Books
故事照亮旅程（Stories along the Journey）北京：三联书店，Beijing: Joint Publishing, 2020。
“故事可以照亮我们的人生旅程，让我们在黑暗和混乱中的摸索有前辈旅伴的指引，让我们与陌生的世界通过各式各样的人物而相识熟悉，最重要的是，让我们借助想象找到通往美好生活的道路。”
——书玉
学者评论
在《故事照亮旅程》中，书玉把跨文化的阅读和漫游世界的历程结合起来，用她自己的经验和想象，讲述了文学艺术对于人生的重要性。——乐黛云
书玉是我担任班主任的北大文学专业84 级学生，上世纪90 年代她便负笈海外。《故事照亮旅程》记录了她作为一个世界主义者的阅读和漫游生涯，也为中国读者带来了当代世界文学的一手信息。书中选取的多是处于文学边缘地带的作家，书玉给予他们平等的观察，没有地缘政治的偏见，没有居高临下的腔调。这些作品在她的笔下释放出独特的魅力和同样令人尊敬的价值，读来让人着迷。——夏晓虹
书玉的新著《故事照亮旅程》最令我动容的，正是作者对于世界的兴趣和热情，也许正由于这种兴趣与热情，书玉才能如此富于激情地讲述关于她所游历的世界的故事。而真正照亮旅程的，也恰恰是这种讲述关于“世界”的故事的激情。——吴晓东
多少年前，福特·马多克斯·福特就有过文学共和国的构想。在审美上，孔书玉教授正是一位文学的世界主义者，她像一只辛勤的蜜蜂，采撷世界各国文学的蜜糖；又像一位耐心的矿工，采掘美的地层上的光辉宝藏。开阔而细腻，这正是孔教授文字迷人的地方。——韩敬群
在《故事照亮旅程》中，书玉把跨文化的阅读和漫游世界的历程结合起来，用她自己的经验和想象，讲述了文学艺术对于人生的重要性。——乐黛云
书玉是我担任班主任的北大文学专业84 级学生，上世纪90 年代她便负笈海外。《故事照亮旅程》记录了她作为一个世界主义者的阅读和漫游生涯，也为中国读者带来了当代世界文学的一手信息。书中选取的多是处于文学边缘地带的作家，书玉给予他们平等的观察，没有地缘政治的偏见，没有居高临下的腔调。这些作品在她的笔下释放出独特的魅力和同样令人尊敬的价值，读来让人着迷。——夏晓虹
书玉的新著《故事照亮旅程》最令我动容的，正是作者对于世界的兴趣和热情，也许正由于这种兴趣与热情，书玉才能如此富于激情地讲述关于她所游历的世界的故事。而真正照亮旅程的，也恰恰是这种讲述关于“世界”的故事的激情。——吴晓东
多少年前，福特·马多克斯·福特就有过文学共和国的构想。在审美上，孔书玉教授正是一位文学的世界主义者，她像一只辛勤的蜜蜂，采撷世界各国文学的蜜糖；又像一位耐心的矿工，采掘美的地层上的光辉宝藏。开阔而细腻，这正是孔教授文字迷人的地方。——韩敬群
Popular Media, Social Emotion and Public Discourse in Contemporary China, London & New York: Routledge, 2014, 2017(paperback), 154 pages
Since the early 1990s the media and cultural fields in China have become increasingly commercialized, resulting in a massive boom in the cultural and entertainment industries. This evolution has also brought about fundamental changes in media behaviour and communication, and the enormous growth of entertainment culture and the extensive penetration of new media into the everyday lives of Chinese people.
Against the backdrop of the rapid development of China’s media industry and the huge growth in social media, this book explores the emotional content and public discourse of popular media in contemporary China. It examines the production and consumption of blockbuster films, television dramas, entertainment television shows, and their corresponding online audience responses, and describes the affective articulations generated by cultural and media texts, audiences and social contexts. Crucially, this book focuses on the agency of audiences in consuming these media products, and the affective communications taking place in this process in order to address how and why popular culture and entertainment programs exert so much power over mass audiences in China.
Based on case studies that range from television drama to blockbuster films, and reality television programmes to social media sites, this book will be of great interest to students and scholars of Chinese culture and society, media and communication studies, film studies and television studies.
Against the backdrop of the rapid development of China’s media industry and the huge growth in social media, this book explores the emotional content and public discourse of popular media in contemporary China. It examines the production and consumption of blockbuster films, television dramas, entertainment television shows, and their corresponding online audience responses, and describes the affective articulations generated by cultural and media texts, audiences and social contexts. Crucially, this book focuses on the agency of audiences in consuming these media products, and the affective communications taking place in this process in order to address how and why popular culture and entertainment programs exert so much power over mass audiences in China.
Based on case studies that range from television drama to blockbuster films, and reality television programmes to social media sites, this book will be of great interest to students and scholars of Chinese culture and society, media and communication studies, film studies and television studies.
Consuming Literature: Best Sellers and the Commercialization of Literary Production in Contemporary China. Palo Alto: Stanford University Press, 2005, 241pages
This book examines the changes taking place in literary writing and publishing in contemporary China under the influence of the emerging market economy. It focuses on the revival of literary best sellers in the Chinese book market and the establishment of a best-seller production machine.
The author examines how writers have become cultural entrepreneurs, how state publishing houses are now motivated by commercial incentives, and how “second-channel,” unofficial publishers and distributors both compete and cooperate with official publishing houses in a dual-track, socialist-capitalist economic system. Taken together, these changes demonstrate how economic development and culture interact in a postsocialist society, in contrast to the way they work in the mature capitalist economies of the West. That economic reforms have affected many aspects of Chinese society is well known, but this is the first comprehensive analysis of market influences in the literary field. This book thus offers a fresh perspective on the inner workings of contemporary Chinese society.
The author examines how writers have become cultural entrepreneurs, how state publishing houses are now motivated by commercial incentives, and how “second-channel,” unofficial publishers and distributors both compete and cooperate with official publishing houses in a dual-track, socialist-capitalist economic system. Taken together, these changes demonstrate how economic development and culture interact in a postsocialist society, in contrast to the way they work in the mature capitalist economies of the West. That economic reforms have affected many aspects of Chinese society is well known, but this is the first comprehensive analysis of market influences in the literary field. This book thus offers a fresh perspective on the inner workings of contemporary Chinese society.
