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Fragmenting Modernisms

China Studies

Edited by

Glen Dudbridge
Frank Pieke

VOLUME 24

The titles published in this series are listed at brill.com/CHS

Fragmenting Modernisms

Chinese Wartime Literature, Art, and Film, 1937–49

By

Carolyn FitzGerald

•

LEiDEnꢀ ꢀbOStOn
2013

Cover illustration: Ye Qianyu, “Stage Set,” from the 1940 sketch-cartoon series Wartime Chongqing. Library of Congress Cataloging-in-Publication Data FitzGerald, Carolyn. ꢁFragmenting modernisms : Chinese wartime literature, art, and film, 1937-49 / by Carolyn FitzGerald. ꢁꢁpages cm. — (China studies ; v. 24) ꢁincludes bibliographical references and index. ꢁiSbn 978-90-04-25098-7 (hardback : alk. paper) — iSbn 978-90-04-25099-4 (e-book)ꢀ 1.ꢀChinese literature—20th century—History and criticism.ꢀ2.ꢀSino-Japanese War, 1937–1945—Literature and the war.ꢀ3.ꢀSino-Japanese War, 1937–1945—Art and the war.ꢀ 4.ꢀChina—History—Civil War, 1945–1949—Literature and the war.ꢀ5.ꢀChina—History— Civil War, 1945–1949—Art and the war.ꢀ6.ꢀMotion pictures—China—History—20th century.ꢀ 7.ꢀArt, Chinese—20th century.ꢀ8. ꢀModernism (Literature)—China.ꢀ9.ꢀModernism (Art)— China.ꢀi. title.

ꢁPL2302.F58 2013 ꢁ895.1’09005—dc23
2013003681

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iSSn 1570-1344 iSbn 978-90-04-25098-7 (hardback) iSbn 978-90-04-25099-4 (e-book)

Copyright 2013 by Koninklijke brill nV, Leiden, the netherlands. Koninklijke brill nV incorporates the imprints brill, Global Oriental, Hotei Publishing, iDC Publishers and Martinus nijhoff Publishers.

All rights reserved. no part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher.

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COntEntS

  • List of illustrationsꢀ.......................................................................................
  • vii

  • xi
  • Acknowledgmentsꢀ .......................................................................................

introductionꢁOut of the Ashes: towards a Wartime Aesthetics

  • of Dissolutionꢀ...........................................................................................
  • 1

31
Chapter OneꢁA Sonnet in an Air-Raid Shelter: Mu Dan and the new Lyricismꢀ............................................................................................

Chapter twoꢁintersections between Cartoon and national Art:

  • Ye Qianyu’s Search for the Sinicized Cartoonꢀ ...............................
  • 79

Chapter threeꢁWang Zengqi’s Collection of Chance Encounters:

  • the Shifting Essence of the Wartime Short Storyꢀ ........................
  • 125

Chapter Fourꢁbetween Forgetting and the Repetitions of Memory: Fei Mu’s Aesthetics of Desolation in Spring

  • in a Small Townꢀ .......................................................................................
  • 169

217 265

Chapter FiveꢁFei Ming’s After Mr. Neverwas Rides a Plane:

Wartime Autobiography as Historyꢀ ..................................................
EpilogueꢁSearching for Roots: Modernist Echoes in the
Post-Mao Eraꢀ............................................................................................

  • bibliographyꢀ ..................................................................................................
  • 299

  • 313
  • indexꢀ................................................................................................................

Plate Section
LiSt OF iLLUStRAtiOnS
Fig. 1.1ꢁPhotograph of Wen Yiduo listening to a student reciting poetry during a February 1945 field trip to the town of Lunan.

Photograph from Lianda: A Chinese University in War and

Revolution, by John israelꢀ ........................................................................... 33
Fig. 1.2ꢁPhotograph of Lianda students and teachers marching

