Globalizing Modern Chinese Literature: Sinophone and Diasporic Writings
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Contesting and Appropriating Chineseness in Sinophone Music
China Perspectives 2020-2 | 2020 Sinophone Musical Worlds (2): The Politics of Chineseness Contesting and Appropriating Chineseness in Sinophone Music Nathanel Amar Electronic version URL: https://journals.openedition.org/chinaperspectives/10063 DOI: 10.4000/chinaperspectives.10063 ISSN: 1996-4617 Publisher Centre d'étude français sur la Chine contemporaine Printed version Date of publication: 1 June 2020 Number of pages: 3-6 ISSN: 2070-3449 Electronic reference Nathanel Amar, “Contesting and Appropriating Chineseness in Sinophone Music”, China Perspectives [Online], 2020-2 | 2020, Online since 01 June 2020, connection on 06 July 2021. URL: http:// journals.openedition.org/chinaperspectives/10063 ; DOI: https://doi.org/10.4000/chinaperspectives. 10063 © All rights reserved Editorial china perspectives Contesting and Appropriating Chineseness in Sinophone Music NATHANEL AMAR he first special issue of China Perspectives on “Sinophone Musical itself as a more traditional approach to Chinese-sounding music but was Worlds” (2019/3) laid the theoretical foundation for a musical appropriated by amateur musicians on the Internet who subvert accepted T approach to Sinophone studies (Amar 2019). This first issue notions of Chinese history and masculinity (see Wang Yiwen’s article in this emphasised the importance of a “place-based” analysis of the global issue). Finally, the last article lays out in detail the censorship mechanisms for circulation of artistic creations, promoted in the field of Sinophone studies by music in the PRC, which are more complex and less monolithic than usually Shu-mei Shih (2007), and in cultural studies by Yiu Fai Chow and Jeroen de described, and the ways artists try to circumvent the state’s censorship Kloet (2013) as well as Marc Moskowitz (2010), among others. -
Alai and I: a Belated Encounter
Alai and I: A Belated Encounter Patrizia Liberati (Italian Institute of Culture) Abstract: This paper attempts to analyze the reasons for the scanty presence in translation of Alai’s literary production. Probably the most important motive is that this author’s narrative does not correspond to the idealized Western idea of Tibet as Shangri-la, and of its people as noble savages. It will then make some observation on Alai’s pictorial “thangka style” of narration, his unique use of language and his poetic realism. Finally, it will identify cinematic productions as a successful medium to spread knowledge and deepen the understanding of contemporary Tibetan literature. Keywords: cultural misreading, inter-religious studies, poetic realism, Shangri-la, stereotypes, thangka, transcultural contact, visual culture. 1. A Western Collective Delusion: Alai’s Tibet is Not Shangri-la In November 2018, the Sichuan Writers Association invited me to the symposium “Borderline Books, Naturalis Historia and Epics”, an international occasion to study Alai’s works. This presented me with the long overdue occasion to reflect on the writer’s literary creation. I soon realized that the number of Alai’s works in translation—at least in the Western languages I am able to understand—compares very badly with the abundancy and richness of his creation. I found English, French and Italian translations of Cheng’ai luoding and English translations of Gesair Wang and Kong Shan. There are some short stories like Wind over the Grasslands; Three Grassworms; Aku Tonpa; The Hydroelectric Station and The Threshing Machine in English. Now I am pleased to add to the list the translation in Italian of Yueguang xia de yinjiang (L’argentiere sotto la luna, tr. -
Hong Kong Literature As Sinophone Literature = È'¯Èªžèªžç³
Journal of Modern Literature in Chinese 現代中文文學學報 Volume 8 Issue 2 Vol. 8.2 & 9.1 八卷二期及九卷一期 Article 2 (2008) 1-1-2008 Hong Kong literature as Sinophone literature = 華語語系香港文學 初論 Shu Mei SHIH University of California, Los Angeles Follow this and additional works at: https://commons.ln.edu.hk/jmlc Recommended Citation Shih, S.-m. (2008). Hong Kong literature as Sinophone literature = 華語語系香港文學初論. Journal of Modern Literature in Chinese, 8.2&9.1, 12-18. 