@misc{isaacson_2023, title={Taking China to the World: The Cultural Production of Modernity}, url={https://u.osu.edu/mclc/book-reviews/isaacson-2/}, journal={Modern Chinese Literature and Culture}, author={Isaacson, N.}, year={2023} }
 @article{isaacson_shu_2022, title={An Analysis of the Concept of ‘Science Fiction in the Late Qing Dynasty}, volume={7}, number={1}, journal={Comparative Literature and World Literature}, author={Isaacson, N. and Shu, Z.}, year={2022}, pages={1–19} }
 @inbook{isaacson_2022, title={Liu Cixin (2000) and Frant Gwo (2019), The Wandering Earth / Deimperializing Empire}, ISBN={9780262370172}, url={http://dx.doi.org/10.7551/mitpress/14093.003.0023}, DOI={10.7551/mitpress/14093.003.0023}, booktitle={Uneven Futures: Strategies for Community Survival from Speculative Fiction}, publisher={The MIT Press}, author={Isaacson, Nathaniel}, editor={Yoshinaga, Ida and Guynes, Sean and Canavan, GerryEditors}, year={2022}, month={Dec}, pages={153–162} }
 @article{isaacson_2022, title={The Anthropocene Unconscious: Climate Catastrophe Culture by Mark Bould}, volume={49}, ISSN={2327-6207}, url={http://dx.doi.org/10.1353/sfs.2022.0054}, DOI={10.1353/sfs.2022.0054}, abstractNote={Reviewed by: The Anthropocene Unconscious: Climate Catastrophe Culture by Mark Bould Nathaniel Isaacson "I live my life a quarter mile at a time" (Dominic Toretto). Mark Bould. The Anthropocene Unconscious: Climate Catastrophe Culture. Verso, 2021. 176 pp. $19.95 hc, $9.99 ebk. In his latest book, The Anthropocene Unconscious, Mark Bould demonstrates that "the art and literature of our time is pregnant with catastrophe, with weather and water, wildness and weirdness" (3). Quoting Amitav Ghosh's argument that "'serious literary fiction' has mostly failed to engage with climate change … exchang[ing] exclusion for insight" (3), Bould points to a form of "expressive aphasia": the inability of the novel, cinema, and other narrative forms properly to articulate the nature of humanity's impact on the planet, as well as the dire consequences of our destruction of the biosphere that at this point can at best be managed, not prevented. In grade-school terms, a lot of fiction is about climate change, and even when it does not say it is about climate change, it is pretty obvious that it is. One should not read The Anthropocene Unconscious as an academic exercise in the field of cultural studies, because it does not do the kind of hand-holding and defensive posturing required of that genre. Do read it as a clear call to action, an attempt to awaken us from our slumber. As Bould argues, "We cannot allow the scale of the crises we are already living through, and of those to come, to trump their urgency" (14). Bould briefly traces the emergence of the term "Anthropocene" and the debate regarding exactly when the period itself began, illustrating some of the other debates regarding nomenclature and historiography central to the environmental humanities. Listing over three dozen similar formulations, including the Cthulucene, Econocene, and the White (M)Anthropocene, Bould posits that (in his typography) -cene is the new -punk (7-8) There are infinite and generally insignificant variations on how we describe anthropogenic climate change as a geological epoch, when it began, and what its most salient features are. Perhaps more importantly, this point of contention between otherwise like-minded individuals belies a general agreement among anyone with a modicum of scientific literacy that we are in really deep shit. In Bould's words, we seem to have settled on "Anthropocene" because it "makes for an easy story. Easy, because it does not challenge the naturalized inequalities, alienation, and violence inscribed in modernity's strategic relations of power and production" (12). Assigning responsibility for the [End Page 555] destruction of the biosphere to humanity as a whole means there is plenty of blame to go around, but there is also no need to blame any one individual, corporation, industry, race, nation-state, or institution more than any other. It is just as difficult to pin down what is responsible for climate change as it is to put our collective finger on who is responsible: capitalism or communism? Fossil fuels in general or oil in particular? A chicken in every pot or a billionaire's yacht in Rotterdam? It is also easy to get lost in the where: acidifying oceans or melting icecaps? Beaches in Pulau or bayous in Louisiana? The problem with the global climate crisis is one of scale: it matters all over, and it matters in very specific places in very specific ways, and that makes it very easy to get lost. One wonders whether the "anthropocene unconscious" is that which we are unaware of in our consumerist slumber, or is that which we choose not to be conscious of because of the terror of its implications. Or, perhaps this is an alternative to the "climate subconscious": that which we are only partially aware of, and which manifests itself in seemingly unrelated affective and behavioral manners. These forms of unknowing are variously present in Bould's eclectic data-set, engaging with the Anthropocene across a number of forms, genres, and texts. Bould's work is most apparently an intensive engagement with Amitav Ghosh's work in and on the genre of petrofiction and an assortment of critiques of Ghosh's work. After a short introductory chapter explaining the stakes, methodology...}, number={3}, journal={Science Fiction Studies}, publisher={Project Muse}, author={Isaacson, Nathaniel}, year={2022}, month={Nov}, pages={555–558} }
 @article{isaacson_2021, title={Sino-American SF: Trans-national Participatory Culture and Translation}, volume={51}, number={2}, journal={SFRA Review}, author={Isaacson, N.}, year={2021}, pages={62–70} }
 @book{isaacson_2021, title={Special Issue on Chinese Science Fiction}, volume={6}, number={1}, journal={Comparative Literature and World Literature}, year={2021} }
 @inbook{isaacson_2021, title={Trains in Late Qing Print Culture}, booktitle={Bodies and Structures 2.0: Deep-Mapping Modern East Asian History}, author={Isaacson, N.}, editor={Ambaras, David and Nov, Kate McDonaldEditors}, year={2021} }
 @article{isaacson_2021, title={Trains, Technology and National Affect in Socialist-Realist Cinema 1949-1965}, volume={6}, number={1}, journal={Comparative Literature and World Literature}, author={Isaacson, N.}, year={2021}, pages={63} }
 @article{isaacson_2021, title={‘Subaltern’ No More: of What Does Chinese Science Fiction Speak?}, volume={6}, number={1}, journal={Comparative Literature and World Literature}, author={Isaacson, N.}, year={2021}, pages={1–4} }
 @book{isaacson_2020, place={Los Angeles}, title={A Primer to Han Song}, publisher={Dark Moon Books}, year={2020} }
 @misc{isaacson_2020, title={The Automation of Affect: Robots and the Domestic Sphere in Sinophone Cinema}, ISBN={9783030482435 9783030482442}, url={http://dx.doi.org/10.1007/978-3-030-48244-2_35}, DOI={10.1007/978-3-030-48244-2_35}, journal={The Palgrave Handbook of Twentieth and Twenty-First Century Literature and Science}, publisher={Springer International Publishing}, author={Isaacson, Nathaniel}, year={2020}, pages={621–636} }
 @misc{isaacson_2019, title={Broken Stars: Contemporary Chinese Science Fiction in Translation (Tor Books, 2019)}, journal={Los Angeles Review of Books}, author={Isaacson, N.}, year={2019}, month={Jul} }
 @article{guangyi_isaacson_2019, title={China Turns Outward: On the Literary Significance of Liu Cixin's Science Fiction}, volume={46}, ISSN={2327-6207}, url={http://dx.doi.org/10.1353/sfs.2019.0010}, DOI={10.1353/sfs.2019.0010}, abstractNote={The history of modern Chinese literature has seen more than one wave of realist movements aimed at effecting change by “writing the world.” This is both a reflection of writers' national consciousness and a modern expression of the classical political ideals of “All Under Heaven” and the “Great Unity.” Liu Cixin's science fiction is characteristic of China once again “turning outward” to engage with the world at large. His works carry on the nationalist tradition of Chinese salvation from ruin prevalent since the late Qing Dynasty. Though they have not abandoned their exuberance for the shimmering aura of “third-world” internationalism born in the Mao era, his works also embody a true universal humanism, showing profound concern and hope for the challenges and fate of humanity. The concept of “national allegory” is insufficient for understanding the significance of Liu Cixin's work as an author and his investigations as a philosopher. Only by understanding his fiction and essayistic oeuvre as a whole, placing it in the context of the birth of Chinese sf at the turn of the twentieth century and its evolution through the socialist period and beyond, can contemporary Chinese literary studies adequately breathe in the vital air of Liu Cixin's science fiction.