中华未来学读本 Sinofuturisms Chinese version

Thanks to Virginia L. Conn, Dino Ge Zhang +more, a selection of our collected essays on Sinofuturisms is now available in Chinese as 中华未来学读本 (I’m not sure where you can get it, but you can read the original English essays at SFRA Review):

SFRA Review 50(2-3): 2020

SPECIAL ISSUE: ALTERNATIVE SINOFUTURISMS / 中华未来主义 /  ZHONGHUA WEILAI ZHUYI

Sinofuturism and Chinese Science Fiction: an Introduction to the Alternative Sinofuturisms (中华未来主义) Special Issue  • Virginia L. Conn, editor

A Discussion between Two French Translators of Chinese Science Fiction  •  Loïc Aloisio and Gwennaël Gaffric

Photographesomenonic Sinofuturism(s)  •  Virginia L. Conn

Sinofuturism as Inverse Orientalism: China’s Future and the Denial of Coevalness  •  Gabriele de Seta

The Science-Fictional in China’s Online Learning Initiatives  •  Margaret A. Fisher

China’s Sonic Fictions: Music, Technology, and the Phantasma of a Sinicized Future  •  Carmen Herold

Empathy, War, and Women  • Amy Ireland

Capitalist Monster and Bottled Passengers: Political Stakes of Embodiment in The Reincarnated Giant and The Last Subway  •  Lyu Guangzhao

Data Narrator: Digital Chronotopes in Contemporary Chinese Science Fiction  •  Astrid Møller-Olsen

Chinese Science Fiction: A Genre of Adversity  •  Yen Ooi

Images of Alternative Chinese Futures: Critical Reflections on the “China Dream” in Chen Qiufan’s “The Flower of Shazui”  •  Frederike Schneider-Vielsäcker

The Wandering Earth: A Device for the Propagation of the Chinese Regime’s Desired Space Narratives?  •  Molly Silk

Wondering about the Futures of the Wandering Earth: A Comparative Analysis of Liu Cixin’s “The Wandering Earth” and Frant Gwo’s Film Adaptation  •  Mitchell van Vuren

A Diagnosis of Sinofuturism from the Urban-Rural Fringe  •  Dino Ge Zhang

Ghost Island: Supernatural Taiwan in Lyon

A most enjoyable gathering of Demons, Spirits and the Supernatural in Taiwanese Arts at Lyon Spotlight Taiwan 2022!

I finally got to meet fabled scholar-translators Coraline Jortay and Gwennaël Gaffric, learned a lot about the various supernatural beings that inhabit Taiwan, and am now deeply enthralled reading Kao Yi-feng’s 高翊峰 novel 2069.

I presented my work on spatiality, magic, and metafiction in 吳明益 Wu Mingyi’s 《天橋上的魔術師》 The Magician on the Skywalk (from my book Sensing the Sinophone and also from my article “Take the Elevator to Tomorrow” Prism (2022) 19 (1): 86–101.

DRAMATIS PERSONAE

Gwennaël Gaffric scholar, editor, and translator of Sinophone fiction – including Chi Ta-wei’s 膜 Membrane in 2015.

Corrado Neri – a passionate Sinophone film scholar and more than average cinephile.

Kao Yi-feng 高翊峰 – an author of speculative fiction, whose latest novel 2069 I’m reading with great delight.

Wafa Ghermani who knows everything about Taiwanese films.

Norbert Danysz who is writing a dissertation on contemporary Taiwanese comics – awesome!

Coraline Jortay – a brilliant scholar and practitioner of literary translation – and my guide to Oxford this Michaelmas term.

Marie Laureillard who studies and teaches history of modern art and aesthetics of China and Taiwan.

Michelle Bloom – a Professor of Comparative Literature/French and specialist in Contemporary Sino-French Cinema.

Ho Ching-yao 何敬堯 – a novellist who has just published a spectacular illustrated volume of Taiwanese supernatural beings.

