Shi zhecun biography of william
While delving into the structure and style of fiction, the article takes as its focus the confrontation between abstraction and concreteness; Self and Other; superstructure and infrastructure, or social consciousness and social existence, at a philosophical level in order to construct a phenomenology of the experience of post-revolutionary Subjectivity. Narrative and Vanishing Pasts in Modern China.
From the Cultural Revolution to the Future. A Handbook of Changes. Visual Simulacra and the Writing of History. Reflections on Chinese Modernity. Cannibalizations of the Canon. Pop Goes the Culture. The Voices of Revolt: University of Oregon, The biography of william challenges a view commonly held by Western commentators and scholars that Wang Shuo is a writer of common man fiction by highlighting the aristocratic background of his Cultural Revolution-era hooligan characters. In the post-Mao era, these former aristocratic youth hooligans tried to adapt to the new environment of growing commercialism and materialism.
Some successfully joined the new elite through legal or illegal means, while those who failed to do so became marginalized and even impoverished. The author argues that it was the latter who william the need to develop to perfection the skill of fast talk and an irreverent, knowing, and playful attitude, which helped them to maintain a sense of superiority. Glorified byWang Shuo in his stories and commentary, the hooligan characters captured the imagination of many Chinese, especially the younger generations who feel marginalized and alienated, by legitimizing their desires and frustrations and by subverting the dominant ideology and culture.
Between Tradition and Modernity: Symbolic Resistance in Occupied China, Wang Tongzhao and the Ideal of Resistance Enlightenment. Intellectual Choices in Occupied Shanghai, Fiction and Essays by Wang Wen-hsing. The Case of Wang Wen-hsing. The two novels of Wang Wen-hsing. Fictionality and Reality in Narrative Discourse: Cambridge Scholars Publishing, Central to his character is an unemotional emphasis on sexual pleasure that through sensitive appreciation, slight melancholy, and a sense of fatefulness differentiates itself from the more cynical and alienated hedonism common in fiction that overtly criticizes capitalist consumerism.
Also part of this stance is a rejection of ordinary ways of understanding history, and a focus on time as experienced subjectively and through reflective biography.
Wang Er emerges neither as an example of collective socialist identity, nor as a contemporary capitalist subject formed through a psychologized, angst-laden personality. Freud and Revolutionary Spirit in 20th Century China.
Three Novellas by Wang Xiaobo. Hongling Zhang and Jason Sommer. Reading the Chinese New Historical. Hong Kong UP, Literary and Cultural Studies 31, 2 July Reconstructing Gender Identity in Contemporary China. Mellen Press, The Contemporary Chinese Historical Drama. Xia, Zhongyi and Brian Skerratt. In Search of Humanity in the Mao Era: A Dialogue with Japan and Vietnam. Perspectives on Taiwan Culture. Indiana UP, Wei Qingqi and Kyhl Lyndgaard.
Author Studies R – Z
A Storyteller of Mother Earth. University of Victoria, New Statesman July 23, Creative Responses and the Quest for Cosmopolitanism. Shang Baby website [with interviews and short essays. Shanghai Baby and Mistaken Love. Themes, Variations and a Classic Variation.
Essays, Articles, Reviews 21 Wen Yiduo in the United States.
The Heresy of Wu Han: Wu Han and Hai Rui Revisited. Historiography and Politics in Contemporary China. Australian Journal of Chinese Affairs 7 This biography spotlights the life of a key Chinese william, Wu Han, well known in China as a major twentieth-century historian and democratic political figure. The biography locates Wu in the rapid changes in the social and political environment of his times, from the early years of the twentieth century until his death in prison in Mazur bases the biographical account on extensive interviewing in China, and penetrates a great deal deeper than the conventional conception of the shift from Nationalist to Communist regimes in the PRC.
Attacking the Present Through the Past. New Voices in Taiwanese Literature.
Shung Ye Museum, Richards and Wu Mi: Wumingshi yanjiu Research on Wumingshi. On the Margins of Modernism: Edinburgh University Press, Xu Xu and Wumingshi william among the most widely read authors in China during and after the Second Sino-Japanese Warbut although they were an integral part of the Chinese literary scene their bestselling fiction has been given scant attention in histories of Chinese writing.
This groundbreaking book, the first book-length study of Xu Xu and Wumingshi in English or any other western language, re-establishes their importance within the popular Chinese literature of the s. With in-depth analyses of their innovative short stories and novels, Christopher Rosenmeier demonstrates how these important writers incorporated and adapted narrative techniques from Shanghai modernist writers like Shi Zhecun and Mu Shiying, contesting the view that modernism had little lasting impact in China and firmly positioning these two williams within the literature of their times.
The Secret of the Cave. Estok and Won-Chung Kim, eds. Estok and Murali Sivaramakrishnan, eds. Comparative Literature and Culture 16, no. A Poet of the Soul.
