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This volume is about studies of Shen Congwen (1902-1988), one of
the most important writers in modern China, but more importantly,
it is about how Shen Congwen has been received in and beyond
Mainland China. By presenting the best literary criticism on Shen
Congwen in Mainland China over the past 80 years, and views of how
Shen Congwen has been understood, interpreted, and appreciated in
Japan, the US, and Europe, the editors propose a new way to
approach the topics of canonic writers, modern Chinese literature,
and world literature. This is itself a translated project. Its
Chinese edition appeared in May 2017. The bilingual rendering of
the best criticism of Shen Congwen from a global perspective
intends to initiate and advance dialogues between Chinese- and
English- language scholarly communities. We strive to explore the
complexities of "worldwide" images and interpretations of Shen
Congwen. By calling attention to the foreign spaces into which
overseas Shen Congwens and modern Chinese literature are reborn as
world literature, we acknowledge and celebrate the study of Shen
Congwen and modern Chinese literature as ongoing and endless
cross-cultural dialogues and manifestations.
Originally published in 1934, "Border Town" tells the story of
Cuicui, a young country girl who is coming of age during a time of
national turmoil. The granddaughter of a poor ferryman, Cuicui
grows up in Chadong, a small town in China's exotic southwestern
frontier, where she is sheltered from the warlord fighting that was
prevalent in China in the 1920s. Like any teenager, Cuicui dreams
of romance and finding true love. She's caught up in the spell of
the local custom of nighttime serenades, but she is also haunted by
her grandfather's aging and imminent death. Both Cuicui and her
grandfather know that she must find a husband who will take care of
her once her grandfather is gone. Cuicui is pursued by two brothers
- strong and brusque Tianbao, whose name means 'Heaven-protected',
and his younger brother Nuosong ('Sent by the Nuo Gods') who is
known for the fineness of his face and voice. Not wholly bound by
the dictates of arranged marriage, Cuicui is prepared to make her
choice based on love, but she is confounded by fate and her
grandfather, who wishes for her to mature on her own.
This volume gathers personal reflections on life and literature by
44 of China's leading authors. It aims to illustrate how Chinese
society and its creative writing have supported, competed and
fought with each other for the past 40 years and more. Much of what
is revealed here is mundane, but the pressure of bringing art to
social and political causes, indeed the universal pressure to
survive, forges this collection into a very human document. The
strengths and weaknesses of these essays offer a window on those of
modern Chinese literature itself. Realism was the favoured literary
doctrine of the day, and, reflecting this, most of these essays
speak for themselves - about war, revolution, betrayal and
commitment.
During the first thirty years under communism, China completely
banned crime fiction. After Mao, however, crime genres of all
kinds--old and new, Chinese and Western--sprang up in profusion.
Crime narrative again became one of the most prolific and
best-loved forms of Chinese popular culture, and it often embodied
the Chinese people's most trenchant and open critiques of their
newly restored socialist legal system.
This is the first full-length study in any language of Chinese
crime fiction in all eras: ancient, modern, and contemporary. It is
also the first book to apply legal scholars' "law and literature"
inquiry to the rich field of Chinese legal and literary culture.
Familiar Holmesian, quintessentially Chinese, and bizarre East-West
hybrids of plots, crimes, detectives, judges, suspects, and ideas
of law and corruption emerge from the pages of China's new crime
fiction, which is alternately embraced and condemned by the Chinese
establishment as it lurches uncertainly toward post-communist
society.
Informed by contemporary comparative and theoretical perspectives
on popular culture and the fiction of crime and detection, this
book is based on extensive readings of Chinese crime fiction and
interviews--in China and abroad--with the communist regime's exiled
and still-in-power security and judicial officers. It was in the
Orwellian year of 1984 that the authorities set out to control
China's crime fiction and even to manufacture it themselves--only
to find that fiction, like the social phenomena it depicts, seems
destined to remain one step ahead of the law.
This is an engagingly written memoir, originally published in
English in 1990, by one of China's finest writers. Born in 1910,
Hsiao Ch'ien joined the Communist Youth League and participated in
demonstrations against the government before working with Edgar
Snow as a translator and publishing his own fiction. He has worked
in England and America, becoming friends with E.M. Forster and
Bertrand Russell and reported the Nurembourg trials. After
returning to China in 1949, he was soon in trouble with the
authorities and served 16 years at hard labour. He was formally
rehabilitated in 1979 and is today working on the translation into
Chinese of James Joyce's Ulysses.
This volume is about studies of Shen Congwen (1902-1988), one of
the most important writers in modern China, but more importantly,
it is about how Shen Congwen has been received in and beyond
Mainland China. By presenting the best literary criticism on Shen
Congwen in Mainland China over the past 80 years, and views of how
Shen Congwen has been understood, interpreted, and appreciated in
Japan, the US, and Europe, the editors propose a new way to
approach the topics of canonic writers, modern Chinese literature,
and world literature. This is itself a translated project. Its
Chinese edition appeared in May 2017. The bilingual rendering of
the best criticism of Shen Congwen from a global perspective
intends to initiate and advance dialogues between Chinese- and
English- language scholarly communities. We strive to explore the
complexities of "worldwide" images and interpretations of Shen
Congwen. By calling attention to the foreign spaces into which
overseas Shen Congwens and modern Chinese literature are reborn as
world literature, we acknowledge and celebrate the study of Shen
Congwen and modern Chinese literature as ongoing and endless
cross-cultural dialogues and manifestations.
