Teaching Guide 2021 Fall

Total Page:16

File Type:pdf, Size:1020Kb

Teaching Guide 2021 Fall Classical Chinese Fiction II Teaching Guide 2021 Fall 14322 Classical Chinese Fiction II Face-to-face Mode Universidad Católica San Antonio de Murcia – Tlf: (+34) 968 278 160 [email protected] – www.ucam.edu Literature- Tlf: (+34) 902 102 101 Classical Chinese Fiction II 14322 Classical Chinese Fiction II Course Information Module: Classical Chinese Fiction II Field: Literature Character: Introductory Training Credits: 4 Course Instructor Information Teacher: TBA Office hours: 55 Hours Student’s attention timetable: Monday to Friday, 10h - 12h Module coordinator teacher: To Be Assigned Brief Description Following the course 14321 Classical Chinese Fiction I, this course continues introducing the classical Chinese fiction. In this course, the four great classical novels from the Ming to Qing dynasties are discussed and selected works of classical Chinese fiction in a variety of forms such as zhiguai, chuanqi, bianwen, and huaben are illustrated. Students will learn how to appreciate classical fiction works of Chinese literature and comprehend the historical and cultural connotations in the texts. Previous Requisite(s) 14321 Classical Chinese Fiction I Literature- Tlf: (+34) 902 102 101 Classical Chinese Fiction II Competences and Learning Results 1. Cross Curricular Competences (1) Analysis and synthesis skills; (2) Planning and organizational skills; (3) Problem solving skills; (4) Decision making skills; (5) Information management skills; (6) Computer science knowledge related to the field of study; (7) Capacity for critical thinking; (8) Autonomous learning; (9) Motivation for quality; (10) Reflection ability. 2. Learning Results Having successfully completed this course, students will be able to: 1. Describe the features of classical Chinese fiction; 2. Analyze the form and structure of some main genres of classical Chinese prose and fiction; 3. Connect and integrate aesthetic appreciations and cultural understandings of the classical Chinese literature; 4. Appreciate and analyze the classical fiction works, and comprehend the historical and cultural connotations in the texts. Literature- Tlf: (+34) 902 102 101 Classical Chinese Fiction II 3. Specific Competences 1. Identify main genres and features of classical Chinese literature; 2. Understand and interpret classical literary writings; 3. Appreciate the aesthetics, history and culture significance of classical Chinese fiction; 4. Think and write critically about literature; 5. Develop analytical, critical, and rhetorical skills. Methodology Hours of work Hours of work Methodology Hours Face-to-face Non Face-to-face Lectures 50 88 hours (60%) Practice teaching 8 Assessment 30 Personal study 30 68 hours (40%) Tasks 22 Practical teaching 10 preparation Bibliographic search 6 TOTAL 156 88 68 Required Textbook(s) 1. Andre Levy, Chinese Literature, Ancient and Classical, Indiana University Press, 2000. Literature- Tlf: (+34) 902 102 101 Classical Chinese Fiction II 2. Dan Yao, Jinhui Deng, Feng Wang, Huiyun Tang, Chinese Literature, 3th Edition, Cambridge University Press,2012. Class Schedule Week Lesson Content 1 Classical Fiction in the Ming Dynasty 2 The Romance of the Three Kingdoms 1 3 The Water Margin 4 Journey to the West 5 The Golden Lotus (Jin Ping Mei) Quiz 1 6 Strange Tales from a Chinese Studio: Short Stories of the Qing Dynasty A Dream of Red Mansions: The Pinnacle of Classical 7 Literature 2 Assignment 1 8 Selected Forms and Works of Classical Chinese Fiction 9 Zhiguai (Records of the Strange) 10 Soushenji (Records of Searching for Spirit) 11 Bowuzhi (Record of All Things) 12 Shishuoxinyu (A New Account of Tales of the World) 3 13 Midterm Test 14 Transmissions of the Extraordinary (Chuanqi ) 15 Gujingji (Story of an Ancient Mirror) Quiz 2 16 Liaozhaizhiyi (Records of Unusual Stories from the Leisure Studio) 17 Dou E Yuan(The Resentment of Dou E) 4 18 Xixiangji (The Story of the Western Pavilion) 19 Taohuashan (Peach-blossom Fan) Assignment 2 Literature- Tlf: (+34) 902 102 101 Classical Chinese Fiction II 20 Bianwen (Texts Changed/Transformed) 21 Maudgalyayana (Mulian in Chinese) 22 Huaben (Base of the Narration or