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Wreckage, War, Woman. Fragments of a Female Self in Zhang Ailing's
e-ISSN 2385-3042 ISSN 1125-3789 Annali di Ca’ Foscari. Serie orientale Vol. 56 – Giugno 2020 Wreckage, War, Woman. Fragments of a Female Self in Zhang Ailing’s Love In a Fallen City (倾城之恋) Alessandra Di Muzio Università Ca’ Foscari Venezia, Italia Abstract This article examines wreckage and war as key elements in Zhang Ailing’s novella Qing cheng zhi lian 倾城之恋 (Love in a Fallen City) exploring the strategies used by the female protagonist to engage on a nüxing 女性 ‘feminist’-oriented spatial quest for independence in a male-centered world. Analysed from a feminist perspective, these strategies emerge as potentially empowering and based on the idea of conflict/con- quest while dealing with man and romance, but they are also constantly threatened by the instability of history and by the lack of any true agency and gender-specific space for women in the 1940s Chinese society and culture. By analysing the floating/stability dichotomy and the spatial configurations of Shanghai and Hong Kong as described in the novella, the author argues Zhang Ailing’s depiction of Chinese women while dealing with history, society and the quest for self-affirmation is left in-between wreckage and survival, oppression and feminism, revealing her eccentric otherness as a woman and as a writer with respect to socially committed literature. Keywords Zhang Ailing. Love in a Fallen City. Wreckage. War. Feminist spatial quest. Summary 1 Introduction. An Ambivalent Form of Desolation. – 2 From Wreckage to Wreckage. – 3 Conflict and Conquest. Bai Liusu and Her ‘War’ for Life. – 4 Empty Fragments Floating. -
Eileen Chang's Late Style Against the Grain
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 21 (2019) Issue 6 Article 7 Writing, Rewriting, and Miswriting: Eileen Chang’s Late Style Against the Grain Lina Qu Rutgers University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Chinese Studies Commons, Comparative Literature Commons, and the Feminist, Gender, and Sexuality Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Qu, Lina. "Writing, Rewriting, and Miswriting: Eileen Chang’s Late Style Against the Grain." CLCWeb: Comparative Literature and Culture 21.6 (2019): <https://doi.org/10.7771/1481-4374.3305> This text has been double-blind peer reviewed by 2+1 experts in the field. -
Dcp 100 2012 SDC Fund Application SD Literary Trail
SDC Paper No. 100/2012 (For discussion on 15.11.2012) Southern District Council Application for SDC Fund: Promotion of Southern District Literary Trail Purpose This paper aims to seek Members’ approval of an allocation of funds for promotion of the Southern District Literary Trail. The funds are intended to be used to, inter alia, produce publicity materials for six literary figures, produce a short film on Eileen CHANG and organise publicity projects on public arts education and literature in respect of the works of Eileen CHANG and XIAO Hong. Background 2. With a view to fostering literary education and creation in Hong Kong and promoting local tourism, the Southern District Council (SDC) initiated in late 2009 the development of a Southern District Literary Trail by connecting footprints of several contemporary literary figures and constructing landmarks along the way. At its 6th meeting held on 13 September 2012, the SDC endorsed the revised work targets, which include giving priority to the construction of the two landmarks at Repulse Bay (i.e. those for Eileen CHANG and XIAO Hong, two notable female writers). The construction works is expected to complete in 2014. Proposals Production of a Short Film on Eileen CHANG 3. Eileen CHANG’s life was intricately entwined with movies. She was fond of watching movies and had written a number of screenplays for the Motion Picture & General Investment Co. Ltd. at the request of SONG Qi. Her novels such as “Love in a Fallen City”, “Rouge of the North”, “Red Rose White Rose”, “Eighteen Springs”, “The Golden Cangue” and “Lust, Caution” have been adapted into movies or 1 television dramas. -
