scholarly journals Of Emptiness and Revolution

Prism ◽  
2020 ◽  
Vol 17 (1) ◽  
pp. 35-56
Author(s):  
Yiju Huang
Keyword(s):  
Dominant Mode ◽  
Buddhist Philosophy ◽  
Literary Studies ◽  
Close Reading ◽  
Lu Xun ◽  
May Fourth Movement ◽  
Wild Grass ◽  
Fourth Movement ◽  
Modern Chinese ◽  
Wide Range

Abstract Lu Xun 魯迅 (1881–1936) has remained a most prominent figure in modern Chinese literary studies, but not so in modern Buddhism scholarship. This article shows the interlacing of Lu Xun's revolutionary vision with Buddhism on three primary terrains: his indebtedness to his teacher Zhang Taiyan 章太炎 (1868–1936), his immersion in a wide range of Buddhist texts before the May Fourth movement, and a close reading of selected poems from Yecao 野草 (Wild Grass) in light of Buddhist philosophy. The author argues that Yogācāra conceptions promoted by Zhang, wanfa weixin 萬法唯心 (all phenomena are nothing but mind), bushi 佈施 (the bodhisattva ideal of sacrificial giving), and kong 空 (emptiness as boundless potentiality), greatly influenced Lu Xun's aesthetics. Ultimately, this article shows how revolution, the dominant mode of secularism, is theistically conditioned. The Buddhist notion of emptiness, rather than an impediment to modernity, informs the worldly action of revolution and the phenomenal possibility of change.

scholarly journals The Cultural Spirit of the “May Fourth Movement” and Lu Xun’s Ambivalent Thinking

2021 ◽  
Vol 13 (3) ◽  
pp. 368-382
Author(s):  
Fugui Zhang ◽  
Keyword(s):  
Chinese Culture ◽  
Deep Understanding ◽  
Chinese Society ◽  
Lu Xun ◽  
May Fourth Movement ◽  
Logical Connection ◽  
Fourth Movement ◽  
History Of ◽  
May Fourth ◽  
The May Fourth Movement

The “May Fourth Movement” is undoubtedly a turning point in the history of modern Chinese society and culture. It must be acknowledged that the direction of development of Chinese culture was largely influenced by famous Chinese writer, educator and revolutionary Lu Xun (1881–1936). The structure of Lu Xun’s ideas and the influence of Lu Xun’s ideas today have shaped the ever-living “Lu Xun’s culture”. The main essence of Lu Xun’s culture is embodied in many important judgments regarding the development of the nation, society and culture. These judgments are aimed not only at the past, but also at the future and the present. Many of his thoughts were a century ahead their time. Speaking about Lu Xun’s anti-traditionalist approach to the development of new culture, one cannot ignore the rationalistic cultural spirit of the enlightenment ideology behind it. Lu Xun’s pessimism at the beginning of the “May Fourth Movement” and the subsequent bitterness can serve as a key to understanding the cultural spirit of the “May Fourth Movement” and its logical connection with Lu Xun’s culture. Analyzing Lu Xun’s criticism of China’s unrealized democracy and his skepticism about the new culture, one can see that Lu Xun’s inner mood is shrouded in a shadow of disappointment. Moreover, until the end of his days, he was accompanied by pain caused by too sober and deep perception of life. In addition, the reason for Lu Xun’s distrust is that too often, due to his decency and simplicity, he was deceived. We believe that the spiritual world of Lu Xun has always been characterized by the presence of two levels: Lu Xun is open, throwing loud calls, and Lu Xin is hidden, suffering and lonely. At the same time, his inherent sharpness stems from a deep understanding of the situation, and his bitterness comes from a firm will and an uncompromising attitude to his views. The reason for such bitterness is due to the strength and immensity of the objects of his resistance. Lu Xun’s views have enriched the thinking of China and all mankind.

