I am a scholar of early modern Chinese literature (the Ming and Qing periods) with research interests in drama, fiction, print culture, popular culture, performance, and media history. My current work seeks to bring the study of Chinese drama and performance cultures into dialogue with the emergent field of early modern media studies. This exploration originated with my observation that the common paradigms for studying drama today, which treat plays as either literary texts or theatrical performances, or as a combination of both, are inadequate to account for the distinctly fluid and heterogenous cultures of drama in early modern China. A thorough understanding of these cultures requires us to address the interface between plays and media in diverse communicative contexts. In my projects of rethinking the relationship between plays and media, I engage with new critical concepts and interdisciplinary research such as "media archaeology," which explores the media forms and practices that predate the electronic and digital media while being critical of teleological and technocentric views on media history, and "media ecology," which considers the pluralities and interconnectedness of media as well as their interplays with humans, technologies, cultures, and economic and social processes. My conceptualization of media is built on the resonances between pre-modern Chinese ideas of mediation with the expansive notion of media put forward by McLuhan and others in contemporary scholarship. Media in this sense encompass the semiotic (language, writing, image, sound, etc.), the technical and material (manuscript, print, paper, building, etc.), and the cultural (music, dance, drama, painting, religion, etc.). 

My first monograph, Playing with Plays: Drama and Early Modern Chinese Media Ecologies (Brill, 2025), advances a new model for understanding early modern Chinese drama as expanding processes of cultural innovation that hinge on the multiplying and refashioning of media. Instead of studying drama as merely literary texts or performance, the book underscores a series of cultural experimentations with plays, which cross the oral, written, manuscript, print, visual, and singing media, as vital to the experience of drama in seventeenth-century China. Currently, her research has a particular emphasis on atmosphere and environment in the mediation of the experience of premodern and contemporary theater.