to Kunming. Photograph from Lianda: A Chinese University in

War and Revolution, by John israelꢀ ......................................................... 37
Fig. 1.3ꢁnational Changsha temporary University Hunan—
Guizhou-Sichuan traveling Corps arrives in the city of Kunmingꢀ.......................................................................................................... 38
Fig. 2.1ꢁnational Cartoon Propaganda Corps member Zhang Leping painting a wall mural of soldiers (1938)ꢀ................................................ 80
Fig. 2.2ꢁtruck covered in cartoon propaganda, used to accompany dramatic performances promoting the cause of resistance (1938)ꢀ............................................................................................ 80
Fig. 2.3ꢁPhotograph of Ye Qianyu (left) with Yue Yiqin (right) in front of the propaganda poster, “Four Heroes of the Air Force”ꢀ......................................................................................................... 83
Fig. 2.4ꢁYe Qianyu, illustrated cover of first edition of
Resistance Cartoons, January 1938ꢀ ........................................................... 85
Fig. 2.5ꢁYe Qianyu, “Living for Hatred,” illustrated cover of
Resistance Cartoons, March 15, 1938ꢀ .................................. Plate Section
Fig. 2.6ꢁGeorge McManus, “bringing up Father,”
Feb. 10, 1935ꢀ................................................................................................
Fig. 2.7ꢁYe Qianyu, “Quitting Alcohol,” from his cartoon strip
Mr. Wangꢀ.....................................................................................................
Fig. 2.8ꢁYe Qianyu, “Abandon the Civilian Life, Join the Army,”
Xin dongxiang 2.10 (30 June 1939)ꢀ ......................................................
Fig. 2.9ꢁYe Qianyu, “Stage Set,” from the 1940 sketch-cartoon series Wartime Chongqingꢀ......................................................................
Fig. 2.10ꢁYe Qianyu, “the Artery of transportation in the
Hinterland,” from Wartime Chongqingꢀ...............................................
Fig. 2.11ꢁYe Qianyu, “After Exhaustive bombing,” from Wartime
Chongqingꢀ....................................................................................................
87 88 90 94 96 97

viii

list of illustrations

Fig. 2.12ꢁYe Qianyu, “new Appreciation for Antiques,” from
Wartime Chongqingꢀ................................................................................... 100
Fig. 2.13ꢁYe Qianyu, “Frontline at Shatian,” from his 1942 sketch-cartoon series Escape from Hong Kongꢀ ................................. 103
Fig. 2.14ꢁYe Qianyu, “inspection,” from Escape from
Hong Kongꢀ.................................................................................................... 104
Fig. 2.15ꢁYe Qianyu, “Leaving Kowloon,” from Escape from
Hong Kongꢀ.................................................................................................... 105
Fig. 2.16ꢁYe Qianyu, “the Road to Free China,” from Escape from
Hong Kongꢀ.................................................................................................... 106
Fig. 2.17ꢁYe Qianyu, Cock fi ght, 1942 painting produced using watercolor painting and taijiang leather paperꢀ ........... Plate Section
Fig. 2.18ꢁYe Qianyu, “in a Miao Village in Guizhou,” sketch-cartoon produced during his visit to Guizhou in 1942ꢀ ........................................................................................................... 110
Fig. 2.19ꢁZhang Daqian, 1942 copy of wall painting of buddha image in the Mogao Cavesꢀ................................................... Plate Section
Fig. 2.20ꢁZhang Daqian, 1942 copy of Dunhuang wall painting of saint image of West Wei in the Mogao Cavesꢀ.......... Plate Section
Fig. 2.21ꢁYe Qianyu, “Drum of the Yao People,” 1944 sketch of Dai Ailian performing a regional minority danceꢀ ... Plate Section
Fig. 2.22ꢁYe Qianyu, Indian Dance, 1945 oil painting based on his sketches of indian women performing the buddhist “Dance of the Offering of Flowers.”ꢀ................................... Plate Section
Fig. 2.23ꢁYe Qianyu, Indian Dance Pose, 1948 oil paintingꢀ................................................................................ Plate Section

Fig. 2.24ꢁYe Qianyu, Dance of the O f fering of Flowers, 1949

oil paintingꢀ................................................................................ Plate Section

Fig. 2.25ꢁZhang Daqian, Dance of the O f fering of Flowers,

1949 oil painting based on Ye Qianyu’s sketches of indian dancersꢀ ......................................................................... Plate Section
Fig. 2.26ꢁYe Qianyu, “Large Painting table,” from his 1945 sketch-cartoon series Six Portraits of Zhang Daqianꢀ....................... 117
Fig. 2.27ꢁYe Qianyu, “Painting a beard with a beard,” from
Six Portraits of Zhang Daqianꢀ................................................................. 118
Fig. 2.28ꢁMaurits Cornelis Escher, 1948 lithograph,
“Drawing Hands”ꢀ........................................................................................ 119
Fig. 2.29ꢁYe Qianyu, “Comprehensive Scene within Four Meters,” from Six Portraits of Zhang Daqianꢀ...................................................... 120