The depiction of personal and collective suffering in modern
Chinese novels differs significantly from standard Communist
accounts and many Eastern and Western historical narratives.
Writers such as Yu Hua, Su Tong, Wang Anyi, Mo Yan, Han Shaogong,
Ge Fei, Li Rui, and Zhang Wei skew and scramble common conceptions
of China's modern development, deploying avant-garde narrative
techniques from Latin American and Euro-American modernism to
project a surprisingly "un-Chinese" dystopian vision and critical
view of human culture and ethics. The epic narratives of modern
Chinese fiction make rich use of magical realism, surrealism, and
unusual treatments of historical time. Also featuring graphic
depictions of sex and violence, as well as dark, raunchy comedy,
these novels reflect China's recent history re-presenting the
overthrow of the monarchy in the early twentieth century and the
resulting chaos of revolution and war; the recurring miseries
perpetrated by class warfare during the dictatorship of Mao Zedong;
and the social dislocations caused by China's industrialization and
rise as a global power. This book casts China's highbrow historical
novels from the late 1980s to the first decade of the twenty-first
century as a distinctively Chinese contribution to the form of the
global dystopian novel and, consequently, to global thinking about
the interrelations of utopia and dystopia.
During the first thirty years under communism, China completely
banned crime fiction. After Mao, however, crime genres of all
kinds--old and new, Chinese and Western--sprang up in profusion.
Crime narrative again became one of the most prolific and
best-loved forms of Chinese popular culture, and it often embodied
the Chinese people's most trenchant and open critiques of their
newly restored socialist legal system.
This is the first full-length study in any language of Chinese
crime fiction in all eras: ancient, modern, and contemporary. It is
also the first book to apply legal scholars' "law and literature"
inquiry to the rich field of Chinese legal and literary culture.
Familiar Holmesian, quintessentially Chinese, and bizarre East-West
hybrids of plots, crimes, detectives, judges, suspects, and ideas
of law and corruption emerge from the pages of China's new crime
fiction, which is alternately embraced and condemned by the Chinese
establishment as it lurches uncertainly toward post-communist
society.
Informed by contemporary comparative and theoretical perspectives
on popular culture and the fiction of crime and detection, this
book is based on extensive readings of Chinese crime fiction and
interviews--in China and abroad--with the communist regime's exiled
and still-in-power security and judicial officers. It was in the
Orwellian year of 1984 that the authorities set out to control
China's crime fiction and even to manufacture it themselves--only
to find that fiction, like the social phenomena it depicts, seems
destined to remain one step ahead of the law.
A master of the modern short story and one of the finest Chinese
prose stylists of all time, Shen Congwen (1902-1988) left a body of
work acclaimed for its thematic and emotive range, its innovative
literary beauty, and its continuing popularity and influence.
Imperfect Paradise provides the most comprehensive and
authoritative representation in English of the remarkable Shen
Congwen canon, ranging from the polished stories that made him a
serious contender for the Nobel literary prize in the 1980s to
lesser known, extravagant experimental pieces.
With the 1989 Beijing massacre fading from popular memory in the
West, China from the mid-1990s to a few years ago felt more open
than ever to global trade, communication, travel, and cultural and
educational exchanges. There was even talk in the mainstream press
that China was heading toward a more democratic future. It was
during this second Sino-Western honeymoon that authors in the US,
Canada, France, the UK, and elsewhere began writing mystery fiction
set in contemporary China in their regional languages. These "China
mysteries"—crime, detective, and mystery thriller novels that
take place in China but were not written or published
there—formed a new genre of popular fiction that highlighted the
world’s hopes and fears after Tiananmen. The multinational and
multicultural writers of China mysteries, among them ex-PRC
nationals like Qiu Xiaolong, Zhang Xinxin, and Diane Wei Liang,
converged on the China Mainland to negotiate political and cultural
complexities through crime fiction plotlines. Their books emerged
from Western lineages of the modern novel and popular genre
fiction—with Chinese contributions—and depended on Western
commercial publishing models shaped by cultural, national,
political, and economic factors. This work examines more than a
hundred China mysteries—many describing and analyzing social and
economic changes at the center of modern life in China—to provide
a brief history of the genre and analyze the formulaic and original
elements of the mysteries, including their attention to matters of
location, social content, characterization, history, and biography.
It also highlights the role of "information" acquisition as a
motivation for readers and authors of popular fiction, which has
become a topic of discussion in Chinese literature studies. With
its timely commentary on Sino-Western relations as presented
through crime fiction, China Mysteries will appeal to students and
scholars of contemporary Chinese literature and culture, as well as
fans of crime novels and others who are curious about the global
dimensions of the genre and how it complicates our understanding of
"world literature.
This volume gathers personal reflections on life and literature by
44 of China's leading authors. It aims to illustrate how Chinese
society and its creative writing have supported, competed and
fought with each other for the past 40 years and more. Much of what
is revealed here is mundane, but the pressure of bringing art to
social and political causes, indeed the universal pressure to
survive, forges this collection into a very human document. The
strengths and weaknesses of these essays offer a window on those of
modern Chinese literature itself. Realism was the favoured literary
doctrine of the day, and, reflecting this, most of these essays
speak for themselves - about war, revolution, betrayal and
commitment.
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