Professor Wu’s research concerns the literary and intellectual history of late nineteenth-century and early twentieth-century China, particularly classical poetry written in a modern context. An examination of the works and activities of previously neglected poets who maintained their commitment to traditional aesthetic ideals, her first book Modern Archaics: Continuity and Innovation in the Chinese Lyric Tradition 1900-1937 (Harvard University Asia Center Press, 2013), illuminates the splendor of Chinese lyricism and highlights the mutually transformative power of the modern and the archaic. Complementing her passion for poetry (from the classical to the contemporary), her scholarly interests also include the relationship between image and text, questions of gender, and the issue of emotion. She is working on her second book project, which is tentatively titled “Emotion in Transit: Text and Image in Modern China.” Prior to joining the faculty of HKUST, Wu was an associate professor at Wesleyan University, where she taught for eight years. She was the receipt of an An Wang postdoctoral fellowship from the Fairbank Center for Chinese Studies at Harvard University, a Junior Scholar Grant from the Chiang Ching-kuo Foundation, and a fellowship from the American Council of Learned Societies.
Modern Chinese literature, the history of photography, image/text, studies of emotion, and collaborationism.
Modern Archaics: Continuity and Innovation in the Chinese Lyric Tradition 1900-1937 (Cambridge, MA: Harvard University Asia Center Press, 2013), 437 pages
. Reviewed in Harvard Journal of Asiatic Studies
), Journal of Asian Studies
), Chinese Literature: Essays, Articles, Reviews
), China Quarterly
, Modern Chinese Literature and Culture
, New Books in East Asian Studies podcast
, and Journal of East China Normal University: Philosophy and Social Sciences
(Huadong shifan daxue xuebao
“Between Tradition and Modernity: Contested Classical Poetry,” in Kirk Denton ed., The Columbia Companion to Modern Chinese Literature (New York: Columbia University Press, 2016), chap 5.
“Classical Poetry, Photography, and the Social Life of Emotions in 1910s China,” in Grace S. Fong ed., Paul Hsiang Lecture Series on Chinese Poetry, vol. 7 (2015), 1-42.
“Dangerous Light: Chi Lingyun and her Poetry,” Co-author (with Eleanor Goodman). Chinese Literature Today, vol. 4, no.2 (fall, 2014), 54-61.
“彩筆調和兩半球：呂碧城海外詞中的文化翻譯 On Cultural Translation in Lü Bicheng’s Overseas Poetry ,” Wenxue, Jingdian, Xiandai yishi文學·經典·現代意識 (Taipei: Maitian, 2014), 102-125.
“亡國人·採珠者·有情的共同體：民初上海遺民詩社研究Poetry Societies in Early Republican Shanghai,” Zhongguo xiandai wenxue yanjiu congkan中國現代文學研究叢刊 (no. 4, 2013): 46-61. Journal’s excellent paper award for 2013.
“Gendering the Nation: The Proliferation of Images of Zhen Fei (1876-1900) and Sai Jinhua (1872-1936) in Late Qing and Republican China," published in Nan nü: Men, Women, and Gender in China (vol.11, no.1, Spring, 2009): 1-64.
“Contested Fengya: Classical Poetry Clubs in Republican China,” Literary Societies of Republican China, ed. Kirk A. Denton & Michel Hockx (Lanham, MD: Lexington Books, 2008), 15-46.
“‘Old Learning’ and the Re-Feminization of Modern Space in the Lyric Poetry of Lü Bicheng (1883-1943),” Modern Chinese Literature and Culture, vol. 16, no. 2 (Fall 2004): 1-75.
Editor, 旅行的圖像與文本：現代華語語境中的媒介互動 (Traveling Image and Text in Modern China) (Shanghai: Fudan University Press, 2016).
Co-editor (with Ko Chia Cian), 抒情傳統與維新時代：辛亥前後的文人、文學、文化(Lyricism and the Reformist Era) (Shanghai: Shanghai Literature and Arts Publishing House, 2012).
Guest co-editor (with Mingwei Song) of the special issue, “‘The Obscure Decade:’ The Literary Imagination in Hong Kong, Taiwan, and the PRC, 1949-1959五十年代的文學想像與政治文化：香港、台灣、中國大陸,” Journal of Modern Literature in Chinese 現代中文文學學報 (vol. 9.2, July, 2009) (bilingual).