Unofficial Version Magazine #1 (Unofficial Version Magazine Monthly)

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sitechpharma.com/wp-includes/come-spiare-con-whatsapp-web.php They include the journals themselves, previous scholarship and commentary at large, and fieldwork notes I have taken since The latter contain documentation of formal interviews as well as countless snippets of information gleaned from informal conversations and correspondence conducted with poets and other parties concerned over the years. Full citation would make the bibliography unreadable.

Consequently, and further to the disclaimers made in the preceding pages, the list of journals is offered as raw material, with question marks indicating conjecture or estimation e. As noted, the list lays no claim to being exhaustive; nor can it hope to be perfect in what it does contain. Its primary aim is to flag the material, in order to provide a rough impression of a fascinating chapter in the history of Chinese literature.

While I am at it, I might add that especially the comments sections are uneven in what they contain and how much of it. For one thing, there is more to say about some journals than about others. In such cases, rather than repeating earlier scholarship beyond the briefest of summaries, I have offered suggestions for further reading. Another feature I have identified for many journals is that of regional identity, as distinct from or complementary to national inclusiveness.

National inclusiveness is especially notable in the early years, when mobility and telecommunications were much less developed than in the s and after. Obviously, the unevenness of the comments sections also reflects the limits of my vision, and the limits of my ability to redress the imbalance noted in the opening paragraphs of this document. The early journals and the people that made them have simply had more time to establish their presence in literary history than the later ones.

Also, the comments may occasionally strike the reader as repetitive e. Finally, I have not refrained from remarking on whatever happened to catch my eye while I revisited the journals this time around e. On that note, producing the bibliography and fleshing it out has made me realize anew how an exercise like this inevitably entails the act of canonization.

Canonization, of course, is rarely objective or systematic, whether by design or with hindsight. It is at best intersubjective, and usually subjective on individual and collective levels; and it can indeed be coincidental and arbitrary. The latter holds especially for material whose very availability to the researcher is anything but self-evident and in some ways a matter of chance, as is the case for the journals studied here.

The bibliography is limited to print journals produced inside China, with a very few working through Hong Kong publishers or print facilities. It does not list individual collections associated with particular journals, e. These do appear in Van Crevel a, the said bibliography of books of avant-garde poetry from China, as distinct from journals.

On a general note, many unofficial journals are short-lived and display fitful publication patterns.

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Dependence on personal initiative and the absence of institutional frameworks to sustain them are among their defining features. The bibliography does not extend to the Internet, whether for online-only journals or for websites associated with print journals. The left column also specifies the holdings in the Leiden collection.

Some journals sporadically feature works by Chinese-language poets from other Chinas than the mainland, but in principle the identification of contributors and associates is limited to mainland authors, with the exception of Liao Weitang, who hails from Hong Kong but is definitely part of early s Beijing scenes.

After the editors, the order in which contributors appear more or less reflects that in which they feature in the actual publications, this being a definite indicator of cultural capital. At the same time, for soulmate journals and especially for regionally defined journals that seem to become more inclusive in later issues, I have wanted to give those involved in the original conceptualization and establishment of the journal in question pride of place over those who joined them later.

The right column provides comments and occasional suggestions for further reading, and cross-references between individual journals that are fruitfully studied in conjunction in one respect or another. Inevitably, then, especially for the early years, there are journals for which just about every single contributor is listed, and conversely, for later and recent years, there are those for which only a numerical minority fall prey to this imperfect labeling. This issue is complicated by the fact that, starting in the late s and certainly from the early s on, there are numerous journals that contain works by too many poets to list, often carrying a small number of works by each poet, rather than a substantial selection from their oeuvres.

Yet, patterns of systematic co-occurrence do suggest themselves. More generally, the identification of women poets is of obvious relevance from the aforesaid various angles. Needless to say, this is not intended to essentialize their literary identities. The identification of women poets is probably accurate in most if not all cases, but there might be a small number of false negatives, and an even smaller number of false positives.

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If so, this is likely in the category of those named as one-time editors or otherwise involved in journal production who are lesser known as poets or editors beyond that particular bit of information. For authors who contribute to literary discourse under more than one name, the bibliography adds their best-known names-as-poets to lesser-known ones, not the other way around e.

It does not, however, list names they have only used for other genres than poetry e. There is, in this particular context, nothing particularly real or original about the name Jiang Shiwei, even if the person who is the poet Mang Ke was probably registered as Jiang Shiwei when he went to high school, applied for a passport, etc.

For transcription, I have stuck to literary-historical convention — meaning previous transcription in Western-language publications — where it exists, even if it flouts the rules for Chinese family names e. The glossary proper is followed by a brief section that contains other predictable and attested spellings, so as to increase findability of this document. Founding dates are generally easier to estimate than termination dates. Journals that were effectively closed down by the authorities e. For these, termination dates are hard to pinpoint, if one can be sure that one knows of their latest issues to begin with.

