Appendix Notes on Source Material Prior to the economic reforms in China in the late 1970s and concomitant changes in cultural realms, the New-sensationist literary group, their history and writings, had all but sunk into obscurity since their heyday in the 1930s. Some of the earliest attempts to re-examine the work of these writers were the essays of Huang Jundong 黃俊東 (dates unknown) and Liu Yichang 劉以鬯 (b. 1918) that appeared in the Hong Kong literary journal Siji (Four Seasons) in 1972.1 Although this was famously the year Richard Nixon visited China, heralding a greater open- ness with the West, such openness did not extend to a recognition of the ‘decadent’ culture of China’s own recent past. A focus on the modernist literature of this period, as discussed in the essays of these Hong Kong scholars, would not have been possible in mainland China at a time when the Cultural Revolution (1966–1976) was still in progress. A later resurgence of interest, which took place on the mainland during the 1980s at a time when China was more systemati- cally opening up to the world, was largely due to the efforts of one scholar, Yan Jiayan 严家炎 (b. 1933). The publication of his influential compilation of short stories, Xin ganjuepai xiaoshuo xuan (A Selection of Short Stories of the New-sensationist Group) (1985) must be seen as central to the re-evaluation that followed. More than twenty years later his Mu Shiying quanji (Complete Works of Mu Shiying) (2008), co-edited with Li Jin, consolidated once and for all material for research on this most important of New-sensationist writers.2 The renewed availability of the work of the New-sensationists in modern Chinese editions in the 1980s gave rise to a reinvigo- rated interest in both China and the West. Two pioneers in the West were Heinrich Fruehauf, with his inspired ‘Urban Exoticism in Modern and Contemporary Chinese Literature’ (1993), and Yomi Braester with his ‘Shanghai’s Economy of Spectacle: The Shanghai Race Club in Liu Na’ou’s and Mu Shiying’s Stories’ (1995).3 PhD studies from this early period of research, which took the New-sensationists as their central theme include: Randolph Trumbull’s The Shanghai Modernists (1989), and Anthony Wan-hoi Pak’s The School of New Sensibilities (Xin’ganjuepai) in the 1930s: a Study of Liu Na’ou and Mu Shiying’s Fiction (1995).4 A major scholarly study by Yingjin Zhang, published in 1996, The City in Modern Chinese Literature & Film has been of cen- tral importance to a continued interest in this field of study.5 Leo Ou-fan Lee’s seminal work Shanghai Modern was published in 1999 and was followed by important studies by Shu-mei Shih and Peng Hsiao-yen. One of the most significant Chinese-language studies from the later period 1 Liu Yichang 劉以鬯, ‘Shuangchong renge: maodun de laiyuan’ 雙重人格：矛盾的來源 (Twin-personality: Origins of the Conflict) in Siji 四季 (Four Seasons) (November 1972); and Huang Jundong 黃俊東, ‘Mu Shiying he tade zuopin’ 穆時英和他的作品 (Mu Shiying and his Writings) in Siji (Four Seasons) (November 1972). 2 Yan Jiayan and Li Jin (eds.), Mu Shiying quanji 穆時英全集 (Complete Works of Mu Shiying) 3 vols. (Beijing: Beijing chubanshe, 2008). 3 Yomi Braester, ‘Shanghai’s Economy of Spectacle: The Shanghai Race Club in Liu Na’ou’s and Mu Shiying’s Stories’ in Modern Chinese Literature vol. 9 no. 1 (1995), pp. 39–58. 4 A later example is Christopher Rosenmeier, Shanghai Avant-Garde: The Fiction of Shi Zhecun, Mu Shiying, Xu Xu, and Wumingshi, PhD, SOAS, University of London, 2006–2007. See also Christopher Rosenmeier, On the Margins of Modernism: Xu Xu, Wumingshi and Popular Chinese Literature in the 1940s (Edinburgh: Edinburgh University Press, 2017). 5 Yingjin Zhang, The City in Modern Chinese Literature: Configurations of Space and Time (Stanford: Stanford University Press, 1996). © Koninklijke Brill NV, Leiden, 2020 | doi:10.1163/9789004428737_016 Paul Bevan - 9789004428737 Downloaded from Brill.com09/30/2021 11:59:31AM via free access 362 Appendix Haipai xiaoshuo lun (On Shanghai-style Novels) (2004) is by the leading literary scholar, Li Jin, co-author of the Complete Works of Mu Shiying.6 In the field of popular music and dance hall culture two English-language books in particu- lar have been influential. Andrew F. Jones’ Yellow Music, and Andrew David Field’s Shanghai’s Dancing World have both proved themselves to be important in the field.7 The latest addi- tion: James Farrer and Andrew David Field’s Shanghai Landscapes: A Nocturnal Biography of a Global City, takes a rather different approach to the subject, comparing the Republican period with Shanghai’s more recent history but will no doubt prove to be just as influential as its predecessors.8 One important example of an academic book directly related to the study of pic- torial magazines is the 2013 volume: Liangyou: Kaleidoscopic Modernity and the Shanghai Global Metropolis, 1926–1945.9 This is a significant