Ayling Wang

Dr. Ayling Wang


CURRENT POSITION:
Vice Dean, College of Liberal Arts, National Sun Yat-Sen University, Taiwan Professor, Department of Theater Arts, National Sun Yat-Sen University, Taiwan
Research Fellow (joint appointment), Center for Humanities, National Sun Yat-Sen
University, Taiwan
Visiting Professor, College of Philosophy, Wuhan University, China (April, 2015- Present)
Visiting Research Fellow, Center for Modern Chinese Social Studies, Shanghai
Normal University, Shanghai, China. (November, 2007-Present)


OFFICE:
Department of Theater Arts, National Sun Yat-Sen University,
70, Lienhai Rd., Gushan District, Kaohsiung City, Tawan 80424
Tel. 886-7-5252000 ext. 3412


Cell: 886-978930990
E-MAIL: ayling5257@gmail.com


AREAS OF SPECIALIZATION
Chinese Drama; Ming-Qing Literature and Culture; Literary Theory


EDUCATION
1992: Ph.D., East Asian Languages and Literatures, Yale University
1990: M.Phil., East Asian Languages and Literatures, Yale University 
1989: M.A., East Asian Languages and Literatures, Yale University 
1979: B.A., Chinese Literature, National Taiwan University, Taiwan


EMPLOYMENT EXPERIENCE
Chair, Department of Theater Arts, National Sun Yat-Sen University, Taiwan (February, 2014-January, 2020)
Research Fellow, Institute of Chinese Literature and Philosophy, Academia Sinica
( May, 2004-August, 2013)
Vice President, Chiang Ching-kuo Foundation for International Scholarly Exchange
( July, 2008-August, 2013) 
Research Fellow & Deputy Director, Institute of Chinese Literature and Philosophy, Academia Sinica( February, 2006- February, 2010) 
Research Fellow & Acting Director, Institute of Chinese Literature and Philosophy, Academia Sinica (January, 2005 -February, 2006)
:Research Fellow & Deputy Director, Institute of Chinese Literature and Philosophy, Academia Sinica (September 2004-January 2005)
Visiting Professor (teaching one course), Institute of Asian Studies, Charles
University, Prague, Czech. (Autumn Semester, 2002)
Associate Research Fellow, Institute of Chinese Literature and Philosophy, Academia
Sinica (July, 1998-May, 2004)
Assistant Research Fellow, Institute of Chinese Literature and Philosophy, Academia
Sinica (March, 1993-July, 1998)
Assistant Lecturer, Department of East Asian Languages and Literatures, Yale
University (September, 1989-June, 1990)
Assistant Research Fellow, Sun Yet-Sen Institute of Social Sciences, Academia Sinica, Taiwan (August, 1982- July, 1986)

HONORS, AWARDS, RECOGNITION, FELLOWSHIPS, AND GRANTS
2018 Annual Research Award, Ministry of Science and Technology, Taiwan
2017 Annual Research Award, Ministry of Science and Technology, Taiwan
2016 Annual Research Award, Ministry of Science and Technology, Taiwan
2015 Annual Research Award, Ministry of Science and Technology, Taiwan
2014 Annual Research Award, Ministry of Science and Technology, Taiwan
2010-2013 Annual Research Award, National Science Council, Taiwan (3years)
2007-2010 Annual Research Award, National Science Council, Taiwan (3years)
2006 Annual Research Award, National Science Award, Taiwan.
2005 Distinguished Research Award, National Science Council, Taiwan
2004 Annual Research Award, National Science Council, Taiwan
2003 Annual Research Award, National Science Council, Taiwan
2002 Annual Research Award, National Science Council, Taiwan
2001 Annual Research Award, National Science Council, Taiwan
2000 Annual Research Award, National Science Council, Taiwan
1999 Annual Research Award, National Science Council, Taiwan
1998 Distinguished Young Scholar Research Award, Academia Sinica, Taiwan
1998 Annual Research Award, National Science Council, Taiwan
1997 Annual Research Award, National Science Council, Taiwan
1996 Annual Research Award, National Science Council, Taiwan
1995 Annual Research Award, National Science Council, Taiwan
1994 Annual Research Award, National Science Council, Taiwan
1993 Annual Research Award, National Science Council, Taiwan
1993-2015 19 Awards for 19 Research Projects from the National Science Council and Ministry of Science and Technology, Taiwan
1991-1992 Dissertation Fellowship, Chiang Ching-kuo Foundation for International
Scholarly Exchange
1990-1991 Young Scholar Dissertation Fellowship, China Daily, Taiwan
1986-1990 University Fellowship, Yale University

RESEARCH PROJECTS
(Grants for Research Projects from the National Science Council, Academia Sinica, Ministry of Education
1. Principal Investigator, NSC Research Project on “The Development of Lyrical and Dramatic Characteristics in the Art of Ming-Qing Drama,” sponsored by the National Science Council, 1993-1995.
2. Principal Investigator, NSC Research Project on “The Relation between the Thematic Presentation and Characterization in Ming-Qing Chuanqi Drama,” sponsored by the National Science Council, 1994-1996.
3. Principal Investigator, NSC Research Project on “Language and the the Narrative
Mode of Ming-Qing Chuanqi Drama,” sponsored by the National Science Council,
1995-1997.
4. Co-Director (with Hua Wei), Group Research Project on “Ming-Qing Drama,”
sponsored by the Institute of Chinese Literature and Philosophy, Academia Sinica,
1995-1997.
5. Co-Director (with Tseng Yong-I, Hung Wei-chu), Project on Recording and Preserving Kunqu Opera,” sponsored by the Council of Cultural Construction, Taiwan, 1995-1997.
6. Principal Investigator, NSC Research Project on “The Artistic Presentation of Subjectivity and Individuality in Ming-Qing Chuanqi Drama,”sponsored by the National Science Council, 1996-1998.
7. Principal Investigator, NSC Research Project on “The Idea of Qing and Li 4
Presented in the Dramatic Art during the Ming-Qing Dynastic Transition ” sponsored by the National Science Council, 1997-1999.
8. Principal Investigator, NSC Research Project on “Historical Consciousness and Presentation of Horizon in the Historical Drama from Late-Qing to Early Qing,” sponsored by the National Science Council, 1998-2000.
9. Principal Investigator, NSC Research Project on “The Development of the Idea of Qing in the Scholar-Beauty Drama and Its Artistic Characteristics,” sponsored by the National Science Council, 2000-2002.
10. Principal Investigator, NSC Research Project on “The Transformation of the Aesthetic Taste and the Development of Its Dramatic Elements,” sponsored by the National Science Council, 2001-2003.
11. Principal Investigator, NSC Research Project on “Memory, Forgetting and Narrative—The Subjective Presentation and Change of Consciousness in the Qing Autobiographical and Biographical Plays,” sponsored by the National Science Council, 2002-2004.
12. Principal Investigator, NSC Research Project on “The Rationalization and Secularization of the Confucian Ethical Didacticism in the Mid-Qing Drama” sponsored by the National Science Council, 2003-2005.
13. Co-Director (with Perng Hsiao-yen), “The Establishment and Transformation of the Literati’s Self-Image—After the Six Dynasties, Tang-Song and Late-Ming,” sponsored by the Institute of Chinese Literature and Philosophy, Academia Sinica,
2004-2005.
14. Principal Investigator, NSC Research Project on “Desk and Stage—Theory and Practice of the Professionalization of the Early Qing Theatrical Art,” sponsored by the National Science Council, 2004-2006.
15. Principal Investigator, NSC Research Project on “The Critical Context and Theoretical Significance of the Ming-Qing Drama with Commentaries” sponsored by the National Science Council, 2005-2007.
16. Co-Director (with Perng Hsiao-yen and Tai Ching-hsien), NSC Group Project on “Definition and Selection of Key Competencies: A Research on Conceptual Reference Frame and Theoretical Foundation,” sponsored by the National Science Council,
2005-2008.
17. Co-Director (with Hu Siao-chen), Group Project on “The Exploration of Ming- Qing Narrative Theory and Narrative Literature,”sponsored by the Institute of Chinese Literature and Philosophy, Academia Sinica, 2006-2008.
18. Principal Investigator, NSC Research Project on “The Critical Context and Theoretical Significance of the Ming-Qing Drama with Commentaries” sponsored by the National Science Council, 2005-2007. 5
19. Principal Investigator, NSC Research Project on “The Narrative Strategy and Situational Construction of the Ming-Qing Historical Drama” sponsored by the National Science Council, 2006-2008.
20. Director, NSC Project on Creating New Journal: The Journal of Theater Studies,”
sponsored by the National Science Council, 2007-2008.
21. Principal Investigator, NSC Research Project on “The Subjective Consciousness and Social Identification Presented in the Plays by the Literati of Late-Ming to Mid- Qing”sponsored by the National Science Council, 2007-2009.
22. Co-Director (with Chou Kui-tian and Chen Tung-sheng), NSC Research Project on “The Humanities and Social Sciences Lecture Series—Reflection on the Development of the Modern Scientific Civilization: Perspectives of the Humanities and Social Sciences” sponsored by the National Science Council, 2007-2010.
23. Co-Director (with Chou Kui-tian and Chen Tung-sheng), Publication Project for the NSC Research Project on “The Humanities and Social Sciences Lecture Series— Reflection on the Development of the Modern Scientific Civilization: Perspectives of the Humanities and Social Sciences” sponsored by the National Science Council,
2010-2011.
24. Principal Investigator, NSC Research Project on “The Construction and Development of the ‘Canonicity”of the Aesthetics of Ming-Qing Drama” sponsored by the National Science Council, 2010-2012.
25. General Director, Integrated Project on “Cultivating Taiwanese Talents in the
Humanities and Social Sciences” sponsored by the Ministry of Education, Taiwan,
2010-2013.
26. General Director, Integrated Project on “Cultivating Taiwanese Talents in the
Humanities and Social Sciences” sponsored by the Ministry of Education, Taiwan,
2010-2013.
27. Co-Director (with Lee Shi-shiueh), Group Project on “The Knowledge Construction and Cultural Thought in the Masterpieces of Ming-Qing Literature,” sponsored by the Institute of Chinese Literature and Philosophy, Academia Sinica,
2012-2015.
28. Principal Investigator, Research Project on “The Realistic Anxiety and Historical Writing in the Ming-Qing Drama on Current Affairs” sponsored by the Ministry of Science and Technology (MOST), 2014-2017.
29. Principal Investigator, Research Project on “The Late Qing Drama’s Inheritance and Creation of the Dramatic Arts of Chuanqi,” sponsored by the Ministry of Science and Technology (MOST), 2016-2018.
30. Principal Investigator, Research Project on “Subjectivity and Modernity: The Cultural Memory and Identity Recognition in the Development of Contemporary Beijing Opera in Taiwan,”2018-2020.

PUBLICATIONS Books
In Chinese
• The Rationalization and Secularization of Confucian Ethical Didacticism in the
• Mid-Qing Drama, forthcoming.
• Memory, Identification and Imagination: Self and Others in the Ming-Qing
• Drama , forthcoming.
• Lyricism and Narration: The Formation of Subjectivity and Lyrical Presence in the
• Ming-Qing Drama, forthcoming.
• Chief Editor, The Twentieth Anniversary of Guoguang Theatre Company: The Complete Record of the Play Shiba luohantu and Its Production, Taipei:China Times Publishing Company,2019.