}, number={1}, journal={Science Fiction Studies}, publisher={Project Muse}, author={Guangyi, Li and Isaacson, Nathaniel}, year={2019}, pages={1–20} }
 @article{isaacson_2019, title={Locating Kexue Xiangsheng (Science Crosstalk) in Relation to the Selective Tradition of Chinese Science Fiction}, volume={34}, ISSN={["1933-8287"]}, DOI={10.1086/703827}, abstractNote={Kexue xiangsheng (science crosstalk) features comic dialogues aimed at popularizing knowledge in the physical and social sciences. This genre emerged in the late 1950s in the People’s Republic of China (PRC) as part of a massive effort in the state-supervised culture industry to promote science. The genre shared many of the hallmarks of PRC instrumentalist science fiction, as both were based on a Soviet model. Authors and literary theorists like Guo Moruo, Ye Yonglie, and Gu Junzheng reiterated developmental narratives of socialism and of the power of science as a tool for mastery of nature developed by authors like Maxim Gorky and Mikhail Il’in. These works of socialist realism narrated transformations in the consciousness of their characters as they came to understand guiding principles of the world around them, including basic science, evolution, and dialectical materialism. Dramatic forms like kexue xiangsheng worked in concert with other socialist-realist representative modes, including popular performance, reportage, fiction, film, song, and reappropriations of premodern literary forms. In the process, notions of scientific thinking were conflated with political orthodoxy in promoting public health and political campaigns, and science was dismantled as a professional institution, shifting from a rationalized bureaucratic endeavor to grassroots efforts aimed at solving pragmatic problems. Through education in what I term the “quotidian utopian”—small health and hygiene measures that had the potential to ameliorate major health challenges—these popular science genres also straddled the line between Frederic Jameson’s “Utopian form and Utopian wish,” between what was part utopian text and part expression of the impulse to enact utopia through changes in policy and reconfigurations of the collective body.}, number={1}, journal={OSIRIS}, author={Isaacson, Nathaniel}, year={2019}, month={Jan}, pages={139–157} }
 @article{isaacson_2019, title={Socialist Cosmopolitanism: The Chinese Literary Universe, 1945-1965}, volume={15}, ISSN={["1793-2548"]}, DOI={10.1163/17932548-12341405}, number={2}, journal={JOURNAL OF CHINESE OVERSEAS}, author={Isaacson, Nathaniel}, year={2019}, month={Nov}, pages={287–290} }
 @article{guangyi_isaacson_2018, title={Eerie Parables and Prophecies: An Analysis of Han Song’s Science Fiction}, volume={7}, ISSN={2151-4399 2156-8634}, url={http://dx.doi.org/10.1080/21514399.2018.1458375}, DOI={10.1080/21514399.2018.1458375}, abstractNote={Han Song’s works are unique in the history of Chinese science fiction. This essay examines eeriness as a stylistic feature, and parable/prophecy as its form, noting that the open-ended nature of Han Song’s fiction is the result of a permeation of the worldview of particle physics, the valorization of pluralism, and a mystic bent. Han Song’s works oscillate between satirical parables of contemporary reality and extrapolative prophecies of the future, and both writing and thematic content aestheticize the eerie.}, number={1}, journal={Chinese Literature Today}, publisher={Informa UK Limited}, author={Guangyi, Li and Isaacson, Nathaniel}, year={2018}, month={Jan}, pages={28–32} }