Story) 5 23 Qingping Shantang Huaben 24 The Scholars (Rulinwaishi) Assignment 3 25 Final Exam Rating System 1. Assessment ASSESSMENT ITEM PERCENT OF FINAL GRADE 2 Quizzes 20% (10% for each) 3 Assignments 30% (10% for each) Midterm Test 20% Final Exam 30% 2. Grading Scale A+ 96-100 A 90-95 A- 85-89 B+ 82-84 B 78-81 B- 75-77 C+ 71-74 C 66-70 C- 62-65 D 60-61 F < 60 Literature- Tlf: (+34) 902 102 101 Classical Chinese Fiction II General Expectations Students are expected to: Attend all classes and be responsible for all materials covered in class and otherwise assigned; Complete the daily required reading and assignments before class; Review the previous class notes before class and make notes about questions you have about the previous class or the course reading; Participate in class discussions and complete required written work on time; Refrain from texting, phoning or engaging in computer activities unrelated to class during the class period; While class participation is welcome, even required, you are expected to refrain from private conversations during the class period. Attending Policy Regular and prompt attendance is required. Attendance will be taken at the start of the course. Those that miss their name, during roll call, will be counted as absent. Students can miss up to three classes (including labs) and earn 7% (out of 10%). After the third absence, students will earn a grade of 0% (out of 10%). Arriving late and/or leaving before the end of the class are equivalent to absences. Policy on “Late Withdrawals” In accordance with the policy of UCAM, appeals for late withdrawal will be approved ONLY in case of medical emergency and similar crises. Literature- Tlf: (+34) 902 102 101 Classical Chinese Fiction II Academic Honesty All students are expected to respect academic honesty policy. Instructors will fail assignments that show any evidence of plagiarism or other forms of cheating and will also report the student's information to the University Administration Office. A student reported to the University for cheating will be placed on the list of disciplinary probation; a student reported twice will be suspended or expelled. Special Needs or Assistance Please contact the University Administrative Office immediately if you have a learning disability, a medical issue, or any other type of problem that prevents professors from seeing you have learned the course material. Literature- Tlf: (+34) 902 102 101.
Recommended publications
  • Images of Women in Chinese Literature. Volume 1. REPORT NO ISBN-1-880938-008 PUB DATE 94 NOTE 240P
    DOCUMENT RESUME ED 385 489 SO 025 360 AUTHOR Yu-ning, Li, Ed. TITLE Images of Women in Chinese Literature. Volume 1. REPORT NO ISBN-1-880938-008 PUB DATE 94 NOTE 240p. AVAILABLE FROM Johnson & Associates, 257 East South St., Franklin, IN 46131-2422 (paperback: $25; clothbound: ISBN-1-880938-008, $39; shipping: $3 first copy, $0.50 each additional copy). PUB TYPE Books (010) Reports Descriptive (141) EDRS PRICE MF01/PC10 Plus Postage. DESCRIPTORS *Chinese Culture; *Cultural Images; Females; Folk Culture; Foreign Countries; Legends; Mythology; Role Perception; Sexism in Language; Sex Role; *Sex Stereotypes; Sexual Identity; *Womens Studies; World History; *World Literature IDENTIFIERS *Asian Culture; China; '`Chinese Literature ABSTRACT This book examines the ways in which Chinese literature offers a vast array of prospects, new interpretations, new fields of study, and new themes for the study of women. As a result of the global movement toward greater recognition of gender equality and human dignity, the study of women as portrayed in Chinese literature has a long and rich history. A single volume cannot cover the enormous field but offers volume is a starting point for further research. Several renowned Chinese writers and researchers contributed to the book. The volume includes the following: (1) Introduction (Li Yu- Wing);(2) Concepts of Redemption and Fall through Woman as Reflected in Chinese Literature (Tsung Su);(3) The Poems of Li Qingzhao (1084-1141) (Kai-yu Hsu); (4) Images of Women in Yuan Drama (Fan Pen Chen);(5) The Vanguards--The Truncated Stage (The Women of Lu Yin, Bing Xin, and Ding Ling) (Liu Nienling); (6) New Woman vs.