The Plum in the Golden Vase ( 金瓶梅 ), Lying, and Literary History LISA Zunshine1
“Think What You’re Doing, or You’ll Only Make an Ugly Reputation for Yourself”: The Plum in the Golden Vase ( 金瓶梅 ), Lying, and Literary History LISA Zunshine1 (University of Kentucky, Lexington USA 40506) I return once more to the topic of “embedded” (or “nested”) mental states in literature. As I have argued in my earlier contribution to Cognitive Poetics (Zunshine, 2016), to make sense of what is going on in a work of fiction, readers have to continuously process mental states (i.e., thoughts, feelings, desires, and intentions) embedded within each other on at least the third level (as in, “she wonders if they know that she remembers them”). These mental states can belong to fictional characters but also to the narrator, the (implied) author, and the (implied) reader.For instance, in Cao Xueqin’s The Story of the Stone ( 紅樓夢 , c. 1760), while visiting her aunt, Mrs. Xue, Dai-yu scolds a maid who brings her a hand-warmer, because she imagines that someone may think that she thinks that her hosts are not taking good care of her. As she explains it to the surprised Mrs. Xue, 「姨媽不知道。幸虧是姨媽這裏,倘或在別人家,人家豈不惱﹖好說就 看得人家連個手爐也沒有,巴巴的從家裏送個來。不說丫頭們太小心過 餘,還只當我素日是這等輕狂慣了呢。」 “You don’t understand, Aunt ... It doesn’t matter here, with you; but some people might be deeply offended at the sight of one of my maids rushing in with a hand-warmer. It’s though I thought my hosts couldn’t supply one themselves if I needed it. Instead of saying how thoughtful the maid was, they would put it down to my arrogance and lack of breeding.” (193) 作者简介:丽莎·詹赛恩(Lisa Zunshine),女,美国肯塔基大学的 Bush-Holbrook 教授,主 要从事 18 世纪的英国文学与文化和认知文学研究。 44 “Think What You’re Doing, Or You’ll Only Make an Ugly Reputation for Yourself”: The Plum in the Golden Vase ( 金瓶梅 ), Lying, and Literary History In Eileen Chang’s “Lust, Caution” (“ 色戒,”1979), as Jiazhi listens to Mr. -
EALC 499 Special Topics the Fantastic in Modern East Asian Literature and Film
Géraldine Fiss ([email protected]) Fall 2011 Office: THH 372 Thursdays 2-4.50 pm Office Hours: MW 1-3 pm or by appointment SOS B38 EALC 499 Special Topics The Fantastic in Modern East Asian Literature and Film This course examines the power of fantastic texts to illuminate, interrogate and subvert reality. It does so through readings and analyses of modern Chinese and Japanese short stories, novels and films. How can fantastic texts teach us to perceive problems in the cultural psyche from a more critical, insightful perspective? What is the cognitive function of fantastic fiction and film at the threshold of the modern and postmodern moments? How have modern Chinese and Japanese intellectuals and artists shaped the literary genre of the fantastic to fit their particular experiences? And how do these fantastic texts fit into the practice of modernism? So as to find answers to these questions, we will read key examples of the modern fantastic genre in conjunction with theoretical articles and other secondary materials. We will define each fictional/cinematic text‟s relationship to its particular historical-intellectual context and also consider the aesthetic bonds that tie the modern literary or visual text to its roots in classical Chinese and Japanese tradition. Throughout the course, we will also place the works in a comparative literary and theoretical framework that relates them to the Western tradition of fantastic writing and film- making, which influenced East Asian authors in important ways. This comparative, cross-cultural and interdisciplinary approach crosses genres and cultural boundaries and allows us to gain a deeper understanding of the meaning contained within each individual work of literary or cinematic art. -
