422 • BIBLIOGRAPHY in Twentieth Century China. Taipei: Institute of International Relations, 1987, 277–90. Wang, David. “Tai Hou-ying, Feng Chi-Ts’ai and Ah Cheng: Three Approaches to the Historical Novel.” Asian Culture Quarterly 16, 2 (1988): 70–88. Gao Xiaosheng Decker, Margeret. “Living in Sin: From May Fourth via the Antirightist Move- ment to the Present.” In Ellen Widmer and David Wang, eds., From May Fourth to June Fourth: Fiction and Film in Twentiety-Century China. Cambridge, MA: Harvard University Press, 1993, 221–46. Faurot, Jeanette L. “Shoes That Fit––The Stories of Gao Xiaosheng.” In Mason Y. H. Wang, ed., Perspectives in Contemporary Chinese Literature. University Center, MI: Green River Press, 1983, 77–88. Feuerwerker, Yi-tsi Mei. “Reassesing the Past in the ‘New Era’: Gao Xiaosheng.” In Feuerwerker, Ideology, Power, Text: Self-Representation and the Peasant “Other” in Modern Chinese Literature. Stanford: Stanford University Press, 1998, 146–87. Li, Guoqing. “Roots in the Same Land: On Hwang Ch’un-ming and Kao Hsiao- sheng’s Stories.” Chinese Culture 38, 3 (1997): 117–35. Wagner, Rudolf. Inside the Service Trade: Studies in Contemporary Chinese Prose. Cambridge, MA: Council on East Asian Studies, Harvard University, 1992, 431–80. Gao Xingjian Barme, Geremie. “A Touch of the Absurd––Introducing Gao Xingjian and His Play The Bus Stop.” Renditions 19/20 (1983): 373–77. Chan, Wai-sim. “Postscript: On Seeing the Play Bus Stop: He Wen’s Critique in the Literary Gazette.” Renditions 19/20 (1983): 387–92. Chen, Xiaomei. “A Wildman Between the Orient and the Occident: Retro-Influ- ence in Comparative Literary Studies.” In Chen, Occidentalism: A Theory of Counter-Discourse in Post-Mao China. New York: Oxford University Press, 1995, 99–118. He, Wen. “On Seeing the Play The Bus Stop.” Tr. Chan Sin-wai. Renditions 19/20 (1983): 387–92. Kinkley, Jeffrey C. “Gao Xingjian in the ‘Chinese’ Perspective of Qu Yuan and Shen Congwen.” Modern Chinese Literature and Culture 14, 2 (Fall 2002): 130–62. Kuoshu, Harry H. “Will Godot Come by Bus or through a Trace? Discussion of a Chinese Absurdist Play.” Modern Drama 41, 3 (Fall 1998): 461–73. BIBLIOGRAPHY • 423 Larson, Wendy. “Realism, Modernism, and the Anti-‘Spiritual Pollution’ Cam- paign in Modern China.” Modern China 15, 1 (Jan. 1989): 37–71. Lee, Gregory, and Noel Dutrait. “Conversations with Gao Xingjian: The First Chinese Winner of the Nobel Prize for Literature.” China Quarterly 167 (2001): 738–84. Lee, Mabel. “Personal Freedom in Twentieth Century China: Reclaiming the Self in Yang Lian’s Yi and Gao Xingjian’s Lingshan.” In Mabel Lee and Michael Wilding, eds., History, Literature and Society: Essays in Honour of S. N. Mukherjee. Sydney: Sydney Association for Studies in Culture and Society, 1997, 133–55. ——— . “Gao Xingjian’s Lingshan/Soul Mountain: Modernism and the Chinese Writer.” HEAT 4 (1997): 128–43. Lin, Sylvia Li-chun. “Between the Individual and the Collective: Gao Xingjian’s Fiction.” World Literature Today (Winter 2001): 20–30. Lovell, Julia. “Gao Xingjian, the Nobel Prize, and Chinese Intellectuals: Notes on the Aftermath of the Nobel Prize 2000.” Modern Chinese Literature and Culture 14, 2 (Fall 2002): 1–50. Moran, Thomas. “Lost in the Woods: Nature in Soul Mountain.” Modern Chinese Literature and Culture 14, 2 (Fall 2002): 207–36. Quah, Sy Ren. Gao Xingjian and Transcultural Chinese Theater. Honolulu: Uni- versity of Hawaii Press, 2004. Riley, Josephine, and Michael Gissenwehrer. “The Myth of Gao Xingjian.” In Riley and Else Unterrieder, eds., Haishi Zou Hao: Chinese Poetry, Drama and Literature of the 1980s. Bonn: Engelhard-Ng Verlag, 1989, 129–51. Rojas, Carlos. “Without [Femin]ism: Femininity as Axis of Alterity and Desire in Gao Xingjian’s One Man’s Bible.” Modern Chinese Literature and Culture 14, 2 (Fall 2002): 163–206. Tam, Kwok-kan, ed. Soul of Chaos: Critical Perspectives on Gao Xingjian. Hong Kong: Chinese University Press, 2001. Xu, Gang Gary. “My Writing, Your Pain, and Her Trauma: Pronouns and (Gen- dered) Subjectivity in Gao Xingjian’s Soul Mountain and One Man’s Bible.” Modern Chinese Literature and Culture 14, 2 (Fall 2002): 99–129. Zhao, Henry Y. H. Towards a Modern Zen Theatre: Gao Xingjian and Chinese Theatre Experimentalism. London: School of Oriental and African Studies, 2000. Ge Fei Kong, Shuyu. “Ge Fei on the Margins.” B.C. Asian Review 10 (1996/97). Wang, Jing. “The Mirage of Chinese ‘Postmodernism’: Ge Fei, Self-Positioning, and the Avant-garde Showcase.” Positions 1, 2 (1993): 349–88. 424 • BIBLIOGRAPHY Yang, Xiaobin. “Ge Fei: Indeterminate History and Memory.” In Yang, The Chinese Postmodern: Trauma and Irony in Chinese Avant-garde Fiction. Ann Arbor: University of Michigan Press, 2002, 168–87. Zhang, Xudong. “Fable of Self-Consciousness: Ge Fei and Some Motifs in Meta- Fiction.” In Zhang, Chinese Modernism in the Era of Reforms. Durham, NC: Duke University Press, 1997, 163–200. Gu Cheng Brady, Anne-Marie. “Dead in Exile: The Life and Death of Gu Cheng and Xie Ye.” China Information 11, 4 (Spring 1997): 126–48. Galik, Marian. “Gu Cheng’s Novel Ying’er and the Bible.” Asian and African Studies 5, 1 (1996). Kubin, Wolfgang. “Gu Cheng: Peking, Ich.” In Raoul Findeison and Robert Gassmann, eds., Autumn Floods: Essay in Honour of Marian Galik. Bern: Peter Lang, 1997, 415–30. Li, Xia. “‘Nameless Flowers’: The Role of Nature in Gu Cheng’s Poetry and in His Narrative Prose Ying’er.” In Raoul Findeison and Robert Gassmann, eds., Autumn Floods: Essays in Honour of Marian Galik. Bern: Peter Lang, 1997, 431–46. ——— , ed. Essays, Interviews, Recollections and Unpublished Material of Gu Cheng, Twentieth Century Chinese Poet: The Poetics of Death. Lewiston, NY: Edwin Mellen Press, 1999. ——— . “Gu Cheng’s Ying’er: A Journey to the West.” Modern Chinese Literature 10, 1 (1998): 135–148. Liu, Shusen. “Gu Cheng and Walt Whitman: In Search of New Poetics.” In Ed Folson, ed., Whitman East & West: New Contexts for Reading Walt Whitman. Iowa City: University of Iowa Press, 2002, 208–20. Patton, Simon. “Desire and Masculinity at the Margins in Gu Cheng’s Ying’er.” In Kam Louie and Morris Low, eds., Asian Masculinities: The Meaning and Prac- tice of Manhood in China and Japan. New York: Routledge Curzon, 2003. ——— . “The Unbearable Heaviness of Being: Gender, Sexuality and Insanity in Gu Cheng and Xie Ye’s Ying’er.” Modern Chinese Literature 9 (1996): 399–415. ——— . “Notes Toward a Nomad Subjectivity: The Poetics of Gu Cheng (1956– 1993).” Social Semiotics 9, 1 (1999): 49–66. ——— . “The Forces of Production: Symmetry and the Imagination in the Early Poetry of Gu Cheng.” Modern Chinese Literature and Culture 13, 