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De Receptie En Evolutie Van Postmodernisme in China Een Onderzoek Naar Chinees Postmodernisme Als Historische Ervaring En

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De Receptie En Evolutie Van Postmodernisme in China Een Onderzoek Naar Chinees Postmodernisme Als Historische Ervaring En Academiejaar 2008-2009 De receptie en evolutie van postmodernisme in China Een onderzoek naar Chinees postmodernisme als historische ervaring en esthetisch complex in de symboliek van Zhu Wens 朱文 grootstedelijke fictie Verhandeling voorgelegd aan de Faculteit der Letteren en Wijsbegeerte, tot het behalen van de graad van Master in de Oosterse Talen En Culturen Door: Tess Vonck Promotor: Prof. dr. Bart Dessein 1 INHOUDSTAFEL WOORD VOORAF ............................................................................................................................................. 4 INLEIDING ........................................................................................................................................................ 5 HOOFDSTUK ÉÉN .............................................................................................................................................. 9 EEN ALGEMENE INLEIDING TOT POSTMODERNISME ........................................................................................ 9 1.1.TERMINOLOGISCHE INCONSISTENTIE: WAT IS POSTMODERNISME? .............................................................................. 10 1.1.1. Kunst en literatuur. .............................................................................................................................. 10 1.1.2. Cultuur. ................................................................................................................................................ 11 1.1.3. Filosofie. .............................................................................................................................................. 12 1.1.4. Socio-economisch: postmoderniteit. ................................................................................................... 13 1.2. DE EVOLUTIE VAN POSTMODERNISME: VAN ESTHETISCH COMPLEX TOT MONDIALE TEGENCULTUUR. .................................. 14 1.2.1.Vroeger: Europa en Amerika. ............................................................................................................... 14 1.2.2.Mondiaal postmodernisme. ................................................................................................................. 15 1.3.OVERZICHT. .................................................................................................................................................... 16 HOOFDSTUK TWEE ......................................................................................................................................... 23 DE BETEKENIS VAN POSTMODERNISME IN CHINA .......................................................................................... 23 2.1. INLEIDING. ..................................................................................................................................................... 24 2.2. TERMINOLOGISCHE EN HISTORISCHE AFBAKENING. ................................................................................................. 24 2.2.1. Houxiandai en houxiandaixing. ........................................................................................................... 26 2.2.2. houxiandai zhuyi. ................................................................................................................................ 27 2.2.2.1. Impact van het Jamesoniaans postmodernisme. .......................................................................................... 27 2.2.2.2. De Chinese interpretatie. ............................................................................................................................... 28 2.2.3. Hou xin shiqi en Zhongguoshi houxiandai zhuyi. ................................................................................ 29 2.2.3.1. Politieke, economische en culturele context. ................................................................................................ 29 2.2.3.2. Een gesiniseerde vorm van postmodernisme? .............................................................................................. 32 2.2.3.3. Hou shehui zhuyi. .......................................................................................................................................... 33 2.3. POSTMODERNE FICTIE IN CHINA. ........................................................................................................................ 35 2.3.1. De evolutie van Chinese postmoderne fictie in een notedop. ............................................................. 35 2.3.2. Xin shiqi- literatuur (1976-1989). ........................................................................................................ 38 2.3.2.1. Politiek-culturele context. .............................................................................................................................. 38 2.3.2.2. De experimentele generatie (1985-). ............................................................................................................. 42 A. Aanloop. ............................................................................................................................................................ 42 B. Stilistische revolutie: van ‘l’Art pour l’art’ tot ‘deconstructie’. ......................................................................... 44 C. Culturele kritiek: van trauma tot ironie. ........................................................................................................... 46 2.3.3. Hou xin shiqi-literatuur (1989-). .......................................................................................................... 47 2.3.3.1. Socio-politieke en culturele context. ............................................................................................................. 47 2.3.3.2. De situatie van literatuur in de jaren negentig. ............................................................................................. 49 A. Consumentisme en dushi xiaoshuo. ................................................................................................................. 49 B. Het Wang Shuo - syndroom. ............................................................................................................................. 51 C. De nieuwe (late) stedelijke generatie. .............................................................................................................. 54 2 HOOFDSTUK DRIE ........................................................................................................................................... 72 EEN ONDERZOEK NAAR CHINEES POSTMODERNISME ALS HISTORISCHE ERVARING EN ESTHETISCH COMPLEX IN DE SYMBOLIEK VAN ZHU WENS 朱文 GROOTSTEDELIJKE FICTIE. ................................................................ 72 3.1. INLEIDING. ..................................................................................................................................................... 73 3.2. METHODOLOGIE. ............................................................................................................................................ 74 3.3.BIOGRAFIE. ..................................................................................................................................................... 76 3.3.1. Zhu Wen als mens en product van de hou xin shiqi. ........................................................................... 76 3.3.2. Zhu Wen als postmodernist en stille rebel. ........................................................................................ 79 3.4. DE METALINGUÏSTIEK VAN EEN STILLE REBEL. ......................................................................................................... 82 3.4.1. Xin zhuangtai: een postmoderne deconstructie. ................................................................................. 82 3.4.1.1. Het concept ‘Tijd’: een multidimensionele benadering. ............................................................................... 83 3.4.1.2. Afwezigheid van het ‘Zelf’. ............................................................................................................................. 87 3.4.2. China noir: de post- utopische stadsmens in beeldspraak. ................................................................. 88 3.4.2.1. Het beeld van Nanjing . ................................................................................................................................. 90 3.4.2.2. Wuyao renwu 无要人物 (anoniem persoon). ............................................................................................... 93 3.4.2.3. Xingzou 行走 (rondslenteren): een zinnebeeldige dwaaltocht. .................................................................... 96 3.4.2.4. Leegte en sleur. .............................................................................................................................................. 98 3.4.3. Een persiflage van het Beloofde Land. .............................................................................................. 100 3.4.3.1. Geli 隔离 (isolatie), gudu 孤独 (eenzaamheid) en fengkuang 疯狂(paranoia). ........................................... 102 3.4.3.2. Quti de yuwang 躯体的欲望 (lichamelijke begeerte). ............................................................................... 105 3.4.3.3. Meiyuan 美元 (De dollar). .......................................................................................................................... 107 CONCLUSIE ..................................................................................................................................................
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