A Study of Xu Xu's Ghost Love and Its Three Film Adaptations THESIS
Allegories and Appropriations of the ―Ghost‖: A Study of Xu Xu‘s Ghost Love and Its Three Film Adaptations THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Qin Chen Graduate Program in East Asian Languages and Literatures The Ohio State University 2010 Master's Examination Committee: Kirk Denton, Advisor Patricia Sieber Copyright by Qin Chen 2010 Abstract This thesis is a comparative study of Xu Xu‘s (1908-1980) novella Ghost Love (1937) and three film adaptations made in 1941, 1956 and 1995. As one of the most popular writers during the Republican period, Xu Xu is famous for fiction characterized by a cosmopolitan atmosphere, exoticism, and recounting fantastic encounters. Ghost Love, his first well-known work, presents the traditional narrative of ―a man encountering a female ghost,‖ but also embodies serious psychological, philosophical, and even political meanings. The approach applied to this thesis is semiotic and focuses on how each text reflects the particular reality and ethos of its time. In other words, in analyzing how Xu‘s original text and the three film adaptations present the same ―ghost story,‖ as well as different allegories hidden behind their appropriations of the image of the ―ghost,‖ the thesis seeks to broaden our understanding of the history, society, and culture of some eventful periods in twentieth-century China—prewar Shanghai (Chapter 1), wartime Shanghai (Chapter 2), post-war Hong Kong (Chapter 3) and post-Mao mainland (Chapter 4). ii Dedication To my parents and my husband, Zhang Boying iii Acknowledgments This thesis owes a good deal to the DEALL teachers and mentors who have taught and helped me during the past two years at The Ohio State University, particularly my advisor, Dr. -
2013 Editor Lindsay Shen, Phd
Journal of the royal asiatic society china Vol. 75 no. 1, 2013 Editor Lindsay Shen, PhD. Copyright 2013 RAS China. The Journal of the Royal Asiatic Society China is published by Earnshaw Books on behalf of the Royal Asiatic Society China. Contributions The editors of the Journal invite submission of original unpublished scholarly articles and book reviews on the religion and philosophy, art and architecture, archaeology, anthropology and environment, of China. Books sent for review will be donated to the Royal Asiatic Society China Library. Contributors receive a copy of the Journal. Subscriptions Members receive a copy of the journal, with their paid annual membership fee. Individual copies will be sold to non-members, as available. Library Policy Copies and back issues of the Journal are available in the library. The library is available to members. www.royalasiaticsociety.org.cn Journal of the Royal Asiatic Society China Vol. 75 No. 1, 2013 978-988-8422-44-9 © 2013 Royal Asiatic Society China The copyright of each article rests with the author. EB086 Designed and produced for RAS China by Earnshaw Books Ltd. (Hong Kong) Room 1801, 18F, Public Bank Centre, 120 Des Voeux Road Central, Hong Kong All rights reserved. No part of this book may be reproduced in material form, by any means, whether graphic, electronic, mechanical or other, including photocopying or information storage, in whole or in part. May not be used to prepare other publications without written permission from the publisher. The Royal Asiatic Society China thanks Earnshaw -
Inside วารสารสังคมศาสตร์ 02.Indd
