Haun Saussy Presents Victor Mair with Surprise Festschrift at Cambria Press AAS 2018 Reception

Cambria Press Publication Author Haun Saussy Victor Mair

What took place on the evening of March 24, 2018, in Washington, DC, was one of the most unforgettable events in AAS history, and probably any academic conference.

The evening began with short speeches about new books by Shen Jiawei and Mabel Lee, Albert Welter, Jonathan Stalling, Megan M. Ferry, Christopher Rea, Liu Jianmei (and Mabel Lee), and Carolyn T. Brown.

Then Professor Haun Saussy was asked by Toni Tan, director of Cambria Press, to come up to speak. While Professor Mair was aware that Professor Saussy was working on an edited volume, he had no idea that this was a festschrift being put together in his honor and that it would be unveiled that very night. So when Toni Tan asked Professor Saussy to take the stage, Professor Mair was under the impression that Professor Saussy was coming up just to say a few words about the forthcoming book. Little did he know that he would be presented with the highly anticipated top-secret volume that was the talk of the AAS.

After Professor Saussy gave his speech and presented the festschrift, Texts and Transformations: Essays in Honor of the 75th Birthday of Victor H. Mair, the birthday surprises did not end there. Toni Tan gave a speech about Professor Mair and then announced that a surprise mystery guest had come all the way specially to Washington, DC, to present Professor Mair with his birthday cake and lead the crowd in singing “Happy Birthday” (in Chinese and English). It was a wonderful night celebrating Cambria authors and honoring Professor Victor Mair, a most beloved scholar who has helped so many in and outside the field.

Watch the video of the astonishing and incredibly heartwarming event, including speeches by Haun Saussy and Toni Tan, the surprise mystery guest who wheeled in the huge birthday cake, and finally by Victor Mair (whose reaction was wonderful and priceless)!

More photos of the event will be posted on Facebook and Twitter soon.

Victor Mair

Order your copy of Texts and Transformations: 
Essays in Honor of the 75th Birthday of Victor H. Mair today!

Editor: Haun Saussy
Publisher: Cambria Press
ISBN: 9781604979565
486 pp.  |   2018   |   Hardback & E-book
Book Webpage: http://www.cambriapress.com/books/9781604979565.cfm

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Cambria Press Author Carolyn T. Brown – Speech at AAS 2018 Reception

Cambria Press author Dr. Carolyn T. Brown, retired Director of the Office of Scholarly Programs and the John W. Kluge Center of the Library of Congress, gave a speech about her book, Reading Lu Xun Through Carl Jung, at the Cambria Press reception at the AAS 2018 conference in Washington, DC.

Watch Dr. Carolyn Brown’s speech and/or read the transcript below.

 

Cambria Press Publication Author Carolyn Brown

“I always seem to do things a little bit differently from other people, so my questions are questions that I’ve asked myself over many years, and they are embedded in my comments.

My first encounter Lu Xun’s short stories occurred during my sophomore year at Cornell University in a survey course in modern Chinese literature in translation. We must have read several of his iconic stories, undoubtedly “A Madman’s Diary” and “The True Story of Ah Q”. One particular story sent me reeling. When I reached the conclusion of “The New Year’s Sacrifice,” my whole being recoiled in a physiological grimace. I knew something had happened to make me almost double over in pain, but I did not know what. No short story I had ever read had ever delivered such a visceral punch before.

In the decades that followed, I asked myself multiple times why I, a black woman from Queens, New York, would have found Lu Xun’s stories so compelling, why I would have returned to them repeatedly through the years, why their importance increased to the point of consuming hours of my attention through the hard times of my life, why during my career as an academic I would write about them, and why in my post-academic career I would still find the need to close the circle and write this book.

My presence in that Cornell classroom was, in the first place, a bit unlikely. When I entered college, I knew virtually nothing about China. I had never met anyone who came from China or who had lived there, as best I can recall; nor had I felt a particular urge to visit China myself, not that I could have because at that time Americans were barred from travel to “Red China” as it was called. But I had received a rigorous high school training in the “history of civilization,” which as it was then taught was the heroic history of the great white men of Western Europe and the United States. My immature intellect knew enough from my family’s history to know that black people were a full part of the American story even though the textbooks omitted that fact. From my mother’s chinoiserie home décor and a few books in our family library, I also knew that “civilization” included China, which had as much (or more) history and culture—art, literature, philosophy, and so forth—as Europe, and the quality was as good or better. Out of revenge for “the lies” I had been taught, once in college I turned to China, being too young and inexperienced to know that all nations lie to some degree about their histories. I wanted truth!