In some cases, their dormancy coincides with June Fourth and the subsequent cultural purge e. Where I know of various English translations used to date, I have included them. Chinese titles are also provided in italicized, Hanyu pinyin alphabetic transcription, without tone marks, to facilitate search functions. I have opted for these conventions instead of disaggregation throughout, again: to increase online findability of this document, on the assumption that more or less intuitive aggregation is commonly used, and informed by word formation in Chinese e. Jintian and familiarity with literary historiography e.

As for the uses to which the bibliography might be put, for all its imperfections, the data should be able to yield some interesting information, especially if facilitated by electronic search functions. It can, for instance, indicate degrees of activism and popularity for individual poets, as well as the patterns of co-occurrence noted above. For example: there was a lot of activity in Shanghai and various cities in Sichuan in the mids, but a relative decline in Shanghai and a bustling continuation in Sichuan in the early s; and the early s cultural purge after June Fourth appears to have spurred unofficial journal activism in various places throughout the country.

The comments in the right column of the full record can hardly be called analytically ambitious, and are eminently fit for diagonal reading. Yet, for all their occasional repetitiveness, together — whether for ten journals or for fifty or a hundred — they may serve to convey a sense of how the unofficial journals work, complementary to the analysis in the preceding pages.

And so on — but what to do with the bibliography and its annotations is of course entirely up to the reader. This list is in the same order as the full record, and may come in handy if you are working with a hard copy of this document. In the HTML version you are currently using, rather than linking every single item in the abbreviated list to the corresponding entry in the full record, we advise the reader yet again to use the search function to jump from the one to the other.

Note, however, that in the full record, journal titles occur not only in their own entries in the left column, which is where your jump should take you , but also as cross-references to other journals in the right column. The Sinological Library will catalogue incoming journals and provide updates of the bibliography and the glossary of Chinese names. Updates can also incorporate entries for journals not held in the Leiden Collection; in such cases, we ask that contributors prepare draft entries that include the location of the journal and contact details.

Our preferred procedure is for contributors to send us not just the bibliographical detail but photocopies of the actual journals. It is also of decidedly Elevated affiliation. Similarities and indeed a certain aesthetic and ideological complicity of orthodox and early avant-garde discourse have been noted in scholarship e. Yeh Both new Societies published two issues of their own journals. Universities often function as relatively safe havens for semi-official publications.

The fact that the journal lists an official on-campus address reaffirms the impression that it should count as semi-official. It has a remarkably early founding date, and one suspects that its semi-official status may have provided a degree of institutionalization that made it less dependent on particular individuals and their unofficial activism, thus enabling it to exist for such a long time.

The preface to the issue in this collection, for instance, is by Yan Jun, then a student at NNU, now a famous unofficial music critic, artist and poet based in Beijing. The way it would have functioned on the poetry scene warrants its inclusion in this bibliography. There are indications that there had in fact been plans for follow-up publications, but that these were discarded when this early unofficial production came under investigation by the authorities, and some material was confiscated. In addition to the journal, several unofficial individual collections of poetry appeared under its flag.

The journal produced one issue. In addition to the editors, all of whom hail from Sichuan, contributors include a wide range of poets from elsewhere in China, many of whom would later secure prominent places in literary history.

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It is unclear whether it was intended as a serial or one-time publication. By all accounts, however, Han Dong was its driving force. Notably, it established a network of poets in various places across the country Nanjing, Kunming, Shanghai, Fuzhou, Chengdu…. The diversity of its contributors further increased in the s issues.

It produced one issue, unnumbered. It is unclear whether it was intended as a serial or a one-time publication. The journal appears to have produced a total of three issues. The journal is one of several examples of joint poetic activity in Shanghai and Hangzhou in the s, this time with some room for the North.

The two editors are from Hangzhou, and five of the other contributors from Shanghai; contributions by Xi Chuan and Beiling, both from Beijing, reaffirm their ability to cross over the North-South dichotomy, with A Hai as a third Northerner. Ten Kinds of Feelings or an Exhibition of the Language Storehouse appears to be a one-time multiple-author anthology in unofficial book form, rather than the first issue of a discontinued journal. Contributors include many poets from Beijing and Shanghai, and a few from Hangzhou, Sichuan and elsewhere. The revival issues combine a nostalgic, playful and provocative appeal to the notion of Coquetry in old photographs of the s crowd — with an obvious present-day i.

The latter point is visible in the publication of works by currently active authors of varying persuasion and geographical provenance. The Coquetry crowd stand out by their liking for good clean fun and literary pranks. Notably, two thirds of the journal are dedicated to criticism, with occasional citations of poetry; the final third consists of poetry.

