Chinese Studies, 2000, 100-27.
Yeh, Michelle. "International Theory and the Transnational Critic: China in the Age of Multiculturalism." Boundary 2. Special Issue ed. Rey Chow. 25, 2 (Fall 1998): 193-222.
Yeh, Michelle. "Taoism and Modern Chinese Poetry." Journal of Chinese Philosophy 15 (1988): 173-97.
-----. Modern Chinese Poetry: Theory and Practice since 1917. New Haven: Yale UP, 1991.
-----. "Light a Lamp in a Rock: Experimental Poetry in Contemporary China." Modern C hina 18, 4 (1992): 379-409.
-----. "The 'Cult of Poetry' in Contemporary China." JAS 55, 1 (1996): 51-80. Rpt. in Yingjin Zhang, ed., China in a Polycentric World: Essays in Chinese Comparative Literature. Stanford: Stanford UP, 1999, 188-217.
-----. "Nature's Child and the Frustrated Urbanite: Expressions of the Self in Contemporary Chinese Poetry." World Literature Today (Summer 1991): 405-09.
-----. "Death of the Poet: Poetry and Society in Contemporary China and Taiwan." In Sung-sheng Yvonne Chang and Michelle Yeh, eds., Contemporary Chinese Literature: Crossing the Boundaries. Special issue of Literature East and West. Austin, TX: Department of Middle Eastern Languages and Cultures, 1995, 43-62. Rpt. in Pang-yuan Chi and David Wang, eds., Chinese Literature in the Second Half of the Twentieth Century: A Critical Survey. Bloomington: Indiana UP, 2000, 216-38.
-----. "Chinese Postmodernism and the Cultural Politics of Modern Chinese Poetry." Wen-hsin Yeh, ed., Cross-Cultural Readings of Chineseness: Narratives, Images, and Interpretations of the 1990s. Berkeley: Center for Chinese Studies, 2000, 100-27.
-----. "From Surrealism to Nature Poetics: A Study of Prose Poetry from Taiwan." Journal of Modern Literature in Chinese 3, 2 (Jan. 2000): 117-56.
Exiles and Native Sons: Modern Chinese Stories from Taiwan. Eds. Michelle Yeh and Dominic Cheung. Taipei: National Institute for Compilation and Translation, 1992.
(1998) Essays on Modern Chinese Poetry, Taipei: Unitas.
(1998) No Trace of the Gardener: Poems of Yang Mu (co-translated with Lawrence R. Smith), Yale UP.
Book Review http://muse.jhu.edu/demo/man/11.2sze02.html
No Trace of the Gardener: Poems of Yang Mu
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No Trace of the Gardener: Poems of Yang Mu. Translated by Lawrence R. Smith and Michelle Yeh. New Haven and London: Yale University Press, 1998. 239 pages, cloth $35.
No Trace of the Gardener presents a selection of poems written between 1958 and 1991 by Chinese poet Yang Mu. Born Wang Ching-hsien in Taiwan in 1940, he used a variety of pen names, including Yeh Shan, up until 1972, when he began using Yang Mu.
Growing up in Taiwan, Yang Mu learned Mandarin, Taiwanese, and Japanese. In 1964 he came to the United States, where he attended the University of Iowa and received his master-of-fine-arts degree in 1966. He then went on to study at the University of California-Berkeley and received a doctorate in comparative literature in 1970. He currently teaches at the University of Washington and serves as dean at National Dong Hwa University in Taiwan. Yang Mu's biculturalism is a source of strength in his writing, and he brings the tradition of classical Chinese poetry into modern times.
