sign in sign up
<<
Home , 2015 in science fiction, Chinese science fiction, Emergence (Palmer novel), Folding Beijing, Hao Jingfang, Ken Liu

ASIA IN FOCUS movement, Ken Keywords: create apositive andpowerfulimageofChinafrom thebottom-up. to anenhancedunderstanding ofhowChinesesci-filiterature can still maintaining itsregional Thus,thispapercontributes context. becoming globalisedreaching consumersallover theworldyet and transcultural voyage. Thefindingsshowthat Chinesesci-fiis the sci-ficommunity andexamining theroutes ofthistransnational Chinese sci-fiintheSinosphere by lookingintocultural flowswithin perspective. Iattempttounderstand thecurrent role andfunctionof sci-fi literature asatransnational cultural toolfrom abottom-up to beconsumedglobally. InthispaperIexamine therole ofChinese but littlehasbeenwrittenonChinesesci-fiasatransnational product a nationalliterary product tobeconsumedwithinChineseborders, narrative abroad. Previous research hasfocused onChinesesci-fias attention andmay beanimportant cultural tooltoexpress aChinese Chinese sciencefiction(sci-fi) hasattracted increasing global despite considerable eff There hasbeenlittlesuccesswithexporting Chineseculture abroad, JUNKER NICKLAS Korea and Japan? K-Pop and Manga do for Can it do for what Literature Fiction Science Chinese Chinesesciencefictionliterature, cultural flows,scapes,transnational orts madeby theChinesegovernment. 24 ISSUE 7

erent erent huanxiang

kexue ( erent scapes to explore cultural flows flows cultural explore to scapes erent ) is defined as a genre of literature that that literature of a genre as defined ) is erent political movements and the state state the and movements political erent In order to find out what makes Chinese sci-fi sci-fi Chinese makes what out find to order In erent locations in East Asia as well as globally. globally. as well as Asia East in locations erent to diff era Qing late the since China of visions sponsored day. present the to century In twentieth early the in scale. discussed been yet not has sci-fi Chinese However, global a on which agent, cultural powerful a potentially as consumed and be to roots, national local its beyond travel can disseminated sci-fi Chinese paper, present the 科学幻想 social hypothetical the with itself concerns the Sinosphere. in and technological developments sci- Chinese at I look culture, a transnational part of is shared that movement fi cultural on-going as an from people of a community by consumed and diff are they how and products of flow the trace To five Appadurai’s Arjun on I draw promoted, being ethnoscapes, flows: cultural global of dimensions and financescapes, technoscapes, mediascapes, An 1996). (Appadurai, respectively ideoscapes use the is framework Appadurai’s in notion important diff these of to refers Ethnoscape process. globalization the in as such individuals and groups moving of scape the Technoscape tourists. and workers guest refugees, refersto the global configuration of technology, Financescape informational. and mechanical both via stock capital, global of movement the to refers instance. for markets currency and exchanges inseparable are and together belong scapes These within both on movement act as a constraint as they ideoscapes, and mediascapes on and themselves three first the about think we what convey which electronic the to refers Mediascape scapes. such as newspapers, information, of distribution images the and film, and stations television refers ideoscape Finally, media. these by created Confucian the as such states, of ideologies the to diff The freedom. and democracy institutes, one’s fit into to adjusted slightly be might scapes own research topic. In this article, ideoscape refers states than rather people powerful and influential to 25 erent erent o date, China’s cultural narrative abroad has has abroad narrative cultural China’s o date, perspective, a top-down from been portrayed government, Chinese the by dictated often (sci-fi) literature is a global genre genre a global is literature (sci-fi) fiction Science to regard with important are findings These