2 (Fall 2001): 134–71. Gu Hua Van Der Meer, Marc. “‘Hibiscus,’ ‘The Garden of the Literati,’ and Mao Zedong’s Biography: A Brief Introduction to the Life and Work of Writer Gu Hua.” China Information 7, 2 (1998): 20–29. BIBLIOGRAPHY • 425 Guo Moruo Chan, Wing-Ming. “Li Po and Tu Fu by Kuo Mo-jo––A Reexamination.” Chinese Literature: Essays, Articles, Reviews 4, 1 (Jan. 1982): 75–90. Doar, Bruce. “Images of Women in the Dramas of Guo Moruo: The Case of Em- press Wu.” In C. Tung and C. Mackerras, eds., Drama in the People’s Republic of China. Albany: State University of New York Press, 1987, 254–92. Dolezelova-Velingerova, Milena. “Kuo Mo-jo’s Autobiographical Works.” In Jaroslav Prusek, ed., Studies in Modern Chinese Literature. Berlin: Akademie- Verlag, 1964, 45–75. Galik, Marian. “Kuo Mo-jo’s The Goddesses: Creative Confrontation with Tagore, Whitman and Goethe.” In Galik, ed., Milestones in Sino-Western Literary Con- frontation (1898–1979). Weisbaden: Otto Harrassowitz, 1986, 43–72. ——— . “Kuo Mo-jo and his Development from Aesthetic-Impressionist to Prole- tarian Criticism.” In Galik, The Genesis of Modern Chinese Literary Criticism, 1917–1930. London: Curzon Press, 1980, 28–62. Lee, Haiyan. “Tears That Crumbled the Great Wall: The Archaeology of Feeling in the May Fourth Folklore Movement.” Journal of Asian Studies 64, 1 (Feb. 2005): 35–65. Liu, Ruoqiang. “Whitman’s Soul in China: Guo Moruo’s Poetry in the New Cul- ture Movement.” In Ed Folson, ed., Whitman East & West: New Contexts for Reading Walt Whitman. Iowa City: University of Iowa Press, 2002, 172–86. Mi, Jiayan. Self-Fashioning and Reflexive Modernity in Modern Chinese Poetry. Lewiston, NY: Edwin Mellen Press, 2004. Ou, Hong. “Pantheistic Ideas in Guo Moruo’s The Goddesses and Whitman’s Leaves of Grass.” In Ed Folson, ed., Whitman East & West: New Contexts for Reading Walt Whitman. Iowa City: University of Iowa Press, 2002, 187–96. Prusek, Jaroslav. “Kuo Mo-jo.” In Prusek, Three Sketches of Chinese Literature. Prague: Oriental Institute in Academia, 1969, 99–140. Roy, David T. Kuo Mojo: The Early Years. Cambridge, MA: Harvard University Press, 1971. Shih, Shu-mei. “Psychoanalysis and Cosmopolitanism: The Work of Guo Moruo.” In Shih, The Lure of the Modern: Writing Modernism in Semicolonial China, 1917–1937. Berkeley: University of California Press, 2001, 96–109. Trappl, Richard. “‘Modernism’ and Foreign Influences on Chinese Poetry: Exem- plified by the Early Guo Moruo and Gu Cheng.” In Marian Galik, ed., Interlit- erary and Intraliterary Aspects of the May Fourth Movement 1919 in China. Bratislava: Veda, 1990, 83–92. Tsang, Winnie. “Kuo Mojo’s The Goddesses.” JOS 12 (1977): 97–109. Tsu, Jing. “Perversions of Masculinity: The Masochistic Male Subject in Yu Dafu, Guo Moruo, and Freud.” Positions 8, 2 (Fall 2000): 269–316. Wagner, Rudolf. The Contemporary Chinese Historical Drama. Berkeley: Univer- sity of California Press, 1990, 246–50; 282–89. 