Sheng Chiang
Sheng Chiang's research focuses on Sinophone queer literature and cinema. More specifically, he is interested in how acts of queer translation in Sinophone cultures destabilize the hegemonic Chineseness.
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In this paper, I indicate that male same-sex eroticism embedded in the writing of qing (情) by the very first author of Chinese lyrical tradition Qu Yuan enables us to investigate the inter-textuality of Chinese lyrical tradition and contemporary queer writings. Two major literary techniques of lyrical tradition—“ blending of sentiment and scenario”(情景交融) and “ implicit aesthetics”(含蓄美學)—have been transformed and formulated a particular cultural politics of male same-sex eroticism in Bai’ s queer writings. Furthermore, in Bai’ s production of gender culture and lyrical subject, not only synchronic differences of cultural codes between comrade (老同志) and Tongzhi (新同志), but also diachronic traces of gender and sexuality passing from Qu Yuan to Crystal Boys can be observed in the construction of masculinities in this novel.
In this paper, I indicate that male same-sex eroticism embedded in the writing of qing (情) by the very first author of Chinese lyrical tradition Qu Yuan enables us to investigate the inter-textuality of Chinese lyrical tradition and contemporary queer writings. Two major literary techniques of lyrical tradition—“ blending of sentiment and scenario”(情景交融) and “ implicit aesthetics”(含蓄美學)—have been transformed and formulated a particular cultural politics of male same-sex eroticism in Bai’ s queer writings. Furthermore, in Bai’ s production of gender culture and lyrical subject, not only synchronic differences of cultural codes between comrade (老同志) and Tongzhi (新同志), but also diachronic traces of gender and sexuality passing from Qu Yuan to Crystal Boys can be observed in the construction of masculinities in this novel.