In Dreaming and Self-Cultivation in China, 300 BCE-800 CE, Robert Ford Campany examines how dreaming was addressed in texts produced and circulated by practitioners of Daoist, Buddhist, Confucian, and other self-cultivational disciplines. He uncovers paradigms by which dreams are viewed and shows how they underlay diverse religious texts.

In Dreaming and Self-Cultivation in China, 300 BCE-800 CE, Robert Ford Campany examines how dreaming was addressed in texts produced and circulated by practitioners of Daoist, Buddhist, Confucian, and other self-cultivational disciplines. He uncovers paradigms by which dreams are viewed and shows how they underlay diverse religious texts.

Overturning the long-held assumption that the Xuanhe Catalogue of Paintings was the work of the Northern Song emperor Huizong (r. 1100–1126), Amy McNair argues that it was compiled instead under the direction of Liang Shicheng. Liang, a high-ranking eunuch official who sought to raise his social status from that of despised menial to educated elite, had privileged access to the emperor and palace. McNair’s study, based on her translation and extensive analysis of the text of the Xuanhe Catalogue of Paintings, offers a definitive argument for the authorship of this major landmark in...

The long seventeenth century in China was a period of tremendous commercial expansion, and no literary genre was better equipped to articulate its possibilities than southern drama. As a form and a practice, southern drama was in the business of world-building—both in its structural imperative to depict and reconcile the social whole and in its creation of entire economies dependent on its publication and performance. However, the early modern commercial world repelled rather than engaged most playwrights, who consigned its totems—the merchant and his money—to the margins as sources of...