• Co-Editor (with John C.Y. Wang), New Directions of the Studies of Chinese Drama. I have also contributed an essay and have written an introduction. Taipei: Guojia
• Publishing Company, 2018.
• Chief Editor, A special issue on “New Century New Beijing Opera-The New Aesthetics of the 21st Century Beijing Opera in Taiwan and the Guoguang Theatrical Troupe,” Newsletter of the Institute of Chinese Literature and Philosophy 21.1 (March, 2011). I have also contributed an essay and have written an introduction. Taipei: Academia Sinica, 2011.
• Chief Editor, A special issue on “Rewriting Literary History,” Hanxue yanjiu (June
• 2011), 1-18. I have also contributed an introduction. Taipei: Center for Chinese
• Studies, 2011.
• Editor, Emotion, Reason and Desire in Ming-Qing Literature and Thought. I have also contributed an essay and have written an introduction. Taipei: Institute of Chinese Literature and Philosophy, Academia Sinica, 2009.
• Editor, Space and Cultural Field: the Cultural Interpretation of Mobility, I have also contributed an essay and have written an introduction. Taipei: National Library, 2009.
• Co-Editor (with Hu Siao-chen), Canonical Transformation and Ming-Qing Narrative Literature. I have also contributed an essay and have written an introduction. Taipei: Lien-ching Publishing Company, 2009.
• Author, The Dramatic Aesthetics and Its Artistic Presentation in Late Ming and Early
• Qing, Taipei: Institute of Chinese Literature and Philosophy, Academia Sinica, 2005:
• 634 pages.
• Co-Editor (with Hu Siao-chen), Private Sentiments in Chinese History and Culture. I have also contributed an essay and have written an introduction. Taipei: Center for Chinese Studies, 2003. 7
• Editor, Subjectivity and Society in Ming-Qing Literature and Thought. I have also contributed an essay and have written the introduction. Taipei: Institute of Chinese Literature and Philosophy, Academia Sinica, 2004: 2 vols., 762 pages.
• Author, The Artistry of Characterization in the Masterpieces of Ming-Qing Chuanqi
• Drama. Taipei: Taiwan Book Company, 1998: 278 pages.
• Co-editor (with Hua Wei), Collections of Papers from the International Conference on Ming-Qing Drama. I have also contributed an essay and have co- written the introduction. Taipei: Institute of Chinese Literature and Philosophy, Academia Sinica, 1998.
Articles
(1)In Chinese
• “The Late Qing Dramatist Yang Enshou’s Dramatic Theory and His Plays Tnyuan liuzhongqu,” in Cultural Energy of Daily Aesthetics, Taipei: NTU Publishing Center, 2020.
• “On the Contemporary Writing and Public Consciousness in the Drama of the Late Ming and Early Qing Dynasties, 2019, pp.395-430.
• “Gesamtkunstwerk”── The Modernity and the Futurism of Taiwan’s Beijing Opera Presented in Shiba luohantu,” in Ayling Wang ed., The Twentieth Anniversary of Guoguang Theatre Company: The Complete Record of the Play Shiba luohantu and Its Production, Taipei:China Times Publishing Company,2019,pp.1-8.
• “On the Subjectivity and Modernity of the New Aesthetics of the Contemporary Beijing Opera in Taiwan from Guoguang’s New plays,” Xiqu yanjiu 102 (July 2017) pp .271-297. (CSSCI)
• “Commentaries, Interpretation and Reception: The Critical Context of the Commentaries of Ming Qing Drama and Its Theoretical Significance,” Zhongguo wenxue yanjiu 29 (June 2017) , pp .35-79. (CSSCI)
• “On Shuixiu yu yanzhi and Shiba luohantu: the Modern Implications of the Aesthetic New Vision of the Contemporary Chinese Opera in Taiwan,” eds. by Wang Ayling, Chen Shang-ying, Xie Jung-feng & Tseng Ching-pin, Social Innovation and Practice of the Arts and Humanities,” Kaohsiung: Department of Theater Arts and Centre for the Study of Humanities Innovation and Social Practice, National Sun Yat-sen University, 2017, pp.41-64.
• “The Transformation of Textual Consciousness in the Commentaries on Peony Pavilion in the Late Ming and Its Critical Context,” Tang Xianzu yanjiu 3=General 25 (November 2016), pp .36-54.
• “The Aesthetic Vision and Cultural Implications of the Adaptation and Performances of Kunqu in Taiwan ", Xiqu yanjiu 91 (January 2016). (CSSCI)
• “The Development of a New Aesthetics in Taiwan's Beijing Opera: Subjective Presentation in Shuixiu yu yanzhi and Shiba luohantu” in Wang Ayling ed., The Twentieth Anniversary of Guoguang Theatrical Company: The Complete Record of the Play Shiba luohantu and Its Production,” Taipei: National Traditional Art Center,2015.
• “Introduction,” in Wang Ayling & Wang Ching-yu eds., New Directions for the Study of Traditional Chinese Theater, Taipei: Guojia Publishing House, February 2015, pp .13-32.
• “The Practical Past: On the Late Ming Writing and Spiritual Transformation in the the Early Qing Drama,” in Wang Ayling & Wang Ching-yu eds.,New Directions for the Study of Traditional Chinese Theater, Taipei: Guojia Publishing House, February 2015, pp .169-252.
• “Interaction between the Reader, the Critic and the Author: The Qing Dramatist Hong Sheng’s Historical Play Changshengdian and Wu Yiyi’s Commentary,” in Lena Rydholm & Anders Cullhed ed., True Lies Worldwide: Fictionality in Global Contexts, Berlin: de Gruyter, 2014,pp.111-136.
• “The Dramatic Presentation and Interpretation of the Fall of the Ming Dynasty in
• Dong Rong’s (1711-1760) Zhikanji (Magic Fungus Shrine ),”Journal of Theater
• Studies 13 (January 2014), 61-98.
• “The Ethical Consciousness and Social Vision in Xia Lun’s (1680-1753) Plays,”
• Mingqing wenxu yu wenxian 2 (December 2013) 3-46.
• “Loyalism and Chastity in Jiang Shiquan’s Plays,”in Chen Yongfa ed., The Ming- Qing Empires and Their Modern Transformation. Taipei: Yunchen chubanshe, Sept. 2011, 267-334.
• “Rewriting Literary History—The Construction of ‘Canonicity’and the New
• Interpretation of Chinese Literature,” Hanxue yanjiu (June 2011), 1-18.
• “Loyalty and Life Situation Presented in Jiang Shiquan’s Plays, Wen yu Zhe 18.1 (June 2011), 547-598.
• “’Canonicity’ and ‘Modernity’—On the New Aesthetic Horizon of the Contemporary Beijing Opera in Taiwan and Its Cultural Significance,” in the special issue on “New Century New Beijing Opera—The New Aesthetics of the 21st Century Beijing Opera in Taiwan and the Guoguang Theatrical Troupe, ” Newsletter of the Institute of Chinese Literature and Philosophy 21.1 (March, 2011): 21-30.
• “Introduction” to the special Issue on “New Century New Beijing Opera—The New Aesthetics of the 21st Century Beijing Opera in Taiwan and the Guoguang Theatrical Troupe, Newsletter of the Institute of Chinese Literature and Philosophy 21.1 (March, 2011): 1-6.
• “Loyalty, Death and Violence in Jiang Shiquan’s Plays,” Zhongguo wenxue yanjiu
• 17 (April 2011), 1-48 (CSSCI)
• “On the Repentance Consciousness and Self-Redemption in Wu Weiye’s and Huang Zhouxing’s Plays,” Bulletin of the Institute of Chinese Literature and Philosophy 39 ( March. 2011 ), 41-102.
• “Practical Past: The Early Qing Dramatists’ Writing on Late-Ming and their Spiritual Transformation,” in Chen Pinyuan and Zhang Hongnian eds., Zhongguo wenxue xuebao 1(Jan., 2011): 125-172.
• “The Globalization and Localization of the Studies of Sinology,” Guowen tiandi
• 26.5 (Oct. 2010): 19-22.
• “’Canonicity’ and ‘Modernity’—On the New Aesthetic Horizon of the Contemporary Beijing Opera in Taiwan,” Yinke wenxue shenghuozhi 82 (June 2010):
• 160-164.
• “’Introduction’ to Emotion, Reason and Desire in Ming-Qing Literature and Thought,” Newsletter of the Institute of Chinese Literature and Philosophy 20.1 (March 2010): 47-57.
• “Artistic Taste and Cultural Fashion: On the Modern Appreciation of Kun Opera and Its Cultural Significance”in Hung Wei-chu ed., The Connoisseurs’ Views on Kunqu Opera” Chungli: National Central University, Jan. 2010, 197-255.
• “On the Literati’s Subjectivity and Social Horizon of the Mid-Qing Dramatist Shen Qifeng’s Plays,”in Ayling Wang ed., Emotion, Reason and Desire in Ming-Qing Literature and Thought, Taipei: Institute of Chinese Literature and Philosophy, Academia Sinica, 2009.
• “Contemporary Significance of the Representation of ‘Canon’--the ‘Canonicity’ and the New Interpretation of Ming-Qing Literature,” Humanities and Social Sciences Newsletter Quarterly 11.1 (Nov. 2009), 49-58.
• “On the Emotion, Reason, and Propensity in Tang Xianzu’s Plays,” Liu Ts’ui-jung ed. Knowledge Feast Colloquium. Taipei: Academia Sinica Press, 2009, 182-216.
• “Consciousness, Identification and Boundary-crossing Imagination in the Early Qing Drama,”Ayling Wang ed. Space and Cultural Field: the Cultural Interpretation of Mobility. Taipei: National Library, 2009, 75-142.
• “Introduction: The Cultural Interpretation of Mobility,” in Ayling Wang ed. Space and Cultural Field: the Cultural Interpretation of Mobility. Taipei: National Library, 2009, 1-12.
• “Introduction: Rewriting Literary History: the Formation of Canonicity and Ming- Qing Narrative Literature,” in Ayling Wang & Siao-chen Hu, eds. Canonical Transformation and Ming-Qing Narrative Literature. Taipei: Lien-ching Publishing Company, 2009, 1-18.
• “The Embedded Critical Dimension of the Commentated Peach Blossom Fan,” Ayling Wang & Siao-chen Hu, eds. Canonical Transformation and Ming-Qing Narrative Literature. Taipei: Lien-ching Publishing Company, 2009, 129-192.
• “Rewriting Literary History: the Formation of Canonicity and Ming-Qing
• Narrative Literature,” Newsletter of the Institute of Chinese Literature and Philosophy 19.2 (June 2009) (THCI Core)
• “Blending Regional Theater in the Kunqu dram: the canonicity of Tang Ying’s Drama,” Jiangnan lishi shehui pinglun 1 (June 2009), 148-178.
• “Diaspora and Belonging: the Transformation of Consciousness and Boundary- Crossing Imagination,” Wen yu Zhe 14.1 (June 2009), 159-226. (THCI Core)
• “On the Literati’s Subjectivity and Social Horizon of the Mid-Qing Dramatist
• Shen Qifeng’s Plays,” Wnehua yichan 2 (April 2009), 1-19.
• “Contemporary Consciousness and Historical Writing in the Late Ming and Early Qing Drama on Current Affairs,” Chinese and Foreign Cultures and Historical Memory, ed. by Cheng Pei-kai, Guilin: Guangxi Education Publishing Company, 2009.