426 • BIBLIOGRAPHY Yip, Terry Siu-Han, and Kwok-Kan Tan. “European Influence on Modern Chi- nese Drama: Kuo Mo-jo’s Early Historical-Problem Plays.” JOS 24, 1 (1986): 54–65. Han Shaogong Feuerwerker, Yi-tsi Mei. “The Post-Modern ‘Search for Roots’ in Han Sha- ogong, Mo Yan, and Wang Anyi.” In Feuerwerker, Ideology, Power, Text: Self-Representation and the Peasant “Other” in Modern Chinese Literature. Stanford: Stanford University Press, 1998, 188–238. Iovene, Paola. “Authenticity, Postmodernity, and Translation: The Debates around Han Shaogong’s Dictionary of Maqiao.” Annali dell’Università degli Studi di Napoli L’Orientale 62 (2002): 197–218. Lau, Joseph S. M. “Visitation of the Past in Han Shaogong’s Post-1985 Fiction.” In Ellen Widmer and David Wang, eds., From May Fourth to June Fourth: Fiction and Film in Twentiety-Century China. Cambridge, MA: Harvard Uni- versity Press, 1993, 295–326. Lee, Vivian. “Cultural Lexicology: Maqiao Dictionary by Han Shaogong.” Mod- ern Chinese Literature and Culture 14, 1 (Spring 2002): 145–77. Leenhouts, Mark. “Is It a Dictionary or a Novel? On Playfulness in Han Sha- ogong’s Dictionary of Maqiao.” In Bonnie McDougall and Anders Hansson, eds, The Chinese at Play: Festivals, Games and Leisure. London: Kegan Paul, 2002. ——— . Leaving the World to Enter the World: Han Shaogong and Chinese Root- Seeking Literature. Leiden: CNWS Publications, 2005. Rong, Cai. “The Subject in Crisis: Han Shaogong’s Cripple(s).” The Journal of Contemporary China 5 (Spring 1994): 64–77. Hao Ran Egan, Michael. “A Notable Sermon: The Subtext of Hao Ran’s Fiction.” In Bon- nie S. McDougal, ed., Popular Chinese Literature and Performing Arts in the People’s Republic of China. Berkeley: University of California Press, 1984, 224–43. Elvin, Mark. “The Magic of Moral Power: Hao Ran, The Children of the Western Sands.” In Elvin, Changing Stories in the Chinese World. Stanford: Stanford University Press, 1997, 149–77. Huang, Joe C. “Hao Ran [Hao Jan]: The Peasant Novelist.” Modern China 2 (1976): 369–96. Jenner, W. J. F. “Class Struggle in a Chinese Village—A Novelist’s View: Hao Ran’s Yan Yang Tian [Yen-yang t’ien].” Modern Asian Studies 1 (1967): 191–206. BIBLIOGRAPHY • 427 King, Richard. “Revisionism and Transformation in the Cultural Revolution Novel.” Modern Chinese Literature 7, 1 (Spring 1993): 105–29. Wong, Kam-ming. “A Study of Hao Ran’s Two Novels: Art and Politics in Bright Sunny Skies and The Road of Golden Light.” In Wolfgang Kubin and Rudolf Wagner, eds., Essays in Modern Chinese Literature and Literary Criticism. Bochum: Brokmeyer, 1982, 117–49. He Qifang Galik, Marian. “Early Poems and Essays of Ho Ch’i-fang.” Asian and African Studies (Bratislava) 15 (1979): 31–63. ——— . “Ho Ch’i-fang’s Paths in Dreams: The Interliterary Relations with English, French Symbolism and Greek Mythology.” In Galik, ed., Milestones in Sino- Western Literary Confrontation (1898–1979). Weisbaden: Otto Harrassowitz, 1986, 153–76. McDougall, Bonnie S. “European Influences in the Poetry of Ho Ch’i-fang.” Jour- nal of the Oriental Society of Australia 5, 1/2 (1967): 133–51. ——— . “Memories and Metamorphoses of a Thirties’ Intellectual: A Study of He Qifang’s ‘Old Men’ (Lao ren).” Chinese Literature: Essays, Articles, Reviews 3, 1 (Jan. 1981): 93–107. Huang Chunming Goldblatt, Howard. “The Rural Stories of Hwang Chun-ming.” In Jeannette L. Faurot, ed., Chinese Fiction from Taiwan: Critical Perspectives. Bloomington: Indiana University Press, 1980, 110–33. Kubin, Wolfgang. Search for Identity: Huang Chunming’s ‘Sayonara-Zaijian.’ Honolulu: Workshop on Critical Approaches to Modern Chinese Short Stories, East-West Center, 1982. Lai, Stanley. “The Short Stories of Huang Chun-ming.” Fu Jen Studies 10 (1977): 25–40. Li, Guoqing. “Roots in the Same Land: On Hwang Ch’un-ming and Kao Hsiao- sheng’s Stories.” Chinese Culture 38, 3 (1997): 117–35. Tam, King-fai. “Beautiful Americans, Ugly Japanese, Obsequious Chinese: The De- piction of Race in Huang Chunming’s Stories.” In Berel Lang, ed., Race and Rac- ism in Theory and Practice. Lanham, MD: Rowman & Littlefield, 2000, 165–77. Jia Pingwa Barme, Geremie. “Soft Porn, Packaged Dissent, and Nationalism: Notes on Chi- nese Culture in the 1990s.” Current History 98, 584 (Sept. 1994): 270–76. 428 • BIBLIOGRAPHY ——— . In the Red: On Contemporary Chinese Culture. New York: Columbia Uni- versity Press, 1999, 181–85. Louie, Kam. “The Macho Eunuch: The Politics of Masculinity in Jia Pingwa’s ‘Human Extremities.’” Modern China 17, 2 (1991): 163–87. Lu, Sheldon Hsiao-peng. China, Transnational Visuality, Global Postmodernity. Stanford: Stanford University Press, 2001, 239–59. Sun, Jianxi. “Jia Pingwa and his Fiction.” In Yang Bian, ed., The Time Is Not Ripe: Contemporary China’s Best Writers and Their Stories. Beijing: Foreign Languages Press, 1991, 99–111. Wang, David Der-wei. “Review of Turbulence.” Modern Chinese Literature 6, 1/2 (1992): 247–250. Wang, Yiyan. “Mr Butterfly in Defunct Capital: Soft Masculinity and (Mis)engendering China.” In Kam Louie and Morris Low, eds., Chinese and Japanese Masculinities. London: Routledge, 2003. ——— . Narrating China: Jia Pingwa and His Fictional World. London, New York: Routledge, 2006. Zha, Jianying. “Yellow Peril.” TriQuarterly 93 (Spring-Summer 1995): 238–64. ——— . China Pop: How Soap Operas, Tabloids, and Bestsellers Are Transforming a Culture. New York: The New Press, 1995: 129–39, 146–64. Lao She Bady, Paul. “Death and the Novel—On Lao She’s ‘Suicide.’” Renditions 10 (1978): 5–20. Bickers, Robert. “New Light on Lao She, London and the London Missionary Society.” Modern Chinese Literature 8 (1994): 21–39. Birch, Cyril. “Lao She: The Humourist in His Humour.” China Quarterly 8 (1961): 45–62. Brandauer, Frederick P. “Selected Works of Lao She and Mao Tun and Their Rel- evance for Christian Theology.” Ching Feng 11, 2 (1968): 25–43. Chan, Stephen. “Split Consciousness: The Dialectic of Desire in Camel Xiangzi.” Modern Chinese Literature 2, 2 (1986): 171–97. Chow, Rey. “Fateful Attachments: On Collecting, Fidelity, and Lao She.” In Michel Hockx and Ivo Smits, eds., Reading East Asian Writing: The Limits of Literary Theory. New York and London: Routledge Curzon, 2003, 1–22. Duke, Michael. “Images of the Urban Poor in Lao She’s Short Stories.” Journal of the Chinese Language Teachers Association 13, 2 (1978): 137–49. Faurot, Jeannette. “Lao She’s Philosophy and The Philosophy of Lao Zhang.” Chinoperl Papers 20–22 (1997–99): 159–68. Galik, Marian. “Lao She’s Looking Westward to Ch’ang-an and Gogol’s The In- spector General.” In Galik, ed., Milestones in Sino-Western Literary Confronta- tion (1898–1979). Weisbaden: Otto Harrassowitz, 1986, 225–42. BIBLIOGRAPHY • 429 Grossholtforth, Petra. Chinesen in London: Lao She’s Roman “Er Ma.” Bochum: Brockmeyer, 1985. Ho, Koon-ki Tommy. “Cat Country: A Dystopian Satire.” Modern Chinese Lit- erature 3 (1987): 71–90. Hsia, C. T. “Lao She.” In Hsia, A History of Modern Chinese Fiction. 