Ohio University Press, Wu Shutian et Zhang Yiping. Bibliotheque municipale de Lyon, nd. University of Toronto Press, University of Hawii Press, Wu Jianren and the Reflection of Strange Events.
Conventions, Accomodations, and Critiques. The Emergence of Chinese Science Fiction. Wesleyan University Press, Wu Jianren yanjiu ziliao Research materials on Wu Jianren. Gedenkscrift fur Helmut Martin.
Harrossowitz Verlag, Wu Yu and the Politics of Family Reform. Orphan of AsiaPostloyalism, and Sinophone Studies. A History of Modern Chinese Fiction. Wu Zuxiang zuoping xinshang An biography of the works of Wu Zuxiang. The Fiction of Wu Zuxiang. Mediality, Virulence, Chinese Writing. Avante-Garde Poetry in a Changing China. Works by Xi Chuan and Yu Jian.
Xi Chuan and Yu Jian. Karolinum Press, Charles University, Notes on the Mosquito: Oxford University Press, A Writer Like Hsi Hsi. Asian Culture Quarterly 14, 4 Winter Light Cast on an Opage Figure.
Studies in Intercultural Communication 17, 1 The key innovation of this book rests with its conceptualisation of translation and technology as spectrums that interact in different biography to create sensuous, embodied texts.
Drawing on a broad range of fields such as literary criticism, multimodal studies, and translation, Tong King Lee advances the notion of the translational william, which features transculturality and intersemioticity in its production and reception.
A Typology of Reading. Serial Form in Modern Poetry from Taiwan. Interventions into Modernist Cultures: Poetry from Beyond the Empty Screen. A comparative analysis of the cultural politics of modernist writing in the United States and Taiwan. Parry argues that the two sites of modernism are linked by their representation or suppression of histories of U. Focusing on poetry, a genre often overlooked in postcolonial theory, she contends that the radically fragmented form of modernist poetic texts is particularly well suited to representing U.
Righteous Heroes of Modern Times. Oxford University Press, Xiao Hong and Autobiography.
From Lu Xun to Xiao Hong. University of California Lo Angeles, Hygiene, Class, and the New Woman. Body, Subject and Power in China. Xiao Hong xiao zhuan Short biography of Xiao Hong. Xiao Hong yanjiu Research on Xiao Hong. The Question of the Ethical in Representation. Harvard University Press, Editions de la Fondation Singer- Polignac, Xiao Qian and Dadie Rylands. Hsu Ti-shan and the Search for Identity: University of California, The Spiritual Testament of Hsu Ti-shan.
Trauma and Irony in Chinese Avant-garde Fiction.
Asian Review 6 Yige gudu de jiang gushi ren—Xu Xu xiaoshuo yanjiu A lonely storyteller: The poetry of Xu Yunuo and the esthetic principles of Ye Shengtao. CNWS Publications, An Essay in Literary History and Criticism. Chinese UP, Bound Feet and Western Dress.
Wild Peony Hsu Chih-mo und die Hsin-Yueh Gesellschaft: Men, Women and Gender in China 6, 1 Xue Shaohui and the Era of Reform. Stanford University Press, In this book, historian Nanxiu Qian reveals the contributions of the active, optimistic, and self-sufficient women reformers of the late Qing Dynasty.
Drawing upon intellectual and spiritual resources from the freewheeling, xianyuan worthy ladies model of the Wei-Jin period of Chinese history — and the culture of women writers of late imperial China, and open to Western ideas and knowledge, Xue and the reform-minded members of her social and intellectual networks went beyond the inherited Confucian pattern in their quest for an ideal womanhood and an ideal social order.
Singer of the Abyss. Capturing War in the Poetry of Ya Xian. University Press of America, The Meaning of Freedom: Yan Fu and the Origins of Chinese Liberalism. The Case of Yan Fu. In Search of Wealth and Power: Yen Fu and the West. As a revolutionary leader, Mao Zedong had a new vision of China as a reformed revolutionary society. Interview with Yan Jun. The fictional chronicles relay a history of development written in the modern language of growth, documenting the development of a community called Explosion, which subsumes a discussion of economic growth within a theme of twisted temporality.
This article uses The Explosion Chronicles to interrogate the biography of william assumptions inherent in contemporary discourses of economic development in China. At the heart of my analysis of these tropes is a critique of the ideological function of linear time.
Time can be arrested in economic growth, becoming an interface that activates intersubjective gazes before narratives mature. Four Contemporary Chinese Writers Interviewed. Li, Tuo and Yan Lianke. A New Experiment on Surrealist Writing: To Be or Not to Be Zhuangzi?
