Relevant bibliographies by topics / Shakespeare in China: reception

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Shakespeare in China: reception'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Shakespeare in China: reception"

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Dai, Yun-fang. "“I should like to have my name talked of in China”: Charles Lamb, China, and Shakespeare." Multicultural Shakespeare: Translation, Appropriation and Performance 20, no. 35 (December 30, 2019): 83–97. http://dx.doi.org/10.18778/2083-8530.20.07.

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Charles and Mary Lamb’s Tales from Shakespeare played an essential role in Chinese reception history of Shakespeare. The first two adaptations in China,Xiewai qitan 澥外奇譚and Yinbian yanyu 吟邊燕語, chose Tales as the source text. To figure out why the Lambs’ Tales was received in China even earlier than Shakespeare’s original texts, this paper first focuses on Lamb’s relationship with China. Based on archival materials, it then assumes that the Lambs’ Tales might have had a chance to reach China at the beginning of the nineteenth century through Thomas Manning. Finally, it argues that the decision to first bring Shakespeare to China by Tales was made under the consideration of the Lambs’ writing style, the genre choice, the similarity of the Lambs’ and Chinese audiences, and the marketability of Tales. Tracing back to the first encounter between Tales and China throws considerable light on the reception history of Shakespeare in China. It makes sense that nothing is coincidental in the history of cultural reception and the encounters have always been fundamentally influenced by efforts from both the addresser and the receptor.
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Zhen, Chen. "Thomas Hardy Reception and Reputaion in China." International Journal of Social Sciences and Humanities Invention 5, no. 1 (January 24, 2018): 4327–30. http://dx.doi.org/10.18535/ijsshi/v5i1.13.

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Thomas Hardy has been one of the best-loved novelists to Chinese readers for nearly a century, which is an uncanny phenomenon in the circle of literature reception and circulation in China. It seems that Hardy has some magic power to have kept attracting Chinese literature lovers with his keen insight into nature, profound reflection on humanity and whole-hearted concern about human fate in the vast universe. Hardy’s works saturated with nostalgic sentiments for the traditional way of rural life exert unusual resonance in Chinese readers in terms of receptional aesthetic. There is no denial that Hardy is rather loved and admired by generation upon generation of Chinese literates, which can find expression in his exceeding popularity among readers from all trades and walks, from all levels, which ranges from middle school students to professors. In China, his prestige ranks only after Shakespeare among English persons of letters.
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Habicht, Werner. "National Insularity and the Reception of Shakespeare." Actes des congrès de la Société française Shakespeare, no. 12 (November 1, 1994): 141–48. http://dx.doi.org/10.4000/shakespeare.1277.

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Rüdiger Ahrens. "Shakespeare in Germany: Critical Reception and Translation." Journal of English Language and Literature 59, no. 6 (December 2013): 939–55. http://dx.doi.org/10.15794/jell.2013.59.6.003.

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Marlow, Christopher. "Provincial Shakespeare." Critical Survey 32, no. 4 (December 1, 2020): 36–50. http://dx.doi.org/10.3167/cs.2020.320404.

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With reference to aspects of the career of the twentieth-century actor-manager Donald Wolfit and the use of the concept of provincialism in English criticism, this article argues that idealist and universalist values are repeatedly valorised in order to devalue materialist and what might be called ‘provincial’ interpretations of Shakespeare’s plays. I pay attention to conditions of production of early modern drama in the sixteenth century, and to Wolfit’s Second World War performances of Shakespeare, the reception of which is offered as evidence for the persistence of a critical prejudice against what is understood as provincial marginality. The article concludes with a reading of The Merry Wives of Windsor that argues that the play supports the provincial values that have so often been dismissed by critics.
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Keturakienė, Eglė. "Lithuanian Literature and Shakespeare: Several Cases of Reception." Interlitteraria 24, no. 2 (January 15, 2020): 366–79. http://dx.doi.org/10.12697/il.2019.24.2.8.