ความรัก 83 Free Love : Gender Politics of Romance in the Chinese Revolution ÃÑ¡àÊÃÕ : ¡ÒÃàÁ×ͧà¾ÈÀÒÇТͧâÃÁÒ¹« 㹡Òû¯ÔÇÑμÔ¨Õ¹ วาสนา วงศสุรวัฒน Wasana Wongsurawat บทคัดยอ บทความนี้วิเคราะหเชิงเปรียบเทียบประวัติชีวิต ประสบการณ และ มุมมองเกี่ยวกับ “ความรักเสรี” (free love) ของนักเขียนหญิงที่มีชื่อเสียง บทบาท และอิทธิพลสูงสุดในวงวรรณกรรมจีนสมัยใหม 2 ทาน คือ ติงหลิง (จาง ปงจื้อ) และ ไอลีน ชาง (จาง อายหลิง) แมจะดูเหมือนวานักเขียนทั้งสอง มจี ดยุ นอยื คนละฟากฝู งมโนท ศนั ในย คสงครามเยุ น็ และผลงานสาคํ ญๆั ของ ทั้งสองจะไดรับการตีพิมพในระยะเวลาที่หางกันถึงกวาทศวรรษ แตประวัติ ชีวิต ประสบการณ และมุมมองที่มีตอ “ความรักเสรี” ซึ่งนําเสนอผานผลงาน วรรณกรรมของทานท งสองน้ั นกล้ั บคลั ายคล งและเหึ นพ็ องต องก นเปั นอย างย ง่ิ ทั้งสองทานมอง “ความรักเสรี” เปนหนทางสูอัตนิยาม (Self-identifi cation) และการปลดแอกทางสังคม อยางไรก็ดี นักเขียนทั้งสองทานก็ถูกกระแส การตอสูทางมโนทัศนอันเชี่ยวกรากของยุคสมัยนั้น (ติงหลิง เขาไปมีสวนรวม ในการปฏิวัติคอมมิวนิสตจีน ในขณะที่ ไอลีน ชาง ตองไปทํางานใหรัฐบาล สหรฐอเมรั กาในยิ คสงครามเยุ น็ ) บบบี งคั บใหั ต องละท งแนวทางแห้ิ ง “ความรกั เสร”ี ซงเปึ่ นโครงเร องหลื่ กในผลงานชั นเอกของทิ้ งสองทั้ านในย คแรกๆุ “ความ 84 วารสารสังคมศาสตร ปที่ 23 ฉบับที่ 1-2/2554 รักเสรี” ถูกประเมินวามีความสําคัญนอยกวาการปฏิวัติของฝายคอมมิวนิสต ในประเทศจีนและไมยิ่งใหญเทากับการตอรูเพื่อธํารงรักษาไวซึ่งเสรีภาพของ สหรัฐอเมริกาในยุคสงครามเย็น บัดนี้ เมื่อสงครามเย็นไดกลายเปนอดีต ไปแลวและยุคสมัยแหงโลกาภิวัตนนาจะมีบรรยากาศที่เปดกวางใหเราได ศกษาผลงานชึ นเอกของนิ้ กเขั ยนที งสองทั้ านน ตามแนวทางแหี้ ง “ความรกเสรั ”ี ซงเปึ่ นโครงเร องหลื่ กสั าคํ ญโดยแทั จร งแทนทิ -
The Life and Works of Zhang Ailing
THE LIFE AND WORKS OF ZHANG AILING: A CRITICAL STUDY by CAROLE H. F. HOYAN B. A. (Hons.), The Chinese University of Hong Kong, 1990 M. Phil., The Chinese University of Hong Kong, 1992 A THESIS SUBMITTED IN PARTIAL FUIJFJ1LMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES Department of Asian Studies We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA August 1996 © Carole H. F. Hoyan, 1996 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University . of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission .for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of _/<- 'a. The University of British Columbia Vancouver, Canada Date 3» /\/,rv. (f<lA Abstract This dissertation is a study of Zhang Ailing's life and works and aims to provide a comprehensive overview of her literary career. Zhang Ailing (Eileen Chang %. jf; 5£% 1920-1995) is a significant figure in modern Chinese literary history, not only because of her outstanding artistry and modernist vision, but also because of her diverse contributions to the course of Chinese literature. The study follows the conventional chronological order of her life and is divided into eight chapters, together with an introduction and a conclusion. -
Eileen Chang
Eileen Chang Romancing Languages, Cultures and Genres Edited by Kam Louie This publication has been generously supported by the Faculty of Arts of the University of Hong Kong. Hong Kong University Press 14/F Hing Wai Centre 7 Tin Wan Praya Road Aberdeen Hong Kong www.hkupress.org © Hong Kong University Press 2012 ISBN 978-988-8083-79-4 (Hardback) ISBN 978-988-8083-72-5 (Paperback) All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, record- ing, or any information storage or retrieval system, without permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Condor Production Ltd., Hong Kong, China Contents Notes on Contributors vii Acknowledgements xi Introduction: Eileen Chang: A Life of Conflicting Cultures 1 in China and America Kam Louie 1 Romancing Returnee Men: Masculinity in “Love in 15 a Fallen City” and “Red Rose, White Rose” Kam Louie 2 From Page to Stage: Cultural “In-betweenness” in 33 (New) Love in a Fallen City Jessica Tsui Yan Li 3 Eileen Chang and Things Japanese 49 Nicole Huang 4 The Ordinary Fashion Show: Eileen Chang’s Profane 73 Illumination and Mnemonic Art Esther M. K. Cheung 5 Betrayal, Impersonation, and Bilingualism: 91 Eileen Chang’s Self-Translation Shuang Shen 6 Eileen Chang, Dream of the Red Chamber, 113 and the Cold War Xiaojue Wang 7 Eileen Chang and Ang Lee -