and it is considered as part of China’s soft power. power. soft China’s of part as considered is it and choose selectively powers higher or Governments population the by be consumed to products cultural identity cultural of version the portray to order in been on-going has There export. to wish they soft power most important China’s of criticism therefore and institutes, Confucian the flagship, very been not has culture Chinese of export the Thung, 2015; Lahtinen, 2014; (Kluver, successful Korean and manga Japanese 2017). Yagya, 2017; movements cultural of examples both are K-pop country’s their exported successfully have that the products are K-pop and manga Both abroad. culture beginning, the In who individuals by and globally consumed are that culture. in interest had a particular have not may initially Korean or Japanese manga in been interested have may consumers are they association by but culture, K-pop or can which culture country’s the to exposed then interest. and awareness cultural greater to lead diff by shared characteristics presents and 2015). (Ianuzzi, andcultural linguistictraditions predominately has sci-fi Chinese into Research literary its to regards with genre a new as it on focused of importance the stresses (2013) Isaacson history. questions with dealing genre a new as sci-fi Chinese of emergence the he relates and nationality of project. colonial European the to sci-fi Chinese and perspective this from diverges (2015) Thieret Chinese modern the with sci-fi Chinese connects sci-fi Chinese that arguing tradition, utopian is This society. just a more of hope the articulates Song also relates however Song (2015), with line in dystopia. Han to Chinese (2013) suggests sci-fi modernization. to a response is sci-fi Chinese that in role its and sci-fi Chinese of understanding the show They society. Chinese and literature Chinese been has sci-fi Chinese connected closely how T ASIA IN FOCUS fiction writing” (Jordison, 2008): ( Awards, the “bestknown literary award for science Two Chinese writers have recently won The Hugo and for achievements madein the previous year. translated into English or English, in published for the bestscience fiction or works Awards are asetof literary awards given annually China, as The Hugo Awards clearly show. The Hugo sci-fi community is turning its attention towards Chinese sci-fi is asuccessful industry and the global a positive image of Chineseness. Economically, choose to consume cultural products –and create – whereby cultural movement from abottom-up perspective sci-fi may have the ability to beatransnational Similar to Japanese manga or Korean K-pop, Chinese The Chinesesci-fiscapefrom abird’s eye view positive and powerful image of China on aglobal stage. convincing narrative of Chinese cultural products abroad, by creating a whether Chinese sci-fi can successfully export in aglobal context contributes towards explaining Using Appadurai’s framework to trace cultural flows given and generated by impersonal macro-forces. that facts and factors are not entirely historically viewpoint into globalizing dynamics, and highlights This perspective puts the these landscapes off formations, from in part their own senseof what agents who both experience and constitute larger for these landscapes are eventually navigated by the last locus of this perspectival setof landscapes, perspectival constructs and individual “the actor is style.” (Appadurai, 1996,p.33). Landscapes are capital as deeplylandscapes, shapes that characterize as international they do internationalus to point to the fluid, irregular shapes of these clothingdiff landscape rather than the movement of individuals. refers to culturalsection) diff and governments, and ethnoscape (in the last erent angles and “[t]he suff A landscape doesnot look the same from individuals er.” (Appadurai, 1996,p.33). Chineseness have easy accessto and angle erences in the sci-fi ix ix of aperson’s that supports a a that supports -scape 勇 allows allows 慈欣 ) 26 Despite writing in English and growing up in the 2016) postdoctoral work at Stanford University (Berry, mother, apharmaceutical chemist, was completing Wars novel called announced that Liu would bewriting an off also nominated for aHugo in In 2012. 2017, it was The Man Who Ended History: ADocumentary noawareMono 2012, and 2012 respectively. ’s short story, published during the previous calendar year) in 2011, awards given each year for the bestfantasy fiction the Hugo, and the (a setof fiction or fantasy published in the ), (which annually recognize the bestworks of science the first work of fiction to win the 2018). His story, short and has since received numerous awards (Liu, parents to the United States at age eleven in 1976 in , China and emigrated with his writer and translator of sci-fi, Ken Liu. Liu was born Writers Festival in 2017 was the highly acclaimed Xingjian. Oneof the writers headlining the Singapore Tash Aw, and NobelPrize winner, Gao such as Carol Ann Duff Asia’s premier literary events and has hosted literati the world. The Singapore Writers Festival is one of Writers Festival hosted literary talents from all over individual regarding Chinese sci-fi is Ken Liu. diff across also describes the movement of cultures within and describes not only the movement of individuals, it an agent of cultural flows. An ethnoscape therefore the ethnoscape, and as such, the moving individual is A moving individual crosses borders and changes The Ethnoscape and the Moving Individual writers of sci-fi that appear on atransnational level. Chinese sci-fi, and discuss some of the Chinese some of the cultural flows that are emerging from for BestNovelette in 2016. In this section, Itrace for Best Novel in 2015 and HaoJingfang ( In November 2017, the annual Singapore . Liu started to write sci-fi in the early 2000s erent landscapes. An important moving , won the 2013 Hugo and his novella, The Legends of Luke Skywalker y, Michael Cunningham, icial icial Star when his his when 郝景芳 , was , was ) . ISSUE 7 (Liu, C., 2014) (Liu, erent erent cultural The Three-Body on their business business their on has been translated been translated has