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The article is based on the reception theory by Hans Robert Jauss and analyses how Shakespeare’s works were read, evaluated and interpreted in Lithuanian literature in the 19th to 21th centuries. Some traces of Shakespeare’s works might be observed in letters by Povilas Višinskis and Zemaitė where Shakespearean drama is indicated as a canon of writing to be followed. It is interesting to note that Lithuanian exodus drama by Kostas Ostrauskas is based on the correspondence between Višinskis and Zemaitė. The characters of the play introduce the principles of the drama of the absurd. Gell’s concept of distributed personhood offered by S. Greenblatt is very suitable for analysing modern Lithuanian literature that seeks a creative relationship with Shakespeare’s works. The concept maintains that characters of particular dramas can break loose from the defined interpretative framework. Lithuanian exodus drama reinterprets Shakespeare’s works and characters. The plays by Ostrauskas and Algirdas Landsbergis explore the variety of human existence and language, the absurd character of the artist, meaningless human existence and the critique of totalitarianism. Modern Lithuanian poetry interprets Shakespeare‘s works so that they serve as a way to contemplate the theme of modern writing, meaningless human existence, the tragic destiny of an individual and Lithuania, miserable human nature, the playful nature of literature, the clownish mask of the poet, the existential silence of childhood, the topic of life as a theatrical performance, the everyday experience of modern women in theatre. The most frequently interpreted dramas are Hamlet, King Lear and Macbeth – Lithuanian literary imagination inscribed them into the field of existentialist and absurd literature.
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Morozova, Svetlana N., and Dmitry N. Zhatkin. "Korney Ivanovich Chukovsky about the Russian translation reception of Shakespeare (article one)." LAPLAGE EM REVISTA 7, no. 2 (January 7, 2021): 209–16. http://dx.doi.org/10.24115/s2446-6220202172703p.209-216.

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The works of K.I. Chukovsky, dedicated to the great English playwright Shakespeare («Combat with Shakespeare» (1935), «Crippled Shakespeare» (1939), «Translations of Shakespeare (On the method of Shakespeare’s translation) » (1946), etc.), became an important page in literary critical reception of Shakespeare in Russia. K.I. Chukovsky related the reason for the change in the ideological concept of Shakespeare’s works by Russian translators not only with public perceptions in Russia, but also with the quality of French and German adaptations of the works of the English playwright that came into Russian literature. From the analysis of various works of Shakespeare K.I. Chukovsky used examples to prove the degree of distortion of the meaning of the work due to literal adherence to the ideas about the maximum correspondence between the external organization of the translation and the original. This article aims to analyze the reception of the Russian translation of Shakespeare from the gaze of K.I. Chukovsky.
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Brockbank, J. Philip. "Shakespeare Renaissance in China." Shakespeare Quarterly 39, no. 2 (1988): 195. http://dx.doi.org/10.2307/2870630.

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Berry, Edward. "Teaching Shakespeare in China." Shakespeare Quarterly 39, no. 2 (1988): 212. http://dx.doi.org/10.2307/2870632.

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Hawley, Stewart. "Shakespeare in China (review)." Asian Theatre Journal 25, no. 1 (2007): 163–65. http://dx.doi.org/10.1353/atj.2008.0006.

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Dissertations / Theses on the topic "Shakespeare in China: reception"

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Sun, Yanna. "Shakespeare in China." Doctoral thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2008. http://nbn-resolving.de/urn:nbn:de:bsz:14-ds-1219421137948-00200.

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Since Shakespeare was introduced to China at the beginning of the 20th Century, the Chinese have translated the English playwright's plays and performed them on the Chinese stage either in the form of spoken drama or the traditional Chinese opera. No matter which approach is chosen to perform the dramatist, it is an intercultural form in introducing him to the Chinese.
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Suthren, Carla. "Shakespeare and the Renaissance reception of Euripides." Thesis, University of York, 2018. http://etheses.whiterose.ac.uk/21450/.

