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UCLA Electronic Theses and Dissertations UCLA UCLA Electronic Theses and Dissertations Title Fairy Tales for Adults: Imagination, Literary Autonomy, and Modern Chinese Martial Arts Fiction, 1895-1945 Permalink https://escholarship.org/uc/item/40698689 Author Eisenman, Lujing Ma Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Fairy Tales for Adults: Imagination, Literary Autonomy, and Modern Chinese Martial Arts Fiction, 1895-1945 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Asian Languages and Cultures by Lujing Ma Eisenman 2016 © Copyright by Lujing Ma Eisenman 2016 ABSTRACT OF THE DISSERTATION Fairy Tales for Adults: Imagination, Literary Autonomy, and Modern Chinese Martial Arts Fiction, 1895-1945 By Lujing Ma Eisenman Doctor of Philosophy in Asian Languages and Cultures University of California, Los Angeles, 2016 Professor Theodore D Huters, Chair This dissertation examines the emergence and development of modern Chinese martial arts fiction during the first half of the twentieth century and argues for the literary autonomy it manifested. It engages in the studies of modern Chinese literature and culture from three perspectives. First, approaching martial arts fiction as a literary subgenre, it partakes in the genre studies of martial arts fiction and through investigating major writers and their works explains how the genre was written, received, reflected, and innovated during the period in question. Second, positioning martial arts fiction as one of the most well received literary subgenre in the modern Chinese literary field, it discusses the “great divide” between “pure” and “popular” literatures and the question of how to evaluate popular literature in modern China. Through a series of textual analysis contextualized in the lineage of martial arts fiction, it offers insight into ii how the ideals of so-called “pure” and “popular” literatures were interwoven in the process of reviewing and re-creating the genre. Third, it scrutinizes the transformation of modern martial arts fiction in relation to the modernization of Chinese literature. Using martial arts fiction as a focal point, it examines how the genre changes common understandings of how to write and read “literature” in the period in question. It suggests that the subgenre offered a new framing and a new cognitive structure for the nature and function of literature. This dissertation is composed of four body chapters. Chapter One focuses on the first decade of the twentieth century and argues that it witnessed the emergence of modern Chinese martial arts fiction. Chapter Two brings the jianghu (literally rivers and lakes) into focus as a key literary construct in modern martial arts fiction and illustrates the vacillating and intricate nature of its transformation. Chapter Three centers on the issues of historicity, fictionality, and how the changing dynamics between the two elucidate the conception of modern “literature” and a trajectory of literary autonomy. Chapter Four employs gender as a critical category of analysis and investigates the trajectory of literary autonomy through the metamorphosis of female knight- errant images spanning from the 1920s to 1940s. The concluding chapter reviews the reflections and attempts writers made in the 1930s and 1940s in order to integrate the genre into the mainstream literary discourse. By revisiting some most recent cultural phenomena, the Conclusion Chapter points out the question of how to understand and appreciate “literature” and its autonomy posed a century ago in martial arts fiction still echoes in contemporary China. iii The dissertation of Lujing Ma Eisenman is approved. Andrea Sue Goldman Seiji Mizuta Lippit Theodore D Huters, Committee Chair University of California, Los Angeles 2016 iv TABLE OF CONTENTS DISSERTATION ABSTRACT ii ACKNOWLEDGEMENTS vi CURRICULUM VITAE viii INTRODUCTION Fairy Tales for Adults: Imagination, Literary Autonomy, and Modern Chinese Martial Arts Fiction, 1 1895-1945 CHAPTER 1: Anarchism, the Politics of Xia Culture, and the Emergence of Modern Martial Arts Fiction, 1895-1911 24 CHAPTER 2: Jianghu, a Stateless China, and the Function of Literature 75 CHAPTER 3: Historicity, Fictionality, and the Conception of “Literature” 128 in Modern China, the 1920s-1940s CHAPTER 4: Woman Fighters, Sentiment, and Female Subjectivity 191 in Chinese Martial Arts Fiction, 1920s-1940s CONCLUSION 251 BILBIOGRAPHY 256 v ACKNOWLEDGEMENTS It is hard to believe the final step of this long journey is right in front of me. I have incurred innumerable debts in reaching this point. My greatest intellectual debt is to my advisor Ted Huters, who guided me through this project over the years and whose careful readings and insightful criticisms continue to challenge, inspire, and motivate me. He showed strong interest in my project and great patience with my progress, but never compromised his high standards for scholarship and integrity. Andrea Goldman has been a responsive and supportive mentor since I arrived in UCLA. She encourages new ideas, asks critical questions, and offers insightful advice. Her erudition and dedication to research and teaching will continue to inspire me. Robert Chi encouraged me to explore the correlation between Chinese literature and cinema. Seiji Lippit demonstrated the value of in-depth textual analysis and chaired my oral defense when my advisor was away. David Schaberg has always been welcoming whenever I encountered challenges. Richard von Glahn, my first friend in LA who opened his home to me, has enriched my time in LA with numerous feasts of both delicious food and inspiring discussions. I would also like to thank Chris Hamm for reading my chapter and giving me useful comments, Chris Hanscom for introducing me to the GE30 cluster, Joseph Nagy for including me in the GE30 family and never failing to offer support whenever needed, Stephanie Jamison and Nicolas Volland for their sound advice and timely support, and Yung Sai-Shing for providing useful information related to my work. My research was supported by grants from UCLA Terasaki Center for Japanese Studies and UCLA Asia Institute. A research travel grant awarded by my home department enabled me to present my work in Taiwan. My field research in China was greatly facilitated by Professor vi Wang Duanyong and all the other professors and librarians he introduced to me in Wuhan and Jilin. I thank Professors Yang Ming, and Yuan Jin at my alma mater Fudan University for their continuous encouragement and support. Over the years, many friends have supported me through different stages. I thank Ke Yucun (1933-2015) and Jia Huidie for taking me in as their “third daughter” when I landed in Shanghai as a freshman. Through ups and downs, turns and twists, they taught me never to give up and continue to pursue my dream. Ke Laoshi, unfortunately, did not see me complete this dissertation. But the calligraphy he wrote for me still hangs on my wall and witnesses my every step forward. My thanks go to Sci’on Ho and her family for their love in the past two decades, Grace Mak for being the best girlfriend one can ever have, Shin Yee-Theng for her continuous care and encouragement, Hsin-I Mei for getting the research materials for me from Taiwan, Winnie Chang for listening to my rambling thoughts, Guoxing Shr for sharing both happy and stressful moments, and Liz Wood for copyediting my dissertation. I had already moved to Austin when I started to write this dissertation, where the community involved at the University of Texas proved to be very welcoming. Faculty members, including Ronald Davis, Mark Lawrence, Huaiyin Li, Mark Metzler, Robert Oppenheim, Martha Selby, Alison Alter, and Jeremi Suri were generous with their comments on my work and advice on my career. Last but never the least, I want to thank my family on two continents for being a constant source of comfort and support over the years. Finally, my deepest gratitude goes to my husband, Joshua Eisenman, my most critical and yet most loving and supportive partner. Without him, this dissertation could not have been possible. He and our boys, Micah and Jeremy, show me the beauty of life. vii Curriculum Vitae Lujing Ma Eisenman EDUCATION M.A. Chinese Studies, National University of Singapore (NUS), 2008 B.A. Chinese Language and Literature, Fudan University, 2001 INVITED TALKS “Fictionality, Historicity, and the Conception of ‘Literature’ in Modern China, 1920s- 1940s,” Given at the Asian Studies Department, University of Texas at Austin, October 9, 2015. “Xie pu chao and the ‘Black Curtain’ of Shanghai,” Given at East Asian Studies Program, Ohio Wesleyan University, March 31, 2010. CONFERENCE PAPERS “Social Justice, the Politics of Xia Culture, and Chinese Chivalric Tale in Transition, 1895-1911,” Presented at the Texas Asia Conference, University of Texas at Austin, October 2-3, 2015. “The Literariness of Vernacular Literature: Martial Arts Fiction, 1922-1945,” Presented at The Creation of the Vernacular in Early 20th Century China, The Hong Kong University of Science and Technology, August 15-16, 2013. “Xiepu chao and Shanghai’s ‘Black Curtain’ in the 1920s”, Presented at Shanghai Palimpsest: Shadows of the Past in the 21st Century Metropolis, NYU Institute for Shanghai Studies, October 14-15, 2011. “Publishing Amusement: Print Culture, Popular Magazines, and an Alternative Modernity, 1922-1932,” [in Chinese] Presented at Modern Printing Industry and Cultural Studies, National Chengchi University, March 14-16, 2009. “An Alternative Modernity: A Study of the Scarlet Magazine, 1922-1932,” Presented at the 10th Annual Harvard East Asia Society Graduate Student Conference, Harvard University, March 9-11, 2007. RESEARCH FUNDING Hiroshi Wagatsuma Memorial Fund Fellowship, UCLA Asia Institute, 2009-2010 Research Travel Grant, UCLA Department of Asian Language and Cultures, 2009 Sasakawa Fellowship, UCLA Terasaki Center for Japanese Studies, 2009 viii Introduction History is the object of a construction whose place is formed not in homogenous and empty time, but in that which is fulfilled by the here-and-now.
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