Kwok-kan Tam - Böcker

This book presents new and original essays that capture the enigmatic and intriguing personal and imagined worlds of Chinese writers and artists in diaspora in the twentieth and twenty-first centuries.Including chapters on artist-writers such as Gao Xingjian, Dai Sijie, Ha Jin and Hong Ying, Tyrus Wong, and Shen Wei, the book explores personal cross-cultural experiences through their literary and other artistic works, reflecting on their cultural identity, their native home, and their new home, the past and the present. By writing, filming, and painting about their diaspora/diasporic experience, they are writing about their selves and the traumatic experience many of them have gone through in forgetting the past, forgiving the damage, and foreshadowing a future by re-visioning their selves. Their experience represents a generation’s quest for an identity of being Chinese but culturally distanced from China.As a study of cross-cultural human experience through the lens of literature, film, and other arts, this book will not only appeal to students and scholars of Chinese diaspora studies, it will also appeal to those with an interest in Chinese literature, film, and culture.

Ibsen has often been considered as the most important source, besides Goethe, of Western influence in modern Chinese literary thinking and remains influential in both the modern Chinese theatre and the Chinese women's movement. This bibliography charts how modern Chinese culture has developed.

Gao Xingjian, the Nobel Laureate in Literature 2000, is a writer of many talents, being a novelist, playwright, stage director, painter, translator and critic at the same time. His novels, ""Soul Mountain"" and ""One Man's Bible"", and his many later plays seek to rediscover the self in its original consciousness, which is translingual and transcultural. Educated in China and now residing in France, Gao Xingjian writes in between two traditions, the Chinese and the Western. He started his literary career in the early 1980s, and has been noted for his experimentation with the dramatic form and his innovation in the use of narrative voice. In his works, he explores subjectivity beyond the limits of language by examining the self in relation to gender, culture, location and politics. This volume presents a collection of critical studies on various aspects of Gao Xingjian's novels and plays. Contributors include distinguished scholars in the fields of comparative literature, theatre and Chinese studies, whose views form a critical dialogue on the writer's achievements in literature and the theatre.

As cultural construct, gender is fictional and imagined, but is also real in its ideological and representational effects on the formation of self and identity. What is intriguing is the fiction behind the fictional, which many people accept as truth. Critiquing the fictive nature of socially accepted values about gender, the authors in this volume unravel the strategies adopted by writers and filmmakers in (de)constructing the gendered self in mainland China, Taiwan and Hong Kong.

This book addresses issues of how the cultures in Hong Kong, Singapore and Malaysia have been Englishized in postcolonial and globcalized contexts, not just in terms of language, but also in writers’/people’s subjectivity. Taking a cultural-literary approach to the study of Englishized subjectivity, the book offers a unique study of hybridized literary/language forms by relating them to bilingual thinking and bicultural sensibility. Poets, novelists and playwrights have different strategies to cope with new images and new forms of expression that can capture their sense of hybridized identity, and as a result, hybridity becomes creativity.

This book is a study of the relation between theatre art and ideology in the Chinese experimentations with new selfhood as a result of Ibsen’s impact. He has held teaching, research and administrative positions in various institutions, including the East-West Center, the Chinese University of Hong Kong and the Open University of Hong Kong.

This book is a study of the relation between theatre art and ideology in the Chinese experimentations with new selfhood as a result of Ibsen’s impact. He has held teaching, research and administrative positions in various institutions, including the East-West Center, the Chinese University of Hong Kong and the Open University of Hong Kong.

This volume presents a broad coverage of theoretical issues that deal with digital culture, representation and ideology in art and museums, and other cultural sites, offering new insights into issues of representation in the digitization of art.

This volume presents a broad coverage of theoretical issues that deal with digital culture, representation and ideology in art and museums, and other cultural sites, offering new insights into issues of representation in the digitization of art.

This volume reshapes a contemporary understanding of research in theatre and performance arts. Bringing together distinguished scholars from all over the world, the book serves as an arena for international scholars to introduce innovative research methodologies and disseminate their research findings regarding VLT, data archiving, and digital history and discusses the impacts of digital culture in art production, stage performance, film, and literature. The Ibsen focus in the book is illustrative of the power of digital database research that is generating new relations in spatial-historical dimensions that have otherwise gone unnoticed. It demonstrates how a new methodology can bring practical benefits to handling big data with the support of digital technologies. In line with the post-pandemic landscape, this book engages a reflection on how the digital revolution has brought about changes and challenges, and constraints and breakthroughs within the field of theatre and performance arts. It is of appeal to theatre artists and practitioners, scholars, critics, librarians, digital archive engineers, and postgraduate students interested in theatre, performance studies, digital media, information technology, library science, communication, education, sociology, as well as political science.  “The book investigates the latest methodological development in digital cultures and performance arts, which significantly contributes to the ever-changing and increasingly advanced technological culture in this field.”                                                                                                                                                                                                                                                                                                                                                                                                                                 - Jessica Tsui-yan Li, York University, Canada"In line with the post-pandemic landscape, this book engages the reader in reflecting on how the digital revolution has brought about chances and challenges, constraints and breakthroughs to the field of theatre and performance arts. An original, eye-opening and inspiring volume at multiple levels, this book brings together distinguished scholars from all over the world."- Dr Anna Tso,  The Hang Seng University of Hong Kong