PROGRAMME

« Taïwan, île-fantôme et île de fantômes »
Gwennaël Gaffric (Université Jean Moulin Lyon 3) et Corrado Neri (Université Jean Moulin Lyon 3)

Masterclass de l’écrivain Kao Yi-feng 高翊峰
interprétation et modération : Gwennaël Gaffric (Université Jean Moulin Lyon 3)

Projection de The Tag-Along (紅衣小女孩, 2015) de Cheng Wei-hao (程偉豪)
suivie d’une discussion avec Corrado Neri (Université Jean Moulin Lyon 3), Ho Ching-yao 何敬堯 (écrivain) et Kao Yi-feng 高翊峰 (écrivain)

Rencontre avec le producteur Stefano Centini autour du film A Holy Family (神人之家, 2022) d’Elvis Lu (盧盈良)
modération : Wafa Ghermani (Cinémathèque française)

Norbert Danysz (ENS de Lyon), « Les figures spectrales dans les bandes dessinées de Ding Pao-yen »

Coraline Jortay (University of Oxford), « Hanter le langage: spectres et rémanences linguistiques dans l’oeuvre de Li Ang »

Marie Laureillard (Université Lumière Lyon 2), « Les Yaoguai de Taiwan vus par Ho Ching-yao et Chang Chi-ya »

Astrid Møller-Olsen (Lund/Stavanger/Oxford Universities), “Above and Beyond: Topologies of Magic and Metafiction in Wu Mingyi”

Michelle Bloom (University of California), « Les fantômes de Tsai Ming-liang »

Masterclass et lecture de l’écrivain taïwanais Ho Ching-yao 何敬堯
interprétation et modération : Gwennaël Gaffric (Université Jean Moulin Lyon 3)

Projection de God man dog (流浪神狗人, 2007), de Singing Chen 陳芯宜
suivie par une discussion avec la réalisatrice Singing Chen, avec Michelle Bloom (University of California), Wafa Ghermani (Cinémathèque française) et Corrado Neri (Université Lyon 3)

Space Oceans: SFRA 2022

Sensory perception, identity, and time: Yesterday, I was part of an amazing paper-session discussing ominous sounds (Bo Ærenlund Sørensen), representations of gender (Zhou Danxue), and chronopolitics (Erik Mo Welin) in contemporary Chinese SF.

I talked about the oceanic origins and possible futures of life – and about how astro-nautical realms are used as fruitful settings for narratives that explore postcolonial ecocriticism and posthuman understandings of being (see full abstract below).

Looking forward to following the incredibly rich programme of Futures from the Margins including Multispecies Futures, Afrofuturisms, Queer Futures and more!

Space Oceans: Astro+nautical convergences in Chinese SF

Since the beginning of the space age, the universe has been envisioned as a huge, mysterious ocean upon which the vessels of human explorers could continue their expansion of the known world into the future. Indeed, one of the most influential writers of 20th century science fiction, Arthur C. Clarke, wrote just as captivatingly of earth’s oceans as of outer space, and compared the two as frontier regions of knowledge and resources. 

Artwork by @ArghaManna

In both Chinese and English, nautical terminology is used to describe interstellar travel: spacecrafts are flying ships (飞船), with the wind-sails of ocean vessels exchanged for solar sails, and the people who pilot them are star sailors (astronauts) or universe-boat attendants (宇航员), while the Chinese name for the Milky Way, Silver River (银河), highlights the connection between the vast aquatic realm and the galactic void. This maritime vocabulary has spilled over into literary criticism, when Darko Suvin describes how science fiction contains “a curiosity about the unknown beyond the next mountain range (sea, ocean, solar system…)” and “the planetary island in the aether ocean,” or when historical periodization of both American and Chinese science fiction is being described as “waves.”

In this paper, I look at how contemporary Chinese writers tackle themes of colonialism and exploitation of natural resources, humanoid aliens and space-dwelling humans, as they explore the oceans of outer space. First, I look at how Hu Shaoyan 胡绍晏 imagines the universe itself as an intergalactic ocean. I read the human encounter with astro-jelly fish in her story “Submerged in a Flame Sea ” 火海潜航 as an example of what Astrida Neimanis calls the “hydrocommons of wet relations” albeit on an interstellar scale. Second, I turn to Chi Hui’s 迟卉 “Deep Sea Fish” 深海鱼 and the alien seascapes of Titan composed not of water but of methane. Here, I analyse colonialism of terrascaping and how the environment shapes the mind of the inhabitants even as they try to shape their environment. Finally, Regina Kanyu Wang’s 王侃瑜 “Return to Mi’an” 重返弥安 highlights the problematic notion of the frontier itself, with its violent ignorance and erasure of earlier inhabitants. I read the return of the surgically humanized protagonist to her own original ocean planet as an expression of human space travel as both a search of new frontiers and a longing for a homecoming to the ocean that spawned us.