addition to the field and can be seen to touch on areas covered in the present study. Indeed, in some chapters, arguments put forward in Kaleidoscopic Modernity form the basis for dispute, discussion and debate in Intoxicating Shanghai. The phenomenon of widespread nostalgia for the Chinese Republican Era that was expe- rienced at the turn of the millennium manifested itself in both scholarly writings and popular fiction. Perhaps the best example of the latter is by Zhou Weihui. Her controversial and some- what derivative novel Shanghai baobei (Shanghai Baby), although set in more recent times, owes much to a reconstructed and reimagined vision of 1930s Shanghai, and to the writings of Western authors such as Henry Miller.10 A number of translations into English of the short stories of the New-sensationist group, particularly those of Mu Shiying, appeared throughout this period of nostalgic rediscovery, including: ‘Black Whirlwind’ by Wiu-kit Wong (1992); ‘Five in a Nightclub’ by Randolph Trumbull (1992); and ‘The Shanghai Foxtrot (a Fragment)’ by Sean Macdonald (2004). A more recent short story collection Mu Shiying: China’s Lost Modernist by Andrew David Field (2014), which con- tains six of Mu’s best known stories, has been instrumental in introducing the writings of Mu Shiying to a wider audience in the English-speaking world.11 6 Yan Jiayan, Xinganjuepai xiaoshuo xuan 新感觉派小说选 (Selected Fiction of the New-sensationist Group) (Beijing: Renmin wenxue chubanshe, 1985); Heinrich Fruehauf, ‘Urban Exotism in Modern and Contemporary Chinese Literature’, in Ellen Widmer and David Der-wei Wang (eds.), From May Fourth to June Fourth – Fiction and Film in Twentieth-century China (Cambridge, Massachusetts and London: Harvard University Press, 1993), pp. 133–164; Leo Ou-fan Lee, Shanghai Modern: The Flowering of a New Urban Culture in China 1930–1945 (Cambridge, Massachusetts and London: Harvard University Press, 1999; and Li Jin, Haipai xiaoshuo lun (On Shanghai Style Novels) (Taiwan: Xiuweizixun keji, 2004). 7 Andrew F. Jones, Yellow Music: Media Culture and Colonial Modernity in the Chinese Jazz Age (Durham and London: Duke University Press, 2001); and Andrew David Field, Shanghai’s Dancing World: Cabaret Culture and Urban Politics, 1919–1954 (Hong Kong: The Chinese University Press, 2010). 8 James Farrer and Andrew David Field, Shanghai Landscapes: A Nocturnal Biography of a Global City (Chicago: University of Chicago Press, 2015). 9 Paul Pickowicz, Kuiyi Shen and Yingjin Zhang (eds.), Liangyou, Kaleidoscopic Modernity and the Shanghai Global Metropolis, 1926–1945 (Leiden: Brill, 2013). 10 Zhou Weihui 周卫慧, Shanghai baobei 上海寶貝 (Shanghai Baby) (Shenyang: Chunfeng wenyi chubanshe, 1999). 11 Andrew David Field, Mu Shiying: China’s Lost Modernist (Hong Kong: Hong Kong University Press, 2014). Sean MacDonald’s translation of ‘Camel, Nietzscheanist and Woman’ as ‘Camel, Nietzschean and Woman’ is the latest to appear. Paul Bevan - 9789004428737 Downloaded from Brill.com09/30/2021 11:59:31AM via free access Notes on Source Material 363 A similar revitalised interest in the visual artists involved in modernist Shanghai circles dur- ing the Republican Era took place in the 1980s and 1990s. This was partly due to the newfound interest amongst the general public in China with the popular cultural imagery of Shanghai’s jazz age. Such images became central to the nostalgic look back at the Republican Era that culminated in the first years of the new millennium, for example with images of the Modern Girl that had originally appeared on advertising posters and in magazines, now found as deco- ration on any number of everyday items, from playing cards to tee shirts, from mobile phone covers to keyrings. For academics and staunch enthusiasts of the period, the results of this wide- spread interest could be seen in reprints of magazines, which became more widely available for research. Two examples of these are the full-colour reproductions of Liangyou republished by the Liangyou tushu youxian gongsi in 2007, and the earlier rather more niche reprint of Shanghai manhua in 1996. Alongside such relatively high quality and costly examples came a host of poor quality reedited and expunged versions, which, due to their indeterminate nature, are more of a hindrance than a help to scholarship in the field.12 More recently there have appeared a number of databases of Republican Era newspapers and periodicals and these have opened the field right up, allowing easy access to once hard-to-find publications. With advantages come disadvantages and the ready availability of a small number of selected magazines in reprints or electronic reproductions has actually created a distorted picture of the Shanghai publishing industry. With some magazines readily available and others harder to access, it is of course the former that receive the bulk of attention from both students and scholars.