Judith T Zeitlin – författare

In the contemporary world, voices are caught up in fundamentally different realms of discourse, practice, and culture: between sounding and nonsounding, material and nonmaterial, literal and metaphorical. In The Voice as Something More, Martha Feldman and Judith Zeitlin tackle these paradoxes with a bold and rigorous collection of essays that look at voice as both object of desire and material object. Using Mladen Dolar's influential A Voice and Nothing More as a reference point, The Voice as Something More reorients Dolar's psychoanalytic analysis around the material dimensions of voices--their physicality and timbre, the fleshiness of their mechanisms, the veils that hide them, and the devices that enhance and distort them. Throughout, the essays put the body back in voice. Ending with a new essay by Dolar that offers reflections on these vocal aesthetics and paradoxes, this authoritative, multidisciplinary collection, ranging from Europe and the Americas to East Asia, from classics and music to film and literature, will serve as an essential entry point for scholars and students who are thinking toward materiality.

Speaking about Chinese writing entails thinking about how writing speaks through various media. In the guises of the written character and its imprints, traces, or ruins, writing is more than textuality. The goal of this volume is to consider the relationship of writing to materiality in China’s literary history and to ponder the physical aspects of the production and circulation of writing. To speak of the thing-ness of writing is to understand it as a thing in constant motion, transported from one place or time to another, one genre or medium to another, one person or public to another.Thinking about writing as the material product of a culture shifts the emphasis from the author as the creator and ultimate arbiter of a text’s meaning to the editors, publishers, collectors, and readers through whose hands a text is reshaped, disseminated, and given new meanings. By yoking writing and materiality, the contributors to this volume aim to bypass the tendency to oppose form and content, words and things, documents and artifacts, to rethink key issues in the interpretation of Chinese literary and visual culture.

This is the first book in English on the seventeenth-century Chinese masterpiece Liaozhai's Records of the Strange (Liaozhai zhiyi) by Pu Songling, a collection of nearly five hundred fantastic tales and anecdotes written in Classical Chinese.

Case studies fascinate because they link individual instances to general patterns and knowledge to action without denying the priority of individual situations over the generalizations derived from them. In this volume, an international group of senior scholars comes together to consider the use of cases to produce empirical knowledge in premodern China. They trace the process by which the project of thinking with cases acquired a systematic and public character in the ninth century CE and after. Premodern Chinese experts on medicine and law circulated printed case collections to demonstrate efficacy or claim validity for their judgements. They were joined by authors of religious and philosophical texts. The rhetorical strategies and forms of argument used by all of these writers were allied with historical narratives, exemplary biographies, and case examples composed as aids to imperial statecraft.

The ""phantom heroine""—in particular the fantasy of her resurrection through sex with a living man—is one of the most striking features of traditional Chinese literature. Even today the hypersexual female ghost continues to be a source of fascination in East Asian media, much like the sexually predatory vampire in American and European movies, TV, and novels. But while vampires can be of either gender, erotic Chinese ghosts are almost exclusively female. The significance of this gender asymmetry in Chinese literary history is the subject of Judith Zeitlin’s elegantly written and meticulously researched new book.Zeitlin’s study centers on the seventeenth century, one of the most interesting and creative periods of Chinese literature and politically one of the most traumatic, witnessing the overthrow of the Ming, the Manchu conquest, and the subsequent founding of the Qing. Drawing on fiction, drama, poetry, medical cases, and visual culture, the author departs from more traditional literary studies, which tend to focus on a single genre or author. Ranging widely across disciplines, she integrates detailed analyses of great literary works with insights drawn from the history of medicine, art history, comparative literature, anthropology, religion, and performance studies.The Phantom Heroine probes the complex literary and cultural roots of the Chinese ghost tradition. Zeitlin is the first to address its most remarkable feature: the phenomenon of verse attributed to phantom writers—that is, authors actually reputed to be spirits of the deceased. She also makes the case for the importance of lyric poetry in developing a ghostly aesthetics and image code. Most strikingly, Zeitlin shows that the representation of female ghosts, far from being a marginal preoccupation, expresses cultural concerns of central importance.

Writing in the early nineteenth century, the French traveler and cleric Abbe Huc exclaimed: "There is, perhaps, not a people in the world who carry so far their taste and passion for theatrical entertainments as the Chinese." Although the spectacle of this theater is well known, with its colorful costumes, props, and face painting, the extent to which opera was favored in Chinese pictorial and decorative motifs across the full spectrum of visual media - from courtly scroll paintings, popular New Year prints, illustrated woodblock books, and painted fans to carved utensils, ceramics, textiles, and dioramas-will surprise many. As the first comprehensive publication in English on the subject, Performing Images is not only a major interdisciplinary contribution to existing scholarship - featuring eight new essays by experts in the fields of traditional and modern Chinese literature, art, material culture, and history - but also a visual spectacle in its own right. A companion volume to the exhibition of the same name at the Smart Museum of Art, Performing Images contains more than one hundred color reproductions and over eighty illustrated catalogue entries.Together, text and image offer new insight into traditional Chinese culture, visual arts, and theater, and reveal how Chinese visual and performing traditions were aesthetically, ritually, and commercially intertwined.