Daoist Gaming Fantasy and Danmei Romances with Zhange Ni

In this episode, Zhange Ni introduces us to some of the myriad fantasy genres proliferating on Chinese internet platforms and beyond. She describes and contextualises recent subgenres such as qihuan 奇幻 and xuanhuan 玄幻 (and their relationship with wuxia 武俠 wandering warrior/martial arts fiction) before zooming in on xiuzhen 修真 (immortality cultivation) tales that effortlessly mingle contrasting realms of (the idea of) ancient Daoism and contemporary computer games. Finally, we discuss the danmei 耽美 (tanbi) boys’ love romances predominantly produced and consumed by women readers as well as these transmedial genres’ implications for our understanding of what literature is.

Magical Guest: Zhange Ni(倪湛舸)is an associate professor of religion and literature at Virginia Tech currently posted as a research fellow at the Nantes Institute for Advanced Study (France). She received her Ph.D. in religion and literature from the University of Chicago Divinity School, did postdoctoral work at the “Women’s Studies in Religion Program” at Harvard Divinity School. She is currently working on a book project tentatively entitled The Cult of Fiction in the Age of the Internet: Chinese Religions, Digital Capitalism, and the Fantasy Boom in Contemporary China.  

Host under Cultivation: Astrid Møller-Olsen is the author of Sensing the Sinophone: Urban Memoryscapes in Contemporary Fiction (Cambria Press, 2022). She is currently international research fellow with the Universities of Lund, Stavanger, and Oxford, funded by the Swedish Research Council working on a cross-generic study of plant-human relationships in contemporary Sinophone literature from science fiction to surrealism. She hosts the xiaoshuo.blog and has published on arboreal temporalities, fictional dictionaries, oneiric soundscapes, digital chronotopes, and sensory urban spacetime.

Pre-internet Fandom, Transmediality & Eco-SF with Hua Li

In this episode, Hua Li relates how modern Chinese SF was popularized as a transmedial practice in the 1980s. She explains the key role played by a kind of graphic novel format known as lianhuanhua 连环画 and gives examples from the illustrated works of Ye Yonglie 叶永烈. We then move on to fan culture before the internet age and end by discussing how early environmental SF from the 1950s presents a different perspective from today’s writings on the Anthropocene.

Learn more about lianhuanhua from the Association for Chinese Animation Studies or visit the collection at Princeton University.

You can read Hua Li’s fascinating article “Chinese Science Fiction and Environmental Criticism: From the Anthropocentric to the Cosmocentric” at the SFRA Review – it’s open access!

Lianhuanhua 连环画

Transmedial Guest: Hua Li is Professor of Chinese and the coordinator of Chinese program at Montana State University. Her primary research field is modern and contemporary Chinese literature. She has published two monographs, Contemporary Chinese Fiction by Su Tong and Yu Hua: Coming of Age in Troubled Times (Brill, 2011), and Chinese Science Fiction During the Post-Mao Cultural Thaw (University of Toronto Press, 2021). She has also authored numerous journal articles and book chapters on various topics in contemporary Chinese literature, cinema, and science fiction.

Host Fan: Astrid Møller-Olsen is international research fellow with the Universities of Lund, Stavanger, and Oxford, funded by the Swedish Research Council. She has just published her first monograph Sensing the Sinophone: Urban Memoryscapes in Contemporary Fiction (Cambria Press, 2022). Other publications include analyses of fictional dictionaries, oneiric soundscapes, digital chronotopes in SF, ecocritical temporalities, and sensory urban spacetime. Her current research is a cross-generic study of plant-human relationships in contemporary Sinophone literature from science fiction to surrealism: https://xiaoshuo.blog/

Resistance is Versatile with Frederike Schneider-Vielsäcker

In this episode of the Sinophone Unrealities podcast, we discuss three types of resistance found in post-80s Chinese SF: resistance to social inequalities, to political repression/censorship, and to gender stereotypes. Frederike gives examples from her research into works by Hao Jingfang, Ma Boyong, Zhang Ran, Chi Hui, Gu Shi, and Chen Qiufan and comments on the innovations and limitations of science fictional narratives when it comes to engaging with the sociopolitical issues of contemporary society. 

Rebellious guest: Frederike Schneider-Vielsäcker (she/her) is an assistant professor at the Institute of Chinese Studies at Heidelberg University. She received her PhD in Chinese Studies from the Free University of Berlin in June 2021 with a thesis on socio-political discourses in contemporary Chinese science fiction literature. She has participated in numerous international conferences and co-hosted events and talks with Chinese SF writers in Berlin, Frankfurt, and Heidelberg. Apart from Chinese science fiction, she is also interested in Chinese queer culture. When not sitting in front of her computer or behind her books, she explores nature by hiking or horse riding. 