    [Show full text]
  • Parodies of Qing: Ironic Voices in Romantic Chuanqi Plays Yanbing Tan Washington University in St
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Washington University St. Louis: Open Scholarship Washington University in St. Louis Washington University Open Scholarship Arts & Sciences Electronic Theses and Dissertations Arts & Sciences Summer 8-15-2018 Parodies of Qing: Ironic Voices in Romantic Chuanqi Plays Yanbing Tan Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/art_sci_etds Part of the Asian Studies Commons, Comparative Literature Commons, East Asian Languages and Societies Commons, and the South and Southeast Asian Languages and Societies Commons Recommended Citation Tan, Yanbing, "Parodies of Qing: Ironic Voices in Romantic Chuanqi Plays" (2018). Arts & Sciences Electronic Theses and Dissertations. 1656. https://openscholarship.wustl.edu/art_sci_etds/1656 This Dissertation is brought to you for free and open access by the Arts & Sciences at Washington University Open Scholarship. It has been accepted for inclusion in Arts & Sciences Electronic Theses and Dissertations by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of East Asian Languages and Cultures Program in Comparative Literature Dissertation Examination Committee: Robert E. Hegel, Chair Beata Grant Robert K. Henke Marvin Marcus Jamie Newhard Parodies of Qing: Ironic Voices in Romantic Chuanqi Plays by Yanbing Tan A dissertation presented
    [Show full text]
  • Prohibition of Jiatou Zaju in the Ming Dynasty and the Portrayal
    PROHIBITION OF JIATOU ZAJU IN THE MING DYNASTY AND THE PORTRAYAL OF THE EMPEROR ON STAGE Tian Yuan Tan (Chen Tianyuan) INTRODUCTION: THE TERMS JIATOU AND JIATOU ZAJU Portraying the emperor on stage was not at all uncommon in the Yuan dynasty (1260-1368). This can be gathered from the fact that the emperor role, designated by the term jiatou, is one of the cus- tomary role types in Yuan drama.' According to the Qinglouji (The Green Bower Collection), a valuable collection of short biograph- ical notes on performers in the Yuan dynasty compiled around 1364, jiatou is one of the waijiao (extra roles) in zaju besides the fe- male and male lead roles, clan (female) and mo (male): [These extra role types] include the jiatou, the beauty pining in her boudoir, the bawd, the coquettish young girl, the high official, the poor, the brigand, the government servant, and those categories concerning immortals and Taoist deliver- ance, and family matters.'- The term "jiatou" originally referred to the throne of the emperor which an old eunuch would carry in front of the emperor's carriage on an imperial tour of inspection.' Since jiatou was an important insignia of an imperial tour, the modern Chinese scholar Sun Kaidi suggests that the term "jiatou zaju" must therefore involve at least a certain scene of the emperor going out in a carriage, as found in Act Three of both Hangong qiu (Autumn in the Palace of Han) and Tian Yuan Tan, "Prohibition of Jiatou Zaju in the Ming Dynasty and the Portrayal of the Emperor on Stage," MING STUDIES, 49, pp.