won the for for Award Hugo the won The Three-Body Problem ), hit the English-speaking English-speaking the hit ), influencer 三体 erent languages and the German German the and languages erent San Ti Ti San (

At the time of the Three-Body’s publication, publication, Three-Body’s the of time the At anxious and was market science fiction China’s science of depressed. long marginalization The and insular a small led to as a genre fiction when the everyone […] it surprised readership. book gained widespread interest in China and ink of amount The much debate. stimulated on account been spilled have that and pixels a science for is unprecedented Three-Body of novel. fiction success in China. Each novel sold over 500,000 soldsuccess over China. in novel Each modern any of sales the exceeded far and copies late appeared genre the since novel sci-fi Chinese trilogy The 2014). Qin, (Amy dynasty Qing the in market sci-fi small the to attention wide drew words: own his in says Cixin Liu as and, China, in Problem The first novel in the trilogy, trilogy, the in novel first The market in November 2014. The translation from from translation The 2014. November in market was and Liu Ken made by was English into Chinese a short period In above. noted as acclaimed highly copies 110,000 than more sold book the time, of two over reached revenue sales global the and 2015, In 2016). review, (Beijing US dollars million The Three-Body Problem to writer Asian first the was Cixin Liu Best Novel. and award, the receive the receive to ever work translated first the was book The Best Novel. for award into thirteen diff 2017 in Preis Laßwitz Kurd the won translation German. in Published SF Work Best Foreign for Voices Influential some and Ideoscape The and powerful of opinion the ideoscape, The influential individuals regarding diff thoughts individuals’ influence greatly can products, the with tune in is market The products. about sometimes – individuals ideoscape the of impact even have the term 27

