scholarly journals Wielka sztuka niewielkiego narodu: Polska na tle kontaktów literackich Chin z Europą Środkowo-Wschodnią

2021 ◽  
pp. 255-272
Author(s):  
Karolina Galewska
Keyword(s):  
Chinese Literature ◽  
Cultural Exchange ◽  
Formative Period ◽  
Modern Chinese Literature ◽  
Comprehensive Description ◽  
Polish Literature ◽  
Intellectual Elite ◽  
Polish Version ◽  
History Of ◽  
China Today

In 2020, Wydawnictwo Akademickie Dialog published the Polish version of Chiny i Europa Środkowo-Wschodnia. Historia kontaktów literackich (China and Central and Eastern Europe. The History of Literary Contacts) by Chinese literary scholars: Ding Chao and Song Binghui. The book is part of the series Historia Kontaktów Literackich między Chinami a Zagranicą (The History of China’s Foreign Literary Contacts) which aims to become a comprehensive description of China’s cultural exchange with other countries. Volume 17 is devoted to China’s relationships with Albania, Bosnia and Herzegovina, Bulgaria, Croatia, Czechia, Estonia, Hungary, Lithuania, Latvia, Montenegro, North Macedonia, Poland, Romania, Serbia, Slovakia and Slovenia. In this group, Poland occupies one of the central positions due to, among other, a high interest in Polish history among Chinese intellectual elite of the early twentieth century and among the reformers of Chinese literature in that period. The article discusses the sources of the popularity of Polish themes in the formative period of modern Chinese literature and the reception of Polish literature in China today. It also attempts to familiarise the readers with the themes studied by the researchers, the goals they set for themselves and the methods they used to achieve them, and presents the benefits of publishing the book in Polish.

scholarly journals Love Fiction in China in the Second Decade of the 20 th Century: from Sentiments to Duck-Lovebirds and Butterflies

2021 ◽  
Vol 6 (1) ◽  
pp. 88-103
Author(s):  
Natalia V. Zakharova
Keyword(s):  
Short Stories ◽  
Chinese Literature ◽  
Previous Literature ◽  
Modern Chinese Literature ◽  
Literary Movement ◽  
Modern Chinese ◽  
History Of

The article analyzes the evolution of Chinese love fiction in the first years that followed the 1911 Xinhai revolution. The article focuses on literature representing “couples in love,” namely fiction about “duck-lovebirds and butterflies,” an invariant of the “love prose” genre. The authors of these works both continued the traditions of the previous literature and at the same time attempted at modernizing the genre. Chinese literary scholars have controversial opinions about this genre and its invariants. Controversies concern the literary movement to which these works should be attributed, and the place of the genre in the history of Chinese literature. The founder of modern Chinese literature, Lu Xin, gave a negative assessment of this genre. Modern critics agree that fiction about “duck-lovebirds and butterflies” has poor aesthetic merits yet they also argue that the authors “created an objective picture of reality, expressed different views and opinions.” By the 1920s, the vogue for writing novels and short stories in the style of “duck-lovebirds and butterflies” had waned. This genre however gained a new surge in popularity in the mid-1940s thanks to Zhang Eileen who modernized Chinese love fiction.

scholarly journals LITERACY AND IDENTITY: FROM LIM KIM HOK, AND KHO PING HO TO THE CONTEMPORARY INDONESIAN LITERATURE

2021 ◽  
Vol 10 (2) ◽  
pp. 77
Author(s):  
Zulfikar RH Pohan
Keyword(s):  
Martial Arts ◽  
Chinese Literature ◽  
Cultural Exchange ◽  
New Order ◽  
Nation State ◽  
Cultural Institutions ◽  
Chinese Education ◽  
Ethnic Chinese ◽  
Old Order ◽  
History Of

The history and progress of Indonesian literature become a piece of authentic evidence for ethnic Chinese. Both of them can exert influence on contemporary Indonesian literature at large. It can be seen in the history of Indonesian literacy, romance, martial arts stories (Cerita silat), and Chinese literary writing styles which are still used nowadays. This shows how ethnic Chinese education and Hybrid (Malay-Chinese) in Indonesia have developed rapidly. Before this country was formed into a nation-state with cultural institutions, ethnic Chinese had undergone literary expressions. Moreover, culture at that time was widely accepted for Malay nations, Java, Balinese, etc. Conversely, many identity challenges and contestation during Dutch colonial, Old Order, and New Order pressed the ethnic Chinese in various ways. In addition, this can be understood as a part of cultural exchange. Hence, Indonesian literature is currently strongly influenced by the contact of Malay and Chinese literature.

