scholarly journals 中国现当代小说中的故乡构建初探 (Literary Nativism, the Native Place and Modern Chinese Fiction)

2007 ◽  
Vol 4 (1) ◽  
Author(s):  
Yiyan Wang
Keyword(s):  
Chinese Literature ◽  
Literary Representations ◽  
Modern Chinese ◽  
National Representation ◽  
Chinese Fiction ◽  
Abstract Notion ◽  
Modern Chinese Fiction ◽  
The One ◽  
Native Place

Although the importance of the native place in Chinese life is beyond dispute and it has been a significant preoccupation of Chinese authors throughout history, literary representations of the native place still remain to be studied systematically. This paper attempts to examine the construction of the native place in modern Chinese fiction and its role in literary representations of China. Until the beginning of the twentieth century, the native place in Chinese literature remained an abstract notion without specific geographical locations and the narrative focus was on the ‘native-place sentiment’ (Bryna Goodman 1995). It is a modern phenomenon that the native place appears as a local cultural space with ethnographic details and is closely related to the need for narrating China, although it can still be abstract and symbolic. The construction of the native place is crucial in the project of national narration for modern Chinese fiction, as it is often created as the nation’s cultural origin and authentication. However, the relationship between the native place and national representation in Chinese fiction is paradoxical, because, on the one hand the native place necessarily differs in origin, and on the other hand, many Chinese authors are devoted to China as a cultural totality. This paper will focus on the paradoxical relationship between the authors’ nativist aspirations to create distinctive local cultural identities and their commitment to the abstract idea of a single Chinese nation. Furthermore, both the native place and national narration are intricately associated with the tendency of literary nativism, i.e. the belief and the practice that literary writing should focus on constructing the native place and that the narrative style should continue and develop the indigenous narrative traditions. In other words, poetics is part of the politics in the configuration of the native place. The initial questions I shall try to answer include: How is the native place viewed and configured in modern Chinese fiction? What kinds of local stories are generated as national tales and what is the role of the native place in such narratives? Why do writers ‘write local but think national’? Why do national myths in Chinese regional literatures compete to identify with the central nation-state?

scholarly journals Modern Chinese Fiction (1919–1949) in Russia: Early Translation, Publication and Research

2021 ◽  
Vol 13 (1) ◽  
pp. 4-18
Author(s):  
Xiaoling She ◽  
◽  
Jian Wen ◽  
Keyword(s):  
Chinese Literature ◽  
Modern Chinese Literature ◽  
Soviet Society ◽  
Lu Xun ◽  
Modern Chinese ◽  
Initial Stage ◽  
Chinese Fiction ◽  
English Translations ◽  
Modern Chinese Fiction ◽  
Early Translation

The article provides an overview of early Russian translations and publication of modern Chinese fiction (1919-1949). The approaches to the early study of the works of prominent representatives of modern Chinese literature are examined and the reasons why Soviet society is interested in their heritage are identified. Since the 1920s, well-known works of renowned Chinese writers have been frequently translated into Russian mainly by young sinologists. Most of them had been to China and had developed a direct understanding of the development of modern Chinese literature, translating primarily from Chinese and using English translations for various reasons occasionally. The Chinese and Soviet cultural activists also played an important role in the spread of modern Chinese prose in the USSR. At the same time, a serious study of modern Chinese prose began, and until the end of the 1940s was actually at the initial stage, being mainly of a socio-political nature as the study was determined by the state of the ideological atmosphere in Soviet society. Early researchers paid the most attention to the works of Lu Xun, referring to his ideological outlook and artistic merits. Overall, the early translation and study of modern Chinese fiction revealed to the Soviet reader the ideological and social aspects of the works of modern novelists belonging to the left flank of Chinese literature, and laid the foundation for more extensive and in-depth research of modern Chinese literature during the next phase.

scholarly journals Variations on gui and the Trouble with Ghosts in Modern Chinese Fiction

2016 ◽  
Vol 70 (3) ◽  
Author(s):  
Jessica Imbach
Keyword(s):  
Early Modern ◽  
Systematic Study ◽  
Early Modern Period ◽  
Modern Period ◽  
Modern Chinese ◽  
Starting Point ◽  
Chinese Fiction ◽  
Republican Era ◽  
Modern Chinese Fiction

AbstractGhosts appear in a great number of fictional works from the early modern period to the present. Yet, to this date no systematic study of this very heterogeneous textual corpus has been undertaken. This paper proposes as a useful starting point a review of figures and discourses of spectrality, mainly in Republican-era literary and critical texts, that focuses in particular on the different meanings and usages of the term

Inter-Subjectivity and Imagined Sovereignty: John Fryer’s New-Age Novel Contest in 1895 and the Rise of Modern Chinese Novel

2012 ◽  
Vol 17 (01) ◽  
pp. 95-119
Author(s):  
Dadui Yao
Keyword(s):  
New Age ◽  
Modern Chinese ◽  
Starting Point ◽  
Chinese Fiction ◽  
John Fryer ◽  
Modern Chinese Fiction

The concept of inter-subjectivity serves as a starting point to discuss a book-writing competition sponsored by John Fryer in 1895 and the rise of modern Chinese fiction. His departure from China the following year had two possible reasons: money and the expectations. The money issue was related to the prompt initiation and excessive expences of this contest; besides, the contest specific requirements contributed greatly to the identity awareness of the Chinese writers. The horizon of one’s expectations touches the problem of subjectivities. A fusion of the expectations of the missionary and those of Chinese literati manifested itself in The New-Age Novel as inter-subjectivity. Nevertheless, the expression of imagined sovereignty of Chinese literati in the works presented at the contest went beyond Fryer’s expectations and gave birth to not only simply a Western impact and Chinese response and a Sino-centric pattern both which served as a spur to the rise of modern Chinese novel.