• “Realistic Consciousness and Historical Writing in the Late Ming and Early Qing Drama on Current Affairs,” The Transmission and Innovation of Chinese Culture: Collections of Papers in Commemoration of Frederic W. Mote, ed. Peter C. Wang, Hong Kong University Press, 2009.
• “Introduction One: Rewriting Literary History—The Reconstruction of
• ‘Canonicity’and New Interpretation of Ming-Qing Literature,”in Canonical Transformation and Ming-Qing Narrative Literature, Ayling Wang & Siao-chen Hu, eds. Taipei: Lien-ching Publishing Company, 2009.
• “Personality, Moral Subjectivity and Historical Writing in the Mid-Qing Dramatist Jiang Shiquan’s Plays,” in Collections of Papers from the International Conference in Honor of Professor Yu Ta-kang, ed. by Wang Chiu-kui, Taipei: Taipei University of Art, 2009, 333-374. 30. “On the Development of Chinese Field from the Horizon of Global Chinese Studies,” Guowen Tiandi 24.7 (Dec. 2008), 7-10.
• “Personality, Moral Subjectivity and Historical Writing in the Mid-Qing Dramatist
• Jiang Shiquan’s Plays,” Jiuzhou xuelin 6.2 (Dec. 2008), 149-208.
• “From the Desk to the Stage: Reading and Appreciation of the Masterpieces of Ming-Qing Drama,” Cultural Lectureships of the Chang-geng University, No.1, Taoyuan: Center of the Chang Gung General Education. 10
• “Journal of Theater Studies—A New Journal Sponsored by National Science
• Council,” Humanities and Social Sciences Newsletter Quarterly 9.4(September 2008): 72-77.
• “Introduction to Hakka Theater”, Council for Hakka Affairs, Executive Yuan,
• http://www.hakka.gov.tw/ct.asp?xItem=29350&ctNode=712&mp=278
• “Historical Lyricism and Dramatic Construction in Yang Chaoguan’s Yinfengge zaju Plays ,”in Journal of Theater Studies, Taipei: Institute of Chinese Literature and Philosophy, Academia Sinica, Taipei, Taiwan, 2 (July 2008).
• “On the Interaction of Regional Theater and the Kunqu theater, and the canonicity of Tang Ying’s drama, ” Journal of Zhou Qin Han Tang Yanjiu 6 (Apri 2008), Xian: Zhou qin han tang Studies Center of the Xibei University.
• “Foreword,” in Journal of Theater Studies, Taipei: Institute of Chinese Literature and Philosophy, Academia Sinica, Taipei, Taiwan, 1 (January 2008): i-iv.
• “Ethical Consciousness and Critical Horizons of the Maos’ Commentaries on The Lute,” in Journal of Chinese Literature Studies, Center for Chinese Literature Studies, Shanghai, China, No.10 (January 2008).
• “On Qing Dramatist TangYing’s Didacticism and Canonicity of His Drama,” Bulletin of the Institute of Chinese Literature and Philosophy, Academia Sinica, Taipei, Taiwan, 32 (March 2008): 73-108.
• “New Perspectives on the Studies of Ming-Qing Narrative Theory and Narrative Literature,” Newsletter of the Institute of Chinese Literature and Philosophy, Academia Sinica, Taipei, Taiwan, 17.3 (September 2007):
• “Literary Criticism and the ‘Ideal Reader’,” Humanities and Social Sciences
• Newsletter Quarterly 8.3 (September 2007): ii
• “The Late Ming Imagination and Memory Weaving in Early Qing Dramatist Kong Shangren’s Play,” Collections of Papers from the International Conference of Early Modern Literature, ed. by Chang Kao-ping. Taipei: Hsin-wen-feng Publishing Company, 2007.
• “Textual Consciousness and Reading Transformation: Jin Shengtan’s Commentaries on The Romance of Western Chamber,” New Horizons of Taiwan Scholarship: Studies of Chinese Literature (Vol. II), ed. by Huang Wen-chi, Taipei; Wunan Publishing Company, 2007.
• “Textual Consciousness and Reading Transformation in Jing Shengtan’s Commentaries on The Romance of the Western Chamber,” in Journal of Chinese Literature Studies, Center for Chinese Literature Studies, Shanghai, China, No.9 (January, 2007).
• “Textual Consciousness and Reading Transformation in Jing Shengtan’s
• Commentaries on The Romance of the Western Chamber,” in Collections of 11
• Papers in Celebration of Dr. Li Yuan-che’s Seventieth Birthday, ed. by Liu Tsui-jung, Taipei: Yun-chen Cultural Enterprise Company, Ltd., 2006.
• “Emotions (Qing), Reason (Li) and Propensity (Shi) in Tang Xianzu’s Dramatic
• Theory and Works,”in New Literature, No. 6 (August, 2006): 133-157.
• “Emotions (Qing), Reason (Li) and Propensity (Shi) in Tang Xianzu’s Dramatic
• Theory and Works,”in Differences, ed. by Jin Minhui, No. 4 (April, 2006): 115-141.
• “’Introduction’to The Dramatic Aesthetics and Its Artistic Presentation in Late Ming and Early Qing,” Newsletter of the Institute of Chinese Literature and Philosophy, Academia Sinica, Taipei, Taiwan 16.1 (March. 2006): 15-37.
• “Ethical Consciousness and Critical Horizons of the Maos’Commentaries on The Lute,” Bulletin of the Institute of Chinese literature and Philosophy, Academia Sinica, Taipei, Taiwan, 28 (March, 2006): 1-49.
• “Emotions (Qing), Reason (Li) and Propensity (Shi) in Tang Xianzu’s Dramatic Theory and Works,”in Tang Xianzu and The Peony Pavilion, ed. by Hua Wei, Taipei: Institute of Chinese Literature and Philosophy, 2005: 171-213.
• “Philosophical Horizon and Critical Consciousness in Li Zhi’s Commentary on The Lute,”Bulletin of the Institute of Chinese literature and Philosophy, Academia Sinica, Taipei, Taiwan, 27 (Sep. 2005): 45-89.
• “The Embedded Critical Dimension of the Commentated Peach Blossom Fan,” Bulletin of the Institute of Chinese literature and Philosophy, Academia Sinica, Taipei, Taiwan, 26 (March. 2005): 161-212.
• “Writing Drama as Autobiography/ Biography: Subjective Presentation and
• Narrative Strategy in the Historical/ Biographical Plays by Qing Literati,” Subjectivity and Society in Ming-Qing Literature and Thought, ed. by Ayling Wang, Taipei: Institute of Chinese Literature and Philosophy, Academia Sinica, 2004: 505-588.
• “’Introduction to Subjectivity and Society in Ming-Qing Literature and Thought,” Newsletter of the Institute of Chinese Literature and Philosophy, Academia Sinica, Taipei, Taiwan, 14.4 (Dec. 2004):87-97.
• “Memory and Narrative: Early Qing Dramatists’Lament for the Late Ming and Sentiments of Dynastic Changeover,” Bulletin of the Institute of Chinese literature and Philosophy, Academia Sinica, Taipei, Taiwan, 24 (March. 2004): 39-103.
• “Commentary, Interpretation and Reception: Wu Yiyi’s Commentary on Hong Sheng’s Chang-sheng-dian,” Bulletin of the Institute of Chinese Literature and Philosophy, Academia Sinica, Taipei, Taiwan, 23 (Sep. 2003): 71-128.
• “Presenting the Private to the Public: Self-depiction and Dramatic Performance of the Ming-QingPlaywrights,”In Private Sentiments in Chinese History and Culture, edited by Ayling Wang and Siao-chen Hu. Taipei: Center for Chinese Studies, 2003.
• “Narration, Performance and Transcendence of Private Sentiments,”in Private Sentiments in Chinese History and Culture, edited by Ayling Wang and Siao-chen Hu. Taipei: Center for Chinese Studies, 2003.
• “Review on Chinese Storytellers: Life and Art in the Yangzhou Tradition,”
• Chinese Studies 21:2 (December 2003): 455-462.
• “Narration and the Spatial/Temporal Imagination in the Artistic Presentation of Ming-Qing Drama.”In Viewing the Humanity through Things, edited by Hsiung Ping- chen. Taipei: Maitian Publishing Company, 2003: 91-182.
• “The Significance of Qing in Hong Sheng’s The Palace of Eternal Life (Chang- sheng-dian),”in New Literature, No.2 (June 2003)
• “TheAesthetic Construction and Cultural Significance of the Fengliu Plays by the Literati in the Jiangsu and Zhejiang Areas in Late Ming and Early Qing.”In Space, Place and Culture: The Writing and Interpretation of Chinese Cultural Space, edited by Li Feng-mao and Liu Yuan-ju. Taipei: Institute of Chinese Literature and Philosophy, Academia Sinica, 2002: 91-210.
• “The Transformation of Qing and Li and Its Significance in the Aesthetic Trend of Late Ming and Early Qing Drama.” Bulletin of the Institute of Chinese Literature and Philosophy, Academia Sinica, Taipei, Taiwan, 19 (September 2001): 183-250.
• “The Horizon Presentation and Historical Consciousness in the Historical Drama from Late Ming to Early Qing.” In Dynastic Transition and Reform: Literature and Art from Late Ming to Late Qing, edited by Siao-chen Hu. Taipei: Institute of Chinese Literature and Philosophy, Academia Sinica, 2001:189-300.
• “Introduction to ‘The Body of the Detective Model: Charles S. Pierce and Edgar
• Allan Poe’,”in Let Evidences Speak: the Dialogue, ed. by Hsiung Ping-chen, Taipei:
• Rye Field Publishing Company, 2001:43-47.
• “Redressing Wrongs by Poetic Justice: The Artistic Characteristics and Cultural Significance of the Courtroom Plays from Late Ming to EarlyQing,”in Let Evidences Speak: the China Volume, edited by Hsiung Ping-chen. Taipei: Rye Field Publishing Company, 2001: 21-104.
• “Ming-Qing Drama Studies at the Institute of Chinese Literature and Philosophy, Academia Sinica.” Newsletter for Research in Chinese Studies 20:2 (May 2001): 35-43.
• “ThePhilosophicalSignificanceandAestheticConstructionoftheScholar-Beauty Plays from Late Ming to Early Qing,”Bulletin of the Institute of Chinese Literature and Philosophy, Academia Sinica, Taipei, Taiwan, 18 (March 2001): 139-188.
• “The Significance of Qing in Hong Sheng’s Chang-sheng-dian,”In Newsletter of the Institute of Chinese Literature and Philosophy, Academia Sinica, Taipei, Taiwan, 11.1 (March 2001):71-79.
• “Review onThe Eternal Storyteller: Oral Literature in Modern Chin,” Sinological
• Studies 18:1 (June 2000): 331-338.
• “On the Performances of Mainland Traditional Drama in Taiwan 1999.”In The
• 1999 Yearbook of Performing Arts, edited by Lu I-te. Taipei: National C.K.S. Culture Center, 2000: 88-111.
• “The Structural Formation and Language Employment in the Dramatic Narration of Ming-Qing Chuanqi Drama.”InTransmission and Innovation, edited by Chung Tsai-chun. Taipei: Institute of Chinese Literature and Philosophy, Academia Sinica, 1999: 209-300.
