Literature Opens a Door on China
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Submitted for the Phd Degree at the School of Oriental and African Studies, University of London
THE CHINESE SHORT STORY IN 1979: AN INTERPRETATION BASED ON OFFICIAL AND NONOFFICIAL LITERARY JOURNALS DESMOND A. SKEEL Submitted for the PhD degree at the School of Oriental and African Studies, University of London 1995 ProQuest Number: 10731694 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 10731694 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 A b s t ra c t The short story has been an important genre in 20th century Chinese literature. By its very nature the short story affords the writer the opportunity to introduce swiftly any developments in ideology, theme or style. Scholars have interpreted Chinese fiction published during 1979 as indicative of a "change" in the development of 20th century Chinese literature. This study examines a number of short stories from 1979 in order to determine the extent of that "change". The first two chapters concern the establishment of a representative database and the adoption of viable methods of interpretation. An important, although much neglected, phenomenon in the make-up of 1979 literature are the works which appeared in so-called "nonofficial" journals. -
Mo Yan and Chinese Pastoral Literature
English Language, Literature & Culture 2016; 1(4): 53-57 http://www.sciencepublishinggroup.com/j/ellc doi: 10.11648/j.ellc.20160104.13 ISSN: 2575-2367 (Print); ISSN: 2575-2413 (Online) Mo Yan and Chinese Pastoral Literature Eyup Saritas Department of Chinese Language and Literature, Istanbul University, Istanbul, Turkey Email address: [email protected] To cite this article: Eyup Saritas. Mo Yan and Chinese Pastoral Literature. English Language, Literature & Culture. Vol. 1, No. 4, 2016, pp. 53-57. doi: 10.11648/j.ellc.20160104.13 Received: September 1, 2016; Accepted: November 3, 2016; Published: January 5, 2017 Abstract: Novel laureate in literature since 2012, the prominent Chinese novelist Mo Yan was born and raised in a village in the province of Shandong. His works are often themed on rural life. Contrary to the case in Turkey, researches on rural life in China have advanced on a continuous basis since the 20s of the 20th century in China. This can be explained with the fact that primarily Mo Yan and Jia Pingwa, as prominent novelists in China, never stopped writing on villages, villagers and inner world of peasants that endeavoured to lead the life in the city as they did back in the village. In this brief research study, we try to discuss in what way Mo Yan touched on the pastoral literature in his works. Keywords: Mo Yan, Pastoral Literature, Red Sorghum, China that were born and studied in the village. 1. Introduction Pastoral Literature in China has a very special place in In the long history of agricultural civilization, literature has Chinese literature. -
An Analysis of the Magical Beauty in One Hundred Years of Solitude and Its Influence on Chinese Literature
Frontiers in Educational Research ISSN 2522-6398 Vol. 4, Issue 7: 56-61, DOI: 10.25236/FER.2021.040711 An Analysis of the Magical Beauty in One Hundred Years of Solitude and Its Influence on Chinese Literature Hui Han School of Foreign Language, Hubei University of Arts and Science, Xiangyang City, China Abstract: One Hundred Years of Solitude is the most representative work of magic realism in the literature created by Colombian writer Gabriel Garcia Marquez, and it is a dazzling pearl in magic realism literature. Marquez used magical techniques to describe the tortuous and legendary experiences of several generations of the Buendia family in the small town. Through the refraction of the magical realm, it indirectly reflects the history of Latin America and the cruel real life, and expresses people's desire for independence and stability. Compared with other Western literary schools, magic realism is one of the literary schools that have a profound influence on the development of modern and contemporary Chinese literature. This article mainly analyzes the magical beauty of One Hundred Years of Solitude and its influence on Chinese literature through magic realism. Keywords: magic realism, One Hundred Years of Solitude, root-seeking literature 1. Introduction Magic realism originated in Latin America. From the 1950s to the 1970s, Latin American literature had an amazing and explosive breakthrough. A series of masterpieces came out, and various literary schools came into being. Among the numerous literary schools, the most important is undoubtedly magic realism, which occupies a very important position in the contemporary world literary world. The publication of "One Hundred Years of Solitude" brought the literary creation of magic realism to the peak and caused an explosive sensation in the world literary world. -
