My work cuts across the fields of literature, philology, history, religion, and art in ancient and medieval China, with a primary focus on poetry.

Studying the composition, reception, and canonization of early literature broadly conceived, I am particularly interested in textual performances and their function for the formation of ancient cultural memory; in early Chinese rhetoric; in the presence, absence, construction, and meaning of the authorial voice; and in the origins and development of the intellectual and social system of ancient Chinese textuality. These themes lead further into questions about the interactions between writing and orality, phenomena of composite texts and textual repertoires, and the materiality of text in newly discovered paleographic materials.

Another major field of my study is in Chinese poetry, its theory, aesthetics, and hermeneutic practices, with particular attention to the early history of the Classic of Poetry and its surrounding texts. Here, too, newly excavated manuscripts are important to rethink the fundamentals of the Chinese tradition.

A more recent set of interests is to reflect on questions of China’s place in global antiquity, issues in world literature and translation, and problems of international Sinology. On the side, I have also begun to think and write about medieval calligraphy and its cultural paradoxes and appropriations through the centuries.

Among other duties, I serve as Co-Editor of T’oung Pao as well as Founding Managing Editor of the monograph series Studies in the History of Chinese TextsAt Renmin University of China (Beijing), I serve as the Xin’ao Distinguished Visiting Chair in the Humanities and as Founding Director of the International Center for the Study of Ancient Text Cultures.

Current Book Projects


  • Performance, Memory, and Authorship in Ancient China: The Formation of the Poetic Tradition. Princeton: Princeton University Press.



  • Wenben yu wenhua jiyi: Zaoqi Zhongguo de shuxie, yishi he shige yanjiu 文本與文化記憶:早期中國的書寫、儀式和詩歌研究 [Text and Cultural Memory: Studies in Early Chinese Writing, Ritual, and Poetry]. Beijing: Sanlian Publishers.




In my undergraduate lecture course “Introduction to Chinese Literature” (EAS 232), we survey the foundations, major genres, and masterpieces of classical Chinese literature. A new lecture course I have helped to initiate is the sequence “East Asian Humanities” (HUM/EAS/COM 233-234) with faculty from four departments. I also teach upper-level undergraduate seminars on Chinese poetry as well as on early religious ritual and its texts and artifacts (EAS/REL 327). Finally, I have recently developed a new course to rethink the issue of translation in our encounters with the civilizations of East Asia (TRA/EAS 304).

On the graduate level, I teach seminars on Chinese poetry from Zhou through Tang and Song times, but also on literary thought, commentary, historiography, and issues of canonization and anthologizing in ancient and medieval Chinese literature. Dissertation projects of my graduate students range from pre-imperial Chinese intellectual history to medieval Chinese poetry, the reception history of early texts, classical commentary, materiality of text in ancient China, and commemorative inscriptions.