• “The Artistic Characteristics and Elements of the Ming-Qing Subjective Lyrical Drama,”Bulletin of the Institute of Chinese Literature and Philosophy, Academia Sinica, Taipei, Taiwan, 13 (September 1998): 37-120.
• “Subjectivity and Individuality in the Artistic Presentation of Ming-Qing Chuanqi Drama.” In Collections of Papers from the International Conference on Ming-Qing Drama,”edited by Hua Wei and Wang Ayling. Taipei: Institute of Chinese Literature and Philosophy, Academia Sinica, 1998: 71-138.
• “Transmission and Invention: On the Reviews of the Performances of Traditional ChineseDramainTaiwan1997.”InThe 1997 Yearbook of Performing Art, edited by Lin Ching-yun and Lu Chien-ying. Taipei: National Chiang Kai-shek Culture Center, 1998: 110-113.
• “Introduction.” Co-author with Hua Wei, in Collections of Papers from the International Conference on Ming-Qing Drama, edited by Hua Wei and Wang Ayling. Taipei: Institute of Chinese Literature and Philosophy, Academia Sinica, 1998: 71-138. 77. “On the Lyricism and Characterization in Ming-Qing Chuanqi Drama.” Bulletin of the Institute of Chinese Literature and Philosophy, Academia Sinica, Taipei, Taiwan, 9 (September 1996): 233-323.
• “TheIntensificationofThematicConsciousnessandStructuralDesigninthe Masterpieces of Ming-Qing Chuanqi Drama.”Bulletin of the Institute of Chinese Literature and Philosophy, Academia Sinica, Taipei, Taiwan, 7 (September 1995): 245-394.
• “Lyricism of the Classical Chinese Drama.” Journal of the Memorial Hall of Dr. Qian Mu, 3 (Aug. 1995): 30-56.
• “On the Relations between ‘Lyrical Presence’ and ‘Plot Development’ in Ming- Qing Chuanqi Drama.” Bulletin of the Institute of Chinese Literature and Philosophy, Academia Sinica, Taipei, Taiwan, 7 (March 1994): 549-592.
• “Review of The Late Ming Poet Chen Tzi-lung.” Chung-Wai Literary Monthly
• 20.6 (November 1991): 86-94.

In English
Ph.D. Dissertation
The Artistry of Hong Sheng’s Palace of Eternal Youth ( Yale University Ph.D. Dissertation, Nov. 1992): 323 pages.
Articles
• “Dramatic Elements in the Narrative Poetry of BoJuyi (772-846) and Yuan Zhen
• (779-831).”Bulletin of the Institute of Chinese Literature and Philosophy 5 (Sept.
• 1994): 195-272.
• “Music and Dramatic Lyricism in Hong Sheng’s Chang-sheng-dian,”in Mighiel van Crevel, Tian Yuan Tan and Michel Hockx eds., Text, Performance, and Gender in Chinese Literature and Music: Essays in Honor of Wilt Idema. Leiden: Brill, 2009, pp.233-262.
• “Interaction between the Reader, the Critic and the Author: The Qing Dramatist Hong Sheng’s Historical Play Changshengdian and Wu Yiyi’s Commentary, in Lena Rydholm & Anders Cullhed ed., True Lies Worldwide: Fictionality in Global Contexts. Berlin: de Gruyter, 2013, 111-134.
• “Shishiju as Public Forum: The Crying Phoenix and the Dramatization of Current Political Affairs in Late Ming China,” in Paul Edmondson, Tian Yuan Tan and Shi-pei Wang eds., 1616:Shakespeare and Tang Xianzu’s China (London: Bloomsbury Arden Shakespeare, 2016, pp.64-76.
In Japanese
• “The Philosophical Significance and Aesthetic Construction of the Scholar-Beauty Plays from Late Ming to Early Qing,” The Presence of the Classics, ed. by Hirata Shoji, Kyoto University, Japan, March 2001: 146-183.
• Translation ( from English into Chinese)
• Trans. “The Structure of Ming Chuanqi Drama” by Kang-I Sun Chang into Chinese, Newsletter of the Institute of Chinese Literature and Philosophy, Academia Sinica, Taipei, Taiwan, (March 1994): 141-152.
CONFERENCE PAPERS
• “The Late Qing Dramatist Yang Enshou’s Dramatic Theory and His Plays Tanyuan liuzhongqu,” 2019 Performance as Method from Global Perspectives: Historical Memory, Technologies of the Self, and Cultural Production, Kaohsiung: Department of Theate Arts, National SunYat-sen University, December 2019.
• “National Ideology and Historical Writing in the War of the Republic of Vietnam "," The Second Symposium of Cross-Straits Humanities -- The Context of Humanities and the Integration and Development of Cross-Straits Humanities,” Xiamen: The Institute of Philosophy, Chinese Academy of Social Sciences, October 2019.
• “The Embedded Critical Dimension of the Commentated Peach Blossom Fan,” Symposium on Kong Shangren and the History and Culture of Yandu ," Yancheng: The Ming History Society of China, October 2018.
• The Rationalization and Secularization of the Ethical Thoughts in the Mid-Qing Drama,”The Second Symposium on Humanities :The Situation of Humanities and the Integration and Development of Cross-Strait Humanities, Xiamen: The Institute of Chinese Philosophy, Chinese Academy of Social Sciences, September 2018.
• “The Rationalization and Secularization of the Ethical Thoughts in the Mid-Qing Drama,”International Conference on the Formation of Classics and Textual Interpretation, Shanghai: Research Center for Traditional Chinese Literature, December 2017.
• “On the Contemporary Writing and Public Vision in the Shishiju of the Late Ming and Early Qing,” Contemporary Explorations of Gesamtkunstwerk’s Techniques and Meanings: Border-Crossing and Reterritorialization in Theater Arts in the Age of Aesthetic Globalization Theater Arts and Management International Conference (TAMIC 2017),” Kaohsiung: Department of Theater Arts, National Sun Yat-sen University, October 26-27, 2017.
• “On the Contemporary Writing and Public Vision in the Shishiju of the Late Ming and Early Qing,” Contemporary Explorations of Gesamtkunstwerk’s Techniques and Meanings: Border-Crossing and Reterritorialization in Theater Arts in the Age of Aesthetic Globalization Theater Arts and Management International Conference (TAMIC 2017),” Kaohsiung: Department of Theater Arts, National Sun Yat-sen University, October 26-27.
• “The Rationalization and Secularization of the Ethical Thoughts in the Mid-Qing Drama,”International Conference on the Formation of Classics and Textual Interpretation, Shanghai: Research Center for Traditional Chinese Literature, December 2017.
• “On the Contemporary Writing and Public Vision in the Shishiju of the Late Ming and Early Qing,” Contemporary Explorations of Gesamtkunstwerk’s Techniques and Meanings: Border-Crossing and Reterritorialization in Theater Arts in the Age of Aesthetic Globalization Theater Arts and Management International Conference (TAMIC 2017),” Kaohsiung: Department of Theater Arts, National Sun Yat-sen University, October 26-27.
• “Commentary, Interpretation and Reception── The Critical Context of the Ming and Qing Drama and Its Theoretical Significance,” The Fourth International Conference on Chinese Literary Theories,” Shanghai: organized by the Research Center for Ancient Chinese Literature, Fudan University, December, 2016.
• “From Shuixiu yu yanzhi to Shiba luohantu: On the Subjectivity and Modernity of the Dramatic Aesthetics contained in the Contemporary Taiwan Beijing Opera in Taiwan,” “Social Innovation and Practice of the Arts and Humanities Society ─2015 International Conference on Theater Arts and Management", organized by Department of Theater Arts, Research Centre for Humanities Innovation and Social Practice, National Sun Yat-sen University , Kaohsiung, October 29-30 , 2015.
• “On the Rationalization and Secularization of Ethical Thoughts in the Drama of the Mid-Qing Dynasty,”Keynote speech of the Conference: 2015 International Conference on Literature and Thought from the Qing Dynasty to the early Republic of China, organized by the Chinese Department of the University of Malaysia. Kuala Lumpur: College of Liberal Arts, University of Malaysia,October 3 to 4, 2015.
• “The Artistic Mediation and Thematic Presentation in the Peking Opera Film The Legend of the White Snake (Baishezhuan),” presented at the International Conference on Old Albums and Old Movies on Beijing Opera. Beijing: the Academy of Traditional Chinese Theater, December 15, 2014.
• ”Commentary, Interpretation and Reception: The Critical Context of Ming-Qing
• Commentated Plays and Its Theoretical Significance”,presented at The Fourth Conference of the Mountain and Sea Forum. Kaohsiung: National Sun Yat-Sen University, October 23, 2014.
• “Political Conflicts, War and Separation: The Realistic Anxiety and Historical Writing in the Ming-Qing Current Event Drama of the late Ming and Early Qing,” presented at the World Conference on Sinology 2014 organized by the Confucius Institute, Beijing: Renmin University, Sept. 6-7, 2014.
• “On the Loyal Consciousness and Realistic Writing in the Ming-Qing Drama on
• Current Affairs,” presented at The Eleventh Conferences of the Cross-Straits Sun
• Y at- sen Universites,Guangzhou: Guangzhou Sun Yat-sen University, August 21-22, 2014.
• “A New Form of Public Forum: Dramatizing Current Affairs on Stage in the Late- Ming Shishiju Plays,” presented at the International Conference on Brave New Theatres: 1616 in China and England, organized by SOAS, University of London, London: University of London, June 5-6, 2014.
• “Dramatic Presentation of the Fall of the Ming in Dong Rong’s (1711-1760) Zhikanji (The Ganoderma Shrine),” presented at the International Conference on Peripheral Visions in Chinese Literature and Drama) organized by the Department of East Asian Languages and Civilizations and the Fairbank Center, Boston: Harvard University, November 8-9, 2013.
• “The Ethical Consciousness and Social Vision in Xia Lun’s (1680-1753) plays,” presented at the International Conference on the “Issues and New Interpretations in the Study of Chinese Drama,” presented at The International Conference on the Issues and New Interpretations in the studies of Chinese Drama. Harbin: Center for the Studies of Ming-Qing Literature and Culture, Heilongjiang University, Dec. 28-29, 2012.
• “Mobility and Historical Imagination in the Context of the Empire: Staging War and Narrating Border in Dong Rong’s (1711-1760) Zhikanji (Magic Fungus Shrine), presented at The International Conference on Place, Text and Performance, Tempe: Arizona State University, Dec. 6-7, 2012.
• “The Ethical Consciousness and Social Vision Presented in Xia Lun’s Plays,” presented at The International Conference on “Literature, Translation and Knowledge Construction: from Late-Ming to Late-Qing,” Academia Sinica, Taipei, Taiwan, Nov. 1-2, 2012.
• “The Dramatic Presentation and Interpretation of the Fall of the Ming Dynasty in Dong Rong’s (1711-1760) Zhikanji (Magic Fungus Shrine), presented at The International Conference on the Popular Culture and the Resources of Chinese Thought, Foshan: Guangzhou University, Oct. 23-23, 2012.
• “A Dialogue between the Reader, the Critic and the Author: The Qing Dramatist Hong Sheng’s Historical Play Changshengdian and Wu Yiyi’s Commentary,” presented at The International Conference on Fiction in Global Contexts: History and Recent Development, Stockholm: The Stockholm University and Upsala University, August 16-17, 2012.
