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David Der-wei Wang was born in Taipei.He graduated from Cheng Kung Senior High School and took his B.A. in Foreign Languages and Literature from National Taiwan University and his M.A. (1978) and Ph.D. (1982) in Comparative Literature from the University of Wisconsin at Madison.
East Asian literature is the diverse writings from the East Asian nations, China, Japan, Korea, Mongolia and Taiwan. Literature from this area emerges as a distinct and unique field of prose and poetry that embodies the cultural, social and political factors of each nation.
The languages of East Asia belong to several distinct language families, with many common features attributed to interaction. In the Mainland Southeast Asia linguistic area , Chinese varieties and languages of southeast Asia share many areal features , tending to be analytic languages with similar syllable and tone structure.
Kingdom of Characters is the third book authored by Jing Tsu, a professor of comparative literature and East Asian languages and literature at Yale University. [1] Her previous two books, Failure, Nationalism, and Literature: The Making of Modern Chinese Identity, 1895-1937 and Sound and Script in Chinese Diaspora, also covered Chinese linguistic history.
Jing Tsu (Chinese: 石靜遠; pinyin: Shí Jìngyuǎn; [1] born 1973) is a Taiwanese-American author and professor of East Asian studies. Born in Taiwan, she immigrated to the United States at the age of nine. After receiving a PhD from Harvard University in East Asian languages and civilizations in 2001, she became a professor at Yale University.
East Asian studies is a distinct multidisciplinary field of scholarly enquiry and education that promotes a broad humanistic understanding of East Asia past and present. The field includes the study of the region's culture, written language , history and political institutions.
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The book explores the diverse landscape of Asian Shakespeare, spanning Japan, China, Taiwan, Hong Kong, South Korea, and Singapore. In contrast to other works focusing on a single nation or genre, this monograph resists national allegory approaches, opting for rhizomatic readings that emphasize connections and cross-fertilization between Asian and Western Shakespearean works.