scholarly journals Narasi-narasi Kecil (Mikronarasi) dalam genre Fiksi Pedesaan Pendekatan Posmodernisme terhadap Cerpen Menghilang Bersama Angin karya Xing Qingjie

Bambuti ◽  
2021 ◽  
Vol 2 (2) ◽  
pp. 65-85
Author(s):  
Stevani Konistiawati ◽  
Hin Goan Gunawan, SS, M.TCSOL
Keyword(s):  
Short Story ◽  
Chinese Literature ◽  
Lu Xun ◽  
Grand Narrative ◽  
Modern Life ◽  
Famous People ◽  
Postmodern Fiction ◽  
Modern Fiction ◽  
Village People ◽  
Main Basis

The short story text Disappearing with the Wind by Xing Qingjie as a representation of the rural fiction genre in Chinese Literature attempts to refute the grand narratives of modern fiction. For the author of the text, the power of modernity is not eternal, but can be subverted or deconstructed by giving acknowledgment to the small voices represented by Mr Zou, Sha Xiaobao, and the idiot woman in Disappearing with the Wind. This study uses a postmodernism approach to map the elements of disorientation, abnormality and small voices in that short story. Affirmation of the micronarrative is a way of working of postmodern fiction in challenging the power of modernity with the grand narrative as its main basis. For Xing Qingjie, reality does not always depend on big people, famous people, but can also be celebrated by village people, unusual people, including people who are marginalized in modern life. In his lawsuit, the presence of this text will emphasize that there is no central, no peripheral. All can be the center, and all can also be the periphery. Rural fiction pioneered by Lu Xun proves that denial of the power of grand narratives is possible in the same way that Xing Qingjie has done in a number of his works, including the short story Disappearing with the Wind.

scholarly journals Gender and Superstition in Modern Chinese Literature

Religions ◽  
2019 ◽  
Vol 10 (10) ◽  
pp. 588
Author(s):  
Gal Gvili
Keyword(s):  
Short Story ◽  
Chinese Literature ◽  
Modern Chinese Literature ◽  
Modern China ◽  
Lu Xun ◽  
Modern Chinese ◽  
New Perspective ◽  
Literary Methods ◽  
The 19Th Century ◽  
Modern Era

This article offers a new perspective on the study of the discourse on superstition (mixin) in modern China. Drawing upon recent work on the import of the concept “superstition” to the colonial world during the 19th century, the article intervenes in the current study of the circulation of discursive constructs in area studies. This intervention is done in two ways: first, I identify how in the modern era missionaries and Western empires collaborated in linking anti-superstition thought to discourses on women’s liberation. Couched in promises of civilizational progress to cultures who free their women from backward superstitions, this historical connection between empire, gender and modern knowledge urges us to reorient our understanding of superstition merely as the ultimate other of “religion” or “science.” Second, in order to explore the nuances of the connection between gender and superstition, I turn to an archive that is currently understudied in the research on superstition in China. I propose that we mine modern Chinese literature by using literary methods. I demonstrate this proposal by reading China’s first feminist manifesto, The Women’s Bell by Jin Tianhe and the short story Medicine by Lu Xun.

“A Story about Hair”: A Curious Mirror of Lu Xun's Pre-Republican Years

2007 ◽  
Vol 66 (2) ◽  
pp. 421-459 ◽  
Author(s):  
Eva Shan Chou
Keyword(s):  
Short Story ◽  
Short Fiction ◽  
Life Story ◽  
Chinese Literature ◽  
Modern Chinese Literature ◽  
Lu Xun ◽  
Modern Chinese ◽  
The Subject ◽  
Iconic Figure

This article examines the subject of queues in the life and writings of Lu Xun (1881–1936), the most prominent figure in modern Chinese literature. The long-standing reluctance of readers and critics to associate this backward hairstyle with Lu Xun's iconic figure has restricted our understanding of the topic to two well-known satirical portraits in his short fiction, Ah Q and Sevenpounder. This article, however, proposes that the queue is of more than satiric interest—that the author's own experience raises fundamental questions about how he discloses and transmutes certain experiences in his writings. Starting from some little-studied events featuring queues in his pre-Republican years and a puzzling short story that recounts them, this essay analyzes the queue's autobiographical connections and their varied literary manifestations. It also makes a case for reexamining the uses of autobiography for a writer whose life story is an important part of his influence.

scholarly journals REVITALISASI IDE BANGSA DALAM CERPEN KǑNG YǏJǏ (孔乙己) (1919) KARYA LU XUN

2019 ◽  
Vol 7 (1) ◽  
pp. 63
Author(s):  
Padel Muhamad Rallie Rivaldy
Keyword(s):  
Short Story ◽  
Chinese Literature ◽  
Deep Understanding ◽  
Chinese Society ◽  
Close Reading ◽  
Lu Xun ◽  
Traditional Values ◽  
Historical Aspect ◽  
Sociological Approach ◽  
Depth Analysis

Karya sastra Cina pada masa Gerakan Kebudayaan Baru tidak dapat dipisahkan dari realitas masyarakatnya. Oleh karena itu, diperlukan pengetahuan sejarah dan sosio-politik untuk memahami sastra Cina secara mendalam. Salah satu penulis yang merekam masa transisi dari pemerintahan Dinasti Qing ke Republik dan dianggap sebagai penggagas sastra Cina modern adalah Lu Xun. Dengan pendekatan sosiologi sastra, tulisan ini bertujuan untuk menunjukkan revitalisasi gagasan berbangsa yang terdapat dalam cerpen “Kǒng Yǐjǐ” (孔乙己) (1919) karya Lu Xun. Tulisan ini akan melibatkan unsur ekstrinsik, yaitu konteks sosial ketika karya tersebut diproduksi. Namun, tulisan ini juga tetap akan menjelaskan analisis pembacaan dekat (close reading) cerpen tersebut untuk memperdalam analisis. Hasil temuan menunjukkan adanya komitmen pengarang untuk menghidupkan kembali ide bangsa yang lepas dari nilai-nilai lama melaui cerpennya. Pudarnya nilai-nilai lama tersebut direpresentasikan secara simbolis melalui tokoh Kong yang hidup di tengah masyarakat Cina.Kata kunci: Lu Xun; bangsa; revitalisasi Chinese literary works in the time of New Cultural Movement are interrelated with the reality of Chinese society at that time. Therefore, the knowledge upon historical aspect and socio-political circumstances are needed to gain deep understanding of a single literary work. One of distinguished author which represent the transition of Qing Dynasty to Republic Era of China and is regarded as the pioneer of modern Chinese literature is Lu Xun. By elaborating sociological approach, this article aims to observe the revitalization of nation’s idea in “Kǒng Yǐjǐ” (孔乙己) (1919) short story by Lu Xun. This article elaborates extrinsic elements that cover social context on which the work is produced. However, close reading analysis is also applied in order to preserve in-depth analysis. This article finds out that the author, through his work, builds a commitment to revitalize the idea of nation which step over traditional values. The degradation of those traditional values symbolically represented through Kong’s life among Chinese society.Keywords: Lu Xun; nation; revitalization 

scholarly journals Incredulity Towards Metanarratives: A GenderBased Study of Sultanas Dream by Roqeyya Begum

2019 ◽  
Vol IV (II) ◽  
pp. 78-82
Author(s):  
Mehwish Malghani ◽  
Mehwish Ali Khan ◽  
Hina Naz
Keyword(s):  
Short Story ◽  
Textual Analysis ◽  
Grand Narrative ◽  
Power Center

Patriarchy has always been a dominant metanarrative among different societies, hence controlling all other power centered notions too. The ones affected, for instance, women started retaliating against dominance but postmodernism gave them a platform. Roqqeya Sakahwat Hussein in 1905 wrote a short story Sultanas Dream A qualitative based study, utilizing textual analysis has been done to look at Sultanas dream through the lens of Postmodernism based on Lyotards theory of Incredulity towards grand and metanarratives. The analysis shows Husseins (1905) rejection of grand narrative, i.e gender here, in her short story Sultas Dream. She presented a land where women are assigned roles based on power, logic and reasoning. They are rulers, scientists and educationists and males were not even visible in the story. They were barbarious, and bound to stay in boundaries. It is thus highlighted that Hussein (1905) has shown incredulity towards the power center and metanarrative, which is gender here.

scholarly journals A Rest in the West. Translation of Modernity and Modernism in William Heinesen's „Grylen“ / Týðing av moderniteti og modernismu í „Grylen” eftir William Heinesen