    [Show full text]
  • Science, Religion, and the Novels of Magic/Superstition in Contemporary China
    Article Xiuzhen (Immortality Cultivation) Fantasy: Science, Religion, and the Novels of Magic/Superstition in Contemporary China Zhange Ni Department of Religion and Culture, Virginia Polytechnic Institute and State University, Blacksburg, VA 24061, USA; [email protected] Received: 11 October 2019; Accepted: 22 December 2019; Published: 2 January 2020 Abstract: In early twenty-first-century China, online fantasy is one of the most popular literary genres. This article studies a subgenre of Chinese fantasy named xiuzhen 修真 (immortality cultivation), which draws on Daoist alchemy in particular and Chinese religion and culture in general, especially that which was negatively labelled “superstitious” in the twentieth century, to tell exciting adventure stories. Xiuzhen fantasy is indebted to wuxia xiaoshuo 武俠小說 (martial arts novels), the first emergence of Chinese fantasy in the early twentieth century after the translation of the modern Western discourses of science, religion, and superstition. Although martial arts fiction was suppressed by the modernizing nation-state because it contained the unwanted elements of magic and supernaturalism, its reemergence in the late twentieth century paved the way for the rise of its successor, xiuzhen fantasy. As a type of magical arts fiction, xiuzhen reinvents Daoist alchemy and other “superstitious” practices to build a cultivation world which does not escape but engages with the dazzling reality of digital technology, neoliberal governance, and global capitalism. In this fantastic world, the divide of magic and science breaks down; religion, defined not by faith but embodied practice, serves as the organizing center of society, economy, and politics. Moreover, the subject of martial arts fiction that challenged the sovereignty of the nation-state has evolved into the neoliberal homo economicus and its non-/anti-capitalist alternatives.
    [Show full text]
  • Origin Narratives: Reading and Reverence in Late-Ming China
    Origin Narratives: Reading and Reverence in Late-Ming China Noga Ganany Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2018 Noga Ganany All rights reserved ABSTRACT Origin Narratives: Reading and Reverence in Late Ming China Noga Ganany In this dissertation, I examine a genre of commercially-published, illustrated hagiographical books. Recounting the life stories of some of China’s most beloved cultural icons, from Confucius to Guanyin, I term these hagiographical books “origin narratives” (chushen zhuan 出身傳). Weaving a plethora of legends and ritual traditions into the new “vernacular” xiaoshuo format, origin narratives offered comprehensive portrayals of gods, sages, and immortals in narrative form, and were marketed to a general, lay readership. Their narratives were often accompanied by additional materials (or “paratexts”), such as worship manuals, advertisements for temples, and messages from the gods themselves, that reveal the intimate connection of these books to contemporaneous cultic reverence of their protagonists. The content and composition of origin narratives reflect the extensive range of possibilities of late-Ming xiaoshuo narrative writing, challenging our understanding of reading. I argue that origin narratives functioned as entertaining and informative encyclopedic sourcebooks that consolidated all knowledge about their protagonists, from their hagiographies to their ritual traditions. Origin narratives also alert us to the hagiographical substrate in late-imperial literature and religious practice, wherein widely-revered figures played multiple roles in the culture. The reverence of these cultural icons was constructed through the relationship between what I call the Three Ps: their personas (and life stories), the practices surrounding their lore, and the places associated with them (or “sacred geographies”).
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles Fairy Tales
    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.
    [Show full text]
  • Accidental Incest, Filial Cannibalism and Other Peculiar Encounters in Late Imperial Chinese Literature. by Tina Lu
    《中國文化研究所學報》 Journal of Chinese Studies No. 51 - July 2010 BOOK REVIEWS Accidental Incest, Filial Cannibalism and Other Peculiar Encounters in Late Imperial Chinese Literature. By Tina Lu. Cambridge, MA and London, England: Harvard University Asia Center, 2008. Pp. viii + 306. $39.95/£29.95. At the heart of Tina Lu’s provocatively but somewhat misleadingly titled Accidental Incest, Filial Cannibalism and Other Peculiar Encounters in Late Imperial Chinese Literature are interlinked questions about the changing views of empire, genre, social order, and self, during the transition from late Ming to the Qing. As she argues it, before the cultural shock wrought by the fall of the Ming, narrative structures took an optimistic view of the cosmic and imperial order. Within this world view, the loss of order was a temporary anomaly, and imperial subjects were as confident as theatre audiences that time would bring about a proper resolution to dramatic conflict with a new and improved establishment of order. After the fall of the Ming, however, faith in the totalizing imperial vision waned, and with it, a belief in the narrative promise of karmic retribution to return people to their proper social places and to reward the good and punish the bad. The main thread that links together the seven chapters of this ambitious monograph is the ongoing analysis of the intersections between chuanqi 傳奇 (dramas), huaben 話本 (short stories), xiaoshuo 小說 (novels) and the narrative vision of empire. Each chapter takes up, from different angles, questions about mapping, border crossings, exchange, narrative form, and predetermined fate. Traditional Chinese narratives are remarkable for the extent to which coincidences and doubling create a closed narrative world that seems structured by an almost mathematical logic or reciprocity.
