Contributors

CHLOE ESTEP is assistant professor of modern Chinese and Sinophone literatures at the University of Pennsylvania. Her current book project, provisionally titled “Print Classicism: Poetry, Politics, and Media in Republican China, 1911–1949,” examines how print periodicals enabled the transformation and modernization of classical aesthetics (including painting and calligraphy) as poets, writers, and artists reckoned with the radical political changes of early twentieth-century China.ROMAIN GRAZIANI is professor in Chinese studies at the Ecole Normale Supérieure de Lyon. He specializes in early Chinese intellectual history and literary criticism, with a special interest in the relationships between the subject and The State. He has published several monographs on early Chinese self-cultivation, the Guanzi, and the Zhuangzi and has over the last decade published several articles dealing with the history of state formation, agriculture, economy, and legal tradition in early China. His current book project deals with the symbolical and legal use of tools, measures, and numbers in shaping Chinese political culture.JEEHEE HONG is Gretta Chambers Chair in East Asian Art History at McGill University. She specializes in the art and visual culture of middle-period China (ninth–fourteenth centuries), with interests in epistemology of sense perceptions, connections between affect and materiality, and socioecological dimensions in the locality of visual cultures. She is author of Theater of the Dead: A Social Turn in Chinese Funerary Art, 1000–1400 (2016) and coeditor of Affect and Materiality: Emotion in Chinese Art (forthcoming). She is currently working on the ontological understanding of the face as a field of negotiations among social, religious, visual conventions in the arts of middle-period China.THOMAS KELLY is assistant professor in the Department of East Asian Languages and Civilizations at Harvard University. His first book, The Inscription of Things: Writing and Materiality in Early Modern China (2023), reconsiders the relationship between Chinese literature and material culture by examining inscribed objects from the Ming and Qing periods. His new project examines the interplay between manuscript culture and a poetics of incompletion in the Ming-Qing dynastic transition.LING HON LAM is associate professor in the Department of East Asian Languages and Cultures at the University of California, Berkeley. He is author of The Spatiality of Emotion in Early Modern China: From Dreamscapes to Theatricality (2018). His current project is concerned with media forms, energy, and information in early modern China.JEFFREY MOSER is associate professor of the history of art and architecture at Brown University. His book Nominal Things: Bronzes in the Making of Medieval China (2023) examines the role that the rediscovery and decipherment of ancient bronzes in eleventh-century China played in restructuring medieval understandings of the relationships among words, images, and things. Other recent publications include essays on Song epigraphy, ceramics, and the “geoaesthetics” of rock-cut Buddhist sculpture.PAULA VARSANO is professor of Chinese literature in the Department of East Asian Languages and Cultures at the University of California, Berkeley. She specializes in classical poetry and poetics from the third through the eleventh centuries, with particular interest in literature and subjectivity, traditional literary criticism, and the theory and practice of translation. She is author of Tracking the Banished Immortal: The Poetry of Li Bo and Its Critical Reception (2003) and editor of The Rhetoric of Hiddenness in Traditional Chinese Culture (2016) and is completing a manuscript on lyric subjectivity in early and medieval Chinese poetry.LI WEI is assistant teaching professor of Chinese at Purdue University. Her research focuses on Chinese popular and religious literature of the early modern period. She is currently completing a monograph tentatively titled “Tales of Heartburn: Literati Storytelling in Late Nineteenth-Century China,” which explores questions of gender, national trauma, and literary modernity in classical tales published after the late Qing civil wars.

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