2017 ◽  
Vol 59 ◽  
pp. 87
Author(s):  
Bergur Rønne Moberg
Keyword(s):  
Short Story ◽  
Oral Tradition ◽  
Second World War ◽  
Faroe Island ◽  
World War ◽  
Modern Fiction ◽  
The One ◽  
A Minor ◽  
Second World ◽  
Complex Question

<p><strong>Úrtak</strong></p><p>Greinin viðger ‘týðingar’spurdómar í stuttsøguni „Grylen“ (1957) eftir William Heinesen. Søgan tekur støði í einum elligomlum føstulávintssiði í Føroyum – at ganga grýla – sum doyði út beint fyri seinna heimsbardaga. Í søguni hjá Williami verður grýlan til ein dionýsiskan figur kallaður Grylen, sum er ólýsandi og ímyndar orðloysi. Greinin vísir, hvussu metatilvitaða frásøgufólkið letur seg hugkveikja av hesum fyribrigdi  við  áhaldandi at umringja tað við nýggjum myndum. Týdda grýlan verður greinað sum 1) eitt ontologiskt tulkingartilvitað frásøgufólk og sum 2) eitt eyðkenni við bókmentamentan í  útjaðaranum. Stuttsøgan fær skap sum ein navngevingargongd av einari undantaksveru, og tað er við støði í hesum botnloysi, at frásøgufólkið tulkar og týðir grýluna til eitt listaligt úttrykk. Grylen umboðar eina rest, sum dregur seg undan modernaðum mannagongdum. Við støði í hugsanum hjá Franco Moretti og Andreas Huyssen verður týðingin samstundis knýtt at landafrøðiliga útjaðaranum, sum skapar ein serligan tørv á týðing í royndini at minka um munin millum ‘miðdepil’ og ‘útjaðara’. Í hesum samteksti umboðar Grylen og oyggin Stapa eitt mentanarligt eftirsleip, sum verður gjørt til eina styrki. Hetta ’writing back’ brúkar føroyskan miðaldarsið og fornaldarligt evni sum Dionysos til at seta spurning við hegemoniska(n) modernitet og modernismu og við hvat er miðdepil og hvat er útjaðari.</p><p><strong> </strong></p><p><strong>A</strong><strong>bstract</strong></p><p>This analysis addresses the issue of translation in William Heinesen’s short story „Grylen“ (1957). It is a story of an old Dionysiac Faroese ritual, which died out around The Second World War. The narrator sets himself the task of transplanting this Dionysos into modern fiction.  Due  to  the  muteness  of  the  Gryla the literary connection to the myth can only be established by virtue of interpretation as demonstrated as an explicit mediation of the mythical silence. The muteness appear as a matter of interpretation while being encircled in  conflicting  images.  Focus  is  partly  given on the interpreted Gryla as a complex question of ontological interpretation and partly as an expression of cultural translation linked to aesthetic development in the geographical periphery. Due to the muteness of the Gryla, the whole story appears as a course of naming the nameless forces that work within Dunald, who is the one having the Gryla. Based on Franco Moretti’s og Andreas Huyssen’s notion of ‘centre and periphery’, the question of translation is connected to the Faroe Island as a non­metropolitan culture. Due to the cultural backlog in the periphery there is a special need for translations caused by the discrepancy between the trans­atlantic modernity and a minor culture as the Faroese still close to nature and the oral tradition. In response to the cultural backlog the dynamics of translation become a privileged perspective creating connections between   modern   and   premodern   aspects. The Faroese reaction represents an alternative modernity and an alternative (geo)modernism writing back to a rule­based hegemonic modernity an modernism in order to give an account of the encounter with another world, which evades direct contact and brings into question what is periphery and what is centre.</p><p> </p>

Literature by Other Mediums: Revisiting Lu Xun's Preface to Outcry

2021 ◽  
Vol 29 (2) ◽  
pp. 373-398
Author(s):  
Chenshu Zhou
Keyword(s):  
Chinese Literature ◽  
Media History ◽  
Modern Chinese Literature ◽  
Lu Xun ◽  
Vernacular Literature ◽  
Media Environment ◽  
Transnational Media ◽  
Lantern Slide ◽  
Literary Figure ◽  
Media Practices