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This thesis investigates the Renaissance reception of Euripides, arguing that Greek tragedy had a direct and important influence on Shakespeare. Euripides, I demonstrate, was both more widely accessible and more culturally significant than has generally been recognized. Beginning with Erasmus and ending with Milton, I establish the foundation of a detailed and historically specific understanding of how Euripides’ works were being read and understood. Paying close attention to the materiality of Euripides’ textual appearances across a variety of dramatic and non-dramatic texts and contexts, I set Shakespeare’s relationship to Greek tragedy within a more precise framework. The first three chapters set the reception of Euripides in the context of sixteenth-century European humanism. Chapter 1 argues that Erasmus established modes of reading Euripides that were enduringly influential, examining Euripides’ place in humanist curricula and teaching materials, followed by the translations of Euripides by Erasmus and Buchanan. Chapter 2 considers the material forms in which Euripides appeared before the Renaissance reader, especially the paratexts which shaped (or attempted to shape) the reader’s experience of Euripides. Chapter 3 turns to look at the two surviving translations of Euripides into English. The next two chapters focus in on Shakespeare. Chapter 4 briefly surveys the critical landscape, examining parallels between specific plays, but also opening out the discussion to include genre. Chapter 5 examines Shakespeare’s most extensive engagement with Euripides, offering a fresh reading of The Winter’s Tale as a meaningful reception of Alcestis. Finally, Chapter 6 traces Milton’s receptions of Euripides in relation to sixteenth-century trends, arguing that Samson Agonistes stands on the brink of a turn towards Sophocles that was beginning to occur as Aristotle’s Poetics gained a new kind of dominance over the interpretation of tragedy. But Milton’s poetic instincts remain Euripidean, gesturing to a chain of receptions leading back to Erasmus.
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Balaudé-Treilhou, Catherine. "Shakespeare romantique. La reception de shakespeare en france de guizot a scribe (1821-1851)." Paris 3, 1994. http://www.theses.fr/1994PA030088.

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La these vise a retraver l'histoire de la diffusion et de l'interpretation de shakespeare en france dans la periode romantique. La premiere partie etudie les modalites de la diffusion ecrite, theatrale et lyrique, de shakespeare en france entre 1821 et 1830. La seconde partie s'attache a la diffusion de shakespeare dans les vingt annees suivantes, en etudiant egalement les oeuvres graphiques inspirees par shakespeare en france durant toute la periode. La troisieme partie s'attache, a travers l'etude des textes de la critique shakespearienne francaise, a degager les grandes lignes de l'interpretation romantique de shakespeare. Celle-ci, marquee par les debats esthetiques du romantisme francais, s'efforce avec plus ou moins de succes d'observer la specificite de la dramaturgie shakespearienne, tout en erigeant en mythe la figure du dramaturge elisabethain lui-meme et les personnages les plus saillants de son theatre
The aim of this thesis is the history of shakespearian representations and criticism in france, during the romantic period. The first part consists in the study of written, theatrical and lyrical productions who compose shakespearian french reception from 1821 to 1830. In the second part, the twenty following years are studied in the same way, but a development about french shakespearian graphic works is added. In the third part the french shakespearian criticism is examined, in order to bring out the lineaments of romantic interpretation of shakespeare, in the context of french aesthetic debate. This interpretation, though trying to preserve, more or less successfully, the specificity of shakespearian dramaturgy, turns the dramatist himself and the main characters of his theater into mythical entities
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Sun, Shuo. "The reception of Jane Austen in China." Thesis, University of Nottingham, 2016. http://eprints.nottingham.ac.uk/38499/.

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In China, Jane Austen is today widely acknowledged as one of the greatest English writers. Yet her literary reputation has altered greatly since her works were first introduced to Chinese readers in the early decades of the twentieth century. This thesis will examine and explain the major changes in the Chinese reception of Austen in light of the political, social, and cultural upheavals experienced by the country over the last century. The introduction will provide a historical overview of Chinese translation and criticism of Austen’s novels. During the first half of the twentieth century, Austen was generally disapproved of by Chinese critics for restricting her writing to a limited social sphere and her fame therefore grew slowly. I will discuss the influence of Chinese political history on critical assessments regarding Austen’s conservatism and realism. Following the establishment of the People’s Republic of China in 1949, Marxism came to dominate the literary and cultural scenes. As a consequence, some Chinese translators attempted to incorporate Austen’s works into a Marxist canon, but failed. I will investigate the profound impact of the Communist Party’s political campaigns on the translation and reception of Western literature in China from the 1950s to the 1970s. However, since the 1980s Austen has enjoyed a rapid rise in critical reputation and popularity in China, with her six major novels all appearing in Chinese. However, there are presently significant differences in the reception of each of these novels. The six main chapters of this thesis will examine the reasons behind the popularity of Pride and Prejudice, Sense and Sensibility, and Emma and the relative obscurity of Mansfield Park, Northanger Abbey, and Persuasion. In doing so, I will explore Chinese critics’ views of Austen’s connection to feminism, conservatism, and romanticism as well as areas of literary debate in her time. I will demonstrate the radical changes in Chinese approaches to Austen’s works in recent decades. This thesis also aims to compare the reception of Austen in China to that in Britain, and contains questionnaire and interview surveys that were conducted among undergraduate students at the University of Nottingham’s China and UK campuses.
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關美德 and May-tak Rowena Kwan. "The literary reception of Flaubert's Madame Bovary in China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1988. http://hub.hku.hk/bib/B31208642.