So there I was, studying Chinese history, language, and literature and reading stories by the man who, for much of the twentieth century, was considered modern China’s greatest writer. He was a central figure in the tumultuous decades of that century, both a product of his time and an agent giving it shape. He is still appreciated for his profound insights into the nature of Chinese society, his dedication to ending the suffering of his nation’s populace, his deep moral integrity, and his unrelenting commitment to self-scrutiny. He never relented in his struggle against the forces that stood in the way of a more humane China, even though he despaired of success. Whatever my initial motivation, there I was, sitting in that classroom, deeply moved by these stories from a different time and place. Why?

Lu Xun’s stories stories are clear-eyed critiques of the social norms and conditions of Chinese society that were, in his eyes and those of many of his reform-minded contemporaries, essential causes of China’s insufficient response to the calamities visited upon it by the forced encounter with Western imperial powers. Lu Xun took what was known, familiar, and accepted and exposed it to be cruel and inhumane, and so opened his readers’ eyes to seeing and understanding in new ways. I had felt the impact of that wrenching reversal of perspective without quite knowing what was acting upon me.

In later years, during my own hard times, I probed my own psyche in an attempt to understand unfortunate patterns of my own creation that were shaping my life and causing me considerable suffering. At the same time in my professional life as an academic I was also living with these short stories, searching below their surfaces for patterns that shaped them. As I was rethinking the narrative patterns of my life, I found myself drawn more fully into Lu Xun’s rewriting of the narrative of his contemporary Chinese reality, looking for the internally generated cultural patterns which had been bequeathed by that tradition and which, to his mind, accounted for dysfunctional dimensions of China’s interaction with external forces and events. In interrogating his texts, I found myself searching for embedded structures that were generating these manifestations, a process analogous to the tasks I was performing in my own life. Somewhere along the way, I encountered the work of Carl Jung and over time began to see the connections between his work, Lu Xun’s analyses, and my life’s journey. This book is the result of that process of inquiry and the best answer I can give to my wonderment about the capacity of these short stories to touch me so profoundly.

My thanks to Cambria Press and all the wonderful friends who have helped me over the decades to bring this book to fruition. Thank you.”

* * * * *

About the book

Scholars who study Lu Xun’s modern short stories have usually focused on the content and used the stories to understand Lu Xun the writer or to sheds light on his times; they have attended to the structure only to the degree that it illuminates these concerns. This study executes a reversal, decentering the content and focusing on the structure as a primary means to understand the texts, and it seeks to understand the Lu Xun who presents himself through his work, not Lu Xun the full human being. The structure that emerges from a close reading of the stories does indeed present an implicit therapeutic model. Carl Jung’s theories of the normative human self articulate with some precision Lu Xun’s implicit vision of spiritual cure. Jung, one of three key founders of modern Western psychology, grounded his understanding of the human psyche in personal self-scrutiny and extensive clinical practice, and so his theories offer a validated psychological model for interpreting the textual evidence.

Reading Lu Xun Through Carl Jung thus deploys a new methodology and proposes a new model for interpreting Lu Xun’s two collections of modern short stories. Perhaps more important is that understanding Lu Xun’s psychological model opens new ways of imagining the relevance of his stories to timeless human concerns. Contemporary scholars increasingly ask about Lu Xun’s value now that the overt subjects of his concerns have receded into the past, and they have also looked to understand his role in the context of the international intellectual currents of his time. Although not primarily concerned with the sources of Lu Xun’s creativity, this study does suggest resonances between the structure of his thought as revealed in the stories and that of key nineteenth-century European philosophers and writers. Even while being firmly grounded in his own times, Lu Xun evoked universal themes and archetypes of the human condition. This book will appeal to scholars in Asian studies, comparative literature, and psychology.