Agitated host agitator: Astrid Møller-Olsen is international research fellow with the Universities of Lund, Stavanger, and Oxford, funded by the Swedish Research Council. She has published on fictional dictionaries, oneiric soundscapes, digital chronotopes in SF, ecocritical temporalities, and sensory urban spacetime. Her first monograph Sensing the Sinophone will be out in early 2022 by Cambria Press. Her current research is a cross-generic study of plant-human relationships in contemporary Sinophone literature from science fiction to surrealism: https://xiaoshuo.blog/ 

This podcast is produced by NettOp/University of Stavanger.

Artwork by Joanne Taylor/NettOp/UiS.

Sinopticon: A Starship Library

Sinopticon is the brainchild of Xueting Christine Ni who has done an amazing work of collecting, translating, and introducing 13 new SF stories from contemporary China. The stories span two decades and incorporate a variety of themes from galactic existentialism in Han Song’s “Tombs of the Universe” (宇宙墓碑 1991) to Ma Boyong’s hardboiled-style space age take on Chinese holiday traffic chaos in “The Great Migration” (大冲运 2021).

The overweight of male protagonists, casual gender stereotyping, and the odd dash of not too subtle patriotism made me a bit tired at times, but luckily several of the stories depart from this pattern. Jiang Bo’s “Starship: Library” (宇宙尽头的书店) combines a structure reminiscent of Jorge Luis Borges’s “The Library of Babel” with Arthur C. Clarke’s Monolith in 2001 A Space Odyssey to explore the difference between knowledge and learning. I prefer Ni’s evocative title over the more literal translation “the bookshop at the end of the universe” (the Douglas Adams reference is getting a little worn), and the idea of a roaming library piloted by a contemporary incarnation of an ancient Chinese goddess will excite bibliophiles of all galaxies.

Each story is followed by an anecdotal epilogue introducing the author and offering a mini-interpretation of the narrative, which, combined with foot notes explaining Chinese terms and idioms as well as a list of author bios at the end of the book, is a bit too much guidance for my taste. But who am I to talk, I’m offering up my own readings all the time including right now. Anyway, one can just skip on to the next story.

Other interventions are more fruitful, like the decision to title Anna Wu’s story “戴珍珠耳环的少女” (the girl with the pearl earring) in the original Dutch as “Meisje met de Parel” to avoid confusion with other literary and cinematographic works inspired by of Vermeer’s painting. Adding another language to the layers of time and pigments that envelop the story only makes the fabric of the narrative more intriguing. Each English title is subtitled by the original Chinese title, which, as well as being is enormously helpful for researchers, is also a simple and beautiful way of reminding the reader of the multiplicity of languages and people involved in bring these stories to them.

Recurring topics include a renewed appreciation for the cultural history of Earth stemming from a futurist and/or intergalactic perspective in Han Song and Tang Fei’s stories, posthuman explorations of the humaneness of cyborgs in Wang Jinkang and Nian Yu’s work, and new regimes for AI that include social intelligence (Hao Jingfang) and process-oriented learning (Jiang Bo). An interesting deviation from classic SF figures of robots and spaceships is A Que’s “Flower of the Other Shore” (彼岸花) – an ecocritical zombie story featuring a Rome and Juliet romance between an “uncontaminated” (not yet subjected to the zombie virus) human woman and a male protagonist who is a hybrid between a Chinese jiangshi (僵尸 stiff corpse/jumping vampire) and a Hollywood zombie. Xueting Christine Ni talks about this story in the most recent episode of the Sinophone Unrealities podcast available here.

I definitely enjoyed some stories more than others, but all in all, am delighted and grateful to Ni and her crew for all their work in making this beautiful collection of authors and stories available to an Anglophone audience: A new addition our collective starship library.