• “On the Rationalization and Secularization of the Confucian Ethical Didacticism in the Mid-Qing Plays,”presented at The Fourth International Conference on Sinology, Taipei: Academia Sinica, June 20-22, 2012
• “The Dramatic Presentation and Interpretation of the Fall of the Ming Dynasty in Dong Rong’s (1711-1760) Zhikanji (Magic Fungus Shrine), presented at the International Conference on Travel, Diaspora and Banishment in Ming-Qing Literature, Taipei: Academia Sinica, Dec. 8-9, 2011
• “Nationalism and Mediated History in the Late Qing ‘Reformed New Drama’ The Tragic Downfall of Vietnam,” presented at The 2011 International Conference on the Prospects of Ming-Qing Studies, Taipei: Academia Sinica, Nov. 24-25, 2011.
• “Mission and Vision: The Chiang Ching-kuo Foundation’s Role in an Age of Globalization,”2011 CHCI( Consortium of Humanities Centers and Institutes ) International Conference on “Asian Humanities and Global Scene,” Hong Kong: The Chinese University of Hong Kong, Nov.4-6, 2011.
• “Nationalism and Mediated History in the Late Qing ‘Reformed New Drama’
• The Tragic Downfall of Vietnam,” The Asian New Humanities Net Ninth Annual
• Meeting-- Towards the Humanities: Social Transformation and Value Reconstruction,
• Shanghai: Shanghai Jiao Tong University and The Chinese University of Hong Kong, Oct. 14-16, 2011.
• “Nationalism and Mediated History in the Late Qing ‘Reformed New Drama’ The Tragic Downfall of Vietnam,” presented at The International Conference on the Tradition and Invention of the Vietnamese Confucianism, Hue: Vietnam Academy of Social Sciences and Academia Sinica, Sept. 5-6, 2011.
• “Commentary, Interpretation and Reception: the Embedded Critical Context and Theoretical Significance of the Ming-Qing Drama with Commentaries,” presented at The New Directions of the Ming-Qing Studies, Taipei: Academia Sinica, Dec. 8-10, 2010.
• “’Canonicity’ and ‘Modernity’—On the New Aesthetic Horizon of the Contemporary Beijing Opera in Taiwan and Its Cultural Significance,” Keynote Speech delivered at the International Conference on the Chinese Regional Theater, Taipei: National Taiwan College of Performing Arts, Nov. 21, 2010.
• “Practical Past: The Late-Ming Writing and Spiritual Transformation in the Early Qing Drama,” A Workshop on the New Directions in the Study of Chinese Drama (II), Cambridge: Harvard University, Nov. 10-11, 2010.
• “Practical Past: The Late-Ming Writing and Spiritual Transformation in the Early Qing Drama,”, Stanford: Stanford University, A Workshop on the New Directions in the Study of Chinese Drama (I)Nov. 6-7, 2010.
• “The Early Qing Dramatists’ Consciousness of Repentance and their Construction of Ideal,” presented at The Asian New Humanities Net Eighth Annual Meeting: The Asian Humanities and the Humanities in Asia, Hong Kong: The Chinese University of Hong Kong, Oct. 15-16, 2010.
• “On the Consciousness of Repentance and Construction of Ideal in Wu Weiye’s and Huang Zhouxing’s Plays,” presented at The Symposium on the Repentance, Recovery and the Chinese Cultural Writing, Academia Sinica, |Taipei, Sept. 8-9, 2010.
• “Canonicity and Modernity: On the New Aesthetic Vision of the Contemporary Beijing Opera in Taiwan and Its Cultural Significance,” presented at The Symposium on New Century New Beijing Opera—The New Aesthetics of the 21st Century Beijing Opera in Taiwan and Guoguang Theatrical Troupe, Harvard University, Academia Sinica and Taiwan University, Taipei, Taiwan, July 3, 2010.
• “The Early Qing Dramatists’ Writing of the Ming-Qing Transitional Period and Their Spiritual Transformation” presented at The International Conference on 17
• Chinese Classics and Culture, Center for the Studies of Ancient Texts, Beijing
• University, March.8-9, 2010.
• “Practical Past: The Early Qing Dramatists’Latter-days Writing and Late-Ming
• Complex,” presented at the International Conference on Traveling, Diaspora and
• Banishment in Ming-Qing Literature, Dec.3-4, 2009.
• “Rewriting Literary History: New Perspectives for the Studies of Ming-Qing Literature,” Symposium on New Perspectives in Chinese Studies: Approaches, Data and Method—In Commemoration of the 20th Anniversary of Chiang Ching-kuo Foundation for International Scholarly Exchange, Hong Kong: Chinese University, August 3, 2010.
• “New Perspectives for Chinese Studies in an Age of Globalization,” 2009 Young Researchers Forum: New Perspectives for Asian Studies in Humanities, Prague: Charles University, May 28, 2009.
• “Loyalty, Death and Violence in Jiang Shiquan’s Plays,” presented at the International Conference on Modern Chinese Literature,” Shanghai: Shanghai Fudan University, Jan.7-8, 2009.
• “Loyalty, Death and Violence in Jiang Shiquan’s Plays,” presented at” Tempe: Arizona State University, Dec.11-12, 2008. The Second Meeting of the Study of Violence in Pre-Modern China,
• “Loyalism, Chastity in Jiang Shiquan’s Plays,” presented at the International Conference on the Cultural Interpretation of Loyalty, Taipei: Academia Sinica, November 18-19, 2008.
• “Diaspora and Belonging: The Boundary-Crossing Imagination in Early Qing Drama and Its Cultural Significance,” presented at The International Conference on Boundary-Crossing Imagination and Cultural Writing: The Dao and Art of Chinese Literati’s Life, October 30-31.
• “Literati Subjectivity and Social Vision in the Mid-Qing Dramatist Shen Qifeng’s Plays,” presented at The International Conference on The Traditional Theater Studies under the Vision of Protecting Non-Material Cultural Heritages, Sun Yat-sen University, Guangzhou, China, October 10-13, 2008.
• “Contemporary Consciousness, Social Vision and Textual Construction in the Late
• Ming and Early Qing Drama on Current Affairs,” presented at The Third World Forum on China Studies, Shanghai Academy of Social Sciences, Shanghai & Hangzhou, China, September 8-10, 2008.
• “Contemporary Consciousness, Social Vision and Textual Construction in the Late Ming and Early Qing Drama on Current Affairs,” presented at the International Conference on Order and Disorder in Ming Qing Literature and Culture, Academia Sinica, Taipei, Taiwan, August 30-31, 2008.
• “Sound, Memory, and Boundary-Crossing Imagination: The Mobility of Identification presented in the Early Qing Drama,” presented in the International Symposium on “Sound and Chinese Literature,” Harvard University, Boston, U.S.A., April 25-26, 2008.
• “Consciousness, Subjectivity and Boundary-Crossing Imagination: The Mobility of Consciousness in the Temporal and Spatial Construction in Early Qing Drama,” presented at The International Conference on the Cultural Interpretations of the Mobility, Center for Chinese Studies, Taipei, Taiwan, March 26-28, 2008.
• “The Interaction of Kunqu (Kun Opera) and Regional Drama and the Construction of ‘Canonicity’ in Tang Ying’s Plays,” presented at The International Symposium on China Studies sponsored by the Central Study Center for Literature and History (Zhongyang wenshi yanjiuguan) of the Counsellors’ Office of the State’s Council, Beijing, China, November 26-28, 2007.
• “Literati Subjectivity and Social Vision in the Mid-Qing Dramatist Shen Qifeng’s Plays,” presented at the International Conference on Emotions (Qin), Reason (Li) and Desire(Yu) in Ming-Qing Literature and Thought,” Institute of Chinese Literature and Philosophy, Academia Sinica, Taipei, Taiwan, November 21-23, 2007.
• “On Qing Dramatist Tang Ying’s Didacticism and Canonicity of His Drama,” presented at The International Conference on Ming-Qing Narrative Theories and Literature, Academia Sinica, Taipei, Taiwan, August 30-31, 2007.
• “Personality, Moral Subjectivity and Historical Writing in Jiang Shiquan’s Plays,” presented at The International Conference on Kun Opera and the Non-material Cultural Heritage, City University, Hong Kong, August 28-30, 2007.
• “Repentance and Redemption—The Purification and Sublimation of the Love in The Palace of Eternal Life,” presented in The International Conference on Changshengdian and Kun Opera, Shanghai Theater Academy China, Shanghai, China, June 1-3, 2007.
• “Personality, Moral Subjectivity and Historical Writing in Jiang Shiquan’s Plays,” presented at The International Conference in Commemoration of Professor Yu Ta- kang’s 100th Birthday, National Center for Traditional Arts, Taipei, Taiwan, May26-
• 28, 2007.
• “Historical Lyricism and Dramatic Construction in Yang Chaoguan’s Yinfengge Zaju Plays,” presented at The International Conference on “Theories and Text: in Ming-Qing Narrative Theories and Literature,” Academia Sinica, Taipei, Taiwan, December 14-15, 2006.
• “New Trend of Literary Studies in Recent Years and the Writing of Chinese Literary History,” presented at the International Conference on the Writing of Chinese Literary History, Wuhan University, Wuhan, China, Nov. 30, 2006.
• “Textual Consciousness and Reading Transformation in Jin Shengtan’s Commentaries on The Romance of the Western Chamber,” presented at The International Conference on Ancient Texts and Literature, Center for Classical Textual Studies of Beijing University, Beijing, China, November 28-29, 2006.
• “The Theoretical Significance of Jing Shengtan’s Commentaries on The Romance of The Western Chamber,” presented at The Conference of the Research Projects on Chinese Literature sponsored by National Science Council, Changhua Normal University, Changhua, Taiwan, November 25, 2006.
• “Realistic Consciousness and Historical Writing in the Late Ming and Early Qing Drama on Current Affairs,” presented at The “Chinese Culture: Past and Present: An International Conference in Commemoration of Frederic W. Mote,” National Central University, Chungli, Taiwan, November 20-21, 2006.
• “Realistic Consciousness and Historical Writing in the Late Ming and Early Qing Drama on Current Affairs,” presented at The International Conference on Chinese, Foreign Cultures and Historical Memories, City University, Hong Kong & Macau, China, June 26-30, 2006.
• “Ethical Consciousness and Critical Horizons of the Maos’ Commentaries on The Lute,” presented at The International Conference on the Studies of Chinese Literary Commentaries, Center for Classical Chinese Literary Studies, Fudan University, Shanghai, China, June 4-5, 2006.
• “Violence and Justice—Crime and Punishment in Ming-Qing Courtroom Drama,” Presented at The Symposium on Violence in Medieval China, Arizona State University, Phoenix, U.S.A., April 11-15, 2006.
• “Ethical Consciousness and Critical Horizons of the Maos’ Commentaries on The Lute,” presented at The Conference on Rites, Ethics and Cultural Identification, Academia Sinica, Taipei, Taiwan, December 13, 2006.
• “The Late Ming Imagination and Memory Weaving in Early Qing Dramatist Kong
• Shangren’s Play,” presented at The International Conference on Early Modern
• Chinese Literature, Cheng-kung University, Tainan, Taiwan, October 21-23, 2005.
• “The Late Ming Imagination and Memory Weaving in Kong Shangren’s Play,” presented at The International Conference on “Evolving Cultural Memory in China and Southeast Asia,” National University of Singapore, Singapore & Malacca, Singapore, July 11-14, 2005.