 @article{yao_isaacson_2018, title={Evolution or Samsara? Spatio-Temporal Myth in Han Song's Science Fiction}, volume={7}, ISSN={2151-4399 2156-8634}, url={http://dx.doi.org/10.1080/21514399.2018.1458374}, DOI={10.1080/21514399.2018.1458374}, abstractNote={Since the late Qing, the question of whether history is evolutionary or cyclical has been inextricably intertwined with the narrative of China’s establishment of a nation-state, and the attendant host of questions regarding political ethics and cultural value. In post-1990s Chinese science fiction, particularly the discourse of “evolution/competition/selection,” has constituted a dominant narrative mode. In comparison to this, the most singular aspect of Han Song’s work is the lack of such a distinct vision of time and the absence of a historical teleology constructed from an evolutionary perspective. This essay takes cyclical time in Han Song’s work as a point of departure in analyzing “Free and Easy Youth” (“Qingchun de diedang”), “Control Cycle” (“Shoukong huan”), “The Fundamental Nature of the Universe” (“Yuzhou de benxing”), “Earth Is Flat” (“Diqiu shi ping de”), “Great Wall” (“Changcheng”), and other representative works. By revealing the absurdity and incertitude underlying the modern myths of “civilizational progress” and “scientific ideals,” these works present the author’s own paradoxical musings about modernity.}, number={1}, journal={Chinese Literature Today}, publisher={Informa UK Limited}, author={Yao, Wang and Isaacson, Nathaniel}, year={2018}, month={Jan}, pages={23–27} }
 @article{isaacson_2018, title={Han Song}, volume={7}, ISSN={2151-4399 2156-8634}, url={http://dx.doi.org/10.1080/21514399.2018.1458367}, DOI={10.1080/21514399.2018.1458367}, number={1}, journal={Chinese Literature Today}, publisher={Informa UK Limited}, author={Isaacson, Nathaniel}, year={2018}, month={Jan}, pages={4–5} }
 @article{isaacson_2018, title={Soul-stealing Sand': War and Time in Xin jiyuan [The New Era] (Xin jiyuan yu ‘zhuihun sha’ – Xin jiyuan zhong de shijian yu zhanzheng)}, volume={46}, number={1}, journal={Science Fiction Studies}, year={2018}, month={Mar}, pages={1–23} }
 @book{isaacson_2018, title={Special Issue on Han Song and Contemporary Chinese SF}, volume={7}, number={1}, journal={Chinese Literature Today}, year={2018} }
 @article{isaacson_2018, title={The Age of Irreverence: A New History of Laughter in China. By Christopher Rea . Oakland: University of California Press, 2015. xvi + 335 pp. $70.00 (hardcover)}, volume={2}, ISSN={2059-1632 2059-1640}, url={http://dx.doi.org/10.1017/JCH.2017.37}, DOI={10.1017/JCH.2017.37}, abstractNote={An abstract is not available for this content. As you have access to this content, full HTML content is provided on this page. A PDF of this content is also available in through the ‘Save PDF’ action button.}, number={1}, journal={Journal of Chinese History}, publisher={Cambridge University Press (CUP)}, author={Isaacson, Nathaniel}, year={2018}, month={Jan}, pages={266–269} }
 @article{song_isaacson_2018, title={The Fundamental Nature of the Universe}, volume={7}, ISSN={2151-4399 2156-8634}, url={http://dx.doi.org/10.1080/21514399.2018.1458371}, DOI={10.1080/21514399.2018.1458371}, abstractNote={An artificial intelligence (AI) system housed in a supercomputer meets an alien being who serves as the messenger of the Guardian, an overseer of universal order. In conversing with the alien, the supercomputer comes to understand that nihilism born of ennui is a universal phenomenon. Instead of the doomsday scenarios AI researchers have warned us of, in which sentient algorithms conclude that a human holocaust is the most logical way to sustain other goals they have been programmed with, boredom with futile cycles of human existence leads the AI to do the unthinkable.}, number={1}, journal={Chinese Literature Today}, publisher={Informa UK Limited}, author={Song, Han and Isaacson, Nathaniel}, year={2018}, month={Jan}, pages={12–15} }
 @article{isaacson_chen_2017, title={"Qinggan de waibao” (The Outsourcing of Affect)}, journal={Wenxue}, author={Isaacson, N. and Chen, Wang}, year={2017}, month={Jun} }
 @book{isaacson_2017, place={Middletown, CT}, title={Celestial Empire: the Emergence of Chinese Science Fiction}, ISBN={9780819576682}, publisher={Wesleyan University Press}, author={Isaacson, N.}, year={2017} }