list of illustrations

ix

Fig. 4.1ꢁYuwen walks daily along the ruins of the city wall in
Spring in a Small Townꢀ............................................................................. 172
Fig. 4.2ꢁ1948 advertisement for Spring in a
Small Townꢀ................................................................................ Plate Section
Fig. 4.3ꢁYuwen and Liyan watch Zhichen leave at the end of
Spring in a Small Townꢀ............................................................................. 179
Fig. 4.4ꢁAdvertisement for Fei Mu’s 1940 film
Confuciusꢀ.................................................................................... Plate Section
Fig. 4.5ꢁAdvertisement for China’s first color production,

Fei Mu’s 1948 film Regret that Surpasses Life and Death

(translated here as A Wedding in the Dream)ꢀ................ Plate Section
Fig. 4.6-4.8ꢁFei Mu positions the camera behind
Liyan’s bed curtain to film Zhichen’s shadow as he enters Liyan’s bedroomꢀ......................................................................................... 201
Fig. 4.9ꢁLong take of Yuwen and Zhichen with a chicken walking in the foregroundꢀ....................................................................................... 205
Fig. 4.10ꢁA sickly Liyan sits in the bombed ruins of his home in
Spring in a Small Townꢀ............................................................................. 209
Fig. 6.1ꢁYe Qianyu, “Jiang Qing Pulls out my tendons by imperial
Edict,” from his 1987 sketch-cartoon series Ten Years of an Absurd Dreamꢀ ............................................................................................. 275
Fig. 6.2ꢁYe Qianyu, “the End of the Qing Dynasty, Leaving behind Childhood,” from his 1993 sketch-cartoon series An Old Brush Recalls Childhoodꢀ............................................................. 275
Fig. 6.3ꢁYe Qianyu, “i am in You, You are in Me, May 1983,
Ye Qianyu, Mr. Wang together.”ꢀ........................................................... 277
Fig. 6.4ꢁYe Qianyu, “He is in Me, i am in Him,” 1987ꢀ.... Plate Section Fig. 6.5ꢁWang Zengqi on a return visit to his hometown of
Gaoyou during the late 1980sꢀ ................................................................ 279
ACKnOWLEDGMEntS this book has been a very long time in the making, and numerous people have aided me in every conceivable way throughout the process of writing and research. First, i am grateful to my doctoral advisor Lydia H. Liu, who encouraged me to follow my interest in wartime culture and in the writings of Wang Zengqi, and whose scholarship has in many ways inspired my research. David Rolston provided meticulous and lucid corrections, guidance, advice, and suggestions. in particular, i am indebted to Jin Feng for her willingness to read ongoing drafts and different versions of my chapters and give me insightful feedback on them. thanks as well to Miranda brown for her constructive critique and encouragement. Other readers whose advice and suggestions i greatly benefited from include Jason McGrath, Alina Clej, Shuen-fu Lin, Chris berry, Xiaobing tang, ben Ridgway, Jing Jiang, Desmond Cheung, Linda FitzGerald, and Qiang ning. in addition, Paul Sorrell meticulously copy-edited my manuscript, and Cynthia Col did an excellent job of compiling the index. Finally, i am indebted to Yi-tsi Feuerwerker for her superb teaching and mentoring.
Scholars in China were also instrumental in helping me complete my research. Su Guanxin, Wen Liming, Xie Zhixi, Qian Liqun, Liu Dong, Wu Xiaodong, and Zhang Yongjie shared with me some of their extensive knowledge of wartime culture. in addition, they helped me access archives, locate books, and in many cases generously gave me books they felt would be helpful for my research. Also, Feng Yaoping kindly shared with me many of her memories of wartime Kunming.
At the University of Michigan, i greatly benefited from the help of
Mr. beni at the international institute and Calvin Hsu, formerly of the Asia Library. At Stanford’s Hoover Archives Cissie Hill enabled me to find lots of useful materials. in addition, this project was made possible by generous funding from a Fulbright Grant, a Chiang Ching-kuo Dissertation Fellowship, and a Rackham One-term Dissertation Fellowship.
Since coming to Auburn University four years ago, i have been very fortunate to be recipient of an Auburn University College of Liberal Arts semester release from teaching and a summer grant. i am particularly grateful to my colleagues Makiko Mori, Morris bian, and Samia Spencer for their encouragement and feedback on several chapter drafts and on