A Short History of Modern Chinese Literature

Books Abroad ◽  
1961 ◽  
Vol 35 (4) ◽  
pp. 393
Author(s):  
John L. Bishop ◽  
Ting Yi
Keyword(s):  
Chinese Literature ◽  
Modern Chinese Literature ◽  
Short History ◽  
Modern Chinese ◽  
History Of

The Columbia History of Chinese Literature. Edited by Victor Mair. [New York: Columbia University Press, 2001. 1,342+xxiv pp. $75.00; £52.50. ISBN 0-231-10984-9.]

2004 ◽  
Vol 178 ◽  
pp. 535-536
Author(s):  
Bernhard Fuehrer
Keyword(s):  
New York ◽  
Chinese Literature ◽  
Modern Chinese Literature ◽  
Columbia University ◽  
Theory And Criticism ◽  
General Readership ◽  
History Of ◽  
Literature History ◽  
The Impact ◽  
Philosophical Writings

Following his Columbia Anthology of Traditional Chinese Literature (1994) and the Shorter Columbia Anthology of Traditional Chinese Literature (2000), the Columbia History of Chinese Literature intends to complement these two widely used readers. Edited by Victor H. Mair, the 55 chapters of this single-volume history of Chinese literature are chronologically arranged with thematic chapters interspersed. Indeed, a closer look at the chapters reveals that the book at hand follows the traditional dictum of wen shi zhe bu fenjia, i.e. that literature, history and philosophy should not be separated but regarded as one field of studies. Hence the scope of this history goes far beyond the scope of what is traditionally subsumed under the heading of literature. In addition to the topics (all genres and periods of poetry, prose, fiction, and drama) that one expects in a book of this sort, wit and humour, proverbs and rhetoric, historical and philosophical writings, classical exegesis, literary theory and criticism, traditional fiction commentary, as well as popular culture, the impact of religion upon literature, the role of women, and the relationship with non-Chinese languages and peoples (ethnic minorities, Korea, Japan, Vietnam) feature as topics of individual chapters.Most of the chapters are written by leading specialists in those areas and are highly informative as well as concisely presented. Moreover, a number of chapters are thought-provoking enough to inspire questions that may lead towards a more focused research on hitherto neglected or less well-documented topics. In this sense, The Columbia History of Chinese Literature may also be perceived as a potential major impetus for further developments in the study of pre-modern and modern Chinese literature and related fields. Since the volume aims at bringing the riches of China's literary tradition into focus for a general readership, the majority of chapters can probably be best described as outlines of specific developments that should encourage readers to consult more specialized publications.

C. T. Hsia on Chinese Literature. By C. T. Hsia. [New York: Columbia University Press, 2004. 544 pp. £26.50. ISBN 0-231-12990-4.]

2004 ◽  
Vol 179 ◽  
pp. 825-827
Author(s):  
Chloë Starr
Keyword(s):  
New York ◽  
Literary Criticism ◽  
Chinese Literature ◽  
Modern Chinese Literature ◽  
Easy Access ◽  
Columbia University ◽  
Black And White ◽  
Dust Jacket ◽  
History Of ◽  
The 1960S

First impressions matter when buying a book; they are less important when chasing up a reference in a library or following a reading list to a book shop. C.T. Hsia on Chinese Literature is a serious tome which looks like a biography – a bust portrait of the octogenarian author smiles out of a stark black and white dust jacket, and the playful title leaves ambiguous whether it is C. T. Hsia or his thoughts we are buying. One of the delights of reputation and seniority is the publication of a lifetime's collected essays. This produces a gift to the reader which takes its rightful place as a history of criticism as well as literary criticism, gathering 16 essays published between 1962 (in The China Quarterly) and 1990, a volume for celebration. As undergraduates of modern Chinese literature, we used to groan when C. T. Hsia appeared on reading lists, as much because the works containing the essays were dog-eared, smelly old volumes, as for their polemicism. Publication in a smart, single volume presents easy access and allows the essays to be contemplated for their merit and range. Since C. T. Hsia has been considered, as Patrick Hanan writes, “without question the most influential critic of Chinese fiction since the 1960s,” his essays remain important reading matter.

“Creation Through Translation” in Early Twentieth-Century Women’s Fiction: On a Literary Trend in the Initial Stages of Cultural Exchange Between China and the West

2016 ◽  
Vol 2 (1) ◽  
pp. 1-17
Author(s):  
Yanli Guo
Keyword(s):  
Early Modern ◽  
Positive Impact ◽  
Chinese Literature ◽  
Early Modern Period ◽  
Cultural Exchange ◽  
Cultural Development ◽  
Modern Chinese Literature ◽  
Women's Fiction ◽  
The West ◽  
Academic History

In the 1910s, the trend of “creating through translation” emerged in fiction by female Chinese writers. This concept, similar to that of “covert translation,” introduced by the contemporary Western translation theorist Juliane House, sprang up from the early stages of new literary forms that developed in the context of changes in early modern Chinese literature. The works of female Chinese authors were influenced by the plot, characters, and narrative techniques in Western literary works from which they consciously or subconsciously took inspiration, passing from the imitation of foreign novels to “creation through translation.” The arrival of this phenomenon is closely connected to the increased dissemination of Western knowledge and to a wider circulation of foreign novels among female writers in China. When reading and translating foreign literature, female authors transposed, filtered, and rewrote it into new texts that featured local elements. Ideologically and artistically, the practice of “creating through translation” provided enlightening guidance for modern women’s fiction in that it broadened the means of learning from Western literature, proving beneficial to China’s literary and cultural development. The same trend appears in early vernacular poetry during the May Fourth era, from which it can be traced further back to scholarly texts of the early modern period, such as Wei Yuan’s Illustrated Treatise on the Maritime Kingdoms (Haiguo tuzhi 海國圖志) or Wang Tao’s Report on the Franco-Prussian War (Pu-fa zhan ji 普法戰紀). Also Liang Qichao’s writings on Western thought and culture, for example, his Notes on Rousseau (Lusuo xue’an 盧梭學案), are written in a similar form. The emergence of “creation through translation” therefore evidently represents both a conscious, active effort by a generation’s intellectual elite to seek knowledge and truth from cultural exchange between China and the West, and a new exploration and practice under Western influence that had a positive impact on China’s literary and academic history, in that it broadened cultural/academic perspectives and stimulated the development of Chinese literature and culture.

scholarly journals Love Fiction in China in the Second Decade of the 20 th Century: from Sentiments to Duck-Lovebirds and Butterflies

2021 ◽  
Vol 6 (1) ◽  
pp. 88-110
Author(s):  
Natalia V. Zakharova
Keyword(s):  
Short Stories ◽  
Chinese Literature ◽  
Previous Literature ◽  
Modern Chinese Literature ◽  
Literary Movement ◽  
Modern Chinese ◽  
History Of

The article analyzes the evolution of Chinese love fiction in the first years that followed the 1911 Xinhai revolution. The article focuses on literature representing “couples in love,” namely fiction about “duck-lovebirds and butterflies,” an invariant of the “love prose” genre. The authors of these works both continued the traditions of the previous literature and at the same time attempted at modernizing the genre. Chinese literary scholars have controversial opinions about this genre and its invariants. Controversies concern the literary movement to which these works should be attributed, and the place of the genre in the history of Chinese literature. The founder of modern Chinese literature, Lu Xin, gave a negative assessment of this genre. Modern critics agree that fiction about “duck-lovebirds and butterflies” has poor aesthetic merits yet they also argue that the authors “created an objective picture of reality, expressed different views and opinions.” By the 1920s, the vogue for writing novels and short stories in the style of “duck-lovebirds and butterflies” had waned. This genre however gained a new surge in popularity in the mid-1940s thanks to Zhang Eileen who modernized Chinese love fiction.

Sign in / Sign up

Export Citation Format

Share Document