 @book{isaacson_2017, place={New York}, title={Death Ray on a Coral Island}, institution={MOMA}, author={Isaacson, N.}, year={2017}, month={Aug} }
 @article{isaacson_2017, title={Science as Institutional Formation in <i>The New Era}, volume={51-52}, ISSN={1767-3755 2271-1929}, url={http://dx.doi.org/10.3917/mochi.051.0028}, DOI={10.3917/mochi.051.0028}, abstractNote={L’emergence de la science-fiction en Chine a ete conditionnee par une reconnaissance de la complicite potentielle du genre avec l’imagination imperiale, et un desir de l’employer comme moyen de creer des contre-narratifs. Les lecteurs de la fin de la dynastie Qing y cherchaient du reconfort alors que leur nation se transformait de grand pays hegemonique au trou paume en train de s’effondrer. Les intellectuels de la meme epoque se tracassaient de comment reconcilier l’occidentalisation, la modernisation et les technologies etrangeres et le cadre epistemologique chinois. Bien avant que les critiques de l’Orientalisme se soient etablis comme pierre angulaire des etudes postcoloniales, The New Era (1908) de Biheguan Zhuren et Journey to Utopia (1906) de Xiaoran Yusheng ont exprime une comprehension implicite qu’il avait profondement conditionne la geopolitique du debut du vingtieme siecle. Cet article souligne un phenomene particulier a la science-fiction de ce moment historique : dans la mesure ou la science-fiction a aborde le sens de « la science », il etait souvent le cas que les intellectuels l’ont depeinte comme le produit de certaines institutions modernes. C’est-a-dire, The New Era et Journey to Utopia presentent des descriptions merveilleuses de technologies imaginaires, mais les deux romans font aussi tres attention aux institutions abstraites et concretes dediees a la production et a la diffusion des connaissances ainsi que les modes d’organisation social – surtout le temps. De plus, ces institutions et structures figuraient en bonne place dans la science-fiction de la fin de la dynastie Qing et constituaient un axe crucial dans une lutte socio-Darwinienne pour la survie nationale.}, number={3}, journal={Monde chinois}, publisher={CAIRN}, author={Isaacson, Nathaniel}, year={2017}, pages={28} }
 @misc{isaacson_2016, title={Idle Talk under the Bean Arbor: A Seventeenth-Century Chinese Story Collection ed. by Robert Hegel}, volume={23}, ISSN={1527-9367}, url={http://dx.doi.org/10.1353/cri.2016.0079}, DOI={10.1353/cri.2016.0079}, abstractNote={Reviewed by: Idle Talk under the Bean Arbor: A Seventeenth-Century Chinese Story Collection ed. by Robert Hegel Nathaniel Isaacson (bio) Aina the Layman with Ziran the Eccentric Wanderer, Robert Hegel, editor. Idle Talk under the Bean Arbor: A Seventeenth-Century Chinese Story Collection. Seattle: University of Washington Press, 2017. xxviii, 288 pp. Hardcover $50.00, isbn 978-0-295-99997-5. Idle Talk under the Bean Arbor (Doupeng xianhua) in its English-language format is a multitude of things, first and foremost an early-Ming Dynasty collection of stories, purportedly shared in a garden over twelve days during the summer months, and original commentaries on the tales. In his introductory notes to the translation, editor Robert Hegel aptly compares the collection of narratives, embedded in the frame of a group of friends gathered to share them to the narrative structure and themes of Chaucer's The Canterbury Tales, Boccaccio's Decameron, or the Arabic Thousand and One Nights. The stories feature tales of marital jealousy and romantic legend, avaricious merchants and monks bent on crime and corruption, prodigal sons who squander their family fortunes, incompetent officials, and a reversal of the living world's alimentation of the spirit world. The stories borrow numerous characters and conventions from history, pre-modern fiction, and legend, but they regularly defy these same stylistic protocols by inverting the archetypal narratives they draw from. The book's framing narrative also reads like an almanac that introduces the stories alongside an ongoing discussion of different species of beans, their ideal growing conditions, what kinds of dishes they are best used in, and what medical purposes they serve. These twelve storytelling sessions are not single, contained narratives but actually feature a number of related stories, explanatory side-notes, and other digressions on [End Page 62] the part of the fictional speakers and audience, and their "compiler," Aina the Layman. At turns shocking, for example in the matter-of-fact depiction of eviscerations and acts of cannibalism, and at other turns censoriously humorous, as in the case of the description of a group of corrupt monks and how they came about their nicknames, these story sessions present a fascinating vignette of early Qing China that resonates with its past and future. For example, a series of doggerel verses on Tiger Hill in Suzhou is a rhyming gazetteer of fake goods, dodgy establishments, second-rate foods, and inveterate locals that reads like the Qing Dynasty equivalent of a viral internet exposé. Hegel and Xu Yunjing's rhyming translations of these poems deftly re-acculturate the rhythm and feel of the original Chinese in modern English. This digression is followed by an uproarious account of a group of Daoist Monks who use their deep knowledge of the sex industry to help an official from Shanxi avail himself of the services of local prostitutes before the narrator finally relates the titular story of the session, the tale of Jia Jingshan, an inveterate go-between whose scheme to fleece a wealthy official falls apart when his house is robbed. When Jingshan and a rival hanger-on are sentenced to penal servitude, an opera trainee is beaten for male prostitution, and Jingshan's daughter is sold into indentured servitude, the narrator's comment that "Heaven, perversely plotted to create a disastrous coincidence for this fellow," seems to imply that Heaven, like the human world, is far from fair in doling out punishments to both Jingshan and those around him. The final session, a "discourse on the cosmos," reflects an impulse in the collection to unmask the profligacy of human beings, especially those holding the highest social positions, and the fickle nature of fate and karma. The motions of karmic retribution are less like the linear progress of a wheel and more like the seemingly chaotic ricochets of a rubber ball. Vice, when punished, seems to reflect the notion that all justice is extrajudicial, reflecting an overarching theme that "justice may be done in this world . . . [but] it is accomplished more often by coincidence than administrative competence," and "truly moral behavior may be found in unexpected places, but even then, only rarely" (p. xii). A related motif is that moral and spiritual rectitude...}, number={1}, journal={China Review International}, publisher={Project Muse}, author={Isaacson, Nathaniel}, year={2016}, pages={62–65} }
 @inbook{jingfang_isaacson_2016, title={Invisible Planets}, url={http://dx.doi.org/10.2307/j.ctv105b9gq.18}, DOI={10.2307/j.ctv105b9gq.18}, booktitle={The Sound of Salt Forming: Short Stories by the Post-80s Generation in China}, publisher={University of Hawaii Press}, author={Jingfang, Hao and Isaacson, N.}, year={2016}, month={May}, pages={239–254} }
 @inbook{isaacson_kun_2016, place={Wuhan}, title={Minzu kehuan xiaoshuo: Yueqiu zhimindi xiaoshuo yu xiandai zhongguo xiaoshuo de dansheng}, booktitle={Zhongguo kehuan yanjiu}, publisher={Hubei kexue jixu chubanshe}, author={Isaacson, N. and Kun, Bi}, editor={Yan, WuEditor}, year={2016} }
 @book{isaacson_2016, title={Orientalism, Scientific Practice, and Popular Culture in Late Qing China}, url={http://dx.doi.org/10.1093/oxfordhb/9780199383313.013.4}, DOI={10.1093/oxfordhb/9780199383313.013.4}, abstractNote={As the sequel to a translation of a translation, Xu Nianci’s “New Tales of Mr. Braggadocio” is a case study in the linguistic negotiations central to Lydia Liu’s reflections on translation. The story is marked by a double consciousness through which the narrator’s body and soul explore alternate explanations for evolution and scientific knowledge, thus engaging in many of the thematic and historical hallmarks of colonial modernity, situated at the junction of a number of intellectual realms. Thematically and linguistically, the text suggests a number of potential points of resistance to western epistemology, attempting to subsume science under the umbrella of Daoist cosmology. Especially prominent in the story is the degree to which the narrator’s resistance to Western science contrasts with his ready appropriation of the tenets of capitalist accumulation of wealth as his success in perfecting the techniques of “brain electricity” ultimately results in a global economic crisis.