). Diqiu Diqiu 三体 ), was ( Ken Liu Ken Liu Cixin Liu San Ti Ti San The Longest Longest The ( Science Fiction 魔鬼积木 ) in 2006, and and 2006, ) in ), who), is arguably The Three-Body 慈欣 ), in 1998. His first novel, novel, first 1998. in His ), 勇 Three-Body 科幻世界 ), published first in serialized serialized in first published ), Mogui Jimu Jimu Mogui ); however, readers habitually habitually readers ); however, ( 地球大炮 三体 Remembrance of Earth’s Past Remembrance Earth’s of San Ti San 地球往事 ( Kehuan Shijie Kehuan ( Highlighting the global of the Chinese Chinese the of nature global the Highlighting most interesting the of one considered is Liu Diqiu Dapao Dapao Diqiu ( The Devil’s Bricks Devil’s The prominence to shot he swiftly 2002, and in published came however, breakthrough, great His China. in novel, most famous his with Problem magazine sci-fi Chinese the in form World part first the is novel 2008. The in a book as then a trilogy, of United States Liu is considered, by media covering covering media by considered, is Liu States United the of be one to community, sci-fi the and sci-fi sci- Chinese promoting in figures most important Gong 2016; (Kidd, world the across fi literature exceeds greatly presence media His 2018). Haiying, on – a search authors sci-fi Chinese other refer to the trilogy as the the as trilogy the to refer Wangshi a huge became successors two its and novel The generates only 807,000 (as of December 2018). 2018). December of (as 807,000 only generates the headlined recently Liu community, sci-fi Town, Cape in (2018) Festival Book Open seventh many among attended, further Liu Africa. South in Festival Book Texas the events, literary other 2016. in festival Live Riot Book York’s New and 2016 Festival Writers Singapore the headlining After in 2017, Liu travelled to Hong Kong to attend Festival. Literary International Kong Hong the and author a bestselling He is globally. writers sci-fi a growing by read and to sold being are works his right, own his in author an being Despite audience. the translating for acknowledged more perhaps is Liu ( Cixin Liu of work literary The Financescape and the Bestselling Author Author Bestselling the and Financescape The success. been a great has Cixin Liu Economically, he and 1963 , in in born He was short story, sci-fi first his published the most famous Chinese author of sci-fi worldwide. sci-fi of author Chinese most famous the Fall on Google, for instance, generates 25,600,000 25,600,000 generates instance, for Google, on results,search while a on search ASIA IN FOCUS gained widespread attention in the mediascape. the literature grows. Two authors in particular have reports more on Chinese sci-fi, the attention on connected to the mediascape and, as the media magazines that specialize in sci-fi. This is tightly they are available on the internet in diff diff into rapidly translated community. In particular, stories short are being spread easily and quickly within the global sci-fi The technoscape enables Chinese sci-fi to be Innovative The Technoscape, the Mediascape and the technoscape and mediascape as outlined below. and they have both also benefited greatly from the has both discussed and promoted these authors, his international travels to literary events, Ken Liu have beentranslated into English by Ken Liu. In met this demand and both of the authors’ works ( originating from China. Two young female writers, a greater market demand for sci-fi literature sci-fi in resulted appreciation has ofChinese as one of the mostinfluential people in the world. been ranked by Zuckerberg, the co-founder of Facebook, has Books of Mark Zuckerberg’s Facebook reading list, Problem Three-Body The presidency in an interview with The New York Times: the trilogy by Liu Cixin as adefinitive book of his of the United States, Barrack Obama, mentioned card. As for Chinese sci-fi, the former president to Aliens are worry about. aboutto invade. with Congress seemfairly —not something petty to my because read, partly day-to-day problems The scopeof itwas immense. Sothat was fun […] justwildly imaginative, really interesting. […] Hao Jingfang ( The increasing global attention on and , in October 2015 (Zuckerberg, 2015). 郝景芳 Time MagazineTime 郝景芳 ) and Jia Xia ( ) was born in Tianjin in erent languages and also appeared on on appeared also (Grossman, 2010) 2010) (Grossman, (Kakutani, 2017) (Kakutani, 夏笳 A Year ), soon soon ), erent 28 Chinese sci-fi Chinese?”, responded: Questioned in an interview about “what made AwardsGalaxy and six Chinese Nebula Awards. awards for hersci-fi works, among them five was born in in Xi’an. 1984 Shehas won numerous gained much attention in the sci-fi scape. Xia Jia Jingfang isregarding technology andmedia. clearly shows how innovative and conscious Hao English, but this new way to approach storytelling 2017). The story has not yet beentranslated into diff 50 nearly to themselves in which the readers have the possibility to guide other authors, released an interactive story online penetrate people’s quotidian lives.” (Zong. E.Y., 2018). people’s daily anxieties and the social issues that of the present Chinese society, especially young of Chinese SFwriters provide readers with glimpses interview, Hao Jingfangsci-fi stated movement from abottom-up perspective. In an that “A fair numberwork highlights the transnational cultural Chinese literary community. The wideaccessibility of the consumption of the work within the sci-fi and wider for national and international distribution and easily accessible on the internet, which allows stories have beentranslated into English and are and distribute herliterary products. The short work is the way she usesthe internet to promote into afilm, directed by Korean-American, Josh Kim. author . The story is to beadapted other nominees for the prize was the American first Chinese woman to receive the award; amongst ( the Hugo Award for BestNovelette for various stories. short In 2016, HaoJingfang received She has written two full-length sci-fi novels and and considers1984 herself to beapart-time writer. Beijing Zhedie Beijing travel, spaceexploration—are the fruits of machinery, new modesof transportation, global fiction’sScience creative inspirations—massive Xia Jia ( five with together Jingfang, Hao 2017 In An interesting observation of HaoJingfang’s 夏笳