2nd ed. New Haven: Yale University Press, 1971, 165–88, 366–75. Hu, King. “Lao She in England.” Tr. Cecelia Y. L. Tsim. Renditions 10 (1978): 46–52. Hung, Chang-t’ai. “New Wine in Old Bottles.” In Hung, War and Popular Cul- ture: Resistance in Modern China, 1937–1945. Berkeley: University of Califor- nia Press, 1994, 187–220. Kao, George, ed. Two Writers and the Cultural Revolution: Lao She and Ch’en Jo-hsi. Hong Kong: Chinese University Press, 1980. ———. “Lao She in America—Arrival and Departure.” Renditions 10 (1978): 68–77. Lee, Leo Ou-fan. “Lao She’s ‘Black Li and White Li’: A Reading in Psychological Structure.” In Theodore Huters, ed., Reading the Modern Chinese Short Story. Armonk, NY: M.E. Sharpe, 1990, 3–21. Leung, Yin-nan. “Lao She and the Philosophy of Food.” Asian Culture Quarterly 21, 4 (1993): 1–10. Li, Peter. “Lao She and Chinese Folk Literature.” Chinoperl Papers 19 (1996): 1–20. Louie, Kam. “Constructing Chinese Masculinity for the Modern World: with Particular Reference to Lao She’s The Two Mas.” China Quarterly 164 (2000): 1062–78. Munro, S. R. The Function of Satire in the Works of Lao She. Singapore: Chinese Language Centre, Nanyang University, 1977. Slupski, Zbigniew. The Evolution of a Modern Chinese Writer: An Analysis of Lao She’s Fiction with Biographical and Bibliographical Appendices. Prague: Czechoslovak Academy of Sciences, 1966. Towery, Britt. Lao She: China’s Master Storyteller. Waco, TX: The Tao Founda- tion, 1999. Vohra, Ranbir. Lao She and the Chinese Revolution. Cambridge, MA: Harvard University Press, 1974. Wang, David. “Radical Laughter in Lao She and His Taiwan Successors.” In Howard Goldblatt, ed., Worlds Apart: Recent Chinese Writing and its Audi- ences. Armonk, NY: M.E. Sharpe, 1990, 44–63. ——— . Fictional Realism in Twentieth-Century China: Mao Dun, Lao She, Shen Congwen. New York: Columbia University Press, 1992. Wong, Yoon Wah. “Lao She’s Obsession with Joseph Conrad’s Stories of the Tropics.” In Wong, Post-Colonial Chinese Literatures in Singapore and Ma- laysia. Singapore: Dept of Chinese Studies, National University of Singapore, 2002, 127–40. 430 • BIBLIOGRAPHY Zhao, Qiguang. “Who Is Ruan Ming? A Political Mystery in Lao She’s Camel Xiangxi.” China Information 12, 3 (Winter 97–98): 104–22. Li Ang Chien, Ying-ying. “Women Crossing the Wild Zone: Sexual/Textual Politics in the Fiction of Ding Ling and Li Ang.” Fu Jen Studies 28 (1995): 1–17. Goldblatt, Howard. “Sex and Society: The Fiction of Li Ang.” In Goldblatt, ed. Worlds Apart: Recent Chinese Writing and Its Audiences. Armonk, NY: M.E. Sharpe, 150–65. Haddon, Rosemary. “From Pulp to Politics: Aspects of Topicality in Fiction by Li Ang.” Modern Chinese Literature and Culture 13, 1 (Spring 2001): 36–72. Liao, Sebastion Hsien-hao. “Jekyll Is and Hyde Isn’t: Negotiating the Nationaliza- tion of Identity in The Mystery Garden and ‘Breakfast at Tiffany’s.’” Journal of Modern Literature in Chinese 5, 1 (2001): 65–92. Liu, Joyce C. H. “From Loo Port to Taipei: The World of Women in Lee Ang’s Works.” Fu Jen Studies: Literature and Linguistics 19 (1986): 65–88. Martin, Helmut. “From Sexual Protest to Feminist Social Criticism: Li Ang’s Works 1967–1987.” In Wong Yoon Wah, ed., Chinese Literature in Southeast Asia. Singapore: Goethe-Institut, 1989, 127–51. Ng, Sheung-Yuen Daisy. “Feminism in the Chinese Context: Li Ang’s The Butch- er’s Wife.” Modern Chinese Literature 4, 1/2 (1988): 