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. Hong Kong Literature as Sinophone Literature 華語語系香港文學初論 史書美 SHIH Shu-mei 加州大學洛杉磯分校亞洲語言文化系、 亞美研究系及比較文學系 Department of Comparative Literature, Asian Languages and Cultures, and Asian American Studies, University of California, Los Angeles A denotative meaning of the term “Sinophone,” as used by Sau-ling Wong in her work on Sinophone Chinese American literature to designate Chinese American literature written in Sinitic languages, is a productive way to start the investigation of the notion in terms of its connotative meanings.1 2 Connotation, by dictionary definition, is the practice that implies other characteristics and meanings beyond the term’s denotative meaning; ideas and feelings invoked in excess of the literal meaning; and, as a philosophical practice, the practice of identifying certain determining principles underlying the implied and invoked meanings, characteristics, ideas, and feelings. This short essay is a preliminary exploration of the connotative meanings of the category that I call Sinophone Hong Kong literature vis-a-vis the emergent field of Sinophone'studies as the study of Sinitic-language cultures, communities, and histories on the margins of China and Chineseness. -
Alai's Red Poppies As Historiographic Metafiction
Studies on Asia A localist counter-narrative to nationalist histories: Alai’s Red Poppies as historiographic metafiction Wokar T. Rigumi RMIT University, Melbourne, Australia Popular understandings of the Chinese occupation of Tibet are rigidly lodged between the interpretations propagated by nationalist histories on either side – the Tibetan [in-exile] version of Chinese invasion of a sovereign nation or the CCP‟s version of re-unification of the Chinese motherland. In this paper, I will examine how the Tibeto-Chinese writer Alai‟s novel Red Poppies creates a fictional account of the historical conflict from the perspective of the chieftains of the eastern Tibetan borderlands as a counter-narrative to these linear, ideological narratives of nationalist histories. Presenting an alternative view of the historical event through the fictional testimony of the eastern Tibetan border people, the novel is aligned with the literary genre called historiographic metafiction. Linda Hutcheon has defined historiographic metafiction as a fictional account of an historical event that subverts dominant understandings of the event and also unsettles historiography‟s claim to objective knowledge of the past. While concluding that the novel presents an effective counter-narrative to the nationalist histories, Alai, however, falls a little short of tapping the full potency of the subversive quality of historiographic metafiction achieved by a writer like the Japanese- Canadian novelist Joy Kogawa who grapples with the impossibility of accommodating the past through the act of historiography. The only writer of Tibetan ancestry to win the Mao Dun prize, the highest award for literary excellence in China, Alai‟s novel Red Poppies has been hailed as the most important literary work to have emerged from contemporary Tibet. -
When Alai's First Novel Chen Ai Luo Ding Appears, It Becomes Very Famous in China
Alai’s Chen Ai Luo Ding (Dust in the Air Has All Fallen) --A Cultural Interpretation Shumei Gao Högskolan Dalarna Masters Programs in Comparative Literature Spring Term 2007 D-level Thesis (15 ECT points) Supervisor: Bo G Jansson Alai’s Chen Ai Luo Ding: A Cultural Interpretation Table of Contents Introduction page 3 I Alai and his novel Chen Ai Luo Ding II. Summary of Chen Ai Luo Ding III. Importance of Chen Ai Luo Ding Body I History page 5 II. Religion page 14 III. Cultural consciousness page 16 Conclusion page 19 Work cited and consulted page 20 Bibliography page 23 - 2 - Alai’s Chen Ai Luo Ding: A Cultural Interpretation When Alai's first novel Chen Ai Luo Ding (Beijing, People’s Literature Press, 1998) appeared, it became very famous in China. The readers were attracted by this novel on account of its poetic languages, its epic narration as well as its symbolic images. Alai surfaced. With his artistic achievement and national characteristics, his first long novel, also his maiden works Chen Ai Luo Ding won the fifth Mao Dun Literature Prize in 2000 (1), which also displayed Alai's rich characteristic of nationality. This was not only Alai's fortune, but also was a fortune of literature and history. Alai’s works and its narration played an important role in western nationality literature, Sichuan literature and Chinese literature as well. From allegorical trait--historical, ethical and realistic view, we can see that the construction of this novel can be seen as a construction of Chinese wisdom allegory. -
Mo Yan in Context: Nobel Laureate and Global Storyteller Angelica Duran Purdue University
