Daniel FERRER is a former director of the Institute for Modern Texts and Manuscripts (ITEM CNRS-ENS). He is now responsible for the James Joyce team at ITEM and editor of the journal Genesis. He has published many books and articles on James Joyce, but also on Virginia Woolf, Faulkner, Stendhal, Hélène Cixous and on the theory of literature and genetic criticism. He has tried to act as a bridge between different critical traditions by presenting and editing collections of essays from French into English or English and Russian into French. He is also interested in the genesis of art and film.
Raoul David FINDEISEN is Full Professor of Oriental Languages and Literatures at Comenius University in Bratislava (Slovakia) and has studied Chinese Language and Literature, Japanese, Romance Languages and Literatures, Philosophy and Comparative Literature in Berlin (M.A.), Taipei, Peking, Bonn (Ph.D.) and Zurich (venia legendi). He has taught in the universities of Berlin (Freie Universität), Zurich, Basle, Warsaw, Geneva and Lyons 3 (Jean Moulin), held the Chair of Chinese Languages and Literatures at Ruhr University of Bochum (1999–2009) and was visiting professor at Sichuan University (Chengdu), Beijing Normal University, and currently at the Institute of East Asian Studies, University of Vienna, as well as Fellow in the Truman Institute, The Hebrew University of Jerusalem. His research interests focus on 19th and 20th century Chinese literature, with emphasis on textology and perspectives for comparative studies as well as translation and intellectual history. He is currently preparing a monograph on modern Chinese writers’ manuscripts.
Wafa GHERMANI got a PhD in Film Studies at the University of La Sorbonne Nouvelle (Paris III). Her thesis was dealing with the question of film and national identity in Taiwan from the Japanese Colonial era to nowadays. In addition to her research activities she worked at the Cinemathèque française and is also a consultant and film programmer for festivals (Vesoul International Asian Film Festival in France and Neuchatel Fantastic Film Festival in Switzerland, among others). Her writing includes: « Filming Taiwan (1907-1976) : From a Model Japanese Colony to an Ideal Republic of China, in Global Fences, Literatures, Limits, Borders , Université Lyon III-Jean Moulin, 2011. « 台灣顯影，從模範日本殖民地到理想的中華民國？ in 電影欣實/ Film Appreciation Journal, July-September 2011, « 然的內在風景與性別張力：評潘壘《颱風》 in 電影欣實 Film Appreciation Journal, July-September 2014. « Histoire du cinéma taiwanais jusqu’en 1960 » (History of Taiwan cinema until 1960) in Hou Hsiao Hsien / Taiwan Film Panorama, Brussels Cinematek, May 2015.
Juey-Fu HSIAO is an associate professor in Shih Chien University, where she has been teaching since 1990. She is an active researcher on films studies and cultural studies. Her publications mainly focus on British filmmaker, Derek Jarman and Canadian filmmaker Atom Egoyan. Recently, she is working on a book draft on Derek Jarman and his version of “inspired melancholy” while making connections with the theories of translation and film adaption.
Hsien-Sheng LIEN was born in Taipei and has studied musicology with Hsu Tsang-Houei and music analysis with Chang Hao after graduation from the Law School of National Taiwan University. He has also translated Technique de Mon Langage Musical by Olivier Messiaen into Chinese and published it in Taiwan. In 1993, he went to France for advanced studies with the scholarship offered by the government of Taiwan. He studied composition with Alain Weber, Jacques Castérède, Yoshihisa Taïra and Michaël Levinas in Paris. In the spring of 2005, he received his doctor degree in Music and Musicology of Twenty Century at the University of Paris IV – Sorbonne with his dissertation on the Chinese composer Qigang Chen's works and contemporary Chinese and Japanese music. Actually, he is associate professor and director of the Department of Music in National Pintung University.
劉永晧 Yung-hao LIU，法國巴黎第八大學意義實踐與理論研究所電影暨美學博士(L’École Doctorale Pratiques et Théories Du Sens)，現任職於世新大學廣播電視電影學系專任副教授。著有《小電影學：電影複像、轉場換景與隙縫偷渡》(2010) ，《在場影像》(2015)。《失衡的電影文本：王家衛電影分析》(2015)。
Sandrine MARCHAND is an Associate Professor of Chinese in the University of Artois in Arras, France. Her scholarly interest focuses on the issue of Memory in Taiwanese modern Literature. She is the author of Sur le fil de la mémoire : la littérature taïwanaise des années 1970-1990 (Lyon, Tigre de Papier, 2009). She has translated the fictional writings of Wang Wen-hsing, as well as Taiwanese poetry.