北京折 ) is another writer who has 䬓 ). HaoJingfang was the erent endings (Denton, Folding

ISSUE 7 in the context context the in erence, how is is how erence,

is set Chinese history capable capable history Chinese is useful in understanding a concept of diff of a concept is erence being portrayed in Chinese sci-fi? As As sci-fi? Chinese in portrayed being erence I approach globalization from a from regional I globalization approach his to parents his by sent was Cixin Liu The provides the necessary the provides Revolution Cultural The to tale I wanted The story. the for background all up who gave demanded a protagonist tell the I think nature. and human humanity hope in modern only episode in Cultural is the such a response generating of time and absurd such a dark It was Revolution. 1984 in seem lacking like dystopias even that The Three-Body Problem erence (Appadurai 1996, Frey and Spakowski Spakowski and 1996, Frey (Appadurai erence of the Cultural Revolution and clearly portrays the the portrays clearly and Revolution Cultural the of the of one Part period. historical this of trauma of chapter first the and Spring’, ‘Silent called is novel 1967’. China, Years: Madness ‘The called is part one to connection a strong indicate words few Those they reader, a Chinese For history. Chinese modern a into story the put immediately and markers act as the of years turbulent the namely context, particular stated: Cixin Liu interview, an In Revolution. Cultural and media are usually considered extremely extremely considered usually are media and and globalization regarding agents important not is globalization argues, (1996) Appadurai as it brings on contrary, the equal homogenization; to well. as it with regionalization of a concept as culture regard and viewpoint diff culture If 2016). this diff most influential the is Cixin Liu previously, stated I therefore scale. a global on sci-fi Chinese of writer novel best-selling his of a short analysis how present The Three-Body Problem being is that identity Chinese or Asian East how the to relate can sci-fi Chinese modern in presented concepts of sharing the through community global sci-fi. of characteristic are that ideas and , during County, Luoshan in home ancestral extremely an was This Revolution. Cultural the Liu and history Chinese modern in time turbulent be a to Revolution Cultural the considers Cixin story The 2017). (Lanning, life his in influence major of 29 The Three- (Jia, X.,(Jia, 2014) ic. A change of direction, direction, of A change ic. ecting the framing of that into English in 2014, a translation that that a translation 2014, in English into Sci-fi is acknowledged as a global genre with with genre global a as acknowledged is Sci-fi industrialization, urbanization, and globalization, globalization, and urbanization, industrialization, capitalism. modern in roots with processes via first introduced was genre the But when the of beginning the at China to translation as treated mostly it was century, twentieth material modernity, of and dreams a of construction the into woven be could that Dream.” “Chinese Chinese sci-fi in the Global Community previous the in explored briefly scapes The on-going an is there that show clearly section on a sci-fi Chinese regarding movement cultural goods, of “the and movement level, transnational and finance” products (Iwabuchi ideas, cultural p.2) 2004, et al, aff is traff cultural transnational Xia Jia’s stories have been published in all major sci- major all in been published have stories Jia’s Xia her of some and globally magazines and fi journals Czech, Japanese, into been translated have works Italian. and Polish when it comes to cultural flows, has taken place place taken has flows, cultural to comes it when many in is change the and years few last the over product culture a popular As noteworthy. ways so far have products the globally, consumed being “the and Anglosphere, the in been produced mostly popular in interests cultural/moral predominant on focused often are consumption its and culture p.202). 