Purdue University Purdue e-Pubs Purdue University Press Books Purdue University Press Fall 9-15-2014 Mo Yan in Context: Nobel Laureate and Global Storyteller Angelica Duran Purdue University Yuhan Huang Purdue University Follow this and additional works at: https://docs.lib.purdue.edu/purduepress_ebooks Part of the Comparative Literature Commons Recommended Citation Duran, Angelica, and Huang, Yuhan., Mo Yan in Context: Nobel Laureate and Global Storyteller. (2014). Purdue University Press. (Knowledge Unlatched Open Access Edition.) This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. Mo Yan in Context: Nobel Laureate and Global Storyteller Comparative Cultural Studies Steven Tötösy de Zepetnek, Series Editor The Purdue University Press monograph series of Books in Comparative Cultural Studies publishes single-authored and thematic collected volumes of new scholarship. Manuscripts are invited for publication in the series in fields of the study of culture, literature, the arts, media studies, communication studies, the history of ideas, etc., and related disciplines of the humanities and social sciences to the series editor via e- mail at <[email protected]>. Comparative cultural studies is a contextual approach in the study of culture in a global and intercultural context and work with a plurality of methods and approaches; the theoretical and methodological framework of comparative cultural studies is built on tenets borrowed from the disciplines of cultural studies and comparative literature and from a range of thought including literary and culture theory, (radical) constructivism, communication theories, and systems theories; in comparative cultural studies focus is on theory and method as well as application. -
Queer Sinophone Cultures
Queer Sinophone Cultures Edited by Howard Chiang and Ari Larissa Heinrich Routledge II Taylor & Francis Group LONDON AND NEW YORK First published 2014 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 711 Third Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2014 Howard Chiang and Ari Larissa Heinrich The right of the editors to be identified as the authors of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication Data Queer Sinophone Cultures / edited by Howard Chiang and Ari Larissa Heinrich. pages cm. – (Routledge Contemporary China Series ; 107) Includes bibliographical references and index. ISBN 978-0-415-62294-3 (hardback : alk. paper) – ISBN 978-0-203- 59092-8 (e-book) 1. Chinese diaspora. 2. Gays in literature. 3. Gender identity–China. 4. Chinese–Foreign countries–Ethnic identity. -
Alai and Nostalgic Lyricism
Alai and Nostalgic Lyricism Dian Li (Sichuan University, University of Arizona) Abstract: In his poetry and fiction, Alai creates a historiography of Eastern Tibet complete with the grandeur and magnificence of the past. It is a historiography motivated and energized by nostalgic lyricism, which helps to locate and construct a symbolic Tibetan ethnicity. Nostalgic lyricism is the inversion of the loss, the compensation of the lack, and the articulation of alternatives against the discontent of the present. Such is the meaning of Alai’s writing to his readers and to the world. Key words: Nostalgia, lyricism, symbolic ethnicity, minority literature The Twentieth Century Began with a Futuristic Utopia and Ended with Nostalgia. — Svetlana Boym, The Future of Nostalgia In a recent essay1 meant to introduce to western readers the theme of the transformational change in Chinese society over the last fifty years, the novelist Yu Hua (who held the esteemed title of “writer in residence” at Beijing Normal University’s International Writing Center before Alai) first offers a series of mini- narratives, some news reporting and others personal anecdotes, of the new life in China, covering areas such as housing and digital money, and then he goes on to describe how a “mood of nostalgia” has swept through the country. Two kinds of people are the hardest hit by nostalgia, according to Yu Hua, those of the poor who yearn for the simpler and more equitable past because they have reaped few benefits from waves of economic prosperity, and those of the successful who constantly worry about the status of their newly accumulated wealth, ill-gotten or otherwise, and wish they could start over. -
Films and Videos on Tibet
FILMS AND VIDEOS ON TIBET Last updated: 15 July 2012 This list is maintained by A. Tom Grunfeld ( [email protected] ). It was begun many years ago (in the early 1990s?) by Sonam Dargyay and others have contributed since. I welcome - and encourage - any contributions of ideas, suggestions for changes, corrections and, of course, additions. All the information I have available to me is on this list so please do not ask if I have any additional information because I don't. I have seen only a few of the films on this list and, therefore, cannot vouch for everything that is said about them. Whenever possible I have listed the source of the information. I will update this list as I receive additional information so checking it periodically would be prudent. This list has no copyright; I gladly share it with whomever wants to use it. I would appreciate, however, an acknowledgment when the list, or any part, of it is used. The following represents a resource list of films and videos on Tibet. For more information about acquiring these films, contact the distributors directly. Office of Tibet, 241 E. 32nd Street, New York, NY 10016 (212-213-5010) Wisdom Films (Wisdom Publications no longer sells these films. If anyone knows the address of the company that now sells these films, or how to get in touch with them, I would appreciate it if you could let me know. Many, but not all, of their films are sold by Meridian Trust.) Meridian Trust, 330 Harrow Road, London W9 2HP (01-289-5443)http://www.meridian-trust/.org Mystic Fire Videos, P.O. -