Reception of Svetlana Alexievich in China

2018 ◽  
Vol 14 (1) ◽  
pp. 123-129
Author(s):  
Lu Zhou
Keyword(s):  
Chinese Literature ◽  
The Other ◽  
Modern Chinese Literature ◽  
Literary Works ◽  
Other Hand ◽  
Modern Chinese ◽  
Chinese Scholars ◽  
The One ◽  
Literary Legacy

In this paper we would like to offer an analysis of issues related to the translation of Alexievich’s works into Chinese. Furthermore, we will look at reviews of her books by Chinese scholars and critics. On the one hand, opinions of professional literary critics will be represented. On the other hand, we would like to show Chinese writers’ perception of her literary works. We will discuss her possible influence on modern Chinese literature. The conclusions will offer our reflections on how cultural, historical and conceptual connections have been forged between Alexievich’s literary legacy and her Chinese audience.

Modern Chinese Fiction and Prose

2013 ◽  
Author(s):  
Kirk A. Denton
Keyword(s):  
Hong Kong ◽  
Chinese Language ◽  
General Nature ◽  
The West ◽  
Martial Law ◽  
Late Qing ◽  
Modern Chinese ◽  
Chinese Fiction ◽  
May Fourth ◽  
Modern Chinese Fiction

Modern Chinese literature has conventionally been seen as erupting suddenly in conjunction with the May Fourth New Culture movement (1915–1925), which denounced the Confucian tradition and sought to replace it with Western-influenced intellectual and literary models. However, in recent years, working in what is generally called the “alternative modernities” framework, scholars have sought to debunk May Fourth “hegemony” and expand the nature of what constitutes Chinese literary modernity to include late Qing (1840–1911) fiction, popular entertainment fiction (including love stories and martial arts novels), prose literature of leisure, and private “domestic fiction” by women writers. Although a literature in the service of political and cultural causes had been an important facet of the literary field since the late Qing, after 1949 it was promoted by the state, both on the mainland and on Taiwan. The field has tended to dismiss this literature as propaganda, but scholars have very recently begun to revisit it. With the death of Mao (1976) on the mainland and the end of martial law on Taiwan (1987), the state’s stranglehold on literature lessened greatly, creating relatively liberal environments for free expression, though on the mainland writers continue to feel the effects of censorship. With the end of martial law, writers self-consciously produced “Taiwan literature,” related to but different from the Chinese-language literature on the mainland. The early development of modern literature in Hong Kong was deeply indebted to immigrants from the mainland and cultural interaction with Taiwan, but as retrocession (1997) approached, writers began to grapple with questions of Hong Kong identity and history, though Western scholarly attention to this literature has only just begun. In the “post societies” of Greater China (post-Mao/postsocialist on the mainland, post-martial law in Taiwan, and postcolonial in Hong Kong) literature has diversified, but it is constrained, as it is around the world, by market forces. Modern Chinese fiction and prose as a field of study developed in the 1930s, and the scholarly enterprise was promoted and shaped by the socialist state after 1949. In the West, the field took shape initially in the context of the Cold War during the 1960s, when fiction was often analyzed as sociological documents. Over the decades, the field has grown dramatically (especially after the 1980s influx of scholars coming from the People’s Republic of China to study and teach in the West) and has become more sophisticated in its theoretical frameworks and analytical methodologies. This bibliography focuses on major English-language studies, with less attention paid to the vast Chinese-language scholarship. Its scope comprises studies of fiction and prose in China, Taiwan, and Hong Kong. Poetry and drama studies are not considered. With the exception of a study of Lu Xun (see Lee 1987, cited under Literary Modernity), it treats only studies of a general nature, not studies of individual writers.

scholarly journals Erratum: Jasper, David. Seeking Christian Theology in Modern Chinese Fiction: An Exercise for Sino-Christian Theology. Religions 10 (2019): 422

Religions ◽  
2019 ◽  
Vol 10 (8) ◽  
pp. 472
Author(s):  
David Jasper
Keyword(s):  
Christian Theology ◽  
Modern Chinese ◽  
Chinese Fiction ◽  
Modern Chinese Fiction

The author wants to make the following corrections to the paper (Jasper 2019): [...]

Cultural Gender Metaphors in Modern Chinese Fiction

2017 ◽  
Vol 3 (1) ◽  
pp. 1-40 ◽  
Author(s):  
Yufang Zhou ◽  
Keyword(s):  
Modern Chinese ◽  
Chinese Fiction ◽  
Modern Chinese Fiction
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