    [Show full text]
  • East Asian Gothic: a Definition
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Kingston University Research Repository ARTICLE DOI: 10.1057/s41599-017-0038-8 OPEN East Asian Gothic: a definition Colette Balmain1 ABSTRACT This paper offers a definition of East Asian Gothic cinema in which a shared cultural mythology, based upon cultural proximity and intra-regional homologies, provides a cinematic template of ghosts and ghouls together with a grotesque menagerie of shape- shifting animals, imagined as either deities or demons. East Asian Gothic is an umbrella term which encompasses the cinemas of PRC, Hong Kong, Taiwan, Japan and South Korea, 1234567890 acknowledging the difficult histories and conflicts between the nations, as well as film making practices and industries. This is in opposition to critical work which views East Asian gothic and horror films as extensions of Japanese horror, and therefore J-Horror as a meta-genre; for example David Kalat in J-Horror (2007) and Axelle Carolyn in It Lives Again! Horror Films in the New Millennium (2008), or focus almost solely on the relationship between contemporary Western and East Asian Horror cinema through an analysis of the remake. In order to demonstrate the transnational and regional flows that form East Asian gothic cinema, this paper focuses in on one of the oldest and most enduring gothic figures found in literature and mythology across East Asia, the nine-tailed fox: known as the huli jin in China, gumiho in Korea and kitsune in Japan. While much has been written about the vengeful ghost, little attention has been paid to that of the fox-spirit even though ‘she’ is ubiquitous in East Asian popular culture.
    [Show full text]
  • Xiaoshuo in the Taiping Guangji 1)
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE Collection, Classification and Conception of Xiaoshuo in the Taiping Guangji 1) Xiaohuan Zhao Introducing Remarks This paper aims to investigate the classificatory system of a genre of classical Chi- nese literature known as “xiaoshuo” 小說 (petty talk) in the Taiping guangji 太平廣記 (Extensive Records of the Era of Supreme Peace, hereafter as TPGJ) in 500 juan 卷 (scroll). This multi-volume xiaoshuo anthology was compiled during a period bearing the title “Supreme Peace and Nation Restored” (Taiping xingguo 太平興國, 976–983) under the reign of Emperor Taizong 太宗 (r. 976–998) of the Northern Song dynasty 北宋 (960–1127).2) I will start with a brief review of the historical background for the compilation of TPGJ and its textual history. I will then make an investigation into the organization and structure of TPGJ and analyze the rationale behind the establish- ment and arrangement of xiaoshuo categories in it. And finally I will draw a conclu- sion on the early Song conception of xiaoshuo as revealed through the xiaoshuo collec- tion and classification in TPGJ. The earliest attempt at a systematic classification of xiaoshuo as a genre of literature independent from historical and philosophical writings was made by the Ming 明 bib- liophile Hu Yinglin 胡應麟 (1551–1602),3) who divided xiaoshuo into six categories, al- though he admitted that there existed overlapping areas in his hex-classificatory scheme, especially with regard to the generic relations between zhiguai 志怪 (records of the strange) and chuanqi 傳奇 (transmissions of the marvellous).4) “In case of this,” he suggested, “classification should be based on what is most emphasized” [gu ju qi zhong er yi 姑舉其重而已].5) Some twentieth century scholars also state this principle, implicitly or explicitly, in their studies of traditional Chinese literature,6) as shown in Y.