The Translation and Dissemination of Alai's Works in the English
The Translation and Dissemination of Alai’s Works in the English-Speaking World Ji Jin (Suzhou University) Abstract: Alai’s works are known for their mysterious and mystical Tibetan stories, which have drawn great interest from the Western world. His important works have enjoyed high quality translations and received positive feedback from the English-speaking world. In particular, the translations by Howard Goldblatt and his wife capture the aesthetic quality of the original works, allowing readers a unique aesthetic experience. However, it is undeniable that translation is constrained by ideology, which influences the texts of translation, and even makes the works of Alai objects of ideological imagination, which in a way diminishes the textual significance and authorial intention of the original works. Only when we fully respect heterogeneous literature, and the translational ethics of cultural values, allowing contemporary Chinese literature and world literature to communicate and strengthen each other can we highlight the unique value of Chinese literature, and enrich the discursive space of the republic of world letters. Keywords: Works of Alai, English translations, ideology Within the contexts of the contemporary Chinese literary world, Alai is not a prolific writer. However, from the internal perspective of an ethnic minority, he has successfully deployed a subtle tone, a light and Zen-infused style in order to chant ecological epics taking place in a Tibet posited between history and reality, tradition and modernity, and nation and country, presenting the cultural charms of Tibet along with its vicissitudes and hardships, thus creating a unique writing style that stands out against the context of the Chinese-majority literature. -
I Abstract Writing the Margin: Sinophone Macau Literature of The
Abstract Writing the Margin: Sinophone Macau Literature of the pre-postcolonial era, 1987-1999 Rosa Falcão Trigoso Vieira de Almeida 2018 This dissertation examines Sinophone Macau literature in the context of the formation of a new local literary field during the years preceding the 1999 handover of sovereignty from Portugal to China. I argue that Sinophone Macau literature of this period has made use of its cultural and politico-economic marginality in order to navigate its peripheral position in a newly reintegrated Chinese nation. My aim is to show how the Sinophone Macau literary field developed the particular resources it needed to leverage marginality to its own advantage, coming up with innovative ways with which to productively engage with the past colonial narrative as well as find its place within the future postcolonial moment. This study examines marginality as a resource for an under- resourced margin and presents the marginal location not as a condition to be overcome but as a strategic state of being to be capitalized upon. Considering Macau peripherality to stem in part from its colonization by a minor European nation, the first two chapters together relate the city’s Sinophone literature of the transition era to late Portuguese colonial discourse. Chapter One examines Portuguese anthropological texts, helping to situate Macau literary narratives, both Lusophone and Sinophone, within the context of larger discussions on the Macanese Eurasian mestiço. Chapter Two argues that a narrative of Eurasian extinction has been a crucial mode in which to articulate belonging in the i literary spaces of Macau, both stabilizing Macanese nativity and also aiding in the development of a new Macau Sinitic subjecthood. -
Sinophone Cinemas This Page Intentionally Left Blank Sinophone Cinemas
Sinophone Cinemas This page intentionally left blank Sinophone Cinemas Edited by Audrey Yue The University of Melbourne, Australia and Olivia Khoo Monash University, Australia Introduction, selection and editorial matter © Audrey Yue and Olivia Khoo 2014 Individual chapters © Contributors 2014 Foreword © Shu-mei Shih 2014 Softcover reprint of the hardcover 1st edition 2014 978-1-137-31119-1 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2014 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries.