常任教學人員

• Verses for Perverse Times: Rui Liangfu and the Making of Poetic Criticism in Early China [under revision, Weltens Ostasien, De Gruyter]
• Zhou Gong zhi qinwu [The Duke of Zhou’s Zither Dance] and Related Texts [under contract, Tsinghua University Press]
• Treasured Oases: A selection of Jao Tsung-I’s Dunhuang studies, Collected Works of Jao Tsung-i: Xuantang Anthology, Brill (forthcoming, 2022)

2026

• “Performing Heavenly Numbers: Structure and Voice in the Duke of Zhou’s Zither Dance.” T’oung Pao 112 (2026): 13–57.

2025

• “Is There a Text in These ‘Crickets’? On Renditions of the Ode ‘Xi Shuai’ 蟋蟀 in Warring States Manuscripts, or Two Ways of Approaching Three Manifestations of ‘One Poetry.’” HKU Journal of Chinese Studies 3 (2025): 35–76.
• “What is the Tsinghua *Rui liangfu bi 芮良夫毖? Genre, prosody, theme, and form in a Warring States verse-album.” Early China 47 (2024): 119–152 [released 2025]
• “‘Who says we have no clothes?’ Undergarments and the poetics of disrobing in the Anda Qin Airs.” Bamboo and Silk 8, no. 2 (2025): 213–40.

2022

• [with Jao Tsung-i] “Did Men of Song Belt Out ‘Tang Ci’? An Explanation of the Poem ‘I Only Fear the Spring Breeze Will Chop Me Apart.’” Tang Studies 40, no. 1 (2022): 121–53. https://doi.org/10.1353/tan.2022.0003.

2021

• “Dunhuang,” in Wiley Encyclopedia of Ancient History
• “Molecular Incoherence, Continuity, and the Perfection of the Laozi,” in Early China 44 (2021), 237–319.

• Jao Tsung-I, “Did Men of Tang Belt out ‘Tang ci’? An explanation of the poem ‘I only fear the spring breeze will chop me apart’ 「唐詞是宋人喊出來」的嗎？說「只怕春風斬斷我」[accepted] in Tang Studies 40 (2022).
• Yuasa Kunihiro 湯淺邦弘, “On Stanzaic Inversion in the Qin feng Ode “Si tie” (Iron-Black Horses) in the Anhui University Bamboo Manuscript of the Shijing (安大簡『詩経』秦風駟驖の章次転倒について),” in Bamboo and Silk 4, no. 1 (2021), 149–171.
• Li Jing 李静 and Lu Jialiang 魯家亮, “Summary of Research on Bamboo and Wood Slip Manuscripts from the Qin, Han, Wei and Jin Dynasties for the Year 2015” (2015年秦漢魏金簡牘研究概述), in Bamboo and Silk 2, no. 2 (2019), 104–140.
• Li Tianhong 李天虹, “Interpreting the Warring States Graphs Zi and Chui in Light of the Yancang Chu Slips“ (由嚴倉楚簡看戰國文字資料 中「才」、「錘」兩字的釋讀), in Bamboo and Silk 1, no. 1 (2018), 32–52.
• Li Zhi 李贄, “After Sakyamuni Buddha,” 釋迦佛後, “The Hub of the Heart Sutra” 心經提綱 “Notes on ‘The Hub’” 心經提綱說 and “How the Three Teachings Lead Back to Confucianism” 三教歸儒說, in A Book to Burn & A Book to Keep (Hidden): Selected Writings, Li Zhi,（《焚書》、《藏書》選譯）edited by Haun Saussy, Rivi Handler-Spitz, and Pauline Lee. New York: Columbia University Press, 2016, pp. 114–9, 119–21, 278–82; 282–86.

• “History, Anthology, or Literature? Verse collections in the Tsinghua manuscripts” HKBU-BNU United International College, via Voov, 23 April, 2022
• “Was it Really So, Royal Uncles? Notions of Authenticity in the Reception, Redaction and Reconstruction of Some Avuncular Remonstrations” Understanding Authenticity in China’s Cultural Heritage seminar series, Oxford, via Zoom, 28 October 2020
• “Historicized Poetry, Poetized History, and/or Heretical Prophecy: Renditions of the Rui Liangfu Legend in Early China,” invited lecture, Bernard Karlgren Seminar series, University of Göteborg, 10 April

2026

• “New Traces of East Asia’s Musical Beginnings: Verse Albums and Music Charts in Warring States Chinese Manuscripts,” presented at Australian Society for Asian Humanities Inagural Conference, University of Sydney, Australia, 4 July 2026
• “Du 度 as a Critical Quality of Leadership in Lost/Leftover Philosophical Discourse,” presented at The Text and Thought of Early Chinese Manuscripts: Tsinghua Bamboo Slips and Beyond, University of Oxford, 24 June.
• [Notes on the English Translation of the Tsinghua *Wu yin tu and Yue feng manuscripts]清華簡《五音圖》、《樂風》英譯筆記, presented at [Contemplating Tones, Comprehending Music: New Sources and Methods for Studying Ancient Chinese Music] 審音知樂：中國古代音樂研究的新材料與新方法, Hong Kong Polytechnic University, Hong Kong, February 9

2025

• 「〈蟋蟀〉寫本中有個文本嗎？兼談『知難』的詩義」[Is there a text in manuscripts of ‘Xishuai’? And on the meaning of zhi nan in the poem” presented at 中國簡帛學際論壇 中國簡帛學際論壇 2025 [International Symposium on Bamboo and Silk Manuscripts, University of Chicago Center, Hong Kong, 24 October.

2024

• 「清華簡《周公之琴舞》“九絉”結構筆記」 [Notes on the structure of the Tsinghua Zhou Gong zhi qinwu] presented at 復旦大學中華古籍保護研究院成立十周年紀念暨《復旦大學圖書館藏〈詩經〉文獻叢刊》新書首發式 [International Conference Celebrating the Tenth Anniversary of Fudan University Institute for Preservation of Ancient Chinese Documents and the First Publication of Shijing Documents held by Fudan University Library, Fudan University, 25 November.

2023

• “Unearthed manuscripts and the Poetry that might have been,” Chinese Studies Society of Australia 18th Biennial Conference, University of Sydney, 7 December.

• 安大簡《秦風》、《毛詩序》篇次對照小記 [Comparative notes on sequence of poems in the Anhui University Qin Airs and in the transmitted Mao shi ] at Tsinghua University Forum on “Paleography and Chinese Civilization,” Tsinghua University, Beijing, 22 October.
• “Rubrics for Ordering Poetic Compilations in Manuscript Texts and the Prehistory of Chinese Bibliography,” for the panel “The Textual World Before and After Liu Xiang (79–8) BCE,” Association for Asian Studies (AAS), Boston, MA, 19 March.

2022

• “Poetry as Commentary in the Tsinghua Verse Albums? Some questions concerning the previously unknown verses of the Zhou Gong zhi qinwu 周公之琴舞” Society for the Study of Early China, via Zoom, 9 June 2022

2021

• “Is Poetic Sequence a Substrate for Narrative History in the Anhui Shijing 詩經 (Classic of Poetry)? A first look at Huang niao 黃鳥 (Yellow Birds), in sequence” American Oriental Society, Western Branch Meeting, Boulder and Hong Kong via Zoom, 8 November 2021

2020

• “Authentically Old Leftovers? Philology, robbery, and the Yi Zhou shu in historical perspective.” Society for the Study of Early China, via Zoom, 4 August, 2020

2019

• “Auto-Commentary, Proto-Commentary, and the Historicizing Impulse in Shijing 詩經 Hermeneutics,” Society for the Study of Early China, Denver, 21 March, 2019

2018

• “Prosodic Structure, Paratext, and Form in the Tsinghua *Rui Liangfu bi Manuscript,” Warp, Woof, Wen/Phoneme, Pattern, Pun, University of Zurich, 12-14 April 2018

2017

• “Textual Variance in Laozi Homologs and Interpretive Variance in Traditional LaoziCommentaries,” at the Canonical Texts and Commentaries Workshop, Beijing, China, 23 June 2017

• Sarah Allan, Buried Ideas: Legends of Abdication and Ideal Government in Early Chinese Bamboo-Slip Manuscripts. Albany, SUNY Press, 2015, in Journal of Chinese Humanities 6, no. 1 (2020), 115–121
• Geoffrey Redmond, The I Ching (Book of Changes): A Critical Translation of the Ancient Text. New York: Bloomsbury Academic Press, 2017, in Journal of Chinese Religions 46, no. 2 (2018): 215–219

• [Contemplating Tones, Comprehending Music: New Sources and Methods for Studying Ancient Chinese Music] “審音知樂：中國古代音樂研究的新材料與新方法” Hong Kong Polytechnic University, Hong Kong, February 9, 2026
• “Rethinking Chinese Thought: New Texts and Frameworks for Exploring Ancient Traditions” Chinese Studies Association of Australia Biennial Meeting, Melbourne, December 2, 2025

• 2025–27 Research Grants Council, General Research Fund (GRF), “A Preliminary Study of China’s Earliest Musical Manuscripts: the *Wu yin tu 五音圖 and Yue feng 樂風” (HKD $136,000)
• 2024–27 Research Grants Council, Early Career Scheme, “Poetic Tectonics: Collection, canon formation, and the landscape of versification in Chinese manuscript culture, c. 479 BCE–220 CE,” (HKD $395,000)
• 2018-19 Fulbright-Hays Doctoral Dissertation Research Abroad Scholarship Center for Bamboo and Silk Manuscripts, Wuhan University, and Jao Tsung-I Academy of Sinology, Hong Kong Baptist University
• 2016-17 Fulbright U.S. Student Program Scholarship (Fulbright IIE) Tsinghua University, Department of Chinese Language and Literature