Playwriting in many forms flourished during the late Ming and early Qing dynasties. Shorter theatrical genres in particular offered playwrights opportunities for experimentation with both dramatic form and social critique. Despite their originality and wit, these short plays have been overshadowed by the lengthy masterpieces of the southern drama tradition. A Topsy-Turvy World presents English translations of shorter sixteenth-to-eighteenth-century plays, spotlighting a lesser-known side of Chinese drama. Satirical and often earthy, these mostly one-act plays depict deceit, dissembling, reversed gender roles, and sudden upending of fortunes. With zest and humor, they portray henpecked husbands, supercilious and lustful monks, all-too-human sage kings, disgruntled officials, and overreaching young scholars. These plays provide a glimpse of Chinese daily life and mores even as they question or subvert the boundaries of social, moral, and political order. Each translation is preceded by a short introduction that describes the play’s author, context, formal qualities, and textual history. A Topsy-Turvy World offers a new view of a significant period in the development of the Chinese theatrical tradition and provides insight into the role of drama as cultural critique.

Playwriting in many forms flourished during the late Ming and early Qing dynasties. Shorter theatrical genres in particular offered playwrights opportunities for experimentation with both dramatic form and social critique. Despite their originality and wit, these short plays have been overshadowed by the lengthy masterpieces of the southern drama tradition. A Topsy-Turvy World presents English translations of shorter sixteenth-to-eighteenth-century plays, spotlighting a lesser-known side of Chinese drama. Satirical and often earthy, these mostly one-act plays depict deceit, dissembling, reversed gender roles, and sudden upending of fortunes. With zest and humor, they portray henpecked husbands, supercilious and lustful monks, all-too-human sage kings, disgruntled officials, and overreaching young scholars. These plays provide a glimpse of Chinese daily life and mores even as they question or subvert the boundaries of social, moral, and political order. Each translation is preceded by a short introduction that describes the play’s author, context, formal qualities, and textual history. A Topsy-Turvy World offers a new view of a significant period in the development of the Chinese theatrical tradition and provides insight into the role of drama as cultural critique.

This 1973 volume is a fascinating collection of original studies on the immediate consequences and the likely long-term effects of the Chinese Cultural Revolution, the enormous social and political upheaval initiated by Mao Tse-Tung in 1966. The authors discuss a series of connected problems, all intimately related to the central theme of leadership and participation in the Chinese pattern of economic development and social change. The collection is edited by Stuart Schram, who also provides a long introduction; he puts the Cultural Revolution in the broad historical perspective of the Chinese revolution as it has taken shape since the end of the nineteenth century.

This is the first anthology of Yuan-dynasty "zaju" (miscellaneous comedies) to introduce the genre to English-speaking readers exclusively through translations of the plays' fourteenth-century editions. Almost all previous translations of Yuan-dynasty "zaju" are based on late-Ming regularized editions that were heavily adapted for performance at the Ming imperial court and then extensively revised in the seventeenth century for the reading pleasure of Jiangnan literati.

These early editions are based on scripts for the leading actor and provide the reader with the arias, prose dialogue, and cue lines. They depict a fascinating range of subject matter, from high political intrigue to commoner life and religious conversion. Crackling with raw emotion, violent imagery, and colorful language and wit, the "zaju" in this volume explore the consequences of loyalty and betrayal, ambition and enlightenment, and piety and drunkenness. The collection features seven of the twenty-six available untranslated "zaju" published in the fourteenth century, with a substantial introduction preceding each play and extensive annotations throughout. The editors also include translations of the Ming versions of four of the included plays and an introductory essay to the book that synthesizes recent Chinese and Japanese scholarship on the subject.

Chinese Poetry and Translation: Rights and Wrongs offers fifteen essays on the triptych of poetry + translation + Chinese. The collection has three parts: "The Translator's Take," "Theoretics," and "Impact." The conversation stretches from queer-feminist engagement with China's newest poetry to philosophical and philological reflections on its oldest, and from Tang- and Song-dynasty classical poetry in Western languages to Baudelaire and Celan in Chinese. Translation is taken as an interlingual and intercultural act, and the essays foreground theoretical expositions and the practice of translation in equal but not opposite measure. Poetry has a transforming yet ever-acute relevance in Chinese culture, and this makes it a good entry point for studying Chinese-foreign encounters. Pushing past oppositions that still too often restrict discussions of translation-form versus content, elegance versus accuracy, and "the original" versus "the translated" - this volume brings a wealth of new thinking to the interrelationships between poetry, translation, and China.