Nicole Huang is Professor of modern Chinese literature and visual culture. Born in China, she received a B.A. from Peking University and a Ph.D. from the University of California at Los Angeles. Prior to coming to UW-Madison, Huang spent a year as a postdoctoral fellow at the University of California at Berkeley. She is the author of WOMEN, WAR, DOMESTICITY: SHANGHAI LITERATURE AND POPULAR CULTURE OF THE 1940S (Brill, 2005) and the coeditor of WRITTEN ON WATER: A COLLECTION OF ESSAYS BY EILEEN CHANG (Columbia, 2005). Huang has served as the director of the Center for East Asian Studies (2008-11), faculty lead for the Taiwan Studies Initiative (2008-14), and the director of the Wisconsin China Initiative (2012-15).
Transcultural East Asia; visual and auditory cultures; twentieth-century Chinese and Taiwanese literature
Professor Huang is currently completing a book manuscript called "Late Mao Soundscapes: Auditory Culture and Daily Practice in 1970s China." A second book manuscript, written in Chinese, is titled "Rekindling the Strange Land: Sinophone Narratives and Cultural Imagination" (《重溫異鄉：華語敘述與文化想像》). She has also begun a new project on social use of photography in contemporary China, supported by a fellowship from the Andrew W. Mellon Foundation.
Approaches to Transasian Studies
Topics in Transasian Studies
Survey of Chinese Literature
Popular Culture and Film in Twentieth-century China
Studies in Modern Chinese Fiction
Seminar in Chinese and Taiwanese Literature and Film
Women, War, Domesticity: Shanghai Literature and Popular Culture of the 1940s, Leiden: Brill, 2005.
Writing Against the Turmoil: Eileen Chang and Popular Culture of Occupied Shanghai 《亂世書寫：張愛玲與淪陷時期上海文學及通俗文化》. Shanghai: Shanghai Sanlian Press 上海三聯書店, 2010.
Co-editor, with an introduction, Written on Water: A Collection of Essays by Eileen Chang, New York: Columbia University Press, 2005 (paperback edition, 2007).
Guest co-editor, special issue on Taiwan Cinema, Modern Chinese Literature and Culture 15.1 (October 2003).
“Travels of Minor Narratives: Chen Dingshan’s Shanghai and Taipei” 舊聞新語話春申：陳定山的上海與台北, Bulletin of Taiwanese Literature 《臺灣文學學報》24 (June 2014): 1-32.
“Listening to Films: Politics of the Auditory in 1970s China,” Journal of Chinese Cinemas, 7.3 (November 2013): 187-206.
“From Soy Garden Lane to Lugang: The Transnational Narrative of the Butcher’s Wife” 從醬園弄到鹿港：詹周氏殺父的跨國演繹, Bulletin of Taiwanese Literature 《臺灣文學學報》18 (July 2011): 1-26.
“Locating Family Portraits: Everyday Images from 1970s China,” positions: east asia culture critique, 18.3 (Winter 2010): 671-94.
“Azalea Mountain and Late Mao Culture,” The Opera Quarterly: Performance+Theory+ History, vols. 26-27 (Autumn 2010): 402-25.
“Eileen Chang and Things Japanese” in Eileen Chang: Romancing Cultures, edited by Kam Louie (Hong Kong: Hong Kong University Press, 2011), 49-72.
“Dreaming of the Red Chamber and Writing of the Nether World” 夢在紅樓，寫在隔世, in From Writing Degree Zero: Reconstructing Eileen Chang 《零度看張：重構張愛玲》, edited by Shuang Shen (Chinese University of Hong Kong Press, 2009), 99-118.
“Fashioning Public Intellectuals: Women’s Print Culture in Occupied Shanghai (1941-1945),” in In the Shadow of the Rising Sun: Shanghai under Japanese Occupation edited by Christian Henriot and Wen-hsin Yeh (Cambridge: Cambridge University Press, 2004), 325-45.
“Sun-facing Courtyards: Urban Communal Culture in Mid-1970s Shanghai,” East Asian History 25/26 (June-December 2003): 161-82.
|Family portraits of late Mao China.pdf||491.02 KB|
|Model opera and late Mao culture.pdf||644.55 KB|
|Eileen Chang's Japanese connections.pdf||1.91 MB|
|Film and auditory practice in 1970s China||1.09 MB|