xii

acknowledgments

my book proposal. Moreover, Makiko Mori was of great assistance in taking over department responsibilities while i was on research leave.
At brill, Qin Higley, Matt Kawecki, Katie Chin, Yoona Wagener, Rachel
Crofut, and tom begley have been extremely patient and helpful in answering my many questions and guiding me through the process of preparing my manuscript for publication. Also, i would like to express my deep appreciation to the two anonymous reviewers of my manuscript whose comments and suggestions were tremendously helpful in giving me a new perspective on my manuscript.
Portions of Chapter Four were previously published under the title

“Spring in a Small Town—Gazing at Ruins,” in Chris berry, ed., Chinese

Films in Focus 2. Grateful acknowledgment is given to the british Film institute for granting permission to reprint this material. Stanford University Press gave permission to publish two photos from John israel’s

Lianda: A Chinese University in War and Revolution. King Features Syn-

dicate allowed the reproduction of the Feb. 10, 1935 edition of George McManus, “bringing up Father.”
Above all, i would like to thank my family for their unflagging encouragement and support throughout the process of researching and writing this book. i dedicate this book to my family.

intRODUCtiOn

OUt OF tHE ASHES: tOWARDS A WARtiME AEStHEtiCS OF DiSSOLUtiOn

Critiquing what he saw as the failure of many modern short stories to portray a reality inherently marked by chaos and uncertainty, in his essay “the Essence of the Short Story” (Duanpian xiaoshuo de benzhi 短篇小

说

的本质; 1947), Wang Zengqi 汪曾祺 (1920–97) wrote:

Life is scattered, not organized in a clear progression, filled with coincidence, with thousands of possible beginnings and tens of thousands of potential outcomes. there has never been a person for whom every second of life equates to the paragraphs, sentences, words, punctuation, or empty spaces in fiction—but, preeminently, writers of novels brazenly ignore this situation.1

As a result of his dissatisfaction with fiction organized around neat and well-defined plots, Wang advocated that the short story should instead borrow from other genres: “We are willing that the short story resemble poetry, the essay, or drama. Or if it doesn’t resemble anything, that’s fine, so long as it doesn’t seem too much like a short story.”2
Wang’s rejection of linear plots and his criticism of the inadequacy of the short story in capturing “scattered” (sanman 散漫) wartime realities echoed similar sentiments voiced by other writers and artists during China’s War of Resistance against Japan (1937–45)3 and the ensuing Chinese Civil War (1945–49). in her essay “Days and nights of China” (Zhongguo de riye 中国的日夜; 1946), written as an epilogue for her 1946 edition of Romances (Chuanqi 传奇), Eileen Chang 张爱玲 (1920–95) described her sense of the transiency of life, wherein “not only will hopes turn to

1 Wang Zengqi, “Duanpian xiaoshuo de benzhi,” in Zhong Jingwen 钟敬文 and Deng

Jiuping 邓九平, eds., Wang Zengqi quanji 汪曾

祺全集 (Complete Works of Wang Zengqi),
8 vols. (beijing: beijing shifan daxue, 1998), iii: 22.
2 ibid., pp. 27–28. 3 Although Japanese troops had occupied Manchuria since 1931, it is generally agreed that the War of Resistance did not officially begin until July 7, 1937 after Japanese troops attacked the Marco Polo bridge outside beijing in what is referred to as the “Marco Polo bridge incident” (Lugouqiao shibian 卢沟桥事变) or the “July 7 incident” (Qi qi shibian 七七事变). this study will only look at works produced following the outbreak of fullscale war.

2

introduction

ash, but anything and everything one touches will ultimately crumble to nothingness.”4 Similarly, in “Out of the Ashes” (Jinyu lu 烬余录; 1944), Chang criticized historians for writing teleological, thematically determined historical narratives and thereby producing fiction instead:

this thing we call reality is unsystematic, like seven or eight talking machines playing all at once in a chaos of sound, each singing its own song. From within that incomprehensible cacophony, however, there sometimes happens to emerge a moment of sad and luminous clarity, when the musicality of a melody can be heard, just before it is engulfed once more by layer after layer of darkness, snuffing out this unexpected moment of lucidity. Painters, writers, and composers string together these random and accidentally discovered moments of harmony in order to create artistic coherence. When history insists on the same sort of coherence, it becomes fiction. the reason that H.G. Wells’s [1866–1946] Outline of History cannot stand as a proper history is that it is a little too rationalized, chronicling as it does the struggle between the individual and the group from start to finish.5