• “Artistic Taste and Cultural Fashion: On the Modern Appreciation of Kun Opera and Its Cultural Significance,” presented at The International Conference on World Kunqu and Taiwan’s Role, National Central University, Chungli, Taiwan, April 21-23, 2005.
• “Philosophical Horizon and Critical Consciousnessin Li Zhi’s Commentary on The Lute,” presented at The International Conference on Yuan-Ming Literati’s Self- Construction and Aesthetic Style, Academia Sinica, Taipei, Taiwan, December 16, 2004.
• “The Embedded Critical Dimension of the Commentated Peach Blossom Fan,”
• presented at The International Conference on Canonical Transformation and Ming- Qing Literature, Academia Sinica, Taipei, Taiwan, November 18-19, 2004.
• “Artistic Taste and Cultural Fashion: On the Modern Appreciation of Kun Opera and Its Cultural Significance,” presented at The International Conference on the Twentieth Century Taiwan Culture, Tokyo University, Tokyo, Japan, September 2004.
• “Emotions (Qing), Reason (Li) and Propensity (Shi) in Tang Xianzu’s Dramatic Theory and Works,”in Tang Xianzu and The Peony Pavilion,” presented at The International Conference on Tang Xianzu and The Peony Pavilion, Academia Sinica, Taipei, Taiwan, April 27-28, 2004.
• “Commentary, Interpretation and Reception: Wu Yiyi’s Commentaries on Hong Sheng’s Chang-sheng-dian,” presented at The International Conference on Poetic Thought and Hermeneutics in Traditional China: A Cross-Cultural Perspective, Yale University, New Haven, U.S.A., May, 2003.
• “Writing Drama as Autobiography/Biography: Subjective Presentation and Narrative Strategy in the Historical/Biographical Plays by Qing Literati,” presented at The International Conference on Subjectivity and Society in Ming-Qing Literature
• and Thought, Academia Sinica, Taipei, Taiwan, October 22-24, 2002.
• “Memory and Narrative: Early Qing Dramatists’ Lament for the Late Ming and Sentiments of Dynastic Changeover,” presented at The Conference on Scenery, Objects and Human Affairs, Academia Sinica, Taipei, Taiwan, January 2002.
• “RedressingWrongs by Poetic Justice:The Artistic Characteristics and Cultural Significance of Early Qing Courtcase Drama,” presented at The International Symposium on “Thinking with Cases: Specialist Knowledge in Cultural History,” University of Chicago, Chicago, U.S.A., October 2001.
• “The Transformation of Qing and Li and Its Significance in the Aesthetic Trend of Late Ming and Early Qing Drama,” presented at The International Conference on the New Meaning of Chinese Civilization in the Twenty-First Century, Stanford University, San Francisco, U.S.A., March 2001.
• “The Artistic Characteristics and Cultural Significance of Early Qing Courtcase Drama,” presented at The Symposium on Cases in China, Academia Sinica, Taipei, Taiwan, December, 2000.
• “The Significance of Qing in Hong Sheng’s The Palace of Eternal Life5,”presented at The Conference on Literature, Music and Performance of The Palace of Eternal Life, Academia Sinica, Taipei, Taiwan, December 10, 2000.
• “The Aesthetic Construction and Cultural Significance of the Fengliu Plays by the Literati in the Jiangsu and Zhejiang Areas in Late Ming and Early Qing,” presented at The International Conference on Space, Place and Culture: Chinese Literature and Cultural Writing, Academia Sinica, Taipei, Taiwan, November 16-18, 2000.
• “The Philosophical Significance and Aesthetic Construction of the Scholar-Beauty Plays from Late Ming to Early Qing,” presented at The International Conference on The Chinese Classics as Cultural System, Kyoto University, Kyoto, Japan, July 8-9,
• 2000.
• “The Philosophical Significance and Aesthetic Construction of the Scholar-Beauty Plays from Late Ming to Early Qing,” presented at The Conclusive Conference on the Literary World during the Dynastic Transition Period, Academia Sinica, Taipei, Taiwan, June 23, 2000.
• “TheStructuralFormationandLanguageEmploymentintheDramaticNarration of Ming-Qing Chuanqi Drama” presented at The International Conference on the Modern Interpretation of Chinese Philosophy and Literature, Stanford University, San Francisco, U.S.A., August 1999.
• “The Horizon Presentation and Historical Consciousness in the Historical Drama from Late Ming to Early Qing,” presented at The International Conference on Dynastic Transition and Reform: Literature and Art from Late Ming to Late Qing, Academia Sinica, Taipei, Taiwan, July 16-17, 1999.
• “Subjectivity and Individuality in the Artistic Presentation of Ming-Qing Chuanqi Drama,” presented at The International Conference on Ming-Qing Drama, Academia Sinica, Taipei, Taiwan, June 10-11, 1997.
PUBLIC LECTURES (1997-Present):
• “Life, Death and True Love in Peony Pavilion and Changshengdian,” special lecture delivered at the advanced course of EMBA, National Sun Yat-sen University, Kaohsiung: College of Management, April 21, 2019.
• “The Rationalization and Secularization of the Ethical Thoughts in the Mid-Qing Drama,” special lecture delivered at the Research Center for Ming and Qing, National Central University, Nvember 12, 2018.
• “Love and Life in Peony Pavilion and Jinsuoji,” special lecture delivered at the advanced course of EMBA, National Sun Yat-sen University, Kaohsiung: College of Management, June 2, 2018.
• “The Rationalization and Secularization of the Ethical Thoughts in the Mid-Qing Drama,” special lecture delivered at the Department of Chinese Literature, Huadong Normal University, Shanghai, December , 2017.
• “Love and Life in Peony Pavilion, Changshengdian and Jinsuoji,” special lecture delivered at the advanced course of EMBA, National Sun Yat-sen University, Kaohsiung: College of Management, April 30, 2017.
• “Canonicity and Modernity: The New Aesthetic Vision of the Contemporary Beijing Opera in Taiwan and Its Cultural Significance,” special lecture delivered at the Rsearch Center for Ancient Chinese Literature, Shanghai Fudan University, December 2016.
• “Life, Death and True Love in Peony Pavilion and Changshengdian,” special lecture delivered at the advanced course of EMBA, National Sun Yat-sen University, Kaohsiung: College of Management, May 29, 2016.
• “The Rationalization and Secularization of the Ethical Thoughts of the Mid-Qing Drama,” special lecture delivered at the Department of Chinese Literature, National Cheng Kung University, Tainan, December 4, 2015.
• ”Canonicity and Modernity: The Aesthetic Vision of Taiwan’s New Beijing Opera and Its Cultural Significance,” special ;ecture delivered at the “Taiwan Week,” Montreal: Department of East Asia, McGill University, October 8, 2015.
• “The Rationalization and Secularization of the Ethical Thoughts of the Mid-Qing Drama,” Keynote Speech delivered at the International Conference on Literature and Thought from Qing Dynasty to Early Republic, organized by the Chinese Department of the University of Malaysia, Kuala Lumpur: University of Malaysia, October 4, 2015.
• “Life, Death and True Love in Tang Xianzu’s Play, The Peony Pavilion” special lecture delivered at the Literary Summer Camp in Honor of Hong Xingfu (1949-
• 1982), Changhua: Eelin High School, July 16, 2015.
• “’Canonicity’ and ‘Modernity’: On the New Aesthetic Horizon of the Contemporary Beijing Opera in Taiwan and Its Cultural Significance, College of Philosophy, Wuhan University, Wuhan, China, April 22, 2015.
• “The Ethical Consciousness and Social Vision in Xia Lun’s (1680-1753) Plays,” presented at the International Conference on the “Issues and New Interpretations in the Study of Chinese Drama,” lecture delivered at the Department of Chinese Literature, National Cheng Kung University, Tainan, October 6, 2014.
• “Emotions (Qing), Reason (Li) and Propensity (Shi) in Tang Xianzu’s Dramatic
• Theory and Works,”in Tang Xianzu and The Peony Pavilion,” lecture delivered at
• the Department of Humanities, National Jiaotung University, Hsinchu, June 13,
• 2014.
• “Practical Past: The Late-Ming Writing and Spiritual Transformation in the Early Qing Drama,” lecture delivered at the Center for the Studies of Ming-Qing Literature and |Culture, Heilongjiang University, Harbin, China, Dec. 24, 2012.
• “Discovering the Beauty of Literature: How I Entered the Field of Literary
• Studies,” lecture delivered at the National Central University, Chungli, Taiwan, Dec.
• 20, 2012.
• “Discovering the Beauty of Literature: How I Entered the Field of Literary Studies,” lecture delivered at the Special Summer Camp for the High School Students in the Humanities and Social Sciences, Ministry of Education, Taipei: National Taiwan University, July 2, 2012.
• “’Canonicity’ and ‘Modernity’—On the New Aesthetic Horizon of the Contemporary Beijing Opera in Taiwan and Its Cultural Significance,” lecture delivered at the Chinese University of Hong Kong, Hong Kong, March 14, 2012.
• “Mission and Vision: The Chiang Ching-kuo Foundation’s Role in an Age of Globalization,” lecture delivered at the Chinese University Hong Kong, Hong Kong, March 14, 2012.
• “Practical Past: The Late-Ming Writing and Spiritual Transformation in the Early Qing Drama,”lecture delivered at the Department of Chinese Literature, National Cheng Kung University, Tainan, Taiwan, March 12, 2012.
• “Mission and Vision: The Chiang Ching-kuo Foundation’s Role in an Age of Globalization,” special speech delivered at The 2011 CHCI( Consortium of Humanities Centers and Institutes) International Conference on “Asian Humanities and Global Scene,” Hong Kong: The Chinese University of Hong Kong, Nov. 4-6, 2011.
• “Practical Past: The Late-Ming Writing and Spiritual Transformation in the Early Qing Drama,” lecture delivered at The Cutting Edge Forum, National Normal University, Taipei, Taiwan, May 5, 2011.
• “The Methods and Strategies of Applying for the Special Projects Sponsored by
• the National Science Council,” lecture invited by the Center for Humanities Studies of the Chang Gung University, Jan. 10, 2011.
• “History, Memory and Narrative ---The New Horizon of the Studies of Ming-Qing
• Historical Drama,” lecture delivered at the “Metaphor‧Lyricism and Narrative‧
• Observation”---NSC(National Science Council) Interdisciplinary Camp for the Field of Chinese Literature,” National Tainan University, Tainan, Taiwan, Dec. 23, 2010.
• “’Canonicity’ and ‘Modernity’—On the New Aesthetic Horizon of the
• Contemporary Beijing Opera in Taiwan and Its Cultural Significance,” Keynote
• Speech delivered at The International Conference on the Chinese Regional Theater, Taipei: National Taiwan College of Performing Arts, Nov. 2010.
• “History, Memory and Narrative ---The New Horizon of the Studies of Ming-Qing
• Historical Drama,” lecture delivered at the “Metaphor‧Lyricism and Narrative‧Observation”---NSC Interdisciplinary Camp for the Field of Chinese Literature” National Chung Cheng University, Chiayi, Taiwan, April. 11, 2010.
• “History, Memory and Narrative ---The New Horizon of the Studies of Ming-Qing Historical Drama,” lecture delivered at the “Lyricism, narrative and history---NSC Ming-Qing Literature and Culture Camp,” National Jinan International University, Puli, Taiwan, Jan. 30, 2010.