May Fourth and Postwar Hong Kong’s Leftist Cantonese Cinema

2019 ◽  
pp. 75-101
Author(s):  
Jing Jing Chang
Keyword(s):  
Hong Kong ◽  
Golden Age ◽  
Film Adaptations ◽  
Close Reading ◽  
May Fourth Movement ◽  
Fourth Movement ◽  
Ba Jin ◽  
May Fourth ◽  
Film Productions ◽  
The May Fourth Movement

Chapter 3 examines the legacy of the May Fourth Movement in the context of postwar Hong Kong’s golden age of cinema. It argues that the May Fourth project was an unfinished one and was carried forward by progressive Cantonese filmmakers who were the torchbearers of its ideology. This chapter focuses on the careers of left-leaning filmmakers such as Ng Cho-fan, one of the founders of the Union Film Enterprise Ltd., and their emergence as postwar Hong Kong’s new cultural elites. Through a close reading of Union’s film adaptations of the Ba Jin trilogy, Family (Jia, dir. Ng Wu, 1953), Spring (Chun, dir. Lee Sun-fung, 1953), and Autumn (Qiu, dir. Chun Kim, 1954), this chapter demonstrates the transformative nature of the moral message of postwar Hong Kong’s cultural elites. Not only did left-leaning film talent repurpose core tenets of May Fourth, they also sought to reinterpret the spirit of vernacular modernism for the colony’s audiences through their film productions. Although May Fourth precepts were brought to Hong Kong by China’s nanlai cultural elites and leftwing film talents, the May Fourth spirit underwent a creative translingual appropriation during the 1950s as local Hong Kong leftwing companies such as the Union and Xinlian emerged.

Communist War Stories

1963 ◽  
Vol 13 ◽  
pp. 139-157 ◽  
Author(s):  
Li Chi
Keyword(s):  
Chinese Literature ◽  
Modern Chinese Literature ◽  
Linguistic Features ◽  
May Fourth Movement ◽  
Fourth Movement ◽  
Modern Chinese ◽  
Conscious Effort ◽  
Vast Literature ◽  
New Beginnings ◽  
War Stories

Modern Chinese literature, which I date from the deliberate new beginnings made at the time of the May Fourth movement, is distinguished by its conscious effort at Europeanisation, which is in itself a catchall term embracing a whole assembly of themes and techniques, images and linguistic features taken and adopted from the vast literature beyond the seas and vaguely and often incorrectly designated as European. To be European was in fact simply to be non-traditional Chinese.

scholarly journals THE TRANSCULTURAL SEMANTICS IN THE WORKS BY JIN YONG

2019 ◽  
pp. 200-212
Author(s):  
V. V. Seligey
Keyword(s):  
Hong Kong ◽  
Martial Arts ◽  
Literary Studies ◽  
May Fourth Movement ◽  
Chinese Tradition ◽  
The Third ◽  
Fourth Movement ◽  
Jin Yong ◽  
China Mainland ◽  
Sense Of Justice

The works by Chinese Hong Kong writer Jin Yong (1924-2018) fare in the focus of Chinese readers’ attention as the exemplified wu-xia literature. His novels only recently became the object of literary studies within China, and are seen as an alternative to the literary discourse founded by the May Fourth Movement. The article is focused on the transcultural qualities of his prose. Though the imagery and background in his works are distinctly ancient Chinese, embodying the genre principle ancient clothing“’, a lot of techniques, including plot development, characters’ traits are highly reminiscent of Western literature, namely the works by A. Dumas and Shakespearean drama. The Chinese component in the work by Jin Yong is defined as threefold. The first and the most easily noticed is the language, drastically different from China mainland official Putonghua or Mandarin, seen as a complicated sometimes to eccentricity mixture of baihua and wenyan, the lively bright and colorful idiom literally breathing the Chinese tradition. The second component is defined by the titular wu-xia genre. The necessary core of Jin Yong’s novels imagery is the ethics and aesthetics of Chinese legendary “river and lake” chivalric society, with its strong and straightforward sense of justice, martial arts, romance, mysticism and complicated political intrigues. The third component is represented by the vast dialogue with the Chinese canon, from the ancient chronicles to the pre-modern novels such as “The Dream of the Red Chamber’’. It can take the form of creative rethinking and character modernization, almost always with distinct irony.

scholarly journals Agents of May Fourth. Jing Yinyu, Xu Zhongnian, and the Early Introduction of Modern Chinese Literature in France

2020 ◽  
Author(s):  
Paolo Magagnin
Keyword(s):  
Chinese Literature ◽  
Modern Chinese Literature ◽  
Pivotal Role ◽  
May Fourth Movement ◽  
Early Introduction ◽  
Fourth Movement ◽  
Political Experience ◽  
Modern Chinese ◽  
Ideological Stance ◽  
May Fourth

Jing Yinyu (1901-1931?) and Xu Zhongnian (1904-1981) played a pivotal role in the dissemination of modern Chinese literature in France at the turn of the 1930s. Best known as Lu Xun’s first translator into a Western language and a friend of Romain Rolland’s, Jing compiled the Anthologie des conteurs chinois modernes in 1929. In his Anthologie de la littérature chinoise. Des origines à nos jours, published in 1932, Xu also devoted a section to recent literary developments. By analyzing the nature of the two projects, the translated corpora, and their paratexts, I will describe the features of Jing’s and Xu’s dissemination of May Fourth literature in France and scrutinize their artistic and ideological stance vis-à-vis the new literary scene. Ultimately, I will attempt to pinpoint in what terms the two scholars-cum-translators’ agency contributed to foreign readers’ awareness of the cultural, social and political experience of the May Fourth Movement.

Witness Against History: Literature, Film, and Public Discourse in Twentieth Century China. By Yomi Braester. [Stanford: Stanford University Press, 2003. 264+xii pp. ISBN 0-8047-4792-X.]

2004 ◽  
Vol 179 ◽  
pp. 813-815
Author(s):  
Chris Berry
Keyword(s):  
Twentieth Century ◽  
Public Discourse ◽  
Chinese Culture ◽  
Stanford University ◽  
May Fourth Movement ◽  
Fourth Movement ◽  
Modern Chinese ◽  
May Fourth ◽  
Literature And Film ◽  
The May Fourth Movement

Do not be fooled by the modest, precise, and careful tone of Yomi Braester's prose. In Witness Against History, he makes a powerful contribution to the transformation of scholarship on modern Chinese culture. In recent years, scholars such as Leo Ou-fan Lee and David Der-wei Wang have argued that the focus on the May Fourth movement has been too singular, obscuring important schools and authors that do not fit that agenda. Braester takes this argument home to May Fourth culture and its inheritors in literature and film. This work has been assumed to uphold the standard of modernity as nationalism, realism, rationalism, and humanism. This makes it part of a larger reform or revolution effort to reinsert China into “history,” understood as Hegelian progress. Braester understands the shock of the modern new as trauma, and this is reflected in all the works he has chosen.

„Raps“

POETICA ◽  
2020 ◽  
Vol 50 (3-4) ◽  
pp. 282-313
Author(s):  
Robert Stockhammer
Keyword(s):  
Climate Change ◽  
Present Article ◽  
Subject Matter ◽  
Literary Studies ◽  
Close Reading ◽  
Literary Traditions ◽  
Man And Nature ◽  
Cultivated Plant ◽  
Materiality Of Language

Abstract The recent controversy about the possibility of defining a new geological era called ‘Anthropocene’ has far-ranging consequences. The new notion forces us to rethink the dichotomy between the entities formerly referred to as men and nature and to conceive of their relation as an interrelation. The relevance of these considerations for literary studies is not limited to the anthropocene as a subject matter of literature, or to the possible use of literature as a means of enhancing the reader’s awareness of climate change. Rather, what is at stake is the relation of language to the new interrelation between man and nature, including the poetical and metalinguistic functions that emphasize the materiality of language. The present article explores the relation between the materiality of language and the materiality of things by way of a close reading of a single poem written by Marcel Beyer. Devoted to the cultivated plant rape, the literary traditions which this poem invokes reach beyond nature lyrics into georgic. An excursus recalls this genre of agriculture poetry and distinguishes it from pastoral, especially with regard to its use of language.

Celiac Disease in Kosovar Albanian Children: Evaluation of Clinical Features and Diagnosis

2020 ◽  
Vol 16 (3) ◽  
pp. 241-247
Author(s):  
Atifete Ramosaj-Morina ◽  
Alije Keka-Sylaj ◽  
Arbana Baloku Zejnullahu ◽  
Lidvana Spahiu ◽  
Virgjina Hasbahta ◽  
...  
Keyword(s):  
Celiac Disease ◽  
Disease Onset ◽  
Clinical Manifestations ◽  
Gastrointestinal Symptoms ◽  
Dominant Mode ◽  
Primary School Children ◽  
Cross Sectional ◽  
Classical Form ◽  
Wide Range ◽  
The Mean

Background: Celiac disease is an immune-mediated disorder characterized by variable clinical manifestations, specific antibodies, HLA-DQ2/DQ8 haplotypes, and enteropathy. Objectives: The aim of this study was to present the clinical spectrum and patterns of celiac disease in Kosovar Albanian children. Methods: A cross-sectional retrospective study was performed with Albanian children aged 0-18 years, treated for celiac disease in the Pediatric Clinic, University Clinical Center of Kosovo from 2005 to 2016. Results: During the study period, 63 children were treated for celiac disease. The mean age at diagnosis was 5.5 years (SD ± 3.31). The mean age at celiac disease onset was 3.3 years (SD ± 2.02), while the mean delay from the first symptoms indicative of celiac disease to diagnosis was 2.2 years (SD ± 2.09). More than 70% of the patients were diagnosed in the first 7 years of life, mainly presented with gastrointestinal symptoms, while primary school children and adolescents mostly showed atypical symptoms (p<0.001). The classical form of celiac disease occurred in 78% of the cases. Sixty (95%) patients carried HLA-DQ2.5, DQ2.2 and/or HLA-DQ8 heterodimers, and only three of them tested negative. Conclusions: Kosovo, as the majority of developing countries, is still facing the classical form of celiac disease as the dominant mode of presentation; as a result, most children with other forms of the celiac disease remain undiagnosed. : Physicians should be aware of the wide range of clinical presentations and utilize low testing thresholds in order to prevent potential long-term problems associated with untreated celiac disease.

Reading Beyond the Code

2018 ◽  
Keyword(s):  
Relevance Theory ◽  
Literary Studies ◽  
The Novel ◽  
Human Communication ◽  
Communicative Acts ◽  
Face To Face ◽  
Code Model ◽  
Wide Range ◽  
Central Claim

This book explores the value for literary studies of relevance theory, an inferential approach to communication in which the expression and recognition of intentions plays a major role. Drawing on a wide range of examples from lyric poetry and the novel, nine of the ten chapters are written by literary specialists and use relevance theory both as an overall framework and as a resource for detailed analysis. The final chapter, written by the co-founder of relevance theory, reviews the issues addressed by the volume and explores their implications for cognitive theories of how communicative acts are interpreted in context. Originally designed to explain how people understand each other in everyday face-to-face exchanges, relevance theory—described in an early review by a literary scholar as ‘the makings of a radically new theory of communication, the first since Aristotle’s’—sheds light on the whole spectrum of human modes of communication, including literature in the broadest sense. Reading Beyond the Code is unique in using relevance theory as a prime resource for literary study, and is also the first to apply the model to a range of phenomena widely seen as supporting an ‘embodied’ conception of cognition and language where sensorimotor processes play a key role. This broadened perspective serves to enhance the value for literary studies of the central claim of relevance theory: that the ‘code model’ is fundamentally inadequate to account for human communication, and in particular for the modes of communication that are proper to literature.

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