While Chang draws from musical imagery here in her description of the “incomprehensible cacophony” of reality and the “musicality of a melody” of artistic coherence, in many of her other wartime writings she crossed generic divisions between popular fiction, the essay, drama, and film.
As in the case of Wang and Chang, the chaos of the war years served as the impetus for cross-generic formal experimentation in art and literature as intellectuals searched for a language to express chaotic wartime realities. the aim of this study is to analyze this aesthetic response to the turbulence of war during the War of Resistance and Chinese Civil War. in particular, this book examines developments in wartime modernism, focusing on its high degree of formal looseness, or what Shu-mei Shih has describedasthe“aestheticsofdissolution,”ablurringofboundariesbetween popular and elite and Chinese and Western culture, as well as among genres, styles, and narrative points of view.6 Further, by contextualizing

4ꢀEileen Chang, “Epilogue: Days and nights of China,” in nicole Huang, ed., and Andrew Jones, tr., Written on Water (new York: Columbia University Press, 2004), p. 216; Zhang Ailing, Chuanqi zengding ben 传奇增订本 (Romances, Enlarged Edition; Shanghai: Shanhe tushu gongsi, 1946), p. 391.
5ꢀAndrew Jones translates the title of this essay as “From the Ashes.” See Eileen Chang,
“From the Ashes,” in Written on Water, pp. 39–40; Zhang Ailing, “Jin yulu,” in Qian Liqun

钱理群, ed., Ershi shiji Zhongguo xiaoshuo lilun ziliao 二十世纪中国小说

理论资料

(twentieth-century Fiction theory Materials; beijing: beijing daxue, 1997), pp. 248–49.

6ꢀSee Shu-mei Shih, The Lure of the Modern: Writing Modernism in Semicolonial China,

1917–1937 (berkeley: University of California Press, 2001), p. 383; also see Shih’s epilogue, “Later Modernisms: the War Years and beyond,” pp. 379–85.

out of the ashes

3

the study of modernism within the history of the war period and wartime intellectuals’ writings on the topic of form, this book illustrates how such aesthetic fluidity was a product of the violence and displacement of the war years. the War of Resistance was a particularly tumultuous and bloody chapter in modern Chinese history. the number of deaths resulting from the war is difficult to calculate since no formal population census was taken before it began, but estimates range from between 10 and 37 million.7 Following the outbreak of full-scale war on July 7, 1937, widespread displacement ensued and tens of millions of people fled from urban coastal cities to the southwest and to Hong Kong.8 in the wake of the War of Resistance, China was once again thrown into turmoil when civil war between the nationalists and the Chinese Communist Party (CCP) raged from 1945 to 1949.
Although the War of Resistance brought about tremendous destruction, prior to this period China was racked by ongoing war and repeated foreign invasions throughout most of the nineteenth and early decades of the twentieth century. Since the Opium War of 1839 and the subsequent ceding of Hong Kong to the british, China had been forced to give territorial and jurisdictional rights to britain, France, Japan, Russia, Germany, Portugal, and the United States. As a result of semi-colonial occupation, an influx of Western culture fostered the development of a kind of “translingual” modernity born out of the exchange between foreign and native

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  • The Dialectics of Virtuosity: Dance in the People's Republic of China

    The Dialectics of Virtuosity: Dance in the People's Republic of China

    The Dialectics of Virtuosity: Dance in the People’s Republic of China, 1949-2009 by Emily Elissa Wilcox A dissertation submitted in partial satisfaction of the requirements for the degree of Joint Doctor of Philosophy with the University of California, San Francisco in Medical Anthropology of the University of California, Berkeley Committee in charge: Professor Xin Liu, Chair Professor Vincanne Adams Professor Alexei Yurchak Professor Michael Nylan Professor Shannon Jackson Spring 2011 Abstract The Dialectics of Virtuosity: Dance in the People’s Republic of China, 1949-2009 by Emily Elissa Wilcox Joint Doctor of Philosophy with the University of California, San Francisco in Medical Anthropology University of California, Berkeley Professor Xin Liu, Chair Under state socialism in the People’s Republic of China, dancers’ bodies became important sites for the ongoing negotiation of two paradoxes at the heart of the socialist project, both in China and globally. The first is the valorization of physical labor as a path to positive social reform and personal enlightenment. The second is a dialectical approach to epistemology, in which world-knowing is connected to world-making. In both cases, dancers in China found themselves, their bodies, and their work at the center of conflicting ideals, often in which the state upheld, through its policies and standards, what seemed to be conflicting points of view and directions of action. Since they occupy the unusual position of being cultural workers who labor with their bodies, dancers were successively the heroes and the victims in an ever unresolved national debate over the value of mental versus physical labor.
  • The New Development of Contemporary Food Writing and The