    [Show full text]
  • A Study of the Modern Chinese Magazine Literary Renaissance
    A Brief Flowering: A Study of the Modern Chinese Magazine Literary Renaissance Thesis submitted for the degree of Doctor of Philosophy by Katalin Till School of Oriental and African Studies University of London 1995 ProQuest Number: 10673091 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10673091 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract The modem Chinese magazine Literary Renaissance ^ jgfJ|JIL was published monthly in Shanghai between January 1946 and August 1949, edited by Zheng Zhenduo and Li Jianwu Its launch expressed widespread hopes for the revival of Chinese literature after the war and intentions of working towards that revival. The purpose of this study is to examine whether there was indeed a post-war Literary Renaissance reflected by the magazine. Since the editors perceived a parallel between the European Renaissance and the envisaged revival of Chinese literature, various interpretations of the connection are looked at before the magazine's own literary philosophy is traced through the published editorials, reviews and theoretical articles. Creative contributions are discussed according to genre, devoting a chapter each to poetry, short stories, novels and drama.
    [Show full text]
  • "Du Shiniang Sinks Her Jewel Box in Anger": a Story to Defend Folk
    "Du Shiniang Sinks Her Jewel Box in Anger": A Story to Defend Folk Literature Presented to the Faculty of the Department of East Asian Languages and Cultures Bryn Mawr College In partial fulfillment of the requirement for the degree of Bachelors of Arts By Binglei Yan Advisor: Professor Shiamin Kwa Bryn Mawr, Pennsylvania December 2015 Abstract This thesis takes a look at one of the short stories in Feng Menglong's Sanyan collection, "Du Shiniang Sinks Her Jewel Box in Anger." Written during the late Ming dynasty, the story has been typically analyzed by present-day scholars as a political allegory or as a lesson to teach qing, a term which translated alternately as "passions," "love," or "romantic sentiments" in English. Based on the background that the archaic elite literature was advocated through the Ming literary movement called "the restoration of the past" and Feng Menglong, as a follower of key anti-archaists like Wang Yanming, Li Zhi, and Yuan Hongdao, emphasized authentic feelings and spontaneity in literature, this thesis argues that in "Du Shiniang Sinks Her Jewel Box in Anger," Feng Menglong metaphorically defended folk literature by defending Du Shiniang. Through examining the ways in which Feng Menglong praised the courtesan Du Shiniang's spontaneous and sincere nature that embodied in her xia (chivalry) and qing characteristics in the story, it becomes clear that Feng Menglong advocated folk literature as what should be extolled in the late Ming. The thesis concludes by recommending that this Feng Menglong's story is possibly a forerunner of a growing genre in the Qing dynasty which makes it worth for further researches.
    [Show full text]
  • Historical Romance and Sixteenth-Century Chinese Cultural Fantasies
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2013 Genre and Empire: Historical Romance and Sixteenth-Century Chinese Cultural Fantasies Yuanfei Wang University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the English Language and Literature Commons, and the History Commons Recommended Citation Wang, Yuanfei, "Genre and Empire: Historical Romance and Sixteenth-Century Chinese Cultural Fantasies" (2013). Publicly Accessible Penn Dissertations. 938. https://repository.upenn.edu/edissertations/938 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/938 For more information, please contact [email protected]. Genre and Empire: Historical Romance and Sixteenth-Century Chinese Cultural Fantasies Abstract Chinese historical romance blossomed and matured in the sixteenth century when the Ming empire was increasingly vulnerable at its borders and its people increasingly curious about exotic cultures. The project analyzes three types of historical romances, i.e., military romances Romance of Northern Song and Romance of the Yang Family Generals on northern Song's campaigns with the Khitans, magic-travel romance Journey to the West about Tang monk Xuanzang's pilgrimage to India, and a hybrid romance Eunuch Sanbao's Voyages on the Indian Ocean relating to Zheng He's maritime journeys and Japanese piracy. The project focuses on the trope of exogamous desire of foreign princesses and undomestic women to marry Chinese and social elite men, and the trope of cannibalism to discuss how the expansionist and fluid imagined community created by the fiction shared between the narrator and the reader convey sentiments of proto-nationalism, imperialism, and pleasure.
    [Show full text]