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Doing Difference Differently ethnographically recounts the stories of four Chinese international students navigating the complex socio-academic environment of a North American institution for higher education. Zhaozhe Wang traces the ecologically situated and distributed literacy practices of these individuals across rhetorical contexts, both on and off campus, and reconstructs the digitally networked, spatiotemporally emerging, rhetorically potent, and ecologically afforded literacy worlds of Chinese international students.
 
Doing Difference Differently provides an in-depth, nuanced understanding of the multifaceted literate lives of this often-marginalized cultural group, highlighting their diverse aspirations, personas, communities, challenges, and strategies. The book reconceptualizes the linguistic and cultural differences of Chinese international students as active processes of embracing, performing, resisting, negotiating, and redefining the identities that institutions impose on them through everyday literacy practices. Wang offers an analytical heuristic for researchers and educators to better understand these students’ backgrounds and to more effectively and ethically support and advocate for them. This case study critically engages broad and interconnected concepts that are essential to educators’ collective understanding of Generation Z students brought up in cultural and educational contexts outside of the European-American sphere.
 
This book appeals to scholars, researchers, teachers, and administrators working in North American higher education and English-speaking countries, particularly those in the fields of writing studies, second language studies, applied linguistics, multilingual education, literacy studies, and international education. Educators across disciplines seeking to better understand the growing population of Chinese international students in North America will likewise benefit.
 

In Dreams of Flight, Fran Martin explores how young Chinese women negotiate competing pressures on their identity while studying abroad. On one hand, unmarried middle-class women in the single-child generations are encouraged to develop themselves as professional human capital through international education, molding themselves into independent, cosmopolitan, career-oriented individuals. On the other, strong neotraditionalist state, social, and familial pressures of the post-Mao era push them back toward marriage and family by age thirty. Martin examines these women’s motivations for studying in Australia and traces their embodied and emotional experiences of urban life, social media worlds, work in low-skilled and professional jobs, romantic relationships, religion, Chinese patriotism, and changed self-understanding after study abroad. Martin illustrates how emerging forms of gender, class, and mobility fundamentally transform the basis of identity for a whole generation of Chinese women.

A brief stay in France was, for many Chinese workers and Chinese Communist Party leaders, a vital stepping stone for their careers during the cultural and political push to modernize China after World War I. For the Chinese students who went abroad specifically to study Western art and literature, these trips meant something else entirely. Set against the backdrop of interwar Paris, Paris and the Art of Transposition uncovers previously marginalized archives to reveal the artistic strategies employed by Chinese artists and writers in the early twentieth-century transnational imaginary and to explain why Paris played such a central role in the global reception of modern Chinese literature and art. 

While previous studies of Chinese modernism have focused on how Western modernist aesthetics were adapted or translated to the Chinese context, Angie Chau does the opposite by turning to Paris in the Chinese imaginary and discussing the literary and visual artwork of five artists who moved between France and China: the painter Chang Yu, the poet Li Jinfa, the art critic Fu Lei, the painter Pan Yuliang, and the writer Xu Xu. Chau draws the idea of transposition from music theory where it refers to shifting music from one key or clef to another, or to adapting a song originally composed for one instrument to be played by another. Transposing transposition to the study of art and literature, Chau uses the term to describe a fluid and strategic art practice that depends on the tension between foreign and familiar, new and old, celebrating both novelty and recognition—a process that occurs when a text gets placed into a fresh context.