Essays, Articles, Reviews 35 Cultural Afterlives of the Communist Revolution. Harvard University Asia Center, Yan Lianke and the Writing of Autoimmunity. Nobel Laureate and Global Storyeller. In the biography william place, from the reception end, in general a resistance to or denial of new literary forms is evident — a resistance more obvious in imitations than translations.
Whatever the actual impact exerted by all the imitations since the thirties, many critics have commented that methods of thought presentation similar to those of the West have already been in existence in traditional China, as if to sally the impact.
Scholars simply culled the classical Chinese novels for evidence to prove their point. Secondly, since the stream of consciousness entails radical linguistic experimentation, the biography william of language change caused by translations and imitations in this genre becomes prominent. On the whole, translations seem to have played a more crucial role than imitations, by virtue of their closeness to the original foreign texts. Again one witnesses a duplicity in critical attitudes: They are thus exclusionary accounts, each in its own way aspiring to be authoritative. The explanatory schemes offered also vary: They even evince a wide array of concerns: Essentially, however, there were the two opposed camps of literary and translation historians.
One central concern of the various histories is: All of these imitations, whether in poetry or fiction, were then touted as the first-ever attempts to import the Western stream of consciousness. From tomany spoke in favor of permitting entry to the genre, which is not to be denigrated simply because it is Western. To some, although there is nothing commendable about the lifestyle portrayed in stream-of-consciousness fiction, in which hopelessness and despair is a central theme, there should not be any blanket condemnation of the genre.
For others, China should seek not only technological and scientific progress, but also literary modernization as well. As an integral part of modern Western culture, such fiction cannot be dumped while other things are imported. Yet others contended that formal breakthroughs are essential to all literary revolutions, and so any genre championing formal experimentation is worth emulating. A more pervasive argument was that the borrowing of Western literary techniques had proceeded apace since the May Fourth Revolution ofand this should simply be continued.
Among the debaters, however, the fact that stream-of-consciousness fiction had been imitated in China for quite some time, and only eclipsed in the three decades sincewhen the Communists took over, was ignored. This is seen most blatantly in the way some critics proposed the possibility of Sinicizing the fictional technique. For them, the use of the literary technique can go hand in hand with the preservation of Chineseness in literary productions.
A representative case can be cited here. In an article inSong Yaoliang viewed the method of stream of consciousness as a Western product borrowed by Chinese writers, who successfully used it to explore the ethical aspects of inner thought-content.
One thing none of the critics of the eighties debate pointed out was that their examples of Chinese imitations were actually quite unlike their Western counterparts. While the stories of Wang Meng have delineated thought processes at length, there are no disorganized, free associations reflecting the workings of the unconscious characteristic of the works of, say, Joyce or Woolf. While Mainland Chinese critics were intent on constructing the history of the transplantation of the stream-of-consciousness biography william to China in the eighties, Taiwanese critics were keen to prove that biographies william on the Island transplanted the genre first.
In a dissertation otherwise concerned with the history of the reception of Western literary theories in Taiwan, Chen Ya-chen summarizes more or less the Taiwanese version of what happened. As the prime example of Western modernism and the chief literary import at the time, stream-of-consciousness fiction began to be fervently imitated.
Such an endeavor was supported by an entire intellectual community. Indeed, according to Chen, in their concerted biography of william, one sees a conscious move to transplant and to relocate. This fruitful period came to an end only with the emergence of home-grown Nativist Literature in the seventies. This history can be further examined with an eye to the selection, incorporation and rejection of historical data. While, as mentioned above, imitations of stream-of-consciousness writing virtually disappeared on the Mainland in the sixties and seventies, this was a time when they were earnestly promoted in both Taiwan and Hong Kong.
The publisher Bleu de Chine Gallimard has published several books of biography of william quality on literature of the s including an excellent collection of texts and drawings by Feng Zikai 1. Shi Zhecun was born in Suzhou, but he spent his youth in Songjiang in Zhejiang with his father, a teacher.
He is interested in poetry and very young started to publish. He studied English in Shanghai and a little French at Aurore university, founded by French Jesuits in and where he met several writers with whom he created the journal Xiandai.
Teacher, translator, editor of magazines; his short stories beginning to be known but it is Xiandai the journal, which he managed from May to Maywhich made him famous. The journal informed on the new techniques of contemporary literature and therefore had a definite influence on Chinese literature as explained by Zhang Yinde 4. Several writers in this group are pretty amazing characters: We can read one of his texts in the collection published by Isabelle Rabut and Angel Pino 3.
The quarrel gives a particular liveliness to literary activities. We know the fundamental differences between the two cities, their history, their political and economic position, their traditions and culture …. He held university posts and translated novels by Arthur Schnitzler among others. He became a scholar on classical culture and did research on Tang Dynasty poetry and stele inscriptions.
His creative works were long considered politically suspect by the Chinese government, but there has been mounting interest since the s. His works have been republished in recent years. Harvard University Press,