Paola Iovene, Ph.D.
Twentieth and twenty-first century Chinese literature and film; concepts of realism, modernism, and avant-garde; translation; Chinese opera film; documentary; literary history; media studies.
How do writers and filmmakers think about the relationship between the exploration of the possibilities of their medium and some form of responsibility—toward other beings, the world, and themselves—is the basic question that drives my work.
My first book, Tales of Futures Past: Literature and Anticipation in Contemporary China (Stanford University Press, 2014), explores how normative visions and intimate feelings about the future have shaped literary institutions, editorial practices, and diverse genres and texts (science fiction, children’s literature, translation of foreign literature, experimental fiction, and environmental literature) in socialist and postsocialist China.
I am now working on a book tentatively titled “Happy Together: Love and/on Location in Chinese-language Cinema,” which examines imbrications of landscape and romantic love in 1970s-1980s films that were mostly shot on location. The project investigates the technological conditions and notions of cinematic realism shaping these films as well as the fantasies of happiness that they helped normalize in the post-Mao era. For a new project called “Politics and Poetics of Air” I have begun to explore how coal, clouds and fog make their appearance in Chinese literature, film, and visual culture.
I am drawn to the moments in which literature and cinema engage the line between fact and fiction, and have an abiding interest in documentary literature and film, especially in works that attempt to account for traumatic experiences and contentious situations or events. I am currently studying a work of collective reportage titled One Day in Shanghai (1939), which comprises testimonies of the battle of Shanghai in late 1937 and its immediate aftermath.
I enjoy translating and am experimenting with different ways to integrate translation in my research and teaching.
- Tales of Futures Past: Literature and Anticipation in Contemporary China. Stanford University Press, 2014.
- “A Madwoman in the Art Gallery? Gender, Mediation, and the Relation between Life and Art in Post-1989 Chinese Independent Film,” Journal of Chinese Cinemas 8, 3 (2014): 173-187.
- “Ge Fei,” in Dictionary of Literary Biography. Chinese Fiction Writers, 1950–2000, edited by Thomas Moran and Ye Xu, 81-87. Detroit: Gale, Cengage Learning, 2013.
- Chinese Opera Film. A Special Issue of the Opera Quarterly, co-edited with Judith Zeitlin, vol. 26, issue 2-3, Spring-Summer 2010.
- "Chinese Operas on Stage and Screen: A Short Introduction," The Opera Quarterly 26, 2-3 (2010): 181-199.
- "Phony Phoenixes: Comedy, Protest, and Marginality in Postwar Shanghai," in Sherman Cochran and Paul Pickowicz eds, China on the Margins. Ithaca: Cornell University Press, 2010, 267-287.
- "Why Is There a Poem in this Story? Contemporary Chinese Literature, Li Shangyin's Poetry, and the Futures of the Past." Modern Chinese Literature and Culture 19, 2 (Fall 2007): 71-116.
- "Authenticity, Translation, and Postmodernity: Polemics around Han Shaogong's Dictionary of Maqiao," Annali dell'Istituto Orientale di Napoli 62, 2002: 197-218.
Translations (from Chinese into Italian):
- Qiu Huadong, “Cloud Cabinet” (in progress).
- Han Shaogong, “Le radici della letteratura” [Wenxue de gen/The Roots of Literature], Caratteri: Letteratura Cinese Contemporanea (2016.2, Bilingual issue).
- Xu Kun, “Cucina” [Chufang/Kitchen], Caratteri: Letteratura Cinese Contemporanea (2016): 4-17.
- Ji Wenjun, “La stracciona” [Huar/The Tramp], Caratteri: Letteratura Cinese Contemporanea (2015): 53-63.
- Fan Xiaoqing, “Breve storia della città e della campagna” [Chengxiang jianshi/Brief History of Country and City] Caratteri (2014): 22-35.
- (with Silvia Pozzi) Cui Zi’en, “Il cinema digitale: le prime immagini libere” [Digital Film: The First Free Images], in Ombre Elettriche: Cento Anni di Cinema Cinese 1905-2005, edited by Marco Müller and Elena Pollacchi, 168–175. Milano: Mondadori Electa, 2005.
- Han Shaogong, “Seduzione” [Youhuo/Seduction], A Oriente! (Spring 2003): 66–77.
- Ge Fei, La Cetra Intarsiata [Jinse/The Patterned Lute]. Rome: Fahrenheit 451, 2000.
- Ge Fei, “Primo Amore” [Chulian/First Love], in Un’Altra Cina. Poeti e Narratori degli Anni Novanta: A Special Issue of In Forma di Parole, no. 1 (1999): 287–292.
- Han Shaogong, “La Profezia della Porta Nord” [Beimenkou yuyan/The Prophecy of the Northern Gate], in Un’Altra Cina. Poeti e Narratori degli Anni Novanta: A Special Issue of In Forma di Parole, no.1 (1999): 297–309.
- Lu Xun, “Ajin” [Ajin], L’immaginazione, no. 134 (1996): 2–4.
- Voices from the Iron House: Lu Xun’s Works (undergrad/grad)
- Problems in Contemporary Chinese Literary Studies (grad)
Previously Taught Courses
- Chinese Avant-Garde Fiction in Context
- Uprooting and Displacement in Chinese Literature and Film
- Tales of the Future in China and Elsewhere
- Keywords in Chinese Literary and Cultural Criticism: Socialist Realism
- The Contemporary Chinese Novel
- Same-Sex Love in Modern Sinophone Cultures
- Culture Fever: Chinese Literature in the 1980s
- Ethnic Minorities in Chinese Literature and film
- Problems in Contemporary Chinese Literary Studies
- Chinese Independent Documentary Film
- The Writer and the People in Modern Chinese Literature
- Modern Chinese Literature: Communities, Media, and Selves
- Contemporary Chinese Literature: Writers, Critics, and Institutions
- Contemporary Chinese Writers and the Literary Field
- Voices from the Iron House: Lu Xun’s Works
- Beijing in Literature and Visual Culture (Autumn quarter, University of Chicago Center in Beijing)
- Media Aesthetics: Image
- Reading Cultures II: Travel