}, journal={Oxford Handbooks Online}, publisher={Oxford University Press}, author={Isaacson, Nathaniel}, editor={Rojas, Carlos and Bachner, AndreaEditors}, year={2016}, month={Sep} }
 @inbook{isaacson_2015, place={Minneapolis}, title={Blurred Visions of Nation and State in Tong Enzheng’s Death Ray on a Coral Island}, booktitle={Simultaneous Worlds: Global Science Fiction Cinema}, publisher={University of Minnesota Press}, author={Isaacson, N.}, editor={Feely, Jennifer and Wells, Sarah A.Editors}, year={2015} }
 @misc{isaacson_2015, title={Kinkley, Jeffrey, Visions of Dystopia in China’s New Historical Novels, (Columbia University Press, 2015)}, author={Isaacson, N.}, year={2015} }
 @misc{isaacson_2014, title={Tales of Futures Past: Anticipation and the Ends of Literature in Contemporary China}, url={https://u.osu.edu/mclc/book-reviews/isaacson/}, journal={Modern Chinese Literature and Culture}, publisher={Stanford University Press). Modern Chinese Literature and Culture}, author={Isaacson, N.Iovene}, year={2014} }
 @article{shijiang_isaacson_2014, title={The Hospital}, volume={4}, ISSN={2151-4399 2156-8634}, url={http://dx.doi.org/10.1080/21514399.2014.11834054}, DOI={10.1080/21514399.2014.11834054}, number={2}, journal={Chinese Literature Today}, publisher={Informa UK Limited}, author={Shijiang, Li and Isaacson, Nathaniel}, year={2014}, month={Sep}, pages={52–53} }
 @inbook{isaacson_2013, place={Detroit}, title={Author profile of Chen Ran}, volume={370}, booktitle={Dictionary of Literary Biography}, publisher={Gale Cengage}, author={Isaacson, N.}, year={2013} }
 @article{isaacson_2013, title={Science fiction for the nation: Tales of the moon colony and the birth of modern Chinese fiction}, volume={40}, DOI={10.5621/sciefictstud.40.1.0033}, abstractNote={This article argues that Chinese sf emerged as a product of two converging factors during the turn of the twentieth century: first, the crisis of epistemology brought about by China’s semi-colonial subjugation to European powers and second, the imperialist imagination of global exchanges and conquest that led to the emergence of the genre in the West and its translation into Chinese via Japan. This paper draws upon critical analysis of the connections between sf, empire, and Orientalist discourse developed by Istvan Csicsery-Ronay, Jr., Patricia Kerslake, and John Rieder in the context of Chinese sf as a means of exploring Chinese articulations of these concerns. Through a close reading of Huangjiang Diaosou’s Tales of the Moon Colony (1904-1905), this paper explores the anxieties associated with utopianism, nationalism, and Occidentalism that reveal themselves in early Chinese sf. This content downloaded from 157.55.39.45 on Tue, 19 Jul 2016 05:31:13 UTC All use subject to http://about.jstor.org/terms}, journal={Science Fiction Studies}, author={Isaacson, Nathaniel}, year={2013}, pages={33–54} }
 @book{isaacson_yangzi_2012, title={"As Night Fell it Began to Rain,” and “The Flowers Beneath the Overpass"}, number={3}, journal={Pathlight: New Chinese Writing}, author={Isaacson, N. and Yangzi}, year={2012}, month={Dec} }
 @article{nianci_isaacson_2011, title={"New Tales of Mr. Braggadocio” (Xin faluo xiansheng tan)}, volume={77&78}, journal={Renditions}, author={Nianci, Xu and Isaacson, N.}, year={2011}, pages={15–38} }
 @article{song_isaacson_2011, title={"The Passengers and the Creator” (Chengke yu chuangzaozhe)}, volume={77&78}, journal={Renditions}, author={Song, Han and Isaacson, N.}, year={2011}, pages={144–172} }
 @article{xun_isaacson_2010, title={“Lessons From the History of Science” (Kexue shi jiao pian)}, volume={74}, journal={Renditions}, author={Xun, Lu and Isaacson, N.}, year={2010}, pages={80–99} }