Title: Reading Lu Xun Through Carl Jung
Author: Carolyn T. Brown
Publisher: Cambria Press
ISBN: 9781604979374
312 pp.  |   2018   |   Hardback & E-book
Book Webpage: http://www.cambriapress.com/books/9781604979374.cfm

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Cambria Press Author Liu Jianmei – Speech at AAS 2018 Reception

Cambria Press author Professor Liu Jianmei, Professor of Chinese Literature at Hong Kong University of Science and Technology, gave a speech about her book, Gao Xingjian and Transmedia Aesthetics, coedited with Mabel Lee, at the Cambria Press reception at the AAS 2018 conference in Washington, DC.

Watch Professor Liu Jianmei’s speech and/or read the transcript below.

Cambria Press Publication Author Liu Jianmei

“I will jump right to the first question people ask about our book, which is what does your book bring that is new to Gao Xingjian studies? Previous studies on Gao Xingjian usually focus on particular areas of his fiction, plays, painting, film or poetry, or used his essays to explore his ideas on literature and creative aesthetics. This new book, which I have coedited with Mabel Lee, aims to cross the boundaries of these media, and to provide a comprehensive investigation of Gao Xingjian’s creations and ideas. The purpose of this is to showcase his transcultural, transdisciplinary, and transmedia explorations, and examine how he has persistently projected the struggles and agonies of the individual’s inner landscape into vivid images on stage, in films, in black-and-white paintings, and in the multilayered narrative expressions in fiction and poetry, and even in dance and music.

The second question people ask is what is different in your approach to this volume? Well, this volume crosses the boundaries of traditional academic writing and takes the reader to the in-between spaces of different styles of writing, research, and commentary, which help us better understand Gao’s endeavors in literary, theatrical, and pictorial creation and their accompanying philosophical insights. The chapters in this book transgress the boundaries of different media and genres—fiction, drama, poetry, painting, film—in their deliberations, and these diverse approaches serve to broaden the scope of Gao Xingjian research through what can be described as a dimension of heightened freedom, that is suggestive of Chan Buddhist comprehension. Gao Xingjian often states that for him creative innovations emerge at boundaries and in-between space. The aim of this collection thus seeks to explore such boundaries and in-between spaces in academic research on Gao Xingjian.

Finally, I want to thank Toni Tan and Victor Mair for their strong support of our new book. I also want to thank our contributors for their excellent essays and David Armstrong for his patience and help through the whole process of publication. We are really grateful to Cambria Press.

* * * * *

About the book

Since Gao Xingjian’s Nobel win in 2000 he has demonstrated his profound erudition across cultures in his creative explorations in literature and the visual arts. His intense intellectual curiosity can seldom be matched by his contemporaries, and his creative achievements in literature, the dramatic arts, painting, and film have been extraordinary, and have been reflected in his aesthetic treatises on art and literature. English-language publications have been in the forefront of Gao Xingjian research since the 1980s, and this book fills a Gao Xingjian research hiatus simply because it is hard to keep abreast of his stridently innovative creations. This volume brings readers up to date on Gao Xingjian, who is probably in this age of uncertainties, one of the foremost aesthetes in literature and the visual arts.

Gao Xingjian and Transmedia Aesthetics demonstrates the extensive reach of Gao Xingjian’s transcultural, transdisciplinary and transmedia explorations. Showcased here is the panoramic aesthetics of a polymath who has successfully personified modern-time renaissance by projecting the struggles of the individual’s inner landscape into vivid images on stage, film, black-and-white paintings, and in the multilayered narrative expressions of fiction and poetry, even dance and music, to evoke a sense of sincerity and authenticity that penetrates a viewer/reader’s heart. The volume is divided into four parts: philosophical inquiry; transdiscipline, transgenre, transculture; cine-poems with paintings, dance and music; and identifying and defining the self. The chapters probe different aspects of Gao Xingjian’s work, bearing testimony to their diverse specializations.

This book will appeal to Chinese literature scholars, undergraduate and graduate students, and general readers with an interest in the broad subjects of contemporary Chinese literature, high arts, avant-garde culture, women’s and gender studies, Sinophone film and transmedia culture, comparative literature, and cultural studies.

Title: Gao Xingjian and Transmedia Aesthetics
Editors: Mabel Lee and Liu Jianmei
Publisher: Cambria Press
ISBN: 9781604979466
362 pp.  |   2018   |   Hardback & E-book
Book Webpage: http://www.cambriapress.com/books/9781604979466.cfm

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Cambria Press Author Megan M. Ferry – Speech at AAS 2018 Reception

Cambria Press author Professor Megan Ferry, Associate Professor of Chinese and Asian Studies and Chair of the Modern Languages and Literatures Department at Union College, gave a speech about her book, Chinese Women Writers and Modern Print Culture, at the Cambria Press reception at the AAS 2018 conference in Washington, DC.

Watch Professor Megan Ferry’s speech and/or read the transcript below.

Cambria Press Publication Author Megan Ferry

“My story about this book begins when I was about twelve years old. I read about land reform and I just saw individual role models that got me excited and I just had to go to China and find out more.

So the first question I’ll give you is how I did get started on writing this book? The books we write represent important stories of our selves. They are life questions that nag us until we are able to bring them to expression. This book took about 20 years to write. I rewrote it at least six times, completely, and the stories were not ready to come out, and I was ready to shelve it just as many times, if not more. And yet, it is a book that is appropriate for this time of the #MeToo movement, the crackdown on the “feminist five” because it evokes a lot of questions about social justice, liberation, and universal human rights, as we certainly saw today at the Mall here in Washington, DC, and the dominant ideologies that construct the filters that determine how we think and feel.

So, my story begins with seeing in the Chinese women writers of the early 20th century as role models who were wanting to effect change in their culture and were also passionate about contributing to China. And as I read about the critics, the friends, and the lovers, I was constantly surprised by them saying they would qualify the women by saying “Oh, but Xiaohong, she wears her hair in pigtails” or “Ding Ling is a little bit short and stocky” and I’m thinking what does that have to do with her being a woman writer. Or they say that women writers only write about love, but when we read we see that there’s much more going on, much more than what meets the eye.

And what I realized is that women writers are qualified not by what they are writing, but the whole system of the publishing industry, which qualifies how we are supposed to read and understand them. So I went to China and was in the archives, looking through the journals for two years and went to interview scholars on Ding Ling. In particular, I encountered male scholars who, when I would ask them about women writers, they would seem to tell me to veer the conversation toward why did their female students look better–had better hair, better dress, better clothes–because they were kept women of many overseas businessmen. So there was some lamentation in there, and perhaps some jealousy. Another male scholar, a prominent male scholar on modern Chinese literature and Ding Ling–when I went to interview him about Ding Ling, he proceeded to show me nude photos of himself and asked me what I thought, to my surprise. What I realized was that these scholars had encountered a Western female scholar coming to asking about women writers, and what I also realized was that this was another story that was ready to be told as well.

So here I was, a young Western female scholar in China, encountering many different things but certainly understanding about the gender-culture encounters that we have through our mediated world.

The second question we ask is why did discussions of Ding Ling lead seamlessly to male scholars’ discussion of their gendered contemporary milieu and sexuality? In this media-driven world, this very heterogeneous society that we live in, is often very narrowly defined by the power of the few who own those media. Being familiar with media and how it operates in the West, I was looking into and seeing what was happening in China. I laid my hands on as many stories as I could find within China, and what I have seen is how deeply entrenched the gender norms are, equally in China as they are here in the U.S., how they are also reiterated in the media and that’s how we also learn how to construct our world and see our world as common sense. So, what I’m looking at is the structures, what we call the paratexts, for constructing how we understand those women writers–not just the pigtails, not just the stories that they write.

I would like to thank Toni Tan tremendously for the many years that she has been supportive as I hemmed and hawed about whether this book should come to print. I would also like to thank Professor Victor Mair for allowing my book to appear in the Cambria Sinophone World Series. It’s an honor. You’ve created an excellent series for Sinological studies, and it’s an honor to be with so many wonderful colleagues. So I thank you very much.”

* * * * *

About the book

The widespread public exposure of modern Chinese women writers in the 1920s and 1930s generated interest in women’s creative output. The publishing field was the chief cultural forum within which other women looking for role models assessed their experiences in modernity. At the same time, however, this forum was limited by parameters that defined the labor of “women writers” (nüzuojia) as largely sentimental, unstructured, politically disengaged or naively subjective and unable to see the “larger picture” of humanity. Therefore, the value of women’s creative output was classified alongside the dominant narrative that conditioned readers’ responses to women’s literary output as evidence of women’s incomplete emancipation. The liberation of the newly styled women occurred in an industry whose power was the basis of the nation’s new cultural construction, yet despite there being exemplary women within the industry, there is no evidence of women as drivers of culture or in sustained cultural leadership roles to the same extent or with the same cultural weight as their male peers.

Women intellectual’s status as cultural producers, as it was codified in print media, has yet to be more fully explored so that we can better understand the relationship between gender ideologies and media. By deconstructing the hidden visual and linguistic signs of modernity’s promise for women’s equality and freedom one can begin to understand why, a century later, contemporary female authors confront obstacles similar to their pre-1949 predecessors. The social category of “women writers” is one among many that lets us examine how media’s visual and linguistic signs of difference express cultural identity norms and codify the modern individual.

Employing media analysis to examine the way paratexts create and reproduce gendered norms, especially through persistent material and discursive mechanisms that framed women authors and their textual production, Chinese Women Writers and Modern Print Culture is the first study to analyze the gendered ideologies of Chinese print media and political culture in a single work. It is thus  an important book for scholars in the fields of Asian studies, media studies, and women and gender studies.

Title: Chinese Women Writers and Modern Print Culture
Author: Megan M. Ferry
Publisher: Cambria Press
ISBN: 9781604979381
290 pp.  |   2018   |   Hardback & E-book
Book Webpage: http://www.cambriapress.com/books/9781604979381.cfm

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Cambria Press Author Albert Welter – Speech at AAS 2018 Reception

Cambria Press author Professor Albert Welter, Head of East Asian Studies at the University of Arizona, gave a speech about his book, The Administration of Buddhism in China: A Study and Translation of Zanning and the Topical Compendium of the Buddhist Clergy (Da Song Seng shilue), at the Cambria Press reception at the AAS 2018 conference in Washington, DC.

Watch Professor Albert Welter’s speech and/or read the transcript below.

Cambria Press Publication Author Albert Welter

Below is a transcript of Professor Albert Welter’s speech:

“I know there are some of you who have worked on projects longer than I have on this one, but I doubt there are many. I started working on the early Song dynasty literati Buddhist Zanning as a post-doctoral project funded by the Social Sciences and Humanities Research Council of Canada, back in the late 1980’s, and have continued to work on this project intermittently in the intervening years. Here we are, 30 years on, and finally, thanks to Cambria Press, and aided by another Canada Council grant along the way, my study of Zanning and translation of his Da Song Seng Shilüe (Topical Compendium of the Buddhist Clergy) is finally seeing the light of day.

I tend to get asked two different kinds of questions regarding my work: Americans ask me how I got interested in China, Chinese ask how I got interested in Buddhism. As we all know, religion can be a touchy subject in China, less so these days than before, but still needing some delicacy at times. I recall my first time to China in the early to mid-1980’s being encircled on the Bund in Shanghai by a crowd of a hundred or more curious Chinese, wondering who the laowai was in their recently opened but still mostly forbidden land. When they learned that I had come to study Buddhism, a nervous hush fell over the crowd. My Chinese interlocutor for the group, an “elderly” gentleman (“elderly” being a relative term, as I have come to find 30 years later) quickly asked me a few clarifying questions about the nature of my study and was able to announce to the palpable relief of the crowd that I was “biàn zhèng wéi wù zhǔ yì zhě” (a dialectical materialist). The day was saved.

Sinologists, on the other hand, tend to ask me how I got interested in Zanning. Perhaps they are just as relieved to find that Zanning was not my primary interest but was an outcome of a larger fascination with the origins of Song dynasty Buddhism, the role of Buddhism in the transition from Tang to Song, and how such a thing as a Buddhist literatus, or Buddhist ru or ruseng, came to play such a prominent role. My interest in Zanning generated a number of contradictions that have continued to percolate. For example, on a panel a few years ago tasked with the question, “when did ru become Confucian?” it fell upon me to suggest, thanks to Zanning, that ru did not always become Confucian. On the topic of the association of daoxue with the rise of Song Dynasty Neo-Confucianism, I, thanks to Zanning, get to remind the audience that daoxue was but one part of a larger Songxue movement, and that Songxue included, quite prominently, the study of Buddhism, an interest that prevailed among literati throughout the Song. Buddhists like Zanning were also knowledgeable advocates of Confucian teaching to an extent that Confucians looked to him for advice on their own teachings and practices. Zanning forces us to ask fundamental questions about the nature of Chinese Buddhism, not as a haven for monastic recluses, but as an avenue for engaged scholars to participate in the highest level of debates over pressing matters of cultural significance. Zanning reminds us that Song Dynasty Buddhists were not pushed to the margins of society, even if dynastic historians did a masterful job of erasing their presence. To those of you who find the grammar and vocabulary of Buddhist texts “messy” to the point of incomprehension, Zanning’s Topical Compendium may offer some relief, just as it did when Emperor Taizong commissioned it as a primer on Buddhist history, institutions, and practices, for the newly formed bureaucracy of the Song Dynasty.