TOC

Foreword, Xia Jia
Introduction, Xuenting Christine Ni
The Last Save, Gu Shi
Tombs of the Universe, Han Song
Qiankun and Alex, Hao Jingfang
Cat’s Chance in Hell, Nian Yu
The Return of Adam, Wang Jinkang
Rendezvous: 1937, Zhao Haihong
The Heart of the Museum, Tang Fei
The Great Migration, Ma Boyong
Meisje met de Parel, Anna Wu
Flower of the Other Shore, A Que
The Absolution Experiment, Bao Shu
The Tide of Moon City, Regina Kanyu Wang
Starship: Library, Jiang Bo

SF and the Internet Teahouse: Xueting Christine Ni

In this episode, Xueting Christine Ni introduces the new anthology Sinopticon: A Celebration of Chinese Science Fiction (out 9 November 2021) that she has compiled and edited, and shares thoughts on the diversification of the genre. She interprets literary internet fora as modern-day versions of the interactive storytelling tradition of the teahouse. We also discuss how popular global and classical Chinese influences that converge in stories like A Que’s “Flower of the Other Shore”, which feature walking dead reminiscent of both Chinese Jiangshi (僵尸 literally “stiff corpse” but often referred to as “hopping vampire”) and Hollywood zombies. 

Daoist Gaming Fantasy and Danmei Romances with Zhange Ni Sinophone Unrealities – UiS podkast

In this episode, Zhange Ni introduces us to some of the myriad fantasy genres proliferating on Chinese internet platforms and beyond. She describes and contextualises recent subgenres such as qihuan 奇幻 and xuanhuan 玄幻 (and their relationship with wuxia 武俠 Les mer …
  1. Daoist Gaming Fantasy and Danmei Romances with Zhange Ni
  2. Pre-internet Fandom, Graphic Novels, and Eco-SF with Hua Li
  3. Resistance is Versatile with Frederike Schneider-Vielsäcker
  4. Owlish and Other Translated Languages with Natascha Bruce
  5. SF and the Internet Teahouse: Xueting Christine Ni

Visiting Storyteller: Xueting Christine Ni has a degree in English Literature from the University of London. After graduating, she began a career in the publishing industry, whilst also translating original works of Chinese fiction. She returned to China in 2008 to continue her research at Central University of Nationalities, Beijing. Since 2010, she has written extensively on Chinese culture and China’s place in Western pop media. Her first book, From Kuan Yin to Chairman Mao, is published by Weiser Books. Her new anthology Sinopticon: A Celebration of Chinese Science Fiction, is out on the 9th of November. Xueting currently lives just outside London with her partner and their cats, all of whom are learning Chinese. 

Teahouse Host: Astrid Møller-Olsen is international research fellow with the Universities of Lund, Stavanger, and Oxford, funded by the Swedish Research Council. She has degrees in comparative literature and Chinese studies and has published on fictional dictionaries, urban forms of memory, and sensory approaches to the study of literature. Her first monograph Sensing the Sinophone is forthcoming with Cambria Press. Her current research is a cross-generic study of plant-human relationships in contemporary Sinophone literature from science fiction to surrealism: https://xiaoshuo.blog/

This podcast is produced by NettOp/University of Stavanger.

Artwork by Joanne Taylor/NettOp/UiS.

Posthuman Fabulations

Yesterday, we had an amazing first workshop of posthuman fabulations at Duke University organised by Carlos Rojas and Mingwei Song, including our panel on flora and fauna (and fungi!):

Posthuman Fabulations

Zhange Ni shared her entangled reading of The Little Mushroom (Xiao Mogu 小蘑菇) by Yishisizhou 一十四洲, a danmei (耽美) male-male romance in which humanity is fencing itself in against infection from the non-human Other in the form of mushrooms that can shapeshift to look like humans. In this novel, humanity’s only chance of survival is to unite into a single being becoming the kind of collective lifeform that fungi represent, yet without the vital cross-species interaction that characterises fungal symbiosis with trees and other plants via mycorrhiza. Hearing prof Ni’s talk, I cannot help but wonder: if humans must adapt to a more fungal way of life and mushrooms can successfully impersonate humans, wherein lies the essential difference that the people of the novel are so eager to safeguard?

Corey Byrnes outlined Zhou Zuoren’s interesting progression from pre-evolutionary beasts (兽 shou) over animals (动物 dongwu) and on to humans (人 ren). I find this positioning of beasts as a human Other outside a shared evolutionary history interesting because they become a kind of organic antipode to the AI of contemporary SF. Beasts and AI both function as literary anti-images to the humanism of humans. Where AI are essentially electronic reproductions of the human brain, and beasts represent the physical drives and desires beyond the mind’s control, both lack the moral imperative of the human species. Yet as much SF and speculative fiction explore, the beasts and the AI are all too often more human (and more humane) than the human.

