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As a Cultural construct, gender is fictional and imagined, yet its ideological and representational effects on the formation of self and identity are quite real. The fiction behind the fictional, which many accepts as truth, is at the core of what is most intriguing about the problem of gender. Critiquing this narrative, Gender, Discourse, and the Self in Literature unravels the strategies that writers and filmmakers adopt in their (de)construction of the gendered self in three Chinese communities: mainland China, Taiwan, and Hong Kong. Writing from the vantage points of film, literature, and gender studies, contributors make an innovative marriage to Western gender discourse and the construction and representation of self and identity in contemporary China.

This book addresses issues of how the cultures in Hong Kong, Singapore and Malaysia have been Englishized in postcolonial and globcalized contexts, not just in terms of language, but also in writers’/

Gao Xingjian, the Nobel Laureate in Literature 2000, is a writer of many talents, being a novelist, playwright, stage director, painter, translator and critic at the same time. The Swedish Academy sum

Ibsen has been considered by many literary historians as the most important source, besides Goethe, of Western influence in modern Chinese literary thinking. While Goethe is recognized for his impact

Gao Xingjian, the Nobel Laureate in Literature 2000, is a writer of many talents, being a novelist, playwright, stage director, painter, translator and critic at the same time. The Swedish Academy sum

The fourteen essays presented in this volume examine the diverse ways in which cultural products are shaped and re-shaped in public spaces in China, Taiwan, Hong Kong, Japan and some other countries i