177–200. ——— . “Li Ang’s Experiments with the Epistolary Form.” Modern Chinese Litera- ture 3, 1/2 (1987): 91–106. ——— . “The Labyrinth of Meaning: A Reading of Li Ang’s Fiction.” Tamkang Review 18, 1–4 (1987–88): 97–123. Yeh, Michelle. “Shapes of Darkness: Symbols in Li Ang’s Dark Night.” In Michael S. Duke, ed., Modern Chinese Women Writers: Critical Appraisals. Armonk, NY: M.E. Sharpe, 1989, 78–95. Yue, Gang. “Embodied Spaces of Home: Xiao Hong, Wang Anyi, and Li Ang.” In The Mouth that Begs: Hunger, Cannibalism, and the Politics of Eating in Modern China. Durham, NC: Duke University Press, 1999, 293–330. Li Jinfa Liu, David Jason. “Chinese ‘Symbolist’ Verse in the 1920’s: Li Chin-fa and Mu Mu-t’ien.” Tamkang Review. 12, 3 (1981): 27–53. Mi, Jiayan. Self-Fashioning and Reflexive Modernity in Modern Chinese Poetry. Lewiston, NY: Edwin Mellen Press, 2004. Tu, Kuo-Ch’ing. “Symbolist Imagery in Li Jinfa’s Weiyu.” Journal of Oriental Studies 25, 2 (1987): 187–96. BIBLIOGRAPHY • 431 ——— . “The Introduction of French Symbolism into Modern Chinese Poetry.” Tamkang Review 10, 3–4 (1980): 343–67. ——— . “Li Chin-fa and Kamara Ariake: The First Symbolist Poets in China and Japan.” In Essays in Commemoration of the Golden Jubilee of the Fung Ping Shan Library. University of Hong Kong, 1982. Li Rui Coers, Donald. “An Interview with the Chinese Writer Li Rui.” Texas Review 11, 1/2 (Spring/Summer 1990): 18–25. Li Yongping Lau, Joseph, S. M. “The Tropics Mytho-poetized: The Extraterritorial Writing of Li Yung-p’ing in the Context of the Hsiang-t’u Movement.” Tamkang Review 12, 1 (1981): 1–26. Rojas, Carlos. “Of Motherlands and Maternities: Special Topographies in Li Yongping’s Haidong Qiing.” In David Wang and Joyce Liu, eds., Writing Taiwan: Strategies of Representation. Durham, NC: Duke University Press, 2006. ——— . “Paternities and Expatriotism: Li Yongping’s Zhu Ling Manyou Xianjing and the Politics of Rupture.” Tamkang Review 29, 2 (Winter 1998): 22–44. Wang, David. “Imaginary Nostalgia: Shen Congwen, Song Zelai, Mo Yan, and Li Yongping.” In Ellen Widmer and David Wang, eds., From May Fourth to June Fourth: Fiction and Film in Twentiety-Century China. Cambridge, MA: Harvard University Press, 1993, 107–32. Liang Xiaosheng Lin, Min, and Maria Galikowski. “Liang Xiaosheng’s Moral Critique of China’s Modernization Process.” In Lin and Galikowski, The Search for Modernity: Chinese Intellectuals and Cultural Discourse in the Post-Mao Era. New York: St. Martin’s Press, 1999, 123–42. Lin Bai Wang, Lingzhen. “Reproducing the Self: Consumption, Imaginary, and Identity in Chinese Women’s Autobiographical Practice in the 1990s.” In Charles Laughlin, ed., Contested Modernity in Chinese Literature. New York: Palgrave Macmillan, 2005, 173–92. . Univer- sity of California Press, 1990, 246 50; 282–89. 426 • BIBLIOGRAPHY Yip, Terry Siu-Han, and Kwok-Kan Tan. “European Influence on Modern Chi- nese Drama: Kuo Mo-jo’s Early Historical-Problem. Memory.” In Yang, The Chinese Postmodern: Trauma and Irony in Chinese Avant-garde Fiction. Ann Arbor: University of Michigan Press, 2002, 168–87. Zhang, Xudong. “Fable of Self-Consciousness: Ge. and Tu Fu by Kuo Mo-jo––A Reexamination.” Chinese Literature: Essays, Articles, Reviews 4, 1 (Jan. 1982): 75–90. Doar, Bruce. “Images of Women in the Dramas of Guo Moruo: The Case of Em- press