❀ ❀ ❀Contributors
Robert Ashmore is associate professor of classical Chinese literature at the University
of California, Berkeley. He received his M.A. from Beijing University in 1992 and
his Ph.D. from Harvard University in 1997. His interests include lyric poetry, musi-
cal performance, and classical scholarship from the third through twelfth centuries.
He is the author of The Transport of Reading: Text and Understanding in the World of
Tao Qian (365–427) (Cambridge, Mass.: Harvard University Press, forthcoming).
Zong-qi Cai is professor of Chinese and comparative literature at the University of
Illinois, Urbana-Champaign. He is the author of The Matrix of Lyric Transformation:
Poetic Modes and Self-Presentation in Early Chinese Pentasyllabic Poetry (Ann Arbor:
Center for Chinese Studies, University of Michigan, 1996) and Configurations of
Comparative Poetics: Three Perspectives on Western and Chinese Literary Criticism
(Honolulu: University of Hawai‘i Press, 2002). He also edited A Chinese Literary
Mind: Culture, Creativity, and Rhetoric in Wenxin dialong (Stanford, Calif.: Stan-
ford University Press, 2001) and Chinese Aesthetics: The Ordering of Literature, the
Arts, and the Universe in the Six Dynasties (Honolulu: University of Hawai‘i Press,
2004).
Charles Egan is associate professor of Chinese language and literature at San Fran-
cisco State University, where he also directs the Chinese program. He received his
Ph.D. from Princeton University in 1992 and has taught at Stanford University and
Connecticut College. He has published articles on yuefu, jueju, oral poetry, and Chi-
nese art, as well as numerous translations.
Ronald Egan teaches Chinese literature at the University of California, Santa Barbara.
His research is on Song dynasty poetry, aesthetics, and literati culture. He received
his Ph.D. from Harvard University and has taught at Harvard University and Welles-
ley College. He served for a period as the executive editor of the Harvard Journal of
Asiatic Studies. His publications include The Literary Works of Ou-yang Hsiu (1007–
72) (Cambridge: Cambridge University Press, 1984), Word, Image, and Deed in the
Life of Su Shi (Cambridge, Mass.: Harvard University Press, 1994), and The Prob-
lem of Beauty: Aesthetic Thought and Pursuits in Northern Song Dynasty China (Cam-
bridge, Mass.: Harvard University Press, forthcoming). He is also the translator of
a volume of selected essays by Qian Zhongshu: Limited Views: Essays on Ideas and
Letters by Qian Zhongshu (Cambridge, Mass.: Harvard University Press, 1998).
Grace S. Fong is associate professor and chair of the Department of East Asian Studies
at McGill University. Her research interests encompass classical Chinese poetry
and poetics and the intersection of gender, subjectivity, and writing in late imperial
and Republican China. She is the author of Wu Wenying and the Art of Southern Song
Ci Poetry (Princeton, N.J.: Princeton University Press, 1987) and Herself an Author: