Thunder in the Silence: Chinese Literature Following the `Cultural Revolution'.Takashima ToshioLiterature in a quest for Independence: Readings in Contemporary Chinese literature.Takashima Toshio

1984 ◽  
Vol 11 ◽  
pp. 200-203
Author(s):  
Geremie Barme
1984 ◽  
Vol 57 (3) ◽  
pp. 498
Author(s):  
Richard King ◽  
Perry Link ◽  
Helen F. Siu ◽  
Zelda Stern

2019 ◽  
Vol 15 (3) ◽  
pp. 289-301
Author(s):  
Lelia Mabel Gándara

Abstract “Scar Literature,” a literary movement in twentieth-century Chinese literature, encompasses a series of works written after the Cultural Revolution. The scar metaphor was taken from the title of a short story, “The Scar,” and characterized a series of works with common features. The outlines of “Scar Literature” are blurred, mixed and intertwined with other literary trends and movements. But while Chinese and foreign literary criticism claim that it was short-lived, its influences are visible in several works by contemporary authors. Based on the idea that literary works are prone to being analyzed as a form of persuasive discourse, this paper identifies typical rhetorical procedures of this literary trend and its influences in certain emblematic works: the recurrence of topoi (figures such as “rehabilitation,” peculiar to the Cultural Revolution); inductive reasoning (the construction of a historiographic reasoning via the exemplum); recourse to pathos; and the metaphorical figure of the scar bearing the value of the plotline. This analysis applies concepts of New Rhetoric and discourse linguistics, in particular, concepts developed by Olbrecht-Tyteca and Perelman, Amossy’s approach about pathos and the role of emotions and “figurality” in argumentation, and Plantin’s linguistic theory of the emotions.


2016 ◽  
Vol 75 (4) ◽  
pp. 891-911
Author(s):  
Julia Lovell

This article traces the intellectual evolution of Zhang Chengzhi (b. 1948), a contemporary Chinese poet, novelist, essayist, archaeologist, and ethnographer, from Mao-era radicalism to Islamic internationalism. Allegedly the inventor of the term “Red Guard” in the context of the Cultural Revolution, he has remained an unapologetic defender of Mao and of the “Red Guard spirit” since the 1960s. In 1987, meanwhile, Zhang converted to an impoverished and ascetic sect of Chinese Islam, the Jahriyya, and since the 2000s he has become one of China's most prominent spokesmen for global Islam. This article explores how Zhang has reconciled his zeal for Cultural Revolution Maoism, on the one hand, with Pan-Islamist positions on the other. Although Zhang's stance suffers from undoubted contradictions and inconsistencies, his career and beliefs illuminate the complexities of the legacy of Mao's and the Cultural Revolutions, of Chinese intellectual dissidence, and of the contemporary trajectories of Chinese internationalism and global Islam.


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