2004, Beng Huat, (Chua imports” American of verge the on is sci-fi Chinese that evident is It direction in change the and globalized, being of translation Liu’s Ken with started Body Problem Problem Body attention. international to sci-fi Chinese brought rise the and 2015) (Ianuzzi, characteristics global indicates years few last the over sci-fi Chinese of that it is being globalized as we speak. Globalization and context a Western seen in mostly is, however, when homogenization Western to applies mostly Appadurai, (see Technology 1996). theorized ASIA IN FOCUS be considered from aregional point of view that and, in the case of Chinese sci-fi, We-ness can and linguistic traditions. We-ness is multi-layered that has characteristics shared by diff sci-fi; sci-fi is aglobal genre with astrong identity common We-ness globally in being aconsumer of and Hasan, 1989, p.12). Nevertheless, there is a participants, their statuses and roles.” (Halliday the of nature the to part, taking is who to refers particularly not tenor “the of discourse […] [which] not necessarily familiar with the contexts in use, references. Acommon Anglo-American reader is is included in and fully aware of Liu Cixin’s textual and the connotations that follow. AChinese reader decode both the meaning in the quotation above, throughout the novel. AChinese reader can easily Liu Cixin is repeatedly using We-ness markers regionalization on aglobal scale. of that history, henceit can beseenas an actof world is not (and neither are other worlds) part ness among Chinese readers. The Anglo-American Body Problem heavily on modern Chinese history in ideas, cultural products and finance. Liu Cixin draws power of the Anglo-American movement of goods, has in many ways beenglobalized by the sheer American history. However, Anglo-American history hard to accessfor those who are not of part Anglo- ‘We-ness’ among Anglo-American readers that is West and such –which in turn creates asenseof war of independence, sixties psychedelia, the Wild drawing heavily on Anglo-American history –the creates by identity fiction science Anglo-American ideological lens. for politicsandsaweverythingthroughan so hepossessedanextremelykeensense Lei wasatypicalpoliticalcadreofthetime, comparison. in imagination , thereby creating asenseof We- (Liu andLiu,2016,p.308) (Grassman, 2016) (Grassman, erent cultural The Three- The 30 and can therefore beconsidered acultural agent aspects of Chinese history, culture and daily life, quality sci-fi. The flow of Chinese sci-fi embodies who are first and foremost interested in high Chinese sci-fi brings Chinese culture to readers a popular culture product being consumed globally, sci-fi to beresearched in atransnational context. As (1996) framework of cultural flows enables Chinese the ability to make alarge global impact. Appadurai’s has that tool cultural a as than rather China within research into Chinese sci-fi has focused on its role context of globalization. To date, mostof the enabled Chinese sci-fi to beregionalized in the of Chinese sci-fi, and the diff technoscape have contributed to the globalization beyond Chinese borders. The mediascape and the way for other Chinese authors of sci-fi to beknown translation gained global attention and paved the Problem Three-Body The started with Ken Liu’s translation of Liu Cixin’s both products and ideas within sci-fi. The change over the last few years regarding the direction of Anglosphere. the that was initiated from by Chinese sci-fi has taken place come has flow However, as this paper has shown, anotable change cultural literary on atransnationalfi level. The greatest influence of ongoing cultural movement regarding Chinese sci- Chinese sci-fi is agrowing success