I talked about human-plant chimeras in works by Chi Hui 迟卉, Dorothy Tse 謝曉虹, and Yan Ge 颜歌, and how their duality of being challenge the centrality of the human body and brain in defining (intelligent) life, the taxonomic boundaries of single species, and the notion of individuality. In my essay written for the workshop, I begin by analysing Chi Hui’s迟卉 short story “The Rainforest” (雨林), in which classical antagonisms of plant horror are given a sharp twist when the human protagonist is able to merge with the botanical Other with the aid of nanotechnology. Secondly, I consider the appearance of bitter gourds on the pale skin of several curiously immobile and silent girls found on a building site in Dorothy Tse’s 謝曉虹 “Bitter Gourds” (苦瓜), and how they spread through the narrative as bodily manifestation of the repressed memories, sexualities, and political protests. Finally, I look at the commodification of gendered tree-people in Yan Ge’s 颜歌 “Flourishing Beasts” (荣华兽) as chimeras that fundamentally challenge the logic of anthropocentric classifications, highlight the posthuman question of what really constitutes a species, and presents taxonomic gatekeeping as a form of ontological violence.

Panel 1-Flora & Fauna

11:00 AM—12:30 PM (EDT)

Astrid Moller-Olsen, “Growing Together: Plant-human Chimeras in Contemporary Fiction”

Zhange Ni, “The Mushroom beyond the End of the World: Posthumanism and the Sci-fi Romance The Little Mushroom”

Corey Byrnes, “The Limits of Posthumanism and the Sempiternal Animal”

(Chair and Discussant, Carlos Rojas

Panel 2-Humanism & Posthumanism

2:00-3:30 PM (EDT)

Carlos Rojas, “Dung Kai-Cheung’s Beloved Wife and Fungible Consciousness”

Nathaniel Isaacson, “Symbiosis and Synesthesia in the Fiction of Chi Ta-wei”

Hua Li, “Affirmation of Humanism amidst Posthuman Episodes in Chen Qiufan’s Waste Tide and Balin”

(Chair and Discussant, Mingwei Song)

Gender and Speculative Fiction in Chinese

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Last week I was joined by my wonderful and knowledgeable fellow literary scholars Dr. Coraline Jortay, Prof. Hua Li, and Dr. Frederike Schneider-Vielsäcker for the amazing panel “Writing Women in the Future Tense” at the 12th International Convention of Asia Scholars (ICAS 12) in online Kyoto 24-27 August 2021.

Discussions and collective ramblings touched upon the difference between dolls and robots as literary figures, the gendered temporalities of futurism, the fruitful (vegetal) convergences between feminism and posthumanism, and whether the doll house of gendered expectations still persists even “after Nora leaves home.”

Background

In recent years, Chinese and Sinophone science fiction has gained new popularity, not only among devoted readers, but within the scholarly community as well. As part of the emerging field of ‘global science fiction studies,’ such research contributes to a diversification of literary scholarship by including hitherto neglected cultural and linguistic areas. This panel grows out of these postcolonial endeavours and adds a gender dimension to the ongoing academic discussion of how works of speculative and science fiction envision global futures and challenge present ideas. 

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By analysing and comparing narrative negotiations of what it means to be a woman, a plant, or something in-between, the presentations in this panel examine the variety and complexity of futurist visions in Chinese language fiction. Far from being concerned solely with technology and space travel, contemporary science fiction is a multifaceted genre that is equally taken up with questions of human societies and identities. By virtue of a shared focus on gender, this panel introduces the original and wildly imaginative ways in which contemporary authors contest, reinforce, or hybridise conventional concepts of gender.

From contemporary feminist reinterpretations of Lu Xun’s and Henrik Ibsen’s “doll houses” to the alienated female workers of the future in Han Song’s 2012 novel Gaotie, from Chi Hui’s feminist utopia to plant-woman hybrids and environmental criticism, this panel investigates the manifold ways in which literature crafts and questions gendered landscapes for a global future.

Lineup

Roots to the Future: Gender and Plant-human Hybrids in Contemporary Fiction. Astrid Møller-Olsen – Lund University.

Dwindling Doll’s Houses: Surreal Gendered Futures in Contemporary Fiction from Hong Kong and Taiwan. Coraline Jortay – University of Oxford.

Gender Issues in Han Song’s Novel Gaotie (The High-speed Railway). Hua Li – Montana State University.

Emancipatory Futures: Transgressing Gender Boundaries in Contemporary Chinese Science Fiction. Frederike Schneider-Vielsäcker – Heidelberg University.