有没有外国人对王安忆长恨歌的赏析 要英文的

外国人对王安忆长恨歌的英文赏析全文链接：
http://mclc.osu.edu/rc/pubs/reviews/hockx.htm

(开头摘录：Wang Anyi is widely considered to occupy a prominent position among contemporary Chinese writers. Throughout the past three decades, she has consistently produced work that has met with critical acclaim, and in China she has a large, dedicated readership. Her work has also been widely translated into English, with the first translations dating back to the early 1980s. Despite all this, English-language scholarship of her work seems to lag behind somewhat in comparison to studies of other writers of comparable status, such as Mo Yan and Yu Hua,[1] with most scholarly work devoted to her fiction dating from the late 1990s to the present. Arguably, this has to do with the fact that having started out as an author famous for her realistic stories about rusticated youth, Wang re-invented herself in the early 1990s and, in the words of Jiwei Xiao, "began to experiment with a highly subjective narrative method and 'atypical' characters."[2] At the pinnacle of these experimental works stands her 1995 novel Changhen ge, which was awarded a Mao Dun Prize in 2000, and which is now available in English translation by Michael Berry and Susan Chan Egan, under the title The Song of Everlasting Sorrow: A Novel of Shanghai...)

另一个英文简介
Set in post-World War II Shanghai, The Song of Everlasting Sorrow follows the adventures of Wang Qiyao, a girl born of the longtong, the crowded, labyrinthine alleys of Shanghai's working-class neighborhoods.
Infatuated with the glitz and glamour of 1940s Hollywood, Wang Qiyao seeks fame in the Miss Shanghai beauty pageant, and this fleeting moment of stardom becomes the pinnacle of her life. During the next four decades, Wang Qiyao indulges in the decadent pleasures of pre-liberation Shanghai, secretly playing mahjong during the antirightist Movement and exchanging lovers on the eve of the Cultural Revolution. Surviving the vicissitudes of modern Chinese history, Wang Qiyao emerges in the 1980s as a purveyor of "old Shanghai"—a living incarnation of a new, commodified nostalgia that prizes splendor and sophistication—only to become embroiled in a tragedy that echoes the pulpy Hollywood noirs of her youth.
From the violent persecution of communism to the liberalism and openness of the age of reform, this sorrowful tale of old China versus new, of perseverance in the face of adversity, is a timeless rendering of our never-ending quest for transformation and beauty.