• “Diaspora and Belonging: The Boundary-Crossing Imagination in Early Qing Drama and Its Cultural Significance,” lecture delivered at the College of Arts, National Central University, Chungli, Taiwan, Dec. 24, 2009.
• “Diaspora and Belonging: The Boundary-Crossing Imagination in Early Qing Drama and Its Cultural Significance,” lecture delivered at the Institute of Theater Studies, National Taiwan University, Taipei, Taiwan, Dec. 13, 2009.
• “Rewriting Chinese Literary History—The New Issues and New Direction of the Studies of Ming-Qing Literature,” serial lectures delivered at the summer camp on Literary studies sponsored by the Center for Classical Chinese Literature, Shanghai Fudan University, Shanghai, China, August 8-9, 2009.
• “Rewriting Literary History: New Perspectives for the Studies of Ming-Qing Literature,” keynote speech delivered at the Symposium on New Perspectives in Chinese Studies: Approaches, Data and Method—In Commemoration of the 20th Anniversary of Chiang Ching-kuo Foundation for International Scholarly Exchange, Chinese University, Hong Kong, China, August 3, 2009.
• “New Perspectives for Chinese Studies in an Age of Globalization,”opening speech delivered at the 2009 Young Researchers Forum: New Perspectives for Asian Studies in Humanities, Charles University, Prague, Czech, May 28, 2009.
• “Loyalism, Death and Violence in Jiang Shiquan’s Plays,”lecture delivered at the “Humanities Lectureship”of National Changhua Normal University, Changhua, Taiwan, April 29, 2009.
• “Emotion, Reason and Propensity in the Masterpieces of Ming-Qing Drama,” lecture delivered at the Tsubouchi Memorial Theater Museum, Waseda University, Tokyo, Japan, Feb. 28, 2009.
• “Pursuing Eternal Love and Plot Arrangement in Ming Qing Drama, public lecture delivered at the “Knowledge Feast Colloquium” at the Academic Activity Center, Academia Sinica, Taipei, Taiwan, June 24, 2008.
• “Memory and Narrative: Early Qing Dramatists’ Lament for the Late Ming and 24
• Sentiments of Dynastic Changeover,”lecture delivered at the Department of Chinese
• Literature, Kaohsiung Normal University, Kaohsiung, Taiwan, June 6, 2008.
• “The Reading and Appreciation of the Classics of Ming-Qing Drama,” lecture delivered at the Humanities Lectureship, Chang Gung University, Taipei, Taiwan, June 3, 2008.
• “Memory and Narrative: Early Qing Dramatists’Lament for the Late Ming and Sentiments of Dynastic Changeover,” lecture delivered at the Center for Humanity Studies, National Central University, Chung-li, Taiwan, May 21, 2008.
• “On the Emotions (Qing) and Propensity (Shi) in Kun Opera,”lecture delivered at the “Boundary-Crossing Lectureship on the Art of Calligraphy,” Elite Book Store, Taipei, Taiwan, October, 2007.
• “Memory and Narrative: Early Qing Dramatists’ Lament for the Late Ming and Sentiments of Dynastic Changeover,” lecture delivered at the Department of Chinese Literature, Sun Yat-sen University, Kao-hsiung, Taiwan, May 20, 2007
• “Memory and Narrative: Early Qing Dramatists’Lament for the Late Ming and Sentiments of Dynastic Changeover,” lecture delivered at the Department of Chinese Literature, Chi-nan International University, Pu-li, Taiwan, April , 2007
• “Departing Sorrow and Narration in ChineseDrama,” lecture delivered at “The Twelfth Literary Camp for the National Senior High School Students,” Department of Chinese Literature, National Taiwan University, February, 2007.
• “Ethical Consciousness and Critical Horizons of the Maos’Commentaries on The Lute,” lecture delivered at the Department of Art, Wuhan University, Wuhan, China, December, 2006.
• “Memory and Narrative: Early Qing Dramatists’Lament for the Late Ming and Sentiments of Dynastic Changeover,” lecture delivered at the Humanities School, Wuhan University, China, December, 2006.
• “Memory Studies and Dramatic Narration,” lecture delivered at the Department of
• Chinese Literature, National Central University, Chun-li, Taiwan, October, 2006.
• “The Romantic World in Peony Pavilion,” lecture delivered at the “Lectureship on
• Culture” of the Chinese Culture Center, City University, Hong Kong, October, 2006.
• “The Purification of Love in The Palace of Eternal Life” lecture delivered at the “Cultural Lectureship” of the Chinese Culture Center, City University, Hong Kong, October, 2006.
• “Ethical Consciousness and Critical Horizon of the Maos’ Commentaries on The Lute,” lecture delivered at the “Cultural Lectureship” of the Chinese Culture Center, City University, Hong Kong, October, 2006. 25
• “Reflections on the Methodology of Literary Studies,” lecture delivered at the
• Department of Chinese Literature, Huadong Normal University, Shanghai, China,
• June, 2006.
• “Memory and Narrative: Early Qing Dramatists’ Lament for the Late Ming and Sentiments of Dynastic Changeover,” lecture delivered at the Center for the Studies of Classical Chinese Literature, Fudan University, Shanghai, China, June 2006.
• 41. “Between the Virtual and the Real: From the Textual Reading of ‘Fu Poem on Luoshen’to Dramatic Performance,” lecture delivered at the Distinguished Class of Humanities at The First Girls High School, Taipei, Taiwan, May, 2006.
• “The Reading and Appreciation of the Classics of Ming-Qing Drama,” lecture delivered at the Humanities Lectureship, Cheng-kung University, Tainan, Taiwan, May, 2006.
• “Drama on the Story of Luoshen,” lecture delivered at Hantang yuefu theatrical troop, Taipei, Taiwan, January, 2006.
• “Memory Studies and Dramatic Narration,” lecture delivered at the Department of
• Chinese Literature, Qinghua University, Beijing, China, February, 2005.
• “Memory and Narrative: Early Qing Dramatists’ Lament for the Late Ming and Sentiments of Dynastic Changeover,”l ecture delivered at the Research Workshop on the Lyrical Tradition in Chinese Literature, sponsored by the Ministry of Education and National Taiwan University, Taipei, Taiwan, November 24, 2004.
• “Ming-Qing Drama and the Reading and Appreciation of Kun Opera,” lecture delivered at the Research Workshop on Humanities for High School Students, sponsored by the National Science Council, Taipei, Taiwan, July, 2004.
• “New Direction for the Studies of Chinese Drama,” lecture delivered at the
• Department of Chinese Studies, Kyoto University, Kyoto, Japan, June 2004.
• “The Elevation of Love and Structural Design in The Palace of Eternal Life,” lecture delivered at the Lecture Hall of Elite Book Store, sponsored by Chien-hui Humanities Foundation, Taipei, Taiwan, January, 2004.
• “Commentary, Interpretation and Reception: Wu Yiyi’s Commentaries on Hong Sheng’s Chang-sheng-dian,” lecture delivered at “A Special Panel on Ming-Qing Literature on East Asian Studies,” sponsored by the Council on East Asian Studies, Yale University, New Haven, U.S.A., November, 2003.
• “Ming-Qing Drama and the Art of Kun Opera,,” lecture delivered at the Drama
• School, Charles University, Prague, Czech Republic, December 20, 2002.
• “Redressing Wrongs by Poetic Justice: The Artistic Characteristics and Cultural Significance of Earl Qing Courtcase Drama,” lecture delivered at the Center for Asian Studies, U.C. Berkeley, U.S.A., October, 2001. 26
• “New Trend of the Studies of Chinese Drama,” lecture delivered at the
• Department of Chinese Literature, Tokyo University, Tokyo, Japan, July, 1997.
PROFESSINAL ACTIVITIES
• Member of the Editorial Board of Academic Journal/ Member of the Advisory
• Committee of Academic Institute, Governmental Organization
• Member of the Review Committee of the CCKF European Fellowship, 2013- 2016.
• Member of the Academic Board, Journal of East Asian Humanities, JEH, 2013- Present.
• Member of the Editorial Board, Zhongguo wenxue yanjiu, Shanghai: Shanghai
• Fudan University, 2012-Present.
• Member of the Editorial Board, Guowen xuebao, Taipei: National Taiwan Normal
• University, 2012-Present.
• Member of the Editorial Board, Journal of Chinese Literary Studies, Korean
• University, 2008-present.
• 11. Member of the Editorial Board, Jiangnan Lishi shehui pinglun (Social History Review of the Jiangnan Area), Shanghai Huadong Normal University, Shanghai, China, 2008-present.
• 12. Member of the Editorial Board, Zhengda zhongwen xuebao, Taipei: National
• Cheng Chi University, 2008-Present.
• 13. Member of the Advisory Board, Qingda zhongwen xuebao, Hsinchu: National
• Tsing Hua University, 2008-Present.
• 14. Member of Editorial Committee, Xiju yanjiu (Journal of Theater Studies), National Taiwan University, 2007-present.
• 15. Member of the Advisory Committee, NTU Center for Art Promotion, Taipei, Taiwan, 2006-present.
• 16. Member of the Academic Review Committee, Ministry of Education, 2013-2014.
• 17. Member of the Advisory Committee, College of Liberal Arts, National Sun Yat- Sen University, 2013-2014.
• 18. Member of the Advisory Committee for Traditional Chinese Theater, Chiang Kai
• Shek Cultural Center, Taipei, Taiwan, 2000-2002, 2006-2007, 2009-2010, 2013-2014.
• 19. Member of the Editorial Board, Zhongguo xueshu niankan, Taipei: National
• Taiwan Normal University, 2012-Present.
• 20. Member of the Advisory Committee, College of Liberal Arts, National Chung
• Hsing University, 2011-Present.
• 21. Member of the Examination Committee for Mainland Degree Identification, Ministry of Education, 2011-2014.
• 22. Member of the Committee of “Campus Planning,” Academia Sinica, Taipei, Taiwan, 2007-2013.
• 23. Member of the Advisory Committee for the Asian-Pacific Area, The Chiang
• Ching-kuo Foundation for International Scholarly Exchange, 2008-2013.
• 24. Member of the Advisory Committee, The Center for Humanities Studies, National
• Central University, 2008-2010.
• 25. Member of the Editorial Committee, Bulletin of the Department of Chinese
• Literature, NTU, 2007-2010.
• 26. Member of the Advisory Committee, Center for Humanities Studies, National
• Central University, Chungli, Taiwan, 2007-2010.
• Member of Editorial Committee, National Central University Journal of
• Humanities, 2007-2010.
• Member of the Academic Committee for Cross-Straits Projects, The Chiang
• Ching-kuo Foundation for International Scholarly Exchange, 2010-Present.
• Member of the Editorial Committee, Xiqu xuebao (Journal of Traditional Chinese
• Theater), 2006-2012.
• Member of the Review Committee, Dongyuan Award for Arts, 2012. 19. Member of the Review Committee, The National Award for Arts, 2012.
• Member of the Editorial Board, Biaoyan yishu xuebao, Taipei: National Taiwan
• University of Arts, 2010-2011.
• Member of the Editorial Board, Bulletin of the Institute of Chinese Literature and
• Philosophy, Academia Sinica, Taipei, Taiwan, 2004-2005, 2010-2012.
• Member of the Review Committee, gTaiwan Grant, Ministry of Foreign Affairs, Taiwan, R.O.C., 2011
• Member of the Advisory Committee of the Council for Hakka Affairs, Executive
• Yuan, Taiwan, Republic of China, 2009-2011.
• Member and Chair of the Editorial Board, Hanxue yanjiu, Center for Chinese
• Studies, Taipei, Taiwan, 2008-2012.
• Member of the Committee, “Distinguished Degree Thesis,”National Sun Yat-sen
• University, Kaohsiung, Taiwan, 2008-2009.
• Member of the Committee, “Documentary for Eighty Years’History of Academia
• Sinica,”Academia Sinica, Taipei, Taiwan, 2007-2008.
• Member of the Advisory Committee, “Review of the Personnel in Administrative and Technical Departments,”Academia Sinica, Taipei, Taiwan, 2007.
• Chair of the Editorial Committee & Chief Editor, Xiju yanjiu (Journal of Theater
• Studies), National Science Council, 2007-2008.
• Chair, The Society of Ming-Ch’ing Studies, Academia Sinica, Taipei, Taiwan,
• 2005-2007. 26. Member of the Advisory Committee for Special Technicians
• Employment, 28 Academia Sinica, 2005-2007.
• Chief Editor of Book Review, Bulletin of the Institute of Chinese Literature and
• Philosophy, Academia Sinica, Taipei, Taiwan, 2004-2005.
• Member of the Editorial Board, Newsletter of the Institute of Chinese Literature and Philosophy, Academia Sinica, Taipei, Taiwan, 2004-2005.
• Member of the Advisory Committee, Taiwan International Graduate Program, Academia Sinica, Taipei, Taiwan, 2002-2010.
Reviewer, Assessor, Examiner of Promotion, New Employment, Grant, Publication, and Degree Examination for Academic Institute
• External Assessor of new employment and promotion— For Yale University, SOAS( University of London) , Singapore National University, Georgia University, National Taiwan University, National Chengchi University, National Normal University, National Tsing-hua University, National Central University, National Chiao Tung University, National Sun Yat-sen University, National Chung-hsing University, National Chi-nan University, National Chung Cheng University, Tunghai University, Chinese Culture University, 2000-present.
• Assessor of research projects, award, group project, book project, National Science
• Council, Taipei, Taiwan, 1994-present.
• Assessor of research projects, award, group project, Ministry of Education, Republic of China, 1994-present.
• Assessor of research projects, award, group project, The Chiang KK\ EW 1998- present.
• Assessor of research projects, Research Grants Council, Hong Kong, 1994-present.
• External Examiner for the Ph.D. Defense—National Taiwan University, National Chengchi University, National Normal University, National Tsing-hua University, National Sun Yat-sen University, National Central University, National Chi-nan University, Tunghai University, Chulalongkorn University (Thailand), 1994-present.
• Eternal Examiner for Master Thesis Defense-- National Taiwan University, National Chengchi University, National Tsing-hua University, National Central University, National Chi-nan International University, National Chung Cheng University, Tunghai University, 2002-present.
• Article Reviews— For Ming Studies, Asia Major, Bulletin of the Institute of Chinese Literature and Philosophy, Academia Sinica; Newsletter of the Institute of Chinese Literature and Philosophy, Academia Sinica; Tamkang Review, Humanitas Taiwanica, Bulletin of the Department of Chinese Literature National Taiwan University, National Central University Journal of Humanities, Tsing-hua Journal of Chinese Studies, Journal of Chinese Studies, Research on Women in Modern Chinese History, Journal of Women’s and Gender Studies, Forum in Women’s and Gender Studies, Journal of Theater Studies, Literature and Philosophy, Journal of Traditional Chinese Theater, The Annual National Chung-Hsing University Journal of
• Humanities, Bulletin of the Department of Chinese Literature National Cheng Chi University, Bulletin of the Department of Chinese Literature Soochow University, Chang Gung Journal of Humanities and Sciences, Journal of Chinese Studies (The Chinese University of Hong Kong), Renwen zhongguo xuebao (Hong Kong Baptist University), Si yu yan, Minsu quyi, Chung-Wai Literary Monthly, 1994-present.
• Manuscript Reviews— For Academia Sinica Press, National Taiwan University Press, National Normal University Press, National Chiao-tung University, Hong Kong Chinese University Press, Li-jen Book Company, 2005-present.
Organizer of Academic Conference, Symposium, Workshop and Research Camp
• Co-organizer, 2019 Performance as Method from Global Perspectives: Historical Memory, Technologies of the Self, and Cultural Production, Kaohsiung: Department of Theater Arts, National SunYat-sen University, December 2019.

• Co-organizer, Contemporary Explorations of Gesamtkunstwerk’s Techniques and Meanings: Border-Crossing and Reterritorialization in Theater Arts in the Age of Aesthetic Globalization Theater Arts and Management International Conference (TAMIC 2017),” Kaohsiung: Department of Theater Arts, National Sun Yat-sen University, October 26-27.
• Organizer, Symposium on the Creative Elements and Aesthetic Construction:
• The Tradition and Invention of Drama, Kaohsiung: Department of Theater Arts,
• National Sun Yat-sen University, December 2018.
• Co-organizer, The Social Invention and Practice of Arts and Humanitie: 2015 International Conference on Theater Arts and Management, Kaohsiung: Department of Theater Arts, National Sun Yat-sen University, October 29-30.
• Co-Organizer, The 2013 CCKF Cross-Straits Research Camp on History and Culture for the Young Scholars: The South-Eastern Part of Shanxi, Shanxi, China, August 8-18, 2013.
• Co-Organizer (with Lawrence Wang, Lee Shishueh) of The International Conference on Literature, Translation and Knowledge Construction: from Late-Ming to Late-Qing, Academia Sinica, Taipei, Taiwan, Nov. 1-2, 2012.
• Co-Organizer, The 2012 CCKF Cross-Straits Research Camp on History and
• Culture for the Young Scholars: Zhuizhou Culture, Anhui, China, August 18-26, 2012.
• Co-Organizer, The 2011 CCKF Cross-Straits Research Camp on History and
• Culture for the Young Scholars: Bashu Culture, Chengdu, China, August 18-26, 2011.
• Co-organizer (with David Wang, Kuoliang Yeh, Anchi Wang, Chialing Mei) of The Symposium on New Beijing Opera in the New Century, National Taiwan University, Taipei, Taiwan, July 3, 2010.
• Co-organizer of The International Conference on the Cultural Interpretation of
• Loyalism, Academia Sinica, Taipei, Taiwan, November 17-18, 2008.
• Organizer of The International Conference on Boundary-Crossing Imagination and Cultural Writing: The Dao and Art of Chinese Literati’s Life, Academia Sinica, Taipei, Taiwan, October 30-31.
• Co-organizer (with Siao-chen Hu) of The International conference on “Order and Disorder in Ming-Qing Literature and Culture,”Academia Sinica, Taipei, Taiwan, August 30-31.
• Co-organizer (with Cheng Yu-yu, Huang Kuang-chung, Huang Ying-kui, Li Feng- mao, Lin Fu-shih, Yeh Kuo-liang) of the International Conference on the Cultural Interpretations of the Mobility, Center for Chinese Studies, Taipei, Taiwan, March 26-28, 2008.
• Founder and Chief Editor, Journal of Theater Studies (No.1), sponsored by National Science Council, Taiwan, January 1, 2008.
• Organizer of the International Conference on Emotions (Qin), Reason (Li) and
• Desire(Yu) in Ming-Qing Literature and Thought,”Institute of Chinese Literature and Philosophy, Academia Sinica, Taipei, Taiwan, November 21-23, 2007.
• Co-organizer (with Siao-chen Hu )of the International Conference on Ming-Qing
• Narrative Theories and Literature, Academia Sinica, Taipei, Taiwan, August 30-31,
• 2007.
• Co-organizer (with Hung Tsu-ling, Chan Hui-teng, Lin Feng-hsuing, Lin Ho-I, Wang Chiu-ku) of the International Conference in Commemoration of Professor Yu Ta-kang’s 100 Years Old Birthday, National Center for Traditional Arts, Taipei, Taiwan, May26-28, 2007.
• Co-organizer (with Hu Siao-chen) of the International Conference on “Theories and Text: in Ming-Qing Narrative Theories and Literature,”Academia Sinica, Taipei, Taiwan, December 14-15, 2006.
• Co-organizer (with Chang Kao-ping, An Ping-qiu, Huang Ling) of the International Conference on Classical Chinese Literature and Text Studies, Center for Classical Textual Studies of Beijng University, Beijing, China, November 28-29, 2006.
• Co-organizer (with Chen Wei-fen, Hu Siaochen, Yang Chen-tek) “Ethical Consciousness and Critical Horizons of the Maos’Commentaries on The Lute,” presented at the Conference on Rites, Ethics and Cultural Identification, Academia Sinica, Taipei, Taiwan, December 13, 2006.
• Co-organizer (with Hu Siao-chen) of the Symposium on Traditional Scholarship and New Perspectives for the Studies of Ming-Qing Narrative Theories and Literature, Academia Sinica, Taiepi, Taiwan, November 16, 2006.
• Co-organizer (with Chang Kao-ping, Huang Lin, An Ping-qiu) of the International Conference on Early Modern Chinese Literature, Cheng-kung University, Tainan, Taiwan, October 21-23, 2005.
• Co-organizer (with Hung Wei-chu) of the International Conference on World
• Kunqu and Taiwan’s Role, National Central University, Chungli, Taiwan, April 21-23,
• 2005.
• Organizer of the International Conference on Yuan-Ming Literati’s Self- Construction and Aesthetic Style, Academia Sinica, Taipei, Taiwan, December 16, 2004.
• Co-organizer (with Hu Siao-chen) of the International Conference on Canonical Transformation and Ming-Qing Literature, Academia Sinica, Taipei, Taiwan, November 18-19, 2004.
• Co-organizer (with Hua Wei) of the International Conference on Tang Xianzu and
• The Peony Pavilion, Academia Sinica, Taipei, Taiwan, April 27-28, 2004.
• Co-organizer (with Yang Chin-lung) of the International Conference on Subjectivity and Society in Ming-Qing Literature and Thought, Academia Sinica, Taipei, Taiwan, October 22-24, 2002.
• Co-organizer (with Hua Wei) of the Conference on Literature, Music and Performance of The Palace of Eternal Life, Academia Sinica, Taipei, Taiwan, December 10, 2000.
• Co-organizer (with Hua Wei) of the International Conference on Ming-Qing Drama, Academia Sinica, Taipei, Taiwan, June 10-11, 1997.

Teaching: Courses Taught
• “History of Chinese Theater Arts(I),” “History of Chinese Theater Arts (II),” “Basic Research Methods,” “Selected Readings of the Masterpieces of Chinese Drama,”“Comparison of the Chinese and Western Drama,” Kaohsiung: Department of Theater Arts,National SunYat-sen University,2013-present.
• 2.“Special Topics on Chinese Drama,” course taught in the “Jiezi Society,” Kaohsiung, Taiwan, 2003-2007.
• “The Art of Ming-Qing Drama,” course taught at the Institute of Asian Studies, Charles University, Prague, Czech, 2002.
• “Modern Chinese Fiction,” course taught at the Department of East Asian
• Languages and Literatures, Yale University, 1990.
PERSONAL Sex: Female
Birthplace: Hsinchu, Taiwan
Citizenship: Taiwan, R.O.C.