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Feng, Huanian, and 馮華年. "The reception of western art history in Republican China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31227326.

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Kwan, May-tak Rowena. "The literary reception of Flaubert's Madame Bovary in China /." [Hong Kong] : University of Hong Kong, 1988. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12370101.

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November, Kate. "Translation and national identity : the use and reception of Mauritian Creole translations of Shakespeare and Molière." Thesis, University of Edinburgh, 2010. http://hdl.handle.net/1842/5826.

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The purpose of this thesis is to find out whether theatre translation into Mauritian Creole can contribute to the formation of a national identity in post-colonial, multi-ethnic and multilingual Mauritius. There are currently fourteen languages spoken, many of which, as carriers of symbolic value, are often used as markers of ethnic identity. Moreover, the fact that they do not all carry the same socio-economic and political status has created a linguistic hierarchy which positions English at the top, closely followed by French, in turn followed by Asian languages and finally by Mauritian Creole, even though the latter is the most widely spoken language on the island. I argue that translation into Mauritian Creole is largely an ideological endeavour, designed to challenge the existing asymmetrical linguistic power relations, and to highlight the language’s existence as a shared cultural capital and as a potential force for national unity. I show how such an endeavour is closely linked to the political and socio-cultural aspects of the target society. This is done by using complementary theoretical perspectives, such as Itamar Even-Zohar’s polysystem theory (1979, 2000), André Lefevere’s systemic concept (2004) and post-colonial approaches to translation, and by drawing upon the case study research method, with its emphasis on multiple sources for data collection. The thesis examines Mauritian Creole translations of six plays by Shakespeare and two by Molière. I suggest that the reasons for choosing Shakespeare and Molière for translation are highly symbolic in the Mauritian context, where the educational system, a British colonial legacy, has continued to assign a privileged position to canonized British and French literatures; a system which contributes towards the perpetuation of colonial values. The translation of canonized texts is therefore intended to highlight the persistence of hegemonic socio-cultural values. Equally, it is designed to promote cultural decolonization and to point to the emergence of new creolized practices that offer areas of shared meaning for the Mauritian population as a whole. I also argue that since translation is an ideological undertaking, it is essential to understand the purposes of those actively involved in its production and dissemination. Because theatre texts can function as literary artefacts and as performance scripts, I look at the role played not only by translators and publishers, but also by theatre practitioners (producers, directors and actors). I explain their beliefs and their political agendas, showing why neither translation, nor stage production can constitute a neutral activity. In the process, my examination reveals the opposing forces at work which disagree over the way Mauritian Creole should be used in the discourse of nation-building. I then look at the intended target audiences with a view to finding out if the translations and the stage productions have had any obvious impact upon Mauritian society. My findings show that neither readers nor spectators are likely to have represented a large proportion of the population. Although this seems to indicate that theatre translation has had little direct impact so far upon the construction of a national identity, I suggest that in fact, its contribution to the Mauritian Creole literary and cultural capital should not be underestimated, as the language is very slowly emerging as an important symbol of the island. I conclude that should theatre translation be combined with other societal efforts in the future, it could still have a part to play in the formation of a national identity based upon Mauritian Creole.
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Fu, Lok-yi Alice, and 傅樂怡. "Contemporary Cantopop: reception of crossovermusic in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B39634334.

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Ng, Sau Wah. "Challenging the calligraphy canon : the reception of rubbing collections in Ming China." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:239ffaa4-5da9-4906-af10-e64359a4f007.

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Calligraphic rubbing collections or rubbing collections of model calligraphy (fatie 法帖) are frequently described as a source of canonical models for the learning of calligraphy. They are often associated with and usually refer to the calligraphy of the Two Wangs (Wang Xizhi 王羲之, 303-61, or 321-79, and his son Xianzhi 獻之, 344-86). They also became acknowledged as embodying the classical tradition transmitted mostly from the Jin (265-420) Dynasty, one which was well-known as the calligraphy canon. In general, recent scholarship on rubbing collections holds that rubbing collections often transmitted important and highly recognized works which represented the classical tradition or calligraphy canon. This thesis aims to analyze how Ming Dynasty (1368-1644) people received new forms of rubbing collections, and explores some of their social roles in Ming China. Apart from traditional concerns, for instance for the aesthetic value and the origins of various editions of rubbing collections, other aspects of rubbing collections of the Ming, for example, socio-historical and material culture perspectives, have not been explored in detail. The development of this form of calligraphy reproduction in China is important as an instance, alongside original works of calligraphy, of how the history of calligraphy was created and contested. The thesis will evaluate which calligraphers were chosen to be reproduced in rubbing form, which of their works were included, and what proportion of rubbing collections their work occupied, as well as who the patrons were and when the collections were published. An analysis of this information will show how the rubbing collections challenged the calligraphy canon and facilitated social mobility between various social groups particularly, scholars-officials, merchants and commoners. It will be demonstrated that Ming rubbing collections were no longer exclusively devoted to the traditional canon, nor did they contain only calligraphy of high aesthetic value. Calligraphy after masterpieces written in the copiers’ own styles and writings of those without significant reputations in calligraphy were made into rubbing collections as well. The thesis will attempt to show the cause(s) for this change.
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Books on the topic "Shakespeare in China: reception"

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Levith, Murray J. Shakespeare in China. London: Continuum, 2004.

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Shakespeare in China. London: Continuum, 2006.

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Shakespeare, reception and translation: Germany and Japan. London: Continuum, 2004.

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1950-, Chaudhuri Sukanta, and Lim Chee Seng, eds. Shakespeare without English: The reception of Shakespeare in non-anglophone countries. New Delhi: Pearson Education, 2006.

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Ibemesi, F. N. Shakespeare and Brecht in Nigeria: Reception and influence. Muenchen: Lincom Europa, 2007.

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Shashibiya: Staging Shakespeare in China. Hong Kong: Hong Kong University Press, 2003.

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Jackson, Russell. Shakespeare films in the making: Preparation, production and reception. New York: Cambridge University Press, 2007.

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Péter, Dávidházi. The Romantic cult of Shakespeare: Literary reception in anthropological perspective. New York: St. Martin's Press, 1998.

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Xianqiang, Meng. A historical survey of Shakespeare in China. Changchun: Shakespeare Research Centre of Northeast Normal University, 1996.

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Chen, Wendi. The reception of George Bernard Shaw in China, 1918-1996. Lewiston, N.Y: E. Mellen Press, 2002.

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Book chapters on the topic "Shakespeare in China: reception"

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Barber, Charles. "Critical Reception." In Richard II by William Shakespeare, 85–86. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-08700-6_6.

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Davison, Peter. "Critical Reception." In Henry V by William Shakespeare, 83–86. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-08702-0_9.

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Lilly, Mark. "Critical Reception." In Measure for Measure by William Shakespeare, 77–79. London: Macmillan Education UK, 1986. http://dx.doi.org/10.1007/978-1-349-08720-4_7.

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Morris, Helen. "Critical Reception." In Romeo and Juliet by William Shakespeare, 78–79. London: Macmillan Education UK, 1985. http://dx.doi.org/10.1007/978-1-349-07425-9_9.

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Kinghorn, A. M. "Critical Reception." In The Merchant of Venice by William Shakespeare, 78–80. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-09534-6_7.

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Morris, Helen. "Critical Reception." In Henry IV Part I by William Shakespeare, 74–75. London: Macmillan Education UK, 1986. http://dx.doi.org/10.1007/978-1-349-08217-9_8.

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Bromham, Tony. "Critical Reception And Interpretation." In Othello by William Shakespeare, 83–86. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-08346-6_6.

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Williams, Gordon. "Stage History and Critical Reception." In Coriolanus by William Shakespeare, 80–86. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-09212-3_7.

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Keilen, Sean. "Shakespeare and Ovid." In A Handbook to the Reception of Ovid, 232–45. Chichester, UK: John Wiley & Sons, Inc, 2014. http://dx.doi.org/10.1002/9781118876169.ch16.

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Wine, Martin. "Stage History and Critical Reception." In Antony and Cleopatra by William Shakespeare, 82–84. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-09080-8_6.

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Conference papers on the topic "Shakespeare in China: reception"

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Yuan, Shuzhong, Fuyun Lu, Wande Fan, Xinhuan Feng, Jiaqi Pan, and Mian Zhang. "Radiation and reception of ultrashort electromagnetic pulses." In Photonics China '96, edited by Ray T. Chen, Won-Tien Tsang, and BingKun Zhou. SPIE, 1996. http://dx.doi.org/10.1117/12.253177.

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Wen-Fang Yang, Jwo-Yuh Wu, and Ta-Sung Lee. "An enhanced multi-packet reception MAC protocol: Cooperative approach." In 2008 Third International Conference on Communications and Networking in China. IEEE, 2008. http://dx.doi.org/10.1109/chinacom.2008.4685078.

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Yu, Fan, Xuexia Yang, and Huiteng Zhong. "Polarization-Insensitive Wide-Angle-Reception Metasurface for Harvesting Electromagnetic Energy." In 2018 International Applied Computational Electromagnetics Society Symposium - China (ACES). IEEE, 2018. http://dx.doi.org/10.23919/acess.2018.8669251.

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Sun, Hongjian, Arumugam Nallanathan, Jing Jiang, and Cheng-Xiang Wang. "Cooperative spectrum sensing with diversity reception in cognitive radios." In 2011 6th International ICST Conference on Communications and Networking in China (CHINACOM). IEEE, 2011. http://dx.doi.org/10.1109/chinacom.2011.6158151.

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Zhang, Yan-mei, Hai-chao Guo, Li Zhang, She Shang, Huan Li, Han Gao, and Yu-long An. "Using phosphors to enhance reception light for visible light communication." In 2017 IEEE/CIC International Conference on Communications in China (ICCC Workshops). IEEE, 2017. http://dx.doi.org/10.1109/iccchinaw.2017.8355267.

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Li, Wei, Markku Juntti, Xiaojia Lu, Antti Tölli, Esa Kunnari, and Olli Piirainen. "Adaptive joint multi-cell reception with uplink power control and beamforming." In 5th International ICST Conference on Communications and Networking in China. IEEE, 2010. http://dx.doi.org/10.4108/chinacom.2010.123.

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Shi, Lei, Jiang-Hong Han, Yi Shi, and Zhen-Chun Wei. "Cross-layer optimization for wireless sensor network with multi-packet reception." In 5th International ICST Conference on Communications and Networking in China. IEEE, 2010. http://dx.doi.org/10.4108/chinacom.2010.41.

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Xu, Kui, Dongmei Zhang, Wenfeng Ma, and Youyun Xu. "On adaptive reception for Dynamic Lattice Multicarrier Transmission system with varying speed receiver." In 2015 10th International Conference on Communications and Networking in China (ChinaCom). IEEE, 2015. http://dx.doi.org/10.1109/chinacom.2015.7497932.

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Yuan Huiyu, Zheng Naizheng, Yan Yuyu, and P. Skov. "Performance evaluation of coordinated multipoint reception in CRAN under LTE-Advanced uplink." In 2012 7th International ICST Conference on Communications and Networking in China (CHINACOM 2012). IEEE, 2012. http://dx.doi.org/10.1109/chinacom.2012.6417589.

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Kui, Liping, Sai Huang, Qixun Zhang, and Zhiyong Feng. "A Reliable Detection Scheme under Non-cooperative Reception for BS Discovery in Millimeter Wave Systems." In 2018 IEEE/CIC International Conference on Communications in China (ICCC). IEEE, 2018. http://dx.doi.org/10.1109/iccchina.2018.8641215.

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You might also be interested in the extended bibliographies on the topic 'Shakespeare in China: reception' for particular source types:
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