    The New Development of Contemporary Food Writing and The

    Journal of Contemporary Educational Research Review Article The New Development of Contemporary Food Writing and the Value of Chinese Courses Qiuhong Zhu* School of Teacher Education of Nanjing Normal University, Nanjing, Jiangsu, 210000, China Abstract: Delicacy is one significant theme of literary and “Han Xizai evening banquet” painted by Gu Hong and artistic creation. Since the 1980s, excellent delicacy in its cup bowl to get inspiration. Also, he wanted to writing industry has become an important part of check again “Tokyo Wei Menghua record”, “Capital Chinese teaching in middle schools. Since the beginning Jisheng”, “the west lake old man numerous wins of the new century, the carrier of food writing has record”, “dream Liang Lu” and “wulin old things”[2]. In changed from the literal one to full-view video, audio- Wang Zengqi’s food prose, he is persistent in tracing the visual television documentaries. The essence of new origin of food and exploring its historical background. form of contemporary food writing does not change; it In order to introduce the cutting enjoys a dish, all the still implies the meticulous and warm humanistic care. relevant statements, which are written in “the analects The value of it in Chinese courses still has much room of Confucius, Jia Sixie’s Qiminyaoshu, the Tokyo to expand. recorded” Wei Menghua, works, “cut photographs resort Mid-Autumn festival enjoys” and Du Fu “Wen Keywords: Food literature, New changes, Chinese township ginger seven fewer government set Kuai play courses value a gift long song, twang-ching-shih” him, unitary Yang Publication date: January, 2020 impurity leather, should be displayed one by one.
  • DAF Media Release Neal and Massy Foundation

    DAF Media Release Neal and Massy Foundation

    MEDIA RELEASE NEAL & MASSY FOUNDATION SUPPORTS THE DAI AILIAN FOUNDATION The Neal & Massy Foundation is the first local organisation to support the Dai Ailian Foundation. The Dai Ailian Foundation was formed last year to honour and 7 St. Ann’s Road promote the life and work of Dai Ailian who was born in Trinidad in 1916 and is St. Ann’s Trinidad, W.I. internationally acclaimed and highly revered in the People’s Republic of China. (868) 624-7150 The International Theatre Institute, Paris, France, will honour Madam Dai in their th 30 Anniversary publication for International Dance Day at UNESCO this year. One of the Dai Ailian Foundation’s objectives is to offer performing arts scholarships and two young dancers, Juan Pablo Alba Dennis from Port of Spain, and Seon Nurse from Laventille, were awarded 1-year dance scholarships at the prestigious Beijing Dance Academy in Beijing, the People’s Republic of China, commencing last September and finishing July 2012. The Dai Ailian Foundation is proud of these two young men – the Beijing Dance Academy is impressed with their talent and application to work and Juan Pablo and Seon are enjoying their learning and cultural experiences while at the same time being great Trinidad and Tobago ambassadors. The Neal & Massy Foundation, formed in 1979, is a very successful Non- Government Organisation that practices good corporate social responsibility by their support of numerous projects and annual grants to charitable organisations such as the Dai Ailian Foundation. The Dai Ailian Foundations sincerely thanks the Neal & Massy Foundation for their support on behalf of the two scholarship winners.
  • Magisterarbeit