On Eileen Chang's
Journal of Modern Literature in Chinese 現代中文文學學報 Volume 14 Issue 1 Vol. 14, No. 1 (Summer 2017) Article 3 2017 Translation in distraction : on Eileen Chang’s “Chinese translation: a vehicle of cultural influence” Christopher LEE Department of English, University of British Columbia Follow this and additional works at: https://commons.ln.edu.hk/jmlc Part of the Comparative Literature Commons, and the Modern Literature Commons Recommended Citation Lee, C. (2017). Translation in distraction: On Eileen Chang’s “Chinese translation: a vehicle of cultural influence”. Journal of Modern Literature in Chinese, 14(1), 65-87. This Article is brought to you for free and open access by the Centre for Humanities Research 人文學科研究中心 at Digital Commons @ Lingnan University. It has been accepted for inclusion in Journal of Modern Literature in Chinese 現代中文文學學報 by an authorized editor of Digital Commons @ Lingnan University. Translation in Distraction: On Eileen Chang’s “Chinese Translation: A Vehicle of Cultural Influence” 1 Christopher Lee Department of English University of British Columbia Miss Eileen Chang [...] is a Chinese who, in contrast to most of her countrymen, does not simply take China for granted. It is her deep curiosity about her own people which enables her to interpret the Chinese to the foreigner. —Klaus Mehnert, The XXth Century, 19432 Introduction Translation played a central role in the literary career of Eileen Chang 張愛玲. As one of the most iconic figures in twentieth-century 1 This article draws on material that originally appeared inPMLA 130.2 (March 2015), published by the Modern Language Association of America. It could not have been written without the generous support of Dr. -
Reporting on “China” in a “Novel” Way: Japanese Translations of Eileen
EURAMERICA Vol. 50, No. 3 (September 2020), 613-660 DOI: 10.7015/JEAS.202009_50(3).0004 http://euramerica.org Reporting on “China” in a “Novel” Way: Japanese Translations of Eileen Chang’s The Naked Earth and The Rice-Sprout Song in the USIS-Tokyo Book Translation * Program (1952 -1956) TP PT P P Mei-Hsiang Wang Department of Sociology, National Sun Yat-sen University E-mail: [email protected] Abstract This study adopts the perspectives of “regional politics” and “cultural propaganda,” in examining the relationship between the cultural propaganda of the United States Information Service Tokyo and Japanese © Institute of European and American Studies, Academia Sinica Received August 9, 2019; accepted November 4, 2019; last revised March 26, 2020 Proofreaders: Alex C. Chang, Yu-Hsien Liao, Chia-Chi Tseng * This article is part of research project funded by the Ministry of Science and Technology, “Taiwan and Hong Kong Literature Translation under Northeast Asian Regional Politics: A Case Study of the USIS Tokyo (1951-1959)” (Project Number: MOST 106-2410-H-110-070-). In the process of writing, I would like to express my thanks to Professor Tarumi Chie, the International Strategic Promotion Agency of Yokohama National University, Japan, for providing relevant valuable information and suggestions; Zheng Yufen, a graduate of the Department of Sociology at Sun Yat-sen University, assisted in the collection and translation of the materials in the Japanese Library of Congress; Naoki Haraguchi, a postgraduate student at the Institute of Language and Society of Hitotsubashi University in Japan, assisted in the collection of the information. I am profoundly grateful.