Chinese Literature in the Second Half of a Modern Century: a Critical Survey
CHINESE LITERATURE IN THE SECOND HALF OF A MODERN CENTURY A CRITICAL SURVEY Edited by PANG-YUAN CHI and DAVID DER-WEI WANG INDIANA UNIVERSITY PRESS • BLOOMINGTON AND INDIANAPOLIS William Tay’s “Colonialism, the Cold War Era, and Marginal Space: The Existential Condition of Five Decades of Hong Kong Literature,” Li Tuo’s “Resistance to Modernity: Reflections on Mainland Chinese Literary Criticism in the 1980s,” and Michelle Yeh’s “Death of the Poet: Poetry and Society in Contemporary China and Taiwan” first ap- peared in the special issue “Contemporary Chinese Literature: Crossing the Bound- aries” (edited by Yvonne Chang) of Literature East and West (1995). Jeffrey Kinkley’s “A Bibliographic Survey of Publications on Chinese Literature in Translation from 1949 to 1999” first appeared in Choice (April 1994; copyright by the American Library Associ- ation). All of the essays have been revised for this volume. This book is a publication of Indiana University Press 601 North Morton Street Bloomington, IN 47404-3797 USA http://www.indiana.edu/~iupress Telephone orders 800-842-6796 Fax orders 812-855-7931 Orders by e-mail [email protected] © 2000 by David D. W. Wang All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses’ Resolution on Permissions constitutes the only exception to this prohibition. The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences— Permanence of Paper for Printed Library Materials, ANSI Z39.48-1984. -
Your Paper's Title Starts Here
Advances in Social Science, Education and Humanities Research, volume 123 2nd International Conference on Education, Sports, Arts and Management Engineering (ICESAME 2017) Comparative study on Jia Pingwa and Mo Yan’s narrative perspective--Taking Jia Pingwa’s Ruined Capital and Mo Yan’s Big Breasts & Wide Hips as the example Wei Li Xi'an International University, Xi'an 710077, Shaanxi, China Keywords: Jia Pingwa, Mo Yan, narrative perspective. Abstract. Jia Pingwa's novels and Mo Yan's novels have similarities in the narrative perspective, but also different, but more than the same. Jia Pingwa's novels are mainly based on the narrative of "scattered thinking", and the use of the "third-person perspective". Mo Yan’s novels use "self-centered thinking" and use "composite perspective". The novels of the two have "non - state narrative perspective", and in this way the modern civilization and human nature "alienation" made a profound criticism and reflection. Introduction Jia Pingwa and Mo Yan in the narrative strategy of the novel are consciously seeking change, continue to explore, their narrative art of classical Chinese literature and Western modern literature narrative art to make their novels have achieved high artistic achievements. Mo Yan won the Nobel Prize for Literature, one of the important reasons is that he in the narrative art and realistic care level to the Western literary readers to show the height of the Chinese writers reached. Jia Pingwa's novel also shows his personal artistic characteristics and height. In the novel narrative perspective, Jia Pingwa and Mo Yan's novels are different, but more than the same. -
Shaanxi Shows the Write Stuff
20 | Monday, August 5, 2019 LIFE CHINA DAILY HONG KONG EDITION Shaanxi shows the write stuff The 29th National Book Expo held in China’s northwest, highlighted local literary legends, national history and the sciences, Mei Jia reports in Xi’an. he undoubted star of the 29th National Book Expo, which was held in Xi’an, Shaanxi province, from TJuly 27 to Tuesday, was writer Jia Pingwa. He drew a big crowd of fans, with his name being called out wherever he turned during the fourday event. Visitors are drawn to the goldfish kept in an open wooden barrel The Shaanxi native says, with a at the Palace Museum. PHOTOS BY JIANG DONG / CHINA DAILY local accent, that he is working on a new novel with urban settings and themes. “Most of my stories are about vil lages or villagers around the Qin Goldfish set to make ling Mountains, or the differences in thought between generations of Chinese people throughout a cen a splash at Forbidden tury … I’ve been living in the city for decades. It’s time to look at city life,” the 67yearold author said at a City century later readers’ meeting organized by the Writers Publishing House at the book expo. By WANG KAIHAO into an annual routine for major “I insist that a writer stays con [email protected] goldfish ponds around Beijing to nected (with society), while still send the best fish from their newly enjoying some solitude and keep During the Qing Dynasty (1644 cultivated breeds to the imperial ing a certain distance from the hus 1911), several royal concubines garden in the Forbidden City. -
The Dialect and Cultural Implications of Jia Pingwa's Shaanxi Opera and the Ruined City Tie Li School of Foreign Studies, Xi'an University, 710065
Advances in Computer Science Research (ACSR), volume 73 7th International Conference on Education, Management, Information and Computer Science (ICEMC 2017) The Dialect and Cultural Implications of Jia Pingwa's Shaanxi Opera and the Ruined City Tie Li School of Foreign Studies, Xi'an University, 710065 Keywords: Jia Pingwa; Shaanxi Opera; Ruined City; Dialect; Cultural implications Abstract: The value of literary works is largely related to the language of literature. Language is the foundation of literature. Jia Pingwa's Shaanxi Opera and Ruined City are excellent literary works where it is easy to find that a large number of Shaanxi dialect language is interspersed, which has an important significance in the embodiment of Shaanxi folk culture and the background of the central content. The biggest feature of Shaanxi Opera and Ruined City is the usage of Shaanxi dialect, which is also a brilliant innovation in the two literary works. It is no doubt that Shaanxi Opera and Ruined City are excellent literary works with the value of appreciation and research. This paper makes an interpretation of the dialects used in the two works of Shaanxi Opera and Ruined City, and analyzes the literary and artistic value of dialect language in the two works. Introduction of the Author’S Life and Works Jia Pingwa is a famous contemporary provincial writer from Sanqin land. Most of his masterpieces are based on the rural life Sanqin land. This is related to his childhood experience with his parents living in rural Shaanxi. As Jia Pingwa's mother is Shangluo people, cultural influence since childhood leads to Jia Pingwa's works with a thick Shaanxi dialect, especially Shangluo dialect. -
Writing Oneself As a Writer: Intellectual Identity and Moral Agency in Contemporary Chinese Novels Fang-Yu Li Washington University in St
Washington University in St. Louis Washington University Open Scholarship Arts & Sciences Electronic Theses and Dissertations Arts & Sciences Summer 8-15-2015 Writing Oneself as a Writer: Intellectual Identity and Moral Agency in Contemporary Chinese Novels Fang-yu Li Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/art_sci_etds Part of the East Asian Languages and Societies Commons Recommended Citation Li, Fang-yu, "Writing Oneself as a Writer: Intellectual Identity and Moral Agency in Contemporary Chinese Novels" (2015). Arts & Sciences Electronic Theses and Dissertations. 556. https://openscholarship.wustl.edu/art_sci_etds/556 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: Lingchei Letty Chen, Chair Robert E. Hegel, Co-Chair J. Dillon Brown Rebecca Copeland Zhao Ma Marvin Howard Marcus Writing Oneself as a Writer: Intellectual Identity and Moral Agency in Contemporary Chinese Novels by Fang-yu Li A dissertation presented to the Graduate School of Arts & Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy August 2015 St. Louis, Missouri © 2015, Fang-yu Li Table of Contents Acknowledgments.......................................................................................................................... iv ABSTRACT OF THE DISSERTATION ...................................................................................... vi Chapter 1: Writing Oneself as a Writer: Writer-Intellectuals and Narrative Identity.................... -
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. -
A Flower in a Pile of Cow Dung Yang Yi’S Chinese Narratology and Narrative Structure in Jia Pingwa
Leiden University Faculty of Humanities A Flower in a Pile of Cow Dung Yang Yi’s Chinese Narratology and Narrative Structure in Jia Pingwa Name: Stijn Thomas Wijker Date: 16/09/2018 Word count: 24.202 1st supervisor: Prof. dr. Maghiel van Crevel 2nd supervisor: Prof. dr. Ivo Smits MASTER'S THESIS Specialization: Asian Studies (ResMA) Academic year: 2018-2019 E-mail address: [email protected] Table of Contents INTRODUCTION AND METHODOLOGY 2 1. LITERATURE REVIEW 4 Jia Pingwa: life and work 9 Critical reception of The Lantern Bearer 11 2. CHINESE NARRATIVE STRUCTURE ACCORDING TO YANG YI 15 Different approaches to narrative structure 16 Concepts: dao and ji 20 The function of narrative 23 From historiography to fiction 24 The influence of historiography on Chinese fictional narrative structure 26 Fundamental components of narrative structure 28 Sequence 30 Connections 33 Contrasts 37 3. CLOSE READING OF THE LANTERN BEARER 41 Sequence: chronological recording of daily routines 41 Connections: white dogs, human-faced spiders and trees 42 Contrasts: a flower in a pile of cow dung 49 CONCLUSIONS AND SUGGESTIONS FOR FURTHER RESEARCH 57 BIBLIOGRAPHY 59 1 Introduction and Methodology In 1997, Yang Yi 杨义 1 (b. 1946) published his groundbreaking Chinese Narratology (中国叙事 学, 1998), in which he expounded his ideas about a Chinese narratology that developed and manifests itself separately from Western narratology. Although this pioneering work signifies an important shift in the development of narratology in China, the work has received very little attention in the West (Shang Biwu 2014: 4), and it deserves more. -
Rendering the Regional
Rendering the Regional Rendering the Regional LOCAL LANGUAGE IN CONTEMPORARY CHINESE MEDIA Edward M.Gunn University of Hawai`i Press Honolulu Publication of this book was aided by the Hull Memorial Publication Fund of Cornell University. ( 2006 University of Hawai`i Press All rights reserved Printed in the United States of America 111009080706654321 Library of Congress Cataloging-in-Publication Data Gunn, Edward M. Rendering the regional : local language in contemporary Chinese media / Edward M. Gunn. p. cm. Includes bibliographical references and index. ISBN 0-8248-2883-6 (alk. paper) 1. Language and cultureÐChina. 2. Language and cultureÐTaiwan. 3. Popular cultureÐChina. 4. Popular cultureÐTaiwan. I. Title. P35.5.C6G86 2005 306.4400951Ðdc22 2005004866 University of Hawai`i Press books are printed on acid-free paper and meet the guidelines for permanence and durability of the Council on Library Resources. Designed by University of Hawai`i Press Production Staff Printed by The Maple-Vail Book Manufacturing Group Contents List of Maps and Illustrations /vi Acknowledgments / vii A Note on Romanizations /ix Introduction / 1 1 (Im)pure Culture in Hong Kong / 17 2 Polyglot Pluralism and Taiwan / 60 3 Guilty Pleasures on the Mainland Stage and in Broadcast Media / 108 4 Inadequacies Explored: Fiction and Film in Mainland China / 157 Conclusion: The Rhetoric of Local Languages / 204 Notes / 211 Sources Cited / 231 Index / 251 ±v± List of Maps and Illustrations Figure 1. Map showing distribution of Sinitic (Han) Languages / 2 Figure 2. Map of locations cited in the text / 6 Figure 3. The Hong Kong ®lm Cageman /42 Figure 4. Illustrated romance and pornography in Hong Kong / 46 Figure 5. -
A Survey of Contemporary Literature of China's West
A Survey of Contemporary Literature of China’s West Chen Hong East China Normal University, Shanghai he notion of the contemporary West China literature originated in the 1980s when in 1982, the literary magazine Yang Guan proposed to start Dunhuang Arts as a particular school of literary and artistic works. In 1983, poets and critics in Gansu and TXinjiang were engaged in discussions of the emergent New Frontier Poetry. In 1984, critics such as Sun Keheng and Tang Qi pointed out that the newly emerging “West poetry” is a “new-type literature of locality.”1 After the screening of Wu Tianming’s feature filmLife , adapted from the novel by Lu Yao, critics discerned convergences of the movie and the American Western films, and proposed the concepts of the Chinese Western films2. Such an overflow of keenness on the West China’s literary landscape was almost like a sandstorm overwhelming the West China, or in fact the whole country. Writers and critics responded with a passion that was close to a frenzy. The influential literary journalContemporary Art Thoughts published in 1985 a special issue entitled A Forum on West China’s Literature. In the same year in July the Literature Associations of the 5 provinces in the North-west, in conjunction with relevant film studios and local literature associations convened the First Conference on the Arts in West China in the frontier city, Yining of Xinjiang. Since then, the notion of West China literature was officially established, incurring active writing and criticism nationwide. 1 Sun Keheng, An Anthology of the Contemporary New Poetry in China’s West (Lanzhou, Gansu People’s Publishing House, 1986) 32 2 He Chungeng, “The Sun Rises from the West: on the Birth and Development of China’s Western Movies” in Tang Du Academic Journal, No.