    Magisterarbeit

    MAGISTERARBEIT Titel der Magisterarbeit „Kontextualisierte Betrachtung des Modellstücks Das rote Frauenbataillon als sinisiertes Hybridprodukt vor dem Hintergund der chinesischen Modernisierungsanstrengungen― Verfasserin Bakk. phil. Ulrike Kniesner angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2010 Studienkennzahl lt. Studienblatt: A 066 811 Studienrichtung lt. Studienblatt: Sinologie Betreuerin: Univ.- Prof. Dr. Susanne Weigelin-Schwiedrzik Meiner Schwester i Inhaltsverzeichnis 1 EINLEITUNG .......................................................................................................... 1 2 EXKURS: TANZ IN CHINA ................................................................................... 18 2.1 HISTORISCHER RÜCKBLICK ................................................................................................ 22 2.2 WESTLICHER IMPORT DES EURPÄISCHEN BÜHNENTANZES NACH CHINA: DIE CHINESISCHE TANZSZENE IN DER ERSTEN HÄLFTE DES 20. JAHRHUNDERTS ................................................. 25 2.2.1 Wu Xiaobang und Dai Ailian – Pioniere des Zeitgenössischen Tanzes in China ................ 29 2.3 TANZ IN CHINA UNTER MAO ZEDONG ............................................................................... 30 2.3.1 Kulturrevolutionäre Modelle an vorderster Front: Die Jahre 1966-1976 .............................. 35 2.4 TENDENZEN IM TANZ IN CHINA HEUTE: VON DEN 80ERN INS 21. JAHRHUNDERT ................ 39 3 TANZ UND POLITIK ............................................................................................
  • A Study of the Modern Chinese Magazine Literary Renaissance

    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.
  • Willi Soukop Interviewed by Andrew Lambirth

    Willi Soukop Interviewed by Andrew Lambirth

    NATIONAL LIFE STORIES ARTISTS’ LIVES Willi Soukop Interviewed by Andrew Lambirth C466/29 This transcript is copyright of the British Library Board. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB 020 7412 7404 [email protected] This transcript is accessible via the British Library’s Archival Sound Recordings website. Visit http://sounds.bl.uk for further information about the interview. © The British Library Board http://sounds.bl.uk IMPORTANT Access to this interview and transcript is for private research only. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB 020 7412 7404 [email protected] Every effort is made to ensure the accuracy of this transcript, however no transcript is an exact translation of the spoken word, and this document is intended to be a guide to the original recording, not replace it. Should you find any errors please inform the Oral History curators ( [email protected] ) © The British Library Board http://sounds.bl.uk The British Library National Life Stories Interview Summary Sheet Title Page Ref no: C466/29/01 Digitised from cassette originals Collection title: Artists’ Lives Interviewee’s surname: Soukop Title: Interviewee’s forename: Willi Sex: male Occupation: Artist Dates: 1907 - 1995 Dates of recording: 02.11.1994 Location of interview: Artists’ home Name of interviewer: Andrew Lambirth Type of recorder: Marantz CP430 Recording format: D60 Cassette F numbers of playback cassettes: F4620 Total no.
  • Food Writing of Tang Lusun and Wang Zengqi

    Food Writing of Tang Lusun and Wang Zengqi

    Stakes of Authentic Culinary Experience: Food Writing of Tang Lusun and Wang Zengqi Rui Kunze* ABSTRACT Tang Lusun (唐魯孫, 1908-1985) and Wang Zengqi (汪曾祺, 1920-1997) pro- duced their food writing in the form of familiar essays, respectively, in the late martial law period of Taiwan (the 1970s and 1980s) and the early reform era of China (the 1980s and 1990s). This article examines their essays, especially those on Republican Beijing (Beiping) and wartime Kunming, to explore how narratives of autobiographical, individual culinary experience can develop into sharable or comparable social experience addressing the historical rupture of 1949. Shifting the focus of the theoretical notion of authenticity from the self to the individual’s phenomenal perception and the contested arena of social communication con- cerning historical memory, this article shows that literary practices such as the generic feature of the I-narrator in the familiar essay, the textual construction of chronotopes of food, and (re)publications across the Taiwan Strait have shaped and reshaped “authentic culinary experience” in their texts in response to changing power structures, social interests, and affective needs of the reader. KEYWORDS experience, food, authenticity, chronotope, memory Ex-position, Issue No. 43, June 2020 | National Taiwan University DOI: 10.6153/EXP.202006_(43).0006 Rui KUNZE, Research Fellow, Institute of Sinology, University Erlangen-Nuremberg, Germany 109 In his 1936 book My Country My People, essayist Lin Yutang (1895-1976) states: “No food is really enjoyed unless it is keenly anticipated, discussed, eaten and then commented upon” (319). This highlights culinary experience as the result of the interplay among multiple practices centering upon food: expectations and imagi- nation of the food before the act of eating, and description and evaluation after- Ex-position wards that produce a narrative of the experience.