No Trace of the Gardener presents Yang Mu's work in four sections, arranged chronologically. The early poems have a tender, haunting lyricism. In the opening poem, "The Woman in Black," the presence of the woman is mysterious, yet immediate, and although in the second stanza the speaker says he will wipe off her various influences, one feels he will be unable to do so:
Drifting here and there between my eyelashes
standing outside the door, remembering the ocean tides
the woman in black is a cloud. Before the storm
I wipe the rainy landscape from my window
wipe the shadow off the wutong tree
wipe you off
The poems in section two reveal a deepening vision and display greater complexity. "Nocturne Number Two: Melting Snow" is in three parts; the third is outstanding [End Page 206] in its keen articulation of rhythm and a musical tension that harnesses sound and silence:
At last it falls like irresistible
melancholy. Touch it, you wouldn't know
that it's tears--ripe fruit
biting wind, autumn of dna
Perching crows set the tune. If you don't believe it
sit down and listen with all your sleep
At first I thought
the strings broke in protest against war
in fact it was hunger, three thousand miles of hunger
flapping wings across a night of mounting tension
followed by ubiquitous fatigue
gracing the anticipated harvest: pick a branch or tree at random
listen well as it moistens and floods
an autumn-water night
In addition to writing in the lyrical, meditative mode, Yang Mu--as was the case with many classical Chinese poets--does not shy away from a social and political critique. However, these political poems are never heavy-handed, and they follow Emily Dickinson's injunction to "Tell all the truth, but tell it slant." In "Kao-hsiung, 1973," when the speaker of the poem witnesses "thirty-five thousand female workers leaving work at the same time," the situation is presented in the form of reportage rather than in the form of social critique. The poem creates a wonderful tension between the factual presentation and the emotional undercurrent that periodically rises to the surface.
From sections three and four, it is clear that Yang Mu has assimilated a variety of influences from the West. There are sonnet sequences, as well as poems that show that Lorca and Coleridge are active forces incorporated into his wider poetic vision. In "Someone Asks Me about Justice and Righteousness," it is moving to see how a simple line can become a refrain that acts as a musical bass line that grounds the wide-ranging meditation of the poem.
In the introduction to No Trace of the Gardener, Yang Mu says, "If poetry, or the organic life of culture as a whole, is to be worthy of persistence, we must seek its definition in the process of experimentation and breakthrough." For me, the overall effect of reading through this collection and surveying the evolution of Yang Mu's work is impressive. He has a restless energy and formal command that always make his work engaging.
Lawrence Smith and Michelle Yeh have done a superb job of translating Yang Mu's challenging work into English. The translations are sensuous, vivid, and alive. No Trace of the Gardener is essential reading.
Arthur Sze
Arthur Sze has received awards for his writing from the Lila Wallace-Readers' Digest Fund, Lannan Foundation, and the Witter Bynner Foundation for Poetry. His latest book of poetry is The Redshifting Web: Poems 1970-1998, from Copper Canyon Press.
NO TRACE OF THE GARDENER
Poems of Yang Mu
Yang Mu
Translation by Lawrence R. Smith & Michelle Yeh
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1998 Literature
278 pp. 5 1/8 x 9
Cloth ISBN 0-300-07070-5 $35.00
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Yang Mu, a pivotal figure in the development of modern Chinese literature, is one of the most widely read living poets of the world’s largest literary audience: Chinese-speaking people. Providing a selection of poems from more than three decades of work, this book offers over one hundred translations that capture the poet’s haunting lyricism. Drawing on avant-garde traditions of Europe and the United States as well as on the traditions of classical Chinese poetry and prose, his work explores intense sensuality and the erotic, the anguish of war, exile, the colonial experience, and conflicting views of national and cultural identity.
Born Wang Ching-hsien in Taiwan in 1940, Yang Mu lived in a rich cultural and linguistic environment, learning Taiwanese, a Hua-lien tribal dialect, Japanese, Mandarin, and English. When he arrived in the United States in 1964, the young poet added Old English, ancient Greek, Latin, and German to his repertoire. Yang Mu’s poetry fully reflects this dazzling range and diversity. This volume also includes an essay placing the poet’s work in the context of twentieth-century literary movements and in the long tradition of Chinese poetry.
“Yang Mu is an immensely likable poet, and his following continues to grow. This translation is well-nigh flawless.”--Eugene Eoyang, Indiana University/ Lingnan College, Hong Kong
“The translators’ modern, poetic language does justice to Yang Mu’s originals and introduces to the English reader an important contemporary Chinese poet. . . The lines flow freely and beautifully. . . This volume should have a broad appeal because of the poet’s wide range of themes.”--Choice
Yang Mu is professor of comparative literature at the University of Washington and dean of the College of Humanities and Social Sciences at National Dong Hwa University, Taiwan. He is the author, editor, and translator of more than forty books of poetry and prose. Lawrence R. Smith is a translator of modern Italian literature, a poet, writer of fiction, and the editor of Caliban. Michelle Yeh, professor of Chinese and Japanese at the University of California at Davis, is the author of Modern Chinese Poetry and editor of the Anthology of Modern Chinese Poetry, both published by Yale University Press.
Reviews
This collection of more than one hundred poems by Yang Mu, a pivotal figure in the development of modern Chinese literature, brings his haunting lyric poetry to English-speaking readers. Born in Taiwan in 1940, Yang Mu arrived in the United States in 1964. His poetry reflects a dazzling cultural and linguistic breadth as he explores such wide-ranging subjects as travel, landscape, home, exile, time, justice, identity, and history.
"This volume, the first devoted exclusively to Yang Mu, presents 132 poems written between 1958 and 1991. The translators' modern, poetic language does justice to Yag Mu's originals and introduces to the English reader an important contemporary Chinese poet."--Y. L. Walls, Choice
"[Yang Mu] is a poet who works with the materials that he has, and those materials include a sense of poetic and cultural history that transcends the cultural division of the 'West' and China. He has become bicultural. . . . [Yang Mu] offers the largest hope for the future [of Chinese poetry] because he draws two disparate histories together."--Stephen Owen, New Republic
"Yang Mu is an immensely likable poet, and his following continues to grow. This translation is well-nigh flawless."--Eugene Eoyang, Indiana University/Lingnan College, Hong Kong
"The overall effect of reading through this collection and surveying the evolution of Yang Mu's work is impressive. He has a restless energy and formal command that always make his work engaging. Lawrence Smith and Michelle Yeh have done a superb job of translating Yang Mu's challenging work into English. The translations are senuous, vivid, and alive. No Trace of the Gardener is essential reading."--Arthur Sze, Manoa, Pacific Journal of International Writing
http://www.uni-tuebingen.de/sinologie/sino/wenyiduo/absfr.htm
"WEN YIDUO: THE NATIONALIST OR THE MODERNIST?"
Michelle Yeh (University of California, Davis)
This paper will analyze the intersection of two strands in Wen's poetry andpoetics: Wen as a "nationalist" who consciously searches for a Chinese identity on one hand, and Wen as a "modernist" who advocates the new in poetic art on the other hand. Based on selected poems and essays, the paperwill examine these two facets of Wen's work, with an emphasis on their potential conflict and resolution.
Michelle Yeh
Pacific Rim Research Program
"Pacific Rim Research and Its Relevance for the State of California"
Award: $69,976 for a two-year period
from http://www.aasianst.org/absts/1997abst/china/c74.htm
Cultural Identity and Modern Chinese Poetry: The Case of Bei Dao
Michelle Yeh, University of California, Davis
This paper examines the critical responses to Bei Dao's poetry of the 1970s-80s with regard to its alleged lack of Chinese identity. By placing Bei Dao's poetry in two contexts; his oeuvre to date on the one hand, and modern Chinese poetry on the other, this author hopes to reveal the complexity and dynamic of the issue of cultural identity. Rather than arguing for or against the Chineseness of Bei Dao's poetry, I will try to understand why the issue is raised repeatedly in the history of modern Chinese poetry by posing this question: To what extent is the issue inseparable from the prestige of the genre in the Chinese literary tradition, the identity crisis in the modern era, and the experimental thrust of modern Chinese poetry? A preliminary exploration of possible answers to the question provides a point of departure for further study of the significant issue of cultural identity and modern Chinese poetry.
Mau-sang Ng, Chinese and Japanese: Davis
1948-1994
Associate Professor of Chinese, UC Davis
Friends, family, colleagues, and students mourned the passing of Mau-sang Ng, who died on August 19, 1994 at Stanford University Hospital following a bone marrow transplant for leukemia. Mau-sang died before his time. His productive career was cut short at the age of 45; he left a widow, Michelle Fan Ng and a son, Kevin Kaimen Ng, not quite one year old.
Despite his relative youth, Mau-sang was already a scholar of truly international repute. His training began in Hong Kong, where he received a B.A. in Chinese and English from the University of Hong Kong in 1971. While continuing on to graduate work in Chinese at the same institution, he also began his career as a teacher, first of English, then of Chinese and translation. He completed his M.Phil. in 1976 with a thesis that would set his continuing research agenda, "The Rise and Development of Realism in Modern Chinese Fiction." By the time he received that degree, he was already at Oxford beginning work on his doctorate, which he completed in 1978. His dissertation was a study of Russian influences on modern Chinese fiction that evolved into his book, The Russian Hero in Modern Chinese Fiction (State University of New York Press, 1988). Once he finished his doctorate, Mau-sang began his career as a teacher and scholar on a full-time basis. From 1979 to 1981, he was lecturer in Chinese and Translation at the National University of Singapore. From there, he returned to Hong Kong, taking a similar position at the Chinese University of Hong Kong, where he offered courses in Chinese fiction--classical and modern--and in problems of translation between Chinese and English.
Eventually, Mau-sang's budding career and Davis' growing commitment to Asian studies intersected. Since the 1960s, Davis had offered instruction in Chinese language and literature on a small scale, but in the mid-1980s, the university initiated plans to expand its small programs in Chinese and Japanese to create a new department. The faculty in Chinese was doubled by the creation of two new positions, and, as the result of an international search, Mau-sang was brought to Davis in 1987. At the same time that Davis was recruiting him, Harvard University's Fairbank Center for East Asian Studies also awarded him a highly competitive post-doctoral fellowship. In order to allow him to take advantage of the unique opportunity, initially he taught at Davis only in the fall of 1987 as a visiting assistant professor. After pursuing his research at Harvard for eight months, he returned to settle down in Davis the following fall, and one year later, he was duly promoted to Associate Professor.
Mau-sang made numerous contributions during his all-too-few years at Davis. Working with longtime faculty and a newly hired cohort, he helped create the new Department of Chinese and Japanese, which was formally established in July 1991 with undergraduate majors and minors in both languages. Mau-sang was a popular teacher in the Chinese half of the department. In addition to his courses in Chinese fiction (his major research area), which he taught in translation as well as in the original language, he also offered advanced Chinese language courses, including an introduction to classical Chinese. Students enjoyed his classes. Although he was demanding, he succeeded in conveying his love for the material he taught.
Despite the demands of a heavy teaching schedule, Mau-sang was also a prolific scholar. His most substantial contribution was his book, mentioned above. It explores in detail the affinities between nineteenth- and twentieth-century Russian authors and their twentieth-century Chinese counterparts, showing the distinctive ways in which Russian predicaments and modes of response influenced the world views and personality models in the literary oeuvre of modern Chinese writers. For some years before his death, Mau-sang had been working on a second major research project that focused on popular fiction produced in Shanghai between 1900 and 1949. This work involved bringing the latest methods of critical analysis to bear on a now largely forgotten body of works that had long been dismissed as "Butterfly Literature." The research was nearing completion and his first major article on the subject, "Popular Fiction and the Culture of Everyday Life: A Cultural Analysis of Qin Shouou's Quihaitang," appeared in the April 1994 issue of Modern China. Translation was another issue that interested Mau-sang. In addition to numerous translations, some from English into Chinese, others from Chinese into English, Mau-sang also published studies of problems in the process of translation. And, he served on the editorial committee of Renditions, an important journal of translation from Hong Kong.
Mau-sang's contributions were recognized by scholars throughout the world. He published extensively in Chinese and English, and was an invited participant in European sinological conferences as well. Offered a position at Cambridge University, he took a leave from the University of California to teach there in the fall of 1993. It was in England that he fell ill, with symptoms eventually diagnosed as leukemia, and he returned home for treatment. The transplant was initially successful. As he recuperated from the exhausting procedure, Mausang's spirits revived, and he discussed his articles and research plans enthusiastically with visitors. Sadly, there was no way to control the latent complications that suddenly emerged to overwhelm his weakened immune system. The world of Chinese literary studies lost a scholar at the peak of his career. His achievements were many, but we will never know the full measure of his potential.
Robert Borgen
Michelle Yeh
George Kagiwada
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Sampsonia Way
(Sampsonia Way is an online magazine sponsored by City of Asylum/Pittsburgh celebrating literary free expression and supporting persecuted poets and novelists worldwide.)
Michelle Yeh is a professor of Chinese literature at the University of California, Davis. Her new publications are A Lifetime Is a Promise to Meet: Poems of Huang Xiang, forthcoming from the Institute of East Asian Studies, University of California at Berkeley; and the last chapter of Cambridge History of Chinese Literature (2 volumes), forthcoming from the Cambridge University Press.
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