and there is an Conclusion abroad. successfully create apositive image of Chineseness perspective and this analysis shows that it can is apowerfulfi cultural agent from abottom-up as atransnational cultural movement. Chinese sci- in Chinese sci-fi promote its success in functioning common cultural characteristics that are portrayed possible. The strong Chinese identity and the Sci-fi as agenre makes this expansion of We-ness and unify all readers of sci-fi on aglobal scale. more and more readers and, in the end,will include We-ness gradually expands, including and unifying includes and unifies regional readers. The senseof into English in 2014. The eet cps have scapes erent ISSUE 7 31 is a PhD student at the Department Department the at student is a PhD [email protected] Email: Nicklas Junker the at Studies Turkish and Eastern Middle Asian, of are interests research His Stockholm. of University literature. Kong Hong and Chinese that reaches consumers globally from the bottom bottom the from globally consumers reaches that how reveal could area this in studies Future up. the has increased movement transnational this cultures. Chinese and China of awareness reader’s ASIA IN FOCUS Lanning. K. E. (2017). IntheAuthor’s (2017). Universe: E. InterviewwithSci-FiAuthorLanning. K. CixinLiu. (2015). China’sLahtinen, A. SoftPower: ChallengesofConfucianismandConfuciusInstitutes. Kluver, R. (2014). TheSageas Strategy: Nodes,Networks, Power andtheQuestfor Geopolitical inthe Kidd, J. (2016, Hownovelist November Ken 17). LiuisbringingChinesesci-fitotheWestern world.Retrieved Kakutani, M.(2017, January16).Transcript: President ObamaonWhatBooks MeantoHim. Iwabuchi, K., Muecke,Iwabuchi, K., S.,&Thomas,M.(Eds.). (2004). Introduction: SitingAsianCultural Flows.In Jordison, AnInternationalContestWe S.(2008, August 7). CanWin. Isaacson, N.(2013). ScienceFictionfor theNation:T Iannuzzi, G. (2015). The Translation ofEastAsianScienceFictioninItaly: AnEssay onChineseandJapanese Han, S.(2013). ChineseScienceFiction:AResponsetoModernization. Halliday, &Hasan,R.(1989). M.A.K. Grassman, P. (2016, August Problem 19).TheThree-Body andbeyond –aQ&AwithLiuCixin. Gong H.(2018). BraveGong NewWorld ofChinesesci-fi. Frey, M.,&Spakowski, N.(Eds.). (2016). Beijing Review. (2016). ChineseSci-FiNovel InternationalBestseller. (2017,Denton, K. March 8).HaoJingfang releases interactive fiction. Chua B. H.(2004). ConceptualizinganEastAsianpopularculture. Berry, M.(2016, March 8).Ken Liu’s outputisasamazinghisstories. Liu, C., (2016). andLiu,K. Appadurai, A. (1996). Appadurai, A. Amy Q.(2014, November 10).InaTopsy-Turvy world,ChinaWarms toSci-Fi. References Comparative Asian Development, 14 Confucius Institute. liu-helps-chinese-writers from https://www.scmp.com/magazines/post-magazine/books/article/2046108/how-sci-fi-translator-ken- books-mean-to-him.html Times aninternationalcontestweca web.archive.org/web/20090729220341/http:/www.guardian.co.uk/books/booksblog/2008/aug/07/ Fiction. trans-Asian cultural traff Aspects ofsciencefictionsincethe1980s: China,Italy, Japan,Korea. Science Fiction,AnthologicalPractices andPublishing Strategies Beyond theAnglo-American Canon.In doi:10.5621/sciefictstud.40.1.0015 perspective problem-and-beyond-a-qa-with-liu-cixin/ Conditional china/china-pictorial-english/20180708/282209421630792 NUS Press. bjreview.com/Lifestyle/201605/t20160527_800057991.html fiction/ Resource Center doi:10.1080/1464937042000236711 hEuQL3IgPBJHNcdjbQdPAJ/story.html from https://www.bostonglobe.com/lifestyle/2016/03/08/ken-liu-output-amazing-his-stories/ Minnesota Press. https://futurism.media/in-the-authors-universe-interview-with-sci-fi-author-cixin-liu html from https://www.nytimes.com/2014/11/11/books/liu-cixins-the-three-body-problem-is-published-in-us. . Retrieved from https://www.nytimes.com/20 Science -FictionStudies,40 . . (2. ed.)Oxford:. (2. Oxford Univ. Press.

Retrieved from http://blogs.nature.com/fut Modernity atlarge: cultural dimensionsofglobalization .

Retrieved from https://u.osu.edu/mclc/2017/03/08/hao-jingfang-release-interactive- Communication Culture andCritique,7 Three-body problem Three-body ic (pp Language, context,andtext:aspectsoflanguageinasocial-semiotic . 1–10). HongKong: Hong Kong University Press. Asianisms: regionalist interactions andAsian integration (2), 200−226.(2), doi:10.1080/15339114.2015.1059055 , 33−54. doi:10.5621/sciefictstud.40.1.0033 . London: HeadofZeus. Pressreader ales oftheMoonColonyandBirthModernChinese 32 17/01/16/books/transcript-president-obama-on-what- ureconditional/2016/08/19/the-three-body- .

Retrieved from https://www.pressreader.com/ (2), 192−209.(2), Inter-Asia Cultural Studies,5 Beijing Review Modern ChineseLiterature andCulture Science FictionStudies, The Boston Globe Dublin: Nuova Trauben. pp. 85–108. The NewYork Times . Minneapolis:University of .

. Retrieved from https://

Retrieved from http://www. Futurism .

Retrieved The NewYork Nature Journal of . Retrieved from

40 (2), 200–221.(2), . Singapore: Rogue flows: . (1), 15-21.

Retrieved

Future ISSUE 7 and (5), 115−123. Journal of the Three Body Three , 7−13. Retrieved from https://www.tor. from Retrieved

. Retrieved from http://content.time. from Retrieved

. , 33−39. , 33−39. Tor. Com China Perspectives, 1 China Perspectives, Retrieved from https://de-de.facebook.com/zuck/ from Retrieved

. Retrieved from http://mascarareview.com/chinese- from Retrieved Time Magazine

. 33 Mascara Facebook China Perspectives, 1 China Perspectives, Retrieved from https://www.tor.com/2014/05/07/the-worst-of-all- from Retrieved

. (1), 148−182. doi:10.17510/wacana.v18i1.576 (1), 148−182. Tor. Com Politics, Diplomacy & International Relations, 61 airs: A Russian Journal of World Translated by Emily Yu Zong. Yu Emily by Translated . Retrieved from https://kenliu.name/ https://kenliu.name/ from . Retrieved About Folding Beijing science-fiction-beyond-politics-an-interview-with-hao-jingfang-author-of-folding-beijing-translated-by- emily-yu-zong/ Humanities of Indonesia, 18 Humanities of Indonesia, com/time/person-of-the-year/2010/ . Chinese Science Fiction. possible-universes-and-the-best-of-all-possible-earths-three-body-and-chinese-science-fiction/ com/author/xia-jia/ com/author/xia-jia/ International Aff posts/10102434874214351 Grossman, L. (2010, December 15). Person of the Year 2010. 2010. of the Year 15). Person December L.Grossman, (2010, Thieret, A. (2015). Society and Utopia in Liu Cixin. Society (2015). A.Thieret, The unseen power of China. Jakarta. L.Thung J. Al Azhar, (2017). Confucius Institute at Universitas Zong E. Y. (2018, May 12). Chinese Science Fiction Beyond Politics — An Interview with Hao Jingfang, Author of of Author with Hao Jingfang, — An Interview Politics 12).Science Fiction Beyond Chinese May (2018, Zong E. Y. Liu, K. (2018). Liu, K. (2018). Open Book Festival (2018). Retrieved from http://openbookfestival.co.za/ from Retrieved (2018). Open Book Festival fiction. of Chinese science 1989: The new wave After Song, M. (2015). Liu, C. (2014, May 7). The Worst of All Possible Universes and the Best of All Possible Earths: the Best of All Possible and Universes of All Possible 7). May (2014, The Worst Liu, C. Jia, X. (2014, July 22). What makes Chinese Science Fiction Chinese? Chinese Science Fiction Chinese? July 22).Jia, X. What makes (2014, Yagya, V.; Li M. (2015). The Confucius Institute: A “Soft Power” Factor in China’s Foreign Policy in the 21st Century. in the 21st Century. Policy Foreign in China’s The Confucius Institute: A “Soft Power” Li M. (2015). Factor V.; Yagya, Zuckerberg, M. (2015, October 1). A Year of Books. of Books. October 1). A Year M. (2015, Zuckerberg,