Lingzhen WangAssociate Professor of East Asian Studies
Lingzhen Wang received her B.A. and M.A. from Nanjing University, P.R. China. She came to the United States as a visiting fellow at Harvard University and earned her Ph.D. in East Asian Literature from Cornell University. She joined the Department of East Asian Studies at Brown in 1998.
"关于中国革命与性别平等／解放的理论再思考“ （Some thoeretical thoughts on Women's Emancipation in Chinese Revoulutionary History)《妇女研究论丛》(Journal of Women Studies), no. 5, 2017, 14-18.
“革命的韵律：跨国女性主义文化研究” (Revolutionary Rhythm: A Study of Transnational Women’s Culture) 《妇女研究论丛》(Journal of Women Studies), no. 2, , 2017, 50-55.
“Chinese Socialist Women’s Cinema: An Alternative Feminist Practice,” in The Routledge Companion to Cinema and Gender (edited by Kristin Lene Hole, Dijana Jelača, Elizabeth Kaplan, and Patrice Petro) Routledge Press, 2017, pp. 77-87.
“Wang Anyi” in The Columbia Companion to Modern Chinese Literature ed. Denton, Kirk A. (Columbia University Press, 2016), pp. 371-378.
“Global Chinese Women’s Cinema,” in Film, Television and Theatre Review (《影视戏剧评论》) (Beijing: Chinese Film Press), vol. 1, no. 2, 2016, 86-108.
重审新时期中国女性主义实践和性/别差异话语（A Critical Review of Chinese Feminism and Sexual/Gender Difference in the New Era), in《南开学报》(Nankai Journal ), no. 6, 2015, 103-118.
“王苹与中国社会主义女性电影：主流女性主义文化、多位主体事件和互嵌性作者身份”（Chinese translation of “Wang Ping and Women’s Cinema in Socialist China”), in 《妇女研究论丛》(Journal of Women’s Studies) (Beijing, PR China), no. 4, 2015, 74-88.
“中国社会主义女性主义实践再思考：兼论美国冷战思潮、自由／本质主义对社会主义研究的持续影响” (Chinese Socialist Feminist Practice Reconsidered: A Critical Review of the Persistent Influence of Cold War Ideology and Liberal/Radical Feminism on Socialist Gender Studies), in《妇女研究论丛》(Journal of Women’s Studies) (Beijing, PR China), no. 3, 2015, 5-19.
“Wang Ping and Women’s Cinema in Socialist China: Institutional Practice, Feminist Cultures, and Embedded Authorship,” in Signs: Journal of Women in Culture and Society, vol. 40, no. 3, 2015, 589-622.
Other Genders, Other Sexualities: Chinese Differences (guest editor), a special issue of Differences: A Journal of Feminist Cultural Studies (Duke University Press, 2013).
《性别与中国电影》(Gender and Chinese Cinema) (co-editor with Chengzhou He) (Nanjing University Press, 2012)
Chinese Women’s Cinema: Transnational Contexts (editor) (Columbia University Press, 2011)
《性别、理论与文化》(Gender, Theory and Culture) (co-editor with Chengzhou He) (Nanjing University Press, 2010)
Years of Sadness (Translation Anthology of Wang Anyi’s Autobiographical Works), (editor and co-translator with Mary Ann O’Donnell) (Cornell East Asian Press, 2009)
Personal Matters: Women's Autobiographical Practice in Twentieth Century China (Stanford University Press, 2004)
Professor Lingzhen Wang's areas of expertise include modern Chinese literature and culture, women's cinema, critical theory and transnational feminist and media studies.
Professor Lingzhen Wang's areas of expertise include modern Chinese literature and culture, women's cinema, critical theory, and transnational feminist and media studies . Her first major research project centers on Chinese women's life and writing in the long, turbulent twentieth century. Her book, Personal Matters: Women's Autobiographical Practice in Twentieth-Century China (Stanford: Stanford University Press, 2004) studies a group of both well known and lesser-known Chinese women writers in relation to dominant discourses of Chinese modernitynationalism, revolution, socialism, and market commodificationand emphasizes aspects of women's experience, especially their subjective, emotional, psychic, and bodily activities, that tend to be dismissed in mainstream studies of history and literature. The book reconfigures Chinese women's autobiographical writing as an important means of self-negotiation and re-theorizes the concept of the personal in feminist and literary criticism.
Professor Wang's second book project, Women Directing Films: History, Cinematic Authorship, and Feminisms in Modern China, focuses on gender and Chinese visual modernity, examining particularly the role of female film directors in constructing mainstream Chinese cinema and/or negotiating gendered and different spaces in the second half of the twentieth century. With emphatic attention to social and historical conditions and transformations in modern China, the project also critically reexamines existing feminist theories of gender and cinema, questioning and revising the prevalent Western feminist approaches to women directors and visual culture that are based on binary models of "sexual difference." She has published several articles on the following female film directors: Wang Ping, Dong Kena, Huang Shuqin, Zhang Nuanxin, Hu Mei, and Ma Xiaoying.
Her other research and writing projects include translations of Chinese women writers into English, a study of transnational feminism in the contemporary globalized world, and a critical re-examination of the socialist legacy on gender, politics, and identity formation.
Prof. Wang's current project is titled Women Directing Films: History, Cinematic Authorship, and Feminisms in Modern China