To discuss the supernatural in China is "to talk of foxes and speak of ghosts". Ming and Qing China were well populated with foxes, shape-changing creatures who transgressed the boundaries of species, gender and the metaphysical realm. In human form, foxes were both immoral succubi and good wives/good mothers, both tricksters and Confucian paragons. They were the most alien yet...(展开全部)

To discuss the supernatural in China is "to talk of foxes and speak of ghosts". Ming and Qing China were well populated with foxes, shape-changing creatures who transgressed the boundaries of species, gender and the metaphysical realm. In human form, foxes were both immoral succubi and good wives/good mothers, both tricksters and Confucian paragons. They were the most alien yet...(展开全部)

In this study of desire in Late Imperial China, Martin W. Huang argues that the development of traditional Chinese fiction as a narrative genre was closely related to changes in conceptions of the fundamental nature of desire. He further suggests that the rise of vernacular fiction during the late Ming dynasty should be studied in the context of contemporary debates on desire, ...(展开全部)

The Ming–Qing dynastic transition in seventeenth-century China was an epochal event that reverberated in Qing writings and beyond; political disorder was bound up with vibrant literary and cultural production. Women and National Trauma in Late Imperial Chinese Literature focuses on the discursive and imaginative space commanded by women. Encompassing writings by women and by me...(展开全部)

The Ming–Qing dynastic transition in seventeenth-century China was an epochal event that reverberated in Qing writings and beyond; political disorder was bound up with vibrant literary and cultural production. Women and National Trauma in Late Imperial Chinese Literature focuses on the discursive and imaginative space commanded by women. Encompassing writings by women and by me...(展开全部)

Although Chinese narrative, and especially the genres of colloquial fiction, have been subjected to intensive scholarly scrutiny, no comprehensive volume has provided a framework that would permit an overall view of the tradition. The distinguished contributors to this volume have taken an important first step in making possible the consideration of Chinese narrative at the lev...(展开全部)

作者 浦安迪（Andrew H. Plaks），1945年出生于美国纽约，1973年获普林斯顿大学博士学位。现为普林斯顿大学东亚系和比较文学系荣休教授。其研究领域广泛，如中国古典文学、叙事学、中国传统思想文化、中西文学文化比较等。主要著作有：《<红楼梦>的原型与寓意》《明代小 说四大奇书》《中国叙事：批评与理论》《中国叙事学》等 译者 吴文权，广东外语外贸大学教师，毕业于南京大学外国语学院，德国蒂宾根大学经济系，译有赫塔米勒《呼吸秋千》（合译），为《中西文化精要》系列图书英译本主译之一（该书已由麦克米兰公司出版），另译有特里·伊戈尔顿《幽默》（待出）。

Although Chinese narrative, and especially the genres of colloquial fiction, have been subjected to intensive scholarly scrutiny, no comprehensive volume has provided a framework that would permit an overall view of the tradition. The distinguished contributors to this volume have taken an important first step in making possible the consideration of Chinese narrative at the lev...(展开全部)

作者 浦安迪（Andrew H. Plaks），1945年出生于美国纽约，1973年获普林斯顿大学博士学位。现为普林斯顿大学东亚系和比较文学系荣休教授。其研究领域广泛，如中国古典文学、叙事学、中国传统思想文化、中西文学文化比较等。主要著作有：《<红楼梦>的原型与寓意》《明代小 说四大奇书》《中国叙事：批评与理论》《中国叙事学》等 译者 吴文权，广东外语外贸大学教师，毕业于南京大学外国语学院，德国蒂宾根大学经济系，译有赫塔米勒《呼吸秋千》（合译），为《中西文化精要》系列图书英译本主译之一（该书已由麦克米兰公司出版），另译有特里·伊戈尔顿《幽默》（待出）。

In the traditional Chinese symbolic vocabulary, the construction of gender was never far from debates about ritual propriety, desire, and even cosmic harmony. Competing Discourses maps the aesthetic and semantic meanings associated with gender in the Ming-Qing vernacular novel through close readings of five long narratives: Marriage Bonds to Awaken the World, Dream of the Red C...(展开全部)