Winner of the International Comparative Literature Association Anna Balakian Prize 2019, awarded for the best first monograph published in last three years by a scholar under the age of forty. https://www.ailc-icla.org/and-the-2019-anna-balaki...

“Shuangyi Li has produced an engaging, distinctive work of scholarship that makes a welcome addition to Proust studies while also contributing to a range of other fields. It brings a critical assessment of Proust’s reception in China into dialogue with theoretical thinking about diaspora, translation, canon-formation, intertextuality, and the transcultural. It is a stimulating read, enriched by the use it makes of existing critical writing on Proust’s novel as well as a wider spread of work in translation studies, world and comparative literature, and intertextuality.” (Professor Adam Watt, French Studies, March 16, 2019) https://academic.oup.com/fs/article-abstract/73/2/...

"An indispensable addition to your Proustian library! This book is about the translation of Proust into Chinese, the way that mainland Chinese writers cite Proust to enhance the prestige of their works in China, and the transcultural re-writing of Proust undertaken by Francois Cheng that aims to reorient Western and Chinese literary aesthetics. For me, the most interesting development in this work is the overarching critical framework elaborated by the author, notably from Mads Thomsen's (2008) model of international canonization. This 'constellational' approach is exhibited in the extensive chapter on Francois Cheng and transculturality, and offers a clear example of how such "back translation" can be more fruitfully explored in future studies in World Literature. At the (Bhabhaian) interstice of two tributaries - the Chinese and French language/culture - the author has built something 'new' (and indeed 'old'), his own cathederal 'in the Chinese shadow'. (Michael Paparakis, michaelpaparakis@gmail.com)

For an interview with the author at Stockholm University, see here: