Merge pull request #303 from readchina/projectend-updates

clean ups

_config.yml

@@ -1,17 +1,17 @@
 # site settings
 title: READCHINA
 subtitle: The politics of reading in the PRC
-email: [email protected]
-description: "A research project conducted by Lena Henningsen and the READCHINA team at the University of Freiburg. This project receives funding from the European Research Council (ERC) under the European Union’s Horizon 2020 research and innovation programme (grant agreement No. 757365)"
+# email: 
+description: "A research project conducted by Lena Henningsen and the READCHINA team at the University of Freiburg from 2018-2023. This project received funding from the European Research Council (ERC) under the European Union’s Horizon 2020 research and innovation programme (grant agreement No. 757365)"
 baseurl: "" # the subpath of your site, e.g. /blog
 url: https://readchina.github.io
 author: READCHINA
-street_address: Belfortstr. 18 Rooms 03 004-05
-city: Freiburg
-state: BW
-zip_code: 79098
-country: Germany
-phone: +49 (xxx) xxx-xxxx
+# street_address: 
+# city: 
+# state: 
+# zip_code: 
+# country: 
+# phone: 
 
 # homepage tiles
 tiles-source: pages # accepts "posts" or "pages"

_includes/footer.html

@@ -1,5 +1,6 @@
-<!-- Contact -->
-<section id="contact">
+<!-- Contact --> 
+
+<!-- section id="contact">
 	<div class="inner">
 		<section>
 			<form action="https://formspree.io/{{ site.email }}" method="POST">
@@ -36,7 +37,7 @@ <h3>Phone</h3>
 					<a href="tel:{{ site.phone }}">{{ site.phone }}</a>
 				</div>
 			</section> -->
-			<section>
+			<!-- section>
 				<div class="contact-method">
 					<span class="icon alt fa-home"></span>
 					<h3>Address</h3>
@@ -61,13 +62,12 @@ <h3>Address</h3>
 			</section>
 		</section>
 	</div>
-</section>
+</section> 
 
 <!-- Footer -->
 	<footer id="footer">
 		<div class="inner">
 			<ul class="icons">
-				<li><a href="#contact" class="button icon fa-envelope" onclick="toggleContact()">Contact</a></li>
 				{% if site.twitter_url %}
 				<li><a href="{{ site.twitter_url }}" class="icon alt fa-twitter" target="_blank"><span class="label">Twitter</span></a></li>
 				{% endif %}

_includes/header.html

@@ -26,6 +26,6 @@
 	<!-- Disable buttons since they don't do anything -->
 	<ul class="actions vertical">
 		<!-- <li><a href="#" class="button special fit icon fa-times">Close</a></li> -->
-		<li><a href="#footer" class="button fit icon fa-envelope" onclick="toggleContact()">Contact Us</a></li>
+		<!-- <li><a href="#footer" class="button fit icon fa-envelope" onclick="toggleContact()">Contact Us</a></li> -->
 	</ul>
 </nav>

about.md

@@ -7,7 +7,7 @@ nav-menu: true
 # Project Description
 
 <!-- Content -->
-*READCHINA* investigates the politics and practices of reading in the People’s Republic of China (PRC), their interpretation and their impact on social and intellectual change. The main objective of the study is a reinvestigation of literary history and cultural policy of the PRC from the perspective of the ordinary reader. This grassroots approach means turning away from the established focus on authors and the political context. Instead, *READCHINA* will investigate the social conditions under which texts were read, what influences this had on the lives of individuals, on social, intellectual and literary change in China, and on the modes of production, distribution and consumption of literature.
+This project has been conducted from 2018 to 2023. *READCHINA* investigates the politics and practices of reading in the People’s Republic of China (PRC), their interpretation and their impact on social and intellectual change. The main objective of the study is a reinvestigation of literary history and cultural policy of the PRC from the perspective of the ordinary reader. This grassroots approach means turning away from the established focus on authors and the political context. Instead, *READCHINA* will investigate the social conditions under which texts were read, what influences this had on the lives of individuals, on social, intellectual and literary change in China, and on the modes of production, distribution and consumption of literature.
 
 *READCHINA* considers the reading of literature as part of a wider web of reading materials, including different media and non-fictional texts. Primary sources will consist among others of archival material, field work interviews, autobiographies, marketing materials, statements by fans in online forums, and literary texts. Combining literary analysis with historical and ethnographical inquiry, as well as methods from the digital humanities, *READCHINA* will contribute to the fields of literary history and literary sociology. Moreover, in combining close readings of texts with distant reading methods, *READCHINA* will also foster our understanding of the meaning and impact of popular literature in China and of literary theories on reading and thus also bring 20th and 21st century China into the global history of reading.
 
@@ -17,7 +17,7 @@ See the [Team page](https://readchina.github.io/team) for details about the *REA
 - [Prof. Dr. Jennifer Altehenger](https://www.merton.ox.ac.uk/people/dr-jennifer-altehenger), Oxford University
 - [Prof. Dr. Robert J. Culp](https://www.bard.edu/faculty/details/?id=229), Bard College
 - [Dr. Xuelei Huang](https://www.ed.ac.uk/profile/xuelei-huang), University of Edinburgh
-- [Sara Landa, M.A.](https://www.worldmaking-china.org/en/people-2/staff/landa/index.html), Freiburg University and Heidelberg University
+- [Dr. Sara Landa](https://www.worldmaking-china.org/en/people-2/staff/landa/index.html),  Heidelberg University
 - [Prof. Dr. Peidong Sun](https://www.sciencespo.fr/ceri/fr/users/peindongsun), CERI / Sciences Po Paris
 - [Prof. Dr. Nicolai Volland](https://asian.la.psu.edu/people/nmv10), Pennsylvania State University
 
@@ -26,5 +26,7 @@ See the [Team page](https://readchina.github.io/team) for details about the *REA
 - Mira Grünwald
 - Qin Gu
 - Wenxin Huang
+- Bettina Jin
 - Joschua Seiler
 - Maryna Yanhirava
+- Ruohan Zhou

team/lena.md

@@ -10,6 +10,7 @@ show_tile: false
 <div class="row">
 <span class="image left"><img src="/assets/images/LenaHenningsen.JPG" alt="" title="" style=""></span>
 
-I research Chinese literature from the 20th and 21st century. I am interested in what makes texts special from a literary point of view and how they are embedded into the specific conditions of their production, distribution and consumption. Moreover, I see literary texts as invitations to ask questions about creativity: I started my career delving into the creativity of Chinese authors in the early 21st century and making a point about the creativity intrinsic even to texts allegedly treated as fake or plagiarism. I have then turned my attention to the creativity of readers. Taking the cue from Michel de Certeau I argue that texts are created only through reading, in particular in the case of unofficial hand-written entertainment fiction from the Chinese Cultural Revolution: These texts were not only read and discussed widely at the time. Rather, through constant copying, readers preserved the texts, and in the process, they often rewrote the texts, thus inscribing themselves and their creativity into them, as I argue in my recently published book (Cultural Revolution Manuscripts: Unofficial Entertainment Fiction from 1970s China, 2021). Within the scope of the *READCHINA* project I am now conceptualizing a study on the figure of the reader within Chinese literature since the 1940s.
+I research Chinese literature from the 20th and 21st century. I am interested in what makes texts special from a literary point of view and how they are embedded into the specific conditions of their production, distribution and consumption. Moreover, I see literary texts as invitations to ask questions about creativity: I started my career delving into the creativity of Chinese authors in the early 21st century and making a point about the creativity intrinsic even to texts allegedly treated as fake or plagiarism. I have then turned my attention to the creativity of readers. Taking the cue from Michel de Certeau I argue that texts are created only through reading, in particular in the case of unofficial hand-written entertainment fiction from the Chinese Cultural Revolution: These texts were not only read and discussed widely at the time. Rather, through constant copying, readers preserved the texts, and in the process, they often rewrote the texts, thus inscribing themselves and their creativity into them, as I argue in my recently published book (Cultural Revolution Manuscripts: Unofficial Entertainment Fiction from 1970s China, 2021). Within the scope of the *READCHINA* project I have been working on a study on the figure of the reader within Chinese literature since the 1940s, using lianhuanhua adaptations of the writings of Lu Xun as a case in point.
 
+Please note that I have moved on to Heidelberg University where I will continue my work on Chinese literature and culture, on reading, and on comics within the scope of another ERC funded project, Comics Culture in China (ChinaComx).
 </div>