Abstract By recounting how Lu Xun 鲁迅 went from studying medicine in Japan to writing for the magazine Xin qingnian 新青年 (New Youth), the preface to Nahan 呐喊 (Outcry, 1923), Lu Xun's first collection of short stories, not only presents an origin story of an important author but also contains important clues for understanding modern Chinese literature. This article offers a new reading of that canonical text by focusing on the problem of medium. Synthesizing author biography, media history, and textual analysis, it examines three intermedial references in the preface—the famous lantern slide, the modern periodical, and the recurring notion of outcry. As an autobiographical account, the preface contains narrated events that call for more media-centered analysis, including the “slide incident” (renamed “screen incident”) and Lu Xun's failed experiment with the periodical medium. Reading the preface as an act of narration, this article scrutinizes textual choices such as the confusing word dianying 电影 (film) and the outcry metaphor. The emergence of both modern vernacular literature and Lu Xun as a major literary figure, it is argued, should be historicized in a broader transnational media environment, in which diverse media practices intersected.

Lu, Xun (1881–1936)

2018 ◽  
Author(s):  
Flora Xiaofang Shao
Keyword(s):  
Twentieth Century ◽  
Driving Force ◽  
Chinese Literature ◽  
Modern Chinese Literature ◽  
Chinese Society ◽  
Nation State ◽  
Lu Xun ◽  
Social Critique ◽  
New Culture Movement ◽  
New Literature

Lu Xun, a pre-eminent man of letters in twentieth-century China, is widely regarded as the father of modern Chinese literature. Writing during China’s tumultuous transition from a dynastic empire into modern nation-state, Lu Xun was one of the leading practitioners of the nationalist ‘New Literature’ as well as a driving force behind the iconoclastic New Culture Movement and other intellectual reforms. His works have been celebrated for their trenchant critique of the cultural malaise of Chinese society. His inimitable style of acute self-reflexivity, combined with dark sarcasm, set an example for later writers who were similarly engaged in literature as a form of social critique.

Hong Kong in the Midst of Colonialism, Collaborative and Critical Nationalism from 1925 to 1930

China Report ◽  
2018 ◽  
Vol 54 (1) ◽  
pp. 25-47
Author(s):  
Lin Shaoyang
Keyword(s):  
Hong Kong ◽  
Chinese Literature ◽  
Mainland China ◽  
Cultural Nationalism ◽  
Southeast Asian ◽  
Modern Chinese Literature ◽  
Modern China ◽  
Lu Xun ◽  
Chinese Community ◽  
New Culture Movement

In the late 1920s, cultural nationalism in Hong Kong was imbedded in Confucianism, having been disappointed with the New Culture Movement and Chinese revolutionary nationalism.1 It also inspired British collaborative colonialism. This study attempts to explain the link between Hong Kong and the Confucius Revering Movement by analysing the essays on Hong Kong of Lu Xun (1881–1936), the father of modern Chinese literature and one of the most important revolutionary thinkers in modern China. The Confucius Revering Movement, which extended from mainland China to the Southeast Asian Chinese community and then to Hong Kong, formed a highly interrelated network of Chinese cultural nationalism associated with Confucianism. However, the movements in these three places had different cultural and political roles in keeping with their own contexts. Collaborative colonialism’s interference with the Confucius Revering Movement is one way to understand Lu Xun’s critical reading of Hong Kong. That is, Hong Kong’s Confucius Revering Movement was seen as an endeavour of the colonial authorities to co-opt Confucianism in order to deal with influences from China. This article argues that Hong Kong’s Confucius Revering Movement should be regarded as one of the main perspectives through which to understand Hong Kong’s educational, cultural and political histories from the 1920s to the late 1960s. Lu Xun enables us to see several links. The first link is the one connecting the Confucius Revering Movement in Mainland China, Hong Kong and the Chinese community in Southeast Asia. This leads to the second link, that is, Lim Boen Keng (Lin Wenqing), the leading figure of the Confucius Revering Movement in the Southeast Asian Chinese community who later became the President of Amoy University, where Lu Xun had taught before his first visit to Hong Kong. The third link is the skilful colonial administrator Sir Cecil Clementi, who came to British Malaya in February 1930 to become Governor after being the Governor of Hong Kong. We can observe a network of Chinese critical/resistant and collaborative nationalism from these links.

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