Born in Tokyo in 1953, Kazuhiro MATSUZAWA is a professor of Nagoya University (Japon) . His research interests lie in Flaubert, French literature, genetic criticism, hermeneutics, Saussure, history of ideas. A former French government granted holder, he defended his doctoral thesis in French literature at University of Paris VIII in 1988. A associate member of “Programme Flaubert “ and “Programme Linguistique” of ITEM and a leader of “la Société japonaise d’études flaubertiennes”, he published many articles on Flaubert among them « Le jeu intertextuel et la question de l'interprétation dans la genèse de l'avant-dernier chapitre de L'Éducation sentimentale » ( Comment naît une oeuvre littéraire ? Brouillons, contextes culturels, évolutions thématiques, textes réunis par K.Yoshikawa et N. Taguchi, Paris, Honoré Champion, 2011, p.161-173), and the author of Introduction à l’étude critique et génétqiue des manuscrits de L’Education senimentale de G.Flaubert-l’amour, l’argent, la parole (France Tosho - Nizet, 1992 ) , Research on genetic criticisme (Presses Nagoya University, 2003 )、La Mise en texte des savoirs (avec G.Séginger, Presses universitaires de Strasbourg, 2010). Member of Cercle Ferdinand de Saussure, he published a new critical edition of Saussure Writings in general linguistics (Iwanamishoten, Tokyo, 2013).
Nancy RAO, professor of music at Rutgers University. A specialist in American music, her work is multifaceted, bridging musicology, music theory and scholarship on Chinese opera with gender and ethnic studies. She has published in topics that includes ultramodern composers, sketch studies, contemporary Chinese music, and historical studies of Chinese American music. Her essay “Ruth Crawford’s Imprint on Contempaory Music” received the Lowens Article Award from the Society for American Music in 2009. Her book Chinatown Opera Theater in North America will be published by Illionois University Press January 2017. http://www.press.uillinois.edu/books/catalog/35rxb6yr9780252040566.html
Sanae UEHARA is a professor at the Graduate School of Languages and Cultures, Nagoya University, Japan. She holds an MA in English literature from Durham University and a PhD in English literature from Nagoya University with a dissertation on Hardy’s writing processes in his major novels. Her research interests lie in Victorian fiction, Hardy, publishing systems and censorship, translation, and the reception of Hardy in Japan. She has completed a monograph on Hardy’s manuscripts and textual revisions and also the translation of his Under the Greenwood Tree, which is to be published by Osaka Kyoiku Tosho in the winter of 2016. She sits on the editorial board of the Hardy Review (Thomas Hardy Association, USA) and the Hardy Kenkyu (Thomas Hardy Society, Japan).
Xirong WANG, Vice President of Chinese Society for the Study of LU XUN, Shanghai Jiaotong University Institute of Humanities, director of the center for Chinese writer manuscript, standing director of Chinese society for the study of Ding Ling, executive director of the Shanghai Soong Ching Ling institute, China Pudong Cadre College part-time teachers.
Major works: "Small Discoveries of Lu xun "," Illustrated Biographies of lu xun ", "The Mystery of Lu un's Life", "Zhou Zuoren's mystery", "Painting of Lu xun", "Collectors of Lu xun", "Lu xun and his Shaoxing", "Lu xun's artistic world", "The impression of Lu xun", “a window of understanding China”, etc.
Peng YI is associate professor in the Department of English, National Central University at Zhongli, Taiwan. His doctoral thesis is on Edmund Spenser and theories of allegory. He is now working on Chinese modern manuscripts and attempts to apply genetic concepts on the manuscripts of modern and contemporary writers such as Wang Wen-hsing, Zhou Mengdie and Lu Xun as well as reflecting on the various historical trajectories of particular creative moments which intersect with our ideas of the manuscript.
Jinzhong ZHANG has published a number of fiction and non-fiction books in the Chinese language. He lives in Kaohsiung, Taiwan ROC, where he teaches at the National Sun Yat-sen University and directs the Center for the Humanities.