Finally, I want to say that I am especially pleased to be able to publish with Cambria. I’m not sure any other press would have taken on a 700-page publication project, roughly half of which is devoted to notes and appendices. And they have done a masterful job with great support and enthusiasm. I want to thank Toni Tan, David Armstrong, and Victor Mair and everyone else who has worked on this. I’m very impressed with the quality of the work, and the speed with which you executed all the minute tasks that go along with publishing. And I’m really happy to have published with a press devoted to the finest works on Sinology. Zanning would be pleased. Thank you.

* * * * *

About the book

The early Song dynasty (960–1278) was a time of immense intellectual fervor, as China rulers, after over a century of internecine warfare, embarked on a new course that promoted wen (literary or cultural arts) over wu (martial prowess). With the new literary based agenda came a discussion of how to constitute Song’s wen agenda, how to define wen values, what kinds of literature should be included and what excluded, and so on. Zanning (919–1001) was the leading Buddhist literatus at the Song court and his Topical Compendium of the Buddhist Clergy represents a major contribution to this debate, the understanding of which would be deficient without it.

The relationship between religion and the state is a topic of major concern in the history of religions. While books, articles, and essays on this topic are common for other regions of the world, especially the West and increasingly for Islamic regions, there are few works discussing the dynamics of religion/state relations in China. Studies are beginning to appear that discuss the dynamics of religion/state relations in modern China, and while many studies of pre-modern Chinese religion touch on this topic, there is no study in English that addresses this topic head on. The relationship between religion and the state in China is a perennial problem that shows no sign of losing its significance in contemporary international affairs, and studies of the history of this relationship with a focus on Buddhism, the most articulate religious force in China during the past couple of millennia, cannot but have a real value to scholars and students.

Zanning’s Topical Compendium of the Buddhist Clergy engages the issue of the Buddhist presence in China directly, arguing for the clear and consistent contributions of Buddhism to Chinese culture and society in an unambiguous way. While ceding claims to independence, Zanning offers that Buddhism is an integral component of China’s culture, not an alien tradition anathema to Chinese values, but an important contributing factor to them. While other works argue in favor of Buddhism in the Chinese context in doctrinal and intellectual terms, only the Topical Compendium of the Buddhist Clergy asserts the necessity of Buddhist institutions and customs as assets in administrative affairs.

The Administration of Buddhism in China: A Study and Translation of Zanning and the Topical Compendium of the Buddhist Clergy is thus a very important book for Asian studies, Buddhist studies, and history collections.

Title: The Administration of Buddhism in China: A Study and Translation of Zanning and the Topical Compendium of the Buddhist Clergy (Da Song Seng shilue)
Author: Albert Welter
Publisher: Cambria Press
ISBN: 9781604979428
722 pp.  |   2018   |   Hardback & E-book
Book Webpage: http://www.cambriapress.com/books/9781604979428.cfm

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Texts and Transformations: Essays in Honor of Victor H. Mair

Saussy VHM Front Cover.jpg

Tabula Gratulatoria

The following individuals have entered their names in the tabula gratulatoria of Texts and Transformations: Essays in Honor of the 75th Birthday of Victor H. Mair, edited by Haun Saussy, to express their gratitude for what Victor Mair has done and as a tribute to his impact on Asian studies throughout the world. While we did our best to reach all who might have wanted to add their names, we did not reach everyone and know that this list represents only a fraction of those whose lives and work have been greatly enriched by Victor Mair.

*     *     *

Susan R. Anderson

Center for Buddhist Studies, University of Arizona

East Asian Studies Department, University of Arizona

Kathlene Baldanza

Anthony Barbieri-Low

T. H. Barrett

Wolfgang Behr

Mark Bender

James A. Benn

Rostislav Berezkin

Michael Berry

Susan D. Blum

Gayle Foster Bodorff

Stephen R. Bokenkamp

Daniel Boucher

Jim Breen

Katharine P. Burnett

Cambria Press

Linda H. Chance

Kang-i Sun Chang

Huaiyu Chen

Chen Jinhua

Kaijun Chen

Xiaomei Chen

Cheng Fangyi

Eva Shan Chou

John Colarusso

Jennifer Crewe

Wiebke Denecke

Nicola Di Cosmo

June Teufel Dreyer

Ronald Egan

Gina Elia

Lothar von Falkenhausen

Geraldine Fiss

Erika Forte

Charlotte Furth

Liangyan Ge

Levi Gibbs

Erika H Gilson

Peter B. Golden

Phyllis Granoff

Linda Greene

Alison Groppe

Guinsr Peggy Guinsr

Chris Hamm

Valerie Hansen

Lauran R. Hartley

Hartman Charles Hartman

Rowena He

Anne Henochowicz

Jane Hickman

Gene Hill

Michel Hockx

Laura Hostetler

H. M. Agnes Hsu-Tang

Minghui Hu

Hu Ying

Wilt L. Idema

Lionel Jensen

Jiang Chenxin

Nicholas A. Kaldis

Paize Keulemans

Ross King

Jeffrey C. Kinkley

Cornelius C. Kubler

Wendy Larson

Charles A. Laughlin

Mabel Lee

Dore J. Levy

Melody Yunzi Li

Qiancheng Li

Perry Link

Jonathan Lipman

Liu Jianmei

Zhenzhen Lu

Liang Luo

Christopher Lupke

Richard John Lynn

In memory of Joseph C. and Esther F.L. Mair

David M. Mair

Denis C. Mair

Joseph R. Mair

Thomas Krishna Mair

Thomas L. Mair

Jim Mallory

Paul Manfredi

Justin McDaniel

Joseph P. McDermott

Tsu-Lin Mei

Xiuyuan Mi

Arina Mikhalevskaya

James Millward

Diane Moderski

Thomas Moran

David Moser

Brendan O’Kane

EALC, University of Pennsylvania

Peter Perdue

Martin Powers

Nanxiu Qian

Bob Ramsey

Evelyn S. Rawski

Jeffrey Rice

John S. Rohsenow

Carlos Rojas

Haun Saussy

Neil Schmid

David K. Schneider

Leander Seah

Cecilia Segawa Seigle

Tansen Sen

Kelsey Seymour

Ed Shaughnessy

Shu-mei Shih

Koichi Shinohara

Jerome Silbergeld

Jonathan Stalling

Tanya Storch

E. K. Tan

Toni Tan

Ori Tavor

Emma J. Teng

Jing Tsu

J. Marshall Unger

Rudolph Wagner

David Der-wei Wang

Jiajia Wang

Yuanfei Wang

Sophie Ling-chia Wei

Stephen H. West

Ellen Widmer

Carrie E. Wiebe

Endymion Wilkinson

Dorothy C. Wong

Chia-rong Wu

I-Hsien Wu

Jiang Wu

Kunbing Xiao

Xie Bo

Xu Wenkan

Xiaowen Xu

Mimi Yiengpruksawan

Leqi Yu

Li Yu

Zhansui Yu

Zhang Xing

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Cambria Press Publication Review: Zhang Yimou

Congratulations to Professor Wendy Larson on the outstanding review of her book Zhang Yimou: Globalization and the Subject of Culture in the journal Modern Chinese Literature and Culture (MCLC)!

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The book review notes:

“At 420 pages, Zhang Yimou: Globalization and the Subject of Culture is a magnum opus. … Although I have emphasized the themes that run through the book here, each chapter in Zhang Yimou: Globalization and the Subject of Culture is autonomous, making it possible to assign individual chapters for classroom use. Larson writes lucidly and persuasively … Taken together, as I hope I have shown, the chapters combine to produce one of the most detailed and sustained analyses of a certain trajectory through much of Zhang’s most powerful work. They make a persuasive case for taking the popular in contemporary Chinese culture seriously, regardless of questions of taste. Larson’s rich and engaging book is a seminal text in Zhang studies. … Larson’s welcome book reminds us that although the field of Chinese cinema studies has grown and diversified, it is perhaps in the realm of popular film that the most work remains to be done. Zhang Yimou: Globalization and the Subject of Culture takes a huge step down that road.”

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