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As regards regional identity, the great majority of contributors are from Beijing. The highly varied colophon information for all issues exceeds the scope of these comments. Not-Not history is notoriously complicated, because of factional conflict and because of above-average interest on the part of the authorities. Accordingly, it is less nationally inclusive than some of the other major journals from Sichuan e. The journal produced one issue, unnumbered.

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Notions of national Chineseness aside, this reflects a sense of regional identity through what might be called a province-level poetic consciousness as distinct from city-level: Beijing, Shanghai, etc. Notably, in s Sichuan, there were several urban centers and sites of acitivism in avant-garde poetry Chengdu, Chongqing, Fuling, Nanchong, Xichang. The journal appears to welcome contributors from all over the country, and of various poetic persuasions. After publication had ceased in , Song Xiaoxian and A Pei brought out a revival issue in The editors explain that they have wanted to bring together lots of good poetry from Shanghai that has for inexplicable reasons been scattered about the city since or even earlier.

This publication appears to be a one-time multiple-author anthology in unofficial book form, rather than the first issue of a discontinued journal. Operating outside China, it does not count as an unofficial journal. The contributors are students from various departments of Yunnan University — notably, they are physical or social scientists, not students of Chinese literature.

Accordingly, its affiliation is with the Elevated. The journal identifies itself as from Hangzhou, but is nationally inclusive. The editors had planned to continue beyond , when they would be able to rename the journal, but this did not materialize. Its potentially controversial title only appears on the first inside page, accompanied by the English caption in two of the latest and probably last issues.

After a first issue in February , an astonishing 10 issues appeared on an almost monthly basis throughout , followed by a few more in and At the time — that is, during the cultural purge after June Fourth — Sun and Xiao saw their active involvement in unofficial journals see The Nineties as their bounden duty, in order to keep the avant-garde alive. Image Puzzle , with Zhong Ming as its driving force, stands out by its attention to foreign literature, in frequent quotations in the original languages as well as dedicated contributions in Chinese e.

Different issues have foreign captions in different languages. Most contributors are from Sichuan or Shanghai. It includes photographic reproductions of visual art. The latter is remarkable in that foreign language used in the journals — near-exclusively for captions, mottos and tables of contents — is almost exclusively English.

The issue in this collection highlights Campus Poetry. On an otherwise entirely black cover, below the Chinese caption, the English caption is large to the point of being loud; and it is crossed by several strings of barbed wire. While on its back cover, the journal expressly identifies itself with Beijing, the list of contributors shows a measure of national inclusiveness.

The issue in this collection contains poetry dated September — February Its selection of authors suggests affiliation with the Elevated. It is one of the longest-standing unofficial poetry journals, exquisitely produced and providing a wealth of material. The journal occasionally has the feel of news media to it, announcing special features on its cover, e.

Also, its physcial production and composition is typical of unofficial journals: e. Tian Xiaoqing, for instance, had contributed to Today , a decade earlier. Huang Xiang held a characteristically intense poetry recital in the Artists Village in , which was recorded on video and circulated — unofficially, of course. While the journal was ultimately managed from Beijing, successive issues were edited in different cities Beijing, Shanghai, Hangzhou, Chengdu, Shenzhen?

The journal was established at least partly in conscious reaction to the cultural purge after June Fourth, which had made the need for alternative, unofficial channels for poetry acute once more. It exudes a sense of responsibility for safeguarding the avant-garde on the national level. No part of this publication…. Its overall style and selection of authors suggest affiliation with the Earthly. It was only in that an unofficial book of his poetry — the first? The hanging coffin refers to a custom prevalent among certain ethnic groups in ancient China whose burial rites stipulated that coffins be placed in caves or crevices above cliffs, and famously features in an eponymous poem by Ouyang Jianghe.

This association is borne out by the names of the contributors to both journals. This journal is another example of a Southern consciousness see Enlightenment , and of the fact that North-South divisions are rarely absolute and usually punctured by crosser-overs e. Xi Chuan. The journal is clearly internationally oriented.

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Perceived by the Popular side as a derogatory term employed by the Intellectuals, Popular critics appropriated it as a proud epithet. Liu is one of the better-known among people who have sponsored avant-garde poets. She has done so through the award that occasioned this publication, by making temporary writing studios available to poets, etc. Editorial material reaffirms the connection with the better-known abbreviation Post After Xiao moved to Germany in , he was no longer centrally involved when the journal began to appear.

Our point of departure is more real to us than our destination; and the destination is likely to present a very different picture when arrived at, from the vaguer image formed in imagination. All four poets were at one time or another affiliated — as students, and some as staff — with Peking University and Tsinghua University. The issue in this collection is in commemoration of Haizi , and dated exactly ten years after his death 26 March They contain numerous photographs of poets, many decidedly theatrical.

The journal provides no information on editors or place of origin, but the list of contributors and their history and the composition of the issue in this collection suggests that the journal was likely produced in Beijing, and that Shen Haobo and Yan Jun were centrally involved. Its size and cover design appear to change with every issue.

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