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By Yingjin Zhang

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Chan 2010; McDougall 2011; St. André and Peng 2012; Tam and Chan 2012; L. Wong 2013; H.  Peng and Dilley 2014); second, reception of literature, including audience studies, both domestic (Link 2000; S. Kong 2005; K. Hang 2013; Y. Zheng 2013) and overseas (Mair 2001: 1079‐104; L. Chan 2003; McDougall 2003; Lovell 2006). 9 This sampling of English books does not include titles in comparative literature that compare a Chinese writer with one or more Western writers in relation to specific genres and issues.

Zhao 1997)—and Chinese identity, as Chinese critics began to differentiate between those educated inside and outside the PRC. ” In the twenty‐first century, the generality of Chinese reality versus Western theory no longer preoccupies the majority of scholars because theories—now understood to encompass both Chinese and Western—are considered part of the institution of modern Chinese literature on both sides of the Pacific, although there is no consensus as to what theory is most needed for further developing the field.

The Novel. Leiden: Brill. Doleželová‐Velingerová, Milena, and Oldřich Král. Eds. 2001. The Appropriation of Cultural Capital: China’s May Fourth Project. Cambridge, MA: Harvard University Asia Center. Dooling, Amy. 2005. Women’s Literary Feminism in Twentieth‐Century China. New York: Palgrave. Duke, Michael S. 1985. Blooming and Contending: Chinese Literature in the Post‐Mao Era. Bloomington: Indiana University Press. Duke, Michael S. 1993. 1: 41–70. Duke, Michael S. Ed. 1989. Modern Chinese Women Writers: Critical Appraisals.

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